MADI: Once Upon a Time in the Future

THE BIGGEST SCI-FI MOVIE OF 2020 IS A GRAPHIC NOVEL - MADI: Once Upon a Time in the Future

“So as happenstance has happened to stance, I began working on this project about a year ago and it's come to fruition now!

It’s a graphic novel I created with the multiple Eisner nominated comic guru Alex de Campi, and I am so bloody proud of it. If you are in any way into comics, sci-fi or a good yarn, it brings together some absolute legends in the world of comic art, to tell a sci-fi story penned by me, and adapted to the comic medium by Alex and myself.

Just look at that list of artists! I think you'll all really like it.” - Duncan Jones

Just over a year ago in April 2019, MOON & MUTE writer / director Duncan Jones put the feelers out over Twitter about potentially telling the third instalment of what has come to be known as the Mooniverse trilogy in graphical novel format.

At the time Duncan was completely new to the format as a creator (massive comics fan though, especially 2000AD which led to him getting on board to direct the forthcoming feature film adaptation of Rogue Trooper) so in typical fashion he surrounded himself with experts in the field and what began as a quick Twitter ponder has evolved into MADI: Once Upon a Time in the Future in collaboration with his “sherpa” Eisner award nominated writer Alex de Campi.

MADI: Once Upon a Time in the Future was officially launched on Kickstarter on the 19th of May, the campaign reached its goal of $50,000.00 on that same day, within hours!

Less than a week after launch MADI: Once Upon a Time in the Future has just gone past $250,000.00 and hit the front page of Kickstarter as a featured project and has been shared and backed with much enthusiasm by the likes of Colin Hanks, Jonathan Ross, Guillermo del Toro, Alex Winter, Mark Kermode, David Baddiel, Peter Ramsey, Clint Mansell, Edgar Wright, and most excitingly for Duncan, legendary author William Gibson who tweeted out

“I first read this as a screenplay. Having myself experienced what can happen when a screenplay becomes a graphic novel, to say I'm excited by this Kickstarter is very much an understatement!”

The Mooniverse Trilogy started with Duncan’s multi award winning feature film debut MOON in 2009, and continued with the exclusive to Netflix feature set in near future Berlin, MUTE in 2018 in which we catch a glimpse of how things work out for Sam Bell after the end of MOON, so the series give us stories set in that shared Universe rather than direct sequels. If you’re keen to spend more time in the Mooniverse, have a thirst for incredible art and storytelling, and a hankering for ‘The biggest sci-fi movie of 2020’, MADI is for you!

So, what’s it all about?…

MADI is a 260-page road trip graphic novel set in the near future, by film director Duncan Jones (MOON, SOURCE CODE) and writer Alex de Campi (BAD KARMA, BLADE RUNNER), and drawn by some of comics’ most exciting artists including Glenn Fabry, Simon Bisley, Duncan Fegredo and Pia Guerra. Each artist tackles a 8-30 page section of the story, bringing to life one location.

Madi Preston, a veteran of Britain’s elite special operations J-Squad unit, is burnt out and up to her eyeballs in debt. She and the rest of her team have retired from the military but are now trapped having to pay to service and maintain the technology put into them during their years of service. They're working for British conglomerate Liberty Inc as mercenaries, selling their unique ability to be remote controlled by specialists while in the field, and the debts are only growing as they get injured completing missions. We meet Madi as she decides she’s had enough. She will take an off-the-books job that should earn her enough to pay out her and her sister, but when the piece of tech she’s supposed to steal turns out to be a kid, and she suddenly blacks out... she finds herself on the run from everyone she’s ever known.

In a globe-spanning adventure from Shanghai to Soho, Madi has to stay one step ahead of the giant corporations closing in on her from all sides.

MADI is the third and final story in the “Mooniverse,” an anthology of independent stories that take place in a shared future. You don’t need to have seen MOON or MUTE to fully enjoy this standalone book.

Having met and far exceeded the initial goal, Duncan and Alex are busy responding to comments from backers on the Kickstarter page, and adding additional content to all options for all backers as a way of thanking everyone for backing MADI. What began as an extremely exciting project is getting better and better as the days go by.

If you can’t quite stretch to it yet, or need some convincing, there’s even the first 17 pages to download and read now, free!

For further details on how to pick up a copy (variants of softcover or hardback), AND have Duncan tell you all about it (check out the video at the top of the Kickstarter page), please head over to the MADI: Once Upon a Time in the Future Kickstarter page now!

#MadiGraphicNovel

Lodger is 41 today

“And it won’t be forgotten”

We don't normally celebrate landmarks in Bowie’s career unless they are in five year increments, but we’ve broken that loose rule today.

In a piece about a promotional T shirt for Lodger in the BOWIE KOOKS fan group on this day last year, we mentioned the 40th anniversary of the album in passing.

Here’s what we said: “With evidence now suggesting that we've been celebrating Lodger a week too early (actual release date is more likely to be May 25th, 1979), here's a very rare promo Lodger T-shirt.”

