In the immediate aftermath of Bowie’s fabled appearance in the Broadway production of ‘The Elephant Man’, and despite the commercial success of the Scary Monsters album, at least in the UK, his thoughts were far from music in early 1981.

The sorts of modern nightmares he had sung about on ‘It’s No Game’ were becoming all too real. He was particularly shaken by the death of his friend John Lennon in December 1980.

It was time for a reassessment and reboot. First to go was a proposed world tour, originally pencilled in for summer 1981. Instead, Switzerland seemed as good a place as any to hide out, at least initially.

In July, Bowie was at Montreux’s Mountain Studios, recording his vocals for the ‘Cat People’ movie theme song with co-producer/co-writer Giorgio Moroder.

Queen were in an adjacent room recording the Hot Space album, and, when Bowie popped in to say hello to their drummer Roger Taylor, a long-overdue collaboration was on the cards (Bowie was also keen to bend Freddie Mercury’s ear about Queen’s label EMI, as he was pretty desperate to get off RCA).

It was apparently no walk in the park for either party though: guitarist Brian May recalled that ‘to have his ego mixed with ours made for a very volatile mixture’ while Taylor also confirmed that ‘certain egos were slightly bruised along the way’.

But the blend of personalities and approaches paid off; in a feverish, booze-fuelled few hours, described by engineer/co-producer David Richards as ‘a complete jam session and madness in the studio’, something started happening.

With Bowie running between piano and 12-string guitar (his D-based chordal concept is not dissimilar to David Gilmour’s work on Pink Floyd’s contemporaneous ‘Run Like Hell’), a groove, melody and basic song structure emerged.

Bowie encouraged Mercury to improvise on the microphone – apparently the latter’s wordless ad-libs were only meant as placeholders, to be replaced with real lyrics, but they were left in when no-one could think of anything better.

Bowie reportedly then ‘comped’ both vocal improvisations to give them something to build upon, and then lyrics were considered. The nascent song was initially titled ‘People On Streets’, but Bowie’s push to call it ‘Under Pressure’ led to the emergence of a more focused composition.

It’s a fascinating snapshot of Bowie and Mercury’s vocal styles. Bowie struggles with Queen’s natural tendency to break out the pomp-rock but he reins it back in with the moving, double-tracked ‘This is our last dance’ section.

It’s also instructive to hear his vocal mastery during the section; close listening reveals that he takes short, deep breaths at exactly the same points throughout, demonstrating that the part was meticulously worked out in advance.

It’s also impressive that neither Mercury nor Bowie ever ‘pop’ the microphone in their delivery of the word ‘Pressure’ – no mean feat.

Still, it’s quite a bold song lyrically. There aren’t many #1 singles with lines like ‘It’s the terror of knowing what this world is about/Watching some good friends scream let me out’.

It’s not surprising Bowie’s mind was on the healing nature of love in 1981. It’s possible the song was a reaction to the street uprisings going on throughout the UK during spring and summer. The result is a kind of ‘Heroes’ for the early 1980s. Also it’s possibly a prelude to his involvement with Band Aid/Live Aid later in the decade.

It’s also worth noting that Bowie’s infamous Lord’s Prayer at the 1992 Freddie tribute concert at Wembley Stadium took place soon after his performance of ‘Under Pressure’ in duet with Annie Lennox.

The track was mixed in New York by Queen alone without any input from Bowie, a decision that apparently divided opinion; Taylor considered it ‘one of the best things Queen have ever done’ while Bowie surmised that ‘it was done so quickly that some of it makes me cringe a bit.’ It’s certainly far from a hi-fidelity recording.

EMI were understandably convinced ‘Under Pressure’ was a hit, Bowie and Queen less so. But it entered the UK charts at #8 40 years ago this week, and then summarily knocked The Police’s ‘Every Little Thing She Does Is Magic’ off the top spot on 15 November, staying at #1 for two weeks.

In the US,  it reached #29, not particularly impressive but nonetheless Bowie’s best chart placing since ‘Golden Years’ almost six years before.

David Mallet’s clever video used stock/public domain footage to interesting effect, though it was banned by the BBC (though I definitely remember seeing it on telly at the time) for including a few seconds of footage from an IRA bomb in Belfast.

As for Bowie, he quickly moved on to the filming of Alan Clarke’s excellent TV play ‘Baal’ in August 1981, rounding off an interesting year for him.

On a personal level, I recall that November 1981 was exactly the time when the pop music bug really got me. I can remember where I was when I first heard ‘Under Pressure’, and many tracks from that month’s chart hold a special place in my heart to this day.

Further reading: ‘Ashes To Ashes’ by Chris O’Leary

‘The Complete David Bowie’ by Nicholas Pegg