David Byrne & Brian Eno in San Francisco
I almost ran over Brian Eno!
Brian Eno just left my office...
~ Zoom in ~
I almost ran over Brian Eno!
Brian Eno just left my office...
From Roxy to THE Drop . . .
The memories are flowing out of me like a gurgling stream of unstoppable cognizance! Immersed in the torrent of thought these memories evoke, the past is unmasked with a sentient prowess!
There remains a timelessness about Eno and Ferry's Roxy Music -- miraculous Mellotron, unconscionable monkey fur, glitter, make-up and all.
An original Roxy Music button given me by Brian Eno still glows hot pink, the "Roxy Music" logo vibrating in distinctive purple script. Currently, it sits atop my old Power Mac, reminding me of yet another era, passed.
Wide-eyed, nubile and naive was I, that year. (I really liked Roxy, but went mostly to learn about sound and lights from sound and light technicians there.)
Roxy's performances were truly amazing, enhanced not solely by rare energy and image, but also by their unmistakable courage to be truly 'out there.'
Saturated in a style uniquely their own, Roxy created a certain, esoteric ambiance I have not seen since! There was, remarkably, a peculiar sense of spirituality about them, too. This, despite any glitter and pomp. Formidable eccentricities were affirmed by Brian Eno's wild, trilling electronics, Phil Manzanara's introspective, innovative guitaring, Andy Mackay's eerie oboe solos, and Bryan Ferry's amazing lyrical imagery.
Instantly, I fell in love with Ferry's voice, Phil's unique guitar style, Andy's musicianship, and Eno's stance as a theatrical, NON-musician/art performer. My recollection of the drummer and bassist is vague -- a handsome, yet anonymous rhythm section, setting an always effective groove.
(Roxy was to pop into my future, many times thereafter. The Avalon tour being the last jaunt, which I happened to photograph, well beyond the time Mr. Electronics fled the Roxy Music scene!)
Brian Eno began calling me Darling, whenever he saw me about -- in the club, between sets. It was hardly surprising that my girlfriend Genowefa and I were invited to the Roxy Music party, back at their hotel . . .
Decidedly, we found Eno infatuated with metaphysics and the paranormal (?)! He HAD to show us the rare books on magic and the occult, bulging out of his suitcases! He also took great pride in showing us a rather bizarre, seminude photo of himself, also rather bulgy. This embarrassed us, as we were not the groupies they probably expected that night. Amusing too . . . Andy MacKay presented himself naked, charmingly trying to solicit a massage from various ladies in the room.
(Eno and Andy were obviously, generously uninhibited.)
As is usually the case, Bryan Ferry did not hang about with the rest of the troupe. He slinked off to his own private suite, glamorously clad femme fatale in tow.
When the party began showing signs of unyielding decay, we left. Eno walked us out, hailing a cab for me. As I gazed out the taxi window, I saw him tottering at the heels of Genowefa, who - enhanced by platform shoes - was well over six feet tall.
Soon thereafter, Genowefa received a letter from Eno, whilst he was still on tour. (I think she was actually intimidated by him.) She had a dream about the letter arriving in a red envelope. We called it 'The Red Letter Dream.' (Perhaps I will write and title a song after it, in encomium.)
Those were strange, yet wonderful days!
Subsequent contact *I* had with Eno relates directly to my friends, The Urban Verbs. Frequenting the usual venues for The Verbs and new music, I was trying to expand an interview library for my college radio show, 'Revolt Into Style,' at Georgetown University.
Being knocked out by one of The Verbs' early performances at CBGB, Brian Eno wound up producing a couple of songs for them, on which he decided to sing. Albeit I played the tape on the radio, these sessions were never commercially released. (While speaking with Eno in passing, there was no memorable verbal exchange. Recounting the moment, there were no humorous anecdotes, no memorable quotes. Unlucky for me, there was no Brian Eno interview.)
