DAVID BOWIE - THE SHEL TALMY RECORDINGS

“I want your love...”

Read on for the full press release.

#Bowie1965 #BowieTalmy

DAVID BOWIE - THE SHEL TALMY RECORDINGS

THE DEFINITIVE 1965 COLLECTION FEATURING TEN PREVIOUSLY UNRELEASED TRACKS ON CD & DIGITAL & SIX ON VINYL

AVAILABLE ON CD, LP, DIGITAL, AND LIMITED EDITION OFFICIAL BOWIE STORE RED VINYL

PLUS ALTERNATIVE COVER VINYL STRICTLY LIMITED TO 1965 COPIES AVAILABLE FROM RECORD STORE DAY OUTLETS & HMV

RELEASED ON PARLOPHONE 18th SEPTEMBER 2026 - AVAILABLE FOR PRE-ORDER NOW

LISTEN TO THE PREVIOUSLY UNHEARD I WANT YOUR LOVE NOW

“I thought he absolutely was going to make it. The only unfortunate thing is that he and I were about six years ahead of the market.” Shel Talmy, 2017

DAVID BOWIE THE SHEL TALMY RECORDINGS is the most complete collection of tracks recorded by a nascent David Bowie, then Davie Jones, with legendary ‘60s producer Shel Talmy, best known for his groundbreaking hits with The Who and The Kinks. The album features ten previously unheard tracks on CD and digital, and six songs on LP, with contributions from legendary Yardbirds and Led Zeppelin guitarist Jimmy Page, then a guitar slinger for hire, and Nicky Hopkins, celebrated piano player for The Rolling Stones, The Beatles, The Who and Jeff Beck.

As the musician and music historian Alec Palao puts it in his comprehensive sleeve notes that accompany the album, “David Bowie the artist is a book of chapters, the turn of each page delivering something completely different and unexpected from the last. And in perusal, a cardinal error would be to pit any of these episodes against the others, when in fact each fascinating phase in his career should be considered complementary. This collection, a primary chapter if not the very earliest instalment in David’s musical journey, deserves legitimate consideration. It is invariably tempting to search for clues in an artist’s tentative beginnings, and Bowie’s juvenilia has been dissected more than most, but this has rarely been done within the proper context. The sounds here should not be judged by the standards of his later career, but by the standards of what was happening in Britain at that precise point in time. In which case, they speak as loudly of the excitement of London and its music scene in that pivotal year of 1965 as they do for the launch of its brightest future star.”

Bowie and Talmy first encountered each other while frequenting London’s Denmark Street, which is now a guitar aficionado’s paradise but was then the centre of the British music industry, where budding songwriters sold their songs to the big publishers of the day. The ex-pat American Talmy had already achieved huge success with The Kinks, and was about to with The Who, as he branched out on his own to develop new talent after working as a staff producer upon his arrival in the UK. Talmy signed David and the Manish Boys in December 1964 and set about recording them, but Bowie was already moving on, forming Davie Jones & The Lower Third. The majority of the recordings Bowie made with Talmy featured The Lower Third or were solo demos. Talmy’s studio of choice was invariably IBC in Portland Place, also a favourite of The Who, who later recorded Tommy there, and which he considered to have the best outboard gear in London. The up-and-coming Glyn Johns, later to work with The Beatles, The Rolling Stones, The Who, and many more, was the engineer, and the producer had enough confidence in the combo’s abilities to bring in just the one outside player and the producer had enough confidence in The Manish Boys to bring in just the one outside player. Jimmy Page was the precocious guitar-slinger Talmy used to supercharge the more anaemic of his acts, and in this period, the future Yardbirds/Led Zeppelin eminence would frequently bring along his new toy, a custom-built fuzz pedal, to add extra bite. For The Lower Third’s IBC session, Nicky Hopkins was featured on keyboards.

This year in Bowie’s career clearly held great importance to him; in 1973, when he recorded the ‘Pin-Ups’ album, it was very much a love letter to that time in his life and to the sound of the bands that had inspired him. No fewer than four titles on ‘Pin-Ups’ (by The Kinks, The Who and The Easybeats) were originally produced by Shel Talmy. Featured on this new collection are tracks such as ‘You’ve Got A Habit Of Leaving’ and ‘Baby Loves That Way’, originally released as singles on Parlophone, that Bowie would return to later in his career, re-recording them with his Glastonbury band for the album ‘TOY’, which would finally be released in 2021.

By the end of September 1965, Davie Jones was now David Bowie, and he was once more writing another musical chapter, but the twenty-two songs featured here capture a very special time just before the ‘birth’ of David Bowie.

