With their androgynous aesthetic and raw attack, Placebo caused a stir upon their debut in the 1990s, when Brit-pop ruled the charts and grunge was on its way out. Once described as a glam version of Nirvana, the multinational band delivered a potent blend of dark alt-rock with goth and electronic undertones, creating a sound more aligned with Smashing Pumpkins, Depeche Mode, Muse, and Silversun Pickups. Crashing onto the British scene, the then-trio raised eyebrows with their first hit, "Nancy Boy" from 1997's Placebo, providing a stark alternative to Brit-pop's lad culture. While they continued to expand their European base, the band had a brief moment in the sun in the United States, scoring modest radio hits with "Pure Morning" from 1998's Without You I'm Nothing, "Special K" from 2000's Black Market Music, and "Infra-Red" from 2006's Meds. Although their output slowed into the 2010s -- they released just one official album that decade, 2013's Loud Like Love -- they maintained a strong grip on their core audience, issuing an MTV Unplugged set in 2015 and a series of retrospective B-sides collections from every one of their albums to date. In 2022, nearly a decade after their previous LP was issued, Placebo made a comeback with eighth album Never Let Me Go.

An early incarnation of the band was formed by singer/guitarist Brian Molko (part Scottish and American descent, but raised in England) and Swedish bassist Stefan Olsdal. Both members had previously attended the same school in Luxembourg, but they didn't cross paths properly until 1994 in London. Briefly called Ashtray Heart and influenced by the likes of Sonic Youth, Pixies, the Smashing Pumpkins, and Nirvana, they began filling the vacant drum spot with percussionists like Robert Schultzberg and Steve Hewitt (the latter being the group's only member of English origin). Although Molko and Olsdal preferred Hewitt as their main man (it was this lineup that recorded several early demos), Hewitt opted to return to his other band at the time, Breed. With Schultzberg back on board instead, Placebo signed a recording contract with Caroline Records and released their self-titled debut in 1996. Placebo was a surprise hit in the U.K., where singles like "Nancy Boy" and "Teenage Angst" became Top 40 hits. Meanwhile, the bandmates themselves became the toast of the British music weeklies and supported their debut by opening for such outfits as the reunited Sex Pistols, U2, and Weezer.

Despite the group's early success, Schultzberg wasn't seeing eye to eye with the other bandmembers, who by this point were able to convince Hewitt to rejoin the lineup, prompting Schultzberg's exit from the band in September 1996. One of Hewitt's first performances with Placebo upon returning proved to be a big one, as David Bowie -- a fan of the band, not to mention an influence on their sound -- personally invited the trio to play his 50th birthday bash at New York's Madison Square Garden in 1997. The following year, Placebo switched over to the major-label division of Caroline, Virgin Records, and issued Without You I'm Nothing in November. The album was another big seller in England and initially appeared to be the group's breakthrough in the U.S., where MTV and rock radio embraced the album's lead-off single, "Pure Morning." Subsequent singles failed to match the success of that first song, but Without You I'm Nothing remained popular in England, where it eventually went platinum. Around the same time, Placebo recorded a cover of T. Rex's "20th Century Boy" for Velvet Goldmine, a movie in which the trio also appeared.

The relationship between Placebo and Bowie continued to blossom. Bowie made a special on-stage appearance with the band during a tour stop in New York, and both parties united for a re-recording of the title track from Without You I'm Nothing, which was issued as a single in 1999. Placebo's third release, Black Market Music, added hip-hop and disco elements to the group's tense rock sound. The album was released in Europe in 2000, followed several months later by a resequenced American version whose track list featured several additions, including the Bowie version of "Without You I'm Nothing" and the band's cover of Depeche Mode's "I Feel You." The recording spawned additional U.K. hits such as "Taste in Men" and "Slave to the Wage."

In spring 2003, Placebo showcased a harder edge with the release of their fourth effort, Sleeping with Ghosts. The album cracked the Top Ten in the U.K. and sold over a million copies worldwide. Placebo's singles collection Once More with Feeling: Singles 1996-2004 was released before the year's end. The 19-song compilation included their biggest U.K. hits and the new track "Twenty Years." Frenchman Dimitri Tikovoi (Goldfrapp, the Cranes), who had mixed selected songs on Once More with Feeling, also signed on to produce Placebo's fifth effort, 2006's Meds. Topping charts in multiple countries, the album generated a handful of hit singles, including "Infra-Red," the band's second charting track in the U.S. The next year, a cover of Kate Bush's "Running up That Hill" from their 2003 Covers compilation became a surprise hit in the U.K., Australia, and the U.S. (where it appeared on the hit teen drama The O.C.), and the group capitalized on the exposure by joining Linkin Park's Projekt Revolution tour alongside My Chemical Romance. As a primer for new fans, Virgin released the Extended Play '07 EP as a simple introduction to Placebo's past decade of music.

