“Those lyrics and the song’s whole im­agery were so se­duc­tive. That song was such a big part of what was go­ing on at the time.” Philip Lewis on Moon­age Day­dream

Classic Rock - - David Bowie -

cap­ti­vat­ing. It made me look up ‘suf­fragette’ in the dic­tio­nary. I was taken with the idea that David Bowie would write a song cen­tred around an in­de­pen­dent, strong-minded woman. That re­ally res­onated with me. It also had ev­ery ele­ment of a per­fect rock song. From the open­ing bluesy riff, that dis­torted gui­tar, the gritty pi­ano, sax and full-on lyri­cal and melodic hooks, it was fierce. Lis­ten­ing to it to­day it’s still as badass as ever.”

lipS, anvil

“It’s an aw­ful thing to say thing, but to me it’s the only song of Bowie’s that’s re­deemable. I’m not a fan – he’s one of those artists I’ve never re­ally got. That one was heavy enough to en­ter my scope. Suf­fragette City was about as close as David Bowie ever got to Black Sab­bath.”

tuk Smith, Biters

“I do an aw­ful lot of DJ-ing these days. When that song goes on, it’s hard to bet­ter it. Ev­ery­one screams out the ‘Wham bam thank you ma’am’ part. The weird ef­fect on the lead vo­cal… No­body can fuck with that song. It’s fuck­ing awe­some.”

Bowie and Ron­son, one of rock’s truly great part­ner­ships.

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