Eno Related 70s Projects

Laraaji!!! I was thinking it wasn't in the list as I read along and I started getting more and more upset not to see it until I saw it at the end and everything is forgiven! I am dying to hear that record again. DYING. Oh, man!

hard choices... No Pussyfooting, 2nd and 3rd Talking Heads albums, Fear, and Exposure?!?!?

hmmm.

well, it's rather difficult as the breadth of the selection is so big. i love quite a few of these - no pussyfooting, the bowie ones, talking heads, 801. gah! i don't think i can pick just one. let me stew onit.

801 is a big mystery to me. I remember hearing something off the radio from that that blew my hair back as a teenager. I was thinking of that record just yesterday, believe it or not.

Eno Fetish Eno Fetish Eno Fetish Eno Fetish Eno Fetish Eno Fetish Eno Fetish Eno Fetish Eno Fetish Eno Fetish Eno Fetish Eno Fetish Eno Fetish Eno Fetish Eno Fetish Eno Fetish Eno Fetish

impossible, refuse to vote

someone should put that Colin Newman quote about Eno here before things get out of hand...

My vote goes to More Songs, considering Eno contributed arguably more than anyone to this record, which is not the case with a lot of these.

Tons of my favorite records here, but I kinda wanna vote for "flirting with Christie" . . .

Devo. though Bowie will win, or Talking Heads.
801 is also pretty good.

Some wonderful person sent me 801 Live and I love you thanks!!!
I remember hearing Eno sing "Tomorrow Never Knows" when I was a teenager, this is fucking great.

Oh no...I'm a sucker for his voice on this 801 thing. "RongWrong" oh my god.

Eno fetish Eno fetish Eno fetish Eno fetish Eno fetish Eno fetish Eno fetish

BABY'S ON FIRE!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

this poll is impossible

so many incredible albums on this list

I gave it to "After The Heat", which will not win

Thanks for the tip, re: Big Day on Diamond Head. What a great song--sound like it was written yesterday

"Big Day" is fantastic...one of his best

Didn't Eno also produce Devo's second album, Duty Now for the Future?

He produced the Urban Verbs demo?!?!
*faints*

I think the Ayers album is the correct answer.

Noel Gallagher in Mojo: "There's too many multi-instrumentalist in this band to do anything minimal. Anyways, I don't like concepts following around records,that's the Brian Eno curse. I think lots of bands fall down on that- they get the concept first. Travis, for instance...poor lads. Those kinds of bands always end up with Brian Eno pulling out a deck of cards, saying,"Play it like it's orange...."

Now, I love Eno like life itself, but this is still pretty funny. When I first read it, I thought the quote was "play it like it's an orange," which is also funny.

I don't remember anybody who considered Discreet Music a failure, though one side was a lot more striking than the other. Was he on 801's studio album, Listen Now? I just remember it sounding okay, in a Floydian way; "more doom than zoom," I think the Creem reviewer said, comparing it to the instantly galvanizing live set. I neve thought he ruled June 1, Nico and Cale were really good too; that version of "Heartbeak Hotel" was even better than the studio version, on Slow Dazzle (funny that Eno played turnabout on Cale when they got back together for Wrong Way Up: reportedly, iit was Eno's turn to run through the studio and leave Cale to pick up the pieces and do the final mix, etc., the way Cale left it for Eno in the Fear sessions) This poll should also incl Peter And The Wolf (unless it was also 1980?)Seemed really good (haven't heard it in decades), with all original music, def *not* the rainy day Fourth Grade music appreciation classical piece (which Bowie later recorded).

"Big Day"!!! I've heard that before a long time ago too!!!!!

Eno fetish Eno fetish Eno fetish Eno fetish Eno fetish Eno fetish Eno fetish Eno fetish Eno fetish Eno fetish Eno fetish Eno fetish Eno fetish

Also yeah the Kevin Ayers thing is good, too. Jesus. It's too much.

Automatic thread bump. This poll is closing tomorrow.

I haven't listened to all these, but I think Selling England By The Pound would be a cop out since it's probably one of my top 3 albums of all time, so I go with 801, in which he had a bigger role (and I remember some of it being really awesome).

And how come Wrong Way Up isn't on there, I really enjoyed that one for the most part.

Wrong Way Up was 90's.

hmm tons of stuff i've never heard here... hard to think of passing over low/heroes/lodger, but i must say WHERE IS SACRED SONGS??

