Brian eno his music and the vertical color of sound

141 Moore, “Eno = MC Squared,” 68.

142 Moore, “Eno = MC Squared,” 68. A similar anecdote is related in Bangs, “Eno,” 40.

143 Richard Cromelin, “Records: The Inmates Have Taken Over: Kevin Ayers, John Cale, Nico, Eno & the Soporifics, June 1, 1974,” Creem 6 (Dec. 1974), 65.

144 Milkowski, “Brian Eno: Excursions,” 57.

145 Mark Howell, “From a Strangers Evening with Brian Eno,” Another Room (June/July 1981), n.p.

146 Aikin, “Brian Eno,” 45.

147 Aikin, “Brian Eno,” 57.

148 Aikin, “Brian Eno,” 56-7.

149 George Rush, “Brian Eno: Rock’s Svengali Pursues Silence,” Esquire 98 (Dec. 1982), 132. Eno remarked in 1982 that his records “don’t sell terribly well – around 100,000, I suppose, which is enough to make some money from. My music is used in quite a lot of films, TV things, other uses. That’s strictly bonus income, because they use stuff that already exists.” Steven Grant, “Brian Eno Against Interpretation,” Trouser Press 9 (Aug. 1982), 29.

150 Rush, “Eno: Rock’s Svengali,” 132.

151 Jim Aikin, “Brian Eno,” Keyboard 7 (July 1981), 64.

152 John Rockwell, “The Odyssey of Two British Rockers,” New York Times, 23 July 1978, II:16.

153 Milton Babbitt, “Who Cares If You Listen?,” High Fidelity 8 (Feb. 1958), 38.

154 Quoted in Tom Hull, “Eno Races Toward the New World,” Village Voice 21 (12 Apr. 1976), 88.

155 Bill Milkowski, “Brian Eno: Excursions in the Electronic Environment,” Down Beat 50 (June 1983), 16.

156 Millkowski, “Brian Eno: Excursions,” 16.

157 Steven Grant, “Brian Eno Against Interpretation,” Trouser Press 9 (Aug. 1982), 29.

158 Milkowski, “Brian Eno: Excursions,” 17.

159 Brian Eno, “Pro Session: The Studio as Compositional Tool – Part I,” lecture delivered at New Music New York, the first New Music America Festival sponsored in 1979 by the Kitchen, excerpted by Howard Mandel, Down Beat 50 (July 1983), 56.

160 Grant, “Eno Against Interpretation,” 30.

161 Anthony Korner, “Aurora Musicalis,” Artforum 24:10 (Summer 1986), 78.

162 See W.K. Wimsatt and M.C. Beardsley, “The Intentional Fallacy,” The Sewanee Review 54 (1946). In the words of Philip Gossett, Wimsatt and Beardsley “attack as irrelevant to criticism questions, such as ‘What was the poet’s intention in writing this poem?’ or ‘What did he mean by this allusion?,’ whose answers must be statements divorced from a reading of the poem itself and usually expressed in language not derived from it.” Gossett, “Beethoven’s Sixth Symphony: Sketches for the First Movement,” Journal of the American Musicological Society 28 (Summer 1974), 260.

163 Rob Tannenbaum, “A Meeting of Sound Minds: John Cage and Brian Eno,” Musician 83 (Sept. 1985), 70.

164 Cynthia Dagnal, “Eno and the Jets: Controlled Chaos,” Rolling Stone 169 (12 Sept. 1974), 16.

165 Geoff Brown, “Eno’s Where It’s At,” Melody Maker 48 (10 Nov. 1973), 40.

166 Brown, “Eno’s Where It’s At,” 40.

167 Allan Jones, “Eno: On Top of Tiger Mountain,” Melody Maker 49 (26 Oct. 1974), 39.

168 Tannenbaum, “Cage and Eno,” 72.

169 Alan Jensen, “The Sound of Silence: A Thursday Afternoon with Brian Eno,” Electronics & Music Maker (Dec. 1985), 22.

170 Lee Moore, “Eno = MC Sqaured,” Creem 10 (Nov. 1978), 67.

171 Bangs, “Eno,” 42.

172 Aikin, “Brian Eno,” 62.

173 Kristine McKenna, “Eno,” Wet 25 (July/Aug. 1980), 45.

174 Judy Nylon, “Eno’s Other Green Worlds,” Circus (27 Apr. 1976), 23.

175 Brian Eno, “Generating and Organizing Variety in the Arts,” Studio International 984 (Nov./Dec. 1976), 279-83. The article was reprinted in Gregory Battock, ed., Breaking the Sound Barrier: A Critical Anthology of the New Music (New York: Dutton, 1981).

