V.A. -"History of British Rock" Compilation, 2 x Vinyl, 1974 (Sire)

Music became a force for me during my childhood. I was nine or 10-years old when The Beatles made their appearance on the Ed Sullivan Show, and the impact of that event or spectacle had made a great impression for me. I wasn't aware that there was British English in the landscape until I heard them speak Liverpool English. The Beatles, for me, besides being a great band, also were the heavenly gate to the entrance of British music culture for yours truly. The Stones came upon me at the same time as the Fab Four. However, it was the Honeycombs that made an impression on me in a very insightful manner that still gives me goosebumps when I hear their recording "Have I The Right." In 1974 when I turned 20, I purchased "History of British Rock," due that they have The Honeycombs' hit song on this compilation.

Alas, this collection brought memories back to me in the same manner as Marcel Proust's character taking a bite of the French cookie. Billy J. Kramer, The Mindbenders (great name for a band by the way), Troggs, and so forth had a magnificent presence in my childhood. Therefore even in my 20's and thinking of the present, I was taken to my childhood in a pleasant manner. The album also introduced me to new music that wasn't popular in Los Angeles in the early 60s, such as Cliff Richard's "Blue Turns To Grey," a remarkable song by Jagger/Richards and an excellent recording. Also, Status Quo's "Pictures of Matchstick Men," Dusty Springfield's "I Only Want To Be With You," and The Pretty Things "Don't Bring Me Down." Those were new songs for me. I have read about these artists in teenage magazines, but never had the opportunity to hear the songs, until I purchased "History of British Rock."

Over the years, I lost this compilation but recently purchased a copy at Rockaway Records, which was under $5. Now, the album not only takes me back to the early 60s but also 1974, when I originally bought the album. A record is not only a listening experience but also an entranceway to one's past.

Big Star - "Radio City" Vinyl, LP, Album, Reissue, 1974/2011 (Ardent Records)

I haven't heard this album in a long time, and just tonight, I found a vinyl copy, so I thought, "OK." What's incredible is discovering how much I still love this album. The performance by Big Star on "Radio City" is energetic, powerful, and layered with guitars that pulls the listener into a concept of imagery that comes with their music. It's perfection as practiced by Jody Stephens, Andy Hummel, and of course, Alex Chilton. 

The DNA of their sound, at least for this album, is The Beatles "For Sale" or at the very least, "Revolver." But it's work that doesn't imitate the fab four sound, but more used as a platform for Alex and company to build their music on. At the time, there were a lot of power-pop bands and artists. A lot of them were good, including Cheap Trick. But I find Big Star very much on the spiritual side of the music than getting the right guitar sound, or the perfect melody arrangement. There is magic in these recordings and songs.  I think a lot has to do with the "It" quality of Alex and the band. John Fry, their engineer, really caught the essence of the sound in the studio. For some odd reason listening to this album on vinyl, it really grabbed me by the heart and head. 

The essence of Alex Chilton is here, and there is something reckless, sexy. Yet, in firm control of the material, that is his personality. I don't think there is such a thing as a 'bad' Alex performance or even album. One can like something more than the other, but his genius is to give every song he sang a distinctive quality that can only be Alex. Like hearing Bowie, or Billie Holiday, who' put a stamp on their songs cannot be imitated, Alex is in the same league as those singers. There are those who sound like students when they do this sort of music. Still, Big Star owns their material in such a manner that it is characteristic of their genius. And then there are the Bill Eggleston photos. That's brilliant, as well. 

Pink Floyd - "Masters of Rock" Vinyl, LP, Compilation, Netherlands, 1974 (Columbia)

Finding the songs that are not on, or never appeared on a regular Pink Floyd album is a consumer's game in trying to find the right record or fit for the listener.  For my taste, I love Pink Floyd's compilation "Masters of Rock," which is a series of compilations put out by Columbia Records in the 1970s.  For the Syd Barrett fanatic (which I border on in that category) there is "Apples and Oranges" and "Candy and A Current Bun."  "Apples" I believe was only officially released as a single, and I think "Candy, and A Current Bun" was a b-side to another Pink Floyd single.   That's the reason why I bought this album.  Also, it was nice to have both "See Emily Play" and "Arnold Layne" on one disc.  The rest of the Syd songs all come from the first Pink Floyd album, which of course is a masterpiece. 

