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| Best of Bowie | |
|---|---|
| Name | Best of Bowie |
| Type | compilation |
| Artist | David Bowie |
| Released | 1980 |
| Recorded | 1969–1976 |
| Genre | Rock, glam rock, art rock |
| Label | RCA Records |
| Producer | Tony Visconti, Ken Scott, David Bowie, Gus Dudgeon |
| Prev title | Lodger |
| Prev year | 1979 |
| Next title | Scary Monsters (and Super Creeps) |
| Next year | 1980 |
Best of Bowie
Best of Bowie is a 1980 compilation album compiling tracks from the recording career of David Bowie with RCA Records, drawing on material recorded between 1969 and 1976. The collection assembles singles and album tracks that had appeared on releases such as Space Oddity, The Man Who Sold the World, Hunky Dory, The Rise and Fall of Ziggy Stardust and the Spiders from Mars, Aladdin Sane, Diamond Dogs and Station to Station. Issued by RCA Records amid Bowie’s transition toward the albums that would follow Lodger and Scary Monsters (and Super Creeps), the compilation reflects RCA’s approach to repackaging catalogue material during the vinyl era.
The compilation was conceived by RCA Records executives seeking to capitalise on Bowie’s commercial profile after a decade marked by collaborations with producers such as Tony Visconti, Ken Scott and Gus Dudgeon. The project followed Bowie’s work with musicians including Mick Ronson, Trevor Bolder, Mick Woodmansey, Carlos Alomar and arrangers like Ralph Burns. Released in multiple territories, versions of the album appeared alongside contemporaneous reissues from labels including RCA Victor and distribution partners tied to markets such as the United Kingdom, United States, Germany, Japan and Australia. Packaging decisions were influenced by precedents set by compilations from artists on EMI and CBS Records.
Tracks were selected from studio albums spanning Bowie’s stylistic shifts from folk-tinged psychedelia to glam rock, soul and the beginnings of white funk. Selections drew on singles like "Space Oddity" from Space Oddity and "Starman" from The Rise and Fall of Ziggy Stardust and the Spiders from Mars, alongside album cuts from Hunky Dory, Aladdin Sane and Diamond Dogs. The assembly highlights Bowie’s collaborations with songwriters and performers associated with MainMan, his management company, and session musicians tied to studios such as Trident Studios and Britannia Row Studios. Some omissions and regional track variations reflected licensing practices between RCA Records and rights holders for material produced during tenures with producers like Ken Scott and Gus Dudgeon.
The sleeve art for the compilation echoed imagery from Bowie's glam era, invoking photographs by photographers associated with his career such as Mick Rock, studio aesthetics tied to Hulton Archive and portraiture trends employed by labels like RCA Victor. Packaging formats included vinyl LP sleeves, cassette editions and later compact disc reissues distributed by regional licensees including branches of RCA and successor companies. Liner notes and credits referenced contributors from Bowie’s bands, including The Spiders from Mars, arranger credits related to sessions at Trident Studios and production at facilities linked to Island Records distribution networks in certain territories.
Promotion for the compilation was handled through catalogue marketing by RCA Records rather than new recording sessions or a supporting tour; promotional activities included retail placements, advertisements in music publications such as NME (magazine), Melody Maker and Rolling Stone (magazine), and radio play on stations such as BBC Radio 1 and WNEW (now WKTU). Chart performance varied by country, reflecting Bowie’s differing market penetration across the United Kingdom and the United States; chart tracking organisations including Official Charts Company and Billboard documented sales for albums and compilations, while certification bodies like the British Phonographic Industry and the Recording Industry Association of America recorded shipments and awards in some territories.
Contemporary reviews in publications such as NME (magazine), Melody Maker, Rolling Stone (magazine) and regional outlets assessed the compilation as a succinct overview of Bowie’s RCA period; commentators compared the release to previous compilations and retrospectives issued by labels like RCA Victor and peers on EMI. Critics evaluated the track sequencing and context relative to studio albums including Hunky Dory and The Rise and Fall of Ziggy Stardust and the Spiders from Mars, and discussed Bowie’s evolution alongside artists linked to the glam movement such as T. Rex and contemporaries like Lou Reed and Iggy Pop.
The compilation contributed to the continued availability and discoverability of Bowie’s pre-Berlin Trilogy catalogue, influencing collectors, DJs and music historians associated with archives like British Library Sound Archive and university special collections. Its role in shaping retrospective narratives complemented later compilations and box sets released by entities including EMI and ISO Records, while Bowie’s influence persisted across artists and movements tied to post-punk, new wave and mainstream pop, linking to figures such as Siouxsie Sioux, Johnny Marr, Thom Yorke, Kylie Minogue and Arcade Fire. The compilation remains a reference point in discographies maintained by institutions and fan-run catalogues documenting Bowie’s output.
Category:David Bowie compilation albums