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{{short description|1974 studio album by David Bowie}} {{other uses}} {{good article}} {{Use British English|date=January 2014}} {{Use dmy dates|date=March 2020}} {{Infobox album | name = Diamond Dogs | type = [[Studio album]] | artist = [[David Bowie]] | cover = Diamond_dogs.jpg | alt = A painting of a red-haired man laying down like a dog. Two grotesque models appear behind him. | released = 24 May 1974 | recorded = January–February 1974 | studio = *[[Trident Studios|Trident]], London, UK *[[Olympic Studios|Olympic]], London, UK *Ludolph, [[Nederhorst den Berg]], Netherlands | genre = {{hlist|[[Glam rock]]|[[art rock]]|[[proto-punk]]|[[Soul music|soul]]}} | length = {{duration|m=38|s=25}} | label = [[RCA Records|RCA]] | producer = David Bowie | prev_title = [[Pin Ups]] | prev_year = 1973 | next_title = [[David Live]] | next_year = 1974 | misc = {{Singles | name = Diamond Dogs | type = [[Studio album]] | single1 = [[Rebel Rebel]] | single1date = 15 February 1974 | single2 = [[Diamond Dogs (song)|Diamond Dogs]] | single2date = 14 June 1974 | single3 = [[1984 (song)|1984]] | single3date = July 1974 (US and Japan only) }} }} '''''Diamond Dogs''''' is the eighth studio album by the English musician [[David Bowie]], released on 24 May 1974 through [[RCA Records]]. Bowie produced the album and recorded it in early 1974 in London and the Netherlands, following the disbanding of his backing band [[the Spiders from Mars]] and the departure of the producer [[Ken Scott]]. Bowie played lead guitar on the record in the absence of [[Mick Ronson]]. ''Diamond Dogs'' featured the return of [[Tony Visconti]], who had not worked with Bowie for four years; the two would collaborate for the rest of the decade. Musically, it was Bowie's final album in the [[glam rock]] genre, though some songs were influenced by [[funk]] and [[soul music]], which Bowie embraced on his next album, ''[[Young Americans]]'' (1975). Conceived during a period of uncertainty over where his career was headed, ''Diamond Dogs'' is the result of multiple projects Bowie envisaged at the time: a scrapped musical based on ''[[The Rise and Fall of Ziggy Stardust and the Spiders from Mars|Ziggy Stardust]]'' (1972); an adaptation of [[George Orwell]]'s novel ''[[Nineteen Eighty-Four]]'' (1949); and an urban [[Apocalyptic and post-apocalyptic fiction|apocalyptic]] scenario based on the writings of [[William S. Burroughs]]. The [[Diamond Dogs (song)|title track]] introduces a new persona named Halloween Jack. The Belgian artist [[Guy Peellaert]] painted the controversial [[Cover art|cover artwork]] depicting Bowie as a half-man, half-dog hybrid, based on photos taken by the photographer [[Terry O'Neill (photographer)|Terry O'Neill]]. Preceded by the [[lead single]] "[[Rebel Rebel]]", ''Diamond Dogs'' was a commercial success, peaking at number one in the UK and number five in the US. It has received mixed reviews since its release, many criticising its lack of cohesion; Bowie's biographers consider it one of his best works and, in 2013, ''[[NME]]'' ranked it one of the greatest albums of all time. Bowie supported the album on the [[Diamond Dogs Tour]], which featured elaborate and expensive set-pieces. Retrospectively, ''Diamond Dogs'' has been cited as an influence on the [[Punk rock|punk]] revolution in the years following its release. It has been reissued several times and was remastered in 2016 for the ''[[Who Can I Be Now? (1974–1976)]]'' box set. ==Background== {{quote box|quote=[Bowie and I] had done four albums together and we'd probably both reached that point where we needed to work with other people to learn.{{sfn|Buckley|2005|pp=176–179}}|source=—Ken Scott on parting with Bowie|width=20%|align=left|style=padding:8px;}} [[David Bowie]] released his seventh studio album ''[[Pin Ups]]'' in the summer of 1973. At the time, he was unsure of where to take his career.{{sfn|Pegg|2016|pp=367–372}} Not wanting [[Ziggy Stardust (character)|Ziggy Stardust]] to define him, he disbanded his backing band [[the Spiders from Mars]] and parted ways with producer [[Ken Scott]]. According to biographer David Buckley, Scott's departure marked an end to Bowie's "classic 'pop' period" and brought him to more experimental territory and "arguably greater musical daring".{{sfn|Buckley|2005|pp=176–179}} During the ''Pin Ups'' sessions, he told reporters that he wanted to create a musical, using various titles such as ''Tragic Moments'' and ''Revenge, or The Best Haircut I Ever Had''. His guitarist [[Mick Ronson]] recalled: "[Bowie] had all these little projects{{nbsp}}... [and] wasn't quite sure what he wanted to do."{{sfn|Pegg|2016|pp=367–372}} As Ronson began work on his solo album ''[[Slaughter on 10th Avenue (Mick Ronson album)|Slaughter on 10th Avenue]]'', Bowie and his wife [[Angela Bowie|Angie]] moved out of Beckenham's Haddon Hall because of harassment by fans. They moved initially into an apartment in [[Maida Vale]], rented to them by the actress [[Diana Rigg]], before moving into a larger house on [[Oakley Street, Chelsea]].{{sfn|Pegg|2016|pp=367–372}}{{sfn|Buckley|2005|pp=176–179}} According to Buckley, David Bowie's manager [[Tony Defries]] prevented this move initially, citing the house as "too extravagant". Despite [[RCA Records]] estimating Bowie's album and single sales in the UK at over two million copies combined, Defries said that sales did not provide Bowie with enough income to afford the house.{{sfn|Buckley|2005|pp=176–179}} In spite of Defries, Bowie bought the house and it was here the Bowies spent time with [[Rod Stewart]] and [[Ronnie Wood]] of the [[Faces (band)|Faces]], [[Mick Jagger]] and his then-wife [[Bianca Jagger|Bianca]], and the American singer and model [[Ava Cherry]], with whom Bowie had an affair during this time.{{sfn|Pegg|2016|pp=367–372}}{{sfn|Buckley|2005|pp=176–179}} Along with recording ''Pin Ups'', Bowie participated in other musical ventures in 1973. He co-produced and played on [[Lulu (singer)|Lulu]]'s recording of "[[The Man Who Sold the World (song)|The Man Who Sold the World]]", which was released as a single in January 1974,{{sfn|Pegg|2016|pp=180–181}}{{sfn|O'Leary|2015|loc=chap. 8}} contributed to [[Steeleye Span]]'s ''[[Now We Are Six (album)|Now We Are Six]]'',{{sfn|Pegg|2016|pp=367–372}} and formed a trio called the Astronettes, comprising Cherry, Jason Guess and [[Warren Peace|Geoff MacCormack]].{{sfn|Buckley|2005|p=178}} The group recorded sessions at [[Olympic Studios]] in London but the project was ultimately shelved in January; a compilation album titled ''People from Bad Homes'' (later ''The Astronettes Sessions'') was released in 1995. Bowie reworked songs from these sessions in subsequent years.{{sfn|Pegg|2016|pp=367–372}}{{efn|These included "I Am a Laser" and "People from Bad Homes" (early versions of "[[Scream Like a Baby]]" and "[[Fashion (David Bowie song)|Fashion]]" respectively, from 1980's ''[[Scary Monsters (and Super Creeps)]]'') and a cover of [[the Beach Boys]]' "[[God Only Knows]]" (covered by Bowie for 1984's ''[[Tonight (David Bowie album)|Tonight]]'').{{sfn|Buckley|2005|pp=176–179}}{{sfn|Cann|2010|p=315}}}} Buckley writes that the songs he recorded featured a blend of [[glam rock]] and [[Soul music|soul]], which proved to be the direction Bowie took in 1974.{{sfn|Buckley|2005|pp=176–179}} ==Writing== {{multiple image | footer = The 1949 novel ''[[Nineteen Eighty-Four]]'' by [[George Orwell]] (left) and the writings of [[William S. Burroughs]] (right) influenced the overall theme of ''Diamond Dogs''. | image1 = George Orwell press photo.jpg | width1 = 146 | alt1 = A close-up photograph of a man with a mustache | image2 = Burroughs1983 cropped.jpg | width2 = 140 | alt2 = A black-and-white photograph of an older man sitting at a table and drinking a glass, surrounded by people }} According to the biographer Chris O'Leary, ''Diamond Dogs'' is a combination of numerous projects Bowie envisioned at the time.{{sfn|O'Leary|2015|loc=chap. 8}} In November 1973, Bowie conducted an interview with the writer [[William S. Burroughs]] for ''[[Rolling Stone]]''. Published in February 1974, the interview gave insight into Bowie's current ambitions. An admirer of Burroughs's working methods and his 1964 novel ''[[Nova Express]]'', Bowie revealed he had begun using Burroughs's "cut-up" technique as a way for inspiration. He spoke of a musical based on ''Ziggy Stardust'', saying: "Forty scenes are in it and it would be nice if the characters and actors learned the scenes and we all shuffled them around in a hat the afternoon of the performance and just performed it as the scenes come out." He also casually mentioned adapting [[George Orwell]]'s 1949 novel ''[[Nineteen Eighty-Four]]'', a Bowie favourite, for television.{{sfn|Pegg|2016|pp=367–372}} He had wanted to create a theatrical production of the novel and began writing material after completing sessions for ''Pin Ups''.{{sfn|Buckley|1999|pp=208–217}} Neither of these projects came to fruition.{{sfn|O'Leary|2015|loc=chap. 8}} The ''Ziggy Stardust'' musical fell through, but Bowie salvaged two songs for ''Diamond Dogs'' he had written for it—"[[Rebel Rebel]]" and "[[Rock 'n' Roll with Me]]".{{sfn|Pegg|2016|pp=367–372}} At the end of 1973, George Orwell's widow, [[Sonia Orwell]], denied Bowie the rights to use the novel.{{sfn|Buckley|1999|pp=208–217}} The rejection annoyed Bowie, who lambasted her for it in ''[[Circus (magazine)|Circus]]'' magazine a few years later.