6. The Man Who Sold The World

man who sold the world orig cover

The Man Who Sold The World is David Bowie’s 3rd studio album, originally released on 4th November 1970.

By 1970, things were beginning to finally look promising for the 23 year old Bowie. After 5 years of struggle with flop after commercial flop, Bowie finally had the hit he was so desperate to achieve with the “Space Oddity” single the previous year. Although the parent “David Bowie” album had disappointing sales and failed to chart, Bowie had one more album to deliver in his contract with the Mercury label.

Only Tony Visconti in the producer’s chair (and bass guitar) remained from the previous album. The recording sessions which took place predominantly at Trident Studios between April-May 1970 introduced two new session musicians who would prove to be incredibly important in the coming years.

On drums, Bowie recruited the brilliant Mick “Woody” Woodmansey who would become one of the future “Spiders From Mars“. From Hull in Yorkshire, Woody would provide Bowie with a drummer who was both technically excellent and had the energy and drive in really rock it both in the studio and in live performances.

But the big recruit was Woody’s friend from Hull and soon to be fellow “Spider From Mars“, Mick “Ronno” Ronson on guitar who would prove to be Bowie’s right-hand man during the up-coming Ziggy Stardust years. Not only was Ronson a brilliant guitarist and live performer (who Bowie would later describe as his Jeff Beck), but also importantly a wonderful arranger, who would help transform some of Bowie’s songs into something truly magical (think “Life on Mars” as a perfect example). Ronson would turn out to be a perfect foil for Bowie and this album marks the start of their amazing collaboration.

Adding another layer to the overall sound was Ralph Mace on the Moog Synthesizer, the 40 year old head of the classic music department at Mercury Records. His work on tracks such as “All The Madmen” gave them a extra, futuristic dimension that would become a trademark on Bowie’s future work. Ralph would only ever work with Bowie on this album, but just image the stories he could tell his grandchildren…

Having recently got married to Angie Bowie (nee Barnett), Bowie was a little distracted by his new love and to the frustration of those involved in the project, would spend more time smooching on the studio couch than work on recording the album and writing the damn lyrics. That said, what an amazing set of lyrics he came up with in the end.

With dark themes that include the occult, demonic monsters, deranged madmen, possessed children, snipers taking pot shots at civilians, super computers gone wrong and the end of humanity, the accompanying music is just as dark and “heavy”. The album features possibly Bowie hardest rock sound (verging on “heavy metal”) on any album (including the “Tin Machines” albums), with Ronson, Woody and Visconti on bass sounding collectively like a freaked out version of Led Zeppelin, with a sound and vibe just as heavy as anything found on their first 3 albums.

The album opens with the truly epic “The Width Of A Circle“. The song begins with Bowie’s acoustic and Ronson’s electric guitars starting the catchy main riff before the rhythm sections kicks in and kicks in hard. The first half touches on themes of schizophrenia and madness as Bowie meets a second self who in turn considers himself a god-like figure. With further references to “Kahlil Gibran” (famous for his books “The Madmen” and “The Prophet“) and homosexual erotic encounters, Bowie sings with a new found strut and naked, high pitched “Englishness” that would become is vocal style throughout his glam rock years. The quieter, slower tempo middle section features a wonderful Ronson solo before the last section rocks it back up again, this time with disturbing imagery of a sexual encounter with a devil-like figure who takes his body, mind and soul into the pits of hell. It’s one of the most powerful of tracks in the entire Bowie cannon and an early Bowie classic. Performed live throughout his entire glam period, including the “Diamond Dogs” tour, the track would often be substantially extended past it original 8 minute length to give the band the opportunity to rock it out and more importantly, time for Bowie to change costumes.

