{"id":47098,"date":"2020-09-16T15:11:33","date_gmt":"2020-09-16T15:11:33","guid":{"rendered":"https:\/\/producelikeapro.com\/blog\/?p=47098"},"modified":"2020-12-11T14:17:10","modified_gmt":"2020-12-11T19:17:10","slug":"rock-and-roll-on-the-dance-floor-behind-the-music-of-lets-dance","status":"publish","type":"post","link":"https:\/\/producelikeapro.com\/blog\/rock-and-roll-on-the-dance-floor-behind-the-music-of-lets-dance\/","title":{"rendered":"Rock and Roll on the Dance Floor: Behind the Music of \u201cLet\u2019s Dance\u201d"},"content":{"rendered":"<div class=\"produ-leaderboard-placement\" style=\"margin-left: auto;margin-right: auto;text-align: center;margin-bottom: 30px!important;\" id=\"produ-1103449706\"><script async=\"async\" src=\"https:\/\/securepubads.g.doubleclick.net\/tag\/js\/gpt.js\"><\/script>\n<script> var googletag = googletag || {}; googletag.cmd = googletag.cmd || [];<\/script>\n<div id=\"gpt-ad-5689076589671-0\">\n  <script>\n\tgoogletag.cmd.push(function() {\n\t\t\t\tgoogletag.defineSlot( '\/21927241144\/728x90-Leaderboard', [728,90], 'gpt-ad-5689076589671-0' )\n\t\t.addService(googletag.pubads());\n\t\t\t\twindow.advadsGamEmptySlotsTimers = window.advadsGamEmptySlotsTimers || {};\n\t\tconst timers                     = window.advadsGamEmptySlotsTimers;\n\n\t\ttimers['gpt-ad-5689076589671-0'] = setTimeout( function () {\n\t\t\tconst id = 'gpt-ad-5689076589671-0';\n\t\t\tdocument.dispatchEvent( new CustomEvent( 'aagam_empty_slot', {detail: id} ) );\n\t\t\tdelete ( timers[id] );\n\t\t}, 1000 );\n\n\t\tif ( typeof window.advadsGamHasEmptySlotListener === 'undefined' ) {\n\t\t\tgoogletag.pubads().addEventListener( 'slotRequested', function ( ev ) {\n\t\t\t\tconst id = ev.slot.getSlotElementId();\n\t\t\t\tif ( typeof timers[id] === 'undefined' ) {\n\t\t\t\t\treturn;\n\t\t\t\t}\n\t\t\t\tclearTimeout( timers[id] );\n\t\t\t\ttimers[id] = setTimeout( function () {\n\t\t\t\t\tdocument.dispatchEvent( new CustomEvent( 'aagam_empty_slot', {detail: id} ) );\n\t\t\t\t\tdelete ( timers[id] );\n\t\t\t\t}, 2500 );\n\t\t\t} );\n\t\t\tgoogletag.pubads().addEventListener( 'slotResponseReceived', function ( ev ) {\n\t\t\t\tconst id = ev.slot.getSlotElementId();\n\t\t\t\tif ( typeof timers[id] !== 'undefined' ) {\n\t\t\t\t\tclearTimeout( timers[id] );\n\t\t\t\t\tdelete ( timers[id] );\n\t\t\t\t}\n\t\t\t\tif ( ! ev.slot.getResponseInformation() ) {\n\t\t\t\t\tdocument.dispatchEvent( new CustomEvent( 'aagam_empty_slot', {detail: id} ) );\n\t\t\t\t}\n\t\t\t} );\n\t\t\twindow.advadsGamHasEmptySlotListener = true;\n\t\t}\n\n\t\tgoogletag.enableServices();\n\t\tgoogletag.display( 'gpt-ad-5689076589671-0' );\n\t} );\n  <\/script>\n<\/div>\n<\/div>[vc_row][vc_column][vc_column_text]<strong>Written by Caitlin Carlos<\/strong><\/p>\n<p><span style=\"font-weight: 400;\">From his early beginnings as Davy Jones, to his alien persona of Ziggy Stardust, <a href=\"https:\/\/producelikeapro.com\/blog\/ken-scott-interview-beatles-david-bowie-sound-techniques-namm\/\">David Bowie<\/a> had spent much of the sixties and seventies, inventing and reinventing himself. The d<\/span><span style=\"font-weight: 400;\">ecade\u2019s end culminated with the critically acclaimed Berlin Trilogy (<\/span><i><span style=\"font-weight: 400;\">Low<\/span><\/i><span style=\"font-weight: 400;\"> (1977), <\/span><i><span style=\"font-weight: 400;\">&#8220;Heroes&#8221;<\/span><\/i><span style=\"font-weight: 400;\"> (1977) and <\/span><i><span style=\"font-weight: 400;\">Lodger<\/span><\/i><span style=\"font-weight: 400;\"> (1979))<\/span><span style=\"font-weight: 400;\">, created while he and Iggy Pop lived in Berlin, trying to escape the drug addictions that had plagued both stars. The new decade brought the release of <\/span><i><span style=\"font-weight: 400;\">Scary Monsters (And Super Creeps) <\/span><\/i><span style=\"font-weight: 400;\">which retained some of the european coolness of his Berlin albums but looked towards more mainstream potential. Despite the album hitting number 1 on the UK charts and containing a chart-topping UK single with \u201cAshes to Ashes,\u201d Bowie turned away from the studio for another two years before beginning his next transformation. <\/span><\/p>\n<p><span style=\"font-weight: 400;\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-47099 size-large