Just a Gigolo (soundtrack)
| Just a Gigolo | ||||
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| Soundtrack album by Various artists | ||||
| Released | 1979 | |||
| Genre | ||||
| Label | Ariola (GER), Jambo (UK) | |||
| Marlene Dietrich chronology | ||||
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| Singles from Just a Gigolo | ||||
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Just a Gigolo is the soundtrack album for the 1978 West German film of the same name, directed by David Hemmings and starring David Bowie, Marlene Dietrich, Curt Jürgens and Kim Novak. The album features period-style vocal and instrumental tracks alongside contemporary 1970s recordings, reflecting the film's setting in post-World War I Berlin.
The soundtrack includes performances by Bowie, The Manhattan Transfer, Pasadena Roof Orchestra, The Ragtimers, and Dietrich. Produced and supervised by Jack Fishman, the album was primarily recorded at Olympic Studios in London and has been reissued in expanded form by Cherry Red Records, including a resequenced tracklist and a 24-page illustrated booklet.
Critics noted the album's distinctive atmosphere and production, highlighting the contributions of multiple artists, while commercially it reached sales of approximately 50,000 copies in the U.K. by mid-1979.
Background
[edit]Just a Gigolo was conceived as a major $5 million production by the Berlin-based Leguan Films, starring David Bowie, Marlene Dietrich, Curt Jürgens, and Kim Novak.[1] Bowie followed up his otherworldly performance in The Man Who Fell to Earth (1976) with a more grounded role as Paul Ambrosius von Przygodski, a Prussian officer-turned-gigolo. The film directed by David Hemmings is set between 1918 and the late 1920s, that explore the decadent period in Berlin during the rise of Nazism, a time of social upheaval and artistic experimentation. Marlene Dietrich appeared in her final onscreen role as the brothel proprietor. Although Bowie and Dietrich were interested in sharing scenes, their sequences were ultimately filmed separately.[2]
The story and period setting reflected Bowie's fascination with post-World War I Berlin, paralleling the later Weimar-era themes famously depicted in the musical Cabaret.[2] The Berlin premiere in 1978 was poorly received, leading to the suspension of international distribution and a subsequent re-edit in London.[1]
Production and recording
[edit]The soundtrack, supervised by Jack Fishman, featured a mix of period-style vocal and instrumental tracks with a contemporary 1970s sensibility. It included newly recorded songs by The Manhattan Transfer, Marlene Dietrich's rendition of the 1929 title track, and vintage standards performed by the Pasadena Roof Orchestra and The Ragtimers. Additional contributions included "Don't Let It Be Too Long", co-written by David Hemmings and Gunther Fischer and performed by Sydne Rome, arrangements by Frank Barber and John Altman, and primary recording at Olympic Studios in London.[2]
One of the most notable contributions were Bowie's own composition "Revolutionary Song", co-credited to Fishman and performed by The Rebels. According to reports, Bowie composed the Kurt Weill-inspired tune between takes on set, providing his recognizable wordless vocals for multiple parts.[2] Fishman remarked that the Manhattan Transfer recordings were likely the group's last before Laurel Massé's serious car accident in late 1978.[1]
Marlene Dietrich agreed to perform the song "Just a Gigolo" in the film, although she despised it and called it "that terrible song", which she had disliked ever since it became popular in Berlin during her youth.[3] Despite her aversion, she agreed to sing it, understanding its significance as the film's title and central statement.[4] The recording was made with the accompaniment of her personal pianist, Raymond, in two takes in English and two in German, ensuring versions in both languages. In the scene, Dietrich walked to the piano without her cane and performed the song in a single long take, conveying an image of firmness and nostalgia. Her performance was described as majestic and emotive, moving the entire crew present, and was considered by many critics as self-referential, especially in the final line of the German version — "people pay, you keep on dancing" — interpreted as a reflection of her own artistic journey. The performance came to be seen as a symbolic conclusion of her film career, marking her last major appearance in cinema.[5] Dietrich was reportedly moved to tears after receiving applause from technicians and fellow artists following the recording of her final track.[6]
