ROLLING STONE FRANCE FREE SLOW BURN 7"

“Turning us round and round and round…”

In celebration of the release of the final era box set, I Can’t Give Everything Away (ICGEA), Rolling Stone France has a Bowie cover feature for Issue 176 (October 2025) with a free limited edition cover mount 45 of Slow Burn. The record comes in a picture sleeve and has Wood Jackson as its B side.

The magazine is published on 25th September and is available to pre-order here.

📸 Rolling Stone cover image: Masayoshi Sukita

📸 Slow Burn cover image: Markus Klinko

#BowieRollingStone #RollingStoneFR #BowieSlowBurn #BowieICGEAbox

SCARY MONSTERS IS 45 TODAY

“He opened strange doors that we'd never close again...”

Today is the 45th anniversary of the UK release of David Bowie’s Scary Monsters (And Super Creeps) album.

Keep reading after this brief interruption for ‘Scary Monsters (and Super Creeps)’ at 45: A Track-by-Track Guide to David Bowie’s Uncompromising Art-Rock Masterpiece by Jason Draper.

SCARY MONSTERS FACT FILE:

Producers: David Bowie, Tony Visconti

Illustration/Artwork: Edward Bell

Photography: Brian Duffy

Released in the UK as RCA BOWLP 2 (PL 13647) on 12th September, 1980.

Peak UK chart position: #1

Peak US chart position: #12

SIDE 1

1. IT’S NO GAME (PART 1)

2. UP THE HILL BACKWARDS

3. SCARY MONSTERS (AND SUPER CREEPS)

4. ASHES TO ASHES

5. FASHION

SIDE 2

1. TEENAGE WILDLIFE

2. SCREAM LIKE A BABY

3. KINGDOM COME

4. BECAUSE YOU’RE YOUNG

5. IT’S NO GAME (PART 2)

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‘Scary Monsters (and Super Creeps)’ at 45: A Track-by-Track Guide to David Bowie’s Uncompromising Art-Rock Masterpiece

An art-rock manifesto for a new era, ‘Scary Monsters (and Super Creeps)’ was the benchmark album against which all future David Bowie records would be compared.

By Jason Draper

After spending the latter half of the 1970s traversing Europe, recording the ‘Low’, ‘“Heroes”’ and ‘Lodger’ albums in France, Germany and Switzerland, respectively, Bowie settled into New York City’s Power Station studio to lay down his first long-player of the 1980s. Angsty and hard-edged, ‘Scary Monsters (and Super Creeps)’ was, he said, “some kind of purge. It was me eradicating the feelings within myself that I was uncomfortable with.”

Bookended by two different versions of what Bowie described as a “protesty song, that showed that feelings of anxiousness about society are expressed on different levels and with different intensities”, the album unspooled across a tightly packed 45 minutes in which Bowie and his charges set the pace for the decade to come. Released on 12 September 1980, it also took Bowie back to the top of the UK album charts, asserting his place in the rock pantheon and rewarding a renewed outlook on life.

“I felt very positive about the future,” he said of the sessions that produced the record, “and I think I just got down to writing a really comprehensive and well-crafted album.”

‘Scary Monsters (and Super Creeps)’: A Track-by-Track Guide to Every Song

‘It’s No Game (No.1)’

A tape is wound into place, a Play button is pressed, and ‘Scary Monsters (and Super Creeps)’ opens with a churning art-rock groove and the dramatic intonations of Michi Hirota, reading a Japanese translation of the lyrics Bowie will soon start singing. As a creative bit of wrong-footing, it’s up there with the three minutes of controlled tension that open ‘Station to Station’, setting the scene for Bowie to enter with a deceptively ragged vocal. Almost screaming his words, the 1970s’ greatest trend-setter looks ahead to a new decade and, perhaps, wonders where he’ll fit (“I am barred from the event/I really don’t understand the situation”). Ten years earlier, he’d hit upon the melodic hook for ‘It’s No Game (No.1)’, in an acoustic demo titled ‘Tired of My Life’, and here he recycles a standout verse from that earlier song, delivering the lines “Put a bullet in my brain/And I’ll make all the papers” as a spiky riposte to tabloid sensationalism, rather than the weary summation of a quick route to fame that the younger songwriter presented them as. As ‘It’s No Game (No.1)’ devolves into atonal guitar and Bowie’s yells for the player – Robert Fripp, reprising his role from the ‘“Heroes”’ sessions – to “Shut up!”, the album has set out its stall: Bowie isn’t playing around.

‘Up the Hill Backwards’

Bowie proved he could put the Bo Diddley beat to new use on ‘Aladdin Sane’’s ‘Panic in Detroit’, and on ‘Up the Hill Backwards’ he has drummer Dennis Davis toy with the classic rock’n’roll-era rhythm before the song opens up into its spacious verses, complete with group vocals, in which Bowie seems to meditate on the creative act (“The vacuum created by the arrival of freedom/And the possibilities it seems to offer”), affirm the artist’s right to privacy (“It’s got nothing to do with you, if one can grasp it”) and nod to the fate that awaits us all (“Earth keeps on rolling, witnesses falling”). And yet, he seems to conclude, our worldly travails can be surmounted (“Yeah, yeah, yeah/Up the hill backwards/It’ll be alright”). Fripp is again on hand to rough up the outro, while producer Tony Visconti adds a ‘Low’-like reverb to Davis’s drums as the short but effective track wanders towards its fade out.

‘Scary Monsters (and Super Creeps)’

No such space to roam here: ‘Scary Monsters (and Super Creeps)’ speeds into view on screaming guitar, a barking-like keyboard sound effect and one of the finest exaggerated mockney vocals Bowie ever committed to tape. Urban paranoia collides with psychological uncertainty in a song that takes no prisoners, Bowie’s protagonist offering “a dangerous mind” in the place of love, and seemingly kicking his partner out of her own home before “running scared” himself from the monstrosities – real or imagined – that plague him. A closing chant gives ‘Scary Monsters’ a curiously upbeat ending, as if all this chaos is to be revelled in – and why not? Bowie, Visconti and his rhythm section of Carlos Alomar (guitar), George Murray (bass) and Dennis Davis consolidate everything they learned from the “Berlin trilogy” into five minutes of organised anarchy that grabs listeners by the throat and refuses to let go.

‘Ashes to Ashes’

Murray’s popped bass sits at the centre of this slice of zero-gravity space-funk, as Bowie fires the starting gun on the 1980s, earning himself his second UK No.1 single and handing the fledgling New Romantics a roadmap for their own art-pop aspirations. In a masterfully meta move, he opens the song by referencing his breakthrough hit and belated first UK chart-topper, ‘Space Oddity’, re-introducing to the world protagonist Major Tom, the one-time heroic “Action Man” of the late-1960s’ space race. Last seen “floating in my tin can”, Tom is now “a junkie/Strung out in heaven’s high/Hitting an all-time low”. A cautionary tale, a cry for help and a crash course in avant-pop perfection, ‘Ashes to Ashes’ would have remained a masterpiece on its own terms, however Bowie chose to present it. That he gave it a cutting-edge promo video that singlehandedly ushered in the MTV era was just a bonus. Shot on Pett Level Beach, on the Sussex coast, and featuring appearances from London’s Blitz Club scenesters Steve Strange, Darla-Jane Gilroy, Judi Frankland and Elise Brazier, the clip’s jump cuts, post-production effects and oblique narrative enhanced Bowie’s world-building lyrics, proving that Bowie had mastered the art of the pop promo before anyone really knew what a pop promo was.

