About David Bowie - History, Biography, Songs and Facts david “As was the case with Miles Davis in jazz, Bowie has come not just to represent his innovations but to symbolize modern rock as an idiom in which literacy, art, fashion, style, sexual exploration and social commentary can be rolled into one.” Rolling Stone magazine Bowie is the man who elevated his music to what can only be described as an art form. Driven by an entirely deeper dynamic than most pop artists, David Bowie inhabits a very special world of extraordinary sounds and endless vision. Unwilling to stay on the treadmill of rock legend and avoiding the descent into ever demeaning and decreasing circles of cliché, Bowie writes and performs what he wants, when he wants. His absence from the endless list of “important events” has just fuelled interest. Constant speculation about what the guy was up to has even led some to wonder if this is his greatest reinvention ever. David Jones! David Robert Jones was born in Brixton on January 8, 1947. At age thirteen, inspired by the jazz of the London West End, he picked up the saxophone and called up Ronnie Ross for lessons.

Early bands he played with – The Kon-Rads, The King Bees, the Mannish Boys and the Lower Third –provided him with an introduction into the showy world of pop and mod, and by 1966 he was David Bowie, with long hair and aspirations of stardom rustling about his head. Kenneth Pitt signed on as his manager, and his career began with a handful of mostly forgotten singles but a head full of ideas. It was not until 1969 that the splash onto the charts would begin, with the legendary Space Oddity (which peaked at No. 5 in the UK). Amidst his musical wanderings in the late 60s, he experimented with mixed media, cinema, mime, Tibetan Buddhism, acting and love. The album, originally titled David Bowie then subsequently Man of Words, Man of Music, pays homage to all the influences of the London artistic scene. It shows the early song-writing talent that was yet to yield some of rock-n-roll’s finest work, even if it would take the rest of the world a few years to catch up with him.

Early 70s Bowie’s first album, The Man Who Sold The World, was recorded as an entity in itself and marks the first definitive creative stretch for the listener. Mick Ronson’s guitars are often referred to as the birth point of heavy metal, and certainly the auspicious beginnings of glam rock can be traced here. The album was released by Mercury in April 1971 to minimal fanfare and Bowie took his first trip to the United States to promote it that spring. In May of the same year, Duncan Zowie Haywood Bowie was born to David and his then wife Angela. RCA was the next label to sign Bowie, and after a trip to America to complete the legalities, he returned to London to record two albums nearly back to back. Hunky Dory was built from a six-song demo that had enticed the label to sign him and features Changes and Life On Mars. Almost immediately, it was followed up by the instant classic The Rise and Fall of Ziggy Stardust and The Spiders from Mars. 1972 was certainly the year that Bowie began to get a glimpse of the power of pop.

GQ editor Dylan Jones said of the landmark 1972 Top of The Pops appearance on 6th July “This is the performance that turned Bowie into a star, embedding his Ziggy Stardust persona into the nations consciousness.” The sound of the suburbs suddenly got a whole lot louder. Previewed in London that spring, his rock-n-roll creation Ziggy Stardust staged one of the most spectacular and innovative live shows to date, and the craze that followed was the beginning of his superstar myth. The summer of 1972 was also a busy one for him in the studio, as he produced albums for Lou Reed (Transformer) – a seminal record that to this day enthuses critics the world over and spawned the surprise leftfield hit, Walk on the Wild Side, a fairytale of the dark side of New York. The fact that David had also co-produced the terrifying and vastly influential Raw Power by Iggy and The Stooges that year, only added to his growing reputation as an artist to be taken most seriously. Bowie later went on to produce further Iggy albums – The Idiot and Lust for Life and co-wrote China Girl from Let’s Dance with the Detroit demon.

He also produced Mott the Hoople (All The Young Dudes, for which he wrote the hit title track). The US “Ziggy” tour began in September, with sold-out shows full of theatrically inspired Japanese costumes, snarling guitars courtesy of Mick Ronson, and a bold, daring approach to performance that propelled the audience into a rock-n-roll fervor. He abruptly put his own creation to rest on June 3, 1973 with the pronouncement: “Of all the shows on the tour, this one will stay with us the longest because not only is this the last show of the tour, but it is the last show we will ever do.” This surprised everyone in the house – not least the members of his band. Amidst the Ziggy fever, Aladdin Sane was released in April 1973, inspired by his experiences in America while touring. After putting the “Stardust” show to bed, he travelled to France to begin work on his next albums. Pin-Ups was the last time that Bowie would record an album with Mick Ronson on guitar and Ken Scott at the production helm.

His tribute to the artists that he admired in the London years of 1964-67 was released in October 1973. In April of 1973, his proto-Bladerunner project Diamond Dogs debuted full of tension and angst standing in stark contrast to the disco music that was beginning to crowd the airwaves. In the summer of 1974, he undertook his greatest US tour yet, with an enormous set and choreographed tableaus. The double album David Live was recorded in Philadelphia’s Tower Theatre, and serves as a souvenir of this tour. Mid 70s The two previous albums showed hints of Bowie's interest in the music he heard in America. Authentic soul with a unique UK perspective meant this was far from being a homage. The most direct result of this fascination is the rhythmic, soul-laden Young Americans, released in 1975. A collaboration with John Lennon on Fame came out of an impromptu session at Electric Ladyland in New York and was a last-minute addition to the LP. It resulted in Bowie's first ever No. 1 single in the US. The album also featured another David discovery soon to be better known as R&B singer Luther Vandross.

He contributed backing vocals alongside the other legendary young American musicians such as Willie Weeks, Andy Newmark, David Sanborn and Mike Garson. Not long after the album came out, he moved to Los Angeles and starred in the cult classic Nic Roeg science fiction film The Man Who Fell To Earth. After completion of filming, he almost immediately returned to the studio for the recording of Station to Station, a travelogue of sorts. The White Light tour followed, this time with an electronic-driven line-up, played out with Brecht- inspired theatricality. A compilation of hits, ChangesOneBowie, was released by RCA in May 1976. Never one to stay in one place too long, shortly after his tour finished, David relocated to the Schonenberg section of Berlin. Late 70s Whether Bowie was where the action was or the action was where David Bowie was, sometimes it was hard to assess, but for sure the seismic plates of history were shifting under the studio during the next recording. The iron curtain still firmly divided Europe and nowhere more so than in Berlin where David and Iggy were famously holed up. The subsequent music provided an atmosphere backdrop to the emerging punk scene in London.

