BRIAN ENO

Another Green Wrld was the first real step Brian Eno takes directly into the direction he became famous for: ambient/eletronic music. From this album on he dropped his rock/glam ambitions and takes another turn into a more quiet and subtle kind of music. The first track is the only link with the two previous works, and even then, not much. The remaining tunes are much more quiet and very well crafted. the musicanship of all involved is superb (even if the music does not show anything fleshy or obvious). Production, as expected, is top notch!

The majority of the album is instrumental, but there a few good singing parts like St. Elmo's Fire (probably his best ´normal´ song in this CD) and Golden Hours. There is even some humored stuff like I´ll Come Running. But the best ones are the short, lyrical, quiet stuff like The Big Ship. They are all very good and quite groundbreaking for the time. I wonder the impact it must have had. The minimalistic, and melodic, approach is something to hear with care and atention. One of the truly ambient albums and one that is pleasant and hamrmonic structure enough to almost any person to hear and appreciate It. Another Green World serves very well as an introduction to the genre.

An excellent addition to any prog music collection, even if you´re not really an eletronic music fan like me. Rating: 3.5 to 4 stars.

"No Pussyfooting" of the album that had been announced by Brian Eno and Robert Fripp will have been a challenge to the field where one genre that had been certainly expressed with a purpose as a certain kind of experimental part was not specified. However, the album by which my title had concretely shown the method of the expression to the music as "Non-Musician" as talked by Eno was announced in 1975 would "Discreet Music" it.

An initial work by which he had been expressing his doing the activity of Solo might have been in the part where Music who established an original route where the part where a loop and various sounds of an electronic sound in addition to Pop and Rock had been often irregularly piled up had been taken had been pursued. However, it was an album of the content composed with shape that the element of those Pop and Rock is almost excluded for above-mentioned "Discreet Music". This "Discreet Music" announced from "Obscure label" that he started up would have been exactly a start of the meaning and the meaning that he advocated as "Ambient Music".

It is said that he was being hospitalized due to the accident at time when "Discreet Music" is announced. It is said that his friend passed music with the harp of the 18th century to Eno in hospital. And, Eno listened to the record after the friend had returned. However, revel of the stereo is set low and the channel is made remarks that one was broken. Eno kept listening to Music without having vigour that mended the broken machine parts. And, it is said that he discovered a new interpretation of music through the music. It is therefore because of the remark that it will obtain a new interpretation that music merges in the environment as well as the thing and the color, etc.He will pursue the music for the environment by this discovery. And, this event will inform the world of the purpose of his "Ambient Music" and the definition of the meaning etc. further.

Music that actually merges in environment. Therefore, it is musical that can be completely disregarded at the same time as being able to listen seriously. The existence of "Ambient Music" advocated by Eno will reach this album from "Discreet Music" and achieve one purpose.

The title is exactly "Ambient 1" in this album. In a word, the music that Brain Eno thinks about is advocated in this series with a complete purpose and the meaning. As for music with this purpose, the work with various purposes as a series is announced. And, it will not be an exaggeration to say that this album is the first work of a real album of the ambient music that Eno thinks about. And, the title that is called "Music for the airport" as a sub-title has adhered. The content of this album that started from the part where the music to actually purify the air of the airport is offered is produced with a complete meaning and the meaning exactly as music for the environment. And, this music was actually used in the LaGuardia airport that existed in New York in 1980.

In "1/1", the regular piano melody that Robert Wyatt plays is a subject. It is existence in one space. Or, a sense of existence of the wave that flows quietly and drifts. And, the idea of Eno that glances and is calculated perfectly in the flow in which it thinks including the element of inorganic. Eno and Wyatt had already had acquaintance at time when the album of Matching Mole was produced. And, the life of the wheelchair is done through necessity as for Wyatt due to the accident. Wyatt produced the Solo album and after 1975, had stopped the activity of music temporarily. Wyatt participates for the production of this album within that time frame. This tune might be expressed as an element that completely puts the definition of ambient music.

"2/1" is a tune composed of the chorus. It might be a tune with the impression that only the voice flies about a grand space to the length and breadth mutualfinancing association. And, taking charge of this chorus is three people (Christa Fast, Christine Gomez, and Inge Zeininger). The interval of seven is said that the part of singing silent will have been being added for five seconds. And, one sound is assumed to be length for about 20-30 seconds and the tape has been looped. The unified part regularly becomes a big wave and invites the listener to a mysterious space.

"1/2" adopts the method for the detailed resolution of a piano sound and mixing it with the chorus. The part of the loop with the tape is done along with a silent part. The technique might adopt a method near the method of unifying "1/1" and "2/1". The piano in close relation to the chorus is always kept beauty silent and twines. The essence of ambient music is included enough as for this tune.

As for "2/2", the tune is composed by the synthesizer that Eno plays. The impression of the sound in which the wind instrument and the orchestra are reminiscent might be given to the listener. The work of the tape arbitrarily done might function completely here. The music of the float in the space always merges completely in the environment.

The definition of "Ambient music" that Brian Eno advocated is known well in the world now. It is not an exaggeration to say that the music of this series might have become one culture though exactly considers from a historical viewpoint of music as music for the environment and. The zeal of Eno that recites advocacy and the meaning of ambient music in all Music's genres might be blocked in this album.

Brian Eno´s second solo efford is not as interesting and varied as his first, Here Comes The Warm Jets. It seemed he was still struggling to find his own sound. And Taking Tiger Mountain (By Strategy) is maybe his popiest atempt ever, even if his eletronic processings are all there too. The album´s opener, Burning Airlines Give You So Much is pleasing enough and it also includes one of his most famous (and better) songs in the form of the great Third Uncle (Bill MacCormick´s bass lines are unforgetable!). I didn´t find the remaining tracks all that inspired, but they were also interesting and all had Eno´s trademark treatment which is quite unique and, at the time, very innovative.

