Английская Википедия:Ashes to Ashes (David Bowie song)

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Шаблон:Short description Шаблон:Good article Шаблон:Use British English Шаблон:Use dmy dates Шаблон:Infobox song

"Ashes to Ashes" is a song by the English singer-songwriter David Bowie from his 14th studio album, Scary Monsters (and Super Creeps) (1980). Co-produced by Bowie and Tony Visconti, it was recorded from February to April 1980 in New York and London and features guitar synthesiser played by Chuck Hammer. An art rock, art pop and new wave song led by a flanged piano riff, the lyrics act as a sequel to Bowie's 1969 hit "Space Oddity": the astronaut Major Tom has succumbed to drug addiction and floats isolated in space. Bowie partially based the lyrics on his own experiences with drug addiction throughout the 1970s.

Released as the album's lead single on 1 August 1980, "Ashes to Ashes" became Bowie's second No. 1 UK single and his fastest-selling single. The song's music video, co-directed by Bowie and David Mallet, was at the time the most expensive music video ever made.Шаблон:Sfn The solarised video features Bowie as a clown, an astronaut and an asylum inmate, each representing variations on the song's theme, and four members of London's Blitz club, including singer Steve Strange. Influential on the rising New Romantic movement, commentators have considered it one of Bowie's best videos and of all time.

Bowie performed the song only once during 1980 but frequently during his later concert tours. Initially viewed with mixed critical reactions, later reviewers and biographers have considered it one of Bowie's finest songs, particularly praising the unique musical structure. In subsequent decades, the song has appeared on compilation albums and other artists have covered, sampled or used its musical elements for their own songs. The song's namesake was also used for the 2008 BBC series of the same name.

Writing and recording

Backing tracks

A gray-haired man with glasses and a black shirt standing in front of a microphone
Co-producer Tony Visconti in 2007. He created the piano sound using a flanger.

The sessions for David Bowie's Scary Monsters (and Super Creeps) commenced at the Power Station in New York City in February 1980, with production handled by Bowie and longtime collaborator Tony Visconti. The backing tracks for "Ashes to Ashes" were recorded under the working title "People Are Turning to Gold".Шаблон:SfnШаблон:SfnШаблон:Sfn The band, as for Bowie's previous four albums, consisted of Carlos Alomar on guitar, George Murray on bass and Dennis Davis on drums. Roy Bittan, a member of Bruce Springsteen's E Street Band who were recording The River (1980) in the adjacent studio, contributed piano while session musician Chuck Hammer played guitar synthesiser.Шаблон:EfnШаблон:SfnШаблон:Sfn Hammer, who dubbed his work "guitarchitecture",Шаблон:Sfn formerly toured for Lou Reed and was hired by Bowie after he sent tapes of his work to him. Visconti stated that Hammer "would pick a note and out of his amplifier would come a symphonic string section".Шаблон:Sfn

For their parts, Alomar played "opaque reggae" and Murray played a funk bassline using a mixture of fingerstyle and slapping.Шаблон:SfnШаблон:Sfn[1] Davis initially struggled with the ska drumbeat. Bowie played the beat he envisioned for the drummer on a chair and cardboard box, which Davis studied and learned, recording the final take the next day.Шаблон:SfnШаблон:Sfn Although desiring a Wurlitzer electronic piano to tape Bittan's piano part, Visconti ran a grand piano through an Eventide Instant Flanger to imitate the sound of one upon learning the real Wurlitzer would take too long to deliver.Шаблон:SfnШаблон:Sfn For his parts, Hammer layered four multi-track guitar textures, each given different treatments through the Eventide Harmonizer, which were recorded in the studio's back stairwell to add extra reverb. According to biographer Chris O'Leary, he played "various chord inversions for each chorus section", although Visconti said that "it's the warm string choir you hear on the part that goes, 'I've never done good things, I've never done bad things...Шаблон:'"Шаблон:SfnШаблон:Sfn