176 Eno, “Generating and Organizing Variety,” 279.

177 Eno, “Generating and Organizing Variety,” 283.

178 Stafford Beer, Brain of the Firm: The Managerial Cybernetics of Organization (London: Allen Lane, 1972), 69. Quoted in Eno, “Generating and Organizing Variety,” 283.

179 Eno, “Generating and Organizing Variety,” 283.

180 Eno was involved with four performances of the piece, one of which was recorded. Cornelius Cardew, The Great Learning, DGG 2538216.

181 Eno, “Generating and Organizing Variety,” 281. The Beer quotation is from Brain of the Firm, 69.

182 Michael Nyman, Decay Music, Obscure/Editions EG OBS 6, 1976.

183 Eno, “Generating and Organizing Variety,” 281-2.

184 Eno, “Generating and Organizing Variety,” 282.

185 Eno, “Generating and Organizing Variety,” 282.

186 Eno, “Generating and Organizing Variety,” 282.

187 Eno, “Pro Session – Part I,” 57.

188 Brian Eno, “Pro Session: The Studio as Compositional Tool – Part I,” lecture delivered at New Music New York, the first New Music America Festival sponsored in 1979 by the Kitchen, excerpted by Howard Mandel, Down Beat 50 (July 1983), 56. “Part II” of this lecture appeared in the next issue of Down Beat (Aug. 1983).

189 Eno, “Pro Session – Part I,” 56. The idea that recording is solely responsible for the spatialization of music is debatable. A recent pointed scholarly exchange in the pages of 19th Century Music revolved around the issue of whether or not it is valid to view the tonal structure of Verdi’s operas as existing on an ideal, “spatial” plane outside the temporal plane of actual performance and perceived, heard, local modulations. Whatever side one favors in that debate, it is probably true that the debate itself could not arise with reference to music that has not been notated: in the case of the Verdi operas, it is the score that takes music out of the time dimension and puts it into the space dimension, or at least makes it much more susceptible to “spatial perception” and structural tonal analysis. Music notation has perhaps always had this sort of spatializing effect, but it is interesting that the linear vs. spatial debate has arisen only since the advent of sound recording. See Sigmund Levarie, “Key Relations in Verdi’s Un Ballo in Maschera,” 19th Century Music 2 (1978), 143-7, Joseph Kerman, “Viewpoint,” 19th Century Music 2 (1978), 186-91, and Levarie’s reply to Kerman, 19th Century Music 3 (1979), 88-9.

190 Eno, “Pro Session – Part I,” 57.

191 Eno, “Pro Session – Part I,” 57.

192 Eno, “Pro Session – Part II,” 50.

193 Kurt Loder, “Eno,” Synapse (Jan./Feg. 1979), 24.

194 McKenna, “Eno,” 42.

195 Aikin, “Brian Eno,” 59.

196 Aikin, “Brian Eno,” 59.

197 Aikin, “Brian Eno,” 59.

198 Aikin, “Brian Eno,” 59.

199 Robert Fripp produced an album by the guitar and vocal group the Roches in what he called audio verité. The effect is that of a sparkling, well-balanced live performance. The Roches, The Roches, Warner Brothers BSK 3298, 1979.

