"I don't know where I'm going from here, but I promise it won't be boring." —​David Bowie

The talent that lay behind the monochrome eyes of David Bowie was not just his obvious gift for creating memorable songs, it was in fact his unique view of life and existence that separated him from us. Sometimes he did not always hit the intended mark, however when he did he rose above not only decipherable genres of music but art itself. This factor is omnipresent in his 1974, flamboyant and deadly Diamond Dogs (24 May 1974).

This post-apocalyptic nightmare, was Bowie’s breakaway album from the Spiders from Mars. It was essential that the Spiders imploded for Bowie to push forward into new areas, this was his cut and run from glam rock and his Ziggy Stardust foil, guitarist Mick Ronson. Though the album itself is a drastically different approach which had capitulated Bowie's previous work, his earlier characters of Aladdin Sane and Ziggy, though dead, still made their spectral prescience felt on moments of the album. The front cover picture of Bowie with his Ziggy-like haircut was one give away, the sci-fi subject still at the fore another, but the style had shifted dramatically as did the delivery.

Diamond Dogs is a fur covered Clockwork Orange style rampage through an abysmal futurescape of drugs, murder and sex. It drips with a steel tongued punk attitude, a proto-ambient dash of the new wave to come. The reuniting with Tony Visconti as producer was another plus in helping the albums rock conception and complicated structure, getting it to number one in the UK and the amassed critical praise that followed the album then and now.

From the unearthly opening-‘Future Legends' heralds the album as it launches with a terrifying howl. An ambient and ominous music flows in the background, Bowie's vocal in and out of phase as he talks you through the new Manhattan, now renamed Hunger City. With a macabre nursery rhyme of children's voices, monstrous sounds and finally crowd kicks in and a recording of a live audience screaming and Bowies shiver down spine opening line-"This Ain't Rock and Roll, This Is Genocide!".

Into the title track and the introduction of a new character-"Halloween Jack". With a Stones/Stooges sounding guitar, simple in its approach which makes it all the more enjoyable and relatable. "Diamond Dogs" does feature some of David Bowie's most remarkable songs, such at the infectious 'Rebel Rebel' containing his own memorable guitar lick.

Then there is the punk avant garde of ‘Sweet Thing’ and its midway segue-'Candidate' an act of brilliance in both style and lyrics. Remaining q fan favourite even today,the lyrics sang in a seedy swagger.The bisexual question compounded even more so here-"If you want it, boys, get it here thing 'Cause hope, boys, is a cheap thing, cheap thing"

The middle section ‘Candidate’ features a strong example of Bowie’s attempts at a William S.Burroughs style cut and shut lyrics. Resulting in taking random lines and phrases and putting them into some order that makes sense, here to devastating effect as a distorted guitar leads the concerto;"I'm having so much fun with the poisonous people, Spreading rumors and lies and stories they made up, Some make you sing and some make you scream!”

The original conception of Diamond Dogs was designed to be a rock opera based on the George Orwell novel '1984'. Some of the obvious elements of which still exist on the latter half of the album in the songs 'Big Brother' and of course '1984'. The refusal by the widow of George Orwell-Sonia, to let the project take fruition does not in any way detract from the greatness of the album. Suffering in a way from the similar faith of The Who and Pete Townshend's breakdown triggering 'Lifehouse', a 48 track quadruple album, aborted for the more slimline and rock friendly 'Who's Next'. Bowie, in this case took it on the chin and thankfully continued to create the album.

The coke fueled assault, the music as an art form with a midas touch had came to fruition once again, another classic to add to canon of excellence David Bowie was building. More controversy via the cover this time instead of the subject matter. The album cover released as a gatefold image by Belgian painter Guy Peellaert, the front, Bowie-Ziggy like, resting whilst the back cover revealing that Bowie had the body of a dog, complete with a prominent penis. Some airbrushing rendering Bowie's canine groin smooth and blank. This risqué cover was quickly withdrawn, instantly becoming a collectors item.

The tour for the album, the most elaborate so far,a little over a million (nowadays) per set. With a stage itself a replica of 'Hunger City', along with the elaborate stage props. After two months of rehearsals, the tour kicked off in June 1974,running until August while the month was taken off. Bowie worked on his next skin shedding project, his plastic soul era.When the tour resumed the set was scrapped,the tour name changed to 'The Soul Tour', although the 'Diamond Dogs' era was over as quick as it started, the songs remained in his set, the idea and direction of his next project-Young Americans.

