Search Results

David Bowie’s "The Rise And Fall Of Ziggy Stardust And The Spiders From Mars - I'd give it at least a 99" , a one-page album review in Rolling Stone , July 20, 1972.

David Bowie’s "Starman - Current Single" , a one-page advert, May 27, 1972.

David Bowie’s "Outaspace, Outasight" , a two-page article in Fabulous 208 Magazine , November 29, 1969.

David Bowie’s A Great Pretender? , a cover and three-page article and one-page advert in Let It Rock Magazine , October 1, 1972.

David Bowie’s Is Aladdin Still Sane? , a cover and one-page article in Creem Magazine , May 1, 1973.

David Bowie’s "Top Selling Album" , a two-page advert in Melody Maker , June 15, 1974.

David Bowie’s "Lookin' Back" , two one-page articles in New Musical Express , February 17, 1973.

David Bowie’s "Aladdin Sane" , a one-page advert in Disc , April 21, 1973.

David Bowie’s "Drive-In Saturday" , a one-page advert in Melody Maker , April 7, 1973.

David Bowie’s "John I'm Only Dancing - It's a Strange Song" , a one-page review in Record Mirror , September 2, 1972.

David Bowie’s Bowie Flash , a cover and three-page article in Hit Parader Magazine , February 1, 1973.

David Bowie’s Bowie Flash , a cover and three-page article in Hit Parader Magazine , February 1, 1973.

David Bowie’s Are You Man Enough For David Bowie? , a cover and four-page article in Rolling Stone , November 9, 1972.

David Bowie’s "Starman - Bi-Guy David Bowie Scores" , a one-page review in New Musical Express , April 29, 1972.

David Bowie’s "Bowie's Back on Tour - Catch Him at Boots Prices" , a one-page advert, June 14, 1978.

David Bowie’s "Bowie-BBC Row" , a one-page article in Melody Maker , October 7, 1972.

David Bowie’s "Stage - All The World Is A Stage" , a one-page advert in Melody Maker , September 30, 1978.

David Bowie’s "Liverpool Stadium - He's Come a Long Way" , a one-page concert review in Melody Maker , June 10, 1972. The concert was part of his Ziggy Stardust Tour. This was the 32nd show of the tour, which began on January 29, 1972. The band, known as the Spiders from Mars, included David Bowie (vocals, guitar), Mick Ronson (lead guitar), Trevor Bolder (bass), and Mick "Woody" Woodmansey (drums). During the performance, a power cut interrupted James Brown’s “You Got To Have A Job (If You Don’t Work You Can’t Eat),” prompting Bowie to play an impromptu acoustic set until power was restored. Liverpool Boxing Stadium, the venue’s full name, was the world’s first purpose-built boxing stadium, opened in 1932, and served as a key live music venue in the 1970s before its demolition in the 1980s

David Bowie’s "David Bowie In Concert Worthing Assembly Hall" , a one-page advert in New Musical Express , May 13, 1972.

David Bowie’s David Bowie Talk-In, a cover and one-page article in Let It Rock Magazine, June 1, 1973.

David Bowie’s "Electric Village at the Locarno" , a one-page advert in Scrapbook , 1973. Bowie performed at the Locarno Electric Village in Bristol, England, on August 27, 1972, as part of his Ziggy Stardust Tour. This was the 49th date of the tour, which began on January 29, 1972, to promote his albums Hunky Dory  and The Rise and Fall of Ziggy Stardust and the Spiders from Mars . The concert featured Bowie with his backing band, the Spiders from Mars: Mick Ronson (guitar, vocals), Trevor Bolder (bass), and Mick “Woody” Woodmansey (drums), with Nicky Graham on piano. Support acts were Thin Lizzy and Gnidrolog. The setlist included 13 songs: Hang On to Yourself , Queen Bitch , John, I’m Only Dancing , Moonage Daydream , Starman , Ziggy Stardust , Suffragette City , Waiting for the Man , Life on Mars? , The Width of a Circle , This Boy  (a Beatles cover), Space Oddity , and I’m Waiting for the Man . Notably, this performance included a rare live rendition of This Boy , a Beatles B-side from 1963, which was occasionally part of Bowie’s 1972 setlists. The concert drew around 2,000 attendees, with tickets priced at £1.25. The Locarno, a multi-entertainment venue opened in 1966, featured unique elements like handing out folding wooden seats to the audience. The show was part of the UK leg of the tour, just before Bowie’s first US performances in September 1972. The performance is considered significant for its setlist variety and as one of the last UK shows before the US tour.

