Glass Spider Tour

In the four years prior to the release of Never Let Me Down, Bowie had worked on a series of miscellaneous projects that included collaborations with the Pat Metheny Group for "This Is Not America" and Mick Jagger for "Dancing in the Street". He also continued acting and composing for film soundtracks such as Absolute Beginners (1985) and Labyrinth (1986). In 1985, after his successful performance at Live Aid and a live performance with Tina Turner for one of her shows on her 1985 Private Dancer Tour, Bowie collaborated with his friend Iggy Pop for his solo album Blah-Blah-Blah, producing and co-writing multiple tracks. He then worked with Turkish musician Erdal Kızılçay for the title song of the 1986 film When the Wind Blows. In late 1986, Bowie began recording sessions for his album Never Let Me Down, which was released in April 1987. He had not toured for his 1984 album Tonight, making the Glass Spider Tour his first tour in four years. ==Development==

Preparations for the tour began as early as 1986, when Bowie warned his band to "be ready for next year." Bowie was initially mum on his plans for his tour, saying only "I'm going to do a stage thing this year, which I'm incredibly excited about, 'cause I'm gonna take a chance again." When asked if he would elaborate on his plans, he replied "No! [Laughs.] Too many other acts are goin' out. I'll just be doing what I always did, which is keeping things interesting." Bowie was joined by long-time friend Peter Frampton on the tour. Frampton said "I don't have a book to sell; I don't have an album to sell; I'm just here as a guitarist. The pressure is off. I'm enjoying myself." Frampton and Bowie had known each other since their teen years when they both attended Bromley Technical School, where Frampton's father, Owen Frampton, was Bowie's art teacher. Bowie had a clear goal for this tour: to return to the theatrics that he had performed during his short-lived 1974 Diamond Dogs Tour. He wanted this tour to be "ultra-theatrical, a combination of music, theater, and rock", and he felt that his previous tour, while successful, had veered away from the theatrics that he preferred: Bowie indicated that he was "testing the waters" with this tour, and was potentially considering other large, elaborate stage shows if the tour was successful: Bowie decided that the theme for the show would be "the reality and unreality of rock," Bowie said, "It's not just about a rock singer, it's about rock music, so it has a lot to do with the audience and how they perceive rock, and rock figures, and all the cliches, archetypes and stereotypes, and also family relationship." When Bowie was asked what he thought his audience expected of him on this tour, he said: Bowie reportedly coordinated aspects of the tour via email, a rarity in the late 1980s. Management, scheduling and planning for the tour was handled by Bowie's management company, Isolar. ==Promotion==

In announcing the tour, Bowie embarked on a series of promotional press shows covering nine countries in two weeks, including Canada, the US and seven countries in Europe. The press tour shows were typically delivered in smaller venues seating around 300 people, and local fans were often allowed into the events. He used the opportunity to educate the press on his album and the tour, and the multiple dates allowed him to correct misinformation. At the London Glass Spider Press Conference, he clarified that "I didn't say 'lights, costumes and sex,' what I said was 'lights, costumes and theatrical sets in response to a question about what the audience could expect when seeing his new live show. Press tour shows included live performances of some of the songs from the album Never Let Me Down. Articles promoting Bowie's album and tour appeared in non-music periodicals in mid- to late-1987 such as In Fashion, and Teen magazines. Bowie agreed to what at the time was considered a controversial commercial sponsorship agreement with PepsiCo, which was later seen as helping to pave the way for other big money tours by other artists. For his part, Bowie recorded a TV commercial with Tina Turner to the tune "Modern Love" in May 1987 while he was preparing for the tour. Bowie had originally planned to take the Glass Spider Tour to Russia, albeit with the band only and no dancers or elaborate props, but with the money and extra stage provided by the sponsorship, Bowie felt he could take the full tour to Russia and South America. However, these plans failed to come to fruition, and the tour never reached those regions. ==Song selection==

