| | Roxy Music CD Roxy Music Discography of CDs
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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.
Liner Note Authors: Kaz Akaiwa; Simon Puxley.
Recording information: Command Studios, London, England (03/1972).
Photographer: Karl Stoecker.
Arranger: Roxy Music.
Roxy Music: Graham Simpson (bass instrument); Andy Mackay , Paul Thompson , Phil Manzanera, Brian Eno, Bryan Ferry.
Personnel: Bryan Ferry (vocals, piano, keyboards); Phil Manzanera (guitar); Andy Mackay (oboe, saxophone); Brian Eno (keyboards, synthesizer, tapes); Rik Kenton, Graham Simpson (bass guitar); Paul Thompson (drums).
Q (9/99, pp.122-3) - 5 stars (out of 5) - "...difficult, innovative, unlikely, provocative, daring and successful....Roxy Music turned heads with 1972's eponymous debut....this is rock'n'roll before and after science, it's licks laced with futurism....a masterpiece unwithered by age..." Roxy Music Music | List Price | $11.94 (You save $0.25) | | Category | Rock Albums, Pop CDs, HDCD, Rock/Pop, Art Rock, Enhanced CD | | Label | Virgin | | Orig Year | 1972 | | All Time Sales Rank |  5925  | | CD Universe Part number | 1033328 | | Catalog number | 47447 | | Discs | 1 | | Release Date | Mar 14, 2000 | | Studio/Live | Studio | | Mono/Stereo | Stereo | | Producer | Pete Sinfield; Pete Sinfield | | Engineer | Andy Hendriksen; Andy Henderson; Andy Hendriksen | | Recording Time | 45 minutes | | Personnel | Brian Eno - keyboards, synthesizer, tapes
Phil Manzanera - guitar
Bryan Ferry - vocals, piano, keyboards
Andy MacKay - oboe, saxophone
Paul Thompson - drums
Graham Simpson - bass instrument
Rik Kenton
| | Additional Info | Remastered |
Buy Roxy Music CD  | | Roxy Music
36 x 48 inch
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Purchase Roxy Music CD To buy, Click on price to add to cart | Roxy Music For Your Pleasure CD (1973) Remastered
Roxy Music album
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With FOR YOUR PLEASURE, the second Roxy Music album, the band began to explore a little more of the "dark side" of the glamorous world that had become their lyrical and musical playground. Even the cover art suggests this division: a preposterously posed women walking a snarling panther is watched by singer Bryan Ferry, decked out in chauffeur's livery and removed from the action, merely observing. Musically, this decay is examined most clearly in "In Every Dream Home a Heartache," a disturbing tale about an inflatable sex doll that, at times, suggests some of the creepier moments from the Doors catalogue--"The End" in particular.
Opening with the spectacular debauch of "Do the Strand," the album pulls no punches--"It burns your blue jeans, you know what I mean" indeed! Together with "Editions of You," it shows the band moving through the similar territory inhabited by "Virginia Plain" (from ROXY MUSIC), quasi-rock shot through with squalling saxophones. The nine-minute slow burn of "The Bogus Man" displays Paul Thompson's solid drumming to great effect, while the rest of the band fleshes things out with a not exactly scary, but decidedly "off" atmosphere. Another classic.
Roxy Music: Bryan Ferry (vocals, keyboards); Phil Manzanera (guitar); Andy Mackay (oboe, saxophone); Brian Eno (synthesizer, tapes); Paul Thompson (drums).
Additional personnel: John Porter (bass instrument).
| | Roxy Music Stranded CD (1973) Remastered
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Roxy Music began to reign in its unsettling, quirky art rock on STRANDED, the band's third album. Without keyboardist/idea man Brain Eno in the band any longer, vocalist Bryan Ferry assumed full control of Roxy Music's musical direction, moving toward a less overtly experimental, yet still progressive and eccentric style. Ferry still sings in a camp-styled croon, part Noel Coward, part Lou Reed, yet his songwriting is sharper and more nuanced here, as the enigmatic "Psalm" and the multi-part "Mother of Pearl" convey.
