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David Bowie - The Rise And Fall Of Ziggy Stardust And The Spiders From Mars mp3

Tracklist

1Round And Round (AKA Around And Around)
Written-By – Chuck Berry
2:43
2 CD2
3 CD1
4Moonage Daydream
Written-By – David Bowie
4:40
5Ziggy Stardust
Written-By – David Bowie
3:13
6Soul Love
Written-By – David Bowie
3:34
7Lady Stardust
Written-By – David Bowie
3:22
8Holy Holy
Written-By – David Bowie
2:25
9Moonage Daydream (New Mix)
Mixed By – Alan Moulder, Andy WrightWritten-By – David Bowie
4:46
10Starman
Written-By – David Bowie
4:14
11Suffragette City
Written-By – David Bowie
3:25
12Rock 'N' Roll Suicide
Written-By – David Bowie
2:58
13John, I'm Only Dancing
Bass – Trevor BolderDrums – Mick WoodmanseyGuitar – David Bowie, Mick RonsonSaxophone – David BowieViolin – Lindsay ScottVocals – David BowieWritten-By – David Bowie
2:49
14Lady Stardust (Demo)
Piano – David BowieWritten-By – David Bowie
3:33
15It Ain't Easy
Backing Vocals – Dana GillespieWritten-By – Ron Davies
2:57
16Velvet Goldmine
Written-By – David Bowie
3:13
17Five Years
Written-By – David Bowie
4:42
18Hang On To Yourself
Written-By – David Bowie
2:40
19The Supermen
Written-By – David Bowie
2:43
20Hang On To Yourself (Arnold Corns Version)
Bass – Pete De SomogylDrums – Tim BroadbentGuitar – David Bowie, Mark Carr-PritchardPiano – David BowieVocals – David Bowie, Freddie BurrettiWritten-By – David Bowie
2:54
21Amsterdam
Written-By – Jacques Brel, Mort Shuman
3:24
22Star
Written-By – David Bowie
2:47
23Ziggy Stardust (Demo)
Acoustic Guitar – David BowieWritten-By – David Bowie
3:33
24Moonage Daydream (Arnold Corns Version)
Bass – Pete De SomogylDrums – Tim BroadbentGuitar – David Bowie, Mark Carr-PritchardPiano – David BowieVocals – David Bowie, Freddie BurrettiWritten-By – David Bowie
3:53
25Sweet Head (Take 4)
Mixed By – Jonathan WynerWritten-By – David Bowie
4:52

