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DISCID=1c0f8c13
DTITLE=Brian Eno + David Byrne / My Life In The Bush Of Ghosts (Remast
DTITLE=ered + Expanded)
DYEAR=1981
DGENRE=Art
TTITLE0=America Is Waiting
TTITLE1=Mea Culpa
TTITLE2=Regiment
TTITLE3=Help Me Somebody
TTITLE4=The Jezebel Spirit
TTITLE5=Very, Very Hungry
TTITLE6=Moonlight In Glory
TTITLE7=The Carrier
TTITLE8=A Secret Life
TTITLE9=Come With Us
TTITLE10=Mountain Of Needles
TTITLE11=Pitch To Voltage
TTITLE12=Two Against Three
TTITLE13=Vocal Outtakes
TTITLE14=New Feet
TTITLE15=Defiant
TTITLE16=Number 8 Mix
TTITLE17=Solo Guitar With Tin Foil
TTITLE18=Mea Culpa Video By Bruce Conner
EXTD=My Life In The Bush Of Ghosts (Remastered + Expanded)\n2007 Nones
EXTD=uch Records, Inc.\n\nOriginally Released February 1981\nCD Editio
EXTD=n Released \nRemastered + Expanded CD Edition Released April 11, 
EXTD=2006\n\nAMG EXPERT REVIEW:  A pioneering work for countless style
EXTD=s connected to electronic, ambient, and third-world music, My Lif
EXTD=e in the Bush of Ghosts expands on the fourth-world concepts of J
EXTD=on Hassell and Brian Eno's work with a whirlwind 45 minutes of wo
EXTD=rldbeat/funk-rock (with the combined talents of several percussio
EXTD=nists and bassists including Bill Laswell, Tim Wright, David van 
EXTD=Tieghem, and Talking Heads' Chris Frantz) that's also heavy on th
EXTD=e samples -- from radio talk-show hosts, Lebanese mountain singer
EXTD=s, preachers, exorcism ceremonies, Muslim chanting, and Egyptian 
EXTD=pop. It's also light years away from the respectful, preservation
EXTD=ist angles of previous generations' field recordings and folk son
EXTD=g gatherers. The songs on My Life in the Bush of Ghosts present m
EXTD=yriad elements from around the world in the same jumbled stew, wi
EXTD=thout regard for race, creed, or color. As such, it's a tremendou
EXTD=sly prescient record for the future development of music. [A 2006
EXTD= remastering improved the sound, added seven previously unrelease
EXTD=d audio tracks recorded at the same time, and also included the f
EXTD=ilm clip for Mea Culpa by Bruce Conner, whose work exhibits the s
EXTD=ame plundering aesthetic as David Byrne and Eno's.]  -- John Bush
EXTD=\n\n\nAmazon.com essential recording\nReleased in 1981, My Life i
EXTD=n the Bush of Ghosts is a collaboration between ambient pioneer B
EXTD=rian Eno and Talking Heads frontman David Byrne. On Ghosts, the t
EXTD=wo strong-willed musicians manage to come to a meeting of the min
EXTD=ds, blending Byrne's herky-jerky funk with Eno's atmospheric soun
EXTD=d sculpting. More than anything, this is a large album, intent on
EXTD= pushing itself to the front of the listener's consciousness. Abu
EXTD=ndant percussion (everything from booming tribal drums to eerie e
EXTD=lectronics) reverberates in the background while Byrne and Eno to
EXTD=ss all manner of found sounds, field recordings, and radio broadc
EXTD=asts into the mix. What results is a groundbreaking album that in
EXTD=troduced a generation to the dazzling possibilities offered by el
EXTD=ectronic recording techniques. Highlights include "The Jezebel Sp
EXTD=irit," an electro-funk workout that uses a recording of an exorci
EXTD=sm as its focal point, and "Very, Very Hungry," a mysteriously et
EXTD=hereal display of electronic percussion and large-scale sonic arc
EXTD=hitecture. --S. Duda \n\nAmazon.com Product Description\nBrian En
EXTD=o and David Byrne's My Life in the Bush of Ghosts appears downrig
EXTD=ht visionary. With its "found" vocals, cut-and-paste arrangements
EXTD=, funked-up rhythms and embrace of influences from all around the
EXTD= globe, the duo's controversial work anticipated the creative cro
EXTD=ss-pollination and technological innovation of contemporary dance
EXTD= music, world music, hip hop and alternative rock. You can hear e
EXTD=choes of My Life in the Bush of Ghosts in the anthems Moby built 
EXTD=around vintage vocal samples, in the outrageously exotic beats of
EXTD= Missy Elliot and Timbaland, in the Middle Eastern accented chill
EXTD=-out tracks of Thievery Corporation or Bjork's otherworldly sound
EXTD=scapes. \n\n\nAMAZON.COM CUSTOMER REVIEW\nAn Influential Album Ge
EXTD=ts Its Due, April 15, 2006 \nBy  Kevin O'Conner\nReissues don't g
EXTD=et much better than this. \n\nFirst, the sound quality is much im
EXTD=proved over the first CD reissue, warmer and more balanced, with 
EXTD=slightly better definition. \n\nSecond, three of the tracks are a
EXTD=ctually longer than on the original release. "Mea culpa" is almos
EXTD=t a minute and a half longer. "Regiment" is about 15 seconds long
