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...

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"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

V&A ANNOUNCES NEW DAVID BOWIE CENTRE DETAILS

“I had to cram so many things, To store everything in there…”

As you know, the David Bowie Centre will be opening at V&A East Storehouse ( @vam_east ) on 13 September 2025.

Admission will be free, but a timed ticket will be required. Tickets available soon, sign up here for details and updates:

We’ll be focusing on some of the exciting content in the lead up to opening day.

Meanwhile, watch how excited The Last Dinner Party were to be given exclusive access to some of the items from the archive here.

Keep reading for the full press release.

#DavidBowieCentre #DavidBowieArchive

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FRIDAY 4 JULY 2025

From guest-curated displays to unrealised projects, the V&A announces new details on the David Bowie Centre – opening at V&A East Storehouse on 13 September 2025

• A new home for David Bowie’s archive – V&A East Storehouse’s David Bowie Centre – gets visitors closer to Bowie’s creative process and legacy than ever before

• Nine displays include unrealised projects and newly uncovered revelations, plus, visitors can book one-on-one time with items from the archive

• Award-winning musician, producer, songwriter and David Bowie collaborator Nile Rodgers and Brit Award-winning indie rock band The Last Dinner Party guest curate a display

• Access to the David Bowie Centre is free and ticketed, with tickets released here https://www.vam.ac.uk/exhibitions/david-bowie-centre later in the year

• The David Bowie archive was acquired by the V&A through the generosity of the David Bowie Estate, the Blavatnik Family Foundation, and Warner Music Group

Today, the V&A announces its David Bowie Centre, opening 13 September 2025 at V&A East Storehouse, will feature an exclusive guest-curated display by Multiple award-winning musician, producer, songwriter and David Bowie-collaborator, Nile Rodgers, and Brit Award-winning indie rock band, The Last Dinner Party. These intimate selections from Bowie's archive offer new perspectives on one of the most iconic creatives of all time and sit alongside a series of other mini curated displays and installations exploring Bowie’s creative legacy and lasting influence.

Visitors to the David Bowie Centre, the new free-to-access working store and permanent home for David Bowie’s archive, can also book one-on-one time with their own selections from the 90,000+ items in his archive. The David Bowie archive was acquired by the V&A through the generosity of the David Bowie Estate, the Blavatnik Family Foundation and Warner Music Group. It joins over 1,000 archives from creative luminaries including Vivien Leigh, the House of Worth, and The Glastonbury Festival Archive.

Nile Rodgers, who produced Bowie's hugely successful single and 1983 album, Let's Dance, as well as 1993's Black Tie White Noise, has written, produced, and performed on records that have sold more than 750 million albums and 100 million singles worldwide. He has curated items reflecting what he calls his and Bowie’s shared ‘love of the music that had both made and saved our lives.’ His selections include:

• A bespoke Peter Hall suit worn by Bowie during the Serious Moonlight tour for the Let’s Dance album

• Chuck Pulin photographs of Bowie, Rodgers and guitarist Stevie Ray Vaughan recording Let's Dance in New York

• Personal correspondence between Bowie and Rodgers about the 1993 Black Tie White Noise album

• Peter Gabriel images of the recording sessions with backing vocalists Fonzi Thorton, Tawatha Agee, Curtis King Jr, Denis Collins, Brenda White-King, Maryl Epps, Frank Simms, George Simms, David Spinner, Lamya Al-Mughiery and Connie Petruk recording Black Tie White Noise.

Nile Rodgers, said:

“My creative life with David Bowie provided the greatest success of his incredible career, but our friendship was just as rewarding. Our bond was built on a love of the music that had both made and saved our lives.”

