LOW

This album supposedly opens the Berlin trilogy which is partially incorrect. The album is mostly recorded in France and only mixed in Berlin. But it is true that David and Angie spent some time together almost in front of the Wall which will add a depressive mood to this album, only augmented by their separation.

In 1976, David contacted Brian Eno (who was producing "Ultravox!") and asked him to help with his new project. Again, Bowie is changing almost completely from musical inspiration. The coldness of the album is peaking during the whole of its B-side.

In terms of popularity, this change won't affect David's success. The album reached the second spot in the UK and the 11th in the US. For such an experimental effort, it was not too bad a result.

I have always felt a bit "hungry" about side one. A great collection of short pieces of music, some of them being extraordinarily catchy as the hit single "Sound & Vision" which I am profoundly fan of, to some great instrumental pieces of work like the opener "Speed Of Life" full of fabulous synth sounds and remarkably balanced. But I have always felt that most of them were kind of unfinished. And I still feel the same more than thirty years later.

It is sufficiently rare to be mentioned, but this album is mostly instrumental. To my knowledge, no other influent singer has ever produced such a piece of art. It's like cutting one of your organ. But his voice is replaced with an orgy of synth and keys all the way through the magnificent B-side.

It starts with the cold, dark and oppressive atmosphere of "Warszawa". Brian Eno is co-credited and one can notice his major influence on this album of course. Highly experimental but combined with an incredible and touching feeling. The "vocal" part is just wonderful. The most poignant of his whole career IMHHO.

As "Young Americans" was a shock for lots of fans (to which I belong), "Low" although unanimously acclaimed by the critics will also leave some fans incomprehensive. What was going into David's mind? Releasing an almost electronic album?

I guess that because of my taste from 1973 through 1976, I was rather pleased with this change. And this part of the album is one of my preferred side of any Bowie album.

Of course "Art Decade" and "Weeping Wall" can't compete with the other two songs but are not disturbing here.

THE masterpiece track of this masterpiece album is the closing number. "Subterraneans" is such a desperate call coming from the East Berliners, such an immaculate song. David is "singing" in an unknown language. He said that he was so bored about traditional rock lyrics that he voluntarily opted for some incomprehensible stuff. And it worked remarkably.

David also plays a fantastic sax part (remember, this was his first instrument). "Subterraneans" is a cold anthem, a solemn prayer, harrowing, almost metaphysical. Again, a grandiose number.

In 1977, David will also produce two albums for Iggy. For "The Idiot" he will write all the numbers of which the world known "China Girl" as well as "Nightclubbing". Bowie is even holding the keys, almost anonymously, during the supporting tour.

A little later, it will be the turn of "Lust Of Life". Bowie will sign the music for each of the song (with the notable exception of the great "Passenger"). What a gift to his Iggy friend! But such is Bowie.

The remastered CD version holds three bonus tracks of which two are essential IMHHO. The extended version of "Sound & Vision" of course (I never could get enough of this song) and the beautiful "Some Are". It could have easily fit on the original album.

Did I say masterpiece? Oh yes, this time I have already mentioned it! Thanks a lot to both of you Brian and David. This was (and still is) a great moment in my musical life.

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