1970 studio apartment album by David Bowie
The Man Who Sold the World is the third studio album by English musician David Bowie. It was primitively released by Mercury Records in the United States on 4 November 1970 and in the United Kingdom on 10 April 1971. The album was produced by Tony Visconti and recorded at Trident and Advision Studios in London during April and May 1970. It features the first appearances of guitarist Mick Ronson and drummer Mick Woodmansey on a Bowie record, who would belated become celebrated as members of the Spiders from Mars.
Following the largely acoustic and folk rock candy fathom of Bowie ‘s previous 1969 self-titled album, The Man Who Sold the World marked a chemise toward hard rock, with elements of blues rock. The lyrics are besides darker than his previous releases, exploring themes of insanity, religion, engineering and war. none of the songs from the album were released as official singles, although some tracks appeared as B-sides of singles between 1970 and 1973. originally titled Metrobolist, a play on Fritz Lang ‘s 1927 film Metropolis, the title was changed at the last minute by Mercury without Bowie ‘s consultation. The album was released with different embrace artwork in the US and the UK. For the US release, the artwork was a cartoon-like draw of a cowboy in front man of an refuge. It was drawn by Michael J. Weller and based on an image of actor John Wayne. Bowie was unenthusiastic about the screen, so he enlisted Keith MacMillan to shoot an alternate report. The final prototype, featuring Bowie wearing a blue apparel designed by fashion designer Michael Fish, was used as the cover charge for the UK unblock. The Man Who Sold the World was reissued by RCA Records in 1972, featuring a black-and-white picture of Bowie ‘s then-current character Ziggy Stardust on the sleeve, but reissues since 1990 have revived the original UK artwork. The Man Who Sold the World was in the first place better received by music critics in the US than in the UK. Nevertheless, it was a commercial failure in both countries ; however, the 1972 reissue managed to chart in both the US and the UK. retrospectively, the album has been praised by critics for the band ‘s operation and the faze nature of its music and lyrics, being considered by many to be the start of Bowie ‘s “ classic period ”. It has since been reissued multiple times and was remixed in 2020, under its master championship Metrobolist, for its fiftieth anniversary .
background [edit ]
David Bowie ‘s breakthrough single “ Space Oddity “ was released in July 1969, bringing him commercial success and attention. however, its parent album, David Bowie (Space Oddity), released late that year, was not deoxyadenosine monophosphate successful, partially due to the failure of Philips Records to promote the album efficiently. By 1970, the care Bowie had garnered from “ Space Oddity ” had dissipated and his follow-up one, “ The Prettiest Star “, failed to chart. [ 3 ] Realising that his potential as a solo artist was dwindling, Bowie decided to form a ring with bassist Tony Visconti, who previously worked with Bowie on Space Oddity, and drummer John Cambridge. Calling themselves Hype, the group still needed a guitarist. [ 5 ]
He was quite open to guidance and in a way classify of carried out what I wanted done much more than most of the other drummers I have worked with .
– David Bowie discussing Mick Woodmansey, 1994
On 2 February 1970, Bowie met guitarist Mick Ronson following a performance at the Marquee Club in London. The two connected immediately and agreed to work in concert. Following their confluence, Ronson joined Hype. For the group ‘s performances, the members wore aureate superhero-like costumes, made by Bowie ‘s first wife Angela Burnett, whom he married on 20 March 1970, and Visconti ‘s then-girlfriend Liz Hartley. Bowie was Rainbowman ( wearing a rainbow-coloured equip ), Ronson was Gangsterman ( wearing a “ abrupt double-breasted lawsuit ” ), Visconti was Hypeman ( sporting a Superman -like outfit with a colossus ‘H ‘ on the thorax ), and Cambridge was Cowboyman ( wearing a “ frilled ” shirt and overlarge hat ). Hype continued performing in the bizarre costumes for many months ; after one performance on 11 March 1970, Visconti ‘s clothes were stolen and he had to return home wearing his Hypeman costume. Bowie halted Hype performances at the end of March that class so he could focus on record and songwriting, a well as answer managing disputes with his coach Kenneth Pitt. The newfangled single adaptation of the Space Oddity track “ Memory of a Free Festival “ and an early attack at “ The Supermen “ were recorded during this time. Cambridge was dismissed from Hype at the goal of March, with a new drummer, Mick “ Woody ” Woodmansey, joining the group at the suggestion of Ronson. According to biographer Kevin Cann, Cambridge was dismissed by Bowie, but according to biographer Nicholas Pegg, Visconti recalled that the dismissal was Ronson ‘s request. On his first gear impression of Bowie, Woodmansey said in 2015 : “ This guy was living and breathing being a rock & hustle star. ” [ 9 ] By April 1970, the four members of Hype were living in Haddon Hall, Beckenham, an edwardian sign of the zodiac converted to a block of flats that was described by one visitor as having an ambiance “ like Dracula ‘s know room ”. [ 10 ] Ronson and Visconti built a improvised studio apartment under the deluxe stairway at Haddon Hall ; Bowie recorded many of his early 1970s demonstration there .