‘Fashion’

If ‘Ashes to Ashes’ revealed what had become of Bowie’s once hopeful alter ego, ‘Fashion’ sneered at all those who would look to the former Starman for inspiration, copying his mannerisms and adopting his stances as if it were so much mindless gameplay. Early lyrics such as “Hell up ahead, burn a flag/Shake a fist, start a fight” have fed into theories that fascism was also squarely in Bowie’s sights, with the “goon squad” of the song’s chorus simply following orders to “Turn to the left/Turn to the right” as commanded over a squelchy beat. Bowie’s stated intention, however, was to “suggest more of a gritted teeth determination and an unsureness” about society’s slavish chasing of trends. Again, a promo clip rounded things out: where the Blitz Kids added to the otherworldly nature of the ‘Ashes to Ashes’ video – not least Steve Strange, whose portentous one-armed bow became a notable feature, repurposed by Bowie in the ‘Fashion’ promo – Manhattan’s self-conscious club-goers are sent up for ridicule here, as even the most absurd gestures are taken up by a horde of hopeless fashionistas who line the street for food handouts as desperately as they fill the New York City clubs, looking for a cultural sustenance they seem unable to find on their own.

‘Teenage Wildlife’

Robert Fripp’s soaring guitar might recall his work on ‘“Heroes”’, but the slow-burning ‘Teenage Wildlife’ is an altogether more caustic creation, Bowie dismissing his imitators (“Same old thing in brand-new drag”) and slipping loose from their demands of him (“You’ll take me aside and say/‘Well, David, what shall I do? They wait for me in the hallway’/I’ll say, ‘Don’t ask me, I don’t know any hallways’”). And yet there is more to the song than a simple extension of ‘Fashion’’s battle lines. Telling ‘NME’ that the “midwives to history” who “put on their bloody robes” were symbolic entities, Bowie allowed, “We all have them… They’re the ones who would not have you be fulfilled,” indicating that ‘Teenage Wildlife’ goes beyond mere generational finger pointing and into a more private realm in which trials are overcome, but not without struggle.

‘Scream Like a Baby’

A reworking of ‘I Am a Laser’, a brittle funk number that Bowie first recorded in the mid-1970s for his short-lived side project The Astronettes, ‘Scream Like a Baby’ is a brooding return to the dystopian cityscapes of ‘Diamond Dogs’, as filtered through the synth-pop of the early 1980s. With as clear a lyrical narrative as the ‘Scary Monsters’ album offers, the song bears witness to the persecution of a protagonist who “mixed with other colours”, describing the militant beatings meted out to “faggots” who are “thrown into the wagon/Blindfolded, chains and… stomped on” before being stripped of their clothing and “pumped… full of strange drugs”. Bowie’s incomplete stuttering on the line “Now I’m learning to be a part of societ – societ – s – ” and his varispeed vocals at the point of desperate escape (“He jumped into the furnace/Singing old songs we loved”) place these characters in the lineage of cracked personalities that litter his 1970s work and who are pushed to breaking point by authoritarian regimes.

‘Kingdom Come’

A cover of a song by Television co-founder Tom Verlaine, ‘Kingdom Come’ sits comfortably among the more despairing material that makes up much of the second half of ‘Scary Monsters (and Super Creeps)’, Bowie’s arrangement deepening the textures of Verlaine’s choppy original in a way that tightens the net on a narrator struggling with the futility of his actions. If, towards the start of the album, Bowie could take going “up the hill backwards” in his stride, here a life of hard graft – “Yes, I’ve been breaking these rocks/What’s my price to pay?” – raises questions about the meaning of it all, as Bowie, perhaps also channelling the imprisoned protagonist of ‘Scream Like a Baby’, prays for deliverance.

‘Because You’re Young’

Despite admitting that ‘Because You’re Young’ was partly inspired by having a nine-year-old son at the time of writing the song, Bowie refused to let sentimentality blind him from the woes that would likely befall his firstborn. There may be traces of yearning in the chorus – “Because you’re young/You’ll meet a stranger some night/Because you’re young/What could be nicer for you?” – but there are more than a few stings in the verses, as Bowie surveys the ruins of an adolescent relationship and finds little comfort. “She took back everything she said/Left him nearly out of his mind,” he sings, as if it was all so inevitable, before tallying “a million dreams” against “a million scars” in a song that doesn’t so much offer advice as sound a note of warning.

‘It’s No Game (No.2)’

Taken at a more measured pace than it’s opening counterpart, ‘It’s No Game (No.2)’ is, on the face of it, a considered end to an album which, Bowie said, “takes you through a lot of the doubting and the dilemmas that I, myself, as a writer find myself in”. Listen closer, however, and although Robert Fripp’s guitar and Michi Hirota’s vocals are removed, giving the song a less claustrophobic feel, many of the same lyrical concerns remain, the track ultimately acting more like a full-circle moment rather than a cathartic resolution. It was, Bowie explained, an expression of “what happens when a protest or an angry statement is thrown against the wall so many times that the speaker finds that he has absolutely no more energy to give it any impact any more”. As the tape that opened the record spools to the end, Bowie seems to be saying that it may not be possible to settle matters, but it might become possible to live with them.

#BowieScaryMonsters

ICGEA OUT NOW

“That's the message that I sent...”

As you’re likely aware, the final era box set, I Can’t Give Everything Away (ICGEA), is released today.

Available here.

#BowieICGEAbox

DAVID BOWIE CENTRE TICKETS AVAILABLE THURSDAY

Those of you subscribed to the V&A for ticket information will already be aware of this latest update.

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Dear Bowie fans – tickets for the David Bowie Centre at V&A East Storehouse will now go on general release from 10am BST tomorrow, 4th September, via this link.

Thank you for your continued patience and support.

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📸 Mick Rock 1972

#DavidBowieArchive #DavidBowieCentre #VnAEastStorehouse

DAVID BOWIE CENTRE TICKET UPDATE

Message from V&A East Storehouse regarding tickets for The David Bowie Centre. Tickets were unavailable today and won’t be tomorrow either.

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We’ve been unable to completely resolve issues affecting the V&A ticketing system. Due to these ongoing problems and to ensure that everything is working properly, we will not be releasing tickets tomorrow, 3rd September.

We will continue to update via @vam_east (on Instagram) when tickets will be available to book.

We know a lot of Bowie fans are looking forward to being the first to visit during the opening 6-weeks, and we appreciate you bearing with us. while we sort out these issues.

We’ll ensure to give you as much notice as possible via @vam_east, to give you the best chance to book the tickets you want.

Thank you for your continued patience.

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📸 Tony McGee 1983

#DavidBowieArchive #DavidBowieCentre #VnAEastStorehouse

DAVID BOWIE CENTRE FREQUENTLY ASKED QUESTIONS

The David Bowie Centre at V&A East Storehouse will open to the public on Saturday 13th September 2025.

Access to the David Bowie Centre is free (£5 optional donation) and ticketed, with tickets being released from 10:00 AM next week on Tuesday 2nd September.