lazyload\" src=\"data:image\/gif;base64,R0lGODlhAQABAAAAACH5BAEKAAEALAAAAAABAAEAAAICTAEAOw==\" data-src=\"https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2020\/09\/lets-dane-album-cover-1080x1080.jpg\" alt=\"lets dance album cover\" width=\"1080\" height=\"1080\" data-sizes=\"auto\" data-srcset=\"https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2020\/09\/lets-dane-album-cover-1080x1080.jpg 1080w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2020\/09\/lets-dane-album-cover-300x300.jpg 300w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2020\/09\/lets-dane-album-cover-100x100.jpg 100w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2020\/09\/lets-dane-album-cover-600x600.jpg 600w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2020\/09\/lets-dane-album-cover-150x150.jpg 150w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2020\/09\/lets-dane-album-cover-768x768.jpg 768w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2020\/09\/lets-dane-album-cover-770x770.jpg 770w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2020\/09\/lets-dane-album-cover-606x606.jpg 606w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2020\/09\/lets-dane-album-cover-20x20.jpg 20w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2020\/09\/lets-dane-album-cover-385x385.jpg 385w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2020\/09\/lets-dane-album-cover.jpg 1300w\" sizes=\"auto, (max-width: 1080px) 100vw, 1080px\" \/><\/span><\/p>\n<p><span style=\"font-weight: 400;\">In 1983, Bowie\u2019s reinvention took a surprising turn with his wildly successful album <\/span><i><span style=\"font-weight: 400;\">Let\u2019s Dance. <\/span><\/i><span style=\"font-weight: 400;\">While most of his previous albums had ridden a dark and cutting edge of popular and avante-garde, <\/span><i><span style=\"font-weight: 400;\">Let\u2019s Dance <\/span><\/i><span style=\"font-weight: 400;\">was relatively optimistic and strategically poised for mainstream success. Prior to the album\u2019s release, Bowie explained: \u201cIt occurred to me that a lot of things that I\u2019ve d<\/span><span style=\"font-weight: 400;\">one&#8230;have been pretty much in a direction of singularity and isolationist and quite cold and I just felt&#8230;that I wanted to do something with the kind of warmth that I feel missing&#8230;in music generally, and from society.\u201d Bowie was attempting to connect with his audience and the world in a new way, and was commercially rewarded for his efforts.\u00a0 <\/span><span style=\"font-weight: 400;\">The album produced three hit singles, including \u201cModern Love,\u201d \u201cChina Girl\u201d and \u201cLet\u2019s Dance\u201d &#8211; the last of which holds the honor of giving Bowie his first transatlantic #1 hit. The album was nominated for an Album of the Year Grammy in 1984, although it lost to Michael Jackson\u2019s <\/span><i><span style=\"font-weight: 400;\">Thriller.<\/span><\/i><span style=\"font-weight: 400;\"> In the midst of all this success, the album\u2019s title track deserves special attention for its remarkable fusion of musical styles and influences into a commercially attractive hit track, while still carrying so much of the poignancy that has defined Bowie\u2019s career.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-47100 lazyload\" src=\"data:image\/gif;base64,R0lGODlhAQABAAAAACH5BAEKAAEALAAAAAABAAEAAAICTAEAOw==\" data-src=\"https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2020\/09\/nile-rodgers.jpg\" alt=\"\" width=\"1000\" height=\"547\" data-sizes=\"auto\" data-srcset=\"https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2020\/09\/nile-rodgers.jpg 1000w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2020\/09\/nile-rodgers-600x328.jpg 600w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2020\/09\/nile-rodgers-768x420.jpg 768w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2020\/09\/nile-rodgers-770x421.jpg 770w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2020\/09\/nile-rodgers-20x11.jpg 20w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2020\/09\/nile-rodgers-385x211.jpg 385w\" sizes=\"auto, (max-width: 1000px) 100vw, 1000px\" \/><\/span><\/p>\n<p><span style=\"font-weight: 400;\">Much of the song\u2019s character can be attributed to the arranging talents of Bowie\u2019s co-producer and collaborator for the album, Nile Rodgers of Chic. In Chic, Rodgers had made a name for himself as a master of Black pop and disco in the late 70s with top-ten hits like \u201cLe Freak,\u201d \u201cEverybody Dance\u201d and \u201cGood Times.