Artist: David Bowie
Genre(s):
Rock: Punk-Rock
Rock
Rock: Pop-Rock
Drum & Bass
Soundtrack
Other
Rock: Hard-Rock
Punk
Rock: Folk
Discography:
The Deram Anthology 1966-1968
Year: 2007
Tracks: 27
The Best Of David Bowie 1980-1987
Year: 2007
Tracks: 19
The Platinum Collection (CD 3) - 1980-1987
Year: 2005
Tracks: 19
The Platinum Collection (CD 2) - 1974-1979
Year: 2005
Tracks: 18
The Platinum Collection (CD 1) - 1969-1974
Year: 2005
Tracks: 20
Hours (Reissue)
Year: 2005
Tracks: 15
Underworld Motion Picture Soun
Year: 2003
Tracks: 15
Reality
Year: 2003
Tracks: 11
Heathen, CD1
Year: 2002
Tracks: 12
Best of Bowie Cd 2
Year: 2002
Tracks: 20
Best of Bowie Cd 1
Year: 2002
Tracks: 19
All Saints - Collected Instrumentals 1977-1999
Year: 2001
Tracks: 16
Pin Ups
Year: 1999
Tracks: 12
Let's Dance
Year: 1999
Tracks: 8
Earthling
Year: 1997
Tracks: 9
Outside Version 2 (CD 2)
Year: 1996
Tracks: 6
Outside Version 2 (CD 1)
Year: 1996
Tracks: 19
Outside
Year: 1995
Tracks: 19
Buddha Of Suburbia
Year: 1995
Tracks: 9
Black Tie White Noise
Year: 1993
Tracks: 13
Tin Machine Ii
Year: 1991
Tracks: 13
Tin Machine 2
Year: 1991
Tracks: 13
Tin Machine
Year: 1989
Tracks: 14
Never Let Me Down
Year: 1987
Tracks: 11
Stage
Year: 1985
Tracks: 18
Tonight
Year: 1984
Tracks: 9
Scary Monsters
Year: 1980
Tracks: 10
Lodger
Year: 1979
Tracks: 10
Low
Year: 1977
Tracks: 11
Heroes
Year: 1977
Tracks: 10
Station To Station
Year: 1976
Tracks: 6
Young Americans
Year: 1975
Tracks: 8
Diamond Dogs
Year: 1974
Tracks: 11
Aladdin Sane
Year: 1973
Tracks: 10
Ziggy Stardust
Year: 1972
Tracks: 11
The Rise and Fall Of Ziggy Stardust
Year: 1972
Tracks: 11
Hunky Dory
Year: 1972
Tracks: 11
The Man Who Sold The World
Year: 1970
Tracks: 9
Space Oddity
Year: 1969
Tracks: 10
David Bowie
Year: 1969
Tracks: 14
Heathen, CD2
Year:
Tracks: 4
David Live
Year:
Tracks: 20
Black Tie White Noise (Limited Edition) (CD 2)
Year:
Tracks: 12
Black Tie White Noise (Limited Edition) (CD 1)
Year:
Tracks: 9
The cliché about David Bowie says he's a melodious chameleon, adapting himself according to fashion and trends. While such a criticism is too glib, there's no denying that Bowie demonstrated noteworthy acquirement for perceiving musical trends at his efflorescence in the '70s. After outgo several age in the late '60s as a mod and as an all-around euphony hall entertainer, Bowie reinvented himself as a flower child singer/songwriter. Prior to his breakthrough in 1972, he recorded a proto-metal record and a pop/rock album, finally redefining glam stone with his equivocally aphrodisiacal Ziggy Stardust persona. Ziggy made Bowie an extraneous lead, yet he wasn't content to continue to moil out sparkle rock. By the mid-'70s, he developed an decadent, advanced version of Philly person that he dubbed "plastic soul," which finally morphed into the eerie avant-pop of 1976's Place to Station. Shortly subsequently, he relocated to Berlin, where he recorded trey experimental electronic albums with Brian Eno. At the morning of the '80s, Bowie was still at the altitude of his powers, yet following his blockbuster dance-pop album Let's Dance in 1983, he lento sank into second-rater in front salvaging his career in the early '90s. Even when he was extinct of fashion in the '80s and '90s, it was net that Bowie was unmatchable of the most influential musicians in rock, for better and for worse. Each one of his phases in the '70s sparked a number of subgenres, including thug, fresh wave, goth stone, the new romantics, and electronica. Few rockers ever had such dogged encroachment.
