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The Next Day

Deluxe Edition

4.6 out of 5 stars 2,709 ratings
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Track Listings

1 The Next Day
2 Dirty Boys
3 The Stars (Are Out Tonight)
4 Love Is Lost
5 Where Are We Now?
6 Valentine's Day
7 If You Can See Me
8 I'd Rather Be High
9 Boss Of Me
10 Dancing Out In Space
11 How Does The Grass Grow?
12 (You Will) Set The World On Fire
13 You Feel So Lonely You Could Die
14 Heat
15 So She
16 Plan
17 I'll Take You There

Editorial Reviews

BOWIE DAVID THE NEXT DAY (DELUXE)

Product details

  • Is Discontinued By Manufacturer ‏ : ‎ No
  • Language ‏ : ‎ English
  • Product Dimensions ‏ : ‎ 4.95 x 5.56 x 0.36 inches; 2.4 ounces
  • Manufacturer ‏ : ‎ Legacy Recordings
  • Item model number ‏ : ‎ 887654619228
  • Original Release Date ‏ : ‎ 2013
  • Run time ‏ : ‎ 1 hour
  • Date First Available ‏ : ‎ January 8, 2013
  • Label ‏ : ‎ Legacy Recordings
  • ASIN ‏ : ‎ B00AYHKIZ6
  • Country of Origin ‏ : ‎ USA
  • Number of discs ‏ : ‎ 1
  • Best Sellers Rank: #37,434 in CDs & Vinyl (See Top 100 in CDs & Vinyl)
  • Customer Reviews:
    4.6 out of 5 stars 2,709 ratings

Customer reviews

4.6 out of 5 stars
2,709 global ratings

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Customers say

Customers consider this Bowie album a masterpiece with haunting melodies that shine through the music and production. They praise the artist's voice, noting it sounds vital as ever, and appreciate the thoughtful lyrics and great imagination throughout. While many find it well worth the wait, opinions about the album's overall quality are mixed, with some considering it solid while others disagree.

147 customers mention "Album quality"147 positive0 negative

Customers praise the album's quality, describing it as a masterpiece and one of the best popular LPs of the year.

"...It's a great album and well worth the money to buy and time to listen to...." Read more

"...Is it a poor album? No absolutely not. It's good, but not as great. But even a 'good' Bowie album is better than most of the music out there...." Read more

"...Just my opinion, but after multiple listens to "The Next Day", it's a good album, but not as good as "Heathen" or "Reality"...." Read more

"...The Next Day is inevitable. It is a wonderful album that builds upon all that has come before, by turns nostalgiac and exploratory...." Read more

126 customers mention "Melodies"123 positive3 negative

Customers appreciate the melodies of the album, describing them as great, beautiful, and meaningful, with one customer noting how the music is layered.

"...Grass Grow and Boss of Me are both good songs as well...." Read more

"...The chorus still sticks in my brain. DIRTY BOYS -- melodic, sexy, and jazzy. A winner all the way..." Read more

"I love David Bowie and this is classic! Great songs and the sequence is fascinating...." Read more

"...great music and voice. very strong set well worth the listen." Read more

77 customers mention "Music quality"77 positive0 negative

Customers praise the album's music quality, describing it as brilliant and magnificent, with one customer highlighting Bowie's amazingly creative guitar work.

"Bowie at his best Well worth the Wait Sounds like the Bowie of old with a slight new edge no wonder it took him like 10yrs. "..." Read more

"Excellent. Great Recording and It's Bowie, what more needs to be said?" Read more

"DAVID BOWIE IS THE BEST!!! I love this album and the music video for the title song is a must-see!!!" Read more

"Classic Bowie." Read more

73 customers mention "Voice quality"60 positive13 negative

Customers praise the voice quality of the album, noting that it sounds great and remains vital as ever, with one customer highlighting the beautiful music and another mentioning the loud passages.

"...I don't know how he does it, but his voice is still strong." Read more

"...So much power in the music and his voice. If you loved any part of his career, you will like this record. Highly recommended!" Read more

"...Many of these songs do sound new and fresh, but I wouldn't be surprised if some of these were actually written in Bowie's days in Berlin...." Read more

"...", "The Next Day" feels both forward-looking and with a hint of sounds from earlier eras, like most of the best songs on this project. "..." Read more

52 customers mention "Enchantment"48 positive4 negative

Customers praise the album's great imagination, with one noting its pleasurable nuances and another describing it as a work of brilliance and enchantment.

