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David Bowie’s Now I'm a Business Man, a cover and two-page feature in Melody Maker, February 28, 1976. The Man Who Fell To Earth, opens at London's Leicester Square theatre on Thursday, March 18, has been offered another major film role in the forthcoming blockbuster production of The Eagle Has Landed. Jack Wiener, who is co-producing the film with David Niven Jr, confirmed that Bowie had been approached to play the part of a young German officer involved in a plot to kidnap Winston Churchill during World War Two. His co-stars would be Michael Caine and Donald Sutherland. He read the script," said Wiener, and loved it. His agent told me that he'd do anything to play the part." Bowie has not yet accepted the offer, how-ever - though it remains open because shooting is due to begin at the end of April and will coincide with his first trip to Europe for almost three years. He proposes to do a full-scale tour of the Continent be-fore playing at LONDON'S Wembley Empire Pool for five days from May 3 to 8. Another, though long-term, project of Bowie's is a movie of Ziggy Stardust, according to Robert Hilburn, who interviewed him in Los Angeles. And Bowie would like to be involved in politics. "The one thing I want to do when I get back to England is see what is happening there politically," says Bowie. “I want to be Prime Minister of England one day." Interview page 9. Picture: Terry O'Neill - Melody Maker

David Bowie’s "Martian Invasion", a one-page article in Record Mirror, February 28, 1976. THE SPIDERS first came to fame as David Bowie's backing band. Originally there were three of them: Mick Ronson (guitar), Trevor Bolder (bass), and Woody Woodmansey (drums). Later on, additions were made to the line-up, but the band ceased to exist on July 3, 1973, when Bowie made his famous "retirement" announcement on stage at the Hammersmith Odeon. After that, Ronson went on to do his solo thing, Bolder worked with him for a while, and Woodmansey played in a jazz band and got involved in Scientology. Bolder, however, always had the idea of one day putting a new Spiders together: "I didn't want to go on just being the bass player in a band and, frankly, if I were to stay in that position I'd rather do it with David than Ronno." by Ray Fox-Cumming In February last year, he achieved his aim. Back came Woodmansey on drums and then Newcastle provided a singer and guitarist. The guitarist, Dave Black, had been with a group called Kestrel, and the singer, Pete McDonald, had fronted a band called Bullfrog. Immediately they'd formed, the new Spiders From Mars set about writing material, separately or in pairs, then they demoed it, rehearsed it, and recorded it, and by May had an album ready. Then came trouble: "Management hassles," says Trevor, "there was no money to pay for the album so it just had to stay in the can." By autumn the group had secured themselves a recording deal with Pye and the way was clear for the album to be released. First, however, came a single. "We didn't really want to put out a single first," said Trevor. "But the record company wanted one as a trailer for the album, so we brought out a track called 'White Man Black Man.'" Before one has time to ask how it fared, Trevor and Pete chorus: "It got lost in the Christmas rush." "I don't really think it was right for a single anyway," adds Pete. "It was too laid back, a bit McCartneyesque." Just before Christmas the group played their first series of dates - six of them in all, but few people knew about them because there was no press coverage. "Our manager decided it would be best for us to play ourselves in quietly," explains Trevor, "but then he saw how well we were doing and rushed round trying to get journalists to come to the last date. It was too short notice though and no- body'd come!" Now the album is out. It's called just 'Spiders From Mars', "because we want to get the name of the group across" and there's a second single from it out as well, called '(I Don't Wanna Do No) Limbo'. In radio quarters, the album's been well received. "Fluff's playing it," says Trevor, "so's John Peel and the single's getting a few plays too." To further interest in both album and single, The Spiders are spending the next few days touring the country's radio stations, but they are not pinning all their hopes on radio and TV to break them. "In March," says Trevor, "we'll be doing a British tour of somewhere between 12 to 16 dates." In an exclusive Record Mirror & Disc news story (February 14), it was announced that negotiations were proceeding for the Spiders to follow their Spring tour by opening Bowie's Wembley shows for him in May, but they are very cagey about saying anything on the subject. How the Spiders crept back "It was supposed to be a secret," says Trevor, "and Bowie had asked us not to say anything about it. When we read the story, we were worried that he'd think we'd put it out, but apparently he's let it out all over America." "No offer has been made," chips in Pete. "David's thinking about the idea and so are we, so you had better just say that negotiations are still proceeding. It's got no further than that." In the meantime, the Spiders are firming up other plans. They'll make a second album in the summer and then tour America in the autumn. Trevor makes it clear that he wants people to think of the Spiders as a new band. "People shouldn't expect us to play just the kind of thing we were doing in the Bowie days. We couldn't do that, we'd get murdered for it. We want to cover as wide a scope of music as possible." Did you do any Bowie numbers on your pre-Christmas dates? "Yes," says Trevor, "two. 'Suffragette City' and 'Man Who Sold The World', but we did the Lulu version of that, not the Bowie one." For the next album, Trevor hopes that the whole group will write songs together. "I think too that there'll be a little more rock on it than there is on the first one." Hopefully for the second album they'll avoid the last-minute panic they had on the first one. "We spent so long doing the backing tracks," says Trevor, "that Pete had to put on all the vocals in one day." "I don't know how I ever did it," grins Pete, "I must have had 50 cups of tea that day, just to keep the voice going."