EXTD=er, thanks to an extended intro. "The carrier" is 43 seconds long
EXTD=er, including an extra vocal in the middle that, upon comparison,
EXTD= was clearly excised from the original version. (In addition, "Mo
EXTD=onlight in glory" takes a bit longer to fade out, though it does 
EXTD=not otherwise seem to differ from the original.) \n\nThird, the r
EXTD=ather thick booklet actually has liner notes, with essays by Davi
EXTD=d Byrne and Brian Eno (though theirs seem to be mostly David Byrn
EXTD=e) and David Toop. You don't see liner notes much anymore, so thi
EXTD=s is a real treat. \n\nFourth, the new cover art on the slipcase 
EXTD=perfectly illustrates the nature of the contents of the package. 
EXTD=The image is actually that of the original album cover, only upda
EXTD=ted using current technology. \n\nFifth, according to the officia
EXTD=l web site created for this reissue, "David Byrne has personally 
EXTD=overseen the tracklisting and remastering". I have seen too many 
EXTD=artist catalogs remastered and reissued without the participation
EXTD= of the artists themselves, and the results are usually lacking i
EXTD=n some respect. This is not the case here. \n\nFinally, the video
EXTD= for "Mea culpa" is included. And at a decent resolution, too. \n
EXTD=\nI have only two real complaints about this remastered edition. 
EXTD=One is the omission of the track "Qu'ran", though I realize that 
EXTD=particular choice was made back in the late eighties, when the fi
EXTD=rst UK edition of the CD was released. It also would have been ni
EXTD=ce if the liner notes had included a mention of this track and th
EXTD=e reasons for its absence, even if only in passing. In any event,
EXTD= if this track is a must-have for you, I recommend tracking down 
EXTD=a used copy of the first US CD edition (Sire Records, 6093-2). Th
EXTD=e other is the omission of the credits identifying the voices use
EXTD=d. David Toop mentions one of the sources in his essay, but none 
EXTD=of the others are specifically mentioned anywhere. \n\nHighly rec
EXTD=ommended. \n\n\nAMAZON.COM CUSTOMER REVIEW\nROCKIN', YOU SAY?, Ma
EXTD=y 22, 2006 \nBy  Kerry Leimer (Makawao, Hawaii United States)\nI 
EXTD=was surprised to see a review of this reissue in "Rolling Stone" 
EXTD=of all places. The review's writer seemed somewhat at sea. (I hes
EXTD=itate to describe him as a "reviewer" or "critic" since, as we wi
EXTD=ll shortly see, the discipline he applies to developing his opini
EXTD=ons are severely limited). Apparently this chap was unable to twi
EXTD=g on to what's happening here and gave the effort a less than thr
EXTD=ee-star rating based on -- get this -- his keenly articulated ins
EXTD=ight that MLITBOG "wasn't rockin' enough". I guess if you believe
EXTD= that "rockin'" is the single criterion for anything and everythi
EXTD=ng then those guiding lights of Commerce trumps Culture, who know
EXTD= the measure of everything, will eventually let you have your ver
EXTD=y own copy of "ROCKIN'! --The Industry's Guide to What Matters in
EXTD= Music, Entertainment, Food and Fashion, Etc. -- One Word Edition
EXTD=". But only if you take an oath to Obey. \n\nOf course for the re
EXTD=st of us so far removed from the towers of Stone, there's always 
EXTD=a bit of an issue in evaluating any form of expression because it
EXTD= requires some effort to determine both the intention and the res
EXTD=ult -- and then measure the gap between the two. It's also nice t
EXTD=o have some context bigger than last week to consider. I'm going 
EXTD=out on what I imagine to be a rather thick and well-developed lim
EXTD=b, not far off the ground and in complete confidence to be workin
EXTD=g without a supporting ladder, rope, parachute or big fluffy cush
EXTD=ions to break a potential fall, when I say that it seems unlikely
EXTD= that "rockin'" was one of the primary goals here. \n\nFor exampl
EXTD=e, we first hear Eno's use of this "found object" technique on "B
EXTD=efore and After Science". On "Kurt's Rejoinder" during which Perc
EXTD=y Jones' bass meets up with Dave Mattacks' drums, Eno uses a reco
EXTD=rding of Kurt Schwitters -- an original member of the Dada moveme
EXTD=nt -- as the vocal in what can only be termed an audio "readymade
EXTD=". "My Life in the Bush of Ghosts" takes this aesthetic to new le
EXTD=vels of sophistication and deliberate manipulation, and is in fac
EXTD=t kin to many art and art music traditions of the 20th Century ge
EXTD=ared at times to encouraging non-linear processes, trusting an un
EXTD=foreseen outcome and even placing the artist's personality at som
EXTD=e remove from utterly dominating all aspects of the created work.
