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Station to Station Recorded: November 1975; Cherokee and Record Plant Studios, Los Angeles, CA. Released: RCA, January 1976. Chart Peak: 5 (UK); 3 (US). Key Personnel: Carlos Alomar, Earl Slick (gtr); Dennis Davis (dms); George Murray (bs); Roy Bittan (pno); Geoff MacCormack (backing vox). Producers: David Bowie and Harry Maslin. The key turning point in Bowie’s recording career, Station to Station marked the transition from conventional songs, written on the piano or guitar and recorded at breakneck speed, to slabs of sound constructed entirely in the studio. Even those songs sketched out before Bowie arrived at Cherokee, such as ‘Golden Years’, were transformed within it – all of its key elements worked up while the studio clock was running. Most accounts depict Bowie undergoing some kind of cocaine-induced breakdown during the end of 1975; his psychological trauma was indeed extreme, but during the sessions even drug buddies like Glenn Hughes noted he was in full command of the studio. Given that Bowie himself has little memory of this time, we will never get a more coherent picture of his mental state than in the contents of this album. The title track is obsessive, megalomaniacal, yearning for spiritual clarity yet oddly muso (the churning rhythms and heavy textures were inspired by Jethro Tull); the catchy, mildly
deranged ‘TVC 15’ – its vocal interjections obviously influenced by The Yardbirds’ ‘Good Morning Little Schoolgirl’ – was a comical take on Bowie’s recent months spent watching grainy Second World War footage over and over; while the magnificent, sensitive ‘Golden Years’ also reflects Bowie’s ability to surface from a cocaine jag and dispense insightful career advice or a hilariously deadpan joke. Although the melodicism of Hunky Dory was by now a thing of the past, Station to Station is packed with invention – a bizarre blending of spritely and monumental themes – and marks the point at which David Bowie moved from pop musician to phenomenon.
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Also by Paul Trynka Copyright CONTE
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Genius Steals Thursday evening, sev
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oogie rhythm. For a generation of t
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contradictions became more obvious
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When I’m Five Everything seemed g
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Born in Doncaster on 21 November, 1
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were still needed to buy linen, fue
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the Burns’ ‘family affliction
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Arden, a failed nightclub singer an
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the saying went. Most of the famili
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family’s modestly respectable sta
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tensions between Peggy and David we
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charm ‘as a weapon’, says a lat
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Berry and Frankie Lymon and The Tee
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Lonnie’s brand of skiffle after a
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1944. The art college system provid
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‘a pleasant idler’. At fourteen
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people noticed his clothes, his hai
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Powling: ‘He was nice, charming -
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‘When I’m driving for instance,
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to be big.’
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indulgent with the younger students
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ecome his main friend but the sax p
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sung by Roger Ferris, was later con
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soon the Kon-Rads were hanging out
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David was lucky to have a hip boss,
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came from another blues classic, Sl
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estranged from his parents. Peggy c
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for the vital document or press cut
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seemed almost ruthless in his self-
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The recording was brisk, the standa
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celebrate the sweet victory of his
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Thinking About Me There’d be six
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good.’ The band’s leaders, Soll
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more powerful - occasionally he was
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the road, Woolf, who was at the whe
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was a favourite musicians’ hangou
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‘Pity the Fool’ was perfect for
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under the same banner. Solly mainta
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David had brought along moral suppo
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Whereas George Underwood would get
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pastiche, ‘Baby Loves That Way’
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call him. He also took Pitt’s res
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of the womb like Marc - I was stumb
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was absolutely one of us. A wonderf
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with the boy, in more ways than one
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and in turn fired him. Rather than
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Raymond Cook, the cash flow enabled
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had borrowed more money from Raymon
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never mention a word of any family
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informed the manager, ‘You can ha
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Guitarist John Hutchinson went thro
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Lower Third might have suited Ralph
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Belsen, and served briefly in Pales
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There is an intriguing footnote to
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‘He knew those songs weren’t th
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towards some people,’ says Mair.
