Related Research Articles
Reality is the 24th studio album by the English musician David Bowie, originally released in Europe on 15 September 2003, and the following day in America. His second release through his own ISO label, the album was recorded between January and May 2003 at Looking Glass Studios in New York City, with production by Bowie and longtime collaborator Tony Visconti. Most of the musicians consisted of his then-touring band. Bowie envisioned the album as a set of songs that could be played live.
Scary Monsters (and Super Creeps), also known simply as Scary Monsters, is the 14th studio album by the English musician David Bowie, released on 12 September 1980 through RCA Records. His first album following the Berlin Trilogy (Low, "Heroes" and Lodger), Scary Monsters was Bowie's attempt to create a more commercial record after the trilogy proved successful artistically but less so commercially.
Heathen is the 23rd studio album by the English musician David Bowie, originally released in Europe on 10 June 2002, and the following day in America. His first release through his own ISO label, it reunited Bowie with producer Tony Visconti for the two's first full-album collaboration since 1980. Recording took place at New York studios from August 2001 to January 2002 and featured guest musicians including Dave Grohl and Pete Townshend. Two tracks, "Afraid" and "Slip Away", evolved from Bowie's shelved Toy project, while three were covers of songs by Pixies, Neil Young and the Legendary Stardust Cowboy.
"Fashion" is a song by the English musician David Bowie from his 14th studio album Scary Monsters (1980). Co-produced by Bowie and Tony Visconti and recorded from February to April 1980 at New York and London, it was the last song completed for the album. Originating as a reggae parody titled "Jamaica", "Fashion" is a post-punk, dance and funk track structurally similar to Bowie's "Golden Years". King Crimson guitarist Robert Fripp contributed lead guitar.
"Sound and Vision" is a song by the English musician David Bowie. It was released in January 1977 by RCA Records on side one of his 11th studio album Low. RCA later chose it as the first single from the album. Co-produced by Bowie and Tony Visconti, the song was recorded at the Château d'Hérouville in Hérouville, France, in September 1976, and completed at Hansa Studios in West Berlin in October and November. The song began as a simple G major chord progression that Bowie gave to the backing musicians, writing and recording his vocals afterward. It features backing vocals from Brian Eno and Visconti's then-wife Mary Hopkin.
"D.J." is a song by English musician David Bowie, released on 29 June 1979 as the second single from his 1979 album Lodger. It was written by Bowie, Brian Eno and Carlos Alomar and recorded in Montreux and New York City in September 1978 and March 1979. A cynical comment on the cult of the DJ, the track includes a guitar solo by Adrian Belew, which was recorded in multiple takes, and then mixed back together for the album track. Bowie mimics David Byrne of Talking Heads in his vocal performance. Its accompanying music video, directed by David Mallet, features Bowie casually walking down London's Earl's Court Road as passersby recognise him and follow him, interjected with Bowie as the tortured DJ destroying his studio. The single charted at number 29 in the UK and has received positive reviews.
"Up the Hill Backwards" is a song by the English musician David Bowie, released on his 1980 album Scary Monsters . It was later issued by RCA Records as the fourth and final single from the album in March 1981. Originally written under the title "Cameras in Brooklyn", the song was recorded between February and April 1980 at the Power Station in New York City and Good Earth Studios in London. The recording features backing vocalists, guitar contributions from Robert Fripp and acoustic guitar played by co-producer Tony Visconti. Lyrically, the song concerns the struggles of facing a crisis, partially influenced by Bowie's divorce from his wife Angie. Musically, the song contains numerous time signature changes and a Bo Diddley-inspired beat.
"Queen Bitch" is a song by the English singer-songwriter David Bowie. It was originally released on his 1971 album Hunky Dory before appearing as the B-side of the single "Rebel Rebel" in the United Kingdom in early 1974. Co-produced by Bowie and Ken Scott, the lineup consisted of the musicians who would later become known as the Spiders from Mars: Mick Ronson, Trevor Bolder and Mick Woodmansey.
"Watch That Man" is a song written by David Bowie, the opening track on the album Aladdin Sane from 1973. Its style is often compared to the Rolling Stones' Exile on Main Street. The mix, in which Bowie's lead vocal is buried within the instrumental sections, has generated discussion among critics and fans.
"Panic in Detroit" is a song written by English singer-songwriter David Bowie for the album Aladdin Sane in 1973. Bowie based it on friend Iggy Pop's descriptions of revolutionaries he had known in Michigan and Pop's experiences during the 1967 Detroit riots. Rolling Stone magazine called the track "a paranoid descendant of the Motor City's earlier masterpiece, Martha and the Vandellas' "Nowhere to Run"".
"Fascination" is a song written by English singer-songwriter David Bowie and American musician Luther Vandross for Bowie's Young Americans album in 1975. The song originated from a Vandross song called "Funky Music " which The Mike Garson Band used to play before Bowie concerts in 1974.
"Fantastic Voyage" is a song written by David Bowie and Brian Eno for the 1979 album Lodger. It has almost exactly the same chord sequence as "Boys Keep Swinging", from the same album. It has also appeared as the B-side to the "Boys Keep Swinging" and "Peace on Earth/Little Drummer Boy" singles, and the US edition of "D.J.".
