The Associates - "Wild and Lonely" Vinyl, LP, Album, 1990 (Circa)

There is no such thing as a bad Associates or Billy Mackenzie record.  It doesn't really exist. Still, the early recordings with Alan Rankine are for sure the more artful era of The Associates.  Compare early Bryan Ferry with Eno Roxy Music, and later era of that band.  Both are still great, but very different. "Wild and Lonely" is basically Billy solo, even though he kept the band's name, it is a solo album.  It is also a brilliant pop album with a strong groove.  I think Billy was listening to Michael Jackson "Off the  Wall," in that he mixes the pop with the Rn'B in an organic manner that it seems effortless.  There is not a bad cut on the album, and why it wasn't successful either in the UK or in the U.S., is sort of an odd mystery, but more of a great disappointment.  

"Strasbourg Square" is a lush and beautiful ballad.  European to its soul, one would have hoped that Billy moved to Paris or even Berlin, but alas, a man of Scotland to the very end.  A great album. 

Roxy Music - "All I Want is You" b/w "Your Application's Failed" 45 rpm Single, UK, 1974 (Island)

"All I Want is You" is the A-side, but of course what I'm interested in is the B-side of this single, the instrumental song "Your Application's Failed."   The beauty of the 45 rpm single are the b-sides that are not on an album.  Mostly they are a mere after-thought if anything else.  For whatever reason, Roxy Music usually put out interesting 'throw-a-way' songs on the b-sides, and "Your Application's Failed" is a small classic Roxy Music piece. 

It's a song by Roxy drummer Paul Thompson, and a great vehicle in exposing the band's talent and most important, a sense of play is on hand.  Most of the songs that end up on a Roxy Music album, or on their A-side singles, it's a very tight structure and there is a sense of seriousness on it all.  They're making commercial art.  Yet, the b-side songs are sometimes experiments or to see what happens, even if they allow their drummer to compose the song.  "Your Application's Failed" is fun.  The fact that Roxy Music or Bryan Ferry can show a lighter side of their record making is wonderful. One wishes that there were more pieces like "Your Application's Failed."  The classic Roxy is always great, but it's the B-sides that add the flavor or spice to Roxy Music. 

Bryan Ferry and his Orchestra - "Bitter-Sweet" Vinyl, LP, Album, 2018 (BMG)

This is the second album by Bryan Ferry where he goes through his song catalog and re-arranges his both, Roxy Music and solo songs into the era of early big band jazz. What sounds like a gimmick on paper, is actually one of Ferry's best album projects.  I would even argue that these recordings stand up, and even exceed some of his original recordings.   Half the album is instrumental, and once, Ferry's aging voice adds emotional overtures to the material.  It's beautifully sung and played by a large group of musicians.  Ferry has always been fascinated with the modern world, and that includes not only the present, future but also the past in such a 'moderne' mode or fashion.

On the surface, one can see this as a nostalgic love for an era that passes away, but for Ferry, I think it's a style of music that never left him.  He has always taken music as a historian, who tried to find new meaning within its framework.  "Bitter-Sweet" is an accurate title for the album (and also one of his great songs from Roxy Music) because the feeling of regret is very much felt. To say this album is romantic is like saying it's sunny in a cloudless day in Southern California.  Repeated listenings bring new rewards, and it is a gift that does keep on giving.   One, I always loved the sound of Roxy Music and most of Ferry's solo recordings, but now, I realize that he's a magnificent songwriter.  These arrangements are great because they are working from a great source, which of course are the songs themselves.

A big band but intimate music is coming from this group.  This is a sound where musicians are looking at each other eye-to-eye, with perhaps a conductor in the middle of the room.   As Ferry has one theme of his work, which is to locate the perfect romantic spot that is blissful and painful at the same time.   It's not about sexual conquest, but more of a situation where the pain of romance-lost is like a beautiful yet distant island.  Ferry is the one artist, who stands at the dock of the bay and looks out to this island, not that far off from a scene in F. Scott Fitzerald's 'The Last Gatsby."

Side one is more danceable or uptempo, but side two is a reflection that is sour, and three of its songs is from the debut Roxy Music album.  A classic, and which on the original recordings it is about the past as a concept, Ferry now re-frames these songs as actually a spirit from an era of the past.  It's similar to the last scene in "The Shining" where the caretaker Jack is placed in a photo of a party from the 1920s.  It's like the future is not really here.  Ferry's "Bitter-Sweet" is a brilliant album.   Just as great as the first Roxy album, and "For Your Pleasure."

Magazine - "Real Life" Vinyl, LP, Album, Reissue, Spain, 2013/1978 (ViNiLiSSSiMO)

Out of the brilliance of the Buzzcocks came Howard Devoto and his band Magazine.  In the same nature as Eno leaving Roxy Music, all of a sudden as a fan one is spending more money on record releases by these two artists.  The same goes for Buzzcocks and Magazine.  Eno needed to move on from the Roxy Music /Bryan Ferry format, and do Devoto had to remove himself from The Buzzcocks world to make new music that is more orchestrational and borderline, theme music for various spy films that are never made.   Like Ferry, Devoto surrounded himself with incredible musicians/songwriters John McGeoch (the guitar hero of post-punk Scotland), Barry Adamson (who knows the importance of theme song to an imaginary film), Dave Formula, and Martin Jackson. 

