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Next Day Import

4.5 out of 5 stars 673 customer reviews

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Product details

  • Audio CD (5 Dec. 2014)
  • Number of Discs: 1
  • Format: Import
  • Label: Import
  • ASIN: B00AYZLBN6
  • Other Editions: Audio CD  |  Vinyl  |  MP3 Download
  • Average Customer Review: 4.5 out of 5 stars  See all reviews (673 customer reviews)
  • Amazon Bestsellers Rank: 295,817 in Music (See Top 100 in Music)
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Customer Reviews

Top Customer Reviews

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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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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Format: Audio CD Verified Purchase
Having read a couple of the lower score reviews on here by people who have perhaps naively purchased this album expecting Bowie to be reincarnating Ziggy Stardust, I have felt compelled to point out to anyone who has their doubts about this one, should dispel these straight away. An absolutely terrific body of work, which deserves to judged on its own merits, rather than constantly refering back to albums Bowie made some 40 years ago. People have been saying this album mirrors much of his past work, and whilst there are ofcourse some echoes of this, I personally cannot think of any of his albums, which are quite like this one.

The true strength in this album for me, is the pure variety. An interesting placing and arranging of songs and styles contrasting with one another, providing a very fulfilling listen. That said there certainly are some outstanding songs within this album. The opening title track being one of the most punchy, intentive and driving rock songs to open any of his albums; this followed up with the funk guitar 'Dirty boys'. 'Love is lost', an excellent keyboard led piece and 'I'd rather be high' for me also amongst the highlights. In terms of creativity and variation in an album, this one ranks very high, indeed it could be the most creative album in his catalogue to date.

Throughout this year this album has been played inumerable times, and now just hoping that there will be more albums of simillar excellent quality to this.
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By Sid Nuncius #1 HALL OF FAMETOP 50 REVIEWER on 2 Mar. 2013
Format: Audio CD
This is a very good David Bowie album, in my view. It's a great relief to say it, because when some of the gods of my youth have returned in...well...late middle age after a long absence the results have not always been very good, to say the least. Here, Bowie shows that he is still a major songwriting and performing talent and that he still has a genuine edge.

We have had a little time now to digest the track Where Are We Now? and to assess its true merit now that the "Blimey!" factor following its surprise release has worn off a bit. I still think that it's a very good song indeed. I did worry that some of the fragile, almost-out-of-tune vocal wasn't a deliberate effect but the voice of a man who can't quite sing as he used to, but - thank heavens - I was quite wrong. It is followed on the album by Valentine's Day, a track which wouldn't have been out of place on Aladdin Sane and which Bowie sings superbly, and there's plenty of other evidence here that he's still got it.

The songs seem to me to be vintage Bowie. There is the full gamut from singable, rocky tunes like Valentine's Day, through lovely tender songs like Where Are We Now? to the almost tuneless and weird-rhythmed If You Can See Me, with plenty in between. He certainly hasn't settled into a comfortable rut in middle age - If You Can See Me has joined my list of Almost Unlistenable Bowie Tracks and I'm delighted to see that he is still prepared to challenge and unsettle his audience even if personally I don't like the result.

The lyrics, of course, are complex, allusive and often elusive.
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