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2016 studio album by David Bowie

Blackstar
A white background with a large black star and smaller parts of a five-pointed star that spell out "BOWIE"
Studio album by

David Bowie
Released 8 January 2016 (2016-01-08)
Recorded January–May 2015
Studio The Magic Shop and Human Worldwide in New York Urban center
Genre
  • Art rock
  • jazz stone
  • experimental jazz
  • experimental rock
Length 41:14
Label
  • ISO
  • Columbia
  • Sony
Producer
  • David Bowie
  • Tony Visconti
David Bowie chronology
Five Years (1969–1973)
(2015) 		Blackstar
(2016) 		Who Can I Exist At present? (1974–1976)
(2016)
David Bowie studio albums chronology
The Next Mean solar day
(2013) 		Blackstar
(2016)
Singles from Blackstar
  1. "Blackstar"
    Released: 19 November 2015
  2. "Lazarus"
    Released: 17 December 2015
  3. "I Can't Requite Everything Away"
    Released: 6 Apr 2016

Blackstar (stylised as ★ )[ane] is the 26th and last studio album by English musician David Bowie. Information technology was released worldwide on 8 January 2016, coinciding with Bowie'due south 69th birthday, through his ISO label, Columbia Records and Sony Music. The album was primarily recorded in secret between the Magic Shop and Human Worldwide Studios in New York City with Bowie's longtime co-producer Tony Visconti and a group of local jazz musicians: saxophonist Donny McCaslin, pianist Jason Lindner, bassist Tim Lefebvre and drummer Mark Guiliana; guitarist Ben Monder joined the ensemble for the final sessions, while James Murphy of LCD Soundsystem contributed percussion. The album is more experimental than its predecessor The Next Day, combining fine art stone with dissimilar styles of jazz.

For the album, Bowie took inspiration from electronic groups such every bit Boards of Canada too as hip hop artists such as Kendrick Lamar and Expiry Grips. The album contains re-recorded versions of two songs, "Sue (Or in a Flavor of Crime)" and "'Tis a Compassion She Was a Whore", both of which were originally released in 2014. It was preceded by the singles "Blackstar" and "Lazarus", both of which were supported by music videos. The album cover, designed by Jonathan Barnbrook, features a large black star with five star segments at the bottom that spell out the give-and-take "Bowie".

Ii days after its release, Bowie died of liver cancer; his illness had not been revealed to the public until then. Visconti described the anthology every bit Bowie'southward intended swan song and a "parting souvenir" for his fans before his death. Upon release, the album was met with critical acclamation and commercial success, topping charts in a number of countries in the wake of Bowie's death and becoming Bowie's only album to top the U.s. Billboard 200. The anthology remained at the number-one position on the Britain Albums Chart for 3 weeks. It was the 5th-all-time-selling anthology of the year, worldwide. It has since been certified Gold and Platinum in the Usa and the UK, respectively.

At the 59th Annual Grammy Awards, the album won awards for Best Alternative Music Anthology, Best Engineered Album, Non-Classical and All-time Recording Package, with the title track winning for Best Rock Performance and Best Rock Vocal. The anthology was likewise awarded the British Album of the Year at the 2017 Brit Awards. It was listed as one of the best albums of 2016 and after the 2010s decade by numerous publications. In the years post-obit his death, commentators have named Blackstar one of Bowie's greatest albums, and was included in the 2018 edition of Robert Dimery's book 1001 Albums You Must Hear Earlier You Dice.

Background and recording [edit]

David Bowie recorded Blackstar while suffering from liver cancer.[2] Similar his previous album The Adjacent Day (2013), recording took place in undercover at the Magic Store and Human Worldwide Studios in New York City, with production being co-handled by Bowie and longtime collaborator Tony Visconti.[3] Bowie began writing and making demos for songs that appear on Blackstar as before long as sessions for The Next Twenty-four hour period concluded. Two songs, "Sue (Or in a Season of Crime)" and "'Tis a Pity She Was a Whore", had been previously released, simply were re-recorded for Blackstar.[iv] The title of the latter derives from 'Tis Pity She'due south a Whore, a play past the 17th century English dramatist John Ford.[5] The vocal "Lazarus" was included in Bowie'due south Off-Broadway musical of the aforementioned name.[6]

