FYE brian eno Another Green World. Play Audio Clip. Orig.Price $17.99 Our Price $13.99 You Save $4.00 (22%) Release 8/31/90 Format http://www.fye.com/catalog/musicProduct.jhtml?itemId=10003075&SkuId=10087842
T A L K I N G - H E A D S . N E T Both brian eno and David Byrne had, for a number of years, been interested in non Western music styles, particularly those of sub-Saharan African of the http://www.talking-heads.net/bushofghosts.html
Extractions: Next album Buy album Both Brian Eno and David Byrne had, for a number of years, been interested in non- Western music styles, particularly those of sub-Saharan African of the Arabic cultural sphere; In the Talking Heads /Eno records, such influences function implicitly, but on the album 'My Life In The Bush Of Ghosts' they became explicit. Over Rhythmic and harmonic backing tracks, played by Eno, Byrne and eleven other musicians, Eno and Byrne superimposed taped voices from a variety of sources. ' It's almost collage music, like grafting a piece of one culture onto a piece of another onto a piece of another, and trying to make them work as a coherent musical idea, and also trying to make something you can dance to ' mentioned Eno." The title of the album is inspired by Amos Tutuola's novel with the same title. America Is Waiting Mea Culpa Regiment Help Me Somebody The Jezebel Spirit Qu'ran * Moonlight In Glory The Carrier A Secret Life Come With Us Mountain Of Needles * = The later edition of the album contain a track called 'Very Very Hungry' instead of 'Qu'ran'. Both versions of the LP are available on CD, and some US-edition contains both tracks.
BRIAN ENO / AMBIENT 1: MUSIC FOR AIRPORTS Review by Joseph Buck. It's an album about listening. It's an album about hearing. http://www.musthear.com/reviews/musicforairports.html
Extractions: A word about the title. Eno wrote the piece to play on a cultural and physical place. Airports are the modern point of departure and they are places where reunions occur, separations begin, people move back and forth. Airports are also places of duty-free commerce, blaring announcements, boredom and tension. So he took all of this into considerations: a work that would reassure people who might possibly be flying to their fiery death, that would give a spirit of hope and trepidation and calm all mixed together.
Show After accomplishing everything cool there is to do in the world, musician brian eno wants to help reshape the way humans think about the future. http://www.techtv.com/screensavers/bitchat/story/0,24330,3591287,00.html
Extractions: The Screen Savers (episode 1974) - Questionable Modding On today's show, hosts Patrick Norton and Kevin Rose answer your questions, and we'll look at mad modder Yoshi's latest project. Plus, we'll take a tour of the FCC lab. The Screen Savers (episode 1964) - National Hardware Show Hosts Patrick Norton and Kevin Rose visit the National Hardware Show and go shopping with FCC Chairman Michael Powell. LATEST SHOW NOTES Leo's Tip - Monday, May 31, 2004
Show You are here Home TV Shows The Screen Savers Show Notes brian eno, PHLAK, Real Deal, brian eno, PHLAK, Real Deal, Show notes for the Jan. 12 show. http://www.techtv.com/screensavers/shownotes/story/0,24330,3464142,00.html
Extractions: The Screen Savers (episode 1974) - Questionable Modding On today's show, hosts Patrick Norton and Kevin Rose answer your questions, and we'll look at mad modder Yoshi's latest project. Plus, we'll take a tour of the FCC lab. The Screen Savers (episode 1964) - National Hardware Show Hosts Patrick Norton and Kevin Rose visit the National Hardware Show and go shopping with FCC Chairman Michael Powell. LATEST SHOW NOTES Leo's Tip - Monday, May 31, 2004
Knight-Ridder Interview With Brian Eno Interview on the making of Passengers Original Soundtracks 1. I suggested we do some improvising sessions, just turn the tape on and play, so we were working with a broad brush rather than the one-hair brushes we'd been using. It was designed to open us up a little, and it proved to be a good way of originating music. http://www.yourblueroom.com/media/enoIV.html
Independent Interview brian eno The shapes of things to come. Uk newspaper interview discussing the preparations for the Portugal concert by brian eno and J Peter Schwalm. http://www.independent.co.uk/story.jsp?story=77903
Extractions: On the Web Quotes Vital statistics On the Web Two useful sites compete for the ultimate Eno homepage. EnoWeb'96 boasts more hits and flashier design, but Eno home has its niche with the studious, low-bandwidth fan. For frames-capable fanatics, Weekly World Eno continuously posts events, sitings ("I almost ran over Brian Eno"), and musings. Occasionally, the Professor himself reports ("I just ate a donut - a glazed jelly donut"). When Eno wants to knock his musicians off the beaten track, he hands them strange, abstract instructions on flashcards. Oblique Strategies offers 127 bits of Eno wisdom (such as "Be dirty" and "A line has two sides"), scripted to pop up randomly and shake you into creativity. Nerve Net , named after the 1992 album, is a colorful links guide to all sites Eno. The best part is a comic strip of the artist playing with pebbles and cymbals on the beach. Eno has a vision for the Web. To understand it, and to grasp what Eno means when he goes on about music that grows each time you press play, visit the Sseyo site . There are no graphics here, and you can't hear samples of
