DAVID BOWIE

The Next Day will go down in history as the David Bowie album that nobody expected. Nobody was even anticipating that Bowie had a new album in the pipeline, and certainly nobody expected Bowie to rediscover his art rock muse this late in the game.

Perhaps those two factors are linked: it is possible that the long delay between Reality and this is a simple factor of the Thin White Duke no longer feeling obliged to record unless he has something truly compelling to offer. Either way, the album finds Bowie off in his own sonic universe to an extent we haven't seen since Scary Monsters: his releases from Let's Dance up to Reality seem to have found him chasing fashion or other people's aesthetics rather than crafting a new aesthetic which was truly his, which was the key to his success in his classic era and which is also the secret ingredient in this album's success.

Combining glitchy bang-up-to-date electronics, some of Tony Visconti's most labyrinthine production techniques yet, vocals which have aged like fine wine and the occasional unexpected twist (check out those 60s throwback ya-yas on How Does the Grass Grow?) and the end result is a strange expedition into territory which is highly experimental even by Bowie's standards. The cover art, though ugly as sin, is also kind of appropriate: the DIY/samizdat approach suggestive of Bowie and his allies sneaking off to create this treasure in secret, and also the allusion to "Heroes" as the last time Bowie got anywhere near this odd on-record. "Heroes", of course, though it sounded otherwordly on realease now seems rather conventional; I can't imagine a world where The Next Day sounds similarly conventional, but I look forward to getting there within the next few decades.

Bowie has finally cracked the secret of how to handle the onset of his old age - the strategy seems to be to abandon the rock star role altogether and instead become an oracle, a mysterious figure issuing forth strange pronouncements from the future at irregular intervals to be received with religious ecstasy by the faithful. (Perhaps this partly explains the "facelessness" of the cover art, the new approach overwriting the various rock star poses Bowie had adopted over the years.) Nobody knows when Tony Visconti will next descend from the mountain with another tablet of Bowie tracks for us to enjoy, but for the first time in my lifetime I feel I can receive a new Bowie album without a hint of trepidation. The man has well and truly got the magic back.

This album is without any doubt at least 4/5 stars release (in my case full 5/5 stars). Vinyl version sounds very good in deed (haven´t listened cd yet...) Nowadays there´s always little doubt in buying LP:s because of weak quality overall. I´m happy to inform that Next day´s vinyl´s pressing (E.U.) quality is amazing this time: sound never breaks, bass is deep and David´s vocals are not too much above instruments, which I like. Dim Gatefold cover looks gorgeous, as if it was straight from 70´s. Song are good enough and set includes lots of different moods. Musicianship is brilliant all the way. LP was packed carefully, without any errors (There´s also CD included, which is nice!). Great value for the money. Obviously my vinyl will be played many times!

How can you not like Bowie. It's like saying you don't like Queen. It's just impossible.

Now Bowie has been MIA for a good few years now, and in all fairness, I was safe in the knowledge knowing that Bowie wasn't going to make anymore music. His stuff in the past was great and he has made his name for himself as a rock icon, legend and ubermensch of music.

So when I heard that he was releasing a new album, I was like "Hmm...not needed...but ok." So I was interested in this album, and was looking forward to hear it. Wasn't overly excited about it, but was still interested in it.

And then I heard it, and now I feel like a douchebag.

Yes, I shouldn't have doubted Bowie. I thought this album would have sounded aged and Bowie would have seemed older. But he really hasn't. This album could have been released in between The Berlin era or even Scary Monsters era, and I wouldn't have noticed a difference. Bowie proved that he hasn't lost it, and he even doesn't need Brian Eno or Robert Fripp to flesh out the sound or make Bowie seem more interesting.

The album is just a very good collection of classic Bowie songs. For all we know these could have been old songs that Bowie just plucked out from nowhere and fleshed to make them sound brilliant. It sounds modern yet also nostalgic.

