Well, then, here we are. Ostensibly episode twelve of this Random Bowie series I started off in January, look you see. A usual start, and the one I am making here, is to say thank you very much indeed to all of you that stop by to read these. Extra special thanks to those of you who comment - it really is great to every now and then hear from some of you.
This edition was, then, nearly not the one I am doing. No. My first thought was to have a go at the last remaining 80s album proper, Never Let Me Down. And then I thought no, that can wait. So here we are, back in the 70s, with Diamond Dogs.
Quick fire, partially fantastic facts to commence? Sure. Diamond Dogs was, indeed is, the 8th studio album by David Bowie, according to the commonly accepted measurement in place for counting and measuring them. It was released in 1974, barely six months (actually seven, I think) after his much vaunted and celebrated covers record, Pin Ups, and just north of a year after his last collection of mostly original songs as an album proper, Aladdin Sane. It was, at least I think it was, the first Bowie album to feature Earl Slick on guitar; a chap who would become a long term, if sometimes on and off, collaborator.
Famously, or if you will infamously, Diamond Dogs was never going to be that. No, it was to be 1984, the soundtrack ('rock opera') to an ambitious stage show Bowie was planning to do based on the novel by George Orwell. Just as famously or infamously, however, the Orwell Estate declined to give permission for this. One cannot but help wonder if there's any regret on behalf of the Estate in this respect, but I dare say that no one has been brave enough to ask.
There is a school of thought, then, that Diamond Dogs is nothing more than the remnants of an abandoned project; one discarded for legal obligations. Many of the songs - most obviously 1984 and Big Brother - were clearly meant for a concept different from the apocalyptic future legend which was cultivated for the record released.
No. That school of thought is not quite right. Rather than seeing (or hearing) Diamond Dogs as a scramble to piece together work, it's more Bowie, perhaps on the cuff, creating a means to release songs that he felt were far too good to be discarded. This, as other episodes have shown, would be something he would do throughout his career. Further, it is hardly without precedent - most of the excellent, arguably their best album outside of Tommy and Quadrophenia, Who's Next by The Who was pieced together from the abandoned "Lifehouse" project.
My least favourite track on Diamond Dogs is the title one. This sentiment existed long before I knew of the origins of the record, or the album entire for that matter. On the "best of" things I had before taking ownership of the record, it was always Diamond Dogs that got the tape fast forwarded, or the needle lifted and placed on the groove of a more pleasant track. Sorry, yes, the imagery and some of the lines are quite iconic and what have you, but the song is just too tinny and noisy for my tastes.
As a curiosity, something which has always stuck with me is a comment that a family friend made to me. This was all many, many years ago. It was someone who had, or at least liked to think they had, a whole load of music trivia in their mind. Well, anyway, he insisted that one of the most famous lines on the record - "this ain't rock and roll, this is genocide!" - was not spoken by Bowie at all. No. According to them, this comes from the voice of no less than Rod Stewart. Well, to me it sound absolutely clear that it very much is David Bowie, and absolutely not the Rod. Perhaps it was a waste of time for me to mention it at all, then, but, well, I kind of like to give you all that I have.
The paragraph before last, where I state my least favourite track, is probably, if not most likely, the only negative thing you shall read here. At least that's about Diamond Dogs proper, as such. For me, the remainder of the album what is not the title track features a very great deal of David Bowie at his devastating and dominating best. When an album this strong does not get spoken of as much or as fondly as Ziggy Stardust, Aladdin Sane or even the 'Berlin Trilogy', well, it just shows to go that people are not lying when they say how damned impressive Bowie's 70s output really was.
What makes it so good? Let me try and discuss that here, then. Every now and then I get told off by one or two of you because I don't comment on the music as much as I should. The classic example of that was probably the Ziggy episode, where in some 3000 words I think the actual music barely registered a mention, except for when I noted a couple of examples of musicians "borrowing" the sound and arrangement of Rock N Roll Suicide.