"Real Life" is one of those albums that came into my life at the perfect time and place.  I heard its first record/single "Shot By Both Sides," and to me, it was more powerful than the Sex Pistols' "Anarchy in the U.K."   The feeling that Devoto couldn't trust either side and the fact that he's surrounded gave the listener the sense of the dread of such cinematic works as "The Third Man."  Where all the sides are being played, and one is just part of the system that offers supply and consumes.  Still, a powerful song and performance that is one of the great 45 rpm single that uses that format as both restrictive and contained within its 7 inches. 

Magazine is very much the perfect vehicle for Devoto's creepy Kafka-like character within the noise made by the band.  Majestic, riff-orientated, with overtures to the Brecht/Weill world as well.  It's music that is a well-designed puzzle, which again reminds me of Roxy Music.   At the height of Punk, Devoto and company offered structure and somewhat an operatic approach to their songs.  Not big budget theater mind you, but opera for the gutter, where one is laying there and looking up at the stars, or at the very least, looking at the theater's (venue) ceiling.   "Real Life" suggests that listeners were perhaps living in a dream of their own, or someone else's reality.  Devoto like a surgeon, or at the very least, a gourmet chef, cut into the bone of the song, and delivers a meal that's perfect, but also full of after-taste approaches that linger on one's mouth, ears and eyes. 

There are classics on this album such as the above-mentioned song as well as "The Light Pours Out of Me" (too bad Sinatra never covered this song), but my other favorite besides "Shot By Both Sides" is "The Great Beautician in the Sky," which has a drunk Brecht quality that appeals to my sensibility. Indeed a remarkable album from a great band. 

King Crimson - "Red" Vinyl, LP, Album, Reissue, 1974/2013 (Discipline Global Mobile)

I've avoided King Crimson ever since their first album. I admired and loved the Eno/Fripp albums as well as Robert Fripp's contributions to David Bowie's "Heroes" album, yet when it came to King Crimson, I felt like that was the Jets hangout, when I was clearly a member of The Sharks.  It wasn't until a few hours ago that under either a condition of boredom or being adventurism (or both) that I went to Amoeba and purchased "Red."

I played the album once so far, and I love it.  What surprised me, and it shouldn't have, is the connection between Roxy Music and King Crimson.   I know that Bryan Ferry was once going to audition to be their lead singer, and of course the Eno/Fripp connection as well.  But listening to "Red" reminds me of some of the longer instrumental passages of the first two Roxy albums.  It's more in that line than say garden-variety prog rock.  Fripp is exceptional of course, but John Wetton's bass playing is incredible.  A very aggressive heavy sound from that instrument that reminds me a bit of John Entwhistle or traces of a punk aesthetic concerning the noise of the bass.  Michael Nyman in his orchestra had a heavy electric bass player as well, that also stands out in such a manner. 

"Red" is a classic album, in that there are no wasted moments and all five songs are equally placed in a position that makes the album seem more like a novella than a big novel.  The beauty or strength of King Crimson and on this album is the textural playing by all musicians.  There is a riff orientation that goes through here, but also a gentle melody here and there that gives the material tension.  Fripp broke up the band right after recording "Red," I think due to the issues of the band being tied down to its prog-rock image, as well as Fripp being curious to explore the world of New York City's punk/post-punk/ no wave scene.  He didn't need to break up this band. It would have been at home in lower Manhattan. 

Suede - "Coming Up" Vinyl, LP, Album, Reissue, 2014/1996 (Demon Records)

For two decades I had a mental block regarding the British band Suede.   I liked bits and pieces of their songs, but for some odd reason, I had a problem with their image.  All of it seemed borrowed from better sources.  Musically it had traces of Bowie/Bolan glam, but with Roxy Music imagery, due that they used the same visual people as Ferry & company, and when one is approached by this post-modern aspect of Suede, is it important?   On the plus side, I do like Brett Anderson's mannerist vocals as well as Bernard Butler's (and of course Richard Oakes') guitar sound.  Over time, I always found a song here and there, for instance, "Trash."   Again, when I hear that title I immediately think of the New York Dolls' "Trash," which of course within a few years later, Roxy Music came out with their song "Trash."  It's a good title, but surely Suede could have come up with a more original title?  Then again, I don't think Suede is really about originality.   That is actually their charm.

Suede's "Trash" is a fantastic chorus.  As I sit here writing this sentence, I want to get a lighter and wave it above my head.   It's a manifesto set to a melody, and that is something that Suede can do very well.  "Filmstar" is the ultimate glam beat, with again a glorious chorus.  In fact, their third album (and first with guitarist Oakes, as co-songwriter as well) is extremely catchy.  It took me 20 years, but I now appreciate Suede.   Anderson struck me as a writer focusing on the darker aspect of British living, and a guy who read too much JG Ballard, but that's me just being overly critical.  He's actually a very good observer type of lyricist.  An incredibly handsome man, with a good-looking band behind him, Suede is in its essence, a classic pop band that looks behind them as the past's projection, but also re-wiring the Bowie/T-Rex catalog for perhaps their generation.  

