Sterling Campbell, is an American musician and songwriter who has worked with numerous high-profile acts, including The B-52s, Duran Duran, Soul Asylum, Cyndi Lauper, Spandau Ballet, Gustavo Cerati and David Bowie. Campbell was born and raised in New York City, in an African American family with five older brothers, all of whom enjoyed music from funk and Motown, to rock and beyond, where he began learning to play the drums at age eleven; when he was fourteen years old, then-drummer in David Bowie's backing band, Dennis Davis, moved into the apartment building where Campbell's family resided. Davis invited him to come with him to see a Bowie concert, galvanizing the student to apply himself further on the drum kit, he attended high school at The High School of Art from which he graduated. Campbell practiced, composed his own songs, finding work as a session musician. Campbell rose to international attention in 1986, touring with Cyndi Lauper on her True Colors World Tour. For the next ten years, he played with several notable bands.
In 1989, Campbell joined Duran Duran, was hired first as a session player in 1991 by Soul Asylum, playing on half of the tracks on their 1992 release, Grave Dancer's Union including their Grammy Award-winning single, "Runaway Train". Campbell soon replaced Soul Asylum's drummer Grant Young, played with them from 1995 to 1998. Sterling began recording with David Bowie in 1991 and joined his band in 1992, touring with him for fourteen years, until the end of his "A Reality Tour", in 2004. Campbell has worked with artists such as David Byrne, The B-52s, Tina Turner, Grayson Hugh and Gustavo Cerati. In 2007, he reunited with The B-52s and tours with the band. In 1996, Campbell began practicing Falun Gong, a form of meditative qigong practice whose followers are persecuted in China, he traveled to Beijing in 2002 to demonstrate against the suppression, was detained and beaten by police. He has since continued to advocate for human rights in China. Www.sterlingcampbellmusic.com Friends of Falun Gong interview Experience Sharing – Sterling Campbell
Dead Man Walking (song)
"Dead Man Walking" is a song written by David Bowie and Reeves Gabrels and released as single from the 1997 album Earthling. It was a number 32 hit in the UK; the guitar riff used in the intro dates back to the mid-1960s. Bowie used it for his song "The Supermen" in 1970, revived it 25 years for "Dead Man Walking". "Dead Man Walking" – 4:01 "Dead Man Walking" – 6:50Released 21 March 1997 in the Netherlands by BMG. "Dead Man Walking" – 7:31 "Dead Man Walking" – 6:50 "I'm Deranged" – 7:00Released 21 March 1997 in the Netherlands by BMG. "Dead Man Walking" – 7:31 "Dead Man Walking" – 6:00 "Dead Man Walking" – 6:28 "Dead Man Walking" – 6:29Released 24 March 1997 in the Netherlands by BMG. "Dead Man Walking" – 4:01 "I'm Deranged" – 7:00 "The Hearts Filthy Lesson" – 5:00Released 14 April 1997 in UK by RCA and BMG. "Dead Man Walking" – 6:50 "Dead Man Walking" – 7:31 "Dead Man Walking" – 6:00 "Dead Man Walking" – 6:28Released 14 April 1997 in UK by RCA and BMG. "Dead Man Walking" – 4:01 "Dead Man Walking" – 7:31 "Dead Man Walking" – 6:00 "Dead Man Walking" – 6:28 "Dead Man Walking" – 6:29Released 28 April 1997 in Australia by BMG.
"Dead Man Walking" – 4:01 "Dead Man Walking" – 6:00 "Dead Man Walking" – 6:28 "I'm Deranged" – 7:00Released May 1997 in Japan. "Dead Man Walking" – 6:00 "Dead Man Walking" – 6:29 "Telling Lies" "Dead Man Walking" – 7:31 "Dead Man Walking" – 6:00 "Dead Man Walking" – 6:28 "Dead Man Walking" – 6:29At least six additional promo singles were released. David Bowie – production, writing credits, sampling Bowie played an acoustic version of the song on Late Night with Conan O'Brien with Reeves Gabrels; this was released on the show's Live from 6A compilation album. When Bowie died in January 2016, Conan O'Brien broadcast the performance at the end of his show in remembrance. Another live version recorded at Fort Apache Studios, 8 April 1997, was broadcast at WBCN; the year after this version appeared on the album WBCN Naked Too. Bowie played a different live acoustic version of "Dead Man Walking" at a concert at Smith's Olde Bar in Atlanta, Georgia on 4 August 1997, hosted by Atlanta alternative rock radio station 99X.
