BOWIE 'DIAMOND DOGS' FIRST PRESS RCA 'CPL-10576 1S A1' 1974 DYNALFEX GATEFOLD

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BOWIE 'DIAMOND DOGS' FIRST PRESS RCA 'CPL-10576 1S A1' 1974 DYNALFEX GATEFOLD
DAVID BOWIE "DIAMOND DOGS" LABEL: RCA VICTOR CPL-10576 RELEASED: MAY 24 1974 EDITION: FIRST U.S. PRESSING CPL-10576 ~ GATEFOLD ORANGE DYNAFLEX ~ '0698' PRICE CODE ON SPINE RECORDING COMPANY: RCA CORPORATION LACQUER CUTTING: STERLING SOUND PRESSING: RCA RECORDS PRESSING PLANT INDIANAPOLIS ('I' IN MATRIX) PRIMARY RECORDING: STUDIO L LUDOLF ~ HILVERSUM HOLLAND OTHER RECORDING: OLYMPIC, TRIDENT & ISLAND STUDIOS ~ LONDON PRODUCER, ARRANGER & MIXER: DAVID BOWIE COVER ART: GUY PEELIAERT ENGINEER: KEITH HARWOOD' MATRIX (SIDE A): CPL-10576-A 1S STERLING I A1 MATRIX (SIDE B): CPL-10576-B 2S STERLING I A2
CONDITION:  VINYL STRONG VG+   JACKET EX-

I've been going thru my massive vinyl record collection these past few weeks and pulling out some LPs that I thought that someone else would want for their collection. I've been collecting records for over 45 years and it's time to pass some of them on to the next generation of collectors.
This week on EBay I am offering up this 1974 First U.S. Pressing of David Bowie's classic "Diamond Dogs." 
This is my original copy, purchased back in the mid 70's, shortly after it's release, that I've taken great care of for many years. See details on Condition below.
A rare, original, First Pressing of this classic album, although with the 'censored' genitals.
This 1974 RCA Dynaflex First Pressing reveals just how deeply layered, dynamic and intense the music is. The instruments are well separated, vocals are crisp & clear, and there's a good sense of space and depth. The overall sound is warm, intimate, vibrant and dynamic. ~~~~~~~~~~~~~~~~~~ This early first pressing stills sounds amazing. 
This is an original First pressing with the early CPL1 catalog number, orange dynaflex labels, price code spine and the original, thick gatefold sleeve. 
An easy way to tell an original is that the 'flap' of the gatefold is made with double thick cardboard, all reissues have a thin gatefold, or no gatefold at all.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ No other figure in classic rock history has gone through as many varied transitions—personally, professionally and artistically—as David Bowie. Through his music, art, and fashion, Bowie constantly rebelled against societal expectations and norms. He was always in flux, bringing new ideas and new interpretations to his music. 
'Diamond Dogs' was David Bowie's eighth studio album and released in the early summer of 1974. It was his third consecutive UK chart-topper and a U.S. Top 5 breakthrough.
The album's first single "Rebel Rebel" came out in the spring of 1974, was a hit, and wetted fan's appetite for the album to follow.
Diamond Dogs was Bowie's last album in the glam rock genre. In several ways, it served as his farewell to the glam rock movement that he had been so instrumental in launching. 
Critics and musicologists called it a 'Post-glam Proto-punk" album. Bowie has called it his "protest" album.
'Diamond Dogs', like most Bowie albums, is an assemblage of styles, a montage. It still has some remnants of Glam but also has elements of Art Rock, some power-charged garage rock and sophisticated, apocalyptic ballads. It also has a feel of, then popular, Blaxploitation, funk, soul and R&B.
It is both a symphony and a cacophony. It opens with a spoken word piece and ends with the hypnotic Chant of the Ever Circling Skeletal Family. 
A strange but excellent Bowie album.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Conceived during a period of uncertainty over where his career was headed, 'Diamond Dogs' is the result of multiple influences and multiple projects he had been working on at the time.