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then chairman of Decca, he worked h
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task. ‘It was bloody hard work,
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who really is an individual talent
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characteristic fashion - preparing
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European musician to appreciate the
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I Wish Something Would Happen It wa
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through he started feeling very, ve
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opportunities. Deram had gone quiet
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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,
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the most beautiful melodies of his
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Bolan, who had finally lodged himse
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For Bowie and Visconti, the still-b
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The new trio played their first ‘
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harmony vocal, two points struck hi
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after he had asked David to write a
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Check Ignition David was adored on
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friend Ray Stevenson, ‘he never h
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wasn’t slow to have a go.’ For
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therefore the next best thing to ha
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Roger Bolden Stansfield Road, David
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Max Batten Burnt Ash Juniors footba
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Pictorial Press The Kon-Rads - init
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Bob Solly The Manish Boys: tough, h
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Denis Taylor The newly christened D
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A rare photo of David’s second ma
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Dezo Hoffmann/ Rex Features ‘The
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Jeff Dexter Singer and songwriter L
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David Bebbington David Bowie, showb
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Reizner’s dislike of Bowie would
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deal. With Hayes largely absent in
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exactly what we wanted - no other s
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drummer for the next nine months; c
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we were told that we were all answe
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an attempt in June to negotiate an
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some assignment at the Beckenham Re
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more people from whom David moved o
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album shuffled out in a rather half
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All the Madmen It was all a bit of
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shops on Old Kent and Tower Bridge
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common with Bowie. When Pitt left t
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moved into Haddon Hall, and came to
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was nonetheless often overshadowed
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troubles with Ken, and the traumas
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Gripplestone’, was Who-influenced
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elentlessly fluid and inventive. Th
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a cowboy outfit for John Cambridge;
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influence was irretrievably slippin
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The unique nature of the Bowies’
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known around the London music indus
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you can do it, come on,’ Ronson k
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this album, he could ride on the wa
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a straightforward knock-off of Hend
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included a trip to New York on a Cu
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Kooks It will either be a disaster,
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would have twenty per cent of Myers
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ut as Flowers concedes, ‘Some rec
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Ronson, would finally cohere in the
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originality of his Deram days. But
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which on inspection was often sligh
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Mercury’s Robin McBride flew over
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now his hair cascaded in waves over
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wave of energy, of excitement at th
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when the trio recorded it at Luxemb
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een even more nervous had he known
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all, sitting around in a pub or clu
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factory-reject china and other oddm
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June, when Mercury could exercise t
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single on Vertigo had sunk without
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loop; Defries had the means to do t
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songwriters like Harold Arlen. Davi
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esult was a dazzling collection of
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Grossman. ‘They have both helped
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with stories of his Lindsay Kemp da
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Over the Rainbow It was, I’ll do
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History rarely records Laurence Mye
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meet over dinner at the Ginger Man,
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dancing’ into the meeting, Zanett
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says Kris Needs, a Bowie fan who’
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Iggy, too, was a mere creation. Dur
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could stage an emotional onslaught
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ecording were shorn. Thus, the fina
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who’d written about David already
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een anticipated by Marc Bolan - who
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- ready for the debut of their new
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song.’ ‘It was at that point th
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words ‘Spiders’ and they were a
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performance, where Mick Rock - the
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that the music was in any case simp
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said, “I want some,” and Reg ha
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packed house. By now, Ziggy Stardus
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he’d seen employed in Cabaret and
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own iconism - it made it difficult
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Battle Cries and Champagne David wa
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theatre background meant he was con
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For David, being on the road was th
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label in the world,’ says Dai Dav
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Birgit. At about 10 at night we’d
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Roadie Robin Mayhew, like McCrado,
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was gonna be wonderful and he could
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effect here and there. The results
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Angie and David had exchanged weddi
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When he met Ian Hunter a few days l
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was one shot, one take - boom, that
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Soon after their arrival in New Yor
