rat-a-tat dram, are a paean to Latin Americannrevolutionaries, say the Sandinistas.nAs MTV (which permits musicians tonplay dress-up and lip-sync) is a potentnforce in the marketplace and as thencharacters shown on it tend to be younger,nprettier, uglier, weirder, more ill-mannered,nmore talented, less talented, and/nor on the whole different than thenStones, the boys had to shore up theirncrambling images. So they made a costlynvideo for “Under Cover of the Night”nwhich, if nothing else, indicates that thenradical rock of the 1960’s hasn’t beenncompletely buried; the production is anminiature combination of those twoncinematic hails to the rdaes,Misstng andnSpace InvadersnWhile awaiting the appearance ofnthe cinematic The Right Stuff, BriannEno’s vinyl Apollo: Atmospheres &nSoundtracks (Editions EG) emerged, sonwe figured that it would be a more-thanadequatensubstitute and quite possiblynthe real stuff. That is, the album covernshovra the surface of the moon, in varyingnshades of living brown, as photographednby the Apollo 14 astronauts.nFilmmaker Al Reinhart, who composedna fUm with NASA’s cooperation and withoutnactors (just the original footage),nhad asked for Brian Eno’s musical cooperation.nWhile those two signs arensuggestive, they are minor as comparednto the visible and audible existence ofncomposer and musician Mr. Eno—^andnthe masculine form is used because nonambiguous title has been developed,nthough Umm would be suitable. Mr. Enonappears to be more extraterrestrial thannE. T. He has done extensive work withnRobert Fripp—^the man who has capitalizednon tape-loop delays and electronic/guitarntechnology—and with himnproduced compositions including thenappropriately titled “Wind on Water,”n”Water on Wind,” and the unhummablen”An Index of Metals” (all on EveningnChronicles of CulturenUnder Fire. It is aimed directly at teenagers.nInthepiece(whichwasbannedbynthe BBC ) Mr. Jagger gets to wear a cheapnfalse mustache in an otherwise realisticnproduction (its felseness seems to imply,n”Hey, kids, I’m really too young to grow anreal one—^just like you!”) and the cadaverousnKeith Richards gets to put on anskull-feced Halloween mask (it’s difficultnto tell which fece is real: drag abuse takesna toll); on the whole, the message is thatnthere’s a great deal of fiin and excitementninvolved in being an urban guerrillantoday, just as it was in the late 60’s. Suchnpseudoradical rancidity knows no boundsnand, as evidenced by the Stones, hasnlongevity. (SM) DnStar, Editions EG). He has also collaboratednwith the similarly curious UmmnDavid Bowie.nMr. Eno himself is no slouch, havingnproduced several albums of what cannbe best described as “mood music” fornspecific locations, such as airports. Manynof his compositions resemble whitennoise or the sounds of hump-backednwhales. Thus, Mr. Eno lost in space isnsomehow appropriate, for, Star Warsnnotwithstanding, space is a feirly quietnplace, and no eardrums—^that we knownabout—^are out there to reverberate,nanyway. Mr. Eno collaborates withnDaniel Lanois and Roger Eno (smallnworld) on Apollo. He does not disappointnon his mission to the moon—^atnleast not in the context of Brian Eno. Thenguitars and various keyboard instrumentsnmodestly rise to a whoosing crescendonon side one’s “An Ending (Ascent),”nthen the three musicians go cruisingnalong, helped by a steel guitar, ofnall things. Mr. Eno is as shameless as henis eclectic. While the musical texture isnappropriately post-ethereal, it is so in ansecular sense, being basically an indexnof muted electronics, which makes usnwonder whether Mr. Eno isn’t makingnmusic so much as merely fiddling withndials. (SM) DnnnOrganized SoundnThe New Oxford Companion tonMusic (two volumes); Edited bynDenis Arnold; Oxford UniversitynPress; New York.nWhen the subject turns to ancientnart, those conversing usually bring up thencave paintings in France; these, the claimntypically goes, are the first evidences ofnman’s artistic bent In a sense, this is trae:nthe paintings are evidence, tangible objectsnwith spatial form, things that cannbe sensed long after their creators arendust. What is less often figured is thenfeet that man was probably jodeling tonhis heart’s content in that vast auditoriumnbounded only by the heaven and thenhorizon long before it occurred to himnto pick up a stick with which to doodlenin the dirt. Music has long been with usn—perhaps it has always been around:nisn’t it likely that a cave woman sang tonthe infant that she held to her breast?nHistory, of course, begins with evidence,nand in the case of music, it starts in Sumernaround 3000 B.C. Since then, the proliferationnof songs, instruments, musicians,nforms, terms, performers, etc. has beennastonishing. Pythagoras and his colleaguesndeveloped the concept of thenMusic of the Spheres. It puts forth thenidea that there is a harmonious relationshipnin the universe, one among thenbodies in the firmament: music is everywhere.nWhile the specific concept hasnbeen largely discarded, in a metaphoricnsense it remains trae: our daily lives arenpermeated with music, Muzak, and thenrandom minifiigues that flit through ournminds.nThe Oxford Companion to Music appearednin 1938 under the direction ofnPercy A. Scholes. Several revisions werenmade in that initial work. Clearly, in thendecades following 1938, the world hasnopened up, or become smaller, dependingnupon one’s view. The result is thatnthere is an awareness of many morenmusical traditions that is much broadern