The Urban Verbs, "the great, lost band," avowed rare talent, never fully recognized! As Trouser Press printed in their Rock Encyclopedia, The Urban Verbs were "fascinating and tragically overlooked!" They recorded two albums for Warner, the first produced by Mike Thorne, the second by Steve Lillywhite. Albeit Mike and Steve are solid producers, I always felt Brian Eno should've produced The Verbs. Perhaps musical history would have changed for the better, had he done so. Realistically speaking, however, Eno hadn't reached the level of expertise Mike or Steve had by that point, anyway.
Over the years, I began to notably favor Bryan Ferry - especially during the 'Stranded,' 'Country Life' and 'Siren' periods.
It pleased me greatly when Ferry collaborated production and renewed friendship with Eno, over Ferry's 1990s work - 'MAMOUNA.'
Der Diva . . . (Xyra)
Influenced heavily by Roxy, NICO and Cale, I have developed my own music, with a Cabaret Rock band called Xyra & Verborgen. Among venues we have played are Blues Alley and The State Theater, besides being reviewed by The Washington Post and National Public Radio.
The current lineup consists of:
Xyra (me), on Vocals
Andrew Cann - Pianos and MIDIs
Eric Ulreich - Electric and classical guitars
Fred Lieder - Acoustic & electric cellos
Norm Thorne - Drums & percussion
Larry Lawrence - Bass guitars
Don Stapleson - Clarinet, flute, saxophone
Our three releases:
'Where Glass Birds Fly' (1998), *'Shadows of Light' (1999), and *'FRIGHTENING BEAUTY' (2000) are available at most record outlets, via the US Valley database, and online at CD NOW, Amazon.com, IUMA, The Orchard and from our own website. (Cover songs by NICO and Roxy music appear on the two most recent titles. Bryan Ferry expressed a personal liking for our cover of *'While My Heart is Still Beating.)
(My second band, THE LINE, inspired by a NICO song with the same title, has been under development for about four months. It is more akin to The Velvet Underground, with Goth, Pop and Psychedelic undercurrents.)
Eno appears on NICO's album, 'THE END,' along with John Cale and Phil Manzanera.
In closing . . .
True: Brian Eno has combined forces with some of the most enthralling talents of our time. Through these associations, and in his own right, Eno has left an indelible imprint of style and intellect on contemporary music, ART and academia which certainly should endure!
We wish him continued success, good health and happiness -- however he wishes to define HIS HAPPINESS!
BEST to Brian Eno, Bryan Ferry, and fans!
Warm regards - Xyra . . . email@example.com
Xyra & Verborgen's Official Website - http://www.angelfire.com/va/XyraAndVerborgen
A friend had lent me a copy of Disrete Music in 1987. It spun on the turntable and moaned along in a dreary sort of way. Sort of like discount clouds at a dream emporium. I dont remember falling asleep. I do remember very clearly flying over Lake Pillsburry with no clothes on and breathing really clean air. I looked down at the motor boats turning tight circles about 200 feet below. From the water rose a steel braded cable and at the top was a giant white rubbery balloon. I hit the ballon with my body and tumbled on end over end as the boats spun on the lake. I landed at the far shore where the water had turned terqoise blue. There were florescent pastel ballons in pinks, reds, oranges with ribbon like the kind on christmas presents. There were people walking around, all at ease with themselves on a simple layout of docks and piers made of soft sunbleached lumber. Any person who dose that for you is a good person. Eno GOOD.
I was working at Skyline Studios, in 1994 (?) in NYC
when I was told that Brian would be working on the new Laurie Anderson album,
"Bright Red". He came in and was very nice and down to earth.
I never thought that I would meet the man but there he was a few feet away from me.
I asked for permission from the studio owners to get Brian and Laurie's autographs
and when I got permission I brought in all the Eno Vinyl I could find, including the first four Ambient albums, and Laurie's stuff as well.
They were both so nice that I invited them to have dinner in Weehawken, NJ.
They politely declined, probably due to the fact that I was presently a gushing fan boy.
I remebred reading an interview in Trouser Press (I know I'm dating myself) wit5h Brian and David Byrne about how they'd tear off the filters
of their cigarettes (It was true, the story not the cigarettes).
