10 Best David Bowie Songs (2024)

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David Bowie, born David Robert Jones on January 8, 1947, was a groundbreaking English artist known for his profound influence on 20th-century music. He was celebrated for his constant reinvention and striking visual style, which left a lasting impact on popular culture. Starting his music career in 1963 after studying art and design, Bowie faced early challenges, releasing several unsuccessful singles and a self-titled album. However, he gained recognition in 1969 with “Space Oddity,” his first UK top-five hit.

Bowie reached a new level of fame in 1972 during the glam rock era by introducing the flamboyant and androgynous persona of Ziggy Stardust. This persona, along with the hit single “Starman” and the iconic album The Rise and Fall of Ziggy Stardust and the Spiders from Mars, cemented his place as a music and fashion icon. In 1975, he shifted his musical style to a more soulful sound with the album Young Americans, achieving his first major success in the United States with the hit song “Fame.” Over the following years, Bowie continued to explore different musical genres, from electronic sounds in his “Berlin Trilogy” collaborations with Brian Eno to his electronic-infused album Low in 1977.

After achieving major success in the early 1980s with Let’s Dance, Bowie experimented with different styles throughout the rest of his career, including fronting the rock band Tin Machine in the late ’80s before returning to his solo work. Aside from music, Bowie took on notable acting roles, including parts in Labyrinth and The Man Who Fell to Earth, and continued to explore new creative directions up until his passing in 2016. His final album, Blackstar, was released just two days before his death from liver cancer.

Selling over 100 million records globally, Bowie became one of the best-selling artists in history. Known for his ability to evolve and shape-shift musically and visually, Bowie earned numerous accolades throughout his career, including six Grammys, and was inducted into the Rock and Roll Hall of Fame in 1996. His legacy continues to influence generations of musicians and artists.

# 10 – Lazarus – Blackstar

Opening this brand-new list of the 10 Best David Bowie Songs is “Lazarus,” one of the most poignant and reflective tracks of Bowie’s career. Released on 17 December 2015, just a month before his death, “Lazarus” stands as a haunting farewell from an artist who had spent decades reshaping the music landscape. This song, from his final album Blackstar, is not only a musical masterpiece but also a profound reflection on mortality and the closing chapter of Bowie’s life. The name “Lazarus,” drawn from the biblical figure who rose from the dead, alludes to Bowie’s awareness of his impending death and the idea that his legacy would live on, even after he was gone.

Recorded in 2015 at The Magic Shop studio in New York City and produced by Tony Visconti, who had been a long-time collaborator, “Lazarus” features a complex blend of rock and jazz, with musicians like Donny McCaslin on saxophone, Ben Monder on guitar, Tim Lefebvre on bass, and Mark Guiliana on drums. The song’s eerie and reflective tone is shaped by McCaslin’s free-flowing saxophone and Bowie’s plaintive vocals, which capture the introspection and resignation of a man confronting his own mortality. The production reflects an artful balance between simplicity and depth, enhancing the song’s emotional weight.

The music video, directed by Johan Renck, is an equally vital piece of this narrative. It features Bowie lying on a deathbed, blindfolded with buttons sewn over his eyes, symbolizing his inevitable departure from life. The visual of Bowie retreating into a dark wardrobe toward the end of the video hints at his transition to the unknown, further intensifying the sense of finality. The references to the kabbalistic Tree of Life, drawn from Bowie’s earlier work on Station to Station, add layers of spiritual meaning, highlighting his ongoing exploration of mysticism and self-reflection.

Lyrically, “Lazarus” is steeped in personal revelation. The opening lines, “Look up here, I’m in heaven / I’ve got scars that can’t be seen,” speak directly to Bowie’s own suffering and the hidden toll of his battle with cancer. The repeated lines, “Oh, I’ll be free, just like that bluebird,” serve as a declaration of liberation, with Bowie foreseeing his release from the confines of his earthly existence. As the first song on this list, “Lazarus” is an appropriate introduction, embodying Bowie’s fearless artistic vision and his ability to turn personal grief into a universal message.

