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Songs from this album are available to purchase as MP3s. Click on "Buy MP3" or view the MP3 Album.

Song Title Time Price
listen  1. Speed Of Life (1999 Digital Remaster) 2:46$0.99  Buy MP3 
listen  2. Breaking Glass (1999 Digital Remaster) 1:52$0.99  Buy MP3 
listen  3. What In The World (1999 Digital Remaster) 2:23$0.99  Buy MP3 
listen  4. Sound and Vision (1999 - Remaster) 3:04$0.99  Buy MP3 
listen  5. Always Crashing In The Same Car (1999 Digital Remaster) 3:33$0.99  Buy MP3 
listen  6. Be My Wife (1999 Digital Remaster) 2:57$0.99  Buy MP3 
listen  7. A New Career In A New Town (1999 Digital Remaster) 2:53$0.99  Buy MP3 
listen  8. Warszawa (1999 Digital Remaster) 6:23$0.99  Buy MP3 
listen  9. Art Decade (1999 Digital Remaster) 3:47$0.99  Buy MP3 
listen10. Weeping Wall (Instrumental; 1999 Digital Remaster) 3:28$0.99  Buy MP3 
listen11. Subterraneans (1999 Digital Remaster) 5:41$0.99  Buy MP3 

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Biography by Stephen Thomas Erlewine
The cliché about David Bowie says he's a musical chameleon, adapting himself according to fashion and trends. While such a criticism is too glib, there's no denying that Bowie demonstrated remarkable skill for perceiving musical trends at his peak in the '70s. After spending several years in the late '60s as a mod and as an ... Read more in Amazon's David Bowie Store

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Product Details

  • Audio CD (September 28, 1999)
  • Original Release Date: 1977
  • Number of Discs: 1
  • Label: Parlophone
  • ASIN: B00001OH7W
  • Average Customer Review: 4.6 out of 5 stars  See all reviews (147 customer reviews)
  • Amazon Best Sellers Rank: #3,742 in Music (See Top 100 in Music)

Editorial Reviews

Customer Reviews

This album was way ahead of its time.
Low is very rich in wide and deep soundscapes, another thing that Bowie helped to create and usher in to popular music.
One Of the best albums I have ever heard.
Madame O´Brien

Most Helpful Customer Reviews

126 of 132 people found the following review helpful By Stephen Caratzas on February 19, 2000
Format: Audio CD
"Low", the first album of David Bowie's stunning collaboration with soundscape specialist Brian Eno, is easily the most "plastic" of the trilogy -- that was, and still is, the point. Modern music's chameleon, who has changed personas more times than some people change their socks, bent and manipulated the course of music once again with "Low", and the effects are likely never to cease being felt. In a career that has been all about breaking new ground, this is arguably Bowie's finest hour.
This album is a fascinating hodgepodge of styles: pure, delicious pop ("Speed of Life", "Sound and Vision"), post-punk ("Breaking Glass", "What in the World"), R&B flavored rock ("Be My Wife"), ambient jazz ("Art Decade", "Weeping Wall"), even classical ("Warszawa"). Despite the stylistic variations, the album is of a piece: a coherent vision wherein each song is treated with a rich palette of sonic coloration. Bowie and Eno utilize multiple synthesizers, layered guitars, colliding vocals, and twisted variations of an instrument's "traditional" sound (check out the honky-tonk piano of "Be My Wife" or the harmonica of "A New Career in a New Town") to produce music unlike any heard before in rock.
This album has been cited as the inspiration for countless 80s new wave synth bands and beyond (NIN, Prodigy). But aside from knocking down the door for those new acts, it also lent some serious credence to existing artists like Kraftwerk and Tangerine Dream, who had been exploring the kind of music Bowie took to new, unforeseen heights with "Low".
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36 of 36 people found the following review helpful By David on January 16, 2000
Format: Audio CD
A lot of people have complained that these reissues do not contain the extra tracks that the Rykodisc editions did. I am interested in hearing rare material too but sometimes it just spoils the enjoyment of the album by making it sound too long and clumsy. This is no more evident than on "Low". Without the extra tracks this sounds superb, as it was intended to sound.
"Low" is the first of three albums Bowie was to record with Eno in the seventies, the two others being "Heroes", and "Lodger". "Low" is not an instantly accessible album. It demands your patience and attention, but rewards generously. It contains a delightful mix of quirky pop tunes sounding like vignettes of an altered state of mind, and eerie ambient tracks filled with strange alien sounds. A feeling of loneliness and space permeates through this album, not surprising since Bowie had gone to Berlin to lead a quieter life and to keep a "Low" profile.
This album was way ahead of its time. Finally the world is catching up. Philip Glass took some of the instrumentals from this album and recorded "The Low Symphony", confirming that this is very much a modern classic.
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51 of 54 people found the following review helpful By Shotgun Method on June 14, 2005
Format: Audio CD
You can keep Ziggy Stardust, Aladdin Sane etc (glam rock generally isn't my thing). This is my favorite Bowie album, and no doubt one of his most innovative. A collaboration with Brian Eno (produced by Tony Visconti), Low merges Eno's ambient and electronic experimentation (as seen on minor classics such as Another Green World and Taking Tiger Mountain By Strategy) with Bowie's innate pop sense to create a truly excellent record. Released in 1977, Low proved that David had recovered from his somewhat flatulent "plastic soul" period with ease and was still relevant in the face of rock's new generation (Sex Pistols, Ramones, Elvis Costello, The Clash, Wire etc.). It also established the course he would take on the next 3 albums--Heroes, Lodger (Parts 2 & 3 of the "Berlin Trilogy") and Scary Monsters.

