David Bowie...early days and beyond (deo prvi)

"UVEK JE POSTIZAO to  što je hteo" napisao je rano tog jutra(11. januara  2016.) njegov dugogodisnji saradnik Toni Viskonti , nakon sto je smrt Dejvida Bouvija objavljena u zvanicnom saopstenju. "Njegova smrt nije se razlikovala od njegovog života - umetničkog dela." Bouvijev  život i umetnost bili su duboko  zaronjeni u beskrajni kreativni prostor  na jedinstven i neponovljiv nacin,potpuno kompletiran i oslobodjen.Prateći stope Caravaggioa ,Van Gogha i Beethovena,bio je u lozi istinski nadahnutih umetničkih duša.Sa druge strane,bio je prvi od svoje vrste .Rock n roll začetnik ,kreator i inovator,mas medijski manipulator.Umetnik koji je u stanju da stvori nešto tako izuzetno duboko i  lično,da je samo on mogao da dokuči puni smisao svega toga,a sa druge strane izuzetno pristupačan, izrodilo je prisustvo koje je postalo heroj i inspiracija miliona.On je bio najveci,najpristupačniji,najiintimniji,voljom i kreativnošću   najeksperimentalniji muzički umetnik XX. i XXI veka i jedan od najvećih muzičkih stvaralaca koji su ikad hodali ovom planetom.

Početak glazbene karijere

David Robert Jones rođen je u Brixtonu (London), od oca Stentona Jonesa, koji dolazi iz Doncastera (Yorkshire) i majke Margaret Mary Jones, koja potječe iz irske obitelji. Bowievi roditelji se vjenčavaju nakon njegovog rođenja^[3]. Žive u Brixtonu, Stansfield Road 40, do Bowieve šeste godine, kada se sele u Bromley (Kent). Bowie se školuje u "Bromley Technical High School"^[4], koja se nalazi u Kestonu, u Bromleyu, gdje sa svojim roditeljima živi do svoje osamnaeste godine.

S petnaest godina Bowie je doživio nesreću kada ga je njegov prijatelj George Underwood, koji je nosio prsten na ruci, udario u lijevo oko radi jedne djevojke i teško ga povrijedio. Bowie je osam mjeseci izostao iz škole, sve dok doktori nisu završili s operacijama i dok opet nije mogao normalno otvarati i zatvarati oko. Bez obzira na sve teškoće koje je prošao, ostao je dobar prijatelj s Underwoodom, koji je kasnije ilustrirao Bowieve rane albume^[5]. Doktori ipak nakon svega nisu uspjeli skroz zaliječiti njegovo oko, jer mu je zjenica neprestano dilatirala. Rezultat toga je njegovo trajno oštećenje dubinskog opažanja, kao i teško raspoznavanje boja.

Bowiev interes za glazbu počinje od njegove devete godine, kada pod utjecajem oca koji je sakupljao LP ploče, počinje slušati Fatsa Dominoa, Chucka Berryja i vrlo popularnog Little Richarda. Prilikom slušanja velikog Richardovog hita "Tutti Frutti" Bowie je znao govoriti: "Ovo mora čuti Bog". Njegov polubrat Terry uvodi ga u suvremeni jazz i Bowie se oduševljava Charlesom Mingusom i Johnom Coltraneom, dok od majke za Božić 1959. dobiva plastični saksofon.

Svoju glazbenu karijeru Bowie počinje vrlo rano, kao šesnaestogodišnjak. Godine 1962. osniva svoj prvi sastav koji se zvao "The Konrads". Tijekom 1960-ih godina član je mnogih blues sastava, a neki od njih su: The King Bees, The Manish Boys, The Lower Third i The Riot Squad. S King Beesima 1964. izdaje svoj prvi singl "Liza Jane". Kasnije sa bluesa prelazi na stil britanskog popa. Rani singlovi snimljeni u vremenu 1964.-1966. ostaju gotovo nezapaženi.

U ranim šezdesetima Bowie nastupa pod imenom "Davie Jones", pa su ga zamjenjivali s glumcem i pjevačem Davyjem Jonesom iz grupe "The Monkees". Zbog toga svoje umjetničko ime mjenja u "Bowie", po junaku Jimu Bowieu poznatom po Bowie nožu. U to vrijeme snima singl "The Manish Boys" za izdavačku kuću Parlophone kao Davy Jones, dok prelaskom u izdavačku kuću Pye izdaje pod imenom David Bowie.

Bowie svoj prvi album izdaje 1967. godine za izdavačku kuću "Decca Records" (koja je ogranak kuće "Deram"), pod jednostavnim imenom David Bowie. Album je mješavina popa i psihodelije. Približno u to vrijeme izdaje novi singl "The Laughing Gnome". Kasnije kuća "Deram" njegov rani materijal na albumima i singlovima obnavlja i zajedno ga stavlja na kompilaciju.

Psihodelični folk i glam rock[uredi VE | uredi]

David Bowie drastično mijenja svoj glazbeni stil i imidž, te u maniri hipi pokreta za diskografsku kuću "Mercury" izdaje album Man Of Words, Man Of Music. Album nije privukao veliku pažnju, ali se na njemu nalazi skladba "Space Oddity", koja ponovo izlazi kao singl i postiže zapaženi uspjeh u Velikoj Britaniji^[6]. Reizdanje albuma izlazi 1972. pod imenom Space Oddity.