"...Innovative, if not slightly dark, songs like, 'You Feel So Lonely You Could Die' and 'The Stars (Are Out Tonight)' carry the listener on a fast-..." Read more

"...for MTV set the standard for quality music videos and he is still creative and original after 50 years in the industry...." Read more

"...Gorgeous and inspiring, ending with a sly musical nod to "Five Years". One of many musical "in jokes" on here. "..." Read more

"...DANCING OUT IN SPACE -- Catchy and danceable and another highlight of the disc...." Read more

41 customers mention "Value for money"41 positive0 negative

Customers find the album worth the wait and consider it a great return to what they loved.

"...seasoned, oft disappointed veteran, happy to report this one's well worth the wait...." Read more

"Worth the wait? Depends on what you've been listening to since 'Reality'...." Read more

"...bowies days of rock ended years ago but still is worth a listen...." Read more

"...version is a little more then I would like to spend but it is well worth it if you LISTEN to vinyl. Also includes a copy of the CD...." Read more

44 customers mention "Lyrics"29 positive15 negative

Customers have mixed opinions about the album's lyrics, with some praising the thoughtful and impeccable songwriting, while others find them repetitious.

"...The lyrics are thoughtful, playful, poetic,and emotive, exactly what you would expect from Bowie...." Read more

"...There are a handful of songs that sound strange, but only in the sense that they sound unfamiliar...." Read more

"...I love the Beatlesque bass line and that the lyrics go from obscure/surreal to realistic and back again. "..." Read more

"...IF YOU CAN SEE ME -- A spacey tune with poetic lyrics (a glowing example -- "children swarm like thousands of bugs") more than a little reminiscent..." Read more

Bowie the Next Day
4 out of 5 stars
Bowie the Next Day
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Top reviews from the United States

  • Reviewed in the United States on March 15, 2013
    The Short Story:
    If you are new to David Bowie's work, this isn't a bad album to start with, but I might begin with some of his work from the 1970's. If you are an established Bowie fan, this album is a must-listen. It's some of Bowie's best material in decades.

    The Longer Story:
    At the end of Paul Trynka's Bowie biography "Starman," he leaves with a speculative note. David Bowie never said he retired, but after his A Reality Tour, he disappeared from the music scene almost completely. This was unusual for the singer/songwriter - he would rarely go a few years without releasing an album in his decades-long career. It seemed like Bowie had genuinely retired, and Trynka's biography leaves some hope that one day, Ziggy Stardust himself will awake from his slumber and release an album that would blow everyone away.

    Then in early 2013, the world received word: David Bowie was not only working on another album after almost a decade of silence, but the album was already finished and coming out in a couple of months. The album announcement was accompanied with a video for "Where Are We Now?" The song is a slow, introspective ballad that creeps along, and it presents a problem: this is not a song for young, up-and-coming Bowie fans, and it doesn't give listeners a good idea of what the album is. This is a song that reflects on Bowie's life, and this is significant in the eyes of a fan because as a songwriter, Bowie rarely lets his guard down. Even personal songs like "Changes" are wrapped in heavy melodies and pop production. "Where Are We Now?" hints at an album that finds Bowie in his later years, reflecting back on his career. At this point, I was expecting THE NEXT DAY to be an album full of songs like "Thursday's Child" - good, mellow, wise, but missing the spark that his earlier material had.

    Fortunately, "Where Are We Now?" gives absolutely no indication as to what THE NEXT DAY sounds like. With its opening track (the title track), the album roars to life with energetic guitar riff not unlike something from Bowie's Berlin triptych. Most of the music here is mid to up tempo, and a lot of it reminds of stuff that would have been recorded around 1975-1980. "If You Can See Me," "Dancing Out in Space," and "Dirty Boys" sound like they could have come from the same period as well. "How Does the Grass Grow?" has a choppy rhythm that feels pulled out of the 1980's oeuvre. There are a handful of songs that sound strange, but only in the sense that they sound unfamiliar. "The Stars (Are Out Tonight)" and "Valentine's Day" don't have the quirk or glam that has defined most of Bowie's songwriting, but they are great traditional rock songs with strong melodies. All of this is played with a renewed sense of interest: Bowie didn't make this record because he was fulfilling a contract, and he's not going through the motions. He doesn't sound bored here - he sounds more excited than he has in a long, long time.

    The album finds Bowie pushing himself forward into new territory but with an eye on the past. Many of these songs do sound new and fresh, but I wouldn't be surprised if some of these were actually written in Bowie's days in Berlin. The album art encapsulates this: it's the cover of HEROES, but with a giant white square obscuring his face. Even though Bowie might have (in his work in the 2000's) tried to avoid reaching into his past, he's realized he can't. Instead of running from his past, and instead of embracing it, he does something different. He accepts the past and tries to one-up himself. There's an acceptance from Bowie that we've seen from him in more of the recent albums, but nothing this clear eyed.

