# Welcome back & happy birthday Bowie!!!



## Caveat (8 Jan 2013)

What a cool surprise.

66 today and out of the blue, after nearly a decade of silence & much speculation, a new single: the stately, competent (if a little dull IMO) "Where are we now" & a new album sheduled for March!!

Fantastic news.  Really thought he had given up for good and I had accepted it to be honest.

Amazing how this news wasn't leaked before now.

I'm in a good mood now.


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## The_Banker (8 Jan 2013)

He must be down to his last few million if he is coming back!


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## Betsy Og (8 Jan 2013)

At least he didnt call it "We are where we are".  

Surely that's the title of the next zeitgeisty album that will define this era??...............


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## TarfHead (8 Jan 2013)

Good news if he's able to get back to the standard of his best work.
Bad news if he's able to get back to the standard of Tin Machine.

Based on the 10 second segment of the new single played on Morning Ireland, I fear the latter.



The_Banker said:


> He must be down to his last few million if he is coming back!


 
Time for another issue of Bowie Bonds ?


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## Caveat (8 Jan 2013)

TarfHead said:


> Tin Machine.
> 
> Based on the 10 second segment of the new single played on Morning Ireland, I fear the latter.



I'm a HUGE fan but will happily admit that Tin Machine was sh1te.

I heard the whole of the new single and whilst it's not amazing, don't worry, it's nowhere near Tin machine level!

Remember Thursdays Child from about 2002 ish? It's about that level in terms of quality. It even sounds similar.

But forget the single - it's the album Im looking forward to. 

In his latter work in particular, singles are often very different stylistcially and much more overtly commercial than any of the rest of the album.


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## Firefly (8 Jan 2013)

Caveat said:


> Remember Thursdays Child from about 2002 ish? It's about that level in terms of quality. It even sounds similar.


 
I liked Thursdays Child and thought the video was especially cool


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## poundhound (11 Jan 2013)

While musically inept, Tin Machine served a purpose.

After the comercial success of Lets Dance, Bowie was under pressure to get another multi million selling album out asap, the result was the awful "tonight". 
Under the same pressure, he tried and artistically failed again with "Never let me down".
During this period he was outselling Madonna and U2 in ticket sales. He was planted firmly in the mainstream and that was something that never suited him.

In order to rid himself of the "phil Collins" type audience he had amassed he turned his career completely around and formed Tin Machine.
The 80's audience he had amassed hated it and he returned to a place artistically he was more comfortable with, on the outside looking in.

For that reason, Tin Machine was a usefull tool in his career.

Anyone hoping that "The Next Day" will deliver what they hope and expect will probably be disappointed. 
The rest of us happy to have new material from an absolute icon and intriqued where he'll take us will not be disappointed.


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## Caveat (8 Mar 2013)

poundhound said:


> Anyone hoping that "The Next Day" will deliver what they hope and expect will probably be disappointed.



Well, whilst not quite suggesting that you eat those words, _The Next Day_ is sounding like pretty serious quality! 

As suspected, _Where Are_ _We Now_  is not at all typical of the album.

Easily his best work since _Outside_ (95) and stands up very respectably among, lets say the less than totally brilliant of his 70s releases.

I think it's better than e.g. Aladdin Sane or Young Americans.

I'm happy & getting happier!


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## poundhound (4 Apr 2013)

I think Heathen is a very under appreciated album.

I seen it performed it in its entirety (along with Low) in New York in June 2002, and purchased it in Virgin on Times Square (around 1am) on the way back to the hotel after the gig. 

As a result, I have great memories of that time and the album.


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## Deiseblue (5 Apr 2013)

Gave up after Diamond Dogs - the fun had gone , lot of navel gazing serious stuff after that.


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