Young Americans Enhanced
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Customers Who Bought This Item Also Bought
|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)|
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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Top Customer Reviews
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.
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.Read more ›
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.Read more ›
Most recent customer reviews
The major bonus of this album is John Lennon's appearance on many of the tracks. There are extra photos of Bowie in the enclosed booklet This particular release is an... Read morePublished 5 months ago by Douglas
if you like Bowie Boogie this is the one to get..Fame with the 5.1 effects is worth the purchasePublished 14 months ago by Staffaroony
This album is unique in all of the Bowie collection. It was the first "white" album to be placed on the Billboard soul charts. Read morePublished on Feb. 16 2007 by Everett Ray
If you skip the Beatles Cover, this is a nearly perfect Bowie release. Another funk, soul and rock combo like Station to Station that has a very strong grove to it! Read morePublished on April 26 2004 by Damian P. Gadal
It's ironic that David Bowie refers to this album as his version of American soul. Like most of David Bowie's "innovations", this work is based upon the previous works... Read morePublished on March 20 2004 by Oskar Wilder
You're walking down the street, minding your own business.
Suddenly, a lavender Cadillac pulls up alongside you. Read more
If you are like me and you grew up on this guy you have to admit that from a white guy visiting america in the 70,s this is the best picture postcard of a cocainefilledinfusion of... Read morePublished on March 8 2003 by steve
Although its better than most of the stuff today its Bowie's worst effort out of his best period. I own everything from Space Oddity to Scary Monsters except Young Americans. Read morePublished on Dec 8 2002 by ryan