A collage of four photos of the musicians performing

Bowie recruited a local New York jazz quartet led by saxophonist Donny McCaslin, and featuring other musicians including drummer Mark Guiliana, pianist Jason Lindner and bassist Tim Lefebvre,[seven] [8] as the backing band for the sessions.[9] McCaslin and Guiliana previously played on the original version of "Sue".[ten] The musicians were sent demos from Bowie in December 2014 in training for the sessions at the offset of the new year. Visconti told Mojo: "If we'd used [Bowie'south] former musicians they would be rock people playing jazz...Having jazz guys play rock music turns information technology upside downwards."[9] Lefebvre later on said that the ring'due south chemistry made the sessions much easier. Bowie knew exactly what he wanted, and then Lefebvre felt special that Bowie chose a band that was a "unit" and non a random set of studio musicians. Bowie as well encouraged the band to endeavor new things and experiment with ideas; Lindner told Rolling Rock, "He gave united states of america the freedom to really but play, sort of be ourselves, and if nosotros were hearing anything in particular, to endeavor information technology out."[xi] Visconti gave consequent praise to the ring, saying "They can play something at the drop of a dime".[12]

Recording began at the Magic Shop in the first calendar week of 2015. The very first 24-hour interval in the studio, Lefebvre and Lindner met Bowie, Visconti and engineer Kevin Killen for the get-go time, after which they got straight to work.[12] According to biographer Nicholas Pegg, near of the rhythm tracks were recorded in ane or two takes. Tracks for both Blackstar and the Lazarus musical were recorded: "Lazarus" and "When I Met Yous" were recorded on 3 Jan, followed past the re-recording of "'Tis a Pity She Was a Whore" two days later and "No Plan" on 7 Jan.[12] During the week, Bowie celebrated his 68th birthday; his wife Iman visited him in the studio and the ring played an avant-garde rendition of "Happy Birthday". Following the January sessions, farther recording commenced in blocks; co-ordinate to Pegg, they lasted iv to vi days each, in the first week of February and the 3rd calendar week of March. Bowie emailed demos to the musicians before each session.[13] The backing band were reportedly unaware of Bowie's declining health – according to McCaslin, the ring worked with Bowie "essentially from 11 to iv every day", while Lefebvre stated that "it never looked to united states of america like he was sick".[xiv]

A man in a sweatshirt holding a guitar and looking down at sheet music on a stand

Ben Monder joined the band for the March sessions as an additional guitarist.

James Murphy of LCD Soundsystem was nowadays during the second cake of recording; his work on Arcade Fire's Reflektor inspired Bowie to create a remix of "Dear Is Lost" for The Next Day Extra.[a] The re-recording of "Sue (Or In a Flavor of Crime)" took place on 2 February (featuring Murphy on percussion), while "Girl Loves Me" followed a twenty-four hours later, "Someday" on four February and "Dollar Days" on half dozen February.[17] "Dollar Days" was created without a preliminary demo being made for the song. McCaslin later stated that Bowie one day "just picked up a guitar ... he had this little thought, and we just learned information technology right there in the studio."[5] For the March sessions, the ring were joined by jazz guitarist Ben Monder, who played on the original recording of "Sue". The title track was recorded on 20 March, with "I Can't Give Everything Away" following a day after. "Killing a Little Time" and a remake of "Someday" (now retitled "Blaze") were recorded on 23 March, with further overdubs commencing the following 24-hour interval. Although Bowie performed his vocals live while the band were playing during the Magic Shop sessions, he and Visconti moved to Human Worldwide studios in April to properly record his vocals. The majority of his vocals were recorded from scratch between April and May, although some vocals from the Magic Shop sessions, including role of "I Can't Give Everything Away" and the full vocal for "No Plan" were kept. The concluding master mix is credited to English engineer Tom Elmhirst, although Bowie and Visconti oversaw the mixing sessions in general.[eighteen]

Composition and influences [edit]

According to Visconti, he and Bowie deliberately attempted "to avert rock'northward'scroll" while making the album. They listened to rapper Kendrick Lamar's 2015 anthology To Pimp a Butterfly during the recording sessions and cited it as an influence.[19] Discussing the album, Visconti said "We wound up with nothing like that, but we loved the fact that Kendrick was and so open-minded and he didn't do a straight-upward hip-hop record. He threw everything on there, and that's exactly what we wanted to exercise."[xx] Electronic duo Boards of Canada and experimental hip hop trio Death Grips accept also been cited as influences.[nineteen] [21] According to Pegg, another album Bowie listened to during the sessions was D'Angelo'southward Blackness Messiah (2014), which featured a fusion of soul, jazz and funk that was reminiscent of Bowie's work on "Sue (Or in a Season of Crime)".[20]