Bowie was unsure of where to take his career next. He was realizing the superficial aspect and limits of Glam Rock, and didn't want to get trapped and defined by 'Ziggy'.
He was exploring new directions and all sorts of new ideas were floated around in the build up to Diamond Dogs. Bowie was involved in many projects around this time, producing, creating, and soaking up influences and sounds.
Bowie had spoken of his intention to mount a “full-scale rock musical” re-telling the story of Ziggy Stardust. He’d also let it be known that he was planning to write and direct a musical production of George Orwell’s Nineteen Eighty-Four, one of his favorite novels. 
Bowie was also fascinated by the dark, drug-laden, urban apocalyptic scenario described in the writings of William S. Burroughs.
'Diamond Dogs' was born from the frustration of failed opportunities. When his interest in Glam and the 'Ziggy' musical faded, and the Estate of George Orwell wouldn't give him the license to do his theatric interpretation of 1984, Bowie took a step back and started to create his own his own vision of a dystopian future world, which captured the squalor of then-contemporary London and New York, the drug-fueled anarchy of Burroughs' novels, and the futuristic concept of 'Big Brother' watching over and controlling everything.
What Bowie came up with was his concept of 'Hunger City' and started writing songs about the the instability, danger, blight, menace, challenges and rewards that a place like that would have.
In Bowie's mind, Hunger City was a dystopian, post-apocalyptic urban landscape filled with death and decay and inhabited by the 'diamond dogs', teen punks on rusty roller skates, organized in gangs, and living on the roofs of the run-down buildings and scrounging in the streets to survive.
The result is this great album.
Bowie chose to make an album uncovering and exploring the discomfort and despair of urban life. It was something most other musical artists wouldn't dare do in 1974. Most 'pop' albums of the time ignored or dismissed the problems of the cities and kept going on with themes of Girls, Love, Partying and Cars.
Bowie's album also has themes of Love, girls, and partying, just from a very different point of view. His songs have glistening shards of pansexuality, sci-fi fantasy and the Orwellian 'Big Brother is watching' theme permeates throughout.
Bowie adds Burroughs' dark themes of an underground world that No-one is watching to the mix and his characters live at the intersection of those two worlds.
'Diamond Dogs' still contains the common Bowie themes of alienation, loneliness, and despair but despite the poor living conditions, uncertain future and urban blight, Bowie's Hunger City also offers hope, opportunity, celebration and a way to survive it all.
The result is this amazing and fascinating album.
Bowie wrote the lyrics for many of the songs on Diamond Dogs using the ‘cut-up’ method popularized by the ‘beat’ writer and literary figurehead William Burroughs. Write down a bunch of themes and ideas, then cut them up into chunks and rearrange them to create a new story, with new twists and turns.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Bowie had the ideas and the songs, but he now needed a band to perform them and bring them to life.
Having famously disbanded the Spiders From Mars live on stage at Hammersmith Odeon the previous July, Bowie’s first challenge was to find new musicians.
How could he possibly fill the huge guitar-shaped hole left in his music by Mick Ronson? Bowie tried to get Ronson involved but Mick was already busy working on his own first solo album, 'Slaughter on 10th Avenue.'
Bowie then tossed around the idea of, not only producing the album, but playing every instrument himself. Reality soon prevailed and he found a new rhythm section comprising session bass player Herbie Flowers and and drummer Tony Newman, who was working with the Jeff Beck Group.
Pianist Mike Garson and drummer Aynsley Dunbar, who had both contributed to the 'Pin Ups' sessions, were also brought in.
Alan Parker, from the UK band Blue Mink, was chosen to add some extra guitar on the 'hits' "1984" and "Rebel Rebel", although he is only credited on "1984".
Bowie's longtime buddy Geoff MacCormack, now known as 'Warren Peace', sang backing vocals.
As the last 'piece' of the band, Bowie, in a defiant display of ambition and bravado, decided that he would fully take over the guitar position himself, for the first time, and spent a lot of time and effort studying, practicing and improving his skills.
