George Murray – Bassist in David Bowie’s Legendary D.A.M. Trio

Early Life

George Murray was born on 12 October 1951 in the Jamaica neighbourhood of Queens, New York City. Growing up during the remarkable musical explosion of the late 1950s and early 1960s, he absorbed an unusually wide range of influences. At home he heard the sophisticated swing of Count Basie and Frank Sinatra, while the arrival of rock and roll introduced an entirely different musical energy.

Like countless young musicians of his generation, Murray’s life changed dramatically after watching The Beatles on The Ed Sullivan Show. Their appearance inspired him to learn an instrument, although his first ambition was not to become a bassist.

From Drummer to Bass Guitarist

Murray originally wanted to become a drummer and even began taking drum lessons while still at school. Financial reality, however, forced him to reconsider. Professional drum kits were far beyond the family’s budget, while a bass guitar proved much more affordable. With money earned from mowing lawns and shovelling snow, he bought his first instrument—a short-scale Hagström bass—and unknowingly began the career that would eventually lead him to David Bowie.

From the very beginning, Murray developed a philosophy that placed rhythm above technical showmanship. Rather than treating the bass as a solo instrument, he became fascinated by its relationship with the drums, believing that the rhythm section should drive a song while leaving space for the vocalist and other musicians. This approach would later become one of the defining characteristics of Bowie’s late-1970s recordings.

Building a Reputation in New York

Throughout the early 1970s, Murray established himself within New York’s highly competitive professional music scene. After studying music and gaining experience with local groups, he worked with numerous artists in clubs, theatres and recording studios, steadily earning a reputation as a reliable, highly musical bassist capable of adapting to many different styles.

One of the most important developments in his early career was his growing musical relationship with guitarist Carlos Alomar and drummer Dennis Davis. The three musicians frequently worked together long before David Bowie entered the picture, developing a natural chemistry that combined funk, rhythm and jazz influences with exceptional musical discipline.

Their partnership also brought opportunities to work with artists including Luther Vandross and George McCrae, while Murray continued building experience as both a touring and session musician. By 1975 he had become a respected member of New York’s professional music community, even though his name remained largely unknown to the wider public.

Joining David Bowie

George Murray‘s career changed dramatically in September 1975 when Dennis Davis received a call from David Bowie’s organisation during the recording of Station to Station in Los Angeles. Davis recommended Murray for the bass position, inviting him to join rehearsals and recording sessions with Bowie, Carlos Alomar and producer Harry Maslin.

When Murray first met Bowie, the introduction was remarkably informal. Bowie greeted him with a handshake before presenting the song that would effectively become his audition: Golden Years. Rather than asking Murray to reproduce existing ideas, Bowie encouraged him to create his own bass parts. Murray later recalled that, apart from one specific figure suggested for the opening section of the title track Station to Station, he was given considerable freedom to develop his own bass lines throughout the album.

The sessions proved immediately successful. Within weeks Murray had become an integral member of Bowie’s band, beginning a professional relationship that would continue for the next five years and produce some of the most celebrated recordings of Bowie’s entire career.

Golden Years – George Murray‘s Audition

Although George Murray had already established himself as a respected bassist in New York, his career changed forever during the recording of Station to Station. Rather than attending a formal audition, he found himself effectively auditioning while the album was already being made. After arriving at the rehearsal studio in Los Angeles in September 1975, Murray was introduced to David Bowie for the first time.

The meeting was remarkably informal. Bowie greeted Murray with a handshake before immediately turning to the music. Without ceremony, he introduced the first song he wanted to work on: Golden Years. For Murray, the session became both his introduction to Bowie and his audition for one of the most sought-after positions in rock music.

Unlike many artists, Bowie did not expect his musicians simply to copy existing ideas. Murray later recalled that he was encouraged to create his own bass lines throughout the album. Apart from suggesting one specific figure for the opening section of the title track Station to Station, Bowie largely trusted his new bassist’s musical instincts. That creative freedom immediately established the collaborative atmosphere that would define their working relationship over the next five years.

Murray’s performance on Golden Years demonstrated exactly what Bowie was looking for. His bass playing combined deep funk influences with remarkable restraint, locking seamlessly with drummer Dennis Davis and guitarist Carlos Alomar while leaving plenty of space for Bowie’s vocals. The chemistry was obvious from the outset, and within weeks Murray had become a permanent member of Bowie’s band.

