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Sound and Vision
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<h2 id="writing-and-recording">Writing and recording</h2> <p>Like its parent album <i><a href="/facts/Low_(David_Bowie_album)/zfMo54yE">Low</a></i>, "Sound and Vision" was co-produced by <a href="/facts/David_Bowie/7nMplAnf">David Bowie</a> and <a href="/facts/Tony_Visconti/YCHH8FPC">Tony Visconti</a>, with contributions from multi-instrumentalist <a href="/facts/Brian_Eno/rMN10pwo">Brian Eno</a>.<a class="footnote-ref" id="fnref:3" href="#fn:3"><sup>3</sup></a> The backing tracks were recorded at the <a href="/facts/Ch%C3%A2teau_d%27H%C3%A9rouville/V0fPQfYw">Château d'Hérouville</a> in <a href="/facts/H%C3%A9rouville-en-Vexin/rKYnsBRJ">Hérouville</a>, France, in September 1976, and Bowie's vocals and other <a href="/facts/Overdubbing/9BmXfGuK">overdubs</a> were recorded at <a href="/facts/Hansa_Tonstudio/3cVXhz9a">Hansa Studios</a> in <a href="/facts/West_Berlin/TNTMYYlN">West Berlin</a> in October and November.<a class="footnote-ref" id="fnref:4" href="#fn:4"><sup>4</sup></a> It was the first song Bowie wrote at the Château with Eno in mind.<a class="footnote-ref" id="fnref:5" href="#fn:5"><sup>5</sup></a> The recording process for the song, and the rest of the album, differed from Bowie's previous work. The backing tracks were recorded first, followed by overdubs, and the lyrics and vocals were written and recorded last. Used during the recording of <a href="/facts/Iggy_Pop/tFKKyaeR">Iggy Pop</a>'s <i><a href="/facts/The_Idiot_(album)/mmChMe77">The Idiot</a></i> earlier that year,<a class="footnote-ref" id="fnref:6" href="#fn:6"><sup>6</sup></a> Bowie heavily favoured this "three-phase" process, which he would use for the rest of his career.<a class="footnote-ref" id="fnref:7" href="#fn:7"><sup>7</sup></a> </p> <p>According to biographer Chris O'Leary, the song began as a simple <a href="/facts/Descending_fifths_sequence/zMkjP3Ng">descending-by-fifths</a> G major progression that Bowie gave to the band, suggesting further <a href="/facts/Melody/5TR3IE3Y">melodies</a>, a baseline and drum ideas. Drummer <a href="/facts/Dennis_Davis/0EG06LIz">Dennis Davis</a> thought it sounded "like a <a href="/facts/The_Crusaders_(jazz_fusion_group)/xV5nXJAY">Crusaders</a> tune", while bassist <a href="/facts/George_Murray_(musician)/NhmAQuwk">George Murray</a> found it reminiscent of <a href="/facts/Bo_Diddley/qTPwE055">Bo Diddley</a>. As with most of the tracks on the album, the band went with the basic idea and finished the backing track in a few takes.<a class="footnote-ref" id="fnref:8" href="#fn:8"><sup>8</sup></a> The song was largely completed without Eno, who arrived late in the sessions after all the backing tracks for side one were almost finished.<a class="footnote-ref" id="fnref:9" href="#fn:9"><sup>9</sup></a> The drums on "Sound and Vision" were treated through the use of an <a href="/facts/Eventide,_Inc/DX50flIL">Eventide H910 Harmonizer</a>,<a class="footnote-ref" id="fnref:10" href="#fn:10"><sup>10</sup></a> used at Visconti's insistence.<a class="footnote-ref" id="fnref:11" href="#fn:11"><sup>11</sup></a> The sound, described by biographer David Buckley as "revolutionary" and "stunning", is particularly evident on the album tracks "<a href="/facts/Speed_of_Life_(David_Bowie_song)/I1o8ymkl">Speed of Life</a>" and "<a href="/facts/Breaking_Glass_(song)/94ug6zT7">Breaking Glass</a>", as well as "Sound and Vision".<a class="footnote-ref" id="fnref:12" href="#fn:12"><sup>12</sup></a> </p><p>Visconti's wife, singer <a href="/facts/Mary_Hopkin/GrSHXcCK">Mary Hopkin</a>, contributed the song's backing vocals; she was credited as Mary Visconti.<a class="footnote-ref" id="fnref:13" href="#fn:13"><sup>13</sup></a> Hopkin was visiting the Château with her children when Eno asked her to sing. She recorded her vocals before any lyrics or melody were written, recalling in 2011:<a class="footnote-ref" id="fnref:14" href="#fn:14"><sup>14</sup></a> </p> <blockquote><p>One evening, Brian called me into the studio to sing a quick backing vocal with him on 'Sound and Vision'. We sang his cute little 'doo doo' riff in unison. It was meant to be a distant echo but, when David heard it, he pushed up the fader until it became a prominent vocal – much to my embarrassment, as I thought it very <a href="/facts/Twee_pop/9KMtaDkK">twee</a>. I love the song and I'm a great admirer of David's work.</p></blockquote> <h2 id="composition">Composition</h2> <p>Like the majority of the tracks on the first side of <i>Low</i>,<a class="footnote-ref" id="fnref:15" href="#fn:15"><sup>15</sup></a> "Sound and Vision" is classified as a "song fragment".<a class="footnote-ref" id="fnref:16" href="#fn:16"><sup>16</sup></a> Structurally, it starts as an instrumental, running for 46 seconds before backing vocals <a href="/facts/Crooner/RFC5kQS7">croon</a> two descending notes. At 1:14, Eno and Hopkin sing their vocal line, which echoes the main guitar line, followed by a darker saxophone part played by Bowie.<a class="footnote-ref" id="fnref:17" href="#fn:17"><sup>17</sup></a><a class="footnote-ref" id="fnref:18" href="#fn:18"><sup>18</sup></a> Bowie's vocals take a full 1 minute and 30 seconds to appear, which was done at Eno's insistence to "confound listener expectations".