Diamond Dogs

Bowie's eighth studio album turned 47 years old just a few days ago (24th May). It is the first record of his to not feature Mick Ronson since 1970's The Man Who Sold The World. Also absent are the other members of Ziggy Stardust's band The Spiders from Mars, bassist (and sideburn enthusiast) Trevor Bolder and drummer Mick 'Woody' Woodmansey. The rhythm section on Diamond Dogs consists of legendary session bass player Herbie Flowers and the excellent Aynsley Dunbar on the drums, who had played with Bowie the previous year on his covers album Pin Ups. Dunbar also played with Frank Zappa for much of the early 70s as part of the new Mothers line-up(s). Drummer Tony Newman also contributes and Mike Garson continues to keep his spot as Bowie's keyboardist. 

This album also sees Bowie handling all of the guitar duties. Something I was not aware of until quite recently. It was an offhand remark from a fellow behind the bar at a gig that made me dig out my copy and read the liner notes. Bugger me, he was right! Guitarist Alan Parker (not the film director) does splash some wah-wah magic onto the track 1984, and has also been credited with adding the last three notes to the riff of Rebel Rebel. In addition to the guitar, Bowie plays saxophone, Mellotron and Moog synthesiser as well. Except for Rock 'n' Roll With Me, which was co-written with Geoff McCormack (AKA Warren Peace), Bowie penned all of the album's songs.

I've never really held this album in high esteem, partly because I never really dug the title track, which initially put me off the record as a whole. While I like it a little more now, it's far from my favourite Bowie song. However, the record itself has grown on me considerably in recent years, partly because of my 'late-to-the-party' fondness for the Sweet Thing/Candidate/Sweet Thing (reprise) suite. The aforementioned wah guitar on 1984 certainly helps too. 

Diamond Dogs is the last glam rock album Bowie recorded, and the end of the Ziggy Stardust persona (despite a very Ziggy-esque looking human/dog hybrid appearing on the cover). A possible new character is revealed as Halloween Jack in the title track, but it's not someone who remains part of the album's loose concept. Bowie had intended to create a musical version of George Orwell's novel 1984, but was shut down by Orwell's widow. Some of the ashes of this project remain in the form of the songs 1984 and Big Brother. 

Similarly to the Ziggy Stardust album opener Five Years, Diamond Dogs begins with the brief mood-setting, and somewhat unsettling, Future Legend. Basically, it's an eerie monologue with creepy sounds and effects that gives way to the noise of a live audience and the famous shouted line: "This ain't rock 'n' roll...this is genocide!". After the semi-classic title track we are treated to, in my opinion, the best moment of the record, Sweet Thing.

What a song! It's become of my quintessential Bowie tracks. I love how it starts with a fairly slow musical build, adding to its theatrical feel. Bowie delivers the opening line in a lower register, teeming with quiet menace: "It's safe in the city/To love in a doorway", conjuring up images of depravity, and an ominous sense of what the futuristic metropolis where the album takes place must feel like. When Bowie jumps up an octave, it gives me goosebumps every time! That chorus gets stuck in my head from time to time too. Watching Bernard Fowler perform Sweet Thing/Candidate/Sweet Thing (reprise) on the livestreamed A Bowie Celebration in January this year was absolutely amazing. His rendition captured the spirit of Bowie, but he made it his own at the same time. That moment was my absolute highlight of the whole show.

While Sweet Thing works quite well on its own, the following Candidate and reprise don't so much. Repeating themes and lyrics from the former, they need to be heard as a whole suite to work. One wonders why it wasn't just one big track. Like when Silverchair had Those Thieving Birds pt1/Strange Behaviour/Those Thieving Birds pt2 as one song on 2007's excellent Young Modern album. If you have the Diamond Dogs album on your iPod or favourites playlist on a streaming service, it's a little jarring to hear Candidate away from the Sweet Thing(s). Minor quibble, but there you go.

The first side ends with the bonafide classic Rebel Rebel, delivering one of the most satisfying 'Side A's in the Bowie catalogue. Things get a little hit and miss from here on the flip side. Rock 'n' Roll With Me and We Are the Dead aren't anything sensational, with the former arguably being the least interesting track on the album. I do quite like 1984 and Big Brother though, and one wonders what Bowie would have come up with, had his Orwellian musical been able to reach fruition. 1984 has an almost pre-disco feel and the anthemic chorus sounds like it indeed belongs in a musical. 

The short final track Chant of the Ever Circling Skeletal Family is not much more than repeated bursts of 'shake it up' or 'move it up' or 'brother/bro'. Maybe it was somehow tied to the 1984 narrative, but it's an odd way to end the album. Bizarrely, I find the song's title more creative and entertaining than the actual track.

Anyway, while the album's loose concept doesn't really come off, there is a sense of a dingy, apocalyptic world in the future. There is a lot to like here, and I will offer up the controversial opinion that it's more listenable than Aladdin Sane. 

So, I give this 3.5/5 and will be listening to some parts quite a bit in the future. He he he..