<ref name="Circus interview">{{cite magazine |last=Edmonds |first=Ben |title=Bowie Meets The Press: Plastic Man or Godhead of the Seventies? |url=https://www.rocksbackpages.com/Library/Article/bowie-meets-the-press-plastic-man-or-godhead-of-the-seventies- |magazine=[[Circus (magazine)|Circus]] |date=27 April 1976 |access-date=31 May 2021 |via=[[Rock's Backpages]] |url-access=subscription |archive-date=28 September 2020 |archive-url=https://web.archive.org/web/20200928203443/https://rocksbackpages.com/Library/Article/bowie-meets-the-press-plastic-man-or-godhead-of-the-seventies- |url-status=live }}</ref> She refused to allow any adaptation of her late husband's work for the rest of her life. No adaptations were possible until after her death in 1980. Unable to adapt the novel, Bowie decided to create his own apocalyptic scenario inspired by the works of Burroughs. Songs from this scenario included what would become the album's [[Diamond Dogs (song)|title track]] and "[[Future Legend]]".{{sfn|Pegg|2016|pp=367–372}}{{sfn|O'Leary|2015|loc=chap. 8}}{{sfn|Buckley|2005|pp=184–185}} ==Recording== [[File:Tony Visconti.jpg|thumb|left|upright=0.65|alt=Tony Visconti in 2007|''Diamond Dogs'' reunited Bowie with producer [[Tony Visconti]] ''(pictured in 2007)'', who would work with Bowie for the rest of the decade.{{sfn|Buckley|1999|pp=208–217}}]] Buckley writes that the album was the first time Bowie used a [[recording studio as an instrument]].{{sfn|Buckley|2005|pp=176–179}} With Scott's departure, Bowie produced the album himself. [[Keith Harwood]], who had worked previously with [[the Rolling Stones]], and on [[Led Zeppelin]]'s ''[[Houses of the Holy]]'', handled engineering duties.{{sfn|Pegg|2016|pp=367–372}}{{sfn|Buckley|2005|pp=176–179}} [[Nicholas Pegg]] writes that despite Bowie and Harwood's previous collaborations on [[Mott the Hoople]]'s ''[[All the Young Dudes (album)|All the Young Dudes]]'' and the original version of "[[John, I'm Only Dancing]]" (both 1972), ''Diamond Dogs'' was Harwood's first credit on a Bowie album. Bowie described being "in awe" of Harwood because of his work with the Stones. With the departure of the Spiders from Mars, Bowie handled lead guitar duties. He recalled in 1997 that he practised every day knowing "the guitar playing had to be more than okay".{{sfn|Pegg|2016|pp=367–372}} This surprised ''[[NME]]'' critics [[Roy Carr]] and [[Charles Shaar Murray]], producing what they described as a "scratchy, raucous, semi-amateurish sound that gave the album much of its characteristic flavour".{{sfn|Carr|Murray|1981|p=14}} The pianist [[Mike Garson]] and the drummer [[Aynsley Dunbar]] returned from the ''Pin Ups'' sessions, [[Tony Newman (drummer)|Tony Newman]] also played drums while [[Herbie Flowers]], who had played previously on ''[[David Bowie (1969 album)|Space Oddity]]'' (1969), was recruited to play bass. [[Alan Parker (musician)|Alan Parker]] of [[Blue Mink]] played guest guitar on "1984" and "augmented" Bowie's riff on "Rebel Rebel", although he was only credited for "1984".{{sfn|Trynka|2011|pp=245–246}} Bowie's longtime friend Geoff MacCormack, now known as [[Warren Peace]], sang backing vocals.{{sfn|Buckley|2005|pp=176–179}}{{sfn|Pegg|2016|pp=367–372}} ''Diamond Dogs'' reunited Bowie with [[Tony Visconti]], who provided string arrangements and helped mix the album at his studio in London. Visconti would go on to co-produce much of Bowie's work for the rest of the decade.{{sfn|Buckley|1999|pp=208–217}} Before the ''Nineteen Eighty-Four'' project was denied, Bowie worked on "[[1984 (song)|1984]]", recording it on 19 January 1973 during the sessions for ''[[Aladdin Sane]]''.{{sfn|Cann|2010|p=283}} Initial work on ''Diamond Dogs'' began in late October 1973 at [[Trident Studios]] in London, where Bowie and Scott recorded "1984" in a medley with "Dodo", titled "1984/Dodo"; once they had mixed the track, this session marked the final time the two worked together.{{sfn|Pegg|2016|pp=367–372}}{{sfn|Buckley|2005|pp=176–179}} According to O'Leary, this session was also the last time Bowie worked with Ronson and Bolder.{{sfn|O'Leary|2015|loc=chap. 8}} The medley had already made its public debut on the American television show ''[[The 1980 Floor Show]]'' recorded in London on 18–20 October 1973.{{sfn|Carr|Murray|1981|p=64}} A cover of [[Bruce Springsteen]]'s "[[Growin' Up (song)|Growin' Up]]", with Ronnie Wood on lead guitar, was also recorded during this time.{{sfn|Pegg|2016|p=102}} Recording for the album at Olympic officially began at the start of 1974. Bowie had started to work on "Rebel Rebel" during a solo session at Trident following Christmas 1973.{{efn|This was Bowie's last known visit to Trident, his principal recording studio since 1968.{{sfn|Pegg|2016|pp=221–223}}}}{{sfn|Pegg|2016|pp=221–223}} On New Year's Day, the group recorded "[[Sweet Thing (David Bowie song)|Candidate]]" and "Take It In Right",{{sfn|Cann|2010|p=318}} an early version of "Can You Hear Me" from ''[[Young Americans]]'' (1975).{{sfn|Pegg|2016|p=54}} Following the final sessions with the Astronettes, recording continued from 14 to 15 January, with the group recording "Rock 'n' Roll with Me", "Candidate", "[[Big Brother (David Bowie song)|Big Brother]]", "Take It In Right" and the title track. The following day, Bowie recorded "We Are the Dead", after which he contacted Visconti for mixing advice.{{sfn|Cann|2010|p=318}} "Rebel Rebel" was finished around this time.{{sfn|O'Leary|2015|loc=chap. 8}} Recording was finished at Ludolph Studios in the Netherlands, where the Stones had just finished recording ''[[It's Only Rock 'n Roll]]'' (1974).{{sfn|Spitz|2009|pp=231–232}} ==Music and lyrics== ''Diamond Dogs'' was Bowie's last album in the glam rock genre.{{sfn|Pegg|2016|pp=367–372}} Buckley writes: "In the sort of move which would come to define his career, Bowie jumped the glam-rock ship just in time, before it drifted into a blank parody of itself."{{sfn|Buckley|2005|p=189}} The album has often been regarded as an "English [[proto-punk]]" record, according to the cultural studies academic [[Jon Stratton]], who calls it "post-glam".{{sfn|Stratton|2008|p=207}} The pop culture scholar Shelton Waldrep describes it as "wonderfully dark proto-punk",<ref>{{cite book|last=Waldrep|first=Shelton|chapter=Introduction: The Pastiche of Gender|title=Future Nostalgia: Performing David Bowie|publisher=[[Bloomsbury Publishing|Bloomsbury Publishing USA]]|year=2015|isbn=978-1-62356-993-8}}</ref> while the music journalist C. M. Crockford says it is "the goofy, abrasive place where punk and [[art rock|art-rock]] meet, dance a little, and depart".<ref name="punknews.org">{{cite web|last=Crockford|first=C. M.|url=https://www.punknews.org/review/13273/david-bowie-diamond-dogs|title=David Bowie – ''Diamond Dogs''|website=Punknews.org|date=12 January 2015|access-date=11 July 2020|archive-url=https://web.archive.org/web/20210228040059/https://www.punknews.org/review/13273/david-bowie-diamond-dogs|archive-date=28 February 2021}}</ref> In the opinion of ''[[The Guardian]]''{{'}}s [[Adam Sweeting]], while "the music still has one foot in the glam-rock camp", the album marks the point in Bowie's career where he "began exploring a kind of [[Weimar Republic|Weimar]] soul music with lavish theatrical packaging", featuring [[Broadway theatre|Broadway]]-style ballads such as "Big Brother" and "Sweet Thing".<ref name="Sweeting">{{cite news|last=Sweeting|first=Adam|author-link=Adam Sweeting|url=https://www.theguardian.com/music/2004/jun/25/popandrock.shopping5|title=David Bowie, ''Diamond Dogs'' – 30th Anniversary Edition|newspaper=[[The Guardian]]|date=24 June 2004|access-date=10 July 2020|archive-date=22 June 2020|archive-url=https://web.archive.org/web/20200622153245/https://www.theguardian.com/music/2004/jun/25/popandrock.shopping5|url-status=live}}</ref> [[Nicholas Pegg]] describes the album as having "manic alternations between power-charged [[garage rock]] and sophisticated, synthesiser-heavy apocalyptic ballads".{{sfn|Pegg|2016|pp=367–372}} The biographer [[Christopher Sandford (biographer)|Christopher Sandford]] writes that beyond the overall concept, many of the songs delve into [[Rhythm and blues|R&B]].{{sfn|Sandford|1997|p=124}} ''[[Pitchfork (website)|Pitchfork]]''{{'}}s Barry Walters wrote that although the album is still primarily glam rock, it also contains elements of "Blaxploitation funk and soul, rock opera, European art song, and Broadway."<ref name="Walters Pitchfork" /> ===Side one=== {{quote box | quote = They were all little [[John Lydon|Johnny Rottens]] and [[Sid Vicious]]es really. And, in my mind, there was no means of transport{{nbsp}}... So there were these gangs of squeaking, roller-skating, vicious hoods, with Bowie knives and furs on, and they were all skinny because they hadn't eaten enough, and they all had funny-coloured hair. In a way, it was a precursor to the punk {{no wrap|thing.{{sfn|Pegg|2016|pp=74–75}}}} | source = —David Bowie describing the Diamond Dogs | width = 25% | align = right | style = padding:8px; }} The opening track, "Future Legend", is a spoken word track that depicts a post-apocalyptic urban landscape.{{sfn|Perone|2007|pp=41–46}} The writings of Burroughs, especially ''[[The Wild Boys (novel)|The Wild Boys]]'' (1971) inspire the visions of decay. The author [[Peter Doggett]] notes that unlike the opening of ''[[The Rise and Fall of Ziggy Stardust and the Spiders from Mars|Ziggy Stardust]]'', which announces the world will end in [[Five Years (David Bowie song)|five years]], the apocalypse of "Future Legend" could happen at any time.