Hard core Bowie fans hate this album, because it was "commercial" and light, and lacked the angst of "Scary Monsters" or "Lodger." At the time, it seemed like it was an enjoyable album of the moment, picking up on the dance rhythms that had taken over the airwaves by the mid-80s. With hindsight, it is musically a lot more sturdy than that, and seems like a minor classic. Don't follow biography that closely, but I suspect Bowie was just in a good mood then, and that impacted his music, giving it a jolly quality his CD's typically lack. The beats are beautifully constructed, and it is a very pleasing meeting of rock and dance aesthetics.

Why so much disagreement over this album? I suppose it's because this time around, Bowie reinvents himself as a smooth progenitor of blue-eyed soul. This is a dance/pop fest ("Let's Dance"--get it?) with excellent fat guitar sounds from Stevie Ray Vaughan, great sax work, and some cheeky background vocals. The well mannered, tasteful sounds may disappoint those expecting rocker songs like "Cracked Actor," etc.

After the excellent, ironically romantic, "Modern Love" (with it's great opening line "I know when to go out; I know when to stay in"), Bowie follows with two other commercial hits "China Girl" and "Let's Dance." "Let's Dance" is a riot, an MGM musical of a number with a boy background chorus, impassioned vocals (listen to Bowie wonderfully over-emote on the line "tremble like a Floweeer!"), and an infectious beat. This song has stood the test of time better than any other song on the album. It's high drama seasoned with camp and it's one of Bowie's best efforts. With excellent jazz-infused sax, Latin percussion, and memorable lyrics, it's one of the funnest songs in the Bowie discography. I think he really took chances with this song, and he thoroughly succeeds. The final song on the first side, the laid-back "Without You," features some trademark falsetto, but is not up to the other songs.

"Ricochet" is a reggae track that gets a little tiresome, but it's a harbinger of his later work for kids, with great sci-fi voiceover effects, and a very sound-trackish feeling to it. It sounds like something important is going on, though I can't figure out what the narrative is. (It doesn't matter--this is all for fun.) "Criminal World" has a nice hook about three minutes into it, leading to the best guitar solo on the album--this is the time to turn it up LOUD. I just wish the solo were longer.

"Cat People" is another hit from the album, and features classic Bowie vocals: The big slow spooky voice over some ponderous drumming, then a breakout into his singular rock voice. With some snarling blues guitar by SRV, this is superb. The final song is reminiscent work by the "Tom-Tom Club." It has a zany, almost throwaway quality to it, but I think that's the intended effect... a funky little dance piece with no pretense. An underrated album if anything, this album delivers on its promise: It's infused with the sound and the spirit of rock/pop dance. Highly recommended, but remember that it's a bit of a departure from the Bowie you may have come to expect.

As I continue to write these reviews, I have learned the distinction between music and "music." "Let's Dance," the 1983 Nile Rogers-produced album by David Bowie, is no doubt MUSIC. A sizzling melange of funk, soul, and rock, "Let's Dance" is a classic that has lost none of its power over the years. The flawless title track is ultimate Nile Rogers: a serious bassline, funky guitar, and a slammin' groove set to Bowie's distinguished voice. "China Girl" is a brilliant song that has Bowie's voice ranging from a light falsetto to a barritone deep enough to give goose pimples. And "Modern Love" is a catchy upbeat ditty, even if the lyrics are a bit cynical ("I don't believe in modern love"). Since this release, Bowie spent the rest of the 1980s trying--and failing--to replicate the magic of "Let's Dance" with lesser releases such as "Tonight" and "Never Let Me Down Again." Regardless, "Let's Dance" is a tremendously successful collaboration between Bowie and Rogers that's one of the best records of the 1980s.

I HATE THIS ALBUM!!! I have always hated this album and always will!!! I am a huge Bowie fan and I HATE THIS ALBUM!!! Not because of the blatant commercialism of it but because it is terrible. There is honestly not a single track that I can say that is essential for me. The title track and biggest single is a nightmare of insipid one liners, China Girl and Modern Love I liked when they were released but have come to detest over time. All other tracks are throw aways. His rerecording of Putting Out Fire is shameful (I love the original from the movie 'Cat People'). The only track I even remotely like is 'Criminal World' and even that is being generous. I even liked 'Tonight' and 'Never Let Me Down' better than this album. At least those albums had 'loving the alien' and 'time will crawl'.
Is it just me?!?!?

David Bowie's 1983 opus, "Let's Dance" has become quite a controversial title in his catalog in the years passing since it's release. Some see it as a sellout, others see it as a nadir, but I think both views are a little out of hand.

Following SEVEN five-star albums (IMO) between 1974-1980 (Diamond Dogs, Young Americans, Station To Station, Low, Heroes, Lodger and Scary Monsters), anything less than perfection from the man was seen as a colossal disaster, and while Let's Dance is a great album, it is a slight decline from the albums he recorded in the mid to late seventies.

Another thing that really hurts the album is that it was his first album since "Young Americans" in 1975 that really is a product of its era. "Let's Dance" is as 1983 as Flashdance and Kajagoogoo. This album would not have been able to work in 1982 or 1984, much like "Young Americans" is a total product of 1975. It was totally the right album at the right time.

The album was highly commercial and provided him with more American success than he'd ever seen before and the videos made him a mainstay on the then-new MTV, but the commercialness of it has made the album seen as "David Bowie-lite" to most diehard fans. Truth be told, there is much to offer from this album.

"Modern Love", "China Girl" and "Let's Dance" are the one-two-three punch that starts this album off. These songs are solely responsible for bringing many new fans to the David Bowie party in 1983, and all of them are great singles. "Let's Dance" is presented as a 7 1/2 minute long 12" style mix of the song instead of the 4 minute version that made it a #1 single.

"Without You" was an afterthought choice for a single, and is a nice low-key new wave style ballad, although the Keith Haring portrait on the 45 cover might be more memorable than the album.

"Ricochet" is definately the closest thing to the Berlin trilogy as Bowie will get on an otherwise commercial album. I hated the song at first but it's really grown on me.

"Criminal World" was another single-in-the-making, it kinda reminded me of a slower Duran Duran style song, a very pleasing song.

"Cat People (Putting Out Fire)" is where the album falters. The original 1982 version of the song produced by Giorgio Moroder is a masterpiece and one of Bowie's most underrated singles. Here is a re-recording that turns it into a standard snoozeworthy 80's rock song.

"Shake It" is another bad track, ending the album with filler of the worst kind.

However, I love the first six of the eight tracks, and that is enough to make the album worth owning. It is nowhere in the league of Bowie's 1974-1982 work, but at the same time, this is the best album we'll get from Bowie until 1993 when his career begins its renaissance. Stevie Ray Vaughan fans also should check this album out.