David Live (CD - 1974)

Personnel: David Bowie (vocals); Earl Slick (guitar); David Sanborn (alto saxophone, flute); Richard Grando (baritone saxophone, flute); Mike Garson (piano, Mellotron); Michael Kamen (electric piano, Moog synthesizer, oboe); Herbie Flowers (bass); Tony Newman (drums); Pablo Rosario (percussion); Gui Andrisano, Warren Peace (background vocals).

Recorded live at the Tower Theatre, Philadelphia, Pennsylvania on July 12-15,

1974.

Personnel: David Bowie (vocals); Earl Slick (guitar); David Sanborn (flute, alto saxophone); Richard Grando (flute, baritone saxophone); Michael Kamen (oboe, piano, Moog synthesizer); Mike Garson (piano, Mellotron); Herbie Flowers (bass guitar); Tony Newman (drums); Pablo Rosario (percussion); Warren Peace, Gui Andresano (background vocals).

During the supporting tour for 1974's Diamond Dogs, David Bowie shifted away from the arch camp of glam rock and turned toward a highly stylized variation of Philly soul -- a transition captured on the 1974 double live album, David Live. It's an interesting idea for a record, and certainly one that's fascinating as a historical footnote, but David Live winds up as one of the true failures in Bowie's catalog, one of the few records in his catalog that's a genuine chore to sit through from beginning to end. Part of the problem is inherent to any live Bowie LP: his concerts are equal parts visual spectacle and musical concert, so having just the aural portion of the show misses a crucial part of the story. Another part of the problem is that the soul reworkings of Ziggy Stardust, Aladdin Sane, and Diamond Dogs material is intriguing conceptually, but the execution, at least on this record, is awkward and ham-fisted, nowhere near as sleek and sexy as the subsequent Young Americans and, especially, Station to Station albums. And that points out the real problem with David Live -- the performances are stilted, lacking energy, and often degenerating into bland groove-oriented vamps. It doesn't help that the recording is lousy and that no amount of aural tweaking -- whether on Rykodisc's 1991 CD reissue or Virgin's expanded 2005 reissue, which is heavily remixed by its original producer Tony Visconti -- can change the fact that this is a flat, colorless experience. [The 1991 Rykodisc edition tacks on a number of bonus tracks at the end of the disc rather than insert them into the running order, which the 2005 Virgin edition thankfully did.] ~ Stephen Thomas Erlewine

The supporting tour for Diamond Dogs was supposed to be a theatrical extravaganza, yet as he headed out on the road, David Bowie became infatuated with Philly soul and changed his entire approach to reflect his new interest, as well as his backing band in the process. As a result, the double-album David Live captures Bowie in transition, as he moves from glam rock to plastic soul. The set list draws heavily from Ziggy Stardust-era songs, yet there are a few surprises, like a stilted cover of "Knock On Wood" and an inspired version of "All the Young Dudes," a song Bowie gave Mott the Hoople. Since Bowie's attempts at soul are a little awkward at this stage, David Live is primarily of interest as a historical document, yet there's enough good material to make it worthwhile for fanatics. ~ Stephen Thomas Erlewine

When David Bowie recorded what became DAVID LIVE at Philadelphia's Tower Theatre in July 1974, he had fully made the leap from Ziggy Stardust and landed feet-first into the shoes of the Thin White Duke. Despite announcing his retirement from live performance the year before, Bowie seemed no worse for wear fronting a ten-piece directed by future LETHAL WEAPON composer Michael Kamen and featuring new guitarist Earl Slick and horn player David Sanborn. This 2-CD set finds the chameleonic performer mixing in Ziggy-era classics such as "Rock 'N' Roll Suicide" with material from DIAMOND DOGS ("Rebel Rebel," "1984"), ALADDIN SANE ("Cracked Actor") and HUNKY DORY ("Changes"). The fullness of the horn section and the style of his back-up band give this set a soulful tilt powered by Slick's ballsy playing. This, along with a cover of the Stax nugget "Knock On Wood," pointed at Bowie's immersion in a Philly soul direction that emerged full-fledged on YOUNG AMERICANS. minimize