A Sense of Doubt blog post #2533 - BOWIE MUSICAL MONDAY FOR 2201.24 - The Not so often Formerly Daily Bowie - #84 - "Hang on to Yourself" - THE RISE AND FALL OF ZIGGY STARDUST AND THE SPIDERS FROM MARS - 1972

A Sense of Doubt blog post #2533 - BOWIE MUSICAL MONDAY FOR 2201.24 - The Not so often Formerly Daily Bowie - #84 -  "Hang on to Yourself" - THE RISE AND FALL OF ZIGGY STARDUST AND THE SPIDERS FROM MARS - 1972

I should have featured Bowie's "1984" for this post, the now not so Daily Bowie. Originally, I tried to rotate through the albums so as to get a wide variety of Bowie's repertoire. I never did feature "1984" and too late now. I am not re-doing this post. but it would have been a good  idea.

Today's feature is "Hang on to Yourself" with an added post of "The Tao of Starman" from the Vulture from around the time of Bowie's death in 2016.

BECAUSE... I have decided that this is DAVID BOWIE MONTH, and I might go one into February as my first January post was not dedicated to Bowie content.

I am working on a ranked albums list by my favorites. I was hoping to finish it, but it's going to more work. Here's what I have TENTATIVELY decided are my top ten.

For the purpose of this list, I am just looking at studio albums: no live albums or compilations.

RANKING BOWIE ALBUMS BY FAVORITE/MOST PLAYED

1. Scary Monsters and Super Creeps

2. LOW
3. Buddha of Suburbia
4. The Rise and Fall of Ziggy Stardust and the Spiders from Mars
5. Blackstar

6. Diamond Dogs

7. Station to Station

8. Outside

9. Hours

10. Heroes

The number one and two albums are locked and very closely ranked. Scary Monsters and Super Creeps will always be first because it was the first Bowie album I bought and listened and hated when I first played it and only loved it later after my consciousness expanded.

However, as much as I love Scary Monsters and Super Creeps, I have probably listened to Low more throughout my life because that album is very chill, very sophisticated, highly evolved, and has great depth.

I had claimed in a recent post that Buddha of Suburbia would be in my top five, so I put it number three because I think it holds up better than Ziggy, and I find that I have listened to it more in the last 29 years (next year, the 30th anniversary!) than The Rise and Fall of Ziggy Stardust and the Spiders from Mars.

If I am going by most listened, several in the six-ten positions would take spots four and five. But given that The Rise and Fall of Ziggy Stardust and the Spiders from Mars was the album that made me a Bowie fan when Janaki Kuruppu sat me down and made me listen to it.

Read the full story here:

Monday, July 27, 2020

A Sense of Doubt blog post #1987 - The first time I heard David Bowie - Musical Monday for 2007.27

AND A WIN!!

I just used the power of the Internet to find Janaki Kuruppu (and get the correct spelling of her name) and see if she remembers me. (Probably not). But I definitely found her as I clearly remember she was born in England or as she puts it: "I am a Californian at heart, born in England, with a Sri Lankan father, and an American mother."

That's her.

Okay, back to the rankings. I feel Blackstar has become a top five fave if only because of how great his last album is, even though in six years I still do not have as many listens as I do to the others, even Ziggy, which I do not listen to as much as a whole album anymore.

6. Diamond Dogs

7. Station to Station

8. Outside

9. Hours

10. Heroes

The second set of five is very tentative as there are glaring omissions that may need to be in this group like Lodger, Hunky Dory, or Heathen.

But for now, this is what I am thinking about as the next five in the top ten. Hours has vaulted into the top ten because the more I listen to it, the more I love it. I would argue that it may be Bowie's best and most underrated album, though both it and The Buddha of Suburbia are virtually unknown to all but the most hardcore Bowie fans.

I feel strongly that Outside is in the top ten as I believe it is a masterpiece, even before I read Eno's 1995 diary that catalogs a lot of the work he did on it with Bowie.

Nearly every song around the narrative interludes is a hit: "Outside," "The Heart's Filthy Lesson," "Hallo Spaceboy," "No Control," "I'm Deranged," and of course "Strangers When We Meet."

And of course, the album really marks Bowie's big return after what he has confessed was a disappointing end to the 1980s with albums that are not his best work to abandoning solo work for a while to do Tin Machine, which may have revitalized him.

His marriage to Iman galvanizes him in 1993 with two of his best albums, one of which I put in my top five: Black Tie, White Noise  and The Buddha of Suburbia.

