Catch more episodes of Broken Record with Rick Rubin, Malcolm Gladwell, and Bruce Headlam here: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-LjHcHTJ8D5k.html
Also: I have a few thousand bits of unrecorded songs and pieces, of course. An album's worth of excellent songs, at least. An answer to Neil Young - This here, this now, is not nowhere (la la la la la la la).
The great part of these Rick Rubin interviews, is that he is on equal footing with his guests, and is always respectful and insightful. Great stoner laugh too.
Brian tends to expand the artists boundaries and constantly seek for new range of possibilities. While Rick tends to dive intrinsically to the artists soul. Digs the elements of their vision, intention, or culture, and arrange it precisely into remarkable works. Both potrays our mood's reflection through sound and noises. Both shape our pop culture. Both legend. 🙏🏼🙏🏼🙏🏼
Man is one of my biggest inspirations; to go from his perfect pop albums with Roxy and his first two solo albums and his more experimental next two albums (and further career) and seeing that ambient progression on songs like Here Comes the Warm Jets or Taking Tiger Mountain or Becalmed etc. etc. was so awesome. Truly a brilliant brilliant man.
I remember years ago after I bought Hero's by David Bowie. I bought Low as well. Reading interview by Bowie Mentioned ENO and his influence On Berlin Era. I bought Here Come the Warm Jets And Taking Tiger Mountain Another Green World Before after Science. Discreet Music and Music for Airports. Those Records really hit me. Even Today there still Timeless. I've Collected Eno records through the Years. His Last Record is Excellent. Treated his Vocals. That record is Amazing. Love him as an Artist. Especially his work with Robert Fripp. Still Today he presses Boundaries. Great interview with Rick Rubin. Another great producer.
"I was always drawn to this idea of doing as much as possible with as little as possible. I was never impressed by, you know, complicated time signatures and amazing brilliant playing and so on. It's sort of impressive, but for me there was not the same magic in there. You could see the trick being done." -Brian Eno
@@ronniesnakehissiii9413 Not sure how that applies here. The reference points for them and their careers are vastly different. When Eno came up in the 70's in England, prog rock was prevalent and that musicianship he's referring to was very much a thing. When Rubin came up in the 80's hip-hop movement and fusing rock elements with rap (and then later producing for rock bands), these elements weren't nearly as present.
Dieter Moebius' 1983 album with Gerd Beerbohm called Double Cut features music that sounds like club music being listened to from outside the venue through a thick brick wall.
For being the world’s renowned inventor and lead purveyor of essentially the greatest known, respected and heralded background music: Him sure gotta lotta words!
I love how Eno loves the sounds of vocals both pure and also treated. The voice is an instrument that people push in many ways, but seldom do people refer to it as an instrument. What I find interesting are not the perfect singers, but the willfully imperfect voices like Lou Reed or Moe Tucker or other less than perfect voices. This whole thing of pushing the voice athletically is less interesting than just a random voice with interesting lyrics. Bands like The Pastels with their idiosyncratic vocals were more interesting at times than “perfect “ singers, to me.
WOW! two weeks ago I was visiting the Louis Vuitton Foundation in Paris... throughout this beautiful building I got to experience an exhibit of the works of Hantai. It moved me in a very strange way. I kept asking myself, what would his art sound like? thank you Brian Eno for answering so many of those questions I had that day. Brilliant interview...
Feeling strangely elated that one of my musical hero's favourite album is mine as well (third Velvet Underground album).....no big thing really in the big scheme of things, but maybe just tapping into that feeling of shared community that culture creates.
Deep Blue Day is an old church song called "He Watching Over Israel" - I sang it in 1961 with the other kids in the school choir and at exactly that time the Beach Boys were practicing harmonies EXACTLY one mile East. Hawthorne, California, new space-age HQ.
I've always been a big fan of Eno and I love hearing him discuss various topics. It's interesting to hear about different innovations in music production, however, so much emphasis is put on how music is recorded, that the craft of creating a good piece of music is completely lost. Sure, there're all kind of ways to record music and develop original textures, but is the end product even good? That's what seems to be lacking in so much popular music. Anyone can learn technical aspects of production and even be innovative with arrangements, but the only truly good songwriters exist outside of the mainstream. If the song or piece of music is good, then I almost don't care if there was some unprecedented ingenuity behind its production.