<a class="footnote-ref" id="fnref:19" href="#fn:19"><sup>19</sup></a> Different elements build throughout the song's runtime: the beginning only contains the rhythm section, which is followed by a mock-string section created using an <a href="/facts/ARP_Instruments/YJDJrfz0">ARP Solina</a> synthesiser, then backing vocals, brass and finally Bowie's vocal.<a class="footnote-ref" id="fnref:20" href="#fn:20"><sup>20</sup></a> </p><p>Described by Bowie as his "ultimate retreat song",<a class="footnote-ref" id="fnref:21" href="#fn:21"><sup>21</sup></a> the lyrics for "Sound and Vision" offer introspection, reflecting his mental state following a long period of drug addiction.<a class="footnote-ref" id="fnref:22" href="#fn:22"><sup>22</sup></a> The song's narrator sits in an empty room and draws the blinds. As he has the world shut away, he waits "for the gift of sound and vision".<a class="footnote-ref" id="fnref:23" href="#fn:23"><sup>23</sup></a><a class="footnote-ref" id="fnref:24" href="#fn:24"><sup>24</sup></a> Bowie further commented: "It was just the idea of getting out of America, that depressing era I was going through. ... It was wanting to be put in a little cold room with omnipotent blue on the walls and blinds on the windows."<a class="footnote-ref" id="fnref:25" href="#fn:25"><sup>25</sup></a> Wilcken calls "Sound and Vision" the centrepiece of side one. It continues the lyrical themes of "Breaking Glass" and "<a href="/facts/What_in_the_World/Ctt9QpkF">What in the World</a>", in that "after failing to connect with female others", the narrator focuses on the self and by "drifting into my solitude", sets the stage for the wordless introspection of side two.<a class="footnote-ref" id="fnref:26" href="#fn:26"><sup>26</sup></a><a class="footnote-ref" id="fnref:27" href="#fn:27"><sup>27</sup></a> Biographer <a href="/facts/Nicholas_Pegg/j4BcHRUx">Nicholas Pegg</a> and author <a href="/facts/Peter_Doggett/ylySUp6r">Peter Doggett</a> make comparisons to Bowie's 1971 song "<a href="/facts/Quicksand_(David_Bowie_song)/6ABuKhKN">Quicksand</a>". Doggett writes: "Like 'Quicksand', 'Sound and Vision' was Bowie's admission that his creative inspiration had disappeared: cunningly, he used a confession of artistic bankruptcy to spark his muse back to life."<a class="footnote-ref" id="fnref:28" href="#fn:28"><sup>28</sup></a> According to Visconti, there were originally more verses, but these were removed during the <a href="/facts/Audio_mixing_(recorded_music)/zDG6EgcS">mixing</a> stage.<a class="footnote-ref" id="fnref:29" href="#fn:29"><sup>29</sup></a> </p> <p>The lyrics provide a stark contrast to the music itself, which is more joyous.<a class="footnote-ref" id="fnref:30" href="#fn:30"><sup>30</sup></a> Author Thomas Jerome Seabrook writes that Bowie's "low, reflective [vocal is] at odds with the upbeat, almost parodic sensibilities of the music that surrounds it".<a class="footnote-ref" id="fnref:31" href="#fn:31"><sup>31</sup></a> The song is in the <a href="/facts/Key_(music)/jo4UMbHp">key</a> of <a href="/facts/G_major/X334Xpux">G major</a>. James Perone describes its <a href="/facts/Chord_progression/zrB3N8Fc">chord progression</a> as "I (G major), ii (<a href="/facts/A_minor/9eLhXgnd">A minor</a>), V (<a href="/facts/D_major/aVLNSolD">D major</a>), I (G major)". He notes that this progression evokes <a href="/facts/Classical_music/oglVXmSb">classical music</a> with a <a href="/facts/Harmonic_series_(music)/PdElIrxL">harmonic</a> quality.<a class="footnote-ref" id="fnref:32" href="#fn:32"><sup>32</sup></a> Almost every instrument playing on the song sounds processed. O'Leary compares the drums to the sound of a <a href="/facts/Radiator/W592jFf2">radiator</a> turning on;<a class="footnote-ref" id="fnref:33" href="#fn:33"><sup>33</sup></a> Seabrook finds it similar to a <a href="/facts/Whip/BlfWKzBE">whip</a>.<a class="footnote-ref" id="fnref:34" href="#fn:34"><sup>34</sup></a> The bass is distorted while the piano and mock-string section are engulfed with studio effects; Seabrook further believes the saxophone sounds as if it was treated by Visconti's Harmonizer.<a class="footnote-ref" id="fnref:35" href="#fn:35"><sup>35</sup></a> Throughout the song, a <a href="/facts/Sizzle_cymbal/mELVtuc2">sizzle cymbal</a> appears on the third beat of almost every <a href="/facts/Bar_(music)/oUxVeEQy">bar</a> and two guitars are panned to different channels, the main guitar line appearing in the left, and a "mock-<a href="/facts/Reggae/JC95IvF6">reggae</a> rhythm" appearing in the right.<a class="footnote-ref" id="fnref:36" href="#fn:36"><sup>36</sup></a><a class="footnote-ref" id="fnref:37" href="#fn:37"><sup>37</sup></a> </p><p>Bowie's biographers consider "Sound and Vision" the closest to a "conventional pop song" on <i>Low</i>.<a class="footnote-ref" id="fnref:38" href="#fn:38"><sup>38</sup></a><a class="footnote-ref" id="fnref:39" href="#fn:39"><sup>39</sup></a> Wilcken writes that the track's instrumentation and backing vocals combine to create a "sonic effect" that equals that of a "pop song with quotation marks, not quite sure whether it's a part of the genre or referencing it".