David Bowie S Low

"One day I blew my nose and half my brains came out." Los Angeles, 1976. David Bowie is holed up in his Bel-Air mansion, drifting into drug-induced paranoia and confusion. Obsessed with black magic and the Holy Grail, he's built an altar in the living room and keeps his fingernail clippings in the fridge. There are occasional trips out to visit his friend Iggy Pop in a mental institution. His latest album is the cocaine-fuelled Station To Station (Bowie: "I know it was recorded in LA because I read it was"), which welds R&B rhythms to lyrics that mix the occult with a yearning for Europe, after three mad years in the New World. Bowie has long been haunted by the angst-ridden, emotional work of the Die Brucke movement and the Expressionists. Berlin is their spiritual home, and after a chaotic world tour, Bowie adopts this city as his new sanctuary. Immediately he sets to work on Low, his own expressionist mood-piece.

Los Angeles, 1976. David Bowie is holed up in his Bel-Air mansion, drifting into drug-induced paranoia and confusion. Obsessed with black magic and the Holy Grail, he's built an altar in the living room and keeps his fingernail clippings in the fridge. There are occasional trips out to visit his friend Iggy Pop in a mental institution. His latest album is the cocaine-fuelled Station To Station (Bowie: "I know it was recorded in LA because I read it was"), which welds R&B rhythms to lyrics that mix the occult with a yearning for Europe, after three mad years in the New World. Bowie has long been haunted by the angst-ridden, emotional work of the Die Brucke movement and the Expressionists. Berlin is their spiritual home, and after a chaotic world tour, Bowie adopts this city as his new sanctuary. Immediately he sets to work on Low, his own expressionist mood-piece.

Los Angeles, 1976. David Bowie is holed up in his Bel-Air mansion, drifting into drug-induced paranoia and confusion. Obsessed with black magic and the Holy Grail, he's built an altar in the living room and keeps his fingernail clippings in the fridge. There are occasional trips out to visit his friend Iggy Pop in a mental institution. His latest album is the cocaine-fuelled Station To Station (Bowie: "I know it was recorded in LA because I read it was"), which welds R&B rhythms to lyrics that mix the occult with a yearning for Europe, after three mad years in the New World. Bowie has long been haunted by the angst-ridden, emotional work of the Die Brucke movement and the Expressionists. Berlin is their spiritual home, and after a chaotic world tour, Bowie adopts this city as his new sanctuary. Immediately he sets to work on Low, his own expressionist mood-piece.

After his breakthrough with Ziggy Stardust and before his U.S. pop hits "Fame" and "Golden Years" David Bowie produced a dark and difficult concept album set in a post-apocalyptic "Hunger City" populated by post-human "mutants." Diamond Dogs includes the great glam anthem "Rebel Rebel" and utterly unique songs that combine lush romantic piano and nearly operatic singing with scratching, grungy guitars, creepy, insidious noises, and dark, pessimistic lyrics that reflect the album's origins in a projected Broadway musical version of Orwell's 1984 and Bowie's formative encounter with William S. Burroughs. In this book Glenn Hendler shows that each song on Diamond Dogs shifts the ground under you as you listen, not just by changing in musical style, but by being sung by a different "I" who directly addresses a different "you." Diamond Dogs is the product of a performer at the peak of his powers but uncomfortable with the rock star role he had constructed. All of the album's influences looked to Bowie like ways of escaping not just the Ziggy role, but also the constraints of race, gender, sexuality, and nationality. These are just some of the reasons many Bowie fans rate Diamond Dogs his richest and most important album of the 1970s.

Ushering in a new era of confessional music that spoke openly about experiences of trauma, depression, and self-loathing, Nine Inch Nails' seminal album, The Downward Spiral, changed popular music forever—bringing transgressive themes of heresy, S&M, and body horror to the masses and taking music technology to its limits. Released in 1994, the album resonated across a generation, combining elements of metal, industrial, synth-pop, and ambient electronica, and going on to sell over four million copies. Now, Into the Never explores the creation and cultural impact of The Downward Spiral, one of the most influential and artistically significant albums of the twentieth century. Inspired by David Bowie's Low and Pink Floyd's The Wall, the album recounts one man's disintegration as he descends into nihilism and nothingness. Blurring the lines between autobiography and concept album, creation and decay, it is also the story of Trent Reznor (who is Nine Inch Nails) as he pushed himself to the edge of the abyss, trapped in a cycle of addiction and self-destruction. The Downward Spiral also presents a reflection of America and a wider culture of violence, connecting the Columbine High School shooting, the infamous Manson family murders, and the aftermath of Vietnam and the Gulf War. Featuring new interviews with collaborators and artists inspired by the album, Into the Never sets The Downward Spiral in the context of music of the era and brings the story up to date, from Reznor's recovery to his reinvention as an Oscar-winning soundtrack artist.

All Music Guide's Stephen Thomas Erlewine has written, Even when he was out of fashion in the '80s and '90s, it was clear that Bowie was one of the most influential musicians in rock, for better or worse. In this comprehensive analysis of David Bowie's career, author James Perone examines the many identities and styles Bowie has developed over the years, and in so doing provides a stunning chronicle of creativity at work. Born David Jones in a London suburb in 1947, David Bowie changed his name in the late '60s to avoid confusion with the singer David Jones of The Monkees. This name change would turn out to be a highly prescient act: for in incorporating an exceptionally wide variety of styles, Bowie would become the most notorious chameleon of the rock era. Due in large part to his early success in the glam rock subgenre and his claims of homosexuality (dismissed by many writers as a ploy to generate public interest and record sales), Bowie raised serious issues about sexual orientation in rock music, regardless of whether or not his claimed homosexuality was genuine or part of his on-stage character. His regular use of theatrical personae also raises interesting issues concerning authenticity and the perception of authenticity in rock music. Although Bowie has been primarily an album artist, his recordings of Fame, Golden Years, Let's Dance, China Girl, Blue Jean, and Dancing in the Streets, all made it into the Billboard top 10 singles charts. Of these, all but one was written or co-written by Bowie. Even more notable are the songs he wrote and recorded that have made an impact far in excess of their chart standing. These include Space Oddity, Rebel, Rebel, Changes, Modern Love, and Young Americans. From his early 1970s albums like Hunky Dory and The Rise & Fall of Ziggy Stardust and the Spiders from Mars-in both of which he assumed the character of the fictional, androgynous Stardust-to Diamond Dogs, Heroes, Tin Machine, and Black Tie White Noise, Bowie's albums generated both significant word-of-mouth interest and some of the most contentious critical reactions of any artist of the rock era. This long overdue investigation lets Bowie's artistry speak for itself. After a biographical introduction, chronologically arranged chapters discuss the singer's fascinating—and iconoclastic—body of work. A discography and annotated bibliography conclude the book.

David Bowie: The Golden Years chronicles Bowie’s creative life during the 1970s, the decade that defined his career. Looking at the superstar's life and work in a year by year, month by month, day by day format, and placing his works in their historical, personal and creative contexts. The Golden Years accounts for every live performance: when and where and who played with him. It details every known recording: session details, who played in the studio, who produced the song, and when and how it was released. It covers every collaboration, including production and guest appearances. It also highlights Bowie's film, stage and television appearances: Bowie brought his theatrical training into every performance and created a new form of rock spectacle. The book follows Bowie on his journeys across the countries that fired his imagination and inspired his greatest work, and includes a detailed discography documenting every Bowie recording during this period, including tracks he left in the vault. The Golden Years is an invaluable addition to the Digital shelves of any true Bowie fan.