A question about a David Bowie album

So, someone recently posed the questions of what David Bowie’s Diamond Dogs is based on. I know it was originally meant to be an opera based on 1984, but this person was referring to the title Diamond Dogs.
Anybody know?

I’m not sure exactly what you’re talking about in the OP (I think it’s english), but I do know that some of the songs are direrectly based on the book 1984. Especialy the song titled 1984. I’m pretty sure about the song Big Brother is based on Orweil’s work as well. Other songs may make indirect references to the novel, I’m not sure.

The whole CD has a real post-apocalyptic feel, I’d say. But hell, I wasn’t even born when either the album or the novel were written, so weigh my opinion as you will.

Diamond Dogs is probably my favorite Bowie album, but I didn’t realize it was based on anything other than 1984. Turns out that once again, google is my friend. A book called “Dhalgren” by Samuel R. Delany. See the following links for more:


Thanks for making me aware of it…


More confirmation

David Bowie fired the Spiders from Mars shortly after the release of Pin-Ups, but he didn’t completely leave the Ziggy Stardust persona behind. Diamond Dogs suffers precisely because of this — he doesn’t know how to move forward. Originally conceived as a concept album based on George Orwell’s 1984, Diamond Dogs evolved into another one of Bowie’s paranoid future nightmares. Throughout the album, there are hints that he’s tired with the Ziggy formula, particularly in the disco underpinning of “Candidate” and his cut-and-paste lyrics. However, it’s not enough to make Diamond Dogs a step forward, and without Mick Ronson to lead the band, the rockers are too stiff to make an impact. Ironically, the one exception is one of Bowie’s very best songs — the tight, sexy “Rebel Rebel.” The song doesn’t have much to do with the theme, and the ones he does throw to further the story usually fall flat. Diamond Dogs isn’t a total waste, with “1984,” “Candidate” and “Diamond Dogs” all offering some sort of pleasure, but it is the first record since Space Oddity where Bowie’s reach exceeds his grasp. — Stephen Thomas