David Bowie’s "Cuts Bruce's Songs" , a one-page article in Melody Maker , December 7, 1974.

David Bowie’s "World Tour Preview" , a two-page feature in New Musical Express , February 14, 1976. DAVID BOWIE could hardly have selected a more suitable jumping-off point for his 1976 world tour than Vancouver, British Columbia (somewhere in) Canada. This Northwest port city, closer to Alaska than San Francisco - spiritually as well as physically, has managed to remain remarkably provincial despite a head count nearing the million mark. Its populace was substantial (and starved for rock and roll) enough to ensure Bowie a quick sell-out of the 17,000-plus Coliseum, a proper introduction to the kind of venues he'll be seeing regularly on his global campaign. Yet there's a certain privacy to Vancouver, an outgrowth of the American attitude that nothing north of Seattle really matters. This shouldn't be taken as any kind of geographical slur by Canadian nationalists; it's just that the country has lived so long in Uncle Sam's shadow that it's come to be regarded, however unfairly, as a grey expanse encountered only if you take a wrong turn at Detroit. Canada is about as off-Broadway as you can possibly get. If the show here didn't make it on any level, there was still plenty of time for adjustment before it would be subjected to too much media scrutiny.

David Bowie’s "Glitter Panache and Pace - A Star is Born" , a one-page London Festival Hall review in Melody Maker , July 15, 1972. This event was a benefit concert for Friends Of The Earth. Ticket prices ranged from 50 pence to £2, with all proceeds supporting the charity's Save the Whale campaign. The supporting acts included Marmalade and the JSD Band, with Kenny Everett serving as the compere. The highlight of the event, however, was when Lou Reed joined Bowie on stage to perform the Velvet Underground songs ‘White Light/White Heat’, ‘I’m Waiting For The Man’, and ‘Sweet Jane’. Bowie performed 16 songs: ‘Hang On to Yourself’, ‘Ziggy Stardust’, ‘Life On Mars?’, ‘The Supermen’, ‘Starman’, ‘Changes’, ‘Five Years’, ‘Space Oddity’, ‘Andy Warhol’, ‘Amsterdam’, ‘I Feel Free’, ‘Moonage Daydream’, ‘White Light/White Heat’, ‘I’m Waiting For The Man’, ‘Sweet Jane’, and ‘Suffragette City’. info courtesy Bowie Bible

David Bowie’s "Peter And The Wolf - A New Bowie" , a one-page advert in Rolling Stone , May 18, 1978.

David Bowie’s "Hunky Dory - The Best Album Bowie Has Ever Done", a one-page advert in Melody Maker, February 5, 1972 DAVID Bowie stars in The Old Grey Whistle Test on BBC-2 next Tuesday DAVID BOWIE "Hunky Dory" is not only the best album Bowie has ever done, it's also the most inventive piece of songwriting to have appeared on record for a considerable time.' (M.W Melody Maker) "HUNKY DORY" SF 8244 Including his hit single "CHANGES" RCA 2160

David Bowie’s "London's Royal Albert Hall", a one-page concerts announcement in Scrapbook, March 12, 1970 David Bowie delivered a 20-minute solo performance at London's Royal Albert Hall. It was part of a charity event supporting Mencap, featuring other performances by the Faces and Josef Locke. Bowie became involved on February 4th during a meeting with film executive Rex Sheldon. The purpose of the meeting was to discuss Bowie composing music for a proposed film, Silver Lady, which ultimately was never produced. During this meeting, Sheldon also invited Bowie to perform at the Albert Hall event, and Bowie agreed..

