OT - First new music by Bowie in 10 years

[smax]

thanks eq, always interesting but, eseentially, meh.


i'm too young for bowie, don't cha know?! he was already shit when i was in 16 in the early 90's.
*am drunk*

[sockii]

thanks eq, always interesting but, eseentially, meh.


i'm too young for bowie, don't cha know?! he was already shit when i was in 16 in the early 90's.
*am drunk*

LOL. I sort of agree...Bowie never really did anything for me, and the only thing this new song (and video) did was make me want to click away and make it stop as soon as possible.

But, different strokes for all! Happy for the fans glad to see him back.

[English-lion]

I'm looking forward to album The video is a bit creepy, but it's interesting that he chose to do it that way can't wait to hear the rest. And how he will promote it

[Divemistress of the Dark]

Apparently there's still some question as to whether he may play live dates. If so, I'll hock body parts if necessary

[moonstone]

[quote="Divemistress of the Dark"]Apparently there's still some question as to whether he may play live dates. If so, I'll hock body parts if necessary [/quote]

Not sure I'd get enough for my body parts to buy a ticket but I'd love to see him play live again if he does tour. I saw him play at Milton Keynes Bowl in 1990. It was the first night out I had after my daughter was born and it was a great concert. I wasn't so keen on his later music so I didn't get tickets for the Isle of Wight festival when he played even though I was living back here by then. Will wait for news. I read that he has a terrible flying phobia (I'm with him on that one) so maybe touring is unlikely, but that maybe just newspaper gossip.

[Divemistress of the Dark]

I had an offer to see him on the tour w/Reznor while I was living in D.C., but I had one of those Terribly Important jobs at the time and couldn't get the evening off. Have regretted it for the last, oh, 15 years or so

He and Prince are really the two remaining artists I've never seen for whom I'd spend what I had to. (No disrespect to artists I *have* seen many many times... I do what I can to see them as well, of course )

[luna_virgo]

I love Bowie's older stuff, but I had a college roommate who almost ruined him for me. She was madly in love with him and played his entire discography constantly (when I wasn't annoying her with the Ramones and Misfits).

At this point I think I'd just rather watch The Hunger and Labyrinth again than see him live.

[TheEqualizer]

From ROLLINGSTONE:

David Bowie 'Likes the Struggle' of Winning Fans, Says Drummer Zack Alford
Onetime Springsteen sideman reveals more about secret 'The Next Day' sessions

By ANDY GREENE
February 1, 2013 8:00 AM ET

Zachary Alford and David Bowie
Frank Ockenfels
For the past year and a half drummer Zachary Alford has been forced to walk around with the secret that he plays on David Bowie's new album. "It's been torture," he says. "Everyone always says to me, 'So, what's David up to?' I just had to shrug my shoulders and say, 'I wish I knew.'"

Now that the secret is out, Zachary is finally able to talk to us about the secretive recording sessions for The Next Day. We also spoke with him about his tenure in Bruce Springsteen's "Other Band" in 1992-'93.

Let's start at the very beginning. Tell me how you first heard about this new Bowie album?
David sent me an email asking if I was available in the first two weeks of May of 2011. It was out of the blue. I mean, we'd been in email contact, but there was never any talk about work.

What was your first reaction?
I said yes. [Laughs] Luckily I was available, so I was just really happy about that. But I didn't know what it was. But whatever it was, I'm available. [Laughs]

Flashback: Bowie Belts Out 'Heroes'

He asked if you were available, but he didn't tell you it was for a new album?
There was a time where I didn't know what it was. He wouldn't even say where it was or what it was. I remember [bassist] Gail [Ann Dorsey] and I talking about it, like, "Oh, did he contact you too?" "Yeah, he contacted me." "What's it for?" "I don't know."

We didn't know if it was a performance or a recording or anything. It wasn't until maybe a week before that he said, "Yes, be here at this studio on this day." Then somehow it leaked out.

What do you mean?
Well, I got an email from David saying, "Do you know a photographer named so and so?" I could find the name, but I don't remember offhand. I said, "No." It's a good thing I didn't know him. [Laughs] Apparently this photographer had called someone from David's office and asked if it was OK for him to take pictures of David at the studio. They were like, "What? Who told you there was even a session?" Obviously, someone from the studio leaked it out. We got an email after that saying, "OK, change of plan. We're doing it at Magic Shop."

