David Bowie Suffragette City II From The Album Ziggy Striped Bare

David Bowie Moonage Daydream IV From The Album Ziggy Stripped Bare

At the end of the first leg of the Diamond Dogs tour and armed with some new material, David Bowie booked into Philadelphia’s Sigma Sound Studios in August 1974 to lay down some tracks for a new album. For this album, David let go of the influences he had drawn from in the past, replacing them with sounds from local discoteques and dance halls, which, at the time, were blaring with lush strings, sliding hi-hat whispers, and swanky R&B rhythms of Philadelphia Soul. David is quoted describing the album as “…the squashed remains of ethnic music as it survives in the age of Muzak rock, written and sung by a white limey”. Because of the strong influence of black music during the album’s recording sessions, David used the term “plastic soul” (originally coined by an unknown black musician in the 1960s) to describe his new sound. Although David was an English musician bringing up touchy American issues, the album was still very successful in the United States; reaching the top ten in the US, with the single ‘Fame’ hitting the number-one spot the same year the album was released.

28 Lazer - Take 1 - Excerpt

27 After Today - Take 1 - Excerpt

26 Young Americans - Take 3 - Excerpt

24 I'm Divine

23 Funky Music (Is A Part Of Me)

22 Fame - Alternate Flute Mix

21 Fame - Isolated Vocal Mix

20 Fame - Stripped Down Mix

19 Fame - Instrumental Mix

14 Fascination - Stripped Down Mix

12 Can You Hear Me - Stripped Down Mix

10 Somebody Up There Likes Me - Unfinished Mix

06 Right - Alternate Ryko Mix

05 Never No Turnin' Back (Right) - Demo

04 Right - Vocal Rehearsal - Excerpt From 'Cracked Actor' Documentary

At the end of the first leg of the Diamond Dogs tour and armed with some new material, David Bowie booked into Philadelphia’s Sigma Sound Studios in August 1974 to lay down some tracks for a new album. For this album, David let go of the influences he had drawn from in the past, replacing them with sounds from local discoteques and dance halls, which, at the time, were blaring with lush strings, sliding hi-hat whispers, and swanky R&B rhythms of Philadelphia Soul. David is quoted describing the album as “…the squashed remains of ethnic music as it survives in the age of Muzak rock, written and sung by a white limey”. Because of the strong influence of black music during the album’s recording sessions, David used the term “plastic soul” (originally coined by an unknown black musician in the 1960s) to describe his new sound. Although David was an English musician bringing up touchy American issues, the album was still very successful in the United States; reaching the top ten in the US, with the single ‘Fame’ hitting the number-one spot the same year the album was released.
In order to create a more authentically soulful sound, David brought in musicians from the funk and soul community, including Andy Newmark, drummer of Sly and the Family Stone, and an early-career Luther Vandross. Luther brought along two of his backing singers, Anthony Hinton and Diane Sumler, who together with Ava Cherry joined David during the sessions.

29 Shilling The Rubes - Take 1 - Extended Excerpt

11 Take It In Right (Can You Hear Me) - Demo

Dollar Days

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