    The album feels like it's the most personal Bowie has ever released. "The Next Day" uses a chorus that begins with: "Here I am / Not quite dying / My body left to rot in a hollow tree." The song is a triumphant (and knowing) return to form. Bowie isn't rejecting his age here, he's embracing it and using it as a personal challenge. "Where Are We Now?" is a meditation on a former life, back in Berlin in the late 1970's. "Heat" has a few haunting moments in its slow, paranoid crawl as well.

    For what it's worth, THE NEXT DAY is the best (and most consistent) album that Bowie has released since 1980's SCARY MONSTERS. This album feels like Bowie is comfortable with his own legacy; we see plenty of the trademark Bowie hallmarks here. I don't feel like there's any standout single like "Changes" or "Starman" or "Heroes," but this album makes up for it in its consistency. I would recommend this album to any fans of Bowie's, but I think that newcomers will find a lot here to enjoy as well. The fact that this album exists at all is a wonder, but the fact that it's a great one is more than I can ask for as a fan.

    Essential tracks to sample/listen: "The Next Day," "Valentine's Day," and "The Stars (Are Out Tonight)."

    Additional release information:
    THE NEXT DAY was also released in a deluxe edition. The deluxe edition of the album comes with three songs that do not appear on the full version. These songs are "So She," "Plan," and "I'll Take You There." Out of these three songs, one of them is an instrumental: "Plan" appears on the "The Stars (Are Out Tonight)" video as the opening minute and a half before the video begins proper. The remaining two tracks are good, but they don't quite compare to the other songs on THE NEXT DAY. I'd recommend this version for the Bowie fanatic, but it isn't essential listening.
    19 people found this helpful
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  • Reviewed in the United States on March 13, 2013
    Now that the novelty has worn off, am going to stand on your coffee table and tell you this is the best Bowie album since Scary Monsters. Dance around it but let's face it, Bowie's sucked over the last 30 years. Ok, there's been a decent to great single here and there but album-wise its been one bone crushing disappointment after another. It got to the point where I couldn't listen to his classic 70's stuff without it being a painful reminder of how low the star had fallen. If he was setting trends before, now he was chasing after them, from Industrial to Drum-n-Bass. The results shallow or at worse dull. But being an unrepentant Bowie addict, I'm a "rube" waiting to be "shilled".

    Despite the excitement of a new single in 10 years, "Where Are We Now" didn't blow me away and sounded very 80's in a " too much brass and fern" way. So was prepared to be let down once again, at best hoping for another Heathen (Bowie's most commendable since Let's Dance).

    Imagine my surprise when I was greeted with an opening track which sounded like like a cross between Scary Monsters & Lodger. "Dirty Boys" with its growling, sinister baritone sax recalled moments off side 2 of Heroes.

    The poppy but sinister "Valentine's Day" has the simplicity and catchy melody missing from much of his work since Let's Dance. While no where near as groundbreaking as anything off Low, "If You Can See Me" shows a restless sense of experimentation hasn't completely retired. "I'd Rather Be High" could be more self-satire than parody if it weren't set in a war zone. Regardless, its one of album's highlights.

    "You Feel So Lonely You Could Die" is one of the best ballads Bowie has cut in a long, long time. Gorgeous and inspiring, ending with a sly musical nod to "Five Years". One of many musical "in jokes" on here. "Heat" ends things on a very Scott Walker note. As for the bonus tracks, all 3 are indispensable. Especially "So She". And "I'll Take You There" ends it all on a more energetic note than the atmospheric "Heat". So there's no reason not to fall for the marketing ploy of the "Deluxe" version.

    Will confess, even "Where Are We Now" has grown on me after repeated listens. It has that slow burning quality that marks Bowie's most enduring work.But since taste is subjective, its unrealistic to expect every track to hold equal attraction. But there's no single moment that makes me wince, shrug, roll my eyes or sigh. Stuff I missed at first listen, now stands out. As Lennon once sang, this album plays like a Glass Onion. More you dig into it, the more you find.

    Bowie wisely keeps the tracks under the 5 minute mark, curtailing his past tendency to throw everything but the kitchen sink into the mix. The songs have warmth, depth and space. Dense enough in all the right places to reveal new things with each listen. Thank Tony Visconti, producer of much of Bowie's classic 70's work. If one misses Robert Fripp or Adrian Belew, guitarists David Torn and Earl Slick (Station To Station) more than make up for it.

