miércoles, 27 de septiembre de 2017

Brian Eno - Here Come The Warm Jets - 1973

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  1. Here Come the Warm Jets is the debut solo album by Brian Eno, credited only as "Eno". Produced by him, it was released on Island Records in January 1974. The musical style of Here Come the Warm Jets is a hybrid of glam rock and art pop, similar to Eno's previous album work with Roxy Music, although in a stronger experimental fashion. In developing the album's words and music, Eno used unusual methods such as dancing for his band members and having them play accordingly, and singing nonsense words to himself that would form the basis of subsequent lyrics. The album features various guest musicians, including members of Roxy Music, Hawkwind, Matching Mole and Pink Fairies, as well as Chris Spedding, and Robert Fripp of King Crimson, who collaborated with Eno a year before in (No Pussyfooting).

    Here Come the Warm Jets peaked at number 26 on the United Kingdom album charts and number 151 on the US Billboard charts, receiving mostly positive reviews. It was re-issued on compact disc in 1990 on Island Records and in 2004 on Virgin Records, and continued to elicit praise. Critic Steve Huey of AllMusic stated that the album "still sounds exciting, forward-looking, and densely detailed, revealing more intricacies with every play".

  2. Production

    Here Come the Warm Jets was recorded in twelve days at Majestic Studios in London during September 1973 by recording engineer Derek Chandler. It was mixed at Air and Olympic Studios by Eno and audio engineer Chris Thomas. The album's title was believed to be a slang term for urination. In an interview with Mojo magazine in 1996, Eno said that it came from a description he wrote for the treated guitar on the title track; he called it "warm jet guitar ... because the guitar sounded like a tuned jet."
    Eno enlisted sixteen guest musicians to play on the album with him, including John Wetton and Robert Fripp of King Crimson, Simon King from Hawkwind, Bill MacCormick of Matching Mole, Paul Rudolph of Pink Fairies, Chris Spedding and all the members of Roxy Music except vocalist Bryan Ferry. Eno selected them on the basis that he thought they were incompatible with each other musically. He stated that he "got them together merely because I wanted to see what happens when you combine different identities like that and allow them to compete ... [The situation] is organized with the knowledge that there might be accidents, accidents which will be more interesting than what I had intended".
    Eno directed the musicians by using body language and dancing, as well as through verbal suggestion, to influence their playing and the sounds they would emit. He felt at the time that this was a good way to communicate with musicians. The album credits Eno with instruments such as "snake guitar", "simplistic piano" and "electric larynx". These terms were used to describe the sound's character or the means of production used to treat the instruments. After recording the individual tracks, Eno condensed and mixed the instrumentation deeply, resulting in some of the tracks bearing little resemblance to what the musicians recorded during the session.
    Eno's girlfriend at the time, potter Carol McNicoll, supervised the design of the cover for the album, which features one of her teapots.

  3. Music and lyrics

    The songs on Here Come the Warm Jets reference various musical styles from the past and present. The overall style of the album has been described as "glammed-up art-pop", showcasing glam rock's simple yet theatrical crunchy guitar rock and art pop's sonic texture and avant-garde influences. In some tracks, Eno's vocals emulate the manner of the lead singer of his former band Roxy Music, Bryan Ferry. On other songs such as "Baby's on Fire", they were described as "more nasal and slightly snotty vocals". Musically, the album borrows from popular styles of the music in the 1950s such as the tinkling pianos and falsetto backing vocals on "Cindy Tells Me", and the drum rhythm of "Blank Frank", taken from Bo Diddley's song "Who Do You Love?".
    To create the lyrics, Eno would later play these backing tracks singing nonsense syllables to himself, then take them and form them into actual words, phrases and meaning. This lyric-writing method was used for all his more vocal-based recordings of the 1970s. The lyrics on Here Come the Warm Jets are macabre with an underlying sense of humour. They are mostly free-associative and have no particular meaning. Exceptions include "The Paw Paw Negro Blowtorch", about the historical A.W. Underwood of Paw Paw, Michigan with the purported ability to set items ablaze with his breath; according to Eno, the song "celebrates the possibility of a love affair with the man." Eno has attempted to dissuade fans from reading too much into his words; he claims that the song "Needles in the Camel's Eye" was "written in less time than it takes to sing ... I regard [the song] as an instrumental with singing on it".

  4. (...Inaudible...)
    (Further) we make claims on (our teas)
    (Dawn inner here) for we've nowhere to be
    Nowhere to be
    Nowhere to be

    (Father stains), we're all on our knees
    Down on our words and we've nothing to be
    Nothing to be
    Nothing to be

    Further down we're all on our (sails)
    (Paid to upheed) though we've nothing these days
    Nothing these days
    Nothing these days

    (Further still, their stall in a daze)
    We're down on our knees and we've nothing to say
    Nothing to say
    Nothing to say...