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General information  

  • Real name : David Robert Jones
  • Place of birth : Brixton
  • Date of birth : 08/01/1947


  • Ziggy Stardust
  • The Thin White Duke
  • The Halloween Jack
  • Aladdin Sane
  • Halloween Jack
  • The Man Who Fell To Earth
  • The Dame
  • Le Caméléon de la Pop
  • Nathan Adler
  • David Jones
  • "The Thin White Duke"
  • "The Dame"
  • Дэвид Боуи
  • Bowie David


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David Bowie (1947)

David Robert Jones

Type :  


David Bowie is an English musician, actor, record producer and arranger. A major figure for over four decades in the world of popular music, Bowie is widely regarded as an innovator, particularly for his work in the 1970s. He is known for his distinctive voice, and the intellectual depth and eclecticism of his work.

Bowie first caught the eye and ear of the public in July 1969, when his song "Space Oddity" reached the top five of the UK Singles Chart. After a three-year period of experimentation he re-emerged in 1972 during the glam rock era with the flamboyant, androgynous alter ego Ziggy Stardust, spearheaded by the hit single "Starman" and the album The Rise and Fall of Ziggy Stardust and the Spiders from Mars. Bowie's impact at that time, as described by biographer David Buckley, "challenged the core belief of the rock music of its day" and "created perhaps the biggest cult in popular culture." The relatively short-lived Ziggy persona proved merely one facet of a career marked by continual reinvention, musical innovation and striking visual presentation.

In 1975, Bowie achieved his first major American crossover success with the number-one single "Fame" and the hit album Young Americans, which the singer characterised as "plastic soul". The sound constituted a radical shift in style that initially alienated many of his UK devotees. He then confounded the expectations of both his record label and his American audiences by recording the minimalist album Low —the first of three collaborations with Brian Eno over the next two years. The so-called "Berlin Trilogy" albums all reached the UK top five and garnered lasting critical praise.

After uneven commercial success in the late 1970s, Bowie had UK number ones with the 1980 single "Ashes to Ashes", its parent album Scary Monsters , and "Under Pressure", a 1981 collaboration with Queen. He then reached a new commercial peak in 1983 with Let's Dance, which yielded several hit singles. Throughout the 1990s and 2000s, Bowie continued to experiment with musical styles, including blue-eyed soul, industrial, adult contemporary, and jungle. His last recorded album was Reality , which was supported by the 2003–04 Reality Tour.

Buckley says of Bowie: "His influence has been unique in popular culture—he has permeated and altered more lives than any comparable figure." In the BBC's 2002 poll of the 100 Greatest Britons, Bowie was placed at number 29. Throughout his career, he has sold an estimated 140 million albums. In the UK, he has been awarded nine Platinum album certifications, 11 Gold and eight Silver, and in the US, five Platinum and seven Gold certifications. In 2004, Rolling Stone ranked him 39th on their list of the "100 Greatest Artists of All Time", and 23rd on their list of the best singers of all-time.


 1947–62: early years
David Bowie was born David Robert Jones in Brixton, London, on 8 January 1947. His mother, Margaret Mary "Peggy" (née Burns), of Irish descent, worked as a cinema usherette, while his father, Haywood Stenton "John" Jones was a promotions officer for Barnardo's. The family lived at 40 Stansfield Road, located near the border of the south London areas of Brixton and Stockwell. A neighbour recalled that "London in the forties was the worst possible place, and the worst possible time for a child to grow up in." Bowie attended Stockwell Infants School until he was six years old, acquiring a reputation as a gifted and single-minded child—and a defiant brawler.

In 1953 the family moved to the suburb of Bromley, where, two years later, Bowie progressed to Burnt Ash Junior School. His singing voice was considered "adequate" by the school choir, and his recorder playing judged to demonstrate above-average musical ability. At the age of nine, his dancing during the newly introduced music and movement classes was strikingly imaginative: teachers called his interpretations "vividly artistic" and his poise "astonishing" for a child. The same year, his interest in music was further stimulated when his father brought home a collection of American 45s by artists including Frankie Lymon and the Teenagers, The Platters, Fats Domino, Elvis Presley and Little Richard. Upon listening to "Tutti Frutti", Bowie would later say, "I had heard God". Presley's impact on him was likewise emphatic: "I saw a cousin of mine dance to ... 'Hound Dog' and I had never seen her get up and be moved so much by anything. It really impressed me, the power of the music. I started getting records immediately after that." By the end of the following year he had taken up the ukelele and tea-chest bass and begun to participate in skiffle sessions with friends, and had started to play the piano; meanwhile his stage presentation of numbers by both Presley and Chuck Berry—complete with gyrations in tribute to the original artists—to his local Wolf Cub group was described as "mesmerizing ... like someone from another planet." Failing his eleven plus exam at the conclusion of his Burnt Ash Junior education, Bowie joined Bromley Technical High School.

It was an unusual technical school, as biographer Christopher Sandford writes:

Bowie studied art, music, and design, including layout and typesetting. After Terry Burns, his half-brother, introduced him to modern jazz, his enthusiasm for players like Charles Mingus and John Coltrane led his mother to give him a plastic alto saxophone in 1961; he was soon receiving lessons from a local musician. He received a serious injury at school in 1962 when his friend George Underwood, wearing a ring on his finger, punched him in the left eye during a fight over a girl. Doctors feared he would lose the sight of the eye, and he was forced to stay out of school for a series of operations during a four-month hospitalisation. The damage could not be fully repaired, leaving him with faulty depth perception and a permanently dilated pupil (the latter producing Bowie's appearance of having different coloured eyes, though each iris has the same blue colour). Despite their fisticuffs, Underwood and Bowie remained good friends, and Underwood went on to create the artwork for Bowie's early albums.

 1962–68: the Konrads to the Riot Squad
Graduating from his plastic saxophone to a real instrument in 1962, Bowie formed his first band at the age of 15. Playing guitar-based rock and roll at local youth gatherings and weddings, the Konrads had a varying line-up of between four and eight members, Underwood among them. When Bowie left the technical school the following year, he informed his parents of his intention to become a pop star. His mother promptly arranged his employment as an electrician's mate. Frustrated by his band-mates' limited aspirations, Bowie left the Konrads and joined another band, the King Bees. He wrote to the newly successful washing-machine entrepreneur John Bloom inviting him to "do for us what Brian Epstein has done for the Beatles—and make another million." Bloom did not respond to the offer, but his referral to Dick James's partner Leslie Conn led to Bowie's first personal management contract.

Conn quickly began to promote Bowie. The singer's debut single, "Liza Jane", credited to Davie Jones and the King Bees, had no commercial success. Dissatisfied with the King Bees and their repertoire of Howlin' Wolf and Willie Dixon blues numbers, Bowie quit the band less than a month later to join the Manish Boys, another blues outfit, who incorporated folk and soul — "I used to dream of being their Mick Jagger", Bowie was to recall. "I Pity the Fool" was no more successful than "Liza Jane", and Bowie soon moved on again to join the Lower Third, a blues trio strongly influenced by The Who. "You've Got a Habit of Leaving" fared no better, signalling the end of Conn's contract. Declaring that he would exit the pop world "to study mime at Sadler's Wells", Bowie nevertheless remained with the Lower Third. His new manager, Ralph Horton, later instrumental in his transition to solo artist, soon witnessed Bowie's move to yet another group, the Buzz, yielding the singer's fifth unsuccessful single release, "Do Anything You Say". While with the Buzz, Bowie also joined the Riot Squad; their recordings, which included a Bowie number and Velvet Underground material, went unreleased. Ken Pitt, introduced by Horton, took over as Bowie's manager.

