Tag: David Bowie

While other David Bowie’s live albums may have been recorded earlier, David Live was the first one released.  The disc was recorded during 1974’s Diamond Dogs tour at a stop in Pennsylvania. Having left behind the Ziggy Stardust personae the year before, Bowie adds horns to the mix including the work of David Sanborn (RIP) and piano player Mike Garson that play a heavy role in the songs performed for the album.  This adds a bit of a jazzy flavour to tracks like “Changes” and “Aladdin Sane”.

The band really let loose on “Moonage Dream” including a sizzling guitar solo from Earl Slick and Tony Norman going for it on the drums.  The background vocals on the Eddie Floyd cover “Knock on Wood” truly make it sound like an arena rock show from the 70s.  At times, Bowie’s voice strains a bit to get into range but the enthusiasm of tracks like Diamond Dogs’ single “Rebel Rebel” and “Cracked Actor” plus the impassioned performance of “Rock n Roll Suicide” make it easier to overlook. 

Several singles up to that point are left off the performance such as “Space Oddity”, “Starman” and “Live on Mars”. In truth, he had so many songs to choose from even at this point that they are not hugely missed. In all, David Live captures Bowie between Ziggy and the Young Americans phase that was just a year away.

7/10

David Bowie returned in 1974 with Diamond Dogs that was to be based on George Orwell’s sci-fi novel 1984, among other partially worked out ideas. The project sees him once again working with Tony Visconti, on a vision that creates a sleazy, post-apocalyptic future. After a spoken word introduction, the title track announces “This ain’t rock n roll, this is genocide”.  The backing vocals sounds like they are coming from underwater on the gritty fan favourite.

Through a three song suite, “Sweet Thing (Reprise)” appears as a punk/funk blast that rides into the classic single, “Rebel Rebel”.  Surprisingly, this was a top five hit in the UK but missed the top 50 in the US. Still a sure-fire dancefloor filler and a great singalong to the chorus ender, “Hot Tramp, I love you so” over a killer guitar riff from Bowie who took over the role from Mick Ronson. “Rock n Roll With Me” has a catchy chorus and more of a classic 70s rock sound.  Later, “1984” gives a glimpse into Bowie’s future sound with Blaxploitation funk on a track that was then covered by Tina Turner.

Throughout its history, Diamond Dogs has very mixed reviews.  From classic status in one publication to less than complimentary write-ups by other reviews.  It is a mixed bag of tracks that are actually quite good but right from the unappealing cover art of Guy Peellaert to the creepy spoken word introduction, it leaves a bit of a bad taste.  Still, even Bowie with a few partial ideas for an album can influence sounds later heard on punk, goth, and the dirtier/artier side of Britpop.

7/10

David Bowie started released boxsets split up by eras starting with Five Years (1969-1973) that was released in 2015 and has continued with four more sets since then. One of the selling points of the  boxes is the inclusion of compilations which mop up stray singles, alternate mixes, B-sides, etc. Re:Call 1 is a double disc affair that includes the classic “Space Oddity” in two of the first three tracks. The first in mono and the second version sung in Italian. B-side “Conversation Piece” is a psychedelic folk song about a shy boy to nervous to talk to others – “I’m a thinker/Not a talker/No one to talk to anyway”.

“Holy Holy” appears twice and is a good bit of nonsensical fun. Both “Moonage Daydream” and “Hang On To Yourself” appear in Arnold Corn versions, a band that Bowie put together as a lead up to Ziggy Stardust. The versions differ from their more familiar album versions by being slowed/stripped down takes – the former losing it’s glam/metal stomp and the latter sounding like a track from the late 50s.

“John, I’m Only Dancing” also appears twice, in its single edit and the sax version which adds a touch of that horn to great effect.  A Chuck Berry cover of “Round and Round” appears with Bowie doing his best Mick Jagger impression. The whole set is closed off with impressive B-side “Velvet Goldmine”. The track left off albums, possibly due to its risqué nature is a stomper before it slows with its piano chorus.  While there are a few skippable moments, Re:Call 1 is a terrific collection of odds and sods from Bowie’s first phase.

8/10

Recorded just over 50 years ago, the soundtrack to the D.A. Pennebaker live concert, Ziggy Stardust And The Spiders From Mars: The Motion Picture, didn’t see release until 1983.  The concert from the Hammersmith Odeon is famous for being the one where David Bowie announced to both the crowd and band that this would be the last ever show by his alter ego – Ziggy Stardust And The Spiders From Mars.

The album has several songs in common with Live Santa Monica ’72 including the guitar bursting “Hang on to Yourself” and of course “Ziggy Stardust”.  The first sound of a blip gets a warm reception from the audience as the band plays, “Space Oddity” and Bowie again includes his cover of Jacques Brel’s “My Death”. “Suffragette City” ends the main set on a high note.

The album swaps out a few tracks from the Santa Monica concert.  Instead of The Velvet Underground’s “Waiting For the Man” you get a joyous cover of “White Light/White Heat”.  “Life on Mars” gets replaced by an abridged version of “Oh You Pretty Things” that appears in a medely with the Bowie penned “All the Young Dudes” and “Wild Eyed Boy From Freecloud” that gets a big ovation from the crowd.

The 30^th Anniversary edition includes 5 songs not on the original including the full 16 minute version of “Width of a Circle” that sees the band let loose and jam. It also includes the symphonic introductions that sound like they are played on a small record player to a theatre full of Bowie fanatics. “Cracked Actor” from the recently released Aladdin Sane album is a highlight on both versions. The night closes with Bowie making his famous speech that the Ziggy band will never tour again before they play the fitting “Rock N’ Roll Suicide”.  It was a historical rock and roll night that sees the band in electric form before the curtain closes and the rug gets pulled out from underneath.

7.5/10