The Last Dinner Party is a Brit award-winning band, whose electrifying performance style draws inspiration from their shared love for Bowie. They have selected objects mostly from the 1970s that illustrate how Bowie continues to inspire generations of artists to ‘stand up for themselves and their music’ and ‘steal and reinterpret’ to create something unique. Their selection includes:

• Mick Rock photos showing Bowie in intimate recording studio moments

• Bowie’s elaborate handwritten lyrics for ‘Win’ from the 1974 album Young Americans

• Writings and set lists for the Station to Station tour, aka Isolar - 1976 Tour

• Bowie's Electronic Music Studios (EMS) synthesiser user manual. The ‘suitcase synth’ was used on the albums Low, Heroes and Lodger, the so-called ‘Berlin’ trilogy.

The Last Dinner Party on Bowie’s influences and their new discoveries

Georgia Davies, Lizzie Mayland, Abigail Morris, Aurora Nishevci and Emily Roberts of The Last Dinner Party, said:

“David Bowie continues to inspire generations of artists like us to stand up for ourselves. Bowie is a constant source of inspiration to us. When we first started developing ideas for TLDP, we took a similar approach to Bowie developing his Station to Station album – we had a notebook and would write words we wanted to associate with the band. It was such a thrill to explore Bowie’s archive, and see first-hand the process that went into his world-building and how he created a sense of community and belonging for those that felt like outcasts or alienated – something that’s really important to us in our work too.”

Curated displays

The V&A East curatorial team consulted with 18–25-year-olds from the four Olympic Boroughs of Hackney, Newham, Tower Hamlets and Waltham Forest through London Legacy Development Corporation and Queen Elizabeth Olympic Park’s Elevate Youth Voice. The resulting displays delve into various elements of Bowie’s archive and creative legacy, encompassing everything from private photographs to handwritten lyrics, self-portraits, his own artist’s palette, sketches, costumes, and designs.

Nine rotating displays reveal aspects of Bowie's extraordinary creative capacity, including ideas for projects that were never realised. Highlights include an idea to adapt George Orwell's 1984 and unrealised Young Americans and Diamond Dogs films.

Other displays explore Bowie’s creation of his iconic personas including Ziggy Stardust and Aladdin Sane and look at his embrace of technology, futurism and science fiction, plus his legendary 1987 Glass Spider tour and concert at the Berlin Wall. Others spotlight Bowie’s creative collaborators including Gail Ann Dorsey, and the creation of the 1975 Young Americans album, alongside his wide-spread creative influence and legacy.

Madeleine Haddon, Curator, V&A East said:

“Bowie embodied a truly multidisciplinary practice—musician, actor, writer, performer, and cultural icon—reflecting the way many young creatives today move fluidly across disciplines and reject singular definitions of identity or artistry. His fearless engagement with self-expression and performance has defined contemporary culture and resonates strongly with the values of authenticity, experimentation and freedom that we celebrate across the collections at V&A East Storehouse. This archive offers an extraordinary lens through which to examine broader questions of creativity, cultural change, and the social and historical moments during which Bowie lived and worked. In the Centre, we want you to get closer to Bowie, and his creative process than ever before. For Bowie fans and those coming to him for the first time, we hope the Centre can inspire the next generation of creatives.”

For more information on The David Bowie Centre and to sign-up for updates, please visit: vam.ac.uk/exhibitions/david-bowie-centre

What to expect in the David Bowie Centre

As well as a new visitor experience, first and foremost, the David Bowie Centre is a working archive and store for Bowie’s paper-based archive with reading and study rooms. The Centre is brought to life with a series of small, curated areas including a new film showcasing a selection of performances from across Bowie’s career, and an interactive installation tracing the wide-spread impact of Bowie on popular culture from the sit-com Friends to Issey Miyake fashion and musicians from Lady Gaga, Charli XCX, Janelle Monae, and Kendrick Lamar. A series of rotating mini displays exploring different themes and elements of the archive shows approximately 200 items at one time.

A central space for facilitated object handling and exploring facsimile topic boxes also includes overhead rails of hanging Tyvek bags storing some of Bowie’s most iconic fashion and costume. These range from Freddie Burretti’s Ziggy Stardust looks to Agnes b’s Heathen ensembles, and Bowie’s 1992 Thierry Mugler wedding suit. These costumes can be ordered for closer looking as part of one-on-one appointments by using the V&A’s Order an Object service.