Bowie wasn't a guitar master, but his scratchy, raucous, grungy, semi-amateurish sound gave the album a unique sound and also led critics to suggest it was a sort of Proto-Punk sound. His playing is thrillingly off-kilter with unconventional chord fragments that add to the overall theme. Bowie's guitar riff on 'Rebel Rebel' is classic and timeless.
Bowie wanted to go in new directions, so he also parted ways with Trident Studios and his long time producer Ken Scott. 'Diamond Dogs' featured the return of longtime buddy, Tony Visconti, who had not worked with Bowie for several years. Visconti helped mix the album and added some arranging.
For Engineer, Bowie chose Olympic’s in-house engineer, Keith Harwood who was the Engineer on Mott the Hoople's 'All the Young Dudes' which Bowie gifted them. Harwood had also worked with the Rolling Stones and engineered Led Zeppelin's classic 'Houses of the Holy' both which Bowie loved the sound of.
With his regular producer gone, Bowie immersed himself in this project, learned many new studio techniques, and started using the Studio as an instrument.
Bowie wrote, arranged, produced and performed most of 'Diamond Dogs' all by himself. He called all shots. It's the most 'Bowie' of all his albums. Bowie himself described the album as “more me than anything I’ve done previously.” 
~~~ Bowie started to work on "Rebel Rebel" during a solo session at Trident Studios around Christmas 1973. Bowie's song "1984" was an older song, having been written during the Aladdin Sane sessions over a year earlier.
Most of the rest of the album was recorded at Olympic in January 1974.
As chance would have it, the Rolling Stones were in Olympic Studios recording their album "It’s Only Rock’n’Roll" at the same time as Bowie was working on 'Diamond Dogs'. Bowie picked up the 'feel' of the Stones' current sound and incorporated it into several songs.
Final recording sessions and polishing was done with Engineer Harwood at Ludolph Studios in the Netherlands, where the Rolling Stones were also putting finishing touches on their new LP.
Critics at the time were upset that it didn't have Mick Ronson, who was such an integral part of Bowie's previous albums, but Bowie and his new band do a fine job.
~~~~~~~~~~~~~~~~~~~~~~~~ The songs on this classic album include:
Future Legend Diamond Dogs Sweet Thing Candidate Sweet Thing (Reprise) Rebel Rebel Rock 'N' Roll With Me We Are The Dead 1984 Big Brother Chant Of The Ever Circling Skeletal Family
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 'Diamond Dogs' begins with the one-minute intro, ‘Future Legend’, which sets the apocalyptic scene of the record with Bowie’s William Burroughs inspired spoken-word narrative. It depicts an unsettling, urban apocalypse riddled with decay.
Lyrics such as “Fleas the size of rats sucked on rats the size of cats” evokes a sense of the post-apocalyptic world the listener is about to enter.
Bowie's recitation ends with the jarring proclamation: ‘This ain’t rock and roll. This is genocide!’, which then goes right into the title track.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ The song 'Diamond Dogs' introduces Bowie's latest persona, 'Halloween Jack', described as "a real cool cat" who "lives on top of Manhattan Chase" in that dilapidated urban wasteland.
Jack rules over the "diamond dogs", packs of feral kids camped on high-rise roofs, who run around and terrorize the corpse-strewn streets they live above.
The song has strange percussion, including backward cowbells, and even stranger lyrics, ("As they pulled you out of the oxygen tent/ You asked for the latest party"), which Bowie later claimed was a self-descriptive true statement. 
The 'feel' of the song, the riff and saxophone, were Bowie's inspiration from the sound of the Rolling Stones at the time.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ The best part of 'Diamond Dogs', and arguably the greatest piece of music Bowie ever produced, is the 9-minute 'suite' that lies in the middle of side one: "Sweet Thing, Candidate, Sweet Thing (Reprise)". Many fans feel that the 'suite' is the hidden gem on this album, which is more known for it's 3 popular singles.
