David Bowie ‎– Let's Dance

Label:
EMI America ‎– AML 3029, EMI America ‎– OC 062-400 165
Format:
Vinyl, LP, Album, Stereo
Country:
Released:
Genre:
Style:

Tracklist Hide Credits

A1 Modern Love 4:46
A2 China Girl
Lyrics By, Music By – David Bowie, Iggy Pop
5:32
A3 Let's Dance 7:38
A4 Without You 3:08
B1 Ricochet 5:14
B2 Criminal World
Lyrics By, Music By – Duncan Browne, Peter Godwin, Sean Lyons
4:25
B3 Cat People (Putting Out Fire)
Lyrics By – David BowieMusic By – Giorgio Moroder
5:09
B4 Shake It 3:49

Companies, etc.

Credits

Notes

Issued with heavy stock full-color printed inner sleeve with lyrics/credits.

This release (712084) is different from Let's Dance which does not stipulate a "Lacquer Cut At" credit.

℗ & © 1983 David Bowie
Engineered for Fastforward Productions.

Barcode and Other Identifiers

  • Other (Printers code): GO 8304 GL
  • Rights Society: MCPS
  • Matrix / Runout (Run-out side A, stamped, tag etched, variant 1): AML 3029 A-2-1-1-2 NICKZ
  • Matrix / Runout (Run-out side B, stamped, tag etched, variant 1): AML 3029 B-3-1-1-x1 NICKZ PENTHOUSE
  • Matrix / Runout (Run-out side A, stamped, tag etched, variant 2): AML 3029 A-1-1-*-2-2 NICKZ
  • Matrix / Runout (Run-out side B, stamped, tag etched, variant 2 (the 1s either side of the second 3 are horizontal)): AML 3029 B-3-1-* 1 3 1 NICKZ PENTHOUSE
  • Matrix / Runout (Run-out side A, stamped, tag etched, variant 3): AML 3029 A-2-1-2-x1 NICKZ
  • Matrix / Runout (Run-out side B, stamped, tag etched, variant 3): AML 3029 B-3-1-1-x1 NICKZ PENTHOUSE
  • Matrix / Runout (Run-out Side A, stamped, tag etched, Variant 4): AML 3029 A - 1 - 1 * 2 NICKZ
  • Matrix / Runout (Run-out Side B, stamped, tag etched, Variant 4): AML 3029 B - 1 -1 - 5 - NICKZ
  • Matrix / Runout (Run-out Side A, stamped, tag etched, Variant 5): AML 3029 A - 2 -1 - 4 -- 8 NICKZ
  • Matrix / Runout (Run-out Side B, stamped, tag etched, Variant 5): AML 3029 B - 3 -1 - 2 - 25 NICKZ PENTHOUSE
  • Matrix / Runout (Run-out Side A, stamped, tag etched, Variant 6): AML 3029 A - 2 -1 - 4 - 52 NICKZ
  • Matrix / Runout (Run-out Side B, stamped, tag etched, Variant 6): AML 3029 B - 1 -1 - 1 - 40 NICKZ
  • Matrix / Runout (Run-out Side A, stamped, tag etched, Variant 7): AML 3029 A - 3 -1 - 1 - 1 NICKZ
  • Matrix / Runout (Run-out Side B, stamped, tag etched, Variant 7): AML 3029 B - 1 -1 - 4 - 1 NICKZ
  • Matrix / Runout (Run-out Side A, stamped, tag etched, Variant 8): AML 3029 A - 3 -1 - 3 - 1 NICKZ
  • Matrix / Runout (Run-out Side B, stamped, tag & Penthouse etched, Variant 8): AML 3029 B - 3 -1 - 2 - NICKZ PENTHOUSE
  • Matrix / Runout (Run-out Side A, stamped, tag etched, Variant 9): AML 3029 A - 2 - 1 - 2 - 20 NICKZ
  • Matrix / Runout (Run-out Side B, stamped, tag & Penthouse etched, Variant 9): AML 3029 B - 3 - 1 - 1 - NICKZ PENTHOUSE

Other Versions (5 of 226) View All

Cat# Artist Title (Format) Label Cat# Country Year
TC-AML 3029, 0C 262-400 165 David Bowie Let's Dance(Cass, Album, Gre) EMI America, EMI America TC-AML 3029, 0C 262-400 165 UK 1983 Sell This Version
8155 David Bowie Bailemos(LP, Album) EMI America 8155 Argentina 1983 Sell This Version
0190295511197 David Bowie Let's Dance(CD, Album, RE, RM) Parlophone 0190295511197 Brazil 2018 Sell This Version
4X0-517093 David Bowie Let's Dance(Cass, Album, Club, RE, Bla) EMI America 4X0-517093 Canada Unknown Sell This Version
CP35-3034 David Bowie Let's Dance(CD, Album, RE, ) EMI America CP35-3034 Japan 1984 Sell This Version

Recommendations

Reviews Show All 9 Reviews

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maxal

maxal

January 12, 2020
In a way, too much has been said of Bowie’s album, Let’s Dance. People opposedly claiming the album ended Bowie’s pristine run of rock albums, breaking the successful Bowie character, it was a bad album, it was a great dance album, it was innovative, it was formulaic; but no doubt it was a commercial success. Even Bowie added to some of the negative comments and it always made me defensive of my own personal stance – that I liked the album so much. So am I not a ‘proper’ Bowie fan?

