Space Oddity 5:05 / The Man Who Sold The World 3:53
single released in US (RCA 74-0876) Chart peak 15
Wednesday January 3
Television: Top Of The Pops Studio TC8, BBC Television Centre, London
The Jean Genie
In the middle of their sell-out UK mini tour, Bowie and the Spiders iced the cake with this TV appearance. Bowie played maracas and harmonica while Ronson cranked up the volume, deafening the sound engineers. The third take was chosen for broadcast.
• Broadcast January 4 (BBC1)
Downstairs in the canteen, the Spiders were asked what parts they had in Dr Who, which was being filmed in another studio.
Backstage RCA presented Bowie with his first gold record for The Rise And Fall Of Ziggy Stardust And The Spiders From Mars, which had sold over 100,000 copies in the UK.
Thursday January 4
After the broadcast the BBC repurposed the tape so the performance was presumed lost until 2011, when John Henshall, a cameraman on the show, revealed that he had a broadcast quality 2-inch tape copy.
Shortly after the taping, Henshall had asked TOTP producer Johnnie Stewart for a personal copy to include in his company’s show reel. Henshall's company Telefex specialised in visual effects, including the fisheye effect he used on the The Jean Genie.
Following Henshall’s revelation of its existence, the tape was digitised in December 2011 and premiered at Missing Believed Wiped at BFI Southbank, and broadcast on BBC2’s Top Of The Pops December special.
Studio 3, South Bank Television Centre, London
Producer: Nick Barrett
Director: Mike Mansfield
Drive-In Saturday / Interview / My Death (not broadcast)
Bowie appeared on Harty’s chat show to perform the new single Drive-In Saturday, promote the new album and to satisfy the curiosity of mainstream Britain, answered Harty’s frank questions with candour.
Bowie finished with a solo performance of Jacques Brel's My Death (with English lyrics by Mort Schuman and Eric Blau), which was not broadcast.
• Broadcast January 20 (London Weekend Television)
• Drive-In Saturday released on The Video Collection VHS (PMI 1993)
• Drive-In Saturday and interview released on Best Of Bowie DVD (EMI 2002)
Friday January 19 – Wednesday January 24
Recording: Aladdin Sane album
Trident Studios, St. Anne’s Court, Wardour Steet, London
Producers: David Bowie, Ken Scott
1984 [early version]
John, I'm Only Dancing [new 'sax' version]
Lady Grinning Soul
Let’s Spend The Night Together
Panic In Detroit
The inspiration for Lady Grinning Soul was American singer Claudia Lennear, who had been an Ikette for Tina Turner, sung with Delaney and Bonnie and appeared in the films The Concert For Bangladesh and Mad Dogs And Englishmen.
They had met when Bowie's 1972 tour was passing through Detroit. He had asked her to join the 1973 US tour in New York to sing backing vocals, but the idea was dropped in favour of having musicians doubling up on backing vocals. Geoff MacCormack, who had worked sporadically in music, at one stage singing jingles for radio DJ Emperor Rosko’s show and was now selling advertising space for Construction News.
Geoff MacCormack (2008): David lived in the same hometown as my mother did, so we kept in touch. My girlfriend at the time worked in a fashion store in London. The little jackets that David and his band wore, the little tight-fitting nylon zip-up jackets, they actually came from the shop. So one day, at my office, a phone call came in from David. He simply said, “You’re coming to America.” 
MacCormack also appeared on Panic In Detroit – one of the last tracks completed – on backing vocals and congas.
John ‘Hutch’ John Hutchinson had played with Bowie in 1968/69 and was now based in Scarborough. He heard that Bowie was looking for a guitarist for the US tour and got in touch.
John Hutchinson (2004): Mick Ronson and David phoned me at work and said, “We’re going to New York next week. Can you come?” My role was to play 12-string because David had previously played 12-string with the Spiders From Mars but he wanted more freedom to move around the stage. And the idea was that he’d get someone to play guitar who could also do backing vocals. I think there was a bit of a budget cut so we didn’t get backing vocalists. So Geoff MacCormack and I practised our falsettos and we did the girly vocals instead. 
RCA and Tony Defries restructured the tour, with more dates in fewer, larger cities. He trimmed the entourage down to the band, road crew, Suzi Fussey (wardrobe, hairdresser and PA), Pierre Laroche (make-up) and Stuart George and Tony Frost (security).
Saturday January 20
Thursday January 25
Travel: Southampton – New York (SS Canberra)
Mick Rock accompanied Bowie and MacCormack to Southampton and photographed them in their cabin.
Geoff MacCormack (2009): Since we were such old pals, [David] decided I should keep him company when he sailed to America, instead of taking a plane with the band. Most passengers were well-to-do, semi-retired or retired old folks so we stood out like a sore thumb. 
Tuesday January 30
Bowie and MacCormack arrived in New York, staying at the Gramercy Park Hotel in Lexington Avenue.
Wednesday January 31
Ken Scott made an Aladdin Sane master tape comprising eleven tracks, ending with the new 'sax' version of John, I'm Only Dancing.
Walk On The Wild Side (Reed) 3:37 / Perfect Day(Reed) 3:42
Lou Reed single released in US (RCA 74-0887). Chart peak 16
Like the BBC, US censors missed the reference to “giving head” but replaced “the coloured girls” with “all the girls” and Lou Reed got his first US hit.
Sunday February 4 – Tuesday February 13
Tour rehearsals: RCA Studio A, 155 E 24th St, New York
Rehearsals took place in the large cinema-like studio RCA used for recording movie soundtracks. Cherry Vanilla interviewed Bowie for tour publicity.
John Hutchinson (2012): The rehearsals were very easy going. The sax players were good readers and Mike Garson is brilliant. Mick Ronson had written chord sheets and we were to use old-fashioned big-band style music stands throughout the world tour. The result of that was that I couldn't have played without the sheets – that way you never learn the songs, never commit them to memory.
Masayoshi Sukita (2011): A few days before the show at Radio City Music Hall, Bowie did a photo session, a rehearsal and an interview at RCA Studios. Yasuko Takahashi was working as the stylist, running here and there with costumes by Kansai Yamamoto that she’d brought over from Japan. They looked marvellous. 
Yasuko ‘Yacco’ Takahashi contacted Kansai in Japan, advising him to come to New York to meet Bowie.
Sunday February 4
Bowie, MacCormack and John Hutchinson went out to The Village Gate where Charles Mingus was playing.
Monday February 5
The group spent several evenings that week at Max’s Kansas City, hanging out with Todd Rundgren, Allen Ginsberg and the New York Dolls.
Geoff MacCormack (2009): David dragged me down there to see Biff Rose. He'd written the anthem Fill Your Heart on Hunky Dory. But, to be honest, his set wasn't my cup of tea and I think David was a bit underwhelmed. Then another guy came on and sat down at the same piano and began playing something equally gloomy. We'd have left there and then if we hadn't had beers to finish. Just at the point where it was all getting too much, he strapped on a Fender Telecaster and the band struck up an anthem called Does This Bus Stop At 82nd Street? That was the first time David and I saw Bruce Springsteen. 
Bowie (1998): The moment they kicked in he was another performer. All the Dylanesque stuff dropped off him and he rocked. I became a major fan that night and picked up Asbury Park immediately. 
Bowie was so impressed by Greetings From Asbury Park NJ, he later covered three of the tracks – Growin’ Up, Spirit In The Night and It’s Hard To Be A Saint In The City.
Wednesday February 7
Stevie Wonder performed at Carnegie Hall supported by The Main Ingredient, which featured future Bowie collaborators Carlos Alomar and Emir Ksasan. That night Bowie met singer/model Ava Cherry.
Ava Cherry (2016): I was living in New York at that time and working in a nightclub called Genesis. My manager said, "There's this guy from England named David Bowie, he's really cool and he's coming into town to perform at Radio City [Music Hall]. You gotta listen to this album." So he gave me the Ziggy album, and I was like, "Wow, what a cool-looking guy." I played the record and was very impressed by the music. It's really different.
At the time, I was hanging out with Stevie Wonder and his entourage and they were performing at Carnegie Hall. David was performing at Radio City the next night. Stevie said to me, "Where do you think we should do the after party after Carnegie Hall?" And I said, "Why don't you do it at Genesis? It's a nice place, nice size, it's intimate." So that's what happened.
