The album was produced by Verlaine.[6] It was engineered by Mario Salvati at Acoustilog, in New York City. Patrick Derivaz and Billy Ficca played bass and drums, respectively, on the majority of the tracks.[7] It was recorded over two nights, primarily because Verlaine wanted to play with Ficca.[8] "Harley Quinn" was recorded with Fred Smith and Jay Dee Daugherty.[9]
Stereo Review wrote that the album "finds Verlaine exploring new avenues of expression on the guitar, applying a thinking postmodern rocker's minimalism, a jazzman's improvisational skill, and a vintage Fifties guitarist's predilection for reverb and twang."[14] The Vancouver Sun opined that it "never really takes off; there are a couple of nice moody bits."[13]
The Washington Post considered "much of it [to be] cool, spare neo-rockabilly with a Henry Mancini twist."[15] The Calgary Herald noted that the guitar can sound "like Ry Cooder meets Angelo Badalamenti in a garage just off New York`s Central Park."[11] The Houston Chronicle called Warm and Cool "maybe the first urban New Age album."[16]
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