David Bowie, born David Robert Jones, on January 8, 1947, London, England, is the singer, songwriter, and actor who was most prominent in the 1970s and best known for his shifting personae and musical genre hopping.
To call Bowie a transitional figure in rock history is less a judgment than a job description. Every niche he ever found was on a cusp, and he was at home nowhere else—certainly not in the unmoneyed London suburb where his childhood was as dingy as his adult life would be glitzy. While this born dabbler’s favourite pose was that of a Great Artist beguiled by rock’s possibilities as a vehicle, in truth he was more a rocker drawn to artiness because it worked better than any other pose he had tried (not that he was not eclectic—he admired Anthony Newley and Jacques Brel and studied mime with Lindsay Kemp). During the mod era of the 1960s he fronted various bands from whose minuscule shadow he—having renamed himself to avoid confusion with the singer of the Monkees—emerged as a solo singer-songwriter. “Space Oddity,” the science-fiction single that marks the real beginning of his career, reached the top 10 in Britain in 1969 but did not become an American radio staple until some years later, though Bowie had cannily pegged its original release to the Apollo 11 Moon mission. His first album of note, The Man Who Sold the World (1970), a prescient hybrid of folk, art rock, and heavy metal, did not turn him into a household name either. Not until Hunky Dory (1971) did he hit on the attractively postmodern notion of presenting his chameleonism as an identity rather than the lack of one.
The Aristipposian Poet
The Life You Give: David Bowie
in celebration of his life and music
Beginning on January 7 at 10:30 pm EST
and extending into his birthdate, January 8
At once frivolous and portentous, this approach was tailor-made for the 1970s, Bowie’s signature decade. In the wake of the counterculture’s failure to achieve utopia or even a workable modus vivendi, Bowie concocted a series of inspired, nervily grandiose pastiches that insisted on utopia by depicting its alternative as inferno, beginning with the emblematic rock-star martyr fantasy The Rise and Fall of Ziggy Stardust and the Spiders from Mars (1972). In the process he stayed so hard on the heels of the zeitgeist that the doomsaying of Diamond Dogs (1974) and the disco romanticism of Young Americans (1975) were released less than a year apart. Bowie also became the first rock star to turn a confession of bisexuality into a shrewd career move (and also the first, some years later, to suspect that times had changed enough for recanting to be an even shrewder one). Yet all this took a private toll.
By 1977 Bowie had decamped, ditching his idiosyncratic version of the mainstream for the avant-garde austerities of Low, a collaboration in Berlin with Brian Eno, the most eggheaded of the several musical helpmates that Bowie always knew how to put to good use, including guitarists Mick Ronson and Carlos Alomar and ace nouveau-funk producer Nile Rodgers for “Let’s Dance” (1983), when he needed a hit. As music, Low and its sequels, “Heroes” (1977) and Lodger (1979), would prove to be Bowie’s most influential and lasting, serving as a blueprint for a later generation of techno-rock. In the short run, they marked the end of his significant mass audience impact, though not his sales—thanks mostly to Rodgers.
In the 1980s, despite the impressive artistic resolve of Scary Monsters (1980) and the equally impressive commercial calculation of Let’s Dance (1983), which produced three American top 20 hits, Bowie’s work grew steadily more trivial. In tandem with an acting career that, since his arresting debut in Nicolas Roeg’s The Man Who Fell to Earth (1976), largely failed to jell, his vague later albums oscillated between would-be commercial moves for which he did not seem to have the heart (Never Let Me Down ) and would-be artistic statements for which he had lost his shrewdness (Outside ). As of the late 1990s, he seemed a spent force, and perhaps Bowie’s greatest innovation in this era was the creation of Bowie Bonds, financial securities backed by the royalties generated by his pre-1990 body of work. The issuing of the bonds in 1997 earned Bowie $55 million, and the rights to his back catalog returned to him when the bonds’ term expired in 2007. His 1970s work including, in addition to his own output, service as a producer on landmark albums from Mott the Hoople, Lou Reed, and Iggy and the Stooges remains a vital and often compelling index to a time it did its part to shape. Bowie was inducted into the Rock and Roll Hall of Fame in 1996.
