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However both the album and the tour were poorly received at the time, which took a toll on the singer. He would go on to form Tin Machine in 1989 as a way to reinvigorate himself.

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However both the album and the tour were poorly received at the time, which took a toll on the singer. He In the album's case, it was received even more negatively than ''Tonight'', and nowadays ranks among most listeners as Bowie's worst album. In this case, however, it's owed less to the songwriting and more to the production, which is grounded quite heavily in late 80's production values and consequently does little to separate itself from the multitude of other samey-sounding 80's pop records. Bowie was in fact so shaken by the poor outcome of the album and tour that he almost quit the music industry entirely; with the encouragement of Reeves Gabrels, he would go on to form Tin Machine in 1989 1988 as a way to reinvigorate means of artistically reinvigorating himself.


In 2018, [[Main/AuthorExistenceFailure two years after his death,]] a GeorgeLucasAlteredVersion of the album using the original vocals and a new backing track was released. Titled ''Never Let Me Down 2018'', the album was released exclusively as part of the BoxedSet ''Loving the Alien (1983-1988)''.

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In 2018, [[Main/AuthorExistenceFailure two years after his death,]] a GeorgeLucasAlteredVersion of the album using the original vocals and a new backing track was released. Titled ''Never Let Me Down 2018'', the album was released exclusively as part of the BoxedSet ''Loving the Alien (1983-1988)''.
(1983-1988)''. The re-do was a project Bowie had been trying to get off the ground as early as late 1987, first being talked out of it by Reeves Gabrels due to its close proximity to the original version's release before later revisiting the idea in 1996 just prior to starting work on ''Music/{{Earthling}}''. However, in both cases the idea never went far enough for anything to actually be recorded. The closest Bowie got to redoing ''Never Let Me Down'' in his lifetime was in 2008, when he appointed Mario J. [=McNulty=] to produce a new backing track for "Time Will Crawl" for the compilation album ''[=iSelect=]''. Bowie did, however, manage to have some degree of influence on the final 2018 product, having hand-picked at least some of the musicians included on the remix.


The original version of ''Never Let Me Down'' was supported by three singles: "Day-In Day-Out", "Time Will Crawl", and the TitleTrack. The 2018 version, meanwhile, was supported with just one single: "Zeroes" (with "Beat of Your Drum" included as a BSide).



# "Time Will Crawl" (4:26)

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# "Time Will Crawl" (4:26)(4:26)[[note]]This is the exact same track included on the ''[=iSelect=]'' compilation in 2008, likely because it was the starting point for ''Never Let Me Down 2018'' and already followed its beats close enough to not need any amendments or re-recordings (re-re-recordings?).[[/note]]



* HistoryRepeats: For all intents and purposes, ''Never Let Me Down'' more or less repeated the same steps as ''Cut the Crap'' by Music/TheClash from two years prior (a similarity not lost on retrospective analysts): an artist famous for his subversive and unconventional music becomes a worldwide phenomenon off the success of his more mainstream-friendly music, but finds it difficult to consolidate his unprecedented levels of success with his artistic ethos and seeks to make a RevisitingTheRoots album. The end result, despite featuring admirable songwriting, is hampered by a hands-off approach to production that leaves third parties making the record sound as bombastic and poppy as possible, resulting in an album that becomes widely despised by both fans and critics. On the bright side, Bowie managed to push through the poor outcome of ''Never Let Me Down'' unlike the Clash, who outright disbanded.

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* HistoryRepeats: For all intents and purposes, ''Never Let Me Down'' more or less repeated the same steps as ''Cut the Crap'' by Music/TheClash from two years prior (a similarity not lost on retrospective analysts): an artist famous for his subversive and unconventional music becomes a worldwide phenomenon off the success of his more mainstream-friendly music, but finds it difficult to consolidate his unprecedented levels of success with his artistic ethos and seeks to make a RevisitingTheRoots album. The end result, despite featuring admirable songwriting, is hampered by a hands-off approach to production that leaves third parties making the record sound as bombastic and poppy as possible, resulting in an album that becomes widely despised by both fans and critics. On the bright side, Bowie managed to push through the poor outcome of ''Never Let Me Down'' Down'', unlike the Clash, who outright disbanded.



