Wednesday, March 13, 2013

Well it's been a decade!

Long time coming, Dame Bowie has released a new album. Yes, after ten long years of seeing him out of the record limelight and only helping his friends, he has brought us one for the vaults.

The Next Day,
a juxtaposition of rock music at it's disjointed best, and Heroes distant cousin's cover album. No, it's not a cover, meaning it's another PinUps. It's the actual "Heroes" album art, but confused.

Diving head on in the tracks last night, and all day today, I'm finding this neo db is a bit weird. Starting with the title track, The Next Day, David has put himself smack into his Thin White Duke phase. All the talk about the Devil and life, seems a bit like he's back chasing that white flame.

Track two, The Dirty Boys, all said and done, is a more grown up version of the 1966 "London Boys". It's sleazy, it's gritty, it gets the job done when no one else will touch it.

Track three, The Stars (Are Out Tonight), is a hard fact name check'ed list of the lives of celebrities viewed by the absolute perviest paparazzi. Underlying track sounds like "Looking For Water" on reverb.

Track four, Love Is Lost, again, a nitty and gritty undertaking. Diamond Dogs' Halloween Jack meets Tin Machine-esque dirt. Back when grunge was hanging on by a thread and alt rock was trying to work its way to the fore front.

Track five, Where Are We Now, the first push out of the real world for this song. First single aired that goes viral. Its one of those spiritual karmic questions remembering the good old days and not trusting or believing it happened. Like previous Bowie work, he must have a self ponderer track. This is it. Name checks every where he was in the 70s during the Berlin Trilogy.

Track six, Valentine's Day, is a lovely addition to trying to be sappy. It kicks fast and furious and tries to be hip. Like the late 1960s music he recorded and pushed too far out of the minds eye when Ziggy came along.

Track seven, If You Can See Me, kicks off with a wonderful Gail Ann Dorsey's wail and a mid to late 90s punch of techno bass. Lyrical stylings of dress wearing is neo 80s with a touch of Boys Keep Swinging, for sure.

Track eight, I'd Rather Be High, just plays with my head. It's trippy. It's funky. I dig it. BUT... I soooo want to say this is a rip and homage to the The Beatles  Strawberry Fields Forever, but am afraid of getting my ass whooped (I love me some George Harrison, but still....). It's all I can think of in the chorus. I'm sorry. Search this out.You won't disagree.

Track nine, Boss of Me, is a complete dead end for me. I can't say anything for this because it's just okay.

Track ten, Dancing Out In Space, with its foot stomping groove. All it does is flatline though. It's a steady stream of nod your head, bop along. Honestly, some cheesily animated 80s cartoon would suit this track. Hell, maybe something a la 1975.

Track eleven, How Does The Grass Grow, if db can relinquish a 60s boy band, this is the song to submit to the A&R team. There's a pop aspect to it, that I know I've heard before. Like track eight, he copped a bit of the chorus from somewhere... I honestly can't put my finger on it, however.

Track twelve, (You Will) Set The World On Fire, another 90s rock anthem. Meet me near Wembley and we'll talk. This suits a soundtrack more than it suits an album. Also another submission to Tin Machine.

Track thirteen, You Feel So Lonely You Could Die, great way to sum up an Elvis tune? Sure, they share a birthday, but it is no where near the hip shaker. It has a 1950s smoothness to it, in a way. It's still rock, but it's got a glide to it. Sappy at times, as well. Would suit well on Heathen as a bonus track.

Track fourteen, Heat, ominous beginning, film noir type of shadiness. Although, first film I'd love to see this in, is Double Indemnity for some reason.

Track fifteen thru seventeen are bonus tracks. So She, at number fifteen, is yet another poppy sound recording. Recovering a lost 1960s youth, are we Dave? Plan at number sixteen, is an instrumental. Much more Tin Machine written too late for Low. And finally, I'll Take You There, number seventeen, sounds like it belongs to a 70s group, but in no way is it that deserving. In a matter of two minutes and forty one seconds, it goes by quickly. I do feel like it's found its origins in his cut up method. He just stuck a fast guitar lick under it. It almost belongs on Reality

All in all, I'm on the fence about this album. I bought my deluxe edition, as well as vinyl LP. I'm not regretting my purchase. I support David Bowie in legal ways. I think that this album will need some adjusting to. Maybe others might think the same, who knows. But for right now, I would be hesitant to recommend the full album, but if you can download some of the tracks as singles on iTunes, do it. I promise as individual tracks, they are not disappointing. But as a whole album, let me get used to it.

Please take a listen to the tracks... tell me YOUR review! I'll post your comment!