ENO'S PLAYBOY bachelor flat in mystical Maida Vale possesses a
decor that is God's own gift to a journalist caught for a good opening
paragraph. Take the music room, festooned with all manner of bizarre
technological innovations - keyboard instruments, sprawling tape equipment and
such-like. The walls are decorated with objects d'art as diverse as the cover
of a True Hollywood Confessions mag, a grim article on a child-killer and a
series of out take shots of Kari-Ann posing for that legendary first Roxy album
cover. Directly adjacent to all this hangs the maestro's current fave stage
costume - a rather remarkable black jacket embellished with garishly coloured
peacock feathers pointing out in all directions (see picture).
I hesitate to further describe the oddities to be found
in other rooms. What was the sponge frozen for posterity in a jar doing in the
fridge? And those ducks on the wall? No matter. I braced myself and left the
lounge where I had been soothed by the music of (I think) Chopin coming from
the radio and stepped out, determined to discover just what makes this man
tick.
I motioned toward the music room where I found Eno - Brian Eno is
his full and real name - deep at work. As easy smile spread across his gaunt
features as he acknowledged my appearance. I swiftly surveyed my potential
interviewee's style: the colourless prominent cheek-bones; the eyes framed in
subtly effective mascara, the sparse hair and comely scarecrow physique
resplendent in leopard-skin print shirt and black Oxford bags. So this was the
mysterious Eno of Roxy Music, the bizarre figure prophesied for the title of
Face of '73 by at least one English music paper. But enough of this vanity:
yours devotedly decided to probe deeper. What is the current philosophy of this
strange young man?
"Well it's strange you ask that, as I've suddenly
become converted to the idea of discipline of discipline in general. I came to
this conclusion after listening again to the third Velvet Underground album.
I'd always been intrigued by the Velvets relationship with Warhol's factory,
thinking was tied in with their love for the sinister, until it just dawned on
me that the Velvets whole approach to their music is identical to Warhol's
approach to films. They believed that there should be no concept attached to
art, that you don't have to consciously follow any specific patterns, that art
just creates itself as it goes along. There are passages in a Velvets song when
you expect there to be, say, a guitar solo, and there isn't. The whole thing is
just so obvious really."
Ah, ha. Obviously this man is an intellectual,
thought I. However, his theory of discipline seemed to be finding its way into
practice for, while he spoke, he was still working away perfecting his latest
tape-loop. "I've, been working so furiously of late that it's becoming
obscene," he quipped.
At that point a lady-friend of Eno's high-stepped
it into the room with various beverages. Her name was Cassandra, and she looked
rather like one of the Ronettes, with a thick frizzled mop replacing the
busby-like hair formations of the aforementioned. She was, it turned out, a
native of San Francisco, an actress "amongst other things" who had fallen madly
in love with the Divine Mr. E when the Roxies played the Bay area. Who says
that good old-fashioned romance doesn't still exist in the mean world of
showbiz?
And, by the way, how had Eno enjoyed the first tour of the
States?
"Enormously. I made it a rule to try and get out as much as
possible, meeting people and such like, instead of getting bogged down in the
whole Holiday Motel routine which seems to constitute most groups' existence
when on tour in the States. Only the food, is absolutely disgusting brought me
down."
HAD HIS, shall we say, bizarre appearance caused any riots in
certain States?
"We got the usual strange looks in airports, but once
they discovered we were English we were just taken on curiosity, value. Only
one incident came close to an eruption of all-American violence - that was when
I discovered the rest of the band had left me to finish my meal in some bar and
I found myself being stared at by a rather large fellow sitting right in front
of me. I hurriedly finished my meal, head buried down in the food, when this
guy's friend started dancing a jig around the table. I got up to pay the bill
with this fellow dancing around me and was doing my best to totally ignore him,
because I knew if I were to make the slightest move, the play would explode.