Credits

  • Arranged By [Arrangements]David Bowie, Mick Ronson
  • ArtworkTerry Pastor
  • BassTrevor Bolder
  • DrumsMick Woodmansey
  • Guitar, Piano, VocalsMick Ronson
  • Photography By [Photographs]Brian Ward
  • ProducerDavid Bowie, Ken Scott
  • Saxophone [Sax], Guitar, VocalsDavid Bowie
  • Written-ByBowie (tracks: A1 to A4, B1 to B6), Ron Davies (tracks: A5)
  • Arranged ByDavid Bowie, Mick Ronson
  • ArtworkTerry Pastor
  • BassTrevor Bolder
  • DrumsMick Woodmansey
  • Guitar, Piano, VocalsMick Ronson
  • Guitar, Saxophone, VocalsDavid Bowie
  • Mastered ByI
  • Photography ByBrian Ward
  • ProducerDavid Bowie, Ken Scott
  • Written-ByDavid Bowie
  • Acoustic GuitarDavid Bowie (tracks: 2-4)
  • Arranged ByDavid Bowie (tracks: 1-1 to 1-11), Mick Ronson (tracks: 1-1 to 1-1)
  • Backing VocalsDana Gillespie (tracks: 1-5)
  • BassPete De Somogyl (tracks: 2-1 & 2-2), Trevor Bolder (tracks: 1-1 to 1-11 & 2-5 to 2-12 )
  • DrumsMick Woodmansey (tracks: 1-1 to 1-11 & 2-5 to 2-12), Tim Broadbent (tracks: 2-1 & 2-2)
  • GuitarDavid Bowie (tracks: 1-1 to 2-2 & 2-5 to 2-12), Mark Carr-Pritchard (tracks: 2-1 & 2-2), Mick Ronson (tracks: 1-1 to 1-11 & 2-3 to 2-12)
  • Liner NotesDavid Buckley
  • MellotronMick Ronson (tracks: 1-1 to 1-11 & 2-6 to 2-12)
  • Mixed ByAlan Moulder (tracks: 2-12), Andy Wright (tracks: 2-12), Jonathan Wyner (tracks: 2-11)
  • PianoDavid Bowie (tracks: 2-1 to 2-3), Mick Ronson (tracks: 1-1 to 1-11 & 2-6 to 2-12)
  • ProducerDavid Bowie (tracks: 1-1 to 2-2 & 2-5 to 2-12), Ken Scott (tracks: 1-1 to 1-11 & 2-6 to 2-12)
  • Remastered ByNigel Reeve (tracks: 1-1 to 2-12), Peter Mew (tracks: 1-1 to 2-12)
  • SaxophoneDavid Bowie (tracks: 1-1 to 1-11 & 2-5 to 2-12)
  • ViolinLindsay Scott (tracks: 2-5)
  • VocalsDavid Bowie (tracks: 1-1 to 2-12), Freddie Burretti (tracks: 2-1 & 2-2)
  • ArtworkTerry Pastor
  • BassTrevor Bolder
  • DrumsMick Woodmansey
  • FeaturingThe Spiders From Mars
  • Photography ByBrian Ward
  • ProducerDavid Bowie, Ken Scott
  • Saxophone, Guitar, Vocals, Arranged ByDavid Bowie, Mick Ronson
  • Written-ByBowie (tracks: A1 to A4, B1 to B6), Ron Davies (tracks: A5)
  • Arranged By, Guitar, Piano, VocalsMick Ronson
  • Arranged By, Producer, Guitar, Saxophone, VocalsDavid Bowie
  • ArtworkMain Artery, Terry Pastor
  • BassTrevor Bolder
  • DrumsMick Woodmansey
  • FeaturingThe Spiders From Mars
  • Photography ByBrian Ward
  • ProducerKen Scott
  • BassTrevor Bolder
  • DrumsMick Woodmansey
  • Guitar, Piano, VocalsMick Ronson
  • Guitar, Saxophone, VocalsDavid Bowie
  • Mastered ByDr. Toby Mountain
  • Mastered By [Assisted]Jonathan Wyner
  • ProducerDavid Bowie, Ken Scott
  • Written-ByDavid Bowie (tracks: 1 to 4, 6 to 16)

Notes

First issue. Identifying features include Titanic Music publishing credit and NO Mainman logo on the back of the sleeve. Later issues have a Mainman publishing credit instead of Titanic and include a Maiman logo on the rear of the sleeve. See Mainman print on sleeve / dark orange label - 1973 reissue.
Includes printed lyric inner.

A1-A4/B1-B6 Titanic Music/Chrysalis Music
A5 Rondor Music
℗ 1972 RCA Records

© 1972 RCA LIMITED
RCA Limited, Record Division
RCA House, Curzon Street, London W12002 US release of 30th Anniversary Digitally Remastered Ziggy Stardust

Glasses were mastered and discs were pressed in USA by EMI MFG. but digibook & artwork inside were printed in Europe by EMI Records. Final parts of manufacturing and distribution in USA was made by Virgin Records America Inc., a part of EMI Group

UK Category & French Distribution Code are printed on back cover, but were not used since this CD was sold only in USA. They were printed on digibook only because Virgin used EMI European sleeve.

This is 1st pressing for US market with new master of Ziggy Stardust album which was made exclusivelly for 30th Year Anniversary reissue. Master has been made by same people which did 1999 master too - Mew & Reeve at Abbey Road Studios.
However, this new 2002 master was considered as lower quality and had some errors (like reversed channels), so new (second) 2002 master was made very soon and in EU, Japan & US pressing continued with that new (2nd) 2002 master.
Technically speaking only Japan withdraw CDs with first master while EMI EU & Virgin US never withdraw original 2002 master from shops. They simply replaced masters and start pressing CDs with new master while CDs with old master were still available until shops' stocks were cleared.