Dissatisfied with his stage name as Davy Jones, which in the mid-1960s invited confusion with Davy Jones of The Monkees, Bowie re-named himself after the 19th century American frontiersman Jim Bowie and the knife he had popularised. His April 1967 solo single, "The Laughing Gnome", utilising sped-up Chipmunk-style vocals, failed to chart. Released six weeks later, his album debut, David Bowie, an amalgam of pop, psychedelia, and music hall, met the same fate. It would be his last release for two years.

Bowie's fascination with the bizarre was fuelled when he met dancer Lindsay Kemp: "He lived on his emotions, he was a wonderful influence. His day-to-day life was the most theatrical thing I had ever seen, ever. It was everything I thought Bohemia probably was. I joined the circus." Kemp, for his part, recalled, "I didn't really teach him to be a mime artiste but to be more of himself on the outside, ... I enabled him to free the angel and demon that he is on the inside." Studying the dramatic arts under Kemp, from avant-garde theatre and mime to commedia dell'arte, Bowie became immersed in the creation of personae to present to the world. Satirising life in a British prison, meanwhile, the Bowie-penned "Over the Wall We Go" became a 1967 single for Oscar; another Bowie composition, "Silly Boy Blue", was released by Billy Fury the following year. After Kemp cast Bowie with Hermione Farthingale for a poetic minuet, the pair began dating; they soon moved into a London flat together. Playing acoustic guitar, she formed a group with Bowie and bassist John Hutchinson; between September 1968 and early 1969, when Bowie and Farthingale broke up, the trio gave a small number of concerts combining folk, Merseybeat, poetry and mime.

 1969–73: psychedelic folk to glam rock
Space Oddity to Hunky Dory
Because of his lack of commercial success, Bowie was forced to try to earn a living in different ways. He featured in a Lyons Maid ice cream commercial, but was rejected for another by Kit Kat. Intended as a vehicle to promote the singer, a 30-minute film featuring performances from his repertoire, Love You till Tuesday, was made. Although not released until 1984, the filming sessions in January 1969 led to unexpected success when Bowie told the producers, "That film of yours—I've got a new song for it." He then demoed the song that would provide his commercial breakthrough. "Space Oddity" was released later in the year to coincide with the first moon landing. Breaking up with Farthingale shortly after completion of the film, Bowie moved in with Mary Finnigan as her lodger. Continuing the divergence from rock and roll and blues begun by his work with Farthingale, Bowie joined forces with Finnigan, Christina Ostrom and Barrie Jackson to run a folk club on Sunday nights at the Three Tuns pub in Beckenham High Street. This soon morphed into the Beckenham Arts Lab, and became extremely popular. The Arts Lab hosted a free festival in a local park, later immortalised by Bowie in his song "Memory of a Free Festival". "Space Oddity" was released on 11 July, five days ahead of the Apollo 11 launch, to become a UK top five hit. Bowie's second album, Space Oddity, followed in November; originally issued in the UK as David Bowie, it caused some confusion with its predecessor of the same name, and the early US release was instead titled Man of Words/Man of Music. Featuring philosophical post-hippie lyrics on peace, love and morality, its acoustic folk rock occasionally fortified by harder rock, the album was not a commercial success at the time of its release.

Bowie met Angela Barnett in April 1969. They would marry within a year. Her impact on him was immediate, and her involvement in his career far-reaching, leaving Pitt with limited influence. Having established himself as a solo artist with "Space Oddity", Bowie now began to sense a lack: "a full-time band for gigs and recording—people he could relate to personally". The shortcoming was underlined by his artistic rivalry with Marc Bolan, who was at the time acting as his session guitarist. A band was duly assembled. John Cambridge, a drummer Bowie met at the Arts Lab, was joined by Tony Visconti on bass and Mick Ronson on electric guitar. Known as The Hype, the band members created characters for themselves and wore elaborate costumes that prefigured the glam style of The Spiders From Mars. After a disastrous opening gig at the London Roundhouse, they reverted to a configuration presenting Bowie as a solo artist. Their initial studio work was marred by a heated disagreement between Bowie and Cambridge over the latter's drumming style; matters came to a head when Bowie, enraged, accused, "You're fucking up my album." Cambridge summarily quit and was replaced by Mick Woodmansey. Not long after, in a move that would result in years of litigation, at the conclusion of which Bowie would be forced to pay Pitt compensation, the singer fired his manager, replacing him with Tony Defries.

The studio sessions continued and resulted in Bowie's third album, The Man Who Sold the World . Characterised by the heavy rock sound of his new backing band, it was a marked departure from the acoustic guitar and folk rock style established by Space Oddity. To promote it in the United States, Mercury Records financed a coast-to-coast publicity tour in which Bowie, between January and February 1971, was interviewed by radio stations and the media. Exploiting his androgynous appearance, the original cover of the UK version unveiled two months later would depict the singer wearing a dress: taking the garment with him, he wore it during interviews—to the approval of critics, including Rolling Stone's John Mendelsohn who described him as "ravishing, almost disconcertingly reminiscent of Lauren Bacall"—and in the street, to mixed reaction including laughter and, in the case of one male pedestrian, producing a gun and telling Bowie to "kiss my ass". During the tour Bowie's observation of two seminal American proto-punk artists led him to develop a concept that would eventually find form in the Ziggy Stardust character: a melding of the persona of Iggy Pop with the music of Lou Reed, producing "the ultimate pop idol". A girlfriend recalled his "scrawling notes on a cocktail napkin about a crazy rock star named Iggy or Ziggy", and on his return to England he declared his intention to create a character "who looks like he's landed from Mars".

Hunky Dory found Visconti, Bowie's producer and bassist, supplanted in both roles, by Ken Scott and Trevor Bolder respectively. The album saw the partial return of the fey pop singer of "Space Oddity", with light fare such as "Kooks", a song written for his son, Duncan Zowie Haywood Jones, born on 30 May. (His parents chose "his kooky name"—he would be known as Zowie for the next 12 years—after the Greek word zoe, life.) Elsewhere, the album explored more serious themes, and found Bowie paying unusually direct homage to his influences with "Song for Bob Dylan", "Andy Warhol", and "Queen Bitch", a Velvet Underground pastiche. It was not a significant commercial success at the time.

