182 Let’s Dance demo: only Nile Rodgers and Erdal Kizilcay have been credited on this—a photograph from the session shows three other people, presumably keyboards, drums and another guitarist or engineer?; sears through: to Timothy White, Musician, May 1983.
183 avatar of pure fame: a wonderful phrase coined by “Magic Fly,” one of Tom Ewing’s commenters on Popular’s “Let’s Dance” entry, 27 May 2009; RCA: New York Times, 13 December 1985; Bertelsmann: RCA was folded into the newly-formed BMG which, in 2008, would be sold to Sony; ten million albums: Washington Post, 26 April 1987; Lodger sold: Zanetta/Edwards’ Stardust lists purported Bowie global album sales as of 1983, noting that only Changesonebowie and Ziggy Stardust had gone platinum. But that doesn’t jibe with BPI platinum certifications in the UK for Scary Monsters and Best of Bowie (1981) and Hunky Dory (1982).
184 K-Tel: to Hopkins, 231. Best of Bowie was a UK #2; manager of the club: New York Post, 12 January 2016. There are lots of versions of this story—the funniest finds Rodgers desperately trying to get out of the way of a puking Idol, and that’s how he meets Bowie. Another version of the story has Bowie and Rodgers sitting side by side, silently, for hours until Rodgers gets the courage to say hello; in another, a less-inebriated Idol introduces Rodgers to Bowie, his fellow London suburbanite.
185 I want you to make hits…David’s directive: Juby, In Other Words, 187; urge to play around with musical ideas: to Chris Bohn, NME, 16 April 1983; two takes: to Robert Palmer, Penthouse, November 1983; old rock ‘n’ roll records…non-uptight music: quoted in Hopkins, 242, 244; vacuousness: Penthouse, November 1983.
186 my paint and canvas: to Jay Cocks, Time, 18 July 1983; that quality of necessity: to Kurt Loder, Rolling Stone, 12 May 1983; not happening, man: to Trynka, Starman, 315; Donovan meets Newley: Rodgers, Le Freak, 189; you won’t get played: to Buckley, Strange Fascination, 337; strummy chords: Le Freak, 190; afraid to chuck anymore: Rodgers, 7 November 2014, speaking at the Oredev Conference.
187 don’t play that shit: Starman, 316; gated drums: for much more, see Greg Milner’s Perfecting Sound Forever. In 1983, Bowie described the Low drum sound as “that “mash” drum sound, that depressive, gorilla effect set down the studio drum fever fad for the next few years. It was something I wish we’d never created, having had to live through four years of it with other English bands, until it started changing into the clap sound we’ve got now.”; Collins fell in love with the gated snare: see the Collins-produced “I Know There’s Something Going On” by Frida, in which the former ABBA singer fights for her life against all-conquering drums; annihilates the drums: interview with Kevin Hilton, 21 February 2018; decay out fast…rhythm section was doing: to Stan Hyman and Vicki Greenleaf, Modern Recording and Music, July/August 1983.
188 snapshot of Bowie’s brain: Starman, 316; looked like the future…would be timeless: Oredev Conference, 7 November 2014. serious moonlight: a less occult origin for the line is that, according to Rodgers, Bowie would call a particularly good groove or track “serious.” Bowie once said the phrase was his attempt at an “Americanism”; red shoes: Tanja Stark’s “Confronting David Bowie’s Mysterious Corpses” brilliantly puts the use of the red shoes imagery into a universe of Bowie’s death imagery. David Mallet and Bowie made another iconic video, with red shoes as a corrupting symbol of modern capitalism. It’s best remembered for a few sequences: an Aboriginal boy dragging a machine down a Sydney street; an Aboriginal couple painting a snake on the wall of an art gallery; an immaculate-looking Bowie playing his song in an outback bar where some non-actors are growing agitated at the Aboriginal actors dancing.
189 Modern Love clean-up single: pop albums once had diminishing returns. A third single, if even released, often charted low. But by the early Eighties, labels were milking one album for years. Epic led the way with Thriller (seven charting singles from a nine-track LP), but many huge mid-Eighties hits were third or fourth singles: “Borderline,” “Purple Rain,” “Hello,” “Sharp Dressed Man,” “Walk of Life,” “Born in the USA.” Ten years later, labels were harvesting albums so ruthlessly that no one wanted to hear anything else the artist ever did again (e.g., the Spin Doctors, Alanis Morrisette, Hootie and the Blowfish); it all comes from Little Richard: Guitar Player, June 1997.
