A music genre is a conventional category that identifies some pieces of music as belonging to a shared tradition or set of conventions. It is to be distinguished from musical form and musical style, although in practice these terms are sometimes used interchangeably. Academics have argued that categorizing music by genre is inaccurate and outdated. Music can be divided into different genres in many different ways; the artistic nature of music means that these classifications are subjective and controversial, some genres may overlap. There are varying academic definitions of the term genre itself. In his book Form in Tonal Music, Douglass M. Green distinguishes between form, he lists madrigal, canzona and dance as examples of genres from the Renaissance period. To further clarify the meaning of genre, Green writes, "Beethoven's Op. 61 and Mendelssohn's Op. 64 are identical in genre – both are violin concertos – but different in form. However, Mozart's Rondo for Piano, K. 511, the Agnus Dei from his Mass, K. 317 are quite different in genre but happen to be similar in form."
Some, like Peter van der Merwe, treat the terms genre and style as the same, saying that genre should be defined as pieces of music that share a certain style or "basic musical language." Others, such as Allan F. Moore, state that genre and style are two separate terms, that secondary characteristics such as subject matter can differentiate between genres. A music genre or subgenre may be defined by the musical techniques, the style, the cultural context, the content and spirit of the themes. Geographical origin is sometimes used to identify a music genre, though a single geographical category will include a wide variety of subgenres. Timothy Laurie argues that since the early 1980s, "genre has graduated from being a subset of popular music studies to being an ubiquitous framework for constituting and evaluating musical research objects". Among the criteria used to classify musical genres are the trichotomy of art and traditional musics. Alternatively, music can be divided on three variables: arousal and depth.
Arousal reflects the energy level of the music. These three variables help explain why many people like similar songs from different traditionally segregated genres. Musicologists have sometimes classified music according to a trichotomic distinction such as Philip Tagg's "axiomatic triangle consisting of'folk','art' and'popular' musics", he explains that each of these three is distinguishable from the others according to certain criteria. The term art music refers to classical traditions, including both contemporary and historical classical music forms. Art music exists in many parts of the world, it emphasizes formal styles that invite technical and detailed deconstruction and criticism, demand focused attention from the listener. In Western practice, art music is considered a written musical tradition, preserved in some form of music notation rather than being transmitted orally, by rote, or in recordings, as popular and traditional music are. Most western art music has been written down using the standard forms of music notation that evolved in Europe, beginning well before the Renaissance and reaching its maturity in the Romantic period.
The identity of a "work" or "piece" of art music is defined by the notated version rather than by a particular performance, is associated with the composer rather than the performer. This is so in the case of western classical music. Art music may include certain forms of jazz, though some feel that jazz is a form of popular music. Sacred Christian music forms an important part of the classical music tradition and repertoire, but can be considered to have an identity of its own; the term popular music refers to any musical style accessible to the general public and disseminated by the mass media. Musicologist and popular music specialist Philip Tagg defined the notion in the light of sociocultural and economical aspects: Popular music, unlike art music, is conceived for mass distribution to large and socioculturally heterogeneous groups of listeners and distributed in non-written form, only possible in an industrial monetary economy where it becomes a commodity and in capitalist societies, subject to the laws of'free' enterprise... it should ideally sell as much as possible.
