Just finished the most compelling book I’ve read for many years. ‘David Bowie: A Life’, by Dylan Jones.

It had me turning the 500 or so pages deep into the night, hardly able to comprehend the depth and width of experience that Bowie packed into his 69 years. The numbers alone tell of a prolific musical artist. 27 studio albums released and a whopping 128 singles, plus numerous live albums.
On the big screen, the guy starred or took a role in almost 40 films. He painted and sculpted. The scope of his drive and ego – and the determined patience that he displayed to reach his goals – was way off the Richter scale.
The book tells you how he was perceived by those who knew him best. Using 180 interviews, and lots of words from Dave himself, it builds a chronological picture from his boyhood in South London through to his untimely demise in 2016. All the delicious detail has left me more of a fan than ever, playing a span of old Bowie albums every time that I sit at my desk.
One aspect that blew my mind was the bloke’s sex life. It’s no spoiler to reveal that Bowie bedded what seems to have been thousands of humans, including a fair sprinkling of males. That thrust poked priapically through his music and his words. It jutted out in taboo-breaking stage theatrics that made Elvis look like a boy scout.
Bowie’s real and artistic explorations of sexuality blazed a trail for untold millions of the lonely, the unsure, and the marginalised. Paint your face, stack your heels, wear your brightest colours, you beautiful, gorgeous peacocks. Kudos to Dave. Fittingly, the book dwells longingly on the watershed moment in spring 1972 when he performed ‘Starman’ on TV (Top of the Pops), just after I had turned 15.
David had caught my ear with his ‘Space Oddity’ single back in 1969, but not my eye. Now he stood looking like a space-age Robin Hood, lipsticked and palely powdered, as he sung of the ‘Starman’ waiting to come and meet us. I had no concept of androgyny, but my gut knew, as he and guitarist Mick Ronson cuddled and caroused together at the mike.
Sex was never more than a half-undone zip away in the themes of Bowie’s 1970s run of singles and albums, which showcased endless amalgamations of musical styles.
I remember dancing freely to ‘Golden Years’ in a Majorca nightclub in 1976. Flailing around and letting it hang out, joy erupting from every pore. Was that soul? Funk? Pop? Rock? I caught him live in 1978. At Stafford Bingley Hall, when he was in his Thin White Duke phase. Emaciated from his coke intake, singing of hollowed-out romances.
His music was a constant soundtrack to that era of my life. It still seems like yesterday when the eerie, futuristic sound of ‘Warszawa’ could be heard creeping out from under a friend’s bedroom door as he revised for his 1978 university finals. Bowie was living in Berlin at the time, mentoring Iggy Pop, excavating the nightlife of the city where all cultures met. And where he made the epic ‘Heroes’.
His biography doesn’t flatter. It tells over and over of an eclectic musical genius and sex addict who would be your friend, right up until your sweaty or metaphorical pound of flesh was mined. Charming you and stealing your energy and best ideas like a magpie, keen to stay ahead of every musical curve. Copy, camouflage, mix up, move on. Different hairstyle, new outfit. Doffing his hat to punk, crooning with Bing Crosby, roping in Luther Vandross to make the transformation from glam rock superstar to Philly soul singer.
Difficult not to applaud his leaps of musical creativity. And once he was in the studio, it was head down and do the job. Usually he nailed the vocals on the first take, however difficult, sometimes the second take. However wasted he might be. He had the additional gift of trusting his band members to play it as they thought best.
Talented in so many ways. But, like many of his peers, he was stiffed for money by managers and the music business until he wrested control. In 1997, Bowie ‘securitised’ his future royalties in financial markets through so-called ‘Bowie Bonds’ which brought him a cool $55 million. He then bought back the rights to his early catalogue from his former manager, Tony DeFries, thereby guaranteeing that he would eventually receive all future income from those recordings.
I liked the tales of how Bowie finally relaxed with age, and wealth. The descriptions of his joy in finally finding a new marriage partner, his second wife, the Somalian Iman Mohamed. I liked how, to mitigate his wayward fatherhood to his son, he took the best part of a decade away from music to bring up his daughter Lexi.
And how, in his final years, he was widely seen by friends as returning to his original unmasked self, Davy Jones, the bright, affable bloke from Brixton and Bromley. Who quietly sat in New York coffee houses and bookshops in shades and a hoodie, liked to help other musicians, and developed a wonderful knack of making awkward and shy people feel at home in his company.
And I sadly adored how he bowed out with such style and enigma. Releasing the amazing but dark ‘Blackstar’ album, on his 69th birthday, two days before his demise from liver cancer.
I word-checked all my blogs. 11 of the previous 315 have references to David Bowie. One mentioned his cameo role as an FBI agent in Twin Peaks. Another flagged up a lovingly crafted painting of Dave that sat proudly above the optics in Southend-on-Sea’s Railway Hotel when I last visited, in 2013.
To accompany my descriptions of Covid-19 lockdowns as a ‘Rip in Time’, I fleshed out blog 283 with a verse from Bowie’s ‘Time’. From the awesome ‘Aladdin Sane’ album, which is my wife’s favourite by some distance.
Time, he’s waiting in the wings
He speaks of senseless things
His script is you and me, boy
Time, he flexes like a whore
Falls wanking to the floor
His trick is you and me, boy
Always ahead of his time, head and shoulders above the trailing pack.






































