"Lola" is a song written by Ray Davies and performed by English rock band the Kinks on their album Lola Versus Powerman and the Moneygoround, Part One. The song details a romantic encounter between a young man and a possible transvestite, whom he meets in a club in Soho, London. In the song, the narrator describes his confusion towards Lola, who "walked like a woman but talked like a man". Although Ray Davies claims that the incident was inspired by a true encounter experienced by the band's manager, alternative explanations for the song have been given by drummer Mick Avory; the song was released in the United Kingdom on 12 June 1970, while in the United States it was released on 28 June 1970. Commercially, the single reached number two on the UK Singles Chart and number nine on the Billboard Hot 100. Due to its controversial subject matter and use of the brand name Coca-Cola, the single received backlash and bans in Britain and Australia; the single version used the words "cherry cola" while the album version uses the name "Coca-Cola".
The track has since become one of The Kinks' most iconic and popular songs being ranked number 422 on "Rolling Stone's 500 Greatest Songs of All Time" as well as number 473 on the "NME's 500 Greatest Songs Of All Time" list. Since its release, "Lola" has appeared on live albums. In 1980, a live version of the song from the album One for the Road was released as a single in the US and some European countries, becoming a minor hit. In the Netherlands it became #1, just as in 1970 with the studio version. Other versions include 1996's To the Bone; the "Lola" character made an appearance in the lyrics of the band's 1981 song, "Destroyer". Ray Davies has claimed that he was inspired to write "Lola" after Kinks manager Robert Wace spent a night in Paris dancing with a transvestite. Davies said of the incident, "In his apartment, Robert had been dancing with this black woman, he said,'I'm onto a thing here.' And it was okay until we left at six in the morning and I said,'Have you seen the stubble?' He said'Yeah', but he was too pissed to care, I think".
Drummer Mick Avory has offered an alternative explanation for the song's lyrics, claiming that "Lola" was inspired by Avory's frequenting of transvestite bars in west London. Avory said, "We used to know this character called Michael McGrath, he used to hound the group a bit, because being called. He used to come down to Top of the Pops, he was publicist for John Stephen's shop in Carnaby Street, he used to have this place in Earl's Court, he used to invite me to all these drag queen acts and transsexual pubs. They were like secret clubs, and that's where Ray got the idea for'Lola'. When he was invited too, he wrote it while I was getting drunk". Despite claims that the song was written about a supposed date between Ray Davies and Candy Darling, Davies has since claimed this rumour to be false, saying that the two only went out to dinner together and that he had known the whole time that Darling was trans. In his autobiography, Dave Davies said that he came up with the music for what would become "Lola", noting that brother Ray added the lyrics after hearing it.
In a 1990 interview, Dave Davies stated that "Lola" was written in a similar fashion to "You Really Got Me" in that the two worked on Ray's basic skeleton of the song, saying that the song was more of a collaborative effort than many believed. Written in April 1970, "Lola" was cited by Ray Davies as the first song he wrote following a break he took to act in the 1970 Play for Today film The Long Distance Piano Player. Davies said that he had struggled with writing an opening that would sell the song, but the rest of the song "came naturally". Initial recordings of the song began in April 1970, but, as the band's bassist John Dalton remembered, recording for "Lola" took long, stretching into the next month. During April, four to five versions were attempted, utilizing different keys as well as varying beginnings and styles. In May, new piano parts were added to the backing track by John Gosling, the band's new piano player that had just been auditioned. Vocals were added at this time; the song was mixed during that month.
Mick Avory remembered the recording sessions for the song positively, saying that it "was fun, as it was the Baptist's first recording with us". The guitar opening on the song was produced as a result of combining the sound of a Martin guitar and a vintage Dobro resonating guitar. Ray Davies cited this blend of guitar sounds for the song's unique guitar sound. Despite the chart success "Lola" would achieve, its fellow Lola vs. Powerman track "Powerman" was considered to be the first single from the album. However, "Lola", which Ray Davies claimed was an attempt to write a hit, was decided on as the debut single release."Lola" was released as a single in 1970. In the UK, the B-side to the single was the Kinks Are the Village Green Preservation Society outtake "Berkeley Mews" while the Dave Davies-penned "Mindless Child of Motherhood" was used in the US, it became an unexpected chart smash for the Kinks, reaching number two in Britain and number nine in the United States. The single saw success worldwide, reaching the top of the charts in Ireland, New Zealand, South Africa, as well as the top 5 in Germany, Austria and Switzerland.