U vrijeme kada završava skladbu "Space Oddity", počinje živjeti s Mary Finnigan kao podstanar. Finnigan i Bowie, zajedno s Christinom Ostrom i Barriejem Jacksonom, subotom navečer nastupaju u folk klubu "The Three Tuns pub" koji se nalazi u Beckenhamu (London)^[7]. The Arts Lab bio je domaćin "Free Festivala" koji je održan u lokalnom parku, a to je kasnije Bowie uglazbio u svom singlu "Memory of a Free Festival"^[8].

Zajednička glazbena suradnja s Marcom Bolanom (pjevač, tekstopisac), Mickom Ronsonom (gitara), Johnom Cambridgeom (bubnjevi) te Johnom Viscontijem (bas gitara, producent) koji nastupaju pod imenom "Hype" bili su temelji stalnoga pratećeg sastava, u koji je kasnije došao bubnjar Michael "Woody" Woodmansey. Bowie s ovom postavom 1970. godine izdaje svoj treći album The Man Who Sold the World, na kojem odbacuje zvuk akustične gitare s prijašnjih albuma i zamjenjuje ga zvukom električne gitare Micka Ronsona. Premda je ovo bio "prvi pravi" Bowijev album, sa svojim hard rock stilom i praskavim Ronsonovim gitarskim izvedbama nije zabilježio veći uspjeh.

Njegov sljedeći album bio je Hunky Dory (objavljen 1971. godine), koji također nije bolje prošao od prethodnoga, mada su kasnije glazbeni kritičari isticali kako je to jedan od ključnih Bowievih albuma. Nakon izdavanja albuma Bowie skandalozno najavljuje svojuhomoseksualnost, te boji kosu crveno i izgleda kao androgina rock zvijezda. Bio je to uvod za album The Rise and Fall of Ziggy Stardust and the Spiders from Mars, jedan od ključnih trenutaka, kako u Bowievoj diskografiji, tako i u povijesti rocka. Na albumu se nalazilo nekoliko skladbi koje su bile povezane svojom pričom, a ostale su bile pod dojmom sage o rock zvijezdi i stardomu općenito. Na Ziggyjuse vidi srastanje svih dotadašnjih Bowievih fascinacija; psihodelije šezdesetih, raskošnih melodija, kabaretskih aranžmana, pop produkcije, praskavih riffova na gitari, puhačkih izvedaba i još mnogo drugog^[9]. Bowie na albumu kombinira hard rock s albuma The Man Who Sold the World s veselijim eksperimentalnim rockom s albuma Hunky Dory i glam rockom (od njegova pionira Marca Bolana iz T. Rexa). Mnogo pjesama s albuma postali su rock klasici: "Ziggy Stardust", "Moonage Daydream", "Hang on to Yourself" i "Suffragette City."

U to vrijeme Bowie se ubrzo promaknuo u veliku rock zvijezdu i počeo je jako puno raditi u glazbi. Osnivač i pjevač sastava "Velvet Underground", Lou Reed, u svom solo probijanju angažira Bowiea da mu, zajedno s Mickom Ronsonom, bude producent na njegovom drugom albumu Transformer. Iggy Pop sa svojim sastavom "The Stooges" potpisuje s Bowiem poslovnu suradnju oko produkcije njihovog trećeg albuma Raw Power. To nije bilo primjetno originalnim skladbama s albuma, već Bowie kasnije radi velike promjene u miksanju. Bowie surađuje i na povratničkom albumu "Moot The Hooplea" All The Young Dudes, a uza sve to objavljuje i svoj novi materijal Aladdin Sane, koji izlazi u travnju 1973.

Aladdin Sane slijedi prethodni stil glam i hard rocka i Bowie prvi puta s njim dolazi na broj 1 britanske top liste. Hit skladba "The Jean Genie" dospjela je na broj 2 ljestvice singlova, a "Drive-In Saturday" na broj 3. Album uključuje i obradu pjesme The Rolling Stonesa, "Let's Spend the Night Together". Bowie angažira Mikea Garsona da mu svira klavir na albumu i solo u naslovnoj skladbi, što je istaknuto kao najbitniji uradak na materijalu^[10].

 

1. I'm Not Losing Sleep *

2. I Dig Everything *
3. Can't Help Thinking About Me
4. Do Anithing You Say
5. Good Morning Girl
6. And I Say To Myself

Born David Jones in Brixton on January 8, 1947, the youngster was perfectly placed to feed off the two most progressive forces of 20th Century music – rock’n’roll and jazz – and he did not look back.

Initially inspired by early Elvis Presley and Little Richard 45s his father brought home, he experimented with skiffle before his step-brother introduced him to the music being created by John Coltrane and his contemporaries, which in turn led the young Jones to the saxophone.In the ’60s, he settled on rock’n’roll, though his initial attempts to break onto the London scene proved frustrating at first – as did the confusion between his own name and that of The Monkees’ Davy Jones – and David Bowie’s (the surname adopted from 19th-century American frontiersman Jim Bowie) self-titled 1967 debut album was something of a non-event.

