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BRIAN ENO

Progressive Electronic • United Kingdom


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Brian Eno biography
Brian Peter George St John le Baptiste de la Salle Eno - Born 15 May 1948 (Woodbridge, UK)

There has never been an artist more mystic (in the prog world, anyway) than Brian Eno. He has had many occupations that have influenced many musicians: he was the founding father of ambient music (though some might give him no small amount of flak for starting new age slop), a glam rocker, an expert at the synthesizer and many other strange electronic devices, a producer of hits for U2 and Talking Heads, an explorer of non-western musical themes and, as he was known to everyone who liked him, a "non-musician."

Growing up in the town of Suffolk (which was close to a American Air Force camp), he became fascinated by music when listening to doo wop and R&B on the Armed Forces radio stations. He later developed an interest towards avant-garde composers like John Cage and Terry Riley. In 1971, he became a member of the seminal rock band ROXY MUSIC. Eno joined them because he knew how to operate a certain synthesizer that none of the other members could. Some rock fans thought that he was gay because he wore makeup and women's clothing. His unusual appearance was offstaging the ROXY MUSIC frontman Bryan Ferry, who began to grow agitated as a result. After several fights with Ferry, Eno quit ROXY MUSIC to record some albums of his own sound.

The first album with Eno's name on it was 1973's "No Pussyfooting", an early ambient venture that he recorded with fellow EG Records recording artist Robert Fripp (most famous as the guitarist of KING CRIMSON). Most of the album was a Gibson Les Paul played by Fripp running through a tape-delay system. This new method would be dubbed "Frippertronics," a system that Fripp would later use in his solo career. (The sampling of sounds later set the stage for electronica and hip-hop.) Eno's first true solo album was 1973's "Here Come The Warm Jets", which managed to make the Top 30 in the UK. This time around, Eno had a glam rock sound that David Bowie and QUEEN had popularized. The album proved so critically popular that Eno (even though he was in poor health) decided to tour. The tour was cancelled shortly because of a collapsed lung.

In 1974, he released "Taking Tiger Mountain" (By Strategy), which was a similar collection of free form rock songs. Shortly after the album was released, a serious car accident left Eno bedridden for several months. While in th...
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BRIAN ENO discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

BRIAN ENO top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.74 | 228 ratings
Here Come the Warm Jets
1973
3.69 | 194 ratings
Taking Tiger Mountain (By Strategy)
1974
3.99 | 352 ratings
Another Green World
1975
3.47 | 124 ratings
Discreet Music
1975
3.81 | 228 ratings
Before And After Science
1977
3.36 | 103 ratings
Music for Films
1978
3.63 | 219 ratings
Ambient 1 - Music for Airports
1978
3.79 | 86 ratings
Eno, Moebius & Roedelius: After The Heat
1978
3.95 | 168 ratings
Brian Eno & David Byrne: My Life In The Bush Of Ghosts
1981
4.01 | 204 ratings
Ambient 4 - On Land
1982
3.82 | 137 ratings
Apollo - Atmospheres & Soundtracks (OST)
1983
2.94 | 32 ratings
More Music For Films [Aka: Music For Films - Vol. 2]
1983
3.33 | 66 ratings
Thursday Afternoon
1985
2.45 | 21 ratings
Music For Films III
1988
2.81 | 52 ratings
Eno & Cale: Wrong Way Up
1990
2.30 | 50 ratings
Nerve Net
1992
2.86 | 38 ratings
The Shutov Assembly
1992
3.22 | 44 ratings
Neroli - Thinking Music Part IV
1993
1.77 | 13 ratings
Headcandy
1994
2.91 | 20 ratings
Eno & Wobble: Spinner
1995
2.64 | 36 ratings
The Drop
1997
2.22 | 9 ratings
Lightness - Music For The Marble Palace
1997
3.08 | 12 ratings
I Dormienti
1999
3.57 | 31 ratings
Brian Eno & J. Peter Schwalm: Drawn From Life
2001
2.29 | 14 ratings
January 07003 - Bell Studies For The Clock Of The Long Now
2003
3.76 | 76 ratings
Another Day On Earth
2005
3.94 | 95 ratings
Small Craft On A Milk Sea
2010
3.55 | 37 ratings
Brian Eno & Rick Holland: Drums Between The Bells
2011
3.30 | 27 ratings
Lux
2012
3.15 | 23 ratings
Eno & Hyde: Someday World
2014
3.14 | 20 ratings
Eno & Hyde: High Life
2014
2.50 | 6 ratings
My Squelchy Life
2015
3.61 | 26 ratings
The Ship
2016
3.66 | 28 ratings
Reflection
2017
4.14 | 13 ratings
Brian & Roger Eno: Mixing Colours
2020
0.00 | 0 ratings
Brian Eno, Laurie Anderson, Ebe Oke: Dokument #2
2020

