Brian Eno's Another Green World (33 1/3 series)
Geeta Dayal
Language: English
Pages: 128
ISBN: 0826427863
Format: PDF / Kindle (mobi) / ePub
The serene, delicate songs on Another Green World sound practically meditative, but the album itself was an experiment fueled by adrenaline, panic, and pure faith. It was the first Brian Eno album to
be composed almost completely in the confines of a recording studio, over a scant few months in the summer of 1975. The album was a proof of concept for Eno's budding ideas of "the studio as musical
instrument," and a signpost for a bold new way of thinking about music.
In this book, Geeta Dayal unravels Another Green World's abundant mysteries, venturing into its dense thickets of sound. How was an album this cohesive and refined formed in such a seemingly ad hoc way? How were electronics and layers of synthetic treatments used to create an album so redolent of the natural world? How did a deck of cards figure into all of this? Here, through interviews and archival
research, she unearths the strange story of how Another Green World formed the link to Eno's future -- foreshadowing his metamorphosis from unlikely glam rocker to sonic painter and producer.
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them to work harder and faster on that little seed of an idea. At a time when anyone can run a serviceable home recording studio on a laptop, it’s hard to imagine how risky it was back then, in those pre-digital days, to make an album this way. Studio time in London was scarce and expensive. According to what Eno said about Another Green World after the fact, the lack of advance planning was all part of a deliberate strategy, designed to give himself more of an artistic challenge. “I found that
painstaking.” Eno mixed it up in the studio at around the time of Another Green World in other ways. “Sometimes you’d be into something really intense, you’d be working on a piece of music and discussing it, and then he’d say: ‘Anybody want some cake?’” said Percy Jones. “Eno would pull out a cake and he’d cut up slices of cake, and everyone would eat some cake, and then we’d forget all about the creative process!” At other times, Eno could be found recording in odd places, such as the
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
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1974, Eno was 27 years old, and, by all appearances, was on some kind of cosmic hit streak. He was riding high on a wellspring of fresh ideas, which were leading him in exciting new directions. After making two jumbled but inspired albums with Roxy Music earlier on in the decade, he masterminded two jumbled but inspired solo rock albums of his own—Here Come the Warm Jets in 1973, and Taking Tiger Mountain [by Strategy] in 1974. He also made an experimental album called No Pussyfooting with wily
