Station to Station

Station to Station is the tenth studio album by English musician David Bowie, released by RCA Records in 1976. Commonly regarded as one of his most significant works, Station to Station was the vehicle for his last great character, The Thin White Duke. The album was recorded after he completed shooting Nicolas Roeg's The Man Who Fell to Earth, and the cover artwork featured a still from the movie. During the sessions Bowie was heavily dependent on drugs, especially cocaine, and recalls almost nothing of the production.[1] [2]

Musically, Station to Station was a transitional album for Bowie, developing the funk and soul music of his previous release, Young Americans, while presenting a new direction towards synthesisers and motorik rhythms that was influenced by German electronic bands such as Kraftwerk and [http://en.wikipedia.org/wiki/Neu! Neu!]. This trend culminated in some of his most acclaimed work, the so-called 'Berlin Trilogy', recorded with Brian Eno in 1977–79. Bowie himself has said that Station to Station was "a plea to come back to Europe for me".[2]  The album’s lyrics reflected his preoccupations with Nietzsche, Aleister Crowley, mythology and religion.

With its blend of funk and Krautrock, romantic balladry and occultism, Station to Station has been described as "simultaneously one of Bowie's most accessible albums and his most impenetrable".[3]  Preceded by the single "Golden Years", it made the top five in both the UK and US charts. In 2003, the album was ranked No. 323 on Rolling Stone magazine's list of the 500 greatest albums of all time.



Contents
[hide]  *1 Background  ==Background[ edit] == According to biographer David Buckley, the Los Angeles-based David Bowie, fuelled by an "astronomic" cocaine habit and subsisting on a diet of peppers and milk, spent much of 1975–76 "in a state of psychic terror".[1]  Stories—mostly from one interview, pieces of which found their way into Playboy and Rolling Stone—circulated of the singer living in a house full of ancient-Egyptian artefacts, burning black candles, seeing bodies fall past his window, having his semen stolen by witches, receiving secret messages from The Rolling Stones, and living in morbid fear of fellowAleister Crowley aficionado Jimmy Page.[2]  Bowie would later say of L.A., "The fucking place should be wiped off the face of the earth".[4]
 * 2 Production
 * 3 Style and themes
 * 4 Singles and unreleased tracks
 * 5 Release and reception
 * 6 Aftermath
 * 7 Legacy
 * 8 Track listing
 * 8.1 Side one
 * 8.2 Side two
 * 8.3 CD releases
 * 8.3.1 1991 reissue bonus tracks
 * 8.4 2010 reissues
 * 8.4.1 Special edition and digital download
 * 8.4.2 Deluxe edition
 * 9 Personnel
 * 9.1 Musicians
 * 9.2 Production
 * 10 Charts
 * 10.1 Peak positions
 * 10.2 Year-end charts
 * 10.3 Certifications
 * 11 Notes
 * 12 References