Blur and Pulp are the superior bands as album makers and songwriters, still, Suede has a strong presence between those two bands.  Both Pulp/Blur flirt with electronica and glam, but Suede brings a sense of glamour to the over-all British package.    It's like making a map and making sure all the routes are in place, and Suede very much needs to be on that map.  I'm not sure if they are a great band, but their love of the decadent imagery of the glam era, but done in their own fashion, is an important aesthetic.  There is a tad touch of The Smiths, with respect to their attention to the seedy-eyed imagery of the 1970s, but filtered through the 1990s Soho or East London world.  I'm very much interested in reading Anderson's memoir, that just came out in the U.K.  I suspect that it's a good read.  So now, Suede didn't change, but I changed.  I'm happy to be in their world. 

Quiet Sun - "Mainstream" Vinyl, LP, Album, Reissue, Remastered, 1975/2011 (Expression Records)

The world of Roxy Music is rich in many good stuff and recordings.  It's almost like Roxy Music is a virus and whoever becomes in contact, eventually will make their own album with either group or solo.  So being a Roxy fan is expensive over time, yet, I have not regretted the expenses being spent on their art.   Quiet Sun is Roxy Music's Phil Manzanera's band before he joined Bryan Ferry, Eno, and company.   Oddly enough I never purchased this album due to my fear of prog rock.  If one can even call Quiet Sun a prog rock band.  Mostly a group of misfits who border on the eccentricities of the time as well as being in the avant-garde angle in rock n' roll.   Beside the Roxy guitarist, the band consists of Bill MacCormick on bass, Charles Hayward on drums and some keyboards, and on the keys the noted Mathematician Dave Jarrett.   Eno helps on the noise part and legendary music writer Ian (McDonald) MacCormick, the brother of Bill on backup vocals.  

While Manzanera was doing his first proper solo album "Diamond Head" he also recorded this Quiet Sun album as well.  The band did split up when Phil joined Roxy, but they never made an album, and either due to the preservation aspect of Manzanera's music making, or just wanted to do a crazed album, is what is upon us for the last 40 or so years.   While I loved "Diamond Head" I was hesitant to purchase or listen to Quiet Sun, because of its aggressive fusion sound.   It took me many years (like yesterday afternoon) to finally get the album, as a reissue (on Manzanera's record label) and give this "Mainstream" a serious listen.  

The music is fusion, but these guys are creative at what they do. Manzanera is one of the great underrated guitarists.   His Hendrix accented echoey guitar sound (perhaps helped by Eno's treatment of the instrument) has always been a standout on all the Roxy recordings, and he doesn't let up on his own albums.   If Quiet Sun has a sister or big brother band, it would be Soft Machine.   One can imagine Robert Wyatt coming in doing the vocals.  So the mindset is on that part of the world and its aesthetics.   Riffs come and go, but what I find appealing as well is Charles Hayward's percussion.  A very imaginative drummer, and with MacCormick on bass a great rhythm section.  The one classic song off this album is "Rongwrong" which the title is based on and the same as artist Marcel Duchamp's art journal in the early 20th century.  It's a beauty of a song, and although written by Hayward, it reminds me of Wyatt's solo work.   A song diary of sorts, but a beautiful wistful melody, even as the long instrumental passages play on, it's an incredible song.  

Quiet Sun is not my favorite of the Roxy Music off-projects, but an essential part of the puzzle that is Phil Manzanera. 

Roxy Music - "Country Life" Vinyl, LP, Album, 2009/1974 (Virgin)

The fourth Roxy Music album.  The band always has that sound, but each record is quite different from the other.   Perhaps due to the change of producer, but also I suspect that Phil Manzanera and Andy Mackay probably added new textures to the overall sound of Roxy Music.   John Punter co-produced "Country Life"  as well as it's engineer.  It's interesting that a few years later he worked with Japan, a band who I think was profoundly influenced by Roxy Music.  

The sound of "Country Life" is thicker and at times, mono sounding record-wise.  If Phil Spector was half sane, and still at full-power, I can imagine this being his production.  Compared to the previous Roxy Music songs, those on the album are very straightforward, and Bryan Ferry to my ears (and head) is losing his abstraction or New York school of poetry to focus on communicating on romance, and the world surrounding that emotional high.  In theory a more commercial approach, but perhaps the after effects of Ferry's various solo recordings at the time  - specifically his first two solo albums which are covers.   I sense Ferry chose those songs, not only because he loved them, but interested in its structure and what makes a song a song. 

