Never Let Me Down is the seventeenth studio album by David Bowie, released in April 1987 by EMI America. Bowie conceived the album as the foundation for a theatrical world tour, writing and recording most of the songs in Switzerland. He considered the record a return to rock 'n' roll music…
After having spent the the mid-'80s putting on his acting shoes for Absolute Beginners and Labyrinth, Bowie returned to music by grabbing his usual henchmen Carlos Alomar and Carmine Rojas and joining forces with old schoolmate Peter Frampton. NEVER LET ME DOWN found Bowie writing or co-writing everything with the exception of Iggy Pop's "Bang Bang." Songs such as "Day-In Day-Out" and "Time Will Crawl" were perfect Bowie songs that worked opposite ends of the spectrum; the everyday reality of a struggling woman living on the periphery of society versus the ambiguity of time itself.
David Bowie has claimed that Never Let Me Down is one of the worst albums of this career. He has claimed that he went into the studio for this album without really knowing why he was doing it, nor really caring that much about how it turned out. Indeed, the eventual realization that he was simply "going through the motions" on this project caused him to form Tin Machine, keep Tin Machine together much longer than he should have, and refrain from releasing another solo album until 1993's Black Tie White Noise.
On the basis of Tonight, it appears that David Bowie didn't have a clear idea of how to follow the platinum success of Let's Dance. Instead of breaking away from the stylized pop of "Let's Dance" and "China Girl," Bowie delivers another record in the same style. Apart from the single "Blue Jean," none of the material equals the songs on Let's Dance, but it's appealing pop-soul and dance stylings helped make Tonight another platinum success.
Antalio presents his first experience in remixing. Being a great fan of Depeche Mode, the author works with the material carefully and with love. There are no dance beats here - it is some kind of alternative sound of Depeche Mode. Main attention was given to the rhythm section and sound, without changing general structure of the songs. We hope you like this compilation!
The Sound+Vision 4 cd boxset covers DAVID BOWIE s career from 1969 to 1994 starting with the acoustic demo version of his first hit, Space Oddity to the return to his Bromley roots for the soundtrack to Hanif Kureishi s The Buddha Of Suburbia which is often cited as the most underrated piece in the Bowie canon. Sound+Vision is a collection spanning four decades, covering the 21 albums from Space Oddity through to The Buddha Of Suburbia. It s a rich survey of David Bowie's many musical lives offering a generous helping of hits, an intriguing dip into archives, classic album tracks and long lost B-sides, explosive live recordings, soundtrack recordings and remixes.
No musicians are credited except for the associate producer title given to keyboard player Larry Knechtel and retaining Bread photographer, Frank Bez, as well as engineer Bruce Morgan, who played an important part in David Gates’ First from 1973 (and who would engineer Bread’s 1977 comeback, Lost Without Your Love ).
Originally released as a home video in 2004, David Bowie's A Reality Tour saw a two-CD audio release slated for January 2010, with three previously unreleased bonus tracks – "Fall Dogs Bombs the Moon," "Breaking Glass," "China Girl" – adding value for those hardcore fans who already own this concert as a DVD. In either the video or audio incarnation, this show, from November 2003 in Dublin, Ireland, is an entertaining and open-hearted set, finding Bowie running through a generous selection of oldies – both hits and album tracks, including songs written by Bowie, like "All the Young Dudes" and "Sister Midnight" – and new songs that hold up well next to the classics.
Black Tie White Noise was the beginning of David Bowie's return from the wilderness of post-Let's Dance, the first indication that he was regaining his creative spark. To say as much suggests that it's a bit of a lost classic, when it's rather a sporadically intriguing transitional album, finding Bowie balancing the commercial dance-rock of Let's Dance with artier inclinations from his Berlin period, all the while trying to draw on the past by working with former Spider from Mars guitarist Mick Ronson, collaborating with Let's Dance producer Nile Rodgers, and even covering inspiration Scott Walker's "Nite Flights."