What does it sound like?:
The seventies for David Bowie were triumphant from the artistic point of view but less than satisfactory business wise. Tony Defries had managed his rise to fame with great skill but at high cost. Defries earned more than Bowie himself. They parted in 1975 but Defries continued to have the rights over half the royalties for a further seven years. Bowie was also disgruntled with RCA for a perceived lack of promotion of his Berlin Trilogy. So, after 1980’s Scary Monsters, an album collecting together virtually every Bowie party trick, a real rummage in his bottom drawer of secrets, he occupied himself acting and indulging in the occasional collaboration, waiting patiently for both contracts to expire.
Bolstered by a $17.5million advance from EMI, Bowie set about creating hits. A fresh start meant new collaborators. In 1982, Nile Rodgers was a proven hit-maker, seduced by the prospect of being involved in a Scary Monsters part 2. Stevie Ray Vaughan’s blistering performance at The Montreux Jazz Festival secured him the axe man hot seat. Let’s Dance is no Scary Monsters but its Funk-Rock hybrid exceeded all expectations. The sound was big enough to fill stadiums all » Continue Reading.