Release details
[edit]The album was released by German record label Ariola in 1979. In February of the same year, the newly established Jambo Records had acquired the rights to the soundtrack, which would be distributed by Pye Records to coincide with the film's premiere.[6][7] The LP was also distributed through Carrere in France, and Stig Anderson's Polar label in Sweden.[1]
In 2019, Cherry Red Records reissued the album in a compact disc (CD) that was resequenced and expanded from the original LP issue. It includes a 24-page illustrated booklet with liner notes and track annotations, and was remastered by Paul Fishman. The album also contained tracks not featured in the film, such as Fischer's modern instrumental "Kissing Time" and a new "club mix" of Dietrich's "Just a Gigolo".[8]
Promotion
[edit]In addition to the LP release, singles were issued by other labels, including EMI for Dietrich's title track, Atlantic for a Manhattan Transfer song, and CBS for a Pasadena Roof Orchestra number. The film's UK release was supported by an extensive promotional campaign, including television and radio advertisements, print coverage, and merchandising such as a Corgi paperback. Jack Fishman, who supervised the soundtrack, led Jambo Records with assistance from his family and coordinated the album's promotion through radio and TV in the United Kingdom.[9]
Critical reception
[edit]| Review scores | |
|---|---|
| Source | Rating |
| Classic Pop | 7/10[10] |
In a contemporary review, John Earls of Classic Pop magazine highlighted the dark and unsettling character of the performances—both Bowie's two versions of "Revolutionary Song" and Marlene Dietrich's take on the title track, which he described as "even more sinister." The inclusion of other artists, such as Manhattan Transfer and The Pasadena Roof Orchestra, contributed to an overall effect he compared to something "as unsettling as David Lynch." Earls concluded that it was one of the more intriguing Bowie reissues in recent years.[10]
Reviewing the Cherry Red Records' expanded edition for the website We Are Cult, the author James Gent wrote that as a Bowie collector, he admitted that he initially viewed the reissue as a possible case of "barrel-scraping", but he praised the album production, particularly the 24-page booklet and the inclusion of bonus tracks. Gent noted that the album occupied a curious place in Bowie's canon, with the singer's minimal contribution on "The Revolutionary Song", yet it still managed to evoke the cabaret atmosphere of Weimar-era Berlin. He highlighted Marlene Dietrich's final recording, "Just a Gigolo", as a poignant moment, and considered the soundtrack, despite its oddity, an enjoyable and intriguing exercise in retro nostalgia, worthwhile for its careful presentation and historical value.[11]
Commercial performance
[edit]On July 7, 1979, Record World reported that sales in the U.K. reached 50,000 copies.[1]
Track listing
[edit]| No. | Title | Writer(s) | Performer(s) | Length |
|---|---|---|---|---|
| 1. | "Just a Gigolo" | Irving Caesar, Leonello Casucci | Marlene Dietrich | 3:25 |
| 2. | "Salome" | Robert Stolz; uncredited Arthur Rebner | The Pasadena Roof Orchestra | 3:41 |
| 3. | "Johnny" | Friedrich Hollaender, Jack Fishman | The Manhattan Transfer | 3:31 |
| 4. | "The Streets of Berlin" | Günther Fischer | The Günther Fischer Orchestra | 3:14 |
| 5. | "Charmaine" | Erno Rapee, Lou Pollack | The Pasadena Roof Orchestra | 3:46 |
| 6. | "Don’t Let It Be Too Long" | David Hemmings, Günther Fischer | Sydne Rome | 2:52 |
| 7. | "The Ragtime Dance" | Scott Joplin; arr. Alex Masters | The Ragtimers | 3:08 |
| 8. | "Jealous Eyes" | Mihály Erdélyi, Jack Fishman | The Manhattan Transfer | 2:53 |
| 9. | "David Bowie’s Revolutionary Song" | David Bowie, Jack Fishman | The Rebels (featuring David Bowie) | 4:41 |
| 10. | "Easy Winners" | Scott Joplin; arr. Alex Masters | The Ragtimers | 3:31 |
| 11. | "I Kiss Your Hand, Madame" | Ralph Erwin, Sam M. Lewis, Joe Young, Fritz Rotter | The Manhattan Transfer | 3:10 |
| 12. | "Kissing Time" | Victor Herbert, A. K. Absalom, Günther Fischer | The Günther Fischer Quintet | 3:31 |
| 13. | "Black Bottom" | Buddy DeSylva, Lew Brown, Ray Henderson | The Pasadena Roof Orchestra | 3:00 |
| 14. | "Jealous Eyes" | Mihály Erdélyi, Jack Fishman | The Barnabas Orchestra | 3:01 |
| 15. | "Just a Gigolo – I Ain’t Got Nobody" | Irving Caesar, Leonello Casucci, Roger Graham, Spencer Williams | Village People | 4:13 |
| Total length: | 40:41 | |||
