» » David Bowie - Diamond Dogs
David Bowie - Diamond Dogs mp3 download

David Bowie - Diamond Dogs mp3 download

Performer: David Bowie
Title: Diamond Dogs
Style: Art Rock,Contemporary Pop/Rock,Experimental Rock,Glam Rock,Hard Rock,Proto-Punk
Duration: 38:30
Released: May 24, 1974
Size MP3 version: 1954 mb
Size FLAC version: 1351 mb
Size WMA version: 1946 mb
Rating: 4.1
Votes: 753
Genre: Pop Rock

David Bowie - Diamond Dogs mp3 download

Формируйте собственную коллекцию записей Bowie. Diamond Dogs ‎(LP, Album, M/Print, RE). RCA International, RCA International.

Diamond Dogs" is a 1974 single by David Bowie, and the title track of the album of the same name. The lyric introduces the listener to Bowies latest persona and his environment; Halloween Jack dwells on top of tenement buildings in a post-apocalyptic Manhattan.

2002 В опросе Би-би-си 100 величайших британцев занял 29-е место.

2016 Скончался 10 января 2016 года.

Текст песни: As they pulled you out of the oxygen tent You asked for the latest party With your silicone hump and your ten inch stump Dressed like a priest you wa. .

Diamond Dogs is the eighth studio album by the English musician David Bowie, released on 24 May 1974 by RCA Records. Thematically, it was a marriage of the novel Nineteen Eighty-Four by George Orwell and Bowie's own glam-tinged vision of a post-apocalyptic world. Bowie had wanted to make a theatrical production of Orwell's book and began writing material after completing sessions for his 1973 album Pin Ups, but the author's estate denied the rights.

Diamond Dogs (1999 Remaster). Авторы текста и музыки.

Released May 24, 1974. Diamond Dogs Tracklist. 1. Future Legend Lyrics. 2. Diamond Dogs Lyrics. Bowie, since he was a teenager, was fascinated about the malformations that appeared on Strange People novel. So he put some references to malformed people in the album. David himself decided to be the one who would play all the instruments, except drums (Aynsley Dunbar), bass (Herbie Flowers) and keyboards (Mike Garson). This is what he said in an interview with NYRock: That was the first time that I played all the instruments myself on an album. I had just broken up the Spiders and didn’t really want to entrust my music to another set of musicians at the time

The Diamond Dogs Tour was a concert tour by David Bowie in North America in 1974 to promote the studio album Diamond Dogs (1974). The end of the tour was also called The Soul Tour, which included some songs from the forthcoming album Young Americans (1975).

David Bowie's third consecutive UK chart-topper and . Top 5 breakthrough, 1974’s Diamond Dogs is a bummer, a bad trip, "No Fun"–a sustained work of decadence and dread that transforms corrosion into celebration. David Bowie's third consecutive UK chart-topper and . Top 5 breakthrough, 1974’s Diamond Dogs is a bummer, a bad trip, "No Fun"–a sustained work of decadence and dread that transforms corrosion into celebration

Eventually, David Bowie Diamond Dogs became his own glam-trash expression of such a world, and the songs he had already written for his musical wound up on the latter half of this album, in which the 1984 theme is most prominent. The album opened with David Bowie howling in his distinctive voice like a wild dog, in keeping with the striking, grotesque and controversial cover art of him stylized as a lean dog with fully visible genitalia

David Bowie fired the Spiders from Mars shortly after the release of Pin Ups, but he didn't completely leave the Ziggy Stardust persona behind. Diamond Dogs suffers precisely because of this - he doesn't know how to move forward. Originally conceived as a concept album based on George Orwell's 1984, Diamond Dogs evolved into another one of Bowie's paranoid future nightmares. Throughout the album, there are hints that he's tired of the Ziggy formula, particularly in the disco underpinning of "Candidate" and his cut-and-paste lyrics

Track List

Title/Composer Performer Time
1 Future Legend David Bowie David Bowie 1:00
2 Diamond Dogs David Bowie David Bowie 6:06
3 Sweet Thing David Bowie David Bowie 3:39
4 Candidate David Bowie David Bowie 2:40
5 Sweet Thing (Reprise) David Bowie David Bowie 2:32
6 Rebel Rebel David Bowie David Bowie 4:34
7 Rock 'N' Roll With Me David Bowie / Warren Peace David Bowie 4:02
8 We Are the Dead David Bowie David Bowie 5:01
9 1984 David Bowie David Bowie 3:28
10 Big Brother David Bowie David Bowie 3:23
11 Chant of the Ever Circling Skeletal Family David Bowie David Bowie 2:06


