David Bowie
Let's Dance

*NOTE: This record was not noisy enough to rate our M-- to EX++ grade, but it's not quite up to our standards for Mint Minus Minus either. If you're looking for quiet vinyl, this is probably not the best copy for you.

Bowie is without question one of the all time great frontmen and producers. This is his last good album and a Must Own for audiophiles, especially if you have big dynamic speakers.

With this one you are in for a treat.

Hearing a top copy of Let's Dance is truly a special experience; the damn thing is amazingly well-recorded, especially considering it came along well after the Golden Age of rock recording (the 60s and 70s, don't you know). The sound is analog at its best; rich, full and super-punchy.

I have never heard a CD in my life with this kind of Tubey Magical richness, smoothness and sweetness. That medium never does justice to the sound of recordings like this one, in my experience anyway. People who exclusively play CDs have forgotten what that sound is; that's why they can happily live without it. I sure can't. At present, this sound is exclusively the domain of analog and likely to remain so well into the future.

In addition, the musicianship is top notch and then some. Omar Hakim's drumming is powerful, energetic, and performed with military precision. The guy is out of his mind on this album.

The combination of Nile Rodgers and the legendary Stevie Ray Vaughn on guitar makes for a tasty, intricate mix of subtle rhythm work and searing leads. Or is that soaring leads? Hey, on this album it's both.

What The Best Sides Of Let's Dance Have To Offer Is Not Hard To Hear

• The biggest, most immediate staging in the largest acoustic space
• The most Tubey Magic, without which you have almost nothing. CDs give you clean and clear. Only the best vintage vinyl pressings offer the kind of Tubey Magic that was on the tapes even as late as 1983
• Tight, note-like, rich, full-bodied bass, with the correct amount of weight down low
• Natural tonality in the midrange -- with all the instruments having the correct timbre
• Transparency and resolution, critical to hearing into the three-dimensional studio space

No doubt there's more but we hope that should do for now. Playing the record is the only way to hear all of the qualities we discuss above, and playing the best pressings against a pile of other copies under rigorously controlled conditions is the only way to find a pressing that sounds as good as this one does.

Compression? No Thank You!

Many copies we came across during our extensive shootout were painfully compressed and thin. Sure, they could convey some of the enormous energy of this recording, but the highs always ended up being brittle and edgy. Subsequently the vocals would lose presence and the whole operation turned smeary. When this happens, tracks like "Modern Love" turn the joy of the music into boredom and even outright misery.

But the good ones boggle the mind. They practically defy understanding. How did they get that much punchy note-like bass onto a piece of vinyl, not to mention all those silky sweet highs?

What We're Listening For On Let's Dance

• Energy for starters. What could be more important than the life of the music?
• Then: presence and immediacy. The vocals aren't "back there" somewhere, lost in the mix. They're front and center where any recording engineer worth his salt would put them.
• The Big Sound comes next -- wall to wall, lots of depth, huge space, three-dimensionality, all that sort of thing.
• Then transient information -- fast, clear, sharp attacks, not the smear and thickness so common to these LPs.
• Tight punchy bass -- which ties in with good transient information, also the issue of frequency extension further down.
• Next: transparency -- the quality that allows you to hear deep into the soundfield, showing you the space and air around all the instruments.
• Extend the top and bottom and voila, you have The Real Thing -- an honest to goodness Hot Stamper.

Vinyl Condition

Mint Minus Minus is about as quiet as any vintage pressing will play, and since only the right vintage pressings have any hope of sounding good on this album, that will most often be the playing condition of the copies we sell. (The copies that are even a bit noisier get listed on the site are seriously reduced prices or traded back in to the local record stores we shop at.)

Those of you looking for quiet vinyl will have to settle for the sound of other pressings and Heavy Vinyl reissues, purchased elsewhere of course as we have no interest in selling records that don't have the vintage analog magic of these wonderful recordings.

If you want to make the trade-off between bad sound and quiet surfaces with whatever Heavy Vinyl pressing might be available, well, that's certainly your prerogative, but we can't imagine losing what's good about this music -- the size, the energy, the presence, the clarity, the weight -- just to hear it with less background noise.

Side One

• Modern Love

This track has a tendency to be a bit brighter than those that follow. To find out if your Let's Dance is killer, see how the title track sounds.

• China Girl
• Let's Dance

The best sounding track on the album and one of the handful of best sounding Bowie tracks ever recorded. With a truly Hot Stamper copy, try as you might you will be very hard pressed to find better sound. Demo Disc Quality doesn't begin to do it justice.

• Without You

Side Two

The best sound and music on side two. A top Bowie track.

AMG Review

Hiring Chic bassist 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.