Brian Eno Ambient 3 Zip

Ten milestone recordings by the godfather of ambient music Brian Eno. Words: Chris May Until recently, aside from his early 1970s spell as Roxy Music’s flamboyant synthesiser player, the composer, musician and producer Brian Eno has favoured a generally quiet and retiring public presence. His work has attracted controversy: the genre-defining 1978 album Ambient 1: Music for Airports unleashed as much critical bile as it did praise, and 1981’s My Life in the Bush of Ghosts, a collaboration with David Byrne, attracted allegations of cultural imperialism in some quarters, and praise for weaving previously excluded traditions into rock in others.

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Even at the height of those debates, however, Eno mostly let his music speak for itself. He dislikes giving press interviews, and probably agrees with Frank Zappa’s observation that “rock journalism is people who can’t write, interviewing people who can’t talk, for people who can’t read.” In the 2010s, however, Eno is breaking cover. He is in the forefront of the public debate over, championing algorithm-driven generative music, for instance, while continuing to laud analogue-era recording values.

The issue figured in the he gave on BBC radio last year. Eno’s biggest mainstream successes have been as a member of Roxy Music and, more recently, as the producer of U2 and Coldplay, but his most enduring music may well prove to be among his many solo and collaborative recordings. These span glam rock, art rock, avant funk, electronica, ambient, fourth-world and generative music. Eno self-deprecatingly describes them as “little ships floating on a sea of indifference.” Eno has also produced over 50 albums for other artists, from U2 and Coldplay to Laurie Anderson, Seun Kuti, David Bowie, Baaba Maal and Grace Jones.

For reasons of space, these have been put aside for later consideration. Here are ten of Eno’s most essential “little ships.” Eno Here Come the Warm Jets (Island, 1974) / Eno played on Roxy Music’s first two albums, Roxy Music and For Your Pleasure, before quitting the band because of his increasingly dysfunctional relationship with lead singer Bryan Ferry, who wanted to be the visual focus of the line-up, a position threatened by Eno’s neon-lit sartorialism – heavy makeup, feather boas, corsets, stack heels and all – and who, in the studio, was also less experimentally inclined than Eno. A high-proof cocktail of glam-rock and art-rock, Here Come the Warm Jets, Eno’s first album under his own name, features Roxy Music’s Andy MacKay, guitarist Phil Manzanera and drummer Paul Thompson, and suggests how Roxy Music might have developed under Eno’s leadership. Guests include King Crimson guitarist Robert Fripp, a key Eno collaborator in the mid 1970s.

Eno’s second own-name album, Taking Tiger Mountain (By Strategy), recorded a year later, is in a similar, though more nuanced, groove. Fripp & Eno (No Pussyfooting) (Island, 1973) / Recorded between autumn 1972 and summer 1973, while Eno was still a member of Roxy Music, this collaboration with Robert Fripp proved to be more indicative of Eno’s long-term approach to music-making than either Here Come the Warm Jets or Taking Tiger Mountain (By Strategy). There are two side-long tracks, co-written by Fripp and Eno, which introduce the tape-looping technique, later known as Frippertronics, co-created by Eno and Fripp with a nod to American minimalist composer and audio innovator Terry Riley. Revolutionary for its time, (No Pussyfooting) still gets under the skin. Eno’s later ventures into ambient, fourth-world and generative musics are part-rooted here. Eno Another Green World (Island, 1975) / This dreamlike, mainly instrumental album is a halfway post between the looping innovations of (No Pussyfooting) and the full-on new pastures of 1978’s Ambient Music 1: Music for Airports. Eno’s melody-rich compositions tend to foreground rather than dial-down the music, thereby disqualifying it from the description “ambient”.

Fripp guests on two tracks, as does Velvet Underground violist John Cale. Eno had recorded with Cale on the live-in-London album June 1, 1974, in an art rock supergroup which also included Kevin Ayers and Nico. (Gratuitous gossip: the cover shot of that album, taken minutes before the gig began, shows Ayers and Cale in an apparently relaxed, brotherly pose. The night before, however, Cale had caught Ayers having sex with his, Cale’s, wife. The show must go on). Brian Eno Ambient 1: Music for Airports (EG, 1978) / Eno used the term ambient music to distinguish it from canned background-music such as Muzak.