200 Eno, “Pro Session – Part II,” 50.

201 Eno, “Pro Session – Part II,” 53.

202 Eno, “Pro Session – Part II,” 50.

203 Eno, “Pro Session – Part II,” 50.

204 Bangs, “Eno,” 42.

205 Michael Zwerin, “Brian Eno: Music Existing in Space,” International Herald Tribune, 14 Sept. 1983, 7.

206 Bangs, “Eno,” 42.

207 Brown, “Eno’s Where It’s At,” 41.

208 Bangs, Lester, “Eno,” 42. For information on synthesizers – what they are and what they can do – see the articles “Synthesizer” and “Electro-acoustic music” in Don Randel, The New Harvard Dictionary of Music (Cambridge, Mass. and London: Belknap/Harvard University Press, 1986). The latter article includes a bibliography. Also useful and informative are Greg Armbruster, ed., The Art of Electronic Music (New York: Quill/Keyboard, 1985, and Bob Doerschuk, Rock Keyboard (New York: Quill/Keyboard, 1985).

209 Milkowski, “Eno: Excursions,” 15.

210 Eno has used the Arp 2600 only once in his recorded music, in making Music for Airports. The Minimoog is “a very old one – one of the first ones they made, I suspect.” Aikin, “Brian Eno,” 45.

211 Milkowski, Bill, “Eno: Excursions,” 15.

212 Jensen, “Sound of Silence,” 24.

213 Glenn O’Brien, “Eno at the Edge of Rock,” Andy Warhol’s Interview 8 (June 1978), 32. Handbooks and owners manuals do indeed often steer the electronic musician toward certain limited options sanctioned by the well-intentioned manufacturers. For instance, the operating guide that comes with a Peavey KB-300 keyboard amplifier says with regard to the mid-range equalization control: “CAUTION MUST BE EXERCISED IN ORDER TO AVOID OVERBOOSTING OR OVERCUTTING THE MID-RANGE. Experience has proven that, for most applications, a very slight mid-range cut tends to produce a ‘tight’ and well-defined sound. Generally, large amounts of mid-range boost are extremely unpleasant and probably will never be used except for special effects.”

214 Aikin, “Brian Eno,” 48.

215 Aikin, “Brian Eno,” 50.

216 Aikin, “Brian Eno,” 50.

217 Aikin, “Brian Eno,” 48.

218 Aikin, “Brian Eno,” 50.

219 Arthur Lubow, “Eno, Before and After Roxy,” New Times 10 (6 March 1978), 73.

220 Bangs, “Eno,” 40. The fact that Eno was habitually cut by the top string probably indicates that he never played enough guitar to build up calluses.

221 Milkowski, “Eno: Excursions,” 17.

222 Aikin, “Brian Eno,” 50.

223 Aikin, “Brian Eno,” 50. Some of Eno’s specific equipment: Lexicon Prime Time, Lexicon 224 digital reverb, Lexicon EMT 250 digital reverb, Roland 501 echo unit, Project WEM fuzz box. See list of “Brian Eno’s Equipment,” Milkowski, “Eno: Excursions,” 17.

224 Aikin, “Brian Eno,” 55.

225 Bangs, “Eno,” 42.

226 Grant, “Eno Against Interpretation,” 29.

227 Aikin, “Brian Eno,” 58.

228 Aikin, “Brian Eno,” 58.

229 Tannenbaum, “Cage and Eno,” 106.

230 Grant, “Eno Against Interpretation,” 30.

231 McKenna, “Eno,” 42.

232 Grant, “Eno Against Interpretation,” 30.

233 McKenna, “Eno,” 44.

234 Loder, “Eno,” 24.

235 Bangs, “Eno,” 43.

236 O’Brien, “Eno at Edge of Rock,” 31.

237 Jensen, “Sound of Silence,” 23.

238 O’Brien, “Eno at Edge of Rock,” 31.

239 Brian Eno and Peter Schmidt, Oblique Strategies: Over One Hundred Worthwhile Dilemmas, boxed set of cards, limited edition of 500 copies, London, 1975, revised and reissued, London, 1978, 1979.

240 Cage, of course, had used the I Ching extensively in his own compositional strategies. See Charles Hamm, “John Cage,” The New Grove Dictionary of Music and Musicians (1980). The I Ching itself exists in many versions, see, for example, The I Ching or Book of Changes: The Richard Wilhelm Translation Rendered into English by Cary F. Baynes, Bollingen Series 19 (Princeton: Princeton University Press, 1967).