With success and a new record deal eluding him, Bowie was not to follow up with another release for two years, but he did not waste his time. Instead, his thoughts turned towards image and presentation in a serious and ultimately original way.

This is David Bowie's underrated debut album David Bowie. It's his "baroque pop" record. It's a fantastic record and I' looking forward to sharing it with you.

God Bless David Bowie, May He Rest In Peace.

*Time Stamps are estimates and are not tested in accordance with the video*
1-01 Uncle Arthur 0:00:00
1-02 Sell Me a Coat 0:02:12
1-03 Rubber Band 0:05:14
1-04 Love You Till Tuesday 0:07:34
1-05 There is a Happy Land 0:10:48
1-06 We Are Hungry Men 0:14:04
1-07 When I Live My Dream 0:17:04
1-08 Little Bombardier 0:20:30
1-09 Silly Boy Blue 0:23:57
1-10 Come and Buy My Toys 0:27:51
1-11 Join the Gang 0:30:01
1-12 She's Got Medals 0:32:21
1-13 Maid of Bond Street 0:34:47
1-14 Please Mr. Gravedigger 0:36:32
2-01 Rubber Band (Mono Single A-Side) 0:39:12
2-02 The London Boys (Mono Single B-Side) 0:41:16
2-03 The Laughing Gnome (Mono Single A-Side) 0:44:38
2-04 The Gospel According to Tony Day (Mono Single B-Side) 0:47:36
2-05 Love You Till Tuesday (Mono Single A-Side) 0:50:24
2-06 Did You Ever Have a Dream (Mono Single B-Side) 0:53:25
2-07 When I Live My Dream (Mono Single Master) 0:55:33
2-08 Let Me Sleep Beside You (Mono Single Master) 0:59:25
2-09 Karma Man (Mono Decca Master) 1:02:52
2-10 London Bye Ta-Ta (Mono Decca Master) 1:05:57
2-11 In the Heat of the Morning (Mono Decca Master) 1:08:35
2-12 The Laughing Gnome (New Stereo Mix) 1:11:22
2-13 The Gospel According to Tony Day (New Stereo Mix) 1:14:21
2-14 Did You Ever Have a Dream (New Stereo Mix) 1:17:12
2-15 Let Me Sleep Beside You (Stereo Single Version) 1:19:21
2-16 Karma Man (New Stereo Version) 1:22:42
2-17 In the Heat of the Morning (Stereo Mix) 1:25:47
2-18 When I'm Five 1:28:47
2-19 Ching-a-Ling (Full Length Stereo Mix) 1:31:55
2-20 Sell Me a Coat (1969 Version) 1:34:47
2-21 Love You Till Tuesday (BBC Version) 1:37:44
2-22 When I Live My Dream (BBC Version) 1:40:43
2-23 Little Bombardier (BBC Version) 1:44:18
2-24 Silly Boy Blue (BBC Version) 1:47:46
2-25 In the Heat of the Morning (BBC Version) 1:51:10

Despite Space Oddity, a still-extraordinary UK Number 1 single brilliantly timed for the July 1969 moon landing, a second attempt at a self-titled album (re-released in 1972 as Space Oddity) also failed to launch Bowie commercially. But the scope, individuality and artistry found in its grooves pointed somewhere new. Subsequent albums – The Man Who Sold The World (produced by Tony Visconti) and Hunky Dory (abetted by Ken Scott) – built on its merits, mixing rock and folk, Burroughs and Broadway. Bowie was touching greatness and he knew it.

But it took an alien presence secure worldly stardom: Ziggy Stardust. Touring as the live manifestation of the central character of his 1972 quasi-concept album, The Rise And Fall Of Ziggy Stardust And The Spiders From Mars, Bowie cemented and then transcended cult fandom, providing the spark for the glam rock boom. Producing Lou Reed’s solo album Transformer with Spiders guitarist Mick Ronson, and providing All The Young Dudes for Mott The Hoople’s hit the same year, Bowie was on fire, but with the subsequent Aladdin Sane, Pin Ups and Diamond Dogs straining increasingly at glam’s leash the main man was not going to stay in one place for long.

Instead 1975’s Young Americans heralded the first of many successful sea changes for Bowie, as he couched his own ideas in the warm textures of funk and soul. A year later, the relentlessly intense Station To Station saw Bowie communing with another extraterrestrial explorer, becoming the Thin White Duke of the album’s title track, a version of Thomas Jerome Newton, the character the singer played in Nicolas Roeg’s film The Man Who Fell To Earth which was released the same year.

But increasing drug use and psychic dislocation – witnessed in the contemporary BBC documentary Cracked Actor – made it clear that more than just a musical change was needed. Bowie moved to Geneva before taking up residency in West Berlin, where he found respite from his addictions and a new lease of creativity inspired by the divided city’s fertile artistic scene.

