"Aladdin Sane" - A David Bowie discography - Pictures - CBS News A David Bowie discography Next Portrait The incomparable and uncompromising David Bowie's prodigious output of music encompassed stylized permutations of rock, pop, ballads, electronic, soul, R&B and jazz, often presented with a highly theatrical flair. Click through our gallery to explore his studio and live albums, from his 1967 debut to his final album, "Blackstar," released just two days before his death. Pictured: David Bowie in 1971. Credit: Brian Ward/The David Bowie Archive/Warner Records "David Bowie" Bowie's eponymous debut album, released in 1967, came after several singles (some under his real name of Jones) were released beginning in 1964, when he was 17 years old.

Those ranged from "Liza Jane" (by Davie Jones and the King Bees), on which Bowie played alto sax and sang, to the bizarre "Laughing Gnome." The album's tracks include "Uncle Arthur," "Love You Till Tuesday," "We Are Hungry Men," "Little Bombadier," and "When I Live My Dream," "Please Mr. Gravedigger," and the odd, tuba-inflected "Rubber Band," which wears its British musical hall influences on its sleeve. The album's release on the very same day as The Beatles' "Sgt. Pepper" didn't help its commercial chances, and Bowie was dropped by his label. Credit: Deram "Space Oddity" Bowie's second studio album, from 1969, was "Space Oddity" (originally released in the U.S. as "Man of Words/Man of Music"), a blend of folk and progressive that featured one of Bowie's best-loved songs, "Space Oddity," which tells of the adventures of astronaut Major Tom.

Other tracks include "Cygnet Committee," "Wild Eyed Boy from Freecloud," "Unwashed and Somewhat Slightly Dazed," "Janine," "An Occasional Dream," "God Knows I'm Good," and "Memory of a Free Festival." Credit: Mercury "The Man Who Sold the World" Bowie continued his progression to a darker, harder-edged rock with "The Man Who Sold the World" (1970). In addition to the title track, songs included "The Width of a Circle," "All the Madmen," "Black Country Rock," "After All," "She Shook Me Cold," and "The Supermen." Credit: Mercury "Hunky Dory" Bowie's well-received 1971 album, "Hunky Dory," featured the songs "Changes," "Oh! You Pretty Things," "Life on Mars?," "Andy Warhol," "Quicksand," "Queen Bitch," "The Bewlay Brothers," and "Song for Bob Dylan," as well as the Biff Rose-Paul Williams song, "Fill Your Heart." A modest hit initially, "Hunky Dory" reached #3 on the U.K.

album charts following the success of "Ziggy Stardust," and in 2010 the album was selected by Time magazine among its "100 best albums of all time." Credit: RCA "Ziggy Stardust" "The Rise and Fall of Ziggy Stardust and the Spiders from Mars" (1972) is a concept album starring Bowie's glam-rock alter ego, an alien bisexual. Songs include "Starman," "Five Years," "Soul Love," "Moonage Daydream," "Lady Stardust," "Star," "Hang On to Yourself," "Suffragette City and "Rock 'n' Roll Suicide." Also: Ron Davies' "It Ain't Easy." Credit: RCA "Aladdin Sane" A follow-up to "Ziggy Stardust," "Aladdin Sane" (1973) melded rock with Brechtian avant-garde and jazz. Tracks include the R&B-infused "The Jean Genie," "Time," "Watch That Man" and "Drive-In Saturday." Bowie also covered the Rolling Stones' "Let's Spend the Night Together." The album hit No. 1 on the U.K. chart.

Credit: RCA "Pin Ups" "Pin Ups" (1973) is an album of covers, including songs by The Yardbirds ("I Wish You Would," "Shapes of Things"), Pink Floyd ("See Emily Play") The Who ("I Can't Explain," "Anyway, Anyhow, Anywhere"), The Merseys (Sorrow"), and The Kinks ("Where Have All the Good Times Gone"), among others. It also topped the U.K. album chart. Credit: RCA "Diamond Dogs" "Diamond Dogs" (1974) was a dystopian-futuristic concept album born out of Bowie's plans to stage an adaptation of George Orwell's "1984" (which were squashed by the author's estate). Tracks include "Future Legend," "Sweet Thing," "Rock 'n' Roll With Me," "1984," and "Big Brother." Credit: RCA "David Live" David Bowie's first live album, "David Live" (1974), marks a crossover from his glam-rock persona to his more soul-influenced "Young Americans," released the following year. Recorded during a U.S.

tour, it features material from "Diamond Dogs," "Aladdin Sane," and "Ziggy Stardust." Songs include: "1984," "Changes," "Sweet Thing," "Cracked Actor," "Rock 'n' Roll With Me," "Knock on Wood," and "Big Brother." Credit: RCA "Young Americans" David Bowie's soul-dripping "Young Americans" (he termed it "plastic soul") climbed to #9 on the U.S. chart, and #2 in the U.K. The album boasts the rollicking title track, "Win," "Right," "Somebody Up There Likes Me," "Can You Hear Me?," and "Fame" (performed with John Lennon), which became his first #1 single in the U.S.

The album also includes covers of The Beatles' "Across the Universe," and Luther Vandross' "Fascination." Credit: RCA "Station to Station" Recorded following shooting of the film, "The Man Who Fell to Earth" (a still of which is featured on the jacket), "Station to Station" (1976), recorded in Los Angeles, features the Bowie character the Thin White Duke, and is influenced by the synthetic sounds of German electronica (such as Kraftwerk) and by Bowie's drug use. In addition to the single "Golden Years," tracks included "Station to Station," "Word on a Wing," "TVC 15," "Stay" and "Wild Is the Wind." The album rose to #5 on the U.K. album chart, and #3 in the U.S.

Credit: RCA "Low" "Low" (1977) marked Bowie's first collaboration with Brian Eno (and the first of his "Berlin trilogy"), and it produced an avant garde album born from what the singer described as "oodles of pain." Tracks include "Speed of Life," "Breaking Glass," "What in the World," "Sound and Vision," "Warszawa," "Weeping Wall" and "Subterraneans." "Low," which ranked #2 on the U.K.

chart, is on many critics' lists of the best albums of the decade, and would later influence Philip Glass in composing his 1992 symphony, also titled "Low." Credit: RCA "Heroes" One of Bowie's most critically-acclaimed works, "Heroes" (1977), the second of his "Berlin trilogy," was judged less melancholy than "Low." Tracks include "Beauty and the Beast," "Joe the Lion," "V-2 Schneider," and "Sense of Doubt," as well as four tracks co-written with Brian Eno: "Heroes, "Moss Garden," "Neukoln," and "The Secret Life of Arabia." Credit: RCA "Stage" Recorded during his 1978 world tour, David Bowie's "Stage" features performances in Boston, Philadelphia, and Providence, R.I., with music from the albums, "Low," "Station to Station," "Heroes," and "Ziggy Stardust." Credit: RCA "Lodger" Deemed less experimental than his first two collaborations with Brian Eno, "Lodger" (1979) was less successful commercially (it only reached #20 in the U.S.), though it has undergone a critical

 reevaluation.