<a class="footnote-ref" id="fnref:40" href="#fn:40"><sup>40</sup></a> Perone finds the song a "hybrid of <a href="/facts/Soul_music/y68RPFIa">soul</a> and pop", continuing musical and lyrical themes of Bowie's 1975 album <i><a href="/facts/Young_Americans/Ek4MGPtB">Young Americans</a></i>.<a class="footnote-ref" id="fnref:41" href="#fn:41"><sup>41</sup></a> Michael Gallucci of <i><a href="/facts/Ultimate_Classic_Rock/1qqvyEav">Ultimate Classic Rock</a></i> describes a sense of "pop minimalism" on "Sound and Vision" and "<a href="/facts/Be_My_Wife/uJMHB7kf">Be My Wife</a>" that showed Bowie entering a new phase of his career.<a class="footnote-ref" id="fnref:42" href="#fn:42"><sup>42</sup></a> He further considered the song the best example of its parent album's embracement of the old and new, calling it "a traditional <a href="/facts/Rock_music/zBM2guyQ">rock</a> song at its core wrapped in <a href="/facts/Krautrock/e5GoRdV6">krautrock</a> and <a href="/facts/Electronic_music/zfGNfUvR">electronic</a> textures".<a class="footnote-ref" id="fnref:43" href="#fn:43"><sup>43</sup></a> In <i><a href="/facts/ZigZag_(magazine)/H19kdpDc">ZigZag</a></i> magazine, <a href="/facts/Kris_Needs/06Pmg6dh">Kris Needs</a> described the song's beat as "bouncy, futuristic <a href="/facts/Disco/BQu4rHxV">disco</a>".<a class="footnote-ref" id="fnref:44" href="#fn:44"><sup>44</sup></a> Doggett calls it a "consummate pop record, as tightly produced as any disco classic of the era".<a class="footnote-ref" id="fnref:45" href="#fn:45"><sup>45</sup></a> </p> <h2 id="release">Release</h2> <p>When Bowie presented his 11th studio album <i>Low</i> to <a href="/facts/RCA_Records/bp1jLxvU">RCA Records</a>, the label were shocked.<a class="footnote-ref" id="fnref:46" href="#fn:46"><sup>46</sup></a> The album was originally slated for release in November 1976, but RCA delayed it until January 1977, fearing poor commercial performance.<a class="footnote-ref" id="fnref:47" href="#fn:47"><sup>47</sup></a><a class="footnote-ref" id="fnref:48" href="#fn:48"><sup>48</sup></a> Despite receiving no promotion from Bowie or his label, <i>Low</i> was a commercial success, peaking at number 2 on the <a href="/facts/UK_Albums_Chart/h1hyzP13">UK Albums Chart</a> and number 11 on the US <a href="/facts/Billboard_200/XtbnoFSM"><i>Billboard</i> Top LPs & Tape</a> chart.<a class="footnote-ref" id="fnref:49" href="#fn:49"><sup>49</sup></a> "Sound and Vision" was sequenced as the fourth track on side one, between "What in the World" and "<a href="/facts/Always_Crashing_in_the_Same_Car/d0rEvnW6">Always Crashing in the Same Car</a>".<a class="footnote-ref" id="fnref:50" href="#fn:50"><sup>50</sup></a> </p><p>At the time of release, Tim Lott of <i><a href="/facts/Sounds_(magazine)/4RQDhhny">Sounds</a></i> magazine felt that none of the tracks were "<a href="/facts/Single_(music)/xkeLPy2P">single</a> material".<a class="footnote-ref" id="fnref:51" href="#fn:51"><sup>51</sup></a> Bud Scoppa of <i><a href="/facts/Phonograph_Record_(magazine)/hQRjqhfk">Phonograph Record</a></i> magazine considered "Sound and Vision" the "obvious" choice.<a class="footnote-ref" id="fnref:52" href="#fn:52"><sup>52</sup></a> RCA selected "Sound and Vision" as the first single from the album, releasing it on 11 February 1977, with the catalogue number PB 0905 and the instrumental "<a href="/facts/A_New_Career_in_a_New_Town/zfMo54yE">A New Career in a New Town</a>" as the <a href="/facts/A-side_and_B-side/b3X26oFc">B-side</a>.<a class="footnote-ref" id="fnref:53" href="#fn:53"><sup>53</sup></a> A 12" promotional single was also released in the US the same year, featuring a seven-minute remix of "Sound and Vision" segueing into Iggy Pop's "Sister Midnight".<a class="footnote-ref" id="fnref:54" href="#fn:54"><sup>54</sup></a> </p><p>The single was used by the <a href="/facts/BBC/qFateIz8">BBC</a> for television trailers at the time. This provided considerable exposure, and helped the song peak at number three on the <a href="/facts/UK_Singles_Chart/s2yyGUlD">UK Singles Chart</a>,<a class="footnote-ref" id="fnref:55" href="#fn:55"><sup>55</sup></a> becoming Bowie's highest-charting new single in the UK since "<a href="/facts/Sorrow_(The_McCoys_song)/RmMc6ttz">Sorrow</a>" in 1973.<a class="footnote-ref" id="fnref:56" href="#fn:56"><sup>56</sup></a><a class="footnote-ref" id="fnref:57" href="#fn:57"><sup>57</sup></a> The single's success in the UK confused RCA executives, and allowed Bowie to persuade them to release Iggy Pop's <i>The Idiot</i>, which they did in March 1977.<a class="footnote-ref" id="fnref:58" href="#fn:58"><sup>58</sup></a> The song was also a top 10 hit in Belgium <a href="/facts/Flanders/JDsTRuR4">Flanders</a>, West Germany, the Netherlands and New Zealand,<a class="footnote-ref" id="fnref:59" href="#fn:59"><sup>59</sup></a><a class="footnote-ref" id="fnref:60" href="#fn:60"><sup>60</sup></a><a class="footnote-ref" id="fnref:61" href="#fn:61"><sup>61</sup></a><a class="footnote-ref" id="fnref:62" href="#fn:62"><sup>62</sup></a> and a top 20 hit in Austria and Belgium <a href="/facts/Wallonia/rXg1nkTV">Wallonia</a>.