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Wild is the wind karaoke instrumental piano
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David Robert Jones (8 January 1947 – 10 January 2016), known as David Bowie (/ˈboʊ.i/), was an English singer, songwriter, multi-instrumentalist, record producer, arranger, painter and actor. He was a figure in popular music for over five decades, and was considered by critics and other musicians as an innovator, particularly for his work in the 1970s. Bowie stopped concert touring after 2004, and last performed live at a charity event in 2006. In 2013, he returned from a decade-long recording hiatus, remaining musically active until his death from liver cancer three years later.
Born and raised in south London, Bowie developed an early interest in music although his attempts to succeed as a pop star during much of the 1960s were frustrating. “Space Oddity” became his first top five entry on the UK Singles Chart after its release in July 1969. After a three-year period of experimentation, he re-emerged in 1972 during the glam rock era with his flamboyant and androgynous alter ego Ziggy Stardust. The character was spearheaded by his single “Starman” and album The Rise and Fall of Ziggy Stardust and the Spiders from Mars. The relatively short-lived Ziggy persona proved to be one facet of a career marked by reinvention, musical innovation and visual presentation.
In 1975, Bowie achieved his first major American crossover success with the number-one single “Fame” and the album Young Americans, which the singer characterised as “plastic soul”. The sound constituted a radical shift in style that initially alienated many of his UK devotees. He then confounded the expectations of both his record label and his American audiences by recording the electronic-inflected album Low, the first of three collaborations with Brian Eno. Low (1977), “Heroes” (1977), and Lodger (1979)—the so-called “Berlin Trilogy” albums—all reached the UK top five and received lasting critical praise. After uneven commercial success in the late 1970s, Bowie had UK number ones with the 1980 single “Ashes to Ashes”, its parent album Scary Monsters (And Super Creeps), and “Under Pressure”, a 1981 collaboration with Queen. He then reached a new commercial peak in 1983 with Let’s Dance, which yielded several successful singles. Throughout the 1990s and 2000s, Bowie continued to experiment with musical styles, including industrial and jungle.
Bowie also had a successful but sporadic film career. His acting roles include the eponymous character in The Man Who Fell to Earth (1976), Major Celliers in Merry Christmas, Mr. Lawrence (1983), the Goblin King Jareth in Labyrinth (1986), Pontius Pilate in Martin Scorsese’s The Last Temptation of Christ (1988), and Nikola Tesla in The Prestige (2006), among other film and television appearances and cameos.Wild is the wind karaoke instrumental piano
Bowie’s impact, as described by biographer David Buckley, “challenged the core belief of the rock music of its day.”[2] Music reviewer Brad Filicky wrote that over five decades, Bowie was “a musical chameleon, changing and dictating trends as much as he has altered his style to fit, influencing fashion and pop culture.” In the BBC’s 2002 poll of the 100 Greatest Britons, Bowie was placed at number 29. Throughout his career, he sold an estimated 140 million records worldwide. In the UK, he was awarded nine Platinum album certifications, eleven Gold and eight Silver, and in the US, five Platinum and seven Gold certifications. He was inducted into the Rock and Roll Hall of Fame in 1996.
Bowie was born in Brixton, south London. His mother, Margaret Mary “Peggy” (née Burns), from Kent, worked as a waitress, while his father, Haywood Stenton “John” Jones, from Yorkshire, was a promotions officer for the children’s charity Barnardo’s. The family lived at 40 Stansfield Road, near the border of the south London areas of Brixton and Stockwell. Bowie attended Stockwell Infants School until he was six years old, acquiring a reputation as a gifted and single-minded child—and a defiant brawler.cGraduating from his plastic saxophone to a real instrument in 1962, Bowie formed his first band at the age of 15. Playing guitar-based rock and roll at local youth gatherings and weddings, the Konrads had a varying line-up of between four and eight members, Underwood among them.When Bowie left the technical school the following year, he informed his parents of his intention to become a pop star. His mother promptly arranged his employment as an electrician’s mate. Frustrated by his band-mates’ limited aspirations, Bowie left the Konrads and joined another band, the King Bees. He wrote to the newly successful washing-machine entrepreneur John Bloom inviting him to “do for us what Brian Epstein has done for the Beatles—and make another million.” Bloom did not respond to the offer, but his referral to Dick James’s partner
Dissatisfied with his stage name as Davy (and Davie) Jones, which in the mid-1960s invited confusion with Davy Jones of the Monkees, Bowie renamed himself after the 19th-century American frontiersman Jim Bowie and the knife he had popularised.[19] His April 1967 solo single, “The Laughing Gnome”, using speeded-up thus high-pitched vocals, failed to chart. Released six weeks later, his album debut, David Bowie, an amalgam of pop, psychedelia, and music hall, met the same fate. release for two
create a character “who looks like he’s landed from Mars”.
