Detailed item info | Track listing | 1. Rosalyn
2. Here Comes the Night
3. I Wish You Would
4. See Emily Play
5. Everything's Alright
6. I Can't Explain
7. Friday on My Mind
8. Sorrow
9. Don't Bring Me Down
10. Shapes of Things
11. Anyway, Anyhow, Anywhere
12. Where Have All the Good Times Gone
| | Details | | Contributing artists: | Mick Ronson, Mike Garson | | Producer: | David Bowie, Ken Scott | | Distributor: | EMI Music Distribution | | Recording type: | Studio | | Recording mode: | Stereo | | SPAR Code: | n/a |
| | Album notes | PIN UPS is an album of songs originally performed by the Pretty Things, Them, the Yardbirds, Pink Floyd, the Mojos, the Who, the Easybeats, the Merseybeats and the Kinks.
This is an Enhanced CD, which contains both regular audio tracks and multimedia computer files.
Personnel: David Bowie (vocals, guitar, harmonica, alto saxophone, tenor saxophone, Moog synthesizer); Mick Ronson (guitar, piano, background vocals); Ken Fordham (baritone saxophone); Mike Garson (piano, electric piano, harpsichord, organ); Trevor Bolder (bass instrument); Aynsley Dunbar (drums); G.A. MacCormack (background vocals).
Recording information: Chateau d'Herouville, France.
PIN UPS served as a sort of "how to" guide to David Bowie's career. This all-covers album shed light on his ability to adopt personas and emulate musical genres with amazing speed and diversity. It also showed that Bowie was anticipating a different musical climate for the rest of the decade, signifying a change from what was admired during the 1960s.
The psychedelic overtones of Pink Floyd's "See Emily Play" and the garage rock cynicism of the Easybeats' "Friday On My Mind" perfectly display Bowie's ear for melody and eye for pop-culture posturing. He even tips a hat to his more established influences. The Kinks' "Where Have All The Good Times Gone" sparks his interest as a memory-soaked ballad (a Ray Davies specialty), and with The Who's "Anyway, Anyhow, Anywhere" Bowie admits to not having invented the rock 'n' roll ego.
PIN UPS served another suitable purpose for the chameleonic performer, down-playing his other-worldly image by betraying his influences. By presenting Bowie as an actual fan--and not just an image/style manipulator--the album portrayed the singer in a different light, allowing him to loosen up his approach to performing and to step outside the multiple characters he had created for himself.
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