Tracks include "Fantastic Voyage," "Move On," "DJ," "Repetition," "Look Back in Anger" and "Boys Keep Swinging." Credit: RCA "Scary Monsters (and Super Creeps)" "Scary Monsters (and Super Creeps)" (1980) was Bowie's last recording for RCA, after the mixed commercial reception of his "Berlin trilogy," yet this would prove to be one of his more commercially and critically successful albums, hitting #1 in the U.K., and #12 in the U.S. Tracks include "It's No Game (No. 1)," "Ashes to Ashes," "Fashion," "Teenage Wildlife," "Up the Hill Backwards," "Scream Like a Baby," and "Because You're Young" (featuring Pete Townshend of The Who). Guitarist Brian Fripp also returned after a break for touring. Credit: RCA "Let's Dance" The title track of "Let's Dance" (1983) reached Number 1 in the U.K., U.S., and much of the rest of the world.

The album was likewise a smash, featuring a number of pop hits, including "Modern Love," "Without You," Ricochet," "Criminal World," Shake It," and his version of Iggy Pop's "China Girl." The album also included "Putting Out Fire," Bowie's song from the horror film, "Cat People." Credit: EMI "Ziggy Stardust and the Spiders From Mars: The Motion Picture" "Ziggy Stardust: The Motion Picture" (1983) was tied to the D. A. Pennebaker documentary of Bowie's July 3, 1973 "Ziggy Stardust" concert in London, at which he announced the end of Ziggy's appearances. The film was not formally released until 1979, but the album took even longer to achieve a sound mix acceptable to the singer. Credit: RCA "Tonight" Following the "Serious Moonlight" tour, Bowie produced "Tonight" (1984), which carries the pop sounds of "Let's Dance" and marries them to more reggae inflections.

In addition to "Loving the Alien," "Blue Jean" "Tumble and Twirl," and "Dancing With the Big Boys," Bowie covered The Beach Boys' "God Only Knows," and Iggy Pop's "Neighborhood Threat," "Don't Look Down" and Tonight" (performed here with Tina Turner). Though it hit #1 in the U.K., Bowie later claimed the album was a lesser effort. Credit: EMI "Never Let Me Down" Bowie said his 1987 album, "Never Let Me Down," was more of a rock album than his previous few releases. Tracks included "Day-In-Day-Out," "Time Will Crawl," "Beat of Your Drum," "Glass Spider," "Shining Star (Makin' My Love," "New York's in Love," "87 and Cry," "Too Dizzy," "Bang Bang," and the title track. Credit: EMI "Tin Machine" In 1989, feeling he had lost his way creatively, Bowie formed a new group, Tin Machine, featuring guitarist Reeves Gabrels, drummer Hunt Sales and bassist Tony Sales.

Their two albums and tour would sell two million records, but its primary success was to goad Bowie to be less theatrical and take more risks musically. Their first album, "Tin Machine," featured the tracks "Heaven's in Here," "Prisoner of Love," "Crack City," "I Can't Read," "Under the God," "and John Lennon's "Working Class Hero." The cover of their second album, "Tin Machine II" (1991), featured classical statues with prominently-displayed penises (or did, until the record company airbrushes came out). Credit: EMI "Tin Machine Live: Oy Vey, Baby" "Tin Machine" disbanded after the release of a live album in 1992, "Tin Machine Live: Oy Vey, Baby," and Bowie resumed his solo career. Credit: London "Black Tie White Noise" Bowie's first solo album in the '90s was "Black Tie White Noise" (1993), which debuted at #1 in the U.K.

Tracks included "The Wedding" (Bowie had recently married the model Iman), "Miracle Goodnight," "Jump They Say," "I Know It's Gonan Happen Someday," and a cover of Cream's "I Feel Free." Credit: Arista "Outside" A gothic-tinged concept album about the end of the 20th century, "Outside" (1995) marked Bowie's reconnection with Brian Eno, and unlike previous albums was largely improvised during recording. Bowie toured (along with Nine Inch Nails) in support of the album, but it was less successful on the charts. Tracks include "Hallo Spaceboy," "I'm Deranged" (memorably used in the David Lynch film, "Lost Highway"), "The Hearts Filthy Lesson" (simiarly appropriated for David Fincher's "Seven"), and "Strangers When We Meet." Credit: RCA "Earthling" The industrial-sounding "Earthling" (1997), though not a huge commercial hit, was critically praised and earned two Grammy Award nominations, for Best Alternative Music Performance and Best Male Rock Vocal Performance (the song "Dead Man Walking").

Tracks included "Little Wonder," "Telling Lies," "Seven Years in Tibet," "Looking for Satellites," "I'm Afraid of Americans," and "Law (Earthlings on Fire)." Credit: RCA "Hours" The first major artist album available for download via the Internet prior to release, "Hours..." (1999) reached #5 on the U.K. charts but failed to crack the Top 40 in the U.S. Tracks included "Thursday's Child," "Something in the Air," "If I'm Dreaming My Life," "Seven," "What's Really Happening?" and "The Pretty Things Are Going to Hell." Credit: Virgin "Heathen" The well-reviewed "Heathen" (2002) was a great commercial success as well. Though the songs had been composed prior to the September 11 terror attacks, according to Bowie, the album's general tone was heavily influence by post-9/11 America.

Tracks include "Sunday," "Slow Burn," "Afraid," "I Would Be Your Slave," "Everyone Says 'Hi'," and "A Better Future." Covers include The Pixies' "Cactus" by Pixies, Neil Young's "I've Been Waiting for You," and the Legendary Stardust Cowboy's "I Took a Trip on a Gemini Spaceship." Credit: Columbia "Reality" "Reality" (2003) features the songs "New Killer Star," "The Loneliest Guy," "Looking for Water," "Days," "Fall Dog Bombs the Moon," Reality," and "Bring Me the Disco King." Covers include The Modern Lovers' "Pablo Picasso," and George Harrison's "Try Some, Buy Some." Credit: Columbia "Live Santa Monica '72" "Live Santa Monica '72" (2008) was the official release of a bootleg recording of a Ziggy Stardust concert from 1972 which had circulated for years as the album "Santa Monica '72." Credit: EMI "Glass Spider Live" "Glass Spider Live" (2008) is a live double-CD album of performances from Bowie's 1987 tour in Sydney

, which had previously been released on video, as well as recordings from the same tour in Montreal.

Credit: Immortal "VH1 Storytellers" "VH1 Storytellers" (2009) features performances by Bowie from a 1999 VH1 special, which includes songs from throughout his career, including "Life on Mars?," "Rebel Rebel," "Thursday's Child," "Can't Help Thinking About Me," "China Girl," "Seven," "Drive-In Saturday" and "Word on a Wing." Credit: EMI "A Reality Tour" "A Reality Tour" (2010) features songs from Bowie's 2003 tour, recorded in Dublin, which range from his 1970 album "The Man Who Sold the World," to "Reality." Credit: Columbia Legacy "The Next Day" Bowie's first studio album in ten years, recorded in secret, "The Next Day" (2013) was released on the supposedly-retired singer's 66th birthday. Critically praised (The New York Times called it Bowie's "twilight masterpiece"), it was an international #1 hit, and was Grammy-nominated for Best Rock Album.

