A one‑page SOUNDS feature published on April 22, 1978, pairing David Bowie’s late‑1970s stage imagery with Kraftwerk’s emerging electronic aesthetic. The page juxtaposes four photographs of Bowie performing during his 1978 world tour with a major article titled “We Are Showroom Dummies,” written by Jane Suck. The piece reflects the cultural cross‑currents between Bowie’s Berlin‑period experimentation and the rise of European art‑rock and electronic music, capturing the shared

A brief, enthusiastic single review highlighting David Bowie’s narration of Prokofiev’s Peter And The Wolf, released on striking green vinyl through RCA. Published on April 22, 1978, the piece captures the playful surprise of hearing Bowie lend his unmistakable voice to a classical children’s favourite, presented as a quirky and collectible addition to his catalogue. The reviewer describes Bowie as “the prophet of our times” narrating the famous opera, noting the novelty and

A sharply critical live review of David Bowie’s performance at the Los Angeles Forum during the early leg of his 1978 world tour, published around April 22, 1978. The piece reflects a moment of disappointment and detachment, portraying the concert as calculated, rushed and lacking the spark that had defined Bowie’s earlier Los Angeles appearances. The reviewer, writing in the tone and style associated with Harvey Kubernik and the local music press of the period, contrasts the

A striking Record Mirror photo‑feature published on April 22, 1978, showcasing David Bowie’s intense stage presence and previewing the forthcoming British leg of his Heroes and Low tour. The page radiates the cool, theatrical power of Bowie at the height of his late‑1970s creativity, capturing the Thin White Duke in full command through a series of dramatic black‑and‑white live photographs. The feature highlights the structure of the show, noting that the first half focuses o

A sharp, tongue‑in‑cheek NME reaction to David Bowie’s striking new stage costume for the forthcoming 1978 world tour, published on April 22, 1978. The piece captures the playful shock and amused admiration that greeted Bowie’s bold, androgynous sailor‑inspired look, marking a dramatic visual shift from the cooler, more austere image of the Heroes and Low period. The article frames the outfit as the latest in a long line of theatrical reinventions, placing Bowie once again at

A vivid, electric dispatch from David Bowie’s 1978 tour, published in Sounds on April 15, 1978, capturing the thrill of watching him revisit the Stardust mythology with renewed clarity and control. The review glows with the tension between past personas and present mastery, presenting Bowie as an artist standing between eras — no longer Ziggy, yet unafraid to summon him. The writer frames his return as both resurrection and reinvention, a reminder of how effortlessly Bowie co

A cover and one‑page Record Mirror feature published on April 15, 1978 under the title White Light, White Heat, White Magic, capturing David Bowie in the midst of the Isolar II / Heroes era. The piece presents Bowie as a figure of disciplined transformation — an artist refining his Berlin‑forged aesthetic while commanding global attention through the 1978 world tour. The tone is reverent yet analytical, portraying Bowie as both avant‑garde experimenter and mainstream magnet,

A dazzling, disciplined Record Mirror account of David Bowie’s Los Angeles Forum performance, published on April 15, 1978 under the headline White Light, White Heat, White Magic. Written by Roger Harvey, the review captures Bowie at the opening of the Isolar II tour, presenting him as a performer who has learned to channel chaos into elegance. The tone is reverent yet analytical, describing a concert defined by precision, control and a magnetic stage presence forged during th

A sharp, tongue‑in‑cheek letter reacting to Melody Maker’s recent Devo feature, using a pointed Bowie reference to question the band’s anti‑individualist philosophy.

A rumour, a signing, and a spark of possibility — DEVO’s future collided with Bowie’s orbit in a single paragraph of 1978 press