David Bowie (October 5, 1974) – “A Flashy Parade Of Personalities From David Bowie” Feature - Toronto Star
This major Toronto Star feature, reprinted from Rolling Stone, examines David Bowie during the transition between the theatrical excess of the Diamond Dogs tour and the soul-influenced direction that would soon emerge on Young Americans. The article focuses on Bowie's evolving musical interests, changing stage presentation and growing fascination with American soul and R&B music.
Publication: Toronto Star
Date: October 5, 1974
Country: Canada
Written by Richard Cromelin and Matt Damsker, the feature presents David Bowie as an artist in the middle of a dramatic transformation. While Bowie had become famous for elaborate stage productions, costumes and theatrical characters, the article argues that his attention was increasingly shifting toward music itself rather than visual spectacle.
The writers describe how Bowie's recent performances still featured many of the spectacular elements associated with the Diamond Dogs tour, including giant stage props, dramatic lighting and the futuristic imagery that had defined his concerts. Yet behind these visual innovations, a different Bowie was beginning to emerge.
The article portrays him not simply as a master showman but as a musician increasingly interested in rhythm and soul.
Particular attention is given to Bowie's time in Philadelphia, where he spent extensive periods recording at Sigma Sound Studios, home of the Gamble and Huff Philadelphia soul sound. The article notes that sessions in Philadelphia and Los Angeles brought Bowie into contact with a new group of musicians and influences, including funk, soul, rhythm and blues, and Latin music.
Producer Tony Zanetta explains that Bowie's stage show was already being redesigned to reflect these new interests. While retaining some of the essential features of the earlier production, the revised show would place greater emphasis on music and performance rather than elaborate visual effects. The article describes Bowie's determination to create a different kind of concert environment more closely aligned with his evolving artistic direction.
The feature also discusses music intended for his forthcoming album. Songs mentioned include "John, I'm Only Dancing", "It's Gonna Be Me", "Somebody Up There Likes Me" and "The Young American". The writers suggest that the new material represents a major stylistic shift and may introduce Bowie to a wider audience, particularly listeners drawn to soul and dance music.
A particularly vivid section describes Bowie arriving at Sigma Sound Studios during late-night recording sessions. Surrounded by loyal followers, dressed in Freddie Burretti creations and carrying a new sense of purpose, Bowie is portrayed as a performer actively reshaping both his music and public image.
The article concludes with Bowie presenting recordings from the forthcoming project to a small gathering of admirers. As the music played, the atmosphere reportedly turned into an impromptu celebration, symbolising the excitement surrounding his latest creative reinvention.
CONTEXT AND NOTES
Published during a crucial turning point in David Bowie's career, the feature captures the period immediately before the release of Young Americans. Rather than concentrating on Ziggy Stardust or the futuristic theatre of Diamond Dogs, the article documents Bowie's growing enthusiasm for soul music and the influence of Philadelphia recording culture.
The feature is especially notable because it recognises a transformation that would soon become one of the defining chapters of Bowie's career. The writers observe an artist deliberately abandoning familiar formulas in favour of new musical territory, reinforcing his reputation as one of rock music's most restless innovators.
FEATURE HIGHLIGHTS
Event: David Bowie discusses changing musical and stage directions
Era: 1974 transition from Diamond Dogs to Young Americans
Tone: Analytical and forward-looking
Photography: Large live performance photograph of David Bowie accompanying the feature
WHAT THE CLIPPING SHOWS
• David Bowie moving beyond the theatrical Diamond Dogs presentation
• Extensive recording work at Sigma Sound Studios in Philadelphia
• Growing interest in soul, funk and rhythm and blues
• Discussion of forthcoming material including "The Young American" and "It's Gonna Be Me"
• Plans for a redesigned stage production reflecting Bowie's changing musical priorities
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