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ALBUM: My Life In The Bush Of Ghosts Lyrics
By:
Brian Eno
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America Is Waiting
Come With Us
Help Me Somebody
Mea Culpa
Moonlight In Glory
The Jezzebel Spirit
My Life In The Bush Of Ghosts Reviews
groundbreaking and mesmerizing
If you're fond of Moby's "Play," you'll love this album. Decades before Moby decided to take creaky old gospel wails and blues hollers and fuse them onto gleaming, haunted electronic grooves, Brian Eno and David Byrne were doing exactly the same thing--only with even more imagination. Behind the funky musical backdrop of "My Life in the Bush of Ghosts" you'll hear TV chatter, Arabic chants, exorcisms, random shouts. It's truly a wild ride--like a quantum-leaping psychic journey from Mississippi to Mecca to Manhattan and then finally all the way up to a mountain in rural Japan. If you're at all curious about the roots of ambient music, electronica, sampling, "world beat"--well, Byrne and Eno paved the way for a lot of those genres with this gorgeous, hypnotic album. Check it out.
Music For Airports meets Remain In Light
It is undeniable that if you combined the forces of two of the most innovative and unpredictable forces in music, you would come out with something very compelling. This was exactly the case between ambient master Brian Eno and the quixotic frontman of the Talking Heads David Byrne. On their lone album together, My Life in the Bush of Ghosts, Eno and Byrne created a body of music that combined all of the best elements of the two masterminds' notable elements. Eno contributed a great deal of samples and ambience, and Byrne combined the herky-jerky and downright unusual rhythms and sounds of the Talking Heads. Echoes of Eno's work with the Talking Heads pop up in the mix, inevitably, most notably 1980's Remain In Light, yet Eno's solo experimentations and soundscapes of such albums as Music for Airports, and Apollo: Atmospheres and Soundtracks are also evident. Thus, this was clearly more an advantage for Eno. Byrne also benefits from this as well, since the song forms of the numbers on this album aren't as accessible as those on a Talking Heads song, and still rank him as one of the weirdest guys in music (as well as one of the most daring). The only complaint I have with this album is that the songs only have one main figment or bar that repeats itself for a fewminutes, yet thankfully the longest track on this album is over 4minutes long. This saves the album for being a self-indulgent and tedious sound collage (a quality belonging more to Eno than Byrne). Yet some of the tracks do get somewhat boring after a while.
Regardless of the lack of deviation, My life in the Bush of Ghost remains one of music's most interesting collaborations between 2 musical visionaries, and it is indeed influential on many forms of music.
Why Qu'aran is not in this CD ??
From São Paulo, Brazil !
This album is excellent, but a song called Qu'aran, (one of my favourite)is not on this CD ! political reasons ? I don't know.
Fortunately I have a vinyl version. If you don't know this song, try to find in vinyl, the bass line is great !
cool
Awesome stuff. Two very important musicians come together, who could say no? To all of the reviews about "found sound," what about the voices on Dark Side of the Moon? Maybe it's not so revolutionary in that regard. Still really good, such a cool combo.
A glimpse at the future - but thumbs down to WB/Sire
Listening to this album at a distance of more than two decades, it becomes a peek at what was coming in the 1990s with artists like Moby and DJ Shadow. With Eno's knack with establishing moods and Byrne's love of rhythm, it's an arresting recording. But I withhold the five-star ranking because, somewhere along the line, one track on the album has been changed. "Very, Very Hungry" is a nice track, but the original LP contained a track in its place called "Qu'ran," which contained a recording of "Algerian Muslims chanting Qu'ran" (as the original LP notes). I'm assuming the track was removed for political reasons - understandable in these charged times but very disturbing nonetheless. (Since I don't speak Arabic, I don't know what verses from the Qu'ran the Algerians were chanting - something "inflammatory"?) It practically amounts to censorship, and I'm incensed at the suits at Warner Bros/Sire who (I'm sure) approved the change.
Released in 1981,
My Life in the Bush of Ghosts
is a collaboration between ambient pioneer Brian Eno and Talking Heads frontman David Byrne. On
Ghosts
, the two strong-willed musicians manage to come to a meeting of the minds, blending Byrne's herky-jerky funk with Eno's atmospheric sound sculpting. More than anything, this is a large album, intent on pushing itself to the front of the listener's consciousness. Abundant percussion (everything from booming tribal drums to eerie electronics) reverberates in the background while Byrne and Eno toss all manner of found sounds, field recordings, and radio broadcasts into the mix. What results is a groundbreaking album that introduced a generation to the dazzling possibilities offered by electronic recording techniques. Highlights include "The Jezebel Spirit," an electro-funk workout that uses a recording of an exorcism as its focal point, and "Very, Very Hungry," a mysteriously ethereal display of electronic percussion and large-scale sonic architecture.
--S. Duda
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