The big surprise for me, and I have to let readers know that I pretty much don't know anything about post-Syd Floyd, are the songs "It Would Be So Nice" and "Paint Box," both by the keyboard player and sung by Richard Wright.  Incredibly solid and even if I may add fantastic pop songs.   Why wasn't "It Would Be So Nice" a huge hit at the time?  As I write, the chorus sticks to my brain like oatmeal to the guts.  The ultimate psych-pop tune that is authentically psychedelic.  "Paint Box" another fantastic tune, that is a song diary.  Wright, I think, at least at this period, is underrated as a songwriter. How did he lose his position in Pink Floyd to Roger Waters?  Who by the way also has a fantastic song "Julia Dream."  But still, I was shocked at how strong the songs are by Wright.  My question out there, are there other fantastic songs by Wright on later Pink Floyd albums?  Is his solo album any good?

The beauty of a compilation is not only getting the hits, but the undiscovered b-side or the 45 rpm single that didn't become a hit, yet, still, a fantastic record.    "Masters of Rock" is a mind-opener for me.   

King Crimson - "Starless and Bible Black" Vinyl, LP, Album, Reissue, 2015/1974 (Discipline Global Mobile)

Listening to King Crimson in 2018 is connecting the dots between Roxy Music, King Crimson, and what-the-hell-is Prog Rock.  John Wetton played with Roxy Music as their (one of many) bassists and I also remember he toured with Bryan Ferry (In Your Mind) tour.  And of course, the Eno/Fripp matchup during the time of this album "Starless and Bible Black."  It's not that all the musicians are masters of their instruments (which they are, of course) but more of the fact that they are brilliant arrangements at work.  The textures between almost silence and thrash come in equal doses.  

"Fracture" at 11 minutes is a relationship that's taking place between percussion, violin, and Fripp's guitars.  At times it reminds me of a Looney Tunes soundtrack, or something off from the Beach Boys' "Smile," with respect to chimes looming in the front and back.  Wetton's bass is the foundation, and I want to add, like their next album, "Red," his playing is aggressive, but knows how to frame the song in such a manner as Thelonious Monk sketching out the melody.  At times, he sounds like a jet about to leave the airport.   As they are rocking, one of them yelps, which seems almost out of place in the sterile cold world of King Crimson.   

Just focusing on "Fracture" makes it sound that is it, but the whole album is remarkable.  The noise they make is big, grand, and at times, there are Chinese melodies that slips in the heaviness.  Michael Nyman Band also comes to mind as well, with the intensity of its speed, and again, at least in the early recordings by Nyman, a very aggressive electric bass, that sounds incredible with the strings/horns.    The four members of King Crimson, David Cross (violin), Bill Bruford (percussion), and of course Fripp and Wetton, I think were the best version of King Crimson.   Roughly this combo made three albums.   It's music that is grounded in 1974 because one senses that something else will come upon the world,  punk/No Wave.   And I think King Crimson was at the entrance waiting to open up to that world with welcoming arms.  Also one should note the beautiful cover by Tom Phillips, who has associations with the British experimental music world, as well as being a great artist. 

Kraftwerk - "Autobahn" Vinyl, LP, Album, Reissue, 1977/1974 (Mercury)

Not my favorite Kraftwerk album, but a very important piece of work from Germany's fab four.  Which at that time (1974) included, of course, Florian Schneider & Ralf Hütter, Wolfgang Flur, and the mysterious Klaus Roeder who played guitar (!) and violin on "Autobahn."   It's no large estimation on my part that Kraftwerk is one of the most important bands in the 20th century.   Their influence is just as large as Elvis or the British Fab Four.   Not only in image, which to this day, is full of wonder and mystery, but their musical concepts are equally fascinating.  

"Autobahn" is a narrative without a story.  It takes place on the famous German highway that is Federally controlled by that country.  It is also famous for not having a 'speed limit,' as such, but if you're in an accident going that speed, it can count against you in a court of law.   So, in a sense, it's a very libertarian landscape, and it takes you to point A to Point B.  Kraftwerk's "Autobahn" is a documentary at the very least, and at its most important level, an impressionistic aural painting of experiencing such a journey on the famed highway.  This is a band that doesn't deal with sexual matter or fantasy, but look at everyday life as an inspiration for their art.  

