The start of the 80s were seen as a harbinger of things to come musically for Roxy Music. And their previous effort, Manifesto, was evidence that Bryan Ferry & company were moving on to bigger & better things. First off, they sounded more mature, more soulful. Secondly, the group still had a lovelorn frontman at the microphone (aka Ferry) to not only woo the ladies but also to get his declarations across. Finally, though we didn't know it at the time, this was the beginning of the end of Mach 2 of Roxy Music.
In 1980, Flesh and Blood was released. As stated in my previous Roxy Music post, the music was entering soulful, more passionate realms at this juncture. But then there were surprises thrown in as well: some pretty amazing covers of Wilson Pickett's "In The Midnight Hour" & The Byrds' "Eight Miles High" (the latter tailor made for getting out on the dance floor). However, any traces of RM's art-rock past are not in evidence; if anything, they evolved into the keyboard/synthesizer-driven songs which abound on this album (& in the process helped RM create a musical genre which ruled in the 1980s not only in Britain but in the States as well - what is today known as synth-pop).
Besides the sweet renditions of "IMTH" & "EMH," the real highlights of this album are of course the soulful, more (if I must say so) heartfelt tunes. "Oh Yeah" & "Running Wild" are slow but worth every second of listening time; from Ferry's yearning, hopeless romantic vocals to Andy Mackay's work on saxophone on to Phil Manzanera's guitar playing, you can hear the groundwork for Ferry's later solo efforts (of which Boys and Girls is a standout) being put to good use. And Manzanera, one of the most underrated guitarists of all time, is not only stellar at servicing his guitar parts as the songs see fit; he is a pretty awesome soloist as these two songs boldly indicate (& his solo on "My Only Love" deserves mention here). Not only is he a master at knowing how to play economically; he also plays with restraint as well.
The title track has synths leading the way; "Same Old Scene" & "No Strange Delight" (the latter being more ambient in tone) continue that trend, with beats that would get anyone geared up for dancing & moving around. Then again, RM is wearing the synth-pop chevrons on their sleeves with style on these tracks with a passion. "Over You" is a gem of a tune; Ferry's vocal & lyrical trademarks are in strong supply & Mackay's "fill-in-the-musical-blank" sax work during the second verse is undeniably a highlight in its own right. (Listen to "Over You's" outro while you're at it; it still brings tears to my eyes every time I've played that particular song.)
The Clash's Sandanista!, Joy Division's Closer, The Cure's Seventeen Seconds were some of 1980's highlights in the alternative music community. But Flesh and Blood is a highlight in its own way & on its own terms; by the same token, it revealed Roxy Music in a soulful mood that would be taken to its acme on 1982's masterwork Avalon. And it showed us that RM could also get many a dance floor going in short order to kick the decade off on an upbeat note.
Only two years later, Roxy Music would be no more. But Flesh and Blood gave us hope that they were still alive & well in their second incarnation.
In 1980, Flesh and Blood was released. As stated in my previous Roxy Music post, the music was entering soulful, more passionate realms at this juncture. But then there were surprises thrown in as well: some pretty amazing covers of Wilson Pickett's "In The Midnight Hour" & The Byrds' "Eight Miles High" (the latter tailor made for getting out on the dance floor). However, any traces of RM's art-rock past are not in evidence; if anything, they evolved into the keyboard/synthesizer-driven songs which abound on this album (& in the process helped RM create a musical genre which ruled in the 1980s not only in Britain but in the States as well - what is today known as synth-pop).
Besides the sweet renditions of "IMTH" & "EMH," the real highlights of this album are of course the soulful, more (if I must say so) heartfelt tunes. "Oh Yeah" & "Running Wild" are slow but worth every second of listening time; from Ferry's yearning, hopeless romantic vocals to Andy Mackay's work on saxophone on to Phil Manzanera's guitar playing, you can hear the groundwork for Ferry's later solo efforts (of which Boys and Girls is a standout) being put to good use. And Manzanera, one of the most underrated guitarists of all time, is not only stellar at servicing his guitar parts as the songs see fit; he is a pretty awesome soloist as these two songs boldly indicate (& his solo on "My Only Love" deserves mention here). Not only is he a master at knowing how to play economically; he also plays with restraint as well.
The title track has synths leading the way; "Same Old Scene" & "No Strange Delight" (the latter being more ambient in tone) continue that trend, with beats that would get anyone geared up for dancing & moving around. Then again, RM is wearing the synth-pop chevrons on their sleeves with style on these tracks with a passion. "Over You" is a gem of a tune; Ferry's vocal & lyrical trademarks are in strong supply & Mackay's "fill-in-the-musical-blank" sax work during the second verse is undeniably a highlight in its own right. (Listen to "Over You's" outro while you're at it; it still brings tears to my eyes every time I've played that particular song.)
The Clash's Sandanista!, Joy Division's Closer, The Cure's Seventeen Seconds were some of 1980's highlights in the alternative music community. But Flesh and Blood is a highlight in its own way & on its own terms; by the same token, it revealed Roxy Music in a soulful mood that would be taken to its acme on 1982's masterwork Avalon. And it showed us that RM could also get many a dance floor going in short order to kick the decade off on an upbeat note.
Only two years later, Roxy Music would be no more. But Flesh and Blood gave us hope that they were still alive & well in their second incarnation.
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