Ashes to Ashes is a follow-up to Space Oddity and it reinterprets its iconic stranded spaceman Major Tom as a drug addict lost in the throes of substance abuse. Bowie partially based the lyrics on his own experiences with drug addiction throughout the 1970s. Ashes to Ashes is art-pop and new wave; recorded at the dawn of the 1980s. Like much of his music, today’s featured track took me decades to unpack and appreciate, but I now regard Ashes to Ashes as one of his most innovative and intriguing accomplishments. Its experimental sound continues to challenge my ears, yet it never fails to provide a deeply satisfying experience – the unique musical structure a true technical achievement. ‘A mind bender’ basically.
Ashes to Ashes was released as the lead single from Bowie’s 14th studio album, Scary Monsters (and Super Creeps). It became Bowie’s second No. 1 single in the UK and his fastest-selling single. It was recorded from February to April 1980 in New York and London and features guitar synthesiser played by Chuck Hammer. Hammer, who dubbed his work “guitarchitecture” created an unique choral effect using four guitar synthesizers playing inverted chords. It recorded in the studio’s back stairwell to add extra reverb and creating an immersive, futuristic atmosphere that perfectly complements the song’s lyrics.
The music video below was just as innovative. Directed by Bowie and David Mallet, this short film became one of the most expensive and ambitious of its time. The images, loaded with symbolism and pop culture references, transport us to a dreamlike and decadent universe. Bowie, dressed as Pierrot, shares the scene with members of London’s Blitz scene, creating a unique visual aesthetic that reflects the spirit of the era. The most iconic moment of the video is, without a doubt, the scene in which Bowie and the Blitz boys walk toward the camera in front of a bulldozer. This image, charged with latent violence, has become, it’s said… one of the most iconic in the history of music videos.
The combination of lyrical introspection, musical innovation, and avant-garde visual aesthetics make Ashes to Ashes a masterpiece that has transcended fashion and remains relevant today.
[Verse 1]
Do you remember a guy that’s been
In such an early song?
I’ve heard a rumour from Ground Control
Oh, no, don’t say it’s true
They got a message from the Action Man
“I’m happy, hope you’re happy too
I’ve loved all I’ve needed, love
Sordid details following”
[Pre-Chorus]
The shrieking of nothing is killing
The shrieking of nothing is killing
Just pictures of Jap girls in synthesis
Just pictures of Jap girls in synthesis
And I ain’t got no money and I ain’t got no hair
I ain’t got no money and I ain’t got no hair
But I’m hoping to kick, but the planet is glowing
But I’m hoping to kick, but the planet is glowing
[Chorus]
Ashes to ash and funk to funky
We know Major Tom’s a junkie
Strung out in heaven’s high
Hitting an all-time low
[Verse 2]
Time and again, I tell myself
I’ll stay clean tonight
But the little green wheels are following me
Oh, no, not again
I’m stuck with a valuable friend
“I’m happy, hope you’re happy too”
One flash of light, but no smoking pistol
[Pre-Chorus]
I’ve never done good things
I’ve never done good things
I’ve never done bad things
I’ve never done bad things
I never did anything out of the blue, whoa whoa
I never did anything out of the blue, whoa whoa
Want an axe to break the ice
I want an axe to break the ice
Wanna come down right now
I want to come down right now
References:
1. Ashes to Ashes (David Bowie song) – Wikipedia
2. “Ashes to Ashes” de David Bowie: el regreso de Major Tom y un hito en la música pop – Concierto
“The more I live, the more I learn. The more I learn, the more I realize, the less I know.”- Michel Legrand
Observation Blogger 
While I think I will always like David Bowie’s glam rock period the most, especially the Ziggy Stardust album, I also enjoy a good number of songs he recorded thereafter. This includes “Ashes to Ashes.” One of the things I’ve always respected about Bowie is that he had the courage to change musically and did so many times throughout his career.
BTW, did you know there is a German synth pop artist, Peter Schilling, who also revisited “Space Oddity” with his 1983 song “Major Tom (Völlig losgelöst)”? After it became a major hit in Germany and Austria, Schilling recorded an English version, “Major Tom (Coming Home),” which did pretty well internationally. Among others, it peaked at no. 14 on the US Billboard Hot 100, no. 13 in New Zealand, no. 42 in the UK and no. 57 in Australia.
Since you may have heard the English version but perhaps not the the original, here’s the German version:
I do recall your penchant for Bowie’s Ziggy and Glam rock era. I like some of it, but I’m probably more of an 80’s Bowie guy. I couldn’t agree more with your appreciation of Bowie’s reinvention phases.
I wasn’t familiar with German synth pop artist, Peter Schilling,and his adaptions of the Major Tom story and music. I just listened to both his German and English versions. Interesting, thanks Christian.
One of Bowie’s greatest ever songs.
I couldn’t agree more, but it’s probably now not so highly acclaimed or recognised (as his other more familiar tunes), although I might be wrong in that assessment. I think ‘Ashes to Ashes’ is pioneering and sounds beyond great.
My favorite Bowie song. I’m embarrassed to admit this, but I first heard it five years ago on the Banana Republic overhead speakers as background music and was instantly allured. I hit the Shazam button on my phone and discovered the details about the song that way. I still listen to it a lot. There are hidden motifs in its distortion, and I love how Bowie does his best to not over expose chord progressions to an obvious level. It’s all about texture and slap bass!
I think this is about my favourite song from him as well. It’s bizarre how music preferences can change over time. As a young buck I would never have included ‘Ashes to Ashes’ in my top echelon Bowie releases. Rather I might have gone with ‘Heroes’ heading the list.
Your expert run-down of the intricate song aspects and production in ‘Ashes to Ashes’ setting it apart, is something to behold. It’s a fantastic and invaluable addendum to this article. So thanks Reely.