99X included it as a track on their 99X Live X IV "Home" CD. It was featured in the 1997 film The Saint. Two Moby mixes were released on the bonus disc of the 2004 Digibook Expanded Edition of Earthling. "Dead Man Walking" was used as introduction for "Lo Que Queda del Día", a late-afternoon news programme from Chilean Radio Cooperativa. It was included in the soundtrack to The Saint. Used as theme music for early episodes of MTV's Making The Video
"Hallo Spaceboy" is a song by David Bowie from his 1995 album Outside. The track was re-recorded the following year, issued as a remix featuring Pet Shop Boys as guest artists. Bowie and Brian Eno co-wrote the original album version of the song. Bowie wrote the song in mostly-improvised sessions with his band in 1995, intentionally wrote it with a Nine Inch Nails-like vibe. Of the track, Bowie said "I adore that track. In my mind, it was; when I heard it back, I thought,'Fuck me. It's like metal Doors.' It's an extraordinary sound." The commercial version of the single featured a remix by Pet Shop Boys as the lead track, not the original album version. In contrast to the original, the single remix was disco-oriented and featured additional lyrics sung by Neil Tennant; the introduction was sampled from the opener to Outside, "Leon Takes Us Outside". Neil Tennant and Chris Lowe of the Pet Shop Boys commented on this remix to journalist Mark Beaumont, writing for the NME, in February 2017. Tennant remarked that they regarded being asked by Bowie to work on the single as a "career high-point" for them.
Tennant explained that since the original song had only a single verse, Lowe suggested using lyrical fragments from Bowie's 1969 song Space Oddity to create a second verse. Bowie expressed reservation about the additions when Tennant told him during a telephone conversation, but agreed that they worked well. Tennant told Beaumont that he and Lowe, working alongside Bowie, had completed what Tennant called the "Major Tom trilogy", in reference to a fictional character who first appeared in Space Oddity and who had recurred in Bowie's 1980 song Ashes to Ashes. Tennant explained: I said to David Bowie, "It's like Major Tom is in one of those Russian spaceships they can’t afford to bring down," and he said, "Oh wow, is that where he is?"Bowie and Lowe performed a live version of the remixed song at the Brit Awards in February 1996. The 12" Remix surfaced on Pet Shop Boys' remix collection Disco 4, released by EMI in October 2007; the three remixes by Dave Ball and Ingo Vauk are based on the Pet Shop Boys Remix, but only Double Click Mix uses Neil Tennant's vocals.
Instrumental is an instrumental version of Double Click Mix. Except the single mix, all remixes were released only on promo 12" singles. In 2004 they were included on the bonus disc of the re-released Outside album. All tracks by Bowie/Eno. "Hallo Spaceboy" – 4:25 "Under Pressure" – 4:07released in a card sleeve "Hallo Spaceboy" – 4:25 "Under Pressure" – 4:07 "Moonage Daydream" – 5:25 "The Hearts Filthy Lesson" – 4:56 "Hallo Spaceboy" – 4:25 "Under Pressure" – 4:07 "Moonage Daydream" – 5:25 "The Hearts Filthy Lesson" – 4:56 "Hallo Spaceboy" – 4:25 "Under Pressure" – 4:07 "Moonage Daydream" – 5:25 "The Hearts Filthy Lesson" – 4:56 "Hallo Spaceboy" – 4:25 "The Hearts Filthy Lesson" – 3:33 "Hallo Spaceboy" – 6:34 "Hallo Spaceboy" – 7:47 "Hallo Spaceboy" – 7:41 "Hallo Spaceboy" – 6:29 "Hallo Spaceboy" – 6:45 "Hallo Spaceboy" – 4:25 "Hallo Spaceboy" – 7:47 "Hallo Spaceboy" – 6:29US promo Producers: David Bowie Brian Eno David Richards Musicians: David Bowie: Vocals, Sax Brian Eno: Synthesizers, Drum Machine Reeves Gabrels: Guitar Carlos Alomar: Guitar Erdal Kızılçay: Bass Guitar Mike Garson: Piano Sterling Campbell: Drums Bowie performed the song with Pet Shop Boys at the 1996 Brit Awards.
