Welcome to the Terrence Reardon and
Friends podcast with your host
The Rock Sponge Terrence Reardon.
kick back and listen to
this rock and roll fan talk about the
music he loves there will be no country
and no rap on his podcast so without
further ado here he is your host
Terrence Reardon welcome back my friends
to the podcast that never ends
this is Terrence Reardon with his first
new episode of 2019 sorry if I haven't
had time I do episodes lately but just
been so on it and in this case I had a
bad back injury yes I sat down the wrong
way and I paid the piper and I had a
literally walked on my ass with the help
of my arms of course because I'm my arms
are in excellent shape I couldn't walk
really good I'm still in a little pain
but putting on a brave face for you all
because later this week I celebrate my
birthday
and yes the episode of rock on the show
with Dr Fukk will be airing around the
same time am I even put out I'll put
three episodes out in a row back to back
to back getting the bug back again cuz
I'm making up the lost time and you know
hope everyone had a great Christmas a
great New Year sorry if I haven't really
been doing much but when you know you're
dealing with personal issues like being
ill and family and you know you you're
caring for your elderly father like I am
you know he's 74 and still kicking God
blessing in the prospect of relocating
you have to take a break from it but I'm
back and today I am going to talk about
an artist who passed away three years
ago this month and who would have been
72 years old this month who for those of
you don't know who I'm referencing
it's a man who once called himself the
great the Thin White Duke
and called himself Major Tom called
himself Ziggy Stardust no it's not
that out but I will talk about that
album in a future episode
the man I'm referring to is the one the
only David Bowie and I'm gonna talk
about his 1983 album Let's Dance
which is gonna be quite a lengthy
undertaking so I'm gonna just talk about
the album and my life with the album a
lot of stories about the making of this
album so I have quite a few things
helping me namely an old MTV interview
from 83 in an episode of In the Studio
with Redbeard that I heard on the
making that's this album to help with
this review and this album was David
Bowie's 15th studio album and it
was as I believe 17th or 20th overall
because he had numerous compilations and
a couple live albums by then and he had
taken a break from the music industry he
was not doing much I mean after Scary
Monsters in 1980 David left RCA Records
because him in RCA had a major fall and
personally to lead into a little quasi
venting off this feel here I never liked
RCA records as a record label there that
record label treated all their rock and
roll acts like shit over the years they
treated rock and roll like shit on that
label
almost sure that poseur Dave Grohl of
course and they only cared about Elvis
Presley the real king of rock and roll
is Jerry Lee Lewis in Little Richard and
Chuck Berry I concur with wods ill that
the true kings of rock and roller Little
Richard
Jerry Lewis and Chuck Berry those three
guys Elvis was a poser but that's just
me anyway I digress
RCA you know they had at one time The
Kinks on there on that record label and
they wanted the Kinks to do you know
glam rock but the Kinks responded with
rock operas to get the hell out of their
deal thank goodness so they went to
Arista and went back to base
with hard rock and became one of the
biggest bands when they signed Arista
their popularity in America increased
I'll talk about the kinks in a future
episode Styx their early albums on
Wooden Nickel were distributed by RCA
and RCA did shit for the band the only
one to re-release those Wooden Nickel
albums to cash in on the band's success
when the band went to A&M of course and
I'm treated Styx like there were kings
RCA didn't so fuck RCA Triumph another
band that RCA did fuck all for
because triumph released a series of
great albums just a game aggressions of
power Allied forces never surrender did
it RCA do a damn thing for him no so the
band wanted I their contract and RCA
suit that was until Irving Azoff the
powerful Irving Azoff who had just
become the president of MCA Records
MCA not RCA but MCA will sign Triumph
away from RCA bought their master tapes
for the band and signed Triumph to a ten
year five album deal and at the end of
the ten-year deal Triumph got their
masters back to release their albums on
their own record label so Irving Azoff is
not the Antichrist everyone thinks he is
he could get triumph away from a shitty
record label like that god bless and
David Bowie ran into problems because
RCA was releasing inferior versions of
albums much to his chagrin and he was
not too happy and it's just
disillusionment with RCA began during
the 70 you know towards the end of the
70s decade where they under promoted the
Berlin trilogy of albums
excuse me released a inferior version of
the Stage live album and afterwards
Bowie just said fuck it I'm not going to
do any recording for a while and just do
some other things until the right record
label comes my way so after let's he
left RCA he did
one song in 1981 being the big hit single
with Queen "Under Pressure" of course
"Under Pressure"  was released as a
standalone single in the UK and it did
first appear on the Greatest Hits album
from Queen here in America and in Canada
on most Elektra Records versions had
"Under Pressure"  as a new song. In the UK
it wasn't was just released as a single
and that duet between Queen and David
Bowie one of the best DB best duets I've
ever heard in fact it was a huge hit in
the UK number one and went to number 29
here in America I think it had better on
album Rock Radio back then everything
did better on album rock radio back then
cos pop radio buddy that was playing a
lot of bullshit like Air fucking Supply
fuck Air Supply anyway I digress but
yeah I will talk about under pressure
because it was recorded prior to the
release of the Let's Dance album during