Bowie continued to record into the 21st century, although a fallow period that followed the release of the backward-looking Reality (2003) led to speculation that he had retired. He unexpectedly resurfaced a decade later with The Next Day (2013), a collection of assured, mostly straightforward, rock songs. The searching, jazz-infused Blackstar (2016) was released two days before his death from cancer. In Bowie’s final years he also cowrote the musical Lazarus (premiered 2015), which was inspired by The Man Who Fell to Earth, and he was the subject of a blockbuster art exhibition, David Bowie Is (opened 2013).
David Jones began performing music when he was 13 years old, learning the saxophone while he was at Bromley Technical High School; another pivotal event happened at the school, when his left pupil became permanently dilated in a schoolyard fight. Following his graduation at 16, he worked as a commercial artist while playing saxophone in a number of mod bands, including the King Bees, the Manish Boys (which also featured Jimmy Page as a session man), and Davey Jones & the Lower Third. All three of those bands released singles, which were generally ignored, yet he continued performing.
Over the course of 1966, he released three mod singles on Pye Records, which were all ignored. The following year, he signed with Deram, releasing the music hall, Anthony Newley-styled David Bowie. Upon completing the record, he spent several weeks in a Scottish Buddhist monastery. Once he left the monastery, he studied with Lindsay Kemp’s mime troupe, forming his own mime company, the Feathers, in 1969. The Feathers were short-lived, and he formed the experimental art group Beckenham Arts Lab in 1969.
Bowie needed to finance the Arts Lab, so he signed with Mercury Records that year and released Man of Words, Man of Music, a trippy singer/songwriter album featuring “Space Oddity.”
Hooking up with his old friend Marc Bolan, he began miming at some of Bolan’s T. Rex concerts, eventually touring with Bolan, bassist/producer Tony Visconti, guitarist Mick Ronson, and drummer Cambridge as Hype. The band quickly fell apart, yet Bowie and Ronson remained close, working on the material that formed Bowie’s next album, The Man Who Sold the World, as well as recruiting Michael “Woody” Woodmansey as their drummer. Produced by Tony Visconti, who also played bass, The Man Who Sold the World was a heavy guitar rock album that failed to gain much attention. Bowie followed it in late 1971 with the pop/rock Hunky Dory, an album that featured Ronson and keyboardist Rick Wakeman.
Following its release, Bowie began to develop his most famous incarnation, Ziggy Stardust: an androgynous, bisexual rock star from another planet. Before he unveiled Ziggy, Bowie claimed in a January 1972 interview with Melody Maker that he was gay, helping to stir interest in his forthcoming album. Taking cues from Bolan’s stylish glam rock, Bowie dyed his hair orange and began wearing women’s clothing. He called himself Ziggy Stardust, and his backing band — Ronson, Woodmansey, and bassist Trevor Bolder — were the Spiders from Mars.
Ziggy Stardust became a word-of-mouth hit in the U.S., and the re-released “Space Oddity” — which was now also the title of the re-released Man of Words, Man of Music — reached the American Top 20. Bowie quickly followed Ziggy with Aladdin Sane later in 1973. Not only did he record a new album that year, he also produced Lou Reed’s Transformer, the Stooges’ Raw Power, and Mott the Hoople’s comeback All the Young Dudes, for which he also wrote the title track.
Given the amount of work Bowie packed into 1972 and 1973, it isn’t surprising that his relentless schedule began to catch up with him. After recording the all-covers Pin-Ups with the Spiders from Mars, he unexpectedly announced the band’s breakup, as well as his retirement from live performances, during the group’s final show that year. He retreated from the spotlight to work on a musical adaptation of George Orwell’s 1984, but once he was denied the rights to the novel, he transformed the work into Diamond Dogs. It was released to generally poor reviews in 1974, yet it generated the hit single “Rebel Rebel,” and he supported the album with an elaborate and expensive American tour. As the tour progressed, Bowie became fascinated with soul music, eventually redesigning the entire show to reflect his new “plastic soul.” Hiring guitarist Carlos Alomar as the band’s leader, Bowie refashioned his group into a Philly soul band and re-costumed himself in sophisticated, stylish fashions. The change took fans by surprise, as did the double-album David Live, which featured material recorded on the 1974 tour.