By this point, are you shocked to learn that he's making a new album?
Um . . . I'd say I was relieved that he's finally back in the saddle, and I was relieved that I got the call.

Tell me about the first day of recording. Did he lay out his vision for the album, or did you just start cutting tracks?
It was all very matter-of-fact. We weren't allowed to hear any of the songs before that, because he didn't want anything out there circulating. So we basically walked in, and there wasn't much discussion. It's like, "Here's the first tune." Usually he'd play us a demo. It would be a home demo with a drum machine and a synth. Then he'd play a rehearsal demo, because they had actually rehearsed some of the material up from the initial demo stage in November. I guess that was in 2010. And so we listened to both, and then we'd go in the room and start playing it.

Is this you, Gail, Gerry Leonard and David?
Yes, and David Torn. The first week in May we actually had both guitar players, David Torn and Gerry Leonard. Gail was on bass and David was on either synths or he'd play acoustic guitar or piano, depending on the song.

Gerry would hand out charts while we listened to the song so we'd have something to follow, and we could make any notes we needed. We listened to the songs about two or three times, and then it was time to go play it. That was the drill.

I assume David told you that you couldn't tell a soul about the sessions.
Oh, yeah. Oh, yeah. He handed out nondisclosure forms for everyone to sign.

Did you even tell your family?
Yes. I told my wife and my kids. But we home-school, so I didn't have to worry about them blabbing it all over school.

It's pretty amazing in this day and age that it didn't get out there.
Yeah. I think it's a real testament to the value of privacy. This is zero promotion. Basically, him saying nothing is almost promoting the record itself.

Being quiet a whole decade and doing no interviews makes him this real mysterious character. It's almost like he's this ghost, and I can understand why he's reluctant to give that up.
In this day and age, people are so distracted that it's hard to show them anything they'll pay attention to. By actually giving them nothing, they want to know more.

I've only heard the single, but everyone keeps telling me the rest of the album sounds much different than that song.
Oh yeah. There's definitely a lot of up-tempo material. That's some kind of Sixties doo-wop-ish material. Although I don't remember a lot of the songs. I mean, it'll be two years in May since we did it. I haven't heard any of it since. I hope to have the chance to hear it soon myself.

[TheEqualizer]

CONTINUED:

So you basically only spent three total weeks working on the album?
Yeah.

Can you walk me through your average day of recording? What was the routine?
Well, the routine was very much like going to work. It was a lot of fun for me, because I don't live in the city anymore, but I grew up there. This was a nice way to come back. Every morning I'd stroll through Soho to go to the Magic Shop. I'd show up around 10:30 a.m. David was almost always already there. He'd be in the control room strumming away on something. Then he'd come back when we were all gathered and drinking our coffees. He'd then throw on a demo. Gerry would hand out charts, we'd take notes, and after hearing it two or three times he'd say, "Everybody ready?" We'd say "Yeah," and we'd go in and play it through. We'd only do two or three takes and he'd say, "Either we've got it or we don't."

On one occasion I recall we came back in and he still wasn't happy, so he wanted us to move on. He'd rather keep the momentum going and keep the juices flowing than sit there and hammer out a tune until it's perfect.

So we'd do the first one, then we would break for lunch. Then the same drill. We'd listen to another one, takes notes, go in . . . Usually we'd finish by five or six.

Roughly how many takes do you think you did of most of the songs?
I would say between two and five takes for all the songs.

Is that sort of low in your experience?
That is low, actually. It may not sound like it, but you can do a lot of takes in no time. Because they're all rehearsals. I can't tell you how many sessions I go to and I say, "Oh, wow, let's listen to the third take. That was the best one." And someone will say, "That was actually the sixth take." You forget how many times you've done something. So this was pretty low. On a couple of occasions it was only one take.

You said some of the songs were sort of doo-wop. Earl Slick told me some were Rolling Stones-esque. Can you describe the sound of the songs a little more?
There are a couple that remind me of the Scary Monsters period, because they're a bit more angular and aggressive-sounding, so I would approach them that way, because naturally I'm trying to tie the material into my association of what Bowie music sounds like.

