Another Green World
By Eno
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Track listing
Show track credits
- A1 Sky Saw 3:27
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bass
-
fretless bass
-
drums
-
rhodes electric piano
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viola
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vocals
-
- A2 Over Fire Island 1:51
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fretless bass
-
drums
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guitar, synthesizer, tape
-
- A3 St. Elmo's Fire 3:01
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guitar
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vocals, guitar, organ, piano, bass pedals, percussion
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- A4 In Dark Trees 2:32
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guitar, synthesizer, percussion, effects
-
- A5 The Big Ship 2:37
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synthesizer, percussion, effects
-
- A6 I'll Come Running 3:50
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bass, snare drum
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piano
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lead guitar
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vocals, castanets, synthesizer, piano, percussion
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- A7 Another Green World 1:42
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guitar, Farfisa, piano
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- B1 Sombre Reptiles 2:23
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guitar, Hammond organ, percussion
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- B2 Little Fishes 1:32
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Farfisa, prepared piano
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- B3 Golden Hours 4:00
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viola
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guitar
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vocals, guitar, organ, piano, percussion
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- B4 Becalmed 3:55
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synthesizer, piano
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- B5 Zawinul / Lava 2:56
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guitar
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fretless bass
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percussion
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rhodes electric piano
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synthesizer, tape, organ, grand piano
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- B6 Everything Merges With the Night 4:03
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bass, piano
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vocals, guitar
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- B7 Spirits Drifting 2:47
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guitar, synthesizer, organ, bass guitar
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- Total length: 40:36
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32 Issues
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Another Green World [p] 33 rpm
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Another Green World 33 rpm
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Another Green World Original Masters Content/Copy Protected, Digipak, Remastered, Slipcase / O-Card
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341 Reviews
After having my discman stolen back in the day, I had to break out my old cassette walkman for those long trips to work for the graveyard shift. I taped my recently purchased OK Computer on side one and my brand new Another Green World for side two. I can still remember that time in my life like it was yesterday, because of those two albums. I can recall the weather, the stillness in the air, how quiet the streets seemed and I distinctly remember the wave of depression that hit me when I reached work, because the 'moment' was over.
It is a deep affection I have for Another Green World. Have you ever loved something so much it made you sad? Ever find music so uplifting as to bring you down and depressed? Ever listen to an album and feel like the only person on the planet? Otherwise normal lyrics like, "I'll come running to tie your shoes" turn into grandiose epics of romantic conquest. Piano chords turn you into a helpless piece of mush. Worse, this all so important vulnerability has to be kept private; it's something that you could never share with anyone for fear of being misunderstood. There can be no risk of it being mocked or ridiculed because the music is you and everything decent about you. Another Green World is an album that makes you ashamed to look your father in the eye. After all, he wanted to raise his son to be a man, not some hopeless bottle of raw emotions who cannot control himself in the presence of some ex-glam rocker's keyboards.
The album is the dreamless sleep of a newborn, the darkness of the country at night, that moment on Christmas Eve when you go home to visit and you get a half hour by yourself at your old house.
I am sure there are people out there who enjoy Another Green World as much as I do, and if I ever meet them and we listen to the album together, I am sure neither one of us would say one word the entire time.
It is a deep affection I have for Another Green World. Have you ever loved something so much it made you sad? Ever find music so uplifting as to bring you down and depressed? Ever listen to an album and feel like the only person on the planet? Otherwise normal lyrics like, "I'll come running to tie your shoes" turn into grandiose epics of romantic conquest. Piano chords turn you into a helpless piece of mush. Worse, this all so important vulnerability has to be kept private; it's something that you could never share with anyone for fear of being misunderstood. There can be no risk of it being mocked or ridiculed because the music is you and everything decent about you. Another Green World is an album that makes you ashamed to look your father in the eye. After all, he wanted to raise his son to be a man, not some hopeless bottle of raw emotions who cannot control himself in the presence of some ex-glam rocker's keyboards.
