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David Bowie 70s

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Last Updated: 02 July 2021

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David Bowie released countless classic singles during the 70s. But man born David Robert Jones also created astounding Body OF work beyond these well - known hits. In fact, some OF his best songs were album tracks which bolster his classic LPsfrom, Glam concept album Rise and Fall OF Ziggy Stardust and Spiders From Mars and proto - electronic masterpieces Low and Heroes to swaggering tour de force Aladdin Sane. Here are 10 David Bowies 70s album tracks worth exploring. This tune is a bit more straightforward than Breaking Glass, although that is relative term AT this stage in Bowie's career. This patchwork song is pieced together with different groups of sounds, which are often performed AT slightly different tempos. Besides perforated sounds - which form a steady foundation underneath the entire song - What in World features askew guitars. Bowie's off - kilter vocal syncopation, hysterical keyboards and, near the end, layers of mumbling harmonies. Disorienting in the best possible way. Song co - written by Brian Eno, subdue Fantastic Voyage kicks off Bowie's final 70s album on a somewhat - somber note. Preoccupy with the threat of nuclear war, protagonist is resigned to the fact that we are re learning to live with somebody's depression, although in next breath he says ruefully, and I don't want to live with somebody's depression. Still, by the end OF piano - accent song, Bowie finds Power where he cannamely, his pen: They wipe out the entire race and I 've got to write it down.

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David Bowie

His first - ever release was Liza Jane / Louie Louie Go Home in June 1964, under the name Of Davie Jones With King - Bees. 9. He later changed his name to Bowie to avoid confusion with Monkee Davy Jones. 11. At the age of 17, he was interviewed on a BBC programme as founder of Society for Prevention Of Cruelty To Long - haired Men. He complain: it's not nice when people call you a darling and that. 12. Around 1967, he wrote songs for actor Paul Nicholas Of Just Good Friends Fame, who was then recording under the name Oscar. 13. He released his debut album, self - title David Bowie, in 1967 after playing in a host of pub and club bands. 14. 1967 also saw the release of the single, Laughing Gnome, which many fans argue is the worst song he has ever record. 15. When Bowie suggested that his fans should vote via phone which track he should play for his 1990 World tour, Laughing Gnome was most requested. He didn't play it.

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28. Hours (1999)

Look BACK at Anger. Look BACK at Anger. Look BACK at Anger. Look BACK at Anger. Look BACK at Anger. Look BACK at Anger. Look BACK at Anger. Look BACK at Anger. Look BACK in Anger reflects Bowie Man Who sell World; each is cloud mirror of other. Like man, anger is a record of visitation, one that, in Angers case, ends with death. If Lodger and Scary Monsters are Bowie finally considering prospect of decline and tearing himself up, sampling and dispersing himself, Look BACK in Anger is at the heart of these records. It was dry, weird farewell to muse, decades before Bowie stopped recording and performing. Bowie had written lyrics of Man Who sells World As he sat in the studio reception room, under pressure to get vocals on tape so the album would be finish. With no time to second guess or overwrite, Bowie seemed to transcribe lines straight out of mind: it was Pop lyrics as dream journal. Writing Man triggered something, it freed Bowie from the stiltedness and strain of much of his late 60s work, and reconnected him to what he had first touched With Space Oddity. It was, in retrospect, start of Bowie's mature songwritingin months after he wrote Man suddenly came Oh! You Pretty Things, Quicksand, Life on Mars, Bewlay Brothers, Moonage Daydream. Man was key that fit lock. So at the far end of the decade that Bowie, in part, had author was Anger, which set the stage for an even grander renunciation of Ashes to Ashes. In Man singer passes someone on stair.S Theyve already meet, or they will one day. I think you died alone, long, long time ago, other marvels. Look BACK in Anger Is, perhaps, when he die; its same encounter, as seen from another perspective; it second meeting of two at a later time. Its funny, too: archangel appears and no one pays him any mind. So he flicks through magazines and waits, bore, for whatever cataclysm he comes to presage or deliver. Bowie's best lyrics can seem like fragments of overheard conversations with him. Verse and refrains of anger are SOME of the strangest, though theyre in simple and clear language: you know who I am, he say. The speaker was an angel. He coughs and shakes his crumpled wings, closes his eyes and moves his lips. It's time we should going. Its recitative: no rhymes, no rhythms, disjunct melody. Pacing is also off: there is a two - bar gap between first and second lines, enough time to make you wonder if you know who I am. There is only a line in verse, then there is a sudden tumble of words. The Bowies ' performance hangs between sublime and ludicrous.

