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Standard NATO symbol for a regiment of several battalions, indicated by the III. The shape, colour and pattern indicate friendly infantry.

A regiment is a title used by some military units. The size of a regiment varies markedly, depending on the country and the arm of service.

Historically, in the seventeenth and eighteenth centuries, a full-strength regiment was typically supposed to be a thousand men, and was commanded by a colonel.

Today, there is no set size for a unit calling itself a "regiment", which may be:

• Less than a battalion-equivalent, e.g. Regiment of Life Guards
• A battalion-equivalent, e.g. 3rd Foreign Infantry Regiment
• A number of battalions (or equivalents, such as US squadrons) e.g. Royal Regiment of Scotland, 2nd Infantry Regiment (United States)
• An entire arm of service; In several commonwealth countries, the entire artillery arm is often titled "regiment" (e.g. the Regiment of Artillery), and may then be sub-divided into "field regiments".

Historical origin[link]

The French term régiment entered military usage in Europe at the end of the 16th century, when armies evolved from collections of retinues who followed knights, to formally organised, permanent military forces. At that time, regiments usually were named after their commanding colonels, and disbanded at the end of the campaign or war; the colonel and his regiment might recruit from and serve several monarchs or countries. Later, it was customary to name the regiment by its precedence in the line of battle, and to recruit from specific places, called cantons. The oldest regiments which still exist include the 1521 Swedish Life Guards, the 1537 British Honourable Artillery Company and the French premier régiment d'infanterie de ligne, created from the ancient "bandes de Picardie" first established in 1479.^{[1] [2]}

In the 17th century brigades were formed as units combining infantry, cavalry, and artillery that were more effective than the older, single-arms regiments; in many armies, brigades replaced regiments.

Regimental system[link]

1st Battalion, The Duke of Wellington's Regiment

In the regimental system, each regiment is responsible for recruiting, training, and administration; each regiment is permanently maintained and therefore the regiment will develop its unique esprit de corps because of its unitary history, traditions, recruitment, and function. Usually, the regiment is responsible for recruiting and administrating all of a soldier's military career. Depending upon the country, regiments can be either combat units or administrative units or both.

This is often contrasted to the "continental system" adopted by many other armies. In the continental system, the division is the functional army unit, and its commander the administrator of every aspect of the formation: his staff train and administer the soldiers, officers, and commanders of the division's subordinate units. Generally, divisions are garrisoned together and share the same installations: thus, in divisional administration, a battalion commanding officer is just another officer in a chain of command. Soldiers and officers are transferred in and out of divisions as required.

Some regiments recruited from specific geographical areas, and usually incorporated the place name into the regimental name. In other cases, regiments would recruit from a given age group within a nation (e.g. Zulu Impis), an ethnic group (e.g. the Gurkhas), or foreigners (e.g. the French Foreign Legion). In other cases, new regiments were raised for new functions within an army; e.g. the Fusiliers, the Parachute Regiment (British Army), and the U.S. Army 75th Ranger Regiment.

Disadvantages of the regimental system are hazardous regimental competition, a lack of interchangeability between units of different regiments, and more pronounced "old boy networks" within the military that may hamper efficiency and fairness.

A key aspect of the regimental system is that the regiment or battalion is the fundamental tactical building block. This flows historically from the colonial period, when battalions were widely dispersed and virtually autonomous, but is easily adapted to a number of different purposes. For example, a regiment might include different types of battalions (e.g. infantry or artillery) of different origins (e.g. regular or reserve).

Within the regimental system, soldiers, and usually officers, are always posted to a tactical unit of their own regiment whenever posted to field duty. In addition to combat units, other organizations are very much part of the regimental family: regimental training schools, serving members on "extra-regimental employment", regimental associations (retirees), bands and associated cadet groups. The aspects that an administrative regiment might have in common include a symbolic colonel-in-chief (often a member of the royal family), a colonel of the regiment or "honorary colonel" who protects the traditions and interests of the regimental family and insists on the maintenance of high standards, battle honours (honours earned by one unit of an administrative regiment are credited to the regiment), ceremonial uniforms, cap badges, peculiarities of insignia, stable belts, and regimental marches and songs. The regiment usually has a traditional "home station", which is often a historic garrison that houses the regimental museum and regimental headquarters. The latter has a modest staff to support regimental committees and administer both the regular members and the association(s) of retired members.

Advantages and disadvantages[link]

The regimental system is generally admired for the esprit de corps it engenders in its units' members, but efforts to implement it in countries with a previously-existing continental system usually do not succeed. The system presents difficulties for military planners, who must deal with the problems of trying to keep soldiers of a regiment together throughout their careers and of administering separate garrisons, training, and mess facilities. The regimental community of serving and retired members often makes it very difficult for planners to restructure forces by moving, merging or re-purposing units.

In those armies where the continental system exists, the regimental system is criticized as parochial and as creating unnecessary rivalry between different regiments. The question is also raised as to whether it is healthy to develop soldiers more loyal to their regiment than to the military in general. In favor of the regimental system, it is worth noting that the United Kingdom has never suffered a military coup, or even seriously faced the prospect of one – this could in part be attributed to the "tribal" nature of the regimental system, which makes it more difficult for a charismatic leader to command the loyalty of the entire army. (The English Civil War took place before the political creation of the United Kingdom.) Commonwealth-style regiments have proven their worth throughout history in war and through lengthy and difficult policing missions. Regiments recruited from areas of political ferment (such as Scotland, Wales, Ireland, Quebec, India, etc.), tend to perform particularly well because of the loyalty their members exhibit to the regiments. Generally, the regimental system is found to function best in countries with small-to medium-sized military forces where the problems of administering vast numbers of personnel are not as prevalent. The regimental system works particularly well in an environment in which the prime role of the army consists of small-scale police actions and counterinsurgency operations, requiring prolonged deployment away from home. In such a situation, co-ordination between regiments is rarely necessary, and the esprit de corps of the regiment provides an emotional substitute for the sense of public approval that an army receives at home. This is particularly relevant to British experience during the days of the empire, where the army was virtually continuously engaged in low-intensity conflict with insurgents, and full-scale warfare was the exception rather than the rule.

A regimental system can also foster close links between the regiment and the community from which it is recruited. This sense of community 'ownership' over local regiments can be seen in the public outcry over recent regimental amalgamations in the United Kingdom. On the other hand, recruitment from a single community can lead to a concentrated and potentially devastating local impact if the regiment takes heavy casualties.

Further, the regimental system offers the advantage of grouping like units together for centralized administrative, training, and logistical purposes, thereby creating an “economies of scale” effect and its ensuing increased efficiency.

An illustrative example of this is the modular integration employed by the United States Marine Corps, which can take elements from its regimentally grouped forces and specifically tailor combined arms task forces for a particular mission or the deployed Marine Expeditionary Units (MEU). This is achievable partially because of the Marines mission adaptability, flexibility, philosophy, shared culture, history, and overall esprit de corps, which allows for near seamless interoperability.

Commonwealth armies[link]

In the British Army and armies modelled on it (such as the Australian, the New Zealand, the Canadian, the Indian and the Pakistani), the term regiment is used confusingly in two different ways: it can mean an administrative identity and grouping or a tactical unit. The modern British regimental system came about as a result of the 19th century Cardwell Reforms.

In Commonwealth countries such as India, Pakistan, Australia, New Zealand and Canada the large administrative regiment has been the normal practice for many years. In the case of India "large regiments" of four to five battalions date from 1923 and since the 1950s many of these have expanded even further. As an example the Punjab Regiment has expanded from four battalions in 1956 to its present strength of 20, while in Pakistan several regiments have over 50 battalions.

In Canada, the regiment is a formation of one or more like units employed almost exclusively for reasons of heritage, the continuance of battle honors and espit de corps. Most Canadian infantry regiments are reserve units composed entirely of one under-strength battalion of between 100-250 soldiers. The three regular force infantry regiments each consist of three regular force battalions of approximately 600 soldiers, in addition to one or more reserve battalions. Canadian battalions are employed tactically and administratively within mechanized brigade groups for regular units, or light brigade groups for reserve units.

