Bowie In Berlin: A New Career In A New Town

by Thomas Jerome Seabrook

Driven to the brink of madness by cocaine, overwork, marital strife, and a paranoid obsession with the occult, David Bowie fled Los Angeles in 1975 and ended up in Berlin, the divided city on the frontline between communist East and capitalist West. There he sought anonymity, taking an apartment in a run-down district with his sometime collaborator Iggy Pop, another refugee from drugs and debauchery, while they explored the city and its notorious nightlife. In this intensely creative period, Bowie put together three classic albums— Low , “Heroes” , and Lodger —with collaborators who included Brian Eno, Robert Fripp, and Tony Visconti. He also found time to produce two albums for Iggy Pop— The Idiot and Lust For Life —and to take a leading role in a movie, the ill-starred Just A Gigolo .
Bowie In Berlin examines that period and those records, exploring Bowie’s fascination with the city, unearthing his sources of inspiration, detailing his working methods, and teasing out the elusive meanings of the songs. Painstakingly researched and vividly written, the book casts new light on the most creative and influential era in Bowie’s career.

Genres: Music, Nonfiction, Biography, History, Rock N Roll, Contemporary, Germany

272 pages, Paperback

First published February 1, 2008

About the author

Thomas Jerome Seabrook is a writer and editor, based in Leigh-on-Sea, England. His first book was Bowie in Berlin. He has previously contributed to the Faber Companion To 20th Century Popular Music (Faber & Faber).

Reviews

[Tosh · Rating 4 out of 5]

Thomas Jerome Seabrook did a good job in organizing information from other sources - and a lot of it is from the Tony Visconti memoir (reviewed earlier somewhere down the list) and news articles and interviews. I think most Bowie geeks (and I am one) love what they call the Berlin years - which is roughly Station to Station to The Lodger. And Berlin is actually more of a mind-frame than place. 'Heroes' is the only album that was written and made in Berlin - the other albums were done in France, Los Angeles, Swizterland and New York City.

Seabrook just focuses on these specific Bowie years and it is a fascinating read - but for sure this book will not appeal to anyone outside the Bowie otaku. group.

What I like about this book is that it deals a lot with Iggy Pop and the making of 'The Idiot' and "Lust for Life.' And I am happy to get some details on 'The Idiot' album because there are no credits really on who did what on what song. So Seabrook breaks down each song on the album with factual information about the recordings. Again geek stuff, but essential for the Bowie fan.

There is no new information in the book, and it would have been nice if Seabrook interviewed some of the participants - but nevertheless it's a smart and respectful read on a remarkable pop star and his world a the time. Also special notice on the production of the book. It's beautifully printed and nicely designed. As a publisher I admire that in a book.

[Isorgu · Rating 5 out of 5]

The book was very terrific.

[Al · Rating 5 out of 5]

I bought this book which has a unique and look to it for one. It covers Bowie’s “Berlin” trilogy but also the two albums Iggy Pop recorded (heavily assisted by Bowie) during that time from roughly 1976 to 1979

Although I think Bowie contains multitudes, there is definitely something special about these five albums. Seabrook does a good job of capturing what Bowie was doing in his day to day life and then also turning around and breaking down each song and how it was composed and what it meant. In that, the reader will learn new stuff about the recording of favorite songs as well as new appreciation for songs that don’t rate so high.

Online book reviewers (and the bibliography) reveal that there isn’t a lot new here. The content comes largely from decades interviews and other published content (Tony Visconti’s autobiography - a major source of info included here). That said, I don’t think most readers will be disappointed. It hangs together quite well.

It is interesting to see the contemporary reaction, the promotion and reviews. Surely, this the wrong steps for Bowie to take at the time. And yet with hindsight, it’s easy to say this was the perfect path. Eschewing a retread of Young Americans, or any similar accessible record and instead, decoding to minimize live performances, Bowie establishes his legacy with records that are still held in the high tea of regard.

He emerges out the other side with Lodger, with an eye on international sounds. He had chosen various acting roles. Bowie would be ready to give us Scary Monsters and Let’s Dance.