But it's Outside in 1995 in which he gets REALLY ambitious and back to the kinds of things he was trying with Scary Monsters and Super Creeps, Diamond Dogs, or even The Rise and Fall of Ziggy Stardust and the Spiders from Mars.

Diamond Dogs is a lock in the top ten and arguably could and should be in my top five. This is probably the third album that cemented my love of Bowie after Ziggy and Scary Monsters. I adore that album.

Station to Station was not an album I really considered anything approaching a favorite until I saw him live for the first time in 1983. I was so blown away by his live version of "Station to Station" the title track that this album became a frequent play in my college dorm rooms and I soon fell in love with all the songs, especially "Golden Years" (also in the 1983 show), "Word on a Wing," (featured last week), and most especially "Wild is the Wind," a love song so beautiful that I shared it on mix tapes with many women I was sleeping with at the time or those with whom I wanted to make passionate love. And for years and years AND YEARS, I did not know that it had been originally recorded by Johnny Mathis  in the late 1950s but then really made even more famous by Nina Simone in 1966.

Okay... that's all for now.

On to Bowie stuff.

Back next Monday with more.

David Bowie - "Hang Onto Yourself"

May 15, 2009

SLINKDOT

Song - "Hang on to Yourself" (2002 Remaster)

Artist - David Bowie

Album - The Rise and Fall of Ziggy Stardust and the Spiders From Mars

Writers David Bowie

Licensed to YouTube by

WMG (on behalf of Jones/Tintoretto Entertainment Company LLC); BMI - Broadcast Music Inc., MINT_BMG, LatinAutor - PeerMusic, LatinAutor - SonyATV, LatinAutor, Sony ATV Publishing, BMG Rights Management (US), LLC, ARESA, LatinAutorPerf, SOLAR Music Rights Management, Abramus Digital, CMRRA, UNIAO BRASILEIRA DE EDITORAS DE MUSICA - UBEM, and 11 Music Rights Societies

Bowie - "Hang Onto Yourself" - Aylesbury 1972 **Updated**

Jan 27, 2009

bri2kay

** Updated ** Rare video footage sound synced from a show a few days later. "Look out all you rock and rollers... looks like we already got older." I guess we are stuck with this until the official video stuff 1972-1976 gets released. I'd also like to see a Diamond Dogs complete show before I am too old to care! At least release it for BowieNet members...

https://bowiesongs.wordpress.com/2010/02/15/hang-onto-yourself/

Hang Onto Yourself

Hang Onto Yourself (demo).
Hang Onto Yourself (The Arnold Corns single, 1971).
Hang Onto Yourself (Ziggy Stardust).
Hang Onto Yourself (live, 1972).
Hang Onto Yourself (live, 1973).
Hang Onto Yourself (live, 1978).
Hang Onto Yourself (live, 2004).

America is the noisiest country that ever existed.

Oscar Wilde, Impressions of America.

On 27 January 1971 David Bowie finally came to America. He had dreamed of an entrance like Oscar Wilde’s: Wilde had stepped upon a New York City dock after a cross-Atlantic cruise and was met with a mob of reporters eager for choice witticisms. Instead Bowie had to endure a flight (which he hated) and when he landed at Dulles Airport, with his Lauren Bacall haircut and “wearing a purple maxi-coat and a white chiffon scarf” (Christopher Sandford), he was detained by customs agents, who searched him, sniggered at him and finally released him after an hour. Only Mercury publicist Ron Oberman and his immediate family were there to meet him (here’s a great photo from Bowie’s first night in the U.S., during which Bowie went to a kosher deli in Silver Spring, Md.).

Bowie was in the U.S. to promote The Man Who Sold the World. He brought only his guitar, a satchel of notebooks and few dresses selected by his wife. He went from Washington DC to New York to Chicago to Los Angeles, where he made friends with DJ/scenester Rodney Bingenheimer. He also met RCA house producer Tom Ayers, which set in motion a courtship that culminated in RCA signing Bowie later that year.

