| | Brian Eno Music For Films CD Brian Eno Discography of CDs
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Because it was released between 1975's proto-ambient DISCREET MUSIC and 1979's similarly-titled AMBIENT 1: MUSIC FOR AIRPORTS, 1978's MUSIC FOR FILMS is often mistakenly lumped in with Brian Eno's ambient releases. However, while MUSIC FOR FILMS shares some of the facets of Eno's ambient music, particularly in the lack of vocals, the structure of the album precludes its description as an ambient release. While Eno's definition of ambient music focuses on the extended length of pieces and their meditative content, the 18 tracks on MUSIC FOR FILM are very brief--only one reaches four minutes and half are under two--and they cover an appropriately cinematic range of moods, from tranquility to fear. At times, Eno and his collaborators, including Fred Frith, Phil Collins, and John Cale, recall such soundtrack composers as Bernard Herrmann and Nino Rota, but MUSIC FOR FILMS is quintessential Eno.
Personnel: Brian Eno; Paul Rudolph, Robert Fripp, Fred Frith (guitar); John Cale (viola); Rhett Davies (trumpet); Rod Melvin (electric piano); Percy Jones, Bill MacCormick (bass guitar); Dave Mattacks, Phil Collins (percussion).
Q (5/93, p.105) - 4 Stars - Excellent - "...has always stood out for its melancholy and, perhaps, the brevity of its tracks....there scarcely seems a wasted moment on it..."
Uncut (p.117) - 4 stars out of 5 - "[A] vital reference point for modern studio-dwellers." Music For Films Music | List Price | $16.98 (You save $4.99) | | Category | Rock/Pop Albums, Rock CDs, Pop, Electronica, Alternative, Instrumental, Ambient, Enhanced CD | | Label | Astralwerks (Record Label) | | Orig Year | 1978 | | All Time Sales Rank |  34974  | | CD Universe Part number | 6828614 | | Catalog number | 63646 | | Discs | 1 | | Release Date | Mar 22, 2005 | | Studio/Live | Studio | | Mono/Stereo | Stereo | | Producer | Brian Eno | | Personnel | Brian Eno
Dave Mattacks
Paul Rudolph
Rod Melvin - electric piano
Bill MacCormick - bass guitar
Also: Phil Collins, Robert Fripp, John Cale, Fred Frith, Percy Jones, Rhett Davies | | Additional Info | Remastered; Digipak |
Brian Eno Music For Films Songs Music For Films Review
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Purchase Music For Films CD To buy, Click on price to add to cart | Brian Eno Another Green World CD (1975) Remastered
Music For Films
 $12.55   
It was here that Eno first began to experiment with abstract soundscapes, to employ a greater spatial element and the ethereal synthesizer effects that presaged an entire movement of ambient music. While most of the tracks are instrumental, the numbers that feature Eno's peculiar, affectless voice and free-associative lyrics seem to blend into the fabric of the album. Superior guest musicians include John Cale, Robert Fripp and Phil Collins. From the brain-bending riff of "Sky-Saw, through the elemental creeping of "Sombre Reptiles;" from Robert Fripp's looping solos in "St. Elmo's Fire" ...
| | Brian Eno Here Come The Warm Jets CD (1973) Remastered
Music For Films
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By the time Brian Eno left Roxy Music and came to record this masterpiece of a debut in 1973, he already held in his grasp the raw tools to revolutionize popular music. HERE COME THE WARM JETS is bathed in his singular pop-with-a-wink aesthetic and free-associative imagination. Whether on the four-on-the-floor pre-punk stomp of "Needles In The Camel's Eye" or the Spector/VU trad-rock-ism of "Cindy Tells Me," the album displays an unabashed love of quirky, catchy pop. Macabre lyrics often subvert the melodies, a feature fully expressed on "Baby's On Fire," where the singer's cheeky vocals exaggerate the theme's comic ambiguity.
