Starman (4:13)

Cover of The Best Of David Bowie 1969-74

From The Best Of David Bowie 1969-74 and 61 other releases

“Starman” is David Bowie’s Christmas carol. It offers a promise of deliverance, that the human race has been redeemed by greater powers, with a chorus built for a crowd to sing it. It’s the song that finally broke Bowie, whose performance of it on a July 1972 Top of the Pops made him a nationwide, and soon worldwide, pop star. So while the Ziggy-era Bowie is remembered today for his outrageousness, the song that made his name is warm, reassuring and most of all familiar.

The latter’s key. For the average UK pop listener of 1972, David Bowie was still the weirdo who had had the song about Major Tom back in the ’60s, and suddenly, here he was back again with another astronaut song. It finally connected. And “Starman” seems like a revision of “Space Oddity”—”Space Oddity” had placed a frail human figure against the unfathomable expanse of space and cast him loose to drift into the unknown. It was submission to the void, the human race reaching its limits. In “Starman” the unknown is domesticated: the alien comes to visit us, in our homes, whispering through our radios, speaking softly, promising release. The stoicism of “Planet earth is blue/and there’s nothing I can do” is replaced by “he’s told us not to blow it/’cos he knows it’s all worthwhile.” The human race, or at least its children, turn out to be essential after all—the earth, once again, is the center of the universe.

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