In the autumn 1995, Bowie performed this song together with Nine Inch Nails. A version recorded in 1996 at the Phoenix Festival in England was released on the various artist compilation Phoenix Festival in 1997 and on the live album LiveAndWell.com in 2000. At Bowie's 50th Birthday Bash in New York January 1997, the song was performed together with Foo Fighters; this version featured Zachary Alford, William Goldsmith and Dave Grohl on three different drum sets and Nate Mendel and Gail Ann Dorsey on two bass guitars. Bowie's 25 June 2000 performance of the song at the Glastonbury Festival was released in 2018 on Glastonbury 2000. Bowie performed the song live at BBC Radio Theatre, London, on 27 June 2000, a recording of this performance was included on the bonus disc accompanying the first releases of Bowie at the Beeb in 2000. A November 2003 live performance from the A Reality Tour is included on the A Reality Tour DVD, released in 2004, as well as the A Reality Tour album, released in 2010.
Bowie performed the song live on Jools Holland's'Later' in December 1995.<https://www.bbc.co.uk/music/articles/b76e164f-7a2c-4458-81ac-47724387a4e2> The Pet Shop Boys remix was released as an additional track on Outside – version 2 and is included on some editions of the compilation albums Best of Bowie, Nothing Has Changed, Bowie Legacy. Several of the remixes were released on the 2004 limited 2CD edition of Outside; the extended Pet Shop Boys remix of "Hallo Spaceboy" is included on the Pet Shop Boys album Disco 4, released on 8 October 2007. Pet Shop Boys performed the song live with Sylvia Mason-James singing the
Outside (David Bowie album)
1. Outside is the nineteenth studio album by English recording artist David Bowie, released on 25 September 1995 by Arista Records, it marked Bowie's reunion with Brian Eno, whom he had worked with among others on his Berlin Trilogy in the 1970s. Outside centres on the characters of a dystopian world on the eve of the 21st century; the album put Bowie back into the mainstream scene of rock music with its singles "The Hearts Filthy Lesson", "Strangers When We Meet", "Hallo Spaceboy". Bowie had reconnected with Brian Eno at his wedding to Iman Abdulmajid in 1992. Bowie and Eno each played pieces of their own music at the wedding reception and delighted at the "ebb and flow" of couples on the dance floor. At that point, Bowie knew "we were both interested in nibbling at the periphery of the mainstream rather than jumping in. We sent each other long manifestoes about what we should be doing. We decided to experiment and go into the studio with not a gnat of an idea." Bowie and Eno visited the Gugging psychiatric hospital near Vienna, Austria in early 1994 and interviewed and photographed its patients, who were famous for their "Outsider art".
Bowie and Eno brought some of that art back with them into the studio as they worked together in March 1994, coming up with a three-hour piece, dialogue. Late in 1994, Q magazine asked Bowie to write a diary for 10 days, to be published in the magazine, but Bowie, fearful his diary would be boring, instead wrote a diary for one of the fictional characters from his earlier improvisation with Eno. Bowie said "Rather than 10 days, it became 15 years in his life!" This became the basis for the story of 1. Outside; as a result, unlike for some of Bowie's previous albums, not a single song was written prior to the band going into the studio. Instead, Bowie wrote many songs alongside the band in improvised sessions. Bowie and Eno continued the experimental songwriting techniques they had started using back during the Berlin Trilogy. In 1995, while talking to the press about the album, Bowie said "What Brian did, useful, is he provided everybody with flash cards at the beginning of the day. On each one, a character was written, like'You are the disgruntled member of a South African rock band.
Play the notes that were suppressed.'... Because that set the tone for the day, the music would take on all those obscure areas, and it would rarely lapse into the cliché."The "random cutups" from the Adler story that are part of the album's lyrics and liner notes were written by Bowie, who typed them into his Mac computer and ran a custom program called the Verbasizer. The Verbasizer was a program written by Gracenote co-founder Ty Roberts, the program would cut up and reassemble Bowie's words electronically, much like he had done with paper and glue back in the 1970s, he would look at the lyrics while the band played a song and decide "whether I was going to sing, do a dialogue, or become a character. I would improvise with the band fast on my feet, getting from one line to another and seeing what worked." Bowie claimed that it took about three and a half hours using this method to create "virtually the entire genesis" of the album Outside. At nearly 75 minutes, the album is one of Bowie's longest.
When it was released, Bowie knew. He said, "as soon, ` It's much too fucking long. It's gonna die.' There's too much on it. I should have made it two CDs." The liner notes feature a short story by Bowie titled "The diary of Nathan Adler or the art-ritual murder of Baby Grace Blue: A non-linear Gothic Drama Hyper-cycle.", which outlines a somewhat dystopian version of the year 1999 in which the government, through its arts commission, had created a new bureau to investigate the phenomenon of Art Crime. In this future and mutilation of bodies had become a new underground art craze; the main character, Nathan Adler, was in the business of deciding what of this was acceptable as art and what was, in a word, trash. The album is filled with references to characters and their lives as he investigates the complicated events leading up to the murder of a fourteen-year-old girl. One is meant to assume that Bowie's character, Nathan Adler, works for the British government due to several references to the cities of London and Oxford, but in the liner notes these are revealed to be, at least in some cases, London and Oxford, New Jersey, indicating that the entire story may take place in North America—or, that the distinction between the two places has become blurred and indistinguishable.
