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David Bowie’s "Knock on Wood"  backed with "Rock 'n' Roll Suicide" , was released as a 7-inch vinyl picture disc single in the UK by Parlophone (catalog number DBKOW40) on September 22, 2014. The original 1974 "Knock on Wood" single was a UK Top 10 hit, while the US promoted "Rock 'n' Roll With Me" as a single in response to Donovan’s cover version at the time. Artist: David Bowie Title: Knock on Wood / Rock 'n' Roll With Me Label: Parlophone Country: UK Catalogue Number: DBKOW40 Barcode: 0825646306077 Release Date: 22 September 2014 Format: 7" Picture Disc (Limited Edition) Background "Knock on Wood" is a cover of Eddie Floyd’s 1966 soul classic, recorded live by David Bowie for his 1974 album David Live, which captured performances from the Diamond Dogs Tour at the Tower Theater in Philadelphia, July 1974. The song was originally released as a single in Autumn 1974, reaching #10 on the UK Singles Chart. "Rock 'n' Roll With Me," co-written by Bowie and Warren Peace, is another track from David Live, originally from the Diamond Dogs album (1974), showcasing Bowie’s shift toward soul-infused rock. The 40th anniversary picture disc, released in 2014, features 2005 remixes of both tracks by longtime Bowie collaborator Tony Visconti, marking their vinyl debut in this mix. This release was part of Parlophone’s series of 40th anniversary 7" picture discs, celebrating key singles from Bowie’s career, following reissues like "Starman," "John, I’m Only Dancing," and "Rebel Rebel." Tracklisting A-Side: "Knock on Wood (David Live – 2005 Mix)" Written by Steve Cropper and Eddie Floyd. Recorded live at the Tower Theater, Philadelphia, July 1974. Produced and mixed by Tony Visconti. AA-Side: "Rock 'n' Roll With Me (David Live – 2005 Mix)" Written by David Bowie and Warren Peace. Recorded live at the Tower Theater, Philadelphia, July 1974. Produced and mixed by Tony Visconti. David Bowie – Knock on Wood / Rock 'n' Roll With Me 40th Anniversary Picture Disc (Catalogue: DBKOW40, released 22 September 2014 by Parlophone in the UK) was released in two versions: a standard edition and a limited edition bundle that included a replica concert ticket.

David Bowie’s "Changes"  backed with "Eight Line Poem" , was released as a 7-inch vinyl picture disc single in the UK by Parlophone Records (catalog number DBCHANGE40) on April 18, 2015, as part of Record Store Day. Format: 7" Picture Disc Label: RHINO Quantity: 6000 Continuation of 40th anniversary picture disc series. The previously unreleased AA side was recorded in 1971 for a small run of promo LPs made to secure David Bowie a record deal. Often referred to by Bowie aficionados as the “GEM promo” named after GEM Records, the small independent record label that pressed the album, it’s making its official release debut for RSD 2015. Limited edition RSD exclusive. TRACKLIST: "Changes"/"Eight Line Poem"

Bowie's Cosmic Classic Remastered David Bowie’s “Space Oddity (UK Single Edit)” 7-inch vinyl single, was released in the UK on October 2, 2015, on Parlophone Records (catalogue: DBSO 140). Backed with “Wild Eyed Boy From Freecloud (Single B-Side),” this limited-edition picture disc reissue celebrated the 50th anniversary of Bowie’s breakthrough single, featuring the original 1969 mono mixes. Produced by Gus Dudgeon, the A-side’s psychedelic tale of astronaut Major Tom was placed at No. 1 for two in the UK upon its 1975 reissue. Single Overview "Space Oddity" (Original Mono Single Edit) "Wild Eyed Boy from Freecloud" (Original Mono Single Version) Release Details: Label: Parlophone Records (UK pressing, 45 RPM). Notes: ℗ & © 2015 Parlophone Records. Remastered mono mixes from 1969 Trident Studios sessions. Limited edition for the 50th anniversary of the original single. Production and Context The tracks were recorded in June 1969 at Trident Studios, London, produced by Gus Dudgeon. The original lineup featured Bowie (vocals, guitar), John Hutchinson (guitar), Herbie Flowers (bass), Terry Cox (drums), Rick Wakeman (Mellotron), and Paul Buckmaster (cello). “Space Oddity” was timed for the Apollo 11 moon landing, while “Wild Eyed Boy From Freecloud” was a stripped-down folk piece.

David Bowie’s A Super Star (Tribute), a one-page cover in Sunday Times Magazine, January 17, 2016.

cover in Time Magazine, January 25, 2016.