Further research proves that May 25th, 1979, was indeed the date Lodger was released. The biggest clue has been chart entry dates, particularly during the period when Bowie’s albums would enter the UK chart upon release.

With Lodger, there were other pieces of evidence proving the date of May 18th highly unlikely.

Either way, if you’re not familiar with the album, check out the original 1979 version or Tony Visconti’s 2017 Mix. Here’s Fantastic Voyage from the latter, an incredible song that could have been written for today’s times.

Cover image of Lodger by Duffy Archive.

#BowieLodger #BowieFantasticVoyage #ANewCareerInANewTownBox

LIVEANDWELL.COM is streaming now

“You're released but your custody calls, And I want to be free...”

Well, the 15th has been and gone and LIVEANDWELL.COM is available for streaming everywhere now.

If you've not listened yet, it's a great document of the 1997 shows and it works perfectly as a coherent live album despite being compiled from various gigs, as listed below.

DAVID BOWIE - LIVEANDWELL.COM TRACKLISTING

01 - I'm Afraid Of Americans (Radio City Music Hall New York, 15th October, 1997)

02 - The Hearts Filthy Lesson (Long Marston, Phoenix Festival, 20th July, 1997)

03 - I'm Deranged (Amsterdam, Paradiso, 10th June, 1997)

04 - Hallo Spaceboy (Rio de Janeiro, Metropolitan, 2nd November, 1997)

05 - Telling Lies (Amsterdam, Paradiso, 10th June, 1997)

06 - The Motel (Amsterdam, Paradiso, 10th June, 1997)

07 - The Voyeur Of Utter Destruction (As Beauty) (Rio de Janeiro, Metropolitan, 2nd November, 1997)

08 - Battle for Britain (The Letter) (Radio City Music Hall New York, 15th October, 1997

09 - Seven Years In Tibet (Radio City Music Hall New York, 15th October, 1997)

10 - Little Wonder (Radio City Music Hall New York, 15th October, 1997)

11 - Pallas Athena (Amsterdam, Paradiso, 10th June, 1997)

12 - V-2 Schneider (Amsterdam, Paradiso, 10th June, 1997)

LIVEANDWELL.COM is the first in a series of three David Bowie live releases from the 90s that will be released digitally over the coming months. Press release here.

In the spirit of the original project, the image we have used today is a version of the sleeve we've mocked up using elements made available for the LIVEANDWELL.COM project in 1999, including Kevin Mazur's superb live shot taken at The Supper Club in NYC in October, 1997.

Join the official BOWIE KOOKS fan group to see roughs of the original sleeve in this thread: https://smarturl.it/LAWroughsBOWIEKOOKS

FOOTNOTE: LIVEANDWELL.COM is not an active website

#BowieLiveAndWell

Little Richard dies aged 87

“Some cat was layin’ down some rock n roll...”

The young David Jones soaked up influences like a dry sponge and he found the music and attitude of Little Richard, among others, inspirational to say the least.

As a 15-year-old in 1962, Jones saw Little Richard live for the first time and then again the following year with The Rolling Stones as one of the support acts.

He listed the 1959 album, The Fabulous Little Richard, among his favourite 25 for a Vanity Fair feature in 2003.

Here’s Bowie talking about the content of today’s montage in 1991.

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“I sent away for a photograph of Little Richard when I was seven years old, it was called Star Pic and it took eight weeks to arrive and when it arrived it was torn…and I was absolutely broken-hearted.

The first record I think I bought was called I Got It, which he later re-wrote as She’s Got It. And ever since I saw that photograph, I realised he had so many saxophones in his band. So I went out and bought a saxophone intending that when I grew up I'd work in the Little Richard band as one of his saxophonists.

Anyway it didn’t work out like that, but without him I think myself and half of my contemporaries wouldn’t be playing music.”

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We’ll leave you with a Tweet posted by David’s son, Duncan Jones, earlier today:

“From what my dad told me about his love of this legend growing up, it’s very likely he would not have taken the path he did without the huge influence of Little Richard. One of the highest of the high. Enjoy whatever’s next, Superstar.”

FOOTNOTE: The framed picture of Little Richard bottom right, is the actual Star Pic mentioned above. Bowie once described it as his most treasured possession. © The David Bowie Archive.

#BowieLittleRichard

Three 90s Bowie shows being made available to stream soon

“Sending me so far away, so far away”

DAVID BOWIE ‘LIVEANDWELL.COM’ 1997 LIVE ALBUM AVAILABLE TO STREAM FROM 15th MAY

LITTLE WONDER (LIVE IN NEW YORK) AVAILABLE TO STREAM FROM 8th MAY

Parlophone Records is delighted to announce the first in a series of three David Bowie live releases from the 90s that will be released digitally over the coming months.

DAVID BOWIE LIVEANDWELL.COM is a live album, previously only available in limited quantities to BowieNet subscribers in 2000 and expanded for this edition to include two bonus tracks; Pallas Athena and V-2 Schneider.