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:inherit;">It was on the set of his first major film, The Man Who Fell to Earth, that Bowie began writing a pseudo-autobiography called The Return of the Thin White Duke.<sup class="reference" id="cite_ref-MOJO_60_Years_of_Bowie_5-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[5]  He was also composing music on the understanding that he was to provide the picture's soundtrack, though this would not come to fruition. (At Bowie's recommendation, John Phillips of the Mamas and the Papas would write and produce all the original music for the film instead.)<sup class="reference" id="cite_ref-6" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[6]  Director Nicolas Roeg warned the star that the part of Thomas Jerome Newton would likely remain with him for some time after production completed. With Roeg's agreement, Bowie developed his own look for the film, and this carried through to his public image and onto two album covers over the next twelve months, as did Newton's air of fragility and aloofness.<sup class="reference" id="cite_ref-7" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[7]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:inherit;">The Thin White Duke became the mouthpiece for Station to Station and, as often as not during the next six months, for Bowie himself. Impeccably dressed in white shirt, black trousers and waistcoat, The Duke was a hollow man who sang songs of romance with an agonised intensity, yet felt nothing—"ice masquerading as fire".<sup class="reference" id="cite_ref-Bowie:_An_Illustrated_Record_3-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[3]  The persona has been described as "a mad aristocrat",<sup class="reference" id="cite_ref-Bowie:_An_Illustrated_Record_3-2" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[3]  "an amoral zombie",<sup class="reference" id="cite_ref-8" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[8]  and "an emotionless Aryan superman".<sup class="reference" id="cite_ref-The_Complete_David_Bowie_2-3" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[2]  For Bowie himself, The Duke was "a nasty character indeed".<sup class="reference" id="cite_ref-9" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[9] ==Production<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;font-family:sans-serif;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[ edit<span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] == <p style="margin-top:0.5em;line-height:inherit;">Station to Station was recorded in the autumn of 1975 at Cherokee Studios, Los Angeles. In 1981, NME editors Roy Carr and Charles Shaar Murray surmised that it was cut—"in 10 days of feverish activity"—when Bowie decided that there was no hope of his producing a soundtrack for The Man Who Fell to Earth.<sup class="reference" id="cite_ref-Bowie:_An_Illustrated_Record_3-3" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[3]  More recent scholarship contends that the album was recorded over a couple of months — with the sessions beginning in late September<sup class="reference" id="cite_ref-Sound_.2B_Vision_10-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[10]  or early October 1975<sup class="reference" id="cite_ref-The_Complete_David_Bowie_2-4" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[2]  and ending in late November<sup class="reference" id="cite_ref-Sound_.2B_Vision_10-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[10]  — so that it was in the can before Bowie began his abortive sessions on the soundtrack.<sup class="reference" id="cite_ref-11" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[11] <sup class="reference" id="cite_ref-12" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[12]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:inherit;">At various times to be titled The Return of The Thin White Duke,<sup class="reference" id="cite_ref-13" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[13]  or Golden Years,<sup class="reference" id="cite_ref-The_Complete_David_Bowie_2-5" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[2]  Station to Station was co-produced by Harry Maslin, Bowie's associate for "Fame" and "Across the Universe" on Young Americans. Tony Visconti, who after a three-year absence had recently returned to the Bowie fold mixing Diamond Dogs and co-producing David Live and Young Americans, was not involved due to competing schedules.<sup class="reference" id="cite_ref-14" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[14]  However, the recording did cement the band line-up that would see Bowie through the rest of the decade, with bassist George Murray joiningYoung Americans drummer Dennis Davis and rhythm guitarist Carlos Alomar.<sup class="reference" id="cite_ref-Bowie:_An_Illustrated_Record_3-4" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[3]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:inherit;">The recording process developed with this team set the pattern for Bowie's albums up to and including Scary Monsters (and Super Creeps) in 1980: backing tracks laid down by Murray, Davis and Alomar; saxophone, keyboard and lead guitar overdubs (here by Bowie, Roy Bittan and Earl Slick, respectively); lead vocals; and finally various production tricks to complete the song.<sup class="reference" id="cite_ref-Buckley_p.270_15-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[15] According to Bowie, "I got some quite extraordinary things out of Earl Slick. I think it captured his imagination to make noises on guitar, and textures, rather than playing the right notes."<sup class="reference" id="cite_ref-Sound_.2B_Vision_10-2" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[10]  Alomar recalled, "It was one of the most glorious albums that I've ever done ... We experimented so much on it".<sup class="reference" id="cite_ref-Buckley_p.270_15-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[15]  Harry Maslin added, "I loved those sessions because we were totally open and experimental in our approach".