David Bowie - Sigma Sound 1974

Hi Bowie fanatics,
i have done phase, level, pitch correction and new EQ

Remastered by Captain Acid, April 2022



David Bowie booked 2 weeks at Sigma commencing on the 8 August 1974. He was accompanied by Mike Garson and David Sanborn from the tour band; new guitarist Carlos Alomar; Willie Weeks on bass (to replace Herbie Flowers who had returned home); and Andy Newmark on drums to replace Tony Newman. In addition, Ava Cherry, Robin Clark (Alomar’s wife) and their friend Luther Vandross provided backing vocals.

On the 9 July 1974, Ava Cherry recorded 3 songs at Sigma Sound including a version of David’s ‘Sweet Thing’. The musicians came from David’s tour band whilst he provided backing vocals and played saxophone. During his residency at the Tower Theatre news quickly spread that David would be recording his next album at Sigma Sound the following month.

Tracks are as follows:

1. Young Americans [first take] 0:20. An incomplete version with no vocal.
2. Young Americans [second take] 2:57. An incomplete version which ends with David laughing after singing “President Nixon.”
3. Young Americans [third take] 5:40. A complete version with slight lyrical differences to the finished version.
4. Shilling The Rubes 5:09. Complete version. Towards the end of the song David says, “That’s going to be very nice when it’s got its hat on!”
5. I’m A Laser (The Gouster) 6:09. Complete version.
6. After Today 4:42. Complete version but played at a much faster tempo than the version released by Ryko in 1989.
7. Sweet Thing 4:43 (Ava Cherry on lead vocals).

All tracks recorded on 13 Aug 1974 except track 7 which was recorded on 9 Jul 1974.

[we.tl]

Thank you very much for this

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Happy Easter Captain!
Thanks a lot

Great, thanks a lot Captain

great stuff, man, thanks!

Thank you.

Thank you. I've been wanting to find some great Bowie for a friend of mine.

big thanks Captain
fantastic stuff in great sound quality
did not know that these recordings were meanwhile available .....

Thanks!

Bowie's Lost Sigma Sound Studio Sessions Found

Bowie with Mike Garson and Tony Visconti, Sigma Sound, August 1974.
Photo Dagmar



Located at 212 North 12th Street in Philadelphia, it was one of the first studios in the United States to offer 24-track recording capacity and the first anywhere to successfully employ console automation. Tarsia, formerly chief engineer at Philadelphia's Cameo-Parkway Studios, also opened Sigma Sound Studios of New York City in 1977, at the Ed Sullivan Theater building.

From the beginning, Sigma Sound was strongly associated with Philadelphia soul and, in the 1970s, the sound of Gamble and Huff's Philadelphia International Records (its driving rhythm a precursor to disco music), as well as the classic, sophisticated productions of Thom Bell. Both featured large productions with strings and horns creating what became known as the "Philadelphia Sound".

Their success attracted many artists and producers from various music genres across the US, as well as Europe and Japan. Sigma is credited with well over 200 gold and platinum awards with an extensive client list that begins with Aretha Franklin and ends with ZZ Top.

David Bowie recorded much of his album Young Americans in August 1974 at Sigma Philadelphia. Billy Joel and his touring band played an hour-long concert at Sigma Studios. The recording of "Captain Jack" from this event received extensive radio play in the Philadelphia area, long before Joel became widely known, which helped him establish a national following.




The Sigma Reel - 2. David Bowie - Young Americans (Takes 1 & 2)




The Sigma Reel - 4. David Bowie - Young Americans (Take 3)


Toby Seay Professor & Director – Drexel University Audio Archives



There’s a tiny part of David Bowie’s legacy that inconspicuously shelved in Drexel University's campus:
a 16-track tape labeled “Reel 4”from Bowie’s 1974 “Young Americans” sessions at Philadelphia’s
Sigma Sound Studios which includes alternate takes and rejected songs from the album.


Tarsia sold the New York studios in 1988 and the Philadelphia location in 2003, but they still retained the Sigma Sound Studios name. The 6,000 unclaimed tapes from Sigma's 35-year-old tape library are now part of The Drexel University Audio Archive.

It was reported in the April 2015 issue of Pro Sound News, (a NewBay Media publication), that "the building that houses the historic Sigma Sound Studios in Philadelphia has been sold for $1.55 million, with the intention of renovating the space for office, retail or residential use." The studios had closed for business in 2014, according to the www.philly.com website. When checked on April 9, 2015, the Sigma Sound Studios website was still available for viewing, but it has since been taken down.