Vocals and overdubs

The backing tracks were recorded without lyrics or melodies pre-written. Unlike his recent Berlin Trilogy, wherein Bowie wrote lyrics almost immediately after the backing tracks were finished, he wanted to take time writing melodies and lyrics for the Scary Monsters songs.Шаблон:Sfn Feeling nostalgic, he had the idea of writing a sequel to his first hit "Space Oddity" (1969), a tale about a fictional astronaut named Major Tom, after re-recording the song in 1979 for The "Will Kenny Everett Make It to 1980?" Show.Шаблон:Sfn[2] Bowie stated in 1980:[3]

Шаблон:Blockquote

Reconvening in April 1980 at Visconti's own Good Earth Studios in London, Bowie and Visconti recorded the vocal tracks and additional overdubs for the now-titled "Ashes to Ashes".Шаблон:SfnШаблон:Sfn Author Peter Doggett states that Bowie originally sang "ashes to ashes" as "ashes to ash" and "funk to funky" as "fun to funky" before settling on the final lines.Шаблон:Sfn For overdubs, Visconti added additional percussion and contributions from session keyboardist Andy Clark, who had been introduced to Visconti by Kenny Everett Show "Space Oddity" drummer Andy Duncan. According to biographer Nicholas Pegg, Clark "provided the symphonic sounds" that end the track,Шаблон:Sfn while O'Leary says his parts are "a high pitch in the chorus".Шаблон:Sfn Upon finishing the track, Visconti recalled: "We love[d] it immensely and knew it was one of the major tracks."Шаблон:Sfn

Composition

Music

A black and white photo of an older man playing guitar
"Ashes to Ashes" features guitar synthesiser by Chuck Hammer (pictured in 2018).

Characterised by commentators as art rock, art pop and new wave;[4][5][6] Pegg describes "Ashes to Ashes" a culmination of Bowie's late 1970s experimental period.Шаблон:Sfn With a funk rhythm, a guitar synth-led sound and complex vocal layering,[7]Шаблон:Sfn author James E. Perone considers it the most musically accessible song on Scary Monsters and on any Bowie album in several years. The author likens Murray's funky bass playing to the plastic soul of Young Americans (1975) and Station to Station (1976).Шаблон:Sfn

The song's musical structure is unique and unusual, which Perone argues made it stand out in pop music at the time.Шаблон:Sfn The piano riff appears to have a "missing bar". It is a three-bar loop, rather than the more common four-bar loop.

<score> 

\relative
{
 \key g \minor
 \time 4/4
    f'8 bes8 c2.
    c4. f,8 ~ f2
    bes4. es,8 ~ es2
       
 }

</score>

The vocal melody also matches the piano riff through its use of contrasting beats, such as "funk" on the downbeat and "fun-ky" on the off-beat.Шаблон:Sfn Visconti called the beat "a mind-bender".[2] Additionally, the vocal melody features contrasting phrasing, meaning the verses consist of unrelated sections, singing through bars ("Major To-om's"), key changes, large vocal register changes and contrasting singing styles.Шаблон:SfnШаблон:Sfn O'Leary comments: "It's as if the conductor of an orchestra is also the lead tenor."Шаблон:Sfn

"Ashes to Ashes" takes melodic inspiration from "Inchworm" by Danny Kaye, who was one of Bowie's earliest influences. Originating from the 1952 musical film Hans Christian Andersen, Bowie stated in 2003 that the song's chords were some of the first he learned on guitar, calling them "remarkable" and "melancholic": Шаблон:"'Ashes to Ashes' is influenced by that. It's childlike and melancholic in that children's story way."Шаблон:Sfn Like "Inchworm", "Ashes to Ashes" contains moves from F to E-flat to close out verses. The song itself is in the key of A-flat major, with the intro and outro featuring "intrusions" of B-flat minor. O'Leary refers to the two bridges as a "series of arcs", as Bowie starts low in his register, rising to high and descending back to low in the same breath. The second verse features dead-pan backing vocals "delay-echoing" the lead vocal.Шаблон:SfnШаблон:Sfn

