Perfect read for any Bowie fan. Lots of insight into the songs behind the genius. Loved the format too

Excellent and concise description of Bowie works, following the first volume REBEL REBEL - a treasure trove of information!

Extremely comprehensive and informative, crammed full of (perhaps too much) information on all of Bowie's work from 1976 onwards.

In my opinion this book is only really useful for a total Bowie 'geek', but is a beautiful thing to have on your shelf and dip into as and when you need to know more about the album or track you are treating those Bowie loving eardrums to - a reference book that I will be using a lot!

Many thanks to Netgalley and the publisher for the opportunity to read and give my honest unbiased opinion of this book

I don't love it but that's my fault: i'm a big Bowie fan so I've read at least 3 different bios so...this doesn't show anything new to me. Not bas, good if is the first David Bowie bio, but not if you are a hardcore fan

Why was I interested in this book?
Like many people of a certain age, I was ensorceled by David Bowie as the Goblin King in Labyrinth (1987). My parents listened to the local rock/classic rock radio station, so I was familiar with Bowie’s hits, songs like “Space Oddity,” “Ziggy Stardust,” and “Changes.” But after Labyrinth, I became a fan. Never Let Me Down (1987) was one of the first albums I bought on my own. I lucked out; starting in the 90s Rykodisc started releasing his back catalog.

What Worked
Ashes to Ashes is an incredibly comprehensive look at David Bowie’s works from 1976 (the album Low, one of my favorites) to the end of his career (2016’s Blackstar, an album I still haven’t listened to very much). Every song that Bowie wrote, sang, covered, co-wrote, co-produced, or hummed a few bars on a television show is given an entry. I might be overstating, but only a little. By going through each of the songs in the order of their creation (or performance), O’Leary provides a very through biography of Bowie.

Each song has an entry that contains information on the song’s writing, production, and the musicians involved in its recording. There are also stories attached and, in the case of the first songs recorded for a new album, information about the album. The 700 page work (the second of two volumes) contains an amazing number of crunchy tidbits.

What Didn’t Work…For Me
I don’t know much about music and music theory, so some discussions about the musical makeup of songs went over my head. O’Leary is also not an entirely objective reporter. He definitely has opinions about certain songs and certain albums. And occasionally these views differed from my own not-objective opinions.

Overall
I read Ashes to Ashes over a series of months, listening to each album, each song as I read about it. I learned a great deal about David Bowie’s solo work and many collaborations and I gained new appreciation for albums both familiar and relatively new to me. As a fan, I consider Ashes to Ashes worth the time I spent on it.

There hasn’t been a day in my life when David Bowie wasn’t present. The Rise of Ziggy Stardust and the Spiders From Mars was released months before my birth and was perhaps my mother’s favourite album of all time. She used to play it over and over again in the car when I was growing up and then one day I simply took to playing it myself.

It wasn’t just that one album, of course, although today it remains my favourite. I used to revel in singing along to “Cracked Actor” way before I could even begin to understand the darkness in the lyrics and my love of “See Emily Play” predates my love of Pink Floyd (who I first fell in love with at age 8 with the release of "Another Brick in the Wall (part 2)".

David Bowie was one of those artists loved equally by my parents. My father absolutely loved Bowie’s mod aesthetics, recalling fondly how he was a mod in his teenage days and how he charmed a bunch of rockers. For my mother, it was the blond hair and blue eyes, the sharp wit and scathing lyrics and that voice, oh that voice. I inherited that particular preference in men from her.

By the time it came to give my final English speech in high school, the one that would decide whether I went to university or not, there was no question in my mind as to what the topic would be. With my parents’ eyes brimming with pride, I poured my love of Bowie into a 20 minute speech which was gleefully received by my English teacher. I’ve since come to realise that he was probably a massive Bowie fan too.

Years later when the David Bowie Is exhibition hit the V&A in 2013, I realised that far from knowing all there was to know about the man, my high school research had barely touched the surface. I was most interested in the Berlin years and in the complexities of his song writing at the time. I’d always promised that one day I’d delve deeper into who David Bowie was and the art behind his music.

While I was making empty promises, Chris O’Leary was embarking on an ambitious project of blogging about every David Bowie song ever written. Starting in 2009, Pushing Ahead of the Dame has become possibly the most successful David Bowie blog of all time. The blog has produced two book deals for O’Leary: Rebel Rebel (2015) covering the period up to 1976 and his latest release Ashes to Ashes (2019) covering the period from 1976 to Blackstar and Bowie’s untimely passing in 2016.

At 710 pages, Ashes to Ashes is a massive tome and I can reliably tell you that it will take about two months to read, once you’ve tumbled down the infinite rabbit holes to which the book will lead you.

The book begins not with a Bowie album as might be expected but with Bowie’s production of Iggy Pop’s debut solo album The Idiot. It was a fascinating aside to learn more about Iggy Pop. Despite knowing about his connection to Bowie, I knew very little about Pop beyond "The Passenger" and "Lust for Life" and embarrassingly didn’t even realise that Pop first recorded "China Girl".