David Bowie - Composer, Guitar, Mixing, Percussion, Primary Artist, Producer, Programmer, Saxophone, Vocals
Aynsley Dunbar - Drums
Herbie Flowers - Bass
Mike Garson - Guest Artist, Harpsichord, Mellotron, Moog Synthesizer, Piano
Keith Harwood - Engineer, Mixing
Tony Newman - Drums
Alan Parker - Guitar
Warren Peace - Composer
Ray Staff - Mastering
Tony Visconti - Mastering, Mixing, Strings
With respect, I suggest that Mr. Erlewine give this album another listen. Two and a half stars is such an unfair rating that I feel compelled to defend 'Diamond Dogs' as one of Bowie's best LPs of the 70s. It's a dark and strange record that can be forbidding at first, but rewards the patient (or deviant) listener. Bowie's later album 'Outside' is a comparably sinister excursion to the dark side, but on a larger scale. As is often the case with Bowie albums, 'Diamond Dogs' fits easily in sequence, looking back to the Stonesy rockers on 'Aladdin Sane' with the title track and 'Rebel Rebel' and forward to the blue-eyed soul of 'Young Americans' with '1984'.A sense of sleazy decay pervades 'Diamond Dogs' from the outset, with the admittedly slightly tacky spoken introduction, 'Future Legend'. The influence of William Burroughs is obvious in the tone of many of the songs, as well as the cut-up lyrics, which technique Bowie had been using for a couple of years by this point.The concept of the album had to be changed during its development, as Sonia Orwell refused Bowie permission to base a musical on her late husband's novel '1984'. Traces of the initial idea remain, in the disco-flavoured '1984', as well as 'We Are The Dead' and 'Big Brother'. These tracks all appear on side 2, and they fit in well with the mood established earlier on in the record with the Stonesy title track and the remarkable 'Sweet Thing' suite, which is regarded by many fans as one of Bowie's all time best recordings. "We'll buy some drugs and watch a band, and jump in the river holding hands" sets up one of the most ecstatic moments in 70s rock. The only respite from the darkness comes in the record's two most commercial tracks, the love letter to the fans that is 'Rock 'n Roll With Me' and the iconic 'Rebel Rebel', which features a riff for the ages and which was a reliable feature of Bowie's stage shows for many years. 'Diamond Dogs' is perhaps not the best album to introduce to Bowie newcomers, but for those who've heard a few of his best records already it's a fine opportunity to hear the man harnessing the power of rock and roll in all its messy glory and working at or near the top of his game.
Critics and music historians often speak of the 'missing link' between punk and pub rock (usually Eddie & The Hot Rods), but the equally valid links between glam rock and punk often get little attention. Even though glam and punk share much of the same sometimes under regarded qualities, short catchy songs, witty throwaway lyrics, comparatively lo-fi recording (compared to the prog rock heavies) - essentially a trash aesthetic. Ironic, then, that much of this material is more highly regarded today than more overt pretensions towards artistic supremacy. All of which is a preamble to my personally held contention that 'Diamond Dogs' is indeed a missing link between glam and punk rock. The irony is Bowie is clearly in transition here, with intimations of the soul stylings that were to occupy him over the next couple of years already clearly laid out. Still, in feel and sound, 'Diamond Dogs' is Bowie's punk album. Much of this has to do with his decision to take over guitar duties - Bowie's guitar is a lot closer to the as-yet unheard Pete Shelley of The Buzzcocks than any guitar god. Even Mick Ronson always hewed closer - when in garage mode - to the rougher sound of 1960s pop and punk bands. Bowie aimed for this - surely 'Rebel Rebel' is the greatest homage to a classic 1960s Rolling Stones single ever recorded - but sounded squeezed and breathless. The distance between this sound and that due to explode not so far into the future in the hands of bands such as The Adverts, the aforementioned Buzzcocks, and, yes, even The Sex Pistols can be measured with just a few turns of a tuning peg.Hindsight always adds layers of meaning and I had, when I greedily bought my gatefold edition of of 'Diamond Dogs' on its initial release as an LP, no clue of what was about to shake up an increasingly stagnant rock music scene. But it's there to hear on this record and that's one ingredient that makes it special. Overall, it's not a flawless masterpiece. It's too scattershot and incoherent as a concept album to work that way, and not every song grabs. Plenty do, though, enough for me argue that any music fan should at least hear this record if not actually own it.
No, this is not correct. This is a pretty good album, 2.5 stars on the other hand suggests a bad album. It's baffling to me how it got such a low score. "Sweet Thing-Candidate-Sweet Thing" alone is enough evidence that this rating is seriously out of whack.
The old AMG reviews need a strong reconsideration. Diamond dogs maybe it's not a masterpiece, surely it's not the best Bowie record but it deserves a lot more attention. Mr.Erlewine! Listen this record !
from earth
This review honestly needs some rethinking, two and a half stars isn't enough. This album is haunting, mysterious, and includes one of Bowie's biggest hits that everyone would know. Yes, he probably was confused with trying to figure out where he wanted to go after firing the Spiders from Mars, but it's still amazing to see what he can do without Mick Ronson. The songs on this album go deeper than what Bowie usually puts out there. I will admit its odd that he has the Ziggy Stardust hair on the album cover when he's trying to dump the persona, but that doesn't affect the quality of this album. Give this alum a few listens.