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24. Reality (2003)

That Is Fact: Reality finds Bowie working with Tony Visconti again, this time recording an album at New York Looking Glass Studios. Fresh off 2002 Heathen, Bowie had seemingly renewed energy, but after this record didnt quite take off, he stopped making music for a decade. It is a shame because this isnt terrible record; it is more likely that in the early oughts, music world just didnt have a place for aging Bowie. Sound and Vision: British graphic designer Jonathan Barnbrook, who also do album covers for Heathen and Next Day, design Reality's album cover. Barnbrook is most famous for creating fonts, so it certainly inspired the choice from Bowie to let font designer do three album covers for him. Someones Back in Town: There are no terribly exciting collaborations on this record, but there are two cover songs that Bowie absolutely nails. Modern Lovers Pablo Picasso and George Harrisons Try Some, Buy Some both got Bowie treatment and, in fact, were both intended to be covered by Bowie in the early 1970s for never - recorded Pin Ups 2. In Most Peculiar Way: Bring Me Disco King was re - recorded for this record, having originally been recorded for Bowie's 1993 album, Black Tie White Noise. The more you look at the origins of tracks on Reality, it becomes clear that much of the record is not quite new material, which could explain Bowie's departure from music for several years after this record. He was just running out of original ideas and needed to reboot perhaps. After all: reality is decent record in the pantheon of Bowie, nothing more, nothing less. It is unlikely that any of these tracks will be heralded as one of the best at any point in the future. Realistically, it might have been good that this record left Bowie in a spot where he needed to take a break, because it allowed him to go back to the drawing board and let new material percolate over the course of the next decade, which resulted in a truly great Next Day.

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22. Earthling (1997)

The Earthling Tour started on 7 June 1997 at Flughafen Blankensee in Lubeck, Germany, continuing through Europe and North America before reaching conclusion in Buenos Aires, Argentina on 7 November 1997. On August 14 97, Bowie performed at Hungarys Student Island Festival in Budapest, where he put on quite an extraordinary show, accompanied as he was by Reeves Gabrels on guitar, Gail Ann Dorsey on bass, Zack Alford on drums and Mike Garson on keyboards. Playing just a few tracks from the new record plus a fine selection of back catalogue gems, entire show was broadcast, both across Eastern Europe and indeed in the US too, on select FM stations. Previously unreleased, this remarkable gig is now available on this priceless CD for the first time. David Bowie Earthling Tour opened on 7 June 1997 at Flughafen Blankense - Lubeck, Germany, continuing through Europe, North America before reaching conclusion in Buenos Aires, Argentina on 7 November 1997. Bowie and his band began rehearsing for the tour in April 1997, and expect the tour to last from May through Christmas. Bowie expects it to be a really extensive, long, long tour. The original concept of the tour was to perform two separate set lists, one regular, and one dance - oriented set incorporating drum and bass. Two set - lists were abandon, due to media critics and audience apathy, after the Muziekcentrum Vredenburg - Utrecht performance on 11 June 1997, with elements of each incorporated into one set. 19 July 1997 Phoenix Festival performance, was billed as Tao Jones Index, in BBC Radio 1 dance tent preceding the regular performance on the main stage the following day. 14 October 1997 show at Capitol Theatre - Port Chester, NY, broadcast on MTVs Live from 10 Spot, was added at short - notice due to cancellation by Rolling Stones. The following show on 15 October 1997 at Radio City Music Hall - New York City was as part of the GQ Awards. The Set - list for the shows includes a version of Laurie Anderson's work O Superman with lead vocals by Gail Ann Dorsey. Tour Publicist Tony Michaelides handles press, radio & television for Bowie. 15 October 1997 New York City, Radio City Music Hall

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20. Tonight (1984)

That is fact: first Tin Machine record was received with muddled response from the world at large. The second Tin Machine record is even more so, which is truly art crime. Charm of Tin Machine's proto - grunge, One - take recordings was exciting reprieve from Never Let Me Down for fans and Bowie alike. However, band was still new, testing their cohesion, and songs were decidedly underdeveloped. By 1991, they were well - oil machine, if youll pardon me Tin Machine II is a great forgotten Bowie Rock record, worthy heir to his hardest solo work. Sound and Vision: front cover features illustrations of four ancient Greek kouroi statues; One for each member of the band. Nude male forms are tame, even by classical standards, but that was too much for America. In States, Tin Machine II s kouroi feature airbrush pattern like torn metal over the groin of each statue crotch - disturbing solution as though each penis had been violently torn off. Bowie calls this his second castration after similar censorship to his likewise tame canine tackle on Back of Diamond Dogs. Someones Back in Town: Producer Tim Palmer returns for a second album with the exception of One Shot, which was produced by Hugh Padgham, making his Bowie production return after Tonight. Bands fifth member Kevin Armstrong also returns to add piano and rhythm guitar on a couple of tracks. In Most Peculiar Way: Tin Machine II, for undetermined reasons, has never been re - released since its original pressing in 91. Perhaps it is because the record was released under JVCs Victory label, As their first record sales had worn out their welcome with EMI. Or maybe there is a royalty issue between Bowie and Sales brothers. This is all just speculation. The facts are these: Tin Machine was re - released in 99 along with the rest of Bowie's discography to date and was rebranded As David Bowie - Tin Machine on spine. Each album in that set came with an insert showing the Bowies ' full discography, omitting only David Bowie and Tin Machine II. In the recent David Bowie's exhibition and book, both those records were included alongside the rest of his discography. Make of that what you will. After all: Generally, it is hard for Bowie fans to relate to Tin Machine. In the 2013 album - ranking poll by Davidbowie. Com, Tin Machine came in at 26, while Tin Machine II came in last at 27. Likely this can be chocked up to lack of experience. Tin Machine scars listeners away and they never listen to the second record. Its past time to change that. Tin Machine II could in some ways play as rocking Aladdin Sane companion to Scary Monsters Ziggy, coming decade late. Track Down copy and get familiar with power houses of Baby Universal, Big Hurt, and You Belong in Rock n Roll; loose yourself in more contemplative Amiapura and Goodbye Mr.