Lyrics

Шаблон:Quote box Melancholic and introspective,Шаблон:Sfn the song's lyrics act as a sequel to "Space Oddity", which ends with Major Tom alone floating out in space.[2] Eleven years after liftoff,Шаблон:Sfn Ground Control receives a message from Major Tom, who has succumbed to drug addiction and increased paranoia following his abandonment to space: "Strung out in heaven's high / hitting an all-time low."[2] Ground Control are not keen on the astronaut's reappearance – "Oh no, don't say it's true" – and pretend that he is fine, in Doggett's words mimicking "government agencies everywhere".[7]Шаблон:Sfn The astronaut reflects on his life and hopes for the future and wishes he could break free from his "caged psyche".Шаблон:Efn[2] His pleas are disregarded by the public, leading him to proclaim that he has "never done good things", has "never done bad things" and "never did anything out of the blue".[7] The song ends with the nursery rhyme lines "My mother said / to get things done / you'd better not mess with Major Tom".[2][7]

Described by the artist as "a story of corruption",[3] Bowie wanted to see where Major Tom ended up in the 1970s:Шаблон:Sfn

Шаблон:Blockquote

Regarding the song's drug references, Bowie joked about getting the word "junkie" past the BBC's censors in an interview with NME in September 1980.[3] Comparing "Space Oddity" with "Ashes to Ashes", NPR's Jason Heller evaluated the latter's technological undertones compared to the "psychedelically spacious" former.[2] Writer Tom Ewing wrote that it was as if "Major Tom thought he was starring in an Arthur C. Clarke story and found himself in a Philip K. Dick one by mistake, and the result is oddly magnificent".Шаблон:Sfn

Analysis

Reviewers have interpreted "Ashes to Ashes" as commentary on Bowie's own personal struggles with drug addiction throughout the 1970s.Шаблон:Efn Several said the song represents Bowie's reflection and acknowledgement of the past, at the same time offering hopes for the future.Шаблон:SfnШаблон:Sfn[8] Bowie himself said the Scary Monsters album was an attempt to "accommodate" his "pasts", as "you have to understand why you went through them".Шаблон:Sfn The lyrics describe Major Tom as a junkie who has hit "an all-time low". NME editors Roy Carr and Charles Shaar Murray interpreted the line as a play on the title of Bowie's 1977 album Low, which charted his withdrawal inwards following his drug excesses in the US a short time before, another reversal of Major Tom's original withdrawal "outwards" or towards space.Шаблон:Sfn

Biographer David Buckley argues that Bowie offered a comment on his entire career "using a rather sarcastic piece of self-deprecation" with the line "I've never done good things / I've never done bad things / I never did anything out of the blue."Шаблон:Sfn Bowie himself said that these three lines "represent a continuing, returning feeling of inadequacy over what I've done."[3] On the artist's future, Buckley interprets the axe line ("Want an axe to break the ice / Wanna come down right now") as his desire to move into less experimental territory and more "normalised" ground.Шаблон:Sfn Years later, Bowie said, "I was wrapping up the seventies really for myself, and that seemed a good enough epitaph for it – that we've lost him, he's out there somewhere, we'll leave him be."Шаблон:Sfn Heller agreed, arguing that it provided closure for the artist's "most momentous decade".[2]

Release

"Ashes to Ashes" was released in edited form as the lead single from Scary Monsters on 1 August 1980,Шаблон:Sfn[9] with the catalogue number RCA BOW 6 and the Lodger track "Move On" as the B-side.Шаблон:Sfn RCA emphasised the relationship of "Space Oddity" and "Ashes to Ashes" by releasing a nine-minute promo on 12" vinyl in the US titled "The Continuing Story of Major Tom", which segued the former into the latter.[2]Шаблон:Sfn[9] The British single came in three different picture sleeves, each packaged with four different sheets of adhesive stamps, all featuring Bowie in his Pierrot costume from the music video; Pegg says this was RCA adopting "the craze for limited-edition collectables" that pervaded the 7" single market at the time.Шаблон:Sfn On Scary Monsters, released on 12 September,Шаблон:Sfn "Ashes to Ashes" was sequenced in its full-length form as the fourth track on side one of the original LP, between the title track and "Fashion".Шаблон:Sfn

Commercial performance

After years of dwindling commercial fortunes, "Ashes to Ashes" was a return to commercial form for Bowie.Шаблон:Sfn Debuting at No. 4 on the UK Singles Chart, the single secured the top spot from ABBA's "The Winner Takes It All" a week later following the music video's broadcast on Top of the Pops. It became Bowie's fastest-selling single up to that point and his second number one single following the 1975 reissue of "Space Oddity".Шаблон:SfnШаблон:SfnШаблон:Sfn[9]