David's sabbatical so he recorded "Under
Pressure" with Queen while Queen were
recording the ill-fated Hot Space album
at UM Mountain Studios in Montreux
Switzerland in 81 David Bowie popped by
the studio and recorded a duet with
Queen which has become one of the
greatest duets in the history of rock
and roll Freddie Mercury's vocal range
all the place and David Bowie
pretty much singing in his baritone and
David just knocked that song out of the
ballpark and contrary to popular belief
the sign was not written by a white
rapper and I know I'm gonna sound racist
when I'm about to say but I'll say it
wasn't written by a fucking whigger it
from fucking Texas who pretended to be
from Florida yeah call Vanilla Ice who
is the early version of Eminem as far as
I'm concerned and claimed that he wrote
the that the song his hit Ice Ice Baby
was not lived he did not write from
Queen's "Under Pressure"  that's bullshit
because when I first heard that song as
I shit he's lifted from Queen and David
Bowie so then I got the Queen greatest
hits album this
corta copy and you know thankfully the
song was on there and I'm like shit
fucking Queen and Bowie I hope to god
they sued fucking than vanilla ice
thankfully they did their lawyers filed
motions and demanded songwriting credits
and royalties so yeah in the end David
Bowie in Queen got there just got their
payback and Vanilla Ice want to put
peanuts compared to Bowie and Queen
that's what happens when you fucking
steal from real music fucking rappers
like that piece of shit fuck Vanilla Ice
and that's all I gots to say but under
pressure great tune and was the only
thing David Bowie release it was a new
single in 1981 and then in 1982 he
released another track which would be
re-recorded for the let's dance album in
a better version called "Cat People
Putting Out Fire)" which was recorded for
I'm a 1982 movie called cat people and
was written by David Bowie and Giorgio
Moroder the guy who produced all of
Donna Summer's hits and it was recorded
in July in 1981 with a different band
and this and the original version was
was okay but you know it was it just
brooded and an edited version appeared
on the Bowie best of Bowie 2 CD
compilation if you don't have that
please check that out because you get a
great smattering of Bowie's best of the
full version of the slower tempo version
of it appeared on the soundtrack album
and the version that appears on let's
dance which I'll talk about when I get
to it that version is
well over five minutes and Bowie's
version actually peaked at number nine
on the Billboard mainstream Rock Tracks
chart and featured Bowie on vocals Keith
Forsey on drums who was a producer
Leland Sklar that could pass as the
fifth member ZZ Top that bearded bass
player who plays with Phil Collins and
he also played with Jackson Browne and
toto and who else have you played with
James Taylor he played the bass on this
track
Michael Landau who did some who played
the rhythm guitar track on one slip from
Pink Floyd's momentary lapse of reason
as David Gilmour played the lead guitar in
that track but Landau did the
arpeggiator rhythm yeah so Tim May
played on the early version of cat
people which like I said it's a it's a
good version by compared to the version
on let's dance so so in my opinion but
the version that appears on the let's
dance album which I'll talk about when
I'm talking about the album that version
is better and I'll talk about my love of
that burden when I get to it but the
first time I heard the lights dance
album was in the year of 1983 when it
was a brand-new album because at the
time my mom may she rest in peace
had this album one was a brand-new album
on vinyl I was with her when she bought
that album because she also bought me a
Men at Work's Cargo album create album
have yet to do it men at work episode I
will get to it at some stage and that
was actually the last dance album is the
first David Bowie album I ever heard in
my life and the title track was the
first song I was completely order of
because of course I would see the song
on America's top ten with Casey Kasem as
the pop spotlight song of the week early
in May of 83 and later in that episode
the album spotlight song was not now
John from Pink Floyd from the final cut
so this video and the song was my intro
to David Bowie and because up until then
I really didn't hear much Bowie stuff
but might have heard some bits on the
radio but not a full David Bowie album
until the stage and my mother was so
astonished that I took a liking to David
Bowie because she had you know bought
the album on vinyl and then she was so
amazed that her son was becoming a huge
rock and roll fan that she decided to
buy her baby son here that Christmas of
83 the let's dance album on cassette
which was released on EMI America when
they had the expanded dynamic range
cassettes those cassette tapes sound a
lot better than some of the other labels
cassette tapes that were out at the time
because Capitol EMI were trying to do
arrival to AMS chrome and cassettes and
Columbia CBS had the Dolby system stuff
then Atlantic the Warner Music would
have the Dolby HX Pro but
EMI Capitol were doing excellent sounding
cassette tapes and the tapes didn't
sound that bad
in fact I wore my first copy of it out
and this album still after all these
years it was my first David Bowie album
and it's still one of my all-time
favorite David Bowie album and what do I
think of the songs on it well I'll tell
you my opinion on them right now as soon
as I tell you on who played on the south
of course the musicians were the David
Bowie on lead vocals co-producer
engineer and horn arrangements Nile
Rodgers from my
Chic on guitar producing co
engineering excuse me the late bernard
edwards on bass guitar without you which
i'll talking about that song when they
get to it Omar Hakim and the late Tony
Thompson and Sheikh on drums on this
album backing vocals by the Simms
brothers Frank and George + David
spinner a horn section featuring Stan
Harris and Robert Aaron both on tenor
saxophones Steve ELLs and on baritone
