Brian Eno: Here Come The Warm Jets (Remastered) CD Track Listing

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Brian Eno Here Come The Warm Jets (Remastered) (1973)
Here Come The Warm Jets (Remastered)\n2004 Virgin Records, Ltd.\n\nOriginally Released January 1974\nCD Edition Released August 31, 1990\nRemastered CD Edition Released June 1, 2004\n\nAMG EXPERT REVIEW: Eno's solo debut, Here Come the Warm Jets, is a spirited, experimental collection of unabashed pop songs on which Eno mostly reprises his Roxy Music role as "sound manipulator," taking the lead vocals but leaving much of the instrumental work to various studio cohorts (including ex-Roxy mates Phil Manzanera and Andy Mackay, plus Robert Fripp and others). Eno's compositions are quirky, whimsical, and catchy, his lyrics bizarre and often free-associative, with a decidedly dark bent in their humor ("Baby's on Fire," "Dead Finks Don't Talk"). Yet the album wouldn't sound nearly as manic as it does without Eno's wildly unpredictable sound processing; he coaxes otherworldly noises and textures from the treated guitars and keyboards, layering them in complex arrangements or bouncing them off one another in a weird cacophony. Avant-garde yet very accessible, Here Come the Warm Jets still sounds exciting, forward-looking, and densely detailed, revealing more intricacies with every play. -- Steve Huey\n\n\nAmazon.com essential recording\nIn 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?" This debut is a milestone not just for Eno, but for all rocking music. 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 \n\n\nAMAZON.COM CUSTOMER REVIEW\nDon't Say No to Eno, September 12, 2007 \nBy shelflife\nEarly Eno albums have a strange feel. Vocally he is not as strong as his contemporaries. He is no Bowie. Lyrically, his songs are quite silly. Musically he strove to get as much as he could out of the technology of the times. Others have been able to do more now because of the technology, but have not done more creatively. So even though individual aspects of his work are not always that strong, there is still something capitivating about these recordings. They make great listening, and what else do you want? \n\n\nAMAZON.COM CUSTOMER REVIEW\nI Just Hope He's Talking About Water, January 29, 2007 \nBy Gustave O. Frey (Oracle, AZ)\nThis album has a lot in common with the first side of David Bowie's "Low" and also with some of the material on Bowie's "Scary Monsters." There's also a heavy, John Lennon-inspired track called "Driving Me Backwards," which is a little scary. I own the LP and prefer Side B. Side A has two songs that are too long and not so good. "Baby's On Fire" and "Driving Me Backwards" are not at the same level as the rest of the songs. \n\nThe music is heavy, flaky and unnerving all at the same time. The cover is all a psych experimenter would need for his/her psych experiment. He/she wouldn't even need to listen to the music. The cadences on "Cindy Tells Me" are very similar to those on "Ashes to Ashes" on Bowie's "Scary Monsters" and those on "Blank Frank" recall "Up the Hill Backwards" on the same record. Eno's stuff is more interesting in some ways though because he stands back from it a little more and so, unlike Bowie's music, it could be the plumber or the mailman on a bit of a demented, avant-garde recording spree. For Eno, it's of interest, but not of that much interest. Bowie's artiface finds everything ironic and lamentable too; it's just that he takes his observer role too seriously. This is necessary for his music to work. Eno, on the other hand, sounds like he'd rather be fishing or forming a Ponzi scheme. The ultimate manipulator has to know how to manipulate (hide) his ego too. Consequently, the rough transitions are much less jarring because the emotions have already been "synthesized" by the artist. It's like the light we see from distant stars: it happened 50 million light-years ago. There is no neurotic need to get our attention: we are not the audience, as we are for most artists. The door to Eno's loony bin has merely been left open. People "come and go" and hide their "madness in a jar." Brian just forgot to close the door, like he always does. This is a most effective approach to New Wave music because it counter-balances the up-in-your-face timeliness of the genre. Absent here is the leering face of Elvis Costello, daring you to question his choice of eyeglass frames. Brian seems ready for that tennis match with the other gay aliens. The Brits have a knack for sanitizing madness. \n\nI didn't know New Wave was around in 1973 but I guess it was. The title could be about being peed on by hobos, which would make for an interesting take on "Driving Me Backwards," not to mention another juicy theme for the BBC. You're left to fend for yourself. \n\nThe song "Here Come the Warm Jets" must be heard in its entirety, even though it doesn't have one. So you need to hear the other songs first. The intro contains phantasmagorical bells - very nice. They are joined by a super-charged dynamo of a