LIVEANDWELL.COM is now a 12-track live album, recorded in New York, Amsterdam, Rio De Janeiro and at the UK’s Phoenix festival during the 1997 Earthling tour, all tracks have only been available on the very limited BowieNet release while the two bonus tracks were released as a 12” single under the punning Tao Jones Index, the name Bowie and his band used for an unannounced dance set in the Radio One Dance Stage at the Phoenix Festival on 19th July, 1997, the day before Bowie’s main stage performance the following day.

LIVEANDWELL.COM was Produced by David Bowie, co-produced by Reeves Gabrels and Mark Plati and mixed by Mark Plati at Looking Glass Studios, NYC. The musicians on the live recordings are David Bowie – vocals, guitar, saxophone, Zachary Alford – drums, Gail Ann Dorsey – bass, vocals, keyboards, Reeves Gabrels – guitars, synthesisers, vocals and Mike Garson – piano, keyboards, synthesisers.

DAVID BOWIE - LIVEANDWELL.COM TRACKLISTING

01 - I'm Afraid Of Americans (Radio City Music Hall New York, 15th October, 1997)

02 - The Hearts Filthy Lesson (Long Marston, Phoenix Festival, 20th July, 1997)

03 - I'm Deranged (Amsterdam, Paradiso, 10th June, 1997)

04 - Hallo Spaceboy (Rio de Janeiro, Metropolitan, 2nd November, 1997)

05 - Telling Lies (Amsterdam, Paradiso, 10th June, 1997)

06 - The Motel (Amsterdam, Paradiso, 10th June, 1997)

07 - The Voyeur Of Utter Destruction (As Beauty) (Rio de Janeiro, Metropolitan, 2nd November, 1997)

08 - Battle for Britain (The Letter) (Radio City Music Hall New York, 15th October, 1997)

09 - Seven Years In Tibet (Radio City Music Hall New York, 15th October, 1997)

10 - Little Wonder (Radio City Music Hall New York, 15th October, 1997)

11 - Pallas Athena (Amsterdam, Paradiso, 10th June, 1997)

12 - V-2 Schneider (Amsterdam, Paradiso, 10th June, 1997)

#BowieLiveAndWell

Bowie on Kraftwerk and his Florian tribute

“From station to station, back to Düsseldorf City, Meet Iggy Pop and David Bowie”

You've no doubt heard the sad news regarding the passing of Kraftwerk founder, Florian Schneider, aged 73. A spokesperson said he “passed away from a short cancer disease just a few days after his 73rd birthday”, his birthday being 7th April.

Schneider formed Kraftwerk with Ralf Hütter in 1970, and remained a member until his departure in 2008. He is pictured bottom left in our montage at Düsseldorf Hbf station with the rest of the band.

In a Kraftwerk feature for MOJO magazine Ralf Hütter responded to the question: “How important was David Bowie's infatuation with you?”, thus:

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“That was very important for us, because it linked what we were doing with the rock mainstream. Bowie used to tell everyone that we were his favourite group, and in the mid-'70s the rock press used to hang on every word from his mouth. We met him when he played Düsseldorf (April 8th 1976) on one of his first European tours. He was travelling by Mercedes, listening to nothing but Autobahn all the time.” (Keep reading for David's comment on the accuracy of the latter observation.)

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In 1978 Bowie recalled the meeting in an interview:

“I like them as people very much, Florian in particular. Very dry. When I go to Düsseldorf they take me to cake shops, and we have huge pastries. They wear their suits. A bit like Gilbert and George, actually, God, whatever happened to those two? I used to really like them... When I came over to Europe – cause it was the first tour I ever did of Europe (1976), the last time – I got myself a Mercedes to drive myself around in, cause I still wasn’t flying at that time, and Florian saw it... He said, “What a wonderful car”, and I said, “Yes, it used to belong to some Iranian prince, and he was assassinated and the car went on the market, and I got it for the tour.” And Florian said, “Ja, car always lasts longer.” With him it all has that edge. His whole cold emotion/warm emotion, I responded to that. Folk music of the factories.”

Kraftwerk immortalised the Düsseldorf meeting on the title track of the band’s 1977 album, Trans-Europe Express (see today’s lyric quotation), even including a shot of David and Iggy in the original German language video for the single.

David returned the compliment later the same year on the "Heroes" album, when he paid Florian the ultimate tribute by using his name for the title of V-2 Schneider.

Bowie also spoke in some depth about Kraftwerk in an UNCUT interview several years back. We reprinted the full unedited version of it on DavidBowie.com at the time and we’ll leave you with some of the relevant bits...

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UNCUT: Many reasons have been suggested for moving to Berlin: the local art and music scene, to escape superstardom, for spiritual and physical detox - plus the creative stimulation of being in an isolated, edgy, divided city. Are these theories accurate? Can you remember why the city appealed?