STRANDED introduced violinist Eddie Jobson, whose contributions slotted in perfectly alongside reed player Andy Mackay and guitarist Phil Manzanera. A sense of cohesion permeates the set, group members contribute lyrically, but there was no denying that this incarnation of the band represents Ferry's vision. Melodically strong, the album provides an ideal structure for Ferry's quirky intonation, resulting in a heady mix of experimentation and commercial acumen.
Audio Remasterer: Bob Ludwig.
Recording information: Air Studios, London, England (09/1973).
Photographer: Karl Stoecker.
Unknown Contributor Roles: Eddie Jobson; Christian Wainwright; London Welsh Male Choir.
Roxy Music: John Gustafson (bass instrument); Eddie Jobson, Andy Mackay , Paul Thompson , Phil Manzanera, Bryan Ferry.
Personnel: Bryan Ferry (vocals, piano, keyboards); London Welsh Male Choir (vocals); Phil Manzanera (guitar); Eddie Jobson (violin, keyboards, synthesizer); Andrew T. Mackay , Andy Mackay (oboe, saxophone); Paul Thompson (drums, timbales, timpani).
Additional personnel: Chris Lawrence (bass instrument); The London Welsh Male Choir (background vocals).
| | Roxy Music Country Life CD (1974) Remastered
Roxy Music music CDs
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Standouts include "Bitter-Sweet," a clear homage to the bombast and fading glory of German cabaret music, and the work of Kurt Weill in particular, and "Casanova," a dense funk track carried along on a complex bass line and a wavering synthesizer. The album's last track, "Prairie Rose," leads off with a heavily echoed guitar solo, and features some of Andrew Mackay's most expressive saxophone playing. Everything from the famously controversial cover art (which depicts two very scantily clad models) to the varied, often spectacular music within, marks COUNTRY LIFE as unique. It is one of the finest moments in the band's impressive catalogue.
From the idiosyncratic art rock of their self-titled debut to the seductive pop of albums like AVALON, Roxy Music covered a lot of ground, but COUNTRY LIFE, which falls somewhere in between, synthesizes all of their strengths. Singer Bryan Ferry's vision of sophisticated, "gentleman" rock emerges on this release, yet the strident, driving quality crucial to the band's early sound still looms large. The combination of textures is exhilarating, and the songwriting--which draws on elements of R&B, cabaret music, and glam rock--is among the band's best.
Roxy Music: Bryan Ferry (vocals, keyboards); Paul Thompson (guitar); Edwin Jobson (strings, keyboards, synthesizer); Andy Mackay (oboe, saxophone); John Gustafson (bass instrument); Phil Manzanera (drums).
| | Roxy Music Siren CD (1975) Remastered
Roxy Music songs
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All tracks have been digitally remastered using HDCD technology.
Roxy Music's fifth album, SIREN, is a return to the form of their first couple of records--that is, it mixes astonishing material with some that, well, isn't quite as good. This is not to say that the band abandoned sophistication, however. If anything, they turned the suaveness up a notch--tracks like "Sentimental Fool" and the brilliant "Just Another High" both, albeit in different ways, suggest the path the band would follow before arriving at their masterpiece, AVALON. For those keeping track of these things, the cover model on this album is Jerry Hall.
"Love Is The Drug," the album's first track, is a classic. A story-song that could describe the beginning of the relationship that dissolves in "Dance Away" (from MANIFESTO, the band's next studio album), it is built on solid rhythm grooves with added flourishes of bright guitar. Bryan Ferry's vocals are more expressive than usual on "Both Ends Burning," a fairly sedate, but insistent dance groove with synthesizers weaving in and out of the propulsive bass line. SIREN, as the middle album in the band's studio career, includes pointers to both their past and future and is an excellent introduction to the worlds of Roxy Music.
Recorded at Air Studios, London, England in 1975.
