Wikipedia

Pin Ups

For other uses, seePin-up (disambiguation).

Pin Ups(also referred to asPinupsandPin-Ups)[a]is the seventh studio album by the English musicianDavid Bowie,released on 19October 1973 throughRCA Records.Devised as a "stop-gap" album to appease his record label, it is acovers album,featuringglam rockandproto-punkversions of songs by 1960s bands who were influential to Bowie as a teenager, including thePretty Things,the Who,the YardbirdsandPink Floyd.

Pin Ups
A red-haired man with heavy makeup sitting with a female model
Studio albumby
David Bowie
Released19 October 1973(1973-10-19)
RecordedJuly–August 1973
StudioChâteau d'Hérouville(Hérouville)
Genre
Length33:42
LabelRCA
Producer
David Bowiechronology
Aladdin Sane
(1973) 		Pin Ups
(1973) 		Diamond Dogs
(1974)
SinglesfromPinups
  1. "Sorrow"
    Released: 12 October 1973

The album was recorded from July to August 1973 at theChâteau d'HérouvilleinHérouville,France following the completion of theZiggy Stardust Tour.It was Bowie's final album co-produced withKen Scott.Two members ofthe Spiders from Marsbacking band contributed, guitaristMick Ronsonand bassistTrevor Bolder,whileMick Woodmanseywas replaced byAynsley Dunbaron drums. Following a surprise announcement at the end of the tour that the Spiders were breaking up, tensions were high during the sessions, which was reflected in the tracks. The album cover, featuring Bowie and 1960s supermodelTwiggy,was taken inParisand originally intended forVoguemagazine.

Released only six months afterAladdin Saneand preceded by a cover ofthe Merseys' song "Sorrow"as thelead single,Pin Upswas a commercial success, topping theUK Albums Chart,but received negative reviews from critics, who criticised the songs as generally inferior to the originals. Retrospective reviewers have described it as uneven, while others believe it had a good premise, but suffered from poor execution. Bowie's biographers have noted it as an experiment innostalgia.Some publications have regarded it as one of the best covers albums. It has been reissued numerous times and was remastered in 2015 as part of the box setFive Years (1969–1973).

Background

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By 1973,David Bowiewas at his commercial peak. At the end of July, five of his six albums were in the top 40 and three were in the top 15.[2]Bowie's most recent LP,Aladdin Sane,came out in April,[3]but his label,RCA Records,wanted a new album by Christmas. Having just completed theZiggy Stardust Tour,Bowie was exhausted from the extensive touring schedule. His manager at the time,Tony Defries,was negotiating for larger royalties with Bowie's music publisher and recommended he not record any new compositions until negotiations were finished.[4]Although he had intended his next project to be an adaptation ofGeorge Orwell's novelNineteen Eighty-Four(1949), he devised a record of cover versions as a "stopgap" album.[2]

On the final date of the tour, 3 July, Bowie unexpectedly announced that "this is the last show we'll ever do".[b]The announcement drove a wedge between Bowie and his backing band,the Spiders from Mars–Mick Ronson(guitar),Trevor Bolder(bass) andWoody Woodmansey(drums) – specifically Bolder and Woodmansey, who were unaware of the announcement in advance.[2][5] The two were also unhappy upon discovering pianistMike Garson,who joined the tour afterAladdin Sane,was being paid more than them.[2]Shortly after the tour's end, Woodmansey was fired by Garson over a phone call.[5]For the recording of the covers album, Bowie brought back Garson, Ronson and theAladdin Saneplayers Ken Fordham andGeoffrey MacCormack.Session drummerAynsley Dunbarreplaced Woodmansey and Bolder returned afterJack Bruceof the bandCreamdeclined.[5]

