BEEP discografie entry for Music For Airports / Ambient#1
Music For Airports / Ambient#1
Brian Eno

click on image to enlarge
Year: 1978
Categorie: Solo/Ambient
Cover Art Credits:
Back Cover
Producer info:
Brian Eno
Recording Location info:
1-3:London, 1978
4:Conny's Studio, Cologne,
Catalog info:
    Virgin 258 133
LP: Polydor 2310 647 
    (AMB 001)
    EG Records EGED 17
    Polydor 2344132
    PVC 7908
    EG Records EGS 201
    Carol 1516-2 
More Covers: M
1.- 1/1         16:39 <--  ALSO 
2.- 2/1          8:25 <--  ALSO  <--  sound 
3.- 1/2         11:36 <--  ALSO 
4.- 2/2          9:38 <--  ALSO 

Additional information:
All Compositions By Brian Eno Except
1/1 Who Was Co-Composed By Robert Wyatt
(Who Also Played Acoustic Piano On This Track)
Engineered By David Hutchins,Conny Plank,Rhett 
1:Brian Eno        Electric Piano,synthesizer
  Robert Wyatt     piano
2,3:Brian Eno      syntesizer
  Christa Fast,
  Christine Gomez,
  Inge Zeininger   Vocals
4:Brian Eno        synthesizer

Note: Song Durations On The Lp Are Different, This 
Is The Listing Of The Lp:
 1.- 1/1       16:30
 2.- 2/1        8:20
 3.- 1/2       11:30
 4.- 2/2        6:00

Liner Notes:
The concept of music designed specifically as a background feature in the environment 
was pioneered by Muzak Inc. in the fifties, and has since come to be known generically 
by the term Muzak. The connotations that this term carries are those particularly 
associated with the kind of material that Muzak Inc. produces - familiar tunes arranged 
and orchestrated in a lightweight and derivative manner. Understandably, this has led 
most discerning listeners (and most composers) to dismiss entirely the concept of 
environmental music as an idea worthy of attention.
Over the past three years, I have become interested in the use of music as ambience, 
and have come to believe that it is possible to produce material that can be used thus 
without being in any way compromised. To create a distinction between my own experiments
in this area and the products of the various purveyors of canned music, I have begun 
using the term Ambient Music.
An ambience is defined as an atmosphere, or a surrounding influence: a tint. My 
intention is to produce original pieces ostensibly (but not exclusively) for particular 
times and situations with a view to building up a small but versatile catalogue of 
environmental music suited to a wide variety of moods and atmospheres.
Whereas the extant canned music companies proceed from the basis of regularizing 
environments by blanketing their acoustic and atmospheric idiosyncracies, Ambient Music
is intended to enhance these. Whereas conventional background music is produced by 
stripping away all sense of doubt and uncertainty (and thus all genuine interest) from 
the music, Ambient Music retains these qualities. And whereas their intention is to 
'brighten' the environment by adding stimulus to it (thus supposedly alleviating the 
tedium of routine tasks and levelling out the natural ups and downs of the body rhythms)

Ambient Music is intended to induce calm and a space to think.
Ambient Music must be able to accomodate many levels of listening attention without 
enforcing one in particular; it must be as ignorable as it is interesting.
September 1978