Дэвид Боуи: "Let's Dance" - 1983 жылғы хит

1983 single by David Bowie

"Let's Dance" is a song by the English singer songwriter David Bowie, originally included as the title track of his 1983 album of the same name. Co produced by Nile Rodgers of Chic, it was recorded in late 1982 at the Power Station in New York City. With the assistance of engineer Bob Clearmountain, Rodgers transformed the song from its folk rock origins to a dance number through studio effects and new musicians Bowie had yet to work with. Bowie hired then unknown Texas guitarist Stevie Ray Vaughan, who added a blues edge. Embracing rock, funk, dance, new wave and post disco, the full length seven minute track features numerous solos, including trumpet, saxophone, guitar and percussion. Several music elements, from the bassline and the breakdown, were based on Rodgers' work with Chic, while the rising vocal intros were taken from the Beatles' version of "Twist and Shout". The lyrics describe a couple dancing under the moonlight and possess a sense of peril and ominousness. Released as the album's lead single in full length and edited formats, "Let's Dance" became the biggest selling single of Bowie's career, topping the charts in numerous countries, including the UK and the US. The song's music video, filmed in Australia, provided commentary on the treatment of Aboriginal Australians, using the red shoes from a line to symbolise their abuse. Bowie performed the song throughout the 1980s and early 2000s during his concert tours. Viewed as one of Bowie's most popular songs, the song has received praise for its catchiness, accessibility, commerciality and production, and has appeared on lists of his best songs. "Let's Dance" has been covered, sampled, remixed and performed by other artists, and has made appearances in films, video games and television commercials.

In 1982, David Bowie left his longtime label RCA Records, having grown increasingly unsatisfied with them, and signed a new contract with EMI for a reported $17 million. With a new label and an idea for a commercial sound, he wanted to start fresh with a new producer. Around autumn, Bowie met Nile Rodgers of the American band Chic in the after hours New York nightclub Continental, where the two developed a rapport over industry acquaintances and shared musical interests; he eventually asked him to produce his next record. Rodgers initially thought Bowie desired to continue making art rock records—a follow up to 1980's Scary Monsters—until the artist informed him, "I want you to make hits." In late 1982, the duo regrouped at Bowie's home in Montreux, Switzerland. Bowie, using a 12 string acoustic guitar that had only six strings, played for him a folk like number he believed could be a hit with the right arrangement, tentatively calling it "Let's Dance". Dismissing the number as sounding "like Donovan meets Anthony Newley", Rodgers recalled: "I was like, 'that's not happening, man'. It totally threw me. It was not a song you could dance to." Nevertheless, Rodgers adjusted the arrangement, moving it higher in the scale, switching the key up to B, inverting the chords and adding upstrokes.

Bowie and Rodgers recorded a demo of "Let's Dance" at Montreux's Mountain Studios with a group of musicians, among them Turkish musician Erdal Kızılçay on bass. Kızılçay's work at first followed the stylings of Jaco Pastorius, but he and Rodgers ultimately worked out a simpler bassline for the song. Biographer Chris O'Leary describes the demo's sound as "basically Bowie singing over a Chic demo". In 2018, Rodgers stated: "This [demo] recording was the first indication of what we could do together as I took his 'folk song' and arranged it into something that the entire world would soon be dancing to and seemingly has not stopped dancing to for the last 35 years! It became the blueprint not only for 'Let's Dance' the song but for the entire album as well." The same year, an edited version of the demo, mixed by Rodgers, was released digitally on 8 January, and the full length 7:34 demo was released as a 12" vinyl single on 21 April for Record Store Day.

"Let's Dance" was the first song recorded for the album. The sessions, co produced by Bowie and Rodgers, took place at the Power Station in New York City during the first three weeks of December 1982. Engineered by Bob Clearmountain, the song was completed in one or two takes and set the tone for the rest of the project. The rest of the album was recorded quickly, completed in just 17 days. Along with a new producer, Bowie hired an entirely new set of musicians for the sessions, as he "wanted to try people that I'd never worked with before, so that I couldn't predict how they were going to play". Rodgers replaced Bowie's regular Carlos Alomar on rhythm guitar and recruited his Chic collaborators: keyboardist Robert Sabino, percussionist Sammy Figueroa and backing vocalists Frank and George Simms. Also hired were drummer Omar Hakim, bassist Carmine Rojas, trumpeter Mac Gollehon, vocalist David Spinner and saxophonists Stan Harrison, Robert Aaron and Steve Elson. Bowie himself did not play any instruments, stating at the time: "I don't play a damned thing. This was a singer's album!" Contributing additional guitar overdubs towards the end of the sessions was Stevie Ray Vaughan, a then unknown 28 year old Texas blues guitarist, whom Bowie hired after seeing him play at the 1982 Montreux Jazz Festival. Bowie praised his guitar playing, saying: "He's got a whole other thing going on." He used a Fender Stratocaster plugged into an old Fender amplifier; author Paul Trynka commented on "all tone coming from the player". "Let's Dance" was the first song Bowie and Rodgers played for the guitarist. The latter recalled: "[Vaughan] could sense this group of anonymous musicians were about to make history."

