[92][90], The tour's set pieces were created by Diamond Dogs tour artist Mark Ravitz, who created the most elaborate stage set yet. [74][75] Buckley writes that the provocative allegories and scenes of the videos guaranteed heavy rotation on MTV. Bowie however felt Vaughan was different, telling him "he's got a whole other thing going on. [16] Visconti was deeply hurt by the matter, later stating "I was hurt because I was booked to do Let's Dance and he blew me out two weeks before...for three months he kept saying, 'Keep December free, we're going to go in and record then.'" [52] Pegg calls Bowie's rendition "a tremendously effective slice of hardcore pop", noting that the lyrics reflect the album's overarching themes of "cultural identity" and "desperate love". "[110] The BBC's David Quantick praised the "perfect" combination of Bowie and Rodgers on the title track, the "sweet, romantic" rendition of "China Girl" and highlighted "Criminal World" as "one of the best songs". Let's Dance is the 15th studio album by English singer-songwriter David Bowie, released on 14 April 1983 by EMI America Records. O'Leary and Pegg compare the intro to the Beatles' version of "Twist and Shout". Their version was banned by the BBC for its bisexual undertones. [58] On the other hand, Ken Tucker of Rolling Stone wrote that "Without You" featured some of the most daring songwriting of Bowie's career, and complimented Bowie's vocal performance. [56] Vaughan's guitar solo has a blues-inflicted edge to it. It had an ungainly gait; it should have flowed. I suddenly felt very apart from my audience. [21] Rodgers elaborated in the 1990s Radio 2 documentary Golden Years: "When I got to Switzerland, he told me that he wanted me to do what I did best – 'Nile, I really want you to make hits.' [59] Writing for Record magazine, Carol Cooper called the album "the Young Americans of the '80s". [90] Rehearsals for the tour began in the spring of 1983, with Carlos Alomar back as bandleader. The musical ideals from these artists would greatly influence the new album. Pressure from the label to release a follow-up led him into the studio in the spring of 1984 unprepared. It failed to chart in the UK. [130], Credits are adapted from the album's liner notes.[131]. [67] Pegg also considers the Let's Dance version to be inferior and felt it is a shame that the remake became the better known version. [109] Billboard further praised the album, describing it "Bowie's most accessible music in years", while Commonweal called it "some of the most exciting R&B-based dance music in years. He stated "Let's Dance may have had a ground-breaking sound and a popularity that Bowie clearly ached for, but it's often a mundane album, as songs like 'Ricochet' and 'Shake It' mark time". However, he chose Rodgers for the project and neglected to inform Visconti, a move that came as a surprise to Visconti, who had set time aside to work on the new record. The lyrics instruct the listener to "put on your red shoes" and dance under the "serious moonlight". (1981). While Vaughan was present for rehearsals, he was fired just days before the European leg was scheduled to begin. Bowie appears singing the lyrics into the camera. [68] O'Leary describes the track as a summary of Bowie's "bad habits" of the 1980s: "an indifference to quality". [31][32] He also said when working on Bowie's follow-up album Tonight, that he did not play on Let's Dance because Bowie only gave him two weeks' notice and he was already booked with other work. [86] EMI declared Let's Dance to be their fastest-selling record since the Beatles' Sgt. But the success of that record really forced me, in a way, to continue the beast. [107] Robert Christgau felt that it had a "perfunctory professional surface", and that other than "Modern Love", which was "interesting", the album was "pleasantly pointless". If you say run I'll run with you And if you say hide We'll hide. We offer a full timetable of children & adult classes. However, she commended Rodgers' involvement, writing that his presence allows Bowie to shine through. [69] Biographer Marc Spitz writes that its sound is a precursor to U2's 1993 song "Lemon". "Let's Dance" was covered by British rock band Slade in 1985 for their studio/compilation album Crackers – The Christmas Party Album. He praises Vaughan's guitar solo as superior to the original, but criticises Bowie's vocal as inferior. [18] Bowie and Rodgers met each other at the