Standard 1LP editions of the early Eno catalogue, cut at Abbey Road Studios at 33RPM & all pressed to 180-gram black heavyweight vinyl + download card.

With experimentalism, conceptual art theory and use of the accidental as a foundation, these albums broke through the boundaries of popular music at the time. Elements of prog/psych/art rock, avant garde and 50s rock ‘n’ roll were combined with an array of cultural and philosophical ideas to create fresh sounding music, that was both visionary and captivating. Alongside George Martin and The Beatles’ work on Sgt. Pepper’s, Eno is arguably the other most pre-eminent practitioner of ‘studio as instrument’ ever. His unconventional recording techniques have resulted in a canon of work that places him alongside other iconic producers like Brian Wilson, Lee Scratch Perry and Phil Spector. As these albums progress chronologically, a nascent form of music begins to emerge. The ideas we hear in this early work continue to reveal themselves in Eno’s later ambient and electronic experiments.

1974 debut Here Come The Warm Jets’ hybrid of glam, prog and art rock continued in a vein similar to Eno’s previous albums with Roxy Music, but further upped the experimental ante. In developing the album’s words and music, Eno used unusual methods, including dancing for his band members – having them play accordingly, and singing nonsense syllables to himself, then forming those into actual words, phrases and meaning – a technique revisited across all these albums. The lyrics on Here Come The Warm Jets are macabre with an underlying sense of humor. They are mostly free-associative and have no particular meaning – another recurring method.

Eno enlisted sixteen guest musicians to play on the album, including Robert Fripp and John Wetton of King Crimson, Simon King from Hawkwind, Bill MacCormick of Matching Mole and Quiet Sun, Paul Rudolph of Pink Fairies, Phil Manzanera and Andy MacKay from Roxy Music and Chris Spedding. Eno selected them on the basis that he thought they were incompatible with each other musically. He stated that he “got them together merely because I wanted to see what happens when you combine different identities with the knowledge that there might be accidents, accidents which will be more interesting than what I had intended.”