The production is of course something very well done, and the musicians involved are all top notch. Taking Tiger Mountain can be seen as a transitional work and has its merits. It is not an easy listening album, but after a few spins it grows on you and each time you hear it you´ll find more nuances and details. Like a more avant guard version of his former band Roxy Music. It may not always work, but that´s something most early RM fans would like to hear, I guess. In other words, savory, but for special tastes. 3 stars.

I had this album when it came out. I remember I was quite disappointed at the time. Well, I was only 15 and I guess I was expecting something more like his former band, Roxy Music. And although much more ´rock´ oriented than a lot of his latter works, Here Comes The Warm Jets, is far from being your average pop rock album of the day. His experimentalisms were already blossoming here. Sometimes it worked, sometimes it doesn´t. Or so it looked to me.

Only recent I had the opportunity to hear it again and I was quite impressed. The guy was, or is, a visionary. Many of his inovations are now common place, but in the early 70´s nobody, or very few people, were doing so many different things on a single album. I specially liked his guitar treatments. That´s is something remarkable even by today´s standards. And some tracks are quite strong and pleasant. Baby´s On Fire is certainly a favorite, I just loved its tense, unorthodox backing arrangement behind the simple pop melody line. Other interesting tunes are Needles In the Camel´s Eye, Cindy Tells Me. Some Of Them Are Old and In Some Farway Beach.

Backed by some of prog´s most outstanding musicians of the time (Robert Fripp, John Wetton, Andy Mackay, Simon King, Bill McCormick, Phil Manzanera, among many others)) this is a very interesting document of an era, a snapshot of a time even such groundbreaking and unorthodox album could make it to the top 40. It is not for everyone, I should warn you. It is still sounds different and experimental after all these years. Since I tend for the more orthodox side of prog (I mean, the more melodic side of it), I will give it 3 stars. Important, ok, groundbreaking, ok, but not really essential in MY prog collection. I recommned it for the ones that like something different

— First review of this album —

Like it's predecessor, Begegnungen, this is not really a Brian Eno album. This is a collection containing songs by any combination of Eno, Dieter Moebius, Hans-Joachim Roedelius & Konrad Plank. Eno himself only appears on two tracks. The connection is that all the songs were recorded at Connie Plank's studio.

While this collection is not as good as the previous volume, there are some decent tracks to be found here. The first two, Conditionierer and Speed Display both sound similar to some of Can's output, however without as good a drummer. And Broken Head, with Eno's spoken droned vocals, is another treat.

Unfortunately, the second half of the disk goes downhill, with mostly forgettable tracks.

2.5 stars.

Despite the billing on this album, it is not Bian Eno, Dieter Moebius, Hans-Joachim Roedelius and Konrad Plank all playing together. It is a compilation of songs from each artist, alone or in groups, taken from other albums. At no time do all artists appear together. In fact, Eno is only on two tracks.

That doesn't make it a bad album. Moebius, Roedelius and Plank were all at the forefront of the German synthesizer scene. And this collection has some fine work on it. My favorite tracks here are The Belldog, the only track with vocals, and Eno's lyrics are great on this one, and Pitch Control, with it's swirling frenetic synth beats.

3 stars.

"Wrong Way Up" indeed. This is a simple album of simple, pleasant pop songs. Nothing at all progressive, and not terribly interesting. In fact, the entire album sounds reminiscent of some of Eno past productions, most notably The Talking Heads (which for the most part bore me to tears).

As I noted above, the songs are all pleasant, there is no hint of the underlying darkness that seemed to loom about the early Eno albums, making them interesting listens. Here we get song after song of tribal rhythms, with Eno and/or Cale singing not very interesting lyrics (for the most part).

Brian Eno's second album, Taking Tiger Mountain (By Strategy) sheds much of the punk attributes that the previous album, Here Come The Warm Jets had, but retains much of the same feeling. The band is fairly static on this one, and mostly features the guitars of Phil Manzanera, giving this one a sound similar to 801. Eno's wordplay on this album is in fine form, making songs like Back In Judy's Jungle, The Fat Lady Of Limbourg and of course Third Uncle, a joy to listen to. The music here is more sparse than the previous album, often giving it an eerie tone. And it works. For the Eno initiate, start with the early albums, they are much much better than his later output. 3.5 stars, rounded up.

Having owned a pile of syntesizers and sequences, I know just how easy it is to make "music" out of random light sounds. I'm just not impressed with Eno's many releases of just that.

This one is ten tracks, or almost an hours worth of complete boredom. I suppose if you are nearly comatose, and need some background sounds for your hospital room to keep from going completely insane, this might be the ablbum for you. Or perhaps, if you are staging your home for sale, and do not want to offend the potential buyers who might not like your background music, this is so unobtrusive, it might do.

But otherwise, there's nothing to listen to here.

Around the time that he found ambient music, Eno the musician lost his way. His obsession with tranquil, unobtrusive tonal washes made him unlistenable, except as background music. While he experimented with ambience and tranquility in some of his earlier works, ever since Music For Airports, even his non-ambient albums have been mostly boring.

Eno appears to be making an attempt to get away from that ambient new age rut here, but he mostly fails. What we get here are rhythmss and sounds, no actual composed songs. Some of it is mildly interesting. Most of it is not.

I suppose if I had to select the better tracks, I would choose Juju Space Jazz for it's somewhat interesting sounds, and Ali Click, where Eno actually almost sings. I long for the wordplay he used in the lyrics of his early albums. You get a small amount of that on this one song.