Brian gave me quite a surprise when I was making photocopies and he appeared out of nowhere,
and stood right next to me. I didn't hear the door open , so I assume he just materialized out of thin air.
He seems to be on a higher plane than the rest of us, but so humble, he'd probably deny it.
I think he is one of the most important figures of the twentieth century. No one else has pointed me in different directions and philosophies,
such as John Cage, Steve Reich, etc.
Thank You Brian Eno!
PS- Support War Child!
This was wierd... I was working in York, England,
and had to stay at the kind of hotel used by business
people and sales reps. Standardised decor, menu,
staff - you know the kind of place. Sitting eating
dinner, I suddenly realised I was hearing "Here He
Comes" from "Before And After Science" on the background
music, which had previously been playing remixes of
Burt Bacharach, Simon and Garfunkel and the like.
After this, it went back to the usual muzak. Seemed
The first time I saw ENO live , was at the Kevin Ayers concert at the Rainbow in London in about 74 . I looked at him and thought 'what a ponce!' ...... but just look at him now
I have been following Brian Eno's career since I was in High School,Back in the 70's.
I think the first song I ever heard by him was"Babies on Fire".and then I was hooked.
Some of my favorite tune's being from the album Here come the warm jet's.
I have been trying to contact Brian Eno for some time. I played guitar with the original roxy music group in england. Brian got me into the original group and use to process my guitar with his putney vc3 synth.
He lived around the corner from Jilly's a beefburger resturant on Kilburn highstreet London. I ran the rest.and use to pratice guitar behind the counter,he use to come in and we became friends and he asked me to come with him to Brian Ferry's and join the group. We became friends and being a good guitarist he asked me to join his group in 1971. If anyone can contact Brian please give him my E-mail address
thanks in advance Spencer M.
A few months ago, I had the strangest dream..I saw Brian Eno in the stands at some event..and, knowing his anti-fan mentality, didn't want to infringe upon his privacy, and go up to him.
Strange thing is, he ended up sitting upon my shoulders, as I tried to keep my balance!
Dr. Freud, what could THIS mean?!
The first ENO album that I bought (stole,for that matter)
was MUSIC FOR FILMS. I had heard of Eno before that because I am also a Talking Heads fan. One day I was in the mall and I was looking through the discount tapes.
I went home that day with a copy of ANOTHER GREEN WORLD. I bought it for $3.17.
When I was 17 I would rush home from school, grab a
snack, and head up to my room where I would lie on
my back and listen to Evening Star. At times I would
be so "in" the music that I would cry out of joy.
On one particular occasion, in a deep midst of creative
thought, suspended by the music, I traveled in my mind
to unimaginal worlds that could only be felt and not described. The complexity of the music was of a sort
palette for me to draw upon and color in these fantastic
worlds. All the while my center was still in my body
a very loose attachment. This focus I kept was in a
lightening speed crypto mode. My awareness was very
high. It all seemed to be building to a climax as I traveled through my imagination. I could feel energy
bubbleing in my stomach, about to boil over. Then it
happened, I felt an energetic surge shoot up from the
bottom of my spine to the top of my head which threw
me into a state that can only be defined as pure
creation. The fine line between somethingness and
nothingness. Well anyway, Eno rocks.
Ever since I first heard the "Tiger Mountain" album in the '70s, I have had this uncanny habit
of just happening to find myself looking at a clock at exactly 8:01 (twice a day (if I'm up by then)).
I had a dream that brian eno was producing my friends album-
eno did not want to be recognized so he grew a beard and at night after the recording sessions, he stayed in a mobile home park.
The promo's off to Russia for approval...CDs in the office waiting to be sent to Press and whomever...:whew!:
I certainly hope Brian's happy with it. Personally, I think it looks "dead brill"...
Update: Now it's THE Drop. More changes to come, no doubt...
Me again...the most recent faxes from the Eno office...
Tuesday, the album was called HUP!, Wednesday, it changed to NEO, Thursday, it changed to DROP. Well, it's Friday...wonder what it will be today? Grrrrrrrr....