The David Bowie Centre is part of V&A East Storehouse at East Bank in Queen Elizabeth Olympic Park. Access to the David Bowie Centre is free and ticketed, with tickets released closer to opening.

About the David Bowie archive

The David Bowie archive encompasses 90,000+ items tracing Bowie’s creative processes as an innovator, cultural icon, and advocate for self-expression and reinvention. Items range from 414 costumes and accessories to a series of set models, nearly 150 musical instruments, amps, and other sound equipment, 187 awards, as well as life masks, framed art, merchandise including tour t-shirts, posters, Bowie’s own desk, props and scenery for concerts, film and theatre. Paper-based material includes notebooks, diaries, lyrics, scripts, correspondence, project files, writings, unrealised projects, cover artwork, designs, concept drawings, fan mail and art. Most of the paper-based material is made up of photographic prints, negatives and transparencies, numbering over 70,000 items.

Highlights include stage costumes such as Bowie’s Ziggy Stardust and Aladdin Sane ensembles designed by Freddie Burretti and Kansai Yamamoto (1970s), lyrics for songs including Fame (1975), Heroes (1977) and Ashes to Ashes (1980), as well as examples of the ‘cut up’ method of writing introduced to Bowie by the writer William Burroughs.

Cataloguing the David Bowie archive is ongoing and one of the largest V&A cataloguing projects to-date. The V&A aims to complete the cataloguing process by the end of 2026.

One-to-one bookings

Bookings to see 3D items from the David Bowie archive, including costumes, musical instruments, models, props and scenery, can be made through the V&A’s new sevenday-a-week Order an Object service. Visitors can book up to five items per visit at a time that suits them. Bookings require at least two weeks’ notice and Bowie items will begin to go live for advance booking from September.

Once the Centre opens, paper-based items including sketches, designs, writings, lyrics, press cuttings, and photographic prints, negatives and transparencies can be consulted through scheduling advance appointments with the Archives team.

Design approach

The David Bowie Centre is designed by London and Paris-based design company, IDK, and celebrates the unique environment of V&A East Storehouse and the extraordinary character of David Bowie himself. Balancing storage with stagecraft, the Centre is a dynamic space to explore Bowie’s life, work and legacy offering a deeply personal insight into Bowie’s world.

Built using V&A East Storehouse’s existing utilitarian ‘kit of parts’ system, the Centre features a mix of permanent and rotating displays, a dedicated study room, and an object handling space. Open and inclusive, IDK’s design approach is inspired by Bowie’s own creative method of cutting up and rearranging ideas — bringing together different elements to form something new, surprising, and alive.

Supporters

V&A East Storehouse opened on 31 May 2025. It is supported by Garfield Weston Foundation, The Foyle Foundation, Frédéric Jousset, David and Molly Lowell Borthwick, the Wolfson Foundation, The Rosalinde and Arthur Gilbert Foundation, Clore Duffield Foundation and many other generous supporters.

Opening on 13 September 2025, V&A East Storehouse’s free to access David Bowie Centre will be the new home of David Bowie’s Archive, made possible thanks to the David Bowie Estate and a generous donation from the Blavatnik Family Foundation and Warner Music Group.

About V&A East Storehouse

• V&A East Storehouse immerses visitors in over half a million works spanning every creative discipline from fashion to theatre, streetwear to sculpture, design icons to pop pioneers. A busy and dynamic working museum store with an extensive self-guided experience, visitors can now go behind the scenes and get up-close to their national collections on a scale and in ways not possible before.

• Diller Scofidio + Renfro are lead architects for V&A East Storehouse, with support from local architects, Austin-Smith:Lord. IDK are the designers of The David Bowie Centre. Fieldwork Facility are the wayfinding and interpretation designers. We Not I are the external signage designers.

• V&A East Storehouse is open 10:00-18:00, seven-days-a-week, with late night openings every Thursday and Saturday to 22:00. Late nights include access to the V&A’s revolutionary new Order an Object service, curated self-guided experience and displays, special events, and café, e5 Storehouse.

