Brian Eno Interview: ‘Apollo’ Expanded, Moon Landing – Rolling Stone

I definitely grew up with this album. I still have the original on cassette and I recorded my own album in the same studio as Apollo which hangs in shimmering gold on the studio wall. The excerpt below is from the end of the article. Much more good stuff. Read from the beginning. Being grown up is also what inspired Brian, who recently had an asteroid named after him, to revisit Apollo. For him, the 50th anniversary of the moon landing serves as a yardstick for humanity and what we’re capable of. “The trajectory of the world changed,” he says. “The period from 1945 to 1975, say, which is known by economists as the Golden Age of Capitalism, is entirely wrongly named in my opinion. It was a period of incredible social growth. Women got their rights and minorities got their rights. There was religious freedom in Europe, free healthcare, free education, workers’ rights were improved. There was new mobility between the classes and so on. These are all things that any socialist government would have been very proud of having achieved. I think that period should be named the Golden Age of Socialism. What we’re in now is the fucking Golden Age of Capitalism.” “With those [Apollo] space missions, we were all riding an incredible wave of optimism,” LanoisContinue Reading

UbuWeb Sound – Obscure Records

GO TO THE SOURCE TO HEAR THE MUSIC! Obscure Records was a U.K. record label which existed from 1975 to 1978. It was created and run by Brian Eno, who also produced the albums (credited as executive producer in one instance). Ten albums were issued in the series. Most have detailed liner notes on their back covers, analyzing the compositions and providing a biography of the composer, in a format typical of classical music albums, and much of the material can be regarded as 20th century classical music. The label provided a venue for experimental music, and its association with Eno gave increased public exposure to its composers and musicians. In their original editions, all albums used variations of the same cover art of a collage by John Bonis, covered up by an overprinting of black ink. The picture beneath the ink can be seen somewhat clearly under a strong light. Each volume except the seventh has one small window in the black overprint to reveal a different portion of the picture on each album. The red and white label design is a blurred photo that appears to be spires on roofs of buildings. Brian Eno’s album Music for Airports (1978) was intended as the eleventh Obscure album, and has catalogue number OBS-11 written and then scratched out in theContinue Reading