It's his leather jacket, man. Can't you hear his leather jacket?

Sacred Songs was Darryl Hall, produced by Fripp. I'd like to hear it (esp. considering what Fripp did for the Roches, and vice versa), but was Eno on it?

Wow, someone is mentioning a Daryl Hall album on an Eno thread. Wow.

Vote for best Eno: Low
Vote for best Album: Are we not men?

went for no pussyfooting as it's one i constantly return to.

It's an impossible poll, but no pussyfooting for me too.

Most difficult poll ever, but TODAY I'm going to go for 801 Live because it doesn't get nearly enough props.

Had to go for "The Lamb" here because I am such a huge fan of everything Genesis did during the Gabriel years. But that is no attempt to drag the rest of Eno's output down because he has done a lot of great stuff, in the 70s in particular.

I'm not really sure exactly what we're voting on here. The best record Eno was associated with in the 1970's? Or the best contributions Eno made to a record during the decade? I mean, in terms of best pure records, you have Fear, Devo, the 801 records (and yes, Eno's on Listen Now, which is teriffic), the Obscure stuff. The Bowie and TH records are the biggest "collaborations" in that he's responsible for much of the content. No New York may be the single most "important" record on here, but he had little to do w the performances themselves.

Which is the "best"? Got me -- the best at what?

stop the poll, naive teen idol cant decide.

for me its no pussyfooting, barely edging out low.

Eno also made a cameo appearance on Robert Calvert's first album, Captain Lockheed and the Starfighters. This poll is impossible.

Robert Wyatt sings on the John Cage side of the Jan Steele split!

wish i could vote for Air Structures...

for me its no pussyfooting, barely edging out low.

^ same

No -- apparently Fastnbulbous couldn't decide what the fuck the point of this poll was. As a result, everybody's voting based on totally different criteria. Some people are saying, "Hey, this is my favorite Eno record not under his name." Other people are just like "Man, I love Genesis."

What use is that?

i mean, just about as useful as any ILX poll right? internet dude takes a set of recordings and asks people to choose? we can bicker over the rules for making the set, but i mean. once again. any ILX poll.

take a few deep breaths and vote for your favorite music
xpost xD

Democracy makes no sense!

I haven't heard too many of these and the descriptions make them all sound great.

wiki sez eno played on Sacred Songs, i don't have the sleeve in front of me

who cares? Discreet Music is great also!

sleeve and shakey mo OTM! evening star is boring and 801 str8 sux

isn't pussyfooting, just two guys playing with guitar pedals or something.

I actually paid for those albums and enjoyed them so I wont complain anymore. Thursday Afternoon rocks!

I simply intended people to vote for their favorite album. It's hard to judge the relative quality of Eno's contributions unless you were actually there and saw/heard exactly what he did. So even if I presented more focused/nitpicking criteria, people would just use their own criteria anyway, which is fine. I didn't mean to cause any stress!

On any given day I'd vote for either After The Heat, Diamond Head, Fear Of Music, Low or Evening Star.

I just thought it would be nice to focus on albums that usually get overshadowed by his fabulous solo and Roxy albums. Sorry for missing Listen Now, I must have missed the reference to that one in the book. Peter & the Wolf was mentioned, but I forgot to look it up on allmusic.

Since the comments were cut off by the poll results, here they are again in original order:

Matching Mole – Little Red Record (1972, synthesizer) – While Ferry was having his tonsils removed, Eno took his first break from Roxy by experimenting with effects with Phil Manzanera, and taking up an offer from Manzanera's friend Bill MacCormick to play synthesizer on the second record of his band, Matching Mole, headed by Robert Wyatt. Eno and Wyatt had already become friends after meeting at an exhibition of Peter Schmidt's paintings, for which Eno's tapes provided subliminal musical background. Eno's contribution was mainly just some fizzing VCS3 on "Gloria Gloom," featuring vocals from Julie Christie. When not flirting with Christie, Eno chatted with the producer, Robert Fripp, to whom he'd already demonstrated his twin tape recorder delay system in July that year.

Fripp & Eno – No Pussyfooting (1973, synth, keyboards, vocals, tapes, producer) – In September 1972, they recorded some looping, multi–track tape and guitar with effects pedal experiments, inspired by Terry Riley's "Time Lag Accumulator" tape delay/feedback invention from 1963. The tapes languished for over a year as Eno attended to Roxy duties, before being released November 1973. Fripp would describe the album as "the best thing I've ever done."