David Bowie’s The Man Who Fell to Earth, a one-page review in unknown publication, March 1, 1976.

David Bowie’s "Station to Station - Seductive Self Indulgent", a one-page album review of *Station to Station* in unknown publication, March 25, 1976.

David Bowie’s "Ha, Ha - Busted", a one-page article in New Musical Express, March 27, 1976.

David Bowie’s "Ground Control to Thomas Jerome Newton", a one-page article in New Musical Express, March 27, 1976.

David Bowie’s "Rochester Arrest", a one-page article in New Musical Express, March 27, 1976.

David Bowie’s Movie Bow, a cover and four-page ad in Photoplay Film Monthly, April 1, 1976.

David Bowie’s "The David Bowie Story", a two-page pull out in Melody Maker, May 1, 1976.

David Bowie’s "Ready For The Gramophone", a three-page article in Ve Unge, April 29, 1976.

David Bowie’s "King Biscuit Flower Hour", a one-page advert in Rolling Stone, May 6, 1976.

David Bowie’s "The Exile Returns", two one-page articles in Melody Maker, May 8, 1976.

David Bowie’s on his New Show, a cover and three-page feature in Joepie Magazine, May 9, 1976. It has been about three years since master entertainer David Bowie last appeared on a European stage. Now, after his umpteenth successful American tour, he has a bonus for the Old Continent. There is even room for one performance here, on May 11 in Vorst-Nationaal. A not to be missed top spectacle, in which David Bowie once again demonstrates with class that he is the champion of disguise, an artistic chameleon one of a kind. Joepie had an exclusive interview with Bowie about his new show and also about his future plans. "THEY CALLED IT SOME KIND OF NEW SINACRA BUT I HAVE NO ID" David Bowie as he appears in the film <«The Man who fell to Earth>>: the strange adventures on our earth of someone who comes from another planet Moody bastard David Bowie, the man with a hundred and one faces, the Merlin of pop music. He has to chuckle about it himself. 'That's right, he laughs, I'm a very moody bastard. I'm one big problem, I have no identity!' For his new show, Bowie has gone back to simplicity. A rather old-fashioned dark suit, style 1930s, with matching vest, white shirt with open collar and cufflinks, white-red hair combed back tightly. The image that also comes across in his first film 'The man who fell to earth. But the enchantment on stage remains. - I just wanted to be an entertainer this time, without the violence of rock and roll, he explains. That's why I kept the show as simple as possible, because this time it's all about the songs. But songs that go through marrow and bone! The American press wrote that Bowie's last identity was that of Frank Sinatra. Bowie laughs out loud about it. 'I said I wanted to be Frank Sinatra and the press people who saw my show wrote that I looked like a new Sinatra. A big joke. The last man in the world I wouldn't want to be is Sinatra, surely! See the Alps David Bowie also admits that he spends his entire show like that kept simple as possible has to do it this time to make some money. 'That's what usually happens to many top stars, he emphasizes. They see their shows as too big and then usually lose all the money they earn with their recordings and copyrights. That happened to me too, but not this time. I arrange everything myself, work 24 hours a day because I earn money and this time I also put a lot aside. The previous times I made money for everyone except for myself: 60 people, escorts, staff and paid bystanders. I am now only with 20 people on the road and it's the best tour I've ever been on Bowie is feeling tired after three years in America and wants to relax a bit after his European tour ('I want to see the Alps, learn to ski and brush up on my English', he proclaims) before starting work on a second film. "My first film experience was a great success and I love the medium," he concludes. "My next role will probably be in an Ingmar Bergman film, a Nazi in a film called 'The Serpent's Egg' And he adds in a steely voice: - 'I'm currently living completely on the Germanic tour!!

