Customer Reviews

Hours

5 star:		(81)
4 star:		(60)
3 star:		(21)
2 star:		(19)
1 star:		(16)

 

 

Bowie seems to still be getting a lot of flak for his eighties slump; most rockers his age can rehash and regurgitate and get rewarded by most critics just for showing up. Bowie, on the other hand, has started to really take some chances again with his music, and only a few critics seem to have noticed. While "Hours..." is (consciously or unconsciously)reminiscient of "Hunky Dory" and then "The Man who Sold the World," he has inserted the lyrics of a fifty-something musician who admittedly feels a bit left behind. Well, this is stuff we (adults) can sink our teeth into! I especially love how the album starts out slow and builds up steam; with each listen this approach seems to make more sense. Those who have listened to him for a long time don't always want the sustained energy of "Earthling." (We can't always take it! Sometimes we just want a nice ride!) And we know this is the real thing; Bowie's been giving us the real thing since "Outside" or even before. I think he knows it; too bad it's taken rock critics a while to be convinced.

Hours? It's more like years since David Bowie finished an album that was something other than conceptual in its nature. Almost all of his recent album projects have been defined by the styles incorporated, or by a storyline concept (the convoluted but clever Outside, the techno-influenced Earthling, et. al.), but unless I'm missing something, Hours is Bowie's most unencumbered work in quite a while. It's almost like old times, actually, containing a batch of songs that could be heard either together or separately, with no repercussions. As such, it is also some of Bowie's best work in a long time, since the songs coexist snugly without leaning on one another.

Whether it's due to the impending millennium and all of the implications that it brings with it, or personal experiences that have altered his perspective is unclear, but the songs on Hours are anything but opaque. Throughout this album, Bowie is emotionally direct, confronting love and loss with a vulnerability that might surprise those who have him pigeonholed as an artistic poseur. On "Survive", he sings with emotional candor to an estranged (or possibly deceased) lover or friend, "You're the great mistake I never made. I never lied to you, I hated when you lied, and I'll survive your naked eyes...I love you". That in itself is a revelation, since I cannot recall previously hearing Bowie sing the words "I love you". This direct vulnerability expands as the disk continues, with self-searching, emotionally wrought lines like "If I'm dreaming my life, was she ever here" (from "If I'm Dreaming My Life") and "Hold my face before you. Still my trembling heart. Seven days to live my life or seven ways to die (from "Seven").

This liberation of self-expression has opened new vistas for Bowie, who seems resigned to accept the nature of a fickle music business that looks to artists less than half his age to provide new revelations for a new generation. He is no longer making a play for commerciality. He is satisfied to communicate with those who are genuinely interested, and his fan base remains adequate to provide him this luxury. Very, very few artists on the top of the charts have more to say than Bowie, and almost none are as eloquent. As Bowie sings in "The Pretty Things Are Going to Hell," "I'm reaching the very edge y'know. I'm going to the other side this time." I for one would rather follow him over the edge than wait around for a younger bard to fight his way through the morass, only to possibly end up a loser. Bowie was there first, and he survived, with class, style and grace. Will any of the new breed be able to say the same? A- Tom Ryan

Some of the times an album gets drowned out by an artist's former successes. If an album, from such a performer, does not break new ground it somehow gains less attention than the upstart's albums. This, my fellow legion of Bowie fans, is simply a spectacular album. This is David Bowie easing on the cutting edge for a moment to settle into sound song craftsmanship. How many artists out there can lay claim to so many incredible and unique albums. In my opinion, Bowie has had ten albums I would call incredible, and this fits into that groove. Subtlety rules on this album. A deft hand by both Bowie and Reeves Gabrels has been used on this album to at times fill the empty spaces, and at other times let it flow. To say that I am impressed by this album would be a grand understatement. This is a probably not a great starting point for those not initiated into the Bowie craftsmanship, but to those who love him as much as I do...it's great punctuation to the progressive brilliance.

The album feels like Hunky Dory, except it doesn't. Keeping with the theme of alternate, parallel universes it almost feels like 'hours...' harkens back to when "The Man Who Sold the World" was a flop.

