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When No Pussyfooting was released in 1973 it wasn't the first record to bring ambient/minimalist music to rock audiences - coming a couple of years after Popol Vuh and Tangerine Dream started experimenting with soundscapes - but it caused a stir among the English speaking music world, not least because it marked a radical departure for two of art rock's biggest stars: Robert Fripp and Brian Eno. By then, both artists had started drifting away from their rock routes: Eno quitting Roxy Music and Fripp disbanding the first incarnation of King Crimson.
Clearly, both were striving for something new so, listening to these pristine re-masters, it's surprising how Proggy the results were. Sure, No Pussyfooting's two side-long tracks are built around silky synth loops generated by Eno's twin tape recorders, but the most commanding presence is Fripp's serpentine electric guitar, rising out of the mist like some mythical beast in a Roger Dean album cover, uncoiling extended solos that rely on a conventional kind of virtuosity. That said, the album clearly caused some consternation - as evidenced on the bonus disc. Here we get "The Heavenly Music Corporation" played at half speed, simulating the long defunct 16rpm turntable setting, turning it into a sluggish 40 minute behemoth beloved of late night smoke-outs; and "Swastika Girls" is presented in reverse, recapturing the record's one infamous radio broadcast when John Peel accidentally played the whole shebang backwards.
When No Pussyfooting was released in 1973 it wasn't the first record to bring ambient/minimalist music to rock audiences - coming a couple of years after Popol Vuh and Tangerine Dream started experimenting with soundscapes - but it caused a stir among the English speaking music world, not least because it marked a radical departure for two of art rock's biggest stars: Robert Fripp and Brian Eno. By then, both artists had started drifting away from their rock routes: Eno quitting Roxy Music and Fripp disbanding the first incarnation of King Crimson.
Clearly, both were striving for something new so, listening to these pristine re-masters, it's surprising how Proggy the results were. Sure, No Pussyfooting's two side-long tracks are built around silky synth loops generated by Eno's twin tape recorders, but the most commanding presence is Fripp's serpentine electric guitar, rising out of the mist like some mythical beast in a Roger Dean album cover, uncoiling extended solos that rely on a conventional kind of virtuosity. That said, the album clearly caused some consternation - as evidenced on the bonus disc. Here we get "The Heavenly Music Corporation" played at half speed, simulating the long defunct 16rpm turntable setting, turning it into a sluggish 40 minute behemoth beloved of late night smoke-outs; and "Swastika Girls" is presented in reverse, recapturing the record's one infamous radio broadcast when John Peel accidentally played the whole shebang backwards.