BRIAN ENO Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.00 | 5 ratings
Dali's Car (with Winkies and 801)
1999

BRIAN ENO Videos (DVD, Blu-ray, VHS etc)

3.92 | 6 ratings
Thursday Afternoon
1984
4.04 | 7 ratings
14 Video Paintings
2005
4.13 | 5 ratings
77 Million Paintings
2006

BRIAN ENO Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

0.00 | 0 ratings
Working Backwards: 1983-1973
1983
3.58 | 7 ratings
Begegnungen (with Dieter Moebius, Hans-Joachim Roedelius & Conrad Plank)
1984
2.30 | 4 ratings
Begegnungen II (with Dieter Moebius, Hans-Joachim Roedelius & Conrad Plank)
1985
2.53 | 5 ratings
Desert Island Selection
1986
0.00 | 0 ratings
More Blank Than Frank
1986
0.00 | 0 ratings
1989
1989
3.50 | 4 ratings
Textures
1989
3.15 | 7 ratings
Eno Box II: Vocals
1993
4.11 | 8 ratings
Eno Box I: Instrumentals
1994
0.00 | 0 ratings
Generative Music 1
1996
3.50 | 2 ratings
Sonora Portraits
1999
3.09 | 4 ratings
Curiosities, Vol. 1
2003
3.49 | 3 ratings
Curiosities Vol. 2
2004
3.88 | 6 ratings
More Music For Films
2005
0.00 | 0 ratings
Music for Installations
2018

BRIAN ENO Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

5.00 | 1 ratings
Third Uncle
1974
3.50 | 2 ratings
Seven Deadly Finns
1974
5.00 | 1 ratings
The Lion Sleeps Tonight
1975
5.00 | 1 ratings
King's Lead Hat
1978
4.33 | 3 ratings
Robert Sheckley's In A Land Of Clear Colors (with Pete Sinfield)
1979
5.00 | 1 ratings
Brian Eno & David Byrne - The Jezebel Spirit
1981
0.00 | 0 ratings
Rarities
1983
3.10 | 2 ratings
Silver Morning / Deep Blue Day (Brian Eno, Daniel Lanois & Roger Eno)
1983
0.00 | 0 ratings
Brain Eno & John Cale
1990
3.50 | 2 ratings
Ali Click
1992
1.05 | 3 ratings
Fractal Zoom
1992
3.00 | 4 ratings
Music For White Cube
1997
0.00 | 0 ratings
Contra 1.2 (Untitled 24:53)
1997
3.00 | 5 ratings
Kite Stories
1999
4.00 | 1 ratings
Music For Onmyo-Ji
2000
3.00 | 2 ratings
Music for Civic Recovery Centre
2000
2.67 | 6 ratings
Compact Forest Proposal
2001
4.00 | 1 ratings
How Many Worlds
2005
4.00 | 1 ratings
This
2005
3.50 | 2 ratings
Making Space
2006
3.33 | 3 ratings
Panic Of Looking
2011
3.09 | 4 ratings
Sisters
2017
3.00 | 2 ratings
Brian Eno with Kevin Shields- The Weight Of History / Only Once Away My Son
2018

BRIAN ENO Reviews


Showing last 10 reviews only
 Neroli - Thinking Music Part IV by ENO, BRIAN album cover Studio Album, 1993
3.22 | 44 ratings

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Neroli - Thinking Music Part IV
Brian Eno Progressive Electronic

Review by Dapper~Blueberries

4 stars Brian Eno is definitely one of most eclectic and well respected artist in the 20th and 21st century. He is a visual artist, a composer, and a well pronounced music creator. He is both a rockstar and a ambient mastermind with his style and craft of his albums to where each, even the ones that are more quiet and reserved do have a certain specialty that some other bands cannot achieve. And I like to say that Brian Eno is less of a musician and more of a artist who makes sound into his art. His early career definitely was more akin to your usual music affairs, however I think his ambient works is where he truly shines his brightest. Albums like Music For Films, Discreet Music, Ambient 2, and The Ship are all very beautiful pieces of electronic and ambient music that I like to listen to in the background due to their quiet and calming sounds. It definitely takes time to fully appreciate what these albums are and mean to people, but they are definitely meditative in their core values, and I think those values can be best represented with this album, Neroli.

This album only has one song, a 57, nearly hour long track which has been a sort of staple with Brian's work, for example one of his more recent works, Reflection being a one hour long track. This one long track is kinda hard to fully describe. Despite it's length the album has a more straight forward idea, being that it's thinking music. The alternative title for this track is Thinking Music Part IV, and so that is exactly what it is. There is no crescendos, not off the wall playing styles, no electronically advanced instrumentation, just notes being played along a synth. However this can also be more than just thinking music it can be sleeping music, reading music, music to cool your head, things like that.

