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indulgent with the younger students who’d follow him around the playground, asking about music or baseball. The damaged eye added a dangerous, disconcerting glamour to his otherwise conventional pretty-boy looks, but as far as native talent goes, David seemed like a supporting act to his friend George Underwood – more relaxed, more masculine – who remained the centre of attention at Bromley Tech. Most of the kids who saw the Kon-Rads remember few details of their first couple of shows, but that wasn’t the point; they were out there, living out the new DIY ethos. Today, their Conway Twitty and Joe Brown covers would sound gauche and naive, but to their peers, they were sweeping away England’s suffocating conformity, its smug dance bands and crooners. Yet before their career had even got going, it turned out that the Kon-Rads were not unified fighters for the cause. Late in 1962, when drummer Dave Crook left their always fluid line-up, a putsch in the ranks saw George Underwood booted out. To this day, the central characters dispute what happened in their schoolboy band. As far as George Underwood is concerned, the new drummer was the villain of the story: ‘He just didn’t like me for some reason. He was trying to get me out of the band and got one of his friends, not to beat me up, but to give me some kind of warning. It was really intimidating, I was almost crying – it was horrible.’ George, for all his talent, was simply too nice – ‘a gentleman’, he explains. He didn’t protest; he even lent them his
guitar amp. ‘Without it, they were fucked.’ It was an early lesson in the ruthlessness of the music industry for Underwood, albeit one he never took to heart. At first, David was unconcerned by his friend’s departure. He was fascinated by the new drummer, David Hadfield, who already seemed like a pro compared to the rest of the Kon-Rads. Hadfield had grown up in Cheshunt, Hertfordshire, where he’d teamed up with Harry Webb, later famous as Britain’s first home-grown rock ‘n’ roller Cliff Richard, at secondary school. Hadfield had hyped his Cliff credentials in a ‘Drummer Seeks Work’ advert placed in Furlong’s music shop. David, along with guitarist Neville Wills, was intrigued, questioning the drummer closely over coffees at the Bromley Wimpy. Rhythm guitarist Alan Dodds joined them for a rehearsal in Neville’s front room a few days later, and they all agreed that Hadfield was in. The drummer would become David’s closest musical confidant for nearly a year; together, they’d hustle for shows, paint backdrops and update their set list. Over the following weeks, Hadfield discovered the skinny blond-haired sax player, who looked younger than his fifteen years, was by far the most ambitious band member. ‘He was very very boyish, blond, and didn’t look his age at all. But he carried himself well – and he just wanted to be part of show business. You could feel it.’ Hadfield was ambitious, too, although he’s adamant that he played no part in the ousting of George Underwood, and didn’t even know that the Kon-Rads had ever played in public. David would
Page 2 and 3: Also by Paul Trynka Copyright CONTE
Page 4 and 5: Genius Steals Thursday evening, sev
Page 6 and 7: oogie rhythm. For a generation of t
Page 8 and 9: contradictions became more obvious
Page 10 and 11: When I’m Five Everything seemed g
Page 12 and 13: Born in Doncaster on 21 November, 1
Page 14 and 15: were still needed to buy linen, fue
Page 16 and 17: the Burns’ ‘family affliction
Page 18 and 19: Arden, a failed nightclub singer an
Page 20 and 21: the saying went. Most of the famili
Page 22 and 23: family’s modestly respectable sta
Page 24 and 25: tensions between Peggy and David we
Page 26 and 27: charm ‘as a weapon’, says a lat
Page 28 and 29: Berry and Frankie Lymon and The Tee
Page 30 and 31: Lonnie’s brand of skiffle after a
Page 32 and 33: 1944. The art college system provid
Page 34 and 35: ‘a pleasant idler’. At fourteen
Page 36 and 37: people noticed his clothes, his hai
Page 38 and 39: Powling: ‘He was nice, charming -
Page 40 and 41: ‘When I’m driving for instance,
Page 42 and 43: to be big.’