Over seven minutes in length, O'Leary states that "Let's Dance" consists of a series of "set pieces", featuring individual solos by trumpet, guitar, percussion and saxophone. The track's verses and refrains are merged, with the bridge acting "as another refrain". The title comes from Chris Montez's 1962 song of the same name that Bowie had played with his first band the Kon rads.

Speaking in 2014, Rodgers explained: "[Bowie] wanted me to make a record that sounded like the future, but still sounded like the essence of rock 'n' roll and R&B, but would be timeless." Bowie, who labelled the song "a postmodern homage to the Isley Brothers' 'Twist and Shout, cited Rodgers as the reason for its "incredible commercial appeal". Mirroring the popular dance music of the day, author James E. Perone says the song was aimed at the audience that ignored Bowie's prior musical and lyrical experiments. O'Leary describes the song as "a sampler of American music" and "a catalog in jump cuts", displaying the likes of electric blues, funk, Hollywood jazz, R&B, rock 'n' roll [and] Latin". Other commentators have categorised the song as funk, new wave, dance rock, post disco, dance pop and funk rock. The song begins with a rising vocal intro, which Bowie had Rodgers add as a way to hook audiences in immediately. Taken from the Beatles' version of "Twist and Shout" (1963), drums, bass, trumpet, saxophone and vocals converge and explode into a cadence. Similarly styled crescendos occur towards the end of the refrains, where Bowie moves up the scale – "if you should fall into my arms" – before peaking on "trem ble like a flowwwww er!" According to O'Leary, the bridge is a "melodic steal" from the Beatles' "She Loves You" (1963). The song's breakdown mimics Chic, where the instruments strip one by one to bass and drums before building back up again. Rodgers later explained to Bowie's biographer David Buckley: "On a song like Chic's 'Good Times' [1979], the most important part was the breakdown. Whenever the band would go to the breakdown the audience would scream." O'Leary compares the dueling saxophone break to the World Saxophone Quartet rather than a contemporary R&B horn section. Instrumentally, the final bassline, which biographer Nicholas Pegg considers "pure Chic", boasts two interspersing hooks of "a four note stepwise descent and a five note pattern that falls a step or holds the same note". The drum track utilises an elaborate kick drum pattern that repeats every eight bars, while the brass riffs–heard directly after "dance the blues"–were lifted from Henry Mancini's Peter Gunn soundtrack (1959). Rodgers said "that [riff] seemed to me so anti groove, but sticking it on something that was so hard groove[ ] it was magic!" O'Leary compares Figueroa's woodblocks to sounding like "mechanical rattlesnakes" and notes the isolated vocal tracks sound like they were "recorded in a canyon". Vaughan, using Albert King as inspiration, adds a blues inflected edge to the overall dance groove.

EMI America issued "Let's Dance" as the lead single from the album on 14 March 1983,efn|Previously, it was thought to be 17, Appearing on 7" and 12" vinyl—catalogue numbers EA 152 and 12EA 152, respectively—the former featured a shortened edit running 4:07, while the latter had the full length 7:38 album cut; it also received a cassette release two weeks later. It also attained the number one position on the Billboard (US) Hot 100 and Hot Dance/Disco charts, and number one in Canada, Ireland, Sweden, Switzerland, the Netherlands, New Zealand and Norway, and number two in Australia, Austria and Germany. In the US, Rolling Stone Ken Tucker hailed the song as "a jittery, bopping single as vital as anything on the radio". Debra Rae Cohen of The New York Times also commended the song's use of different R&B rhythms to create "a larger than life dance music that's almost timeless in its appeal, reminiscent of an encyclopedia of sources, yet never – for more than an instant, anyway – completely familiar". A Billboard writer said, "[Nile] Rodgers' predictable arrangement sets up the rules [of the dance funk genre], while Bowie's melodic structure and delivery methodically break them." NME placed "Let's Dance" at number 21 in its list of the best tracks of 1983.

The music video for "Let's Dance" was shot in February 1983 in Australia, together with "China Girl", after Bowie officially signed with EMI. Co directed by Bowie and frequent video collaborator David Mallet, the video starred Terry Roberts and Joelene King, two students from Sydney's Aboriginal Islander Dance Theatre. Shooting locations included Sydney, the Warrumbungle National Park, a sheep farming outpost in Carinda and a Carindan hotel bar. quote box|quote=It's a lot more straightforward than anything I've done in a long time. It's not so concerned with juxtaposing surreal images together. It's a very direct statement about integration of one culture with another. In an interview, Shah argued that "['Let's Dance'] made Aboriginal people feel proud of their culture. They're not a spear wielding tribal people out in the middle of nowhere. They live like everybody else does. But it was the first time that Aboriginals had been seen on global television like that."

"Let's Dance" was a regular on the 1983 Serious Moonlight Tour, Another 1985 live duet appeared on Turner's Live in Europe album in 1988. while another recorded two days later was released on BBC Radio Theatre, London, 27 June 2000, a bonus disc accompanying the first release of Bowie at the Beeb in 2000. "Let's Dance" made further appearances on the 2002 Heathen and 2003–2004 A Reality tours.