{{sfn|O'Leary|2015|loc=chap. 8}}{{sfn|Buckley|2005|pp=184–189}}{{sfn|Doggett|2012|pp=243–245}} Bowie begins the title track by announcing, "This ain't rock'n'roll – this is ''genocide''". The track introduces Bowie's newest persona, Halloween Jack, described as "a real cool cat" who "lives on top of Manhattan Chase" in the urban wasteland depicted in "Future Legend".{{sfn|Pegg|2016|pp=74–75}} He rules the "diamond dogs", who O'Leary describes as "packs of feral kids camped on high-rise roofs, tearing around on roller skates, terrorizing the corpse-strewn streets they live above".{{sfn|O'Leary|2015|loc=chap. 8}} Although Jack is commonly identified as one of Bowie's "identities" like Ziggy Stardust and Aladdin Sane, Doggett notes that Jack occupies "little more than a cameo role".{{sfn|Doggett|2012|pp=243–245}} The riff and saxophone are inspired by the Rolling Stones.{{sfn|Pegg|2016|pp=74–75}} The biographer [[Marc Spitz]] notes that it is the same "jaded commentator's voice" Bowie had used on ''Aladdin Sane''.{{sfn|Spitz|2009|pp=231–232}} Multiple biographers cite the suite of "Sweet Thing/Candidate/Sweet Thing (Reprise)" as the album's highlight.{{sfn|Pegg|2016|pp=276–277}}{{sfn|Buckley|2005|pp=184–189}}{{sfn|O'Leary|2015|loc=chap. 8}} Pegg describes Bowie's vocal performance, which he believes to be one of his finest,{{sfn|Pegg|2016|pp=276–277}} as a croon.{{sfn|Spitz|2009|pp=231–232}}{{sfn|Doggett|2012|pp=236–239}} "Sweet Thing" paints pictures of decay, with sex being a "drug-like commodity" while "Candidate" contains references to [[Charles Manson]] and [[Muhammad Ali]], with Bowie being "consumed by the fakery of his own stage creations".{{sfn|Pegg|2016|p=485}} "Rebel Rebel", cited by Pegg as Bowie's most covered track, is based around a distinctive guitar riff reminiscent of the Rolling Stones and was his farewell to the glam rock era.{{sfn|Pegg|2016|pp=221–223}}<ref>{{cite web|last=Thompson|first=Dave|author-link=Dave Thompson (author)|url=https://www.allmusic.com/song/rebel-rebel-mt0054050633|title='Rebel Rebel' – David Bowie|publisher=AllMusic|access-date=15 August 2020|archive-url=https://web.archive.org/web/20190531183640/https://www.allmusic.com/song/rebel-rebel-mt0054050633|archive-date=31 May 2019|url-status=live}}</ref> According to Pegg, Parker "added the three descending notes at the end of each loop of the riff".{{sfn|Pegg|2016|pp=221–223}} The song features a character who predates 1970s punk rock and gender-bending lyrics ("You got your mother in a whirl / She's not sure if you're a boy or a girl").{{sfn|Perone|2007|pp=41–46}}{{sfn|Buckley|2005|pp=184–189}} Some commentators praised the song itself but felt it did not contribute to the overall theme of the album.{{sfn|Perone|2007|pp=41–46}}<ref name="Erlewine AllMusic" /> Doggett, however, writes that the song acts as the "musical continuation" of the "Sweet Thing" suite.{{sfn|Doggett|2012|pp=236–239}} ===Side two=== Bowie and MacCormack co-wrote "Rock 'n' Roll with Me";{{sfn|O'Leary|2015|loc=chap. 8}} it was Bowie's first co-writing credit on one of his own albums.{{sfn|Pegg|2016|pp=228–229}} MacCormack said his contribution was minimal—he played the chord sequence on piano.{{sfn|Buckley|2005|pp=184–189}} A [[power ballad]],{{sfn|Perone|2007|pp=41–46}} the song explores the relationship between the audience and an actor. When asked whether fans considered him a leader, Bowie described "Rock 'n' Roll with Me" as his response, saying: "You're doing it to me, stop it!"{{sfn|O'Leary|2015|loc=chap. 8}}{{sfn|Doggett|2012|pp=243–245}} Buckley writes the song foreshadowed the soul direction that Bowie would take on ''Young Americans''.{{sfn|Buckley|2005|pp=184–189}} The lyrics of "We Are the Dead" reflect the characters of ''Nineteen Eighty-Four'', [[Winston Smith (Nineteen Eighty-Four)|Winston]] and [[Julia (Nineteen Eighty-Four)|Julia]]'s, love for each other. They establish a world fraught with danger that mirrors the rest of the album.{{sfn|Pegg|2016|pp=303–304}} Buckley describes the lyrics as "gothic" and the music as "creepy".{{sfn|Buckley|2005|pp=184–189}} Although it quotes ''Nineteen Eighty-Four'' directly, O'Leary and James Perone argue the song owes more to the writings of Burroughs.{{sfn|O'Leary|2015|loc=chap. 8}}{{sfn|Perone|2007|pp=41–46}} "1984" was the signature number for Bowie's planned adaptation of ''Nineteen Eighty-Four''.{{sfn|Pegg|2016|pp=198–199}} It has been interpreted as representing Winston Smith's imprisonment and interrogation by [[O'Brien (Nineteen Eighty-Four)|O'Brien]].{{sfn|Carr|Murray|1981|p=64}} The lyrics also bear some similarities to Bowie's earlier song "[[All the Madmen (song)|All the Madmen]]" (1970)—"They'll split your pretty cranium and fill it full of air."{{sfn|Pegg|2016|pp=198–199}} AllMusic's Donald A. Guarisco wrote: "Bowie's recording of "1984" fully realizes the song's cinematic potential with a dramatic arrangement that utilizes skittering strings and a throbbing [[Wah-wah pedal|wah-wah]] guitar line that effectively mirrors the song's clipped, militaristic rhythms."<ref name="Guarisco AllMusic" /> Originally recorded during the ''Aladdin Sane'' sessions,{{sfn|Cann|2010|p=283}} the rerecording's [[Wah-wah pedal|wah-wah]] guitar is reminiscent of [[Isaac Hayes]]'s "[[Theme from Shaft|Theme from ''Shaft'']]".{{sfn|Buckley|2005|pp=184–189}}{{sfn|Doggett|2012|p=230}} Guarisco and Pegg felt the song's [[funk]] and soul nature fully predicted the direction Bowie would take on ''Young Americans''.{{sfn|Pegg|2016|pp=198–199}}<ref name="Guarisco AllMusic">{{cite web|last=Guarisco|first=David A.|url=https://www.allmusic.com/song/1984-mt0054050636|title='1984' – David Bowie|publisher=AllMusic|access-date=15 August 2020|archive-url=https://web.archive.org/web/20190531183637/https://www.allmusic.com/song/1984-mt0054050636|archive-date=31 May 2019|url-status=live}}</ref> According to Pegg, the theme of "Big Brother" is "the dangerous charisma of absolute power and the facility with which societies succumb to totalitarianism's final solutions".{{sfn|Pegg|2016|pp=38–39}} It was a possible contender to close Bowie's adaptation of ''Nineteen Eighty-Four''.{{sfn|O'Leary|2015|loc=chap. 8}} Featuring synthesisers and saxophones,{{sfn|Pegg|2016|pp=38–39}} the track builds to a climax that Buckley considers reminiscent of ''The Man Who Sold the World''.{{sfn|Buckley|2005|pp=184–189}} The track segues into "Chant of the Ever Circling Skeletal Family", a variation on "Two Minutes Hate" from ''Nineteen Eighty-Four''.{{sfn|Doggett|2012|p=241}}{{sfn|O'Leary|2015|loc=chap. 8}} It is a chant in 5/4 and 6/4 time, with a distorted guitar loop. On the original LP, the word brother repeats in a "stuck-needle effect", similar to the ending of [[the Beatles]]' ''[[Sgt. Pepper's Lonely Hearts Club Band]]'' (1967).{{sfn|Pegg|2016|pp=59–60}} ==Artwork and packaging== {{quote box|quote=[Bowie] tricked me into doing the cover artwork. It was only when we were at the session that he finally asked me if I would do a painting for him. The idea was so interesting I couldn't resist.{{sfn|Cann|2010|pp=323–325}}|source=—Guy Peellaert on doing the cover artwork, 2000|width=20%|align=left|style=padding:8px;}} The cover artwork depicts Bowie as a striking half-man, half-dog [[grotesque]]. He sports his Ziggy Stardust haircut and two "freak-show" dogs surround him shown against a backdrop of New York City.{{sfn|Pegg|2016|pp=367–372}}{{sfn|Cann|2010|pp=323–325}} The artwork originated from a photo session with the photographer [[Terry O'Neill (photographer)|Terry O'Neill]]. Bowie opted not to use any of his previous cover artwork photographers and instead requested the services of the Belgian artist [[Guy Peellaert]], whose recently published ''Rock Dreams'' catalogue, featuring numerous airbrushed and exploited photographs, was growing in popularity. Bowie invited Peellaert to the photoshoot where he posed as a dog and with a [[Great Dane]] brought to the session.{{sfn|Pegg|2016|pp=367–372}}{{sfn|Cann|2010|pp=323–325}} Bowie asked Peellaert if he would like to develop a painting for the artwork, based on a storyboard idea where he appeared as a half-man, half-dog, stylistically similar to Peelleart's artwork for the Rolling Stones' ''It's Only Rock 'n Roll''. Peellaert agreed, basing the backdrop on a book he owned about [[Coney Island]]'s Pleasure Park. The two dogs behind Bowie were based on the Island's Cavalcade Variety Show performers Alzoria Lewis (known as "the Turtle Girl") and Johanna Dickens (known as "the Bear Girl").{{sfn|Pegg|2016|pp=367–372}}{{sfn|Cann|2010|pp=323–325}} The artwork was controversial as the full image on the [[gatefold]] sleeve showed the hybrid's genitalia. RCA had the genitalia [[airbrush]]ed from the sleeve used for most releases. Some original uncensored copies made their way into circulation at the time of the album's release.{{sfn|Pegg|2016|pp=367–372}}{{sfn|Cann|2010|pp=323–325}} According to the record-collector publication ''[[Goldmine (magazine)|Goldmine]]'' price guides, these albums have been among the most expensive record collectibles of all time, selling for thousands of US dollars for a single copy.{{sfn|Thompson|2015|p=69}} Other changes to the artwork included the substitution of the freak show badge "Alive" with the word "Bowie"; Bowie was credited simply as "Bowie", continuing the convention established with ''Pin Ups''.{{sfn|Pegg|2016|pp=367–372}}{{sfn|Cann|2010|pp=323–325}} [[Rykodisc]]/[[EMI]] restored Peelaert's original uncensored artwork for the album's re-release in 1990. Subsequent reissues have included a rejected inner gatefold image featuring Bowie in a [[sombrero cordobés]] holding onto a ravenous dog with a copy of Walter Ross's novel ''The Immortal'' at his feet.