Looking back many years later, Murray described the experience with characteristic modesty. What many musicians would have regarded as the audition of a lifetime simply became the beginning of another professional collaboration. Yet that first performance on Golden Years marked the start of one of the most important partnerships in David Bowie’s musical history.

Recording Station to Station

George Murray entered David Bowie’s world at a remarkable moment in the singer’s career. During the autumn of 1975, Bowie was recording what would become Station to Station, an album that bridged the soulful sound of Young Americans with the more experimental direction he would soon explore in Europe.

Rather than receiving detailed written arrangements, Murray was encouraged to develop his own bass parts. Bowie valued originality and instinct, allowing musicians considerable creative freedom as long as their ideas served the music. Murray later recalled that he created virtually all of his own bass lines on the album, with Bowie only suggesting a specific figure for the opening section of the title track Station to Station.

The Birth of the D.A.M. Trio

The collaboration between drummer Dennis Davis, guitarist Carlos Alomar and bassist George Murray soon developed into one of the most celebrated rhythm sections of David Bowie’s career. Because their surnames began with the letters D, A and M, the trio later became widely known among Bowie fans as the D.A.M. Trio.

Working with David Bowie

George Murray often described David Bowie as a musician who encouraged creativity rather than control. Unlike bandleaders who dictated every note, Bowie preferred to surround himself with exceptional players and trusted them to develop their own musical ideas. Murray later recalled that Bowie rarely gave detailed technical instructions, choosing instead to communicate the overall mood or direction of a song.

During the recording sessions, Bowie frequently shared ideas with guitarist Carlos Alomar, who acted as the band’s musical director, while producer Tony Visconti translated Bowie’s broader artistic vision into the recording process. Murray appreciated this collaborative atmosphere, which allowed each musician to contribute naturally without feeling restricted by rigid arrangements.

Rather than asking for technical perfection alone, Bowie searched for originality. He encouraged experimentation with rhythm, texture and feel, believing that unexpected musical ideas often produced the most memorable recordings. This creative freedom became one of the defining characteristics of the albums George Murray recorded with Bowie between 1975 and 1980.

Although Murray always regarded his relationship with Bowie as primarily professional, he remembered him as courteous, respectful and intensely focused whenever the music was being created. Personal conversations certainly took place, but once recording began, Bowie’s full attention shifted to the next song, the next arrangement and the next creative possibility.

That simple observation perhaps explains why the partnership proved so successful. Bowie was less interested in technical display than in musicians who could help create an atmosphere. George Murray‘s understated, deeply musical bass playing fitted that philosophy perfectly, becoming an essential ingredient of Bowie’s most adventurous recordings.

The Isolar Tour (1976)

Following the completion of Station to Station, George Murray joined David Bowie on the ambitious 1976 Isolar Tour, sometimes also referred to as the Station to Station Tour or Thin White Duke Tour. For Murray, it was his first experience performing in arenas before international audiences as part of one of the world’s biggest touring acts.

The concerts introduced audiences to the elegant, emotionally detached Thin White Duke character while presenting music that ranged from Bowie’s earliest hits to the new material from Station to Station. Murray’s precise, economical bass playing became an essential part of the tour’s sound, allowing Bowie’s increasingly theatrical performances to rest upon an exceptionally solid musical foundation.

Although the visual presentation often attracted the greatest attention, musicians have long regarded the 1976 touring band as one of the finest Bowie ever assembled. Murray’s performances throughout the tour demonstrated not only technical excellence but also remarkable consistency, delivering the same disciplined groove night after night under demanding touring conditions.

Moving Towards Berlin

After the Isolar Tour, David Bowie began distancing himself from the excesses that had surrounded much of his life in Los Angeles. Seeking a quieter environment and new creative inspiration, he gradually relocated to Europe, eventually settling for extended periods in West Berlin alongside his friend Iggy Pop.

For George Murray, the geographical move changed little about the working relationship. Bowie continued relying on the same trusted rhythm section that had proven itself during Station to Station. Rather than replacing musicians as his musical direction evolved, Bowie chose to develop existing partnerships, believing that Murray, Alomar and Davis could adapt to virtually any stylistic challenge.