DISCOGS

On this day, 36 years ago, Nitzer Ebb released their 3rd single ‘Let Your Body Learn’ (NEP3, 23 May 1986) through their own label Power Of Voice featuring 'Get Clean' as b-side. 'Let Your Body Learn' was re-released by Mute Records (EU) and Geffen Records (US) in April 1987 with different track-lists and variating artwork, preceding their cult album to be, That Total Age on Mute Records (1987).

Let Your Body Learn (Original 12” - 1986 NEP3 - tracklist)

A. Let Your Body Learn
B. Get Clean

Let Your Body Learn (Lyrics)

Fast beat the feet
Fast fall the hands
Fast beat the feet
Fast fall the hands

Meld in the music
The music of drums
Meld in the music
The music of drums

Choose the fast beat
Choose the hard line
Choose the fast beat
Choose the hard line

Try to show us one better
Not sick to the heart
Not calling with flesh
Suffer little children
Suffer little children
Suffer little children
Written in pain

Boys at one
Girls at peace
Boys at one
Girls at peace
Boys at one
Girls at peace
Boys at one
Girls at peace

Fast beat the feet
Fast fall the hands
Fast beat the feet
Fast fall the hands

Hold onto rhythm
The music of drums
Hold onto rhythm
The music of drums

The pulse is alive
Making me sane

Let your body learn
Let your body build
Let your body learn
Let your body build

Suffer little children
Suffer little children
Suffer little children
The pulse is alive

Fast beat the feet
Fast fall the hands

Boys at one
Girls at peace
Boys at one
Girls at peace
Boys at one
Girls at peace
Boys at one
Girls at peace

Freedom from fear
Giving release
Freedom from fear
Giving release
Giving release
Giving your heart

Fast beating feet
Fast falling hands
Fast beating feet
Fast falling hands
Fast beat the feet
Fast fall the hands

Choose
Fast beat the feet (learn)

Choose
Fast beat the feet (learn)

Feel

Choose

Let your body learn
Let your body build
Let your body learn
Let your body build

Choose

Learn

Build

Choose

Learn

Build

Choose

Learn

Build

Choose

DISCOGS

On this day, 41 years ago, Siouxsie And The Banshees released the single 'Spellbound'. It was released on 22 May 1981 by record label Polydor as both 7" and 12" and was the first single from the band's fourth studio album, Juju.

The single peaked at number 22 on the UK Singles Chart in 1981 and also reached 64th position on the U.S. National Disco Action Top 80 chart.

The 12" extended version of the song appeared for the first time again on the 2006 remastered version of Juju.

Spellbound (Lyrics)

From the cradle bars
Comes a beckoning voice
It sends you spinning
You have no choice
You hear a laughter
Cracking through the walls
It sends you spinning
You have no choice
You hear laughter
Cracking through the walls
It sends you spinning
You have no choice
Following the footsteps
Of a rag doll dance
We are entranced

Spellbound

Following the footsteps
Of a rag doll dance
We are entranced

Spellbound
Spellbound
Spellbound
Spellbound
Spellbound
Spellbound
Spellbound

And don't forget
When your elders forget
To say their prayers
Take them by the legs
And throw them down the stairs
When you think
Your toys have gone berserk
It's an illusion
You cannot shirk
You hear laughter
Cracking through the walls
It sends you spinning
You have no choice
Following the footsteps
Of a rag doll dance
We are entranced

Spellbound

Following the footsteps
Of a rag doll dance
We are entranced

Spellbound
Spellbound
Spellbound
Spellbound

Spellbound
Spellbound
Spellbound
Spellbound

Following the footsteps
Of a rag doll dance
We are entranced
Following the footsteps
Of a rag doll dance
We are entranced

Entranced, entranced
Entranced, entranced
Entranced, entranced

Songwriters: Steven Severin / Susan Janet Ballion / Peter Edward Clarke / John Alexander Mcgeoch

Spellbound 7"

A. Spellbound 3:19
B. Follow the Sun 2:49

Spellbound 12"

A. Spellbound (Extended) 4:40
B1. Follow the Sun 2:49
B2. Slap Dash Snap 3:42

DISCOGS

On this day, 44 years ago, Kraftwerk released their iconic album The Man-Machine or Die Mensch-Maschine as the original german pressing was called. The Man-Machine is Kraftwerk’s seventh studio album and was released on 19 May 1978 by their own label Kling Klang. A further refinement of their mechanical style, the album saw the group incorporate more danceable rhythms and less minimalistic arrangements. It includes some of Kraftwerk’s best known singles ‘The Model’ and ‘The Robots’.