| No. | Title | Writer(s) | Performer(s) | Length |
|---|---|---|---|---|
| 1. | "Just a Gigolo" | Irving Caesar, Leonello Casucci | Marlene Dietrich | 3:34 |
| 2. | "Salome" | Robert Stolz; uncredited Arthur Rebner | The Pasadena Roof Orchestra | 3:42 |
| 3. | "Revolutionary Song (Part 1)" | David Bowie, Jack Fishman | The Rebels (featuring David Bowie) | 1:55 |
| 4. | "Johnny" | Friedrich Hollaender, Jack Fishman | The Manhattan Transfer | 3:31 |
| 5. | "The Streets of Berlin" | Günther Fischer | The Günther Fischer Orchestra | 3:27 |
| 6. | "Charmaine" | Erno Rapee, Lou Pollack | The Pasadena Roof Orchestra | 3:51 |
| 7. | "Just a Gigolo (Instrumental – Piano)" | Irving Caesar, Leonello Casucci | Marlene Dietrich | 0:34 |
| 8. | "Don’t Let It Be Too Long" | David Hemmings, Günther Fischer | Sydne Rome | 3:03 |
| 9. | "Ragtime Dance" | Scott Joplin; arr. Alex Masters | The Ragtimers | 3:14 |
| 10. | "Jealous Eyes" | Mihály Erdélyi, Jack Fishman | The Manhattan Transfer | 2:53 |
| 11. | "Revolutionary Song (Part 2)" | David Bowie, Jack Fishman | The Rebels (featuring David Bowie) | 1:32 |
| 12. | "I Kiss Your Hand, Madame" | Ralph Erwin, Sam M. Lewis, Joe Young, Fritz Rotter | The Manhattan Transfer | 3:14 |
| 13. | "Just a Gigolo" | Irving Caesar, Leonello Casucci | Marlene Dietrich | 1:34 |
| 14. | "Kissing Time" | Victor Herbert, A. K. Absalom, Günther Fischer | The Günther Fischer Quintet | 3:36 |
| 15. | "Black Bottom" | Buddy DeSylva, Lew Brown, Ray Henderson | The Pasadena Roof Orchestra | 3:00 |
| 16. | "Revolutionary Song (Part 3)" | David Bowie, Jack Fishman | The Rebels (featuring David Bowie) | 0:49 |
| 17. | "Auf Wiedersehen Gigolo" | Irving Caesar, Leonello Casucci | Marlene Dietrich | 2:26 |
| 18. | "Jealous Eyes" | Mihály Erdélyi, Jack Fishman | The Barnabas Orchestra | 3:04 |
| 19. | "Easy Winners" | Scott Joplin; arr. Alex Masters | The Ragtimers | 3:33 |
| 20. | "Revolutionary Song (Part 4 – Instrumental)" | David Bowie, Jack Fishman | The Rebels | 0:53 |
| 21. | "Just a Gigolo – I Ain’t Got Nobody" | Irving Caesar, Leonello Casucci, Roger Graham, Spencer Williams | Village People | 4:13 |
| 22. | "Just a Gigolo (Club Mix)" | Irving Caesar, Leonello Casucci | Marlene Dietrich | 6:11 |
| Total length: | 64:36 | |||
Personnel
[edit]Credits adapted from the liner notes of Just a Gigolo LP (Jambo Records, catalog no. JAM 1).
- Arranged By, Conductor – Frank Barber (tracks: A3, A7, A8, B2, B3), John Altman (tracks: A2, A5, B5)
- Engineer [Chief] – Keith Grant
- Executive Producer – Henri Belolo (tracks: B7)
- Illustration – United Kingdom Advertising
- Lacquer Cut By – Kev*
- Producer – Jacques Morali (tracks: B7), Tim Hauser (tracks: A3, A8, B3)
- Research [Research Consultant] – Joe Monte
- Supervised By [Album And Original Soundtrack Supervision] – Jack Fishman
- Vocals [Intro & Outro] – David Bowie (tracks: B1)
References
[edit]- ^ a b c d e Sampson, Jim (July 7, 1979). "Germany: Munich" (PDF). Record World. Vol. 36, no. 1669. p. 44. Archived (PDF) from the original on 5 September 2025. Retrieved 5 September 2025.
- ^ a b c d Marchese, Joe (28 March 2019). "Revolutionary Songs: Cherry Red Reissues David Bowie Curio, "Just a Gigolo" - The Second Disc". The Second Disc. Archived from the original on 13 July 2025. Retrieved 5 September 2025.
- ^ Bach 1992, p. 448.
- ^ Bach 1992, p. 449.
- ^ Bach 1992, p. 450.
- ^ a b Falloon, Val (February 3, 1979). "England: Jambo scores" (PDF). Record World. Vol. 35, no. 1648. p. 100. Archived (PDF) from the original on 5 September 2025. Retrieved September 4, 2025.
- ^ "Jambo Records [AD]" (PDF). Music Week: 29. January 20, 1979. Archived (PDF) from the original on 5 September 2025. Retrieved 5 September 2025.
- ^ "Just a Gigolo: The Original Soundtrack - The Second Disc". The Second Disc. 1 April 2019. Archived from the original on 6 November 2024. Retrieved 5 September 2025.
- ^ Evans, Jim (January 20, 1979). "New label wins rights to Bowie Tim soundtrack" (PDF). Music Week. pp. 1, 4. Archived (PDF) from the original on 5 September 2025. Retrieved 5 September 2025.
- ^ a b Earls, John (23 January 2020). "David Bowie And Marlene Dietrich - Just A Gigolo: The Original Soundtrack". Classic Pop Magazine. Archived from the original on 20 May 2025. Retrieved 5 September 2025.
- ^ Gent, Candy (Jay) (16 March 2019). "'Just A Gigolo: The Original Soundtrack' » We Are Cult". We Are Cult. Archived from the original on 19 March 2019. Retrieved 5 September 2025.
Bibliography
[edit]- Bach, Steven (1992). Marlene Dietrich: Life and Legend. New York: William Morrow and Company, Inc. ISBN 0-688-07119-8.