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Young Americans Enhanced


Price: CDN$ 6.97 & FREE Shipping on orders over CDN$ 25. Details
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Young Americans + Station to Station + Heroes
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Product Details

  • Audio CD (Oct. 1 2013)
  • Number of Discs: 1
  • Format: Enhanced
  • Label: Warner Music Canada
  • ASIN: B00001OH7T
  • Other Editions: Audio CD  |  LP Record
  • Average Customer Review: 4.0 out of 5 stars  See all reviews (33 customer reviews)
  • Amazon Bestsellers Rank: #9,754 in Music (See Top 100 in Music)

1. Young Americans (1999 Digital Remaster)
2. Win (1999 Digital Remaster)
3. Fascination (1999 Digital Remaster)
4. Right (1999 Digital Remaster)
5. Somebody Up There Likes Me (1999 Digital Remaster)
6. Across The Universe (1999 Digital Remaster)
7. Can You Hear Me (1999 Digital Remaster)
8. Fame (1999 Digital Remaster)

Product Description

Product Description

Amazon.ca

By 1975, when Young Americans was originally released, people were accustomed to being surprised by David Bowie. Even so, his decision to immerse himself in the traditions of Philadelphia soul raised eyebrows to heights rarely witnessed before or since. In retrospect, Young Americans occupies a reasonably logical place in the Bowie canon, containing both faint echoes of the glam excess of the preceding Diamond Dogs and subtle hints of Bowie's encroaching cocaine paranoia that would result, a year later, in the compellingly deranged Station To Station. It has never been in Bowie's nature to do things by halves, and he went about making Young Americans with the demented energy that has propelled his career to such towering altitudes and such horrifying depths (guest musicians included John Lennon, Luther Vandross and David Sanborn). The quality control was certainly uneven--the album contains such great moments as the title track, "Fame" and "Win", and a lot of wishy-washy fillers, even by Bowie's standards. But, taken as a whole, Young Americans remains one of the most influential records of Bowie's influential career. --Andrew Mueller

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Customer Reviews

4.0 out of 5 stars

Most helpful customer reviews

1 of 1 people found the following review helpful By Martin A Hogan TOP 500 REVIEWER on Aug. 3 2007
Format: Audio CD
"Young Americans" still surprises me to this day with it's amazing R&B. The sound was more clearly mixed than "Diamond Dogs" and it was a real departure for Bowie. The regular remastered CD with, "John, I'm Only Dancing", "Who Can I Be Now?" and "It's Gonna Be Me" sounds even better than the original CD. The extra three tracks are on par with the other songs and its bewildering that in an era when 12 songs per album were standard, Bowie released an eight song album. "John, I'm Only Dancing" is a much more improved R&B version than the rock version.

The 5.1 mix surprised me. It is not perfect and I like it that way. Luther Vandross's back-up vocals come mostly from the rear speakers and you can hear him much more clearly. The congas on "Young Americans" are a little loud for the mix, but it makes the whole experience seem more like a live studio recording instead of a carefully remastered remix. In fact, Bowie mentioned in the liner notes that he liked recording this album with all the instruments playing at once while he sang. There are other surprises. On this DVD you can hear John Lennon speak briefly after one song and the finale of "Fame" has each word of 'fame' descending going around the room from speaker to speaker, but the loud shout of 'fame!' before, 'what's your name, what's your name, what's your name...' is missing. It catches you!

The Dick Cavett interview is a treat, with Bowie sniffing and wiping his nose while fidgeting with his cane. So he did a lot of coke during this period. Who cares? The album is a perfect choice for surround sound. And that sound will vary from system to system.
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1 of 1 people found the following review helpful By P. Nicholas Keppler on Aug. 21 2003
Format: Audio CD
The dense baseline and sparkling saxophone that begin David Bowie's 1975 album, Young Americans officially announced it: Bowie had gone soul. In a career that had not yet lasted a decade, Bowie had already been an Anthony Newley-ish crooner, a heady folk-wizard and a sexually-charged, over-the-top glam rocker and now he had found a new niche: funked-up soul singer.
Bowie, despite being a skinny white dude from England, takes on the role surprisingly well. His voice (always an underrated asset next to his songwriting skills and general sense of vision) has the style, adaptability and confidence of a genuine soulman. He is low, slinky and sexy on the title track, an offbeat tribute to the US's conflicting ideals on love and sex and strident and funky on "Fame," his indictment of celebrity (co-written by John Lennon). Yet he is at his best on neither of these two tracks (the best know), but "Fascination," a sinister-toned account of crazed love, in which Bowie and his army of back-up singers briskly pursue one another for six invigorating minutes.
Young Americans is also a very well-produced album. Bowie and long-time producer, Tony Visconti seem to have studied and assimilated soul suitably. The chunky bass lines, dazzling sax and roaring back-up singers (including a young Luther Vandross) always seem exactly in the right place.
Surprisingly, the biggest flaw of Young Americans is not any difficulty sounding like an authentic soul record, but its songwriting, a skill Bowie exceeded at on past albums. Four tracks (The three previously mentioned and a cover of The Beatles' "Across the Universe") are fine. Yet the other four ("Right," "Win," "Can You Hear Me," and "Somebody Up There Likes Me") seem lazily written and awkwardly-worded.
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1 of 1 people found the following review helpful By Pieter Uys HALL OF FAMETOP 50 REVIEWER on Aug. 11 2006
Format: Audio CD
This 1975 album is uneven but it contains at least four classics in the marvellous title track with its gripping mix of sax, brilliant rhythms and lyrics rich with imagery, the infectious Fame, a song co-written with John Lennon and Carlos Alomar, and another Beatles song, Across The Universe. This version of John I'm Only Dancing (Again) was added later and it fits in well with the overall mood and sound of the album. Another good track is Win, but the rest is rather forgettable although the overall sound is cohesive enough to provide a pleasant listening experience. What makes it work, are the sax contributions of David Sanborn, the buoyant percussion and the backing vocals of the great Luther Vandross. The result is a seamless blend of Philadelphia soul and rock, a style that became in a sense a precursor to the disco explosion that was soon to follow. With the additional tracks on this enhanced album, Young Americans now earns a four star rating.
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Format: Audio CD
The "Young Americans" album was Bowie's only bona fide homage to Americana, while simultaneously propelling blue-eyed soul back onto the pop charts for the first time since the late sixties. Below is a track-by-track analysis of the album's accomplishments (and weaknesses).
The title track is absolutely well written and perfectly captures the timeless essence of pure Americana and its unique nuances. Englishman Bowie had definitely done his homework on this one. Sheer brilliance!
"Win" is beautifully slinky, and dare I say, "groovy". David Sanborn's vibrant saxophone along with the radiant gospel backing vocals renders this track indispensable. This groove style later resurfaces on Prince's "Diamonds and Pearls" and Beck's "Debra".
"Fascination" smoothly segues from "Win", and again, the soothing saxophone coupled with excellent backing vocals makes this track another album highlight.
"Right" is downright sexy with its Marvin Gaye and Average White Band overtones. Another superb performance by Bowie and his bandmates.
"Somebody Up There Likes Me" is relatively dull and uninspired, especially in Bowie's lackadaisical vocal delivery; however, Sanborn and company save this track from becoming a complete failure.
"Across the Universe" begins as a rather obnoxious tribute, but during the song's chorus-driven outro, you receive the Philly treatment reminiscent of Bruce Springsteen; therefore, Bowie redeems himself somewhat by the track's completion.
"Can You See Me" remains sexy yet boring but not bad, as it integrates well within the album's plastic soul context. Try playing this track right before bed; that's where this track is most essential.
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