Music [edit]

A man holding a microphone and looking up, with a red stage light beaming down

The music on Blackstar has been characterised as incorporating art rock,[22] [23] jazz,[23] [24] experimental jazz,[25] [26] free jazz,[22] and experimental rock,[27] as well equally elements of industrial rock, folk-popular and hip hop.[28] Bryan Wawzenek of Ultimate Classic Rock writes that information technology was his most experimental album in years.[29] The saxophone was the first musical instrument Bowie learned; he was an avid jazz listener in his youth[30] [31] [32] and had occasionally worked with jazz musicians in the by.[b] The anthology's championship rail incorporates nu jazz[35] while progressing through a drum and bass–style rhythm, an acrid house–inspired portion of the instrumental, a saxophone solo, and a lower-tempo dejection-like section.[36] [37] 10 minutes in length, it originally began as ii separate melodies before being merged to i single piece.[5] [38] Andy Greene of Rolling Stone said that the re-recording of "'Tis a Pity She Was a Whore" was "powered past a hip hop beat and free-form sax",[5] unlike the original, which was described by Dalton as "a propulsive, roaring, heavily electronic wall of sound."[25] "Lazarus" is described by Pegg as "an intense, brooding threnody".[39] Although some critics felt the rail begins to elevate as it goes on,[27] [25] Pegg believes information technology's one of the album's "nigh luminous moments".[39] Although the original version of "Sue (Or in a Season of Criminal offense)" featured brass-heavy instrumentation and a bebop-jazz arrangement, Stephen Dalton of Archetype Rock magazine writes that the re-recorded version "feels sharper, denser and heavier", with added funk rock guitar lines and "percussive shudders".[25] "Girl Loves Me" features synthesisers, "acrobatic" drumming, strings and "bouncing" bass.[27] [forty] "Dollar Days", the 6th rail, contains a sax solo and an arrangement that Dalton considers reminiscent of Bowie's piece of work on Young Americans (1975).[25] Biographer Chris O'Leary believes "Dollar Days" has "the lushest arrangement" on the album.[41] In the final rail, "I Can't Requite Everything Away", Bowie plays a harmonica solo similar to ane from his instrumental track "A New Career in a New Town" off his 1977 album Low.[42]

Lyrics [edit]

Billboard and CNN wrote that Bowie'south lyrics seem to address his impending expiry,[43] [44] with CNN noting that the album "reveals a human being who appears to be grappling with his ain mortality".[43] The title track features the lyrics: "Something happened on the day he died / Spirit rose a metre and stepped aside / somebody else took his identify, and bravely cried, 'I'yard a blackstar, I'grand a blackstar'"; Jesse Kinos-Goodin of CBC Music felt these lyrics represented Bowie reflecting on his life and impending decease.[22] "Lazarus" features the lines "Look upward here, I'm in sky / I've got scars that can't be seen", which appeared in many publications following Bowie's death on ten January.[45] "Daughter Loves Me" was notable for its inclusion of Nadsat, a fictional language created past Anthony Burgess for his 1962 novel A Clockwork Orange, where information technology was used very often.[46] It also included Polari, a type of slang used commonly in England past homosexual men during the mid-20th century.[5] The refrain, the explicit "Where the fuck did Monday go?", was interpreted by Pegg as the kind of desperation from a man who knows his time is running out.[xl] "Dollar Days" contains the lyrics "don't believe for just one second I'one thousand forgetting you — I'm trying to, I'm dying to/as well", which Pegg and O'Leary note is a very dark pun.[41] [47] "I Can't Requite Everything Abroad" contains the line "Seeing more and feeling less / Saying no merely pregnant yeah / This is all I e'er meant / That's the message that I sent", which led Neil McCormick of The Daily Telegraph to think of the song as a point where "Bowie sounds like he is grappling with his ain mystery."[48]

Artwork and packaging [edit]