190 the questions of chaos: The David Bowie Story, 1993. In 1990, talking to the LA Times, Bowie said “Modern Love” was “not one of my favorites,” that he’d tried “to cover two subjects…religion and love…and I don’t think they linked too well….lyrically it was too wishy-washy.”
191 Shake It a longer version of the track (5:20, compared to the album version’s 3:49) was the B-side of the “China Girl” 12″ single; singer’s album: Musician, May 1983; fresh ears: to Tom Doyle, Mojo, August 2018; thumbnails: Le Freak, 191; spiky about my stuff: MTV interview, 27 January 1983.
192 Ricochet fitting its outsider status, “Ricochet” was the only Let’s Dance track not to be issued on a single. It titled an odd promotional film, directed by Gerry Troyna, that documented Bowie’s Australasian tour in late 1983 (in which he didn’t perform the documentary’s title song); it should have rolled: Musician, August 1987.
193 just threw it out there: Rodgers, at a performance for Grammy Week, Village Recording Studio, 2015; “Night Mail”: the rhythm of Bowie’s “march of flowers, march of dimes” hook is a close match to Auden’s lines (“letters of thanks, letters from banks”)
194 Criminal World also the B-side of “Without You” biggest mistake: Rolling Stone, 12 May 1983; major miscalculation…image: Time, 18 July 1983; Robinson: interview tape, recorded ca. June-July 1983.
195 banner over me: Penthouse, November 1983. In the first The Book of Lists (1977), Bowie made the list of “Famous Homosexuals,” along with Janis Joplin and Elton John; now it’s changing: Serious Moonlight, 168; puritanical place: Blender, August 2002; I am Rod Stewart: to Spitz, 326.
196 spice in his image: The Face, November 1980; only person who knows this?: to Tim De Lisle, The Independent, 10 September 1995; station to station: to David Keeps, Details, October 1995; Metro: Browne, who died of cancer in 1993, and Godwin had hits as solo acts in the Eighties: Godwin’s “Images of Heaven” and Browne’s “The Wild Places.”
197 Without You in the US, it was Let’s Dance’s fourth single, issued in February 1984, with a Keith Haring cover (EMI America 8190, #73); we’re the opening act: Sound on Sound, April 2005.
198 like a hawk…proud to show off his genius: Le Freak, 191.
199 Waiata older well-dressed audience…requests for tickets: Serious Moonlight, 44; literature of crowd psychology: New York Times, 26 July 1983; the guy who wrote about those people: Serious Moonlight, 54; for three concerts in Chicago…$1.2 million for a single show: Hopkins, 261; $50 million in 1983: Tremlett, 313; posh accent: Starman, 324.
201 Imagine The concert performance appears to have been filmed professionally, perhaps as part of the Ricochet documentary; hip ones of the Sixties: Lennon RKO radio interview, 8 December 1980; the unknown is what it is: Playboy, December 1980; might as well do ‘Imagine’: Starzone Interviews, 113. Tumble and Twirl the B-side of “Tonight,” whose 12″ single has an “extended dance mix” of this song by Steve Thompson, most notable for an up-mixed heavy bassline that sounds like a bowed cello at times.
202 certified platinum: Billboard, 15 December 1984; he does deliver: to David Fricke, Musician, December 1984; huge mistake…scantily-dressed: Washington Post, 26 April 1987; too soon: Rolling Stone: David Bowie: The Ultimate Guide, 2016; much further: Rolling Stone, 12 May 1983; searching for me: Soul Interviews, 16 December 2012. All Bowie had heard of Bramble’s work were demos he’d produced for Jaki Graham; conscious effort to distance himself: Buckley, 359; Heatwave: a band with a rather cursed history. A rhythm guitarist was stabbed to death, their original bassist was stabbed and left temporarily blinded and paralyzed, and the lead singer was paralyzed from the neck down after an auto accident; guy upstairs: Musician, December 1984.