Read More: Tim Lefebvre: The ClassicRockHistory.com Interview

# 9 – China Girl – Let’s Dance

“China Girl” is one of David Bowie’s most well-known tracks from his 1983 album Let’s Dance. Originally written by Bowie and Iggy Pop in 1976, the song first appeared on Pop’s debut solo album The Idiot in 1977. Inspired by Pop’s affair with a Vietnamese woman, the song tells the story of a Western man whose love for his Asian girlfriend becomes entangled with the realization that his Western influence is corrupting her. The song, in its original form, carries a haunting and raw energy reflective of The Idiot‘s post-punk, experimental sound. However, it didn’t find commercial success until Bowie re-recorded it for Let’s Dance.

Bowie’s version of “China Girl” underwent a transformation during the Let’s Dance sessions, co-produced by Nile Rodgers. The song took on a pop sheen with a more polished and radio-friendly production, featuring a distinctive Asian-inspired guitar riff that added a touch of exoticism to its sound. The recording of Let’s Dance took place at the Power Station studios in New York City in late 1982, with Stevie Ray Vaughan on lead guitar. Vaughan’s contributions were significant—his distinctive bluesy guitar tone is an integral part of the album’s success, though many listeners may not realize the extent of his influence. Vaughan’s guitar work on “China Girl” brought a vibrant, fresh layer to the song, adding depth to the otherwise pop-driven arrangement.

# 8 – Thursday’s Child – Hours

Kicking off our list of the best David Bowie songs, Thursday’s Child is a reflective and melancholic piece that marked Bowie’s return with the 1999 album Hours. Written by David Bowie and Reeves Gabrels, the song was released as the lead single on September 20, 1999, two weeks before the album’s full release. Inspired by actress Eartha Kitt’s autobiography of the same title, a book that deeply impacted Bowie during his teenage years, the song showcases a deeply introspective Bowie, reflecting on the past and the quiet hope for redemption in the future.

Thursday’s Child stands out for its emotive resonance, starting with the poignant opening lyrics: “All of my life I’ve tried so hard / Doing my best with what I had.” Bowie himself described the track as about someone who has lived a tough life, having reached a point where he feels that his best achievements are behind him. However, the arrival of love in his life offers a rare glimpse of salvation, providing a reason for renewed hope. The lyrical theme is undeniably mature, showing Bowie grappling with personal introspections, making it a deeply personal offering.

Musically, the song diverges from Bowie’s earlier sound, favoring a more subdued, contemplative arrangement. It features soft, atmospheric instrumentation with layered textures that create a haunting soundscape. Gabrels originally suggested that Bowie include TLC to perform background vocals on the track, but instead, they enlisted the talents of Holly Palmer, whose gentle backing vocals complement the song’s emotional depth. This restrained yet lush production adds to the ethereal atmosphere of the track, making it distinct from Bowie’s earlier work, yet thematically connected to songs like Ashes to Ashes.

The track garnered critical acclaim for its raw vulnerability and reflective lyricism. Though Thursday’s Child may not have reached the commercial heights of Bowie’s earlier hits, it remains a hidden gem, particularly for those who may have missed it while focused on their own lives in the late ’90s. It is a song of reflection and rebirth, a haunting melody about finding light in the darkest moments—making it a powerful opening to this list of Bowie’s best songs.

Read More: Complete List Of David Bowie Albums And Discography

# 7 – Fame –Young Americans

“Fame,” from David Bowie’s 1975 album Young Americans, marked a significant shift in his musical direction, blending funk and rock into a biting critique of stardom and its trappings. Co-written by Bowie, guitarist Carlos Alomar, and John Lennon, the song was recorded in January 1975 at Electric Lady Studios in New York City. With its infectious rhythm and biting lyrics, “Fame” became Bowie’s first number-one hit in the United States, topping both the Billboard Hot 100 and the Canadian Singles Chart. Despite its massive success in North America, it reached a more modest number 17 on the UK Singles Chart.

The track was fueled by Bowie’s frustration with the complications of fame, particularly following the end of his professional relationship with his manager, Tony Defries. This breakup led to a slew of legal battles and emotional turmoil for Bowie, which is reflected in the song’s sharp, disillusioned lyrics. The repetition of the word “fame” and the cynical tone of the song convey a sense of bitterness, with lines like “What you like is in the limo” and “What you get is no tomorrow” encapsulating the emptiness Bowie felt. His personal grievances with Defries, including the failed musical project Fame, which nearly bankrupted MainMan, are thinly veiled in the lyrics, especially in the line, “Bully for you, chilly for me.”