Page 46 and 47: ecome his main friend but the sax p
Page 48 and 49: sung by Roger Ferris, was later con
Page 50 and 51: soon the Kon-Rads were hanging out
Page 52 and 53: David was lucky to have a hip boss,
Page 54 and 55: came from another blues classic, Sl
Page 56 and 57: estranged from his parents. Peggy c
Page 58 and 59: for the vital document or press cut
Page 60 and 61: seemed almost ruthless in his self-
Page 62 and 63: The recording was brisk, the standa
Page 64 and 65: celebrate the sweet victory of his
Page 67 and 68: Thinking About Me There’d be six
Page 69 and 70: good.’ The band’s leaders, Soll
Page 71 and 72: more powerful - occasionally he was
Page 73 and 74: the road, Woolf, who was at the whe
Page 75 and 76: was a favourite musicians’ hangou
Page 77 and 78: ‘Pity the Fool’ was perfect for
Page 79 and 80: under the same banner. Solly mainta
Page 81 and 82: David had brought along moral suppo
Page 83 and 84: Whereas George Underwood would get
Page 85 and 86: pastiche, ‘Baby Loves That Way’
Page 87 and 88: call him. He also took Pitt’s res
Page 89 and 90: of the womb like Marc - I was stumb
Page 91 and 92: was absolutely one of us. A wonderf
Page 93 and 94: with the boy, in more ways than one
Page 95 and 96:
and in turn fired him. Rather than
Page 97 and 98:
Raymond Cook, the cash flow enabled
Page 99:
had borrowed more money from Raymon
Page 102 and 103:
never mention a word of any family
Page 104 and 105:
informed the manager, ‘You can ha
Page 106 and 107:
Guitarist John Hutchinson went thro
Page 108 and 109:
Lower Third might have suited Ralph
Page 110 and 111:
Belsen, and served briefly in Pales
Page 112 and 113:
There is an intriguing footnote to
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‘He knew those songs weren’t th
Page 116 and 117:
towards some people,’ says Mair.
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then chairman of Decca, he worked h
Page 120 and 121:
task. ‘It was bloody hard work,
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who really is an individual talent
Page 124 and 125:
characteristic fashion - preparing
Page 126 and 127:
European musician to appreciate the
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I Wish Something Would Happen It wa
Page 131 and 132:
through he started feeling very, ve
Page 133 and 134:
opportunities. Deram had gone quiet
Page 135 and 136:
going to write some Top 10 rubbish,
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around with no recordings in prospe
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with me as Pierrot. And we met afte
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soul. And he had all this inside hi
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Kemp sat on the edge of the stage,
Page 145 and 146:
the most beautiful melodies of his
Page 147 and 148:
Bolan, who had finally lodged himse
Page 149 and 150:
For Bowie and Visconti, the still-b
Page 151 and 152:
The new trio played their first ‘
Page 153 and 154:
harmony vocal, two points struck hi
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after he had asked David to write a
Page 159 and 160:
Check Ignition David was adored on
Page 161 and 162:
friend Ray Stevenson, ‘he never h
Page 163 and 164:
wasn’t slow to have a go.’ For
Page 165 and 166:
therefore the next best thing to ha
Page 167 and 168:
Roger Bolden Stansfield Road, David
Page 169 and 170:
Max Batten Burnt Ash Juniors footba
Page 171 and 172:
Pictorial Press The Kon-Rads - init
Page 173 and 174:
Bob Solly The Manish Boys: tough, h
Page 175 and 176:
Denis Taylor The newly christened D
Page 177 and 178:
A rare photo of David’s second ma
