The album features numerous guests, including several of Eno's former Roxy Music bandmates along with members of Hawkwind, Matching Mole, Pink Fairies, Sharks, Sweetfeed, and King Crimson.

[7] Eno directed the musicians by using body language and dancing, as well as through verbal suggestion, to influence their playing and the sounds they would emit.

[12] Eno's girlfriend at the time, potter Carol McNicoll, supervised the design of the cover for the album, which features one of her teapots.

[13] The back also has a picture of what appears to be a "naughty" playing card showing a woman urinating outdoors, thus lending support to the original interpretation of the album title.

"[17] To create the lyrics, Eno would later play these backing tracks singing nonsense syllables to himself, then take them and form them into actual words, phrases and meaning.

"[21] 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 ...

[25] After recovering, Eno played at an Island Records 1 June 1974 concert with fellow musicians Nico, Kevin Ayers and John Cale.

[12] Critic Lester Bangs of Creem declared it "incredible,"[12] and noted that "the predominant feel is a strange mating of edgy dread with wild first-time-out exuberance.

"[37] Robert Christgau of The Village Voice gave it an "A" rating, stating that "The idea of this record—top of the pops from quasi-dadaist British synth wizard—may put you off, but the actuality is quite engaging in a vaguely Velvet Underground kind of way.

[12] Cynthia Dagnal of Rolling Stone wrote an article on Eno, calling the album "a very compelling experiment in controlled chaos and by his own self-dictated standards a near success.

[43][44] In a retrospective review, Rolling Stone's J. D. Considine commented that "It may be easy to hear both an anticipation of punk and an echo of Roxy Music in the arch clangor of Here Come the Warm Jets, but what shines brightest is the offhand accessibility of the songs", adding that "the melodies linger on ... the album seems almost a blueprint for the pop experiments Bowie (with Eno collaborating) would conduct with Low".

Songs such as "Baby's on Fire", "Driving Me Backwards" and "Needles in the Camel's Eye" capture the lush and sleazy underpinning narratives of the British Invasion in arrangements that sound quintessentially timeless".