"Country Life" is a great album.  It's not a masterpiece compared to "For Your Pleasure" or "Stranded" (and never compare their brilliance on that first album!), but still a remarkable set of songs.   The Jimi Hendrix inspired "Out of the Blue" is simply a magnificent guitar set-piece from Manzanera.   "The Thrill of it All," the opening cut and the end "Prarie Rose" are bookends that resemble a wild storm, but somehow controlled by Ferry and company.  It's a sandwich of sorts, with different tastes and textures between the opening and closing songs.  

Ultravox - "Three Into One" Vinyl, LP, Compilation, 1980 (Antilles)

This is how I see the world.  The center of the world is Roxy Music.   From that world (in theory) came Magazine.   And then there's another layer, and that's Ultravox when John Foxx was their chief lyricist and singer.  Keep in mind that these bands didn't imitate Bryan Ferry and company, but soundwise they do share a certain vibe.   Magazine to me is magnificent, Roxy is beyond magnificent, and Ultravox is the little brother that tries very hard to be magnificent.   Foxx and company do have that JG Ballard vibe as well, but I think there are other bands out there that were better than Ultravox in that respect.  Still, a world with Ultravox is not a bad thing at all. In fact, I enjoy the first three Ultravox albums a lot.   "Three Into One" is a compilation of the first three Ultravox albums, and issued after Foxx left the band.   What was Ultravox then, is different with Midge Ure in the lineup. 

I think the critical elements for Ultravox in general (both versions of the band) is Billy Currie's violin playing mixed in with his keyboard talents.  He has a very distinctive sound, and at times he can sound like Dave Formula, Magazine's keyboard player) who ironically enough worked with Steve Strange's Visage project.  In actuality, it's one big family.  The other is John Foxx, whose presence I presume is one from the Punk aesthetic but has a deep interest in science fiction literature, and like Bowie adopting literary works to his music, Foxx did the same.  "My Sex," "The Man  Who Dies Everyday," and "Hiroshima Mon Amour" have traces of a Ballard landscape, and it's interesting that Foxx never saw the film "Hiroshima Mon Amour" but took the title for his own purposes. 

Ultravox is conservative compared to Magazine.  Not politically speaking of course, but in the sense that their music is rarely experimental and is straightforward rock, but with added touches of electronica that gives their music so much flavor.  They can also come up with gorgeous melodies such as "My Sex" and "Hiroshima Mon Amour."   In a nutshell, Ultravox is a good band, that made good albums, but nothing exceptional about them.  Perfectly workable and enjoyable in an equal manner.  They also worked with the greats of their time:  Eno, Steve Lillywhite, and Connie Plank.  A good singles band.  Nothing wrong with that!

Morrissey - "Southpaw Grammar" CD, Album, 1995 (Reprise Records)

The opening 10-minute track "The Teachers Are Afraid of the Pupils" is Morrissey's (at least music-wise) a tribute to Roxy Music's great "In Every Dream Home a Heartache."  It builds similarly, and even the orchestration of all the instruments sound familiar.  This also clearly states that "Southpaw Grammar" is a much different album by Morrissey than his other solo works at the time. I like it because it's a big introduction and very much of a different type of work from Morrissey.  On the other hand, I think the song could have been edited down by a minute or so less.   But things are back to Morrissey-land by the next track "Reader Meet Author," about the delicate relationship between one who confronts a work of art, and how it can or can't add something to one's life. "Boy Racer" is the classic Morrissey portrait but done through the singer's eyes, as an object of desire and wonder.

"The Operation" starts off with a very long drum solo, which seems to be the most un-Morrissey like presence ever on an album.   The solo is cool; it reminds me of Gene Krupa.  It's a song of sadness, which is a put-down, but on the other hand, it may be a person who has naturally changed and causing stress on the community around the subject matter.   Morrissey is a very tricky writer to me, because one, you can never be sure if he is the narrator, or he's going through another character.  The intimate manner of his singing expresses a feeling that you're getting the singer's character, and there's truth in that, but at the same time it may be a technique of his as a writer to get into someone else's head.

"Dagenham Dave" is a song that I like very much, and I can see it as a weakness.  Compared to "Reader Meet Author" it sounds like a wonderful b-side of a single. It's a song about a figure who has a swagger, a ladies man, which is interesting coming from Morrissey's perspective.  It's Morrissey's appreciation for a ruffian that again, he puts up on a statue stand, to admire greatly.

"Do Your Best and Don't Worry" is regarding a fellow who looks high to the skies, but tends to fail. Morrissey's way of tribute to those who fall greatly due to their high inspirations.  "Best Friend on the Payroll" is his version of Joseph Losey/Harold Pinter's "The Servant."   Not a very good song.  The idea is there, but it's not fully realized.  "Southpaw" is another 10-minute song, and again, it's the narrator that is fascinating due to his commentary on someone else's life.   Morrissey to me is not about truth or reporting, but always a reflection of his personality or character.  Never a good journalist, but an artist whose thoughts are still in his head and his ability to express doubts about the person he's singing about, but alas, it may be more of his concerns for his ability to connect with this person.

