Oil Well Bootlegs - RSC CD: David Bowie – Rebel, Rebel Oil Well

David Bowie – Rebel, Rebel
Oil Well – RSC 021 CD

01 - White Light /White Heat
02 - Let Me Sleep Beside You
03 - Unwashed And Somewhat Slightly Dazed
04 - Wild Eyed Boy From Freecloud
05 - Bombers
06 - Almost Grown
07 - Kooks
08 - The Supermen
09 - Ziggy Stardust
10 - Five Years
11 - Starman
12 - Rock'n'Roll Suicide
13 - Hang On To Yourself
14 - Waiting For The Man

Note:
All songs by David Bowie unless noted.
~~Live in Birmingham, February 13, 1969~~

Track 1,9,10,13,14 from Sounds Of The 70s - recorded for Sounds of the 70s: Bob Harris as "David Bowie and The Spiders from Mars", 18 January 1972, broadcast date 7 February 1972.
Track 2,3 recorded for Dave Lee Travis Show as "David Bowie and Junior's Eyes", 20 October 1969

Track 4 recorded for Sounds of The 70s: Andy Ferris - 25 March 1970, broadcast 6 April 1970

Tracks 5,6,7 recorded for In Concert as "David Bowie and friends", 3 June 1971, broadcast 20 June 1971.
Track 8 recorded for Sounds of the 70s: 21 September 1971, broadcast date 4 October 1971.

Track 11 from Johnnie Walker Lunchtime Show 22 May 1972, broadcast date 5 June 1972–9 June 1972.
Track 12 from Sounds Of The 70s, 23 May 1972, broadcast date 19 June 1972.

Lineup:
David Bowie – vocals, guitar,
George Underwood – vocal on tracks 5-6-7:
Dana Gillespie – vocal on tracks 5-6-7:
Geoffrey Alexander – vocal on tracks 5-6-7:
Mick Ronson – guitar, vocal on tracks 1-4-5-6-7-8-9-10-11-12-13-14
Mark Carr-Pritchard – guitar on tracks 5-6-7:
Mick Wayne – guitar on tracks 2-3
Tim Renwick – rhythm guitar on tracks 2-3
Tony Visconti bass on track 4
John "Honk" Lodge – bass on tracks 2-3
Trevor Bolder – bass on tracks 1-5-6-7-9-10-11-12-13-14
Woody Woodmansey – drums on tracks 1-9-10-11-12-13-14
John Cambridge – drums on tracks 2-3-4
Mick Woodmansey – drums on tracks 5-6-7

This album is a clone of: Starman - Oil Well – RSC 017 CD without "Looking for a friend".
Compared to the "Starman" clone, this bootleg is much rarer. It is really difficult to find it on the net or in the various used shops. Anyway, a majority of the tracks on the bootleg came from the following Ziggy Stardust-era tracks and their BBC sessions. The remainder were from earlier recordings in 1969-1970.

Specifically, these are very widespread material at the time and present in various bootlegs of the period. Audio quality is almost identical in all versions of these bootlegs. Some improvements and remasters have been performed on the tracks for their official publication in: "Bowie At The Beeb" and "Space Oddity - 40th Anniversary Edition" which listening is recommended.

On the front cover David Bowie and Mick Ronson performing during a live show in the 70s.

This Oil Well version has a fine cover, fine quality. Fold-out insert shows details of other CDs in the series. Limited to 200 copies only. Due to its rarity and good quality, this disc is recommended.
Please read below for other infos about this bootleg!

Audio quality:

Quality content:

© Official released material:
Track 1 has been released officially on: The Complete Unreleased BBC Sessions (Hd Remastered Edition)
Tracks 2,4 to 14 have been released officially on: Bowie At The Beeb
Track 3 has been released officially on: "Space Oddity - 40th Anniversary Edition"
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Bowie at BBC
I've always believed that when you see " Live At The BBC " it doesn't really mean it's really *live* if you've ever heard BBC radio presenters like John " that was quite tasty " Peel or any others you'll know that they say " and we have [musician's name] here live in the studio." It's in a studio and it will never give you a live feel for the songs. It's just BBC engineers working on Bowie's songs and in return you could I suppose think of them as session outtakes from his album. During the years 1967-1972, David Bowie recorded 12 sessions or shows for BBC radio, largely for promotional purpose.

When in mid-1972 he had achieved stardom, the need to do these radio performances had disappeared and Bowie did not return until 1991 with Tin Machine. Their has been some confusion surrounding the BBC sessions from the 70s. More or less starting with the bootleg Ziggy 1 - My Radio Sweetheart, tracks from arbitrary sessions were fragmentarily released on LPs and tapes - BBC Show May '72 (Avenue Records SRL BN 2378) for instance features tracks from several 1972 sessions and not from one single show. Up until the mid 90s, several sessions, like the 21-09-71 Bob Harris session, still were a complete mystery.Some of the confusion was clarified when on 14-02-87 the BBC broadcast "Bowie At The Beeb",
featuring tracks from sessions between 1967-1972.

