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Low (album)
From Wikipedia, the free encyclopedia
- For the album by Testament, see Low (Testament album).
| Low | |||||
|---|---|---|---|---|---|
 |
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| Studio album by David Bowie | |||||
| Released | January 14, 1977 RCA Reissue 1984-1985 Rykodisc Reissue August 27, 1991 EMI Reissue September 1999 |
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| Recorded | Château d'Hérouville, Pontoise, France Hansa Studio by the Wall, West Berlin, 1976 |
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| Genre | Experimental Rock, Art Rock, Krautrock, Ambient | ||||
| Length | 38:48 | ||||
| Label | RCA | ||||
| Producer | David Bowie, Tony Visconti | ||||
| Professional reviews | |||||
| David Bowie chronology | |||||
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Low is a 1977 album by British musician David Bowie. Widely regarded as one of his most influential releases, Low was the first of the "Berlin Trilogy", a series of collaborations with Brian Eno (though the album was actually recorded mainly in France and only mixed in West Berlin). The experimental, avant-garde style would be further explored on "Heroes" and Lodger. The album's working title was New Music Night and Day.[1]
Contents |
The genesis of the album lies in both the foundations laid by Station to Station, and music Bowie intended for the soundtrack to The Man Who Fell to Earth. However, when Bowie presented his material to Nicolas Roeg, the director, it was decided that it would not be suitable for the film as Roeg had intended a more folksy sound, although John Phillips (the chosen composer for the soundtrack) described it as "haunting and beautiful".[2] Elements from it were incorporated into Low instead. The album's cover, like Station to Station, is a still from the movie: the photographic image, juxtaposed with the album's title, formed a deliberate pun on the phrase "low profile".[3]
Following the release of the cocaine-fueled Station to Station, Bowie began to rekindle his interest in art. As a recovering cocaine addict, (although he never fully dropped the habit and continued to use sporadically during recording and mixing), his songwriting on Low tended to deal with difficult issues; many of the songs concern lethargy, depression, estrangement, or self-destructive behavior. Producer Tony Visconti contended that the title was partly a reference to Bowie's "low" moods during the album's writing and recording.[4]
The format of the album was unusual for its time: side one contained short, direct song-fragments; side two comprised longer, mostly instrumental tracks. On these tracks help was lent by ex-Roxy Music keyboardist and conceptualist Brian Eno, who brought along his EMS 'suitcase' synthesiser (Bowie was later given this exact synthesiser as a birthday present after a friend obtained it in an auction).[5] Often incorrectly given credit as Low's producer,[6] Eno was responsible for a good deal of the direction and composition of the second side of the album and actually wrote the theme and instrumentation for "Warszawa" while Bowie was in Paris attending court hearings against his former manager. Eno in turn was helped by producer Tony Visconti's four-year-old son who sat next to Eno playing A, B, C in a constant loop at the studio piano. This phrase became the "Warszawa" theme. On Bowie's return Eno played him the work which impressed Bowie who then quickly composed the made-up, vaguely eastern European sounding lyrics.[7]
Although the music was influenced by German bands such as Kraftwerk and Neu!,[1][6] Low has been acclaimed for its originality and is considered ahead of its time, not least for its cavernous treated drum sound created by producer Visconti using an Eventide Harmoniser.[3][8] On the release of Low, Visconti received phone calls from other producers asking how he had made this unique sound, but would not give up the information, instead asking each producer how they thought it had been done.[8]
Low earned mixed reviews on its initial release. It was a financial success, peaking at #2 on the UK charts and #11 in the U.S.. "Sound and Vision" and "Be My Wife" were released as singles; the former reached #3 in the UK.
Low has risen to the top of many critics' "best album" lists. It was rated the #1 album of the 1970s by Pitchfork Media.[9] In 2000 Q placed it at number 14 in its list of the 100 Greatest British Albums Ever.[10] In 2003, the album was ranked number 249 on Rolling Stone magazine's list of the 500 greatest albums of all time.[11]
Philip Glass based his 1992 classical album Low Symphony on Low, with Bowie and Eno both assisting in its creation. "Bowi", an EP by Nick Lowe, was named in response to Low.