sax and Mack darling on on trumpet and
featuring Sammy food gear or on
percussion bass guitar on this album -
the most part was David Bowie's bass
player for the next for the rest of the
1980s decade Carmine Rojas who does a
phenomenal job on the bass in this album
and of course Stevie Ray Vaughn on lead
guitar and this was the album that sort
of introduced the world to Stevie Ray
Vaughan as a guitar god
of course this review is going to be
dedicated to the memories of David Bowie
Tony Thompson and Bernard Edwards and
Stevie Ray Vaughn all four of them or
have now passed away but now that I've
gone through and was engineered by Bob
Clearmountain and was mastered by Bob
Ludwig so what do I think of the songs
in this album well I will tell you my
opinion of these tracks right now we
begin proceedings with the opening song
"Modern Love" and it begins with the
guitar riff on Nile Rodgers going room
to get get get get get get get get get
get take a goon to get one okay
what a great rhythm the video in the
single mix and the video version of it
edited thus lying pretty badly and the
video of four was shot in Philadelphia
during the serious moonlight tour aka
the let's dance tour
and it begins with the song just kicking
in and David Bowie at the beginning uh
going I don't know when to go out done
don't I know when to stay and get
things done and then it rains I catch
the paperboy but things don't really
change I'm standing in the wind but I
never wait bye-bye
what a great up-tempo rocker to begin
this album combining the elements of New
Wave rock and soul for this up-tempo
rocker to begin the album and David
Bowie just sings his ass off and it was
a staple of the let's dance tour in fact
was the final song in the Encore and it
would be this wall for the 1987 glass
spider tour in support of them never let
me down album and the song features
let's see all the aforementioned
musicians Omar Hakim plays drums on this
track Rob Savino and keyboards and has
tenor sax all a baritone sax solo in the
middle a tenor sax solo at the end and
some of the courses were edited for the
single mix the repeat of the intro music
was excised in the single so I tend to
listen to the album version more because
the single edit which appears on all
compilations is good and all but I
prefer to hear the song and it's full
almost five-minute glory because you
need to hear all the extra
instrumentations because it's kind of
like making love and not getting the
climax if you know what I'm saying put
the song in this course modern love
walks beside me modern love walks on by
modern life gets me to the church on
time terrifies me makes me party puts my
trust in God and fan God and man no
confessions no religions don't believe
in modern love
what a great fucking tune this is and
the song went all the way to number 14
on the Billboard Pop chart in the summer
of 83 and it went all the way to number
six on the album Rock Tracks chart here
in the good ol US of A because rock
radio and MTV knew how to play some
great fucking tunes and this is an
example of a kick-ass tune anything else
to add about modern love but a great
opening track and this is one of those
opening sign who just grabs you by the
boo-boo when you first hear it great
opener next we come to the album's
second single from Let's Dance which is
a cover of an old Iggy Pop tune called
"China Girl" which first appeared on Iggy
Pop's debut solo album The Idiot which
David Bowie produced back in 1977 and
featured so this time David Bowie
records his own version in a different
key and David Bowie you know explain the
slang was about biggie Pop's effete
infatuation with coolin nutrient and
Vietnamese woman as a metaphor for a
Stooges career and then Nile Rodgers who
produced the lights dance album and the
recorded versions imagined his own
meaning and Nile Rodgers said the song
was China girl was about doing drugs
because China is a China white which is
heroin girl's cocaine any thought was
about speedballing I thought in the drug
community coke his girl on heroin his
voice and I proceeded to do this
arrangement which was ultra plot because
I thought that being David Bowie would
appreciate the irony of doing something
so pop about something so taboo and what
was really cool was he said I love that
although David Bowie by this point in
time had been clean and sober since late
76 because he gave up cocaine after
going to
to record the Berlin trilogy of albums
low heroes and lodger and heroine he did
not ever get into this he had to go to
the heroin capital of the world to get
away from drugs
god bless David and the I heard the
original version and it just was and at
first I mean I heard the original
version later I heard the David Bowie
version first and the video of it was
filmed in Australia by David mallet who
shot many of David Bowie's classic
videos and I saw this video for the
first time on America's top 10 in the
summer of 83 is an album spotlight song
of the week basically Casey Kasem did
give the let's dance album a lot of love
playing it and this song here I hear my
heart beating loud as thunder saw the
stars crushing down like a mom and a
Brando without my china girl visions of
swastikas for friends for everyone it's
in the light of my eyes and my little
china girl what you always say to me oh
baby just to shut your mouth she says
and on the single mix you only get a
tiny bit of Stevie Ray Vaughan's guitar
solo which I mean I first heard the
single mix cuz I see in the video but I
didn't know the song was extended by
over a minute and a half because you
hear the ending of Stevie Ray Vaughan's
guitar solo where he hits some higher
notes in that Stratocaster then David
Bowie does a repeat of the course you
know oh baby you just shut your mouth
she says and then another guitar solo
comes in through Stevie Ray at the very
end of the song and he just rips it to
shreds for a few more bars and then the
solo ends with the ending of the soul
that you hear on the single mix and then
the song fades out
but China girl my god this song is just
