Bowie continues to be a fantastic songwriter and performer, and this album ranks right up there with his best. Hopefully, this album will be a big success and people will discover a few gems they missed while ignoring his work the last 15 years, like Outside and The Buddah of Suburbia.

From the burbling opening seconds of Sunday, the unlikely lead-off song, to the industrial sobriety of the title track that closes this CD, I found a Bowie very much in tune with his muse - namely producer Tony Visconti. A cursory listening of the first 30 seconds of each track reveals a sense of openness and willingness to experiment which has marked all Bowie's landmark moments. I flat out loved this CD: Sunday is the most honest song he has put out since Through This Architect's Eyes from "outside" and I couldn't stop listening to it; A Better Future puts forth a committed and very jaunty swing; Gemini Spacecraft shimmers with electro-style and fuzz guitar. I keep thinking "When is this guy going to run out of creative energy?" Why compare it to his previous efforts. He is a man who just keeps plowing forward and no longer has contemporaries. Bravo. … Expand

This album is simply amazing. After repeated listens, I am left with the understanding that Bowie is indeed GOD and we must kneel before him. Like the rest of his work, the music herein has a timeless quality and depth of complexity absent in most music made nowadays. 'Sunday' and '5.15' both rise over percolating percussion loops and bleeps. Indeed, these songs, along with 'Afraid' and 'Slip Away' show Bowie's imaginative chord progressions and make perfection look easy. This KILLS!!!!… Expand

Definitely the best Bowie since Low & Heroes. A masterpiece.

Listen Bowie i forget all around me, is like been in paradise.

I really wanted to like this album, but it is one of the most boring albums Bowie has released. He sounds like he is covering his old tunes without adding anything new to the mix. While his last albums have been poorly review, they all possessed one to three gems. This album does not have a memorable song on it.

This a masterpiece. Not Bowie's masterpiece, but nevertheless a masterpiece. Best of the year.

Overall a very good album, none of my alltime favourite Bowie songs come from this album, but there´s not a single bad song on it.... Bowie is and will always be the single greatest musician ever!

Yep, good old Bowie but with a touch of new influences, great covers, good mix of melancolic songs ans rock stuff...

The New York Magazine and Uncut are no small fry but they are trying far too hard here. Bowie has triumphed with Heathen - a rich piece that updates recent classics by the kids like Homogenic, Kid A, Sophtware Slump and his own late 70s material - with less originality but more soulful humanity than any of the above youngsters.

Many critics say that this is his best album since Scary Monsters (And Super Creeps), and I agree. Heathen is filled with great songs (both originals and covers) that open the album and flow smoothly until the end. Reuniting with Tony Visconti was a smart move--the production on this album is nicely layered and contributes to the album's cohesiveness. When asked to say whether I prefer the regular or 2-CD special edition, I'd have to say the regular jewel-case version: the linear notes keep falling out of the special edition's cover, and the extras aren't really anything to die for. Still, these are minor quibbles and don't detract from my overall enjoyment of the album.… Expand