The United States of Bowie’s first visit was a fantastically prosperous country that had gone mad and now seemed to be at war with itself. Nineteen seventy-one would see the Attica prison uprising; anti-busing forces in Detroit blowing up school buses with dynamite; a radical group called Movement for Amerika planting bombs in banks across the country; the Weather Underground bombing the U.S. Capitol; another leftist group called Rise planning to poison the Chicago water supply. In Wilmington, NC, a band of vigilantes called Rights of White People assembled. Hippies were occasionally lynched in New Mexico—for example, a sixteen-year-old hippie girl who passed a bad check was shot to death by a storekeeper in Albuquerque (no charges filed). Crime rates hit staggering new levels, fueling a general belief that violence in America had become as common as it was random (in LA, a man drew a gun on Bowie and told him to “kiss my ass”).*

Bowie traveled through America in absorption: listening to top 40 radio (“Rose Garden,” “Stoney End,” “Groove Me”), meeting producers and starlets, gorging on new records (in San Francisco, Bowie heard a Stooges LP for the first time). On sheets of hotel stationery he wrote out his ideas for a fake rock star, inspired by another new find, the Legendary Stardust Cowboy. Perhaps he’d name the plastic rock singer Iggy.

“Hang Onto Yourself” (or “Hang On To Yourself,” depending which record it’s on) is the fruit of Bowie’s U.S. trip. A rock & roll blast, a groupie sex song, it was first recorded at a session where Bowie met Gene Vincent. Tom Ayers had introduced Bowie and Vincent in LA and, depending on who you believe, Bowie jammed with Vincent on a studio demo of “Hang Onto Yourself,” or Vincent was at the demo session but didn’t play, or Vincent had utterly nothing to do with it. Bowie would use one of Vincent’s signature stage moves (crouching at the mike with his injured leg behind him) in his Ziggy Stardust act; Vincent died of a stomach ulcer some eight months after meeting Bowie.

Rock and roll

Bowie came back to the UK with his demo of “Hang Onto Yourself,” which was still a sketch—just a single verse, a chorus and the makings of what would be the song’s guitar hook. Bowie initially used the song for the first draft of his “fake rock star” project, where he wrote and produced songs for a Dulwich College band The Arnold Corns and their cherubic lead non-singer Freddi Burretti (more on this when we reach “Moonage Daydream”).

The demo and the Corns versions of “Hang Onto Yourself” are plodding and underwritten, and seem to be a botched attempt to mimic the Velvet Underground’s “Rock and Roll” (the line “and me, I’m on the radio show” echoes Lou Reed’s “and me, I’m in a rock & roll band”). The Corns single ends with a minute or so of elaborate grunting, suggesting that once again Bowie was parodying Marc Bolan.

“Hang Onto Yourself”‘s main riff (it opens the track and follows the end of the choruses) is also storied plagiarism—it seems to be nicking The Move’s “Fire Brigade,” which in turn had raided Eddie Cochran’s “Something Else.” The tradition continued, as the Sex Pistols’ “God Save The Queen” in part ripped off “Hang Onto Yourself” (Glen Matlock admitted the Pistols nicked a number of Spiders riffs, while future Pistols guitarist Steve Jones actually stole the Spiders’ gear, taking the line “the bitter comes out better on a stolen guitar” literally).

Throughout much of 1971 Bowie and his reconstituted band of Mick Ronson, Woody Woodmansey and Trevor Bolder kept up a brutal rehearsal pace, often playing all night in the top room of a Beckenham pub. Over the months they honed Bowie’s tentative rockers like “Hang Onto Yourself” into hard shapes. The version of “Hang Onto Yourself” cut for the Ziggy Stardust LP is faster and has better dynamics—much of the chord structure has been moved up a step (so the signature riff is now D/C/G, compared with C/Bb/F in the Arnold Corns version), Bowie’s lyric is saucier (“she’s a funky-thigh collector,” “we move like tigers on vaseline”) and Bowie now softly insinuates the chorus, rather than belting it out. Trevor Bolder’s bass holds the track together in a tight grip, while Ronson, in his own words, strapped his guitar on “and thrashed it to death, basically.”

The “Gene Vincent” demo was recorded ca. mid-February 1971 in Los Angeles; the Arnold Corns single was recorded in April 1971 and released as B&C CB149; the Ziggy Stardust track was recorded on 8 November 1971. Much of the Ziggy Stardust record uses rock & roll as a concept more than offering it as a reality—“Hang Onto Yourself” has no such troubles.

It was a classic lead-off song, and Bowie opened most of the Spiders from Mars sets of 1972-1973 with it, as well as many of his 1978 concerts (a Philadelphia recording leads off Stage, the 2-LP live record culled from that tour). Bowie revived “Hang Onto Yourself” on his 1983 tour, letting his rent-a-gun guitarist Stevie Ray Vaughan play with it, and brought it back again for his “Reality” tour of the mid-2000s.