Roxy Music: Bryan Ferry (vocals, keyboards); Phil Manzanera (guitar); Edwin Johnson (strings, keyboards, synthesizer); Andrew Mackay (oboe, saxophone); John Gustafson (bass); Paul Thompson (drums).
| | Roxy Music Manifesto CD (1979) Remastered
Roxy Music album
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MANIFESTO was Roxy Music's 1979 return after a hiatus of several years. This second phase of the band continued in the direction begun with their 1975 album SIREN. Lush romanticism now enveloped their sound, softening the barbs and burrs that had been a characteristic since their art school beginnings with Brian Eno at the start of the decade. MANIFESTO yielded several hits and songs of enduring popularity in the Bryan Ferry songbook, notably "Angel Eyes" and "Dance Away." The latter, in fact, sounds of a piece with Ferry's eighties solo work--gorgeous, lush, and exceedingly romantic. This album and its two successors (FLESH & BLOOD and AVALON) effectively form a bridge from the glam-rock of the early '70s to the more sedate, but rich and confident, sounds of pop music for adults.
All tracks have been digitally remastered using HDCD technology.
Personnel: Bryan Ferry (vocals, keyboards); Phil Manzanera (guitar); Andy Mackay (saxophone); Paul Carrack (keyboards); Paul Thompson (drums).
Audio Mixer: Bob Clearmountain.
Recording information: Basing Street; Ridge Farm.
Unknown Contributor Roles: Alan Spenner; Paul Thompson .
Roxy Music: Bryan Ferry (vocals, keyboards); Phil Manzanera (guitar); Andy Mackay (oboe, saxophone); Paul Thompson (drums); Alan Spencer, Gary Tibbs, Paul Garrack.
| | Roxy Music Flesh + Blood CD (1980) Remastered
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What's remarkable about Roxy Music's final three albums is how each one builds on its predecessor. FLESH & BLOOD was the middle of this triptych (which ended with AVALON, the group's peak achievement). Where its predecessor, MANIFESTO, still had ties to the band's pre-hiatus first era, FLESH & BLOOD heads ever further into the lush romanticism that singer Bryan Ferry was to explore fully as a solo artist in the '80s. Where an earlier Roxy Music may have embraced an element of camp in a cover of "In The Midnight Hour, here Ferry nods to the camp factor only fleetingly.
Reduced to a trio of Ferry, guitarist Phil Manzanera, and saxophonist Andy MacKay, Roxy Music brought in a range of session players as needed. This, in effect, freed the band to follow the songs wherever they needed to go, which was straight into gorgeously produced romantic landscapes. The song's rich melodies cast Ferry as a matinee-idol leading man, a role he adapted to so successfully that songs like "My Only Love" sound like part of his own solo career.
Digitally remastered by Bob Ludwig (Gateway Studio, Portland, Maine).
Personnel: Bryan Ferry (vocals, guitar, strings, piano, keyboards, synthesizer); Neil Hubbard, Phil Manzanera (guitar); Paul Carrack (strings, piano, organ, keyboards); Andy Mackay (saxophone); Simon Phillips, Allan Schwartzberg (drums, percussion); Allen Schwarzberg, Andy Newmark (drums); Martin Ditchum (percussion).
Audio Mixer: Bob Clearmountain.
Audio Remasterer: Robert C. Ludwig.
Recording information: Basing Street; Gallery Studio.
Photographer: Neil Kirk.
Roxy Music: Bryan Ferry (vocals, keyboards); Phil Manzanera, Neil Hubbard (guitar); Andy Mackay (saxophone); Paul Carrack (keyboards); Alan Spenner, Neil Jason, Gary Tibbs (bass); Allan Schwartzberg, Andy Newmark, Simon Phillips (drums).
| | Lonnie Johnson Complete Recorded Works Vol. 3 (1944-47) CD (1992) Import
Roxy Music music CDs
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Among the most obscure recordings from Lonnie Johnson's career, the 23 selections on this CD were cut after the recording strike of 1942-1944 ended and just prior to the blues singer/guitarist joining the King label. Johnson is heard in trios (usually including pianist Blind Davis) plus on two numbers on which he backs the singing of Karl Jones. The music is (as was true throughout his career) consistently enjoyable with strong musicianship and a gentler side of the blues than was usually performed by Johnson's country blues counterparts. Well worth exploring. ~ Scott Yanow
Personnel includes: Lonnie Johnson, Blind John Davis, Ransom Knowing.