Popular music is found on most commercial and public service radio stations, in most commercial music retailers and department stores, in movie and television soundtracks. It is noted on the Billboard charts and, in addition to singer-songwriters and composers, it involves music producers more than other genres do; the distinction between classical and popular music has sometimes been blurred in marginal areas such as minimalist music and light classics. Background music for films/movies draws on both traditions. In this respect, music is like fiction, which draws a distinction between literary fiction and popular fiction, not always precise. Country music known as country and western, hillbilly music, is a genre of popular music that originated in the southern United States in the early 1920s; the polka is a Czech dance and genre of dance music familiar throughout Europe and the Americas. Rock music is a broad genre of popular music that originated as "rock and roll" in the United States in the early 1950s, developed into a range of different styles in the 1960s and particular
Spirit (Bauhaus song)
"Spirit" is the seventh single released by British gothic rock band Bauhaus. It was released in 7" format on the Beggars Banquet label as a regular release with the band's distinctive logo on both sides and as a picture disc in a clear vinyl pouch with white text printed on the reverse, it peaked at No. 42 in the UK Singles Chart. "Spirit" "Terror Couple Kill Colonel" "Spirit" at Discogs AllMusic review Lyrics of this song at MetroLyrics
Bauhaus were an English rock band, formed in Northampton, England in 1978. The group consisted of Daniel Ash, Peter Murphy, Kevin Haskins and David J; the band was named Bauhaus 1919 in reference to the first operating year of the German art school Bauhaus, although they shortened the name within a year of formation. One of the pioneers of gothic rock, Bauhaus were known for their dark image and gloomy sound, although they mixed many genres, including dub, glam rock and funk. Bauhaus broke up in 1983. Peter Murphy began a solo career while Ash and Haskins continued as Tones on Tail and reunited with David J to form Love and Rockets. Both enjoyed greater commercial success in the United States than Bauhaus had, but disappeared from the charts in their homeland. Bauhaus reunited for a 1998 tour and again from 2005 to 2008. Daniel Ash, his friend David J. Haskins, Haskins' younger brother Kevin, had played together in various bands since childhood. One of the longer-lived of these was a band called the Craze, which performed a few times around Northampton in 1978.
However, The Craze still split up quickly, Ash once again tried to convince his old school friend Murphy to join him because Ash thought he had the right look for a band. Murphy, working in a printing factory, decided to give it a try, despite never having written any lyrics or music. During their first rehearsal, he co-wrote the song "In the Flat Field". Ash's old bandmate Kevin Haskins joined as the drummer. Ash made a point of not inviting David J, the driving force in their previous bands, because he wanted a band he could control. Instead, Chris Barber was brought in to play bass, together the four musicians formed the band S. R. However, within a few weeks Ash relented, replaced Barber with David J, who suggested the new name Bauhaus 1919. David J. had agreed to tour American airbases with another band, but decided that joining his friends' group was "the right thing to do". With their lineup complete, the band played their first gig at the Cromwell pub in Wellingborough on New Year's Eve 1978.
The band had chosen the name Bauhaus 1919, a reference to the German Bauhaus art movement of the 1920s, because of its "stylistic implications and associations", according to David J. The band chose the same typeface used on the Bauhaus college building in Dessau, Germany. Bauhaus associate Graham Bentley said that the group was unlike any Northampton band of the time, most of which played predominantly cover songs. Bentley videotaped a performance by the group, sent to several record labels, in the hope of obtaining a contract; this approach was hindered because many record companies at the time did not have home video equipment, so the group decided to record a demo. After only six weeks as a band, Bauhaus entered the studio for the first time at Beck Studios in Wellingborough to record a demo. One of the five tracks recorded during the session, "Bela Lugosi's Dead", more than nine minutes long, was released as the group's debut single in August 1979 on Small Wonder Records; the band was listed as Bauhaus, with the "1919" abandoned.
The single received a positive review in Sounds, stayed on the British independent charts for two years. The song received crucial airplay on BBC Radio 1 and DJ John Peel's evening show, Bauhaus were subsequently asked to record a session for Peel's show, broadcast on 3 January 1980. Signing with the 4AD label, the band released two more singles, "Dark Entries" in January 1980 and "Terror Couple Kill Colonel" in June 1980, before issuing their first album In the Flat Field in October 1980. NME described it as "Gothick-Romantick pseudo-decadence". Despite negative reviews, In the Flat Field topped the indie charts, made headway on the UK Albums Chart, peaking for one week at No. 72. In December 1980 Bauhaus released a cover of "Telegram Sam", a hit by glam rock pioneers T. Rex, as a single. Bauhaus' growing success outstripped 4AD's resources, so the band moved to 4AD's parent label, Beggars Banquet Records. Bauhaus released "Kick in the Eye" in March 1981 as its debut release on the label; the single reached No. 59 on the charts.
