Earthling is the 21st studio album by the English musician David Bowie, released on 3 February 1997 through RCA Records in the United Kingdom, Virgin Records in the United States, and Arista Records/BMG in other territories. Mostly self-produced by Bowie, it was primarily recorded from August to October 1996 at New York City's Looking Glass Studios. Bowie composed the tracks with Reeves Gabrels and Mark Plati, who are credited as co-producers, with Mike Garson, Gail Ann Dorsey and Zack Alford providing overdubs later.
"I'm Afraid of Americans" is a song by the English musician David Bowie, released as a single from his album Earthling on 14 October 1997 through Virgin Records. The song was co-written by Bowie and Brian Eno and originally recorded during the sessions for Bowie's 1995 album Outside; this version was released on the soundtrack of Showgirls (1995). The song was then remade during the sessions for Earthling, featuring rewritten lyrics, overdubs and transposed verses. An industrial and techno track, it presents a critique of America through the eyes of a stereotypical "Johnny" and is characterised by drum patterns, synthesisers, various loops and vocal distortions.
Young Americans is the ninth studio album by the English musician David Bowie, released on 7 March 1975 through RCA Records. A departure from the glam rock style of previous albums, the record showcased Bowie's interest in soul and R&B. Music critics have described the sound as blue-eyed soul; Bowie himself labelled the album's sound "plastic soul".
Station to Station is the tenth studio album by the English musician David Bowie, released on 23 January 1976 through RCA Records. Regarded as one of his most significant works, the album was the vehicle for Bowie's performance persona the Thin White Duke. Co-produced by Bowie and Harry Maslin, Station to Station was mainly recorded at Cherokee Studios in Los Angeles, California, in late 1975, after Bowie completed shooting the film The Man Who Fell to Earth; the cover art featured a still from the film. During the sessions, Bowie was dependent on drugs, especially cocaine, and later said that he recalled almost nothing of the production.
"The Man Who Sold the World" is a song by the English singer-songwriter David Bowie. The title track of Bowie's third studio album, it was released in November 1970 in the US and in April 1971 in the UK by Mercury Records. Produced by Tony Visconti, it was recorded at Trident and Advision Studios in London in May 1970, towards the end of the album's sessions; Bowie recorded his vocal on the final day of mixing for the album, reflecting his generally dismissive attitude during the sessions. Musically, it is based around a "circular" guitar riff from Mick Ronson. Its lyrics are cryptic and evocative, being inspired by numerous poems including the 1899 "Antigonish" by William Hughes Mearns. Bowie's vocals are heavily "phased" throughout and have been described as "haunting".
"Golden Years" is a song by the English musician David Bowie, released by RCA Records on 21 November 1975 as the lead single from his tenth studio album Station to Station (1976). Partially written before Bowie began shooting for the film The Man Who Fell to Earth (1976), the song was mostly compiled in the studio and was the first track completed for the album. Co-produced by Bowie and Harry Maslin, recording took place at Cherokee Studios in Los Angeles during September 1975. Due to Bowie's heavy cocaine use, he later recalled remembering almost nothing of Station to Station's production.
"Cat People (Putting Out Fire)" is a song recorded by the English singer-songwriter David Bowie as the title track of the 1982 erotic horror film Cat People. Bowie became involved with the track after director Paul Schrader reached out to him about collaborating. The song was recorded at Mountain Studios in Montreux, Switzerland in July 1981. Bowie wrote the lyrics, which reflected the film, while the Italian producer Giorgio Moroder composed the music, which is built around only two chord changes.
"Let's Dance" is a song by the English singer-songwriter David Bowie, originally included as the title track of his 1983 album of the same name. Co-produced by Nile Rodgers of Chic, it was recorded in late 1982 at the Power Station in New York City. With the assistance of engineer Bob Clearmountain, Rodgers transformed the song from its folk rock origins to a dance number through studio effects and new musicians Bowie had yet to work with. Bowie hired then-unknown Texas guitarist Stevie Ray Vaughan, who added a blues-edge.
"China Girl" is a song written by Iggy Pop and David Bowie in 1976, and first released by Pop on his debut solo album, The Idiot (1977). Inspired by an affair Pop had with a Vietnamese woman, the lyrics tell a story of unrequited love for the protagonist's Asian girlfriend, realizing by the end that his Western influences are corrupting her. Like the rest of The Idiot, Bowie wrote the music and Pop improvised the lyrics while standing at the microphone. The song was released as a single in May 1977 and failed to chart.