Musically, “Fame” features an iconic guitar riff by Carlos Alomar and John Lennon’s vocal contributions, adding a distinctive flavor to the track. Alomar’s funky, syncopated guitar, combined with Lennon’s background vocals, created a sound that stood out from Bowie’s previous glam rock style. The song’s production, handled by Bowie and Harry Maslin, showcased Bowie’s ability to adapt and innovate, embracing the funk genre with seamless precision.

“Fame” was remixed as “Fame ’90” to coincide with Bowie’s Sound+Vision tour and has appeared on numerous compilations. The song is one of four Bowie tracks included in The Rock and Roll Hall of Fame’s “500 Songs That Shaped Rock and Roll.” Its sharp commentary on the darker side of celebrity culture, backed by irresistible funk rhythms, ensures its place as one of the most memorable tracks in Bowie’s catalog, and as the first entry in this list, it sets the tone for exploring Bowie’s creative depth and lyrical prowess.

# 6 – Wild Is The Wind – Station To Station

The haunting beauty of “Wild Is the Wind” opens a deeply emotional space in David Bowie’s discography, highlighting his admiration for both classic film music and Nina Simone’s iconic rendition of the song. Originally composed by Dimitri Tiomkin and Ned Washington for the 1957 film Wild Is the Wind, the track was first performed by Johnny Mathis and later covered by Nina Simone in 1966, whose version Bowie found particularly moving. Inspired by Simone’s vocal delivery, Bowie recorded his own take on the song for his 1976 album Station to Station. His version stands as a testament to his ability to channel raw emotion, making it one of his most captivating and romantic performances.

Recorded during the intense sessions for Station to Station, Bowie’s rendition of “Wild Is the Wind” mirrors the emotional weight that defined much of his work during the mid-1970s. With a sweeping, passionate vocal performance, Bowie managed to capture the delicate balance between love, longing, and melancholy that the lyrics evoke. The production, handled with meticulous care, features an atmospheric arrangement that allows Bowie’s voice to take center stage, supported by Carlos Alomar on acoustic rhythm guitar, Earl Slick on lead guitar, George Murray on bass, and Dennis Davis on drums. The subtle interplay between the instruments provides a lush backdrop, enhancing the song’s emotional intensity.

Released as a single in 1981 to promote the Changestwobowie compilation, Bowie’s “Wild Is the Wind” gained further attention through a promotional video directed by David Mallet. The black-and-white aesthetic of the video echoed the stark, dramatic visuals of Bowie’s Isolar Tour, featuring a group of musicians miming to the studio recording. The song reached number 24 on the UK charts and number 15 in Ireland, cementing its place as one of Bowie’s standout tracks from this period. Lyrically, “Wild Is the Wind” explores themes of vulnerability and devotion, making it a perfect fit for Bowie’s often introspective and emotionally charged style.

# 5 – Life on Mars? – Hunky Dory

“Life on Mars?” is a defining track by David Bowie, featured on his 1971 album Hunky Dory. Written by Bowie as a satirical response to Frank Sinatra’s “My Way,” the song was recorded on 6 August 1971 at Trident Studios in London, with co-production handled by Bowie and Ken Scott. The backing band for the recording included notable musicians such as Mick Ronson on guitar and string arrangements, Trevor Bolder on bass, Mick Woodmansey on drums, and Rick Wakeman on piano. A glam rock ballad infused with elements of cabaret and art rock, the track is revered for its complex structure and its surreal, thought-provoking lyrics.

Lyrically, “Life on Mars?” follows a young girl who goes to the cinema to escape her mundane reality, only to find that the film she watches is a disillusioning reflection of her own life. The song’s lyrics are rich in imagery, with references to Hollywood, the struggles of fame, and social discontent. From “sailors fighting in the dance hall” to “Mickey Mouse has grown up a cow,” the words evoke a series of bizarre and melancholic vignettes that capture both the optimism and despair of modern life. Bowie’s unique ability to blend a poignant narrative with abstract symbolism is evident throughout, making the song one of his finest lyrical achievements.

