Brian Eno - Small Craft On A Milk Sea

we all owe this one to the one and only Pituco and his great mustache. check out his bar, have a drink with the man and listen to some nice tunes while reading about his conversations with other fellow musicians.

gracias bigotín!

Lady June's Linguistic Leprosy

Just stumbled across this lil treasure. Lady June is a broodingly chipper spoken word poet with first-class company: Digital master Brian Eno and Canterbury legends Kevin Ayers from Soft Machine plus Pip Pyle from Gong. A very interesting listen to say the least.



a chain is only as strong as its weakest link.

Talking Heads - Fear Of Music

My favorite Talking Heads record, all tracks are sheer perfection. Byrne & company in top-form with Eno on production duties.



Air.

Brian Eno, John Cale, Nico & Kevin Ayers - June 1, 1974

Masters at work.

Brian Eno & Jah Wobble - Spinner

Do I really need to do this?

David Byrne and Brian Eno - Everything That Happens Will Happen Today (2008)

Described as: "electronic gospel-folk", this is completely different from my life in the bush of ghosts. Great nonetheless, theres even a Robert Wyatt cameo.

Is there such a thing as too much Eno?

Harold Budd - The Pavilion of Dreams

Budd's first proper album, originally released on Eno's label Obscure and produced by him. With contributions from Marion Brown, Michael Nyman and Gavin Bryars, among others.

"The debut album of ambient composer Harold Budd, who is perhaps best known to progressive fans for his collaborations with Brian Eno, who produced this as well. The music of Pavilion of Dreams is a cycle of work composed from 1972-1975, marking Budd's resurgence as a composer after a period of disillusionment with contemporary avant-garde music. Budd's trademark is the major seventh chord (e.g., for a C chord, play these notes on the piano: C-E-G-B), which invariably lends his work a warm, sighing quality and can also be found liberally on this album.

In describing this period of his career, Budd said that he was "in full revolt" against the truculent, "tough" music of the avant-garde. The opening "Bismillahi 'Rrahman 'Rrahim" immediately sets the mood of the album, with the sax of Marion Brown (who played on John Coltrane's Ascension) bathing in a pond of warmth established by marimbas, harp, celeste, and the very celeste-like Fender Rhodes. The final piece of the album, "Juno," brings this mood to its conclusion, with Budd's gushing waterfalls of piano. In the intervening 45 minutes or so, you have music whose primary goal above all else is to be devastatingly beautiful.

"Madrigals of the Rose Angel" remains my favorite track on this album, and indeed, I still think it is one of Budd's greatest contributions as an artist. A work initially conceived for performance by "piano, harp, celeste, topless choir, and lights" is bound to be controversial. In a 1997 interview, Budd himself called it with a grin, "blatantly sexist." Maybe so, but there's a flip-side to that observation. I am convinced that if women really want to rule the world, their best shot is to get together, collectively listen to and study this track, for there is no greater example of the power in the female voice to bring swooning males irrevocably to their knees. Anyway, "Madrigals" implements an interesting technique of using the choir and the instruments as pivots to guide the music along. Typically, the choir is static in melody while the instruments change chords, and the next moment the instruments are static as the choir continues along with the melody.

Though Budd also uses the adjective "shallow" in describing this, I do not have that experience at all as a listener receiving these sounds. There is one moment in "Madrigals," right after the choir hits their first note (i.e., a C# minor seventh chord ripples with a gentle crescendo into C# major seventh) that always gives me chills. There is something hypnotic and mystical that reaches in deep for just that one ripple alone. The logic in my head tells me it's a simple change of sustained chords. But what I feel — it's like the sound of a portal opening to a new place — undefinable. Maybe if you listen to it to you'll discover a similar feeling as well. It's those kind of moments that make listening to music such a rewarding thing.

The use of primarily acoustic instruments lends this album an organic quality that increases its already burgeoning appeal. There are many that cannot get into the basic, Paradisic sensibility of this album, possibly because they feel it's too over the top. While I can't fault them for their opinion, I sure as hell don't agree with it. For those who are interested in exploring Budd's work, I feel this one is pretty much a given. After Pavilion of Dreams, Budd would concentrate primarily on solo and collaborative work in various settings, before returning to ensemble writing in the early 1990s." - Joe McGlinchey

Madrigals

Eno - Discreet Music

Eno's first dabblings in generative music and also his first "Ambient" album. Top notch, as usual.

Pachelbelanus

Fripp & Eno - Evening Star

Their 2nd collaborative effort, and a great one.

Index of Metals

Robert Wyatt - Old Rottenhat

For Howard.

More Wyatt greatness. This is an explicitly political album, and altogether darker and pessimistic.

PLA

Robert Wyatt - Ruth is Stranger than Richard

For Howard.

More amazing songwriting from the Seer of Canterbury, his third album. Includes Eno on "anti jazz ray gun".

Soup

Fripp & Eno - No Pussyfooting

Request by the Coonie. Frippertronics start here.

Swastika girls

Fripp & Eno - The Equatorial Stars (2004)

Thirty years after their last collaboration, these guys are at it again. Eno, a pioneer of what was coined as ambient music, and Fripp, an innovator in all things guitar, create textural soundscapes unlike any other.
"The Equatorial Stars utilizes the same basic concept perfected on their previous works (emotionally charged liquid lead guitar tones snaking over rolling ambient loops and washes), but in the bare minimum of time. The album contains music that is less composition than artifact of the infinite permutations associated with this method of design. Although high-concept in its origins, The Equatorial Stars is saved from exceeding the grasp of its listeners by the warm, consonant and utterly engaging melodies produced by guitarist Robert Fripp. This album is a wonderful example of inward turning slow-music, but it's greatest success is in revealing the human side of these two iconic figures of the ambient music genre"

I encourage Sandunga Cat to post more from this dinamic duo.

Turd Sandwich

Brian Eno/David Byrne - My Life in the Bush of Ghosts

Classic collaboration between two innovators that liked to explore beyond typical western music and incorporated many elements into their funked out, percussion layered, sound collages. Recorded in the period between Fear of Music and Remain in Light the style here might sound familiar at times but instead of writing songs with traditional singing Eno and Byrne mixed a bunch of different vocal samples ranging from Arabic singing , to radio hosts, to exorcisms and more.

Get it Here