Bassist died after battle with cancer
Bolder played a big part in one of the most iconic phases of the Thin White Duke’s career, playing with the star during the Ziggy Stardust era and contributing to three of his most seminal records, Hunky Dory, Aladdin Sane and the Rise And Fall Of Ziggy Stardust and the Spiders From Mars. Sky News reported a statement by Bowie, that said: "Trevor was a wonderful musician and a major inspiration for whichever band he was working with. But he was foremostly a tremendous guy, a great man."
Following playing for Bowie, Bolder went on to join the band Uriah Heep in 1976, and only stopped playing a few months ago owing to his poor health. A statement from that band said: "It is with great sadness that Uriah Heep announce the passing of our friend the amazing Trevor Bolder, who has passed away after his long fight with cancer. Trevor was an all-time great, one of the outstanding musicians of his generation, and one of the finest and most influential bass players that Britain ever produced.”
Continue reading: David Bowie Leads Tribute To Dead 'Spider From Mars' Trevor Bolder
Though Bowie and band performed with much gimmickry to entertain the masses, their musical talent is still more enjoyable than watching Bowie be stripped of clothing on stage. If their songs weren't so engaging, the outrageous fashion style probably wouldn't have been able to push the gender-bending boundaries that so many other bands would later fail to copy. Bowie has his own limits of showmanship that keep you focused on the music instead of his exacting bodily movements. He doesn't just prance around on stage or gyrate, but utilizes facial expressions and simple gestures to add a texture of personality to what he sings. It's surprising yet touching when, after singing the line "...in front of that door is," the entire audience jumps on "me," which gets treated with a genuinely friendly smile.
Continue reading: Ziggy Stardust and the Spiders of Mars Review
Throughout most of David Bowie's 1973 concert film "Ziggy Stardust and the Spiders from Mars," the flamboyantly androgynous (at the time) rock legend's performance isn't half as interesting as his gender-bending wardrobe.
In pancake makeup and his trademark spiky orange glam-mullet, Bowie's outfits include a duster-sleeved, silk kimono robe mini-dress and knee-high boots; a striped one-leg, one-sleeve body stocking accessorized with a boa and bangles the size of ring-toss rings; and a mesh shirt that reveals his beanpole frame, worn with a pair of capri pants and open-toed platform heels.
But for the first hour of the movie -- which was filmed at the farewell performance of the Ziggy Stardust persona and is now being re-released in a mediocre and muddy but "digitally remastered" print -- Bowie does little more in these get-ups than absent-mindedly pace the stage song after song, pausing once in a while to swing out a hip to place a hand on.
Continue reading: Ziggy Stardust & The Spiders From Mars Review