    If you ask me this sounds like a Bowie album, as opposed to an album trying to "be" a "Bowie" album. And that's pretty much how I'd characterize his work since Scary Monsters. Sounds of being one's own boss again as opposed to going through the motions.

    Despite the joke on the cover, this is no Heroes or Station To Station. There's nothing groundbreaking here. Nor is it striving to be. The aim here isn't to conquer the world. Its to say hello to fans and try to give them a little what they've been asking for. After 10 years off, it also seems born of some inner artistic need. So take it from this seasoned, oft disappointed veteran, happy to report this one's well worth the wait. I'm finding it to be the kind of record I can play over & over and not get sick of. Thank you, David.
    11 people found this helpful
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Top reviews from other countries

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  • John O'Connor
    5.0 out of 5 stars Classic
    Reviewed in Australia on November 3, 2023
    Every track is a gem, one of his best albums.
  • JoeTheLion
    5.0 out of 5 stars WOW!
    Reviewed in Germany on March 8, 2013
    Eigentlich kann man es ja kaum in Worte fassen, wie unbeschreiblich schön das Gefühl ist, nach zehn langen Jahren endlich ein neues Bowie Album in den Händen halten zu können. Fast hätte man damit schon gar nicht mehr gerechnet.
    Und doch...
    Wie aus aus dem Nichts tauchte plötzlich am 8.1.2013, pünktlich zu David Bowies 66. Geburtstag, die neue Single "Where Are We Now?" als Video-Clip im Internet auf. Damit verbunden ein Relaunch der Web-Site und die Ankündigung eines neuen Albums für Anfang März mit sage und schreibe 17(!) neuen Songs. Und 12 weitere hat er noch in Reserve für ein nächstes Album. Eine Sensation!

    Ab jetzt hiess es nur mehr warten - warten - warten. Zwei Monate können so verdammt lang sein!
    Wie wird dieses neue Album wohl sein? Was hat sich musikalisch verändert in den letzten zehn Jahren? "Hours" (1999), "Heathen" (2002) und "Reality" (2003) sind sich ja irgendwie ähnlich - wird Bowie dort weitermachen? Oder wendet er sich wieder mehr der kommerziellen Richtung zu? (hoffentlich nicht!). Oder macht er ganz was anderes? Fragen über Fragen, doch nun ist die Zeit des angespannten Wartens Gott sei Dank vorbei!

    Was Bowie im Lauf der letzten zwei Jahre ausgetüftelt und mit Hilfe seines langjährigen Freundes und Produzenten Tony Visconti im New Yorker Studio "The Magic Shop" gezaubert hat, übertrifft selbst meine kühnsten Erwartungen.
    Mit "The Next Day" hat David Bowie zum einen ein intensives Werk von beeindruckender Dichte und kompositorischer Präzision geschaffen; zum anderen ist ihm damit ein grossartiges Comeback und ein festes Entree in eine neue Dekade gelungen.

    STIL:
    Stilistisch ist "The Next Day" vor allem eines: ein Rockalbum. Und was für eines. Mit viel Bowie in allen Variationen und reichlichem Einsatz von Gitarre, Bass und Schlagzeug. Voller Ecken und Kanten und einer Bandbreite an Songmaterial, das sich von tiefer Schönheit ("Heat") bis hin zu brachialer Unerbittlichkeit ("The Next Day") erstreckt, zeigt Bowie hier alle Facetten seiner Kunst.
    Gespickt mit Zitaten und Querverweisen zum eigenen Werk, verpackt mit viel Ironie und manchmal auch etwas Zynismus, verarbeitet und recycled Bowie hier Zutaten aus seinem reichlichen Fundus (Lodger/Tin Machine/Scary Monsters/Ziggy Stardust/Heroes) in völlig anderem Kontext zu etwas komplett Neuem. So entsteht der Eindruck, man kennt das von irgendwo, nur man kann nicht genau sagen, woher. Und trotz der Beimengung bekannter Bowie-Aphorismen entwickelt dieses Album, das anfangs vielleicht etwas spröde und sperrig klingen mag, nach mehrmaligem Hören seinen ganz eigenenständigen Charakter im Kopf des Zuhörers. Es ist als ganzes nicht direkt vergleichbar mit irgend einem seiner anderen Alben - es steht für sich selbst. Und es ist ganz weit entfernt von seiner kommerziellen Phase der 80er Jahre (Let's Dance/Tonight/Never Let Me Down). "Sucht man den klassischen Bowie, so wird man ihn auf diesem Album finden - sucht man den innovativen Bowie, so wird man ihn auf diesem Album ebenso finden" (Zitat: Tony Visconti - David Bowies "Stimme auf Erden").