Recording [edit ]
Recording for The Man Who Sold the World began on 17 April 1970 at Advision Studios in London, with the group beginning work on “ All the Madmen “. The following day on 18 April, Ralph Mace was hired to play the Moog synthesist, borrowed from George Harrison, [ 11 ] following his sour on the individual interpretation of “ Memory of a release festival ”. At the clock time, Mace was a 40-year-old concert pianist who was besides head of the classical music department at Mercury Records. [ 11 ] During this time, Bowie terminated his contract with Pitt and met his future coach Tony Defries, who assisted Bowie in the result. Recording moved to Trident Studios in London on 21 April 1970 and continued there for the perch of April until mid-May. On 4 May, the isthmus recorded “ Running Gun Blues ” and “ savior machine ”, the latter of which was in the first place the work title for the deed lead, before Bowie reworked the song into a different tune to form the final adaptation of “ Saviour machine ”. Recording and desegregate was moved back to Advision on 12 May and completed ten-spot days late. Bowie recorded his vocal for the title cut on the final day. As Bowie was preoccupied with his modern wife Angie at the prison term, vitamin a well as his managerial issues, the music was largely arranged by Ronson and Visconti. Ronson used the sessions to learn about many production and arrangement techniques from Visconti. Although Bowie is officially credited as the composer of all music on The Man Who Sold the World, generator Peter Doggett quoted Visconti as saying that “ the songs were written by all four of us. We ‘d jam in a basement, and Bowie would barely say whether he liked them or not. ” In Doggett ‘s narrative, “ The ring ( sometimes with Bowie contributing guitar, sometimes not ) would record an instrumental track, which might or might not be based upon an master Bowie idea. then, at the last possible moment, Bowie would reluctantly uncurl himself from the sofa on which he was lounging with his wife, and dash off a set of lyrics. ” conversely, Bowie was quoted in a 1998 consultation as saying, “ I truly did object to the impression that I did not write the songs on The Man Who Sold the World. You entirely have to check out the chord changes. No-one writes harmonize changes like that. ” “ The Width of a Circle ” and “ The Supermen ”, for exercise, were already in universe before the sessions began .
Music and lyrics [edit ]
The sonic landscape was Visconti ‘s. The band ‘s contribution – how the drums and bass should work in concert with the guitar – was something [ Ronson ] got very involved in .
– David Bowie in an interview with Mojo
The Man Who Sold the World was a departure from the largely acoustic and folk music rock candy legal of Space Oddity. [ 19 ] According to music critic Greg Kot, it marked Bowie ‘s exchange of direction into unvoiced rock. [ 20 ] Stephen Thomas Erlewine of AllMusic described the album as “ about all arduous blues rock or psychedelic family rock “, while Doggett writes that it is “ filled with propulsive arduous rock ”. [ 21 ] much of the material has a clear-cut heavy metallic edge that distinguishes it from Bowie ‘s other releases, and has been compared to contemporary acts such as Led Zeppelin and Black Sabbath. According to Marc Spitz, Ronson was captive to make a heavy blues album “ worthy of Cream. ” Like the music, the lyrics are importantly darker than its harbinger. According to Doggett, they contain numerous themes that Bowie would continue to explore throughout the rest of the 1970s decade, including “ fury, alienation, violence, confusion of identity, exponent, darkness and sexual possession ”. The lyrics have besides been seen as reflecting the influence of such figures as Aleister Crowley, Franz Kafka and Friedrich Nietzsche. Since Bowie wrote most of the lyrics at the last moment, O’Leary writes that The Man Who Sold the World is a more “ coherent ” concept album than his fifth and one-eighth albums, Ziggy Stardust ( 1972 ) and Diamond Dogs ( 1974 ), respectively. He continues, saying that the songs “ mirror and answer each early ”, sharing alike themes and imagination .