Ziggy Stardust

With his next venture, Bowie, in the words of biographer David Buckley, "challenged the core belief of the rock music of its day" and "created perhaps the biggest cult in popular culture". Dressed in a striking costume, his hair dyed red, Bowie launched his Ziggy Stardust stage show with the Spiders from Mars—Ronson, Bolder and Woodmansey—at the Toby Jug pub in Tolworth on 10 February 1972. The show was hugely popular, catapulting him to stardom as he toured the UK over the course of the next six months and creating, as described by Buckley, a "cult of Bowie" that was "unique—its influence lasted longer and has been more creative than perhaps almost any other force within pop fandom." The Rise and Fall of Ziggy Stardust and the Spiders from Mars , combining the hard rock elements of The Man Who Sold the World with the lighter experimental rock and pop of Hunky Dory, was released in June. "Starman", issued as an April single ahead of the album, was to cement Bowie's UK breakthrough: both single and album charted rapidly following his July Top of the Pops performance of the song. The album, which would remain in the chart for two years, was soon joined there by the six-month-old Hunky Dory. At the same time the non-album single "John, I’m Only Dancing", and "All the Young Dudes", a song he wrote and produced for Mott the Hoople, became UK hits. The Ziggy Stardust Tour continued to the United States.

Bowie contributed backing vocals to Lou Reed's 1972 solo breakthrough Transformer, co-producing the album with Mick Ronson. His own Aladdin Sane topped the UK chart, his first number one album. Described by Bowie as "Ziggy goes to America", it contained songs he wrote while travelling to and across the United States during the earlier part of the Ziggy tour, which now continued to Japan to promote the new album. Aladdin Sane spawned the UK top five singles "The Jean Genie" and "Drive-In Saturday".

Bowie's love of acting led his total immersion in the characters he created for his music. "Offstage I'm a robot. Onstage I achieve emotion. It's probably why I prefer dressing up as Ziggy to being David." With satisfaction came severe personal difficulties: acting the same role over an extended period, it became impossible for him to separate Ziggy Stardust—and, later, the Thin White Duke—from his own character offstage. Ziggy, Bowie said, "wouldn't leave me alone for years. That was when it all started to go sour ... My whole personality was affected. It became very dangerous. I really did have doubts about my sanity." His later Ziggy shows, which included songs from both Ziggy Stardust and Aladdin Sane, were ultra-theatrical affairs filled with shocking stage moments, such as Bowie stripping down to a sumo wrestling loincloth or simulating oral sex with Ronson's guitar. Bowie toured and gave press conferences as Ziggy before a dramatic and abrupt on-stage "retirement" at London's Hammersmith Odeon on 3 July 1973. Footage from the final show was released in 1983 for the film Ziggy Stardust and the Spiders from Mars.

After breaking up the Spiders from Mars, Bowie attempted to move on from his Ziggy persona. His back catalogue was now highly sought: The Man Who Sold the World had been re-released in 1972 along with Space Oddity. "Life on Mars?", from Hunky Dory, was released in June 1973 and made number three in the UK singles chart. Entering the same chart in September, Bowie's novelty record from 1967, "The Laughing Gnome", would reach number four. Pin Ups, a collection of covers of his 1960s favourites, followed in October, producing a UK number three hit in "Sorrow" and itself peaking at number one, making David Bowie the best-selling act of 1973 in the UK. It brought the total number of Bowie albums currently in the UK chart to six.

 1974–76: Soul, funk and the Thin White Duke

Bowie moved to the United States in 1974, initially staying in New York City before settling in Los Angeles. Diamond Dogs , parts of which found him heading towards soul and funk, was the product of two distinct ideas: a musical based on a wild future in a post-apocalyptic city, and setting George Orwell's 1984 to music. The album went to number one in the UK, spawning the hits "Rebel Rebel" and "Diamond Dogs", and number five in the US. To promote it, Bowie launched the Diamond Dogs Tour, visiting cities in North America between June and December 1974. Choreographed by Toni Basil, and lavishly produced with theatrical special effects, the high-budget stage production was filmed by Alan Yentob. The resulting documentary, Cracked Actor, featured a pasty and emaciated Bowie: the tour coincided with the singer's slide from heavy cocaine use into addiction, producing severe physical debilitation, paranoia and emotional problems. He later commented that the accompanying live album, David Live, ought to have been titled "David Bowie Is Alive and Well and Living Only In Theory". David Live nevertheless solidified Bowie's status as a superstar, charting at number two in the UK and number eight in the US. It also spawned a UK number ten hit in Bowie's cover of "Knock on Wood". After a break in Philadelphia, where Bowie recorded new material, the tour resumed with a new emphasis on soul.

The fruit of the Philadelphia recording sessions was Young Americans . Biographer Christopher Sandford writes, "Over the years, most British rockers had tried, one way or another, to become black-by-extension. Few had succeeded as Bowie did now." The album's sound, which the singer identified as "plastic soul", constituted a radical shift in style that initially alienated many of his UK devotees. Young Americans yielded Bowie's first US number one, "Fame", co-written with John Lennon, who contributed backing vocals, and Carlos Alomar. Lennon would call Bowie's work as "great, but just rock and roll with lipstick on". Earning the distinction of being one of the first white artists to appear on the US variety show Soul Train, Bowie mimed "Fame", as well as "Golden Years", his October single, and that it was offered to Elvis Presley to perform, but Presley declined it. Young Americans was a commercial success in both the US and the UK, and a re-issue of the 1969 single "Space Oddity" became Bowie's first number one hit in the UK a few months after "Fame" achieved the same in the US. Despite his by now well established superstardom, Bowie, in the words of biographer Christopher Sandford, "for all his record sales , existed essentially on loose change." In 1975, in a move echoing Ken Pitt's acrimonious dismissal five years earlier, Bowie fired his manager. At the culmination of the ensuing months-long legal dispute, he watched, as described by Sandford, "millions of dollars of his future earnings being surrendered" in what were "uniquely generous terms for Defries", then "shut himself up in West 20th Street, where for a week his howls could be heard through the locked attic door." Michael Lippman, Bowie's lawyer during the negotiations, became his new manager; Lippman in turn would be awarded substantial compensation when Bowie fired him the following year.

Station to Station introduced a new Bowie persona, the "Thin White Duke" of its title track. Visually, the character was an extension of Thomas Jerome Newton, the extraterrestrial being he portrayed in the film The Man Who Fell to Earth the same year. Developing the funk and soul of Young Americans, Station to Station also prefigured the Krautrock and synthesiser music of his next releases. The extent to which drug addiction was now affecting Bowie was made public when Russell Harty interviewed the singer for his London Weekend Television talk show in anticipation of the album's supporting tour. Shortly before the satellite-linked interview was scheduled to commence, the death of the Spanish dictator General Franco was announced. Bowie was asked to relinquish the satellite booking, to allow the Spanish Government to put out a live newsfeed. This he refused to do, and his interview went ahead. In the ensuing conversation with Harty, as described by biographer David Buckley, "the singer made hardly any sense at all throughout what was quite an extensive interview. Bowie looked completely disconnected and was hardly able to utter a coherent sentence." His sanity—by his own later admission—had become twisted from cocaine; he overdosed several times during the year, and was withering physically to an alarming degree.