Continental in New York City in autumn 1982, where they found they had similar influences in old blues and R&B music. So it only seems commercial in hindsight because it sold so many [copies]. The "Let's Dance Boys!" [129] It was released in CD, vinyl, and digital formats, as part of this compilation and then separately the following year. Despite the massive success of the album, Let's Dance began a period of low creativity for Bowie. [24] According to biographer Paul Trynka, Vaughan used an old Fender Stratocaster plugged into an old Fender amplifier, "all the tone coming from the player". [80] By July, Bowie had ten albums in the UK top 100. [48] While Pegg praises the music, he calls the lyrics "superficial" compared to Bowie's previous work. 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. There wasn't anything else that really quite sounded like that at the time. It featured structures such as large columns, overhanging lintels, and a giant right hand pointed upwards. "Let's Dance" is a song recorded by English singer-songwriter David Bowie, released as the title track of his 1983 album Let's Dance. This was a singer's album," he said. In 1980, David Bowie released his 14th studio album Scary Monsters (and Super Creeps). "I was something I never wanted to be," he later admitted. [37] In 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. [46][64], "Cat People (Putting Out Fire)" was recorded in 1981 by Bowie and Giorgio Moroder as the theme song for the 1982 film Cat People. Jahrhunderts bis heute - die Dokureihe lässt Tänzer und Choreographen aus der ganzen Welt zu Wort kommen – die Thematik des Körpers im Tanz zieht sich wie ein roter Faden durch die Sendungen. [98], Despite the album's major commercial success, it received mixed reviews from music critics, with opinions varying on the artistic content. [80], Let's Dance was released by EMI America on 14 April 1983,[81] with the catalogue number AML 3029. - arte dokuDie Geschichte des Tanzes vom Anfang des 20. [28] Bowie recorded all of his vocals for the album in two days. [27][28] The engineer for the sessions was Bob Clearmountain. Die erste Folge widmet sich der Geschichte des Tanzes aus Sicht der Füße.Die Geschichte des Tanzes aus Sicht der Füße – angesichts der Misshandlungen, die Tänzerfüßen widerfahren, könnte ein solcher Ansatz als Vorlage für einen Horrorfilm dienen! It features New Zealand actress Geeling Ng who,[73] with Bowie, recreate the famous beach scene from From Here to Eternity (1953). Check out the tab » [50] Buckley calls Bowie's version an "ultra-cool reading" of Pop's original. "[47], "China Girl" was written by Bowie and Iggy Pop in 1976, first appearing on Pop's 1977 debut solo album The Idiot, which Bowie himself produced. ", "Bowie's Many Faces Are Profiled On Compact Disc", "20 Insanely Great David Bowie Songs Only Hardcore Fans Know", "David Bowie: the man who thrilled the world", "How David Bowie, Nile Rodgers Made 'Let's Dance' a Hit", "David Bowie: How the outsider's outsider proved himself far braver than the rock'n'roll mainstream", "Rocklist.net....NME: The 500 Greatest Albums Of All Time : October 2013", "David Bowie Loving The Alien (1983–1988) due October", "Loving The Alien break-outs due February", "Austriancharts.at – David Bowie – Let's Dance", "Dutchcharts.nl – David Bowie – Let's Dance", "InfoDisc : Tous les Albums classés par Artiste > Choisir Un Artiste Dans la Liste", "Offiziellecharts.de – David Bowie – Let's Dance", "Norwegiancharts.com – David Bowie – Let's Dance", "Swedishcharts.com – David Bowie – Let's Dance", "Swisscharts.com – David Bowie – Let's Dance", "David Bowie Chart History (Top R&B Albums)", "Australiancharts.com – David Bowie – Let's Dance", "David Bowie Chart History (Canadian Albums)", "Italiancharts.com – David Bowie – Let's Dance", "Austriancharts.at – Jahreshitparade 1983", "Canadian album certifications – David Bowie – Let's Dance", "French album certifications – David Bowie – Let's Dance", "Dutch album certifications – David Bowie – Let's Dance", Nederlandse Vereniging van Producenten en Importeurs van beeld- en geluidsdragers, "New Zealand album certifications – David Bowie – Let's Dance", "British album certifications – David Bowie – Let's Dance", "American album certifications – David Bowie – Let's Dance", Recording Industry Association of America, Live at La Cigale, Paris, 25th June, 1989, Welcome to the Blackout (Live London '78), Look at the Moon! And we had great players too". 