The success of the single had important ramifications for the band's career at a critical time, allowing them to negotiate a new contract with RCA Records, construct their own London Studio, assume more creative and managerial control. In a 1970 interview, Dave Davies stated that, if "Lola" had been a fa
The Kinks Are the Village Green Preservation Society
The Kinks Are the Village Green Preservation Society is the sixth studio album by the English rock group the Kinks, released in November 1968. It was the last album by the original quartet, as bassist Quaife left the group in early 1969. A collection of vignettes of English life, The Kinks Are the Village Green Preservation Society was assembled from songs written and recorded over the previous two years; the album failed to chart upon its initial release, Ray Davies has called it "the most successful flop." The album was ranked number 255 on Rolling Stone magazine's list of the 500 greatest albums of all time, it was described by Uncut in 2014 as a "brilliantly observed concept album". In 2018, the album earned a gold disc for reaching sales of 100,000 copies; the song "Village Green" itself was recorded in sessions for the Kinks' 1967 LP Something Else, but Davies withheld the song and began collecting ideas for a thematic album revolving around the village green concept. The band's interest in such a project began to grow in mid-1967: in a June interview Dave Davies mentioned that a Ray Davies solo LP was scheduled for release in September.
Which, according to Doug Hinman, "probably refers to Ray's plans for a collection of songs with a London theme, a la'Waterloo Sunset', an idea that seems to appear and disappear or his Village Green concept, the one that seems to take hold." The Kinks spent the remainder of the year completing Something Else went on a short break before beginning work on the Village Green album. The November 1966 track "Village Green" was inspired by a visit to Devon, England in late 1966. Davies has stated that Dylan Thomas's Under Milk Wood was an influence; the song suggests a broad theme, "I miss the village green, all the simple people", a world which could be extended by adding an "Animal Farm", "a dirty old shack that we called our home", "Sitting by the Riverside". It was populated with character sketches of the writer's childhood sweetheart Daisy and of Walter, once a close friend, both now married, of Johnny Thunder, the local hoodlum, Monica, a prostitute. Davies did not compose the songs to fit a predetermined theme of the album but a certain commonality develops in his lyric interests of the time.
Stephen Thomas Erlewine described Village Green as a "concept album lamenting the passing of old-fashioned English traditions." The intentional Englishness of the lyrics' imagery may have been due to The Kinks' exclusion from the USA. But the village green was a metaphor, a "Walt Disney" fantasy of an ideal protected place of retreat that, as Davies has since opined, may rather have belonged on a solo album or personal diary. Everybody’s got their own village green, somewhere you go to when the world gets too much."Davies, who had suffered mental exhaustion himself and conscious of "the hole I was in" – to either be a hit machine or not to exist, sings. It's a hard, hard world if it gets you down – Dreams fade and die in a bad, bad world" with "Everybody pushing one another around... all the people who think they got problems.. Don't let it get you down", he advises one friend. Running around like you're crazy... out on your feet – It's gonna drive you insane because the world's not so tame".
The writer admits. But he has somewhere to return to. It's a quiet, quiet life"; the village green offers a place to be natural, a place of solitude, while the "city" offers only artifice, haste and the dangers of the Cold War. The animal farm, Ray Davies said, "was just me thinking everybody else is mad and we are all animals anyway –, the idea of the whole album."As well as to nature, the lyrics make many references to Davies' own city childhood. That little green is where we played football, where we stayed ’til it was dark. There was mystery there... The record’s about lost childhood, but being a kid." "Do You Remember Walter?" is based upon a real-life childhood friend, "Sitting By The Riverside" recalls how Davies "went fishing a lot when I was about eight", the eventual title track, one of the last written and recorded, is full of references to children's entertainments of his youth. "Remember when the world was young" – childhood nostalgia brings with it a sense of "things about to be swept away, ideals that can never be kept".
