Personnel: David Bowie (vocals); Stevie Ray Vaughan, Nile Rodgers (guitar); Robert Aaron, Stan Harrison (flute, tenor saxophone); Steve Elson (flute, baritone saxophone); Mac Gollehon (trumpet); Rob Sabino (keyboards); Carmine Rojas, Bernard Edwards (bass); Omar Hakim, Tony Thompson (drums); Sammy Figueroa (percussion); Frank Simms, George Simms, David Spinner (background vocals).

Recorded at Mountain Studios, Switzerland.

This is an Enhanced CD, which contains both regular audio tracks and multimedia computer files.

Personnel: David Bowie (vocals, guitar, saxophone, keyboards); Frank Simms, David Spinner, George Simms (vocals, background vocals); Stan Harrison (tenor, flute, saxophone, tenor saxophone); Robert Aaron (tenor, flute); Steve Elson (baritone, flute, baritone saxophone); Nile Rodgers, Stevie Ray Vaughan (guitar); Robert Arron (flute, saxophone, tenor saxophone); Mac Gollehon (trumpet); Robert Sabino (keyboards); Tony Thompson , Omar Hakim (drums); Sammy Figueroa (percussion).

Audio Mixers: David Bowie; Bob Clearmountain.

Audio Remasterers: Nigel Reeve; Peter Mew.

Recording information: Fast Forward Productions; Mountain Studios, Switzerland.

Photographers: Mick Haggerty; Greg Gorman; Denis O'Regan.

Arrangers: David Bowie; Nile Rodgers.

After summing up his maverick tendencies on Scary Monsters, David Bowie aimed for the mainstream with Let's Dance. Hiring Chic guitarist Nile Rodgers as a co-producer, Bowie created a stylish, synthesized post-disco dance music that was equally informed by classic soul and the emerging new romantic subgenre of new wave, which was ironically heavily inspired by Bowie himself. Let's Dance comes tearing out of the date, propulsed by the skittering "Modern Love," the seductively menacing "China Girl," and the brittle funk of the title track. All three songs became international hits, and for good reason -- they're catchy, accessible pop songs that have just enough of an alien edge to make them distinctive. However, that careful balance is quickly thrown off by a succession of pleasant but unremarkable plastic soul workouts. "Cat People" and a cover of Metro's "Criminal World" are relatively strong songs, but the remainder of the album indicates that Bowie was entering a songwriting slump. However, the three hits were enough to make the album a massive hit, and their power hasn't diminished over the years, even if the rest of the record sounds like an artifact. ~ Stephen Thomas Erlewine

Though he continued to evolve throughout his career, Bowie's post-SCARY MONSTERS output was markedly less stellar than his acclaimed '70s work. LET'S DANCE, however, is arguably his most memorable '80s recording. It didn't hurt that he reached out to some talented friends, like Stevie Ray Vaughan (who makes his recorded debut here as lead guitarist) and co-writers Iggy Pop ("China Girl") and Peter Godwin (of "Images of Heaven" fame, who helps out on "Criminal World.") Ultimately, though, it's Bowie's unique vision that makes LET'S DANCE a success. His funky, synth-driven avant-pop romps are shot through with a romance and poignancy that sets them apart from much of his later work. "Modern Love," for example, manages to be irresistibly catchy and ostensibly upbeat while depicting alienation and unfulfilled desires.

Rolling Stone - Ranked #83 in Rolling Stone's "100 Greatest Albums Of The 80s" Survey.

Q (1/96, p.146) - 3 Stars - Good - "...a splendid comeback, all romance, funk, [and] Stevie Ray Vaughn..."

CMJ (1/5/04, p.12) - Ranked #4 in CMJ's "Top 20 Most-Played Albums of 1983".