{{sfn|Pegg|2016|pp=367–372}}{{sfn|Cann|2010|pp=323–325}} ''Rolling Stone'' ranked the cover the 51st best album cover of all time in 2024.<ref>{{cite magazine |title=The 100 Best Album Covers of All Time |url=https://www.rollingstone.com/music/music-lists/best-album-covers-1235035232/david-bowie-diamond-dogs-1235039254/ |magazine=Rolling Stone |access-date=7 January 2024 |archive-url=https://web.archive.org/web/20240728210840/https://www.rollingstone.com/music/music-lists/best-album-covers-1235035232/david-bowie-diamond-dogs-1235039254/ |archive-date=28 July 2024 |date=18 July 2024 |url-status=live}}</ref> ==Release and promotion== [[File:David Bowie - TopPop 1974 08.png|thumb|left|upright=0.8|alt=A black and white photo Bowie with longer hair and an eyepatch, holding a guitar and looking down at it|Bowie performing "[[Rebel Rebel]]" on ''Top Pop'' in February 1974]] In the UK, RCA released the [[lead single]], "Rebel Rebel", on 15 February 1974, backed by the ''Hunky Dory'' track "[[Queen Bitch]]".{{sfn|O'Leary|2015|loc=chap. 8}} The same day, Bowie recorded a [[lip sync]]ed performance of "Rebel Rebel" at Hilversum's Avro Studio 2 for the Dutch television programme ''Top Pop''. Broadcast two days later, it featured Bowie donning what Pegg calls his short-lived "pirate image"—an eyepatch and a spotted neckerchief. Bowie changed this costume after the performance in favour of the "swept-back parting and double-breasted suits" of the Diamond Dogs Tour.{{sfn|Pegg|2016|pp=221–223}} For its US release, Bowie recorded a new mix in April 1974. Dubbed the "Latin dub mix" by Doggett,{{sfn|Doggett|2012|pp=236–239}} this mix was released in New York in May 1974, with "[[Lady Grinning Soul]]" as the B-side.<ref>{{cite web |title=Rebel Rebel 45 is forty five today |url=https://www.davidbowie.com/blog/2019/2/15/rebel-rebel-45-is-forty-five-today |website=David Bowie Official Website |access-date=3 February 2020 |date=15 February 2019}}</ref> The single was a commercial success, peaking at number 5 on the [[UK Singles Chart]] and number 64 on the US ''[[Billboard (magazine)|Billboard]]'' [[Billboard Hot 100|Hot 100]].<ref>{{cite web |url=https://www.officialcharts.com/search/singles/rebel-rebel/ |title=Official Charts Company |website=Officialcharts.com |date=23 February 1974 |access-date=9 January 2020 |archive-url=https://web.archive.org/web/20190419054305/https://www.officialcharts.com/search/singles/rebel-rebel/ |archive-date=19 April 2019 |url-status=live }}</ref><ref>{{cite magazine |title="Rebel Rebel" Chart History |url=https://www.billboard.com/artist/david-bowie/chart-history/hsi/ |magazine=[[Billboard (magazine)|Billboard]] |access-date=9 February 2020}}</ref> It further became a glam anthem, the female equivalent of Bowie's earlier hit for [[Mott the Hoople]], "[[All the Young Dudes]]".{{sfn|Carr|Murray|1981|p=60}} RCA issued ''Diamond Dogs'' on 24 May 1974 with the catalogue number APLI 0576.<ref name="release date">{{cite web|url=https://www.davidbowie.com/news/diamond-dogs-album-forty-today-53146|title=''Diamond Dogs'' album is forty today|website=David Bowie Official Website|date=24 May 2014|access-date=14 August 2020|archive-url=https://web.archive.org/web/20140531161223/https://www.davidbowie.com/news/diamond-dogs-album-forty-today-53146|archive-date=31 May 2014|url-status=dead}}</ref>{{efn|The release date is disputed. O'Leary and Sandford write it was 24 April,{{sfn|O'Leary|2015|loc=Partial Discography}}{{sfn|Sandford|1997|p=124}} while Cann and Pegg say it was 31 May.{{sfn|Cann|2010|p=322}}{{sfn|Pegg|2016|pp=367–372}}}} The album was a commercial success, peaking at number one on the [[UK Albums Chart]] and number five on the US [[Billboard 200|''Billboard'' Top LPs & Tape]] chart.<ref name="UKchart">{{cite web|url=http://www.officialcharts.com/artist/_/David%20Bowie/ |title=David Bowie > Artists > Official Charts |publisher=[[UK Albums Chart]] |access-date=31 January 2014 |url-status=dead |archive-url=https://web.archive.org/web/20131103181930/http://www.officialcharts.com/artist/_/david%20bowie/ |archive-date=3 November 2013 }}</ref><ref name="USchart" /> A $400,000 advertising campaign featuring billboards in [[Times Square]] and [[Sunset Boulevard]], magazine ads, subway posters declaring "The Year of the Diamond Dogs" and a television commercial, one of the first of its kind for a pop album according to Pegg, boosted its sales in the US.{{sfn|Pegg|2016|pp=367–372}} In Canada, it repeated its British chart-topping success, hitting number one on the ''[[RPM (magazine)|RPM 100]]'' national albums chart in July 1974, remaining there for two weeks.<ref name="Canadachart" /> RCA released the second single, "Diamond Dogs", on 14 June 1974, with a rerecorded version of Bowie's 1971 single "[[Holy Holy (song)|Holy Holy]]" as the B-side.{{sfn|O'Leary|2015|loc=Partial Discography}}{{sfn|Pegg|2016|p=114}} It was Bowie's least-successful single in two years, peaking at number 21 on the [[UK Singles Chart]] and failing to chart in the US.{{sfn|O'Leary|2015|loc=chap. 8}}{{sfn|Pegg|2016|pp=74–75}} In July, "1984" was released as the third single in the US and Japan, but failed to chart.{{sfn|Pegg|2016|pp=198–199}}{{sfn|Clerc|2021|p=207}} Reviewing the single the following month, ''Billboard'' described "1984" as Bowie's "most commercial cut ... in a long time".<ref>{{cite magazine |title=Top Single Picks |magazine=Billboard |date=10 August 1974 |url=https://worldradiohistory.com/Archive-Billboard/70s/1974/Billboard%201974-08-10.pdf |page=74 |via=worldradiohistory.com |access-date=6 December 2020 |archive-date=15 November 2020 |archive-url=https://web.archive.org/web/20201115160522/https://worldradiohistory.com/Archive-Billboard/70s/1974/Billboard%201974-08-10.pdf |url-status=live }}</ref> ===Tour=== {{Main article|Diamond Dogs Tour}} [[File:Bowie-DD-1974-3.jpg|thumb|upright|right|alt=Bowie with red hair man looking to the left holding a microphone and wearing a red and white fur coat|Bowie performing during the Diamond Dogs Tour in July 1974]] Bowie supported the album on the Diamond Dogs Tour, whose first leg lasted from 14 June to 20 July 1974. Co-designed and constructed by Chris Langhart, it featured elaborate set-pieces and cost $250,000. [[Fritz Lang]]'s ''[[Metropolis (1927 film)|Metropolis]]'' (1927) and [[Robert Wiene]]'s ''[[The Cabinet of Dr. Caligari]]'' (1920) influenced the tour's design, primarily due to Bowie's interest in [[German Expressionism (cinema)|German expressionism]].{{sfn|Pegg|2016|p=557}} The tour's second leg, from 2 September to 1 December 1974, has been nicknamed the Soul Tour, because of the influence of the soul music Bowie had begun recording for ''Young Americans'' in August. The shows were altered heavily, and no longer featured elaborate set-pieces, partly because Bowie had tired of the design and wanted to explore the new sound he was creating. Bowie dropped songs from the previous leg, while he added new ones—some from ''Young Americans''.{{sfn|Pegg|2016|p=562}} In early September, director [[Alan Yentob]] filmed a documentary that depicts Bowie on the tour in Los Angeles, using a mixture of sequences filmed in limousines, hotels and concert footage, most of which was taken from a show there at [[Universal Amphitheatre]] on 2 September.{{sfn|Pegg|2016|pp=639–640}} Broadcast on [[BBC One|BBC1]] in the UK on 26 January 1975, ''[[Cracked Actor]]'' is notable as a primary source of footage of the Diamond Dogs Tour, and for showing Bowie's declining mental state during this period because of his growing cocaine addiction.{{sfn|Pegg|2016|pp=639–640}} After seeing an advanced screening of the film, the director [[Nicolas Roeg]] immediately contacted Bowie to discuss a role in ''[[The Man Who Fell to Earth]]'' (1976).{{sfn|Pegg|2016|pp=639–640}} Bowie played all of the album's songs except "We Are the Dead" on the tour,{{sfn|Pegg|2016|p=303}} performances of which have been released on three live albums: ''[[David Live]]'' (1974), ''[[Cracked Actor (Live Los Angeles '74)|Cracked Actor]]'' (2017) and ''[[I'm Only Dancing (The Soul Tour 74)]]'' (2020).<ref>{{cite web|last=Erlewine|first=Stephen Thomas|url=https://www.allmusic.com/album/david-live-mw0000033632|title=''David Live'' – David Bowie|publisher=AllMusic|access-date=3 February 2020|archive-url=https://web.archive.org/web/20190424115457/https://www.allmusic.com/album/david-live-mw0000033632|archive-date=24 April 2019|url-status=live}}</ref><ref>{{cite web|last=Randle|first=Chris|url=http://pitchfork.com/reviews/albums/david-bowie-cracked-actor-live-los-angeles-74/|title=David Bowie: ''Cracked Actor (Live Los Angeles '74)''|website=[[Pitchfork (website)|Pitchfork]]|date=29 June 2017|access-date=10 July 2017|archive-url=https://web.archive.org/web/20170711225233/http://pitchfork.com/reviews/albums/david-bowie-cracked-actor-live-los-angeles-74/|archive-date=11 July 2017|url-status=live}}</ref><ref>{{cite web |title=I'm Only Dancing for Record Store Day 2020 |url=https://www.davidbowie.com/blog/2020/2/19/im-only-dancing-for-record-store-day-2020 |website=David Bowie Official Website |access-date=31 October 2020 |date=19 February 2020 |archive-date=18 April 2020 |archive-url=https://web.archive.org/web/20200418032903/https://www.davidbowie.com/blog/2020/2/19/im-only-dancing-for-record-store-day-2020 |url-status=live }}</ref> "Rebel Rebel" featured on almost every later Bowie tour,{{sfn|Pegg|2016|pp=221–223}} "Diamond Dogs" was performed for the [[Isolar – 1976 Tour|Isolar]], [[Outside Tour|Outside]] and [[A Reality Tour]]s,{{sfn|Pegg|2016|pp=74–75}} and "Big Brother/Chant of the Ever Circling Skeletal Family" was resurrected in 1987 for the [[Glass Spider Tour]],{{sfn|Pegg|2016|pp=59–60}} which itself was heavily influenced by the Diamond Dogs tour.