104 were here. He further finds it unfair to consider it Bowie's "sellout record", calling it "every bit as high concept as his canonised seventies efforts. It was supported by a music video, directed by Jim Yukich, featuring a performance of the song in Philadelphia on 20 July 1983. [79] According to Buckley, the single was played "endlessly" on UK radio stations. [18][35] After Vaughan's performance, Bowie was so impressed with the guitarist that he tracked him down months later to play lead guitar on the album. Von Natur aus ist der Fuß ein für den Tanz unverzichtbarer Körperteil und der Schuh sein „Hauptwerkzeug“. The jazz song has also been covered by various artists years following its release, including Nat King Cole, Ella Fitzgerald, Frank Sinatra, Todd Gordon, and more. "[117] After his follow-up albums Tonight (1984) and Never Let Me Down (1987) were critically dismissed,[119] Bowie formed the grunge-precursor band Tin Machine in an effort to regain his artistic vision,[120] later dismissing this period as his "Phil Collins years". [22] The first track he played for Rodgers was "Let's Dance", in a soft vocal arrangement. [11][126] EMI did the second rerelease in 1999 (featuring 24-bit digitally remastered sound and no bonus tracks). Let's Dance is the 15th studio album by English singer-songwriter David Bowie, released on 14 April 1983 by EMI America Records. [60] Describing the track in 1987, Bowie stated: "I thought it was a great song, and the beat wasn't quite right. Starring: Rayane Bensetti, Alexia Giordano, Guillaume de Tonquédec. O'Leary describes the remake as "more aggressive". It further peaked at number one on the US Billboard Hot 100 in April, becoming Bowie's biggest charting single to date. Although she praised the numerous styles present, she felt all the tracks were "rather modest". It was virtually a new kind of hybrid, using blues-rock guitar against a dance format. [106] Ken Tucker, in a review for Rolling Stone, felt the album sounded great, with an intelligent simplicity and a "surface beauty", but that the album as a whole was "thin and niggling", other than "Modern Love," "Without You" and "Shake It", which offered "some of the most daring songwriting of Bowie's career". I had started appealing to people who bought Phil Collins albums. After his crew breaks up, a gifted but insecure hip-hop dancer teaches at a top ballet school in Paris, where he falls for an aspiring ballerina. [24][35], Following the completion of the sessions, Bowie went on holiday in Mexico, where he filmed a cameo appearance for the 1983 Mel Damski film Yellowbeard. The video is an allegory meant to represent the treatment of Aborigine people by white Australian capitalists. [38] Afterwards, Bowie returned to New York to finish post-production work and close his deal with EMI America, which he did at the end of January 1983. [77] Three days later, Bowie held a press conference in London where he announced the new album, titled Let's Dance, the new label, and the upcoming Serious Moonlight Tour. [46][60][61] Pegg writes that it has an R&B and swing-style repetitive backing vocal. I wanted to try people that I'd never worked with before, so that I couldn't predict how they were going to play." [45], The opening track, "Modern Love", is an uptempo pop song featuring a call-and-response structure,[46] which was inspired by Little Richard. "[94] Buckley describes the tour's setlist as "relatively mainstream pop-rock", with none of the "quirks" of the late '70s tours. And it was depressing, because I didn't know what they wanted. [83] The B-side was a live version, recorded in Montreal on 13 July 1983. He chose Nile Rodgers of the rock band Chic, one of the most commercially successful bands of the late 1970s, with hits such as "Le Freak" (1978) and "Good Times" (1979). Many of the arrangements were redone with horns to make every song sound fresh. [93] Pegg states that the setlist was "unashamedly a greatest hits package aimed at acquainting the new mass audience with Bowie's back catalogue. [76], "Let's Dance" was released by EMI America in edited form as the lead single on 14 March 1983, with the catalogue number EA 152 and the remake of "Cat People" as the B-side. [9][10] During filming for the latter, Bowie grew fond of artists from the 1950s and 1960s, including James Brown, Buddy Guy, Elmore James and Albert King. [65], After delivering the album to the