"This ain't Rock and Roll, this is GENOCIDE!" Maybe not the best album to critics, but I'm sure alot of fans would agree this is just another solid Bowie album. I think it was a great idea for him to take over guitar duties, and gives the album a unique sloppy sound. Highlights include "Rebel Rebel" , "sweet Thing (all 3 tracks)" and the perfect closers, "Big Brother" & "Chant". The only song I'm not a big fan of was "Rock and Roll with me", it's a bit of a stale chord progression. Overall though, it's a very easy album to listen to from end to end
This Top Ten record evolved from a failed theatrical adaptation of George Orwell's 1984 ("Big Brother"), but it ended up being Bowie's own Sgt. Pepper's-style concept album, with ornate production, tracks that run into each other seamlessly, and a reprise of one song ("Sweet Thing"). Ronson, Bolder, and Fordham were all gone, making this essentially the first post-Spiders record (only Garson and Dunbar were retained). That makes it all the more interesting, because Bowie himself handles most of the guitars and all of the numerous sax parts - and he proves himself repeatedly in those roles. The tunes themselves are endlessly intricate, with weird melodies, crazily distorted guitars, sound effects, and of course some cool lyrics ("We Are The Dead"; etc.). The big radio hits include "Diamond Dogs," with watery vocals and a great guitar hook; the grinding, riffy "Rebel Rebel," and the anthemic, snappily orchestrated "1984." They're all amongst Bowie's most memorable work, and the crooning "Rock 'N' Roll With Me" also was a popular anthem. A near must-have. Herbie Flowers (bass) also worked with Elton John. CD bonus tracks include the pleasant, Stax-Volt flavored "Dodo," and a vastly superior 1973 version of "Candidate."
Not to hijack the thread of the reviews, but I think mentioning 'Outside,' by Mr. Gibson, even only in the context as another foray of DB's to the 'dark side,' is apples to oranges. Mr. Erelewine makes some valid points: DD feels like it is either halfway there or changed directions (several times!) somewhere midstream. That doesn't diminish the songs, or even the effort, it just creates an incomplete and slightly incoherent picture, musically and directionally. While this isn't the place for a review of Outside (or "1. Outside" technically speaking), that album stands in a class all it's own and one of the greatest albums of the 1990s, if not more. Top marks for Outside's songcraft, production, lyrical story, joint effort with B. Eno, etc etc, and much of it realized through extended improv with use of 'Oblique Strategies' (see under Brian Eno and Peter Schmidt) then framed into an astonishing narrative, even if it does conclude with a perfect do-over of a song from his meddling Buddha of Suburbia (Strangers When We Meet). That's "Outside," not this album. To return to DD, in this album DB had not yet found the maturity musically or ability to execute all the ideas at once, and seems he was too committed to keeping what he had already done to edit sufficiently. Here are probably three ideas, one of which is something of a hangover from Ziggy and Aladdin, another that of Orwell's 1984 references turned vampish, and a third that of an aggressive funk crossed with emerging disco sound then just becoming popular in gay dance clubs in NYC. Can you have it all at one go? Not here, not on this album. I still give it 3.5 stars (prob more like 3, but you get it), but DD must be judged on its own terms, not really comparable to the other Bowie eras, particularly not Outside.
This was released the summer I turned 17, so it's part of my rock and roll DNA. Conceptual music was de rigueur, and then DD blew it all apart. Just the fact he beat the Stones to using Guy Peelleart as a cover art artist, is worth 2.5 stars. "Rebel, Rebel" is one of the greatest teen angst songs in history. The mood of the music is so creepy, it's amazinging. "We Are The Dead"? Come on! "1984" was an example of pure schmaltz pop to a kid that had read the book three times by 1974 , and Parker's wah-wah is perfect. Any album that starts's with "This ain't rock and roll, this is genocide" is automatically elevated to the stature of pop art genius. This album is a 5/5. Bowie was sniffing everything in sight,but his unique musical style was pushing forward with power and managed to craft a masterpiece.
To me, 'Diamond Dogs' is one of the highlights of Bowie's career - it's the Ziggy Stardust album but with a lot less in the way of compromise and a lot more in the way of channeling metaphysical dread. Less pop, more rock. Seeing as Future Legend and the Chant of the Ever-Circling Skeletal Family are basically parts of, respectively, the title track and Big Brother, that leaves only one song - Rock'n'Roll With Me - that is not declared a classic in one way or another. Sweet Thing/Candidate/Sweet Thing and Big Brother/Chant are two of Bowie's greatest moments, quite on par with Heroes or Life on Mars, and 1984, We Are The Dead and the title track are not far behind. To add insult to injury, I personally think Rebel Rebel might actually be the weakest link on this album, the only moment when commercial considerations (i.e. the need to deliver another Jean Genie glam anthem for the singles market) gain the upper hand at the expense of great art.