His own Berlin triptych – Low (1977), “Heroes” (1977) and Lodger (1979) – created in collaboration with Visconti and Brian Eno, would have been vindication enough, as he incorporated a head-spinning array of new, local influences (Kraftwerk, Neu!) and Cold War-infused ideas. Yet in the same period he also revitalised Iggy Pop, helping to create his first pair of solo albums, The Idiot and Lust For Life.

This is a self-compiled collection of what I believe are the best Bowie songs from this era. 

Tracklisting:
01. Space Oddity - 0:00
02. The Prettiest Star - 5:16
03. The Man Who Sold The World - 8:27
04. Changes - 12:26
05. Oh! You Pretty Things - 16:03
06. Life On Mars? - 19:15
07. Queen Bitch - 23:09
08. Five Years - 26:28
09. Moonage Daydream - 31:11
10. Starman - 35:51
11. Lady Stardust - 40:05
12. Hang On To Yourself - 43:26
13. Ziggy Stardust - 46:04
14. Suffragette City - 49:18
15. Rock 'n' Roll Suicide - 52:43
16. John, I'm Only Dancing - 55:44
17. Velvet Goldmine - 58:33
18. The Jean Genie - 1:01:46
19. All The Young Dudes - 1:05:53
20. Aladdin Sane (1913-1938-197?) - 1:10:06

MICK ROCK’S LUSCIOUS TASCHEN tome, The Rise Of David Bowie, 1972-1973, is a stunning tsunami of some of the 5,000-plus images the photographer snapped over Bowie’s iconic and career-making Ziggy Stardust period.

Purchasers of MOJO magazine’s latest Bowie-themed edition will already be enjoying a special print of one of the previously unpublished images from one of Rock’s earliest Bowie shoots. And anyone with a superfan in their life and a Christmas present hole to fill might wish to explore its source, a labour of love for the photographer.

Mick Rock’s The Rise Of David Bowie, 1972-1973. Published by Taschen.

“Bowie hypnotised me,” Rock tells MOJO. “Maybe it was partly the LSD and partly the yoga I’d started doing. But I had my brain wide open. And there was a little vibe of my friend Syd Barrett in there, too. When we started to talk he was very intrigued by Syd.”

What was it like rolling with Bowie in 1972? “Inspiring,” says Rock. “I saw him as a ringmaster, like the Energiser bunny.” Certainly, the singer’s charisma and creative power was at a phenomenal peak…

“David was dabbling in Buddhism,” says Rock. “There are a couple signs of it on Hunky Dory. And he was into some kind of Buddhist projection. He was in a state of total yesness. He tapped into some magic.”

Limited to a total of 1,972 numbered copies signed by David Bowie and Mick Rock,The Rise Of David Bowie is available as Collector’s Edition (No. 201-1,972), and also in two Art Editions of 100 copies each, with a pigment print signed by Rock. Each boasts a striking five-way lenticular cover, whose images appear to follow you around the room.

Rock is particularly pleased with how the cover turned out: “It swings any way you want it to, darling, ha ha!”

Classic album from 1970.

Faixas/Tracks:
01 - The Width of a Circle 0:00
02 - All the Madmen 8:05
03 - Black Country Rock 13:44
04 - After All 17:20
05 - Running Gun Blues 21:15
06 - Saviour Machine 24:32
07 - She Shook Me Cold 29:00
08 - The Man Who Sold the World 33:15
09 - The Supermen 37:13

Classic album from the great David Bowie, released in 1971.

Faixas/Tracks:
01 - Changes 0:00
02 - Oh! You Pretty Things 3:34
03 - Eight Line Poem 6:47
04 - Life On Mars 9:42
05 - Kooks 13:34
06 - Quicksand 16:29
07 - Fill Your Heart 21:37
08 - Andy Warhol 24:44
09 - Song for Bob Dylan 28:39
10 - Queen Bitch 32:51
11 - The Bewlay Brothers 36:13

                              Space Oddity 0:00 Unwashed and Somewhat Slightly Dazed 5:16 (Don't Sit Down) 11:32 Letter to Hermione 12:11 Cygnet Committee 14:48 Janine 24:24 An Occasional Dream 27:50 Wild Eyed Boy From Freecloud 30:51 God Knows I'm Good 35:42 Memory of a Free Festival 39:05

.

Space Oddity 0:00 Unwashed and Somewhat Slightly Dazed 5:16 (Don't Sit Down) 11:32 Letter to Hermione 12:11 Cygnet Committee 14:48 Janine 24:24 An Occasional Dream 27:50 Wild Eyed Boy From Freecloud 30:51 God Knows I'm Good 35:42 Memory of a Free Festival 39:05

I.I.I. : How aware of David Bowie were you?

Mick Rock: I was vaguely aware of Space Oddity, but I think I probably regarded it as a gimmick record, which in a sense it was. A bit later I was frequenting the Oz magazineoffices on Great Newport Street, using their darkroom. I remember popping in to [co-editor] Felix Dennis’s office and he had a pile of records on his desk, each with a hole in the corner of the cover, ’cos that’s how they used to differentiate the promo ones, and he said, Help yourself. I grabbed two or three and one of them was *Hunky Dory. And I played that f***ing record – specifically Life On Mars – till I f***ed it up. So I had to actually go out and buy a copy.

