had dropped hints during the Diamond Dogs
tour that he was moving toward R&B, but the full-blown blue-eyed soul of Young Americans
came as a shock. Surrounding himself with first-rate sessionmen, Bowie
comes up with a set of songs that approximate the sound of Philly soul and disco, yet remain detached from their inspirations; even at his most passionate, Bowie
sounds like a commentator, as if the entire album was a genre exercise. Nevertheless, the distance doesn't hurt the album -- it gives the record its own distinctive flavor, and its plastic, robotic soul helped inform generations of synthetic British soul. What does hurt the record is a lack of strong songwriting. "Young Americans" is a masterpiece, and "Fame" has a beat funky enough that James Brown
ripped it off, but only a handful of cuts ("Win," "Fascination," "Somebody up There Likes Me") comes close to matching their quality. As a result, Young Americans
is more enjoyable as a stylistic adventure than as a substantive record.