NEXT UP: Heathen - June 11th

Lodger

Bowie's 13th album Lodger was released forty two years ago last week, on the 18th of May. I was unable to get a-bloggin' about it then, so here is my a-blog now. Fair enough? The final offering of the supposed 'Berlin Trilogy', even though it was recorded in Switzerland and New York City. One of the big factors connecting the three albums (Low, "Heroes" and Lodger - for the uninitiated) is Brian Eno, who Bowie met in 1976. While Eno co-wrote several songs on these albums, they were helmed by multi-instrumentalist and frequent collaborator Tony Visconti, who produced the albums with Bowie. 

This record stands out from the three as arguably the weakest entry, and the only one not to feature any instrumental tracks. There's also a pop sensibility that permeates the music, despite some experimental sounds and Middle Eastern influences. Another difference is the addition of guitarist Adrian Belew, who Bowie had recently poached from Frank Zappa. Other contributing musicians include bassist George Murray, drummer Dennis Davis, violinist Simon House and pianist Sean Mayes. Frequent Bowie band member Carlos Alomar is also on guitar duties and co-wrote a couple of tracks as well. 

Wow, my thumb obscures the album's title - rookie move.
(Although you can make out 'Lodger' in four different languages below)

I must confess to not being the biggest fan of this offering, but there are a handful of songs I absolutely love. Seeing as it's been a fair few years since my last full listen, now seems like an excellent opportunity to remedy that. Let's go song by song: 

1. FANTASTIC VOYAGE
One of my favourite opening tracks from a Bowie album, and my pick of the songs here. Featuring an absolutely brilliant vocal performance from him, this would probably be in my Top 20 Bowie songs as well. Apparently the track has several overdubbed mandolin parts, three different musicians playing three parts each! Doesn't feel like that much mando, in fact, the song's production feels quite simple to my ears. I was stoked to see Trent Reznor and Atticus Ross do an understated performance of this song for the livestream event, A Bowie Celebration, early this year. It was included in Bowie's live document A Reality Tour as well, much to my delight. Short and sweet, I actually hit repeat twice before listening to the rest of the album. The song is also the first of six songs that were co-written with Brian Eno.

2. AFRICAN NIGHT FLIGHT
There's a lot going on here. Bowie's vocal delivery borders on annoying and there's too many lyrics to take in at times. I'm sure it's the product of Eno's bizarre 'Oblique Strategies cards', but it feels like noisy filler. Interesting Middle Eastern hook, but it's a bit of mess, for mine.

3. MOVE ON
Another song that's not that memorable. Some nice vocal harmonies and a pleasant enough listen, but nothing that sticks with you. 

4. YASSASSIN (TURKISH FOR 'LONG LIVE')
Not the greatest track here, but I do like the melody of the repeated 'yassassin' with the call and answer responses: "I'm not a moody guy/I walk without a sound". Almost a ska/reggae vibe on this one, complete with wobbly organ part. 

5. RED SAILS
Now, I don't mind this one. The vocal line is quite hooky and I found myself singing the "thunder ocean" bit repeatedly after my first re-listen. The melody-mirroring saxophone was provided by Stan Harrison, not Bowie himself. I do find it bizarre when he doesn't play the sax. Belew sounds like he was finally let off the chain a bit here too. The album itself starts to get a bit more interesting from this point on. 

6. DJ
One of a handful of songs that started to appear deriding the radio industry, the attitudes of those who helm the song choices and the decisions of what makes the airwaves. I first heard this track on the 1993 compilation Singles Collection Vol. 2, and took a while to warm to it. I dig it a lot more now, and it's certainly one of the album highlights. Co-written with Alomar, this song features a lot of guitar work from Belew and a memorable chorus line: "I am a DJ/I am what I play". 

7. LOOK BACK IN ANGER
Not a bad track, but doesn't really go anywhere. It seems like it stays in the same place without really moving forward, despite the galloping feel of the song. Bowie's vocal performance is terrific though, and the sound production of the band is pretty good.

8. BOYS KEEP SWINGING
Possibly the album's most renowned track, and another big highlight for me. The instrumentation and arrangement reminds me of early Roxy Music. I really love the bassline, which was re-recorded by Visconti after the experimental idea of the musicians swapping instruments didn't quite work. That's Alomar on the drums! He he he... I only just learned that this song also has the same chord progression as Fantastic Voyage. Now, I can't stop swapping the two songs around! 

9. REPETITION
A harrowing account of domestic violence, belied by the track's bouncy bassline. Bowie's near-emotionless vocals are especially chilling, as it would seem the song's narrator has no qualms about beating his wife. Not really an enjoyable listen, but an interesting one. 

10. RED MONEY
The album's final offering isn't too bad, and has Eno playing that synth sound throughout. Some nice crunchy guitar, and overdubbed vocals. Again, like some previous tracks, it feels a little meandering and comes across as filler. Its fadeout is almost merciful, as the song feels like it could just keep going. 

All in all, it's not brilliant, but has its moments. I give it 3 out of 5. Would listen to some of it again.

NEXT UP: Diamond Dogs. Eeep! This one was a little late...