David Bowie's Jukebox Musical Lazarus is a jukebox musical featuring the music of David Bowie with a book by Enda Walsh. Inspired by the 1963 novel The Man Who Fell to Earth by Walter Tevis, Lazarus continues the story of Thomas Newton, a humanoid alien who is stuck on Earth, unable to die or return to his home planet. Lazarus had its world premiere Off-Broadway at the New York Theatre Workshop on November 18, 2015 and played until January 20, 2016. The show then made the transfer to the West End at King's Cross Theatre in London, playing from October 25, 2016 to January 22, 2017. Lazarus was one of the last works Bowie completed before his death on January 10, 2016. Bowie's last public appearance was when he attended the 7 December 2015 opening night of the Off-Broadway production. The New York City Mayor's office declared 20 January 2016 – closing night of the Off-Broadway production – to be David Bowie Day; the proclamation was presented to managing director Jeremy Blocker at the curtain call of the final show. The original cast album was scheduled to be recorded on January 11 2016, the day following Bowie's death. The cast and musicians were informed of his death upon arriving at the studio before recording. Cast and characters Off-Broadway (2015–2016) West End (2016–2017) Thomas Jerome Newton Michael C. Hall Valentine Michael Esper Girl, later Marley Sophia Anne Caruso Elly Cristin Milioti Amy Lennox Teenage Girl 1 Krystina Alabado Maimuna Memon Teenage Girl 2 Krista Pioppi Gabrielle Brooks Teenage Girl 3 Brynn Williams Sydnie Christmas Zach Bobby Moreno Richard Hansell Ben Nicholas Christopher Jamie Muscato Michael Charlie Pollock Tom Parsons Maemi Lynn Craig Julie Yammanee Productions Off-Broadway (2015) The musical was staged for a limited run at New York Theatre Workshop in Manhattan, directed by Ivo van Hove. Henry Hey, who previously played keyboards on Bowie's 2013 album The Next Day, served as musical director and arranger/orchestrator for the production and worked closely with Bowie during its development. Like Bowie's contemporary album Blackstar (with which it shares the song "Lazarus"), much of the production of the musical was kept secret until its first preview in November 2015. The musical opened on 7 December 2015 with a planned run through 17 January 2016, although the production was extended to 20 January 2016. Tickets to the entire run of the musical sold out within hours of being made available. West End (2016) A London production of the musical ran at the King's Cross Theatre from 8 November 2016 to 22 January 2017, with previews beginning the week of 25 October. Ivo van Hove again directed the London production, and Henry Hey was the musical director and arranger/orchestrator. The London production was produced by Robert Fox Ltd. and Jones/Tintoretto Entertainment. Film A performance in London was recorded for a Lazarus film; the film was shown in New York for one night in May 2018, and was later livestreamed worldwide online in January 2021 for the fifth anniversary of David Bowie's death. International productions Denmark The first Danish production of Lazarus opened on August 29, 2019, at Aarhus Teater in collaboration with the Royal Danish Theatre. The production was directed by Heinrich Christensen, who also translated the book into Danish, although all songs were sung in English. The production re-opened at the Royal Danish Playhouse, Copenhagen on January 21, 2022. Prague A Prague production premiered on 12 October 2019 at Divadlo Komedie. Amsterdam An Amsterdam production of the musical premiered on 13 October 2019 at the DeLaMar Theater. Henry Hey was again musical supervisor and arranger/orchestrator. Ivo van Hove, after having directed the runs in New York and London, once again directed. Musical numbers Lazarus features a number of songs from Bowie's back catalogue as well as four new tracks ("Lazarus", "No Plan", "Killing a Little Time", "When I Met You"). "Lazarus" – Newton "It’s No Game (Part 1)" – Japanese Woman, Newton, Teenage Girls "This Is Not America" – Teenage Girls, Girl "The Man Who Sold the World" – Michael "No Plan" – Girl "Love Is Lost" – Valentine, Teenage Girls "Changes" – Elly, Teenage Girls "Where Are We Now?" – Newton "Absolute Beginners" – Newton, Elly, Valentine, Teenage Girls, Girl "Dirty Boys" – Valentine "Killing a Little Time" – Newton "Life on Mars?" – Girl "All the Young Dudes" – Ben, Teenage Girls, Maemi "Sound and Vision" "Always Crashing in the Same Car" – Elly "Valentine's Day" – Valentine "When I Met You" – Newton, Teenage Girl 1 "'Heroes'" – Newton, Marley Original cast recording On 21 October 2016, the original cast recording, Lazarus, was released. The album was produced by Henry Hey, who was the musical director and arranger/orchestrator of the original New York production and subsequent productions in London and Amsterdam. The album also features three previously unreleased songs from Bowie, among the last he recorded prior to his death. Reception Lazarus met with a mixed critical reception; while some critics praised the concept and performances, others found it pretentious and difficult to follow. Ben Brantley said in his review of the production in The New York Times that "Ice-bolts of ecstasy shoot like novas through the fabulous muddle and murk of Lazarus, the great-sounding, great-looking and mind-numbing new musical built around songs by David Bowie." Rolling Stone called the musical a "tour de force" and "theater at its finest." Among the negative reviews, Ann Treneman of The Times called the play "pretentious rubbish" and "nonsense on stilts," while Dominic Cavendish of The Telegraph wrote that he was "disappointed" in Bowie's final project, and that "it’s hard to engage head or heart when there’s so much enigma." Original Off-Broadway production Year Award Category Nominee Outcome 2016 Drama Desk Awards Outstanding Actor in a Musical Michael C. Hall Nominated Outstanding Sound Design in a Musical Brian Ronan Nominated Outstanding Projection Design Tal Yarden Nominated Drama League Awards Distinguished Performance Michael C. Hall Nominated Outer Critics Circle Awards Outstanding New Off-Broadway Musical Nominated Outstanding Book of a Musical (Broadway or Off-Broadway) Enda Walsh Nominated Outstanding Featured Actor in a Musical Michael Esper Nominated Outstanding Featured Actress in a Musical Sophia Anne Caruso Nominated Outstanding Projection Design (Play or Musical) Tal Yarden Nominated Lucille Lortel Awards Outstanding Lead Actor in a Musical Michael C. Hall Nominated Outstanding Lead Actress in a Musical Sophia Anne Caruso Nominated Original West End production 2017 WhatsOnStage Awards Best Actor in a Musical Michael C. Hall Nominated Best Supporting Actress in a Musical Amy Lennox Nominated Sophia Anne Caruso Nominated Best Video Design Tal Yarden Nominated info courtesy of Wikipedia