This allocation will be for visits between 13th September and 26th October. More tickets will be released every six weeks so there will be many more opportunities to get them if you’re unsuccessful with this first batch.

Here’s a link to a FAQ page hopefully answering most of your questions.

The FAQ covers the following subjects:

~ What is the David Bowie Centre?

~ I want to visit the David Bowie Centre, do I need to book a ticket?

~ Why is the David Bowie Centre ticketed?

~ I'm a Member, do I need to book a ticket?

~ Should I book a ticket for my child?

~ Do I need a ticket to visit Storehouse?

~ I can't find my e-tickets. What do I do?

~ Tickets are sold out online. When will more be available?

~ How do I see things that aren’t on display?

~ Is the David Bowie Centre step free / wheelchair accessible?

~ Are there flashing lights within the space?

~ I have more questions about V&A East Storehouse. Where should I look?

The first batch of members’ priority tickets have now all been allocated.

The image we’ve posted is detail from a 1973 Mick Rock shot from the vam_east Instagram page.

📸 Mick Rock

#DavidBowieArchive #DavidBowieCentre #VnAEastStorehouse #BowieMickRock

DANCING IN THE STREET UPGRADED 4K VIDEO WITH PREVIOUSLY UNSEEN FOOTAGE

“Just as long as you are there ...”

The headline says it all, keep reading for the full press release and links.

#BowieJaggerDITS

DAVID BOWIE & MICK JAGGER - DANCING IN THE STREET

40th ANNIVERSARY - LIMITED EDITION REMASTERED WHITE VINYL 12” OUT NOW ON PARLOPHONE RECORDS

WATCH THE 12” REMIX UPGRADED 4K VIDEO FEATURING UNSEEN FOOTAGE HERE NOW

40 years ago this week, the David Bowie and Mick Jagger duet of the Motown classic, “Dancing In The Street” was released with all the proceeds benefiting famine relief. The track and video had been debuted six weeks earlier during Live Aid, the benefit concert organised by Bob Geldof and Midge Ure to raise further funds for the relief of the famine in Ethiopia.

The video, which, like the song, had been recorded and filmed in thirteen hours, only fourteen days earlier, was shown just before Bowie took to the stage at Wembley Stadium. The making of the video was documented at the time, but that footage has mainly remained unseen until today. The new 4K video for the Steve Thompson Mix remix of the track features behind-the-scenes footage from the late-night shoot at Spillers Millennium Mills in the East End of London.

The single version of the song was released on 27th August, with all the proceeds benefiting famine relief. It topped the UK Singles Chart for four weeks and reached No. 7 in the United States on the Billboard Hot 100.

To celebrate the 40th anniversary of ”Dancing In The Street,” a limited edition white vinyl 12" is available now, bringing together every one of the song's mixes for the first time. As with the original, 30% of the retail price from the sale of this single, representing royalties and proceeds, will be donated to the Band Aid Charitable Trust by David Bowie, Mick Jagger and Parlophone Records.

Talking about the collaboration, Mick Jagger comments ‘’We had such a laugh doing ‘Dancing in the Street’ with both the song recorded in the studio and the video done in one day. Remarkable how we pulled it off really. The video is hilarious to watch now. We enjoyed camping it up and trying to impersonate each other’s moves, making it up as we went along. It was the only time David and myself collaborated on anything, which is a real shame.”

Speaking about the song and video at the time, Bowie said “We thought about it on a Thursday night and we just went through a bunch of old songs and thought that ‘Dancing’ was one we both knew very well and then we went into the studio between 7 and 11 on Saturday night and then we went over to the Docklands and shot the video for the rest of the night so we did the whole thing in ten hours, it was great.” He also talked about the spirit of Live Aid, saying “Everybody out there who sent money in, you’re the real heroes because it’s easy for me to go up there and sing some songs, but it’s much harder for you to give money and not be recognised. Good on ya!”

DAVID BOWIE & MICK JAGGER

DANCING IN THE STREET 40th ANNIVERSARY WHITE VINYL TRACKLISTING

SIDE ONE

Dancing In The Street (Clearmountain Mix) (3.11)

Dancing In The Street (Instrumental) (3.17)

Dancing In The Street (Steve Thompson Mix) (4.42)

SIDE TWO

Dancing In The Street (Edit) (3.24)

Dancing In The Street (Dub) (4.43)

DAVID BOWIE & MICK JAGGER - DANCING IN THE STREET - 40th ANNIVERSARY

LIMITED EDITION REMASTERED WHITE VINYL 12” - OUT NOW ON PARLOPHONE

GOODBYE JOE STEVENS

Sad to learn of the passing of American photographer, Joe Stevens, who died on Tuesday.

Fans of a certain vintage will remember well Joe’s images which graced the pages of NME in the seventies, including several front covers.

We’ve selected a few random 1973/1974 images from Joe’s vast Bowie collection which you can find here on Instagram.

We’ll leave you with a bit from an interview with Joe following David’s death in 2016...

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“Of all the big shots I’ve known – the lead singers, front men, pop stars, the people that call the shots … he was my best friend. I loved David. He was so special. I’m still mourning. Getting the photos together for this show makes me so sad. It hurts to think that I can’t walk around New York City and bump into him anymore …”

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Our thoughts are with his friends and family.

#RIPJoeStevens #BowieNME

NEVER GET OLD HD UPGRADE

“I think about this and I think about personal history...”

Originally released in 2003 on the Reality album, the defiant rocker, Never Get Old, was issued as a downloadable single and only got a full physical release as a CD single in Japan. it was a promo only CD in Europe, America, Canada, Australia and Brazil.

So, it’s unusual that a video was made for it. But we’re glad it was, and you can view the HD upgrade here.

#ICGEAAlbumFocusReality #BowieNeverGetOld

WATERLOO SUNSET NOW AVAILABLE TO STREAM

“Waterloo sunset’s fine...”

Bowie’s cover of The Kinks’ classic Waterloo Sunset is released as a digital single today, 15th August.

Originally issued as a bonus track on the Japanese edition of Reality, the song was also made available in Europe via the promo CD of Never Get Old and on the limited CD+DVD Tour Edition of Reality.

Bowie had performed the song with its composer, Kinks’ main man Ray Davies, at the Tibet House Benefit concert in February 2003, before recording it for posterity a few months later.

You can now find it on streaming here, where you can also find a link to the visualizer on YouTube.

📸 Bowie at the Tibet House Benefit 2003, by Dimitrios Kambouris.

#ICGEAAlbumFocusReality #BowieICGEAbox #BowieReality #BowieWaterlooSunset #BowieRayDavies

HAPPY 80TH TO MIKE GARSON

“I am the best Jazz you’ve ever heard...”

Many happy returns of the day to the wonderful Mike Garson on his 80th birthday. He’s the one Gail Ann Dorsey is pointing at here. (Like you didn’t know)

We’re sure everybody reading this will want to join us in thanking Mike for his incredible work with Bowie and in wishing him a splendid day.

We’ll leave you with Mike’s very own favourite Bowie moment, and there are so many to choose from.

It’s a heartbreakingly emotional rendition of My Death from almost thirty years ago, September 18th 1995. The occasion was a benefit for The Joseph Papp Public Theater, at The Grand Ballroom, Manhattan Center, New York.

