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MisterJunior
One of the best debuts in music history. "Baby's on Fire" is probably my favorite of Eno's Pop songs, and the rest of the tracks are good as well.
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in90sec
i must have been 14yo when this was recorded, got it at age 16 i think, amazed how fresh it still sounds today, other than >> http://www.youtube.com/watch?v=yEmGQYCuc6M which is awesome too, but surely not for this ' http://www.last.fm/music/Canned+Heat ' type of backwardsminded composition..
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PartySanCTG
Great start to a solo career. Also, I thought this album came out in 1973, not 1974...
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LowWaterMark
And BTW, if you are a tad fragile, avoid auditioning "Dead Finks Don't Talk" while really high on LSD. On the other hand, if it can't be avoided - just roll with it.
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LowWaterMark
Who came in the jacuzzi? The warm jets are an ol' fashioned golden shower. You can't quite see it, but on the album cover is the image of the back of a racy bridge card showing a broad hipped lady peeing on the floor, assisted by a man in a hat.
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ctd55
A pop album that's restless with pop music, straining against its sonic template and conventions. Rather than try his hand at a number of traditional pop forms, Eno adopts their trappings to mutate and destroy them. He's not putting his stamp on the pop's genres; he's making a catalog of ways pop music could sound, of noises pared away in the process of making commerically-viable pop music. Eno then takes those elements and arranges them in such a way that they nearly approximate pop music. We're almost fooled, but there's some residual unease. Everything's just a bit off: the off-the-wall instrumentation; the nasal, sneering vocals; the sarcastic, bitter tone of the lyrics; persistent, too-mechanical percussion; anachronistic and/or intrusive backing vocals; the screeching guitars, with their over-long solos; mixes that tend to bury elements of the songs. It's experimentation with sinister intent: these are noises with the power to blow pop music to bits.
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