Tracks include "Dirty Boys," "The Stars (Are Out Tonight)," "Love Is Lost," "Where Are We Now?," Dancing Out in Space," and "You Feel So Lonely You Could Die." Credit: Columbia "Blackstar" Bowie's final album, "Blackstar," was released on January 8, 2016, his 69th birthday. Highly experimental in form, the album was described by longtime Bowie producer Tony Visconti as the singer's "parting gift" to his fans. More than one critic noted the powerful work's mood as "darkened by bitter awareness of mortality" (as the New York Times Jon Pareles put it). Sadly, two days after the record was released, Bowie died, following a long bout with cancer.

Tracks include "Blackstar," "Lazarus" (composed for an off-Broadway production of the same name, a quasi-sequel to "The Man Who Fell to Earth"), "'Tis a Pity She's a Whore," "Sue (or in a Season of Crime)," "Girl Loves Me," "Dollar Days," and "I Can't Give Everything Away." Credit: Columbia Let's Dance Is Twenty Five Today - David Bowie Latest News Let's Dance Is Twenty Five Today on April 14, 2008 Let's dance, to the song they're playin' on the radio... David Bowie's astonishingly successful world-wide #1 album, Let's Dance, was released through EMI on Friday April 14 1983, twenty five years ago today, which was almost ten years to the day since the release of 1973's Aladdin Sane. (04.13.2008 NEWS: ALADDIN SANE IS THIRTY FIVE TODAY) Let's Dance was almost as shocking in it's departure from what had gone before as any of the previous Bowie albums, except this time the whole planet wanted a piece of the action.

While this release divided fans that had been with Bowie for more than ten years already, it attracted a far larger audience than that which had enjoyed his music in the preceding years. Let's Dance also spawned three huge hit singles in Let's Dance (#1 on both sides of the Atlantic), China Girl and Modern Love. Without You was the fourth single in some territories, but it didn't enjoy the kind of sales of the previous three hits. Such was the success of the album and attendant world tour, The Serious Moonlight Tour, that Bowie ended up as the cover feature for Time magazine in July 1983. You can read the whole feature on the TIME website by clicking on the image above where you can also buy a print of the cover. With the success of Let's Dance, David Bowie ultimately created a monster every bit as big as Ziggy Stardust and its chains were just as hard to throw off. Here's David in an interview for GQ, in January 1997: "The three or four years that followed 'Let's Dance' were for me particularly tough about re-evaluating what I wanted. I thought, 'Who are these people?

They kind of look like a Phil Collins audience.' Suddenly, I had all these people for whom the songs on the radio--'China Girl', 'Modern Love' and 'Let's Dance'--had become my oeuvre. That was all they knew of me, and it was MOR [middle of the road] enough that it encouraged this enormous audience. And I started thinking, What kind of music would they like? I was bastardising who and what I am and didn't know how to break out of it." Well, break out of it he did, and the cavalry came in the shape of Tin Machine, but that's a whole other story. blog image: David Bowie ◊ Aladdin Sane [40th Anniv. Ed.] (2013) Úvodní stránka » RECORDS » David Bowie ◊ Aladdin Sane David Bowie ◊ Aladdin Sane [40th Anniv.

Ed.] (2013) Birth name: David Robert Jones Born: 8 January 1947, London, England Instruments: Vocals, guitar, keyboards, harmonica, saxophone, viola, cello, koto, percussion Location: New York City's Manhattan and London Album release: April 13, 1973, 2013 Recorded: 6 October 1972 – 24 January 1973 at Trident Studios, London and RCA Studios, NY and Nashville Record Label: RCA 01. Watch That Man (4:30) 02. Aladdin Sane (1913-1938-197?) (5:09) 03. Drive-In Saturday (4:37) 04. Panic In Detroit (4:29) 05. Cracked Actor (3:02) 07. The Prettiest Star (3:32) 08. Let's Spend The Night Together (Mick Jagger / Keith Richards) (3:11) 09.

The Jean Genie (4:08) 10. Lady Grinning Soul (3:55) Producer: Ken Scott, David Bowie Personnel: ◊ David Bowie – guitar, harmonica, keyboards, saxophone, vocals ◊ Mick Ronson – guitar, piano, vocals ◊ Trevor Bolder – bass guitar ◊ Brian "Bux" Wilshaw – saxophone, flute ◊ Linda Lewis – backing vocals ◊ Juanita "Honey" Franklin – backing vocals ◊ G.A. MacCormack – backing vocals © Photo credit: Frank Ockenfels Review by Stephen Thomas Erlewine (Editor rating: ****½) ◊ Ziggy Stardust wrote the blueprint for David Bowie's hard-rocking glam, and Aladdin Sane essentially follows the pattern, for both better and worse. A lighter affair than Ziggy Stardust, Aladdin Sane is actually a stranger album than its predecessor, buoyed by bizarre lounge-jazz flourishes from pianist Mick Garson and a handful of winding, vaguely experimental songs.

Bowie abandons his futuristic obsessions to concentrate on the detached cool of New York and London hipsters, as on the compressed rockers "Watch That Man," "Cracked Actor," and "The Jean Genie." Bowie follows the hard stuff with the jazzy, dissonant sprawls of "Lady Grinning Soul," "Aladdin Sane," and "Time," all of which manage to be both campy and avant-garde simultaneously, while the sweepingly cinematic "Drive-In Saturday" is a soaring fusion of sci-fi doo wop and melodramatic teenage glam. He lets his paranoia slip through in the clenched rhythms of "Panic in Detroit," as well as on his oddly clueless cover of "Let's Spend the Night Together." For all the pleasures on Aladdin Sane, there's no distinctive sound or theme to make the album cohesive; it's Bowie riding the wake of Ziggy Stardust, which means there's a wealth of classic material here, but not enough focus to make the album itself a classic.

TIME Review by Ned Raggett ◊ David Bowie's work had contained plenty of cabaret and European-inspired influences almost from the beginning, so this particular effort, from 1973's Aladdin Sane, isn't surprising, per se. More so than songs like "Changes," though, "Time" finds Bowie taking the full plunge into something approaching the heights of Brecht and Weill. In part this is due to the appearance of Mike Garson, the inspired keyboardist he had recruited the previous year for his American appearances. Garson's at once playful and weird piano work introduces the track and takes a commanding role throughout, giving off more than one hint of Weimar Germany in its interpretation of Bowie's basic melody. Bowie himself clearly seeks out the sheer theatricality of the entire piece vocally, squealing, crooning, aiming for a heroic delivery on the choruses. The full band adds everything and the kitchen sink -- Mick Ronson's mega-guitar, mournful backing vocals, steady and strong drums, excellent arrangements and production via Bowie and Ken Scott. Lyrics reference everything from masturbation to the death of original New York Dolls' drummer Billy Murcia, getting away with it all as well.

If Lotte Lenya had popped in to duet, nobody would have been surprised at all. THE JEAN GENIE Review by Dave Thompson ◊ Any critics who doubted David Bowie's hard rock credentials following his breakthrough in 1972 (and there were some) were forced into a serious rethink following the release of this, his third British hit single of the year, and the biggest one yet. Released just in time for Christmas, "Jean Genie" soared to number two, and that despite the counter-attractions of the latest single by labelmates the Sweet -- "Blockbuster" plundered the self-same Yardbirds/Deviants riff as "Jean Genie," a grisly coincidence which gave Bowie's supporters pause for thought, too. Their hero, after all, was pushing back the frontiers of rock itself. The Sweet, on the other hand were...well, they were the Sweet, an unabashed bubblegum band last seen cavorting around the TV dressed as Native Americans. Hmmm, maybe they weren't so bad after all.