Released as a single on 22 June 1973, at the height of Bowie’s Ziggy Stardust fame, “Life on Mars?” climbed to number three on the UK Singles Chart. Its success was further fueled by Mick Rock’s iconic promotional video, which featured Bowie dressed in a turquoise suit and donning striking makeup, all set against a minimalist white backdrop. The song has continued to resonate over the decades, with numerous artists covering it and its haunting melody often chosen to commemorate Bowie after his passing in 2016.

“Life on Mars?” is widely regarded as one of David Bowie’s greatest songs, praised for its vocal intensity and innovative composition. The themes of escape, disillusionment, and societal critique mirror the larger artistic landscape Bowie was creating during the early 1970s. As the opening song of this list, “Life on Mars?” is a masterclass in glam rock storytelling and sets the stage for Bowie’s career-defining work that would follow.

# 4 – Space Oddity – David Bowie

Kicking off our list of the 10 Best David Bowie Songs is the iconic “Space Oddity.” Released on July 11, 1969, this track was a breakthrough for Bowie, marking his first major hit and signaling the start of his rise to stardom. Written by Bowie and produced by Gus Dudgeon, the song was recorded at Trident Studios in London. The composition introduces the fictional astronaut Major Tom, a character that would recur throughout Bowie’s career. The song’s inspiration stemmed partly from 2001: A Space Odyssey, as well as Bowie’s personal feelings of isolation during the late 1960s. Musically, it marked a departure from the music-hall style of his earlier work, embracing a more psychedelic folk sound.

Initially, “Space Oddity” was rush-released to coincide with the Apollo 11 Moon landing. While it did not gain immediate traction, it eventually climbed to number five on the UK charts, becoming Bowie’s first charting success. The song saw a resurgence in popularity after its 1972 reissue in the US, reaching number 15 on the Billboard Hot 100. In 1975, a further reissue gave Bowie his first UK number-one single. Despite its complex production, which featured Mellotron, Stylophone, and orchestral elements, it was Bowie’s evocative lyrics and the narrative of Major Tom’s doomed mission that struck a chord with listeners, making the track timeless.

Lyrically, “Space Oddity” delves into themes of existential uncertainty and the human desire to explore the unknown, only to face isolation. The imagery of Major Tom drifting in space—”Planet Earth is blue, and there’s nothing I can do”—became a metaphor for alienation, a recurring theme in Bowie’s work. The song’s combination of space exploration and emotional vulnerability captured the public’s imagination. Its profound cultural impact is seen in numerous covers, notably astronaut Chris Hadfield’s 2013 rendition filmed aboard the International Space Station, making it the first music video recorded in space. As the opening track on Bowie’s 1969 David Bowie album, “Space Oddity” set the tone for the inventive and genre-defying career that followed.

“Space Oddity” remains one of Bowie’s most celebrated works, frequently appearing in lists of the greatest rock songs of all time. Its haunting lyrics, sophisticated arrangement, and the unforgettable character of Major Tom solidify its place as a defining moment in Bowie’s discography.

# 3 – Changes

Released as a single in January 1972, from his 1971 album Hunky Dory, “Changes” marked a pivotal moment in Bowie’s career. At the time, Bowie was still struggling to find commercial success, experimenting with various musical styles that had yet to capture the mainstream audience. Written after his promotional tour in America, the song reflects Bowie’s deep-rooted feelings about reinvention, a theme that would come to define his entire career. Produced by Bowie and Ken Scott and recorded at Trident Studios in London, it featured notable contributions from Rick Wakeman on piano and the musicians who would later become the Spiders from Mars: Mick Ronson (guitar), Trevor Bolder (bass), and Mick Woodmansey (drums).

Musically, “Changes” is a sophisticated art-pop song with a striking piano riff that sets the tone for the introspective lyrics. The song begins with Bowie reflecting on his artistic journey, noting the constant changes he undergoes while facing personal and artistic evolution. As the lyrics unfold, Bowie also addresses generational tension, urging parents to let their children embrace their own paths in life. The line, “And these children that you spit on as they try to change their worlds,” encapsulates this message, advocating for self-expression and individuality, themes Bowie consistently championed throughout his career.