The following single, "The Passion of Lovers", peaked at No. 56 in July 1981. Bauhaus released their second album, Mask, in October 1981; the band employed more keyboards, a variety of other instruments, to add to the diversity of the record. In an unconventional move, the group shot a video for the album's title track as a promotional tool for the band as a whole, rather than any specific song from the record. In July 1982 Bauhaus released the single "Spirit", produced by Hugh Jones, it was intended to break into the Top 30, but only reached No. 42. The band was displeased with the single, re-recorded it in 1982 for their third album The Sky's Gone Out. In the same year, Bauhaus scored their biggest hit with a cover of David Bowie's "Ziggy Stardust", recorded during a BBC session; the song reached No. 15 on the British charts, earned the band an appearance on the television show Top of the Pops. Due to the success of the single, the album became the band's biggest hit, peaking at No. 4. That same year, Bauhaus made an appearance in the horror film The Hunger, where they performed "Bela Lugosi's Dead" during the opening credits.
The final cut of the scene focused on Murphy. Prior to the recording of their fourth album, Burning from the Inside, Murphy was stricken with pneumonia, which prevented him from contributing much to the album. Ash and David J took the reins, becoming the driving forces behind the record
A concept album is an album in which its tracks hold a larger purpose or meaning collectively than they do individually. This is achieved through a single central narrative or theme, which can be instrumental, compositional, or lyrical. Sometimes the term is applied to albums considered to be of "uniform excellence" rather than an LP with an explicit musical or lyrical motif. There is no consensus among music critics as to the specific criteria; the format originates with folk singer Woody Guthrie's Dust Bowl Ballads and was subsequently popularized by traditional pop singer Frank Sinatra's 1940s–50s string of albums, although the term is more associated with rock music. In the 1960s, several well-regarded concept albums were released by various rock bands, which led to the invention of progressive rock and rock opera. Since many concept albums have been released across numerous musical genres. There is no clear definition of what constitutes a "concept album". Fiona Sturges of The Independent stated that the concept album "was defined as a long-player where the songs were based on one dramatic idea – but the term is subjective."
A precursor to this type of album can be found in the 19th century song cycle which ran into similar difficulties in classification. The broad definitions of a "concept album" could encompass all soundtracks, cast recordings, greatest hits albums, tribute albums, Christmas albums, live albums; the most common definitions refer to an expanded approach to a rock album, or a project that either revolves around a specific theme or a collection of related materials. AllMusic writes, "A concept album could be a collection of songs by an individual songwriter or a particular theme — these are the concept LPs that reigned in the'50s... the phrase'concept album' is inextricably tied to the late 1960s, when rock & rollers began stretching the limits of their art form." Author Jim Cullen describes it as "a collection of discrete but thematically unified songs whose whole is greater than the sum of its parts... sometimes assumed to be a product of the rock era." Author Roy Shuker defines concept albums and rock operas as albums that are "unified by a theme, which can be instrumental, narrative, or lyrical....
In this form, the album changed from a collection of heterogeneous songs into a narrative work with a single theme, in which individual songs segue into one another."Speaking of concepts in albums during the 1970s, Robert Christgau wrote in Christgau's Record Guide: Rock Albums of the Seventies, because "overall impression" of an album matters, "concept intensifies the impact of the Who's Quadrophenia and Mary McCaslin's Way Out West and Millie Jackson's Caught Up in more or less the way Sgt. Pepper intended, but the sheer historical audacity of Joni Mitchell's For the Roses or Never Mind the Bollocks, Here's the Sex Pistols has a comparable effect. It's a species of concept that pushes a rhythmically unrelenting album like The Wild Magnolias or a vocally irresistible one like Shirley Brown's Woman to Woman, to a deeper level of significance." Rick Wakeman, keyboardist from the band Yes, considers the first concept album to be Woody Guthrie's 1940 album Dust Bowl Ballads. The Independent regards it as "perhaps" one of the first concept albums, consisting of semi-autobiographical songs about the hardships of American migrant labourers during the 1930s.