Production

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Composition

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Pin Upswas Bowie's tribute to bands that had inspired him as a teenager. Bowie later explained: "These are all bands which I used to go and hear play down the Marquee between 1964 and 1967. I've got all these records back at home."[5]According to the biographer Chris O'Leary, he chose the tracks by "going through a stack of 45s in his rooms at the Hyde Park Hotel before leaving for France".[4]The musician Scott Richardson,[6]aPretty Thingsfan, convinced Bowie to cover two of their songs. Other artists selected includedthe Yardbirds,the Kinks,Pink Floydandthe Who.[4]The final tracklist includes the Pretty Things' "Rosalyn"and"Don't Bring Me Down",Them's "Here Comes the Night",Pink Floyd's"See Emily Play",the Mojos' "Everything's Alright",the Yardbirds'"Shapes of Things"and their rendition ofBilly Boy Arnold's "I Wish You Would",the Easybeats' "Friday on My Mind",the Merseys' "Sorrow",the Who's "I Can't Explain"and"Anyway, Anyhow, Anywhere",andthe Kinks' "Where Have All the Good Times Gone".[4][7][8]Bowie had also considered re-recording his 1966 single "The London Boys"but the idea was discarded.[5]

The songs onPin Upsfeature the same arrangements as the originals, albeit performed inglam rockandproto-punkstyles.[9][10]Regarding this, Bowie explained: "We just took down the basic chord structures and worked from there... Some of them don't even need any working on – like 'Rosalyn' for example. But most of the arranging I have done by myself and Mick, and Aynsley too. "[5]The authorPeter Doggettwrites that only two tracks, "I Wish You Would" and "See Emily Play", contained varied arrangements from the originals.[7]

Recording

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Pin Upswas the final collaboration between Bowie and producerKen Scott(pictured in 2014).

Pin Upswas recorded at theChâteau d'HérouvilleinHérouville,France, in sessions lasting for three weeks from July to August 1973.[6][11][12]The venue was chosen after being recommended byMarc Bolan,whose bandT. Rexwho had just recordedTanxthere.[c][5][13]It was co-produced by Bowie andKen Scottand marked the final collaboration between the two.[14]According to O'Leary, rehearsing consisted of playing the band the original track a few times before recording began.[4]Tensions were high during the sessions. Bolder, believing he was unwanted, recorded his bass parts quickly and left. Richardson recalled Ronson overworking himself: "He did everything in the studio, he tuned everybody's instruments, he worked on all the arrangements... [he had] a tremendous burden on him; "[4]he also grew wary of his future after the collapse of the Spiders. Scott was facing personal issues on top of pressure from his management company to leave over MainMan not paying him royalties, while Bowie had, in O'Leary's words, an "increasingly remote and truculent attitude in the studio".[4]

A version ofthe Velvet Underground's "White Light/White Heat"was recorded during the sessions but went unreleased; Bowie donated the backing track to Ronson for his 1975 solo albumPlay Don't Worry.[15]The Beach Boys' "God Only Knows"was also attempted during the sessions, but was left abandoned.[d]The sessions were put on hold in mid-July for the recording of the Scottish singerLulu's covers of Bowie's tracks "Watch That Man"and"The Man Who Sold the World".ThePin Upspersonnel contributed to the recording.[5][11]

Pin Upswas the first of two "1960s nostalgia" albums that Bowie had planned to release. The second would have contained Bowie covering his favourite American artists, but was never recorded. Rumoured tracks to have appeared for the project includethe Stooges' "No Fun",the Lovin' Spoonful's "Summer in the City"andRoxy Music's "Ladytron".[5]Bowie also considered making aPin Upssequel: he had compiled a list of songs he wanted to cover, some of which showed up on his later releases ofHeathen(2002) andReality(2003).[17]

Artwork and packaging

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English modelTwiggy(pictured in 1973)appears on the cover ofPin Upswith Bowie.

The cover photo forPin Upsreflected the theme ofswinging Londonby featuring 1960s supermodelTwiggy,who had previously been name-checked onAladdin Sane's "Drive-In Saturday"as" Twig the Wonder Kid ". The photo was taken midway through the recording sessions at a Paris studio by Twiggy's then-manager and partnerJustin de Villeneuve;he recalled in 2010: "Twiggy and I had first heard David mention her onAladdin Sane... We loved the album so much I called David and asked him if he would like to do a shoot with Twiggy. He jumped at the idea. "[5][8][18]Twiggy recalled in her autobiographyIn Black and Whitethat she was "really quite nervous" meeting Bowie, but "he immediately put me at ease. He was everything I could have hoped for and more". During the shoot, Bowie and Twiggy had different skin tones, whichAladdin Sanemake-up designer Pierre Laroche balanced out using make-up masks. Twiggy found the final result "Enigma tic and strange", later calling it one of her favourite images and "possibly the most widely distributed photograph ever taken of me". The photo was originally slated to appear inVoguemagazine, who were apprehensive towards the photograph, as they did not want a man appearing on their front cover, so Bowie opted to use it as the album cover instead; de Villeneuve later recalledVoguebeing infuriated by the decision.[5][8][18]

