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Roxy Music: Roxy Music

 A l b u m   D e t a i l s


Label: Virgin Records
Released: 1972
Time:
 45:42
Category: Pop/Rock
Producer(s): Peter Sinfield
Rating: ******.... (6/10)
Media type: CD
Web address: www.roxyrama.com
Appears with: Bryan Ferry, Brian Eno
Purchase date: 2008.03.08
Price in €: 4,99





 S o n g s ,   T r a c k s


[1] Re-Make/Re-Model (B.Ferry) - 5:14
[2] Ladytron (B.Ferry) - 4:26
[3] If There Is Something (B.Ferry) - 6:34
[4] Virginia Plain (B.Ferry) - 2:58
[5] 2HB (B.Ferry) - 4:30
[6] The Bob (Medley) (B.Ferry) - 5:48
[7] Chance Meeting (B.Ferry) - 3:08
[8] Would You Believe? (B.Ferry) - 3:53
[9] Sea Breezes (B.Ferry) - 7:03
[10] Bitters End (B.Ferry) - 2:30

 A r t i s t s ,   P e r s o n n e l

Bryan Ferry - Piano, Keyboards, Vocals, Art Direction, Cover Art Concept
Brian Eno - Synthesizer, Keyboards, Tape, Tapes
Andy Mackay - Oboe, Saxophone
Graham Simpson - Bass, Bass Guitar
Phil Manzanera - Guitar
Paul Thompson - Drums

Rik Kenton - Bass Guitar

Peter Sinfield - Producer
Andy Henderson - Engineer
Andy Hendriksen - Engineer
Roxy Music - Arranger
Nicholas De Ville - Artwork
Karl Stoecker - Photography
Wragg - Transportation
Anthony Price - Make-Up, Stylist, Wardrobe
Simon Puxley - Liner Note
 

 C o m m e n t s ,   N o t e s

1972 LP Reprise 2114
1989 CD Reprise 26039
1987 CD EG 6
1990 CD Reprise 2-26039
1990 CS Reprise 4-26039
2000 CD Virgin 47447
2000 CD EMI 847448
2000 CD EMI 847448
2007 CD EMI 68821
2008 CD CRC 169052
2008 CD Caroline 16905

The self-titled first Roxy Music album opens with what seems to be a ambient recording from a cafe--glasses clinking, low talking, and so on. It sets up a mood of casual elegance that the band explored throughout their career, from sophisticated glamour all the way through decadence. The first song, "Re-Make/Re-Model" becomes, after the cafe introduction, apunchy rock track that mixes an insistent rhythm section, Andrew Mackay's saxophone playing, and Bryan Ferry's unmistakable voice into a cultured warble (the song's "chorus", by the way, is "CPL 593H", the licence plate number of a car). Roxy Music's early work is a strange hybrid of glam rock, cocktail jazz, and English music hall. The band has a joke at the expense of each, and is clearly enjoying themselves. Other standouts include the classics "Virginia Plain" and "2HB". The first was the band's first single and arguably the most successful song from their early period, with catchy lyrics, a fabulous bridge section, and a beat you can dance to.The second is a ballad inspired by the film CASABLANCA featuring a bubbling synthesizer and saxophone under Ferry's "Here's looking at you, kid" chorus. This is a must-own.

The self-titled first Roxy Music album opens with what seems to be a ambient recording from a cafe--glasses clinking, low talking, and so on. It sets up a mood of casual elegance that the band explored throughout their career, from sophisticated glamour all the way through decadence. The first song, "Re-Make/Re-Model" becomes, after the cafe introduction, a punchy rock track that mixes an insistent rhythm section, Andrew Mackay's saxophone playing, and Bryan Ferry's unmistakable voice into a cultured warble (the song's "chorus," by the way, is "CPL 593H," the license plate number of a car). Roxy Music's early work is a strange hybrid of glam rock, cocktail jazz, and English music hall. The band has a joke at the expense of each, and is clearly enjoying themselves. Other standouts include the classics "Virginia Plain" and "2HB." The first was the band's first single and arguably the most successful song from their early period, with catchy lyrics, a fabulous bridge section, and a beat you can dance to. The second is a ballad inspired by the film CASABLANCA featuring a bubbling synthesizer and saxophone under Ferry's "Here's looking at you, kid" chorus. This is a must-own.

Recorded at Command Studios, Picadilly, London (03/1972).



Falling halfway between musical primitivism and art rock ambition, Roxy Music's eponymous debut remains a startling redefinition of rock's boundaries. Simultaneously embracing kitschy glamour and avant-pop, Roxy Music shimmers with seductive style and pulsates with disturbing synthetic textures. Although no musician demonstrates much technical skill at this point, they are driven by boundless imagination -- Brian Eno's synthesized "treatments" exploit electronic instruments as electronics, instead of trying to shoehorn them into conventional acoustic patterns. Similarly, Bryan Ferry finds that his vampiric croon is at its most effective when it twists conventional melodies, Phil Manzanera's guitar is terse and unpredictable, while Andy Mackay's saxophone subverts rock & roll clichés by alternating R&B honking with atonal flourishes. But what makes Roxy Music such a confident, astonishing debut is how these primitive avant-garde tendencies are married to full-fledged songs, whether it's the free-form, structure-bending "Remake/Remodel" or the sleek glam of "Virginia Plain," the debut single added to later editions of the album. That was the trick that elevated Roxy Music from an art school project to the most adventurous rock band of the early '70s.

