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| Length = 39:41 | Label = EMI | Producer = | Last album = ''Scary Monsters (And Super Creeps)'' (1980) | This album = ''Let's Dance'' (1983) | Next album = ''Ziggy Stardust: The Motion Picture'' (1983) | Misc = }} ''Let's Dance'' is the fifteenth studio album by David Bowie, released in 1983, with co-production by Chic's Nile Rodgers. The title track of the album became one of Bowie's biggest hit singles, reaching No. 1 in the UK, US and various other countries. Further singles included "Modern Love" and "China Girl", which both reached No. 2 in the UK. "China Girl" was a new version of a song which Bowie had co-written with Iggy Pop for the latter's 1977 album ''The Idiot''. The album also contains a rerecorded version of the song "Cat People (Putting Out Fire)" which had been a minor hit for Bowie a year earlier. ''Let's Dance'' is also notable as a stepping stone for the career of the Texas blues guitar virtuoso Stevie Ray Vaughan, who played on it.〔 The album was also released as a limited edition picture disc in 1983. ''Let's Dance'' has sold at least 7 million copies worldwide, making it Bowie's best-selling album. The success of the album surprised Bowie, who felt he had to continue to pander to the new pop audience he acquired with the album. This led to Bowie releasing two further solo albums in 1984 and 1987 that, despite their relative commercial success, did not sell as well as ''Let's Dance'', were poorly received by critics at the time and subsequently dismissed by Bowie himself as his "Phil Collins years".〔Interview with David Bowie. Friday Night with Jonathan Ross. BBC. 5 July 2002.〕 Bowie would form the hard rock and grunge-predecessor band Tin Machine in 1989 in an effort to rejuvenate himself artistically. ==Songs and album development== David Bowie had planned to use producer Tony Visconti on the album, as the two had worked together on Bowie's previous four studio albums. However, he chose Nile Rodgers for the project, a move that came as a surprise to Visconti, who had set time aside to work on ''Let's Dance''. Visconti called (personal assistant ) Coco and she said: "Well, you might as well know - he's been in the studio for the past two weeks with someone else. It's working out well and we won't be needing you. He's very sorry." The move damaged the two men's relationship and Visconti did not work with Bowie again for nearly 20 years (until 2002's ''Heathen''). Rodgers later recalled that Bowie approached him to produce his album so that Bowie could have hit singles. Bowie, having just signed with EMI Records for a reported $17.5 million, worked with Rodgers to release a "commercially buoyant" album that was described as "original party-funk cum big bass drum sound greater than the sum of its influences." The album's influences were described as Louis Jordan, the Asbury Jukes horn section, Bill Doggett, Earl Bostic and James Brown. Bowie spent three days making demos for the album in New York before cutting the album, a rarity for Bowie who, for the previous few albums, usually showed up with little more than "a few ideas."〔 Despite this, the album "was recorded, start to finish, including mixing, in 17 days," according to Rodgers.〔("Nile Rodgers interviewed by Peter Paphides" ). Twentyfirstcenturymusic.blogspot.com. 10 November 2011. Retrieved 13 November 2011.〕 Stevie Ray Vaughan met Bowie at the 1982 Montreux Jazz Festival in Switzerland. After Vaughan's performance, Bowie was so impressed with the guitarist he later said "() completely floored me. I probably hadn't been so gung-ho about a guitar player since seeing Jeff Beck with his band the Tridents." Of Bowie, Vaughan said, "to tell you the truth, I was not very familiar with David's music when he asked me to play on the sessions. ... David and I talked for hours and hours about ''our'' music, about funky Texas blues and its roots - I was amazed at how interested he was. At Montreux, he said something about being in touch and then tracked me down in California, months and months later."〔 Unusually, Bowie played no instruments on the album. "I don't play a damned thing. This was a singer's album."〔 A few years later, Bowie discussed his feelings on the track "Ricochet" (which ''Musician'' magazine called an "incendiary ballroom raveup")〔 from this album: Bowie later described the title track the same way: the original demo was "totally different" from the way that Nile arranged it.〔Interview with Craig Bromberg for ''Smart'' magazine, 1990〕 Bowie played an early demo of the song for Nile Rodgers on a 12-string guitar with only 6 strings strung, and said to Nile, "Nile darling, I think I have a song which feels like it's a hit."〔 Nile then took the chords (which he said "felt folksy") and helped craft them into the version used in the final production of the song.〔 Long-time collaborator Carlos Alomar, who had worked with Bowie since the mid-1970s and would continue to work with Bowie into the mid-'90s, has claimed was offered an "embarrassing" fee to play on the album and refused to do so. He also said (when working on Bowie's follow-up album, ''Tonight'') that he didn't play on ''Let's Dance'' because Bowie only gave him two weeks' notice and he was already booked with other work; however, Alomar did play on the accompanying tour. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Let's Dance (David Bowie album)」の詳細全文を読む スポンサード リンク
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