David Bowie 1974-09-05 Los Angeles ,Universal Amphitheater – Wealth And Authority – (Soundboard)
Sound Quality Rating
101. Animals Intro.flac
102. 1984.flac
103. Rebel Rebel.flac
104. Moonage Daydream.flac
105. Sweet Thing.flac
106. Changes.flac
107. Suffragette City.flac
108. Aladdin Sane.flac
109. All The Young Dudes.flac
110. Cracked Actor.flac
111. Rock’n’Roll With Me.flac
201. Knock On Wood.flac
202. It’s Gonna Be Me.flac
203. Space Oddity.flac
204. Diamond Dogs.flac
205. Big Brother.flac
206. Time.flac
207. The Jean Genie.flac
208. Rock’n’Roll Suicide.flac
209. John, I’m Only Dancing (Again).flac
Label: SHOUT AT THE TOP 126/127
Audio Source: Soundboard
Lineage: Silver CD
Total running time: 1:47:002
Sound Quality : very good. Equals record or radio apart from a slight noise and some dullness.
Attendance: 6.250
Artwork: yes.
This was the concert filmed by the BBC for the Cracked Actor documentary:
The intro consists of lots of street sounds and the outro is the voice of the promoter announcing that Bowie has left the theatre after the final song. The sound quality is absolutely excellent, which means even better than the European issue, but if you canât compare you wonât notice! Anyway, itâs a true must!
Glamorously jamming in the ârock roomâ today is a purported first generation soundboard recording of David Bowie and band from the 1974 âDiamond Dogsâ tour. Hailing from Los Angeles this recording finds Bowie in his decadent post âZiggyââ persona, and still performing amazingly visual and musical concerts. I find this era of Bowie to be peak, its intensity along the lines of the âSpiders from Marsâ shows, yet different in its theatrics as well as the musical dynamics and expressions. The band for this tour had been expanded and left behind Mick Ronson and the âSpidersâ from previous years. The âMike Garsonâ band was picked as the road musicians featuring background singers, a horn section with Davis Sanborn, and capable and creative guitarists Earl Slick and Carlos Alomar. This era found David at his most fragile, thin, and pale yet still creating another persona and theatrical stage face in which to disseminate his craft.
The wonderful sounding line recording opens with about ten minutes of animal noises and sounds (played over concert PA) before breaking into the prelude of an orgasmic woman and creaming into the funky introduction of â1984â. â1984â being a foundaional track off of Bowieâs new âDiamond Dogsâ LP is a fitting opener to the performance. The soundboard is crisp, if not lacking a bit of the high end, but for the most part all instruments are audible and punchy. At some points the recording seems a bit flat but only for the very discerning ear. The mix is present and the performance spacey and funky. Chunky red lipstick guitar moves â1984â forward leaving streaks on the mirror. Sounding grandiose, and much more orchestrated than Bowieâs streamlined 1973 performances, the show sleekly fires musical shots across the alluring LA night sky.
Segueing somewhat oddly into âRebel Rebelâ the music now sizzles with a punky attitude contributed to by some joyous and unique backing vocals. When the tune hits its highway stride the horns are blazing, vocalists are howling, and Bowie is scatting percussively over the glittering musicianship.
From âRebel Rebelâsâ neon ashes rises the freaky introduction of âMoonage Daydreamâ, from Ziggy, which erotically slinks toward the assembled crowd with a dark syncopation. Bowie sensually and breathlessly sings the lyrics with a raspy intensity. His voice does not yet sound up to its full capabilities, but is emotive and contains a weightless astronaut attitude. The tune thrusts forward on a big fat puffy bass line and windy whistling keyboard licks that sway in conjunction with the moaning horns.
Following âMoonage Daydream â is the âsuiteâ of songs from âDiamond Dogsâ first side, âSweet Thingâ and âCandidateâ. This particular version is contained within a translucent bubble that travels weightlessly through a smog black sky. Large bell tower bass notes and spacious piano glissandoâs wrap up Bowieâs breathy and smooth vocalizations. A whirling David Sanborn saxophone solo sets the stage for the segue into âCandidateâ which is highlighted by Bowieâs rhythmic âhip hopâ lyrical grooves. The performance is hitting its full stride at this very moment. There follows a brief piano interlude at the conclusion of âSweet Thingâ that helps to introduce a crowd pleasing âChangesâ, full of dynamics and detail.
âSuffragette Cityâ begins as the cymbals of âSweet Thingâ fade away and is a high tempo âblam blamâ. As tiring as the woman Bowie speaks of in his lyrics, âSuffragetteâ cruses along at altitude rejecting all inquires by friends and lovers, being too busy to look back. A high energy stomp.
âAladdin Saneâ is ushered in on a tight hi hat introduction that ethnically swings on scattered percussion and tightly arranged guitar and horn lines. A tune that encourages the body to move âAladdin Saneâ changes tempos, melodies, and grooves. The song blossoms into a piano based middle section that moves like a scantily dressed dark skinned woman in sandy moonlight.Beautiful.
Bowie greets the crowd after âAladdin Saneâ for the first time in a mock accent and ushers in âAll the Young Dudesâ, a song composed by Bowie, but made famous by âMott the Hoopleâ. A melodic call to arms for all of Bowieâs âpeopleâ, freaks and geeks alike.