| | Lonnie Johnson Complete Folkways Recordings CD (1967)
Roxy Music songs
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Fans who think the blues has little more to offer than screaming guitars and over-amplified harmonicas have obviously never heard Lonnie Johnson (1889-1970). A New Orleans native who spent much of his youth in Europe and St. Louis, Johnson saw the blues through a jazz player's eyes, incorporating jazz's complex chording and hip attitude into a genre otherwise noted for its raw, unadorned passion. As a result of his masterful playing and distinctive approach, no lesser (and diverse) greats than B.B. King, Robert Johnson, Charlie Christian, and T-Bone Walker readily and enthusiastically acknowledged Johnson's influence on their playing.
THE COMPLETE FOLKWAYS RECORDINGS, a 1967 collection of Johnson solo performances, offers a unique opportunity to hear this master outside his usual ensemble setting. On this generous 24-track offering, Johnson works his way through numerous original blues as well as a few well-chosen jazz standards ("Prisoner of Love" and Hoagy Carmichael's "Old Rocking Chair," among several others). Although recorded late in Johnson's life, the blues great's playing and singing show no signs of deterioration. On the contrary, this is the work of a man at the top of his game. A classic.
Includes liner notes by Sam Charters.
Solo performer: Lonnie Johnson (vocals, guitar).
Personnel: Lonnie Johnson (vocals, guitar).
Liner Note Author: Samuel Charters.
Recording information: 1967.
Editor: Leslie Spitz-Edson.
Photographer: Esmond Edwards.
| | Allman Brothers Band Dreams CDs (1989) Box Set
Roxy Music album
$38.49
DREAMS is a 4-CD box set compiling in chronological order tracks by the Allman Brothers Band, as well as tracks by bands featuring one or more member of the Allman Brothers Band and solo performances by Gregg Allman and Dickey Betts.
Recorded between 1966 & 1988. Includes a 32-page illustrated booklet and liner notes by John Swenson.
Like nearly all box sets, DREAMS has plenty to recommend it-and a few nagging drawbacks. The set's chief shortcoming is its two conflicting goals: providing an overview of the Allmans' history, thus attracting buyers seeking the ultimate hits package, and including enough unreleased tracks and rarities to appeal to the band's most devoted fans. As a result, DREAMS is neither the definitive Allman Brothers collection nor the gift to hardcore fans that, say, THE BOOTLEG SERIES is to Dylan-philes.
DREAMS' strengths are considerable. First and foremost, the box contains nearly five wall-to-wall hours of great music. By including everything from early demos to Gregg Allman and Dickie Betts' solo material, DREAMS does a great job of tracing the group's musical evolution from hippie blues band to kings of Southern rock. And, while the unreleased studio version of "Statesboro Blues" included here isn't definitive, it's still mighty good-as are the set's other rarities. Start your Allman Brothers collection with THE FILLMORE CONCERTS; if that grabs you, DREAMS should also find a welcome place on your CD shelf.
Personnel includes: Gregg Allman, Dickey Betts (vocals, guitar); Duane Allman (guitar, dobro, background vocals); Paul Hornsby, Scott Boyer, Elvin Bishop, Tommy Talton, Steve Beckmeier, Rickey Hirsch, John Hug, Dan Toler (guitar); John Hughley (steel guitar); Tom Doucette (harmonica); Steve Madaio, Pat Rizzo, Dave Luell (horns); Steve Miller, Chuck Leavell (piano); Dale Betts, Neil Larson (keyboards); Reese Wynans (organ); Bob Keller, Pete Carr, David Brown, Berry Oakley, Lamar Williams, Willie Weeks, Ken Tibbets, David Goldflies (bass); Maynard Portwood, Johnny Sandlin, Butch Trucks, Jaimoe, Bill Stewart, David Warshaw (drums); Maeretha Stewart, Helene Mills, Buck Rambo, Dottie Rambo, Reba Rambo, Don Johnson (background vocals).