“By the end of it, he almostbecame Ziggy. Became trapped in the character.”

MICK ROCK

And what do you remember of your first meeting?

He was instantly charming and he had a very “up” vibe about him, as he always did in those years. I felt that positive force in him from the beginning. Compare him with Lou Reed – who David actually introduced me to – and that was a much murkier, you could say subterranean vibe.

The first thing David said to me was, I like your name. Of course the joke being that my name is actually my name, whereas David Bowie… well he had to distinguish himself from Davey Jones from the Monkees, didn’t he? But Bowie’s such a great name…

There are so many pictures, the book can’t help but project a theme of transformation. You can see him incrementally inhabit the Ziggy character…

Yes well, for that 20 month period I have about 5,500 pictures and I’ve counted 74 different outfits. Some of them he only wore once – like the one he wore in the Life On Mars? video. By the end of it, he almost became Ziggy. Almost became trapped in the character.

The volume of creative decisions is stunning…

He was moving very fast. And he was always sucking up information. That was another amazing thing. You’d say something to him once and he’d catch on and process it into his mischief. It was a magical moment, especially that summer of ’72. Starman, then All The Young Dudes for Mott The Hoople, then the album. David was just rising. That gig at Oxford Town Hall [site of Rock’s famous guitar-fellatio shot – June 72], I think that was his biggest show to that point, maybe a thousand people there. I think that was his first time in four figures. After that it was… romper room!

Do you think being a writer as well helped you sniff out the story, perceive the narrative?

I do – because I wasn’t just running in taking some pictures and running off. I was spending time with him. I did an interview with him for Rolling Stone, and another for Club International, who were trying to do what Playboy had done, with the cultural section before you got to the boobies and bottoms. That was where that picture of him in the mirror first showed up.

There’s lots of candid stuff in the book. He didn’t mind you seeing him put the mask on…

I love how mundane the surroundings are. He’s in the wild, one-legged Kansai outfit but he’s in this grotty dressing room having a fag. Or drinking something out of a paper cup. This exotic creature! Then again, I wasn’t very interested in being a realist. I was interested in what he was projecting. That’s what excited me. That’s what I photographed.

There’s also a sensuality. Some of these shots are like a ballerina getting ready…

He was very connected to his body. His apprenticeship with Lindsay Kemp gave him a lot of confidence in that regard. How many rock stars had studied mime? He was influenced by so many things: including The Living Theatre, including Jacques Brel, including the Velvet Underground; including Iggy – Iggy is Ziggy; Marcel Marceau; Stanley Kubrick. He shared a birthday with Elvis Presley, too.

He was brave – committed to the look, the attitude…

He had a lot of balls. It was an entirely different universe, then. The broad public were quite antagonistic towards what he was doing. This was 42, 43 years ago, but what he was doing then is still ahead of the game – notwithstanding Lady Gaga and all these characters.

Did you ever think, this isn’t going to work?

Not really. One thing he said to me early on: ‘Mick, I’m so focused on this.’ You gotta remember how unhip it was to talk about being a star. This was 1972, the vestiges of hippy: tune in, turn on, who gives a f**k…

But he did give a f**k. He was focused on the quest for… for fame and glory. He said, ‘If you came to me and told me that my best friend had just died, I’d probably go, Oh, what a shame, that’s terrible… then I’d go straight back to work.’ Now, obviously, his best friend *hadn’t just died and he was talking theoretically, but that illustrates his frame of mind. No, I never saw any wavering. When he made Ziggy Stardust he wasn’t a star, but it was all about projecting stardom. He wanted it. Huge.In 1972, David Bowie released his groundbreaking album The Rise and Fall of Ziggy Stardust and the Spiders from Mars. With it landed Bowie’s Stardust alter-ego: A glitter-clad, mascara-eyed, sexually-ambiguous persona who kicked down the boundaries between male and female, straight and gay, fact and fiction into one shifting and sparkling phenomenon of ’70s self-expression.

Together, Ziggy the album and Ziggy the stage spectacular propelled the softly spoken Londoner into one of the world’s biggest stars. A key passenger on this glam trip into the stratosphere was fellow Londoner and photographer Mick Rock. Rock bonded with Bowie artistically and personally, immersed himself in the singer’s inner circle, and, between 1972–1973, worked as Bowie’s official photographer.

This limited and numbered edition brings together the best of Rock’s Bowie portfolio with spectacular stage shots as well as intimate backstage portraits. Pictures for press, album jackets, and stills from promo movies sit alongside around 50 percent previously unseen images, offering unprecedented access to the many facets of Bowie’s personality and his fame. The book’s hologram cover, composed of different head-shots, rejoices in Bowie’s fearless experimentation and unpredictability.

Through the aloof and approachable, the playful and serious, the candid and the contrived, this is a tribute bursting with the daring and energy of a unique star and his eternal inspiration.

Limited to a total of 1,972 numbered copies signed by David Bowie and Mick Rock, this book is available as Collector’s Edition (No. 201-1,972), and also in two Art Editions of 100 copies each, with a pigment print signed by Mick Rock.