<a class="footnote-ref" id="fnref:63" href="#fn:63"><sup>63</sup></a><a class="footnote-ref" id="fnref:64" href="#fn:64"><sup>64</sup></a> It stalled at number 74 in Australia,<a class="footnote-ref" id="fnref:65" href="#fn:65"><sup>65</sup></a> number 87 on Canada's <i><a href="/facts/RPM_(magazine)/FqFN5o4x">RPM</a></i> Singles chart<a class="footnote-ref" id="fnref:66" href="#fn:66"><sup>66</sup></a> and only peaked at number 69 on the <a href="/facts/Billboard_Hot_100/gwKl8VL9"><i>Billboard</i> Hot 100</a> in the US,<a class="footnote-ref" id="fnref:67" href="#fn:67"><sup>67</sup></a> signalling Bowie's commercial downturn until "<a href="/facts/Let%27s_Dance_(David_Bowie_song)/v49tuXxz">Let's Dance</a>" in 1983.<a class="footnote-ref" id="fnref:68" href="#fn:68"><sup>68</sup></a> In 2021, the <a href="/facts/British_Phonographic_Industry/G1QjcwBq">British Phonographic Industry</a> (BPI) certified the song silver for sales and streams exceeding 200,000 units in the UK.<a class="footnote-ref" id="fnref:69" href="#fn:69"><sup>69</sup></a> </p> <h2 id="critical-reception">Critical reception</h2> <p>On release, Lott reviewed <i>Low</i> and described "Sound and Vision" as the centrepiece of the album. Calling it "metallic beauty", he praised Bowie's vocal performance, stating: "His singing, as always, is more mechanical than melodic, but in context, the perfect foil for the harsh guitar and sliding synthesiser."<a class="footnote-ref" id="fnref:70" href="#fn:70"><sup>70</sup></a> Doggett calls "Sound and Vision" "arguably one of the most important songs [Bowie] had ever written," because the song allowed Bowie to reconnect with himself after a long period of drug addiction.<a class="footnote-ref" id="fnref:71" href="#fn:71"><sup>71</sup></a> Pegg regards it as "one of his most distinctive and brilliant recordings".<a class="footnote-ref" id="fnref:72" href="#fn:72"><sup>72</sup></a> <i><a href="/facts/NME/EAscmwXq">NME</a></i> ranked it the 29th best song of the year in 1977.<a class="footnote-ref" id="fnref:73" href="#fn:73"><sup>73</sup></a> </p><p>"Sound and Vision" has been ranked one of Bowie's best songs by several publications. Following <a href="/facts/Death_of_David_Bowie/AkKkt1IY">Bowie's death</a> in 2016, the writers at <i><a href="/facts/Rolling_Stone/HhCFoJ9F">Rolling Stone</a></i> ranked "Sound and Vision" one of Bowie's 30 essential songs, noting that although <i>Low</i> garnered mixed reception on release, releasing "Sound and Vision" as the lead single was "genius" owing to the song's "clever bait-and-switch".<a class="footnote-ref" id="fnref:74" href="#fn:74"><sup>74</sup></a> The same year, in a list ranking every Bowie single from worst to best, <i>Ultimate Classic Rock</i> placed "Sound and Vision" at number nine.<a class="footnote-ref" id="fnref:75" href="#fn:75"><sup>75</sup></a> In lists of Bowie's best songs by <i><a href="/facts/Consequence_of_Sound/sAhwk7u7">Consequence of Sound</a></i>, <a href="/facts/Smooth_Radio_(2014)/a3TX8wQa">Smooth Radio</a> and <i><a href="/facts/Uncut_(magazine)/hnPa6Wmw">Uncut</a></i>, the song was voted numbers 22, 10 and 15, respectively.<a class="footnote-ref" id="fnref:76" href="#fn:76"><sup>76</sup></a><a class="footnote-ref" id="fnref:77" href="#fn:77"><sup>77</sup></a><a class="footnote-ref" id="fnref:78" href="#fn:78"><sup>78</sup></a> In 2018, readers of <i>NME</i> voted "Sound and Vision" Bowie's 19th best song,<a class="footnote-ref" id="fnref:79" href="#fn:79"><sup>79</sup></a> while staff-writer Emily Barker voted it Bowie's second best song, behind "<a href="/facts/%22Heroes%22_(David_Bowie_song)/w3EE5N08">'Heroes'</a>".<a class="footnote-ref" id="fnref:80" href="#fn:80"><sup>80</sup></a> <i><a href="/facts/Mojo_(magazine)/e6jQ6HPB">Mojo</a></i> magazine ranked it number four in 2015, behind "<a href="/facts/Life_on_Mars_(song)/GX7mqJYo">Life on Mars?</a>", "'Heroes'" and "<a href="/facts/Starman_(song)/NoPxrL0B">Starman</a>".<a class="footnote-ref" id="fnref:81" href="#fn:81"><sup>81</sup></a> </p><p>In 2020, <a href="/facts/Alexis_Petridis/eTMsfllF">Alexis Petridis</a> of <i><a href="/facts/The_Guardian/H84wwJYM">The Guardian</a></i> called "Sound and Vision" Bowie's greatest song, finding it "both a fantastic pop song and an act of artistic daring" and a track that "transcends time"; he concluded that it was: "Completely original, nothing about its sound tethers it to the mid-70s. Its magic seems to sum Bowie up."<a class="footnote-ref" id="fnref:82" href="#fn:82"><sup>82</sup></a> A year later, writers of <i><a href="/facts/The_Daily_Telegraph/aHa5nNw5">The Telegraph</a></i> voted it Bowie's 12th greatest song, writing: "A punch of a song at the start of <i>Low</i>, it showed Bowie entering a new, dispassionate style which would divide his listeners but, with its liberal use of synthesisers, also cement his status as a trailblazer of the <a href="/facts/Electronica/clnaT6vm">electronica</a>."<a class="footnote-ref" id="fnref:83" href="#fn:83"><sup>83</sup></a> <i><a href="/facts/Far_Out_(magazine)/zBh5hhDL">Far Out</a></i> placed it at number nine in a 2022 list.<a class="footnote-ref" id="fnref:84" href="#fn:84"><sup>84</sup></a> </p> <h2 id="live-versions-and-subsequent-releases">Live versions and subsequent releases</h2> <p>"Sound and Vision" was only performed once during the 1978 <a href="/facts/Isolar_II_%E2%80%93_The_1978_World_Tour/KP5nlUBM">Isolar II world tour</a>, at <a href="/facts/Earls_Court_Exhibition_Centre/Gto3WnMc">Earl's Court</a> in London, on 1 July 1978.