Included on Bowie's next album, Aladdin Sane, "Jean Genie" is surely the most performed song in Bowie's entire repertoire, although it is ironic that the most legendary version of all, recorded at the 1973 farewell concert with Jeff Beck guesting on dual lead guitar, was absent from the official Ziggy Stardust -- The Motion Picture document of the event. It is readily available, however, on bootlegs taken from the concert film's original airing on U.S. TV in 1974. Other impressive performances date from Bowie's own 1974 American tour, the 1983 Serious Moonlight outing, and the 1997 Earthling tour. © Photo credit: Frank Ockenfels ------------------------------------------------------------------- Description in french: ◊ Il fallait s'y attendre! Le "roi David" continue imperturbablement a nous proposer de nouvelles éditions remastérisées de ses albums. ◊ Ici, c'est celle du 40eme anniversaire d'Aladdin Sane... mais point de bonus comme ce fut le cas pour l'édition correspondant aux 30 bougies.

Régime maigre, c'est la crise!! ◊ Bref, la galette a été remastérisée par les Studios AIR de Londres pour le label Parlophone ce qui peut éventuellement intéresser les fans. ------------------------------------------------------------------- Production and style: ◊ The majority of Aladdin Sane was recorded at Trident Studios in London from December 1972 to January 1973, between legs of Bowie's US Ziggy Stardust tour. A desire to rush release the record was blamed for mixes on the Rolling Stones influenced "Watch That Man" and "Cracked Actor" that buried vocals and harmonica, respectively. Bowie and producer Ken Scott later refuted this suggestion regarding "Watch That Man", claiming that a remix they produced which brought the vocals forward was considered by Mainman management and RCA Records to be inferior to the original that was eventually released. ◊ Aladdin Sane featured a tougher rock sound than its predecessor Ziggy Stardust, particularly on tracks like "Panic in Detroit" (built around a Bo Diddley beat) and Bowie's breakneck version of the Stones' "Let's Spend the Night Together".

The album was also notable for its exploration of unusual styles such as avant-garde jazz in the title track and Brechtian cabaret in "Time", the latter being famous for the line "Time... falls wanking to the floor". Both numbers were dominated by Mike Garson's acclaimed piano work, which also featured heavily in the faux James Bond flamenco ballad "Lady Grinning Soul", inspired by singer Claudia Linnear. CHARTS: David Bowie discography - 必应 Sign in David Bowie discography English singer David Bowie (born David Jones) released 27 studio albums, 9 live albums, 49 compilation albums, 6 extended plays (EPs), 121 singles, including 5 UK number one singles, and 3 soundtracks. Bowie also released 14 video albums and 59 music videos. Bowie's debut release was the 1964 single "Liza Jane" by Davie Jones & the King Bees. He released two more singles in 1965 under the names of The Manish Boys and Davy Jones & the Lower Third. His first release using the name David Bowie was the 1966 single ...

(展开) "Can't Help Thinking About Me", which was released with The Lower Third. Bowie's next single, "Do Anything You Say", also released in 1966, was the first release by simply David Bowie . Bowie released four more singles and his debut album, David Bowie , but the first success in the United Kingdom was with the 1969 single " Space Oddity ". The single reached number five on the UK Singles Chart after it was released five days before the Apollo 11 moon mission. Bowie released three more albums – David Bowie (1969) that closed the trilogy, The Man Who Sold the World (1970) and Hunky Dory (1971) – before he eventually made it on to the UK Albums Chart with The Rise and Fall of Ziggy Stardust and the Spiders from Mars (1972), which peaked at number five. Following the success of Ziggy Stardust, sales of Hunky Dory improved and it eventually peaked at number three in the UK.

RCA re-released the 1969 David Bowie under the title Space Oddity (with an updated Ziggy Stardust era photo) and The Man Who Sold the World, which reached numbers 17 and 26 in the UK respectively. Bowie released nine more studio albums with RCA, all of which reached the top five of the UK Albums Chart, of which Aladdin Sane (1973), Pin Ups (1973), Diamond Dogs (1974) and Scary Monsters (And Super Creeps) (1980) reached the number one position. He then released three solo studio albums with EMI – Let's Dance (1983), whose title track became his first single to reach number one in both the United Kingdom and the United States, Tonight (1984) and Never Let Me Down (1987). Let's Dance and Tonight reached number one on the UK Albums Chart, while Never Let Me Down reached number six. In 1989 Bowie created the rock group Tin Machine, who released a self-titled album with EMI.

Although Tin Machine reached number three on the UK Albums Chart, it did not sell well and Bowie and EMI did not renew their contract. Tin Machine II followed in 1991 on London Records and, only reaching number 23 in the UK, was Bowie's worst-charting album since the 1973 re-release of The Man Who Sold the World. Continuing as a solo artist, Bowie's next album, Black Tie White Noise (1993), reached the number one position on the UK Albums Chart. Bowie released a further seven studio albums, all of which have reached the top ten in the UK. Released after a ten-year hiatus, The Next Day (2013) was Bowie's first UK chart-topping album since Black Tie White Noise (1993). Bowie released his final album, Blackstar on 8 January 2016, his 69th birthday and two days before his death on 10 January. The album debuted at number one in the UK and became Bowie's first album to reach number one on the Billboard 200 in the US. David Bowie discography.

David Bowie discography; Bowie during the Heathen Tour in 2002. Studio albums: 27: Live albums: 9: Compilation albums: 49: Video ... Complete your David Bowie record collection. Discover David Bowie's full discography. Shop new and used Vinyl and CDs. Find David Bowie discography, albums and singles on AllMusic The official David Bowie web site. News, message boards, and Bowie's boutique ISP. David Robert Jones (8 January 1947 – 10 January 2016), known professionally as David Bowie (/ ˈ b oʊ i /), was an English singer, songwriter and actor. Download David Bowie MP3 Songs and Albums | music downloads Website: Biography David Bowie was born David Robert Jones in Brixton, an industrial and poor sector of London, England on January 8, 1947. He became interested in arts in his early childhood and mastered saxophone at 13. At 16, Jones dropped off the school and devoted himself to music. He started his career as saxophonist and singer with numerous rock bands. In 1966 he took up the David Bowie stage name to be not confused with Davy Jones.

His first solo experiments did not have high achievements, which forced him to part with music for a while and go into mime study. He even created his own mime troupe, Feathers. It soon appeared a poor commercial move, and David made another effort to reach success in the field of music. His first song to attach critical attention was Space Oddity (1969). Bowie also tried his skills in screen-acting, having a small part in the film The Virgin Soldiers. At the same time he produced a promo video David Bowie: Love You Till Tuesday, featuring him as а musician and an actor of Feathers. In the early seventies, David focused on rock and made his next album, The Man Who Sold the World, heavier than his first works. This one was followed by Hunky Dory (1981), an experimental album, and the concept album The Rise and Fall of Ziggy Stardust and the Spiders From Mars, to bring him international fame. This was a story of a rock star named Ziggy Stardust, the future basis for David’s stage outfit and behavior. This release was supported with David’ first large scale tour to make him extremely popular in the UK.

