Oil Well RSC CD 057
01 Knock On Wood (3:24)
02 It’s Gonna Be Me (7:26)
03 Space Oddity (5:15)
04 Diamond Dogs (6:56)
05 Big Brother (4:04)
06 Time (5:46)
07 The Jean Genie (5:35)
08 Rock n Roll Suicide (6:16)
09 John I’m Only Dancing (Again) (8:26)
Total running time: 0:53:07
Note:
All songs by David Bowie.
Live in Los Angeles, CA - September 5, 1974 - Vol.2
Lineup:
David Bowie – vocals
Earl Slick – guitar
Carlos Alomar – rhythm guitar
Mike Garson – piano, mellotron
David Sanborn – alto saxophone, flute
Richard Grando – baritone saxophone, flute
Doug Rauch – bass
Greg Errico – drums
Pablo Rosario – percussion
Gui Andrisano – backing vocals
Warren Peace – backing vocals
Ava Cherry – backing vocals
Robin Clark – backing vocals
Anthony Hinton – backing vocals
Diane Sumler – backing vocals
Luther Vandross – backing vocals
This album is a clone of: "A portrait in flash" - Not On Label – 070459-1 CD2
This Oil Well disc is very rare, and my sources say that it was probably made in 100 copies only.
Please note that this bootleg is one of the rarest from this italian bootleg label!
An official version of the 5 September 1974 show at Los Angeles' Universal Amphitheatre, mixed by Tony Visconti in 2016, was first released as Cracked Actor (Live Los Angeles '74), a 3-LP set, for Record Store Day on 22 April 2017. The set was later released on CD and digital formats in June 2017
Audio quality:
Quality content:
© Official released material:
.Tracks 1-9 have been released officially on: Cracked Actor (Live Los Angeles '74)
__________________________________________________________
Live in Los Angeles, CA - September 5, 1974
Glamorously jamming in the ‘rock room’ today is a purported first generation soundboard recording of David Bowie and band from the 1974 ‘Diamond Dogs’ tour. Hailing from Los Angeles this recording finds Bowie in his decadent post ‘Ziggy”‘ 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 ‘Spiders from Mars’ 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 ‘Spiders’ from previous years. The ‘Mike Garson’ 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 group then screams bombastically into Bowie’s fantastically funkified version of “Knock On Wood“. While retaining the original melody, Bowie’s 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 ‘It’s Gonna Be Me‘ savored til the last drop and dynamically played with attentive filigree’s and whispered punctuations by the assembled band. A previously unreleased track from Bowie’s ‘Young American’s album, ‘It’s Gonna Be Me” is lyrically epic and musically transparent. A peak of the performance. The saxophones wail and the piano johnny apple-seed’s hearty peeling glissando’s as Bowie is reaches into thick liquid
night for momentous vocal displays. A tremendous display of Bowie’s own brand of cosmic glitter R and B, spotlighting his intimate and dynamic vocals. Wow. But wait, there’s more! Another pair of songs from ‘Diamond Dogs’ follows when ‘Big Brother‘ segues into ‘Chant of the Ever Circling Skeletal Family’. ‘Big Brother’ spies through keyholes and from fire escapes, peering into Bowie’s window vision of brainwashing and reflection, based on George Orwell’s novel 1984. ‘Big Brother’ is a slinky macabre version the breaks into a ‘rag time’ interlude which then leads to the brief but deliciously strange and tribal ‘Skeletal Family’. Sound effects straight from the LP again blend the songs together as Bowie begins in my opinion one of his finest musical moments.
‘Time‘ begins a slight burlesque ditty, but becomes a distorted guitar epic…..classically Bowie. Bowie’s lyrics, a statement on the inevitability of time’s 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 ‘Lai Lai’s 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 ‘Jean Genie‘ under their respective heeled boots with an intensity harkening back to the previous ‘Ziggy’ tour. There is an explosive middle and smoking conclusion of the tune where the ‘Mike Garson’ 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 ‘Ziggy Stardust and the Spiders from Mars’ LP, “Rock and Roll Suicide‘. Also featured on the live LP representation of the tour ‘David Live’, 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 ‘chanteur’ 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 ‘characters’ were changing.
The concert concludes with the single 7' release ‘John, I’m Only Dancing‘ 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. ‘Dancing’ includes glimpses into Bowie’s personal preferences, a sampling of his musical head at the time, a diverse instrumentation, and a intense arrangement that leaves the crowd wanting more.
Universal Amphitheater, Los Angeles, CA – September 5th, 1974
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 ‘Diamond Dogs’ that created the pallet for his new direction. The official LP release ‘David Live’ 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 ‘thin white duke’ 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.