Page 180 and 181:
Dezo Hoffmann/ Rex Features ‘The
Page 182 and 183:
Jeff Dexter Singer and songwriter L
Page 184 and 185:
David Bebbington David Bowie, showb
Page 186 and 187:
Reizner’s dislike of Bowie would
Page 188 and 189:
deal. With Hayes largely absent in
Page 190 and 191:
exactly what we wanted - no other s
Page 192 and 193:
drummer for the next nine months; c
Page 194 and 195:
we were told that we were all answe
Page 196 and 197:
an attempt in June to negotiate an
Page 198 and 199:
some assignment at the Beckenham Re
Page 200 and 201:
more people from whom David moved o
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album shuffled out in a rather half
Page 206 and 207:
All the Madmen It was all a bit of
Page 208 and 209:
shops on Old Kent and Tower Bridge
Page 210 and 211:
common with Bowie. When Pitt left t
Page 212 and 213:
moved into Haddon Hall, and came to
Page 214 and 215:
was nonetheless often overshadowed
Page 216 and 217:
troubles with Ken, and the traumas
Page 218 and 219:
Gripplestone’, was Who-influenced
Page 220 and 221:
elentlessly fluid and inventive. Th
Page 222 and 223:
a cowboy outfit for John Cambridge;
Page 224 and 225:
influence was irretrievably slippin
Page 226 and 227:
The unique nature of the Bowies’
Page 228 and 229:
known around the London music indus
Page 230 and 231:
you can do it, come on,’ Ronson k
Page 232 and 233:
this album, he could ride on the wa
Page 234 and 235:
a straightforward knock-off of Hend
Page 236 and 237:
included a trip to New York on a Cu
Page 240 and 241:
Kooks It will either be a disaster,
Page 242 and 243:
would have twenty per cent of Myers
Page 244 and 245:
ut as Flowers concedes, ‘Some rec
Page 246 and 247:
Ronson, would finally cohere in the
Page 248 and 249:
originality of his Deram days. But
Page 250 and 251:
which on inspection was often sligh
Page 252 and 253:
Mercury’s Robin McBride flew over
Page 254 and 255:
now his hair cascaded in waves over
Page 256 and 257:
wave of energy, of excitement at th
Page 258 and 259:
when the trio recorded it at Luxemb
Page 260 and 261:
een even more nervous had he known
Page 262 and 263:
all, sitting around in a pub or clu
Page 264 and 265:
factory-reject china and other oddm
Page 266 and 267:
June, when Mercury could exercise t
Page 268 and 269:
single on Vertigo had sunk without
Page 270 and 271:
loop; Defries had the means to do t
Page 272 and 273:
songwriters like Harold Arlen. Davi
Page 274 and 275:
esult was a dazzling collection of
Page 276 and 277:
Grossman. ‘They have both helped
Page 278 and 279:
with stories of his Lindsay Kemp da
Page 282 and 283:
Over the Rainbow It was, I’ll do
Page 284 and 285:
History rarely records Laurence Mye
Page 286 and 287:
meet over dinner at the Ginger Man,
Page 288 and 289:
dancing’ into the meeting, Zanett
Page 290 and 291:
says Kris Needs, a Bowie fan who’
Page 292 and 293:
Iggy, too, was a mere creation. Dur
Page 294 and 295:
could stage an emotional onslaught
Page 296 and 297:
ecording were shorn. Thus, the fina
Page 298 and 299:
who’d written about David already
Page 300 and 301:
een anticipated by Marc Bolan - who
Page 302 and 303:
- ready for the debut of their new
Page 304 and 305:
song.’ ‘It was at that point th
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words ‘Spiders’ and they were a
Page 308 and 309:
performance, where Mick Rock - the
Page 310 and 311:
that the music was in any case simp
Page 312 and 313:
said, “I want some,” and Reg ha
Page 314 and 315:
packed house. By now, Ziggy Stardus
Page 316 and 317:
he’d seen employed in Cabaret and
Page 318 and 319:
own iconism - it made it difficult
Page 322 and 323:
