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David Bowie: The Artist, the Albums, the Music
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Expected 20 Mar 26276 pages, Paperback
Expected publication March 20, 2026
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February 1, 2026
This year marks the tenth anniversary of the death of David Bowie. Unsurprisingly numerous books, events and activities are planned to commemorate this remarkable man. As a big Bowie fan, especially his music from the 1970s, I am delighted to see his work being reassessed and introduced to a new generation who may know his name and perhaps a few songs, but not the full extent of his career. I read this book in it’s entirety , enjoying some parts are than others. Many of the quotes in my review are related to the albums and songs produced in the 1970s; the music I enjoy the most and know the best.
For the record (pun intended !) ’Aladdin Sane’ was the first album I ever bought. Last year I gave away my record collection to a friend who had recently restored a turntable. I could not bring myself to give away my first Bowie album. I still have it; in vinyl, gatefold cover, lyrics included and, in my humble opinion, the best Bowie album from a body of work that includes many great albums. I digress…
I was delighted to receive a digital copy of this book from NetGalley. Although in the back of my mind I was skeptical that the world needed ‘another Bowie book’. Having read a few over the years, I wondered what more could be said about the man, his life, music and other accomplishments. I was wrong. There is a place for this book: a comprehensive and fresh assessment by an author who is knowledgeable about David Bowie and clearly loves and appreciates his work.
I enjoyed this book, even though I was already aware of much of the factual information presented. The albums, songs, musicians, release dates and so on. Some of the author’s opinions , anecdotes and ideas I found interesting. However, for anyone new to the world of David Bowie and is seeking more information on the man and his music, this book is an excellent place to start.
The book is almost 300 pages of text and photographs. After a brief introduction to Bowie’s upbringing and his very early years, each Chapter focuses on a theme in his career, encapsulating the music and other activities over a period of time. The Chapters are largely defined by the type of music being produced, although they are also aligned with certain other aspects. The stage personas projected, (such as Ziggy Stardust, Halloween Jack and The Thin White Duke), the touring and recording musicians, (including the Spiders from Mars, the Sigma Sound musicians and Brian Eno) and the cities and countries where he was living at the time (London, Los Angeles, Berlin and others).
The Chapter sub-division allows a reader to go directly to a time period or phase of Bowie’s life that is of most interest. The book is comprehensive, so anyone seeking information or insights from a particular aspect or time period will find something to read, learn from and enjoy.
The Chapters tend to begin with a descriptions of the wider music scene in which Bowie was immersed at the time. This is placed in the context of national and world events that characterised societal and cultural norms of the times. These themes and events are explored and to some extent play a role in the music Bowie produced. As his career progresses, the background information and context is expanded to include tours, world travels, various musical collaborators and influences. Bowie’s private life as well as his public life is presented but not in great detail. Numerous books have covered this subject over the years. The heart of the book is the discussion of each studio album and for most albums, a description of each song. Interestingly, the albums after the 1980s are discussed in much less detail, with only a few songs on each being selected for deeper analysis and insight.
The author provides abundant factual information as well as subjective opinion. For those who are interested, there is much provided on recording studios, producers, musicians, song length, marketing, charting and so on. The author’s opinions, naturally subjective, are interesting and thought provoking. For example, the genesis of a song, the meaning of the lyrics or a song’s legacy as a cover version or in a film soundtrack. Occasionally there is too much information, sometime inane, incorrect or incoherent.
“The song also features a saxophone solo and a guitar solo…” or “Mojo magazine ranked it Third…amongst the best songs by Bowie”.
Alluding to the Suffragette movement when discussing ‘Suffragette City’ from the ‘Ziggy Stardust’ album, the author suggests:
…”Bowie paid tribute to these freedom fighters…”
The lyrics of this song as well as others from the album would suggest otherwise.
