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Rock - Released March 8, 2013 | Columbia

Distinctions 3F de Télérama - 5 étoiles Rock and Folk - 5/6 de Magic - Sélection du Mercury Prize
Say this for David Bowie: he has a flair for drama. This abiding love of the theatrical may not be as evident in the production of The Next Day as it is in its presentation, how Bowie sprung it upon the world early in 2013 following a decade of undeclared retirement. Reasons for Bowie's absence were many and few, perhaps related to a health scare in 2004, perhaps due to a creative dry spell, perhaps he simply didn't have songs to sing, or perhaps he had a lingering suspicion that by the time the new millennium was getting into full swing he was starting to be taken for granted. He had settled into a productive purple patch in the late '90s, a development that was roundly ignored by all except the devoted and the press, who didn't just give Hours, Heathen, and Reality a pass, they recognized them as a strong third act in a storied career. That same sentiment applies to The Next Day, an album recorded with largely the same team as Reality -- the same musicians and the same producer, his longtime lieutenant Tony Visconti -- and, appropriately, shares much of the same moody, meditative sound as its predecessor Heathen. What's different is the reception, which is appropriately breathless because Bowie has been gone so long we all know what we've missed. And The Next Day is designed to remind us all of why we've missed him, containing hints of the Thin White Duke and Ziggy Stardust within what is largely an elegant, considered evocation of the Berlin Bowie so calculating it opens with a reworking of "Beauty & The Beast," and is housed in an artful desecration of the Heroes LP cover. Unlike his Berlin trilogy of the late '70s, The Next Day is rarely unsettling. Apart from the crawling closer "Heat" -- a quiet, shimmering, hallucination-channeling late-'70s Scott Walker -- the album has been systematically stripped of eeriness, trading discomfort for pleasure at every turn. And pleasure it does deliver, as nobody knows how to do classic Bowie like Bowie and Visconti, the two life-long collaborators sifting through their past, picking elements that relate to what Bowie is now: an elder statesman who made a conscious decision to leave innovation behind long ago. This persistent, well-manicured nostalgia could account for the startling warmth that exudes from The Next Day; even when a melody sighs with an air of resigned melancholia, as it does on "Where Are We Now?," it never delves into sadness, it stays afloat in a warm, soothing bath. That overwhelming familiarity is naturally quite appealing for anyone well-versed in Bowie lore, but The Next Day isn't a career capper; it lacks the ambition to be anything so grand. The Next Day neither enhances nor diminishes anything that came before, it's merely a sweet coda to a towering career. ~ Stephen Thomas Erlewine
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Rock - Released June 4, 2012 | Parlophone UK

Hi-Res Distinctions The Qobuz Ideal Discography
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Rock - Released September 25, 2015 | Parlophone UK

Hi-Res Distinctions The Qobuz Ideal Discography
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Rock - Released January 8, 2016 | Columbia

Hi-Res Booklet Distinctions Pitchfork: Best New Music
Rumors were rife: Definitive hibernation or even incurable disease - and then no - David Bowie made a blazing comeback in 2013 with the album The Next Day. Hardly time to fully digest this record and Ziggy is back already with the fascinating Blackstar, his 25th studio album published the day of his 69th birthday! 48 hours later, the shock is total as we learned of the death of the artist, carried away by a cancer after struggling against the disease for 18 months ... With Blackstar, once again we are tempted to say, Bowie surprises and amazes with a bold, and rather protean, experimental work (sometimes harking back to the likes of Station To Station/Low). A beautiful musical UFO that he designed with brilliant jazzmen in New York (including Maria Schneider and her orchestra but also guitarist Ben Monder and saxophonist Donny McCaslin) without forgetting the loyal Tony Visconti, ever behind the console to produce this beautiful black star. The star today is Bowie. Up there. Eternal and obviously immortal ... © CM/Qobuz
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Rock - Released January 19, 1998 | Parlophone UK

Distinctions The Qobuz Ideal Discography
After summing up his maverick tendencies on Scary Monsters, David Bowie aimed for the mainstream with Let's Dance. Hiring Chic guitarist Nile Rodgers as a co-producer, Bowie created a stylish, synthesized post-disco dance music that was equally informed by classic soul and the emerging new romantic subgenre of new wave, which was ironically heavily inspired by Bowie himself. Let's Dance comes tearing out of the gate, propulsed by the skittering "Modern Love," the seductively menacing "China Girl," and the brittle funk of the title track. All three songs became international hits, and for good reason -- they're catchy, accessible pop songs that have just enough of an alien edge to make them distinctive. However, that careful balance is quickly thrown off by a succession of pleasant but unremarkable plastic soul workouts. "Cat People" and a cover of Metro's "Criminal World" are relatively strong songs, but the remainder of the album indicates that Bowie was entering a songwriting slump. However, the three hits were enough to make the album a massive hit, and their power hasn't diminished over the years, even if the rest of the record sounds like an artifact. ~ Stephen Thomas Erlewine
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Pop - Released November 14, 2014 | Parlophone UK