David Bowie’s "Suffragette City", a one-page article in David Bowie Scrapbook, July 10, 1976.

David Bowie’s David the Goliath, a front cover and one-page article in Melody Maker, May 15, 1976.

David Bowie’s Sinatra's Suit, a cover and one-page concert review in New Musical Express, May 15, 1976.

David Bowie’s "More Dates", a one-page article in Record Mirror, May 22, 1976.

David Bowie’s "Chum Shock", a one-page article in New Musical Express, May 29, 1976.

David Bowie’s "Bowie Film Falls Flat", a one-page movie review in Rolling Stone, July 15, 1976.

David Bowie’s The Man Who Fell to Earth - A Fantastic Movie , a one-page advert in Rolling Stone, July 15, 1976.

David Bowie’s "Bowie’s Lookalike Contest", a one-page article in Rolling Stone, August 26, 1976.

David Bowie’s "The Man Who Fell to Earth", a one-page review in Circus Magazine, September 1, 1976.

David Bowie’s "Beauty Before Outrage", a two-page feature in Melody Maker, September 4, 1976.

David Bowie’s "Media Manipulator", a one-page article in Melody Maker, September 25, 1976.

David Bowie’s "Low Funeral in Berlin", a two-page article in Melody Maker, January 29, 1977. DAVID BOWIE'S last image, as a kind of wasp-waisted performer in a Weimar cabaret, would hardly prepare one for reports of the figure he's currently cutting in Berlin, where he now lives. It seems that the famous red hair, now returned to its original mousy color, has been scalped to a crew cut, that he's grown the curving mustache of a prosperous bürgermeister, and, having put on some weight, and wearing a cap pulled down low, he spends his time frequenting both the cultural establishments and working-men's haunts of that city. More Günter Grass than Joel Grey, he obviously continues in his fascination with all things German that reached notorious proportions early last summer in his well-publicized speech about fascism. None of this will much surprise keen Bowie-watchers, who have observed his bewildering metamorphoses from an acoustic performer and mime artist to an ambiguous commentator upon rock stardom with "Ziggy," a doom-monger with "Diamond Dogs," a moon-age soul singer with "Young Americans" and "Station To Station," and the star of Nicolas Roeg's futuristic art-film, The Man Who Fell To Earth. It's not difficult to see why Bowie is the most interpreted, and the most reviled, rock star of this generation. He's consistent only in the diversity of his actions. He doesn't respond in the way expected of rock stars when each tour he presents a different public face, and no two albums are truly alike. Eclectic to a fault, unlike all other major rock performers he has willfully neglected to define his own oeuvre, beyond reflecting a certain preoccupation as a lyricist with a technological future and as a musician with mutations of mainstream styles. While undeniably a stylist, as is borne out by the attractive pastiches of "Pin-Ups," he has too much artistic substance to justify that as a condemnation. "Diamond Dogs," for example, despite its musical roughness, seems increasingly to me a classic projection of a lost and rabid society, even though I was indifferent to it when it was released. Similarly, although I still don't much like a lot of "Young Americans" and find it rather empty, I can nevertheless appreciate the different perspective he brought to white soul, which at first seemed merely parodic. Brian Eno and Visconti Watts are part of David's controversial album, Perhaps, therefore, much critical distrust of him may have two origins: in his refusal to stand still and be explained, and in the coldness and isolation, the cerebration evident at the heart of his work, which puts off critics and record-buyers who have become accustomed to the warmth and responsiveness of the rock 'n' roll tradition, a tradition that he has gone out of his way to usurp. Of all his records, the new album, "Low," is the most controversial, and right in the target line of this critical bias. It's radically different from "Station To Station," because it appears to have been conceived as a "mood" album. Its creation revolves around the synthesizer: the vocals on the first side are brief, and on the second, which consists of four electronic instrumentals, they are used only as textural aids. Furthermore, this "mood," even as far as it's expressed in whatever lyrics there are, is utterly bleak and depressed, as the album's title would suggest. Yet for several reasons "Low" strikes me as a remarkable record, and certainly the most interesting Bowie has made. It's so thoroughly contemporary, less in its pessimism, perhaps, though that's deeply relevant to these times, than in its musical concept: the logic of bringing together mainstream pop in the album's disco bass-and-drums and conventional lyric and experimental music perfectly indicates what could be the popular art of the advanced society we are moving into, in a way that the Rolling Stones, say, or even the Sex Pistols, whose music relies totally upon its black-derived rhythms, could not hope to express. The devices of experimental music are scattered throughout the album, for instance, in his employment of...

