Aladdin the charts again

“Thanking one and all”

With today’s publication of the new charts by the Official Charts Company (OCC), David Bowie’s music has yet again proved its enduring popularity with the music buying public.

The Official Albums Chart Top 100 (includes all formats)

(27 April 2018 - 03 May 2018)

22 - WELCOME TO THE BLACKOUT - LIVE LONDON 78 - Parlophone (RSD)

25 - ALADDIN SANE - Parlophone

35 - LEGACY - Parlophone

43 - BOWIE NOW - Parlophone (RSD)

All of those were released last Friday, April 20th, excepting Legacy which has enjoyed 75 weeks on the album chart.

With the vinyl boost of RSD, Bowie fared even better on the Official Vinyl Albums Chart:

Official Vinyl Albums Chart Top 40

(27 April 2018 - 03 May 2018)

01 - WELCOME TO THE BLACKOUT - LIVE LONDON 78 - Parlophone (RSD)

02 - ALADDIN SANE - Parlophone

05 - BOWIE NOW - Parlophone (RSD)

18 - DAVID BOWIE - UMC (RSD)

That’s a good turnout for Parlophone with three albums in the top five and UMC can’t be unhappy with the Top 20 placing for their David Bowie RSD release.

Finally, Parlophone’s Let’s Dance (Demo) 12" released for RSD is at #2 on the Official Vinyl Singles Chart.

#BowieOCC #BowieVinyl #BowieRSD #RSD2018

Bowie fan art #9 at Brooklyn Museum

“The paintings are all your own”

David Bowie collected all of the fan art he was sent over the years and now the Brooklyn Museum has fulfilled his dream that one day they should be exhibited. We’re posting a piece online every Friday with the hashtag #DavidBowieArt.

Unfortunately, the creators of the majority of the works collected are unknown, but it would be a great help if anybody reading this has more information, be it the artists themselves or somebody who knows them. We’ve had half of the artists contact us so far.

Today’s likeness is based on a Mick Rock shot, possibly best known for being the front cover of RCA’s 1972 Space Oddity reissue.

You can enjoy all of the pieces on display at the exhibition until July 15th. Tickets and details of other Bowie-related events at the Brooklyn Museum here.

#DavidBowieIs #DavidBowieIsBKM #DavidBowieArt #BowieFanFriday

Shooting Bowie for huH and Ray Gun

“Hand in hand in love with love uh-huH”

You may remember a rather tasty magazine from the late 90s called huH. It was a delightful thing to look upon and that was in no small measure down to designer Jérôme Curchod and the absurdly talented Vaughan Oliver of v23/4AD fame, as Creative Director.

The pictures and text were both of a very high standard too, and the September 1995 issue was particularly special on account of the world’s most beautiful man adorning the cover. This issue contained a great interview with Bowie (conducted by huH's Managing Editor Dean Kuipers), accompanied by a very unusual set of pictures taken by Kevin Kerslake.

The unofficial, but rather splendid fan page: David Bowie News (DBN), has a brief interview with huH Editorial Director, Mark Blackwell, along with previously-unseen shots from his '90s Polaroid diary of Bowie being put into a cage for the shoot and pictures of DB with the huH and Ray Gun team.

Ray Gun was another game-changing magazine, apparently named after the Moonage Daydream lyric. They had their own equally stunning Bowie cover published the following month, followed up with another in March 1997.

Nick Vernon of DBN asked Mark Blackwell about his memories of working with David for both Raygun and huH...

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“We loved working with Bowie - and we did many cover stories and other projects with him over the years - because we always knew we’d end up with much more than just the standard thing of a singer or a musician hyping whatever their latest project happened to be and answering the same questions every other magazine would be asking in the exact same way. With Bowie it would always become some grand artistic collaboration of sorts - the photos would be unique and beautiful and the interview would be deep and thought-provoking. We’d match him up with great writers like Dean Kuipers and amazing photographers like Kevin Kerslake or Ian Davies, and magic would always happen, because he was a true artist and one of those rare souls you could honestly call a 'visionary'. He took these collaborations with us very seriously, never approaching them as simply something he 'had to do to promote his new record' - plus he had a great sense of humor that always came through.”