Andy Mackay – In Search of Eddie Riff (1974, synth, tape)

Kevin Ayers–John Cale–Eno–Nico – June 4, 1974 (1974, synth, keyboard, vocals) – With the help of Wyatt, promoters wanted to bill it as a Soft Machine/Velvet Underground supergroup (Sterling and Mo were interested if it were an actual tour), but Eno was not willing or able to play a Lou Reed role. He stole the show as Eno.

John Cale – Fear (1974, synth, executive producer) – Manzanera produced and brought in Eno, who actually got along well with the cantankerous Cale. During the highlight, “Gun,” Eno gave on–the–fly treatments to Manzanera’s guitar.

Nico – The End (1974, synth) – “His synthesizer prelude to the malevolently brooding ‘Innocent and Vain’ was a desperate, existential howl – a description not readily associable with Brian Eno.

Portsmouth Sinfronia – Plays The Proper Classics (1974, clarinet)

Lady June – Lady June's Linguistic Leprosy (1974, guitar, keyboards, vocals, mixing)

Robert Calvert – Captain Lockheed and the Starfighters (1974, keyboards) – With members of Hawkwind and Bonzo Dog Doo–Dah band, it was part space rock, part Monty Python–esque satire concept album. Producer Roy Thomas Baker went on to work with Queen, and Eno would fill his shoes on the next album.

Genesis – The Lamb Lies Down on Broadway (1974, Enossification) – Peter Gabriel’s playful description of Eno’s ethereal synth and delay treatments, which weirded up “The Grand Parade of Lifeless Packaging” and “Silent Sorrow in Empty Boats.” Eno would employ Phil Collins in future projects.

Fripp & Eno – Evening Star (1975, synth, keyboards, loops, producer) – Eno published the first edition of Oblique Strategies, 115 I Ching–like cards that provided a method for Eno’s approach to music writing during Taking Tiger Mountain (by Strategy) era. He and Fripp also banged this out in a quick session just after.

Quiet Sun – Mainstream (1975, keyboards) – Contributed to “Rongwrong.” Sessions were carried out in the evening, while the daytime was spent on the superior Diamond Head.

Phil Manzanera – Diamond Head (1975, guitar, piano, keyboards, vocals, treatments) – After attending a Harmonia concert in Hamburg and jumping in to play synth with them, Eno’s ideas percolated while making great vocal contributions to his pal’s solo record on “Big Day” and the Syd Barrett–like “Miss Shapiro.” Eno was particularly pleased with that song, and was even thinking how he wouldn’t mind if it were his final epitaph moments before he was struck by a cab, ending up in the hospital. Judy Nylon brought him some harp music, and listening to it on low volume gave him the idea of his version of ambient music.

Television – Good Vibrations Demos (1975, production) – On a trip to NYC to promote Tiger Mountain, Eno saw Television at CBGB’s. He informally produced some recording sessions with the band at Good Vibrations studio. With the still inept bass playing of Richard Hell, the results were obvious that Tom Verlaine and Eno did not click, and the demos were scrapped. Eno liked the scene there, however, and would return later for The Talking Heads.

Robert Wyatt – Ruth Is Stranger Than Richard (1975, synth, guitar, keyboards) – Eno had an awkward relationship with the jazz musicians on the album, though he did share an appreciation for Miles Davis’ In A Silent Way, Bitches Brew and On The Corner.

John Cale – Slow Dazzle/Helen Of Troy (1975, keyboards) – The book doesn’t really talk much about these sessions compared to the more widely celebrated Fear album, so I’m combining the two.

Robert Calvert – Lucky Leif and the Longships (1975, production) – Having been listening obsessively to Cluster’s Zuckerzeit and Harmonia’s debut, Eno was inspired to produce his masterpiece Another Green World. With new confidence, he engaged in his first bona fide production job for another artist, delivering a “crisp, clear sound and helmed at least one song, ‘Phase Locked Loop’ – a ‘found sound’ piece spliced together from recordings of American radio.

Christopher Hobbs With John Adams & Gavin Bryars – Ensemble Pieces (1975, production) –Eno released Gavin Bryars’ hauntingly autumnal Sinking Of The Titanic/Jesus’ Blood Never Failed Me Yet (1975) on his own Obscure record label, but didn’t contribute to it. He considered them “two of the really significant pieces of music of the last fifty years, and they’re both on one album! That’s what I call value for money.” He did produce Bryars and AMM/Scratch Orchestra member Hobbs’ album, however. An adventurous if not epochal exercise in experimental minimalism.