<a class="footnote-ref" id="fnref:85" href="#fn:85"><sup>85</sup></a> According to Seabrook, this was because Bowie struggled to sing it, a problem he also had with "<a href="/facts/Golden_Years_(David_Bowie_song)/bgeJ2CQI">Golden Years</a>".<a class="footnote-ref" id="fnref:86" href="#fn:86"><sup>86</sup></a> This performance was included on <i><a href="/facts/Rarestonebowie/mqdCXq6D">Rarestonebowie</a></i> (1995), a compilation compiled by Bowie's former music publisher <a href="/facts/MainMan/mhxXnc1S">MainMan</a>,<a class="footnote-ref" id="fnref:87" href="#fn:87"><sup>87</sup></a> and decades later on the live album <i><a href="/facts/Welcome_to_the_Blackout_(Live_London_%2778)/qfAgMdEI">Welcome to the Blackout (Live London '78)</a></i> (2018).<a class="footnote-ref" id="fnref:88" href="#fn:88"><sup>88</sup></a> Bowie also performed the song during the <a href="/facts/Sound%2BVision_Tour/uAsbzevS">Sound+Vision</a> (1990), <a href="/facts/Heathen_Tour/KkLKHvpd">Heathen</a> (2002), and <a href="/facts/A_Reality_Tour/CR1xIHCP">A Reality</a> (2003) tours,<a class="footnote-ref" id="fnref:89" href="#fn:89"><sup>89</sup></a> and was also performed on <a href="/facts/A%26E_(TV_network)/59sshgH8">A&E's</a> <i><a href="/facts/Live_by_Request/bhx5YJC7">Live by Request</a></i> on 15 June 2002.<a class="footnote-ref" id="fnref:90" href="#fn:90"><sup>90</sup></a> </p><p>The song has since appeared on several compilations, including <i><a href="/facts/The_Best_of_Bowie/hJMgV8U1">The Best of Bowie</a></i> (1980),<a class="footnote-ref" id="fnref:91" href="#fn:91"><sup>91</sup></a> <i><a href="/facts/Changestwobowie/TfAmjBH9">Changestwobowie</a></i> (1981),<a class="footnote-ref" id="fnref:92" href="#fn:92"><sup>92</sup></a> <i><a href="/facts/Sound_%2B_Vision_(box_set)/bUu7LUyz">Sound + Vision</a></i> (1989),<a class="footnote-ref" id="fnref:93" href="#fn:93"><sup>93</sup></a><a class="footnote-ref" id="fnref:94" href="#fn:94"><sup>94</sup></a> <i><a href="/facts/Changesbowie/txtVDRGT">Changesbowie</a></i> (EMI LP and cassette versions) (1990),<a class="footnote-ref" id="fnref:95" href="#fn:95"><sup>95</sup></a> <i><a href="/facts/The_Singles_Collection_(David_Bowie_album)/Tx0GRAoL">The Singles Collection</a></i> and <i><a href="/facts/The_Singles_Collection_(David_Bowie_album)/Tx0GRAoL">Bowie: The Singles 1969–1993</a></i> (both 1993),<a class="footnote-ref" id="fnref:96" href="#fn:96"><sup>96</sup></a> <i><a href="/facts/The_Best_of_David_Bowie_1974/1979/W2gmyTU4">The Best of David Bowie 1974/1979</a></i> (1998),<a class="footnote-ref" id="fnref:97" href="#fn:97"><sup>97</sup></a> <i><a href="/facts/Best_of_Bowie/my6JwH2p">Best of Bowie</a></i> (2002),<a class="footnote-ref" id="fnref:98" href="#fn:98"><sup>98</sup></a> <i><a href="/facts/The_Platinum_Collection_(David_Bowie_album)/r6rIkAE3">The Platinum Collection</a></i> (2006),<a class="footnote-ref" id="fnref:99" href="#fn:99"><sup>99</sup></a> <i><a href="/facts/Nothing_Has_Changed/2cVC4NYA">Nothing Has Changed</a></i> (2014),<a class="footnote-ref" id="fnref:100" href="#fn:100"><sup>100</sup></a> and <i><a href="/facts/Legacy_(The_Very_Best_of_David_Bowie)/yxnd9gcg">Bowie Legacy</a></i> (2016).<a class="footnote-ref" id="fnref:101" href="#fn:101"><sup>101</sup></a> The song, along with the rest of its parent album, was remastered in 2017 for <a href="/facts/Parlophone/NVn0PyMw">Parlophone</a>'s <i><a href="/facts/A_New_Career_in_a_New_Town_(1977%E2%80%931982)/yTPWBTM2">A New Career in a New Town (1977–1982)</a></i> <a href="/facts/Box_set/3UF4l4gx">box set</a>.<a class="footnote-ref" id="fnref:102" href="#fn:102"><sup>102</sup></a><a class="footnote-ref" id="fnref:103" href="#fn:103"><sup>103</sup></a> The 1991 reissue of <i>Low</i> featured a new remix of "Sound and Vision" by producer <a href="/facts/David_Richards_(record_producer)/wDjgDFlt">David Richards</a>, Bowie's <i><a href="/facts/Never_Let_Me_Down/9hzfpDgP">Never Let Me Down</a></i> collaborator.<a class="footnote-ref" id="fnref:104" href="#fn:104"><sup>104</sup></a> Pegg writes that it contains an "unpleasant honking saxophone" that he feels "disrupts the original's textured atmospherics".<a class="footnote-ref" id="fnref:105" href="#fn:105"><sup>105</sup></a> This remix and two additional remixes were released as a single in the US by <a href="/facts/808_State/EcxhTkjr">808 State</a>; it was credited to "David Bowie vs 808 State" and were subsequently released as an EP download in 2010.<a class="footnote-ref" id="fnref:106" href="#fn:106"><sup>106</sup></a> Another stripped-down remix was created by Sonjay Prabhakar in 2013 for a <a href="/facts/Sony/7x4tCtBd">Sony</a> commercial. Titled "Sound and Vision 2013", interest from Bowie fans led to its inclusion on a CD-R promo.<a class="footnote-ref" id="fnref:107" href="#fn:107"><sup>107</sup></a><a class="footnote-ref" id="fnref:108" href="#fn:108"><sup>108</sup></a> An extended version of the remix was released later the same year.<a class="footnote-ref" id="fnref:109" href="#fn:109"><sup>109</sup></a> <i>Ultimate Classic Rock</i> placed "Sound and Vision 2013" at number 117 (out of 119) in a list ranking every Bowie single from worst to best.