PIN UPS is an album of songs originally performed by the Pretty Things, Them, the Yardbirds, Pink Floyd, the Mojos, the Who, the Easybeats, the Merseybeats and the Kinks.

This is an Enhanced CD, which contains both regular audio tracks and multimedia computer files.

Personnel: David Bowie (vocals, guitar, harmonica, saxophone, alto saxophone, tenor saxophone, keyboards, Moog synthesizer, background vocals); David Bowie; Mac Cormack (vocals); Ron Wood (guitar); Trevor Bolder (bass instrument); Mick Ronson (vocals, guitar, piano, background vocals); Mike Garson (harp, piano, electric piano, harpsichord, organ, keyboards); Ken Fordham (saxophone, baritone saxophone); Aynsley Dunbar (drums); G A MacCormack (background vocals).

Audio Remasterers: Nigel Reeve; Peter Mew.

Liner Note Author: David Bowie.

Recording information: Chƒteau D'Herouville, Paris, France (1973).

Photographers: Mick Rock ; Justin DeVilleneuve; Sukita.

Unknown Contributor Roles: Pierre LaRoche; Kuni Takeuchi.

Arrangers: David Bowie; Mick Ronson.

Pin Ups fits into David Bowie's output roughly where Moondog Matinee (which, strangely enough, appeared the very same month) did into the Band's output, which is to say that it didn't seem to fit in at all. Just as a lot of fans of Levon Helm et al. couldn't figure where a bunch of rock & roll and R&B covers fit alongside their output of original songs, so Bowie's fans -- after enjoying a string of fiercely original LPs going back to 1970's The Man Who Sold the World -- weren't able to make too much out of Pin Ups' new recordings of a brace of '60s British hits. Ziggy Stardust and Aladdin Sane had established Bowie as perhaps the most fiercely original of all England's glam rockers (though Marc Bolan's fans would dispute that to their dying day), so an album of covers didn't make any sense and was especially confusing for American fans -- apart from the Easybeats' "Friday on My Mind" and the Yardbirds' "Shapes of Things," little here was among the biggest hits of their respective artists' careers, and the Who's "I Can't Explain" and "Anyway Anyhow Anywhere" were the only ones whose original versions were easily available or played very often on the radio; everything else was as much a history lesson, for Pink Floyd fans whose knowledge of that band went back no further than Atom Heart Mother, or into Liverpool rock (the Merseys' "Sorrow"), as it was a tour through Bowie's taste in '60s music. The latter was a mixed bag stylistically, opening with the Pretty Things' high-energy Bo Diddley homage "Rosalyn" and segueing directly into a hard, surging rendition of Them's version of Bert Berns' "Here Comes the Night," filled with crunchy guitars; "I Wish You Would" and "Shapes of Things" were both showcases for Bowie's and Mick Ronson's guitars, and "See Emily Play" emphasized the punkish (as opposed to the psychedelic) side of the song. "Sorrow," which benefited from a new saxophone break, was actually a distinct improvement over the original, managing to be edgier and more elegant all at once, and could easily have been a single at the time, and Bowie's slow version of "I Can't Explain" was distinctly different from the Who's original -- in other words, Pin Ups was an artistic statement, of sorts, with some thought behind it, rather than just a quick album of oldies covers to buy some time, as it was often dismissed as being. In the broader context of Bowie's career, Pin Ups was more than an anomaly -- it marked the swan song for the Spiders from Mars and something of an interlude between the first and second phases of his international career; the next, beginning with Diamond Dogs, would be a break from his glam rock phase, going off in new directions. It's not a bad bridge between the two, and it has endured across the decades -- and the CD remasterings since the late '90s have made it worth discovering all over again. ~ Bruce Eder

PIN UPS served as a sort of "how to" guide to David Bowie's career. This all-covers album shed light on his ability to adopt personas and emulate musical genres with amazing speed and diversity. It also showed that Bowie was anticipating a different musical climate for the rest of the decade, signifying a change from what was admired during the 1960s.

The psychedelic overtones of Pink Floyd's "See Emily Play" and the garage rock cynicism of the Easybeats' "Friday On My Mind" perfectly display Bowie's ear for melody and eye for pop-culture posturing. He even tips a hat to his more established influences. The Kinks' "Where Have All The Good Times Gone" sparks his interest as a memory-soaked ballad (a Ray Davies specialty), and with The Who's "Anyway, Anyhow, Anywhere" Bowie admits to not having invented the rock 'n' roll ego.

PIN UPS served another suitable purpose for the chameleonic performer, down-playing his other-worldly image by betraying his influences. By presenting Bowie as an actual fan--and not just an image/style manipulator--the album portrayed the singer in a different light, allowing him to loosen up his approach to performing and to step outside the multiple characters he had created for himself.