Top:  Michael Caine in Get Carter.

* most examples of 1971 America are taken from Rick Perlstein’s essential Nixonland.

Read David Bowie’s Reflection on Being a New Yorker

Grieving David Bowie, a True Rock Star in Life and in Death


https://www.vulture.com/2016/01/starmans-tao-david-bowie-in-his-own-words.html

REMEMBERING BOWIE JAN. 12, 2016

The Tao of Starman: David Bowie in His Own Words, Throughout the Golden Years

By Annie Zaleski

David Bowie did hundreds of television, magazine, and newspaper interviews during his half-century career — from a stunning 1972 Melody Maker interview in which he proclaimed he was gay, and a legendary 1974 Dick Cavett Show interview where his cocaine abuse and exhaustion were evident, to a candid 1976 Cameron Crowe interview for Playboy, and on through a funny, revealing 2002 GQ cover story.

Although Bowie didn’t always seem terribly pleased while doing an interview, and hadn’t given one in more than a decade before his death, there’s enough wit, wisdom, and advice present in what he left behind to last us a lifetime. In his early days, his willingness to give an inflammatory quote about anything controversial turned him into a celebrated misfit philosopher, a beacon for the disenfranchised. But as time went on, Bowie often seemed uncomfortable discussing some of his earlier exploits, and deflected questions with genteel humor and self-deprecation.

Although modest about his own accomplishments (because he disliked looking backward), Bowie was incredibly self-aware, which led to eloquent soundbites that spoke to what it meant to be an artist and to live a creative life. Above all, he was ferociously smart and curious, which kept interviewers on their toes and made conversations feel more like provocations than anything. He left us with a guidebook on how to live life on our own terms, a master at embracing the cutting-edge while never losing sight of the present moment.

Here are the must-read dispatches from Ziggy’s home planet.

HANG ON TO YOURSELF

“In answer to your questions, my real name is David Jones and I don’t have to tell you why I changed it. ‘Nobody’s going to make a monkey out of you’ said my manager.” —response to a fan letter, 1967

“I find that I’m a person that can take on the guises of different people that I meet. I can switch accents in seconds of meeting somebody—I can adopt their accent. I’ve always found that I collect. I’m a collector. And I’ve always just seemed to collect personalities, ideas.” —London Weekend Television Program, 1973

David Bowie-Russell Harty Interview 1973

Jul 24, 2009

aladdinsane9

Interview from 1973

“Ziggy was a very strong character and I’m not sure I’ve lost him. I quite like the way I look at the moment so I don’t intend to change it. My only reason for changing appearance is because I get bored and in my book being bored is the biggest sin!” —Mirabelle, 1974

“My strength has always been that I never gave a shit about what people thought of what I was doing. I’d be prepared to completely change from album to album and ostracize everybody that may have been pulled in to the last album. That didn’t ever bother me one iota.” —Q, 1989

YOU LIKE ME, AND I LIKE IT ALL

“I’m gay, and always have been, even when I was David Jones.” —Melody Maker, 1972

“Someone asked me in an interview once–I believe it was in ’71 — if I were gay. I said, ‘No, I’m bisexual.’ The guy, a writer for one of the English trades, had no idea what the term meant. So I explained it to him. It was all printed — and that’s where it started. It’s so nostalgic now, isn’t it? Seventy-one was a good American year. Sex was still shocking. Everybody wanted to see the freak. But they were so ignorant about what I was doing. There was very little talk of bisexuality or gay power before I came along. Unwittingly, I really brought that whole thing over. I never, ever saw the word gay when I first got over here to America. It took a bit of exposure and a few heavy rumors about me before the gays said, ‘We disown David Bowie.’ And they did. Of course. They knew that I wasn’t what they were fighting for. Nobody understood the European way of dressing and adopting the asexual, androgynous everyman pose. People all went screaming, ‘He’s got make-up on and he’s wearing stuff that looks like dresses!’” —Playboy, 1976

“The biggest mistake I ever made was telling that Melody Maker writer that I was bisexual. Christ, I was so young then. I was experimenting …” —Rolling Stone, 1983