<a class="footnote-ref" id="fnref:110" href="#fn:110"><sup>110</sup></a> </p> <h2 id="cover-versions-and-media-appearances">Cover versions and media appearances</h2> <p>Artists who have covered "Sound and Vision" include Scottish rock band <a href="/facts/Franz_Ferdinand_(band)/amdk1pal">Franz Ferdinand</a>,<a class="footnote-ref" id="fnref:111" href="#fn:111"><sup>111</sup></a> American indie rock band <a href="/facts/The_Sea_and_Cake/FWY35dhp">the Sea and Cake</a>,<a class="footnote-ref" id="fnref:112" href="#fn:112"><sup>112</sup></a> English singer-songwriter <a href="/facts/Anna_Calvi/TR7Raswz">Anna Calvi</a>, and American singer-songwriter <a href="/facts/Beck/FD32zLF1">Beck</a>,<a class="footnote-ref" id="fnref:113" href="#fn:113"><sup>113</sup></a> whose version included a 157-piece orchestra.<a class="footnote-ref" id="fnref:114" href="#fn:114"><sup>114</sup></a> Franz Ferdinand's <a href="/facts/Alex_Kapranos/dy64uBCb">Alex Kapranos</a> recalled that the band were asked to cover a song from 1977 for <a href="/facts/BBC_Radio_1/1RD7Cc9U">BBC Radio 1</a> and chose "Sound and Vision" as it was his favourite song from that year, particularly due to the song's unique structure and unpredictability: "You feel like the song is playing for eternity in some other universe. It's like you caught a snippet of something that will always be playing."<a class="footnote-ref" id="fnref:115" href="#fn:115"><sup>115</sup></a> Bowie's original recording appeared in the 1993 television serial <i><a href="/facts/The_Buddha_of_Suburbia_(TV_serial)/z8NvY9Gb">The Buddha of Suburbia</a></i>, and an excerpt appeared in the <a href="/facts/Off-Broadway/hQbbror7">Off-Broadway</a> musical <i><a href="/facts/Lazarus_(musical)/axX1uaPw">Lazarus</a></i>.<a class="footnote-ref" id="fnref:116" href="#fn:116"><sup>116</sup></a> According to Pegg, instead of performing the song live in the musical, an excerpt from the original was used in order to "underscore a particularly dramatic moment".<a class="footnote-ref" id="fnref:117" href="#fn:117"><sup>117</sup></a> Hopkin's backing vocal was echoed in the British rock band <a href="/facts/Doves_(band)/b1o84LDU">Doves</a>' 2002 single "<a href="/facts/There_Goes_the_Fear/1LYqXS7K">There Goes the Fear</a>".<a class="footnote-ref" id="fnref:118" href="#fn:118"><sup>118</sup></a> </p> <h2 id="track-listing">Track listing</h2> <p>All tracks are written by <a href="/facts/David_Bowie/7nMplAnf">David Bowie</a>. </p><p>Original 7" single<a class="footnote-ref" id="fnref:119" href="#fn:119"><sup>119</sup></a> </p> <ol><li>"Sound and Vision" – 3:00</li> <li>"A New Career in a New Town" – 2:50</li></ol> <p>David Bowie vs 808 State (1991)<a class="footnote-ref" id="fnref:120" href="#fn:120"><sup>120</sup></a> </p> <ol><li>"Sound + Vision (808 Gift mix)" – 3:58</li> <li>"Sound + Vision (808 'lectric Blue remix instrumental)" – 4:08</li> <li>"Sound + Vision (David Richards remix 1991)" – 4:40</li> <li>"Sound + Vision (Original version)" – 3:03</li></ol> <p>David Bowie vs 808 State – "Sound and Vision" Remix EP (2010)<a class="footnote-ref" id="fnref:121" href="#fn:121"><sup>121</sup></a> </p> <ol><li>"Sound + Vision (808 Gift mix)" – 3:58</li> <li>"Sound + Vision (808 'lectric Blue remix instrumental)" – 4:08</li> <li>"Sound + Vision (David Richards remix 1991)" – 4:40</li> <li>"Sound + Vision (Original version)" – 3:03</li></ol> <ul><li>This 2010 release is a digital download only</li></ul> <p>David Bowie – "Sound and Vision (2013)"<a class="footnote-ref" id="fnref:122" href="#fn:122"><sup>122</sup></a> </p> <ol><li>"Sound and Vision 2013" – 1:50</li> <li>"Sound and Vision (Remastered)" – 3:04</li></ol> <h2 id="personnel">Personnel</h2> <p>According to Chris O'Leary and Benoît Clerc:<a class="footnote-ref" id="fnref:123" href="#fn:123"><sup>123</sup></a><a class="footnote-ref" id="fnref:124" href="#fn:124"><sup>124</sup></a> </p> <ul><li><a href="/facts/David_Bowie/7nMplAnf">David Bowie</a> – lead and backing vocals, <a href="/facts/Baritone_saxophone/NvbM7FuJ">baritone saxophone</a>, <a href="/facts/Chamberlin/XNt87W0l">Chamberlin</a> and/or <a href="/facts/ARP_Solina_String_Ensemble/mTnVJhEs">ARP Solina</a> ("synthetic strings")</li> <li><a href="/facts/Ricky_Gardiner/lnQDc6Qc">Ricky Gardiner</a> – lead guitar</li> <li><a href="/facts/Carlos_Alomar/qeR6mYJU">Carlos Alomar</a> – rhythm guitar</li> <li><a href="/facts/George_Murray_(musician)/NhmAQuwk">George Murray</a> – bass</li> <li><a href="/facts/Roy_Young_(musician)/6TAnpscw">Roy Young</a> – piano</li> <li><a href="/facts/Dennis_Davis/0EG06LIz">Dennis Davis</a> – drums</li> <li><a href="/facts/Brian_Eno/rMN10pwo">Brian Eno</a> – piano, backing vocals</li> <li><a href="/facts/Mary_Hopkin/GrSHXcCK">Mary Visconti</a> – backing vocals</li></ul> <p>Production </p> <ul><li>David Bowie – producer</li> <li><a href="/facts/Tony_Visconti/YCHH8FPC">Tony Visconti</a> – producer, engineer</li> <li>Laurent Thibault – engineer (Château d'Hérouville)</li> <li>Eduard Meyer – engineer (Hansa Studios)</li></ul> <h2 id="charts">Charts</h2> <table><tbody><tr><td><h3>Weekly charts</h3>Weekly chart performance for "Sound and Vision"<table><tbody><tr><th scope="col">Chart (1977)</th><th scope="col">Peakposition</th></tr><tr><td>Australian Top 100 (<a href="/facts/Kent_Music_Report/HdgVXfSz">Kent