Hunky Dory (1971) found Visconti, Bowie’s producer and bassist, supplanted in both roles by Ken Scott and Trevor Bolder respectively. The album saw the partial return of the fey pop singer of “Space Oddity”, with light fare such as “Kooks”, a song written for his son, Duncan Zowie Haywood Jones, born on 30 May.(His parents chose “his kooky name”—he was known as Zowie for the next 12 years—after the Greek word zoe, life.) Elsewhere, the album explored more serious themes, and found Bowie paying unusually direct homage to his influences with “Song for Bob Dylan”, “Andy Warhol”, and “Queen Bitch”, a Velvet Underground pastiche. It was not a significant commercial success at the time.
In 1953 Bowie moved with his family to the suburb of Bromley, where, two years later, he progressed to Burnt Ash Junior School. His voice was considered “adequate” by the school choir, and he demonstrated above-average abilities in playing the recorder. At the age of nine, his dancing during the newly introduced music and movement classes was strikingly imaginative: teachers called his interpretations “vividly artistic” and his poise “astonishing” for a child. The same year, his interest in music was further stimulated when his father brought home a collection of American 45s by artists including Frankie Lymon and the Teenagers, the Platters, Fats Domino, Elvis Presley and Little Richard. Upon listening to “Tutti Frutti”, Bowie would later say, “I had heard God”.Presley’s impact on him was likewise emphatic: “I saw a cousin of mine dance to … ‘Hound Dog’ and I had never seen her get up and be moved so much by anything. It really impressed me, the power of the music. I started getting records immediately after that. By the end of the following year he had taken up the ukulele and tea-chest bass and begun to participate in skiffle sessions with friends, and had started to play the piano; meanwhile his stage presentation of numbers by both Presley and Chuck Berry—complete with gyrations in tribute to the original artists—to his local Wolf Cub group was described as “mesmerizing … like someone from another planet.” After taking his eleven plus exam at the conclusion of his Burnt Ash Junior education, Bowie went to Bromley Technical High School.
It was an unusual technical school, as biographer Christopher Sandford wrote:
Despite its status it was, by the time David arrived in 1958, as rich in arcane ritual as any public school. There were houses, named after eighteenth-century statesmen like Pitt and Wilberforce. There was a uniform, and an elaborate system of rewards and punishments. There was also an accent on languages, science and particularly design, where a collegiate atmosphere flourished under the tutorship of Owen Frampton. In David’s account, Frampton led through force of personality, not intellect; his colleagues at Bromley Tech were famous for neither, and yielded the school’s most gifted pupils to the arts, a regime so liberal that Frampton actively encouraged his own son, Peter, to pursue a musical career with David, a partnership briefly intact thirty years later.Graduating from his plastic saxophone to a real instrument in 1962, Bowie formed his first band at the age of 15. Playing guitar-based rock and roll at local youth gatherings and weddings, the Konrads had a varying line-up of between four and eight members, Underwood among them.When Bowie left the technical school the following year, he informed his parents of his intention to become a pop star. His mother promptly arranged his employment as an electrician’s mate. Frustrated by his band-mates’ limited aspirations, Bowie left the Konrads and joined another band, the King Bees. He wrote to the newly successful washing-machine entrepreneur John Bloom inviting him to “do for us what Brian Epstein has done for the Beatles—and make another million.” Bloom did not respond to the offer, but his referral to Dick James’s partner Leslie Conn led to Bowie’s first personal management contract.