With an ironic and funny (total respectful) take on The Beach Boys' "Fun Fun" this is a band that does not hide from its Germanistic characteristics.  The album is also very Musique Concrete than an electro-pop album.   "Autobahn" as an album is a bridge between the old Experimentation of Kraftwerk into their more polished mode of music making.  Side one is "Autobahn" and side two is more of the impressionistic view of a 24-hour day, perhaps in nature.  There is something very 'being in the country' about Kraftwerk.  This is a band that loves nature, and life between the major cities.  For instance, they make an album about going to Berlin, but rarely it's about Berlin itself, it's more about the travel to a major city than anything else. Their music is about movement, and it has a touch of the Situationists need to travel without a map.    

Walter Marchetti - "La Caccia (Da Aprocrate Seduto Sui Loto) LP, Vinyl, Album, 1974 (Cramps Records)

The late (he passed away in 2015) Walter Marchetti was a composer who wrote and played in the collective ZAJ, a Fluxus minded group of sound artists from the year 1964 until they officially disbanded in the 1990s.  I went to Rockaway to check out the Ronald Kane collection of LPs he sold to the record store before his untimely death.  This one stood out to me due to the cover as well as being on the label Cramps records - not to be confused with the great band called The Cramps.  Then again, there is no such thing as coincidence. 

"La Caccia" (the Hunt) is a landscape record.   Two sides of what sounds like being in nature and listening to either birds or instruments that sound like creatures in the wilderness.  Duck calls, and other devices to attract the attention to these creatures of nature are used, and on one level this is very much an environmental soundtrack album. For me, it has the touch of disgust, due that I hate the idea of one going hunting and killing an animal.   Still, since the liner notes are all in Italian (a language I don't understand) these are the tools of perhaps a hunter but used for aesthetic purposes.  This is very much a music score being played out, and although it is placed (in the aural sense) in the middle of a hunt, and more likely in a godlike freezing condition, it's a funny work of art.  Using something that is sound related for the sake of luring birds to be shot, or other animals, is instead used in a music composition.  There is something very Goon (Spike Milligan/Peter Sellers) like that crosses my mind as I listen to this album.   I now have the urge to collect all recordings from the Italian label Cramps Records.  

Egisto Macchi - "ll Deserto" 2 x Vinyl, Album, LP, Limited Edition, Reissue 1974/2016 (Cinedelic Records)

Egisto Macchi's "ll Deserto" is a masterpiece.  The orchestration of all four sides is one of quiet, but mixed in with real instruments such as 'maybe' a french horn, oboe, various orchestrational string instruments as well as percussion over an electronic hum that comes in and out of the mix.  "ll Deserto" is very much a sonic portrait of a North African desert, or at the very least a desert in one's imagination.  One wonders if Brian Eno heard this album before he made his ambient classic "Discreet Music," because in parts the music is very similar, if not in style, in the mood that carries the landscape.  

The white album cover is so minimal that it makes The Beatles White Album a complex design.  Yet the cover conveys the vastness of Macchi's music within its vinyl grooves.  Nine pieces are on this double album, and each one flows into the other as natural as the wind blowing across the white sands of a desert.  The rhythm conveys an African feeling and clearly not a Southwestern Desert in the United States.    The original edition of the album came out in 1974 on a small record label based in Florance Italy called AYNA.   Macchi did a lot of music for Music Libraries, which means it is used by a film producer to pick and choose their music if they need something cheaply or quickly for a scene in their film.   Macchi is very much a soundtrack composer, but in Library Music one can make their own soundtracks to fit their own mood.  In other words, the compositions can be experimental or groovy dance tune - nevertheless, it's an area of great experimentation.   

As mentioned, "ll Deserto" can easily fit into the ambient music world, but again, one marvel at the real instrumentation of actual instruments that is a great deal of the final sound.   The music is relaxing, but it has its quiet sinister qualities as well.  A beautiful album to reflect on one's daydreams. 