The easiest way (beside low matrix number) to identify which master is on CD1 is to listen track 'Hang On To Yourself' where spoken "one-two" count-in at the start of song is missing (while 1999 and later 2002 masters have it)

More details about errors in first 2002 can be found on Illustrated David Bowie Discography (IDBD) page.
Also more information are provided in IDBD forum topic.℗ 1972 RCA Records.
A Gem Production.

Center labels:
Made by RCA Schallplatten GmbH, Hamburg, Germany,
from Masters Owned or Controlled by RCA Records.

Printed in Germany.

Non-laminated Gatefold cover.

Second Category appears on back cover and spine only.Parlophone Records under license from Jones/Tintoretto Entertainment Group 2012-2015
Released 2015, Gold VinylTitle on Spine: DAVID BOWIE Ziggy Stardust

Release without longbox packaging is The Rise And Fall Of Ziggy Stardust And The Spiders From MarsFirst UK issue. Includes printed lyric inner.
Identifying features include Titanic Music publishing credit and no Mainman logo on the back of the sleeve.
Later issues have a Mainman publishing credit instead of Titanic and include a Mainman logo on the rear of the sleeve.
First and second Category on cover and label, third on inner sleeve.

[Label]
A1 to A4, B1 to B6 - Titanic Music/Chrysalis Music
A5 - Rondor Music
A Gem Production
Ⓟ 1972 RCA Records
Manufactured by RCA Limited, England

[Cover]
ⓒ 1972 RCA Limited
Printed in England by Robert Stace
RCA Limited, Record Division, RCA House, Curzon Street, London W1

[Inner sleeve]
All songs ⓒ copyright 1971, 1972 by Titanic Music Limited/Chrysalis Music Limited.Produced at Trident Studios, London.

Original pressing on orange RCA Victor label. Includes printed inner sleeve with lyrics.To be played at maximum volume.

1990 re-issue with 5 bonus tracks:
12 - John I'm Only Dancing (Single B-Side)
13 - Velvet Goldmine (Single B-Side)
14 - Sweet Head (Previously Unreleased Track)
15 - Ziggy Stardust (Previously Unreleased Original Demo)
16 - Lady Stardust (Previously Unreleased Original Demo).

Originally released on LP in 1972.

1972 1990 Jones Music America / Main Man SA
Distributed by Columbia House Canada

Barcodes

  • Barcode (Printed): 7 24353 98262 1
  • Barcode (Scanned): 724353982621
  • Matrix / Runout (CD1): 724353982720 1-0-1 MASTERED BY EMI MFG
  • Matrix / Runout (CD2): 724353982829 1-1-1 MASTERED BY EMI MFG
  • Mastering SID Code (CD1 & 2): IFPI L044
  • Mould SID Code (CD1): ifpi 1677
  • Mould SID Code (CD2): ifpi 1689
  • Rights Society (CD1, tracks 1-11 ; CD2, tracks: 1-5, 8-10, 12): BMI
  • Rights Society (CD2, tracks: 7 & 11): ASCAP
  • Rights Society (CD2, track 6): BMI & ASCAP
  • Other (CD1 Category ; Printed On Disc Only): 72435 39827 2 0
  • Other (CD2 Category ; Printed On Disc Only): 72435 39828 2 9
  • Other (UK Category): UK 539 8262
  • Other (French Distribution Code): F: PM 617
  • Matrix / Runout (Side A Label): APRS-6814
  • Matrix / Runout (Side B Label): APRS-6815
  • Matrix / Runout (Side A Stamped): APRS 6814 5S H
  • Matrix / Runout (Side B Stamped): APRS 6815 5S H
  • Rights Society: BMI
  • Barcode (On Longbox): 014431013423
  • SPARS Code: AAD
  • Matrix / Runout (A-side, variation 1): BGBS 0864 - 1E
  • Matrix / Runout (B-side, variation 1): BGBS 0865 - 1E
  • Matrix / Runout (A-side, variation 2): BGBS 0864 - 1E
  • Matrix / Runout (B-side, variation 2): BGBS 0865 - 2E
  • Matrix / Runout (A-side, variation 3): BGBS 0864 - 2E
  • Matrix / Runout (B-side, variation 3): BGBS 0865 - 2E
  • Matrix / Runout (A side label): BGBS 0864
  • Matrix / Runout (B side label): BGBS 0865
  • Matrix / Runout: #930723N RCD110134
  • Matrix / Runout (Runout A side, stamped): ℗ 1972 APRS-6814 Manufactured in Germany
  • Matrix / Runout (Runout B side, stamped): ℗ 1972 APRS-6815 Manufactured in Germany
  • Matrix / Runout (Runout A & B sides, etched): I [roman 1]
  • Matrix / Runout (Center label A-side): LSP 4702 (APRS-6814)
  • Matrix / Runout (Center label B-side): LSP 4702 (APRS-6815)
  • Rights Society: GEMA