Compared to the single's strong UK performance, the US release fared worse. With "It's No Game (No. 1)" as the B-side, the US single reached No. 79 on the Cash Box Top 100 chart and No. 101 on the Billboard Bubbling Under the Hot 100 chart.Шаблон:Sfn Elsewhere, "Ashes to Ashes" charted at No. 3 in Australia and Norway,[10][11] 4 in Ireland,[12] 6 in Austria, New Zealand and Sweden,[13][14][15] 9 in West Germany,[16] 11 in the Netherlands' Dutch Top 40 and in Switzerland,[17][18] 15 in Belgium Flanders and the Netherlands' Dutch Single Top 100,[19][20] and 35 in Canada.[21] The song also reached No. 14 in France in 2016.[22]

Critical reception

"Ashes to Ashes" initially received mixed reviews from music critics. Amongst positive reviews, a writer for Billboard magazine said the song combines "rock and dance beats" with "tight rock rhythms lay[ing] the groundwork for the nuance-rich melody".[23] In their reviews of the Scary Monsters album, Billboard and The Spokesman-ReviewШаблон:'s Tom Sowa highlighted "Ashes to Ashes" as one of its best tracks.[24][25]

On the other hand, Deanne Pearson called the song a "strange choice for a single" in Smash Hits, one that was ultimately "not a hit" and should have been left as an album track.[26] Rolling StoneШаблон:'s Debra Rae Cohen described the song as Bowie's "most explicit self-indictment", and one that mirrors "the malaise of the times". Although Cohen found the track's imagery "chilling", she ultimately felt it was hard to see it "as anything but perverse self-aggrandizement".[27] Ronnie Gurr of Record Mirror was negative, finding the song "not in truth a great effort".[28] The magazine ranked it the second best single of 1980, behind "Going Underground" by the Jam,[29] while NME ranked the song the fifth best single of the year.[30]

Music video

A giant chalk cliffside
The music video was partly filmed at Beachy Head (pictured in 2011).

The music video for "Ashes to Ashes" was co-directed by Bowie and David Mallet,Шаблон:Sfn who had previously directed the videos for Lodger (1979).Шаблон:Sfn Filmed at a cost of £250,000,Шаблон:Efn[31] it was the most expensive music video ever made at the time and has remained one of the most expensive of all time.Шаблон:Sfn Shot in May 1980 over a period of three days,Шаблон:Efn Bowie storyboarded the video himself, planning every shot and dictating the editing process.Шаблон:SfnШаблон:Sfn Mallet used the then new Quantel Paintbox to alter the colour palette, rendering the sky black and the ocean pink.Шаблон:Sfn[2] Writer Michael Shore described Mallet's direction as "deliberately overloaded": "demented, horror-movie camera angles, heavy solarisations, neurotic cuts from supersaturated colour to black-and-white."Шаблон:Sfn

Filming locations included Beachy Head and Hastings.Шаблон:Sfn Shooting at the beach was Mallet's idea; he later said: "[It is] one of the very rare places you can get right down to the water and there's a cliff towering over you."Шаблон:Sfn The crew found an abandoned bulldozer on the beach and were able to contact its owners and employ the vehicle for the shoot.Шаблон:Sfn Meanwhile, the "padded cell" and "exploded kitchen" sets were developed from the Kenny Everett Show performance of "Space Oddity", also shot by Mallet, the year prior.Шаблон:Sfn[32] Similar to Bowie's other music videos, "Ashes to Ashes" does not tell a story, instead being filled with strange images that Buckley compares to a "dreamlike mental state".Шаблон:Sfn Discussing the connections between the different locations, Shore states "the stunningly elegant self-referential video-within-video motif, wherein each new sequence is introduced by Bowie holding a postcard-sized video screen displaying the first shot of the next scene".Шаблон:Sfn