According to the concept, David was Ziggy, while the other musicians were Spiders From Mars. The musical material balanced between hard rock and glam rock, a trick repeated on the next album, Aladdin Sane (1973).Bowie conquered the USA with the release of Young Americans (1975), containing the great hit Fame. This work reflected David’s experiments with R&B and soul, which did come to please supporters of his traditional rock style. In the late seventies, Bowie focused on electronic music and moved to Berlin. He recorded there a strange album with a mixture of electronic music, avant-garde and pop, titled Low (1977). After a streak of average albums, David finally reached tremendous commercial results with Let’s Dance (1983). He also cooperated with Queen to record the song Under Pressure. In the late eighties Bowie formed the Tin Machine band, being influenced by post-punk rock, to produce a couple of albums. He came back to his solo career in 1993 with the critically acclaimed album, Black Tie White Noise.

Each of the following albums, Outside (1995), Earthling (1996), and Hours (1999) were made in different genres. In the new millennium, David Bowie’s recording activities shrank. He produced two albums, Heathen (2002), and Reality (2003). David reduced his touring schedule due to health troubles, too. A great musician, David Bowie demonstrated top acting skills. His first big success on the screen was a part in The Man Who Fell To Earth (1976). Later, David performed in the play The Elephant Man on the Broadway. The most notable movies with David Bowie are The Hunger (1983), Labyrinth (1986), The Last Temptation of Christ (1988), and Twin Peaks: Fire Walk with Me (1992). Acting is not the only contribution made by Bowie to cinematography, as he has also participated actively in recording soundtracks. In 2006 David Bowie won Grammy Lifetime Achievement Award.

David Bowie | Classic Catalogue Albums | Station to Station David Bowie first caught the public's attention in the autumn of 1969, with his space-age mini-melodrama 'Space Oddity'. After a three-year period of experimentation that included the release of 1971's singer/songwriter infused 'Hunky Dory', he re-emerged in 1972 during the glam rock era as a flamboyant, androgynous alter ego Ziggy Stardust, spearheaded by the hit single 'Starman' and the album 'The Rise and Fall of Ziggy Stardust and the Spiders from Mars'. The relatively short-lived Ziggy persona epitomised a career often marked by musical innovation, reinvention and striking visual presentation, epitomized by the bootleg of his 1972 Santa Monica performance – a rare and highly revered piece of Ziggy live memorabilia. In 1973 The Spiders From Mars reunited on, 'Aladdin Sane' which became Bowie's first UK number one album.

Following Ziggy's dramatic and abrupt on-stage 'retirement' in Hammersmith, July 1973, the ambitious 'Diamond Dogs' was ushered forth, inspired by George Orwell's dystopian masterpiece, 1984. In 1975, Bowie achieved his first major American crossover success with the number one single 'Fame' from the hit album 'Young Americans', which the singer identified as "plastic soul". The sound constituted a radical shift in style. Bowie proceeded to confound expectations by recording the minimalist 'Low' in 1977 – the first of three collaborations with Brian Eno. Part of the 'Berlin Trilogy' – 'Low', 'Heroes' (1977) and 'Lodger' (1979) – this period revealed Bowie's most experimental works to date, though the trilogy still gave Bowie three UK top five albums. David Bowie's 1980 release, 'Scary Monsters' reflected a culmination of all his '70s themes and reached number one in the UK, as did its single 'Ashes to Ashes'.

In 1983 'Let's Dance' was Bowie's biggest commercial album to date, yielding the hit singles 'China Girl', 'Modern Love', and the title track. Bowie followed on from its success with another 80s pop-driven album, 'Tonight' in 1984, which featured collaborations with Tina Turner and Iggy Pop and a cover of The Beach Boys' classic 'God Only Knows'. © Parlophone Records Ltd David Bowie on the iconic lightning bolt from his Aladdin Sane cover | The Independent David Bowie on the iconic lightning bolt from his Aladdin Sane cover The iconic singer explained the concept behind the make-up in 1987 Tuesday 12 January 2016 18:00 BST Click to follow The Independent Online A tribute to Aladdin Sane JUSTIN TALLIS/AFP/Getty Images David Bowie moved through various alter egos throughout the release of his albums, an alien eternally reinventing himself as someone with a new sound and appearance to match. One of these personas appears on the cover of the iconic Aladdin Sane album with a lightning bolt across his face.

The image is perhaps one of the most striking and enduring, evidenced by the fans now rushing to change their Facebook profile pictures to overlay a bolt of lightning across their own face in his honour. The arrival of his alter ego in 1973 marked the end of an era for Ziggy Stardust, the persona that propelled him to stardom. Bowie told Rolling Stone he devised the idea of a lightning bolt painted over his face, while the tear drop was imagined by the photographer Brian Duffy. “Lightning bolt,” he told the magazine when asked what it was. “An electric kind of thing. Instead of, like, the flame of a lamp, I thought he would probably be cracked by lightning. Sort of an obvious-type thing, as he was sort of an electric boy. But the teardrop was Brian Duffy's, an English artist-photographer. He put that on afterward, just popped it in there.

I thought it was rather sweet.” David Bowie: A life in albums David Bowie: A life in albums 1/27 David Bowie 3/27 The Man Who Sold The World 1970 5/27 The Rise And Fall Of Ziggy Stardust And The Spiders From Mars 1972 17/27 Never Let Me Down 1987 20/27 Black Tie White Noise 1993 27/27 Black Star 2016 In the same interview, the iconic singer described how he withstood homophobic abuse after revealing his gender-bending Ziggy Stardust alter-ego before it was eventually embraced by his fans. “There was quite a bit of antagonism,” he said. “Nothing like, say, the Pistols got when they started. But the first couple of months were not easy. The people did find it very hard, until we had a musical breakthrough. “The actual look and everything, I mean, it was “Aw, a bunch of poofters,” you know? Which was kind of fun. I mean, we played it up – well, I did, anyway – played that up a lot.

Because it was the most rebellious thing that was happening at the time.” More about: David Bowie | LetsSingIt Lyrics Born: January 8, 1947, Brixton, London, United Kingdom Died: January 10, 2016, Manhattan, New York City, NY The cliché about David Bowie says he's a musical chameleon, adapting himself according to fashion and trends. While such a criticism is too glib, there's no denying that Bowie demonstrated remarkable skill for perceiving musical trends at his peak in the '70s. After spending several years in the late '60s as a mod and as an all-around music-hall entertainer, Bowie reinvented himself as a hippie singer/songwriter. Prior to his breakthrough in 1972, he recorded a proto-metal record and a pop/rock album, eventually redefining glam rock with his ambiguously sexy Ziggy Stardust persona. Ziggy made Bowie an international star, yet he wasn't content to continue to churn out glitter rock.

