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HERE COME THE WARM JETS

Brian Eno

Progressive Electronic


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Brian Eno Here Come The Warm Jets album cover
3.63 | 132 ratings | 28 reviews | 18% 5 stars

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Studio Album, released in 1973

Songs / Tracks Listing

1. Needles in the Camel's Eye (3:10)
2. The Paw Paw Negro Blowtorch (3:05)
3. Baby's on Fire (5:18)
4. Cindy tells me (3:25)
5. Driving me backwards (5:11)
6. On Some Faraway Beach (4:36)
7. Blank Frank (3:35)
8. Dead Finks don't Talk (4:20)
9. Some of them are Old (5:11)
10. Here Come the Warm Jets (4:02)

Total Time 42:01


Lyrics

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Music tabs (tablatures)

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Line-up / Musicians

- Brian Eno / vocals, keyboards, guitars, synthesizers, treatments
- Simon King / drums
- Nick Kool / keyboards
- Nick Judd / keyboards
- Andy Mackay / keyboards, saxophone
- Robert Fripp / guitar
- Phil Manzanera / guitar
- Paul Rudolph / guitar, bass
- Chris Spedding / guitar
- Busta Cherry Jones / bass
- Bill McCormick / bass
- John Wetton / bass
- Marty Simon / percussion
- Paul Thompson / percussion
- Lloyd Watson / slide guitar
- Sweetfeed / backing vocals
- Chris Thomas / bass

Releases information

LP Island Records ILPS 9268 (UK/Italy/Germany), Phonogram 6396 032 (France), Island Records ILPS 9268 (US/Canada, 1974) , Polydor (N.Zealand/Germany/UK, 1977)

CD E'G Records EGCD 11 (US/UK/France, 1987), Toshiba EMI Ltd VJCP-68656 (Japan,2004), Virgin 7243 5 78032 2 9 (UK/US/Europe,2004), Editions EG ENOC-1 (UK/US)

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BRIAN ENO Here Come The Warm Jets ratings distribution


3.63
(132 ratings)
Essential: a masterpiece of progressive rock music(18%)
18%
Excellent addition to any prog rock music collection(47%)
47%
Good, but non-essential (25%)
25%
Collectors/fans only (6%)
6%
Poor. Only for completionists (4%)
4%

BRIAN ENO Here Come The Warm Jets reviews


Showing all collaborators reviews and last reviews preview | Show all reviews/ratings

Collaborators/Experts Reviews

Review by Seyo
SPECIAL COLLABORATOR Honorary Collaborator
4 stars Until recently I knew Eno only as a member of early ROXY MUSIC and a famous producer, who took part in various albums in the last 25 years, ranging from top artists like Bowie or U2 to not so well-known like Bosnia's SIKTER. So, having seen this at local discount I decided to give it a try, especially beacuse I liked his last effort with ROXY of the same year, "For Your Pleasure". After first listen I was not so impressed, I even found several songs pretty awful and disturbing and wanted to throw it away immediately to the dust bin. But I liked two Fripp's appearances and started listening more carefully. Incredible! I was so wrong on the first judgement, after several repeated listens I found the album very addictive, and it is hard to explain. Surely this was a radical work at the time, mixing glam rock, avantgarde, art-rock and even forseeing the new wave spirit! "Cindy Tells Me" even by the name resembles the Lou Reed style, while my favs are "Baby's On Fire" with incredible Fripp on guitar and the closing title track. In fact entire album is quite astonishing and seems to be an extension of Eno's work with ROXY before going to the ambient territory. This is a sort of a pure rock'n'roll with artistic touch and avantgarde exploration. While not strictly in progressive vein, still highly recommended. Fans of KING CRIMSON should like it!

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Send comments to Seyo (BETA) | Report this review (#35056) | Review Permalink
Posted Tuesday, May 24, 2005

Review by Peter
SPECIAL COLLABORATOR Honorary Collaborator
4 stars Brian Eno's first solo outing, 1973's self-produced HERE COME THE WARM JETS is an excellent album, for those who can appreciate inspired lunacy -- but it's nothing like his later ambient works, or the generally more serious and disciplined ANOTHER GREEN WORLD and BEFORE AND AFTER SCIENCE.

This recording is great fun, but it's certainly not for everyone. Along with the clever studio craft that would later make him perhaps the most sought-after producer in modern music, Eno shows a wicked sense of humour. If you have a hard time with "novelty" songs, and humour in music in general, be warned: silly songs like "The Paw Paw Negro Blowtorch" (try getting away with that title today!), "Driving Me Backwards," "Blank Frank" and "Dead Finks Don't Talk" may well drive you away from your speakers and toward the STOP button... but I welcome witty wackiness in music, especially when it's as well executed as this!

Yes, variety is good, and in addition to the prevailing madness, there is also sentiment, beauty, and just plain catchy, multi-layered pop pleasure to be found in plentitude on more restrained tracks like "Cindy Tells Me," the lush "On Some Faraway Beach," and the infectious instrumental title track.