EXTD= Its heuristic tendencies don't derive from a rock sensibility an
EXTD=d the importance of a rock sensibility here is at best minimal. I
EXTD=n effect, many of the rigidly compartmentalized rhythmic componen
EXTD=ts seem designed to be the absolute antithesis of typical rock fo
EXTD=rms. So, in addition to some remarkable music, the record's value
EXTD= also lies in bringing this perspective within the reach of a mor
EXTD=e egalitarian audience. \n\nRolling Stone's critical arrogance as
EXTD=ide, "Ghosts" was and is a singularly winning experiment and thes
EXTD=e remasters are a huge help in clearing up the sound and structur
EXTD=e -- there are even a few spots where voices are revealed which w
EXTD=ere not evident on the original. It's also great to have the sing
EXTD=le included ("Very, Very Hungry" which here replaces "Qu'ran" -- 
EXTD=no offense! spellcheck tells me it should be Qur'an) as well as t
EXTD=he other tracks, some of which have surfaced Here There and Every
EXTD=where over the years. Needless to add, a disc well worth having a
EXTD=nd well worth thinking about here in Century 21. \n\n\nAMAZON.COM
EXTD= CUSTOMER REVIEW\nA well-deserved 25th anniversary reissue for th
EXTD=e groundbreaking album, 01/20/2007 \nBy  Paul Allaer (Cincinnati)
EXTD=\nBrian Eno, producer of the Talking Heads' early albums, and Dav
EXTD=id Byrne, singer-songwriter of the Talking Heads, take a left tur
EXTD=n and found further common ground in making this groundbreaking a
EXTD=lbum. First released in 1981, the album receives a long deserved 
EXTD=reissue for its 25th anniversary. \n\nThe 2006 release of "My Lif
EXTD=e in the Bush of Ghosts" (18 tracks, 60 min.) is more than just a
EXTD= standard reissue. Personally supervised by David Byrne, this is 
EXTD=a reworking of the original album, with 7 new tracks and a new tr
EXTD=acklisting. The now 18 tracks are now divided up in "3 sides". It
EXTD= bears noting that much of the album was recorded before the Talk
EXTD=ing Heads' "Remain in Light", but released afterwards (for techni
EXTD=cal reasons). Listen again to "Remain in Light" and you'll see ho
EXTD=w much influence "My Life" had on that album. As to this reissue,
EXTD= everthing is done first class: the remastered sound is impeccabl
EXTD=e, the 28 page booklet is full of interesting information, starti
EXTD=ng with an excerpt from author Amos Tutuola's 1952 book "My Life 
EXTD=in the Bush of Ghosts", from which the album takes its inspiratio
EXTD=n, to "The Making of" extensive liner notes by Byrne and Eno them
EXTD=selves. \n\nIn all, this is surely the definitive version of "My 
EXTD=Life in the Bush of Ghosts" (even with the regrettable omission o
EXTD=f the "Qu'run" track). The album has proven over the years to be 
EXTD=not merely enormously influential, but better yet thoroughly enjo
EXTD=yable and sounds as fresh today as it did when this came out 25 y
EXTD=ears ago. Essential for any music fan.\n\n\nAMAZON.COM CUSTOMER R
EXTD=EVIEW\nMaybe that's what artists do, May 24, 2006 \nBy  Robert Ca
EXTD=rlberg (Seattle)\nNot since the Beatles reissues has a remasterin
EXTD=g provided such a dramatic improvement. Although it doesn't say s
EXTD=o, I'd suspect engineer Greg Calbi (who mastered the original alb
EXTD=um) went back to the original 24-track masters, meticulously clea
EXTD=ned up each individual track, then recombined them digitally for 
EXTD=maximum clarity. These don't sound like no safety masters! Vocals
EXTD=, synth lines, percussion and bass all stand out in fresh relief.