* ReCut: Most songs on the original LP release of the album were cut down to allow everything to fit on one disc without compressing any of the grooves; these edits were also present on the cassette release. The full songs, however, would be included on all CD releases, and would eventually come to vinyl with the ''Loving the Alien [1983-1988]'' BoxedSet and the standalone 2019 reissue of ''Never Let Me Down'' in its original form.

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* ReCut: Most songs on the original LP release of the album were cut down to allow everything to fit on one disc without compressing any of the grooves; these edits were also present on the cassette release. The full songs, however, would be included on all CD releases, and would eventually come to vinyl with the ''Loving the Alien [1983-1988]'' BoxedSet and the standalone 2019 reissue of ''Never Let Me Down'' in its original form.form (the removal of "Too Dizzy" likely helped in giving some extra room for the full songs on side two, though side one seems to have been squished together a bit to make everything fit).


* HistoryRepeats: For all intents and purposes, ''Never Let Me Down'' more or less repeated the same steps as ''Cut the Crap'' by Music/TheClash from two years prior (a similarity not lost on retrospective analysts): an artist famous for his subversive and unconventional music becomes a worldwide phenomenon off the success of his more mainstream-friendly music, but finds it difficult to consolidate his unprecedented levels of success with his artistic ethos and seeks to make a RevisitingTheRoots album. The end result, despite featuring admirable songwriting, is hampered by a hands-off approach to production that leaves third parties making the record sound as bombastic and poppy as possible, resulting in an album that becomes widely despised by both fans and critics. On the bright side, Bowie managed to push through the poor outcome of ''Never Let Me Down'' unlike the Clash, who outright disbanded.



* LyricalDissonance: A good amount of songs are about as dark from a lyrical standpoint as you'd expect from David Bowie, but they're all written to be quite danceable. "Day-In Day-Out" is a particularly glaring example, being an upbeat, horn-heavy track that brings up subjects such as child abandonment, misguided patriotism, crushing poverty, and (implied) police brutality. The 1987 versions of these songs are even bigger examples on this trope than the 2018 versions, due to the '87 version's more blatantly pop-oriented (think stereotypical Music/PhilCollins song) production.

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* LyricalDissonance: A good amount of songs are about as dark from a lyrical standpoint as you'd expect from David Bowie, but they're all written to be quite danceable. "Day-In Day-Out" is a particularly glaring example, being an upbeat, horn-heavy track that brings up subjects such as child abandonment, misguided patriotism, crushing poverty, and (implied) police brutality. The 1987 versions of these songs are even bigger examples on this trope than the 2018 versions, due to the '87 version's more blatantly pop-oriented (think stereotypical "stereotypical Music/PhilCollins song) song") production.



* TakeThat: "'87 and Cry" is one to the UsefulNotes/MargaretThatcher administration.

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* TakeThat: "'87 and Cry" is one to the UsefulNotes/MargaretThatcher administration.administration, featuring Bowie sarcastically prattling off a number of shallow, feel-good slogans characteristic of the Thatcher era.



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!!! LP One


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!!! LP Two


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[-Note: CD releases of the 2018 version are on a single disc; on LP copies, side four contains an etching of the "David Bowie" logo featured on the front cover.-]


[[AC:Side 1]]

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[[AC:Side 1]]One]]



[[AC:Side 2]]

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[[AC:Side 2]]Two]]



[[AC:Side 1]]

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[[AC:Side 1]]One]]



[[AC:Side 2]]

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[[AC:Side 2]]Two]]



[[AC:Side 3]]

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[[AC:Side 3]]Three]]


!! 1987 Tracklist:[[note]]Track lengths are taken from the CD release; LP versions cut short most songs to make the album fit on one record. Tracks marked with an asterisk are edited on the LP release; clicking the asterisks will show the edited track lengths.[[/note]]

# "Day-In Day-Out" (5:35)[[labelnote:*]]4:38 on LP[[/labelnote]]

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!! 1987 Tracklist:[[note]]Track lengths are taken from the CD release; LP versions cut short most songs to make the album fit on one record. Tracks marked with an asterisk are edited on the LP release; clicking the asterisks will show the edited track lengths.[[/note]]

Tracklist:

[[AC:Side 1]]
# "Day-In Day-Out" (5:35)[[labelnote:*]]4:38 on LP[[/labelnote]]the original LP and cassette releases[[/labelnote]]



