Bests & Worsts Reviews from Amazon

EDIT. A re-appraisal, after a few years: Music takes time to absorb and appreciate, and our opinions often change over the years. I must admit that my initial review of The Next Day was a little soft on criticism, perhaps because I was so excited about Bowie's return to music after 10 years of silence. Some of its praise still stands. These are some of Bowie's strongest lyrics: layered, literary, and yet evoking a passion that we hadn't heard in so long. Similarly, it's great to hear his devilish side again. Attempts to be tasteful so often yield bland results, so kudos to Bowie for getting a bit indulgent and theatrical. Some of the tracks on here rival the best moments of Outside. However, the ambitions of the album are undercut by formulaic song arrangements, lackluster production, and general glut. The album is too long, unfocused, and quite conservative despite its occasional referencing of old avant garde Bowie. I hate to speak ill of Tony Visconti, but the album would sound markedly better in the hands of another producer---and with some other musicians. In short, there are great ideas here, but also a need to get out of old habits and comfort zones. In truth, The Next Day is not all that far in sound from Bowie's last two albums---Heathen and Reality---yet it connects the sound of those albums to darker classics like The Idiot, Heroes, and Scary Monsters. If Heathen was a contemporary review of 60s pop Bowie, and Reality was a tasteful rumination of 80's rock Bowie, The Next Day is (mostly) a curator's take on Art Rock Bowie. Hopefully he makes more music in the future, but this (and the wonderful Sue/Tis a Pity release) nevertheless make for a great last testament to a beloved musician. ************ Here's a song-by-song breakdown: The Next Day: The album kicks off with a taut, sneering rocker. Like "Beauty & the Beast" meets "New Killer Star," but with a fantastically acrid vocal turn by Bowie, sometimes similar to his maniacal verses in "The Supermen." Supposedly about a dying dictator, this is our long sleeping Giant reclaiming his throne in a brilliantly haughty fashion. Dirty Boys: Like strip music for William Burroughs' mugwumps, this is sleazy, tense, off-kilter funk. Not far from what he made on Iggy Pop's The Idiot or Lodger, but this has a gleefully nasty attitude that stands apart from those works. Unfortunately, the song is kept from true greatness by flat production by Visconti. The Stars (Are Out Tonight): An underwhelming single, but it works well in the flow of the album. It's an accessible rocker with a hummable melody and tasteful string arrangement, yet "Stars" continues Bowie's defiantly bitter exegesis of contemporary life, here focusing on celebrity culture (something he appreciates and loathes in equal measure). It's fairly basic in structure, but the song is energetic and fun, and nicely carries the momentum. Love is Lost: Extremely tense minimalist rocker, somewhat akin to Wire, or maybe Gang of Four. Upbeat yet hypnotic, this is another highlight. Love the slashes of guitar throughout. Where Are We Now?: I was scared about the prospect of TND after hearing "Where Are We Now," but I it's now clear that Bowie's cracked, defeated voice here is simply one of several voices on the album. The song provides some much needed space after the claustrophobic opening tracks. It's the lone moment of plaintive, graceful beauty here, and as such is quite welcome. Valentine's Day: On the surface it's a breezy pop nugget, like the guitar-rock brother of "Everyone Says Hi.". It has a silly chorus that's quite fun to chant. Were it not for the lyrics about a man's murderous rampage, "Valentine's Day" would feel out of place on this album. As it stands, this impish number fits right in. If You Can See Me: Bowie tries his hand at prog rock pomposity. Like a sequel to "Look Back in Anger," as performed by Henry Cow or Magma. But not as satisfying as that might sound. It's a bold idea, not fully baked. I'd Rather Be High: Musically, this is achingly dull: basic midtempo rock, vaguely recalling some distant ideal of the 1960's. Lyrically, though, it's brilliant. Boss of Me: Revisiting some of his arena rock tendencies of the late 80's leads to the worst track on the album. Dancing out in Space: Things pick up again here. Spacy washes of guitar meet a stark nervy beat, like a Krautrock cousin to the earlier "If You Can See Me." If "Boys Keep Swinging" were played by Neu!, it might sound something like this. How Does the Grass Grow: A wiry sequel to the opening track. This shares a rhythm with the vocal intro to Bowie's cover of "Pablo Picasso," but has a playful menace similar to the upbeat tracks on "Heroes." It's ecstatic and terrifying at the same time. You Will Set the World on Fire: Another arena rock anthem, this one with a Kinks-esque riff. This song will not set the world on fire. You Feel So Lonely You Could Die: An anthem dripping with drama, a taste of the old Bowie majesty. Aside from the nods to Ziggy-era songs such as "Rock `n' Roll Suicide" and "Five Years," this almost sounds like something Leonard Cohen would write, cruel doo-wop backing vocals and all. Even here though, Bowie is not in a generous mood when it comes to prettiness. As grand as it is, the song is starkly arranged and feels quite frantic. All the better to jeer at you and your misery, my dear... Heat: Immediately reminiscent of the Walker Brother's "The Electrician" and Scott Walker's "Jesse," but gives way to a more expansive and meditative feel, though still full of intense pathos. Walker has long been an important muse for Bowie, but here it almost feels like a full-on homage to his style, lyrics and all. Makes for a great closing track. ***************** DELUXE EDITION: Atomica: A fine little new wave rocker, though slight. The guitar riff recalls "My Sharona" by The Knack, and "I Feel Much Better" by The Small Faces. Like a few songs on TND, Bowie's vocal delivery is manic and tense, recalling earlier songs like "Beauty and the Beast." Love is Lost (Hello Steve Reich Mix): James Murphy aka LCD Soundsystem remixes a track from the original album, and it's pretty good. Retaining the tension of the original, but giving it more of a groove. The splicing in of a classic Bowie melody halfway through the track is a welcome touch. Plan: A catchy instrumental, though it feels like the skeleton of what could have been a more fully fleshed-out song. In fact, maybe it was (see next). Informer: The drums of the previously released bonus track "Plan" are used here for a more proper rock ballad. I hear snatches of "I Dig Everything" in the verses, and a touch of "Absolute Beginners" in the arrangements. Still, it has that clipped, anxious vocal delivery that's all over TND. While it would fit reasonably well on the album, it wouldn't be an album highlight. I'd Rather Be High (Venetian Mix): It's basically just the original track with harpsichord parts running throughout. It robs the song of its '60s motif, and makes for a distracting listen. Like a Rocket Man: A devilishly bouncy number detailing the lives of folks strung out on coke and speed. Musically similar to "So She," but more of an overt pop song than that modest charmer. It's actually closer in spirit to Valentine's Day and How Does the Grass Grow, all of them being batty pop ditties with surprisingly sinister undertones. This is the strongest of the newest tracks in my opinion, and would have made TND even stronger. Born in a UFO: Take the chorus of Born in the USA and graft it onto Bowie's tepid cover of Like a Rolling Stone (on Mick Ronson's album), and you get fairly close to this dud. Could have used a little more time in the oven. I'll Take You There: This previously released bonus track is a fun rocking anthem, very close in sound and approach to You Will Set the World on Fire. I much prefer this one though! God Bless the Girl: An uncanny fusion of "Like a Prayer" and "Magic Dance" that somehow still manages to sound urgent and moving, perfectly in keeping with TND. I wasn't sure about what to think of it at first, but now I think it's one of his best songs of this era. So She: Previously released extra, pleasant but not much else. Definitely sounds like a B-Side, albeit an enjoyable one.