David Bowie - The Next Day - 2013 Rock 180 Grm 2LP + CD
- David Bowie Where Are We Now
- David Bowie Ill Take You There
- David Bowie Heat
- David Bowie Dancing Out In Space
- David Bowie Love Is Lost
- David Bowie The Next Day
- David Bowie If You Can See Me
- David Bowie Boss Of Me
- David Bowie Dirty Boys
- David Bowie The Stars Are Out Tonight
- David Bowie Id Rather Be High
David Bowie - The Next Day
Label: ISO Records 88765461861, Columbia 88765461861-SV2
Format: 2 × Vinyl, LP, Album
Gatefold sleeve; includes a CD copy of the album.
Inner Lyric Sleeves
Released: 25 Mar 2013
Genre: Rock, Pop
Style: Art Rock
A1 The Next Day 3:26
A2 Dirty Boys 2:58
A3 The Stars (Are Out Tonight) 3:57
A4 Love Is Lost 3:57
B1 Where Are We Now? 4:09
B2 Valentines Day 3:02
B3 If You Can See Me 3:12
B4 Id Rather Be High 3:44
C1 Boss Of Me 4:09
C2 Dancing Out In Space 3:21
C3 How Does The Grass Grow? 4:34
C4 (You Will) Set The World On Fire 3:32
D1 You Feel So Lonely You Could Die 4:37
D2 Heat 4:25
D3 So She 2:31
D4 Plan 2:02
D5 I'll Take You There 2:41
CD-1 The Next Day 3:26
CD-2 Dirty Boys 2:58
CD-3 The Stars (Are Out Tonight) 3:57
CD-4 Love Is Lost 3:57
CD-5 Where Are We Now? 4:09
CD-6 Valentines Day 3:02
CD-7 If You Can See Me 3:12
CD-8 Id Rather Be High 3:44
CD-9 Boss Of Me 4:09
CD-10 Dancing Out In Space 3:21
CD-11 How Does The Grass Grow? 4:34
CD-12 (You Will) Set The World On Fire 3:32
CD-13 You Feel So Lonely You Could Die 4:37
CD-14 Heat 4:25
CD-15 So She 2:31
CD-16 Plan 2:02
CD-17 I'll Take You There 2:41
2013 album from the legendary Rock chameleon, his first studio album in ten years and his 30th studio recording. The album was produced by long-term collaborator Tony Visconti and was recorded in New York. In recent years, radio silence has been broken only by endless speculation, rumor and wishful thinking.
A new record: who would have ever thought it? After all, David is the kind of artist who writes and performs what he wants when he wants: when he has something to say as opposed to something to sell. Today, he definitely has something to say. Throwing shadows and avoiding the industry treadmill is very David Bowie despite his extraordinary track record that includes album sales in excess of 130 million; not to mention his massive contributions in the area of art, fashion, style, sexual exploration, and social commentary. It goes without saying that he has sold out stadiums and broken ticket records throughout the world during this most influential of careers.
I don't know if this is Bowie's best record in 25 years as some people are saying but it is equally as good as Reality and Heathen. It also mixes in some of the heavy percussion that his album Earthling had. This is a great record and what a great surprise it was. Out of the blue he gives us this album Produced by Tony Visconti and Bowie. As all Bowie fans know Visconti has produced some of Bowies best work. This record also does not try to be something that came out now. There is none of the current sounds used by other bands. This gives the record a timeless quality because Bowie always goes where the music takes him.
One drum shot to lead in the beat and in it comes, a roaring, crunching classic rocker, as only David Bowie can fashion them. 'The Next Day', the album's title song is a powerful announcement: " I AM here and let's get ON with it!" It's like there wasn't anything more than the usual gap between albums and it hardly seems like the decade, half a generation, that it was. Produced by Bowie himself and long-term production partner, Tony Visconti, "The Next Day" is a solidly strong and consistent album of some really fantastic rockers and oddly skewed slower numbers. Classic Bowie. The album follows along on the heels of "Heathen" and "Reality", continuing a sound and singing style that the former two recordings began. Think of this album, then, as part 3, if you will, of the "trilogy". Building on the previous two albums Bowie takes "The Next Day" into some really fine new textures and subtleties as well as continuing, for the most part, the stylistic feel of it's predecessors. But it's the strongest of the three. "The Next Day" is quite possibly Bowie's most consistently good release since 1997's "Earthling". Every song is great and brilliantly draws on Bowie's monumental back catalogue of styles and influences to synthesize one really killer album.