David Toop & Max Eastley – New and Rediscovered Musical Instruments (1975, producer) – Eno’s third release on his Obscure label, Discreet Music, combined his early ambient ideas with an edited version of a piece with Fripp called “Wind On Wind”, and a deconstruction of Johann Pachelbel’s “Canon in D Major” with help from Gavin Bryars. The latter half was considered one of Eno’s least satisfying projects. Obscure release no. 4 was a production of music writer and ethnographer David Toop, and inventor Max Eastley. It featured instruments such as hydrophone, centriphone, with pretty pleasant results.

Jan Steele/John Cage – Voices And Instruments (1976, producer) – 1976 saw a flurry of activity, including releasing the unused bits from the Another Green World sessions on an unofficial promo sent mainly to movie and television studios, titled directly, Music For Films. It was highly successful in that some pieces have been used 25 times over. It would be released in a different form two years later. Obscure No. 5, Voices and Instruments featured experimental saxophonist Jan Steele and vocal pieces by John Cage.

Penguin Café Orchestra – Music From The Penguin Café Orchestra (1976, executive producer) – Obscure No. 6 was Michael Nyman’s Decay Music, and Obscure No. 7 was Penguin Café Orchestra, featuring the beguiling melodic gifts of Simon Jeffes.

Harold Budd – The Pavilion Of Dreams (1976, vocals, producer) – The tenth and final Obscure release, Eno enlisted the help of Gavin Bryars and Michael Nyman for Budd’s embryonic first effort, including exotic instruments like marimba, glokenspiel and celeste. The actual release was delayed by 18 months.

801 – 801 Live (1976, synth, guitar, vocals, keyboards, tape) – Manzanera enlisted colleagues from Quiet Sun and Curved Air to take rock back to “thrilling, visceral basics.” Eno compelled them to rehearse rigorously before debuting their live act at the Reading festival, sandwiched between Van Der Graaf Generator and Camel. With selections from both Manzanera and Eno’s albums, the set rocked pretty fiercely. This would turn out to be Eno’s farewell to more traditional rock with vocals and live performances for many years.

Harmonia 76 – Tracks And Traces (1976, synth, keyboard, voice) – Eno took up an invitation to visit friends Roedelius and Moebius of Cluster, alongwith their Harmonia colleague Michael Rother, in the hamlet of Forst, Weserbergland. The laid back recordings during that communal living were not intended for release, but were twenty years later. They don’t hold up to Harmonia’s other material, but are certainly interesting.

Ultravox! (1977, producter) – pursued by mega–Eno fan John Foxx, he shared production duties with Steve Lillywhite in this punky mix of futuristic, synthesized krautrock and Velvet Underground, New York Dolls style rock. On “My Sex” he even brought out a spare Phil Collins drum track from Another Green World sessions.

David Bowie – Low (1977, synth, guitar, piano, keyboards, vocals, chamberlin, engineering, mixing) – Eno got a call from Bowie during the Ultravox sessions. A big fan of Station To Station, he was happy to go to Berlin and help out. He didn’t produce it like many people think (Visconti did that), but he did co–write “Warsawa.”

David Bowie – Heroes (1977, synth, guitar, keyboard, vocals) – Pretty much the same situation as with Low, except that Bowie and Eno’s friendship was at its peak of slapstick sillyness, cracking each other up the majority of the time.

Cluster & Eno (1977, synth) – Reuniting with his Cluster friends, this time at Conny Plank’s studio. Plank and Eno hit it off, with Plank introducing Eno to the alchemy of Lee “Scratch” Perry’s dub techniques.

Camel – Rain Dances (1977, synth, keyboards) – Main contribution was to the song “Elke.”

Devo – Q: Are We Not Men? A: We Are Devo! (1978, producer) – Obscure No. 8 was done with Gavin Bryars/John White, Machine Music, which included guitar work with kindred souls Fred Frith and Derek Bailey. Meanwhile, Eno brought Devo to Germany. Despite their mutual admiration, Devo were far too anal to accept any of Eno’s suggestions for experimentation. Thus, the album was pretty cut and dried with little Eno imprint. The band somewhat regretted it later, wondering how it would have turned out if they didn’t think they knew everything.

