BRIAN ENO — Here Come the Warm Jets (1974-2004) RM | Original Masters Series | FLAC (tracks+.cue), lossless

Eno's solo debut, Here Come the Warm Jets, is a spirited, experimental collection of unabashed pop songs on which Eno mostly reprises his Roxy Music role as "sound manipulator," taking the lead vocals but leaving much of the instrumental work to various studio cohorts (including ex-Roxy mates Phil Manzanera and Andy Mackay, plus Robert Fripp and others). Eno's compositions are quirky, whimsical, and catchy, his lyrics bizarre and often free-associative, with a decidedly dark bent in their humor ("Baby's on Fire," "Dead Finks Don't Talk"). Yet the album wouldn't sound nearly as manic as it does without Eno's wildly unpredictable sound processing; he coaxes otherworldly noises and textures from the treated guitars and keyboards, layering them in complex arrangements or bouncing them off one another in a weird cacophony. Avant-garde yet very accessible, Here Come the Warm Jets still sounds exciting, forward-looking, and densely detailed, revealing more intricacies with every play. Steve Huey
Tracklist :
1.     Needles in the Camel's Eye 3:11
Brian Eno / Phil Manzanera
Bass Guitar – Bill MacCormick
Guitar – Chris 'Ace' Spedding, Phil Manzanera
Percussion – Simon King
2.     The Paw Paw Negro Blowtorch 3:04
Brian Eno
Bass [Extra Bass] – Chris Thomas
Bass Guitar – Busta Cherry Jones
Guitar – Chris 'Ace' Spedding, Phil Manzanera
Percussion – Marty Simon
3.     Baby's on Fire 5:19
Brian Eno
Bass Guitar – John Wetton, Paul Rudolph
Guitar – Paul Rudolph, Robert Fripp
Percussion – Marty Simon, Simon King
4.     Cindy Tells Me 3:25
Brian Eno / Phil Manzanera
Bass Guitar – Busta Cherry Jones
Guitar – Phil Manzanera
Keyboards – Nick Judd
Percussion – Marty Simon
5.     Driving Me Backwards 5:12
Brian Eno
Bass Guitar – John Wetton, Paul Rudolph
Guitar – Robert Fripp
Percussion – Simon King
6.     On Some Faraway Beach 4:36
Brian Eno
Backing Vocals – Sweetfeed
Bass Guitar – Busta Cherry Jones
Keyboards – Andy Mackay
Percussion – Simon King
7.     Blank Frank
Brian Eno / Robert Fripp
Backing Vocals – Sweetfeed
Bass Guitar – Bill MacCormick
Guitar – Robert Fripp
Keyboards – Nick Kool And The Koolaids
Percussion – Simon King
8.     Dead Finks Don't Talk 4:19
Brian Eno
Arranged By – Eno, Jones, Judd, Thompson
Bass Guitar – Busta Cherry Jones
Keyboards – Nick Judd
Percussion – Paul Thompson 
9.     Some of Them Are Old 5:11
Brian Eno
Keyboards, Saxophone [Septet] – Andy Mackay
Slide Guitar – Lloyd Watson
10.     Here Come the Warm Jets 4:04
Brian Eno
Bass Guitar – Paul Rudolph
Guitar – Paul Rudolph
Percussion – Simon King 

FRIPP & ENO — (No Pussyfooting) (1973-2008) RM | 2CD | FLAC (tracks+.cue), lossless

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. "Heavenly Music Corporation" demonstrates the beauty of the setup, with several guitar and synth elements building on top of each other, the music slowly evolving, and Fripp ending the piece with low dive-bombing feedback that swoops over the soundscape, bringing the piece to its conclusion. "Swastika Girls," on the other hand, shows how the system can be abused. With too many disconnected sounds sharing the space, some discordant, some melodic, the resulting work lacks form and structure. Eno and Fripp later refined the system on Evening Star and Eno's solo album Discreet Music. Fripp would take the system and base whole albums and live appearances around it (particularly Let the Power Fall). But it was here on (No Pussyfooting) where it all started. Ted Mills
Tracklist 1 :
1-5. The Heavenly Music Corporation 20:55
Brian Eno / Robert Fripp
6-7. Swastika Girls 18:43 
Brian Eno / Robert Fripp
8-12.    The Heavenly Music Corporation (Reversed) (20:52)
Tracklist 2 :
1-5. The Heavenly Music Corporation (Half Speed)    (41:49)
6-7. Swastika Girls (Reversed)    (18:54)
Credits :
Composed, Producer By – Brian Eno, Robert Fripp

