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Happy 40th birthday, Diamond Dogs!
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MessagePosté le: Dim 4 Mai - 16:00 (2014)    Sujet du message: Happy 40th birthday, Diamond Dogs! Répondre en citant

A foul whiff from the tomb

"DIAMOND DOGS" by David Bowie is foul air, a whiff from the deepest and deadest of tombs—it is the work of a reckless necrophiliac The album is Burroughs set to music—knife-edged faggotry carried to bloody chaotic apocalypse—and banalized Burroughs is truly loathsome; all that blood and scum rising to the surface is Bowie's corruption (not ours) and he expects it to turn us on.

Okay, obviously somebody gets off on it—rock audiences are getting so jaded they might applaud an epileptic fit. But "Diamond Dogs" with its Naked Lunch opening and Alice Cooper rip-off numbers is so desiccated and sluggish, so bereft of wit and energy, that not even the most feebleminded of Camp-followers will be able to coast with it in a ride of high pleasure. How could they? Its decadence isn't chilling enough to be fun, and who needs rock that is as baroquely vulgar as the worst Ken Russell wet dream?

What really angers one is Bowie's ruthless piracy. The title song feeds on his own "Watch that Man" with a touch of "Brown Sugar"; "Rebel, Rebel" is a middle-period Stones without Jagger's harshvoiced brashness; "Sweet Thing" sounds like Xeroxed Lou Reed; "1914" echoes "Shaft." Curious: this magpie sensibility isn't distinctive of the Bowie of "Hunky Dory."

I don't know what's happened to Bowie. I don't know who's programming him now, but somewhere along the line he thought he could achieve star-glory by posturing as an extraterrestrial sodomite. He preens and slinks and mimics Dietrich and cold-bloodedly exploits the gay style for all it will yield him; it will yield him plenty, bet on it, and no one seems to care. All right—he's made his contribution to the GNP—but my patience has broken, my toleration for Bowie's vomitous work has ended; let his next album serve as food for cultural maggots.

—James Wolcott

the village VOICE, June 6, 1974

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MessagePosté le: Dim 4 Mai - 16:00 (2014)    Sujet du message: Publicité

PublicitéSupprimer les publicités ?
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MessagePosté le: Dim 4 Mai - 16:47 (2014)    Sujet du message: Happy 40th birthday, Diamond Dogs! Répondre en citant

But he still has to live up to it

Singer's status is superstar


Because it is timed to coincide with his most ambitious U.S. tour, Diamond Dogs is David Bowie's most important album in his attempt to live up to the superstar status that has been predicted for him for so long.

Despite his enormous popularity in his native England and the vitality-vision of his music, Bowie has had only made it to No. 75 on Billboard Magazine's weekly list of the nation's best-selling albums.

While Aladdin Sane and Pin Ups reached higher chart positions, neither made it to the these days relatively easy $1 million sales mark, a figure passed by 31 of the albums on Bill-Board's current top 50.

Part of Bowie's problem has been a failure to tour, a key requirement in the building of most top music careers. Even though they may have heard the artist's music on record or radio, fans generally want to see him in concert before adopting the almost missionary zeay that seems to inject itself in the supporters of the most important acts.

Bowie, who gained a large cult following and much critical attention through such albums as Hunky Dory and Ziggy Stardust, was scheduled for a massive U.S. tour last year. But he and his manager Tony Defries, felt Bowie could better devote his time to writing new material.

"My own belief is that concerts are out of date," Defries, an independent, set-your-own-rules figure, said at the time. "Television allows you to reach far more people in a much shorter time. All that time and energy it takes to tour can be better spent on the development of new, crealive projects and records."

But, Defries warned at the time, he has no unalterable policies. Two of his favorite sayings are "there are no experts'" and "everything is subject to change."

Thus, concerts are back in Bowie's future. He begins a major tour this week in Montreal. Since he has made only made a few U.S. appearances until now, most of those seeing Bowie will be doing so for the first time, so the impact he makes this time will be crucial.

As the source or much of his concert material on this tour, Diamond Dogs (RCA CPL 1-0576), then, is a particularly important work for Bowie. Beyond the normal issue of whether the album is worth special attention (it is), the real question may be how well the material seems to lend itself to the highly visual, theatrical design of Bowie's concerts.

Bowie has long maintained that he isn't interested in simply writing a song, but in the total presentation of its mood. "I must have the total image of a stage show," he said earlier this year in a Rolling Stone discussion with William Burroughs.

"It has to be total with me. I'm just not content writing songs. I want to make it threedimensional."

Though the final confirmation must wait until the stage show actually arrives, Diamond Dogs, a slice or science-fiction horror about the break-down of an overmechanized society and the nightmarish aftermath, lives up to Bowie's three-dimensional goal brilliantly.

While the concept seems so obscure at times that the album can best be enjoyed by giving up trying to piece it together, the individual songs, filled with the kind or bold, dramatic, inviting, sing-along refrains that work so well in a theatrical setting (i.e., the See Me, Touch Me, Feel Me portion of Tommy), have great concert potential.

The album opens with a narration — nicely eerie and urgent — that tells about the results of the mysterious holocaust: "and in the death. . . . as the last few corpses lay rotting on the slimy thoroughfares . . . fleas the size of rats sucked on rats the size of cats and 10,000 peopleoids split into small tribes coveting his highest of the sterile skyscrapers. . ."

The album then lurches into the title song, a tune with a strong Rolling Stones influence that tells about the strange survivors: "as they pulled you out of the oxygen tent — you ask for the latest party — with your silicone hump and your 10-inch stump dressed like a priest, you was — Todd Browning's beast, you was."

There are excellent lighting and staging opportunities in that song and several of the album's other selections, particularly Sweet Thing, Rock 'N' Roll With Me, 1984 and We Are The Dead.

But the album's most infectious tune may also be the one with the least connection to the sometimes hidden theme. The song, Rebel, Rebel, is Bowie's current single and is a particularly topical work that would be at home on almost any contemporary rock album:

Got your mother in a whirl, she's not sure if you're a boy or a girl. . .

Coupled with the best works from his past albums, Diamond Dogs gives Bowie a strong chance of coming off this tour as the most important pop figure to emerge so far in the 1970s, He'll be at the Universal Amphitheatre Sept. 2·8.

The Los Angeles Times

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MessagePosté le: Mar 6 Mai - 09:15 (2014)    Sujet du message: Happy 40th birthday, Diamond Dogs! Répondre en citant

Diamond Dogs-40th Anniversary Vinyl LP Record
David Bowie

Catalog number 1181821
Discs 1
Release Date Jun 24, 2014

CD Universe

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MessagePosté le: Jeu 8 Mai - 07:40 (2014)    Sujet du message: Happy 40th birthday, Diamond Dogs! Répondre en citant

C'est le picture disc non ?