I am an Art Director/Designer and I am
currently working on a promo piece
for the Brian Eno upcoming album "Swanky"
...no, scratch that, Brian's changed it
to "Today on Earth" (I like that much
better)...hang on, just got a fax,
now it's "This is Hup!" (exclamation
point included...) Hmmm...this is
beginning to work my last nerve!
I'm thinking, just who the hell IS this Eno
guy anyway??? Well, the photos came from
England yesterday, quite the striking man,
I must admit. Looks like I'm going to
have to do some research...
Search engines nearly overheating,
this Eno has been a busy fellow!
Perhaps I have been living under a rock,
but from what I've so recently heard and
seen, I do believe I am fast becoming a
new fan. I just hope the promo piece I
have to do for this new release
(whatever he's decided to call it today)
will live up to the reputation :::ahem:::
"Beano" (?) has built for himself.
I feel like a stranger in a strange land,
but not an unwelcome one.
Sort of like "Yes, we're going to teach you
to swim, but first, you have to jump in
the deep end and save these drowning people,
okay by you?"
Looks like I've got my work cut out for me.
Ah...such a deep sigh for one so young.
Wish me luck. I've got a little over a week
In 1980 I shot a short 16mm film of jets landing at the local airport. I shot the film using time-lapse and slow motion, centering the action around a number of directional light towers that spanned across a river to the runway. I kept the horizon out of the frame which gave the images a surrealist, etherial feel. My original intention was to produce a silent film but my brother had a collaboration album by Eno (and two germans) called AFTER THE HEAT, which had a track called "Oil" that seemed to be a perfect match for the images I had shot. So I edited the film to the music and the resulting film turned out quite well. I contacted the music publisher to acquire permission for the music use and was told to send them a copy of the finished film so Brian Eno could see it. I did so and was surprised, some weeks later, to receive a personal note from Brian Eno himself, telling me how much he liked the film, and how it reminded him of some of his own work. I was given permission to use the music, and the film went on to do quite well in the festival circuit, won a number of awards, and was even chosen to play at the 1982 Los Angeles Film Exposition (FILMEX). But the best part of the whole experience was hearing from Brian Eno.
Once while doing some work for me
elderly Mom at her home I asked her if
I could play some music. Sure, she said.
But I felt if was only fair to caution
her that my selection was "Taking Tiger
Mt. by Strategy" which I described as
She still had no objection and after the
work and the album had finished, I asked
her what she thought of the music. "Oh"
she said - "It was fine; some of the
songs were polkas". No, Mom I said,
this is very progressive, cutting-edge
Well, after another listen with Mom's
comment in mind, I had to agree - I was
definitely listening to new wave polka.
(Thanks Mom - & Brian)
This is a brief Eno story, with a longer Eno-related story to go with it.
A few years ago, in 1990, I had the fortune to go and see Eno speak at a local art gallery. He was very charming, and as usual, he was hysterically funny and self-deprecating. Afterwards, he signed autographs, of which I had him sign my "Apollo" CD cover.
A couple of years later, Harold Budd was in town for a concert (at the same gallery) and my friend and I noticed a sign as we entered "Meet Harold Budd" after the performance, complete with directions to the house. My friend and I debated and quickly decided, "Why the hell not?"
After the concert, we drove over to this house and found ourselves in a Buddhist commune of sorts sitting with Harold Budd and having dinner. He was very pleasant and regaled us with tales of his own music, but about the recording of "Plateaux of Mirror" and "The Pearl" and said that he would most likely not work
with Eno again in that context. He said by the time "The Pearl" was finished, they were sort of sick of each other, and, he felt, they had exhausted
the musical possibilities between them. I sensed he was becoming slightly annoyed
at the continual Eno questions, so we moved to other topics, most of which I can no
longer remember. He also signed my copy of "The Pearl" despite the fact it is not one of his
favorite recordings. My friend and I were so pumped up after spending at least 2-3 hours with him, we had
to go down a few beers before going home. Should have invited Harold to come with us......
