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David BowieLow

Label:RCA – PL 12030, RCA Victor – PL 12030
Format:
Vinyl, LP, Album, Stereo
Country:UK
Released:
Genre:Electronic, Rock
Style:Art Rock, Ambient, Experimental

Tracklist

A1Speed Of Life
Synthesizer [ARP], Chamberlin [Horn And Brass - Synthetic Strings]David Bowie
Written-ByBowie*
A2Breaking Glass
GuitarCarlos Alomar
Synthesizer [Splinter Mini-moog]Eno*
VocalsDavid Bowie
Written-ByBowie*, Davis*, Murray*
A3What In The World
Synthesizer [Farfisa Organ]Roy Young
Synthesizer [Report ARP, Rimmer E.M.I.]Eno*
VocalsDavid Bowie, Iggy Pop
Written-ByBowie*
A4Sound And Vision
Saxophone, Chamberlin [Synthetic Strings], VocalsDavid Bowie
Written-ByBowie*
A5Always Crashing In The Same Car
Chamberlin [Tape Cellos], VocalsDavid Bowie
Effects [Guitar Treatments], Synthesizer [E.M.I.]Brian Eno
OrganRoy Young
Written-ByBowie*
A6Be My Wife
Vocals, Bass [Pump Bass]David Bowie
Written-ByBowie*
A7A New Career In A New Town
Harmonica, Chamberlin [Tape Sax]David Bowie
Piano, Synthesizer [Synthetics]Eno*
Written-ByBowie*
B1Warszawa
Piano, Synthesizer [Mini-moog, E.M.I.], ChamberlinBrian Eno
Written-ByEno*, Bowie*
B2Art Decade
CelloEduard Meyer
Chamberlin [Chamberlain, Synthetic Strings], Percussion [Pre-arranged]David Bowie
Piano, Chamberlin, Synthesizer [E.M.I.]Eno*
Written-ByBowie*
B3Weeping Wall
Vibraphone, Xylophone, Synthesizer [ARP], Chamberlin [Synthetic Strings]David Bowie
Written-ByBowie*
B4Subterraneans
GuitarCarlos Alomar
SaxophoneDavid Bowie
Synthesizer [ARP], PianoPaul*, Peter*
Written-ByBowie*
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Credits

Notes

Issued with a 12" paper insert with credits; most copies with an orange sticker with the track list on rear cover.

Published by:
A1 to A6, B4 Bewlay Bros. S.A.R.L./Fleur Music.
B1 Bewlay Bros. S.A.R.L./Fleur Music/E.G. Music Ltd.
A7, B2, B3 Bewlay Bros. S.A.R.L./Chrysalis Music Ltd./Fleur Music.

Recorded at The Chateau and Hansa By The Wall.
Mixed at Hansa By The Wall.
Cover photo from 'The Man Who Fell to Earth', a Cinema 5 release.

RCA on sleeve, RCA Victor on labels. (CPL1 2030) appears as reference on labels only.

Initial copies included a small black and white pamphlet advertising the official David Bowie Fan Club and back catalogue.
Generic white die-cut inner sleeve of the Variant 1 shows printer run date 12/76. Copies also exist with printer run date of 11-76 upon initial release.
Variant 27 has an inner sleeve date 2-77.
NB. The sticker shown in the photos here "Featuring the hit single Sound and Vision", would not have appeared on initial copies and not until at least later in February when the single was released and charted in the UK).

Runouts are etched except STERLING. Many of the letters/numbers are scratched out.