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MessagePosté le: Jeu 8 Mai - 08:50 (2014)    Sujet du message: Happy 40th birthday, Diamond Dogs! Répondre en citant

C'est la photo du picture disc qui te fait dire ça ?
Elle n'était pas là au moment où j'ai posté l'info mais il n'y avait pas non plus les infos suivantes :

Diamond Dogs-40th Anniversary songs Product Information
- Category Rock/Pop Albums, Vinyl LP Record CDs, Rock

Diamond Dogs-40th Anniversary album for sale Product Description
- Diamond Dogs-40th Anniversary album for sale by David Bowie is scheduled to be released Jun 24, 2014 on the Imports label. Diamond Dogs-40th Anniversary CD music contains a single disc.

Diamond Dogs-40th Anniversary buy CD music Product Details
- Release Date New David Bowie CD release date Jun 24, 2014

CD Universe annonce bien Life On Mars, Sorrow et Rebel Rebel comme des 7" Vinyl Single (45 Record).
Ils ont l'air de bien savoir faire la différence entre un single et un album !

Par contre, pas revu l'info ailleurs, le doute est donc possible ! Wait and see !

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MessagePosté le: Ven 9 Mai - 22:48 (2014)    Sujet du message: Happy 40th birthday, Diamond Dogs! Répondre en citant

CD Universe a modifié la page :

Diamond Dogs 40th Anniversary 7" Vinyl Single (45 Record)
David Bowie
7" Picture Disc

CD Universe Part number 9210244
Discs 1
Release Date Jun 24, 2014
Additional Info 7" Picture Disc

Bye bye l'album ! Crying or Very sad

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MessagePosté le: Sam 10 Mai - 10:27 (2014)    Sujet du message: Happy 40th birthday, Diamond Dogs! Répondre en citant

J'ai cru comprendre cependant que même si c'est un 7", il faut le lire en 33 RPM... D'ou peut etre l'erreur sur plusieurs sites.
On le trouve a 11 euros sur Amazon en preorder.
Bon we !

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MessagePosté le: Mar 13 Mai - 08:54 (2014)    Sujet du message: Happy 40th birthday, Diamond Dogs! Répondre en citant

RCA Victor APLI 0576, May 1974 [1]
RCA International INTS 5068, May 1983 [60]
RCA International NL 83889, March 1984
RCA BOPIC 5, April 1984
EMI EMC 3584, August 1990 [67]
EMI 7243 5219040, September 1999
EMI 07243 577857 2 3, June 2004 (30th Anniversary 2CD Edition)

'Future Legend' (1'05") / 'Diamond Dogs' (5'56") / 'Sweet Thing' (3'39") / 'Candidate' (2'40") / 'Sweet Thing (reprise)' (2'31") / 'Rebel Rebel' (4'30") / 'Rock'n Roll With Me' (4'00") / 'We Are the Dead' (4'58") / '1984' (3'27") / 'Big Brother' (3'21") / 'Chant of the Ever Circling Skeletal Family' (2'00")

Bonus tracks on 1990 reissue: 'Dodo' (2'55") / 'Candidate' (5'05")

Bonus tracks on 2004 reissue: '1984/Dodo' (5'27") / 'Rebel Rebel (US Single Version)' (2'58") / 'Dodo' (2'53") / 'Growin' Up' (3'23") / 'Alternative Candidate' (5'05") / 'Diamond Dogs (K-Tel Best Of Edit)' (4'37") / 'Candidate (Intimacy Mix)' (2'57") / 'Rebel Rebel (2003 Version)' (3'10")

Musicians: David Bowie (vocals, guitar, saxes, moog, mellotron), Mike Garson (keyboards), Alan Parker (guitar on '1984'), Herbie Flowers (bass), Tony Newman (drums), Aynsley Dunbar (drums), Tony Visconti (strings) • Recorded: Olympic & Island Studios, London; Studio L Ludolf Machineweg 8-12, Hilversum • Producer: David Bowie

At the Château d'Hérouville in the summer of 1973 Bowie had told a journalist that his next album would be "a musical in one act called Tragic Moments", but when he told others in the autumn that it would be called Revenge, or The Best Haircut I Ever Had, and that it would feature protest songs about "how bad the food in Harrods is these days", it was clear that he was just enjoying himself. "There were a lot of changes going on around that time," Mick Ronson later recalled. "David had all these little projects ... [he] wasn't quite sure what he wanted to do." While Ronson began work on his solo debut Slaughter On 10th Avenue, Bowie entered a period of transition. No longer able to brave the fans who regularly beat a path to the doors of Haddon Hall, he and Angela took the decision to leave Beckenham. They moved briefly into Diana Rigg's flat in Maida Vale, and thence to a five-storey Georgian terraced house in Chelsea's fashionable Oakley Street. "You can't really be rock-and-roll royalty without a rock-and-roll palace," explained Angela in her autobiography, and from their opulent new residence the Bowies entertained Rod Stewart and Ronnie Wood of The Faces, together with the Jaggers, Bianca and Mick.

In late October Bowie recorded a studio version of the '1984/Dodo' medley premiered in The 1980 Floor Show, marking his last work with producer Ken Scott, who departed to work on Supertramp's Crime Of The Century. Soon afterwards David embarked on sessions at Olympic Studios in Barnes, producing tracks for a planned album by The Astronettes, the three-piece group devised as a showcase for his new girlfriend, the eighteen-year-old American Ava Cherry. The Astronettes sessions at Olympic continued on and off into January, and Ava Cherry would record further tracks in America before the project was finally shelved. A compilation called People From Bad Homes (later reissued as The Astronettes Sessions) eventually appeared in 1995. Among the songs were early versions of numbers that would later surface on Young Americans, Scary Monsters and Tonight.

Further extra-curricular activities in the autumn and winter of 1973 included the completion of Lulu's single 'The Man Who Sold The World' and a guest appearance on Steeleye Span's Now We Are Six. At around the same time Bowie declined a request to play guitar for Adam Faith, and another to produce Queen's second album; their only collaboration would come eight years later. There were also plans to collaborate on Oktobriana: The Movie, a film adaptation of the Iron Curtain comic-book superheroine which would have starred another of David's new girlfriends, Amanda Lear. David is believed to have demoed a song with Lear called 'Star' (no connection to the Ziggy Stardust number of the same name), but neither this nor the Oktobriana project would see completion.