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The photographer

Mick Rock was born in London in 1948 and is known as “The Man who shot the seventies.” As well as David Bowie, he has photographed Lou Reed, Queen, Iggy Pop, Roxy Music and Blondie. He also produced and directed music videos for the classic Bowie songs: “John, I’m Only Dancing”, “The Jean Genie”, “Space Oddity” and “Life On Mars?”. Rock has had major exhibitions in London, New York, Los Angeles, Tokyo, San Francisco, and Las Vegas.

The authors

Barney Hoskyns was born in London in 1959. He is the editorial director of Rock's Backpages, the online library of pop writing and journalism, and a former staff writer at the New Musical Express, contributing editor to Vogue, and U.S. correspondent for MOJO. He is the author of the Tom Waits biography Lowside of the Road (2009), andTrampled Under Foot, the oral history of Led Zeppelin (2012).

Michael Bracewell was born in London in 1958 and has written widely on modern and contemporary art and culture. His more recent publications include Richard Hamilton: Late Works, and Damien Hirst: The Complete Psalm Paintings. He has contributed to The Faber Book of Pop and The Penguin Book of Twentieth-Century Fashion Writing.)

“I wasn’t very interested in being a realist. I was interested in what he was projecting.”

MICK ROCK

• “…the intimate photographs provide an unprecedented look into the period that arguably formed the icon’s persona.”

  — Hypebeast.com

• “David Bowie fans, form an orderly queue… The book, with a cover that’s a playfully kitsch hologram of the singer’s face, follows the narrative of the record and is divided into 11 chapters, reflecting the 11 songs; each chapter captures the spirit of the respective lyrics.”

  — Financial Times How To Spend It, London

• “For the love of Ziggy Stardust, these vintage photos of Bowie are just sublime.”

  — The Huffington Post, New York

Abruptly following the massive success of his Ziggy Stardust character, Bowie continued his journey of self re-invention with his sixth offering, Aladdin Sane (A Lad Insane). This album, as stated with Bowie, was heavily influenced by his drug use, along with many of his earlier recordings. I hope you enjoy this record. This is the two-disc 30th anniversary edition and only one of two anniversary editions to be uploaded by me (the other being Diamond Dogs).

God Bless David Bowie, May He Rest In Peace.

*Time Stamps are estimates and are not tested in accordance with the video*
1-01 Watch That Man 0:00:00
1-02 Aladdin Sane (1913-1938-197?) 0:04:30
1-03 Drive-In Saturday 0:09:37
1-04 Panic In Detroit 0:14:13
1-05 Cracked Actor 0:18:40
1-06 Time 0:21:41
1-07 The Prettiest Star 0:26:55
1-08 Let's Spend the Night Together 0:30:26
1-09 The Jean Genie 0:33:36
1-10 Lady Grinning Soul 0:37:42
2-01 John, I'm Only Dancing (Sax Version) 0:41:34
2-02 The Jean Genie (Single Mix) 0:44:19
2-03 Time (Single Edit) 0:48:26
2-04 All the Young Dudes (Mono Mix) 0:52:09
2-05 Changes (Live at Boston Music Hall) 0:56:20
2-06 The Supermen (Live at Boston Music Hall) 0:59:40
2-07 Life on Mars? (Live at Boston Music Hall) 1:02:22
2-08 John, I'm Only Dancing (Live at Boston Music Hall) 1:05:47
2-09 The Jean Genie (Live at Santa Monica Civic Auditorium) 1:08:27
2-10 Drive-In Saturday (Live at Santa Monica Civic Auditorium) 1:12:37

The name of the album is a pun on "A Lad Insane". An early variation was "Love Aladdin Vein", which David Bowie dropped partly because of its drug connotations. Although technically a new Bowie 'character', Aladdin Sane was essentially a development of Ziggy Stardust in his appearance and persona, as evidenced on the cover by Brian Duffy and in Bowie's live performances throughout 1973 that culminated in Ziggy's 'retirement' at the Hammersmith Odeon in July of that year. Moreover there was not the thematic flow on this album that was present on its predecessor. Bowie himself described Aladdin Sane as simply "Ziggy goes to America", most of the tracks being observations he composed on the road during his 1972 US tour—the reason for the place names following each song title on the original record sleeve. Biographer Christopher Sandford believed the album showed that Bowie "was simultaneously appalled and fixated by America".

His mixed feelings about the journey stemmed, in Bowie's words, from "wanting to be up on the stage performing my songs, but on the other hand not really wanting to be on those buses with all those strange people... So Aladdin Sane was split down the middle."This kind of "schizophrenia", as Bowie describes it, was conveyed on the cover by his makeup, where a lightning bolt represents the duality of mind, although he would later tell friends that the "lad insane" of the album's title track was inspired by his brother Terry, who had been diagnosed as a schizophrenic