In the video, Bowie portrays three different characters – a clown, astronaut and asylum inmate – all of whom represent variations of the song's "outsider theme".Шаблон:Efn His four followers, donning black clerical robes,Шаблон:Sfn were members of London's Blitz, a "Bowie-worshipping nightclub" that housed several up-and-coming artists of the New Romantic era, including Steve Strange, a future member of Visage.Шаблон:EfnШаблон:SfnШаблон:Sfn Strange later told biographer Marc Spitz that his robe kept getting caught in the bulldozer: "That's why I kept doing that move where I pull my arm down. So I wouldn't be crushed."Шаблон:EfnШаблон:Sfn Strange's friend Richard Sharah did Bowie's make-up for both the video and the Scary Monsters photo shoot the previous month, while his Italian Pierrot costume was designed by Natasha Korniloff, whose affiliation with the singer dated back to his days as a mime with Lindsay Kemp in 1968.Шаблон:SfnШаблон:Sfn The elderly woman who appears at the video's end, acting as Bowie's mother, was not, contrary to popular belief, his actual mother.Шаблон:EfnШаблон:SfnШаблон:Sfn

Шаблон:Quote box In his book Strange Fascination, Buckley states that the video conveys an "Edwardian queasiness", depicting "a world of nostalgia, childhood reminiscence and distant memories".Шаблон:Sfn Pegg and Buckley interpret that Bowie's three characters, archetypes that had permeated his songwriting for a decade, act as an "exorcism of his past".Шаблон:SfnШаблон:Sfn Bowie himself described the shot of him and his followers walking up the shoreline while the bulldozer trails behind them as symbolising "oncoming violence".Шаблон:Sfn[33] He also said the followers have religious undertones, "an ominous quality that's rooted quite deeply".Шаблон:Sfn Scenes of the singer in a space suit – which suggested a hospital life-support system – and others showing him locked in what appeared to be a padded room, referred to both Major Tom and to Bowie's new, rueful interpretation of him.Шаблон:SfnШаблон:Sfn The former scenes were "intentionally" derived from H. R. Giger's designs for the 1979 film Alien.Шаблон:Sfn

Live performances

Bowie only performed "Ashes to Ashes" once in 1980, on 3 September for an appearance on NBC's The Tonight Show Starring Johnny Carson. In subsequent decades, Bowie performed the song on the 1983 Serious Moonlight, 1990 Sound+Vision, 1999 Hours, 2002 Heathen, and 2003–2004 A Reality tours.Шаблон:Sfn A Serious Moonlight performance, recorded on 12 September 1983, was included on the live album Serious Moonlight (Live '83), released as part of the Loving the Alien (1983–1988) box set in 2018 and separately the following year.[34] The filmed performance also appears on the concert video Serious Moonlight (1984).Шаблон:Sfn Bowie's 25 June 2000 performance of the song at the Glastonbury Festival was released in 2018 on Glastonbury 2000,[35] while a recording from a special performance at the BBC Radio Theatre, London, on 27 June 2000 was released on the bonus disc of Bowie at the Beeb.Шаблон:Sfn[36] Another live recording from the A Reality Tour, recorded in Dublin in November 2003, is included on the accompanying DVD and live album.Шаблон:Sfn[37] Although O'Leary believes no live performances ever came close to matching the studio recording in quality,Шаблон:Sfn Pegg believes "Ashes to Ashes" made "successful transitions" to the stage.Шаблон:Sfn

Influence and legacy

Шаблон:Quote box In later decades, reviewers and biographers consider "Ashes to Ashes" one of Bowie's best songs.Шаблон:Sfn Praise is given to its musicality and unique structure;Шаблон:SfnШаблон:Sfn[38] Biographer Paul Trynka, in particular, attributes the song's success to its "melodic inventiveness".Шаблон:Sfn Regarding its structure, O'Leary says the track "seems built by a surrealist watchmaker" due to the details present in the mix, deeming it one of Bowie's finest studio recordings.Шаблон:Sfn Writing for Consequence of Sound, Nina Corcoran stated the song "makes the most of Bowie's musical creativity" and overall represents "an ode to the '70s".[38] American SongwriterШаблон:'s Jim Beviglia called the song a "dark masterpiece".[7] Rhino Entertainment argued the song predicted the subsequent decade with its "ominous clash of synthesized guitars, hard funk bassline and dissonant guitars".[39]