The album is the dreamless sleep of a newborn, the darkness of the country at night, that moment on Christmas Eve when you go home to visit and you get a half hour by yourself at your old house.
I am sure there are people out there who enjoy Another Green World as much as I do, and if I ever meet them and we listen to the album together, I am sure neither one of us would say one word the entire time.
Published
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I visited Myanmar (Burma) in 2004. On my first day in the country I was sitting down to watch some Burmese TV. The government station was featuring the traditional music of Burma's ethnic minorities. The strange melodies and rhythms of the music were fascinating but what surprised me most of all was that the first song reminded me of Sombre Reptiles- my favorite track from this album. I thought I was making too much of it at that time. It was only much later that I read that Eno had a love of Burmese hill-tribe music and had incorporated some of its sounds into his work. That listening to this album can take you as far afield as the music of Burma's mountain villages is no doubt evidence enough that this album was completely out of the norm for 1975. Eno was one of the great originals of recent decades- even when he was stealing tunes from indigenous tribes. I love the poppier tracks like St Elmo's Fire as much as I love the oddities and early experiments in ambient sounds. This marks a crossroads between this earlier art rock and the later period of making albums of 'airport music'. Perhaps that's why it's still so exciting to listen to- the music is going in so many directions at once. I suspect that when people look back on the history of rock music, fifty years from now, Eno will be rated even higher than he is now.
Published
And for about 41 minutes, this green world is in the palm of your hands.
Published
The tone and timbre of Another Green World remains an impressive, incredible achievement, over thirty-five years later. Eno, using only "desert guitars", farfisa organ, and piano, evokes a stunning, solemn grandeur on the album's title track. One of the most achingly beautiful musical compositions I've ever heard, "Another Green World" rises out of a seeming ethereal mist, unmistakably timeless, yet finite, dissolving just beyond any current sense of serenity or longing I ever feel. Both the song and the album invite deep, personal reflection, serving as a viable atlas for both Eno's impending ambient compositions, as well as David Bowie's "Berlin" trilogy, and by extension, all of the artists that followed in Bowie's artistic footsteps. This album has one of the most arresting atmospheres out of any I've ever heard in a "pop" music album.
A stunning achievement.
A stunning achievement.
Published
DELUXE 2302 069 Vinyl LP (1977)
It will remind you of being a baby, for a split second.
Published
Around 1987 I had something of an obsession with Brian Eno's non-ambient work. I'm not sure how it started, and I can't explain it in retrospect, but over a short time I bought more or less all albums on which he performed. Then I suddenly got fed up with his voice. You got to admit, he doesn't exactly have the greatest singing voice, and that posh accent of his isn't really helping either.
Even at the height of my Eno obsession, Another Green World has always puzzled me. Compared to the proto-punk (or is it art-punk?) of Warm Jets and Tiger Mountain, this collection of introspective songs, interspersed with half-baked instrumentals, didn't seem to make sense; neither does it make sense in the light of Eno's ambient music that began in the same year with the brilliant Discreet Music.
I'm also not entirely sure about whether and how exactly this disparate collection of tracks exerted any kind of influence on other musicians. Very little about Another Green World seems to make sense from a musical point of view. Yet, there is something compelling about many of the tracks. Occasional failures like the absymal "I'll Come Running" aside, there is power both in the searing guitars of "Sky Saw" or the pensiveness of "Everything Merges with the Night", probably Eno's strongest vocal track ever recorded. At less than 3 minutes in length, many of the instrumentals don't feel fully developed, but hint at what was going to follow on albums like Music for Films.
No idea if this is essential; probably not, but it sure is interesting.
Even at the height of my Eno obsession, Another Green World has always puzzled me. Compared to the proto-punk (or is it art-punk?) of Warm Jets and Tiger Mountain, this collection of introspective songs, interspersed with half-baked instrumentals, didn't seem to make sense; neither does it make sense in the light of Eno's ambient music that began in the same year with the brilliant Discreet Music.