DB: Life in LA had left me with an overwhelming sense of foreboding. I had approached the brink of drug induced calamity one too many times and it was essential to take some kind of positive action. For many years Berlin had appealed to me as a sort of sanctuary like situation. It was one of the few cities where I could move around in virtual anonymity. I was going broke; it was cheap to live. For some reason, Berliners just didn't care. Well, not about an English rock singer anyway.

Since my teenage years I had obsessed on the angst ridden, emotional work of the expressionists, both artists and film makers, and Berlin had been their spiritual home. This was the nub of Die Brücke movement, Max Rheinhardt, Brecht and where Metropolis and Caligari had originated. It was an art form that mirrored life not by event but by mood. This was where I felt my work was going. My attention had been swung back to Europe with the release of Kraftwerk’s Autobahn in 1974. The preponderance of electronic instruments convinced me that this was an area that I had to investigate a little further.

Much has been made of Kraftwerk’s influence on our Berlin albums. Most of it lazy analyses I believe. Kraftwerk’s approach to music had in itself little place in my scheme. Theirs was a controlled, robotic, extremely measured series of compositions, almost a parody of minimalism. One had the feeling that Florian and Ralf were completely in charge of their environment, and that their compositions were well prepared and honed before entering the studio. My work tended to expressionist mood pieces, the protagonist (myself) abandoning himself to the 'zeitgeist' (a popular word at the time), with little or no control over his life. The music was spontaneous for the most part and created in the studio.

In substance too, we were poles apart. Kraftwerk’s percussion sound was produced electronically, rigid in tempo, unmoving. Ours was the mangled treatment of a powerfully emotive drummer, Dennis Davis. The tempo not only 'moved' but also was expressed in more than 'human' fashion. Kraftwerk supported that unyielding machine-like beat with all synthetic sound generating sources. We used an R&B band. Since 'Station To Station' the hybridization of R&B and electronics had been a goal of mine. Indeed according to a 70s’ interview with Brian Eno, this is what had drawn him to working with me.

One other lazy observation I would like to point up, btw, is the assumption that 'Station To Station' was homage to Kraftwerk's 'Trans-Europe Express'. In reality 'Station To Station' preceded ''Trans-Europe Express' by quite some time, 76 and 77 respectively.

Btw, the title drives from the Stations of the Cross and not the railway system.

What I WAS passionate about in relation to Kraftwerk was their singular determination to stand apart from stereotypical American chord sequences and their wholehearted embrace of a European sensibility displayed through their music. This was their very important influence on me.

Interesting sidebar. My original top of my wish list for guitar player on LOW was Michael Rother, from Neu!. Neu! being passionate, even diametrically opposite to Kraftwerk.

I phoned Rother from France in the first few days of recording but in the most polite and diplomatic fashion he said 'No'.

UNCUT: Was there ever a serious plan to record with Kraftwerk, as some biographers claim?

DB: No, not at any time. We met a few times socially but that was as far as it went.

UNCUT: Did you cruise the autobahns listening to 'Autobahn' non-stop, as Ralf Hütter once insisted?

DB: Certainly on the streets of LA in 1975, yes. But by Berlin Autobahn was rather last year’s news. So, in short , no.

UNCUT: Were there any meetings or planned collaborations with other 'Krautrock' bands like Cluster, Neu! or Tangerine Dream?

DB: Not at all. I knew Edgar Froese and his wife socially but I never met the others as I had no real inclination to go to Düsseldorf as I was very single minded about what I needed to do in the studio in Berlin. I took it upon myself to introduce Eno to the Düsseldorf sound with which he was very taken, Conny Plank et al (also to Devo btw who in turn had been introduced to me by Iggy) and Brian eventually made it up there to record with some of them.

UNCUT: 'V-2 Schneider' - a tribute to Florian?

DB: Of course.

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So long Florian.

#BowieKraftwerk

The Corsham Street Sessions 25 years ago today

“Not tomorrow, It happens today”

Today marks the 25th anniversary of John Scarisbrick’s Corsham Street Sessions, during which Bowie was transformed into the various characters for the 1. Outside album.

In celebration of this fact, DEK magazine’s premiere issue is also published today. Issue #1 has 40 pages of Bowie content including the cover and is shipping now.

This is the first time that these incredible sessions have been researched in such detail. DEK has interviewed the photoshoot’s key players and the feature boasts many previously unpublished photographs taken by Davide De Angelis (who took both of the shots in today's montage), along with some 1995 studio shots from Michael Lavine and lots of detail regarding Bowie’s singular vision for the concept of this ground-breaking 1. Outside album.

#DEKmagazine #CorshamStreetSessions #BowieOutside25

Iman’s anniversary message to David

On the 28th anniversary of David and Iman's private civil wedding ceremony at Lausanne registry office in Switzerland in 1992, Iman has remembered David with the following message:

“You are the first and last thing on my mind each and every day” – Iman

(The happy couple are pictured here almost 30 years ago when they attend the Twice Gifted Auction Benefit for the American Cancer Society on November 27, 1990 (the year they met), at Edward Nakhamkin Gallery in NYC. Photograph by Ron Galella.)