Over to Mike from a piece he wrote about the recording for us in 2020...

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This version of MY DEATH might be the most poignant version ever. David’s voice is low and rich and creamy.

Not too many fans no less the world have heard this. It is beyond gorgeous. David and I performed this in NYC for a fund raiser in 1995.

I never understood why David and I never did a duet tour. Hopefully posthumously we can put out all the songs the 2 of us did together over the years.

I think you might be able to play this song 100 times and never stop crying.

Mike Garson

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You can hear the performance here on YouTube.

Picture by Mark Adams (@blamsnap)

#MikeGarson80 #BowieGarson

BOWIE’S ELEPHANT MAN DEBUT 45 YEARS AGO TODAY

“He’s a broken man...”

Forty years ago today, following an announcement in The New York Times, David Bowie took to the stage in a different guise to the one he had been more used to...as John Merrick in the Jack Hofsiss directed stage play of The Elephant Man by Bernard Pomerance.

The Elephant Man opened on 29th July 1980 at the Denver Centre of Performing Arts.

Here’s a line from a review in Variety:

“The acting debut on the American stage of rock singer David Bowie was greeted by a standing ovation in Denver when the singer, noted for his flamboyant musical style, took on the role of physically misshapen John Merrick, the human monster with a liking for culture.”

Bowie went on to triumph on Broadway with his stunning performance at The Booth Theatre in New York, opening there on 23 September 1980, with unanimous praise for his portrayal of Merrick.

In an interview with BBC Radio 1’s Andy Peebles in December 1980, Bowie said:

“The whole thing happened so fast when they finally decided to take me as Merrick. I’d forgotten about the whole thing after Hofsiss had seen me. But I got a call within two weeks of having to go over and start rehearsal. So I couldn’t do very much. So I went to the London Hospital and went to the museum there. Found the plaster casts of the bits of Merrick’s body that were interesting to the medical profession and the little church that he’d made, and his cap and his cloak. Nothing much that you can get from that, just the general atmosphere. We didn’t know if I was going to get to New York, but for me it was the idea of doing a straight play that had the greater appeal.”

29 July - 3 August 1980 Denver Centre of Performing Arts

5 August 1980 - 31 August 1980 Blackstone Theatre, Chicago

23 September 1980 - 3 January 1981 The Booth Theatre, 222 W. 45th St, New York

#BowieElephantMan #ElephantMan45 #Bowie1980

IMAN SHARES MESSAGE FROM DAVID ON HER BIRTHDAY

“That's the message that I sent…”

We hope you’re having a beautiful birthday, Iman.

The birthday lady is pictured here a little over 20 years ago with her “hubby” during the 2005 CFDA Fashion Awards on 6th June, 2005, at the New York Public Library.

While we’re jumping around the decades, Iman kindly shared the contents of her 60th birthday card from David 10 years ago in 2015...

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happy birthday darling!!

60 years

It’s been a privalige* to have shared over a third of these with you

I love you!

David ¬- hubby xxx

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That same birthday, Iman posted the following on her socials: “My favourite age is now”, and who could disagree with that outlook?

* Who doesn’t have trouble with the spelling of privilege? it’s a tricky one.

#ImanBirthday #MessageFromTheActionMan

WOOD JACKSON NOW AVAILABLE TO STREAM

“And he'd play the tunes they call creative...”

You may have already spotted that Wood Jackson is released as a digital single today.

Originally issued as a bonus track on the Japanese edition of Heathen, the track was made available to European fans via the Slow Burn single, and in the UK on one of the formats of the Everyone Says 'Hi' CD single.

The song was never available on streaming until now, which means it may be a previously undiscovered gem for some of you.

This melancholic beauty certainly deserves more exposure, and some of those who already know the track have commented that it was a strong enough song that should have been included on Heathen in the first place.

You can find it on streaming here, where you can also view the visualizer on YouTube where the lyrics are included for your singalong pleasure.

#ICGEAAlbumFocusHeathen #BowieICGEAbox #BowieHeathen #BowieWoodJackson

UK FAME SINGLE IS FIFTY TODAY - READ JASON DRAPER’S SONG STORY

“Is it any wonder, you’re far too cool to fool...”

Released in early June 1975 in America, David Bowie’s first #1 in the country was the Bowie/Lennon/Alomar composition, Fame.

It didn’t fare quite so well in the UK, where it was released 50 years ago today, though it was still a top 20 hit.

A side: Fame (Bowie/Lennon/Alomar)

B side: Right (Bowie)

Original UK release date: July 18 1975

Highest chart position: UK: #17 US: #1

Originally appeared on: Young Americans

Produced by: David Bowie, Harry Maslin

Our good friend Jason Draper has written another of his informative and well-researched pieces titled: ‘Fame’: Behind The Bowie/Lennon Co-Write That Debunked The Myth Of Celebrity.

Jason describes the track thus: “A spur-of-the-moment recording with John Lennon, ‘Fame’ drew listeners in with its funky strut but carried a stark warning for anyone seeking the limelight.”

Scroll down to read the full thing.

#BowieFame #Bowie1975 #BowieYoungAmericans

‘Fame’: Behind The Bowie/Lennon Co-Write That Debunked The Myth Of Celebrity

A spur-of-the-moment recording with John Lennon, ‘Fame’ drew listeners in with its funky strut but carried a stark warning for anyone seeking the limelight. By Jason Draper

David Bowie had all but completed his ninth studio album when he began to preview material from it in the closing months of 1974. Pressed to acetate, the seven tracks he’d recorded, for a project he was then calling The Gouster, included the future classic ‘Young Americans’ and a disco-fied reworking of his 1972 tease ‘John, I’m Only Dancing’ (as ‘John, I’m Only Dancing (Again)’). But after playing the songs to John Lennon, Lennon’s then girlfriend, May Pang, and Paul and Linda McCartney at the Sheraton Netherlands Hotel in New York City, where he was lodging in early 1975, Bowie decided that at least one ex-Beatle could make for a key addition to the record. After deciding to lay down a cover of Lennon’s Beatles-era song ‘Across The Universe’, he invited the jaded songwriter to join him for a session which would lead to the impromptu creation of one of Bowie’s greatest songs of the era: an infectious – if scathing – funk number titled ‘Fame’.

Reflecting on the evening five years later, Lennon marvelled at the speed with which Bowie, who’d entered the recording studio with one purpose in mind, ended up achieving an entirely unforeseen objective. “I must say I admire him for his vast repertoire of talent,” Lennon told British radio DJ Andy Peebles in 1980. “I think he’s great. The fact that he could just walk into that and do that. I could never do that.”

The backstory: “I’d had very upsetting management problems”

Although ‘Fame’ seemed to come out of nowhere, its subject matter was rooted in lengthy conversations that Bowie had shared with Lennon in the months prior to its recording. Introduced to Lennon the previous September, while at a party thrown by actress Elizabeth Taylor, Bowie was conscious that the man standing before him, and whom he had namechecked three years earlier in his Hunky Dory song ‘Life On Mars?’, had, after struggling with the demands of “Beatlemania”, spent the last half decade reassessing his priorities as a solo artist. “Don’t mention The Beatles,” Bowie told himself at that first meeting, “you’ll look really stupid.”