Furthermore the tempo is really slow, obviously. In fact I do not even think there should really be a tempo, since if there was wouldn't there be some sort of beat. Instead I am gonna say the speed is really slow. The album goes for a long while, and I think that is not a surprise, however it definitely gives it a different feeling from most of Brian Eno's albums aside from the 30 to an hour long songs. Most of Eno's songs are more quick to go through than this one, in fact I believe this one was made to be a lot more slower to entice the feeling to work and well, think. It takes its time is what can be said, and it's definitely patient sounding as well which I really think adds to the very lovely charm this album has.

However not everything is perfect, obviously. The main problem I have with this album is actually what I love about this album, and that it's thinking and patient music. It does not entice, it isn't grand, it's just a nearly hour long ambient piece of sound. For some that is pretty alright, but for a lot of music fans they cannot really stand this sort of music, or rarely listen to it due it being a lot more ambient and technical than a swinging boogie, and I honestly get what they mean. Not even I would listen to this for hours and hours each and every day because that'd be a waste. It's thinking music, not music music, and I don't think even Brian Eno would want that. It's intended to be music for relaxation and thought, not to jam out to.

After all that though I can safely say that I really like this album. It's very calm and therapeutic in what it tries to achieve, and I believe it achieves these aspects ten fold, however I can definitely see why someone would rather not listen to this because of the fact that it's less of a musical experience and more of a thoughtful one if that makes sense. So while I really like it, I definitely do see why it may be less preferable, especially when starting out with Eno's work.

 Here Come the Warm Jets by ENO, BRIAN album cover Studio Album, 1973
3.74 | 228 ratings

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Here Come the Warm Jets
Brian Eno Progressive Electronic

Review by TCat
Special Collaborator Honorary Collaborator / Retired Admin

4 stars Brian Eno made a pretty good decision that he should go out on his own, so in 1973, he left Roxy Music in order to have more say in the music he was making. In hindsight, looking at it now, we can all pretty much see the influence he has had in rock and pop music (and continues to have), but also in his solo and soundtrack work. It seems you see his name everywhere now. But, he had to start out on his own somewhere, and the album "Here Come the Warm Jets" was that album.

Most people know that he does very little singing himself, and so this album is a rare occurrence where we get to hear his vocals on every track. But, also to prove that many other musicians agreed with his decision to go out on his own, he was able to recruit a lot of guests to help him out. He had a lot of help from former Roxy Music bandmates along with Robert Fripp (whom he had worked with previously on "(No Pussyfooting)"), Simon King and many others. He also made the smart decision to stick with the glam-pop sound and this made at least 3 of the tracks here sound a lot like the type of music Roxy Music was making at the time.

Needles in the Camel's Eye - Sounds very much like a Roxy Music track from that same period. Most of the songs on this side of the album are written by Eno and Manzanera, plus two other members from Roxy Music help out on many of the tracks. So the wall of noise is somewhat understandable.

The Paw Paw Negro Blowtorch - The only lyrics on the album that really are based upon anything, the other songs are pretty much nonsensical. This one is based upon an urban legend about someone that breathes fire. This continues in the weird sounds of Roxy Music of the time, even with the kooky synths, but it's still quite a catchy song nonetheless, with a lot of Bowie influences.

Baby's on Fire - John Wetton helps out on bass on this one and so is Robert Fripp and Paul Rudolph on guitar. This one has a different atmosphere, but still has that evil sounding playfulness in Eno's vocals. The Fripp/Rudolph solo (which goes on for 3 minutes) in the break is great of course, and contrasts quite well with the "innocent-but-not" attitude of the vocals.

Cindy Tells Me - Manzanera returns one more time for this track. This track has a nice, retro doo-wop feeling to it, again not unlike some of Bowie's early songs. Some metallic effects swoop around over different parts of the track reminding you that this is not a typical pop track, but one with that avant-garde touch to it.

Driving Me Backwards - One thing I didn't mention earlier is that Simon King from Hawkwind is involved in the percussion on about every other track on this album, as he is on this track. This one has more of a later Eno sound to it, even with vocals. It is tense and a bit strung out in the vocals. Both Fripp and Wetton join in on this one too. The melody almost gives you a sense that you are listening to a song backwards.

On Some Faraway Beach - Busta Jones from Talking Heads and bandmate (from Roxy Music) Andy MacKay help out on bass and keyboards respectively on this track. This has a nice, mellow vibe to it and is centered around the piano riff. The vocals on this are multi-tracked wordless harmonics. It builds as it goes with synth layers giving it a nice, symphonic feel. Regular vocals come along far into the track, and has probably some of the most heartfelt lyrics and melody on the album.

Blank Frank - Fripp and Simon King come back on this track. This is the only track that gives Fripp co-writing credits. It has a very direct and hard beat and overall feel. The sarcastic sound is back in Eno's vocals and this matches well with the loudness of Fripp's hammered guitar strumming.