Station to Station's January 1976 release was followed in February by a three-and-a-half-month concert tour of Europe and North America. Featuring a starkly lit set, the Isolar – 1976 Tour highlighted songs from the album, including the dramatic and lengthy title track, the ballads "Wild Is the Wind" and "Word on a Wing", and the funkier "TVC 15" and "Stay". The core band that coalesced around this album and tour—rhythm guitarist Alomar, bassist George Murray, and drummer Dennis Davis—would continue as a stable unit for the remainder of the 1970s. The tour was highly successful but mired in political controversy. Bowie was quoted in Stockholm as saying that "Britain could benefit from a Fascist leader", and detained by customs on the Russian/Polish border for possessing Nazi paraphernalia. Matters came to a head in London in May in what became known as the "Victoria Station incident". Arriving in an open-top Mercedes convertible, the singer waved to the crowd in a gesture that some alleged was a Nazi salute, which was captured on camera and published in NME. Bowie said the photographer simply caught him in mid-wave. He later blamed his pro-Fascism comments and his behaviour during the period on his addictions and the character of the Thin White Duke. "I was out of my mind, totally crazed. The main thing I was functioning on was mythology ... that whole thing about Hitler and Rightism ... I'd discovered King Arthur ...". According to playwright Alan Franks, writing later in The Times, "he was indeed 'deranged'. He had some very bad experiences with hard drugs."

 1976–79: the Berlin era

Bowie moved to Switzerland in 1976, purchasing a chalet in the hills to the north of Lake Geneva. In the new environment, his cocaine use increased; so too did his interest in pursuits outside his musical career. He took up painting, producing a number of post-modernist pieces. When on tour, he took to sketching in a notebook, and photographing scenes for later reference. Visiting galleries in Geneva and the Brücke Museum in Berlin, Bowie became, in the words of biographer Christopher Sandford, "a prolific producer and collector of contemporary art. Not only did he become a well-known patron of expressionist art: locked in Clos des Mésanges he began an intensive self-improvement course in classical music and literature, and started work on an autobiography".

Before the end of 1976, Bowie's interest in the burgeoning German music scene, as well as his drug addiction, prompted him to move to West Berlin to clean up and revitalise his career. Working with Brian Eno while sharing an apartment in Schöneberg with Iggy Pop, he began to focus on minimalist, ambient music for the first of three albums, co-produced with Tony Visconti, that would become known as his Berlin Trilogy. During the same period, Iggy Pop, with Bowie as a co-writer and musician, completed his solo album debut, The Idiot, and its follow-up, Lust for Life, touring the UK, Europe, and the US in March and April 1977. Low , partly influenced by the Krautrock sound of Kraftwerk and Neu!, evidenced a move away from narration in Bowie's songwriting to a more abstract musical form in which lyrics were sporadic and optional. It received considerable negative criticism upon its release—a release which RCA, anxious to maintain the established commercial momentum, did not welcome, and which Bowie's ex-manager, Tony Defries, who still maintained a significant financial interest in the singer's affairs, tried to prevent. Despite these forebodings, Low yielded the UK number three single "Sound and Vision", and its own performance surpassed that of Station to Station in the UK chart, where it reached number two. Leading contemporary composer Philip Glass described Low as "a work of genius" in 1992, when he used it as the basis for his Symphony No. 1 "Low"; subsequently, Glass used Bowie's next album as the basis for his 1996 Symphony No. 4 "Heroes". Glass has praised Bowie's gift for creating "fairly complex pieces of music, masquerading as simple pieces".

Echoing Low's minimalist, instrumental approach, the second of the trilogy, "Heroes" , incorporated pop and rock to a greater extent, seeing Bowie joined by guitarist Robert Fripp. Like Low, "Heroes" evinced the zeitgeist of the Cold War, symbolised by the divided city of Berlin. Incorporating ambient sounds from a variety of sources including white noise generators, synthesizers and koto, the album was another hit, reaching number three in the UK. Its title track, though only reaching number 24 in the UK singles chart, gained lasting popularity, and within months had been released in both German and French. Towards the end of the year, Bowie performed the song for Marc Bolan's television show Marc, and again two days later for Bing Crosby's televised Christmas special, when he joined Crosby in "Peace on Earth/Little Drummer Boy", a version of "The Little Drummer Boy" with a new, contrapuntal verse. Five years later, the duet would prove a worldwide seasonal hit, charting in the UK at number three on Christmas Day, 1982.

After completing Low and "Heroes", Bowie spent much of 1978 on the Isolar II world tour, bringing the music of the first two Berlin Trilogy albums to almost a million people during 70 concerts in 12 countries. By now he had broken his drug addiction; biographer David Buckley writes that Isolar II was "Bowie's first tour for five years in which he had probably not anaesthetised himself with copious quantities of cocaine before taking the stage. Without the oblivion that drugs had brought, he was now in a healthy enough mental condition to want to make friends." Recordings from the tour made up the live album Stage, released the same year.

The final piece in what Bowie called his "triptych", Lodger , eschewed the minimalist, ambient nature of the other two, making a partial return to the drum- and guitar-based rock and pop of his pre-Berlin era. The result was a complex mixture of New Wave and World Music, in places incorporating Hejaz non-Western scales. Some tracks were composed using Eno and Peter Schmidt's Oblique Strategies cards: "Boys Keep Swinging" entailed band members swapping instruments, "Move On" used the chords from Bowie's early composition "All the Young Dudes" played backwards, and "Red Money" took backing tracks from "Sister Midnight", a piece previously composed with Iggy Pop. The album was recorded in Switzerland. Ahead of its release, RCA's Mel Ilberman stated, "It would be fair to call it Bowie's Sergeant Pepper a concept album that portrays the Lodger as a homeless wanderer, shunned and victimized by life's pressures and technology." As described by biographer Christopher Sandford, "The record dashed such high hopes with dubious choices, and production that spelt the end—for fifteen years—of Bowie's partnership with Eno." Lodger reached number 4 in the UK and number 20 in the US, and yielded the UK hit singles "Boys Keep Swinging" and "DJ". Towards the end of the year, Bowie and Angela initiated divorce proceedings, and after months of court battles the marriage was ended in early 1980.

 1980–89: from superstar to megastar

Scary Monsters produced the number one hit "Ashes to Ashes", featuring the textural work of guitar-synthesist Chuck Hammer and revisiting the character of Major Tom from "Space Oddity". The song gave international exposure to the underground New Romantic movement when Bowie visited the London club "Blitz"—the main New Romantic hangout—to recruit several of the regulars to act in the accompanying video, renowned as one of the most innovative of all time. While Scary Monsters utilised principles established by the Berlin albums, it was considered by critics to be far more direct musically and lyrically. The album's hard rock edge included conspicuous guitar contributions from Robert Fripp, Pete Townshend, Chuck Hammer and Tom Verlaine. As "Ashes to Ashes" hit number one on the UK charts, Bowie opened a three-month run on Broadway on 24 September, starring in The Elephant Man.

Bowie paired with Queen in 1981 for a one-off single release, "Under Pressure". The duet was a hit, becoming Bowie's third UK number one single. The same year, he made a cameo appearance in the German film Christiane F., a real-life story of teenage drug addiction in 1970s Berlin. The soundtrack, in which Bowie's music featured prominently, was released as Christiane F. a few months later. Bowie was given the lead role in the BBC's 1981 televised adaptation of Bertolt Brecht's play Baal. Coinciding with its transmission, a five-track EP of songs from the play, recorded earlier in Berlin, was released as David Bowie in Bertolt Brecht's Baal. In March 1982, the month before Paul Schrader's film Cat People came out, Bowie's title song, "Cat People ", was released as a single, becoming a minor US hit and entering the UK top 30.

