Golden Years

David Bowie had an illustrious song writing career from 'Space Oddity' in 1969 all the way through to 'Blackstar' in 2016 just before his passing. 

I wanted to focus on what I believe is his golden period of song writing. From 1971 to 1983, Bowie along with a few friends released some of the most iconic songs ever recorded by a British Artist. 

These songs are some of the most important songs of that era, and have subsequently become timeless pieces of music and popular culture. They saw Bowie embrace new ideas, sounds and in some cases even personalities. 

Life on Mars- 1971

By 1971, Bowie was transitioning away from his folk-inspired beginnings and embracing a more dramatic, piano-focused style. Life on Mars? from the album Hunky Dory exemplified his knack for weaving surreal, poetic lyrics with a cinematic flair. The song became one of his defining pieces, merging orchestral pop with his unique storytelling approach. Its lyrics, rich with vivid and enigmatic imagery, conveyed themes of disillusionment and escapism—sentiments that resonated deeply with audiences and hinted at his future artistic transformations. The song’s sweeping, string-heavy arrangement, accentuated by Rick Wakeman’s striking piano performance, cemented its place among Bowie’s finest works. Additionally, it underscored his fascination with extraterrestrial life and space, concepts he had previously explored in Space Oddity and would continue to revisit throughout his career., from the album Hunky Dory, showcased his ability to craft surreal, poetic lyrics with a cinematic quality. 

The song became one of his signature tracks, blending orchestral pop with Bowie’s distinctive storytelling. The lyrics, filled with bizarre and evocative imagery, painted a picture of disillusionment and escapism, themes that resonated with listeners and foreshadowed his future reinventions. The song's dramatic, string-laden arrangement, combined with Rick Wakeman's memorable piano work, solidified its status as one of Bowie's greatest compositions.

Starman- 1972

The birth of Ziggy Stardust marked one of the most iconic moments in rock history. Starman, from The Rise and Fall of Ziggy Stardust and the Spiders from Mars, introduced the world to Bowie’s flamboyant, alien alter ego and marked a turning point in his career. The album itself was a masterclass in conceptual storytelling, following the rise and fall of Ziggy Stardust, an androgynous rock star from outer space, sent to save humanity before succumbing to the pressures of fame and self-destruction. The album blended glam rock, science fiction, and social commentary, producing some of Bowie's most beloved tracks, including Suffragette City and Rock 'n' Roll Suicide. Starman, with its soaring chorus and cryptic yet hopeful lyrics, became an anthem of individuality and rebellion, solidifying Bowie’s status as a cultural icon. 

The song was pivotal in capturing the imaginations of young fans, offering a message of hope and otherworldly possibility. When Bowie performed 'Starman' on Top of the Pops, his androgynous look, bright jumpsuit, and intimate interaction with guitarist Mick Ronson stunned audiences, making an unforgettable impression on British television. His finger point into the camera as he sung these famous words “I had to phone someone so I picked on you-hoo-oo” Bowie had arrived. Ziggy Stgardust had been presented to the nation.

This performance is often credited with inspiring a generation of musicians and fans, cementing Bowie’s reputation as a trailblazer in glam rock and beyond. The album’s influence extended beyond music, shaping fashion, gender identity, and pop culture, ensuring its place as one of the greatest rock albums of all time.

The Jean Genie- 1973

With Aladdin Sane, Bowie transitioned into a rawer, bluesier sound while maintaining his glam rock essence. Often described as "Ziggy goes to America," the album reflected Bowie’s experiences touring the U.S., incorporating a grittier, more chaotic energy. The Jean Genie was a stomping rock song influenced by American garage rock, demonstrating his ability to blend gritty guitars with artful lyricism. It was a bridge between the glam excess of Ziggy Stardust and the more experimental works that followed. Inspired by Iggy Pop and 1950s R&B, the song combined a hypnotic riff with cheeky, enigmatic lyrics. The Aladdin Sane album also introduced a more avant-garde approach, featuring Mike Garson’s dissonant piano work on tracks like Aladdin Sane (1913-1938-197?), which added a jazz-influenced edge. 

The album’s cover art, featuring Bowie with a red and blue lightning bolt painted across his face, became one of the most iconic images in rock history, symbolizing his ever-evolving identity. This period also saw Bowie refining his live performances, adding an unparalleled theatricality that continued to captivate audiences worldwide.