The list of guest musicians is impressive: on board for maestro Eno's wild ride are Robert Fripp, John Wetton, Chris Spedding, Nick Judd, and Roxy Music members Phil Manzanera, Andy Mackay, and Paul Thompson. (If you haven't heard Fripp's absolutely blistering solo on the essential, acerbic "Baby's on Fire," then you're missing out on one of the best things he's ever laid down outside the Crimson fold!)

Why do so many diverse artists, from Bowie to Ultravox to James to Paul Simon to U2 hire Brian Eno to work his magic on their albums? The answer can begin to be discerned here. Tasty stuff -- if you like it - and a very strong debut from one of the most important and influential figures in modern music.

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Send comments to Peter (BETA) | Report this review (#85478) | Review Permalink
Posted Wednesday, August 02, 2006

Review by Blacksword
PROG REVIEWER
3 stars This album is truly awful!

..or is it?

It took me a number of spins to understand what's going on here. The opener' Needles in the Camels Eeye' sounds like early 80's indie/punk, but in a very generic way. In other words I cant make a direct comparison, and when you consider this album was recorded in 1973, it could be considered rather visionary.

It's as if Brian Eno is toying with the listener, in producing an album which is not only unique in its sound, but seems to be laced with a bitterness, and perhaps some of that bitterness may be levelled at Bryan Ferry. I may be wrong, but the second track 'The Paw Paw Negro Blowtorch' sounds like early Roxy Music put through a blender with a hearty dose of sulphuric acid and profound sarcasm. I'm not sure if Ferry had upset Eno off, but there is an acidic irony to this track, that I find irresistable.

This album is acquired taste. If you've not heard it before then dont expect to love it straight away. It takes a while. I have found this is a good album for clearing unwanted guests out of your house late at night. Try to imagine a blend of glam rock and new wave punk (4 years or so before punk happened) with a strange electronic edge, as you may expect on an Eno album, and you've got 'Here come the Warmjets'

There is infact some good musicianship going on under the noise, indeed the album bosts some fine prog stars; Robert Fripp for one, John Wetton, Chris Spedding, Phil Manzenera and Simon King (Hawkwind) King even manages to play like a proffesional musician on this album! There is aso some groundbreaking moments too, and I'm inclined to believe that this album was probably a huge inspiration to a number of non prog bands in later years.

My favourite tracks are 'Baby's on Fire' featuring some great Fripp guitar soloing, 'Cindy Tells Me' the opening two tracks, and 'Dead Finks dont Talk'

'Here come the warm Jets' is an album of strange twists and turns and to say that I highly reccomend it would be an exageration. I would highly reccomend that you listen to it first. It's not going to be everyones cup of tea. But, I'm enjoying it very much.

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Send comments to Blacksword (BETA) | Report this review (#114835) | Review Permalink
Posted Sunday, March 11, 2007

Review by Chris H
PROG REVIEWER
4 stars Brian Eno's first solo effort. Unlike his 5th album, you shouldn't play this in airports.

Brian Eno, the ex-sound manipulator from Roxy Music, embarked on his solo career after splitting up with Roxy Music back in 1972. Apparently, arguments with frontman Bryan Ferry about how Ferry thought that Eno's disheveled appearance took away from the band's clean image were enough motivation for Eno to take his talents elsewhere. 2 years later, we are tossed a bone with this eccentric freak-pop-indie-punk mishmash.

First off, just looking at the musician's on this album is enough motivation to consider a purchase. If it was 1974 and you saw John Wetton and Robert Fripp together on an album, well let's just say that your money was gone fairly quickly. Robert Fripp makes his presence known on the third track, "Baby's On Fire", with a blistering guitar solo that lasts about 3 minutes, but Wetton's contributions are surprisingly hard to find because of the 4 other bassists used for the album.

The opening to the album, and you can quote me on this, sounds "quite Bowie". Although the opening song, "Needles In The Camel's Eye" has a very punk-rock rich vibe going through it, the second song, "The Paw Paw Negro Blowtorch", has a very glam rock appearance to it, combined with the glossy keyboards and weird lyrics. "Baby's On Fire" is one of Eno's most praised songs from his "vocal" period, mainly because of Fripp's solo that I told you about earlier. Aside from the manic soloing, Eno provides some excellently twisted lyrics and interesting sound manipulations. "Cindy Tells Me" is a rarity for an Eno album, a song that actually uses a nice vocal harmony. It's not my cup of tea however, and certainly isn't for a hardcore Eno listener, either. "Driving Me Backwards" closes out the A-side with some more interesting synthesizers and sound manipulations, but a little less actual music.

B-side, not as good as the A-side, but then again I consider the A-side of this album to be one of Eno's finest early moments. "On Some Faraway Beach" is an absolutely breath-taking song, and with its dreamy pianos and atmospheres you actually get the feeling of being on a beach. This just might be the only hint to Eno's future career in all of his first albums. The atmosphere is quickly shattered by the loud drum beating of "Blank Frank". Once again, kudos to Eno's production skills. All of the multi-instrument layering makes this song a very interesting listen, whereas any other producer might have turned it into a disheveled mess. "Dead Finks Don't Talk", with it's spoken lead vocals (save for the choruses) and lounge style pianos sounds like a bad song on paper, however it is actually a very enjoyable listen once you get used to it. The next- to-last song, "Some Of Them Are Old" is another stellar track, even if I never get to find out who Lucy is. The beautiful ascending chord progression going into the choruses is a touch of brilliance as well. The album ends with the title track, "Here Come The Warm Jets", and it is in the same vein as "On Some Faraway Beach", with the use of all the fuzzy electronics to create swirling atmospheres.