With Iggy, Bowie fills a wish he has of being part of a band. The side man not the main performer. It’s an instinct of his that fans don’t really get, hence the decision to form and the reaction to Tin Machine a decade later.

This book is great for anyone who is ready to take a deep dive into the Bowie Berlin albums for the first time or if you are a long time fan of these five albums, you will enjoy this.

[Anna]

Fascinating and engrossing, and very easy to read for someone who is new to Bowie and new to a lot of the musical/recording technology terms used. The book provides an incredibly well-researched look into what is widely referred to as the most influential period of Bowie's career. Songs I had heard from either "Low", "Heroes", or "Lodger", which I didn't necessarily /like/, I appreciate so much more: I understand what he was trying to do, and on re-listening to the songs, I can hear and comprehend.

While the book focuses mainly on Bowie's musical evolution, it also looks at his personal transformation during the time period, as is mirrored in the albums, and it's truly inspirational how he managed to pull himself back up out of the pit he was in. And again, this just adds more insight into the songs/albums themselves which helps me to appreciate them even more.

All in all...absolutely fascinating and highly, highly recommended to anyone even slightly interested in David Bowie.

[Caleb Billings · Rating 4 out of 5]

This is the second book I've read on Bowie's time in Berlin (the first being the book on Low in the 33 1/3 series). I still feel like the definitive account of this period hasn't been written yet, but both books are essential if you're a fan. This one explores the Berlin trilogy and its place in Bowie's career more fully, while the other focuses more specifically on Low and how that album's music affected the author.

[Sara 🦷 · Rating 5 out of 5]

Upon visiting Bowie’s house in the Neukölln district of Berlin, I began to realise why he chose that humble apartment in the Turk-Arab neighbourhood and how it influenced his music style.

Neukölln is my favourite district in my favourite city ever. As an Arab girl, I truly get to experience my culture there filtered from the dark oppressive parts of it that exist in the middle east…

What I truly don’t understand is, why would Bowie and Iggy move to one of the most drug oriented cities in the world just to “get off drugs”???

Otherwise, the book is full of information and very well written.

[Bradley Morgan · Rating 4 out of 5]

Seabrook’s in-depth look into David Bowie’s “Berlin Trilogy,” a triptych of albums Bowie created influenced by his experiences living and recording in Berlin during the late 1970s, is a comprehensive and exploratory understanding of the conditions under which Bowie set out to create these albums, the processes behind their production, and their lasting musical and cultural legacy. During the mid-1970s, Bowie was in a very bad way with his life being ravaged by rampant cocaine abuse, resulting in him becoming further isolated and enduring extended periods of mental psychosis and paranoia. With an expressed desire to break free from the confinements the heights of his fame had brought him, as well as the theatricality of his evolving musical characters and personae, Bowie sought to get his life back on track by curbing his substance abuse, regain his physical and mental health, and create music that challenged him and set him apart from the expectations forced upon him by his record company while progressing beyond the contemporary tastes of the time, often including copycat acts derived from his earlier work. Bowie then receded from public life, first recording insular, conceptually fragmented, and ambient work in France for the first album of this era “Low” all the while also resuscitating the dormant career of Iggy Pop. With renewed confidence in this direction, he sought a quiet life in Berlin to continue pushing his artistic limits on the second album “‘Heroes’”, working closely with Brian Eno and Tony Visconti. Always looking towards the future, Berlin was in Bowie’s rearview mirror as he returned to the public sphere with world tours, media appearances, and even exploring acting as an artistic avenue just before closing the era with the final album “Lodger.” Seabrook does an amazing job at exploring the genesis and influence of these albums, providing context that challenges the limiting notion of the role Berlin played in Bowie’s life at this point that often ignores other factors. Seabrook also draws a line between these albums and the artists inspired by them, touching upon those who adopted Bowie’s risk-taking approach versus those who merely just copied his style. Published in 2008, Seabrook also explores how these albums compare to Bowie’s subsequent releases to date and the evolution of Bowie’s artistic development since the most daring and influential period of his career.

