I began listening to Brian Eno in October 2022. Many of these albums are fully instrumental. Usually, I don't listen to such albums but I appreciate Eno's aesthetics and I hope that listening to so much of his work will help me better analyze albums which he produces.
Fripp & Eno: (No Pussyfooting) (1973): B
Here Come the Warm Jets (1974): A-
Taking Tiger Mountain (By Strategy) (1974): B
Another Green World (1975): A
Fripp & Eno: Evening Star (1975): B
Discreet Music (1975): B-
Cluster & Eno: Cluster & Eno (1977): B+
Before and After Science (1977): A-
Ambient 1: Music for Airports (1978): C+
Music for Films (1978): B-
Eno Moebius Roedelius: After the Heat (1978): C+
Harold Budd and Brian Eno: Ambient 2: The Plateaux of Mirror (1980): B-
Jon Hassell and Brian Eno: Fourth World, Vol. 1: Possible Musics (1980): C+
Fripp & Eno: (No Pussyfooting) (1973):
"Swastika Girls" is much too busy, especially in contrast to the album's only other piece, but "The Heavenly Music Corporation" is impressive and moving. Robert Fripp might not be able to save King Crimson's records from banality but he can sure keep my attention over ominous tape loops. B
Here Come the Warm Jets (1974):
Eno's desire to pair incompatible sessions musicians produce some wickedly strange rockers and though those rockers might have made an excellent album on their own, I'm happy his musical capabilities span farther than "The Needle in the Camel's Eye" and "Baby's on Fire." Ever since Roxy Music's debut, he's also been an excellent melodist and here he delivers his most impressive melodies to date: "Cindy Tells Me" and "On Some Faraway Beach." And damn if the musicians don't make up for any of this album's shortcomings (like Eno’s voice)--both Manzanera and Fripp continue to impress as two of the best guitarists of the 70s and their playing pairs perfectly with Eno's ever-inventive vision. A-
Taking Tiger Mountain (By Strategy) (1974):
Continuing to excite over all the possibilities of the studio, Eno gets carried away and utilizes the kitchen sink approach for his noodles. Simultaneously, his singing--which continues to be his weak point--is completely detached and flat. A great album lies under the clutter but as it is, maybe it's not worth suffering through. B
Another Green World (1975):
After exploring rock's weirdest corners with Roxy Music and on his first two solo albums, Eno has now retreated, focusing on synthesizer pieces that at first seem like nothing more than a collection of brief interludes. But Eno's a decorated veteran in off-the-wall instrumental pairings and after his last studio album of textural excess, he only layers on what's needed. Soothing, challenging, beautiful, unsettling, and hypnotic. A
Fripp & Eno: Evening Star (1975):
Though even the best moments require the right mood, the second instrumental album from the duo is slightly better. Once again, it's the first half that excites and the second side that bores. "An Index of Metals" gets lost in its own ambient landscape although it is quite listenable. B
Discreet Music (1975):
What makes Another Green World the definitive statement of Eno's career is that, while exploring ambient atmospheres, it never hesitates to surprise the listener and take his/her attention by the throat. The first half here has no movement while the second side relies on strings to do the dirty work instead of Eno's signature synths. B-
Cluster & Eno: Cluster & Eno (1977):
Cluster's influence and contributions are well felt and about as integral as Fripp's guitar whenever Eno and Fripp collaborate. As far as Eno's fully instrumental albums go, I'd say this is his strongest but then again what do I know? B+
Before and After Science (1977):
It may be because this is his first record with vocals and a rock slant since Another Green World but this is fantastic, marred neither by a dull track nor awkward pace. It's not as eclectic as Another Green World but it's nearly as good with Eno's talent for pastoral soundscapes well tuned and his taste for experimental rock well informed. A-
Ambient 1: Music for Airports (1978):
I guess this gets the credit as the first ambient album because Eno finally put it in the title? For the ground it broke, I respect it tremendously and even this far into Eno's discography, I'm still awed by his ability to layout a soundscape. But what can I say? I understand that this genre is supposed to be a part of the background as much as it's paid attention to but I've gotten plenty used to doing my daily tasks while listening to even the most distracting music. And if that slows me down, so be it--that's the sacrifice. I get mad whenever my friends study to music this casual. C+
Music for Films (1978):
After the first installation of his ambient series, Eno delivers Music for Films, a compilation of short pieces he had written for films from 1975 to 1978. Unlike its predecessor, the brevity of the tracks keeps this album feeling fresh and the diversity keeps me on my toes. That said, it might have been nice to hear a bit more of that beautifully recorded guitar on "From the Same Hill." B-
Eno Moebius Roedelius: After the Heat (1978):
I'd count Eno's first collaboration with Cluster as probably his best instrumental album to date and though Cluster's two core members continue to give Eno's music a crisp taste, this one doesn't consistently impress. Maybe it would have helped if they named all the tracks in German again. C+
Harold Budd and Brian Eno: Ambient 2: The Plateaux of Mirror (1980):
Despite ripping Eno's first installment of his ambient series and finding this to be sufficiently dull, I eagerly put it on three times when I needed to quickly cram some school work. Alas, I guess these albums do have utility. Is it better than his first installment? I'm really not qualified to say. B-
Jon Hassell and Brian Eno: Fourth World, Vol. 1: Possible Musics (1980):
I don't get it. C+