1. The Next Day - Now this is how you start off an album. Reminds me of It's No Game off of Scary Monsters (without the crazy Japanese girl). Great way to start off an album. 9/10

2. Dirty Boys -One of the most noisiest and more grittiest songs on the album. With a lot of Fripp esque guitar work throughout. This song could have even been on Scary Monsters. 8/10

3. The Stars (Are Out Tonight) - When I heard this song, when it was released, I was a bit like "this is a single." But the more and more I listen to it, the more it does shine on me. For some odd reason, this song gives me a very Morissey/The Smiths vibe and tone. 10/10

4. Love Is Lost - Some interesting use of instruments and sounds on this song. But, don't let the blips and beeps confuse you, this is a great and well written song. Also, Bowie's vocals are pretty impressive in this song. 9/10

5. Where Are We Now? - The first song I heard from the album. When I heard this song, I was thinking "wow, Bowie sounds old." Now, his voice does sound a lot lower in this song, but it's mainly just for a melancholic effect. This song just proves how much I love Bowie style of songwriting. A simple idea, with some interesting chord progressions. A beautiful piece of music. 10/10

6. Valentine's Day - One of the albums more ballady moments. A bit forgettable, if I'm being honest. 7/10

7. If You Can See Me - One of the album's most proggy/art rock sounding songs. A weird collection of crazy musical moments and some rather interesting bits and pieces thrown in now and then. One of the most interesting songs on the album. 10/10

8. I'd Rather Be High - An odd song, but still a bit forgettable and a bit dull. 6/10

9. Boss Of Me - This could have been a very dark and brooding song, but it was kind of ruined by brass. Still a pretty cool song, but it started off so interesting and kind of went into normalcy. 7/10

10. Dancing Out In Space - My least favourite song on the album. I kind of get what Bowie was trying to accomplish, but at times, it just sounds very out of tune and off pitched. 6/10

11. How Does The Grass Grow? - One of the most oddest songs on the album, and one of my favourites. A catchy and crazy song, with some very odd backing vocals. 10/10

12. (You Will) Set The World On Fire - One of the albums more rockier moments. This song could have been on Ziggy Stardust, and I wouldn't even have noticed (although I'm not the biggest fan of that album). 8/10

13. You Feel So Lonely You Could Die - Whoever Bowie wrote this song about...I feel sorry for them. The lyrics in this song show a very nasty side to Bowie...and good on him. A beautifully arranged song, with a devious side. 9//10

14. Heat - A nice sombre and beautiful ending to the album. Nice use of atmopsheric keys and some nice lyrics and vocals from Bowie. 9/10

CONCLUSION: Having doubted Bowie a bit...I'm shocked...and impressed. Bowie is back. And he will always be here. Nothing can beat Bowie. Bowie BOWIE...BOWIE! Yes I am going a bit insane here, but in many ways this is an apology to Bowie. Not a personal favourite of mine, but I have to admit, it's up there, even among his "assumed" best work. I shall never doubt Bowie again. All hail Bowie!

8.2/10

Recorded in secret with musicians sworn to secrecy, The Next Day, the first album from David Bowie in ten years came as a bit of a surprise with no indication that anything was happening until the release of the laid back single Where Are We Now? Itself a bit of a slow burner, taking a few listens before I realised that we may be onto something here. After all, if truth be told, Bowie's released little to get excited about since the early eighties. Living with this for almost 2 weeks now though I can confidently say it's his best body of work since Scary Monsters.

The word was he'd stepped back to his seventies work for influence giving rise amongst many to hopes of something along the lines of Ziggy Stardust. It's clearly not the case and if the cover wasn't a giveaway, a rather cheap copy of Heroes with a large white square containing the album title over it, then a quick listen confirms its nearest reference would be late seventies Heroes and Lodger era. It's a strong collection of songs too with a high percentage of rockers with strong riffs and hooks and only a few ballads. Bowie's on great form vocally too sounding nothing like a man of sixty six. Perhaps down to his near death heart problems ten years back there seems to be a lot of references to death - "Here I am, not quite dying" he sings on the opening title track. Best of the bunch? I'm particularly fond of Love Is Lost with its simple keyboard line and hypnotic drum pattern, the upbeat and spacey I'd Rather Be High, the dark and moody Heat and the Heroes-esque How Does The Grass Grow? And that single's pretty good too. He's assembled a strong band too including some old friends including guitarist Earl Slick and drummer Sterling Campbell and of interest to prog fans, Tony Levin on some tracks too.

Overall then, while this isn't going to compete with his greatest work of the seventies it's nevertheless a fine body of work and far better than I could have dared hope for. I'm more than happy with The Next Day.