Meanwhile, other forces were shaping David's career plans. On 17 November, at the instigation of Rolling Stone journalist Craig Copetas, David entertained the legendary beat poet William Burroughs at Oakley Street. The resulting double interview ("Beat Godfather Meets Glitter Mainman", published in Rolling Stone the following February) reveals a fascinating snapshot of David's intentions and aspirations as 1973 drew to a close. Fascinated by Burroughs's working methods and impressed by his 1964 novel Nova Express, David now revealed that he was experimenting in the "cut-up" technique favoured by writers like Burroughs and Brion Gysin, marvelling at the "wonder-house of strange shapes and colours, tastes, feelings" it created. His immediate plans centred on the West End stage. First he spoke of a full-scale rock musical telling the Ziggy Stardust story: "Forty scenes are in it and it would be nice if the characters and actors learned the scenes and we all shuffled them around in a hat the afternoon of the performance and just performed it as the scenes come out." Next he revealed, almost as an aside, that "I'm doing Orwell's Nineteen Eighty-Four on television."

The exact origins of Bowie's interest in staging Orwell's novel remain a moot point. The idea had clearly been gestating for some time, with an unreleased version of '1984' recorded as early as the previous January. MainMan president and Bowie biographer Tony Zanetta later claimed that the impetus came from Tony Ingrassia, the director of Pork: "In September [1973] Defries had dispatched Tony Ingrassia to England to co-write and direct a musical production of George Orwell's Nineteen Eighty-Four, one of David's favourite books. David loathed doing anything on assignment ... They worked together for a few days, then David refused to get out of bed ... Nonetheless, David's discussions with Ingrassia had stimulated his imagination." In November Bowie claimed to have written twenty new songs for Nineteen Eighty-Four, which would be "almost a kitchen-sink kind of thing. I shall look very different in it, and there's a lot of good music in the show. Some of it is as much as three years old. I kept a lot of songs back because I knew I wanted them for some kind of show."

Neither project came to fruition: the Ziggy Stardust show was rejected as a retrograde step, although two of its new songs, 'Rebel Rebel' and 'Rock'n Roll With Me', were salvaged for use on the next album. At the end of 1973 George Orwell's widow, Sonia, withheld permission for the Nineteen Eighty-Four project. Undeterred, David relocated his new enthusiasms in a creation of his own: the urban wilderness of Hunger City, where his Orwellian compositions would form the basis of the dystopian post-apocalypse nightmare of Diamond Dogs. "It still implied the idea of the breakdown of a city," said Bowie in 1999, "a disaffected youth that no longer had home-unit situations, but lived as gangs on roofs and really had the city to themselves." For a time the album's working title was We Are The Dead – a key quotation from Nineteen Eighty-Four – but the work that finally emerged had moved beyond the margins of Orwell's novel. Both the fragmented lyrics and the portrait of urban America's sordid meltdown were clearly indebted to Burroughs, while the music was a four-way tussle between the receding sounds of glam, the rising influence of black soul, the synthesized nightmares of The Man Who Sold The World, and the ubiquitous rock'n'roll swagger of Jagger. A significant innovation was the introduction of a brand new Bowie voice – 'Sweet Thing' and 'Big Brother' unveil the sonorous basso profundo that would become a key element in David's vocal armoury, and a fundamental influence on the goth bands of the 1980s.

Diamond Dogs was also a product of material necessity. By the end of 1973 Tony Defries's MainMan organization had become a colossus of extravagance: its American division now retained over twenty employees and had moved into palatial premises in New York's Park Avenue. Everything, from the Dom Perignon and the Bloomingdale's expense accounts to the custom-made gold-tipped MainMan matchsticks, was being paid for by Bowie's earnings. David, apparently heedless of what was being done with his money, was living on a monthly cash allowance and signing everything else to MainMan's credit accounts – which Defries deducted from his earnings. Meanwhile MainMan's London office was besieged by creditors. In December 1973 the Château d'Hérouville began gathering affidavits in preparation for action over non-payment for the Pin Ups sessions. It was small wonder that Defries was anxious for the goose to deliver another golden egg at the earliest opportunity.

At the height of its excess MainMan unwittingly sowed one of the seeds of its own downfall. In the summer of 1973 the company's London office had taken on a young receptionist of French-American extraction, blessed with an impressive fluency in languages and a hard-nosed approach to business. She would shortly become David's personal assistant and all-purpose fixer, from which position she would play an instrumental role in extricating him from MainMan's clutches when the showdown finally came. Corinne Schwab, or Coco as she is known, remains Bowie's personal assistant to this day.

Diamond Dogs presented Bowie with a daunting prospect: having disbanded The Spiders, for the first time in four years he would have no recourse to Mick Ronson's arrangements and instrumental prowess. It remains to this day the only album on which lead guitar is credited to Bowie himself. "I knew that the guitar playing had to be more than okay," he recalled in 1997. "That couple of months I spent putting that album together before I went into the studio was probably the only time in my life where I really buckled down to learn the stuff I needed to have on the album. I'd actually practise two hours a day." Bowie also produced the album alone, and in an initial burst of enthusiasm – or possibly megalomania – he declared he would play every instrument himself. In the event, despite taking the lion's share of the guitar work and all of the saxophone and synthesizer parts, he relented: Aynsley Dunbar and Mike Garson returned from the Pin Ups sessions, and Herbie Flowers, last heard on Space Oddity, was re-recruited on bass. Two fresh faces were drummer Tony Newman, formerly of the Jeff Beck Group, and Blue Mink's Alan Parker (previously hired by Flowers to play on the single version of 'Holy Holy' as well as on Clive Dunn's alarming 1971 album Permission To Sing), who played guest guitar on '1984' and augmented Bowie's riff on 'Rebel Rebel'.

Recording, which began in December at Olympic Studios at around the same time as the Astronettes sessions, was overseen by Olympic's resident engineer Keith Harwood, whose previous credits included Led Zeppelin's Houses Of The Holy and numerous sessions with The Rolling Stones. Diamond Dogs was to be Harwood's first credit on a Bowie album, although the two had worked together 18 months earlier on Mott The Hoople's All The Young Dudes and the original version of 'John, I'm Only Dancing'. "I was kind of in awe of him," David recalled in 1993, "because he'd worked on three Stones albums, so he was really a professional rock'n'roller. He was one of the first people who was like down-and-out rock'n'roll. He had the greasy hair and the boots and the leather jacket. I'd been used to engineers and producers like Ken Scott, who goes home to his wife at night – tie and shirt and all that."

