Roxy Music’s Eponymous Debut • MUSICFESTNEWS

Class of 1972: Roxy Music’s eponymous debut

It was early 1973. WSAN The radio in Allentown, Pennsylvania, was playing a song unlike any I had come across. I couldn’t catch the name of the song, but I’ve heard the name of the band. roxy musicI went looking for . Renaissance books and records Found this album in Bethlehem.

The song I was looking for, “Editions of You,” was not on this album.It was a follow-up to 1973 for your pleasureIt turns out it didn’t matter: the debut record by Roxy Music is Titanic! (and “Editions of You” is one of the best songs ever!)

roxy song 1972 was: Brian Ferryvocals, piano, Horner Pianett, Mellotron. Brian EnoVCS3 synthesizer, tape effects, backing vocals. Andy Mackayoboe, sax, backing vocals. Phil ManzaneraElectric guitar; Paul Thompson,drum; Graham Simpsonbass guitar (all except “Virginia Plain”); and Rick Kentonbass guitar (“Virginia Plains”).

Roxy Music. 📷: Brian Cook

Ferry and McKay began forming a band in late 1970, and McKay recruited Eno, who at the time did not consider himself a musician. He and McKay shared interests in avant-garde and electronic music. Thompson replaced the band’s original drummer and Manzanera was the group’s third guitarist. His photo is featured on the inside page spread photo of the US edition, and Simpson is featured on the cover of the UK edition.

UK Inner Gatefold by Graham Simpson

The album was released from March 14th to 29th, 1972. command studio Released June 16th in London island record Meanwhile, the band released “Virginia Plain” as a single, added to the US Reprise Records MS 2114 released a few months later. Roxy Music handled the arrangement. Peter SinfieldLyricist and producer of King Crimson.album engineering and mixing Andy Hendricksen – Engineering.

The band’s bold cover and inside spread photo were the perfect introduction to Roxy Music, matching their persona.photographer Karl Stecker cover shoot, model Callian MullerThe artwork is Nicholas DeVilledesigned by Ferry.

The album has since been a deluxe reissue and part of several box sets.

roxy song

side one

Cafeteria-style background noise is the introduction to Roxy Music leading up to “Re-Make/Re-Model” (5:10). The piano stands out before Ferry’s voice enters. Back then, most of us had never heard of something like “I tried, but I didn’t find a way.” Manzanera’s killer guitar and Mackay’s bar-honking tenor sax are joined by Eno’s swirling synths. Simpson and Thompson’s percussive side here is remarkable, a powerful, non-stop propulsive groove.

McKay delivers a tenor solo and Simpson teases “Day Tripper” before Eno goes wild. There’s Ferry’s piano madness and Thompson’s flourish at the end before the track deliberately loses momentum.

“Ladytron” (4:21) enters with an electronic vibe and Mackay’s lovely oboe. Ferry once again proves to be a unique vocalist. Manzanera has a nice watery sound on the guitar and the piano is heavy in the back. An uptempo power chorus centered on oboe and drums. They put it back to the beginning of the song and another power chorus by guitar and tenor saxophone before the track ends with an electronic swirl.

“If There Is Something” (6:33) is a multi-part masterpiece that begins as a country tune with Manzanera playing slide guitar and Ferry barrelhouse piano before Ferry’s voice once again brings revelation. There’s a tectonic shift as Manzanera begins his solo and at 1:37 the song changes direction and Ferry’s vocal vibrato becomes otherworldly.

i can do anything for you
i will climb the mountain
I would swim all seas blue
i would walk thousands of miles
reveal my secret
more than enough for me to share
decorate the door with roses
sit in the garden
Grow potatoes with points

McKay excels on the tenor, as the piano emphasizes the notes and the pace is deliberately controlled by the bass and drums. There’s another shift at 3:30, with a nicer tenor and a nice piano accent.

“Virginia Plain” (2:57) is a short, bouncy song that opens with Ferry’s piano and synths. When the band comes in, they get beaten up. McKay’s oboe sings, and piano pulses and synths again dominate.

the film Casablanca Inspiring “2HB” (4:34), Ferry sings the familiar Humphrey Bogart line, “Here’s looking at you, kid.” It’s a soothing ballad, dominated by electric piano and Mackay’s superb double-tracked tenor sax solo.

Observation before Side 2. Like many people of a certain age, I had a favorite side of many albums I owned. Side 1 of this album is definitely my favourite. Side 2 is a different approach than the first. Ferry’s Piano and Electric I forgot how dominant his piano was throughout the album. Also tenor he forgot how impressive McKay was on both saxophone and oboe.

side two

“The Bob (Medley)” (5:48), where “Bob” refers to the Battle of Britain, the medley is a set of seemingly unrelated songs starting with the first section featuring a wall of sound by guitar, tenor saxophone am. , synths, bass, and Ferry’s song on top of it. Next are the sounds of war with oboes – bombings, gunshots. The third section features chorus vocals and great guitars. Finally, the piano puts the tune back in your head and completes the journey.

“Chance Meeting” (3:00) is a piano ballad pairing that reminds us of a great album number two (1971) Curved Air, and Manzanera’s avant-garde screeching guitar: ballad, guitar, ballad, guitar.

“Do You Believe It?” (3:47) Begins as a ballad with Ferry’s voice and piano and Mackay’s tenor sax before diving into a good old rock’n’roll tune with a tenor solo and back to a ballad.

“Sea Breezes” (7:00) opens with another very soft ballad featuring ferry, electric piano and oboe after 30 seconds of seaside sounds. Manzanera joins in as Mackay’s solo at his 2:07, then does a quick solo himself. With an oboe on the left channel and a wild manzanera on the right channel, bass and drums join Ferry, now a piano. It also includes synths. The song then reverts to its original ballad mode, with more seaside wave sounds.

They close out the album with a ’50s-style rocker, “Bitters End” (2:02), with a chorus backing Ferry’s vocals on “Bitters End” (2:02). Mackay’s tenor is deep in the mix, which is finally rounded out by some cafeteria-style background noise.

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