Battle Cries and Champagne David wa
Page 324 and 325:
theatre background meant he was con
Page 326 and 327:
For David, being on the road was th
Page 328 and 329:
label in the world,’ says Dai Dav
Page 330 and 331:
Birgit. At about 10 at night we’d
Page 332 and 333:
Roadie Robin Mayhew, like McCrado,
Page 334 and 335:
was gonna be wonderful and he could
Page 336 and 337:
effect here and there. The results
Page 338 and 339:
Angie and David had exchanged weddi
Page 340 and 341:
When he met Ian Hunter a few days l
Page 342 and 343:
was one shot, one take - boom, that
Page 344 and 345:
Soon after their arrival in New Yor
Page 346 and 347:
‘and all of a sudden the door kno
Page 348 and 349:
Pictorial Press ‘They tried to ha
Page 350 and 351:
Oh! You Pretty Things: David, Angie
Page 352 and 353:
Ray Stevenson
Page 354 and 355:
generation of teenagers. © Mick Ro
Page 356 and 357:
Harry Myers/Rex Features ‘Once th
Page 358 and 359:
Bob Gruen David with his new ‘off
Page 360:
going to record a session’. Makin
Page 363:
Where Things Are Hollow
Page 367 and 368:
David’s friends from 1971 and 197
Page 369 and 370:
into the American dates he called D
Page 371 and 372:
luxury of international cruising. H
Page 373 and 374:
As ever, Woody came straight to the
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iche hotel in Sheffield. Rival sing
Page 377 and 378:
nice the day was, you wouldn’t se
Page 379 and 380:
confidant of both Bowie and Ronson
Page 381 and 382:
collection of covers, and started p
Page 383 and 384:
it.’ Mick was both a friend who D
Page 385 and 386:
working briefly on a script with Po
Page 387 and 388:
UK’s Creation and Mute labels - w
Page 389 and 390:
Those Trident sessions marked the e
Page 391 and 392:
cutting it up into four- or five-wo
Page 393:
treating guests to an impeccably tu
Page 397 and 398:
Those cracks would fail to damage D
Page 399 and 400:
an altogether more challenging frie
Page 401 and 402:
chatted with both Ronson and Bowie
Page 403 and 404:
people would be having a good time,
Page 405 and 406:
silhouetted against the control-roo
Page 407 and 408:
ackground; born, she told her frien
Page 409 and 410:
outfit had changed line-up in 1972,
Page 411 and 412:
in Queens for a decent meal and was
Page 413 and 414:
MacCormack attended the New York pr
Page 415 and 416:
Yet the first run of shows, the pro
Page 417:
flung spots like Hull. In America,
Page 421 and 422:
fourteen. Being fined by James Brow
Page 423 and 424:
pulled in just behind the bridge. H
Page 425 and 426:
a kind of lucky charm, and were fin
Page 427 and 428:
The ramifications of David’s deal
Page 429 and 430:
David did not gloat at all, he was
Page 431 and 432:
leaving, but we managed to persuade
Page 433 and 434:
Writer Mick Farren had been sent to
Page 435 and 436:
the devotional, gospelly ‘It’s
Page 437 and 438:
and ‘Win’, Tony Visconti flew o
Page 439 and 440:
David had misheard ‘shame’ as
Page 441 and 442:
David’s conversations with John L
Page 443:
ight to reject any album should Def
Page 447 and 448:
conversations with John Lennon - wh
Page 449 and 450:
Actor, especially the sequence with
Page 451 and 452:
for sex sessions, away from the wat
Page 453 and 454:
went into it more deeply and was a
Page 455 and 456:
LA around 16 March, 1975. He wanted
Page 457 and 458:
ecent move from Stoke-on-Trent, the
Page 459 and 460:
acquaintance with Charlie Manson, t
Page 461 and 462:
tower guiding in a novice pilot. Av
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May, and was the closest witness to
Page 465 and 466:
year there’s a whole format that
Page 467 and 468:
large fee but was negotiated down.