In Australia there is but one administrative infantry regiment in the regular army, the Royal Australian Regiment, consisting of all eight regular infantry battalions in the Army, including mechanised, motorised, light, commando and parachute infantry. The Australian Army Reserve also has state-based infantry regiments which administer the reserve infantry battalions.

In Pakistan the word regiment is an administrative grouping. While different battalions may have different roles (for example different battalions of the Frontier Force Regiment may be mechanized infantry, para infantry or mountain troops) the regiment is considered to encompass all of them.

British Army[link]

In the British Army, for most purposes, the regiment is the largest "permanent" organisational unit. Above regimental level, organisation is changed to meet the tasks at hand. Because of their permanent nature, many regiments have long histories, often going back for centuries: the oldest British regiment still in existence is the Honourable Artillery Company, established in 1537. The Royal Scots, formed in 1633, was the oldest infantry regiment. It now forms part of the Royal Regiment of Scotland.^[3]

In the United Kingdom, there existed until recently a number of administrative "divisions" in the infantry that encompassed several regiments, such as the Guards Division, the former Scottish Division (now a single regiment), or the Light Division (now also compressed into a multi-battalion single regiment). The reduction and consolidation of British infantry regiments that began in the late 1950s and concluded in 2006 has resulted in a system of administrative regiments each with several battalions, a band, a common badge and uniform etc.

In the British regimental system the tactical regiment or battalion is the basic functional unit and its commanding officer more autonomous than in continental systems. Divisional and brigade commanders generally do not immerse themselves in the day-to-day functioning of a battalion – they can replace the commanding officer but will not micro-manage the unit. The regimental sergeant major is another key figure, responsible to the CO for unit discipline and the behaviour of the NCOs.

It should however be noted that amalgamations beginning in the late 1950s and ending in 2006 have diluted the British regimental system through the now almost universal adoption of "large regiments" for the infantry of the Army. These units comprise up to six of the former battalions that previously had separate regimental status. Only the Guards regiments retain their historic separate identities.

Armour[link]

Armoured regiments in Canada since the end of the Second World War have usually consisted of a single tactical regiment. During the 1960s, three Canadian regiments had both regular and militia components, which were disbanded shortly after unification in 1968. Currently, one regiment is organized with two tactical regiments and 12^e Régiment blindé du Canada and 12^e Régiment blindé du Canada (Milice) are both part of the administrative regiment 12^e Régiment blindé du Canada. The only administrative armoured regiment of the British Army that consists of more than one tactical regiment is the Royal Tank Regiment, which currently has two (1 and 2 RTR), and once had many more.

Artillery[link]

All of a nation's artillery units are considered part of a single administrative regiment, but there are typically several tactical artillery regiments. They are designated by numbers, names or both. For example, the tactical regiments 1st Regiment, Royal Canadian Horse Artillery, 10th Field Artillery Regiment, RCA and many others are part of the single administrative regiment The Royal Regiment of Canadian Artillery. In Britain, the Royal Regiment of Artillery works in the same way.

Infantry[link]

Administrative infantry regiments are composed of one or more battalions. When a regiment has only one battalion, the battalion may have exactly the same name as the regiment. For example, The North Saskatchewan Regiment is the only battalion in the administrative regiment of the same name. When there is more than one battalion, they are distinguished by numbers, subsidiary titles or both. In Britain, every infantry battalion bears a number, even if it is the only remaining battalion in the regiment (in that case it is the 1st Battalion, with the exception of The Irish Regiment of Canada, which has a 2nd Battalion only). Until after the Second World War, every regiment had at least two battalions. Traditionally, the regular battalions were the 1st and 2nd Battalions, the militia (later Special Reserve) battalion was the 3rd Battalion, and the Territorial Army battalions were the 4th Battalion and up. A few regiments had up to four regular battalions and more than one militia battalion, which disrupted the numbering, but this was rare. For this reason, although the regular battalion today (if there is only one) will always be the 1st Battalion, the TA battalions may have non-consecutive numbers.

In practice, it is impossible to exercise all the administrative functions of a true regiment when the regiment consists of a single unit. Soldiers, and particularly officers, cannot spend a full career in one battalion. Thus in the Armoured Corps, the traditional administrative "regiment" tends to play more of a ceremonial role, while in practice, its members are administered by their corps or "branch" as in the Artillery. Thus soldiers and officers can serve in many different "regiments", changing hat badges without too much concern during their career. Indeed, in the artillery, all regiments wear the same badge.

Corps[link]

The British Army also has battalion-sized tactical regiments of the Royal Engineers, Royal Corps of Signals, Army Air Corps, Royal Logistic Corps and Royal Military Police..

United States Army[link]

The United States Army was also once organized into regiments, but in the 20th century the division became the tactical and administrative unit. Industrial management techniques were used to draft, assemble, equip, train and then employ huge masses of conscripted civilians in very short order, starting with minimal resources.

Historically, a regiment consisted of three battalions and the regiment headquarters (HQ) company. Training, administration and even tactical employment was centered at divisional level. Many, but not all combat support and logistics was also concentrated at that level.

A new system, the Combat Arms Regimental System, or CARS, was adopted in 1957 to replace the old regimental system. CARS uses the Army's traditional regiments as parent organizations for historical purposes, but the primary building blocks are divisions, brigades, and battalions. Each battalion carries an association with a parent regiment, even though the regimental organization no longer exists. In some brigades several numbered battalions carrying the same regimental association may still serve together, and tend to consider themselves part of the traditional regiment when in fact they are independent battalions serving a brigade, rather than a regimental, headquarters.

The CARS was replaced by the United States Army Regimental System (USARS) in 1981.

There are exceptions to USARS regimental titles, including the Armored Cavalry Regiments and the 75th Ranger Regiment created in 1986. On 1 October 2005, the word "regiment" was formally appended to the name of all active and inactive CARS and USARS regiments. So, for example, the 1st Cavalry officially became titled the 1st Cavalry Regiment.

United States Marine Corps[link]

The USMC is divided into numbered regiments. Regardless of their purpose, Marine regiments are always referred to generically as "Marines" or "Marine Regiments" – never as "Marine Rifle Regiment" or "Marine Artillery Regiment." For example, a Marine would consider himself to be a member of the 12th Marines or the 1st Marine Regiment. Marine regiments are commanded by Colonels and are usually composed of three to five battalions.

The United States Marine Corps deploys battalions from its regiments in Marine Expeditionary Units or MEUs. However, a USMC regiment may deploy en masse as the ground combat element of a Marine Expeditionary Brigade or MEB. When attached to the MEB the Regiment is reinforced and redesignated a Regimental Combat Team (RCT) or a Regimental Landing Team (RLT).

Russian Army[link]

The regiments (Russian: полк)^[4] of the Russian Army, and armed forces influenced by Russia consist of battalions (Russian: батальон), in the infantry or tank troops, divisions (Russian: дивизион) in the artillery troops, and squadrons (Russian: эскадрилья) in aviation troops. Land forces regiments also include support units – companies (Russian: рота) and/or platoons (Russian: взвод).

Irish Army[link]

The Irish Army field artillery units are called regiments. They are divided into batteries and together the regiments form the Artillery Corps.

Air Defence units are organised as a single regiment with individual batteries stationed around the country.

See also[link]

• Demi-brigade
• Military organization
• Regimental combat team

References[link]

David Byrne
David Byrne speaking at the 2006 Future of Music Policy Summit hosted by the McGill University Schulich School of Music in Montreal, Quebec, Canada
Background information
Born	(1952-05-14) May 14, 1952 (age 60) Dumbarton, Scotland, UK
Genres	New Wave, experimental pop, worldbeat, alternative rock
Occupations	Musician, songwriter, artist, singer, actor, director, film producer, record producer
Instruments	Vocals, guitar, bass, keyboards, synthesizer, flute, clavinet, slide guitar, harmonica, autoharp, harmonium, violin, accordion buildings[1]
Years active	1974–present
Labels	Luaka Bop, Nonesuch Records, Thrill Jockey
Associated acts	Talking Heads, Brian Eno, X-Press 2, Fatboy Slim, The BPA
Website	www.davidbyrne.com
Notable instruments
Fender Duo-Sonic Fender Stratocaster

David Byrne (born May 14, 1952) is a musician and artist, best known as a founding member and principal songwriter of the American new wave band Talking Heads, which was active between 1975 and 1991. Since then, Byrne has released his own solo recordings and worked with various media including film, photography, opera, and non-fiction. He has received Grammy, Oscar, and Golden Globe awards and been inducted to the Rock and Roll Hall of Fame.