The original LP's rear sleeve featured two photos by photographerMick Rock,one of a concert shot from the Ziggy tour and another of Bowie wearing a double-breasted suit cradling a saxophone. Bowie wrote in the bookMoonage Daydream:"I chose the performance photos for the back cover as they were favourite Rock shots of mine. I also did the back cover layout with the colour combination of red writing on blue as it again hinted at Sixties psychedelia."[5][8]A discarded idea for the sleeve came from photographer Alan Motz, who "wanted to shoot Bowie metamorphosing into an animal". This idea would be used for Bowie's next album,Diamond Dogs(1974).[19]

Release

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The album's release coincided with another covers album,These Foolish ThingsbyBryan Ferry(pictured in 2012).

RCA issued thelead single"Sorrow", featuring a cover ofJacques Brel's "Amsterdam"as the B-side,[8][20]on 12 October 1973;[21]it had been delayed from its original release date of 28 September.[8]The single was a commercial success, peaking at number three on theUK Singles Chart[4]and stayed on the chart for 15 weeks, becoming one of his biggest hits.[2]Pin Upsfollowed suit a week later on 19 October,[8][22]issued with the catalogue number RS 1003,[5]only six months after his previous albumAladdin Sane.[6]On the album sleeve, Bowie was simply referred to as "Bowie". In America, the advertising campaign read: "Pin Upsmeans favourites, and these are Bowie's favourite songs. It's the kind of music your parents will never let you play loud enough! "[5]

The album's release coincided with formerRoxy MusicsingerBryan Ferry's covers albumThese Foolish Things.[4][6]As Ferry had recorded his album weeks before Bowie began work onPin Ups,Ferry was annoyed at the perceived copying of his project, calling it a "rip-off". According to Sandford, he allegedly went to his labelIsland Recordsto request they file an injunction to preventPin Upsfrom being released beforeThese Foolish Things.[19]Instead, O'Leary writes that Bowie phoned Ferry to inform him ofPin Upsand requested permission to record a Roxy Music song.[4]Ferry later told biographer David Buckley, "At first I was a bit apprehensive, but Bowie's record turned out to be very different. I myself was always very anxious to be different from other people... and to forge my own furrow. "[2]In the event, both albums were released as planned and charted on the same day,[7]3November 1973.[19]

In the UK,Pin Upscame at the height of Bowie's popularity there. The album had advance copies of 150,000, which was 50,000 more thanAladdin Sane.[2]Upon release, it spent 39 weeks on theUK Albums Chartand peaked at number one, remaining there for five weeks,[23]matching the performance ofAladdin Sane.[5]It brought the total number of Bowie albums concurrently on the UK chart to six.[19]In the US, the album peaked at number 23 on theBillboardTop LPs & Tapechart and remained on the chart for 21 weeks.[24]O'Leary writes thatPin Upswas essentially a "new Bowie album" in America since only three of the original tracks that were released as singles had reached the top 40.[4]Sandford writes that by Christmas 1973, the album was selling 30,000 copies a week.[19]Upon release of the massive commercially successfulLet's Dance(1983),Pin Upsreturned to the UK chart again,[25]peaking at number 57.[5]

Critical reception

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Pin Upsreceived primarily negative reviews from music critics on release, with many criticising the songs as generally inferior to their original counterparts.[26][27][28]InRolling Stone,Greg Shaw was unfavorable, believing that all the tracks were underproduced and Bowie's vocal performance was the album's "true failure", further saying his "excessively mannered voice" was "a ridiculously weak mismatch for the material" and that they were mixed too high to give the tracks the "edge" or "punch" they need to be effective.[26]He concludes his review by saying, "whilePin Upsmay be a failure, it is also a collection of great songs, most of which are given a more than adequate, and always loving, treatment. Maybe the fairest conclusion to draw is that Bowie can't sing any other way, did the best he could, and the result isn't all that bad. "[26]In theNME,Ian MacDonaldfelt that by not differentiating the songs from the originals, the renditions lack value, ultimately stating the record failed to live up to expectations and predicted that "unless he puts a banger under his own behind, I can foresee nothing but artistic frustration for Bowie in the next few years."[27]Loraine Alterman ofThe New York Timeswas also negative, saying the album "suffers from too much style and technique and not enough musical substance".[28]