203 going in and doing it…after the snow had gone: Juby, 119; Le Studio: an “environmental” studio that opened in 1974, it had a floor-to-ceiling glass wall (as seen in Rush’s video for “Limelight”). It closed in the 2000s, being essentially abandoned to the elements until it was partially destroyed by fire in 2017; jack shit…wanted to get the record out: Buckley, 360, 362; violent: Musician, August 1987; breathing space…buying time: Wipe-out (Hong Kong TV), December 1983.
204 Haiti: Pop and Friedman’s calamitous time in Haiti is well-depicted in Trynka’s Bleed; solitude in foreign climes: Musician, December 1984; Brooke Shields: NME, 29 September 1984.
205 didn’t want what I earned for myself: David Bowie Story, 1993; frantic complex swing: Musician, December 1984. Don’t Look Down mix: its backing tracks were used as incidental music in Jazzin’ for Blue Jean.
206 proper reggae: NME, 29 September 1984; cut lines: Bowie changed the opening of the first verse, which Pop had repeated later in the song. Pop’s blunt “Why be bored? Who scared you? Why stay here? It’s no piece of cake” becomes “No, I won’t be bored/ I won’t be there. Look at life: it’s no piece of cake.” Blue Jean exact release date is hard to pin down. It’s reviewed in the 8 September 1984 Billboard and the 15 September 1984 Cash Box; it’s first reported being added to radio playlists in the 10 September 1984 Eurotipsheet and in the 7 September 1984 Radio & Records. As there are other indications that the single was out in the UK the week of 3 September 1984, that’s my guess; Padgham: After Tonight, he went to London to record Phil Collins’ No Jacket Required, which in a way comes off as successful realization of Tonight: it has a similar production style and vocal treatments, rhythm guitar work that sounds like Carlos Alomar outtakes, horns, Arif Martin string arrangements. But NJR has an internal consistency—its uptempo singles are embedded within a wider set of gloomy pieces, making the former seem like manic flights in a depressive’s journal. Also, there are no covers.
207 Jazzin’ for Blue Jean: the Julien Temple video used the age-old formula where the star plays both nerd and mean cool kid (for a relatively recent example, see Taylor Swift’s “You Belong With Me”). Look for the Right Said Fred guy playing Bowie’s bassist. Mike Sarne’s 1962 UK hit “Come Outside,” where Sarne’s hapless character, failing to pick up a bored-sounding girl (he’s “a smooth-talking East End horndog who’s nowhere near as suave as he thinks he is,” as Andy Zax noted), is almost certainly an influence on Bowie’s sad-sack “Vic” in the video. I Keep Forgettin’ given its more formal title (“I Keep Forgetting”) on Tonight’s first US release.
208 Smokey Robinson…wild dance: Ken Emerson, Always Magic In the Air, 170; the single: Wand 126, released in July 1962, charted in September (#55 pop). While Leiber and Stoller are credited as co-composers with occasional collaborator Gilbert Garfield on the Jackson single, they’re the only ones credited on Bowie’s and other cover versions. Loving the Alien issued as a single in May 1985. Its video (directed by Bowie and Mallet), with its mix of surreal imagery (the backing band out of de Chirico paintings; the Gilbert and George reference first seen on the LP cover) and high Eighties cheese (Bowie’s primary outfit and ur-Rick Astley dancing) sums up the song in a way.
209 Anderson: though Bowie took pains to say that Glass was his only inspiration, “Loving the Alien” has affinities to “O Superman” and plays with similar themes of faith and power; Fairlight: played by an uncredited musician, Rob Yale, who later claimed he was one of the first people in Canada to have mastered the instrument; Salibi: in The Bible Came from Arabia, he argued that the kingdoms of David and Solomon were in the Saudi provinces of Asir and the southern Hijaz. While Salibi’s book hadn’t been published when Bowie wrote “Loving the Alien,” his ideas were circulating in articles in the Christian Science Monitor and other publications. Bowie mentioned him to Charles Shaar Murray as a “historian [who] is putting forth the idea that Israel is wrong and that it was in fact in Saudi Arabia”; sins hooked upon the sky: suggestive of a line in the Portuguese poet Fernando Pessoa’s The Keeper of Sheep (“One day while God was sleeping…[Christ] went to the chest of miracles and stole three…With the third he created a Christ eternally stuck to the cross/ and left him nailed to the cross in the sky/ and it serves as the model for others.”). It’s possible Bowie had read Pessoa, whose work had been translated into English in the Seventies; had to do with Major Tom: Buckley, 363.
