David Bowie (September 30, 1978) – “Love Me, Love My Records” Review - Sounds

Sep 30, 1978

2 min read

This Sounds feature presents a review of David Bowie’s newly released album Stage. Rather than concentrating solely on the performances, the article examines Bowie’s changing artistic direction and considers how the live recordings reflect his development from glam rock star to one of the most ambitious figures in contemporary music.

Publication: Sounds

Date: September 30, 1978

Country: United Kingdom

Written by Dave Bowie, the review focuses on Stage, the live album recorded during David Bowie’s 1978 world tour. The article considers the record as both a concert document and a retrospective view of Bowie’s evolving musical career. Particular attention is paid to the way the performances reinterpret material drawn from different periods of his catalogue.

The reviewer argues that Stage demonstrates the dramatic changes Bowie had undergone throughout the decade.

Songs originally associated with earlier characters and musical approaches are presented in a newer style that reflects the direction Bowie had pursued during his Berlin-era recordings. Rather than merely recreating the original versions, the performances are viewed as evidence of an artist continually reshaping his past work.

Throughout the review, Bowie is discussed as a performer whose ambition extends beyond conventional rock stardom. The article examines the relationship between spectacle, performance and musical experimentation, suggesting that Stage captures an artist unwilling to remain fixed in a single identity. The live album is considered within the wider context of Bowie’s constant reinvention.

A large photograph accompanies the piece, showing Bowie in profile under stage lighting. The image reinforces the reflective nature of the review and places focus on Bowie as both performer and creative force.

CONTEXT AND NOTES

Published shortly after the release of Stage, the review documents contemporary reactions to one of Bowie’s major live albums. Rather than treating the release as a straightforward concert recording, the article views it as part of a larger artistic progression that had defined Bowie’s work throughout the 1970s.

The review reflects the respect Bowie commanded within the music press at the time. Even when questioning aspects of the album, the writer approaches the record as the work of an artist whose influence and originality had already secured a unique place within popular music.

FEATURE HIGHLIGHTS

Event: Review of David Bowie’s live album Stage

Era: 1978 Stage era

Tone: Analytical and reflective

Photography: Large stage-lit portrait photograph of David Bowie

WHAT THE CLIPPING SHOWS

• Review of the live album Stage

• Discussion of Bowie’s musical evolution and reinvention

• Large accompanying photograph of David Bowie

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