"It's No Game" is a song written by English musician David Bowie for his 1980 album Scary Monsters , featuring lead guitar played by Robert Fripp. The song is split into two parts, opening and closing the album. "(No. 1)" is musically sinister, featuring Bowie screaming lyrics and Japanese narration provided by actress Michi Hirota. "(No. 2)", a stark contrast to "(No. 1)", is much calmer, which Bowie's biographers symbolise as Bowie facing the same situation in "(No. 1)", but after the album's duration.
"Shadow Man" is a song written by English singer-songwriter David Bowie. It was first recorded on 15 November 1971 at Trident Studios in London during the sessions for The Rise and Fall of Ziggy Stardust and the Spiders from Mars (1972) and left unreleased. A folk ballad, the lyrics discuss topics of self-identity and doubling, and the impact one's present self has on their future lives, themes some linked to the Shadow concepts of Carl Jung.
"Fall Dog Bombs the Moon" is a song written by David Bowie in 2003 for his album Reality. According to Bowie himself at the time of the album release, "It came from reading an article about Kellogg Brown & Root, a subsidiary of Halliburton, the company that Dick Cheney used to run. Basically, Kellogg Brown & Root got the job of cleaning up Iraq. What tends to happen is that a thing like an issue or a policy manifests itself as a guide. It becomes a character of some kind, like the one in Fall Dog. There's this guy saying, 'I'm goddamn rich'. You know, 'Throw anything you like at me, baby, because I'm goddamn rich. It doesn't bother me.'."
"Bring Me the Disco King" is a song written by David Bowie in the early 1990s, and recorded three times, although only the last recording was released as part of Bowie's Reality album in 2003. A remix was also released in 2003 as part of the Underworld movie soundtrack.
"The London Boys" is a song by the English musician David Bowie. It was first released as the B-side of the single "Rubber Band" in the United Kingdom on 2 December 1966. It was originally written and demoed in 1965 with the Lower Third for potential release as the artist's debut single for Pye Records but it was rejected. After a year of rewrites, he recorded a new version with a new band, the Buzz, which helped secure him a record contract with Decca-subsidiary Deram Records. Unlike the A-side, "The London Boys" retains the Mod feel of Bowie's previous singles. The dark lyrics concern a 17-year-old who leaves home for London and becomes embroiled in the Mod scene, turning to pills to fit in. Like his previous singles, it failed to chart. Decca later issued it as an A-side in 1975..
"Ashes to Ashes" is a song by the English singer-songwriter David Bowie from his 14th studio album, Scary Monsters (1980). Co-produced by Bowie and Tony Visconti, it was recorded from February to April 1980 in New York and London and features guitar synthesiser played by Chuck Hammer. An art rock, art pop and new wave song led by a flanged piano riff, the lyrics act as a sequel to Bowie's 1969 hit "Space Oddity": the astronaut Major Tom has succumbed to drug addiction and floats isolated in space. Bowie partially based the lyrics on his own experiences with drug addiction throughout the 1970s.
"Let Me Sleep Beside You" is a song written and recorded by the English singer-songwriter David Bowie. It was recorded on 1 September 1967 at Advision Studios in London and marked the beginning of Bowie's working relationship with producer Tony Visconti, which would last for the rest of Bowie's career. A departure from the pop and music hall-influenced material of Bowie's 1967 self-titled debut album and other singles for Deram Records, the song displays a more rock-oriented sound with a cello arrangement from Visconti. The impressionist lyrics also depart from Bowie's prior works, describing love using the act of sleeping together rather than through emotional attachment. The song was rejected by Deram for release as a single, purportedly due to the risqué title. It remained unreleased until 1970's The World of David Bowie compilation.
"Karma Man" is a song written and recorded by the English singer-songwriter David Bowie. It was recorded on 1 September 1967 at Advision Studios in London and marked the beginning of Bowie's working relationship with producer Tony Visconti, which would last for the rest of the artist's career. The song expresses Bowie's growing interest in Tibetan Buddhism, concerning a character who is put on display as a "freak" in a carnival tent. The music reflects the Buddhist themes and was likened to the works of the Beatles. Initially proposed as a B-side, it remained unreleased until The World of David Bowie compilation in March 1970. Bowie performed the song during two of his BBC radio sessions, one of which was released on the 2000 compilation Bowie at the Beeb.
References
- 1 2 James E. Perone, The words and music of David Bowie, Greenwood Publishing Group, 2007, p.139. ISBN 0-275-99245-4
- ↑ David Buckley, Strange fascination: David Bowie, the definitive story, Virgin Books, 2005, p.499. ISBN 0-7535-1002-2
- ↑ Lou Reed. "100 Greatest Artists: David Bowie Archived 2011-09-02 at the Wayback Machine ". Rolling Stone . Consulted on October 10, 2011.
- ↑ Margaret Cho. I have chosen to stay and fight. Riverhead Books, 2005, p.198. ISBN 1-57322-319-0
- ↑ O'Leary, Chris (2019). Ashes to Ashes: The Songs of David Bowie 1976–2016. London: Repeater. p. 541. ISBN 978-1-91224-830-8.
