David Bowie is one of the most iconic names and faces in modern British music. The iconic red and blue Aladdin Sane lightning bolt is a ubiquitous symbol of his identity and music, countlessly reproduced by posters and fancy dress costumes over the last five decades.
Born in 1947 in South London, Bowie’s youth was notably foreshadowing of his later career. Hopping between numerous bands due to their lack of ambition and success, it was clear early on that Bowie’s flamboyant style and artistic vision was destined for a highly successful solo career. By the 1970s, Bowie was an icon in the emerging glam rock scene, bursting into mainstream popularity with hit singles such as ‘Life on Mars?’ and ‘The Jean Genie’. Whilst maintaining a profound individual presence, Bowie is also remembered for high profile collaborations, such as with Iggy Pop and Mick Jagger. Perhaps most iconically, his powerful duet ‘Under Pressure’ with Freddie Mercury was voted the best duet of all time by Rolling Stone readers.
Bowie spoke (and sung) throughout his career about aspects of his own identity. Bowie discovered and converted to Tibetan Buddhism when he was nineteen, and wrote about the religion in his music many times, from stripped back ‘Silly Boy Blue’ to the haunting, electronic ‘Seven Years In Tibet’. Beyond religion, his grace and honestly when faced with invasive interview questions about his bisexuality were a testament to his unwavering self expression and social conscience. Bowie was also not afraid to make bold, political statements through his work, a product of the times of immense change which he lived through. He discussed Thatcher’s authoritarian force in ”87 and cry’, criticised globalising American monoculture in ‘I’m Afraid of Americans’ and commented on racism towards Asian women in ‘China Girl’, to name only a few examples. These criticisms remain relevant and poignant even ten years after his death.
Whilst skimming through Bowie’s discography in search of a common theme to sum up the listening experience, it is impossible not to be struck by the diversity of genre, style, emotion or subject matter. Under a range of aliases, Bowie brought his listener on a sonic journey, through the experiences of his life and career. From the glamourous Ziggy Stardust to troubled Aladdin Sane, the sophisticated Thin White Duke and finally autobiographical, troubled Major Tom. Of course a special mention must be given to Jareth the Goblin King, his character in Labyrinth, who demonstrated that Bowie’s captivating presence was no less striking on the big screen. Despite the fictional invention of these characters, the authenticity and scope of their troubles and successes continues to captivate Bowie fans of all generations. They are just as honest as and arguably no less self-reflective than the experimental, alias-less Berlin Trilogy. I would challenge you to think of an artist whose discography can match Bowie’s in both its diversity and consistency.
The life and career of David Bowie is best summed up by starting from the end, with Blackstar, his 26th studio album, released only two days before his death. It is haunting and evocative, reflective of the heaviness of the terminal cancer diagnosis which he received during Blackstar’s creation and kept shielded from the public eye. The title track perfectly encapsulates the tone of the album, and the artistic themes of his final years. The critical and popular success of his last studio albums were indicative of his ongoing influence and 21st century relevance, continuing to peak at number one in the charts within and beyond the UK, receiving significant media attention. This impact is truly not going anywhere, a testament to his artistic skill and the timeless relevance of his work.
“David Bowie – TopPop 1974” by AVRO is licensed under CC by 3.0