Recording proceeded at a frenetic pace. Even by comparison with the Ziggy Stardust sessions David was now governing his colleagues' contributions like a full-blown control freak. "I just came in and played the parts and he explained some things," Mike Garson told the Gillmans. "It was more like being a session musician." Another player summoned to the studio at short notice was bassist Trevor Bolder, who received an unexpected telephone call one night and joined Bowie, Garson and Tony Newman to work on a slow acoustic number which would never see the light of day. "It was a nothing song," Bolder told Paul Trynka, "and it obviously got dumped later." This one-off encounter would prove to be Bolder's final studio session with Bowie. The pair would not meet again for several years, and the moment of their parting offered an unhappy illustration of Bowie's state of mind: while Bolder attempted twice to say goodbye, the singer sat with his back to him and said not a word. "He could be very dark," Ava Cherry recalled of David's temperament at the time of the sessions. "If he was working and you went into the room and started talking, he'd scream, 'Get out! Get out!'"

That Diamond Dogs is characterized by what David described as "a quality of obsession ... desperate, almost panicked", can be put down to another significant development in his lifestyle at the time of the sessions. Although he later professed to having experimented with most psychoactive drugs while still in his teens, it was not until, in Angela Bowie's words, "the third quarter of 1973" that David embarked on a serious relationship with cocaine. At the time cocaine was something of a status symbol, an emblem of chic favoured by musicians for its ability to stimulate creativity. It was popularly reputed to be harmless and non-addictive, but anyone under such illusions need only look at footage of David Bowie between 1974 and 1976, and observe the alarming decline in his articulacy, disposition and appearance. At the time of the Diamond Dogs sessions the early symptoms were already beginning to manifest themselves.

Although most of the album was recorded at Olympic, there were brief trips to other venues, including Morgan Studios in Willesden, scene of the abortive session with Trevor Bolder. In the last week of December, an early attempt at 'Rebel Rebel' saw David's final recording at Trident, the studio that had borne the majority of his work for the last five years. Trident's reputation as a state-of-the-art venue would wane during the late 1970s, and the studio eventually closed its doors, ironically enough, in 1984.

By January, Olympic Studios had followed the example of the Château d'Hérouville and threatened to eject David unless MainMan started paying its fees. While Defries stonewalled, the sessions moved briefly to Ludolf Studios in Hilversum, where David is believed to have completed work on the title track. While in Holland, David appeared on the television show Top Pop, miming to the debut single 'Rebel Rebel' in an edition recorded on 13 February. 'Rebel Rebel' was released in the same week, two months ahead of the album.

In addition to sundry Rolling Stones, also present at various stages during the Diamond Dogs sessions were Pete Townshend and Rod Stewart, although there is no evidence to support any of the several rumours of uncredited celebrity contributions on the album. It is known, however, that Ron Wood (still with The Faces) provided guitar on Bowie's Springsteen cover 'Growin' Up' which, despite being latterly associated with Pin Ups, was in fact recorded during the Diamond Dogs sessions.

Experiencing difficulty at the mixing stage – a process with which he has never been confident – Bowie elected to complete the reconciliation with his former producer Tony Visconti, whom he called in to arrange the strings on '1984' and oversee the majority of the mix (the exceptions were 'Rebel Rebel', 'Rock'n Roll With Me' and 'We Are The Dead', which David had already mixed with Keith Harwood). The mixing of Diamond Dogs was Visconti's first project at his own custom-built studio in Hammersmith, which had only just been completed and was still entirely unfurnished. "I told David we hadn't even got any chairs in, but he said it didn't matter and the next day this big Habitat van arrived and they started unloading chairs, tables, the lot, all so he could complete the album at my place."

A four-track acetate sampler comprising 'Future Legend', 'Rebel Rebel', 'Big Brother' and 'Chant Of The Ever Circling Skeletal Family' was unearthed in 2006, and reveals an interesting oddity: here, 'Future Legend' segues directly into 'Rebel Rebel' in precisely the same way that it bleeds into 'Diamond Dogs' on the finished album, via David's cry of "This ain't rock'n'roll, this is genocide!" – perhaps suggesting that an early plan was to open the batting with 'Rebel Rebel' rather than with the title track.

"This album again has a theme," David said in 1974. "It's a backward look at the sixties and seventies and a very political album. My protest. These days you have to be more subtle about protesting than before. You can't preach at people any more. You have to adopt a position of almost indifference. You have to be supercool nowadays. This album is more me than anything I've done previously." Later in the year he explained that the cut-up technique, which he had used for "igniting anything that might be in my imagination", had resulted in his "finding out amazing things about me and what I'd done and where I was going ... I suppose it's a very Western Tarot." One result was Bowie's new character: the louche, post-apocalypse lounge lizard Halloween Jack, "a real cool cat" who, according to the title track, "lives on top of Manhattan Chase" in the ravaged urban landscape that provided the album's environment.

Mike Garson found the album "macabre", remarking later that it had "a different vibe, it felt heavier, it was on the dark side," something he put down to David's overwork and drug use. "He didn't look good to me. I remember saying as a friend, 'You'd better watch out.' He was very thin, his face was drawn." Diamond Dogs is laden with the customary images of alienation, paranoia and play-acting that inhabit Bowie's work, but there is indeed a darker, nastier twist, suggesting that the fantasy world which was once so alluring has now become a prison. Where once he merely "felt like an actor" and was "hooked to the silver screen", by the time of Diamond Dogs Bowie is "locked in tomorrow's double-feature", playing "an all-night movie role" where "my set is amazing, it even smells like a street." As fantasy usurps reality and the apocalyptic omens of 'Five Years' are fulfilled, there are violent images of brutalized sex, bodily mutilation, and "poisonous" journalists circling like vultures ("the streets are full of pressmen" in one song, "spreading rumours and lies and stories they made up" in another, while "tens of thousands found me in demand" in a third). The recurring image of scavengers "like packs of dogs" underlines a persistent, nihilistic negation of "tomorrow", a word that haunts the lyrics like a badge of despair. The only figure who offers comfort in the spiritual wasteland is the Orwellian 'Big Brother' who arrives at the album's climax, reiterating Bowie's ongoing anxieties about leadership, surrender and faith.

Above all else the album is saturated with references to drug-taking. Bowie's earlier compositions had never shied away from the subject, but Diamond Dogs finds him lyrically fixated on cocaine, as though he might normalize the taboo by mentioning it at every opportunity. "Is it nice in your snowstorm, freezing your brain?" he enquires in 'Sweet Thing', before bleakly concluding, "It's all I ever wanted, a street with a deal". The rest of the album grimly follows suit: "You'll be shooting up on anything, tomorrow's never there"; "Should we powder our noses?"; "Lord, I'd take an overdose"; and, most graphically of all, "We'll buy some drugs and watch a band, and jump in a river holding hands." Even the innocuous 'Rebel Rebel' is equipped with "cue lines and a handful of ludes". It's worth noting that the lyrics David wrote for Mick Ronson's album at around the same time are stuffed with similar references.