Before I recommend this album, I must say one thing. Eno's vocal albums are an acquired taste. If you don't "get" this album after 1 or 2, or maybe even 6 or 7 listens just keep trying, you will eventually find it to be a rewarding experience. Now, I would say that any fans of David Bowie or early Roxy Music should automatically own this album, while fans of anything from punk to glam rock and everything in between should try this a few times.

Not as progressive as his later efforts, but a stellar and different debut. 4 stars.

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Send comments to Chris H (BETA) | Report this review (#118957) | Review Permalink
Posted Thursday, April 19, 2007

Review by jammun
PROG REVIEWER
3 stars I came to Here Come the Warm Jets in a roundabout way. I'd won some contest on a radio show and they sent me a copy of a Manzanera 801 album, which had a live version of Baby's on Fire on it. So that certainly got me interested in what this Eno freak (for that's probably what I considered him to be, all glam and no chops) was all about.

So I eventually tracked down Here Come the Warm Jets. I'll admit to being unimpressed at first; this was just too pop-oriented for my taste, though there were some pretty good synthesizer sounds on the album - - keep in mind he was one of the pioneers.

Over the years, this has grown on me. The wall o' guitars on Needle In the Camels Eye is solid. The aforementioned Baby's on Fire is special, particularly considering we get a major dollop of Fripp guitar treatments therein. Cindy Tells Me, with its pleasant 1950's doo-wop influence, is endearing. But it all really hits stride on the title (and final) track, in which the various instruments keep toying with the song's rhythm and eventually all sync up. This is one masterful track! Considering this was made back in 1974, it's all fairly remarkable. I mean, 35 years later, put on a Foghat record from the time, then put on this, and it's real clear who had vision. I would guess many a new-waver spent some serious time with this album. The blueprints are all here.

In the end, however promising a start and whatever its historical significance, this is only an average album, and I rate it accordingly.

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Send comments to jammun (BETA) | Report this review (#158985) | Review Permalink
Posted Friday, January 18, 2008

Review by Tom Ozric
PROG REVIEWER
4 stars Brian Eno's debut LP entitled 'Here Come The Warm Jets' is an expressive and creative take on popular music of the time. Embarking on recording as soon as he left ROXY MUSIC, Eno recruited some 'big' names on the progressive scene (John Wetton, Phil Manzanera, Robert Fripp, Paul Rudolph, Bill MacCormick and Simon King, amongst others) to realise his own unique vision. Whilst I enjoyed the first 2 Roxy albums immensely, I was somewhat sceptical as to what this particular 'Eno' individual could provide. I was just born at the time of Roxy's debut release - naturally it was them I discovered initially (late 80's), then I looked into these Eno solo records at the time of my musical enlightenment, where my local haunt was the 2nd-hand vinyl shop not far from home.... Since I bought Eno's debut (I was told it was similar to the first 2 Roxy albums), it has taken many plays, and in recent years I must say that it has revealed its, rather peculiar, charms. The actual songs are not particularly complex, but there are lots of details that actually demand intense attention - the way he has arranged and performed these tunes is unlike no other. I can vouch that this album is really something different as well as being a pre-cursor of things to come, and this should be its strong-point. I can detect shades of music from the 50's through to the contemporary, and in the process he may well have pioneered a futuristic style of music. I give it 4 stars, but it has earned them dearly - not an immediate classic, but give it time. Favourite moment is Eno tripping out on his VCS3 Synth during 'Paw-Paw Negro Blowtorch'..........Quite an excellent Avante-Pop/Art-Rock recording on its own merits.

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Posted Saturday, March 01, 2008

Review by UMUR
SPECIAL COLLABORATOR Honorary Collaborator
4 stars Here Come The Warm Jets is the debut studio album from UK experimental pop/ rock artist Brian Eno. After leaving Roxy Music because of differences with Bryan Ferry, Brian Eno made an experimental sound album with Robert Fripp ( King Crimson) called No Pussyfooting but his first true solo album is Here Come The Warm Jets. I havenīt heard any of his releases before this one and only know his performances on the first two Roxy Music albums. From what Iīve been able to read he is considered a leader and an innovator in electronic music but the music on this album does not point in that direction.

The music is pretty influenced by the glam rock David Bowie played at the time without being a ripp-off. Lots of great guitar riffs, great vocals from Brian Eno himself who has a voice and vocal style somewhere between David Bowie and Bryan Ferry. Thereīs also a noticable fifties doo woop element in some of the songs that I greatly enjoy ( Cindy Tells Me, On Some Faraway Beach). Of course there are lots of keyboard and synths in the music as well but not to an extent where I think itīs obvious that itīs a keyboardist solo album. Brian Eno is very aware of the fact that skilled musicianship doesnīt necessarely make good songs. In other words he is a very skilled composer and I really enjoy the music on the album. The only song that reminds me of his old band Roxy Music is The Paw Paw Negro Blowtorch so donīt expect this to be a Roxy Music sound alike album. There are some wonderful dark songs on the album as well in Babyīs on Fire and especially Driving me Backwards and in addition to all of the above mentioned styles Some of them are Old has a melody right of a Beatles album. The songs are generally not overtly progressive in structure but they are certainly innovative and exciting anyway.