The night of the party, everyone was there — Aretha [Franklin], Gladys [Knight]. At some point, my manager came over and said, "David Bowie's over there!" He went over and got him and brought him over to me, and I said, "Oh my god, it's the guy on the record! It's Ziggy!" And he said, "Are you a singer?" I was not a professional singer at that point, but of course I wasn't going to say no. He said, "Listen, I've got this tour I'm going to do in Japan. Would you be interested in going?" I said, "Yeah, I am."
Bowie and Stevie Wonder at Genesis
Thursday February 8
A full page ad in Village Voice announces the upcoming show at Radio City Music Hall is “SOLD OUT so he will do it there again.”
Monday February 12
Bowie and Angie spotted Todd Rundgren and Bebe Buell at Max’s and introduced themselves.
Bebe Buell (1997): I told him, “I’m Bebe Buell and this is my boyfriend Todd Rundgren.” He looked at Todd and said “I’ve heard of you – you’re supposed to be pretty fucking smart.” Todd said, “Yes I am, and I hear you’re supposed to be ripping me off.” David looked at him like he was out of his mind.
That week, Mike Garson told Trevor Bolder that he was on $800 a week and was shocked to learn that the Spiders were still on only $80.
Trevor Bolder (2007): So we saw Defries before the Valentine’s Day gig at Radio City Music Hall and demanded a rise, or we were going home on the next plane. Bowie took offence, said that we were disloyal and that we owed him everything, although we could barely live on our wages.
US Tour II 1973
David Bowie: vocals, guitar, Minimoog, percussion
Mick Ronson: musical director, lead guitar, vocals
Trevor Bolder: bass guitar, vocals
Mick Woodmansey: drums
Mike Garson: piano, mellotron
John Hutchinson: rhythm guitar, 12-string acoustic guitar
Geoff MacCormack: percussion, vocals
Ken Fordham: tenor, baritone, alto saxophone
Brian Wilshaw: tenor saxophone, flute
Robin Mayhew: sound engineer
Peter Hunsley: stage manager
Mick Hince: equipment manager
Willie Palin: equipment manager
Stuart George: personal security to Bowie
Suzi Fussey: wardrobe mistress, hairstylist
Bob See: lighting director
Ron Meadows: lighting operator
Stephen Hurston: lighting operator
Jaime Andrews: road manager
Tony Zanetta: tour co-ordinator (MainMan)
Barry Bethell: tour manager (RCA)
Martin Pierpoint: assistant tour manager (RCA)
Geoff MacCormack (2007): Apart from Mike Garson – who was already installed on piano and mellotron – I was one of four new recruits. We all stood at one side of the stage. I have to admit that it was like having a backstage pass but being allowed to join in.
However, it was interesting to witness, at such close quarters, how hard His Bowieness worked for his supper. Not that I knew it then, but he would require considerably more effort from me in future shows. 
New York's A-list turned out for the opening of US Tour 2. The packed house watched Bowie’s descent on the gyroscope as Wendy Carlos’s Beethoven’s Ninth boomed through the speakers.
Mike Garson (2002): It was the ultimate in drama because the encore number was Rock 'n' Roll Suicide and after the song ended he fell on the floor. He definitely went unconscious for a while and then the doctors, nurses came in and he was fine but … it was scary. 
Bowie (2000): He presented me with virtually an entire wardrobe because he knew I was wearing copies of his stuff and he realised Ziggy was becoming very popular. It was the first real connection between a designer and a rock star. 
Thursday February 15
Live: Radio City Music Hall, New York
• Recorded by RCA
Friday February 16
Live: Tower Theatre, Philadelphia
Saturday February 17
Live: Tower Theatre, Philadelphia (two shows)
Sunday February 18
Live: Tower Theatre, Philadelphia (two shows)
Television: The Mike Douglas Show
Studio A, KYW-TV studios, Philadelphia
• Broadcast February 19 on CBS
Monday February 19
Live: Tower Theatre, Philadelphia (two shows)
Friday February 23
Live: War Memorial Auditorium, Nashville
Sunday February 25
Live: Ellis Auditorium (North Hall), Memphis (2 shows)
Monday February 26
Social: Dolph Smith exhibition, Memphis Academy of Art
Kansai Yamamoto presented Bowie with nine new costumes to add to the five he had given him in New York.
Bowie (1973): They’re based on the traditional Noh Drama costumes. Some of the great Noh actors wear as many as fifteen, one on top of the other, so that they can peel them off layer by layer. [Jackie, 21 July 1973]
The Bowies and Mick Ronson attended a tea ceremony in the Imperial Gardens at the Emperor’s Palace. Later everyone watched a performance by kabuki star Tomasa Boru who later showed Bowie the techniques of applying kabuki make-up.
Woody Woodmansey (2016): One of the hairdressers from the show was fascinated by Trevor's long black hair and offered to come and style it like a traditional Samurai warrior for the gig. It would work perfectly with the stage outfit that June [Woodmansey] had made him for the tour – a kimono-style jacket with huge wings on the shoulders.
Tuesday April 10
Live: Shinjuku Koseinenkin Kaikan, Tokyo
Bowie’s record sales in America were low so RCA were refusing to underwrite the US arena tour planned for later in the year. Bowie decided to retire the Ziggy character at the end of the UK tour, dispense with Bolder and Woodmansey and avoid the ignominy of a cancelled tour. MainMan would focus on Ronson as a solo artist.
Suzi Ronson (2012): Mick was sworn to secrecy. [He was told] “And if you do this for us, you’re going to be the next star, you’re going to be doing this next thing, but you can’t tell the boys.” 
Wednesday April 11
Live: Shinjuku Koseinenkin Kaikan, Tokyo
Thursday April 12
Live: Kokaido, Nagoya
Friday April 13
album released in UK
RCA RS 1001
Side one Watch That Man 4:30
Aladdin Sane (1913-1938-197?) 5:15
Drive-In Saturday 4:38
Panic In Detroit 4:30
Cracked Actor 3:01
Side two Time 5:10 The Prettiest Star 3:28 Let's Spend The Night Together (Jagger-Richards) 3:10 The Jean Genie 4:06 Lady Grinning Soul 3:53
The album qualified for gold on release having received advance orders of 100,000 in the UK and entered the charts at number one.
Saturday April 14
Live: Yuubin Chokin Kaikan, Hiroshima
Monday April 16
Live: Kokusai Kaikan, Kobe
Tuesday April 17
Live: Koseinenkin Kaikan, Osaka
Wednesday April 18
Friday April 20
Live: Shibuya Kokaido, Tokyo
Angela and Zanetta thought the audience was subdued and started screaming and swinging chairs around to create hysteria. The ensuing chaos caused structural damage to the venue and police demanded that RCA hand over Angela and Zanetta. Leee Black Childers got them onto a flight to Honolulu as police were watching flights bound for London and San Francisco.
Saturday April 21 – Tuesday April 24
Travel: Yokahama – Nakhodka (Felix Dzerjinsky)
Bowie and MacCormack boarded the Felix Dzerjinsky bound for Nakhodka, the eastern terminus for the Trans-Siberian Railway, the only port in the Russian Far East open to foreigners. During the passage they realised they were being followed by two men who introduced themselves as KGB and questioned them about their politics.
Bowie played a short acoustic set with MacCormack on bongos.
Geoff MacCormack (2008): There must have been no more than 200 people there. Most people didn’t know who he was, though there were a few Japanese tourists who did. By and large the people watching him play thought he was just this kind of redheaded freak.
We arrived in Nakhodka late in the evening. The short walk from ship to train was not an occasion that has stuck in my mind. The train, however, was memorable. The dark wood panelling, brass fittings and tasselled decor made each car look like the interior of a Parisian brothel.
From Nakhodka they took the boat train to Khabarovsk to board the Trans-Siberian Railway for the 6650-mile trip to Moscow. They were joined by UPI news correspondent Bob Musel. When Bowie’s train journey was announced at the end of March, Musel had arranged to cover the trip as part of his Great Train Journeys series.
"I won't fly,” Bowie told Musel, "because I've had a premonition I'll be killed in a plane crash if I do. If nothing happens by 1976 I'll start to fly again.* But I love trains and I'd probably take this ride anyway, it's supposed to be the greatest of them all." [Musel, Bob. ‘Rail Journey Through Siberia’ (UPI, 1973)]
Bowie (1973): There are three ways you can travel. Deluxe – two bunks in a simple compartment, sharing a toilet and bathroom with the rest of the carriage – that's what I had. Then there's first class, which is four bunks per compartment, and hard class – bunks right up both sides with people sleeping on the floor. [Fox-Cumming, Ray. ‘Aladdin Scotland’ (Disc, 2 June 1973)]
Throughout the trip Bowie shot footage on a 16mm camera that he picked up in Japan. Years later he edited it together using his ambient pieces as soundtracks.