The influence of Low spans many genres that would come to prominence in following years such as Post-punk, New Wave and Industrial. Not only was it an influence on these styles, but the fact that an artist of Bowie's prominence had experimented with these styles made other proponents of the genres more respectable. Trent Reznor would later claim Low to be one of his influences while creating The Downward Spiral. As late as 2000, Radiohead looked to be attempting a similar concept and sound with their album Kid A.
All tracks written by David Bowie, except where noted.
- "Speed of Life" – 2:46
- "Breaking Glass" (Bowie, Dennis Davis, George Murray) – 1:52
- "What in the World" – 2:23
- "Sound and Vision" – 3:05
- "Always Crashing in the Same Car" – 3:33
- "Be My Wife" – 2:58
- "A New Career in a New Town" – 2:53
- "Warszawa" (Bowie, Brian Eno) – 6:23
- "Art Decade" – 3:46
- "Weeping Wall" – 3:28
- "Subterraneans" – 5:39
The album has been released three times on CD, the first between 1984 and 1985 by RCA Records, the second in 1991 by Rykodisc (with three bonus tracks on silver CD and later on AU20 Gold CD), and the third in 1999 by EMI (featuring 24-bit digitally remastered sound and no bonus tracks).
- "Some Are" (previously unreleased) – 3:24
- "All Saints" (previously unreleased) – 3:25
- "Sound and Vision" (1991 remix by David Richards) – 4:43
- also released by EMI in the UK (CDP 79 7719 2)
- David Bowie – vocals, guitar, pump bass, saxophones, xylophones, vibraphones, harmonica, pre-arranged percussion, keyboards: ARP synthesizer, piano, Chamberlin (credited on the album sleeve notes as "tape strings", "tape-cello" and "tape-horns")
- Brian Eno – vocals, splinter Minimoog, report ARP, guitar treatments, piano, keyboards, synthetics, Chamberlin, other synthesizers
- Carlos Alomar – rhythm guitar
- Dennis Davis – percussion
- George Murray – bass
- Ricky Gardiner – guitar
- Peter Himmelman – piano, ARP synthesizer
- Mary Visconti – backing vocals
- Iggy Pop – backing vocals on "What in the World"
- Eduard Meyer – cellos
- Roy Young – piano, Farfisa organ
Album
| Year | Chart | Position |
|---|---|---|
| 1977 | UK Albums Chart | 2 |
| 1977 | US Billboard Pop Albums | 11 |
Single
| Year | Single | Chart | Position |
|---|---|---|---|
| 1977 | "Sound and Vision" | UK Singles Chart | 3 |
| 1977 | "Sound and Vision" | Billboard Pop Singles | 69 |
- ^ a b Roy Carr & Charles Shaar Murray (1981). Bowie: An Illustrated Record: pp.87-90
- ^ Hugo Wilcken (2005). Low: pp.16-22
- ^ a b David Buckley (1999). Strange Fascination - David Bowie: The Definitive Story: pp.299-315
- ^ BowieGoldenYears. Retrieved 12 June 2007.
- ^ Hugo Wilcken (2005). Op cit: pp.59-69
- ^ a b Nicholas Pegg (2000). The Complete David Bowie: pp.302-306
- ^ Hugo Wilcken (2005). Op cit: pp.113-118
- ^ a b Hugo Wilcken (2005). Op cit: pp.69-73
- ^ Pitchfork Feature: Top 100 Albums of the 1970s. Retrieved on 2007-04-30.
- ^ Q - End of Year Lists. Retrieved on 2007-04-30.
- ^ Rolling Stone : The RS 500 Greatest Albums of All Time. Retrieved on 2007-04-30.