This Thursday commemorates the 50th anniversary of the release of David Bowie’s iconic single, “Life on Mars?” This surreal and captivating masterpiece continues to earn its place in lists of the greatest songs ever recorded, not just by Bowie but by any artist.
Attempting to decipher the intricate layers of this song, featuring mice, Mickey Mouse, and a girl with mousy hair, is as challenging as actually reaching Mars. However, I embarked on a personal quest to gain a deeper understanding by undertaking a 2,700-mile bicycle journey, tracing one of the song’s lyrics, “from Ibiza to the Norfolk Broads.” While other writers have delved into the minds of authors, I chose to explore the depths of a music lyric.
My adventure began in the borough of Bromley, the birthplace of the song. After a 13-mile ride across London, I arrived at Croydon Road Recreation Ground, where a rusty Edwardian bandstand stood. This bandstand was witness to greatness, as it was where Bowie sat and composed “Life on Mars?” in 1971. From the mousy girl’s disillusionment and her escape through the silver screen to the surreal imagery of cows, clowns, and cavemen, Bowie wove a cosmic tale that reflected his own frustration and longing to break free from suburban monotony.
At the age of 24, Bowie was gaining confidence as a songwriter. Reflecting on the creation of the song, he said, “This song was so easy. Being young was easy. A really beautiful day in the park, sitting on the steps of the bandstand. ‘Sailors bap-bap-bap-bap-baaa-bap’… Middle-class ecstasy.” He took a persistent riff back to his flat in Haddon Hall, Beckenham, and by late afternoon, he had crafted the entire lyric and melody. It was a seamless and effortless process for him.
What Bowie didn’t reveal was that “Life on Mars?” was born out of a musical ménage à trois with Frank Sinatra and singer Claude François, who wrote a chanson called “Comme d’Habitude” in 1967. Bowie, while rewriting European songs for various artists on Denmark Street in London, stumbled upon “Comme d’Habitude” and transformed it into a song called “Even a Fool Learns to Love.” However, the publisher disliked Bowie’s version, and the chanson eventually landed in the hands of Paul Anka, who turned it into “My Way.” Bowie, undeterred by the rejection, appropriated the chord progression and reshaped it with a rock twist.
After my journey took me to Ibiza, around the island, and through the Spanish and French countryside, I found myself outside François’s former house in Dannemois, located 30 miles south of Paris. While on the official tour, I discovered another intriguing twist of fate. The tour leader revealed that “Life on Mars?” was her wedding song, and she cherished its simplicity, particularly the opening piano chords that transported her to her “happy place.” We even performed a shaky duet outside “Clo-Clo’s” bathroom, immersing ourselves in the lyrics and music that flowed from Bowie’s subconscious.
The recording of the song itself is a testament to its brilliance. Rick Wakeman, the pianist who added his touch to the chords Bowie had shown him on a “battered 12-string,” claimed it was the best song he had ever worked on. Drummer Woody Woodmansey shared that even the notoriously hard-to-please BBC string players were amazed by the song. Mick Ronson, the guitarist, devised his first-ever string arrangement and nervously explained it to the BBC instrumentalists, who were compelled to perform it twice for perfection. Producer Ken Scott recognized its potential and called it “the big one,” ensuring its inclusion in the climactic sessions for the album “Hunky Dory.”
Bowie’s vocals are the crowning glory of “Life on Mars?,” with his B flat top note delivering an unforgettable impact. As Leah Kardos, musicologist and author, describes, the song showcases Bowie’s sophisticated songwriting skills, and his central vocal performance is tender, acrobatic, and flamboyant. Every detail, down to the sound of a ringing telephone that interrupts the ending, immerses the listener in a vivid and transcendent experience before snapping them back to mundane reality.
Bowie had an extraordinary relationship with his makeup artist, Pierre La Roche, whom he referred to as “my Picasso.” La Roche famously painted Bowie’s striking blue eyeshadow for the “Life on Mars?” video and later created the lightning bolt design on the cover of “Aladdin Sane.” It was with this connection in mind that I stumbled upon a settlement in the Ardèche mountains called Saint Pierre-la-Roche. However, my attempt to unravel the mysteries of “Life on Mars?” from this vantage point proved futile. Instead, I turned my attention to the video directed by the renowned photographer Mick Rock.
Unlike many music videos that age poorly, “Life on Mars?” transcends time. Rock’s simple, bleached-out background allows Bowie to shine as he performs with La Roche’s captivating eyeshadow, donning a slim-waisted Freddie Burretti suit and fiery auburn hair. This daring and proudly queer look challenged societal norms at a time when LGBTQ+ representation was limited and often reduced to stereotypical caricatures. Bowie shattered these conventions and brought acceptance and visibility to many lives.
The impact of “Life on Mars?” endures even to this day. When St Albans Cathedral organist Nicholas Freestone played the song on the day of Bowie’s passing in 2016, it became a viral sensation. Rick Wakeman delivered an emotionally charged rendition on Radio 2 that caused listeners to pull over and shed tears. At the Brit Awards that same year, Lorde, whom Bowie greatly admired, performed a powerful version that felt like a symbolic passing of the torch to the next generation.
In my quest for answers, I followed the path Bowie had traveled on the Trans-Europe Express. I arrived in Berlin, where he famously played “Heroes” outside the Reichstag in 1987. Legend has it that the music reached both sides of the wall, igniting a spark of dissent that eventually led to its fall. And there, my journey continues.
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