I first heard Eno when I was 16, in 1975. I didn't realize Eno had an international following, I thought of him as my little artist. I was living in a small town, coincidentaly called Woodbridge Va. I knocked off a letter to Eno, telling him how much I liked his work, and was there more? To my suprise Eno wrote me back a very kind letter listing his discography, and saying thanks for the support. Over the years I turned on everyone I knew to Eno and developed a band of really die hard Eno fans. One night I had an Eno influenced party of music and mescaline, I framed and hung my Eno letter on the wall, and grand madness ensued. The next day, spent and dizzy I realized one of my fellow party goers had walked off with my Eno letter. To this day (nearly twenty years later) no one has lived up to this dastardly deed.
ps - he was recording "The Pearl" w/Harold Budd
back in 1984?, I was in Hamilton, Ont., visiting my mother for a week, and painting a few rooms in her house. one day, while poking around downtown of the old hometown, I wandered by Dan Lanois' Grant Ave. Studio. standing at the front door, about to knock, I hear 2 distinctly BE electric piano notes. I knock, and Bob Lanois greeted me. I asked if there was a possibility of getting a tour. he said "no, that a client was working there who wished privacy", motioning to the masked studio windows, just to the left of the front door. I asked if this client was Eno, and he said yes. later, after writing a card asking Eno if I could meet him during a break, and photograph him, I got a call saying to come on down and do so. I did, and thought I'd use my new-ish 6x4.5 camera. we met, made 2 photographs, and I left quite happy. this didn't last long - when I got home, I realized that the camera had been on multiple exposure, so the images of Brian were overlapped with about 10 assorted photos of people and places around Hamilton. I called the studio back, explaining my error, but they were too busy for a return visit. oh well, at least I got a dead fish handshake with the domed genius. cheers, rpm.
Having been fan of eno for many years and as yet have not managed to see any of his installations/gigs, etc imagine my surprise when in my music paper i spy an ad for an ENO concert,as i was inwork at the time and the concert was later that night i phoned up the receptionist imformed me that the was tickts still available to see "eno" and that i should just turn up. so i go to my boss and explain my admiration for his work and life etc and a bit of grovelling later he gives me the time off . off i rush getting the train to london then onto guilford only to arrive 15 mins late . ibought my icket and sat own in this theatre,and i notice that eveyone is in tuxs'and ball gowns and i think "well h does have a big following amongst the upper classes so here i am .any way the concert consists of a oung lady singing modern opera about a "small green space" , and iam sitting there thinking well he's certainly getting diverse now and generally trying to enjoy this new direction of his well the interval comes and i go for a drink (aongst the gowns and suits whilst i was in my work clothes ) and as eno is not performing i guess he must be behind the scenes,so off i go to the stge door to ask if i can see him (just to ;et him know im a fan!) and when no has heard of him i get suspiciouce!! go back in to the "gig" buy a programme as a souvenier then as im reading this isee eno plainly on the front cover English National Opera so thats' it what a bummer, howeverbecause i left early i just managedto catch my conncting trains and got home so everyone could ridicule me for many weeks afterwards
Brian Eno about the Mostar Music Centre (to be named the 'Pavarotti Music Centre'.
The Mostar Music Centre will probably be the first significant piece of new building since the war began. As such it symbolises a hope on everyoneís part - that life will go on. But building in a situation as unstable as this, demands improvisational skills not normally associated with large architectural projects. And this feeling of improvisation will certainly continue through into the lifetime of the building, for the truth is that we donít know exactly what we are making.
We know at least that it will be a hybrid of several functions - part therapy, music school, youth club, recording studio, community centre - but we canít predict what balance will be struck between them. In fact, as life hopefully returns to something like normal, we would expect this balance to be constantly changing. so the special design problem here is to make a place that offers real, useful, social and technical facilities, but which can adapt almost instantly to new tasks.