Conn quickly began to promote Bowie. The singer’s debut single, “Liza Jane”, credited to Davie Jones and the King Bees, had no commercial success. Dissatisfied with the King Bees and their repertoire of Howlin’ Wolf and Willie Dixon blues numbers, Bowie quit the band less than a month later to join the Manish Boys, another blues outfit, who incorporated folk and soul—”I used to dream of being their Mick Jagger”, Bowie was to recall. “I Pity the Fool” was no more successful than “Liza Jane”, and Bowie soon moved on again to join the Lower Third, a blues trio strongly influenced by the Who. “You’ve Got a Habit of Leaving” fared no better, signalling the end of Conn’s contract. Declaring that he would exit the pop world “to study mime at Sadler’s Wells”, Bowie nevertheless remained with the Lower Third. His new manager, Ralph Horton, later instrumental in his transition to solo artist, soon witnessed Bowie’s move to yet another group, the Buzz, yielding the singer’s fifth unsuccessful single release, “Do Anything You Say”. While with the Buzz, Bowie also joined the Riot Squad; their recordings, which included a Bowie number and Velvet Underground material, went unreleased. Ken Pitt, introduced by Horton manager.
Bowie met dancer Lindsay Kemp in 1967 and enrolled in his dance class at the London Dance Centre. He commented in 1972 that meeting Kemp was when his interest in image “really blossomed”.[21] “He lived on his emotions, he was a wonderful influence. His day-to-day life was the most theatrical thing I had ever seen, ever. It was everything I thought Bohemia probably was. I joined the circus.” Studying the dramatic arts under Kemp, from avant-garde theatre and mime to commedia dell’arte, Bowie became immersed in the creation of personae to present to the world. Satirising life in a British prison, meanwhile, the Bowie-penned “Over the Wall We Go” became a 1967 single for Oscar; another Bowie composition, “Silly Boy Blue”, was released by Billy Fury the following year In January 1968 Kemp choreographed a dance scene for a BBC play The Pistol Shot in the Theatre 625 series, and used Bowie with a dancer, Hermione Farthingale; the pair began dating, and moved into a London flat together. Playing acoustic guitar, Farthingale formed a group with Bowie and bassist John Hutchinson; between September 1968 and early 1969 the trio gave a small number of concerts combining folk, Merseybeat, poetry and mime. Bowie and Farthingale
After the breakup with Farthingale, Bowie moved in with Mary Finnigan as her lodger. During this period he appeared in a Lyons Maid ice cream commercial, and was rejected for another by Kit Kat In February and March 1969, he undertook a short tour with Marc Bolan’s duo Tyrannosaurus Rex, as third on the bill, performing a mime act. On 11 July 1969, “Space Oddity” was released five days ahead of the Apollo 11 launch, and reached the top five in the UK.] Continuing the divergence from rock and roll and blues begun by his work with Farthingale, Bowie joined forces with Finnigan, Christina Ostrom and Barrie Jackson to run a folk club on Sunday nights at the Three Tuns pub in Beckenham High Street.
Influenced by the Arts Lab Movement, this developed into the Beckenham Arts Lab, and became extremely popular. The Arts Lab hosted a free festival in a local park, the subject of his song “Memory of a Free Festival”. Bowie’s second album followed in November; originally issued in the UK as David Bowie, it caused some confusion with its predecessor of the same name, and the early US release was instead titled Man of Words/Man of Music; it was re-released internationally in 1972 by RCA as Space Oddity. Featuring philosophical post-hippie lyrics on peace, love and morality, its acoustic folk rock occasionally fortified by harder rock, the album was not a commercial success at the time of its release.
