My Life in the Bush of Ghosts – Brian Eno / David Byrne (1981)


My Life in the Bush of Ghosts is a 1981 album by Brian Eno and David Byrne, titled after Amos Tutuola‘s 1954 novel of the same name. … The ‘found objects‘ credited to Eno and Byrne were common objects used mostly as percussion. In the notes for the 2006 expanded edition of the album, Byrne writes that they would often use a normal drum kit, but with a cardboard box replacing the bass drum, or a frying pan replacing the snare drum; this would blend the familiar drum sound with unusual percussive noises. Rather than conventional pop or rock singing, most of the vocals are sampled from other sources, such as commercial recordings of Arabic singers, radio disc jockeys, and an exorcist. Musicians had previously used similar sampling techniques, but critic Dave Simpson declares it had never before been used ‘to such cataclysmic effect’ as on My Life. …”
Wikipedia
reDiscover Brian Eno And David Byrne’s ‘My Life In The Bush Of Ghosts’ (Audio)
iTunes
YouTube – America is waiting (Live), Home, Strange Overtones, Very Very Hungry (bootleg), Les Hombres Ne Le Sauront Jamals, The Jezebel Spirit (bootleg)
YouTube: My life in the bush of ghosts (Full album) 11 videos

After The Heat – Eno/Moebius/Roedelius (1978)


“The second collaboration between Brian Eno and Cluster (here credited as constituents Hans Joachim Roedelius and Dieter Moebius) arrived only a year after the trio’s first collaboration, Cluster & Eno. By the time of their first meeting, Eno had released his first proper ambient album, Discreet Music, as well as a handful of pioneering pop records. Cluster had steadily moved away from the free-form ambient style marking their debut, Cluster ’71, to the slowly shifting, pulsating krautrock on landmark releases Zuckerzeit and Musik Von Harmonia (with Neu!’s Michael Rother). After hearing these releases, Brian Eno was eager to collaborate with Moebius and Roedelius. Although krautrock legend Conny Plank co-produced After The Heat with the artists, Eno seems to have had the biggest impact on its creation. Even more so than its predecessor, the album essentially sounds like a Brian Eno solo record. Considering the personnel order, the prevalent atmospheres and textures, and even the almost entirely English tracklist (compared to the mostly German Cluster & Eno), it’s hard to imagine Moebius and Roedelius adding much to the proceedings. …”
TinyMixTapes
W – After The Heat
Discogs
YouTube: After The Heat (full album) 41:03

No New York – Brian Eno (1978)


No New York is a compilation album released in 1978 by record label Antilles under the curation of producer Brian Eno. Although it only contained songs by four different artists, it is considered by many to be the definitive single album documenting New York City’s late-1970s no wave movement. Early in 1978, New York‘s Artists’ Space hosted an underground rock festival with several local bands. The final two days of the show featured DNA and the Contortions on Friday, followed by Mars and Teenage Jesus and the Jerks on Saturday. English musician/producer Brian Eno, who had originally come to New York to produce the second Talking Heads album More Songs About Buildings and Food, was in the audience. Impressed by what he saw and heard, Eno was convinced that this movement should be documented and proposed the idea of a compilation album with himself as a producer. When Eno recorded No New York, some of the sessions were done without much of the stylized production he was known for on other artists’ albums. James Chance stated that the Contortions tracks were ‘done totally live in the studio, no separation between the instruments, no overdubs, just like a document.’ …”
Wikipedia
Pitchfork
YouTube: No New York – Full CD 43:57

Penguin Café Orchestra – Music From The Penguin Cafe (1976)


Simon Jeffes’ mercurial compositions as Penguin Café Orchestra have long intrigued me. And yet, here I am listening to the debut (nearly self-titled) album for the first time, or first times, as it’s already on repeat-play. I first heard the Penguin Café Orchestra via its most famous piece, Telephone and Rubber Band, and that was via its most famous placement – the terrific movie, Talk Radio. So then it all lined up, because I knew the name and loved the cover images, the recurring bird-man motif, but hadn’t ever taken the plunge. When I met Katy she had the When In Rome… live album; so that was my introduction-proper and my go to for many years. Then I checked a few more things out, had a great compilation that mostly did the trick too. When Jeffes died the band ended. But his son Arthur recently took over, calling the project now just Penguin Café and retaining the strange-world spirit of this musical vision. Bits and pieces of jazz and classical and folk drift by and form their own sound in their own space. Penguin Café’s new albums are very good and apparently live they play the ‘hits’ too. In tribute.”
(Audio)
W – Music From The Penguin Cafe
The Quietus: Penguin Cafe Orchestra
YouTube: Music From The Penguin Cafe | Penguin Cafe Single