"The Supermen" is a song written by the English singer-songwriter David Bowie in 1970 and released as the closing track on the album The Man Who Sold the World. It was one of a number of pieces on the album inspired by the works of literary figures such as Friedrich Nietzsche and H. P. Lovecraft.
"Panic in Detroit" is a song written by the English singer-songwriter David Bowie for the album Aladdin Sane in 1973. Bowie based it on his 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"".
"Cracked Actor" is a song by the English musician David Bowie, released on his sixth studio album Aladdin Sane (1973). The track was also issued as a single in Eastern Europe by RCA Records in June that year. The song was written during Bowie's stay in Los Angeles during the American leg of the Ziggy Stardust Tour in October 1972. Co-produced by Bowie and Ken Scott, it was recorded in January 1973 at Trident Studios in London with his backing band the Spiders from Mars – comprising Mick Ronson, Trevor Bolder and Woody Woodmansey. A hard rock song primarily led by guitar, the song describes an aging Hollywood star's encounter with a prostitute, featuring many allusions to sex and drugs.
"Lady Grinning Soul" is a song by the English musician David Bowie, released on the album Aladdin Sane in 1973. It was a last-minute addition, replacing the "sax version" of "John, I'm Only Dancing" as the closing track. The composer's first meeting with American soul singer Claudia Lennear in 1972 is often cited as the inspiration for the song. In 2016, after Bowie's death, an interview with Lennear revealed that Bowie called her in 2014, and told her the song had been written about her.
"Station to Station" is a song by the English musician David Bowie. It was released in January 1976 as the title track and opener of his tenth studio album Station to Station, as well as on a promotional 7-inch single in France the same month. Co-produced by Bowie and Harry Maslin, it was written and recorded in Los Angeles between September and November 1975. At over 10 minutes in length, it is Bowie's longest studio recording. Opening with a train-like noise, the song's first half is a slow march, while the second takes the form of a prog-disco suite in a different key and tempo than the first. It has been characterised as art rock and is influenced by the German electronic bands Kraftwerk and Tangerine Dream.
"Stay" is a song by the English musician David Bowie, released on his 1976 album Station to Station. The song was recorded in late 1975 at Cherokee Studios in Los Angeles. Co-produced by Bowie and Harry Maslin, the recording featured guitarists Carlos Alomar and Earl Slick, bassist George Murray, drummer Dennis Davis, pianist Roy Bittan and Warren Peace on percussion. The track features prominent dual guitar work from Slick and Alomar, who mostly composed it in the studio. Based on the chord structure of "John, I'm Only Dancing (Again)", a funk reworking of "John, I'm Only Dancing" (1972), "Stay" emulates funk rock, soul and hard rock. The song's lyrics are abstract and relate to love.
"Hallo Spaceboy" is a song by the English musician David Bowie from his 20th studio album, Outside (1995). It originated as an instrumental by Reeves Gabrels called "Moondust", which Bowie and Brian Eno stripped down and used to form the final track. An industrial rock and electronica number influenced by the Pixies and Nine Inch Nails, the song contains a hypnotic sound, with synthesisers, loops and distorted guitar lines. Lyrically influenced by Brion Gysin, the song contains images of apocalypse and continues the androgynous conundrums of former Bowie songs such as "Rebel Rebel".
"You've Got a Habit of Leaving" is a song by the English singer-songwriter David Bowie, recorded and released as a single on 20 August 1965 through Parlophone. Released under the name Davy Jones, it featured his band at the time, the Lower Third, whose contributions were uncredited. Produced by Shel Talmy and recorded in early July 1965, the single marked a departure from the Americanised R&B of his two earlier singles into Who-style mod music. The original recording later appeared on the compilation albums Early On (1964–1966) (1991) and Nothing Has Changed (2014).
"Baby Loves That Way" is a song written by David Bowie in 1965 and released as the B-side of single "You've Got a Habit of Leaving" under the name Davy Jones with his band at the time, the Lower Third, who were uncredited. Bowie later remade the song during the sessions for his Toy album in 2000, which was officially released in 2021.
"Silly Boy Blue" is a song written and recorded by the English singer-songwriter David Bowie. Originally demoed in 1965 as a mod-influenced track about a teenage runaway, it was revised in 1966 with new lyrics and released on Bowie's self-titled debut album in June 1967. This version reflects Bowie's fascination with Tibetan Buddhism, featuring various spiritual and geographic references in the lyrics and varied instrumentation such as a trumpet, cello and Chinese gong. Bowie remade the song twice during his stint with the Riot Squad in April 1967: as an instrumental for live performances and acoustically, which has appeared on compilations.
