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Re: Negativland becomes U2 becomes Eno

I have to recall comments written by Robert Palmer in the NY Times, right
about the period of "Remain In Light" coming out, that quite possibly Eno's
work with Talking Heads might very well be the end of them.  Whether this
was part of the ultimate breakup of Byrne with the remaining 'Heads will no
doubt be argued for some time (the issues regarding Byrne's attachment to
Santeria [sp] were also an element of course).  But at the time, Palmer
postulated that, having attained a unique Sound all their own with Eno's
help, it was inevitable that change of some kind would occur - with the 
easily predictable event being breakup, if not also after a period of
stylistic stasis.

One might theorize that only some have the creative drive to ascend above
the plateau of work achieved in this way, such that "the work is done," and
it's time to move onto the next project or level of work; undoubtedly all
the members of Talking Heads, Material, Penguin Cafe, and Devo have
experienced this effect.  It just remains to be seen as to how long one
attempts to perpetuate the plateau effect, whether for artistic or 
purposes, or whatever.

David Byrne and Mark Mothersbaugh are excellent examples of artists who
appear to have not only learned from Eno during working together, but take
what they learned forward, to explore more sonic landscapes, and provide us
also with new territory, to peruse or explore as we see fit.  It might be
several years before we see this effect on a financial juggernaut like U2,
but I would estimate that it WILL occur.

So let me then rephrase slightly my comment amongst many, to say that Eno
created for U2 an environment wherein they could achieve a sound unlike
others', that might not have occurred otherwise.

Stephen Goodman
EarthLight Productions * http://www.earthlight.net

"rich" <rich@nuvision.com> put forth:

> However, I do disagree with the statement made by Mr. Goodman:
> > U2 owes the entire sound they've grown into to Eno's input - this is no
> >different than his input to the Talking Heads' work, Devo, you name it.
> These bands do have their own sound and creativity outside of Mr. Eno.
> Yes, he's a brilliant artist, and a wonderful producer, but U2, the 
> and for chrissakes Devo all have made cool albums outside of the 
> of Eno.
> Duty Now For The Future and Freedom of Choice still sound like Devo, 
> they?  They didn't just flop over and go "please Mr. Eno, come back!"
> Aren't David Byrne and Mark Mothersbaugh considered extremely prolific 
> creative people in their own right?

(I now remember another comment by Robert Palmer in the NYT, when "Fear of
Music" came out, that "David Byrne's guitar playing has improved greatly
since the last album," which, at the time, seemed like a swipe, but in
retrospective, makes a good deal of sense.)