David Bowie's Remastered 'Aladdin Sane' 40th Anniversary Edition to Be Released 4/16

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David Bowie's groundbreaking album, Aladdin Sane, his 1973 follow-up to 1972's The Rise and Fall of Ziggy Stardust and The Spiders From Mars, has been digitally remastered by Ray Staff at London's AIR Studios for a new 40^thAnniversary Edition to be released April 16 by Virgin/UMe. The commemorative edition will be available on CD and digitally, including Mastered for iTunes.

Originally released by RCA Victor on April 13, 1973, Aladdin Sane was David Bowie's sixth album, co-produced by Bowie and Ken Scott. This was an incredibly busy time for Bowie - Ziggy Stardust had made him a massive star in the UK and he was touring extensively in the US, where most of the album's songs were written while he was on the road. Recorded at Trident Studios, London and RCA Studios, New York and Nashville, between October 6, 1972 and January 24, 1973, it was be to be the last album on which the Spiders' line-up of Mick Ronson (guitar, piano, backing vocals), Trevor Bolder (bass) and Mick 'Woody' Woodmansey (drums) would appear. The album featured the debut of one of Bowie's new collaborators, avant-jazz pianist Mike Garson. In addition to vocals, Bowie himself played guitar, harmonica, keyboards and saxophone on the album.

Described by Bowie as "Ziggy goes to America," Aladdin Sanesaw him create a rockier, more frenetic album than its predecessor, with The Rolling Stones a possible influence on album opener "Watch That Man" and a transgressive cover of their song, "Let's Spend The Night Together." Elsewhere, Muddy Waters' influence could be heard in the riff of the UK #2 single, "The Jean Genie," and the "futuristic nostalgia" of "Drive-In Saturday" - which charted at #3 in the UK - was inspired by 1950s doo-wop. "Cracked Actor," possibly Bowie's most decadent moment, was written after he had toured Hollywood Boulevard, translating the images and environment into raw rock 'n' roll. The addition of Mike Garson and his remarkable talents infused some of the album's key tracks, in particular the title track with its dissonant improvisation, the Brechtian cabaret of "Time" and album closer "Lady Grinning Soul" with an edgy, schizophrenic quality.

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