Early life[link]

Byrne was born in Dumbarton, Scotland, to Tom and Emma Byrne. He was the elder of two children. Two years later, his parents moved to Hamilton, Ontario, Canada, and then to Arbutus, Maryland, when he was 8 or 9 years old. His father worked as an electronics engineer. Before high school, David Byrne already knew how to play the guitar, accordion, and violin. He was rejected from his middle school’s choir because they claimed he was "off-key and too withdrawn." From a young age, Byrne had a strong interest in music. His parents say that he would constantly play his phonograph from age three and he learned how to play the harmonica at age five.^[2] In his journals he says, "I was a peculiar young man — borderline Asperger's, I would guess."^[3][4] As revealed by Tina Weymouth in the commentary for the concert film Stop Making Sense, Byrne is left handed but plays guitar right handed.

Music career[link]

Talking Heads: 1975–1991[link]

As part of Talking Heads in 1978 Photo: Jean-Luc Ourlin

He graduated from Lansdowne High School in southwest Baltimore County. Byrne started his musical career in a high school duo named Bizadi with Mark Kehoe. Their repertoire consisted mostly of songs such as "April Showers," "96 Tears," "Dancing On The Ceiling," and Frank Sinatra songs. Byrne then attended the Rhode Island School of Design (during the 1970-71 term) and the Maryland Institute College of Art (during the 1971-72 term) before dropping out and forming a band called "The Artistics" with fellow RISD student Chris Frantz.^[5] The band dissolved within a year, and the two moved to New York together with Frantz's girlfriend Tina Weymouth. Unable to find a bass player in New York, Frantz and Byrne persuaded Weymouth to learn to play the bass guitar.

After some practice and playing together they founded the group Talking Heads which had its first gig in 1975.^[6][7] Multi-instrumentalist Jerry Harrison joined the group in 1977. The band released 8 studio albums before going into hiatus in 1988. David Byrne desired to go solo, but it took 3 years to announce that the band were breaking up in 1991. A brief reunion for a single "Sax and Violins" in 1991 occurred before again dissolving. The band were inducted into Rock and Roll Hall of Fame in 2002, when they reunited to play 4 tracks.

Solo album career: 1979–1981;1989–present[link]

Byrne at London's Royal Festival Hall in April 2009.

During his time in the band, Byrne took on outside projects, collaborating with Brian Eno during 1979 and 1981 on the album My Life in the Bush of Ghosts, which attracted considerable critical acclaim due to its early use of analogue sampling and found sounds. Following this record, Byrne took his attention on Talking Heads. My Life in the Bush of Ghosts was re-released for its 25th anniversary in early 2006, with new bonus tracks. In keeping with the spirit of the original album, two of the songs' component tracks were released under Creative Commons licenses and a remix contest site was launched.

Rei Momo (1989) was the first solo album by Byrne, after leaving Talking Heads, that features mainly Afro-Cuban, Afro-Hispanic, and Brazilian song styles including popular dances including merengue, Cuban Son, samba, mambo, cumbia, cha-cha-chá, bomba, and charanga. His third solo album Uh-Oh (1992) followed that featured a brass-section and was driven by catchy tracks such as "Girls on My Mind" and "The Cowboy Mambo (Hey Lookit Me Now)". His fourth solo album, titled davidenryb (1994), was a more proper rock record, with Byrne playing most of the instruments on it, leaving percussion for session musicians. "Angels" and "Back in the Box" were the two main singles released from the album. The first one entered the US Modern Rock Tracks chart, reaching #24. For his fifth studio effort the emotional Feelings (1997), Byrne employed a brass orchestra called Black Cat Orchestra. His sixth Look into the Eyeball (2001) continued the same musical exploration of Feelings, but was compiled of more upbeat tracks, like those found on Uh-Oh.

Grown Backwards (2004), released by Nonesuch Records, used orchestral string arrangements, and includes two operatic arias as well as a rework of X-Press 2 collaboration "Lazy". He also launched a North American and Australian tour with the Tosca Strings. This tour ended with Los Angeles, San Diego and New York shows in August 2005.

Byrne and Eno reunited for his eighth album Everything That Happens Will Happen Today (2008).^[8] He assembled a band to tour worldwide for the album for a six-month period from late 2008 through early 2009 on the Songs of David Byrne and Brian Eno Tour.

Work in theatre and film: 1981–present[link]

In 1981, Byrne partnered with choreographer Twyla Tharp, scoring music he wrote that appeared on his album, The Catherine Wheel for a ballet with the same name, prominently featuring unusual rhythms and lyrics. Productions of The Catherine Wheel appeared on Broadway that same year. In Spite of Wishing and Wanting is a soundscape David Byrne produced for the Belgian choreographer Wim Vandekeybus's dance company Ultima Vez.

In 1991, Byrne released a classical instrumental album The Forest, where some of the tracks were already featured as a score for 1988 Robert Wilson theatre piece of the same name.

His work has been extensively used in movie soundtracks, most notably in collaboration with Ryuichi Sakamoto and Cong Su on Bernardo Bertolucci's The Last Emperor, which won an Academy Award for Best Original Score. In 2004, Lead Us Not Into Temptation (music from the film "Young Adam") included tracks and musical experiments from his score to Young Adam. Byrne also wrote, directed, and starred in True Stories, a musical collage of discordant Americana released in 1986, as well as producing most of the film's music. Byrne also directed the documentary Île Aiye and the concert film of his 1992 Latin-tinged tour titled Between the Teeth. He was chiefly responsible for the stage design and choreography of Stop Making Sense in 1984. Byrne added "Loco de Amor" (Crazy for Love) with Celia Cruz to Jonathan Demme's 1986 film Something Wild.

Byrne wrote the Dirty Dozen Brass Band-inspired score for Robert Wilson's Opera The Knee Plays from The Civil Wars: A Tree Is Best Measured When It Is Down. Some of the music from Byrne's orchestral album The Forest was originally used in a Wilson-directed theatre piece with the same name. The Forest premiered at the Theater der Freien Volksbühne, Berlin in 1988. It received its New York premiere in December 1988 at BAM, the Brooklyn Academy of Music. The Forestry Maxi-single contained dance and industrial remixes of pieces from The Forest by Jack Dangers, Rudy Tambala, and Anthony Capel.

In late 2005 Byrne and Fatboy Slim began work on Here Lies Love, a disco opera or song cycle about the life of Imelda Marcos, the controversial former First Lady of the Philippines. Some music from this piece was debuted at Adelaide Festival of Arts in Australia in February 2006 and the following year at Carnegie Hall on February 3, 2007.

In 2008 Byrne released Big Love: Hymnal - his soundtrack to season two of Big Love. These two albums constituted the first releases on his personal independent record label Todo Mundo.

In 2010, David Byrne songs were featured on the soundtrack of Oliver Stone's Wall Street: Money Never Sleeps.

Byrne and Brian Eno provided the soundtrack for the film Wall Street: Money Never Sleeps.^[9]

Other musical contributions: 1990–present[link]

Byrne has contributed songs to five AIDS benefit compilation albums produced by the Red Hot Organization: Red Hot + Blue: A Tribute to Cole Porter, Red Hot + Rio, Silencio=Muerte: Red Hot + Latin, Onda Sonora: Red Hot + Lisbon, and Offbeat: A Red Hot Soundtrip. Byrne appeared as a guest vocalist/guitarist for 10,000 Maniacs during their MTV Unplugged concert, though the songs in which he is featured were cut from their following album. One of them, "Let the Mystery Be", appeared as the fourth track on 10,000 Maniacs' CD single "Few and Far Between". Byrne worked with the "Queen of Tex-Mex", Tejano superstar Selena, writing, producing and singing a song ("God's Child (Baila Conmigo)"), included on Selena's last album, "Dreaming of You", before her death. Byrne was the host of Sessions at West 54th during its second of three seasons and collaborated with members of Devo and Morcheeba to record the album Feelings in 1997.