A suitably mysterious return to the UK stage playing keyboards with Iggy in 77 cemented the myth. The stark black and white stage lights highlighted the unseen all persuasive Bowie influence and fitted the mood of the times perfectly. He was soon to step back out of the shadows. Low and “Heroes” were recorded with collaborators Brian Eno, Tony Visconti and he adopted new approaches to the songwriting process. In an interview for French radio, Bowie said, “Berlin has the strange ability to make you write only the important things. Anything else you don’t mention… and in the end you produce Low.” Surrealism and experimentation were the themes of the day, and the incorporation of cut-and-paste techniques into unique instrumentation birthed what are now heralded as luminary ambient soundscapes. Released in 1977, Low confused RCA and though the masses were not quite sure what to make of the effort, the single Sound and Vision eventually hit No. 2 on the British charts. The second in his three-album triptych, “Heroes” prominently features Robert Fripp on guitar and a more optimistic outlook overall. One of his greatest singles, the title track from this album recounts a romantic liaison between lovers near the Berlin Wall.

His next foray into film occurred in Just A Gigolo, which he described as “all my thirty-two Elvis Presley movies rolled into one.” March of 1978 found him on tour again, and during a May break he narrated Peter and the Wolf with the Philadelphia Orchestra, the first of many children's projects he would consistently support over the years (now out of print, the result was a collectible green-vinyl album). Stage was released in September 1978, culled from his recent tour of the States, and features live material from his “Berlin” period. A relocation to Switzerland was to follow, abandoned frequently due to his ever developing love affair with the exotic Indonesia, Africa and the Far East. Recorded in France, Lodger was released in May 1979, and by the end of the year he was again in the studio. Rehearsals also began for his Broadway debut, in the part of the The Elephant Man, which opened in September 1980 to rave reviews.

The 80s In the same month, Scary Monsters was released and Bowie also recorded Under Pressure in 1981 in Switzerland and the song appeared on Queen's album Hot Space the following year. The song reached No. 1 in the UK. After this period, he dropped out of the public eye, while remaining involved with various film projects. 1982 saw him playing the male lead in The Hunger, the role of Celliers in the captivating World War 2 drama Merry Christmas, Mr. Lawrence, alongside Tom Conti and Ryuichi Sakamoto …writing the theme song for the movie Cat People. Another greatest hits compilation, ChangesTwoBowie, came out in 1982. In October 83, RCA released Ziggy Stardust: The Motion Picture Album, capturing the energy of Ziggy and the Spiders during their last show. Shortly thereafter, the movie, originally filmed in 1973, was also released. Officially signed to EMI in 1983, the album Let’s Dance followed along with the world-encompassing Serious Moonlight tour. Bowie had brilliantly reinvented himself once again.

This time as the ultimate rock star, just in time to be at the forefront of stadium rock and a new era of mass media fuelled mega stardom. Selling at least 7 million copies, Let’s Dance became the most commercially successful album of his career and massively influenced a whole host of artists, including Duran Duran, Spandau Ballet and Boy George. The album, produced by Chic mastermind Nile Rodgers, was perhaps the most straightforward album of his career. It was a collection of elegantly produced, impeccably sung dance floor numbers including the Motown-styled Modern Love, the darkly romantic China Girl (first cut with Iggy Pop in Berlin) and a remake of the movie theme Cat People. All of the above were substantial radio hits, as was the glossy and romantic title track. The upbeat romantic theme extended to his next album Tonight (1984), though the single Loving the Alien drew a prophetic scenario on the Islam/Christian tensions. A moving appearance at Live Aid (where he dedicated “Heroes” to his young son), a duet single with Mick Jagger, and the heavily theatrical Glass Spider tour (with lead guitar by Peter Frampton) all kept up Bowie's popularity.

In 1988 brought the biggest surprise of all. Another sharp left turn: he had formed a new band, Tin Machine, with the Sales Brothers (Hunt and Tony, sons of Soupy) and a hot guitar find from Boston, Reeves Gabrels. He was adamant that this would be a full-time band, not a superstar solo project. On their two million-selling albums (plus a limited edition live disc), Tin Machine proved their mettle as a modern alternative live act, with a stripped-down guitar sound, all-new material and a few real surprises (a Pixies cover!). Some fans loved it, others were confused by it and Tin Machine was on hiatus by 1992. Meanwhile, Bowie set out on Sound and Vision with his first full-fledged greatest hits tour, recruiting long-time collaborator Adrian Belew to play lead guitar. In an innovative move, fans were allowed to pick the songs via phone poll. An album of the same name accompanied the tour on Rykodisc. The 90s 1993 brought the long-awaited return to solo projects Black Tie White Noise and one of rock’s first CD–ROMs entitled Jump.

With Nile Rodgers again producing, the album came close to summing up every period of Bowie: with the opening instrumental The Wedding (inspired by Bowie's own marriage to model Iman) offering a dance-and-house-inspired, brighter-toned return to the sound of Low; the single Jump They Say harking back to funkier times; and the old Cream tune I Feel Free marking a long-awaited reunion with Ziggy-era partner Mick Ronson (sadly, Ronson passed away soon after). Reaching No. 1 in the UK album charts, Black Tie White Noise reassured fans that Bowie's creative curiosity was by no means exhausted. By 1994, Bowie and Eno were again collaborating in the studio. The result was the concept album Outside released as part of a new deal with Virgin Records. This complex project touches on the increasing obsession with the human body as art and the paganization of western society. With its package-arts broken-down style, its haunted sound of ruin and its non-linear story-line of art, murder and technology, Outside predates the new sensibility of movies such as Seven, Copycat and the TV shows The X-Files and Millennium.

As befits the multiphrenic nature of outsider art and emotion, Bowie sings in any number of voices: one minute the melodramatic crooner, another the stylized Londoner, another the quiet, intimate recluse of the Berlin years. Or, he is vari-speeded among the album’s seven characters. The song The Hearts Filthy Lesson, made the soundtrack of one of the biggest and darkest movie hits of that year in David Fincher’s Seven. 1996 was an extraordinarily active year even by David’s own feverish standards, switching styles and moods effortlessly, embarking on a confrontational tour around the US with Nine Inch Nails and performing acoustically with Neil Young and Pearl Jam at the Bridge Benefit Concert in San Francisco. He had a triumphant summer headlining Roskilde and the Phoenix Festival, and his electric performance at the VH-1 Fashion Awards on October 25, where he debuted his new single Little Wonder. Then there was the new album Earthling, all very direct, hard-hitting. The dramatic cover art featured David in an Alexander McQueen designed Union Jack coat in a slightly surreal British pastoral setting.

The album arose out of the dynamic achieved and harnessed by the end of that summer's tour. The band working on the projects featured Gail Ann Dorsey on bass and vocals, Mike Garson on keyboards, Reeves Gabrels on guitar and synths, and Zachary Alford on drums, the nucleus of the touring outfit. The record features the avant-garde drum-n-bass extravaganza and top 20 UK hit Little Wonder and the crushing Dead Man Walking, a reflection on getting older. As always Bowie was at the cutting the edge with the first ever download of a song distributed through the internet in 1996, Telling Lies. 350 thousand young Americans downloaded a copy. A new age had begun and hardly anybody realised the ramifications, especially the luddite record company bosses of the time. Not for the last time, David was at least ten years ahead of the madding crowd. The next year 1997 was to see a controversial collaboration with Eno in the shape of the I’m Afraid Of Americans single (“Not as hostile about Americans as Born In The USA” – Bowie).