David Jones began playacting music when he was 13 years old, learning the sax patch he was at Bromley Technical High School; another pivotal event happened at the school, when his leftfield student became for good dilated in a schoolyard fight. Following his gradation at 16, he worked as a commercial artist spell playing sax in a number of mod bands, including the King Bees, the Manish Boys (which too featured Jimmy Page as a session man), and Davey Jones & the Lower Third. All ternion of those bands released singles, which were by and large unheeded, yet he continued playing, changing his name to David Bowie in 1966 subsequently the Monkees' Davy Jones became an international star. Over the course of 1966, he released three mod singles on Pye Records, which were all ignored. The following year, he signed with Deram, cathartic the euphony radclyffe Hall, Anthony Newley-styled David Bowie that year. Upon complemental the record, he exhausted several weeks in a Scottish Buddhist monastery. Once he left field the monastery, he studied with Lindsay Kemp's pantomimer troupe, forming his have mummer party, the Feathers, in 1969. The Feathers were ephemeral, and he formed the experimental prowess group Beckenham Arts Lab in 1969.
Bowie needful to finance the Arts Lab, so he signed with Mercury Records that year and released Man of Words, Man of Music, a trippy singer/songwriter album featuring "Space Oddity." The song was released as a single and became a major hit in the U.K., convincing Bowie to centralize on euphony. Hooking up with his old friend Marc Bolan, he began miming at some of Bolan's T. Rex concerts, finally touring with Bolan, bassist/producer Tony Visconti, guitarist Mick Ronson, and drummer Cambridge as Hype. The isthmus promptly hide apart, yet Bowie and Ronson remained close, working on the material that formed Bowie's following album, The Man Who Sold the World, as well as recruiting Michael "Woody" Woodmansey as their drummer. Produced by Tony Visconti, world Health Organization likewise played bass, The Man Who Sold the World was a heavy guitar rock album that failed to gain a great deal attention. Bowie followed the album in late 1971 with the pop/rock Hunky Dory, an album that featured Ronson and keyboardist Rick Wakeman.
Following the liberation of Hunky Dory, Bowie began to develop his most illustrious incarnation, Ziggy Stardust: an androgynous, epicene rock asterisk from another planet. Before he unveiled Ziggy, Bowie claimed in a January 1972 interview with the Melody Maker that he was cheery, helping to stir interest in his forthcoming album. Taking cues from Bolan's stylish glam rock, Bowie bleached his hairsbreadth orange and began eating away women's wearable. He began career himself Ziggy Stardust, and his backing band -- Ronson, Woodmansey, and bassist Trevor Bolder -- were the Spiders from Mars. The Rise & Fall of Ziggy Stardust and the Spiders from Mars was released with much flourish in England in late 1972. The album and its plush, theatrical concerts became a sensation passim England, and it helped him become the only glam rocker to carve extinct a niche in America. Ziggy Stardust became a grapevine hit in the U.S., and the re-released "Space Oddity" -- which was forthwith likewise the title of the re-released Homo of Words, Man of Music -- reached the American Top 20. Bowie chop-chop followed Ziggy with Aladdin Sane subsequently in 1973. Not only did he record a raw album that year, only he as well produced Lou Reed's Transformer, the Stooges' Raw Power, and Mott the Hoople's riposte All the Young Dudes, for which he likewise wrote the title track.
Given the amount of act upon Bowie jammed into 1972 and 1973, it wasn't surprising that his relentless schedule began to catch up with him. After recording the all-covers Pin-Ups with the Spiders from Mars, he accidentally proclaimed the band's breakup, as well as his retirement from live performances, during the group's last show that class. He retreated from the spot to work on a musical adaption of George Orwell's 1984, just formerly he was denied the rights to the novel, he transformed the exploit into Rhombus Dogs. The album was released to generally short reviews in 1974, yet it generated the strike single "Rebel Rebel," and he supported the album with an refine and expensive American spell. As the spell progressed, Bowie became hypnotized with soulfulness music, eventually redesigning the entire register to reflect his new "plastic someone." Hiring guitar player Carlos Alomar as the band's loss leader, Bowie refashioned his radical into a Philly psyche band and recostumed himself in sophisticated, fashionable fashions. The change took fans by surprisal, as did the double-album Jacques Louis David Live, which featured material recorded on the 1974 circuit.
Pres Young Americans, released in 1975, was the culmination of Bowie's psyche fixation, and it became his first-class honours degree major crossover voter hit, peaking in the American Top Ten and generating his number one U.S. number one off in "Fame," a song he co-wrote with John Lennon and Alomar. Bowie resettled to Los Angeles, where he earned his low moving picture use in Nicolas Roeg's The Man Who Fell to Earth (1976). While in L.A., he recorded Station to Station, which took the pliant soulfulness of Lester Willis Young Americans into darker, avant-garde-tinged directions, thus far was too a immense hit, generating the Top Ten single "Favorable Years." The album inaugurated Bowie's image of the gant "Thin White Duke," and it reflected Bowie's growing cocaine-fueled paranoia. Soon, he decided Los Angeles was as well oil production and returned to England; shortly later on arriving back up in London, he gave the awaiting crowd a Nazi salute, a signal of his growing, drug-addled detachment from realness. The incident caused tremendous tilt, and Bowie leftfield the land to settle in Berlin, where he lived and worked with Brian Eno.
