BRIAN ENO & DAVID BYRNE: MY LIFE IN THE BUSH OF GHOSTS

The first of just two collaborative releases by these two moments-defining icons, My Life in the Bush of Ghosts was released in 1981, released the same year as David Byrne's debut solo album, The Catherine Wheel (featuring Eno, as well as Bernie Worrell and Adrian Belew), and in between Brian Eno's Ambient(s) 3 and 4. This was likewise released a year after Talking Heads' beloved fourth, Remain In Light (1980), which was itself produced by Eno. Naturally considered on the site as 'Progressive Electronic', I'm sure we can all agree, at first glance, Bush of Ghosts is bound to be much more. And indeed, in that alone, it delivered. [The rating for this review will be solely based upon the (nearly) original album tracks.]

From the get-go, with "America Is Waiting", the specific focus of the whole album is revealed: Sampledelia, in this song's case a joyfully maximalist (if not chaotic) mish-mash of seismic Funk and apparent 'World' sonics (I'm pretty ignorant of Worldbeat at large, I'll add). Also owing to the strength of the track is Bill Laswell on bass. Killer opener. "Mea Culpa" is a wild supposed back-and-forth with an undisclosed politician and an on-air radio caller. The percussion is phenomenal. I can imagine Brian Eno in particular being inspired by the many No Wave bands which he encountered and helped showcase from New York's initial Punk movement, and I think what Byrne brings to the table is unsurprising (though not because of predictability; I'm quite happy with this). In a likewise delightfully unsurprising fashion, the sampled vocals have a definite rhythmic quality that drives the song from the start. Some of the sonic choices, in particular little trills and dings heard in the middle, strike me as Industrial, but these elements are diminished by Eno's own Ambient panache [Seriously, am I a huge Muso douche? haha]. Lebanese singer Dunya Younes is sampled on the next, the Funk-forward "Regiment", which adds a legitimately modern sound. I mean, this is still so fresh. Nice synth solo from Brian here toward the end, which itself I might guess was, at one time or another, chopped up.

Finally back to some of the excitement I felt with "America", "Help Me Somebody" has that groovy Funk and super bright guitar which is a perfect match to the sampling of the excited Southern Baptist preaching. I definitely have to put myself in a different mindset when listening to this sort of thing (and, plenty of the time, to Eno specifically). "The Jezebel Spirit" is very much of the same expression (this time sampling audio from an exorcism), but is far more straight. It picks up big time, at least, with the addition of almost phone-dial-like clangs. We initially return to a softer inflection on "Very, Very Hungry" (not "Qu'Ran", as was helpfully noted in the album details). Some guitar work nearing the end is a winning factor. "Moonlight in Glory" keeps us cool, another stronger showcase for percussion, but all in all a little too calm and singular for my tastes. Itchin' for more. "The Carrier" next begins with a chilling thumping bass, met with increasingly more elements: from spacy, haunting tones to softer (more overtly) ambient flourishes. Near the midpoint, we hear a second Younes sample (though from the same source as "Regiment").

We stay haunted [haha] on "A Secret Life", in great part thanks to its selected sample, from yet another Lebanese vocalist, Samira Tewfik. Eerie... And for that alone, one of the best on the album. To my ears, we have another No Wave-esque salute on "Come with Us". I hope the album continues to scare me till the end. That would be nice haha. [SPOILER WARNING FOR FOUR SENTENCES FROM NOW: It did.] In a broad sense (which is the position I try to take), this is assuredly Prog. Wonderful. For the original track listing, we then have our original album closer, the ethereally understated "Mountain of Needles". Effective closer. Methinks very Eno. Onto the bonus material!

With the exclusion of "Qu'Ran" as mentioned above, the bonus tracks were made available on a 2006 edition. "Pitch to Voltage" is first, with a distinctly Eastern feeling. "Two Against Three" happened; the apparently chopped up keyboards(?) is purty noice. Happy to receive up next some "Vocal Outtakes", a very quick 36 seconds of dog-like vocalization. Naturally following is "New Feet", another relatively maximal track with whooping and wailing vocals and over-the-top snare-like percussion. "Defiant" was another with less to offer, in my opinion; no crescendo, and with less-than-exciting additions as it progressed. I had no feelings for "Number 8 Mix" until the bright chiming of strings in its second half. Finally finally we have "Solo Guitar with Tin Foil". And if there was a title that made me go 'Hmmm...,' it's this'n. What does it mean? It's certainly beautiful. The warm, melodic attacks from our titular "Solo Guitar" are accompanied solely with its soft reverb. No regrets there. Another interesting selection as 'closer'.

True Rate: 3.5/5.0