[Nathan · Rating 4 out of 5]

I approached this book with scepticism thanks to other reviews here, however it delivered exactly what I wanted - an in-depth look at this particular period of Bowie, and also how Iggy Pop figured in it. I found it an easy read, filled with interesting information that was well researched. Is it 100% accurate? Maybe not. Could it be even more in-depth? I guess. But I was entirely happy with what i got, especially since many of the naysayers point to other books as being better sources when the author has drawn on those books to write this one, I felt it was a good overview. My main criticism is the baffling amount of repetition, from chapter to chapter, even sometimes within the same chapter of some facts and especially quotes. I can only guess this is an unnecessary attempt to pad the book out slightly, since I find it hard to believe the author would think his readers dumb enough to forget information previously presented. It's mildly irritating but it didn't stop my enjoyment of the book.

[will · Rating 4 out of 5]

“If you feel safe in the area you’re working in, you’re not working in the right area. Always go a little further into the water than you feel capable of being in. Go a little bit out of your depth. And when you don’t feel that your feet are quite touching the bottom, you’re just about in the right place to do something exciting.”

My old boss Sahil got me this book right before I left to Berlin. I had never really listened to Bowie before but I took this chance to go into his discography and history. I think his music is an incredible example of pushing yourself to artistic heights people can’t conceive of before you yet adopt instantly once they see it. Bowie was the perfect soundtrack for this next chapter in my life in Berlin.

[Alec Downie · Rating 4 out of 5]

For folk looking for gossip about Bowie in Berlin this is not a tabloid travelogue, what it is is a serious look into the events that got Bowie into the mindset to make some of the most creative records in the history of music.

TJS spends a great deal of time on the records, how they were formed and who played what `part in their creation. His research is meticulous, concise and focused, making it full of depth and bereft of fluff.

As with most Bowie books, there is a leaning to fandom, which for the best part is tamed, after a shaky appearance in the introduction..

All in all, a good read for people that like to get into the trenches of creativity and process.

[Teun Voost · Rating 4 out of 5]

Simply such a treat

[Googoogjoob · Rating 4 out of 5]

Overall very good as a narrative history of, basically, the second half of the 70s in David Bowie's career, but not flawless (closer to a 3.5 than a 4, really). I wanna get it out of the way up-front that I really did overall appreciate this book before I tear into it.

The biggest issue I have with the book is that Seabrook unduly shortchanges Lodger, an album that's already pretty uniformly overlooked. The Idiot, Low, Lust for Life, and "Heroes" all get dedicated chapters about their writing and recording, and track-by-track writeups. Lodger is covered, but it doesn't get its own chapter, or a detailed writeup. Maybe Seabrook was running out of steam with the book by the time he got there, maybe there's less public information about its recording, maybe there's just less to say about it- but it still feels like it doesn't get the regard it deserves; mainly it just feels like Seabrook doesn't like it as much. He makes the case that Lodger isn't really part of the so-called "Berlin Trilogy," that it's more of a piece with what followed, etc, but really, if I'm reading a whole book about this era of Bowie's career, why would I NOT want to read about it? Conversely, he doesn't even really try to make a case for Lust for Life being important, either artistically, or as part of Bowie's career; it basically just gets its own chapter because that's what Bowie was doing between Low and "Heroes."

Then there are smaller issues. Seabrook is a little too defensive of Bowie and his place in the canon, perhaps, in a way that's very "rockist." I don't think it's necessary to make excuses for every decision Bowie made, good or bad. I also think it's embarrassing how fumbling Seabrook's attempts to outline the Berlin albums' influence on bands of the 90s and later are- he's obviously concerned with Influence as an aspect of artistic greatness, in a way that's also very rockist. (It's curious that, given these proclivities as a writer, he doesn't really make much attempt to build up Lust for Life as a great world-changing artwork- maybe because it too obviously isn't.) He's a little too dismissive of some tracks he deems over-simplistic- TVC 15, Be My Wife, Moss Garden- accusing them of being throwaways, despite them not actually being much musically simpler (or noticeably less polished) than some tracks he holds up as prize works- Nightclubbing, Speed of Life, even "Heroes" istelf. He repeats himself unnecessarily a few times; maybe the chapters were written out of order, or disconnectedly? I will say that his lyric readings are usually pretty good and supportable, usually without flying into eisegesis.