Byrne playing; Austin City Limits, in 2008

In 2001 a version of Byrne's single “Like Humans Do”, edited to remove its drug reference, was selected by Microsoft as the sample music for Windows XP to demonstrate Windows Media Player (not included in SP2 installs).^[10][11]

In 2002, he co-wrote and provided vocals for a track, "Lazy" by X-Press 2, which reached number 2 in the United Kingdom and number 1 on the U.S. Dance Charts. Byrne said in an interview in BBC Four Sessions's coverage of his Union Chapel performance that “Lazy” was number 1 in Syria.

In 2006, his singing was featured on "The Heart's a Lonely Hunter" on The Cosmic Game by Thievery Corporation.

He is featured on the tracks "Money" and "The People Tree", on N.A.S.A.'s 2009 album The Spirit of Apollo. Also in 2009, David Byrne appeared on HIV/AIDS charity album Dark Was the Night for Red Hot Organization. He collaborated with Dirty Projectors on the song "Knotty Pine". In the same year, Byrne performed at the Bonnaroo Music Festival in Manchester, Tennessee. He also was a signator of a letter protesting the decision of the Toronto International Film Festival to choose Tel Aviv as the subject of its inaugural City-to-City Spotlight strand.^[12]

In 2007, David Byrne provided a cover of The Fiery Furnaces' song "Ex-Guru" for a compilation to celebrate the 15th birthday of Thrill Jockey, a Chicago-based label.

In 2008, Byrne and his production team programmed the Battery Maritime Building, a 99-year-old ferry terminal in Manhattan, to play music.^[13] Essentially Byrne took the old New York City building, hooked the entire structure - pipes, heaters, pillars and all, electronically to an old pipe organ, and made a playable musical instrument of it, for a piece called "Playing the Building".^[1] This project was also installed in 2005 in Stockholm, Sweden,^[14] and at the London Roundhouse in 2009. It bears similarities to a series of installations performed by New Zealand and Detroit based artists Alastair Galbraith and Matt De Genaro, recorded on their 1998 record Wire Music and 2006 follow-up Long Wires in Dark Museums, Vol. 2. Byrne says that the point in this project was to allow people to experience art first hand, by creating the music with the organ, rather than simply looking at it.^[15]

In April 2008, Byrne took part in the Paul Simon retrospective concert series at BAM performing "You Can Call Me Al" and "I Know What I Know" from Simon's Graceland album.^[16]

In 2008 Byrne collaborated with The Brighton Port Authority, composing the music and singing the lyrics for "Toe Jam".

In May 2011 Byrne contributed backing vocals to the Arcade Fire track "Speaking in Tongues" which appeared on the 2011 edition of their album The Suburbs.^[17]

Other work[link]

Byrne founded the world music record label Luaka Bop in 1990. It was originally created to release Latin American compilations, but it has grown to include music from Cuba, Africa, the Far East and beyond, releasing the work of artists such as Cornershop, Os Mutantes, Los De Abajo, Jim White, Zap Mama, Tom Zé, Los Amigos Invisibles and King Chango.^[18][19]

In 2005, Byrne initiated his own internet radio station, Radio David Byrne.^[20] Each month, Byrne posts a playlist of music he likes, linked by themes or genres. Byrne's playlists have included African popular music, country music classics, Vox Humana, classical opera, and film scores from Italian movies.

In 2006, Byrne released Arboretum, a sketchbook facsimile of his Tree Drawings, published by McSweeney's. Byrne is also a visual artist whose work has been shown in contemporary art galleries and museums around the world since the 1990s. Represented by the Pace/MacGill Gallery in New York, he has also created public art installations, many of them anonymously. In 2010 his original art work was in the exhibition The Record: Contemporary Art and Vinyl at the Nasher Museum of Art at Duke University.^[21]

Personal life[link]

While working on the film True Stories, Byrne met costume designer Adelle Lutz whom he married in 1987. They have a daughter, Malu Abeni Valentine Byrne, born in 1989. Byrne and Lutz divorced in 2004. Byrne began a relationship with the artist Cindy Sherman in 2007.^[22]

Although a resident of the United States since childhood, Byrne is a British citizen,^[23] and has never applied for U.S. citizenship. He lives in New York City.

Cycling[link]

Byrne is known for his activism in support of increased cycling, and for having used a bike as his main means of transport for most of his life, especially cycling around New York. He has a regular cycling column in the New York Times.

He says that he cycled when he was in high school and returned to it as an adult in the late 1970s. He likes the freedom and exhilarating feeling cycling gives him. He has written widely on cycling, including a 2009 book, Bicycle Diaries.^[24] In August 2009, he auctioned his Montague folding bike in order to raise money for the London Cycling Campaign.

In 2008, Byrne designed a series of bicycle parking racks in the form of image outlines corresponding to the areas in which they were located, such as a dollar sign for Wall Street and an electric guitar in Williamsburg, Brooklyn. Byrne worked with a manufacturer that would construct the racks in exchange for the chance to sell them later as artworks, and the racks remained on the streets for about a year.^[25]

Views[link]

Byrne also posts personal comments on the music and, occasionally, on the state of the recorded music industry. In July 2007, Byrne posted the following comment:

There was another piece in the Times today about yet another 20 percent drop in CD sales. (Are they running the same news piece every 4 months?) Jeez guys, the writing's on the wall. How long do the record execs think they'll have those offices and nice parking spaces? (Well, more than half of all record A&R and other execs are gone already, so there should be plenty of parking space). They, the big 4 or 5, should give the catalogues back to the artists or their heirs as a gesture before they close the office doors, as they sure don't know how to sell music anymore. (I have Talking Heads stuff on the shelf that I can't get Warner to release.) The "industry" had a nice 50-year ride, but it's time to move on. Luckily, music remains more or less unaffected — there is a lot of great music out there. A new model will emerge that includes rather than sues its own customers, that realizes that music is not a product in the sense of being a thing — it's closer to fashion, in that for music fans it tells them and their friends who they are, what they feel passionately about and to some extent what makes life fun and interesting. It's about a sense of community — a song ties a whole invisible disparate community together. It's not about selling the (often) shattered plastic case CDs used to come in.^[26]

Works by David Byrne[link]

Solo studio albums[link]

• My Life in the Bush of Ghosts (with Brian Eno) (1981)
• Rei Momo (1989)
• Uh-Oh (1992)
• David Byrne (1994)
• Feelings (1997)
• Look into the Eyeball (2001)
• Grown Backwards (2004)
• Everything That Happens Will Happen Today (with Brian Eno) (2008)

Talking Heads[link]

• Talking Heads: 77 (1977)
• More Songs About Buildings and Food (1978)
• Fear of Music (1979)
• Remain in Light (1980)
• Speaking in Tongues (1983)
• Little Creatures (1985)
• True Stories (1986)
• Naked (1988)

Books[link]

• True Stories (1986)
• Strange Ritual, Chronicle Books (1995)
• Your Action World (1999)
• The New Sins (Los Nuevos Pecados) (2001)
• David Byrne Asks You: What Is It? Smart Art Press (2002)
• Envisioning Emotional Epistemological Information with DVD (2003)
• Arboretum, (2006)
• Bicycle Diaries (2009)

^[27]

Film[link]

• Stop Making Sense - concert movie from Talking Heads tour (1984)
• True Stories (1986)
• Ile Aiye (The house of life) - Documentary (1989)
• Here Lies Love - concept album in collaboration with Norman Cook (released 2010)
• Ride, Rise, Roar - music documentary of his concert tour with Brian Eno (released 2010)^[28]
• This Must Be the Place - 2011

References[link]

Further reading[link]

• Sytze Steenstra: Song and Circumstance. The Work of David Byrne from Talking Heads to the Present. New York and London: Continuum Books, 2010.
• John Howell: David Byrne. (American Originals Series) New York: Thunder's Mouth Press, 1992.
• Ian Gittin: Talking Heads - Once in a Lifetime: The Stories Behind Every Song.

