Features 24 bit remastering and comes with a mini-description. The aptly titled The Warm Sound reunites Frances Wayne with husband and arranger Neal Hefti, adding to the equation a wonderful support unit including tenorist Al Cohn, guitarist Billy Mure, pianist Hank Jones, and flautist Jerome Richardson to yield one of the singer's most delightful and consistent sessions. Hefti keeps his more extravagant impulses in check here, creating a series of sophisticated but appealingly simple arrangements that underscore the breathy appeal of Wayne's vocals. Likewise, warhorses including "'Round Midnight" and "Prelude to a Kiss" prove particularly well-matched to her sexy but sweet persona.
Phil Manzanera had no problem filling his mid-'70s downtime away from Roxy Music. His guitar graced some 20 albums, like John Cale's Fear, Eno's Here Come the Warm Jets, and Nico's The End. This outing from his all-star side group is slicker than his 1976 live debut album, but no less worthwhile; some 16 musicians are credited. The sound is sleek and sophisticated; even lyrics aren't exempt from creative twists, as shown on "Listen Now"'s glistening jazz-pop – which cleverly juxtaposes its title against a bouncy "now, now, listen" chorus.
Before and After Science is really a study of "studio composition" whereby recordings are created by deconstruction and elimination: tracks are recorded and assembled in layers, then selectively subtracted one after another, resulting in a composition and sound quite unlike that at the beginning of the process. Despite the album's pop format, the sound is unique and strays far from the mainstream. Eno also experiments with his lyrics, choosing a sound-over-sense approach.
Continuing the twisted pop explorations of Here Come the Warm Jets, Eno's sophomore album, Taking Tiger Mountain (By Strategy), is more subdued and cerebral, and a bit darker when he does cut loose, but it's no less thrilling once the music reveals itself. It's a loose concept album – often inscrutable, but still playful – about espionage, the Chinese Communist revolution, and dream associations, with the more stream-of-consciousness lyrics beginning to resemble the sorts of random connections made in dream states.
At the same time Brian Eno was working on Here Come the Warm Jets, he was flexing his experimental muscle with this album of tape delay manipulation recorded with Robert Fripp. In a system later to be dubbed Frippertronics, Eno and Fripp set up two reel-to-reel tape decks that would allow audio elements to be added to a continuing tape loop, building up a dense layer of sound that slowly decayed as it turned around and around the deck's playback head. Fripp later soloed on top of this. No Pussyfooting represents the duo's initial experiments with this system, a side each.