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Rock/Pop
CD
Here Come The Warm Jets
★★★★★
★★★★★
0.0

在庫状況 について

商品の情報

フォーマット

CD

構成数

1

国内/輸入

輸入

パッケージ仕様

-

発売日

1993年11月02日

規格品番

EGCD11

レーベル

SKU

077778701927

作品の情報
メイン
アーティスト
商品の紹介
Uncut - 5 stars out of 5 - "[T]he first fractured flush of Eno's freedom from a Roxy he feared fatally compromised..." Rolling Stone - 5 stars out of 5 - "Eno, guitarist Robert Fripp and moonlighting members of Roxy Music reconstitute rock and pop into some bizarre third thing." Mojo - 4 stars out of 5 - "Eno's debut really does sound like the future." Magnet - "WARM JETS orbits in the same glam-rock galaxy as Bowie's ZIGGY STARDUST..." Rolling Stone (p.92) - 5 stars out of 5 - "Eno, guitarist Robert Fripp and moonlighting members of Roxy Music reconstitute rock and pop into some bizarre third thing." Mojo (p.123) - 4 stars out of 5 - "Eno's debut really does sound like the future." Uncut (p.102) - 5 stars out of 5 - "[T]he first fractured flush of Eno's freedom from a Roxy he feared fatally compromised..." Magnet (p.91) - "WARM JETS orbits in the same glam-rock galaxy as Bowie's ZIGGY STARDUST..." Pitchfork - "His first solo album, 1974's HERE COME THE WARM JETS, lunges out of its gates with the gigantic tone-bending riff of 'Needles in the Camel's Eye.' It's a startlingly simple song..."
Rovi
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. 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.
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 ready to jump off the edge of the pop universe, and to drag everyone else with him.|
Rovi
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
Rovi
収録内容

構成数 | 1枚

合計収録時間 | 00:42:02

Personnel: Brian Eno (vocals, keyboards, guitar, synthesizer); Paul Rudolph (guitar, bass); Phil Manzanera, Robert Fripp, Chris "Ace" Spedding (guitar); Lloyd Watson (slide guitar); Nick Judd, Nick Kool and The Koolaids (keyboards); Andy Mackay (keyboards, saxophone); Busta Cherry Jones, Bill MacCormick, John Wetton, Chris Thomas (bass); Simon King, Marty Simon, Paul Thompson (drums); Sweetfeed (background vocals).
Recorded at Majestic Studios, London, England in September 1973.
By the time Brian Eno came to record this masterpiece of a debut in 1973, he already held in his grasp the raw tools to revolutionize popular music. Eno seemed ready to jump off the edge of the pop universe and drag it with him. WARM JETS is bathed in his singular pop-with-a-wink aesthetic and free-associative imagination.
From the four-on-the-floor pre-punk stomp like "Needles In The Camel's Eye" or the Spector/VU trad-rock-ism of "Cindy Tells Me", these songs are unabashedly catchy. On two other, quite different pieces, Eno's futuristic soul was laid bare, showing his ability to provide emotional sparks. The closing title-track and "On Some Faraway Beach" are mid-tempo, mostly wordless sound-paintings, constructing melancholy scenes out of grandiose, manipulated sounds. Each touches an unspoken emotional center without pretension, simulataneously grabbing the listener's attention and bringing a tear to the eye.
Having left Roxy Music, Eno began his solo career with this idiosyncratic album. Robert Fripp, Paul Thompson and Phil Manzanera are among those appearing on a set of songs exhibiting a mischievous love of pure pop music. Macabre lyrics constantly subvert the quirky melodies, a feature fully expressed on "Baby's On Fire", while the singer's cheeky vocals exaggerate the ambiguity. Savage guitar lines, erratic synthesizer and pounding drums provide exciting textures on a collection as beguiling as it is invigorating.

    • 1.
      [CD]
      • 1.
        Needles in the Camel's Eye
      • 2.
        The Paw Paw Negro Blowtorch
      • 6.
        On Some Faraway Beach
      • 8.
        Dead Finks Don't Talk
      • 10.
        Here Come the Warm Jets
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