Robert Wyatt - "Comicopera" Vinyl, LP, Album, 2 x Vinyl, one etched with poem, 2007 (Domino)

Robert Wyatt is one of those artists that you either love obsessively, or you don't know him or his music.  I think it is impossible for someone to hear him, and go 'not interested.'  His melodies are seductive, and the voice is hairy, yet romantic when he's crooning, and he mostly sings as if he is Chet Baker, and there are a thousand women in the waiting room, just waiting for him.   "Comicopera" although there are other releases where he collaborated with another artist, or compilation/re-issue came out, and I believe this was his last solo album.  He reportedly retired, and if that's true, this 2007 album is a brilliant goodbye.  Or perhaps just a pause before something else happens.  Still, a remarkable record that is very open.  His masterpiece "Rock Bottom" I find very close off to the world.  This is Wyatt getting involved with lots of musicians such as Paul Weller, Phil Manzanera, Eno, and others.  There are traces of late Beach Boys in the mix as well as Charlie Haden's Freedom Orchestra.  Just a beautiful mixture that does its job.  A haunted cocktail of a drink that sticks to your system.  

Robert Wyatt - "Different Every Time Volume 2: Benign Dictatorships" 2 x Vinyl, Compilation, 2014 (Domino)

Curated by Robert Wyatt, this is his second compilation of what he feels is his best work on the disc. The first volume was recordings under his own name, but here it is totally devoted to his collaborations with other artists.  Basically, he served on their recordings as a vocalist or even just a backup singer.  The thing is when Wyatt opens his mouth and he sings, he pretty much owns that tune.  It's not that he has the greatest voice on this planet, but as a vocalist, he's a unique presence, and in a manner, he reminds me of Chet Baker. Not that their voices are similar, but both are musicians who also sing.   

Of the seventeen songs here, I only know three songs.  They are Phil Manzanera's "Frontera," Nick Mason's "Siam," and one song under his name, but written by Elvis Costello and Clive Langer,  "Shipbuilding."  Beyond that, all the artists are basically unknown (except for Bjork, Hot Chip, and Epic Soundtracks - artists that I have heard of, but really don't know their music.)   Wyatt I think is moving out of his comfort zone, and that makes him an artist of importance.  He is an excellent collaborator.  I can't say I love every track, but all of them are at the very least interesting.  Special notice to his recording of John Cage's "Experiences No. 2" which was an early Obscure Records release.  

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.  

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.  

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."  

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. 

Brian Eno - "Taking Tiger Mountain (By Strategy) Vinyl LP

Brian Eno - Taking Tiger Mountain (By Strategy)

Vinyl LP, Album, Gatefold, U.S., 1974

Island Records

The beauty of a classic Eno album are its textures.  Here Come The Warm Jets has great sonic touches that one can listen to it again and again, and still discover new things to hear in it.   Taking Tiger Mountain has the same quality, but it is very much a different type of album than the first Eno release.  In an odd way this album is sort of like a travel journal, where lyrically it hits areas (Asia?) of the world, but it is very much done in an abstract way, where you are not really that sure where this album is placed in the world.  Theme wise it reminds me of David Bowie’s Lodger of a foreigner going to a new land, mostly to escape from one’s own culture.  There are ambient sounds here, but instead of being in the background, it is way out front and it is like a strong beat.  I think of crickets used as a percussion instrument in “The Great Pretender.” 

I remember my friend Gary Friedlander buying this album at the same time I bought it when it was first released.  We rushed to his house to listen to it, and I think we must have played it at least four times. Right away it stuck me as a classic album.  The graphics are great, and the guitar work from Phil Manzanera is simply fantastic.  There should be a death sentence for those who don’t think Manzanera is one of the greats on that instrument.   His mixture of prog sensibilities with surf aesthetic is a unique one in the world of music.  There is not a bad or weak cut on this album.  The band Japan in their masterful Tin Drum record has taken a lot from this album and used the material in a more straight ahead fashion.  Also the Feelies first album has traces of Taking Tiger Mountain as well.  A true classic. 

801 "801 Live" CD Album

801- 801 Live

CD, Album, US, Original release 1976

EG - EGCD 26

A side project by Roxy Music's great guitarist Phil Manzanera, with an all-star cast of musicians that were making a big noise in the year of punk 1976. Here we have a combination of three albums or artists promoting their work in one swoop. Manzanera's side band Quiet Sun, his first proper solo album, and Eno's early solo albums. The great thing about Manzanera is that he's half prog and half Ventures/Shadows. His range of styles go from world music to Joe Meek. 801, named after an Eno lyric, uses the skills of prog/jazz into the pure rush of something like “Baby's on Fire.” The beauty of “Diamond Head” is almost Shadows like in that the guitar plays a hypnotic melody and it just builds and builds. Two interesting covers on this live set; The Kinks “You Really Got Me” and The Beatles “Tomorrow Never Knows” which perfectly conveys the interest in dream-like pop with the grittiness of British invasion rock via The Kinks.

The arrangements on 801 are beautifully put together. “Rongwrong” truly an exquisite piece of dreamy music starts off like an Eno out-take from Another Green World and then goes into this wishful melody. One of the great things about 801 is that you can clearly hear every instrument, so everyone stands out, yet the whole sound or picture is extremely sophisticated – and the cuts blend into each other effortlessly.

To give band full credit: Phil Manzanera guitar, Bill MacCormick on bass, Francis Monkman electric piano, Simon Phillips drums, Lloyd Watson guitar, and Brian Eno on everything else. All splendid here.

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