#ImanDaily #BowieForever #EternalLove #LoveMemories

When Bowie got into bed with Laura Ashley

“The paintings are all your own”

On 31st March 1995, the Poole Edwards PR agency announced a forthcoming David Bowie solo exhibition of his art, running from 25 years ago today, 18th April, to 29th April, 1995, at the Gallery in Cork Street, London.

This was to be the first solo exhibition of his work and was eventually listed as New Afro Pagan and Work: 1975-1995.

The event featured various paintings and sculptures along with two wallpapers that caught the attention of the press, due to the marriage of traditional and new.

Here's the press release...

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31st March 1995

BOWIE AND LAURA ASHLEY CREATE ART WALLPAPER

Having designed two highly unusual wallpapers as art exhibits for his first solo exhibition of paintings, drawings sculptures and an installation, David Bowie found himself at a loss as to how to print them.

Help came in the most unlikely form of the fashion and home furnishings company, Laura Ashley, providing both the printing expertise and an original floral underlay for Bowie’s designs.

The papers will be part of an installation piece titled "District 6" featuring a box made up of African hairdressing advertisement boards. Sections of the papers will also be hung as framed prints.

"British Conflicts" features a charcoal portrait of the painter Lucien Freud, inside a Damien Hirst style box.

"The Crouch" portrays one of Bowie's charcoal drawings of a Minotaur against a large concrete block.

The two wallpapers have been printed in a limited run exclusively for the exhibition.

The Ashley/Bowie collaboration will debut at the forthcoming David Bowie 1975 - 1995 first solo exhibition showing. The exhibition runs from 18-29 April 1995 at the Gallery in Cork Street, 28 Cork Street, London WIX 1HB.

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Next week we'll be focusing on some of the collectables produced in conjunction with the show, which, for those who couldn't afford to buy any of Bowie’s actual art, turned out to be very good investments.

Pictured in our montage are the aforementioned wallpapers along with the private view invite and the embossed version of the exhibition catalogue which was sent out with the invites.

#BowieArt #BowieAfroPagan

Mick Rock Bowie feature in CLASH 115

“He wanted to stay home, I wish someone would phone”

The Spring issue (#115) of CLASH magazine has David Bowie as one of four different covers. With a theme of STAY HOME, apparently CLASH wants to use this latest issue as “a means to break down the barriers of self-isolation, to supply a sense of community at a time when many of us feel alone.”

They go on to say: “David Bowie turned isolation into an art form. Transforming himself into an alien outsider, his 1972 album 'The Rise And Fall Of Ziggy Stardust And The Spiders From Mars' flipped pop on its head, its metallic crunch exploding how rock could communicate.”

In celebration of the recent reissue of Mick Rock’s superb photo book, TASCHEN’s The Rise of David Bowie 1972-1973, Robin Murray interviews the photographer for the Bowie feature…

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“What conclusions do I come to?” Mick ponders aloud. “David was very articulate, he was very intelligent, and he did great interviews. So that helped a lot. He would talk about the future – he loved science fiction and philosophy. David was a very avid reader. He was highly self-educated. He was a man of great curiosity. He wanted to know about things. And of course he pushed it all forwards – not just music… but culturally in a huge way. And his legacy is amazing. It doesn’t stop. People’s interest in him is as high as it’s ever been.”

“But I loved him,” Mick adds, with an assertive bite to his voice. “He was a very kind man. He was personally very kind. He was very inspirational, and of course he was physically a very good-looking man. Which was a nice thing for photographers!”

There’s a sense of moments slipping away into the ether as our conversation draws to a close. “It was a magical time for me, and David was the most magical of them all,” he says. “And I miss him.”

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Also featured in this issue is H.E.R, Ryan Beatty, Alicia Keys, Kim Petras, Mae Muller, Inhaler, Gorillaz, Graham Coxon, Cavetown, Shaggy, and many more. Other covers to follow this week.

#BowieClash #BowieMickRock #BowieTASCHEN

CHANGESNOWBOWIE streaming reminder

“Really quite out of sight”

Wherever you are in the world, as Thursday 16th April turns to Friday 17th April, Parlophone are making available the streaming version of the full CHANGESNOWBOWIE LP.

CHANGESNOWBOWIE is a 9-track album, recorded for radio and broadcast by the BBC on David’s 50th birthday on 8th January, 1997. This mostly acoustic session was a stripped back affair featuring some of David’s favourites of his own compositions and was produced by Bowie himself, Reeves Gabrels and Mark Plati.

Some of you lucky folk who live in the future might already be listening. Pretty good, isn’t it?

DAVID BOWIE - CHANGESNOWBOWIE TRACKLISTING

The Man Who Sold The World

Aladdin Sane

White Light / White Heat

Shopping For Girls

Lady Stardust

The Supermen

Repetition

Andy Warhol

Quicksand

#CHANGESNOWBOWIE

Repetition '97 video and CHANGESNOWBOWIE version audio

“And he looks straight through you”

As promised last week, as Thursday 09th April turns to Friday 10th April (which it already has in some parts of the world), Parlophone makes available the Repetition ’97 video for streaming and download along with the Repetition CHANGESNOWBOWIE audio.