[in response to a question as to why he said he was gay] “I found I was able to get a lot of tension off my shoulders by almost ‘outing’ myself in the press in that way, in very early circumstances. So I wasn’t going to get people crawling out the woodwork saying [seedy, muckraking voice]: ‘I’ll tell you something about David Bowie that you don’t know …’ I wasn’t going to have any of that. I knew that at some point I was going to have to say something about my life. The quote has taken on far more in retrospect than actually it was at the time. I’m quite proud that I did it. On the other hand I didn’t want to carry a banner for any group of people, and I was as worried about that as the aftermath. Being approached by organizations. I didn’t want that. I didn’t feel like part of a group. I didn’t like that aspect of it: this is going to start overshadowing my writing and everything else that I do. But there you go.” —MOJO, 2002

“I was incredibly promiscuous. [Laughs.] And I think we’ll leave it at that.” —Friday Night With Ross and Bowie, 2002

David Bowie talks about his sexual orientation

Oct 26, 2010

CameldotCase

Is he gay?  Is he bisexual?  Is he try-sexual?

FAME, WHAT YOU GET IS NO TOMORROW

“I’m an instant star. Just add water and stir.” —Halliwell’s Who’s Who in the Movies, 2003

“I’ve always believed that thing that if you want to be known and want to be seen you go out clubbing a lot with some bird on your arm so that you get cameras and you do things to attract attention to yourself. I mean, the most I get when I’m going out is, ‘Oh, hello David, I didn’t expect to see you here.’” —i-D, 1987

“Fame itself, of course, doesn’t really afford you anything more than a good seat in a restaurant.” —Performing Songwriter, 2003

SOMETHING IN THE AIR

“I believe in an energy form. I wouldn’t like to put a name to it.” —London Weekend Television Program, 1973

“What I do is I write mainly about very personal and rather lonely feelings, and I explore them in a different way each time. You know, what I do is not terribly intellectual. I’m a pop singer for Christ’s sake.” —GQ, 2002

“The lesson that I’ve probably learnt more than anything else is that my fulfillment comes from that kind of spiritual investigation. And that doesn’t mean I want to find a religion to latch on to. It means trying to find the inner-life of the things that interest me — whether it’s how a painting works, or exactly why I enjoy going for a sail on a lake — even though I can’t swim more than 15 strokes.” —The Telegraph, 1996

I’M AFRAID OF AMERICANS, I’M AFRAID OF THE WORLD

“I know this is very cliché, but I feel that now that I’m thirty-six years old, and I’ve got a certain position, I want to start utilizing that position to the benefit of my … brotherhood and sisterhood. I’ve found it’s very easy to be successful in other terms, but I think you can’t keep on being an artist without actually saying anything more than, ‘Well, this is an interesting way of looking at things.’ There is also a right way of looking at things: there’s a lot of injustice. So let’s, you know, say something about it. However naff it comes off.” —Rolling Stone, 1983

“It occurred to me, having watched MTV over the last few months — it’s a solid enterprise, it’s got a lot going for it. I’m just floored by the fact that there’s so few black artists featured on it. Why is that?” —MTV interview, 1983

David Bowie Criticizes MTV for Not Playing Videos by Black Artists | MTV News

Jan 11, 2016

MTV News

David Bowie has some questions and criticisms about MTV’s lack of videos featuring black artists in this 1983 interview with Mark Goodman.

STRUNG OUT IN HEAVEN’S HIGH

“I did [acid] three times. It was very colorful, but I thought my own imagination was already richer. Naturally. And more meaningful to me. Acid only gives people a link with their own imagery. I already had it. It was nothing new to me. It just sort of made a lot of fancy colors. Flashy lights and things. ‘Oh, look. I see God in the window.’ So what? I never needed acid to make music, either.” —Playboy, 1976

“The only kinds of drugs I use, though, are ones that keep me working for longer periods of time. I haven’t gotten involved in anything heavy since ’68. I had a silly flirtation with smack then, but it was only for the mystery and enigma of trying it. I never really enjoyed it at all. I like fast drugs.” —Playboy, 1976

“Incredible losses of memory. Whole chunks of my life. I can’t remember, for instance, any — any — of 1975. Not one minute!” —Rolling Stone, 1983

DON’T YOU WONDER SOMETIMES ‘BOUT SOUND + VISION

“Something we really got into on the late-’70s albums was what you could do with a drum kit. The heartbeat of popular music was something we really messed about with.” —interview with Brian Eno, 1995

“The history of any art form is actually dictated by other artists and who they are influenced by, not by critics. So for me, my vanity is far more interested in what my contemporaries and peers have to say about my work. A lot of it just comes from pure pleasure, you know?” —interview with Brian Eno, 1995