Page 469 and 470:
Earth would be mostly eulogised by
Page 471 and 472:
says Slick, ‘and I was in a state
Page 473 and 474:
the kabbalistic tree of life: Kethe
Page 475 and 476:
work, the perfect gateway between A
Page 477 and 478:
and pharmaceutical peculiarities, D
Page 481 and 482:
Ghosts in the Echo Chambers The guy
Page 483 and 484:
he told Iggy, was a sign that the w
Page 485 and 486:
Station tour concluded with a maste
Page 487 and 488:
that was the main attraction. His a
Page 489 and 490:
emoval did not cause any specific c
Page 491 and 492:
says Andrew Kent. Movie footage of
Page 493 and 494:
ounced. In Switzerland, Angie had t
Page 495 and 496:
peak. Most songs were sketched out
Page 497 and 498:
seemed to savour the energy and vit
Page 499 and 500:
crafting long tape loops into elect
Page 501 and 502:
who were commemorated by a plaque o
Page 503 and 504:
how his piano would fit in to Bowie
Page 505 and 506:
As David made his way down the stee
Page 507 and 508:
session, Eno effected a quiet revol
Page 509 and 510:
Soon a decade’s worth of imitator
Page 511 and 512:
spooky place - I did refuse one bed
Page 515 and 516:
Helden This was clearly an ex-war z
Page 517 and 518:
the glass roof, not far from the vi
Page 519 and 520:
profile, made up a visual pun: Low
Page 521 and 522:
ifled, the brothers watched the two
Page 523 and 524:
whined. The punk movement had final
Page 525 and 526:
the time the recording started, say
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where you could see gun turrets, wi
Page 529 and 530:
Yet buried within the abstract shar
Page 531 and 532:
thought ‘way too much’. His enj
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to ‘Heroes’, Visconti placed on
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Television’s children’s slot, d
Page 537 and 538:
‘Herbie and Tony were the kind of
Page 539 and 540:
On the train back to London, Bowie
Page 541:
Mary Hopkin, Rod Stewart and The Da
Page 544 and 545:
The beautiful but ‘heavy’ alien
Page 546 and 547:
Andrew Kent The Thin White Duke on
Page 548 and 549:
Eduard Meyer ‘Everything said,
Page 551 and 552:
Barry Plummer Moving on: relaxing a
Page 553 and 554:
on-stage, inhabiting the role of Jo
Page 555 and 556:
Barry Schultz/Sunshine/Retna David
Page 557:
© Denis O’Regan/CORBIS ‘You ha
Page 561 and 562:
Visconti and others recall, in word
Page 563 and 564:
Robinson, Angie apparently created
Page 565 and 566:
Shortly afterwards David would date
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Picking out a decent script was a c
Page 569 and 570:
hour and a half of bliss, punctuate
Page 571 and 572:
obligation. The album’s financial
Page 573 and 574:
keep things moving, impatiently ove
Page 575 and 576:
came about, bar ‘Boys Keep Swingi
Page 577 and 578:
estaurant. The dishes were on the t
Page 579 and 580:
jealousy and a tendency for a kind
Page 581 and 582:
Bowie drew out an inspiring perform
Page 583 and 584:
admired the unique lifestyle he’d
Page 585 and 586:
there’d be a modest present, a to
Page 587 and 588:
was out of control.’ Within days,
Page 589 and 590:
for their allotted fifteen minutes,
Page 593 and 594:
Snapshot of a Brain I’ve never wo
Page 595 and 596:
on when he was in the same position
Page 597 and 598:
finalised in February 1980: a deris
Page 599 and 600:
friend, ex-Beatstalker Alan Mair, F
Page 601 and 602:
to take a back seat was the fact th
Page 603 and 604:
discussed the Brecht recitatif sing
Page 605 and 606:
Brecht’s music. Towards the end,
Page 607 and 608:
told him, ‘it was made for Herman
Page 609 and 610:
living.’ Friedmann followed his a
Page 611 and 612:
him, would you?”’ Pitt’s infl
Page 613 and 614:
exacerbated by the flunkies and yes
Page 615 and 616:
nice-looking, and handled himself w
Page 617 and 618:
calibre would ultimately dry up. Bu
Page 619 and 620:
that would become Let’s Dance, hi
Page 621 and 622:
was Henry Mancini’s Peter Gunn ho
Page 623:
first glance the record company exe
Page 627 and 628:
Islanders Dance Theatre acting out
Page 629 and 630:
Bowie at his peak. Guitarist Stevie
Page 631 and 632:
So we went out and had lunch and cl
Page 633 and 634:
overwhelmed by the experience and r
Page 635 and 636:
14 August. It was a poignant exampl
Page 637 and 638:
numbing. ‘Night after night, you
Page 639 and 640:
most successful home-grown funk ban
Page 641 and 642:
part of.’ There is something sad,
Page 643 and 644:
Byron at the end of the evening, Vi
Page 645 and 646:
the newspaper. ‘David turned his
Page 647 and 648:
main scene, which involved him frol
Page 649 and 650:
arrangement, then they explained th
Page 651 and 652:
his fourteen-year-old daughter Jade
Page 653 and 654:
pushing the cause, not himself, cut
Page 655 and 656:
sunglasses: ‘He saw that situatio
Page 657 and 658:
the same breathy counter-tenor deli
Page 659 and 660:
press reports, the most successful
Page 661:
claw.