Leee Black Childers finally got his Russian visa and flew from Japan to Russia, joining Bowie on the train at Irkutsk. At Sverdlovsk, Childers suggested to Bowie they stretch their legs on the platform.
Leee Black Childers (1986): I was taking pictures of David and sneaking pictures of the soldiers who were on the platform with us but unfortunately they caught me at it. The soldiers came and tried to get my camera but I was fighting back. David began to film it all. Then they got really crazy, trying to get David’s movie camera and to arrest us.
Two burly female train attendants, who had been looking after Bowie’s compartment, intervened and carried them back onto the train while fending off the guards.
On their arrival in Moscow, guides escorted Bowie and MacCormack to the Intourist Hotel (a high-rise hotel on Tverskaya Ulitsa built in 1970, since demolished) where they checked in, then went sightseeing with Bob Musel, who knew the city well.
Bowie asked that they eat ‘like the Russians’ so Musel took them to GUM department store cafeteria and was unsurprised when Bowie found the food inedible. They moved on to the National Hotel and dined on smoked salmon, caviar and fresh sturgeon.
album released in US (RCA LSP-4852)
Chart peak 12
Satellite Of Love (Reed) 2:53 • Walk And Talk It (Reed) 3:24
Lou Reed single released in US (RCA 74-0964)
A-side produced by Bowie and Mick Ronson
B-side from Lou Reed album
Iggy & the Stooges album released in US
(Columbia KC 32111) Chart peak 182
Asked who his next collaboration would be, Bowie replied, “I really have no idea. There's nobody that I have in mind whom I want to work with. I have no idea if anybody wants to work with me. At the time, I had time. Now, time's another commodity I have less and less of.”
Bowie, Angie and MacCormack went to dinner with Charles Shaar Murray and NME photographer Joe Stevens.
Bowie and entourage (Angie, MacCormack, Childers, Vanilla and Hoy) arrived late at the Gard du Nord to find the 12.30 boat train to Calais had left.
"Seven thousand miles, and we miss the bleedin' train on the last leg,” Bowie groaned. They would have to take the hovercraft from Boulogne to Dover which, to Bowie, was as bad as a plane. "It flies – it's death," he groaned.
They whiled away the wait for the train to Boulogne at the Cafe du Nord Brasserie with Charles Shaar Murray and NME photographer Joe Stevens, then Melody Maker writer Roy Hollingworth and photographer Barrie Wentzell.
Bowie told Hollingworth, “I'm sick of being Gulliver. You know, after America, Moscow, Siberia, Japan. I just want to bloody well go home to Beckenham, and watch the telly. I've got to work harder this year than I've ever worked in my life. You know that? We're going to do a 79-date tour of America this year in about as many days. I might die. But I have to do it."
Barrie Wentzell: We went to a Brasserie across the road for something to eat and a few beers. It's interesting I got the board with the prices into the shot. The Melody Maker's famous duo were completely broke by then, so David had to pay for everything.
Following the hovercraft ordeal, he regained his composure at Dover with a cup of tea and a British Rail sausage roll. Meanwhile fans were gathering to welcome him home at Charing Cross station. The train finally rolled in to the sound of a high-pitched howl from the mass of teenage girls who mobbed Bowie as he stepped from the train.
Barry Wentzell: Home at last. The way girls materialised out of nowhere was amazing. They seemed to have some sort of telepathy and knew far more about his movements than we ever did. You can tell he’s glad to be back.
Saturday May 5
Bowie was welcomed home with a party at Haddon Hall. Among the friends were Tony Visconti with Mary Hopkin, Lindsay Kemp, Mick Ronson, Chelita Secunda, Ken Scott, Freddie Burretti, George and Birgit Underwood and Charles Shaar Murray, the de facto Bowie correspondent for NME.
Suzi Fussey made a cake with red and blue streaks and 'Welcome Home Aladdin Sane' written across the top. Also there from MainMan were Andrea (fan club assistant) and Corinne Schwab.
Corinne Schwab (2001): I first met David at a welcome home party at Haddon Hall in 1973. He and Geoffrey [MacCormack] had just arrived back from Japan on the Trans Siberian Express. My first impression was how tired and skinny he seemed! The famous red hair was a bit crumpled but his essence, the warmth and kind gentleness was there (through that worldly weariness) and he hugged Andrea and me and made us feel welcome. Andrea and I had been working at MainMan for several months and had not actually met him yet. 
Life at Haddon Hall by this time had become impossible, with fans camping outside day and night. Angie arranged to rent Diana Rigg’s apartment in Vale Court on Hall Road, Maida Vale.
During the week Bowie and the band rehearsed for the last leg of the tour at Manticore, a converted Odeon cinema in Fulham owned by Emerson Lake & Palmer.
Monday May 7
Social: Hitler: The Last 10 Days premiere, Empire Cinema
Tuesday May 8
Social: Behind The Fridge, Cambridge Theatre, Camden
Having renewed his friendship with Tony Visconti, Bowie suggested they go out to see Peter Cook and Dudley Moore’s show. Bowie and Angie picked up Visconti and his wife Mary Hopkin from their flat in Courtfield Gardens, Kensington.
Tony Visconti (2006): I was giving the babysitter instructions when David walked into our kitchen dressed in full Ziggy Stardust regalia. The babysitter, unbeknownst to me, was a Bowie fan. She dropped the pan filled with warm water that contained the baby’s bottle on the kitchen floor and shrieked. David was amused.
The Bowies and Viscontis proceeded to the theatre in Bowie’s limo, which was so large it became wedged between the cars parked on either side of the street.
Tony Visconti (1982): Angie heckled Peter Cook and Dudley Moore all night, and it was quite a bizarre evening, but exactly the evening I expected, strained and full of tension and real culture shock. As you may know, Mary, my wife, is a very subdued, laidback and, in her own description, ‘twee’ person, and here we were going out with these two extroverts in the personas of David and Angie Bowie. However, we bridged the gap very quickly and got friendly again.
John Ritchie (later known as Sid Vicious) in Earl's Court car park
The opening concert of the tour was a disaster after Defries booked the 18,000 seat Earl's Court – more than twice the size of anywhere Bowie had played before. Tickets sold out in the first three hours, but the arena was not yet ready for rock concerts – the acoustics were terrible and the stage was too low, resulting in a crush at the front as fans attempted to get a better view.
The music press had a field day the following Saturday, with headlines like “Bowie Fiasco - What Went Wrong?” and “Aladdin Distress”.
Bowie (1973): After about three-quarters of the way back, everything was totally lost and it became just an aerodrome. Somebody had been put in charge of getting the acoustics together, and it hadn't been done sufficiently well. [Murray, Charles Shaar. ‘The Bowie experiment (NME, 9 June 1973)]
Tuesday May 15
Bowie and the Spiders took the train from Charing Cross to Aberdeen and checked into the Imperial Hotel, where Martin Hayman (Sounds) and Ray Fox-Cumming (Disc) interviewed Bowie.
Despite a day of preparation, both shows suffered from sound problems.
Thursday May 17
Live: Caird Hall, Dundee
The tour coach stopped by the side of the A92 for a band photo opportunity before travelling on to Dundee, where they checked in to the Angus Hotel.
Friday May 18
Live: Green’s Playhouse, Glasgow (two shows)
Bowie (1973): We had, I think, four couples making it in the back row, which was fabulous. It's the first time I've heard of that happening. There was also a whole row of seats physically torn out of the floor, which sounds like the Fifties to me. That's what my brother used to do in Brixton. Can you imagine how much energy has to be used to tear out a theatre seat? 
The Monty Python troupe was in Edinburgh for their First Farewell Tour, sharing the Post House Hotel with Bowie’s people who partied late.
Michael Palin (1973 diary entry): Went to bed. Could not get to sleep, owing to presence of David Bowie and his acolytes in the hotel. Bowie is currently the hottest touring property in Britain, having recently played to 18,000 in Earl's Court. Tonight Bowie was in Edinburgh – and staying about a couple of doors down on the same floor as myself. They weren't exactly noisy, there was just so many of them. From 2am to 3am and beyond it was like trying to sleep through the invasion of Poland. 