The musicianship is excellent. Brian Enoīs vocal performance is very good and his mood enhancing keyboard style is great too. He is not a show-off and I appreciate his generally restrained style. The album hosts guests performances from such prolific musicians as Robert Fripp, Phil Manzanera, John Wetton, Andy Mackay, Simon King and Paul Thompson. Especially Robert Frippīs presense on the album is very obvious.

The production is a bit raw but still very enjoyable. Some of the songs have many layers and Iīm still discovering new things. Very professional sound indeed.

As you might have noticed Iīm a bit surprised at the sound on Here Come The Warm Jets and by the fact that I enjoy this album so much. Iīve listened to the album many times to be sure that this feeling would continue and fortunately the album just gets better and better. A sure 4 star rating from me. A very recommendable album. I canīt wait to listen to more music from Brian Eno.

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Posted Thursday, February 05, 2009

Review by Kazuhiro
PROG REVIEWER
3 stars A fresh element might always be requested for the music of POP. The element of the culture that is called not only of course POP but also modern Art might be conceived.

The attitude like the workman who acquires an existing method and polishes own capability might collect respect for the place and the listener from whom music is produced. However, an interesting culture will not arise if only the element is pursued. The existing sense of values might be converted and the road where a new creation is produced be indispensable.

The person who has such an element might be Eno. Eno never catches things from the viewpoint of music in the straight line. He who has both a certain kind of nature is contributing greatly in the kingdom of music. A lot of time when it starts the Solo album in the flow of his creation appears in the work in the 70's. He at that time was doing the activity in which it was very pungent and the forward existed in the item of Pop/Rock though he had the feeling deified as a leader of the Ambient music by present Eno. It is an element of a certain kind of strange tune and POP in his initial work. And, the work that takes the element of his charge of the song etc. is this album.

It participates in "Roxy Music" in 1972. And, the band has seceded immediately after 2nd album of Roxy Music is announced. The word said, "Two Non musicians per band do not need" that Bryan Ferry left is too famous. It is said that Ferry envied the fact that attention gathers in Eno according to other theories.

Eno that secedes Roxy Music does both Robert Fripp and the activity that belongs to the same office. This recorded album ..work that never feels old with the element still enough ..passing POP.... has finished in 1973 and.

His having begun to advocate "Ambient Music" was time after having produced "Taking Tiger Mountain". The impression that uniting and becoming familiar a complex a little sound are thin might be given if it listens to this work. However, his essence might be hidden in the composition of an advanced tune with the part where the feeling of the rhythm was excluded.

The tune in which Robert Fripp participated has finished in the world of New Wave ..influence.. as a trial, too. This album that the taste of the lock in Britain is satisfactorily demonstrated is a work that can exactly enjoy his sense enough at the same time as the history of the music of Eno starting.

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Posted Tuesday, July 28, 2009

Review by snobb
SPECIAL COLLABORATOR Honorary Collaborator
4 stars First real solo album of ex-Roxy Music musician and future ambient genius Brian Eno. List of musicians is very impressive, but it tells,what the music there is all about. So, Andy Mackay/Phil Manzanera - doesn't it tell nothing to you? Put on 1973 year and Eno himslef. So, yes, you right, it is what it should be - perfect side-project album of Roxy Music.

And plenty of other highest level musicians there - Fripp, Wetton, Chris Spedding, Bill McCormick... So you have very interesting music; in fact, it is alternative version of Roxy Music , showing us what could be happened, if Eno, not Ferry stayed as their leader.

Generally, music is Roxy rhytms and multitextures, but much more filled by Eno's electronic sound and additional musicians prog-arrangements.

For me it's a bit strange to read negative reviews to this album. May be listeners, who came from Eno ambient albums, were disappointed. But qualified listener, coming chronologicaly from his Roxy Music time, will find just his first and very interesting step aside.

I can recommend this album for all Roxy Music fans, as well as Eno ( early before-ambient period) fans plus everyone who are interested in roots of art-glam-pop-rock ( early Dawid Bowie,etc.)

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Posted Tuesday, September 08, 2009

Review by Evolver
SPECIAL COLLABORATOR Crossover & JazzRock/Fusion Teams
3 stars This album is only a lttle bit prog, despite all the familiar names on the credits, like Robert Fripp, Phil Manzanera, and John Wetton. The fact is, this is at least as much punk as it is prog. Even more so, this album appears to be a precursor to the new wave music that was popularized in the late seventies by bands like The Talking Heads, and ran it's course through the eighties.

But despite all that, this is a fun album. Perhaps the most fun of all of Eno's output. You get the seminal Baby's On Fire, perhaps Eno's most famous tune. Other high points are Blank Frank, Driving Me Backwards and Dead Finks Don't Talk.