The 'suite' features some of the most ambitious songwriting Bowie had attempted up to that point. It was originally intended to be the centerpiece for the would-be stage production of Orwell's 'Nineteen Eighty-Four', which never got made.
It's a yearning, yet chilling, slow, brooding sequence, with lyrics presented as a collage of bittersweet images and ideas. 
These songs have complex arrangements, odd tempo changes, and are highly emotional. They speak of decay, vulnerability and longing, but they also give hope, escape and delight. This is Bowie at his best. In the lyrics, he admits to being 'consumed' by the fakery of his own stage creations.
The stream-of-consciousness, William Burroughs-inspired lyrics, all done using Burrough's 'cut up and reassemble' style of writing, are strange and hypnotic ("We'll buy some drugs and watch a band, then jump in the river holding hands.")
Topically shifting from a hustler turning tricks, to a politician spewing empty promises, to Charles Manson, to cocaine’s brain-freezing bliss, the suite’s interconnected segments all show that no matter what your place is in life, you must submit to a larger, all-conquering power. Sort of the 'theme' of Orwell's 1984.
At the end of the Reprise section, which runs right into 'Rebel Rebel', Bowie plays some crunchy, screeching, overdriven guitar that many people point to as the pre-cursor of punk and grunge.
~~~~~~~~~~~~~~~~~~~~~~~~~~ Recorded in December 1973, 'Rebel Rebel' was the first song Bowie wrote for this album and it was a song that marked both the end of an era for Bowie and the jumping off point for his next project 'Diamond Dogs'. 
It was the last song that Bowie would ever record at Trident Studios in Soho where he had recorded so much of his earlier work since 1968. It was his 'goodbye' to his past and his last salute to Glam Rock.
'Rebel Rebel' was originally released as a single in the UK, months ahead of the album, and did quite well. It reached No.5 and still remains one of Bowie’s best-loved songs. 
The lyrics are as pertinent today – maybe even more so – as they were almost 50 years ago: ("You’ve got yer mother in a whirl/ 'Cos she’s not sure if you’re a boy or a girl")
Bowie was singing about his triumphs as a glam-rock artist, but also criticizing it, and how fake and superficial it all had become.
At the time, the summer of 1974, 'Rebel Rebel', along with "All the Young Dudes" were empowering Glam Rock anthems for all those who, as fellow glam rock pioneer Lou Reed put it, “fell between genders.” 
The song's main riff is a masterpiece: simple, original and instantly recognizable. It has a glorious guitar groove, a stomping beat, and that "Hot Tramp" pause in the middle is perfectly placed.
The dandy, androgynous, Glam artist was saying farewell and was now clearly a Rocker. In fact he invites his past followers to join him on his journey on the track “Rock n Roll With Me".
"Rock ‘N Roll With Me" is a slow tempo song of appreciation for his fans. The song explores the relationship between the audience and an actor. ("I’ve found the door that lets me out") he roars while describing his entrapment as a Glam artist like being 'a lizard crying in the heat,' uncomfortable in his own environment. Very Bowie-like.
The song was co-written by Bowie and his buddy Warren Peace and was Bowie's first ever co-writing credit on one of his own albums.
The song has a full, rich sound and a triumphant yet wistful chorus. It has a very soulful feel, a style that Bowie would develop more on his next album 'Young Americans'.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ "We Are the Dead" is Bowie's take on the main characters of Orwell's book, Julia and Winston, and their love for each other despite being in a dystopian world, filled with danger and uncertainty. It has an unusual, intriguing melody line, evocative of the oppressive atmosphere that the characters on the album were living in.
~~~~~~~~~~~~~~~ Side two of 'Diamond Dogs' has a few very 'theatrical' songs as well.
"Big Brother" and "Sweet Thing" are in a Weimar Germany meets New York's Broadway style that only David Bowie could do so well. They sound like they should be part of a stage musical – which is precisely what they were originally intended to be. 
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ The song "1984" is side two's signature piece, if not the centerpiece of the whole album.
