Two eclecticly creative talents. One creatively eclectic album.
I knew I was in for something different when I picked up this 1973 album by Robert Fripp and Brian Eno, but sometimes you have to throw caution to the wind.
Filled with often atmospheric soundscapes, “No Pussyfooting” is an album intended to subdue and entrance. Two extended songs performed solely on guitar and synthesizer. No drums or bass, no vocals, no outside musicians. This is an album that is intended to take your mind on a journey, painting pictures with sound. It could easily be the soundtrack to an avant-garde movie that was never made or a backdrop for deep meditation.
“No Pussyfooting” is a true original classic that sits far outside the mainstream. Then again, what else would you expect from the minds of the main creative forces in King Crimson and early Roxy Music?
“Aladdin Sane” was David Bowie’ s sixth album, following in the footsteps, yet still breaking away from it predecessor, “Ziggy Stardust”.
Bowie was far from being an unknown artist when “Ziggy Stardust” came out, but it definitely raised him to the next level of success – and raised the bar of what record buyers expected of him. David Bowie, much like the Ziggy persona he created, had become a superstar.
Rather than trying to duplicate his prior album, Bowie set out to make something fresh. A new persona, Aladdin Sane was created. And there was a significant musical shift toward avant-garde jazz on many of the songs.
When it came out, “Aladdin Sane” received praise from both critics and fans. Today, it is considered to be one of David Bowie’s best records.
“The Low Spark Of High Heeled Boys” is the album I choose when I can’t decide if I need just kick back and chill out or if I want to totally jam out, because it offers the best of both. The songs on it are combinations of bohemian folk, jazz, blues, avant-garde experimentalism, and of course rock. As such, the album offers itself up to a hugely diverse sound that is as ambitious as it is creative.
The title track is probably the most well-known song off the album and which, to a degree, encapsulates what traffic’s music was all about. The name of the song and album are an obscure reference to rebellion against the establishment and adherence to personal originality. Or, in laymen’s terms, not running with the pack and just being yourself.
A creed I have always, and will forever live by.