Bowie would claim that the album has "strong smatterings of Diamond Dogs... The idea of this post-apocalyptic situation is somehow. You can kind of feel it." In interviews, Bowie remarked that the album was meant to reflect the anxiety of the last five years of the millennium, saying "Overall, a long-term ambition is to make it a series of albums extending to 1999—to try to capture, using this device, what the last five years of this millennium feel like. It's a diary within the diary; the narrative and the stories are not the content—the content is the spaces in between the linear bits. The queasy, textures.... Oh, I've got the fondest hopes for the fin de siecle. I see it as a symbolic sacrificial rite. I see it as a deviance, a pagan wish to appease gods, so we can move on. There's a real spiritual starvation out there being filled by these mutations of what are remembered rites and rituals. To take the place of the void left by a non-authoritative church. We have this panic button telling us it's gonna be a colossal
The Buddha of Suburbia (song)
"The Buddha of Suburbia" is the theme song to the BBC TV series of the same name, released by David Bowie in 1993. It was re-recorded with Lenny Kravitz for Bowie's album titled The Buddha of Suburbia, inspired by his musical score for the series; the single reached No. 35 in the UK singles chart. One of the few tracks from the series, retained unchanged for the album, its nostalgic lyrics were matched by a sound, something of a pastiche of Bowie's past work, while retaining a fresh sound. Two places in the song there are references to older Bowie songs, the guitar break from "Space Oddity" and the line "Zane, zane, ouvre le chien" from "All the Madmen". Confusingly, several different versions of the song were released, some with no differentiation in title. Album track. Album track No. 10 is not titled any differently from album track No. 1, although he is credited in the liner notes. CD single track No. 4 is labelled "Buddha of Suburbia", but it is the same as album track No. 10. Single track No. 1 is labelled just "Buddha of Suburbia" but does show "featuring Lenny Kravitz on guitar" in the credits.
A careful comparison shows that this track is the same as album track No. 1, but has the ending section of album track No. 10 instead of the original ending from album track No. 1. To add additional confusion, a couple of seconds of "noise" appear at the end of Track No. 1 on the album version. It doesn't appear on the end of the song on any of the single versions of it and the 2007 remaster/reissue of the album moves it to the beginning of Track No. 2 instead. This single was promoted by a video featuring Bowie performing the song while strolling around an English suburb, intercut with scenes from the series; the song caused minor controversies on both sides of the Atlantic, with Radio 1 making an airplay edit to cover up the word "bullshit" in the lyric, US networks re-edited the video to remove shots where Bowie was smoking a cigarette. All songs written by David Bowie. UK, Netherlands: Arista-BMG / 74321 17705 7 UK, Netherlands: Arista-BMG / 74321 17705 4 UK, Netherlands: Arista-BMG / 74321 17705 2 Collectors edition with a holographic CD.
UK: Arista-BMG / 74321 18168 2 Producers: David Bowie David Richards Musicians: David Bowie – vocals, guitar, saxophone Lenny Kravitz – guitar on "The Buddha of Suburbia" Erdal Kızılçay – bass, keyboards, trumpet Pegg, The Complete David Bowie, Reynolds & Hearn Ltd, 2000, ISBN 1-903111-14-5
Industrial rock is a musical genre that fuses industrial music and rock music. Experimental'60s group Cromagnon are said to have been one of the bands that helped foresee the birth of industrial rock, their song "Caledonia" has been noted for its "pre-industrial stomp". Krautrock musicians Michael Rother and Klaus Dinger included industrial noise in their track "Negativland". Neu! Inspired the opening track "Speed of Life" on David Bowie's Low recorded in Berlin. Bowie collaborated with Iggy Pop on his 1977 solo debut The Idiot; the closing track "Mass Production" features mechanical sounds sampled on tape loops which influenced Joy Division who were signed to the industrially themed label Factory Records, founded in 1978. Chrome has been credited as the "beginning of industrial rock" and their 1978 Half Machine Lip Moves was listed on Wire's 100 Records that set the world on fire. Industrial rock was created in the mid- to late 1970s, amidst the punk rock revolution and disco fever. Prominent early industrial musicians include Throbbing Gristle, Cabaret Voltaire, NON, SPK and Z'EV.