so amazing
the Iggy Pop version featured David
Bowie on keyboard saxophone and toy
piano and a featured the van that
recorded Bowie's late 70s albums dating
- excuse me station-to-station and so
forth the version on let's dance at
David Bowie on vocals Nile Rodgers on
the rhythm guitar Stevie Ray Vaughan
doing those killer guitar solos carmine
Rojas on bass guitar Omar Hakim on the
drums and Rob Supino on keyboards and
piano and the song ends of the
oh-oh-oh-oh little china girl fuckin
brilliant the song was a top 10 hit in
the summer of 83 and the song was a
album rock radio hit in the summer of 83
peaking at number three on the album
Rock Tracks chart as was known back then
a perfect second single from this
amazing album China girl just like
modern love before
amazing signed now we get to the third
sign in the album the title track which
was the first single release from the
album and it was one of David Bowie's
biggest songs from the album and first
version I heard was the single edit
which was the four-minute version and I
didn't know that the version on the
album was seven and a half minutes until
my mom bought the vinyl record and David
wrote the sign while after meeting Nile
Rodgers at an after-hours club called
the continent
and they recorded a demo with a group of
musicians including a Turkish bass
player named her doll
Kizzy gizelle K on bass and then this
track was demoed and then of course the
band would record it shortly thereafter
with the version that appears in the
album and the video was filmed in
Australia once again by David Malick and
you see David Bowie in the video playing
a Fender Stratocaster with a person
playing a double bass as Bowie's
strumming on that straddle though he
didn't play any guitar on this track he
does mine the guitar solo at the very
end playing that amazing red strat that
he had in the video and of course the
guitar solos on what's dance Stevie Ray
Vaughan just fucking shreds the hell out
of that a Fender Stratocaster of his on
this track and this song like I said was
a big hit for David Bowie in the spring
of 1983 and got Bowie some new fans over
this particular song and it was um like
I said a big hit for Bowie went to
number one on the Billboard singles
chart in the spring of 83 it was Bowie's
second and last number-one single
because his first number-one single was
Fame back in 1975 and his last
number-one single was here in the States
anyways let's dance in the spring of
1983 and this song the album version hit
extra solos extra guitar solos an extra
verse which was edited out of the single
mix you know then the all over the place
saxophone solos with a tenor and a
baritone just going at it for quite a
while with the baritone hitting the
highest note as you can possibly hit
with
this tenor sax playing I believe was um
you know Robert Garrett Robert Aaron or
Stan Arison that did the tenor sax work
or you might have been Steve else and I
ain't so sure you'll see on the screen
but what an amazing sign the title track
Siletz dances and it was rightfully a
number-one hit on the Billboard singles
chart in the spring of 83 and it was
also a MTV staple and listened to hit on
the rock radio uh rock radio charts
I'll see right this instant I believe it
might have been a big rock radio hit as
well in the spring of 83 so I dunno
China girl was a rock radio it modern
love was a rock radio hit and I believe
the title track too uh
let's dance because I'm on billboard
calm right now let's go to place album
Rock Tracks chart which was what was
known back in the day title track to
let's dance went to number eight on the
Billboard album Rock Tracks chart in the
spring of 83 so yes I was another winner
for Bowie on this very album back in
1983 the title track to let's dance an
amazing sign not much more to add but a
great tune now we come to the sign that
inside one of the album which was
released as the fourth and final single
from the album this was before history
from Def Leppard had all of side one
releases singles let's dance
predated that a factoid by um four years
four or five years yes and the song was
without you but the song without you was
a flop but the song is such an amazing
song beginning with the digit of June
Duncan Jing Jing Jing Jing good good
Tony Thompson plays the drums on this
one and it's the rhythm section it's
hard to believe that all all the
musicians on this track bar
the backing singers and Nile Rodgers are
dead burner Bernard Edwards on bass
guitar Tony Thompson on drums that was
of course the rhythm section of chic
synthesizers played by Rob CMB no he's
still alive David Bowie singing a
brilliant vocal in his falsetto range
and him singing the kind of Smokey
Robinson
nah there's no smoke no fire without you
I can't my voice and I but what can I do
oh my god
what an amazing vocal delivery by the
thin white duke on this song which
didn't reach any higher than number 73
on the Billboard singles chart I mean
yeah the EMI I own think wanted to
believe the album let's dance for
everything had had but what a great song
without you is beautiful under a
beautiful quasi ballad on the side on
this album and that's all I can say
about the song without you it's just a
beautiful song and the lyrics are
amazing and just like I said an amazing
an amazing song great side one closer
which is a perfect way to end side one
of the album now we come to you flip the
album over to side two or in my case he
had a flip the cassette decide to and we
begin with one of Bowie's most like most
unique art rock it's kind of an art rock
track with the way the syncopated on of
the music it's called ricochet which is
a an amazing song in the key of a bongo
don't and I believe the drums are either
Omar Hakim or Tony Tom's on this track
and David Bowie's singing in the Barrett
or is he saying in the fall settle in
the previous
this track he sings in the baritone like
we on the rock face waiting for the sky
ricochet ricochet when I was a kid I
thought it was felt like Oh Chet that's
sure to help
roar Rico Chet that's what my first