Sunday May 20
Michael Palin (1973 diary entry): At 12pm sauntered down to the lobby, which was filled with the Bowie party's gear, and Bowie attendants. What a relief from roomfuls of grey suits — this morning it was almost as though squatters had moved in. Tall, gangling men dressed in denim moved through the throng like a dozen Jesuses, sharply dressed chicks sat around smoking — everyone wore a relaxed air of confidence — they were, after all, part of the hottest road show in Britain. With our Sunday papers and our conspicuous lack of hangers-on we looked very dull and anonymous. Outside the hotel was Bowie's splendid personal conveyance, a chunky black and white Dodge van, which looked like nothing I had ever seen – it was an armoured car, in effect – with thick steel sides and black windows. 
Bernard Falk and a BBC film crew shot a short segment on the Bowie phenomenon for Nationwide.
Bowie (2002): One of their ‘Good Heavens, whatever next?’-type reports. Lots of confused questioning and following me swanning around backstage, putting silly clothes on. It was all too funny.
They interviewed fans outside his Bedford Hotel room, filmed the performance and the ensuing mayhem at the Brighton Dome, his return from the venue – still in full stage costume – and his departure the next morning for Lewisham.
Thursday May 24
Live: Lewisham Odeon, Lewisham
“It’s good to be home,” Bowie said to the audience that included 'Boy' George O’Dowd.
Boy George (1995): I spent the day hanging around Lewisham, watching the crowd well up. Hundreds of Ziggy and Angie clones. Girls in fox-fur stoles and pillbox hats, boys in glitter jackets. 
BBC's Nationwide crew shot live footage of Watch That Man, Hang On To Yourself and Time.
Sunday May 27
Live: Civic Hall, Guildford (two shows)
Monday May 28
Live: Civic Hall, Wolverhampton
Tuesday May 29
Live: Victoria Hall, Hanley
Wednesday May 30
Live: New Theatre, Oxford
Thursday May 31
Live: King George’s Hall, Northgate, Blackburn
The Lancashire Evening Telegraph:
Bowie sent a packed King George’s Hall absolutely wild last night. By the end of the concert, everybody in the hall was standing up, many on their chairs for a better view. Two girls even got on to the stage and had to be bodily carried away by stewards.
Time 3:38 The Prettiest Star 3:25
single released in US (RCA APBO-0001)
Iggy & the Stooges album released in UK (CBS 65586)
Friday June 1
Live: St George’s Hall, Bradford
Saturday June 2
Live: (cancelled) University of Leeds, West Yorkshire (two shows)
MainMan told the press that the matinee and evening shows were cancelled because the stage was too small and backstage was unsuitable for a dressing room. “It would have meant David walking through the audience to get to the stage which is out of the question.” The shows were moved to June 29 at the Rolarena.
Sunday June 3
Live: New Theatre, Coventry
Monday June 4
Live: Gaumont, Worcester
Tuesday June 5
Nationwide broadcast (BBC)
The show included the ten-minute feature on Bowie’s UK tour, filmed in Brighton and Bournemouth.
Wednesday June 6
Live: City Hall, Sheffield (two shows)
In the audience were Glenn Gregory and Martyn Ware, future members of Human League spin-off, Heaven 17, who took their name from a fictitious band mentioned in A Clockwork Orange.
Afterwards Bowie and the entourage partied in the bar at the Hallam Tower hotel. Lulu and Labi Siffre were also in town and put on an impromptu show.
Lulu (1973): We knew each other vaguely. One night we were all together and started to sing, and Mike Garson was playing piano, and David said: “I'd love to write a song for you.” I said, great, never thinking it would come through. But he came through, and said, “I'd like to record you.” And it happened. 
Bowie (1974): I was keen to get something fixed up, because I really have always thought that Lulu has incredible potential as a rock singer. 
Thursday June 7
Live: Free Trade Hall, Manchester (two shows)
Photo by Kevin Cummins/Getty Images
Cherry Vanilla (1973): Hysterical little girls were of course dragged off the stage but uniquely enough, little boys got on stage. They were calm and, after they straightened out their clothes, went over to David, shook his hand and patted him on his back – gave the power salute and calmly walked off. David loved it. Stu couldn’t deal with it.
Friday June 8
Live: Newcastle City Hall, Tyne and Wear (two shows)
Cherry Vanilla (1973): Newcastle was the peak of aggro on this tour. Bowie arrived at 7.00 for a 6.00 show – traffic, so he said – I had police all over the north and Midlands looking for him.
Saturday June 9
Live: Guild Hall, Preston
Sunday June 10
Live: Empire Theatre, Liverpool (two shows)
Photo by Mick Rock
Other future pop stars were in the Liverpool audience – Ian McCulloch and Marc Almond, who had been ‘bottled’ by thugs on the way to the show. All was forgotten when Bowie reached out and took Almond’s hand in the finale of Rock 'N' Roll Suicide.
Marc Almond (2008): I was a mess of blood, glitter and cheap, badly applied makeup, but in a state of near religious ecstasy. 
Bowie had called off security and the crowd surged forward. Melody Maker reported, “Liverpool won’t forget David Bowie in a hurry. There’s a couple of dozen smashed seats, two broken crash barriers, and one young kid in hospital after Sunday night.”
Monday June 11
Live: De Montfort Hall, Leicester
Tuesday June 12
Live: Central Hall Theatre, Chatham (two shows)
Wednesday June 13
Filming: Ladbroke Grove
Director: Mick Rock
Life On Mars? promo clip
Bowie in Freddi Burretti suit with make-up artist Pierre Laroche • Photos Mick Rock
Mick Rock (2007): We had two cameras and we also used stills, so it was relatively sophisticated for its era. It stands up. I didn’t make a single penny out of those films at the time. However, once David split from MainMan and made his final settlement he gave me the visual rights. He has always been a gentleman. 
• Released: The Video Collection VHS (PMI 1993) and Best Of Bowie DVD (EMI 2002)
Live: The Gaumont State, London
Thursday June 14
Live: City Hall, Salisbury
Bowie was injured in a stage dive from the PA stack and performed the encore in a chair.
Mike Garson (1985): I thought, 'This guy thinks he can fly.’ There may be some acrobats could have handled that. He’s a pretty rubbery guy, but I knew it was too high. He went flying past me at the piano and just wiped out. 
Friday June 15
Live: Odeon, Taunton (two shows)
Bowie ignored doctor’s advice and soldiered on, sitting through the performance, falling into the audience and eventually being carried off.
Saturday June 16
Live: Town Hall, Torquay
Monday June 18
Live: Colston Hall, Bristol (two shows)
Tuesday June 19
Live: Guild Hall, Southampton
(replaced Portsmouth Guild Hall date)
Thursday June 21
Live: Birmingham Town Hall (two shows)
Friday June 22
Live: Birmingham Town Hall (two shows)
Life On Mars? 3:48 The Man Who Sold The World 3:55 single released in UK (RCA 2316) Chart peak 3
The Prettiest Star 2:42 Love Around (King) 2:21
Simon Turner single released in UK (UK 44)
Turner was a child actor then aspiring singer who had became friends with Angie Bowie, for whom The Prettiest Star was originally written. Johnny Arthey was credited with the arrangement, despite it being identical to Tony Visconti’s on Bowie’s original 1970 single. Later in the year, Defries signed Turner to MainMan but nothing came of it.
• Reissued: Oh! You Pretty Things : The Songs Of David Bowie (Castle Music 2006)
Saturday June 23
Live: Gliderdrome, Boston
Sunday June 24
Live: Fairfield Halls, Croydon (two shows)
Monday June 25
Live: New Theatre, Oxford (two shows)
Tuesday June 26
Live: New Theatre, Oxford
Wednesday June 27
Live: Top Rank Suite, Doncaster
Thursday June 28
Live: Bridlington Spa Ballroom, Bridlington
Friday June 29
Live: Leeds Rolarena, Leeds (two shows)
Audiences were down at both shows, which replaced the cancelled dates at Leeds University.
Trevor Bolder (1995): That was really surprising. We were completely sold out everywhere else but because we had cancelled the original Leeds gig, most people decided to stay away. It was odd suddenly playing to a small audience again, but it was fair enough. You should never cancel a gig. [Cann, Kevin. Any Day Now (Adelita, 2010)]
Saturday June 30
Live: City Hall, Newcastle (two shows)
Life On Mars? entered the UK Top 30, charting for 13 weeks.
