Having now taken quite an intensive journey this year through the life and works of David Bowie, here is perhaps (and self-avowedly) the most comprehensive of all of these books. Structured ostensibly like a Discography/Filmography/Recording Date Diary, it's actually written like a normal biography, using this play-off between chattiness and completeness to set up Bowie as a multimedia monolith - warts and all - and to approach him along several faces, starting each time at the chronological beginning and moving to a conclusion (in this 2007 updated edition) somewhere in the middle of his silence in the mid-2000s. First we get him song-by-song (alphabetically), then album-by-album (chronologically), then we get his collaborations, his films, his side projects, the rumoured projects and finally more or less a day-by-day account of his lengthy and diverse career.
There is not much more you could really add to this, meaning for anyone reading their way through the veritable mountain of Bowie-related books (most of which receive a thoughtful critique in this book), really needs to read this book. It may not be the ideal starting place, due to its sheer scope and heft, but it's never less than engagingly-presented.
In his discussions, Pegg quotes liberally from David Buckley's Strange Fascination and from the Gillmans' Alias David Bowie (which was indeed the first - and interesting if flawed - Bowie biography I ever read, back in the late 1980s), but maintains his own sharp conclusions, as well as having done some substantial research of his own.
The alphabetical format for the songs serves to have you jumping all over the place, placing jigsaw pieces on the ground, which the albums section then collects into groupings and periods. If you listen to these albums concurrently, as I tend to do when reading rock bios, you get an extraordinary journey, primed by the information offered in the song-by-song section and guaranteed to fine-tune your own critical viewpoints.
Some key moments are highlighted, such as the moment in 1983 when Tony Visconti, miffed about being sidelined without notice from the producer's chair on Let's Dance, agreed to prepare the sound for a festival concert but declined to follow the rest of the Serious Moonlight tour, a third estrangement that paved the way (possibly, allegedly, conceivably…) for Bowie's 1984-93 creative wobble. Here, perhaps more than in any of the books I have read, there is a real understanding and appreciation of what Bowie was reaching for post-1995, all of which is borne out better by the first CD of Nothing Has Changed than by most of the contemporary reviews and comments. This is a book that gives Bowie his due, while exploring his processes and occasionally doubting his results, often when he was ostensibly playing it safest. In the end, though, that Bowie strike rate was actually pretty damn good, with only 4 albums out of 30 (in my estimation) being failures, and 8 being true epoch-marking classics, another 13 being extremely good, and the remaining 5 merely good or acceptable.
What is lacking, for those who may be looking for it, is gossip. There are plenty of titbits, of course, but a clear line has been drawn on this side of the prurient, something which may disappoint a certain kind of reader, although there are plenty of options for them in the crowded Bowie bio market. And undoubtedly there will be new additions in the near future, including revised and updated versions of many of the better known bios, including this one.