Perhaps more relevant and interesting are the author’s interpretation of Bowie’s songs once he begins to travel outside the UK, particularly to the USA. A reader might conclude the music improves as well ! Bowie’s songs, both the lyrics and music, are influenced for example by New York City nightlife, Detroit politics, Hollywood culture and certain larger-than-life characters from the American music scene. Sometimes I suspect the author takes his analysis a little too far. For example with ‘Jean Genie' from the ‘Aladdin Sane’ album, the author states:
“…the influence of Jacques Dutronc’s La FIlle du Pere Noel is evident…”.
I also suspect a little hyperbole when the author describes ‘Sweet Thing’ from the ‘Diamond Dogs’ album as :
“… undoubtedly one of Bowie's greatest songs, propelling him into the very exclusive circle of genius songwriters alongside John Lennon and Pete Townshend.”
The author introduces many interesting anecdotes to accompany the music. I assume they are fact-checked or at least cleared by the lawyers ! Claudia Lennear, an American singer associated with Ike & Tina Turner as well as the Rolling Stones is said to be the inspiration for ‘Lady Grinning Soul’, the fine ballad that ends the ‘Aladdin Sane’ album.
These comments are more observations than criticism. The author is undoubtedly well informed and has a comprehensive knowledge of his subject. He seems well-qualified to present a description and assessment of each studio album throughout Bowie’s long career. And for those interested he provides abundant information on the tours, films and various side projects that Bowies undertakes outside the music world.
Several key Bowie collaborators are individually acknowledged in highlighted paragraphs, boxed alongside the main text. These are the somewhat lesser known people who significantly contributed to Bowie’s success; some for a few years, others seemingly throughout large parts of his career. These people include musicians such as Mick Ronson, Carlos Alomar and Earl Slick. Record producers such as Tony Visconti and Brian Eno. Also discussed are many others who contributed to aspects of choreography, costume design, management, photography and film. Great background reading, adding to the understanding and enjoyment of the music.
I think the book’s Chapter/Theme format works well. I admit to enjoying the Chapters about the 1970s more than earlier or later chapters, having a closer attachment to albums from that period. I’m sure there will be readers who gravitate to other periods in Bowie’s life and the book provides a full account of each period.
Although the book is certainly complete regarding Bowie’s main musical projects, I would have liked the author go further in his assessment of certain aspects of his music. There are the numerous live albums, bootlegs albums and filmed concerts worthy of discussion and analysis. Also lesser-known tracks that have appeared as B-sides or on compilation albums. Indeed there is the ‘Gouster’ album comprising unreleased and alternative tracks from the ‘Young Americans’ sessions. Furthermore, I would have enjoyed a fuller assessment of albums by other artists where Bowie’s influence is significant. Iggy Pop’s Berlin albums are mentioned, but Lou Reed’s ‘Transformer’ and Mick Ronson’s first solo album are barely mentioned, despite the Bowie’s contribution and influence.
These are minor criticisms. Perhaps my expectations are too high and including further subject matter would be beyond the scope of the book. Overall, the author achieves a good balance between a factual documentation of Bowie’s music while also offering occasional opinions on particular songs. There are abundant photographs throughout the book, including many I had not seen before.
I was wrong in thinking this was going to be just ‘another Bowie book’. This is a book that will be enjoyed by many. Those new to his music as well as those who have enjoyed it in the past, Possibly they will revisit the albums after reading this book; enjoying a deeper, richer appreciation of the music. This book is a fine tribute to a talented man who passed away ten years ago. His influence and legacy will continue for years to come; bringing pleasure to many.
I wish the author and publishers great success with this book.
For the record (pun intended !) ’Aladdin Sane’ was the first album I ever bought. Last year I gave away my record collection to a friend who had recently restored a turntable. I could not bring myself to give away my first Bowie album. I still have it; in vinyl, gatefold cover, lyrics included and, in my humble opinion, the best Bowie album from a body of work that includes many great albums. I digress…
I was delighted to receive a digital copy of this book from NetGalley. Although in the back of my mind I was skeptical that the world needed ‘another Bowie book’. Having read a few over the years, I wondered what more could be said about the man, his life, music and other accomplishments. I was wrong. There is a place for this book: a comprehensive and fresh assessment by an author who is knowledgeable about David Bowie and clearly loves and appreciates his work.