The unusual "Southpaw Grammar" is the textures put into the songs.  As mentioned, there are references to Roxy Music's "For Your Pleasure" album.  There are Phil Manzanera moments and in parts, sounds very Roxy like especially when the song is stretched out.  Steve Lillywhite, the producer, is very much part of the package.  I think he was encouraged to add textures here and there, and it works well.  It's interesting that years later Morrissey releases another version of "Southpaw Grammar."   Perhaps taking advantage of the CD technology of adding songs, but he didn't only do that, but he also re-arrange the song order as well.   I heard both, and I prefer the original edition of "Southpaw Grammar."  By no means is it one of Morrissey better releases, but an interesting route to a side-street musically speaking.

Roxy Music - "Manifesto" Vinyl, LP, Album, 1979 (ATCO)

I think of Roxy Music in two stages.   Their first five albums are to me, the complete circle of that band.  After those five albums, the band kind of broke-up to focus on solo music.  Ferry at that time was still doing albums that were half original and the other half covers.  "In Your Mind" was the only Ferry album at that time where it was all original songs, written by Bryan.   Still, the truth is even the covers he did was a personal or even original statement by Ferry.   A cover is a cover unless it was done by Bryan Ferry and then it means something else.  "Manifesto" was the first Roxy Music album after they split up.  There's a four-year wait between "Siren" and "Manifesto."  There was a lot of activity in those four years by Ferry and company away from the Roxy Music world. What's interesting about this 'good' album is that it has nothing more to say. 

"Manifesto" is more about the craft of good songwriting and recording than inspiration. Emotionally, the songs sound post-depression has taken place.  It's interesting that this once radical band puts out an album in 1979, where there was a great landscape for the post-punk music world.  The title song "Manifesto" touches on that era music-wise but lyrically is rather dry.  

"Manifesto" is a very good album, but compared to the high standards of the first five Roxy albums, it's not that important of a work.  Still, commercially it did wonders for them through songs "Dance Away" and "Angel Eyes."  Those two are perfectly written pop, but sounds empty compared to something like "Virginia Plain."   For one, Ferry is now at this point writing very literal lyrics expressing sadness, romance, and so forth.   The surreal brutality of "Every Dream Home a Heartache" has been replaced by lyrics like :  

"Yesterday, when it seemed so cool

When I walked you home, kissed goodnight

I said, "It's love", you said, "Alright"

It's funny how, I could never cry

Until tonight, when you pass by

Hand in hand with another guy

You're dressed to kill and guess who's dying"

("Dance Away" Bryan Ferry)

Compared to something like: 

"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"

(Virginia Plain" Bryan Ferry)

This is not bad Ferry writing, but a difference has taken place.  One can look at it as a maturity, but to me, I see it more of a convention or normalizing his world of writing.   The music also loses its innovative edge.  The arrangements are straightforward and to the point.  Still, the album is a delight on its own terms.  This is the first Roxy Music album that was self-produced by the band.  Manzanera is still a guitar demon on the album, and Mackay's Oboe and sax playing is textural and adds a lot to the mix.  The disappointment, especially if one is a long-term fan of Roxy Music that this could have been a better album.  At the same time, there is a seduction of Ferry's voice, which he can sing the alphabet if he wanted to,  and it can bring significant meaning to those letters.  That aspect of Ferry and company never fails.  Perhaps they looked at "Manifesto" as an experimentation to make a commercial album?   The technique is there, but not the spirit. 

Roxy Music - "Pyjamarama b/w "The Pride And The Pain" 45 rpm vinyl, 1973 (Island)

The b-side to "Pyjamarama" the great song by Roxy Music, is"The Pride And The Pain" which sounds like if Bryan Ferry left the band and was replaced by Ennio Morricone.  It took me awhile to find this recording because once I heard it, I loved it.  There is a CD version that is on one of their Roxy Music box sets put out some years ago, but finally, I have the single.  

"The Pride and The Pain" is written by Andy Mackay.  It features his distinctive oboe playing but mixed in with the minimal piano, Phil Manzanera's Italian sounding electric guitar, Eno's (I presume) sound of the wind and off-mike vocals or talking, and like the title, it does bring Morricone's great spaghetti western soundtracks from the 1960s.  This recording is too great to be lost in the heaps of b-sides that never made it onto albums. 

"Pyjamarama" is essential early Roxy.  The great guitar cords in the beginning, but before the melody and Ferry's voice kicks in - it's a natural music high at this point.  One wonders why this song is not on the "For Your Pleasure" album, but at the same time, it does exist quite well as a stand-alone single.  It's a classic Roxy piece, but again, the b-side "The Pride And The Pain" is really amazing.

The Explorers - "Explorers" Vinyl, LP, Album, 1985

What would Roxy Music sound like without Bryan Ferry?  The Explorers are the answer to that question.  It's a band that made only one album, and it included Phil Manzanera and Andy Mackay from  Roxy Music. James Wraith is the vocalist for this band, and if I'm not mistaken the other musicians on this album also played in the Roxy Music format.  When Bryan Ferry got himself in the recording of "Boys and Girls" after their iconic nod to the smooth pop world of "Avalon," Phil and Andy made their move with The Explorers.  