“When I was a kid, I was first on my block with the newest record, and I’d promptly drop it like a hotcake if someone else started liking it too. I still like music, art and literature that touches areas of your unconscious that are not normally provoked.” —USA Today, 1990

“I’m terribly intuitive — I always thought I was intellectual about what I do, but I’ve come to the realization that I have absolutely no idea what I’m doing half the time, that the majority of the stuff that I do is totally intuitive, totally about where I am physically and mentally at any moment in time and I have a far harder time than anybody else explaining it and analyzing it. That’s the territory of the artist anyway: to be quite at sea with what he does, and working toward not being intuitive about it and being far more methodical and academic about it.” —NME, 1984

FASHION! TURN TO THE LEFT

“I wish myself to be a prop, if anything, for my songs. I want to be the vehicle for my songs. I would like to color the material with as much visual expression as is necessary for that song.” —NME, 1972

“I was never very hot on sophisticated taste when it got too sophisticated. I didn’t mind a sense of elegance and style, but I liked it when things were a bit off — a bit sort of fish-and-chips shop.” —Rolling Stone, 1987

TURN AND FACE THE STRANGE

“Every time I make an album, I tend to take the road to commercial suicide because I actually revolt against the last album I made, especially if it’s been successful. I think it’s to keep me in sort of desperate straits, because if I get too comfortable, I write really badly — I write terrible songs.” —Record Collector, 1993

“I don’t think I ever resolve anything on my work. There are inevitably a series of questions in as much as anything else. And they try and capture an atmosphere that I’m living through to a certain extent.” —Alternative Press, 2001

“What I need is to feel that I am not letting myself down as an artist and that I still have something to contribute. It just doesn’t work for me to go on being Major Tom. I don’t want to end up in Las Vegas.” —USA Today, 1995

AND THE STARS LOOK VERY DIFFERENT TODAY

“I don’t think I ever felt that life was very long. It was certainly no surprise to me that I got old. I don’t know if that’s a good or a bad thing, but I was always terribly aware of its finiteness, and I always believed that if we only have this one life, then let’s experiment with it.” —The Telegraph, 1996

“I don’t know where I’m going from here, but I promise it won’t be boring.” —onstage at his 50th birthday party, 1997