Bowie met Angela Barnett in April 1969. They married within a year. Her impact on him was immediate, and her involvement in his career far-reaching, leaving manager Ken Pitt with limited influence which he found frustrating.[36] Having established himself as a solo artist with “Space Oddity”, Bowie began to sense a lacking: “a full-time band for gigs and recording—people he could relate to personally”. The shortcoming was underlined by his artistic rivalry with Marc Bolan, who was at the time acting as his session guitarist. A band was duly assembled. John Cambridge, a drummer Bowie met at the Arts Lab, was joined by Tony Visconti on bass and Mick Ronson on electric guitar. Known as the Hype, the bandmates created characters for themselves and wore elaborate costumes that prefigured the glam style of the Spiders From Mars. After a disastrous opening gig at the London Roundhouse, they reverted to a configuration presenting Bowie as a solo artist.[37][38] Their initial studio work was marred by a heated disagreement between Bowie and Cambridge over the latter’s drumming style; matters came to a head when Bowie, enraged, accused, “You’re fucking up my album.” Cambridge summarily quit and was replaced by Mick Woodmansey. Not long after, in a move that resulted in years of litigation, at the conclusion of which Bowie was forced to pay Pitt compensation, the singer fired his manager, replacing him with Tony Defries.
Iggy Pop looking upwards
Bowie crafted the stage persona Ziggy Stardust based in part on future collaborator Iggy Pop
The studio sessions continued and resulted in Bowie’s third album, The Man Who Sold the World (1970), which contained references to schizophrenia, paranoia, and delusion.Characterised by the heavy rock sound of his new backing band, it was a marked departure from the acoustic guitar and folk rock style established by Space Oddity. To promote it in the US, Mercury Records financed a coast-to-coast publicity tour in which Bowie, between January and February 1971, was interviewed by radio stations and the media. Exploiting his androgynous appearance, the original cover of the UK version unveiled two months later depicted the singer wearing a dress: taking the garment with him, he wore it during interviews—to the approval of critics, including Rolling Stone ’s John Mendelsohn who described him as “ravishing, almost disconcertingly reminiscent of Lauren Bacall” — and in the street, to mixed reaction including laughter and, in the case of one male pedestrian, producing a gun and telling Bowie to “kiss my ass”.During the tour Bowie’s observation of two seminal American proto-punk artists led him to develop a concept that eventually found form in the Ziggy Stardust character: a melding of the persona of Iggy Pop with the music of Lou Reed, producing “the ultimate pop idol”.A girlfriend recalled his “scrawling notes on a cocktail napkin about a crazy rock star named Iggy or Ziggy”, and on his return to England he declared his intention to create a character “who looks like he’s landed from Mars”.
Hunky Dory (1971) found Visconti, Bowie’s producer and bassist, supplanted in both roles by Ken Scott and Trevor Bolder respectively. The album saw the partial return of the fey pop singer of “Space Oddity”, with light fare such as “Kooks”, a song written for his son, Duncan Zowie Haywood Jones, born on 30 May. (His parents chose “his kooky name”—he was known as Zowie for the next 12 years—after the Greek word zoe, life Elsewhere, the album explored more serious themes, and found Bowie paying unusually direct homage to his influences with “Song for Bob Dylan”, “Andy Warhol”, and “Queen Bitch”, a Velvet Underground pastiche. It was not a significant commercial success at the time.
Bowie studied art, music and design, including layout and typesetting. After Terry Burns, his half-brother, introduced him to modern jazz, his enthusiasm for players like Charles Mingus and John Coltrane led his mother to give him a plastic alto saxophone in 1961; he was soon receiving lessons from a local musician. Bowie received a serious injury at school in 1962 when his friend George Underwood punched him in the left eye during a fight over a girl. Doctors feared he would become blind in that eye. After a series of operations during a four-month hospitalisation, his doctors determined that the damage could not be fully repaired and Bowie was left with faulty depth perception and a permanently dilated pupil. Despite their altercation, Underwood and Bowie remained good friends, and Underwood went on to create the artwork for Bowie’s early albums.
Graduating from his plastic saxophone to a real instrument in 1962, Bowie formed his first band at the age of 15. Playing guitar-based rock and roll at local youth gatherings and weddings, the Konrads had a varying line-up of between four and eight members, Underwood among them.When Bowie left the technical school the following year, he informed his parents of his intention to become a pop star. His mother promptly arranged his employment as an electrician’s mate. Frustrated by his band-mates’ limited aspirations, Bowie left the Konrads and joined another band, the King Bees. He wrote to the newly successful washing-machine entrepreneur John Bloom inviting him to “do for us what Brian Epstein has done for the Beatles—and make another million.” Bloom did not respond to the offer, but his referral to Dick James’s partner Leslie Conn led to Bowie’s first personal management contract.