There are a bunch of little errors that a better/more knowledgeable editor/proofreader probably should've caught. He erroneously says Chopin died at the Chateau d'Herouville (he died in Paris); he cites the vocal influence on Warszawa of a record by a "Bulgarian boys choir" Bowie had picked up (the record was actually by a Polish folk choir (of adults), as is a pretty commonly-known part of the Berlin myth); he inexplicably claims Robert Fripp was organist in Giles, Giles and Fripp (he was only ever a guitarist); he says Adrian Belew joined King Crimson in the 21st century (he joined in the 80s, and remained in the band until after this book was published). He bafflingly says that Red Money is a "slower version of" Sister Midnight "based on the melody of" that track, while also being aware of, and explicitly stating, that Red Money actually reuses the basic rhythm guitar/bass/drum tracks of Sister Midnight (at the exact same speed, even).

Anyway- worth reading for the coherence of the story Seabrook manages to tell, and for the material he manages to marshal (lots of interviews and press coverage, both contemporary and more recent, plus new interviews with Dennis Davis and Ricky Gardiner). For all the issues I had with it, this is probably the definitive work (for now) on this period of Bowie's career; and the issues I had were mainly frustrating because of its strengths in other areas.

[Allan Heron · Rating 4 out of 5]

I'm an avid reader of music related books and whilst biographies have their place they often strike an uneasy balance between describing the life and the art. As such, books which focus on one either in whole or in part can be of greater value.

This is one such book which describes the path to Bowie's Berlin Trilogy of albums (Low, "Heroes" and Lodger) which have been, and remain, immensely influential both for the music itself and the way it was constructed. It also includes Iggy Pop's albums The Idiot and Lust For Live which came out of the same creative explosion.

This is not a book for the casual fan and certainly not one for those whose appreciation of Bowie starts and stops with the Ziggy period. But it's a terrific read for those who love their Bowie a bit left-field and who want to find out more about the music was created.

And I'm betting Thomas Jerome Seabrook isn't the author's name on his birth certificate

[Dierregi · Rating 5 out of 5]

If you love the Bowie-Berlin trilogy this is a must. Very well written, with detailed analysis of Bowie and Iggy Pop’s albums from that period. Some good photos, too.

[Aksu Piippo · Rating 4 out of 5]

Jonkin verran minulle uuttakin tietoa Bowien ja Iggyn Berliinin kauden hommista. Suht seikkaperäisiä kuvauksia biisinteosta, äänityksistä ja tuotannollisista yksityiskohdista.

[Ray Dunsmore · Rating 5 out of 5]

A fantastically researched look into the most artistically compelling period of David Bowie's career - from his cocaine-fueled burnout period post-Diamond Dogs to the slow artistic exorcising of his demons and rebuilding of himself from the ashes as seen through the albums Station to Station, co-conspirator Iggy Pop's The Idiot and Lust for Life, and the so-called "Berlin trilogy" [though only the middle one was actually made entirely in and about Berlin]: Low, "Heroes" and Lodger. Filled with fascinating information and interesting anecdotes about the period spent making these records - as well as some much-needed deflating of some of the rumors and press hype that muddied the waters in that rock star mythology way while noting where they were actually girded by fact. One of the best nonfiction rock books I've ever encountered - not the least because I was already fascinated by this period and the book gave me everything I've ever wanted to know about it and then some.

[Trace Reddell · Rating 3 out of 5]

Pretty good book focused on Bowie's so-called Berlin Trilogy, framed by some insights into his pre-Berlin output (particularly his album, "Station to Station," and the film, "The Man Who Fell To Earth"), and a post-Berlin survey of his later recordings (not quite up to the time of his death). I'm glad it included the work with Iggy Pop. The discussion of the impact of these albums on the post-punk scene was pretty neat, as well.

At times, the book felt overly repetitive, particularly of details that didn't seem to warrant the repetition and could have been cleaned up in editing. And all in all, it just felt a little flat, maybe because it was lacking larger cultural frames and observations that would have given the albums and artist some richer contexts through which to consider the recordings. With that said, it was an enjoyable, quick read, and the production details shed some light on what we hear in these records.