Two special versions of this track are worth noting. The first is found on the superb “Bowie At The Beeb” album, which features a very early version of the song with the first ever performance by Bowie with Ronson (who Bowie had only just met a few days previously) on The Sunday Show with John Peel. The second is fantastic live version from the equally superb “Live Santa Monica ’72” album. Both are well worth checking out.

bowie at the beeb

We have a couple of seconds to catch our breath before the acoustic guitar intro to the remarkable “All The Madmen” moves from speaker to speaker. Based in large part on his half-brother Terry Burns who was currently housed at the Cane Hill mental hospital and who had been suffering from schizophrenia for quite some time, the song tells of a horrifying alternate reality where the madmen run around freely while it’s the sane who are kept imprisoned. The first verse starts slowly with mainly acoustic guitars before Woody’s cymbals and recorders enters the fray and then it’s all in for the chorus, with Visconti’s bass predominant in the mix. A short Ronson solo preludes the eerie middle section where softly spoken vari-speed vocals denote all is far from well (the laughing gnome this is not). The second half is just a musical triumph, with the pace ramping up still more and while Bowie begs for a lobotomy, Mace’s moog fills up all the remaining atmospheric space for the piece to reach its musical crescendo.  The band are simply fabulous as the ending “Zane, zane, zane, Ouvre le chien” chant draws out slowly to silence to finish the piece. This is one my all time favourite tracks, I can’t rave about it enough. A+++, with Visconti deserving much credit for his superb production work. Bowie never performed this live until it was surprisingly included as part of the set for the “Glass Spiders” tour in 1987 where it was one of the highlights. To see it performed live on 8 glorious nights in Sydney remains one of my highlights in life. Bowie returns again to the end refrain in 1993 on “Buddha of Suburbia“.

Black Country Rock” comes as almost comic relief. A decent enough standard rocker, it’s the weakest track here, although Bowie’s rather impressive impersonation of his friend Marc Bolan never ceases to put a smile on my face. He would later dedicate another song to his chum and musical rival Marc Bolan with “Lady Stardust“.

After All” is yet another wonderful Bowie gem contained within. A much slower, waltz-timed piece, it’s no less powerful with its nightmarish vision of possessed children. The middle section reminds me of The Beatles with its circus like music but the chilling final lines “Live til your rebirth and do what you will, Forget all I’ve said, please bear me no ill” has little to do with the summer of love but more so Aleister Crowley and the occult. The backing vocals “oh by jingo” does little to lighten the mood and is an early example of Bowie/Visconti’s wonderful use of backup vocals to give tracks an extra dimension. Add this to the ever increasing list of Bowie masterpieces that few folks are likely to have ever heard.

Side two begins with “Running Gun Blues” and the opening lines “I count the corpses on my left, I find I’m not so tidy, So I better get away, better make it today, I’ve cut twenty-three down since Friday” suggests things are only getting grimmer. Telling the tale of a crazed Vietnam veteran, come serial killer who hasn’t lost the taste for killing and starts plugging a few civilians, this is Bowie at his darkest. The music here is classic hard rock but with slight flourishes that gives it that Bowie signature such as the moog piping in the background. Another song that I don’t think Bowie was ever brave enough to perform live. Bowie returns to the topic of a mass killer, with its anti-gun undertones on “Valentine’s Day” from the 2013 album “The Next Day“.

Saviour Machine” slowly builds up as Bowie introduces us to President Joe, who creates a super computer, the “Saviour Machine” called “The Prayer” that’s able to cure mankind from all its ills and problems such as war and famine. However, once mission is completed, it gets bored with little now to do and decides to then destroy mankind for some amusement. Basically, the Oracle Autonomous Database meets the Terminator. The musicians are again on top form here, with the music having a very strange quality to it,  in structure (with just one verse, followed by two bridge/chorus combos), in tempo which is all over the place and with the overall musical atmospherics. Bowie vocals here are excellent, menacing and powerful and a highlight of the track. Yet again, a track that I don’t believe Bowie has ever performed live.

Bowie hasn’t ever performed “She Shook Me Cold” live either, basically the heaviest, hardest rock track of those contain within, giving Ronson the chance to play out his Jeff Beck come Cream guitar fantasies. Detailing a particular sordid sexual encounter, Bowie seems to revel in all the naughtiness. It’s a theme he would return back to with the rather hilarious Ziggy era “Sweet Head“.