That confidence would soon be rewarded. Between 1977 and 1979, the D.A.M. Trio helped Bowie create three of the most influential albums in rock history, recordings that would later become collectively known as the Berlin Trilogy.

Recording Low

Released in January 1977, Low surprised both critics and audiences. Rather than continuing the polished soul-influenced sound of Station to Station, Bowie and producer Tony Visconti created an album that combined fragmented song structures, electronic textures, ambient soundscapes and tightly controlled rhythm-section performances.

Recording “Heroes“

Only a few months after the release of Low, David Bowie returned to Hansa Studio by the Wall in West Berlin to begin work on “Heroes“. Although often grouped together with Low, the second album reflected a growing confidence within Bowie’s band. The musicians were now thoroughly familiar with each other’s playing, allowing performances to become even more instinctive while retaining the discipline that had characterised their earlier work.

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Released in October 1977, “Heroes“ has since become one of the defining albums of David Bowie’s career. While the title track achieved worldwide recognition, musicians have long admired the entire album for the subtle brilliance of its rhythm section. George Murray‘s contribution remains one of the finest examples of bass playing through taste, restraint and musical intelligence rather than technical excess.

The Secret Life of Arabia

Although the title track “Heroes“ became one of David Bowie’s best-known recordings, George Murray has often singled out another song from the album as one of his personal favourites: The Secret Life of Arabia. Closing the album with an infectious blend of funk, art rock and rhythmic precision, the track perfectly illustrates the musical chemistry that had developed within Bowie’s band by 1977.

Unlike many of the atmospheric recordings made during the Berlin sessions, The Secret Life of Arabia is driven by an energetic groove built around the interaction between Murray’s bass, Dennis Davis‘ drums and Carlos Alomar‘s rhythm guitar. Rather than competing for attention, the three musicians create a tightly woven rhythmic foundation that allows Bowie to move effortlessly between spoken phrases, melodic passages and playful vocal improvisations.

Looking back on the recording many years later, Murray explained that the bass line was not carefully planned in advance. Instead, it emerged naturally during the session as he responded to the song’s chord progression and the musical ideas developing around him. The performance demonstrates the creative freedom Bowie often gave his musicians, trusting them to shape arrangements through instinct as much as preparation.

Murray also recalled that his intention was to remain firmly “in the pocket”, allowing the rhythm section to propel the song forward without unnecessary embellishment. That philosophy—placing feel above virtuosity—became one of the defining characteristics of his work with David Bowie and remains one of the reasons why the D.A.M. Trio is still admired by musicians nearly fifty years later.

The Isolar II World Tour

In 1978, George Murray once again joined David Bowie for an ambitious world tour in support of Low and “Heroes“. Officially known as the Isolar II World Tour, the tour presented a far broader musical programme than its predecessor, combining material from Bowie’s newest recordings with songs spanning almost a decade of his career.

The touring band represented one of the strongest ensembles Bowie ever assembled. Alongside George Murray, Carlos Alomar and Dennis Davis, the line-up featured Adrian Belew, Roger Powell, Sean Mayes, Simon House and other exceptional musicians capable of recreating Bowie’s increasingly sophisticated studio recordings on stage.

Every evening Murray demonstrated the remarkable consistency that had made him indispensable to Bowie. Whether performing the dramatic title track from “Heroes“, the driving rhythms of Stay, the experimental textures of Breaking Glass or older songs from the Ziggy Stardust period, his bass playing remained calm, controlled and unwavering.

Many fans and critics continue to regard the 1978 band as one of the finest live groups Bowie ever led. Their performances were later documented on the live album Stage, while additional recordings from the tour—including Live Nassau Coliseum ’76 from the earlier tour and later archival releases—have further highlighted the extraordinary quality of Murray’s musicianship.

Stage – Capturing the 1978 Tour

The outstanding performances of the Isolar II World Tour were documented on the live album Stage, released in September 1978. Recorded during concerts in the United States, the album presented one of the strongest live bands David Bowie ever assembled and captured the remarkable musicianship that had developed during three years of touring and recording together.

Although Stage received mixed reviews upon its original release, its reputation has grown considerably over the years. Today it is recognised as an important document of Bowie’s late-1970s concerts and an essential showcase for the musicians who helped bring his increasingly ambitious studio recordings to life on stage.