Listen to this with your sense of humor on, otherwise you might not get it.

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Posted Friday, October 16, 2009

Review by Tarcisio Moura
PROG REVIEWER
3 stars I had this album when it came out. I remember I was quite disappointed at the time. Well, I was only 15 and I guess I was expecting something more like his former band, Roxy Music. And although much more īrockī oriented than a lot of his latter works, Here Comes The Warm Jets, is far from being your average pop rock album of the day. His experimentalisms were already blossoming here. Sometimes it worked, sometimes it doesnīt. Or so it looked to me.

Only recent I had the opportunity to hear it again and I was quite impressed. The guy was, or is, a visionary. Many of his inovations are now common place, but in the early 70īs nobody, or very few people, were doing so many different things on a single album. I specially liked his guitar treatments. Thatīs is something remarkable even by todayīs standards. And some tracks are quite strong and pleasant. Babyīs On Fire is certainly a favorite, I just loved its tense, unorthodox backing arrangement behind the simple pop melody line. Other interesting tunes are Needles In the Camelīs Eye, Cindy Tells Me. Some Of Them Are Old and In Some Farway Beach.

Backed by some of progīs most outstanding musicians of the time (Robert Fripp, John Wetton, Andy Mackay, Simon King, Bill McCormick, Phil Manzanera, among many others)) this is a very interesting document of an era, a snapshot of a time even such groundbreaking and unorthodox album could make it to the top 40. It is not for everyone, I should warn you. It is still sounds different and experimental after all these years. Since I tend for the more orthodox side of prog (I mean, the more melodic side of it), I will give it 3 stars. Important, ok, groundbreaking, ok, but not really essential in MY prog collection. I recommned it for the ones that like something different

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Posted Friday, October 23, 2009

Review by Rune2000
SPECIAL COLLABORATOR Prog Metal Team
3 stars Brian Eno has always been one of those artists who's music can almost go in any possible direction but there is always that distinct Eno-sound which according to the liner notes of The Lamb Lies Down on Broadway is called Enossification!

After departing from Roxy Music Brian Eno decided to test his wings at being a solo artist for a change. His first two albums are generally considered a trial and error period since both Here Come The Warm Jets and Taking Tiger Mountain (By Strategy) feature a very distinct Art-Rock flavor combined with glimpses of electronics music. Unlike many other talented instrumentalists Eno chose to add even more of his personality into the mix by singing all the lead vocals. I realized that his voice might be considered acquired taste for many people but I just think that it was a bold decision and, no matter the outcome, at least it's better than hiring a professional vocalist!

I've always had a soft spot for Taking Tiger Mountain (By Strategy) that unfortunately never spread to Here Come The Warm Jets. I find this album a bit boring and particularly lacking in the songwriting department. Most of the compositions have a Roxy Music-sounding style and at times his vocals actually resemble those of Ferry but Brian Eno is by no means as artistic and memorable in his articulation. Songs like The Paw Paw Negro Blowtorch have those Art-Rock sounding tendencies but Eno also manages to insert some electronic sounds into the mix which comes off a bit awkward and generally don't fit the music all that well.

Halfway through the album Brian Eno abandons his electronic experiments for a standard band arrangement but the different line-ups that are featured on the album distract too much and make the individual performances not that memorable. Some Of Them Are Old is the closest the music here comes to a potential highlight but it lacks a personal touch and ultimately fades in with the rest of the performances.

Over time Brian Eno would perfect his sound and push his music much further than the limited style that is featured on Here Come The Warm Jets. Therefore it remains a good, but non-essential album for everyone who is interested in exploring the origins of Brian Eno's sound.

**** star songs: Needles In The Camel's Eye (3:11) The Paw Paw Negro Blowtorch (3:05) Baby's On Fire (5:19) Cindy Tells Me (3:25) Driving Me Backwards (5:12) Dead Finks Don't Talk (4:20) Some Of Them Are Old (5:11) Here Come The Warm Jets (4:05)

*** star songs: On Some Faraway Beach (4:36)

** star songs: Blank Frank (3:37)

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Posted Monday, March 29, 2010

Review by tarkus1980
PROG REVIEWER
5 stars Not bad for a "boring ambient guy." Eno's first "true" solo album doesn't just entertain the hell out of me; it basically defies a single classification. The guitars are often abrasive in a punkish sort of way, and the song structures are basically simple and "normal," but the arrangements are so thick and layered and intricate (not to mention avant-garde) that it has to be considered as a kind of art-rock (plus, the second side can be seen as a single extended suite of sorts). Think early Roxy Music (which makes sense, given that all of the RM members except Bryan Ferry participate in this album) crossed with a bit of Velvet Underground, a smidge of Beatles, and with the manic wackiness factor turned up to 11, and you start to form a picture of an album that will never ever leave my top 100.