Eno/Moebius/Roedelius – After The Heat (1978, synth, keyboards, vocals, producer) – Eno had been listening obsessively to King Tubby Meets the Upsetter at the Grass Roots of Dub and the Giorgio Moroder-produced Diana Ross single, “I Feel Love.” Plank employed his digital dequencer to burble Moroder-esque cuts “Base & Apex” and “The Belldog.” The latter, “Broken Head,” and the dubby Holger Czukay-assisted “Tzima N’arki” were the last to feature Eno vocals in the 70s. Compared to Before And After Science, the recording was quick, effortless, but nearly as lovely.

Talking Heads – More Songs About Buildings And Food (1978, synth, guitar, keyboards, percussion, piano, mixing, producer) – John Cale introduced Eno to the band during a May ’77 gig in London. The band hung out with him later, and he played them Fela Kuti’s Afrodisiac, and he said, “I think this is the future of music.” After recording the ambient Music For Airports, Eno jumped right back into the rock scene, eager to experiment with new influences from Sly Stone, King Tubby, P-Funk and Fela. Recorded at Chris Blackwell’s Compass Point studio in the Bahamas.

Various – No New York (1978, production) – A pretty spare, hands-off recording of Mars, Teenage Jesus & The Jerks, The Contortions and DNA. Other artists like Glenn Branca’s Theoretical Girls felt slighted, but Eno felt they were too established in the art world already. Four bands were enough.

Robert Fripp – Exposure (1979, keyboards) – Reunites with his pal, with a large group of monster vocalists like Daryl Hall, Peter Gabriel and Peter Hammill.

Urban Verbs – demo (1979, producer) – After witnessing the DC-based postpunk band’s show featuring Chris Frantz’s brother Roddy, Eno enthusiastically helped with their demo, including backing vocals. The band would ultimately be produced by Wire’s producer, Mike Thorne.

David Bowie – Lodger (1979, synth, guitar, piano, trumpet, horn, ambience) – Both Bowie and Eno were inspired by Scott Walker’s contributions to the Nite Flights album. Eno got co-writing credit on six songs, including “African Night Flight,” and the Turkish reggae of “Yassassin.” He had Adrian Belew play guitar without being able to hear what he was doing.

Talking Heads – Fear Of Music (1979, synth, guitar, keyboards, vocals, producer) – Eno was on fire for this, some of his most inspired, original production work on “Drugs,” “Electricity,” “Memories Can’t Wait,” “I Zimbra,” which hints towards his interests in African music, Holger Czukay’s Movies, The Residents’ Eskimo and Burroughs and dada-inspired cutup techniques which he would further pursue on My Life In The Bush Of Ghosts and peak with Remain In Light.

Jon Hassell & Brian Eno – Fourth World Vol. 1: Possible Musics (1980, synth, guitar, keyboards, treatments, producer) – Inspired by Hassell’s exotic and ethereal 1977 album Vernal Equinox, which “hummed with pan-global influences filtered through state-of-the-art studio treatments.”

Harold Budd/Brian Eno – Ambient 2: The Plateaux Of Mirror (1980, synth, keyboards, treatments, instrumentation, producer) – With Budd falling into a Fripp-like role, this was pretty improvisatory, with Eno paring it down into spare, smooth results.

Laraaji – Ambient 3: Day of Radiance (1980, producer) – Edward Larry Gordon (Laraaji) was a street busker Eno discovered. He specializes in gamelan-like electric zither and hammered dulcimer. Eno’s production was pretty hands off on this. It’s the last thing he recorded in the 70s.

It's not actually my complete fav (tho it's not far off, as everyone's said far too many wonderful things on this list) but I'm glad I gave the first PCO record a vote.

I simply intended people to vote for their favorite album. It's hard to judge the relative quality of Eno's contributions unless you were actually there and saw/heard exactly what he did. So even if I presented more focused/nitpicking criteria, people would just use their own criteria anyway, which is fine. I didn't mean to cause any stress!

You didn't — I just couldn't figure out what we were actually judging.

On any given day I'd vote for either After The Heat, Diamond Head, Fear Of Music, Low or Evening Star.

I love those records as well, particularly After the Heat (which has def. gone from "nice side-project" to "important Eno catalogue piece" in recent years). But myself, if we're talking about records I just love, I'd have probably included Fear and either "Heroes" or Lodger.