The artwork for Blackstar was designed by Jonathan Barnbrook, who filled the same role on Infidel (2002), Reality (2003) and The Next Mean solar day. The cover's star prototype is credited to NASA in the CD booklet.[3] The five star segments below the master star grade the word "BOWIE" in stylised letters.[49] The vinyl cover, in black, features the star as a cutout, revealing the record (with an all-black pic characterization) beneath. With the tape removed, the black paper behind the cutout reveals a hidden pic of a starfield when the foldout sleeve is held upward to a lite source. Information technology took more than than four months for fans to discover the result. The designer claimed there were many other surprises subconscious in the LP's artwork.[fifty] [51] Music journalists noted that a "black star lesion," unremarkably constitute within a breast, suggests to medical practitioners evidence of certain types of cancer.[52] [53] The sleeve is the first and only Bowie sleeve to not feature an image of the artist himself.[54] After Bowie's death, Barnbrook released the Blackstar design elements nether a Creative Eatables NonCommercial-ShareAlike license.[55]

Release [edit]

The title track was released as the album's lead single on 19 Nov 2015[56] and used equally the opening music for the television series The Last Panthers.[57] Originally over 11 minutes in length, Bowie and Visconti shortened it to 9:57 after finding out that iTunes will not post digital singles for individual sale that exceeded 10 minutes. Although Visconti believed this policy was "full bullshit", Bowie was insistent on releasing it equally a single, and didn't desire both anthology and unmarried versions, since that "gets confusing".[five] [58] The music video for "Blackstar", shot in September 2015 in a studio in Brooklyn,[59] is a surreal ten-infinitesimal brusque film directed by Johan Renck (the director of The Last Panthers). Information technology depicts a woman with a tail, played by Elisa Lasowski,[threescore] discovering a dead astronaut and taking his jewel-encrusted skull to an ancient, otherworldly town. The astronaut'due south bones float toward a solar eclipse, while a circle of women perform a ritual with the skull in the town's centre.[61] The short film won the honour for All-time Art Management at the 2016 MTV Video Music Awards.[62]

The second single, "Lazarus", was released on 17 December 2015 as a digital download, and received its world premiere on BBC Radio 6 Music'southward Steve Lamacq Bear witness the same day.[63] A music video for "Lazarus", shot in Nov 2015 in a studio in Brooklyn and again directed by Renck,[64] was released on 7 January 2016, the day earlier the album'southward release. It prominently features Bowie, appearing with a bandage and buttons sewn over his eyes, lying on a deathbed.[22] The video was nominated for three awards: All-time Direction, All-time Cinematography and Best Editing, at the 2016 MTV Video Music Awards.[65]

Blackstar was released on 8 January 2016, coinciding with Bowie'south 69th birthday, through his ISO label, Columbia Records and Sony Music.[66] [67] [68] Two days afterwards on x January, Bowie died of liver cancer; his illness had not been revealed to the public until then. Visconti described the album as Bowie's intended swan song and a "parting souvenir" for his fans before his death.[2] Within days of the anthology's release, online retailer Amazon.com temporarily sold out of both the CD and LP editions.[69] The third and final single, "I Can't Requite Everything Away", was released posthumously on 6 Apr 2016.[seventy]

An EP, No Plan, was released on 8 Jan 2017, which would accept been Bowie'due south 70th altogether.[71] Autonomously from "Lazarus", the EP includes 3 songs, "No Programme", "Killing a Little Time" and "When I Met You", that were recorded during the Blackstar sessions, but were left off the anthology and subsequently appeared on the soundtrack anthology for the Lazarus musical in October 2016.[71] [72] In 2018, Jon Culshaw played Bowie in the BBC radio play The Last Take: Bowie in the Studio, an imagined account of Bowie as he works on the album and looks dorsum over his life.[73]

Critical reception [edit]

Professional ratings
Aggregate scores
Source Rating
AnyDecentMusic? eight.four/10[74]
Metacritic 87/100[75]
Review scores
Source Rating
AllMusic [76]
The A.V. Club A−[77]
The Daily Telegraph [48]
Entertainment Weekly A−[78]
The Guardian [79]
The Independent [lxxx]
NME 4/5[81]
Pitchfork 8.5/10[82]
Rolling Stone [83]
Spin 7/10[84]

