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发信人: yifeng (守望麦田), 信区: Rock
标题: Re: 华丽摇滚 davidbowie 推荐
发信站: 荔园晨风BBS站 (Wed Sep 18 23:29:37 2002), 站内信件

David Bowie

A consummate musical chameleon, David Bowie created a career in the
Sixties and Seventies that featured his many guises: folksinger,
androgyne, alien, decadent, blue-eyed soul man, modern rock star-each
one spawning a league of imitators. His late-Seventies collaborations
with Brian Eno made Bowie one of the few older stars to be taken
seriously by the new wave. In the Eighties, Let's Dance (#1, 1983),
his entree into the mainstream, was followed by attempts to keep up with
current trends.

David Jones took up the saxophone at age 13, and when he left Bromley
Technical High School (where a friend permanently paralyzed Jones'
left pupil in a fight) to work as a commercial artist three years later,
he had started playing in bands (the Konrads, the King Bees, David
Jones and the Buzz). Three of Jones' early bands -- the King Bees, the
Manish Boys (featuring session guitarist Jimmy Page), and Davey Jones
and the Lower Third -- each recorded a single.

In 1966, after changing his name to David Bowie (after the knife) to
avoid confusion with the Monkees' Davy Jones, he recorded three
singles for Pye Records, then signed in 1967 with Deram, issuing several
singles and The World of David Bowie (most of the songs from that
album, and others from that time, are collected on Images).

On these early records, Bowie appears in the singer/songwriter mold;
rock star seemed to be just another role for him. In 1967 he spent a few
weeks at a Buddhist monastery in Scotland, then apprenticed in
Lindsay Kemp's mime troupe. He started his own troupe, Feathers, in
1968. American-born Angela Barnett met Bowie in London's Speakeasy and
married him on March 20, 1970.

Son Zowie (now Joey) was born in June 1971; the couple divorced
acrimoniously in 1980. After Feathers broke up, Bowie helped start the
experimental Beckenham Arts Lab in 1969. To finance the project, he
signed with Mercury. Man of Words, Man of Music included "Space Oddity,"
its release timed for the U.S. moon landing. It became a European hit
that year but did not make the U.S. charts until its rerelease in 1973,
when it reached #15.

Marc Bolan, an old friend, was beginning his rise as a glitter-rocker in
T. Rex and introduced Bowie to his producer, Tony Visconti. Bowie mimed
at some T. Rex concerts, and Bolan played guitar on Bowie's "Karma Man"
and "The Prettiest Star." Bowie, Visconti, guitarist Mick Ronson, and
drummer John Cambridge toured briefly as Hype.

Ronson eventually recruited drummer Michael "Woody" Woodmansey, and with
Visconti on bass they recorded The Man Who Sold the World, which
included "All the Madmen," inspired by Bowie's institutionalized
brother, Terry. Hunky Dory (#93, 1972), Bowie's tribute to the New
York City of Andy Warhol, the Velvet Underground, and Bob Dylan,
included his ostensible theme song, "Changes" (#66, 1972, rereleased
1974, #41).

Bowie started changing his image in late 1971. He told Melody Maker he
was gay in January 1972 and started work on a new, theatrical
production. Enter Ziggy Stardust, Bowie's projection of a doomed
messianic rock star. Bowie became Ziggy; Ronson, Woodmansey, and bassist
Trevor Bolder became Ziggy's band, the Spiders from Mars.

The Rise and Fall of Ziggy Stardust and the Spiders from Mars (#75,
1972) and the rerelease of Man of Words as Space Oddity (#16, 1972) made
Bowie the star he was portraying. The live show, with Bowie wearing
futuristic costumes, makeup, and bright orange hair (at a time when
the rock-star uniform was jeans), was a sensation in London and New
York. It took Aladdin Sane (#17, 1973) to break Bowie in the U.S.
Bolan and other British glitter-rock performers barely made the Atlantic
crossing, but Bowie emerged a star. He produced albums for Lou Reed
(Transformer and its hit "Walk on the Wild Side") and Iggy and the
Stooges (Raw Power) and wrote and produced Mott the Hoople's glitter
anthem "All the Young Dudes."