<ref name=InFashion>{{cite magazine|last=Morse|first=Steve|title=David Bowie (Cover Story)|magazine=In Fashion Magazine|volume=3|issue=10|date=July–August 1987|pages=151, 153}}</ref> The Diamond Dogs Tour has had a lasting legacy. Sandford says the tour turned Bowie from a "novelty act" into a "superstar".{{sfn|Sandford|1997|p=126}} Spitz writes it was highly influential on future tours with large and elaborate set pieces, including [[Parliament-Funkadelic]]'s Mothership Connection tour, [[Elvis Presley]]'s Vegas period, the 1990s tours of [[U2]] and [[Madonna]], and [['N Sync]], the [[Backstreet Boys]], [[Britney Spears]] and [[Kanye West]]'s 2008 [[Glow in the Dark Tour]].{{sfn|Spitz|2009|p=237}} ==Critical reception== The album received mixed reviews from music critics on release.{{sfn|Sandford|1997|p=124}} ''[[Disc (magazine)|Disc]]'' magazine compared the album to "the greatly underrated" ''The Man Who Sold the World'', believing it to contain some of Bowie's best-written songs and "without doubt the finest [LP] he's made so far", while ''Rock Magazine'' found it "a strong and effective album, and certainly the most impressive work Bowie's completed since ''Ziggy Stardust''".{{sfn|Pegg|2016|pp=367–372}} [[Martin Kirkup]] of ''[[Sounds (magazine)|Sounds]]'' wrote, "where ''Aladdin Sane'' seemed like a series of Instamatic snapshots taken from weird angles, ''Diamond Dogs'' has the provoking quality of a thought-out painting that draws on all the deeper colors".{{sfn|Buckley|2005|pp=176–179}} ''Billboard'' saw a "subtler, more aesthetic Bowie" than his previous records on an album "which should reinforce his musical presence in the 70's".<ref>{{cite news |title=Top Album Picks |magazine=Billboard |date=25 May 1974 |url=https://worldradiohistory.com/Archive-Billboard/70s/1974/Billboard%201974-05-25.pdf |page=65 |via=worldradiohistory.com |access-date=6 December 2020 |archive-date=6 August 2020 |archive-url=https://web.archive.org/web/20200806210813/https://worldradiohistory.com/Archive-Billboard/70s/1974/Billboard%201974-05-25.pdf |url-status=live }}</ref> Peter Harvey of ''[[Record Mirror]]'' was disappointed regarding the absence of the Spiders and wished the lyrical themes were more upbeat, but predicted the record would make a good stage production.<ref>{{cite magazine |last=Harvey |first=Peter |title=Albums: ''Diamond Dogs'' Bowie |magazine=[[Record Mirror]] |date=18 May 1974 |url=https://worldradiohistory.com/UK/Record-Mirror/70s/74/Record-Mirror-1974-05-18.pdf |page=20 |access-date=27 November 2022 |via=worldradiohistory.com }}</ref> ''[[Melody Maker]]''{{'}}s [[Chris Charlesworth]] called the album "really good" and compared it to [[Phil Spector]]'s [[Wall of Sound]] method of production and noting the similar level of excitement and praise Bowie's albums were beginning to receive as the Beatles did in the 60s.<ref>{{cite magazine |last=Charlesworth |first=Chris |author-link=Chris Charlesworth |title=David Bowie: ''Diamond Dogs'' |url=https://www.rocksbackpages.com/Library/Article/david-bowie-idiamond-dogsi |magazine=[[Melody Maker]] |date=11 May 1974 |access-date=2 March 2021 |via=Rock's Backpages |url-access=subscription |archive-date=6 September 2015 |archive-url=https://web.archive.org/web/20150906131538/http://www.rocksbackpages.com/Library/Article/david-bowie-idiamond-dogsi |url-status=live }}</ref> [[Robert Christgau]] was more critical in ''[[Creem]]'', suggesting that Bowie performs a pale imitation of [[Bryan Ferry]]'s "theatrical vocalism". He also dismissed the lyrical content as "escapist pessimism concocted from a pleasure dome: eat, snort and bugger little girls, for tomorrow we shall be [[humanoid|peoploids]] – but tonight how about $6.98 for this piece of plastic? Say nay."<ref>{{cite magazine|last=Christgau|first=Robert|author-link=Robert Christgau|url=http://www.robertchristgau.com/xg/cg/crm7409.php|title=The Christgau Consumer Guide|magazine=[[Creem]]|date=September 1974|access-date=10 July 2008|archive-url=https://web.archive.org/web/20101129070638/http://robertchristgau.com/xg/cg/crm7409.php|archive-date=29 November 2010|url-status=live}}</ref> Ken Emerson of ''[[Rolling Stone]]'' gave the album an extremely negative review, calling it, "Bowie's worst album in six years". He criticised Bowie's choice of direction, the absence of Ronson, describing Bowie's guitar playing as "cheesy" adding "the music exerts so little appeal that it's hard to care what it's about".<ref>{{cite magazine|last=Emerson|first=Ken|url=https://www.rollingstone.com/music/music-album-reviews/diamond-dogs-112951/|title=''Diamond Dogs''|magazine=[[Rolling Stone]]|date=1 August 1974|access-date=14 August 2020|archive-url=https://web.archive.org/web/20200812214623/https://www.rollingstone.com/music/music-album-reviews/diamond-dogs-112951/|archive-date=12 August 2020|url-status=dead}}</ref> Despite the album's mixed reception, [[John Rockwell]] of ''[[The New York Times]]'' found it inoffensive and "surrealisticnihilistic".<ref>{{cite web |last=Rockwell |first=John |author-link=John Rockwell |title=Pop Music: Bowie Puts on Lavish Show at Garden |url=https://www.nytimes.com/1974/07/21/archives/pop-music-bowie-puts-on-lavish-show-at-garden-good-moves-pacing-add.html |website=[[The New York Times]] |access-date=27 November 2022 |date=21 July 1974 |archive-url=https://web.archive.org/web/20221127192731/https://www.nytimes.com/1974/07/21/archives/pop-music-bowie-puts-on-lavish-show-at-garden-good-moves-pacing-add.html |archive-date=27 November 2022 |url-status=live |url-access=subscription}}</ref> ==Influence and legacy== ''Diamond Dogs''{{'}} raw guitar style and visions of urban chaos, scavenging children and nihilistic lovers ("We'll buy some drugs and watch a band / Then jump in a river holding hands") have been credited with anticipating the [[Punk rock|punk]] revolution that would take place in the following years.{{sfn|Carr|Murray|1981|p=64}} According to the ''Rolling Stone'' writer [[Mark Kemp]], the album's "resigned nihilism inspired interesting gloom and doom from later goth and [[industrial music|industrial]] acts such as [[Bauhaus (band)|Bauhaus]] and [[Nine Inch Nails]]".<ref>{{cite magazine|last=Kemp|first=Mark|author-link=Mark Kemp|url=https://www.rollingstone.com/music/albumreviews/diamond-dogs-30th-anniversery-edition-20040708|title=''Diamond Dogs'': 30th Anniversary Edition|magazine=[[Rolling Stone]]|date=8 July 2004|access-date=6 May 2013|archive-url=https://web.archive.org/web/20150923002721/http://www.rollingstone.com/music/albumreviews/diamond-dogs-30th-anniversery-edition-20040708|archive-date=23 September 2015|url-status=live}}</ref> O'Leary writes that Bowie's appearance in the promotional video for "Rebel Rebel" provided inspiration on future punks' styles and attitudes. He continues that initial British punks were former fans of Bowie and [[Roxy Music]], and "Rebel Rebel" stands as both Bowie's goodbye and tribute to them.{{sfn|O'Leary|2015|loc=chap. 8}} Crockford further acknowledges the album's influence on punk, stating: "Bowie's violent, amateruishly scraping guitar playing here would be echoed in the late-70's [[post-punk]] bands and Diamond Dogs' concept of street gangs roaming London was echoed in the gleeful nihilism of the [[Sex Pistols]]."<ref name="punknews.org" /> Considering Bowie's direction afterwards through the punk and [[disco]] eras, ''[[Stylus Magazine]]''{{'}}s Derek Miller says, "''Diamond Dogs'' should be remembered not only as one of glam’s last great full-lengths but more importantly as a gap-record that somehow manages to cohesively storyboard Bowie's crude conceptual surrealism while also expanding his sound."<ref>{{cite web|last=Miller|first=Derek|url=http://stylusmagazine.com/articles/on_second_thought/david-bowie-diamond-dogs.html|title=David Bowie – ''Diamond Dogs'' – On Second Thought|website=[[Stylus Magazine]]|date=12 June 2007|access-date=10 July 2020|archive-url=https://web.archive.org/web/20210601004050/http://stylusmagazine.com/articles/on_second_thought/david-bowie-diamond-dogs.html|archive-date=1 June 2021}}</ref> ===Retrospective appraisal=== {{Album ratings | title = Retrospective professional ratings | rev1 = [[AllMusic]] | rev1score = {{Rating|2.5|5}}<ref name="Erlewine AllMusic">{{cite web|last=Erlewine|first=Stephen Thomas|author-link=Stephen Thomas Erlewine|url=http://www.allmusic.com/album/diamond-dogs-mw0000597759|title=''Diamond Dogs'' – David Bowie|publisher=AllMusic|access-date=10 July 2008|archive-url=https://web.archive.org/web/20120617132813/http://www.allmusic.com/album/diamond-dogs-mw0000597759|archive-date=17 June 2012|url-status=live}}</ref> | rev2 = ''[[Blender (magazine)|Blender]]'' | rev2score = {{Rating|3|5}}<ref>{{cite magazine|last=Raihala|first=Ross|url=http://blender.com/guide/reviews.aspx?id=2171|title=David Bowie: ''Diamond Dogs''|magazine=[[Blender (magazine)|Blender]]|access-date=14 July 2016|archive-url=https://web.archive.org/web/20051122232024/http://blender.com/guide/reviews.aspx?id=2171|archive-date=22 November 2005|url-status=dead}}</ref> | rev3 = ''[[Chicago Tribune]]'' | rev3score = {{Rating|2|4}}<ref name="Kot CT">{{cite