In 1978 David described Diamond Dogs as a "very English, apocalyptic kind of view of our city life ... it just coincided with the first economic disasters in New York. [There were] obvious inspirations from the Orwellian holocaust trip. It was pretty despondent." In 1991 he recalled that "The main thing was to make rock and roll absurd. It was to take anything that was serious and mock it ... It seemed to be part of my manifesto at the time."

The original release came in a gatefold sleeve which opened to reveal a photo-montage of fog-shrouded skyscrapers alongside the lyrics of 'Future Legend'. The photography was by MainMan vice-president Leee Black Childers who, despite being employed as David's official photographer, was usually passed over in favour of bigger names. "I don't think David ever thought of me as a photographer," he said years later. "It wasn't even his idea to use me on Diamond Dogs. It was Tony Defries trying to save money." More notorious by far was the album's front sleeve. The Belgian artist Guy Peellaert, whose Rock Dreams had been published a year previously and the originals exhibited at Biba's in London, had been engaged by Mick Jagger to design a sleeve for the as yet unfinished It's Only Rock'n'Roll. Unwisely given David's magpie tendencies, Jagger told Bowie about the commission. "I immediately rushed out and got Guy Peellaert to do my cover too. He never forgave me for that!" admitted David later. Jagger is supposed to have subsequently remarked that you should never wear a new pair of shoes in front of David.

Peellaert's Diamond Dogs painting of Bowie as a half-canine circus freak became a cause célèbre when RCA elected to airbrush out an offending portion of its anatomy. A few untreated copies slipped through the net and are now highly prized by collectors: in March 2004 a copy of the pre-airbrushed sleeve was sold on eBay for a staggering US $8988. From 1990 onwards the original artwork was restored for the album's various reissues, which also included Peellaert's rejected design for the inner sleeve, featuring Bowie and a baying hound against a New York backdrop, with a copy of Walter Ross's novel The Immortal (whose protagonist is based on James Dean, a long-time Bowie icon and a key influence on his 1974 look) ostentatiously splayed at his feet. Both images were developed from studio pictures shot by photographer Terry O'Neill, who had hired a dog in order to photograph its hindquarters in a similar pose to Bowie's, the better to assist Peellaert with his painting. At the end of the session O'Neill suggested that David pose for some shots with the dog, and he later recalled the moment when the hound unexpectedly struck its dramatic pose: "Bowie had the dog on a lead. It was lying down, so I tried to get the dog up. Then suddenly it leapt up. It was an awesome sight because the dog was bloody massive, a Great Dane or something. But David just sat there, cool as a cucumber. He didn't react to the dog at all. I guess he was posing immaculately. Most rock stars would jump a mile if that happened. He probably didn't even notice the dog. Which helped the picture, of course." The Diamond Dogs artwork, incidentally, would prove to be the very last appearance of the Ziggy Stardust hairstyle. In keeping with the convention established by Pin Ups, David was credited throughout the original album simply as "Bowie".

Diamond Dogs was released on 31 May 1974, boosted in America by a $400,000 advertising campaign that included deluxe press packs, giant billboards in Times Square and Sunset Boulevard, double-page magazine ads, subway posters proclaiming "The Year Of The Diamond Dogs", and even a specially filmed television commercial, one of the first of its kind for a pop album. Although Diamond Dogs failed to break the States decisively, its eventual chart peak at number 5 in the late summer established Bowie as an artist of some stature in America, where it was certified gold (marking the sale of a million copies) by August. In the UK advance sales took it straight to number 1, repeating the success of its predecessors.

In a grandiose stunt Tony Defries refused to issue review copies of the album, instead inviting critics to a preview where they were packed into a hot MainMan office and allowed to listen to the record once through. Tape recorders were banned and no lyric sheets provided. Perhaps not surprisingly, some of the critics were unimpressed. "Most of the songs are obscure tangles of perversion, degradation, fear and self-pity," wrote Eric Emerson in Rolling Stone. "It's difficult to know what to make of them. Are they masturbatory fantasies, guilt-ridden projections, terrified premonitions, or is it all merely Alice Cooper exploitation? Unfortunately, the music exerts so little appeal that it's hard to care what it's about. And Diamond Dogs seems more like Bowie's last gasp than the world's." Emerson, who went on to describe David's guitar-playing as "cheesy" and the record as "Bowie's worst album in six years", was in the minority, however. Billboard noted that "A subtler, more aesthetic Bowie comes to the forefront here" on an album "which should reinforce his musical presence in the 70's". Rock magazine found it "a strong and effective album, and certainly the most impressive work Bowie's completed since Ziggy Stardust", suggesting that "where Aladdin Sane seemed like a series of Instamatic snapshots taken from weird angles, Diamond Dogs has the provoking quality of a thought-out painting that draws on all the deeper colors." In Britain the critics were equally pleased; Melody Maker considered the album "really good" and drew comparisons with Phil Spector's "wall of sound" production, noting that Bowie albums were now received "with as much awe as a release by the Beatles in the sixties." Sounds pronounced the album David's "most impressive work since Ziggy Stardust," while Disc likened it to "the greatly underrated The Man Who Sold The World. It's eerie, bleak, but compelling listening and undeniably brilliant. It contains some of the best music Bowie's ever written ... very much Bowie's LP and without doubt the finest he's made so far."

With its manic alternations between power-charged garage rock and sophisticated, synthesizer-heavy apocalyptic ballads, Diamond Dogs is now widely accepted as one of Bowie's major works: the spectacular zenith of the paranoid horror themes of his early 1970s albums, a convincing vindication of his abilities as a guitarist, and a vigorous valediction to glam rock. In its finest moments it circumvents the restrictions both of pop music and of the pejorative "concept album" label often applied to it. "A song has to take on character, shape, body and influence people to an extent that they use it for their own devices," David had told William Burroughs in the Rolling Stone interview. "The rock stars have assimilated all kinds of philosophies, styles, histories, writings, and they throw out what they have gleaned from that." In tracks like 'We Are The Dead', 'Big Brother' and the supreme 'Sweet Thing/Candidate' sequence, Diamond Dogs achieves just this, throwing out some of the most sublime and remarkable sounds in the annals of rock music.


