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Post by Columbia_rocks_man on Jul 28, 2010 18:47:09 GMT
Probably the greatest album ever made.
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Post by eddiemurphy on Jul 28, 2010 19:02:43 GMT
it's not even bowie's best album ya fool.  |
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Post by Columbia_rocks_man on Jul 28, 2010 19:05:07 GMT
It's easily Bowie' best album. But then you probably just listen to Hunky Dory and his greatest hits.
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Post by eddiemurphy on Jul 28, 2010 19:08:32 GMT
close between hunky and ziggy for me. don't hate low. slightly more acquired tasting though.  |
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Post by rbbrslmn on Jul 28, 2010 19:09:44 GMT
station to station is my favourite bowie LP this week.
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Post by william on Jul 28, 2010 22:53:59 GMT
good shout chris
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Post by dereffe on Jul 29, 2010 13:52:28 GMT
good album, ian curtis' favourite  |
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Post by rbbrslmn on Jul 29, 2010 17:28:11 GMT
great album but not bowies best. Scary monsters is miles better. also prefer aladdin sane, ziggy stardust,station to station, and diamond dogs. diamond dogs is mostly rubbish. |
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Post by floz on Aug 1, 2010 17:35:05 GMT
Low just about ties with ziggy for me, and the two stand head and shoulders above anything else.
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Post by Columbia_rocks_man on Aug 1, 2010 18:15:50 GMT
I love Bowie's glam era. But Ziggy and Hunky Dory are miles behind every one of the 'Berlin trilogy' both artisitcally and stylistically.
Low is something extremely rare in pop music - an already established artist working with a series of equally gifted collaborators and creating something never seen or heard before.
It's a cliche to talk about records which genuinely changed music, but without someone like Bowie coming along and making a record like Low, the dozens of bands working in the late 70s/early 80s could never have sounded like they did. Low effectively said - there's a lot of cool new sounds and production techniques out there, why not make use of them? Joy Division are just one example who reaped the benefits. Martin Hannet must have played Low to death.
But aside from all that, it's just a great album. It could have been recorded yesterday, the production is that fresh. And the songs are something else. Always crashing in the same car and Warszawa are near perfection in terms of mood music.
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Post by dereffe on Aug 1, 2010 18:21:24 GMT
Yeah and without Neu! Can, Kraftwerk and a dozen of other German bands there would be no Davie Bowie 'Berlin trilogy' at all. We could go on like that for ages tbh
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Post by Columbia_rocks_man on Aug 1, 2010 18:34:21 GMT
Whilst Can / Kraftwerk are obvious influences, Bowie / Eno still made their own thing. I love Can, but could they have made Low? No. Bowie was a pop star, a proper fukcing pop star with limos, magazine covers and a massive ching habit when he made Low. The 'kruatrock' mob had no commerical pressures to make albums, they could, and did, record whatever they wanted. It took fucking balls for Bowie to record Low.
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Post by dereffe on Aug 1, 2010 18:44:03 GMT
Oh you're right, but what I meant is that the 'without this there would be no that' could be dragged on forever
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Post by eddiemurphy on Aug 2, 2010 22:03:32 GMT
low never really got mentioned in bbc4's synth pop documentary the other night.  kraftwerk, giorgio moroder and even clockwork orange got the big mentions and bowie got forgotten about really.  |
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Post by Columbia_rocks_man on Aug 2, 2010 22:14:34 GMT
eddie mentioned synth pop, not me.
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Post by dereffe on Aug 2, 2010 22:33:12 GMT
Neu! top them all. Even these The Horrors cunts want to sound like them nowadays
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Post by eddiemurphy on Aug 2, 2010 22:51:09 GMT
eddie mentioned synth pop, not me.  |
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Post by rbbrslmn on Aug 3, 2010 13:38:12 GMT
Nah dont buy that, bowie was far more influential as a glam space rocker or whatever you wanna call him, than as some pioneering "synth" related artist, and you would use that term to describe the bands that you're thinking of in the late 70's and early 80's plus it was bowie and eno, and not just bowie. the berlin trilogy was definitely influential, but it was nothing groundbreaking, and it was nothing new, nor unique. You could trace chunks of it back to the clockwork orange soundtrack. and it doesnt matter what you wanna label it as, Suicide were still more influential. AllmusicSuicide (singer Alan Vega and keyboardist Martin Rev) is the source point for virtually every synth pop duo that glutted the pop marketplace (especially in England) in the early '80s. Suicide "would prove as influential as The Clash. Listening to their self-titled 1977 debut from the vantage point of late 2002, it's all so obvious: the synthpop, techno, and industrial dance sounds of the '80s and '90s, and now the new New Wave of electroclash, all gesture back to that foundational album." this is ridiculous and having suicide as an influence is the sort of perverse logic only people like allmusic could come up with. which do you think the queers making synthpop in the 80s would have been far more likely to have even heard at all. bowie or fucking suicide? I'd happily give you a quid for every time phil oakey has listened to suicide in his life if you give me a quid for every time he's listened to heroes or low. |
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Post by Columbia_rocks_man on Aug 3, 2010 19:05:53 GMT
exactly mr soulman, exactly
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Post by krburg on Aug 3, 2010 21:04:34 GMT
Roxy Music too, they were dipping into those territories early doors, I would say its a fair shout to say a lot of the 80's synth bands were more inspired by Roxy Music than Bowie
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