|| by the way: don't
bother to search for the name ENO
in the credits, as he is appearing under his full name Brian
Peter George St. John le Baptiste de la Salle ...
Some of the above
mentioned musicians also appeared on Eno's first solo-albums - particularly
Paul Rudolph was a strong
link between Calvert and Eno - appearing on all of their early solo albums.
Rudolph is Hawkwind's talented bass player. Paul is an exceptionally
nice person. This is a strong reason for working with him."
and Eno got
along very well, as Eno agreed to produce the follow-up to Calvert's successful
Captain Lockheed album.
The also seemed to share a liking in combining the most unusual musicians
and and styles.
on his own method of working at the time:
"On my next album (Here
Come The Warm Jets), I will follow my idea of using musicians who
are not compatible with each other. The studio provides a unique opportunity
to put together people who wouldn't in any other situation work together,
who basically don't agree.
You just couldn't do it onstage. Imagine trying to get Robert
Fripp together with Simon King, the drummer
The concept is ludicrous, neither would agree to it."
These very strategies
Calvert and Eno employed on Calvert's next solo-album
Lucky Leif and the Longships
- Calvert's witty and at times surreal version of the Viking's quest for
/ and discovery of AMERICA - and some particular
aspects of US-culture and history.
Not only did Calvert and Eno mix a great variety of musicians - the line
up consisted again of various Hawkwind
AND Roxy Music
members - they also succeeded in developing a lot of (hilarous) musical
styles and parodies for the various musical ideas and stories Calvert
wanted to tell on the album.
on the recording of LUCKY
LEIF and working
"All the tracks have
got more than one musical reference. I tried to keep the cross reference
between American culture and Scandinavian foklore and ancient myths.
Brian Eno made a lot of difference. We both had to compromise. I really
wanted his more objective view, it's easy to imagine that an ideas's working
out when in fact it isn't.
still think Eno's the best producer I could possibly have had.
The recording went like
We did have some friendly arguments while we were working. Originally
I wanted some dialogue sketches between the tracks, to help along the
narrative. But Eno advised me that dialogue and humour don't really work
on an L.P.
I decided he was right, and we left out the talking. But the storyline's
still there. People had said that each track's too isolated, and the album
doesn't flow. But to me, it's just a different kind of flow. At the time
I was writing "Lucky Leif" I was very impressed by Peter Barnes approach
to theatre. It's a magpie kind of attitude - taking aspects of lots of
theatrical genres, anything from music hall to Shakespeare. That's what
I tried to do; to be eclectic not for the sake of it, but when it seems
to one of the album's highlights:
THE LAY OF THE SURFERS
- one of the best
Beach Boys parodies ever made, beside avantgardistic spoken word collages,
country and western oddities, folk-inspired poetical pieces....
And again Paul
Rudolph was on board to join Calvert
and Eno on their musical Viking-ish voyage to Vinland:
"It was very interesting
working with Bob & Brian Eno - two very artistic people on the sound front.
Lucky Leif started with the idea of making a concept-type album about
vikings -- then Robert decided to continue with the idea that as the vikings
discovered america they encountered different american things, travelling
around the country, exploring.
As Bob's imagination ran wild --and thankfully it did-- we got some twists
going on at what point in time things were actually at!! We travel through
the thirties (...) to the surfers on the west coast of California -- "I
guess you could call us Barbarians -- Bar-bary-Annes" -- fashioned after
the Beach Boys song "Barbara-Anne"!
A lot of the ideas Bob and I got together and then gelled things together
in the studio with Eno.
Once Bob started thinking of America a whole style opened up and we would
just ride his thoughts...(more
of Paul Rudolph on Calvert).
However, the project
was obviously much too strange and ambitious for the wider market and
the better (i.e. worse) part of the music journalists.
Lucky Leif provoked
some bad reviews - or general misunderstanding with many people just unable
to cope with the variety of styles. Shortly after the release of Lucky
took a first extensive break from his activities as a solo-musician and
rejoined Hawkwind to lead
them into their most creative period.
and Eno never
again joined forces for another project - both following their quite different
There are some
stories around that Calvert - shortly before his death in '88, was actually
planning another collaboration with Eno on a new record - but I can't
really confirm this so far.
Eno, as you
probably know, became one of the, if not THE main-figure in the development
of ambient music. He is for several years now also enjoying an enormous
success in the electronic and media arts, planting his numerous video-
and sound installations in galleries and museums around the globe - while
he keeps on doing numerous producer / remixer / writer and speaker jobs
- AND doing his own music...
More about all of
this on the pages you'll find linked below.
The two essential
ENO - LINKS:
"EnoWeb -- serving your Eno needs with impunity since 1993"
- is their motto.
Find news, FAQ's, interviews, articles, reviews, links and more.
is another extensive web-resource on Eno: News, tangents, stories, Eno-concepts,
a mailing list and more.