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MessagePosté le: Mar 3 Juin - 10:29 (2014)    Sujet du message: Happy 40th birthday, Diamond Dogs! Répondre en citant

24 MAY 2014

Diamond Dogs album is forty today

“Diamond Dogs rule, OK”

In the same way that we recently set the cat among the pigeons with a revised release date for Aladdin Sane, we’re doing the same today with Diamond Dogs.

Despite most celebrations of the release taking place on April 24 and a few others waiting till next week, we’re pretty convinced the album was unleashed in the UK on May 24, 1974.

We won’t send you to sleep with the whys and wherefores of our conclusions again, suffice to say, scroll the images here for a glimpse of the release sheet from 1974 with today’s date on it.

Obviously we have more 'evidence' than that, but if you’re really that interested then send us a postcard addressed 'Dog Lovers' with your questions on it.

If you’ve resisted the charms of this canine beauty thus far, let the dogs lick you to death over on Spotify.

Pictured here is a print of Guy Peellaert's original artwork and the withdrawn RCA sleeve before the poor pooch’s emasculation.

FOOTNOTE: In Diamond Dog years, the album is in fact 280 today!

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MessagePosté le: Mer 16 Juil - 12:36 (2014)    Sujet du message: Happy 40th birthday, Diamond Dogs! Répondre en citant

Le "Diamond Dogs" de David Bowie a 40 ans !
Posté par Enrique SEKNADJE le 2014-07-15

En vérité, en vérité il nous l'a dit : le rock est mort !


Ce texte sur Diamond Dogs - suivi d'un court entretien avec le producteur Ken Scott - fait partie d'une projet personnel qui comprend également une reprise musicale de l'ensemble des chansons de l'album que je viens de réaliser et que l'on peut écouter (et télécharger) sur le site Sound Cloud :

La page concernant ce projet intitulé Diamond Dogs Revisited se trouve ici :


Malgré ses airs de disque à jamais en chantier, de concept-album hétéroclite et bancal, fait maison par un David Bowie esseulé et camé, qui n'en a pas tout à fait fini avec le glam et n'a pas encore clairement dessiné les contours de la Plastic Soul qui sera son cheval de bataille et de Troie pour l'année 1975, Diamond Dogs est, selon nous, un disque majeur dans la carrière du chanteur et dans l'histoire du rock. Un disque-rupture et charnière extrêmement personnel et profond, aux sonorités inassimilables, qui a sonné symboliquement - comme son auteur le souhaitait - le glas du rock'n'roll.
Tout va très vite avec Bowie... 1973, c'est un an après l'explosion Ziggy Stardust. Dans le courant de l'année, le chanteur met déjà à mort la créature malsaine qui a fait de lui la plus grande vedette anglaise depuis les Beatles, et pense à une orientation nouvelle pour sa musique et son style d'ensemble... Entre autres, dans le but de conquérir le marché américain, peu réceptif jusqu'alors à la musique alambiquée et sophistiquée de cet Alligator spatial !!!

Il y a donc Aladdin Sane et l'attrait affiché pour les États-Unis ; le Farewell Gig du 3 juillet 1973 à l'Hammersmith Odeon ; le disque-bilan des années londoniennes Pin Ups ; l'émission réalisée pour la TV américaine : 1980 Floor Show, avec la dernière apparition de Mick Ronson aux côtés de Bowie, et la présence d'une personnalité essentielle en cette période qui commence : Ava Cherry. Cherry sera de l'aventure Young Americans. Au tournant 1973/1974, Bowie essaye de la lancer, aux commandes d'un groupe appelé The Astronettes... Cela ne fonctionnera cependant pas... Mais peu importe...
D'un côté, on parle d'un projet d'expérimentation musicale hors des normes de la pop-rock : un disque instrumental qui aurait eu pour titre provisoire Tragic Moments. Une idée probablement destinée à être abandonnée, car commercialement peu réaliste, même si on peut y percevoir - c'est une pure hypothèse - comme les prémices de ce que Bowie réussira à accomplir avec Low et Heroes. Il en reste une trace, un enregistrement réalisé probablement durant les sessions de Pin Ups : Zion est l'un de ses titres - un autre étant A Lad In Vein, C'est plus une improvisation qu'une démo. Certains sons et mélodies seront repris dans l'album Diamond Dogs.
D'un autre côté, germe dans l'esprit bouillonnant de Bowie, le projet de créer une comédie musicale à partir de l'oeuvre emblématique de George Orwell, 1984. Il semble commencer à prendre véritable forme en septembre 1973. Bowie travaille avec l'aide de Tony Ingrassia qui fait partie de l'écurie Mainman - la société de management de Tony Defries.
La volonté de l'auteur de Changes est manifestement et plus ou moins officiellement de sortir du carcan du rock, d'en faire exploser les frontières... On connaît la formule bowienne selon laquelle le rock n'est à ses yeux qu'un « moyen » pour réaliser des projets, pour concrétiser des ambitions qui vont au-delà, sont artistiquement plus larges et variées.

Photo : Terry O'Neill

Le premier morceau créé pour le spectacle est bicéphale : c'est 1984 couplé avec Dodo. Il a d'abord été enregistré en octobre au studio Trident de Londres avec le guitariste Mick Ronson, et Ken Scott - qui avait produit tous les albums de Bowie depuis Hunky Dory (1971). Il est joué lors du 1980 Floor Show. Nous proposons à la fin de ce texte les réponses que Ken Scott a eu l'amabilité d'apporter à nos questions, concernant son travail avec le chanteur à la toute fin de l'année 1973, et ce qu'il pense du disque dont il est question dans le présent article. Cela permet de voir que l'étrange galette n'est pas du goût de tout le monde, loin de là. Diamond Dogs divise !
En décembre, Bowie et son staff apprennent que la veuve de George Orwell refuse de céder les droits pour une adaptation du roman. Le projet tel que pensé au départ tombe à l'eau. Mais le chanteur ne renonce pas. Il va modifier l'ensemble en gardant l'idée de base. Il crée la Cité de la faim, mégalopole d'une ère post-apocalyptique plongée dans le brouillard et livrée aux chiens et à d'autres bestioles effrayantes et surdimensionnées, en collant entre elles, en synthétisant des influences venant entre autres de Dickens et de Burroughs, des souvenirs personnels, des restes ou traces de productions antérieures, et des intuitions et créations du moment, et en gardant quelques références au roman sus-cité de Orwell - on retiendra bien sûr la citation : « We are the Dead », titre de l'une des chansons, assurément parmi le plus belles qu'il ait jamais écrites...

