It's hard for me to often separate footwork and mobility because they are so linked. Agassi looked so often on balance hitting the ball but with his great timing he seemed to be usually controlling the rally. The problem I have is when he didn't control the rally he was in big trouble. He looked awkward and off balance to me in these situations while a Connors or a Borg rarely looked off balance.
Agassi was a vacuum. Whether with abs of steel or abs of flab, either incarnation of Agassi; he was a belly budha. He suctioned cupped balls toward his belly, where his hands gobbled them up like a Benny Hanna sushi chef--hai-ku! Hai-ku! Short and simple, haiku! He was the big bad wolf who could not be toppled, the immovable force that gave you nightmares, the human ball machine set to deconstruct you and rearrange your sense of balance at his best. He was the foe you could not beat in the game Mega Man.
But like all great super villains, the rules did not apply to him...only, of course, they did. You just had to find a way to expose where he was less comfortable. For Agassi, that required either super spin that pushed him way back and gummed up his rhythm. Or, cutesy angles that took him by surprise. Or simply to bullet-drive it to a corner, and send him flying in which case the wheels would likely fall off, he'd look clumsy as noted, and hit the ball into the bottom of the tape, or steer it somewhere...but, unfortunately, not in the court. And even if he did, his recovery back to his throne in the center of the court where he was the pin ball master, the yo-yo ma expert, and the hulu king of Honolulu where the pineapples grow...wasn't all that spectacular, not like Tom Cruise in Tom Gun, more like a submarine that just ordered out for Chinese take out...MSG City, baby, representin'! In da house!
Bruguera on clay belongs on this list. He was like an elastic band when in physical well-being and competitng to the utmost respect for his opponents, his father, and the game. In his spirited modes, every ball, no matter, how far and wide you took him, just seemed to bring him right back to the center. Superlative recovery, and as Dick Enberg pointed out, always seemingly just the right amount of steps, quick, measured, and precise...which considering how ungangly his strokes were, is quite a difficult task indeed. His coordination of feet seemed out of context with the violent nature of his forehand, never such a WIDE open stance base has been exhibited in tennis. Whereas a more typical Spanish forehand like Ferrer, Moya, Ferrero, Berastategui, et. all, has a more rhythmical bounce to it, a kind of ebb and KAPOW! flow to it, where the footwork seems like a natural extension, hop, skip, and a karate thwap! bouncing into the ball; Bruguera's footwork on the forehand amazed me. Try copying his forehand, and see how unnatural it feels moving and setting up for the ball, to gauge and track the ball; it's a different feeling animal entirely than the much more intuitive feels you get from setting up and tracking the ball with a Sampras or Ferrer styled forehand. Then add the rather seemingly pointless way he would regally **** his wrist and prepare for the ball on the backhand side. It added a stylish garnish to the shot sure, held the direction on the pass evidently quite well, as his opponents often looked baffled trying to decide which way he was going to go with it; but that setup was very awkard to duplicate and pull off on as metronomically consistent basis against pro level pace as he was he able to. His stroke ideosyncrasies are ill-advised to be taught, how he managed to find such a rhythm with his footwork, and marry them to those strokes is to me a work of art, and one of tennis' great world wonders. For greatest clay court footwork of all time, he certainly belongs up, at, or near the top. His slides were long, intuitive, and natural; he was a grunting, but effortless twizzler, long, lean, flexible, 360 bendable, huggable, and in control of the point, never let go of the point, could rip a winner at any time to end the point, in control of the point, at his best on clay. Like a octypus Buddy C said, and as Dick said, until you stop to really take notice, you don't realize just how precise his footwork really is.
His prime was short, but his footwork on clay truly is one of tennis' great forgotten marvels.
Agassi's footwork was never great, he lacked the balletic grace and bionic hop, to triple axel, double toe loop on the run, like his bootilicious feline friend, and tennis' version of the bionic specimen, Steffi Graff...man, the Bionic Woman, was HOT!!! It still gives me chills thinking back, oh, how it sped up puberty a few years on reruns.