Young Americans, released in 1975, was the culmination of Bowie’s soul obsession, and it became his first major crossover hit, peaking in the American Top Ten and generating his first U.S. number one hit in “Fame,” a song he co-wrote with John Lennon and Alomar. Bowie relocated to Los Angeles, where he earned his first movie role in Nicolas Roeg’s The Man Who Fell to Earth (1976). While in L.A., he recorded Station to Station, which took the plastic soul of Young Americans into darker, avant-garde-tinged directions, but it was also a huge hit, generating the Top Ten single “Golden Years.” The album inaugurated Bowie’s persona of the elegant “Thin White Duke,” and it reflected Bowie’s growing cocaine-fueled paranoia. Soon, he decided Los Angeles was too boring and returned to England; shortly after arriving back in London, he gave the awaiting crowd a Nazi salute, a signal of his growing, drug-addled detachment from reality. The incident caused enormous controversy, and Bowie left the country to settle in Berlin, where he lived and worked with Brian Eno.
Once in Berlin, Bowie sobered up and began painting, as well as studying art. He also developed a fascination with German electronic music, which Eno helped him fulfill on their first album together, Low. Released early in 1977, Low was a startling mixture of electronics, pop, and avant-garde technique. While it was greeted with mixed reviews at the time, it proved to be one of the most influential albums of the late ’70s, as did its follow-up, Heroes, which followed that year. Not only did Bowie record two solo albums in 1977, he also helmed Iggy Pop’s comeback records The Idiot and Lust for Life, and toured anonymously as Pop’s keyboardist. He resumed his acting career in 1977, appearing in Just a Gigolo with Marlene Dietrich and Kim Novak, as well as narrating Eugene Ormandy’s version of Peter and the Wolf. Bowie returned to the stage in 1978, launching an international tour that was captured on the double-album Stage. In 1979, Bowie and Eno recorded Lodger in New York, Switzerland, and Berlin, releasing the album at the end of the year. Lodger was supported with several innovative videos, as was 1980’s Scary Monsters, and these videos — “DJ,” “Fashion,” “Ashes to Ashes” — became staples on early MTV.
Scary Monsters was Bowie’s last album for RCA, and it wrapped up his most innovative, productive period. Later in 1980, he performed the title role in the stage production of The Elephant Man, including several shows on Broadway. Over the next two years, he took an extended break from recording, appearing in Christiane F (1981) and the vampire movie The Hunger (1982), returning to the studio only for his 1981 collaboration with Queen, “Under Pressure,” and the theme for Paul Schrader’s remake of Cat People. In 1983, he signed an expensive contract with EMI Records and released Let’s Dance. Bowie had recruited Chic guitarist Nile Rodgers to produce the album, giving the record a sleek, funky foundation, and hired the unknown Stevie Ray Vaughan as lead guitarist. Let’s Dance became his most successful record, thanks to its stylish, innovative videos for “Let’s Dance” and “China Girl,” which turned both songs into Top Ten hits. Bowie supported the record with the sold-out arena tour Serious Moonlight.
Greeted with massive success for the first time, Bowie wasn’t quite sure how to react, and he eventually decided to replicate Let’s Dance with 1984’s Tonight. While the album sold well, producing the Top Ten hit “Blue Jean,” it received poor reviews and was ultimately a commercial disappointment. He stalled in 1985, recording a duet of Martha & the Vandellas’ “Dancing in the Street” with Mick Jagger for Live Aid. He also spent more time jet-setting, appearing at celebrity events across the globe, and appeared in several movies — Into the Night (1985), Absolute Beginners (1986), Labyrinth (1986) — that turned out to be bombs. Bowie returned to recording in 1987 with the widely panned Never Let Me Down, supporting the album with the Glass Spider tour, which also received poor reviews. In 1989, he remastered his RCA catalog with Rykodisc for CD release, kicking off the series with the three-disc box Sound + Vision. Bowie supported the discs with an accompanying tour of the same name, claiming that he was retiring all of his older characters from performance following the tour. Sound + Vision was successful, and Ziggy Stardust re-charted amidst the hoopla.
Sound + Vision may have been a success, but Bowie’s next project was perhaps his most unsuccessful. Picking up on the abrasive, dissonant rock of Sonic Youth and the Pixies, Bowie formed his own guitar rock combo, Tin Machine, with guitarist Reeves Gabrels, bassist Hunt Sales, and Hunt’s brother, drummer Tony, who had previously worked on Iggy Pop’s Lust for Life with Bowie. Tin Machine released an eponymous album to poor reviews that summer and supported it with a club tour, which was only moderately successful. Despite this, Tin Machine released a second album, the appropriately titled Tin Machine II, in 1991, and it was completely ignored.