That's what seems to be lacking in so much popular music. - you are not the audience for todays music maybe? dont look back at the past thinking it was better . take the charts there was a lways a large element of medicocre forgettable stuff in every era
and produced David Bowie , U2 , Coldplay ,Talking Heads , Harmonia , album with Harmonia , album with David Byrne have his own 5-6 solo albums ( Another green World )- This is younger giant talks with older one .
In his answer to the first question, Eno is describing granular synthesis and randomisation. I'm unsure whether he was involved in its development or if his experiments with MIDI were done separately.
"Take music, for instance. Less than anything else, it is connected to reality, or if connected at all, it’s done mechanically, not by way of ideas, just by a sheer sound, devoid of… any associations. And yet, music, as if by some miracle, gets through to our heart. What is it that resonates in us in response to noise brought to harmony, making it the source of the greatest delight which stuns us and brings us together?" - from Tarkovsky's Stalker
It's a strong association for me as well - the amazing collaborations between Bowie and Eno will be remembered long after modern pop has been long forgotten! But Eno has done so much more and merits our admiration and awe, independent of his work with Bowie
There's an interview in The Guardian (Brian Eno: ‘We’ve been in decline for 40 years - Trump is a chance to rethink') He talks about this, and even gets annoyed with the endless questions on his collaborations. He does apologize after a few standoffish statements. I have a feeling that if anyone understands how annoying it is to be asked over and over again about someone they've worked with, it's Rick Rubin. The statements below are quotes from the article. “I just don’t want to talk about history. All that shit! You can find all this in other interviews I’ve done. I’ve been 40 years talking about other people I’ve worked with. No, sorry. I’m just not interested.” “I’m sorry,” he says. “I’m very tired today because I didn’t sleep last night. And I knew I was going to be ratty, so I’m sorry about that. But I really don’t want to spend the rest of my life - I’m now 68, so I might have another 15 to 20 years left - talking about my history. So, given the little time I’ve got left on this planet, I would really love to focus on some of the new things I’m doing.”
It's usually just referred to as "Velvet Underground's self-titled album from 1969." It's the 3rd album Velvet Underground made (of 4 total). The only Velvet Underground album I'm not in love with is the 2nd one, called White Light/White Heat. The others are fantastic, and the debut is my favorite.
Brian , I know you feel the need to innovate and push but honestly your best work was you a few DX series & reverb & mixer desk. Without need to remap how many works we just need you to do with it is that you do bass which is incredibly calm, peaceful, relaxing music
It's a technological acronym: Musical Instrument Digital Interface. it's a system for electronic instruments to connect and interface with software and each other.
If you search for a classic title of music then put (Playing outside the club) after you'll get the genre Eno talks about that's hevily filtered with a low pass filter.
I once actually heard Music for Airports in an airport, while catching a red-eye at the Buffalo airport. Totally surreal to hear it while riding a people mover in the middle of the night in an nearly-empty airport. It was so cool.
Eno's a joy to listen to, simply because he's aware of his own place in musical history, and yet never fails to challenge himself. It's understandable there's elements of repetition in his work (I've written for licensing houses and music libraries and the sheer quantity produced means you do tend to repeat yourself here and there), as he's been going for nearly 50 years. But he embraces everything in the name of art, discovery and improvement. Fantastic stuff. Thank you for sharing
He's not aware, he's a grifter. He just recently called all struggling artists "little capitalist assholes" because he has a problem with other people making money and trying not to live in poverty.
@@aristideregnier4883 I really like what you wrote here. Could you tell me where did you heard or read what you cuote about Mr. Eno being disrespectfull to other musicians?
Brian Eno is a deeply interesting person and hearing about who he is and what inspires him adds a whole new layer of listenability to his music and thank you Rick Rubin for being a bad ass and walking me through Brian's brain.
