24 Essential Deep Cuts Every David Bowie Fan Needs To Know – Wealth of Geeks

David Bowie was one of the most versatile artists of the twentieth century. Rising to fame in the 1970s, he peaked commercially in the 1980s, but his music remained relevant until he passed away in 2016. Over these five decades, he produced unforgettable hits and deep cuts that fans still love today.

Rock and Roll Suicide (1972)

David Bowie infamously claimed this was the last song he would ever play during the last Ziggy Stardust concert. The audience was shocked, and “Rock and Roll Suicide” made a mark on fans because of his announcement. The song, however, only depicts the demise of Ziggy Stardust, as fans realized after Bowie’s prolific career continued unabated.

Five Years (1972)

“Five Years” works great with the overarching concept of Ziggy Stardust. Bowie’s over-the-top character was supposedly an alien announcing the end of humanity. The song worked great to give the entire album a sense of doom, and it was one of the rare Ziggy Stardust songs that David Bowie included in his live shows in the 2000s.

The Bewlay Brothers (1971)

“The Bewlay Brothers” may or may not have been inspired by Bowie’s real-life half-brother, Terry, who had schizophrenia. David Bowie initially denied that there was any inspiration behind the song. Later, he admitted he had been musing on his brother’s position in his life. Either way, the song is a deep cut that fans love.

Panic in Detroit (1973)

David Bowie first played “Panic in Detroit” during the final days of his Ziggy Stardust tour. Fans received it so well that he included it on Aladdin Sane, according to Far Out Magazine. It was also the result of Iggy Pop’s growing influence on Bowie’s music and their friendship.

Quicksand (1971)

Far from being an iconic song in the 1970s, “Quicksand” is all over the place, but in a good way. Although Bowie claimed he found inspiration during his first experience of the American dream, its message is a confused hodge-podge of World War II references. Nevertheless, fans find it one of the best songs on Hunky Dory.

The Width of a Circle (1970)

“The Width of a Circle” took advantage of Bowie’s bandmate, Mick Ronson, and his guitar-playing skills. Although the song never got the same attention as the title track of this album, it was unforgettable to audiences when Bowie played a live extended version of it during his Ziggy Stardust tour.

Stay (1976)

Like the rest of Station to Station, “Stay” doesn’t belong to any particular genre. The unique song he created was why fans went rabid, calling it a masterpiece.

Station to Station (1976)

This title track gives insight into what was fueling Bowie’s creative madness in the mid-seventies. High all the time, he managed to come up with a ten-minute song that confused everyone before making them marvel at his musical prowess… even when under the influence of drugs.

Moonage Daydream (1972)

“Moonage Daydream” is yet another song that fully embraces Mick Ronson’s incredible talent. Bowie loved his guitar player’s solo so much that he often left him alone on the stage to get all the credit while playing it live during the Ziggy Stardust tour.

Teenage Wildlife (1980)

“Teenage Wildlife” was Bowie’s first foray into new wave. Like before, David Bowie embraced the new sound and made it his own. Once again, he reinvented his music to match the latest trends and created a Gary Numan-inspired number that fans went crazy for.

Look Back in Anger (1979)

Lodger wasn’t a commercial success for Bowie, primarily because it was more experimental than what he had done so far (and that’s saying a lot). However, “Look Back in Anger” became a fan favorite, especially because it is more of a rock anthem than other songs of this era.

Strangers When We Meet (1995)

The nineties were another era of reinvention for David Bowie. Outside, a collaboration with Brian Eno, with whom Bowie had worked extensively, was a curious combination of experimental music and lyrics. For its part, “Strangers When We Meet” is an unlikely ballad that fans immediately gravitated toward.

Without You (1983)

Let’s Dance was one of Bowie’s most commercially successful albums. Most people instantly recognize “China Girl” and “Let’s Dance.” However, “Without You,” although not as recognizable, also gets its share of love, especially because of its moody sound.

Andy Warhol (1971)

“Andy Warhol” is barely a song, seeing how it starts with Bowie and his band talking about it without realizing the tape is running. Nevertheless, it pays tribute to a fellow visionary who wouldn’t have appreciated a run-of-the-mill or traditional anthem to a famous person.

Memory of a Free Festival (1969)

Before fame came, David Bowie regularly played in pubs, trying to make a name for himself. As such, he organized a free festival. His name was too obscure to draw crowds, so he had to be the only star in attendance. This song is a memory of that event, complete with the hippie looks of the era.

Weeping Wall (1977)

“Weeping Wall” resulted from Bowie’s obsession with atmospheric music, fueled by his collaboration with Brian Eno. The piece works great to set out the atmosphere for Low but doesn’t give fans a chance to appreciate Bowie’s voice. Nevertheless, it’s a favorite for many.

Sense of Doubt (1977)

“Sense of Doubt” is strongly rooted in Berlin, maybe more so than the title track of this album. Making great use of piano music, the song almost feels like part of a soundtrack and makes fans see a completely different side of Bowie’s music.

Slip Away (2002)

“Slip Away” is a powerful ballad that decries the end of an era. Repurposed from Bowie’s 2001 unreleased album Toy, the song is instantly memorable not because of the lyrics but because of how sentimental yet effective the music is.

Win (1975)

A foray into R&B completely different from “Fame,” “Win” barely resembles any other Bowie song. Although in line with the sound of Young Americans in general, “Win” goes in a different direction, signaling that Bowie was not just mimicking soul music but had internalized it.

Cygnet Committee (1969)

Bowie recognized how great “Cygnet Committee” was, although others disagreed. He wanted the track to be a single. As it turns out, fans agreed with him in the long term, and this song is one of the deep cuts that lambast tradition as effectively or more so than “Space Oddity.”

The London Boys (Alternate Version) (2001)

Another song that was supposed to make it onto the unreleased Toy album, “The London Boys,” was originally released in 1966. As such, it displays a different Bowie than the incredible singer of the 2000s. When re-recorded for Toy, the song feels like Bowie had decided to address his younger self, who was just discovering his voice.

Tumble and Twirl (1984)

Following on the heels of Let’s Dance, Tonight didn’t experience the same commercial success. To boot, “Tumble and Twirl” is experimental and doesn’t feel at home in Bowie’s eighties pop style. Nevertheless, the song deserves a spot on this list because of its left-field feel.

Everyone Says Hi (2002)

Nobody knows if this poignant song describes Bowie’s inability to properly deal with his father’s death as a young man or his need to reconcile with his estranged son. Nevertheless, it’s a wonderful treatise about the meaning of death, grief, and reconciliation.

Dollar Days (2016)

Although Black Star received much attention because of its release just days before Bowie’s passing, not all songs from this album were instant hits. “Dollar Days” doesn’t have the majesty of this album’s title track, but it’s an off-beat song that shows that Bowie was still having fun while recording his last album.