Conn quickly began to promote Bowie. The singer’s debut single, “Liza Jane”, credited to Davie Jones and the King Bees, had no commercial success. Dissatisfied with the King Bees and their repertoire of Howlin’ Wolf and Willie Dixon blues numbers, Bowie quit the band less than a month later to join the Manish Boys, another blues outfit, who incorporated folk and soul—”I used to dream of being their Mick Jagger”, Bowie was to recall.”I Pity the Fool” was no more successful than “Liza Jane”, and Bowie soon moved on again to join the Lower Third, a blues trio strongly influenced by the Who. “You’ve Got a Habit of Leaving” fared no better, signalling the end of Conn’s contract. Declaring that he would exit the pop world “to study mime at Sadler’s Wells”, Bowie nevertheless remained with the Lower Third. His new manager, Ralph Horton, later instrumental in his transition to solo artist, soon witnessed Bowie’s move to yet another group, the Buzz, yielding the singer’s fifth unsuccessful single release, “Do Anything You Say”. While with the Buzz, Bowie also joined the Riot Squad; their recordings, which included a Bowie number and Velvet Underground material, went unreleased. Ken Pitt, introduced by HortonBowie’s
Dissatisfied with his stage name as Davy (and Davie) Jones, which in the mid-1960s invited confusion with Davy Jones of the Monkees, Bowie renamed himself after the 19th-century American frontiersman Jim Bowie and the knife he had popularised.His April 1967 solo single, “The Laughing Gnome”, using speeded-up thus high-pitched vocals, failed to chart. Released six weeks later, his album debut, David Bowie, an amalgam of pop, psychedelia, and music hall, met the same fate.release for two years.
Bowie met dancer Lindsay Kemp in 1967 and enrolled in his dance class at the London Dance Centre. He commented in 1972 that meeting Kemp was when his interest in image “really blossomed”. “He lived on his emotions, he was a wonderful influence. His day-to-day life was the most theatrical thing I had ever seen, ever. It was everything I thought Bohemia probably was. I joined the circus.” Studying the dramatic arts under Kemp, from avant-garde theatre and mime to commedia dell’arte, Bowie became immersed in the creation of personae to present to the world. Satirising life in a British prison, meanwhile, the Bowie-penned “Over the Wall We Go” became a 1967 single for Oscar; another Bowie composition, “Silly Boy Blue”, was released by Billy Fury the following year. In January 1968 Kemp choreographed a dance scene for a BBC play The Pistol Shot in the Theatre 625 series, and used Bowie with a dancer, Hermione Farthingale; the pair began dating, and moved into a London flat together. Playing acoustic guitar, Farthingale formed a group with Bowie and bassist John Hutchinson; between September 1968 and early 1969 the trio gave a small number of concerts combining folk, Merseybeat, poetry and mime.[26] Bowie and Farthingale broke up in early 1969 when she went to Norway to take part in a film, Song of Norway; this had an impact on him, and several songs, such as “Letter to Hermione” and “Life on Mars?” reference her, and for the video accompanying “Where Are We Now?” he wore a T-shirt with the words “Song for Norway”. They were last together in January 1969 for the filming of Love You till Tuesday, a 30-minute film, not released until 1984, intended as a vehicle to promote him, featuring performances from Bowie’s repertoire, including an as yet unreleased “Space Oddity”.
After the breakup with Farthingale, Bowie moved in with Mary Finnigan as her lodger. During this period he appeared in a Lyons Maid ice cream commercial, and was rejected for another by Kit Kat.In February and March 1969, he undertook a short tour with Marc Bolan’s duo Tyrannosaurus Rex, as third on the bill, performing a mime act. On 11 July 1969, “Space Oddity” was released five days ahead of the Apollo 11 launch, and reached the top five in the UK. Continuing the divergence from rock and roll and blues begun by his work with Farthingale, Bowie joined forces with Finnigan, Christina Ostrom and Barrie Jackson to run a folk club on Sunday nights at the Three Tuns pub in Beckenham High Street.