Companies

  • Copyright (c) – Jones Music America
  • Phonographic Copyright (p) – Jones Music America
  • Copyright (c) – MainMan S.A.
  • Phonographic Copyright (p) – MainMan S.A.
  • Manufactured By – Rykodisc
  • Marketed By – Rykodisc
  • Record Company – Columbia House – 754432T
  • Manufactured By – RCA Ltd.
  • Phonographic Copyright (p) – RCA Records
  • Copyright (c) – RCA Ltd.
  • Copyright (c) – Titanic Music Ltd.
  • Copyright (c) – Chrysalis Music Ltd.
  • Printed By – Robert Stace
  • Published By – Titanic Music
  • Published By – Chrysalis Music
  • Published By – Rondor Music
  • Produced At – Trident Studios
  • Designed At – Main Artery Studio
  • Phonographic Copyright (p) – Jones/Tintoretto Entertainment Co., LLC
  • Copyright (c) – Jones/Tintoretto Entertainment Co., LLC
  • Licensed To – EMI Records Ltd.
  • Phonographic Copyright (p) – EMI Records Ltd.
  • Copyright (c) – EMI Records Ltd.
  • Manufactured By – Virgin Records America, Inc.
  • Distributed By – Virgin Records America, Inc.
  • Printed By – EMI Records Ltd.
  • Pressed By – EMI MFG.
  • Published By – Tintoretto Music
  • Published By – RZO Music Ltd.
  • Published By – RZO Music, Inc.
  • Published By – Screen Gems-EMI Music Inc.
  • Published By – EMI Music Publishing Ltd.
  • Published By – Chrysalis Songs
  • Published By – Chrysalis Music Ltd.
  • Published By – Irving Music, Inc.
  • Published By – Rondor Music Ltd.
  • Published By – Jones Music America
  • Published By – ARZO Publishing
  • Published By – Colgems-EMI Music Inc.
  • Published By – Chrysalis Music
  • Published By – Pouchenel Éditions Musicale So
  • Published By – Unichappell Music, Inc.
  • Published By – Sabam S.C.
  • Published By – Carlin Music Corp.
  • Published By – Isalee Music
  • Published By – Arc Music Corp.
  • Recorded At – Trident Studios
  • Remastered At – Abbey Road Studios
  • Glass Mastered At – EMI MFG.
  • Designed At – Red Room @ EMI
  • Record Company – RCA Corporation
  • Phonographic Copyright (p) – RCA Records
  • Copyright (c) – RCA Records
  • Produced For – GEM Productions
  • Published By – Tantric Music Corp.
  • Published By – Titanic Music Ltd.
  • Published By – Chrysalis Music Ltd.
  • Produced At – Trident Studios
  • Pressed By – RCA Records Pressing Plant, Hollywood
  • Phonographic Copyright (p) – RCA Records
  • Manufactured By – RCA Schallplatten GmbH
  • Produced At – Trident Studios
  • Mastered At – TELDEC-Studio, Hamburg