Despite the song’s relative failure as a single at the time, “Changes” gained more attention after the success of Bowie’s Ziggy Stardust era and remains one of his signature tracks. Critics have praised Bowie’s introspective vocal performance and Wakeman’s melodic piano work, which helps elevate the song’s introspective tone. Over time, “Changes” has taken on a life of its own, seen as a manifesto of Bowie’s ability to reinvent himself musically and stylistically. Bowie continued to perform “Changes” in his live shows throughout his career, and it was the final song he performed before his death in 2016, leaving an indelible mark as a testament to his enduring influence on rock and pop music.

Read More: 10 Best David Bowie Tin Machine Songs

# 2 – Suffragette City – The Rise and Fall of Ziggy Stardust

“Suffragette City,” the electrifying track from The Rise and Fall of Ziggy Stardust and the Spiders from Mars (1972), showcases David Bowie’s dynamic fusion of glam rock and rebellious energy. Written by Bowie and recorded with his iconic backing band, the Spiders from Mars—Mick Ronson (guitar), Trevor Bolder (bass), and Mick Woodmansey (drums)—at Trident Studios in London, the song was co-produced by Bowie and Ken Scott. Initially offered to the band Mott the Hoople, who declined it in favor of Bowie’s “All the Young Dudes,” “Suffragette City” became a defining anthem of the Ziggy Stardust era. The recording took place in February 1972 during the final sessions for Ziggy Stardust, alongside other key tracks like “Rock ‘n’ Roll Suicide” and “Starman.”

The song’s infectious energy and Bowie’s iconic delivery highlight its blend of glam rock with influences from Little Richard and the Velvet Underground. “Suffragette City” is driven by Ronson’s blistering guitar riffs, Woodmansey’s propulsive drumming, and Bolder’s thumping bass, creating a fast-paced, rebellious sound. The track’s unmistakable “wham bam, thank you, ma’am” line has since become a signature moment in Bowie’s career. Bowie also includes a nod to Anthony Burgess’ A Clockwork Orange with the term “droogie,” adding to the song’s vibrant cultural references.

Lyrically, “Suffragette City” brims with attitude and defiance, as the narrator brushes off the pressures of life and the demands of others, retreating to the carefree, chaotic world of “Suffragette City.” The song reflects themes of freedom and escapism, common in Bowie’s Ziggy Stardust persona. Its place in rock history is cemented by its bold sound and catchy, defiant lyrics. Critically acclaimed for its guitar work and intense energy, “Suffragette City” remains one of Bowie’s most celebrated tracks, often included in his live performances and several compilation albums, including Changesonebowie.

# 1 – Heroes

Closing out our top 10 David Bowie songs list is the iconic “Heroes,” a track that stands as one of Bowie’s most celebrated compositions. Released as the lead single from his 1977 album of the same name, the song was co-written by Bowie and Brian Eno and recorded at Hansa Studio 2 in West Berlin. The recording process was innovative, with producer Tony Visconti developing a unique “multi-latch” system for the vocals, placing microphones at varying distances to capture Bowie’s voice as he built intensity throughout the song. The track also features contributions from Robert Fripp, whose soaring guitar lines are essential to the song’s crescendo, and Eno’s distinctive synthesizer work.

The song tells the story of two lovers—one from East Berlin and the other from the West—who dream of being free while living under the constant threat of death near the Berlin Wall. The lyrics capture their fleeting hope, embodying both personal and political struggle. The line “We can be heroes, just for one day” is imbued with irony, as Bowie placed quotation marks around the word “heroes” to undercut the notion of triumph in a world where lasting victory is uncertain. Bowie’s inspiration for the song was witnessing a private moment between producer Visconti and singer Antonia Maass near the Wall, a moment that became symbolic of the broader themes of love and defiance in a divided city.

Today, “Heroes” is recognized as one of Bowie’s most enduring and influential songs, known for its anthemic build, emotional depth, and timeless relevance. The song has been covered by many artists and featured prominently in various films, television shows, and advertisements, cementing its place as a defining work in Bowie’s illustrious career.

As the final entry on this list, “Heroes” encapsulates the power of David Bowie’s ability to fuse personal experience with larger social and political commentary, making it a fitting and triumphant conclusion to our journey through his best songs.

https://www.youtube.com/watch?v=lXgkuM2NhYI