Released as a single LP in the UK by Parlophone Records (catalog number DBNOW18) on April 21, 2018, as part of Record Store Day, Bowie Now was the first commercial release of the rare 1977 US promotional compilation LP, now pressed on white vinyl. The tracks were drawn from Low and “Heroes” (all audio remastered from the A New Career In A New Town box set). The package featured a newly designed inner sleeve with black and white images taken in Berlin in 1977 by Corinne Schwab. Track Listing Side A V-2 Schneider Always Crashing In The Same Car Sons Of The Silent Age Breaking Glass Neuköln Side B Speed Of Life Joe The Lion What In The World Blackout Weeping Wall The Secret Life Of Arabia This RSD exclusive brought a long-lost 1977 promo compilation to the public for the first time, in a striking white vinyl edition. Do you have Bowie Now in your collection? Ready for the Berlin years? Share in the comments! Sources Information is drawn from my personal knowledge and supplemented by web sources, including davidbowie.com, Discogs, 45cat, AllMusic, Rate Your Music, Wikipedia and BBC Official Charts Company Whilst every effort is made to provide accurate information, mistakes do happen. Simply leave a comment and the post will be updated. Thank you.

A Never Let Me Down 30th Anniversary Exclusive Released as a limited edition 7-inch picture disc single on Parlophone Records on September 7, 2018, David Bowie’s “Zeroes (2018) (Radio Edit)” backed with “Beat Of Your Drum (2018) (Radio Edit)” was a special release to celebrate the 30th anniversary of the Never Let Me Down album (and part of the Loving The Alien (1983–1988) box set campaign). Key Details A-Side: Zeroes (2018 Radio Edit) – Produced by David Bowie, David Richards and Mario J. McNulty; Mixed and Recorded by Mario J. McNulty AA-Side: Beat Of Your Drum (2018 Radio Edit) – Produced by David Bowie, David Richards and Mario J. McNulty; Mixed and Recorded by Mario J. McNulty Both tracks are newly remixed and edited radio versions from the 2018 Never Let Me Down remaster included in the Loving The Alien box set. The images on both sides of the picture disc are outtakes by Greg Gorman from the original 1987 Never Let Me Down album photo session. Alternate versions of these photos were used on the cover of the 2018 Never Let Me Down reissue. This exclusive picture disc was a Record Store Day-style limited release, highly sought after by Bowie collectors as a companion piece to the major 2018 box set. Do you have this rare 2018 picture disc in your collection? Ready to feel the beat of the drum? Share in the comments! Sources Information is drawn from my personal knowledge and supplemented by web sources, including davidbowie.com, Discogs, 45cat, AllMusic, Rate Your Music, Wikipedia and BBC Official Charts Company Whilst every effort is made to provide accurate information, mistakes do happen. Simply leave a comment and the post will be updated. Thank you.

Bowie's Elysée Montmartre 1999 Recording Released digitally worldwide on August 14, 2020, by Parlophone Records, David Bowie’s Something In The Air (Live Paris 99) is a previously unreleased 15-track live album captured at the Elysée Montmartre, Paris on October 14, 1999. The show was one of only seven full performances during the promotion of the hours… album, and is notable for Bowie digging deep into his back catalogue — including tracks not performed live in decades. The day of the concert was especially momentous: that afternoon Bowie was awarded the Commandeur de l’Ordre des Arts et des Lettres, France’s highest artistic honour. DRIVE-IN SATURDAY from the same show was available as audio from August 7th with the video premiere on YouTube. Track Listing Life On Mars? Thursday’s Child Something In The Air Word On A Wing Can’t Help Thinking About Me China Girl Always Crashing In The Same Car Survive Drive-In Saturday Changes Seven Repetition I Can’t Read The Pretty Things Are Going To Hell Rebel Rebel Band Line-Up David Bowie – vocals Page Hamilton – guitar Gail Ann Dorsey – bass, vocals Mark Plati – guitar Sterling Campbell – drums Mike Garson – piano, keyboards, synthesisers Emm Gryner & Holly Palmer – backing vocals Production and Context Recorded live at the Elysée Montmartre, Paris, October 14, 1999. Mixed by Mark Plati. Highlights “Can’t Help Thinking About Me” — first released in 1966, not performed live in over 30 years “Word On A Wing” — reinstated after a 23-year absence “Drive-In Saturday” — not performed since 1974 “Something In The Air” — live debut at this show Legacy Something In The Air (Live Paris 99) is a thrilling document of Bowie’s 1999 hours… tour — intimate, rare, and packed with deep cuts. Available on all major streaming platforms and digital stores. Do you have Something In The Air (Live Paris 99) in your digital collection? Ready for the live hours…? Share in the comments! Sources Information is drawn from my personal knowledge and supplemented by web sources, including davidbowie.com, Discogs, 45cat, AllMusic, Rate Your Music, Wikipedia and BBC Official Charts Company Whilst every effort is made to provide accurate information, mistakes do happen. Simply leave a comment and the post will be updated. Thank you.

