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The Man Who Sold The World
 
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The Man Who Sold The World

21 Aug. 2006 | Format: MP3

£6.29 (VAT included if applicable)
Buy the CD album for £11.10 and get the MP3 version for FREE. Does not apply to gift orders.
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Song Title
Time
Popularity  
30
1
8:05
30
2
5:38
30
3
3:34
30
4
3:52
30
5
3:12
30
6
4:25
30
7
4:13
30
8
3:56
30
9
3:40
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Product details

  • Original Release Date: 6 Sept. 1999
  • Release Date: 6 Sept. 1999
  • Label: EMI UK
  • Copyright: 1999 Jones/Tintoretto Entertainment Company LLC This label copy information is the subject of copyright protection. All rights reserved. (C) 1999 Parlophone Records Ltd
  • Record Company Required Metadata: Music file metadata contains unique purchase identifier. Learn more.
  • Total Length: 40:35
  • Genres:
  • ASIN: B001IZ9YLW
  • Average Customer Review: 4.4 out of 5 stars  See all reviews (79 customer reviews)
  • Amazon Bestsellers Rank: 4,904 in Albums (See Top 100 in Albums)

Customer Reviews

4.4 out of 5 stars

Most Helpful Customer Reviews

37 of 38 people found the following review helpful By "oldrocker58" on 3 Dec. 2002
Format: Audio CD
I have to admit that, musically this is probably one of my fave albums of all time. The stark, ambiguity of "Width of a circle" sets the tone for the whole album. The set itself has a dark, brooding, menacing feel which challenges the listener to explore new musical directions and rewards in abundance. This is rock as it was intended. No nonsense, no posturing, and pure. I defy anyone to listen to "All the madmen" in the dark without the hairs on the back of the neck standing to attention! Indeed there are homages to Hendrix but Mick Ronson manages to pull it off and still sound the way that only Ronno can. Truly an album that still stands the test of time and still sounds more honest than virtually anything else that has come along since. Maybe "Ziggy Stardust" is more important but this is a reminder of how rock should be played. No BS, no frills, just undiluted rock performed by a band that is obviously still trying to find it's way and the nerves and agression shine throughout. I'd have given it 10 stars but I'm limited to just the 5. Buy it!
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3 of 3 people found the following review helpful By Mr. Peter Steward on 22 May 2014
Format: Audio CD
I view this as a stepping stone album towards the greatness that was to follow. Bowie was defining his style. He was almost there, almost achieving his aim of taking on the rock world. Some of the songs are mini epics in their own right.

The album gives the feel that Bowie was evolving his songwriting style. It is a stark album that would eventually lead to collaborations with Eno and his German experimentation period. The album starts with another epic in the form of the Width of the Circle which showcases Mick Ronson's extraordinary guitar work and also makes us realise that the 1970s are upon us and threatening to bring something frighteningly good in the world of music. The cosiness is being wrenched out. There is madness within this track and the album as a whole. To see an illustration of this just listen to the wierdness of All the Madmen. It is on this album that we first get an idea of the depth of Bowie's vocals, sometimes sung and sometimes snarled. And of course the cover changed. My early LP version has a young looking Bowie doing a high kick whilst playing his guitar. This was changed to the famous cover of Bowie in a dress. It was almost as if Bowie was battling with his demons, his sexuality and what ultimately would be his musical genius. After the early Anthony Newley style songs this came as a bit of a shock.

There was plenty of rock songs - indeed this was probably Bowie's heavy rock opus. It is a thumpingly good album. When I returned to it after a number of years to write this review I was absolutely gobsmacked by its power and sense of direction and its sheer power. The title track remains one of Bowie's best songs - and was even recorded by Lulu!
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14 of 15 people found the following review helpful By Emma Peel on 26 April 2009
Format: Audio CD
An unusual departure for Bowie into heavy rock, but nevertheless a powerful album. Worth buying for the epic Width of a Circle alone, but there's also the sweet and sad After All, the spooky title track, Bowie's killer impression of Marc Bolan on Black Country Rock, and a reworking of his earlier pretty Ching A Ling on the not-so-pretty apocalyptic Saviour Machine, to savour too. Oh, and of course the guitar wizard Mick Ronson works his magic again.It's often shamefully underrated, but much more interesting than later lauded works like Young Americans.Plus, Bowie's lyrics are darkly poetic.
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4 of 4 people found the following review helpful By N. Verma on 19 Jan. 2008
Format: Audio CD
One of bowie's more overlooked albums - think more deep purple than scott walker. Tony Visconti (who would produce Bowie later in the decade) plays bass, Mick and Woody from the Spiders from Mars here as well. Buy this edition as it has the bonus tracks and the remastering is as good as any of the later versions! Who needs 24-bit remastering?!?
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15 of 17 people found the following review helpful By Og Oggilby VINE VOICE on 28 Aug. 2009
Format: Audio CD Verified Purchase
Always armed with the realisation that the British public have always had the propensity to be easily shocked, David Bowie chose to don what he called a 'Man's Dress' for the cover of 'The Man Who Sold The World'. Anyway, whether the masses were shocked or not, it didn't stimulate them much into buying this album on its original release. Which was their hard luck, really, 'cause this album is amongst the very best of Bowie's albums. By then, he was considered pretty much a 'One Hit Wonder' following his failure to follow-up 'Space Oddity' in 1969. For The Man Who Sold The World, Bowie made one of what would be many stylistic shifts, by putting out his hardest and heaviest album (until the 'Tin Machine' days, that is). The title track has justly been accorded classic status thanks to Nirvana's latter-day cover, but the whole album is a masterpiece. On 'After All', Bowie experimented with varying the speed of his vocals, something he'd use to even greater effect on 'The Bewlay Brothers' on 'Hunky Dory', and the spooky, ethereal quallity is but one of the many changes of mood and atmosphere on display here. On 'Black Country Rock', he does a witty impression of his old mate Marc Bolan, and also allows guitarist Mick Ronson free rein to play some of his most searing guitar work throughout the album. 'She Shook Me Cold' is dense hard rock, and the driving 'Width Of A Circle' was clearly a favourite, that he kept in his live set all the way through the 'Ziggy' and 'Aladdin Sane' eras. Lyrically, Bowie has abandoned the occasional whimsy of the 'Space Oddity' album, in favour of more darker moods, even negotiating the sci-fi lyrical motifs and musical terrain that's percolated to the surface of much of his work. A truly magnificent work that has not dated at all.
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