Take the album's opener, "Needle in the Camel's Eye," for instance. There are layers on layers of Manzaneras aggressively playing single notes (at least, that's what it sounds like to me), coming together to form chords, which should please both fans of minimalism and of dense arrangements, and what is that chord sequence and vocal melody if not one of the loveliest, warmest Beatles-quality ditties around? It might be nice if Eno's vocals were higher in the mix, but then again that might overshadow the incredibly cool-sounding guitars, so I don't mind. And those start-stops in the second half? Don't they feel completely natural, completely organic, completely necessary to you? I know they do to me.

Lessee, then there's "The Paw Paw Negro Blowtorch" (what a wonderfully awful title), which has wonderfully goofy singing and a wonderfully goofy synth solo, which shows quite amply that a solo full of weird noises can compete with a solo full of weird notes any day of the week. And then, of course, there's the glorious "Baby's on Fire," an awesome, loud pop- rocker with a catchy-as-hell vocal melody (with a totally over-the-top singing performance to boot) and what just happens to be my favorite guitar solo ever. From the very first notes, the tone screams out "I AM AWESOME," and Fripp hits on note and sound combinations that make me grit my teeth and tighten my sphincter every time. It's not really a solo with any "purpose" to it other than just trying to rule as much as humanly possible, but that's more than enough for me.

The last two songs of side one aren't quite as walloping, but they're terrific nonetheless. "Cindy Tells Me" is a pop ballad that has always struck me as Eno going for a classic Beach Boys-ish sort of sound, only with vocals more nasal than Mike Love on his worst day (not that I'm complaining) and a piercing guitar solo that somehow manages to fit in perfectly. And then there's the menacing "Driving Me Backwards," centered around two notes on a piano (yup, Brian the minimalist ambient dude was there on some level from the beginning) that create an awful lot of well-placed, but still kinda goofy tension; it's dark, but dark in a way that I feel like it could be the background music of one of the grey, murky castle levels in Super Mario 3 or something like that.

"On Some Faraway Beach" kicks off side two, and to say it's fantastic is to say nothing. It's filled with one keyboard level after another that's incredibly easy to play and would probably be easy to write, but to put them all together into something like this is simply unbelievable. I'll tell you, one of the synth lines (you'll know it when you hear it) before the vocals come in, in the context of all of the other layers that have come before, ends up being one of the most breathtakingly gorgeous sounds I've ever heard in my life, and by the time we get to the lyrics about wanting to commit suicide on a beach, it's all I can do to keep from crying. And sheesh, way to strip it back down perfectly, Brian.

The noisy and ugly "Blank Frank," which comes next, is a bit of a letdown for me, but I still appreciate it somewhat; it's Fripp's second showcase of the album, and some of the rhythm work here is just insane. Not always really enjoyable to my ears, but interesting nonetheless. "Dead Finks Don't Talk" is better but not great, with both the singing and speaking parts of the song definitely dredging up thoughts of Bryan Ferry and Roxy Music (e.g. "In Every Home a Heartache" or "Song For Europe," even though the latter was done after Eno left), but it's the goofy "More fool me, bless my soul" McCartney-esque pastiche in the second half that makes the song for me (not to mention the processed noise fest in the last half minute).

Fortunately, the album ends on a very strong note, with an INCREDIBLE pop ballad in "Some of Them are Old" and a nice instrumental (sorta; there are vocals, they're just very buried in the mix and only in the second half) keyboard number in the title track. The former is just sooooo warm, with some of the loveliest pedal steel guitar work you'll ever hear in the mid-song break before a bunch of beautiful layered synths come back to carry the main melody with gusto. And the mood, sheesh, the mood; I want to say it's nostalgic, but that doesn't feel quite right. It's unique, whatever it is, and the confusing bell sounds at the end (that come out of nowhere, really) only make it that much more puzzling. And the latter? Can you think of a more beautiful song about getting peed on? I sure can't!

Oh man, what an album. Anybody who wants to lay any claim to the status of "music snob" simply has to have this around. The buying public didn't really know what to do with it, but time has largely corrected that mistake, and you should join the critical masses and swipe this up as soon as possible.

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Posted Saturday, May 15, 2010

Review by Mellotron Storm
PROG REVIEWER
4 stars When I think of Brain Eno's early solo works I can't help but think of the solo albums of Wyatt and Ayers.They all made this quirky, humerous music that was really different from the norm. While Wyatt and Ayers were in that Canterbury camp you have to put Eno in the "Rock & Roll" house. Sure he could be experimental and spacey, but for the most part his early albums were short tracks that really didn't seem to have anything to do with Progressive music. And I think that's important espeially with this the debut which was released in 1973 at the very peak of the Progressive movement. He bucked the trend here even though he had a who's who of Prog helping him out. This in itself was very progressive on his part. Lots of variety here but everything is just so well done. His stint with ROXY MUSIC served him well but lets face it Eno is a musical genius. He's proven it over his career even as a producer. You gotta love the list of guitarists here including Manzanera, Fripp and Spedding from one of my favourite bands NUCLEUS. MacCormick and Wetton among others on bass, while Simon King does most of the drumming.