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‘and all of a sudden the door kno
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Pictorial Press ‘They tried to ha
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Oh! You Pretty Things: David, Angie
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Ray Stevenson
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generation of teenagers. © Mick Ro
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Harry Myers/Rex Features ‘Once th
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Bob Gruen David with his new ‘off
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going to record a session’. Makin
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Where Things Are Hollow
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David’s friends from 1971 and 197
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into the American dates he called D
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luxury of international cruising. H
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As ever, Woody came straight to the
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iche hotel in Sheffield. Rival sing
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nice the day was, you wouldn’t se
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confidant of both Bowie and Ronson
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collection of covers, and started p
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it.’ Mick was both a friend who D
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working briefly on a script with Po
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UK’s Creation and Mute labels - w
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Those Trident sessions marked the e
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cutting it up into four- or five-wo
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treating guests to an impeccably tu
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Those cracks would fail to damage D
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an altogether more challenging frie
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chatted with both Ronson and Bowie
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people would be having a good time,
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silhouetted against the control-roo
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ackground; born, she told her frien
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outfit had changed line-up in 1972,
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in Queens for a decent meal and was
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MacCormack attended the New York pr
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Yet the first run of shows, the pro
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flung spots like Hull. In America,
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fourteen. Being fined by James Brow
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pulled in just behind the bridge. H
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a kind of lucky charm, and were fin
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The ramifications of David’s deal
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David did not gloat at all, he was
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leaving, but we managed to persuade
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Writer Mick Farren had been sent to
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the devotional, gospelly ‘It’s
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and ‘Win’, Tony Visconti flew o
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David had misheard ‘shame’ as
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David’s conversations with John L
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ight to reject any album should Def
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conversations with John Lennon - wh
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Actor, especially the sequence with
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for sex sessions, away from the wat
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went into it more deeply and was a
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LA around 16 March, 1975. He wanted
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ecent move from Stoke-on-Trent, the
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acquaintance with Charlie Manson, t
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tower guiding in a novice pilot. Av
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May, and was the closest witness to
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year there’s a whole format that
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large fee but was negotiated down.
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Earth would be mostly eulogised by
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says Slick, ‘and I was in a state
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the kabbalistic tree of life: Kethe
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work, the perfect gateway between A
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and pharmaceutical peculiarities, D
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Ghosts in the Echo Chambers The guy
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he told Iggy, was a sign that the w
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Station tour concluded with a maste
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that was the main attraction. His a
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emoval did not cause any specific c
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says Andrew Kent. Movie footage of
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ounced. In Switzerland, Angie had t
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peak. Most songs were sketched out
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seemed to savour the energy and vit
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crafting long tape loops into elect
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who were commemorated by a plaque o
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how his piano would fit in to Bowie
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As David made his way down the stee
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session, Eno effected a quiet revol
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Soon a decade’s worth of imitator
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spooky place - I did refuse one bed
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Helden This was clearly an ex-war z
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the glass roof, not far from the vi
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profile, made up a visual pun: Low
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ifled, the brothers watched the two
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whined. The punk movement had final
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the time the recording started, say
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where you could see gun turrets, wi
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Yet buried within the abstract shar
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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
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‘Herbie and Tony were the kind of
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On the train back to London, Bowie
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Mary Hopkin, Rod Stewart and The Da
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The beautiful but ‘heavy’ alien
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Andrew Kent The Thin White Duke on
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Eduard Meyer ‘Everything said,
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Barry Plummer Moving on: relaxing a
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on-stage, inhabiting the role of Jo
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Barry Schultz/Sunshine/Retna David
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© Denis O’Regan/CORBIS ‘You ha
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Visconti and others recall, in word
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Robinson, Angie apparently created
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Shortly afterwards David would date
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Picking out a decent script was a c
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hour and a half of bliss, punctuate
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obligation. The album’s financial