Bowie reached a new peak of popularity and commercial success in 1983 with Let's Dance. Co-produced by Chic's Nile Rodgers, the album went platinum in both the UK and the US. Its three singles became top twenty hits in both countries, where its title track reached number one. "Modern Love" and "China Girl" made number two in the UK, accompanied by a pair of acclaimed promotional videos that, as described by biographer David Buckley, "were totally absorbing and activated key archetypes in the pop world. 'Let's Dance', with its little narrative surrounding the young Aborigine couple, targeted 'youth', and 'China Girl', with its bare-bummed (and later partially-censored) beach lovemaking scene , was sufficiently sexually provocative to guarantee heavy rotation on MTV. By 1983, Bowie had emerged as one of the most important video artists of the day. Let's Dance was followed by the Serious Moonlight Tour, during which Bowie was accompanied by guitarist Earl Slick and backing vocalists Frank and George Simms. The world tour lasted six months and was extremely popular. Stevie Ray Vaughan was guest guitarist playing solo on "Let's Dance".

Tonight , another dance-oriented album, found Bowie collaborating with Tina Turner and, once again, Iggy Pop. It included a number of cover songs, among them the 1966 Beach Boys hit "God Only Knows". The album bore the transatlantic top ten hit "Blue Jean", itself the inspiration for a short film that won Bowie a Grammy Award for Best Short Form Music Video, "Jazzin' for Blue Jean". Bowie performed at Wembley in 1985 for Live Aid, a multi-venue benefit concert for Ethiopian famine relief. During the event, the video for a fundraising single was premièred, Bowie's duet with Mick Jagger. "Dancing in the Street" quickly went to number one on release. The same year, Bowie worked with the Pat Metheny Group to record "This Is Not America" for the soundtrack of The Falcon and the Snowman. Released as a single, the song became a top 40 hit in the UK and US.

Bowie was given a role in the 1986 film Absolute Beginners. It was poorly received by critics, but Bowie's theme song rose to number two in the UK charts. He also appeared as Jareth, the Goblin King, in the 1986 Jim Henson film Labyrinth, for which he wrote five songs. His final solo album of the decade was 1987's Never Let Me Down, where he ditched the light sound of his previous two albums, instead offering harder rock with an industrial/techno dance edge. Peaking at number six in the UK, the album yielded the hits "Day-In, Day-Out" , "Time Will Crawl", and "Never Let Me Down". Bowie later described it as his "nadir", calling it "an awful album". Supporting Never Let Me Down, and preceded by nine promotional press shows, the 86-concert Glass Spider Tour commenced on 30 May. Bowie's backing band included Peter Frampton on lead guitar. Critics maligned the tour as overproduced, saying it pandered to the current stadium rock trends in its special effects and dancing.

 1989–91: Tin Machine
Bowie shelved his solo career in 1989, retreating to the relative anonymity of band membership for the first time since the early 1970s. A hard-rocking quartet, Tin Machine came into being after Bowie began to work experimentally with guitarist Reeves Gabrels. The line-up was completed by Tony and Hunt Sales, whom Bowie had known since the late 1970s for their contribution, on drums and bass respectively, to Iggy Pop's 1977 album Lust For Life.

Though he intended Tin Machine to operate as a democracy, Bowie dominated, both in songwriting and in decision-making. The band's album debut, Tin Machine , was initially popular, though its politicised lyrics did not find universal approval: Bowie described one song as "a simplistic, naive, radical, laying-it-down about the emergence of neo-Nazis"; in the view of biographer Christopher Sandford, "It took nerve to denounce drugs, fascism and TV in terms that reached the literary level of a comic book." EMI complained of "lyrics that preach" as well as "repetitive tunes" and "minimalist or no production". The album nevertheless reached number three in the UK. Tin Machine's first world tour was a commercial success, but there was growing reluctance—among fans and critics alike—to accept Bowie's presentation as merely a band member. A series of Tin Machine singles failed to chart, and Bowie, after a disagreement with EMI, left the label. Like his audience and his critics, Bowie himself became increasingly disaffected with his role as just one member of a band. Tin Machine began work on a second album, but Bowie put the venture on hold and made a return to solo work. Performing his early hits during the seven-month Sound+Vision Tour, he found commercial success and acclaim once again.

In October 1990, a decade after his divorce from Angela, Bowie and Somali-born supermodel Iman were introduced by a mutual friend. Bowie recalled, "I was naming the children the night we met ... it was absolutely immediate." They would marry in 1992. Tin Machine resumed work the same month, but their audience and critics, ultimately left disappointed by the first album, showed little interest in a second. Tin Machine II's arrival was marked by a widely publicised and ill-timed conflict over the cover art: after production had begun, the new record label, Victory, deemed the depiction of four ancient nude Kouroi statues, judged by Bowie to be "in exquisite taste", "a show of wrong, obscene images", requiring air-brushing and patching to render the figures sexless. Tin Machine toured again, but after the live album Tin Machine Live: Oy Vey, Baby failed commercially, the band drifted apart, and Bowie, though he continued to collaborate with Gabrels, resumed his solo career.

 1992–99: electronica

In April 1992 Bowie appeared at the Freddie Mercury Tribute Concert, following the Queen frontman's death the previous year. As well as performing "Heroes" and "All the Young Dudes", he was joined on "Under Pressure" by Annie Lennox, who took Mercury's vocal part. Four days later, Bowie and Iman were married in Switzerland. Intending to move to Los Angeles, they flew in to search for a suitable property, but found themselves confined to their hotel, under curfew: the 1992 Los Angeles riots began the day they arrived. They settled in New York instead.

1993 saw the release of Bowie's first solo offering since his Tin Machine departure, the soul, jazz and hip-hop influenced Black Tie White Noise. Making prominent use of electronic instruments, the album, which reunited Bowie with Let's Dance producer Nile Rodgers, confirmed Bowie's return to popularity, hitting the number one spot on the UK charts and spawning three top 40 hits, including the top 10 song "Jump They Say". Bowie explored new directions on The Buddha of Suburbia , a soundtrack album of incidental music composed for the TV series adaptation of Hanif Kureishi's novel. It contained some of the new elements introduced in Black Tie White Noise, and also signalled a move towards alternative rock. The album was a critical success but received a low-key release and only made number 87 in the UK charts.

Reuniting Bowie with Eno, the quasi-industrial Outside was originally conceived as the first volume in a non-linear narrative of art and murder. Featuring characters from a short story written by Bowie, the album achieved US and UK chart success, and yielded three top 40 UK singles. In a move that provoked mixed reaction from both fans and critics, Bowie chose Nine Inch Nails as his tour partner for the Outside Tour. Visiting cities in Europe and North America between September 1995 and February the following year, the tour saw the return of Gabrels as Bowie's guitarist.

