Posthumous albums grow in popularity as labels seek to bring music to new audience
Two new David Bowie records will be released this year, with a digital EP featuring unheard versions of songs being released weekly and a live session, which will be out on Record Store Day in April.
The first track from the David Bowie Is It Any Wonder? EP, The Man Who Sold The World, was released on Wednesday to mark what would have been the singer’s 73rd birthday, with a new song released each week digitally.
The ChangesNowBowie live session, recorded in 1996 during rehearsals for Bowie’s 50th birthday concert at Madison Square Garden, comes later in the year and was previously broadcast on Radio 1 by Mary Anne Hobbs.
Tracklistings are not available for either recording, although Parlophone Records said the Is It Any Wonder? EP will feature unreleased versions of songs from Bowie’s back catalogue which were recorded by him in the 1990s.
But according to the people behind some of the most respected reissues, posthumous albums have evolved from being quick money-spinners for record labels to painstaking “labours of love” that bring forgotten musicians, including those Bowie admired, to a new audience.
In cooperation with Russell’s partner, Tom Lee – who was given the rights to Russell’s music – Knutson began to build the legacy of Russell, who was little known beyond the New York underground scene until Audika began issuing albums, beginning in 2004 with Calling Out Of Context. The 15th Russell release on Audika, Iowa Dreams, was released in November 2019.
Josh Cheon, the founder of the music label Dark Entries Records in San Francisco, had a similar experience with the disco producer Patrick Cowley, who is best known for his track You Make Me Feel Mighty Real with Sylvester, and who died in 1982. When a former business partner of Cowley’s invited him to come and select records from his collection, Cheon and his DJing partners decided to take everything Cowley related, including several hours of unreleased music, on reel-to-reel tapes.
Cheon would eventually hunt down two porn soundtracks, which Cowley had made and released them on Dark Entries, along with detailed liner notes. The latest release, Mechanical Fantasy Box, is a collection of early works from 1973 to 1980. “We are the guardians and the custodians of these people’s music. We’re in charge of what the world gets to hear,” said Cheon.
There is little data on posthumous releases and no official statistics have been compiled to measure their rise, but, since the 1960s, albums released after an artist’s death have proved to be incredibly popular among consumers. After Redding’s Dock Of The Bay became the first album to become a posthumous No 1, artists from Jimi Hendrix to John Lennon, Janis Joplin and the Notorious BIG all went to No 1s after their deaths.
That popularity has led to a lucrative posthumous industry with estate management, rights disputes and hologram tours becoming the norm. But the handling of an artist’s legacy can be highly contentious. Prince’s estate has fought planned releases of the artist’s unreleased recordings since his death in 2016, and when Whitney Houston died in February 2012, Sony Music briefly raised the cost of her greatest hits on iTunes UK from £4.99 to £7.99 before reducing it after criticism.
Any hint of cynical profiteering is anathema to the indy labels. Matt Sullivan, who runs Light in the Attic Records, and Matt Werth, who founded the label RVNG Intl, say posthumous releases for unknown artists are a labour of love. “It’s really not a case of just turning up and getting someone to sign on the dotted line,” said Sullivan. “We’ve been working on one release for more than a decade now”.
David Bowie’s releases are most straightforward, with the singer’s estate owning the rights to his music, which are then licensed to Parlophone. No further releases have been announced for 2020, though there has been a Bowie boxset released every autumn for the last four years. Since his death there have been six live albums releases, including Serious Moonlight (Live 83), Live in Berlin (1978) and the 2018 Glastonbury 2000 that recorded his headlining performance at the Somerset festival.
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DAVID BOWIE The Rise And Fall of Ziggy Stardust (2016
UK/EU remastered 11-track LP pressed on 180-gram
heavyweight black vinyl, Bowie's 1972 masterpiece including
the classics Starman, Rock 'N' Roll Suicide and Suffragette
City. Picture sleevereplicates the orignal 'K.WEST' Heddon
Street, London artwork, factory sealed with circular hype
sticker attached. Essential) #Top 500 Greatest Albums of All Time DAVID BOWIE David Live (1974 UK first press 17-track double vinyl
LP, recorded at the Tower Philadelphia on 12th & 13th July that year on
the Diamond Dogs tour. Complete with illustrated narrative inners, the
original fully laminated gatefoldsleeve has the incorrect dates of 14th
& 15th July printed inside along with the 'A Mainman Artiste' logo on
the back. The cover displays a little residual sticker mark to front and
wear to the inside opening edges, whilst the vinyl has just the odd
lightpaper scuff not affecting play APL2-0771) DAVID BOWIE Stage (1978 UK orange label 17-track double
LP, featuring Adrian Belew on lead guitar & produced with
Tony Visconti, fully laminated gatefold picture sleeve. The
sleeve shows just light shelfwear and marking & the vinyl
remains inExcellent condition with some hairline but with
signs of little play PL02913(2)) DAVID BOWIE Low (1977 UK first press orange label 11-track LP, part of a series of collaborative albums with Brian Eno including the influential tracks Warszawa & Sound & Vision, with album credits insert & picture sleeve with tracklist sticker on theback. The sleeve is Very Good with a little light wear whilst the vinyl is clean & grades EX/EX- with a few faint signs of play only PL12030) #Top 500 Greatest Albums Of All Time ORIGINAL SOUNDTRACK Absolute Beginners (1986 UK
22-track double LP, featuring the music from the soundtrack to
the motion picture, including songs performed by Sade, The Style
Council, Ray Davies plus three numbers by David
Bowie specially for the movie, gatefold picture sleeve. The
sleeve shows light wear with 1" seam splits to the top, whilst the
vinyl has just the odd light sign of play leaving it Excellent
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