As the Ziggy tour morphed into the Aladdin Sane tour in early 1973, the shows became even more ambitious.
By the middle of 1973, Bowie had been on the road, almost non-stop, for 18 months, in a punishing schedule that included six British tours, two American tours and a tour of Japan - more than 170 gigs in all. The Japanese tour was also a huge success. At the start of the tour, Bowie was a virtual unknown with negligible record sales ; by the end, it was mass hysteria at the concerts.
After the Japanese gigs, there was a large gap before the next gig, at London's Earl Court. His fear of flying meant that Bowie decided to return to Europe on the Trans-Siberian express.
As the summer drew closer Bowie was nearing exhaustion, despite the onset of what the tabloid media had dubbed 'Bowiemania',a level of hysteria not witnessed since the Fab Four in the mid-1960s. Bowie had gone mainstream with a vengeance with profiles on BBC's Nationwide, massive exposure on radio 1, and a avid interest from the tabloids and the rock press. However, on 12 May, The Spiders played a thoroughly dispirited gig at Earl's Court. The ambience was zero, the acoustics appalling because the PA was to small for the venue, and it was impossible to see the stage itself. It was one of the first times that Earls Court had been used for a rock concert, and the stage was also too low and fans couldn't even see it properly. It was one of the few real failures of the Ziggy/Aladdin Sane era. But no one could have expected Bowie's next move.
" Not only is it the last show of the tour, but it's the last show that we'll ever do..... Bye bye. We love you. "
Bowie's retirement announcement from the stage of Hammersmith Odeon, immortalised in that rather grainy DA Pennebaker film, left his fans in a state of complete disbelief. Bowie, just 18 months into his fame, was bowing out for good. Little did we know that this was not the end of the story but simply the conclusion of one chapter in Bowie's career: Ziggy and glam rock era were over.
As a historical event, the Hammersmith gig has attained a mythic dimension. It wasn't the best gig The Spiders ever played, but it was their last, and it marked the end of an era. Although concealed from The Spiders until the night of the show, Bowie's announcement was in fact carefully leaked to the press beforehand.
After the gig, Bowie threw a huge 'retirement' do, with Mick Jagger, Lou Reed, Ringo Starr, Barbara Streisand and Lulu all in attendance. the concert was a definite turning point for Bowie. He was shedding another skin that night at Hammersmith, throwing off glam rock and paving the way for a new, bolder era of experimentation. it was a rite passage.
But why retire at the height of your fame? the answer lies in a combination of Bowie's low boredom threshold and, more importantly, his tour weariness. Bowie was genuinely exhausted after eighteen months' gigging. Just as Ziggy bit the dust at the end of the album, so Bowie used the Hammersmith Odeon show to fuel the myth and 'retire' in actuality. Since neither he nor his audience was sure whether it was David Bowie or Ziggy Stardust up there on stage, Bowie's fans assumed Bowie's retirement was the end of his,Bowie's,career,not simply that of his alter ego.
There were also strictly commercial reasons behind the decision to bow out. Despite the sell- out tours, The Spiders were still receiving almost the same measly wage they had been on when Ziggy was an unknown.
Ronson had become something of a huge live draw in his own right on the Bowie tours, and had his own fan base. With Bowie exhausted and off the road, in the second half of 1973 Defries turned his attention from Batman to Robin . He genuinely liked Ronson, and was also genuine in his appreciation of the Yorkshireman;s talents. So began the process of grooming Ronson for solo super-stardom.
Finally, and most tellingly, Bowie was tired of the sort of music he was making with The Spiders. It seems that what actually drivers Bowie more than anything is not so much premeditated attempts to colonise markets, but a real hunger for musical experimentation. On Aladdin Sane ,Bowie had already begun, with Ronson's jazzy piano, to break free from the standard pop/rock format. Songs such as 'Panis in Detorit' hinted at a more obvious R&B/soul future. Bowie was,and still is, into all sorts of music, and by the middle of 1973 it was simply time for a change.
Aladdin Sane had seen him move away from conventional pop, and his next planned project, an adaptation of George Orwell's tale of totalitarian terror,1984, would enable him to broaden the base of his music even further. Bowie wanted to move into mode serious intellectual territory outside the band format.
First, though, there was a record company to appease. Bowie was now at a commercial peak. In the week beginning 23 July, 5 of his 6 albums were in Top40, 3 of them in the Top 15, an unprecedented feat for a solo artist. His next record, Pin Ups , a collection of covers from the 1964 - 1967 London club scene, was something of a stopgap. Certain that the next project did not need The Spiders, he was unsure of how to break the news that not only they were out of the picture as a live backing band, but that studio projects would not concern them either.
Bowie was becoming a little more snappy with those around him. ' The success was changing him. Bowie began believing that all the trapping of success which Defries provided, the limos and that kind of thing, has to be there. In fact, they weren't trappings any more but necessities.'