By the mid-'70s, he developed an effete, sophisticated version of Philly soul that he dubbed "plastic soul," which eventually morphed into the eerie avant-pop of 1976's Station to Station. Shortly afterward, he relocated to Berlin, where he recorded three experimental electronic albums with Brian Eno. At the dawn of the '80s, Bowie was still at the height of his powers, yet following his blockbuster dance-pop album Let's Dance in 1983, he slowly sank into mediocrity before salvaging his career in the early '90s. 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 and for worse. Each one of his phases in the '70s sparked a number of subgenres, including punk, new wave, goth rock, the new romantics, and electronica. Few rockers ever had such lasting impact.

David Jones began performing music when he was 13 years old, learning the saxophone while he was at Bromley Technical High School; another pivotal event happened at the school, when his left pupil became permanently dilated in a schoolyard fight. Following his graduation at 16, he worked as a commercial artist while playing saxophone in a number of mod bands, including the King Bees, the Manish Boys (which also featured Jimmy Page as a session man), and Davey Jones & the Lower Third. All three of those bands released singles, which were generally ignored, yet he continued performing, changing his name to David Bowie in 1966 after the Monkees' Davy Jones became an international star. Over the course of 1966, he released three mod singles on Pye Records, which were all ignored. The following year, he signed with Deram, releasing the music hall, Anthony Newley-styled David Bowie that year. Upon completing the record, he spent several weeks in a Scottish Buddhist monastery. Once he left the monastery, he studied with Lindsay Kemp's mime troupe, forming his own mime company, the Feathers, in 1969.

The Feathers were short-lived, and he formed the experimental art group Beckenham Arts Lab in 1969. Bowie needed to finance the Arts Lab, so he signed with Mercury Records that year and released Man of Words, Man of Music, a trippy singer/songwriter album featuring "Space Oddity." The song was released as a single and became a major hit in the U.K., convincing Bowie to concentrate on music. Hooking up with his old friend Marc Bolan, he began miming at some of Bolan's T. Rex concerts, eventually touring with Bolan, bassist/producer Tony Visconti, guitarist Mick Ronson, and drummer Cambridge as Hype. The band quickly fell apart, yet Bowie and Ronson remained close, working on the material that formed Bowie's next album, The Man Who Sold the World, as well as recruiting Michael "Woody" Woodmansey as their drummer. Produced by Tony Visconti, who also played bass, The Man Who Sold the World was a heavy guitar rock album that failed to gain much attention.

Bowie followed the album in late 1971 with the pop/rock Hunky Dory, an album that featured Ronson and keyboardist Rick Wakeman. Following the release of Hunky Dory, Bowie began to develop his most famous incarnation, Ziggy Stardust: an androgynous, bisexual rock star from another planet. Before he unveiled Ziggy, Bowie claimed in a January 1972 interview with the Melody Maker that he was gay, helping to stir interest in his forthcoming album. Taking cues from Bolan's stylish glam rock, Bowie dyed his hair orange and began wearing women's clothing. He began calling himself Ziggy Stardust, and his backing band — Ronson, Woodmansey, and bassist Trevor Bolder — were the Spiders from Mars. The Rise & Fall of Ziggy Stardust and the Spiders from Mars was released with much fanfare in England in late 1972. The album and its lavish, theatrical concerts became a sensation throughout England, and it helped him become the only glam rocker to carve out a niche in America.

Ziggy Stardust became a word-of-mouth hit in the U.S., and the re-released "Space Oddity" — which was now also the title of the re-released Man of Words, Man of Music — reached the American Top 20. Bowie quickly followed Ziggy with Aladdin Sane later in 1973. Not only did he record a new album that year, but he also produced Lou Reed's Transformer, the Stooges' Raw Power, and Mott the Hoople's comeback All the Young Dudes, for which he also wrote the title track. Given the amount of work Bowie packed into 1972 and 1973, it wasn't surprising that his relentless schedule began to catch up with him. After recording the all-covers Pin-Ups with the Spiders from Mars, he unexpectedly announced the band's breakup, as well as his retirement from live performances, during the group's final show that year. He retreated from the spotlight to work on a musical adaptation of George Orwell's 1984, but once he was denied the rights to the novel, he transformed the work into Diamond Dogs.

The album was released to generally poor reviews in 1974, yet it generated the hit single "Rebel Rebel," and he supported the album with an elaborate and expensive American tour. As the tour progressed, Bowie became fascinated with soul music, eventually redesigning the entire show to reflect his new "plastic soul." Hiring guitarist Carlos Alomar as the band's leader, Bowie refashioned his group into a Philly soul band and recostumed himself in sophisticated, stylish fashions. The change took fans by surprise, as did the double-album David Live, which featured material recorded on the 1974 tour. Young Americans, released in 1975, was the culmination of Bowie's soul obsession, and it became his first major crossover hit, peaking in the American Top Ten and generating his first U.S. number one hit in "Fame," a song he co-wrote with John Lennon and Alomar. Bowie relocated to Los Angeles, where he earned his first movie role in Nicolas Roeg's The Man Who Fell to Earth (1976).

While in L.A., he recorded Station to Station, which took the plastic soul of Young Americans into darker, avant-garde-tinged directions, yet was also a huge hit, generating the Top Ten single "Golden Years." The album inaugurated Bowie's persona of the elegant "Thin White Duke," and it reflected Bowie's growing cocaine-fueled paranoia. Soon, he decided Los Angeles was too boring and returned to England; shortly after arriving back in London, he gave the awaiting crowd a Nazi salute, a signal of his growing, drug-addled detachment from reality. The incident caused enormous controversy, and Bowie left the country to settle in Berlin, where he lived and worked with Brian Eno. Once in Berlin, Bowie sobered up and began painting, as well as studying art. He also developed a fascination with German electronic music, which Eno helped him fulfill on their first album together, Low. Released early in 1977, Low was a startling mixture of electronics, pop, and avant-garde technique. While it was greeted with mixed reviews at the time, it proved to be one of the most influential albums of the late '70s, as did its follow-up, Heroes, which followed that year.

Not only did Bowie record two solo albums in 1977, but he also helmed Iggy Pop's comeback records The Idiot and Lust for Life, and toured anonymously as Pop's keyboardist. He resumed his acting career in 1977, appearing in Just A Gigolo with Marlene Dietrich and Kim Novak, as well as narrating Eugene Ormandy's version of Peter and the Wolf. Bowie returned to the stage in 1978, launching an international tour that was captured on the double-album Stage. During 1979, Bowie and Eno recorded Lodger in New York, Switzerland, and Berlin, releasing the album at the end of the year. Lodger was supported with several innovative videos, as was 1980's Scary Monsters, and these videos — "DJ," "Fashion," "Ashes to Ashes" — became staples on early MTV. Scary Monsters was Bowie's last album for RCA, and it wrapped up his most innovative, productive period. Later in 1980, he performed the title role in stage production of The Elephant Man, including several shows on Broadway.

Over the next two years, he took an extended break from recording, appearing in Christine F (1982) and the vampire movie The Hunger (1982), returning to the studio only for his 1981 collaboration with Queen, "Under Pressure," and the theme for Paul Schrader's remake of Cat People. In 1983, he signed an expensive contract with EMI Records and released Let's Dance. Bowie had recruited Chic guitarist Nile Rodgers to produce the album, giving the record a sleek, funky foundation, and hired the unknown Stevie Ray Vaughan as lead guitarist. Let's Dance became his most successful record, thanks to stylish, innovative videos for "Let's Dance" and "China Girl," which turned both songs into Top Ten hits. Bowie supported the record with the sold-out arena tour Serious Moonlight. Greeted with massive success for the first time, Bowie wasn't quite sure how to react, and he eventually decided to replicate Let's Dance with 1984's Tonight. While the album sold well, producing the Top Ten hit "Blue Jean," it received poor reviews and ultimately was a commercial disappointment.