Rock is the way I would describe the sound of Diamond Dogs. Some say that it is essentially another "glam rock" album, with the sound and the production values not being all that far away from Ziggy and Aladdin. I would disagree. Whilst not quite a return to the Led Zeppelin-esque hard rock of The Man Who Sold The World (yes I will do that album eventually), it's wrong to say that it resides in the "comfort zone" of a glam-ish sound that brought him fame and the first coins of fortune.
If anything, the rock sound is more influenced by the America he had come to fall in love with. British artists tasting the American scene and liking what they tasted was nothing new. Exposure to America, and making chums with chaps such as Lou Reed and Iggy Pop, however, clearly had a profound influence on his musical style and direction.
The above was, but of course, most visible (audible) on the next album, the full tilt USA "plastic" soul of Young Americans. A hint of this came in the tour in support of Diamond Dogs, as can be heard on the David Live double album / cd / tape.
Discussing the possible influences on the sound of Diamond Dogs rather takes away from the more innovative moments. Like, for instance, the quasi invention of that now standard of rock, the "power ballad". Prior to this, rock bands had pretty much done flat out rock, and when it came to a token ballad ("for the lady fans", presumably) they went total soft. Here, Bowie unleashed a song that was rock in mind yet ballad at heart in Rock N Roll With Me. Perhaps someone will come along and wave an earlier example from someone at me, but I really don't think anyone did what we now call a "power ballad" quite like this. At least, if they did, nowhere near as good as this song.
What of the gem, the jewel in the crown if you like, of Diamond Dogs? That would undoubtedly be the catchy, hypnotic majesty that is Rebel Rebel. It would be fair to say that this is probably the most well known song from the album other than the titular tune, and ranks as one of Bowie's best known songs of all time. A song he was fond of too, for let us not forget the wonderful rearranged version what he put out and did to open up gigs with on that final tour of his; the Reality one.
And yes, indeed, Rebel Rebel does have a decidedly glam sound to it, despite what I had said earlier. No surprise, really, as it is believed that the creation of this track commenced around the time of the Ziggy Stardust sessions. So, then, no, this song probably wasn't ever going to be part of the 1984 rock opera / musical / stage show Bowie had wanted to do initially.
The genius of Diamond Dogs is in its darker moments. For me, in my opinion, your view might be different and you are welcome to that, etc, the greatest parts are locked into the desolate, despairing and decidedly bleak aspects of We Are The Dead and the ambitious Sweet Thing / Candidate / Sweet Thing Reprise opus. Haunting music accompanies some grim lyrics, with the vocals trying to clutch at some form of grim, destined to fail hope.
In terms of the lyrics, yes, Candidate (in this version, more on that later) features, rather famously, Bowie's claim to have experimented with the "cut up" composition approach of William Burroughs. For more on this I strongly advise you watch the magnificent Cracked Actor documentary. It focuses a lot on the tour where David Live was recorded, but has a lovely segment on how Bowie came to write this song. Also, some priceless moments with us, the kids, the fans.
Now that I think of it, once I quoted Candidate to someone. Yes, it was a girl, or a lady. This was all when I was a wanky teenager, just before I went on to being a wanky 20 something, followed by being a wanky 30 something and then of course now find myself being a wanky 40 something. Anyway, when discussing what we were to do at the weekend, I had but of course assumed that everyone in the world was as familiar with Bowie's lyrics as I, said that we should probably "buy some drugs and watch a band, then jump in a river holding hands". Alas, no, she was not quite so familiar with the lyrics as I, and thought this to be a very good idea indeed.
For the record, then, I suspect all we did was watch a band - oddly could have even been a smart group calling themselves The Diamond Dogs down at the Roxy in Jozi. Legally I suspect it would be prudent if not downright wise to deny any and all other lyrical recreations.
What of the core heart of the record, which is to say the songs which were clear cut in their intention to be part of the 1984 concept album / stage show? It is, to me, fair to say that they offered a tantalising glimpse of something what could have been true genius.
It might be that some spoilers occur in this section, with respect to the novel 1984. So, if you have not read it, or seen the superb 1984 film (Hurt and Burton were robbed of Oscars), perhaps skip.