"The Heavenly Music Corporation"
Recorded at Eno's Studio 8.9.72
Equipment: Gibson Les Paul
The Fripp Pedalboard
2 Modified Revox A77 Tape Recorders

"Swastika Girls"
Recorded at Command Studios 4/5.8.73
Mixed at Air Studios 21/22.8.73
Equipment: Gibson Les Paul
Frizzbox/VCS3 Synthesizer with
Digital Sequencer/Modified Revox
A77 Tape Recorders  

FRIPP & ENO — The Equatorial Stars (2004) FLAC (tracks+.cue), lossless

Almost 30 years on since Evening Star, Robert Fripp and Brian Eno resume their collaboration, and remarkably, they seem to have picked up right where they left off. Remarkably, because Fripp's more recent soundscaping has had a different quality than either his collaborations with Eno or his proper "Frippertronics" albums like Let the Power Fall or the solo side of God Save the Queen/Under Heavy Manners. Surely they're not back to using the old Revox tape machine setup, but having Eno in the producer's chair (not to mention making his own musical contributions) seems to add a warmth that's been missing from albums like 1999. But much like Evening Star showed a progression from No Pussyfooting, The Equatorial Stars is another step forward while retaining all the same elements as their previous work together. On "Meissa," there's just a bit of glitch periodically applied to the background keyboards and guitar harmonics with Fripp soloing softly over the top. "Lyra" is even prettier, and you can really hear Fripp's guitar lines trailing off into the distance. His tone here is less saturated than on the earlier albums, but there's just as much sustain and his playing is beautiful and lyrical. "Ankaa" bears the strongest resemblance to the material on Evening Star, with that classic "Frippertronics" guitar tone. And just as their previous efforts were mostly, but not entirely, placid, The Equatorial Stars takes on a slightly more aggressive tone (if you can call it that) toward the end. "Lupus" adds the pulse of a heartbeat and a bit of sonic scuzz to the mix, and "Terebellum" takes on a slightly more ominous tone. Most surprising is "Altair," which almost gets funky with a bit of bass and some chicken scratch rhythm guitar work. While Fripp is nominally at the forefront on The Equatorial Stars, Eno's contributions and excellent production are just as important. There seems to be a genuine synergy when these two work together, and The Equatorial Stars is a worthy successor to their earlier brilliant albums together. Sean Westergaard   
Tracklist :
1 Meissa 8:08
2 Lyra 7:45
3 Tarazed 5:03
4 Lupus 5:09
5 Ankaa 7:01
6 Altair 5:11
7 Terebellum 9:40
Credits :
Performer [Music Performed By], Composed By – Brian Eno, Robert Fripp
Producer [Produced], Design [Cover Design] By – Brian Eno

ROBERT FRIPP — Exposure (1979-1989) RM | The Definitive Edition Series | FLAC (tracks+.cue), lossless

Conceived as the third part of an MOR trilogy that included Peter Gabriel's second album and Daryl Hall's Sacred Songs, Exposure is concerned with a marketplace that Fripp saw as hostile to experimentation and hungry for product. Strangely, then, Exposure is one of his most varied and successful rock albums, offering a broad selection of styles. "Water Music I and II" is pure Frippertronics; "Disengage" and "I May Not Have Had Enough of Me But I've Had Enough of You" are angular, jagged rock like he would make with the reformed King Crimson; "North Star" is a soulful ballad led by Daryl Hall on vocals, and a less bombastic version of "Here Comes the Flood" with Peter Gabriel singing makes a melancholic ending. Peter Hammill, Terre Roche, and Narada Michael Walden also add vocals to a pleasant experiment in pop, Fripp style. Ted Mills

ROBERT FRIPP | BRIAN ENO — Evening Star (1975-1989) RM | FLAC (tracks+.cue), lossless