    TEXT:
    Auf gewohnt hohem Niveau entwirft Bowie in seinen Texten verschiedene Muster über verzweifelte/gescheiterte Charaktere, die er mit Hilfe unterschiedlicher Stimm-Nuancierungen zum Leben erweckt. Er erzählt Geschichten, doch er lässt Lücken, um die Fantasien anzuregen; oft wirft er dem Zuhörer nur wenige Wort/Satz/Brocken hin, um diesem ein Maximum an freier Interpretation zu verschaffen. Er wühlt in der Historie - projeziert in die Gegenwart - kratzt an sozialkritischen Themen - nagt an Zwischenmenschlichem - reflektiert seine Vergangenheit und den eigenen Mythos in anderem Licht ("gleaming like blackened sunshine").

    MUSIK:
    Musikalisch wirkt dieses Album schlank und entschlackt, mit einem hohen Mass an Modernität. Stellenweise ungewohnt spartanisch instrumentiert, verzichtet Bowie hier auf diverse Soundspielereien. Der Einsatz von Synthesizern ist eher zurückhaltend. Unnötiger Ballast und Schnickschnack wurden über Bord geworfen; man beschränkt sich auf das Essentielle. Die Band spielt präzise auf den Punkt und präsentiert sich vom Sound her jung und dynamisch.
    Manchmal treten die Musiker auch ein paar Schritte in den Hintergrund, um Bowie den Vortritt zu lassen. Die Songs sind kurz gehalten, frei nach der Devise "in der Kürze liegt die Würze". Anders als z. B. bei "Earthling" (1997), wo die Songs zumeist eine Länge von fünf bis sechs Minuten aufweisen und wo Effekte bzw. Instrumentalpassagen eher grosszügig eingesetzt wurden, spielt hier Bowies Stimme eindeutig die Hauptrolle. "The Next Day" enthält ausschliesslich Original-Kompositionen, es gibt keine Cover Versionen. Glasklar in der Produktion und mit dem Visconti-typischen donnerndem Drum-Sound versehen, präsentiert sich dieses Album äusserst kompakt und homogen.

    BAND:
    Zum Kern der Band neben dem Meister selbst gehören im Prinzip lauter "alte" Bekannte: Gail Ann Dorsey (bass, backing vocals), Gerry Leonard (guitar) und an den Drums wechselweise Zachary Alford bzw. Sterling Cambell, der aber nur begrenzt zur Verfügung stand, da er anderweitige Verpflichtungen bei den B-52's hatte. Bowie übernahm die Keyboard/Sythesizer-Passagen und spielte bei einigen Tracks Akustik-Gitarre. Produzent Visconti widerum zupfte bei einigen Titeln den Bass. Zusätzlich beteiligt waren namhafte Musiker wie Earl Slick (guitar), David Torn (guitar effects), Tony Levin (bass), Steve Elson (sax) und Henry Hey (piano). Sogar ein Streich-Quartett wurde bei einigen Songs eingesetzt, um den Sound zu verfeinern. Auch King Crimson-Gitarrist Robert Fripp wurde eingeladen, ebenfalls mitzumachen, doch aus Termin-Gründen musste dieser leider absagen.

    SONGS:
    1. The Next Day
    Volle Power gleich zu Beginn. Rockig, rotzig, trotzig - mit mächtiger Stimme, dominanten/verzerrten Gitarren und satten Drums. Thematik: Vergänglichkeit. "Here I am, not quite dying/"My body left to rot in a hollow tree". Tin Machine lässt grüssen - ruft aber auch Erinnerungen wach an "Lodger" (1979) oder "Scary Monsters" (1980).

    2. Dirty Boys
    Ein zerklüftetes Stück Modern Jazz, das anmutet, als wäre es von Laurie Anderson - mit zitterndem Bass (Tony Levin), schroffem Bariton Sax (Steve Elson) und klirrend-kalten Gitarren (Gerry Leonard, Earl Slick). In einer Art Kaugummi-Gesang erzählt Bowie von einer Rocker-Bande, den "Dirty Boys", denen man sich nicht entziehen kann.

    3. The Stars (Are Out Tonight)
    Die zweite Single-Auskopplung. "We have a nice life" flüstert Tilda Swinton im dazugehörigen Video-Clip David leise ins Ohr. Damit bringt sie es auf den Punkt. Vermittelt wird das Bild des "heilen", biederen Lebens eines Ehepaares, das jäh gestört wird wird durch die Ankunft eines jungen, party-affinen Pärchens in der Nachbarschaft. Seltsam nur, dass eine der Protagonistinnen mit ihren roten Haaren aussieht wie David in seinen jungen Jahren zu seiner "Cracked Actor"-Zeit (1974). Ob das wohl ein Zufall ist? The Stars (Are Out Tonight) ist ein flottes Stück. Dezente Synths gepaart mit Strings und einem hintergründigen Bariton Sax schaffen eine bedrohliche Stimmung von aufkommendem Unbehagen. "Stars are never sleeping - the dead ones and the living". Wirkt ähnlich beschwörend wie "The Voyeur Of Utter Destruction" ("Outside", 1995).