"Needle's In The Camel's Eye" hits the ground running as vocals join in quickly. I like the guitar 1 1/2 minutes in. Great opener. "The Raw Paw Negro Blowtorch" is a catchy mid-paced tune. The TALKING HEADS had to have been inspired by this tune. "Baby's On Fire" is intersting lyrically. Love the scorching guitar that goes on and on. "Cindy Tells Me" sounds like a fifties song. "Driving Me Backwards" has the focus on the vocals. It's quite different. I really like the last minute of the song.

"On Some Faraway Beach" opens with piano and vocal melodies. Vocals do arrive in this uplifting and transcending track. "Blank Frank" is intense with vocals. "Dead Folks Don't Talk" features drums, piano and vocals standing out early. I like when the guy is yelling in the background before 4 minutes.Then it turns dissonant. "Some Of Them Are Old" is an excellent track with some slide guitar and sax helping out. It turns haunting late. "Here Come The Warm Jets" is the perfect way to end it.

A very influential recording that still stands up well after all these years.

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Posted Saturday, August 07, 2010

Review by Bonnek
SPECIAL COLLABORATOR Prog Metal Team
3 stars This was a nice 're-'discovery. Back in the day I discarded this album for being too Brian Wilson instead of Brian Eno, but I gave it another try and was pleasantly surprised generally. Some of the music sounds old-fashioned but other songs are downright visionary.

We find Eno shortly after leaving Roxy Music here and his songwriting was still following the blueprint of the music he created with that band. So we hear a lot of Velvet Underground type art-rock mixed with more personal sonic experimentation. The result is somewhat uneven, some of the songs still sound fresh and modern, others sound hopelessly dated. Tracks like Needle, Baby On Fire, Driving Me Backwards and the title tracks still continue to inspire artists and are a must-hear.

Vocally, Eno does a decent job, but in this field he has competitors by the names of David Bowie, Bryan Ferry and John Cale, and he misses the depth and charisma of said heroes to be entirely convincing. Songs like Driving Me Backwards are a grating listen because of it, despite being original and intriguing. Other tracks work just fine.

This album deserves an excellent rating for its importance, personality and originality, but the songwriting is somewhat uneven, with too much standard art-rock fare burying the gems.

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Posted Friday, November 12, 2010

Review by EatThatPhonebook
PROG REVIEWER
4 stars Nonsense lyrics, bizarre melodies, Art Rock, Glam Rock: This is "Here Come the Warm Jets", Brian Eno's debut album, true masterpiece of Rock music.

At first, I wasn't particularly enjoying the quirky songs and strange vocals, definitely they are an acquired taste, but when I finally was able to appreciate them fully, I was really pleased. As I suggested earlier, these fresh sounding songs are a delightful mix between Glam Rock (think Roxy Music, where Eno also was part of) and Art Rock as well as Avant Garde. The melodies are simple, no doubt in that, but the arrangements Eno uses are extremely original and give a whole new touch to the song. The vocals sound exaggerated, and are always a little quirky; sometimes Eno, who always sings, tries to imitate Bryan Ferry from Roxy Music, and again sometimes he has a more nasal voice. However, everything seems to work fine. There are several guest musicians, all friends of Eno's, such as Robert Fripp, Phil Manzanera (both of them guitars) and John Wetton (bass). Despite being surrounded by tons of musicians, this is a definite solo album for Eno, as well as his first one.

Lyrically speaking the album is very original; for writing down the lyrics Brian used a very peculiar method. He used to sing to himself random syllables, without any form of sense, and then write them down and actually find a sense. He used this method all through the decade. The strange thing about them s that sometimes they are pretty good, with also a pretty good sense of humor.

Songs like "Needles In The Camel's Eye", "Baby's On Fire", "Driving Me Backwards" ,"Blank Frank" , "Dead Finks Don't Talk", and even the title track are perfect examples of what "Here Come The Warm Jets" is really about; a perfect portrait of eccentric, original and fresh music. Unfortunately Brian Eno after this release will never come back to this style, if we don't count the musician's following album, "Taking Tiger Mountain (By Strategy)".

An album to listen to again and again, a milestone in Art Rock music, and one of the artist's very best efforts.

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Posted Tuesday, November 30, 2010

Review by ZowieZiggy
PROG REVIEWER
2 stars This debut album from "Eno" does feature a lot of great musicians (on top of himself of course): MacKay, Fripp, Manzarena, Wetton and Spedding are the ones who really "speak" to me. But after having listened to this first solo release, I am absolutely NOT charmed. AT ALL.

This album has nothing to do with progressive electronics as far as I am concerned. You should not look for great soundscapes ā la "Tangerine Dream" or "Klaus Schulze". Far from it! This album is much more of an experimental album. No vibrant melodic parts, no magical synths sections at all.

I am sorry but to my feeling, this album is just below average music. Whatever the category you would like this album to fit it in. I can't find any prog one though. This is no original music; this is no creative music either: this is just a long musical way to nowhere.

Two stars, no more. When I listened to this, I really wondered why he left Roxy. Anyway, he must know I guess?