Listening to the album, I can imagine some of these songs being Roxy Music material.  One can easily imagine Ferry taking over the vocals of Wraith.  In fact, Wraith, here and there, sounds like a Ferry imitator.  Or perhaps he was instructed by Manzanera and Mackay to do so.  In that sense, the songs here sound like demos for a future Roxy Music album.  "Explorers" is not the worse album in the world, but it's a weak record.  On the other hand, it's interesting to hear the Roxy textures that are on these recordings.  As I have stated before, Manzanera and Mackay are very much the sound of Roxy Music, and it's not all Bryan Ferry.  

There are three excellent songs here, that would fit perfectly in a Roxy project.  They are "Lorelei," "Breath of Life," and "Venus De Milo" (and no, it's not the Television song).  These songs are right in the middle of side one, which thinks gives hope for side two.  Alas, that's not the case.  The other disturbing aspect of this album is that Phil and Andy don't leap over the fence like they did with respect to their first solo albums.   One of the things I loved about Mackay's first solo album that it was a crazed mixture of Joe Meek sounds, with a degree of camp thrown in - and Manzanera's "Diamond Head" is a great mix of Latin/pop/prog/avant-garde touches.  "Explorers" unlike that very name, is a band playing it safe in the mid-80s.  It's a shame that they went for a commercial sound than something experimental and wild.  In fact, it's shocking that those two didn't forge ahead in making sounds that maybe similar to Eno or even David Sylvian of that time.   If you're a Roxy Music completest and must fill that missing hole in their history, then, by all means, do get the album.  As mentioned there are some highlights, but it's like a human being looking for water in Death Valley.  

Japan - "Quiet Life" CD, Album, Reissue, 2001/1979 (BMG)

When the most unfashionable band in existence became the most fashionable band in the era of the new romantic.   How they made that work is a total mystery to me.  Japan's first two albums I have heard bits and pieces but never could take them seriously due to their appearance and worse, the name of their band.  It's common knowledge that bands that name themselves after places, especially countries, in theory, suck.   Yet somehow, David Sylvian, Mick Karn, Steve Jansen (David's brother), Richard Barbieri and guitarist Rob Dean managed to turn themselves into sophisticated sonic artists. 

It's like they made a deal with Satan at the crossroads.  Nevertheless, it must have been an 'ah-ha' moment for all those involved. 

What's interesting, and who I think is an essential person in their change of tactics is their producer John Punter.  Punter worked with Bryan Ferry and Roxy Music on their/his early solo recordings  The first thing I think of when listening to Japan is Roxy Music.  Sylvian took on the Bryan Ferry voice mannerisms, and the instruments became more Roxy like, but with additional sonic textures that were their own making.  The interesting thing about Sylvian is that he truly transform himself into a different type of singer/performer/writer.  Sylvian's songs reflected his mood, but with a European icy aesthetic that pretty much removed them from their London roots.  Also in future recordings, they worked with Steve Nye, another long-term Roxy/Eno associate.  The results of these relationships and in the band's artistry is remarkable. 

"Quiet Life" is the first 'new' version of Japan.  The original vinyl album had eight songs, but the CD reissue has 12 altogether, with two being remixes for the 12" market, and the additional "Life in Tokyo" produced and co-written by the great Giorgio Moroder.   Sylvian is not a man of action, but a figure who reflects on his surroundings, and contemplates on the nature of his world.  With his deep ballad (Ferry like) croon, his voice floats over the instrumentation, which has one very particular instrument - and that's Mick Karn's fretless bass.  Karn is the secret ingredient to Japan's success. Sylvian looked like a cross-dressing fashion model out of Vogue, but Karn had a Mediterranian good looking vibe, but also his distinctive playing of the bass is a huge part of their overall sound.  In a sense, it is like there are two singers in Japan.  Sylvian with his voice and the other voice is the bass.  Also noted is that the front cover is Sylvian by himself, but the back cover is Karn. Which suggests that the band is Sylvan on one side, and the other is Karn, with the rest of the group being in the middle of those two, as they are displayed in the inner sleeve. The keyboard work from  Barbieri (as well as Sylvian) is never based on chords, but more with sound. It's very organized musiques concréte, with jazz-like drumming from Jansen.  

The weird juxtaposition of them being pin-up teen idols, but with a very sophisticated sound must have been an odd experience for both the fan and musicians.   Although the music is loose, it is still very contained in an airless box, which makes listening to a "Quiet Life" an exciting experience.  The songs are all beautiful.  The pacing is quite slow, but it's the textures that keep one's interest throughout the album.  Their cover of the Velvet Underground's "All Tomorrow's Parties" is a perfect vehicle of a song for them to do.  On the surface captures the sense of dread within a social world, and Japan, at this point, is out of that world, and in a much-confined inner-world.  

"Quiet Life" is by no means an ambient album, but I think a listener can tell that the group was heading toward a place that is 'furniture music' (Satie), but here they still explore the boundaries of the pop music format.  If the new listener can get past their silly name, one will be awarded an impressive landscape that is Japan's music. 