The village green is a place of memory. Two songs "People Take Pictures of Each Other" and "Picture Book") discuss photographs, "pictures of things as they used to be", that people keep as a "moment to last them for ever". Davies notes the absurdity of those people's trying "to prove that they existed", yet imagines a future in which to "picture yourself when you're getting old, sat by the fireside" with the family photo album, but this sense of the past makes the village houses into "rare antiquities", he is "the last of the good old renegades. All my friends are all middle class and grey, but I live in a museum, so I'm okay." Walter is "fat and married", Davies r
Supergrass were an English rock band formed in Oxford in 1993. The band consisted of Mick Quinn and Danny Goffey. A 3-piece, Gaz's brother Rob Coombes joined the band in 2002; the band signed to Parlophone records in 1994 and produced I Should Coco, the biggest selling debut album for the label since the Beatles' Please Please Me. Their first album's fourth single "Alright" was a moderate international hit that established the band's reputation. Since the band have released five albums: In It for the Money, Life on Other Planets, Road to Rouen and Diamond Hoo Ha, as well as a decade-ending compilation called Supergrass is 10. In August 2009 the band signed to Cooking Vinyl and began work on their seventh studio album Release the Drones; the album remained unreleased and unfinished as, on 12 April 2010, the band announced that they were splitting up due to musical and creative differences. The group disbanded after four farewell gigs, the final one at La Cigale, Paris on 11 June 2010. At the age of 16 and 18 Gaz Coombes and Danny Goffey were members of shoegaze band the Jennifers along with Nick Goffey and Andy Davies.
The group formed at Wheatley Park School and featured Coombes on vocals, Nic Goffey on guitar, Danny Goffey on drums and Davies on bass. Danny and Nic Goffey are the sons of former BBC Top Gear presenter and motoring journalist Chris Goffey; the Jennifers began building a reputation in the Oxford indie music scene, influenced by Ride, the Charlatans, Inspiral Carpets, the Who and the Kinks, as well as including traits of the shoegazing era. The band played gigs at various venues around Oxfordshire public houses and clubs. Live performances included the Jericho Tavern in Oxford where they sold a demo tape recorded and produced by Nick Langston at Stargoat Studios near Banbury; the demo featured three songs, "Flying", which featured a 20-second countdown at the beginning, the recording of a rocket launch and a fast guitar-based song which appeared influenced by the Stone Roses, the second song, "Inside of Me" was similar in style but changed to a slower funk jam at the end, the third song titled on the tape "Slow Song" was a guitar-based ballad.
The band enjoyed enough success to release one single in 1992, "Just Got Back Today" on Nude Records, now a sought after rarity. Second single, "Tightrope" was never released due to disagreements with Nude Records; the band split up soon after this in the fall of 1992. Andy Davies went off to university and Nic Goffey went on to form a directing partnership with friend Dom Hawley directing many videos for Supergrass; when Coombes began working at the local Harvester he befriended co-worker Mick Quinn. The two realised they had common music interests and Coombes invited Quinn to come and jam with himself and Goffey. In February 1993 they formed Theodore Supergrass, "for about two months" Quinn explains, "then we realized that Theodore was a bit rubbish so we took that off."Goffey claims that the name was his idea and says. We were Theodore Supergrass and the idea was the band would be a little black character, we wouldn't have to do interviews. We'd get the questions in advance, script the answers and animate Theodore Supergrass answering them.
But it cost too much money." Gaz's brother, Rob Coombes, played flute for the band's début gig at the Co-Op Hall, Oxford in 1993. In January 1995 he first performed as keyboardist with the band for a live Radio 1 John Peel session, his role in the band progressed over the years, post-I Should Coco material is credited to "Supergrass and Rob Coombes", however, he wasn't introduced as a band member until a decade later. In mid-1994, Supergrass issued their debut single "Caught by the Fuzz" on the small independent local label Backbeat Records; the song recounts lead singer and guitarist Gaz Coombes's experience of being arrested by the police for possession of cannabis. The limited release of vinyl copies sold out thanks in part to support from John Peel on his Radio One show; the Parlophone label re-released the single in the autumn of the same year. It achieved the rare feat of both NME and Melody Maker "Single Of The Week" status in the same week."Mansize Rooster", released in February 1995, peaked at number 20 in the UK Singles Chart and "Lenny" was the band's first top 10 single.
"Lenny" was followed soon afterwards by the band's debut album, I Should Coco, which entered the UK Albums Chart at number one. It achieved half a million sales over a million worldwide. NME reviewer Steve Sutherland gave the album a nine out of ten rating, writing, "These freaks shall inherit the earth." The album's fourth single, the double A-side release "Alright"/"Time", stayed in the UK Top Three for a month, peaking at number two. Supergrass followed I Should Coco with 18 months of heavy touring, appearing at festivals such as Scotland's T In The Park and the Glastonbury Festival. After Performing at Rio's Hollywood Rock Festival in April 1996, Supergrass met the train robber Ronnie Biggs, said to him, "I was frightened for my life when I heard there was a supergrass in the area." A photograph of Ronnie Biggs and Gaz together was subsequently included in the music video for their 1996 single "Going Out". Recorded at Great Linford Manor the single peaked at number five in the UK charts, but was the last song produced by Sam Williams.