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Posted Tuesday, January 25, 2011

Review by Warthur
PROG REVIEWER
4 stars Brian Eno's first solo album isn't a progressive electronic piece - it comes well before his acclaimed Discreet Music and Ambient series heralded his submersion in that genre. Rather, it's an arty, experimental, complex glam rock album featuring a range of collaborators from a dazzlingly broad spectrum of prog traditions, with members from Roxy Music, King Crimson, Hawkwind and Matching Mole amongst those helping out. Particularly significant contributors include former Roxy cohort Phil Manzanera and Robert Fripp, both of whom co-author some of the tracks.

With a sound ranging from the peaceful On Some Faraway Beach to the proto-punk Needle In the Camel's Eye or Blank Frank to the avant-garde Dead Finks Don't Talk, the album takes on a dizzying range of styles and proves that Eno is a composer to be reckoned with. It's also an emotionally warm album - and before you blame the titular jets, it's more likely that this is down to Eno's interesting studio techniques, which would include doing dances for the musicians to indicate the sort of mood he wanted to establish with the music. Of all the progressive electronic innovators, Eno is one who has always been very careful to include an emotional, intuitive aspect to his compositional process rather than simply relying on more and better electronics, and this album shows that this approach was there right from the beginning. Eno would create better art-glam albums, but this is a hell of a start.

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Posted Friday, August 26, 2011

Latest members reviews

5 stars 9/10, madly steady. The first "band" album which establishes the standard for Eno: short songs played by a number of guests. In this one, Robert Fripp, Phil Manzanera are the most known. And Eno's unique style is ready here. Needles In The Camel's Eye - 9/10 Very fast, great guitar. The ... (read more)

Report this review (#1026910) | Posted by Ethelred7 | Sunday, September 01, 2013 | Review Permanlink

4 stars 4.5, really. Is "This is freaking awesome" going to cut it? If not, then what is it used for? This album! Enjoy Eno's pleasures of various discoveries in the world of off-the-wall pop-rock and punk(-rock). This is where Eno's lengthy string of weird pop and rock solo tunes really starts. There i ... (read more)

Report this review (#613897) | Posted by Dayvenkirq | Friday, January 20, 2012 | Review Permanlink

3 stars There is a lot going on here! I am not even sure I have ever been able to completely absorb this album from 1973. As a huge fan of early ROxy Music, I thought this would be an interesting album to check out. And it was. Just some of what is here...."Needles in the Camel's Eye"- A Roxy Music/ 8 ... (read more)

Report this review (#449172) | Posted by mohaveman | Tuesday, May 17, 2011 | Review Permanlink

4 stars With an incredible stronghold of musicians incl. Robert Fripp/John Wetton (King Crimson) Simon King (Hawkwind),and every member of Roxy Music except Ferry , Eno first Solo recording was released in 1973. Compared to his same year release "No Pussyfooting" (with Fripp) this one sound more like ... (read more)

Report this review (#279436) | Posted by tamijo | Monday, April 26, 2010 | Review Permanlink

5 stars An essential album of progressive rock? Not really, but what Eno albums are? 'Progressive electronic' is an immensely broad classification; most of Eno's work which would be classified as 'progressive electronic' is more classically influenced than...well, to be honest, there's nearly NO rock i ... (read more)

Report this review (#275415) | Posted by classicprogsovereign | Monday, March 29, 2010 | Review Permanlink

2 stars I never really got into this album. I fell in love with Taking Tiger Mountain, but was disappointed when I heard this album. It's not 100% crap, but I never really feel compelled to listen to it, or rip it to my MP3 player for that matter. There are a few tracks that are cool, like Blank Fran ... (read more)

Report this review (#154203) | Posted by jmcdaniel_ee | Tuesday, December 04, 2007 | Review Permanlink

4 stars Brian Eno's tenure with Roxy Music lasted only two albums until Bryan Ferry realized Eno was more hardcore than he was and was ousted soon thereafter. Here Come The Warm Jets was Eno's first solo album and is quite unlike the ambient music he would pursue for the majority of his career. Warm Jets ... (read more)

Report this review (#126592) | Posted by Arsillus | Saturday, June 23, 2007 | Review Permanlink

4 stars After Eno's departure form Roxy Music he recorded two albums (Here Come The Warm Jets, Taking Tiger Mountain By Strategy) to show the roxy fans how Roxy Music would have sounded if he took control of the band, instead of Bryan Ferry. This album much like the first two Roxy Music albums take ti ... (read more)

Report this review (#124790) | Posted by Jake E. | Tuesday, June 05, 2007 | Review Permanlink

4 stars This one's good. The first 4 songs are amazing, especially "Baby's On Fire". They are all very catchy and pleasant. However, after that, things get a bit worse (even if "Some Of The Are Old" is also nice), so that costs it one star. But songs like "Paw Paw The Negro Blowtorch" are just brilliant. ... (read more)

Report this review (#35055) | Posted by | Sunday, May 22, 2005 | Review Permanlink

4 stars The first solo Eno album was still "glammish": you can see it from the wonderful, decadent cover with Eno dressed like a queer, kitschy objects everywere and a postcard with a woman pissing. DECADENCE plus electronics: what a wonderful mixture. So "Needles in the camels eye", probably THE gla ... (read more)

Report this review (#35054) | Posted by | Sunday, May 22, 2005 | Review Permanlink

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