🔘The Man Who Sold The World – Album US: Nov. 1970

Originally released in the United States on November 4, 1970, The Man Who Sold The World arrived five months before the UK edition and introduced the world to Bowie’s shift into a heavier, darker hard‑rock sound. Issued in the now‑iconic “cartoon cover,” the US release was the first appearance of the album in any territory. Produced by Tony Visconti, the record marked the debut of the core musicians who would become the Spiders from Mars, and its themes of madness, technology, and existential dread signaled the beginning of Bowie’s classic era.

Released on November 4, 1970 by Mercury (SR‑61325), the album was pressed by Philips Recording Company, Inc. and issued in a heavy‑matt single sleeve with slicks on cardboard. The US edition is notable for its stamped matrix numbers — the only authentic version of this sleeve, with all etched‑matrix copies identified as counterfeits.

Label: Mercury

Catalogue Number: SR‑61325

Format: LP (12")

Released: November 4, 1970 (USA)

🔘 Track List

US LP — Mercury – SR‑61325 — 1970

Side A

• The Width Of A Circle — 8:07

• All The Madmen — 5:38

• Black Country Rock — 3:33

• After All — 3:52

Side B

• Running Gun Blues — 3:12

• Saviour Machine — 4:27

• She Shook Me Cold — 4:13

• The Man Who Sold The World — 3:58

• The Supermen — 3:39

Writing Credits

• David Bowie — all tracks

Production Credits

• Produced by: Tony Visconti

• Arranged by: David Bowie, Tony Visconti

• Recorded: April–May 1970 — Trident Studios & Advision Studios

• Remixed at: Trident Studios

🔘 Key Highlights

• Released November 4, 1970 (USA)

• First country to issue the album

• Introduced the “cartoon cover” artwork

• Recorded in London, April–May 1970

• First Bowie album featuring Ronson & Woodmansey

• Marked Bowie’s shift into hard rock and darker lyrical themes

🔘 Singles

• No singles were released from the album

🔘 The Story

The US edition of The Man Who Sold The World represents the album’s true first appearance. Mercury Records released it in America months before the UK, using a striking cartoon‑style sleeve by Michael J. Weller. The artwork depicts a cowboy outside Cane Hill Hospital — where Bowie’s half‑brother Terry was a patient — and was intended to reflect the album’s unsettling themes. Bowie originally wanted the album titled Metrobolist, but Mercury changed the name without his approval.

Recorded between April and May 1970, the album marked a dramatic departure from the folk‑leaning textures of Bowie’s previous work. With Tony Visconti producing and contributing bass, Mick Ronson’s explosive guitar work, Mick Woodmansey’s powerful drumming, and Ralph Mace’s Moog synthesiser, the album forged a dense, heavy sound that would become foundational to Bowie’s early‑70s output.

Although critically appreciated in the US, the album failed commercially until its 1972 RCA reissue, which finally brought chart recognition. Retrospectively, the US release is considered one of the most historically significant Bowie pressings due to its artwork, rarity, and position as the album’s first appearance.

🔘 Personnel

• David Bowie — lead vocals, backing vocals, 12‑string acoustic guitar, Stylophone

• Mick Ronson — lead & rhythm guitar, acoustic guitar, backing vocals, recorder, piano

• Tony Visconti — bass, backing vocals, recorder

• Mick Woodmansey — drums, timpani, percussion

• Ralph Mace — Moog synthesiser

Technical

• Tony Visconti — producer

• Ken Scott — engineer

• Gerald Chevin — engineer

• Robin McBride — executive producer

🔘 Variants (USA)

• LP — Mercury – SR‑61325 — US — 1970 — Commercial release

Stamped matrix numbers; authentic Philips pressing; heavy‑matt sleeve.

• LP — Mercury – SR‑61325 — US — 1970 — Promo

White labels with black print; “Promotional Copy · Not For Sale”; same sleeve as stock copy.

• LP — Mercury – SR‑61325 — US — 1970 — Repress (corrected A2)

Corrects the missing 2 seconds from “All The Madmen”; issued shortly after initial release.

• 8‑Track — Mercury – MC8‑61325 — US — 1970

Program A

• The Width Of A Circle

• Saviour Machine (Part 1)

Program B

• Saviour Machine (Conclusion)

• Black Country Rock

• She Shook Me Cold

Program C

• After All

• The Supermen

• All The Madmen (Part 1)

Program D

• All The Madmen (Conclusion)

• Running Gun Blues

• The Man Who Sold The World

🔘 Sleeves

• Original US sleeve features Michael J. Weller’s cartoon artwork

• Depicts a cowboy outside Cane Hill Hospital

• Back cover includes credits and track details

• Stamped matrix numbers confirm authenticity (etched = counterfeit)

• Issued in heavy‑matt single sleeve with slicks on cardboard

• Pre‑dates the UK “dress cover” by five months

🔘 Contemporary Review — [Publication], [Full Date]

[Insert summary of contemporary review here.]

🔘 Chart Performance

US — Billboard Top LPs & Tape

Peak Position: #105

First Chart Date: 1972 (RCA reissue)

🔘 Context & Notes

• First country to release the album

• US artwork rejected by Bowie for UK release

• Themes include insanity, war, technology, and existential dread

• No singles released; some tracks later used as B‑sides

• Reissued multiple times; remixed in 2020 as Metrobolist

• US pressing is highly collectible due to artwork and matrix details

🔘 Related Material

See Tags at foot of page

🔘 Discography

The World of David Bowie — 1970

The Man Who Sold The World — 1970

Hunky Dory — 1971

🔘 Mini‑Timeline

✦ April–May 1970 — Recording begins in London

✦ November 4, 1970 — US release (Mercury “cartoon cover”)

✦ April 10, 1971 — UK release (“dress cover”)

✦ 1972 — RCA reissue charts in US & UK

✦ 2020 — Metrobolist remix released

🔘 Glam Flashback

A foreboding cowboy, a haunted hospital, and a new electric menace — America heard Bowie’s darkness first.

#ReleaseChronicle #DavidBowie #TheManWhoSoldTheWorld #1970 #Mercury

🔘 Sources

Primary reference sources: Mercury Records, Discogs, Official Charts Company, contemporary music‑press documentation, archival references.

🔘 Copyright Notice

All magazine scans, photographs, and original text excerpts referenced in this entry remain the property of their respective copyright holders. This Chronicle entry is a transformative, non‑commercial archival summary created for historical documentation and educational reference. No ownership of the original material is claimed or implied.