“As far as this particular day at Smashbox goes, one thing that very much stands out is that over the course of all my years of writing and editing music stories and going to photo shoots, I'm almost positive this was the only time I ever actually stepped into a photographer's shot with an artist during an actual shoot. I'm guessing it's the same for Marvin Jarrett and Randy Bookasta - we just never did that because we all probably felt it would seem unprofessional or intrusive or just plain silly. In this case, however, Bowie cheerfully invited us to come over and jump into a shot with him, and it really does reflect that sense of warmth and collaboration he exuded - making the people around him a part of his artistic process. In person he was exactly as you'd hope he'd be: charming, suave, smart, and super cool. I'm so glad we did it, because I treasure these photos with him, what a cool memento to have from this era.”

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Many thanks to Mark Blackwell and to Kevin Kerslake for the excellent photos from this shoot and to Nick Vernon for letting us run his exclusive. Go here for the full thing with more pictures from the session.

#BowiehuH #BowieRayGun #UnofficialDBNews

Iman posts wedding anniversary pictures

“I believe in magic”

On April 24th, 1992, David and Iman married at a registry office civil ceremony in Lausanne, Switzerland. Iman marked the 26th anniversary of that event today with the following online message accompanied by the two inset pictures in our montage:

“When I count my blessings, I count you twice. April 24th”

#BowieForever

RSD 2018 Four Bowie big ones

“And as the sparrow sings, Dawn chorus for, Someone else to hear...”

Good luck to all you early birds queueing already, waiting to snaffle up whatever it is you have your eye on.

Exclusive RSD 2018 David Bowie 12" vinyl releases:

~ "LET'S DANCE" - (12" SINGLE FEATURING FULL LENGTH VERSION OF THE DEMO AND LIVE VERSION)

~ "WELCOME TO THE BLACKOUT [LIVE LONDON '78]" - (PREVIOUSLY UNRELEASED 3 X LP LIVE SET)

~ "BOWIE NOW" - (WHITE VINYL LP ISSUE OF US PROMO ONLY COMPILATION WITH NEW INTERIOR ARTWORK)

~ "DAVID BOWIE" - (DEBUT ALBUM FROM 1967 - 2 X COLOURED VINYL LP SET)

Saturday, April 21st at participating independent record stores.

#BowieRSD #RSD2018 #BowieVinyl

Bowie fan art #8 at Brooklyn Museum

“The paintings are all your own”

David Bowie collected all of the fan art he was sent over the years and now the Brooklyn Museum has fulfilled his dream that one day they should be exhibited. We’re posting a piece online every Friday with the hashtag #DavidBowieArt.

Unfortunately, the creators of the majority of the works collected are unknown, but it would be a great help if anybody reading this has more information, be it the artists themselves or somebody who knows them. We have a head start with the artist’s signature this week, though we can only confidently make out Prince as the last name.

Today’s likeness is based on a Steve Schapiro shot, famously and mischievously shot against a green background. According to Schapiro, he and Bowie joked about shooting a series of close-up portraits on a putrid green background because they felt it was the worst possible colour for a magazine cover - the image became a People magazine cover in 1976.

As you can see, our featured artist has invented an entirely new background, thereby removing the putrid green problem.

You can enjoy all of the pieces on display at the exhibition until July 15th. Tickets and details of other Bowie-related events at the Brooklyn Museum here.

#DavidBowieIs #DavidBowieIsBKM #DavidBowieArt #BowieFanFriday

Aladdin Sane 45th Anniversary silver vinyl out now

“Passionate bright young thing”

Today sees the release of the strictly limited, one run only, silver vinyl edition of Aladdin Sane. This pressing contains Ken Scott’s approved 2013 remaster and is released 45 years to the day since the original release date for the album (April 20th, 1973).

As mentioned previously, Aladdin Sane was thought to have been issued the week before on 13th April, 1973. However, we uncovered new evidence proving the release date was officially the 20th, but being Good Friday in the UK, the album was 'made available' on the 19th (see trade advert in montage).

Mainly on account of having received 100,000 pre-orders, the LP entered the UK chart at #1 on Saturday May 5th 1973. It retained the top spot for five weeks and stayed in the Top Ten for 27 weeks. Aladdin Sane peaked at #17 in America, making it Bowie's most successful album commercially in both countries to that date. It is estimated to have sold 4.6 million copies worldwide, making it one of Bowie’s biggest-selling LPs.

Aladdin Sane spawned two hit singles in the UK, The Jean Genie and Drive-In Saturday, which reached #2 and #3 respectively. Both preceded the album’s release.

