The best thing to happen to lovers of experimental art-rock was King Crimson rejecting Bryan Ferry - who then, with bassist Graham Simpson (who only lasted through the first album), recruited saxophone and oboe player Andy Mackay and synth master Brian Eno to join them in 1970. Drummer Paul Thompson followed 1971, the final piece came in 1972, with guitarist Phil Manzanera. In 1973 Brian Eno was replaced by Eddie Jobson, while journeyman John Gustafson took over on bass - and a host of other artists would come and go over the years.
Here's a look at their studio albums recorded from 1972 to 1982.
Roxy Music (June 16, 1972)
Stranded (November 1973)
Chart Action: UK #10
U.S Track Listing: Re-Make/Re-Model / Ladytron / If There Is Something / Virgina Plain / 2BH / The Bob (Medley) / Chance Meeting / Would You Believe / Sea Breezes / Bitter End
What an eclectic mix of sound and style, old school horns, a pre-new wave crooner, Eno's synths and tapes that certainly "sound like the moon", on numbers like The Bob - it's postmodern pop married to the avant-garde, with the sheen of glitter and glamour, and Andy Mackay summed it up best, "we certainly didn't invent eclecticism but we did say and prove that rock 'n' roll could accommodate – well, anything really"
Ferry wasn't a fan of the production side of it, and it's a little thin there, but the core music carries the album - Re-Make/Re-Model sets the table brilliantly, with band mates trading solos that pay tribute to the Beatles, Duane Eddy, and Wagner. And having Virginia Plain on my LP (which was not recorded in time to make the UK pressing) gives the release an added boost. I love the sound collage, Eno's synth and treatments (with that epic solo section), Mackay's tweeting horns, Manzanera guitar work, all make this one of the bands most memorable. 2BH, the smooth tribute to Humprey Bogart and Casablanca closes the first side on a high, lifted by Simpson's memorable bass work, Eno's echo effects, Ferry's Hohner Pianet N electric piano and McKay's sweet sax solo.
The second side is mellower, and marked by pretty melodies (Sea Breezes, which later transforms with off-kilter guitars, and staccato drums), and 50s-style horns (Would You Believe) and the glorious spaciness Eno brought to the production. All told, a damn good debut.
Grade: ★★★★½
For Your Pleasure (March 23, 1973)
Chart Action: UK #4 / US #193
Track Listing: Do the Strand / Beauty Queen / Strictly Confidential / Editions of You / In Every Dream Home a Heartache / The Bogus Man / Grey Lagoons / For Your Pleasure
Only their second time at bat, and already, a masterpiece. Described as glam, with threads of the type of experimentalism that would fuel the new wave, woven throughout. The rocking "Strand" shows a band firing on all cylinders - musically expert, the performances and arrangements impress. After that it swings over to a melodic ballad, marked by one of Ferry's finest vocal efforts, but, which, is almost conventional by comparison. In contrast to that, you have Eno, being anything but conventional, which points to the future of art-student rock.
I can really hear how influential it was both musically -the synths in Editions of You makes me think of Devo's "Mr. DNA", and lyrically, In Every Dream Home a Heartache would fit right into Black Francis' twisted universe. But it also lines up well with their contemporaries, Bowie, or Krautrockers, like Can who can be felt in the near 10-minute opus, The Bogus Man.
It's a fusion of the eerie, the dreamlike, the discordant and melodic - which result in an album that is fascinating, disconcerting, and beautiful.
FYI: That's Dali protégée Amanda Lear featured on that noteworthy cover. And actress Judy Dench is heard at the end of the final number.
Grade: ★★★★★
Chart Action: UK #1 / US #186
Track Listing: Street Life / Just Like You / Amazona / Psalm / Serenade / A Song for Europe / Mother of Pearl / Sunset
Roxy's 3rd is a little more straightforward - not that the musical weirdness was completely excised, see the spellbinding Amazona, cowritten with Phil Manzanera for one - while the release downshifts by closing each side with slow-tempo tunes, Psalm and Sunset. It mostly roars, with highs like the Beatlesque A Song of Europe (with verses sounding a lot like those in "While My Guitar Gently Weeps"), and the best of the bunch, the funky rocker Mother of Pearl. Featuring a cool guitar riff and lead from Phil, that transitions into a slower, groovier piece which leans on the piano and bass, which then steadily increases in tempo by riding on Paul Thompson's lively drumming. Nice.
Even without Eno's ingenious soundscapes, Roxy's as sublime as ever, and Jobson proves to be a talent in his own right.
Grade: ★★★★½
Country Life (November 15, 1974)
Manifesto (March 16, 1979)
Flesh + Blood (May 23, 1980)
Avalon (May 28, 1982)
Chart Action: UK #3 / US #37
Track Listing: The Thrill of it All / Three and Nine / All I Want is You / Out of the Blue / If It Takes Al Night / Bitter Sweet / Triptych / Casanova / A Really Good Time / Prairie Rose
Country kicks things off exciting and vibrant with The Thrill of it All - a perfectly constructed piece - electrifying, explosive, with enthralling instrumentation that leaves you wanting more. But if you think Roxy's going to stay safe and comfortable in this lane, you'll soon be surprised by the variety of sonic treats they offer up, from Elizabethan to Boogie-woogie and more, for example...
Out of the Blue sounds like the prototype of the 'new romantics' sound, I hear John Taylor when listening to John Gustafson's bass work. So, there you go, the new wave influencer of the first two albums, has found another movement to inspire.
Jobson comes into his own on the LP, contributing synths, strings, keys and an electric violin - he establishes his own musical voice, while fusing nicely with Ferry's vision for the band, who is aided in that by Manzanera and MacKay's continuing contributions as co-writers.