THE DAILY BOWIE LIST (link to You Tube - pod player at end of the entry)
1601.20 - The Daily Bowie #0 - "Space Oddity" - SPACE ODDITY - 1969
1601.21 - The Daily Bowie #1 - "Ashes to Ashes" - SCARY MONSTERS - 1980
1601.22 - The Daily Bowie #2 - "Cat People" - LET'S DANCE - 1983
1601.23 - The Daily Bowie #3 - "Sons of the Silent Age" - HEROES - 1977
1601.24 - The Daily Bowie #4 - "Running Gun Blues" - THE MAN WHO SOLD THE WORLD - 1970
1601.25 - The Daily Bowie #5 - "Sound and Vision" - LOW - 1977
1601.26 - The Daily Bowie #6 - "Fill Your Heart" - HUNKY DORY - 1971
1601.27 - The Daily Bowie #7 - "We Are The Dead" - DIAMOND DOGS - 1974
1601.28 - The Daily Bowie #8 - "Yassassin" - LODGER - 1979
1601.29 - The Daily Bowie #9 - "Time" - ALADDIN SANE - 1973
1601.30 - The Daily Bowie #10 - "Where Are We Now?" - THE NEXT DAY -2013
1601.31 - The Daily Bowie #11 - "Sunday" - HEATHEN - 2002
1602.01 - The Daily Bowie #12 - "Loving the Alien" - TONIGHT - 1984
1602.02 - The Daily Bowie #13 - "The Loneliest Guy" - REALITY - 2003
1602.03 - The Daily Bowie #14 - "Young Americans" - YOUNG AMERICANS - 1975
1602.04 - The Daily Bowie #15 - "Thursday's Child" - 'HOURS...' - 1999
1602.05 - The Daily Bowie #16 - "Buddha of Suburbia" - THE BUDDHA OF SUBURBIA - 1993
1602.06 - The Daily Bowie #17 - "Please Mr. Gravedigger" - DAVID BOWIE - 1967
1602.07 - The Daily Bowie #18 - "Sorrow" - PINUPS - 1973
1602.08 - The Daily Bowie #19 - "Golden Years" - STATION TO STATION - 1976
1602.09 - The Daily Bowie #20 - "I'm Afraid of Americans" - EARTHLING - 1997
1602.10 - The Daily Bowie #21 - "Pallas Athena" - BLACK TIE WHITE NOISE - 1993
1602.11 - The Daily Bowie #22 - "Glass Spider" - NEVER LET ME DOWN - 1987
1602.12 - The Daily Bowie #23 - "The Heart's Filthy Lesson" - OUTSIDE - 1995
1602.13 - The Daily Bowie #24 - "Rock 'N' Roll Suicide" - THE RISE AND FALL OF ZIGGY STARDUST AND THE SPIDERS FROM MARS - 1972
1602.14 - The Daily Bowie #25 - "Lazarus" - BLACKSTAR - 2016
1602.15 - The Daily Bowie #26 - "Tin Machine" - TIN MACHINE - 1989
1602.16 - The Daily Bowie #27 - "Baby Universal" - TIN MACHINE II - 1991
1602.17 - The Daily Bowie #28 - "Changes" - DAVID LIVE - 1974
1602.18 - The Daily Bowie #29 - "Fame" - STAGE - 1978
1602.19 - The Daily Bowie #30 - "SENSE OF DOUBT" - HEROES - 1977
1602.20 - The Daily Bowie #31 - "John, I'm Only Dancing" - CHANGESONEBOWIE - 1990
1602.21 - The Daily Bowie #32 - "London Bye Ta Ta" - BOWIE AT THE BEEB - 2000
1602.22 - The Daily Bowie #33 - "Real Cool World" - BLACK TIE WHITE NOISE - LIMITED ED - 2003
1602.23 - The Daily Bowie #34 - "Five Years" - THE RISE AND FALL OF ZIGGY STARDUST AND THE SPIDERS FROM MARS - 1972
1602.24 - The Daily Bowie #35 - "Speed of Life" - LOW - 1977
1602.25 - The Daily Bowie #36 - "I'm Deranged" - OUTSIDE - 1995
1602.26 - The Daily Bowie #37 - "Fall Dog Bombs the Moon" - REALITY - 2003
1602.27 - The Daily Bowie #38 - "I Can't Give Everything Away" - BLACKSTAR - 2016
1602.28 - The Daily Bowie #39 - "Diamond Dogs" - DIAMOND DOGS - 1974
1602.29 - The Daily Bowie #40 - "The Laughing Gnome" - THE DERAM ANTHOLOGY 1966-1968 (r.1997)
1603.01 - The Daily Bowie #41 - "Fascination" - YOUNG AMERICANS - 1975
1603.02 - The Daily Bowie #42 - "Panic in Detroit" - ALADDIN SANE - 1973
1603.03 - The Daily Bowie #43 - "Modern Love" - LET'S DANCE - 1983
1603.04 - The Daily Bowie #44 - "Fashion" - SCARY MONSTERS - Deluxe - 1980
1603.05 - The Daily Bowie #45 - "Life On Mars" - HUNKY DORY - 1971
1603.06 - The Daily Bowie #46 - "London Boys" - THE DERAM ANTHOLOGY 1966-1968 (r.1997)
1603.07 - The Daily Bowie #47 - "Fantastic Voyage" - LODGER - 1979
1603.08 - The Daily Bowie #48 - "The Man Who Sold the World" - THE MAN WHO SOLD THE WORLD - 1970
1603.09 - The Daily Bowie #49 - "Stay" - STATION TO STATION - 1976
1603.10 - The Daily Bowie #50 - "Starman" - THE RISE AND FALL OF ZIGGY STARDUST AND THE SPIDERS FROM MARS - 1972