The album cover features a red and blue lightning bolt across Bowie's face in a picture taken by Brian Duffy, with a full length shot adorning the inner gatefold. It’s regarded as one of the most iconic album sleeves of all time. Mick McCann writing in The Guardian described the image of Bowie as "the Mona Lisa of album covers".

In 2003, Aladdin Sane was ranked among six Bowie entries on Rolling Stone’s list of the 500 Greatest Albums Of All Time.

This silver vinyl edition of Aladdin Sane will only be available to ‘bricks and mortar’ retail stores and not through on-line emporiums. The perfect warm-up for RSD 2018 on Saturday.

Go here for the full press release.

#AladdinSane45 #AladdinSaneSilver #BowieVinyl

Jones baby #2 has arrived

“Untitled No. 2”

Congratulations to all at the ever-expanding Jones Clan. Wonderful news.

#DuncanAndRodeneJones #BabyJones #BabyJones2 #GranddadJones

David Bowie Is taking over the subway

“While the sane stay underground”

This is very cool indeed. Check out these stories for details and lots of pictures of the Bowie-themed takeover of Broadway-Lafayette station in New York, not to mention the set of five official Bowie MetroCards produced by Spotify, available at the Broadway-Lafayette and Bleeker St stations.

Brooklyn Vegan: David Bowie subway takeover: official MetroCards, themed Broadway-Lafayette station

Bowery Boogie: The David Bowie Takeover of Broadway-Lafayette Station (and Return of ‘David Bowery’)

West Village Patch: David Bowie MetroCards Available In Manhattan Stations

#DavidBowieIs #DavidBowieIsBKM #BowieSpotify #BowieSubway

Beside Bowie: The Mick Ronson Story due in June

“But boy could he play guitar”

Beside Bowie: The Mick Ronson Story soundtrack CD, double vinyl album and DVD/Blu-ray are set for simultaneous release through Universal Music on 8 June 2018.

To clarify, Moonage Daydream, Cracked Actor and Time are all studio versions.

Beside Bowie: The Mick Ronson Story (Soundtrack) Tracklist:

01 - Queen, Ian Hunter, David Bowie, Mick Ronson, Joe Elliott, Phil Collen- ‘All The Young Dudes’ (Live)

02 - Michael Chapman – ‘Soulful Lady’

03 - Elton John – ‘Madman Across The Water’

04 - David Bowie – ‘Moonage Daydream’

05 - David Bowie – ‘Cracked Actor’

06 - David Bowie – ‘Time’

07 - Ian Hunter – ‘Once Bitten, Twice Shy’

08 - Mick Ronson – ‘I’d Give Anything To See You’

09 - Mick Ronson – ‘Hard Life’

10 - Mick Ronson – ‘Midnight Love’

11 - Mick Ronson – ‘Like A Rolling Stone’ - lead vocal by David Bowie

12 - Joe Elliott – ‘This Is For You’

13 - Queen, David Bowie, And Mick Ronson – ‘Heroes’

14 - Mike Garson – ‘Tribute To Mick Ronson’

Go here to read more.

For those of you that can’t wait till June, here’s a Spotify playlist of the first 11 tracks. Unfortunately the last three aren't available on Spotify.

#BesideBowie #BowieRonno

Duke and Earl reunited in Hoylake

“Here are we, one magical moment”

There was a very sweet surprise on Thursday evening (April 12) for legendary sideman Earl Slick at The Sidings in Hoylake, Wirral. Earl had been entertaining a packed and very appreciative house during one of the venue’s ‘in conversation’ evenings with stories from his life in music with David Bowie and John Lennon.

Slicky also produced his guitar and proceeded to slay the assembled throng with a few of his ‘greatest riffs’ from some of the biggest tunes in musical history, shouted out to him by the crowd. But it was during the autograph session that the tables were turned and Earl was in for the evening’s biggest surprise.

From the line of fans, long time Bowie fan Paul Häggqvist stepped forward and reunited Earl with a gold disc originally presented to the guitarist for his work on Bowie’s Station To Station in 1976. The award had gone missing in the 90s! Paul acquired the disc a few years ago and had a feeling its owner might like it back and so he travelled to the venue especially to deliver it in person.

Venue manager Kelsey Hodkinson said: “It truly was a wonderful evening having Earl with us here in Hoylake, he was an absolute star and when he was reunited with his gold disc it just topped off a brilliant night for everyone”.