210 alien Christs: Davies, God and the New Physics, 71; inherent in the song…not even in the lyrics: NME, 29 September 1984.
211 God Only Knows in our twenties: to Marc Myers, Wall Street Journal, 7 October 2011; instrumentation: some details from Albin Zak’s The Poetics of Rock.
212 original or better: Musician, December 1984; bit saccharine: NME, 29 November 1984.
213 Dancing with the Big Boys just recorded it all: Musician, December 1984; threw out there: Juby, 119.
214 work together for survival: Musician, December 1984; one more set of pieces like that: Rolling Stone, 25 October 1984. This is Not America release: Possibly the previous week (it’s reviewed in the 2 February 1985 Cash Box). The soundtrack album was released on 22 February 1985.
215 Boyce: He escaped from prison in 1980, became a bank robber for a time, and intended to fly to the Soviet Union to join the Red Army until being arrested again in 1981 (both he and Lee have since been paroled); Metheny: “He asked if any of us could sing (we couldn’t/can’t!), so he did all the background vocals himself, kind of transforming into what seemed to be two or three different people as he did each part.” (Metheny’s website, “DB RIP,” 11 Jan 2016); pop record: Billboard, 7 June 1986.
217 people in the film: Brian Jay Jones, Jim Henson: The Biography, 355; Lee: he was the one who named the goblin character Jareth; new challenger: Labyrinth: Ultimate Visual History, 29; David Lee Roth: Roth playing against Jennifer Connelly in this film would have been…well, something. Bowie got the nod in part because Henson’s son Brian thought Bowie “was cooler” and because Bowie had more film and stage experience than other candidates; I could see the potential…spoiled child: Inside the Labyrinth; June-August 1985: principal photography began on 15 April 1985 but Bowie didn’t report to the set until early June. Most of his scenes were filmed that month, including the “Magic Dance,” “As the World Falls Down” and “Within You” sequences. Barring a day’s shoot in August, Bowie had completed his scenes by the end of July; just this side of getting it: to Spitz, 336.
218 free hand: Inside the Labyrinth; virtually finished tracks: Labyrinth: UVH, 164; wasn’t a nightmare: Labyrinth: UVH, 123; re-do that whole sequence: Labyrinth: UVH, 131; Wild Things: after Bowie’s death, the demo went up on YouTube, complete with photographs of the session, which showed Eric Idle in attendance.
219 Magic Dance Portnow: 2 August 1986, Billboard. He later became head of NARAS; filmed: by a 4 June 1985 script draft, the full lyric of “Magic Dance” was complete, though Jareth was originally supposed to sing the “puppy dog tails” line (as he does on the soundtrack version); baby gurgles: Inside the Labyrinth.
220 As the World Falls Down exactly the same age: Heather Henson and Jennifer Connelly were born within a week of each other in December 1970.
221 Velimirovic: Labyrinth: UVH, 41; inner fantasies of this girl: Labyrinth: UVH, 53; Hollywood talent scout: Henson script memo, 24 September 1984; old-fashioned: Inside the Labyrinth; oh how she wants: lines from Laura Phillips’ script revision of August 1984.
222 Ferry: his Girls and Boys was released during the shooting of Labyrinth, in June 1985, Within You Stone walls and crumbling power: Inside the Labyrinth.
223 little audiocassette: Labyrinth: UVH, 162. Underground The 7″ single edit (EMI EA 216, trimmed by over a minute), was backed by an instrumental version; the 12″ has an Extended Dance Version, Dub Mix and another instrumental (no choir this time). The sheet music has an extra verse not found in any mix, to my knowledge (“when will I afford you?/ don’t turn around./ You’re turning slower/ That’s underground”).