David Bowie’s "Iggy Join Forces", a one-page scrapbook article in Scrapbook, January 29, 1977. PLANS are afoot for both David Bowie and Iggy Pop, whom he now manages, to appear in Britain this year. Bowie, whose controversial new album, "Low", is at number 17 in the MM's charts, wants to do a tour in the autumn with Brian Eno on keyboards, Tony Visconti on bass, and Ricky Gardiner, formerly of Beggar's Opera, on guitar. All three played on "Low," of which Visconti was the co producer with Bowie, and Eno's ideas are said to have in- fluenced strongly Bowie's decision to make an experimental album. The second side of "Low" is almost completely electronic, and there are vocals only on five of the seven tracks on side one. On the tour he would like to perform this "mood" music, which has affinities with that of German groups like T. Dream and Kraft- werk, and of Eno's own records. "But I don't think I had such an influence as the press has made out or assumed," says Eno, who told the MM that so far Bowie had not approached him. However, Bowie will definitely not tour before the summer. Iggy Pop, who has become a cult hero for his onstage excesses, is due to begin a tour of Europe and America next month, of which three dates should be in Britain. His new album, produced by Bowie at the Chateau d'Herouville in France, is called "The Idiot" after a 1906 painting Bowie found of a hunched man who is said to look remarkably like Iggy. Bowie produced his last official album, "Raw Power." According to Visconti, Bowie has been a great influence on Iggy, who lives with him in Berlin: "He's completely off drugs, and he walks about two miles a day. It's a great album, a little like 'Raw Power'." The Making of the Bowie Album: page 36; Eno is in Eight Days A Week, page 10.

David Bowie’s Low - Incredible New Heights! , a one-page advert in Scrapbook, February 5, 1977.

David Bowie’s "Sound and Vision - A Very Special Thank You", a one-page advert in New Musical Express, February 19, 1977.

David Bowie’s "Are Polls Worth It?", a one-page article in Record Mirror, February 19, 1977.

David Bowie’s From Europe with Love, a cover and four-page feature in Circus Magazine, February 28, 1977.

Lindsay Kemp’s "This Is the Man That Started It All", a one-page advert in Melody Maker, March 5, 1977.

Angie Bowie’s "Life’s a Cabaret", a one-page article in Melody Maker, March 5, 1977. THE Webbington Hotel and Country Club appears as a distant dramatic vision as the car negotiates a difficult passage through the intricate complex of narrow lanes... Weston-super-Mare, desolate in its Sunday stupor, lingers some six miles behind us. Ahead of us, hanging like a neon bat from the precipitous far wall of this Somerset valley, is the Webbington, the self-proclaimed NITESPOT OF THE WEST! Oh boy. It strikes me, as the imposing facade of the hotel becomes clearer, that it might have been designed as a palace of entertainment by Ludwig II of Bavaria, the lunatic homo-sexual architect of fantastic castles. I'm told that the Webbington is the hottest pit for miles, attracting a fanatical local audience for its varied and wonderful entertainments. Future attractions at the venue include such international favourites (wait for it) as JESS CONRAD - pop star and entertainer, one of the recording 66 successes of recent years! "; IAN KENT "the lad to set you laughing!"; LYNN SHARON "vocal charm and talent!"; and NORMA LEON Sounds groovy, eh? 66 a songstress with style!" And there's more to come. Examine the posters and publicity shots decorating the walls of the hotel lobby under the sign that proclaims the current attraction. Snatch an eyeful of the cover of that advertising brochure. There's this couple locked in a curious embrace. She has a leg cocked over his shoulder. He's fondling her foot. He has the android features of Jack Lord. She looks fashionably androgynous. His name is Roy Mar-tin. She's Angie Bowie. It's true. Believe me. Listen to this: "Following her West End theatre suc-cess, the sensational wife of international star David Bowie brings the Soul House Company to the Webbington Country Club for their first appearance in the provinces. An experience not to be missed! " So that's why we're here. Now on with the show.

David Bowie’s Twelve Classic Albums , a one-page album advert in New Musical Express, March 19, 1977.

David Bowie’s "Low - Always Concerned with Masks", a one-page album review in Rolling Stone, April 21, 1977.

David Bowie’s "Scary Monsters - Your Master’s Voice", a one-page album review in Melody Maker, September 20, 1980.

David Bowie’s "Be My Wife - His New Single," a one-page advert in Record Mirror, June 18, 1977.