Yes they're great. I remember where I was the first time I listened to Another Green World waiting for a bus in Mesa AZ in 1997 the feeling of well this is incredibly different and cool. "All the clouds turn to words. All the words float in sequence. No one knows what they mean. Everyone just ignores them" brilliant
Talking about what Eno says when he talks about listening music through a wall, there is a anecdote told by Elizabeth Fraser in a Cocteau Twins interview that I always loved. Elizabeth Fraser tells that she started to sing in her now typical way, almost whispering her unintelligible lyrics when she listened the rest of the band playing through a wall in the studio. She tells that that kind of sound suggested her the idea of singing like that. Now listening to Eno talking about this I confirm one more time the genius of Liz and also of Eno
Reminds me of how Eno was about it to produce for the Cocteau Twins but Robin Guthrie was so adamant about the production that Eno walked out saying "it seems like you already know what you want"
Searched for the "Pink Cadillac" poet Eno mentioned. Could it have been Etheridge Knight? He mentions a pink Cadillac in his poem "Last Words by "Slick"".
He’s always struck me as an artist who’s at least as interested in pure thought & intellectual ideas, and many types of visual art & style, as he is in tones & sounds & music. So I’m agreeing with your ‘genius ‘ thing, but maybe even expanding on it a bit?
You're conflating the strict definition of the word with a colloqualism. Genius can be used to refer to unique or original creativity, it doesn't have to mean "highly intelligent".
Whenever I approach to Eno's music it always comes to me the reflection that ambient music tends to dissolve your limits so that you can get immersed into the All. Melody is the expression of ego calling up for attention as the center of music. As a musician, dissolving the melody and even the harmony you may find yourself on a new place where you can connect with something else.
I would say enjoying hearing music through a wall all depends on your emotional state, what you are doing at the time, the time of the day, and how much you like or hate your neighbours.
This is all I thought of. Acoustically transparent walls being more of a norm here now. It never comes when you want it to, and the lack of control over it can be anxiety-triggering depending on those variables. With ours, the previous source was always malicious, scornful, spiteful, very loud, late and long-running. They've moved now, fortunately. The current source we have a much higher opinion of and they of us as well. I'll try to listen differently I'll try to listen differently the next time it happens to see if I tolerate it better.
I lived next door to an a-hole who would randomly play snippets of songs at loud volume at any random hour. I f--king hated him and he even managed to spoil my liking of some songs which he liked and I happened to like....but Id rather not be woken up at 2am by it blasting through the wall !
Great convo! Eno is a genius and a truly thoughtful and creative iconoclast; not just a barrier-breaker. Between what he brings to the proverbial table and Rick's deep intelligence and kindness, we are treated to many reasons to be grateful within less than an hour!
Sonic Seasonings is a 1972 double album by Wendy Carlos.The album features four ambient music tracks, each loosely based on one of the four seasons, combining various field recordings with sounds from a Moog synthesizer.
I'm highly surprised Eno wasn't familiar with the "Interactive Phrase Synthesiser" which came with Cubase (since its Atari ST days as a MIDI only sequencer) Any amount of inversion, looping, ramping, randomisation, reverse and other order swapping of MIDI notes in a sequence. This technology was available way back in the 80s
@@ronj9448 Yes it was, I was running mine with something like five separate MIDI outputs using Cubase Midex Plus and one extra channel via another device from some other port on the back! Fully expanded to 4Mb RAM 😊 and attached to a 250Mb external hard drive. Amazing setup in its time! :)
I heard of Brian Eno before. But his last album FOREVERANDEVERNOMORE was my first introduction to his music. I was stunned by it, and felt a connection to a complete stranger. This conversation moved me so much, his takes on Art and Life are so inspiring. Made realize he's not just a great artist but also a great human being.
Mysterino love your music been listening to it since riponino and I'd always put on swastika girls to clear out a party when it got a little bit too busy and the people that stayed for it we're always my kind of guys and girls
You should hear Music For Airports, Another Green World, and My Life in the Bush of Ghosts, see if those take hold for you as well? Music For Films you might like on first listen.
I listened intently to the Beatles through the wall recently..All the instruments took on the characteristics of various drums...Paul’s bass sounded like a huge melodic sounding array of timpanies, the other instruments took in qualities of percussion instruments...It was fascinating...I realized that the Beatles overall “sound” was very innovative: almost like the early 60s version of drum and bass or jungle beat type music...