Bowie was inducted into the Rock and Roll Hall of Fame on 17 January 1996. Incorporating experiments in British jungle and drum 'n' bass, Earthling was a critical and commercial success in the UK and the US, and two singles from the album became UK top 40 hits. Bowie's song "I'm Afraid of Americans" from the Paul Verhoeven film Showgirls was re-recorded for the album, and remixed by Trent Reznor for a single release. The heavy rotation of the accompanying video, also featuring Reznor, contributed to the song's 16-week stay in the US Billboard Hot 100. The Earthling Tour took in Europe and North America between June and November 1997. Bowie reunited with Visconti in 1998 to record " Sky Life" for The Rugrats Movie. Although the track was edited out of the final cut, it would later be re-recorded and released as "Safe" on the B-side of Bowie's 2002 single "Everyone Says 'Hi'". The reunion led to other collaborations including a limited-edition single release version of Placebo's track "Without You I'm Nothing", co-produced by Visconti, with Bowie's harmonised vocal added to the original recording.

 1999–present: Neoclassicist Bowie

Bowie created the soundtrack for Omikron, a 1999 computer game in which he and Iman also appeared as characters. Released the same year and containing re-recorded tracks from Omikron, his album Hours... featured a song with lyrics by the winner of his "Cyber Song Contest" Internet competition, Alex Grant. Making extensive use of live instruments, the album was Bowie's exit from heavy electronica. Sessions for the planned album Toy, intended to feature new versions of some of Bowie's earliest pieces as well as three new songs, commenced in 2000, but the album was never released. Bowie and Visconti continued their collaboration, producing a new album of completely original songs instead: the result of the sessions was the 2002 album Heathen. Alexandria Zahra Jones, Bowie and Iman's daughter, was born on 15 August.

In October 2001, Bowie opened The Concert for New York City, a charity event to benefit the victims of the September 11 attacks, with a minimalist performance of Simon & Garfunkel's "America", followed by a full band performance of "Heroes". 2002 saw the release of Heathen, and, during the second half of the year, the Heathen Tour. Taking in Europe and North America, the tour opened at London's annual Meltdown festival, for which Bowie was that year appointed artistic director. Among the acts he selected for the festival were Philip Glass, Television and The Polyphonic Spree. As well as songs from the new album, the tour featured material from Bowie's Low era. Reality followed, and its accompanying world tour, the A Reality Tour, with an estimated attendance of 722,000, grossed more than any other in 2004. Onstage in Oslo, Norway, on 18 June, Bowie was hit in the eye with a lollipop thrown by a fan; a week later he suffered chest pain while performing at the Hurricane Festival in Scheeßel, Germany. Originally thought to be a pinched nerve in his shoulder, the pain was later diagnosed as an acutely blocked artery, requiring an emergency angioplasty in Hamburg. The remaining 14 dates of the tour were cancelled.

Since recuperating from the heart surgery, Bowie has reduced his musical output, making only one-off appearances on stage and in the studio. He sang in a duet of his 1972 song "Changes" with Butterfly Boucher for the 2004 animated film Shrek 2. During a relatively quiet 2005, he recorded the vocals for the song " Do That", co-written with Brian Transeau, for the film Stealth. He returned to the stage on 8 September 2005, appearing with Arcade Fire for the US nationally televised event Fashion Rocks, and performed with the Canadian band for the second time a week later during the CMJ Music Marathon. He contributed back-up vocals on TV on the Radio's song "Province" for their album Return to Cookie Mountain, made a commercial with Snoop Dogg for XM Satellite Radio, and joined with Lou Reed on Danish alt-rockers Kashmir's 2005 album No Balance Palace.

Bowie was awarded the Grammy Lifetime Achievement Award on 8 February 2006. In April, he announced, "I’m taking a year off—no touring, no albums." He made a surprise guest appearance at David Gilmour's 29 May concert at the Royal Albert Hall in London. The event was recorded, and a selection of songs on which he had contributed joint vocals were subsequently released. He performed again in November, alongside Alicia Keys, at the Black Ball, a New York benefit event for Keep a Child Alive.

Bowie was chosen to curate the 2007 High Line Festival, selecting musicians and artists for the Manhattan event, and performed on Scarlett Johansson's 2008 album of Tom Waits covers, Anywhere I Lay My Head. On the 40th anniversary of the July 1969 moon landing—and Bowie's accompanying commercial breakthrough with "Space Oddity"—EMI released the individual tracks from the original eight-track studio recording of the song, in a 2009 contest inviting members of the public to create a remix. A Reality Tour, a double album of live material from the 2003 concert tour, was released in January 2010.

In late March 2011, Toy, Bowie's previously unreleased album from 2001, was leaked onto the internet, containing material used for Heathen and most of its single B-sides, as well as unheard new versions of his early back catalogue.