    4. Love Is Lost
    Psychodelische Orgelklänge, stampfende Drums, Verzweiflung in der Stimme und echoverhallte Gitarren erzeugen ein hypnotisches, beklemmendes Feeling, ähnlich wie bei Alex Harvey's "Faith Healer". Kernaussage: "Alles ist neu, nur die Ängste sind die alten geblieben". Könnte von "Scary Monsters" (1980) sein.

    5. Where Are We Now?
    Mit schwebend leichter Melodie und dezenten Gitarren, aber textlich und von der Stimmlage her von tiefer Melancholie und Schwermut geprägt, erinnert sich Bowie an das Berlin der ausklingenden 70er Jahre, wie er es erlebt hat. Eine Ballade wie aus einer anderen, fernen Zeit. Und ein für dieses Album atypischer Song.

    6. Valentine’s Day
    Mit leicht süsslichem Gesang und den "sha-lal-la"-Chören aus dem Hintergrund versprüht "Valentine’s Day" pure Nostalgie. Allerdings geht es hier thematisch nicht um den 14.2., an dem man sich Blumen schenkt, sondern um einen Serienkiller namens Valentine. Earl Slick lässt die Gitarre jaulen in bester Mick Ronson-Manier. Gegen Ende des Songs liefern sich Slick und Bowie ein Duell "Gitarre vs. Stimme" - fast so schön wie bei "Moonage Daydream" ("Ziggy Stardust", 1972)

    7. If You Can See Me
    Hämmernde Sythies, gehetzter Gesang, hektische Drum & Bass-Rhythmen wie bei "Earthling" (1997), doch zum Unterschied, hier mit "echten" Instrumenten gespielt.

    8. I’d Rather Be High
    Ein Song zum Thema Krieg. Prägnante Drums, griffige Gitarren-Licks und helle, gezogene Vocals mit Beatles-Touch erzeugen zusammen mit dem Background-Chor ein gewisses Sixties Flair.

    9. Boss of Me
    Steve Elsons Bariton-Sax kommt erneut zum Einsatz. Verhaltene Orgel, die feine Bassarbeit von Tony Levin sowie die Background Vocals von Gail Ann Dorsey bilden den weiteren Boden, auf dem sich Bowie hier mit klagender Stimme bewegt: "Who'd have ever thought of it, who'd have dreamed" / "that a smalltown girl like you would be the boss of me".

    10. Dancing Out In Space
    Ein im Uptempo Rhythmus gehaltener Song mit leicht verzerrten Gitarrenklängen/Effekten, beigesteuert von David Torn. Erinnert an "Heathen" (2002).

    11. How Does the Grass Grow?
    Fängt an wie "Boys Keep Swinging", wird aber sofort beim Einsatz des Gesangs von Bowie in eine andere Richtung dirigiert. Eine bitterböse Western-Idylle voller Zynismen. Bowies helle, klagende Staccato-Vocals und die wiederkehrenden "Ya Ya Ya"-Chöre (entlehnt aus dem Shadows-Song "Apache") untermauern die düstere Grund-Stimmung. Deftige Gitarren-Parts im Stil von "Heroes" (1977) gegen Ende des Songs.

    12. (You Will) Set the World On Fire
    Ein sehr kraftvoller Titel, gesungen mit elegisch tiefer Stimme und begleitet von donnernden Drums, präzise in Szene gesetzt von Sterling Campbell. Mit Schweine-Gitarren (Earl Slick, Gerry Leonard) a la Tin Machine. Erinnert etwas an "Bang Bang" ("Never Let Me Down"; 1987)

    13. You Feel So Lonely You Could Die
    Eine Midtempo-Ballade in bedrohlicher Stimmlage, begleitet von akustischer Gitarre und Streichern. Passt stilistisch perfekt in die Ziggy Stardust-Phase. Das Drums-Outro ist wieder einmal ein Selbstzitat.

    14. Heat
    Das athmosphärisch düster fliessende, mit tiefer Stimme im Stil von Scott Walker gesungene "Heat" bildet den Ausklang des Albums. Untermalt von Bowies Akustik-Gitarre, Streichern und Gail Ann Dorseys virtuosem Fretless Bass-Spiel. Textlich kontrovers. "And i tell myself, i don't know who i am"/"I am the seer, but i am a liar".