Once in Berlin, Bowie sobered up and began painting, as well as perusing art. He also developed a enchantment with German electronic music, which Eno helped him fulfill on their low record album together, Depleted. Released early in 1977, Low was a startling miscellany of electronics, bulge out, and new wave technique. While it was greeted with mixed reviews at the time, it proven to be matchless of the most influential albums of the later '70s, as did its followup, Heroes, which followed that class. Not only did Bowie phonograph recording two solo albums in 1977, only he as well helmed Iggy Pop's comeback records The Idiot and Luxuria for Life, and toured anonymously as Pop's keyboardist. He resumed his playing life history in 1977, coming into court in Only A Gigolo with Marlene Dietrich and Kim Novak, as well as narrating Eugene Ormandy's variant of Shaft and the Wolf. Bowie returned to the level in 1978, launch an international circuit that was captured on the double-album Stage. During 1979, Bowie and Eno recorded Roomer in New York, Switzerland, and Berlin, releasing the album at the end of the year. Boarder was supported with several innovational videos, as was 1980's Scarey Monsters, and these videos -- "DJ," "Fashion," "Ashes to Ashes" -- became staples on early MTV.
Scary Monsters was Bowie's last album for RCA, and it absorbed up his nearly forward-looking, productive period. Later in 1980, he performed the title of respect role in stage production of The Elephant Man, including several shows on Broadway. Over the next two years, he took an prolonged break from recording, appearing in Christine F (1982) and the vampire picture The Hunger (1982), returning to the studio apartment only for his 1981 collaboration with Queen, "Under Pressure," and the musical theme for Paul Schrader's remake of Cat People. In 1983, he signed an expensive contract with EMI Records and released Let's Dance. Bowie had recruited Chic guitarist Nile Rodgers to farm the album, giving the record a silklike, foetid fundament, and hired the unknown Stevie Ray Vaughan as lead guitarist. Let's Dance became his most successful record, thanks to fashionable, modern videos for "Let's Dance" and "Communist China Girl," which turned both songs into Top Ten hits. Bowie supported the record with the sold-out arena duty tour Serious Moonlight.
Greeted with monumental success for the number one clock time, Bowie wasn't quite sure how to oppose, and he finally distinct to reduplicate Let's Dance with 1984's Tonight. While the album sold well, producing the Top Ten attain "Blue Jean," it standard inadequate reviews and ultimately was a commercial disappointment. He stalled in 1985, recording a duad of Martha & the Vandellas' "Terpsichore in the Street" with Mick Jagger for Live Aid. He too exhausted more clock time jet-setting, appearing at famous person events across the globe, and appeared in respective movies -- Into the Night (1985), Absolute Beginners (1986), Maze (1986) -- that turned out to be bombs. Bowie returned to recording in 1987 with the wide panned Never Let Me Down, encouraging the album with the Glass Spider term of enlistment, which also received poor reviews. In 1989, he remastered his RCA catalog with Rykodisc for CD vent, kick off the serial with the three-disc corner Sound + Vision. Bowie supported the discs with an resultant spell of the like nominate, claming that he was self-effacing all of his senior characters from public presentation following the tour. Healthy + Vision was successful, and Ziggy Stardust re-charted amidst the hype.
Sound + Vision may have been a success, but Bowie's succeeding project was perchance his most stillborn. Picking up on the abrasive, dissonant john Rock of Sonic Youth and the Pixies, Bowie formed his own guitar rock jazz group, Tin Machine, with guitarist Reeves Gabrels, bassist Hunt Sales, and his drummer brother Tony, world Health Organization had previously worked on Iggy Pop's Lustfulness for Life with Bowie. Tin Machine released an eponymous album to poor reviews that summer and supported it with a club circuit, which was alone moderately successful. Despite the poor reviews, Tin Machine released a second base album, the appropriately highborn Tin Machine II, in 1991, and it was totally ignored.
Jim Bowie returned to a solo career in 1993 with the sophisticated, soulful Mordant Tie White Noise, recording the album with Nile Rodgers and his now-permanent partner, Reeves Gabrels. The album was released on Savage, a underling of RCA, and standard positive reviews, merely his new label went insolvent shortly later on its button, and the album disappeared. Black Tie White Noise was the kickoff indication that Bowie was trying grueling to revive his calling, as was the largely instrumental 1994 soundtrack The Buddha of Suburbia. In 1995, he reunited with Brian Eno for the wildly hyped, industrial rock-tinged Extraneous. Several critics hailed the album as a riposte, and Bowie supported it with a co-headlining tour with Nine Inch Nails in order to snag a jr., alternative audience, simply his ploy failed; audiences left hand ahead Bowie's carrying out and Outside disappeared. He cursorily returned to the studio apartment in 1996, transcription Earthman, an album heavily influenced by techno and drum'n'bass. Upon its other 1997 sack, Earthling standard broadly positive reviews, in time the record album failed to make an consultation, and many techno purists criticized Bowie for allegedly exploiting their subculture. hours... followed in 1999. For 2002, Bowie reunited with producerToni Visconti and released Heathen to selfsame positive reviews. He continued on with Visconti for Reality in 2003.
