The album cracked FM radio with 'Rebel Rebel,' an Iggy Pop-like blast aimed at America’s teenage wasteland.

The last glam gasp of Bowie's English years, Dogs also sprawls toward Bowie’s forthcoming Thin White Duke persona, embracing Blaxploitation funk and soul, rock opera, European art song, and Broadway. Whereas Ziggy features its titular messiah, Diamond Dogs has jackals that live on corpses the way Bowie fed off rotting urban culture and reckless rock'n'roll. His bleakest album until recent swansong Blackstar, Diamond Dogs is a bummer, a bad trip, 'No Fun'-a sustained work of decadence and dread that transforms corrosion into celebration. Top 5 breakthrough, 1974’s *Diamond Dogs-*Bowie’s first record of original material since killing off the Ziggy Stardust character that made him an instant superstar back home-remains rooted in his still-reigning glam scene that knocked most utopian '60s rockers off the UK charts with glistening shards of pansexuality, sci-fi fantasy, and bespangled spectacle. His third consecutive UK chart-topper and U.S. Instead, it was Bowie, his most ambitious student, who revolutionized '70s music and style by uncovering the discomfort and despair of urban life that hippie idealism denied. Great quote, but here’s the thing: Pop never sold enough to do that directly. Aiming to steer the conversation in a positive direction, she asks her guest if he’s influenced anybody, and the punk pioneer-much to everyone’s delight-nonchalantly replies, 'I think I helped wipe out the '60s.'

Their interview is mutually respectful and endearingly sincere even as the host tries to navigate Pop’s nihilistic answers. After a 1977 performance that still ranks among the wildest, most manic musical performances to ever hit daytime TV, Iggy Pop chats with talk show host Dinah Shore, the top-charting female singer of the ‘40s, with his collaborator pal David Bowie by his side jazz vet Rosemary Clooney flanks Shore.

Superstar chords sonic youth