Dead Finks Don't Talk - Busta Jones comes back for this track and yet another Roxy cohort Paul Thompson helps out on percussion. Eno's vocals begin more as a spoken word lyric at first, but when he starts singing, it is much more understated this time, softer and quieter. It has some really kooky vocalizations later on in the track, just to remind you this is not your regular radio type music. According to the credits, Eno plays a snake guitar, whatever that is, but my bet is that it is on this song, as during the instrumental break, there is a guitar that sounds really slithery.

Some of Them Are Old - Eno plays almost everything on this track, except for some keyboards (which are played again by Andy Mackay) and a slide guitar by Lloyd Watson. This one uses multitracked vocals again in both the foreground and background. The harmonies are very nice here, somewhat similar to the harmonies that would show up a lot in the later album "Wrong Way Up" where Eno would collaborate with John Cale. The addition of the slide guitar is a nice surprise to the track.

Here Come the Warm Jets - Both Simon King and Paul Rudolph return on this last track. There is a weird effect here that sounds like a bunch of cellos playing on top of each other, or something like that while rolling percussion plays lightly behind it. It makes for a strange sound that Eno tries to make sound accessible, but I'm not so sure he succeeds. That's okay, because this is Eno after all, and we have come to not expect normal less often that we do expect it.

It's an odd way to end this art-pop of a record, but it still comes across as a nice bit of pop experimental-ism with shades of David Bowie, Roxy Music and King Crimson scattered throughout. How could that be a bad thing? As most everyone knows, Eno very seldom sang except for his first few solo albums, but I think, overall, the world is a better place because of it, as his strength was more in instrumentation and everything that doesn't involve him singing. But it's a pretty good album, not a masterpiece, but still one that would appeal to avant-pop and glam rock lovers. Needless to say, Eno didn't want to stray too far away from his Roxy Music roots in this case. There would be time for that later.

 Brian & Roger Eno: Mixing Colours by ENO, BRIAN album cover Studio Album, 2020
4.14 | 13 ratings

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Brian & Roger Eno: Mixing Colours
Brian Eno Progressive Electronic

Review by rik wilson

5 stars Wow, Eno brothers music that takes you on a measured trip of space and nuance;music for the soul.Roger Eno's piano work is classical and loose enough to be avant jazz .It reminds me of Pierre de Bethmann's repetitive piano with a certain degree of sustain and echo. He also creates space in his playing by leaving silence as emphasis and punctuation; which allows his brother to do his thing as sound "colorist" and tonal mix master. The overall field of this music is all encompassing and very relaxing. Putting on this type of music helps one mentally by providing avenues of adventure and escape. "MIXING COLORS " is a delight that ranks among the better "space" releases that are currently out. Kick back and let it soak in.
 Silver Morning / Deep Blue Day (Brian Eno, Daniel Lanois & Roger Eno) by ENO, BRIAN album cover Singles/EPs/Fan Club/Promo, 1983
3.10 | 2 ratings

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Silver Morning / Deep Blue Day (Brian Eno, Daniel Lanois & Roger Eno)
Brian Eno Progressive Electronic

Review by Matti
Prog Reviewer

3 stars This is not the first time I choose to write the first review for a single instead of the source album which already is well reviewed. "Apollo - Atmospheres & Soundtracks" (1983) is one of the most beloved classics of ambient music. Legendary Brian Eno teamed up with his more New Age oriented brother Roger Eno and guitarist/ composer /producer /solo artist Daniel Lanois, who has worked with U2 among others. The album was made for director Al Reinert's documentary about NASA's Apollo missions, which was originally intended to be without any narration. The test audience's response wasn't encouraging, so the film went through a lot of changes and was released in 1989 titled For All Mankind. But the original soundtrack album had a life of its own, truly deservedly.

This promotional single offers a nice sample of that classic album. 'Silver Morning' was composed by Daniel Lanois and it focuses on his electric guitar textures that give some balancing, warm down-to-earth nuances to all the floating spaceyness during the album.

'Deep Blue Day' is one of the finest pieces of the album. A sort of a country-flavoured ambient instrumental with a dreamy and relaxed atmosphere. The soft, bouncy soundscape of spatial synths and mellow guitars is very charming. Hey, was it this piece that was used in the film Trainspotting, in the surreal scene of diving into crystal clear coral sea through a toilet seat? Clever!

 Here Come the Warm Jets by ENO, BRIAN album cover Studio Album, 1973
3.74 | 228 ratings

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Here Come the Warm Jets
Brian Eno Progressive Electronic

Review by Kempokid
Collaborator Prog Metal Team

3 stars Even before Brian Eno's solo career led him to the creation of multiple beloved albums that have become so core to ambient, he showed his experimental approach to music through his quirky art/glam rock material, with this pursuit of unusual and often forward thinking ideas being most clearly captured in his debut, Here Come the Warm Jets. Eno's knack for sound design is also quite apparent upon listening to this, with the fusion of glam rock and a variety of unusual atmospheres and textures making for quite an interesting listen. That said, while definitely quite interesting in a few regards, the album is also one that's quite flawed in a couple of ways that ultimately bring down the experience by quite a bit, notably the fairly unfocused, scattershot nature of the album as a whole, and Eno's vocal delivery.