DAVID BOWIE THE SHEL TALMY RECORDINGS

You've Got A Habit Of Leaving (2026 Remaster)^

I Want Your Love *^

Cupid *^

I Pity The Fool (2026 Remaster)+

Baby Loves That Way (2026 Remaster)^

Keep Up With The Jones (Instrumental) *^

Leave Her To Me *^

I’ll Follow You^

You Gotta Tell Her *^

Take My Tip (2026 Remaster)+

Certain Woman *^

Today (Demo) *-

I Want My Baby Back (Demo) (2026 Remaster)-

I Live In Dreams (Demo) *-

Bars Of The County Jail (Demo)-

That’s Where My Heart Is (Demo) (2026 Remaster)-

I Do Believe I Love You (Demo) *-

You’ve Got A Habit Of Leaving (Alternative overdub/vocal) (2026 Remaster)^

I Pity The Fool (Alternative vocal take) (2026 Remaster)+

Baby Loves That Way (Alternative vocal take) *^

Take My Tip (Alternative vocal take) (2026 Remaster)+

*Previously Unreleased

^ Davie Jones & The Lower Third

+ The Manish Boys

- Davie Jones

DAVID BOWIE THE SHEL TALMY RECORDINGS

VINYL

Side One

You've Got A Habit Of Leaving (2026 Remaster) ^

I Pity The Fool (2026 Remaster) +

Baby Loves That Way (2026 Remaster) ^

I’ll Follow You^

Take My Tip (2026 Remaster) +

Side Two

I Want Your Love *^

Cupid *^

Keep Up With The Jones (Instrumental) *^

Certain Woman *^

Leave Her To Me *^

You Gotta Tell Her (2026 Remaster) *^

*Previously Unreleased

^ Davie Jones & The Lower Third

+ The Manish Boys

- Davie Jones

All tracks produced by Shel Talmy

Mastered & Remastered in 2026 by John Webber

Davie Jones & The Lower Third

Phil Lancaster - Drums

Graham Rivens - Bass

Denis Taylor - Guitar

Les Mighall - Drums

David Bowie - Vocals & Harmonica

The Manish Boys

Mick White - Drums

John Watson - Bass

Johnny Flux - Guitar

Bob Solly - Organ

David Bowie - Vocals

V&A ANNOUNCES UK TOUR OF HIGHLIGHTS FROM BOWIE ARCHIVE

“Yeah! I ran to the street looking for information...”

Image: Polaroid from David Bowie's costume fittings for the character Jareth in the 1986 film, Labyrinth. One of the highlights from David Bowie’s archive travelling to venues across the UK for the V&A’s David Bowie: On Tour from November 2026.

Photo © Victoria and Albert Museum London

#DavidBowieOnTour

NEWS RELEASE:

V&A announces national tour of highlights from David Bowie’s archive – travelling across the UK from November 2026

Issue date: Wednesday 1 July 2026

• Over 100 highlights from the V&A’s David Bowie’s archive to go on show in Dundee, Blackpool, Hull, County Durham, Bristol and beyond

• Outside of London’s V&A East Storehouse, David Bowie: On Tour is the only opportunity to see such a range of items from Bowie’s personal archive up-close

• Tour gives rare glimpse into David Bowie’s creative process and how he shaped his iconic image, music, video, TV and film work

• Highlights include legendary costumes, musical instruments + career-spanning photography, plus never-before-seen items including Polaroids for make-up and costume fittings, a Ziggy Stardust-era acoustic guitar, unrealised projects, handwritten lyrics, performance notes and costumes from Bowie’s final albums, The Next Day and ★ (Blackstar)

Today, the V&A and partner venues across the UK announce a landmark national tour celebrating the creativity and enduring cultural impact of David Bowie. Bringing together 100 highlights from the V&A’s David Bowie archive – many that have never been on public display before – David Bowie: On Tour will travel to venues across the UK across multiple years, kicking-off at V&A Dundee (November 2026 –February 2027).

Following its debut in Scotland, the tour continues to Showtown in Blackpool (June–September 2027), the Bowes Museum in County Durham (October 2027–January 2028), the Ferens Art Gallery in Hull (February–May 2028), and Bristol Museum and Art Gallery (June–September 2028), with further venues to be announced in due course.

David Bowie: On Tour marks the first time highlights from David Bowie’s archive have been shared on this scale across the UK, outside of London, bringing Bowie’s story and creative imagination to new audiences across the country. This touring programme is part of the V&A’s commitment to widening access to its collections, ensuring audiences across the UK can experience their national collections where they live.

Across four sections, David Bowie: On Tour takes audiences behind the scenes into Bowie’s creative process, exploring how he created his ever-evolving image, music and screen work.

Sir Tristram Hunt, Director of the V&A, said: “David Bowie: On Tour is a landmark national partnership for the V&A, bringing highlights from David Bowie’s extraordinary archive to audiences across the UK for the first time. Working with our colleagues in museums and venues nationwide, we’re opening up Bowie’s story in the places connected to his life and legacy, ensuring people across the country can experience these remarkable objects where they live, and be inspired by his enduring creativity.”

Harriet Reed, Curator of Contemporary Performance at the V&A, said: “David Bowie’s archive reveals an artist in constant motion — a restless, forward-looking mind at work beyond the music and images we know. From fan art and his first instrument to unrealised projects, handwritten notes and unseen sketches, David Bowie: On Tour brings visitors up close to the ideas behind his work — including items from The Next Day and ★ (Blackstar) never shown before — offering new insight into how his creativity took shape. It’s a rare chance to step inside Bowie’s imagination and experience the curiosity and daring that defined his life’s work.”