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  Played TV shows  




Name Duration Released
Under Pressure 04:18 25/01/2010
All the Young Dudes 03:48 25/01/2010
Sister Midnight 04:37 25/01/2010
Can't Help Thinking About Me 06:31 07/06/2009
I'm Waiting for the Man 05:45 30/06/2008
Some Are 03:13 29/06/2008
Sweet Thing/Candidate/Sweet Thing 08:47 29/06/2008
Segue - Baby Grace 00:00 06/2007
Segue - Nathan Adler 00:00 06/2007
Segue - Algeria Touchshriek 00:00 06/2007
When the Wind Blows 03:34 19/03/2007
Absolute Beginners 05:37 19/03/2007
This Is Not America 03:51 19/03/2007
Velvet Goldmine 03:11 11/10/2005
Concert Introduction 02:42 2004
Rebel Never Gets Old 03:25 2004
Width... 09:35 10/2003
My Death 05:45 10/2003
All the Young Dudes/Oh! You Pretty Things 03:18 10/2003
White Light/White Heat 04:06 10/2003
Love Missile F1-11 00:00 29/09/2003
Fall Dog Bombs the Moon 04:04 15/09/2003
Days 03:19 15/09/2003
She'll Drive the Big Car 04:35 15/09/2003
The Loneliest Guy 04:11 15/09/2003
Never Get Old 04:25 15/09/2003
Pablo Picasso 04:06 15/09/2003
Bring Me the Disco King 07:45 15/09/2003
New Killer Star 04:40 15/09/2003
Reality 04:23 15/09/2003
Try Some, Buy Some 04:24 15/09/2003
Shout 08:02 2003
Just For One Day 06:37 2003
Slip Away 06:05 11/06/2002
A Better Future 04:11 11/06/2002
Cactus 02:54 11/06/2002
Everyone Says 'Hi' 03:59 11/06/2002
Sunday 04:45 11/06/2002
5:15 The Angels Have Gone 05:00 11/06/2002
I Took a Trip on a Gemini Spaceship 04:04 11/06/2002
I Would Be Your Slave 05:14 11/06/2002
I've Been Waiting for You 03:00 11/06/2002
Afraid 03:28 11/06/2002
Slow Burn 04:41 11/06/2002
Heathen 04:16 11/06/2002
Shadow Man 04:46 03/2002
Wood Jackson 04:48 03/2002
Safe 04:43 2002
Silly Boy Blue 06:08 09/09/2000
Almost Grown 02:44 09/09/2000
Karma Man 03:00 09/09/2000
Looking for a Friend 03:34 09/09/2000
London Bye Ta Ta 02:36 09/09/2000
Bombers 03:19 09/09/2000
Memory of a Free Festival 03:18 09/09/2000
In the Heat of the Morning 03:02 09/09/2000
God Knows I'm Good 03:36 09/09/2000
David Bowie and Junior's Eyes, 00:00 09/09/2000
Janine 03:24 09/09/2000
David Bowie and the Tony Visconti Orchestra, 00:00 09/09/2000
David Bowie and friends, 00:00 09/09/2000
What's Really Happening? 04:10 04/10/1999
Seven 04:04 04/10/1999
If I'm Dreaming My Life 07:04 04/10/1999
Survive 04:11 04/10/1999
We All Go Through 00:00 04/10/1999
Something in the Air 05:46 04/10/1999
The Dreamers 05:14 04/10/1999
Thursday's Child 05:24 04/10/1999
Brilliant Adventure 01:54 04/10/1999
New Angels of Promise 04:35 04/10/1999
The Pretty Things Are Going to Hell 04:40 04/10/1999
No One Calls 03:51 1999
1917 03:27 1999
We Shall Go to Town 03:56 1999
I Can't Read 04:40 12/1997
Please Mr. Gravedigger 02:40 09/06/1997
She's Got Medals 02:25 09/06/1997
Join the Gang 02:19 09/06/1997
Come and Buy My Toys 02:10 09/06/1997
Little Bombardier 03:27 09/06/1997
The Gospel According to Tony Day 02:50 09/06/1997
Did You Ever Have a Dream 02:08 09/06/1997
It's Hard to Be a Saint in the City 03:46 04/1997
The Last Thing You Should Do 04:57 03/02/1997
Telling Lies 04:49 03/02/1997
Dead Man Walking 06:50 03/02/1997
Seven Years in Tibet 06:22 03/02/1997
Battle for Britain 04:48 03/02/1997
Looking for Satellites 05:21 03/02/1997
Little Wonder 06:02 03/02/1997
Law 04:48 03/02/1997
I'm Afraid of Americans 05:00 03/02/1997
Interview With Brian Matthews 01:27 1996
Leon Takes Us Outside 01:25 26/09/1995
No Control 04:33 26/09/1995
Thru' These Architect's Eyes 04:22 26/09/1995
I Have Not Been to Oxford Town 03:47 26/09/1995
I'm Deranged 04:31 26/09/1995
The Motel 06:49 26/09/1995
– Nathan Adler 01:00 26/09/1995
Hallo Spaceboy 05:14 26/09/1995
We Prick You 04:33 26/09/1995
– Baby Grace 01:39 26/09/1995
Wishful Beginnings 05:08 26/09/1995
A Small Plot of Land 06:34 26/09/1995
– Ramona A. Stone/I Am With Name 04:01 26/09/1995
The Hearts Filthy Lesson 04:57 26/09/1995
The Voyeur of Utter Destruction 04:21 26/09/1995
Outside 04:04 26/09/1995
– Algeria Touchschriek 02:03 26/09/1995
I Am With Name 04:06 1995
Footstompin' 03:24 1995
Intro 00:15 1994
Sex and the Church 06:25 24/12/1993
Ian Fish, UK Heir 06:27 24/12/1993
Buddha of Suburbia 04:28 24/12/1993
Untitled No. 1 05:01 24/12/1993
Dead Against It 05:48 24/12/1993
Strangers When We Meet 04:58 24/12/1993
Bleed Like a Craze, Dad 05:22 24/12/1993
The Mysteries 07:12 24/12/1993
South Horizon 05:26 24/12/1993
Nite Flights 04:30 05/05/1993
Jump They Say 04:22 05/05/1993
Black Tie White Noise 04:52 05/05/1993
The Wedding Song 04:29 05/05/1993
I Feel Free 04:52 05/05/1993
I Know It's Gonna Happen Someday 04:14 05/05/1993
You've Been Around 04:45 05/05/1993
Looking for Lester 05:36 05/05/1993
The Wedding 05:04 05/05/1993
Don't Let Me Down & Down 04:55 05/05/1993
Miracle Goodnight 04:14 05/05/1993
Pallas Athena 04:40 05/05/1993
D.J. 00:00 1993
Real Cool World 04:15 08/1992
I Want My Baby Back 02:39 1991
That's Where My Heart Is 02:28 1991
I'm Not Losing Sleep 02:52 1991
Take My Tip 02:15 1991
Good Morning Girl 02:14 1991
Louie, Louie Go Home 02:12 1991
And I Say to Myself 02:29 1991
Glad I've Got Nobody 02:31 1991
I'll Follow You 02:02 1991
Baby Loves That Way 03:02 1991
Bars of the County Jail 02:07 1991
Girls 04:13 06/1987
Shining Star (Makin' My Love) 04:05 27/04/1987
Glass Spider 04:56 27/04/1987
Never Let Me Down 04:03 27/04/1987
Beat of Your Drum 04:32 27/04/1987
Time Will Crawl 04:18 27/04/1987
Day-In Day-Out 04:38 27/04/1987
Too Dizzy 03:58 27/04/1987
'87 and Cry 03:53 27/04/1987
Bang Bang 04:02 27/04/1987
New York's in Love 03:55 27/04/1987
Julie 03:40 1987
Into the Labyrinth 02:12 23/06/1986
Thirteen O'Clock 03:08 23/06/1986
Opening Titles Including Underground 03:21 23/06/1986
Within You 03:30 23/06/1986
The Goblin Battle 03:31 23/06/1986
As the World Falls Down 04:51 23/06/1986
Hallucination 03:02 23/06/1986
Chilly Down 03:46 23/06/1986
Sarah 03:12 23/06/1986
Underground 05:57 23/06/1986