[Pavelus · Rating 5 out of 5]

Ideální kniha pro seznámení se vznikem berlínské albové trilogie - obdobím, kdy David Bowie žil v západním Berlíně, ale i s celou jeho tvorbou v 70. letech, kdy nahrál nebo spolupracoval na mnoha albech. Popisuje moment hudební kariéry Bowieho působícího tehdy v Los Angeles, impuls k přesunu z USA do jednoho z nejoblíbenějších míst pro umělce a přibližuje nám jeho vztahy s hudebníky a přátelství s Iggym Popem, jemuž pomáhá nastartovat sólovou kariéru prvními dvěma deskami. Kniha se zabývá se i nahrávacími procesy alb a detaily práce na jednotlivých písních nejen berlínské trilogie, ale i právě alb Popa. Přesně takovou knihu jsem si chtěl už dlouho přečíst. Snad jediné, co mi v ní chybělo, byla zmínka o povzbuzujícím provokativním koncertu u Reichstagu v roce 1987, který mohli slyšet přes Zeď i východní Němci a možná víc veselých historek z pařeb v podnicích ve městě.

[Marcus Dei · Rating 3 out of 5]

Good account of the highly productive and influential "Berlin" period including Bowie's Berlin trilogy and two Iggy Pop albums in between. Nothing really new or enlightening, but a solid all in one place summary. Only nit pick is some Los Angeles references are incorrect and as a result book loses some authority. Cherokee Studios was in Hollywood, not North Hollywood. North Hollywood is the "valley" and not somewhere you would find David Bowie roaming the streets. And the Forum or Great Western Forum is in Inglewood, not Englewood.

[Ultramarinedream · Rating 3 out of 5]

I was expecting more detail about Bowie’s experiences in Berlin, not an outrageous expectation based on the title of the book :p I’d guess at least 60% of the book are anecdotes about his time living or travelling elsewhere between 1976-78. There are a few stories about his time in Berlin, but most of the info is how his songs were composed, who worked on the albums with him, what was their process. I’m glad I read it but I wouldn’t recommend it to anyone wanting in-depth stories about what Bowie did in Berlin, how did he spend his time, and so on.

[Hermione · Rating 3 out of 5]

Un buon approfondimento del periodo berlinese (ma non solo), la genesi dei tre album Low, Heroes e Lodger, gli album di Iggy, il rapporto con i musicisti, con Visconti ed Eno. Ben approfondito e completo, con una analisi di ognuno dei tre album canzone per canzone, una ricca appendice. Un po' più frettoloso e carente l'ultimo capitolo riguardante il "dopo" Lodger (per ovvi motivi), non era necessario

[Nick Polak · Rating 5 out of 5]

Favorite Bowie book I've read so far, very easy to get in to. Not only is it a good account on the Berlin era - and the Bowie albums recorded there, but it also offers an insight on the lugubrious era that led to him (and Iggy Pop) "flee" to Berlin. What I also really liked was the track-to-track information of not only the Bowie albums, but also Lust For Life and The Idiot. Would definitely recommend this one, also to those who aren't necessarily Bowie fans.

[Kaarina · Rating 4 out of 5]

Some new information (for me) and background stories on the "Berlin trilogy" records. Allows for new approaches and interpretations for future listening.
The writer is not a musician, so some minor details are a bit awry, but not in a way that would ruin the reading experience.

[Alastair Ballentyne · Rating 5 out of 5]

Cracking insight into Bowie's (in my opinion) best period

[Nicole Blonder · Rating 5 out of 5]

Such a great dive into an incredibly potent time in Bowie's life!

[Jonathan · Rating 5 out of 5]

Fun. I get a kick out of learning how some of my favorite music is made.

[Elena Woontner · Rating 5 out of 5]

I am too emotional on the subject to write a dispassionate review. This book filled several gaps in my knowledge of Bowie History. Also, I am obsessed with Berlin. Perfect!

[Chris Brown · Rating 3 out of 5]

Adequately written book about Bowie in Berlin. Few topics are more interesting so there you go.

[James · Rating 3 out of 5]

A well written, detailed look at Bowie's Berlin period, but if you're already familiar with this period of his history it holds few surprises or new insights.

[Damian Knight · Rating 5 out of 5]

fantastic