MUZ Muziek
Het forum voor 's werelds enige universele hobby! Snaren of toetsen, vinyl of cd, eendagsvlieg of rasartiest, op de radio of op een festival! Hier kun je al je ongebreideld enthousiasme, maar ook je weldoordachte kritische noten kwijt over muziek
NAAM
David Robert Jones, geboren op 8 januari 1947.
DISCOGRAFIE
David Bowie (1967)
Space Oddity (1969)
The Man Who Sold the World (1970)
Hunky Dory (1971)
The Rise and Fall of Ziggy Stardust and the Spiders from Mars (1972)
Aladdin Sane (1973)
Pin Ups (1973)
Diamond Dogs (1974)
Young Americans (1975)
Station to Station (1976)
Low (1977)
"Heroes" (1977)
Lodger (1979)
Scary Monsters (and Super Creeps) (1980)
Let's Dance (1983)
Tonight (1984)
Never Let Me Down (1987)
Black Tie White Noise (1993)
1. Outside (1995)
Earthling (1997)
'Hours...' (1999)
Heathen (2002)
Reality (2003)
The Next Day (2013)
Vorig topic: David Bowie
Dit account is niet meer in gebruik.
De nieuwe single:
http://do-you-have-a-flag(...)minus-the-radio-host
Ik moest meteen aan "She'll drive the big car" denken....
http://do-you-have-a-flag(...)minus-the-radio-host
Ik moest meteen aan "She'll drive the big car" denken....
Dit account is niet meer in gebruik.
Wow. Hele andere sound dan Where Are We Now?, dat is zeker 
Ik moet nog even wennen.
Ik moet nog even wennen.
By hook or by crook, I'll be last in this book.
Na verdere inspectie is The Stars are day in day out tonight, shopping for girls and looking for water in a big car ........
Klinkt inderdaad anders, maar als een nummer van Reality
Mag echt hopen dat de rest van het album beter is....
Klinkt inderdaad anders, maar als een nummer van Reality
Mag echt hopen dat de rest van het album beter is....
Dit account is niet meer in gebruik.
Volledig nummer:
Op woensdag 24 sept. 2008 schreef Danny het volgende:
Dagonet doet onaardig tegen iedereen. Je bent dus helemaal niet zo bijzonder als je denkt...
Mijn grootste bijdrage aan de FP.
Dagonet doet onaardig tegen iedereen. Je bent dus helemaal niet zo bijzonder als je denkt...
Mijn grootste bijdrage aan de FP.
Bowie en Lynch zijn anders best een goede combinatie.quote:Op dinsdag 26 februari 2013 11:10 schreef DrDentz het volgende:
Vage clip, alsof ik naar een film van David Lynch zit te kijken.
Aparte clip 
Nummer is weer heel anders dan Where are we now .
maar wel een mooi nr
Nummer is weer heel anders dan Where are we now .
maar wel een mooi nr
Why am I so differently wired? Am I a martian?
What kind of twisted experiment am I involved in
Cause I don't belong in this world
What kind of twisted experiment am I involved in
Cause I don't belong in this world
Zo apart vind ik de clip niet, past heel goed bij de tekst van het nummer waar beroemdheden parasiteren op de rest van de bevolking (iets wat volgens één recensie wel meer terugkomt op het album).
Op woensdag 24 sept. 2008 schreef Danny het volgende:
Dagonet doet onaardig tegen iedereen. Je bent dus helemaal niet zo bijzonder als je denkt...
Mijn grootste bijdrage aan de FP.
Dagonet doet onaardig tegen iedereen. Je bent dus helemaal niet zo bijzonder als je denkt...
Mijn grootste bijdrage aan de FP.
Mooi nummer, ben echt heel erg benieuwd naar de rest van het album.
Bacon pancakes, makin' bacon pancakes. Take some bacon and I'll put it in a pancake.
Vind het nummer best wel oké, klinkt niet echt vernieuwend maar geeft me wel een goed gevoel.
De video is wat mij betreft echt heel mooi, deed me ook wel denken aan "The Man Who Fell To Earth".
Tilda Swinton lijkt op Candy Clark met dezelfde wazige blik. Op het eind van TMWFTE doen Candy Clark en Rip Torn samen boodschappen, in de video zijn David en Tilda zo'n zelfde stel.
De video is wat mij betreft echt heel mooi, deed me ook wel denken aan "The Man Who Fell To Earth".
Tilda Swinton lijkt op Candy Clark met dezelfde wazige blik. Op het eind van TMWFTE doen Candy Clark en Rip Torn samen boodschappen, in de video zijn David en Tilda zo'n zelfde stel.
Ashes to ashes funk to funky, we know Major Tom's a junky
Mooi.quote:
Terug naar de jaren 70...