Vicious (Reed) 2:55 Goodnight Ladies (Reed) 4:18
Lou Reed single released in US (RCA APB0-0054)
Produced by David Bowie and Mick Ronson
Goodnight Ladies arranged by 'Herbie Flowers and some of his friends'.
Monday July 2
Live: Hammersmith Odeon, London
Celebrated filmmaker DA Pennebaker and his crew arrived in London at RCA’s behest to film the concert the following night.
Pennebaker (2002): We hurried to the Hammersmith Odeon, where the next-to-the-last concert was about to take place. We were only supposed to do a half hour show for RCA. It was supposed to be a thing on this new record they’d invented that could do visual and audio at the same time called SelectaVision, and they only wanted half an hour. Five minutes into that night’s concert, I realised that there was a feature film here, crying to be made. That night we filmed bits of the concert, as well as the audience to check the lighting. It was an incredibly exciting concert experience, a long way from the Dylan concerts I had filmed for Dont Look Back. 
After the show, Peter Harvey (Record Mirror) interviewed Ronson, Bolder and Woodmansey at The Hertford Hotel. Presciently, Woodmansey mused, “You don’t know what is going to come up next or what you might fancy doing next; whether it’s to do with music or what.” 
Tuesday July 3
Live: Hammersmith Odeon, London
Dashing to the stage door behind the Hammersmith Odeon
Mike Garson medley / Hang On To Yourself / Ziggy Stardust / Watch That Man / Wild Eyed Boy From Freecloud – All The Young Dudes – Oh! You Pretty Things / Moonage Daydream / Changes / Space Oddity / My Death / Cracked Actor / Time / The Width Of A Circle / band introduction / Let's Spend The Night Together / Suffragette City / White Light/White Heat / Jean Genie-Love Me Do / Round And Round / farewell speech / Rock 'N' Roll Suicide
"Ladies and gentlemen, straight from his fantastically successful world tour, including the United States of America... Japan... now his home country... for the last time... David Bowie!” was MC Barry Bethel’s stage introduction to the last date of the 1973 UK tour, and the swan song of Ziggy Stardust.
Pennebaker felt the audience was an integral part of his film, and had signs put up, saying 'bring flash bulb cameras and take lots of pictures'. The resulting flashes throughout the concert created a frenetic strobe effect.By the end of Space Oddity the energy in the theatre had reached fever pitch. Bowie sat down to quieten them for his acoustic number, My Death. “This is a quiet song. Ssshh… This is something we used to do a long time ago. And we thought as it’s the last show, we'd like to do it tonight."
My Death - Jacques Brel via Scott Walker
Bowie: “No, it’s not Suzi Quatro on lead guitar…” • Photo by Chalkie Davies
Photo by Debi Doss
White Light/White Heat: “I’d like to do a number by a guy who tonight is in London somewhere making an album and I think he’s a friend of mine… anyway, he’s one of the best songwriters around today. His name’s Lou Reed!” • Photo by Debi Doss
A guest appearance by Jeff Beck
Mick Ronson (1973): Jeff Beck was my idol. I used to copy everything he did. That's why I was so knocked out when he agreed to come and play on the last couple of numbers. 
After Round And Round, Bowie stepped up to the microphone: "Of all of the shows on this tour, this particular show will remain with us the longest because not only is it the last show of the tour, but it’s the last show that we'll ever do. Thank you."
Geoff MacCormack (2008): David told me ahead of time that it would be his last show. I felt quite guilty knowing that, especially as I was one of the lowly cats in that particular performance. 
Tony Visconti (2003): Mick Ronson was told about it and David said, “Do you want to tell the guys or shall I tell the guys?” and Mick said, “Well, we’ll wait until after the show, and… you tell them.” 
John Hutchinson (2004): To us it was just another gig. We were actually planning on going back to the States. The first clue that I had that something was a little bit different about that gig was that David said to me, "Don’t start Rock 'N' Roll Suicide". Don’t play the intro until I give you the nod. I thought, ‘Well, he must be going to say something’. Well, he did. He said, ‘Thanks very much, we’re all retiring.’ You know – ‘we’. The band kind of looked at each other and I started playing. 
Trevor Bolder (2012): I kept looking at Woody, and Woody was playing away, going ‘I don’t know what’s going on’. 
John Hutchinson (2004): When we came off, people were looking at each other. Woody and Trevor were taken aback – we were all saying, “What did he say?” We got fired on stage. 
Bowie (1989): They wanted to remain doing what we were doing and I didn't. I was going somewhere else and they didn't want to go. 
Woody Woodmansey (2007): We had discussed new directions musically and we were not really in to the soul thing David was looking at doing next. On reflection I think it was a good decision. 
Mike Garson (2012): It was not a big deal to me. It could have gone on another five or ten years but David was done with it. Any artist at any time is entitled to be done with something. 
DA Pennebaker (2002): We were sworn to secrecy by Tony Defries, who assured us that only Bowie himself knew this and would reveal it to the audience sometime during the final performance. 
Charles Shaar Murray (1993): I was the one who got the tip-off, thereby enabling NME to have its "Bowie: That's It, I Quit" cover story rolling off the presses before Bowie had made the onstage announcement. 
Film: Ziggy Stardust And The Spiders From Mars
A MainMan Production in association with Pennebaker-Hegedus Films
Director: DA Pennebaker
Executive Producer: Tony Defries
Cameras: Jim Desmond, Mike Davis, Nick Doob, Randy Franken and DA Pennebaker
Concert sound: Ground Control (Robin Mayhew)
Concert recording: Ken Scott, using a 16-track from Trident Studios
Assistants: Steve Lysohir and Phillip Mesure
Unit Manager: Stacy Pennebaker
Associate Producer: Edith Van Slyck
Editor: Lorry Whitehead
Post-Production Supervisor: Alan Brewer
DA Pennebaker (2002): The three of us [Pennebaker, Jim Desmond and Nick Doob] were the main cameras. Then we had a neighbour who had shot a camera (allegedly) so we brought him along and then we got somebody there who had a tripod and a camera and we put them up in the balcony and they shot the long shots. 
Bowie ’73 With The Spiders From Mars simulcast (US TV, October 1974) A London Show broadcast in Italy Bowie screened at Edinburgh Film Festival (August 31, 1979) Ziggy Stardust: The Motion Picture general release (December 1983)
VHS video release
DVD release remastered for Surround Sound (EMI 2003)
Ziggy Stardust: The Motion Picture album
LP and cassette release (RCA October 1983)
CD release - remastered (Rykodisc/EMI 1992)
CD release - remix by Tony Visconti (EMI 2003)
Social: The Last Supper, Café Royal, Piccadilly
Celebrity guests included Ringo and Maureen Starr, Mick and Bianca Jagger, Lou Reed, Lulu, Keith Moon, Edgar Broughton, Spike Milligan, Elliot Gould, Tony Curtis, Britt Ekland and Barbra Streisand, who was in London to film a TV special.
Bowie and Angie, having gone back to their suite at the Hyde Park Hotel to change, made their entrance to a round of applause and flash bulbs.
Stuart George (in formal attire) escorts the Bowies • Photo by John Rodgers
Bianca and Angela • Photo by Mick Rock
Angie mingled as Bowie held court at a large table with Reed and Jagger, Jeff Beck, Dana Gillespie, Mick Ronson, MC Barry Bethel and drummer Aynsley Dunbar who was recording the Berlin album with Reed.
Reed, Jagger, Lulu, Bowie and MacCormack (standing) • Photo by Mick Rock
Bowie told Peter Harvey, “It’s been a great run, but this scene is all finished for me now. It’s time I moved on. I’ve had lots of film offers and will probably take one of them up.”  He told Ray Fox-Cumming he didn’t want to do any concerts again “for a long, long time – not for two or three years at least.” Kid Jensen was the first to break the news at 10pm that David Bowie had retired on stage that night.
Wednesday July 4
MainMan newsletter no. 1:
The world’s largest rock and roll tour, David Bowie USA Tour III, has been cancelled. The massive arenas of 80 US and Canadian cities will not now, or perhaps ever again, hold within their walls the magic essence of a live Aladdin Sane. Bowie will spend the summer in France and Italy recording, relaxing and writing the script of his future.
Bowie (2002): It was a big decision for me and it actually took me time to make it. Also, I was incredibly drained. We toured, the schedules that MainMan were putting us on were insane. 