To hopefully clear up any confusion, although both tracks are Repetition from 1997, they are different recordings. The video is the previously unavailable Repetition ’97 video (filmed along with I Can’t Read at the Earthling Tour rehearsals in Hartford Connecticut by Tim Pope), and the audio of Repetition is the CHANGESNOWBOWIE version.

As previously mentioned, Parlophone will be releasing a streaming version of the full CHANGESNOWBOWIE album on 17th April.

Here's the current release schedule:

★ Friday 10th April: Repetition ’97 video available for streaming and download.

★ Friday 10th April: Repetition CHANGESNOWBOWIE version audio available for streaming.

★ Friday 17h April: CHANGESNOWBOWIE available for streaming.

★ Friday 19th June: Space Oddity picture disc vinyl LP released.

★ Saturday 20th June: CHANGESNOWBOWIE vinyl LP and CD released for Record Store Day.

★ Saturday 20th June: I’M ONLY DANCING (THE SOUL TOUR 74) Double vinyl LP and 2CD released for Record Store Day.

#CHANGESNOWBOWIE #BowieRepetition97 #BowieIOD74 #BowieRSD20 #SpaceOddityPicDisc #BowieVinyl

ChangesNowBowie LP and Repetition video update

“And he could have had a Cadillac”

As you are all now aware, Record Store Day 2020 (RSD) has been rescheduled to 20th June. Given the current world situation, it remains to be seen if that date is still a little ambitious.

However, we obviously understand how disappointed fans will be, so Parlophone will be releasing a streaming version of CHANGESNOWBOWIE on 17 April, the day before the original RSD.

Prior to that on 10th April, the previously unavailable Repetition ’97 video (filmed at the Earthling Tour rehearsals in Hartford Connecticut by Tim Pope), will be made available for streaming and download.

The audio of Repetition CHANGESNOWBOWIE version will also be available to stream from the same date.

Here's the updated release schedule:

★ Friday 10th April: Repetition ’97 video available for streaming and download.

★ Friday 10th April: Repetition CHANGESNOWBOWIE version audio available for streaming.

★ Friday 17h April: CHANGESNOWBOWIE available for streaming.

★ Friday 19th June: Space Oddity picture disc vinyl LP released.

★ Saturday 20th June: CHANGESNOWBOWIE vinyl LP and CD released for Record Store Day.

★ Saturday 20th June: I’M ONLY DANCING (THE SOUL TOUR 74) Double vinyl LP and 2CD released for Record Store Day.

#CHANGESNOWBOWIE #BowieRepetition97 #BowieIOD74 #BowieRSD20 #SpaceOddityPicDisc #BowieVinyl

Keep Reading for the full press release.

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DAVID BOWIE ‘CHANGESNOWBOWIE' ALBUM OF UNRELEASED MATERIAL AVAILABLE TO STREAM FROM 17th APRIL

PREVIOUSLY UNAVAILABLE 'REPETITION ’97' VIDEO ALSO AVAILABLE FOR STREAMING AND DOWNLOAD FROM 10th APRIL

DAVID BOWIE ‘REPETITION (CHANGESNOWBOWIE VERSION)’ AVAILABLE TO STREAM FROM 10th APRIL

‘CHANGESNOWBOWIE' LIMITED EDITION NINE TRACK LP/CD OF PREVIOUSLY UNRELEASED MATERIAL TO BE ISSUED FOR RECORD STORE DAY 20th JUNE, 2020

1st April 2020 London:

Parlophone Records is happy to announce that DAVID BOWIE CHANGESNOWBOWIE, a previously unreleased nine-track album, is to be made available early for fans on streaming services to mark the original date of Record Store Day 2020, which was to feature the LP and CD but has now been postponed to 20th June.

CHANGESNOWBOWIE is a 9-track album, recorded for radio and broadcast by the BBC on David’s 50th birthday on 8th January, 1997. This mostly acoustic session was a stripped back affair featuring some of David’s favourites of his own compositions and was produced by Bowie himself, Reeves Gabrels and Mark Plati.

From 10th April the previously unavailable REPETITION ’97 video filmed at the Earthling Tour rehearsals in Hartford Connecticut by Tim Pope will be made available for streaming and download. The CHANGESNOWBOWIE audio version of the track will also be available to stream from the same date.

CHANGESNOWBOWIE was recorded and mixed at Looking Glass Studios in New York in November 1996. Gail Ann Dorsey (bass, vocals), Reeves Gabrels (guitars, vocals) and Mark Plati (keyboards and programming) accompanied David on the recording.

CHANGESNOWBOWIE will be released in limited quantities on LP and CD for Record Store Day on 20th June, 2020. The cover art for the album features a stunning black and white portrait of David by renowned photographer Albert Watson, taken in New York in 1996.