Steve Reich - "Drumming/Music for Mallet Instruments, Voices & Organ/Six Pianos" 3XVinyl Box Set, 1974 (Deutsche Grammophon)

The ultimate recording from Steve Reich.  Three albums of minimal persuasion and keyboard work that is maximum in scope and sound.   Reich's work is not meditative music, but one where the listener has to sit in front of the speakers and let this aural wash come and take you over. I have to presume that these three albums were released separately, but due to some marketing genius on the label has decided to make it into a Box-Set.  Going through all three albums in one sitting may be tough, not because of the work itself, but each piece is a demanding presence in one's life. For me, it has an exotic appeal, because I think of mallets coming from a foreign island in the Pacific.  Again, what do I know, but that is the visual image I get while listening to "Music for Mallet Instruments, Voices & Organ." 

All pieces by Reich strike me as a pattern.  When I hear this music, I see structures or things being attached to each other.  There is an architectural quality to Reich's compositions.  There's a foundation built, and then he adds textures on top of that landscape, and I feel he's building from the ground and then up to the sky.   I'm sure there is a spiritual aspect to Reich, but for me, it is more about the mechanics of life, as if it was a cycle.  The Four Seasons, Sunday through Saturday, the 24-hour day, I feel all of that is very much part of Reich's aesthetic.  So when you go into Reich's world, you have to surrender 'your' sense of time and be merged into the Reich world. 

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.  

Portsmouth Sinfonia - "Plays the Popular Classics" Vinyl, LP, Album, 1974 (Columbia)

I pity the poor vinyl seeker who picks up this album in the hopes that it's a typical collection of classical music pieces by some obscure Symphony.  On the other hand, it is a wonderful re-discovery of the classical pop hits, done by an orchestra that is not entirely sufficient in their instrumentation. Nevertheless part of the enjoyment of the journey I think is the motif of the Portsmouth Sinfonia.  It's not entirely off-kilter because one can recognize the works here.  

British composer Gavin Bryars started the orchestra, and not sure if it was done so for the purpose of going back to his roots, but I suspect to explore the music in a different light.  There is a Fluxus flavor to the concept of having an orchestra who can't play their instruments (properly) and performing classics by composers like Beethoven, Bach, Bizet, Holst, and others.   At first hearing, I took it as a joke, but I don't think that's the purpose here.  The selection of pieces they do on the album is very popular.  The average listener who may not know classical music, I would have imagined heard the compositions in their home or on the TV or some other medium.  The arrangements are close to the music sheet (as far as I know), but it's the skills of each musician that makes this album unique. 

In ways, an orchestra is a study of civilization at work where everyone has a role to play for the betterment of the composed work as well as the overall orchestrational sound.  The Portsmouth Sinfonia is chaos working as a group. It's a society that is struggling to make sounds that are actual music.  This is not an eccentric's work, but more of a statement on politics and culture and how one sees their role in the "orchestra."   Brian Eno produced this album and is one of the musicians in the orchestra.  He plays Clarinet, and Byars play the cello.  His original instrument I think is stand-up bass.  

10cc - "Sheet Music" Vinyl, LP, Album, 1974 (UK Records)

In the early 1970s, I was intrigued with the band 10cc, due that two of the musicians were very much part of the music business or scene of the 1960s.  Graham Gouldman wrote hits for The Yardbirds, The Hollies, and Herman's Hermits, while Eric Stewart was a member and writer for Wayne Fontana and the Mindbenders.   The new guys in the band (at the time) Kevin Godley and Lol Creme came out of nowhere but soon became prominent music video directors as well as working with the group Art of Noise.  What made 10cc interesting is the creative tension between Godley/Creme and Gouldman/Stewart.   Generally speaking, the veterans had a classic songwriting approach to their material, but Godley/Creme always had a visual flair to their songwriting which was cinematic and ambitious.  

10cc at their weakest are sometimes a parody act, or a very pretentious reach to expand their pop sensibilities. "Sheet Music," their second album plays on both sides of the coin and succeeds greatly.  "The Wall Street Shuffle" and "Silly Love" are classic songwriting with a broad sense of satire and the Beatleastic (mostly on the Paul side of the world) touches of melody and production makes them a witty counterpoint to McCartney's blandness at the time. "The Worst Band in the World" and "Clockwork Creep" are fantastic pieces of pop fun, with "Creep" showing its sinister side of being a song about a bomb and that object's point of view.  