DiscussingPin Upsas a whole,Record Mirrorfound the album "unsatisfying, too cluttered musically and over-produced".[29]A writer forSoundsmagazine also reacted negatively, declaring that Bowie "used R&B as a prop, not a springboard".[5]InChristgau's Record Guide,veteran criticRobert Christgaufound the idea of the record good, but its overall execution subpar.[30]On the other hand,Billboardresponded positively, stating that, "there's humor in this music if you want to take it as a look back in musical time."[31]Robert Hilburnwas also positive in theLos Angeles Times.Describing it as a "light, unpretentious, high-spirited album", he hailedPin Upsas "one of the year's most inviting albums" and one that deserves special attention.[32]

Legacy

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Professional ratings
Review scores
SourceRating
AllMusic[22]
Christgau's Record GuideB−[30]
Encyclopedia of Popular Music[33]
MusicHound3/5[34]
New Musical Express9/10[35]
Pitchfork5.9/10[36]
The Rolling Stone Album Guide[37]
Select2/5[38]
Spin Alternative Record Guide4/10[39]

Pin Upscontinues to receive mixed-to-negative reactions in later decades. When reviewing the album as part of the 2015 box setFive Years (1969–1973),Pitchfork'sDouglas Wolkwas unfavorable. He cited sloppy execution and the overall idea "more interesting in theory", believing that all the originals were "vastly" superior and Bowie added nothing interesting to any of them. He further believed that it didn't help that the Spiders from Mars were falling apart when recording it.[36]Bruce Eder ofAllMusicsimilarly found the album to be out of place with Bowie's output up to that point.[22]He continued, "Ziggy StardustandAladdin Sanehad established Bowie as perhaps the most fiercely original of all England's glam rockers, so an album of covers didn't make any sense and was especially confusing for American fans, "further criticising the song choices as unknown. Eder did praise Bowie's cover of" Sorrow "as a" distinct improvement "over the original.[22]More positively,Dave ThompsoncalledPin Ups"the underrated classic in David Bowie’s glam-era crown".[40]

Bowie's biographers have givenPin Upsmixed reactions. Buckley describes it as "uneven but beloved by many".[2]O'Leary attributes its "scattershot feel" and "lack of a coherent style" to the dysfunctional nature of its recording,[4]while Sandford acknowledges the album's lack of originality in the song arrangements.[19]Doggett callsPin Ups"an exercise in Pop Art", meaning it was "a reproduction and interpretation of work by [another artist], intended for a mass audience".[7]James Perone, on the other hand, argues thatPin Upspredated the release of covers album by other English artists, such asJohn LennonwithRock 'n' Roll(1975) andElvis CostellowithAlmost Blue(1981) andKojak Variety(1995).[41]Perone also recognises the album's musical influence, stating that Bowie's version of "Here Comes the Night" was a forerunner in thepost-punkandnew wavesound of the late 1970s and early 1980s, presaging songs such asCulture Club's "Karma Chameleon"(1983).[41]Furthermore, he contests that "Here Comes the Night" foreshadowed thesouloriented directions ofYoung Americans(1975) andStation to Station(1976), while "See Emily Play" evokes the avant-garde experimentations of the artist's late 1970sBerlin Trilogy.[41]

Being a collection of cover versions, it will never have the compelling allure of [Bowie's] other 1970s work, but [Pin Ups] remains a superb, energetic and greatly underrated throwaway, showcasing a band of musicians operating at the height of their powers.[5]

—Nicholas Pegg,2016

Some biographers have analysed the album as an experiment innostalgia,which Doggett states "was already emerging as one of the dominant themes of the early seventies".[7]Furthermore, Pegg writes that "it remains perhaps glam rock's most cogent expression of its own inherent nostalgia, an affectionate reminder of the process that had led to the charts of 1973."[5]Meanwhile, Buckley states that the album "began an era of pop archeology" and that it "came at a time of uncertainty, a time when many cast backward glances as pop entered its first retroactive phase".[2]In theSpin Alternative Record Guide,criticRob Sheffieldagreed, characterising the album's "Swinging London oldies" as "atrophied nostalgia".[42]