Distinctions Pitchfork: Best New Reissue
Nothing Has Changed is a bit of a cheeky title for a career retrospective from an artist who is known as a chameleon, and this triple-disc compilation has other tricks up its sleeve. Chief among these is sequencing the SuperDeluxe 59-track set in reverse chronological order, so it opens with the brand-new, jazz-inflected "Sue (Or in a Season of Crime)" and concludes with David Bowie's debut single, "Liza Jane." On paper, this seems a bit like a stunt, but in actuality it's a sly way to revisit and recontextualize a career that has been compiled many, many times before. Previously, there have been single discs, double discs, and triple-disc boxes, but the largest of these was Sound + Vision, a box released in 1989, and the most recent was 2002's The Best of Bowie, which featured slightly different track listings in different territories but generally stopped in the late '90s. The two-CD version of Nothing Has Changed resembles this 2002 set -- there are absences, notably "John, I'm Only Dancing," "Diamond Dogs," and "TVC15," but they're not noticed among the parade of standards -- but it's easily overshadowed by the triple-disc SuperDeluxe set. This version of Nothing Has Changed touches upon nearly every phrase of Bowie's career, bypassing Tin Machine but finding space for early pre-"Space Oddity" singles that often don't make Bowie's comps, and naturally it samples from his fine Y2K records, plus his 2013 comeback The Next Day. This expansiveness alone would be noteworthy, but when it's combined with the reverse sequencing the compilation forces listeners to reconsider an artist whose legacy seemed so set in stone it appropriately was enshrined in museums. Obvious high-water marks are undersold -- there's not as much Ziggy as usual, nor as much Berlin -- so other eras can also enter the canon, whether it's the assured maturity of the new millennium or the appealing juvenilia of the '60s. The end result is something unexpected: a compilation that makes us hear an artist we know well in a whole new way. ~ Stephen Thomas Erlewine
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Rock - Released June 30, 2008 | Parlophone UK

Distinctions Sélection Disques de l'année Les Inrocks
Recorded from Bowie's first live American broadcast, this October 20, 1972 concert is a good choice for those who found themselves left cold by the awkward soul and the absence of Mick Ronson on David Live. Coming on the heels of the release of Ziggy Stardust, Bowie is captured here at the height of his creative powers. He gives a nod to the influence of Lou Reed with a fine "Waiting For The Man," and the live renditions of "Jean Genie" and "Rock and Roll Suicide" surpass the studio versions, thanks in no small part to the inimitable Mick Ronson. "Life on Mars?" and other tunes off Hunky Dory can be a bit disappointing, though, without original keyboardist Rick Wakeman, who was now busy becoming a star with Yes. But this is only a minor qualm; the Spiders band is wonderfully aggressive, all the more because live performance was perhaps the true home for its glam theatrics. ~ Paul Collins
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Rock - Released November 1, 2013 | Columbia

Hi-Res Distinctions Hi-Res Audio
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Rock - Released October 12, 2018 | Parlophone UK

For diehard fans, 1983-88 was neither Bowie’s most fundamental nor most passionate period. It would, however, be his most fruitful, climaxing with the hit Let’s Dance. Three years after the excellent Scary Monsters album, Bowie plunged body and soul into the MTV era with one of his greatest commercial successes, packed with funky pop and new wave disco hits that are hard to grow tired of. Produced by Nile Rodgers from Chic and released in April 1983, Let’s Dance even welcomed on board Stevie Ray Vaughan and includes a few hidden treasures, such as the glamorous cover of China Girl (co-written five years earlier with Iggy Pop for The Idiot) or the energetic opening track, Modern Love. The Thin White Duke croons like he’s never crooned before and his single Let’s Dance got people up on the dance floors all over the world. Once again, the star caught his fans off-guard and released an album that was completely different from his previous ones. Even if some people reproached the genius for indulging in a little commercial or even opportunistic pop soul success, Let’s Dance perfectly embodies its carefree title and ages rather well. Driven by his single Blue Jean and containing an improbable cover of God Only Knows by the Beach Boys, the album Tonight which was released in 1984 climbed its way to the top of the charts in the UK and even went platinum in the States. In April 1987, Bowie carried on down this path of muscular pop rock with Never Let Me Down… This boxset Loving The Alien (1983-1988) includes three remastered studio albums, live recordings from Serious Moonlight (Live'83) and Glass Spider (Live Montreal'87), as well as a compilation called Dance that brings together contemporary remixes of tracks from this period. One of the highlights is a new version of Never Let Me Down with brand-new production and instrumentation, supervised by Mario McNulty. The album is replayed by guitarist Reeves Gabriel, drummer Sterling Campbell, bassist Tim Lefebvre (who also features on Blackstar) and composer Nico Muhly. The idea came from Bowie himself who thought that the work from 1987 had been a "bitter disappointment". This 2018 version features Laurie Anderson's participation on Shining Star (Makin' My Love). As with the three previous volumes of the complete Bowie collection - Five Years (1969-1973), Who Can I Be Now? (1974-1976) and A New Career In A New Town (1977-1982) - this rich album Loving the Alien (1983-1988) also contains a new selection entitled Re:Call 4 as well as singles, remixes and some rare compositions such as Bowie’s contributions to the soundtracks of Labyrinth, The Falcon And The Snowman, Absolute Beginners and When the Wind Blows. © Marc Zisman/Qobuz
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Pop - Released November 11, 2016 | Rhino

