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David Bowie - Diamond Dogs mp3

David Bowie - Diamond Dogs mp3

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Interprète: David Bowie
Titre: Diamond Dogs
Pays: US
Publié sur: 24 May 1974
Catégorie: Rock
Classement: 4.2
Catalogue #: CPL1 0576
Label: RCA

Tracklist

119843:24
2Sweet Thing3:29
3Candidate2:39
4Rock 'N' Roll With Me3:54
5Rebel Rebel4:21
6Diamond Dogs5:50
7Sweet Thing2:32
8We Are The Dead4:48
9Future Legend1:00
10Big Brother3:25
11Chant Of The Ever Circling Skeletal Family 1:48


Notes

This is the original sleeve - before censoring. IT was never issued with a record so the track listing is not relevant to this sleeve.

In 1974, Diamond Dog gatefold sleeves were manufactured and ready to be inserted with the vinyl for distribution. Despite having been through many rounds of proofs, RCA executives decided at the last minute that the album could not be released in the US with the dog genitals in full view.

AGI, in Chicago, completed the manufacture of the gatefold sleeve, which had full-colour printing on both sides. Richard Fiore (RCA Producion Manager) said that upon his receipt of the test cover, he noticed the dog-man’s genitals resting casually on its thigh, and placed a call to RCA label management to simply notify them of the cover’s content and ask their opinion. “Go with it” was the management’s reply, according to Fiore, who now serves as BMG Direct’s senior director of production. Later, RCA eventually reconsidered its decision to “go with the genitals” - but not before ordering a complete run of anatomically correct covers for Diamond Dogs’ first pressing. Bowie himself had signed off on the cover, Fiore said, and the records were in the middle of being pressed when he received the call from management directing him to scrap the covers and replace them with a run of new covers that obscure the penis in airbrushed shadow. The actual vinyl was manufactured elsewhere, so none of the sleeves were ever “married” with the actual lPs.

For his records, Fiore kept possession of the test package, complete with his preproduction notes. Apparently, several other employees saved a few of the Dogs covers from being destroyed as well.

Later, Q magazine interviewed both Bowie and Peellaert about their memories of the Diamond Dogs cover... “The only problem with the project is that they removed the prick,” Peellaert commented. “I thought it was very sad.” Bowie however told Q that his concession to the airbrushing was indeed based on the fact that he, like RCA, believed “no record store would carry it” with the genitals intact. “I let them do a reprint rather than lose the album completely.”

While the incident cost RCA thousands of dollars in scrapped LP sleeves, the few surviving original covers fetch thousands today, sans record, amongst vinyl collectors. Copies are so scarce that specialty shops were, until recently, likely to dismiss the original cover’s existence as rumor.

Obviously, not all of these covers were destroyed...

A “handful” of finished covers had been sent to the RCA print department as samples - standard operating procedure in the world of print procurement - and as far as we know, these samples were the only copies that escaped unharmed. In the years that have passed since, a few copies were given to other record company executives, some of which have made their way into collectors’ hands.

As far as can be determined, ALL known existing covers quite likely were in this original batch of samples, ALL of which passed through one man who happened to be in charge of printing at RCA in 1974.

The cover painting came from Guy Peellaert, a Belgian artist who at the time had published a book of fantastic portraits of contemporary rock stars titled Rock Dreams, and who went on to design a cover for The Rolling Stones’.


Album

Diamond Dogs is a 1974 single by English singer-songwriter David Bowie, 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 an abandoned skyscraper Manhattan Chase, . One Chase Manhattan Plaza in a post-apocalyptic Manhattan. The guitar sound is heavily influenced by The Rolling Stones, and signalled Bowie moving away from glam rock and closer to a proto-punk Stooges-influenced sound. 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 Dogs - David Bowie. Лента с персональными рекомендациями и музыкальными новинками, радио, подборки на любой вкус, удобное управление своей коллекцией. Diamond Dogs. David Bowie. Released May 24, 1974. Diamond Dogs Tracklist. Future Legend Lyrics. Diamond Dogs Lyrics. That was the first time that I played all the instruments myself on an album. I had just broken up the Spiders and didnt really want to entrust my music to another set of musicians at the time. So I tried everything myself on the guitar, drums, saxophone and synthesizers. And so it has a peculiarly idiosyncratic style. I find it very endearing, kind of remote and a bit scary. Diamond Dogs Q&A. Diamond Dogs is the eighth album by David Bowie. Future Legend. Swet Thing. Sweet Thing Reprise. Rebel Rebel. Rock'n'Roll with Me. We Are the Dead. Big Brother. Chant of the Ever Circling Skeletal Family. Bowie - Diamond Dogs 1974. Diamond Dogs 2016 Remaster. Формируйте собственную коллекцию записей Bowie. Rebel Rebel is a remix of the single issued earlier in the year - Bowie - Rebel Rebel in most territories. The following track list applies to most RCA issues and some reissues. On Diamond Dogs Bowie shouts, This aint Rockn Roll - this is Genocide. Suicide is more like it, for its Bowie, not the listener, whos in trouble. First the guitar: Maybe Bowie plays it himself to get a raunchy, untutored feel the more polished Ronson couldnt capture, but the result is merely cheesy. When debuted on The Midnight Special, 1984 was a powerful song, most of whose strength and sweep Ronson provided. Diamond Dogs depicts a not-too-distant future in which the remnants of the human race live out their dying days in frantic pursuit of sleazy sex. What seems to interest Bowie here is not the future but the sex. Most of the songs are obscure tangles of perversion, degradation, fear and self-pity, whose night-marishness occasionally recalls The Man Who Sold the World, Bowies most frightening album. Its difficult to know what to make of them