(herken de clip)
There is no greater joy than be taken for an imbecile by an idiot. (Oscar Wilde)
Poef.....gone! ©golfer
Poef.....gone! ©golfer
Da's een aardige omschrijving inderdaad. Maar aangezien de singles zeker niet per definitie de beste tracks van z'n albums zijn, houd ik goede hoop voor het geheelquote:Op maandag 25 februari 2013 23:17 schreef Spezza19 het volgende:
looking for water in a big car ........
Nothing has changed. Everything has changed.
Impressie van themusic.com:
FIRST LISTEN: David Bowie - The Next Day
28 February, 2013
Now that we’ve actually heard it, it’s time to start dispelling a few of the myths that have already made it around about Mr Bowie’s latest offering.
Myth #1: ‘It’s the greatest comeback album ever’
(as claimed by much of the UK music press)
Look, it IS REALLY GOOD, but it’s not that. Bowie never went away, he just took his time to make this. Granted, there are Bowie on Bowie moments (like in The Stars (Are Out Tonight) where Bowie in his 60s is serenaded by Bowie in his 20s – complete with Young Americans shoulderpads on one side and sensible older Bowie pastel cardigan about 3mins 47 seconds in). There are also some ‘let me become someone new’ moments too, like amazing closer (and totally brilliant at any stage of his career) track Heat. This ‘become someone else’ trick created Ziggy Stardust all those years ago (although this time hopefully with fewer sandy mullets and short, silky man-blouses), and here Bowie is transformed into the confused son of a wayward prison warden, with all the creepy sounding fabulousness you’d imagine.
Finally, let’s also not forget that the The Next Day’s cover art is a direct piece of remixed, remade old school cover art – a self-vandalised version of Heroes). This isn’t a comeback album. It’s a keep on keeping on album.
Myth #2: ‘Bowie sounds weathered/recovered/mellow’
(as claimed by those who have only heard Where Are We Now? once or twice, and perhaps also thought the video was just creepy rather than arty)
Listen to that Best-Of you’ve got hanging around. Bowie has ALWAYS sounded like a man in his 60s recovering from a big decade out. This rock and roll lifestyle-d delivery works particularly well on You Feel So Lonely You Could Die (complete with an absolutely unnecessarily awesome four syllable emphasis on the “Die-ie-ie-ie”), and title track Next Day. And, if you really want to hear something different vocally, get your ears around Dirty Boys– whatever they’ve done to him, he’s almost unrecognisable to start.
Myth #3: ‘Bowie is musical icon who can do no harm’
(says devotees, record labels, hipsters, and those who are still a bit nervous to admit out loud that sometimes they don’t quite get what’s so amazing about him).
Bowie is not the musical messiah, nor these days, is he a particularly naughty boy. Bowie is as fallible, flawed and faulted here as he’s always been. C’mon. And that’s what makes him a legend. When it works it is amazing (see Heat description above, can I gush enough?), but he’s also not afraid to look or sound like a dick (insert joke about sax obsession and charmingly daggy dancing). The sax does come back here (baritone features on Dirty Boys and The Stars (Are Out Tonight), but it’s not Dave playing it, nor is it that cheesy), but the real chances come from his melodramatic tunes. Love Is Lost features an organ sound that is part Phantom of the Opera, part the opening of George Michael’s Faith, and part of my heart broken a little. Then he seems to kinda get his prog on with If You Can See Me, with his amazing regular band member/live show stealer Gail Ann Dorsey really giving it a go. These two will divide the masses, as will Dancing Not In Space (if only because it’s a token star man song, and because its drum opening also sounds too much like You Can’t Hurry Love. That’s not ok, Dave. Not ok).
Still, get in and debate. Admitting you’re impressed, but not always hopelessly devoted, doesn’t make you a musical arsehole or betrayer of the faith. It proves you care enough to listen properly and invest. I reckon he’d probably welcome it.
FIRST LISTEN: David Bowie - The Next Day
28 February, 2013
Now that we’ve actually heard it, it’s time to start dispelling a few of the myths that have already made it around about Mr Bowie’s latest offering.
Myth #1: ‘It’s the greatest comeback album ever’
(as claimed by much of the UK music press)
Look, it IS REALLY GOOD, but it’s not that. Bowie never went away, he just took his time to make this. Granted, there are Bowie on Bowie moments (like in The Stars (Are Out Tonight) where Bowie in his 60s is serenaded by Bowie in his 20s – complete with Young Americans shoulderpads on one side and sensible older Bowie pastel cardigan about 3mins 47 seconds in). There are also some ‘let me become someone new’ moments too, like amazing closer (and totally brilliant at any stage of his career) track Heat. This ‘become someone else’ trick created Ziggy Stardust all those years ago (although this time hopefully with fewer sandy mullets and short, silky man-blouses), and here Bowie is transformed into the confused son of a wayward prison warden, with all the creepy sounding fabulousness you’d imagine.