Not the first posthumous compilation from David Bowie -- that would be the lavish box Who Can I Be Now? (1974-1976), which was planned prior to his January 10, 2016 death -- Legacy is nevertheless the first designed with his, well, legacy in mind. That much can be gleaned from the title of the compilation, but that's a bit of a feint since this set essentially repackages the simplest incarnation of a previous Bowie hits compilation, 2014's Nothing Has Changed. Legacy is available as a single and a double-disc, both carrying sequencings that mirror those on Nothing Has Changed (and both featuring a new mix of "Life on Mars?"). On the single disc, the first 12 songs are the same, then the back sequence is different, discarding "Absolute Beginners" and "Hallo Spaceboy" and concluding with "Where Are We Now?" and "Lazarus." Similarly, the double-disc has a nearly identical sequencing on its first disc -- "Ashes to Ashes" and "Fashion" are swapped -- with the differences arriving in the comp's final six songs, so Heathen's "Everyone Says Hi" is here, and this concludes with "Lazarus" and "I Can't Give Everything Away." In both cases, the Legacy sequencing is slightly better than that on Nothing Has Changed, since it winds up ending on the elegiac note that Bowie gave Blackstar. Still, it's splitting hairs: the 2016 and 2014 compilations are similar to each other, and they're also similar to the many Bowie comps that came before, and they're all just as likely to satisfy and pique interest. ~ Stephen Thomas Erlewine
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Rock - Released November 30, 2018 | Parlophone UK

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Bowie first stepped onto the Glastonbury stage in 1971. “As of 1990 I got through the rest of the 20th century without having to do a big hits show. Yes, yes I know I did four or five hits on the later shows but I held out pretty well I thought…big, well-known songs will litter the field at Glastonbury this year. Well, with a couple of quirks of course”, David Bowie wrote at the time. In the year 2000, the Thin White Duke made an unforgettable impression on the UK’s largest music festival. Indeed, his set-list comprising of 21 tracks is a testament to the extent of his legacy. It includes the favourites: Starman, China Girl, Heroes, The Man Who Sold The World, Let’s Dance, Life On Mars?, Changes, Under Pressure, but also some quirkier gems: Stay, Golden Years, Wild Is The Wind, and the leading track from Station to Station (1975), the unusual, melancholic album that Lester Bangs considered to be his masterpiece.  Performing on stage with his long mane of hair, his ¾ Alexander McQueen coat and his XXL charisma, Bowie is on fire. He is joined by guitarist Earl Slick who replaced Mick Ronson when the Spiders From Mars broke up in 1974 and who at the time was the mastermind behind Diamond Dogs and David Live, Bowie’s first live recording. A true wonder to behold. © Charlotte Saintoin/Qobuz
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Rock - Released October 21, 2002 | Parlophone UK

David Bowie has switched labels so often his catalog is cluttered with hits compilations, all purporting to be definitive. Since he is one of the few major artists with no compunction against putting all his hits on one disc, they're all excellent, and 2002's Best of Bowie is no exception, no matter which country you live in (brief explanation: sensitive to the needs of fans in different markets, Bowie and EMI/Virgin tailored a different Best of Bowie for every country it was released in -- a collector's and cataloger's nightmare, but the basics apply for each variation). Yeah, there are great songs missing, and it loses a little focus toward the end, but all the big, big hits are here, in great sound and logical sequence. Bowie made more than his share of great albums, but if you just want the highlights, this is as good as Changesbowie in capturing them. ~ Stephen Thomas Erlewine
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Rock - Released June 29, 2018 | Rhino