Magic Dance 05:13 23/06/1986
Home at Last 01:49 23/06/1986
Dancing in the Street 03:14 1985
Let Me Sleep Beside You 03:25 05/1984
When I'm Five 02:07 05/1984
The Laughing Gnome 03:03 05/1984
Ching-a-ling 02:02 05/1984
The London Boys 03:18 05/1984
Tumble and Twirl 05:00 01/01/1984
Blue Jean 03:11 01/01/1984
Neighborhood Threat 03:12 01/01/1984
Tonight 03:46 01/01/1984
God Only Knows 03:08 01/01/1984
Don't Look Down 04:11 01/01/1984
Loving the Alien 07:11 01/01/1984
Dancing with the Big Boys 03:34 01/01/1984
I Keep Forgettin' 02:34 01/01/1984
Space Oddity/Band introduction 00:00 1984
Introduction 00:00 1984
Shake It 03:49 05/1983
Cat People 05:09 14/04/1983
Criminal World 04:25 14/04/1983
Ricochet 05:14 14/04/1983
Without You 03:08 14/04/1983
Let's Dance 07:38 14/04/1983
China Girl 05:32 14/04/1983
Modern Love 04:46 14/04/1983
Amsterdam 03:25 12/1982
Round and Round 02:41 12/1982
Knock on Wood 00:00 12/1982
Holy Holy 02:15 12/1982
Peace on Earth/Little Drummer Boy 04:23 11/1982
Ballad of the Adventurers 02:01 13/02/1982
Remembering Marie A 02:07 13/02/1982
Baal’s Hymn 04:02 13/02/1982
The Drowned Girl 02:26 13/02/1982
Paul's Theme 03:51 1982
Heroes/Helden 06:01 04/1981
Scream Like a Baby 03:35 12/12/1980
Teenage Wildlife 06:51 12/12/1980
Fashion 04:46 12/12/1980
Scary Monsters 05:10 12/12/1980
Up the Hill Backwards 03:13 12/12/1980
It's No Game 04:15 12/12/1980
Because You're Young 04:51 12/12/1980
Kingdom Come 03:42 12/12/1980
Ashes to Ashes 03:34 08/08/1980
Alabama Song 03:51 15/02/1980
Crystal Japan 03:27 02/1980
Boys Keep Swinging 03:17 18/05/1979
Look Back in Anger 03:08 18/05/1979
DJ 03:59 18/05/1979
Red Sails 03:43 18/05/1979
Yassassin 04:10 18/05/1979
Move On 03:16 18/05/1979
African Night Flight 02:54 18/05/1979
Red Money 04:17 18/05/1979
Fantastic Voyage 02:55 18/05/1979
Repetition 02:59 18/05/1979
Joe the Lion 03:05 14/10/1977
The Secret Life of Arabia 03:46 14/10/1977
Beauty and the Beast 03:32 14/10/1977
Neuköln 04:34 14/10/1977
Moss Garden 05:03 14/10/1977
Sense of Doubt 03:57 14/10/1977
V-2 Schneider 03:10 14/10/1977
Blackout 03:50 14/10/1977
Sons of the Silent Age 03:15 14/10/1977
Heroes 06:07 14/10/1977
Always Crahing in The Same Car 03:33 14/01/1977
Sound and Vision 03:05 14/01/1977
What in The World 02:23 14/01/1977
Subterraneans 05:39 14/01/1977
Breaking Glass 01:52 14/01/1977
Weeping Wall 03:28 14/01/1977
Speed of Life 02:46 14/01/1977
Art Decade 03:46 14/01/1977
Warszawa 06:23 14/01/1977
A New Career in a New Town 02:53 14/01/1977
Be My Wife 02:58 14/01/1977
John, I’m Only Dancing 02:43 20/05/1976
Station To Station 10:14 23/01/1976
Wild Is The Wind 06:04 23/01/1976
TVC15 05:33 23/01/1976
Word On A Wing 06:05 23/01/1976
Golden Years 03:22 17/11/1975
Fame '90 04:10 25/07/1975
Fame 04:12 07/03/1975
Can You Here Me? 05:04 07/03/1975
Across the Universe 04:30 07/03/1975
Somebody Up There Likes Me 06:30 07/03/1975
Right 04:13 07/03/1975
Fascination 05:43 07/03/1975
Win 04:44 07/03/1975
Young Americans 05:10 1975
Future Legend 01:05 24/04/1974
Big Brother 03:21 24/04/1974
1984 03:27 24/04/1974
We Are the Dead 04:58 24/04/1974
Rock 'n' Roll with Me 04:00 24/04/1974
Rebel Rebel 04:30 24/04/1974
Candidate 02:40 24/04/1974
Sweet Thing 03:39 24/04/1974
Diamond Dogs 05:56 24/04/1974
Chant of the Ever Circling Skeletal Family 02:00 24/04/1974
Everything's Alright 02:26 19/10/1973
See Emily Play 04:03 19/10/1973
Where Have All the Good Times Gone 02:35 19/10/1973
I Wish You Would 02:40 19/10/1973
Anyway, Anyhow, Anywhere 03:04 19/10/1973
Here Comes the Night 03:09 19/10/1973
Shapes of Things 02:47 19/10/1973
Rosalyn 02:27 19/10/1973
Don't Bring Me Down 02:01 19/10/1973
Sorrow 02:48 19/10/1973
Friday on My Mind 03:18 19/10/1973
I Can't Explain 02:07 19/10/1973
The Prettiest Star 03:26 12/04/1973
Time 05:09 12/04/1973
Cracked Actor 02:56 12/04/1973
Panic in Detroit 04:25 12/04/1973
Drive-In Saturday 04:29 12/04/1973
Lady Grinning Soul 03:46 12/04/1973
Aladdin Sane (1913-1938-197?) 05:06 12/04/1973
The Jean Genie 04:02 12/04/1973
Watch That Man 04:25 12/04/1973
Let's Spend The Night Together 03:03 12/04/1973
Maid Of Bond Street 01:43 1973
Soul Love 03:33 06/06/1972
Suffragette City 03:19 06/06/1972
Five Years 04:43 06/06/1972
Ziggy Stardust 03:13 06/06/1972
Hang on to Yourself 02:37 06/06/1972
Star 02:47 06/06/1972
Lady Stardust 03:20 06/06/1972
It Ain't Easy 02:56 06/06/1972
Starman 04:16 06/06/1972
Moonage Daydream 04:35 06/06/1972
Rock 'n' Roll Suicide 02:57 06/06/1972
Kooks 02:53 17/12/1971
Life on Mars? 03:53 17/12/1971
Eight Line Poem 02:55 17/12/1971
The Bewlay Brothers 05:22 17/12/1971
Oh! You Pretty Things 03:12 17/12/1971
Queen Bitch 03:18 17/12/1971
Changes 03:37 17/12/1971
Song for Bob Dylan 04:12 17/12/1971
Andy Warhol 03:56 17/12/1971
Fill Your Heart 03:07 17/12/1971
Quicksand 05:08 17/12/1971
Saviour Machine 04:25 04/11/1970
Running Gun Blues 03:11 04/11/1970
After All 03:51 04/11/1970
Black Country Rock 03:32 04/11/1970
All the Madmen 05:38 04/11/1970
The Width of a Circle 08:05 04/11/1970
The Supermen 03:38 04/11/1970
The Man Who Sold the World 03:55 04/11/1970
She Shook Me Cold 04:13 04/11/1970
(Don't Sit Down) 00:39 04/11/1969
Unwashed and Somewhat Slightly Dazed 06:55 04/11/1969
Space Oddity 05:15 04/11/1969
Cygnet Committee 09:33 04/11/1969
Letter to Hermione 02:28 04/11/1969
Wild Eyed Boy from Freecloud 04:59 11/1969
Ragazzo Solo, Ragazza Sola 05:15 11/1969
(Don't Sit Down) 00:39 11/07/1969
Sell Me a Coat 02:58 01/02/1967
Uncle Arthur 02:07 01/02/1967
When I Live My Dream 03:22 01/02/1967
We Are Hungry Men 02:58 01/02/1967
There Is a Happy Land 03:11 01/02/1967
Love You Till Tuesday 03:09 01/02/1967
Rubber Band 02:17 01/02/1967
I Dig Everything 02:45 08/1966
Do Anything You Say 02:32 04/1966
You've Got a Habit of Leaving 02:31 20/08/1965
I Pity the Fool 02:08 1965
Liza Jane 02:32 05/05/1964



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