I bought me in the summer of 1983 as a vinyl LP in Heide (Dithmarschen) at ALDI for 13 Mark 80 or something. How I got into Bowie Country. "Let's Dance" was the road for every my personal Bowie Mania that (his character Bowie fan), gained momentum, however, only a few years later, triggered by the bass player of my first band. Back then, there was the old albums in the store, and I toiled me together a 2nd-Hand-Bowie Collection until 1990 or 1991, the beautiful Rykodisc remasters came with bonus stories (which to the currently valid remaster Editions, ie regularly commercially available Bowie CDs, again missing). Of course this album is (as Bowie-product, not my old ALDI vinyl, though: This is also durchgenudelt) durchgenudelt, but since it can lead to nothing. The title track is better than the Single-Edit, "China Görl" in the long versions contained herein I still like, "Modern Love" is now one of my happy. A certain weakness I have always had for the end of the A-side packed, rather inconspicuous "Without You" with its sparingly applied half-line and tight guitar licks. "Ricochet" is rhythmically interesting, but to me inflated with its Roman choirs. The "Cat People" version unfortunately flirting with the pork skirt, because I prefer the original version from the soundtrack of the (presumably from today's perspective quite Mülligen) film before. And "Shake It" is me in the verses to silly (and I the line "You're better than money." Always liked), but has a nice chorus. Heinz-Rudolf Kunze has many, many years ago wrote an essay on DB, from 1984, a multi-part radio program on NDR2 was, at that time still not a public service, which strives to be as bad as the private ones. Aside from the self-important, fictitious dialogues between Bowie and ... Oscar Wilde (?) This work is better than anything Kunze has ever brought out of music, but what I wanted to say? In this essay Kunze said, with "Let's Dance" Bowie would have ceased to be interested in music. I always thought that one so just barely as "Bowie-latest-over-now-does-he-commerce Rüsm-and-Bluhs" could sugarcoat. At the same time I get Gehirnkolliken if people like Oliver goats (just for fun as a possible example) use the metaphor of "chameleon". For it is more than just musical chairs up in Bowie. It is innovation. The one-upmanship-ADVANCE-BE. In this respect, Kunze has probably right. Bowie was interested in making money and it was just fun to pop music. Really right Kunze has definitely what the subsequent Bowie albums were concerned, "Tonight" and "Never Let Me Down". These are my times career lows since from schnallste.