A 50th Anniversary Companion to Metrobolist Released in the UK on April 17, 2020, by Parlophone Records (catalogue: DB 2020 001), David Bowie’s The Width Of A Circle is a two-CD companion piece to the 2020 reissue of The Man Who Sold The World (restored as Metrobolist). The set celebrates the 50th anniversary of the original 1970 album with 21 previously unreleased or rare tracks, including BBC sessions, TV play music, non-album singles, and fresh 2020 remixes by Tony Visconti. The title comes from the opening track of the original album. The release also includes a limited 10" vinyl single and high-resolution (96kHz/24bit) digital EP featuring four newly remixed non-album singles. Track Listing CD 1 – The Sunday Show Introduced by John Peel Recorded February 5, 1970, broadcast February 8, 1970 Performed by David Bowie and The Tony Visconti Trio (aka The Hype) Amsterdam God Knows I’m Good Buzz The Fuzz Karma Man London Bye, Ta-Ta An Occasional Dream The Width Of A Circle Janine Wild Eyed Boy From Freecloud Unwashed And Somewhat Slightly Dazed Fill Your Heart The Prettiest Star Cygnet Committee Memory Of A Free Festival CD 2 The Looking Glass Murders aka Pierrot In Turquoise When I Live My Dream Columbine The Mirror Threepenny Pierrot When I Live My Dream (Reprise) Singles The Prettiest Star (Alternative Mix) – single mix for US promo (Mercury MF 1135, March 6, 1970) London Bye, Ta-Ta – mono mix (final B-side rejected, later on Sound & Vision 1989) London Bye, Ta-Ta (1970 Stereo Mix) – later on reformatted Sound & Vision 2003 Memory Of A Free Festival (Single Version Part 1 & 2) – re-recorded electric version (Mercury 6052 026, June 26, 1970) Holy Holy – non-album A-side (Mercury 6052 049, January 15, 1971) Sounds Of The 70’s: Andy Ferris Show Recorded March 25, 1970, broadcast April 6, 1970 Waiting For The Man The Width Of A Circle The Wild Eyed Boy From Freecloud The Supermen (Bowie At The Beeb vinyl only) Performed by David Bowie and The Hype 2020 Mixes The Prettiest Star (2020 Mix) London Bye, Ta-Ta (2020 Mix) Memory Of A Free Festival (Single Version - 2020 Mix) All The Madmen (Single Edit 2020 Mix) Holy Holy (2020 Mix) Legacy The Width Of A Circle is a definitive deep dive into Bowie’s 1970 recordings — bridging the psychedelic folk of Tyrannosaurus Rex to the electric glam of Hunky Dory. The 2020 remixes and unreleased tracks make this a must-have for Bowie completists. Do you have The Width Of A Circle in your collection? Ready for the circle? Share in the comments! Sources Information is drawn from my personal knowledge and supplemented by web sources, including davidbowie.com, Discogs, 45cat, AllMusic, Rate Your Music, Wikipedia and BBC Official Charts Company Whilst every effort is made to provide accurate information, mistakes do happen. Simply leave a comment and the post will be updated. Thank you.

Get Real Sounds Right Mix, from the ENO x NATURE project, backed with "Get Real (Instrumental)", was released as a digital single on April 23, 2024. Brian Eno: “Throughout my life I’ve wondered - how I can return something to the places I’ve taken ideas from? Music started out as the sounds of the natural world, and Sounds Right creates a system to give back to nature, helping to preserve the planet so that it can continue to inspire us for years to come. In the nature remix of “Get Real”, a track I co-wrote with David Bowie 30 years ago, the animals are invading the song – it's like it has sprung leaks everywhere and these animals are coming in through every window and crack between the doors. They're sort of threatening - suddenly Nature has crept into the art.” Eno also recently told the Midnight Chats podcast about some of NATURE’S contributions to the new version of Get Real: “It’s a powerful song – very good lyrics – and with this new kind of container that we're putting it in of being a song about our relationship with the Earth, I think it really works. The wild pigs sound really good...So yes, we'll have David, Bri and some wild pigs!” “I’ve got a number of recordings of different animals here. I wanted big, slightly menacing animals in the song. Not birds and wind and things like that. So, I tried a Siberian tiger. That was a bit too overwhelming. I tried some rooks. I've always loved rooks, but they sounded like ducks in that context, which is not quite the same message.” A share of royalties from any song that credits NATURE as an artist will go to @EarthPercent, a charity founded by Eno. The organization will then distribute that money to conservation and restoration projects in the world’s “most precious and precarious ecosystems” under the guidance of the Sounds Right Expert Advisory Panel, a group of world-leading biologists, environmental activists, Indigenous People’s representatives, and experts in conservation funding. So, listen to Get Real Sounds Right Mix (Featuring NATURE) frequently on major streaming platforms, to help the planet now.