I enjoyed this book, even though I was already aware of much of the factual information presented. The albums, songs, musicians, release dates and so on. Some of the author’s opinions , anecdotes and ideas I found interesting. However, for anyone new to the world of David Bowie and is seeking more information on the man and his music, this book is an excellent place to start.
The book is almost 300 pages of text and photographs. After a brief introduction to Bowie’s upbringing and his very early years, each Chapter focuses on a theme in his career, encapsulating the music and other activities over a period of time. The Chapters are largely defined by the type of music being produced, although they are also aligned with certain other aspects. The stage personas projected, (such as Ziggy Stardust, Halloween Jack and The Thin White Duke), the touring and recording musicians, (including the Spiders from Mars, the Sigma Sound musicians and Brian Eno) and the cities and countries where he was living at the time (London, Los Angeles, Berlin and others).
The Chapter sub-division allows a reader to go directly to a time period or phase of Bowie’s life that is of most interest. The book is comprehensive, so anyone seeking information or insights from a particular aspect or time period will find something to read, learn from and enjoy.
The Chapters tend to begin with a descriptions of the wider music scene in which Bowie was immersed at the time. This is placed in the context of national and world events that characterised societal and cultural norms of the times. These themes and events are explored and to some extent play a role in the music Bowie produced. As his career progresses, the background information and context is expanded to include tours, world travels, various musical collaborators and influences. Bowie’s private life as well as his public life is presented but not in great detail. Numerous books have covered this subject over the years. The heart of the book is the discussion of each studio album and for most albums, a description of each song. Interestingly, the albums after the 1980s are discussed in much less detail, with only a few songs on each being selected for deeper analysis and insight.
The author provides abundant factual information as well as subjective opinion. For those who are interested, there is much provided on recording studios, producers, musicians, song length, marketing, charting and so on. The author’s opinions, naturally subjective, are interesting and thought provoking. For example, the genesis of a song, the meaning of the lyrics or a song’s legacy as a cover version or in a film soundtrack. Occasionally there is too much information, sometime inane, incorrect or incoherent.
“The song also features a saxophone solo and a guitar solo…” or “Mojo magazine ranked it Third…amongst the best songs by Bowie”.
Alluding to the Suffragette movement when discussing ‘Suffragette City’ from the ‘Ziggy Stardust’ album, the author suggests:
…”Bowie paid tribute to these freedom fighters…”
The lyrics of this song as well as others from the album would suggest otherwise.
Perhaps more relevant and interesting are the author’s interpretation of Bowie’s songs once he begins to travel outside the UK, particularly to the USA. A reader might conclude the music improves as well ! Bowie’s songs, both the lyrics and music, are influenced for example by New York City nightlife, Detroit politics, Hollywood culture and certain larger-than-life characters from the American music scene. Sometimes I suspect the author takes his analysis a little too far. For example with ‘Jean Genie' from the ‘Aladdin Sane’ album, the author states:
“…the influence of Jacques Dutronc’s La FIlle du Pere Noel is evident…”.
I also suspect a little hyperbole when the author describes ‘Sweet Thing’ from the ‘Diamond Dogs’ album as :
“… undoubtedly one of Bowie's greatest songs, propelling him into the very exclusive circle of genius songwriters alongside John Lennon and Pete Townshend.”
The author introduces many interesting anecdotes to accompany the music. I assume they are fact-checked or at least cleared by the lawyers ! Claudia Lennear, an American singer associated with Ike & Tina Turner as well as the Rolling Stones is said to be the inspiration for ‘Lady Grinning Soul’, the fine ballad that ends the ‘Aladdin Sane’ album.