External links[link]

Find more about David Byrne on Wikipedia's sister projects:
	Images and media from Commons
	Quotations from Wikiquote

Wikinews has related news: Musician David Byrne sues Florida governor over campaign song

• Official website
• David Byrne at the Internet Movie Database
• David Byrne on Charlie Rose

Brian Eno
Eno at The Long Now Foundation, 26 June 2006
Background information
Birth name	Brian Peter George St. John le Baptiste de la Salle Eno
Born	(1948-05-15) 15 May 1948 (age 64) Woodbridge, Suffolk, England
Genres	Experimental rock, ambient, minimalism, electronic, art rock, glam rock
Occupations	Producer, musician, songwriter, artist
Instruments	Synthesiser, piano, keyboards, vocals, organ, saxophone, guitar, bass
Years active	1970–present
Labels	Island, Polydor, EG, Obscure, Opal, Virgin, Astralwerks, All Saints Records, Rykodisc
Associated acts	Roxy Music, David Bowie, Coldplay, Talking Heads, Robert Fripp, Cluster, Devo, U2, David Byrne, Robert Wyatt, 801
Website	brian-eno.net
Music sample
Dune Prophecy Theme noicon

Brian Peter George St. John le Baptiste de la Salle Eno^[1] (born 15 May 1948), commonly known as Brian Eno or simply as Eno ( /ˈiːnoʊ/^{[citation needed]}), is an English musician, composer, record producer, singer, and visual artist, known as one of the principal innovators of ambient music.^[2]

Eno studied at Colchester Institute art school in Essex, England, taking inspiration from minimalist painting. During his time on the art course at the Institute, he also gained experience in playing and making music through teaching sessions held in the adjacent music school.

He joined the band Roxy Music as keyboard and synthesiser player in the early 1970s. Roxy Music's success in the glam rock scene came quickly, but Eno soon tired of touring and of conflicts with lead singer Bryan Ferry.

Eno's solo music has explored more experimental musical styles and ambient music. It has also been extremely influential, pioneering ambient and generative music, innovating production techniques, and emphasising "theory over practice".^[3] He also introduced the concept of chance music to popular audiences, partially through collaborations with other musicians.^[4]

Eno has also worked as an influential music and album producer. By the end of the 1970s, Eno had worked with David Bowie on the seminal "Berlin Trilogy" and helped popularise the American band Devo and the punk-influenced "No Wave" genre. He produced and performed on three albums by Talking Heads, including Remain in Light (1980), and produced seven albums for U2, including The Joshua Tree (1987). Eno has also worked on records by James, Laurie Anderson, Coldplay, Depeche Mode, Paul Simon, Grace Jones and Slowdive, among others.

Eno pursues multimedia ventures in parallel to his music career, including art installations, a newspaper column in The Observer, a regular column on society and innovation in Prospect magazine, and "Oblique Strategies" (written with Peter Schmidt), a deck of cards in with cryptic remarks or random insights meant to resolve dilemmas. He continues to collaborate with other musicians, produce records, release his own music, and write.

Education and early musical career[link]

Brian Eno was born in 1948 at Phyllis Memorial Hospital, Woodbridge, Suffolk, and was educated at St Joseph's College, Birkfield, Ipswich, which was founded by the St John le Baptiste de la Salle order of Catholic brothers (from whom he took part of his name), at Ipswich Art School in Roy Ascott's Groundcourse and the Winchester School of Art, graduating in 1969. In school, he used a tape recorder as a musical instrument and experimented with his first, sometimes improvisational, bands. St. Joseph's College teacher and painter Tom Phillips encouraged him, recalling "Piano Tennis" with Eno, in which, after collecting pianos, they stripped and aligned them in a hall, striking them with tennis balls. From that collaboration, he became involved in Cornelius Cardew's Scratch Orchestra. The first released recording in which Eno played is the Deutsche Grammophon edition of Cardew's The Great Learning (rec. Feb. 1971), as one of the voices in the recital of The Great Learning Paragraph 7. Another early recording was the Berlin Horse soundtrack, by Malcom Le Grice, a nine-minute, 2 × 16 mm-double-projection, released in 1970 and presented in 1971.^[5]

Roxy Music[link]

Brian Eno's professional music career began in London, as a member (1971–1973) of the glam/art rock band Roxy Music, initially not appearing on stage with them at live shows, but operating the mixing desk, processing the band's sound with a VCS3 synthesiser and tape recorders, and singing backing vocals. He then progressed to appearing on stage as a performing member of the group, usually flamboyantly costumed. He quit the band on completing the promotion tour for the band's second album, For Your Pleasure because of disagreements with lead singer Bryan Ferry and boredom with the rock star life.^[6]

In 1992, he described his Roxy Music tenure as important to his career: "As a result of going into a subway station and meeting Andy [saxophonist Andy Mackay], I joined Roxy Music, and, as a result of that, I have a career in music. If I'd walked ten yards further on the platform, or missed that train, or been in the next carriage, I probably would have been an art teacher now".^[7] During his period with Roxy Music, and for his first three solo albums, he was credited on these records only as 'Eno'.

Solo work[link]

Eno embarked on a solo career almost immediately. Between 1973 and 1977 he created four albums of largely electronically inflected pop songs – Here Come the Warm Jets, Taking Tiger Mountain (By Strategy), Another Green World and Before and after Science, though the latter two also contained a number of minimal instrumental pieces in the so-called ambient style. Tiger Mountain contains the galloping "Third Uncle", one of Eno's best-known songs, owing in part to its later being covered by Bauhaus. Critic Dave Thompson writes that the song is "a near punk attack of riffing guitars and clattering percussion, 'Third Uncle' could, in other hands, be a heavy metal anthem, albeit one whose lyrical content would tongue-tie the most slavish air guitarist."^[8]

These four albums were remastered and reissued in 2004 by Virgin's Astralwerks label. Due to Eno's decision not to add any extra tracks of the original material, a handful of tracks originally issued as singles have not been reissued ("Seven Deadly Finns" and "The Lion Sleeps Tonight" were included on the deleted Eno Vocal Box set and the single mix of "King's Lead Hat" [which is an anagram of "Talking Heads"] has never been reissued).

During this period, Eno also played three dates with Phil Manzanera in the band 801, a "supergroup" that performed more or less mutated selections from albums by Eno, Manzanera, and Quiet Sun, as well as covers of songs by The Beatles and The Kinks.

In 1972, Eno developed a tape-delay system first utilised by Eno and Robert Fripp (from King Crimson), described as 'Frippertronics', and the pair released an album in 1973 called (No Pussyfooting). It is said the technique was borrowed from minimalist composer Terry Riley, whose tape delay feedback system with a pair of Revox tape recorders (a setup Riley used to call the "Time Lag Accumulator") was first used on Riley's album Music for The Gift in 1963.^[9] In 1975, Fripp and Eno released a second album, Evening Star, and played several live shows in Europe.

Eno's new methods of making sound into music called for new ways of notating his compositions. Like some 20th-century composers of "classical" music, he used graphic notation to represent what could not possibly be conveyed by conventional notes on a staff.^{[citation needed]}

Eno was a prominent member of the performance art-classical orchestra the Portsmouth Sinfonia – having started playing with them in 1972. In 1973 he produced the orchestra's first album The Portsmouth Sinfonia Plays the Popular Classics (released in March 1974) and in 1974 he produced the live album Hallellujah! The Portsmouth Sinfonia Live At The Royal Albert Hall of their infamous May 1974 concert (released in October 1974.) In addition to producing both albums, Eno performed in the orchestra on both recordings – playing the clarinet. Eno also deployed the orchestra's famously dissonant string section on his second solo album Taking Tiger Mountain (By Strategy). The orchestra at this time included other musicians whose solo work he would subsequently release on his Obscure label including Gavin Bryars and Michael Nyman. That year he also composed music for the album Lady June's Linguistic Leprosy, with Kevin Ayers, to accompany the poet June Campbell Cramer.