<sup class="reference" id="cite_ref-The_Complete_David_Bowie_2-6" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[2]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:inherit;">Bowie himself remembers almost nothing of the album's production, not even the studio, later admitting, "I know it was in LA because I've read it was".<sup class="reference" id="cite_ref-The_Complete_David_Bowie_2-7" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[2]  The singer was not alone in his use of cocaine during the sessions, Carlos Alomar commenting, "if there's a line of coke which is going to keep you awake till 8 a.m. so that you can do your guitar part, you do the line of coke ... the coke use is driven by the inspiration." Like Bowie, Earl Slick had somewhat vague memories of the recording: "That album's a little fuzzy—for the obvious reasons! We were in the studio and it was nuts—a lot of hours, a lot of late nights."<sup class="reference" id="cite_ref-16" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[16]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:inherit;">The sleeve front cover used a black and white still from The Man Who Fell to Earth, in which Bowie, as the character Thomas Jerome Newton, steps into the space capsule that will return him to his home planet.<sup class="reference" id="cite_ref-17" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[17]  Bowie had insisted on the cropped black and white image as he felt that in the original coloured full-size image the sky looked artificial.<sup class="reference" id="cite_ref-Bowie:_An_Illustrated_Record_3-5" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[3]  When Rykodisc reissued Bowie's catalogue in the early 1990s the colour version was used. The back cover showed Bowie sketching the Kabbalah Sephirot with chalk—something he had been doing on the set of the film.<sup class="reference" id="cite_ref-18" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[18] ==Style and themes<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;font-family:sans-serif;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[ edit<span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] == <p style="margin-top:0.5em;line-height:inherit;">Station to Station is often cited as a transitional album in Bowie's career. Nicholas Pegg, author of The Complete David Bowie, called it a "precise halfway point on the journey from Young Americans to Low",<sup class="reference" id="cite_ref-The_Complete_David_Bowie_2-8" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[2]  while for Roy Carr and Charles Shaar Murray, it "effectively divides the '70s for David Bowie. It ties off the era of Ziggy Stardust and plastic soul, and introduces the first taste of the new music that was to follow with 'Low'."<sup class="reference" id="cite_ref-Bowie:_An_Illustrated_Record_3-6" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[3]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:inherit;">In terms of Bowie's own output, Station to Station's Euro-centric flavour had its musical antecedents in tracks like "Aladdin Sane 1913-1938-197?" and "Time" (1973), while its funk/disco elements were a development of the soul/R&B sound of Young Americans (1975). More recently Bowie had begun to soak up the influence of German motorik and electronic music by bands like [http://en.wikipedia.org/wiki/Neu! Neu!], Canand Kraftwerk. Thematically the album revisited concepts dealt with in songs such as "The Supermen" from The Man Who Sold the World (1970) and "Quicksand" from Hunky Dory (1971):Nietzsche's 'Overman', the occultism of Aleister Crowley, Nazi fascination with Grail mythology, and the Kabbalah.<sup class="reference" id="cite_ref-The_Complete_David_Bowie_2-9" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[2] <sup class="reference" id="cite_ref-Bowie:_An_Illustrated_Record_3-7" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[3]  Pegg considered the album's theme to be a clash of "occultism and Christianity".<sup class="reference" id="cite_ref-The_Complete_David_Bowie_2-10" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[2]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:inherit;">The musical style of "Golden Years", the first track recorded for the album, built on the funk and soul of Young Americans but with a harsher, grinding edge. It has been described as carrying with it "an air of regret for missed opportunities and past pleasures".<sup class="reference" id="cite_ref-Bowie:_An_Illustrated_Record_3-8" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[3]  Bowie said that it was written for—and rejected by—Elvis Presley, while Bowie's wife at the time Angie claimed it was penned for her.<sup class="reference" id="cite_ref-Buckley_p.272.E2.80.93273_19-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[19]  Though a top ten single on both sides of the Atlantic, it was rarely performed live on the subsequent Station to Station tour.<sup class="reference" id="cite_ref-The_Complete_David_Bowie_pp.82.E2.80.9383_20-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[20]  "Stay" was another riff-driven funk piece, "recorded very much in our cocaine frenzy", according to Alomar.<sup class="reference" id="cite_ref-Buckley_p.272.E2.80.93273_19-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[19]  Its lyrics have been variously interpreted as reflecting on "the uncertainty of sexual conquest",<sup class="reference" id="cite_ref-Buckley_p.272.E2.80.93273_19-2" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[19]  and as an example of "the Duke's spurious romanticism".<sup class="reference" id="cite_ref-Bowie:_An_Illustrated_Record_3-9" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[3]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:inherit;">The Christian element of the album was most obvious in the hymn-like "Word on a Wing", though for some commentators religion, like love, was simply another way for the Duke to "test his numbness".<sup class="reference" id="cite_ref-Bowie:_An_Illustrated_Record_3-10" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[3]  Bowie himself has claimed that in this song, at least, "the passion is genuine".