He stalled in 1985, recording a duet of Martha & the Vandellas' "Dancing in the Street" with Mick Jagger for Live Aid. He also spent more time jet-setting, appearing at celebrity events across the globe, and appeared in several movies — Into the Night (1985), Absolute Beginners (1986), Labyrinth (1986) — that turned out to be bombs. Bowie returned to recording in 1987 with the widely panned Never Let Me Down, supporting the album with the Glass Spider tour, which also received poor reviews. In 1989, he remastered his RCA catalog with Rykodisc for CD release, kicking off the series with the three-disc box Sound + Vision. Bowie supported the discs with an accompanying tour of the same name, claming that he was retiring all of his older characters from performance following the tour. Sound + Vision was successful, and Ziggy Stardust re-charted amidst the hoopla. Sound + Vision may have been a success, but Bowie's next project was perhaps his most unsuccessful.

Picking up on the abrasive, dissonant rock of Sonic Youth and the Pixies, Bowie formed his own guitar rock combo, Tin Machine, with guitarist Reeves Gabrels, bassist Hunt Sales, and his drummer brother Tony, who had previously worked on Iggy Pop's Lust for Life with Bowie. Tin Machine released an eponymous album to poor reviews that summer and supported it with a club tour, which was only moderately successful. Despite the poor reviews, Tin Machine released a second album, the appropriately titled Tin Machine II, in 1991, and it was completely ignored. Bowie returned to a solo career in 1993 with the sophisticated, soulful Black Tie White Noise, recording the album with Nile Rodgers and his now-permanent collaborator, Reeves Gabrels. The album was released on Savage, a subsidiary of RCA, and received positive reviews, but his new label went bankrupt shortly after its release, and the album disappeared. Black Tie White Noise was the first indication that Bowie was trying hard to resuscitate his career, as was the largely instrumental 1994 soundtrack The Buddha of Suburbia.

In 1995, he reunited with Brian Eno for the wildly hyped, industrial rock-tinged Outside. Several critics hailed the album as a comeback, and Bowie supported it with a co-headlining tour with Nine Inch Nails in order to snag a younger, alternative audience, but his gambit failed; audiences left before Bowie's performance and Outside disappeared. He quickly returned to the studio in 1996, recording Earthling, an album heavily influenced by techno and drum'n'bass. Upon its early 1997 release, Earthling received generally positive reviews, yet the album failed to gain an audience, and many techno purists criticized Bowie for allegedly exploiting their subculture. hours... followed in 1999. For 2002, Bowie reunited with producerToni Visconti and released Heathen to very positive reviews. He continued on with Visconti for Reality in 2003. Biography taken from All Music .

Pictures (3) show more (16-31 of 107) Similar Artists show more (16-31 of 60) More artists show this week's top 1000 most popular artists 1 hour, 9 min ago David Bowie Biography and History David Bowie Biography The cliché about David Bowie says he's a musical chameleon, adapting himself according to fashion and trends. While such a criticism is too glib, there's no denying that Bowie demonstrated remarkable skill for perceiving musical trends at his peak in the '70s. After spending several years in the late '60s as a mod and as an all-around music-hall entertainer, Bowie reinvented himself as a hippie singer/songwriter. Prior to his breakthrough in 1972, he recorded a proto-metal record and a pop/rock album, eventually redefining glam rock with his ambiguously sexy Ziggy Stardust persona. Ziggy made Bowie an international star, yet he wasn't content to continue to churn out glitter rock.

By the mid-'70s, he developed an effete, sophisticated version of Philly soul that he dubbed "plastic soul," which eventually morphed into the eerie avant-pop of 1976's Station to Station. Shortly afterward, he relocated to Berlin, where he recorded three experimental electronic albums with Brian Eno. At the dawn of the '80s, Bowie was still at the height of his powers, yet following his blockbuster dance-pop album Let's Dance in 1983, he slowly sank into mediocrity before salvaging his career in the early '90s. 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 and for worse. Each one of his phases in the '70s sparked a number of subgenres, including punk, new wave, goth rock, the new romantics, and electronica. Few rockers ever had such lasting impact.

David Jones began performing music when he was 13 years old, learning the saxophone while he was at Bromley Technical High School; another pivotal event happened at the school, when his left pupil became permanently dilated in a schoolyard fight. Following his graduation at 16, he worked as a commercial artist while playing saxophone in a number of mod bands, including the King Bees, the Manish Boys (which also featured Jimmy Page as a session man), and Davey Jones & the Lower Third. All three of those bands released singles, which were generally ignored, yet he continued performing, changing his name to David Bowie in 1966 after the Monkees' Davy Jones became an international star. Over the course of 1966, he released three mod singles on Pye Records, which were all ignored. The following year, he signed with Deram, releasing the music hall, Anthony Newley-styled David Bowie that year. Upon completing the record, he spent several weeks in a Scottish Buddhist monastery. Once he left the monastery, he studied with Lindsay Kemp's mime troupe, forming his own mime company, the Feathers, in 1969.

The Feathers were short-lived, and he formed the experimental art group Beckenham Arts Lab in 1969. Bowie needed to finance the Arts Lab, so he signed with Mercury Records that year and released Man of Words, Man of Music, a trippy singer/songwriter album featuring "Space Oddity." The song was released as a single and became a major hit in the U.K., convincing Bowie to concentrate on music. Hooking up with his old friend Marc Bolan, he began miming at some of Bolan's T. Rex concerts, eventually touring with Bolan, bassist/producer Tony Visconti, guitarist Mick Ronson, and drummer Cambridge as Hype. The band quickly fell apart, yet Bowie and Ronson remained close, working on the material that formed Bowie's next album, The Man Who Sold the World, as well as recruiting Michael "Woody" Woodmansey as their drummer. Produced by Tony Visconti, who also played bass, The Man Who Sold the World was a heavy guitar rock album that failed to gain much attention.

Bowie followed the album in late 1971 with the pop/rock Hunky Dory, an album that featured Ronson and keyboardist Rick Wakeman. Following the release of Hunky Dory, Bowie began to develop his most famous incarnation, Ziggy Stardust: an androgynous, bisexual rock star from another planet. Before he unveiled Ziggy, Bowie claimed in a January 1972 interview with the Melody Maker that he was gay, helping to stir interest in his forthcoming album. Taking cues from Bolan's stylish glam rock, Bowie dyed his hair orange and began wearing women's clothing. He began calling himself Ziggy Stardust, and his backing band  Ronson, Woodmansey, and bassist Trevor Bolder  were the Spiders from Mars. The Rise & Fall of Ziggy Stardust and the Spiders from Mars was released with much fanfare in England in late 1972. The album and its lavish, theatrical concerts became a sensation throughout England, and it helped him become the only glam rocker to carve out a niche in America.