Page 665 and 666:
Nichols but claimed the rest of her
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eminder of David’s talent for sna
Page 669 and 670:
late eighties hubris. Yet according
Page 671 and 672:
also loved his virtuosity, encourag
Page 673 and 674:
the guitarist, the news was ‘tota
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Ballroom. David was buoyed up, reve
Page 677 and 678:
and inventions would be credited to
Page 679 and 680:
would interact. Marketed as the fir
Page 681 and 682:
had just come from a club tour wher
Page 683 and 684:
describing her as ‘such a wonderf
Page 685 and 686:
Tin Machine hit the road for anothe
Page 687 and 688:
dates, it didn’t quite gel. For G
Page 689 and 690:
emember once in the back of the bus
Page 691 and 692:
crucial an influence on the sound o
Page 693 and 694:
David, in turn, had an entirely dif
Page 695 and 696:
Interviewed with Anderson for the N
Page 697 and 698:
instrumental passages - ‘“Moona
Page 699 and 700:
udget, but David just said, “Let
Page 701:
on success, seemed not only unconce
Page 705 and 706:
Bowie sense of humour, but there wa
Page 707 and 708:
sculpting comes from a different pl
Page 709 and 710:
In this new atmosphere, Kizilcay, w
Page 711 and 712:
Armstrong got a call to turn up at
Page 713 and 714:
‘bold and fascinating’ said Tom
Page 715 and 716:
decades later, when albums are inde
Page 717 and 718:
effective method of dispersing them
Page 719 and 720:
Junior Vasquez. Plati had helped Ga
Page 721 and 722:
drawings and writing, was supremely
Page 723 and 724:
elationship as any of those between
Page 725 and 726:
Yaël Brandeis Perry With producer
Page 727 and 728:
Kevin Armstrong Recording ‘Dancin
Page 729 and 730:
Bellia/Dalle/Retna
Page 731 and 732:
Kevin Armstrong Among friends: with
Page 733 and 734:
Ron Galella/ WireImage ‘I have ne
Page 735 and 736:
Toby Melville/PA ‘He came back dr
Page 737 and 738:
Startraks Photo/Rex Features ‘A m
Page 740 and 741:
L. Cohen/ WireImage ‘We’ll see
Page 742 and 743:
Bonds would be raised again and aga
Page 744 and 745:
perceptive observations anyone’s
Page 746 and 747:
originally intended two of the song
Page 748 and 749:
was having a child with David’s w
Page 750 and 751:
the fact that his son had had such
Page 752 and 753:
With Mark Plati overseeing, they cu
Page 754 and 755:
New York was the perfect place to w
Page 756 and 757:
him and tears ran down his face. Th
Page 758 and 759:
prepared by listening through the o
Page 760 and 761:
elationship was: ‘I worked with p
Page 762 and 763:
again, but tragedy struck on 6 May,
Page 766 and 767:
The Houdini Mechanism The thing I r
Page 768 and 769:
their rendition was on the edge and
Page 770 and 771:
encouraged some observers to liken
Page 772 and 773:
occasional sighting at fashion-rela
Page 774 and 775:
would you be wishing you could spen
Page 776 and 777:
etween Bowie and MainMan rumbled on
Page 778 and 779:
politely dismissed suggestions that
Page 780 and 781:
of the hamper’s goodies, as Georg
Page 782 and 783:
epiphanies. Bowie has been derided
Page 784:
hearing the next thing. Still, ther
Page 787 and 788:
David Bowie Recorded: November 1966
Page 789 and 790:
David Bowie aka Space Oddity (UK 19
Page 792 and 793:
Hunky Dory Recorded: July 1971; Tri
Page 794 and 795:
The Rise and Fall of Ziggy Stardust
Page 796:
Aladdin Sane Recorded: October 1972
Page 799 and 800:
