Style
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-rock'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 1950s in Music 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 taking them and forming 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 as an instrumental with singing on it".
Read more about this topic: Here Come The Warm Jets
Famous quotes containing the word style:
“We think it is the richest prose style we know of.”
—Henry David Thoreau (1817–1862)
“New is a word for fools in towns who think
Style upon style in dress and thought at last
Must get somewhere.”
—Robert Frost (1874–1963)
“Everything ponderous, viscous, and solemnly clumsy, all long- winded and boring types of style are developed in profuse variety among Germans—forgive me the fact that even Goethe’s prose, in its mixture of stiffness and elegance, is no exception, being a reflection of the “good old time” to which it belongs, and a reflection of German taste at a time when there still was a “German taste”Ma rococo taste in moribus et artibus.”
—Friedrich Nietzsche (1844–1900)