In 1973 Bowie announced his retirement from live performing, disbanded
the Spiders, and sailed to Paris to record Pin Ups (#23, 1973), a
collection of covers of mid-Sixties British rock. That same year, the
1980 Floor Show, an invitation-only concert with Bowie and guests
Marianne Faithfull and the Troggs, was taped for broadcast on the TV
program The Midnight Special.

Meanwhile, Bowie worked on a musical adaptation of George Orwell's 1984,
but was denied the rights by Orwell's widow. He rewrote the material as
Diamond Dogs (#5, 1974) and returned to the stage with an extravagant
American tour. Midway though the tour, Bowie entered Philadelphia's
Sigma Sound Studios (the then-current capital of black music) and
recorded the tracks that would become Young Americans (#9, 1975). The
session had a major effect on Bowie, as his sound and show were revised.

Bowie scrapped the dancers, sets, and costumes for a spare stage and
baggy Oxford trousers; he cut his hair and colored it a more natural
blond. His new band, led by former James Brown sideman Carlos Alomar,
added soul standards (e.g., Eddie Floyd's "Knock on Wood") to his
repertoire. David Live (#8, 1974), also recorded in Philadelphia,
chronicles this incarnation.

"Fame," cowritten by Bowie, John Lennon, and Alomar, was Bowie's first
American #1 (1975). Bowie moved to Los Angeles and became a fixture of
American pop culture. He also played the title role in Nicolas Roeg's
The Man Who Fell to Earth (1976). Station to Station (#3, 1976), another
album of "plastic soul" recorded with the Young Americans band,
portrayed Bowie as the Thin White Duke (also the title of his
unpublished autobiography). His highest charting album, it contained his
second Top Ten Single, "Golden Years" (#10, 1975).

Bowie complained life had become predictable and left Los Angeles. He
returned to the U.K. for the first time in three years before settling
in Berlin. He lived there in semi-seclusion, painting, studying art, and
recording with Brian Eno. His work with Eno -- Low (#11, 1977),
"Heroes" (#35, 1977), Lodger (#20, 1979) -- was distinguished by its
appropriation of avant-garde electronic music and the "cut-up" technique
made famous by William Burroughs. Composer Philip Glass wrote a
symphony incorporating music from Low in 1993.

Bowie revitalized Iggy Pop's career by producing The Idiot and Lust
for Life (both 1977) and toured Europe and America unannounced as
Pop's pianist. He narrated Eugene Ormandy and the Philadelphia
Orchestra's recording of Prokofiev's Peter and the Wolf and spent the
rest of 1977 acting with Marlene Dietrich and Kim Novak in Just a
Gigolo. The next year, he embarked on a massive world tour. A second
live album, Stage (#44, 1978), was recorded on the U.S. leg of the tour.
Work on Lodger was begun in New York, continued in Switzerland, and
completed in Berlin.

Bowie settled in New York to record the paranoiac Scary Monsters (#12,
1980), updating "Space Oddity" in "Ashes to Ashes." One of the first
stars to understand the potential of video, he produced some
innovative clips for songs from Lodger and Scary Monsters.

After Scary Monsters, Bowie turned his attention away from his recording
career. In 1980 he played the title role in The Elephant Man, appearing
in Denver, in Chicago, and on Broadway. He collaborated with Queen in
1981's "Under Pressure" and provided lyrics and vocals for "Cat People
(Putting Out Fire)" (#67, 1982), Giorgio Moroder's title tune for the
soundtrack of Paul Schrader's remake of Cat People. His music was used
on the soundtrack of Christiane F (1982) (he also appeared in the film).
Also that year, Bowie starred in the BBC-TV production of Brecht's
Baal, and as a 150-year-old vampire in the movie The Hunger.

In 1983 Bowie signed one of the most lucrative contracts in history, and
moved from RCA to EMI. Let's Dance (#4, 1983), his first album in three
years, returned him to the top of the charts. Produced by Nile
Rodgers with Stevie Ray Vaughan on guitar, the album was a slick
revision of Bowie's soul-man posture. It contained three Top Twenty
singles -- "Let's Dance" (#1, 1983), "China Girl" (#10, 1983), and
"Modern Love" (#14, 1983) -- which were supported with another set of
innovative videos; the sold-out Serious Moonlight Tour followed. Bowie's
career seemed to be revitalized.