225 That’s Motivation Various release dates are cited for the release of the Absolute Beginners soundtrack, typically sometime in April 1986. Given that it was reviewed as a new release in the 23 March 1986 Observer, I went with the following day, the by-then-typical UK release day of Monday. Further evidence is that the soundtrack was reviewed in the 5 April 1986 issue of Billboard along with the Stones’ Dirty Work, which came out on 24 March.
226 sexless sparrows: “A Short Guide for Jumbles (to the Life of their Coloured Brethren in England)” (1954); wavering accent: Bowie said he took the idea from a “con man” ad executive he’d known (“there was this continual fluctuation between English and American”). See also MacInnes’ “Young English, Half English” (1957), about Tommy Steele: “[when Steele] speaks to his admirers, his voice takes on the flat, wise, dryly comical tones of purest Bermondsey. When he sings, the words (where intelligible) are intoned in the shrill international American-style drone”; high-falooting…real big number in the old tradition: to Tom Hibbert, Smash Hits, 26 March- 8 April 1986; scenes were shot: dates courtesy of Graham Rinaldi, whose upcoming book on Bowie’s films looks to be definitive; pied piper: Juby, 123; kind of devil: Spin, May 1986; million pounds over budget: The Guardian, 21 September 2005; Sinfield: Literature, Politics, 170.
227 Release: “Volare” was only included on the 2-LP complete soundtrack, which didn’t get an American release at the time.
228 Absolute Beginners hey, it’s yet another difficult-to-determine release date! “Absolute Beginners” first charted the week of 15 March 1986 in the UK and Australia (and 29 March 1986 in the Billboard Hot 100), but it was reviewed in the 12-25 February 1986 Smash Hits. While the release date was most likely 3 March 1986, it’s possible it came out the week before, on 24 February 1986; people forget they love: a commenter on Tom Ewing’s “Popular” whose comment I can no longer find. But I swear it once existed; glass eye: to Sandford, 242; Wakeman: added what he described as “classical piano/ Rachmaninoff type stuff” in a later mixing session, where he and Bowie (neighbors in Switzerland) spent a few hours reminiscing; cocaine: a goodbye indulgence, as it’s the last reported time that Bowie used it, as per Kevin Armstrong in Trynka’s bio (the source of the coke was allegedly Angela Bowie—it’s a bit too good a story). But Neil Conti disputed that account on my blog: “It’s absolute rubbish that Bowie was doing cocaine in the studio. He was very calm, happy and healthy, if a little overweight”; tension: The A major 7th possibly came about by Bowie moving a finger while fretting an A major chord (he’d played his chord ideas on guitar to Armstrong in the studio). Chord substitutions brighten the song—a C major chord is swapped in for what should be C# minor on “I’m absolutely,” so affirming that declaration; chords: “Magic Dance” in particular has similar D-Bm-G and F#-E progressions in its refrain (an insight of commenter Y. Tyrell); on a plate: to Buckley, 368; Janet Armstrong: Kevin’s sister, who worked at the clothing store Dorothy Perkins, as per Trynka (332). I say first “major label” performance as she seems to have been the vocalist on a few post-punk singles from the early Eighties.
230 Dancing in the Street its B-side was an “instrumental” version (the sort with vocals) with some Saturday Night Live segue-style saxophone noodling and a guitar solo.
231 music-less video: as per Donny McCaslin and other Blackstar musicians; healthy relationship with Mick: Musiek Express, June 1983.
232 cabaret band: Buckley, 367; ego trip…sphinxlike: Sandford, 246; Madison Square Garden: Saunders’ blog (www.marksaunders.com), 22 January 2016; smiling, indulgent one: Starman, 332; Stones: The album the Stones were making in the summer of 1985, Dirty Work, sounded like the final, chaotic days of a marriage, with Jagger singing about nuclear war, money-grubbers, and violent sex, with a reoccurring motif of wanting to beat the shit out of someone. It should have been their last album.
234 When the Fires Broke Out Looney Tunes: Its official title was The Bugs Bunny Looney Tunes 50th Anniversary Special, first airing on 14 January 1986. Other guests included Steve Martin, Billy Dee Williams, Bill Murray, Quincy Jones, Cher, Chuck Yeager, and Molly Ringwald.