Influenced by the Arts Lab Movement, this developed into the Beckenham Arts Lab, and became extremely popular. The Arts Lab hosted a free festival in a local park, the subject of his song “Memory of a Free Festival”. Bowie’s second album followed in November; originally issued in the UK as David Bowie, it caused some confusion with its predecessor of the same name, and the early US release was instead titled Man of Words/Man of Music; it was re-released internationally in 1972 by RCA as Space Oddity. Featuring philosophical post-hippie lyrics on peace, love and morality, its acoustic folk rock occasionally fortified by harder rock, the album was not a commercial success at the time of its release.
Bowie met Angela Barnett in April 1969. They married within a year. Her impact on him was immediate, and her involvement in his career far-reaching, leaving manager Ken Pitt with limited influence which he found frustrating. Having established himself as a solo artist with “Space Oddity”, Bowie began to sense a lacking: “a full-time band for gigs and recording—people he could relate to personally”.The shortcoming was underlined by his artistic rivalry with Marc Bolan, who was at the time acting as his session guitarist. A band was duly assembled. John Cambridge, a drummer Bowie met at the Arts Lab, was joined by Tony Visconti on bass and Mick Ronson on electric guitar. Known as the Hype, the bandmates created characters for themselves and wore elaborate costumes that prefigured the glam style of the Spiders From Mars. After a disastrous opening gig at the London Roundhouse, they reverted to a configuration presenting Bowie as a solo artist.[37][38] Their initial studio work was marred by a heated disagreement between Bowie and Cambridge over the latter’s drumming style; matters came to a head when Bowie, enraged, accused, “You’re fucking up my album.” Cambridge summarily quit and was replaced by Mick Woodmansey. Not long after, in a move that resulted in years of litigation, at the conclusion of which Bowie was forced to pay Pitt compensation, the singer fired his manager, replacing him with Tony Defries.
Iggy Pop looking upwards
Bowie crafted the stage persona Ziggy Stardust based in part on future collaborator Iggy Pop
The studio sessions continued and resulted in Bowie’s third album, The Man Who Sold the World (1970), which contained references to schizophrenia, paranoia, and delusion.Characterised by the heavy rock sound of his new backing band, it was a marked departure from the acoustic guitar and folk rock style established by Space Oddity. To promote it in the US, Mercury Records financed a coast-to-coast publicity tour in which Bowie, between January and February 1971, was interviewed by radio stations and the media. Exploiting his androgynous appearance, the original cover of the UK version unveiled two months later depicted the singer wearing a dress: taking the garment with him, he wore it during interviews—to the approval of critics, including Rolling Stone ’s John Mendelsohn who described him as “ravishing, almost disconcertingly reminiscent of Lauren Bacall” — and in the street, to mixed reaction including laughter and, in the case of one male pedestrian, producing a gun and telling Bowie to “kiss my ass”.During the tour Bowie’s observation of two seminal American proto-punk artists led him to develop a concept that eventually found form in the Ziggy Stardust character: a melding of the persona of Iggy Pop with the music of Lou Reed, producing “the ultimate pop idol”. A girlfriend recalled his “scrawling notes on a cocktail napkin about a crazy rock star named Iggy or Ziggy”, and on his return to England he declared his intention to create a character “who looks like he’s landed from Mars”
Hunky Dory (1971) found Visconti, Bowie’s producer and bassist, supplanted in both roles by Ken Scott and Trevor Bolder respectively. The album saw the partial return of the fey pop singer of “Space Oddity”, with light fare such as “Kooks”, a song written for his son, Duncan Zowie Haywood Jones, born on 30 May. (His parents chose “his kooky name”—he was known as Zowie for the next 12 years—after the Greek word zoe, life.)Elsewhere, the album explored more serious themes, and found Bowie paying unusually direct homage to his influences with “Song for Bob Dylan”, “Andy Warhol”, and “Queen Bitch”, a Velvet Underground pastiche. It was not a significant commercial success at the time.