Agassi's SENSE of the ball, was inertly fascinating, however. As Datacipher alluded to, this probably DID have A LOT to do with his dad maniacly stuffing balls down his throat since he was in diapers. Even among pros, this was not the norm. EVERYONE noticed this gift, in him; even among pros, it stood out as being "special," and OTHER ordinary. It seemed that way, frankly, because such a talent is filed under the *intangibles* list, it's one that does not seem to be able to be taught. The pros could work on it with their coaches, but they knew it was something they could not develop. Hand-eye coordination is one of those things, where the earlier the better...past a certain age, and the potential valve kind of just shuts off. Technical mastery can still be worked on, of course; but the SOUL of the swing, is in the senses, in the hands, in pick 'em up off your shoe strings, instant and *immediate* tracking of the ball. The fly is difficult to trap with the human mind, alone; but not if you ARE the fly. Become the fly, become one with the ball, and then zap it in the sweetspot everytime. That was what Agassi did to the ball at his best. You could not confuse him, but you could out ATHLETE him, and throw his sense of balance all out of whack. It took hurricane gusts though, either from speed, or power, or extremely unpredictable angular fencing from a smiling artiste' like Rios to send him fanatically struggling, just out of his optimum reach. Agassi forced you track the ball into HIS zone, more than any other player in history at his best. He was like Shaq, if you played by HIS rules, in his block in the paint, he was a brick house of destruction and utter and total domination.
IF you could dream shake shimmy him all out of whack, though? He could get a little embarrassed on you, like his pants got pulled down. You could then proceed to clown him, shrink the giant vacuum back down to a pebble skipping, clumsily, out of whack, on the run, like a fly that's just been whacked out of its senses. One gets the sense, that Agassis's senses were trained into his brain from the *confines* of the crib, ball hanging from it. From the *outside-in*, this the *perspective* he was born into. Outside of it, he was caught ill-prepared, for the shape-shifting prism that awaited him. Here, you need to BURST out into limelight like a dancer from FAME! But, fortunately, Debbie Allen passed up on him for her school right away. She knew, sorry kid, but you can't dance only in one place, the center of the stage, and expect to make it big as a dancer. In this sense, Agassi was Garfield, singing "Come to Me," while Odie? Was chipper and more graceful and athletic, for sure; but who was more effective at getting you to do what HE wanted, getting you to play into HIS hands, into *intimidating* you to succumb to HIS *will.* Agassi was Uri Geller, hocus pocus, intangible, gravity defying at his best...you could choose to look at him as a one-trick pony, or HIGHLY effective on ANY surface, and against virtually any style.
His gift was surface, age, era, and conditions transferrable like few others in history; but great, superlative footwork to be copied and studied it was not. It was utilitarian footwork, and pedestrian athleticism, mostly overcome by ASTONISHING hand-eye-*pick-up*-coordination. Not exactly, a course to be opened and taught at your local neighborhood prepatory drill academy anytime soon. There are labor laws against this sort of thing, signing up kids for boot camp while still in diapers...and also, where would one go about finding qualified teachers? Mike Agassi may suffer from a flip-out attack and get sued one too many times, and the Dre'...? Well, when your that cool, one cannot exactly be in two places with two bodyguard guru/slash, Gil Reye's at the same time, now can they be? Exactly, so until further notice, Agassi belongs in his own category, the ball sensate category, with other such illuminaries as Hingis, and Rios...though those two, were much fluent on the run. So Agassi, belong in his own category. You play him, and you play by his rules, it was bowling pin tennis, the tennis athlete in you wanted to burst out and jump the lane, but NO....he reached his arms out and VIOLENT threw/thrust/tossed you back into his lion cage, right down his tee-off alley lane, hit shooting lane, he was the bald-headed bowler you know, and he you were the hapless pins..."Mercy!!!" But Wayne Ferriera, Hyung-Taik Lee, Yevgeny Kafelnikov, and Raineer Schuettler's screams, among many others, went unnoticed.