Steven Hewitt departed the band in the fall of 2007, and Placebo left their longtime home of EMI/Virgin one year later. With new drummer Steve Forrest now on board, the group recorded Battle for the Sun and released it during the summer of 2009. Produced by David Bottrill (Silverchair, Muse), the effort featured the European hit "For What It's Worth" and "Ashtray Heart," a winking nod to their original moniker. A box set of the band's work for EMI, The Hut Recordings, was released the same day, and an extensive tour kept them busy for another year. For fans who couldn't make the shows, Placebo also issued a live mini-album, Live at La Cigale, whose songs were taken from a 2006 performance in Paris.

In 2010 Molko and Olsdal announced they had been working on new material, which culminated in the release of the mini-album B3 EP two years later. In 2013 Placebo delivered their seventh studio album, the Adam Noble-produced Loud Like Love, home to "Too Many Friends" and "A Million Little Pieces."

For their 20th anniversary, Placebo announced a grand two-year retrospective blitz that included the vinyl re-release of their first five albums and respective B-sides collections for each, as well as a recording of MTV Unplugged. Recorded in front of a live audience in London, it featured drastic reworkings of past hits and deep cuts (including the first-ever live performance of "Bosco"), as well as guest appearances by Majke Voss Romme (Broken Twin) and Joan as Police Woman. Forrest departed in 2015, and the following year Placebo released a 36-track retrospective, A Place for Us to Dream, which featured a new single, "Jesus' Son." 2017 brought an extensive tour that took in Mexico, Australia, and Europe, and in 2018 they performed at the Robert Smith-curated Meltdown Festival in London.

In mid-2019, the band began work on what would ultimately become their eighth album, the much-delayed 2022 release Never Let Me Go. It was the first full-length that Placebo had recorded as a duo, and featured the singles "Beautiful James," "Surrounded by Spies," and "Try Better Next Time." ~ Greg Prato & Neil Z. Yeung

One of the greatest stars of the rock & roll era, David Bowie evaded easy categorization throughout his career, operating as the artiest rocker within the mainstream and the most accessible musician on the fringe. Bowie may have trafficked in ideas cultivated in the underground, but he was never quite an outsider as far as rock & roll was concerned. From the outset of his career in the 1960s, he attempted to break into the Top 40, playing British blues, mod rock & roll, and ornate pop before finally hitting paydirt as a hippie singer/songwriter. "Space Oddity" gave Bowie his breakthrough in the U.K., reaching the Top Ten in the summer of 1969 -- the summer of Apollo 11 -- and it belatedly performed a similar feat in America, giving him his first Top 20 hit early in 1973. By that point, Bowie had traded his folkie persona for the glam-rock alien Ziggy Stardust, one of the many shifts of sound and image that came to define his career. Ziggy Stardust & the Spiders from Mars were a sensation in Britain and a cult phenomenon in the U.S., the foundation of a decade that would see Bowie attempting blue-eyed soul, avant-pop, and experimental electronic rock recorded with Brian Eno. He had hits during this period -- the sleek disco-rock of "Fame" gave him his first American number one in 1975 -- but he didn't become a superstar until Let's Dance, a stylish dance-rock album recorded with Nile Rodgers and designed with MTV in mind. Stardom achieved, Bowie entered a period of uncertainty, righting himself in the 1990s by reconnecting with his hard rock and art roots. As the 21st century arrived, he had settled into a comfortable schedule of touring and recording, a routine that ended in 2003 as he retreated from public view. After a decade of silence, he re-emerged in 2013, beginning a final act that culminated with Blackstar, an album released on his January 8 birthday in 2016. He designed Blackstar as a farewell to an audience who didn't realize he was dying of liver cancer. Two days after its release, Bowie died, leaving Blackstar as his final grand theatrical gesture.

