Brian Eno's Another Green World (33 1/3 Series)

Author:Geeta Dayal [Dayal, Geeta]
Language: eng
Format: epub
ISBN: 9780826427861
Amazon: 0826427863
Publisher: Bloomsbury Academic
Published: 2009-10-21T11:00:00+00:00

Musicians can find him maddening to work with. “He spent three days twirling hoses,” recalls one disenchanted instrumentalist. “One day everyone was playing with gravel in little boxes, and he would say, ‘That’s a lovely sound.’ Another time he brought back a set of slides from the Museum of Natural History which he projected on a sheet as we were playing, so we’d really feel like part of the environment. Everyone would stand around in the dark watching a slide of a monkey.”

Though there were definitely frustrating moments, most of the musicians who worked on Another Green World have fond memories of the recording sessions. “[Eno] was more critical of him self,” said Jones. “He used to apologize for himself. He’d say ‘I’m not really a keyboard player,’ and we’d say ‘Oh that’s alright, we don’t care.’ He would sometimes say the bass was too busy, and I never took that as a critique, really. I figured it was his record, his stuff—he’s perfectly entitled to tell everybody what he wants. The cool thing about him was, if he didn’t like what you were doing, he would be very specific about what he did want you to do. He was very good like that, in that he would listen to what you were doing and say ‘Take that line you were doing, those two bars, and loop it, keep repeating it, for a while.’ You always felt in touch with him, that he could always tell you what you wanted.”

Eno’s canny ability to cherry-pick the best two bars out of a long, meandering sequence, or the most promising idea out of a huge slew of them, would come to be one of his most valuable skills as a producer. His friend Christine Alicino, who dated Eno in the early 1980s and collaborated with him on the early video art piece Thursday Afternoon, said that one of Eno’s most appealing qualities was his ability to always find the good in something, and zero in, with almost laserlike intensity, on that thing. “It always amazes me,” she said. “Sometimes you have to go out to see a band because it’s a friend or a friend of a friend, but as soon as you go he totally enjoys it; there’s always something he gets out of a situation. He might not like all the music, but there’s one phrase that he likes, and he sees one thing and that makes the whole thing worth it. Once when we were on Market Street, there was this guy playing on tin cans or something, and Brian was so into it and videotaping it. There are so many people who would just walk by that man.”

Eno kept using the Oblique Strategies for years; he still uses them to this day. In an interview with Interview’s Ingrid Sischy in 1995, David Bowie described how Eno used a twist on the Oblique Strategies cards—something resembling charades— while producing Bowie’s 1995 album Outside. “What Brian did specifically on Outside

Download

Copyright Disclaimer:
This site does not store any files on its server. We only index and link to content provided by other sites. Please contact the content providers to delete copyright contents if any and email us, we'll remove relevant links or contents immediately.