The Los Angeles shows in September were a compromise for David Bowie. Starting the second half of the Diamond Dogs tour, he had already made another style shift to Philadelphia Stax soul. Working on the new album Young Americans, he wanted to ditch the overproduced stage production and replace it with a stripped down soul revue. But Los Angeles, with many celebrities in attendance, wanted to see the production Diana Ross, Michael Jackson, Bette Midler, Elizabeth Taylor, et al. Bowie played the show at the Universal Amphitheater September 2nd, 3rd, 4th, 5th, 6th, 7th and 8th.
The excellent audience recording of the September 5th show first surfaced on the 2LP Strange Fascination (A LOMART PRODUCTION C DB A/B). It has the complete concert except the 10 minute intro, the beginning of “All The Young Dudes” and the voice of the promoter after the show is missing. The vinyl was copied onto silver disc the same year on Strange Fascination (BOW1/2).
A Japanese release Strange Fascination (The Original Masters TOM CD 1 /2) is complete with the introduction and outro. in 1991 Live In Los Angeles 1974 Part 1 and Live In Los Angeles Part 2 (Super Golden Radio Shows No 011/012) came out in Italy as did The Duke Of L.A. (Papillon Records CD 010/2). 1974 on BOW also came out in 1991. It contains the complete show including intro and outro as well as the strange beginning of “All The Young Dudes.” It has excellent sound quality and, in the twenty years since its release, hasn’t really been improved in any way.
Audio quality:
Quality content:
© Official released material:
.Tracks 1-9 have been released officially on: Cracked Actor (Live Los Angeles '74)
__________________________________________________________
Glamorously jamming in the ‘rock room’ today is a purported first generation soundboard recording of David Bowie and band from the 1974 ‘Diamond Dogs’ tour. Hailing from Los Angeles this recording finds Bowie in his decadent post ‘Ziggy”‘ 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 ‘Spiders from Mars’ 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 ‘Spiders’ from previous years. The ‘Mike Garson’ 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 group then screams bombastically into Bowie’s fantastically funkified version of “Knock On Wood“. While retaining the original melody, Bowie’s 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 ‘It’s Gonna Be Me‘ savored til the last drop and dynamically played with attentive filigree’s and whispered punctuations by the assembled band. A previously unreleased track from Bowie’s ‘Young American’s album, ‘It’s Gonna Be Me” is lyrically epic and musically transparent. A peak of the performance. The saxophones wail and the piano johnny apple-seed’s hearty peeling glissando’s as Bowie is reaches into thick liquid
night for momentous vocal displays. A tremendous display of Bowie’s own brand of cosmic glitter R and B, spotlighting his intimate and dynamic vocals. Wow. But wait, there’s more! Another pair of songs from ‘Diamond Dogs’ follows when ‘Big Brother‘ segues into ‘Chant of the Ever Circling Skeletal Family’. ‘Big Brother’ spies through keyholes and from fire escapes, peering into Bowie’s window vision of brainwashing and reflection, based on George Orwell’s novel 1984. ‘Big Brother’ is a slinky macabre version the breaks into a ‘rag time’ interlude which then leads to the brief but deliciously strange and tribal ‘Skeletal Family’. Sound effects straight from the LP again blend the songs together as Bowie begins in my opinion one of his finest musical moments.
‘Time‘ begins a slight burlesque ditty, but becomes a distorted guitar epic…..classically Bowie. Bowie’s lyrics, a statement on the inevitability of time’s 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 ‘Lai Lai’s 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 ‘Jean Genie‘ under their respective heeled boots with an intensity harkening back to the previous ‘Ziggy’ tour. There is an explosive middle and smoking conclusion of the tune where the ‘Mike Garson’ 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 ‘Ziggy Stardust and the Spiders from Mars’ LP, “Rock and Roll Suicide‘. Also featured on the live LP representation of the tour ‘David Live’, 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 ‘chanteur’ 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 ‘characters’ were changing.
The concert concludes with the single 7' release ‘John, I’m Only Dancing‘ 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. ‘Dancing’ includes glimpses into Bowie’s personal preferences, a sampling of his musical head at the time, a diverse instrumentation, and a intense arrangement that leaves the crowd wanting more.
Universal Amphitheater, Los Angeles, CA – September 5th, 1974This 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 ‘Diamond Dogs’ that created the pallet for his new direction. The official LP release ‘David Live’ 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 ‘thin white duke’ 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.
The Los Angeles shows in September were a compromise for David Bowie. Starting the second half of the Diamond Dogs tour, he had already made another style shift to Philadelphia Stax soul. Working on the new album Young Americans, he wanted to ditch the overproduced stage production and replace it with a stripped down soul revue. But Los Angeles, with many celebrities in attendance, wanted to see the production Diana Ross, Michael Jackson, Bette Midler, Elizabeth Taylor, et al. Bowie played the show at the Universal Amphitheater September 2nd, 3rd, 4th, 5th, 6th, 7th and 8th.
The excellent audience recording of the September 5th show first surfaced on the 2LP Strange Fascination (A LOMART PRODUCTION C DB A/B). It has the complete concert except the 10 minute intro, the beginning of “All The Young Dudes” and the voice of the promoter after the show is missing. The vinyl was copied onto silver disc the same year on Strange Fascination (BOW1/2).
