Diamond Dogs (1974)



1. Future Legend: Opening with an American-Werewolf-in-London-sized howl and hosting an orgy of post-apocalyptic imagery of urban decay that is the Hunger City, Future Legend (and a lovely synthesized take of ‘Bewitched Bothered and Bewildered’ underneath) introduces the latest of Bowie’s big theatrical projects: George Orwell’s 1984 (although it was abandoned due to necessity for the more oblique vision: Diamond Dogs). 7.0 

2. Diamond Dogs: “This ain’t rock and roll, this is genocide!”. It’s his last great chugging “It’s Only Rock and Roll But I Like It” stomp (a Stones song Bowie co-wrote with Ron Wood by the way) and some great garage riffing from Bowie (his guitar work all over this album is a revelation) and backing vocals. When it starts it’s like a fake live show (albeit a real Faces concert recording) although and it certainly has a big live band feel throughout its six rocking minutes. 8.5

3. Sweet Thing/Candidate/Sweet Thing (reprise): Masterpiece #16. This majestic three-track suite is the most brilliant moment in Bowie’s career to date, both musically (Bowie’s amazing guitar sound, like he’s using a razor blade for a pick), vocally (one of his most astonishing vocal performances ever), arrangements (Garson throughout gives his best performance on any Bowie record), and lyrically (disturbing throughout, continuing the theme of the apocalypse and clearly employing Burrough’s cut-up technique). This is the Bowie aficionado’s Bowie classic and one of the greatest moments in all of rock. 10.0

4. Rebel Rebel: Now time for some stripped down no-frills rock & roll which serves as the perfect backdrop for focusing on Bowie’s brilliantly corny lyrics which essentially revolve around a bunch of clichés about sexuality and rebellion all put to a cool 4/4 stomp and a compulsive riff that a real guitarist could never have come up with. Musically, nothing much happens however that’s exactly what makes “Rebel Rebel” so durable. 9.5 

5. Rock ‘n’ Roll With Me: Bowie’s first co-write (of which there would be plenty more to come), this charming ballad is emotive in its operatic sheen. 7.0

6. We Are the Dead: Masterpiece #17. Kicking off side two’s Orwellian theme, this track is exquisite and one of the more underrated tracks in the Bowie catalogue. The provocative lyrics evoke themes explored on The Man Who Sold the World, and the nightmarish soundscapes created using a multi-tracked vocal, chilly moog patterns and guitar treatments, create an other-worldly atmosphere – the nucleus of Diamond Dogs10.0

7. 1984: Alan Parker’s ‘Shaft’-like guitar and Visconti’s gold-plated strings dominate this disco track, well before disco had actually been invented. This track hints at what was to come with the Young Americans project  with its funky wah-wah rhythms, however the foreboding lyrics hindered it’s US hit potential. 7.5

8. Big Brother: This track continues the eerie and bleak themes of the album with some tremendous moog work from Bowie, particularly the Thames theme music in the bridge. Big Brother is compelling and undeniably brilliant, it’s shuffling verse complemented by a powerful chorus: “someone to claim us someone to follow…”  8.0

9. Chant of the Ever Circling Skeletal Family: More an outro to Big Brother, the album’s closer takes a metronomic shuffle and combines it with a brainwashed zombie dance echoing for all eternity. 7.5


VERDICT: Without the Spiders, Bowie himself was responsible for most of the music found on this album: guitars, saxophones, Moog, Mellotron (with Herbie Flowers on bass, and string arrangements and mixing by Tony Visconti, who would become a fixture on Bowie’s records for the rest of the decade), and with Ziggy gone too Bowie introduces us to his new character, the somewhat ill-defined Halloween Jack (a real cool cat, and he lives on top of Manhattan Chase – but he’s never home) without actually sticking to a storyline. This complex album isn’t a great starting point for Bowie fans, more recommended after you’ve already begun to build Bowie collection. For mega fans it’s one of Bowie’s great full length gap-records that manages to cohesively bridge Bowie’s conceptual surrealism (some best ever lyrics, both libidinous and direct) with his expanding neo-soul phase. The half-canine album cover by Guy Peeelart (who also painted ‘It’s Only Rock and Roll’ around the same time) is one of Bowie’s finest, enjoyed best in full gatefold, pre-airbrushed format.

NEXT: Plastic Soul.

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