About David Bowie: On Tour

David Bowie: On Tour unfolds across four sections, each offering a different lens on Bowie’s creative life.

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The opening section, ‘Bowie Through a Lens’, explores how photography shaped Bowie’s image and identity, featuring work by Terry O’Neill, Mick Rock, Sukita, Brian Ward and more.

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The second section, ‘All the Somebody People’ focuses on Bowie onstage and in the studio across four defining eras, revealing how he continually reinvented his sound and personas:

• Ziggy Stardust offers a case study in Bowie’s songwriting prowess and how he crafted his iconic persona, from Freddie Burretti and Kansai Yamamoto costumes to Bowie’s handwritten notes and cut-ups plotting the album, sketches for the tour, and a seminal acoustic guitar from the era – on display for the first time.

• Bowie’s Berlin years highlight his pioneering use of techniques and recording equipment in the studio with Tony Visconti and Brian Eno for albums Low (1977), “Heroes” (1977), and Lodger (1979). From Bowie’s keys to his apartment at Hauptstraße 155, Berlin, to his unseen sketches and concept art for the cover of Low, handwritten lyrics for Lodger’s ‘Look Back in Anger’, and the koto, the Japanese musical instrument, used by Bowie on ‘Moss Garden’ from “Heroes”.

• Let’s Dance reveals how Bowie created the blueprint for major stadium tours, with a series of unseen lyrics and a set design for the Serious Moonlight tour on show for the first time, alongside photography of studio recording sessions and the album’s cover shoot.

• ★ (Blackstar) explores Bowie’s symbolism in recalling previous eras through his final recording, with items including Bowie’s handwritten lyrics for the song ★ (Blackstar), and hand-painted costume for the ‘Lazarus’ music video, alongside performance notes and props, giving never-before-seen insight into the album’s creation.

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The third section, ‘Hooked to the Silver Screen’, reveals Bowie’s groundbreaking performances on screen, from him pushing the boundaries with his approach to music videos to his iconic film and TV roles and unexpected cameos. Highlights include:

• Bowie’s storyboard sketches and the Natasha Korniloff-designed costume for his ‘Ashes to Ashes’ music video (1980) to his collaborations with Flora Sigismondi for the ‘Little Wonder’ music video (1997) and unseen video treatments, scripts and props for ‘The Stars are Out Tonight’ video for The Next Day album (2013).

• Contact sheets from Bowie’s first ever film set, The Image (1967), the clapperboard used for The Man Who Fell to Earth (1975), his unseen prep-notes for Merry Christmas, Mr Lawrence (1983) and his script, character notes and Polaroids of costume fittings for his character Jareth in the 1986 fantasy film, Labyrinth – along with other Polaroids of make-up tests.

• Bowie’s further onscreen moments including his role as narrator for The Snowman (1982) and his star turn as Lord Royal Highness in 2006’s SpongeBob SquarePants movie, alongside a script for an episode of The Simpsons that Bowie politely declined.

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The final section, ‘I Can’t Give Everything Away’, explores Bowie’s interest in time, documenting his process and legacy. The items and personal possessions that Bowie chose to keep in his archive are revealing, showing a creative mind constantly thinking about the next project. Highlights include:

• Musical instruments and equipment, including Bowie’s first instrument, the Grafton Alto saxophone bought for him by his father in 1961 and the harmonica microphone used on his last live tour (A Reality Tour, 2003 – 2004).

• Personal items, such as fan art, the stopwatch he used when songwriting, his 1988 British passport and his advance copy of The Velvet Underground’s 1967 ‘I’m Waiting for the Man’ record. Other items include a handwritten to-do list with the workshops, interviews and museum visits Bowie had planned, charts revealing the projects he wanted to achieve – and those that went unrealised, such as Bowie’s handwritten synopsis for a proposed TV film called The Catastrophy Cabinet dating to around 1974 – 1975.

• Items revealing Bowie organising his thoughts and planning for the future span his 1977 inventory of costumes to documents revealing his thought process and how he saw the music industry evolving, the song chart he used during the Earthling tour (1997) and post-it note conversations with his archive team about items he chose to hold onto.

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David Bowie: On Tour has been developed by V&A Touring and V&A National Programmes, in collaboration with partner venues across the UK, and is curated by Harriet Reed, Curator of Contemporary Performance at the V&A.

The David Bowie archive was acquired by the V&A in 2024 through the generosity of the David Bowie Estate, the Blavatnik Family Foundation and Warner Music Group. It comprises more than 90,000 items spanning Bowie’s extraordinary career, from iconic costumes and musical instruments to handwritten lyrics, photography, stage designs and personal papers. Visitors can book free one-to-one appointments with items from David Bowie’s archive through the V&A’s Order an Object and Archives Appointment services and also visit the David Bowie Centre – the archive’s permanent home – at V&A East Storehouse as part of East Bank in Queen Elizabeth Olympic Park.

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