The Man Who Sold the World“, the spell-blinding title track comes next. This along with “Space Oddity” is possibly his best know song from Bowie’s Mercury period, although this wasn’t the case for many years despite it being arguably one of Bowie’s very best songs. With a wonderful guitar riff by Ronson, a divine guiro percussion sound by Woody, Vistonti’s bouncing bass and Bowie’s hauntingly beautiful vocals, it really is a magical track. The outro with its slowly building vocals is just a fabulous sonic treat. As with much of Bowie’s lyrics to come, they’re wonderfully cryptic and evasive here, although the familiar theme of schizophrenia returns, with a good touch of H. P. Lovecraft thrown in. My pick for the best track, but it’s a close call.

Bowie would all but forget this masterpiece until he re-recorded it again for Lulu in 1974 for what became a No. 3 hit in the UK. But it wasn’t until Nirvana (huge Bowie fans) recorded a wonderful version as part of their live MTV Unplugged appearance and subsequent album/single in 1995 that the song became widely known. Obviously thrilled and flattered by all the attention the song received, Bowie started to add the song to his own live sets (albeit in quite an altered form in his 1995 “Outside” tour). Bowie though was just a little miffed at all the “younger” folks who thought it cool he was performing a Nirvana cover…

The album closes with “The Supermen” which further explores the “Lovecraftian” Elder Gods theme from the title track, a mystical race who sadly bemoan and wish for the only thing they can’t have, mortality. Another key influence in the apocalyptic nature of things here is clearly Nietzsche who’s writings Bowie was consuming passionately at the time.  With a great performance by the band, especially by Woody on his thunderous drums and another brilliant vocal by Bowie, this track perhaps best illustrates much of the themes to come in Bowie’s upcoming albums. The Supermen would be one of the very few tracks Bowie would perform live for a while, most notably on the Ziggy Stardust concerts throughout 1972.

This album in many ways marks the real start of Bowie’s musical progression to stardom as it finally starts to mold the sound and themes he would create in his subsequent hit albums. However, at the time of its initial release, although generally critically well received, the album was a massive commercial disappointment with it not troubling the charts anywhere. But really, it had almost no chance of being successful commercially.

To start, Mercury just didn’t promote the album, with not even a single being released to give the album a little push. There was no tour and Bowie himself seemed to have little interest in promoting the album. He was at a crossroads and was looking at moving on from his current manager Ken Pitt, who didn’t believe in the album and thought it the wrong direction for Bowie to take. Remarkably, there was very little enthusiasm for the album after its release from anyone involved in the project.

Then there’s the album cover. If you wanted the “mainstream” to get into buying the album and taking it home to play, perhaps having a man in a dress (albeit a “man” dress) reclining on a chaise lounge was a touch too provocative for your average Joe and Sally. The folks in the US simply refused to release the album with the standard cover and came up with a rather tame cartoonist cover (which Bowie quite rightly hated). It didn’t help the US sales much, as didn’t Bowie’s promotional only tour of the US in February 1971 where he insisted on being interviewed whilst wearing his Mr Fish man-dress.

 

man who sold the world us cover

The Dutch (being different) released the album with yet another cover, this time a cartoon like image of Bowie as some kind of weird looking angel. The fact that it didn’t sell in this market either makes the album a much sort after Bowie collectable.

 

man who sold the world dutch cover

 

There have been a few notable re-releases over the years. The most significant was in 1972 when his new record company RCA after the commercial success that was the Ziggy Stardust album bought the rights off Mercury (as they did the second David Bowie album) and re-released it with a new Ziggy era black and white cover. With the market finally craving anything to do with Bowie, the album some two years after its initial release achieved moderate commercial success, reaching a respectable No. 24 in the UK and No. 105 in the US.

 

man who sold the world ziggy cover

 

The less said about the dreadful (but collectable) RCA CD release the better, but in 1990 Rykodisc released it with original UK cover restored and included a number of bonus tracks including:

Lightning Frightening” had been available on various bootlegs for years, but it was nice getting a clean sounding version of the song. That said however, it’s basically a forgettable, ploddy jam with Bowie and a few mates in tow. Recorded during the “Arnold Corns” sessions in 1971, a side-project that never went anywhere other than to rehearse some early versions of what would subsequently be Ziggy Stardust classics.