Exposure – Robert Fripp (1979)


Exposure is the debut solo album by guitarist and composer Robert Fripp. Unique among Fripp solo projects for its focus on the pop song format, it grew out of his previous collaborations with David Bowie, Peter Gabriel, and Daryl Hall, and the latter two singers appear on the album. Released in 1979, it peaked at No. 79 on the Billboard Album Chart. Most of the lyrics were provided by the poet and lyricist Joanna Walton. After terminating the first run of King Crimson in 1974, studying at the International Academy for Continuous Education through 1975-1976 and assisting Peter Gabriel in both studio and stage capacities, Fripp decamped in 1977 to the Hell’s Kitchen neighbourhood of New York City. New York was then a centre of punk rock and what would come to be known as new wave, and Fripp dived into the scene, playing and recording with Blondie and the Roche sisters, absorbing the sounds of the active downtown music scene. He envisioned a new approach, and incorporated elements of these NYC experiences into his current palette, including ‘Frippertronics‘, the technique he had developed with Brian Eno. At Eno’s invitation, Fripp performed on David Bowie’s ‘Heroes’ single and album in 1977. Originally, Fripp envisioned Exposure as the third part of a simultaneous trilogy also comprising Daryl Hall‘s Sacred Songs and Peter Gabriel’s second album aka Scratch, both of which Fripp contributed to and produced. …”
Wikipedia
Exposure Pages
Discogs (Video)
YouTube: Exposure 43:17

Cluster / Brian Eno – Cluster & Eno (1977)


“In Brian Eno‘s first collaboration with Cluster, the best of this album’s instrumental pieces are too emotionally rich to waste as mere background music, evoking feelings of hesitancy and regret that rescue the music from mere vapid prettiness. Three tracks in particular indicate things to come. ‘Wehrmut’ is an ethereal synth piece with the pace slowed to a tantalizing crawl. ‘Steinsame’ features a treated guitar playing a slow figure over a dark, almost funereal synth melody. ‘Schöne Hände’ uses watery synth effects to highlight a shivery rhythm pattern. Other pieces dispense with moody atmospherics altogether. Tracks like ‘Ho Renomo’ and ‘Selange’ consist mainly of pounding rhythm patterns lightly embellished by piano or synthesizer, and ‘Die Bunge’ sounds like an electronic goldfinch fluttering around a cartoon horse. While not the unqualified success of their 1978 collaboration After the Heat, Cluster & Eno remains an important album. Along with Eno‘s 1978 Music for Films, these works helped define the depth and promise of ambient music.”
allmusic (Audio)
Pitchfork
W – Cluster & Eno
Discogs (Video)
YouTube: Cluster & Eno (Full Album) 36:52

Obscure Records


“Obscure Records was a U.K. record label which existed from 1975 to 1978. It was created and run by Brian Eno, who also produced the albums (credited as executive producer in one instance). Ten albums were issued in the series. Most have detailed liner notes on their back covers, analyzing the compositions and providing a biography of the composer, in a format typical of classical music albums, and much of the material can be regarded as 20th century classical music. The label provided a venue for experimental music, and its association with Eno gave increased public exposure to its composers and musicians. In their original editions, all albums used variations of the same cover art of a collage by John Bonis, covered up by an overprinting of black ink. The picture beneath the ink can be seen somewhat clearly under a strong light. Each volume except the seventh has one small window in the black overprint to reveal a different portion of the picture on each album. The red and white label design is a blurred photo that appears to be spires on roofs of buildings. …”
UbuWeb (Audio)
W – Obscure Records
Spotify (Audio)


Brian Eno