• Visitors can order objects stored at V&A East Storehouse at a time that suits them via the V&A’s Order an Object page.

• V&A East Storehouse is the first of V&A East’s two new cultural destinations to open in east London. The second, V&A East Museum, is scheduled to open in spring 2026, and celebrates making and creativity’s power to bring change.

About East Bank

• East Bank is the UK’s newest cultural quarter at the heart of Queen Elizabeth Olympic Park. The place where everything happens – entertainment, inspiration and discovery – and open to everyone who visits, lives and works in East London.

• East Bank represents the biggest ever cultural investment by the Mayor of London, with support from HM Government and the four Olympic boroughs.

• East Bank is made up of BBC Music Studios; London College of Fashion, UAL; Sadler’s Wells East; UCL (University College London); V&A East Museum & Storehouse.

• London College of Fashion, UAL, and UCL East (University College London) opened the doors of their new campuses in Autumn 2023 and Sadler’s Wells East opened in February 2025. V&A East Storehouse opened on 31 May 2025, V&A East Museum is scheduled to open in spring 2026, and BBC Music Studios in late 2026/early 2027.

• A powerhouse for innovation, creativity and learning in Queen Elizabeth Olympic Park, East Bank is rooted in the diverse communities of East London and is a reflection of the creative spirit and the legacy of the London 2012 Olympic and Paralympic Games.

About the Blavatnik Family Foundation

Led by Sir Leonard Blavatnik, founder of Access Industries, the Blavatnik Family Foundation promotes innovation, discovery, and creativity to benefit the whole of society. Through the Foundation, the Blavatnik family has contributed over $1.3 billion globally to advance science, education, arts and culture, and social justice.

www.blavatnikfoundation.org

About Warner Music Group

Warner Music Group (WMG) brings together artists, songwriters, entrepreneurs, and technology that are moving entertainment culture across the globe. Operating in more than 70 countries through a network of affiliates and licensees, WMG’s Recorded Music division includes renowned labels such as Atlantic, Elektra, Nonesuch, Parlophone, Reprise, Rhino, Sire, Warner Records, Warner Classics. WMG’s music publishing arm, Warner Chappell Music, has a catalog of over one million copyrights spanning every musical genre, from the standards of the Great American Songbook to the biggest hits of the 21st century. Warner Music Group is also home to ADA, which supports the independent community, as well as artist services division WMX. Follow WMG on Instagram, X, TikTok, LinkedIn, and Facebook.

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BOWIE TRIUMPHS AT THE BBC RADIO THEATRE 25 YEARS AGO TODAY

“Came to London Town...”

On 25th September 2000, the BBC showed an hour of David Bowie’s exclusive appearance at the BBC Radio Theatre in London, which was recorded three months earlier on 27th June 2000.

The full 22-song set was originally performed in front of an intimate gathering of celebrities and BowieNetters and featured the band that played Glastonbury just two days earlier and who also started recording the TOY album shortly afterwards.

However, just the following 11 songs from the show were broadcast by the BBC:

01 - Wild Is The Wind

02 - Ashes to Ashes

03 - This Is Not America

04 - Absolute Beginners

05 - Little Wonder

06 - The Man Who Sold The World

07 - Fame

08 - Stay

09 - Hallo Spaceboy

10 - Cracked Actor

11 - I’m Afraid Of Americans

The BBC rebroadcast the show last week and it’s still available for another three weeks or so to those of you who can access the BBC iPlayer.

Two songs not shown at the time, The London Boys and I Dig Everything, are available on the official David Bowie YouTube channel.

The audio of twenty tracks from the show is available as the expanded version of BBC Radio Theatre, London, June 27, 2000 included in the Brilliant Adventure box.