Many other artists have been cited as influences such as Kraftwerk and Gary Numan and Tubeway Army as well as Einstürzende Neubauten and Fad Gadget. Many other musical performers were incorporating industrial music elements into a variety of musical styles; some post-punk performers developed styles parallel to industrial music's defining attributes. Pere Ubu's debut, The Modern Dance, was described as "industrial". Killing Joke, considered by Simon Reynolds as "a post-punk version of heavy metal". According to Chris Connelly, Foetus "is the instigator when it comes to the marriage of machinery to hardcore punk."Others followed in their wake. The New York City band Swans were inspired by the local No Wave scene, as well as punk rock, noise music and the original industrial groups. Steve Albini's Big Black followed a similar path, while incorporating American hardcore punk. Big Black has been associated with post-hardcore and noise rock, though their ties to industrial music are apparent; the Swiss trio The Young Gods, who deliberately eschewed electric guitars in favor of a sampler took inspiration from both hardcore and industrial, being indebted to the Bad Brains and Foetus.
In the 1990s, industrial rock broke into the mainstream with artists and bands such as Nine Inch Nails, Rob Zombie, White Zombie, Marilyn Manson. In December 1992, Nine Inch Nails' EP Broken was certified platinum by the Recording Industry Association of America. Nine Inch Nails gained further popularity with the release of their 1994 album The Downward Spiral; the Downward Spiral was certified 4x platinum by the RIAA in 1998. Nine Inch Nails' 1999 album The Fragile was certified 2x platinum in January 2000. With the success of Nine Inch Nails, the band's debut album Pretty Hate Machine was certified 3x platinum by the RIAA. In the 1990s, four Nine Inch Nails songs went on the Billboard Hot 100. Several industrial rock and industrial metal artists such as KMFDM, Fear Factory, Gravity Kills and Sister Machine Gun appeared on the 1995 Mortal Kombat: Original Motion Picture Soundtrack; the soundtrack was certified platinum by the RIAA in January 1996. Marilyn Manson released their album Antichrist Superstar in 1996.
The album was certified platinum by the RIAA two months after its release date. In the United States, Antichrist Superstar sold at least 1,900,000 units. Marilyn Manson's EP Smells Like Children was certified platinum in May 1998. Marilyn Manson's album Mechanical Animals went to number 1, selling 223,000 copies in its first week in stores, knocking The Miseducation of Lauryn Hill by Lauryn Hill off of the top spot. Mechanical Animals was certified platinum by the RIAA in February 1999 and sold at least 1,409,000 copies in the United States. Orgy experienced mainstream success during the 1990s; the band's 1998 album Candyass was certified platinum by the RIAA in July 1999. Orgy's cover of New Order's song "Blue Monday" went to number 56 on the Billboard Hot 100 and number 2 on the Dance Club Songs chart. White Zombie experimented with industrial metal on its 1995 album Astro-Creep 2000, certified 2x platinum by the RIAA in March 1996. White Zombie's vocalist Rob Zombie began creating pure industrial metal albums in his solo career.
Rob Zombie's solo debut studio album Hellbilly Deluxe was certified 3x platinum by the RIAA less than two years after its release date. In November 1999, Powerman 5000's album Tonight the Stars Revolt! was certified platinum by the RIAA. The album sold at least 1,316,172 units in the United States. Wax Trax! Records Nothing Records Industrial rock musical groups Industrial rock sales and awards List of industrial music bands Blush, Steven. American Hardcore: A Tribal History. Los Angeles, CA: Feral House. Chantler, Chris. "Splitting heirs". Terrorizer, 96: 54-5. Connelly, Chris. Concrete, Invisible + Fried: My Life as a Revolting Cock. London: SAF Publishing. Irvin, Jim; the Mojo Collection: The greatest albums of all time. Edinburgh: Canongate. Licht, Alan. "Tunnel vision". The Wire, 233: 30-37. Mörat. "Ye gods!" Kerrang!, 411: 12. Reynolds, Simon. Rip it up and start again: Postpunk 1978-1984. London: Faber and Faber Limited. Sharp, Chris. "Atari Teenage Riot: 60 second wipe out". The Wire, 183: 48-49. Stud, B.
& Stud, T.. "Heaven up here". Melody Maker: 26-27. Vale, Vivian. RE/Search #6-#7: Industrial culture handbook. San Francisco, CA: RE/SEARCH PUBLICATIONS. Reed, S. Ale