In the late 1940s, the LP record was introduced, with space age pop composers producing concept albums soon after. Themes included exploring wild life and dealing with emotions, with some albums meant to be played while dining or relaxing; this was accompanied in the mid 1950s with the invention of the gatefold, which allowed room for liner notes to explain the concept. Singer Frank Sinatra recorded several concept albums prior to the 1960s rock era, including In the Wee Small Hours and Frank Sinatra Sings for Only the Lonely. Sinatra is credited as the inventor of the concept album, beginning with The Voice of Frank Sinatra, which led to similar work by Bing Crosby. According to biographer Will Friedwald, Sinatra "sequenced the songs so that the lyrics created a flow from track to track, affording an impression of a narrative, as in musical comedy or opera.... First pop singer to bring a consciously artistic attitude to recording." In the early 1960s, concept albums began featuring in American country music, however the fact went unacknowledged by rock/pop fans and critics who would only begin noting "concept albums" as a phenomenon in the decade, when albums became aligned with countercultural ideology, resulting in a recognised "album era" and the introduction of the rock concept album.
The author Carys Wyn Jones writes that the Beach Boys' Pet Sounds, the Beatles' Revolver and Sgt. Pepper's Lonely Hearts Club Band, the Who's Tommy are variously cited as "the first concept album" for their "uniform excellence rather than some lyrical theme or underlying musical motif". Other records have been claimed as "early" or "first" concept albums; the 100 Greatest Bands of All Time states that the Ventures "pioneered the idea of the rock concept album years before the genre is acknowledged to have been born". Another is the Beach Boys' Little Deuce Coupe. Writing in 101 Albums That Changed Popular Music, Chris Smith commented: "Though albums such as Frank Sinatra's 1955 In the Wee Small Hours and Marty Robbins' 1959 Gunfighter Ballads and Trail Songs had introduced concept albums, Little Deuce Coupe was the first to comprise all original material r
"Suffragette City" is a song by David Bowie. From The Rise and Fall of Ziggy Stardust and the Spiders from Mars album in 1972, it was issued as a single in 1976 to promote the Changesonebowie compilation in the UK, with the US single edit of "Stay" on the B-side; the single failed to chart. Recorded on 4 February 1972, towards the end of the Ziggy Stardust sessions, "Suffragette City" features a piano riff influenced by Little Richard, a lyrical reference to the book and film A Clockwork Orange and the sing-along hook "wham bam, thank you, ma'am!". Before recording it himself, Bowie offered it to the band Mott the Hoople if they would forgo their plan to break up; the group recorded Bowie's "All the Young Dudes" instead. "Suffragette City" – 3:25 "Stay" – 3:21 Producers: Ken Scott on "Suffragette City" David BowieMusicians:David Bowie: Vocals, Guitar Mick Ronson: Guitar, piano, ARP 2600 synthesizer Trevor Bolder: Bass Mick Woodmansey: Drums It was released as the B-side of the singles "Starman" in April 1972 and "Young Americans" in February 1975.
A picture disc release appeared in the RCA Life Time picture disc set. It appeared on the following compilations: The Best of David Bowie Changesonebowie Changesbowie Bowie: The Singles 1969-1993 The Singles Collection RarestOneBowie The Best of David Bowie 1969/1974 Best of Bowie It was released in the music rhythm game Rock Band. Bowie recorded the song for the BBC radio programme "Sounds of the 70s: John Peel" on 16 May 1972, this performance was broadcast on 23 May 1972. In 2000, this recording was released on the Bowie at the Beeb album. A live version recorded at Santa Monica Civic Auditorium on 20 October 1972, during a Ziggy Stardust Tour concert, has been released on Santa Monica'72 and Live Santa Monica'72; the version played at the famous concert at the Hammersmith Odeon, London on 3 July 1973 was released on Ziggy Stardust - The Motion Picture. A live recording from the first leg of the Diamond Dogs Tour was released on David Live; this version was released in the Sound + Vision box set.