Supergrass returned to Sawmills Studio to co-produce follow up album, In It For The Money (released A
Kinda Kinks is the second album by English rock band The Kinks, released in 1965. Recorded and released within two weeks after returning from a tour in Asia, Ray Davies and the band were not satisfied with the production; the single "Tired of Waiting for You" was a #1 hit on the UK Singles Charts. The album was recorded after the return of the group from an Asian tour, was completed and released within two weeks; the production was rushed and, according to Ray Davies, the band was not satisfied with the final cuts. Due to record company pressure, however, no time was available to fix certain flaws present in the mix. Ray Davies has expressed his dissatisfaction towards the production not being up to par. Commenting on this, he said: "A bit more care should have been taken with it. I think; some of the double tracking on, appalling. It had better songs on it than the first album, it was just far too rushed." It was released by Pye in the UK on 5 March 1965, by Reprise in the USA on 11 August 1965. The US release had repackaged cover.
Several tracks were removed, the single "Set Me Free", released two months after the UK issue of Kinda Kinks, was unique to the album's US release. In the UK, the album was only released in mono; the single "Tired of Waiting for You" was a #1 hit on the UK Singles Charts. The album itself hit #3 on the UK Album Charts."Wonder Where My Baby Is Tonight" was released as a single in Norway and Sweden in 1966, backed with "I Need You", reaching 7 on the Swedish charts. Bruce Eder, in a restrospective summary for AllMusic, wrote that the album was uneven, but that "...what was first-rate was highly memorable, what wasn't wasn't bad." They made note of some maturing in Ray Davies's songwriting. All songs written except as indicated. Side 1"Look for Me Baby" - 2:17 "Got My Feet on the Ground" - 2:14 "Nothin' in the World Can Stop Me Worryin"Bout That Girl" - 2:44 "Wonder Where My Baby Is Tonight" - 2:01 "Set Me Free" - 2:12Side 2"Ev'rybody's Gonna Be Happy" - 2:16 "Dancing in the Street" - 2:20 "Don't Ever Change" - 2:25 "So Long" - 2:10 "You Shouldn't Be Sad" - 2:03 "Something Better Beginning" - 2:26For the US version, three tracks were dropped: "Naggin' Woman" would be held over for the US only Kinkdom LP, both sides of their recent hit single, "Tired of Waiting for You" and "Come On Now", were placed on the previous US album Kinks-Size.
These were replaced with the recent single "Set Me Free" and "Ev'rybody's Gonna Be Happy". The Kinks Ray Davies - lead vocals, backing vocals, rhythm guitar, piano on "Wonder Where My Baby Is Tonight" Dave Davies - lead guitar, backing vocals, lead vocals on "Got My Feet on the Ground", "Naggin' Woman", "Wonder Where My Baby Is Tonight" and "Come On Now" Pete Quaife - bass guitar, backing vocals Mick Avory - drums Additional musicians Bobby Graham - drums on "Tired of Waiting for You" Rasa Davies - backing vocals on "Look for Me Baby", "Dancing in the Street", "Come On Now", "I Need You" "Something Better Beginning" was released by The Honeycombs as a single in 1965. "Tired of Waiting for You" was covered by The Flock on their first album The Flock in 1969. "Everybody's Gonna Be Happy" was covered by Queens of the Stone Age on the limited edition version of their Songs for the Deaf album. Queens of the Stone Age covered "Who'll Be the Next in Line" on their Stone Age Complications album. "Come on Now" was covered by the Pussywillows on their 12" EP, Spring Fever!, by The Plimsouls on their album One Night in America.