interpreted the word man you know was
pronounced ricochet until I was in
elementary school I was in second grade
when I was in second grade when I first
got this album I was in transition when
I first heard this album back in 83 so
forgive me for the prompt announcing
when I was a small little kid and of
course the song just done the holy
pictures so they face the wall and yes I
love the horns in this track in that
little spoken and who can bad to be
forgotten
then of course David doing all the with
the male backing singers March of
flowers March of Dimes these are the
prisons these are the crimes men weep
for news 12 thousands are still asleep
oh my goodness and the sound of the
devil breaking parole ricochet it's not
the end of the world oh my goodness
sound of thunder sound of gold sound of
the devil breaking parole
what an amazing fuck the sign is all
over the place but I fucking love it
bong denna did it in and you hear the
saxophones and the horns on this and of
course the and who can bad to be
forgotten that refrain excuse me but the
chorus is of course March of flowers
March of Dimes these are the people
these are the prison's these are the
crimes sound of thunder sound of gold
sound of the devil breaking parole
ricochet it's not the end of the world
and as this song is going at the end
with just the band playing out Stevie
Ray Vaughan again unleashes another
tarsal like you get on the previous
track I mean yeah I forgot to mention
without you had a Stevie Ray Vaughn
guitar lead and this song does as well
and this sign was also the name of David
Bowie's book that came out on his 1983
tour photographed by Dennis O'Regan
called British a David Bowie 1983 an
intimate portrait so this song has
obviously been held in high regard and
the song was also I believe used in a
mini promotional film made during the
serious moonlight tour of him in Hong
Kong which is on YouTube for those of
you who haven't seen it but a great tune
ricochet is is there anything else to
add to ricochet that I haven't already
mentioned no but a killer
kick-ass tune that it is and in the
immortal words of Forrest Gump that's
all I gots to say about that yeah damn
right now we come to criminal world
which is a cover of a song from the band
Metro and of course the rhythm guitar
from Nile Rodgers very funky and the
bass playing of carmine Rojas boom boom
long gone by 10 and the song was just
like I said it was originally assigned
by a band called Metro and was written
by Duncan Brown Peter Godwin and Sean
Lyons and David Bowie heard the song and
decided to make his own version of
criminal world and it's a criminal
criminal world go go go go goon and the
song is why I said it's amazing and the
lyrics are you never told me of your
other faces you were the widow of a wild
cat now I know about your special kisses
and I think you know where that's at I
guess I recognize your destination I
think I see beneath your breath your
yep what you want is sort of a
separation this is no ordinary this is
no ordinary ah what a criminal world the
boys are like baby-faced girls what a
criminal girl shall show you where to
shoot your gun what a typical mother's
son see I'm singing the damn thing cuz
it's a fucking catchy and also like the
way it breaks down though don't don't
come KKK King King King King King King
Endon didn't and then this guitar
arpeggiated thing for the guitar solo
section which again the late great
Stevie Ray Vaughan Unleashed another
amazing guitar soul I think he bent the
notes on that Fender Stratocaster how he
didn't break a string during those takes
you you'd never know because he was just
one of those great Texas blues guitars
and yeah this was like I said this was
the album that introduced me to Stevie
Ray Vaughan at seven years old like I
said and his guitar playing on this
track just amazing all over the place
what a killer guitar solo I love this
tune and of course the last verse you've
got a very heavy reputation but no one
knows about your low life
I know a way to find a situation and
hold a candle to your high life disguise
and a repeat of the course and then of
course at the end of the song another
Stevie Ray Vaughn guitar solo to hit the
sign out of the ballpark for a grand
slam home run my grand slam for those of
you who don't know what the fuck I was
talking about but criminal world great
song not much more to add to it but a
great David Bowie taking like another
person signed putting his own stamp on
it and kickin some recon asses the
millet as the Marines would say yeah and
Bowie like I said did an amazing cover
of it and this song criminal world great
track now we come to a song that he
recorded before the album was released
the let's dance version of cat people
putting out fire like I said the
original version which was recorded for
the movie cat fever cat people a year
before in a mid-tempo dirge when it came
to recording the version on the lights
dance album Omar Hakim fuckin did the
you know brought the drums to more
up-tempo fast pace of you know and Nile
Rodgers is rhythm guitar they're going
good London I think there's some extra
rhythm guitar added by Stevie Ray
Vaughan oh of course that's the burning
guitar solo on this trip is track and
David Bowie just sings the sign of tune
Dada Dada
you know straight ahead hard rock on
this track and then of course then I
know five with a castle
lean Dada Dada Dada I mean this could
pass for our hardrock track I mean you
know mid-tempo you bump up the BPMS to
make it more hard rock and David Bowie
sure as hell did with the remake of cat
people putting out fire for the let's
dance album I think now Rodgers today
David let's turn that into an up-tempo
rocker
he's like let's try it so they did and
Stevie Ray Vaughan just again steel in
the show and this is the last song in
the album where you get to hear Stevie
Ray Vaughan's guitar shredding at its
finest and he just shreds the hell out
of the Stratocaster especially that
middle guitar solo where he's just
fucking going completely apeshit on the
fucking guitar I mean you know he was I