Whoever said 801 Live isn't that good has rocks in their head.

Thanks very much for this poll, Fastnbulbous.

801 Fucking Live. Goddamnit. That is just 5 times better than any kind of great early 80's new wave I can think to throw at it. I've just bought the CD of Diamond Head cause I couldn't find it at a decent bitrate.

I'd like to hear Matching Mole, too, though. And whatever the hell that studio 801 thing is "Listen Now". Sigh. But I can't take it all in at once.

801 Live, folks. That's where it stands right now for me. I want to know how in the hell even fucking Peter Gabriel is better than that. No way.

Do you not feel that Syd Barrett's plants are growing through the cement of "RongWrong"?

Also I'll have to check out his collaborations with Cluster again - I never really dug that stuff before. Maybe I should try After The Heat again.

Okay, okay, wait a minute now:
"and the Giorgio Moroder-produced Diana Ross single, 'I Feel Love.'"

What in the fucking hell are they talking about? It was Donna Summer dummies! Not Diana Ross! Good lord!

I'm sure the book has it right. It was just a brainfart -- I broke my ankle and was fuzzy on meds if that's any excuse.

Nah, that's a good enough excuse, of course it is. Please ignore my drunk ass. I'm sorry.

Donut told me not to post too many posts on ILM at once, so I'm going to remain calm, here. But After The Heat is just too much.

"The Belldog" with the synths, and his voice! Oh my god, when Eno sings, it's like everything in the whole world is right with me.

Oh wow, I finally found this thread again.

I only came back here to say that this Matching Mole LP from 1972 is really cool. Robert Wyatt & Brian Eno. Can't go too wrong with those two, right? ..."Gloria Gloom" especially. Also it goes right along with this other album I'm really into right now by Genesis "Selling England By The Pound". This is some great British early 70's stuff, here. Add Black Sabbath and stir.

Oh yeah, those early Genesis albums were supposed to be reissued this year. There's some expensive imports with bonus DVDs, but I can't find any U.S. release date.

I'm finally picking up the No Pussyfooting and Evening Star reissues tonight. It's weird, I thought Evening Star was the one most people liked more. Guess I was wrong.

they come out the first couple weeks of november.

I still think 801 Live is one of the best musical acheivements on this entire planet, I'm sorry.

This is a hard poll. I love eno so much. I never banged him. Bowie/eno sounds good when you are on an airplane IN a window se555

y

Hahha. I was thinking about Bowie earlier tonight. I heard "Rebel Rebel" when I was shopping at a health food store. It's a classic riff, to be sure.

Yes I've fallen in love with Eno again. I do this about every oh I dunno 6-8 months or so. Then I decide he's not QUITE as wonderful as I've made him out to be. And then out of the blue 6-8 months later it begins again. The cycle repeats itself.

I've got early Roxy Music videos on VHS too! :)

Also I realized tonight that I could hum some early Bowie song that I couldn't even identify. That was irritating. I'll have to think about it to remember it now, though.

http://tbn2.google.com/images?q=tbn:ixui0GpW9ee3eM:http://starling.rinet.ru/music/sleeves/zap_eno.jpg

http://tbn2.google.com/images?q=tbn:ixui0GpW9ee3eM:http://starling.rinet.ru/music/sleeves/zap_eno.jpg

stumbled upon Air Structures through that stephen o'malley mixtape. it's some awesome stuff this, really raw and heavy, seems kinda unlike the eno i know at least. how it wasn't an option in this i'll never understand.

^otm! i like it much more than NP or ES.

i should listen to this again -- is it the one with the annoying French announcer telling people not to smoke? (my French is not good, he might not be saying that)

that's the one. he sure tries his best to ruin it but i'm not gonna let him.

Whoa seriously Tracks & Traces got zero votes? Wow.

i still haven't heard Tracks and Traces! I need to, though. There's actually plenty of stuff on this list that I haven't heard ...

Just saw it used at Amoeba in LA yesterday... (I bought Deluxe instead).

Get the reissued T&T tyler, it's fantastic - three extra tracks compared to the flawed original issue that work great as opening and closing tracks.
I'm just about to finish "On Some Faraway Beach" (the biog) and there's so much I haven't heard and look forward to tracking down. Almost all of the music is great to listen to while reading, too.

http://www.factmag.com/2010/01/11/bbcs-brian-eno-documentary-premieres-this-month/

hoping for online availability shortly after airing...