These comments are more observations than criticism. The author is undoubtedly well informed and has a comprehensive knowledge of his subject. He seems well-qualified to present a description and assessment of each studio album throughout Bowie’s long career. And for those interested he provides abundant information on the tours, films and various side projects that Bowies undertakes outside the music world.
Several key Bowie collaborators are individually acknowledged in highlighted paragraphs, boxed alongside the main text. These are the somewhat lesser known people who significantly contributed to Bowie’s success; some for a few years, others seemingly throughout large parts of his career. These people include musicians such as Mick Ronson, Carlos Alomar and Earl Slick. Record producers such as Tony Visconti and Brian Eno. Also discussed are many others who contributed to aspects of choreography, costume design, management, photography and film. Great background reading, adding to the understanding and enjoyment of the music.
I think the book’s Chapter/Theme format works well. I admit to enjoying the Chapters about the 1970s more than earlier or later chapters, having a closer attachment to albums from that period. I’m sure there will be readers who gravitate to other periods in Bowie’s life and the book provides a full account of each period.
Although the book is certainly complete regarding Bowie’s main musical projects, I would have liked the author go further in his assessment of certain aspects of his music. There are the numerous live albums, bootlegs albums and filmed concerts worthy of discussion and analysis. Also lesser-known tracks that have appeared as B-sides or on compilation albums. Indeed there is the ‘Gouster’ album comprising unreleased and alternative tracks from the ‘Young Americans’ sessions. Furthermore, I would have enjoyed a fuller assessment of albums by other artists where Bowie’s influence is significant. Iggy Pop’s Berlin albums are mentioned, but Lou Reed’s ‘Transformer’ and Mick Ronson’s first solo album are barely mentioned, despite the Bowie’s contribution and influence.
These are minor criticisms. Perhaps my expectations are too high and including further subject matter would be beyond the scope of the book. Overall, the author achieves a good balance between a factual documentation of Bowie’s music while also offering occasional opinions on particular songs. There are abundant photographs throughout the book, including many I had not seen before.
I was wrong in thinking this was going to be just ‘another Bowie book’. This is a book that will be enjoyed by many. Those new to his music as well as those who have enjoyed it in the past, Possibly they will revisit the albums after reading this book; enjoying a deeper, richer appreciation of the music. This book is a fine tribute to a talented man who passed away ten years ago. His influence and legacy will continue for years to come; bringing pleasure to many.
I wish the author and publishers great success with this book.
Review of advance copy received from Netgalley
As a fan of David Bowie, I question who this book is for. There is nothing new here for those well-acquainted with Bowie, outside of a couple photographs. For example, do we really need yet another discussion of why his eyes are the way they are? Is this not old news at this point? This book also doesn’t seem meant for casual fans, mainly because it goes so in-depth about his career. So it appears to be mainly for the Bowie completist, I guess.
The book attempts to place Bowie’s work in the context of the time, which is an interesting idea, but it falls flat in many places. In addition to the completely unnecessary timeline woven through the book (which strangely only covers until 2003), there are pages with information on fashion, cultural figures, influential musical artists, movies, and literature. However, while most of the people and information were not new to me, they might be to others, so providing some context about who the people are (for example, which band they are in) might help the reader understand why their opinion was included. The stylistic choice to interrupt the chapter flow with different-colored boxes that offer even more information about people with connections to Bowie, however tenuous, is strange and impedes readability. In addition, there are some inaccuracies in these little boxes, such as the assertion that Bowie played the saxophone solo on Lou Reed’s Walk on the Wild Side, which a simple search proved incorrect immediately.
While some people might enjoy the choice to do a deep dive into seemingly random songs on each album, I could not figure out why some albums had every song discussed, while others only had a few songs discussed. The discussion of Bowie’s albums on a song-by-song basis is possibly the strongest part of the book, next to the photographs (although, again, analysis of Bowie’s songs has also been done before), but many songs are left out completely. I also could not figure out why one random interview was included; did no one else agree to an interview?