think he was the heir apparent to hide
Hendrix I mean Stevie Ray Vaughan was
the gonna be the guy but of course we
know what happened and we'll talk about
the PostScript of what happened to David
Bowie and a few of the musicians who do
appear to this album when the review is
done but back to the sign
now fuck at people putting out fire the
let's dance version is the ultimate
version of the song especially instead
of the female backing singers ending the
original from 82 this time it's the Sims
brothers and David spinner doing
three-part harmony singing and a lower
octave then the chorus of females and
David Bowie's going so long but now
fires and Stevie Ray Vaughn again lead
guitar heaven on this motherfucker
his guitar solos on this was like I said
pure amazing kick-ass I mean this proved
that Stevie Ray Vaughn was gonna be a
force to be reckoned with in the world
of the rock guitar point and and the
song was a great example of Stevie Ray
Vaughan's great guitar work and the song
fades out and come in this in this album
version on what's dance was a minute and
a half shorter than the version that
appeared in the cat people movie and
it's a minute longer than the single
version that appears on the best of
Bowie 2 CD compilation for those who
have it I mean I have that compilation
and it's good to have both versions to
compare and contrast but I give the edge
by a landslide to the version that
appears on what's dance now we go in the
album with a song called shake it and I
actually enjoyed the sign it begins with
a synthesizer thing on don't don't good
good excuse me just an amazing sign
called shake it shake it what's my
and what a great way I said in a very I
mean you could dance in a nightclub to
this tune even today you know and I'm
reading the lyrics I feel like a
sailboat boom to drift on the seat to to
to to do oh my god what's nine line Duke
a nice way
what's my line shoot at a full moon
what's mine shake it shake it baby
What's My Line oh my goodness I mean I'm
singing to them you'd be singing the
song for days on end and I don't think
Stevie Ray Vaughan played any guitar
solos on this actually he doesn't play
any guitar there's no guitar solos on
this track but a sort of a great dance
dancing number you just want to get up
and boogie too and this is post-disco
done in a right way in Nigel Rodgers
Nile Rodgers I said Nigel I meant to say
Nile Rodgers at least found a post disco
career as one of the best producers in
the business and this song in this album
was uh one of his finest moments and of
course this sounds like what she could
have gone in had a disco knock the disco
sucks moved and not killed a career but
David Bowie wrote the signed by his
lonesome and just an amazing amazing way
to finish what turned out to be his
biggest selling album ever let's dance
for like I said was released in April of
1983 and it went all the way to number
one in the in his native England in a
peaked at number four on the Billboard
album chart which was the sect up until
2013 was the second highest chart
position of any David Bowie album ever
because the highest charted was prior to
that 1976 is station-to-station but this
album sold more copies than station the
station and then went platinum during
the summer of 1983 meaning it sold over
a million
copies in the US alone and today tis his
best-selling studio album here in the
states it's sold more than Ziggy
Stardust which all is also agreed on I
mean David Bowie did not do any bad
album until I mean the only album of his
I wasn't really fan of not to disrespect
the dead would probably be Black Tie
white noise but you know I have loved
let's dance and to this day let's dance
doesn't sound like in 1983 recording but
looking back years later at this album
David Bowie said the album cosmic hit a
creative low point which lasted a few
years and looking at the waves of people
and he wondered how many Velvet
Underground albums these people had
purchased in their record collection
they may then he felt distant from these
fans then his follow-up albums tonight
which I which is which is a very very
good album I love that album a lot which
I did also get the year of its releasing
I think Christmas 84 cuz I was a fan of
Let's Dance and I enjoyed tonight this
wall I never let me down the slides in
that album would better live anyway cuz
if you watch the glass spider video
concert film or listen to class spider
montreal 87 it was better in the live
setting and this album to this to this
day still sounds amazing especially in
the post 1980 wait post 1983 it doesn't
sound like a 1983 recording especially
with the legendary bought clear mountain
doing the engineering and the mixing and
of course the legendary Bob Ludwig doing
the mastering on this album and this
album was re-released over the years in
different remasters on CD the first was
in 1995 with bonus with under pressure
added as
his track to the CD that David did
Bowie's cover David Bowie still went
with Queen was added as a bonus track on
the Virgin Records CD remaster in the
album in 95 then in 1999 another
remaster was released remastered at
Abbey Road Studios which was all
compressed and was released by EMI in
1999 and then again in 2014 two years
before Bowie's death when Parlophone
acquired the licensing rights to David
Bowie's back catalogue after EMI folded
and excuse me
the record company being Parlophone
which is owned by Warner Music we
released the album and then it was
re-released in 2003 again as a hybrid sa
CD then the album was recently
remastered a year ago for the loving the
alien box set and it was released on CD
vinyl and digital format as part of the
box set and it's coming out in February
as a standalone remastered CD and LP so
for those of you who did not ever have
this album on vinyl or CD you'll get
your chance to hear a new remaster and
while I celebrate this album and how
much this album means to me to this day
it is kind of bittersweet that I do this
review because this month in 2016 we
lost David Bowie to liver cancer at the
