Bowie was able to transform not only his outlook, body language, mimics and attitudes according to his role, but also his delivery and vocal tone. His vocal tone in Ziggy Stardust, for example, the bisexual alien persona that Bowie performed in 1972 and 1973, is drastically different from that of Boys Keep Swinging, one of the last songs of his 1979 album Lodger. In the former, his vocal tone is never stable, constantly in flux between chest and head voices and at times coupled with Mick Ranson’s backing vocals resulting in a sound perfectly compliant with his other-worldly, ambisexual persona. In Boys Keep Swinging, however, his vocal sinks into baseline —a register he didn’t employ too often in his Ziggy persona— and goes up to higher registers