241 O’Brien, “Eno at Edge of Rock,” 31.

242 O’Brien, “Eno at Edge of Rock,” 31.

243 Brian Eno and Peter Schmidt, “Peter Schmidt and Brian Eno,” Arts Review 29 (9 Dec. 1977), 737.

244 Moore, “Eno = MC Squared,” 67.

245 Zwerin, “Eno: Music Existing in Space,” 7.

246 See Betsy Bowden, Performed Literature: Words and Music by Bob Dylan (Bloomington: Indiana Universtiy Press, 1982).

247 Jann Wenner, ed., Lennon Remembers: The Rolling Stone Interviews (San Francisco: Straight Arrow/Rolling Stone, 1971), 188.

248 See Richard Goldstein, The Poetry of Rock (New York: Bantam Books, 1969), David R. Pichaske, The Poetry of Rock: The Golden Years (Peoria, Ill.: The Ellis Press, 1981), and Bruce Pollock, In Their Own Words: Lyrics and Lyricists 1955-1974 (New York and London: Macmillan, 1975).

249 Amirkhanian, “Eno at KPFA,” 3.

250 Tannenbaum, “Cage and Eno,” 70.

251 Amirkhanian, “Eno at KPFA,” 2-3.

252 Bangs, “Eno,” 42.

253 Rose, “Eno: Scaramouche of the Synthesizer,” 70.

254 Aikin, “Brian Eno,” 64.

255 Brian Eno and Russell Mills, More Dark than Shark, (London: Faber and Faber, 1986), 73.

256 Mark Howell, “From a Strangers Evening with Brian Eno,” Another Room (June/July 1981), n.p.

257 Frank Rose, “Four Conversations with Brian Eno,” Village Voice 22 (28 Mar. 1977), 70.

258 Mick Brown, “Life of Brian According to Eno,” Guardian, 1 May 1982, 10.

259 Glenn O’Brien, “Eno at the Edge of Rock,” Andy Warhol’s Interview 8 (June 1978), 32.

260 Charles Amirkhanian, “Brian Eno interviewed 2/2/80 for KPFA Marathon by C. Amirkhanian, transcribed 10/29/83 [by] S. Stone,” unpublished typescript, 5.

261 John Hutchinson, “Brian Eno: Place #13,” color brochure (Dublin: Douglas Hyde Gallery, 1986), n.p. “Synchronicity” (Synchronizität), is a word coined by Swiss psychologist C.G. Jung and refers to the occurrence or experience of meaningful coincidences that cannot be explained on the basis of known natural laws. Carl Jung, “Synchronicity: An Acausal Connecting Principle,” in The Structure and Dynamics of the Psyche, 2nd ed., Collected Works of C.G. Jung, Vol. 8, Bollingen Series 20 (Princeton: Princeton University Press, 1969), 417-519.

262 Hutchinson, “Eno: Place #13,” n.p.

263 Kurt Loder, “Eno,” Synapse (Jan./Feb. 1979), 26.

264 Steven Grant, “Brian Eno Against Interpretation,” Trouser Press 9 (Aug. 1982), 30.

265 Alan Jensen, “The Sound of Silence: A Thursday Afternoon with Brian Eno,” Electronics & Music Maker (Dec. 1985), 25.

266 Grant, “Eno Against Interpretation,” 29.

267 Jim Aikin, “Brian Eno,” Keyboard 7 (July 1981), 66.

268 Jensen, “Sound of Silence,” 24-5.

269 Hutchinson, “Eno: Place #13,” n.p.

270 Leonard B. Meyer, Music, the Arts and Ideas: Patterns and Predictions in Twentieth-Century Culture (Chicago and London: Universtiy of Chicago Press, 1967), 87-232.

271 Edward Whitmont, Return of the Goddess (New York: Crossroad, 1984).

272 Simon Frith, Sound Effects: Youth, Leisure, and the Politics of Rock’n’Roll (New York: Pantheon, 1981).

273 Barbara Bradby, “Do-Talk and Don’t Talk: Conflicting Voices in Sixties Girl-Group Songs,” paper delivered at the Third International Conference on Popular Music Studies, Université du Québec à Montréal, 10 July 1985.