What first seemed like a return to form actually ushered in a period
of mediocrity. Without Nile Rodgers' production savvy, Bowie's
material sounded increasingly forced and hollow; his attention
alternated between albums and film roles. Tonight (#11, 1984) had only
one hit, "Blue Jean" (#8, 1984). Bowie and Mick Jagger dueted on a cover
of Martha and the Vandellas' "Dancing in the Street" (#7, 1985) for
Live Aid. Although Never Let Me Down (#34, 1987), with Peter Frampton on
guitar, was roundly criticized, it made the charts with "Day In, Day
Out" (#21, 1987) and the title song (#27, 1987). Bowie hit the road with
another stadium extravaganza, the Glass Spiders tour; it was recorded
for an ABC-TV special.

Bowie had scarcely better luck in his acting career: Into the Night
(1985), Absolute Beginners (1986) (a Julien Temple musical featuring
some Bowie songs), Labyrinth (1986), The Linguini Incident (1992), and
Twin Peaks -- Fire Walk with Me (1992) were neither critical nor
commercial successes.

Bowie set about reissuing his earlier albums on CD. Sound + Vision (#97,
1989), a greatest-hits collection, revived interest in Bowie's career;
the set list for the accompanying tour was partially based on fan
response to special phone lines requesting favorite Bowie songs. Bowie
claimed it would be the last time he performed those songs live. Later
reissues, with previously unreleased bonus tracks, brought the Ziggy-era
Bowie back onto the charts.

Bowie formed Tin Machine in 1989. The band included Bowie discovery
Reeves Gabrels on guitar and Hunt and Tony Sales, who had worked with
Bowie on Iggy Pop's Lust for Life album and tour in the Seventies.
Although Bowie claimed that the band was a democracy, Tin Machine was
perceived as Bowie's next project. The group debuted with a series of
club dates in New York and Los Angeles. Their eponymous album (#28,
1989), a rougher, more guitar-oriented collection than Bowie's
previous albums, received better reviews than Bowie's last few
recordings. A second album, Tin Machine II (#126, 1991), lacked the
novelty of the debut and was quickiy forgotten.

In 1992 Bowie married Somalian supermodel Iman. Black Tie White Noise
(#39, 1993), which Bowie called his wedding present to his wife,
received generally positive reviews, but failed to excite the public.

Born David Robert Jones, January 8, 1947, London, England

1967 -- The World of David Bowie (Deram, U.K.)
1970 -- Man of Words, Man of Music (Mercury); The Man Who Sold the World

1971 -- Hunky Dory (RCA)
1972 -- The Rise and Fall of Ziggy Stardust and the Spiders from Mars
1973 -- Aladdin Sane; Pin Ups; Images 1966-67 (London)
1974 -- Diamond Dogs (RCA); David Live
1975 -- Young Americans
1976 -- Station to Station; ChangesOneBowie
1977 -- Low; "Heroes"
1978 -- Stage
1979 -- Lodger
1980 -- Scary Monsters
1981 -- ChangesTwoBowie; Christiane F soundtrack
1982 -- Cat People soundtrack; Baal
1983 -- Let's Dance (EMI); Golden Years (RCA); Ziggy Stardust/The Motion
Picture
1984 -- Fame and Fashion; Tonight (EMI)
1987 -- Never Let Me Down
1989 -- Sound + Vision (Rykodisc)
1990 -- ChangesBowie
1993 -- Black Tie White Noise (Savage)
1994 -- Sound + Vision with CD-ROM (Rykodisc) Tin Machine: (Formed 1989,
Switzerland: Bowie; Reeves Gabrels [b. June 4, 1956, Staten Island, N.
Y.], gtr.; Hunt Sales [b. Mar. 2, 1954, Detroit, Mich.], drums; Tony
Sales [b. Sep. 26, 1951, Cleveland, Ohio], bass)
1989 -- Tin Machine (EMI)
1991 -- Tin Machine II (Victory)

【在 bowie (温柔的人也会哭) 的大作中提到: 】
: 有人介绍下他吗？

--

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