In Germany the album peaked at the 12th position in the Offizielle Album Top 100 and reached the 26st position in the German Offizielle Top 100 year-end album charts. The first German pressing was on red vinyl.

In the UK the albums took a slow start, peaking at the 9th position of the UK Albums Chart only 8 months later in February 1982, making The Man-Machine Kraftwerk’s band's second highest-peaking album in the United Kingdom since Autobahn (1974).

The Man-Machine was certified gold by the British Phonographic Industry (BPI) on 15 February 1982, denoting shipments in excess of 100,000 copies.

The Man-Machine is the first Kraftwerk album to have Karl Bartos co-credited as a composer along with Ralf Hütter and Florian Schneider. Emil Schult co-wrote the lyrics for 'The Model'. AllMusic described the album as "closer to the sound and style that would define early new wave electro-pop", and noted its "feel of a divided concept album", with some songs (such as the title track and 'The Robots') exploring the science fiction-esque links between humans and technology", and others (such as 'Neon Lights' and 'Metropolis') celebrating “the glamour of urbanization.

The artwork for the cover was produced by Karl Klefisch, based on the work of the Russian suprematist El Lissitzky. The back cover image is an adaptation of a graphic from Lissitzky's book for children About Two Squares: A Suprematist Tale of Two Squares in Six Constructions.[9][10]

Reviewing the album in 1978, NME stated: "The Man-Machine stands as one of the pinnacles of 70's rock music", adding that "the sparsity of the lyrics leaves the emphasis squarely on those robot rhythms, chilling tones and exquisite melodies."

AllMusic wrote that the album is "less minimalistic in its arrangements and more complex and danceable in its underlying rhythms" than the group's previous works, and noted its "tremendous impact" on subsequent synth-pop artists.

In October 2009, a remastered edition of the album was released on CD and digitally by Mute Records (EU) and by Astralwerks (US) United States, followed shortly after by heavyweight vinyl editions.

DISCOGS

On this day, 32 years ago, British post-punk band Wire released their 7th studio album Manscape (15.05.1990). It was produced by David M.Allen (who, amongst others, produced various albums of The Cure and The Sisters Of Mercy's First Last And Always) and introduced even more the use of electronic instruments than on Wire's previous albums. Almost all bass and drums were sequenced and even-though Wire drummer Robert Gotobed co-composed all tracks on this album he didn’t join them on stage during the 1990 promotional tour.

Upon release the album was received with mixed feelings by music critics mainly because Wire pretty much abandonned the whole rock-band setup switching primarily to synthesizers but, according to some critics, lacked to put them to great use.
The original vinyl release has a significantly different running order and omits "Life in the Manscape", "Stampede" and "Children of Groceries".

Manscape UK Vinyl Version (STUMM 80)

1. "Patterns Of Behaviour"
2. "Goodbye Ploy"
3. "Morning Bell"
4. "Small Black Reptile"
5. "Torch It!"
6. "Other Moments"
7. "Sixth Sense"
8. "What Do You See? (Welcome)"
9. "Where's The Deputation?"
10. "You Hung Your Lights In The Trees / A Craftsman's Touch"

Manscape CD version (CDSTUMM 80)

1. "Life in the Manscape" – 3:28
2. "Stampede" – 4:35
3. "Patterns of Behaviour" – 4:33
4. "Other Moments" – 3:50
5. "Small Black Reptile" – 3:14
6. "Torch It!" – 7:31
7. "Morning Bell" – 4:22
8. "Where's the Deputation?" – 3:51
9. "What Do You See?" (Elvander, Gilbert, Gotobed, Lewis, Newman) – 6:47
10. "Goodbye Ploy" – 3:50
11. "Sixth Sense" – 4:19
12. "Children of Groceries" – 3:03
13. "You Hung Your Lights in the Trees/A Craftsman's Touch" – 10:03

All tracks written by Bruce Gilbert, Robert Gotobed, Graham Lewis and Colin Newman, except as indicated.

DISCOGS