The Bryan Ferry & Roxy Music Album By Album Thread

THE HIGH ROAD reviewed by Parke Puterbaugh in the April 28, 1983 ROLLING STONE, page 70:

For those who prefer to hold their bouts of confessional melancholia down to a manageable minimum, this four-track minialbum from Roxy Music may prove to be fine company. As for all of the stalwarts out there who hang on every preciously intoned word to issue from the quivering lips of Bryan Ferry, they’ll be glad to know that The High Road, recorded live in Scotland, has the same silk-on-satin feel of last year’s classic Avalon.

At this juncture, Roxy is squarely a vehicle for Ferry’s solitary muse, and to this end, they sound slicker and more single-minded than ever. Phil Manzanera’s eccentric guitar babble has been tamed, Andy Mackay’s jolting sax squonks have been sanded into smooth, funky-toned works on a strictly play-for-pay basis. As with all material that falls under Ferry’s lithe spell, both the cover versions (Neil Young’s “Like A Hurricane” and John Lennon’s “Jealous Guy”) and the Ferry originals (“Can’t Let Go,” “My Only Love”) transport you to another time and place, much removed from the present. From Ferry’s vantage point, the ideal of romance is inevitably corrupted by the vicissitudes of human nature, and Ferry sits alone, a party of one at a table for two, perfecting his own long-suffering pose as the world’s last romantic, looking for love in a looking-glass world. No one in all of pop will ever do it so well as he, and The High Road makes for elegant brooding in the grand Roxy tradition. – P.P.

Dr. Weber

 

...if you haven't, check out the Frejus performance of "Jealous Guy"...

http://www.youtube.com/watch?v=OcJSAxxPF-s

This edit was shown on VH-1 in conjunction with Heart Still Beating: Live, an album I have decided to bypass in this thread since it is the same as the DVD / video...

Dr. Weber

 

The May 26, 1983 Rolling Stone has a small, 3 ¾” x 3 ¾” concert calendar on page 57 that lists eleven acts… just enough to tantalize rather than inform… but I circled only one name, Roxy Music, in red ink…

Edmonton, CAN (5/11)
Chicago, IL (5/14)
Detroit, MI (5/15)
Cleveland, OH (5/18)
Toronto, CAN (5/19)
Montreal, CAN (5/20)
Harrisburg, PA (5/22) (Roxyrama lists Norfolk, Virginia, for this date -likely accurate)
Baltimore, MD (5/23)
New York City (5/25 and 5/26)
Boston, MA (5/27)
Philadelphia, PA (5/28)

(Checking Roxyrama, this list is the last 11 dates of a 21-date North American tour).

Notice in the quoted itinerary that all of the dates are in primary rather than secondary markets. In the pre-MTV and pre-internet days it was rare for a British act to succeed and maintain popularity and success in the U.S. without spending some time touring the gigantic heartland, no matter how much ink they received in the music magazines (and for the record, Roxy Music received its fair share of coverage).

It was about this time, 1983, that I compiled a Top 50 chart of bands I most wanted to see in concert, with Roxy Music at #1, but it was ridiculous and virtually impossible to trek some ten hours by car to Philadelphia, the nearest city on the Rolling Stone calendar… the issue nearly out-of-date by the time I read it, without having an advance ticket, not knowing the venue location or size, not knowing if the concert had sold out, and much else. In those pre-internet days without having friends to assist, obtaining tickets to distant concerts was difficult or, depending on popularity of the act, downright impossible.

So concert videos filled a void for those of us who couldn’t attend the concerts. Thus, as I said in the overview, The High Road was manna from heaven. I watched it numerous times... because it was the only live Roxy Music video footage available...

Dr. Weber

 

Roxy Music – The High Road – Video review
by Michael Shore
Rolling Stone yearbook circa 1983 (from Roxyrama)

Shot at Frejus, France, during Roxy Music’s 1982 tour, The High Road has to be one of the most basic, straightforward concert videos of all time. There’s not a single special effect used anywhere; nor is there any fancy-dan cutting of any sort. It’s simply Roxy live onstage, caught from the minimum-requirement of camera angles and long / medium / close-up shots, and with gratifyingly few of the obligatory crowd shots. The High Road lives up to its name by being commendably honesy – indeed, it’s right in keeping with ex-fashion plate Ferry’s shockingly dressed-down look on the tour – and letting the band stand or fall entirely on its own merits. –M.S.