Info

His new glam image made him a global superstar and remains an iconic rock fashion touchstone. The Rise and Fall of Ziggy Stardust and the Spiders from Mars often shortened to Ziggy Stardust is the fifth studio album by English singer-songwriter David Bowie, released on 16 June 1972 in the United Kingdom by RCA Records. David Bowie has pulled off his complex task with consummate style, with some great rock & roll the Spiders are Mick Ronson on guitar and piano, Mick Woodmansey on drums and Trevor Bolder on bass theyre good, with all the wit and passion required to give it sufficient dimension and with a deep sense of humanity that regularly emerges from behind. The documentary was filmed at the same concert in 1973, where Bowie decided to retire the Ziggy Stardust persona. It is possible to discern a large rectangular cover over, on which the UK details are placed on top of. David Bowie - The Rise And Fall Of Ziggy Stardust And The Spiders From Mars 1972. The album was recorded at Trident Studios in London like his previous album Hunky Dory. The Rise and Fall of Ziggy Stardust and the Spiders from Mars is the fifth studio album by English musician David Bowie. Constructed as a loose concept album about an androgynous alien rock star named Ziggy Stardust, the story falls apart quickly, yet Bowie's fractured, paranoid lyrics are evocative of a decadent, decaying future, and the music echoes an apocalyptic, nuclear dread. Backing vocals on It Aint Easy, the albums one non-original, were supplied by the statuesque Dana Gillespie. Look for lines that break. He could lick 'em by smiling, he could leave them to hang. The London production at Sadlers Wells Opera in January 1963 was conducted by Colin Davis. Шикарный альбом. Starman, Ziggy Stardust и Suffragette City. Five Years. Узнавайте о релизах, читайте рецензии, изучайте композиция дорожка трек-листы, рекомендации и прочую информацию о David Bowie - The Rise And Fall Of Ziggy Stardust And The Spiders From Mars на Bowie - Ziggy Stardust. The Spiders From Mars included guitarist Mick Ronson, who plays with a maverick flair on Suffragette City, Moonage Daydream, and Hang Onto Yourself, Trevor Bolder on bass, Mick Woody Woodmansey on drums. Not to be confused with second issue cover, where JUST the catalogue number has been covered over and changed. Lady Stardust. Узнавайте о релизах, читайте рецензии, изучайте композиция дорожка трек-листы, рекомендации и прочую информацию о David Bowie - The Rise And Fall Of Ziggy Stardust And The Spiders From Mars на album title comes from the BrechtWeill opera Aufstieg und Fall der Stadt Mahagonny The Rise and Fall of the City of Mahagonny, first performed in 1930 but banned by the Nazis three years later. Ziggy Stardust has a faint ring of The Man Who Sold the World to it - stately, measured, fuzzily electric. Includes printed lyric inner. The album title comes from the BrechtWeill opera Aufstieg und Fall der Stadt Mahagonny The Rise and Fall of the City of Mahagonny, first performed in 1930 but banned by the Nazis three years later. Moonage Daydream Arnold Corns Version. Hang On to Yourself. Borrowing heavily from Marc Bolan's glam rock and the future shock of A Clockwork Orange, David Bowie reached back to the heavy rock of The Man Who Sold the World for The Rise and Fall of Ziggy Stardust and the Spiders from Mars. G He played it left hand, G Em But made it too far. G Now Ziggy played guitar, Bm C Jamming good with Weird and Gilly, B C D And the Spiders from Mars. Am G5 F5 G5 Am So where were the spiders, Am G5 F5 G5 Am While the fly tried to break our balls Am G5 F5 Just the beer light to guide us, F5 G5 D Dsus2 so we bitched about his fans D E and should we crush his sweet hands. It was produced by Bowie and Ken Scott and features contributions from Bowie's backing band the Spiders from Mars comprising Mick Ronson, Trevor Bolder and Mick Woodmansey. Most of the. Front cover of this issue has derived from US artwork, and the RCA Victor logo and US catalogue number have been pasted over. Rock 'n' Roll Suicide. Лента с персональными рекомендациями и музыкальными новинками, радио, подборки на любой вкус, удобное управление своей коллекцией. Suffragette City. Moonage Daydream. artmet23. Юрий Юрий. David bowie. Ronson also doubled on keyboards. Ziggy Stardust demo. It was produced by Bowie and Ken Scott and features contributions from Bowie's backing band the Spiders from Mars comprising Mick Ronson, Trevor Bolder and Mick Woodmansey. A Became the special man, C Then we were Ziggy's band. It was released on 16 June 1972. Ziggy stardust. The Rise and Fall of Ziggy Stardust and the Spiders from Mars - David Bowie. David Bowie - Ziggy Stardust. Constructed as a loose concept album about an androgynous alien rock star named Ziggy Stardust, the story falls apart quickly, yet Bowie's fractured, paranoid lyrics are evocative of a decadent, decaying future, and the music echoes an apocalyptic, nuclear dread. Lady Stardust demo. Update Required To play the media you will need to either update your browser to a recent version or update your Flash plugin. First UK issue. Soul Love. John, I'm Only Dancing. But what we love even more than the platform boots and silver lamé are the thrilling songs that drive this record, from the guitar-heavy rockers Suffragette City and Moonage Daydream, through the soulful ballads Starman and Lady Stardust to the unapologetically theatrical c. A tale of intragroup jealousies, it features some of Bowies more adventuresome imagery, some of which is really the nazz: So we bitched about his fans and should we crush his sweet hands . The Rise and Fall of Ziggy Stardust and the Spiders from Mars Q&A. It Ain't Easy. Ziggy Stardust. This album was also selected by the Library of Congress, for preservation in the National Recording Registry, in 2017. это как у deepa-72-уslade-76-уgeordie-74-уsweet-74--бесподобно. Closing out classics week with an amazing album. Borrowing heavily from Marc Bolan's glam rock and the future shock of A Clockwork Orange, David Bowie reached back to the heavy rock of The Man Who Sold the World for The Rise and Fall of Ziggy Stardust and the Spiders from Mars. Ziggy really sang, screwed up eyes and screwed down hairdo, B C D like some cat from Japan. not continuous. Hang On to Yourself Arnold Corns Version. The album was recorded at Trident Studios, London, 9 July 1971 - 4 February 1972 using material from the sessions for the previous album 'Hunky Dory' 'It Ain't Easy', July 9, 1971, all other tracks being recorded between November 8, 1971 and February 4, 1972