news|last=Kot|first=Greg|author-link=Greg Kot|url=https://www.chicagotribune.com/news/ct-xpm-1990-06-10-9002170173-story.html|title=Bowie's Many Faces Are Profiled On Compact Disc|newspaper=[[Chicago Tribune]]|date=10 June 1990|access-date=11 November 2020|archive-url=https://web.archive.org/web/20160416150839/http://articles.chicagotribune.com/1990-06-10/entertainment/9002170173_1_space-oddity-scary-monsters-ziggy-stardust|archive-date=16 April 2016|url-status=live}}</ref> | rev4 = ''[[Christgau's Record Guide: Rock Albums of the Seventies|Christgau's Record Guide]]'' | rev4score = C+<ref name="CG">{{cite book|last=Christgau|first=Robert|author-link=Robert Christgau|chapter=B|chapter-url=http://www.robertchristgau.com/get_chap.php?k=B&bk=70|access-date=10 July 2020|via=robertchristgau.com|title=Christgau's Record Guide: Rock Albums of the Seventies|title-link=Christgau's Record Guide: Rock Albums of the Seventies|location=Boston|publisher=[[Ticknor and Fields]]|year=1981|isbn=978-0-89919-026-6|archive-date=17 May 2020|archive-url=https://web.archive.org/web/20200517130444/https://www.robertchristgau.com/get_chap.php?k=B&bk=70|url-status=live}}</ref> | rev5 = ''[[Encyclopedia of Popular Music]]'' | rev5score = {{Rating|4|5}}<ref>{{cite book|last=Larkin|first=Colin|author-link=Colin Larkin|chapter=Bowie, David|title=The Encyclopedia of Popular Music|title-link=Encyclopedia of Popular Music|location=London|publisher=[[Omnibus Press]]|edition=5th concise|year=2011|isbn=978-0-85712-595-8}}</ref> | rev6 = ''[[The Guardian]]'' | rev6score = {{Rating|4|5}}<ref name="Sweeting"/> | rev7 = ''[[Pitchfork (website)|Pitchfork]]'' | rev7score = 9.0/10<ref name="Walters Pitchfork">{{cite web|last=Walters|first=Barry|url=http://pitchfork.com/reviews/albums/21477-diamond-dogs/|title=David Bowie: ''Diamond Dogs''|website=[[Pitchfork (website)|Pitchfork]]|date=22 January 2016|access-date=21 November 2015|archive-url=https://web.archive.org/web/20160124023214/http://pitchfork.com/reviews/albums/21477-diamond-dogs/|archive-date=24 January 2016|url-status=live}}</ref> | rev8 = ''[[Q (magazine)|Q]]'' | rev8score = {{Rating|5|5}}<ref>{{cite magazine|title=David Bowie: ''Diamond Dogs''|magazine=[[Q (magazine)|Q]]|issue=158|date=November 1999|pages=140–141}}</ref> | rev9 = ''[[The Rolling Stone Album Guide]]'' | rev9score = {{Rating|2.5|5}}<ref>{{cite book|last=Sheffield|first=Rob|author-link=Rob Sheffield|editor1-last=Brackett|editor1-first=Nathan|editor1-link=Nathan Brackett|editor2-last=Hoard|editor2-first=Christian|editor2-link=Christian Hoard|chapter=David Bowie|title=The New Rolling Stone Album Guide|title-link=The Rolling Stone Album Guide|location=New York City|publisher=[[Simon & Schuster]]|edition=4th|year=2004|isbn=978-0-7432-0169-8|pages=[https://archive.org/details/newrollingstonea00brac/page/97 97–99]}}</ref> | rev10 = ''[[Select (magazine)|Select]]'' | rev10score = 5/5<ref>{{cite magazine|last=Griffiths|first=Nick|title=Diamond Jubilation|magazine=[[Select (magazine)|Select]]|issue=5|date=November 1990|page=124}}</ref> | rev11 = ''[[Spin Alternative Record Guide]]'' | rev11score = 3/10{{sfn|Sheffield|1995|p=55}} }} Retrospective appraisals have been mixed. AllMusic's [[Stephen Thomas Erlewine]] said that, because Bowie did not completely retire the character of Ziggy Stardust, ''Diamond Dogs'' suffers from him being unsure how to move forward. Although he praised "Rebel Rebel", he further criticised the exclusion of Ronson and ultimately concluded "it is the first record since ''Space Oddity'' where Bowie's reach exceeds his grasp".<ref name="Erlewine AllMusic" /> [[Greg Kot]] of the ''[[Chicago Tribune]]'' gave the album a mixed review, calling it "an overproduced concept album inspired by Orwell's ''1984''".<ref name="Kot CT" /> Eduardo Rivadavia was also mixed in ''[[Ultimate Classic Rock]]'', questioning the presence of Ziggy, whom Bowie supposedly retired the year before. Despite the album's commercial success, Rivadavia concluded: "with decades of hindsight, ''Diamond Dogs'' now seems more like the gateway from the ''Ziggy Stardust'' era to his [[Thin White Duke]] blue-eyed soul period, and beyond".<ref name="UCR">{{cite web|last=Rivadavia|first=Eduardo|url=https://ultimateclassicrock.com/david-bowie-diamond-dogs/|title=When David Bowie Offered the Dark, Complex 'Diamond Dogs'|website=[[Ultimate Classic Rock]]|date=25 April 2015|access-date=16 August 2020|archive-url=https://web.archive.org/web/20200614112408/https://ultimateclassicrock.com/david-bowie-diamond-dogs/|archive-date=14 June 2020|url-status=live}}</ref> The record has attracted positive reviews. ''Pitchfork''{{'}}s Barry Walters described the album as "a bummer, a bad trip, 'No Fun' – a sustained work of decadence and dread that transforms corrosion into celebration". He also believed it foreshadowed Bowie's Thin White Duke persona.<ref name="Walters Pitchfork" /> For punknews.org, C. M. Crockford wrote that ''Diamonds Dogs'' is Bowie's "utterly most distinctive work: melodramatic, raw, challenging, and ambitious even when crammed with catchy songs". Crockford ultimately called it one of Bowie's essential releases and argued that he would "never make an album that was so obviously his own again".<ref name="punknews.org" /> In a 2013 readers' poll for ''Rolling Stone'', ''Diamond Dogs'' was voted Bowie's fifth-greatest album.<ref>{{cite magazine |title=Readers' Poll: The Best David Bowie Albums |url=https://www.rollingstone.com/music/music-lists/readers-poll-the-best-david-bowie-albums-11994/ |magazine=Rolling Stone |access-date=5 October 2021 |archive-url=https://web.archive.org/web/20210529120705/https://www.rollingstone.com/music/music-lists/readers-poll-the-best-david-bowie-albums-11994/ |archive-date=29 May 2021 |date=16 January 2013 |url-status=live}}</ref> In subsequent decades, Bowie biographers have described ''Diamond Dogs'' as one of Bowie's greatest works.{{sfn|Pegg|2016|pp=367–372}} Cann writes: "''Diamond Dogs'' is arguably [Bowie's] most significant album, a pivotal work and the most 'solo' album he has ever made."{{sfn|Cann|2010|pp=323–325}} Although Spitz calls it "no fun", he states it was Bowie's "best-sounding, most complex record to date, and it still pulls you into its romantic and doomed world three and a half decades on".{{sfn|Spitz|2009|pp=231–232}} Trynka calls it "a beautiful mess",{{sfn|Trynka|2011|p=485}} while Buckley says the album proved that Bowie could still produce work of "real quality" without Scott or the Spiders.{{sfn|Buckley|2005|p=180}} Doggett writes it anticipated the "sonic audacity" of ''[[Low (David Bowie album)|Low]]'' and ''[["Heroes" (David Bowie album)|"Heroes"]]'', while it simultaneously "capsized the vessel of classic rock".{{sfn|Doggett|2012|p=248}} Perone argues that "Chant of the Ever Circling Skeletal Family" predated [[Talking Heads]]' exploration of African rhythms and experimentation in the late 1970s.{{sfn|Perone|2007|pp=41–46}} Pegg writes that with tracks like "We Are the Dead", "Big Brother" and the "Sweet Thing" suite, the album contains "some of the most sublime and remarkable sounds in the annals of rock music". He further states that Bowie's new voice on the record, a "''basso profundo''", particularly evident on "Sweet Thing" and "Big Brother", was a major influence on [[gothic rock]] bands in the 1980s.{{sfn|Pegg|2016|pp=367–372}} It ranked number 447 in ''NME''{{'}}s list of the [[NME's The 500 Greatest Albums of All Time|500 Greatest Albums of All Time]]<ref>{{cite web |url= http://www.rocklistmusic.co.uk/virgin_1000_v3.htm |title= Rocklist |access-date= 22 July 2018 |archive-url= https://web.archive.org/web/20130708063650/http://www.rocklistmusic.co.uk/virgin_1000_v3.htm |archive-date= 8 July 2013 |url-status= usurped }}</ref><ref>{{cite magazine|last=Barker|first=Emily|url=https://www.nme.com/photos/the-500-greatest-albums-of-all-time-500-401-1426363|title=The 500 Greatest Albums Of All Time: 500–401|magazine=[[NME]]|date=21 October 2013|access-date=6 August 2018|archive-url=https://web.archive.org/web/20180806115322/https://www.nme.com/photos/the-500-greatest-albums-of-all-time-500-401-1426363|archive-date=6 August 2018|url-status=live}}</ref> and number 14 in ''Rolling Stone''{{'}}s list of the 74 Best Albums of 1974.<ref>{{Cite magazine |last1=Dolan |first1=Jon |last2=Martoccio |first2=Angie |last3=Sheffield |first3=Rob |date=20 November 2024 |title=The 74 Best Albums of 1974 |url=https://www.rollingstone.com/music/music-lists/best-albums-1974-1235138526/david-bowie-diamond-dogs-2-1235138550/ |access-date=2 January 2025 |magazine=Rolling Stone |language=en-US}}</ref> ===Reissues=== ''Diamond Dogs'' has been reissued several times. Although the original 1974 vinyl releases featured a gatefold cover,<ref>{{Cite AV media notes|title=Diamond Dogs|others=David Bowie|year=1974|publisher=RCA Records|location=US|type=LP record sleeve|id=CPL1-0576}}</ref> some later LP versions such as RCA's 1980 US reissue presented the album in a standard non-gatefold sleeve.<ref>{{cite book|last=Thompson|first=Dave|editor1-last=Kennedy|editor1-first=Paul|title=Goldmine Record Album Price Guide|location=US|publisher=Krause Publications|edition=10th|year=2019|isbn=978-1-44024-891-7|page=87}}</ref><ref>{{Cite AV media notes|title=Diamond Dogs|others=David Bowie|year=1980|publisher=RCA Records|location=US|type=LP record sleeve|id=AYL1-3889}}</ref> The album was first released on CD in the mid-1980s by RCA, with censored cover art. The German (for the European market) and Japanese (for the US market) masters, sourced from different tapes, are not identical.