Bowie elected to play less well-known songs on the tour and avoided some of his bigger hits. He was eager to not repeat the formula that made the Serious Moonlight Tour a success, saying, "It seemed so easy. It was cheers from the word go. You know how to get a reaction – play 'Changes,' 'Golden Years' and they'd be up on their feet. You get the reaction, take the money and run away. It seemed too easy. I didn't want to do that again." In a different contemporary interview he said, "I'm not doing 'Star' again. That was quite hard. I don't think I'm doing much Ziggy material on this tour! [laughs] Probably use a lot of that mid-70s material, but not the more ponderous things like 'Warszawa.' I tried that, and that was a bit yawn-making. There was one I was humming to myself the other day: [sings] 'Baby, baby, I'll never let you down' – oh lord, what's that one? Jesus, I can't remember it. ... 'Sons of the Silent Age!' [snaps fingers] Ah! That's right! Thank god I could remember it! So that for me now is a new song. I've never done that one onstage." "Sons of the Silent Age" was performed every night of the tour. All but two songs ("Too Dizzy" and "Shining Star (Makin' My Love)") from his album Never Let Me Down were played live during the tour, although "Shining Star" was among the songs rehearsed. Other songs rehearsed but not performed were "Because You're Young" and "Scream Like a Baby", both from Scary Monsters (And Super Creeps) (1980). Several songs that Bowie had anticipated playing on the tour were abandoned before rehearsals even started, including "Space Oddity" (from David Bowie (1969)), "Joe the Lion" (from "Heroes" (1977)), "Ricochet" (from ''Let's Dance'' (1983)), and "Don't Look Down" (from Tonight (1984)). ==Set design==

The tour's set, described at the time as "the largest touring set ever," A single set took 43 trucks to move and was estimated to weigh 360 tons. The system required to run the show included two separate sound systems, 260 speaker cabinets, 1,000 lights with an output total of 600,000 watts, and three computers. This was Bowie's first tour where wireless microphone technology was available, allowing Bowie considerable freedom to move around the stage during a concert. This allowed him to interact with the dancers and musicians much more freely, and as such the set included 3-story high mobile scaffolding, onto which Bowie and his dancers would occasionally climb during the show. Each set cost US$10 million, about $ in today's dollars. Bowie himself invested over $10 million of his own money to help fund the tour, and he paid $1 million a week In Philadelphia, where the tour opened in the US, the set was described as taking "300 people 4 days" to build. About halfway through the first leg of the tour in Europe, Bowie discovered that the full Spider set was so large that it would not fit in most indoor venues. He said, "It would cost me between $500,000 and $600,000 to alter the sets enough to bring the show indoors. ... I may decide to have a smaller 'indoor' set made somewhere during the tour." He did in fact commission a third slightly smaller set, called the "Junior Bug" set, to be used at indoor venues where the full spider would not fit, such as New York's Madison Square Garden. Bowie thought of the whole set as a metaphor of life, describing the stage as having "a feeling of a ship, which is the voyage, with the rigging and the climbing and the ropes. And the bottom circular area is like the Circus of Lights, so it really is from birth, and the voyaging through life." ==Rehearsals==

Bowie assembled his band in early 1987 and were joined on stage by five dancers who were choreographed by Bowie's long-time friend Toni Basil. The band and the dancers spent time in 12-hour-a-day rehearsals in New York before moving on to Europe. Bowie shot the video for his single "Time Will Crawl" during these rehearsals; it previewed some of the elaborate dance routines that were used during performances of "Loving the Alien" (1985), "Fashion" (1980) and "Sons of the Silent Age" (1977). Bowie described his rehearsal routine: Rehearsals with the full Spider set were staged in Rotterdam's Ahoy arena starting on 18 May before moving to De Kuip stadium for the dress rehearsals (27 and 28 May). Due to relatively easy access to the venues during rehearsals, fans knew what the set list for the show would be before the tour even opened. Bowie stated that he was looking for dancers who did not look like typical MTV dancers and who knew both American street-dancing and European performance art. Originally Bowie had hoped to have Édouard Lock of La La La Human Steps be involved in the show, but the group was booked with other commitments. Three years later, Bowie lamented that the tour may have been received more positively if La La La Human Steps had been involved: "It would have been a different ballgame." La La La Human Steps would provide the choreography for Bowie's next tour, the Sound+Vision Tour of 1990. ==Concert synopsis==