The album starts off well enough with the fun Needles In the Camel's Eye, with extremely thick distortion on the guitars almost creating a wall of sound at point, complementing the almost wailing vocals of Eno, making for an intense, yet energetic and fun song. The unfortunate aspect of the album starts to rear its head in the next two tracks unfortunately, both for similar reasons, with the quirkier nature of the songs working against them and just becoming somewhat annoying. The Paw Paw Negro Blowtorch has some issues from a vocal standpoint, but my main issue with it is from the seemingly useless synth solo that really just goes nowhere, really just not a particularly great song, though not too bad either. Baby's on Fire on the other hand pushes these problems up to the forefront and seemingly want it to be impossible for the listener to look past these flaws, especially with the absolutely awful, nasally vocals that end up almost sounding like a parody of other glam rock artists. The solo here is really nothing special either, just drags the song out a bit too much, which once again is a shame, since the main instrumental backing here is actually really cool, having a certain feeling of tension to it that never really goes away and creates a marvellous, almost surreal atmosphere. While on the topic of songs being too quirky for their own good and ending up annoying, Blank Frank basically does the same sort of stuff as well but without as much memorable stuff to back it up.

Of course, the peak of obnoxiousness to me comes in on Driving Me Backwards, sounding at times to almost be an extremely unusual, warped version of David Bowie's Time , but without as much charm to it. This song also feels remarkably frustrating in the way that there's so much amazing stuff to be found here once again, especially once the rhythmic hand clapping comes in to only further add to the glorious chaos, as different elements erratically weave in and out, shame that I find Eno's shrill wailing to detract from the song, despite contributing to this uneasy atmosphere. I really feel that this album is at its best when it's focusing on its softer side, with stuff like On Some Faraway Beach and the final 3 songs to be the absolute peak of this album, making far better use of the amazing textures crafted throughout to create some genuinely breathtaking moments. In particular I'm quite a fan of Dead Finks Don't talk and the title track. The former is quite interesting to me as one of the few times that I feel one of the more bizarre ideas on the album works, that being the way Eno constantly interjects during the chorus to scream "Oh no", which honestly goes a long way to make it a pretty memorable song that somehow manages to succeed where a lot of others failed. I also feel that I can't mention this song without bringing up the amazing, dissonant outro that takes things to a far darker place than anything else here, yet another incredibly interesting moment here. The title track marks another one of the best moments here, bringing in yet another song with extremely prominent distortion, this time almost bordering on shoegaze, with layers upon layers of fuzz building and establishing an an almost melancholic tone that lets the album close off in the best possible way it could, having a real sense of finality that almost rivals King Crimson's Starless (almost).

All in all, this is an album that I both think is amazing in certain respects, yet don't particularly think is anything too great when looked at as a whole. For as fascinating and often incredibly enjoyable as the instrumentation and sound design is, the vocals often bring these detailed, experimental compositions down quite harshly. Similarly, for as much as I love how forward thinking in certain respects this album was, I also can't ignore the fact that there are many points where this felt like it came out in the form of mindless, annoying quirkiness over actual great ideas (though there's definitely some of both here). All in all, I find the album to be quite flawed in some key areas that distract form its merits. Even so, I'd still recommend people who like the quirkier side of art rock to check this one out, because there's definitely a lot of interesting stuff here that's worth checking out, even though I'm personally not a fan of how a lot of it ends up being executed.

Best tracks: On Some Faraway Beach, Dead Finks Don't Talk, Here Come the Warm Jets

Weakest tracks: Baby's On Fire, Driving Me Backwards, Blank Frank.

 Another Green World by ENO, BRIAN album cover Studio Album, 1975
3.99 | 352 ratings

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Another Green World
Brian Eno Progressive Electronic

Review by sgtpepper

4 stars I listened to Brian Eno albums a couple of years back and considered them average from a progressive rock mind's view. After having listened to Berlin-era of Bowie's albums and Fripp output, my interest arose again and for a good reason.

Eno created a highly original row of progressive electronic albums that are very different from a classic progressive rock album. Unusual music approaches, minimalism, different chords with even some dissonance, no showing off with extended soloing, you need to be open to digest Eno. Well, I love his analogue synthesizers so it's easier for me.

Most tracks are not melodic and focus on textures or rhythm section - just listen to the first two tracks with Collins on drums. There's no concept, tracks seem to be randomly selected and ordered. Among accessible highlights belong "St. Elmo's fire" with some poppy tendencies due to vocals, melody and keyboards. Guitar by Fripp is astonishing even overkilling the lightness of the song.

