David Bowie is widely seen as one of the best, and most creative rock stars we’ve ever seen or heard. Rightfully so. But even a creative genius can have a bit of a miss…even if it’s a hit. Such was the general reaction to his 16th studio album, Tonight, which arrived on this day in 1984.
The previous year had been a huge – and tiring – one for David. He’d released Let’s Dance, which catapulted him from quirky low-profile star with an almost cult following into the ranks of the biggest music superstars, seemingly overnight. He helped that along by touring relentlessly for the remainder of ’83, with his “Serious Moonlight” tour, the first that saw him playing football stadiums in many places. By the time he turned the calendar on 1984, he was worn out… and uncharacteristically for him, low on ideas for new music. He decided to take a break and go on holiday to Borneo with his old buddy Iggy Pop. There they threw around a few musical ideas.
It seemed the break might be doing him good, but his new record label, EMI (whom he’d signed a major contract with prior to Let’s Dance) wanted product. Strike while the iron is hot and all. So he danced off to Quebec and its Morin Heights Le Studio, where the Police had done most of their Synchronicity album. He took Iggy along, and most of the musicians he used on the previous year’s tour including long-time guitarist Carlos Alomar. This time he didn’t have a whole idea for an album planned out, other than he wanted something that wouldn’t sound out of place next to Let’s Dance, but maybe with a bit more funk and R&B taste to it. That in mind, it was surprising he didn’t bring back Nile Rodgers, the famed producer who’d done so much on his last record and was noted for just that kind of sound. Instead he invited a little-known guitarist, Derek Bramble, to join him, play guitars, bass and synthesizers and co-produce it with him. He grudgingly followed EMI’s advice and also brought Hugh Padgham into the studio he knew so well, initially only as a sound engineer (which irked Hugh, but not enough to turn down working the The Thin White Duke.) However, as the days went on, tensions rose as Padgham wanted great performances whereas Bramble tended to go with a “one take for better or worse” type attitude. As Alomar later put it, “Bramble was a really nice guy but he didn’t know jack-s*** about producing!”. Padgham was soon elevated to co-producer with Bowie himself.
As for the music, Bowie only arrived with two songs for the album : “Loving the Alien” and “Blue Jean.” He also had several cover songs he wanted to do; in fact five of them appeared among the album’s nine tracks. Three of those were Iggy Pop tunes, one of which, the title track, Bowie had co-written years ago. Also included were his much-panned take on the Beach Boys “God Only Knows” and “I Keep Forgettin’”, a ’60s Chuck Jackson song which had been modified and made a hit only a couple of years earlier by Michael MacDonald. Bowie decided not to play any instruments. “I just came in with the songs and ideas and how they should be played and watched them put them together. It was great!”.
It might have been great for Bowie to take it easy, but the question was did it make the record great? Few felt it did. At the time, the NME liked it, saying it had a likable and “dizzying variety of mood and techniques.” Melody Maker in Britain offered a different opinion: “rotten.” Rolling Stone declared “this album is a throwaway and David Bowie knows it,” giving it a lowly 1-star rating.
Did his newfound legion of fans agree with them? Well, the album did well… but not nearly as well as its predecessor. “Blue Jean,” a song Bowie called “sexist rock’n’roll” and designed as an homage to the early-’60s, was generally acknowledged as the best song on the record, and as the lead-off single, it hit #6 in his homeland and Canada and #8 in the U.S., his fifth top 10 hit overall there. The title track, with his friend Tina Turner dueting with him also got a little airplay but missed the top 40 and the dark “Loving the Alien” squeaked into the UK top 20. Overall, the album topped the Brit charts, his third-straight #1 there, but topped out at #4 in Canada and New Zealand, and #11 in the States. It reached platinum status in North America and gold in Britain, but fell far short of Let’s Dance in sales.
And in esteem as it turns out. Later on, allmusic would give it just 2-stars, his lowest rating for an album of new material to that point, and about the Rolling Stone suggestion about it being a throwaway and he knew it…only three years after it was released, Bowie admitted “it was just a collection of songs. If you play it as an album, it doesn’t work.” He didn’t stay in his rut too long though; soon he’d join the raucous Tin Machine, which wasn’t hugely successful but did sound different and win decent reviews.