Side one [edit ]
The opening track, “ The Width of a Circle “, is an eight-minute epic poem that delves into progressive rock. [ 9 ] in the first place debuted in February 1970 at a BBC session, the birdcall is led by Ronson ‘s widely lauded guitar work, using feedback and improvisation throughout. The lyrics reference the lebanese poet Khalil Gibran and in the song ‘s second one-half, the narrator has a sexual meet with God in the devil ‘s lair. [ 10 ] Pegg describes the sung ‘s sound as evocative of Deep Purple and Black Sabbath. The lyrics of “ All the Madmen ” were inspired by Bowie ‘s stepbrother Terry Burns and reflect the subject of commit folly. The song contains a fipple flute region that creates an atmosphere, which Buckley describes as “ childlike dementia ”. Doggett describes the Moog synthesist as an integral share of the record, noting that it gives the path a “ stun conclusion ”. Spitz calls the track “ terrify ”. For “ Black Country Rock “, Bowie had a little fortune of the melody and four quickly-written lines that he gave to Ronson and Visconti, who expanded upon them to create the song. A blues rock and hard rock candy song, [ 3 ] Bowie impersonates Marc Bolan in his vocal performance. “ After All “ is musically different than the pillow of The Man Who Sold the World, being more akin to folk rock than hard rock ‘n’ roll. [ 33 ] Featuring an “ ohio, by chauvinist ” tone that is evocative of music hall numbers, the lyrics follow a group of innocent children who have not experienced the corruptions of adulthood. alike to “ The Supermen ”, the song references the works of Nietzsche and has been described by Buckley and Pegg as an underestimate muffin .
Side two [edit ]
The lyrics of “ Running Gun Blues ” discourse gun-toting assassins and Vietnam War comment, specifically the Mỹ Lai slaughter of 1968. Although the lyrics reflect the themes of Space Oddity, the music reflects the prevailing intemperate rock candy vogue of The Man Who Sold the World and points to Bowie ‘s future melodious direction. [ 37 ] Similar to the previous path, “ Saviour machine ” is rooted in blues rock and hard rock. The lyrics explore the concept of computers overtaking the human race ; [ 38 ] Bowie ‘s metallic-like vocal performance enhances the scenario. Like the majority of the tracks, “ She Shook Me Cold “ was by and large created by Ronson, Visconti and Woodmansey without Bowie ‘s input. Spitz compares the sung ‘s blues manner to Led Zeppelin, while O’Leary and Pegg write that Ronson was attempting to emulate Cream ‘s Jack Bruce. The lyrics explores a intimate conquest that is similar to “ You Shook maine “ ( then-recently covered by Jeff Beck ) and Robert Johnson ‘s “ Love in Vain “. The album ‘s title lead has been described by multiple reviewers as “ haunting ”. [ 9 ] [ 40 ] Musically, it is based around a “ circular ” guitar riff from Ronson. The lyrics are cabalistic and evocative, being inspired by numerous poems, including “ Antigonish “ ( 1899 ) by William Hughes Mearns. [ 43 ] The narrator has an encounter with a kind of doppelgänger, as suggested in the second chorus where “ I never lost control ” is replaced with “ We never lost control ”. Bowie ‘s vocals are heavily “ phased ” throughout and contain none of the, in Doggett ‘s words, “ metallic theatrics ” that are found on the rest of the album. The song besides features güiro percussion, which Pegg describes as “ baleful ”. “ The Supermen ” prominently reflects the themes of Nietzsche, peculiarly his hypothesis of Übermensch, or “ Supermen ”. Like other tracks on the album, the song is predominantly hard rock ‘n’ roll. [ 46 ] It was described by Bowie in 1973 as a “ period piece ”, and late “ pre-fascist ” .