DAVID BOWIE - CHANGESNOWBOWIE TRACKLISTING

The Man Who Sold The World

Aladdin Sane

White Light / White Heat

Shopping For Girls

Lady Stardust

The Supermen

Repetition

Andy Warhol

Quicksand

CHANGESBOWIE at #1 in the UK 30 years ago today

“Ch, ch, ch, ch, changes”

The CHANGESBOWIE best of compilation LP hit the top spot in the UK 30 years ago today, promoted by Bowie’s SOUND + VISION World Tour which kicked off in Quebec, Canada, on 4th March.

Released on Monday 12th March 1990 by EMI in the UK (with three extra tracks on the 21 track LP & cassette), the 18-track US version was issued by RYKO on Friday 16th March 1990.

CHANGESBOWIE collected together songs chronologically that had previously appeared on both CHANGESONEBOWIE (11 tracks) and CHANGESTWOBOWIE (4 tracks) with other hits released after CHANGESTWOBOWIE and a couple of live favourites thrown in for good measure.

The album was released in several formats, including CD, Double Vinyl LP, Minidisc and cassette, while RYKO released limited editions on Clear vinyl and gold numbered Au20 CD, not forgetting a CD and cassette bundle with a free CD rack!

It could be argued that the compilation was UK-centric as it included 16 UK Top 20 hits, of which 10 were Top 5 hits, while also containing 6 US Top 20 hits of which 2 made the Top 5.

Either way, the album's sales were very healthy with it attaining Platinum status in the US where 1,000,000 copies were shipped, and Platinum in the UK and France were 300,000 were shipped in each country. CHANGESBOWIE was also Gold status in many other countries.

C1 = included on CHANGESONEBOWIE

C2 = included on CHANGESTWOBOWIE

N/A = Not applicable as either wasn't released as a single or didn't make the UK Top 30 or the American Bilboard Hot 100

01 - Space Oddity (UK #1 US #15) (C1)

02 - Starman (UK #10 US #65) (C2) (Exclusively on the EMI LP & cassette)

03 - John, I'm Only Dancing (UK #12 US N/A) (C1)

04 - Changes (UK N/A US #41) (C1)

05 - Ziggy Stardust (UK N/A US N/A) (C1)

06 - Suffragette City (UK N/A US N/A) (C1)

07 - The Jean Genie (UK #2 US #72) (C1)

08 - Life On Mars? (UK #3 US N/A) (N/A) (Exclusively on the EMI LP & cassette)

09 - Diamond Dogs (UK #21 US N/A) (C1)

10 - Rebel Rebel (UK #5 US #64) (C1)

11 - Young Americans (UK #18 US #28) (C1)

12 - Fame 90 (Gass mix) (UK #17 US #1) (C1)*

13 - Golden Years (UK #8 US #10) (C1)

14 - Sound And Vision (UK #3 US #69) (C2) (Exclusively on the EMI LP & cassette)

15 - "Heroes" (UK #24 US N/A) (N/A)

16 - Ashes to Ashes (UK #1 US N/A) (C2)

17 - Fashion (UK #5 US #70) (C2)

18 - Let's Dance (UK #1 US #1) (N/A)

19 - China Girl (UK #2 US #10) (N/A)

20 - Modern Love (UK #2 US #14) (N/A)

21 - Blue Jean (UK #6 US #8) (N/A)

* (Information relates to the original Fame single which later replaced Fame 90 on the CHANGESBOWIE Au20 CD)

#CHANGESBOWIE #BowieFame90 #BowieSOUNDandVISION

Hype and David Bowie’s future fifty years ago

“They fall on today, They beat on the outside.”

Fifty years ago this week the issue of Melody Maker dated 28th March, 1970, featured a David Bowie interview by Raymond Telford.

Titled: “HYPE AND DAVID BOWIE'S FUTURE”, here’s an edited excerpt from it:

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

What then does the future hold for his new release with Hype’s Prettiest Star?

“I think a lot of people are expecting another Space Oddity,” said David, “and Prettiest Star is nothing like it. I'm sure this is why the BBC aren't plugging it. Everyone wanted another song with the same feel as Space Oddity but as I'd done it, I didn't see the point of doing it again. The song served its purpose but I hope I'm not going to be expected to write and record a whole lot of stuff that is so obvious as Space Oddity.”

The conversation then swung once more to the intriguing Hype.

“I'm very happy with the band,” says David. “I have Tony Visconti who has played bass on nearly all my records, John Cambridge, who used to be with Juniors Eyes and Mick Ronson on guitar and I play 12-string guitar. Although we're all happy with the set up, I can't see it becoming a really permanent thing. I want to retain Hype and myself as two separate working units whereby we can retain our own identities.”

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In the event, that particular line-up of Hype certainly didn’t become a permanent thing. A 30th March gig at the Star Hotel in West Croydon (fifty years ago tonight and a mere two days after the Melody Maker publish date), would be drummer John Cambridge’s last gig with the band.