Extractions: The Big Here and Long Now by Brian Eno It was 1978. I was new to New York. A rich acquaintance had invited me to a housewarming party, and, as my cabdriver wound his way down increasingly potholed and dingy streets, I began wondering whether hed got the address right. Finally he stopped at the doorway of a gloomy, unwelcoming industrial building. Two winos were crumpled on the steps, oblivious. There was no other sign of life in the whole street. "I think you may have made a mistake", I ventured. But he hadnt. My friends voice called "Top Floor!" when I rang the bell, and I thought knowing her sense of humour "Oh this is going to be some kind of joke!" I was all ready to laugh. The elevator creaked and clanked slowly upwards, and I stepped out - into a multi-million dollar palace. The contrast with the rest of the building and the street outside couldnt have been starker. I just didnt understand. Why would anyone spend so much money building a place like that in a neighbourhood like this? Later I got into conversation with the hostess. "Do you like it here?" I asked. "Its the best place Ive ever lived", she replied. "But I mean, you know, is it an interesting neighbourhood?" "Oh the neighbourhood? Well thats outside!" she laughed. The incident stuck in my mind. How could you live so blind to your surroundings? How could you not think of where I live as including at least some of the space outside your four walls, some of the bits you couldnt lock up behind you? I felt this was something particular to New York: I called it "The Small Here". I realised that, like most Europeans, I was used to living in a bigger Here.
Brian Eno's Ambient Music Fan resource on the philosophy of ambient composition of brian eno. http://freespace.virgin.net/barney.stevenson/brianeno.htm
Extractions: Written by Barney Stevenson as a final year MusB dissertation whilst an undergraduate at the University of Manchester, England. Readers who have found their way here will probably already be familiar with Eno's work, but may not have come across the term "Vertical Time" before. Vertical Time is an expression Eno has used to describe his music as existing in a continuous present, by removing expectation and memory from the process of listening. This aesthetic has occupied the thoughts of other 20th century musicians, notably Steve Reich and Karlheinz Stockhausen. In "Paintings in Sound" I touched on the links between non-linear music and eastern religions. The aims of "vertical listening" and of meditation have much in common, notably losing attachment to thoughts. These connections have become more clear to me since a period of time I spent in India - Hindustani and Karnatic classical music struck me as being much nearer to the vertical aesthetic than the predominantly linear aesthetic of Western music. Adobe PDF format Paintings_in_Sound.PDF
The Wire: Strategies For Making Sense 1995 interview with brian eno discussing art and philosophy of composition. http://music.hyperreal.org/artists/brian_eno/interviews/wire95.html
Extractions: From The Wire For easy access to particular areas of interest, click on the appropriate subject heading in this list. Variously labelled over his career either as a dilettante, pseudo-intellectual meddler in other people's work, or as a visionary artist and superhuman facilitator, Brian Eno eludes capture by remaining steps ahead of the men with the labels. His position in the culture of music and art has constantly evolved to the point where he now occupies a rarefied and diffuse status which he can alter according to the needs of the moment. If he faces a problem, it may well be finding a medium which can articulate his numerous impulses in a satisfactory way. For now, he seems to be spreading himself across a number of individual media, including audio/visual/tactile installations (the recent Self Storage project with Laurie Anderson) and even that most dubious of events, the rock star charity gala (War Child). As far as music is concerned, he has recently returned to producing new albums by such major league players as U2 and David Bowie, and has just finished work on Spinner , a collaboration with bass player Jah Wobble which updates the music Eno produced for the Derek Jarman film Glitterbug (all projects which he showed little interest in discussing, as it turned out).