I'm also not entirely sure about whether and how exactly this disparate collection of tracks exerted any kind of influence on other musicians. Very little about Another Green World seems to make sense from a musical point of view. Yet, there is something compelling about many of the tracks. Occasional failures like the absymal "I'll Come Running" aside, there is power both in the searing guitars of "Sky Saw" or the pensiveness of "Everything Merges with the Night", probably Eno's strongest vocal track ever recorded. At less than 3 minutes in length, many of the instrumentals don't feel fully developed, but hint at what was going to follow on albums like Music for Films.
No idea if this is essential; probably not, but it sure is interesting.
Published
2344 094 Vinyl LP (1977)
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Brian Eno has been given titles from "Father of ambient music" to "musical influence for David Bowie's Berlin Trilogy." Why? It's all in this collage...a fine collage at that.
Eno recognized the power of atmosphere in his music; it took a car crash to indirectly get there, so I wouldn't replicate that if looking to find the same conclusion, but you get the idea. The power that comes from <i>Another Green World</i> is how he experiments with the latest experiments. He takes a page from Krautrock on the opening track "Sky Saw" with the abrasive synth rhythm and solo lines alongside jazz-funk beat templates. He draws a card played by his old gang, Roxy Music, on the piano-driven "I'll Come Running" though the difference is that he's more cryptic lyrically and deadpan vocally; watch out for a great Robert Fripp guitar solo. He goes pseudo-baroque on "Everything Merges with the Night," mixing acoustic guitars and keyboards with the treated electric counterparts, while putting on a strong vocal performance.
Of course, the reason I use "collage" is that nine of the tracks are instrumentals, with songs like "In Dark Trees" and "Sombre Reptiles" using programmed drum beats combined with treated guitars, or "Little Fishes" using wavy synth notes. Still, it just sounds like he's playing with some toys...good enough, but not quite masterpiece. Then I saw what Eno was able to do after listening a couple more times; he was brilliant enough to give the songs an emotive connection. The first example? "Becalmed" may be the best synth-piano number ever, and Eno allows the mood to fit, while everyone who has copied it has done so with varied results.
To understand Brian Eno's impact on future music generations and other favorite keyboard-driven albums, or maybe the entire Ambient, Electronic, or even Post-Rock genres (from a distortion perspective), this is the first one to pick up. I don't just say it because I love it. This is one album where I love it because I finally understood the impact. Truly sublime.
Eno recognized the power of atmosphere in his music; it took a car crash to indirectly get there, so I wouldn't replicate that if looking to find the same conclusion, but you get the idea. The power that comes from <i>Another Green World</i> is how he experiments with the latest experiments. He takes a page from Krautrock on the opening track "Sky Saw" with the abrasive synth rhythm and solo lines alongside jazz-funk beat templates. He draws a card played by his old gang, Roxy Music, on the piano-driven "I'll Come Running" though the difference is that he's more cryptic lyrically and deadpan vocally; watch out for a great Robert Fripp guitar solo. He goes pseudo-baroque on "Everything Merges with the Night," mixing acoustic guitars and keyboards with the treated electric counterparts, while putting on a strong vocal performance.
Of course, the reason I use "collage" is that nine of the tracks are instrumentals, with songs like "In Dark Trees" and "Sombre Reptiles" using programmed drum beats combined with treated guitars, or "Little Fishes" using wavy synth notes. Still, it just sounds like he's playing with some toys...good enough, but not quite masterpiece. Then I saw what Eno was able to do after listening a couple more times; he was brilliant enough to give the songs an emotive connection. The first example? "Becalmed" may be the best synth-piano number ever, and Eno allows the mood to fit, while everyone who has copied it has done so with varied results.
To understand Brian Eno's impact on future music generations and other favorite keyboard-driven albums, or maybe the entire Ambient, Electronic, or even Post-Rock genres (from a distortion perspective), this is the first one to pick up. I don't just say it because I love it. This is one album where I love it because I finally understood the impact. Truly sublime.