Stephen Thomas Erlewine - All Music Guide



With startling, boundless creativity, Roxy Music's juiced-up debut record put a subversive spin on mid-'70s conventions, embracing glam-pop and artsy electronics while harboring a deep love of classic rock songcraft. Brian Eno's stamp is all over the record, driving songs like "Re-Make/Re-Model" down strange, atonal avenues. Bryan Ferry's nightclub glamour-boy persona and wandering vibratos help make timeless epics out of molehills like the (originally non-album) track "Virginia Plain." Eno stuck around for one more record, 1973's For Your Pleasure, leaving Ferry and the band to embrace their less avant-garde leanings. This unpredictable, dangerous record might be a shock for those who associate Roxy Music with the silky sounds of later records such as Flesh + Blood and Avalon. It is nevertheless essential listening for all who care about boundary-defining rock, as well as the possibilities for profound innovation and redefinition that artists like David Bowie, T. Rex, and the New York Dolls promised, but never quite delivered.

Matthew Cooke - Amazon.com essential recording



Das Debütalbum Roxy Music (1972) zeigte, dass die Briten es nicht so ganz ernst nahmen, man sie aber ernst nehmen musste. Das Sextett spielte Art-Rock im Glam-Gewand, bis aufs i-Tüpfelchen gestylt. Doch in dem bonbonfarbenen Model-Cover mit Kari-Ann steckte eine riesige Portion Talent und Aufregung. Wenn Bryan Ferry zum Piano mit seinem manirierten Gesang das Cocktail-Geschnatter auf "Re-make/Re-model" durchdringt, ist die Überraschung perfekt. Erst recht, wenn mit zahlreichen Breaks verrückte Kurz-Soli-Persiflagen eingeblendet werden, die zu einem völlig erschöpften Slow-Motion-Schluss führen. Es ist eines jener Alben, auf denen dramaturgisch aufgebaut ein Stück ins andere führt, und man bei der CD den spannenden Moment vermisst, wenn man die alte Vinyl-Scheibe umdrehte und zwischen "2 H.B." und "The Bob" Luft holte. Auf der ehemaligen B-Seite herrscht durchwegs Moll-Stimmung mit Tempiwechsel, dem unorthodoxen Einsatz der Instrumente von Oboe bis Geige und Versatzstücken, Tape-Collagen und frühen Synthesizer-Gewittern. Auf den Schnulzgesang von "Sea Breezes" folgt "Bitters End", das an alte Broadway-Komödien á la Noel Coward erinnert, wenn Andy MacKays Oboe und Enos ungeschliffene Synthi-Effekte Emotionen aufwühlt. Die billige Produktion gibt dem Debüt noch mehr zeitlosen Charme. Roxy Music waren Kult, bevor ihre Karriere überhaupt begann -- das war der Coup. Und ihr Debütalbum ist ein ungeschliffener Diamant ohne Fassung, herrlich dekadent, verdreht und sentimental -- Pop at it's best!

Ingeborg Schober - Amazon.de



Glittery but not 100 percent glam, artful but not really art rock, Roxy Music possessed a voracious appetite for cultural influences that landed them on the periphery of many different -- and sometimes conflicting -- movements but never detracted from their unique and passionate music. With this 1972 debut recording, they brought a sense of style to music two decades before Versace began outfitting rock stars. The '50s haircuts and animal print jackets worn in their inner sleeve photos notwithstanding, Roxy Music were far from poseurs, and their songs introduced the British dandy tradition to rock. Lead singer and principal songwriter Brian Ferry sang odes to love that were fraught with heavy, almost self-mocking irony, and his full-tilt rockers featured clashes between Andy McKay's '50s-styled saxophone licks and Brian Eno's futuristic synthesizer fills. One of the best songs, "The Bob," is a montage (years before deejays made tuneful deconstruction into pop fodder) of England during the war. At a moment when most rockers only looked forward, Roxy Music drew on a wealth of musical antecedents to create a futuristic sound. Many classics or near-classics would follow during the band's on-again, off-again decade together.

Martin Johnson - Barnes & Noble
  

 L y r i c s


2HB

Oh I was moved by your screen dream
Celluloid pictures of living
Your death could not kill my love for you

Take two people romantic
Smoky night club situation
Your cigarette traces a ladder

Here's looking at you kid
Celebrate years
Here's looking at you kid
Wipe away tears
Long time since we're together
Now I hope it's forever

Ideal love flies away now
White jacket, black tie, wings too
You gave her away to the hero

Words don't express my meaning
Notes could not spell out the score
But finding not keeping's the lesson

Here's looking at you kid
Hard to forget
Here's looking at you kid
At least not yet
Your memory stays
It lingers ever
Will fade away never...
fade away never...
fade away never...
fade away never...