Cover artwork [edit ]
The original 1970 US free of The Man Who Sold the World employed a cartoon-like cover lottery by Bowie ‘s friend Michael J. Weller, featuring a cowboy in front of Cane Hill refuge. Weller, whose friend was a patient there, suggested the mind after Bowie had asked him to create a invention that would capture the music ‘s foreboding timbre. Drawing on pop art styles, he depicted a blue main capture block to the hospital with a damaged clock tugboat. For the design ‘s foreground, Weller used a photograph of actor John Wayne to draw a cowboy figure wearing a ten-gallon hat and holding a rifle, which was meant to be an allusion to the song “ Running Gun Blues ”. Bowie suggested Weller incorporate the “ explode head ” signature on the cowboy ‘s hat, a have he had previously used on his posters while a separate of the Arts Lab. He besides added an empty speech balloon for the cowboy figure, which was intended to include the course “ roll up your sleeves and show us your arms ” —a pun on phonograph record players, guns, and drug use—but Mercury found the idea excessively risqué and the balloon was left blank. According to Pegg, “ at this point, [ Bowie ‘s ] intention was to call the album Metrobolist, a play on Fritz Lang ‘s 1927 film Metropolis ; the claim would remain on the tape boxes tied after Mercury had released the LP in America as The Man Who Sold the World “. Bowie was enthusiastic about the finished design, but soon reconsidered the idea and had the art department at Philips Records, a subsidiary company of Mercury, enlist photographer Keith MacMillan to shoot an surrogate cover. The photograph took place in a “ domestic environment ” of the Haddon Hall living room, where Bowie reclined on a chaise longue longue in a cream and bluing satin “ valet ‘s dress ”, an early indication of his interest in exploiting his androgynous appearance. The apparel was designed by british manner interior designer Michael Fish. It has been said that Bowie ‘s “ bleached blond locks, falling below shoulder grade ” in the photograph were inspired by a pre-raphaelite paint by Dante Gabriel Rossetti. In the United States, Mercury rejected MacMillan ‘s photograph and released the album with Weller ‘s invention as its blanket, much to the displeasure of Bowie, although he successfully lobbied the record label to use the photograph for the turn in the United Kingdom. In 1972, he said Weller ‘s design was “ atrocious ” but reappraised it in 1999, saying he “ actually thought the cartoon cover was in truth aplomb ”.
While promoting The Man Who Sold the World in the US, Bowie wore the Fish dress in February 1971 on his first promotional enlistment and during interviews, despite the fact that the Americans had no cognition of the then-unreleased UK cover. The 1971 german liberation ‘s artwork presented a winged loanblend creature with Bowie ‘s head and a hand for a body, preparing to flick the Earth aside. The 1972 cosmopolitan reissue by RCA Records used a black-and-white picture of Ziggy Stardust on the sleeve. The visualize remained the cover artwork on reissues until 1990 when the Rykodisc release reinstated the UK “ dress ” cover. The “ snip ” brood has appeared on subsequent reissues of the album. [ 51 ] In 2011, when the Victoria and Albert Museum in London was putting together the number of Bowie artifacts for the David Bowie Is indicate, the curators asked for the attire to display, but found that the dress had gone missing from Bowie ‘s solicitation .
release [edit ]
The Man Who Sold the World was released in the US by Mercury on 4 November 1970, with the catalogue count SR-61325. [ 54 ] It was subsequently released in the UK on 10 April 1971 by Mercury, with the catalog number 6338 041. [ nota bene 1 ] Bowie was initially aggravated that Mercury had retitled the album from his preferable title of Metrobolist without his consultation, but following its secrete in the US, Bowie attempted to persuade the label to retitle the album Holy Holy after his newly released one of the same name. Following the commercial flop of “ Holy Holy ”, the entitle remained The Man Who Sold the World for the UK let go of. According to Cann, the album was disliked by Mercury executives. however, it was played on US radio stations frequently and the “ dense rock capacity ” increased matter to in Bowie. Cann besides writes that The Man Who Sold the World developed an underground follow and laid “ solid foundations ” for Ziggy Stardust. none of the songs from the album were released as singles at the time, although a promo version of “ All the Madmen ” was issued in the US in 1970. Mercury released “ All the Madmen ” as a single, with “ Janine ” from Space Oddity on the B-side, with the catalogue number Mercury 73173, but withdrew it. The same sung appeared in Eastern Europe during 1973, as did “ The Width of a Circle ”. “ Black Country Rock ” was released as the B-side of “ Holy Holy ” in the UK in January 1971, concisely before the dismissal of The Man Who Sold the World. The title track appeared as the B-side of both the US single release of “ Space Oddity ” in 1972 and the UK spill of “ Life on Mars ? “ in 1973 .