Finally, let’s also not forget that the The Next Day’s cover art is a direct piece of remixed, remade old school cover art – a self-vandalised version of Heroes). This isn’t a comeback album. It’s a keep on keeping on album.
Myth #2: ‘Bowie sounds weathered/recovered/mellow’
(as claimed by those who have only heard Where Are We Now? once or twice, and perhaps also thought the video was just creepy rather than arty)
Listen to that Best-Of you’ve got hanging around. Bowie has ALWAYS sounded like a man in his 60s recovering from a big decade out. This rock and roll lifestyle-d delivery works particularly well on You Feel So Lonely You Could Die (complete with an absolutely unnecessarily awesome four syllable emphasis on the “Die-ie-ie-ie”), and title track Next Day. And, if you really want to hear something different vocally, get your ears around Dirty Boys– whatever they’ve done to him, he’s almost unrecognisable to start.
Myth #3: ‘Bowie is musical icon who can do no harm’
(says devotees, record labels, hipsters, and those who are still a bit nervous to admit out loud that sometimes they don’t quite get what’s so amazing about him).
Bowie is not the musical messiah, nor these days, is he a particularly naughty boy. Bowie is as fallible, flawed and faulted here as he’s always been. C’mon. And that’s what makes him a legend. When it works it is amazing (see Heat description above, can I gush enough?), but he’s also not afraid to look or sound like a dick (insert joke about sax obsession and charmingly daggy dancing). The sax does come back here (baritone features on Dirty Boys and The Stars (Are Out Tonight), but it’s not Dave playing it, nor is it that cheesy), but the real chances come from his melodramatic tunes. Love Is Lost features an organ sound that is part Phantom of the Opera, part the opening of George Michael’s Faith, and part of my heart broken a little. Then he seems to kinda get his prog on with If You Can See Me, with his amazing regular band member/live show stealer Gail Ann Dorsey really giving it a go. These two will divide the masses, as will Dancing Not In Space (if only because it’s a token star man song, and because its drum opening also sounds too much like You Can’t Hurry Love. That’s not ok, Dave. Not ok).
Still, get in and debate. Admitting you’re impressed, but not always hopelessly devoted, doesn’t make you a musical arsehole or betrayer of the faith. It proves you care enough to listen properly and invest. I reckon he’d probably welcome it.
Nothing has changed. Everything has changed.
En een track-by-track review van thequietus.com.
"Bowiephiles will have fun picking over the themes and sub-themes here for ages.
Whats that? Oh, you know: death, fame, apocalypse, sex, the way time diminishes things, history, war, guns, shellshock, old Americans, Britain, love, outer space, ambition, parents, children, loneliness and more death."
Een paar quotes en onvermijdelijke vergelijkingen:
The Next Day - It builds to that level of theatrical near-hysteria that featured in the chants and repetitions of the Diamond Dogs album. I heard glimpses of the melody of 'Repetition' and the feel of 'Day In Day Out', but my scribbled notes also say "'Up The Hill Backwards' but constantly moving forwards?"
Dirty Boys - its brilliant; a creepy, loping, funk thing (think 'Fame' slowed down, a little)
The Stars (Are Out Tonight) - You ask me, this is one of the weakest tracks, straining a little. (
)
Love Is Lost - the epileptic tensions of side one of Low fused with the menace of 'Bring Me The Disco King'.
Valentine's Day - As standardly-shaped yet confidently classic as 'Absolute Beginners'.
If You Can See Me - Ferocious rhythms akin to 'Look Back In Anger'. More Outside than "Heroes".
Dancing Out In Space - 'Modern Love' tempo, 'Dancing With The Big Boys' adrenalin, halfway through it mutates in a how-did-they-do-that way into something more twitchy, taut and discordant like the "Berlin period".
How Does The Grass Grow? - Bowie singing, oddly, a hookline from The Shadows 'Apache'. Theres an extraordinary stark breakdown and coda which could be The Velvets jamming 'Waiting For The Man'
(You Will) Set The World On Fire - A genuinely heavy, grungey, guitar riff, but more Pin-Ups than Tin Machine. Immediately friendly chorus with a dash of 'Time Will Crawl'.
You Feel So Lonely You Could Die - You like 'Wild Is The Wind' and 'Lady Grinning Soul' and 'Rock And Roll Suicide' but thought hed never go there again? Thought maybe the voice had lost the fire for such grandstanding? Welcome to your happiest dream of epic wallowing in sadness. Remember when Bowie covered 'I Know Its Gonna Happen Someday' on Black Tie White Noise? Now just imagine hed got it right. (
) backing vocals from Gail and others that are as exquisitely placed as 'Satellite Of Love'.