Rebel Rebel- 1974

Bowie bowed of Glam with this song, featuring on his 1974 'Diamond Dogs'. The song’s riff-heavy, Stones-esque swagger and gender-fluid lyrics made it an enduring anthem for self-expression. This period also marked the beginning of Bowie’s transition toward a darker, dystopian aesthetic inspired by George Orwell’s 1984. The album, originally conceived as a musical adaptation of Orwell’s novel, took on a surreal, post-apocalyptic feel, blending glam rock with eerie, theatrical elements. Tracks like 'Sweet Thing/Candidate' and 'We Are the Dead' showcased a more experimental approach, incorporating haunting lyrics and unsettling soundscapes.

The cover art, featuring Bowie as a half-human, half-dog hybrid, further reinforced the album’s bleak, otherworldly vision. 'Rebel Rebel', with its infectious guitar riff and defiant lyrics, served as the rebellious centerpiece of the album. It became a favorite among fans of all backgrounds, celebrating nonconformity with an anthemic chorus that resonated across generations. The song also marked a farewell to Bowie’s glam era, paving the way for his evolution into soul, funk, and eventually, the experimental Berlin period which would arrive later in the decade. 

Over the years, 'Rebel Rebel' has remained a staple in Bowie’s live performances, continually reinvented in different styles, from stripped-down acoustic versions to harder-edged rock renditions. Its enduring appeal lies in its raw energy and message of individuality, making it one of the most celebrated tracks of Bowie’s career.

Young Americans- 1975

Bowie left glam rock behind and embraced soul and funk with 'Young Americans'. The title track epitomized his shift toward a more polished, R&B-influenced sound, often referred to as “plastic soul.” With its infectious groove and social commentary, Young Americans demonstrated Bowie’s ability to adapt to new musical landscapes. The song explored themes of American identity, love, and racial tensions, featuring backing vocals from a young Luther Vandross. The album as a whole was a significant departure from his previous work, incorporating influences from Philadelphia soul and Motown while maintaining his unique lyrical and thematic depth.

Songs like 'Win' and 'Somebody Up There Likes Me' showcased his newfound embrace of rhythm and blues, while 'Fame', co-written with John Lennon and Carlos Alomar, became Bowie's first U.S. number-one hit. Fame was a scathing critique of celebrity culture and the pressures of the music industry, highlighting Bowie's growing disillusionment with fame itself. Lennon’s influence on the track, both in its biting lyrics and funky groove, further solidified Bowie’s ability to blend rock, soul, and social commentary into a cohesive, genre-defying sound. This album also saw Bowie achieving major success in the U.S., solidifying his position as a global superstar and paving the way for his continued evolution in the years to come.

Golden Years-1976

During the 'Station to Station' era, Bowie took his soulful sound further while incorporating elements of funk and early electronic music. 'Golden Years', with its hypnotic rhythm and sleek production, reflected his transition from the Thin White Duke persona toward the Berlin Trilogy. The song's mysterious, seductive energy, combined with cryptic lyrics, highlighted Bowie's fascination with mysticism and self-reflection. 

'Station to Station' itself was a masterpiece of contradictions, blending soul, funk, and electronic elements with darker, more esoteric themes. The title track, a sprawling, nearly ten-minute epic, introduced a cold, detached Bowie, with the Thin White Duke persona embodying elegance, danger, and emotional detachment. 'TVC 15', a surreal track inspired by a drug-induced hallucination of a television swallowing Iggy Pop’s girlfriend, added a bizarre, futuristic edge to the album.

As he delved deeper into his 'Thin White Duke' character, Bowie’s performances became increasingly intense and theatrical, reflecting his internal struggles and setting the stage for the avant-garde experimentation that followed. His reliance on drugs, particularly cocaine, during this period added to the detached, almost alien presence he projected, making the 'Thin White Duke' one of his most haunting personas. Despite the darkness surrounding this era, 'Station to Station' was a groundbreaking album that bridged his soul period with the bold innovations of the Berlin Trilogy, proving yet again that Bowie was an artist in constant evolution.

