Following this album, Bowie had made changes in his management and record company, and had also collaborated with Queen to release the single “Under Pressure”, which again went to #1 in the UK. The growing commercial success appeared to have taken a hold of him, and he hired producer Nile Rodgers in an effort make a change to what had occurred on his recent albums. Rodgers had written and produced a number of R&B hits in recent times, both for his own band Chic and other artists, songs such as “Le Freak” and “We Are Family” and “Upside Down”. And it was this that Bowie was hoping to tap into, the have popular songs driving the force of the album. He also decided to work with a whole different band of musicians, believing it was time for him to work outside of his comfort zone and find a new medium to work with. A number of these ended up being Rodgers’ frequent collaborators from Chic. One who Bowie requested personally was the then-unknown guitarist Stevie Ray Vaughan, whom he has seen play at Montreux. Though he was seen by many as a strange choice, there is little doubt that Bowie knew what he had seen, and knew what he wanted, and Vaughan’s contribution on lead guitar to the album is an important part of its eventual success.
In looking at the album as a whole, it perhaps makes sense to look at it in its two halves – the singles, and the non-singles, that make up the bulk of the album to which they have served. Of course, the singles have utilised these other tracks as B-sides, so that almost every song from the album gains a place on a single as either an A-side or a B-side.
The second side of the album is where all of the non-A-side singles resided, which I know made it difficult or easy for some people I knew who had the album back in my high school years, because they would generally just play the first half of the album over and over again as a result. But that would be to the detriment of those songs on the back side of the album.
“Ricochet” starts that second side of the album, and for the most part doesn’t really stick with the style of the rest of the album. Rather than flowing, it feels as though it stops and starts. “Criminal World” is a cover of the song done by a band called Metro a few years earlier, and this is more like the new wave and romantic era that the album fell in with, also inducing some reggae themes along the way. This is followed by “Cat People (Putting Out Fire)”, an updated version of the song that Bowie wrote and recorded with Georgio Moroder for the movie Cat People a couple of years earlier. It has a better energy about it than the songs around it, and Vaughan’s guitar solo indices most of that. And the final track “Shake It” closes out the album with a funky style that is reminiscent of that late 1970’s sound that producer Nile Rodgers had been involved with more than David Bowie had.
On the other hand, the first half of the album has the most recognisable tracks, the ones that anyone growing up in the 1980’s would recognise. The album opens with “Modern Girl”, the upbeat singalong dance track that seems to be more likely as the direction Bowie was looking for when he began this album. It is followed by the other two big time singles, “China Girl”, which Bowie had actually co-written with Iggy Pop for his first solo album, and was redesigned and re-recorded for Bowie’s purposes here, and the title track “Let’s Dance” which became one of his biggest selling singles. The final song of the side is “Without You”, which often divides fans and critics alike as to its place in the bowie song history.
It is interesting to note that this album is in fact David Bowie’s highest selling album of all time, selling almost 11 million copies worldwide since its release. It also achieved its purpose in gaining popularity and commerciality, topping charts around the world. And yet, despite this, there is often conflict when it comes to discussion on its merits compared to the remainder of his discography. Albums such as “Hunky Dory”, “The Rise and Fall of Ziggy Stardust and the Spiders from Mars” and “Heroes” in particular are the albums that are considered ground-breaking, the ones where the artistic vision of the artist in question is praised above all. And yet, this album has noses pointe upwards and flaring in contempt, indeed, even from Bowie himself. He often said that the success of this album hindered his creativity for the remainder of the 80’s decade, because he felt he had to follow up the style of this album as this is what had proven to be popular, the commercial popularity that he had apparently sought out. And when that success was not replicated by the following two albums, he walked away, and sought out the critical acclaim that had once been his once again. All very strange.
My journey with David Bowie was for the most part not commenced until after the 80’s were in the rear vision mirror. I enjoyed the singles off this album, and bits and pieces of albums earlier and later. I almost convinced myself to go see him with friends when he toured at the end of 1987, and in recent years have regretted my eventual decision not to. By the time I realised how amazing David Bowie was it was well beyond the glory years, but this album was one that I sought out following viewing the perfect 1980’s retro film “The Wedding Singer”, which drew on the nostalgia that that era was beginning to draw upon of those of my age group. And so I discovered this album for the first time, with the singles I knew and the others I did not. And I can only agree that it isn’t as important or arty as those other three albums. But you know what it is? It’s fun, and that is what the best 80’s albums are with their new wave and new romantic leanings. And my favourite Bowie song from the era might be looked down upon in certain circles, but for me still typifies that era of music, and showcases just why David Bowie was so brilliant, because he could transcend the era and be just as relevant in it, even when he tried to diss it later on.
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