label, Bowie travelled to Australia in February 1983 to film the music videos for the first two singles, "Let's Dance" and "China Girl". Background. The record also ended his longtime collaboration with producer Tony Visconti, whom he didn't work with again until 2002. [87] Bowie later said that the success of the album caused him to hit a creative low point in his career which lasted the next few years. [85] The album peaked at number four on the US Billboard 200 on 24 June 1983, and remained on the chart for 69 weeks. [33][99] In a piece on Bowie for Time in July 1983, Jay Cocks described the album as "unabashedly commercial, melodically alliterative and lyrically smart at the same time". Let's Dance Lyrics: (One, two) / (One, two, three, four) / Hey baby won't you take a chance? 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. [91] The majority of the Let's Dance personnel returned for the tour, with the exception of Stevie Ray Vaughan. Musically, Let's Dance has been described as a post-disco record, with elements of dance-rock, dance-pop and new wave. [87], Let's Dance has sold 10.7 million copies worldwide, making it Bowie's best-selling album. "I was expecting Scary Monsters 2", he later said. He also recruited the majority of the new personnel, which included his regular Chic collaborators, keyboardist Robert Sabino and percussionist Sammy Figueroa, along with backing vocalists Frank and George Simms. [55] "Without You" is described by Pegg as "a throwaway love song" and the album's low point, disregarding both the music and lyrics. Der Film beleuchtet sämtliche Aspekte des Fußes und verschiedener Arten von Tanzschuhen: Spitzenschuhe führen durch Riten, Praktiken und Phantasmen des klassischen Balletts; Schuhe mit Sohlenbeschlägen wie etwa im Stepptanz sind gleichzeitig Musikinstrumente; Stöckelschuhe stehen für den geschichtlich-symbolischen Aspekt, für Glamour und Transgression und sind in zahlreichen Tänzen wiederzufinden; Turnschuhe sind das Symbol einer der jüngsten kulturellen und choreographischen Revolutionen, des Hip-Hop. "[87], In a retrospective review for AllMusic, Stephen Thomas Erlewine felt that the album's three hit singles were catchy yet distinctive pop songs, while the rest of the album was "unremarkable plastic soul" indicative of Bowie "entering a songwriting slump". [90] Alomar later told Buckley that the tour was his favourite Bowie tour, mainly because "it was the first tour where we did all the hits". In the US, it peaked at number ten on the Billboard Hot 100. [6][7] After the session, he began rehearsals to perform the title role in a BBC adaptation of Bertolt Brecht's play Baal, directed by Alan Clarke. But he called me up, and for that I feel honoured. I think there was only one thing that needed three takes. "[18], Tony Visconti, the producer of Bowie's last four studio albums, was originally scheduled to produce the new album. "[123], In 1989, the album was ranked number 83 on Rolling Stone's list of the "100 Best Albums of the Eighties". Doch es geht nicht nur um den Schmerz, der Fuß ist im Tanz essenziell: Technik, Physiologie, Freude, Widerstand, Musik, Erotik – und sogar Magie. Like "China Girl", "Modern Love" peaked at number two in the UK, held off the top spot by Culture Club's "Karma Chameleon". Videos Let's Dance . [82], "Modern Love" was released, again in edited form, as the album's third single in September 1983, with the catalogue number EA 158. "[24] For the first time ever, Bowie himself played no instruments on the album. Bowie also recorded a soundtrack EP for the play, which was released by RCA in February 1982 to coincide with the transmission. 潘高峰i18℗ 2018 太合麥田（天津）音樂有限公司Released on: 2018-12-03Auto-generated by YouTube. [47] AllMusic's Dave Thompson calls it "A high-energy, effervescent rocker" that "epitomises all that was good about Bowie's 1983 reinvention as a willing superstar". In the US, it peaked at number 14. The main difference between the Serious Moonlight tour and Bowie's former tours was the emphasis on lights rather than props. The record's four singles, including the title track, were all commercially successful as well. [57] O'Leary similarly criticises Bowie's vocal performance, done in a "fragile falsetto". Pegg also notes that the appearance of three covers on the record was evident to Bowie hitting a creative slump. Let's Dance is the 15th studio album by English musician David Bowie. In Montreux, Bowie played