Mind opening! also very glad to know that Eno too doesn't listen a lot to his favourite pieces "not to lose the magic".. I thought I was weird in doing the same.
Yes, everyone mentions that Brian Eno produced Devo's first album-but it's been pretty widely acknowledged that Devo didn't let Eno do much during those sessions. They resisted a lot of his ideas; his synth contributions appeared on only four tracks, and all but two of the tracks were remixed before release.
A similar kind of story around David Byrne producing the B-52s; some tracks were released on an EP - Mesopotamia, but it was not the full polished LP the band had envisaged
Think he may allow things to happen. Not make a band do his vision. Seems perfect for a band like Devo on their first album. Where a producer who didn't get them or try make them commercial or ? would not have got their vision in wax maybe
His ambient stuff is just boring. Anyone could do it. Tinkle a piano key and move a couch and viola. The first 4 Eno lps are wonderful then he jumps the electric shark.
Concerning Brian Eno's description of his discovery of "ambient music" at 27:46: the woman who introduced Brian Eno to what he would later call "ambient music" is Judy Nylon, the same Judy who was referred to in the title "Back in Judy's Jungle." Here is Judy Nylon's take on what happened, according to an October 2001 interview by Bart Plantega ("Live Now, Wise Up, Die Well: An Interview with Judy Nylon, Punk Legend"): "So it was pouring rain in Leicester Square, I bought the harp music from a guy in a booth behind the tube station with my last few quid because we communicated in ideas, not flowers and chocolate, and I didn't want to show up empty-handed. "Neither of us was into harp music. But, I grew up in America with ambient music. If I was upset as a kid I was allowed to fall asleep listening to a Martin Denny album…I think it was called _Quiet Village_ . The jungle sounds, played very softly made the room's darkness caressing instead of empty as a void. Pain was more tolerable. "Brian had just come out of hospital, his lung was collapsed and he lay immobile on pillows on the floor with a bank of windows looking out at soft rain in the park on Grantully Road, on his right and his sound system on his left. I put the harp music on and balanced it as best as I could from where I stood; he caught on immediately to what I was doing and helped me balance the softness of the rain patter with the faint string sound for where he lay in the room. "There was no 'ambience by mistake.' Neither of us invented ambient music; that he could convince EG Music to finance his putting out a line of very soft sound recordings is something quite different."
György Ligeti did that, translating experiences from electronic music to traditional instruments. Hans-Georg Gadamer says that the showing of skills is a final justification for people. Therefore we're making art or music. The functionalist aspect of ambient is nearly always getting close to the manipulation of a speculative peer group's or single person's situation. I guess it was Th. W. Adorno who said, that the idea of an infinite music is due to the possessiveness of human kind.
I listened to this this morning and forgot to check out the music Eno said he used to love that was simple vocal orientated music. He said it could have been before Rick’s time but Rick said he was a fan. If anyone could tell me what it is it would be much appreciated
I am gonna disagree with brian @30:00 : we DO need music. We get sick and depressed without it. It IS more essential than science can yet dream of. Wonderful show! Thank you both. Been listening to Brian since c.1980 or so via his another green world and before and after science and heads and bowie. He now ranks as perhaps my most influential and favorite artist of 70s. Up there with late 70s joni. :-)
After Vatican 2 monasteries were encouraged to be more active in life and ditch the long services and psalm singing. The monasteries who tried this had many many depressed monks. It has been tried. And was a dismal but important failure. I see of course Brian was being his own devil's advocate.:-)
This conversation remind me when I was a boy and I just to tire apart radio cassettes and I used to , I think, connect the ground cable of the speaker and get a sound like karaoke, like when a band is playing the next room but it was just the instruments that was not exactly in the 2 channels ...
I have not seen it in the comments below, so here is something I think worth mentioning. The airport where Eno got the inspiration to 'Music for airports' was Köln/Bonn which was initially designed by architect Paul Schneider-Esleben. (The family name triggering some memories?). Some contributions to the album were recorded at Conny Plank's studio near Cologne. Conny's wife Christa Fast is credited for voice parts on the album.