Some critics analysed the song against Bowie's entire career. O'Leary says that while his career was far from over when the song was released, "Ashes to Ashes" is "his last song" or "the closing chapter that comes midway through the book". He concludes: "Bowie sings himself onstage with a children's rhyme: eternally falling, eternally young."Шаблон:Sfn The GuardianШаблон:'s Alexis Petridis said the song represents a moment in his catalogue where "the correct response is to stand back and boggle in awe", because "everything about it – [its] lingering oddness of its sound, its constantly shifting melody and emotional tenor, its alternately self-mythologising and self-doubting lyrics – is perfect".[40] Chris Gerard of PopMatters even considered the track one of Bowie's signature songs.[41]

Artists who have covered "Ashes to Ashes" live or in-studio include Tears for Fears for the 1992 Ruby Trax charity album, Uwe Schmidt, Northern Kings, the Shins, the Mike Flowers Pops and John Wesley Harding.Шаблон:Sfn Songs that used musical elements or lyrics from "Ashes to Ashes" include Marilyn Manson's "Apple of Sodom" (1997), Landscape's "Einstein a Go-Go" (1981) and Keane's "Better Than This" (2008).Шаблон:Sfn Songs that directly sampled "Ashes to Ashes" include Samantha Mumba's UK top five hit "Body II Body" (2000) and James Murphy's remix of Bowie's 2013 single "Love Is Lost".[42]Шаблон:Sfn The song's namesake was also used for the 2008 BBC sequel series of their popular time-travelling crime drama Life on Mars,Шаблон:Sfn[43] which itself took its name from another Bowie song.Шаблон:Sfn

The music video has also received praise and recognition as a major influence on the then-rising New Romantic movement.Шаблон:Sfn Initially voted by Record MirrorШаблон:'s readers as the best music video of 1980, together with "Fashion",[29] Rolling Stone placed it at number 44 in their list of the 100 best music videos of all time in 2021. Discussing the video's influence upon its release, Andy Greene wrote: "MTV came onto the airwaves exactly one year later, and it would give rise to a whole new generation of Bowie imitators, but none of them could compete with the real deal."[31] Dig! website also included the visual in their list of 20 essential clips of the 1980s. Luke Edwards argued that the video "truly captured the spirit of the MTV age" before the channel's golden era.[5]

Commentators hail the video as not only one of Bowie's finest, but one of the medium's high points.Шаблон:SfnШаблон:Sfn Considered "the defining early music video" by Buckley, and "one of the most significant and influential of the age" by Dave Thompson,Шаблон:Sfn[9] its techniques and effects influenced videos of artists including Adam Ant, Duran Duran and the Cure.Шаблон:Sfn Pegg argues the visual "define[d] rock video for the early 1980s",Шаблон:Sfn while Heller contended it proved music videos were "viable promotional investments".[2] Videos that later mimicked or took appropriation from the "Ashes to Ashes" video included Peter Gabriel's "Shock the Monkey" (1982), Erasure's "Chorus" (1991) and Marilyn Manson's "The Dope Show" (1998).Шаблон:Sfn

"Ashes to Ashes", in both its single edit and full-length forms, has made appearances on compilation albums. The single edit is included on Changestwobowie (1981),[44] Best of Bowie (2002),[45] The Platinum Collection (2006),[46] Nothing Has Changed (2014) and Legacy (The Very Best of David Bowie) (2016),[47][48] while the album version is included on the Sound + Vision box set (1989),[49] Changesbowie (1990) and The Singles Collection (1993).[50][51] The single edit was also included on Re:Call 3, part of the A New Career in a New Town (1977–1982) compilation, in 2017.[52] An unreleased extended version, allegedly 13-minutes long and featuring additional verses, a longer fade-out and a synthesiser solo, is rumoured to exist, although a 12-minute version that appeared on bootlegs was fake, simply repeating and splicing the verses.Шаблон:Sfn[9] In 2020, Visconti said that no additional verses were recorded nor is he aware of any other versions of the song existing.[53]