There's another number that's a straight-up country song. There was another one that was based on a blues riff, but we had specific instructions to not make it sound like the blues. There were two songs that sort of had a Bo Diddley feel. I remember specifically shying away from that because I didn't want it to sound like "Panic in Detroit."

Do you know any of the songs titles?
They've changed. The only ones that have remained from my initial days are "The Stars (Are Out Tonight) and . . . is there one called "Ya Ya?"

I don't think so.
I remember "Boss of Me." We cut that with Tony Levin on bass. I remember specifically thinking, "Oh, this one sounds kind of funky. Wouldn't it be great if he played the [Chapman] Stick?" I suggested that, and Tony wasn't thrilled with that, because there were a lot of chord changes. He doesn't like to do songs with chord changes on the Stick, but everybody thought it sounded great. That sounded almost Peter Gabriel-like, like something from the "Big Time" era.

[TheEqualizer]

Four out of Five stars from Rollingstone:

David Bowie
The Next Day
ISO/Columbia

By ROB SHEFFIELD
February 28, 2013

David Bowie has sung a song or two about outer space before. But "The Stars (Are Out Tonight)" is one of the greatest songs the man has ever written, soaring on guitar and strings and that uncanny voice. Bowie sings about two lovers looking at the night sky, where they see the whole universe buzzing with activity: "We will never be rid of these stars/But I hope they live forever." They feel the stardust in their hearts blaze to life. And they suddenly feel like they're part of the cosmos, if only because they're together. It's like Bowie decided to fuse "Heroes" and "Space Oddity" into the same song, a feat he's never attempted before. Holy shit, David Bowie.

It's a triumphant moment on a triumphant album. The Next Day is the comeback Bowie fans feared would never happen. After a health scare ended his 2004 tour, he kept his distance, and most of us figured the Thin White Duke had finally rocked his last roll. Even hardcore Bowie freaks couldn't begrudge him a cozy retirement in his golden years.

But it turns out that Bowie and cozy still aren't the best of friends. In January, on his 66th birthday, he shocked everyone by announcing he had a new album ready to go. The sessions for The Next Day were top-secret. Nobody's done it this way before: hit a creative peak, take 10 years off, then spring a surprise return on the world.

The Next Day has a strong connection to the late-1970s period when Bowie and producer Tony Visconti made their Berlin trilogy of Low, Heroes and Lodger. It also has the low-register guitar attack of Scary Monsters. The songs are in the reflective mode of his excellent (if crazily underrated) midlife LPs: Earthling and Hours in the late 1990s, Heathen and Reality in the early 2000s. The sharp-edged guitars suit the tunes – wry, soulful, adult, resistant to maudlin hysterics or overwrought sentiment.

"The Next Day" sets the tone right from the opening moments, rocking out as Bowie snarls, "Here I am, not quite died/My body left to rot in a hollow tree." Even though he sings, "I can't get enough of that doomsday song," Bowie has never sounded further from doomsday. Instead, he ranges from a furious anti-war rant ("I'd Rather Be High") to compassion for doomed youth ("Love Is Lost") to marital love ("Dancing Out in Space"). The album ends with the spaced-out electronic drone of "Heat," as he repeats the words "I tell myself/I don't know who I am."

Though he sings most of The Next Day in his staccato rock voice, Bowie holds back his torch-song theatrics for two big ballads, the goth doo-wop of "You Feel So Lonely You Could Die" and the majestic New Romantic love song "Where Are We Now?" The whole album evokes his old friend John Lennon's "In My Life" – in a way, every song here could be a sequel to that one. There are loads of musical and lyrical references to his past, as Bowie broods over the places he's gone and the faces he's seen. But he's resolutely aimed at the future. And when he hits the delirious heights of "The Stars (Are Out Tonight)," he makes the future sound irresistible.

[TheEqualizer]

By the way, the entire album is streaming for FREE on iTunes until its release.

[TheEqualizer]

Official video for "The Stars (Are Out Tonight)"
http://www.youtube.com/watch?feature=pl ... H7dMBcg-gE

[ltwoman]

EQ, our veteren reporter. Thanks!