The show was divided into two parts and included a planned encore. Bowie entered the show to the song "Glass Spider", for which he was lowered from the set's ceiling while seated in a silver chair and singing into a telephone. The show's first vignette began with "Bang Bang", during which Bowie pulled an audience member out of the crowd, only to be rejected by the fan, who by the end of the song was revealed to be one of the troupe's dancers. Later in the show, for the song "Fashion", the dance troupe threatened Bowie with a street fight, which, by the end of the song, he accidentally wins. For the live rendition of "Never Let Me Down", the performance of which Bowie called "abrasive", he was influenced by the minimalist choreography of Pina Bausch. He said: For Part 2, Bowie appeared on the stage's scaffolding to "'87 & Cry", flew through the air in a Flying by Foy abseiling harness, and was subsequently tied up by riot police. On at least one occasion, the flying segment of the song was dropped due to a malfunction with the set or bad weather. The movie footage shown behind Bowie during "'Heroes'" was shot by Bowie himself during his time in Russia in 1974, of which he said: The encore typically opened with the song "Time", for which Bowie emerged from the top of the spider's head with angel wings behind him, 60 feet above the crowd. The song was occasionally cut from outdoor shows when bad weather made the perch atop the spider too precarious to perform. ==Costume design==

For the first act, Bowie was dressed in a single-breasted three-quarters length red suit with a red shirt and pants designed by Diana Moseley. The outfit included red Chelsea boots with silver details at the heel and toe. One of the outfits that Bowie wore for Part 2, signed by Bowie, was put up for auction on 21 May 2016 and was sold for $37,500. Bowie's outfit for the encore was a gold lamé leather suit complete with gold winged cowboy boots. One of these suits, also autographed by Bowie, sold at a Sotheby's auction in 1990 for $7,000 (worth about $ today) several times its expected selling price. That same outfit was again put up for auction in December 2016 with an expected selling price of $20,000–⁠$30,000, and was sold for $32,500. ==Setlists==

On tour, the band typically performed a roughly two and a half-hour set that varied only a little from night to night. Early European set list :Part 1 • "Up the Hill Backwards" • "Glass Spider" • "Up the Hill Backwards (reprise)" • "Day-In Day-Out" • "Bang Bang" • "Absolute Beginners" • "Loving the Alien" • "China Girl" • "Fashion" • "Scary Monsters (and Super Creeps)" • "All the Madmen" • "Never Let Me Down" • "Big Brother" / "Chant of the Ever Circling Skeletal Family" Late European / American / Australasian set list :Part 1 • "Up the Hill Backwards" • "Glass Spider" • "Up the Hill Backwards (reprise)" • "Day-In Day-Out" • "Bang Bang" • "Absolute Beginners" • "Loving the Alien" • "China Girl" • "Rebel Rebel" • "Fashion" • "Scary Monsters (and Super Creeps)" • "All the Madmen" • "Never Let Me Down" • "Big Brother" / "Chant of the Ever Circling Skeletal Family" :Part 2 • "'87 & Cry" • ""Heroes"" • "Time Will Crawl" • Band introductions • "Beat of Your Drum" • "Sons of the Silent Age" • "New York's in Love" • "Dancing with the Big Boys" • "Zeroes" • "Let's Dance" • "Fame" :Part 2 • "'87 & Cry" • ""Heroes"" • "Time Will Crawl" • Band introductions • "Young Americans" • "Beat of Your Drum" • "Sons of the Silent Age" • "The Jean Genie" • "White Light/White Heat" • "Let's Dance" • "Fame" :Encore • "Time" • "Blue Jean" • "Modern Love" :Encore • "Time" • "Blue Jean" • "I Wanna Be Your Dog" • "Modern Love" Notes and changes • An extended drum solo separated Part 1 and Part 2 and allowed Bowie time for a costume change. • Bowie would lengthen or shorten his performance of "Fame" depending on the crowd's reaction by including parts of "Lavender's Blue", "London Bridge", "War" and "Who Will Buy?" into the song. • "White Light/White Heat" and "Fame" were performed during the encore at some venues. • "I Wanna Be Your Dog" was only occasionally performed at shows during the North American and Oceania tours. • "Time" would only be performed if it was safe for Bowie to stand on top of the spider's head for the start of the encore. If it was raining the song would be completely dropped as it was unsafe. • "New York's in Love" was dropped after 10 June (Milan, Italy). • "The Jean Genie" was added on 8 July (Barcelona, Spain). • "White Light/White Heat" and "Young Americans" were added and "Zeroes" was dropped on 11 July (Slane, Ireland). • "Rebel Rebel" was added and "Dancing with the Big Boys" was dropped on 30 July (Philadelphia, USA). ==Opening acts==

The opening act for the tour varied from country to country; in North America some dates of the tour were supported by Duran Duran or Siouxsie and the Banshees. The opening acts in Europe varied, and included such acts as Iggy Pop, Big Country, The Cult, Erasure, The Stranglers and Nina Hagen. The tour also played festival dates, on one occasion with Eurythmics headlining one night and Bowie headlining the next. ==Tour incidents==