If "The Man Who Sold the World" was a flop, this almost feels like it would be the follow up piece to it, instead of "Hunky Dory." This album is far from hunky dory, but is just as great, and is so beautiful and serene. "Something In the Air" is my fave on the album and "New Angels of Promise" is also very great. In fact, all of the songs have a rich and deep feel to it. If you know a little bowie history, you would know that his career in the 60's was a failure.. he was continually frustrated by his inability to make a hit in the field. that all changed with his fantastic single "Space Oddity." So after that his career was sort of on a fork in the road. He could either follow up with a hit or another flop. If "The Man Who Sold The World" failed, who's to say that there would even be a Hunky Dory, or a Ziggy for that matter? 'hours...' feels like it belongs in the past, but not in THIS past.. it belongs in an alternate universe, a world of regret and missed opportunites.

in this world, where he is truly happy, bowie has had a successful and copious life... 'hours...' is an anthem to what might have been and is another fantastic undertaking by db.

This CD takes 4 or more listens to fully appreciate the depth of the music and lyrics. This is the similar to the David Bowie music I grew up with during the 70s, and enjoy the most. His voice is as good as it's ever been. I wouldn't recommend it to someone who is only familiar with his later works. I really like every song on the CD, there doesn't seem to be a bad one in the bunch.

First things first there is no point in comparing this to any of Bowie's other works. As every good Bowie fan Knows there are at least six different periods of Bowie's music. '60s folk, pre-Ziggy, Ziggy, post-Ziggy, 80's dance music, and of course his current incarnation which is quite simply one experiment after another. 'hours is quite frankly one of the crowning achievements of this era. With it's soft melodies as well as it's very personal lyrics the album is not nearly as harsh as either 1.Outside or Earthling nor as tripy as Heathen however every bit as much a cornerstone of his current body of work. Bottom line this is an absolutley wonderful album in it's own light and comparing to any other period of Bowie will only degrade the meaning of both pieces as they both were made with an entirely different result in mind. This is simply the music Bowie wants to make. It's an experiment and quite frankly a very sucessful one.

Lets forget the analyitical biography........ok so 'Outside' was intriging and 'Earthling' was just colorful...but 'Hours' just keeps me hanging on! I cannot get a moment to play anything else these days, in fact, I bought Iggy's 'Avenue B' on the same day and I have'nt been able to give it a serious spin as yet, since Dave's 'Hours' just won't let me go!

The lovely 'Thursdays Child' opens up and laments while 'Something in the Air' is an unusual slice of menacing techo/rock, 'Survive' strums along nicely as it exudes melody, 'If I'm Dreaming My Life' is a luxurious whirlpool of ideas in motion,'Seven' is simple and childlike,'What's Really Happenning' is a damn good lyric by a net competition winner with Bowie providing the music and Reeves dishing out a very cool guitar lick, 'The Pretty Things Are Going To Hell' is an out and out rocker type and it wouldn't have been out of place on 'Earthling', its the least likeable track on the album, 'New Angles Of Promise'is 80's reflective harking back to the likeness of The Banshees.....nice, 'Brilliant Adventure' is not quite as good as 'Crystal Japan, but it loops to satisfaction, and finaly, the album closes with 'The Dreamers'(could also be a movie title)providing us with a melodic climber, taking you out of the whole art of Bowie things. He's looking good, playing good live sets and this album will keep you tick tock 'till the next time round.

I must confess that I jumped on the bandwagon when I purchased "Earthling." Electronica was the "new music," and Bowie did an electronic-flavoured record having its roots in Rock. Don't get me wrong; I liked it for what it was - a good record. So now, I purchase "Hours..." for the sake of loyalty - 'cause hey, this man's a legend. Wow. I am awed by the musical and emotional depth that Bowie cooks up here. There aren't many upbeat tunes (save for "The Pretty Things Are Going To Hell") - but the master of rock knows how to craft songs no matter what the speed. Matter of fact, I am deeply moved by "Thursday's Child." In all the years I've been checking out the Thin White Duke (ever since that "Underground" song), I never thought I'd hear such emotional thoughts from Bowie. "Only for you, I don't regret that I was Thursday's child." A life-affirming testament to the power of love. Add to that the wonderful riffs of Reeves Gabrels, and you've got one of the best albums of 1999 - if not the century. Pick this up - preferably the holographic special edition. :-)

Hours...... "Hmmm..." perhaps that would have been a better title for Bowies' new album. After the initial listen, hmmm... is what springs to mind. You are left with the feeling that, this is really good, could be really good, but some where you missed it, it got lost. It eluded you.

It starts off positively, the initial track being an intriguing number which, sneaks up and subtly hooks you. The next few tracks lose that initial gentle, captivation. The album promises that Bowie predisposition for slipping inside your head but does not quite deliver. It intimates at being really good but when it has finished you are left hanging, waiting for that moment when the songs engulf you. It presents the opportunity for some really fine moments but the man and his machine just don't take them up.