The maid was doing her best to ignore what was going on and I paid the bill and
motioned towards the door with this character still jigging around me. So I
pulled out a cigarette and simply asked the had a light. He stopped dancing and
lit my cigarette, by which time I was out of the door."
"The only other
unpleasant incident I can recall, besides performing at a truly horrible
festival at Miami in which I kicked over the speaker system in disgust and had
to face the possibility of being beaten up by backstage heavies, was when
someone threw a beer can, hitting me on the chest while I was out front doing
the harmonies on "If There Is Something". It's a particularly dispiriting
feeling having stale beer running down your stage costume. After the show, I
was informed that it was actually a symbol of affection."
"Another thing
about the States was the lack of promotion meted out Warner Bros. We had a
reception in New York but otherwise we kept to doing a few radio spots which
were quite farcical. On one of them it was obvious that the interviewer knew
absolutely nothing about us and had just been given a promo sheet beforehand.
He asked me about an album I was supposed to be recording with a Rupert Frupp.
I informed him that the name was in fact Rodney Frock."
RODNEY FROCK,
who, is also known as Robert Fripp, guitarist and mastermind of El Crimso - a
progressive rock band - came together one day and recorded a one-off piece with
Mr. Eno taking care of synthesiser and Mr. Fripp playing guitar. The result is
a piece lasting some 35 minutes which Fripp considers, the finest work he has
ever created. The track is used as a prelude for every Crimson gig and plans
are underway to release it as cheap as possible.
"Fripp and I tend to
complement each other greatly in the sense that I am by no means a musician,
whereas Fripp most certainly is and can therefore form my fantasy ideas and
turn them into some of substance. My main concern with this album is that the
price be kept as low as possible, mainly because it cost next to nothing to
make but also because it can set a precedent for an actual market for
electronic music. Certainly I'd like to play with Fripp in concert but the sort
of music that would occur would have to have an atmosphere that was conducive
to its performance. I'm thinking in terms of something like a sauna bath."
Eno is passionately involved on experimentation in electronic music,
dismissing most past attempts at a fusion with rock and citing Jimi Hendrix's
"Electric Ladyland" as easily the most successful of the few that have actually
made a real statement. Right now he has a rather innovative scheme which be
hopes to implement on future Roxy sessions, involving defined patterns for each
individual instrument. He draws a complex design stating his belief that
Captain Beefheart may also have stumbled upon the same idea on his more
revolutionary recordings.
"Right now run very interested in Muzak as a
form. I used to suffer from long stretches of insomnia and was forced to
construct a piece using tape-loops that took the form of Muzak which, in turn,
was conducive to sleep. Really, the potential to be found in the use of
electronic music has only just begun to be mined."
THE NEXT subject is
the teen-idol image that is beginning to show itself.
"Well to begin
with you must understand that I never really thought I'd be noticed, simply
because on the early gigs I was stuck behind masses of electronic gear. People
didn't even know I was on stage with the band, showing real surprise when I
suddenly appeared from amidst this barrage after the set." Now things have
changed, and our hero is caught up by the whole rock syndrome. The Face of '73?
"Oh God. I'm really fed up with all this thing about glamour. We had to
get a girl in to pose for the cover of the new album, which I thought was a
drag because it's all becoming too stereotyped. Personally I'd prefer a nice a
nice unpretentious unglamorous picture of the band, wearing false beards and
denims and standing around a tree with `Support Ecology' on the back of the
sleeve."
Eno finally donned a remarkable coat, which be claimed he had
swapped for one Turkish cigarette ("therein lies a story") and began to heap
his equipment into a large steel case in readiness for a performance at the
BBC. I asked him if he had a final message for his fans throughout the world?
"Not really. But just keep harping on the theme of discipline and
bondage." Bondage? "Yes," interjected the lovely Cassandra giving a graphic
mime description of a woman tied up in readiness for flagellation. Say no more,
thought yours devotedly and trudged out toward glamorous Westbourne Grove Tube
Station.
|
|