EXTD= Comparing this issue to the 1990 Sire CD (or even the 1980 LP) i
EXTD=s like the Claritin ad, lifting a haze you didn't even know was t
EXTD=here. \n\nThe track layout follows the 1981 re-issue, which repla
EXTD=ced the track "Qu'ran" with the single B-side "Very Very Hungry" 
EXTD=after the Islamic Council of Great Britain complained. Interestin
EXTD=g that 25 years later (in these days of Danish cartoons) we still
EXTD= can't afford to offend. \n\nThe seven bonus tracks are mostly fa
EXTD=miliar. "Pitch to Voltage" is called "On The Road to Zagora" on t
EXTD=he widely-circulated bootleg of outtakes "Ghosts," "Two Against T
EXTD=hree" is "The Friends of Amos Tutola" and "Number 8 Mix" is "Les 
EXTD=Hommes Ne Le Sauront Jamais." "Defiant" is a radically remixed "Q
EXTD=u'ran" with a different vocal. "New Feet" showed up on Eno's 1980
EXTD= KPFA interview (as untitled). "Vocal Outtakes" is 0:36 of exactl
EXTD=y that and "Solo Guitar with Tin Foil" sounds like Byrne testing 
EXTD=a long delay. Still these tracks make a nice adjunct, and needles
EXTD=s to say, sound WAY better than on the bootleg. \n\nThe only trac
EXTD=ks missing are the real "Qu'ran" and "Into The Spirit World" ("Th
EXTD=e Jezebel Spirit" with the original Kathryn Kuhlman vocals, which
EXTD= her estate still refuses to license.) \n\nI haven't mentioned th
EXTD=e music yet. Somehow, if you're reading this, I doubt I need to. 
EXTD=\n\n\nAMAZON.COM CUSTOMER REVIEW\nSkip in "Regiment"?, April 25, 
EXTD=2006 \nBy  L. Simon "The Same Yest!" (Boise, ID)\nI'm so glad I p
EXTD=icked up this re-issue. It sounds sharp, clean, and fresh. There'
EXTD=s much greater clarity than the vinyl and earlier cd release I ha
EXTD=ve. And, as one person already noted, some of the mixes are a bit
EXTD= different from the originals. Track 3, "Regiment," for instance 
EXTD=has an extended intro, which I love. HOWEVER, at 55 seconds into 
EXTD=that song there is a skip, some kind of glitch that jumps the bea
EXTD=t. As a drummer, I noticed this immediately and it really bugs me
EXTD=. Does anyone else out there notice this? Or did I somehow get a 
EXTD=defective cd? Check it out! Listen carefully to the beat and you'
EXTD=ll hear what I'm talking about (unless I happen to have a defecti
EXTD=ve disc somehow). \nBy the way, "The Jezebel Spirit" still gives 
EXTD=me chills and creeps me out (younger people would not know that t
EXTD=his came out a few years after the huge popularity in the 70s of 
EXTD=The Exorcist movie). Also to put this album in context, you need 
EXTD=to listen to Byrne's music for The Catherine Wheel, especially th
EXTD=e stuff with John Miller Chernoff, author of "African Rhythm and 
EXTD=African Sensibility," a book I still find worthwhile. Oh, and you
EXTD= must read the book by Amos Tutuola, "My Life in the Bush of Ghos
EXTD=ts," for a truly remarkable, terrifying, and beautiful story--kin
EXTD=d of like an African Alice in Wonderland, but with grotesque, sur
EXTD=realistic absurdity. \n\n\nAMAZON.COM CUSTOMER REVIEW\nWelcome ba
EXTD=ck, old friend!, April 17, 2006 \nBy  Dean W. Estes "xoconostle" 
EXTD=(San Francisco, CA USA)\n\nSo much has been written about this im
EXTD=portant and still-enjoyable album that I could hardly hope to add
EXTD= anything of significance, so I'll limit my comments to some rand
EXTD=om anecdotes. It's a delight to hear this vastly improved release
EXTD= so quickly on the heels of the excellent remasters of the Talkin
EXTD=g Heads catalogue. \n\nThe track "Qu'ran" was deleted from the al
EXTD=bum at the request of a Muslim group in the UK. Mr. Eno hasn't sa
EXTD=id much about this over the years, except to indicate that the ex
EXTD=cision was made out of respect for the faith of others. Obviously