#BowieAtTheBeeb #BowieBBCRadioTheatre #Bowie2000

GLASTONBURY 2000 25 YEARS AGO TONIGHT

“One magical moment…”

“Not only the greatest Glastonbury headline performance but the best headline slot at any festival ever” - NME

Bowie first played Glastonbury in June 1971 to a small but appreciative crowd, giving him the confidence to return twenty-nine years later to a somewhat larger and a considerably more appreciative audience. That return to Glastonbury was twenty-five years ago this evening.

Today’s lyric quotation from Station To Station was a sentiment clearly shared by Glastonbury co-organiser, Emily Eavis, who commented in 2018: “I often get asked what the best set I've seen here at Glastonbury is, and Bowie's 2000 performance is always one which I think of first. It was spellbinding; he had an absolutely enormous crowd transfixed. I think Bowie had a very deep relationship with Worthy Farm and he told some wonderful stories about his first time at the Festival in 1971, when he stayed at the farmhouse and performed at 6am as the sun was rising. And he just played the perfect headline set. It really was a very special and emotional show”.

Emily’s father Michael, the founder of the festival who first met David at Glastonbury in 1971 said “He’s one of the three greatest of all-time: Frank Sinatra, Elvis Presley and David Bowie.”

Those of you who subscribe to our David Bowie Mailing List will have already seen this email with a link to preorder a repress of the Bowie Glastonbury 2000 triple vinyl set in simplified packaging, due on 1st August.

Go here for a few of BlamSnap’s images taken at rehearsals, backstage and during the show itself:

📸 @BlamSnap 2000/2025

#BowieGlasto2000 #Bowie2000

DANCING IN THE STREET - 40th ANNIVERSARY WHITE VINYL 12” - JAGGER SPEAKS

“When people stared in Jagger’s eyes and scored, Like the video films we saw...”

The headline says it all but keep reading for the press release and a few words from Sir Michael Philip Jagger himself, along with a link to the upgraded 4k video.

#BowieLiveAid #BowieJaggerDancing #BowieJaggerDITS

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DAVID BOWIE & MICK JAGGER - DANCING IN THE STREET

40th ANNIVERSARY - LIMITED EDITION REMASTERED WHITE VINYL 12”

AVAILABLE 29th AUGUST 2025 ON PARLOPHONE HERE

WATCH THE UPGRADED 4K VIDEO NOW HERE

‘’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.” Mick Jagger, June 2025

LONDON, 10TH JUNE 2025 - 40 years ago today, Live Aid, the benefit concert organised by Bob Geldof and Midge Ure to raise further funds for relief of the famine in Ethiopia, was announced with a press conference on the pitch at Wembley Stadium. The show was held simultaneously on Saturday, 13th July 1985, at Wembley and John F. Kennedy Stadium in Philadelphia. One of the day's highlights was the surprise duet of the Motown classic, 'Dancing In The Street', between David Bowie and Mick Jagger.

The video for the track, which, like the song, had only been recorded and filmed in thirteen hours, only fourteen days earlier, was shown at 7 pm in the UK (2 pm in Philadelphia), just before Bowie took to the stage at Wembley Stadium. 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 chart.

To celebrate the 40th anniversary of the track, a limited edition white vinyl 12" will be released on 29th August, 2 days after its anniversary, bringing together all of the song's mixes for the first time. 30% of the retail price from the sale of this single will be donated by David Bowie, Mick Jagger and Parlophone Records to The Band Aid Charitable Trust (Charity Number 292199).

The original plan for Live Aid was to perform the track together live, with Bowie at Wembley Stadium and Jagger at John F. Kennedy Stadium in Philadelphia. It soon became apparent that the satellite link-up between the two countries would mean a half-second delay, rendering the plan impossible. Instead, the pair convened at Westside Studios in London on 29th June, where Bowie was working with producers Clive Langer & Alan Winstanley. The duo went directly from the studio to Spillers Millennium Mills in the East End to shoot the video with director David Mallet, who had previously worked with Bowie on the groundbreaking Ashes To Ashes video. The video has been upgraded to high resolution to celebrate the anniversary using the original film negative.

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 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)

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