The titular song is an interesting one. With no knowledge I would guess that this was intended as the opening track for the proposed stage production. 1984 seems to take much of its cue from the celebrated Overture from Tommy. The song in itself seems to have been heard by Mr Lloyd Webber and Mr Rice, for Oh What A Circus off of the early stages of Evita seems to be a bit of a nod to it.
Maybe it was the tone and sound of 1984 which prevented the Orwell Estate granting permission for Bowie to do what he wanted. The song is very much of its time. It has a roving, grooving funk to it, with the guitar being as awesome as that heard on Theme From Shaft. Lyrically it is quite overt in drug references; something one would not normally associate with the tale of Winston Smith.
Meanwhile, Big Brother pretty much nails the concept of the book. There are distractions to the song, to be sure - overt sexual and drug references (from "should we powder our noses" to "Lord, I'd take an overdose) are again probably why Bowie didn't get permission to go ahead. But beyond that you get the adoration, acceptance and reliance society in the novel (for the most part) had on Big Brother. Whilst ostensibly you could say 1984 was Winston Smith and a doomed attempt to rebel against the state, at heart it was really him refusing to accept life as it was as had the rest of the population. Bowie gets that spot on with this song.
Another glimpse at what might have been comes in the form of a previously unreleased track from the album, Dodo. This can be heard on the 1990 Sound & Vision series of releases version of the album, as well as, I think, the 30th anniversary Diamond Dogs 2 CD set. Further, over on either version of the Sound & Vision box set you can hear clearly how much Bowie wished to include this song, for there's a variant which sees it mixed in with 1984, much like the Sweet Thing / Candidate one hears on the album proper. The song is a narrative track, speaking of Winston and Julia living in fear of being reported by their neighbours. Also, it's a very good tune indeed. Once heard it leaves you with no wonder why he was so passionate about it. Many of you will know this, of course, but for those that don't there is a recording of the song by no less than Lulu out there. Clearly Bowie wanted the song to be heard, so you should then hear it.
On to touring the album, then.This is recorded mostly, as you can see in the pretty pictures, in the form of the David Live double album; his first "proper" released concert record. Yes, Ziggy Stardust came first, of course, but that was not released until some ten years after it happened. But also no, David Live was not the first tour or performance of sorts in support of Diamond Dogs. That rather came before the record was done, in the famous Midnight Special TV broadcast, also called The 1980 Floor Show, with some clever wording there bypassing the lack of permission from the Orwell Estate to do what he wanted.
If you are of a mind to do so, you can find the whole of that 1980 Floor Show on the internet, most commonly on that there You Tube thing. Other than featuring a prototype version of the 1984 / Dodo mix, a point of interest is that it features pretty much the entirety of the Ziggy Stardust line up performing. They of course would not be used on the Diamond Dogs album.
A look at David Live, then. This is something of a frustrating experience, to be sure. Mostly this comes in the form of virtually all of Diamond Dogs being performed, but not quite in the style one hears on the album. No, by this stage Bowie had gotten his heart and mind set on all thing "plastic soul", it seems. Just as later there would be some mild frustration when the Serious Moonlight tour saw a number of classic songs given an 80s pop makeover, here we get to hear David fiddle with songs so that they sound like this "plastic soul" business. Essentially, then, much of this album - and presumably the tour - was Bowie experimenting live with the sound he'd put down in the studio for Young Americans.
Does the "plastic soul" sound work? For me, not really. As much as it is the first live recording of Bowie to be released officially it's also the least satisfactory to listen to. His flirtation with a love of America stretches all the way to his vocals at times, with in particular Changes sounding like he's really rather keen to take up a residency in a Las Vegas casino. Elsewhere on the recording and the power, the glory and the audacity of The Width Of A Circle, one of my all time favourite Bowie tunes, is gone somewhat, replaced by a more subdued sound. It just lacks the venom and bite it is supposed to have, which is perhaps why (so far as I am aware) the song was never performed by Bowie live again.
Easily the biggest disappointment with David Live is that it is an audio record of the tour. Everything about it, from the photographs in the CD (and tape) release through to the exciting snippets featured in the Cracked Actor documentary say that this show was visually stunning. As in, with regards to a performance, it was loaded with theatricals and light years ahead of what anyone else was doing.
