Who Can I Be Now_ [1974 - 1976].pdf

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WHO CAN I BE NOW ?
[ 1974 – 1976 ]
DIAMOND DOGS
Released on RCA APLI 0576 (U.K.) / CPLI 0576 (U.S.) on 31st May, 1974.
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
— All songs written by
DAVID BOWIE
except
‘ROCK ‘N’ ROLL WITH ME’
written by
DAVID BOWIE
and
WARREN PEACE.
—
All songs published by North America - Jones Music America (ASCAP) administered by ARZO Publishing, Colgems-EMI Music, Inc. (ASCAP) o/b/o EMI Music
Publishing Ltd., Chrysalis Music (ASCAP). Rest of World - Jones Music America/RZO Music Ltd., EMI Music Publishing Ltd., Chrysalis Music Ltd. except
‘Rock ‘n’ Roll With Me’ published by North America - Jones Music America (ASCAP) administered by ARZO Publishing, Colgems-EMI Music, Inc. o/b/o EMI Music
Publishing Ltd., Universal/Island Music Ltd., Chrysalis Music (ASCAP). Rest of World - Jones Music America/RZO Music Ltd.,
EMI Music Publishing Ltd., Island Music Ltd., Chrysalis Music Ltd.
Written, arranged and produced by DAVID BOWIE.
All tracks mixed by DAVID BOWIE and TONY VISCONTI except tracks 6 – 8
and tracks 1 and 2 mixed by DAVID BOWIE and KEITH HARWOOD.
Engineered by KEITH HARWOOD.
String arrangements on ‘1984’ by TONY VISCONTI.
Recorded at OLYMPIC and ISLAND STUDIOS, LONDON and tracks 7 – 11
at L. LUDOLF, HILVERSUM, HOLLAND between October 1973 and February 1974.
MUSICIANS
DAVID BOWIE
– vocals, guitar, phased guitar, saxophone, percussion
MIKE GARSON
– Moog, Mellotron, harpsichord, piano
HERBIE FLOWERS
– bass
AYNSLEY DUNBAR
and
TONY NEWMAN
– drums
ALAN PARKER
– guitar
Unknown session player – flute on ‘SWEET THING’
Session orchestra on ‘1984’
Artwork by GUY PEELLAERT.
Remastered by RAY STAFF at AIR MASTERING with TONY VISCONTI.
Originally
P
1974 The copyright in this sound recording is owned by Jones/Tintoretto Entertainment Company LLC. under exclusive license to Parlophone Records Ltd.
Remaster
P
2016 The copyright in this sound recording is owned by Jones/Tintoretto Entertainment Company LLC. under exclusive license to Parlophone Records Ltd.
9
2016 Jones/Tintoretto Entertainment Company LLC.
This label copy information is the subject of copyright protection. All rights reserved.
9
2016 Parlophone Records Ltd.
David and I were reunited socially after ‘The
Man Who Sold The World’ split up Hype (Woody
Woodmansey, Mick Ronson and myself) in 1970.
The ice was broken in 1973, when David and
Angie invited my wife, Mary Hopkin, and I to
see the Peter Cook and Dudley Moore show
‘Behind The Fridge’ in the West End. We were on
speaking terms again and kept up our renewed
friendship via phone and the occasional visit to
his flat in Chelsea.
One day I got a phone call from David saying
he was frustrated mixing his new self-produced
album. He had tried all the best studios in town
with poor results, could I recommend one?
As it happened I was just putting the finishing
touches on my first professional home studio in
Hammersmith, the first of many. It had a Trident
console, Klein and Hummel monitor speakers
along with the ubiquitous Auratones (we called
Horrortones) and a big selection of professional
outboard gear including a very new thing, a
stereo digital delay by a relatively new company
called Eventide. I was already putting it through
its paces and the results were stunning. My
family and I didn’t yet live in the three-story
terraced house, it was empty except for the
studio on the ground floor.
“Well, David, I have just built this little gem of
a studio in my new home. Come here and try it
out.” David was over like a shot before I could
tell him I didn’t even have studio furniture. I had
been sitting on sawhorses left behind by the
carpenters and that’s what David had to sit on
too if he wanted to mix right away. Oh, if I only
had a photo of that! David arrived with a 2”
16-track tape and I had the tracks up on the
console in no time. I can’t remember exactly
what song it was, but it was probably the song
‘Diamond Dogs’, a very complicated track, but
David said most of them were.
The first thing I noticed was that the band
wasn’t recorded well, especially the drums,
which was so important in those days and still
is. It’s a shame such a great album started as a
salvage job – if an album is recorded well then
mixing is a piece of cake. I rolled my sleeves
up and did the best I could. After many hours
we finished in the early hours of the morning.
David asked for a copy on reel-to-reel tape and I
made one from the stereo master mix, copying
it onto one of my three stereo Revox recorders.
Unfortunately the one I used still had the vari-
speed switched on, something I didn’t notice at
4 AM. At 5 AM I got a phone call from David
asking what happened, it sounded way too fast?
I said I’ll make a new one right away and by
5:30 AM David sent a car to pick it up. A final
call from him confirmed that he loved the mix
and asked if we could carry on mixing the album
the next day.
I slept on a mattress on the floor and woke up
around midday with the only thought of getting
the studio ready for David’s arrival. I thought I
must do something about those sawhorses but I
really didn’t have the time. Early afternoon a big
Habitat van pulled up and delivered two swivel
chairs for the control room and a complete
dining room set, with a table, chairs, cutlery,
glasses, cups, napkins and a wine bucket. I was
flabbergasted. He was moving in! I thanked
him profusely when he arrived and we got on
with mixing the next track. When we got hungry
David had his office send an entire meal with
wine and he and I had a very civilized meal in the
other room. This became our daily ritual for the
rest of the mixing sessions.
The digital delay fascinated David. We were
applying it to backing vocals, guitar solos, drum
fills and several other elements. With David
anything goes. I knew this was a future shock
themed album and I worked out many ways to
make things sound shocking when necessary.
Probably the most radical thing we did with the
Eventide was after I explained to David that the
digital delay could sample and store sounds,
then I gave him a demonstration. The Sampler
and its cousins, the Harmonizer, the Instant
Flanger, the Instant Phaser, were the first digital
devices that changed the music of the late 70’s
dramatically. David asked if I could capture
the word ‘brother’ at the end of the last track,
‘Chant Of The Ever Circling Skeletal Family’ and
repeat it ad infinitum. Of course I could, but lo
and behold, that short word was too long for the
puny memory banks in the machine. Storage
was very limited in those days. So I managed to
capture just ‘bro’ with a snare drum hit and that
actually sounded amazing, like a robot with A.I.
that was not working very well singing it.
‘Diamond Dogs’ was probably David’s most radical
album to date. It was very different from anything
he’d done, it was the first self-produced album
too. He played almost all the guitar on the album
except for the ‘Rebel Rebel’ riff. Between us we
conjured up sounds no one had ever heard or
used before. It was the beginning of many new
recording adventures I shared with my old friend,
lasting until the present day.
Tony Visconti (May 2016)
TONY VISCONTI
ON MIXING
DIAMOND DOGS
DAVID LIVE (ORIGINAL MIX )
David Live was culled from performances on the
8th, 9th, 10th, 11th and 12th of July, 1974 at the Tower Theater, Philadelphia.
Released on RCA APL2 0771 (U.K.) / CPL2-0771 (U.S.) on 29th October, 1974.

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