In 2013, in a ranking of Bowie's albums up to that point, Gabriela Claymore ofStereogumplacedPin Upsat number 18 (out of 25), calling it "The only one of Bowie's '70s records you can safely call 'inessential'. She felt it was out of place coming off ofAladdin Sane,but stated, "For what it is, it's quite good".[10]FollowingBowie's death in 2016,Bryan Wawzenek ofUltimate Classic Rockranked all of his 26 studio albums from worst to best, placingPin Upsat number 21. He praised the song choices as "excellent", describing "Sorrow" as the highlight. However, he found that Bowie went "way, way, way over the top" on every other track. He concluded by stating: "In spite of all the effort,Pin Upsremains a slight affair. "[43]In the context of Bowie's entire career, Eder viewsPin Upsas an artistic statement, in that it represented a "swan song" for the Spiders from Mars and an "interlude" between the first and second phases of his international career, with his next albumDiamond Dogsbeing the end of his glam rock era: "It's not a bad bridge between the two, and it has endured across the decades."[22]

Despite mixed reactions overall, some publications have praisedPin Upsas a covers album, calling it one of the finest in the genre. Pierre Perrone ofThe Independentand the writers ofNMEwould classifyPin Upsas one of the best cover albums in 2013 and 2019, respectively, with the former describing it as "[t]he covers album that launched a thousand copycats."[9][44]Radio Xcalled it the best covers album ever in 2023.[45]Eder states that today it is still dismissed by many as just another covers album,[22]including Wolk, who in 2015 described it as "quick-and-sloppy".[36]

Reissues

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Pin Upshas been reissued several times, on vinyl[46]and other media. The album was first released oncompact discby RCA in the mid-1980s.[47]In 1990, it was reissued byRykodiscwith two bonus tracks: a cover ofBruce Springsteen's "Growin' Up"(recorded during the sessions forDiamond Dogsand featuringRonnie Woodon guitar[48]) and "Amsterdam", the B-side to "Sorrow".[5][49]This reissue charted at number 52 on the UK Albums Chart for one week in July 1990.[50]It was remastered in 1999 byPeter MewatAbbey Road StudiosforEMIandVirgin Records,and issued on CD with no bonus tracks.[51]It was again remastered in 2015 for inclusion on thebox setFive Years 1969–1973byParlophoneand rereleased separately, in 2015–2016, in CD, vinyl and digital formats.[52][53][54]Pin Upswas reissued as a limited edition half-speed mastered LP to celebrate its 50th anniversary on 20 October 2023.[55]

Track listing

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Side one
No.TitleWriter(s)Originally performed byLength
1."Rosalyn"
Pretty Things2:27
2."Here Comes the Night"Bert BernsThem3:09
3."I Wish You Would"Billy Boy ArnoldThe Yardbirds2:40
4."See Emily Play"Syd BarrettPink Floyd4:03
5."Everything's Alright"
  • Nicky Crouch
  • John Konrad
  • Simon Stavely
  • Stuart James
  • Keith Karlson
The Mojos2:26
6."I Can't Explain"Pete TownshendThe Who2:07
Side two
No.TitleWriter(s)Originally performed byLength
1."Friday on My Mind"
The Easybeats3:18
2."Sorrow"
The Merseys2:48
3."Don't Bring Me Down"Johnnie DeePretty Things2:01
4."Shapes of Things"
The Yardbirds2:47
5."Anyway, Anyhow, Anywhere"
The Who3:04
6."Where Have All the Good Times Gone"Ray DaviesThe Kinks2:35

Personnel

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Album credits per thePin Upsliner notes and biographerNicholas Pegg.[5][1]

Production

  • David Bowie – producer
  • Ken Scott– producer
  • Dennis MacKay –engineer
  • Andy Scott – engineer