David Bowie’s "Concert - The Fickle - Pickle Club", a one-page advert in Melody Maker, July 17, 1970. Advertisement for a performance featuring Aquila and David Bowie at The Fickle-Pickle Club, The Cricketers Inn, Southend, on Friday, July 17th, with lights by Colored Rain. Next week's act: Status Quo. David Bowie performed at The Fickle Pickle Club, a notable live music venue in Westcliff-on-Sea, next to The Cricketers Inn. The performance was part of Bowie’s early career during his Man of Words/Man of Music tour. Performers: David Bowie: Billed as a solo act but backed by his band Hype, which included guitarist Mick Ronson, bassist Tony Visconti, and drummer Mick "Woody" Woodmansey. The gig was advertised as the "Debut of David Bowie with Harry The Butcher," reflecting the transitional naming of his backing band before settling on "Hype." Aquila: Another band on the bill, though specific details about their performance or setlist are not widely documented in the provided sources. Venue: The Fickle Pickle Club, also known as The Venue or formerly Club Riga, was located at 288 London Road, next to The Cricketers Inn, with the entrance on Milton Road. This venue has a storied history, having hosted iconic acts like David Bowie, Thin Lizzy, and Status Quo. Vintage poster for Fickle Pickle Club in Southend-on-Sea, featuring performances by Aquila and David Bowie on July 17, Status Quo on July 24, and an event on July 31, with visuals by Colored Rain. Historical Context: This gig occurred during a formative period for David Bowie, as he was developing his glam rock persona and sound. The performance was significant enough to be noted in local music history, with Bowie being invited during this show to perform at a charity event for Shelter on August 1, 1970. Setlist: While the exact setlist for July 17, 1970, is not fully detailed in the sources, a related performance by Bowie with Hype around that time included songs like "The Width of a Circle," "Janine," "Wild Eyed Boy from Freecloud," "Unwashed and Somewhat Slightly Dazed," "Fill Your Heart," "I’m Waiting for the Man," "The Prettiest Star," "Cygnet Committee," and "Memory of a Free Festival." It’s likely some of these tracks were performed at The Fickle Pickle Club. Cultural Significance: The Fickle Pickle Club is celebrated for its role in the early careers of major artists. The venue continues to be a vibrant spot for live music, with a legacy tied to performances like Bowie’s. An advertisement from the time also highlights the club’s prominence, noting Bowie’s appearance the week before a Status Quo gig on July 24, 1970.

David Bowie’s "Burretti with Arnold Corns", a one-page article in Melody Maker, April 17, 1971. This was one of Bowie's side projects and served as a preliminary version for Ziggy Stardust. The band was formed at Dulwich College, and Bowie agreed to write for them. Simultaneously, he also agreed to write for the 19-year-old designer Freddie Burretti (born Frederick Burrett, also known as Rudi Valentino). Bowie conceived the idea of merging Burretti with Arnold Corns, and with assistance from Mick Ronson, Mick Woodmansey, and Trevor Bolder, a revamped version of Arnold Corns was established in the spring of 1971. Bowie was composing material that would later become part of Hunky Dory, as well as songs intended for Burretti, with Oliver Abraham briefly credited for assisting with most of the songs. Burretti as the frontman was entirely a fabrication.