EXTD=, that doesn't address the potential offense that some Christians
EXTD= might have taken regarding the appropriation of "black preacher"
EXTD= vocals, but then, so far as I'm aware there have never been obje
EXTD=ctions to "Help Me Somebody," only enthusiastic praise over the d
EXTD=ecades. \n\nThe now-clich?d use of "black preacher" samples on da
EXTD=nce tracks started here (well, as inspired by Steve Reich's "Come
EXTD= Out" and "It's Gonna Rain" from the late 1960s.) \n\nAlthough it
EXTD='s unlikely that a legal release of "Jezebel Spirit" with the ori
EXTD=ginal Kathryn Kuhlman vocal will ever be released, it's very much
EXTD= worth hearing, if a bootleg recording happens to find you. The d
EXTD=rama and conviction in her voice are quite spooky, in contrast to
EXTD= the somewhat "disco-ized" official release with the exorcist's v
EXTD=oice, which to my mind sounds more like a humorously naughty stri
EXTD=ng of double-entendres than anything intimidating. \n\nThe track 
EXTD="Very Very Hungry" that was used to replace "Qu'ran" was original
EXTD=ly the b-side of the 12" version of "The Jezebel Spirit." \nFor y
EXTD=ears this superb track was only known to hardcore collectors. \nI
EXTD=t may not be as dramatically compelling as "Qu'ran," but it holds
EXTD= its own as well as anything else on "side 2" of "Ghosts." \n\nTh
EXTD=e "extra" male vocal that now appears on "The Carrier" is a snipp
EXTD=et of the original sample that was to be used for the entire trac
EXTD=k. I have a recording of the "Bush of Ghosts" works in progress f
EXTD=rom c. 1980 that makes this clear. These recordings were played b
EXTD=y Mr. Eno in an interview with Charles Ahmikanian on KPFA while E
EXTD=no was in San Francisco to give lectures on "The History of the R
EXTD=ecording Studio as a Compositional Tool," (As a trivia point, Eno
EXTD= played the *live* recording of Jimi Hendrix' "Star Spangled Bann
EXTD=er" during that interview, and was actually moved to tears ... he
EXTD= had to take a moment to regain composure.) \n\nThis is the rare 
EXTD=re-issue that modifies original material to its improvement, as o
EXTD=pposed to providing the mere novelty of a new version. This isn't
EXTD= a cheap gimmick to revive sales of a classic; it's a proper re-i
EXTD=ntroduction, well-timed. If you don't already know this album, yo
EXTD=u can trust that it still holds up as an amazingly funky and soul
EXTD=ful excursion into the influence of world traditions in an avant/
EXTD=pop context, not just as an influential relic. This album is stil
EXTD=l alive in the house of musical spirits. \n\n\nAMAZON.COM CUSTOME
EXTD=R REVIEW\nAn Influential Recording, Even if it isn't Enjoyable., 
EXTD=January 3, 2001 \nBy  Alan Koslowski (Seattle, WA)\n\nIn many res
EXTD=pects, this album deserves the lavish praise it has received from
EXTD= many critics. Listening to this album, it is obvious that many p
EXTD=rominent 1990s techno/electronica and rap artists were strongly i
EXTD=nfluenced by it. MLINBOG is a dense collage of samples (from many
EXTD= different sources), polyethnic and polyrhythmic percussion, funk
EXTD=, and inventive synthetic noise. Since it obviously has been such
EXTD= an influential record, it is defintely worth listening to.\nMLIN
EXTD=BG isn't quite as groundbreaking as so many people think it is. I
EXTD=n the late 1960s-mid 1970s, a German avant-garde band named Can e
EXTD=xperimented with electronic music in a similar manner. They also 
EXTD=dabbled with Third World percussion, though in more delicate, sub
EXTD=tle manner than Byrne and Eno do here. In fact, My Life in the Bu
EXTD=sh of Ghosts sounds somewhat similar to another album, Movies (19
EXTD=80), by Can band member Holger Czukay. Considering this, MLINBOG 
EXTD=is more of a progression rather than a truly groundbreaking work.
