After Roxy Music, Brian Eno created four wildly experimental solo albums of synthesiser-infused glam rock. Eno Masterworks: 1974-1977, covers the best 20 tracks from those early rock-vocal albums.
Tom Phillips’ 1972 oil on canvas, titled “After Raphael,” prominently features a detail that was chosen for the front cover of Brian Eno’s 1975 masterpiece, Another Green World.
Going through a Eno phase which made me reconnect with The Talking Heads stuff which I’m glad that I’m listening to their discography and apparently Eno and David did a side project together in between Fear of Music and Remain in the Light which was this album!
I’ll have to give it a relisten but this is a good album start to finish and I really like what Eno and David came up with on My Life in the Bush of Ghosts musically and sonically especially it sounds like what Eno was already doing with Talking Heads:) plus a reissue with bonus tracks so I’ll definitely have to get that in my collection:)
So what’s the opinions on My Life in the Bush of Ghosts?
Sometimes I have Eno dreams.
Here he comes just like circulates over and over.
Synopsis:
Released in December 1977, Brian Eno’s fifth solo studio album, Before and After Science, stands as a high-water mark of art-pop, avant-rock, and electronic experimentation. It serves as a literal bridge between two distinct eras of Brian Eno’s career. It is widely celebrated as his final traditional "rock" album as a solo performer before he pivoted completely into foundational ambient works like Ambient 1: Music for Airports. The album’s sequencing maps out this transition, splitting its runtime into two distinct halves:
The recording process was notoriously grueling—Eno accumulated over a hundred partial tracks over a two-year span before ruthlessly distilling them down to ten perfect pieces. He was joined by an incredible cross-pollination of British and German underground talent, including members of Can, Cluster, Roxy Music, and Soft Machine.
The Review:
“No One Receiving" is highlighted by Phil Collins industrial drumming and a thumping bassline. It tries to establish a futuristic vibe. Eno’s vocals feel like they are wavering through a sea of tense synth melodies. “Back Water” feels like an electronica cover of a classic blues track. Backed by a bouncy piano riff. “Kurt’s Rejoinder” was inspired by German composer Kurt Weill; it features sparse percussion and art rock fueled synths. It gives the track a krautrock/Kraftwerk vibe. “Energy Fuels The Magazine” is a brief instrumental that has this spaced out jazz melody and it is highlighted by Percy Jones light bassline. “King’s Lead Hat” changes pace with its frantic heavy new wave tinged groove. The second half begins with “Here He Comes” . It could blueprint to dream pop with its warm radiant grooves. “Julie With” is the first hint of ambient on the album. It is a cool lush track. “By This River” Co-written with ambient pioneers Hans-Joachim Roedelius and Dieter Moebius (of Cluster), this is another sparse ambient track with a nice light piano melody. “Through The Hollow Lands (For Harold Budd) Dedicated to minimalist composer Harold Budd, this is a delicate, instrumental track . Arranged with guitarist Fred Frith. The album closes with “Spider And I” feels like it's weightless with its chilled out synths and ambient melodies. Eno vocals sound so light and crisp. It gives me Bowie Space Oddity vibes. It is a perfect way to end the album and give us a glimpse of a new era in Eno’s musical journey.
Final Thoughts:
This is just a great gateway album that features Brian Eno’s Strength as a musician. His cool as ice rock grooves and the genius of ambient music. If you are looking to get into his music this would be a great starting point.
This photo made me think of this, and the pun was suggested by a friend. Spent about 40 minutes on this sketch so it’s messy