The tour took a physical toll on Bowie. Not only did he grow noticeably thinner over the course of the tour, he found that he was exhausted before the tour even started: , where Bowie opened the tour The tour played at large-capacity venues, and in Europe the tour alternated between indoor and outdoor, open-field venues. Michael Clark, a lighting engineer for the tour, died at the Stadio Comunale in Florence, Italy, on 9 June after falling from the scaffolding before the show commenced. The following day on 10 June, another worker fell without lethal injury while helping build the set in Milan. Mobs of fans, some who had camped out overnight to get into the venue, rioted and had to be controlled by police. Both shows in Rome (on 15 and 16 June) saw similar rioting as fans who could not get tickets to the shows clashed with police. On the second night, Bowie had to sing through tear gas as 50 people were arrested and 15 policemen were injured in the rioting. As the band's plane was leaving Rome after their show on 16 June, a bomb scare forced the plane to return to the airport, only to discover that the local chief of police had used it as a ruse to get Bowie's autograph. Said Bowie of the incident, "I was not so much annoyed as stunned – that could only happen in Italy!" On 18 June, one day before the first of two Wembley shows, Bowie appeared on Top of the Pops to record a performance of "Time Will Crawl", his then-current single. The 27 June concert, originally scheduled to be performed at Ullevi, Gothenburg, Sweden had to be moved to nearby Eriksberg in Hisingen because a previous concert by Bruce Springsteen held at Ullevi Stadium incurred £2.7m (or about £m today) in damages. A fan trying to enter the Slane Castle backstage area by swimming the River Boyne drowned just before the show on 11 July. Bad weather over the course of the European leg often impacted the show, leading to the flying segment for "'87 and Cry" or the "Time" finale or both being skipped entirely at least a half dozen times, and often made the songs and inter-song dialogue hard to hear. At one point during the European tour, guitarist Carlos Alomar ripped a ligament in his leg, an injury that caused him to change his on-stage character. Said Alomar, "[I] had to change my character into the mad, limping Mad Max reject with spiky hair. I went to a chiropractor and asked him for a lot of metal stuff -- leg braces, back braces and everything. Now I'll be adding more metal as the show progresses." Bowie was occasionally visited or had his shows attended by European royalty, including Princess Diana at the second show in Wembley Stadium; Sarah, Duchess of York at Sunderland; and Danish Prince Joachim and Crown Prince Frederik at Stadt Park. The Glass Spider Tour was the first Bowie tour to reach Italy, Spain, and Ireland. Some of the outdoor performances in Britain had to start early due to curfew laws, a problem typically avoided in other European shows, which reduced the impact of the lighting of the stage and set dressing, and bothered Bowie considerably. Said Bowie, "Because the show is so geared towards the theatricality, that the emphasis is on 'vision' on some areas, where it's just hopeless to try and make that vision work during daylight. There's so much of it that's focused by the lighting, and if you haven't got any lighting, you're not putting out what your show is really about." Bowie denied the charges, calling them "ridiculous". He said Nichols was with him in his hotel room, but that anything that occurred between them was with her consent. A spokeswoman for assistant district attorney Hugh Lucas said on 18 November 1987 that the Dallas County grand jury no-billed Bowie after hearing two hours of testimony on 11 November. "The Grand jury did not find enough evidence to warrant an indictment," the spokeswoman said. The final show in Melbourne was played in a rain and windstorm so heavy that the show was performed without dancers and several of the elaborate set pieces were not performed at all. ==Ticket sales and attendance==

Demand for tickets to the tour was high: the 3 September show at Sullivan Stadium in Massachusetts set a record for quickest sellout at that venue, a record matched by U2 and unsurpassed until The Who sold 100,000 tickets to two shows there in less than eight hours in 1989. Star magazine reported that, for one venue, Bowie sold $3 million in tickets to three shows in 90 minutes. The concert drew the largest crowd ever to see a concert in Ottawa, Ontario, Canada at the time. Advance sales for the Australian leg of the tour was $8.6 million, surpassing even Michael Jackson's advance sales for the Australian leg of his "Bad" concert tour (estimated at $4.5 million). In the UK, ticket sales were made available via a relatively new ticket and credit card hotline, with one promoter estimating that 70% of tickets were sold that way. Ticket sales for the shows in Amsterdam were marred by "riots" in which some people were pushed through the windows of ticket offices in the crush to buy tickets. Contemporary journalists estimated that by the conclusion of the tour between two and six for roughly $86 million over the course of the tour, or approximately $ today, adjusted for inflation. ==Contemporary critical reviews==