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After completing Low and Heroes, the first two albums of his Berlin trilogy, David Bowie spent most of 1978 touring the world. During this huge tour, baptised as Isolar II, he sang in front of a million people across 70 concerts in 12 countries! The star was free from his addiction problems which up until then had seen him go on stage only after having ingested astronomical quantities of cocaine… Recorded in April and May 1978 and released in September the same year, the live Stage album showed a Bowie in full transition, struggling with his glam beginnings, his soul music future and his present new wave. First published for the occasion of the Record Store Days in April 2018, Welcome To The Blackout (Live London'78) also captures this period. Recorded at Earls Court in London on June 30th and July 1st 1979 by Tony Visconti, this is a previously unreleased double live album offering more energetic versions than those on stage. The fascinating tracks from Low and Heroes lose some of their eccentricity on stage. And the “old hits” like Rebel Rebel and Ziggy Stardust gain in luxury what they lose in violence, even if on Suffragette City the singer does seem totally possessed. Finally, the lead guitarist Adrian Belew and rhythmic guitarist Carlos Alomar knit together stunning interventions to accompany the Thin White Duke. An unmissable document for Bowie fans. © Marc Zisman/Qobuz
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Rock - Released September 29, 2017 | Parlophone UK

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After Five Years (1969 – 1973) and Who Can I Be Now ? (1974 – 1976), to dive into the box set A New Career In A New Town (1977 – 1982), is to zoom in on David Bowie's Berlin period. In 1977, Ziggy moored up in the German city, then disfigured by a wall. With Diamond Dogs in 1974 and in particular Young Americans the following year, soul and funk were suffused with a rock’n’roll sound. But this Bowie was to be eclipsed by a colder, more cerebral, experimental Bowie. Always ready to re-invent himself, to follow trends (when he wasn't setting them himself...) and simply to question things, he flew to Berlin, where things were in motion. Alongside Brian Eno, formerly of Roxy Music, he wrote his famous Berlin trilogy, which opened with Low. On this bizarre record, everything begins with a weird baroque soul instrumental, with electronic textures (Speed of Light), then a balanced mix of songs and other instrumental tracks. Capable of delivering futurist soul (Sound And Vision), a sombre and mysterious symphony (Warszawa), new-wave minimalism that sounded like a Sci-Fi soundtrack (Art Decade) or disjointed, cubist rock (Breaking Glass), this was David Bowie revisiting his experiences with Krautrock from groups like Neu!, Can and Faust, playing with Kraftwerk's machines but remaining himself: a genially insane savant still ahead of his time.   Heroes, which stands out from the crowd, essentially follows the same recipe, but in warmer tones. In the still-immured German city, his music recalled the halcyon days of the raging punk movement that was thundering in his native England. Flanked by mad machines (once again piloted by Eno) and weird guitars (by  Robert Fripp, ex-member of King Crimson), Bowie channelled his experiments with electronic flavours (Neuköln) into compositions with more rounded melodies (Heroes, The Beauty And The Beast, Joe The Lion). Heroes is above all the cult album which would mark both new wave and the cold wave that followed…   Released in May 1979, Lodger closes the Berlin period in a more consensual (but less passionate) spirit. Recorded at Montreux and in New York by Tony Visconti, with Brian Eno still to hand, it features a Bowie who is having fun taking a look into world music, and in particular at the work of the group Talking Heads. This is hardly surprising, when we note that David Byrne's group was then working with Eno... Nevertheless, the ensemble remains startling and less homogeneous than the two previous records.   After this avant-garde trilogy, the British artist casts off some of his froideur, but not the madness, of his experiments with genre, with Scary Monsters (And Super Creeps) which came out in 1980. Between self-assured modern funk (Fashion and its angular groove) and a re-visited new wave (Ashes To Ashes), he paints a new rainbow, as dense as ever, and still in step with the many currents of its time. A perfect marriage of the 70s and 80s, this brilliant neo-punk cabaret contains powerful compositions that are classic in content and daring in form. Forever in search of the unexpected, the Thin White Duke takes on board a post-Television song from Tom Verlaine (Kingdom Come), invites The Who's Pete Townshend to play on Because You're Young, and, on half of the tracks, offers Robert Fripp crazy, out-of-control guitar sequences.   Alongside remasters of Low, Heroes, Lodger, Stage and Scary Monsters (And Super Creeps), this box set offers Lodger remixed and co-produced by Visconti, Re:Call 3, a compilation of singles, B-sides and rarities including Heroes sung in German and French. © MZ/Qobuz
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Rock - Released September 25, 2015 | Parlophone UK

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Rock - Released March 6, 2015 | Epic

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Pop - Released September 25, 2015 | Parlophone UK

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Rock - Released April 15, 2013 | Parlophone UK

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Rock - Released September 29, 2017 | Parlophone UK

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Rock - Released November 24, 2017 | Parlophone UK

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David Bowie in the magazine
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    Bringing back Bowie For diehard fans, 1983-88 was neither Bowie’s most fundamental nor most passionate period. It would, however, be his most fruitful, climaxing with the hit Let’s Dance.
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