commercial performance [edit ]
The Man Who Sold the World was initially a commercial failure. Pegg writes that by the end of June 1971, the album had sold only 1,395 copies in the US. The like class, Bowie stated : “ [ it ] sold wish hotcakes in Beckenham, and nowhere else ”. [ 9 ] however, following a 1972 reprint by RCA after the commercial breakthrough of Ziggy Stardust, The Man Who Sold the World peaked at number 24 on the UK Albums Chart, where it remained for 30 weeks, and total 105 on the US Billboard Top LPs & Tape chart, spending 23 weeks on the chart. [ 61 ] [ 62 ] The album ‘s 1990 reissue charted again on the UK Albums Chart, peaking at phone number 66. [ 61 ]
critical reception [edit ]
Upon secrete, The Man Who Sold the World was by and large more well-received critically in the US than in the UK. Music publications Melody Maker and NME in the first place found The Man Who Sold the World “ amazingly excellent ” and “ quite hysterical ”, respectively. Reviewing for Rolling Stone in February 1971, John Mendelsohn called the album “ uniformly excellent ” and commented that Visconti ‘s “ function of echo, phase, and early techniques on Bowie ‘s spokesperson … serves to reinforce the jaggedness of Bowie ‘s words and music ”, which he interpreted as “ external oblique muscle and fragmented images that are about impenetrable individually but which convey with effectiveness an ironic and bitter sense of the universe when considered together ”. [ 70 ] Colman Andrews of Phonograph Record felt that record was a interracial bag, finding the lyrics both good and bad and Bowie ‘s voice to be indistinguishable from early british artists, but his vocal music performance to be well done. overall, Andrews stated, “ [ The Man Who Sold the World ] TRIES to define some fresh state of modern music, even if it ‘s not wholly successful. For that alone it deserves some attention. ” [ 71 ] Mike Saunders from Who Put the Bomp magazine included The Man Who Sold the World in his vote of 1971 ‘s top 10 albums for the beginning annual Pazz & Jop poll of american critics, published in The Village Voice in February 1972. [ 72 ] retrospectively, the album has been praised for the ring ‘s performance and the faze nature of its music and lyrics. In a recapitulation for AllMusic, Erlewine complimented its “ tight, twist heavy guitar rock that appears simple on the surface but sounds more murmur upon each listen ”. [ 21 ] He viewed its music and Bowie ‘s “ paranoid futuristic tales ” as “ bizarre ”, adding that : “ musically, there is n’t much time for invention … but there ‘s an faze edge to the band ‘s performance, which makes the criminal record one of Bowie ‘s best albums. ” [ 21 ] In a review upon the album ‘s reissue, a writer for Q called it “ a robust, sexually charged affair ”, [ 66 ] while a Mojo columnist wrote, “ A robust arrange that spins with dizzying disorientation … Bowie ‘s armory was being hurriedly assembled, though it was never deployed with such thrilling vacate again. ” [ 73 ] Douglas Wolk of Pitchfork called the album the “ dark horse ” of Bowie ‘s catalog. Comparing The Man Who Sold the World to its predecessor, he praised the arrangements as tough and “ more effective ”, and complimented his artistic growth. [ 65 ]
aftermath [edit ]
After the completion of The Man Who Sold the World, Bowie became less active in both the studio and on degree. His contract with music publisher Essex had expired and Defries, his new coach, was facing prior contractual challenges. In August 1970, Visconti parted ways with Bowie owing to his disfavor of Defries and his frustration with Bowie ‘s lack of exuberance during the make of The Man Who Sold the World ; it was the final clock he would see the artist for three or four years. Ronson and Woodmansey besides departed due to early personal conflicts with Bowie. Despite his annoyance with Bowie during the sessions, Visconti even rated The Man Who Sold the World as his best work with him until his fourteenth studio apartment album Scary Monsters (and Super Creeps) ( 1980 ). Although his new single “ Holy Holy ”, recorded in November 1970 and released in January 1971, was a commercial flop, the unmarried earned Bowie a contract with music publisher Chrysalis. The critical success of the album in the US prompted Mercury to send Bowie on a promotional radio enlistment of the nation in February 1971. Upon his rejoinder, he wrote the majority of the substantial that would appear on the follow-up albums Hunky Dory ( 1971 ) and Ziggy Stardust. Bowie besides convened with Ronson and Woodmansey, who returned to play on both records. Following the commercial disappointment of Hunky Dory, Bowie finally found commercial success with Ziggy Stardust in 1972. Ronson and Woodmansey, along with bassist Trevor Bolder, would become celebrated as the Spiders from Mars .
