David Bowie, “Live from the Dallas Convention Center, TX” on 10th April 1978.
Escaping his drug-fuelled life in Los Angeles at the end of 1976, David Bowie took up residence in Berlin, and between 1977 and 1979 he kicked his coke habit, rediscovered his love of painting, and in so doing, reinvigorated his musical career. During this period he released three albums known to Bowie aficionados as the Berlin Trilogy, comprising of the albums Low (1977), Heroes (1977), and Lodger (1979).
David Bowie’s Isolar II World Tour in 1978 introduced the world to the first two of these albums – Low and Heroes – and took him to 14 countries. For the first time since starting out as Davy Jones in the sixties, Bowie was Bowie, not Ziggy, not Halloween Jack, nor the sinister and skeletal Thin White Duke. This was Bowie the suffering, introspective artist.
This concert, recorded by NPR and broadcast live, features Bowie’s Dallas Convention Center gig in Texas in the opening leg of the Isolar II World Tour.
• Legendary performance from the Dallas Convention Center • Includes the entire National Public Radio broadcast. • Digitally remastered for greatly enhanced sound quality
We can’t pronounce it either, but damn if don’t sound good! Bowie’s “OUVREZ LE CHIEN” was recorded live at the Starplex Amphitheater, Dallas, 13th October, 1995, during the US leg of the Outside Tour. It also features two bonus tracks Moonage Daydream and Under Pressure recorded live at the National Exhibition Centre, Birmingham, 13th December, 1995. Previously available on the Hallo Spaceboy CD single, both tracks are making their streaming debut.
This unreleased David Bowie concert recording from 1995 will debut on streaming services July 3rd with the release of “Ouvrez Le Chien (Live Dallas 95)”.
The live LP captures the late icon midway through his tour in support of 1995’s Outside. The gig’s set list leans heavily on that Brian Eno co-produced album, with tracks like “The Voyeur of Utter Destruction (as Beauty),” “I Have Not Been to Oxford Town,” “I’m Deranged,” and “The Hearts Filthy Lesson.”
The mysterious phrase ‘Zane, zane, zane, ouvre le chien’ (‘open the dog’ in French) had originally appeared on Bowie’s 1970 album track ‘All The Madmen’. He used it again in 1993 on the song ‘Buddha Of Suburbia’. Ouvrez Le Chien added the missing ‘z’ from ‘ouvrez’. The grammatically-correct phrase, and its English counterpart, was used in the stage set of the Outside Tour. It does not, however, appear elsewhere on the album.
Finally the round and round ending comes with various vocal parts coming in as counter melodies plus the immortal words, ‘Zane, Zane, Zane, ouvre le chien’, which means ‘Zane, open the dog’ in English. What does that mean? I’ll leave it to your imagination, although it has been analysed many times. This track [‘All The Madmen’] is sensational in every way, a five minute and 40 second symphonette.
The concert also finds Bowie delivering updated takes on classics like “Teenage Wildlife,” “The Man Who Sold the World,” and “Andy Warhol.” The digital album features a front cover image photographed by Bowie’s wife Iman. Ouvrez Le Chien (Live Dallas 95) contains sixteen songs, fourteen of which were recorded at the Starplex Amphitheater 1995, with Nine Inch Nails supporting Bowie. Six of Ouvrez Le Chien’s songs were from Bowie’s 1995 album Outside. There were one apiece from The Man Who Sold The World (the title track), Hunky Dory (‘Andy Warhol’), Ziggy Stardust (‘Moonage Daydream’), Low (‘Breaking Glass’), “Heroes” (‘Joe The Lion’), Lodger (‘Look Back In Anger’), Scary Monsters (And Super Creeps) (‘Teenage Wildlife’), and Black Tie White Noise (‘Nite Flites’).
In addition to the Starplex Amphitheater show, a pair of songs from a Birmingham, England, concert from December 13th, 1995 will also be included on Ouvrez Le Chien (Live Dallas 95). Both tracks previously appeared as B sides on the “Hallo Spaceboy” single, but make their streaming debut with this release.
The Bowie estate most recently explored the singer’s Earthling-era live recordings with the LiveandWell.comset.