Hunky Dory is arguably David Bowie's first classic album. It's unique yet familiar simultaneously, featuring some of his most well-known tracks, as well as a platter of lesser-known pop gems.

Bowie sounds a little whimsical and generally less intense than his Ziggy Stardust and Thin White Duke personas, with Hunky Dory representing a unique and individual place in his extensive music catalogue. Instead of most of the songs relating to an androgynous alien rocker or a cocaine-addled soul man's off-centered view of the world, on this record, Bowie is just being Bowie - singing tales of hypothetical young people trying to live life, to an impressively accomplished standard.

The lyrics are a deep and enriched by personal tensions and evocative imagery which Bowie brings through with his vocals - finally finding the unique singing voice he'd been searching for since the beginning of his career. 'Changes' is, without question, one of Bowie's undisputed classics. It sets the tone of the album well providing the foundation for Bowie's rebellion against misunderstanding.

'Oh! You Pretty Things' regurgitates the same formula to the same effect, but there are small glimmers of sorrow to balance out the upbeat tone of the tunes with touches of something more pensive - 'Fill Your Heart' is a good example of this. Even though the lyrics are hopeful and positive, the change of pace just before the end of the chorus is dark and almost cleansing in its own way..

The biggest song in terms of reputation is undoubtedly 'Life On Mars' - a sweeping epic packed with orchestration, unforgettable lyrics and melodic guitar. Aside from the aforementioned three "classics" ('Changes', 'Oh! You Pretty Things' and 'Life On Mars') are some overlooked tracks that are superb. 'Queen Bitch', the avant-garde 'Andy Warhol', and the jovial 'Kooks' being just a few choice cuts.

Hunky Dory is an excellent set of early Bowie classics, before he got caught up in the future-shock paranoia of his ever-changing personas. This record takes on a character of its own - a refreshing, pure and exhilarated Bowie. It's a nice balance to Bowie's more iconic glam rock 'Ziggy' phase, and as such, distinguishes itself as an essential part of any Bowie collection.

I am not a big Bowie fan, though I wish I was. I gracefully bow before his musical genius. Still, there are only a few scattered songs that I truly love and apart from "The man who sold the world" I can't really claim to have a single album by the man I truly dig. And I am not, generally, not a fan of live albums either. Imagine my surprise, then, when I bought this live album and found it truly great. And by Bowie at that!

The concert is a magnificent, high powered rock blow-out of the best calibre. There are a lot of songs I didn't know beforehand, but they sound so amazingly powerful I can't help but be astounded.

There is an enormous amount of atmosphere on these discs. You feel the tension, the power, the energy, the magic and you wish you'd been there. Bowie sounds great, the band kicks up a storm and the combination of aggressive, guitar driven hardrock and mellower, sometimes chanson-ish tunes (like My death) makes the album diverse and entertaining, thrilling even.

My favorite track is The width of a circle. 16 minutes of frenzy, overdrive and powerful drumming combined with a splendid bass gets me going anytime. That is the sound of the 70's great hard rock sound. Really, really nice track.

All in all it's not only a great Bowie-album but a really amazing live album and a document from a time where rock'n'roll seemed to have endless possibilities. I love it.

After a ten year hiatus Bowie suprised friend and foe by releasing a new single on his 66th birthday and by announcing a brand new album. And here it is! Is it any good? For a man in his sixties Bowie sounds as vital and powerful as ever. The music is strangely familiar. Typical Bowie. Sometimes melodic, sometimes rythmic, the way only Bowie can make it sound. A bit like "Heroes" (except for the instrumentals), whose cover picture was the 'inspiration' for the cover of "The Next Day". The cover by the way can hardly be called an inspired cover, but at least it suits the overall nostalgic feel of the album. *

Of course this album can never reach the legendary status of his seventies albums, but I still think it is a superb album. Especially when compared to contemporary artists. The songs on The Next Day all seem to refer to older songs. In lyrics, in pieces of melody, in certain rythms. In particular the single "Were are we now?" refers to Bowie's Berlin period. Is that a bad thing? I think not. A man of Bowie's stature has the right to hail the old days. His back catalog is nothing to be ashamed of, so why shouldn't he brag about it? Some people write memoirs, Bowie has just written a musical memoir. If only all memoirs by anyone were this good.

