Eno was never one for passing over a chance to be 'inspired' by other artists work. Most of his 'innovations' were directly lifted from the German electronic underground of the early seventies.
One piece of work that stood out as an obvious influence for Eno's ethno-based collaborations was this early album from CAN's erstwhile bassist and tape editor, Holger Czukay, assisted by electronic composition chum Rolf Dammers.
The technique involves using chopped up field recordings of unknown traditional music and singing from the third world and asia.
Here's what it said on the cover of this re-issued version:
"A few month after the foundation of Can Holger Czukay recorded his first solo album Canaxis. The music has its origins in different parts of the world. It was arranged with the intuition of exploring and preserving the geniune character and beauty in an ambient context. Here for the first time Czukay explored the idea of 'sampling'."
Every octogenarian nowadays tries to claim to be the first one to have used 'sampling', which is crap.This was tape collage/splicing, as taught by Stockhausen to his students....including Czukay.
Hell there were shit-loads of novelty records in the fifties and sixties that used the same techniques long before Czukay, or even Stockhausen.Not forgetting the innovative work of the BBC Radiophonic Workshop.
'Sampling' was something completely different, involving a machine that could play any captured sound at different pitches, like the Mellotron did with tape loops...but that is never mentioned in the who did it first stand-offs.
No, Czukay didn't invent sampling, but he did get there first with the 'white man makes western Ethnic culture clash crossover collage' thing, that Eno nabbed for himself later on with the excellent 'My Life In The Bush Of Ghosts'.
1 Boat-Woman-Song 17:39
2 Canaxis 20:20
3 Mellow Out 2:12