Bowie returned to a solo career in 1993 with the sophisticated, soulful Black Tie White Noise, recording the album with Nile Rodgers and his by-then-permanent collaborator, Reeves Gabrels. The album was released on Savage, a subsidiary of RCA, and received positive reviews, but his new label went bankrupt shortly after its release, and the album disappeared. Black Tie White Noise was the first indication that Bowie was trying hard to resuscitate his career, as was the largely instrumental 1994 soundtrack The Buddha of Suburbia. In 1995, he reunited with Brian Eno for the industrial rock-tinged 1. Outside. Several critics hailed the album as a comeback, and Bowie supported it with a co-headlining tour with Nine Inch Nails in order to snag a younger, alternative audience, but his gambit failed; audiences left before Bowie’s performance and 1. Outside disappeared. He quickly returned to the studio in 1996, recording Earthling, an album heavily influenced by techno and drum’n’bass. Upon its early 1997 release, Earthling received generally positive reviews, yet the album failed to gain an audience, and many techno purists criticized Bowie for allegedly exploiting their subculture. hours… followed in 1999. In 2002, Bowie reunited with producer Toni Visconti and released Heathen to very positive reviews. He soldiered on with Visconti for Reality in 2003, which was once again warmly received.
Bowie supported Reality with a lengthy tour but it came to a halt in the summer of 2004 when he received an emergency angioplasty while in Hamburg, Germany. Following this health scare, Bowie quietly retreated from the public eye. Over the next few years, he popped up at the occasional charity concert or gala event and he sometimes sang in the studio for other artists (notably, he appeared on Scarlett Johansson’s Tom Waits tribute Anywhere I Lay My Head in 2008). Archival releases appeared but no new recordings did until he suddenly ended his unofficial retirement on his 66th birthday on January 8, 2013, releasing a new single called “Where Are We Now?” and announcing the arrival of a new album. Entitled The Next Day and once again produced by Visconti, the album was released in March of 2013. Greeted with generally positive reviews, The Next Day debuted at either number one or two throughout the world, earning gold certifications in many countries.
The following year, Bowie released a new compilation called Nothing Has Changed, which featured the new song “Sue (Or in a Season of Crime).” This track turned out to be the cornerstone of Bowie’s next project, Blackstar. Arriving on January 8, 2016, the album found Bowie re-teaming with Tony Visconti and exploring adventurous territory, as signaled by its lead single, “Blackstar.” Just two days after its release, it was announced that David Bowie had died from liver cancer. In a Facebook post, Tony Visconti revealed that Bowie knew of his illness for at least 18 months and created Blackstar as “his parting gift.” It topped several national charts — including the Billboard 200, which made it his first number one album in the U.S.
By the autumn of 2016, posthumous projects began to surface, including Who Can I Be Now? — a collection of his mid-’70s albums that functioned as a sequel to the previous year’s box set Five Years — and the release of the cast recording to Lazarus, the Broadway musical he completed in his final years. On January 8, 2017 — the year anniversary of the release of Blackstar — the No Plan EP, containing Bowie’s versions of songs heard in the Lazarus musical, was released. A New Career in a New Town — the third volume of retrospective box sets, this installment focusing on his recordings of the late ’70s — appeared in September 2017. The following year, the fourth retrospective box — Loving the Alien — was released, featuring albums issued between the years 1983 and 1988. Included was Bowie’s biggest-selling ’80s album, Let’s Dance — alongside a selection of live releases — as well as a 2018 production of his 1987 album Never Let Me Down, featuring string arrangements by Nico Muhly and production from Mario McNulty. Over the course of 2019, Parlophone released a series of limited-edition vinyl sets spotlighting demos Bowie recorded in 1969. At the end of the year, these recordings were collected alongside a new mix of David Bowie (Space Oddity) in the box set Conversation Piece. The Metrobolist, a revised version of The Man Who Sold the World released under its original title, appeared late in 2020, followed in 2021 by The Width of a Circle, a double-disc collection of non-LP Bowie recordings from 1970. Late in 2021, the fifth “era” retrospective box set Brilliant Adventure (1992-2001) was released. Among its highlights was the unreleased album Toy, a collection of modern reworkings of early, pre-“Space Oddity” songs from Bowie. Toy received its own separate release in January 2022.
by Stephen Thomas Erlewine / Source: all music