Barcode and Other Identifiers

  • Pressing Plant ID (Runouts): W
  • Price Code: ZZ
  • Other (Labels): (CPL1 2030)
  • Matrix / Runout (Side A label): PL 12030 A
  • Matrix / Runout (Side B label): PL 12030 B
  • Matrix / Runout (Side A, variant 1): PL 12030-A-1 A̶P̶L̶1̶2̶0̶3̶0̶-̶A̶ R̶S̶1̶1̶0̶8̶A̶-̶1̶ W A2H STERLING
  • Matrix / Runout (Side B, variant 1): PL 12030-B-1 A̶P̶L̶1̶2̶0̶3̶0̶-̶B̶ R̶S̶ ̶1̶1̶0̶8̶B̶-̶1̶ A1J W STERLING
  • Matrix / Runout (Side A, variant 2): PL 12030-A-1 A̶P̶L̶1̶2̶0̶3̶0̶-̶A̶ R̶S̶1̶1̶0̶8̶A̶-̶1̶ W A1AK STERLING
  • Matrix / Runout (Side B, variant 2): PL 12030-B-2 A̶P̶L̶1̶2̶0̶3̶0̶-̶B̶ R̶S̶1̶1̶0̶8̶B̶-̶2̶ A5O W STERLING
  • Matrix / Runout (Side A, variant 3): PL 12030-A-1 A̶P̶L̶1̶2̶0̶3̶0̶-̶A̶ R̶S̶1̶1̶0̶8̶A̶-̶1̶ W A2N STERLING
  • Matrix / Runout (Side B, variant 3): PL 12030-B-2 A̶P̶L̶1̶2̶0̶3̶0̶-̶B̶ R̶S̶1̶1̶0̶8̶B̶-̶2̶ A2X W STERLING
  • Matrix / Runout (Side A, variant 4): PL 12030-A-1 A̶P̶L̶1̶2̶0̶3̶0̶-̶A̶ R̶S̶1̶1̶0̶8̶A̶-̶1̶ W A4W STERLING
  • Matrix / Runout (Side B, variant 4): PL 12030-B-2 A̶P̶L̶1̶2̶0̶3̶0̶-̶B̶ R̶S̶1̶1̶0̶8̶-̶B̶-̶2̶ A6H W STERLING
  • Matrix / Runout (Side A, variant 5): PL 12030-A-2 A̶P̶L̶1̶2̶0̶3̶0̶ ̶A̶ R̶S̶ ̶1̶1̶0̶8̶ ̶A̶-̶2̶ W A2AO STERLING
  • Matrix / Runout (Side B, variant 5): PL 12030-B-2 A̶P̶L̶1̶2̶0̶3̶0̶-̶B̶ R̶S̶1̶1̶0̶8̶-̶B̶-̶2̶ A5G W STERLING
  • Matrix / Runout (Side A, variant 6): PL 12030-A-2 A̶P̶L̶1̶2̶0̶3̶0̶-̶A̶ R̶S̶1̶1̶0̶8̶A̶-̶2 W A3Z STERLING
  • Matrix / Runout (Side B, variant 6): PL 12030-B-2 A̶P̶L̶1̶2̶0̶3̶0̶-̶B̶ R̶S̶1̶1̶0̶8̶B̶-̶2̶ A4W W STERLING
  • Matrix / Runout (Side A, variant 7): PL 12030-A-2 A̶P̶L̶1̶2̶0̶3̶0̶ ̶A̶ R̶S̶1̶1̶0̶8̶A̶-̶2̶ W A3B STERLING
  • Matrix / Runout (Side B, variant 7): PL 12030-B-2 A̶P̶L̶1̶2̶0̶3̶0̶-̶B̶ R̶S̶1̶1̶0̶8̶-̶B̶-̶2̶ A6B W STERLING
  • Matrix / Runout (Side A, variant 9): PL 12030-A-1 A̶P̶L̶1̶2̶0̶3̶0̶-̶A̶ R̶S̶1̶1̶0̶8̶A̶-̶1̶ A2Z W STERLING
  • Matrix / Runout (Side B, variant 9): PL 12030-B-2 A̶P̶L̶1̶2̶0̶3̶0̶-̶B R̶S̶1̶1̶0̶8̶B-̶2 A30 W STERLING
  • Matrix / Runout (Side A, variant 10): PL 12030-A-1 A̶P̶L̶1̶2̶0̶3̶0̶-̶A̶ R̶S̶1̶1̶ A2D W STERLING
  • Matrix / Runout (Side B, variant 10): PL 12030-B-1 A̶P̶L̶1̶2̶0̶3̶0̶-̶B R̶S̶1̶1̶0̶8̶B-̶1̶ A1L1 STERLING