age of 69 just two days after he turned
69 years old and two days after the
release of what turned out to be his
final album Blackstar and David Bowie
was a legend I mean he would not ever do
the same album twice and we lost David
Bowie in 2016 we also lost drummer Tony
Thompson in two
in three when he passed away in from
kidney cancer he had Rennels
renal cell carcinoma which is a kidney
cancer and he died three days short of
his 49th birthday and and we also lost
Tony you know we also lost Bernard
Edwards the man who played bass on
without you he died in Tokyo Japan in
1996 from pneumonia and his final
performance was you know he first we
thought it was a heart attack but he he
died from pneumonia just shortly after
they played the Budokan theater in Tokyo
Japan in April of 1996
so we lost Bernard Edwards we also we
lost Tony Thomson David Bowie in the
most tragic was Stevie Ray Vaughn
because after recording Let's Dance
Stevie Ray Vaughn had a very successful
careers of blues rock guitar God and we
almost lost him in the late 80s due to
drugs and cocaine that he gave up drugs
and alcohol in late e6 early 87 and then
put out his best album as a solo artist
in step and was going great and going
things were going amazingly and greatly
and then all of a sudden tragedy struck
when on August 27th 1990 Stevie Ray
Vaughan boarded a helicopter with four
other passengers pilot Jeff Brown agent
Bobby Brooks bodyguard Nigel Brown and
kid Eric Clapton's tour manager Colin
Smith were all killed when the
helicopter that they were in was was
flying in fog and a crashed into a hill
in Alpine Valley in East Troy Michigan
and alpine valley
and Stevie and Steve Miller the
guitarist said the accident could have
been aborted if Stevie Ray Vaughn had
instead of taking a helicopter just
taking a car to um you know taking a car
to Chicago you know they would have you
know would have been a 90 minute drive
instead of a the tragedy would have been
averted and Stevie Ray Vaughn died at
the age of thumb 60 weight died Stevie
Ray Vaughn was only 35 years old when he
died god bless Stevie Ray Vaughn and
this review is dedicated to the memories
of David Bowie Bernard Edwards Stevie
Ray Vaughn and Tony Thompson and then of
course there was a tour done to support
this album the tour B and of course the
serious moonlight tour which was an
amazing concert tour which Bowie
undertook in support of the album and
they played a good chunk of this album
on that tour and replacing Stevie Ray
Vaughn on the tour was oh yeah we're
placing him on the tour was a little
slick who played with David Bowie on the
station-to-station album and also
playing on that tour were drummer wars
oh yeah Tony Thompson did the tour as
well and the personnel that Bowie hadn't
said on the tour in support of the album
was while Carlos Alomar was back on
guitar and backing vocals carmine Rojas
again on bass guitar Tony Thompson rest
your glorious soul on the drums
Dave LaBolt on keyboards and
synthesizers Steve Ellison on saxophones
Stan Harrison on saxophones and
woodwinds and Lenny Pickett yes the same
men from the tower power and the man
who's this who's now the the musical
director of
sorry and I live the king of the
altissimo register on saxophone also
played sax on the tour as well and the
sims brothers Frank and George did
backing vocals on the tour and um and
then David Bowie played a total of four
songs from the album during the
subsequent tour modern love China girl
the title track and cat people and then
from the previous album scary monsters
he played the title track ashes ashes to
ashes in fashion and I'm almost the
entire station to station album and
quite a few songs from his early days in
now the the concert audio from the
serious moonlight tour now officially be
released on CD I mean the video for the
yeah the video for the sea the serious
moonlight tour was released on VHS and
then on DVD in 2006 now the audio will
be released as a standalone in April in
February simultaneously with the
remaster of let's dance and the tour
like I said was sold out of every venue
of platon David Bowie wanted playing in
stadiums I mean he was playing arenas
and stadiums he played three nights at
Madison Square Garden and he played yes
folks back in 1983 David Bowie sold out
Foxboro Stadium at the time known as
Sullivan Stadium for a sold-out show
yeah motherfuckers he was playing for
fifty five to sixty thousand people here
in New England yeah he had to play one
three three shows in New York he filled
a fucking Stadium here in Boston that's
because we Bay Staters loved Bowie and
sorry about that and David Bowie started
playing in it like the Boston Music Hall
back in the day then he graduated the
old garden
than to solve in Stadium and you want to
play in there three times once in a t-34
the let's dance tour which he sold that
motherfucker out then again in 1987 on
the glass spider tour with a resurrected
Peter Frampton who of course I'll talk
about the glass spider live album
because that live out meant the better
versions of the songs from never letting
me down
the album was kind of weak but those
songs are better in the live setting on
that tour plus the ban on the live
concerts were much more stronger in the
1990 sound envision tour was the last
time but we would play the big stadiums
but he would still saw Yampa theaters
sports arenas up until his dying day
here you know David Bowie
he might have dismissed the 1983 to 88
era after a while but for wasn't for the
wide stance I wouldn't have discovered
David Bowie then again neither would
have many people and because of my
enjoyment of Let's Dance I didn't check
out how to get the following album
tonight as a Christmas present the
following year excellent now I'm loving
the alien I'll tell him about that album
later because that is a very important
album in my development of rock music
and I'm not just saying it either cuz
David Bowie is dead but I liked Bowie
since age 7 never let me down hmm
sorry for post-nasal drip here never let
me down amazing record songs have been