Holy Holy” was the only single released by Bowie during this period, viewed as being more single worthy than anything found on the album. However, unlike what the sleeve notes mentioned on this re-release CD, the version here is actually not the original single but the vastly superior re-recorded version Bowie laid down as part of the Ziggy Stardust sessions. The original version (which you can find on the “Five Years” box set released in 2015 that covers Bowie’s 1969-1973 period) has a decidedly T-Rex vibe, more so with the Bolan-like “Black Country Rock” on the B-side. Basically Bowie trying to convert angelic person to be just a little more devilish (“I don’t want to be an angel, just a little bit evil, Feel the devil in me“) it’s a quaint enough track, but no surprise it tanked without a trace. The Ziggy Stardust version found here is vastly superior, with the Spiders From Mars providing much more energy and sense of fun to the whole thing.

holy holy single

The album was notably re-mastered again in 1999 as part of the EMI re-release series and again in 2015 for its inclusion in the above mentioned “5 Years” box set.

5 years box set

Finally, in 2016 as part of Record Store Day, 5000 copies of the Dutch Cover were produced as a limited picture-disc (yes, I’ve got my copy but will likely never get played).

man who sold the world record store cover

 

Another version of the album worth exploring is a live version recorded by “Holly Holly“, a “super” band including both Tony Visconti and Woody Woodmansey from the original sessions. A project put together in 2014 by the two originals to give the album a live experience for the first time, they are all rather good. Yes, the main vocalist Glenn Gregory (from Heaven 17) isn’t quite David Bowie (but let’s be honest, no one is), the whole experience is a lot of fun and worth checking out. They also perform a bunch of other Bowie classics from Bowie’s glam era that are also all rather excellent and worth a listen as well. Remarkably, “The Man Who Sold The World” is the only Bowie album on which Visconti and Woodmansey both feature.

holy holy man who sold the world album

 

The Man Who Who Sold The World” is a Bowie masterpiece, one which has never quite got the accolades it deserves. Full of wonderful, complex, cryptic musical experiences, it truly highlighted what lay ahead for Bowie. Although yet another huge commercial failure, Bowie was getting more than used to disappointment and quickly moved on. Tony Visconti, frustrated and more than a little annoyed by Bowie’s apparent disinterest during the recording sessions would leave the scene for a number of years, concentrating on his work with Marc Bolan’s T-Rex that had just started to really take-off (Visconti would finally get back with Bowie when mixing the “Diamond Dogs” album in 1974).

However, with this album the seeds of success had been planted with both Ronson and Woodmansey now on board. It would be another 18 months before Bowie would finally taste success on a permanent basis with the monster album that was Ziggy Stardust. But that’s a story for another day.

Best Tracks: “The Man Who Sold The World“, “All The Madmen“, “Saviour Machine

13. The Next Day

The Next Day

The Next Day” is David Bowie’s 27th and penultimate studio album, originally released on 8th March 2013.

I will never forget that magical moment back on 8th January 2013 while holidaying in Hawaii, when my son excitedly shouted out that Bowie had just released a new single and was going to release a new album in the coming weeks. I thought he was just joking, this surely couldn’t be true after so many years in hiatus. I had all but given up on Bowie ever again releasing any new material, with his last album “Reality” released way way back in 2003, but to my astonishment and glee, the joyous news breaking throughout the music world that day was indeed true.

The single released out of nowhere that day, “Where Are We Now?“, was a slow, moody piece that wasn’t quite my cup of tea, but seriously who cared, Bowie was finally back !! (As it turned out, the single was another clever piece of deception as it was nothing like the rest of the upcoming album).

During the 2003-04 “Reality” Tour, Bowie suffered a mild heart attack on stage on 25 June 2004 which resulted in the cancellation of the rest of the tour and emergency heart surgery. This frightening episode had a marked effect on Bowie, with his public appearances and performances becoming rarer and rarer, until in 2006 when he performed at the “Keep A Child Alive” charity event in New York, his last ever live public performance. He did subsequently perform “Chubby Little Loser” on the hilarious Ricky Gervais “Extras” TV sitcom and make other sporadic appearances on TV (such as the voice of Lord Royal Highness on “SpongeBob SquarePants”) and film (as Nikola Tesla in “The Prestige”) but in terms of new music, nothing.