We’ll leave you with a quotation from Mr Slick regarding this magical moment.

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“When Paul presented me with the Station to Station gold disc on Thursday night that had gone missing in the 90s I couldn’t believe it. To lose something in New York and then for it to turn up years later in Hoylake (near Liverpool) is remarkable. Most incredible of all is the generosity of Paul Häggqvist, I’m really knocked out by this.

To all you folks that came to 'The Cavern Club' in Liverpool on Thursday afternoon and 'The Sidings' in Hoylake later that evening, it's not the size of the city that counts, it's the people that live there that make the difference. Thank you all for such a great reception. I will always remember it. See you all soon. ES"

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Earl will be back to perform in the UK shortly but returns to the US with one extra special item in his luggage to declare!

#EarlSlick #StationToStation

Let’s Dance album is 35 today plus poll result

“Under the moonlight, this serious moonlight”

Though it only reached #10 in our album poll in 2013, such was the global success of Let’s Dance it’s possibly the Bowie LP that most people are familiar with around the world and it remains Bowie's best-selling release.

Produced by David Bowie and Nile Rodgers, Let’s Dance was issued on this day (April 14th) worldwide, spending 13 weeks in the UK Top 5. The album made it to #4 on the US chart.

The attendant singles, Let’s Dance, China Girl and Modern Love were also worldwide smashes, with the popularity of those tracks reflected in the poll we launched on Thursday.

Modern Love 17%

China Girl 16%

Let's Dance 16%

Cat People (Putting Out Fire) 12%

Without You 10%

Ricochet 10%

Criminal World 9%

Shake It 5%

An interesting result that follows pretty closely to the running order of the original album, excepting Cat People which has moved from track 7 to track 4.

Disagree with that conclusion? The poll is still open if you want to try and make a difference and read more regarding each track.

In the unlikely event that you need a reminder of any of the tracks, you can listen to the full album here.

#BowieLetsDance #LetsDancePoll

Bowie fan art #7 at Brooklyn Museum

“The paintings are all your own”

As you surely know by now, David Bowie collected all of the fan art he was sent over the years and now the Brooklyn Museum has fulfilled his desire that one day they should be exhibited.

We’re posting a piece online every Friday with the hashtag #DavidBowieArt. The aim is to eventually create an online gallery dedicated to Bowie inspired art.

Unfortunately, the creators of the majority of the works collected are unknown, but it would be a great help if anybody reading this has more information, be it the artists themselves or somebody who knows them.

Today’s marvellous pencil drawing is based on one of Terry O’Neill’s shots of Bowie during the filming of The 1980 Floor Show in 1973. An event captured beautifully in Terry’s superb, When Ziggy Played The Marquee.

You can enjoy all of the pieces on display at the exhibition until July 15th. Tickets and details of other Bowie-related events at the Brooklyn Museum here.

#DavidBowieIs #DavidBowieIsBKM #DavidBowieArt #BowieFanFriday #BowieAtTheMarquee

CHANGESTWO black or blue?

“The Mysteries”

As you no doubt know, CHANGESTWOBOWIE was re-released by Parlophone today. This 1981 compilation album is available on multiple formats, including randomised black and blue vinyl. Did you get what you were hoping for?

CHANGESTWOBOWIE is also released on CD in a digipak sleeve, high-resolution 192/24 and 96/24 digital and standard digital for streaming and download. The 180gram vinyl edition is available randomly on its initial limited run in black and blue vinyl before reverting solely to black vinyl.

Finally, CHANGESTWOBOWIE’s 1976 predecessor, CHANGESONEBOWIE, is also released today as 192/24 and 96/26 high-resolution digital versions and for streaming.

Our montage shows the original US music press advert for CHANGESTWOBOWIE and a Greg Gorman shot from the album cover session.

#CHANGESONEBOWIE #CHANGESTWOBOWIE

Tell us your favourite Let’s Dance tracks

“It's been so long”

David Bowie’s Let’s Dance LP enjoys its 35th anniversary this weekend. Released worldwide on April 14 1983, this David Bowie/Nile Rodgers’ production remains Bowie’s biggest selling studio album.

35 years later, how has the record fared for you? Do you still favour the same tracks you did all those years ago, or has that changed?

Let us know via our Let’s Dance poll.

#BowieLetsDance #LetsDancePoll

Occasional Dreaming - The second Deram album?

