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The Next Day
 
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The Next Day

11 Mar. 2013 | Format: MP3

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3:26
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2:58
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3:57
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3:57
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4:09
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3:02
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3:12
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3:44
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3:21
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4:34
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3:32
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4:37
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4:25
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Product details

  • Original Release Date: 8 Mar. 2013
  • Release Date: 11 Mar. 2013
  • Label: Columbia
  • Record Company Required Metadata: Music file metadata contains unique purchase identifier. Learn more.
  • Total Length: 53:03
  • Genres:
  • ASIN: B00BOU45J2
  • Average Customer Review: 4.4 out of 5 stars  See all reviews (605 customer reviews)
  • Amazon Bestsellers Rank: 1,147 in Albums (See Top 100 in Albums)

Customer Reviews

4.4 out of 5 stars

Most Helpful Customer Reviews

2 of 2 people found the following review helpful By Luke Edwards on 7 April 2014
Format: Audio CD
Pop’s greatest chameleon and now-visibly grizzled OAP David Bowie returned out of the blue this year with The Next Day, his first new album in ten years. When the lead single ‘Where Are We Now?’ first dropped – a song that found Bowie reminiscing on his time in Berlin in the late-‘70s – it had people wondering whether The Next Day might be his most nostalgic and autobiographical LP to date, but such musings were unwarranted.

With lyrics remaining puzzlingly aloof, The Next Day is a surprisingly solid comeback for Bowie, attempting to dig deep into his musical legacy to see if there’s any gems left in the mine. As it happens, there are plenty – ‘Valentine’s Day’ not only finds Bowie re-utilising his mid-70s Ziggy Stardust voice but also addressing contemporary social issues (the 2008 Northern Illinois University shooting) and the dark and jagged post-punk monotony of ‘Love Is Lost’ has lyrics equating ‘the voice of youth’ with ‘the hour of dread’.

Elsewhere, ‘Dirty Boys’ treads the same Weill/Brecht-ian ground as Aladdin Sane and ‘Boss of Me’ has the sort of glam rock stomp we’ve been longing to hear since the Diamond Dogs started barking at us. ‘The Stars (Are Out Tonight)’ finds Bowie musing on the nature of celebrity and fame with an apparent attack on those ‘soaking up our primitive world’ from ‘behind their tinted window shades’ and Bowie’s past fixation with agnosticism appears to have grown atheistic fangs if the irreligious opener ‘The Next Day’ is anything to go by.

There are low points, however.
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2 of 2 people found the following review helpful By David Cobbin on 25 Jun. 2013
Format: Audio CD
It was lovely to hear that David Bowie would soon be releasing his first album in 10 years. But would it live up to the hype? The answer is yes. He has returned to the music world with an album he can be proud to call his own. The usual phrase for a new Bowie album is 'his best since Scary Monsters' which has actually become a tiring and lazy observation in my opinion. The sound on 'The Next Day' isn't dissimilar to that of 'Heathen' or 'Reality' which has been subject to some criticism, but I think Bowie has developed that sound further and made the songs more memorable. Inevitably his releases are always going to compared to his golden era which in some ways is unfair since that was 4 decades ago. He's never going to make another 'Ziggy Stardust' and why should he? Bowie is the master of reinvention and has proven time and time again that he can adapt to new trends effortlessly.

Now to the songs themselves. There are some really memorable moments throughout the album such as 'Where Are We Now?' 'Valentine's Day' and the haunting closer 'Heat'. The songs on here are mainly mid-tempo rock songs with the odd few breaking this rule. I've read some reviews that the album is badly mixed with his voice being swamped beneath the music. I would only apply this to a couple of songs where his voice isn't the focal point but unless you're an audiophile it's not going to be so blatant that it will affect your listen. The lyrics are classic Bowie with him observing and critiquing the world we live in. Some of the songs towards the end get a little lost on the first couple of listens but become more familiar later. That is what I'd say of the album - it will grow on you rather than entice you immediately.
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111 of 125 people found the following review helpful By freewheeling frankie TOP 500 REVIEWERVINE VOICE on 15 Mar. 2013
Format: Audio CD Verified Purchase
Well I'll admit, the genius marketing scam of issuing "Where Are We Now?" out of the blue with no warning at all certainly worked on me. I've got Bowie's last few albums, and they all have their moments, but I didn't buy any of them when they came out and perhaps partly because of that, I've never made the effort to really get to know them. I was mostly content to listen to his golden decade of albums from The Man Who Sold The World to Scary Monsters. But the cleverly orchestrated comeback got my full attention for the first time in decades so I had to hear this a.s.a.p.

So I've fallen for the hype, how am I feeling now that I've listened to the thing a few times?

Well, not conned, that's for sure. It's not particularly strong on melody - though melodically it certainly sounds like a Bowie record and it's far from tuneless. But it's very strong on both arrangements and lyrics - the latter in my experience being the first faculty ageing rock stars tend to lose. Even the less interesting songs, and there are two or three that let the side down a bit, make an interesting noise. And there's a pretty wide variety of styles, though there's little here that wouldn't have fitted in pretty well on Lodger, for instance, though parts of it are a lot rockier than most of that album.

I can't think of another rock artist who's come up with work of this quality at such an advanced age - by any standards this is a very good album - the songs are interesting, powerful, some of the lyrics are quite disturbing, nearly all of them are thought-provoking at least; the playing and arrangements are superb, Bowie's vocals are in good shape.
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