David Bowie’s "Pantomime Rock? Lauren Buccal? No, Its David Bowie", a one-page article in Rolling Stone, April 1, 1971. Who Refuses To Be Thought Of As Mediocre LOS ANGELES - In his floral-patterned velvet midi-gown and cosmetically enhanced eyes, in his fine chest-length blonde hair and mod nutty engineer's cap that he bought in the ladies' hat section of the City of Paris department store in San Francisco, he is ravishing, almost disconcertingly reminiscent of Lauren Bacall, although he would prefer to be regarded as the latter-day Garbo. In the studios of San Francisco's KSAN-FM he assures an incredulous DJ that his last album was, very simply, a collection of reminiscences about his experiences as a shaven-headed transvestite. In Hollywood, at a party staged in his behalf, he blows the minds of arriving hot-panted honeys with Edy Williams hair, welcoming them lispily in his gorgeous gown before excusing himself so he can watch Ultra Violet give inter-views from a milk bath at a party a few blocks away in her behalf. Although he is the creator of one of the year's most interesting albums, The Man Who Sold The World, he remains mostly unfamiliar. But perhaps not for long. The 24-year-old songwriter/singer/theatrician/magnificent outrage from London will under-take his first performing tour of this country (due to visa difficulties he was not allowed to play in public during his February visit) in April. "I refuse to be thought of as mediocre," Bowie asserts blithely. "If I am mediocre I'll get out of the business. There's enough fog around. That's why the idea of performance-as-spectacle is so important to me." He plans to appear on stage decked out rather like Cleopatra, in the appro-priate heavy make-up and in costumes that will hopefully recall those designed in the Thirties by Erte. He says he will also interpret his own works through mime, a form in which he's been involved at several points in his career, most notably when he wrote for, acted in, and produced the Lindsay Demp Mime Company of London: "I'd like to bring mime into a traditional Western sense, to focus the attention of the audience with a very stylized, a very Japanese style of movement." Bowie assures that he has already put that idea into practice with gratifying results: "About three years ago, at the Festival Hall in London, I did a solo performance of a 20-minute play with song that I wrote called Yet-San and the Eagle, which is about a boy trying to find his way in Tibet, within himself, under the pressures of the Communist Chinese oppression. I might bring it over to some of the bigger places I work in America. It was very successful-every-body seemed to understand and enjoy it." He is not overly concerned with American audiences' lesser experience with and consequent lesser receptivity to theatrically enhanced musical performances: "Should anyone think that these things are merely distractions or gimmicks intended to obscure the music's shortcomings, he mustn't come to my concerts. He must come on my terms or not at all. "My performances have got to be theatrical experiences for me as well as for the audience. I don't want to climb out of my fantasies in order to go up on-stage-I want to take them on-stage with me." Bowie began his career in 1963 as a tenor-saxophonist in a noisy London R&B band. He later formed a semi-pro heavy-blues group called David Jones & the Lower Third. He discarded the sur-name Jones when a Monkee with whom he shared a given name became famous in 1966. In 1967, tired of both the crushing Yardbirds heaviness that was fashionable in London at the time and his inability to keep up on rhythm guitar with other musicians, he abandoned the Buzz (as the Lower Third had become) and head-ed for the folk club circuit with just an acoustic 12-string. In 1968 his Love You Till Tuesday and a first album by another young sing-er-songwriter launched the then-new Deram label in Britain. Although Till Tuesday was widely applauded, Cat Stevens' debut outsold it by several thousand, causing Deram to focus its attention on Cat. This situation may be held at least partially responsible for Bowie's then John Mendelsohn Lauren Bacall? No, it's David Bowie, who refuses to be thought of as mediocre quitting professional musical activity entirely for a while in order to devote all of his time to Buddhism, in which he'd been interested and sporadically involved since his middle-teenage years. Gradually, first through the Demp mime enterprise and later through a mixed-media trio of his own, he became reinvolved with music, the commercial apogee of this renewed interest being a single of his, "Space Oddity," which was a large hit in Britain. Bowie invested a considerable percentage of the money he made from his hit in an experimental community of various sorts of artists that he co-founded, the Arts Laboratory of Beckenham, Kent. Bowie contends that rock in particular and pop in general should not be taken as seriously as is currently the fashion: "What the music says may be serious, but as a medium it should not be questioned, analyzed, or taken so seriously. I think it should be tarted up, made into a prostitute, a parody of itself. It should be the clown, the Pierrot medium. The music is the mask the message wears-music is the Pierrot and I, the performer, am the message. "Tell your readers that they can make up their minds about me when I begin getting adverse publicity; when I'm found in bed with Raquel Welch's husband."

