FIRST LISTEN: David Bowie - The Next Day

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.

Liz Giuffre