Recorded over the past two or three years in complete secrecy, and heralded by the sudden appearance in January of the single “Where Are We Now?”, David Bowie’s The Next Day may be the greatest comeback album ever.
It’s certainly rare to hear a comeback effort that not only reflects an artist’s own best work, but stands alongside it in terms of quality, as The Next Day does. The fact that producer Tony Visconti has worked with Bowie since the Seventies undoubtedly helps cement the connection with his earlier work – there are constant frissons of recognition while listening to these songs, as if Bowie is deliberately mining memories. That notion is reinforced by the typically artful cover, which takes the original sleeve for the “Heroes” album and partly obscures its image with a simple sans-serif font title panel and, on the rear, a similarly blunt track listing, making the new album a sort of palimpsest of history.
...BECAUSE SOME OF US THINK THAT THIS STUFF IS IMPORTANT
What happens when you mix what is - arguably - the world's most interesting record company, with an anarchist manic-depressive rock music historian polymath, and a method of dissemination which means that a daily rock-music magazine can be almost instantaneous?
Most of this blog is related in some way to the music, books and films produced by Gonzo Multimedia, but the editor has a grasshopper mind and so also writes about all sorts of cultural issues which interest him, and which he hopes will interest you as well.