David Bowie’s "When People Acclaim" , a one-page sketch in Scrapbook , January 25, 1975. Scrapbook One Page Sketch (Jan 25, 1975) WHEN PEOPLE ACCLAIM theatrical bands such as Genesis, Bowie, Queen, Hawkwind and Jethro Tull, I wonder why they never include Principal Edwards, who were among the pioneers of rock theatre in this country, and whose most recent show easily surpassed even Genesis' visual adventures. S. A. HART, Ullswater Rd, Congleton, Cheshire. PICTURED ABOVE: DAVID BOWIE.

David Bowie and The Spiders commenced a brief UK tour at the end of 1972 with a triumphant homecoming performance at the Rainbow Theatre on December 24. They were enjoying significantly greater chart recognition since their previous visit, with "The Jean Genie" having just entered the Top 20 on its way to reaching number 2 in the UK singles chart. David recalled this series of shows and the Rainbow gig in Mick Rock's book, Moonage Daydream: "We did a short tour of the UK between December and January 1972-73. It was always a great thrill to come back home, and this was probably one the best, highest energy tours of our eighteen-month existence. That's all it was, 18 months. We had another Rainbow show on Christmas Eve, so I asked the audience beforehand to bring a toy to be donated to Dr Barnardo's children's home, organization for which my had worked his entire life. I believe filled an entire truck with them." Indeed they did, Andy Barding of Cygnet Committee points in this excellent celebration of the night, contributions from Woody Woodmansey. … and in a North London concert hall David Bowie was making it a night to remember. And not just for his fans. When tickets for his Christmas Eve show at the Rainbow Theatre were put on sale, David made a public appeal for concertgoers to bring toys with them as a charity donation. The response was fantastic, as David’s drummer Woody Woodmansey remembers: “David’s toy appeal created more response than we could have imagined. There was a huge truckload of stuff. We hadn't done anything like that since the Save the Whale benefit concert much earlier on.” (Royal Festival Hall, London, July 8 1972) The very next day, Christmas morning, the goodwill mountain of toys and games that had stacked up in the venue’s foyer was distributed to appreciative youngsters in children’s homes across London. David was delighted. His father, who had passed away three years earlier, had been a public relations officer for Dr Barnardo Homes. So this was a cause close to his heart. This sold-out Rainbow concert marked a triumphant homecoming for 25-year-old David and his band, the Spiders from Mars. They had just returned from nearly three months on the road in America and their absence from Britain had made homegrown hearts grow a lot, lot fonder. NME writer and seasoned David Bowie concertgoer Charles Shaar Murray was taken aback by the frenzied audience reception. “Just for the record, they've started screaming at David Bowie,” he wrote. Rival music paper Melody Maker hit the newsstands with a David Bowie-dom inated Christmas issue that same week. David was crowned their ‘main man of 1972’, and voted Top Vocalist in the end of year poll. The ‘Rise and Fall of Ziggy Stardust and the Spiders from Mars’ album, which sold close to 200,000 copies in the UK and US during 1972, was declared the MM critics’ choice. Those who attended the Rainbow were treated to a spectacular new live set kicked off by ‘Let’s Spend the Night Together’ (featuring David playing his new VCS3 Moog synthesizer). And as a bonus attraction they were the first in Britain to hear new boy Mike Garson on piano. This was quickly followed by a “razor-edged” ‘Hang On To Yourself', which Charles Shaar Murray enthusiastically reported was “played better than I've ever heard it.” And this in spite of David having only just got over a bout of Asian flu. In a radical break from the regular Ziggy show format, this festive concert did away with the half-time acoustic section in favour of an all-out electric experience. “We had worked hard in the US,” said Woody, “and I think it had evolved into a rockier show. It was nice to get back to the UK, and a perfect way to end the year with a new set.” Charles Shaar Murray agreed: “That American tour has really honed the Spiders to perfection. The show is tougher, flashier and more manic than it’s ever been before.” Let’s hope it was all worth the £2.50 ticket price (£1.50 for a cheap seat in the Circle). The concert ended late and, this being Christmas Eve AND the early seventies, night buses and trains were few and far between. By the time the gig ended with ‘Rock ’n’ Roll Suicide’, all underground train services had stopped. Most Bowie freaks had to either walk home or shell out for taxis. At least one silver lame-clad fan spent the night curled up in a Finsbury Park shop doorway. It’s worth clarifying that this was the only London concert by David and the Spiders in December 1972. When Christmas Eve tickets sold out pretty much instantly, efforts were made to book the venue for an extra show on the previous day, December 23. But ultimately it could not be done. There were dramatic scenes at the stage door, as the band made their way out that night. Woody: “I do remember the fans outside the stage door when we exited. We had to actually push one over-enthusiastic fan who was brandishing a pair of scissors. “As we came out she lunged forward and attempted to secure a lock of Mick Ronson’s hair and narrowly missed his left eye by a fraction of an inch.” Afterwards, David headed for his South London home (where six Royal Mail sacks full of Christmas cards were waiting for him) and the Spiders were driven home to Yorkshire in a limo - though not by MainMan bodyguard Stuey George, as has been previously documented, says Woody. “It snowed all the way and we arrived at my mum’s in the early hours and surprised them,” he said. And on Christmas Day, as hundreds of London kids unwrapped surprise presents from those generous David Bowie fans, the rest of the country settled down in front of their tellies to watch the traditional Christmas Top of the Pops – and a repeat showing of that now-legendary ‘Starman’ performance. 1972 had been a super-stellar year for David and the Spiders. And that Christmas, for a lot of reasons, can be considered the icing on the cake. David Bowie at the Rainbow Theatre, December 24, 1972, Setlist Let's Spend The Night Together Hang On To Yourself Ziggy Stardust Changes The Supermen Life On Mars? Five Years The Width Of A Circle John, I’m Only Dancing Moonage Daydream The Jean Genie Suffragette City Rock ’n’ Roll Suicide

