Review: In early 1968 David Bowie enrolled in actor, teacher and choreographer Lindsay Kemp s dance class at the London Dance Centre. Bowie later claimed it was during this tenure that his interest in image really blossomed. Studying the dramatic arts under Kemp, Bowie became immersed in the creation of personae to present to the world.

In July 69 he had his first hit single with Space Oddity, and his second, self-titled album was released in November. A year on came The Man Who Sold The World, and Hunky Dory followed in December 1971.

Three months later, in February 1972, came the launch of the Ziggy Stardust Tour, at the Toby Jug in Tolworth, Surrey, and the rest, as they say, is history. But in less than three years of intense activity, Bowie had gone from being a glorified song-and-dance-man with a penchant for the tunes of early 60s comedy crooner Anthony Newley to becoming the most flamboyant, creative and dynamic rock star on the planet.

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Carrier Rfl 0601el Manual Muscle. This film uncovers the full story of these years and by tracing events from even further back, when David was still named Jones and a member of any number of UK Beat groups, to the release of The Rise & Fall Of Ziggy Stardust and The Spiders From Mars in June 72, it reveals one of the most fascinating pre-fame periods in the history of contemporary music. With the use of rare and seldom-seen archive film, exclusive interviews, contributions from his closest confidantes and comment from the most knowledgeable writers and music historians, this film is the best document yet to emerge on the early years of David Bowie and is destined to become the standard work on the subject. Review: A year on from the untimely demise of arguably the most influential British musician of the last fifty years, and on the eve of what would have been his seventieth birthday, here we have the opportunity to view his whole jaw-dropping career across the course of two slabs of wax. From the cosmic dread of 'Space Oddity' all the way to the reflective melancholy of 'I Can't Give Everything Away', it's a magnificent testimony to a restless muse that never stopped moving into unchartered territory in search of new adventure. These songs will outlive us all. Review: Surely not even the most ardent Bowie fan saw any of this coming. Yet to offset the justified grief and mourning at the most otherworldly and mercurial of all musical icons departing our realm, he's left us with one of his greatest albums to date and certainly his best in a full quarter century - one that returns him spiritually to the dizzying collision of bracing experimentation and melodious drama that typified the so-called Berlin trilogy of the '70s yet transplants that ambience to a new more complicated age.

Jazzy inflections, electronic filigree and stark soundscapes collide elegantly amidst that stentorian voice, and whether or not Bowie put this together as a farewell, he couldn't have done it better if he'd tried. We'll truly never see his like again, alas.