I recently listened to pic related. It's probably the most coherent concept album I've ever listened to...

I recently listened to pic related. It's probably the most coherent concept album I've ever listened to. Each track seems like a number in some grand dystopian Broadway show, I passively imagine imagery as listening to the album. Is gud

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>most coherent concept album I've ever listened to
listen to The Wall

I understand, but for DD it seems that it's strong in the sense that every song is best used within the context of the album, where The Wall still (at least for me) shake the feeling of being song after song rather than one narrative.

*can't shake

What are you talking about, Rebel Rebel is only loosely connected to the kind of androgynous proto-punk vision and Rock and Roll With Me is completely unrelated. The whole Sweet Thing suite is also not really related and more about Bowie's disillusionment with fame and his drug habit.

YOOOUNNNGGGG GGGGUUURRRRRRLLLLLLLLLLLLLLLLLLLLLL THEY CALL THEM THE DAMOND DDOOOHOGGGSSS

This is one of my favorite albums of all time. Give it a listen! I think you'll like it, given that you like Bowie and concept albums.

yes but rebel rebel to sweet thing creates this sense of intoxicating blasphemy, due to the themes of the album relating back to 1984. To commit the things described go beyond thought crime, and in that narrative go beyond the consequence of murder. That justifies and segways into We are the Dead after the reprise.

Every song on The Wall has a connectin to the narritive you dummy. You don't understand The Wall at all

Of course, it is a concept album. I just don't feel like the songs support the flow of the narrative as well as DD does.

That just means it has a great flow and feels coherent, I agree but the concept isn't that overarching or thoughtful in my opinion. Glad that you like it so much though man.

Name the songs that don't support the narrative and I will tell you why you are wrong.

1984 is the best song on the album, prove me wrong.

>said the flow of the narrative, not the narrative itself
Look at it this way, DD feels like a Broadway show, where The Wall feels like an episodic series.

Okay that makes sense.

Its a damn great one. It feels like the massive number right after intermission that immediately reels you back in.

That's because the album was originally intended to be a staged musical of Orwell's 1984. Bowie couldn't secure the rights and had to tweak it a bit. His concepts for the set still made it into the Diamond Dogs touring show.

I think We Are The Dead is criminally underrated.

But no, 1984 is easily the worst song on the album.

YOU GOT TASTES, MY FRIEND.

GOOD GOOD TASTES.

You're my new favorite.

>thatpic
hmmmmmmmmmmmmm

I'm glad someone else on Sup Forums is giving it some love. Been my favorite album for years, especially by concept. I love Rock Opera bullshit, and I love Bowie, and I love Orwell, and I love cyberpunk (Which it, ostensibly, was before cyber or punk). It's like it was tailor made for me.

I've always read it as trying to live, survive, find love, and love in a grungier, more violent version of 1984, half of it being from the perspective of Big Brother himself. A lot of it can be taken that way, or taken as individual songs, as the guy way up top said; Rebel Rebel immediately seems disconnected, but then Word on a Wing seems like a love song at first. Bowie often played with and loved double meaning, and it absolutely reads like it, and it's absolutely brilliant.

Alternate Candidate is also fantastic, if the most obviously personal songs he ever wrote. Fantastic B-side.

Dunno if it's the best, but it's one of his best, very underrated.

We Are The Dead is stupidly underrated. That said, 1984 doesn't take that. By far it'd be Rock N' Roll With Me, which has grown on me so, so much since the first listen.

Rebel Rebel is obviously a great pop single, but I think it does work well in the context of the album, especially as a parallel to We Are The Dead. Rebel Rebel in my opinion paints the stage for a comfortable upper class in this dystopia. Despite the horror of the underclass, the tyranny of Hunger City benefits a segment of society who can still enjoy the luxury of teenage rebellion. We are the dead is someone of privilege coming to the realization that their lifestyle is destructive and oppressive to others.

Oh wow, I knew he had to change the album due to rights, but had no idea it was to be a show. What a wasted opportunity.

OP here. Can we talk about this travesty? youtu.be/VAoofSjaJgE
Ive only listened to the album really twice, but I read We are the Dead as the head being pulled back out of the clouds (set up by rebel rebel and rock and roll with me) back into the dystopian reality, with the weight of what they've "committed" finally hitting. Then again I haven't read all the lyrics though.

I am so god damn happy everyone is talking about my favorite Bowie album. It's just making me so giddy.


>That was the real single version released....
What the hell.... There's no way that's real.