Perhaps overcompensating, Bowie’s opening gambit at least made clear his respect for Lennon’s forward-facing attitude: “I’ve got everything you’ve made – except The Beatles.”

During subsequent get-togethers in the bars and clubs of New York City, the pair would trade stories about their experiences with fame – the personal sacrifices made to achieve it, and the dangers of misjudging those who would leech from it. “I’d had very upsetting management problems and a lot of that was built into the song,” Bowie told Q magazine in 1990, admitting that “a degree of malice” was present in ‘Fame’’s lyrics. Together, however, Bowie and Lennon shared a generosity of spirit, and Bowie gratefully received his new friend’s advice that he do away with management altogether.

“I think if you have even just a modicum of intelligence, you’re going to know what it is you are and where you want to go,” he told Performing Songwriter in 2003. “Once you know that, you just bring in specific people for specialist jobs.”

He could have been thinking of Lennon himself when he said those words. Arriving at Electric Lady Studios on 30 January 1975, the former Beatle ended up being a very specific kind of specialist.

The recording: “It all came together so quickly and so brilliantly”

Initially booking the facilities for his recording of ‘Across The Universe’, Bowie realised he had a rare chance to create something new with Lennon, who’d agreed to add rhythm guitar to the cover because, as he would tell Melody Maker a little more than a month later, “I’d never done a good version of that song myself.” After dispatching ‘Across The Universe’ with minimum fuss, Bowie decided to take the chance “by the horns”, as he put it, and approached Lennon with his pitch: “Let’s write something!”

As Bowie’s lead guitarist and future bandleader Carlos Alomar began playing with a riff he’d worked up for live performances of The Flares’ 1961 R&B cut ‘Foot Stomping’ – a nightly part of Bowie’s Soul Tour of late 1974 – Lennon started singing the word “fame” on top, and Bowie retired to the control room to write lyrics. Drawing on his recent discussions with Lennon and on his experience with the management team he was in the process of leaving, Bowie began to list the reasons why he felt “fame itself” was “not a rewarding thing”: “What you get is no tomorrow”, “What you need you have to borrow” he noted before summing up the cutthroat nature of the entertainment industry with a question: “Is it any wonder I reject you first?”

Embracing the moment, Bowie, Lennon and Alomar pieced the song together at breakneck speed. “It all came together so quickly and so brilliantly,” Bowie later explained. “It was an incredibly intoxicating time.” “We just sort of – oh, boom, boom, boom – like that,” Lennon said elsewhere. “It wasn’t like sitting down to write a song. So we made this lick into a song is what happened.”

Capturing the destabilising nature of celebrity – what Bowie would describe to Musician magazine as the realisation that fame “isn’t everything it should have been” and that living in the public eye is “like not having a life of your own any more” – producer Harry Maslin and studio engineer David Thoener manipulated the tapes in order to warp the sound of the song. After asking Lennon to hold a specific piano chord for as long as he could, Maslin flipped the multitrack upside down, to give ‘Fame’’s opening seconds a backwards-sounding effect (“The Beatles never did it that way,” Lennon teased). For his part, Thoener slowed the tape down when recording Lennon’s “Fame” vocal retorts, leading them to take on a mockingly high pitch when the tape was played back at the correct speed. Reflecting on Lennon’s crucial touch, Bowie would tell Melody Maker, “It was more the influence of having him in the studio that helped. There’s always a lot of adrenalin flowing when John is around… The riff came from Carlos, and the melody and most of the lyrics came from me, but it wouldn’t have happened if John hadn’t been there. He was the energy, and that’s why he’s got a credit for writing it; he was the inspiration.”

The release and legacy: “Of course David Bowie had funk!”

Running to a little more than four minutes, ‘Fame’ was a hypnotically funky song that neatly encapsulated Bowie’s caustic view of the celebrity lifestyle while also further developing the “plastic soul” sound he’d worked up in Philadelphia’s Sigma Sound Studios the previous summer, when he’d recorded the Gouster material he’d first played to Lennon at the Sheraton Netherlands Hotel. So enthused was Bowie by the results of his Lennon collaboration, he immediately rethought the entire album, making space for both new recordings and promoting the song ‘Young Americans’ to the status of title track. Placed at the album’s end, ‘Fame’, with its cocksure strut and taunting closing lines – “Fame/What’s your name?” – was an unavoidable earworm that stuck in listeners’ heads long after the fade.

Building on the success of ‘Young Americans’, which had given Bowie his breakthrough US hit in May 1975 when it peaked at No.28, ‘Fame’, issued as the second single from its parent album, topped the Billboard Hot 100 in June, scoring Bowie his first stateside No.1. (Released in the UK on 18 July, the single would go Top 20 in Bowie’s homeland.) Confirming his status as a crossover star capable of reaching rock and soul audiences, the song caught the attention of “The Godfather Of Soul”, James Brown, who, perhaps nodding to Carlos Alomar’s stint in his own band during the late 60s, based his December 1975 single, ‘Hot (I Need To Be Loved, Loved, Loved, Loved)’, almost entirely on the track.

At the vanguard of a whole other funk movement, George Clinton name-checked Bowie on ‘P. Funk (Wants To Get Funked Up)’, the lead track from Mothership Connection, the career-making album by his group Parliament. Speaking to FADER four decades on from its release, Clinton, whose own music would be treated as a foundational source for hip-hop, acknowledged that ‘Fame’ had had a direct influence on Mothership Connection, particularly the album’s US Top 20 hit ‘Give Up The Funk (Tear The Roof Off The Sucker)’. “I was biting off David Bowie,” he admitted. “‘Faaaame!’ ‘Weeeeee want the funk!’… I just added the silent parts that he didn’t say. It’s the same feel. Of course David Bowie had funk! You don’t know David Bowie if you ask whether he had funk.”

Bowie himself would use ‘Fame’ for parts when it came to revisiting his own work for the hits-based Sound+Vision Tour of 1990. Remixed as ‘Fame 90’, this updated take went Top 30 in the UK and gave Bowie the chance to consider the song’s impact in an entirely new era. “It covers a lot of ground, ‘Fame’,” he told Q magazine. “It stands up really well in time. It still sounds potent. It’s quite a nasty, angry little song. I quite like that.”

Buy the ‘Young Americans’ 50th-anniversary vinyl reissues and merch at the David Bowie store.

LIVE AID AT WEMBLEY 40TH ANNIVERSARY

“Just for one day...”

Right about now 40 years ago in the UK on 13th July 1985, some visitors to this page had just finished watching David Bowie live onstage at Wembley Stadium for the global event that was Live Aid.

His four-song set of TVC 15, Rebel Rebel, Modern Love and Heroes preceded harrowing footage of Ethiopian famine victims, for which Bowie dropped a song from his set, as described by Harvey Goldsmith...

+ - + - + - + - + - + - + - + - + - + - + - + - +

"One afternoon before the concert, Bowie was up in the office and we started looking through some videos of news footage, and we watched the CBC piece [footage from the Ethiopian famine, cut to the Cars' song "Drive"]. Everyone just stopped. Bowie said: 'You've got to put that in the show; it's the most dramatic thing I've ever seen.' That was probably one of the most evocative things in the whole show and really got the money rolling in."