A live recording from the second leg of the same tour was released in 2017 on Cracked Actor. A live performance recorded on 23 March 1976 during the Isolar Tour was included on Live Nassau Coliseum'76, released as part of the 2010 reissues of the Station to Station album, on the 2016 collection Who Can I Be Now?, as a stand–alone album in 2017. A live version recorded in late April 1978 during the Isolar II Tour was included on the 2017 edition of Bowie's live album Stage, released in the box set A New Career in a New Town, as a stand–alone album in 2018. A summer 1978 performance from the same tour was released on the live album Welcome to the Blackout in 2018. On many live versions, the lyric "Cause you ain't got time to check it" is replaced with a repetition of the lyric: "Cause you can't afford the ticket". Pegg, The Complete David Bowie, Reynolds & Hearn Ltd, 2000, ISBN 1-903111-14-5 Lyrics of this song at MetroLyrics Featured in "Driver: Parallel Lines"
Stage (David Bowie album)
Stage is David Bowie's second live album, recorded on the Isolar II Tour, released by RCA Records in 1978. First UK pressings were on translucent yellow vinyl and some European pressings were available on blue vinyl. Though it was rumouredat the time that this would be his final outing with the label, following dissatisfaction over the promotion of Low and "Heroes", Bowie remained with RCA until 1982; the recording was culled from concerts in Philadelphia and Boston, US, in late April and early May 1978. It included material from Bowie's most recent studio albums to that date, Station to Station, Low and "Heroes" but five songs from The Rise and Fall of Ziggy Stardust and the Spiders from Mars. Aside from Bowie's core team of Carlos Alomar, Dennis Davis and George Murray, band members included ex-Frank Zappa sideman Adrian Belew on guitar, Simon House from Hawkwind on electric violin, Roger Powell, best known for his work with Todd Rundgren in the group Utopia, on keyboards and Sean Mayes on piano, string ensemble and backup vocals.
All would reunite the following year on Lodger. Considered more relaxed than Bowie's previous live album, David Live, Stage was praised on its initial vinyl release for the fidelity with which the band was able to emulate in concert the electronic and effects-filled numbers from Low and "Heroes", as well as for the singer's vocal performance. However, it was criticised for lacking a'live' atmosphere, thanks to the recording being taken from direct instrument and microphone feeds which increased sound quality but minimised crowd noise; the original concert running order was changed, with fades between tracks similar to a studio album. In a review of the 1991 rerelease, Mat Snow of Q stated that "performances are faster than the studio originals and suffer for it; the cover picture came in for criticism, more so because the rest of the package contained only variations of the same shot. Stage was a commercial success. In the UK, it reached No. 5 and was subsequently certified gold by the British Phonographic Industry.
It reached No. 44 on the US charts. "Breaking Glass", which appeared in shorter form on Low, was released as a 3-track EP and reached number 54 on the UK singles chart. In the US, "Star" failed to chart. In Japan "Soul Love" was released, with "Blackout" on the B-side, but failed to chart. A 2005 reissue saw most of the criticisms of the original LP addressed. In his review of the reissue, Chris Roberts of Uncut said that the combination of Low/Heroes-period material and songs from Ziggy Stardust resulted in a live album, an "eerie clattering between two stools", he said that the improvements in sound carried out by Tony Visconti and the addition of "Stay" and "the brilliant'Be My Wife'" made the new version of Stage "essential for Dave-freaks, anyway". The album is included in The Quietus' list of its writers' "40 Favourite Live Albums". All tracks written except where noted; the cassette release places "Speed of Life" between "Fame" and "TVC 15". Stage has been rereleased on CD four times to date, the first being in 1984 by RCA Records in 1991 by Rykodisc in 2005 by EMI, most in 2017 by Parlophone.