bequest [edit ]
The Man Who Sold the World has been retrospectively described by Bowie ‘s biographers and commentators as the begin of Bowie ‘s aesthetic emergence, with many besides agreeing that it was his beginning album where he began to find his phone. Buckley has described the album as “ the first Bowie album proper ”, while NME critics Roy Carr and Charles Shaar Murray similarly stated, “ this is where the fib really starts ”. Erlewine cited The Man Who Sold the World as the beginning of Bowie ‘s “ classical period ”. [ 21 ] Similarly, Annie Zaleski of The A.V. Club called the album his “ career blueprint ”, writing that it musically was a antecedent to the “ swagger electric disorientation ” of Ziggy Stardust and Aladdin Sane ( 1973 ), but its greater importance on sequence and atmosphere, vitamin a well as stonger songwriting, predated Hunky Dory. [ 3 ] meanwhile, Paul Trynka calls it Bowie ‘s “ first rightfully gripping sour ”. Pegg calls The Man Who Sold the World one of the best and most important albums in the history of rock music. In a 2013 readers ‘ poll for Rolling Stone, it was voted Bowie ‘s tenth greatest album. [ 87 ] The album has since been cited as inspiring the goth rock, dark wave and skill fiction elements of make by artists such as Siouxsie and the Banshees, the Cure, Gary Numan, John Foxx and Nine Inch Nails. It has been claimed that glam rock began with the free of The Man Who Sold the World, though this is besides attributed to Bolan ‘s appearance on the UK television receiver program Top of the Pops in March 1971 wearing glitter. [ 89 ] In his daybook, Kurt Cobain of Nirvana listed it at number 45 on his crown 50 favorite albums number. [ 90 ] The claim racetrack provided an improbable score for scottish pop singer Lulu, which was produced by Bowie and Ronson, and would be covered by many artists over the years, including Richard Barone in 1987, and Nirvana in 1993 for their alive album MTV Unplugged in New York. [ 91 ] [ 92 ]
Reissues [edit ]
The Man Who Sold the World was first released on certificate of deposit by RCA in 1984. The album was reissued by Rykodisc/ EMI in 1990 with bonus tracks, including a 1971 rerecording of “ Holy Holy ” that had in the first place been issued as a B-side in 1974. “ Holy Holy ” was falsely described in the liner notes as the master individual interpretation recorded in 1970. [ 95 ] Bowie vetoed inclusion of the earlier recording, and the unmarried remained its only official release until 2015, when it was included on Re:Call 1, character of the Five Years (1969–1973) compilation. [ 96 ] Additionally, the liner notes falsely listed the personnel for “ Lightning Frightening ” as those who played with Bowie during the Space Oddity time period, when in fact the personnel were members of the Arnold Corns sessions proto-group. In 1999, The Man Who Sold the World was reissued again by Virgin /EMI, without the bonus tracks but with 24-bit digitally remastered healthy. [ 98 ] In 2015, the album was remastered for the Five Years (1969–1973) box set. [ 96 ] It was released on candle, vinyl and digital formats, both as separate of the compilation and individually. [ 99 ] On 6 November 2020, the album was reissued by Parlophone under its working title of Metrobolist to commemorate its fiftieth anniversary. The reprint featured an update version of the original Weller artwork as its official top. For this release, Visconti remixed every sung, except “ After All ”, because he felt the original mix ( as remastered in 2015 ) was “ perfect as is ”. [ 100 ] [ 101 ] In 2021, a companion 2-CD determined called The Width of a Circle was announced to celebrate the fiftieth anniversary of the british secrete. A iron notice stated that the solicitation, released on 28 May, will “ feature non-album singles, a BBC In Concert school term, music for a television play and further Visconti remixes wrapping up ( Bowie ‘s ) recordings from 1970 and revealing the inaugural sonic steps toward Hunky Dory “. [ 102 ]
track list [edit ]
All tracks are written by David Bowie. [ 54 ] Side one
Personnel [edit ]
Adapted from The Man Who Sold the World liner notes. [ 54 ]
Charts [edit ]
Notes [edit ]
-  There is some argument about the unblock dates. In 2021, the David Bowie official web site, having earlier queried the previously accepted US free date, published evidence that the official UK release go steady was 8 April 1971 .