Eno continued his career by producing a larger number of highly eclectic and increasingly ambient electronic and acoustic albums. He is widely credited with coining the term "ambient music",^[10] low-volume music designed to modify one's perception of a surrounding environment.

His first such work, 1975's Discreet Music (again created via an elaborate tape-delay methodology, which Eno diagrammed on the back cover of the LP ), is considered the landmark album of the genre. This was followed by his Ambient series (Music for Airports (Ambient 1), The Plateaux of Mirror (Ambient 2), Day of Radiance (Ambient 3) and On Land (Ambient 4)). Eno was the primary musician on these releases with the exception of Ambient 2 which featured Harold Budd on keyboard, and Ambient 3 where the American composer Laraaji was the sole musician playing the zither and hammered dulcimer with Eno producing.

In 1980 Eno provided a film score for Herbert Vesely's Egon Schiele Exzess und Bestrafung, also known as Egon Schiele Excess and Punishment. The ambient-style score was an unusual choice for a historical piece, but it worked effectively with the film's themes of sexual obsession and death.

In 1981, having returned from Ghana and before On Land, he discovered Miles Davis' 1974 track "He Loved Him Madly", a melancholy tribute to Duke Ellington influenced by both African music and Karlheinz Stockhausen: as Eno stated in the liner notes for On Land, "Teo Macero's revolutionary production on that piece seemed to me to have the "spacious" quality I was after, and like Federico Fellini's 1973 film Amarcord, it too became a touchstone to which I returned frequently."^[11]

Eno describes himself as a "non-musician" and coined the term "treatments" to describe his modification of the sound of musical instruments, and to separate his role from that of the traditional instrumentalist. His skill at using "The Studio as a Compositional Tool"^[12] (the title of an essay by Eno) led in part to his career as a producer. His methods were recognised at the time (mid-1970s) as unique, so much so that on Genesis's The Lamb Lies Down on Broadway, he is credited with 'Enossification'; on Robert Wyatt's Ruth Is Stranger Than Richard with a Direct inject anti-jazz raygun and on John Cale's Island albums as simply being "Eno".

Obscure Records (label)[link]

Eno started the Obscure Records label in Britain in 1975 to release works by lesser-known composers. The first group of three releases included his own composition, Discreet Music, and the now-famous The Sinking of the Titanic (1969) and Jesus' Blood Never Failed Me Yet (1971) by Gavin Bryars. The second side of Discreet Music consisted of several versions of Pachelbel's Canon, the composition which Eno had previously chosen to precede Roxy Music's appearances on stage, to which various algorithmic transformations have been applied, rendering it almost unrecognisable. Side 1 consisted of a tape loop system for generating music from relatively sparse input. These tapes had previously been used as backgrounds in some of his collaborations with Fripp, most notably on Evening Star. Only 10 albums were released on Obscure, including works by John Adams, Michael Nyman, and John Cage. At this time he was also affiliating with artists in the Fluxus movement.

Collaborations[link]

In 1975 Eno performed as the Wolf in a rock version of Sergei Prokofiev's classic Peter and The Wolf. Produced by Robin Lumley and Jack Lancaster, the album featured Gary Moore, Manfred Mann, Phil Collins, Stephane Grapelli, Chris Spedding, Cozy Powell, Jon Hiseman, Bill Bruford and Alvin Lee. Also in 1975, Eno provided synthesisers and treatments on Quiet Sun's Mainstream album alongside Phil Manzanera, Charles Hayward, Dave Jarrett, and Bill MacCormick, and he performed on and contributed songs and vocals to Phil Manzanera's Diamond Head album.

In 1980–1981, Eno collaborated with David Byrne of Talking Heads (which he had already anagrammatised as 'King's Lead Hat') on My Life in the Bush of Ghosts, which was built around radio broadcasts Eno collected while living in the United States, along with sampling recordings from around the world transposed over music predominately inspired by African and Middle Eastern rhythms.

He worked with David Bowie as a writer and musician on Bowie's influential 1977–79 'Berlin Trilogy' of albums, Low, "Heroes" and Lodger, on Bowie's later album Outside, and on the song "I'm Afraid of Americans". In 1980 Eno developed an interest in altered guitar tunings, which led to Guitarchitecture discussions with Chuck Hammer, former Lou Reed guitarist. Following on from his No-Wave involvement which brought him in contact with the "renegade" artist Greg Belcastro, who introduced him to the guitar techniques of a fledgling Sonic Youth, Eno has also collaborated with John Cale, former member of Velvet Underground, on his trilogy Fear, Slow Dazzle and Helen of Troy, Robert Wyatt on his Shleep CD, with Jon Hassell, with the German duo Cluster, with composers Harold Budd, Philip Glass and Roberto Carnevale. A new collaboration between David Byrne and Brian Eno titled Everything That Happens Will Happen Today was released digitally on 18 August 2008, with the enhanced CD released in October.

1990s[link]

In 1992, Eno released an album featuring heavily syncopated rhythms entitled Nerve Net, with contributions from several former collaborators including Robert Fripp, Benmont Tench, Robert Quine and John Paul Jones. This album was a last-minute substitution for My Squelchy Life, which featured more pop oriented material, with Eno on vocals. (Several tracks from My Squelchy Life later appeared on 1993's retrospective box set Eno Box II: Vocals.) Eno also released in 1992 a work entitled The Shutov Assembly, recorded between 1985 and 1990. This album embraces atonality and abandons most conventional concepts of modes, scales and pitch. Much of the music shifts gradually and without discernible focus, and is one of Eno's most varied ambient collections. Conventional instrumentation is eschewed, save for treated keyboards.

During the 1990s, Eno became increasingly interested in self-generating musical systems, the results of which he called generative music. The basic premise of generative music is the blending of several independent musical tracks, of varying sounds, length, and in some cases, silence. When each individual track concludes, it starts again mixing with the other tracks allowing the listener to hear an almost infinite combination. In one instance of generative music, Eno calculated that it would take almost 10,000 years to hear the entire possibilities of one individual piece. Eno has presented this music in his own, and other artists', art and sound installations, most notably "I Dormienti (The Sleepers)", Lightness: Music for the Marble Palace, Music for Civic Recovery Centre, The Quiet Room and "Music for Prague".

2000s[link]

In 2004, Fripp and Eno recorded another ambient collaboration album, The Equatorial Stars.

Eno returned in June 2005 with Another Day on Earth, his first major album since Wrong Way Up (with John Cale) to prominently feature vocals (a trend continued with Everything That Happens Will Happen Today). The album differs from his 1970s solo work as musical production has changed since then, evident in its semi-electronic production.

In early 2006, Eno collaborated with David Byrne, again, for the reissue of My Life in the Bush of Ghosts in celebration of the influential album's 25th anniversary. Eight previously unreleased tracks, recorded during the initial sessions in 1980/81, were added to the album, while one track, "Qu'ran", was removed in accordance with requests from Muslims.^[13] An unusual interactive marketing strategy coincided with its re-release, the album’s promotional website features the ability for anyone to officially and legally download the multi-tracks of two songs from the album, "A Secret Life" and "Help Me Somebody". Individuals can then remix and upload new mixes of these tracks to the website so others can listen to and rate them.

In late 2006, Eno released 77 Million Paintings, a program of generative video and music specifically for the PC. As its title suggests, there is a possible combination of 77 million paintings where the viewer will see different combinations of video slides prepared by Eno each time the program is launched. Likewise, the accompanying music is generated by the program so that it's almost certain the listener will never quite hear the same arrangement twice. The second edition of "77 Million Paintings" featuring improved morphing and a further two layers of sound was released on 14 January 2008. In June 2007, when commissioned in the Yerba Buena Center of the Arts in San Francisco, California, Annabeth Robinson (AngryBeth Shortbread) recreated 77 Million Paintings in Second Life.^[14]

In 2007, Eno's music was featured in a movie adaption of Irvine Welsh's best-selling collection Ecstasy: Three Tales of Chemical Romance. He also appeared playing keyboards in Voila, Belinda Carlisle's solo album sung entirely in French.