The Band :
Personnel
David Bowie: vocals, saxophone
Reeves Gabrels: lead guitar, vocals
Carlos Alomar: rhythm guitar
Gail Ann Dorsey: bass guitar, vocals
Mike Garson: piano, keyboards
Peter Schwartz: keyboards, synthesisers
Zachary Alford: drums
George Simms: vocals
Fishing In Japan have only been creating music together for the better part of 2018. The band uploaded their demo “Constantinople” on SoundCloud and have already garnered over 10k spins. They also recently played at a rally for Beto O’Rourke in Dallas before the election back in November. The amazing part about this band is that most of the members are still in high school.
Fishing In Japan’s sound is melodic indie-pop that is quite addicting. So far they’ve only release one EP, All This Timeand a handful of singles. “Here For You” is an uplifting track that offers support for anyone that might be struggling. Their most recent single “Salieri” takes it down a notch with a bit more of a serious tone. Even though some of their lyrical content ranges from lighthearted to a bit more of a serious tone, their overall sound does elicit a feel good vibe. It will be interesting to see what the talented quartet will come up with in 2019.
According to their press release, this Texan quartet’s live shows “serve as a parallel universe for the members to act out alternate identities and face the terror of vulnerability with their audiences”. Which frankly sounds like a fucking nightmare. However, after listening to The Mesmerist,
While they describe themselves as glam rock (and have the dramatic make-up and puffy sleeves to prove it), Siamese are less silver-booted stomp, more artfully wispy pirouette. ‘Hounds At Sunset’ is what Connan Mockasin might stick on the stereo while flicking through an old copy of Les Enfants Terribles, all warped grandeur and opiated lilt. In contrast (and despite the title), ‘Chromatose’ is more driven and direct, tightening the writing without losing any of the atmosphere. If they can deliver more tracks of this quality then you will, indeed, be mesmerised.
The veteran songwriter on his latest release, listeners are invited into his transformative sound like an overdue cup of coffee with a friend. His voice is an extraordinary talent and proof of artistic integrity.this will speak to your soul. If laid back alt-country vibes are more your thing, you will find much comfort in how B.R Lively lets the song develop without feeling a need to fill space. This is one of those rare tracks that are able to change countenance and revive even the weariest of hearts.
Though actively writing and performing music for over a decade, this album marks a distinct and conscious shift from Lively’s previous projects. No longer is he simply concerned with playing an instrument, Lively is learning to become one.
Realizing the difficulty of exploring this new depth within and around himself while occupied by the noise of his current life, Lively gave away his possessions, moved out of his house, and adopted Joanie, a 1990 Winnebago, as his new home. He wanted to quiet, simplify and create for himself the space necessary for such discovery.
It was with this mindset that Lively then entered the studio to record his first solo album. Gordy Quist, a recent friend and mentor (known to most from Band of Heathens), identified with the songwriter’s quest and helped him bring this vision to life.
Dallas-based Dagars have released one of the most enjoyable EPs of the year so far with Projection Mirror, which just came out today. “The EP offers a ray of optimism amidst a time of social tensions and political unrest,” the group says. “This album has a penchant for experimentation that finds the band expressing moments of subdued melancholy to a full blown temporary psychosis.” All five tracks here are excellent, from the twangy excitement of “Aquatica” to the slow-burning jangle of “Tunnel Vision”, though the opener “Displaced” serves as a fantastic introduction to the band’s arsenal. The guitar tones recall post-punk, somewhere between the ’80s dark Echo-like variety and The Wrens’ more modern twangy take, while the presently restrained percussion presents a nicely psychedelic breed. It’s utterly hypnotic from start to finish, the various guitar lines toppling over one another beautifully, the vocals serving well but taking a backseat to the ardent instrumental development. “Polysin”, meanwhile, sounds like a slab of ’90s alt-rock heaven; Spiritualized and Mercury Rev fans will certainly dig it.
As Bruce has been playing a fair few supprise Cover versions at the Australian Shows he has continued the trend,Now the tour moves back to his homeland and he started the Dallas Capital One Jam Festival with Van Halen’s JUMP . the tour continues to add dates across the USA. Little Steven is still on filming duty with the hugely popular TV series Lillehammer, but it appears Patti is back on stage with the band. The E Street Band are about to be inducted into the Hall of Fame.
The Fat Angel Sings 