David Jones began performing music when he was 13 years old, learning the saxophone while he was at Bromley Technical High School; another pivotal event happened at the school, when his left pupil became permanently dilated in a schoolyard fight. Following his graduation at 16, he worked as a commercial artist while playing saxophone in a number of mod bands, including the King Bees, the Manish Boys (which also featured Jimmy Page as a session man), and Davey Jones & the Lower Third. All three of those bands released singles, which were generally ignored, yet he continued performing, changing his name to David Bowie in 1966 after the Monkees' Davy Jones became an international star. Over the course of 1966, he released three mod singles on Pye Records, which were all ignored. The following year, he signed with Deram, releasing the music hall, Anthony Newley-styled David Bowie. Upon completing the record, he spent several weeks in a Scottish Buddhist monastery. Once he left the monastery, he studied with Lindsay Kemp's mime troupe, forming his own mime company, the Feathers, in 1969. The Feathers were short-lived, and he formed the experimental art group Beckenham Arts Lab in 1969.

Bowie needed to finance the Arts Lab, so he signed with Mercury Records that year and released Man of Words, Man of Music, a trippy singer/songwriter album featuring "Space Oddity." The song was released as a single and became a major hit in the U.K., convincing Bowie to concentrate on music. Hooking up with his old friend Marc Bolan, he began miming at some of Bolan's T. Rex concerts, eventually touring with Bolan, bassist/producer Tony Visconti, guitarist Mick Ronson, and drummer Cambridge as Hype. The band quickly fell apart, yet Bowie and Ronson remained close, working on the material that formed Bowie's next album, The Man Who Sold the World, as well as recruiting Michael "Woody" Woodmansey as their drummer. Produced by Tony Visconti, who also played bass, The Man Who Sold the World was a heavy guitar rock album that failed to gain much attention. Bowie followed it in late 1971 with the pop/rock Hunky Dory, an album that featured Ronson and keyboardist Rick Wakeman.

Following its release, Bowie began to develop his most famous incarnation, Ziggy Stardust: an androgynous, bisexual rock star from another planet. Before he unveiled Ziggy, Bowie claimed in a January 1972 interview with Melody Maker that he was gay, helping to stir interest in his forthcoming album. Taking cues from Bolan's stylish glam rock, Bowie dyed his hair orange and began wearing women's clothing. He called himself Ziggy Stardust, and his backing band -- Ronson, Woodmansey, and bassist Trevor Bolder -- were the Spiders from Mars. The Rise and Fall of Ziggy Stardust and the Spiders from Mars was released with much fanfare in England in late 1972. The album and its lavish, theatrical concerts became a sensation throughout England, and helped him become the only glam rocker to carve out a niche in America. Ziggy Stardust became a word-of-mouth hit in the U.S., and the re-released "Space Oddity" -- which was now also the title of the re-released Man of Words, Man of Music -- reached the American Top 20. Bowie quickly followed Ziggy with Aladdin Sane later in 1973. Not only did he record a new album that year, he also produced Lou Reed's Transformer, the Stooges' Raw Power, and Mott the Hoople's comeback All the Young Dudes, for which he also wrote the title track.

Given the amount of work Bowie packed into 1972 and 1973, it isn't surprising that his relentless schedule began to catch up with him. After recording the all-covers Pin-Ups with the Spiders from Mars, he unexpectedly announced the band's breakup, as well as his retirement from live performances, during the group's final show that year. He retreated from the spotlight to work on a musical adaptation of George Orwell's 1984, but once he was denied the rights to the novel, he transformed the work into Diamond Dogs. It was released to generally poor reviews in 1974, yet it generated the hit single "Rebel Rebel," and he supported the album with an elaborate and expensive American tour. As the tour progressed, Bowie became fascinated with soul music, eventually redesigning the entire show to reflect his new "plastic soul." Hiring guitarist Carlos Alomar as the band's leader, Bowie refashioned his group into a Philly soul band and re-costumed himself in sophisticated, stylish fashions. The change took fans by surprise, as did the double-album David Live, which featured material recorded on the 1974 tour.