This track, complete with the spontaneous Dom & Nic video that found Trent Reznor chasing David through the streets of Greenwich Village, hung around the US charts for three months, finishing the project on a real high. Despite the title, Bowie's American influence seemed to be growing. He has been cited as a guiding star by The Smashing Pumpkins, Marilyn Manson and Nine Inch Nails, among others. He even reached into American film: the movie Basquiat, co-starring Gary Oldman, Christopher Walken and Dennis Hopper, saw him playing the character he immortalized in his 1972 song Andy Warhol. The film’s director was pre-eminent American painter, Julian Schnabel. In January 1997, he celebrated his fiftieth birthday with an all-star performance at New York’s Madison Square Garden. He was joined on stage by old friends Lou Reed, Sonic Youth, Robert Smith, Billy Corgan, Foo Fighters and Frank Black, all of whom played and sang with David to make it one of his most memorable shows.

Then he was off once again on a world tour that stormed over fifteen headlining festivals, countless theaters and clubs, and finished with a stadium tour of South America with Nine Inch Nails and No Doubt. Already highly acclaimed in the fields of art and music, David has been turning his hand to mastering the information superhighway. 1998 saw the launch of BowieNet ( ). BowieNet is the world's first artist-created Internet service provider. 1999 was as busy a year as ever for Bowie. With his continuing work on his now highly acclaimed BowieNet website (a nominee for the 1999 WIRED Award for Best Entertainment Site of the Year), David has found time to work on a film Exhuming Mr. Rice, in which he plays the title role. The year also saw the launch of the David Bowie Radio Network on the Rolling Stone Radio website; this station runs 24 hours a day, 7 days a week. The station's playlist includes 54 tracks, all personally picked and introduced by David. In May, David received an honorary doctorate in music from Berklee College of Music, Boston.

In the past, this prestigious doctorate has also been received by BB King, Sting, James Taylor, Dizzy Gillespie and Quincy Jones. David also made a well publicised and successful foray in the art world with an acclaimed exhibition at the Cork Street Gallery in London. As well as finding time to pick up the Legion d’honneur Award in France. 1999 also saw the growing relationship between David and Placebo flourish. At the annual BRIT Awards ceremony, David joined the band for a performance of the Marc Bolan classic Twentieth Century Boy. The performance went down so well with the public that the Mirror newspaper began a mini-campaign for the track to be released as a single and it was not long before the two artists were to team again. July saw David voted as the biggest music star of the 20th century, beating Mick Jagger and Noel Gallagher, by readers of The Sun newspaper. In the same month David was voted the sixth Greatest Star of The Century by Q Magazine and its readers. In this poll David was the third highest-ranking star who is still alive. Most importantly October 1999 saw the release of a brand new studio album. Hours...

which was David’s twenty-third solo album, harkening a return to the sounds of the Hunky Dory days. Written solely with long-time collaborator Reeves Gabrels over the last year, Hours… could be described as one of David's most autobiographical records to date. Tracks include Thursday’s Child, Survive and The Dreamers. The themes of loss and regret throughout the album are likely to strike hearts universally. With such personal lyrics as “Sometimes I cry my heart to sleep,” David is evoking emotions recognizable to us all. This album deals more with real life opposed to imagery and fantasy. The Hours... touring schedule ended in spectacular style with David headlining the closing night of the 2000 Glastonbury festival in front of an estimated 150,000 people. Reportedly the largest attendance at the event ever and a far cry from an earlier appearance at the inaugural Glastonbury with Hawkwind in front of a couple of thousand people. Backstage catering consisted of milk and cheese in Michael Eavis kitchen then. This time, the banners fluttered in the wind and the crowd stretched as far as the eye could see.

A 21 song set saw David open with Wild is the Wind and finished with the ambiguously titled I’m afraid of Americans. A fitting close to what was a spectacular year. 2001 and beyond Following the end of the Hours... campaign David enjoyed a period out of the public eye lightly peppered with some key spectacular live performances. For two consecutive years, he has pledged his support to the Tibet Freedom House shows at New York’s Carnegie Hall alongside luminaries such as Philip Glass, Patti Smith, Moby and Beastie Boy Adam Yauch to aid the campaign for a free Tibet. Each year has seen a very different performance from David, one year had Moby on guitar delivering a rocking version of “Heroes” and the next saw a string driven rendition of the rarely performed Space Oddity with Adam Yauch on bass. There is never a “quiet” time in the life of David Bowie and during this period, David was bestowed the honor of being voted the most influential artist of all time by the UK’s tastemaker tome the NME. In addition, another life changing event took place, the birth of David and Iman’s first child Alexandria Zahra Jones.

Bowie took this time to savor fatherhood but also used the time to write a series of new songs which would form the basis for a new album. David was in New York on September 11th, and in the aftermath David showed support for his adopted city by performing a short but emotional set at The Concert for New York City at Madison Square Garden. He opened the show with a raw rendition of the Simon and Garfunkel classic America and followed with an uplifting and barnstorming rendition of his own “Heroes”. All of those whom attended the show and the millions of folk whom saw the show broadcast live on TV can’t help but to have been moved by the sentiments expressed in both of the songs David performed. Following on from that emotional night, the series of new songs that David had started work on led to a much heralded reunion with Tony Visconti which in turn resulted in a new album Heathen and a change of outlook towards the music industry and the setting up of his own label Iso Records which has now linked up with Columbia Records to release what is probably the most eagerly awaited album of his career. “Tony and I had been wanting to work together again for a few years now,”says David.

“Both of us had fairly large commitments and for a long time we couldn't see a space in which we could get anything together. As spring came around, last year, things began to ease up. I told Mark Plati and my band that I was going to disappear for a while and put this thing together with Tony. They were very understanding, they’ve worked with me long enough to know that we would be back together again before long.” So, diaries cleared, Bowie and Visconti set about compiling what you might call a location report, just outside of Woodstock in New York State. “I’d been told by guitarist David Torn of a new studio that was near completion called Allaire. Tony and I [took] a trip up a few weeks before we started work there, just to suss it out. In fact, T-Bone Burnett was working there with Natalie Merchant at the time. It’s remote, silent and inspirational. We couldn't believe what a find it was.” So taken was he with the setting, David didn’t come back to New York again until the record was complete, living in the grounds with his family and eating in a communal dining room.