“I was still just a kid, When my innocence was lost”*

Announcing the April edition of SHiNDiG! a couple of days ago, we listed the tracks which Martin Ruddock imagined may have become Bowie’s aborted second album for Deram, and we promised an alternative listing proposed by an expert on early David Bowie recordings.

Though he probably wouldn’t claim it himself, Tris Penna is that more than qualified expert, as confirmed by the BBC last month when they awarded him Best Music Production for Exploring Life on Mars, last year’s superb BBC Radio 2 documentary for which he was credited Presenter/Writer & Co-producer.

Among many other qualifying contributions, Tris also oversaw UMC’s comprehensive 2010 Deluxe Edition release of the first David Bowie Deram album. He knows his stuff.

Anyway, he kindly agreed to have a stab at the same task that Mr Ruddock bravely tackled. And so, without further ado, over to you, Tris...

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Occasional Dreaming

1968 was the year of revolution, where the unbridled happy partying of 1967 morphed into a sour and angry hangover. For Bowie, 1968 was when his interest in theatrical stage performance solidified, with Lindsay Kemp's 'Pierrot in Turquoise', solo mime performances, a minor role in a TV drama, an attempt at cabaret and a multi-media trio - Turquoise/Feathers - featuring an early muse Hermione Farthingale.

Any second album with Deram would surely have reflected all this - and not for the first time, and with the lack of a hit single under his belt, DB would’ve turned to songs by others, songs that fitted snuggly into his cannon, songs that he could make his own. In 1968 Deram issued a concept album in a whacky gatefold sleeve by Lionel Bart 'Isn’t This Where We Came In?' - which is full of angularity, humour and English whimsy. At the same time Tony Visconti was working with The Move in 1968 adding orchestral wit to their narrative pop nuggets. It’s not beyond the realms of possibility to imagine a second DB Deram album to be Bart meets The Move - all with the wry, dystopian, yearning Bowie singing about unattainable love with Brechtian detachment….

Occasional Dreaming - album scheduled for November 1968 release (briefly listed in the September 1968 'Forthcoming Releases from Decca' dealer sheets) Produced by Tony Visconti. Deram SML 1027 (stereo). DML 1027 (mono).

Side One:

01 ~ Let Me Sleep Beside You - (a 'test mix' by Visconti from late 1967 is totally acoustic/orchestral - and not at all 'rock' and a great seductive album opener)

02 ~ A Social Kind of Girl (68 rewrite of 1967’s Summer Kind Of Girl - demos exist for both versions)

03 ~ The Gospel According To Tony Day Blues (the song was originally registered with this title) The 1967 studio session for this track contains several variants of the 'character role call' and it has a sardonic Brel/theatrical feel to it. Given that DB returned to songs frequently at this time, honing and improving them (Silly Boy Blue/Love You Till Tuesday/In The Heat of the Morning et al) - it’s not beyond the realms of possibility that this song would be revisited...

04 ~ Life’s a Circus (Bunn/Mackie) performed by DB in his cabaret act and by Feathers in 1968

05 ~ When I’m Five - written in 1968, performed by DB as late as 1969

06 ~ C’est La Vie - DB original that he demoed many times - the last demo probably from 1968

07 ~ Next (Brel). performed by Feathers in 1968

Side Two:

08 ~ London Bye Ta Ta - Decca 1968 version

09 ~ Angel Angel Grubby Face - 1968 demo

10 ~ Pussy Cat (Marnay, Popp, Stellman) - VERY European theatre/Lindsay Kemp type number - English lyrics to 'Manchester et Liverpool'

11 ~ Going Down (1967 demo - "Goin' down, I’m high up above you so pull me down…."

12 ~ Occasional Dreaming - (the hand written title on the tape box for 'An Occasional Dream' demo)

13 ~ In The Heat Of The Morning - Decca 1968 version

14 ~ Lover To The Dawn - written and probably performed by DB/Feathers in late 1968

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Thanks so much Tris.

A few of these tracks are already out there and you can get a hint of some of the covers by tracking down Jess Conrad’s cover of 'Pussy Cat' (or even Andre Popp’s version of 'Manchester et Liverpool') and Scott Walker’s rendition of 'Next'...not to mention Roger Bunn’s original and somewhat trippy recording of 'Life Is A Circus'.

*For those that aren’t familiar with it, today’s lyric quotation is from 'Next'.