Young Americans, released in 1975, was the culmination of Bowie's soul obsession, and it became his first major crossover hit, peaking in the American Top Ten and generating his first U.S. number one hit in "Fame," a song he co-wrote with John Lennon and Alomar. Bowie relocated to Los Angeles, where he earned his first movie role in Nicolas Roeg's The Man Who Fell to Earth (1976). While in L.A., he recorded Station to Station, which took the plastic soul of Young Americans into darker, avant-garde-tinged directions, but it was also a huge hit, generating the Top Ten single "Golden Years." The album inaugurated Bowie's persona of the elegant "Thin White Duke," and it reflected Bowie's growing cocaine-fueled paranoia. Soon, he decided Los Angeles was too boring and returned to England; shortly after arriving back in London, he gave the awaiting crowd a Nazi salute, a signal of his growing, drug-addled detachment from reality. The incident caused enormous controversy, and Bowie left the country to settle in Berlin, where he lived and worked with Brian Eno.

Once in Berlin, Bowie sobered up and began painting, as well as studying art. He also developed a fascination with German electronic music, which Eno helped him fulfill on their first album together, Low. Released early in 1977, Low was a startling mixture of electronics, pop, and avant-garde technique. While it was greeted with mixed reviews at the time, it proved to be one of the most influential albums of the late '70s, as did its follow-up, Heroes, which followed that year. Not only did Bowie record two solo albums in 1977, he also helmed Iggy Pop's comeback records The Idiot and Lust for Life, and toured anonymously as Pop's keyboardist. He resumed his acting career in 1977, appearing in Just a Gigolo with Marlene Dietrich and Kim Novak, as well as narrating Eugene Ormandy's version of Peter and the Wolf. Bowie returned to the stage in 1978, launching an international tour that was captured on the double-album Stage. In 1979, Bowie and Eno recorded Lodger in New York, Switzerland, and Berlin, releasing the album at the end of the year. Lodger was supported with several innovative videos, as was 1980's Scary Monsters, and these videos -- "DJ," "Fashion," "Ashes to Ashes" -- became staples on early MTV.

Scary Monsters was Bowie's last album for RCA, and it wrapped up his most innovative, productive period. Later in 1980, he performed the title role in the stage production of The Elephant Man, including several shows on Broadway. Over the next two years, he took an extended break from recording, appearing in Christiane F (1981) and the vampire movie The Hunger (1982), returning to the studio only for his 1981 collaboration with Queen, "Under Pressure," and the theme for Paul Schrader's remake of Cat People. In 1983, he signed an expensive contract with EMI Records and released Let's Dance. Bowie had recruited Chic guitarist Nile Rodgers to produce the album, giving the record a sleek, funky foundation, and hired the unknown Stevie Ray Vaughan as lead guitarist. Let's Dance became his most successful record, thanks to its stylish, innovative videos for "Let's Dance" and "China Girl," which turned both songs into Top Ten hits. Bowie supported the record with the sold-out arena tour Serious Moonlight.

Greeted with massive success for the first time, Bowie wasn't quite sure how to react, and he eventually decided to replicate Let's Dance with 1984's Tonight. While the album sold well, producing the Top Ten hit "Blue Jean," it received poor reviews and was ultimately a commercial disappointment. He stalled in 1985, recording a duet of Martha & the Vandellas' "Dancing in the Street" with Mick Jagger for Live Aid. He also spent more time jet-setting, appearing at celebrity events across the globe, and appeared in several movies -- Into the Night (1985), Absolute Beginners (1986), Labyrinth (1986) -- that turned out to be bombs. Bowie returned to recording in 1987 with the widely panned Never Let Me Down, supporting the album with the Glass Spider tour, which also received poor reviews. In 1989, he remastered his RCA catalog with Rykodisc for CD release, kicking off the series with the three-disc box Sound + Vision. Bowie supported the discs with an accompanying tour of the same name, claiming that he was retiring all of his older characters from performance following the tour. Sound + Vision was successful, and Ziggy Stardust re-charted amidst the hoopla.

Sound + Vision may have been a success, but Bowie's next project was perhaps his most unsuccessful. Picking up on the abrasive, dissonant rock of Sonic Youth and the Pixies, Bowie formed his own guitar rock combo, Tin Machine, with guitarist Reeves Gabrels, bassist Hunt Sales, and Hunt's brother, drummer Tony, who had previously worked on Iggy Pop's Lust for Life with Bowie. Tin Machine released an eponymous album to poor reviews that summer and supported it with a club tour, which was only moderately successful. Despite this, Tin Machine released a second album, the appropriately titled Tin Machine II, in 1991, and it was completely ignored.