Charts and certifications

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Notes

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  1. ^An insert included with the original LP has the text "This album is called Pinups" and the title is written as one word, without a hyphen, on the LP cover and spine, although the original UK disc label spells the title with a hyphen.[1]
  2. ^Later understood to mean that Bowie was retiring the Ziggy Stardust character.[2]
  3. ^The Château had also become popularised afterElton Johnrecorded his 1972 albumHonky Châteauthere, an album that was engineered by Ken Scott shortly after finishingZiggy Stardust(1972).[5][13]
  4. ^Bowie later covered it for the aborted Astronettes project in October 1973, while he officially covered it forTonight(1984).[16]

References

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  1. ^abPin Ups(liner notes).David Bowie.UK:RCA Records.1973. RS 1003.{{cite AV media notes}}:CS1 maint: others in cite AV media (notes) (link)
  2. ^abcdefghijBuckley 2005,pp. 165–171.
  3. ^Cann 2010,p. 291.
  4. ^abcdefghijklO'Leary 2015,chap. 7.
  5. ^abcdefghijklmnopqrstuvPegg 2016,pp. 364–367.
  6. ^abcdTrynka 2011,p. 484.
  7. ^abcdeDoggett 2012,pp. 209–219.
  8. ^abcdefgCann 2010,pp. 307–313.
  9. ^abPerrone, Pierre (16 August 2013)."Cover albums: The best and worst releases in the genre".The Independent.Archivedfrom the original on 14 July 2015.Retrieved6 July2015.
  10. ^abClaymore, Gabriela (18 March 2013)."David Bowie Albums From Worst To Best:Pin Ups".Stereogum.Archivedfrom the original on 27 June 2015.Retrieved6 July2015.
  11. ^abCann 2010,pp. 305–306.
  12. ^Thompson 2006,p. 313.
  13. ^abSpitz 2009,p. 223.
  14. ^Cann 2010,p. 234.
  15. ^Pegg 2016,pp. 311–312, 365.
  16. ^Pegg 2016,pp. 99–100, 365.
  17. ^Buskin, Richard (October 2003)."David Bowie & Tony Visconti Recording Reality".Sound on Sound.Archivedfrom the original on 6 June 2015.Retrieved30 July2013.
  18. ^abPhillips, Sarah (16 May 2012)."Justin de Villeneuve's best photograph: David Bowie and Twiggy".The Guardian.Archivedfrom the original on 4 October 2013.Retrieved8 October2013.
  19. ^abcdefSandford 1997,pp. 114–116.
  20. ^Pegg 2016,p. 23.
  21. ^O'Leary 2015,Partial Discography.
  22. ^abcdefEder, Bruce."Pin Ups– David Bowie ".AllMusic.Archivedfrom the original on 5 September 2019.Retrieved20 March2020.
  23. ^"Pin Ups – full Official Chart History".Official Charts Company.Retrieved22 August2021.
  24. ^ab"BowiePin UpsChart History ".Billboard.Retrieved24 August2021.
  25. ^Buckley 2005,p. 345.
  26. ^abcShaw, Greg (19 July 1973)."Pin Ups".Rolling Stone.Archivedfrom the original on 4 October 2015.Retrieved1 October2015.
  27. ^abMacDonald, Ian(20 October 1973)."David Bowie:Pin-Ups".NME.Retrieved22 August2021– via Rock's Backpages(subscription required).
  28. ^abAlterman, Loraine (11 November 1973)."Pop; David Bowie Can't Beat the Band".The New York Times.Retrieved27 November2022.
  29. ^"Album Reviews"(PDF).Record Mirror.20 October 1973. p. 27.Retrieved27 November2022– via worldradiohistory.
  30. ^abChristgau, Robert(1981)."Consumer Guide '70s: B".Christgau's Record Guide: Rock Albums of the Seventies.Boston:Ticknor & Fields.ISBN978-0-89919-026-6.Retrieved22 February2019– via robertchristgau.
  31. ^"Top Album Picks"(PDF).Billboard.3 November 1973. p. 56.Retrieved12 November2022– via worldradiohistory.
  32. ^Hilburn, Robert(6 November 1973)."Bowie Plans Stage Version of 'Ziggy'".Los Angeles Times.p. 57.Retrieved29 December2021– via Newspapers(subscription required).
