Let's Dance is the 15th studio album by the English singer-songwriter David Bowie, released on 14 April 1983 through EMI America Records. Co-produced by Bowie and Nile Rodgers, the album was recorded in December 1982 at the Power Station in New York City. The sessions featured players from Rodgers' band Chic and the then-unknown Texas blues guitarist Stevie Ray Vaughan on lead guitar. For the first time ever, Bowie only sang and played no instruments.
Let's Dance was released to massive commercial success, reaching number one in numerous countries, and turned Bowie into a major superstar; it remains Bowie's best-selling album. The record's four singles, including the title track, were all commercially successful. The album received mixed reviews from critics whose opinions on the artistic content varied. "Let's Dance" and "China Girl" were supported by music videos that received heavy airplay on MTV. It was supported by the successful Serious Moonlight Tour throughout 1983.
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David Bowie released his 14th studio album Scary Monsters (and Super Creeps) in 1980. With the record, Bowie achieved what biographer David Buckley calls "the perfect balance" of creativity and mainstream success.[1] Following the sessions, Bowie portrayed the lead role of Joseph "John" Merrick in the Broadway play The Elephant Man between late July 1980 and early January 1981.[2][3] During this time, he also filmed an appearance in the Uli Edel film Christiane F. (1981).[4]
The murder of John Lennon in December 1980 affected Bowie deeply;[a] he cancelled an upcoming Scary Monsters tour and withdrew to his home in Switzerland, becoming a recluse but continuing to work.[2][7] In July 1981, he collaborated with Giorgio Moroder for "Cat People (Putting Out Fire)", the title song of the Paul Schrader film Cat People (1982), and in the same session, recorded "Under Pressure" with the rock band Queen.[8][9] Shortly after, he played the title role in a BBC adaptation of Bertolt Brecht's play Baal, directed by Alan Clarke. Recorded in August 1981 and transmitted in March 1982, Bowie also recorded an accompanying soundtrack EP, released through RCA in February to coincide with the transmission.[10] During the year, Bowie filmed appearances in The Hunger and Merry Christmas, Mr. Lawrence, both released in 1983.[11][12] During filming for the latter, he grew fond of artists from the 1950s and 1960s, including James Brown, Buddy Guy, Elmore James and Albert King. The musical ideals from these artists would greatly influence the new album.[13]
Scary Monsters was Bowie's final studio album for RCA Records, his label since Hunky Dory (1971).[14] Having grown increasingly dissatisfied with the label, who he felt was "milking" his back catalogue,[13] he was also eager for the September 1982 expiration of his 1975 severance settlement with his old manager Tony Defries.[15] Although RCA was willing to re-sign, alongside Columbia and Geffen Records, Bowie signed a new contract with EMI America Records for an estimated $17 million.[16]
Tony Visconti, the producer of Bowie's last four studio albums, was originally scheduled to produce the new album and set time aside to record. However, Bowie neglected to inform Visconti that he chose Rodgers for the project, the producer eventually learning through Bowie's assistant Coco Schwab closer to December 1982. Deeply hurt,[16][13] the move damaged the two men's relationship and Visconti did not work with Bowie on a studio album again until 2002's Heathen, nearly 20 years later.[18] In a 2023 interview with SuperDeluxeEdition, Visconti stated that in hindsight, he believed Bowie was right to seek out a new producer given his desire for commercial success, drawing comparisons with his own work with other artists in-between Bowie projects.[19]
Bowie and Rodgers regrouped at the latter's home in Montreux, Switzerland, to begin demo work.[16] The producer, who was expecting to make Scary Monsters 2, was surprised to learn Bowie had a different idea,[17] saying "'Nile, I really want you to make hits.' And I was sort of taken aback, because I'd always assumed that David Bowie did art first, and then if it happened to become a hit, so be it!"[13] The producer was initially disappointed he would not be able to use the record as a way to earn respect from white audiences, but knew he would do what he did best in order to guarantee a hit. Bowie played his new songs on a twelve-string acoustic guitar,[16] starting with "Let's Dance" in a soft vocal arrangement. Rodgers knew it was not a dance song, but took old '50s and '60s records to arrange the track into the finished product.[20] Over three days, the two demoed the new tracks, with assistance from the Turkish multi-instrumentalist Erdal Kzlay, who would later become a frequent collaborator of Bowie's.[13]
This is the fastest I've ever worked in my life. Bowie said he likes to work [fast] and I plan to do the same for the rest of my career. It's just the most energetic way to make records. The musicians were really pumped up because of the fast pace, and as a result we got some great performances.[13]