The general consensus was that Bowie had unofficially retired from music, focusing now on his family and health. So it’s kinda remarkable that in total secret, with all musicians involved strictly sworn to NDAs, that Bowie began recording new material in 2011 in New York along with his long-time producer Tony Visconti. In the age of social media and 24 x 7 news cycles, that these sessions were successfully kept secret was indeed a marvel and totally unheard of (although such “surprises” have been used a number of times since, such as with Beyoncé).

The impressive musical ensemble consisted of many who played with Bowie on his previous few albums and tours, including Zachary Alford and Sterling Campell on drums, David Torn, Earl Slick and Gerry Leonard on guitars and Gail Ann Dorsey and Tony Visconti on bass, with Bowie himself playing some acoustic guitar and much of the keyboard pieces.

After periodic sessions spanning 2 years, the result was the highly impressive “The Next Day” double-album. The album was primarily a rock-art based affair, with lots of references to his past, both musically and personal. But importantly, it came out sounding fresh and energetic, with lots of interesting musical twists and turns, impressive from someone who had just turned 66 years when released.

The album opens with the brilliant, frantic, title track, “The Next Day“, about as different as you can get from the quaint, retrospective “Where Are We Now?“, the only prior taste of the album we had (and all part of a complex joke I’m sure). With images that reminds me of some grisly scene from “Game of Thrones”, this hard-rock track tells the nightmarish tale of suffering and torture due the hypocrisy of some religious order. Put in the perspective of Bowie illness with cancer, some of the images and messages here take on a new perspective. Released as the 3rd single off the album, the video directed by Florina Sigismondi and staring Bowie along with Gary Oldman and Marion Cotillard caused much controversy with Christian groups due to its graphic religious imagery. Check it out here.

The Next Day Single

Dirty Boys” is a quieter, slower affair, with its honky sax thanks to Steve Elson (who first worked with Bowie way back on the “Let’s Dance” album). It has a wonderful sleazy vibe that I’m sure Bowie was after. With its reference of stealing “cricket bats”, it also highlights that despite living in New York for many years, Bowie was still very much an Englishman at heart.

The next track, “The Stars (Are Out Tonight)” is one of the real highlights, a wonderful driving rocker, with a slight 60’s vibe thanks to Steve Elson’s sax and doo-wop backing vocals. Unusual for Bowie, it’s not actually about the stars in the skies but a somewhat cynical look at the stars on your TV screens. Bowie’s vocals are just spot on here, good enough to be nominated for a Grammy for “Best Rock Performance”. This was the 2nd single off the album, which would I think have made a stronger lead-off single and much more indicative of the rest of the material found within. The excellent video also directed by Florina Sigismondi and co-starring Tilda Swinton as Bowie’s wife features the current older Bowie meeting up with his younger Ziggy Stardust androgynous self. You can watch it here.

the stars are out tonight

Love Is Lost” slows things down just a tad, with another wonderful brooding track, with touches of the vibe from the “Scary Monsters” period. The guitar work by (likely) Gerry Leonard is especially good, as are Bowie’s vocals who again returns to the topic of lamenting lost love. The track was significantly extended and remixed by Steve Reich with lots of hand clapping and touches of the “Ashes To Ashes” classic baseline and released as yet another single (number 5 but I’m losing count here). It also featured a video rumoured to be the cheapest ever made (at the pricey sum of $12.99 US for a thumb drive) and recorded by Bowie himself in his home apartment with puppets of his past personas. Watch the video here.