David Bowie - The Rise And Fall Of Ziggy Stardust And The Spiders From Mars mp3

Performer: David Bowie

Title: The Rise And Fall Of Ziggy Stardust And The Spiders From Mars

Country: US

Release date: 2002

Label: Virgin, EMI

Style: Glam

Catalog: 72435 39826 2 1

Genre: Rock

Size MP3: 2516 mb

Rating: 4.7 / 5

Votes: 751

Record source: All Media, Album, Digibook, 30th Anniversary 2CD Edition Digitally Remastered CD, Album, Reissue, Remastered, Replaced 2002 Master CD, Remastered, Bonus Tracks

MP3 Related to David Bowie - The Rise And Fall Of Ziggy Stardust And The Spiders From Mars

Marg
I was in the Army when David Bowie swayed across America ... androgynous, beautiful, graceful, and stoked to the gills with anything that was set before him.  And me [?], I didn’t just want to be David Bowie, I wanted to be a boy, posing as a girl, stoked to the gills with anything that would make me feel no pain.  And then I remember laughing at how silly this all sounded.  Here I was, a girl, in the Army, uniformed like a boy, ducking bullets, and side stepping real pyrotechnics ... with a supply closet full of all the pharmaceuticals I could ever hope for ... in Vietnam, a country known for the best illegal substances the world had ever seen.  And on our bases the music was loud, and as I sat on the end of my cot, rubbing my hands through my short cropped hair, gazing at this album cover, I realized that I was David Bowie, in perhaps a more surreal setting than even he could have ever imagined.

The Rise and Fall of Ziggy Stardust & The Spiders From Mars was such a musical eclipsing event that this album would never be equaled by David again.  The record has all of the hooks, a great story line, and though I’m sure few would consider this to be a concept album, it certainly was.  David assembled a wonderfully fresh group musicians displaying stunningly free and conceptual ideas ... and most of all, it was theater at it’s very best.

There’s not alot I have to say about this release that hasn't been said over the last thirty years, other than it must be part of your musical collection ... as much as Sgt. Pepper or Let It Bleed.  David found a way of magically transposing Lou Reed’s street wise antics, and mixing them with the space age fanfare of the day [remember, we had just walked on the moon a couple of years before], and the whole world stood at a door over which a sign read, ”ALL IS POSSIBLE.”  And for a brief moment, while Ziggy roamed free, before his capsule crashed and burned, we all believed it was true.