\u201d But the wave that had carried disco to its heights of popularity at the decade\u2019s end faced a powerful opposing force. While the fall of disco can be traced through a complex web of cultural factors, the mainstream embodiment of the anti-disco sentiment, came in the form of rock music fans with their rallying cry of \u201cDisco Sucks.\u201d The tension between rock and disco can be seen epitomized by the infamous \u201cDisco Demolition Night\u201d &#8211; a promo night for the Chicago White Socks in which the Chicago radio personality Steve Dahl encouraged fans to bring disco records to blow up during the intermission between the scheduled double-header games. The stadium not only sold out tickets to the event, but thousands of additional fans showed up, filling the stadium beyond its capacity, and storming the field when it came time to blow-up the records. Niles <\/span><a href=\"https:\/\/www.independent.co.uk\/news\/world\/americas\/disco-inferno-680390.html\"><span style=\"font-weight: 400;\">reflected on the event<\/span><\/a><span style=\"font-weight: 400;\"> saying, &#8220;It felt to us like Nazi book-burning&#8230;This is America, the home of jazz and rock and people were now afraid even to say the word &#8216;disco&#8217;. I remember thinking &#8211; we&#8217;re not even a disco group.&#8221; While Rodgers did not consider himself limited to one genre, Chic\u2019s rise in popularity coincided with the rise of disco and at the time, the group felt that they could not escape association with the genre, explaining, \u201c<\/span><span style=\"font-weight: 400;\">When disco sucked, we sucked. People couldn&#8217;t tell the difference between us and Lipps Inc.\u201d By the time Bowie met Rodgers in club in the early \u201880\u2019s, both were ready to take their careers and musical stylings in a new direction.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-47101 lazyload\" src=\"data:image\/gif;base64,R0lGODlhAQABAAAAACH5BAEKAAEALAAAAAABAAEAAAICTAEAOw==\" data-src=\"https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2020\/09\/david-bowie-1983-uk-credit-graham-wiltshire-redferns-getty-85228212@2000x1270.jpg\" alt=\"david-bowie-1983\" width=\"2000\" height=\"1270\" data-sizes=\"auto\" data-srcset=\"https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2020\/09\/david-bowie-1983-uk-credit-graham-wiltshire-redferns-getty-85228212@2000x1270.jpg 1080w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2020\/09\/david-bowie-1983-uk-credit-graham-wiltshire-redferns-getty-85228212@2000x1270-600x381.jpg 600w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2020\/09\/david-bowie-1983-uk-credit-graham-wiltshire-redferns-getty-85228212@2000x1270-768x488.jpg 768w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2020\/09\/david-bowie-1983-uk-credit-graham-wiltshire-redferns-getty-85228212@2000x1270-1536x975.jpg 1536w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2020\/09\/david-bowie-1983-uk-credit-graham-wiltshire-redferns-getty-85228212@2000x1270-770x489.jpg 770w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2020\/09\/david-bowie-1983-uk-credit-graham-wiltshire-redferns-getty-85228212@2000x1270-954x606.jpg 954w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2020\/09\/david-bowie-1983-uk-credit-graham-wiltshire-redferns-getty-85228212@2000x1270-20x13.jpg 20w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2020\/09\/david-bowie-1983-uk-credit-graham-wiltshire-redferns-getty-85228212@2000x1270-385x244.jpg 385w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2020\/09\/david-bowie-1983-uk-credit-graham-wiltshire-redferns-getty-85228212@2000x1270-1540x978.jpg 1540w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" \/><\/span><\/p>\n<p><span style=\"font-weight: 400;\">In a <\/span><a href=\"https:\/\/www.youtube.com\/watch?v=L3i53rjh-PA\"><span style=\"font-weight: 400;\">1983 interview<\/span><\/a><span style=\"font-weight: 400;\"> with MTV, Bowie explained what attracted him to work with Rodgers stating: \u201cBecause I wanted to redefine everything that I did, I think I also wanted to be in the position where I didn\u2019t know the people I was working with&#8230;I met Nile in a club a few months ago and we started talking about music, and we got back, inevitably, to rhythm and blues, as all musicians get back to (however elitist they seem superficially). And we had exactly the same taste in early rhythm and blues&#8230;guitarists and big bands, and whatever from that period. And it just struck me at that point that, God, it would be great to maybe work with him.