Phil Manzanera - "Diamond Head" Vinyl, LP, Album, 1975 (Atco Records)

Roxy Music is not only a band, but also a foundation where some lived, and eventually explored the outer-world through various solo albums.   To be a Roxy fan was an expensive ride, because of not only the Roxy Music albums, but also purchasing the various Eno albums, the solo Bryan Ferry recordings, and then, of course, the Andy Mackay album, and then Phil Manzanera's solo album.  And even that, there are the Fripp & Eno albums, which means one should purchase a Robert Fripp album, and on and on it goes.  One thing I miss from the 1970s are the solo albums that came out of one band.   The only band I can think of in contemporary times is Radiohead because Thom York has various side projects as well as the other musicians in that group.  On the other hand, that is not a financial problem for me, because I don't really like Radiohead.  Roxy Music, on the other hand, is great, and therefore one needs to jump into the various solo recording of the current members of Roxy, as well as those who left the fold (Eno).    Which comes to "Diamond Head" by Manzanera.  

The role of Phil Manzanera in Roxy Music cannot be underestimated.   His guitar work is intelligent, masterful, and a perfect ingredient that's in the Roxy Music soup.  The same for Andy Mackay as well.  Here, Phil steps out of the Bryan Ferry world and makes his own statement with everyone from the Roxy world, except their lead singer.   It's a heady mixture of great talent:  Robert Wyatt, Eno, Andy Mackay, Paul Thompson, John Wetton, Eddie Jobson, Charles Hayward and Manzanera as the ring leader in this temporary circus.  

The beauty of "Diamond Head" is although there are many voices on this album, it is very much orchestrated by Manzanera, and he doesn't lose himself in the mix.  There are classic pieces here, like the title cut, his work with Eno, "Miss Shapiro," "Big Day," and the great opening song with Robert Wyatt "Frontera."  These are voices that are very distinct, and Wyatt/Eno don't hold back, but Manzanera can place himself in these guys without himself losing his identity.   The Manzanera guitar sound is a combination of classic Jimi Hendrix touches, mixed with his South American roots and one foot in prog.  It's a heady sonic experience.  It's hard to believe that this album is 42 years old.  As a solo artist, this is Manzanera's best album, as a guitarist who worked on many albums, he is still a fantastic talent.  When one sees his name in the credits, you're getting yourself into a classy world. 

Roxy Music - "Roxy Music" Vinyl, LP, Album, Reissue, Limited Edition, 1972/2008 (Virgin)

There are only a handful of albums that had such a powerful effect on me on the first listening of such a record.  I can still remember when I played "Roxy Music" for the first time.  It was in the evening at our home in Topanga, and on the first cut "Re-make, Re-model," I thought to myself that this is the sound of 1972.  By the time of the second song "Ladytron," it was like if someone brought a brand new language into my life.  I never heard anything like Roxy Music. 

"Roxy Music" is a combination of camp, serious noise in the avant-garde world, futuristic sounds, and a glance to the past.  Years later I can pick up on the influences of the album - vintage Hollywood cinema, Joe Meek recordings, 1950s kitsch aesthetics, a touch of prog-rock,  and an appreciation of artists like Marcel Duchamp.   It's a heady brew of images and sound, that to this day still gives me the kick that never tires.     The first thing one notices is Bryan Ferry's voice - a croon that seemed manufactured but with incredible lyrics that painted a picture in one's head.   Borderline outrageous, but with a firm footing on a foundation that is art, cinema and music history.  One can hear the traces of David Bowie's presence, but it's like Roxy Music was hearing Bowie, not at the present time (1972) but in a sometime way in the future.   

There is not a bad cut on this album.  One of the great strengths that are Roxy Music is that it is truly a band.  Bryan Ferry wrote all the songs/lyrics, but it takes someone like Andy Mackay, Phil Manzanera, Paul Thompson, Graham Simpson (one of many bass players in this band), and of course, Eno.  The electronics are all over "Roxy Music."  Through the sound of vintage synths, to the layered electronic sounds of treated guitars, vocals, and god knows what else on this album.   I can't say that this album changed my life, but for sure made me appreciate the layers of textures that make a sound, and that is what I heard on "Roxy Music."  

Mike McGear - "McGear" Vinyl, LP, Album, 1974 (Warner Brothers)

Mike McGear is a McCartney, meaning he's the younger brother of Paul.  He was in a band called The Scaffold, which was a Liverpool super group that consisted of Poet Roger McGough and comic talent John Gorman.  "McGear" is Mike's second solo album, and it's produced and co-mixed (with McGear) by Paul.  The album is pretty much co-written with Paul as well. "McGear" is also the best Paul McCartney related project outside the Beatle or solo Paul world.  Perhaps, the best Paul record of all time!

"McGear" is backed by Wings circa 1974, which includes Linda (of course) as well as Denny Laine and Jimmy McCullogh (Thunderclap Newman).   Perhaps due to Mike's input, these songs are superior to anything recorded by solo Paul.  "What Do We Really Know?," "Have You Got Problems," "Norton," and the beautiful "The Man Who Found God On The Moon" are songs that fell through the cracks of Beatleolgy.  McGear is just as good as a vocalist as his big brother, and they even do a fantastic (Beatlesque) version of Bryan Ferry's (Roxy Music) "Sea Breezes."   Why this record is not more known is beyond my comprehension.  