For each track, which would have been published as a separate post on the original blog, O’Leary gives a complete breakdown of the personnel known or suspected to have been involved and the instruments they played. I imagine this is information that the most hardened fan or musically savvy readers will want to know but I soon began to skip over these sections (which are very helpfully put in please-skip-me italics).

What was interesting was the story behind each track, Bowie’s creative process and his experimentation first on Pop and later on his own material. Chris O’Leary has a talent of writing about music that many writers (me included) could only hope to aspire to. He really does know what he’s talking about and this makes the book a valuable read for any fan.

Despite the obvious mastery, the book is a hard slog to read and I resorted in the end to just reading a track or two at a time, which worked out well as I was listening to each track as I read along. Having read it in this way, I’d suggest the book’s best function would be as an accompaniment to listening sessions, dipping in and out to read in small sessions so that one appreciates the information, rather than simply read from cover to cover.

Thankfully, while the book is long, it is by no means dry and O’Leary’s scathing wit brightened up more than one reading session with gems like this: "That said, Bowie and Mick Jagger’s "Dancing in the Street" is still a rotten record for which everyone involved should be embarrassed”.

I give Ashes to Ashes an excellent four out of five stars and would recommend it to all fans of David Bowie, especially his later work. As a fan of his earlier work, I'll be seeking out the first volume, Rebel Rebel. Ashes to Ashes is published by Repeater and will be released on 12 February 2019.

Does the world need another book about David Bowie? Some may think not, but Bowie fans will definitely welcome Chris O'Leary's follow-up to Rebel Rebel, which takes us from The Idiot and Low in 1977 through to Blackstar in 2016. Based on his excellent Pushing Ahead of the Dame blog, it's a huge and exhaustive overview which offers extensive commentary on every song Bowie released or was involved with during the period. It's range of reference is impressive, both culturally and musically, and it passes the key test in that it sends time and again back to the songs to hear things you hadn't noticed before. There's also much more here than just the songs. For example, the mini-essay on Scott Walker in the entry on Nite Flights is as good as anything you will ever read about him and the final discussion of Blackstar (the song) is remarkable in mirroring the song by layering on so many thoughts and ideas while maintaining the deliberate elusiveness of those last songs.

It's not flawless, however. The focus on chord sequences gets in the way of some of the songs and I'm not sure there is a way around the fact that going through almost 40 years song by song becomes hard-going after a while (e.g. Tin Machine and I don't mind bits of Tin Machine), but presumably the idea of dividing the book in two was not seen as viable. And it's got a lovely cover.

As a David Bowie fan when I saw this book I just knew I had to review it. I just totally loved this book.
It’s well written and full of Bowie’s work. Any fan of David Bowie should aid this to their collection.
Thank you for my eARC of this book from NetGalley and Repeater Book in exchange for my honest unbiased review

In 2009, Chris O’Leary began a blog entitled ‘Pushing Ahead of the Dame’ in which he ambitiously aimed to say something about every Bowie song. ‘Ashes to Ashes: The Songs of David Bowie, 1976-2016’ is the second book to grow out of that project; the first being ‘Rebel, Rebel: All the Songs of David Bowie from ’64 to ‘76’, which was published to some acclaim in 2015.

This volume likewise aspires to be as comprehensive as can be (unless and until official releases or bootlegs reveal ‘new’ material), by analysing all the songs which Bowie wrote, co-wrote, produced or performed on in any capacity “in the rough order of their creation” from 1976 to 2016, from ‘Sister Midnight’ on Iggy Pop’s ‘The Idiot’ to Bowie’s ‘Blackstar’ swansong, or, if you wish to treat the subject matter alphabetically, from ‘Abdulmajid’ to ‘Zeroes’.

This means that, like its companion volume, this is a large book, topping 700 pages. Indeed, so sizeable is it that the footnotes and some additional information have been relegated to an online supplement.

On the plus side O’Leary not only has an encyclopaedic knowledge of Bowie’s output but understands music and has a knack of writing about it accessibly. He is also not afraid to be opinionated, in the best possible sense of that word: expressing a personal opinion and being willing to back it up.

On the debit side, O’Leary misses some interesting anecdotes, such as the fact that it was Bowie who, having heard the demo, approached Badalamenti to provide the vocal for the latter’s arrangement of ‘A Foggy Day in London Town’, thereby beating Bono’s identical request by one day. There are also a few errors (the Sandy Hook shooting, having occurred after ‘Valentine’s Day’ was written and recorded could hardly have acted as a possible inspiration for the song) and an occasional tendency to display a wide vocabulary at the expense of intelligibility (‘China Girl’, we’re told, “was a slick anomie”). Moreover, some, like myself, may lament O’Leary’s decision “to devote a bit more space” than was the case in his original blog “to the music” at the expense of “lyrical analysis”.

Nevertheless, for all its shortcomings, this book should be welcomed as a major addition to the growing literature on Bowie, which no fan will want to be, or should be, without.

Detailed, thoughtful, and with a depth of knowledge, this book explores the work of David Bowie.

The writing is polished and insightful, and I learned much about this major musical figure as I enjoyed this well-organized text.