A fascinating out-take from the "Diamond Dogs" sessions, �Dodo� can be seen as the starting point of Lady Stardust�s shift from glitter space-boy to paranoid, plastic soul stylist. Like almost everything on D. Dogs, the lyrics are inspired by Orwell�s �1984�, but the music seems to be profoundly damaged by sleek, eerie production style of Willie Mitchell.
Thus the song plays like Al Green in Hell, w/a great groove and deeply creepy feel. The Thin White Duke starts here.

This is so wrong; it ends up being right somehow. On paper, this cover is a car wreck. Barbara takes on Bowie�s brilliant, epic ballad of camp surrealism � his homage to big, theatrical female belters like Judy Garland, Shirley Bassey and�Streisand, herself � and the song escapes her utterly. Her delivery sound like she learned the lyrics phonetically. (She might as well be singing in Cantonese.) And Jon Peters� production/Tom Scott�s arrangements bring to mind the cool, �L.A.-sound� of Joni Mitchell�s �Court and Spark� LP � minus all the clever bits Joni brought to the table. Yet it spite of all of these faults � this version works. The song is just too good, and Babs� charisma is just too powerful. It�s a [Space] oddity you�ve got to hear to believe.

This was the first version of this song that I'd heard, but have since discovered that it has been recorded many times. The song is written by Michel Colombier & Paul Williams and this version is somewhat haunting, whilst, at the same time, it's also spacey and heavenly. The lush vocals give the song its "other worldly" sound.

For someone like me, the strangest thing about getting really into Roxy Music is the overt rockiness of a lot of their material. Even on this track, which is one more of their slower, more mournful numbers, there are a lot of very heavy rocky moments. They work pretty well though, and I'm certainly not complaining.

The atmospheric opening is breathtaking, and Bryan Ferry's vocal as he sings 'I've opened up my heart' is incredibly beautiful. The words and music seem to meld together in a very pretty way, but then before long the track mutates into a stomping, carnival like passage that clearly influenced Nick Cave to a considerable extent. Throughout the song there's this interchange between delicate, melodic verses and the rowdy, discordant section. Like another favorite Roxy track, 'Just like you', this song finishes with a clever chord change.

I'm sure many people would find 'Bitter-Sweet' much too dramatic and serious - perhaps some days I would too - but it does have an incredible elegance and style that makes me keep on listening.

Another "detective themed" song that sounds like the backside of the theme from 'The Streets of San Fransisco'. Heavy basses, powerful percussion, trumpets and a cool melody to top it off. Run before they catch you!