"Tired of Waiting for You" was covered by Green Day for the Howard Stern movie Private Parts. It appeared on their 2002 B-sides compilation, Shenanigans. "Nothing in This World Can Stop Me Worryin"Bout That Girl" was covered by Mark Lanegan in 2000 for the Kinks tribute album, Give the People What We Want - Songs of the Kinks. More it was covered by Solvents on the Wes Anderson tribute album I Saved Latin. Kinda Kinks at kindakinks.net
Lola Versus Powerman and the Moneygoround, Part One
Lola Versus Powerman and the Moneygoround, Part One abbreviated to Lola Versus Powerman, or just Lola, is the eighth studio album by British rock band the Kinks and released in 1970. A concept album, it is a satirical appraisal of the music industry, including song publishers, the press, business managers, life on the road. Musically Lola Versus Powerman is varied, described by Stephen Thomas Erlewine as "a wildly unfocused but nonetheless dazzling tour de force", containing some of Ray Davies' strongest songs. Although it appeared during a transitional period for the Kinks, Lola Versus Powerman was a success both critically and commercially for the group, charting in the Top 40 in America and helping restore them in the public eye, making it a "comeback" album, it contained two hit singles: "Lola", which reached the top 10 in the US and UK, "Apeman", which peaked at number five in the UK. The Kinks ban by the American Federation of Musicians on performing in America, in force since 1965, was lifted in 1969, so the group's management arranged a North American tour.
However, members of the band fell ill, the tour was shuffled, resulting in the band playing only a few dates in America and Canada. A follow-up tour in 1970 met with similar results, with the group performing at only a select number of venues, with many dates cancelled; the down time between the tours allowed Ray Davies, lead singer and songwriter of the group, to develop the band's next single, "Lola". The Kinks returned to England to start work on their new LP in spring 1970; the group used Morgan Studios, an independent studio in Willesden, a change for them. They would continue recording their albums there until Preservation, when they switched to their newly purchased studio, Konk. Recording began in late April/early May; some of the first songs recorded were "Lola", the outtake "The Good Life", "Powerman" and "Got to Be Free". The sessions for "Lola" were long, the recording continued into late May. Davies would recall how he achieved the signature clangy sound at the beginning of the track: The National Steel would play an integral part in many Kinks projects after that.
In the 1972 song "Supersonic Rocket Ship", Ray Davies would use the guitar to create a Caribbean feel for the record. Davies would play it on numerous Top of The Pops appearances, it would be featured in several music videos the Kinks made in the future, including "Scattered" in 1992. Keyboardist John Gosling was added to the Kinks' lineup in May, he auditioned on the final backing master track for "Lola", was hired soon after. He was taken on for their upcoming US tour, but his post evolved into a more permanent position soon after. Gosling would remain with the band until departing after the release of Sleepwalker. Dubbing for "Lola" was finished in June. Recording for the LP was completed by October, it was mixed throughout the remainder of the month. Lola Versus Powerman and the Moneygoround, Part One was released on 27 November 1970. For "Lola", Ray Davies overdubbed the trademarked word "Coca-Cola" with the generic "cherry-cola" for the mono single release, as product placement rules meant the BBC would not have played it.
The lyrics in the gatefold sleeve of the original LP use the "cherry-cola" line, though the album track contains the original stereo "Coca-Cola" version. A similar situation was encountered with the song "Apeman", concerning the line "the air pollution is a-foggin' up my eyes". "Fogging" was mistaken for "fucking", Ray Davies had to re-record this line prior to its single release. The album is a satirical look at the various facets of the music industry, including song publishers, the press and the hit-making machine and business managers and the road. Musically, Lola Versus Powerman is varied, contrasting gentle ballads like "Get Back in Line" and "A Long Way From Home" against hard rock songs like "Rats" and "Powerman", with "Denmark Street" and "The Moneygoround" paying homage to the English music hall tradition. Lola Versus Powerman was well-received throughout the British music press. A review in New Musical Express called " Davies... one of the finest writers in contemporary rock," and praised the record's British styles and originality.
Melody Maker's interpretation of Lola Versus Powerman was Davies "taking a cheeky nibble" at the pop music business. Rolling Stone magazine commented that it was "the best Kinks album yet". Village Voice critic Robert Christgau commented that "Lola" had been an "astounding single," but gave Lola Versus Powerman a lukewarm review, saying that "the melodies are still there, but in this context they sound corny rather than plaintive." The single "Lola" received positive reviews, due to its success, an interview with Ray Davies by Jonathan Cott was featured as a cover story for Rolling Stone in November 1970. Modern critical opinion towards Lola Versus Powerman is positive but mixed. Given a positive review by the magazine in 1971, Rolling Stone rated it 31/2 out of 5 stars in its 1992 printing—however, the fourth edition ranked it at only 2 stars. Stephen Thomas Erlewine of Allmusic gave the album a positive review, writing that "Davies never delivers a cohesive story, but the record holds together because it's one of his strongest sets of songs."