Music Report</a>)<a class="footnote-ref" id="fnref:125" href="#fn:125"><sup>125</sup></a></td><td>74</td></tr><tr><td>Austria (<a href="/facts/%C3%963_Austria_Top_40/3B0L8Tj0">Ö3 Austria Top 40</a>)<a class="footnote-ref" id="fnref:126" href="#fn:126"><sup>126</sup></a></td><td>15</td></tr><tr><td>Belgium (<a href="/facts/Ultratop/z8s4xXqw">Ultratop 50</a> Flanders)<a class="footnote-ref" id="fnref:127" href="#fn:127"><sup>127</sup></a></td><td>3</td></tr><tr><td>Belgium (<a href="/facts/Ultratop/z8s4xXqw">Ultratop 50</a> Wallonia)<a class="footnote-ref" id="fnref:128" href="#fn:128"><sup>128</sup></a></td><td>11</td></tr><tr><td>Canadian Singles (<i><a href="/facts/RPM_(magazine)/FqFN5o4x">RPM</a></i>)<a class="footnote-ref" id="fnref:129" href="#fn:129"><sup>129</sup></a></td><td>87</td></tr><tr><td>Netherlands (<a href="/facts/Dutch_Top_40/3qsvTuav">Dutch Top 40</a>)<a class="footnote-ref" id="fnref:130" href="#fn:130"><sup>130</sup></a></td><td>2</td></tr><tr><td>Netherlands (<a href="/facts/Dutch_Single_Top_100/wFjNkofC">Single Top 100</a>)<a class="footnote-ref" id="fnref:131" href="#fn:131"><sup>131</sup></a></td><td>2</td></tr><tr><td>New Zealand (<a href="/facts/Recorded_Music_NZ/KlQ6jDS4">Recorded Music NZ</a>)<a class="footnote-ref" id="fnref:132" href="#fn:132"><sup>132</sup></a></td><td>7</td></tr><tr><td><a href="/facts/UK_Singles_Chart/s2yyGUlD">UK Singles</a> (<a href="/facts/Official_Charts_Company/42Rz2PXj">OCC</a>)<a class="footnote-ref" id="fnref:133" href="#fn:133"><sup>133</sup></a></td><td>3</td></tr><tr><td>US <a href="/facts/Billboard_Hot_100/gwKl8VL9"><i>Billboard</i> Hot 100</a><a class="footnote-ref" id="fnref:134" href="#fn:134"><sup>134</sup></a></td><td>69</td></tr><tr><td>West Germany (<a href="/facts/GfK_Entertainment_charts/bGrgjxKn">Official German Charts</a>)<a class="footnote-ref" id="fnref:135" href="#fn:135"><sup>135</sup></a></td><td>6</td></tr></tbody></table></td><td><h3>Year-end charts</h3>1977 year-end chart performance for "Sound and Vision"<table><tbody><tr><th scope="col">Chart (1977)</th><th scope="col">Position</th></tr><tr><td>Belgium (Ultratop Flanders)<a class="footnote-ref" id="fnref:136" href="#fn:136"><sup>136</sup></a></td><td>18</td></tr><tr><td>Netherlands (Dutch Top 40)<a class="footnote-ref" id="fnref:137" href="#fn:137"><sup>137</sup></a></td><td>14</td></tr><tr><td>Netherlands (Single Top 100)<a class="footnote-ref" id="fnref:138" href="#fn:138"><sup>138</sup></a></td><td>14</td></tr><tr><td>West Germany (Official German Charts)<a class="footnote-ref" id="fnref:139" href="#fn:139"><sup>139</sup></a></td><td>42</td></tr></tbody></table></td></tr></tbody></table> <h2 id="certifications">Certifications</h2> Sales certifications for "Sound and Vision"<table><tbody><tr><th scope="col">Region</th><th scope="col">Certification</th><th scope="col"><a href="/facts/List_of_music_recording_certifications/6CPQFNNn">Certified units</a>/sales</th></tr><tr><th scope="row">New Zealand (<a href="/facts/Recorded_Music_NZ/KlQ6jDS4">RMNZ</a>)<a class="footnote-ref" id="fnref:140" href="#fn:140"><sup>140</sup></a></th><td>Gold</td><td>15,000‡</td></tr><tr><th scope="row">United Kingdom (<a href="/facts/British_Phonographic_Industry/G1QjcwBq">BPI</a>)<a class="footnote-ref" id="fnref:141" href="#fn:141"><sup>141</sup></a></th><td>Silver</td><td>200,000‡</td></tr><tr><td colspan="3"><p>‡ Sales+streaming figures based on certification alone.</p></td></tr></tbody></table> <h2 id="notes">Notes</h2> <h3>Bibliography</h3> <ul><li>Buckley, David (2005) [1999]. <i>Strange Fascination – David Bowie: The Definitive Story</i>. London: <a href="/facts/Virgin_Books/66xsNojy">Virgin Books</a>. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 978-0-75351-002-5.</li> <li>Clerc, Benoît (2021). <i>David Bowie All the Songs: The Story Behind Every Track</i>. New York City: <a href="/facts/Black_Dog_%26_Leventhal_Publishers/ewJxBIoq">Black Dog & Leventhal</a>. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 978-0-7624-7471-4.</li> <li><a href="/facts/Peter_Doggett/ylySUp6r">Doggett, Peter</a> (2012). <a href="https://books.google.com/books?id=e27t-ag4NakC"><i>The Man Who Sold the World: David Bowie and the 1970s</i></a>. New York City: <a href="/facts/HarperCollins/HHLz5lk5">HarperCollins Publishers</a>. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 978-0-06-202466-4.</li> <li>O'Leary, Chris (2019). <i>Ashes to Ashes: The Songs of David Bowie 1976–2016</i>. London: Repeater. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 978-1-91224-830-8.</li> <li>Pegg, Nicholas (2016). <a href="https://books.google.com/books?id=LqFkDQAAQBAJ"><i>The Complete David Bowie</i></a> (Revised and Updated ed.). London: <a href="/facts/Titan_Books/LtNI3y1s">Titan Books</a>. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 978-1-78565-365-0.</li> <li>Perone, James E. (2007). <a href="https://books.google.com/books?id=C6bz2BFdPawC&pg=PA57"><i>The Words and Music of David Bowie</i></a>. Westport: <a href="/facts/Greenwood_Publishing_Group/PhJVxymB">Greenwood Publishing Group</a>. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 978-0-27599-245-3.</li> <li>Seabrook, Thomas Jerome (2008). <i>Bowie in Berlin: A New Career in a New Town</i>. London: Jawbone Press. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 978-1-90600-208-4.</li> <li><a href="/facts/Marc_Spitz/amlCDXJR">Spitz, Marc</a> (2009). <i><a href="/facts/Bowie:_A_Biography/fH3CTWgc">Bowie: A Biography</a></i>. New York City: <a href="/facts/Crown_Publishing_Group/RmpMhKID">Crown Publishing Group</a>. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 978-0-307-71699-6.</li> <li>Trynka, Paul (2011). <i>David Bowie – Starman: The Definitive Biography</i>. New York City: <a href="/facts/Little,_Brown_and_Company/aJ9JSCnn">Little, Brown and Company</a>. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 978-0-31603-225-4.</li> <li>Wilcken, Hugo (2005). <i>David Bowie's </i>Low<i> (33 1/3)</i>. New York City: <a href="/facts/Continuum_International_Publishing_Group/CXulDSkV">Continuum International Publishing Group</a>. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 978-0-826-41684-1.</li></ul> <h2 id="references">References</h2> <ol> <li id="fn:1"><p>Seabrook 2008, pp. 122–124. - Seabrook, Thomas Jerome (2008). Bowie in Berlin: A New Career in a New Town. London: Jawbone Press. ISBN 978-1-90600-208-4. <a href="#fnref:1" class="footnote-back-ref">↩</a></p></li> <li id="fn:2"><p>Buckley 2005, pp. 265–266. - Buckley, David (2005) [1999]. Strange Fascination – David Bowie: The Definitive Story. London: Virgin Books. ISBN 978-0-75351-002-5. <a href="#fnref:2" class="footnote-back-ref">↩</a></p></li> <li id="fn:3"><p>Perone 2007, pp. 57–58. - Perone, James E. (2007). The Words and Music of David Bowie. Westport: Greenwood Publishing Group. ISBN 978-0-27599-245-3. <a href="https://books.google.com/books?id=C6bz2BFdPawC&pg=PA57" target="_blank">https://books.google.com/books?id=C6bz2BFdPawC&pg=PA57</a> <a href="#fnref:3" class="footnote-back-ref">↩</a></p></li> <li id="fn:4"><p>O'Leary 2019, p. 43. - O'Leary, Chris (2019). Ashes to Ashes: The Songs of David Bowie 1976–2016. London: Repeater. ISBN 978-1-91224-830-8. <a href="#fnref:4" class="footnote-back-ref">↩</a></p></li> <li id="fn:5"><p>Wilcken 2005, p. 86. - Wilcken, Hugo (2005). David Bowie's Low (33 1/3). New York City: Continuum International Publishing Group. ISBN 978-0-826-41684-1. <a href="#fnref:5" class="footnote-back-ref">↩</a></p></li> <li id="fn:6"><p>Seabrook 2008, p. 102. - Seabrook, Thomas Jerome (2008). Bowie in Berlin: A New Career in a New Town. London: Jawbone Press. ISBN 978-1-90600-208-4. <a href="#fnref:6" class="footnote-back-ref">↩</a></p></li> <li id="fn:7"><p>Pegg 2016, pp. 386–387. - Pegg, Nicholas (2016). The Complete David Bowie (Revised and Updated ed.). London: Titan Books. ISBN 978-1-78565-365-0. <a href="https://books.google.com/books?id=LqFkDQAAQBAJ" target="_blank">https://books.google.com/books?id=LqFkDQAAQBAJ</a> <a href="#fnref:7" class="footnote-back-ref">↩</a></p></li> <li id="fn:8"><p>O'Leary 2019, pp. 43–44. - O'Leary, Chris (2019). Ashes to Ashes: The Songs of David Bowie 1976–2016. London: Repeater. ISBN 978-1-91224-830-8. <a href="#fnref:8" class="footnote-back-ref">↩</a></p></li> <li id="fn:9"><p>Trynka 2011, p. 316. - Trynka, Paul (2011). David Bowie – Starman: The Definitive Biography. New York City: Little, Brown and Company. ISBN 978-0-31603-225-4. <a href="#fnref:9" class="footnote-back-ref">↩</a></p></li> <li id="fn:10"><p>Buckley 2005, pp. 264–265. - Buckley, David (2005) [1999]. Strange Fascination – David Bowie: The Definitive Story. London: Virgin Books. ISBN 978-0-75351-002-5. <a href="#fnref:10" class="footnote-back-ref">↩</a></p></li> <li id="fn:11"><p>Doggett 2012, p. 307. - Doggett, Peter (2012). The Man Who Sold the World: David Bowie and the 1970s. New York City: HarperCollins Publishers. ISBN 978-0-06-202466-4. <a href="https://books.google.com/books?id=e27t-ag4NakC" target="_blank">https://books.google.com/books?id=e27t-ag4NakC</a> <a href="#fnref:11" class="footnote-back-ref">↩</a></p></li> <li id="fn:12"><p>Buckley 2005, pp. 264–265. - Buckley, David (2005) [1999]. Strange Fascination – David Bowie: The Definitive Story. London: Virgin Books. ISBN 978-0-75351-002-5. <a href="#fnref:12" class="footnote-back-ref">↩</a></p></li> <li id="fn:13"><p>Pegg 2016, p. 384. - Pegg, Nicholas (2016). The Complete David Bowie (Revised and Updated ed.). London: Titan Books. ISBN 978-1-78565-365-0. <a href="https://books.google.com/books?id=LqFkDQAAQBAJ" target="_blank">https://books.google.com/books?id=LqFkDQAAQBAJ</a> <a href="#fnref:13" class="footnote-back-ref">↩</a></p></li> <li id="fn:14"><p>Pegg 2016, pp. 253–254. - Pegg, Nicholas (2016). The Complete David Bowie (Revised and Updated ed.). London: Titan Books. ISBN 978-1-78565-365-0. <a href="https://books.google.com/books?id=LqFkDQAAQBAJ" target="_blank">https://books.google.com/books?id=LqFkDQAAQBAJ</a> <a href="#fnref:14" class="footnote-back-ref">↩</a></p></li> <li id="fn:15"><p>Erlewine, Stephen Thomas. "Low – David Bowie". AllMusic. Archived from the original on 2 September 2013. Retrieved 29 September 2020. <a href="/wiki/Stephen_Thomas_Erlewine" target="_blank">/wiki/Stephen_Thomas_Erlewine</a> <a href="#fnref:15" class="footnote-back-ref">↩</a></p></li> <li id="fn:16"><p>Thompson, Dave. "'Sound and Vision' – David Bowie". AllMusic. Archived from the original on 25 January 2021. 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