<ref>{{Cite AV media notes|title=Diamond Dogs|others=David Bowie|year=1984|publisher=RCA Records|location=US|type=CD liner notes|id=PCD1-0576}}</ref> Dr. Toby Mountain at Northeastern Digital, in [[Southborough, Massachusetts]],<ref>{{cite web|url=http://www.northeasterndigital.com/audio/bios.htm|title=Northeastern Digital – Personnel|publisher=Northeastern Digital|access-date=26 May 2008|archive-url=https://web.archive.org/web/20071208131731/http://www.northeasterndigital.com/audio/bios.htm|archive-date=8 December 2007|url-status=dead}}</ref> remastered ''Diamond Dogs'' from the original master tapes for Rykodisc in 1990, released with two bonus tracks and the original, uncensored, artwork.<ref>{{Cite AV media notes|title=Diamond Dogs|others=David Bowie|year=1990|publisher=Rykodisc|location=US|type=CD liner notes|id=RCD 10137}}</ref> It was again remastered in 1999 by [[Peter Mew]] at [[Abbey Road Studios]] for [[EMI]] and [[Virgin Records]], and once more released with no bonus tracks.<ref>{{Cite AV media notes|title=Diamond Dogs|others=David Bowie|year=1999|publisher=[[EMI]]/[[Virgin Records]]|location=US|type=CD liner notes|id=7243 521904 0 9}}</ref> In 2004, a 2-disc version was released by EMI/Virgin.<ref>{{Cite AV media notes|title=Diamond Dogs|others=David Bowie|year=2004|publisher=EMI/Virgin|location=UK & Europe|type=CD liner notes|id=7243 5 77857 2 3}}</ref> The third in a series of ''30th Anniversary 2CD Editions'' (along with ''Ziggy Stardust'' and ''Aladdin Sane''), this release included a remastered version of the album on the first disc. The second disc contains eight tracks, five of which had been released previously with the ''[[Sound + Vision (box set)|Sound + Vision]]'' box set in 1989 or as bonus tracks on the 1990–92 Rykodisc/EMI reissues.{{sfn|Pegg|2016|pp=367–372}} In 2016, the album was remastered for the ''[[Who Can I Be Now? (1974–1976)]]'' [[box set]].<ref>{{cite web|url=http://www.davidbowie.com/news/who-can-i-be-now-1974-1976-details-55996|title=''Who Can I Be Now? (1974 – 1976)'' details|website=David Bowie Official Website|date=22 July 2016|access-date=9 October 2020|archive-url=https://web.archive.org/web/20170211235503/http://www.davidbowie.com/news/who-can-i-be-now-1974-1976-details-55996|archive-date=11 February 2017|url-status=dead}}</ref> It was released on CD and vinyl, and in digital formats, both as part of this compilation and separately.<ref>{{cite web |last1=Gerard |first1=Chris |title=David Bowie: Who Can I Be Now? (1974/1976) |url=https://www.popmatters.com/david-bowie-who-can-i-be-now-1974-1976-2495414568.html |website=[[PopMatters]] |access-date=6 December 2020 |archive-url=https://web.archive.org/web/20201023004318/https://www.popmatters.com/david-bowie-who-can-i-be-now-1974-1976-2495414568.html |archive-date=23 October 2020 |date=28 September 2016}}</ref> ==Track listing== All tracks written by [[David Bowie]], except "Rock 'n' Roll with Me", lyrics by Bowie; music by Bowie and [[Warren Peace|Geoff MacCormack]].<ref name="linernotes" /> {{Tracklisting | headline = Side one | title1 = [[Future Legend]] | length1 = 0:58 | title2 = [[Diamond Dogs (song)|Diamond Dogs]] | length2 = 5:50 | title3 = [[Sweet Thing (David Bowie song)|Sweet Thing]] | length3 = 3:29 | title4 = Candidate | length4 = 2:39 | title5 = Sweet Thing (Reprise) | length5 = 2:32 | title6 = [[Rebel Rebel]] | length6 = 4:21 }} {{Tracklisting | headline = Side two | title7 = [[Rock 'n' Roll with Me]] | length7 = 3:54 | title8 = We Are The Dead | length8 = 4:48 | title9 = [[1984 (song)|1984]] | length9 = 3:24 | title10 = [[Big Brother (David Bowie song)|Big Brother]] | length10 = 3:25 | title11 = Chant Of The Ever Circling Skeletal Family | length11 = 1:48 }} ==Personnel== Adapted from the ''Diamond Dogs'' liner notes and biographer Nicholas Pegg.{{sfn|Pegg|2016|pp=367–372}}<ref name=linernotes>{{cite AV media notes|title=Diamond Dogs|others=[[David Bowie]]|year=1974|publisher=[[RCA Records]]|type=liner notes|id=APLI 0576}}</ref> *[[David Bowie]] – lead and background vocals, guitar, [[saxophone]]s, [[Moog synthesizer|Moog synthesiser]], [[Mellotron]] *[[Mike Garson]] – keyboards *[[Herbie Flowers]] – bass guitar *[[Tony Newman (drummer)|Tony Newman]] – drums *[[Aynsley Dunbar]] – drums *[[Alan Parker (musician)|Alan Parker]] – guitar ("1984"), additional guitar ("Rebel Rebel"){{sfn|O'Leary|2015|loc=chap. 8}} '''Technical''' *David Bowie – producer; [[Audio mixing (recorded music)|mixing]] *[[Tony Visconti]] – [[string instrument|strings]] on "1984"; mixing *[[Keith Harwood]] – [[Audio engineer|engineer]]; mixing *Leee Black Childers – photography *[[Guy Peellaert]] – cover painting ==Charts and certifications== {{col-begin}} {{col-2}} ===Weekly charts=== {| class="wikitable sortable" |+1974 weekly chart performance for ''Diamond Dogs'' !Chart (1974) !Peak<br />Position |- |align="left"|Australian Albums (''[[Go-Set]]'')<ref name="go-setbanks">{{Cite web|url=https://gosetcharts.com/1974/19740824.html#albums|title=Go-Set Australian charts |date=24 August 1974|website=gosetcharts.com |access-date=2 September 2023}}</ref> |align="center"|1 |- |align="left"|Australian Albums ([[Kent Music Report]])<ref name="auchart" /> |align="center"|3 |- |align="left"|Canadian Albums (''[[RPM (magazine)|RPM]]'')<ref name="Canadachart">{{cite magazine|url=http://www.collectionscanada.gc.ca/rpm/028020-119.01-e.php?&file_num=nlc008388.5078a&type=1&interval=50&PHPSESSID=c6btf3r8hs459qqt5ln3o3dcv5|title=Top Albums/CDs |volume=21 |number=24|magazine=[[RPM (magazine)|RPM]]|format=PHP|date=3 August 1974|access-date=31 January 2014|archive-url=https://web.archive.org/web/20140224000544/http://www.collectionscanada.gc.ca/rpm/028020-119.01-e.php?&file_num=nlc008388.5078a&type=1&interval=50&PHPSESSID=c6btf3r8hs459qqt5ln3o3dcv5|archive-date=24 February 2014|url-status=dead}}</ref> |align="center"|1 |- | align="left" |Finnish Albums ([[Official Finnish Charts|Suomen virallinen lista]])<ref>{{cite book|url=https://musiikkiarkisto.fi/oa/_tiedostot/julkaisut/sisaltaa-hitin.pdf#page=36|first=Timo|last=Pennanen|year=2021|title=Sisältää hitin - 2. laitos Levyt ja esittäjät Suomen musiikkilistoilla 1.1.1960–30.6.2021|section=David Bowie|pages=36–37|publisher=Kustannusosakeyhtiö Otava|location=Helsinki|language=fi}}</ref> | align="center" | 5 |- |align="left"|French Albums ([[SNEP]])<ref name="frchart">{{cite web|url=http://infodisc.fr/Album_B.php |title=InfoDisc : Tous les Albums classés par Artiste > Choisir Un Artiste Dans la Liste |publisher=infodisc.fr |format=PHP |language=French |access-date=31 January 2014 |url-status=dead |archive-url=https://web.archive.org/web/20111107224423/http://infodisc.fr/Album_B.php |archive-date=7 November 2011 }} ''Note: user must select 'David BOWIE' from drop-down.''</ref> |align="center"|4 |- |Italian Albums (''[[Billboard (magazine)|Billboard]]'')<ref name="hitsoftheworld">{{cite magazine|url=https://worldradiohistory.com/Archive-All-Music/Billboard/70s/1974/Billboard%201974-09-28.pdf|title=Hits of the World|magazine=Billboard|via=worldradiohistory.com|page=68|date=28 September 1974|access-date=27 June 2021}}</ref> |align="center"|9 |- | Italian Albums (''[[Musica e dischi]]'')<ref>{{cite book|last=Racca|first=Guido|title=M&D Borsa Album 1964–2019|language=it|date=2019|publisher=Amazon Digital Services LLC - Kdp Print Us |isbn=978-1-0947-0500-2}}</ref> | align="center"| 16 |- |align="left"|Norwegian Albums ([[VG-lista]])<ref name="norcharts">{{cite web|title=David Bowie – ''Diamond Dogs''|website=norwegiancharts.com|url=http://norwegiancharts.com/showitem.asp?interpret=David+Bowie&titel=Diamond+Dogs&cat=a|format=ASP|access-date=31 January 2014|publisher=[[VG-lista]]|archive-url=https://web.archive.org/web/20131016155741/http://norwegiancharts.com/showitem.asp?interpret=David+Bowie&titel=Diamond+Dogs&cat=a|archive-date=16 October 2013|url-status=live}}</ref> |align="center"|8 |- |align="left"|Spanish Albums ([[Productores de Música de España|Promusicae]])<ref>{{cite book |last=Salaverri|first=Fernando|title=Sólo éxitos: año a año, 1959–2002|edition=1st |date=September 2005|publisher=Fundación Autor-SGAE|location=Spain|isbn=84-8048-639-2}}</ref> |align="center"|11 |- |align="left"|Swedish Albums ([[Sverigetopplistan|Kvällstoppen]])<ref name="swechart">{{cite web|title=Swedish Charts 1972–1975/Kvällstoppen – Listresultaten vecka för vecka > Juni 1974 > 11 Juni |url=http://www.hitsallertijden.nl/charts/swedish%20charts/SwedishCharts%200872-0875.pdf |work=hitsallertijden.nl |language=sv |access-date=31 January 2014 |url-status=dead |archive-url=https://web.archive.org/web/20120323012051/http://www.hitsallertijden.nl/charts/swedish%20charts/SwedishCharts%200872-0875.pdf |archive-date=23 March 2012 }}''Note: [[Sverigetopplistan|Kvällstoppen]] combined sales for albums and singles in the one chart; ''Diamond Dogs'' peaked at the number-four on the list in the 1st week of June 1974.''