—Live Aid promoter Harvey Goldsmith on Bowie picking out the CBC news piece for the concert, a video Bowie introduced on the big screen at Wembley after his set.

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See the Bowie and Iman official socials for from the day.

📸 Bowie and Bob Geldof by Brian Aris

#LiveAidWeekend #LiveAid40 #BandAid40 #BowieLiveAid

I CAN’T GIVE EVERYTHING AWAY PRE-ORDER

“This is all I ever meant, That's the message that I sent...”

As promised earlier, here is the link to pre-order the I Can’t Give Everything Away (2002 – 2016) box set.

Also, in case you’ve not already found it, here’s the link for the New Killer Star (Sessions @ AOL 23/09/03) Digital Single.

All links and I Can’t Give Everything Away (2002 – 2016) box set press release at our Linktree.

#BowieICGEAbox

DAVID BOWIE 6. I CAN’T GIVE EVERYTHING AWAY (2002 – 2016) PRESS RELEASE

DAVID BOWIE 6. I CAN’T GIVE EVERYTHING AWAY (2002 – 2016)

THE SIXTH IN A SERIES OF DAVID BOWIE BOX SETS - RELEASED 12th SEPTEMBER, 2025

13-CD, DIGITAL AND AUDIOPHILE 18-PIECE VINYL BOX SETS INCLUDING...

HEATHEN, REALITY, A REALITY TOUR, THE NEXT DAY, THE NEXT DAY EXTRA, ★ (BLACKSTAR), PREVIOUSLY UNRELEASED 31-TRACK LIVE SET FROM THE MONTREUX JAZZ FESTIVAL AND RE:CALL 6 FEATURING 41 RARE NON-ALBUM TRACKS

NEW KILLER STAR (SESSIONS @ AOL LIVE VERSION, 23/09/03) AVAILABLE NOW AS A DIGITAL SINGLE

STAY TUNED FOR PRE-ORDER LINKS TO DAVID BOWIE 6. I CAN’T GIVE EVERYTHING AWAY (2002 – 2016)

09 JULY, 2025 London - Parlophone Records proudly announce DAVID BOWIE 6. I CAN’T GIVE EVERYTHING AWAY (2002 – 2016), the sixth in a series of box sets spanning Bowie’s career from 1969.

The new set is the latest instalment in the award-winning and critically acclaimed series that includes DAVID BOWIE 1. FIVE YEARS (1969 – 1973), DAVID BOWIE 2. WHO CAN I BE NOW? (1974 – 1976), DAVID BOWIE 3. A NEW CAREER IN A NEW TOWN (1977 – 1982), DAVID BOWIE 4. LOVING THE ALIEN (1983-1988) and DAVID BOWIE 5. BRILLIANT ADVENTURE (1992-2001) and will be released on 12th September.

DAVID BOWIE 6. I CAN’T GIVE EVERYTHING AWAY (2002 – 2016) is a twelve-CD, eighteen-piece vinyl and standard digital download/streaming box set named after the closing track on ★ (BLACKSTAR), Bowie’s final studio album. The box sets include newly remastered versions (except ★ and No Plan), with input from David’s co-producer Tony Visconti.

2002’s HEATHEN was the first album Bowie and Visconti had worked on together in twenty-two years. Recorded in a residential studio in upstate New York, it reminded Visconti of his time with David in Berlin in the 1970s, “There was no control room. The console was at one end of the studio and the band was placed at the other end. The acoustics were quite live and from my experience of making “Heroes” at Hansa Studios in Berlin, in the huge Grand Hall (known as Meistersaal recording hall), I wanted to make these acoustics work for us.” For the follow-up REALITY, released in 2003, Visconti recalls, “David said he wanted to write for his new touring band, who would also record the album”, giving the record a more “Thrusty” sound as Bowie put it at the time. That band then took to the road for A REALITY TOUR, one of the best-loved tours of David’s career, it is represented here for the first time in its re-sequenced order to better reflect the set lists of the Dublin shows. The vinyl version of the album is pressed in transparent blue, echoing its initial release.

After a decade away from the studio, the sessions for THE NEXT DAY happened in secret; Visconti says of that time, “We vowed not to tell a soul that David and we were making a new album – and that even included our domestic partners. His two-fold purpose was to write and create without pressure from the outside, plus he wanted its release to be a complete surprise. It all worked out great, except when he was spotted a few times walking to and from The Magic Shop studio in Noho, Manhattan, raising quizzical eyebrows. I was stopped once by a fan who recognised me and asked, “Is David Bowie making a new album?” I said, “Absolutely not!” Later, when we had rough mixes of our efforts, I was walking around Manhattan with a big smile on my face. No one could possibly know that I was listening to new Bowie songs on my earbuds.” Those sessions produced so many songs that those additional tracks along with two remixes were included on THE NEXT DAY EXTRA.

★ (BLACKSTAR), David’s final studio album, was released on 8th January, 2016. Bowie and Visconti went to Donny McCaslin’s jazz quartet playing live in New York after working with him on the track ‘Sue (Or In A Season Of Crime)’. Tony Visconti: “Donny’s quartet was no ordinary jazz band, they were super musicians at the same level as classical musicians in top symphony orchestras. David told me that this band, with Mark Guiliana – drums, Tim Lefebvre – bass, and Jason Lindner – keyboards, will be the band for the recording of ★.” Every one of the tracks for ★ (BLACKSTAR) were each recorded in one day; Visconti recalls, “The first song for the album began with “’Tis a Pity She Was a Whore,” on 7th January. With a couple of rehearsals with David singing in the isolation booth, we were ready to go. Take one was perfect. We told Donny the take was fabulous. He thanked us and asked, “What’s the next song?” I forgot that jazz musicians are one-take experts. This was not a normal thing for people who make Rock and Pop music. It usually takes many hours to get that great take. Just to play it safe we asked for another take and Donny complied.”

On Bowie’s birthday in 2017, the NO PLAN EP brought together the original songs written for Bowie's Off-Broadway play, LAZARUS, including the titular ‘Lazarus’, ‘No Plan’, ‘Killing A Little Time’, and ‘When I Met You’, all recorded during the sessions for ★ (BLACKSTAR).

Exclusive to each of the box sets are MONTREUX JAZZ FESTIVAL and RE:CALL 6. The former was recorded on the 18th of July 2002 at the prestigious Montreux Jazz Festival and among the 31 tracks features a full performance bar one song of one of Bowie’s most revered albums, LOW. RE:CALL 6 features 41 non-album / alternative versions / b-sides and soundtrack songs, including tracks never previously available on CD or vinyl over 3CDs and 4LPs.

The physical box sets accompanying book, 128 pages in the CD box and 84 in the vinyl set, feature previously unseen notes, drawings and handwritten lyrics from Bowie and photos by Sukita (who took the set’s cover shot), Jimmy King, Frank W. Ockenfels 3, Markus Klinko, Mark ‘Blammo’ Adams and more as well as memorabilia, technical notes about the albums from co-producer Tony Visconti and design notes from Jonathan Barnbrook.

The CD box set will include faithfully reproduced mini-vinyl versions of the original albums where applicable, and the CDs will be gold-coloured rather than the usual silver. The vinyl box set has the same content as the CD set and is pressed on audiophile quality 180g vinyl.