#Bowie1968 #OccasionalDreaming #BowieCollector

Final few days of MacCormack exhibition

“Catch the last bus with me”

Only four more days to catch David Bowie, The Geoff MacCormack Collection at the Francesca Maffeo Gallery in Leigh-on-Sea in Essex in the UK.

Wednesday 11 April - 10:00 - 14:30

Thursday 12 April - 10:00 - 17:00

Friday 13 April - 10:00 - 17:00

Saturday 14 April - 10:00 - 17:00

This incredible exhibition is the first solo show of these intimate photographs of two friends, travelling side by side between 1973-1976.

Everything you need to know, here.

#GeoffMacBowie

The Bowie Years Volume 2

“Never no turning back”

Editor at Large (Andy Price) has been in touch with details of the second instalment of four, of the superb The Bowie Years (TBY).

This volume covers 1975 - 1980 and includes track-by-track analysis of the Bowie songs from the period, along with in-depth biographical features, a piece on the influence this period Bowie has had, an Alternative Top 20 and a brand new interview with both Carlos Alomar and Robin Clark.

The Bowie Years Volume 2 is available on Thursday 19th April, pre-order here.

There’s also a 25% saving in the offing if you’re interested in the complete Bowie Years collection, which, to our reckoning (having done the math), is one instalment for free!

We’ll leave you with the top ten of TBY Alternative Top 20 - 1975-1980. Perhaps you could suggest your own alternative Top 20 from the latter half of the 70s in the comments section. The only criteria is no singles...not such an easy task!

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10: Repetition (1979)

09: Word On A Wing (1976)

08: Right (1975)

07: Breaking Glass (1977)

06: Win (1975)

05: Sense Of Doubt/Moss Garden/Neuköln (1977)

Though three distinct tracks with quite different feels and textures, these expressive instrumentals (when listened to as they’re supposed to be listened to - in consecutive order) represent the aural equivalent of a train ride through the shell of a multi-cultural city, with the doomy, oppressive Sense of Doubt leading serenely into the relative tranquillity of the oriental Moss Garden, before culminating with one of Bowie’s most expressive musical performances on the isolated and mournful Neuköln - Bowie’s sax takes over the lead vocal role and becomes a wailing, anguished banshee in perhaps the finest sequence of instrumentals that Eno and Bowie conceived. Though Low’s second side was more colourful, Heroes’ instrumental half works arguably more effectively as one shifting suite of moods. Aside from the nuanced, rich mix it’s also profoundly moving emotionally. Genius.

04: It’s No Game (No 1) (1980)

Scary Monsters’ punchy, uncompromising opener is notable for a number of reasons - the alarmed delivery of the Japanese lyrical elements by Michi Hirota, Bowie’s screamed, howling vocals and the baffling hysteria of Robert Fripp’s sequence of guitar riffs demand attention from the listener. If Scary Monsters was Bowie reclaiming the contemporary pop landscape of 1980, then It’s No Game (No 1) is the opening salvo - a challenge to both the theatrical snarling of the punk movement and the right-on sanctimoniousness of the protest song. The song also frets about mortality, and in particular that fame might lead to assassination, with Bowie’s lyric ‘put a bullet in my brain, and it makes all the papers’ The song’s twin (It’s No Game No 2) closes the record and is a gentler, more restrained version of the same song. One of the album’s key tracks. It’s No Game (No 1) launches Scary Monsters with gripping, effective power.

03: Always Crashing In The Same Car (1977)

Allegedly inspired by Bowie’s unfortunate incident in an underground parking-lot in Berlin where he, in a state of inebriation, wrote off his 1950’s Mercedes, Always Crashing In The Same Car is one of Low’s standout tracks. The song also works as not just a real-life memory put to music, but as a work of self-reflection, where Bowie ‘going round and round the hotel garage’ serves as an apt metaphor for his then uncertain and highly depressed state of mind. It features some outstanding guitar work from Ricky Gardiner with a solo that takes centre stage in the mix (though the melody of the solo was originally whistled to Gardiner by Bowie). The rest of the mix is full of sumptuous elements, including Eno’s shimmering synth under-bed. Bowie would perform the track live for the first time twenty years later on the Earthling tour

02: Teenage Wildlife (1980)

By 1979, Bowie’s heir apparents were on the rise, emerging from the Bowie nights being held in clubs such as Billy’s and the Blitz, the next generation of the pop aristocracy were consciously cribbing from Bowie’s visual and musical lexicon and re-shaping it in their own image. Teenage Wildlife is Bowie’s own response to those taking their cues from his body of work, the nature of the cyclic industry and an embittered warning to those in pursuit of fame for its own sake. Though the lyrics contain harrowing, distressing imagery the wonderfully exaggerated vocal delivery, triumphant melody and Fripp’s searing guitar riff make the track one of Scary Monsters highlights.

