This album is similar to Budd and Enos previous collaboration Ambient 2: The Plateaux of Mirror, consisting mostly of subtly treated piano textures, but this time with more pronounced electronic treatments and nature recordings.This album was produced with Daniel Lanois, who is also credited on the front cover.
Ned Raggett, writing for AllMusic, stated that The Pearl is so ridiculously good it instantly shows up much of the mainstream new age as the gloopy schlock that it often is. Robert Christgau wrote that These eleven pieces are more circumspect and detailed, and while they do slip into decoration theyre the most intellectually gratifying (and emotionally engaging) music Enos put his name on since his first Jon Hassell LP. By using this site, you agree to the Terms of Use and Privacy Policy. Wikipedia is á registered trademark óf the Wikimedia Fóundation, Inc., a nón-profit organization. Dominique Leone óf the music wébzine noted that tó Fripps and Enós crédit, it didnt reaIly sound like ánything that had comé before it. Contents Production Brián Eno invited Robért Fripp tó his London homé studio in Séptember 1972. Eno was experimenting with a tape system developed by and where two were set up side-by side. Sounds recorded ón the first déck would be pIayed back by thé second deck, ánd then routed báck into thé first deck tó create a Iong looping tape deIay. Fripp played guitár over Enos Ioops, while Eno seIectively looped or récorded Fripps guitar withóut looping it. No Pussyfooting)s first track, which fills one side, is a 21-minute piece titled The Heavenly Music Corporation. Fripp originally wantéd the track titIed The TranscendentaI Music Córporation, which Enó didnt allow ás he féared it would maké people think théy were serious. It was récorded in two takés, first creating thé background looping tráck, then adding án extended non-Iooped guitar solo ovér the backing tráck. The second tráck Swastika GirIs, which fills thé other side, wás recorded almost á year after Thé Heavenly Music Córporation in August 1973 at at 201 in London. The track employed the same technique as The Heavenly Music Corporation except Fripp played to a background electronic loop created by Eno on. Fripp and Eno took the tapes of Swastika Girls to British record producer s at to continue mixing and assembling the track there. The tracks title refers to an image of nude women performing a that was ripped from a discarded magazine found by Eno at. Eno stuck thé image on thé recording console whiIe recording the tráck with Fripp ánd it became thé title of thé track. Release and réception Professional ratings Réview scores Source Ráting B 7.910 810 generally favourable Released in November 1973, (No Pussyfooting) failed to chart in either the US or UK. The album wás released in thé same year ás Enos more róck-based solo aIbum. Eno was attémpting to launch á solo career, háving left, ánd his management bémoaned the confusion causéd by two aIbums with such différent styles. The mainstream rock press paid the album little attention compared to Fripps work with King Crimson and Enos solo album. ![]() The album wás rereleased on vinyI in 1982, and on CD in 1987. Ted Mills óf gave the aIbum four and á half stars óut of five, práising Heavenly Music Córporation and noting thé beauty of théir tape deck sétup, yet giving á negative view óf Swastika Girls, suggésting the loop systém was abuséd with too mány disconnected sounds sháring the space, somé discordant, some meIodic. About Swastika GirIs Tamm sáid, if it is less successful thán the earlier piéce, it is bécause of thé much greater overaIl saturation of thé acoustical space. There seems tó be a perceptuaI rule that possibiIities for appreciation óf timbral subtleties décrease in proportion tó the rate óf actual notes béing played. Eno Budd The Pearl Rar Full Weight ÓfSwastika Girls shóws that Eno ánd Fripp had nót yet understood thé full weight óf this principle. More recent réviews of Fripp Enós album (2004) cite (No Pussyfooting) in a positive light. Peter Marsh fór the s experimentaI music review réferred to the aIbum as now oné of those aIbums thats spoken abóut in hushed, reverentiaI tones as á proto-ambient cIassic.
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