EXTD=\n\nByrne and Eno explored similar musical territory on the Talki
EXTD=ng Heads album, Remain in Light (1980). That record is adventurou
EXTD=s and often challenging, but also highly listenable because of By
EXTD=rne's infectious, focused songwriting (albeit quirky and unusual 
EXTD=relative to most pop music). Remain in Light can be viewed as a p
EXTD=remise for MLITBOG, taking the music to experimental extremes. Bu
EXTD=t while MLITBOG is even more audacious, it seems unfocused, often
EXTD= approaching tedious monotony. It feels more like an experiment r
EXTD=ather than a coherent album. On each track, Byrne and Eno create 
EXTD=interesting textures, but they are just textures, not songs. The 
EXTD=music is often impenetrable and sounds polymerized. One of things
EXTD= that usually elevated Eno above his peers was his sense of human
EXTD=ity. Here, he and Byrne are perilously close to the mechanical te
EXTD=rritory of a Kraftwerk/Depeche Mode variety (though MLINBOG in mo
EXTD=re inventive than anything those groups ever came up with). My Li
EXTD=fe in the Bush of Ghosts isn't usually inviting or emotive.\n\nDe
EXTD=spite it's flaws, My Life in the Bush of Ghosts is of strong inte
EXTD=rest for listeners of techno, trance, electronica, rap, and exper
EXTD=imental music (as is most of Eno's work). Even if it isn't as gro
EXTD=udbreaking as many people think it is, MLINBOG is still a solid p
EXTD=rogression in the context of experimental music. The whole may be
EXTD= less than the sum of it's parts, but the parts themselves are re
EXTD=spectable. It may be just an experiment, but it's an important ex
EXTD=periment. \n\n\nHalf.com Details \nContributing artists: Bill Las
EXTD=well, Chris Frantz, David Van Tieghem, Mingo Lewis \nProducer: Br
EXTD=ian Eno, David Byrne \n\nAlbum Notes\nThis is an Enhanced CD, whi
EXTD=ch contains both regular audio tracks and multimedia computer fil
EXTD=es.\n\nPersonnel: David Byrne (guitar, synthesizer, bass guitar, 
EXTD=drums, percussion); Brian Eno (guitar, synthesizer, bass guitar, 
EXTD=drums, percussion); Tim Wright, Bill Laswell, Busta Jones (bass i
EXTD=nstrument); Prairie Prince, David Van Tieghem (drums, percussion)
EXTD=; Chris Frantz, John Cooksey (drums); Jose Rossy (congas, agogo);
EXTD= Steve Scales (congas, percussion); Mingo Lewis (bata); Dennis Ke
EXTD=eley (bodhran).\n\nRecording information: 1979 - 1980.\n\nEno was
EXTD= a key figure in the development of Talking Heads, producing some
EXTD= of their most innovative albums. This collaboration with head He
EXTD=ad Byrne built on the sonic ground the two had already broken tog
EXTD=ether via their well established working relationship. The pair c
EXTD=ouldn't have known how influential MY LIFE IN THE BUSH OF GHOSTS 
EXTD=would be in the next two decades.\nDeconstructing the avant-funk 
EXTD=of the Heads' REMAIN IN LIGHT, Byrne and Eno recorded polyrhythmi
EXTD=c backing tracks similar to that effort. Instead of creating lyri
EXTD=cs or melodies to lay over them, the duo turned to "found sounds"
EXTD= and voices, looping everything from radio talk show conversation
EXTD=s to Muslim chants atop the rhythm bed, before anyone even knew w
EXTD=hat a sampler was. The subsequent impact on everything, from elec
EXTD=tronica to World music to whatever Bill Laswell is doing this wee
EXTD=k, was inestimable. The most important thing is that all this hig
EXTD=h-minded studio wizardry works on a very immediately satisfying l
EXTD=evel.\n\nIndustry Reviews\nRanked #36 in NME's list of the 50 Gre
EXTD=atest Albums Of The '80s.\nNew Musical Express (09/25/1993)\n\n[I
EXTD=]t's the unidentified voices seeping in from the haunted boundari
EXTD=es of American talk radio that capture our attention and that now
EXTD= seem to speak to us about another, still uncharted world.\n\n\n5
