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Young Americans Gold CD, Import

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Biography by Stephen Thomas Erlewine
The cliché about David Bowie says he's a musical chameleon, adapting himself according to fashion and trends. While such a criticism is too glib, there's no denying that Bowie demonstrated remarkable skill for perceiving musical trends at his peak in the '70s. After spending several years in the late '60s as a mod and as an ... Read more in Amazon's David Bowie Store

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Product details

  • Audio CD (8 April 1997)
  • Number of Discs: 1
  • Format: Gold CD, Import
  • Label: Rykodisc
  • ASIN: B0000009LG
  • Other Editions: Audio CD  |  Audio Cassette  |  Vinyl  |  MP3 Download
  • Average Customer Review: 4.5 out of 5 stars  See all reviews (61 customer reviews)
  • Amazon Bestsellers Rank: 656,904 in Music (See Top 100 in Music)

1. Young Americans
2. Win
3. Fascination
4. Right
5. Somebody Up There Likes Me
6. Across The Universe
7. Can You Hear Me
8. Fame
9. Who Can I Be Now?
10. It's Gonna Be Me
11. John, I'm Only Dancing

Customer Reviews

4.5 out of 5 stars
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Most Helpful Customer Reviews

4 of 4 people found the following review helpful By D. M. Taylor on 8 May 2007
Format: Audio CD
Well this is the 4th outing on compact disc for this classic album and yet another mix , it would be nice to know what this should really sound like as i'm bemused?

Lets take the stereo cd Fascination has sounded completeley different on each release and has always stood out as a case in point of mixers making their own decisions , each release has a new mix compared to the vinyl which was a cool flat sound (plastic soul?) , the emi/ryko cd was all echo and delay now this is a cross between the original cd by RCA and the emi/ryko. Well i have got used to this mix now and its nice in fact all the other tracks sound very good indeed though nothing too startling.

Now to the DVD surround versions for which you will need a caple home cinema set up to appreciate fully just how spectacular this sounds..well ive been listening to this album for 20 + years and the mix is stunning like you are in the studio, the DTS track is superb and the decisions made work very well . Fame is simply amazing , its a track i never tire of and you here allsorts of new things here , the rest of the tracks are simply perfection Win is sweeping and full panning round the room, breathtaking. Right benefits greatly as does Can You Hear me the backing vocals just a work of intense perfection. Somebody Up There Likes Me is the least amazing here and yet another mix of Fascination !! with a booming drum to the fore , interesting indeed. Even the totle track is given a boost of new life with the congas being right up there much like the Cavett show performance. I cannot stress enough how good this all sounds.

Minus points are the annoying menu and as mention manual selection of audio pcm,dts or 5.1 that you cannot change while the music is playing.
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13 of 14 people found the following review helpful By Martin A Hogan HALL OF FAMETOP 1000 REVIEWER on 3 Aug 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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11 of 12 people found the following review helpful By Milt M. R. Ingarfield on 27 Feb 2006
Format: Audio CD
In the Summer of 1974 while Bowie was taking a break from the "Diamond Dogs" tour he booked himself into the Sigma Sound Studios in Philadelphia to record what would later turn out to be one of his most influential albums of the 70's as years later this recording would give 80's bands such as ABC, Spandau Ballet and Simply Red a blueprint to follow.

The influence of American music had been hinted at on previous albums such as "Aladdin Sane" and "Diamond Dogs", albums which have a rougher R'n'B slant to them, think of "1984" from the latter and you have a clear indication of what was to come.

For this recording Bowie had assembled a bona fide rhythm and blues band for the making of the album, which included Willy Weeks on bass along with Andy Newmark on drums and on saxophone the Jazz legend David Sanborn.

The recording sessions of this album was split into 3 main sessions with 2 of them in Philadelphia and a last minute session taking place in New York with the late John Lennon taking part on 2 tracks adding vocals and guitar to "Across the Universe" and "Fame".

The title track starts off the album, this has at it's heart a frantic shrieking alto saxophone played by Sanborn this is introduced by a run on the piano by long serving Bowie side-man Mike Garson which is played off the sound of Latin flavoured percussion this adds the beat with Luther Vandross leading the backing singers, Bowie croons about everyday life in America after Watergate.
The groove is urgent and compulsive, with Bowie even borrowing a catch phrase from the Beatles when the backing singers sing the line "I heard the news today, oh boy" at a crucial moment, but the killer line is when Bowie sobs "Ain't there one damn song that can make break down and cry".
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