[www.youtube.com]
The Sigma Reel - 2. David Bowie - Young Americans (Takes 1 & 2)


[www.youtube.com]
The Sigma Reel - 4. David Bowie - Young Americans (Take 3)



[www.youtube.com]
BOWIE AKA THE GOUSTER ~ LAZER/SHILLING THE RUBES/DEMO/OUTTAKE ~ RECONSTRUCTED EDIT 74


[www.theyoungamerican.co.uk]
[www.theyoungamerican.co.uk]

David Bowie invited the Sigma Kids, fans who hung out at Sigma Sound Studios during the recording of the Young Americans album in Philadelphia in 1974, in to the studio for a playback of the yet unreleased legendary classic album. Bowie has a laugh as super fan Patti Brett gets very emotional, holding David's hand.

[6abc.com]



The 'Sigma Kids' had a great time in 1974 gathering outside of Sigma Sound in
Philadelphia while Bowie recorded Young Americans. This fan group got a big
surprise when David invited them in to the studio on the last day at Sigma.



The story of David Bowie's time in Philadelphia recording 'Young Americans', and the unique bond he formed with the city, and with his biggest fans, The Sigma Kids.

















[xpn.org]



At Sigma Sound Studios with DJ Ed Sciaky and Bruce Springsteen, November 1974.
(from David Bowie The Golden Years by Roger Griffin)



David Bowie during the recording of his album ‘Young Americans’ a
t Sigma Sound Studios next to his long-term piano player,
Mike Garson, Philadelphia, Pennsylvania, US, August 1974.



David Live! Tower
[www.davidbowieworld.nl]








Sigma kids Ernie and Patti Brett at Sigma Sound with Mike Garson, Bowie, MFSB conguero/percussionist Larry Washington, and Tony Visconti (sitting on ground). Photo by Dagmar.




Bowie Snubbed by Sigma Rhythm Section

More than 40 years ago, David Bowie came to Philadelphia to record his album “Young Americans.” As the music world mourns the death of the superstar from cancer just after his 69th birthday, a few are recalling the time the superstar spent in the city.

In 1974, American R&B music was more popular in England than in the U.S., and Bowie wanted to tap into the famous Philadelphia Sound. For about six weeks, he worked at Sigma Sound Studio on 12th Street.

“His intention, I believe, was to record with the Philadelphia musicians, to capture that ‘Philadelphia magic,'” said Joseph Tarsia, founder and owner of Sigma. “But, as it turned out, for whatever reason, the rhythm section refused to play with him, except for one or two guys. Essentially, he brought his own musicians.”

Tarsia said some of the musicians didn’t want to give their sound away to a foreigner. (Bowie himself later called it “the definitive plastic soul record.”) Nevertheless, Bowie did get Luther Vandross and Andy Newmark, the drummer with Sly and the Family Stone, to help him with the record. Vandross, who has a writing credit on “Fascination,” was also a backup singer on “John, I’m Only Dancing.”

“Philadelphia was so busy making music that, to some degree, it was another client,” said Tarsia. “It wasn’t until later that, whenever you brought up the name Sigma, they didn’t say Lou Rawls or Johnny Mathis or the Spinners, they said Bowie. It bewildered me all that time.”


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Bowie booked the studio “7 p.m. until,” working all night until daybreak.

“There was at least a dozen kids outside the studio at 7 p.m., and they would be there at dawn when he left. He was just sort of nod at them and go into the studio, which you might say was sort of cold,” recalled Tarsia. “When he finished the project, he made us go out and get sandwiches and sodas. He invited all the kids into the studio, and played for them the entire album.”


Sigma Kids—Somebody Up There Likes Me
Despite what one may have been misled to believe by revisionist historians, the Seventies was not one wacky moment after another for carefree youths in zany clothing.

Philadelphia in the summer of 1974 was no exception. Frank Rizzo, the former Police Commissioner who made his bones as a hardnosed, head-knocking cop, had been elected Mayor, to illustrate just how blue-collar conservative the city was at that point. Hardly a warm environment for the sort of young person who preferred gold-painted platform shoes.

The hippie movement sputtered to its death in the early third of the decade, and there was a new freak in town, the glitter rock kid.

It can’t be overstated how integral rock music was to the vast majority of youth culture in the first half of the Seventies. The subgenres that appealed to them may have differed, but only the squarest of the squarest did not have an extensive album collection and regularly attend concerts.