his new songs on a twelve-string acoustic guitar. [83] Although it failed to replicate the success of the title track, it still peaked at number two on the UK Singles Chart in June, being held off the top spot by the Police's "Every Breath You Take". One reviewer called it "Bowie at his best". Pepper's Lonely Hearts Club Band (1967). Pegg notes that it was the first time since Space Oddity (1969) that Bowie had not kept at least one musician from the previous album. He continued "... the title track was a decent chunk of funk-rock and Bowie did not embarrass himself on the single 'China Girl'. Written by Bowie and produced by Nile Rodgers of the band Chic, it was released as the lead single from the album in March 1983 and went on to become one of his biggest-selling tracks. [57][83], Upon release, Let's Dance entered the UK Albums Chart at number one, spending three weeks at the top position;[84] although Aladdin Sane, Pin Ups (both 1973) and Diamond Dogs (1974) were at the top position longer, Let's Dance remained on the chart for over a year. [112] Writing for The Guardian the same year, Jeremy Allen stated that Let's Dance had "spent time in the wilderness, rejected by many because of its 80s production values", but he added that "a reappraisal was all but inevitable and has coincided with a renaissance in Rodgers' career and an outpouring of love for the unprecedentedly successful producer/guitarist. [55][56] The seven-minute album version features different instrumental solos than the shorter single version. [16][18] Speaking to Musician in 1983, Rodgers said: "David could have had any producer – white or black – he wanted. [50], Pegg considers the title track to be one of Bowie's finest 1980s recordings and one of the "all-time great pop songs. [4], The murder of John Lennon in December 1980 affected Bowie deeply; he cancelled an upcoming tour to promote Scary Monsters and withdrew to his home in Switzerland where he became a recluse. 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. He felt that unlike Bowie's Glass Spider Tour and Tin Machine periods, where Bowie was willing to take risks and face criticism head-on, Let's Dance plays it safe in every department, creating tunes that originally contained "rough edges" that were then "sanded down" and given a "high-gloss finish". For the first time ever, Bowie played no instruments on the album, solely contributing vocals. "[118] Visconti would state in 1985 that "it was an album he had to make". Let's Dance Academy is a thriving dance school in St Albans, Hertfordshire. [111], In 2014, Andy Greene of Rolling Stone described Let's Dance as "the conclusion of arguably the greatest 14-year run in rock history". We have an official Lets Dance tab made by UG professional guitarists. [45][117] "I remember looking out over these waves of people [who were coming to hear this record played live] and thinking, 'I wonder how many Velvet Underground albums these people have in their record collections?' Vaughan was replaced by Earl Slick, who previously played on the Diamond Dogs Tour (1974) and Station to Station (1976). It contains three cover songs, including Iggy Pop's "China Girl", which Bowie and Pop recorded together for Pop's The Idiot (1977), Metro's "Criminal World", and a reworking of "Cat People (Putting Out Fire)", originally recorded by Bowie and Giorgio Moroder in 1982 for the film of the same name. Let's dance! "I was a well-accepted artist. It didn't roll the way it should have, the syncopation was wrong. Das ist spitze! In 1995, Virgin Records rereleased the album on CD with "Under Pressure" as a bonus track. After the release of Scary Monsters (and Super Creeps) (1980), Bowie begun a period of numerous musical collaborations and film appearances. [2][5] Nevertheless, he continued working. "[53] It was described by Ed Power in the Irish Examiner as "a decent chunk of funk-rock". [59], Biographers have noted that "Ricochet" is the only track on the album that's reminiscent of the experimental nature of Bowie's late-70s recordings. It was great in its way, but it put me in a real corner in that it fucked with my integrity. Bowie said he likes to work [fast] and I plan to do the same for the rest of my career. Let's Dance (Trailer) More Details. With the record, Bowie achieved what biographer David Buckley calls "the perfect balance" of creativity and mainstream success. 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