David Bowie’s "Be My Wife - His New Single," a one-page advert in Record Mirror, June 25, 1977.

David Bowie’s Bowie Back with Eno, a one-page cover in Melody Maker, July 16, 1977.

David Bowie’s "Shop Here," a one-page scrapbook feature in Scrapbook, August 20, 1977.

David Bowie’s "Rocks Back with Bolan," a one-page scrapbook feature in Scrapbook, September 10, 1977.

David Bowie’s "Bowie & Bolan: Get It On," a multi-page feature in Melody Maker, September 17, 1977.

David Bowie’s "Bowie and Bing!," a one-page article in Record Mirror, September 17, 1977.

David Bowie’s "Heroes," a one-page advert in New Musical Express, September 24, 1977.

David Bowie’s "Album & Marc Show," a one-page article in Melody Maker, October 1, 1977.

David Bowie’s "Bowie-and Blind Faith," a one-page album review of *Heroes* in Record Mirror, October 8, 1977.

David Bowie’s The Phantom Stranger Plays Hide and Seek, a cover and three-page feature in New Musical Express, November 12,

David Bowie’s Bowie Zigzag, a one-page cover in ZIGZAG Magazine, January 1, 1978.

David Bowie’s Bowie Today - From Brixton to Berlin, a cover and eight-page feature in Melody Maker, February 18, 1978.

David Bowie’s "Bowie Tour - Dates and Tickets," a one-page advert in Sounds, February 25, 1978. DAVID BOWIE plays thirteen British concerts in June, following an extensive American tour that starts at the end of March and runs through until June. Altogether, Bowie should be playing to more than a million people in 65 cities. In Britain he'll be playing three nights at Newcastle, four nights in Glasgow, three nights in Stafford and three nights at London Earls Court. It's Bowie's first visit to Britain since his 1976. 'Station To Station' tour, which played at Wembley, and his first concerts outside London since his 1973 'Aladdin Sane' tour. The complete list of British dates and details of how to obtain tickets is as follows read carefully and follow the instructions precisely otherwise you'll lose whatever chances you have of getting a seat June 14, 15 and 16 Newcastle City Hall. Tickets are available by post ONLY (don't forget stamped addressed envelope) from the City Hall Box Office, Northumberland Road, Newcastle Upon Tyne 1. They are priced at £6.00, £5.00 and £4.00. There is a limit of four tickets per application and cheques and postal orders should be made payable to 'Newcastle City Hall Box Office'. June 19, 20, 21, and 22 Glasgow Apollo. Tickets are available by post ONLY (with a stamped addressed envelope) now from the Apollo Centre, 126 Renfield Street, Glasgow. Limited to four per application, the tickets are £6.00, £5.00 and £4.00 each. Cheques and postal orders should be made payable to 'Glasgow Apollo Box Office'. June 24, 25 and 26 Stafford Bingley Hall. Tickets are all priced at £4.50 and are available by post now from MAM Promotions Box Office Ltd, 24-25 New Bond Street, DAVID: 13 British shows - at up to £6 a ticket. London W1. (with a stamped addressed envelope). Your envelope should be marked 'Bingley' in the top left hand corner and applications are limited to six per person and cheques and postal orders should be made payable to 'MAM Promotions Ltd. Bingley tickets are also available by personal application from Mike Lloyd Record shops in Hanley, Newcastle-Under-Lyme, Tunstall, and Lotus Records in Stafford. June 29, 30 and July 1 London Earls Court. Tickets are £5.00, £4.00 and £3.00 and are available by post ONLY from MAM Promotions Box Office, 24-25 New Bond Street, London W1. Mark the top left hand corner of your envelope 'Earls Court', enclose a stamped addressed envelope and make your cheques or postal orders payable to 'MAM Promotions Ltd'. Tickets are limited to six per application and MAM stress that positively NO personal applications for tickets will be dealt with. Bowie's band will include guitarist Stacey Heydon (who appeared with Iggy Pop on his last British tour), drummer Dennis Davis and bassist George Murray, who all appeared on his last British concerts and played on the 'Low' and 'Heroes' albums. They will be joined by Simon House, formerly with Hawkwind, on violin, Sean Mayes from Fumble on keyboards and Roger Powell from Utopia on synthesisers. Bowie is currently in Berlin finishing off his part in the film 'Just A Gigolo'.. His album plans are a little unclear at the moment. At one point he was going to release another studio album during the tour, but there is talk of him releasing a live album from the American segment of the forthcoming dates.