A extremely rare 3 disc ORIGINAL BBC Transcription Disc set, 3 sides comprising the program "Bowie at the Beeb" and 3 sides "Bolan at the Beeb." Each program runs nearly an hour and is filled with unreleased live gems and interview segments recorded for various BBC radio programs from 1967 through 1972. These are authentic BBC-produced ultra high quality discs, made in extremely limited quantities in 1988--perhaps only 50 sets--and sent to UK and Commonwealth radio stations, which generally played them only once.

The Bowie show includes rare versions of songs that Bowie never released including
White Light White Heat/Bombers/Looking For a Friend and Almost Grown; as well as live and
live-in-studio versions of Love You Till Tuesday/In The Heat Of The Morning/Let Me Sleep Beside
You/Wild Eyed Boy From Freecloud/Kooks/The Supermen/Ziggy Stardust/Five Years/Starman/Rock and Roll Suicide. The Bolan show includes Tyrannosaurus Rex and T.Rex tracks including Misty Coasts of Albany/Pavilions of War/Deborah/Dove/By The Light of the Magical Moon/Ride The White Swan/Hot Love/Get It On/Life's A Gas/Cadillac/Sailors of the Highway(unreleased)/ Christmas Jingle (unreleased)/ and the commercial version of Metal Guru. There are Bowie and Bolan interview segments from the original 60's and 70's broadcasts.

Review Bowie at the Beeb
What does it mean to have rock'n’roll in your national DNA? It means having a national radio like the BBC. It means having someone - beyond the thousand defects that such a powerful radio can have - who is responsible for emptying the archives where the performances of the artists who made the history of rock are kept, often captured at the best moment of their career. This was the case for Led Zeppelin, Who, XTC, Queen - just to mention the first names that come to mind and of which the material recorded for the various radio programs of the British national broadcaster has already come out - and so it is also for David Bowie , although containing this box of two CDs (but there is an extra disc we will talk about soon ...) material recorded in a relatively short period of time, if we consider the long and still coveted career of Bowie. 10 sessions recorded between 1968 and 1972, for a total of 37 tracks (a couple of double versions but the result does not change) that draw on the first five albums of the White Duke. And what an album: an already sure "David Bowie", an already classic "David Bowie - man of words, man of music", later reissued with the title of "Space Oddity", and then, in a moment, the take-off: "

The man who sold the world" arrive, the first foray into that blood rock, with still psychedelic hues (it's the end of the 60s, in the world) but already more related to a certain R&B that Bowie was the first love and with the glam-rock of which Ziggy Stardust will be one of the undisputed stars: to follow "Hunky dory", the first, immense masterpiece of songs and atmospheres, a declaration of talent and almost immodest genius, which allows luxury quotes to Andy Warhol, Lou Reed (with "Queen bitch") and Bob Dylan, skillfully parodied in "Song for Bob Dylan", and some great classics such as "Life on Mars?", "Oh you pretty things", "Kooks", " Changes ". It's 1971 and the world of rock is already talking a lot about him, but Bowie is not satisfied and not even six months later he publishes "The rise and fall of Ziggy Stardust and the Spiders from Mars", whose lineup is still a prototype of tracklist perfect. The rest, as we say trivializing, is history, and has only lasted for almost 30 years.

But the David Bowie captured by these recordings is that thing there: not yet related to death with the vocality of Iggy Pop, less set up and more ephebic, a strange mix of purity, perversion and artistic talent, totally involved in his composing streak, already looking for a key relationship with his guitarist, at the time Mick Ronson, lover of the black thumbs that a good sax can give, fan and next producer of Lou Reed, of which he performs live "I'm waiting for the man" , in love with a rock form that he himself will eviscerate perfectly. In short, in those four years one of the most influential rock personalities on the entire music scene was born and came into the world and this, in summary, is the real reason why this work presents itself as indispensable for music fans. All the more so since the official live releases published so far in Bowie's discography begin to document the shows from the Ziggy Stardust period, that is from where this live stops. We said of an extra disc, before: and it is another live that alone would already be worth the price of the box. It is Bowie's most recent recording for the BBC and dates back to June 27, 2000: the live line-up is that of his most recent band, with Gail Ann Dorsey on bass and the 'old' Earl Slick on guitar.

The repertoire travels high throughout Bowie's career, embracing soundtracks with "This is not America", "Absolute beginners", the years of funk ("Fame"), those of the White Duke ("Wild is the wind" in a scary version, "Stay"), arrives at the post punk robertfrippato of "Ashes to ashes", twirls on the basic funk of "Let's dance" sways on the jungle of "Little wonder" and finally flows away until the recent "Seven". An exciting journey, which perfectly completes the two volumes dedicated to the previous material. Together with the official live performances - the soundtrack by Ziggy Stardust, "David Live", "Stage" and the live by Tin Machine - now Bowie's career is well represented also on this side. Thanks BBC and thanks to anyone who continues to record and archive live music that, like this one, is able to document an era and give great emotions. It would be nice if even a small part of this culture finally took root in us too ... I imagine, I know, of the RAI or RCA archives ... but do they exist? Give us news ...