I only just discovered the "801 Live" album and it does, indeed, utterly rule. Played it LOUD today to much approval from the young'uns. The band really lights up Eno's material, it's a pity it's only 12 songs!

yeah i love that one too - i guess eno himself wasn't nuts about it? whatever, it's a great band. wonder if there are bootlegs of full shows?

Harold Budd's "The Pavilion of Dreams" is a beautiful and underrated/underdiscussed record... Cluster & Eno is near the very top of this list for me as well. But talk about almost comically difficult choices.

anyone heard of this? anyone heard of this thing? http://www.amazon.com/June-1st-1974-Supergroup-Seventies/dp/148957283X/
On June 1st 1974, the Rainbow Theatre in London hosted the first ever performance by what was (at least by those folk who’d heard of the artists) described as the greatest supergroup of the era. In the frontline: Kevin Ayers, the Soft Machine co-founder who had been winding an ever more idiosyncratic solo career through the first half of the 1970s (and would continue to do so thereafter). John Cale, likewise, via the Velvet Underground. Brian Eno, one of the focal points of the original Roxy Music, now stepping out alone with his first solo record. Nico—another former Velvet, ex-model, actress and Warhol superstar. In the backing band: Mike Oldfield, a recent Ayers sideman, barely out of his teens and already renowned as creator of the premier rock leviathan of the past twelve months, Tubular Bells Robert Wyatt, another Ayers bandmate (via Soft Machine and solo), no mean drummer and now a distinctive singer making his first live appearance since the accident that rendered him wheelchair-bound. PLUS John “Rabbit” Bundrick Ollie Halsall Archie Legget Eddie Sparrow Liza Strike Doreen Chanter Irene Chanter And on the fringes, at the show or elsewhere, but looking on regardless, an extended circle of friends and family, acquaintances and strangers that encompasses some of the most vital musical and artistic talents of that (or any other) age... Daevid Allen, Gavin Bryars, Tom Newman, Soft Machine, Bridget St John, Annea Lockwood, Fred Frith, Bill MacCormick, Henry Cow, the Velvet Underground, Gong, Lady June, Phil Manzanera, Hugh Hopper, Lindsay Cooper, Francis Monkman, Robert Fripp, Steve York, Tim Blake, Steve Hillage, Lol Coxhill, David Bedford, Gary Windo, Dave MacRae, Quiet Sun, Matching Mole, Roxy Music, Eno's Obscure Records and the International Carnival of Experimental Sound... and a cast of thousands. A day-by-day guide to a generation's worth of classic albums, legendary concerts, mythic festivals and astonishing events, from Phun City to Hyde Park, from the Roundhouse to Reading, from the Belgian Woodstock to the Exploding Plastic Inevitable; and packed with exclusive interviews and material, "June 1st 1974" is the story of one magical evening, and - for the decade on either side of it - the careers that made it possible.

a book on just one concert? and additionally a concert which sounded better on paper than on record? just for die-hard fans i'd guess.

guessing it's using the concert as more of a flashpoint for 70s glam/art rock... but yeah, i agree that this concert is always a little underwhelming when i listen to it.

http://www.ptank.com/wordpress/wp-content/uploads/2013/06/1015619_4977057027434_183941269_o-405x540.jpg

http://24.media.tumblr.com/tumblr_m6lp7tgN4e1ryxpgto1_1280.jpg

http://24.media.tumblr.com/tumblr_m1gl3toHAq1r313cko1_500.jpg

http://brian-eno-with-cats.tumblr.com/

"taking tabby mountain by flavor", wow

Maybe someone better than I can find a full cache of this?

Anatomy of a ad hoax: that Brian Eno Purina cat ad? A joke, mate.
From
June 25, 2013 - 12:56am
"About seven or eight years ago" this post by RJ White begins " I made this fake ad, exhorting parents to give soda to their babies. It was done on a bored afternoon when J.D. Ryznar asked for someone to make that very specific thing on his livejournal. I whipped it together, posted it to the web, joke over." read more

Anatomy of a ad hoax: that Brian Eno Purina cat ad? A joke, mate. http://ewallstreeter.com/anatomy-of-a-ad-hoax-that-brian-eno-purina-cat-ad-a-joke-mate-5555/##ixzz2YICn0KKL

I didn't want to spoil anybody's fun about it

haha, okay.

I will continue to dream of an alternate universe where that ad is real.