(I haven't verified the printed source and date of this quoted passage.)

Dr. Weber

 

From THE THRILL OF IT ALL by David Buckley, page 259:

With so much time lost and so many deadlines missed, Ferry also blew what might have been the biggest chance of his career. He was offered a song by composer and music-score producer Keith Forsey called “Don’t You Forget About Me,” to be recorded for the film The Breakfast Club. However, so overwhelmed was he by the making of Boys and Girls that he turned it down. Of course, it is impossible to tell whether a Ferry version of the song would have had the seismic impact on the US and British charts as the version recorded by Simple Minds, who gratefully took up Forsey’s offer, but it is hard not to see this missed opportunity as Ferry’s last chance to make it big in the US. – D.B.

Thinking about it, “Don’t You Forget About Me” sounds like a made-to-order hit for Ferry.

Dr. Weber

 

I heard he weighed film offers to sing both "Don't You" and "Is Your Love Strong Enough" and chose to do the latter; as you said time constraints negated the possibility of doing both.

 

He turned down "Don't You" because he also had the opportunity to write "Is Your Love Strong Enough". It isn't the first time he's missed an opportunity. He kept picking the wrong films...that and "The Fly"
for "Help Me".

 

Oh yea......

 

BOYS AND GIRLS
Bryan Ferry
****1/2

Recorded during 1983-5
at: AIR Studios, Hampstead, London
Compass Point Studios, the Bahamas
Effanel Mobile
RPM Studios, New York
Sarm West Studios, London
The White House, New South Wales, Australia
Mixed at: The Power Station, New York
Released June 1985
Label: Polydor / EG EGCD 62 (UK); Warner Brothers / EG 1-25082 (US)
Peaked at: #1 (UK); #63 (US)

Mastered by: Robert C. Ludwig at Masterdisk
Mixed by: Bob Clearmountain
Produced by: Rhett Davies and Bryan Ferry

Photography: Antony Price
Art direction: Bryan Ferry and Simon Puxley
Artwork by: Cream


All songs written by Bryan Ferry except as noted:

01. “Sensation” (5:07)
02. “Slave To Love” (4:26)
03. “Don’t Stop the Dance” (Ferry, Rhett Davies) (4:19)
04. “A Waste Land” (1:02)
05. “Windswept” (4:31)
06. “The Chosen One” (4:51)
07. “Valentine” (3:47)
08. “Stone Woman” (4:56)
09. “Boys and Girls” (5:25)


(The singles will be listed in a separate post.)


Musicians:

Bryan Ferry: vocals
Guy Fletcher: keyboards
David Gilmour: guitar (courtesy CBS Records)
Omar Hakim: drums
Neil Hubbard: guitar
Neil Jason: bass
Chester Kamen: guitar
Mark Knopfler: guitar
Tony Levin: bass
Jimmy Maelen: percussion
Martin McCarrick: cello
Marcus Miller: bass
Andy Newmark: drums
Nile Rodgers: guitar
David Sanborn: saxophone
Keith Scott: guitar
Alan Spenner: bass
Anne Stephenson: strings
Jon Carin: keyboards
Virginia Hewes: backing vocals
Ednah Holt: backing vocals
Fonzi Thornton: backing vocals
Ruby Turner: backing vocals
Alfa Anderson: backing vocals
Michelle Cobbs: backing vocals
Yanick Etienne: backing vocals
Colleen Fitz-Charles: backing vocals
Lisa Fitz-Charles: backing vocals
Simone Fitz-Charles: backing vocals

Technical personnel:

Rhett Davies: recording engineer
Bob Clearmountain: recording engineer, mixing engineer
Neil Dorfsman: recording engineer
Femi Jiya: recording engineer
Dominick Maita: recording engineer
Brian McGee: recording engineer
Andy Lydon: recording engineer
Benjamin Armbrister: assistant engineer
Carb: assistant engineer
Steve Churchyard: assistant engineer
Randy Ezratty: assistant engineer
Dave Greenberg: assistant engineer
Kevin Killan: assistant engineer
Heff Moraes: assistant engineer
Peter Revill: assistant engineer
Kendal Stubbs: assistant engineer


The AMG review by Ned Raggett
****
Having at last laid Roxy to bed with its final, intoxicatingly elegant albums, Ferry continued its end-days spirit with his own return to solo work. Dedicated to Ferry's father, Boys and Girls is deservedly most famous for its smash single "Slave to Love." With a gentle samba-derived rhythm leading into the steadier rock pace of the song, it's '80s Ferry at his finest, easy listening without being hopelessly soporific. As a whole, Boys and Girls fully established the clean, cool vision of Ferry on his own to the general public. Instead of ragged rock explosions, emotional extremes, and all that made his '70s work so compelling in and out of Roxy, Ferry here is the suave, debonair if secretly moody and melancholic lover, with music to match. Co-producer Rhett Davies, continuing his role from the latter Roxy albums, picks up where Avalon left off right from the slinky opening grooves of "Sensation." The range of people on the album is an intriguing mix, from latterday Roxy members like Andy Newmark and Alan Spenner to avid Roxy disciples like Chic's Nile Rodgers. Everyone is subordinated to Ferry's overall vision, and as a result there's not as much full variety on Boys and Girls as might be thought or hoped. The album's biggest flaw is indeed that it's almost too smooth, with not even the hint of threat or edge that Ferry once readily made his own. As something that's a high cut above the usual mid-'80s yuppie smarm music, though, Boys and Girls remains an enjoyable keeper that has aged well.


Personal notes and observations:

This is truly a logical extension of Avalon, the absence of Manzanera and Mackay notwithstanding. Whether one defines Boys and Girls as MOR, there is enough quirkiness and personality to keep me from boredom. Admittedly, it is Ferry’s only solo album to earn gold certification in the States, suggesting a connection with the masses via a “lowest common denominator” style.

One thing I like about this album is the general upbeat tempos, the grooves. But it isn’t a five star album because of some dubious lyrics. Anyone have any idea what the title song is about? 4 ½ stars.

It is a surprisingly cohesive album considering the numerous musicians, recording studios, engineers and assistants.

Favorite track: “Windswept.”

Dr. Weber

next: Bete Noire – Bryan Ferry

 

it sounds a bit like he is saying "Poison Girls"

 

Bryan Ferry
Boys And Girls

Billboard Review
Week Ending 15 June 1985

Roxy Music founder, vocalist and songwriter Ferry's sixth solo album is by far his best. Assembled here are many of the same session players who appeared on "Avalon," Roxy's final album, which just missed gold in the U.S., as well as such guest artists as Nile Rodgers, David Sanborn, Tony Levin and Mark Knopfler. Key cuts: "Slave To Love," "Sensation" and "Don't Stop The Dance."

 

Bought that LP when it came out, the first Roxy Music album for my collection. He was at the top of his game and Slave To Love and Don't Stop The Dance were simply exactly the right stuff for the time. The music was exactly in sync with what was really hot in Dance Music and popular Soul Music ( aka Solid etc.) . I enjoyed the album a lot; but some of the songs on Side 2 are simply not that convincing esp. in contrast to the outstanding Hits on Side 1. I like that short instrumental at the end of Side 1 , Side 2 has a very different flow and there are only 2 songs that i think are outstanding - The first and the last.
So LP Side 1 gets the full 5 star rating side b 3 and half = a decent 4 star album, that still is in my collection today...

 

My brother worked for A&M when that album came out - believe you me, they were THRILLED Simple Minds got to do that song - they had plenty to gain promoting one of their own acts, whereas promoting Ferry would have gained them nothing but soundtrack sales.

 

I agree. You have no idea how many diehard Ferry fans have wanted me hung in effigy for proclaiming this album was in the same vein as "Avalon".