Index Magazine Interview brian eno, 2002, WITH PETER HALLEY, Legendary musician, producer, and artist brian eno would much rather talk about urbanism, new http://www.indexmagazine.com/interviews/brian_eno.shtml
The Making Of Achtung Baby Essay by brian eno on his work and the making of the 1991 U2 recording. http://www.yourblueroom.com/media/EnoEssay.txt
Extractions: Another Green World (released 1975) Track: Rating: 1. Sky Saw 2. Over Fire Island 3. St. Elmo's Fire 4. In Dark Trees 5. The Big Ship 6. I'll Come Running 7. Another Green World 8. Sombre Reptiles 9. Little Fishes 10.Golden Hours 11.Becalmed 12.Zawinul/Lava 13.Everything Merges With The Night 14.Spirits Drifting Another Green World AGW Taking Tiger Mountain (1974) showed some movement away from the novelty-rock of Here Come The Warm Jets (1973), his solo debut. Another Green World took this process to its next logical step. Much has been made of Eno's dissatisfaction with the limits of the traditional Euro-American pop/rock scene during this time period; while this may seem in retrospect like an overly convenient justification for his subsequent career moves, there is little question that his musical scope was expanding. The ambient vignettes on AGW The difficulties of comparing AGW This album is strongly recommended to all progressive fans, and any interested in Brian Eno's music. (review originally posted to alt.music.yes
Apollo: Atmospheres And Soundtracks - Brian Eno , Brian Eno Apollo Atmospheres and Soundtracks by Artist brian eno , brian eno Manufacturer EG Records Released 31 August, 1990 Audio CD Sales Rank 9,848, http://www.alt-rock-hub.com/Apollo_Atmospheres_and_Soundtracks_B000003S1E.html
Extractions: Recorded during Brian Enos apparent spacey phase he also provided the soundtrack for David Lynchs Dune movie this is, I feel, his finest. Less quirky than Taking Tiger Mountain by Strategy and less glitzy than Roxy Musics For Your Pleasure, this album formed the soundtrack for Al Reinerts For All Mankind. It is a fantastic documentary because it was one of the first to provide to the general public the brilliantly clear footage of the view from space. Until then, the public had seen only the blurred live action beamed down at the time of each Apollo mission. Enos soundtrack wonderfully accentuates the film. You have to see it. At one point, an astronaut recalls how he would look out the porthole of the spacecraft while listening to country and western music. This provides the cue for the twanging guitar of Enos co-producer Daniel Lanois to generate the CandW themes that occur about two-thirds of the way through this soundtrack album.
Brian Eno - Ambient One Music For Airports - Review Fan site review. Rating 8.25. whether you like it or not depends on your tolerance of both repetitiveness and the quiet nature of the music itself. http://www.almostcool.org/mr/e/e4mu.html
Extractions: (EG/Caroline) If you've done any reading or research on ambient music, you've no doubt heard this album mentioned as a classic in the genre. It was created way back in the 1970's, and although different artists had created ambient music before this, it was sort of a groundbreaking release in it's stark minimal-ness. It's like 50 minutes of wallpaper music and the term "ambient" music was actually coined by Eno near to the release of this disc. It's one of those releases that you can have playing in the background for hours while you're working on something else, and not be distracted. It's also one of those discs that if you sit down and listen to very closely, you'll almost certainly fall into a state of hypnosis. Arranged in 4 sections ("1/1," "2/1," "1/2," and "2/2"), it's a concept album of sorts. The first piece drifts along with repetitive piano tinkling and synth washes, as well as occassional deep chimes that reverberate softly behind it all. The 16-minute piece progresses ever so slightly, with different variations of the central musical themes. The second track is made up of synthed-out sweeps of three different female vocal parts and although it's pretty for awhile, the 8-minute time frame on the track seems a bit long. Still, this is "discreet music" (as Eno labeled) it and not necessarily meant for determined listening. The third movement is sort of a combination of the first two tracks, although the piano part from the first piece has morphed into something slightly different to fit better with the sweep of vocals. Blended together, it makes for probably the strongest track on the album and although it's still fairly base in terms of elements that it includes, the multi-layered track is quite beautiful. The fourth piece is a little darker in tone than the first two pieces and is a solo synthesizer piece that perhaps is projecting a new sound that the combination of the first two pieces have morphed into. It sounds somewhat random in structure and conception, but the sounds are warm and soft and it provides a nice ending to the release.
Brian Eno Article By Chrissie Hynde Everything you d rather not have known about brian eno. Chrissie Hynde (1974) New Musical Express February 02 Pages 24 and 29. It http://www.pretenders.org/eno.htm
Extractions: Everything you'd rather not have known about Brian Eno Chrissie Hynde (1974) New Musical Express February 02: Pages 24 and 29 It was with a certain apprehensive curiosity that I first noticed the brown lace-up shoes. He displayed a normalcy that I just couldn't trust. After all, I'd seen his photos and I knew I was dealing with no ordinary deviant. Yet the toned-down reserve, the limp handshake (handshake?) and the nice-guy inoffensiveness had me baffled. He just didn't come on like someone who keeps an extensive collection of breast bondage literature in the bathroom. I mean, what do you say to this guy? "Oh hi Eno .... Hear you shaved off your pubic hair?" He answers the door wearing a red satin kimono and black dress pants. We pass through the dimly-lit hallway to a large white room which consists entirely of a lit candle, two pillows, tape recorder and beige carpet. "Carpeting gives you a whole new outlook on life, you don't need furniture." Eno's voice has absolutely nothing in common with the vocal tracks on Here Come The Warm Jets, his forthcoming L.P. His pronunciation is that of a soft-spoken gentleman. His singing is not unlike the shriek of a hare that's just caught an air gun pellet up the ass.
