Subject: I have found a CD that I think you would enjoy
|Robert Fripp, Brian Eno|
Genres: Dance & Electronic, Alternative Rock, Special Interest, New Age, Pop, Rock
Robert Fripp and Brian Eno, No Pussyfooting
Robert Fripp and Brian Eno, No Pussyfooting
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Shocking then, ground-breaking now
Gavin Wilson | 07/13/2001
(4 out of 5 stars)
"It's hard to over-state the shock this album caused me on its original release in 1973. Being only 14, I had heard nothing like it before. As an impoverished schoolboy, I could not believe that anyone would pay good money for what seemed rubbish at the time. (Indeed I'm not sure EG Records had any idea themselves who would buy it) I cannot remember whether Eno had quit Roxy Music by the time of the release of 'No Pussyfooting', but he had already established a short but magnificent track record with the band. For many of us, 'For Your Pleasure' was and remains a masterpiece. We knew Eno contributed some of the more offbeat elements to Roxy, but we had no idea how weird his solo albums would seem to our unaccustomed ears.I borrowed the LP from a schoolfriend and, when he returned to collect it, I asked him incredulously how he could listen to it. "I can work to it," came his reply, which seemed shocking at the time. We were used to giving 100% of our attention and involvement to the likes of Deep Purple's 'Made in Japan' and Bowie's 'Ziggy Stardust'. The idea of music which you could ignore seemed ridiculous. The music you listened to was a social and political statement -- you could get beaten up at bus stops by other schoolboys simply for saying you preferred Slade when you should have said T. Rex. Before the advent of video and videogames, music was far too important to be classified simply as wallpaper.Well that was then, and by now I must own nearly 100 ambient albums and many Eno or Eno-tinged CDs. I have to say that in retrospect this album owes as much to Robert Fripp as it does to Eno. Its sound is closer to 'Lark Tongues' or 'Red' than it is to 'For Your Pleasure', 'Warm Jets' or 'Tiger Mountain'. Fripp and Eno both belonged to the EG stable, and you'll find in Fripp's sleevenotes to several of King Crimson's recent CDs just how appalling EG were in the area of management. If one of the two hadn't belonged to EG, then this album could have been made.This music was designed to be listened to via headphones. And yes, 28 years on, I find I CAN work to it."
A Definitive Groundbreaking Classic Finally Reissued!!!!
Louie Bourland | Garden Grove CA | 10/21/2008
(5 out of 5 stars)
"It has been 35 years since King Crimson's Robert Fripp and the then-recently departed Roxy Music keyboardist Brian Eno joined forces to create "No Pussyfooting", an album that over the years would go down in history as one of the forerunners of what is now known as Ambient Music.
While music of this nature is now considered commonplace, back in 1973, it was quite a different story. When "No Pussyfooting" was initially released, critical reactions were quite mixed. Some didn't know what to think about an albums worth of sustained guitar lines looped through two tapes machines while others found the sounds embedded in the record grooves to be groundbreaking. Over time, the public slowly caught on to the innovative ideas heard in this album and it's now considered to be a timeless classic.
The original album contained two long tracks (one per side of the original LP). The opening track "The Heavenly Music Corporation" was recorded in August 1972 and consists soley of Robert Fripp's guitar being played through two Revox tape machines. The tape machines are manipulated by Brian Eno to create looped phrases and a massive wall of sound. The overall effect is beautiful and terrifying at the same time. Fripp would later perform similar music to this on his own coining the term "Frippertronics" to this guitar/loop technique.
The other track "Swastika Girls" was recorded one year later is more 'composed' in its over all structure. In addition to Robert Fripp's sustained lead guitar and frentic rhythmic guitar loops, Eno adds a busy synthesizer sequence to the music which repeats throughout the entire piece giving it somewhat of a base-structure.
After its initial release on CD in the early '90s, "No Pussyfooting" fell out-of-print and became a sought-after collectors item. Now in 2008, the album is available once again in its most definitive version - a remastered 2-CD edition that includes the complete original album plus the entire album played in reverse and a half-speed version of the opening track "The Heavenly Music Corporation". The reversed and half-speed versions of these tracks give the music a new dimension and offers a completely new listening perspective. While listening to the reversed version of the album, it's almost unnoticeable that the music is actually being played backwards. In fact, it almost sounds like alternate takes played forwards. As for the half-speed nearly 42-minute version of "The Heavenly Music Corporation", the music becomes a deep ambient drone and doesn't sound too different from today's artists who uses low drones as the basis for their music (think of the long-form drone works of Steve Roach or Robert Rich).
All in all, it's great to have this classic album available again. It has definitely been worth the wait. The music is as wonderful now as it was then and shows just how ahead their time Fripp and Eno were and still are. Without any hesitation, this newly remastered 2-disc edition of "No Pussyfooting" is HIGHLY recommended."
It's too bad...
rubidium84 | Ft. Calhoun, NE | 01/04/2003
(5 out of 5 stars)
"...that looping didn't catch on after this record was released. but then, what could anyone do with the medium after Fripp and Eno perfected it? This album is certainly ahead of it's time, and ahead of our own time for that matter. This is music from the future.Track one, even though it was recorded more than thirty years ago, still sounds new and fresh, even after scores of listenings. It is made up of two guitar lines - but one of them is an incredibly complex, ever-changing loop that continually unfolds out of itself and interacts with the lead line. It's almost like Fripp is soloing over an entire band. but beware the sonic onslaught of the track's last three minutes - if you don't have good speakers the low notes will probably rip your woofers apart.Track two presents a sunnier, happier side of looping, this time with Eno supplying the loop on his synthesizer. Fripp's entry (at 7:42) is fascinating. Throughout the solo he plays riffs and figures that he still uses to this day.A great record for listening to in a large room in the dark, lodly."