Aladdin Sane 50th Anniversary (Half Speed Master)

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Award-winning pianist, composer and musical director Peter Edwards will arrange and lead the diverse, innovative and shapeshifting orchestra, following Nu Civilisation Orchestra’s recent triumphant tours of 50 years of Marvin Gaye’s What’s Going On , Joni Mitchell’s Hejira and Charles Mingus, as well as one-off concert Duke Ellington’s The Queen’s Suite, which was performed at Queen Elizabeth Hall, as part of Southbank Centre’s Platinum Jubilee celebrations last year. It was actually Brian Duffy’s suggestion to change the album title from A Lad Insane – a reference to Bowie’s half-brother, who was schizophrenic, as well as Bowie’s state of mind – to Aladdin Sane. Duffy also changed the lightning flash – inspired by Elvis’ Taking Care of Business logo – from anchor tattoo-sized to full face makeup.

Chris Duffy first met the Starman musician in 1973 when he was recording Aladdin Sane in London as his father was working with Bowie at the time. The Southbank Centre Archive will also present a separate free display exploring David Bowie’s history with the Centre, stretching over 50 years, and his ongoing legacy. From his performance in the recently opened Purcell Room in 1969, to later performances alongside Lou Reed and his curation of Southbank Centre’s annual contemporary music festival, Meltdown, never before seen archival material will be available for public view. He later had the opportunity to photograph Bowie alongside his father in 1980 for his 14th studio album Scary Monsters.On 14th April, 2023, one week before its Golden Jubilee, ALADDIN SANE will be issued as a limited edition 50th anniversary half-speed mastered LP and a picture disc LP pressed from the same master. The day’s talks will close with writers Paul Burston and Golnoosh Nour on the cultural impact of Bowie’s androgyny and his playful subversion of gender identity. It will also look at the music scene of the early 1970s, when Bowie and Brian Duffy first met, and go on to chart the relationship that developed between the musician and photographer. Speaking to the Guardian on the eve of the exhibition’s opening, Chris Duffy said that for his father it was “just another job”. He added: “I don’t think any artist gets up in the morning and thinks I’m going to create a piece of brilliant art or a cultural icon. It’s all about timing. A lot of things came together at the right time to produce this.” I think he was having a hard time with the pressure he was under, having created this character he had to play every night,” says Woodmansey, who was blindsided by the announcement and was told he was no longer needed by Bowie four days later – on his wedding day. “So he eventually stayed in character as Ziggy all the time. And Ziggy was pretty f***ing weird. It was impossible having a normal conversation with Ziggy.”

On14th April, 2023,one week before its Golden JubileeALADDINSANEwill be issued as alimited edition 50th anniversary picture disc LP pressed from the samemaster. Ziggy is quite polite in a way,” says Bobby Gillespie, frontman with Primal Scream. “Whereas Aladdin Sane, the band are hot from touring. It has that raw live energy. It’s definitely a more druggie sound, more of a decadent atmosphere, it’s more ragged and a bit sloppier. It’s in your f***ing face. And all the better for it.”

The Queen Elizabeth Hall Foyer will host two nights of club music in celebration of Bowie on April 21 and 22, with DJ collective Queer House Party and Afro-Caribbean-inspired Queer Bruk. The two-month long exhibition runs from 6 April-28 May and explores the creation of the album’s artwork. A line-up of live music and talks inspired by the Bowie’s sixth record is also booked. We’re honoured to pay tribute to David Bowie, who made his Southbank Centre debut in 1969. The Aladdin Sane album cover portrait is considered to be one of the most influential pop culture images of the past half century, and the music remains fresh and contemporary, so we wanted to recognise this major anniversary and reflect on the album and its artwork’s enduring legacy. It’s a work that continues to inspire today’s contemporary artists and the gender fluidity of the images still resonate deeply in queer culture in the UK and across the world. On the Aladdin Sane celebrations, Southbank Centre Artistic Director Mark Ball