Also in 2007, Eno contributed a composition titled "Grafton Street" to Dido's third album, Safe Trip Home, released in November 2008.^[15]

In 2008, he released Everything That Happens Will Happen Today with David Byrne, designed the sound for the video game Spore and wrote a chapter to Sound Unbound: Sampling Digital Music and Culture, edited by Paul D. Miller (a.k.a. DJ Spooky).

Eno revealed on radio in May 2009 that a skin graft he received as treatment for a severe burn on his arm was part human skin, part carbon fibre. He explained that as human skin is based on carbon, the experimental treatment was likely going to work out well for him, in spite of the fact that he feels a lightness in the affected arm.^[16]

In June 2009, Eno curated the Luminous Festival at Sydney Opera House, culminating in his first live appearance in many years. "Pure Scenius" consisted of three live improvised performances on the same day, featuring Eno, Australian improv trio The Necks, Karl Hyde from Underworld, electronic artist Jon Hopkins and guitarist Leo Abrahams.

Eno scored the music for Peter Jackson’s film adaptation of The Lovely Bones, released in December 2009.^[17]

2010s[link]

Brian Eno, 2011.

In May 2010, the same Pure Scenius line-up as in 2009 performed 'This is Pure Scenius!', in the same format of three live improvised performances on the same day, at the Brighton Festival in England. Also at the 2010 Brighton Festival, after a performance of Woojun Lee's live arrangement of 'Apollo: Atmospheres and Soundtracks' by Icebreaker and BJ Cole, Eno and the band performed four of his songs.

Eno released a new solo album on Warp Records in late 2010. Small Craft on a Milk Sea, made in association with long-time collaborator Leo Abrahams and Jon Hopkins, was released on 2 November in the United States and 15 November in the UK.^[18] Eno also sang backing vocals on Anna Calvi's debut album on two songs "Desire" and "Suzanne & I".^[19]

He later released Drums Between The Bells,^[20] a collaboration with poet Rick Holland, on 4 July 2011, and the EP Panic Of Looking from the same recordings.

Record producer and other projects[link]

Record production[link]

This biographical section of an article needs additional citations for verification. Please help by adding reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially libelous or harmful. (January 2009)

From the beginning of his solo career in 1973, Eno was in demand as a producer – though his management now describe him as a "sonic landscaper" rather than a producer. The first album with Eno credited as producer was Lucky Leif and the Longships by Robert Calvert. Eno's lengthy string of producer credits includes albums for Talking Heads, U2, Devo, Ultravox and James. He also produced part of the 1993 album When I Was a Boy by Jane Siberry. He won the best producer award at the 1994 and 1996 BRIT Awards.

Despite being a self-professed "non-musician", Eno has contributed to recordings by artists as varied as Nico, Robert Calvert, Genesis, David Bowie, and Zvuki Mu, in various capacities such as use of his studio/synthesiser/electronic treatments, vocals, guitar, bass guitar, and as just being 'Eno'. In 1984, he (along with several other authors) composed and performed the "Prophecy Theme" for the David Lynch film Dune; the rest of the soundtrack was composed and performed by the group Toto. Eno produced performance artist Laurie Anderson's Bright Red album, and also composed for it. The work is avant-garde spoken word with haunting and magnifying sounds. Eno played on David Byrne's musical score for The Catherine Wheel, a project commissioned by Twyla Tharp to accompany her Broadway dance project of the same name.

Eno co-produced The Unforgettable Fire (1984), The Joshua Tree (1987), Achtung Baby (1991), and All That You Can't Leave Behind (2000) for U2 with his frequent collaborator Daniel Lanois, and produced 1993's Zooropa with Mark "Flood" Ellis. In 1995, U2 and Eno joined forces to create the album Original Soundtracks 1 under the group name Passengers; songs from OST1 included "Your Blue Room" and "Miss Sarajevo". He also produced Laid (1993), Wah Wah (1994) and Pleased to Meet You (2001) for James.

Eno played on the 1986 album Measure for Measure by Australian band Icehouse. He remixed two tracks for Depeche Mode, "I Feel You" and "In Your Room", both single releases from the album Songs of Faith and Devotion in 1993. In 1995, Eno provided one of several remixes of "Protection" by Massive Attack (originally from their Protection album) for release as a single. The single also included more remixes by DJs J-Swift, Tom D, and Underdog.

In 2007, he produced the fourth studio album by Coldplay entitled Viva la Vida or Death and All His Friends, which was released in 2008. Also in 2008, he worked with Grace Jones on her album Hurricane, credited for "production consultation" and as a member of the band, playing keyboards, treatments and background vocals. With frequent collaborator Daniel Lanois, he worked on the twelfth studio album by U2, titled No Line on the Horizon. It was recorded in Morocco, South France and Dublin and released in Europe on 27 February 2009.

In 2011, Eno and Coldplay reunited and produced Coldplay's fifth studio album Mylo Xyloto, released on 24 October of that year.

The Microsoft Sound[link]

In 1994, Microsoft corporation designers Mark Malamud and Erik Gavriluk approached Brian Eno to compose music for the Windows 95 project. The result was the six-second start-up music-sound of the Windows 95 operating system, The Microsoft Sound. In an interview with Joel Selvin in the San Francisco Chronicle he said:

The idea came up at the time when I was completely bereft of ideas. I'd been working on my own music for a while and was quite lost, actually. And I really appreciated someone coming along and saying, "Here's a specific problem — solve it."

The thing from the agency said, "We want a piece of music that is inspiring, universal, blah-blah, da-da-da, optimistic, futuristic, sentimental, emotional," this whole list of adjectives, and then at the bottom it said "and it must be 3¹/₄ seconds long."^{[† 1]}

I thought this was so funny and an amazing thought to actually try to make a little piece of music. It's like making a tiny little jewel.

In fact, I made 84 pieces. I got completely into this world of tiny, tiny little pieces of music. I was so sensitive to microseconds at the end of this that it really broke a logjam in my own work. Then when I'd finished that and I went back to working with pieces that were like three minutes long, it seemed like oceans of time.^[21]

Eno shed further light on the composition of the sound on the BBC Radio 4 show The Museum of Curiosity, explaining that he created it using an Apple Mac computer, and stating "I wrote it on a Mac. I’ve never used a PC in my life; I don’t like them".^[22]

Generative music[link]

In 1996, he collaborated in developing the SSEYO Koan generative music system (by Pete Cole and Tim Cole of intermorphic) that he used in composing the hybrid music in the album Generative Music 1:

Some very basic forms of generative music have existed for a long time, but as marginal curiosities. Wind chimes are an example, but the only compositional control you have over the music they produce is in the original choice of notes that the chimes will sound. Recently, however, out of the union of synthesisers and computers, some much finer tools have evolved. Koan Software is probably the best of these systems, allowing a composer to control not one, but one-hundred and fifty musical and sonic parameters, within which the computer then improvises (as wind improvises the wind chimes).

The works I have made with this system symbolise, to me, the beginning of a new era of music. Until a hundred years ago, every musical event was unique: music was ephemeral and unrepeatable, and even classical scoring couldn't guarantee precise duplication. Then came the gramophone record, which captured particular performances, and made it possible to hear them identically, over and over again.

But now, there are three alternatives: live music, recorded music, and generative music. Generative music enjoys some of the benefits of both its ancestors. Like live music, it is always different. Like recorded music, it is free of time-and-place limitations — you can hear it when and where you want.

I really think it is possible that our grandchildren will look at us in wonder and say: "You mean you used to listen to exactly the same thing over and over again?"