The European leg of the tour seemed to garner mostly unfavorable reviews from the media, although there were positive reviews as well. Bowie was frustrated how the reviews in Europe changed from initially positive to negative, blaming the early start of the tour in some outdoor venues for the poor reception. He said, "the biggest mistake that was made on that tour, was opening in the daylight. The whole reason for the entire damn show was lost." He noted that reviews from indoor shows, where the set and lighting were more effective, were quite positive. The US media seemed kinder, with papers in Orlando, Florida and Boston, Massachusetts writing positive reviews. The review of Bowie's first show in New York was mostly negative, calling the show "spectacular", but adding that "overkill reigns" and lamenting "a dizzying overload of visual activity." A local paper in Portland, Oregon had a positive review that said that the dancers, music, set and band combined into an "overall effect [that] could rightly be called spectacular. It is performance art and rock opera; it is a stunning assemblage worthy of any stage or arena in the world." ==Live recordings==

Despite stating during the press tour that there would be no live album from the tour, the performances at Sydney Entertainment Centre – Sydney on 7 and 9 November 1987 were filmed and released on video as Glass Spider in 1988. An edit of this show was subsequently aired in the US in an ABC TV concert special, ABC's first concert special since airing Elvis Presley's Aloha from Hawaii in 1973. A 2007 DVD re-release of the show included an audio recording of the performance at Olympic Stadium, Montreal on 30 August 1987, which was re-mastered and released on Loving the Alien (1983–1988) (2018). The 6 June 1987 Platz der Republik (Reichstag – City of Berlin Festival) performance was broadcast live on FM radio. One critic found that the 1988 and 2007 DVD reissue video releases rendered the intended meaning of the show largely nonsensical, as several songs and vignettes that made the show's message explicit were excised from the release. However Bowie biographer Nicholas Pegg said that the concert film was "hugely enjoyable" despite the show's flaws, and that the video "leads the field for those wishing to see David Bowie delivering a rock-theatre spectacular." ==Subsequent events==

Bowie found himself under great stress during the tour, and after the tour ended in New Zealand, he reportedly had one of the Spider sets burned, saying "It was so great ... We just put the thing in a field and set light to it. That was such a relief!" In 2016, road manager Peter Grumley claimed to have purchased and stored at least one of the (unburned) sets in his West Auckland warehouse. The entire tour was so physically demanding and such a large production that Bowie said at the time that "I don't think I'll ever take a tour quite this elaborate out on the road again. It's a real headache to put it together", one of the dancers from the tour, but the two split up without being wed after four years. ==Tour legacy==

Critics have often compared later David Bowie tours to this one, commonly echoing this later review: "[Bowie] mounted a stadium-sized production combining the excitement of rock with the perils of Broadway. ... An incredible spectacle, but the effect was overwhelming. Each additional theatrical device served to distract, ultimately flattening the impact of the music." In 1989 while working with Tin Machine, Bowie said "I overstretched. ... There was too much responsibility on the last [Glass Spider] tour. I was under stress every single day. It was a decision a second. It was so big and so unwieldy and everybody had a problem all the time, every day, and I was under so much pressure. It was unbelievable. ... I put too many fine details into something that was going to be seen (indicates tiny figure with his finger and thumb) this big." Stage designer Willie Williams said the Glass Spider Tour was a template for those acts: "There will be one set of costumes and they will do a few songs, then there will be another big scene change and move on to the next thing. Bowie crossing rock 'n' roll with Broadway [in the Glass Spider Tour] was where that began." Peter Frampton credited his participation in this tour for helping to revive his own career. In 2017, a review in The Atlantic, while admitting that it had some flaws, called the show "spectacular, beautiful, charmingly pretentious, and weirdly magical." and was followed by violent rioting in East Berlin. According to German journalist Tobias Ruther, these protests in East Berlin were the first in the sequence of riots that led to those around the time of the fall of the wall in November 1989. Although other factors were probably more influential in the fall of the wall, Ultimately, given the negative reaction to the Never Let Me Down album and this tour, Bowie found himself creatively exhausted and in low critical standing. Bowie decided to return to making music for himself, and, having been put in touch with Reeves Gabrels through his publicist for the Glass Spider Tour, Bowie formed his band Tin Machine in 1989 ==Tour details==