Published
Another Green World (Produced by Brian Eno & Rhett Davies) [Island Records 1975]
A1|Sky Saw|3:27 4 - 4.25
The bass sounds very similar to Herbie Hancock keyboard playing, or that one funky ass track that's on the tip of my tongue and isn't "Hollwood Swingin'".
A2|Over Fire Island|1:51 3 - 3.5
A3|St. Elmo's Fire|3:01 4.5 - 5
A4|In Dark Trees|2:32 3.5 - 4
A5|The Big Ship|2:37 4 - 4.5
There's a modern track that sounds a lot like this, with the rising horns. It's at the end of an album. Also reminds me of Sigur Rós' ( ).
A6|I'll Come Running|3:50 3.25 - 4
A7|Another Green World|1:42 3 - 3.5
B1|Sombre Reptiles|2:23 4
B2|Little Fishes|1:32 4
B3|Golden Hours|4:00 4.25 - 5
B4|Becalmed|3:55 4 - 4.5
B5|Zawinul / Lava|2:56 4.5 - 5
These two ambient tracks remind me of his stuff from Ambient 4: On Land.
B6|Everything Merges With the Night|4:03 4 - 4.5
What's most interesting about this album is how songs just appear and disappear, much like the ambient tracks that precede them. It's a pretty flawless trick, I have to admit that much.
B7|Spirits Drifting|2:47 4 - 4.25
Bit of a lame duck ending.
Side A: 27 3.86/5 77%: Solid; few major reservations
Side B: 30 4.29/5 86%: Exceptional; repeated listens demanded
Overall: 57 4.07/5 81%: Great; repeated listens suggested; BUY IT
The short version: flip that shit!
So, Brian Eno. A relic from a period in my life where all I did was scour Pitchfork lists and pray for Limewire to have every single track contained on an album (prognosis: not usually likely). I remember thinking I should be so impressed by him, and I think the long delay in this happening is what colors my reception of most of his work. I have no doubt that his philosophies in regards to music and life are respectable. And I can tell that his influence on David Bowie was just about the best thing in the world. But what I can't tell is why this is anymore than a really good album. Perhaps it's the relevance; I listened to High Places earlier this morning, and you'd really have a hard time telling me they were any more creative than this. The 35-year gap between records only illustrating the point that Eno was ahead of the game even further.
I'm not someone that enjoys handing out brownie points, though. And while this album is enjoyable from start to finish, even something you could put on all day and struggle to get tired of, it's also something that doesn't build on its impression with future listens. The pop songs here well-performed and have a nice vibe that fits in remarkably well with the ambient tracks, but there is just some strange lack of impact. The ambient portion, by constraints of time and expertise, just aren't as amazing as his works that focus on that stuff, though within the context of just this album they are quite good.
It is his pop side that's never quite hit me in the gut, whether that be with Roxy Music, U2, Coldplay, or here on his own two feet. I really enjoy "Golden Hours", though, the delivery of the lyrics reminds me of Syd Barrett. The music and delivery also sounds highly like proto-Animal Collective, so I can thank this album for proving to me once again that modern music is not too strange - modern audiences are too boring. The other tracks, such as "Sky Saw" and "Everything Merges With the Night", get by more on the music behind them than the songs themselves. It reminds me of an infamous Young Jeezy line: "I'd rather listen to ya instrumentals, nigga." Normally I would think it a little sad that someone's best role comes as wallpaper, but part of me figures Eno would take that as the highest of compliments.
A1|Sky Saw|3:27 4 - 4.25
The bass sounds very similar to Herbie Hancock keyboard playing, or that one funky ass track that's on the tip of my tongue and isn't "Hollwood Swingin'".
A2|Over Fire Island|1:51 3 - 3.5
A3|St. Elmo's Fire|3:01 4.5 - 5
A4|In Dark Trees|2:32 3.5 - 4
A5|The Big Ship|2:37 4 - 4.5
There's a modern track that sounds a lot like this, with the rising horns. It's at the end of an album. Also reminds me of Sigur Rós' ( ).