\u201d Rodgers own memories validate that association of early rhythm and blues as the catalyst for <\/span><i><span style=\"font-weight: 400;\">Let\u2019s Dance<\/span><\/i><span style=\"font-weight: 400;\">: \u201c<\/span><span style=\"font-weight: 400;\">When David finally realized what the record should sound like, he came to my apartment one day and he had a picture of Little Richard in a red suit getting into a red Cadillac. And he said to me, \u201cNile, darling, the record should sound like <\/span><i><span style=\"font-weight: 400;\">this<\/span><\/i><span style=\"font-weight: 400;\">!\u201d &#8230;And I knew exactly \u2014 think of how crazy this was \u2014 I knew exactly what he meant. He didn\u2019t mean he wanted his record to sound like a Little Richard record. He said, \u201cThis visual thing is what we want to achieve aurally in every sense of the word.\u201d Even though the picture was obviously from the Fifties or the early Sixties, it looked modern. The Cadillac looked like a spaceship, and Little Richard was in this monochromatic outfit which then later on became David Bowie in the yellow monochromatic outfit with the yellow hair.\u201d\u00a0<\/span><\/p>\n<figure id=\"attachment_47102\" aria-describedby=\"caption-attachment-47102\" style=\"width: 1080px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-47102 lazyload\" src=\"data:image\/gif;base64,R0lGODlhAQABAAAAACH5BAEKAAEALAAAAAABAAEAAAICTAEAOw==\" data-src=\"https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2020\/09\/david-bowie-johnny-carson.jpg\" alt=\"david bowie johnny carson\" width=\"1080\" height=\"713\" data-sizes=\"auto\" data-srcset=\"https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2020\/09\/david-bowie-johnny-carson.jpg 1080w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2020\/09\/david-bowie-johnny-carson-600x396.jpg 600w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2020\/09\/david-bowie-johnny-carson-768x507.jpg 768w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2020\/09\/david-bowie-johnny-carson-1536x1015.jpg 1536w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2020\/09\/david-bowie-johnny-carson-770x509.jpg 770w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2020\/09\/david-bowie-johnny-carson-918x606.jpg 918w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2020\/09\/david-bowie-johnny-carson-20x13.jpg 20w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2020\/09\/david-bowie-johnny-carson-385x254.jpg 385w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2020\/09\/david-bowie-johnny-carson-1540x1017.jpg 1540w\" sizes=\"auto, (max-width: 1080px) 100vw, 1080px\" \/><figcaption id=\"caption-attachment-47102\" class=\"wp-caption-text\">Performance on The Tonight Show Starring Johnny Carson, 1980.<\/figcaption><\/figure>\n<p><span style=\"font-weight: 400;\">\u201cLet\u2019s Dance\u201d becomes a contemporary imagining of the radical spirit of rock and roll that had characterized the genre\u2019s birth. It rejects the evolution of rock towards music intended primarily for listening &#8211; a paradigm in which Bowie had already proven his skill &#8211; and returns it to its origins on the dance floor. In hindsight, we can see the qualities that made it a massive success, but at the time, it was a risky calculation. Dance music, as the Disco Demolition Night highlights, was framed as the antithesis of rock music, and as Rodgers poignantly <\/span><a href=\"https:\/\/www.rollingstone.com\/music\/music-features\/nile-rodgers-on-how-little-richard-jazz-and-museums-shaped-david-bowie-75166\/\"><span style=\"font-weight: 400;\">reminds us<\/span><\/a><span style=\"font-weight: 400;\">, a color line still dominated these tensions: \u201cWhen David and I began working together, not only did the people <\/span><i><span style=\"font-weight: 400;\">on paper <\/span><\/i><span style=\"font-weight: 400;\">not think it would work, he caught a lot of flack from his friends and inner circle and didn\u2019t mind sharing it with me. He would actually be perplexed at how shocked they were, because to him, Bowie just thought of people as <\/span><i><span style=\"font-weight: 400;\">people<\/span><\/i><span style=\"font-weight: 400;\">. So he couldn\u2019t believe it when people would say, \u201cOh man, you\u2019re working with that disco dude,\u201d and probably there were other kinds of, \u201cYou\u2019re working with that <\/span><i><span style=\"font-weight: 400;\">black <\/span><\/i><span style=\"font-weight: 400;\">disco dude.