About the song
Released as part of David Bowie’s groundbreaking 1971 album “Hunky Dory,” “Queen Bitch” is a powerful and playful track that captures the essence of Bowie’s early ’70s persona and his fearless exploration of identity, gender, and societal norms. Written during a time of immense personal and artistic change, the song is a key part of an album that marks a significant moment in Bowie’s evolution as an artist—transitioning from the more traditional rock sounds of his earlier albums to the glam and avant-garde styles that would define much of his later career.
The song itself is a fast-paced, rock-infused anthem that features Bowie’s signature blend of witty, biting lyrics and a dynamic, energetic arrangement. “Queen Bitch” can be heard as a satirical commentary on the world of glam rock, particularly the pretentiousness and excesses of the scene that Bowie himself was increasingly a part of. With its swaggering guitars and Bowie’s sharp, often androgynous vocal delivery, the track is imbued with a sense of irony and defiance, poking fun at both the “queen” figure it describes and the societal roles it both critiques and embraces.
Lyrically, “Queen Bitch” explores themes of dominance and submission, as well as the fluidity of gender and power dynamics. The “queen” figure in the song seems to embody both a sense of glamor and a biting, almost cruel personality—an archetype that is both empowered and alienated in the world she inhabits. There is also an underlying tension between the attraction to and the rejection of traditional gender roles. Bowie’s portrayal of this figure can be seen as both a critique and a celebration, offering a complex view of the world of glam rock and its often ambiguous nature.
As much as “Queen Bitch” is about the glittering world of rock and roll and the theatricality of glam, it also serves as a reflection of the societal shifts of the time. The early 1970s were a period of intense cultural and social change, particularly when it came to ideas of identity, gender, and sexuality. Bowie was one of the key figures who helped push these boundaries, and songs like “Queen Bitch” became anthems for those questioning traditional norms. Bowie himself was constantly challenging conventional ideas about masculinity and femininity, and this track was a perfect example of his ability to blend the personal and the political in his music.
Musically, “Queen Bitch” is driven by a punchy, glam-inspired rock sound that recalls the music of The Velvet Underground—a band that heavily influenced Bowie during this period. The driving guitars and playful, almost sneering vocals are quintessential elements of Bowie’s style at the time, combining both a sense of rebellion and a touch of glam’s polished artifice. The song’s upbeat tempo and sharp energy make it stand out as one of the more vibrant tracks on “Hunky Dory,” an album that is often regarded as one of Bowie’s finest achievements.
Culturally, “Queen Bitch” is significant not only as a standout track on “Hunky Dory,” but also as part of the larger transformation that Bowie underwent in the early ’70s. It embodies the spirit of the glam rock movement, a subculture that sought to challenge the norms of both music and society. With its cheeky lyrics and daring musical style, “Queen Bitch” became a rallying cry for fans who identified with Bowie’s androgynous, boundary-pushing aesthetic. The song was not just a commentary on the glam scene, but also an exploration of the fluidity and ambiguity that were becoming more prominent in both music and culture.
In conclusion, “Queen Bitch” remains one of David Bowie’s most iconic tracks, encapsulating the spirit of the early ’70s and the profound influence Bowie would have on future generations of musicians and fans. Released as part of the landmark album “Hunky Dory,” the song offers a mix of sharp social commentary, musical innovation, and an unrelenting challenge to societal norms. Through its clever lyrics, dynamic music, and bold exploration of gender and power, “Queen Bitch” has become a timeless anthem that continues to resonate with listeners today. Bowie’s ability to create such an impactful piece of art during this period solidified his place as one of the most influential artists of the 20th century.
Video
Lyrics
Doo-pah-tum-ka-kum-bah-pah-ta-da-daAh yeahOh yeahI’m up on the eleventh floorAnd I’m watching the cruisers belowHe’s down on the streetAnd he’s trying hard to pull sister FloOh, my heart’s in the basementMy weekend’s at an all time low‘Cause she’s hoping to scoreSo I can’t see her letting him goWalk out of her heartWalk out of her mindOh, not herShe’s so swishy in her satin and tatIn her frock coat and bipperty-bopperty hatOh God, I could do better than thatOh, yeahShe’s an old-time ambassadorOf sweet talking, night walking gamesOh and she’s known in the darkest clubsFor pushing ahead of the damesIf she says she can do itThen she can do it, she don’t make false claimsBut she’s a queen and such a queenSuch a laughter is sucked in their brainsNow she’s leading him onAnd she’ll lay him right downYes, she’s leading him onAnd she’ll lay him right downBut it could have been meYes, it could have been meWhy didn’t I say? Why didn’t I say?No, no, noShe’s so swishy in her satin and tatIn her frock coat and bipperty-bopperty hatOh God, I could do better than thatSo I lay down a whileAnd I gaze at my hotel wallOh, the cot is so coldIt don’t feel like no bed at allYeah, I lay down a whileAnd look at my hotel wallAnd he’s down on the streetSo I throw both his bags down the hallAnd I’m phoning a cab‘Cause my stomach feels smallThere’s a taste in my mouthAnd it’s no taste at allIt could have been meOh yeah, it could have been meWhy didn’t I say? Why didn’t I say?No, no, noShe’s so swishy in her satin and tatIn her frock coat and bipperty-bopperty hatOh God, I could do better than thatOh you betchaOh yeahUh-huhMmm