Where Are We Now?” is possibly the most well known track off the album, thanks to its status as lead-off single when released on Bowie’s birthday in 2013 during the big reveal. It’s by far the slowest, most brooding track on the album, with Bowie reminiscing about his time in Berlin during the 1970’s. Perhaps because I’ve heard this so often now, I actually regard this as one of the weakest tracks found here, despite its often late classic status by many music critics. Watch the video here.

love is lost

Valentine’s Day” is another classic Bowie rocker and yet another highlight on the album. One of the darker tracks despite its classic rock feel, it depicts a USA school massacre by a demented student and rarely for Bowie, makes a political point by showing his disdain for the guns laws in his country of residence. Tragically, such a massacre would indeed later occur on Valentine’s Day in 2018 in Parkland, Florida. Released as the 4th single off the album, the simple video features a demented looking Bowie playing his guitar as one would a gun. Simple but effective. Watch the video here.

Valentine's Day

If You Can See Me” takes me back somewhat to the demented computer of the “Saviour Machine” from the “The Man Who Sold The World” album (from which much of this album seems inspired), but converted now to human form. Starting off with a high pitched wail from Gail Ann Dorsey, the lyrics spells out a demonic, chilling vision from thee who is “the spirit of greed, a lord of theft”. With thumping drums and bass line prominent, it’s actually Bowie’s treated, at times hysterical vocals that dominate this impressive track.

I’d Rather Be High” is one of two “protest” war songs on the album, with the protagonist showing clear disdain for the military hierarchy forcing him to train guns on subjects in the sands (the reference to Egypt suggests this could be more a reference to WWI or WW II rather than more current middle-east conflicts). He would much rather be high smoking drugs and having sex (then again, who wouldn’t). With a catchy refrain and military style drum beat, it’s another great track and another that got the remix treatment and released as yet another single (I think I’m up to 6, but losing track now) Watch the video here.

Boss Of Me” is possibly the low point on the album. Featuring again Steve Elson on sax, it’s a little ploddy musically, with the middle-eight section the clear highlight. Bowie’s vocals are excellent as they are throughout the album,  the song detailing how a “small town girl” becomes such a dominant person (his wife perhaps).

Dancing Out In Space” is an altogether different affair, a truly fun, catchy piece that sounds light and bouncy but has a slight edginess hidden within the lyrics. With the common Bowie theme of “space”, this however is more to do with “inner” rather than “outer” space, with water referenced a number of times suggesting perhaps an escape via drowning. I just love this track.

As indeed I do “How Does The Grass Grow?“, the second anti-war track on the album and one of the album highlights. With a clear musical nod to the classic “Apache” during the chorus, the dark lyrics suggests a soldiers regret at killing innocent women in a war zone. Bowie’s vocals are again somewhat distorted, suggesting he’s playing another character here, except in the middle-eight section when he’s back being the narrator. It’s just a powerful, moving piece with lots of musical twists and turns that is Bowie at his best.

All that said, “(You Will) Set The World On Fire” is yet another brilliant track and possibly THE highlight on the album. The music is that wonderful combination of being catchy, powerful and full of little Bowie highlights. The most native “New York” of all the tracks, it takes you back to the 60’s Greenwich Village folk scene, full of old reminisces set to a current rock setting. Bowie at his absolute best.

You Feel So Lonely You Could Die” slows the pace down a tad, a quieter more tender piece, with a beautiful arrangement and stunning Bowie vocal performance. I’ve always felt this was a piece where Bowie is lamenting with some assassin or criminal on past sins and how could he possibly live with himself. It’s another wonderful moment on the album, with the fading back-beat a clear reprise of the magical drum piece from “Five Years” off the “Ziggy Stardust” album.

The album officially closes with “Heat“, an atmospheric, brooding piece with Bowie again looking into his past and lamenting that despite his age, still doesn’t really know who he is. The track is typical Bowie, full of obscure imagery and with a sad quality that hits a nerve. Bowie’s vocal is just beautiful, as indeed it is on most of the album. After the frantic nature of so much of the album, a quieter piece to end it all.

After being away from the musical scene for such an extended period, “The Next Day” really was a stunning return by Bowie. It was both critically acclaimed and a commercial success, reaching the top of the charts in the UK and in much of the world and No.2 in the US and Australia.

