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In the 1960s, people were trying to get away from the pop song format. Tracks were getting longer, or much, much shorter.

Brian Eno

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Brian Eno
Age: 76
Born: 1948
Born: May 15
Composer
Musician
Painter
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Record Producer
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Songwriter
Writer
Borough of Melton
Eno
Brian Peter George Eno
Brian Peter George St John le Baptiste de la Salle Eno
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People
Pops
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Longer
Getting
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Away
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More quotes by Brian Eno

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I'm always interested in something when it isn't familiar to me.
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Whenever there's a new music, there's a new way of listening. And whenever there's a new way of listening, there are new musics that follow from that. And people start listening differently - that can either mean in different places or at different volumes or in different social groups or through different technologies.
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A lot of the so-called systems composers have this thing that the system is always right. You don't fiddle with it at all. Well, I don't think that. I think the system is as right as you judge it to be. If for some reason you don't like a bit of it you must trust your intuition on that. I don't take a doctrinaire approach to systems.
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At the party, Rob Partridge said to me, You gave hope to other balding men. My new epitaph: Co-wrote a couple of decent songs and went bald shamelessly.
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My interest in making music has been to create something that does not exist that I would like to listen to. I wanted to hear music that had not yet happened, by putting together things that suggested a new thing which did not yet exist.
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Not many people bought Velvet Underground LPs, but those who did, started a band.
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I'm kind of an evangelical atheist.
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You feel as if you're not living a full life. Which, of course, is why - it's my theory about why so many people who are heavily into computers are also into extreme sports and S&M. It's because their bodies are crying out for some kind of action.
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Don't be ashamed of your own ideas. Most musicians get applauded for sounding like someone else.
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I've got nothing against records - I've spent my life making them - but they are a kind of historical blip.
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I have a definite talent for convincing people to try something new. I am a good salesman. When I'm on form, I can sell anything.
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If I had a stock of fabulous sounds I would just always use them. I wouldn't bother to find new ones.
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Nothing so dates an era as its conception of the future.
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Since I have always preferred making plans to executing them, I have gravitated towards situations and systems that, once set into operation, could create music with little or no intervention on my part. That is to say, I tend towards the roles of planner and programmer, and then become an audience to the results
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I do sometimes look back at things I've written in the past, and think, 'I just don't remember being the person who wrote that.'
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I always have wanted to know how the whole thing was done, what the process involved. And I don't particularly enjoy that my music is stripped of ancillary details, and it just sort of comes out of this big tap called the Internet like water. I like some of my water to be neatly presented in a bottle. With a label on it.
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I describe things in terms of body movements. I dance a bit to describe what sort of movement it ought to make, and that's a good way of talking to musicians. Particularly bass players.
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Sometimes you recognize that there is a category of human experience that has not been identified but everyone knows about it. That is when I find a term to describe it.
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One of the interesting things about having little musical knowledge is that you generate surprising results sometimes you move to places you wouldn't if you knew better.
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The smart thing in the art world is to have one good idea and never have another.
Brian Eno