“I Can’t Give Everything Away (2002-2016)” is the last of six box sets tracing the entire artistic arc of David Bowie. Following “Five Years (1969-1973)”, “Who Can I Be Now? (1974-1976)”, “A New Career In A New Town (1977-1982)”, “Loving The Alien (1983-1988)” and “Brilliant Adventure (1992-2001)”, released starting in 2015, this brings to a close the monumental project that reconstructs, in strict chronological sequence, the entire discography of the White Duke (with the exception of his debut and the Tin Machine period), enriched with numerous extra contents. “I Can’t Give Everything Away (2002-2016)”, which borrows its title from the closing track of “Blackstar”, focuses on the final period of the English artist's career, which, though undermined by the illness that thinned out his public appearances, remained rich in ideas and masterstrokes, starting with the results of his renewed partnership with producer Tony Visconti (interrupted in 1980 after the “Scary Monsters” sessions), which led to two albums in just fifteen months: the melancholic “Heathen” in June 2002, and the more rhythmic “Reality” in September 2003.
Bowie continued to work with musicians of the highest caliber, from Carlos Alomar to Pete Townshend, from Dave Grohl to Tony Levin, from Lisa Germano to Matt Chamberlain. Alongside original songs, some of which finally came together after years of attempts (among them the sumptuous “Bring Me The Disco King”), the White Duke recorded covers of Pixies, Neil Young, Modern Lovers, and George Harrison, the latter two (“Pablo Picasso” and “Try Some, Buy Some”) originally intended for the “Pin Ups 2” project, which Bowie had wanted to record back in the Seventies. The triumphant tours that followed the two albums of the 2000s testify to a period of dazzling form, but just when Bowie seemed unstoppable, busy gathering universal praise as certification of a truly enviable career, on 25 June 2004, after the concert at the Hurricane Festival in Scheeßel, he was rushed to hospital in Hamburg due to a blocked coronary artery. The remaining Reality Tour dates were cancelled. It marked the end of David Bowie's live career, as he stayed away from the stage in the following years, save for a handful of extremely rare appearances.
David Bowie's absence from recording (aside from a few precious featured appearances scattered across the years) came to an end on 8 January 2013, his 66th birthday, when he announced a new album, “The Next Day”, preceded that same day by the single and its accompanying video, “Where Are We Now?”. The album was released on 12 March and became another huge success.
Three years later, “Blackstar” would prove to be the moving, dramatic, at times almost unbearable epitaph, as well as the true masterpiece of late-period Bowie, capable of turning even the awareness of death into art.
The last four albums – remastered with Tony Visconti's involvement – are all included in the box set (thirteen CDs or eighteen vinyl records), together with the EPs “The Next Day Extra” and “No Plan”. But the real treasure of the box is two complete concerts, one for each of the tours that followed the release of “Heathen” and “Reality”, recorded respectively on 18 July 2002 at the Montreux Jazz Festival and on 22-23 November 2003 at the Point Theatre in Dublin. While the latter had already been officially released in 2010 (the live album “A Reality Tour”, albeit with a different track sequence), the Montreux Jazz Festival concert had until now only been available as a bootleg. A performance that has become legendary, not least for its near-complete rendition of “Low”.
Another reason to be interested in “I Can’t Give Everything Away (2002-2016)” is the inclusion of an exclusive compilation created specifically for the occasion, “Re:Call 6”: a full 41 tracks of B-sides, live recordings, alternate versions and remixes, none of which have ever appeared on any album. Standouts include collaborations (in the studio or live) with Lou Reed, Arcade Fire, David Gilmour, Kristeen Young, Earl Slick, Maynard James Keenan and John Frusciante.
Rounding out the lavish box set is an elegant book featuring unpublished notes, drawings and handwritten lyrics by Bowie, numerous photographs, memorabilia, and liner notes written by Tony Visconti and Jonathan Barnbrook. The result is an almost complete account (inevitably, something is missing) of the White Duke's final fourteen years, an essential item for die-hard completists, even though the content will already be well known to Bowie collectors. The price is far from cheap, but for now all the material can be heard on streaming platforms. It may well be the most fitting way to remember a genius of reinvention, ten years on from a loss that still hurts far too much.
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09/01/2026
This article is an English translation of the original Italian text by Claudio Lancia, published on OndaRock.it. It was translated with the help of artificial intelligence, under the editorial responsibility of OndaRock's editor-in-chief, Claudio Fabretti.