"Dirty Boys", the second track, could almost be a Tom Waits song. Familiar in sound, but twisted and bent in unusual ways and sung with an intense angularity. There's some chunky, odd rhythms and some honking sax here that could easily come off something like Wait's "Mule Variations". It is the strangest song on the album. With this as a second track Bowie lets the listener know not to get too comfortable, confounding expectations a bit and re-establishing that he is just as much the experimenter and "outsider" that he always was.
"The Stars ( Are Out Tonight )" rocks it out again in a very "Heathen" way. It has the same feel as "Looking For Water" on "Reality" as well. The next track, "Love is Lost" breaks into a moderate pulsing beat with some really welcome organ chords, some grungy guitar accents and very catchy chorus, " oh what have you done?". It's the one track that features any kind of noticeable keyboard work, making "The Next Day" a very guitar-oriented album. The Single "Where Are We Now?" further alters the momentum for a really fine ballad, Bowie style. He sings it with his newer "mumbly" style but I wonder how much better it might've sounded if he'd used a more open-mouthed technique - like he's done on "Wild is the Wind" for example. The sound on this song really highlights how pristine the production is for this album. Bowie and Visconti have gone for the gut but elaborate the power and punch with some really artistic touches that elevates the music beyond typical standards. Gail Ann Dorsey's bass playing, for example, really stands out and Zachary Alford's drums have their usual muscular power. Bowie, who has always promoted Dorsey's incredible talents, gets her to open "If You Can See Me" with her powerful voice. It's here also that guest guitarist David Torn lends his jazz roots to the guitar and bass lines that make this the most instrumentally complicated of all the tracks. Gerry Leonard's electric guitar stands out on the album's premiere song "I'd Rather Be High", a soaring number with a killer hook. It's powerful song voicing individual and societal angst put into the mouth of a 17 year old. Bowie has always been right out on the edge of quite a few things in his life and boldly reassures us that he has not a single compunction to modify his ways.
"Dancing Out in Space" is a tongue in cheek, fun, rave-up with balls. Bowie's having a blast here but he's also taking the fun into an odd and disorienting place. Another stand out track. The momentum never stops on this album and it gets really ripping by "How Does the Grass Grow" and ( You Will ) Set the World on Fire", a song that pulls out all the power on hand with a blistering guitar and bass line that would make an arena of young rockers cream their jeans. Bowie's always backed himself with really, really impressive musicians, most of whom have a very low profile outside of his orbit and it works really well for him. Gail Ann Dorsey, Zach Alford and Sterling Campbell have been stable musicians for him since "Earthling". There are some contributing artists of note though. Jazz fusionist David Torn appears here and lends just a hint of his world to the proceedings in ways that move it into some novel colours.
Earl Slick, most famous for his work on Bowie's 1976 "Station to Station" album, lends his searing, powerful but very musical guitar lines to several tracks. Visconti contributes his usual string arrangements to fill out and accentuate the sound in key places. Tony Levin of Peter Gabriel and King Crimson fame also adds to the list with his typically impeccable bass work as well. Noticeably absent, though, is Mike Garson's intensely angular jazz / avant garde piano stylings. Visconti contributes his usual string arrangements
Bowie's voice is as strong as ever and full of all the characterization and nuance he brings to the mic. His harmonies, as always, are largely done with himself and that's always created a very unique texture to his vocal sculpting. He also makes good use of Gail Ann Dorsey's voice to back him up here as well, which he will most certainly do if they take this on the road. He's always been an incredibly versatile vocalist, experimenting with his voice as much as many notable instrumentalists have done with their media. Known for being a remarkably deadly impressionist and strikingly deft at subtleties of voice of a great actor, Bowie features that amazing 'palette' here with consummate panache and experience. It's one of the great things about the later work of a truly remarkable artist, the range of nuance, shade, tone, invention and ability to dip into an oceanic past of accomplishment - and David Bowie does that here better than he has in many years.
The conventional release ends, like "Reality" did, with a subdued and moody piece - "Heat". It's a perfect close to the album. On the deluxe edition the 3 bonus tracks are indeed worth the price. "So She" is a crunchy, moderately paced song. "Plan" is a moody little instrumental a la "Low" or "Heroes" - just to let you know, in case you'd forgotten, that he can go there still.
"I'll Take You There" finishes off the as a standard Bowie rocker.
David Bowie - The Stars (Are Out Tonight)
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David Bowie - Love is Lost
this video is amazing like the man who sings and the man who made the video
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David Bowie - Where Are We Now?
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David Bowie - Heat (2013)
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David Bowie - Dancing Out In Space
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David Bowie - I'll Take You There
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David Bowie: I'd Rather Be High
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|Format||2LP, 5LP, 180 Gram|