  • Matrix / Runout (Side A, variant 11): PL 12030-A-2 A̶P̶L̶1̶2̶0̶3̶0̶ ̶A̶ R̶S̶1̶1̶0̶8̶A̶-ƻ W A2P STERLING
  • Matrix / Runout (Side B, variant 11): PL 12030-B-2 A̶P̶L̶1̶2̶0̶3̶0̶-̶B R̶S̶1̶1̶0̶8̶B-̶2 A2AM STERLING
  • Matrix / Runout (Side A, variant 12): PL 12030-A-1 A̶P̶L̶1̶2̶0̶3̶0̶-̶A̶ R̶S̶1̶1̶0̶8̶A̶-̶1 A4K W STERLING
  • Matrix / Runout (Side B, variant 12): PL 12030-B-2 A̶P̶L̶1̶2̶0̶3̶0̶-̶B̶ R̶S̶1̶1̶0̶8̶B̶-̶2 A6J W STERLING
  • Matrix / Runout (Side A, variant 13): PL 12030-A-2 A̶P̶L̶1̶2̶0̶3̶0̶-̶A̶ R̶S̶1̶1̶0̶8̶A̶-̶1̶ W A1R STERLING
  • Matrix / Runout (Side B, variant 13): PL 12030-B-2 A̶P̶L̶1̶2̶0̶3̶0̶-̶B̶ R̶S̶ ̶1̶1̶0̶8̶B̶-̶1̶ A5B W STERLING
  • Matrix / Runout (Side A, variant 14): PL 12030-A-2 A̶P̶L̶1̶ 2̶0̶3̶0̶ A̶ R̶S̶1̶1̶0̶8̶A̶-̶2̶ W A1H STERLING
  • Matrix / Runout (Side B, variant 14): PL 12030-B-2 A̶P̶L̶1̶-̶2̶0̶3̶0̶-̶B̶ R̶S̶1̶1̶0̶8̶-̶B̶-̶2̶ A1P W STERLING
  • Matrix / Runout (Side A, variant 15): PL 12030-A-2 A̶P̶L̶1̶ 2̶0̶3̶0̶ A̶ R̶S̶1̶1̶0̶8̶A̶-2 W A2T STERLING
  • Matrix / Runout (Side B, variant 15): PL 12030-B-2 A̶P̶L̶1̶-̶2̶0̶3̶0̶-̶B̶ R̶S̶1̶1̶0̶8̶-̶B̶-̶2̶ A2A W STERLING
  • Matrix / Runout (Side A, variant 16): PL 12030-A-1 A̶P̶L̶1̶2̶0̶3̶0̶-̶A̶ R̶S̶1̶1̶0̶8̶A̶-̶1̶ W A1N STERLING
  • Matrix / Runout (Side B, variant 16): PL 12030-B-1 A̶P̶L̶1̶2̶0̶3̶0̶-̶B̶ R̶S̶1̶1̶0̶8̶B̶-1̶ W A1H STERLING
  • Matrix / Runout (Side A, variant 17): PL 12030-A-1 A̶P̶L̶1̶2̶0̶3̶0̶-̶A̶ R̶S̶1̶1̶0̶8̶A̶-̶1̶ A2E W STERLING
  • Matrix / Runout (Side B, variant 17): PL 12030-B-1 A1O A̶P̶L̶1̶2̶0̶3̶0̶-̶B̶ R̶S̶ ̶1̶1̶0̶8̶B̶-̶1̶ W STERLING
  • Matrix / Runout (Side A, variant 18): PL 12030-A-1 A̶P̶L̶1̶2̶0̶3̶0̶-̶A̶ R̶S̶1̶1̶0̶8̶A̶-̶1̶ W A1AI STERLING
  • Matrix / Runout (Side B, variant 18): PL 12030-B-2 A̶P̶L̶1̶-̶2̶0̶3̶0̶-̶B̶ R̶S̶1̶1̶0̶8̶-̶B̶-̶2̶ A2AS W STERLING
  • Matrix / Runout (Side A, variant 19): PL 12030-A-2 A̶P̶L̶1̶-̶2̶0̶3̶0̶-̶A̶ R̶S̶1̶1̶0̶8̶-̶A-̶2̶ A3T STERLING
  • Matrix / Runout (Side B, variant 19): PL 12030-B-2 A̶P̶L̶1̶-̶2̶0̶3̶0̶-̶B R̶S̶1̶1̶0̶8̶-̶B-̶2̶ A6F STERLING
  • Matrix / Runout (Side A, variant 20): PL 12030-A-2 A̶P̶L̶1̶-̶2̶0̶3̶0̶-̶A̶ R̶S̶1̶1̶0̶8̶-̶A-̶2̶ W A1AG STERLING
  • Matrix / Runout (Side B, variant 20): PL 12030-B-2 A̶P̶L̶1̶-̶2̶0̶3̶0̶-̶B R̶S̶1̶1̶0̶8̶-̶B-̶2̶ A2AX STERLING