Robert Fripp's second team up with Brian Eno was a less harsh, more varied affair, closer to Eno's then-developing idea of ambient music than what had come before in (No Pussyfooting). The method used, once again, was the endless decaying tape loop system of Frippertronics but refined with pieces such as "Wind on Water" fading up into an already complex bed of layered synths and treated guitar over which Fripp plays long, languid solos. "Evening Star" is meditative and calm with gentle scales rocking to and fro while Fripp solos on top. "Wind on Wind" is Eno solo, an excerpt from the soon to be released Discreet Music album. The nearly 30-minute ending piece, "An Index of Metals," keeps Evening Star from being a purely background listen as the loops this time contain a series of guitar distortions layered to the nth degree, Frippertronics as pure dissonance. As a culmination of Fripp and Eno's experiments, Evening Star shows how far they could go. Ted Mills
Tracklist :
1. Wind on Water 5:30
2. Evening Star 7:48
3. Evensong 2:53
4. Wind on Wind 2:56
5. An Index of Metals 28:36
Robert Fripp – Guitar
Brian Eno – Tape loops, Synthesizer, Piano

BRIAN ENO — Before and After Science (1977-2004) RM | Original Masters Series | FLAC (tracks+.cue), lossless

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. When mixed with the music, these lyrics create a new sense or meaning, or the feeling of meaning, a concept inspired by abstract sound poet Kurt Schwitters (epitomized on the track "Kurt's Rejoinder," on which you actually hear samples from Schwitters' "Ursonate"). Before and After Science opens with two bouncy, upbeat cuts: "No One Receiving," featuring the offbeat rhythm machine of Percy Jones and Phil Collins (Eno regulars during this period), and "Backwater." Jones' analog delay bass dominates on the following "Kurt's Rejoinder," and he and Collins return on the mysterious instrumental "Energy Fools the Magician." The last five tracks (the entire second side of the album format) display a serenity unlike anything in the pop music field. These compositions take on an occasional pastoral quality, pensive and atmospheric. Cluster joins Eno on the mood-evoking "By This River," but the album's apex is the final cut, "Spider and I." With its misty emotional intensity, the song seems at once sad yet hopeful. The music on Before and After Science at times resembles Another Green World ("No One Receiving") and Here Come the Warm Jets ("King's Lead Hat") and ranks alongside both as the most essential Eno material. David Ross Smith 
Tracklist :
1 No One Receiving 03:52
Bass, Guitar [Rhythm] – Paul Rudolph
Drums – Phil Collins
Fretless Bass – Percy Jones
Performer [A Gong-gong And Stick] – Rhett Davies
Synthesizer, Guitar, Percussion [Synthesized], Piano – Brian Eno
2 Backwater 03:43
Bass – Paul Rudolph
Drums – Jaki Liebezeit
Guitar [Rhythm], Brass, Piano – Brian Eno

3 Kurt's Rejoinder 02:55

Bass [Analog Delay Bass] – Percy Jones
Chorus, Piano ['jazz'], Synthesizer – Brian Eno
Drums – Dave Mattacks
Timbales [Brush] – Shirley Williams
Voice [From The Ur Sonata] – Kurt Schwitters
4 Energy Fools the Magician 02:04
Chorus, Keyboards, Vibraphone – Brian Eno
Drums – Phil Collins
Fretless Bass – Percy Jones
Guitar [Modified] – Fred Frith
5 King's Lead Hat 03:56
Bass – Paul Rudolph
Drums – Andy Fraser
Guitar [Guitar Solo] – Robert Fripp
Guitar [Rhythm] – Phil Manzanera
Performer [Metallics], Guitar [Rhythm], Piano [Piano Solo] – Brian Eno
6 Here He Comes 05:38
Bass – Paul Rudolph
Drums – Dave Mattacks
Guitar – Phil Manzanera
Synthesizer [Yamaha Cs80, Moog], Piano – Brian Eno
 7 Julie with... 06:19
Bass, Bass [Harmonic] – Paul Rudolph
Bells, Synthesizer [Mini-moog, Cs80, Aks], Piano, Guitar – Brian Eno
8 By This River 03:03
Electric Piano [Bass Fender] – Möbi Moebius
Piano [Grand], Electric Piano – Achim Roedelius
Synthesizer [Cs80] – Brian Eno
Written-By [Co-written] – Moebius, Roedelius

9 Through Hollow Lands (For Harold Budd) 03:56

Bass – Bill MacCormick
Guitar [Cascade] – Fred Frith
Keyboards, Bells, Guitar [Melody], Synthesizer [Moog] – Brian Eno
Performer [Time] – Shirley Williams
10 Spider and I 04:10
Bass – Brian Turrington
Keyboards, Synthesizer [Aks] – Brian Eno