Recording Lodger

The final studio album of what later became known as the Berlin Trilogy was Lodger, released in 1979. Although much of the recording took place outside Berlin, the album continued Bowie’s collaboration with Brian Eno, Tony Visconti and the now firmly established D.A.M. Trio.

Recording Scary Monsters (And Super Creeps)

By 1980, George Murray had become one of David Bowie’s most trusted musicians. After five years together, Bowie, Carlos Alomar, Dennis Davis and Murray had developed an almost instinctive understanding of one another’s playing. This musical chemistry reached its final studio chapter with Scary Monsters (And Super Creeps), an album widely regarded as the culmination of Bowie’s extraordinary creative run that had begun with Station to Station.

The End of an Extraordinary Collaboration

Following the completion of Scary Monsters (And Super Creeps), David Bowie gradually began moving in a different musical direction. As he prepared for the enormously successful Let’s Dance era, he assembled a new group of musicians rather than continuing with the band that had accompanied him throughout the second half of the 1970s.

For George Murray, the transition came quietly. There was no formal announcement and no dramatic farewell. Years later he reflected on the experience with characteristic honesty, explaining that he was never actually dismissed from the band.

The remark perfectly reflects Murray’s understated personality. Rather than expressing bitterness, he accepted the realities of professional music, recognising that artists continually evolve and that touring and recording bands inevitably change. Nevertheless, his departure marked the end of one of the most important musical partnerships in David Bowie’s career.

Working with Iggy Pop

George Murray‘s collaboration with David Bowie naturally extended into Bowie’s work as a producer. When Bowie helped relaunch Iggy Pop‘s career in 1977, Murray joined several of the same musicians who had become central to Bowie’s own recordings.

Working with Jerry Harrison

George Murray‘s reputation as a thoughtful and highly dependable bassist extended well beyond his years with David Bowie. After contributing to some of the most influential albums of the late 1970s, he was also invited to work with guitarist and songwriter Jerry Harrison, best known as a member of the Talking Heads.

Beyond David Bowie

Although George Murray will always be closely associated with David Bowie, his musical career extended beyond those five remarkable years. Before joining Bowie he had already established himself as an accomplished professional musician, and after leaving the band he continued to record and perform on selected projects, including work with guitarist and songwriter Jerry Harrison.

Unlike many musicians who remained permanently within the recording industry, Murray gradually chose a different path. After relocating to California, he stepped away from full-time professional performance and began building a career in education. Over the following decades he served in a variety of educational leadership roles, eventually becoming a respected school administrator and district superintendent.

For many years, colleagues, students and parents had little idea that the quiet educator leading their schools had previously performed on some of the most influential rock albums ever recorded. Murray rarely spoke publicly about his years with Bowie, preferring to let the music speak for itself.

George Murray‘s Bass Style

George Murray has never been a bassist who sought attention through technical excess. Instead, his reputation was built on musical discipline, exceptional timing and an instinctive understanding of how the bass should support a song. Throughout his years with David Bowie, Murray consistently chose the part that best served the music rather than the one that drew attention to himself.

His playing reflected influences from rhythm and blues, soul, jazz and funk, yet it always remained remarkably economical. Every note had a purpose. Rather than filling every available space, Murray understood that silence could be just as powerful as sound. This philosophy became one of the defining characteristics of David Bowie’s rhythm section during the second half of the 1970s.

In the recording studio Murray relied primarily on his trusted Fender Precision Bass, whose warm, punchy tone became closely associated with albums such as Station to Station, Low, “Heroes“, Lodger and Scary Monsters (And Super Creeps). For certain recordings he experimented with other instruments when the music demanded a different sound. During the recording of “Heroes“, for example, he used a Rickenbacker bass with a pick to achieve the distinctive attack heard on the album’s title track.

His partnership with drummer Dennis Davis became one of the most admired rhythm-section combinations of the era. Davis’ imaginative drumming and Murray’s deeply rooted grooves complemented one another perfectly, while Carlos Alomar‘s rhythm guitar completed the musical framework that supported Bowie’s increasingly adventurous songwriting.

Instruments and Playing Style

Throughout his years with David Bowie, George Murray relied primarily on the Fender Precision Bass, an instrument whose warm, solid tone became closely associated with many of Bowie’s most influential recordings. Murray preferred a sound that was powerful without becoming intrusive, allowing the bass to support the song rather than dominate it.

