For an entire decade, between 1975 and 1985, Brian Eno could do no wrong. In fact, even for the four or five years before 1975 he could do no wrong. If you consider the first two Roxy Music albums to be part of his legacy (it’s hard to overstate the mark he made on what I consider the very best album by Roxy Music, their second album, For Your Pleasure), he did no wrong. If you consider the Portsmouth Sinfonia part of his legacy (although it also gracefully sits on the balance sheet of the excellent Gavin Bryars), he did no wrong. But between 1975 and 1985 there was never a misstep of any kind. When he made an album of songs it was as new and strange as anything being made at the time (I can only speak of Another Green World, his album from 1975, in the tones reserved for masterpiece, I can only speak of it the way I speak of a yardstick against which to measure other things, I can only speak of it with a perfect satisfaction that it exists, because what with the great mediocrity of things out there I am often demoralized and disappointed, but then I remember that I could, if needed, go and listen again to Another Green World), when he made abstract albums, like his collaboration with Robert Fripp, No Pussyfooting, or his ambitious and perfect Discreet Music, he broke ground and anticipated developments (looping, for example) that were not to be popular for another generation, and when he produced or collaborated on popular music he made albums that were among the very greatest rock and roll albums ever made (Low, “Heroes,” Remain in Light, My Life in the Bush of Ghosts, Q: Are We Not Men? A: We are Devo!, The Unforgettable Fire).
— SWINGING MODERN SOUNDS #33: The Sweet Spot - The Rumpus.net by Rick Moody