Tour band • David Bowie – vocals, guitar • Peter Frampton – guitar, vocals • Carlos Alomar – guitar, backing vocals, music director • Carmine Rojas – bass guitar • Alan Childs – drums • Erdal Kızılçay – keyboards, trumpet, congas, violin, backing vocals • Richard Cottle – keyboards, saxophone, tambourine, backing vocals Guest performers • Charlie Sexton – guitar, backing vocals (during the encore at some shows of the North America and Oceania tour) • Earl Slick – guitar (during the encore at the Anaheim Stadium show) Tour dancers • Melissa Hurley • Constance Marie • Spazz Attack (Craig Allen Rothwell) • Viktor Manoel • Skeeter Rabbit (Stephen Nichols) • Toni Basil (choreography) Tour direction • David Bowie - Direction, choreography, staging • Toni Basil - Direction, choreography, staging Tour design • Allen Branton – Lighting design • Mark Ravitz – Set design • Christine Strand – Video director Production • Michael Ahern - Production Manager • Tony Blanc - FOH Sound Engineer • Chris Wade-Evans - Monitor Sound Engineer Band equipment Peter Frampton played two natural-finish maple body Pensa-Suhr Strat types, hand-made by New York-based John Suhr. For the song "Zeroes", he used a Coral electric sitar, given to him in the late '70s and previously owned by Jimi Hendrix. Carlos Alomar played on six Kramer American series guitars and one custom Alembic. Multi-instrumentalist Erdal Kizilcay played Yamaha DX7, Emax, Korg SG-1 and Yamaha CS70 keyboards. He also played a Tokai Stratocaster, a Yamaha GS1000 bass and a Pedulla fretless bass. Additional instruments played included a set of Latin Percussion timbales and white congas, a cowbell, 6- and 8-inch Zildjian cymbals, Promark drum sticks, a Simmons SDS9, a cornet and a 17th-century Italian viola. Richard Cottle played on two Prophet 5s, an Oberheim, a Yamaha DX7, DX7-IID and KX5 keyboards as well as a Selmer alto saxophone. Carmine Rojas used two Spector basses, and Alan Childs played on Tama Artstar II drums and used various combinations of Zildjian A, K, and Platinum series cymbals. Tour dates The songs From The Man Who Sold the World • "All the Madmen" From Aladdin Sane • "The Jean Genie" • "Time" From Ziggy Stardust: The Motion Picture • "White Light/White Heat" (originally from White Light/White Heat (1968) by The Velvet Underground; written by Lou Reed) From Diamond Dogs • "Big Brother" • "Chant of the Ever Circling Skeletal Family" • "Rebel Rebel" From Young Americans • "Fame" (Bowie, John Lennon, Carlos Alomar) • "Young Americans" From "Heroes" • "'Heroes'" (Bowie, Brian Eno) • "Sons of the Silent Age" From Scary Monsters (And Super Creeps) • "Fashion" • "Scary Monsters (And Super Creeps)" • "Up the Hill Backwards" From '''''Let's Dance''''' • "China Girl" (originally from The Idiot by Iggy Pop, written by Pop and Bowie) • "Let's Dance" • "Modern Love" From Tonight • "Blue Jean" • "Dancing With the Big Boys" (Bowie, Pop, Carlos Alomar) • "Loving the Alien" From Never Let Me Down • "'87 and Cry" • "Bang Bang" (Pop, Ivan Kral) • "Beat of Your Drum" • "Day-In Day-Out" • "Glass Spider" • "Never Let Me Down" (Bowie, Alomar) • "New York's in Love" • "Time Will Crawl" • "Zeroes" Other songs: • "Absolute Beginners" (from Absolute Beginners) • "I Wanna Be Your Dog" (from The Stooges (1969) by The Stooges, written by Pop, Dave Alexander, Ron Asheton and Scott Asheton) • "Lavender's Blue" (traditional) • "London Bridge Is Falling Down" (traditional) • "War" (from War & Peace (1970) by Edwin Starr; written by Norman Whitfield and Barrett Strong) • "Who Will Buy?" (from the musical Oliver!) Rehearsed, but not performed: • "Because You're Young" (from Scary Monsters (and Super Creeps)) • "Scream Like a Baby" (from Scary Monsters (and Super Creeps)) • "Shining Star (Makin' My Love)" (from Never Let Me Down) ==See also==