Blackstar was acclaimed by music critics and fans. On Metacritic, the album has an average score of 87 out of 100 based on 43 reviews, indicating "universal acclaim".[75] Rolling Rock critic David Fricke called Blackstar "a ricochet of textural eccentricity and pictorial-shrapnel writing".[83] Andy Gill of The Independent regarded the tape as "the most extreme album of [Bowie's] entire career", stating that "Blackstar is every bit far every bit he'southward strayed from pop."[lxxx] Jon Pareles of The New York Times described the album as "at once emotive and ambiguous, structured and spontaneous and, to a higher place all, willful, refusing to cater to the expectations of radio stations or fans".[85] The Daily Telegraph 's Neil McCormick hailed Blackstar equally an "extraordinary" album which "suggests that, like a mod mean solar day Lazarus of pop, Bowie is well and truly dorsum from beyond."[48] Alexis Petridis of The Guardian praised the album, calling it "a rich, deep and strange anthology that feels like Bowie moving restlessly forward, his optics stock-still ahead: the position in which he's always fabricated his greatest music."[79] In a favourable review for Exclaim!, Michael Rancic wrote that Blackstar is "a defining statement from someone who isn't interested in living in the past, but rather, for the outset time in a while, waiting for everyone else to catch up".[86]

Reviewing for Q magazine, Tom Doyle wrote, "Blackstar is a more curtailed statement than The Side by side Day and a far, far more intriguing one."[23] NME critic Sam Richards stated that Bowie had maintained his "formidable record of reinventing himself" on a "busy, bewildering and occasionally beautiful tape", calculation that "i of the few certainties nosotros can take from this restless, relentlessly intriguing album is that David Bowie is positively allergic to the idea of heritage rock."[81] Chris Gerard of PopMatters called the anthology "singular in its unique sound and vibe," describing information technology every bit "trippy and majestic head-music spun from moonage daydreams and made for gliding in and out of life."[87] Leah Greenblatt of Entertainment Weekly considered the album Bowie's best piece of work in years. In a review published before his death, Greenblatt felt the album contained enough themes and imagery that could "probably be dissected for days or even weeks."[78] In a review before Bowie'southward expiry, Ryan Dombal of Pitchfork wrote: "This tortured immortality is no gimmick: Bowie will alive on long after the man has died. For at present, though, he'south making the most of his latest reawakening, calculation to the myth while the myth is his to hold."[82]

Barry Walters of NPR, reviewing the album the day after Bowie'southward expiry, believed the album "resonates precisely because it favors emotion over meaning." Walters felt that the album is "so startling" considering it reminded listeners that even though Bowie was long past his gilt years, information technology is most equally if he never left them. He concluded the review stating "even while staring downwardly death, [he] reversed his claim on "Station to Station" so many years ago: It'due south never also late to be grateful."[88] Writing for The A.5. Lodge, which chose information technology as the all-time anthology of 2016, Sean O'Neal described Blackstar as "a sonically audacious album that proves Bowie was ever i step ahead—where he'll at present remain in perpetuity."[89] Sandra Sperounes of the Edmonton Journal stated that Bowie kept true to the creative argument "An artist must exist willing to embrace failure equally one stride to evolving what it is he does. Yous have to be able to fail to take it – otherwise you lot're not going to go anywhere. With Blackstar, he kept true to this creative argument until his body failed. Nosotros have to accept information technology – the Starman is at present returning to the heavens in a higher place. We tin can't begin to thank yous plenty for all your gifts."[90]

Following Bowie'due south expiry, Bryan Wawzenek of Ultimate Classic Stone ranked Blackstar as Bowie's twelfth-greatest album, describing it every bit a throwback to his Berlin Trilogy. Although he felt it wasn't every bit "accessible" as The Next Day, he considered information technology a "smashing companion piece" and "a fitting end to i of rock'due south nigh influential careers."[29] In 2018, Issue of Sound ranked the album as Bowie'southward eighth-greatest, writing: "This is one of Bowie's most dynamic outings and a courageous triggering of a 2d creative current of air." Praising the experimental nature and lyrics, staff writer Lior Phillips concluded "Information technology'due south a startling reminder that the only way Bowie can transcend 49 years of artistry is past detaching from the Superstar he had become and transform into a new thing altogether."[91] The album was also included in the 2018 edition of Robert Dimery'due south book 1001 Albums You Must Hear Before You Die.[92] Pitchfork later listed the album as one of the greatest albums of the 2010s decade, calling information technology "a magnificent farewell to his audience."[93]

Accolades [edit]