Les principaux enregistrements se déroulent entre décembre 1973 et janvier 1974, en majeure partie à l'Olympic Studio de Londres. Le projet est finalisé dans un studio des Pays-Bas en février. Bowie joue de beaucoup d'instruments : guitares, saxophones, moog et mellotron. Il se fait cependant aider par Mike Garson pour le piano, par Alan Parker pour la guitare, par Aynsley Dunbar - qui a travaillé sur Pin Ups - et Tony Newman pour la batterie, par Herbie Flowers pour la basse.
Dans le courant du mois de janvier - ou un peu plus tard suivant les sources -, Bowie contacte le producteur Tony Visconti pour mixer une grande partie de l'album - l'ingénieur du son Keith Harwood mixe deux des morceaux... ou trois, selon les sources. Visconti a acquis du nouveau matériel technique pour enregistrer et mixer, et celui-ci va servir de façon très opportune à la réalisation de l'album. Il écrit par ailleurs les lignes de violons pour la nouvelle version de 1984. Visconti évoque sa rencontre avec Bowie, avec qui il avait travaillé de 1969 à 1971, dans son autobiographie Bowie, Bolan and The Brooklyn Boy - cf. pp.213 et sv.
L'ensemble des morceaux sont réalisés dans le cadre du projet qui s'intitule d'abord Diamond Dawgs avant de prendre le nom définitif de Diamond Dogs. « Dawgs » pourrait être le terme de « dogs » tel que prononcé dans le sociolecte propre à la communauté noire américaine, l' « ebonics ». Parmi les titres qui sont écartés et dont on a une trace discographique, il y a Dodo, donc, mais aussi l'excellente demo Candidate qui porte le même titre qu'un autre morceau qui figure réellement, lui, sur l'album. Les chansons Rebel Rebel et Rock 'n' Roll With Me - laquelle est co-écrite avec le proche ami Geoffrey Mc Cormack alias Warren Peace - pourraient avoir été pensées et travaillée dans le cadre d'un autre projet de spectacle dont Bowie a eu l'idée à cette époque et qui n'a finalement pas vu le jour : le Ziggy Stardust Show. Rock 'n' Roll With Me évoque la relation entre un chanteur de rock et son public.

Pour la face extérieure de la pochette en deux volets, Bowie fait appel au peintre belge Guy Pellaert, auteur du fameux ouvrage Rock Dreams, dont Mick Jagger - qui enregistre aussi, avec ses compagnons, à l'Olympic Studio - lui a parlé. Pellaert s'occupe de la pochette de It's Only Rock 'n' Roll. Mais Diamond Dogs sortira avant l'album des Rolling Stones... Le 31 mai selon les sources les plus sûres. Politesse brûlée ! Pellaert a travaillé notamment à partir de photos de la star prises par Terry O'Neill. Il dessine la tête de Bowie sur un corps de chien. Les parties génitales sont visibles et seront très vite censurées par la maison de disques RCA , donc masquées avec de la peinture. Pour la face intérieure, un travail de montage est fait à partir de clichés pris par le photographe Leee Black Childers - récemment décédé. Elle est censée montrer Hunger City, la cité nébuleuse aux gratte-ciels stériles, en partie détruite et qui dysfonctionne pour l'éternité....

Le climat du disque est globalement très sombre. L'ambiance est trash, un peu gore. Les accents référentiels sont expressionnistes, gothiques, todd browningiens. Les structures éclatées, multipartites. Les sonorités sont sales, parfois à la limite de la musique industrielle. Le jeu est à la fois extrêmement sensible - les mélodies très inspirées - et un peu gauche, hors-normes, car Bowie joue avec des instruments qu'il ne maîtrise pas forcément très bien. Mais c'est ce qui fait tout le charme des morceaux ! La métrique carrée de la musique populaire de base est allègrement subvertie. Que l'on pense au morceau Chant Of The Ever Circling Skeletal Family où sont utilisées, alternées des mesures 2/4 et 3/4. Le chant est théâtral, tortueux, et passe, les machines aidant pour les besoins esthétiques - notamment l'harmonizeur Eventide dont dispose Visconti -, du sur-grave au sur-aigu... Bowie donne dans la vocalise d'opéra (post-rock) comme dans la diction poético-urbaine, dans un quasi rap d'essence lou reedienne.
La dissolution de certains codes musicaux en vigueur dans le genre dans lequel travaille encore - et malgré tout - Bowie se double d'une plongée sur la voie de la déconstruction des règles traditionnelles de compositions littéraires, que beaucoup d'autres artistes ont cependant entrepris avant lui, ne l'oublions pas. Ce serait avec cet album que Bowie commence à user clairement de la méthode du cut-up empruntée à William S. Burroughs - et à Brion Gysin. Le chanteur en parle, exemples concrets à l'appui, dans le magnifique documentaire que lui consacre Alan Yentob en 1975 : Cracked Actor.
À noter qu'en novembre 1973, l'Anglais s'entretient avec l'écrivain américain pour le journal Rolling Stone - la publication se fera en février 1974. Il pose aussi aux côtés de Burroughs pour quelques photos avec, ce qui est tout un symbole, un tee-shirt à l'effigie d'Alex, le garçon sauvage d'Orange Mécanique de Stanley Kubrick... Une référence depuis l'époque Ziggy Stardust.
Il y a un paradoxe en cet opus macabre et dystopique. Il a parfois un son très stonien - Diamond Dogs ou Rebel Rebel, dont on manque rarement de rappeler que son riff pourrait être la version inversée de celui de Satisfaction, comme en a témoigné le guitariste Alan Parker qui a aidé à sa construction. Et parfois, le son en est loin - en aval... Il est assez intéressant de voir que lorsque les Rolling Stones disent leur amour pour le rock - même si ce n'est que du rock -, Bowie a cette phrase, étonnante et criée comme un slogan, qui pourrait caractériser son projet au-delà du circonstanciel narratif : « This ain't Rock'n'Roll ». Le chanteur a, on l'a dit, toujours cherché à être au-delà du mode d'expression musical qui est le sien, tout en l'utilisant. Et avec sa légende d'un futur sans futur, ses sonorités machiniques, parfois robotiques, Diamond Dogs annonce indubitablement le punk, la cold-wave, la batcave. Est-ce un hasard, d'ailleurs, si Johnny Rotten alias John Lydon déclara dans le numéro du New Musical Express du 23 décembre 1978, à propos de Bowie : « Actually, I think the best thing he's done is Diamond Dogs. I really liked it.... » ?

