This is the first Bowie album I have bought in years. Not because of dislike for anything that Bowie was releasing, but because life happened and forced me to be more selective about what I bought. This is also the first album released after the seventies, that isn't a best of package, that I've bought. There are a few albums from the nineties that peaked my interest I wouldn't mind checking out, but I figured since this was brand new I'd grab it.
I am really glad that I did. It's like taking the best parts of all of David Bowie's phases and mixing them into one great album. An album that is totally worth buying.
The song The Next Day kicks of the album with a bounce in the musical step, and a little extra boogie for good measure. The title track is a prime example of what makes Bowie so enjoyable, after forty- some-odd years. While the tone can be compared to other earlier albums by this artistic mastermind, it's still it's own piece of audio dessert for the mind.
After that comes Dirty Boys which is a cool contrast to the lead off song. This one has a different sound all together. The music is slinky, a little creepy, and has a much darker edge. I really love the vibe set by the guitar, but it's the sax that really drives this song home.
The Stars (Are Out Tonight) is a positive and uplifting number. I know that lyrically it could be conceived as a somewhat sadder song, and I would allow for those arguments. "Stars are never sleeping / Dead ones and the living / We live closer to the earth / Never to the heavens / The stars are never far away / Stars are out tonight / They watch us from behind their shades / Brigitte, Jack and Kate and Brad / From behind their tinted window stretch / Gleaming like blackened sunshine / Stars are never sleeping / Dead ones and the living / Waiting for the first move / Satyrs and their child wives / Waiting for the last move / Soaking up our primitive world / Stars are never sleeping / Dead ones and the living / Their jealousy's spilling down / The stars must stick together / We will never be rid of these stars / But I hope they live forever / And they know just what we do / That we toss and turn at night / They're waiting to make their moves / But the stars are out tonight / Here they are upon the stairs / Sexless and unaroused / They are the stars, they're dying for you / But I hope they live forever / They burn you with their radiant smiles / Trap you with their beautiful eyes / They're broke and shamed or drunk or scared / But I hope they live forever / Their jealousy's spilling down / The stars must stick together / We will never be rid of these stars / But I hope they live forever / And they know just what we do / That we toss and turn at night / They're waiting to make their moves on us / The stars are out tonight / The stars are out tonight / The stars are out tonight " It's just one of those songs that's well written that way.
Love Is Lost is one of those songs that reminds me that it's important to let the music flow and just envelop the song. It's more than just lyrics. Which I find happens too much now a days. The worst part is that many of the lyrics now a days are just the same dribble over and over, without the music to back it up. This song has both the music and the lyrics. "It's the darkest hour, you're 22 / The voice of youth, the hour of dread / It's the darkest hour, and your voice is new / Love is lost, and lost is love / Your country's new, your friends are new / Your house, and even your eyes are new / Your maid is new, and your accent, too / But your fear is as old as the world / Say goodbye to the thrills of life / When love was good, when love was bad / Wave goodbye to the life without pain / Say hello, your beautiful girl / Say hello to the greater men / Tell them your secrets they're like the grave / Oh what you have done, oh what you have done / Love is lost, lost is love / You know so much, it's making me cry / You refuse to talk, but you think like mad / You've cut out your zone and the things have fold / Oh what have you done, oh what have you done / Oh what have you done, oh what have you done".
Where Are We Now? was the first track I heard from this CD. I saw the video in my facebook feed and instantly fell in love. There's just such a sweet and beautifully romantic feel, that only Bowie can deliver. I mean this is one of those songs that will be on my Mp3 player, so I can close my eyes and imagine slow dancing with a certain Editor much like I do with Life On Mars?
Valentine's Day doesn't sound like one might expect, with a title like that. I'm not entirely sure how I feel about this song. Musically, it's a bit typical of the more token Bowie classics. This song is more about the lyrics, and the story that Bowie is telling about the person Valentine.
Every album has to have that one song that only the hardest of hardcore fans would defend. If You Can See Me is completely insane, true experimental madness, full of artistic expression, that gets annoying as hell after a bit. This is one of those songs I'd skip if near the remote or CD player itself, but I'm willing to bet one of the four people in my house will like it. One thing you notice by I'd Rather Be High is that none of the songs sound the same. I mean sure the production gives a similar vibe to the upbeat songs, but if you are paying attention to the music, it is constantly unique. I love that Bowie didn't just release some stock album, but that he took the time to actually release a new album with new material.
That being said I find Boss Of Me a bit stockish at this point in the album, but still really interesting. It's the production tone I mentioned in the last paragraph that I'm talking about here. Musically, it's different from the rest of the album, but it contains a structure and formula mixed with the sound that makes it blend a bit. On the other hand it could just be that I think it's stock sounding, because compared to many of the other tracks this one doesn't contain the same flair or spark of interest.
So next up, I read the title Dancing out In Space, and boy that was not what I expected. I was thinking maybe something a little more cosmic sounding. Let's be honest I was envisioning Space Oddity or something along those lines. Instead I get a basic little Rock number that's fun and enjoyable. Sadly, nothing overly interesting though.
How Does The Grass Grow is really interesting. It sort of reminds me of The Muppet Show, but at the same time I can see Bowie up in a big lofty attic, banging this one out with the ghosts of his past. Banging is a good word to when you listen to the way everything is played, eventhough it's played well. Then there's the change over, and all of a sudden it's almost a whole new song. Let me put it this way, this song may have been from the mysterious Labrynth II. (Just so we are clear that's a not a real thing to my knowledge.)
(You Will) Set The World On Fire is one of those songs that reminds you that if Bowie wants to get loud and heavy he can. I mean he let's the instrument just rip it out and give it hard, while pulling the thunder back in the chorus, it's explosive and beautiful. I totally love this song, not as much as the previous track on the whole, but just as much in a different style context. If I were currently playing in a band, doing the local bar scene, I'd be adding this to the set list post haste.
You Feel So Lonely You Could Die slows down the album drastically. I'm not overly fond of this track. It's okay, but a bit basic. I think the biggest problem this song suffers from is coming right after such a kickin' track as the last couple of songs. Heat closes the official album. This song has a natural ambience that makes it sound like a couple of other tracks from this album, but in a good way. It makes it a fantastic finish to the album. Not through being a great musical masterpiece, but by a song that sort of sums up the album for the closing.
Being the person that I am, given the choice between an album with or without bonus tracks, I opted for the copy with the bonus tracks. I'm glad I did, but I see why these songs didn't make the official album.
I don't pay much attention to So She. It's a bit Beatles, and that's totally cool, but it doesn't really grab me.
Plan has me taking some notice, mainly because it's an instrumental piece. It's not an over the top orchestrated piece, just a simple song that would make for a great break between songs. A music scape to set the mood.
I'll Take You There is the last of the bonus tracks, and it's a great upbeat close to the entire album. As fun as this song is, it would have sounded too repetitive on the official album. It's sort of like The Next Day and (You Will) Set The World On Fire mixed up into one. If it were not a bonus track and part of the official album I'd possibly rate the album a little lower. As it goes with this album, I am impressed. I find it interesting the approach taken by David Bowie and Tony Visconti in the production. The sound reminds me of early to mid eighties Bowie, but musically this album is far superior to anything being released back then. The music is a very important part of this album, and that should not be taken lightly.
If you like David Bowie you need to own this album. If you like good, well written, and brilliantly arranged music, then you should also get this album.
8/10 - content
7/10 - production
8/10 - personal bias
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