  • Matrix / Runout (Side A, variant 21): PL 12030-A-1 A̶P̶L̶1̶2̶0̶3̶0̶-̶A̶ R̶S̶1̶1̶0̶8̶A̶-̶1 W A1W STERLING
  • Matrix / Runout (Side B, variant 21): PL 12030-B-2 A̶P̶L̶1̶2̶0̶3̶0̶-̶B̶ R̶S̶1̶1̶0̶8̶B̶-̶2 A2J W STERLING
  • Matrix / Runout (Side A, variant 22): PxL 12030-A-1 W A1AY A̶P̶L̶1̶2̶0̶3̶0̶-̶A̶ R̶S̶1̶1̶0̶8̶A̶-̶1 STERLING
  • Matrix / Runout (Side B, variant 22): PL 12030-B-2 A̶P̶L̶1̶2̶0̶3̶0̶-̶B̶ R̶S̶1̶1̶0̶8̶B̶-̶2 A6E W STERLING
  • Matrix / Runout (Side A, variant 23): PxL 12030-A-1 W A1AE A̶P̶L̶1̶2̶0̶3̶0̶-̶A̶ R̶S̶1̶1̶0̶8̶A̶-̶1 STERLING
  • Matrix / Runout (Side B, variant 23): PL 12030-B-2 A̶P̶L̶1̶2̶0̶3̶0̶-̶B̶ R̶S̶1̶1̶0̶8̶-B̶-̶2 AZAC STERLING
  • Matrix / Runout (Side A, variant 24): PL 12030-A-2 A̶P̶L̶1̶2̶0̶3̶0̶ ̶A̶ R̶S̶ ̶1̶1̶0̶8̶ ̶A̶-̶2̶ W A3G STERLING
  • Matrix / Runout (Side B, variant 24): PL 12030-B-2 A̶P̶L̶1̶2̶0̶3̶0̶-B̶ R̶S̶ ̶1̶1̶0̶8̶ ̶B̶-̶2̶ A6E W STERLING
  • Matrix / Runout (Side A, variant 25): PL 12030-A A̶P̶L̶1̶2̶0̶3̶0̶ ̶A̶ R̶S̶ ̶1̶1̶0̶8̶ ̶A̶-̶1 W A1F STERLING
  • Matrix / Runout (Side B, variant 25): PL 12030-B A̶P̶L̶1̶2̶0̶3̶0̶ ̶B R̶S̶ ̶1̶1̶0̶8̶ ̶B-̶1 W A1F STERLING
  • Matrix / Runout (Side A, variant 26): PL 12030-A A̶P̶L̶1̶2̶0̶3̶0̶ ̶A̶ R̶S̶ ̶1̶1̶0̶8̶ ̶A̶-̶2 W A3U STERLING
  • Matrix / Runout (Side B, variant 26): PL 12030-B-2 A̶P̶L̶1̶2̶0̶3̶0̶-B̶ R̶S̶ ̶1̶1̶0̶8̶ ̶B̶-̶2̶ \\ A6G W STERLING
  • Matrix / Runout (Side A, variant 27): PL 12030-A-1 A̶P̶L̶1̶2̶0̶3̶0̶-̶A̶ R̶S̶1̶1̶0̶8̶A̶-̶1̶ A4I W STERLING
  • Matrix / Runout (Side B, variant 27): PL 12030-B-2 A̶P̶L̶1̶2̶0̶3̶0̶-̶B̶ R̶S̶1̶1̶0̶8̶B̶-̶2̶ A4U W STERLING
  • Matrix / Runout (Side A, variant 28): PL 12030-A-2 A̶P̶L̶1̶2̶0̶3̶0̶ ̶A̶ R̶S̶ ̶1̶1̶0̶8̶ ̶A̶-̶2̶ W A1E STERLING
  • Matrix / Runout (Side B, variant 28): PL 12030-B A̶P̶L̶1̶-̶2̶0̶3̶0̶-̶B R̶S̶1̶1̶0̶8̶-̶B-̶1 W A1E STERLING
  • Matrix / Runout (Side A, variant 29): PL 12030-A-2 A̶P̶L̶1̶2̶0̶3̶0̶ ̶A̶ ̶ ̶R̶S̶1̶1̶0̶8̶ A̶-̶2 W A3T STERLING
  • Matrix / Runout (Side B, variant 29): PL 12030-B-2 A̶P̶L̶1̶2̶0̶3̶0̶-̶B̶-2̶ A4T W STERLING
  • Matrix / Runout (Side A, variant 30): PL 12030-A-1 A̶P̶L̶1̶2̶0̶3̶0̶ ̶A̶ R̶S̶ ̶1̶1̶0̶8̶ ̶A̶-̶1 STERLING A3F W
  • Matrix / Runout (Side B, variant 30): PL 12030-B-1 A/B A̶P̶L̶1̶2̶0̶3̶0̶ ̶B R̶S̶ ̶1̶1̶0̶8̶ ̶B-̶1 STERLING W

