Roxy Music’s invention of sci-fi rock surprised a world that was enduring a difficult upheaval, and they took off as they built an impressive catalogue of work in the 1970s. In 2012, to mark the release of a complete box set, we chose five of their proggiest moments from 1972 to 1979.
The BoB (Medley), from Roxy Music (1972)
That’s “Bob” as in “Battle Of Britain” – but the reference to World War II only partly explains the deliberately unsettling ambience of the first track on Side two of Roxy’s debut album.
Brian Eno’s off-kilter synth precedes a relatively conventional Bryan Ferry verse, then it’s gunfire and explosions in the distance to Andy Mackay’s horns. The band’s retro references tease out almost a boogie-woogie section underpinned by Phil Manzanera’s guitar solo and Paul Thompson’s steady beat.
More tempo changes lead to an Albert Hall-sized ending. These days it would be a prom in itself.
The Bogus Man, from For Your Pleasure (1973)
The band’s second album also includes Do The Strand and the eerie In Every Dream Home A Heartache, but The Bogus Man remains one of Thompson’s favourites.
His strange, relentless drum pattern accompanies a cautionary lyric about a character to avoid; yet that framework is almost a haunted house, containing so many different processing effects that the overall effect is unorthodox in the extreme – especially when you get to the end and realise that it’s been doing that for more than nine minutes.
“It’s a bit trance-like as well,” says Thompson, “so it was probably before its time.”
Amazona, from Stranded (1973)
Roxy’s first album without Eno became their first UK number one, and brought a bit of glamour to a nation descending into the gloom of the three-day week, a result of UK industrial action which led to an energy shortage.
It included the top 10 hit Street Life, and Ferry’s first songwriting collaborations – with Mackay for A Song For Europe, and with Manzanera for this favourite song of his.
Amazona starts conventionally with a rhythm guitar and exotic lyrical scene-setting, but reintroduces itself two minutes in for its complex, nimble guitar solo.
Sentimental Fool, from Siren (1975)
Roxy’s fifth set contained one of their greatest theme songs, Love Is The Drug, plus the underrated follow-up Both Ends Burning.
Ferry and Mackay’s Sentimental Fool wafts in with Eddie Jobson’s ethereal synthesisers, then Manzanera plugs in for a haunting fuzz guitar motif, with brilliant and subtly off-kilter details from Mackay’s oboe, Jobson’s electric organ and a great bassline from John Gustafson.
Characteristically episodic, the body of the track then begins on Thompson’s drums and Ferry’s vocals, with Mackay now on saxophone and Manzanera adding yet another layer of sophistication.
Manifesto, from Manifesto (1979)
Things may not have been quite the same when Roxy reunited. But the Manifesto album has more edge than followers Flesh And Blood and Avalon – by the end of which it felt like they’d been almost subsumed by Ferry’s solo personality.
The title track features sterling work by Gary Tibbs on bass and Paul Carrack on synths, conjuring a late-night urban mood. Manzanera’s excellent guitar textures also help set up Ferry’s peerlessly atmospheric lead lines.
‘Question what you see,’ he advises, ‘and when you find an answer, bring it home to me.’