What probably gets me pilloried is my further opinion that as far as albums of new material go, Ferry has beaten this "style" to death. Bete Noire doesn't IMHO seem to break any real new ground, and for me, is the last Ferry album that really mattered. Everything since then bores me.

I say again: WHERE is the new Roxy Music album?

 

U.K. Mail on Sunday RM cd....

.....if anyone's interested:

http://www.dailymail.co.uk/tvshowbi...onal-rock-band-tomorrows-The-Mail-Sunday.html

 

Thanks for the notice... The track by track commentary offers some tidbits, two examples:

Over You
Phil Manzanera: In 1979, I had just built my first recording studio and I rang up Bryan and asked if he’d like to check it out. We decided to have a jam together, Bryan on bass and me on guitar with a rhythm box. Within five minutes we had written this track and it reached number three in the charts.

Oh Yeah
Bryan Ferry: In this song I was trying to create a picture of Americana, and long hot summer evenings at drive-in movies. It is wistful and nostalgic, rather like a country record.

Don't believe I have ever heard of Ferry playing the bass. I like his description of "Oh Yeah" since I have a personal nostalgia of early Ferry solo albums in a similar light...

Dr. Weber

 

I agree that the album is definitely in the same vein as Avalon, they are like siblings; I think Boys and Girls is very slightly inferior, but only slightly. Bete Noire I didn't care for much at all, and I would agree that Ferry has beaten this style to death; Mamouna SHOULD have been interesting but it's just dull. However, I think Frantic was kind of a nice return to some of his earlier ground, particularly the song "Cruel". I"d hope new Roxy is more like this than like Mamouna or anything else.

 

The front cover...

 

found the sticker for High Road.

 

Single: “Slave To Love” b/w “Valentine” (instrumental)
Label: EG Ferry 1 (UK)
Released: April 1985
Peaked at: #10 (UK); #29 (Australia)

“Slave To Love” peaked at #19 on the Billboard Mainstream Rock Tracks (US)

Single (12”): “Slave To Love” (extended) b/w “Valentine” (instrumental) and “Slave To Love” (instrumental)
Label: FERRX 1
Released: April 1985

Single: “Don’t Stop the Dance” b/w “Nocturne”
Label: EG FERRY 2 (UK); Warner Brothers EG 7-28887 (US)
Released: August 1985
Peaked at: #21 (UK); #68 (Australia)

“Don’t Stop the Dance” peaked at #26 on the Billboard Adult Contemporary chart (US), and at #30 on the Billboard Hot Dance Music/Maxi-Singles Sales chart

Single (12”): “Don’t Stop the Dance” b/w “Nocturne” and “Don’t Stop the Dance” (instrumental)
Label: EG FERRX 2
Released: August 1985

Single: “Windswept” b/w “Crazy Love”
Label: EG FERRY 3 (UK)
Released: November 1985
Peaked at: #46 (UK)

7” EP: “Windswept” and “Crazy Love” b/w “Feel the Need” and “Broken Wings”
Label: EG FEREP 3
Released: November 1985
(also released as a 12” single: EG FERRX 3)

Dr. Weber

 

Yet another Ferry or Roxy Music album not released the same week in the U.S. as in the U.K. The latter release date was 3 June 1985. I've learned in writing and assembling the overviews for this thread that, short of knowing the specific release dates, just generalize... (although I am delighted we are adding the specifics to the historical record)...

Dr. Weber

 

That's the Virgin reissue catalog #. The original Polydor is 825 659 2.

 

I've always thought Boys & Girls was Avalon vol. 2. Same production style, same instrumentation, same 80s sound. But the songwriting disappoints. Only "Sensation" and "Slave to love" are up to Ferry's high standards. But then I've never been a big fan of Ferry's solo work.

 

Gee they'd have to hang me, too. I agree.

The last two albums though do move away a bit from the earlier "sound" and are interesting particularly tracks like "Hiroshima".

 

To the best of my knowledge he's also only played guitar on one song for Roxy the rest of the time he limited himself to keyboards, harmonica, etc.