Robert Fripp - Brian Eno

"No Pussyfooting"
(EG Records, 1973)

By the middle of 1972 Fripp, after the last tour that he made with the second incarnation crimsonian in the USA, apparently you tires and he decided to put an end to this stage to meditate on some things and at the same time to intrude in a new technique of tuning that then Frippertronics would call herself. On the other hand Brian Eno met with its Roxy Music and apparently he also decided to put an end to its demurrage in this group, as one says for creative differences. Soon Fripp ends up contacting to this I finish by means of Brian Ferry that could end up being singer of KC (what they are the things); both decided to go aboard in an extremely interesting project of which a bestial, atypical disk came out, I miss and ghastly of name "No Pussyfooting". 

It is incredible that this album is of the 73, its sound is so contemporary that it seemed that it was published in the 90. In some way predecessor of the Industrial Music was, of the Ambient but chaotic and of the music with diverse electronic manipulations (doesn't one eat to call it, are they happened some name?). In so single 2 extensive pieces this disk does show us, through it covers loops, a VCS3, a guitar frippian, etc, etc, the incredible diversity of layers (layers) sonic. This sounds were achieved thanks to the 
mention sharp of Eno and their easiness to fight with it covers them recorders and all the manipulations that could be taken out of there; He doesn't have left Fripp behind, since its arpeggios continue to this layers minutely building atmospheres extremely onirics and chaotic at the same time. 

The disk was recorded in 2 channels; Fripp using their Gibson Them Paul, pedals and other accessories and, Eno manipulating 2 covers recorders (Revox A77) together with a synthesizer VCS3, going all the audio elements by the "desks" to give life to the loops or knots (continuous sounds). In extra-musical aspects, to say that their cover and back cover go very of the hand with the disk in if since we do a room or glass cubicle with mirrors reflecting a without end of images. 
"No Pussyfooting" is a disk that can be a monotonous point so it is necessary to hear it consuming little by little; it is already later alone to close the eyes and to commit suicide* for 40 minutes!! 


Brian Eno: Synthesizer VCS3, Treatments, Cover Recorders, Loops, Keyboards 
Robert Fripp: Guitars 


Tracks: 

1. "The Heavenly Music Corporation" (21:00) 

He titles of the topic it could not be better, celestial musical corporation, that is what one imagines when listening this topic. Already in the first seconds you begins to listen a rough sound as if it was one he schemes of shaving electric or a light plane in the middle of flight, then is united a layer that sounds like to fifteen united guitars; quickly the sound of two notes is perceived (1:40) and the first characteristic guitar moments of Fripp (2:35) that go modeling the track in some way. Next we continue listening a guitar but powerful (6:25) and a little but dissonant (it leaves of this fragment one can listen in the beginning of the CD it USA, the piece "Walk on no Pussyfooting"). Continuous the odyssey with an exquisite career of cars intergalactics (9:50), where it is listened a to go and to come from sounds that cross the eardrums, of there their similarity to the noise that you produce the career cars when they go at full speed, until ending in an orgasmic movement with a guitar projecting serious and sharp notes (12:43). The end little by little leaves gestating where it covers them loops they cease a little and some riffs appears but transparent and marked (16:20), exploding with the last minutes of the topic. -you records in the study of Eno in September of the 72, originally titled "The Trascendental Music Corporation". 


2. "Swastika Girls" (18:38) 

He titles the Eno took of a I articulate of magazine in the one that written leave the regular "Swastika Girls" and it included 2 naked girls and tattooed with Nazi symbology practicing sadomasoquism or something like that. (The term swástica or esvástica (cross gamada) this applied to the Buddhist and Hindu symbology, according to what I remember). This track is a point but light that the first one, not he has so many sinte-celestial elements but but well "guitarrhytmics". The guitar of Fripp comes out to already glitter from the first minutes (1:00) with an accompaniment of manipulations of the VCS3 quasi-robotics and that they sound too strange. The guitar moments of Fripp here resembles that of Steve Hackett a lot, for the form of the rips you that they are enough "genesian". To continuation is perceived a rhythmic change in the guitars (5:50), continued by a delicious requinto (7:45) it stops then to end in a slight loops variation (12:20). For the not heard accustomed this topic can seem too monotonous besides that the changes are almost imperceptible. A curious thing that I spend when he was listening this topic; while he toward my sister was playing those tubular bells that put on in the entrance of the doors or they are used like decoration, the combination of this piece with those bells turns out to be an extraterrestrial half experience: -). -you records in the studies Command Studios, London, August 4 & 5, 1973 Mixture in the Air Studios - 

Note 1: Some data take them of a I articulate of the Hit Parader written by Scott Cohen "No Pussyfooting Around" and it can be in Internet that is to say, it is of public domain. 

Note 2: For those interested ones in this disk, there is a disk that he calls himself "The Essential Fripp and Eno" (Venture 1994) that includes this complete disk, 2 tracks of the "Evening Star" + 4 completely unpublished tracks that are only gotten here. 


Greetings, 

Roberto I. Quesada SJ, 
Costa Rica