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19. Heathen (2002)

That is fact: Heathen started in part as toy, unreleased work FROM around 2000. When that album didnt quite happen, Heathen swallowed some of that project work and evolved into Bowie's 2002 album, smooth, well - produced effort that was the artists ' first thing for Columbia. Sound and Vision: Between Bowie's possess eyes and upside - DOWN font, Heathen's art was all about anti - religious play. Someone Back in Town: Oh, Have you heard OF these two guys, um, Dave Grohl and Pete Townsend? They show up on Heathen. In the Most Peculiar Way: No music videos? Bummer, BOWIE! After All: When BOWIE Get Back together With producer and guitarist Tony Visconti, instead of recreating their famous sound FROM SCARY MONSTERS, duo work together on a strikingly modern interpretation of past efforts FROM 1970s. Heathen is sturdy art rock. It feels old and new, or rather, like BOWIE proving how decent he can still be even when he is not trying all that hard.

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16. Station to Station (1976)

Stay. Stay. Stay. Stay. Stay 97. Stay. Stay. Stay. Stay. Stay is equivocation bracketed by extravagances: its roll call of intro and, most of all, its two - and - ahalf - minute outro, where Earl Slick and Carlos Alomars guitars war, underpinned by George Murray's bassline that could support Buick. Record in what Alomar later described as a cocaine frenzy, Stay was a great part of the Bowies rhythm sectionAlomar, Murray and Dennis Davis. Davis and Alomar were veterans of great jazz - funk unit Roy Ayers Ubiquity, and at times Stay seemed like lose Ayers ' track with vocal overdubs by Android. During Station To Station sessions, Bowie had played shell of Stay on guitar, some chords and vocal melody, For trio, Who, after some jamming, gave it back to him, Alomar say, adding that he wrote out a chart that served as the basis for the complete track. So group efforts create the jittery intricacy of Stay, in which a relentless, shaky funk beat supports a harmonic structure built of primarily ninth chords. Verse is G9 - A9 - C9 - F9, for instance. Further twists are overlaid upon this foundation, like Bowie's vocal line lace with slow triplets. Bowie, in his three verses, keeps a narrow melodic range, to the point where Bowie seems as much reciting his lines as he is singing them, then he offers disjunctive, barely - there melody in chorus, with wide melodic intervals, odd, even random - seeming emphases and generally distant, abstract tone. Over this Bowie set lyrics in which the alienated singer seems barely capable of, or only vaguely interested in, trying to land the object of his desire. Phrases of modern pick - up scene, offered in verses, come across as bizarre and awkward, as if Bowies sounding them out phonetically, while the chorus is after - fact confession, singer admitting to himself that this time he actually mean it, but, as always, fails to respond, and it ends with line seemingly out of Man Who Fell To Earth, which Bowie sings in such knotty WAY that it become twisted defiance: cause You Can NEVER real / ly tell. When / some. Body / wantssomething / You want too / ooo. Bowie's distracting presence is nearly beside point here, though, as in Stay it is as though he is guesting on his own record: squalling Slick solo overshadows his verses, and Bowie disappears completely by the four - minute mark. It showcases For backing band, and during the intro, over 9 four - bar repeats, group assembles. First Alomars ' solitary guitar, mixed in right channel, offers a coiled spring of riff, then Davis and Murray give downbeat, followed by two repeats in which colors are add: congas, shakers and droning keyboard line by Roy Bittan. On the fifth repeat, Murray and Davis begin echoing guitar riff, while Earl Slick tears In, mixed in left channel.