"In dark trees" is indeed dark, pulsating, mechanical and can be classified as one of post-rock pioneers thanks to keyboards and guitar.

"The big ship" has beautiful synth sound and harmonies, it's uplifting but still soothing. "Golden hours" is another sung and quite accessible track.

"Becalmed" and "Zawinul/Lava" are two snowy instrumentals and hint at later Berlin period with Bowie. "Spirits drifting" is a nice goodbye track without being very sophisticated.

Overall, I like this album and it is certainly a very influential one. But let's also admit, that there is less complexity and substance than on most prog-rock albums of that era. As a result, after a couple of listenings, the listener might be willing for more.

 Another Green World by ENO, BRIAN album cover Studio Album, 1975
3.99 | 352 ratings

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Another Green World
Brian Eno Progressive Electronic

Review by siLLy puPPy
Collaborator PSIKE, JR/F/Canterbury & Eclectic Teams

4 stars BRIAN ENO left Roxy Music in 1973 after a couple of albums having grown tired of the limitations of rock stardom and had the desire to expand his horizons into more experimental musical ambitions however on his first two solo albums "Here Come The Warm Jets" and "Taking Tiger Mountain (By Strategy)" he still latched onto the glam rock sounds that made Roxy Music such a legend although ENO certainly reimagined them to his liking and in the process crafted two classic art pop albums that were highly influential. Indeed those albums sounded like nothing else the 70s had to offer and when it came to ENO's third solo release ANOTHER GREEN WORLD he was starting to shed the glam rock sounds of his early professional career and was heading more in the direction of where his collaboration with Robert Fripp on "Pussyfooting" was heading.

ANOTHER GREEN WORLD was released in September 1975 and basically served as a juncture where his previous glam rock leanings coexisted side by side with the ambient and electronic sounds that would emerge on the next album "Discreet Music" that would follow a few months later in December. The results gave ANOTHER GREEN WORLD a distinct unique hybridization effect unheard on any other ENO album and one that has gained a loyal cult following ever since for its innovative approach of incorporating aspects of progressive electronic sounds woven into catchy art pop compositions. Like the albums before, ENO solicited the help of a few friends. Robert Fripp joined in for three tracks, the most adventurous being the fiery guitar solos with his wimshurst guitar on "St. Elmo's Fire." Likewise Phil Collins from Genesis contributed to a few tracks as well as the Velvet Underground's John Cale. Several others were included as well.
 Added to that ENO employed his outsider views of how to craft new innovative sounds such as electric guitars played with mallets which were electronically modified to sound like castanets as well as crafting something called the Leslie piano which fed acoustic piano sounds through a Leslie speaker. Other innovations on the guitar meant that ANOTHER GREEN WORLD showcased some very unorthodox guitar sounds unlike anything else ever recorded. This album wasn't successful in the commercial world but impressed the insiders of the music world and has since then gone down as a classic of innovative art rock from the mid-70s. ENO was also busy after his Roxy Music days with numerous collaborations which included his most famous example with Robert Fripp in the form of "No Pussyfooting" as well as other with Kevin Ayers, Nico, Lady June and Phil Manzanera.

The year 1975 was a tough one for ENO when in January he was hit by a taxi and forced to spend some downtime at home but in the process discovered that a broken channel of his stereo led to new inspirations of how to manipulate sound dynamics. This led to his interest in ambient sounds which led to "Discreet Music" but also altered his perceptions on how to record ANOTHER GREEN WORLD. For the most part, ANOTHER GREEN WORLD consists of two distinct types of tracks. One style is the pure chilled out ambient tracks that directly points to his future releases and the others are sort of leftover from his art pop albums that preceded except that the vocals that are pretty much in the same style as "Tiger" and "Jets" are crafted over more electronic musical accompaniments rather than glam rock, however they still have enough rock elements to be classified as such. While many cite this as one of ENO's zenith performances, i don't quite find it to be so perfect. Due to the inconsistencies of random snippets of electronica appearing between the art pop tracks, the album has sort of a disjointed feel to it unlike the albums that came before and would soon emerge after. Not that any of the tracks are bad in any way but some of the electronic only performances are rather forgettable.

At this point ENO was a huge underground superstar behind the scenes in the music industry even if he wasn't exactly a household name. His unorthodox creativity made him quite sought after in the studio as a producer and beyond. He would continue to create highly innovative ambient albums alone and then with artists like Cluster, David Bowie and Phil Manzanera's 801. While i much prefer the glam rock albums that came before or the pure ambient ones soon to be released, there's no denying that ANOTHER GREEN WORLD is an excellent innovative slice of ambient pop with some of the most clever means of production. ENO was a master of crafting catchy tunes with a receptive bass line but exploring bizarre avant-garde arenas with the changing structures that layered over the simple rhythmic grooves. The most widely used word for his style of music that encompassed his first three albums is simply "quirky," and i can't think of a better description than that to sum it all up succinctly.

