As the iconic album “Young Americans” by David Bowie celebrates its 50th anniversary, Carlos Alomar shares his reflections with heartfelt admiration. Released on March 7, 1975, and re-released by Rhino/Parlophone today, Alomar, who was a pivotal figure in Bowie’s exploration of “plastic soul,” recalls their partnership with fondness and mutual respect.
Playing a crucial role as Bowie’s guitarist, Alomar, along with his wife and vocalist Robin Clark, their close friend Luther Vandross, and drawing inspiration from the famed Sound of Philadelphia studio vibe by Gamble & Huff, contributed to the success of “Young Americans.” This album marked Bowie’s first to reach the top 10 in the U.S., featuring the chart-topping single “Fame,” a collaboration between Alomar, Bowie, and John Lennon.
Looking ahead, Alomar plans to honor his connection with Bowie on an upcoming tour next winter. Meanwhile, on the momentous occasion of the 50th anniversary of “Young Americans,” Alomar reminisces about the journey they shared, starting from their initial encounter in 1973 at RCA Studio in NYC.
During their first session together, Alomar found himself unknowingly collaborating with Bowie, emphasizing his prominent position among New York studio musicians at the time. Reflecting on their early days, Alomar recounts the influence he and Robin had on the city’s music scene, including forming the musical ensemble Listen My Brother with Vandross and their studio engagements with various artists.
Their paths crossed when Alomar was called for a session with Lulu, an encounter that introduced him to Bowie as the track’s producer. Impressed by Bowie’s expertise and shared interests in music, Alomar invited Bowie to his home, sparking conversations about American culture, music legends, and personal experiences.
As their bond strengthened, Alomar introduced Bowie to the vibrant music scene at the Apollo Theater, where they encountered unexpected reactions from comedian Richard Pryor. Despite some awkward encounters, their shared passion for music and cultural exchange laid the foundation for a lasting friendship and creative partnership.
The legacy of “Young Americans” continues to resonate with fans worldwide, embodying Bowie’s innovative spirit and musical evolution. As Alomar fondly looks back on their collaboration, the album stands as a timeless testament to Bowie’s artistic brilliance and the enduring impact of their musical journey together.
D wasn’t bothered at all. The honor of getting cursed out by Richard Pryor would be remembered for years to come. Remaining friends until the end of the “Ziggy Stardust” era, Bowie shared his idea of making an R&B album in Philadelphia with Alomar while trying to recruit him for the “Diamond Dogs” tour in 1974. Alomar declined Bowie’s offer due to the low payment his management was offering. Intrigued by Bowie’s plan to record with a Sound of Philadelphia vibe at Sigma Sound Studio, Alomar was enticed by the idea.
Bowie was disappointed when Gamble & Huff’s session musicians, MSFB, turned down the opportunity to back him in the studio. Alomar stepped in to help find like-minded musicians to accompany Bowie’s chosen players. The sessions at Sigma felt like a gathering of comrades, with Bowie as the permissive father figure.
Alomar reminisced about the creative process during the sessions, where each musician found their way through the tracks with Bowie’s guidance. They worked together to develop grooves and experiment with different sounds. Alomar’s iconic lick from the cover of the Flairs’ “Footstompin” in Philly was later used in “Fame” in New York. He acknowledges the influence of R&B on his music and the collaborative nature of creating songs.
Alomar credits the origin of his famous lick in “Fame” to the Main Ingredient’s “You Can Call Me Rover.” He emphasizes the importance of collaboration and creativity in music, highlighting that every musician contributes to the final product.
During the studio sessions for that song, Alomar recalls being inspired by Bunny Feiten II’s guitars in “Jungle Walk” from the Rascals. He laid down all the guitar parts once the groove was set with just drums and bass, drawing from his experience with James Brown’s guitarists who taught him to keep it simple. Alomar thought of James Brown often while working on the track alone in Philly and NYC studios. When David Bowie returned, he added his iconic vocals and “Fame” was complete. Alomar missed out on dinner with John and David to finish the song, driven by the guitars playing in his head.
The discovery of the Philly-first history of “Fame” and the recent retrieval of lost Sigma tapes excites Alomar, although he hasn’t heard them yet. He also appreciates the involvement of his wife Robin and friend Vandross in the 1974 Sigma sessions, which were featured in a documentary. Alomar reflects on how connections and comfort were key to Bowie’s creative process, mentioning how Vandross suggested vocal arrangements for “Young Americans” that amazed Bowie.
Vandross went on to become a vocal arranger at Bowie’s urging, bringing in background vocalists and adding his own song, “Funky Music (Is a Part of Me),” to the album. Alomar describes the familial atmosphere among the musicians, emphasizing how their professionalism and camaraderie enhanced the creative process. He praises Bowie’s soulful vocals on “Young Americans,” noting his ability to delve into R&B with authenticity and emotion.
The magic of those songs is what captivates you. Who accomplishes that? Using the tracks “Right” and “Win” from “Young Americans” as prime examples of their funky skills, Alomar remains just as enthusiastic today as he was in 1975, witnessing Bowie rise to the challenge of the album’s diverse R&B influences. “It takes another David for every genre, matching and exceeding expectations with each song; the sheer brilliance of that is truly extraordinary. No one realized the depth of his soulfulness until ‘Young Americans.’ It had a profound impact on music, society, culture – everything. He even appeared on ‘Soul Train’ a year later.”
After “Young Americans,” Alomar, along with bassist George Murray and drummer Dennis Davis, continued collaborating with Bowie on “Station to Station” (1976) and the groundbreaking electronic albums of the Berlin era – “Low” (1977), “Heroes” (1977), and “Lodger” (1979) – before concluding the D.A.M. Trio’s journey with “Scary Monsters (and Super Creeps)” in 1980. While Alomar didn’t contribute to “Let’s Dance” in 1983, he did participate in the accompanying tour that same year, and rejoined Bowie in the studio for “Tonight” (1984), “Never Let Me Down” (1987), and “Outside” (1995), as well as the “Glass Spider” concert film in 1987.
Looking ahead, Alomar mentions an upcoming D.A.M. Trio tour in November 2025 with George Murray to honor Bowie’s legacy after his passing, as well as the loss of Dennis Davis – the third member of D.A.M. who, together, formed the core of Bowie’s most impactful albums post-“Young Americans.” “Losing David, followed by Dennis’ passing a few months later – that was devastating,” Alomar reflects.
While many former Bowie band members carried on with tribute tours after Bowie’s death, Alomar found it challenging to do the same. Reconnecting with Murray at a recent Bowie fan convention, Alomar felt inspired to reunite and play in a Bowie cover band at the event. This experience reignited his passion for performing Bowie’s music.
Alomar is now prepared to give fans what they desire with a tribute tour honoring Bowie’s legacy, focusing on the soulful essence of “Young Americans” and infusing that vibe into the subsequent albums they collaborated on. “It’s been a decade since I’ve paid tribute to Bowie,” Alomar shares. “I felt it was important to allow other musicians who worked with him to have their time. But now, I want to honor ‘Low,’ ‘Heroes,’ and ‘Lodger’ – the Berlin Trilogy – in the right way. So, Carlos Alomar presents D.A.M. performing ‘Back to Berlin,’ as
