The Next Day

~ Release group by David Bowie

Album

ReleaseArtistFormatTracksCountry/DateLabelCatalog#Barcode
Official
The Next DayDavid BowieCD17
  • AU2013-03-08
Columbia (imprint owned by CBS between 1938–1990 within US/CA/MX; owned worldwide by Sony Music Entertainment since 1991 except in JP)887654619228
The Next Day (deluxe edition)David BowieCD17
  • DE2013-03-08
Columbia (imprint owned by CBS between 1938–1990 within US/CA/MX; owned worldwide by Sony Music Entertainment since 1991 except in JP), ISO Records88765 46192 2887654747426
The Next Day (Amazon)David BowieDigital Media17
  • XW2013-03-08
ISO Records[none]
The Next DayDavid BowieCD14
  • FR2013-03-11
  • GB2013-03-11
Columbia (imprint owned by CBS between 1938–1990 within US/CA/MX; owned worldwide by Sony Music Entertainment since 1991 except in JP), ISO Records88765 46186 2887654618627
The Next Day (deluxe edition)David BowieCD17
  • FR2013-03-11
Columbia (imprint owned by CBS between 1938–1990 within US/CA/MX; owned worldwide by Sony Music Entertainment since 1991 except in JP), ISO Records88765 46192 2887654619228
The Next Day (deluxe edition)David BowieCD17
  • GB2013-03-11
Columbia (imprint owned by CBS between 1938–1990 within US/CA/MX; owned worldwide by Sony Music Entertainment since 1991 except in JP), ISO Records88765 46192 2887654619228
The Next DayDavid BowieCD14
  • CA2013-03-12
Columbia (imprint owned by CBS between 1938–1990 within US/CA/MX; owned worldwide by Sony Music Entertainment since 1991 except in JP), ISO Records88765 46186 2887654618627
The Next Day (deluxe edition)David BowieCD17
  • US2013-03-12
Columbia (imprint owned by CBS between 1938–1990 within US/CA/MX; owned worldwide by Sony Music Entertainment since 1991 except in JP), ISO Records88765 46192 2887654619228
The Next Day (deluxe edition)David BowieDigital Media17
  • XW2013-03-12
ISO Records[none]
The Next DayDavid BowieDigital Media14
  • XW2013-03-12
ISO Records[none]
The Next Day (BSCD2 デラックス・エディション 完全生産限定盤)David BowieBlu-spec CD18
  • JP2013-03-13
Sony Records International (Japanese TEXTLESS walking eye imprint), ISO RecordsSICP-301274547366192674
The Next Day (通常盤)David BowieCD15
  • JP2013-03-13
Sony Records International (Japanese TEXTLESS walking eye imprint)SICP-37884547366192681
The Next Day (初回限定盤)David BowieCD15
  • JP2013-03-13
Sony Records International (Japanese TEXTLESS walking eye imprint)SICP-37884547366192681
The Next Day ExtraDavid Bowie2×CD + DVD-Video14 + 10 + 4
  • DE2013-11-02
  • FR2013-11-04
  • US2013-11-05
Columbia (imprint owned by CBS between 1938–1990 within US/CA/MX; owned worldwide by Sony Music Entertainment since 1991 except in JP), ISO Records, Sony Music (global brand, excluding JP, owned by Sony Music Entertainment)88883787812, CK1-378781, CK2-378781, CVD-378781888837878128
The Next Day (Extra)David Bowie2×Blu-spec CD + DVD-Video14 + 10 + 4
  • JP2013-11-27
Sony Records International (Japanese TEXTLESS walking eye imprint), ISO RecordsSICP-30411, SICP-30412, SICP-304134547366207019
The Next DayDavid Bowie2×12" Vinyl8 + 9
Columbia (imprint owned by CBS between 1938–1990 within US/CA/MX; owned worldwide by Sony Music Entertainment since 1991 except in JP), ISO Records, Sony Music (global brand, excluding JP, owned by Sony Music Entertainment)88765461861887654618610
The Next Day (Extra)David BowieDigital Media24
ISO Records
(unknown)
The Next DayDavid Bowie2×CD15 + 10

Relationships

associated singles/EPs:The Next Day
The Stars (Are Out Tonight)
Valentine’s Day
Where Are We Now?
part of:Albums “disques de platine” (number: le 2013-12-23, après 5 jours) (order: 1)
Albums “disques d’or” (number: le 2013-18-23, après 5 jours) (order: 5)
Mercury Prize shortlist nominees (number: 2013) (order: 249)
Discogs:https://www.discogs.com/master/530238 [info]
reviews:https://www.bbc.co.uk/music/reviews/rnpn [info]
other databases:https://rateyourmusic.com/release/album/david-bowie/the-next-day/ [info]
Allmusic:https://www.allmusic.com/album/mw0002477437 [info]
Wikidata:Q2783079 [info]

CritiqueBrainz Reviews

There’s 1 review on CritiqueBrainz. You can also write your own.

Most Recent

Even after 10 years away from the spotlight, David Bowie - pop's most important post-Beatles innovator - still commands unrivalled levels of fascination.

Just when it seemed that he had slipped into a dignified retirement, which no one would have begrudged, the world awoke one morning in January to the remarkable news of not only a single, Where Are We Now?, available immediately, but also this album.

In the context of the album, Where Are We Now? - a moving, backwards glance at The Berlin Years - seems a slight red herring. Bowie does consider the past, ageing, mortality: on the title track's chant of "My body left to rot in a hollow tree" and I'd Rather Be High's stumbling "to the graveyard".

How Does the Grass Grow? poses the question, "Would you still love me if the clocks could go backwards?" (You Will) Set the World on Fire seemingly addresses his pre-stardom self, a You Really Got Me riff and slick confidence reminding us that he's always had "what it takes". This elegiac nostalgia is matched by the beautiful You Feel So Lonely You Could Die.

A complex mood pervades elsewhere, a sense of things gone awry. The nicely sinister Dirty Boys' expressive, serious vocal depicts a skewed Englishness of cricket bats, "Finchley Fair" and running "with dirty boys".

The Stars (Are Out Tonight) sees those stars (a recurring theme) anthropomorphised: "sexless and unaroused", unsettlingly "beaming like blackened sunshine".

The most experimental cut, If You Can See Me, proclaims - amidst spacey, tumbling rhythms and scattered jumbles of notes and words - "I will slaughter your kind".

Love Is Lost makes youth seem ominous - newness abounds but still "your fear is old". Clearly this is no elder statesman simply wistfully gazing into a dappled, romanticised past.

Valentine's Day and I'd Rather Be High are further standouts - the former is a mid-paced depiction of a character with a "tiny face" and "scrawny hands"; the latter, a furious anti-war song.

The closer, Heat, is a brilliant example of what makes our finest, bravest musician of the past 40 years so irreplaceable. It's full of spaced-out vocals, ominous noises and bangs, keening strings and disturbing, impressionistic poetry.

With all the opacity and lack of easy answers that you would hope for from this most stylish and creative of artists, this is a triumphant, almost defiant, return. Innovative, dark, bold and creative, it's an album only David Bowie could make.