David Bowie was the foremost musical chameleon, changing his style and persona numerous times and was always ahead of the times. But in the 80s, did he finally succumb to the fad of the times? Many called his catchy 1983 #1 smash Let's Dance a sellout… but no matter, there’s no doubt this single marked a major turning point in Bowie’s career putting his face all over the new medium of music videos on MTV. But the biggest aspect of Let's Dance might be that he discovered a guitar legend in the process… even if this icon spent years distancing himself from his biggest hit. The story is next on Professor of Rock
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Hey music junkies, Professor of Rock, always here to celebrate the greatest artists and the greatest songs of all time. If you’ve ever held up a real lighter at a concert when they play the ballad this channel will resonate with you. Make sure to subscribe below right now. Click the bell so you are always in the know. We also have a Patreon you'll want to check out. There you’ll find an additional catalog of exclusive content and you can even become an honorary producer to help us curate this music history.
Today we’re starting a new show on our channel. We’re going to call it Career Suicide. This is where we break down an artist's song or album that took a major risk and pushed the boundaries or lost ground but always makes for a great story. Sometimes it works and sometimes it doesn’t and that’s the fun of these stories.
Today we’re covering the title track from an album that polarized two generations of fans due to its pop-centric approach. It's Let’s Dance by the late great David Bowie.
So in the early 1980s, after the release of his 14th studio album Scary Monsters (And Super Creeps), David Bowie was looking to reinvent himself. This wasn’t uncommon at all for rock’s notorious changeling, he had already passed through several iterations throughout his career...
Bowie was once again feeling his sound was becoming static and wanted a new direction. Scary Monsters had done well in the UK. Ashes to Ashes went #1, Fashion reached #5, and the title track landed at #20. But now his sights were dominance. Bowie laid the groundwork for his new era of commercial conquest when he collaborated with Queen in 1981 to issue Under Pressure. Then in 82, he teamed up with Giorgio Moroder in 1982 to release Cat People (Putting Out Fire).
In the UK, Under Pressure went to #1 and Cat People reached #26. But for the first time since Fame and Golden Years in 1975, Bowie had a top 10 hit in the states... although on the Mainstream Rock charts and not the Hot 100. Still, it was a sign of things to come.
The commercial success of these two songs proved to Bowie that he could appeal to mass audiences, particularly in America. So, at the end of 1982, with a handful of tracks already written for his next album, Bowie approached with long-time producer Tony Visconti about the new project. In anticipation, Visconti cleared three months of his calendar for Bowie.
However, before this reunion took place, there was a chance meeting. While sitting in the back of a New York after-hours club, Bowie would meet a new muse. Spied by famous American producer, funk guitarist, and Chic co-founder Nile Rodgers, the two struck up a conversation.
26 авг 2024