Ziggy Stardust 

01 - Five years 0:00
02 - Soul love 4:41
03 - Moonage daydream 8:15
04 – Starman Interdit - unauthorized
05 - It ain't easy Interdit - unauthorized
06 - Lady stardust Interdit - unauthorized
07 – Star 12:51
08 - Hang onto yourself Interdit - unauthorized
09 - Ziggy stardust 15:38
10 - Suffragette city 18:52
11 - Rock 'n' roll suicide 22:17
12 - Bonus - John, I'm only dancing 25:18
13 - Bonus - Velvet goldmine 28:04
14 - Bonus - Sweet head 31:16
15 - Bonus - Ziggy stardust 35:32
16 - Bonus - Lady stardust Interdit - unauthorized
17 - Bonus - Starman (instrumental) Interdit - unauthorized
18 - Bonus - Hang onto yourself (demo) Interdit - unauthorized

       

David Bowie, rođen je kao Dejvid Robert Hejvord-Džouns engl. David Robert Hayward-Jones; 8. januar 1947 - 10. januar 2016^[1]) bio je jedan je od najpoznatijih britanskih rokmuzičara, pevača, kompozitora i glumaca. Bouijeva muzička karijera trajala je više od pet decenija, a bio je sklon stalnom menjanju muzičkog stila i imidža, naročito od 1970. godine.^[2] Preminuo je 10. januara 2016. godine, posle osamnaestomesečne borbe sa rakom jetre.

Najranija pesma kojom se proslavio bio je singl "Space Oddity" iz1969, koji je zbog spuštanja na Mesec imao velik uspeh.

Najznačajniji Bouijev album bio je „Uspon i pad Zigija Stardasta i pauka sa Marsa“ (The Rise and The Fall of Ziggy Stardust and The Spiders From Mars). To je bio konceptualni album sa pričom o vanzemaljcu koji dolazi na Zemlju, postaje megazvezda a na kraju ga ubijaju obožavaoci. Zaštitni znak turneje bio je ogromni stakleni pauk, posebno izrađen za tu priliku. 

1. David Bowie (1967)
2. Space Oddity (1969, 1972 ponovno izdanje UK #17, US #16)
3. The Man Who Sold the World (1970, 1972 ponovno izdanje UK #26)
4. Hunky Dory (1971, US #93, 1972 ponovno izdanje UK #3)
5. The Rise and Fall of Ziggy Stardust and the Spiders from Mars (1972, UK #5, US #75)
6. Aladdin Sane (1973, UK #1, US #17)

1. Pin Ups (1973, UK #1, US #23)
2. Diamond Dogs (1974, UK #1, US #5)
3. Young Americans (1975, UK #1, US #9)
4. Station to Station (1976, UK #5, US #3)
5. Low (1977, UK #2, US #11)
6. „Heroes“ (1977, UK #3, US #35)
7. Lodger (1979, UK #4, US #20)
8. Scary Monsters (and Super Creeps) (1980, UK #1 US #12)
9. Let's Dance (1983, UK #1, US #1)
10. Tonight (1984, UK #1, US #11)
11. Never Let Me Down (1987, UK #6, US #34)
12. Black Tie White Noise (1993, UK #1, US #39)
13. The Buddha of Suburbia (1993, UK #87)
14. 1.OUTSIDE (1995, UK #8, US #21)
15. Earthling (1997, UK #6, US #39)
16. 'hours...' (1999, UK #5, US #47)
17. Heathen (2002, UK #5, US #14)
18. Reality (2003, UK #3, US #29)
19. The Next Day (2013, VB #1, SAD #2)
20. Blackstar (2016)

Bouvijevi citati: Je**š to. Želim da budem superčovek

Dečak, koji se tada zvao Dejvid Džouns, imao je samo 17 godina kada se pojavio na televiziji BBC kao predstavnik Društva za prevenciju surovosti prema dugokosim muškarcima 1964.

Tek sad, kada je taj dečak posle izgradnje veličanstvene karijere pod imenom Dejvid Bouvi i umro, ponovo se probudilo interesovanje za snimak u kom se žali na to kako društvo postupa prema muškarcima s dugom kosom. 

“Mislim da smo svi vrlo tolerantni”, rekao je on voditelju emisije “Today”. “Ali u poslednje dve godine na ulici su nam dobacivali: ‘Draga!’ i ‘Mogu li da ti ponesem tašnicu?’ Mislim da to mora da prestane”, rekao je on. 

“Mislim da se svima sviđa duga kosa i ne vidimo zašto bi nas drugi ljudi šikanirali zbog toga”, rekao je on.

Iako nije voleo da daje intervjue, tokom bogate karijere razgovarao je s mnogim novinarima, a njegove izjave objedinjene su u knjigu “Bowie on Bowie”. 

Predstavljamo vam najzanimljivije izjave slavnog muzičara: 

“Bio sam muški ekvivalent glupoj plavuši i očajnički sam želeo da me ljudi prihvate zbog moje muzike. Često žalim zbog toga što nisam imao normalnije tinejdžersko doba. Od 16. godine nikad nisam igrao fudbal sa drugarima, niti sam ćaskao sa devojkama, kao drugi tinejdžeri i, verovali ili ne, to mi nedostaje.” 

*** 

“Mislim da nisam ničiji guru... Imam divnu maštu. Nisam biljka. Puštam svoju maštu da divlja. Divim se Frenku Zapi, ali više volim Čarlsa Mingusa. Voleo sam takvu vrstu džeza.” 