Heroes & Sound & Vision- 1977

In 1977, Bowie’s Berlin years reached their peak with 'Heroes', a powerful anthem of love and resilience, produced by Brian Eno and Tony Visconti. The song became one of Bowie's most enduring classics, telling the story of star-crossed lovers separated by the Berlin Wall. The inspiration reportedly came from Bowie witnessing Visconti share a kiss with his lover near the Wall, turning a fleeting moment into a grand declaration of hope. The song’s hypnotic, driving rhythm, created by Robert Fripp’s soaring guitar and Bowie’s impassioned, gradually intensifying vocals, gave it an emotional depth that resonated across generations.

The production of Heroes reflected the experimental techniques that defined Bowie’s Berlin Trilogy, particularly the use of ambient soundscapes and layered instrumentation. The song was recorded at Hansa Studios, mere meters from the Berlin Wall, giving it an even greater sense of urgency and relevance. Bowie’s impassioned vocal delivery, shifting from quiet restraint to near-shouted exultation, added a raw, deeply human quality that solidified its status as an anthem of hope and defiance.

While Heroes was not initially a major commercial hit, its legacy has only grown over time, becoming one of Bowie’s most celebrated tracks. Its influence extended beyond music, becoming a rallying cry for unity and resilience, performed by Bowie at significant moments, including his legendary 1987 concert in Berlin, where he sang it within earshot of the Wall. A performance that many believe contributed to the spirit that led to its fall two years later.

The same year, 'Sound and Vision' showcased his experimentation with minimalism, layering ethereal vocals over a Krautrock-inspired beat. The track, from the album Low, was a departure from traditional songwriting, featuring an extended instrumental introduction, fragmented yet evocative lyrics, and a dreamlike atmosphere. The song’s unconventional structure, with its lengthy instrumental opening and sparse vocal section, reflected Bowie’s interest in deconstructing pop music norms. It also demonstrated his ability to blend avant-garde influences with accessible melodies, creating an otherworldly yet deeply personal soundscape. The album 'Low', the first of the Berlin Trilogy, marked a major turning point in Bowie’s career, incorporating ambient soundscapes, electronic experimentation, and introspective themes that would redefine his artistic trajectory.

During his time in Berlin, Bowie found solace in the city's creative and cultural atmosphere. Living in a modest apartment above an auto-repair shop in the Schöneberg district, he immersed himself in the local art and music scene. Berlin offered Bowie a refuge from the excesses of fame and his previous struggles with addiction, allowing him to focus on his artistic pursuits. The Heroes album, the second in the Berlin Trilogy, reflected the city’s stark contrasts its historical weight, divided landscape, and vibrant underground scene. Tracks like 'Neuköln' evoked the desolation of the Turkish immigrant experience, while 'V-2 Schneider' paid homage to Kraftwerk, further cementing Bowie’s deep admiration for the German avant-garde.

Bowie’s time in Berlin not only rejuvenated his creativity but also redefined his sound, setting the stage for his continued evolution into the 1980s and beyond.

Boys Keep Swinging-1979

As the Berlin Trilogy came to an end, 'Boys Keep Swinging' from 'Lodger' played with gender norms, featuring Bowie in drag in its music video. The song’s energetic and subversive nature reinforced his status as a provocateur who constantly challenged societal expectations. The track’s playful yet satirical take on traditional masculinity, combined with a raw, almost punk-like energy, made it a standout on the album. The deliberately loose, chaotic instrumentation, achieved by having the musicians swap instruments, added to the song’s anarchic charm. The music video, featuring Bowie performing as multiple exaggerated female personas, further cemented his reputation as a boundary-pushing artist unafraid to deconstruct gender and identity.

The 'Lodger' era also marked the beginning of Bowie’s transition out of the experimental Berlin phase, with the album serving as a bridge between his avant-garde work and his return to more conventional pop structures. Unlike Low and Heroes, which were dominated by ambient textures, Lodger leaned toward world music influences and an off-kilter, art-rock sensibility. Songs like DJ and Look Back in Anger carried an anxious, restless energy, reflecting Bowie’s continued artistic evolution. Though initially met with mixed reviews, Lodger has since been recognized as a critical stepping stone in Bowie’s career.

