The Sound+Vision 4 cd boxset covers DAVID BOWIE s career from 1969 to 1994 starting with the acoustic demo version of his first hit, Space Oddity to the return to his Bromley roots for the soundtrack to Hanif Kureishi s The Buddha Of Suburbia which is often cited as the most underrated piece in the Bowie canon. Sound+Vision is a collection spanning four decades, covering the 21 albums from Space Oddity through to The Buddha Of Suburbia. It s a rich survey of David Bowie's many musical lives offering a generous helping of hits, an intriguing dip into archives, classic album tracks and long lost B-sides, explosive live recordings, soundtrack recordings and remixes.
Tenor saxophonist George Adams' third recording as a leader (following two obscure releases for the Italian Horo label) is a little unusual in that the extroverted soloist is heard on the usually introverted ECM label. Adams is teamed with fellow tenor Heinz Sauer (who has a cooler sound), trumpeter Kenny Wheeler, pianist Richard Beirach, bassist Dave Holland and drummer Jack DeJohnette for five group originals. The playing is advanced but not as fiery as most of Adams' later sets.
The Sound of Speed is second in the trilogy of Jesus and Mary Chain "odds and sods" releases. This one isn't quite as essential as Barbed Wire Kisses (the first), but it definitely holds less cash-cow negativity and greater value over The Jesus and Mary Chain Hate Rock 'n' Roll (the third). The period covered here is 1989-1993, collecting most of the B-sides from Automatic and Honey's Dead. It's not quite complete, missing at least four B-sides ("Subway," "In the Black," "Terminal Beach," "I'm Glad I Never") and a small number of remixes. "Snakedriver" provides the best reason for picking this up, a classic Jesus and Mary Chain song in the sleazy, bluesy, "Beach Boys on lots of smack" mold. "Write Record Release Blues" skewers the Man while poking fun at themselves; one major demand: "Leave me in peaceful abject misery."