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18 of 20 people found the following review helpful:
1.0 out of 5 stars
Bowie's Big Mistake, 17 Oct 2005
I've been working my way through the Bowie back catalogue album by album recently. It's a catalogue that I was already intimately familiar with but sometimes returning to records that you haven't heard for awhile gives you a new sense of perspective and a chance to re-evaluate. The following observations were made. Firstly his 60's period is far more varied and interesting than I thought ("The Laughing Gnome" being the obvious exception) whilst the 70's stuff confirms what an astonishingly innovative and accomplished songwriter he was. And then there's the 80's and consequently this album. I remember thinking when I first heard it that it was easily the worst record that he had made. And you know what? I haven't changed my mind. This album is STILL a piece of crap and there are several reasons why this is the case. In 1983, Bowie decides that he wants commercial success. So instead of sticking with the hugely versatile Tony Visconti as producer he hires a couple of "young guns" - namely Nile Rodgers and Derek Bramble, both of whom use 80's production techniques that make Bowie's records sound just like any other from that period. Bowie decides not to play on either album and exists as a vocalist only. This not only gives the producer greater control over the musical direction but it also significantly limits Bowie's input. With the hugely successful "Let's Dance" shifting zillions of units, for the first time on "Tonight", instead of being one step ahead of the game, Bowie treads water by following the formula of the previous album. Meanwhile the lack of decent new material on this record suggests that either Bowie had lost interest in songwriting or that his creative well had dried up, though the inclusion of no less than 5 Iggy Pop songs leads some people to think that the record is a deliberate attempt to line Mr.Pop's pockets as Ig had recently fallen on hard times.O.K. So what do we get for our money? The singles - "Blue Jean" and "Loving The Alien" are good but elsewhere there are 2 vastly inferior re-treads of songs that Bowie and Iggy had already perfected on "Lust For Life", one of which, the title track - is given an awful cod-reggae arrangement that takes away the humour and the vitality of the original. Iggy's "Don't Look Down" is also afflicted by another reggae make-over whilst the 2 new Pop/Bowie songs are so-so but are swamped by a production that is so shiny that the material struggles through a blinding flash of drum booms and saxophone squeals - an aberration that not only effects the entire album but afflicted the entire decade. As for the remaining cover versions - Leiber and Stoller's "I Keep Forgettin" is an abomination whilst no disrespect to the reviewer who suggested that Bowie's turgid "God Only Knows" is better than the Beach Boys original but it's like comparing Michelangelo to Paint By Numbers. It took a while for Bowie to come to his senses but rest assured it never got as bad as this again. If you want good Bowie I would suggest everything from Hunky Dory to Heroes, a good 60's compilation and a close look at his last 4 or 5 records - all of which confirm that David is back on the ball and making great records again. Meanwhile, if it's the 80's you're after - buy Haircut 100.
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2 of 2 people found the following review helpful:
2.0 out of 5 stars
An album of two halves: both of them poor, 2 Nov 2009
This is the first Bowie album I bought on the day of release. It was number one for one week before everyone realised that there is just too much padding on it. Contrary to what most people say it does not repeat the formula of Let's Dance because that album was a dance record packed with singles. This, on the other hand, is an album of two halves: one half a collection of cocktail party background music and the second half a rockier, faster, dance party (but still at the same cocktail party.) You need to wear a tux to appreciate this album.
"Loving the Alien" is a great opener and doesn't overstay its welcome even at over 7 minutes long. The production is glossy but slightly weird: xylophones dominate over drums, the guitars are slick and slightly distant and Bowie affects a strange speech impediment by mispronouncing his R's. A laid back elevator music feel continues on "Don't Look Down", an Iggy Pop cover, which is remade as a reggae song (yes Bowie doing reggae!) but it isn't that unpleasant. Then a much maligned cover version of the Beach Boys' "God Only Knows" follows but if, like me, you hadn't heard the original you would think this track is just a romantic ballad produced to showcase Bowie's best baritone vocals. A Tina Turner duet ensues with another iggy cover "Tonight" and the original side one draws to a close. For me Tina Turner's contribution is way too far back in the mix and overall side one is just too tame to bother making a fuss about.
The second half blasts your speakers apart with another Iggy cover of "Neighborhood Threat", which like the title track is also from Lust for Life. I swear the volume is just too high on this track but at least it wakes you up. But when was the last time someone covered two songs from the same album? This is rapidly followed by the excellent punchy single Blue Jean, then a final Iggy cover "Tumble and Twirl" which is filled with a vast brass section. A truly awful cover of an awful song "I Keep Forgettin'" is next which is mercifully over in 2 and a half minutes (those crappy electronic drums from the man who gave us Low are just unforgivable.) We then have a final dance number "Dancing with the Big Boys" which is just made-up-on-the-spot rubbish. I believe Iggy Pop even has the cheek to turn up for vocals on this track too, as if he wasn't making enough cash from this whole endeavour.
Overall there are just two tracks that stimulate the kind of interest that whole Bowie albums normally do. He is clearly trying to appeal to a different market from his normal fans. Perhaps he thought that just as movie stars can make different movie genres while retaining both constituencies of support, so too he could market different records to different audiences. But he isn't Steve Martin he's David Bowie, and everyone will examine his every record with a fine tooth comb. This is the second worst record of his career. Unfortunately the worst was yet to come.
Some versions of this album come with 3 bonus tracks which were all soundtracks: the slightly over rated "This Is Not America" from the Falcon and the Snowman (1985); the schmaltzy "As the World Falls Down" from Labyrinth (1986) and the excellent "Absolute Beginners" from the much despised film of the same name (1986). Had all of these been on Tonight they would have made it immeasureably better.
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2 of 2 people found the following review helpful:
1.0 out of 5 stars
The worst of Bowie, 22 Dec 2007
Although I am a Bowie fan this is ,in my opinion , just an album made to cash in on his success , having followed on from his biggest selling "Lets Dance" album. There is not much original work on Tonight and of the many covers on it they are poor imitations of the originals.
Tonight does start with loving the alien which is a great atmospheric song and gets the listeners hopes up a little too much as what follows is sub standard music and leaves the listener to believe that the hugely talented Bowie had just ran out of ideas.
The Iggy pop covers, some of which are given a weak reggae treatment are disasters, neighborhood threat is messy and all over the place. The title track is just such an ordinary cover of one of Iggy s best songs.
God only knows is awful , such a shameful cover of what was an extremely well made song by Brian Wilson , I bet that Brian would smile if he heard Bowies inglorious and weary version on this album!
The album ends with "Dancing with the big boys " almost sung in tune , but sadly , Bowie was no longer up among the big boys and it would take a good few years before he would return to anything like his creative best after this affair!
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