The single edit of "Let's Dance" has appeared on numerous compilation albums, including Changesbowie (1990), The Singles Collection (1993), Best of Bowie (2002), The Platinum Collection (2006), Nothing Has Changed (2014) and Legacy (The Very Best of David Bowie) (2016). Both single and album cuts were remastered and released on the box set Loving the Alien (1983–1988) in 2018.

The song continues to be viewed positively, receiving praise for its catchiness, accessibility, commerciality and production. Discussing its accessibility, Stephen Thomas Erlewine of AllMusic said that, together with fellow singles "Modern Love" and "China Girl", the song boasts "just enough of an alien edge to make [it] distinctive". Some have even called "Let's Dance" Bowie's most popular song. The Guardian Alexis Petridis said it "signaled his temporary abandonment of the avant garde" but still remains "a superb song, nervier and stranger than its global smash status might suggest". In Bowie: A Biography, Marc Spitz considers "Let's Dance" "easily the most unconventional number one hit single of the modern era" and further praises Bowie's vocal performance as his "most romantic and insistent" since "Heroes" (1977). In The Complete David Bowie, Pegg hails the song as one of Bowie's finest recordings of the 1980s and "undoubtedly" one of the best pop singles of all time. Following Bowie's death in January 2016, the writers of Rolling Stone named "Let's Dance" one of the 30 most essential songs of Bowie's catalogue. The song has placed in other lists ranking Bowie's best songs by Smooth Radio (3), Far Out (4), NME (6), The Guardian (18), In 2018, the readers of NME voted the song Bowie's 20th best track. In a list ranking every Bowie single from worst to best, Ultimate Classic Rock placed it at number seven. The song has been selected several times by the BBC Radio 4 Desert Island Discs programme, including by Lulu in 1987, Pete Waterman in 1995, John Bishop in 2012 and Noel Gallagher in 2015.

Rodgers has regularly played "Let's Dance" live, often joined by guests, including: Prince at the 2014 Essence Festival; Jimmy Fallon during a 2017 episode of Saturday Night Live; and Josh Homme, Chris Chaney and original drummer Omar Hakim at the Taylor Hawkins tribute concert on 3 September 2022. Billy Corgan of the Smashing Pumpkins also interpolated lines from "Let's Dance" into live performances of Joy Division's "Transmission" (1979). The original song was sampled in Puff Daddy & the Family's 1997 hit "Been Around the World" and Craig David's 2007 single "Hot Stuff". Bowie also expressed enthusiasm for a 2009 mashup of "Let's Dance" and Lady Gaga's "Just Dance" by Jessica Lee Morgan. In 2003, the original track was radically reworked by EMI with Bowie's approval, as part of a remix project for release in Southeast Asian territories. Titled "Let's Dance (Club Bolly Mix)" and packaged with a "club mix" of "China Girl", the remix added sitars, tabla drums and Hindi backing vocals and was accompanied by a new music video produced by MTV Asia, which recast the original as a Bollywood style romance. Bowie commented at the time: "Asian culture has had a fairly high profile within my work from the early 1970s. It was not a difficult decision to give a green light to these remixes. I think they're pretty cool." While different versions of the remixes appeared on promo CDs in Singapore and Hong Kong in August 2003, the actual remixes were released later the same year on the remix album Club Bowie and the limited edition US reissue of Best of Bowie. Pegg says that while these remixes are not for everyone, they are "certainly among the most elaborate and interesting Bowie remixes ever released". Artists who have covered "Let's Dance" for specific projects include the Futureheads for a CD called The Eighties, packaged with copies of Q magazine in 2006, and M. Ward for the Starbucks compilation Sounds Eclectic: The Covers Project in 2007. Discussing his cover with Spitz in 2009, M. Ward stated: "I always wanted to do a stripped down version of a dance song. The beautiful thing about 'Let's Dance', I found, are the lyrics. The production is great but it tends to hide the fact that the lyrics are so good." Spitz described his take on the song as a reimagined Nina Simone torch song. Also in 2007, Dutch outfit hi tack enjoyed club chart success with several remixes of Bowie's original and a salsa style cover by Stellarsound featuring Paula Flynn was released as a single after being featured in an Irish commercial for Ballygowan mineral water. In 2014, will. i. am and his protégés played the song during the semi final of the BBC's The Voice; Pegg says the artist "brutally assaulted" it.

"Let's Dance" has appeared on the soundtracks of the films Private Parts (1997), Zoolander (2001), We Own the Night (2007) and The Boat That Rocked (2009). In Zoolander, a short snippet of the song plays during Bowie's cameo, accompanied by a freeze frame. Pegg describes his cameo as "willingly sending up the media's image of him as the ultimate arbiter of cool". The song also appears in the video games Elite Beat Agents (2006) and Sackboy: A Big Adventure (2020). Additionally, "Let's Dance" was serviced as the backing track for a 2008 Marks & Spencer womenswear commercial.