*** 

“I dalje se mnogo ljudi loži na besmrtnost... Čemu zapravo težimo? U svemu je previše ega. Ko želi da vuče svoje staro, poruraspalo telo do devedesete? Samo da udovolje egu. Ja ne, sigurno.” 

*** 

“Nisam veliki ljubitelj diskoteka. Prezirem ih. Stvarno mi je neprijatno što moje ploče dobro prolaze u diskotekama.” 

*** 

“Film ‘Just a Gigolo’ bio je sr**e, pravo sr**e. Danas, kad se sretnemo mi koji smo radili na tom filmu, obavezno skrenemo poglede.” 

*** 

“Bilo je to vrlo smešno. Kada sam išao da gledam film ‘The Man Who Fell To Earth’, poneo sam na stotine i stotine knjiga. Osećao sam se zbog toga prilično grozno. Imao sam te police – da, u pravu ste, bila je to putujuća biblioteka – i bile su kao kutije u koje se pakuju pojačala... zbog tog perioda, imam izuzetnu kolekciju knjiga.” 

*** 

“Napravio sam neke odlične albume. Moram biti iskren. Volim ih. Volim svoje stvari. Postanem besan kada čujem one stvari u kojima nisam dao sve od sebe.” 

*** 

“Ovih dana se više nego ikad osećam kao društveno biće, što nisam bio u jednom periodu... Nekad sam srećan kad deprimiram ljude.”

“Moj rad je više egzistencijalistički nego nihilistički. Oduvek sam voleo pisce poput Kamija. Ali ljudi su ga doživljavali kao suviše negativnog. A nije bio! Sve što je imao da kaže imalo je smisla.”

***

“Ja sam instant zvezda. Samo dodajte vodu i promešajte. Oduvek sam imao odvratnu potrebu da budem nešto više od čoveka. Osećao sam se beznačajnim kao čovek. Mislio sam: 'Je**š to. Želim da bude superčovek'.”

***

“Ne znam gde ću ići odavde, ali obećavam da neću biti dosadan. Pomislili biste da je rok zvezda u braku sa supermodelom nešto najbolje na svetu. I jeste.”

***

“Sama slava ne može vam doneti ništa više od dobrog mesta u restoranu.”

***

“Proveli smo beskrajne sate govoreći o slavi i kako je to kad više ne posedujete sopstveni život. Koliko želite da postanete poznati, pre nego što to i postanete, a kada se to desi, kako želite da se stvari obrnu.” (O razgovorima sa Džonom Lenonom)

***

“Sve moje velike greške nastajale su kad sam se premišljao ili pokušavao da udovoljim publici. Moj rad je uvek bolji kada sam vrlo sebičan u vezi s njim.”

***

“Ceo moj život sačinjen je od eksperimenata, radoznalosti i bilo čega što deluje iole privlačno. Imao sam snažnu glad da iskusim sve što život ima da pruži – od legla opijuma do bilo čega. Mislim da sam uradio sve što je moguće uraditi.”

***

“Ne osećam potrebu da neko kvalifikuje moj rad na neki poseban način. Radim za sebe.”

***

“Izvucite najbolje iz svakog trenutka. Mi ne evoluiramo. Mi ne idemo nigde. Mi smo samo vrsta koja zavisi od instinkta preživljavanja i tako gradimo moral, apsolutne i istine.”

Zbog toga što nije bio iznad proseka samo po muzičkom talentu, Bouvi je osnovao Bowie.net, koji je kasnije postao davidbowie.com, lansirao je sopstvenu radio-stanicu, čak i svoju banku.

Godine 1997. je pionirski stvorio potpuno novi investicioni instrument kada je stvorio “Bowie bonds”, vrednosnu hartiju od tadašnjih i budućih prihoda kataloga koji sadrži više od 300 njegovih pesama sa 27 albuma.

Zbirka je vredela 55 miliona dolara i investitori bi dobili kamatu od 7,9 odsto kada bi njegovu muziku, na primer, kupile kompanije kako bi ih koristile u reklamne svrhe.

Bouvi ne samo da je bio više od rok zvezde, već je bio više i od biznismena od svih svojih savremenika i krčio je put za buduće generacije kako bi iskoristile prednosti internet doba.

Bouvi je shvatao kako biznis alate može da koristi u svoju korist.

U zapanjujućem intervjuu za BBC 2000. godine, kada je internet tek bio u povoju i kada niko nije razumeo kakav će njegov uticaj biti na popularnu kulturu i vezu između kreativnih umetnika, potrošača i biznisa, Bouvi je rekao:

“Rokenrol je sada šansa karijere, a internet nosi zastavu subverzivnog, buntovnog, haotičnog, nihilističkog… Monopolisti više nemaju monopol. Mislim da je potencijal onoga što će internet učiniti za društvo, i dobro i loše, nezamisliv. Mislim da smo na pragu nečeg uzbudljivog i zastrašujućeg. Sadržaj i stanje sadržaja će biti toliko različito od svega što predviđamo u ovom trenutku, gde će interakcija između korisnika i davaoca biti takva da će srušiti ideje o tome šta su mediji u svemu tome."

(nastaviće se...)