Officially the album ends there, but there are three short bonus tracks. 'So She' is gentle but romantic, like a jaunty Hunky Dory out-take. 'Plan' (previewed at the start of the video for 'The Stars (Are Out Tonight)') is a stunning instrumental rush, straight outta Berlin, a piledriver chord-drone extended over click-beats, like an elusive found fragment, a blue-blue-electric-blueprint. 'Ill Take You There' (refrain: "who will I become in the USA?") is another tight, chunky rock nugget.
Klinkt veelbelovend!
[ Bericht 40% gewijzigd door Sequencial op 28-02-2013 13:14:17 ]
"Bowiephiles will have fun picking over the themes and sub-themes here for ages.
Whats that? Oh, you know: death, fame, apocalypse, sex, the way time diminishes things, history, war, guns, shellshock, old Americans, Britain, love, outer space, ambition, parents, children, loneliness and more death."
Een paar quotes en onvermijdelijke vergelijkingen:
The Next Day - It builds to that level of theatrical near-hysteria that featured in the chants and repetitions of the Diamond Dogs album. I heard glimpses of the melody of 'Repetition' and the feel of 'Day In Day Out', but my scribbled notes also say "'Up The Hill Backwards' but constantly moving forwards?"
Dirty Boys - its brilliant; a creepy, loping, funk thing (think 'Fame' slowed down, a little)
The Stars (Are Out Tonight) - You ask me, this is one of the weakest tracks, straining a little. (
)Love Is Lost - the epileptic tensions of side one of Low fused with the menace of 'Bring Me The Disco King'.
Valentine's Day - As standardly-shaped yet confidently classic as 'Absolute Beginners'.
If You Can See Me - Ferocious rhythms akin to 'Look Back In Anger'. More Outside than "Heroes".
Dancing Out In Space - 'Modern Love' tempo, 'Dancing With The Big Boys' adrenalin, halfway through it mutates in a how-did-they-do-that way into something more twitchy, taut and discordant like the "Berlin period".
How Does The Grass Grow? - Bowie singing, oddly, a hookline from The Shadows 'Apache'. Theres an extraordinary stark breakdown and coda which could be The Velvets jamming 'Waiting For The Man'
(You Will) Set The World On Fire - A genuinely heavy, grungey, guitar riff, but more Pin-Ups than Tin Machine. Immediately friendly chorus with a dash of 'Time Will Crawl'.
You Feel So Lonely You Could Die - You like 'Wild Is The Wind' and 'Lady Grinning Soul' and 'Rock And Roll Suicide' but thought hed never go there again? Thought maybe the voice had lost the fire for such grandstanding? Welcome to your happiest dream of epic wallowing in sadness. Remember when Bowie covered 'I Know Its Gonna Happen Someday' on Black Tie White Noise? Now just imagine hed got it right. (
) backing vocals from Gail and others that are as exquisitely placed as 'Satellite Of Love'.Officially the album ends there, but there are three short bonus tracks. 'So She' is gentle but romantic, like a jaunty Hunky Dory out-take. 'Plan' (previewed at the start of the video for 'The Stars (Are Out Tonight)') is a stunning instrumental rush, straight outta Berlin, a piledriver chord-drone extended over click-beats, like an elusive found fragment, a blue-blue-electric-blueprint. 'Ill Take You There' (refrain: "who will I become in the USA?") is another tight, chunky rock nugget.
Klinkt veelbelovend!
[ Bericht 40% gewijzigd door Sequencial op 28-02-2013 13:14:17 ]
Nothing has changed. Everything has changed.
Wat.Een.Album. Mijn verwachtingen waren eerlijk gezegd nog niet eens zo hoog, maar dit overtreft alles. Wow. Geen enkele slechte song, en een hele hoop fucking goede nummers. Het doet me een beetje aan Aladdin Sane denken en laat dat nu net bij mijn favoriete Bowie werk horen
Naar wat ik gelezen had vreesde ik gezapige stadiumrock maar dit is alles behalve dat.Prachtig dit, niet gewoon een aardig album maar een prachtige aanvulling van zijn discografie
By hook or by crook, I'll be last in this book.
Ik stream 'm via de iTunes Store, maar hij schijnt ook gelekt te zijn. Zie de link van Aisumasen.quote:
Nja, de 'lek' is gewoon een rip van de iTunes stream. Maar goede kwaliteit. Wel heerlijk hoe Bowie iedereen voor blijft en voor het album lekt, het zelf streamt. Dat gebeurt zelden.
By hook or by crook, I'll be last in this book.
