1. Describe Brian Eno’s influences.

Eno grew up around two large US Air Bases within five miles of an English countryside called Woodridge.

It wasn’t the indigenous folk or popular traditions of the area that influenced his music style.

Local cafés had jukeboxes well-stocked with contemporary American pop music.

Eno’s sister would go to the PX stores and bring back records that were never heard in England or on the radio It was similar to that of the early Beatles’ Liverpool, when sailors returned with the latest music. (Tamm, 1989, p. 11)

American records. Eno stated, “English music as being boring at that era of time.” His imagination was shocked by the rhythm and blues and rock ‘n’ roll of the early times. So much that he would play certain records constantly on his parents’ record player. He was exposed to big-band jazz too. (Tamm, 1989, p. 11)

2. Compare and contrast any two of Eno’s projects that are listed in this Google doc

– Ambient 4: On Land (1982) by Brian Eno

– Apollo (1983) by Brian Eno with Daniel Lanois (Acadian collaborator) and Roger Eno (Brother).

The release of On Land made Eno’s vision true of listening to the world in a musical way. In this album, he introduced natural nature sounds of animals such as frogs croaking, shifting sand, and stones rubbing.

The release of Apollo: Atmosphere and Soundtracks, was a shift from land to space.

Both works were ambient achievements which sparked an influence on spawning of soulless ’80s music genre New Age and several mood music record labels such as Windham Hill. A decade later these recordings would cause an impact on the blooming of the studio technology-driven electronica movement. Artists like Aphex Twins, Moby, and others would become involved. (Howard, 2004)

3. Discuss a minimum of two characteristics that set Brian Eno’s projects apart from

other recordings; e.g. visual and musical aesthetic, the pairing of art and pop music,

its influence on popular music, instrumentation and production qualities.

His followers are substantial with an audience age range from 12 to 60. His younger audience has found his progressive rock exciting while his ambient side has dropped off on their interest. This gives him the sense to create music on a line between seductive surface and meaningful content. He tries to make his music accordingly, by creating a balance for listeners to become seduced to a point where they began to search. If this is not accomplished, then he has failed. (Tamm, 1989, p. 44)

Eno’s final solo progressive album, Before and after Science, was two years in the making because of other projects he was involved in. He wanted to produce another rock innovation landmark. He was a perfectionist, not wanting to stop short of perfection even after multiple rejections. (Tamm, 1989, p. 91)

4. What impression does Brian Eno’s work have on you as a listener and as an industry professional?

Brian Eno’s work in the ambient sector catches my attention with the complexed sounds I hear. I can actually imagine nature when listening to his natural realistic nature music such as his album, On Land.

As an industry professional I see Brian Eno as a successful artist, producer and engineer. His list of albums and works says it all. The well-known artists he has worked with such as U2, Coldplay, and David Bowie is amazing and inspirational. His music is too of course.