melody that can't be explained - you have to hear it. It is either just synthesizers or both synthesizers and guitars and the stroke of genius here is that it is a driving, powerful rock song and there are no drums! (You can't have your emotions until Oscar Wilde's incompetent ghost gives the OK, and he's presently tied up.) Just when you think you can't take it anymore, Eno introduces the drums, but they are out of sync with the melody. Pretty soon, they are where they "should" be. The heightened effect of all of this manipulation is like downing one of those Jack Kerouac apple pies with ice cream, along with a big glass of beer and a chick. \n\nA muffled, unintelligible chorus gives the piece an understated, religious quality - like those bluegrass singers who bely the frantic fingerpicking going on around them with their monotonal droning. The contrast between the resigned tone of the voices in the chorus and the energized anticipation in the music captures the piety of true faith, in which salvation occurs when you turn in your ego. You need to listen to the other songs first for this one to work though because, on its own, it sounds kind of flaky and thin. \n\n\nAMAZON.COM CUSTOMER REVIEW\nStill my favorite Eno recording., May 1, 2006 \nBy Jack Smith (W-S, NC uSSa)\nThis is my hands down favorite Eno record. A wild concoction mixing glam, art-rock, doo-wop, film scores, krautrock and found noises into a brilliant stew. \nWhen I first heard this on LP in 1979, I was a huge Roxy Music fan and this blew my mind. A radical summation of the first 2 Roxy LP's taken to their logical extremes. \nFor the first 10-15 years of listening to it I tended to prefer side 1. I now find that the (now) second half of the CD is really where the pay-off lies. \n\nA classic. \n\nAnd a great remaster too! \n\n\nAMAZON.COM CUSTOMER REVIEW\nHere Come the Morning Erections!!, January 13, 2006 \nBy T. D. Ball (United States)\nAfter Brian Eno left the band Roxy Music, he made this glam rock masterpiece with all the members of RM except for Bryan Ferry. Here Come The Warm Jets is every bit as good as, if not slightly better than For Your Pleasure; the second and last Roxy Music album he did with them. It's also right up there with David Bowie's Ziggy Stardust and Aladdin Sane. I like Bryan Ferry and everything but after Brian Eno released this, it was clear that Eno was the driving force behind Roxy Music. \n\nBrian Eno's lyrics sort of reminds me of Syd Barrett's. The lyrics are just really enjoyable and completley out there. Some of them don't make much since at all, and it's hilarious when they don't! His music is a good bit different from Syd's, though. It's more glam than trippy. \n\nEvery song is perfect and each one sounds different on this. My personal favorite would have to be "On Some Faraway Beach." I LOVE that song!! Andy Mackay does some really impressive keyboard playing on it. My other favorites are "Needles in the Camel's Eye," "Blank Frank," "Dead Finks don't Talk," "Baby's one Fire" ...well practically all of them. If you've heard For Your Pleasure and liked it, you'll love this one. If you haven't heard it and you like glam rock, you need to own these two classics! I haven't heard Eno's Taking Tiger Moutain and Another Green World yet, but there also supposed to be pretty impressive. \n\n\nAMAZON.COM CUSTOMER REVIEW\nHistoric solo debut, February 14, 2005 \nBy Laurence Upton (Wilts, UK)\nCreative tension is good, but more than one leader in a band never works for long and after two groundbreaking albums with Roxy Music, Bryan Ferry and Eno parted company. After a couple of singles (which would have made nice bonus tracks), Eno recorded his dazzling solo album in September 1973. \nSome have said that since the rest of Roxy Music (apart from Ferry) were employed as session men, the album gives a glimpse of what Roxy Music would have sounded like had Eno won the ego wars. I don't think this is true though, partly because the methodology is different when recording a solo album, and secondly because no more than a couple of members from the group play on any one track. Phil Manzanera adds distinctive guitar to 3 tracks, but Robert Fripp, Paul Rudolph and Chris Spedding contribute to the rest. All the sound is treated by Eno in his inimitable way. With hindsight, the multi-layered instrumental sections with their gamelan interludes and subtly-changing atmospherics can be seen as early indications of the paths he was to follow, though none of that was apparent at the time. \nFor those who have speculated here about the title Here Come The Warm Jets, I would suggest a close scrutiny of the Eight Of Spades Victorian playing card depicted in the middle of the bottom shelf on the album cover \n\n\nAMAZON.COM CUSTOMER REVIEW\nMemories from college, July 20, 2001 \nBy "bacco56" (Hudson Valley, NY)\nWent to NYU film in the mid seventies. This was the album that we fell asleep to. Eno's influence is do heartfelt amongst so many others. Genesis' Lamb Lies down on Broadway is "enoissifed", and then Peter Gabriel's solo career. The talking heads were very shy, naive folk when they first met Eno. He gave them a sound for the ages. \nHe was a god that pulled strings, a deus ex machina puppeteer, who works from above. It will be one of you desert Island discs.