js Robert Fripp and Brian Eno’s “No Pussyfooting” will probably be regarded as a ground breaking recording in the long run of music history, but it was barely noticed when it came out in the mid-70s. In fact, I would imagine that many who bought this back then were pretty disappointed in what they had just purchased. Both artists at the time were enjoying successful art rock careers and I am sure many were looking for a cross between Fripp’s King Crimson and Eno’s Roxy Music, only to find that their collaborative effort sounded nothing like either of those bands. This album is not the first ambient album, but it is one of the first to be marketed toward a rock/pop audience, and as such it broke all sorts of new ground that both artists would go on to enjoy as ambient music continued to be a big part of their careers, as well as the careers of the thousands of artists that they inspired. Ever since the mid-90s electronica boom, ambient music has become a very popular genre, and you can trace the roots of that popularity right back to Fripp and Eno.

Side one opens with an F# drone that Fripp solos over in a raga like style in the Dorian minor mode. His solos are given infinite sustain via Eno’s tape loop methods. Once again, Eno was not the first person to use tape loops like this, but possibly the first to use them in this sort of Hendrix meets Shankar psychedelic sound that would eventually attract the more experimental side of the rock world. Side two uses a busier backdrop via Eno’s VCS3 synthesizer as Fripp solos in E Ionian, Mixolydian and Lydian modes before finally fading out. Fortunately Robert is a very talented soloist who has no problem constructing an interesting narrative over a drone like background, otherwise, this album could have been a real snooze-fest.

Given the long history of ambient music at this point, this album does not sound particularly unusual anymore, but back in the day many of us were watching the record spin around for the first time and wondering when was the drum beat going to kick in, ha. It never kicks in. Welcome to your brave new ambient future.

Warthur As innovative and important as it is to the development of the ambient genre, and even though it's a good album, at the end of the day No Pussyfooting doesn't quite manage to transcend its origins as two guys messing about with musical instruments and electronics at home and putting the results on vinyl. Eno's tape system and Robert Fripp's guitar playing combine to create a forerunner of Frippertronics, but there's no getting around the fact that this aimless noodling is, well, nothing more than aimless noodling. Superior drone-ambient outings had already emerged from the Krautrock scene in the form of Tangerine Dream's Zeit and Klaus Schulze's Irrlicht and Cyborg, and whilst the album would prove to be an important turning point in the career of both participants, all that proves is that unexpected consequences can come out of the most humble places. Three stars.