On two quite different pieces--the closing title-track and "On Some Faraway Beach"--a different side of Eno was laid bare. These mid-tempo, mostly wordless sound-paintings construct melancholy scenes out of grandiose, manipulated sounds, and gesture toward Eno's role as the father of ambient music. Savage guitar lines, erratic synthesizer, and pounding drums (Robert Fripp, Paul Thompson, and Phil Manzanera are among the excellent personnel) provide exciting textures on a collection as beguiling as it is invigorating. With WARM JETS Eno proved ...
| | Brian Eno Before And After Science CD (1977) Remastered
Music For Films
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Eno's last glam-pop album before devoting himself entirely to ambient experimentation, BEFORE AND AFTER SCIENCE showcases two sides of Eno's musical personality. The first half of the disc is characterized by floppy, pop-tinged romps reminiscent of his earlier albums (and heralding later Eno-piloted projects such as the Talking Heads' SPEAKING IN TONGUES). Tunes like "Backwater" and "King's Lead Hat" (a song whose lyrics are reputedly about the Talking Heads, the title an anagram of the band's name) feature bouncy beats and keyboards, silly, riddle-like lyrics and Eno's Muppet-ish vocals. The second half is considerably more subdued: the tender, airy feeling of tracks like "Julie With" and "Spider and I" indicate Eno's softer, abstract, synthesizer-dominated ...
| | Brian Eno Ambient 1: Music For Airports CD (1978)
Music For Films
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Considered by many to be the ultimate ambient album, MUSIC FOR AIRPORTS is so delicate, lovely, and aesthetically moving, that it has been known to give rise to sensations of flying, being enfolded in warm blankets, or watching a vision take place in the heavens. If this sounds like an overstatement, you haven't heard the album. A four part "piece" performed entirely on synthesizer and piano, Eno's composition finds a referent more in abstract painting (one visualizes bold blocks of color in warm hues) than in any musical genre.
Resonant synthesizer notes resembling bells or voices are interwoven with bits of melody, overlapping each other, and fading in and out of an architectural ...
| | Brian Eno Apollo Atmospheres & Soundtracks CD (1983) Remastered; Digipak
Music For Films
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APOLLO contains some of Eno's most carefully crafted melodies, wrought impressionistically in limpid, quicksilver synth and gilded with Lanois's liquid guitar lines. "Matta" and "Under Stars II" imagine the wonders of weightlessness and zero-gravity drift. Lanois's "Silver Morning" views the dawn's smoldering glow from above, while the golden rays of "Deep Blue Day" strain to break at the planet's horizon. "An Ending (Ascent)" watches tearfully from the heavens as a tiny blue Earth falls away into the cradling arms of space; "Always Returning" welcomes the sight of terra firma's green expanses; and the twinkling "Stars" casts its eyes heavenward with a new sense of respect and homesick longing. An ambient ...
| | Brian Eno Thursday Afternoon CD (1985) Remastered; Digipak
Music For Films
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The whole of THURSDAY AFTERNOON consists of one 61-minute track, itself an edit of a much longer piece designed ...
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| | Trisonics Welcome To The Club CD (2007)
Music For Films
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The sign on the club door says “rock’n’roll tonight” and if you don’t like it, come back tomorrow for country night, right? Wrong. Who says a modern day rock’n’roll band can’t sound like tomorrow’s country music or that an indie pop band can’t swing? Who says a trio from Germany can’t play Americana? The TriSonics actually thrive on crossing genre borders. Listen to their second album “Welcome to the Club” and you’ll find Rockabilly (“These Walls”), Country (the title track), Swing (“Should’ve Known Better”), and even a homage to Britpop (“Lyla”) as well as a cover of a Blondie hit (“Call Me”) from 1980. You can also hear a real smoocher (“I Believe in Love”), a bombastic bit of jungle music (“Ooh I Like That Voodoo”), a track that opens with the sound of a shovel hitting dirt (“Digging a Hole”), a ballad (“In My Arms”) as well as a song with a grand gypsy finale. And ...
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