Roxy Music - "Roxy Music" (1972)

With the release of their self-titled debut album in 1972, Roxy Music, together with David Bowie, became the foremost representatives of the glam rock (or glitter rock) movement. This was not as much a term that defined their music, as much as it was a description of their glittery physical appearances and eccentric clothing. Up to that point, rock music had been almost exclusively a testosterone fabric filled with macho stereotypes. This was obviously not a tradition that Roxy bandleader and songwriter Brian Ferry had much interested in continuing. Defying all the manly man clichés of rock music, the band became known for their theatrical performances and love for the different. After all, this was no coincidence, being that Ferry, Eno and Mackay all had studied at art colleges they had all picked up an interest in the modern pop art. This would of course prove to be helpful when the band was formed some odd years later. “We didn’t invent eclecticism but we did say, and prove, that rock ‘n’ roll could accommodate – well anything really”, McKay later has been quoted of saying. 

So how did this strange, wonderful rock/avant-garde piece of pop art music come about? One story goes that Brian Ferry auditioned for the part of lead singer in King Crimson after the departure of their former vocalist Greg Lake departed in 1970. Although this never came to fruition, it did lead to Crimson member Peter Sinfield taking on production duties for Ferry’s group, at the time simply named Roxy. Besides the lead singer, the band now included Andy McKay on sax and oboe, Phil Manzanera on electric guitar, Graham Simpson and Paul Thompson on bass and drums, respectively. The last piece of the puzzle that was the original incarnation of Roxy Music was keyboardist/technician and (according to Sinfield) second producer Brian Eno. Picked up by E.G. Management, this formation found themselves at London’s Command Studios, recording their debut album on a budget of no more than €5,000. Recordings took place between the 14^th and 29^th of March 1972, with the final mixing process going down in the first week of April. An interesting fact is that the album was finished, mixed and ready to hand over once Roxy Music was signed to Island Records shortly after. 

Not being able to decide on a fitting single to promote the release with, Ferry once again took his band mates to Command in order to record new material. The resulting “Virginia Plain” (packing “The Numberer” on the B-side) eventually peaked at number 4 on the UK singles chart. The single, which was added to later pressings including the one you’re holding in your hands, gave the LP the boost to make it to the UK top 10 by late ’72. 

 

The music on this disc was new and different, just like their image, with a load of different styles and directions mashed into an asymmetric but beautiful wall of sound. As Ferry remarks, “The album is really kind of a tracer as to where we could go. There are lots of different directions there, and deliberately so, because we never really did want to have one recognizable sound.” Another thing that made Roxy Music stand out was the crystal clear chemistry displayed between its members. They were by far not the most technically skilled musicians around, but they showed more than enough passion and willingness to break barriers to make up for it. Considering that Brian Eno would leave the band soon after the recording of their sophomore LP, “For Your Pleasure”, his contribution here becomes even more noticeable. The keyboard parts and studio wizardry he adds on cuts like “2.H.B.” and “Ladytron” provides lots of distinct textures to the overall sound and gives a hint of what the future would hold for Eno’s solo career. Also original bassist Graham Simpson was replaced by Rik Kenton shortly after recordings, making “Roxy Music” the only release to feature the original, and to some the definite, line-up of the band.