\u201d Meaning if it were a <\/span><i><span style=\"font-weight: 400;\">white <\/span><\/i><span style=\"font-weight: 400;\">disco dude, it might be more okay.\u201d\u00a0 In this way, the reinvention of Bowie for <\/span><i><span style=\"font-weight: 400;\">Let\u2019s Dance<\/span><\/i><span style=\"font-weight: 400;\">, despite his new-found optimism and commercial aspirations, maintains some of the boundary pushing \u201cspikiness\u201d (to quote Bowie\u2019s own assessment of his work), which had characterized his career leading up to this project. In creating a popular sound that would transverse across the disco\/rock divide and appeal to all listeners, \u201cLet\u2019s Dance\u201d fittingly rides that cutting edge of cultural and sonic discomfort that Little Richard\u2019s rock and roll image had carried in the fifties.<\/span><\/p>\n<p><span style=\"font-weight: 400;\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-47103 size-large lazyload\" src=\"data:image\/gif;base64,R0lGODlhAQABAAAAACH5BAEKAAEALAAAAAABAAEAAAICTAEAOw==\" data-src=\"https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2020\/09\/david-bowie-mtv-1983-1080x757.jpg\" alt=\"david bowie mtv 1983\" width=\"1080\" height=\"757\" data-sizes=\"auto\" data-srcset=\"https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2020\/09\/david-bowie-mtv-1983.jpg 1080w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2020\/09\/david-bowie-mtv-1983-600x421.jpg 600w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2020\/09\/david-bowie-mtv-1983-768x538.jpg 768w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2020\/09\/david-bowie-mtv-1983-1536x1076.jpg 1536w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2020\/09\/david-bowie-mtv-1983-320x225.jpg 320w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2020\/09\/david-bowie-mtv-1983-770x540.jpg 770w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2020\/09\/david-bowie-mtv-1983-865x606.jpg 865w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2020\/09\/david-bowie-mtv-1983-20x14.jpg 20w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2020\/09\/david-bowie-mtv-1983-385x270.jpg 385w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2020\/09\/david-bowie-mtv-1983-1540x1079.jpg 1540w\" sizes=\"auto, (max-width: 1080px) 100vw, 1080px\" \/><\/span><\/p>\n<p><span style=\"font-weight: 400;\">If Bowie was going to strive for a hit record after his experimental journey through the seventies, Rodger\u2019s mastery of turning artistic visions into commercial successes was exactly the collaborator he would need. Despite its overtly dance-centered lyrics, and the rhythm and blues imagery that Bowie desired sonically, Rodgers specifically remembers the song having a folk-like feel when Bowie first showed it to him: \u201cHe started strumming a twelve-string acoustic guitar that had only six strings. What followed was a folksy sketch of a composition with a solid melody: The only problem was it sounded to me like \u2018Donovan meets Anthony Newley.\u2019 And I don\u2019t mean that as a compliment. It wasn\u2019t <\/span><i><span style=\"font-weight: 400;\">bad<\/span><\/i><span style=\"font-weight: 400;\"> by artistic standards, but I\u2019d been mandated to make hits, and could only hear what was missing.\u201d This mandate is where Rodgers really shines. Taking the pair\u2019s love of jazz as inspiration, he reharmonized Bowies\u2019 draft and orchestrated the horn part. His signature is unmistakable, as Carol Cooper observes in a review for <\/span><i><span style=\"font-weight: 400;\">Record <\/span><\/i><span style=\"font-weight: 400;\">upon the album\u2019s release: \u201cRodgers&#8217; ideas on harmonic counterpoint pervade the album, and I don&#8217;t need to read the credits to know he had a hand in those spectacular horn charts.