As C.S.J. Bofop, in 1996, he said:

Each of the twelve pieces on Generative Music 1 has a distinctive character. There are, of course, the ambient works ranging from the dark, almost mournful "Densities III" (complete with distant bells), to [the] translucent "Lysis (Tungsten)". These are contrasted with pieces in dramatically different styles, such as "Komarek", with its hard-edged, angular melodies, reminiscent of Schoenberg's early serial experiments, and "Klee 42" whose simple polyphony is similar to that of the early Renaissance, but, of course, the great beauty of Generative Music is that those pieces will never sound quite that way again.

Other work[link]

Eno has also been active in other artistic fields, producing videos for gallery display and collaborating with visual artists in other endeavours. One is the set of "Oblique Strategies" cards that he and artist Peter Schmidt, produced in the mid-1970s, described as "100 Worthwhile Dilemmas" and intended as guides to shaking up the mind in the process of producing works of art. Another was his collaboration with artist Russell Mills on the book More Dark Than Shark. He was also the provider of music for Robert Sheckley's In the Land of Clear Colours, a narrated story with music originally published by a small art gallery in Spain.

Eno appeared as Father Brian Eno at the "It's Great Being a Priest!" convention, in "Going to America", the final episode of the television sitcom Father Ted, which originally aired on 1 May 1998 on Channel 4.

In March 2008 Eno collaborated with the Italian artist Mimmo Paladino on a show of the latter's works with Eno's soundscapes at Ara Pacis in Rome.

In 2008, Eno designed the procedurally-generated music for the video game Spore.^[23]

In October 2008, Eno collaborated with Peter Chilvers to create an application titled Bloom, Trope, and Air for the iOS platform.^[24]

Eno was the guest curator of the 2009 Sydney Festival and the 2010 Brighton Festival.^[25]

Lizard Point from On Land is featured in the 2010 film Shutter Island. The Song "An Ending" was also featured secretly in the 2011 feature film Drive during an elevator scene involving Ryan Gosling.

Influence[link]

Eno is frequently referred to as one of popular music's most influential artists.^[26] Critic Jason Ankeny at Allmusic argues that Eno "forever altered the ways in which music is approached, composed, performed, and perceived, and everything from punk to techno to new age bears his unmistakable influence."^[3] He has spread his techniques and theories primarily through his production; his distinctive style affected a number of projects he's been involved in, including Bowie's Berlin Trilogy (helping to popularise minimalism) and the albums he produced for Talking Heads (incorporating African music and polyrhythms on Eno's advice), Devo, and other groups.^[27] Eno's first collaboration with David Byrne, 1981's My Life in the Bush of Ghosts, pioneered sampling techniques and broke ground by incorporating world music.^[28] Eno and Peter Schmidt's Oblique Strategies have been utilised by many bands, and Eno's production style has proven influential in several general respects: "his recording techniques have helped change the way that modern musicians – particularly electronic musicians – view the studio. No longer is it just a passive medium through which they communicate their ideas but itself a new instrument with seemingly endless possibilities."^[29]

While not the only inventor of ambient music, Eno is seen as a major contributor to the genre. The Ambient Music Guide argues that he has brought from "relative obscurity into the popular consciousness" fundamental ideas about ambient music, including "the idea of modern music as subtle atmosphere, as chill-out, as impressionistic, as something that creates space for quiet reflection or relaxation."^[29] His groundbreaking work in electronic music has been said to have brought widespread attention to and innovations in the role of electronic technology in recording.^[30]

In 2001 Half Man Half Biscuit released an EP entitled "Eno Collaboration", which contains a track of the same name.

MGMT wrote a song about Eno, called "Brian Eno", in their 2010 album Congratulations.

In 2011, Belgian academics from the Royal Museum for Central Africa named a species of Afrotropical spider Pseudocorinna brianeno in his honour.^[31]

Politics[link]

Brian Eno has been active politically throughout his life, frequently writing letters to government ministers, appearing on political debates, and writing newspaper columns to express his political views. He was sharply critical of the Thatcher government's decision to reduce funding to the BBC World Service, arguing that the £5 million cut to its £25 million budget was damaging, and was the equivalent cost of "just one wing of one F-16 fighter jet"- a reference to a large order of military hardware the government had just made.^{[citation needed]}

In 1996, Eno and others started the Long Now Foundation to educate the public about the very long term future of society.^[32] He is also a columnist for the British newspaper The Observer.

In 2003, he appeared on a UK Channel 4 discussion about the Iraq war with a top military spokesman; Eno was highly critical of the war. In 2005, he spoke at an anti-war demonstration in Hyde Park, London. In March 2006, he spoke at an anti-war demonstration at Trafalgar Square; he noted that 2 billion people on this planet do not have clean drinking water, and that water could have been supplied to them for about one-fifth of the cost of the Iraq war.^{[citation needed]}

The Nokia 8800 Sirocco Edition mobile phone features exclusive music composed by Eno.^[33] Between 8 January 2007 and 12 February 2007, ten units of Nokia 8800 Sirocco Brian Eno Signature Edition mobile phones, individually numbered and engraved with Eno's signature were auctioned off. All proceeds went to two charities chosen by Eno: the Keiskamma Aids Treatment program and The World Land Trust.^[34]

In 2006, Eno was one of more than 100 artists and writers who signed an open letter calling for an international boycott of Israeli political and cultural institutions.^[35]

In December 2007, the newly-elected Leader of Liberal Democrats, Nick Clegg, appointed Eno as his youth affairs adviser.^[36]

In January 2009, Eno spoke out against Israel's military action on the Gaza Strip by writing an opinion for CounterPunch and participating in a large-scale protest in London.^[37][38]

Discography[link]

Studio albums

Solo albums

• Here Come the Warm Jets (1973), Island
• Taking Tiger Mountain (By Strategy) (1974), Island
• Another Green World (1975), Island
• Discreet Music (1975), Obscure
• Before and After Science (1977), Polydor
• Ambient 1: Music for Airports (1978), Polydor
• Music for Films (1978), Polydor
• Ambient 4: On Land (1982), E.G.
• Apollo: Atmospheres and Soundtracks (1983), E.G.
• More Music for Films (1983), E.G.
• Thursday Afternoon (1985), E.G.
• Nerve Net (1992), Opal
• The Shutov Assembly (1992), Warner Bros.
• Neroli (1993), All Saints
• The Drop (1997), Thirsty Ear
• Another Day on Earth (2005), Hannibal

Ambient installation albums

• Extracts From Music for White Cube (1997), Opal
• I Dormienti (1998), Opal
• Lightness: Music for the Marble Palace (1998), Opal
• Kite Stories (1999), Opal
• Music for Civic Recovery Centre (2000), Opal
• Compact Forest Proposal (2001), Opal
• January 07003: Bell Studies for the Clock of the Long Now (2003), Opal
• Making Space (2010), Opal

Bibliography[link]

• Bracewell, Michael Roxy Music: Bryan Ferry, Brian Eno, Art, Ideas, and Fashion (Da Capo Press, 2005) ISBN 0-306-81400-5
• Eno, Brian, Russell Mills and Rick Poynor More Dark Than Shark (Faber & Faber, 1986, out of print)
• Espartaco Carlos Eduardo Sanguinetti: The Experience of Limits, p. 9 (Ediciones de Arte Gaglianone, first published 1989) ISBN 950-9004-98-7
• Eno, Brian A Year with Swollen Appendices: Brian Eno's Diary (Faber & Faber, 1996) ISBN 0-571-17995-9
• I Dormienti with Mimmo Paladino (2000). Limited edition of 2000.
• Sheppard, David On Some Faraway Beach: The Life and Times of Brian Eno (Orion Books, 2008) ISBN 978-0-7528-7570-5
• Tamm, Eric Brian Eno: His Music and the Vertical Color of Sound (Da Capo Press, 1995, first published 1989) ISBN 0-306-80649-5
• Dayal, Geeta 33 1/3: Brian Eno's Another Green World (Continuum 2007) ISBN 978-0-8264-2786-1

Footnotes[link]

1. ^ The eventual length of The Microsoft Sound as supplied and used was roughly 6 seconds, not 3¹/₄.

References[link]