No album polarises the David Bowie fanbase like his 1967 eponymously-titled debut long player. Even the man himself had conflicting feelings about David Bowie which would oscillate wildly between outright ostracism and bemused acceptance. However, when listened to in a vacuum and without all the baggage the name “David Bowie” brings, what remains is an experimental pop album, and one that can stand proudly amongst the era’s best. Now presented in a bold stereo mix and with a disc full of bonus material, there’s never been a better time to rediscover this buried gem.

Disc One: David Bowie (Stereo Mix)

While Bowie’s Tin Machine project proved controversial, it was always looked upon fondly upon by David as the spark that refired his creativity, so why David Bowie is not viewed in the same light is something of a quandary, because it is equally inventive and remains an opulent album that is resplendent in its baroque beauty. In a move that would characterise Bowie’s whole career, this album evidences an artist who is a musical magpie and takes from various sources; music hall, vaudeville, classical (especially Stravinsky) and contemporary pop are all in evidence here and are dressed up with old Victoriana. It’s quintessentially English in a whimsical, Ray Davies way; each song is a mini novella, a kitchen sink drama that focuses on the minutiae of everyday life, and while they can often be surreal, the lyrics are the most cohesive part of what proves to be an eclectic album; there’s no Burroughs-style cut and paste lyricism here (as David would extensively employ later in his career) and they prove themselves the thread which stitches the album together.

Orchestrated and arranged by Bowie and Derek Fearnley (both of whom had only rudimentary knowledge of composition), their lack of training gave the songs a unique edge, there’s an unorthodoxy underpinning many of these tracks which gives David Bowie a strong sense of originality. There are themes here that will echo later in his career, most notably the gender-bending ‘She’s Got Medals’ which would come to fruition in the character Ziggy Stardust, but this album is best framed in the time it was released. Pet Sounds was obviously an influence here, as was the emerging psychedelic scene and ‘Join The Gang’ wouldn’t have sounded out of place on Piper At The Gates Of Dawn. The album’s pinnacle is undoubtedly closing track ‘Please Mr. Gravedigger’, a song that comes replete with sound effects and creates a real sense of place and time.

Recorded when Bowie was aged 19, this album evidences an artist still to fully blossom. Indicative of this are the song’s duration; almost half the tracks clock in at under three minutes and, subsequently, they have a half-finished, strangely unsatisfying feel. Yet, they’re full of potential, and if you want to witness the birth of a (black) star, it’s right here.

Disc Two: Bonus Tracks

Collecting sixteen tracks recorded around the time of David Bowie, this second disc is a veritable treasure trove, and while you won’t find any unreleased tracks here, they place the songs in context, and no more so than ‘The Laughing Gnome’. Jeff Beck once said that ‘Hi Ho Silver Lining’ was a pink toilet seat placed around his neck, and while ‘Gnome’ wasn’t quite the same for Bowie (probably because it wasn’t a hit), it was a wildcard pulled out when people wanted to discredit Bowie’s creativity. Yet, when placed in this collection it kind of makes sense. Amongst these quirky, slightly surreal, eccentrically English songs it doesn’t seem such an oddball and would slot nicely into any Syd Barratt album. An early rendition of ‘Space Oddity’ (recorded 2nd February 1969) is perhaps the most illuminating track. It’s a parred back version and perhaps the most haunting I’ve ever heard. By dint of its sparsity it brings out the full horror of the lyric that was buried beneath the studio wizardry on the finished version. This early, mono cut makes the perfect note on which to end this collection and marks the exact moment in time when David Bowie started morphing from cult artist into global superstar.

Originally, praise for David Bowie came from outside the pop sphere; playwright Lionel Bart (responsible for the musical Oliver!) and mime artist Lindsay Kemp were early champions while the music press was uncharacteristically muted. Yet, time has been kind to this lost gem and it feels as if the rest of the world is finally catching on.

• David Bowie is released via Universal Music on 26th July 2024.

Track List:

CD Version:

Disc One: David Bowie (Stereo Mix)

1. Uncle Arthur
2. Sell Me A Coat
3. Rubber Band
4. Love You Till Tuesday
5. There Is A Happy Land
6. We Are Hungry Men
7. When I Live My Dream
8. Little Bombardier
9. Silly Boy Blue
10. Come And Buy My Toys
11. Join The Gang
12. She’s Got Medals
13. Maids Of Bond Street
14. Please Mr. Gravedigger

Disc Two: Bonus Tracks

1. Rubber Band (Single Version, Mono)
2. The London Boys (Mono)
3. The Laughing Gnome (Single Version, 2010 Stereo Mix)
4. The Gospel According To Tony Day (Single Version, 2010 Stereo Mix)
5. Love You Till Tuesday (Single Version)
6. Did You Ever Have A Dream (Single Version, 2010 Stereo Mix)
7. When I Live My Dream (Single Version, Mono)
8. Let Me Sleep Beside You (Stereo Mix)
9. Karma Man (Stereo Mix)
10. In The Heat Of The Morning (Stereo Mix)
11. London Bye Ta Ta (Mono)
12. When I’m Five (‘Love You Till Tuesday’ Soundtrack Version, Mono)
13. Ching-A-Ling (Full-Length Version, Stereo Mix)
14. The Laughing Gnome (Vocal Take One / Mix One, Mono)
15. Sell Me A Coat (Remix, Mono)
16. Space Oddity (‘Love You Till Tuesday’ Full-Length Soundtrack Version, Mono)

Vinyl Track List:

Side A: As Disc One, Tracks 1 through 6

Side B: As Disc One, Tracks 7 through 12

Side C: As Disc Two, Tracks 1 through 8

Side D: As Disc Two, Tracks 9 through 16