Other Versions (5 of 201)

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Title (Format)LabelCat#CountryYear
Recently Edited
Low (LP, Album, Stereo)RCA VictorCPL1-2030US1977
Low (LP, Album, Stereo)RCA VictorPL 12030Germany1977
Low (LP, Album)RCARVP-6154Japan1977
Recently Edited
Low (LP, Album, Misprint )RCA VictorPL 12030Netherlands1977
Low (LP, Album)RCA VictorCPL1-2030France1977

Recommendations

Reviews

  • punkybampot's avatar
    punkybampot
    Got a first press with fan club insert, but the insert doesn’t have the back catalogue LP pics… Anyone else’s missing this?
    • Powerg's avatar
      Powerg
      Edited one year ago
      Bowie was the Beatles of the 1970s, constantly reinventing himself, always one step ahead of the competition and fastening onto emergent trends with such alacrity he appeared to have invented them. From 1972 onwards Bowie was a major pop star but one fuelled by the marginal and esoteric strands of music and culture. He was major league pop star as cult artist, drawing arcane ideas from the periphery to the centre, and making them mainstream. The Beatles had performed a similar role in the mid to late ‘60s, but they never made an album as radical as Low.

      Low was Bowie's first collaboration with Eno and, supposedly, the first part of the Berlin Trilogy. I say supposedly because 'Berlin Trilogy' seems to be something of a misnomer or journalistic construct. Bowie was living in Berlin during this period but only "Heroes" was completely recorded in Berlin (Lodger was recorded in Montreux and New York and most of Low was recorded at the Chateau d'Herouville in France and then completed in Berlin). And while I'm in the mood for tedious nit-picking here's a bit more: Low does not consist of a songs side and an instrumental side (despite the fact we've been told it does countless times). There are two instrumentals on side one, the album starts with one of them, and three of the four tracks on side two feature vocals.

      Bowie had been fascinated by Eno's solo albums, including Another Green World, which with its mixture of punchy songs and atmospheric instrumentals, shares a good deal in common with Low. Eno arrived at the Honky Chateau with his trusty portable synthesiser in a briefcase. What else did he bring? A profound knowledge of avant-garde artistic traditions, a love of deconstructing conventional song structures, a non-musician's conceptual approach to music making, an irresistible itch to do things differently for the sheer mischief of seeing what happened. And his pack of cards, naturally: Oblique Strategies, 55 instructional cards - a sort of I Ching set up designed to aid creativity and even constructively disrupt it. Bowie and Eno played card games a great deal while making Low. He may only get one songwriting co-credit on the record (for Warszawa, an Eno tune to which Bowie added vocals), and according to Tony Visconti, who co-produced the album with Bowie, about half of the record was recorded before he even turned up, but Eno's maverick sensibility is nonetheless stamped right through Low like Blackpool through a stick of rock.