A Ziggy-Era Vault Rarity Unveiled Released digitally worldwide on May 3, 2024, David Bowie’s “Lady Stardust (Alternative Version – Take 1) the second preview track from the box set Rock ‘n’ Roll Star! (5CD/Blu-ray, digital, and half-speed mastered LP, out June 14, 2024). This hitherto unknown take, recorded November 12, 1971 at Trident Studios, features Bowie’s vocals in a much lower register than the released version. Original producer Ken Scott was shocked: “This was a shock when I first heard it. I pulled up the faders and suddenly, what the hell? I had no recollection of it being like that originally, but I guess it was just a guide vocal. But it sounds great, is really interesting and brings a totally different feeling to the song.” Scott also praised Mick Ronson’s piano: “Ronno on piano is very good indeed. The Trident Studio piano was just amazing, a Bechstein grand from around 1850 and I think the hammers had been treated with varnish or something – it was the best rock and roll piano in the whole world.” Band line-up for this take: - David Bowie – vocals - Mick Ronson – piano - Trevor Bolder – bass - Woody Woodmansey – drums Produced by David Bowie and Ken Scott. Arranged by David Bowie and Mick Ronson. Other unreleased highlights on *Rock ‘n’ Roll Star!* include an unheard version of the deep-cut classic ‘Shadow Man’, and an up-tempo take of The Who’s ‘I Can’t Explain’, which Bowie would later slow down and cover for the *Pin-Ups* album. Single Overview Release Details Label: Parlophone / ISO Records (digital). Format: Digital single (streaming/download). Full Track Listing 1. Lady Stardust (Alternative Version – Take 1) Production and Context Recorded at Trident Studios, St Anne’s Court, London on November 12, 1971. Part of the Ziggy Stardust sessions. A previously unheard take released as a teaser for the Rock ‘n’ Roll Star! box set. Do you have Lady Stardust (Take 1) in your digital collection? Surprised by the low register? Share in the comments! Sources Information is drawn from my personal knowledge and supplemented by web sources, including Prince Vault, Discogs, 45cat, AllMusic, Rate Your Music, Wikipedia, BBC Official Charts Company, Billboard Chart History and YouTube Whilst every effort is made to provide accurate information, mistakes do happen. Simply leave a comment and the post will be updated. Thank you.

A Ziggy-Era Who Cover Unearthed Released digitally worldwide on May 31, 2024 (exact time zone dependent), David Bowie’s “I Can’t Explain” (Trident Studios Version – Take 2) is the third preview track from the forthcoming box set Rock ‘n’ Roll Star! (5CD/Blu-ray, digital, and half-speed mastered LP, out June 14, 2024). This previously unheard, high-energy cover of The Who’s 1965 debut single was produced by Bowie and recorded at Trident Studios in Soho, London, on June 24, 1972 — during the Ziggy Stardust sessions. It remained undiscovered for over 50 years. (Bowie later re-recorded a slower version for *Pin Ups* in 1973 with co-producer Ken Scott.) The track serves as a thrilling taste of the box set, which explores Bowie’s journey from February 1971 through the creation of *The Rise and Fall of Ziggy Stardust and the Spiders from Mars*, including unreleased highlights like a lower-register “Lady Stardust (Alternative Version – Take 1)” and the deep-cut “Shadow Man.” Single Overview Release Details Label: Parlophone / ISO Records (digital). Format: Digital single (streaming/download). Full Track Listing 1. I Can’t Explain (Trident Studios Version – Take 2) Production and Context Produced by David Bowie. Recorded June 24, 1972, at Trident Studios, London. A raw, electrifying take from the Ziggy sessions — the first known Bowie cover of The Who. Do you have “I Can’t Explain” (Trident Take 2) in your digital collection? Ready to rock the Ziggy vaults? Share in the comments! Sources Information is drawn from my personal knowledge and supplemented by web sources, including David Bowie, Discogs, 45cat, AllMusic, Rate Your Music, Wikipedia, BBC Official Charts Company, Billboard Chart History. Whilst every effort is made to provide accurate information, mistakes do happen. Simply leave a comment and the post will be updated. Thank you.