QUIET SUN — Mainstream (1975-1989) RM | Two Version | FLAC (image+.tracks+.cue), lossless

Phil Manzanera's pre-Roxy Music group never got to release their first attempt at an album, but in a break from Roxy in 1974, Manzanera regrouped the band and put out this effort, recorded at the same time as his solo extravaganza Diamond Head. Here, Manzanera disappears into the art rock group dynamic; the album is a selection of progressive jams featuring some tasty guitar work, complex rhythmic structures, and the always reliable bass work of Bill MacCormick. There is a certain dryness to the whole proceeding, a holding back, a lack of warmth, but perhaps this perception is derived from over half the tracks sounding so much better a year later as part of 801's Live, including "Sol Caliente," "Mummy Was an Asteroid, Daddy Was a Small, Non-Stick Kitchen Utensil," and especially "Rongwrong." Here the Charles Hayward song sounds like a university common-room joke, with its name-dropping of "reading Schoenberg in the bath" and such. Compared to the lush arrangement and rewritten lyrics of the Brian Eno-sung 801 version, Quiet Sun sounds like one album away from brilliance. Ted Mills
Tracklist :
1.     Sol Caliente 7:35
 Phil Manzanera 
2.     Trumpets With Motherhood 1:47
 Charles Hayward 
3.     Bargain Classics 5:48
Dave Jarrett
4.     R. F. D. 3:23
Dave Jarrett
5.     Mummy Was An Asteroid, Daddy Was A Small Non-stick Kitchen Utensil 6:01
 Bill MacCormick 
6.     Trot 5:18
 Phil Manzanera 
7.     Rongwrong 9:28
 Charles Hayward 
Credits :
Backing Vocals [Back-up Voices] – Ian MacCormick
Bass [Electric, Treated], Backing Vocals [Back-up Voices] – Bill MacCormick
Drums, Percussion, Keyboards, Voice – Charles Hayward
Electric Guitar [6 & 12 String Guitars], Guitar [Treated Guitars], Electric Piano [Fender Rhodes] – Phil Manzanera
Grand Piano [Fender Rhodes, Steinway], Organ [Farfisa, Hammond], Synthesizer [Vcs 3] – Dave Jarrett
Producer – Quiet Sun
Synthesizer, Performer [Treatments & Oblique Strategies] – Eno

ROXY MUSIC – Roxy Music (1972-2015) RM | Platinum SHM-CD | Two Version | FLAC (image+.tracks+.cue), lossless

Falling halfway between musical primitivism and art rock ambition, Roxy Music's eponymous debut remains a startling redefinition of rock's boundaries. Simultaneously embracing kitschy glamour and avant-pop, Roxy Music shimmers with seductive style and pulsates with disturbing synthetic textures. Although no musician demonstrates much technical skill at this point, they are driven by boundless imagination -- Brian Eno's synthesized "treatments" exploit electronic instruments as electronics, instead of trying to shoehorn them into conventional acoustic patterns. Similarly, Bryan Ferry finds that his vampiric croon is at its most effective when it twists conventional melodies, Phil Manzanera's guitar is terse and unpredictable, while Andy Mackay's saxophone subverts rock & roll clichés by alternating R&B honking with atonal flourishes. But what makes Roxy Music such a confident, astonishing debut is how these primitive avant-garde tendencies are married to full-fledged songs, whether it's the free-form, structure-bending "Re-Make/Re-Model" or the sleek glam of "Virginia Plain," the debut single added to later editions of the album. That was the trick that elevated Roxy Music from an art school project to the most adventurous rock band of the early '70s. Stephen Thomas Erlewine 
Tracklist :
1.    Re-Make / Re-Model 5:10
2.    Ladytron 4:21
3.    If There Is Something 6:33
4.    2 H.B. 4:30
5.    The Bob (Melody) 5:48
6.    Chance Meeting 3:00
7.    Would You Believe? 3:47
8.    Sea Breezes 7:00
9.    Bitters End 2:02
Credits :
Bass Guitar – Graham Simpson
Drums – Paul Thompson
Guitar – Phil Manzanera
Saxophone, Oboe – Andy Mackay
Songwriter [All Songs By], Voice, Piano, Cover – Bryan Ferry
Synthesizer [Synthesiser], Tape – Eno

ROXY MUSIC - For Your Pleasure (1973-2015) RM / SHM-CD / FLAC (image+.cue), lossless