274 Iain Chambers, “Glam Rock,” in his Urban Rhythms: Pop Music and Popular Culture (New York: St. Martin’s, 1985), 128-38.

275 Arthur Lubow, Eno, Before and After Roxy,” New Times 10 (6 March 1978), 72.

276 Lubow, “Eno, Before and After Roxy,” 72.

277 Lubow, “Eno, Before and After Roxy,” 72.

278 Howell, “Strangers Evening with Eno,” n.p.

279 Loder, “Eno,” 25.

280 Loder, “Eno,” 26. Robert Fripp, Eno’s friend and collaborator, has used similar terms to express his apolitical yet radical stance. In one of his several philosophical manifestoes, Fripp put it like this: “My belief is that all political activity directed towards changing the means of working is ineffective without a change in our way of working, and that this is essentially personal. If we change our way of doing things, structural change necessarily follows. If we wish for this personal change we need discipline, and the only effective discipline is self-discipline. External discipline, i.e., control, the normal direction of authoritarian agencies, generates an at least equal reaction.” Robert Fripp, liner notes to Let The Power Fall: An Album of Frippertronics, Editions EG EGS 110, 1981.

281 Brown, “Life of Brian According to Eno,” 10.

282 McKenna, “Eno,” 44.

283 Rose, “Four Conversations with Eno,” 70.

284 Eno and Mills, More Dark than Shark.

285 Grant, “Eno Against Interpretation,” 30.

286 Bill Milkowski, “Brian Eno: Excursions in the Electronic Environment,” Down Beat 50 (June 1983), 15.

287 Milkowski, “Eno: Excursions,” 16-7.

288 Rob Tannenbaum, “A Meeting of Sound Minds: John Cage and Brian Eno,” Musician 83 (Sept. 1985), 72.

289 Anthony Korner, “Aurora Musicalis,” Artforum 24:10 (Summer 1986), 79.

290 This selection criterion means that little or no mention will be made in these pages of the roughly three dozen other albums Eno has produced or played on. His contribution to most of these other albums is briefly noted in the “Eno Discography” in “Musical Sources” below, 337.

291 For full listings of the musicians on this and other albums, see “Eno Discography,” 337.

292 Geoff Brown, “Eno’s Where It’s At,” Melody Maker 48 (10 Nov. 1973), 41.

293 Cynthia Dagnal, “Eno and the Jets: Controlled Chaos,” Rolling Stone 169 (12 Sept. 1974), 21.

294 Lester Bangs, “Eno,” Musician, Player & Listener 21 (Nov. 1979), 42.

295 Lester Bangs, “Records: Here Come the Warm Jets,” Creem 6 (Oct. 1974), 61.

296 Robert Christgau, “The Christgau Consumer Guide,” Creem (April 1975), 11.

297 Ed Naha, “Record Lovers Guide: Picks of the Month: Brian Eno: Here Come the Warm Jets,” Circus (Dec. 1974), 61.

298 Dagnal, “Eno and the Jets: Controlled Chaos,” 16.

299 Gordon Fletcher, “Records: Here Come the Warm Jets,” Rolling Stone 172 (24 Oct. 1974), 74.

300 Dagnal, “Eno and the Jets: Controlled Chaos,” 21.

301 Stephen Demorest, “Eno: the Monkey Wrench of Rock Creates Happy Accidents on Tiger Mountain,” Circus (Apr. 1975), 52.

302 Robert Christgau, “The Christgau Consumer Guide,” Creem (June 1975), 13.

303 Henry Edwards, “Bryan Ferry and Eno: Hot Rockers Rock Apart,” After Dark 8 (June 1975), 67.

304 Pete Matthews, “Review: Eno: Taking Tiger Mountain (By Strategy); Nico: The End; Sparks: Propaganda,” Records and Recording (Jan. 1975), 60.

305 “Don’t Overlook These Discs,”

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