In weniger als einer Minute können Sie mit dem Lesen von Brian Eno's Another Green World (33 1/3) auf Ihrem Kindle beginnen. Sie haben noch keinen Kindle? Hier kaufen oder mit einer unserer kostenlosen Kindle Lese-Apps sofort zu lesen anfangen.

An Ihren Kindle oder ein anderes Gerät senden


Kostenlos testen

Jetzt kostenlos reinlesen

An Ihren Kindle oder ein anderes Gerät senden

Der Artikel ist in folgender Variante leider nicht verfügbar
Keine Abbildung vorhanden für
Keine Abbildung vorhanden


Brian Eno's Another Green World (33 1/3) [Kindle Edition]

Geeta Dayal
5.0 von 5 Sternen  Alle Rezensionen anzeigen (1 Kundenrezension)

Kindle-Preis: EUR 6,05 Inkl. MwSt. und kostenloser drahtloser Lieferung über Amazon Whispernet

Kostenlose Kindle-Leseanwendung Jeder kann Kindle Bücher lesen  selbst ohne ein Kindle-Gerät  mit der KOSTENFREIEN Kindle App für Smartphones, Tablets und Computer.

Geben Sie Ihre E-Mail-Adresse oder Mobiltelefonnummer ein, um die kostenfreie App zu beziehen.

Whispersync for Voice

Wechseln Sie zwischen dem Lesen des Kindle eBooks und dem Hören des Audible-Hörbuchs hin und her. Nachdem Sie das Kindle-Buch gekauft haben, fügen Sie das Audible-Hörbuch für den reduzierten Preis von EUR 3,95 hinzu.

Weitere Ausgaben

Amazon-Preis Neu ab Gebraucht ab
Kindle Edition EUR 6,05  
Taschenbuch EUR 9,40  
Hörbuch-Download, Ungekürzte Ausgabe EUR 6,10 oder EUR 0,00 im Probeabo von



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


The serene, delicate songs on Another Green World sound practically
meditative, but the album itself was an experiment fueled by
adrenaline, panic, and pure faith. It was the first Brian Eno album to
be composed almost completely in the confines of a recording studio,
over a scant few months in the summer of 1975. The album was a proof
of concept for Eno's budding ideas of "the studio as musical
instrument," and a signpost for a bold new way of thinking about

In this book, Geeta Dayal unravels Another Green World's abundant
mysteries, venturing into its dense thickets of sound. How was an
album this cohesive and refined formed in such a seemingly ad hoc way?
How were electronics and layers of synthetic treatments used to create
an album so redolent of the natural world? How did a deck of cards
figure into all of this? Here, through interviews and archival
research, she unearths the strange story of how Another Green World
formed the link to Eno's future -- foreshadowing his metamorphosis
from unlikely glam rocker to sonic painter and producer.


  • Format: Kindle Edition
  • Dateigröße: 414 KB
  • Seitenzahl der Print-Ausgabe: 128 Seiten
  • Verlag: Continuum; Auflage: 1 (1. November 2009)
  • Verkauf durch: Amazon Media EU S.à r.l.
  • Sprache: Englisch
  • ASIN: B00LGSQ30G
  • Text-to-Speech (Vorlesemodus): Aktiviert
  • X-Ray:
  • Word Wise: Nicht aktiviert
  • Durchschnittliche Kundenbewertung: 5.0 von 5 Sternen  Alle Rezensionen anzeigen (1 Kundenrezension)
  • Amazon Bestseller-Rang: #655.484 Bezahlt in Kindle-Shop (Siehe Top 100 Bezahlt in Kindle-Shop)

  •  Ist der Verkauf dieses Produkts für Sie nicht akzeptabel?