There's a whole category of an album that seems to be throw-away or second-thought recordings.  The essence of the b-side of a 45 rpm single.  I find these records either unusual or exceptional.  "McGear" I suspected was recorded in a downtime for Paul and Wings.  Still, "McGear" is an intriguing piece of music making.  I strongly suggest for all Paul or Beatles' fans to check out "McGear."   And why this hasn't been re-released is beyond the ability to think.  

John Cale - "Fear" Vinyl, LP, Album, Reissue, 2015/1974 (Wax Cathedral)

When John Cale left Velvet Underground, I lost track of him. It wasn't until  1974 when he released his first album "Fear" on Island Records that I became aware of him again.  I did notice that Cale made solo albums before "Fear," but never paid much attention to them.  It may be that I was totally focused on Lou Reed, thinking that he was the Velvets in all name and practice.  That of course, is wrong, and due to my young teen years, almost forgivable.  "Fear" is great.  

In the years 1973/1974, for me, it was the glory time of Roxy Music and all of its outshoots.  Eno was making incredible albums, and I like all the solo work by Phil Manzanera and Andy MacKay as well. And of course, there were both Roxy and Bryan Ferry albums as well.  Fun times at the record shop.  Someone at Island had the grand idea to promote a Roxy world by adding Kevin Ayers, Nico, and of course, John Cale to their label.  Eno and Manzanera are listed as executive producers, which means to me that they pushed the label into signing Cale, but also a big part of the sound that is on this album.

"Fear" is a very stark album, with the mix high on Cale's voice and minimal backing, in a sense it is never busy.  The right sounds at the right places.   When I listen to this album, I think of Procol Harum's great albums on A&M around the same time.  I can't say if they were an influence on Cale, or he admired them or not, but I hear Gary Brooker (the lead honcho in Harum) presence on "Fear."  The thing about Cale he comes with the baggage of the noisy aspect of the Velvets, or experimental/orchestration, but he is also a very much disciplined and well-crafted songwriter. "You Know More Than I Know," "Buffalo Ballet," and "Emily" are excellent songwriter type of songs. "Fear" and "Gun" is more of the sonic "kaboom" of Cale.  "Gun" especially, which I have to presume it's Eno making the guitar sounds through his various methods of genius tools at the time.   An inspiring album made in an exciting place with exciting musicians.  A highlight for Cale and the Eno/Manzanera world. 

Bryan Ferry "Frantic" CD, Album, 2002 (Virgin)

For me, it's the last great Bryan Ferry album.  And I suspect that the album was recorded in different locations, as well as with various producers, and with lots of guitarists.  Perhaps all the musicians were not in the same room.  Still, "Frantic" is a remarkable album with some of the great (non)classic Ferry songs.  He covers two Dylan songs here, which seems to be an obsession with him for some odd reason.   I don't fully understand Ferry's take on Dylan's work,  but I suspect that the framework of the songwriter's music is a  huge canvas for Ferry to reflect and find endlessly textures within the veteran songwriter.  His version of "It's All Over Now, Baby Blue" is the absolute best.

The other interesting aspect of Ferry is that he consistently surrounds himself with strong individualistic musicians, who add their specific sound into the mix.  One finds someone like Mick Green who is a remarkable guitarist who worked with the legendary Johnny Kidd and the Pirates, mixing it up with Chris Speeding.   And Eno makes appearances here and there on "Frantic" as well.

The album is a sampler of the Ferry aesthetic, but a very well thought out and planned release. All the strengths are here, and none of the weakness.   I don't think the album sold and did that well, but I highly recommend that Ferry / Roxy fans check out this album.  There are a lot of jewels within its tracks.   

Ultravox! - "Ha! Ha! Ha!" CD, Album, Reissue, Remastered, 2006/1977 (Island)

Not to be confused with the much later Ultravox with Midge Ure, this is the first version of the band that included the singer/lyricist John Foxx.  "Ha! Ha! Ha!" is their second album, and much improved from their first, in my humble opinion.  Foxx had a JG Ballard bent with regards to his lyrics or even with the visual aspect of the band.  At the time I thought of them as Roxy Music Jr.  Or a cousin of Howard Devoto's Magazine.   Like those two other bands, Ultravox! had an orchestrational touch to their music, meaning not strings (although there is violin in the mix) but the way the band was set-up with a wash of sound coming from them. 

They came on the scene at the height of the punk era, and was for awhile marketed as a 'punk' band, but clearly that is not what or who they are.  Songs "ROckWrok" and "The Man Who Dies Everyday" project an icy future of bleakness, and their classic "Hiroshima mon amour" (title based on the film, but I suspect that they didn't see the movie) is a beautiful electro-melody.  Steve Lilywhite did the production which is clean and energetic.  A great second album.