Another Hull musician, Mick 'Woody' Woodmansey, would fill the vacant spot immediately and though he even signed a contract with Philips on 3rd April as a member of Hype, it’s hard to find evidence that the name Hype was used for any more gigs after 30th of March. We’d love to be proved wrong on that if you have printed evidence to the contrary.

So, if our theory is correct, as a gigging entity with its name appearing in listings, it seems Hype lasted a little over a month, from 28th February to 30th March.

Either way, John Cambridge himself remained friends with David over the years and they met several more times. Our picture shows them backstage at Hammersmith Apollo on 2nd October, 2002.

#Bowie1970 #BowieHype

Is It Any Wonder? EP in Official UK Album Chart Top 10

“Little wonder then, little wonder, You little wonder, little wonder you”

The 6-track limited edition Is It Any Wonder? EP has entered the new official album chart in the UK today at #10, following its release last Friday.

This from the Official Charts:

“…while previously unreleased David Bowie EP Is It Any Wonder? enters at Number 10 following its release on vinyl - the week’s biggest seller on black wax.”

Which, as you've no doubt worked out, means that Is It Any Wonder? Is #1 on the official vinyl album chart too.

Thanks to all of you that bought either the CD or the vinyl for returning Bowie to the Top 10.

#BowieIIAW #BowieVinyl #BowieOCC

Fame 90 released 30 years ago today

“Fame. What’s your name?”

Fame 90 was released as a single in the UK on 26th March 1990, the very day that David Bowie’s SOUND + VISION World Tour continued its globe trot with a 3-day stint at the London Arena. CHANGESBOWIE, the best of compilation LP whence the single came, was at #2 on the official UK album chart that day, reaching the top spot later that week.

Fame 90 was released on the following formats in the UK: • 7" • Cassette • 7" Limited Edition Changes Envelope Pack with three prints • 12" • 12" Shrink Wrap Pack • CD • 7" picture disc •

Despite the formats and different mixes, not to mention a brand new video, the single only just scraped into the Top 30.

Watch the Fame 90 (Official Video) over on the David Bowie YouTube channel:

#BowieFame90 #BowieSOUNDandVISION

David and Tina’s live duet 35 years ago

“Everything will be alright tonight”

As you are no doubt aware, Tonight is a song written by David Bowie and Iggy Pop originally released on Iggy’s 1977 Lust For Life album. Bowie’s own version was recorded as a duet with Tina Turner for 1984’s Tonight LP and was released as a single later that year.

On 23rd March, 1985, 35 years ago tonight, at a Tina Turner concert at the National Exhibition Centre in Birmingham in the UK, Bowie performed the song live with Turner along with a section of the Chris Montez hit, Let’s Dance, seguing into Bowie’s song of the same name.

Bowie guested the following night too, but the first night was filmed and released as part of the Tina Live Private Dancer Tour video the same year and the Tina Live in Europe album three years later.

This live duet of Tonight was also released as a single in late 1988, becoming a #1 hit in the Netherlands and also reaching #3 in Belgium, not to mention making Switzerland’s Top 20.

Tina Live In Europe also contained a live version of the Bowie/Kızılçay penned Girls, which Turner had originally recorded for the 1986 Break Every Rule album.

View the live version of Tonight on Tina’s official YouTube channel, but for those of a nervous disposition, be warned… apparently it's steamy, whatever that means? Any lip readers out there?

#BowieTurner #BowiePop #BowieKızılçay

Fun (Dillinja mix) single out now

“My dream dogs have arrived”

The 1 track digital download and streaming single of the drum and bass mix of Fun (Dillinja mix), is out now.

The track had only been available previously on the exclusive to BowieNet members Liveandwell.com CD, released in 2000.

This is the digital debut of Fun (Dillinja mix) and you can also find it on the Club Bowie playlist now.

(Images by Floria Sigismondi)

#BowieFun

Is It Any Wonder? EP out now

“Bang Bang - I got mine”

The 6-track limited edition vinyl and CD of the Is It Any Wonder? EP (out now), has completely sold out at the Bowie Official Store.

However, Warner/Rhino still have limited stock remaining here.

Also, as you may have read, along with the Record Store Day date change, the Space Oddity picture disc has now been moved to 19th June.

Here's the updated release schedule:

★ Friday 20th March: Limited Edition 6-track IS IT ANY WONDER? physical EP on 12” vinyl and CD released.

★ Friday 20th March: FUN (Dillinja mix) 1 track digital download and streaming single due.

★ Friday 19th June: Space Oddity picture disc vinyl LP released.

★ Saturday 20th June: CHANGESNOWBOWIE vinyl LP and CD released for Record Store Day.

★ Saturday 20th June: I’M ONLY DANCING (THE SOUL TOUR 74) Double vinyl LP and 2CD released for Record Store Day.

#BowieIIAW #SpaceOddityPicDisc #BowieIOD74 #CHANGESNOWBOWIE #BowieRSD20 #BowieVinyl