âCracked Actorâ struts in on the coat tails of distorted guitars and enthusiastic horns. Bowie playfully teases his vocals like a sexual deviant. I have included video for this actual performance at the bottom of the page. With a slight pause the band slips into âRock and Roll With Meâ which starts sluggish, but concludes in a nice singalong peak. Bowie sings quite well, and the featured guitar solo by Alomar (I think) is quite melodic and hits some intense musical spaces.
The group then screams bombastically into Bowieâs fantastically funkified version of âKnock On Woodâ. While retaining the original melody, Bowieâs arrangement leans forward and places heavy steps, placing emphasis on all the right changes. He makes the song his own through his dynamic and hard hitting arrangement.
The show then slows for a soulful rendition of âItâs Gonna Be Meâ savored til the last drop and dynamically played with attentive filigreeâs and whispered punctuations by the assembled band. A previously unreleased track from Bowieâs âYoung Americanâs album, âItâs Gonna Be Meâ is lyrically epic and musically transparent. A peak of the performance. The saxophones wail and the piano johnny apple-seedâs hearty peeling glissandoâs as Bowie is reaches into thick liquid night for momentous vocal displays. A tremendous display of Bowieâs own brand of cosmic glitter R and B, spotlighting his intimate and dynamic vocals. Wow.
But wait, thereâs more! Another pair of songs from âDiamond Dogsâ follows when âBig Brotherâ segues into âChant of the Ever Circling Skeletal Familyâ. âBig Brotherâ spies through keyholes and from fire escapes, peering into Bowieâs window vision of brainwashing and reflection, based on George Orwellâs novel 1984. âBig Brotherâ is a slinky macabre version the breaks into a ârag timeâ interlude which then leads to the brief but deliciously strange and tribal âSkeletal Familyâ. Sound effects straight from the LP again blend the songs together as Bowie begins in my opinion one of his finest musical moments.
âTimeâ begins a slight burlesque ditty, but becomes a distorted guitar epicâŚ..classically Bowie. Bowieâs lyrics, a statement on the inevitability of timeâs effect on life, death, friends and his own mind reaches all the right peaks in all the right places. Bowie glides over the tic tock piano lines with taut wordless âLai Laiâs that reach into the thick stew of time passed on by. The crowd loves it, and so do I. A fine and stirring moment.
Introduced by a fat sliding barre chorded bass interlude the band crunches âJean Genieâ under their respective heeled boots with an intensity harkening back to the previous âZiggyâ tour. There is an explosive middle and smoking conclusion of the tune where the âMike Garsonâ band discharges into a somewhat improvised but definitely incendiary breakdown that slides effortlessly back into the chorus of the song.
The finale of the show is fittingly the final song featured on the âZiggy Stardust and the Spiders from Marsâ LP, âRock and Roll Suicideâ. Also featured on the live LP representation of the tour âDavid Liveâ, this version is a grand finish and and you can feel Bowie pushing to the make the conclusion of the show a memorable one. Bowie imagined himself as a âchanteurâ when preforming this number, placing himself into the character of a french renaissance era composer and lyricist. Bowie always preformed best when his persona was in flux and his âcharactersâ were changing.
The concert concludes with the single 7Ⲡrelease âJohn, Iâm Only Dancingâ a song often ruminated over regarding its homosexual leanings and statements. It should be of no surprise to anyone, but of course the single was never released in America until four years after the fact because of the content of the lyrics. The song swings between a R and B groove and on to a full out disco beat, years before its popularity. This song is the perfect conclusion to an expansive and well played show. âDancingâ includes glimpses into Bowieâs personal preferences, a sampling of his musical head at the time, a diverse instrumentation, and a intense arrangement that leaves the crowd wanting more.
This 1974 concert finds Bowie in one his most gossiped about yet intensely creative periods of his career. After a change of band and persona, Bowie returned with a newer and bigger band, a diverse display of theatrics, and a revolutionary new LP âDiamond Dogsâ that created the pallet for his new direction. The official LP release âDavid Liveâ is a solid representation of this tour and a nice place to start if you are not familiar with the era. I would then supplement with the numerous field recordings and bootlegs available. Bowie had fully developed into the âthin white dukeâ at this point and his mystery and oracle drove his popularity skyward while fueling his own creativity. Listening to the concerts and recordings from this era reflect the multiple directions and radical development of Bowie as one of the finest rock and roll artists we have ever seen.
Tour band 1974 (September)
⢠David Bowie â vocals
⢠Michael Kamen â electric piano, Moog synthesizer, oboe
⢠Mike Garson â piano, mellotron
⢠Earl Slick â guitar
⢠Carlos Alomar â rhythm guitar
⢠David Sanborn â alto saxophone, flute
⢠Richard Grando â baritone saxophone, flute
⢠Doug Rauch â bass
⢠Greg Errico â drums
⢠Pablo Rosario â percussion
⢠Gui Andrisano â backing vocals
⢠Warren Peace â backing vocals
⢠Ava Cherry â backing vocals
⢠Robin Clark â backing vocals
⢠Anthony Hinton â backing vocals
⢠Diane Sumler â backing vocals
⢠Luther Vandross â backing vocals