Ziggy Stardust became a word-of-mouth hit in the U.S., and the re-released "Space Oddity"  which was now also the title of the re-released Man of Words, Man of Music  reached the American Top 20. Bowie quickly followed Ziggy with Aladdin Sane later in 1973. Not only did he record a new album that year, but he also produced Lou Reed's Transformer, the Stooges' Raw Power, and Mott the Hoople's comeback All the Young Dudes, for which he also wrote the title track. Given the amount of work Bowie packed into 1972 and 1973, it wasn't surprising that his relentless schedule began to catch up with him. After recording the all-covers Pin-Ups with the Spiders from Mars, he unexpectedly announced the band's breakup, as well as his retirement from live performances, during the group's final show that year. He retreated from the spotlight to work on a musical adaptation of George Orwell's 1984, but once he was denied the rights to the novel, he transformed the work into Diamond Dogs.

The album was released to generally poor reviews in 1974, yet it generated the hit single "Rebel Rebel," and he supported the album with an elaborate and expensive American tour. As the tour progressed, Bowie became fascinated with soul music, eventually redesigning the entire show to reflect his new "plastic soul." Hiring guitarist Carlos Alomar as the band's leader, Bowie refashioned his group into a Philly soul band and recostumed himself in sophisticated, stylish fashions. The change took fans by surprise, as did the double-album David Live, which featured material recorded on the 1974 tour. Young Americans, released in 1975, was the culmination of Bowie's soul obsession, and it became his first major crossover hit, peaking in the American Top Ten and generating his first U.S. number one hit in "Fame," a song he co-wrote with John Lennon and Alomar. Bowie relocated to Los Angeles, where he earned his first movie role in Nicolas Roeg's The Man Who Fell to Earth (1976).

While in L.A., he recorded Station to Station, which took the plastic soul of Young Americans into darker, avant-garde-tinged directions, yet was also a huge hit, generating the Top Ten single "Golden Years." The album inaugurated Bowie's persona of the elegant "Thin White Duke," and it reflected Bowie's growing cocaine-fueled paranoia. Soon, he decided Los Angeles was too boring and returned to England; shortly after arriving back in London, he gave the awaiting crowd a Nazi salute, a signal of his growing, drug-addled detachment from reality. The incident caused enormous controversy, and Bowie left the country to settle in Berlin, where he lived and worked with Brian Eno. Once in Berlin, Bowie sobered up and began painting, as well as studying art. He also developed a fascination with German electronic music, which Eno helped him fulfill on their first album together, Low. Released early in 1977, Low was a startling mixture of electronics, pop, and avant-garde technique. While it was greeted with mixed reviews at the time, it proved to be one of the most influential albums of the late '70s, as did its follow-up, Heroes, which followed that year.

Not only did Bowie record two solo albums in 1977, but he also helmed Iggy Pop's comeback records The Idiot and Lust for Life, and toured anonymously as Pop's keyboardist. He resumed his acting career in 1977, appearing in Just A Gigolo with Marlene Dietrich and Kim Novak, as well as narrating Eugene Ormandy's version of Peter and the Wolf. Bowie returned to the stage in 1978, launching an international tour that was captured on the double-album Stage. During 1979, Bowie and Eno recorded Lodger in New York, Switzerland, and Berlin, releasing the album at the end of the year. Lodger was supported with several innovative videos, as was 1980's Scary Monsters, and these videos  "DJ," "Fashion," "Ashes to Ashes"  became staples on early MTV. Scary Monsters was Bowie's last album for RCA, and it wrapped up his most innovative, productive period. Later in 1980, he performed the title role in stage production of The Elephant Man, including several shows on Broadway.

Over the next two years, he took an extended break from recording, appearing in Christine F (1982) and the vampire movie The Hunger (1982), returning to the studio only for his 1981 collaboration with Queen, "Under Pressure," and the theme for Paul Schrader's remake of Cat People. In 1983, he signed an expensive contract with EMI Records and released Let's Dance. Bowie had recruited Chic guitarist Nile Rodgers to produce the album, giving the record a sleek, funky foundation, and hired the unknown Stevie Ray Vaughan as lead guitarist. Let's Dance became his most successful record, thanks to stylish, innovative videos for "Let's Dance" and "China Girl," which turned both songs into Top Ten hits. Bowie supported the record with the sold-out arena tour Serious Moonlight. Greeted with massive success for the first time, Bowie wasn't quite sure how to react, and he eventually decided to replicate Let's Dance with 1984's Tonight. While the album sold well, producing the Top Ten hit "Blue Jean," it received poor reviews and ultimately was a commercial disappointment.

He stalled in 1985, recording a duet of Martha & the Vandellas' "Dancing in the Street" with Mick Jagger for Live Aid. He also spent more time jet-setting, appearing at celebrity events across the globe, and appeared in several movies  Into the Night (1985), Absolute Beginners (1986), Labyrinth (1986)  that turned out to be bombs. Bowie returned to recording in 1987 with the widely panned Never Let Me Down, supporting the album with the Glass Spider tour, which also received poor reviews. In 1989, he remastered his RCA catalog with Rykodisc for CD release, kicking off the series with the three-disc box Sound + Vision. Bowie supported the discs with an accompanying tour of the same name, claming that he was retiring all of his older characters from performance following the tour. Sound + Vision was successful, and Ziggy Stardust re-charted amidst the hoopla. Sound + Vision may have been a success, but Bowie's next project was perhaps his most unsuccessful.

Picking up on the abrasive, dissonant rock of Sonic Youth and the Pixies, Bowie formed his own guitar rock combo, Tin Machine, with guitarist Reeves Gabrels, bassist Hunt Sales, and his drummer brother Tony, who had previously worked on Iggy Pop's Lust for Life with Bowie. Tin Machine released an eponymous album to poor reviews that summer and supported it with a club tour, which was only moderately successful. Despite the poor reviews, Tin Machine released a second album, the appropriately titled Tin Machine II, in 1991, and it was completely ignored. Bowie returned to a solo career in 1993 with the sophisticated, soulful Black Tie White Noise, recording the album with Nile Rodgers and his now-permanent collaborator, Reeves Gabrels. The album was released on Savage, a subsidiary of RCA, and received positive reviews, but his new label went bankrupt shortly after its release, and the album disappeared. Black Tie White Noise was the first indication that Bowie was trying hard to resuscitate his career, as was the largely instrumental 1994 soundtrack The Buddha of Suburbia.

In 1995, he reunited with Brian Eno for the wildly hyped, industrial rock-tinged Outside. Several critics hailed the album as a comeback, and Bowie supported it with a co-headlining tour with Nine Inch Nails in order to snag a younger, alternative audience, but his gambit failed; audiences left before Bowie's performance and Outside disappeared. He quickly returned to the studio in 1996, recording Earthling, an album heavily influenced by techno and drum'n'bass. Upon its early 1997 release, Earthling received generally positive reviews, yet the album failed to gain an audience, and many techno purists criticized Bowie for allegedly exploiting their subculture. hours... followed in 1999. (I've included this history of David Bowie from Allmusic.com while I'm working on my version.)

Question: Which singer released the albums Aladdin Sane in 1973 and Let's Dance in 1983?
Answer: David Bowie