Producers include: Dallas Smith, Adrian Barber, Tom Dowd, Johnny Sandlin, Allman Brothers Band.
Compilation producer: Bill Levenson.
4xcd
| | Russian Futurists Our Thickness CD (2005)
Roxy Music CD music
$10.79
Matthew Hart's third album as the Russian Futurists, Our Thickness offers more of his bedroom-recorded symphonic pop, albeit with a little more focus and polish than his earlier work had. Hart's way with pop melodies and intricate, largely electronic arrangements have drawn fairly accurate comparisons to Magnetic Fields, but the Russian Futurists' music is even more similar to the work of Rob Crow's Optiganally Yours project; both feature quirky yet oddly elegant arrangements and sweet, boyish vocals. Not that Hart's music is derivative -- after all, not too many songs feature swanky pianos and honking Canadian geese, but "Our Pen's Out of Ink" begins with both. The Russian Futurists' music is bigger and lusher than that of Hart's most easily recognizable influences; in fact, his productions and arrangements are so expansive and detailed that they tend to overwhelm his songs, at least on the first few listens. Hart's vocals are often buried under layers and layers of other sounds, which adds to Our Thickness' blurry, impressionistic feeling. It's an undeniably pretty sound, particularly on "Why You Gotta Do That Thing?" and "Sentiments vs. Syllables," but sometimes it makes Our Thickness a little distant to embrace initially. The slightly more down-to-earth tracks, such as "Paul Simon" and "Incandescent Hearts" are more immediate but still plenty atmospheric, suggesting a cuter, quirkier spin on the Postal Service's breezy indie electronica. There's also an AM pop quality to Hart's songs -- you can hear bits and pieces of forgotten '60s and '70s bubblegum pop hits in all of his songs, and especially on "Hurtin' 4 Certain" and "2 Dots on a Map," both of which sound utterly fresh and naggingly familiar at the same time. Homespun creativity has rarely sounded bigger -- or better -- than it does on Our Thickness. ~ Heather Phares
Personnel: Liane DeLotbiniere (vocals); Brian McCarthy, Shawn Ostapchuk (acoustic guitar).
| | I Voted For Kodos My New Obsession CD (2006)
Roxy Music music CDs
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Audio Mixer: Sean O'Keefe.
Recording information: Gravity STudios, Chicago, IL (01/2005-02/2005).
I Voted for Kodos: Lee Gordon (guitar, Mellotron, background vocals); Rick Bisenius (saxophone, alto trombone); Tyler Christensen.
Personnel: Rick Bisenius (vocals, alto saxophone, trombone, piano, Moog synthesizer); Tyler Christensen (guitar, background vocals); Dan Wean (guitar); Sean O'Keefe (sampler).
| | Andrew Vait Face To Face CD (2007)
Roxy Music songs
$8.39
Andrew Vait is an Alaska-born singer/songwriter/multi-instrumentalist with plenty to offer. So far, he has packed up and hit the road with his previous band, The Skinny, performing up the east coast to venues in Manhattan where fellow musician Gavin DeGraw tipped his hat, through downtown Philadelphia and across the state of Massachusetts, performing songs off their self-titled album debut. He has packed venues in Miami, Florida, with his current solo project, gaining a devoted following among college students and locals alike. He has returned to his stomping grounds of Homer, Alaska, and played to outdoor audiences who refused to allow a downpour of rain to discourage them from dancing to his energetic display of outlandish stage presence and intelligent musicality. Andrew has accomplished all of this in two year's time, all the while completing his BM in jazz vocal performance at the University of Miami Frost School of Music. He can rock the socks off your feet and bring you to your knees with music that speaks to the listener with the intimacy and bearing of an accomplished songwriter, borrowing and paying homage to the greats in the pursuit of finding his own voice. Whether performing in a rowdy bar or in the corner of a small coffee house, Andrew Vait will deliver a performance you will not forget.
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