28. baby’s on fire

Baby’s On Fire doesn’t play by any of the rules, yet it absolutely slays as pop song, rock song, whatever you want to call it — the Brian Eno genius in full wild eruption, that beautiful baby getting tossed out with the bathwater, or whatever the hell’s going on. What’s going on is Mr. Eno’s delightfully skewed approach to wordplay. Throw a bunch of loose phrases into a box, pull them out in random order. Proceed from there. And then there’s Robert Fripp‘s incendiary guitar solo erupting through the middle of things like a demon from future antiquity (or was it Paul Rudolph?). By which I mean, holy sh**, Baby’s On Fire was at least five years old when I first heard it, and still too hot to touch. And it still hasn’t cooled off. Yet it is still cool.” (Philip Random)

592. needles in the camel’s eye

“Sometimes I need to see a song used in a movie to truly get it. In the case of Needles in the Camel’s Eye (the first song on the first side of Brian Eno’s first solo album), that movie was Velvet Goldmine, the title sequence in which glam-rock fervour erupts through drab Britain circa 1971-72. As the story goes, David Bowie refused to let director Todd Haynes use any of his music in a movie that was a essentially about him. So Haynes scrambled, signed up everybody else that was relevant at the time, and the result was perhaps more confusing than originally intended, but probably better.” (Philip Random)

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866. dead finks don’t talk

Here Come the Warms Jets, Brian Eno’s 1974 solo debut, didn’t find me until early 1981, but the timing was nevertheless perfect as I was gobbling lots of LSD at the time, imposing apocalypse on everything I’d ever accepted or believed, opening great holes in my brain and soul that only purposefully deranged dada-pop such as Dead Finks Don’t Talk could adequately fill.” (Philip Random)

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