Read more about the Eno and the Music Centre at: http://www.warchild.org/projects/centre/eno_mc.html
Brian Eno is telling everybody in the world that Koan Pro is the ultimate program for computer-based music composition. I've made a very similar program now for the University of Bristol, England, and the University of Hannover, Germany. The program is called "MIDI Music Station". It doesn't have the easy-to-use windows like Koan, but it has more rules than Brian Eno's program. The Koan Pro composes music by combining these rules to get the value for the next note. The more rules you have the bettter the music can sound. Koan Pro just plays voices with one note at the time. The program I coded in the project work uses polyphonic voices and even chord voices which are generated with their own rules. I'll try to send a copy of my thesis to him. Maybe he will understand that he hasn't understood erverything of the subject yet. I've read in many magazins of him talking about music composition. Sometimes it wasn't really true.
Christian Ismer (21, Hannover, Germany)
(Contact me for more information)
I've just read the interview from PC format:
Before and after science and really got disapointed
by eno's vision of computering in general.
He own's a very short minded and a self introspective
way by being so absolute about how computer should be.
To me the worst thing to be is absolute because you
forget all other important things that stand beside.
Brian Eno may use computer in an artistic way while
another 1 billion peoples will make a very different
use of it. Eno said;"...screensavers are most
interesting things yet that anyone has done with
computers". HUH? You may now think i am a frustrated
computer worker or desinger, but im actually an artist
with the same organic taste for art, but with a wider
concience of other's needs. Don't think I hate Brian
Eno cause i can hardly spend a day without his music.
Maybe he should just build his own computer.
speaking of dreams i had a very strong dream in regards to eno the other night.we were both going to a strip show ;brian was an old man with a long white beard and he was limping quite badly on his right leg.we went in to see the show but i got very disinterested and left.what does it all mean;what would jung have made of it.admittedly i have been reading his diary and listening to his music for the last 20 years so eno is at the forefront of my so called (un)consciousness.
I was watching professional ice skating
on television one day and saw a nearly
bald headed gentleman that from a distance
looked very much like Beano himself! I
thought how incredibly funny the idea was
him swooshing and swooping and spinning
(away) on the ice. Too incredibly kinetic
for him I think.
THE RESULTS OF THE ENO QUIZ:
The Eno fans who are fanatical enough to even *attempt* to take my Eno quiz seem to overwhelmingly believe that Brian Eno slept with David Bowie!
More people who have reported their findings to me think that Eno slept with Bowie than think Eno smokes (which, apparently, he does.)
I don't know if anyone's ever just come straight out and asked His Emminence whether or not he and the lissome David have ever, shall we say, "done the deed", but for some reason people think he did.
Will the real "sex god" please stand up and set these people straight?
If you wish to offer your opinions on the subject,the quiz can be found at
Make your voice heard!
I've just finished reading Eno's recently published diary "A Year etc.". In it Eno tells us about an Eritrean cab driver who tells him that in Eritrea alcohol is called "Liar's Tears". Eno misunderstood this cab driver. In Eritrea alcohol is called "Lion's Tears"
(A useless fun fact, I know)
Charming book by the way.
"ALIENS STOLE MY HAIR":Many Eno secrets revealed!
People attending last weekend's Imagination Convergence, at the Bill Graham Auditorium in San Francisco, were shocked and amused when Brian Eno finally admitted what happened to his hair.
"This," he said, indicating an overhead projection screen that displayed many hovering black ovals, "is the alien fleet which kidnapped me in the 70's, and stole all my hair."
Amid the gasps and exhortations of the spellbound audience, His Emminence went so far as to point out the mothership -- certainly the very one which swept him up and in\mbued him with musical genius!
A fair trade? Let the public decide....
(Actually he later revealed that the black ovals were a diagram of _Music For Airports_ track "1/2")
As a strange substitute for having missed any opportunity to see Eno perform music live, I attended a sort of live interview with him at UCLA, conducted by Mark Frost, the producer of "Twin Peaks." Eno chatted and played some bits of what was to be the "Wrong Way Up" album. At one point he excused himself to visit the restroom. He was wearing a wireless microphone, and to everyone's horror and amusement, we were all subject to various liquid sounds through the house PA system. Eno returned, apparently unaware of his faux paux. To this day I don't know if he did it intentionally or not.
I've never met Brian Eno, but I dreamed about him once.