well as the saxophone and the piano solo for "Aladdin Sane", needed to be overdubbed in the studio later because the performers were often off-mike. According to the original album's liner notes: "This Live album was culled from performances on the 14 and 15 July 1974 at the Tower Theatre, Philadelphia. It is complete and exact. No studio overdubs or re-recording of voices, instruments or audience have been added with the exception of several backing vocals due to loss of theatre mike contact." According to biographer Nicholas Pegg, there was a 'degree of confusion [that] surrounds the dates of the recordings, which are given incorrectly on some reissues: according to Tony Visconti the correct dates are 11 and 12 July 1974'. The Tower Theater concerts also gave rise to a backstage revolt by Bowie's touring band. Having been informed on short notice that the concerts would be professionally recorded for the official release and that Bowie's management intended to pay them only the standard union fee required for a live recording (a mere $70), the band confronted Bowie an hour before the first show and refused to take the stage unless they received $5,000 each. The record is also notable for including Bowie's first release of "All the Young Dudes", a song originally given to the band Mott the Hoople for their 1972 album of the same name. For "Space Oddity" (not released until the album's 2005 reissue) Bowie sang using a radio microphone disguised as a telephone whilst being raised and lowered above the stage by a cherry picker crane. David Live was mixed at Electric Lady Studios in New York City in July, a month before the sessions for Young Americans commenced. According to a studio acetate auction in 2004, a working title was Wham Bam! Thank You Mam! [sic]. Reception and legacy David Live received primarily negative reviews from music critics on release. Writing for the New Musical Express, Charles Shaar Murray considered David Live to be an example of "outright artifice and self-parody", overall finding it uneven in quality. He nevertheless praised the rendition of "Rock 'n' Roll Suicide" as the finest performance of the song to date. Chris Charlesworth of Melody Maker was critical of Bowie's voice, calling it "hoarse, throaty and often off-key". In Creem, Lester Bangs wrote that without the proper visuals to accompany the music, the live album is a "dismal flatulence".