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In his mid-20s, Brian Eno wasn’t messing about. Now that he had committed himself to a career in music, he wasn’t about to let his split with Bryan Ferry’s Roxy Music affect his impetus and creative spark. Within a few short months, he had released an experimental ambient album with Robert Fripp (No Pussyfooting, November ’73) and now, here in January ’74, he served up his first post-Roxy continuation, “Here Come The Warm Jets”, which ably demonstrated to all and sundry that he had been a major contributing force to the alternative, artsy sound of Roxy Music in the preceding couple of years. Eno enlisted 16 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. His idea was that such a disparate collective might result in some interesting accidents stating: “I got them together merely because I wanted to see what happens when you combine different identities like that and allow them to compete.” There’s never a dull moment and, thanks to the forward-thinking musical sonics and Eno’s “electric larynx”, the record sounds quite like no other to date.
The Jukebox Rebel
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