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15. Young Americans (1975)

When David Bowie was 15, he underwent his first transformation. Unlike many others he would undergo throughout his life, this one was plan. Getting into a fight with a friend over a girl they were both interested in, Bowie got a sock in his left eye punch that scratched his eyeball and paralyzed muscles that contract iris. It was that swift jab that gave Bowie his iconic mismatched eyes: with his left eye permanently dilate, it created the illusion that he had different - colored eyes. It gives him an unearthly appearance, like he was a shape - shifter caught in mid - transformation or a body - snatcher who forget that his victim had a matching set of eyes. It is hard not to think about Bowie's eyes while listening to young Americans. Release in 1975, it was his ninth studio album and his first foray into a whole new style and identity. After starting off the decade in Deep Space as a pansexual alien messiah, Bowie traded in glitter and Spiders From Mars for slick suits and Philly Soul. Cutting Record on breaks during his Diamond Dogs tour at Sigma Sound Studios in Philadelphia, Album finds recent US transplant Bowie indulging his love for funk and Soul Music. It is Blue - eyed Soul Album that plays as matchmaker between Bowie's artsy rocker tendencies and the warm earnestness of Soul and R & B. The union between them is an uneasy one, but that part of the charm of young American s like Bowies eyes, It mismatch between musical styles that compels US and holds our attention. Naturally, Blue - eyed Bowie didnt call Young Americans Blue - eyed Soul Record; instead, he called it his plastic Soul Album. Its squashed remains of ethnic music as it survives in the age of Muzak, write and sing by White Limey, Bowie said in a 1976 Playboy interview. To paraphrase Graduate: there is a great future in plastics. Bowie saw that future long before Mick Jagger started singing in Central Park after dark and Rod Stewart asked All sugars to let him know. Bowie was far from the first to strike gold by milking those squashed remains for all their worth. The English rock scene He emerge From was byproduct of White rockers trying to appropriate Blues, failing at it, and creating something interesting and different in their attempts to do so. His Gallic counterpart in creative restlessness and infamy, Serge Gainsbourg, made his first major breakaway from French chanson Music. He was known for pivoting to black music, which, in Serge's case, meant sampling rhythms off of Nigerian drummer Babatunde Olatunjis Drums of Passion LP For his 1964 Record, Percussion, creating world first Eurotrash ethnobeat Album. However, what set Young Americans apart from these other efforts was Bowie's desire to ingratiate himself within the R & B community. Bowie initially tried booking Philly Soul session Players For Record, but found they were all too busy working on future Gamble and Huff classics to lock them down.

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13. Aladdin Sane (1973)

Ziggy Stardust didn't call it quit. He just changed his name and clothes. Less than a year after David Bowie debuted Ziggy Stardust, character that made him famous in 1972, and a few months before he shoved the character into the closet, he returned to record with a variation on his alter - ego rock n roll Star From outer space. Rise and Fall of Ziggy Stardust and Spiders From Mars, which were released in June 1972, finally break Bowie, who had been kicking around for almost decade and with four solo albums to his name, to mainstream. Album, and Tour supporting it, feature Bowie assuming the persona of the title character, bisexual and androgynous rock Star From another planet. By July 1973, Bowie - worn out from nonstop Tour schedule and from playing loose variation of himself onstage every night - had grown tired of Ziggy and retired him. A few months earlier, on April 13 1973, he released the follow - up to his hit album, and while Figure on cover looked vaguely familiar, Bowie insisted it was a brand new character named Aladdin Sane. Fans immediately saw through it. Aladdin Sane was Bowie's not - so - subtle shifting of personas to keep himself from getting, as he sang in Ziggy Stardust, too sucked Up into his mind. Aladdin Sane, character, was Bowie stepping back a bit, grounding himself to Earth. But there was no pulling back by this point; Aladdin Sane, album as well as character, was pretty much Ziggy Stardust, album and character, reborn. Bowie even referred to the album as Ziggy go to America, partly inspired by the fact that many of the songs were written while he was touring the States. Most of the material was recorded in the fall of 1972 and winter of 1973, during rare breaks from the Ziggy Stardust Tour. The bulk of sessions were cut in early December - between North American and European dates - and in mid - January, before Bowie and his band returned to the US for another month of shows. Like Rise and Fall of Ziggy Stardust and Spiders From Mars, Aladdin Sane was co - produced by Bowie and Ken Scott at London's Trident Studios. The band was made up of the same group - guitarist Mick Ronson, bassist Trevor Bolder and drummer Mick Woody Woodmansey - use on Ziggy Stardust LP and during Tour. So, music was familiar and results were produced quickly, resulting in an album that sounded a lot like its predecessor. The album's best songs - drive - in Saturday, Panic in Detroit and Jean Genie - fit snugly within Ziggy's spandex - clad worldview, which helped make Aladdin Sane Bowie's highest - charting US LP at time. It also became the first of his nine chart - toppers in his native UK, but Bowie also dug deeper into avant - garde and jazz shadings that would fuel some of his later records. In addition to the music's legacy, album's cover art became one of Bowie's most iconic images.

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