Released worldwide as a Blu-ray Audio disc and on streaming services on September 6, 2024, David Bowie’s The Rise And Fall Of Ziggy Stardust And The Spiders From Mars  (catalogue: DBZIGGYBR) — his 1972 breakthrough — received its first official Dolby Atmos mix by Emre Ramazanoglu and original co-producer Ken Scott at RAK Studios, London. The disc bundles four versions: 2024 Dolby Atmos, 2024 Stereo Mix (96 kHz/24-bit PCM), 2012 Remaster (192 kHz/24-bit PCM), and 2012 Remaster (48 kHz/24-bit PCM). Scott: “You’re in there with the act, with David… it feels as if you’re in the theatre with this amazing show.” A 50+ year touchstone reborn in immersive sound. Release Details Label: Parlophone. Formats: Blu-ray Audio disc, streaming (Atmos + high-res stereo). ℗ & ©: Jones/Tintoretto Entertainment Co., LLC / Parlophone Records Ltd. Full Track Listing (all versions) Five Years (4:42) Soul Love (3:34) Moonage Daydream (4:40) Starman (4:10) It Ain’t Easy (2:58) Lady Stardust (3:22) Star (2:47) Hang On To Yourself (2:40) Ziggy Stardust (3:13) Suffragette City (3:25) Rock ’n’ Roll Suicide (2:58) Reissues & Global Variants (all supplied) Blu-ray Audio – Parlophone DBZIGGYBR – Worldwide – 6 Sep 2024 Streaming (Atmos + high-res) – Parlophone – Worldwide – 6 Sep 2024 Production and Context Original production: Ken Scott & David Bowie (1972). 2024 Atmos mix: Emre Ramazanoglu & Ken Scott at RAK Studios. Ziggy’s retirement at Hammersmith Odeon 1973 cemented its legend — influencing everyone from Arcade Fire to Harry Styles to TikTok makeup challenges. Singles Released and Chart Performance No new singles. Album Chart Performance (original 1972) UK: 5 US: 75 (later re-entries) Legacy and Collectibility The Rise And Fall Of Ziggy Stardust  is Bowie’s glam masterpiece — now in Dolby Atmos theatre immersion. 2024 Blu-ray Audio. Verify catalogue DBZIGGYBR. Streams on Apple Music/Tidal (Atmos) preserve the surround stardust. This release is a must-have for Ziggy and Atmos collectors. Do you have Ziggy in Atmos? Is it your theatre now? Share in the comments! Sources Information is drawn from my personal knowledge and supplemented by web sources, including Discogs, 45cat, AllMusic, Rate Your Music, Wikipedia, BBC Official Charts Company, Billboard Chart History and YouTube David Bowie’s The Rise and Fall of Ziggy Stardust and the Spiders from Mars  was released as a Blu-Ray Audio album and on streaming services in the UK by Parlophone Records (catalog number DBZIGGYBR) on September 6, 2024. The new mix of the album features four iterations of this timeless album: 2024 Dolby Atmos mix, 2024 Stereo Mix (96 khz / 24-bit pcm), original 1972 Stereo Mix – 2012 remaster (192 khz / 24-bit pcm), original 1972 Stereo Mix – 2012 remaster (48 khz / 24-bit pcm). The Atmos version of the album was mixed by Emre Ramazanoglu and Ken Scott at RAK Studios, London. Of this new Dolby Atmos mix the album’s co-producer, Ken Scott says “You’re in there with the act, with David. He was so theatrical I think being able to put him into an immersive place makes this a really good choice for an Atmos mix. My whole philosophy with this has been to make it more like a live experience. And I’ve even got him moving about the stage a little towards the end, the way he would have in real life. Hopefully, it just feels as if you’re in the theatre with this amazing show going on.” June 14th sees the release of DAVID BOWIE ROCK ‘N’ ROLL STAR!, a 5CD and 1 Blu-Ray Audio set chronicling David Bowie’s journey through the creation of the Ziggy Stardust character and the recording of the iconic THE RISE AND FALL OF ZIGGY STARDUST AND THE SPIDERS FROM MARS album. ROCK ‘N’ ROLL STAR!, contains 29 unreleased tracks, covers early songwriting demos, recordings from David’s band, The Arnold Corns, rehearsals at Bowie’s then-home, Haddon Hall, BBC sessions, singles, live performances, plus outtakes and alternative versions from the original album recording sessions, which have been newly mixed by original album co-producer, Ken Scott. THE RISE AND FALL OF ZIGGY STARDUST AND THE SPIDERS FROM MARS is the breakthrough album that catapulted David Bowie into the international spotlight. Over the past 50 years it has remained a touchstone record, growing in stature with each passing year. It is now ingrained in popular culture, its undeniable influence spanning musicians from Arcade Fire to Lady Gaga, to Harry Styles’s androgynous fashion sense to Noel Fielding’s shirts on The Great British Bake-Off to Ziggy make-up challenges on Tik-Tok. David Bowie laid to rest the Ziggy Stardust persona in July 1973 at his infamous last show with the Spiders From Mars at London’s Hammersmith Odeon, but Ziggy’s impact reverberates to this day. DAVID BOWIE THE RISE AND FALL OF ZIGGY STARDUST AND THE SPIDERS FROM MARS BLU-RAY AUDIO Five Years – 4:42 Soul Love – 3:34 Moonage Daydream – 4:40 Starman – 4:10 It Ain’t Easy – 2:58 Lady Stardust – 3:22 Star – 2:47 Hang On to Yourself – 2:40 Ziggy Stardust – 3:13 Suffragette City – 3:25 Rock ’n’ Roll Suicide – 2:58 2024 DOLBY ATMOS MIX 2024 STEREO MIX (96 KHZ / 24-BIT PCM) ORIGINAL 1972 STEREO MIX – 2012 REMASTER (192 KHZ / 24-BIT PCM) ORIGINAL 1972 STEREO MIX – 2012 REMASTER (48 KHZ / 24-BIT PCM) DAVID BOWIE ROCK ‘N’ ROLL STAR! 5CD/BLU-RAY, DIGITAL BOX SET & HALF-SPEED MASTERED LP RELEASED ON 14TH JUNE, 2024 PRE-ORDER HERE DAVID BOWIE ‘THE RISE AND FALL OF ZIGGY STARDUST AND THE SPIDERS FROM MARS’ BLU-RAY AUDIO DISC & STREAMING RELEASED ON 6TH SEPTEMBER 2024