The album when initially released on CD as a “Deluxe” version with a number of bonus tracks, that were also included on the double LP version of the album. These were:

So She” is yet another really catchy piece, with a beautiful Bowie vocal. The music is mellow, with acoustic guitars, soft keyboards and dreamy soundscapes featuring more than the roaring guitars more typical on the rest of the album. Put this down as a hidden Bowie gem.

Plan” is a slightly sinister instrumental, with a nice catchy back-beat and guitar loop. Unlike most of Bowie’s other instrumentals that usually feature keyboard synthesizers, this short piece is more rock oriented. You can hear “Plan” at the start of “The Stars (Are Out Tonight)” video.

I’ll Take You There” is a fantastic track, that sounds not unlike “Born In A UFO” that appears on the Extra version of the album. It’s a great rocker, with a fabulous chorus line that indeed does take you there. Co-written with guitarist Gerry Leonard, another track that probably deserves more than being just a bonus track, but there’s just not enough room.

Later in 2013, another version of the album was released called “The Next Day Extra“, a 3 disc box-set version of the album which included the original album, a DVD of 4 of the promo videos and a CD of extra tracks from the recording sessions. These included the 3 bonus tracks listed above, the re-mixed versions of “Love Is Lost” and “I’d Rather Be High” and the following previously unreleased tracks:

Atomica” with its driving rhythm and strained vocals has an almost glam rock like quality, without ever reaching the point of self-parody. It fits the overall feel of “The Next Day”, being in part a backward retrospective of Bowie’s entire career.

The Informer” starts with swirling soundscapes, before moving into a powerful Bowie vocal, where he sounds the most like his previous couple of albums (think “Heathen“/”Reality“) than anything else off this album. Perhaps one of the weaker bonus tracks in that the musical element just seems to be lacking something.

Like A Rocket Man” comes across as part revenge for Elton John nicking his coloured hair and outer spaceness with “Rocket Man”. It’s a bouncy, poppy piece with a 60’s vibe but like much of Bowie, the musical gaiety hides a darker lyric which directly references drugs and cocaine specifically. So into the mid 70’s we go with Mr Bowie in this excellent piece.

Born In A UFO” is such a Bowie song title, but the music sounds more like a combination of Bruce Springsteen (think “Born in The USA”) and his own Tin Machine period. It sounds a little like “I’ll Take You There” found also on this bonus disk, although it’s not quite as good. Perhaps a song that in part covers the current part of his career?

God Bless The Girl” is my favourite of all the bonus tracks, a really nice piece that has an almost gospel vibe to it all. Bowie sounds “younger” here and it reminds me of his 80’s period, but in a good way. This was included in the Japanese pressings of the original Deluxe version of the album.

the next day extra cover

Put altogether, all this new material, with not a cover in sight, equates to a triple album worth of musical gems. Bowie clearly had some serious catching up to do.

One of the big controversies with the new album was the cover. Unlike almost every Bowie album which featured a current image of our hero, this took one of Bowie’s most well known previous album covers “Heroes”, covered all the album text (except “David Bowie”) with a thick black marker and splattered a big white square containing the text “The Next Day” over the artwork. I must admit to not being a fan and would have much preferred a nice new photo, but that said, I have grown to like it much more these days and appreciate the courage it must have taken to have put it together.

Sadly, despite much financial persuasion, Bowie refused to tour the album or even conduct a single interview with the press to promote it. Although he was finally producing new music, he remained a recluse and left the promotion of the album largely to producer Tony Visconti.

For Bowie to produce such an impressive, high quality offering after being away from the music scene for 10 years and at the grand age of 66, is nothing short of amazing. Bowie unfortunately only had the one album left in him, the majestic “Blackstar“, which artistically is arguably even better. However, whereas “Blackstar” takes me to a sad place, this album will forever remind me of that wonderful holiday in Hawaii where I first heard the big news, and so gets ranked (just) the better.

As wonderful as “The Next Day” is, I still rank a dozen other Bowie albums higher, an indication of just what a crazily brilliant body of work Bowie produced. But that’s a topic for another day…

Best Tracks: “The Next Day”, “The Stars (Are Out Tonight)”, “Valentine’s Day”, “(You Will) Set The World On Fire”.