Obviously, music was the keystone; but it transcended notes blaring out of a loudspeaker. You styled your long hair and chose your clothes based on doing your best to look like the very rock stars you idolized. It wasn’t simply some weekend warrior costume; it was a lifestyle and commitment.

Back in early-Seventies Philly, glitter (more recently called “glam”) had taken off, spearheaded by the god of the theatrical rock scene, David Bowie, who had twice sold out a string of back-to-back concerts at the Tower Theater. Alienated adolescents from all parts of the city and its environs finally had a rallying point. Bowie owned this town by the summer of ’74.

I was in a band and had befriended our keyboard player’s brother, future culinary wizard Danny Liberatoscioli, whose group of friends was fanatical about all things Bowie. Your narrator was a moderate-level Bowie fan, and that was only a recent conversion. However, they were a lively bunch and mostly female, so I gradually began spending time with them on assorted evenings.

August 8th. Danny et al were practically levitating over some exciting news that trickled down the Bowie grapevine: David would be returning to town to record new music at the legendary Sigma Sound studio!!!

[Said grapevine also always knew which hotel the Bowie entourage would be occupying, regardless of the city. The FBI should be so proficient!]

I should also point out that the average age of the group was sixteen and most had neither driver’s license nor car—which makes the following more extraordinary.

Full of vigor and with nothing that could possibly be of higher priority, we packed into a car, heading to Sigma in an attempt to confirm whether the rumors were on the level. Something was definitely up; upon arrival, there were already several Bowie diehards milling about and a Cadillac limo parked directly outside the studio.

Little else to do but wait around and see what happened next.

Sigma Sound was located a few blocks north of the commercial district of Center City, just outside the Chinatown section, and the rare passerbys from dusk til dawn were primarily “winos.” We, all dolled up like Martians recently beamed down from the mothership, blended in about as well as a My Cousin Vinny family reunion on a dude ranch.

Nonetheless, the anticipation was electrifying and it was a kick being around so many fellow kooks from remote corners of the region. And when a certain British crooner emerged—“Oh, my God, it’s true, he’s really here!!!”—it was impossible not to get caught up in the excitement, especially while immersed in what was very reminiscent of those old newsreel scenes of Beatlemaniacs losing their minds when face-to-face with the Liverpool quartet.

I had never been within reaching distance of a REAL ROCK STAR, fully intend to become one myself, and idolized several. So, even though I had yet to become a staunch Bowiephile, this encounter was a Very Big Deal to me.

Thus it began.

For a stretch of fifteen days, from evening to the wee smalls, a rotating tribe of what was to be dubbed “the Sigma Kids” kept vigil outside of the Barclay hotel when David and the musicians were there, tailed them to the studio, and waited for hours on end, sitting on the sidewalk and steps outside Sigma until the session was over and we could get another glimpse and a moment of small-talk.

After a few days, the lot of us providing no indications of being a nuisance or threat, the Kids and the performers developed a genuine rapport. Carlos Alomar and wife Robin Clark were as caught up in the whirlwind as most of us and extremely fan-friendly. Carlos had established himself on the R&B circuit but this was his first foray into the colossal rock scene, thus it was a bit of a culture shock, albeit a highly enjoyable experience.

Same could be said for the then-unknown Luther Vandross who, although he didn’t spend as much time associating with the Kids, was always very personable.

Of course there were the Bowie “veterans” as well, such as guitarist Earl Slick, David’s longtime friend and singer Warren Peace, and backup singer (and Bowie paramour) Ava Cherry, on whom I immediately developed a massive crush.

Bowie’s personal assistant Corrine “Coco” Schwab—who got her job by answering a newspaper ad!—was another entourage member who grew comfortable among us and I believe was a liaison of sorts, ensuring her boss we had nothing but good intentions. (This would be crucial for what was to occur later, but let’s not get ahead of ourselves.)

Although there were a few dozen Sigma Kids in total, we weren’t all there constantly. On the average, I’d say the head count was fifteen at the studio, maybe one-third of that at the hotel. Oh, and about four-to-one female-to-male.

Some of the girls were age 14—but only chronologically—and I oft wondered what kind of (if any) fireworks went off when they returned home at 3 a.m. after spending six hours loitering around Skid Row.