 Ambient 1 - Music for Airports by ENO, BRIAN album cover Studio Album, 1978
3.63 | 219 ratings

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Ambient 1 - Music for Airports
Brian Eno Progressive Electronic

Review by Kempokid
Collaborator Prog Metal Team

4 stars It's undeniable that Brian Eno's Ambient 1 is an album that has garnered much attention and interest as the years have gone by, and how could it not with such a formidable reputation behind it? Being coined as one of the landmark ambient albums is quite the title to live up to, and especially intriguing with a genre as abstract as this, after all, what exact qualities would actually go into creating an amazingly regarded ambient album? Listening through this album makes me think that it's definitely partially how it can create a mood and be beautiful, all without ever being distracting in nature, alternatively, as Eno himself put it "Ignorable as it is interesting". While I definitely believe that this album's legacy is a large part of the acclaim it still gets to this day, I also definitely see the appeal in it, despite personally finding other ambient projects to be somewhat more engaging throughout.

The composition of each track on this album as a whole represents a very minimal sense of progression throughout, relatively short loops repeating for long periods of time as subtle changes are made in order to accompany the serene, beautiful atmosphere as a whole. These subtle changes are what really add that quality to the music where it is able to be intently listened to without feeling boring. 1/1 demonstrates this in the best way, the forefront being centred around a central, minimalistic piano melody that feels as if it loops around endlessly, with low droning permeating the majority of the track, creating an absolutely perfect atmosphere that's immersive without being attention grabbing, able to appeal to both those listening to this in the background, while having a lot to love when closely focusing on the smaller details. The most impressive thing about this track and why it stands out so clearly from most other ambient material is how it is one of the single most relaxing pieces of music I've come across, with such memorability despite being so minimalistic. The tracks that make use of what sounds like a choir Are also quite intriguing to me for being able to sound so grandiose and powerful with so little to work from. The looping feels far less obvious here as well, due to the primary melody being far less defined, providing a more hypnotic experience that I also enjoy quite a bit, even if I find it to end extremely abruptly whenever that particular track ends, breaking some of the immersion to some extent, along with overall sounding a bit hollow. I personally feel that this is an album that there really isn't much to talk about outside of what I've mentioned, as it follows a very similar sort of sound and approach throughout with the same core features, really nailing the beauty regardless.

I can definitely see both sides of the argument for and against this album, given how this is so pleasant and singular in its appraoch that it's quite easy to understand possible distaste people would have towards this, especially with the amount of more multifaceted ambient out there, even by Eno himself. That said, this very singular, cohesive approach allows the atmosphere and tone it sets to absolutely flourish and create a truly beautiful experience, even if it can feel a bit lacking at times in the process. Nonetheless, I believe that this is a worthwhile album to at least give a listen to once, especially if you're interested in ambient music, because no matter what way you look at it, this is an album that is considered an absolute landmark despite its shortcomings in areas, and I for one think that much of the praise it gets is deserved, as this is a wonderfully calming, beautiful album.

Verdict: An ambient classic that manages to make loops repeated ad nauseum a surprisingly compelling, lovely listen, especially with the amazing tone and atmosphere it has throughout, but definitely simplistic regardless.

 Ambient 1 - Music for Airports by ENO, BRIAN album cover Studio Album, 1978
3.63 | 219 ratings

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Ambient 1 - Music for Airports
Brian Eno Progressive Electronic

Review by patrickq
Prog Reviewer

2 stars Whether or not this is truly the first album of ambient music, as some here claim, I recognize its importance. I also respect Brian Eno as an experimental composer and as an important figure in late-twentieth-century music. Furthermore, I not only appreciate, but actively enjoy, some music that I would define as "ambient," "experimental," and/or "minimalist," including some of the works of Pauline Oliveros, Steve Reich, and Wendy Carlos - - artists who I personally feel have a place on this site. In particular, I would assign five stars to Carlos's Sonic Seasonings, an ambient work from 1972 which, like Ambient 1: Music for Airports is non- virtuosic background music.

There are also many fine albums which have been labeled "new age," fairly or not. Some albums widely accepted as new age aren't bad - - Deep Breakfast (Ray Lynch) and some of Kitaro's work come to mind - - but count me among those who feel as though these works generally fail to reflect the kind of musicianship that fans of progressive rock respect. Put new age and ambient together and you have a recipient for... blandness? Anyway, Music for Airports fits my definition of "new age music" - - and specifically that kind of ambient new age which is inoffensive and boring.