<sup class="reference" id="cite_ref-NME_4-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[4]  When performing it live in 1999, the singer described it as coming from "the darkest days of my life... I'm sure that it was a call for help".<sup class="reference" id="cite_ref-The_Complete_David_Bowie_pp.240.E2.80.93243_21-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[21]  The closing ballad, "Wild Is the Wind", was the album's sole cover, and has been praised as one of the finest vocal performances of Bowie's career.<sup class="reference" id="cite_ref-22" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[22]  Bowie was inspired to record the song after he met singer/pianist/songwriter Nina Simone, who sang it on the album Wild Is the Wind (1966).<sup class="reference" id="cite_ref-The_Complete_David_Bowie_pp.240.E2.80.93243_21-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[21]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:inherit;">The spectre of The Man Who Fell to Earth's Thomas Jerome Newton sprawled in front of dozens of television monitors is said to have partly inspired the album's most upbeat track, "TVC15".<sup class="reference" id="cite_ref-23" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[23] Supposedly also about Iggy Pop's girlfriend being eaten by a TV set,<sup class="reference" id="cite_ref-24" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[24]  it has been called "incongruously jolly" and "the most oblique tribute to The Yardbirds imaginable".<sup class="reference" id="cite_ref-Bowie:_An_Illustrated_Record_3-11" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[3]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:inherit;">The title track has been described as heralding "a new era of experimentalism" for Bowie.<sup class="reference" id="cite_ref-Buckley_p.275.E2.80.93277_25-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[25]  "Station to Station" was in two parts: a slow, portentous piano-driven march, introduced by the sound of an approaching train juxtaposed with Earl Slick's agitated guitar feedback, followed by an up-tempo rock/blues section. In 1999 Bowie told UNCUT magazine, "Since Station To Station the hybridization of R&B and electronics had been a goal of mine".<sup class="reference" id="cite_ref-Uncut_26-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[26]  Despite the noise of a train in the opening moments, Bowie claims that the title refers not so much to railway stations as to theStations of the Cross, while the line "From Kether to Malkuth" relates to mystical places in the Kabbalah, mixing Christian and Jewish allusions.<sup class="reference" id="cite_ref-The_Complete_David_Bowie_pp.205.E2.80.93206_27-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[27]  Fixation with the occult was further evident in such phrases as "white stains", the name of a book of poetry by Aleister Crowley.<sup class="reference" id="cite_ref-28" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[28]  The lyrics also gave notice of Bowie's recent drug use ("It's not the side effects of the cocaine / I'm thinking that it must be love").<sup class="reference" id="cite_ref-29" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[29]  With its Krautrock influence, it was the album's clearest foretaste of Bowie's subsequent 'Berlin Trilogy'.<sup class="reference" id="cite_ref-Buckley_p.275.E2.80.93277_25-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[25] <sup class="reference" id="cite_ref-The_Complete_David_Bowie_pp.205.E2.80.93206_27-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[27]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:inherit;">Speaking to Creem magazine in 1977, Bowie proclaimed that Station to Station was "devoid of spirit ... Even the love songs are detached, but I think it's fascinating."<sup class="reference" id="cite_ref-Buckley_p.275.E2.80.93277_25-2" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[25] ==Singles and unreleased tracks<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;font-family:sans-serif;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[ edit<span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] == <p style="margin-top:0.5em;line-height:inherit;">Every song on Station to Station, with the exception of the title track, eventually appeared on a single. "Golden Years" was released in November 1975, two months before the album. Bowie allegedly got drunk to perform it on TV for the American show Soul Train,<sup class="reference" id="cite_ref-30" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[30]  resulting in the film clip seen on music video programmes.<sup class="reference" id="cite_ref-The_Complete_David_Bowie_pp.82.E2.80.9383_20-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[20]  It reached No. 8 in the UK and No. 10 in the US (where it charted for sixteen weeks) but, like "Rebel Rebel"'s relationship to Diamond Dogs (1974), was a somewhat unrepresentative teaser for the album to come.<sup class="reference" id="cite_ref-The_Complete_David_Bowie_pp.82.E2.80.9383_20-2" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[20]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:inherit;">"TVC15" was released in edited form as the second single in May 1976, reaching No. 33 in the UK and No. 64 stateside. "Stay", also shortened and appearing the same month, was issued as a companion 45 to RCA's Changesonebowie greatest hits collection, though it did not appear on the compilation (Changesonebowie was itself packaged as a uniform edition to Station to Station, featuring a black-and-white cover and similar lettering).<sup class="reference" id="cite_ref-31" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[31]  In November 1981, as Bowie's relationship with RCA was winding down, "Wild Is the Wind" was issued as a single to push theChangestwobowie compilation. Backed with "Word on a Wing" and accompanied by a video shot especially for the release, it made No. 24 in the UK and charted for ten weeks.