\u201d Rodgers also looked back to both the Isley Brothers\u2019 and the Beatles\u2019 renditions of \u201cTwist and Shout\u201d to inspire the ascending \u201cahh\u2019s\u201d that open Bowie\u2019s track. With Rodgers at the helm, the song became a fusion of diverse musical influences enveloped within the format of a popular dance song.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-47104 lazyload\" src=\"data:image\/gif;base64,R0lGODlhAQABAAAAACH5BAEKAAEALAAAAAABAAEAAAICTAEAOw==\" data-src=\"https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2020\/09\/WBW_BowieVaughan.jpg\" alt=\"WBW_BowieVaughan\" width=\"1432\" height=\"1006\" data-sizes=\"auto\" data-srcset=\"https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2020\/09\/WBW_BowieVaughan.jpg 1080w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2020\/09\/WBW_BowieVaughan-600x422.jpg 600w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2020\/09\/WBW_BowieVaughan-768x540.jpg 768w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2020\/09\/WBW_BowieVaughan-320x225.jpg 320w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2020\/09\/WBW_BowieVaughan-770x541.jpg 770w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2020\/09\/WBW_BowieVaughan-862x606.jpg 862w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2020\/09\/WBW_BowieVaughan-20x14.jpg 20w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2020\/09\/WBW_BowieVaughan-385x270.jpg 385w\" sizes=\"auto, (max-width: 1432px) 100vw, 1432px\" \/><\/span><\/p>\n<p><span style=\"font-weight: 400;\">As much as \u201cLet\u2019s Dance\u201d is a fusion of Bowie\u2019s and Rodger\u2019s talents, the song also finds its unique vibe in the talents of mixer and engineer Bob Clearmountain and blues-guitarist Stevie Ray Vaughan. Clearmountain held an impressive and eclectic resume before coming to <\/span><i><span style=\"font-weight: 400;\">Let\u2019s Dance<\/span><\/i><span style=\"font-weight: 400;\">, having worked with a wide range of artists from the Rolling Stones to Kool and the Gang.\u00a0 He had just finished mixing Roxy Music\u2019s <\/span><i><span style=\"font-weight: 400;\">Avalon <\/span><\/i><span style=\"font-weight: 400;\">(1982) when he got pulled into Bowie\u2019s &amp; Rodger\u2019s project.\u00a0 Most notably, Clearmountain added the iconic delays to the guitar part played by Rodgers on the record. Stevie Ray Vaughan\u2019s guitar added a completely different sound to the track, pulling from the electric blues tradition. Prior to the album\u2019s release, Bowie described the previously unknown guitarist as \u201cjust about the greatest of the new blues guitarists\u201d and called his playing \u201cthe most devastating city rhythm and blues\u201d he had heard in years. Rodgers would later describe Vaughan\u2019s session playing as a powerful moment in his own musical memory declaring: \u201cO<\/span><span style=\"font-weight: 400;\">ne of the greatest moments in my rock and roll history is the look on Stevie\u2019s face when he heard the groove and guitars of \u2018Let\u2019s Dance\u2019. He was like, \u2018What the hell am I gonna play? This is perfect!\u2019 Having said that I love the contrast between my guitars and his and when you hear his first solo on \u2018Let\u2019s Dance\u2019, it\u2019s just one note. It\u2019s the most perfect B flat I\u2019ve ever heard in my life!\u201d<\/span><span style=\"font-weight: 400;\">\u00a0\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-47105 lazyload\" src=\"data:image\/gif;base64,R0lGODlhAQABAAAAACH5BAEKAAEALAAAAAABAAEAAAICTAEAOw==\" data-src=\"https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2020\/09\/nile-rodgers-1983.jpg\" alt=\"nile rodgers 1983\" width=\"1200\" height=\"900\" data-sizes=\"auto\" data-srcset=\"https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2020\/09\/nile-rodgers-1983.jpg 1080w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2020\/09\/nile-rodgers-1983-600x450.jpg 600w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2020\/09\/nile-rodgers-1983-768x576.jpg 768w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2020\/09\/nile-rodgers-1983-770x578.jpg 770w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2020\/09\/nile-rodgers-1983-20x15.jpg 20w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2020\/09\/nile-rodgers-1983-808x606.jpg 808w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2020\/09\/nile-rodgers-1983-385x289.jpg 385w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\" \/><\/span><\/p>\n<p><span style=\"font-weight: 400;\">Bowie\u2019s ability to spot and bring together talent was one of <\/span><span style=\"font-weight: 400;\">his career defining features and it earned him the respect of his musical peers. Decades later, when asked to name his favorite Bowie track, Jimmy Page responded: \u201c<\/span><span style=\"font-weight: 400;\">I\u2019m going to say \u2018Let\u2019s Dance\u2019 because it introduced everybody to Stevie Ray Vaughan. People were always saying, \u2018Who\u2019s the guitarist on that?