On Roxy Music's debut, the tensions between Brian Eno and Bryan Ferry propelled their music to great, unexpected heights, and for most of the group's second album, For Your Pleasure, the band equals, if not surpasses, those expectations. However, there are a handful of moments where those tensions become unbearable, as when Eno wants to move toward texture and Ferry wants to stay in more conventional rock territory; the nine-minute "The Bogus Man" captures such creative tensions perfectly, and it's easy to see why Eno left the group after the album was completed. Still, those differences result in yet another extraordinary record from Roxy Music, one that demonstrates even more clearly than the debut how avant-garde ideas can flourish in a pop setting. This is especially evident in the driving singles "Do the Strand" and "Editions of You," which pulsate with raw energy and jarring melodic structures. Roxy also illuminate the slower numbers, such as the eerie "In Every Dream Home a Heartache," with atonal, shimmering synthesizers, textures that were unexpected and innovative at the time of its release. Similarly, all of For Your Pleasure walks the tightrope between the experimental and the accessible, creating a new vocabulary for rock bands, and one that was exploited heavily in the ensuing decade. by Stephen Thomas Erlewine 
Tracklist:
1 Do The Strand
2 Beauty Queen
3 Strictly Confidential
4 Editions Of You
5 In Every Dream Home A Heartache
6 The Bogus Man
7 Grey Lagoons
8 For Your Pleasure
Credits:
Bass, Guest [Guest Artiste] – John Porter
Drums – Paul Thompson
Guitar – Phil Manzanera
Oboe, Saxophone – Andrew Mackay
Synthesizer, Tape [Tapes] – Eno
Voice, Keyboards – Bryan Ferry
Words By, Music By – Ferry

GENESIS — The Lamb Lies Down on Broadway (1974-2014) RM | 2CD | SHM-CD | FLAC (image+.cue), lossless

Given all the overt literary references of Selling England by the Pound, along with their taste for epic suites such as "Supper's Ready," it was only a matter of time before Genesis attempted a full-fledged concept album, and 1974's The Lamb Lies Down on Broadway was a massive rock opera: the winding, wielding story of a Puerto Rican hustler name Rael making his way in New York City. Peter Gabriel made some tentative moves toward developing this story into a movie with William Friedkin but it never took off, perhaps it's just as well; even with the lengthy libretto included with the album, the story never makes sense. But just because the story is rather impenetrable doesn't mean that the album is as well, because it is a forceful, imaginative piece of work that showcases the original Genesis lineup at a peak. Even if the story is rather hard to piece together, the album is set up in a remarkable fashion, with the first LP being devoted to pop-oriented rock songs and the second being largely devoted to instrumentals. This means that The Lamb Lies Down on Broadway contains both Genesis' most immediate music to date and its most elliptical. Depending on a listener's taste, they may gravitate toward the first LP with its tight collection of ten rock songs, or the nightmarish landscapes of the second, where Rael descends into darkness and ultimately redemption (or so it would seem), but there's little question that the first album is far more direct than the second and it contains a number of masterpieces, from the opening fanfare of the title song to the surging "In the Cage," from the frightening "Back in NYC" to the soothing conclusion "The Carpet Crawlers." In retrospect, this first LP plays a bit more like the first Gabriel solo album than the final Genesis album, but there's also little question that the band helps form and shape this music (with Brian Eno adding extra coloring on occasion), while Genesis shines as a group shines on the impressionistic second half. In every way, it's a considerable, lasting achievement and it's little wonder that Peter Gabriel had to leave the band after this record: they had gone as far as they could go together, and could never top this extraordinary album. Stephen Thomas Erlewine  
Tracklist :
1-1.     The Lamb Lies Down On Broadway 4:52
1-2.     Fly On A Windshield 2:45
1-3.     Broadway Melody Of 1974 2:11
1-4.     Cuckoo Cocoon 2:13
1-5.     In The Cage 8:12
1-6.     The Grand Parade Of Lifeless Packaging 2:46
1-7.     Back In N.Y.C. 5:45
1-8.     Hairless Heart 2:10
1-9.     Counting Out Time 3:41
1-10.     The Carpet Crawlers 5:15
1-11.     The Chamber Of 32 Doors 5:45
2-1.     Lilywhite Lilith 2:49
2-2.     The Waiting Room 5:17
2-3.     Anyway 3:17
2-4.     The Supernatural Anaesthetist 2:49
2-5.     The Lamia 6:58
2-6.     Silent Sorrow In Empty Boats 3:01
2-7.     The Colony Of Slippermen: (A.The Arrival; B: A Visit To The Doktor; C: The Raven) 8:12
2-8.     Ravine 2:06
2-9.     The Light Dies Down On Broadway 3:32
2-10.     Riding The Scree 4:07
2-11.     In The Rapids 2:22
2-12.     It 4:19
Credits:
Bass, Twelve-String Guitar – Mike Rutherford
Featuring [Enossification] – Brian Eno (tracks: 1-6)
Guitar – Steve Hackett
Guitar, Keyboards – Tony Banks
Percussion, Backing Vocals [Voicing], Vibraphone – Phil Collins
Vocals, Flute – Peter Gabriel

