Cover image for Aladdin sane
Aladdin sane
Bowie, David.
Personal Author:
Thirtieth anniversary edition.
Publication Information:
[U.K.] : EMI Records, [2003]

Physical Description:
2 audio discs (77 min., 30 sec.) : digital ; 4 3/4 in.
General Note:
Compact discs.

Program notes ([44] p.), including biographical and historical information, on container insert.
Disc 1. Watch that man -- Aladdin sane (1913-1938-197?) -- Drive-in Saturday -- Panic in Detroit -- Cracked actor -- Time -- The prettiest star -- Let's spend the night together -- The Jean genie -- Lady grinning soul.

Disc 2. John, I'm only dancing (sax version) -- The Jean genie (original single mix) -- Time (single edit) -- All the young dudes -- Changes (live) -- The supermen (live) -- Life on Mars? (live, previously unreleased) -- John, I'm only dancing (live) -- The Jean genie (live) -- Drive-in Saturday (live, previously unreleased).
Format :
Music CD


Call Number
Material Type
Home Location
Audubon Library BPR 2657 Compact Disc Open Shelf
Julia Boyer Reinstein Library BPR 2657 Compact Disc Branch Audiobook CD
Anna M. Reinstein Library BPR 2657 Compact Disc Audio Visual

On Order



Ziggy Stardust wrote the blueprint for David Bowie's hard-rocking glam, and Aladdin Sane essentially follows the pattern, for both better and worse. A lighter affair than Ziggy Stardust, Aladdin Sane is actually a stranger album than its predecessor, buoyed by bizarre lounge-jazz flourishes from pianist Mick Garson and a handful of winding, vaguely experimental songs. Bowie abandons his futuristic obsessions to concentrate on the detached cool of New York and London hipsters, as on the compressed rockers "Watch That Man," "Cracked Actor," and "The Jean Genie." Bowie follows the hard stuff with the jazzy, dissonant sprawls of "Lady Grinning Soul," "Aladdin Sane," and "Time," all of which manage to be both campy and avant-garde simultaneously, while the sweepingly cinematic "Drive-In Saturday" is a soaring fusion of sci-fi doo wop and melodramatic teenage glam. He lets his paranoia slip through in the clenched rhythms of "Panic in Detroit," as well as on his oddly clueless cover of "Let's Spend the Night Together." For all the pleasures on Aladdin Sane, there's no distinctive sound or theme to make the album cohesive; it's Bowie riding the wake of Ziggy Stardust, which means there's a wealth of classic material here, but not enough focus to make the album itself a classic. ~ Stephen Thomas Erlewine

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