That's especially true of side one and roughly the first ten minutes of side two. Partway through "1/2," once the piano exits, a more purely ambient section begins. This reminds me of some of the works of Klaus Schulze - - one of my favorite purveyors of any genre of music. The fourth and final track of Music for Airports, "2/2," is also a bit less new-agey, and these sections represent my rationale for awarding two stars.

Ambient 1: Music for Airports is historically important, and even side one, which is definitely one-star material, is not bad as much as it accounts for time better spent listening to something else. In this sense, it achieves Eno's goal of creating soothing but, as he put it, "ignorable," art.

 Taking Tiger Mountain (By Strategy) by ENO, BRIAN album cover Studio Album, 1974
3.69 | 194 ratings

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Taking Tiger Mountain (By Strategy)
Brian Eno Progressive Electronic

Review by siLLy puPPy
Collaborator PSIKE, JR/F/Canterbury & Eclectic Teams

5 stars Having been freed as a member of Roxy Music, BRIAN ENO wasted no time delving into his myriad projects with not only one but two super strong solo albums emerging in 1974. The first release "Here Come The Warm Jets" managed to forge a new branch of the glam rock meets art pop started out by Roxy Music albeit with a completely new indie pop quirk absent from Bryan Ferry's vernacular. At the tail end of the year ENO unleashed his second offering in the form of the bizarrely titled TAKING TIGER MOUNTAIN (BY STRATEGY) which was meant to be a loose concept album inspired by a series of postcards of a Chinese revolutionary opera. The themes and concepts attempt to tackle everything from espionage to the Chinese Communist revolution and found ENO taking a darker tone lyrically all the while crafting a bouncier and more upbeat art pop sound than his debut.

TAKING TIGER MOUNTAIN (BY STRATEGY) also focuses on a core of five musicians without the lengthy roster of guest musicians on the debut. From his Roxy Music days he was joined by Phil Manzanera on guitars as well as Brian Turrington on bass, Freddie Smith on drums and a special guest appearance by none other than Robert Wyatt who provided percussion as well as backing vocals. Manzanera is notable for being a prime player on the album with not only his stellar guitar contributions but his role in assistant producer which allows an anything goes sort of approach to the album and as a result exudes an air of eccentricity above and beyond anything in the Roxy Music playbook. To further the mystique of the album, ENO and his friend Peter Schmidt developed a set of instruction cards called Oblique Strategies that would dictate certain decisions about the recording process, therefore completely random ideas were thrown in on the mere whim of which card dictated what, an eccentricity that ENO was famous for entertaining.

While lyrically TAKING TIGER MOUNTAIN (BY STRATEGY) is connected by a nebulous conceptual theme of sorts, musically the album is all over the place with quirky indie pop hooks and the peculiar the only commonalities. Right from the very first notes of "Burning Airlines Give You So Much More," it's apparent that the pop hooks are heavily embellished by off-kilter out of tune counterpoints, slightly off center harmonic overdubs and intricate little guitar riffs that sound as if they are on the verge of complete abandonment but somehow finding resounding resolution. The jittery marching rhythms that exude tracks like "Back In Judy's Jungle" find themselves popping up in unexpected ways and early doses of post-punk even find their way in Turrington's bass abuse on the ahead of its time "Third Uncle" which distinguishes the accidental playing of a key finding its way into legendary status especially after having been covered by Bauhaus.

Despite the effort to create a less abrasive and more minimalistic album that forged a more uniform sound, TAKING TIGER MOUNTAIN (BY STRATEGY) is a monstrously wild album that traverses the quirkiest aspects of avant-pop coupled with the earliest forms of art rock teased out into a never ending series of arhythmic patterns, cannonades of jangle guitar and Asian overtones. The post-punk connections cannot be understated as many post-Sex Pistols punk rockers have taken many of the more aggressive aspects of TAKING TIGER MOUNTAIN to heart. ENO single handedly managed to give birth to an incredibly diverse mix of styles that remain influential in the modern day. Through the wild and woolly glam rock ride of "The True Wheel" to the more subdued title track that ends the album and points to a more electronically infused future, this sophomore album unleashes a surprisingly diverse palette of indie quirk.

Like many of the early ENO albums, TAKING TIGER MOUNTAIN (BY STRATEGY) exudes an uncanny prescience of musical trends that hadn't yet come into fruition. ENO always seemed like he had his hands on an invisible pulse that only came into the limelight years later. This album percolates an infinite number of ideas that would eventually express themselves in much larger musical scenes. It's hard to believe that BRIAN ENO is mostly known for his ambient and electronic music when such Earth shattering indie rock found on his earliest recordings exists. This is some of the most fascinating music to exist in a rock context and while it's utterly infectious even upon first exposure, it contains just enough weirdness to continue to be exciting decades after its inception. For my money, this second offering of 1974 is a step above the first and that's a pretty tall order. Nerd music for nerd's paradise.

Thanks to ProgLucky for the artist addition. and to Quinino for the last updates

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