I certainly hope this record will not turn out to be a one time event and that mr. Bowie won't be resting on his laurels for the rest of his days. A modern masterpiece.

* Read more about the cover here: http://virusfonts.com/news/2013/01/david-bowie-the-next-day-that-album-cover-design/

It is a good album, but it is not one of the best things Bowie did. There is little new things happening, and many songs range in the same style. It becomes a bit superfluous, a bit. But it is definetly not bad album, but easy listening and fun to have. The melodies are alright, the band plays great, and Bowie has still a wonderful voice. There should be a lot more happening with the bass and the guitars. I miss Reeves Gabrels on this album, he could have helped making it more special. Musically it also has nothing to do with Heroes, of which the cover is. A good album by a man who is growing older, it seems. He has nothing to prove any more, and in fact, he doesn t try to on this album. Could have been better, could have been worse.

AWESOME.

In my opinion, "Let's Dance" is David Bowie's strongest moment. The idea sounds pretty horrible; a disco/party album embellished with blues guitar. But this album is actually one of my all time favourite albums. Not only are the tunes catchy and great to dance to, but the songs are actually very unique and some of them are quite beautiful and mysterious. While many may disagree, I think that this album has a progressive feel. Not only is it progressive in it's approach to timing, atmosphere and form, it is very unique in in the way it harbours many different styles, which is one of the key features of progressive music.

To me, this album seems to have a mystical sort of feel to it. There is an underlying feeling of mystery behind many of these tracks, and I think that is why I love this album. The album begins with "Modern Love", probably the catchiest song on the album. It starts with the unmistakable sound of Stevie Ray Vaughn's muted guitar and goes into a funky, dance-like tune. The next track is "China Girl", one of my favourites on the album. The song is very catchy, with a warm, mysterious synthesiser lurking in the background and some great guitar work from Stevie. The song appears to be a haunting love song, but many claim "China Girl" to be a metaphor for cocaine. "Let's Dance" is another classic Bowie tune. It is a lengthy disco tune with a very bouncy rhythmic feel. "Without you" is a warm tune, with a somewhat Hawaiian feel in the guitar. "Ricochet" is one of the greatest tracks on the album. This song will appeal greatly to prog fans, as it has a complicated polyrhythmic feel in the rhythm section. This song is also one of my favourites vocally. "Criminal World" is probably my favourite song on the album. It has a great beat and a very mysterious atmosphere. "Cat People" is arguably the weakest song on the album. The feel is nice but the song seems to drag a little. "Shake It" is a strange ending to the album. It is a great track with a funky beat and some great guitar work. It is impossible to choose a key track from this album...all of the tracks are spectacular. But I do think that "Criminal World" is probably the best track on the album, and suggest it as an introduction to "Let's Dance".

To me this is a five star album, but a four star progressive album.

☮ Peace ☮

Having watched the DVD with great pleasure, I've come to the conclusion the double CD is even more fun. The sound is so much superior - if you care for Bowie at all, you'll be bowled over by this collection. I wouldn't say it's perfect. "Rebel Rebel" has always bored me and does nothing for me here; "The Man Who Sold the World" and "Changes" sound like Bowie on automatic pilot; by the time Bowie reaches his final encores (3 tracks from the ZIGGY album) he's lost most of his voice - and no wonder! But when it comes to HIGHLIGHTS, there are too many to mention. My personal favourites are "Sunday", "Loving the Alien" and "Bring me the Disco King": all of them ballads - but oh, what superb interpretations they receive here! Noisier tracks ("Hallo Spaceboy", "I'm afraid of Americans" etc.) are done beautifully as well, and tracks that are meant as pure fun (e.g. "All the Young Dudes", "Under Pressure") never sounded better. In other words: Bowie is like one or two of his peers (Richard Thompson is another) in that he never gave up writing good tunes and never lost the ability to perform them with conviction. Now that a new Bowie studio album is in the pipeline (as of February 2013), we can count ourselves lucky Mr Jones is far more than a nostalgia act.

N.B. After more than six years of writing reviews for Prog Archives, I've said more or less what I wanted to say. This final review of one of my musical heroes seems as good a place as any to quit - at least temporarily. Reader, I salute you - it'll have to be a pretty astonishing album that wakes me from hibernation.