"What's Really Happening" and "All The Pretty Things Are Going To Hell" are faintly reminiscent of Diamond Dogs, Lodger, Scary Monsters and Outside, they would not have been out of place on any of those albums. I am sure Placebo or NIN or such like could do a really grander, darker, heavy version of these songs, as it is they fail to deliver.

"New Angels Of Promise" seems to be a revisit to Lodger. Where is Mr. Eno when you need him most?

The whole album can be frustrating in that it picks you up but then does not take you anywhere.

This is the pattern to the album. It excites, it hints at, but then does not actually provide the goods. It ambles along, serenely, with a passing nod to Bowie's history, here and there.

One of the biggest problems I have with this album is the influence of Mr. Gabrels. If you listen to his album, "The Sacred Squall Of Now" it/he has been hugely influential on "Hours...." Which is not unreasonable as he co-wrote all the songs with Bowie. But refined guitarist that he is, his tone and style, do not match Bowie's. Bowie is the master songwriter; songs, which have an inherent darkness in them. That darkness is not matched by Gabrels high pitched wailing in the background. It needs to be several octaves lower and infinitely less twiddly and a whole lot less intrusive into the songs. Yet just when you think, there is going to be some stonking guitar twanging, none appears.

This whole album is a presentation of ideas, which do not seem to get fulfilled. The heavy songs are not heavy enough, the acoustic songs are not acoustic enough, and the dark vocals are not dark enough. You are left feeling slightly flat and slightly disappointed. All the songs are fine songs in deed but they need enhancing. I am sure Bowie will return to these and rework them. I am sure that others will. Maybe that is what Bowie wanted to achieve.

This could have been one of his great albums; it's in here somewhere.

Amazon doesn't mention that this '07 Japan mini-sleeve edition carries a bonus disc packed with great non-album tracks & remixes. Here is the track list for the bonus disc:

11. Thursday's Child ROCK MIX

12. Thursday's Child OMIKRON:THE NOMAD SOUL SLOWER VERSION

13. Something In The Air AMERICAN PSYCHO REMIX

14. Survive MARIUS DE VRIES UK CD SINGLE

15. Seven DEMO

16. Seven MAURIUS DE VRIES MIX

17. Seven BECK MIX #1

18. Seven BECK MIX #2

19. The Pretty Things Are Going To Hell EDIT

20. The Pretty Things Are Going To Hell STIGMATA FILM VERSION

21. The Pretty Things Are Going To Hell STIGMATA FILM ONLY VERSION

22. New Angels Of Promise OMIKRON: THE NOMAD SOUL VERSION

23. The Dreamers OMIKRON: THE NOMAD SOUL LONGER VERSION

24. 1917

25. We Shall Go To Town

26. We All Go Through

27. No-One Calls

The audio on the main disc is the same '04 remaster. However, the mastering on the bonus disc is notably improved over many of the original singles' audio. Presumably, this is the same edition as the 2004 2CD jewel box re-release.

WHAT IS A JAPAN "MINI-LP-SLEEVE" CD?

Have you ever lamented the loss of one of the 20th Century's great art forms, the 12" vinyl LP jacket? Then "mini-LP-sleeve" CD's may be for you.

Mini-sleeve CDs are manufactured in Japan under license. The disc is packaged inside a 135MM X 135MM cardboard precision-miniature replica of the original classic vinyl-LP album. Also, anything contained in the original LP, such as gatefolds, booklets, lyric sheets, posters, printed LP sleeves, stickers, embosses, special LP cover paper/inks/textures and/or die cuts, are precisely replicated and included. An English-language lyric sheet is always included, even if the original LP did not have printed lyrics.

Then, there's the sonic quality: Often (but not always), mini-sleeves have dedicated remastering (20-Bit, 24-Bit, DSD, K2/K2HD, and/or HDCD), and can often (but not always) be superior to the audio on the same title anywhere else in the world. There also may be bonus tracks unavailable elsewhere.

Each Japan mini-sleeve has an "obi" ("oh-bee"), a removable Japan-language promotional strip. The obi lists the Japan street date of that particular release, the catalog number, the mastering info, and often the original album's release date. Bonus tracks are only listed on the obi, maintaining the integrity of the original LP artwork. The obi's are collectable, and should not be discarded.

All mini-sleeve releases are limited edition, but re-pressings/re-issues are becoming more common (again, not always). The enthusiasm of mini-sleeve collecting must be tempered, however, with avoiding fake mini-sleeves manufactured in Russia and distributed throughout the world, primarily on eBay. They are inferior in quality, worthless in collectable value, a total waste of money, and should be avoided at all costs.