Produced by long time collaborator Nile Rogers and featuring jazz trumpeter Lester Bowie (no relation), the single was Bowie's first top 10 hit since Absolute Beginners.

Title track and third single from the LP.

Second single from the Never Let Me Down LP. Although Bowie seemed to distance himself from the LP in later years he remained affectionate towards this single, re-recording it for his iSelect retrospective

First single off the Never Let Me Down LP, lyrically it concerns the plight of a young woman struggling in poverty and Bowie openly said it was 'more a statement of energy' than a shot at a number one single.

Collaboration with multi-instrumentalist Erdal Kizilcay, the song was part of the soundtrack to the Raymond Briggs film of the same name.

Taken from the motion picture ‘Labyrinth’. The 7” version features a gospel choir not heard on the 12” version of the single.

Theme from the film of the same name directed by friend and director of many Bowie music videos, Julian Temple. The song was recorded at Abbey Road studios with session musicians kept unaware of who they were recording with until they arrived in the studio.

Released 8 months after the Tonight LP from which it was taken from it reached number 19 in the UK charts.

Theme from the ‘Falcon and The Snow Man’ motion picture. The song is based around the instrumental “Chris” by Pat Metheny and Lyle Mays.

Title track from the LP. The LP Tonight was put out soon after the long Serious Moonlight tour on which Bowie found it difficult to write, the resulting album featured only two compositions from Bowie himself and features much input from Iggy Pop.

Taken from the 1984 LP tonight, in a 1987 interview Bowie said the song was “a piece of sexist rock 'n roll. [laughs] It's about picking up birds. It's not very cerebral…” John played on the 19th of September 1984 commenting “the video rather better than the record, I must admit, but I can't play you the video.”

Taken from the 1983 LP Let’s Dance, the song was produced by Chic’s Nile Rogers and became a staple of Bowie’s Serious Moonlight tour. It reached number 2 in the UK charts. A live recording from a show in Montreal in July of that year features on the b-side.

Originally composed by Bowie and Iggy Pop in Berlin, Pop released it on his 77 album the Idiot. Bowie re-recorded it for his 1983 LP Let’s Dance and it reached number two in the UK charts.

Recorded in New York with two heavyweights - Chic guitarist Nile Rogers and emerging virtuoso Stevie Ray Vaughn - the single went straight into number one in the UK and US.

Taken from the LP of the same name, the single is backed with his re-recorded version of Cat People.

Recorded as part of 1977 television special Bing Crosby’s Merrie Olde Christmas. Available for a few years as a bootleg only backed with Heroes (also performed on the show) RCA put out this full picture disc release in 1982, a move that further soured Bowies relationship with the label.

Composed by Italian super producer Moroder (of Donna Summer ‘I Feel Love’) with lyrics from Bowie. Bowie re-recorded the single in 1983 for his Let’s Dance LP.

Recordings of Brecht’s historic songs from the play Baal by Bowie and produced by Tony Visconti in a return to the Hansa studios, Berlin. The play was recorded by the BBC and transmitted February 2nd 1982.

John played it upon it’s release in Febuary 1982 commenting that Bowie started out sounding like Anthony Newley and seemed to have returned to that (not necessarily a complement!)

Originally recorded by Johnny Mathis for the film of the same name in 1957, and also by Nina Simone in 1959. Bowie’s version from Station to Station is said to have been inspired by Simone as he was a great admirer of hers.

It was issued as a single to help promote the ChangesTwoBowie compilation.

The single originated out of a jam session in Bowie’s studio in Montreux Switzerland, and is built upon an earlier unfinished Queen composition ‘Feel Like’.

Upon it’s release it went straight into number one in the UK charts.

Taken from the LP Scary Monsters, the song has a slightly fragmented composition reminiscent of his Berlin trilogy with tempo changes and a disjointed structure.

Taken from Bowie’s fourteenth studio LP of the same name, continued with Bowie’s own interpretation of the new-wave/ post punk sound that was beginning to take hold.

Second single from Scary Monsters (Super Creeps) LP, it reached number 5 in the UK charts.

Originally composed by Bertolt Brecht in Hauspostille, and famously covered by the Doors, Bowie’s slightly disjointed cover is backed with an acoustic version of Space Oddity.

Recorded during the Young Americans sessions at Sigma Sound studios, Bowie was working with musicians from Sly and The Family Stone and the likes of Luther Vandross developing his new ‘plastic soul’ sound. This is a total reworking of the original but never made the final cut of the LP and wasn’t heard until this release five years later.

Taken from LP Lodger and lyrically takes a cynical look at the cult of the DJ. It peaked at number 29 in the UK charts.

Taken from the 79 LP ‘Lodger.’ Co-written by Brian Eno with Bowie

Lead promotional single for Bowie’s second live album ‘Stage’ of which John played in it’s entirety over two shows on the 26th and 27th of September 1978.

Second single from 1977 ‘Heroes’ LP and features Robert Fripp on guitar and Brian Eno on synthesizers. Slightly menacing in nature the single was considered abrasive and a big contrast to the huge hit ‘Heroes’ that had preceded it.

German language version of Heroes, backed with V-2 Schneider, Bowie’s largely instrumental tribute to Florian Schneider, founder of Kraftwerk.

Chante En Francais (French language version) of Heroes in a tricolour sleeve.

Taken from the LP of the same name, Heroes is one of the Bowie’s most enduring releases and marks a highpoint of his collaborations with Brian Eno and his time in Berlin. John’s own affection for the song was shown with it’s inclusion in the first ever self-chosen Festive 50.