A famously early riser, he put that to good use as Heathen began to come sharply into focus. “I’d get up around six most mornings and spend them in the studio putting together my chord structures and melodies and words, finding sounds that I wanted to use. Then around ten, Tony would get in and we’d go to work.” Bowie’s old friend Pete Townshend’s contribution to the album, playing lead guitar on Slow Burn, was not his first with Bowie, as listeners to Scary Monsters (And Super Creeps) will remember. Foo Fighters Dave Grohl took the lead on the Neil Young cover I’ve Been Waiting. For a further surprise, there’s more Bowie instrumentation on Heathen than anything in memory. “I was delighted that so much of what I played remained on the finished work. That’s me playing drums over my own loop on the Pixies cover Cactus. In fact the only thing I didn’t play on that track was bass. That was Tony Visconti. Nearly all the synth work on Heathen is mine and some of the piano.” And the title? “Heathenism is a state of mind”, says Bowie. “You can take it that I’m referring to one who does not see his world.

He has no mental light. He destroys almost unwittingly. He cannot feel any God’s presence in his life. He is the 21st Century man. There’s no theme or concept behind Heathen, just a number of songs, but somehow there is a thread that runs through it that is quite as strong as any of my thematic type albums.” Some of the new songs such as Slow Burn and Afraid from Heathen got their first public airing in early May of 2002 at the Robert De Niro organized Tribeca Film Festival in New York which was put together to help revitalize the spirits of the downtown area. The release of Heathen was accompanied by a series of concerts across Europe and the USA most notably David’s curatorship of the prestigious two week long British Meltdown arts festival involving acts as diverse as The Legendary Stardust Cowboy, Suede, comedian Harry Hill, Coldplay, Television and The Dandy Warhols. David performed Low in its entirety alongside Heathen as part of the festival. A year later the Reality album was launched with the world’s largest interactive ‘live by satellite’ event and was followed by the rapturously received and critically acclaimed A Reality Tour of the world.

Apart from the odd rare sighting at a charity function and one or two snatched paparazzi shots, David has kept an extremely low profile, popping up for two stunning performances with Arcade Fire in Central Park 2005 and again in September 2006 at New Yorks Radio City Hall. That certainly woke everyone up! In 2006 he joined Pink Floyd legend Dave Gilmour on two of Floyd’s best-known songs – Arnold Layne and Comfortably Numb at the Royal Albert Hall. 2006 also saw Bowie return to acting with the Chris Nolan-directed The Prestige (#1 at the box office). In May 2007, Bowie was the curator of the highly successful 10-day High Line arts and music festival in New York. In June, he was honored at the 11th Annual Webby Awards (known as the “Oscars of the Internet”) with the Webby Lifetime Achievement Award for pushing the boundaries between art and technology. Later in 2007, Bowie starred as himself in an acclaimed episode of Extras, Ricky Gervais’ series on HBO.

2012 saw the erection of a plaque in Heddon Street, London to commemorate the extraordinary influence of Ziggy Stardust and the Spiders from Mars and of course David himself. A large group of media and fans assembled for the occasion; were treated to a moving speech from Gary Kemp who said, “Ziggy was the ultimate messianic rock star, and with him David Bowie successfully blurred the lines not just between boys and girls, but himself and his creation. Bowie was Ziggy come to save us – and I bought him hook, eyeliner and haircut. It seems right that it should be the job of a fan boy and I am very honored.” Further excitement accompanied the announcement in 2012, that the David Bowie Archive had given unprecedented access to the prestigious Victoria and Albert museum for an exhibition to be curated solely by the V&A. It is the first time a museum has been given access to the David Bowie Archive. 2013 On January 8, 2013, quite without fanfare and out of the blue, David Bowie did something nobody really expected. He released a new single entitled 'Where Are We Now' and announced the release of a new album in March.

The album, 'The Next Day' is Bowie's 30th studio album and his first new album in 10 years. The next chapter has surely been written by this most mysterious and important of artists. Queen | Rolling Stone artists > Q > Queen > Bio Queen Bio The epitome of pomp-rock in the Seventies and Eighties, Queen rocked radio and sports stadiums alike with booming, highly produced anthems like "We Are the Champions" and "We Will Rock You." Onstage, the English quartet used elaborate sets smoke bombs, and flashpots — none of which were quite as captivating as the band's lead singer, Freddie Mercury, whose preening and over-the-top vocals helped make Queen wildly popular. Queen's roots go back to 1967, when guitarist Brian May and drummer Roger Taylor joined singer Tim Staffell in a group called Smile. Staffell soon left to go solo, and the remaining two Smiles teamed up with Freddie Mercury (from a group called Wreckage) and later bassist John Deacon. They played very few gigs at the start, avoiding the club circuit and rehearsing for two years while they all remained in college. (May began work on a Ph.D.

in astronomy; Taylor has a degree in biology; Deacon, a degree in electronics; and Mercury had one in illustration and design.) They began touring in 1973, when their debut album was released. After a second LP, the band made its U.S. tour debut, opening for Mott the Hoople. Queen's sound combined showy glam rock, heavy metal, and intricate vocal harmonies produced by multi-tracking Mercury's voice. May's guitar was also thickly overdubbed. A Night at the Opera included "God Save the Queen" rendered as a chorale of lead guitar lines. (Until 1980's The Game, the quartet's albums boasted that "no synths" were used.) Queen's third LP, 1974's Sheer Heart Attack, featured "Killer Queen," its first U.S. Top Twenty hit. The LP also became its first U.S. gold. Heavy-metal fans loved Queen (despite Freddie Mercury's onstage pseudo-dramatics, which had more to do with admitted influence Liza Minnelli than with Robert Plant), and the band's audience grew with its breakthrough LP, 1975's A Night at the Opera.

It contained the six-minute masterpiece "Bohemian Rhapsody," which featured a campy, operatic section in which Mercury's voice was spread over dozens of tracks. "Bohemian Rhapsody" stayed at Number One in England for nine weeks, breaking the record Paul Anka had held since 1957 for his "Diana." Queen had eight gold and six platinum records. The group's U.S.

Top Forty include "Killer Queen" (Number 12), 1975; "Bohemian Rhapsody" (Number Nine), "You're My Best Friend" (Number 16), and "Somebody to Love" (Number 13), 1976; "We Are the Champions" b/w "We Will Rock You" (Number Four), 1977; "Fat Bottomed Girls" b/w "Bicycle Race" (Number 24), for which the group staged an all-female nude bicycle race, 1978; "Crazy Little Thing Called Love" (Number One), 1979; "Another One Bites the Dust" (Number One), 1980; "Under Pressure" with David Bowie (Number 29), 1981; "Body Language" (Number 11), 1982; and "Radio Ga-Ga" (Number 16), 1984. At first their hits were march-like hard rock, but in the late 1970s and early 1980s the group began to branch out.