A Record Mirror T. Rex Glam Origin Published in the UK on January 15, 1972, Record Mirror’s one-page feature article “Birth Of A Monster” explored the explosive rise of T. Rex RECORD MIRROR, January 15, 1972 CONTINUING Val Mabbs' amazing three-part interview with Marc Bolan - the elfin prince who has inspired a new generation of almost hysterically dedicated girl fans; the ex-mod who has explored the supernatural in the cause of musical expression and who says of his decision to quit John's Children: "It was obvious I wasn't going to have total influence and I couldn't see it being successful otherwise." MARC BOLAN, flamboyantly dressed in a sunshine yellow T-shirt, red and gold check lurex jacket and sating trousers, sits, head on one side, with tousled hair dripping around his shoulders, pondering days now far removed from him. Days when clothes lasted considerably longer than now, when eager hands are ready to tear them from his body if Marc with his flailing and jumping antics on stage hasn't already brought about their destruction. A time when the 'phone didn't have to be taken off the hook to stop persistent fans from ringing and curtains could be pulled back without fear of prying eyes. Then, after failing with his first three solo records, the draw of a three hundred watt stack of amps and the promised position of a Pete Townshend, were bait enough to lead Bolan into his first professional group, John's Children. It's a group since remembered as Bolan's own, a fact far removed from the truth. "The group was nothing to do with me at all," Marc explains. "I was brought in because the previous guitarist left, and they wanted a sort of poet rock and roller Townshend. So I was their Pete Townshend really!" On the group's 'Desdemona' single Marc managed to exercise total control and his colourful, offbeat lyrics in those less enlightened days of 1967, "lift up your skirts and fly," consequently got them banned from airplay. All this during a brief three-month association, after which he left; "Because it was obvious I wasn't going to have total influence, and I couldn't see it being successful otherwise, to be quite honest!" Predictably when , Tyrannosaurus Rex was formed, Marc planned from the beginning that control on both creative and practical levels was to remain tightly within his grasp - and he has kept things that way ever since. "It's my gig, and why not," he argues. "It's very apparent that T. Rex is a musical outlet for my songs. But I don't want to be a solo singer, I like being in a group. Though we're all aware of it being my gig, it doesn't make other people any the less important." Ideal As well as being an outlet for his songs, in the early duo days with Steve Took; the later T. Rex has become Marc's ideal of what John's Children should have been. From busking in Hyde Park, through a period of a limited but nevertheless fanatical following, Marc took T. Rex into an electric period, and eventually achieved a wider audience than even he would have thought possible. But chance had little to do with it, for 'Bole' has always made a point of learning his subject well. "There were millions of people busking when I was first doing that with T. Rex, but I always made out, because I make a point of being better than other people. I ve become knowledgeable about things I'm involved in, some people can't and some just aren't interested". The name of his own group, Tyrannosaurus Rex, was intended to reflect the vastness of Marc's belief in the venture the tyrannosaurus being the largest known creature that, as far as history can prove, ever lived. Ray Bradbury's description of the animal in 'Golden Apples Of The Sun' particularly influenced his choice. "It was written about in a story 'Sound Of Thunder' and he described it so beautifully. People can't comprehend a dragon and say it didn't exist, but this creature, forty feet high and twenty feet long was proved to have lived it probably walked down Streatham High Road! It's very real to me." Having once proved his point, the group name became irrelevant to Marc, and with the shortening of the name to T. Rex affectionately applied by early fans he began to add new members. On several occasions during the metamorphosis of the group, however, it seemed that the dream might not emerge intact. After first teaming up with Steve Took on hand drums, Marc claims to have had difficulty in freeing himself from Track records, who had him contracted individual from the days of John's Children. as an Difficulty "It took me six months to get away with T. Rex, and then I wasn't really interested in finding another company because I felt that I'd been screwed up by everyone. Eventually we had five offers in a week and were going to go with Apple, which was just being formed, but for various reasons it never came together". Under the guidance of producer and arranger Tony Visconti who approached them at Middle Earth Tyrannosaurus Rex were signed to Straight Ahead productions, and produced three albums, 'My People Were Fair And Had Sky In Their Hair, But Now They're Content To Wear Stars On Their Brows', 'Prophets, Seers And Sages The Angels Of The Ages' and "Unicorn', before Marc and Steve Peregrine Took decided to go their separate ways. "It didn't feel good and we had a rest from touring," Marc explains. "Then we just didn't see each other any more. I decided that if 1 could get someone to work with that I dug then I would carry on purely as a survival thing. Apart from that it was a question of getting more into writing, but I still didn't feel that I'd done everything that I wanted to do with the music." The now almost legendary meeting between Marc and Mickey Finn in London's Seed restaurant, provided the necessary uplift for Marc, who despite having fulfilled his childhood dream, had numerous plans Tyrannosaurus Rex. "I always wanted to have hit records, but of the certain kind that I wanted to make, like 'Rainy Day Women'. I got very determined and decided I was going to make everyone sit up and take notice, because a lot of people got blase and put us in this album bag and decided I was a little elfin prince." Marc agrees that through his writing he subconsciously engineered his elfin image, which tended to limit his expansion for some time. But did he overplay it? "I don't really care, and I didn't care. If it had done me harm, it would have done me harm! But at that point the records were selling to people who were interested in the supernatural because they were supernatural based." Desire The urgent desire to change came through Marc's frustrated wish to appear on television, and the need to show some of the aggression -that, despite his having grown into "a gentle man" -was still very much within him. But Marc remains adamant that he made по mental decision to pull away from his hard underground fans. core "Never forget," he says seriously, "'Ride A White Swan' got to number 30 in the charts with two plays on the radio, and it was those kids who went out and bought the albums who also put that in the charts, as with 'One Inch Rock' and 'Deborah' What happened after was that we got put on telly and people liked what they saw." While the kids were digging the sounds, the visual impact of T. Rex was none the less startling. Shops sold out of decorative glitter, happy haridressers produced the Bolan look in wigs, and theatrical shoe shops undoubtedly enjoyed a boom in business, whlie fading journalists leapt to their typewriters imbued with a new enthusiasm, some hell-bent on praising, others echoing the cries of "sell out" that were emitted by the early Rex followers. They didn't like it a bit. One harsh review of Bolan's music almost brought about the death of T. Rex, and the total disillusionment of Bolan. Trash "We were in the middle of the first really good tour, at the time of 'Hot Love' and I saw an article describing us as teenybopper trash. I was going to give up and stop playing then. I felt so insulted that someone should say that," Marc recalls. "Then I was very tired and worn out, but ten minutes later there was no way it could have hurt me. Basically, though, I'm a very warm, emotional person but you can't be like that with people who are ignorant." Marc claims to have thanked people who justifiably put him down, but he admits to resenting those who try to preach to him. "I'm not very open to criticism, so people tend not to criticise," grins Marc. But on a musical level he takes great notice of Tony Visconti and praises his strength as an arranger. Inevitably with the use of more instruments in the studio and the addition of bassist Steve Currie and drummer Bill Fyfield dubbed "Legend" on stage, arrangements have become more important to Marc. Idea "If I have a special idea on how I want to use a song I'm quite dictatorial," he admits. "But if I don't, then I give the song to Tony and say write something and see what comes out of it. 'Cosmic Dancer' was a track I did that way, and I thought the arrangements were amazing." The young girls who weep at his feet, and fight to touch him, the ladies of a Carnaby Street boutique who play 'Electric Warrior' endlessly, and a sea of many more would agree but Bolan still fights. Fights against those who say he's a 'rip off', a cleverly concocted image, not a musician. But takes heart in musicians like Elton John and Eric Clapton who have played with him and pronounce words in his defence. Feature Overview Publication Details Magazine: Record Mirror (UK). Date: January 15, 1972. Format: One-page feature article. Do you have this Record Mirror article in your archive? Ready for the monster’s birth? Share in the comments!

