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Brian Eno's Another Green World (33 1/3 series) Paperback


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Product Details

  • Paperback: 128 pages
  • Publisher: Bloomsbury Academic (October 22, 2009)
  • Language: English
  • ISBN-10: 0826427863
  • ISBN-13: 978-0826427861
  • Product Dimensions: 6.5 x 4.8 x 0.4 inches
  • Shipping Weight: 4 ounces (View shipping rates and policies)
  • Average Customer Review: 3.2 out of 5 stars  See all reviews (12 customer reviews)
  • Amazon Best Sellers Rank: #728,667 in Books (See Top 100 in Books)

Editorial Reviews

Review

"Dayal's unique and fresh take, which also delves into Discreet Music, is a must read for Eno fans and makes a great primer for the uninitiated."
-Flagpole Magazine

"Dayal's lucid, elegant deconstruction of Brian Eno's most beguiling album is also an inspiring, delightful inquiry into the nature of creativity and constraint. Anyone interested in art making needs to read this."
—Ed Park, author of Personal Days

"...the best short introduction to Eno's work and ethos going."
The Wire, February 2010


Mention in Nottingham Evening Post, February 2010

Article by author Geeta Dayal in Frieze, 1st June 2010, with a puff for the book in the end.

Selected by Flavorwire as one of "10 Great Books about Music by Female Writers" http://flavorwire.com/features/staff-lists/7967-words-and-music-our-60-favorite-music-books/3/

About the Author

Geeta Dayal's writing on music, visual art, and science has appeared in many major publications, including Bookforum, The Wire, The New York Times, The International Herald-Tribune, and The Village Voice. She is currently at work on a second book on the history of electronic music. She lives in Boston.


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Customer Reviews

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After finishing the book, I still don't know that much.
D. Plante
Geeta Dayal's lengthy, self-absorbed preface describes, in great detail, how difficult she found the writing of this insubstantial book.
Graham Duff
Knowing that, it is an excellent little study of the working process that Eno used for this album.
Drew R. Cerria

Most Helpful Customer Reviews

23 of 25 people found the following review helpful By Mark Malamud on January 13, 2011
Format: Paperback Verified Purchase
This was the second 33 1/3 book I read (the first was Hugo Wilcken's excellent Low) and I can't overstate my disappointment. Unlike Wicken's book which always kept the album in focus, Dayal's work hardly even keeps the album in sight. Despite asserting in the preface that the book would not be a biography, an excessive amount of time is spent repeating old stories about Eno's history (pre- and post- Another Green World) that have little or no bearing on the album in question. In over 100 pages, less than a dozen actually focus on the album's tracks. In short: this book is not a source for anyone interested in learning something specific about Another Green World.
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25 of 28 people found the following review helpful By Steven Yates on November 4, 2009
Format: Paperback Verified Purchase
Geeta Dayal's contribution to Continuum's 33 1/3 series was delayed several times; finally in print, it was definitely worth the wait. Geeta Dayal has successfully walked the tightrope between giving us an extended review of a record that (incredibly!) will be 35 years old next year and a biography of its creator, Brian Eno. What we get are touches of both--in the context of a nice, accessible guide to the total environment that went into the making of that amazing record, Another Green World. We are reminded that Eno's way of working drew on such devices as the Oblique Strategies cards, what he'd learned from other adventurous composers such as John Cage, Cornelius Cardew, Steve Reich and Terry Riley, and the gold mine of ideas available in books he'd read ranging from Stafford Beer's ventures into cybernetics and management to Morse Peckham's exploration of the relationship between art and biology. Eno's way of working, which treated musical composition as one species of system creation and used the recording studio as a de facto instrument, lifted Eno out of the boxes that confined, e.g., the majority of "prog rockers." Among the results was removing vocals/lyrics from the center of the picture resulting in "flatter" productions where no single instrument dominates. This mindset would lead to the development of ambient music in the late 1970s/early 1980s and, later, to generative music in the 1990s. It's amazing that any one person could pull all this off--but Eno is undoubtedly a genius, having gone from visually-stunning (and cross-dressing) Roxy Music glam rocker to one of the world's most in-demand producers and most respected visual artists.Read more ›
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9 of 10 people found the following review helpful By Graham Duff on April 18, 2013
Format: Paperback
Geeta Dayal's lengthy, self-absorbed preface describes, in great detail, how difficult she found the writing of this insubstantial book. And it's impossible to deny that her discomfort and awkwardness shine out of the text. It reads like a bundle of hastily scribbled notes for a book she lacked the genuine desire - or more likely the actual ability - to write.

Dayal says she wanted "to write an exploratory book on the ideas underpinning the music". The result however, is a work in which she sprinkles fleeting mentions of cybernetics, Fluxus and architecture, amongst a batch of over familiar cut and pasted interview quotes.

Her writing is meandering, uneven and unfocussed, whilst her powers of description are severely lacking. Especially when it comes to music itself. For example, the best description she can summon up to define Eno's single `The Seven Deadly Finns' is "goofy". She also describes the single version of Kraftwork's `Autobahn' as "goofy". She finds the liner notes to Lou Reed's `Metal Machine Music' "goofy". The chorus of Eno's `I'll Come Running' is "goofy". Even Marshall McLuhan's I Ching style Distant Early Warning cards are apparently "goofy". Meanwhile, Eno's own Oblique Strategy cards are singled out as being "quirky".

Repeated use of such glib and incongruous short hand to define this wide range of cultural artifacts serves to complete the impression of an author capable of only a very shallow reading of her subject matter. Her description of Can, Cluster and Harmonia as "offbeat German bands" is laughably simplistic. Unfortunately, "offbeat" is another of Dayal's favorite catch-all words. A number of Eno's life experiences were apparently "offbeat". His art tutor Roy Ascott's teaching methods were "offbeat".
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3 of 3 people found the following review helpful By Designing Books on November 10, 2011
Format: Paperback Verified Purchase
Although all the books in the 33-1/3 series, including this one, are advertised as 6.6x4.8 inches, some copies of Another Green World seem to be manufactured on a print-on-demand book machine incapable of trimming books down to this small size, so the book arrived (three times ) as a 6x9 paperback, the small text block awkwardly centered on the page with huge margins. Not only does it look ridiculous, it doesn't match the others in the series, and amazon customer service proved incapable of sending one at the proper trim (shouldn't amazon warn us that the book will arrive as a print-on-demand edition that may not match the format advertised on their site)? I wasted a lot of time sending the book back and forth, and finally bought it at my local indie bookstore. And thankfully, because it's a great little book. Dayal is an astute listener, but focuses by and large on Eno's process for making this album, which relied heavily on his Oblique Strategies card deck. The story is a fascinating one, and it's hard to believe that such great music came out of a studio session where almost nothing was planned, nothing scored, and songs were built out of next-to-nothing; random sounds, loops, words, rhythms, and so on. The book (and album) proves Eno's theory that "everything comes from nothing," that even Beethoven didn't carry the Ninth Symphony around in his head just waiting to write it down. I found the book inspiring in this way, and it deepened my appreciation of Another Green World; I recommend it highly to any Eno fan as well as any musician or other individual interested in the creative process.
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