In 1980 they released The Game which featured two big hits in the rockabilly-style "Crazy Little Thing Called Love" and the disco-style "Another One Bites the Dust," a close relative of Chic's "Good Times," that went to Number One pop and R&B. The Game became Queen's first American Number One album. In 1981 Taylor released a solo album, Fun in Space, and later in the year the band recorded with an outsider for the first time, writing and singing with David Bowie on "Under Pressure," included on both their platinum Greatest Hits and Hot Space. One side of Hot Space was typically bombastic rock, while the other contained funk followups to "Another One Bites the Dust." Fans were relatively cool to Hot Space and it did not go platinum. Queen's next LP, The Works (Number 23, 1984), marked a return to hard-rock form. It contained the nostalgic "Radio Ga-Ga." Queen ceased to be a commercial force in the States; its next two LPs didn't even go gold. Yet all over the world the group retained its regal status.

The gold Innuendo, which went to Number 30 here, shot to Number One in Britain in early 1991. By then rumors were rampant that Mercury was ill with AIDS, something the group continually denied. That November he released a statement from his deathbed confirming the stories. Just two days later he died of the disease in his London mansion at age 45. On April 20, 1992, the surviving members of Queen were joined by a host of stars—including Elton John, Axl Rose, David Bowie, Def Leppard, and many other admirers—for a memorial concert held at Wembley Stadium that was broadcast to a worldwide audience of more than one billion. The concert raised millions for the Mercury Phoenix Trust, an AIDS awareness and education fund established by the band members and their manager, Jim Beach. Ironically, around the time of the Wembley concert, Queen was enjoying its greatest American popularity in years, thanks to the memorable scene from the movie Wayne's World, in which main characters Wayne (Mike Myers) and Garth (Dana Carvey) and buddies sing along to "Bohemian Rhapsody" as it blares on the car radio.

The re-released single soared to Number Two. A posthumous Mercury solo album was released in 1992. In 1993, May released his second solo album, Back to the Light, and continued recording solo and with the Brian May Band. Roger Taylor recorded three albums with a sideline band, the Cross, which began in 1987. He eventually resumed his solo career. In 1995, Queen finally completed its swan song Made in Heaven (Number 58), which features vocals recorded by Mercury during the last year of his life. In 1996, a statue of the singer was unveiled in Montreux, Switzerland. In 1998, a box set of their first eight LPs entitled Crown Jewels was released. Queen was inducted into the Rock and Roll Hall of Fame in 2001. Compilations, DVDs and archival live recordings continued to emerge throughout the new millennium. The Queen name was brought back in 2005 as "Queen + Paul Rodgers," a band that featured the former lead singer of Free and Bad Company.

Return of the Champions, a 2005 double disc on the Hollywood label, documents a show where Rodgers joined Brian May and Roger Taylor at the Hallam FM Arena in Sheffield. An album with the Rodgers-fronted lineup, The Cosmos Rocks, was released in October 2008 to poor reviews. Portions of this biography appeared in The Rolling Stone Encyclopedia of Rock & Roll (Simon & Schuster, 2001). Evan Serpick contributed to this article. David Bowie's 40 most downloaded songs revealed Google + The music world was in mourning on January 11, 2016 following the announcement of the death of rock legend David Bowie. From his humble beginnings as David Jones in Brixton, south London, to worldwide megastardom, David Bowie was never far from the charts. In recognition of his hugely successful career, spanning six decades, we count down David Bowie's Digital Top 40, the most downloaded songs from his impressive chart history. Life On Mars It's perhaps no surprise that Life On Mars is Bowie's most downloaded song in the UK.

Originally featuring on 1971 album Hunky Dory, it wasn't until Bowie found success with his Ziggy Stardust album that Life On Mars got some recognition. It finally became a single in 1973 and reached Number 3. Life On Mars found new fans when it was featured in a BBC drama of the same name. The show's follow-up, Ashes To Ashes, was also named after a Bowie hit (Number 9 on this countdown). Under Pressure This 1981 Number 1 was a true megastar collaboration, bringing together David and fellow UK rock legends Queen, with David and lead singer Freddie Mercury locked in a powerful vocal face-off. The talented pair even improvised some of the lyrics during the recording. Under Pressure was heavily sampled for Vanilla Ice's 1990 Number 1 Ice Ice Baby. Heroes Despite originally missing the Top 20 upon original release in 1977, Heroes has found new fans in the digital age.

Bowie's uplifting anthem was covered by 2010's X Factor finalists – including One Direction – for a charity single, taking it to Number 1, and was adopted as theme song by Team GB during their 2012 London Olympics campaign. Let's Dance Bowie's most recent solo Number 1 in 1983 – he'd go on to top the charts with Mick Jagger on a cover of Dancing In The Street in 1985 – spent three weeks at the summit. It's also his best selling single in the UK. Space Oddity The song that started it all, Space Oddity was Bowie's debut chart hit back in 1969. The haunting track also scored another first for David – when re-released in 1975, it became his very first chart-topper. Four more would follow.

David Bowie ChartFacts Official Top 40 singles: 61 Official Number 1 singles: 5 Official Number 1 albums: 9 (so far!) (Space Oddity, Ashes To Ashes, Under Pressure, Let’s Dance, and Dancing In The Street) All-time biggest selling UK single: Let’s Dance All-time biggest selling UK album: The Rise And Fall Of Ziggy Stardust And The Spiders From Mars David Bowie's Official Top 40 Biggest Selling Downloads David Bowie 65th birthday: 65 iconic images of the ever-changing star - Mirror Online 1974: David Bowie's 1974 live album, David Live 1974: David Bowie (wearing an eyepatch) at a press conference in Amsterdam 1975: David Bowie on set of the film The Man who Fell to Earth 1975: At the Grammy's with Art Garfunkel, Paul Simon, Yoko Ono and John Lennon 1975: His first major American success came with the single Fame. The sound marked a radical shift in his style.

1975: Watching Rod Stewart and the Faces on tour in America 1975: Leaving Cherokee Recording studios with arranger Paul Buckmaster while recording Man Who Fell To Earth in Los Angeles, California. 1975: Watching Rod Stewart and the Faces on tour in America 1975: Young Americans film 1975: Brian Eno who worked closly with Bowie during the mid to late 70s - producing the 'Berlin Trilogy' albums which all reached the UK top five 1976: Appearing in the film Man Who Fell to Earth 1977: Bing Crosby and David Bowie performing Little Drummer Boy 1978: Director David Hemmings shows David Bowie how to Tango when things went slightly wrong during the shooting of his latest film I am a Gigolo being filmed in West Berlin. 1978: Bowie at Heathrow Airport before embarking on a tour of America and Canada in March 1978: British pop singer David Bowie in concert at Earl's Court, London during his 1978 world tour.

