David Live is the first official live album by English musician David Bowie, originally released through RCA Records in 1974. The album was recorded in July of that year, on the initial leg of Bowie's Diamond Dogs Tour, at the Tower Theater in Upper Darby, Pennsylvania, a suburb of Philadelphia. The second leg, a more soul-oriented affair following recording sessions in Philadelphia for the bulk of Young Americans, would be renamed 'the Soul tour', as reflected on the live releases, Cracked Actor (Live Los Angeles '74) (2017) and I'm Only Dancing (The Soul Tour 74) (2020). The album catches Bowie in transition from the Ziggy Stardust/Aladdin Sane glam-rock era of his career to the 'plastic soul' of Young Americans. While the cover featured a picture of Bowie in his latest soul threads – baggy trouser suit complete with shoulder pads and braces from October 1974 – the music was recorded in July of that year when he was showcasing his two most recent studio albums of original material, Diamond Dogs and Aladdin Sane, as well as selected favourites from Ziggy Stardust and earlier. The tour was Bowie's most ambitious to date, featuring a giant set designed to evoke "Hunger City", the post-apocalyptic setting for Diamond Dogs, and his largest band, led by Michael Kamen. The tour was documented in Alan Yentob's Cracked Actor (1975). In 2005, the album was re-issued with four additional tracks, after having been thoroughly remixed by Tony Visconti. Background and recording David Bowie supported his eighth studio album Diamond Dogs on the Diamond Dogs Tour, whose first leg lasted from 14 June to 20 July 1974. Co-designed and constructed by Chris Langhart, it featured elaborate set-pieces and cost $250,000. Fritz Lang's Metropolis (1927) and Robert Wiene's The Cabinet of Dr. Caligari (1920) influenced the tour's design, primarily due to Bowie's interest in German expressionism. The tour's second leg, from 2 September to 1 December 1974, has been nicknamed 'the Soul Tour', because of the influence of the soul music Bowie had begun recording for Young Americans in August. The shows were altered heavily, and no longer featured elaborate set-pieces, partly because Bowie had tired of the design and wanted to explore the new sound he was creating. Bowie dropped songs from the previous leg, while he added new ones—some from Young Americans. Capturing the music on tape was itself problematic; most of the backing vocals, as