Although the Precision Bass remained his principal studio instrument, Murray occasionally selected other basses when a different character was required. During the recording of “Heroes“, for example, he used a Rickenbacker played with a pick to achieve the sharper attack heard on the title track. On stage during the late 1970s he was also seen performing with instruments including a Kramer bass and a Gibson Ripper, choosing each according to the musical demands of the performance.

Unlike many bassists who sought to impress through speed or technical complexity, Murray built his reputation on precision, consistency and feel. His lines rarely called attention to themselves, yet they became an essential part of David Bowie’s music by providing a deep rhythmic foundation that allowed the melodies, guitars and keyboards to develop naturally above them.

His close partnership with drummer Dennis Davis was particularly important. Together they created grooves that combined the discipline of funk with the openness of jazz and the directness of rock music. Supported by Carlos Alomar‘s rhythm guitar, the three musicians formed a rhythm section capable of adapting effortlessly to Bowie’s constantly changing musical direction.

Many musicians have since pointed to George Murray‘s performances as masterclasses in tasteful bass playing. His work demonstrates that musical intelligence, careful note selection and impeccable timing can have a greater impact than technical virtuosity alone, a philosophy that continues to influence bass players around the world.

Rediscovery

For many years after leaving the music business, George Murray lived largely outside the public eye. While David Bowie’s recordings continued to inspire new generations of musicians, Murray himself devoted his professional life to education rather than performance. As a result, many younger Bowie fans knew his bass playing without knowing much about the man behind it.

Following his retirement from education in 2022, Murray gradually returned to music and began participating in interviews reflecting on his remarkable career. His thoughtful recollections have provided valuable first-hand insights into the recording of some of Bowie’s most celebrated albums, helping historians better understand the creative atmosphere surrounding the Station to Station and Berlin-era sessions.

He has also reunited with longtime friend and fellow Bowie collaborator Carlos Alomar for performances celebrating the music they created together nearly half a century earlier. These appearances have introduced Murray to a new generation of audiences while reminding longtime fans of the enormous contribution he made to Bowie’s catalogue.

Returning to the Stage

After spending more than three decades working in education, George Murray gradually returned to the world of music following his retirement. Although he had largely stepped away from professional performance during the early 1980s, his contribution to David Bowie’s music had never been forgotten by musicians and dedicated fans. Renewed interest in Bowie’s late-1970s catalogue encouraged Murray to reflect on a remarkable chapter of his life that had remained largely private for many years.

In recent years, Murray has reunited with longtime friend and fellow Bowie collaborator Carlos Alomar for a series of special performances celebrating the music they created together. These concerts have introduced his playing to a new generation of audiences while giving longtime Bowie fans the rare opportunity to see one of Bowie’s most influential bassists perform once again.

Among the most notable projects has been the DAM Trilogy – Back to Berlin concerts, celebrating the extraordinary body of work created by Dennis Davis, Carlos Alomar and George Murray with David Bowie between 1975 and 1980. Rather than attempting to recreate the past, these performances honour the creativity, musicianship and innovation that defined one of Bowie’s greatest artistic periods.

For Murray, returning to the stage has also provided an opportunity to share first-hand memories of the recording sessions and tours that shaped his career. Through interviews and public appearances, he has offered valuable historical insights into Bowie’s working methods, the chemistry of the D.A.M. Trio and the creation of albums that continue to inspire musicians around the world.

His renewed visibility has helped ensure that George Murray‘s contribution is now recognised alongside those of Carlos Alomar and Dennis Davis, reaffirming his place as one of the key musicians behind David Bowie’s extraordinary run of albums during the second half of the 1970s.

Remembering David Bowie

Looking back on his years with David Bowie, George Murray has consistently spoken with admiration and respect rather than nostalgia. Although Bowie is now regarded as one of the most influential artists of the twentieth century, Murray remembers him first as a dedicated musician whose greatest strength was his willingness to explore new ideas without fear of failure.

Unlike many legendary performers, Bowie did not surround himself with musicians simply to reproduce his own ideas. Instead, he actively encouraged creativity, trusting experienced players to develop arrangements and discover musical directions that could not have been planned in advance. George Murray has often explained that Bowie was fascinated by new sounds, textures and unexpected musical possibilities, qualities that defined every recording they made together.

