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Here Come the Warm Jets | 
| Artist: Eno
Label: Astralwerks
Category: Music
Buy New: $16.98
Rating:  60 reviews
Sales Rank: 65024
Format: Original Recording Remastered
Media: Audio CD
Discs: 1
Shipping Weight (lbs): 0.2
Dimensions (in): 5.6 x 5 x 0.5
MPN: 77293
UPC: 724357729321
EAN: 0724357729321
ASIN: B00022M518
Release Date: June 1, 2004
Shipping: Eligible for Super Saver Shipping
Availability: Usually ships in 24 hours
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| Tracks:
| • | Needle in the Camel's Eye | | • | Paw Paw Negro Blowtorch | | • | Baby's on Fire | | • | Cindy Tells Me | | • | Driving Me Backwards | | • | On Some Faraway Beach | | • | Blank Frank | | • | Dead Finks Don't Talk | | • | Some of Them Are Old | | • | Here Come the Warm Jets |
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| Editorial Reviews:
Amazon.com essential recording
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?" 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
Album Description
Limited Edition Japanese "Mini Vinyl" CD, faithfully reproduced using original LP artwork including the inner sleeve. Features most recently mastered audio including bonus tracks where applicable.
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| Customer Reviews: Read 55 more reviews...
 Essential Eno November 13, 2007
Stalwart Kreinblaster (Xanadu)
2 out of 2 found this review helpful
Brian Eno has quietly been one of the most influential pop stars of the century.. The brains behind some of the biggest movements in 70's, 80's,90's and current popular music - Eno does not get half the credit he deserves and is kind of in the shadow of glam stars such as David Bowie..
Here come the Warm Jets was his first solo attempt after leaving the popular 70's group roxy music.. It is one of his best albums and shows a very experimental and yet highly accessible stage in his career..
Laced with bizzare lyrics and even stranger electronic instrumental moments, Here come the warm Jets is one of the most original experiences of 70's glam.. with songs like baby's on fire and needles in the camels eye - eno proved there was life after roxy music..
I would highly recommend this album along with the first 2 roxy albums as a fine introduction to the early stages of his career.. After that you might want to check out his work with David Bowie and the classic talking heads albums he helped to produce.
 Don't Say No to Eno September 12, 2007
shelflife
Early 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?
Pop Revolution June 24, 2007
James Britt
1 out of 1 found this review helpful
"Tyler B." gets it so wrong it isn't funny. The songs on HCTWJ are quirky, catchy, funny, inventive, and fresh, even after 30 years.
There are more ideas on this album than in most bands' entire body of work. The nice thing, though, is that you can ignore all the word games, genre-jumping, and clever studio tricks. and just rock out.
If you are familiar with Eno's later work, know that his first two solo albums are far from ambient.
Play loud.
 Brian Eno - Father of Indie April 11, 2007
Tyler B. (Portland, OR)
1 out of 25 found this review helpful
Although this album pretty much started the Indie music genre that we know today, it just really isn't, umm, ANY GOOD! Eno's songs are quirky, musical, and innovative...but they simply aren't very enjoyable.
However, if you ARE into Indie, you will probably like the album...
Just be mindful that Brian Eno is a "musician's musician." (If you've never heard that term before, then you DEFINATELY won't like this album.)
I Just Hope He's Talking About Water January 29, 2007
Gustave O. Frey (Oracle, AZ)
3 out of 12 found this review helpful
This 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.
The 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.
I 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.
The 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.
A 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.
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