A6|I'll Come Running|3:50 3.25 - 4
A7|Another Green World|1:42 3 - 3.5
B1|Sombre Reptiles|2:23 4
B2|Little Fishes|1:32 4
B3|Golden Hours|4:00 4.25 - 5
B4|Becalmed|3:55 4 - 4.5
B5|Zawinul / Lava|2:56 4.5 - 5
These two ambient tracks remind me of his stuff from Ambient 4: On Land.
B6|Everything Merges With the Night|4:03 4 - 4.5
What's most interesting about this album is how songs just appear and disappear, much like the ambient tracks that precede them. It's a pretty flawless trick, I have to admit that much.
B7|Spirits Drifting|2:47 4 - 4.25
Bit of a lame duck ending.
Side A: 27 3.86/5 77%: Solid; few major reservations
Side B: 30 4.29/5 86%: Exceptional; repeated listens demanded
Overall: 57 4.07/5 81%: Great; repeated listens suggested; BUY IT
The short version: flip that shit!
So, Brian Eno. A relic from a period in my life where all I did was scour Pitchfork lists and pray for Limewire to have every single track contained on an album (prognosis: not usually likely). I remember thinking I should be so impressed by him, and I think the long delay in this happening is what colors my reception of most of his work. I have no doubt that his philosophies in regards to music and life are respectable. And I can tell that his influence on David Bowie was just about the best thing in the world. But what I can't tell is why this is anymore than a really good album. Perhaps it's the relevance; I listened to High Places earlier this morning, and you'd really have a hard time telling me they were any more creative than this. The 35-year gap between records only illustrating the point that Eno was ahead of the game even further.
I'm not someone that enjoys handing out brownie points, though. And while this album is enjoyable from start to finish, even something you could put on all day and struggle to get tired of, it's also something that doesn't build on its impression with future listens. The pop songs here well-performed and have a nice vibe that fits in remarkably well with the ambient tracks, but there is just some strange lack of impact. The ambient portion, by constraints of time and expertise, just aren't as amazing as his works that focus on that stuff, though within the context of just this album they are quite good.
It is his pop side that's never quite hit me in the gut, whether that be with Roxy Music, U2, Coldplay, or here on his own two feet. I really enjoy "Golden Hours", though, the delivery of the lyrics reminds me of Syd Barrett. The music and delivery also sounds highly like proto-Animal Collective, so I can thank this album for proving to me once again that modern music is not too strange - modern audiences are too boring. The other tracks, such as "Sky Saw" and "Everything Merges With the Night", get by more on the music behind them than the songs themselves. It reminds me of an infamous Young Jeezy line: "I'd rather listen to ya instrumentals, nigga." Normally I would think it a little sad that someone's best role comes as wallpaper, but part of me figures Eno would take that as the highest of compliments.
Published
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Catalog
22 Apr 2024
22 Apr 2024
22 Apr 2024
22 Apr 2024
22 Apr 2024
22 Apr 2024
22 Apr 2024
-
A1
Sky Saw
-
A2
Over Fire Island
-
A3
St. Elmo's Fire
-
A4
In Dark Trees
-
A5
The Big Ship
-
A6
I'll Come Running
-
A7
Another Green World
-
B1
Sombre Reptiles
-
B2
Little Fishes
-
B3
Golden Hours
-
B4
Becalmed
-
B5
Zawinul / Lava
-
B6
Everything Merges With the Night
-
B7
Spirits Drifting
22 Apr 2024
22 Apr 2024
22 Apr 2024
22 Apr 2024
22 Apr 2024
22 Apr 2024
22 Apr 2024
-
A1
Sky Saw
-
A2
Over Fire Island
-
A3
St. Elmo's Fire
-
A4
In Dark Trees
-
A5
The Big Ship
-
A6
I'll Come Running
-
A7
Another Green World
-
B1
Sombre Reptiles
-
B2
Little Fishes
-
B3
Golden Hours
-
B4
Becalmed
-
B5
Zawinul / Lava
-
B6
Everything Merges With the Night
-
B7
Spirits Drifting
21 Apr 2024