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keep things moving, impatiently ove
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came about, bar ‘Boys Keep Swingi
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estaurant. The dishes were on the t
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jealousy and a tendency for a kind
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Bowie drew out an inspiring perform
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admired the unique lifestyle he’d
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there’d be a modest present, a to
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was out of control.’ Within days,
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for their allotted fifteen minutes,
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Snapshot of a Brain I’ve never wo
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on when he was in the same position
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finalised in February 1980: a deris
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friend, ex-Beatstalker Alan Mair, F
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to take a back seat was the fact th
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discussed the Brecht recitatif sing
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Brecht’s music. Towards the end,
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told him, ‘it was made for Herman
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living.’ Friedmann followed his a
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him, would you?”’ Pitt’s infl
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exacerbated by the flunkies and yes
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nice-looking, and handled himself w
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calibre would ultimately dry up. Bu
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that would become Let’s Dance, hi
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was Henry Mancini’s Peter Gunn ho
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first glance the record company exe
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Islanders Dance Theatre acting out
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Bowie at his peak. Guitarist Stevie
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So we went out and had lunch and cl
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overwhelmed by the experience and r
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14 August. It was a poignant exampl
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numbing. ‘Night after night, you
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most successful home-grown funk ban
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part of.’ There is something sad,
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Byron at the end of the evening, Vi
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the newspaper. ‘David turned his
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main scene, which involved him frol
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arrangement, then they explained th
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his fourteen-year-old daughter Jade
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pushing the cause, not himself, cut
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sunglasses: ‘He saw that situatio
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the same breathy counter-tenor deli
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press reports, the most successful
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claw.
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Nichols but claimed the rest of her
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eminder of David’s talent for sna
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late eighties hubris. Yet according
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also loved his virtuosity, encourag
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the guitarist, the news was ‘tota
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Ballroom. David was buoyed up, reve
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and inventions would be credited to
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would interact. Marketed as the fir
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had just come from a club tour wher
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describing her as ‘such a wonderf
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Tin Machine hit the road for anothe
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dates, it didn’t quite gel. For G
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emember once in the back of the bus
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crucial an influence on the sound o
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David, in turn, had an entirely dif
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Interviewed with Anderson for the N
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instrumental passages - ‘“Moona
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udget, but David just said, “Let
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on success, seemed not only unconce
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Bowie sense of humour, but there wa
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sculpting comes from a different pl
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In this new atmosphere, Kizilcay, w
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Armstrong got a call to turn up at
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‘bold and fascinating’ said Tom
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decades later, when albums are inde
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effective method of dispersing them
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Junior Vasquez. Plati had helped Ga
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drawings and writing, was supremely
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elationship as any of those between
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Yaël Brandeis Perry With producer
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Kevin Armstrong Recording ‘Dancin
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Bellia/Dalle/Retna
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Kevin Armstrong Among friends: with
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Ron Galella/ WireImage ‘I have ne
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Toby Melville/PA ‘He came back dr
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Startraks Photo/Rex Features ‘A m
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L. Cohen/ WireImage ‘We’ll see
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Bonds would be raised again and aga
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perceptive observations anyone’s
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originally intended two of the song
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was having a child with David’s w
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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 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
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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
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20 It’s My Life - So Fuck Off Pri
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22 The Houdini Principle The title
Page 871 and 872:
Background Reading All written sour
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Zag. Copies of The Times, The Sunda
Page 876 and 877:
Marsh, Martin Hopewell, Laurie Horn
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Keith Herd, Susan Hill, Clare Hirst
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INDEX Abbott, Maggie, 202, 229-230,
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Blair, Tony, 92, 368 Bloom, John, 3
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ambition, 3, 4, 27, 38-39, 49, 74,
Page 887 and 888:
Dinah Shore Show, 271; Marc (Granad
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(1973), 178, 187-189; 1973 period,
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175, 176, 253, 254-258, 261, 271-27
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with Lou Reed (April 1979), 292, 29
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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
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Browne, Jackson, 312, 317 Buckmaste
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51-52, 79, 107, 335 Cook, Raymond,
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Donegan, Lonnie, 18, 68, 77 Donovan
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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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