Blackstar was named one of the best albums of 2016 by numerous publications.[94] The anthology was nominated for the Top Rock Album award at the 2016 Billboard Music Awards,[95] only ultimately lost to Blurryface by Xx One Pilots.[96] At the stop of 2016, Blackstar appeared on a number of critics' lists ranking the year'due south tiptop albums. According to Metacritic, it was the most prominently ranked record of 2016.[97] [98] At the 59th Annual Grammy Awards in 2017, the album won awards for All-time Culling Music Anthology, Best Recording Parcel and Best Engineered Album, Non-Classical.[99] In add-on, the championship track won both Best Rock Song and Best Rock Performance.[99] Blackstar was later named equally i of the greatest albums of the 2010s decade past numerous publications, including Billboard,[100] Consequence of Sound,[101] NME,[102] Pitchfork,[93] Rolling Rock,[103] Slant Magazine [104] and Stereogum.[105] Based on Blackstar 'south appearances in professional rankings and listings, the aggregate website Acclaimed Music lists information technology as the most acclaimed album of 2016, the quaternary-most-acclaimed anthology of the 2010s and the 72nd-most-acclaimed album in history.[106]

Commercial performance [edit]

Blackstar was already on course to debut at number one on the Great britain Albums Chart prior to the proclamation of Bowie'southward death on x January 2016, according to the Official Charts Company.[124] The album debuted at number one subsequently selling 146,000 copies in the first week[125] (a week that saw four other Bowie albums in the Top 10 and a farther seven in the Acme 40, the latter equalling Elvis Presley'due south chart record)[126] and became his tenth number i album in the United kingdom.[127] The album remained three weeks at number one,[128] falling to number ii backside another Bowie album, the compilation Best of Bowie (2002), which became the first ever album to get to number one in the UK because of streaming.[128] Equally of Jan 2018, the anthology has sold 446,000 copies in the Great britain.[129] Bowie was the biggest-selling vinyl creative person of 2016 in the UK, with five albums in the vinyl Top 30, including Blackstar as the number one vinyl album of the year. It sold twice as many copies as the previous year's winner, Adele's 25.[130]

In the Usa, the album debuted at number one on the United states of america Billboard 200 chart, moving 181,000 copies in its first week.[131] Its number one debut was previously predictable past Billboard,[132] though its full sales exceeded expectations by 51,000 copies.[133] The album topped the iTunes chart following Bowie'south death, with Best of Bowie (2002) placing second.[133] [134] It was Bowie's starting time number 1 in the US and best weekly sales figure.[135] [136] It was the 14th-best-selling anthology in the US in 2016, with 448,000 copies sold that year.[137] Later news of his death, some music stores in both the United states and UK sold out of copies.[138] [139] The album besides peaked at number 1 in 24 countries, number ii in Greece[140] and United mexican states,[141] number four in Hungary,[142] and number v in Japan.[143] It has since been certified Gold in Germany, New Zealand, Portugal, Kingdom of spain, Sweden and the US, certified Platinum in Australia, Republic of austria, Belgium, Canada, Kingdom of denmark, France, Italia, Poland, Switzerland and the Uk, and 2x Platinum in kingdom of the netherlands. According to the International Federation of the Phonographic Industry (IFPI), it was the fifth-acknowledged album of the yr, worldwide.[144] Information technology has sold more ane,900,000 copies every bit of April 2017.[145]

Track listing [edit]

All tracks are written by David Bowie, except where noted.

Blackstar runway listing
No. Title Writer(s) Length
one. "Blackstar" 9:57
two. "'Tis a Compassion She Was a Whore" 4:52
3. "Lazarus" half-dozen:22
4. "Sue (Or in a Season of Crime)" music past Bowie, Maria Schneider, Paul Bateman and Bob Bhamra four:twoscore
five. "Girl Loves Me" four:52
six. "Dollar Days" 4:44
vii. "I Tin't Requite Everything Away" v:47
Full length: 41:14
Download release bonus content
No. Championship Length
eight. "Blackstar" (video) 10:00
Total length: 51:14

"Sue (Or in a Season of Law-breaking)" contains elements from "Brand New Heavy" by Plastic Soul, written past Bateman and Bhamra. The latter's surname is consistently misspelled every bit "Bharma" in the album's liner notes.[3]

Personnel [edit]

Personnel adapted from Blackstar liner notes.[3]

Charts [edit]

Certifications [edit]

Release history [edit]

Notes [edit]

  1. ^ Bowie had previously provided uncredited guest vocals on the championship runway of Reflektor.[15] [sixteen]
  2. ^ Drummer Joey Baron played on Outside (1995) and trumpeter Lester Bowie had a brief solo on "Leap They Say" (1993).[33] [34]

References [edit]