At the time, I purchased all the early 10cc albums, but "Sheet Music" stayed with me because it was fresh and it still sounds vital.  I think due to the intensity of four very creative guys working together to make a pop album that had serious issues but done ironically or humorously.  It's worth noting that Paul McCartney used the same recording studio as 10cc when they recorded "Sheet Music."   Paul was co-writing and producing his brother's solo album "McGear," which is a great Paul album.  There is a sound that goes back and forth between "Sheet Music" and "McGear."  For sure, a sense of adventure and playfulness. 

Bowie - "Diamond Dogs" Vinyl, LP, Album, 1974 (RCA)

When I bought this album, I knew something new was about to happen.  For the past two years I have followed David Bowie and Ziggy, and when he left his band, I figured that there was going to be a change in the air.   What is Bowie without Mick Ronson?  "Diamond Dogs" is another step into the artist's future, but it was also the bridge between his glam world and the planet of New York City soul.  The song "1984" with its Barry White instrumentation was the clue that there will be another world after this album. 

At the time (in 1974) I felt that this wasn't a complete collection.  Ziggy and "Aladdin Sane" sounded like a full album, as well as "Pin-Ups."  "Diamond Dogs" struck me as a work in progress. I could tell by the album's scope that there will be a theatrical show to go with it, but didn't think by any means it would be a depression era Bowie look with longer hair.  "Rebel Rebel" was an instant Bowie classic, and that was another puzzling piece of the puzzle.  The credit goes to "Bowie" as he didn't need the "David" anymore?  

From day one, I have always loved the "Sweet Thing" melody as well as "We Are The Dead."  That hasn't changed with me for the past 43 years.  I played the album in its entirety yesterday afternoon, and those music pieces still hold up for me.  The only song I'm not fond of is "Rock n' Roll With Me."  I never liked the song.  It's a perfect composition of its kind, but I loved the theater aspect of "We Are The Dead" as it builds up in its intensity.  "Sweet Thing" works the same way as it goes into its "Candidate" part.  Those songs are the walls which contain the album's mood and set piece.  "1984" is interesting in this context, because the sound is so different from the rest of this album.  Side one with the "Future Legend" to "Sweet Thing" and then "Rebel Rebel" strikes me as a classic programming on a record side.  I don't want to pick up the needle whatsoever!  It's like a short film.  A beginning, a middle, and an end.  "Rock n' Roll With Me" and "1984" sticks out musically if not in theme on the side 2.   Still, it's a fantastic album.  And the original vinyl sounds amazing when you play this record loud. 

The Kinks - "Preservation Act 1 & 2" Two albums Vinyl (RCA) 1973/1974

The last great Kinks project.  Ever since "Village Green Preservation Society" Ray Davies has thought out conceptually for that and future albums.  He started out as being an excellent observational songwriter, who knew how to do musical profiles on individual figures of the London or UK world. "Dandy," "Lola," and others, and prop them up as figures in a specific class or social order.  Davies used each album as a particular subject matter - and not as in a mood piece, but more in a narrative story or novel.  

"Preservation Act 1" and "Preservation Act 2" are separate albums, but in actuality, one project. I'm sure there was a business issue of putting out a three-disc set at the time and a very ambitious project on top of that.    For me, and I think others, I see this as one big work.  So I'm going to treat this as one album here.  "Preservation" is very much a major Ray Davies work.

It' reminds me of Kurt Weill/Bertolt Brecht's "Three-Penny Opera, which takes place in London, and actuality is based on John Gays "Beggar's Opera" which was written in 1728.   What Ray did was bring the political satire back to British roots.  The music at times have a Weill touch, but with Ray, there is an additional British Music Hall presence as well.   The musical (and "Preservation" is a musical) takes place perhaps in the future, but the foundation is clearly post-war London or another industrial town.   Flash is the main villian here.  Corporate gangster.  Street thug.  He's all that and more.   Flash even has his own theme song that runs through both albums.  Not far from Weill/Brecht's Mack the Knife character.  The narrative structure hangs on the balance of the rise and fall of Flash.