      Bowie's genius lay in creating something new by fusing apparently disparate elements. Low draws on the German electronic bands of the period and New York Minimalism but is equally indebted to funk and disco (both Bowie and Eno were quick to spot the importance of disco at a time when their less open-minded, not to mention cloth-eared rock contemporaries we're dismissing it as commercial garbage). Like most genuinely original music the album was not universally welcomed on its release. The New Musical Express took the extremely unusual step of printing two reviews of it - one full of praise and the other dismissing it as the self-indulgent ramblings of a man at the end of his tether. Even its admirers tended to describe it as gloomy or depressing. They had a point, of course, Low is not exactly a party album, but listening to it all these years later what strikes the listener is something very different - the almost gleeful sense of risk-taking and adventure. The songs on side one might be about alienation, psychic withdrawal and loneliness, but they are also possessed of a febrile energy, sweeping synthetic strings, a jaw-dropping, revolutionary drum sound and sheer funkiness. Bowie's working title for the album, New Music Night and Day, better captures its innovative and exploratory spirit (mind you, the cover, a profile shot of Bowie under the word Low, should have been clear evidence that his sense of humour was still in full working order).

      In The Man Who Fell to Earth, Thomas Jerome Newton, the alien played by Bowie, makes an album but we never get to hear what it sounds like, but then we don't need to - it sounds like side two of Low. These pieces, which feature some of the most startling vocal performances of his career, (but look, Ma, no words! A trick Bowie may have stolen from Meredith Monk), radiate with an otherworldly and glacial beauty. Bowie apparently intended at least some of them for the soundtrack of the film but perhaps it's no bad thing they were turned down. On Low they provide the soundtrack for an infinite number of interior movies, daydreams and nightmares.

      Low was released in January 1977, just at the time the punk revolution was gathering steam. The album bypasses punk entirely and, rather astonishingly, creates the sonic template for post-punk. Bowie never went quite this far out again, not even on the excellent follow up "Heroes", but the extraordinary thing is that he had the imagination, and indeed courage, to make an album as creative, and also as challenging to the expectations of his audience, as this one at all. Very few world famous pop stars would have done - not even the Beatles.

      • Jellycat1971's avatar
        Jellycat1971
        Edited one year ago
        the big drums, chunky riff and girly ooos of sound and vision are what got me into bowie in 1990. The first side songs still sound compelling today. Short and punky yet full bodied, they haven’t gone out of date. The sudden blart of electronic noise in breaking glass still gives a burst of pure pleasure - one the best instrumental breaks ever. bowie sounds vulnerable, emotionally clear and honest, the lyrics spare and to the point. side two is like queens flash gordon at times, but without as much entertainment value, and the vocalising is hammy and a bit silly - he’s hiding behind a performance again. the sax on subterraneans adds a nice melancholy though. some online mag said it’s the best album of the 70s, which is deeply pretentious. I’d say heroes, ziggy, sane, hunky and station are all superior. ‘original’ doesn’t always mean ‘great’. it isn’t, but everyone should hear it. iggy shouting on what in the world would cheer anyone up.
        • bruisedviolet's avatar
          45th anniversary edition on orange vinyl released on Friday 14th January 2022 anyone?
          • 5fives5's avatar
            5fives5
            My variant appears to have A2R W on Side A, which isn't listed above, and A2X W on Side B, which is. The R could be a distorted P or D I guess.
            • shivsidecar's avatar
              shivsidecar
              I found the rear sticker extremely irritating (in 1977), so I peeled it off. Looks better without. Go on, peel yours off too.
              • possvox's avatar
                possvox
                Edited 2 years ago
                Side 1:
                (Etched) APL1 20230A (Crossed out)
                (Etched) RS1108A-1
                (Stamped) STERLING
                (Etched) A3V (may be a "Y")
                W PL 12030 A-1
                Side 2:
                (Etched) APL1-2030-B
                (Etched) RS 1108-B-2 (Crossed out)
                (Etched) AIAB (Very faintly)
                (Stamped) STERLING
                (Etched) PL 12030-B-2
                Inner sleeve is printed 11-76. Contains insert and Bowie "Fan Club" leaflet. Tracklist sticker on rear of sleeve. Purchased on release day. Variant # ???
                Help please.
                • simonpj145's avatar
                  simonpj145
                  Hi I have what looks like a first edition - PL12030 - orange sticker without reference to hit single, and I have the insert. But the insert does not have a print run date. Anybody know what this means?
                  • Masterjamcst's avatar
                    Masterjamcst
                    Edited 3 years ago
                    Some parts on the 2n side remind me at Tubular Bells by Mike Oldfield.
                    • rendezvous65's avatar
                      rendezvous65
                      Apparently, this is getting remastered and repressed on vinyl on February 23 along with Heroes.

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