Hours [Remastered]

Editorial Reviews

All Music Guide - Stephen Thomas Erlewine
Since David Bowie spent the '90s jumping from style to style, it comes as a shock that Hours, his final album of the decade, is a relatively straightforward affair. Not only that, but it feels unlike anything else in his catalog. Bowie's music has always been a product of artifice, intelligence, and synthesis. Hours is a relaxed, natural departure from this method. Arriving after two labored albums, the shift in tone is quite refreshing. "Thursday's Child," the album's engaging mid-tempo opener, is a good indication of what lays ahead. It feels like classic Bowie, yet recalls no specific era of his career. For the first time, Bowie has absorbed all the disparate...
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Editorial Reviews

All Music Guide - Stephen Thomas Erlewine
Since David Bowie spent the '90s jumping from style to style, it comes as a shock that Hours, his final album of the decade, is a relatively straightforward affair. Not only that, but it feels unlike anything else in his catalog. Bowie's music has always been a product of artifice, intelligence, and synthesis. Hours is a relaxed, natural departure from this method. Arriving after two labored albums, the shift in tone is quite refreshing. "Thursday's Child," the album's engaging mid-tempo opener, is a good indication of what lays ahead. It feels like classic Bowie, yet recalls no specific era of his career. For the first time, Bowie has absorbed all the disparate strands of his music, from Hunky Dory through Earthling. That doesn't mean Hours is on par with his earlier masterworks; it never attempts to be that bold. What it does mean is that it's the first album where he has accepted his past and is willing to use it as a foundation for new music. That's the reason why Hours feels open, even organic -- he's no longer self-conscious, either about living up to his past or creating a new future. It's a welcome change, and it produces some fine music, particularly on the first half of the record, which is filled with such subdued, subtly winning songs as "Something in the Air," "Survive," and "Seven." Toward the end of the album, Bowie branches into harder material, which isn't quite as successful as the first half of the album, yet shares a similar sensibility. And that's what's appealing about Hours -- it may not be one of Bowie's classics, but it's the work of a masterful musician who has begun to enjoy his craft again and isn't afraid to let things develop naturally. [Bowie signed with Columbia in 2002, bringing his '90s albums for Virgin along with him. They were reissued in 2004 with bonus tracks. Earthling is given five bonus tracks: the "American Psycho Remix" of "Something in the Air," the "Marius DeVries Mix" of "Survive," a demo of "Seven," the "Stigmata Film Version" of "The Pretty Things Are Going to Hell," and the non-LP B-side "We All Go Through."]
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Product Details

  • Release Date: 3/23/2004
  • Label: Sony Mod - Afw Line
  • UPC: 827969209929
  • Catalog Number: 92099
  • Sales rank: 363,441

Album Credits

Performance Credits
David Bowie Primary Artist, Keyboards, Vocals, Guitar (12 String Acoustic)
Mike Garson Piano
Everett Bradley Percussion
Sterling Campbell Drums
Reeves Gabrels Acoustic Guitar, Guitar, Electric Guitar, Rhythm Guitar, Mellotron, Drum Loop, Guitar (12 String Acoustic)
Chris Haskett Rhythm Guitar
Mike Levesque Drums
Mark Plati Bass, Strings, Keyboards, Mellotron, Loops, Guitar (12 String Electric), Guitar (12 String Acoustic)
Holly Palmer Background Vocals
Emm Gryner Background Vocals
Emily Frankfurt Background Vocals
Technical Credits
David Bowie Composer, Producer, drum programming
Marius de Vries Producer, Remixing
Reeves Gabrels Composer, Producer, drum programming
Mark Plati Producer, Engineer, Remixing, drum programming
Andy VanDette Mastering
Rex Ray Image Manipulation
Alex Grant Composer
Kevin Paul Engineer
Tim Bret Day Cover Photo
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