DAVID BOWIE 6. I CAN’T GIVE EVERYTHING AWAY (2002 – 2016)

LP Box Set:

84 page hardback book

Heathen (Remastered) (1LP)

Montreux Jazz Festival (4LP) (Previously unreleased)*

Reality (Remastered) (1LP)

A Reality Tour (Remastered & Re-sequenced) (3LP)

The Next Day (Remastered) (2LP)

The Next Day Extra (Remastered) (1LP)

★ (Blackstar) (1LP)

No Plan (1LP)

Re:Call 6 (Non-album singles, edits, single versions, b-sides and soundtrack music) (Remastered) (4LP)*

* Exclusive to I CAN’T GIVE EVERYTHING AWAY LP box

CD Box Set:

128 page hardback book

Heathen (Remastered) (1CD)

Montreux Jazz Festival (2CD) (Previously unreleased)*

Reality (Remastered) (1CD)

A Reality Tour (Remastered & Re-sequenced) (2CD)

The Next Day (Remastered) (1CD)

The Next Day Extra (Remastered) (1CD)

★ (Blackstar) (1CD)

No Plan (1CD)

Re:Call 6 (Non-album singles, edits, single versions, b-sides and soundtrack music) (Remastered) (3CD)*

*Exclusive to I CAN’T GIVE EVERYTHING AWAY CD box

DAVID BOWIE 6. I CAN’T GIVE EVERYTHING AWAY (2002 – 2016)

CD & DIGITAL TRACKLISTING

HEATHEN

1. Sunday

2. Cactus

3. Slip Away

4. Slow Burn

5. Afraid

6. Iʼve Been Waiting For You

7. I Would Be Your Slave

8. I Took A Trip On A Gemini Spaceship

9. 5:15 The Angels Have Gone

10. Everyone Says ʻHiʼ

11. A Better Future

12. Heathen (The Rays)

MONTREUX JAZZ FESTIVAL

CD1

1. Sunday

2. Life On Mars?

3. Ashes To Ashes

4. Cactus

5. Slip Away

6. China Girl

7. Starman

8. I Would Be Your Slave

9. Ive Been Waiting For You

10. Stay

11. Changes

12. Fashion

13. Fame

14. Im Afraid Of Americans

15. 5:15 The Angels Have Gone

CD2

1. ‟Heroes”

2. Heathen (The Rays)

3. Everyone Says ‟Hi”

4. Hallo Spaceboy

5. Let’s Dance

6. Ziggy Stardust

7. Warszawa

8. Speed Of Life

9. Breaking Glass10. What In The World

11. Sound And Vision

12. Art Decade

13. Always Crashing In The Same Car

14. Be My Wife

15. A New Career In A New Town

16. Subterraneans

REALITY

1. New Killer Star

2. Pablo Picasso

3. Never Get Old

4. The Loneliest Guy

5. Looking For Water

6. She’ll Drive The Big Car

7. Days

8. Fall Dog Bombs The Moon

9. Try Some, Buy Some

10. Reality

11. Bring Me The Disco King

A REALITY TOUR

CD1

1. Rebel Rebel

2. New Killer Star

3. Reality

4. Fame

5. Cactus

6. Sister Midnight

7. Afraid

8. All The Young Dudes

9. Be My Wife

10. China Girl

11. The Loneliest Guy

12. The Man Who Sold The World

13. Fantastic Voyage

14. Hallo Spaceboy

15. Sunday

16. Under Pressure

17. Life On Mars?

18. Battle For Britain (The Letter)

CD2

1. Fall Dog Bombs The Moon

2. Ashes To Ashes

3. The Motel

4. Loving The Alien

5. Breaking Glass

6. Never Get Old

7. Changes

8. I’m Afraid Of Americans

9. ‟Heroes”

10. Bring Me The Disco King

11. Slip Away

12. Heathen (The Rays)

13. Five Years

14. Hang On To Yourself

15. Ziggy Stardust

THE NEXT DAY

1. The Next Day

2. Dirty Boys

3. The Stars (Are Out Tonight)

4. Love Is Lost

5. Where Are We Now?

6. Valentine’s Day

7. If You Can See Me

8. I’d Rather Be High

9. Boss Of Me

10. Dancing Out In Space

11. How Does The Grass Grow?

12. (You Will) Set The World On Fire

13. You Feel So Lonely You Could Die

14. Heat

THE NEXT DAY EXTRA E.P.

1. Atomica

2. Love Is Lost (Hello Steve Reich Mix By James Murphy For The DFA)

3. Plan

4. The Informer

5. I’d Rather Be High (Venetian Mix)

6. Like A Rocket Man

7. Born In A UFO

8. I’ll Take You There

9. God Bless The Girl

10. So She

★ (BLACKSTAR)

1. ★

2. ’Tis A Pity She Was A Whore

3. Lazarus

4. Sue (Or In A Season Of Crime)

5. Girl Loves Me

6. Dollar Days

7. I Can’t Give Everything Away

NO PLAN E.P.

1. Lazarus

2. No Plan

3. Killing A Little Time

4. When I Met You

RE:CALL 6

CD1

1. Slow Burn (Single Edit)

2. Wood Jackson

3. When The Boys Come Marching Home

4. Safe

5. Sunday (Moby Remix)

6. A Better Future (Remix By Air)

7. Slip Away (SACD Mix)

8. Slow Burn (SACD Mix)

9. I’ve Been Waiting For You (SACD Mix)

10. 5:15 The Angels Have Gone (SACD Mix)

11. A Better Future (SACD Mix)

12. Safe (SACD Mix)

13. Everyone Says ‘Hi’ (Radio Edit)

CD2

1. Sunday (Tony Visconti Mix)

2. Everyone Says ‘Hi’ (Metro Remix Radio Edit)

3. Heathen (The Rays) (Live In Berlin, 22/09/02)

4. Hop Frog — Lou Reed Featuring David Bowie

5. Saviour — Kristeen Young Featuring David Bowie

6. Isn’t It Evening (The Revolutionary) — Earl Slick Featuring David Bowie

7. Bring Me The Disco King (Loner Mix) — David Bowie Featuring Maynard James Keenan And John Frusciante (Taken From The Underworld Motion Picture Soundtrack)

8. New Killer Star (Radio Edit)

9. Love Missile F1-11

10. Fly

11. Queen Of All The Tarts (Overture)

12. Never Get Old (Single Edit)

13. Waterloo Sunset

14. Rebel Rebel (2003 Re-Record) (Taken From The Charlie’s Angels: Full Throttle Motion Picture Soundtrack)

15. New Killer Star (Sessions @ AOL Live Version, 23/09/03)

CD3

1. Days (Live)

2. 5:15 The Angels Have Gone (Live)

3. Rebel Never Gets Old (Radio Mix)

4. (She Can) Do That — David Bowie With BT (Taken From The Stealth Motion Picture Soundtrack)

5. Life On Mars? (Live At Fashion Rocks, 08/09/05)

6. Wake Up (Live At Fashion Rocks, 08/09/05) — David Bowie With Arcade Fire

7. Five Years (Live At Fashion Rocks, 08/09/05) — David Bowie With Arcade Fire

8. Arnold Layne (Live At The Royal Albert Hall, 29/05/06) — David Gilmour Featuring David Bowie

9. Love Is Lost (Hello Steve Reich Mix By James Murphy For The DFA Edit)

10. Sue (Or In A Season Of Crime) (2014 Version)

11. ’Tis A Pity She Was A Whore (2014 Version)