# "Beat of Your Drum" (5:03)[[labelnote:*]]4:32 on LP[[/labelnote]]

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# "Beat of Your Drum" (5:03)[[labelnote:*]]4:32 on LP[[/labelnote]]the original LP and cassette releases[[/labelnote]]



# "Glass Spider" (5:30)[[labelnote:*]]4:56 on LP[[/labelnote]]
# "Shining Star (Makin' My Love)" (5:04)[[labelnote:*]]4:05 on LP[[/labelnote]]
# "New York's in Love" (4:32)[[labelnote:*]]3:55 on LP[[/labelnote]]
# "'87 and Cry" (4:18)[[labelnote:*]]3:53 on LP[[/labelnote]]

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[[AC:Side 2]]
# "Glass Spider" (5:30)[[labelnote:*]]4:56 on LP[[/labelnote]]
the original LP and cassette releases[[/labelnote]]
# "Shining Star (Makin' My Love)" (5:04)[[labelnote:*]]4:05 on LP[[/labelnote]]
the original LP and cassette releases[[/labelnote]]
# "New York's in Love" (4:32)[[labelnote:*]]3:55 on LP[[/labelnote]]
the original LP and cassette releases[[/labelnote]]
# "'87 and Cry" (4:18)[[labelnote:*]]3:53 on LP[[/labelnote]]the original LP and cassette releases[[/labelnote]]



# "[[Music/{{IggyPop}} Bang Bang]]" (4:28)[[labelnote:*]]4:02 on LP[[/labelnote]]

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# "[[Music/{{IggyPop}} Bang Bang]]" (4:28)[[labelnote:*]]4:02 on LP[[/labelnote]]
the original LP and cassette releases[[/labelnote]]


Added DiffLines:

[[AC:Side 1]]


Added DiffLines:


[[AC:Side 2]]


Added DiffLines:


[[AC:Side 3]]


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* ReCut: Most songs on the original LP release of the album were cut down to allow everything to fit on one disc without compressing any of the grooves; these edits were also present on the cassette release. The full songs, however, would be included on all CD releases, and would eventually come to vinyl with the ''Loving the Alien [1983-1988]'' BoxedSet and the standalone 2019 reissue of ''Never Let Me Down'' in its original form.


* DarkerAndEdgier: The 2018 remix of "Glass Spider", which transforms a fast-paced, synthpop song into a slow, moody industrial rock track that sounds like it jumped right out of ''[[Music/{{Outside}} 1. Outside]]''.

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* DarkerAndEdgier: DarkerAndEdgier:
**
The 2018 remix of "Glass Spider", which transforms a fast-paced, synthpop song into a slow, moody industrial rock track that sounds like it jumped right out of ''[[Music/{{Outside}} 1. Outside]]''.Outside]]''.
** The album itself, in both its 1987 and 2018 iterations, is this compared to ''Music/LetsDance'' and ''Music/{{Tonight}}'', at least in regards to its lyrics. Songs on this album aren't afraid to more explicitly discuss dark subject matter, featuring topics such as homelessness, drug addiction, and nuclear holocaust.


[[quoteright:350:https://static.tvtropes.org/pmwiki/pub/images/r_12650039_1539343149_6186jpeg.jpg]]

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[[quoteright:350:https://static.tvtropes.org/pmwiki/pub/images/r_12650039_1539343149_6186jpeg.org/pmwiki/pub/images/16_never_let_me_down.jpg]]


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* RemixAlbum: The 2018 version is this to the 1987 one.

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* LyricalColdOpen: The 2018 version of "Zeroes", which cuts out the concert-style intro and jumps straight into Bowie's "yeah, yeah!" just before the acoustic guitar comes in.

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* GenreRoulette: The 2018 version shifts between pop rock, art rock, straight pop, straight rock, and even industrial rock from song to song.


!!Live is like a broken arrow; memory a swinging trope:

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!!Live !!Life is like a broken arrow; memory a swinging trope:


!!This album provides examples of:

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!!This album provides examples of:!!Live is like a broken arrow; memory a swinging trope:


[[quoteright:350:https://static.tvtropes.org/pmwiki/pub/images/nlmd.jpg]]

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[[quoteright:350:https://static.tvtropes.org/pmwiki/pub/images/r_12650039_1539343149_6186jpeg.jpg]]

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