Don’t you just love the way, on the line “tremble like a flower,” that his voice wavers up and down before cutting off in a shriek? It’s so easily mockable because it’s so completely unique. On Let’s Dance, Bowie wanted to make hits. Forget the Berlin trilogy. He had a new label, and he was going to knock some songs out, and they were going to be huge. And they were — “Modern Love,” “China Girl” and “Let’s Dance” — though each still maintained a modicum of Bowie oddness. And true to its name, this and its album partners showed us a side of the musician that we had hardly seen but that was perfect for the early ’80s: danceable and groovy, with just a little too much gloss.