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4.7 out of 5 stars135
4.7 out of 5 stars
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on 12 October 2001
A dark and moody album where distorted guitar and sax are magically interwoven to produce an all time classic from Bowie. Not at all like Aladdin Sane which has an almost pop feel, nor like Ziggy which is acoustic-based, this album is far more complex and mature.
One of the interesting things about this music is the band - or lack of it! This album was recorded in 1974 just after the spiders had disbanded. Bowie therefore had a far greater input into this album than any previous, one would imagine. Evidence of this is the number of instruments he plays - accompanied by a drummer and occasional pianist and guitarist.
Get this it will grow on you with time and stay with you for ever.
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TOP 500 REVIEWERon 20 January 2012
I remember as a teenager hearing this for the first time on the day it was released- I was, and remain, a huge Bowie fan but the first time i heard this album, i didn't warm to it at all. And that's the point really; this is not easy music and it requires several listens to realise just how good it is. And it is very good indeed, containing the quite wonderful Rebel, Rebel, and the outstanding Sweet Thing - one of the best tracks Bowie, or anyone else, ever wrote. There are numerous great tracks though, with 1984, We are the Dead, and Rock 'n' Roll with Me also amongst the standouts.

Here were the first signs of the soul sounds which would form Bowie's next album, Young Americans: Remastered, but in Diamond Dogs they are blended with more conventional rock music to great effect

A wonderful album - well worth the listens if you don't absolutely love it immediately.

Highly recommended
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on 23 May 2012
Probably the best Bowie / any album of all time.

Bowie laid bare, with all his mythology's crashing into each other. Insanity, drugs and the compete degradation of the soul all compete for the centre of medical attention in a loveless Owellian universe.

Musically and lyrically as potent as anything Bowie has conjured before or since, let Diamond Dogs be the standard by which all other epics are measured.
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TOP 100 REVIEWERon 24 January 2016
What gets you most is the voice.
David Bowie - may he rest among the stars - sings as if his life depended on it, which of course it did. Never have I heard him sing with such scintillating passion as on DD. In all the hoo-ha about space, glam, campery and fashion, it''s easy to misplace the fact that Bowie was a wonderful singer, with an astonishing range. These songs give him full opportunity to show it.
DD is one of my favourite of his albums (along with Aladdin Sane, Heroes, Heathen, Reality, Blackstar, TMWSTW & 'Space Oddity'). He sounds so engaged! So alive...
It started out as a set of songs based on the novel 1984, but he couldn't get the rights from the Orwell estate. Maybe that was a blessing in disguise (but Bowie was used to disguises) since what he came up with is so rich and so compelling that he might have been restricted by too much of a 'programme'.
No point in going through each track (I'm reviewing the 1999 single-CD remaster, by the way) because, as they say, it's all good. After the first five storming songs, 'Side Two' opens with the cathartic rock classic Rebel Rebel. It's edge-of-seat exciting, the more because one has to wait for it.
Bowie, no mean musician, plays guitars throughout - no Ronson this time - and his playing is tremendous. (Q: Is there anything this guy couldn't do? A: Probably not.)
I love Diamond Dogs. It's an almost perfect Bowie LP. Or, it's almost the perfect Bowie LP.
What a man.

Essential.
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on 2 September 2009
Diamond Dogs was the last great album of Bowie's first golden era of what is often referred to as glamrock. This term may give rise to negative associations, which would be deeply unfair in Bowie's case. He stood in the early 1970s for some of the best and most progressive music in this genre.

After the "Diamond Dogs" he radically changed his style with the album "Young Americans" and even though the subsequent, more techno-like albums are highly praised, he never rocked more convincing than on his great early 1970's albums.

Title track is a fine rocker in the style of "Suffragette City" from "Ziggy Stardust" and "Rebel Rebel" has one of the best guitar riffs in rock and roll history. Both numbers were chosen as singles.

The suite "Sweet Thing / Candidate" is another highlight on the album.

More mainstream is the rock ballad "Rock'n Roll With Me", although certainly also one of my personal favorites. The number "1984" was originally conceived as a title number and appears almost as a movie-themed track with its energetic funky riffs.

The record probably works best when heard in its entirety; several tracks don't work very well outside the album context and the album therefore probably cannot be included among Bowie's very best.
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on 13 August 2006
Firstly, it would be a waste of time to give the highlights of this exceptional and timeless classic Bowie album, as it is all brilliant stuff, so this review will concentrate more on disc 2, but what I will say though, is that tracks like: 'Sweet Thing', 'We Are The Dead' and 'Big Brother' for example, may have been a big influence on Goth Music - as this sounds like prototype Goth to me.