1980: Actor and singer David Bowie seen in the role of John Merrick in "The Elephant Man", on stage at the Booth Theatre, Beoadway New York. 18th 1980: The single Ashes to Ashes sat at the top of the chart in 1980 along with the album Scary Monsters (and Super creeps) 1981: Bowie teamed up with Queen for the hit Under Pressure 1985: Mick Jagger and David Bowie photo for 'Dancing in the Street' 1985: David Bowie performing at the Live Aid concert at Wembley Stadium 1987: David Bowie performs on stage during the Glass Spider tour. 1987: David Bowie performs in concert circa 1987 in New York City.

1987: David Bowie signs an autograph 1989: Tin Machine at Manhattan Center Studios in New York City 1992: Annie Lennox and David Bowie perform "Under Pressure" The Concert for Life - The Freddie Mercury Tribute 1992: Actor Michael Caine and David Bowie attend the book party for Michael Caine "What's It All About" on November 15, 1992 at Elaine's Restaurant in New York City.

1996: David Bowie in Concert at Roseland 1996: David Bowie performing on stage - Outside tour - Netherlands 1997: David Bowie's 50th Birthday Celebration Concert David Bowie at the Madison Square Garden in New York City 1997: David Bowie, Iman and Courtney Love 1997: David Bowie releases Bowie Bonds 1997: David Bowie honoured with a Star on the Hollywood Walk of Fame 1999: David Bowie performing live onstage at Wembley at NetAid concert 2001: Banner outside Wembley Arena advertising David Bowie's 'Serious Moonlight' tour dates 2002: David Bowie and Bono at the Meltdown Festival at Royal Festial Hall 2002: David Bowie in Concert at Roseland 2003: David Bowie "Reality Tour" at Madison Square Garden, New York City 2004: David Bowie performs on stage at the Isle of Wight Festival 2004 2005: David Bowie poses for a photo at the 2005 CFDA Awards dinner party at the New York Public Library 2006: Photographer

 Mick Rock speaks to the audience at his "Glam" Book Signing At Barnes & Nobles March 14, 2006 in New York 2008: David Bowie and Iman arrive at the Metropolitan Museum of Art Costume Institute Gala, Superheroes: Fashion and Fantasy 2008: Iman and David Bowie arrive at the Vanity Fair party for the 2008 Tribeca Film Festival 2010: Iman and David Bowie attend the 2010 CFDA Fashion Awards at Alice Tully Hall, Lincoln Center in New York City 2011: Iman introduces David Bowie to Rihanna at the DKMS' 5th Annual Gala: Linked Against Leukemia in New York City Like us on Facebook Most Read Most Recent Most Read Most Recent David Bowie | Rolling Stone artists > D > David Bowie > Bio David Bowie Bio A consummate musical chameleon, David Bowie has been a folksinger, androgyne, alien, decadent, blue-eyed soul man, art-rocker and a modern pop star, with each persona spawning a new league of imitators.

His late-Seventies collaborations with Brian Eno made Bowie one of the few older stars to be taken seriously by the new wave. In the Eighties Bowie followed the mainstream pop smash Let's Dance (Number One, 1983) with numerous attempts to keep up with current trends. In the Nineties, that meant embracing grunge, industrial rock, rap and dance music, to varying degrees of success. But by then Bowie's place in history was secure: This is a man who did for pretensions what Jimi Hendrix did for electric guitar. Bowie — born David Jones on January 8th, 1947 in London — took up the saxophone at age 13, and when he left Bromley Technical High School (where a friend permanently paralyzed his left pupil in a fight) to work as a commercial artist three years later, he had started playing in bands (the Konrads, the King Bees, David Jones and the Buzz). Three of Jones' early bands — the King Bees, the Manish Boys (featuring session guitarist Jimmy Page), and Davey Jones and the Lower Third — each recorded a single.

He changed his name to David Bowie (after the knife) to avoid confusion with the Monkees' Davy Jones, and in 1966 recorded three singles for Pye Records; the following year he signed with Deram, issuing several singles and The World of David Bowie (most of the songs from that album, and others from that time, were collected on Images 1966-67). On those early records, Bowie appears in the singer-songwriter mold. In 1967 he spent a few weeks at a Buddhist monastery in Scotland, then apprenticed in Lindsay Kemp's avant-garde theater and mime troupe and in 1968 started his own troupe, Feathers. American-born Angela Barnett met Bowie in London's Speakeasy and married him on March 20, 1970. (Son Zowie, now Joey, was born in June 1971; the couple divorced acrimoniously in 1980.) After Feathers broke up, Bowie helped start the experimental Beckenham Arts Lab in 1969. To finance the project, he signed with Mercury.

Man of Words, Man of Music included "Space Oddity," which the album would later be re-titled after the single's release was timed to coincide with the U.S. moon landing. It became a European hit that year but did not make the U.S. charts until its rerelease in 1973, when it reached Number 15. Marc Bolan, an old friend, was beginning his rise as a glitter-rock star in T. Rex and introduced Bowie to his producer, Tony Visconti. Bowie mimed at some T. Rex concerts, and Bolan played guitar on Bowie's "Karma Man" and "The Prettiest Star." Bowie, Visconti, guitarist Mick Ronson and drummer John Cambridge toured briefly as Hype. Ronson eventually recruited drummer Michael "Woody" Woodmansey, and with Visconti on bass they recorded The Man Who Sold the World, which included "All the Madmen," inspired by Bowie's institutionalized brother, Terry.

Hunky Dory (Number 93, 1972), Bowie's tribute to the New York City pop-art scene of Andy Warhol, the Velvet Underground and Bob Dylan, included the song that would become Bowie's theme, "Changes" (Number 66, 1972, rereleased 1974, Number 41). Bowie started changing his image in late 1971. He told Melody Maker he was gay in January 1972 and started work on a new theatrical production. Enter Ziggy Stardust, Bowie's projection of a doomed messianic rock star. Bowie became Ziggy; Ronson, Woodmansey and bassist Trevor Bolder became Ziggy's band, the Spiders From Mars. The Rise and Fall of Ziggy Stardust and the Spiders From Mars (Number 75, 1972) and the rerelease of Man of Words as Space Oddity (Number 16, 1972) made Bowie the star he was portraying.

The live show, with Bowie wearing futuristic costumes, makeup and bright orange hair (at a time when the rock-star uniform was jeans), was a sensation in London and New York. It took Aladdin Sane (Number 17, 1973) to break Bowie in the U.S. Bolan and other British glitter-rock performers barely made the Atlantic crossing, but Bowie emerged a star. He produced albums for Lou Reed (Transformer and its hit "Walk on the Wild Side") and Iggy and the Stooges (Raw Power) and wrote and produced Mott the Hoople's glitter anthem "All the Young Dudes." In 1973 Bowie announced his retirement from live performing, disbanded the Spiders and sailed to Paris to record Pin Ups (Number 23, 1973), a mix of covers of mid-Sixties pop and deep-cut rock songs including the Easybeats "Friday on My Mind" and Pink Floyd's "See Emily Play." That same year, the 1980 Floor Show, an invitation-only concert with Bowie and guests Marianne Faithfull and the Troggs, was taped for broadcast on the TV program The Midnight Special.

