23, I saw your comment on the 'listening to music' thread, so thought I should explain. Eno is to me what Syd is to cHARLIE*, and I assume everyone knows all the Eno minutiae I do sometimes. Anyway, this quote from an interview with Lester Bangs puts it into context...
"(...) Everybody [...] should be excited to hear that in the album he's working on now he's returned to what he calls the "idiot energy" of his first album and the dancehall classic "Baby's on Fire."
Eno used the description to classify loud, visceral tracks like 'Blank Frank' etc before the word 'Punk' was being used, basically.
As far as my opinion on Eno goes. I'm so full of admiration for the guy that it's impossible to say something without launching into a huge long waffle.
Suffice to say that someone who has worked with rock-dinosaur-juniors U2 for extra-curricular cash and still managed to keep their credibility deserves some respect.
Modern music would sound very different if Eno hadn't done what did (and still does). Mind you he wouldn't do what he does if it hadn't been for people like John Cage and Holger Czukay inspiring him and getting there first with many of the ideas now credited to Eno.
Oh, and what's wrong with you people that don't like Thursday Afternoon? It's gorgeous! The first commercially available made-for-CD 60 minute track, a vernacular version of Morton Feldman's static-but-perpetually-moving music. Lush as fuck. I agree with everyone's suggestions of what constitutes Eno classics, but two more recent records of his that I think are unsung are Spinner (w/ Jah Wobble), and The Drop.
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