A Japanese release Strange Fascination (The Original Masters TOM CD 1 /2) is complete with the introduction and outro. in 1991 Live In Los Angeles 1974 Part 1 and Live In Los Angeles Part 2 (Super Golden Radio Shows No 011/012) came out in Italy as did The Duke Of L.A. (Papillon Records CD 010/2). 1974 on BOW also came out in 1991. It contains the complete show including intro and outro as well as the strange beginning of “All The Young Dudes.” It has excellent sound quality and, in the twenty years since its release, hasn’t really been improved in any way.
Since its release there have been several other releases. In 1995 came Cracked Actor (Oil Well RSC CD 056)and Big Brother (Oil Well RSC CD 057), copies of the two Live In Los Angeles 1974 titles from 1991. An Australian version came out in 1996 called A Portrait In Flesh (RCA 070459-1) and a faux official label. A couple songs are included on the 2002 compilation Legendarios Del S. XX (DISQUERIA 80.048 SGAE 70.126 SGAE 70127) and copied the following year on Seleccion 5 Estrellas (ESTADIO POR SEND MUSIC 85.049 70.126/70.127).
The tape starts with a ten minute long pre-taped introduction. Without visual reference the dog barks and other noises are lose their meaning. The funk “1984” gets the show off with much energy and is the start of almost forty minutes of continuous music. The opening is followed by another new song from Diamond Dogs “Rebel Rebel,” one of Bowie’s big hits at the moment. The Ziggy track “Moonage Daydream” is given a radical reinterpretation compared to the earlier live arrangements. The loss of Mick Ronson’s fiery guitar is compensated by a loud saxophone section, keyboards, Carlos Alomar’s guitar, and a Brechtian instrumental interlude.
Another new song “Sweet Thing” provides one of the early highlights of the show and segues into a slower arrangement of “Changes.” Only after “Aladdin Sane” does Bowie actually address the crowd. Speaking in a thick Scottish accent, he praises the women’s dresses and high heel shoes “and walk around not fall down.” He continues speaking in this accent through “All The Young Dudes.”
He continues his Scottish accent in the introduction ot the cover tune “Knock On Wood.” The dramatic highlight of the show occurs with “Space Oddity,” “Diamond Dogs,” “Big Brother,” and “Time.” Bowie plays the newer songs in a curious position with the older songs from “The Jean Genie” from Aladdin Sane and “Rock ‘n’ Roll Suicide” from Ziggy.
1974 contains one of the most vivid recordings from David Bowie’s Diamond Dogs tour and is certainly worth having. The packaging and artwork (featuring pictures of Bowie from the show singing “Cracked Actor” on the front and “Space Oddity” on the back) is simple, very much a product of its times. However, the sound is great and it is readily available and a good way to obtain the show.
https://www.collectorsmusicreviews.com/bowie-david/david-bowie-1974-bow-741742/
Download
https://mega.nz/#F!VHYF2AQA!obR9Op1jduLNpXZpvg2KPg
The tape starts with a ten minute long pre-taped introduction. Without visual reference the dog barks and other noises are lose their meaning. The funk “1984” gets the show off with much energy and is the start of almost forty minutes of continuous music. The opening is followed by another new song from Diamond Dogs “Rebel Rebel,” one of Bowie’s big hits at the moment. The Ziggy track “Moonage Daydream” is given a radical reinterpretation compared to the earlier live arrangements. The loss of Mick Ronson’s fiery guitar is compensated by a loud saxophone section, keyboards, Carlos Alomar’s guitar, and a Brechtian instrumental interlude.
Another new song “Sweet Thing” provides one of the early highlights of the show and segues into a slower arrangement of “Changes.” Only after “Aladdin Sane” does Bowie actually address the crowd. Speaking in a thick Scottish accent, he praises the women’s dresses and high heel shoes “and walk around not fall down.” He continues speaking in this accent through “All The Young Dudes.”
He continues his Scottish accent in the introduction ot the cover tune “Knock On Wood.” The dramatic highlight of the show occurs with “Space Oddity,” “Diamond Dogs,” “Big Brother,” and “Time.” Bowie plays the newer songs in a curious position with the older songs from “The Jean Genie” from Aladdin Sane and “Rock ‘n’ Roll Suicide” from Ziggy.
1974 contains one of the most vivid recordings from David Bowie’s Diamond Dogs tour and is certainly worth having. The packaging and artwork (featuring pictures of Bowie from the show singing “Cracked Actor” on the front and “Space Oddity” on the back) is simple, very much a product of its times. However, the sound is great and it is readily available and a good way to obtain the show.
https://www.collectorsmusicreviews.com/bowie-david/david-bowie-1974-bow-741742/
Download
https://mega.nz/#F!VHYF2AQA!obR9Op1jduLNpXZpvg2KPg
Nessun commento:
Posta un commento