Tony Zanetta (2009): It was to be this mega-mega-tour. But the truth of it was, the business didn’t warrant a tour like that. David’s stardom was illusory, it was more in the press. It didn’t translate into real numbers. So the promoters were very hesitant to do the kind of deal and the really major arena tour that Defries wanted to do. 'Retiring' was a business decision. 
In Chicago, Ava Cherry received a telegram from MainMan saying that the tour was off so her services were not required.
Ava Cherry (1987): That was my first lesson - that you shouldn’t count on things unless you’re absolutely sure they are going to happen. I took all the money I had and decided to go to Europe anyway and find him and tell him what he did was low and tacky. 
Thursday July 5
Confirmation of Woodmansey’s sacking came on the morning of his wedding to girlfriend June. MainMan called Mike Garson who was presiding over the ceremony as an official of the British Church of Scientology. Garson waited until after the wedding to impart the news to him.
Mike Garson (1986): Woody was devastated. This was his life and he thought he was going to the top with David.
Trevor Bolder (2012): I was really upset, and with Mick doing a solo album, I was wondering what was gonna happen to me. I think the reason he broke the band up was that Woody was being very odd with him. Woody had gotten into Scientology through Mike Garson. And, in a way, Woody thought he was God because he found religion. And he just disagreed with everything that David was doing. 
At Hyde Park Hotel, Bowie began planning the Pin Ups album, working through a pile of 60s singles. They picked 12 to record, including two apiece from favourites The Who, Yardbirds and The Pretty Things.
Lulu came and listened to a few Bowie tracks to record as a single, settling on The Man Who Sold The World and Watch That Man.
Lulu (2008): I didn’t think it would happen but he followed up two days later. He was über cool at the time and I just wanted to be led by him. I loved everything he did. I didn’t think The Man Who Sold The World was the greatest song for my voice, but it was such a strong song in itself. I had no idea what it was about. 
Bowie visited Reed at Morgan Studios to ask Aynsley Dunbar and Jack Bruce to join the sessions in France. Dunbar accepted – he had even played in the Mojos, whose 1964 hit Everything's Alright was chosen for Pin Ups.
Ken Scott (2006): The initial move of bringing in Aynsley worked. I don't think it would have been better with Woody and I'm all for new participants to stir things up a little. 
Jack Bruce was committed to West, Bruce & Laing so Bowie offered the spot to Trevor Bolder.
Trevor Bolder (1995): Mick told me to keep my mouth shut or I wouldn’t be working, because David would get rid of me as well. David had actually said to me, “If you don’t like it, you can clear off and we’ll get another bass player as well.” When everything calmed down, David said to me, “Come over here, I’ve got some songs to play you.” And he played me all the songs he was going to do on Pin Ups. 
Social: Live And Let Die premiere, Odeon Leicester Square
Friday July 6
Paul McCartney on Bowie’s retirement: “I don't know why he is giving it up. I should have asked him. I met him last night at the premiere!" 
Saturday July 7
Charles Shaar Murray’s interviews with Garson and Ronson “Say Hello to Weird and Gilly” published in NME.
Monday July 9
Travel: London – Paris
Bowie arrived in a white Rolls Royce at Victoria Station with Angie, who saw him onto the 10.30am boat train for the trip to Dover and Calais and on to the Château d’Hérouville studio complex, north-east of Paris.
Tuesday July 10
Life On Mars? peaks at number 3 in the UK chart
Tuesday July 10 – Tuesday July 31
Recording: Strawberry Studios, Château d’Hérouville, Pontoise
Producers: David Bowie, Ken Scott
Engineer: Dennis MacKay
Bowie told Martin Hayman from Rock, “I've got all these records back at home, but we don't have them here or anything. We just took down the basic chord structures and worked from there. Some of them don't even need any working on – like Rosalyn for example. But most of the arranging I have done by myself and Mick… and Aynsley too." 
Mike Garson (1995): They were fun sessions. I didn’t know any of those songs, so they could have been written by anybody. I had never heard the originals. I was just enjoying Mick’s playing; he was just doing his thing. 
Wednesday July 11
Radio: Kid Jensen, Radio Luxembourg
Bowie told Jensen, "I’m retracing my own past really, my own likes and preferences for music in the early to mid-60s. Very much the London sound, because we were at the height of the Liverpool sound, which was sweeping England and America. And there was a lot of material that really went unnoticed in those days and that’s the kind of stuff I wanted to put down. Things like the early Yardbirds things, even things that had some kind of nominal success like See Emily Play. We’re doing a lot of very interesting tracks, all my favourites." 
• Broadcast July 14 (Radio Luxembourg)
Monday July 16
Recording: Strawberry Studios, Château d’Hérouville, Pontoise
Producers: David Bowie, Mick Ronson
Engineer: Andy Scott
The Man Who Sold The World
Watch That Man
At the Cafe Royal retirement party, Bowie had told Lulu “I want to make a motherfucker of a record with you. You’re a great singer.”  Bowie called a break in the Pin Ups sessions to make good his promise. Mick Rock took photos as Bowie conducted the session, playing the originals on a record player to refresh their memories.
Lulu (2008): Bowie kept telling me to smoke more cigarettes, to give my voice a certain quality. 
Ken Scott was contracted to work only on Pin Ups, so he set the levels for the house engineer Andy Scott and left him to it. They recorded one take of The Man Who Sold The World with Bowie providing a guide vocal for her then two takes of Watch That Man.
Photos by Mick Rock
Lulu (1973): It was amazing we got it together so quickly, because I was working, and he was working. I had two days, and flew over to Paris, did it and came back. 
Geoff MacCormack (2007): She's very easy to get on with. A really lovely lady. I remember wandering around the place with her one night singing soul songs. We sang harmonies together on a version of Aretha Franklin's Do Right Woman, Do Right Man that got us a burst of spontaneous applause from the studio technicians. 
In one week of sessions lasting up to 12 hours, they completed the Pin Ups and Lulu backing tracks and Bolder went home to England.
Trevor Bolder (1995): It was really bad... the band thing had gone then. Once you pull any member out of a band, it changes. It was sad not having Woody there. 
Wednesday July 18
Photo session: Vogue studio, Paris
British Vogue cover/Pin Ups album cover
Photographer: Justin de Villeneuve
Make-up: Pierre Laroche
The photo session was ostensibly a Vogue cover idea that Twiggy and her partner de Villeneuve successfully pitched to the editor.
Justin De Villeneuve (2012): When I showed Bowie the test Polaroids, he asked if he could use it for the Pin Ups record sleeve. I said: "I don't think so, since this is for Vogue. How many albums do you think you will sell?" "A million," he replied. "This is your next album cover!" I said. When I got back to London and told Vogue, they never spoke to me again.
Monday July 23
Angie's debut as model/actress Jipp Jones in a Daily Mirror fashion spread, featuring Terry O’Neill's photographs of the Bowies modelling new outfits from Paris in and around the Château.
Bowie became the first solo artist to have all five of his RCA albums in the UK top 40, three of them in the top 15.
A backing track for White Light/White Heat was recorded for a possible Pin Ups 2, but left unfinished. Bowie gave it to Ronson who finished it for his album Play Don’t Worry.
Mick Ronson (1975): I kept the 16-track and just overdubbed some guitars. After the first verse I made up the lyrics myself because I could never hear what Lou sung, couldn't make head nor tail of it. 
Bowie played Martin Hayman a rough working mix of another new project, and explained, “It’s going to be a musical in one act called Tragic Moments, probably running straight through two sides. This is something I've always wanted to do."
Martin Hayman (1973): We listen to perhaps seven minutes of music... a highly arranged, subtly shifting music with just a touch of vaudeville: Mike Garson's piano flashes through like quicksilver. Perhaps the closest approximation to what has gone before would be the title track of Aladdin Sane. 
During the last week at the Château, Ken Scott returned and Bowie and Ronson working on vocals and overdubs, with Ronson writing string arrangements.
They also began remixing the Hammersmith Odeon concert tapes for an album to be titled Bowie-ing Out. Ronson told Charles Shaar Murray, “It really is live. There's been no going back and redoing it in the studio. A lot of groups take the tapes into the studio and then strip it and start correcting the mistakes. They might put a fresh guitar solo on or something.” 
Ava Cherry was in Paris when she heard Bowie on the radio. “I was supposed to work with this man,” she told a friend, who replied, “His friend is staying at my house.” The friend – Geoff MacCormack – took Cherry out to the Château where she resumed her relationship with Bowie. They worked on demos and planned to have her signed as 'a MainMan artiste'.
