Diamond Dogs 30th Anniversary Edition

David Bowie - Diamond Dogs 30th Anniversary Edition

Diamond Dogs 30th Anniversary Edition
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CD Details

Artist: David Bowie
Edition: Music CD
Format: Extra tracks
CD Release Date: 2004-06-15
Music Label: Virgin Records Us
Soundtracks:
Music CD 1
  1. Future Legend
  2. Diamond Dogs
  3. Sweet Thing
  4. Candidate
  5. Sweet Thing (reprise)
  6. Rebel Rebel
  7. Rock 'n' Roll With Me
  8. We Are The Dead
  9. 1984
  10. Big Brother
  11. Chant Of The Ever Circling Skeletal Family
Music CD 2
  1. 1984/Dodo
  2. Rebel Rebel (U.S. Single Version)
  3. Dodo
  4. Growin' Up
  5. Alternative Candidate (demo for proposed '1984' musical)
  6. Diamond Dogs (K-Tel "Best Of" Edit)
  7. Candidate (Intimacy mix)
  8. Rebel Rebel (2003)

Music reviews of Diamond Dogs 30th Anniversary Edition

Music Review: They call them the Diamond Dogs...
Rating: 5 Stars

Bowie's 1974 concept album was originally meant to be a musical version of George Orwell's 1984, but apparently Orwell's widow was having none of it. If she imagined it would look something like Bowie's eventual Midnight Special 1973 appearance with some of the most terrifying stage costumes and makeup in recorded history, one can hardly blame her. But some of the songs survived and retained the dystopian attitude of Orwell, shaped by William Burroughs' cutup method and the spacey weirdness of Bowie's Ziggy/Aladdin Sane albums.

While I usually hate intro tracks of any sort, I've always liked "Future Legend," which segues very nicely into the title track and ends memorably with Bowie shouting, "this ain't rock n roll! This is genocide!" "Diamond Dogs" would've fit well with the sound of the previous 2 albums, but not the lyrical content. Ziggy had apocalyptic tracks like "Five Years," but Diamond Dogs is a lot darker and just weirder, and nowhere is this more evident than in "Sweet Thing/Candidate/Sweet Thing (reprise)." It consists of 3 tracks but they all flow smoothly into one another. This is my vote for the best song Bowie has ever done. The vocals are extremely weird, and I love the layering in the chorus. The BBC documentary Cracked Actor had Bowie sitting around with cutups trying to explain this, but he was on so many drugs at the time it made little or no sense. It is clear that it is Burroughs-inspired, moreso than Orwell-inspired, by listening to it. He gets the atmosphere very well, and the guitar and saxophone solos are very well-done (and I hate saxophones usually).

"Sweet Thing" is one of those songs I've listened to thousands of times and have never gotten sick of, and probably won't get sick of no matter how many more thousands of times I hear it, it is just perfect and creepy. I've read all sorts of interpretations of what the lyrics are about, and I think they were all over-simplified and it's not really necessary to say it's about sex or drugs or power or whatever, it's just a damned good song. And that's enough.

I was hesitant to even review this album because it's one of my all time favorites, but I recognize that it's not terribly consistent and there are parts of it that I hate. Besides the first few songs, the rest are more Orwell-inspired and sort of hit or miss. I like "We are the Dead" and I hate "Rock n Roll with Me" and "Rebel Rebel." "Big Brother," "1984' and "Chant of the Ever circling Skeletal Family" probably all sound a bit dated nowadays, but taken in context they are interesting songs. Still, I think the first half of the album is much better than the rest.

The Rykodisc CD and all later versions such as the 30 year rerelease have bonus tracks: "Dodo," which is sort of silly, "Candidate" demo version, which I'm very glad eventually turned into the album version; and alternate versions of "Rebel Rebel." I like bonus tracks but this is a concept album and it breaks up the flow and overall feel of the album, which is why I used to sit around listening to the LP instead (you don't want to know how many copies on how many formats I've had this on over the years).

An album with some very cool songs and above all, a very oppressive, weird, apocalyptic atmosphere. This has some of Bowie's weirdest lyrics and vocals ever. It may seem a bit dated now but I think it's probably his best album anyway.
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