Meanwhile, Bowie worked on a musical adaptation of George Orwell's 1984 but was denied the rights by Orwell's widow. He rewrote the material as Diamond Dogs (Number Five, 1974) and returned to the stage with an extravagant American tour. Midway though the tour, Bowie entered Philadelphia's Sigma Sound Studios (then the capital of black music) and recorded the tracks that would become Young Americans (Number Nine, 1975). The session had a major effect on Bowie, as his sound and show were revised. Bowie scrapped the dancers, sets and costumes for a spare stage and baggy Oxford trousers; he cut his hair and colored it a more natural blond. His new band, led by former James Brown sideman Carlos Alomar, added soul standards (like Eddie Floyd's "Knock on Wood") to his repertoire, and included a young Luther Vandross (who cowrote "Fascination" with Bowie) on back-up vocals. David Live (Number Eight, 1974), also recorded in Philadelphia, chronicles this incarnation. "Fame," cowritten by Bowie, Almoar and John Lennon, was Bowie's first American Number One single (1975).

Bowie moved to L.A. and became a fixture of American pop culture. He played the title role in Nicolas Roeg's The Man Who Fell to Earth in 1976; the same year, he released Station to Station (Number Three, 1976), another album of "plastic soul" recorded with the Young Americans band, portrayed Bowie as the Thin White Duke (also the title of his unpublished autobiography). His highest charting album, Station to Station contained his second Top 10 single, "Golden Years" (Number 10, 1975). Bowie complained life had become predictable and left L.A. He returned to the U.K. for the first time in three years before settling in Berlin, where he lived in semiseclusion, painting, studying art and recording with Brian Eno. Bowie's work with Eno — Low (Number 11, 1977), "Heroes" (Number 35, 1977) and Lodger (Number 20, 1979) — was distinguished by its appropriation of avant-garde electronic music and the "cut-up" technique, a concept made famous by author William Burroughs.

(Composer Philip Glass wrote a symphony incorporating music from Low in 1993.) Bowie revitalized Iggy Pop's career by producing The Idiot and Lust for Life (both 1977) and toured Europe and America with Pop unannounced as the singer's pianist. Bowie narrated Eugene Ormandy and the Philadelphia Orchestra's recording of Prokofiev's Peter and the Wolf and spent the rest of 1977 acting with Marlene Dietrich and Kim Novak in Just a Gigolo. The next year, he embarked on a massive world tour. A second live album, Stage (Number 44, 1978), was recorded on the U.S. leg of the tour. Work on Lodger was begun in New York, continued in Switzerland and completed in Berlin. Bowie settled in New York to record the paranoiac Scary Monsters (Number 12, 1980), updating "Space Oddity" in "Ashes to Ashes." One of the first stars to understand the potential of video, he produced some innovative clips for songs from Lodger and Scary Monsters. After that album, Bowie turned his attention away from his recording career.

In 1980 he played the title role in The Elephant Man, appearing in Denver, in Chicago and on Broadway. He collaborated with Queen on 1981's "Under Pressure" and provided lyrics and vocals for "Cat People (Putting Out Fire)" (Number 67, 1982), Giorgio Moroder's title tune for the soundtrack of Paul Schrader's remake of Cat People. His music was used on the soundtrack of Christiane F (1982), and he also appeared in the film. That year, Bowie also starred in the BBC-TV production of Brecht's Baal, and as a 150-year-old vampire in the movie The Hunger. In 1983 Bowie signed one of the most lucrative contracts in history and moved from RCA to EMI. Let's Dance (Number Four, 1983), his first album in three years, returned him to the top of the charts. Produced by Nile Rodgers with Stevie Ray Vaughan on guitar, the album was a slick revision of Bowie's soul-man posture.

It contained three Top 20 singles — "Let's Dance" (Number One, 1983), "China Girl" (Number 10, 1983) and "Modern Love" (Number 14, 1983) — which were supported with another set of innovative videos, all staples of early MTV; the sold-out Serious Moonlight Tour followed. Bowie's music career was revitalized. But what first seemed like a return to form actually ushered in a period of mediocrity. Without Rodgers' production savvy, Bowie's material sounded increasingly forced and hollow; his attention alternated between albums and film roles. Tonight (Number 11, 1984) had only one hit, "Blue Jean" (Number Eight, 1984). Bowie and Mick Jagger dueted on a lame cover of Martha and the Vandellas' "Dancing in the Street" (Number Seven, 1985) for Live Aid.

Although Never Let Me Down (Number 34, 1987), with Peter Frampton on guitar, was roundly criticized, it made the charts with "Day In, Day Out" (Number 21, 1987) and the title song (Number 27, 1987). Bowie hit the road with another stadium extravaganza, the Glass Spiders Tour; it was recorded for an ABC-TV special. He had scarcely better luck in his acting career: Into the Night (1985), Absolute Beginners (1986) — a Julien Temple musical featuring some Bowie songs — Labyrinth (1986), The Linguini Incident (1992) and Twin Peaks - Fire Walk With Me (1992) were neither critical nor commercial successes. Bowie set about reissuing his earlier albums on CD. Sound + Vision (Number 97, 1989), a box-set overview, and ChangesBowie (Number 39, 1990), a revamped version of an earlier greatest hits album on a single disc, revived interest in Bowie's career.

The set list for the accompanying tour was partially based on fan response to special phone lines requesting favorite Bowie songs. Bowie claimed it would be the last time he performed those songs live. Later reissues, with previously unreleased bonus tracks, brought the Ziggy-era Bowie back into popularity. Bowie formed Tin Machine in 1989. The band included Bowie discovery Reeves Gabrels on guitar and Hunt and Tony Sales (sons of comedian Soupy Sales), who had worked with Bowie on Iggy Pop's Lust for Life album and tour in the Seventies. Although Bowie claimed the band was a democracy, Tin Machine was perceived as Bowie's next project. The group debuted with a series of club dates in New York and L.A., followed by an album, Tin Machine (Number 28, 1989), which was a rougher, more guitar-oriented collection than any of Bowie's previous albums. Tin Machine II (Number 126, 1991), lacked the novelty of the debut and was quickly forgotten. In 1992 Bowie married Somalian supermodel Iman.

Black Tie White Noise (Number 39, 1993), which Bowie called his wedding present to his wife, received decent reviews but failed to excite the public. For a follow-up, Bowie reunited with Brian Eno to create Outside - The Nathan Adler Diaries: A Hyper Cycle, a concept album of sorts that did not create much in the way of sales, although Bowie did tour the States with Trent Reznor's Nine Inch Nails opening. The Buddha in Suburbia is the music from the British television show of the same name; Lenny Kravitz appears on guitar. Bowie celebrated his 50th birthday in January 1997 with a sold-out gig at Madison Square Garden, where he was joined onstage by Lou Reed, the Cure's Robert Smith, Smashing Pumpkins' Billy Corgan, Frank Black, the Foo Fighters and Sonic Youth. In early 1997 Bowie was again on the cutting edge — this time in the financial world. In a complicated transaction that was a first, something called Bowie Bonds were offered for sale.