Let's Spend The Night Together (Jagger-Richards) 3:01 Lady Grinning Soul 3:42 single released in US (RCA APBO 0028)
Time 3:38 Panic In Detroit 4:27 single released in Japan (RCA SS-2299)
Wednesday August 1
Leaving Paris, the group took an overnight sleeper train to Rome. They spent a week at Villa Ofmilla in Tenuta San Nicola, joined by Zowie, Daniella Parmar and Bowie’s personal assistant Gloria Harris.
Tuesday August 7
Bowie, Angie and Stuart George returned to London, where Ken Scott was mixing Pin Ups at Trident Studios. Ronson and Suzi Fussey stayed behind at the villa.
Suzi Ronson (2010): We actually fell in love in Italy, right after he’d done the Pin Ups album. We had a villa outside Rome and everything just came together. It was a wonderful romance. 
During that time Ronson came up with the Slaughter On 10th Avenue idea.
Wednesday August 22
Bowie went to Hampstead Theatre for the opening night of Mad Dog, starring Marianne Faithfull. Bowie had asked her to be in his planned stage show based on Nineteen Eighty-Four.
Bowie returned to the Château where Ronson was recording Slaughter On 10th Avenue. Bowie contributed Growing Up And I’m Fine, lyrics for Ronson’s Hey Ma Get Papa as well as an English lyric for Italian song Music Is Lethal.
• Further reading: A Chateau Of His Former Self, Charles Shaar Murray, NME September 29, 1973
Friday September 7
Social: The Rolling Stones at Empire Pool, Wembley
Thursday September 13
Social: The Rolling Stones at City Hall, Newcastle
Jagger noticed Bowie's presence in the wings during the show was distracting the audience. He glared at him until Bowie withdrew further into the wings. After the show the Jaggers took Bowie and companion Scott Richardson to a casino where Bowie and Jagger competed to lose the most money.
Best Deluxe compilation album released in Japan (RCA SRA 9412/13)
• Reissued as Special(RCA 1976)
Friday October 12
Sorrow (Feldman-Goldstein-Gottehrer) 2:53 Amsterdam (Brel-Shuman) 3:20
single released in UK (RCA 2424) and US (RCA APBO-0160) UK chart peak 3 Amsterdam recorded during November 1971 Ziggy Stardust sessions
Angie featured in the fashion section of Sunday Times Arts and Review.
Tuesday October 16
Sorrow enters the UK Top 30, charting for 15 weeks.
Wednesday October 17
The Bowies moved into 89 Oakley Street in Chelsea, accompanied by nanny Marion Skene, personal chef Anton Jones, Freddi Burretti and Daniella Parmar, who took the basement with Bowie’s secretary Ava Clarke.
The 1980 Floor Show rehearsals: Manticore Studios, Fulham
Ava Cherry arrived in London for her appearance on the upcoming NBC special and moved into Oakley Street.
Ava Cherry (1986): I was new to this whole thing – you know, wife’s there – but I thought, maybe this is the way things are done in England.
The 1980 Floor Show was devised to promote Pin Ups on American TV. NBC agreed to stage the concert for their Midnight Special and cross promote in full-page Billboard ads. Bowie's idea to tape it at the Hammersmith Odeon was rejected as too expensive so he opted for the Marquee Club. It was appropriate since Pin Ups paid tribute to the bands Bowie had watched there and he had also played there with The Buzz and The Lower Third.
Bowie (2002): At that time no one would book us. We were considered a freaky band, and got booed at every gig we did. The only place that would let us play regularly was the Marquee, and then only on Saturday afternoons for a free audience.
The show was also a preview of his new funkier direction – a new song 1984/Dodo and Ava Cherry's debut as part of a trio with Jason Guess (discovered in a soul food restaurant) and Geoff MacCormack, who adopted a joke stage name, Warren Peace.
Named the Astronettes (after the dance troupe from the August 1972 Rainbow shows), Defries added them to the MainMan roster and Bowie would produce their album in November.
Marianne Faithfull agreed to perform on the show and introduced Bowie to Amanda Lear, an exotic model of indeterminate age and gender who compered the show as the faux Russian, Dooshenka.
They had almost met in August 1972 when she introduced Roxy Music onstage when they supported Bowie at the Rainbow. She had been Bryan Ferry’s fiancée and featured on the cover of Roxy Music’s For Your Pleasure.
Friday October 19
UK (RCA RS 1003) US (RCA APL1-0291)
Chart peak UK 1 US 23
Rosalyn (Duncan-Farley) 2:27 Here Comes The Night (Berns) 3:09 I Wish You Would (Arnold) 2:40 See Emily Play (Barrett) 4:03
Everything's Alright (Crouch-Konrad-Stavely-James-Karlson) 2:26 I Can't Explain (Townshend) 2:07
Friday On My Mind (Vanda-Young) 3:18 Sorrow (Feldman-Goldstein-Gottehrer) 2:48 Don't Bring Me Down (Dee) 2:01 Shapes Of Things (Samwell-Smith-McCarty-Relf) 2:47 Anyway, Anyhow, Anywhere (Townshend-Daltrey) 3:04 Where Have All The Good Times Gone (Davies) 2:35
Recording: Trident Studios, Soho, London
Producer: Ken Scott
Bowie’s first session for his next project was also his last with the two most significant collaborators of the past three years, Mick Ronson and Ken Scott.
Ken Scott (2006): When we recorded 1984/Dodo it became obvious that he was starting to change direction, so it was probably for the best. 
Bowie (1997): I had particular ideas that I wanted to expand upon, and it wasn't stuff that Mick would be terribly happy to follow in. It was getting harder all the time to get Mick to move along into the possibility of where we could go. His two role models were Jeff Beck and Free. If Mick had been more open to widening that which he already knew, we may have lasted as a partnership. 
Mark Pritchett (2009): Within the first couple of takes, it became fundamentally clear that all of us – but Mick was the lead musician – weren’t black funky. This was not it. 
Released on Diamond Dogs reissue (Rykodisc/EMI 1990) Diamond Dogs 30th Anniversary 2CD Edition (EMI 2004)
Recording: Studio 2, Olympic Studios, Barnes
Producer: David Bowie
Engineer: Keith Harwood
Bowie moved Diamond Dogs sessions from Trident (and all its Ziggy associations) to Olympic, the South London studios favoured by the Rolling Stones. Engineer Keith Harwood had recently mixed Led Zeppelin’s Houses Of The Holy and later worked on It’s Only Rock ‘N Roll.
Retaining only Mike Garson on piano, Bowie decided (initially) to play most of the guitar and saxophone parts himself.
Bowie (1997): I knew how it had to sound, but I was a bit too embarrassed to work with other musicians. I always felt slightly awkward telling musicians who played so much better than I did what to play. Rather than have to tell those people who knew how to play really well what to play, I did it myself. [Gill, Chris. Mick Ronson – The Hero of Glam. Bowie's greatest guitar player remembered’ (Guitar World, April 1997)]
I knew that the guitar playing had to be more than okay. That couple of months I spent putting that album together before I went into the studio was probably the only time in my life where I really buckled down to learn the stuff I needed to have on the album. I'd actually practice two hours a day. I knew the sound in my head, and at that time I didn't know musicians who could carry it off. [Gore, Joe. New digital stimulation from David Bowie & Reeves Gabrels’ (Guitar Player, June 1997)]
Bowie (1991): I don't think I really got into messing about with recording technique until then, where it was virtually just myself doing everything. I played a great percentage of everything on Diamond Dogs, apart from the odd lead guitar, and the bass and drums. But most of the other lead guitars and the rhythm guitars and the keyboards, and saxophones, were just me. [Horkins, Tony. Tin Machine: Bowie & Gabrels’ (International Musician, December 1991)]
Herbie Flowers replaced Trevor Bolder on bass and the drumming was shared between Aynsley Dunbar and Tony Newman.
Bowie needed a more proficient guitarist for a new version of 1984 without the Dodo section. He called in Alan Parker who played a wah-wah guitar part à la Theme From Shaft and Tony Visconti whom he asked to write some sort of 'Barry White strings’ for it.
Also working at Olympic in the neighbouring studio was Brian Eno, who was mixing Here Come The Warm Jets.
Bowie (1997): We never actually had any contact at that time, except when passing each other in the hallway. I think we both caught a snatch of what the other one was doing. I know I heard his, and I know he heard mine because he would come in and lean on the doorpost. That is the first time that I was aware that Brian and I were going off into different worlds from what we had done before. I was more into the William S. Burroughs cut-up thing and that more American approach, and Brian was much more European than me at that time. 