<sup class="reference" id="cite_ref-32" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[32]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:inherit;">Another song purportedly recorded during the album sessions at Cherokee Studios, a cover of Bruce Springsteen's "It's Hard to Be a Saint in the City",<sup class="reference" id="cite_ref-Sound_.2B_Vision_10-3" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[10]  went unreleased at the time but was issued in 1990 on the Sound and Vision box set. Harry Maslin and Carlos Alomar have claimed that they never recorded the song during the Cherokee sessions, while Tony Visconti believes that the song most likely consisted of overdubs to a track originally cut at Olympic and Island Studios during the Diamond Dogs sessions, with Aynsley Dunbar on drums, Herbie Flowers on bass andMike Garson on keyboards.<sup class="reference" id="cite_ref-The_Complete_David_Bowie_2-11" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[2]  The song would later be re-released on The Best of David Bowie 1974/1979. ==Release and reception<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;font-family:sans-serif;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[ edit<span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] == <p style="margin-top:0.5em;line-height:inherit;">Station to Station was released in January 1976. Billboard considered that Bowie had "found his musical niche" following songs like "Fame" and "Golden Years" but that "the 10-minute title cut drags". NME called it "one of the most significant albums released in the last five years". Both found the meaning of the lyrics difficult to fathom.<sup class="reference" id="cite_ref-The_Complete_David_Bowie_2-12" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[2]  In his consumer guide for The Village Voice, critic Robert Christgau gave the album an A rating,<sup class="reference" id="cite_ref-Christgau_34-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[34] indicating "a great record both of whose sides offer enduring pleasure and surprise. You should own it".<sup class="reference" id="cite_ref-42" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[42]  Christgau wrote that Bowie "can merge Lou Reed, disco, and Huey Smith" and found the album a progression from his previous albums, stating "Miraculously, Bowie's attraction to black music has matured; even more miraculously, the new relationship seems to have left his hard-and-heavy side untouched".<sup class="reference" id="cite_ref-Christgau_34-2" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[34]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:inherit;">Rolling Stone writer Teri Moris applauded the album's 'rockier' moments but discerned a move away from the genre, finding it "the thoughtfully professional effort of a style-conscious artist whose ability to write and perform demanding rock & roll exists comfortably alongside his fascination for diverse forms ... while there's little doubt about his skill, one wonders how long he'll continue wrestling with rock at all."<sup class="reference" id="cite_ref-Moris_39-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[39]  Circus, noting that Bowie was "never one to maintain continuity in his work or in his life", declared that Station to Station "offers cryptic, expressionistic glimpses that let us feel the contours and palpitations of the masquer's soul but never fully reveal his face." The review also found various allusions to earlier Bowie efforts, such as the "density" of The Man Who Sold the World, the "pop feel" of Hunky Dory, the "dissonance and angst" of Aladdin Sane, the "compelling percussion" of Young Americans, and the "youthful mysticism" of "Wild Eyed Boy from Freecloud", concluding that "it shows Bowie pulling out on the most challenging leg of his winding journey".<sup class="reference" id="cite_ref-circus_review_43-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[43]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:inherit;">Station to Station was Bowie's highest-charting album in the US until 2013's The Next Day, reaching No. 3 and remaining for 32 weeks.<sup class="reference" id="cite_ref-Buckley_pp.623.E2.80.93624_44-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[44] <sup class="reference" id="cite_ref-45" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[45]  It was certified gold by the RIAA on 26 February 1976.<sup class="reference" id="cite_ref-RIAA_46-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[46]  In the UK, it charted for seventeen weeks, peaking at No. 5, the last time one of his studio albums placed lower in his home country than in America.<sup class="reference" id="cite_ref-Buckley_pp.623.E2.80.93624_44-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[44] ==Aftermath<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;font-family:sans-serif;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[ edit<span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] == <p style="margin-top:0.5em;line-height:inherit;">With the Station to Station sessions completed in December 1975, Bowie started work on a soundtrack for The Man Who Fell to Earth with Paul Buckmaster as his collaborator.<sup class="reference" id="cite_ref-The_Complete_David_Bowie_2-13" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[2]  Bowie expected to be wholly responsible for the film's music but found that "when I'd finished five or six pieces, I was then told that if I would care to submit my music along with some other people's... and I just said "Shit, you're not getting any of it". I was so furious, I'd put so much work into it."<sup class="reference" id="cite_ref-NME_4-2" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[4]  Notwithstanding, Harry Maslin argued that Bowie was "burned out" and couldn't complete the work in any case. The singer eventually collapsed, admitting later, "There were pieces of me laying all over the floor".<sup class="reference" id="cite_ref-The_Complete_David_Bowie_2-14" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[2]  In the event, only one instrumental composed for the soundtrack saw the light of day, evolving into "Subterraneans" on his next studio album, Low.<sup class="reference" id="cite_ref-NME_4-3" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[4]