    Bonus Tracks
    1. So She
    Ein federleichter, melancholischer Song mit dezenten Gitarrenklängen und verhaltenen Drums.

    2. I’ll Take You There
    Ein flotter, rockiger Track mit prägnantem Gitarren-Riff, den Bowie gemeinsam mit seinem Gitarristen Gerry Leonard geschrieben hat.

    3. Plan
    Ein Instrumentaltitel. Er enthält diese Passagen, die als Einleitung zum Clip "The Stars (Are Out Tonight)" verwendet wurden.

    Mit Absicht habe ich keine Bewertung der einzelnen Songs vorgenommen. Da muss sich schon jeder selbst durchhören und überraschen lassen - ich kann nur soviel sagen: Trotz einer Spieldauer von über 60 Minuten, vergehen diese sehr schnell. Das mag daran liegen, dass "The Next Day" ein äusserst kurzweiliges Album ist, auf dem es keinen schwachen Song gibt - und deshalb vergebe ich 5 Sterne!
    Report
  • Shibashis
    5.0 out of 5 stars Great album
    Reviewed in India on August 12, 2019
    Beautiful album, Bowie's protest album it could be said. Very pertinent work in relation to the world's socieo-ploitical climate today.
  • earthlingonfire
    5.0 out of 5 stars un retour inespéré et confondant
    Reviewed in France on March 4, 2013
    [Ante Scriptum : Itunes permet d'écouter l'album en entier jusqu'à sa sortie commerciale. Je l'ai écouté une dizaine de fois et ce commentaire porte bien sur ces écoutes.]
    Après Earthling (1997), il y avait deux façons possibles pour David Bowie d'assumer la réduction de ses ambitions artistiques sans tomber dans l'arrière-garde :
    La première consistait à rester au-delà du cadre habituel de la pop avec des rythmes, des harmonies et des textures recherchées mais moins sophistiquées que sur Black Tie White Noise, The Buddha of Suburbia, Outside et Earthling.
    L'autre était de rentrer dans un cadre pop plus délimité mais en le subvertissant de l'intérieur.
    Hélas, il a choisi une troisième voie, celle d'une pop conventionnelle qui, à mon goût, n'a donné qu'un résultat qui m'ait convaincu sans réserve : la chanson "Everyone Says Hi" sur Heathen (2002), 'hours...' (1999) et Reality (2003) restant de cuisantes déceptions que le temps passé ne m'a pas amené à réévaluer.
    Trois autres chansons du même album se situaient sur le premier créneau que j'ai mentionné et sont ce que Bowie a fait de mieux dans les quinze dernières années : "Sunday", "Heathen (The Rays)" et "5:15 The Angels Have Gone" (quelques tentatives dans le même sens sur Reality sont tombées à plat : "Looking for Water", "Bring Me the Disco King"). Le reste de Heathen nage dans des eaux tièdes, s'efforçant d'atteindre le même niveau sans parvenir à dissimuler l'absence de créativité ("Slip Away", "Slow Burn", "I Would Be Your Slave").
    Les 14 chansons de The Next Day explorent résolument l'autre voie, celle de la "pop with a twist", ce qui en fait l'album de David Bowie le plus consistant depuis 1997.
    Il y a dans The Next Day un dépouillement sans précédent dans l'oeuvre de Bowie, et qui confine plus d'une fois à l'arte povera. Il se confine dans des dimensions réduites (4 minutes maximum) qui empêchent le déploiement formel (assis en particulier sur la mélodie) caractéristiques de "Station to Station", "Word on a Wing", "Ashes to Ashes", "Absolute Beginners", "The Motel" et tant d'autres chefs-d'oeuvre. Pas question non plus de la richesse texturale de Station to Station, 'Heroes', Outside ou Earthling : il y a toujours peu d'instruments et les sonorités sont toujours crues (modifiées électroniquement, mais plus simples que subtiles), avec en particulier un son de batterie assez tonitruant où on entendra sans peine Tony Visconti tenter de recréer tout en l'actualisant celui qu'il avait créé pour Low. Pas davantage d'échappées instrumentales, pratiquement aucun solo. Et Mike Garson, le sorcier des distorsions harmoniques et rythmiques (mais dont l'art s'était singulièrement affadi entre 2002 et 2004), n'est pas de la partie, comme pour indiquer que l'album ne sort pas d'un cadre nettement délimité.