David Bowie’s Bowie's Back Via Satellite , a cover and one-page feature in Sounds , December 6, 1975.

David Bowie’s ChangesOneBowie - "His Greatest Hits" , a one-page advert in Rolling Stone , July 1, 1976.

David Bowie’s " ChangesOneBowie - It's the Greatest Greatest Hits" , a one-page advert in Melody Maker, May 29, 1976.

David Bowie: "When Bowie Blessed the Strawbs" Article (1972)

David Bowie’s "Can Bowie Save New York?" , a one-page article in Melody Maker , October 7, 1972.

David Bowie’s "The Man Who Sold The World", a one-page advert in New Musical Express, March 2, 1974. Features the original track of "The Man Who Sold The World", written and performed by Bowie and produced by Tony Visconti.

David Bowie’s "Bowie at His Best: The Rise and Fall of Ziggy Stardust and the Spiders from Mars" , a one-page album review in New Musical Express , June 10, 1972.

David Bowie’s "Bowie at His Best: The Rise and Fall of Ziggy Stardust and the Spiders from Mars" , a one-page album review in New Musical Express , June 10, 1972.

David Bowie’s "Hey, Hey. Can't Thank You Enough" , a one-page advert in Melody Maker , October 6, 1973.

David Bowie’s "Get Off On Bowie In May" , a one-page advert in Record Mirror , April 7, 1973.

David Bowie’s "Like The Video Films We Saw" , a one-page advert in Record Mirror , April 7, 1973.

David Bowie’s "Life On Mars?" , a one-page advert in Melody Maker , June 23, 1973.

David Bowie’s "Aladdin Sane Album" , a one-page review in Disc Music , April 21, 1973.

David Bowie’s "A Lad Insane?" , a three-page article in Music Star Magazine , June 16, 1973.

David Bowie’s "Aladdin Sane" , a one-page article in Mickie Magazine , May 12, 1973.

David Bowie’s "Cherry Sauce" , a one-page article in Disc , April 21, 1973.

David Bowie’s "Rock and Roll Suicide?" , a two-page article in Melody Maker , June 9, 1973. Two shows were canceled in Leeds with just four hours' notice.