Yeah, that's a little different from how I see it, but damn that makes a lot of sense. Just as there were a form of "rebels" in 1984, albeit controlled opposition, I kind of feel that it switches perspectives halfway through. Diamond Dogs is the stage-setter, and the Sweet Thing suite sets it up like it's from Big Brother's perspective. He lost a lot, turned into a politician, and got to where he was.

I see Rebel Rebel, with the way it feeds DIRECTLY in (Which is totally overlooked, I feel), that it's a kind of mirror, some young bastard like he used to be living under his reign and "rebelling." I feel like the rest of the album is him dealing with that, trying to love someone (Much like Winston in the novel), and then being on the run. The end is obviously him getting caught.

I fucking love this album.

Yeah, man. He even sort of prototyped it as a variety show between Ziggy and the full tour, still looking half there. That's what the "Halloween Jack" sort of look was. Look up the 1980Floor show, or something like that, however it's particularly written.

Hot damn, I know. It grows on you, and he did it like that live a couple times and it's MUCH better, but I'd still take the original every day.

What do you think of the version off Reality?

Yeah the fucked up part of that recorded version I really think is in the production, not the new vocals. I haven't heard the reality version.

Yeah it's great, the history of the album alone is enough to invite discussion, much less it just being a great album. But I also was floored when I heard the US single version, I couldn't believe that was real.

Reality version is ok.
Nothing special.

Not worth getting the deluxe version of Reality and making 'Disco King' not the ending track, that's for sure.

It sounds like a 70s car chase
Which is awesome

>It's real
>And Bowie mixed it that way

J.F.C. this is the worst editing of a Bowie song I've ever heard and he greenlit it? That's...surprising as hell.

Kinda this honestly. It's also probably the biggest and most grand song on the album.

I agree with both of you. Check the 1984/Dodo mix, it's even grander and I honestly think it should have been on-album, but hey.

Anyone else here love Candidate(demo)?

The candidate Demo I love even more than the used version of Candidate.

(Though I love both).

Here's my ratings for the Diamond Doggy tracks.

Thoughts?

Agreed. I said it earlier, it's like the most overtly personal song he ever wrote, and it's a fucking great song in its own right. I don't know if it would have fit where Candidate did, but I love it as a song and listen to it frequently. There's something about it that really resonates with me.

>most overtly personal song he ever wrote
Now THAT I didn't know. I love it but it didn't seem 'personal' to me per say.

Well, I mean, it isn't like "I'M DAVID BOWIE AND HERE'S MY FEELINGS" but the lyrics about the typhoon, the opening, all of it can be read to be pretty directly about him. He usually wrote about experiences or ideas or stories, very rarely just about himself.

>concept albums
You might check out pic related.

Americana style retelling of wizard of Oz with some slight hip hop thrown in.
>Twist by The Wiyos

I also wanted to add that this is the ONLY time I've ever enjoyed a 'totalitarian future' story. This is the only enjoyable one I've ever sat through in my life.

Other apocalypse stories just show misery and destruction and occasionally dead children.

THIS one is just a fun coke-filled party that I kinda wanna go to!

DD is the last good Bowie studio album imho.

No idea why you're so shocked. That version is much more radio friendly than the one that ended up on the album.

The mixing is pretty bad, desu, especially those annoying reverse backing vocals throughout the song

Besides, the original would have done fine.

>not liking Blackstar

Why don't you Just Dance all over his grave while you're at it?

Diamond Dogs is a killer album honestly. The song has some kick ass guitar playing, I can barely believe Bowie was the one playing.

It makes me sad because every time I've heard any song from that album being played live, it's a fucking shitshow. Either the guitar player is shit and isn't playing it properly or the rest of the band isn't into the song as much as bowie, or Bowie completely changes the live version.

Examples, please.

I just listened to it for the first time, and goddamn it's fantastic.

youtube.com/watch?v=r79wNk47AW8
First hit on youtube. he does the intro pretty okay but as he transitions to the verse he completely fucks it up by barely touching the strings and it just kills the entire vibe of the song
not to mention that he's not even playing as it is on the album.

Well it's not as good as the album version, of course, but still...It's not bad.

I get where you're coming from, it's generally messy, and I care for nuances like that too. That's fine.

I will say that I think this one's great. He was at the absolute top of his fucking live game as the Thin White Duke, and this is probably my favorite version of it.

youtu.be/9ZPhDo6bFzQ