So, although too much has been said about this album, I’m now going to overload and state: I love the Let’s Dance album. I love it along with the classics, Ziggy and the ‘experimentals’ such as Outside. But Bowie was always experimental, he was always with the times and ahead of the times, if that makes sense. Bowe might have said Let’s Dance was the beginning of his downfall, but perhaps said ‘downfall’ was inevitable anyway. And thank the powers of rock Bowie made a comeback toward the end. [I say this with heavy irony, as I never believed in the ‘downfall’ of Bowie, Outside, a particular favourite of mine is in the nadir of that downfall; and then Next Day, which isn’t one of my favourites, seemed to bring Bowie back. ‘Vindicating’ the true fans? It was certainly a very cunning retrospective – Where Are We Now? In fact this all brings back the issues of why it is not easy reviewing Bowie’s broad-spectrum work, it brings in so many conflicting tastes and diverging opinions. Some opinions can get set as stone as irrefutable.]

Bowie is quoted as saying, “Let's Dance was not mainstream. It was virtually a new kind of hybrid, using blues-rock guitar against a dance format. There wasn't anything else that really quite sounded like that at the time. So it only seems commercial in hindsight because it sold so many. It was great in its way, but it put me in a real corner in that it fucked with my integrity.” (Steve Pond’s 1997 interview). Strange Bowie should say such a thing, surely he was used to public opinion by then? He knew how to deal with fame and not let it interfere with his work? But Let’s Dance was, perhaps the first time he’d touched on the pure pop / dance side of music – is that playing with the devil? So Rock doesn’t have a monopoly on satanism?

Let’s Dance is a great album, perhaps it is because of this “hybrid” aspect Bowie refers to, it’s good rock, but solid funk dance as well. Beyond that, the people (Stevie Ray Vaughan, Nile Rogers) all brought their magic at the right time, along with Bowie’s magical direction. The music videos are a good reference for the music at that time – Let’s Dance begins with a thrown-out radio being filmed backwards, bringing music ‘back’, a kind of post-apocalyptic resignation against throwing out technology and Bowe then crooning effortlessly in the middle of nowhere aboriginal Australia, getting everybody to dance: Bowie is global. Bowie’s blond hair was a bit of a shock, but I suppose part of the perfect pop package. The video is also interspersed with footage of the poverty and gruelling work of the aboriginals, contrasting the dusty outback with the gleaming skyscrapers of the booming eighties, they bare-footedly stamp on a pair of red stilettos.

The China Girl video was directed by the same director, David Mallet, so similarly covers racial issues (about modernism crushing out traditional values), with China Girl the contrast seems more overt, the lyric of “swastika’s in my head” on a Nile Rogers dance track is alarming, insinuating unexpected political undertones (obviously done a thousand times before in music). The video was controversial with its nudity, at the same time it won awards and people loved it. On top of it all Bowie’s voice reigns supremely devastating as an homme fatale.

Six of the eight tracks on the album were on singles. My favourite is possibly Criminal World, possibly because it wasn’t overplayed, but also because the guitar by Stevie Ray Vaughan is excellent. It’s worth pointing out Bowie’s soundtrack music. Like Let’s Dance, Bowie’s soundtrack music can be seen as more populist (sellout?). I’d argue, Bowie always maintained his integrity, not simply producing drivel, but strong music in keeping with the rest of Bowie’s work: This Is Not America, Buddha of Suburbia, Absolute Beginners – there were many, all excellent songs which increased the movie rather than filler fluff.

No doubt, Bowie has specific relevance for certain fans, but what Bowie excelled at as a musician, was not just repeating one tired formula, but bringing opposing ideas together and this is where often Bowie met resistance by confused critics / fans. He could work with Bing Crosby and NIN, and brought together many musical forms whether rock, grunge, jazz, funk, dance, hip-hop, pop; inevitably such playing of the field may ostracise a few. Some Bowie music may take repeated plays to appreciate it, other pieces might be immediately accessible.

But Let’s Dance – exactly as it says on the label.
greyelephant

greyelephant

November 6, 2019
they have pressed magic with this one. can never get over how good it sounds. absolute gold
TeddyRose

TeddyRose

April 5, 2018
edited over 2 years ago
Phew...that's a load of SO-17093's. Unfortunately, I could not find a perfect match. The closest came from the Winchester pressing.

Matrix / Runout (Variant 2, A Side Etched): SO-1-17093-Z-4 #1
Matrix / Runout (Variant 2, B Side Etched): SO-1-17093-Z-2 #2 RL

My copy:
Matrix / Runout (A Side Etched): SO-1-17093-Z-4 #1 0
Matrix / Runout (B Side Etched): SO-1-17093-Z-2 #4 RL 0

Another possibility could be from Jacksonville Press Alt. Both sides are stamped MASTER DISK with stamped 0's

Any help would be greatly appreciated.
Teddy
fidelbarquiel

fidelbarquiel

January 16, 2018
The Variation 4 is with barcode and inner sleeve not rounded corners.
Wobbers

Wobbers

May 11, 2014
Different Matrix / Runout on my copy:
(Side 1) : AML 3029 A-3-1-1
(Side 2) : AML 3029 B-2-1-1