A Billboard Alice Cooper Group Shock Promo Published in the US on January 15, 1972 (likely a typo in query for 1973 context), Billboard Magazine’s one-page advert “Whew!” promoted the Alice Cooper Group’s upcoming era — building hype for Billion Dollar Babies and the band’s theatrical shock-rock dominance. The bold, eye-catching ad captured the group’s wild energy and rising fame. Dec. 27th: Pittsburgh Civic Arena Promoter: Pat DiCaesar 14,400 Paid Attendance $91,000 Gross Dec. 31st: Maple Leaf Gardens Promoter: Cymba Productions $125,600 Gross: The largest gross for an indoor show in Canadian music history! Jan. 1st: Ottawa Civic Arena Promoter: Harvey Glatt Attendance: 12,300, breaks the record formerly held by Grand Funk! $61,000 Gross A great ending for a fantastic year!!! We thank our friends in the industry and look forward to a very happy New Year Alice Cooper Advert Overview Publication Details Magazine: Billboard (US). Date: January 15, 1972. Format: One-page album/tour advert. Do you have this Billboard advert in your archive? Whew, ready for the ride? Share in the comments!

A Rolling Stone Station To Station Tour Tease Published in the US on January 15, 1976, Rolling Stone’s one-page article “Bowie To Tour” announced David Bowie’s upcoming 1976 North American tour in support of his forthcoming album Station to Station. The piece detailed the plans for Bowie’s return to the stage after his Berlin retreat, highlighting the Thin White Duke persona and the anticipation for the new sound. Article Overview Publication Details Magazine: Rolling Stone (US). Date: January 15, 1976. Format: Tour announcement article. Bowie to Tour: 'No Gimmickry' BY CAMERON CROWE LOS ANGELES—Last June, David Bowie had apparently made some hard-line career decisions. "I've rocked my roll," he said. "It's a low form of communication and I'm through with it... And as for touring, I honestly believe that it kills my art. I will never, ever tour again." Now, six months later, Bowie has radically modified his stance. A new album, Station to Station, will be released January 1st. And on February 2nd he will kick off a 34-date North American tour in Vancouver that will end March 26th at Madison Square Garden. All this in addition to the forthcoming release of The Man Who Fell to Earth, a movie in which he plays an alien from another planet. Why the turnabout? "Because it's going to make an obscenely large amount of money, which I desperately need to set up my media-production company, Bewlay Bros.," Bowie replied at his Bel Air home. He laughed at his own candor, then proceeded to explain the artistic motivation. "I'm actually anxious to try something I've never done in the past—work with a small band, perform with no set whatsoever and use no production gimmickry. No sets. I'm just going to go out and sing. It's exciting to me. I want to see if I can cut it." The "small band" is actually the same musicians who play on the multi-influenced Station to Station, recorded in October and November in Los Angeles: Earl Slick, lead guitar; "Fame" cowriter Carlos Alomar, rhythm guitar; Dennis Davis, drums, and George Murray, bass. Bowie also hinted he might be returning to onstage guitar and piano playing. "I could chicken out, though. My main consideration at this point is just to present an upbeat musical show. That will keep me amused. None of the depressing starkness of the Ziggy and Diamond Dogs tours." Bowie announced the surprise tour during a satellite TV interview with Russell Harty, Britain's Johnny Carson. Coincidentally, David had picked a choice time to make his announcement—the Spanish government wanted the same satellite line to broadcast General Franco's funeral Mass. When informed the time was taken, Spanish officials were so upset that they reportedly asked the U.S. government to intercede. Matters of world importance aside, Bowie shrugged off his past contradictions. "I'm sorry I lied," he grinned. "Really, what can I say? Every time I've said I wouldn't tour again, I've meant it. [He "retired" from the stage once before in 1973.] Nothing matters except whatever it is I'm doing at the moment. That's what keeps me excited." Do you have this Rolling Stone article in your archive? Ready for the 1976 tour? Share in the comments!