Following Bowie's death in January 2016, Rolling Stone named "Ashes to Ashes" one of the 30 most essential songs of the artist's catalogue. The magazine wrote: "As offbeat as the song was, it's a testament to Bowie's art-pop genius that 'Ashes to Ashes' became a huge international hit."[54] The song has appeared on lists of Bowie's greatest songs by The Telegraph,[55] The Guardian (No. 2), behind "Sound and Vision" (1977),[40] Digital Spy (No. 3),[56] Far Out and Uncut (No. 6),[57][58] Smooth Radio (No. 7),[59] NME (No. 9),[60] Mojo (No. 10) and Consequence of Sound (No. 30).[38][61] In 2016, Ultimate Classic Rock placed the single at number 10 in a list ranking every Bowie single from worst to best.[62] Two years later, NME readers voted it Bowie's third best track, behind "All the Young Dudes" (1972) and "Life on Mars?" (1971).[63]

Personnel

According to Chris O'Leary:Шаблон:Sfn

Technical

  • David Bowie – producer
  • Tony Visconti – producer, engineer
  • Larry Alexander – engineer
  • Jeff Hendrickson – engineer

Charts

Weekly charts

Шаблон:Single chartШаблон:Single chartШаблон:Single chartШаблон:Single chartШаблон:Single chartШаблон:Single chartШаблон:Single chartШаблон:SinglechartШаблон:Single chartШаблон:Single chartШаблон:Single chart
1980–1981 chart performance for "Ashes to Ashes"
Chart (1980–1981) Peak
position
Australia (Kent Music Report)[64][10] 3
Ireland (IRMA)[12] 4
France (IFOP)[65] 1
UK Singles (OCC)[66] 1
US Bubbling Under Hot 100 (Billboard)Шаблон:Sfn 101
US Disco Top 100 (Billboard)[67] 21
US Cash Box Top 100 SinglesШаблон:Sfn 79
Шаблон:Single chart
2016 chart performance for "Ashes to Ashes"
Chart (2016) Peak
position

Year-end charts

Year-end chart performance for "Ashes to Ashes"
Chart (1980) Position
Australia (Kent Music Report)[64] 25

Notes

Шаблон:Notelist

References

Шаблон:Reflist

Sources

Шаблон:Refbegin

Шаблон:Refend

Шаблон:Portal bar Шаблон:David Bowie singles Шаблон:Major Tom Шаблон:Authority control

Партнерские ресурсы
Криптовалюты
Магазины
Хостинг
Разное

  1. ↑ Шаблон:Cite web
  2. ↑ 2,00 2,01 2,02 2,03 2,04 2,05 2,06 2,07 2,08 2,09 2,10 Шаблон:Cite web
  3. ↑ 3,0 3,1 3,2 3,3 Ошибка цитирования Неверный тег <ref>; для сносок MacKinnonNME не указан текст
  4. ↑ Шаблон:Cite magazine
  5. ↑ 5,0 5,1 Шаблон:Cite web
  6. ↑ Шаблон:Cite journal
  7. ↑ 7,0 7,1 7,2 7,3 7,4 Шаблон:Cite web
  8. ↑ Шаблон:Cite web
  9. ↑ 9,0 9,1 9,2 9,3 9,4 Шаблон:Cite web
  10. ↑ 10,0 10,1 Шаблон:Cite magazine
  11. ↑ Ошибка цитирования Неверный тег <ref>; для сносок NORchart не указан текст
  12. ↑ 12,0 12,1 Шаблон:Cite web 3rd result when searching "Ashes to ashes"
  13. ↑ Ошибка цитирования Неверный тег <ref>; для сносок AUSTchart не указан текст
  14. ↑ Ошибка цитирования Неверный тег <ref>; для сносок NZchart не указан текст
  15. ↑ Ошибка цитирования Неверный тег <ref>; для сносок SWEchart не указан текст
  16. ↑ Ошибка цитирования Неверный тег <ref>; для сносок WGERchart не указан текст
  17. ↑ Ошибка цитирования Неверный тег <ref>; для сносок DUT40 не указан текст
  18. ↑ Ошибка цитирования Неверный тег <ref>; для сносок SWIchart не указан текст
  19. ↑ Ошибка цитирования Неверный тег <ref>; для сносок BELFLchart не указан текст
  20. ↑ Ошибка цитирования Неверный тег <ref>; для сносок DUT100 не указан текст
  21. ↑ Ошибка цитирования Неверный тег <ref>; для сносок CANchart не указан текст
  22. ↑ Ошибка цитирования Неверный тег <ref>; для сносок FRchart2016 не указан текст
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