Backed with V-2 Schneider, Bowie’s largely instrumental tribute to Florian Schneider, founder of Kraftwerk.

Taken from the LP Low, this is considered by many to be a dedication to Bowie’s wife Angela during a turbulent period in their marriage. It is backed with Bowie’s first instrumental released on single, Speed of Life.

Taken from 1977s ‘Low’ LP. Draws on the synthesizer techniques developed by Brian Eno who also contributes backing vocals to this track alongside producer Tony Visconti’s wife Mary.

Originally released on The Rise and Fall of Ziggy Stardust, this reissue 4 years later was used to promote the compilation Changesonebowie LP. The b-side Stay was taken from the LP Station to Station.

From the LP ‘Station to Station.’ Inspired by drug induced hallucinations Iggy Pop experienced whilst staying with Bowie in LA involving the television set swallowing his girlfriend!

From the LP ‘Station to Station.’ Bowie performed this live on classic US TV show Soul Train and was one of the first white performers to appear on the show. Allegedly the song was offered to Elvis first who turned it down.

Space Oddity originally released 1969, Changes 1974, Velvet Goldmine 1969

Taken from the Young Americans LP and infamously featuring John Lennon on guitar. Reached number 1 in the billboard charts in the states although only reached 17 in the UK. John said in an interview in 1986 “the only Bowie record that I ever listen to these days is the thing that he did with Lennon, which is Fame.”

Originally released on Deram in 1966 as a b-side to Rubber Band, Decca reissued it in 1975 with Love You Till Tuesday on the b-side.

Featuring backing vocals and arrangements from a young Luther Vandross, ‘Young Americans’ was Bowie’s biggest hit in the states up to that point and reflected his cynicism about McCarthyism and black repression in the US. From the LP ‘Young Americans’.

Taken from the ‘David Live’ LP made up of performances on the 14th & 15th July 1974 at the Tower Theatre, Philadelphia. B-side ‘Panic in Detroit’ only available on the 7” until a 2005 reissue of ‘David Live’

Title track from the LP and backed by legendary bassist Herbie Flowers. Diamond Dogs presented Bowie’s first new persona post Ziggy, that of Halloween Jack. Originally conceived as a musical version of 1984, after Orwell’s estate put a stop to that Bowie conjured his own dystopian future which he presents here.

Issued two years after The Rise and Fall of Ziggy Stardust LP, RCA’s issuing of this as a single in 1974 was seen by many as a cashing in exercise. The closing track for the LP and also of Bowie’s infamous final concert as Ziggy at London’s Hammersmith Apollo.

Taken from the ‘Diamond Dogs’ LP and backed with b-side ‘Queen Bitch’, ‘Rebel Rebel’ was one of Bowie’s biggest singles and his first since 1969 not to feature long time guitarist and Spider Mick Ronson.

The only single from Bowie’s 1973 covers LP ‘Pinups’. A cover of an original recording by the McCoys (from 1965) the single peaked at 3 in the UK singles charts.

A song ‘inspired by Frankie’ as the sleeve notes to Hunky Dory state, the songs chords bear a striking resemblance to Paul Anka’s ‘My Way’ (made famous by Frankie). Bowie claims to have composed the tune in an afternoon with additional arrangements and embellishments from Rick Wakeman and Mick Ronson.

Backed with a cover of Chuck Berry’s ‘Around Around’. ‘Drive-In Saturday’s’ lyrics concern a post apocalyptic future whereby it’s inhabitants need to watch pornography to understand reproduction. Taken from Aladdin Sane, peaked at 3 in the UK singles charts.

A release that straddled two classic Bowie albums, The Jean Genie from Aladdin Sane and b-side Ziggy Stardust from The Rise and Fall of Ziggy Stardust. In 73 Bowie spoke to NME about the song claiming “I wanted to get the same sound the Stones had on their very first album on the harmonica. I didn't get that near to it, but it had a feel that I wanted – that '60s thing.”

This collection from PYE Records is arguably a blatant attempt by the label to cash in on Bowie at the height of his Ziggy fame. “Do Anything You Say” and “I Dig Everything” were originally recorded for the label with Bowie’s touring band The Buzz on PYE although “I Dig Everything” would see more success when recorded by 1-2-3.

Originally released as a single only in the UK and Europe and was barred from a full US release after controversy surrounding the lyrics which allegedly allude to a homosexual relationship. First played by John on the 29th of August 1972.

Track listings from John’s Top Gear show demonstrate that John played this repeatedly the whole way through the first part of 1972, describing it as “a classic, a gem.”

Stamped with 15 Jan 1971 presumably the date it was issue as a promo. Another version of this single emerged as the b-side for 1974’s Diamond Dogs.

According to surviving records this single was played twice by John in July 1970. It was written by Bowie as a homage to the Free Festival organised by Beckenham Arts Lab in 1969 which Bowie cofounded

Original version of the more glam style one that was re-recorded for Aladdin Sane. Composed for Bowie’s first wife Anglea the track features John's friend at the time Marc Bolan from T. Rex on guitar.

The actual copy of the 7-inch that really introduced David Bowie to UK audiences (and subsequently the world) which John played upon it’s release in July 1969 and bemoaned the fact it was not bound for commercial success.

The song was composed after Bowie went to see Kubricks 2001: A Space Odyssey, and was subsequently used to soundtrack the moon landing…something that concerned Bowie as Major Tom never made it back to earth!

David Bowie’s first group who only issued one single to little recognition, after which David quit dissatisfied to join the Manish Boys.

Interesting principally because it contains the first David Bowie press release

UPDATE: DavidBowie.com has confirmed that this is in fact the 1978 re-issue after some dispute online.