  33. ^Larkin, Colin(2011)."Bowie, David".The Encyclopedia of Popular Music(5th concise ed.).Omnibus Press.p. 2795.ISBN978-0-85712-595-8.
  34. ^Graff, Gary; Durchholz, Daniel, eds. (1999).MusicHound Rock: The Essential Album Guide.Farmington Hills, MI: Visible Ink Press. p.151.ISBN978-1-57859-061-2.
  35. ^Quantick, David (18 August 1990). "David Bowie:Aladdin Sane/Pin-Ups".New Musical Express.p. 37.
  36. ^abcWolk, Douglas(1 October 2015)."David Bowie:Five Years 1969–1973".Pitchfork.Archivedfrom the original on 6 February 2016.Retrieved13 January2016.
  37. ^Sheffield, Rob(2004). "David Bowie". InBrackett, Nathan;Hoard, Christian(eds.).The New Rolling Stone Album Guide(4th ed.). New York City:Simon & Schuster.pp.97–99.ISBN978-0-7432-0169-8.
  38. ^Griffiths, Nick (August 1990)."Stardust Memories".Select.p. 116.Archivedfrom the original on 12 September 2017.Retrieved11 September2017.
  39. ^Sheffield 1995,p. 55.
  40. ^Thompson, Dave(10 April 2023)."'Pin-Ups' is the underrated classic of David Bowie's glam-era ".Goldmine.Archivedfrom the original on 7 November 2023.Retrieved7 November2023.
  41. ^abcPerone 2007,pp. 39–40.
  42. ^Sheffield 1995,p. 56.
  43. ^Wawzenek, Bryan (11 January 2016)."David Bowie Albums Ranked Worst to Best".Ultimate Classic Rock.Archived fromthe originalon 1 October 2020.Retrieved22 August2021.
  44. ^"The most stunning covers albums of all time".NME.11 June 2019. Archived fromthe originalon 23 January 2021.Retrieved23 August2021.
  45. ^"Pin Ups: The 20 best covers albums".Radio X.19 October 2023.Archivedfrom the original on 7 November 2023.Retrieved7 November2023.
  46. ^Thompson, Dave (2019). Kennedy, Paul (ed.).Goldmine Record Album Price Guide(10th ed.). US: Krause Publications. p. 87.ISBN978-1-44024-891-7.
  47. ^Pinups(CD booklet). David Bowie. US: RCA Records. 1984. PCD1-0291.{{cite AV media notes}}:CS1 maint: others in cite AV media (notes) (link)
  48. ^Pegg 2016,p. 102.
  49. ^Pinups(CD booklet). David Bowie. US:Rykodisc.1990. RCD 10136.{{cite AV media notes}}:CS1 maint: others in cite AV media (notes) (link)
  50. ^ab"Pin Ups (1990 version) – full Official Chart History".Official Charts Company.Retrieved22 August2021.
  51. ^Pinups(CD booklet). David Bowie. US:EMI/Virgin Records.1999. 7243 521903 0 0.{{cite AV media notes}}:CS1 maint: others in cite AV media (notes) (link)
  52. ^Five Years (1969–1973)(Box set liner notes).David Bowie.UK, Europe & US:Parlophone.2015. DBXL 1.{{cite AV media notes}}:CS1 maint: others in cite AV media (notes) (link)
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  55. ^"DAVID BOWIE – PIN UPS 50th ANNIVERSARY HALF SPEED MASTERED LP".David Bowie Official Website.7 September 2023.Archivedfrom the original on 2 January 2024.Retrieved2 January2024.
  56. ^"Go-Set Australian charts – 16 March 1974".poparchives.au.Retrieved2 September2023.
  57. ^"Brazil Albums Chart".Jornal do Brasil(in Breton). 4 November 1973.Retrieved17 March2018.
  58. ^"Dutchcharts.nl – David Bowie – Pinups"(in Dutch). Hung Medien. Retrieved 25 July 2020.
  59. ^Pennanen, Timo (2021). "David Bowie".Sisältää hitin - 2. laitos Levyt ja esittäjät Suomen musiikkilistoilla 1.1.1960–30.6.2021(PDF)(in Finnish). Helsinki: Kustannusosakeyhtiö Otava. pp. 36–37.
  60. ^Racca, Guido (2019).M&D Borsa Album 1964–2019(in Italian). Amazon Digital Services LLC - Kdp Print Us.ISBN978-1-0947-0500-2.
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Sources

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