There were roughly a dozen who made up the core of the vigil-keepers, i.e. the ones most frequently present, and we eventually settled into a groove. A couple of people brought blankets so we wouldn’t have to sit directly on the filthy pavement; someone always seemed to have a radio; everyone got used to each other after a while; and we were relatively quiet, patiently awaiting the next flurry of activity.

Sigma owner Joe Tarsia was more bemused than annoyed by us, eventually earning the nickname “Uncle Joe.” And later in the vigil, one of the engineers would occasionally open a studio window while they were listening to a playback, kindly giving us a special reward for our perseverance.

Then things got REALLY interesting.

August 23. Bowie had been fairly satisfied with the tracks they had laid down, and that night’s session would be the last. As such, he had a treat in mind that would enormously eclipse any engineer opening a window for a few minutes.

David personally approached those of us he recognized as comprising the core and extended an invitation that had been unprecedented in music history: When the session that night concluded, there would be a listening party…and we were invited!

There was also one stipulation. “This is only for the people I invite. If anyone else shows up, it’s off.”

The party itself. The session didn’t wrap until very early in the morning (one report said 5 a.m.), and much to the invitees’ relief, all kept their promise to keep the party hush-hush. We were ushered inside, where Bowie’s bodyguard frisked each of us and checked handbags for recording equipment.

Some folding chairs had been placed around the studio and there were cups of red wine on a tray. I selected a seat where a few chairs were centered midway between the speakers. When the rest of the Kids sat closer to the front, I didn’t want to be “that guy” who sat secluded towards the back like the official party wallflower, so I moved up a few spots towards the front, perching on a piano stool.

The music began playing, and it was nothing like we expected, starting with what would be the album’s title track “Young Americans.” When the Beatles reference came through the speakers, I turned to see if anyone else “got it”…and, sure enough, there was the author sitting in one of those chairs I’d abandoned.

Yes, I inadvertently blew an opportunity to be sitting right next to David Bowie the very first time anyone heard one of his classic recordings. The Simpsons didn’t exist yet, but I may have originated the emphatic “Doh!” that very moment.

Turned out David was quite keen on gauging our reactions. As everyone knows now, Bowie was taking his music in an entirely different direction, and he had no idea whether it would be accepted by the audience currently wearing a groove in his latest studio effort, Diamond Dogs. We weren’t ass-kissers from the record company or media. We were that very audience he was concerned about. We were quite literally the young Americans.

After all the material was played, including some that never made the album, there was a brief silence. I believe it was a cross between digesting what we just heard and the feeling of “So what do we do now?”

We were impressed by the music—who wouldn’t be?—but no one wanted the party to be over. Then one of the Kids uttered the magic words that broke the spell.

“Play it again!”

It was as though everyone exhaled simultaneously. “Play it again” they did, and we began dancing, performers and Kids together, like giddy, slightly buzzed friends at a wedding reception. Photographer Dagmar snapped away, and unbeknownst to us at the time, those pictures would end up on the front page of the Sunday paper, in several magazines and book over the years and even in the 2007 Young Americans reissue’s CD booklet.

[One shot captured me dancing with Ava Cherry, and to my very very deep dismay, although processed (but unused) for the Sunday newspaper story, it apparently has disappeared. Ah, well.]

By the time the second run-through ended, it “felt right” for the party to break up. The adrenaline that had us wide awake and shaking our butts at 5 a.m. had dissipated, the sun had begun to rise and none of us wished to make a pest of himself.

Thank Yous and Goodbyes were exchanged, and all the Kids went home.

I doubt any of us slept when we got there.

Sidebar regarding getting invited to the listening party: Sigma Kid Stewart and I were the only two standing outside the Barclay the afternoon we received our invitations. When our future party host moved on, Stewart and I just looked at each other like “Wait, we just got invited to a party by David Bowie, right?” as if to reassure each other there was no misinterpretation or hallucination involved.

Stewart had short spiked hair tinted with henna to give it a reddish tone and, if I remember correctly, shaved eyebrows. Needless to say, he was a hardcore Bowie fan. He also no-showed the party.

Surprised? What you need to understand is, David Bowie touched people in a very special way and was Messianic to many young folks at a confusing age in a challenging time period. There were certain Sigma Kids who were literally struck speechless and too overwhelmed to get closer than several feet from David when he entered or left the studio.

Stewart wasn’t like that, but all I can presume was that the thought of actually socializing with his idol was more than he figured he could handle.

also interesting
[www.radiox.co.uk]