alive but not bad not as bad as he
paints it to be or those fucktards at
fucking rolling drone fuck those
assholes
then again they gave fucking Britney
Spears 4 out of 5 stars for her last
piece of shit fuck Rolling Stone fuck
the critics
because it's the people that buy the
records not asshole critics you know
what did all those EMI albums of the 80s
do in America either gold or platinum in
sales and sold-out Stadium tours across
America yes Tin Machine a great Hard
Rock Album from the late 80s never heard
Black Tie white noise kind of skeptical
about that and then the album's
everything between outside and ours I
kind of skipped out and then heathen and
the album that preceded it I didn't hear
much off of either except for slow burn
this trying to think of it is yeah
I haven't heard heathen
except for slow burn which is on the to
discus of Bowie compilation reality I
haven't heard either the next day I
didn't hear but black star I bought that
album the day it came out was the first
David Bowie album I bought just before
he died and that album is a masterpiece
and it was a perfect way for him to say
goodbye she was one standing fanbase and
I'm not just saying it either but it's
true
I bought the Black Star the day it came
out I ordered it on Amazon pre-order cuz
I like the two songs I heard loved it
and to me was a perfect way for him to
say goodbye to the Thin White Duke the
man who sold the world himself Ziggy
Stardust aka David Bowie and this review
like I said is dedicated to the memories
of David Bowie Stevie Ray Vaughan who
played the guitar on there what Stan's
album drummer Tony Thompson who played
the drums on the album in the subsequent
tour and the bass player on the song
without you Bernard Edwards so for
people who worked on this album
including the artist himself are no
longer with us
god rest her soul
and that's all I'm gonna say about David
Bowie on this review wait there's more I
have to say shit I forgot
Terrence's recommendation well if you
can afford it I urge you to check out
the 1983 to 1988 box set of loving the
alien which brings newly remastered
versions of let's dance newly remastered
version of tonight
and newly remastered version of never
letting me down the remastered version
of the serious moonlight concert on two
CDs making it available on audio for the
first time because probably that you had
the video version but this time you get
the full audio of the show plus you also
get the glass spider tour from Montreal
on to CDs as well plus some remixes and
single at it's all on this amazing box
set but if you can't afford the box set
with the singles and all that shit in
February they're going to be
re-releasing standalone remasters of
let's dance tonight and never let me
down glass spider live which was the oh
yes I'm serious moonlight live which is
the document of the lights dance tour
finally on audio so you get to have it
on CD which has been long going to be
released on CD and you know also glass
spider live in Montreal which was
previously only available on as part of
a blu-ray a cd/dvd set of glass spider
live now it's being released as a
standalone because the DVD was from
Australia the CD was from Montreal so
you're gonna get the audio from Montreal
finally available as a standalone then
again all of all the David Bowie live
albums have heard Ziggy Stardust
Hammersmith 30 30th anniversary edition
from 2003 fuckin amazing live album
stage is amazing you know any live David
Bowie album is amazing
and that's all I gots to say finally
about that excuse me so before I go and
say goodnight and goodbye to all you
cool
fans on this episode of mine which
coincidentally has come out of my
birthday
simultaneously of my episode of Black
Sabbath's Heaven and Hell which proceed
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well I have to leave you now I'm sorry
to say I have to go I apologize but
don't panic
I won't take forever between episodes
because I have more episodes in the can can can I gotta get to my ass to
finish um Supertramp's Breakfast in
America for its 40th anniversary is
coming soon I'm probably gonna do the
first legs upon album any day now
because it's 50 years old Van Halen's
1984 I got to do that one as well
it's anniversary Van Halen 2 fortieth
anniversary so I may have a couple of
inhale and episodes in a row real Van
Halen not van Hagar
well of course if you read my rock metal
combat episode on for unlawful carnal
knowledge I do like some van Hagar not
all but some but that's beside the issue
but anyway I digress got a bunch of
things in the can oh yes the belated
45th anniversary of the who's
Quadrophenia the belated 1988 Iron
Maiden episode which was recorded last
year by I just didn't have the chance to
edit it now I'm finally going to because
of illnesses injuries all that crazy
shit more episodes are becoming
even if it's sporadic earrings hey at
least I'm still putting my heart and
soul into it and of course more
cross-pollination episodes of a
free-form rock podcast with yours truly
because we're gonna cover Queen 2 but
of course I'm gonna do the works from
Queen as a standalone episode for that
album's 35th anniversary then am I even
doing an episode for Nick Mason
75th birthday who knows what's gonna be
after these two but I'll keep you posted
so for now this is the rock sponge
Terrence Reardon here always telling you
don't let assholes piss you off my
friends good night my friends god bless
you
The Terrence Reardon and Friends podcast
was written produced edited and synced by
yours truly Terrence Reardon the rock
sponge
intro music stiff competition by cheap
trick greeting by my brother Dr Fukk
Ralph Vieira and outro music shine on
you crazy diamond part 9 from Pink Floyd
I don't own the cop the music of those
all rights reserved the copyrighted and
songwriters the copyrights belong to
Sony music for cheap trick into Pink
Floyd for shine on copyright 2019 TJRRockponge incorporated all rights
reserved once again thank you all for
listening and watching good night my
friends God bless you