Bowie returned to a solo career in 1993 with the sophisticated, soulful Black Tie White Noise, recording the album with Nile Rodgers and his by-then-permanent collaborator, Reeves Gabrels. The album was released on Savage, a subsidiary of RCA, and received positive reviews, but his new label went bankrupt shortly after its release, and the album disappeared. Black Tie White Noise was the first indication that Bowie was trying hard to resuscitate his career, as was the largely instrumental 1994 soundtrack The Buddha of Suburbia. In 1995, he reunited with Brian Eno for the industrial rock-tinged 1. Outside. Several critics hailed the album as a comeback, and Bowie supported it with a co-headlining tour with Nine Inch Nails in order to snag a younger, alternative audience, but his gambit failed; audiences left before Bowie's performance and 1. Outside disappeared. He quickly returned to the studio in 1996, recording Earthling, an album heavily influenced by techno and drum'n'bass. Upon its early 1997 release, Earthling received generally positive reviews, yet the album failed to gain an audience, and many techno purists criticized Bowie for allegedly exploiting their subculture. hours... followed in 1999. In 2002, Bowie reunited with producer Toni Visconti and released Heathen to very positive reviews. He soldiered on with Visconti for Reality in 2003, which was once again warmly received.

Bowie supported Reality with a lengthy tour but it came to a halt in the summer of 2004 when he received an emergency angioplasty while in Hamburg, Germany. Following this health scare, Bowie quietly retreated from the public eye. Over the next few years, he popped up at the occasional charity concert or gala event and he sometimes sang in the studio for other artists (notably, he appeared on Scarlett Johansson's Tom Waits tribute Anywhere I Lay My Head in 2008). Archival releases appeared but no new recordings did until he suddenly ended his unofficial retirement on his 66th birthday on January 8, 2013, releasing a new single called "Where Are We Now?" and announcing the arrival of a new album. Entitled The Next Day and once again produced by Visconti, the album was released in March of 2013. Greeted with generally positive reviews, The Next Day debuted at either number one or two throughout the world, earning gold certifications in many countries.

The following year, Bowie released a new compilation called Nothing Has Changed, which featured the new song "Sue (Or in a Season of Crime)." This track turned out to be the cornerstone of Bowie's next project, Blackstar. Arriving on January 8, 2016, the album found Bowie re-teaming with Tony Visconti and exploring adventurous territory, as signaled by its lead single, "Blackstar." Just two days after its release, it was announced that David Bowie had died from liver cancer. In a Facebook post, Tony Visconti revealed that Bowie knew of his illness for at least 18 months and created Blackstar as "his parting gift." It topped several national charts -- including the Billboard 200, which made it his first number one album in the U.S.

By the autumn of 2016, posthumous projects began to surface, including Who Can I Be Now? -- a collection of his mid-'70s albums that functioned as a sequel to the previous year's box set Five Years -- and the release of the cast recording to Lazarus, the Broadway musical he completed in his final years. On January 8, 2017 -- the year anniversary of the release of Blackstar -- the No Plan EP, containing Bowie's versions of songs heard in the Lazarus musical, was released. A New Career in a New Town -- the third volume of retrospective box sets, this installment focusing on his recordings of the late '70s -- appeared in September 2017. The following year, the fourth retrospective box -- Loving the Alien -- was released, featuring albums issued between the years 1983 and 1988. Included was Bowie's biggest-selling '80s album, Let's Dance -- alongside a selection of live releases -- as well as a 2018 production of his 1987 album Never Let Me Down, featuring string arrangements by Nico Muhly and production from Mario McNulty. Over the course of 2019, Parlophone released a series of limited-edition vinyl sets spotlighting demos Bowie recorded in 1969. At the end of the year, these recordings were collected alongside a new mix of David Bowie (Space Oddity) in the box set Conversation Piece. The Metrobolist, a revised version of The Man Who Sold the World released under its original title, appeared late in 2020, followed in 2021 by The Width of a Circle, a double-disc collection of non-LP Bowie recordings from 1970. Late in 2021, the fifth "era" retrospective box set Brilliant Adventure (1992-2001) was released. Among its highlights was the unreleased album Toy, a collection of modern reworkings of early, pre-"Space Oddity" songs from Bowie. Toy received its own separate release in January 2022. ~ Stephen Thomas Erlewine