\u2019 \u2026.He was taking from various sources and putting it together, but that\u2019s an art form in itself<\/span><span style=\"font-weight: 400;\">.\u201d <\/span><span style=\"font-weight: 400;\">In this assessment of \u201cLet\u2019s Dance\u201d significance, Page captures what others have struggled to define. Bowie\u2019s reinventions of himself, while brilliant, have relied heavily on his ability to build and reimagine music through the inspiration of many different sound worlds and to take the cultural temperature of the society in which he lived. <\/span><\/p>\n<p><span style=\"font-weight: 400;\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-47106 lazyload\" src=\"data:image\/gif;base64,R0lGODlhAQABAAAAACH5BAEKAAEALAAAAAABAAEAAAICTAEAOw==\" data-src=\"https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2020\/09\/rs-236449-bowie-lets-dance-scaled.jpg\" alt=\"rs-236449-bowie-lets-dance\" width=\"2048\" height=\"1352\" data-sizes=\"auto\" data-srcset=\"https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2020\/09\/rs-236449-bowie-lets-dance-scaled.jpg 1080w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2020\/09\/rs-236449-bowie-lets-dance-scaled-600x396.jpg 600w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2020\/09\/rs-236449-bowie-lets-dance-768x507.jpg 768w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2020\/09\/rs-236449-bowie-lets-dance-1536x1014.jpg 1536w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2020\/09\/rs-236449-bowie-lets-dance-2048x1352.jpg 2048w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2020\/09\/rs-236449-bowie-lets-dance-770x508.jpg 770w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2020\/09\/rs-236449-bowie-lets-dance-scaled-918x606.jpg 918w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2020\/09\/rs-236449-bowie-lets-dance-20x13.jpg 20w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2020\/09\/rs-236449-bowie-lets-dance-385x254.jpg 385w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2020\/09\/rs-236449-bowie-lets-dance-1540x1017.jpg 1540w\" sizes=\"auto, (max-width: 2048px) 100vw, 2048px\" \/><\/span><\/p>\n<p><span style=\"font-weight: 400;\">Describing \u201cLet\u2019s Dance,\u201d Bowie explained \u201cIt\u2019s ostensibly a dance song, but there\u2019s a particular type of desperation and poignancy about it.\u201d This is what musicologist <\/span><a href=\"https:\/\/blog.oup.com\/2016\/01\/david-bowie-changed-everything\/?fbclid=IwAR2eQHVwFSWusmF7DFOLz5DfmrQX29GRFE7QuyuFnfN-jD8_-m3FuxW-Ucw\"><span style=\"font-weight: 400;\">Tiffany Naimann<\/span><\/a><span style=\"font-weight: 400;\"> calls \u201cthe dual nature of David Bowie as a musical artist: the rock star who creates art music, and the highly produced pop star reveling in artificial and visually engaging spectacle.\u201d With \u201cLet\u2019s Dance\u201d Bowie takes this duality to creative brilliance. In his refusal to accept the cultural divide between disco and rock at face value, he creates a mega-hit song that blurs genre lines and pushes audiences and musicians beyond their own sonic and cultural expectations.