“Calling out around the world, are you ready for a brand new beat?” The iconic opening line echoed through Westside Studios in Holland Park in 1985, sung with raw energy by none other than Mick Jagger. For a young recording engineer, positioned at the SSL mixing desk just ten feet from the legendary frontman, it was a surreal moment. Just a year prior, the engineer had been working in a makeshift studio in his father’s cowshed. Now, he was witnessing music history in the making, with David Bowie slated to add his vocals next, all for a track destined for Live Aid: “Dancing in the Street”.
The day at Westside Studios began unusually early, a request from David Bowie himself. By 9 am, the team was already immersed in recording the backing track for “Absolute Beginners,” the title song for the film starring Bowie. Producers Clive Langer and Alan Winstanley, known for their work with Madness and Elvis Costello, were helming the soundtrack, and Bowie had been a regular presence at the studio. The “Absolute Beginners” session was already proving highly productive, but the day was about to take an unexpected turn towards legendary status with the impromptu recording of “Mick Jagger Bowie Dancing In The Street”.
Around midday, whispers began circulating – Mick Jagger was expected at the studio, supposedly to collaborate with Bowie for Live Aid. By 1 pm, a percussionist arrived, confirming the rumors: “I’m here for the Bowie/Jagger session.” The studio engineer’s initial تصور was a simple promotional recording, perhaps a radio spot with the two icons urging donations for Live Aid. The reality, however, was far more ambitious: a brand new recording of “Dancing in the Street” was about to unfold. Bowie, characteristically discreet, hadn’t breathed a word of this plan, likely entrusting Langer and Winstanley to maintain secrecy. Adding to the mounting excitement, two backing singers arrived, also announcing their participation in the “Bowie, Jagger session.” The studio was buzzing with anticipation for this unexpected collaboration.
In the late afternoon, around 5 or 6 pm, Bowie officially announced a pause on “Absolute Beginners.” “Mick Jagger’s coming down in about an hour,” he stated, revealing the plan to record a song for Live Aid. He then produced a cassette labeled “Dancing In The Streets” and handed it to the band, instructing them to learn it. The band, a stellar lineup featuring Neil Conti on drums, the late Matthew Seligman on bass, Kevin Armstrong on guitar, and Steve Nieve on piano, eagerly retreated to the live room. Neil Conti, taking on a natural leadership role, guided the musicians as they listened to the cassette, deciphering their parts for the impromptu recording of “mick jagger bowie dancing in the street”.
Word of Jagger’s impending arrival had spread like wildfire. Producers from the “Absolute Beginners” film and other movie industry figures, previously absent during the soundtrack sessions, suddenly flocked to Westside Studios. By the time Mick Jagger arrived, the control room was packed with thirteen onlookers, including children. Despite the crowded and somewhat intrusive atmosphere, Jagger remained unfazed. He arrived with his daughter Jade, and immediately immersed himself in the music.
It became instantly clear that music was deeply ingrained in Mick Jagger’s being. As the band ran through sections of “Dancing in the Street,” Jagger, even mid-conversation, couldn’t resist moving to the rhythm. He danced and talked simultaneously, radiating enthusiasm for the project. His infectious energy and down-to-earth demeanor made a lasting impression on the studio engineer, who confessed to thinking, “I want to be Mick Jagger’s mate!”
Once the band had rehearsed sufficiently, Mick Jagger, David Bowie, and backing vocalists Tessa Niles and Helena Springs were ushered into a communal recording booth, separated from the band in the live room. The session launched into its first take. The extended drum intro, a deliberate addition by Bowie, initially sounded unconventional. During this intro, neither Jagger nor Bowie sang, perhaps still finalizing their vocal arrangement for “mick jagger bowie dancing in the street”.
The experience of recording the entire band and vocalists live was exhilarating, a departure from the increasingly clinical recording practices of the 1980s. They completed two full takes, and upon listening back, the first take was unanimously favored for its raw energy and “vibe.”
The decision was made to re-record the vocals, not due to performance issues, but to address microphone bleed – the singers’ voices overlapping on each other’s tracks. While this was common practice in earlier decades, achieving a cleaner mix was desired. The backing singers quickly and professionally laid down their vocal parts.
Then it was Mick Jagger’s turn. He approached the microphone with the dynamism of a stadium performance. Alan Winstanley assigned the recording duties to the engineer, placing him directly in Jagger’s line of sight. Jagger delivered two electrifying takes. Despite the dim lighting in the live room, his signature stage presence filled the space. He moved and grooved between lines, always returning to the mic with perfect timing and unmatched energy. No prompting for more emotion was needed; Jagger poured himself into each performance of “mick jagger bowie dancing in the street”.
The team listened to both takes, acknowledging their exceptional quality. However, Clive Langer, emboldened by a few glasses of wine, playfully suggested a slight preference for a single word in the second take. All eyes turned to Clive, then to Jagger, who good-naturedly agreed to review it. Whether a word was actually taken from the second take remains unclear, but Clive, realizing he might have spoken out of turn, exchanged an embarrassed glance with the engineer.
Finally, with time running short before Jagger and Bowie were due at London’s docklands for the music video shoot, it was David Bowie’s turn to record his lead vocals for “mick jagger bowie dancing in the street”. Bowie’s recording style stood in stark contrast to Jagger’s. While Bowie sang powerfully and flawlessly during the live backing track recordings – any of those takes could have been lead vocals – his approach to isolated vocal recording was meticulous and deliberate. He preferred to record one line at a time, carefully reviewing each before proceeding. This methodical approach, while surprising given his vocal talent, was Bowie’s signature. He often referenced a demo version to ensure his lines aligned with his vision.
During one point near the song’s climax, the engineer had to execute a precise punch-in and punch-out to re-record a line Bowie wanted to refine. Working on analog tape, with no “undo” function, the margin for error was minimal. Successfully executing the edit, the vocals were complete.
With the recording finalized, the immediate priority was creating a rough mix for the on-set sound engineer for the “mick jagger bowie dancing in the street” music video shoot. Being diligent, the studio engineer also recorded two cassettes, a standard practice on any session, anticipating that Jagger and Bowie might want to review the mix en route to the set. As the song neared its end, Bowie’s manager, Coco Schwab, noticed a cassette deck recording. “Are you recording a cassette?!” she demanded. “Yes,” the engineer replied, “I thought you might need one.” Schwab, seizing one cassette, didn’t notice the second. After she left, the engineer discreetly pocketed the remaining cassette, preserving a unique piece of music history – the first rough mix of “mick jagger bowie dancing in the street”.
Bowie extended an invitation to everyone present to join them at the video shoot. While tempted, the studio engineer, drained from the day’s intense excitement and exertion, opted for a shower and rest instead.
Subsequently, Mick Jagger took the tapes to New York, where brass instruments and additional bass parts were added. Prog rock keyboardist Rick Wakeman also contributed further piano embellishments. The final mix was expertly crafted by the renowned Bob Clearmountain. For the studio engineer who had started his career in a cowshed, receiving an engineering credit on the sleeve of “mick jagger bowie dancing in the street”, a song born from a spontaneous studio session and destined for a global cause, was an immensely gratifying culmination to an unforgettable day.