The album is split into two sides--one mostly a platter of electro/art pop with sparse vocals that predated the New Wave movement by a solid 4-5 years; while the other is a deep exploration of Eno-esque ambient soundscapes that still sound pretty cutting-edge. If there's one complaint I can lodge against this album, it may have to do with the pacing; in my opinion it would've been better to sequence the ambient material with the pop, as one side made up strictly of slow-moving soundscapes can get a little dreary. No big deal. That's what the "shuffle" function is for, right?

Side 1 kicks off with the awesome instrumental Speed Of Life, which marries bleepy synths and treated percussion with a classic Carlos Alomar guitar line. The moody, short Breaking Glass has Bowie intoning his dark narrative ("You're such a wonderful person/ But you've got problems/ I'll never touch you") over a similar futuristic backdrop.
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12 of 12 people found the following review helpful By J. Alcala on August 15, 2002
Format: Audio CD
I once thought that I knew everything about synth-music (a term I find myself using more often since "synthpop" is a term that just seems to take away from the real meanings behind songs). I once thought that David Bowie was just another glam-rocker from the early 70s who happened to hit it big with Let's Dance sometime in the early 80s, with apparently no consideration as to what happened inbetween. On a whim, I bought David Bowie's latest album, Heathen, and read about the return of the Berlin trilogy producer-Tony Visconti. Upon hearing that album, an insatiable desire for hearing all of Bowie's "electro" material was firmly established. I took a chance and decided to begin at the starting-point of the trilogy.
Low caught me completely off guard. Early industrial came to mind. Then, ambient soundscapes, then...well, I just gave up trying to put a label on everything. It was all just so unique and different, nothing I had ever heard had really touched upon this particular type of sound. The instrumentals, Speed of Life, A New Career in a New Town, and Art Decade seemed so claustrophobic and yet, so expansive at the same time. The seemingly suicidal despair of Breaking Glass, Always Crashing in the Same Car (great titles!), and Subterranians seemed so comforting at the same time. Finally, this was an album with genuine angst, not the commercialized angst force fed by record companies through bands like Korn, Slipknot, or Blink 182. As far as I'm concerned, there's no better album than Low to throw you into the pit of despair, then pulling you out again by actually enabling you to meditate and move on.
Since purchasing this album, I have bought several other Bowie albums, namely Hunky Dory, Station to Station, Heroes, Lodger, Scary Monsters, and 1. Outside. Even after hearing them all ten times or more, Low remains my favorite Bowie album. There's not a single note on it that I would say was wasted.
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