There is no new information here, no personal insights from Bowie or anyone close to him that have not already been known, and no personal information from the author regarding their feelings on Bowie or his music. This should have felt like a love letter to one of the most recognizable and respected musical artists in the world, as well as the culture that he both influenced and took influence from, but instead it feels artificial. It is chock full of information, but somehow still lacking.
The book attempts to place Bowie’s work in the context of the time, which is an interesting idea, but it falls flat in many places. In addition to the completely unnecessary timeline woven through the book (which strangely only covers until 2003), there are pages with information on fashion, cultural figures, influential musical artists, movies, and literature. However, while most of the people and information were not new to me, they might be to others, so providing some context about who the people are (for example, which band they are in) might help the reader understand why their opinion was included. The stylistic choice to interrupt the chapter flow with different-colored boxes that offer even more information about people with connections to Bowie, however tenuous, is strange and impedes readability. In addition, there are some inaccuracies in these little boxes, such as the assertion that Bowie played the saxophone solo on Lou Reed’s Walk on the Wild Side, which a simple search proved incorrect immediately.
While some people might enjoy the choice to do a deep dive into seemingly random songs on each album, I could not figure out why some albums had every song discussed, while others only had a few songs discussed. The discussion of Bowie’s albums on a song-by-song basis is possibly the strongest part of the book, next to the photographs (although, again, analysis of Bowie’s songs has also been done before), but many songs are left out completely. I also could not figure out why one random interview was included; did no one else agree to an interview?
There is no new information here, no personal insights from Bowie or anyone close to him that have not already been known, and no personal information from the author regarding their feelings on Bowie or his music. This should have felt like a love letter to one of the most recognizable and respected musical artists in the world, as well as the culture that he both influenced and took influence from, but instead it feels artificial. It is chock full of information, but somehow still lacking.
Review of advance copy received from Netgalley
Some artists make music. David Bowie built worlds — and this book captures every one of them beautifully.
As a lifelong Bowie fan, I’ve read my share of biographies and retrospectives, but David Bowie: The Artist, The Albums, The Music stands out as something truly special. This isn’t just a timeline of albums or alter egos; it’s a thoughtful, immersive portrait of an artist who treated transformation as both necessity and art form.
The authors do a fantastic job walking through Bowie’s creative evolution, album by album, persona by persona, without ever reducing him to a checklist of eras. From glam rock to soul, from experimentation to elegy, the book shows how nothing Bowie did existed in isolation — everything fed the next reinvention.
The writing is clear, engaging, and full of insight, especially when it comes to the cultural and literary influences behind the music. Even if you think you “know” Bowie, there’s something here that will surprise you or deepen your appreciation.
The photographs deserve special mention. There are dozens of them, many rarely seen, and they add an emotional weight that words alone couldn’t carry. This is a book you don’t rush through — you linger, flip back, revisit.
If I could rate this higher than five stars, I would. It’s a gorgeous, well-crafted tribute to an artist who refused to be contained by time, genre, or expectation. A must-have for Bowie fans, and a perfect gift for anyone ready to understand why he still matters.
As a lifelong Bowie fan, I’ve read my share of biographies and retrospectives, but David Bowie: The Artist, The Albums, The Music stands out as something truly special. This isn’t just a timeline of albums or alter egos; it’s a thoughtful, immersive portrait of an artist who treated transformation as both necessity and art form.
The authors do a fantastic job walking through Bowie’s creative evolution, album by album, persona by persona, without ever reducing him to a checklist of eras. From glam rock to soul, from experimentation to elegy, the book shows how nothing Bowie did existed in isolation — everything fed the next reinvention.
The writing is clear, engaging, and full of insight, especially when it comes to the cultural and literary influences behind the music. Even if you think you “know” Bowie, there’s something here that will surprise you or deepen your appreciation.