Bowie reinterprets and envisions Orwell’s authoritarian state as a worldwide ghetto populated by junkies, overseen by thugs, who manipulate everyone's thoughts and actions.
Originally written for a stage adaption of the famous book that Bowie never got license to do, the song describes the book's main character Winston Smith's imprisonment, interrogation and transformation. ("They'll split your pretty cranium and fill it full of air")
The song has great, tense, string arrangements, saxophone, synthesizers, and some throbbing Wah-wah guitar.
The Funk and soul feel of the song was borrowed from both Barry White and Isaac Hayes's "Shaft." Bowie felt that the urban decay of New York, as depicted in 'Shaft', was what the future was going to be like.
This song was as a direct precursor to Bowie’s next musical phase, that of “plastic soul” which would be developed fully on 'Young Americans'
~~~~~~~~~~~~~~~~~~~~~~~~~~~~ "1984" segues into the last track on the album, the strange "Chant of the Ever Circling Skeletal Family."  The sense of impending doom on this track feels like the inevitable result of the apocalypse Bowie has described throughout the album. Halloween Jack has become surrounded by the ever circling skeletal family: he must join them, accept Big Brother's dominance and his fate, or die. 
The song is a musical chant, in odd timing, 5/4 and 6/4 time, with a crazy fuzzy distorted guitar loop and weird percussion. It's an irresistible ear worm.
On original pressings, like this one, the first syllable of the word 'Brother' (“bruh”) repeats over and over, near the end, in a "stuck-needle effect" click track. It's Bowie yelping out in distress.
It's quite startling and really grabs your attention. Then the song fades, as if to blackness or death. The tonearm just floats still for a while, silent and reflective, before finally going into the run-out grooves. A very cool and very odd effect and an interesting way to end the album.   Original early first pressings, like this one, have the appearance of the grooves pressed, thru the deadwax, all the way to the label, suggesting that Bowie intended for this song to play on forever and that the story wasn't over yet.
I have multiple early pressings of this album and that 'grooves to the label' look are only on the earliest first pressing copies.
With that startling "bru" click-track, I suspect that early listeners thought their copy was 'defective', so that section was cleaned up by RCA on later pressings and subsequent re-issues.
~~~~~~~~~~~~~~~~~~ The cover artwork of this album is another of Bowie's many 'odd' and controversial covers.
The cover art was painted by Belgian artist Guy Peellaert who had recently published 'Rock Dreams', a book full of airbrushed pictures of rock stars and musicians in odd, surreal situations.
Mick Jagger told Bowie that Peellaert was going to do their next album cover for 'It's Only Rock 'n Roll' and Bowie wanted the same artist to do his next album jacket.
Reportedly, when 'It’s Only Rock’N’Roll' was released several months AFTER 'Diamond Dogs', everyone assumed the Stones had copied Bowie. It was actually the other way around, and Mick Jagger was pissed at Bowie for years.
Guy Peellaert's cover for 'Diamond Dogs' was  based on some similar photos Bowie had earlier made of himself.
It depicts Bowie as a striking half-man, half-dog grotesque. He has his 'Ziggy' style haircut and his piercing eyes are staring straight at you, glaring at you from the painting.
He's surrounded by 2 pale, grotesque, 'female' half-dog, half human figures. A sign behind Bowie's butt says "The Strangest Living Curiosities." 
The background is a grey bleak urban landscape. Very strange, yet fitting for the content of the record. The women in the background were based on real Coney Island 'Freak Show' attractions, Alzoria Lewis ("The Turtle Girl") and Johanna Dickens ("The Bear Girl").
My favorite part of the artwork is Bowie's hands. Long, thin and spidery, but 'folded' over each other, exactly the way a lying dog does. 
The cover just has David Bowie's name listed as "Bowie" in the top left corner, like a dog's name, not as his full name.
The original artwork showed Bowie's hybrid genitalia and was very controversial. Very few copies were released (advance promo copies?) before the offending areas were airbrushed out. In 50 years of collecting vinyl, I've only seen 2 or 3 copies and doubt many exist.