Bitters End

At last the crimson chord cascade
To shower dry cordials within
Too late to leap the chocolate gate
Pale fountains fizzing forth pink gin
While destiny begins to fly
The farmyard chorus sings its wake
Upstanding anthem to the sky
Too soon to realise their fate
You were the raven of October
I knew the sign you flew around
Up in the air so high above me
Never needed to look down
I never thought I'd be a rover
I didn't even look around
But now I know you've found another
So will someone please find me
Give now the host his claret cup
And watch Madeira's farewell drink
Note his reaction acid sharp
Should make the cognoscenti think


Chance Meeting

I never thought I'd seen you again
Where have you been until now?
Well how are you how have you been
It's a long time since we last met

It seems like yesterday when I first
Saw you in your red dress smile
How could I forget that day
I know that time spent well is so rare


If There Is Something

If there is something that I might find
Look around corners
Try to find peace of mind I say
Where would you go if you were me
Try to keep a straight course not easy
Somebody special looking at me
A certain reaction we find
What should it try to be I mean
If there are many
Meaning the same
Be specific just a game

I would do anything for you
I would climb mountains
I would swim all the oceans blue
I would walk a thousand miles
Reveal my secrets
More than enough for me to share
I would put roses round our door
Sit in the garden
Growing potatoes by the score

Shake your hair girl with your ponytail
Takes me right back (when you were young)
Throw your precious gifts into the air
Watch them fall down (when you were young)
Lift up your feet and put them on the ground
You used to walk upon (when you were young)
Lift up your feet and put them on the ground
The hills were higher (when we were young)
Lift up your feet and put them on the ground
The trees were taller (when you were young)
Lift up your feet and put them on the ground
The grass was greener (when you were young)
Lift up your feet and put them on the ground
You used to walk upon (when you were young)


Ladytron

You've got me girl on the run around run around
You've got me all around town
You've got me girl on the run around
And it's getting me down, getting me down

Lady if you want to find a lover
Then you look no further
For I'm gonna be your only
Searching at the start of the season
And my only reason
Is that I'll get to you

I'll find some way of connection
Hiding my intention
Then I'll move up close to you

I'll use you and I'll confuse you
And the I'll lose you
Still you won't suspect me


Re-Make/Re-Model

I tried but I could not find a way
Looking back all I did was look away
Next time is the best time we all know
But if there is no next time where to go?
She's the sweetest queen I've ever seen (CPL593H)
See here she comes see what I mean? (CPL593H)
I could talk talk talk talk talk myself to death
But I believe I would only waste my breath
Ooh show me


Sea Breezes

I've been thinking now for a long time
How to go my own separate way
It's a shame to think about yesterday a shame
We've been running round in our present state
Hoping help will come from above
But even angels there make the same mistakes in love

Now that we are lonely
Life seems to get hard
Alone what a word lonely
Alone it makes me cry
Thought-train set in motion
Wheels in and around
Express our emotion
Tracks up then it cracks down


The BOB (medley)

I dreamed last night about your face
Your star shone all night
Over the moon it shone brighter
Star shining so bright
You were so pure not for this world
So gentle and light
How could I hear their stories?
They told me not right

Too many times beautiful
Too many times sad
Too many times wonderful
Too bad

Spoken: "But when the party was over, and all was quiet and still,
We walked together in moonlight and looked down over the calm lake,
Hand in hand, the stars in our eyes."

So in my dream you still loved me
Gave time reason last night
But this was only life's story
Made simple that's right


Virginia Plain

Make me a deal and make it straight
All signed and sealed, I'll take it
To Robert E. Lee I'll show it
I hope and pray he don't blow it 'cause
We've been around a long time just try try try tryin' to
Make the big time...
Take me on a roller coaster
Take me for an airplane ride
Take me for a six days wonder but don't you
Don't you throw my pride aside besides
What's real and make believe
Baby Jane's in Acapulco We are flyin' down to Rio

Throw me a line I'm sinking fast
Clutching at straws can't make it
Havana sound we're trying hard edge the hipster jiving
Last picture shows down the drive-in
You're so sheer you're so chic
Teenage rebel of the week
Flavours of the mountain steamline
Midnight blue casino floors
Dance the cha-cha through till sunrise
Open up exclusive doors oh wow!
Just like flamingos look the same
So me and you, just we two got to search for something new
Far beyond the pale horizon
Some place near the desert strand
Where my Studebaker takes me
That's where I'll make my stand but wait
Can't you see that Holzer mane?
What's her name Virginia Plain


Would You Believe?

Would you believe in what I do
When the things that I make are all for you?
And in a while I'll come to you
Showing showing why what I think will all come true

Well I'm sure I'll love you all my life
And in the morning too
Everything you have is out of sight
But baby I can see through you

And in a while I'll come to you
Showing showing why what I think will all come true

Would, would you believe in what I do
When the things that I make are all for you?
 

 M P 3   S a m p l e s


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