Product Description

The first (Heroes and Lodger would follow) of Bowie's threeBerlin albums. Living there as a semi-recluse for three years, he worked with Svengali/producer Brian Eno and the results of their collaborations helped change the face of the European mainstream. Artists such as Gary Numan, Ultravox and OMD were indebted to the sound Bowie had created with the synthesizer to build a somewhat terse wall of sound. Criticallyacclaimed, but a relative commercial failure, apart from the surprise `Sound And Vision' hit single, it remains as a pertinent reminder of Bowie's ability to surprise and enlighten.

Track Listing

1. Speed of Life
2. Breaking Glass
3. What in the World
4. Sound and Vision
5. Always Crashing in the Same Car
6. Be My Wife
7. New Career in a New Town
8. Warszawa
9. Art Decade
10. Weeping Wall
11. Subterraneans

Product Details

• Amazon Sales Rank: #2101 in Music
• Released on: 1999-09-20
• Number of discs: 1
• Format: Enhanced

Amazon.co.uk Review
The first part of a loosely affiliated trilogy (Heroes and Lodger were to follow), Low is in part a synthesis of 1970's disco, funk and New Wave as well as a brave foray in to wordless electronic ambience. The opening salvo of songs and up-tempo instrumentals contains the single "Sound and Vision", which shudders under the archness of Bowie deadpan vocals. Elsewhere, Bowie inhabits the brilliantly starchy European funk of "Breaking Glass" and "Always Crashing in the Same Car". That Bowie found a like mind in the eternally innovative Brian Eno is no surprise; the success of the four instrumental pieces that close Low can be attributed in no small way to the production contributions of the ex- Roxy Music keyboard player turned ambient pioneer. Bowie and Eno's experiments in a Berlin recording studio would have a massive influence on the music of subsequent decades. For this reason alone, Low is an essential David Bowie album. --James Littlewood

Customer Reviews

Low: What Ed Thinks
Hmmmm, a tricky album this. After the 5 year party that culminated in the Euro-Funk express that was Station to Station, Low is something of a hangover. In come sparse lyrics and music, it's almost a back-to-basics approach to stripped-down songwriting after its lavish predecesors. Let than not put anyone off this though, side 1 (the first seven tracks) are succinct classic new wave pop, inspired by bands such as Blondie and Talking Heads. Side 2 (the final 4 tracks) are brooding instrumentals influenced by the likes of european electronica, such as Can and Focus, and personally they do little for me.A note on the 1999 EMI 24 bit remastered series of Bowie CDs: content essentially as the original releases back in the '70s and '80s, full lyrics included, with some nice pics of original memorabilia. But for me I much prefer the late '80s releases from Ryko as they had bonus tracks. So my advice? Buy this if it is less than a fiver.

The future was here, and it sounded strange
An amazing Bowie album that broke the mould in popular music.
As usual he copied like a magpie, but somehow carried it off as totally original.
Side 1 has stood the test of time perhaps better than any of his other albums and still sounds amazing and urgent.
Side 2, even more ground breaking at the time than side 1 has not stood the test of time that well.
Eno and Visconti probably deserve equal billing as artists on this one.
It's a must and a grower, and proof that sometimes less can definitley mean more.
It even has one of his most perfect singles on it !

Bowie and Eno's first outing.
Low is the first part of the unequalled Berlin Trilogy, recorded by Bowie when he was in Berlin. In my mind Low is the collaboration of two of the best prog-rock artists of the 70s- David Bowie and Brian Eno. Low shows a return to rock (from the blue eyed soul of the thin white duke) for Bowie. Bowie made a masterpiece in his attempt to wean himself of cocaine.

First is the vibrant Speed of Life, an instrumental it may be but don't let that put you off. The repetitive (twice over) rhythm is a classic feature of Eno's music, but is also a lot more far reaching because of Bowie's input.
Then comes Breaking Glass. This tiny little song is about a man breaking up with his girlfriend. Its irresistible rhythm (you know, you just have to tap your fingers on the table) is evidence of Bowie's songwriting collaboration with Dennis Davis (drums) and George Murray (bass).
What In The World is a bit of a letdown for the album, it hasn't aged well. The Pac-Man like noise throughout the song is quite annoying. The song's subject, a little girl with grey eyes, is thought to be part of Bowie's character (is it the same girl that features in 1971's Life on Mars?)
Then is Sound and Vision. Through many remixes and covers this timeless piece is still at its best in the original version. It is meant to be about Bowie's drug-using-hazy-forgotten what happened yesterday period.
Always Crashing In The Same Car has a slow style that makes t seem as though time has stopped. It is about another of Bowie drug induced dreams.
Next is Be My Wife. It is thought to be a last cry out to his estranged partner Angela Bowie. He apparently played it over the phone to her before recording and, briefly, the pair were together again (of course not in the same place as she lived in Zurich).
A New Career in a New Town is similar to Speed of life in the way that it is a lively opener. As you can probably guess from the title, it is about Bowie's fresh start in Berlin.
Then is Warszawa. Inspired by a Polish choir, this lengthy piece was co-written with Brian Eno. It is good music to play at a funeral.
Art Decade and Weeping Wall are fairly similar. Art Decade is about the atmosphere in West Berlin during the cold war and Weeping wall is about the misery of the Berlin Wall. Weeping wall's melody is based on a twisted version of Scarbourgh Fair.

Subterraneans deserves a paragraph all on its own. It is by far the best piece. It is about the atmosphere in East Berlin. Its tune is catchy (well kind of) and the lyrics are inspiring (if nonsensical). It is the type of music I could eat (not literally).

Low is the best sound I have ever heard. A great starter to a great trilogy!