01: Station To Station (1976)

The longest studio track in the Bowie canon is also one of his most outstanding. Unveiling the shadowy Thin White Duke character - a slick, monochromatically dressed European aristocrat who Bowie described as a ‘would be romantic with absolutely no emotion at all’. Opening with a synthetic train sound before a portentous two-note, repetitive piano motif heralds the Duke’s arrival. The eerie squall of Earl Slick’s guitars counterpoints the imposing, ominous march of Bowie’s tight-knit rhythm section, before the track slows down for a beautifully serene chorus. Melodically and sonically the song is intensely rich, however it’s in both Bowie’s towering vocal performance and the lyrical content of the song where we find, yet again, the track’s real meat - a poetic, and somewhat introspective song that longs for resolution. Once again Bowie evokes the occult, with references to Aleistair Crowley, as well as the Kabbalah, not to mention the overt lyrical references to cocaine - a drug that Bowie was growing ever-dependent on during this period and a key ingredient in the cauldron that yielded the Duke. Station To Station is a true Bowie epic and a harbinger of his upcoming European based, experimental works. One of his finest, and most unique, songs.

#TheBowieYears

Bowie cover and 8-page 1968 feature in SHiNDiG!

“And tomorrow calls my name”*

The April edition of SHiNDiG! magazine in the UK (Issue 78), has a feature focusing on that seemingly unproductive year for Bowie of 1968. Unproductive in that he didn’t release any records, but he was a busy bee indeed.

Titled THE LONG ROAD TO GROUND CONTROL, the article by Martin Ruddock ends with a full page imagining of what Martin thinks may have populated Bowie’s aborted second album for Deram. Here’s that tracklisting as it appears in the magazine...

01 ~ LET ME SLEEP BESIDE YOU (studio recording, September 1967)

02 ~ SILVER TREETOP SCHOOL FOR BOYS (demo, April 1967)

03 ~ APRIL’S TOOTH OF GOLD (demo, Early 1968)

04 ~ ANGEL ANGEL, GRUBBY FACE (demo, early 1968)

05 ~ MOTHER GREY (demo, 1968)

06 ~ KARMA MAN (studio recording, September 1967)

07 ~ LONDON BYE TA TA (studio recording, March 1968)

08 ~ THE REVEREND RAYMOND BROWN (demo, early 1968)

09 ~ TINY TIM (demo, 1968)

10 ~ C'EST LA VIE (demo, October 1967)

11 ~ IN THE HEAT OF THE MORNING (studio recording, April 1968)

12 ~ WHEN I’M FIVE (BBC session, May 1968)

You’ll need to purchase the mag to see the comments on each track, but either way, we’re sure these suggestions will start a heated debate.

Stay tuned for an alternative listing proposed by an expert on early David Bowie recordings.

*Today’s lyric quotation is from the unreleased (officially, at least), C'est La Vie.

#Bowie1968 #BowieSHiNDiG #BowieCollector

Drive-In Saturday single is 45 today

“It’s a crash-course for the ravers”

As hard as it may be to comprehend, David Bowie’s Drive-In Saturday single was released forty five years ago on this day in 1973.

The track was backed by the non-album Ziggy Stardust outtake, Round And Round, a Chuck Berry song originally titled Around And Around.

Drive-In Saturday was the second single taken from the forthcoming Aladdin Sane album (it was the follow up to The Jean Genie), and it made #3 on the UK’s official single chart.

The song name-checks Twiggy (Twig the Wonder Kid) along with Mick Jagger, whose band The Rolling Stones also covered Around And Around and whose Let’s Spend The Night Together also appeared on Aladdin Sane.

The success of the 45 was certainly not hampered by the sublime appearance of Bowie and The Spiders on the Russell Harty Show in the UK in February 1973. If you’ve never seen it, it’s an absolute treat to look back at the 26-year-old Bowie, nervous in interview but peacock proud in performance for his first ever TV chat show appearance.

Check out various pieces of surviving footage and audio on YouTube.

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