    Première impression : celle que chaque chanson existe parce que Bowie veut dire quelque chose, alors que sur Reality la seule motivation perceptible était d'écrire une chanson (ce qui veut dire, éventuellement, n'importe quelle chanson), d'où une sensation de nécessité (quelle énergie rythmique !), mais aussi de concision : la machine ne tourne jamais à vide mais uniquement jusqu'à ce qu'elle ait atteint son objectif.
    Et au fil des écoutes, comme avec chaque grand disque de Bowie, les impressions s'enrichissent, se complexifient - se déplacent aussi. Mais, cette fois, à partir d'un matériau très simple : Bowie a certainement réalisé une ambition qui remonte à loin (et se rattache à des auteurs tels que Beckett ou Ishiguro), celle d'un art aussi complexe dans ses effets qu'il est formellement raréfié.
    La référentialité est à la fois omniprésente, interne (à Low, à Scary Monsters, à "Rock'n'Roll Suicide", "Five Years" et "I Know It's Gonna Happen Someday" dans "You Feel So Lonely You Could Die", à "Starman" dans "Valentine's Day", aux rythmes étranglés d'"African Night Flight", "Look Back in Anger" et "Jump They Say" dans "If You Can See Me", au rock primitif de "Boys Keep Swinging" dans "The Next Day"...) et externe (Scott Walker de toute évidence dans "Heat", les Shadows dans "How Does the Grass Grow"...) et finalement trompeuse : que dit-elle au bout du compte ? N'est-elle pas plutôt le langage des chansons que leur sens ?
    Car qui chante "Here I am / Not quite dying / My body left to rot in a hollow tree" dans la première chanson (un genre de "rev-up" dont l'air de famille avec "Beauty and the Beast" fait écho à la pochette : à la fois 'Heroes' et pas 'Heroes') ? Un Bowie enterré prématurément, quelque dirigeant tombé en disgrâce ou le fantôme de Gloria Swanson ? Et quelles sont les différences ? Et qui demande « Where are we now » ? Un fan de Bowie et d'Iggy en pélerinage sur les lieux saints berlinois qui n'a pas compris que les lieux changent même quand ils n'ont ni bougé ni changé de nom ? Ou un malade d'Alzheimer qui se croit à la Dschungel alors qu'il est dans sa maison de retraite et se croit encore capable de prendre le train ? Qui chante "Valentine's Day" ? Un ami de Valentine ? Une de ses victimes ? Valentine lui-même (c'est mon hypothèse) ? Et ainsi de suite : Bowie reste maître dans l'art des voix énigmatiques.
    The Next Day est, de loin, l'album le plus sombre et le moins amical de David Bowie : les chansons ont des sujets tragiques ("The Next Day", "Valentine's Day", "Heat"), ou bien elles expriment des sentiments négatifs ("Boss of Me", "You Feel So Lonely"), la musique n'est jamais agréable à écouter (laideur sonore, rabougrissement mélodique et rythmique) : il n'offre aucune consolation, aucune empathie. Et en ne s'exprimant pas, Bowie nous laisse seul face à cette noirceur : il ne nous donne aucune parole que nous pourrions utiliser pour relier ce disque sinistre à une vision "positive", apaisante, du "vrai" David Bowie. Ceci est sans précédent dans sa carrière.
    Pas de conclusion à ce commentaire : la fréquentation de ce disque est un processus à long terme qui ne fait que commencer.
    Mais déjà une évidence confondante : c'est le meilleur Bowie, à la fois lui-même et nouveau, qui est revenu.
  • Manuel Grosso Galvan
    5.0 out of 5 stars VUELVE EL MEJOR DAVID BOWIE
    Reviewed in Spain on March 14, 2013
    Tras diez años vuelve Bowie, un Bowie en la mejor forma. Es significativa su portada que utiliza de fondo la de su maravilloso "Heroes", es toda una declaración de principios. Hay un retorno al Bowie de "Scary Monster',"The lodger" o al mismísimo "Heroes". Su sonido es claro limpio y directo, lejano a cualquier experimentación, buenisimas canciones y unos musicos de excepción. La produccion perfecta de Visconti, responsable de su primera época. Es un disco redondo, con un arranque arrollador y con alguna que otra canción que sobraba en el contexto. Despues de diez años sin grabaciones ha decidido ir a por todas y lo ha conseguido. No es un disco retro, es Bowie hoy en su total plenitud. Bienvenido a casa.
    La edicion de luxe incluye tres canciones mas por lo que merece la pena. Una gozada de disco, no aporta nada a lo ya realizado, pero recupera lo mejor de su dilatada carrera. Muy recomendable aunque yo hubiera arriesgado mas y me sobra algunas baladitas, pero en conjunto un espléndido disco de Bowie.