The beauty of a classic Kinks song is that it's like a small movie in your presence.  There is nothing abstract in Davies' songs.  Most if not all are clearly films or theater pieces that is set in music.  "Preservation" is his first leap into the musical world, or at the very least imagining his songs set in a much bigger landscape.  

I remember seeing the Kinks doing a live version of this album at the Santa Monica Civic.   Ray at his theaterifal mode of entertainment.  It's interesting to read interviews with him now, where he comes off as being stand-offish, distant, and not comfortable in his own skin.   On stage he's the ultimate performer.  Music Hall tradition fits Ray Davies to a perfect 't.'   From 1963 to 1974, Ray Davies couldn't do anything wrong.   A brilliant songwriter and an incredible performer.  He fits in both the British band invasion and the glam era without any trouble.   "Preservation" has beautiful ballads and humorous songs.  Someone should present this as a new musical.  It's a shame that Davies is not more known as a writer for musicals. 

Mick Ronson - "Slaugher On 10th Avenue" Vinyl, LP, Album, 1974 (RCA)

I think it's impossible not to love Mick Ronson.  He was the main Spider in Bowie's Ziggy.  His arrangements and of course, guitar playing,  is perfect.  What he did was not original, nor visionary, but I think he's the type of artist who can look at a diagram or music score and know how to make it work or becoming a brilliant piece of music.   I think of Bowie as using the Duke Ellington method in making sure he surrounds himself with the cream of the best.   Ronson as the second lead or music leader is exceptional.  And it is always interesting when such artists do a solo album.

"Slaughter on 10th Avenue is by no means a perfect album, but it's highly enjoyable, but lacks the visionary scent to make it really an essential piece of music.  Saying that "After Dark" is one of the great glam songs of that era.  A brilliant piece of arrangement and delivery.  "Love Me Tender" is an Elvis song that for me, didn't work for Elvis (besides being an iconic hit!) nor does it for Ronson, on this opening cut.   A very weak way of starting a really good album.

Still, when playing this album from beginning to end, it seems almost like a resume at work.  The arrangements of standards such as the title cut, and his take on Annette Peacock's "I'm the One," (which I think Ronson is on the original recording?) shows off his sensitivity in dealing with covers.  "Love Me Tender" doesn't work,  because he didn't do a radical remake of it, just sort of kept it as it is.  Which is fine, but again, and lots of people would disagree with me, but it's not that great of a song.   

Ronson was stretching out his boundaries, by including a variety of music on this debut album.  He was a man of great taste (most cases) and a great loss when he passed away in the 1990s.   His work on the first Ian Hunter album is perfect.   As a solo artist, I think overall he is weak.  But when he backs someone up like Hunter or Bowie, of course, it's a magnificent sound.  And that goes for the same on his work with Morrissey.  

Bryan Ferry - "Smoke Gets In Your Eyes"/"Another Time, Another Place" (Island) 45 rpm 7" single, 1974

I bought this single in 1974, sold or lost it through the ages, and recently purchased again, in Tokyo.  1974, and especially anything dealing with Island Records, was an exciting time for a record fan or listener.   I discovered Sparks that year, and that is a gift that keeps on giving.  Bryan Ferry/Roxy Music is another cultural importance for me.  Ferry went on to have this duo-career of being the head thinker for Roxy Music while doing solo recordings.  I don't fully understand his need to do solo work, where he clearly wrote or co-wrote all the Roxy Music songs.  If he strictly just did covers, I can understand that for being a solo artist, but the fact he started to add original songs under "Bryan Ferry" is a mystery to me.   

"Smoke Gets In Your Eyes" is a classic American pop tune from the early 1930s.  Depression era, and to Ferry a romantic time.   At this time, Ferry was mining the past, but he was making it into a Roxy re-make, where it seems at times he wrote the song himself.  It's love, but a love that is damaged and leaves the after-effects of smoke after the burning heart.  It's a beautiful bitter-sweet melody with lyrics that sting.  A perfect cocktail for someone like Bryan Ferry.

The b-side is a great Ferry composition "Another Time, Another Place."  Why this wasn't recorded for Roxy Music is a mystery.  It's a hypnotic piece of aural delight.  The importance of sound to take one to another place - that is basically the motif of the Bryan Ferry method of making art.