Скачать или смотреть BOWIE With DANNY SABER ~ FUNHOUSE ~ CLOWNBOY EP

5 Mixes of Funhouse tracks 2-5 are the ClownBoy Danny Saber mixes they are taken from the unofficial album Glastonbury Messiah Not sure where track 1 originates from as I was gifted it on a cdr many many years ago
Heres a bit from the fab Bowie songs website Pushing ahead of the Dame ( for more read online here https://bowiesongs.wordpress.com/2013... ) about the origins of the track
The Earthling tour was a compromise. In his “dress rehearsal” concerts (four gigs in Dublin and London), Bowie unveiled his original template for the tour. There were would be two sets, a traditional “rock” set and a “drum ‘n’ bass” dance set. So for instance, at the Hanover in London (2 June), the drum ‘n’ bass set began with “I’m Deranged,” moved through “Pallas Athena” and a revived “V-2 Schneider” and closed with “The Last Thing You Should Do” and “Telling Lies.”

The split sets got a mixed response. Reportedly, much of the audience at the first Hanover gig left after the “rock” set was over, prompting Bowie to open with the dance set the following night. Some journalists attending the shows wrote up the drum ‘n’ bass sets as if Bowie had been igniting farts on stage. (The Observer‘s Barbara Ellen: “we all have to stand around for an aeon to what sounds like the cast of Star Wars falling down a fire escape…for God’s sake man, you’re a living legend. In future, play the old stuff and stop trying so hard.”)

After a few German dates, Bowie scrapped the split-set plan,* with the drum ‘n’ bass pieces now interwoven with the rock songs. This arguably improved the shows, as Bowie could create an arc—starting shows playing “Quicksand” alone on acoustic guitar and building to the dance songs midway through, so that a “Last Thing You Should Do” would be chased by “Under Pressure.” This made the newer pieces seem less like alien artifacts and more elaborations on his earlier work.

During the drum ‘n’ bass sets, the band had played an instrumental jam which apparently had come out of rehearsals of “Fame.” It opened with a DAT-generated beat that Zach Alford supplemented on drums, and had occasional vocal hooks (included what sounded like a vocoded Dorsey singing “is it any wonder?”); Bowie played tenor saxophone, then switched to baritone. As the first link above shows, he was often barely audible over the barrage, though he managed to make the bari sax groan like a trumpeting elephant.

This piece’s subsequent life is one of the more confounding in the Bowie catalog. As he’d intended to release a live album from the Earthling tour, “Is It Any Wonder” seemed a likely candidate for inclusion, either as a live take or a studio remake (or both: take the alleged “live” version taped at the Paradiso in Amsterdam on 10 June 1997. I agree with the Illustrated DB site that this recording seems like a studio take with canned applause mixed in).

Then in 1998 a 3:31 studio take of “Is It Any Wonder,” now retitled “Fun” (or “Funhouse,” as Gabrels once called it) was issued to BowieNet subscribers on a CD-ROM (you had to log onto the site first before you could play the track—in the days of dial-up Internet, this may have consumed an entire evening). By now, Bowie had come up with a few random lyrics for the track, referencing his old work with Iggy Pop (“Funtime”) and throwing in a pinch of world weariness (“my summer turns to fall…and I’ll miss you”).
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Rock Against Racism was a groundbreaking movement which staged marches, festivals and concerts from 1976-81 with the aim of fighting racism through music
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