\n\nCheck out "801 Live" for some of these songs live, with old cronie Phil Manzanara. Great live performances. \n\n\nAMAZON.COM CUSTOMER REVIEW\nChallenge your preconceptions and have fun, too., October 9, 1998 \nBy A Customer\nThis album stands as a testament to what a clever amateur, unfettered by traditional notions of song structure, popularity, or musicianship can do with a studio. It was far ahead of its time in 1973, and 25 years later, it still has the ability to challenge one's preconceptions about what music can be.\n\nThe lyrics are arch, adroit, and oblique. The songs' propulsively minimal skeletons support dense, compelling, and odd sonic textures that range from the airily ironic pop of Cindy Tells Me to the dessicated ululations of Driving Me Backwards.\n\nThe work is not without its blemishes. One may question a few of Eno's more self-indulgent compositional choices, like noisy drones or cacaphonous synth blurts that occasionally occlude more important elements -- viz. the lyric in the last verse of Some Of Them Are Old. But the warts never overshadow the stunning richness and creativity of the songs.\n\nWhat strikes me most about this solo debut today is how, despite its well-studied strangeness, it remains great fun to listen to. Eno's enthusiasm, like that of a 3-year-old with her first box of 64 crayons, is infectious, and we cannot help but be entranced, even if his skies are salmon and he frequently colors outside the lines. \n\n\nHalf.com Details \nContributing artists: Andy MacKay, John Wetton, Phil Manzanera, Robert Fripp \nProducer: Brian Eno \n\nAlbum Notes\nPersonnel: Brian Eno (vocals, guitar, keyboards, synthesizer); Paul Rudolph (guitar, bass guitar); Chris Spedding, Phil Manzanera, Robert Fripp (guitar); Lloyd Watson (slide guitar); Andy MacKay (saxophone, keyboards); Nick Judd, Nick Kool & The Koolaids (keyboards); Chris Thomas, John Wetton, Bill McCormack, Busta "Cherry" Jones (bass guitar); Marty Simon, Simon King, Paul Thomson (drums); Sweetfeed (background vocals).\n\nRecording information: Majestic Studios, London England (09/1973).\n\nBy 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 revolutionize 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. Macabre lyrics 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.\n\nOn 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 ready to jump off the edge of the pop universe, and to drag everyone else with him.\n\nIndustry Reviews\nWARM JETS orbits in the same glam-rock galaxy as Bowie's ZIGGY STARDUST...\n\n5 stars out of 5 - [T]he first fractured flush of Eno's freedom from a Roxy he feared fatally compromised...\n\n4 stars out of 5 - Eno's debut really does sound like the future.\n\n5 stars out of 5 - Eno, guitarist Robert Fripp and moonlighting members of Roxy Music reconstitute rock and pop into some bizarre third thing.\n\n\nROLLING STONE REVIEW\nOne of the more intriguing developments on today's English rock scene has been the emergence of a cult of marginal musicians bent on doing "weird" things to the traditional pop song format. Be it in the name of being "trendy" (Elton John) or just for the sake of seeming mysterious (Roxy Music), these folks have taken so many liberties with a hackneyed old genre that it frequently ends up sounding quite unlike the early Beatles records which were its foremost representation.\n\nBrian Eno, formerly of Roxy Music, is another one who writes weird songs but their weirdness is more silly than puzzling. Lacking any mentionable instrumental proficiency, he claims he "treats" other musicians' instruments--though the end product of his efforts would have to be classed as indiscernible.\n\nHis record is annoying because it doesn't do anything. The songs aren't strong enough individually or collectively to merit more than a passing listen. Save for some incendiary guitar work by Robert Fripp during "Baby's On Fire," the instrumentation is pretty tepid. In fact the whole album may be described as tepid, and the listener must kick himself for blowing five bucks on baloney.\n\nHistorians might want to take note of the fact that "Needles in the Camel's Eye" has a heavy Del Shannon influence; that "Some of Them Are Old" is constructed around harmonies highly reminiscent of the Four Freshmen; that the first three songs on side B quote extensively from the Beatles' Abbey Road. Others will hopefully join with this writer in taking exception to this insane divergence of styles and wish that the next time Eno makes an album, he will attempt to structure his work rather than throw together the first ten things that come to mind. (RS 172 -- Oct 24, 1974) -- GORDON FLETCHER
This rock cd contains 10 tracks and runs 42min 3sec.
Freedb: 9309d90a
Buy: from Amazon.com

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