Ashes to Ashes- 1980

Bowie revisited his past with 'Ashes to Ashes', a sequel to 'Space Oddity' that painted a darker, more introspective picture of the character Major Tom. While the original song depicted the astronaut's isolation in space, 'Ashes to Ashes' presented him as a tragic figure, caught in a web of psychological turmoil. The song was groundbreaking in its use of innovative synth textures, which contributed to the emerging sound of new wave music. With cryptic and enigmatic lyrics, Bowie wove themes of addiction, personal struggle, and redemption into the song, reflecting his own turbulent experiences. As he grappled with his well-documented issues with drug use, 'Ashes to Ashes' became a deeply personal statement, capturing his internal battles and the eventual rise from his darkest times. 

The accompanying music video, one of the most expensive ever made at the time, was a masterpiece of visual storytelling. It featured surreal, cinematic imagery, further cementing Bowie’s status not just as a musician but as a true artist with a keen sense for innovative, boundary-pushing visual expression. The video’s mix of abstract symbolism, Bowie’s eerie portrayal of Major Tom, and fantastical elements marked it as one of the defining moments in early 80s pop culture, showcasing his mastery of both sound and image. As a result, 'Ashes to Ashes' became a cornerstone of the new wave movement and an example of how Bowie’s work could transcend music into a multi-dimensional art form.

'Ashes to Ashes' reached number one on the UK Singles Chart in 1980, his first number one single in five years and his first of four in the 1980s.  Bowie had successfully tapped into the cultural zeitgeist, and 'Ashes to Ashes' became a defining track of the 1980s. This number one hit not only marked another peak in Bowie’s storied career but also affirmed his ability to continue creating groundbreaking, chart-topping music while maintaining his artistic integrity.

Under Pressure- 1981

'Under Pressure', a powerful collaboration with the legendary band Queen, became an instant classic upon its release in 1981. The song’s unforgettable bassline, played by Queen's John Deacon, created the foundation for one of rock music’s most iconic and instantly recognizable tracks. Its deep, pulsating rhythm, combined with the sharp, dynamic interplay between the musicians, provided a perfect canvas for the emotionally charged vocals of both Bowie and Freddie Mercury. What set 'Under Pressure' apart was the remarkable chemistry between the two lead vocalists, David Bowie and Freddie Mercury. Their passionate, almost operatic, vocal harmonies created a magnetic tension that elevated the song into the stratosphere of rock history. Each vocalist brought something unique to the performance, with Bowie’s soulful, yearning voice intertwining seamlessly with Mercury’s powerful, theatrical delivery. This union of musical styles forged an unforgettable vocal exchange that resonated with listeners on a profound level.

Lyrically, 'Under Pressure' captured the immense weight of modern life. It addressed themes of societal pressure, the emotional toll of fame, and the breakdown of social structures. It also highlighted the increasing alienation people felt in a fast-paced, technologically-driven world. Yet, within this exploration of pressure, the song carried a deeply human message: the urgent need for compassion, love, and unity. The repeated refrain, “Pressure pushing down on me,” conveys a sense of overwhelming stress, but the resolution in the line “Love’s such an old-fashioned word” offers a reminder of the power of human connection in the face of adversity. Both Bowie and Queen were known for their ability to tackle complex emotional landscapes, and in 'Under Pressure', they explored the internal and external forces that define human experience.

The song's impact was immediate, not only due to its exceptional composition but also because of its cultural relevance. As global anxiety and the struggles of modern life became more prominent, 'Under Pressure' became an anthem of shared experience, a rallying cry for the need to acknowledge and care for one another. The track’s impassioned plea for empathy resonated with listeners across generations, making it timeless. It was also a commentary on the fragility of human connections in an era dominated by fame, technology, and capitalism. The fusion of Bowie’s introspective artistry with Queen’s grandeur created a track that was as much a social statement as it was a musical tour de force.

It's one of the greatest musical collaborations ever, that was a spur of the moment jam in a recording studio in Switzerland. The song is one of the very best in both Bowie and Queen's discography and that is saying something when you examine them both. A true masterpiece, an incredibly powerful and poignant pop song, written and recorded by five of the greatest musicians Britain has ever produced.

Let's Dance- 1983

With 'Let’s Dance', David Bowie reinvented himself once again, marking a significant shift in both his musical direction and public persona. After years of experimentation with glam rock, soul, and the avant-garde, Bowie embraced mainstream pop with a fresh and infectious sound that combined elements of funk, new wave, and dance music. Produced by Nile Rodgers of Chic, 'Let’s Dance' featured slick production, vibrant rhythms, and an upbeat, celebratory atmosphere that made it a massive commercial success. The song’s danceable groove and catchy chorus catapulted Bowie into a new phase of popularity, reaching a wider audience than ever before. The track became one of his most commercially successful singles, achieving high chart positions worldwide and introducing Bowie to a younger generation of listeners.