Let's Dance was recorded at the Power Station in New York City (where Bowie had also recorded Scary Monsters[13]) during the first three weeks of December 1982,[b][16] and was completed in 17 days.[20][22] The engineer for the sessions was Bob Clearmountain.[23] Rodgers felt that the record's sound was aided by the ambience of the studio: "The Power Station is famous for its great drum sound. And we had great players too."[24] Along with a new producer, an entirely new set of musicians were hired for the record, with Bowie stating: "I wanted to have a little relief from the guys that I usually work with. I wanted to try people that I'd never worked with before, so that I couldn't predict how they were going to play."[c][22] Long-time collaborator Carlos Alomar, who had worked with Bowie since the mid-1970s and would continue to work with Bowie into the mid-1990s, was originally scheduled to contribute, but claimed he was offered an "embarrassing" fee and declined.[24][25] In 1984, Alomar clarified he did not play on Let's Dance because he was only given two weeks' notice and was already booked with other work.[26]
With Alomar gone, Rodgers took his place on rhythm guitar. The producer also recruited his regular Chic collaborators: keyboardist Robert Sabino, percussionist Sammy Figueroa and backing vocalists Frank and George Simms. The remaining musicians included drummer Omar Hakim (whom Bowie called "a fascinating drummer with impeccable timing"); bassist Carmine Rojas; trumpeter Mac Gollehon; and saxophonists Stan Harrison, Robert Aaron and Steve Elson.[13] Near the end of the sessions, Rodgers hired Chic drummer Tony Thompson and bassist Bernard Edwards for additional work; he was reluctant to hire them earlier due to their past drug use. Due to their arrival time, Thompson and Edwards' contributions were limited, appearing on only three tracks and one track, respectively. Edwards recorded his part for "Without You" in 13 minutes, with Rodgers later writing in his memoir, "I was never more proud of him in my life and it happened on the last day of basic recording."[13] For the first time ever, Bowie himself played no instruments on the album, stating at the time: "I don't play a damned thing. This was a singer's album."[22] He recorded all of his vocals in two days.[13]
At the 1982 Montreux Jazz Festival in Switzerland, Bowie saw Stevie Ray Vaughan play guitar. At the time, Vaughan was an unknown 28-year-old blues guitarist from Texas; his debut album with his band Double Trouble was still unreleased.[13][24] After Vaughan's performance, Bowie was so impressed that he tracked him down months later to get him to play lead guitar on the album.[22] Rodgers was initially unimpressed with Vaughan, believing he sounded like American blues guitarist Albert King. Bowie however felt Vaughan was different, saying "he's got a whole other thing going on."[20] Vaughan recorded his guitar overdubs towards the end of the sessions.[13] According to author Paul Trynka, he used an old Fender Stratocaster plugged into an old Fender amplifier, "all the tone coming from the player".[20] In a contemporary interview, Vaughan described the recording sessions: "Bowie is real easy to work with. He knows what he's doing in the studio and he doesn't mess around ... He'd give his opinion on the stuff he liked and the stuff that needed work. Almost everything was cut in one or two takes. I think there was only one thing that needed three takes."[27] According to Vaughan's biographers Joe Patoski and Bill Crawford, Vaughan played on six of the album's eight songs.[28] In the biography Strange Fascination, Buckley found Vaughan to be a "bizarre" choice for lead guitarist, as at the time, he was "about as far away from Robert Fripp and Adrian Belew as you could get".[29] Bowie and Rodgers praised Vaughan's work on the album, with the latter becoming one of Vaughan's closest friends after the sessions.[13][24]
After the sessions concluded, Bowie went on holiday in Mexico,[d] before returning to New York to finish post-production work and close his deal with EMI America at the end of January 1983. Upon closure, Bowie delivered Let's Dance to the label and departed for Australia to film music videos for the first two singles.[13]
Commentators characterise the songs on Let's Dance as post-disco,[31] dance,[32][33] dance-rock,[33][34] new wave and dance-pop.[35][36] Consequence of Sound calls the record "the sound in favour of pure disco, dance, and funk with Bowie coming down to earth" and that Bowie built upon the post-punk and new wave sound of its predecessor.[37][38] The author James E. Perone notes the blues-edge inflicted by Vaughan, praising his contributions on "Modern Love", "China Girl" and "Without You".[32] In an interview with Details magazine in 1991, Bowie described the album as "a rediscovery of white-English-ex-art-school-student-meets-black-American-funk, a refocusing of Young Americans (1975)".[39] The artist Tanja Stark sees the commercial tempo of the album masking the lyrical continuity of Bowie's ongoing narratives of spiritual struggle and death anxieties.[40] 152ee80cbc
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