Brian Eno & David Byrne - My Life In The Bush Of Ghosts (1981)

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Brian Eno & David Byrne - My Life In The Bush Of Ghosts (1981)

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Eno had collaborated with Byrne's group Talking Heads on Fear of Music in 1979, and My Life was recorded mostly in a break between touring for that album, and the recording of Talking Heads' Remain in Light from 1980. Drawing on funk and world music (particularly the multi-layered percussion of African music), My Life is similar to Talking Heads' music of the same era. The "found objects" credited to Eno and Byrne were common objects used mostly as percussion. In the notes for the 2006 expanded edition of the album, Byrne writes that they would often use a normal drum kit, but with a cardboard box replacing the bass drum, or a frying pan replacing the snare drum; this would blend the familiar drum sound with unusual percussive noises. However, rather than featuring conventional pop or rock singing, most of the vocals are sampled from other sources, such as commercial recordings of Arabic singers, radio disc jockeys, and an exorcist. Musicians had previously used similarly sampling techniques, but critic Dave Simpson declares it had never before been used "to such cataclysmic effect" as on My Life. The album was recorded entirely with analogue technology, before the advent of digital sequencing and MIDI. The sampled voices were synchronized with the instrumental tracks via trial and error, a practice that was often frustrating, but which also produced several happy accidents. Also according to Byrne's 2006 notes, neither he nor Eno had read Tutuola's novel before the album was recorded. Both were familiar with Tutuola's earlier The Palm-Wine Drinkard (1952), but his My Life in the Bush of Ghosts was not easily obtained in the U.S. when the material was recorded. Even without reading the book, Eno and Byrne thought the title reflected their interest in African music, and also had an evocative, vaguely sinister quality that also referenced the voices sampled for the album: the vocalists were recorded sometimes several decades before being re-appropriated by Eno and Byrne, and the voices often seemed to take on unanticipated qualities when placed in the new context.