1603.11 - The Daily Bowie #51 - "Crystal Japan" - SCARY MONSTERS - Deluxe - 1980
1603.12 - The Daily Bowie #52 - "An Occasional dream" - SPACE ODDITY - 1969
- FOUR DAY BREAK
1603.17 - The Daily Bowie #53 - "Miracle Goodnight" - BLACK TIE WHITE NOISE - 1993
- TWO DAY BREAK
1603.20 - The Daily Bowie #54 - "5:15 The Angels Have Gone" - HEATHEN - 2002
1603.22 - The Daily Bowie #55 - "Queen Bitch" - HUNKY DORY - 1971
- SEVEN DAY BREAK
1603.29 - The Daily Bowie #56 - "Criminal World" - LET'S DANCE - 1983
- ONE DAY BREAK
1603.31 - The Daily Bowie #57 - "Move On" - LODGER - 1979
1604.01 - The Daily Bowie #58 - "Rebel Rebel" - DIAMOND DOGS - 1974
- TEN DAY BREAK
1604.11 - The Daily Bowie #59 - "Telling Lies" - EARTHLING - 1997
1604.12 - The Daily Bowie #60 - "The Stars (Are Out Tonight)" - THE NEXT DAY -2013
- THREE DAY BREAK
1604.15 - The Daily Bowie #61 - "Jean Genie" - ALADDIN SANE -1973
- SEVEN DAY BREAK
1604.22 - The Daily Bowie #62 - "The Dreamers" - HOURS - 1999
1604.23 - The Daily Bowie #63 - "Breaking Glass" - LOW - 1977 - and STAGE - 1978
1604.24 - The Daily Bowie #64 - "Tonight" - TONIGHT - 1984
1604.25 - The Daily Bowie #65 - "Up the Hill Backwards" - SCARY MONSTERS - 1980
- SEVEN DAY BREAK
1605.02 - The Daily Bowie #66 - "I'd Rather Be High" - THE NEXT DAY - 2013
- SEVEN DAY BREAK
1605.09 - The Daily Bowie #67 - "A Better Future" - HEATHEN - 2002
1605.10 - The Daily Bowie #68 - "Strangers When We Meet" - BUDDHA OF SUBURBIA - 1993
- TWO WEEKS OFF
1605.24 - The Daily Bowie #69 - "She'll Drive the Big Car" - REALITY - 2003
- SIX DAYS OFF
1605.31 - The Daily Bowie #70 -"Days" - David Bowie - REALITY - 2003
- SEVEN DAYS OFF
1606.07 - The Daily Bowie #71 - "Under Pressure" - NOTHING HAS CHANGED - D2 - 2014
1606.09 - The Not Quite Daily Bowie - #72 - "Moonage Daydream" - THE RISE AND FALL OF ZIGGY STARDUST AND THE SPIDERS FROM MARS - 1972
- BIG BREAK - 12 days
1606.21 - The Not Quite Daily Bowie - #73 - "Don't Let Me Down & Down" - BLACK TIE WHITE NOISE - 1993
1606.22 - The Daily Bowie - #74 - "If You Can See Me" - THE NEXT DAY - 2013
1607.23 - The Not Quite Daily Bowie - #75 - "Warszawa" - LOW (1977) and STAGE (1978)
- MONTH BREAK-
1608.25 - The Not so often Formerly Daily Bowie - #76 - "Zeroes" - NEVER LET ME DOWN - 1987
MANY MONTHS OFF
1701.10 - The Not so often Formerly Daily Bowie - #77 - "Somebody Up There Likes Me" - YOUNG AMERICANS - 1975
1701.11 - The Not so often Formerly Daily Bowie - #78 - "All the Madmen" - THE MAN WHO SOLD THE WORLD - 1972
1701.12 - The Not so often Formerly Daily Bowie - #79 - "Quicksand" - HUNKY DORY - 1971
-ONE DAY BREAK-
1701.14 - The Not so often Formerly Daily Bowie - #80 - "The Secret Life of Arabia" - HEROES - 1977
-TWO DAY BREAK-
1701.17 - The Not so often Formerly Daily Bowie - #81 - "Candidate" - DIAMOND DOGS - 1974
1701.29 - The Not so often Formerly Daily Bowie - #82 - "Neighborhood Threat" - TONIGHT - 1984
2201.10 - The Not so often Formerly Daily Bowie - #83 - "Word on a Wing" - STATION TO STATION - 1976
2201.24 - The Not so often Formerly Daily Bowie - #84 -  "Hang on to Yourself" - THE RISE AND FALL OF ZIGGY STARDUST AND THE SPIDERS FROM MARS - 1972



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- Bloggery committed by chris tower - 2201.24 - 10:10

- Days ago = 2397 days ago

- New note - On 1807.06, I ceased daily transmission of my Hey Mom feature after three years of daily conversations. I plan to continue Hey Mom posts at least twice per week but will continue to post the days since ("Days Ago") count on my blog each day. The blog entry numbering in the title has changed to reflect total Sense of Doubt posts since I began the blog on 0705.04, which include Hey Mom posts, Daily Bowie posts, and Sense of Doubt posts. Hey Mom posts will still be numbered sequentially. New Hey Mom posts will use the same format as all the other Hey Mom posts; all other posts will feature this format seen here.