Visually, this era saw Bowie adopting a more refined, elegant aesthetic, donning sharp suits and embracing a more polished, mainstream look compared to the flamboyant, boundary-pushing personas of his past. The sharp suits, slicked-back hair, and tailored style represented a new, sophisticated Bowie who was ready to dominate pop culture in a way he had never done before. This change in appearance contrasted with the avant-garde styles he had previously explored, but it was still unmistakably Bowie – always ahead of the curve, a master of both reinvention and self-expression. Despite his mainstream success, 'Let’s Dance' was still distinctly Bowie. His musical innovation and ability to blend genres were evident in the song’s catchy yet sophisticated sound, which remained layered with complexity beneath its surface of infectious dance rhythms.

The track’s success marked the apex of his commercial appeal, as it topped charts around the world and became an enduring pop anthem. 'Let’s Dance' reached No. 1 in multiple countries, including the UK and the US, and was one of the highest-grossing singles of Bowie’s career. It was a massive commercial milestone that not only secured Bowie’s status as a pop megastar but also demonstrated his remarkable ability to adapt to the prevailing musical trends while staying true to his artistic vision. The success of 'Let’s Dance' also led to an equally successful album of the same name, which became one of Bowie’s best-selling records, achieving multi-platinum status.

While 'Let’s Dance' was accessible to a broader audience, it was also a testament to Bowie’s genius as a chameleon of style and sound, able to reinvent himself again and again while staying true to his artistic vision. The song reflected his personal evolution, blending his past influences with his new interest in contemporary pop culture and dance music. In this period, Bowie proved that he could be both a pop star and an avant-garde icon, a position few artists have ever been able to navigate with such success. 'Let’s Dance' was not just a pop hit; it was a cultural phenomenon that captured the essence of the 1980s, with its fusion of dance, fashion, and music becoming a defining moment in the decade’s musical legacy.

The song was also a testament to Bowie’s long history of groundbreaking collaborations. Throughout his career, he had worked with an eclectic array of artists, from Mick Ronson, Luther Vandross, and John Lennon to Queen, Stevie Ray Vaughan, Iggy Pop, and Brian Eno. Bowie was never afraid to bring fresh voices and innovative talents into his creative process, continually evolving his sound by embracing new musical influences and pushing artistic boundaries. His collaborations became a key part of his success, contributing to his ever-expanding musical legacy.

For many, this period marked the peak of Bowie’s career. At the height of his fame, he was not only one of the biggest pop and rock stars in the world but also an artist whose work transcended genres and generations. During this time, Bowie was crafting some of his most fascinating and adventurous music, yet 'Let’s Dance' represented a more commercially accessible side to his artistry. The song and album were created for the masses, appealing to a broad audience while still showcasing his unparalleled ability to innovate. With 'Let’s Dance', Bowie struck the perfect balance between artistic expression and global appeal, solidifying his position as a cultural and musical icon.

Conclusion

Between 1971 and 1983, David Bowie traversed multiple musical landscapes, leaving an indelible mark on rock, soul, electronic, and pop. From his early years as a glam rock pioneer with 'Ziggy Stardust' to his reinvention as a mainstream pop icon with 'Let’s Dance', Bowie’s ability to evolve and experiment with different genres and personas set him apart from his contemporaries. His fearless creativity continues to inspire generations, proving that music and identity are limitless. Through collaborations with artists ranging from Mick Ronson to Queen, Bowie redefined the very notion of collaboration, using it to expand his sound and deepen his artistic expression. His ability to combine personal vulnerability with larger cultural and societal themes allowed him to connect with listeners on a profound level. As an artist, Bowie was not only a musical chameleon but also a visionary who constantly pushed the boundaries of what popular music could be. His legacy endures not just in the songs and albums he left behind but in the way he reshaped the way artists engage with their music, their image, and their fans. David Bowie’s journey through these years serves as a powerful reminder that the true spirit of creativity knows no limits, and neither does the evolution of self.

Thank you for reading 

Jack