These asset-backed bonds (in this case the assets are the royalties on Bowie's songs recorded prior to 1990) allowed Bowie to collect $55 million. The sale of the bonds came on the eve of the release of Earthling, which incorporated the electronic-dance style drum-and-bass into a basically rock sound and received mixed reviews. By the end of the year a Reznor remix of the track "I'm Afraid of Americans" was receiving video and Modern Rock radio airplay. Reznor had inserted some keyboard and guitar textures into the edgy song (cowritten with Eno), and a rap by Ice Cube. Hours . . . (1999) was not a particularly well-received album but was notable for expanding Bowie's early and enthusiastic advocacy of the Internet; the entire album was available for download weeks before its official release and contained a song available only online. That year Bowie also appeared in, and contributed a soundtrack to, the videogame Omikron: The Nomad Soul.

In 2002, Bowie reunited with Tony Visconti to record Heathen, featuring a cover of the Pixies' "Cactus." He also put together an annual edition of London's Meltdown Festival, at which Bowie performed 1977's Low in its entirety. A year later, he released Reality, and while touring behind it had a minor heart attack onstage in Germany, brought on by heavy smoking; Bowie fully recuperated. Some of his more famous songs appeared on the soundtrack for The Life Aquatic with Steve Zissou in 2004, both in Bowie's original versions and in updated renditions by Brazilian singer Seu Jorge, who translated the lyrics to Portuguese. Bowie curried favor with the new generation of indie rockers by appearing onstage with the Arcade Fire and singing on TV on the Radio's 2006 album Return to Cookie Mountain; that year he also received a Grammy Award for Lifetime Achievement. In 2008 he contributed vocals to actor Scarlett Johansson's Anywhere I Lay My Head, her album of Tom Waits covers.

The following year he released iSELECT, a random collection of his favorite songs from his own albums that included only one well-known hit, "Life on Mars." In 2013, Bowie put out his first album in a decade, The Next Day , which went to Number One on the U.K. chart and Number Two in the States. He had recorded the LP in secret and announced its existence on his birthday that year. The artist's last theatrical foray was the 2015 off-Broadway play Lazarus , which starred Michael C. Hall and continued the story of Newton from The Man Who Fell to Earth. Along with songs from throughout Bowie's career, it also featured new tunes. David Bowie died after a long battle with cancer at the age 69. Two days before his death, the singer put out ★ ( pronounced "Blackstar" ), this time on his birthday. The record reflected the ever-evolving artist's interest in jazz and hip-hop. "We were listening to a lot of Kendrick Lamar," producer Tony Visconti told Rolling Stone of the recording sessions. "We wound up with nothing like that, but we loved the fact Kendrick was so open-minded and he didn't do a straight-up hip-hop record.

He threw everything on there, and that's exactly what we wanted to do. The goal, in many, many ways, was to avoid rock & roll." After his unexpected death, there was a huge outpouring of grief and disbelief from his fans and musicians around the globe, since few had been aware of his health issues up until that point. Many tribute and concerts ensued, and Bowie's final recordings were planned for the Lazarus cast album .The three tracks – "No Plan," "Killing a Little Time" and "When I Met You" – originally appeared in the musical, where the production's cast performed them. Lazarus Cast Album's second disc features Bowie's own versions of these three tracks, recorded along with the same jazz troupe, led by saxophonist Donny McCaslin, that featured on Blackstar. Bowie's album version of "Lazarus" is also included. A London production of Lazarus was set to open in October 2016 . Portions of this biography appeared in The Rolling Stone Encyclopedia of Rock & Roll (Simon & Schuster, 2001). Mark Kemp and Kory Grow contributed to this article.

David Bowie - queen bitch [Guitar Backing tracks] - YouTube David Bowie - queen bitch [Guitar Backing tracks] Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later. Published on Sep 13, 2014 Jam along with your favourite backing tracks from "David Bowie".Remember you can visit our website "tutarras.com.ar" Google+: David Robert Jones (born 8 January 1947), known professionally by his stage name David Bowie (/ˈboʊ.i/),[1] is an English musician, singer-songwriter, actor and arranger. Bowie has been a major figure in the world of popular music for over four decades, and is renowned as an innovator, particularly for his work in the 1970s. He is known for his distinctive voice as well as the intellectual depth and eclecticism of his work.

Bowie first caught the eye and ear of the public in July 1969 when his song "Space Oddity" reached the top five of the UK Singles Chart. After a three-year period of experimentation he re-emerged in 1972 during the glam rock era with the 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. Bowie's impact at that time, as described by biographer David Buckley, "challenged the core belief of the rock music of its day" and "created perhaps the biggest cult in popular culture."[2] The relatively short-lived Ziggy persona proved merely one facet of a career marked by continual reinvention, musical innovation and striking visual presentation. In 1975, Bowie achieved his first major American crossover success with the number-one single "Fame" and the hit album Young Americans, which the singer characterised as "plastic soul". The sound constituted a radical shift in style that initially alienated many of his UK devotees.

He then confounded the expectations of both his record label and his American audiences by recording the minimalist album Low (1977)—the first of three collaborations with Brian Eno over the next two years. Low, "Heroes", and Lodger, the so-called "Berlin Trilogy" albums, all reached the UK top five and received lasting critical praise. After uneven commercial success in the late 1970s, Bowie had UK number ones with the 1980 single "Ashes to Ashes", its parent album Scary Monsters (and Super Creeps), and "Under Pressure", a 1981 collaboration with Queen. He then reached a new commercial peak in 1983 with Let's Dance, which yielded several hit singles. Throughout the 1990s and 2000s, Bowie continued to experiment with musical styles, including blue-eyed soul, industrial, adult contemporary, and jungle. He has not toured since the 2003–04 Reality Tour and has not performed live since 2006. Bowie's latest studio album The Next Day was released in March 2013.

David Buckley says of Bowie: "His influence has been unique in popular culture—he has permeated and altered more lives than any comparable figure."[2] In the BBC's 2002 poll of the 100 Greatest Britons, Bowie was placed at number 29. Throughout his career, he has sold an estimated 140 million albums.[3] In the UK, he has been awarded nine Platinum album certifications, 11 Gold and eight Silver, and in the US, five Platinum and seven Gold certifications. In 2004, Rolling Stone ranked him 39th on their list of the "100 Greatest Artists of All Time", and 23rd on their list of the best singers of all time. Category

Question: Singer David Bowie teamed up with UK band Queen on which 1981 hit single?
Answer: Under Pressure