12. Lazarus (Radio Edit)

13. I Can’t Give Everything Away (Radio Edit)

DAVID BOWIE 6. I CAN’T GIVE EVERYTHING AWAY (2002 – 2016)

LP TRACKLISTING

HEATHEN

Side 1

1. Sunday

2. Cactus

3. Slip Away

4. Slow Burn

5. Afraid

6. I’ve Been Waiting For You

Side 2

1. I Would Be Your Slave

2. I Took A Trip On A Gemini Spaceship

3. 5:15 The Angels Have Gone

4. Everyone Says ʻHiʼ

5. A Better Future

6. Heathen (The Rays)

MONTREUX JAZZ FESTIVAL

Side 1

1. Sunday

2. Life On Mars?

3. Ashes To Ashes

4. Cactus

Side 2

1. Slip Away

2. China Girl

3. Starman

4. I Would Be Your Slave

Side 3

1. I’ve Been Waiting For You

2. Stay

3. Changes

4. Fashion

Side 4

1. Fame

2. I’m Afraid Of Americans

3. 5:15 The Angels Have Gone

4. ‟Heroes”

Side 5

1. Heathen (The Rays)

2. Everyone Says ‟Hi”

3. Hallo Spaceboy

Side 6

1. Letʼs Dance

2. Ziggy Stardust

3. Warszawa

Side 7

1. Speed Of Life

2. Breaking Glass

3. What In The World

4. Sound And Vision

5. Art Decade

Side 8

1. Always Crashing In The Same Car

2. Be My Wife

3. A New Career In A New Town

4. Subterraneans

REALITY

Side 1

1. New Killer Star

2. Pablo Picasso

3. Never Get Old

4. The Loneliest Guy

5. Looking For Water

6. She’ll Drive The Big Car

Side 2

1. Days

2. Fall Dog Bombs The Moon

3. Try Some, Buy Some

4. Reality

5. Bring Me The Disco King

A REALITY TOUR

Side 1

1. Rebel Rebel

2. New Killer Star

3. Reality

4. Fame

5. Cactus

6. Sister Midnight

Side 2

1. Afraid

2. All The Young Dudes

3. Be My Wife

4. China Girl

5. The Loneliest Guy

6. The Man Who Sold The World

7. Fantastic Voyage

Side 3

1. Hallo Spaceboy

2. Sunday

3. Under Pressure

4. Life On Mars?

5. Battle For Britain (The Letter)

Side 4

1. Fall Dog Bombs The Moon

2. Ashes To Ashes

3. The Motel

4. Loving The Alien

5. Breaking Glass

6. Never Get Old

Side 5

1. Changes

2. I’m Afraid Of Americans

3. ‟Heroes”

4. Bring Me The Disco King

Side 6

1. Slip Away

2. Heathen (The Rays)

3. Five Years

4. Hang On To Yourself

5. Ziggy Stardust

THE NEXT DAY

Side 1

1. The Next Day

2. Dirty Boys

3. The Stars (Are Out Tonight)

4. Love Is Lost

Side 2

1. Where Are We Now?

2. Valentine’s Day

3. If You Can See Me

4. I’d Rather Be High

Side 3

1. Boss Of Me

2. Dancing Out In Space

3. How Does The Grass Grow?

4. (You Will) Set The World On Fire

Side 4

1. You Feel So Lonely You Could Die

2. Heat

3. So She

4. Plan

5. I’ll Take You There

THE NEXT DAY EXTRA E.P.

Side 1

1. Atomica

2. Love Is Lost (Hello Steve Reich Mix By James Murphy For The DFA)

3. The Informer

Side 2

1. I’d Rather Be High (Venetian Mix)

2. Like A Rocket Man

3. Born In A UFO

4. God Bless The Girl

★ BLACKSTAR

Side 1

1. ★

2. ’Tis A Pity She Was A Whore

3. Lazarus

Side 2

1. Sue (Or In A Season Of Crime)

2. Girl Loves Me

3. Dollar Days

4. I Can’t Give Everything Away

NO PLAN E.P.

Side 1

1. Lazarus

2. No Plan

3. Killing A Little Time

4. When I Met You

Side 2

Etching

RE:CALL 6

Side 1

1. Slow Burn (Single Edit)

2. Wood Jackson

3. When The Boys Come Marching Home

4. Safe

5. Sunday (Moby Remix)

Side 2

1. A Better Future (Remix By Air)

2. Slip Away (SACDMix)

3. Slow Burn (SACD Mix)

4. I’ve Been Waiting For You (SACD Mix)

5. 5:15 The Angels Have Gone (SACD Mix)

Side 3

1. A Better Future (SACD Mix)

2. Safe (SACD Mix)

3. Everyone Says ‘Hi’ (Radio Edit)

4. Sunday (Tony Visconti Mix)

5. Everyone Says ‘Hi’ (Metro Remix Radio Edit)

Side 4

1. Heathen (The Rays) (Live In Berlin, 22/09/02)

2. Hop Frog — Lou Reed Featuring David Bowie

3. Saviour — Kristeen Young Featuring David Bowie

4. Isn’t It Evening (The Revolutionary) — Earl Slick Featuring David Bowie

5. Bring Me The Disco King (Loner Mix) — David Bowie Featuring Maynard James Keenan And John Frusciante (Taken From The Underworld Motion Picture Soundtrack)

Side 5

1. New Killer Star (Radio Edit)

2. Love Missile F1-11

3. Fly

4. Queen Of All The Tarts (Overture)

5. Never Get Old (Single Edit)

6. Waterloo Sunset

Side 6

1. Rebel Rebel (2003 Re-Record) (Taken From The Charlie’s Angels: Full Throttle Motion Picture Soundtrack)

2. New Killer Star (Sessions @ AOL Live Version, 23/09/03)

3. Days (Live)

4. 5:15 The Angels Have Gone (Live)

5. Rebel Never Gets Old (Radio Mix)

6. (She Can) Do That — David Bowie With BT (Taken From The Stealth Motion Picture Soundtrack)

Side 7

1. Life On Mars? (Live At Fashion Rocks, 08/09/05)

2. Wake Up (Live At Fashion Rocks, 08/09/05) — David Bowie With Arcade Fire

3. Five Years (Live At Fashion Rocks, 08/09/05) — David Bowie With Arcade Fire

4. Arnold Layne (Live At The Royal Albert Hall, 29/05/06) — David Gilmour Featuring David Bowie

5. Love Is Lost (Hello Steve Reich Mix By James Murphy For The DFA Edit)

Side 8

1. Sue (Or In A Season Of Crime) (2014 Version)

2. ’Tis A Pity She Was A Whore (2014 Version)

3. Lazarus (Radio Edit)

4. I Can’t Give Everything Away (Radio Edit)

DAVID BOWIE 6. I CAN’T GIVE EVERYTHING AWAY (2002 – 2016)

THE SIXTH IN A SERIES OF DAVID BOWIE BOX SETS

RELEASED 12th SEPTEMBER, 2025

Stay tuned for pre-order links.

Box cover image (c) Sukita - The David Bowie Archvie

#BowieICGEAbox