ENO – Another Green World (1975-1996) FLAC (tracks+.cue), lossless

A universally acknowledged masterpiece, Another Green World represents a departure from song structure and toward a more ethereal, minimalistic approach to sound. Despite the stripped-down arrangements, the album's sumptuous tone quality reflects Eno's growing virtuosity at handling the recording studio as an instrument in itself (à la Brian Wilson). There are a few pop songs scattered here and there ("St. Elmo's Fire," "I'll Come Running," "Golden Hours"), but most of the album consists of deliberately paced instrumentals that, while often closer to ambient music than pop, are both melodic and rhythmic; many, like "Sky Saw," "In Dark Trees," and "Little Fishes," are highly imagistic, like paintings done in sound that actually resemble their titles. Lyrics are infrequent, but when they do pop up, they follow the free-associative style of albums past; this time, though, the humor seems less bizarre than gently whimsical and addled, fitting perfectly into the dreamlike mood of the rest of the album. Most of Another Green World is like experiencing a soothing, dream-filled slumber while awake, and even if some of the pieces have dark or threatening qualities, the moments of unease are temporary, like a passing nightmare whose feeling lingers briefly upon waking but whose content is forgotten. Unlike some of his later, full-fledged ambient work, Eno's gift for melodicism and tight focus here keep the entirety of the album in the forefront of the listener's consciousness, making it the perfect introduction to his achievements even for those who find ambient music difficult to enjoy.  Steve Huey

Tracklist :

1. Sky Saw  – 3:25

Phil Collins – drums

Percy Jones – fretless bass

Paul Rudolph – anchor bass

Rod Melvin – rhodes piano

John Cale – viola section

Eno - snake guitar, digital guitar

2. Over Fire Island – 1:49

Phil Collins – drums

Percy Jones – fretless bass

Brian Eno – vocals, synthesizer, guitars, tapes

3. St. Elmo's Fire – 3:02

Robert Fripp – wimshurst guitar

Brian Eno – organ, piano, yamaha bass pedals, synthetic percussion, desert guitars

4. In Dark Trees  – 2:29

Brian Eno – guitars, synthesizer, electric percussion and treated rhythm generator

5. The Big Ship – 3:01

Brian Eno – synthesizer, synthetic percussion and treated rhythm generator

6. I'll Come Running  – 3:48

Robert Fripp – restrained lead guitar

Paul Rudolph – bass, snare drums, bass guitar, assistant castanet guitars

Rod Melvin – lead piano

Brian Eno – vocals, castanet guitars, chord piano, synthesizer, synthetic percussion

7. Another Green World – 1:38

Brian Eno – desert guitars, farfisa organ, piano

8. Sombre Reptiles  – 2:26

Brian Eno – Hammond organ, guitars, synthetic and Peruvian percussion, electric elements and unnatural sounds

9. Little Fishes  – 1:30

Brian Eno – prepared piano, farfisa organ

10. Golden Hours – 4:01

Robert Fripp – Wimborne guitar

John Cale – viola

Brian Eno – choppy organs, spasmodic percussion, club guitars, uncertain piano

11. Becalmed  – 3:56

Brian Eno – Leslie piano, synthesizer

12. Zawinul/Lava  – 3:00

Phil Collins – percussion

Percy Jones – fretless bass

Paul Rudolph – guitar

Rod Melvin – rhodes piano

Brian Eno – grand piano, synthesizer, organ and tape

13. Everything Merges with the Night  – 3:59

Brian Turrington – bass guitar, pianos

Brian Eno – guitar

14. Spirits Drifting – 2:36

Brian Eno – bass guitar, organ, synthesizer