  1. ^ ★ Blackstar – CD, David Bowie & Creative person Arena, archived from the original on 28 February 2016, ★ (pronounced "Blackstar")
  2. ^ a b Furness, Hannah (xiii January 2016). "David Bowie's terminal release, Lazarus, was 'parting gift' for fans in carefully planned finale". The Daily Telegraph. Archived from the original on 25 March 2016. Retrieved 23 April 2018.
  3. ^ a b c d Blackstar (anthology liner notes). David Bowie. ISO Records. 2016. 88875173862. {{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
  4. ^ Fusilli, Jim (5 January 2016). "'Blackstar' Review: Ziggy Stardust Plays Jazz". The Wall Street Periodical. Archived from the original on vi January 2016. Retrieved 6 January 2016.
  5. ^ a b c d e f Greene, Andy (23 November 2015). "The Inside Story of David Bowie's Stunning New Album, 'Blackstar'". Rolling Stone. Archived from the original on 22 December 2016. Retrieved 26 December 2016.
  6. ^ "David Bowie's New Album Blackstar, Featuring 'Lazarus' Rails, Out Today". Broadway World. 8 January 2016. Archived from the original on 25 January 2016. Retrieved 18 Jan 2016.
  7. ^ King, Jimmy (24 October 2015). "David Bowie Confirms New Album Blackstar Coming in Jan". Pitchfork. Archived from the original on 27 October 2015. Retrieved 26 October 2015.
  8. ^ Hendicott, James (24 October 2015). "Details of David Bowie'due south 25th album 'Blackstar' revealed". NME. Archived from the original on 25 October 2015. Retrieved 26 October 2015.
  9. ^ a b Pegg 2016, pp. 471–472.
  10. ^ Pegg 2016, pp. 269–271.
  11. ^ Greene, Andy (4 December 2015). "David Bowie Keyboardist Jason Lindner on Making of 'Blackstar'". Rolling Stone. Archived from the original on 12 January 2021. Retrieved eleven January 2021.
  12. ^ a b c Pegg 2016, p. 472.
  13. ^ Pegg 2016, pp. 472–473.
  14. ^ Coscarelli, Joe; Paulson, Michael (10 Jan 2016). "David Bowie Immune His Fine art to Evangelize a Last Message". The New York Times. Archived from the original on fifteen Jan 2016. Retrieved 12 January 2016.
  15. ^ Jenn, Pelly (9 September 2013). "David Bowie Confirms Arcade Fire "Reflektor" Collaboration". Pitchfork . Retrieved 22 February 2022.
  16. ^ Coulehan, Erin (10 September 2013). "David Bowie Sang on Arcade Burn down'due south 'Reflektor'". Rolling Stone . Retrieved 22 February 2022.
  17. ^ Pegg 2016, p. 473.
  18. ^ Pegg 2016, pp. 473–474.
  19. ^ a b "New David Bowie album, inspired by Kendrick Lamar, features LCD's James Irish potato". The Guardian. 24 Nov 2015. Archived from the original on 14 September 2016. Retrieved 10 January 2016.
  20. ^ a b c Pegg 2016, p. 471.
  21. ^ Britton, Luke Morgan (26 November 2015). "David Bowie's new album 'Blackstar' inspired by rap group Decease Grips". NME. Archived from the original on 2 September 2016. Retrieved 23 April 2018.
  22. ^ a b c d Kinos-Goodin, Jesse (10 Jan 2016). "David Bowie gains immortality with Lazarus, the boldest character of his career". Canadian Dissemination Corporation. Archived from the original on xiv February 2019. Retrieved 19 January 2016.
  23. ^ a b c Doyle, Tom (Jan 2016). "David Bowie: "Blackstar"". Q (354).
  24. ^ McCormick, Neil (8 Jan 2016). "David Bowie, Blackstar, review: 'extraordinary'". The Telegraph. Archived from the original on 24 April 2018. Retrieved 23 April 2018.
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Sources [edit]

  • O'Leary, Chris (2019). Ashes to Ashes: The Songs of David Bowie 1976–2018. London: Repeater Books. ISBN978-1-91224-836-0.
  • Pegg, Nicholas (2016). The Complete David Bowie (Revised and Updated ed.). London: Titan Books. ISBN978-ane-78565-365-0.

External links [edit]

  • Blackstar at Discogs (listing of releases)
  • Blackstar at MusicBrainz (listing of releases)

fosterconven.blogspot.com

Source: https://en.wikipedia.org/wiki/Blackstar_(album)

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