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Track Listings
| 1. Needle In The Camel's Eye |
| 2. Paw Paw Negro Blowtorch |
| 3. Baby's On Fire |
| 4. Cindy Tells Me |
| 5. Driving Me Backwards |
| 6. On Some Faraway Beach |
| 7. Blank Frank |
| 8. Dead Finks Don't Talk |
| 9. Some Of Them Are Old |
| 10. Here Come The Warm Jets |
Product Description
Amazon.co.uk Review
In 1973, fed up with Bryan Ferry's domineering in Roxy Music, Eno leapt into a solo career that would find him championing the "art" in "artifice". This record is a who's who of the then-burgeoning English art-rock scene, featuring Robert Wyatt, Robert Fripp, and every member of Roxy Music except its leader (thus answering the musical question, "What if Eno had helmed the third Roxy record instead of Ferry?"). Warm Jets sports a lightheartedness that was a refreshing antidote to the pomposity of Yes and ELP on the dark side of art-rock's spectrum, with nonsensical, sound-based couplets such as "Oh headless chicken / How can those teeth stand so much kicking?" Listen to Fripp's furious guitars on "Baby's On Fire" and "Blank Frank": it's incredible, Velvet Underground-inspired rock in a scene that had forgotten what rocking meant. --Gene Booth
Description
By the time Brian Eno left Roxy Music and came to record this masterpiece of a debut in 1973, he already held in his grasp the raw tools to revolutionise popular music. HERE COME THE WARM JETS is bathed in his singular pop-with-a-wink aesthetic and free-associative imagination. Whether on the four-on-the-floor pre-punk stomp of "Needles In The Camel's Eye" or the Spector/VU trad-rock-ism of "Cindy Tells Me", the album displays an unabashed love of quirky, catchy pop. Macabrelyrics often subvert the melodies, a feature fully expressed on "Baby's On Fire", where the singer's cheeky vocals exaggerate the theme's comic ambiguity.
On two quite different pieces--the closing title-track and "On Some Faraway Beach"--a different side of Eno was laid bare. These mid-tempo, mostly wordless sound-paintings construct melancholy scenes out of grandiose, manipulated sounds, and gesture toward Eno's role as the father of ambient music. Savage guitar lines, erratic synthesizer, and pounding drums (Robert Fripp, Paul Thompson, and Phil Manzanera are among the excellent personnel) provide exciting textures on a collection as beguiling as it is invigorating. With WARM JETS Eno proved he was readyto jump off the edge of the pop universe, and to drag everyone else with him.
In 1973, fed up with Bryan Ferry's domineering in Roxy Music, Eno leapt into a solo career that would find him championing the "art" in "artifice". This record is a who's who of the then-burgeoning English art-rock scene, featuring Robert Wyatt, Robert Fripp, and every member of Roxy Music except its leader (thus answering the musical question, "What if Eno had helmed the third Roxy record instead of Ferry?"). Warm Jets sports a lightheartedness that was a refreshing antidote to the pomposity of Yes and ELP on the dark side of art-rock's spectrum, with nonsensical, sound-based couplets such as "Oh headless chicken / How can those teeth stand so much kicking?" Listen to Fripp's furious guitars on "Baby's On Fire" and "Blank Frank": it's incredible, Velvet Underground-inspired rock in a scene that had forgotten what rocking meant. --Gene Booth
Description
By the time Brian Eno left Roxy Music and came to record this masterpiece of a debut in 1973, he already held in his grasp the raw tools to revolutionise popular music. HERE COME THE WARM JETS is bathed in his singular pop-with-a-wink aesthetic and free-associative imagination. Whether on the four-on-the-floor pre-punk stomp of "Needles In The Camel's Eye" or the Spector/VU trad-rock-ism of "Cindy Tells Me", the album displays an unabashed love of quirky, catchy pop. Macabrelyrics often subvert the melodies, a feature fully expressed on "Baby's On Fire", where the singer's cheeky vocals exaggerate the theme's comic ambiguity.
On two quite different pieces--the closing title-track and "On Some Faraway Beach"--a different side of Eno was laid bare. These mid-tempo, mostly wordless sound-paintings construct melancholy scenes out of grandiose, manipulated sounds, and gesture toward Eno's role as the father of ambient music. Savage guitar lines, erratic synthesizer, and pounding drums (Robert Fripp, Paul Thompson, and Phil Manzanera are among the excellent personnel) provide exciting textures on a collection as beguiling as it is invigorating. With WARM JETS Eno proved he was readyto jump off the edge of the pop universe, and to drag everyone else with him.
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