eworked into turgid, platform-boote
Page 801 and 802:
alongside the resonant ‘Sweet Thi
Page 804 and 805:
Young Americans Recorded: August 19
Page 806 and 807:
Station to Station Recorded: Novemb
Page 808:
Low Recorded: September - early Oct
Page 811 and 812:
number twenty-four in the UK single
Page 813 and 814:
Lodger Recorded: September 1978 and
Page 815 and 816:
Scary Monsters … and Super Creeps
Page 817 and 818:
Baal Recorded: September 1981; Hans
Page 819 and 820:
- ‘Without You’, ‘Ricochet’
Page 821 and 822:
wedding and bar mitzvah jobs - two
Page 823 and 824:
the same period, he’d bashed out
Page 825 and 826:
primarily as a scorched-earth polic
Page 827:
Black Tie White Noise Recorded: 199
Page 830 and 831:
a low-key, belated release by Unive
Page 833 and 834:
Earthling Recorded: 1996; Looking G
Page 835:
Hours Recorded: April 1999; Seaview
Page 838:
Reality Recorded: January 2003, Loo
Page 841 and 842:
1 When I’m Five Opening paragraph
Page 843 and 844:
2 ‘Numero Uno, Mate!’ Main sour
Page 845 and 846:
4 Laughing Gnome Principal sources,
Page 847 and 848:
6 Check Ignition Main sources: Ray
Page 849 and 850:
8 Kooks Main interviews for this ch
Page 851 and 852:
9 Over the Rainbow Main sources for
Page 853 and 854:
10 Battle Cries and Champagne The a
Page 855 and 856:
12 The Changing isn’t Free David
Page 857 and 858:
13 Make Me Break Down and Cry Key s
Page 859 and 860:
14 White Stains Main sources: Ava C
Page 861 and 862:
to me in German, turned away and I
Page 863 and 864:
16 Helden Opening section is based
Page 865 and 866:
18 Snapshot of a Brain Duncan Jones
Page 867 and 868:
20 It’s My Life - So Fuck Off Pri
Page 869 and 870:
22 The Houdini Principle The title
Page 871 and 872:
Background Reading All written sour
Page 873:
Zag. Copies of The Times, The Sunda
Page 876 and 877:
Marsh, Martin Hopewell, Laurie Horn
Page 878 and 879:
Keith Herd, Susan Hill, Clare Hirst
Page 881 and 882:
INDEX Abbott, Maggie, 202, 229-230,
Page 883 and 884:
Blair, Tony, 92, 368 Bloom, John, 3
Page 885 and 886:
ambition, 3, 4, 27, 38-39, 49, 74,
Page 887 and 888:
Dinah Shore Show, 271; Marc (Granad
Page 889 and 890:
(1973), 178, 187-189; 1973 period,
Page 891 and 892:
175, 176, 253, 254-258, 261, 271-27
Page 893 and 894:
with Lou Reed (April 1979), 292, 29
Page 895 and 896:
cut-up technique, 199, 200, 202, 20
Page 897 and 898:
Boys’, 52-53, 57, 68, 69; ‘All
Page 899 and 900:
‘China Girl’ (with Iggy Pop), 2
Page 901 and 902:
Browne, Jackson, 312, 317 Buckmaste
Page 903 and 904:
51-52, 79, 107, 335 Cook, Raymond,
Page 905 and 906:
Donegan, Lonnie, 18, 68, 77 Donovan
Page 907 and 908:
212, 278 Flux, Johnny, 41, 44, 45,
Page 909 and 910:
Haag, Romy, 250, 253, 258, 268, 269
Page 911 and 912:
Iman Abdul Majid, 301, 350-351, 352
Page 913 and 914:
Kabuki, 81, 188, 395 Kael, Pauline,
Page 915 and 916:
Lynn, Vera, 2, 35 Lynott, Phil, 215
Page 917 and 918:
MOJO magazine, 311 Momus, 395-396 M
Page 919 and 920:
Outsider (Colin Wilson book), 232 P
Page 921 and 922:
and, 258; sings on Low, 263; Stooge
Page 923 and 924:
Renwick, Tim, 98, 103, 108, 110, 11
Page 925 and 926:
341-342, 343, 345-346, 354 Samye Li
Page 927 and 928:
292 Sounds Incorporated, 41 Spandau
Page 929 and 930:
artist and illustrator, 86, 200, 39
Page 931 and 932:
Welch, Chris, 75, 279, 280 The Who,
Page 933:
* This lovely phrase derives from l
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