David Bowie (April 28, 1979) Boys Keep Swinging – Scrapbook Compilation (Contemporary UK Music Press)

Two short UK press reviews of David Bowie’s single “Boys Keep Swinging” (RCA BOW 2), released in April 1979. Both pieces reflect the critical curiosity surrounding Bowie’s collaboration with Brian Eno and his playful return to glam‑era irony.

Writer: Uncredited

Artist: David Bowie

Date: April 28 1979

Length: 3 min read

The first review describes “Boys Keep Swinging” as “inexplicably retrograde,” likening its sound to “Hit Fodder” and suggesting a deliberate throwback to Bowie’s Art Lab days. The critic interprets the track as a tongue‑in‑cheek commentary on conditioning and identity, while praising the B‑side “Fantastic Voyage” for its lyrical tenderness and moral reflection. The second review compares the single’s spirit to “YMCA,” noting Bowie’s dry humour and the song’s escalating production that culminates in a “teeth‑grating screech.” Together, the reviews capture Bowie’s chameleon‑like shift toward irony and theatricality at the close of the 1970s.

PUBLICATION

Publication: Scrapbook Compilation (Source: Contemporary UK Music Press)

Date: April 28 1979

Country: United Kingdom

Section / Pages: Single Reviews

Title: Boys Keep Swinging

FEATURE HIGHLIGHTS

Event: UK press reviews of Bowie’s single “Boys Keep Swinging”

Era: 1979 – Lodger period

Tone: Analytical and playful

Photography: None – text only

Audience: British music press readers

“‘Boys Keep Swinging’ could be read as a swingeing attack on conditioning, or even a joky attack on conditioning.”

THE STORY BEHIND IT

Released in April 1979 as the lead single from *Lodger*, “Boys Keep Swinging” was co‑written with Brian Eno and recorded during Bowie’s final Berlin‑era sessions.

The song’s gender‑bending video and ironic lyrics challenged social norms while celebrating youthful freedom. These reviews reflect the British press’s divided response — some saw it as a witty experiment, others as self‑parody. The B‑side “Fantastic Voyage” offered a contrasting tone of introspection and humanism, foreshadowing Bowie’s thematic shift toward empathy and global awareness.

WHAT THE CLIPPING SHOWS

Event: UK music press coverage of “Boys Keep  Swinging”

Era: 1979

Tone: Mixed critical reception

Photography: None – text layout

Audience: UK music readers and Bowie collectors

CONTEXT AND NOTES

“Boys Keep Swinging” marked Bowie’s last major single of the 1970s and his final collaboration with Brian Eno before the *Scary Monsters* era. The song’s playful masculinity and ironic optimism contrasted sharply with the introspective tone of *Lodger*. These reviews illustrate how critics grappled with Bowie’s constant reinvention — unsure whether to treat his humour as satire or sincerity. The single remains emblematic of Bowie’s ability to provoke and amuse simultaneously.

“Much more lightweight and ‘up’ than his last album: the chameleon changes again.”

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