Bowie, as his persona of The Thin White Duke, on stage during 1976 in Toronto.<p style="margin-top:0.5em;line-height:inherit;">After abandoning the soundtrack album, Bowie went on tour in support of Station to Station, commencing 2 February 1976 and completing on 18 May 1976.<sup class="reference" id="cite_ref-The_Complete_David_Bowie_2-15" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[2]  Kraftwerk's "Radioactivity" was employed as an overture to the shows, accompanying footage from Luis Buñuel's and Salvador Dalí'ssurrealist film Un Chien Andalou.<sup class="reference" id="cite_ref-Strange_Fascination_pp.281.E2.80.93286_47-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[47]  The staging featured Bowie, dressed in The Duke's habitual black waistcoat and trousers, a pack of Gitanesplaced ostentatiously in his pocket, moving stiffly among "curtains of white light",<sup class="reference" id="cite_ref-Bowie:_An_Illustrated_Record_3-12" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[3]  an effect that spawned the nickname 'the White Light Tour'.<sup class="reference" id="cite_ref-Strange_Fascination_pp.281.E2.80.93286_47-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[47]  In 1989 Bowie reflected, "I wanted to go back to a kind of Expressionist German-film look... and the lighting of, say, Fritz Lang or Pabst. A black-and-white movies look, but with an intensity that was sort of aggressive. I think for me, personally, theatrically, that was the most successful tour I’ve ever done."<sup class="reference" id="cite_ref-Sound_.2B_Vision_10-4" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[10]  The Station to Station tour was the source of one of the artist's best-known bootlegs, culled from an FM radio broadcast of his 23 March 1976 concert at Nassau Coliseum.<sup class="reference" id="cite_ref-Strange_Fascination_pp.281.E2.80.93286_47-2" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[47]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:inherit;">Bowie drew criticism during the tour for his alleged pro-fascist views. In a 1974 interview he had declared, "Adolf Hitler was one of the first rock stars... quite as good as Jagger... He staged a country",<sup class="reference" id="cite_ref-Buckley_pp.289.E2.80.93291_48-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[48]  but managed to avoid condemnation. On the Station to Station tour, however, a series of incidents attracted publicity, starting in April 1976 with his detention by customs in Eastern Europe for possession of Nazi memorabilia. The same month he was quoted in Stockholm as saying that "Britain could benefit from a Fascist leader".<sup class="reference" id="cite_ref-Buckley_pp.289.E2.80.93291_48-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[48]  Bowie would blame his addictions and the persona of The Thin White Duke for his lapses in judgment.<sup class="reference" id="cite_ref-49" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[49]  The controversy culminated on 2 May 1976, shortly before the tour completed, in the so-called 'Victoria Station incident' in London, when Bowie arrived in an open-top Mercedesconvertible and apparently gave a Nazi salute to the crowd that was captured on film and published in NME. Bowie claimed that the photographer simply caught him in mid-wave,<sup class="reference" id="cite_ref-MOJO_60_Years_of_Bowie_2_50-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[50]  a contention backed by a young Gary Numan who was among the throng that day: "Think about it. If a photographer takes a whole motor-driven film of someone doing a wave, you will get a Nazi salute at the end of each arm-sweep. All you need is some dickhead at a music paper or whatever to make an issue out it ..."<sup class="reference" id="cite_ref-Buckley_pp.289.E2.80.93291_48-2" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[48]  The stigma remained, however, to the extent that the lines "To be insulted by these fascists/It's so degrading" from Scary Monsters' opening track "It's No Game", four years later, were interpreted as an attempt to bury the incident once and for all.<sup class="reference" id="cite_ref-51" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[51] ==Legacy<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;font-family:sans-serif;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[ edit<span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] == <p style="margin-top:0.5em;line-height:inherit;">Station to Station was a milestone in Bowie's transition to his late-1970s 'Berlin Trilogy'. Bowie himself has said of the album, "As far as the music goes, Low and its siblings were a direct follow-on from the title track",<sup class="reference" id="cite_ref-The_Complete_David_Bowie_pp.205.E2.80.93206_27-2" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[27]  while Brian Eno opined that Low was "very much a continuation from Station to Station".<sup class="reference" id="cite_ref-Low_52-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[52]  It has also been described as "enormously influential on post-punk".<sup class="reference" id="cite_ref-Allmusic_53-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[53]  Roy Carrand Charles Shaar Murray wrote in 1981, "If Low was Gary Numan's Bowie album, then Station to Station was Magazine's."<sup class="reference" id="cite_ref-Bowie:_An_Illustrated_Record_3-13" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[3]  However, Stylus declared in 2004 that "just as few had anticipated Bowie’s approach, few copied it ... for the most part this is an orphaned, abandoned style".<sup class="reference" id="cite_ref-Stylus_54-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[54]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:inherit;">More than twenty years after its release, Bowie considered both Station to Station and Low "great, damn good" albums, but due to his disconnected state during its recording, listened to Station to Station "as a piece of work by an entirely different person".<sup class="reference" id="cite_ref-Q97X_55-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[55]  He elaborated: <p style="margin-top:0.5em;line-height:inherit;">In 1999, music biographer David Buckley described Station to Station as a "masterpiece of invention" that "some critics would argue, perhaps unfashionably, is his finest record".<sup class="reference" id="cite_ref-56" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[56]  The same year, Eno called it "one of the great records of all time".<sup class="reference" id="cite_ref-Low_52-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[52]  In 2003, the album was ranked No. 323 on Rolling Stone magazine's list of the 500 greatest albums of all time.<sup class="reference" id="cite_ref-57" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[57]  A year later, The Observerranked the album No. 80 on its list of the 100 greatest British albums.<sup class="reference" id="cite_ref-Observer_58-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[58] ==Track listing<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;font-family:sans-serif;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[ edit<span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] == <p style="margin-top:0.5em;line-height:inherit;">All songs written by David Bowie, except where noted. ===Side one<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;font-family:sans-serif;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[ edit<span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] === ===Side two<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;font-family:sans-serif;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[ edit<span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] === ===CD releases<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;font-family:sans-serif;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[ edit<span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] === <p style="margin-top:0.5em;line-height:inherit;">The album has been re-released four times to date on CD, the first being in 1985 by RCA with the original black-and-white cover art, the second in 1991 by Rykodisc (containing two bonus tracks), the third in 1999 by EMI (featuring 24-bit digitally remastered sound and no bonus tracks), and finally in 2007 by EMI Japan replicating the original vinyl artwork. ====1991 reissue bonus tracks<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;font-family:sans-serif;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[ edit<span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] ==== <p style="margin-top:0.5em;line-height:inherit;">Recorded on 23 March 1976 at Nassau Coliseum, Uniondale, New York.<sup class="reference" id="cite_ref-StS1990_59-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[59]
 * 1) "Station to Station" – 10:14
 * 2) "Golden Years" – 4:00
 * 3) "Word on a Wing" – 6:03
 * 1) "TVC 15" – 5:33
 * 2) "Stay" – 6:15
 * 3) "Wild Is the Wind" (Ned Washington, Dimitri Tiomkin) – 6:02

