Day After Day is an ambitious attempt to write about a song every day in 2024 (starting on Jan. 4).
Baby's on Fire (1974)
When you think about Brian Eno, you may think of the incredible production work he's done with the likes of David Bowie, Talking Heads, U2 and others. Or you might think of his role as a member of Roxy Music and the crazy-ass glam costumes he used to wear. But you probably don't think of three-minute mind-blowing guitar solos, but that's exactly what you'll find on his classic song "Baby's on Fire."
A self-described "non-musician," Eno was a founding member of Roxy Music in 1971 after meeting saxophonist Andy Mackay at a train station. On the band's first two albums, Eno played synths and provided tape effects, backing vocals and production work. At first, he didn't play on stage with the band, instead operating the mixing board and singing backups from there. He eventually joined them on stage to play the synth and was known for his wildly flamboyant costumes and makeup. Eno left the band in 1973 after clashing with lead singer Bryan Ferry.
Eno wasted no time starting a solo career, collaborating King Crimson guitarist Robert Fripp on the 1973 album No Pussyfooting. The album was groundbreaking in its use of tape loop and delay systems, which later was dubbed Frippertronics. Fripp also played guitar on several songs from Eno's 1974 solo debut Here Come the Warm Jets, including the aforementioned "Baby's on Fire."
"Baby's on Fire" is a sinister-sounding track, pulsing with menace as Eno snarls out the lyrics about a burning woman.
"Baby's on fire/Better throw her in the water/Look at her laughing/Like a heifer to the slaughter/Baby's on fire/And all the laughing boys are bitching/Waiting for photos/Oh, the plot is so bewitching/Rescuers row row/Do your best to change the subject/Blow the wind blow blow/Lend some assistance to the object/Photographers snip snap/Take your time she's only burning/This kind of experience/Is necessary for her learning/If you'll be my flotsam/I could be half the man I used to/They said you were hot stuff/And that's what baby's been reduced to."
At this point, Fripp launches into an extended, angry, twisted and amazing guitar solo, taking Eno's bizarre premise and pummeling it in the best way possible. Fripp has played incredible solos before and since, but this may be his greatest. There's some online conjecture that Paul Rudolph may also contribute to some of the solo section. But whatever the case, it's goddamn incredible.
Eno jumps back in on vocals after the solo ends to close out the song.
"Juanita and Juan/Very clever with maracas/Making their fortunes/Selling secondhand tobaccos/Juan dances at Chico's/And when the client are evicted/He empties the ashtrays/And pockets all that he's collected/But baby's on fire/And all the instruments agree that/Her temperature's riding/But any idiot would know that."
The song (and album) was so ahead of the game, it was post-punk before punk even emerged. It was unlike anything that had come before. And Eno would make one more rock album (Taking Tiger Mountain) before switching gears and getting into ambient music, which he has primarily stuck with for nearly 50 years. But again, he's better known for his production work, which is legendary. Still, "Baby's on Fire" doesn't get nearly enough love as one of the best guitar songs ever.
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