~~~~~~~~~~~~~~~~~~~~~~ The album received mixed reviews from music critics on release, but retrospective appraisals have been much nicer.
Many feel that it was his best and most significant album, a pivotal work, and the most 'solo' album he has ever made.
Many claim that it's Bowie's best-sounding, and most complex record to date, and that it still pulls you into its romantic and doomed world decades later.
In 2013, NME ranked it one of the greatest albums of all time. 
In retrospect, 'Diamond Dogs' has been hailed as an influence on the punk revolution. It set the stage for a no-future future just before Punk bands took that idea much further.
Diamond Dogs was clearly Bowie's gateway from the Ziggy Stardust era to his 'Thin White Duke' blue-eyed soul period that would appear on 'Young Americans'.
While no singular Bowie album can encapsulate his uniquely diverse and multifaceted career, 'Diamond Dogs' is a great place to start. It's one of his most well balanced and all-encompassing records and a remarkably pure distillation of Bowie’s genius.
~~~~~~~~~~~~~ Overall, a great vintage Bowie record and one that belongs in your collection.
~~~~~~~~~~~~~~~~~~~~~~~ CONDITION: I tried to show good hi-resolution photos of the cover, labels and vinyl in my pictures.
I purchased this copy back in the mid 70's, 50 years ago, in Greenwich Village, on one of my regular vinyl digs in those days, and have taken great care of it since.
VINYL: The vinyl looks decent but does have some hairlines and evidence of play. No serious scuffs, palpable scratches, or dings,  but it does have some play wear. I'll call it VG+. 
The Deadwax has all the 1974 First Pressing indicators as listed above and that strange 'grooves to the label' effect I mentioned.
I tried to show some close-up pictures of the vinyl to show how good it looks. Not perfect, but I'm sure you'll be happy with it.
I haven't messed with it or cleaned it, other than my trusty 'DiscWasher' brush, in 50 years, since Nixon was in office. It could use a good deep cleaning to make it even better looking and better sounding. 
LABELS: This is pressed with the 'classic' early Orange RCA Dynaflex labels, not the much more common tan ones. 
The labels are clean and bright. No marks or damage. The spindle holes are still sharp and clean, suggesting minimal playing and my careful handling over the years.
JACKET: As you can see from my pictures, this still looks very nice for a 50 year old OG copy. 
Usually these jackets show significant wear and ringwear, but this copy looks great. 
There's some very minor shelf wear but the artwork is bold and bright, the corners are sharp, and the original gloss is still present.
The inner gatefold is clean and crisp.
The spine is straight and this First Press has the price code on the spine. A nice survivor.
This originally came with a plain white inner sleeve. Unusual for a Bowie record. It's been in a poly-lined sleeve for decades.
Overall, I'll call the whole record VG++, but a decent original pressing.
This record has been sleeved and stored properly for years, and is still quite nice for an original pressing.
You can see from my pictures it's still quite nice and acceptable. This copy is all original, and a real gem. I'm sure you'll love it.
~~~~~~~~~~~~ ** NOTE: I'm selling this rare 'Collector' record "AS IS" and "NO RETURN". It's rare and as described and I'm sure you'll be very happy with it.
~~~~~~~~~~~~~~~ I’m recently retired and downsizing and letting go some gems and rarities from nearly 45 years of vinyl record collecting. Check out the many other fantastic 45s and 33s coming soon to my page!
All records have been carefully evaluated and graded by me. I visually inspect all records under bright light, personally gently clean them with a soft cloth and then, if unsure, play them on a modern high-end turntable to get a true picture of condition. Please look at all the high-resolution pictures I added. They are all my own and are of the actual record being sold. The pictures are part of the description and can show small details, label variations, and condition better than I can put into words. 
My grading is fair and honest. I have had over 3,400 happy and satisfied EBay customers over the years, with 100% positive feedback, and I have been buying/selling on EBay for well over 25 years, so please bid with confidence!
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THANK YOU for looking and reading if you got this far.  -- JOHN