\u00a0<\/span>[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_raw_html]JTNDaWZyYW1lJTIwd2lkdGglM0QlMjI1NjAlMjIlMjBoZWlnaHQlM0QlMjIzMTUlMjIlMjBzcmMlM0QlMjJodHRwcyUzQSUyRiUyRnd3dy55b3V0dWJlLmNvbSUyRmVtYmVkJTJGS1lwb1loLU1ZN3clMjIlMjBmcmFtZWJvcmRlciUzRCUyMjAlMjIlMjBhbGxvdyUzRCUyMmFjY2VsZXJvbWV0ZXIlM0IlMjBhdXRvcGxheSUzQiUyMGNsaXBib2FyZC13cml0ZSUzQiUyMGVuY3J5cHRlZC1tZWRpYSUzQiUyMGd5cm9zY29wZSUzQiUyMHBpY3R1cmUtaW4tcGljdHVyZSUyMiUyMGFsbG93ZnVsbHNjcmVlbiUzRSUzQyUyRmlmcmFtZSUzRQ==[\/vc_raw_html][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"<p>[vc_row][vc_column][vc_column_text]Written by Caitlin Carlos From his early beginnings as Davy Jones, to his alien persona of Ziggy Stardust, David Bowie had spent much of the sixties and seventies, inventing and reinventing himself. The decade\u2019s end culminated with the critically acclaimed Berlin Trilogy (Low (1977), &#8220;Heroes&#8221; (1977) and Lodger (1979)), created while he and Iggy Pop&hellip;<\/p>\n","protected":false},"author":25,"featured_media":47099,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"_uf_show_specific_survey":0,"_uf_disable_surveys":false,"footnotes":""},"categories":[1,532],"tags":[11346,11344,11345],"class_list":["post-47098","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-audio-engineering","category-history","tag-behind-the-music","tag-david-bowie","tag-david-bowie-lets-dance"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v26.4 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Rock and Roll on the Dance Floor: Behind the Music of \u201cLet\u2019s Dance\u201d - Produce Like A Pro<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/producelikeapro.com\/blog\/rock-and-roll-on-the-dance-floor-behind-the-music-of-lets-dance\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Rock and Roll on the Dance Floor: Behind the Music of \u201cLet\u2019s Dance\u201d - Produce Like A Pro\" \/>\n<meta property=\"og:description\" content=\"[vc_row][vc_column][vc_column_text]Written by Caitlin Carlos From his early beginnings as Davy Jones, to his alien persona of Ziggy Stardust, David Bowie had spent much of the sixties and seventies, inventing and reinventing himself. The decade\u2019s end culminated with the critically acclaimed Berlin Trilogy (Low (1977), &#8220;Heroes&#8221; (1977) and Lodger (1979)), created while he and Iggy Pop&hellip;\" \/>\n<meta property=\"og:url\" content=\"https:\/\/producelikeapro.com\/blog\/rock-and-roll-on-the-dance-floor-behind-the-music-of-lets-dance\/\" \/>\n<meta property=\"og:site_name\" content=\"Produce Like A Pro\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/producelikeapro\/\" \/>\n<meta property=\"article:published_time\" content=\"2020-09-16T15:11:33+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2020-12-11T19:17:10+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2020\/09\/lets-dane-album-cover.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1300\" \/>\n\t<meta property=\"og:image:height\" content=\"1300\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Warren Huart\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Warren Huart\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"10 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/producelikeapro.com\/blog\/rock-and-roll-on-the-dance-floor-behind-the-music-of-lets-dance\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/producelikeapro.com\/blog\/rock-and-roll-on-the-dance-floor-behind-the-music-of-lets-dance\/\"},\"author\":{\"name\":\"Warren Huart\",\"@id\":\"https:\/\/producelikeapro.com\/blog\/#\/schema\/person\/8dfc15fcc5cd192b928e9795f45430d4\"},\"headline\":\"Rock and Roll on the Dance Floor: Behind the Music of \u201cLet\u2019s Dance\u201d\",\"datePublished\":\"2020-09-16T15:11:33+00:00\",\"dateModified\":\"2020-12-11T19:17:10+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/producelikeapro.com\/blog\/rock-and-roll-on-the-dance-floor-behind-the-music-of-lets-dance\/\"},\"wordCount\":2112,\"commentCount\":0,\"publisher\":{\"@id\":\"https:\/\/producelikeapro.com\/blog\/#organization\"},\"image\":{\"@id\":\"https:\/\/producelikeapro.com\/blog\/rock-and-roll-on-the-dance-floor-behind-the-music-of-lets-dance\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2020\/09\/lets-dane-album-cover.jpg\",\"keywords\":[\"Behind the Music\",\"David Bowie\",\"David Bowie Let's Dance\"],\"articleSection\":[\"Audio Engineering\",\"History\"],\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\/\/producelikeapro.com\/blog\/rock-and-roll-on-the-dance-floor-behind-the-music-of-lets-dance\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/producelikeapro.com\/blog\/rock-and-roll-on-the-dance-floor-behind-the-music-of-lets-dance\/\",\"url\":\"https:\/\/producelikeapro.com\/blog\/rock-and-roll-on-the-dance-floor-behind-the-music-of-lets-dance\/\",\"name\":\"Rock and Roll on the Dance Floor: Behind the Music of \u201cLet\u2019s Dance\u201d - 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