The running order of the 2005 and 2017 editions reflects the actual performance, removing fades between tracks, including unreleased performances as bonus tracks. The 2005 EMI release of this album was copy protected with CDS 200 in the EU; the 1984 rerelease on CD contains the same running order as the original LP, comes on two discs. Some of the European-distributed CDs were manufactured in Japan, but cover and assembling were made in Europe. Most of the CDs were made in Germany. In 1991, Stage was rereleased on CD, with the same running order as the original LP, with "Alabama Song" included as a bonus track; the 2005 CD reissue features a new running order, reflecting the original setlist of the concerts as performed. Two unreleased performances were included on the album as bonus tracks. In 2017, the album was included, in two versions, in the A New Career in a New Town box set released by Parlophone. One version contained the original mix and the same list and ordering of tracks that had appeared on the original vinyl album.
The latter was released separately, in 2-CD and 3-LP formats, in 2018. David Bowie – vocals, keyboards Carlos Alomar – rhythm guitar, backing vocals George Murray – bass, backing vocals Dennis Davis – drums, percussion Adrian Belew – lead guitar, backing vocals Simon House – violin Sean Mayes – piano, string ensemble, backing vocals Roger Powell – synthesizer, backing vocals Jan Michael Alejandro – band tech Vern "Moose" Constan – band tech Rob Joyce – stage manager Leroy Kerr – band tech Edd Kolakowski – piano and keyboard tech Album Single Works cited Roy Carr and Charles Shaar Murray. Bowie: An Illustrated Record David Buckley. Strange Fascination – David Bowie: The Definitive Story Nicholas Pegg; the Complete David Bowie
Bowie at the Beeb
Bowie at the Beeb is a compilation album by David Bowie, first released in 2000. It came in a three-CD set, the third, bonus CD being a live recording made on 27 June 2000 at the Portland BBC Radio Theatre. Editions contain only the first two CDs; the first pressing mistakenly included the second version of the song "Ziggy Stardust" twice on disc two, missing the first version. EMI declined to issue corrected replacement discs to customers, instead mailing out one-song CDRs of the first version; this compilation features a unreleased song, "Looking for a Friend", which John Peel said would be released as a single by Arnold Corns as a follow-up to the Arnold Corns versions of "Moonage Daydream" and "Hang On to Yourself", but it was never released, thus making this the only performance of "Looking for a Friend". All tracks written by David Bowie except. Disc one"In the Heat of the Morning" – 3:02 "London Bye Ta Ta" – 2:36 "Karma Man" – 3:00 "Silly Boy Blue" – 6:08 "Let Me Sleep Beside You" – 3:17 "Janine" – 3:24 "Amsterdam" – 3:18 "God Knows I'm Good" – 3:36 "The Width of a Circle" – 5:21 "Unwashed and Somewhat Slightly Dazed" – 5:07 "Cygnet Committee" – 9:07 "Memory of a Free Festival" – 3:18 "Wild Eyed Boy from Freecloud" – 5:55 "Bombers" – 3:19 "Looking for a Friend" – 3:34 "Almost Grown" – 2:44 "Kooks" – 3:32 "It Ain't Easy" – 2:51Disc two"The Supermen" – 2:51 "Oh!
You Pretty Things" – 3:15 "Eight Line Poem" – 2:56 "Hang On to Yourself" – 2:50 "Ziggy Stardust" – 3:26 "Queen Bitch" – 2:59 "I'm Waiting for the Man" – 5:24 "Five Years" – 4:24 "White Light/White Heat" – 3:48 "Moonage Daydream" – 4:58 "Hang On to Yourself" – 2:50 "Suffragette City" – 3:28 "Ziggy Stardust" – 3:24 "Starman" – 4:05 "Space Oddity" – 4:16 "Changes" – 3:29 "Oh! You Pretty Things" – 2:57 "Andy Warhol" – 3:14 "Lady Stardust" – 3:21 "Rock'n' Roll Suicide" – 3:08Disc three Tracks recorded at the BBC Radio Theatre, 27 June 2000."Wild Is the Wind" – 6:23 "Ashes to Ashes" – 5:04 "Seven" – 4:13 "This Is Not America" – 3:44 "Absolute Beginners" – 6:32 "Always Crashing in the Same Car" – 4:07 "Survive" – 4:55 "Little Wonder" – 3:49 "The Man Who Sold the World" – 3:58 "Fame" – 4:12 "Stay" – 5:45 "Hallo Spaceboy" – 5:22 "Cracked Actor" – 4:10 "I'm Afraid of Americans" – 5:30 "Let's Dance" – 6:20 Disc OneTracks 1 to 4 recorded for John Peel in Top Gear as "David Bowie and the Tony Visconti Orchestra", 13 May 1968, tracks 1–3 broadcast 26 May 1968.