Significant and inspired, it's another top-notch collection from the guys.
Grade: ★★★★½
Siren (October 24, 1975)
Chart Action: UK #4 / US #50
Track Listing: Love is the Drug / End of the Line / Sentimental Fool / Whirlwind / She Sells / Could it Happen to Me / Both Ends Burning / Nightengale / Just Another High
It's always strange for me to learn later, that an album I've absolutely adored for decades, isn't as adored by other fans - but if this is the sound of an exhausted band (as one Spin writer suggests), along the lines of the Beatles for Sale, or Alice Cooper's Muscle of Love it sure doesn't sound like it.
Of course, one tune that is universally praised is the opener, Love is the Drug, a groovy, bass led classic that gave the band their biggest hit. While some 70s songs can sound like a product of their time, Drug is eternal.
Now, I'm a Beatles nut, and Siren evokes all that I love about that sound - the pop flavoring with killer hooks, and even some pretty harmonizing (End of the Line). While it sees the group drifting further from its experimental early days, this has ever been an evolving band, and that won't stop with Siren.
To close - it might be a controversial opinion fan-wise (it was critically praised for the most part), this ranks among my favorite Roxy records, I really dig the melodies and the musicianship, I can sit and marvel over the heaviness of Paul Thompson's standout drums and Gustafson's R&B basslines, the slick guitarwork from Phil (all 3 make Whirlwind a blast), strings, keys and horns on She Sells - and Bryan's vocals are as good as they've ever been, expressive, smooth and textured. All of these elements draw me in, puts me under a spell, just as the title promises.
Grade: ★★★★★
Chart Action: UK #7 / US #23
Track Listing: Manifesto / Trash / Angel Eyes / Still Falls the Rain / Stronger Through the Years / Ain't That So / My Little Girl / Dance Away / Cry Cry Cry / Spin Me Round
Roxy returns after a 4-year break a little more dancey and discoey - odd that the band that helped shape the new wave and new romantic style, wouldn't come back to lead the charge towards a new musical movement, but settle in with a solid, though not particularly challenging rhythm heavy sound. Manifesto is a pleasant album, toe-tapping enjoyable, but the wow factor isn't present, this wasn't going to change the world, or leave a lasting impression on the musical landscape, but as pure entertainment, sharply performed, it's worthwhile.
A few noteworthy tracks: Manifesto, with Ferry's vocals sounding mature and throaty - even better is Trash, which gives us a little taste of the off-beat (that brief, honking horn sound made me smile, as it came off like a nod to the past); and the pretty Dance Away, (single version preferred) which was a big hit in the UK.
Alan Spenner and Gary Tebbs are the credited bassist, not sure which laid down those tasty basslines from song to song, but I like the sound of them in tracks like Still Falls the Rain and Stronger Through the Years, which are also lifted by some cool and curious guitar riffs and solos from Manzanera. Least I forget them, Ferry's harmonica and Mackay's sax take center stage with Ain't That So. The band's in good form.
Grade: ★★★★
Chart Action: UK #1 / US #35
Track Listing: The Midnight Hour / Oh Yeah! / Same Old Scene / Flesh and Blood / My Only Love / Over You / Eight Miles High / Rain, Rain, Rain / No Strange Delight / Running Wild
While the most poorly reviewed release of the group's studio efforts, Flesh + Blood has its champions, and I'm one of them. While Bryan is in full tuxedoed crooner mode, and the inclusion of cover songs indicates these were included to pad out the album, as they're rather average covers (Midnight is better than Eight); the originals are smooth, singable and easy on the ears (My Only Love). Yes, the edge is gone, the innovation is gone, and drummer Paul Thompson is nowhere in sight - we're down to three core members, Ferry, Mackay and Manzanera, but the compositions are compelling, with dream-like ballads, and up-tempo poppers (Flesh and Blood, Over You) to keep the blood flowing.
The album is tuneful throughout, and never gets so low key as to become boring.
Grade: ★★★½
Chart Action: UK #1 / US #53
Track Listing: More Than This / The Space Between / Avalon / India / While My Heart is Still Beating / The Main Thing / Take a Chance with Me / To Turn You On / True to Life / Tara
Speaking of low-key, this is very, very mellow. Though better received critically than the last (and it is beautiful, and it is precise) it's a little too laid back to suit my tastes.
More Than This gets the album off to an amazing start, it has a nice tempo, and soars on a snappy, pretty melody. Track two has an ethereal funkiness but lacks the irresistible melody, and it meanders to the point of boring me, which is a sticking point on a lot of this material. The third, for example, is catchier than the last, but damn, Ferry's drifting into Perry Como territory with his vocals. While Take a Chance with Me gives the production a brief pulse, for the most part this is very languorous - elegant, but plastic and somnambulant. After finishing with it I went back and played Do the Strand and oh how the mighty have fallen - from the cutting edge, into the realm of Muzak.
Grade: ★★★
And that's all she wrote, though there was a possible 9th, a studio album that was not to be...
While developed as a Roxy Music project, Ferry instead recorded and released Olympia as a solo in 2010 (joined on certain tracks by former bandmates Mackay, Manzanera and Eno). It would have been a decent return, though not a spectacular one. I dig the opening tune and a couple with Eno (Alphaville, Me Oh My). Ferry's voice is a whisper, the songs are often an easy stroll, with a handful offering a thumping dance vibe as a changeup, but in truth it's more Bryan than Roxy so probably best that he elected to go that route and title it as he did.
Ranking Roxy
1. For Your Pleasure
2. Siren
3. Roxy Music
4. Country Life
5. Stranded
6. Manifesto
7. Flesh + Blood
8. Avalon
