The first of several collaborations with Brian Eno, in what became known as the "Berlin" trilogy, also including proceeding releases Heroes and Lodger, represents a rebuilding of Bowie's career that began on the previous Station to Station set. Low is cut into two sides, with the first 6 numbers being more accessible in terms of melodic quality and semi-conventional arrangements, while instrumentally displaying impeccable musicianship courtesy of Bowie, Eno, guitarists' Carlos Alomar and Ricky Gardener, longtime bassist, George Murray and drummer Dennis Davis coupled in tandem with the production excellence of Tony Visconti.

 

Opening with "Speed of Life", an instrumental, it sets the stage of what to expect, seemingly within this recording, featuring a forceful backbeat and saxophone accompaniment (played by Bowie himself) as well as displaying profound keyboard and electronic treatments which add texture and color to the songs' composition, giving an innovative quality of originality and sophistication. "Breaking Glass" leads off with a distinctive guitar riff and a tightly knit rhythm section and the addition of the keyboard and vocal style leads into a seamless transition to the following track, "What in the World", carrying much of the same upbeat feel and quality that "Glass" had previously provided.  The organic build of "World" t likewise, paves the way for one of my favorite cuts of the record, "Sound and Vision". This number features a most addictive guitar melody with a rhythm pattern that is deliciously distinctive and has a great groove realized with shimmering, synthesized keyboards and prepared saxophone snippets. The recording techniques utilized by Eno and Bowie within the time period of 1976/77 are a creative landmark and  precursor to the digital recording age and with Tony Visconti in tow to help along with production qualities finds Low as being a "High" point for Bowie's musical palette.

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"Always Crashing in the Same Car" and "Be My Wife" are the cuts of the record that maintain a consistent feel giving the album a solid base to expand on within the darker and more experimental songs following further into the duration of the album. "A New Career in a New Town" features prepared percussion backing, with the addition of harmonica and a layering of electronic treatments that Eno and Bowie were both introducing into David's repertoire, consolidating the claim of ethereal and innovative elements incorporated into the album. "Warszawa" ultimately introduces the Eno/Bowie partnership with its pastoral-like arrangement and use of sparse piano and various keyboard instruments, building an extraordinary musical landscape, owing much to the influence of Brian Eno, respectfully. "Art Decade" features more of the same feel as its former number, replete with a drum machine and further experimentation from the  Bowie/Eno union incorporating unique uses of vibraphone and xylophone. "Weeping Wall" echoes much of the same feel as the last number and further drives into the world of ambient music, consistent with the profound feel of experimentation displayed thus far.  

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Closing out with "Subterraneans" which utilizes "backwards" tape loops among eerie keyboard textures, sparse saxophone accompaniment and chant-like vocal arrangements, Low makes for an invigorating and intriguing listening experience and is quite unlike anything Bowie had committed to tape before. In my world, his best years remain from Station to Station thru to Scary Monsters and Low is but among the top releases of this time period that allowed another phase of growth to this iconic and extraordinary talent.

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Rating Grade- A+