Here are the highlights of disc 2, starting off with: '1984/Dodo' with its lush string arrangements to die for and its funky 'Shaft' wah wah guitar sound, plus the 'Dodo' bits which have a great brass section to them. Next up is 'Rebel Rebel (US Single Version)' which was the version that was played live throughout the 70's/80's right up to, and including 1990's 'Sound & Vision' tour. You know, the one with the "la la la la la's" in the chorus, and although different to the original is just as awesome. 'Dodo' is a gem of a tune, that as I have already mentioned has an excellent brass sound to it. 'Alternative Candidate' is completely different to the album version, and again is a gem of a tune that is charmingly smutty and pleased with itself. Finally, we have 'Rebel Rebel (2003)' which is an updated version that sounds very Americanised (but in a good way) that was originally performed in this way on the 2002 'Heathen' tour, and then became the new 'live' version.

'Diamond Dogs' is a Gothic Masterpiece that I cannot recommend highly enough, and this 2-disc 30th Anniversary Edition just adds to the enjoyment.
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'David Bowie' was born in 'Brixton' London in 1947 his real name 'David Robert Jones'
'Music Legend' - 'Singer/Songwriter' - 'Movie Star' A Super-Star Indeed.
(The Chameleon of the 70's Pop-Scene and beyond changing direction in both music-terms and image many times)
'David Bowie' broke into the Chart-Scene in 1969 with 'Space Oddity' (a firm favourite of mine)
This album is perhaps my all-time favourite album released by him down the years, it of course has a couple of Chart-Hits
on-board including 'Rebel Rebel' which Charted at Number '5' here in the U.K 1974 and the title track 'Diamond Dogs' which
peaked at number '21' the same year.
The number 'Future Legend' which flows into the song Diamond Dogs wickedly demonstrates his clever use of lyrics........
''And in the Death - As the last few corpses lay rotting on the slimy thoroughfare.........and that's just the first line...
Among some of the other notable tracks on the album - 'Sweet Thing' - 'We Are The Dead' and '1984' -- Great Stuff.
This is a 'Classic' David Bowie album, surely if a fan of his music down the years, a must own.
(As well as owning this CD I still have the LP which i bought when released)
AN INSPIRATIONAL ARTIST - Who sadly passed away 10th January 2016 aged just 69.
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on 26 February 2013
Before this album was released it was to be played in its entirety on radio 1 at 10 pm I think it was. At my prog rock obsessed boarding school this sparked only a ripple of interest. For me however as a huge Bowie fan this was truly exciting. It was past our bedtime so I borrowed a radio and a pair of enormous headphones and lay awake in a dark dormitory not quite knowing what to expect.
As this bitter sweet atmospheric album filled my head I was completely swept up in the dark terrifying world which was at the same time melancholy and beautiful. The sense of fear and paranoia so heightened my senses that I kept taking off my headphones thinking that some of the background noises were coming from outside. It was frightening and compelling and I felt that I had listened to an album, seen a play and read a book all at the same time.
After it was over I crept down downstairs and bumped into the only other Bowie fan. So what did you think Mark?' A work of art". "Yeah me too" I said.
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on 12 December 2000
Yes, it was originally supposed to be for a musical based on 1984. At the end of the day though it stands alone on the strength of the songs. This is, on occasion, my favourite Bowie album - although a great many of his albums have also held that spot. It starts with the spoken Future Legend which Bowie later made the mistake of trying to emulate on the Glass Spider. It sets the tone for one or two fairly dark moments - notably the Sweet Thing/Candidate/Sweet Thing (Reprise) section. This for me is the highlight of the whole album - strong both lyrically and musically. While some of the songs link obviously to the 1984 theme, these fit in feel unlike the rather more obvious 1984 and Big Brother. All in all a strong album which benefits from being listened to as a whole. If you want to hear some interesting cover versions of some of the tracks - try to find the Wedding Present doing Chant of the Ever Circling Skeletal Family or Rickie Lee Jones doing Rebel Rebel.
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on 30 January 2012
Tracks 3 to 5, 'Sweet Thing', 'Candidate' and 'Sweet Thing Reprise' are so astoundingly perfect that the rest of the album is almost an anti-climax, even though everything is at genius level. 'Sweet Thing' fades in beautifully, the shrieking vocal is beyond belief, and the lyrical quality and depth so superior that this could be studied for a degree in English literature. The seedy filth of the drug-run city we all dread is perfectly encapsulated by a wall of sound and introspection of the highest order.
'Is it nice in your snowstorm ... freezing your brain?
Do you think that your face looks the same?
Well then indeed ... it's all I ever wanted ...
It's a street with a deal .. and a face,
It's got claws, it's got me, it's got .... you!'
How do you even begin to give a shade of constructive criticism to that?
On top of this, the man played every instrument himself.
Bowie rises above the limits of human creativity. The level of his talent is beyond ordinary human comprehension.
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