With a musical diversity reflected in multiple stage personas, David Bowie is one of the most important performers in the history of English pop music.

After initial failure to win public interest in a variety of backing groups through the 1960s (under the management of Kenneth Pitt) he eventually had a break with the 1969 release 'Space Oddity'. Coinciding with the NASA moon landings the dark lyrical depth of the story of Major Tom won him his first top ten entry. That lyrical strength has persisted through Bowie's career, and was showcased impressively on 'The Man Who Sold The World', a superior follow-up to the debut, entitled 'Space Oddity' after its successful single.

'The Man Who Sold The World', with Bowie under the management of Tony De Fries who replaced Kenneth Pitt, embraced a heavier sound than the R&B of his output in the 1960s and used dramatic synthesizers on tracks that explored concepts as diverse as mental illness ('All The Madmen' - a reference to his brother's sectioning) and the philosophy of Nietzsche ('The Supermen'). After signing a deal with RCA a third album, 'Hunky Dory', appeared in 1971.

This time Bowie experimented with a more acoustic feel whilst retaining the lyrical ingenuity that was beginning to set him apart from contemporaries, 'Life On Mars' and 'Changes' proving his neat writing touch.

At the same time, album artwork and the outrageous dress of a UK tour was allowing Bowie to express aspects of his blurry sexuality.

1972 saw the release of the two albums with which David Bowie is perhaps most strongly associated: 'The Rise And Fall Of Ziggy Stardust' and 'Spiders From Mars'.

Assuming the character of a rock star whose rise and fall coincides with the end of the world, he developed the space themes of his first release.

As a concept artist Bowie was perhaps unrivalled at the time, a point borne out by the number one album success, 'Aladdin Sane', with its focus on global destruction.

As a challenger of norms and media preconceptions, Bowie could not resist the opportunity to shock - announcing his retirement onstage at the Hammersmith Odeon whilst at the height of his powers in 1974, only to confirm later that it was the Ziggy Stardust persona being retired rather than Bowie himself.

A collection of his favourite 1960s tracks, 'Pin Ups', followed, before further musical elaborations of dystopian visions, and questions of sexuality and love on 'Diamond Dogs'.

In an era when image was beginning to outweigh substance Bowie's US tour occasionally saw the music lost beneath the stage production; and that was the case on the album 'David Live'. However, the re-release of 'Space Oddity' in 1975 saw the quality of that album belatedly recognised as it reached number one.

Rumours of substance abuse ensured that Bowie was rarely out of the media spotlight, and that spotlight intensified dramatically during a period of vague links with Nazism.

His increasingly provocative personal stance was reflected in a new persona on 'Thin White Duke', the barest and most austere Bowie release. Bowie's German links were strengthened when he moved to Berlin in 1976, and the politics of the Cold War shone through in the stark electronics and predominante instrumental approach of 'Low' and Heroes'.

Outtakes from those albums, as well as other material, on a second live album, 'Stage', proved a superior release to 'David Live'.

After re-aligning himself with the rock mainstream in Manhattan, with electro-pop and distorted guitar sounds giving 'Scary Monsters (And Super Creeps)' an adventurous edge Bowie moved to EMI.

The increasingly commercial was seen on 'Let's Dance', a more upbeat album that gave Bowie another number one. After much success Bowie's career began to fade a little with 'Tonight', and 'Never Let Me Down', both of which received poor media reviews; as did his band collaboration, 'Tin Machine'.

Bowie's re-emergence as a popular artist came with the re-release of his back catalogue. That revival led to a Greatest Hits tour and then two especially strong albums, 'Black Tie White Noise', which hit number one, and '1'.

Bowie then unsuccessfully attempted to force his way onto the dance scene of the early 90s with 'Earthling'. Prior to setting up his own label, ISO, his final EMI offering, 'Hours' was a return to form.

A forty year career that has placed Bowie at the forefront of English music; led to collaborations with the likes of Brian Eno, Iggy Pop, Queen, Bing Crosby, Mick Jagger and Tony Visconti; influenced artists such as Gary Numan, Human League, and Spandau Ballet; seen a truly memorable performance at the Live Aid event; and provided consistent innovation, continued in 2001 with the release of 'Heathen', suggesting that David Bowie's many personas still have a major part to play in the music world.