The photographs deserve special mention. There are dozens of them, many rarely seen, and they add an emotional weight that words alone couldn’t carry. This is a book you don’t rush through — you linger, flip back, revisit.
If I could rate this higher than five stars, I would. It’s a gorgeous, well-crafted tribute to an artist who refused to be contained by time, genre, or expectation. A must-have for Bowie fans, and a perfect gift for anyone ready to understand why he still matters.
Review of advance copy received from Netgalley
Thanks to NetGalley for providing me with an e-ARC in exchange for an honest review!
I had never really read much about Bowie before, but this book was a good place to start. The book is colourful and filled with great pictures, though it feels a little unbalanced. For example, the criteria for discussing the songs is unclear. Some albums have almost every song discussed individually, while Blackstar has only three songs discussed. Still, it works as a decent overview of one of the most iconic musicians of our time.
I had never really read much about Bowie before, but this book was a good place to start. The book is colourful and filled with great pictures, though it feels a little unbalanced. For example, the criteria for discussing the songs is unclear. Some albums have almost every song discussed individually, while Blackstar has only three songs discussed. Still, it works as a decent overview of one of the most iconic musicians of our time.
Review of advance copy received from Netgalley
A nice coffee table book that tries to cram in a lot of information, both about the subject and the surrounding culture. Not as detailed as Mr. Margotin's previous work on the subject, from which this may well be excepted. The criteria for what songs get in-depth analysis is unknown, and Tin Machine is barely covered. While the esteemed Richard Morton Jack is credited as a collaborator, he merely contributed a foreword. (advance proof provided by NetGalley)
Review of advance copy received from Netgalley
An extremely well researched and detailed book, well illustrated with plenty of pictures. It loses one star (maybe a star and a half) as disappointingly the book runs out of steam from around the mid-80s. Up to that point, every song on each album is detailed and discussed; once it gets to this latter period in Bowie's career, it reduces to selected tracks from the albums, and then from the 1990s onwards, to only the odd song that is cherry picked to give a brief description of.
February 7, 2026
Thank you to NetGalley for this ARC.
As a huge Bowie fan this is a fun glance at all of his albums. However this reads like an almost 300 page Rolling Stone article which was quite unpleasant. It didn’t have the appeal of other music themed coffee table style books that the artists were part of like the Todd Oldham Joan Jett book.
As a huge Bowie fan this is a fun glance at all of his albums. However this reads like an almost 300 page Rolling Stone article which was quite unpleasant. It didn’t have the appeal of other music themed coffee table style books that the artists were part of like the Todd Oldham Joan Jett book.
February 7, 2026
David Bowie: All the songs is an overview of David Bowie’s life in music, the songs and albums he recorded, and the people and cultural moments that influenced him.
While it was a very thorough overview of the process of creating the songs and the artist, and it did include some beautiful photos, this book was devoid of any of the magic that made Bowie, Bowie.
I would recommend this for anyone who is deeply fascinated by the process of creating music and how each song is the construct of time, place and team, but for the average musical fan, I don’t think this book has enough soul to peak too much interest.
While it was a very thorough overview of the process of creating the songs and the artist, and it did include some beautiful photos, this book was devoid of any of the magic that made Bowie, Bowie.
I would recommend this for anyone who is deeply fascinated by the process of creating music and how each song is the construct of time, place and team, but for the average musical fan, I don’t think this book has enough soul to peak too much interest.
September 2, 2025
Comprehensive biography of Bowie from Ziggy to the Black Star - all the albums are covered as well as the background to his life and work, his endless experimentation, his acting, writing and reinvention of himself in various guises.
Fascinating colour photos throughout, many of which had not been published before so were a surprise to me.
Perfect gift for Bowie fans.
Fascinating colour photos throughout, many of which had not been published before so were a surprise to me.
Perfect gift for Bowie fans.
Displaying 1 - 9 of 9 reviews