Tracks 5 and 6 recorded for D. L. T. as "David Bowie and Junior's Eyes", 20 October 1969, but neither track appeared in program broadcast 26 October 1969. Tracks 7 to 12 recorded for The Sunday Show introduced by John Peel as "David Bowie and the Tony Visconti Trio", 5 February 1970, broadcast date 8 February 1970. Track 13 recorded for Sounds of the 70s: Andy Ferris as "David Bowie and the Tony Visconti Trio", 25 March 1970, broadcast date 6 April 1970. Tracks 14 to 18 recorded for In Concert: John Peel as "David Bowie and friends", 3 June 1971, broadcast date 20 June 1971. Disc TwoTracks 1, 2 and 3 recorded for Sounds of the 70s: Bob Harris by David Bowie with Mick Ronson, 21 September 1971, broadcast date 4 October 1971. Tracks 4 to 8 recorded for Sounds of the 70s: Bob Harris as "David Bowie and The Spiders from Mars", 18 January 1972, broadcast date 7 February 1972. Tracks 9 to 13 recorded for Sounds of the 70s: John Peel as "David Bowie and The Spiders from Mars", 16 May 1972, broadcast date 23 May 1972.
Tracks 14 to 17 recorded for Johnnie Walker Lunchtime Show as "David Bowie and The Spiders from Mars", 22 May 1972, broadcast date 5 June 1972 –9 June 1972. Tracks 18 to 20 recorded for Sounds of the 70s: Bob Harris as "David Bowie and The Spiders from Mars", 23 May 1972, broadcast date 19 June 1972. David Bowie – vocals, keyboard The Tony Visconti Orchestra: Herbie Flowers – bass Barry Morgan – drums John Mclaughlin – guitar Alan Hawkshaw – keyboards Tony Visconti – backing vocals Steve Peregrin Took – backing vocals Junior's Eyes: Mick Wayne – guitar Tim Renwick – rhythm guitar John "Honk" Lodge – bass John Cambridge – drums The Tony Visconti Trio aka The Hype: Tony Visconti – bass Mick Ronson – guitar John Cambridge – drums David Bowie and friends: David Bowie – vocals, keyboards Mick Ronson – guitar, vocal Trevor Bolder – bass Mick Woodmansey – drums Mark Carr-Pritchard – guitar George Underwood – vocal Dana Gillespie – vocal Geoffrey Alexander – vocal David Bowie and The Spiders from Mars: David Bowie – vocals, guitar Mick Ronson – guitar, vocal Trevor Bolder – bass Woody Woodmansey – drums Disc 3, 27 June 2000: David Bowie – Vocals Earl Slick – guitar Mark Plati - Guitar & Bass Gail Ann Dorsey - Bass, Guitar & Vocals Sterling Campbell - Drums Mike Garson - Piano & Keyboards Holly Palmer - Backing vocals & Percussion Emm Gryner - Backing vocals & Keyboard Nicky Graham – piano on disc 2, tracks 8–19 Bernie Andrews – producer, disc 1 tracks 1–4, 13 Pete Ritzema – engineer, disc 1 tracks 1–6, producer disc 2 tracks 8–12 Alan Harris – engineer, disc 1 tracks 1–4 Paul Williams – recording producer, disc 1 tracks 5–6 Jeff Griffin – recording producer, disc 1 tracks 7–1