While their relationship remained primarily professional, Murray always appreciated Bowie’s respect for the musicians around him. Recording sessions were rarely dominated by lengthy instructions or rigid rules. Instead, Bowie assembled exceptional players, presented his creative vision and allowed the music to evolve naturally through collaboration.

That simple philosophy perhaps explains why Murray became such an important part of Bowie’s band. Rather than seeking recognition for himself, he concentrated on helping Bowie realise his musical ambitions. The result was a remarkable body of work whose influence continues to be felt across rock, pop, electronic and alternative music more than four decades later.

Today, George Murray‘s recollections provide historians and fans with valuable first-hand insight into one of the most creative periods of David Bowie’s career. His memories reveal not only the making of extraordinary albums, but also the professionalism, curiosity and collaborative spirit that lay behind them.

The Legacy of the D.A.M. Trio

Looking back at David Bowie’s extraordinary run of albums between 1975 and 1980, it becomes increasingly clear that much of their musical strength rested upon the remarkable partnership between guitarist Carlos Alomar, drummer Dennis Davis and bassist George Murray. Together they formed the rhythm section that Bowie relied upon throughout one of the most innovative periods of his career.

Although the name D.A.M. Trio was adopted retrospectively by fans and musicians, it perfectly describes the unique musical relationship between Dennis Davis, Alomar and Murray. Rather than functioning as three individual musicians, they performed as a single musical unit, anticipating one another’s ideas with exceptional precision while remaining completely responsive to Bowie’s constantly evolving artistic direction.

The trio proved remarkably versatile. During the Station to Station sessions they fused funk, soul and rock into a powerful new sound. On Low and “Heroes“ they adapted effortlessly to experimental structures, ambient textures and electronic influences. By the time of Lodger and Scary Monsters (And Super Creeps), they were equally comfortable supporting African-inspired rhythms, angular art rock and commercially accessible pop without ever losing their distinctive musical identity.

George Murray‘s contribution to this partnership was its quiet centre of gravity. While Carlos Alomar often provided rhythmic drive and Dennis Davis introduced remarkable rhythmic invention, Murray supplied the calm, unshakeable pulse that allowed Bowie’s increasingly adventurous compositions to remain grounded. His bass playing rarely demanded attention, yet its absence would fundamentally change the character of these recordings.

Today, musicians frequently cite the D.A.M. Trio as one of the finest rhythm sections ever assembled for a major rock artist. Their work continues to influence bassists, guitarists and drummers across many different musical genres, while the albums they recorded together remain among the most celebrated in David Bowie’s entire catalogue. George Murray‘s place within that remarkable partnership is both secure and richly deserved.

Legacy

George Murray occupies a unique position within David Bowie’s musical history. Although he rarely received the public recognition afforded to guitarists or frontmen, his bass playing became one of the defining voices of Bowie’s most creatively ambitious period. Between 1975 and 1980 he helped shape a remarkable sequence of recordings that fundamentally altered the direction of popular music.

His performances on Station to Station, Low, “Heroes“, Lodger and Scary Monsters (And Super Creeps) continue to influence bass players around the world. Rather than relying on technical virtuosity, Murray demonstrated the lasting power of musical restraint, impeccable timing and absolute commitment to the song.

Together with Carlos Alomar and Dennis Davis, he formed one of rock music’s finest rhythm sections. The D.A.M. Trio remains admired not simply because of technical excellence, but because its members understood how collective musicianship could elevate every composition they played.

George Murray in Bowie’s Collaborative Universe

Among the many exceptional musicians who worked with David Bowie, George Murray deserves recognition as one of the most important. His collaboration spanned five landmark studio albums, two major world tours and several of the most influential recordings in modern rock history. Quietly and without seeking personal acclaim, he helped create the rhythmic foundation upon which Bowie built some of his greatest artistic achievements.

Today, Murray’s work is rightly regarded as an essential part of David Bowie’s legacy. His recordings continue to be studied by musicians, celebrated by fans and recognised as outstanding examples of how thoughtful, intelligent bass playing can transform great songs into timeless classics.

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This article has been researched and written for DavidBowieWorld.com as part of the site’s ongoing project documenting the musicians, artists, producers, designers, performers, tours and creative figures who helped shape David Bowie’s extraordinary career.

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