===2010 reissues<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;font-family:sans-serif;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[ edit<span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] === <p style="margin-top:0.5em;line-height:inherit;">In 2009 it was announced that a deluxe edition would be released in 2010, including a Dolby 5.1 mix of the album and the entire 1976 Nassau Coliseum show on two CDs.<sup class="reference" id="cite_ref-test_60-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[60] <sup class="reference" id="cite_ref-BowieNet_61-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[61]  On 1 July 2010, Bowie's official website announced the contents of the reissues, to be released on 20 September that year.<sup class="reference" id="cite_ref-62" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[62] ====Special edition and digital download<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;font-family:sans-serif;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[ edit<span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] ==== <p style="margin-top:0.5em;line-height:inherit;">The special edition features three CDs in a special CD sized packaging, including a 16-page booklet and three photocards. The digital download edition includes the same audio content and a bonus track.
 * 1) "Word on a Wing" (Live) – 6:10
 * 2) "Stay" (Live) – 7:24

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:inherit;">CD 1: Station to Station 2010 transfer

<p style="margin-top:0.5em;line-height:inherit;">CD 2 & 3: Live Nassau Coliseum '76
 * 1) "Station to Station" – 10:11
 * 2) "Golden Years" – 4:02
 * 3) "Word on a Wing" – 6:01
 * 4) "TVC 15" – 5:31
 * 5) "Stay" – 6:12
 * 6) "Wild Is the Wind" – 6:02
 * 2010 transfer of Station to Station from the original stereo analogue master; CD in mini-LP-replica sleeve.