Mehr über den Autor

Entdecken Sie Bücher, lesen Sie über Autoren und mehr


4 Sterne
3 Sterne
2 Sterne
1 Sterne
5.0 von 5 Sternen
5.0 von 5 Sternen
Die hilfreichsten Kundenrezensionen
1 von 1 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen Tolles Infowerk über den zeitlosen Klassiker 20. Oktober 2014
Format:Taschenbuch|Verifizierter Kauf
Für den Brain Eno Fan und Liebhaber dieses Albums ein Muss!
Es gibt viele Infos aus anderen Dokumenten, wie Artikeln und Interviews in einen leicht verständlichen Englisch.
Das Jahr 1975 und seine kulturelen und künstlerischen Einflüsse werden am Beispiel von anderen Bands und Alben verdeutlicht.
So wird Enos "Discreet Music" mit dem verstörendem Album "Metal Machine Music" von Lou Reed, einem seiner Heroes,
gegenüber gestellt.
Die Platte wird Stück für Stück analysiert und beispielsweise der Einfluss auf das "Low" Album von David Bowie,
an dem Brian Eno auch massgeblich mitgearbeitet hat, thematisiert.
War diese Rezension für Sie hilfreich?
Die hilfreichsten Kundenrezensionen auf (beta) 3.3 von 5 Sternen  14 Rezensionen
29 von 33 Kunden fanden die folgende Rezension hilfreich
1.0 von 5 Sternen Disappointing 13. Januar 2011
Von Mark Malamud - Veröffentlicht auf
Format:Taschenbuch|Verifizierter Kauf
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.
26 von 30 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen Excellent short guide to a landmark recording and its environment. 5. November 2009
Von Steven Yates - Veröffentlicht auf
Format:Taschenbuch|Verifizierter Kauf
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.

While drawing on the numerous interviews Brian Eno has given for the music press, Dayal's treatment also makes use of observations by other musicians who have worked with Eno and agreed to be interviewed for her book: Robert Fripp, Harold Budd, Percy Jones, David Toop, Leo Abrahams, and others. Dayal also draws on past statements by David Bowie, John Cale, and others. All these insights reveal the strange combination of playfulness and occasionally frustration that came with working in the studio with Captain Eno, who had been educated at an art school (Ipswich) whose instructors deliberately set about to upset all their students preconceptions about their subject matter. From those who have worked with him we get a near-unanimous vote of confidence. He knew what he was doing; his aim was to unlock hidden potential: undertaking the musical equivalent of planting seeds and then just observing what they grew into (one of the Oblique Strategies does read "Gardening, not architecture").

Another Green World itself is, to my mind, an immortal album, almost like magic set in sound. Many of its fourteen tracks are unlike anything recorded either before or since. Five are songs, with lyrics and fairly standard structure. Sample titles: "St. Elmo's Fire," "I'll Come Running," "Everything Merges With the Night." The other nine are instrumental sound paintings evoking various moods and images. Sample titles: "Becalmed," "In Dark Trees," "Little Fishes," "Spirits Drifting." The opener, "Sky Saw," begins as an instrumental but then brings in vocals, forming a kind of bridge between the two. One of Geeta Dayal's later chapters (interestingly titled using the Oblique Strategy "Ask people to work against their better judgment") walks us one-by-one through the various tracks on Another Green World, integrating commentary from the musicians that worked on these tracks often with no idea what other musicians were doing or what the results would be like.

Geeta Dayal is to be congratulated for pulling together a lot of information and insight into this one slim volume. For some reason I was expecting a book with physically larger dimensions, but that's neither here nor there. This is a useful contribution to a slowly growing literature on Brian Eno and belongs in every serious Eno collector's library.
16 von 18 Kunden fanden die folgende Rezension hilfreich
1.0 von 5 Sternen A Gauche and Ill-informed Book 18. April 2013
Von Graham Duff - Veröffentlicht auf
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". The mix of musicians on `Another Green World' is "offbeat". And so on. No insights, just bland and lazy labelling.

With her endless repetition and seemingly limited vocabulary, Dayal comes over as gauche and ill-informed, with only a superficial grasp of Eno's work and the concepts and influences which inspire him.
17 von 23 Kunden fanden die folgende Rezension hilfreich
1.0 von 5 Sternen quite a poor effort 23. März 2010
Von cloud chamber - Veröffentlicht auf
Format:Taschenbuch|Verifizierter Kauf
I very much looked forward to this book and when it arrived I noticed it was quite a thin volume. Quality over quantity? Alas, it was neither quality nor quantity.