Lola Versus Powerman and the Moneygoround, Part One went unnoticed by the record-buying public in the UK and failed to chart, despite the
David Robert Jones, known professionally as David Bowie, was an English singer and actor. He was a leading figure in the music industry and is considered one of the most influential musicians of the 20th century, acclaimed by critics and musicians for his innovative work during the 1970s, his career was marked by reinvention and visual presentation, with his music and stagecraft having a significant impact on popular music. During his lifetime, his record sales, estimated at 140 million albums worldwide, made him one of the world's best-selling music artists. In the UK, he was awarded ten platinum album certifications, eleven gold and eight silver, released eleven number-one albums. In the US, he received nine gold certifications, he was inducted into the Rock and Roll Hall of Fame in 1996. Born in Brixton, South London, Bowie developed an interest in music as a child studying art and design before embarking on a professional career as a musician in 1963. "Space Oddity" became his first top-five entry on the UK Singles Chart after its release in July 1969.
After a period of experimentation, he re-emerged in 1972 during the glam rock era with his flamboyant and androgynous alter ego Ziggy Stardust. The character was spearheaded by the success of his single "Starman" and album The Rise and Fall of Ziggy Stardust and the Spiders from Mars, which won him widespread popularity. In 1975, Bowie's style shifted radically towards a sound he characterised as "plastic soul" alienating many of his UK devotees but garnering him his first major US crossover success with the number-one single "Fame" and the album Young Americans. In 1976, Bowie starred in the cult film The Man Who Fell to Earth, directed by Nicolas Roeg, released Station to Station; the following year, he further confounded musical expectations with the electronic-inflected album Low, the first of three collaborations with Brian Eno that came to be known as the "Berlin Trilogy". "Heroes" and Lodger followed. After uneven commercial success in the late 1970s, Bowie had UK number ones with the 1980 single "Ashes to Ashes", its parent album Scary Monsters, "Under Pressure", a 1981 collaboration with Queen.
He reached his commercial peak in 1983 with Let's Dance. Throughout the 1990s and 2000s, Bowie continued to experiment with musical styles, including industrial and jungle, he continued acting. He stopped touring after 2004 and his last live performance was at a charity event in 2006. In 2013, Bowie returned from a decade-long recording hiatus with The Next Day, he remained musically active until he died of liver cancer two days after the release of his final album, Blackstar. Bowie was born David Robert Jones on 8 January 1947 in London, his mother, Margaret Mary "Peggy", was born at Shorncliffe Army Camp near Kent. Her paternal grandparents were Irish immigrants, she worked as a waitress at a cinema in Royal Tunbridge Wells. His father, Haywood Stenton "John" Jones, was from Doncaster, worked as a promotions officer for the children's charity Barnardo's; the family lived at 40 Stansfield Road, on the boundary between Brixton and Stockwell in the south London borough of Lambeth. Bowie attended Stockwell Infants School until he was six years old, acquiring a reputation as a gifted and single-minded child—and a defiant brawler.
In 1953, Bowie moved with his family to Bromley. Two years he started attending Burnt Ash Junior School, his voice was considered "adequate" by the school choir, he demonstrated above-average abilities in playing the recorder. At the age of nine, his dancing during the newly-introduced music and movement classes was strikingly imaginative: teachers called his interpretations "vividly artistic" and his poise "astonishing" for a child; the same year, his interest in music was further stimulated when his father brought home a collection of American 45s by artists including the Teenagers, the Platters, Fats Domino, Elvis Presley, Little Richard. Upon listening to Little Richard's song "Tutti Frutti", Bowie would say that he had "heard God". Bowie was first impressed with Presley when he saw his cousin dance to "Hound Dog". By the end of the following year, he had taken up the ukulele and tea-chest bass, begun to participate in skiffle sessions with friends, had started to play the piano. Like someone from another planet".
After taking his eleven-plus exam at the conclusion of his Burnt Ash Junior education, Bowie went to Bromley Technical High School. It was an unusual technical school, as biographer Christopher Sandford wrote: Despite its status it was, by the time David arrived in 1958, as rich in arcane ritual as any public school. There were houses named after eighteenth-century statesmen like Wilberforce. There was a uniform, an elaborate system of rewards and punishments. There was an accent on languages and design, where a collegiate atmosphere flourished under the tutorship of Owen Frampton. In David's account, Frampton led through force of persona