*** The Fun Facts: The location of the film shoot. The Ziggy Stardust photo was taken outside of the K West Company at 23 Heddon Street, a small, block-long dead end street in central London, just west of Carnaby Street, with the artwork being created by Terry Pastor of Main Artery.  The building has since been painted white.

The phone booth David is standing in on the back of the jacket is rumored to have been auctioned or sold to an American fan in the late Seventies, though where it is now is anyone’s guess.  At the time of the photo shoot, the phone number in the UK was +44 0207 7348 719.

The character was inspired by British rock 'n' roll singer Vince Taylor, whom David Bowie met after Taylor had had a breakdown and believed himself to be a cross between a god and an alien. However, Taylor was only part of the blueprint for the character, other influences included the cult musician Legendary Stardust Cowboy and Kansai Yamamoto, who designed the costumes Bowie wore during the tour.  An alternative theory is that, during a tour, Bowie developed the concept of Ziggy as a melding of the persona of Iggy Pop with the music of Lou Reed, producing "the ultimate pop idol".  A girlfriend recalled his "scrawling notes on a cocktail napkin about a crazy rock star named Iggy or Ziggy", and on his return to England he declared his intention to create a character "who looks like he's landed from Mars".

Review by Jenell Kesler
Marg
I was in the Army when David Bowie swayed across America ... androgynous, beautiful, graceful, and stoked to the gills with anything that was set before him.  And me [?], I didn’t just want to be David Bowie, I wanted to be a boy, posing as a girl, stoked to the gills with anything that would make me feel no pain.  And then I remember laughing at how silly this all sounded.  Here I was, a girl, in the Army, uniformed like a boy, ducking bullets, and side stepping real pyrotechnics ... with a supply closet full of all the pharmaceuticals I could ever hope for ... in Vietnam, a country known for the best illegal substances the world had ever seen.  And on our bases the music was loud, and as I sat on the end of my cot, rubbing my hands through my short cropped hair, gazing at this album cover, I realized that I was David Bowie, in perhaps a more surreal setting than even he could have ever imagined.

The Rise and Fall of Ziggy Stardust & The Spiders From Mars was such a musical eclipsing event that this album would never be equaled by David again.  The record has all of the hooks, a great story line, and though I’m sure few would consider this to be a concept album, it certainly was.  David assembled a wonderfully fresh group musicians displaying stunningly free and conceptual ideas ... and most of all, it was theater at it’s very best.

There’s not alot I have to say about this release that hasn't been said over the last thirty years, other than it must be part of your musical collection ... as much as Sgt. Pepper or Let It Bleed.  David found a way of magically transposing Lou Reed’s street wise antics, and mixing them with the space age fanfare of the day [remember, we had just walked on the moon a couple of years before], and the whole world stood at a door over which a sign read, ”ALL IS POSSIBLE.”  And for a brief moment, while Ziggy roamed free, before his capsule crashed and burned, we all believed it was true.

*** The Fun Facts: The location of the film shoot. The Ziggy Stardust photo was taken outside of the K West Company at 23 Heddon Street, a small, block-long dead end street in central London, just west of Carnaby Street, with the artwork being created by Terry Pastor of Main Artery.  The building has since been painted white.

The phone booth David is standing in on the back of the jacket is rumored to have been auctioned or sold to an American fan in the late Seventies, though where it is now is anyone’s guess.  At the time of the photo shoot, the phone number in the UK was +44 0207 7348 719.

The character was inspired by British rock 'n' roll singer Vince Taylor, whom David Bowie met after Taylor had had a breakdown and believed himself to be a cross between a god and an alien. However, Taylor was only part of the blueprint for the character, other influences included the cult musician Legendary Stardust Cowboy and Kansai Yamamoto, who designed the costumes Bowie wore during the tour.  An alternative theory is that, during a tour, Bowie developed the concept of Ziggy as a melding of the persona of Iggy Pop with the music of Lou Reed, producing "the ultimate pop idol".  A girlfriend recalled his "scrawling notes on a cocktail napkin about a crazy rock star named Iggy or Ziggy", and on his return to England he declared his intention to create a character "who looks like he's landed from Mars".

Review by Jenell Kesler