To begin, the entire introduction has the author lamenting the difficulty of writing the book and that difficulty shows in the wandering, ADD approach she brings to the subject. It lacks focus and while some details of Another Green World are described, she brings nothing new to the table.

Every analogy is without merit, especially the cinematic analogies. The David Lynch/Angelo Badalamenti analogy is telling in that it tells the reader that Geeta Dayal lacks the necessary skill as a writer to describe the working relationship between Brian Eno and Robert Fripp.

At one point the author writes that Led Zeppelin's Physical Graffiti wasn't their greatest record. This book is filled with useless bits such as that one. While such bits try to place AGW in context, they succeed only in padding this lifeless volume out to just barely over 100 pages.

In the end, the bibliography was more interesting than the book. A failed effort for a subject which deserves so much more.
2 von 2 Kunden fanden die folgende Rezension hilfreich
2.0 von 5 Sternen Shallow, amateur, and meandering 27. April 2014
Von microbes - Veröffentlicht auf
Format:Taschenbuch|Verifizierter Kauf
I hate to leave a bad review about a book, especially on a subject I love, but this book merits one. While Geeta Dayal seems like a nice person, her book on Brian Eno's 'Another Green World' is lazy and fluffy and reads like a college paper that the student didn't particularly want to write.

The book blandly spits out shallow biographical and factual information (the type of stuff you can find very easily on wikipedia or the back of the record's jacket) and there are many, many lengthy quotes that are often not particularly illuminating, leaving very few pages for actual analysis of the album. There is some helpful contextual information, however it is not often particularly relevant and is usually indicative of the author seemingly forgetting who the audience for this book is. The most egregious example of the former is the entire chapter devoted simply to listing other albums that came out in 1975. This chapter is immediately followed by 18 pages about Eno's other 1975 album, 'Discreet Music'. These chapters combine to give 24 straight pages (70-94; there are only 103 in the book) where 'Another Green World is not discussed at all, not even obliquely. Couple this with the fact that AGW is not discussed directly until page 28, and you've got nearly half the book meandering and shallowly providing context that any hardcore Eno fan (or, in some cases, simply any music fan) already knows.

I give this book two stars rather than one because the section actually discussing the album* is often fun to read. I just wish the joy-factor was more consistent, and I wish the author had worked a little harder on the book. While the author goes to lengths to explain how hard she worked on this book (seriously; there's 8 pages about it before the Introduction and she even refers to this skinny book as a 'manuscript' at the end), one could easily compile and write this book in a few weeks. I really hate being this hypercritical over a small book like this that is supposed to be a fun/light read, but it was slap-dash and disjointed and ultimately disappointing. For a much more informative and fun time, save yourself a few dollars and hours and just go read EnoWeb.

*roughly pages 28-70, though again there is a lot of meandering (ex: a silly page about David Lynch that is not relevant) and remedial/wrong information (the section discussing krautrock bands is specifically embarrassing; another is when the author makes a point of saying that AGW was the first album to be credited to 'Brian Eno' rather than the 'otherworldly, vaporous "Eno"' from previous records, despite the fact that AGW very clearly says simply 'ENO' on the front).
Waren diese Rezensionen hilfreich?   Wir wollen von Ihnen hören.
Kundenrezensionen suchen
Nur in den Rezensionen zu diesem Produkt suchen

Kunden diskutieren

Das Forum zu diesem Produkt
Diskussion Antworten Jüngster Beitrag
Noch keine Diskussionen

Fragen stellen, Meinungen austauschen, Einblicke gewinnen
Neue Diskussion starten
Erster Beitrag:
Eingabe des Log-ins

Kundendiskussionen durchsuchen
Alle Amazon-Diskussionen durchsuchen

Ähnliche Artikel finden