As he fleshed out the concept further, Ziggy became an omnisexual alien rock star, sent to Earth as a messenger.
“He always described how he’d take bits and pieces from all over the place, put them in a melting pot and they’d come out being him,” said producer Ken Scott.īowie dubbed this new creation “Ziggy Stardust” (first name taken from a tailor’s shop that he saw from a train). He began developing a character based on Taylor, as well as on other eccentrics like Texas “psychobilly” singer Legendary Stardust Cowboy and Japanese designer Kansai Yamamoto. “Until that time,” he later said, “the attitude was ‘What you see is what you get.’ It seemed interesting to try to devise something different, like a musical where the artist onstage plays a part.” After too many drugs and an emotional breakdown, Taylor had joined a cult and decided that he was an alien god on Earth.īowie’s fascination with space travel and science fiction had already surfaced in such songs as “Space Oddity” and “Life on Mars?” but he was being drawn toward something grander in scope. But the root inspiration for the album’s theme went deep into his past.ĭuring the mid-Sixties, Bowie had met pioneering British rocker Vince Taylor, who had recorded the 1959 classic “Brand New Cadillac” (later covered by the Clash on London Calling). Bowie had been building up to something like Ziggy Stardust for a while.
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