From what I can recall there was another live album released earlier this (2017) year, featuring a set from later in the tour. I'm pretty sure (and yes I suppose I could check) it was one closer to the time of Young Americans as an album being about ready to unleash, for some songs that would be on that record featured. I mention this as I am guessing it means no footage further to what was shown in Cracked Actor exists. This is a great shame; a DVD or similar of a full show would be magnificent.
As an aside, then, is David Live worth your time getting? Yes, if you really like Diamond Dogs I suppose, because this is the most complete covering of it on stage. No, if you are looking for the better of the Bowie live recordings, as all other releases are way better.
Oh yes, the "controversial" album art for Diamond Dogs. When released originally, some black paint or a variant of that "airbrushing" thing were taken to the rear end of the "Bowie dog", lest anyone be upset, back in 1974, about dog genitalia that was supposedly Bowie's, then. Indeed, somewhere, locked away, I have the vinyl issue featuring the edited image. Now, I suspect, this is rare, as without a bat of an eyelid anywhere one will see the uncensored version on all CD issues.
Should for some reason you wish to see the private bits of David Bowie, then you can do so in a real and less imagined way. simply get the Blu Ray, DVD or if is your way VHS of The Man Who Fell To Earth. Towards the end of the film, suitably in a bedroom scene, there's a "blink and you will miss" glimpse. Evidently who did the painting for the Diamond Dogs cover had not seen the real David Bowie to model it all on, otherwise he would have made it substantially bigger.
If this is now the tone of this blog post I would, I guess, be close to running out of things to say.
A standard part of any of these episodes would be whether or not the album is worthy of a purchase. I would say yes, absolutely, but don't be misled by the sounds of either the titular song or Rebel Rebel. The content, style and sound tend to differ somewhat from those two well known tunes.
Which version to get of Diamond Dogs is an interesting question. The early 90s Sound & Vision one comes with two extra tracks; Dodo in its own right and an earlier version of Candidate. In respect of the latter, it's interesting, sexually charged, radically different from what was released and not as good as what was released.
The later, as in late 90s, "digitally remastered at Abbey Road" version is shorn of the extra tracks. It is, however, a better listening experience. Usually I am quite wary of these claims that re-released CDs have a far better sound to them. In this case it is true. I have played both ahead of writing this, and the latter version has a much more clear, crisp (hello, Faye) and richer sound quality.
Pictured here too is CD 2 of the original, I think USA only, 1990 version of the Sound & Vision box set. The CD 2 in the worldwide re-release is the same. It's included as the 1984 / Dodo track is on there, as well as what was in 1990 a quite rare, alternate USA mix of Rebel Rebel. As far as I am aware a 2CD '30th Anniversary' edition of Diamond Dogs features a consolidation of all these tracks, plus one or two extras. If the album proper on that set (I do not have it) features this "digitally remastered at Abbey Road" version of the record, then should chance permit that would be the one to get.
I think the most appropriate way to conclude a look at Diamond Dogs is to say that it is the album which changed things. Sure, Bowie didn't get to do the 1984 production he wished. The album, however, truly cemented him as one of Britain's premier artists. Any lingering doubt about him - thoughts that he might fade away and be disposable as and when the "glam rock" phenomenon faded - were gone. Now he was the subject of BBC documentaries and so forth.
Maybe, then, in the grand scheme of things, Diamond Dogs is the "most important" record in the works of David Bowie. Had he elected to do more of the same, as in far more accessible pop or glam such as Ziggy and Aladdin, perhaps he would have faded into obscurity. Instead, then, he revealed there was a lot more to him than that, and was going to push ahead with music exploration in a way no one else seemed quite brave enough or able to do.
Phew. That's that for this edition, and indeed for episodes of it for the year. Many, many thanks to all of you who have supported these blog posts. Yes, due to the unexpected popular demand, I shall press on with it all, so one will roll around in the first month of the new year. Assuming, for the moment, I make it so far.
be excellent to each other!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
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