<p style="margin-top:0.5em;line-height:inherit;">Digital download bonus track
 * 1) "Station to Station" – 11:53
 * 2) "Suffragette City" – 3:31
 * 3) "Fame" – 4:02
 * 4) "Word on a Wing" – 6:06
 * 5) "Stay" – 7:25
 * 6) "I'm Waiting for the Man" – 6:20
 * 7) "Queen Bitch" – 3:12
 * 8) "Life on Mars?" – 2:13
 * 9) "Five Years" – 5:03
 * 10) "Panic in Detroit" (With most of drum solo edited out) – 6:03
 * 11) "Changes" (With band intro) – 4:11
 * 12) "TVC 15" – 4:58
 * 13) "Diamond Dogs" – 6:38
 * 14) "Rebel Rebel" – 4:07
 * 15) "The Jean Genie" – 7:28
 * Recorded live at the Nassau Coliseum, Uniondale, NY, US on 23 March 1976; CDs in gatefold wallet.

====Deluxe edition<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;font-family:sans-serif;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[ edit<span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] ==== <p style="margin-top:0.5em;line-height:inherit;">The deluxe edition features five CDs, one DVD and three 12" LPs in a sturdy box lined with studio-style acoustic foam reminiscent of the sleeve photo background. It also includes a 24-page booklet, a poster and two folders of replica collectible material.
 * 1) "Panic in Detroit" (Unedited alternative mix) – 13:09

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:inherit;">CD 1: Station to Station 2010 transfer

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:inherit;">CD 2: Station to Station 1985 CD master

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:inherit;">CD 3: Station to Station single edits five track EP

<p style="margin-top:0.5em;line-height:inherit;">CD 4 & 5: Live Nassau Coliseum '76
 * 1) "Golden Years"
 * 2) "TVC 15"
 * 3) "Stay"
 * 4) "Word on a Wing" (First time on CD)
 * 5) "Station to Station" (Previously unreleased version)

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:inherit;">DVD

<p style="margin-top:0.5em;line-height:inherit;">LP 1: Heavyweight 12" of Station to Station from the original stereo analogue master in replica sleeve
 * 1) Station to Station (Original analogue master, 96 kHz/24bit LPCM stereo)
 * 2) Station to Station (New Harry Maslin 5.1 surround sound mix in DTS 96/24 and Dolby Digital)
 * 3) Station to Station (Original analogue master, LPCM stereo)
 * 4) Station to Station (New Harry Maslin stereo mix, 48 kHz/24bit LPCM stereo)

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:inherit;">LP 2 & 3: Heavyweight 12"s of Live Nassau Coliseum '76 in gatefold sleeve

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:inherit;">24-page booklet including text and rare photographs

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:inherit;">David Bowie on Stage 1976 relplica collectibles folder (for example, a backstage pass)

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:inherit;">1976 Fan Club Folder replica collectibles folder (for example, two badges/pins)

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:inherit;">Fold-out Poster ==Personnel<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;font-family:sans-serif;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[ edit<span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] == ===Musicians<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;font-family:sans-serif;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[ edit<span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] === <p style="margin-top:0.5em;line-height:inherit;">CD 4 & 5: Live Nassau Coliseum '76
 * David Bowie – vocals, guitar, tenor and alto saxophone, Moog synthesiser, Mellotron
 * Carlos Alomar – guitar
 * Roy Bittan – piano
 * Dennis Davis – drums
 * George Murray – bass guitar
 * Warren Peace – backing vocals
 * Earl Slick – guitar
 * Musicians on

===Production<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;font-family:sans-serif;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[ edit<span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] === ==Charts<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;font-family:sans-serif;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[ edit<span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] == ===Certifications<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;font-family:sans-serif;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[ edit<span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] ===
 * David Bowie-vocals
 * Stacy Haydon-lead guitar,backing vocals
 * Carlos Alomar-rhythm guitar,backing vocals
 * George Murray-bass,backing vocals
 * Tony Kaye-keyboards,backing vocals
 * Dennis Davis-drums,percussion
 * David Bowie – producer
 * Harry Maslin – producer
 * Steve Shapiro –photography