</ref> |align="center"|3 |- {{album chart|UK|1|artist=David Bowie|album=Diamond Dogs|rowheader=false|access-date=6 December 2020}} |- |US [[Billboard 200|''Billboard'' Top LPs & Tape]]<ref name="USchart">{{cite magazine |title=''Diamond Dogs'' Chart History |url=https://www.billboard.com/artist/david-bowie/chart-history/tlp/ |magazine=Billboard |access-date=24 August 2021}}</ref> |align="center"|5 |- |align="left"|West German Media Control Albums ([[GfK Entertainment charts|GfK]])<ref name="dechart">{{cite web| url=http://www.officialcharts.de/album.asp?artist=David+Bowie&title=Diamond+Dogs&cat=a&country=de| title=Album Search: David Bowie – ''Diamond Dogs''| language=de| publisher=Media Control| format=ASP| access-date=10 October 2013| archive-url=https://web.archive.org/web/20150405210521/http://www.officialcharts.de/album.asp?artist=David+Bowie&title=Diamond+Dogs&cat=a&country=de| archive-date=5 April 2015| url-status=dead}}</ref> |align="center"|40 |- |Yugoslavian Albums (Radio TV Revue & Studio)<ref name="hitsoftheworld"/> |align="center"|10 |- |} {| class="wikitable sortable" |+1990 weekly chart performance for ''Diamond Dogs'' !Chart (1990) !Peak<br />Position |- {{album chart|UK|67|artist=David Bowie|album=Diamond Dogs|rowheader=false|access-date=6 December 2020}} |} {| class="wikitable sortable" |+2016 weekly chart performance for ''Diamond Dogs'' !Chart (2016) !Peak<br />Position |- |{{album chart|Australia|41|artist=David Bowie|album=Diamond Dogs|rowheader=false|access-date=25 July 2020}} |- |{{album chart|Italy|79|artist=David Bowie|album=Diamond Dogs|rowheader=false|access-date=25 July 2020}} |- |{{album chart|Portugal|48|artist=David Bowie|album=Diamond Dogs|rowheader=false|access-date=12 May 2020}} |- |} {| class="wikitable sortable" |+2024 weekly chart performance for ''Diamond Dogs'' !Chart (2024) !Peak<br />Position |- |align="left"| Hungarian Physical Albums ([[Association of Hungarian Record Companies|MAHASZ]])<ref>{{cite web |title=Album Top 40 slágerlista (fizikai hanghordozók) – 2024. 22. hét |url=https://slagerlistak.hu/album-top-40-slagerlista-fizikai-hanghordozok/2024/22 |publisher=[[Association of Hungarian Record Companies|MAHASZ]] |access-date=6 June 2024}}</ref> |align="center"| 17 |- |} {{col-2}} ===Year-end charts=== {| class="wikitable" style="text-align:center;" |+1974 year-end chart performance for ''Diamond Dogs'' !Chart (1974) !Position |- |align="left"|Australian Albums (Kent Music Report)<ref name="auchart">{{Cite book|title=[[Kent Music Report|Australian Chart Book 1970–1992]]|last=Kent|first=David|author-link=David Kent (historian)|publisher=Australian Chart Book|location=St Ives, NSW|year=1993|isbn=978-0-646-11917-5}}</ref> |20 |- |align="left"|Canadian Albums (''[[RPM Year-End|RPM]]'')<ref name="CAYearend74">{{cite web|url=http://www.collectionscanada.gc.ca/rpm/028020-119.01-e.php?brws_s=1&file_num=nlc008388.3891&type=1&interval=24&PHPSESSID=mhe12pta2k83e08udtq66ot062|title=RPM Top 100 Albums of 1974|work=[[RPM (magazine)|RPM]]|access-date=2 February 2014|archive-url=https://web.archive.org/web/20160313124932/http://www.collectionscanada.gc.ca/rpm/028020-119.01-e.php?brws_s=1&file_num=nlc008388.3891&type=1&interval=24&PHPSESSID=mhe12pta2k83e08udtq66ot062|archive-date=13 March 2016|url-status=live}}</ref> |15 |- |align="left"|French Albums (SNEP)<ref name="frayearend">{{cite web|url=http://www.infodisc.fr/B-CD_1974.php|title=Les Albums (CD) de 1974 par InfoDisc|language=fr|format=PHP|publisher=infodisc.fr|access-date=31 January 2013|url-status=dead|archive-url=https://web.archive.org/web/20121027131238/http://www.infodisc.fr/B-CD_1974.php|archive-date=27 October 2012}}</ref> |11 |- |align="left"|UK Albums (OCC)<ref name="UKYearend">{{cite web|archive-url=https://web.archive.org/web/20071217020447/http://www.theofficialcharts.com/album_chart_history_1974.php|url=http://www.theofficialcharts.com/album_chart_history_1974.php|title=The Official UK Charts Company : Album Chart History|website=officialcharts.com|publisher=Official Charts Company|archive-date=17 December 2007 |access-date=17 December 2007}}</ref> |6 |} ===Certifications and sales=== {{Certification Table Top|caption=Certifications for ''Diamond Dogs''}} {{Certification Table Entry|title=Diamond Dogs|type=album|artist=David Bowie|relyear=1974|region=Sweden|award=Gold|certref=<ref>{{cite magazine|url=https://books.google.com/books?id=YgkEAAAAMBAJ&q=stockholm|title=From the Music Captiols of the World – Stockholm|magazine=Billboard|page=50|volume=42|issue=35|date=22 June 1974|access-date=14 December 2019|archive-date=1 June 2021|archive-url=https://web.archive.org/web/20210601004143/https://books.google.com/books?id=YgkEAAAAMBAJ&q=stockholm|url-status=live}}</ref>}} {{Certification Table Entry|title=Diamond Dogs|type=album|artist=David Bowie|relyear=1999|certyear=2013|region=United Kingdom|award=Gold|id=9126-2561-2|note=1999 release|access-date=27 June 2021}} {{Certification Table Entry|title=Diamond Dogs|type=album|artist=David Bowie|relyear=1974|certyear=1974|region=United States|award=Gold}} {{Certification Table Summary}} {{Certification Table Entry|region=Worldwide|nocert=true|salesamount=3,800,000|salesref=<ref name="wwsales">{{cite web |url=https://www.lemonde.fr/les-decodeurs/article/2016/01/11/david-bowie-en-chiffres-un-artiste-culte-mais-pas-si-vendeur_4845289_4355770.html |title=David Bowie en chiffres : un artiste culte, mais pas si vendeur |access-date=11 January 2016 |website=Le Monde |last=Breteau |first=Pierre |date=11 January 2016 }}</ref>}} {{Certification Table Bottom | nosales=true}} {{col-end}} ==Notes== {{Notelist}} ==References== {{Reflist|30em}} ===Sources=== {{Refbegin|30em}} *{{cite book|last=Buckley |first=David |year=1999 |title=Strange Fascination – David Bowie: The Definitive Story |location=London |publisher=[[Virgin Books]] |isbn=978-1-85227-784-0 }} *{{cite book |last=Buckley |first=David |year=2005 |orig-year=1999 |title=Strange Fascination – David Bowie: The Definitive Story |location=London |publisher=Virgin Books|isbn=978-0-75351-002-5 }} *{{cite book|last=Cann |first=Kevin |year=2010 |title=Any Day Now – David Bowie: The London Years: 1947–1974 |location=Croydon, Surrey|publisher=Adelita |isbn=978-0-95520-177-6 }} *{{cite book|last1=Carr |first1=Roy|author-link1=Roy Carr |last2=Murray |first2=Charles Shaar| author-link2=Charles Shaar Murray |year=1981 |title=Bowie: An Illustrated Record |location=London |publisher=[[Eel Pie Publishing]] |isbn=978-0-38077-966-6}} *{{cite book |last=Clerc |first=Benoît |year=2021 |title=David Bowie All the Songs: The Story Behind Every Track |location=New York City |publisher=[[Black Dog & Leventhal Publishers|Black Dog & Leventhal]] |isbn=978-0-7624-7471-4}} *{{cite book |last=Doggett |first=Peter |author-link=Peter Doggett |year=2012 |title=The Man Who Sold the World: David Bowie and the 1970s |url=https://books.google.com/books?id=e27t-ag4NakC |location=New York City |publisher=[[HarperCollins|HarperCollins Publishers]] |isbn=978-0-06-202466-4 }} *{{cite book |last=O'Leary |first=Chris |title=Rebel Rebel: All the Songs of David Bowie from '64 to '76 |url=https://books.google.com/books?id=ggTmBwAAQBAJ |year=2015 |publisher=[[John Hunt Publishing|Zero Books]] |location=Winchester |isbn=978-1-78099-244-0 }} *{{cite book |last=Pegg |first=Nicholas |author-link=Nicholas Pegg |title=The Complete David Bowie |url=https://books.google.com/books?id=LqFkDQAAQBAJ |publisher=[[Titan Books]] |location=London |year=2016 |isbn=978-1-78565-365-0 |edition=Revised and Updated }} *{{cite book |last=Perone |first=James E. |title=The Words and Music of David Bowie |url=https://books.google.com/books?id=C6bz2BFdPawC&pg=PA44 |location=[[Westport, Connecticut]] |publisher=[[Greenwood Publishing Group]] |date=2007 |isbn=978-0-27599-245-3 }} *{{cite book|last=Sandford|first=Christopher|author-link=Christopher Sandford (biographer)|title=Bowie: Loving the Alien|publisher=[[Da Capo Press]]|location=London|year=1997|orig-year=1996|isbn=978-0-306-80854-8|url=https://archive.org/details/bowielovingalien00sand}} *{{cite book|last=Sheffield|first=Rob|author-link=Rob Sheffield|title=Spin Alternative Record Guide|title-link=Spin Alternative Record Guide|editor1-last=Weisbard|editor1-first=Eric|editor1-link=Eric Weisbard|editor2-last=Marks|editor2-first=Craig|location=New York City|publisher=[[Vintage Books]]|year=1995|isbn=978-0-679-75574-6|chapter=David Bowie|pages=55–57}} *{{cite book|last=Spitz |first=Marc |author-link=Marc Spitz |title=[[Bowie: A Biography]] |publisher=[[Crown Publishing Group]] |year=2009 |isbn=978-0-307-71699-6 |location=New York City }} *{{cite book|last=Stratton|first=Jon|year=2008|title=Jewish Identity in Western Pop Culture: The Holocaust and Trauma Through Modernity|publisher=[[Springer Publishing|Springer]]|isbn=978-0-23061-274-7}} *{{cite book|last=Thompson |first=Dave |author-link=Dave Thompson (author) |year=2015 |title=Goldmine Record Album Price Guide |edition=10th |publisher=[[Krause Publications]] |location=Iola, Wisconsin |isbn=978-1-44024-891-7 }} *{{cite book|last=Trynka |first=Paul |author-link=Paul Trynka |year=2011 |title=David Bowie – Starman: The Definitive Biography |location=New York City|publisher=[[Little, Brown and Company]] |isbn=978-0-31603-225-4}} {{Refend|30em}} ==Further reading== *{{cite book|title=A Brief History of Album Covers|first=Jason|last=Draper|publisher=Flame Tree Publishing|location=London|year=2008|pages=138–139|isbn=9781847862112|oclc=227198538|ref=none}} ==External links== *{{Discogs master|type=album|20141|name=Diamond Dogs}} {{David Bowie}} {{Authority control}} {{DEFAULTSORT:Diamond Dogs}} [[Category:David Bowie albums]] [[Category:1974 albums]] [[Category:Science fiction concept albums]] [[Category:Dystopian music]] [[Category:EMI Records albums]] [[Category:Albums produced by David Bowie]] [[Category:Music based on Nineteen Eighty-Four]] [[Category:RCA Records albums]] [[Category:Virgin Records albums]] [[Category:Funk albums by English artists]] [[Category:Albums recorded at Olympic Sound Studios]] [[Category:Protopunk albums]]
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