It was thirty six years ago today that Bowie released his ninth studio album; one that well and truly marked the end of his Ziggy Stardust persona. Digging into what would become known as the blue-eyed soul genre, Bowie set up camp in Philadelphia at Sigma Sound Studios after the end of the first half of his Diamond Dogs tour in 1974. Famously utilising the wonderful vocal talents of Ava Cherry, Robin Clark and Luther Vandross, this album also marks the first studio album co-produced by Tony Visconti since 1970's The Man Who Sold The World.
Also in Bowie's band for this record were pianist extraordinaire Mike Garson, guitarist Carlos Alomar (Clark's husband), legendary bassist Willie Weeks, and Andy Newmark on drums. Joining them on the saxophone was David Sanborn, and Bowie himself contributed guitar and keyboards. From these sessions came the fabulous title track and other album highlights including Can You Hear Me? and Right.
There is a soulful feel to these recordings, as the band strike a balance between early disco and classic R&B. Quite a few songs cut during this time didn't make the final album including a cover of Springsteen's It's Hard To Be A Saint in the City, After Today, Who Can I Be Now?, It's Gonna Be Me and a re-recording of John, I'm Only Dancing, titled John, I'm Only Dancing (Again).The backing vocals make for some compelling listening, particularly on Right where there are some rapid fire lines delivered, which apparently were arranged just as Bowie heard them in his head:
After the second half of the Diamond Dogs tour concluded, Bowie took the group to the Record Plant studio in New York to cut two new songs: the gently lilting Win and the upbeat Fascination, the latter co-written with Vandross. With the album pretty much complete, Visconti began mixing what he thought was the final product in London. Bowie remained in New York working on other mixes with engineer Harry Maslin.
Bowie had recently met and befriended John Lennon, who was at the Record Plant working on his Rock 'n' Roll album during this time. The two pair decided to do some recording together at Electric Lady Studios in January 1975. Without Visconti, Harry Maslin was called in to co-produce the songs, and he would later go on to produce Station to Station. Also present were guitarist Earl Slick, drummer Dennis Davis (first time on a Bowie record for both), bassist Emir Kassan, percussionist Ralph McDonald and backing singers Jean Fineberg and Jean Millington. Oh, and Carlos Alomar, of course!
This would yield two tracks, a cover of Across the Universe and Fame, which was co-written by Bowie with Lennon and Alomar. Delighted with these recordings, Bowie added them to the Young Americans album, usurping the aforementioned Who Can I Be Now? and It's Gonna Be Me; much to Visconti's alleged dismay. While the Beatles cover is a semi-interesting re-working of the Lennon tune, Fame is arguably the album highlight. With a stabbing guitar groove and a relentlessly plodding bassline, the song has a looseness that tightens up just when it needs to. Indeed, it's difficult to imagine this record without it.
Young Americans, the song and album, haven't been as revered as other entries in Bowie's body of work, but I think the title track is worth the price of admission. When the drums kick off the title track, that piano sweeps in and that hooky sax line begins it's pretty joyful. It would rank as one of my favourite Bowie songs, and definitely one of the biggest highpoints on this record; next to Fame, of course.
Even though the record only has eight songs on it, the running time still reaches the forty minute mark. Some of those tracks that didn't make the cut could possibly have fit, or the overlong Somebody Up There Like Me could have been significantly shortened. There is an unreleased album, The Gouster, which features a seven-song track listing that includes Who Can I Be Now? and It's Gonna Be Me. There are different takes and mixes of songs that are on Young Americans, with the only the title track remaining the same. Nothing recorded after the Record Plant sessions in New York is included; so, no Fame, Win, Fascination or Across the Universe. The album is available as part of the Who Can I Be Now? (1974-1976) box set.
While it's not one of my favourite Bowie albums, there is a lot to like about it. I give this 3.5/5 and would listen again.
NEXT UP: The Next Day - 8th March
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