Saturday October 27
Disc reported that Bowie had completed six songs including 1984. Tony Ingrassia said he was working with Bowie on a script for a stage musical based on George Orwell’s Nineteen Eighty-Four. “We have not fully acquired the rights to the book yet and it is still possible we will have to call it Nineteen Eighty-Three, or something like that!”
Later in the week, Cherry Vanilla said as much: "I don't know how closely David will follow the script. It might be quite unrecognisable from the original but Bowie will definitely be playing the lead role of Winston."
In fact MainMan had failed – like others before – to obtain permission from Orwell’s widow Sonia Brownell for the project.
Bowie (1976): She put the clappers on it by saying no. So I, at the last minute, quickly changed it into a new concept album called Diamond Dogs.
Bowie (1987): My office, MainMan, didn't bother to do anything about it… But, I mean... well, it wasn't a real office in those days. Nobody did anything. 
Saturday November 3
Sorrow peaks at number 3 in the UK chart.
Saturday November 10
UK album chart:
Pin Ups #1
Aladdin Sane #10
Hunky Dory #17
Ziggy Stardust #25
Friday November 16
The 1980 Floor Show broadcast on The Midnight Special in US (NBC)
Two months later NME reported that ITV had secured the British screening rights for the Midnight Special 1980 Floor Show, but hadn’t fixed on a transmission date. The show was never broadcast in the UK.
Ava Cherry moved out of Oakley Street to Daska House in nearby King’s Road.
Saturday November 17
Press interview: Oakley Street, Chelsea
Rolling Stone magazine
Craig Copetas moderated a two-way interview with Bowie and William Burroughs over lunch.
Bowie's house is decorated in a science fiction mode: a gigantic painting, by an artist whose style fell midway between Salvador Dali and Norman Rockwell, hung over a plastic sofa. Soon Bowie entered, wearing three-tone NASA jodhpurs. He jumped right into a detailed description of the painting and its surrealistic qualities. Burroughs nodded, and the interview/conversation began. The three of us sat in the room for two hours, talking and taking lunch: a Jamaican fish dish, prepared by a Jamaican in the Bowie entourage, with avocados stuffed with shrimp and a Beaujolais nouveau, served by two interstellar Bowieites. 
They had expressed an interest in meeting each other and in the weeks leading up to the interview Bowie found time to read Burroughs's Nova Express and was already familiar with his cut-up writing methodology.
Bowie (1977): Burroughs was very instrumental, as soon as I met him. He convinced me about the marvellous things you can do with the cut-up technique and I incorporated that in some of the stuff like Diamond Dogs and I’ve never dropped it. In fact it reveals itself to its fullest extent, I guess, on "Heroes" more than anything else. 
Bowie (1980): It was taking three different points of view of any given subject. You have one subject and you look at it from three different perspectives. And then you intercut the different perspectives. Logistically you just take sentences and cut the sentences up. 
Bowie (1974): It seemed that it would predict things about the future or tell me a lot about the past. It’s really quite an astonishing thing. I suppose it’s a very Western tarot. 
Recording: Studio 2, Olympic Studios, Barnes
During a hiatus in the Diamond Dogs sessions, Ron Wood dropped in and played guitar on this, the first of three Springsteen covers recorded during the Olympic sessions. It’s Hard To Be A Saint In The City was begun (left unfinished until 1975) and he produced Spirits In The Night for the Astronettes.
Released on Pin Ups reissue (Rykodisc/EMI 1990)
Monday December 3
Recording: Studio 2, Olympic Studios, Barnes
Producer: David Bowie
Engineer: Keith Harwood
As with Arnold Corns, he used the Astronettes project as a dry run for his next project – a fusion of Afro-American soul music with Latin rhythms and Springsteen. Ava Cherry, MacCormack and Jason Guess took turns on vocal with Mark Pritchett, Herbie Flowers, Mike Garson and Aynsley Dunbar providing the backing.
Mark Pritchett (2009): You’d get a call, turn up, it might be just you and a drummer, it might just be you laying down something on your own, David would say, “These are the chords, can you give it a funky feel?” He may use your part, he may decide he doesn’t like it, or he might use the idea as part of something else. 
Songs recorded over the next few weeks included Bowie compositions I Am Divine, I Am A Laser, People From Bad Homes and Things To Do.
Tony Visconti (1982): One of the songs David recorded with them was God Only Knows, which they did about four times slower than the Beach Boys, a very funky, laid-back version, and I did strings for a few of those tracks.
Tony Visconti (2006): The arrangement features mandolins playing what would normally be for violins. I thought I would have to persuade David to accept it, but he did so without hesitation.
Lulu - Dodo
Producer: David Bowie
Engineer: Keith Harwood
During December Bowie and Lulu worked on this version of Dodo (detached from 1984) as a possible follow up single.
Released on Diamond Dogs reissue (Rykodisc/EMI 1990) Diamond Dogs 30th Anniversary 2CD Edition (EMI 2004)
Tuesday December 4
Bowie and Amanda Lear arrived in a white limousine to see Marianne Faithfull starring in John Osborne's play A Patriot For Me at the Palace Theatre, Watford. After the show they visited Faithfull backstage and joined the party afterwards. Bowie was interviewed at the theatre for local radio.
Wednesday December 5
Thursday December 6
Recording: The Wick, Richmond
The Rolling Stones - It's Only Rock ‘N’ Roll
Mick Jagger was back in England during a break from recording the new Stones album in Munich. He was hanging out at Ron Wood’s house – The Wick in Richmond – where Wood was recording I’ve Got My Own Album To Do in his home studio.
Bowie dropped in and jammed with Jagger and Wood and Faces drummer Kenney Jones on a new song It’s Only Rock ‘N’ Roll. Bowie joined in on backing vocals and handclaps.
Keith Richards knew the song had potential when he later heard the recording: “It’s Mick’s song and he’d cut it with Bowie as a dub. Mick had gotten this idea and they started to rock on it. It was damn good.” 
Richards reclaimed the song for the new Stones album and its first single. Several overdubs later rendered Bowie’s vocal contribution on the finished version inaudible.
Friday December 14
Kris Needs later described Mott The Hoople’s show at the Hammersmith Odeon as “one of the greatest rock'n'roll moments this correspondent has experienced in over 40 years”.
Bowie and Jagger watched from behind Morgan Fisher's grand piano as Hunter led the group back on for the encore and announced: "Three things made tonight so enjoyable: David Bowie, Mick Jagger and you."
Tuesday December 25
The Bowies hosted Christmas for Mick and Bianca Jagger at home in Chelsea. Bowie gave Jagger a video recorder, a luxury item at the time (around £500), which had become one of Bowie’s new obsessions.
Thursday December 27
Recording: Trident Studios, Soho, London
Rebel Rebel (early demo version)
Alan Parker (2004): On Rebel Rebel, he had the riff about 75% sorted out. He wanted it a bit like a Stones riff, and he played it to me as such, and I then tinkered around with it. I said, "Well, what if we did this and that and made it sound more clangy and put some bends in it?" and he said, "Yeah, I love that, that's fine". I used an old Les Paul standard, a black one, and it was an old Fender reverb amp with a single Wharfedale speaker in them. 
Friday December 28
“The Odd Couple: Lulu teams up with Bowie” by Deborah Thomas published in the Daily Mirror with photos by Gavin Kent.
This surely is the year’s strangest showbiz combination. Lulu, the family favourite joining forces with David Bowie, the bizarre pop phenomenon. Lulu, 25, agreed because she wants to get away from her cosy television image claiming, “rock is where my roots are”. She says, “My relationship with David is a kind of mutual admiration thing”. 
Saturday December 29
– Sunday December 30
Recording: Studio 2, Olympic Studios, Barnes
Monday December 31
Press reception: Rules restaurant, Covent Garden, London
RCA Records held a press lunch at the prestigious Covent Garden restaurant in Bowie’s honour, for having six different albums in the charts for five weeks in 1973 and five in the Top 50 for 19 consecutive weeks.
Bowie rose from the head of a long table in an upstairs room to thank everyone: “I don’t know what to say, I feel like a rock'n'roll star. At least it keeps the kids on the streets. Thanks to everyone who bought or were given the albums.”
He was given a framed album presentation with a plaque inscribed “Awarded to David Bowie for outstanding musical achievements. From your friends at RCA”, which Bowie gave pride of place at Oakley Street.