David BowieLet's Dance

Label:EMI America – AML 3029, EMI America – OC 062-400 165
Vinyl, LP, Album, Stereo
Genre:Rock, Funk / Soul, Pop
Style:Pop Rock, Dance-pop, New Wave


A1Modern Love4:46
A2China Girl
Lyrics By, Music ByDavid Bowie, Iggy Pop
A3Let's Dance7:38
A4Without You3:08
B2Criminal World
Lyrics By, Music ByDuncan Browne, Peter Godwin, Sean Lyons
B3Cat People (Putting Out Fire)
Lyrics ByDavid Bowie
Music ByGiorgio Moroder
B4Shake It3:49

Companies, etc.



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
  • Matrix / Runout (Run-out Side A, stamped, tag etched, Variant 10): AML 3029 A - 2 - 1 - 3 - NICKZ
  • Matrix / Runout (Run-out Side B, stamped, tag & Penthouse etched, Variant 10): AML 3029 B - 3 - 1 - 2 - 14 NICKZ PENTHOUSE

Other Versions (5 of 260)

View All
Title (Format)LabelCat#CountryYear
Let's Dance (LP, Album, Stereo)EMI America, EMI America1C 064-400 165, 400165Europe1983
Recently Edited
Let's Dance (LP, Album, Winchester Pressing)EMI AmericaSO-17093US1983
Recently Edited
Let's Dance (LP, Album)EMI America, EMI AmericaST.17093, ST-17093Australia1983
Recently Edited
Let's Dance (Cassette, Album)EMI America, EMI America2C 266-40 0165, 2C 266 400165France1983
Recently Edited
Let's Dance = Bailemos (LP, Album)EMI America, EMI America10C 072 400.165, 10C-072 400165Spain1983


  • maxal's avatar
    Adam A (May, 22), I know what you mean with your below review, but I'd like to make a few points. [Basically because, I could have easily ‘dropped’ Bowie after the Let’s Dance album. I stutteringly continued and was rewarded with the effort, kind of breaking through and appreciating Bowie’s music, some albums more than others.]

    Firstly, it's interesting you include Let's Dance in the "classic" period, most Bowie fans would not, some detesting it as too far away from the Berlin Trilogy. I agree, I think Let's Dance is a beautiful album, more than a simple pop album. It is strange the similar / later collaboration produced the White Noise album, which I personally don’t connect with.

    Secondly, I think it's worth pursuing Bowie’s music after the Let’s Dance album. David Bowie certainly evolved with his musical abilities; and on a number of levels (his live performances, music for film and his albums . . .).

    His live performances were great, relaxed, increasingly he would reinterpret his iconic pieces to successfully new, CHANGED, effect. Also, he was more David Bowie the person, somebody chiseled by life experience, less Bowie a character. He was generous with his collaborators and picked a diverse range of collaborators from different genres, whether punk, grunge, rock, jazz – and so returned a lot to the music world, inspiring many. Unlike most performers Bowie succeeded in keeping up with the times, new musical trends (such as grunge), putting the influence in his creative blender and creating something new, spanning decades with a variety of sound.

    Also, worth mentioning are his soundtrack efforts, slightly separate from his personal albums, he maintained high standards and a lot of the music is not sellout (“compromised” by the film industry). The Buddha soundtrack, This Is Not America, I can’t Read, it is all very Bowie . . .

    As for the later albums after LD (I don’t mean to sound preachy), maybe you could try Outside and Heathen? Outside is a fascinating album, has its unique subject matter, and is musically wonderful, perhaps challenging, I don’t know. This album does have its ugly bits, but fuses them well as the best modern music does, both delicately, with force.

    Black Star, is a great parting album, again with its own character. I tend to see The Next Day, stylistically, as a kind of retrospective album, it consolidated and refreshed his style with new songs.

    Bowie encompassed so many styles of music, it is inevitable people will approach his music from different angles.
    • jimmy_vinyl's avatar
      The notes on this page mention a "Lacquer Cut At" credit (on this version). Sorry if this is a dumb question, but where would that be found, if anywhere?

      The version I have matches the description here, but I cannot see any reference to lacquer. Thanks
      • Seandyer87's avatar
        What an album !

        Everyone knows the music , Bowie does 80s! and does it properly with Nile Rogers at the helm.

        The record sounds absolutely incredible ... picked mine up crate digging in the wild for £8, over the moon with it.

        On the rear it says the album was engineered by Bob Clearmountain and mastered by Robert Ludwig - not entirely sure about this UK vinyl , but it sounds special either way.

        Seems they are getting harder to come by and the price is creeping up as with all things vinyl now.

        • maxal's avatar
          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's avatar
            they have pressed magic with this one. can never get over how good it sounds. absolute gold
            • TeddyRose's avatar
              Edited 4 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.
              • fidelbarquiel's avatar
                The Variation 4 is with barcode and inner sleeve not rounded corners.
                • Wobbers's avatar
                  Different Matrix / Runout on my copy:
                  (Side 1) : AML 3029 A-3-1-1
                  (Side 2) : AML 3029 B-2-1-1



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