Dessin et annotations de David Bowie pour un projet de film

Une campagne de promotion très importante - et coûteuse - est organisée par Mainman et RCA. Le disque est un grand succès : en Grande Bretagne, il atteint la première place, comme au Canada. Aux États-Unis, c'est la première grande réussite commerciale de Bowie : Diamond Dogs monte jusqu'à la 5e position. Même en France, le public est conquis : l'album atteint la 4e place et reste, semble-t-il, presque 50 semaines dans le hit parade.
La tournée que lance Bowie et son équipe aux États-Unis, à partir du mois de juin 1974, propose un show pharaonique. Une sorte de musical théâtral avec des décors, et une mise en scène - danse, mime - comme le rock n'en a jamais vu... Il s'agit de donner corps et vie à Hunger City, à l'univers cauchemardesque et science-fictionnel décrit dans le disque. L'équipe qui est à la tâche est impressionnante. Bowie donne trois mots-clé au dessinateur-architecte pour tracer la perspective qui permettra de construire le décor : « Metropolis », « Power », « Nuremberg ». On raconte que c'est Amanda Lear qui, peu de temps auparavant, l'a accompagné dans sa découverte de quelques classiques de l'Expressionnisme allemand - et les cinéastes Lang, Murnau, Wiene... On raconte aussi, entre autres anecdotes, que c'est en le voyant faire une sorte de moonwalk - robotique - que le jeune Michael Jackson a eu envie de travailler, d'adopter à sa manière ce jeu de scène.
Le public succombe. Bowie a gagné son pari. La Fame Machine est enclenchée outre-Atlantique. Mais cette entreprise Dog On The Run a du mal à tenir sur le long terme... Elle coûte beaucoup d'argent, trop - à tel point qu'elle ne semble d'ailleurs pas pouvoir être exportée hors des États-Unis -, et Bowie prend réellement conscience que son manager Tony Defries l'exploite financièrement. L'excessif Halloween Jack se métamorphose en un Soul entertainer relativement plus sobre et économe - si l'on peut dire ! Et engage un avocat pour défendre ses intérêt...

On sait maintenant clairement, grâce à la fameuse exposition David Bowie Is, que le chanteur a souhaité réaliser un film à partir de l'aiguillon 1984 et de Diamond Dogs. Qu'il a créé à cette fin un story-board, des dessins, des légendes explicatives et descriptives. Le protagoniste Halloween Jack vit en haut d'un gratte-ciel vide dans une Cité que hantent des gangs de jeunes qui se déplacent en « roller skates », qui convoitent fourrures et diamants, se nourrissent de « mealcaïne » - référence, bien sûr, à la cocaïne.
Mais ce projet aussi est malheureusement resté lettre morte...


Petit entretien avec Ken Scott - que nous remercions vivement.

1) When you work with David Bowie on 1984/Dodo at The Trident Studios in october 1973, is there a precise project ? Did you know something about a new record in preparation, about the orwellian musical ?

I had no idea about any of it. There were a few times when we went in, last minute, to record a single and I had no idea what was about to happen. This was just another one of those situations.

2) The version you've made with Bowie and Ronson seems to have already a (beautiful) soul style... Did you talked about that new orientation with David at that time ?

We recorded it then went on to do the 1980 Floor Show and really had very little discussion about his wanting to change style. It was however one of the only two mixes he attended and kept on insisting we listen to a Barry White album to try and match the sound/feel.

3) What do you think, personnaly, sincerely, about the album Diamond Dogs ?

I’m not a fan. I feel he lost his “team”. The Spiders and not to blow my own trumpet, me. I understand he wanted to move in a new direction, unfortunately he didn’t find that new direction with Diamond Dogs.

4) Have you an idea of the way you would have produced the album if the producer was you ?

That is not something I tend to do, try and figure out the “what if” of a project I had nothing to do with. Sorry.


Indications bibliographiques et sitographiques. Conseils de lectures :


* Nicholas Pegg, The Complete David Bowie, Richmond, Reynolds & Hearn Ltd, 2006.

* Tony Visconti, Bowie, Bolan and the Brooklyn Boy, London, HerperCollinsPublishers, 2007.
* Tony Visconti, Bowie, Bolan et le gamin de Brooklyn (traduit par Jérôme Soligny), Paris, Éditions Tournon, 2007.

* Cf. the text written by David Buckley for the reissue of the CD Diamond Dogs in 2004.
* David Buckley is author of an important book about David Bowie : Strange Fascination, David Bowie : The Definitive Story, Virgin Book, 1999 /
* David Buckley, David Bowie - Une étrange fascination (traduit par Florence Bertrand), Paris, Flammarion, 2004.

* David Bowie Is, edited by Victoria Broackes and Geoffrey Marsh, London, V&A Publishing, 2013.

* Ken Scott, Abbey Road To Ziggy Stardust, London, Alfred Music Publishing, 2012.

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MessagePosté le: Mer 16 Juil - 15:45 (2014)    Sujet du message: Happy 40th birthday, Diamond Dogs! Répondre en citant

Excellent article.  Okay

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MessagePosté le: Mer 16 Juil - 16:27 (2014)    Sujet du message: Happy 40th birthday, Diamond Dogs! Répondre en citant

Super intéressant.
Je suis de ceux qui n'aiment pas Diamond Dogs mais je vais réécouter. Ca fait longtemps et j'espère avoir de "nouvelles" oreilles grâce -notamment- à cet article.
Enrique, tu as repris tout l'album ? Chapeau. Je vais écouter attentivement.

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MessagePosté le: Mer 16 Juil - 21:46 (2014)    Sujet du message: Happy 40th birthday, Diamond Dogs! Répondre en citant

Merci Coney Island Baby !!!


Bonne écoute, Tom...
Oui, tout l'album !!! Quand certaines personnes m'ont vu avec le projet et les programmations de départ... ils m'ont pris un peu pour un dingue  Rolling Eyes
Mais quand on a des "rêves" hantants et persistants... !!!
"We Are The Dead"

"I want to live"

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MessagePosté le: Jeu 17 Juil - 11:28 (2014)    Sujet du message: Happy 40th birthday, Diamond Dogs! Répondre en citant

Super article Night  Okay et très chouettes interprétations de Candidate et Sweet thing 2;
Nous voila bien parés pour fêter ce 40ème anniversaire et redécouvrir ce disque expressionniste !

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MessagePosté le: Jeu 17 Juil - 11:57 (2014)    Sujet du message: Happy 40th birthday, Diamond Dogs! Répondre en citant

Bravo Enrique. 

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MessagePosté le: Aujourd’hui à 10:43 (2018)    Sujet du message: Happy 40th birthday, Diamond Dogs!

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