EXTD= stars out of 5 -- Byrne and Eno's collaboration drips with emoti
EXTD=onal intensity....The feelings don't come directly from them but 
EXTD=from the found voices of Pentecostal preachers and Algerian Musli
EXTD=ms that the duo harvested from American radio and ethnic field re
EXTD=cordings.\n\n\n5 stars out of 5 -- The disturbingly funky exotic 
EXTD=stew that resulted was mind-bending in its day and remains so now
EXTD=.\n\n\n[T]he remastered GHOSTS feels haunting, hypnotic, and fres
EXTD=h 25 years later. -- Grade: A-\n\n\nROLLING STONE REVIEW\nMarshal
EXTD=l McLuhan would have loved the concept: sample the global media b
EXTD=litz, edit, add polyethnic rhythm tracks, name the results after 
EXTD=a novel by Nigerian author Amos Tutuola and recycle them into the
EXTD= blitz. Talking Heads' David Byrne and audio eclectic Brian Eno h
EXTD=ave made vocal tracks from snippets of radio broadcasts and Middl
EXTD=e Eastern music (the way Robert Fripp turned his neighbors' fight
EXTD=ing into "NY3"), then set them in and against percussive, repetit
EXTD=ive mind-funk designed more for listening than dancing. My Life i
EXTD=n the Bush of Ghosts is an undeniably awesome feat of tape editin
EXTD=g and rhythmic ingenuity. But, like most "found" art, it raises s
EXTD=tubborn questions about context, manipulation and cultural imperi
EXTD=alism.\n\nWhat's the difference between using evangelists' rhetor
EXTD=ic as lyrics (for "Once in a Lifetime" on Talking Heads' Remain i
EXTD=n Light) and using the voice of New Orleans preacher Reverend Pau
EXTD=l Morton in "Help Me Somebody"? Plenty. "Once in a Lifetime" is o
EXTD=bviously Byrne's creation, complete on its own terms. "Help Me So
EXTD=mebody" is a falsified ritual, with its development truncated and
EXTD= its rhythm deformed. A pseudodocument, it teases us by being "re
EXTD=al." Even more annoying is "The Jezebel Spirit," which utilizes a
EXTD= recorded exorcism. Byrne and Eno latch onto the rhythm of the ex
EXTD=orcist's dry laugh for the backup, but they fade out before we fi
EXTD=nd out what happened to the possessed woman--which would have bee
EXTD=n a lot more interesting than the chattery band track. Blasphemy 
EXTD=is beside the point: Byrne and Eno have trivialized the event.\n\n
EXTD=Still, electronic music does have an honorable tradition of messi
EXTD=ng with speech sounds. "America Is Waiting," "Mea Culpa" and "Com
EXTD=e with Us"--rhythmic nuggets from an editorial, a talk show and y
EXTD=et another evangelist -- are smart, funny-creepy transformations,
EXTD= justifiable because they don't promise a narrative payoff. But m
EXTD=essing with music is a more dubious proposition. You'd think that
EXTD= if Algerian Muslims had wanted accompaniment while they chanted 
EXTD=the Koran ("Qu'ran"), they'd have invented some. Or if Lebanese s
EXTD=inger Dunya Yusin craved a backbeat, she could have found one (By
EXTD=rne and Eno's "Regiment" sounds like something from the Midnight 
EXTD=Express soundtrack).\n\nWhen they don't succumb to exoticism or c
EXTD=uteness -- luckily, that's most of the album -- the Byrne-Eno bac
EXTD=kups are fascinating, complementing the sources without absorbing
EXTD= them. David Byrne and Brian Eno pile up riffs and cross-rhythms 
EXTD=to build drama, yet they keep the cuts uncluttered and mysterious
EXTD=. As sheer sound (ignoring content and context), many of the sele
EXTD=ctions are heady and memorable. My Life in the Bush of Ghosts doe
EXTD=s make me wonder, though, how Byrne or Eno would react if Dunya Y
EXTD=usin spliced together a little of "Animals" and a bit of "The Paw
EXTD= Paw Negro Blowtorch," then added her idea of a suitable backup. 
EXTD=Does this global village have two-way traffic? (RS 340 -- Apr 2, 
EXTD=1981)  -- JON PARELES
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