David Bowie The 70s Presentation

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Transcript

  • 1.
    • Why was he post modern?
    • always changing – music, fashion, persona
    • what was going on around him – inspiration – new collection of different sounds
    • 11 chart hitting albums
    • first fame – 1969 – Space Oddity – time when the man landed on the moon for the first time.
  • 2.
    • long hair
    • dress
    • not as expectable back then
    • shock
    • different
    • colourful
    • elaborate
    • heavy sound
    • related to rock at the time
  • 3.
    • long hair
    • Marilyn Monroe colour blocked hair
    • wearing what looks like fur
    • make-up
    • back to the pop style
    • mixture of styles, serious and less serious.
    • big tracks, changes, life on mars
  • 4. 1972 -The Rise and Fall of Ziggy Stardust and the Spiders from Mars
    • Continued his androgynous persona
    • concept album – The Rise and Fall of Ziggy Stardust and the Spiders from Mars
    • sound – hard rock elements from the man who sold the world and lighter rock from Hunky Dory
    • fast-paced glam rock
    • songs – rock classics, ‘Ziggy Stardust’ ‘Moonage daydream’ ‘Suffragette City’ and ‘Rock & Roll Suicide.’
  • 5. 1973 - Aladdin Sane
    • Very iconic image
    • Still Ziggy Stardust
    • Bowie describes this album as ‘Ziggy goes to America
    • "startling as rock covers ever got."
    • shows- shocking moments
    • ultra theatrical
  • 6. 1973 – Pin Ups
    • collection of covers of his 1960s favorites
    • best-selling act of 1973 in the UK
    • Bowie broke up the Spiders from Mars and was attempting to move on from his Ziggy persona
    The albums above were under the glam rock and psychedelic folk genre apart from The man who sold the world. The next albums created in the 70s move onto soul and R&B genres.
  • 7. 1974 – Diamond Dogs
    • another ambitious album
    • two distinct ideas: a musical based
    • on a wild future in a post-apocalyptic
    • city, and setting George Orwell's
    • 1984 to music.
    • Songs were written for his musical,
    • Which never happened.
  • 8. 1975 - Young Americans
    • Bowie's definitive exploration of Philly soul
    • he himself referred to the sound ironically as "plastic soul."
    • first number one hit "Fame"
    • Despite Bowie's unashamed recognition of the shallowness of his "plastic soul," he did earn the bona fide distinction of being one of the few white artists to be invited to appear on the popular "Soul Train."
  • 9. 1976 - Station to Station
    • darker version of this soul persona, called "The Thin White Duke".
    • Station to Station was a transitional album to his next albums
    • but also further developing the funk and soul music of Young Americans
    • Bowie's interest in the growing German music scene, as well as his drug addiction, prompted him to move to West Berlin to dry out and rejuvenate his career.
  • 10. 1977 – Low & Heroes
    • The brittle sound of Station to Station proved a precursor to Low, the first of three albums that became known as the "Berlin Trilogy.
    • similar in sound to Low
    • The mood of these records fitted the Cold War, symbolized by the divided city that provided its inspiration.
    • The title track, a story of two lovers who met at the Berlin Wall, is one of Bowie's most-covered songs
    • Album cover – Inspired by German expressionist – Egon Schiele
    • Iggy Pop’s album
    In 1978 Bowie embarked on a world tour, playing in Australia and New Zealand for the first time, and then in 1979 produced the final album of the "Berlin Trilogy", or "triptych" as Bowie calls it.
  • 11. 1978 - Lodger
    • "Boys Keep Swinging", "DJ" and "Look Back in Anger"
    • instrumentals style was a mix of New Wave and world music
    • A number of tracks were composed using the non-traditional Bowie/Eno composition techniques
    • "Boys Keep Swinging" was developed with the band members swapping their instruments while "Move On" contains the chords for an early Bowie composition, "All The Young Dudes", played backwards; the song "Red Money" took backing tracks from the Iggy Pop/David Bowie composition "Sister Midnight" from Pop's album The Idiot.