#ROXY MUSIC 1972 debut LP

[savage-kult-of-gorthaur]

51 YEARS AGO THIS MONTH, ROXY MUSIC'S '72 DEBUT LP FINISHED RECORDING.

NOTE:^If Wikipedia is anything to go by, recording for the album reportedly ended on March 29, 1972, which was yesterday, 51 years ago, in my part of the world.

PIC(S) INFO: Spotlight om the U.S. CD pressing of "Roxy Music," self-titled debut studio album by English rock band ROXY MUSIC, re-released and remastered by Virgin Records America, Inc. in 1999.

Source: www.45worlds.com/cdalbum/cd/roxycd1.

[parkerbombshell]

A Breath of Fresh Air Aug 6

A Breath of Fresh Air With Sandy Kaye bombshellradio.com Tuesdays 1pm EST and Fridays 8pm EST Archival shows : bombshellradiopodcasts.com Known for his part in legendary Australasian bands Split Enz and Crowded House, as well as for Finn Brothers with younger sibling and frequent bandmate Neil Finn, Tim Finn is also recognized for witty, insightful solo material that often negotiates warm jangle and smooth singer/songwriter pop. Having led chart-topping art rock/new wave outfit Split Enz since 1972, the success of his solo debut, 1983's Escapade (a number one hit in New Zealand), signaled the end of the group, whose remaining members -- including Neil -- issued their final LP in 1984. It gave Neil the opportunity to step into the role of singer and main songwriter, and he subsequently launched the even more successful Crowded House in 1985. Tim briefly joined that group as guitarist, keyboardist, and vocalist for 1990's Woodface and associated touring, then resumed his solo career with popular albums including 1993's Before & After (New Zealand Top Three, U.K. Top 30), 2006's Imaginary Kingdom (New Zealand Top 20), and 2011's The View Is Worth the Climb (New Zealand Top 30). After working on the stage musical Ladies in Black, Finn returned with a pair of wide-ranging full-length collaborations with Roxy Music guitarist Phil Manzanera,��Caught by the Heart (2021) and The Ghost of Santiago (2022). Sandy Kaye sandy@abreathoffreshair.com.au www.abreathoffreshair.com.au Read the full article

[julio-viernes]

"Time Machine", segundo corte del segundo LP de Sadistic Mika Band, "黒船 Kurofune (“Black Ships”)", una fantástica muestra de glam rock japonés con un poco de Hawkwind añadido. Gran producción de Chris Thomas (Pink Floyd, Queen, Roxy Music, Badfinger, Sex Pistols, Pretenders, etc...).

El origen de Sadistic Mika Band (nombre que parodiaba a Plastic Ono Band) hay que buscarlo en Kazuhiko Katō, que se mudó a Kensington, Londres, en 1972 e impresionado por la floreciente escena glam rock formó un nuevo grupo en Japón para emular su estilo. La formación original incluía a Katō, Mika, el baterista Hiro Tsunoda y el guitarrista principal Masayoshi Takanaka, y grabó el sencillo "Cycling Boogie" en 1972 lanzado en Donut Records, el primer sello privado de Japón, fundado por Katō. Posteriormente, Tsunoda fue reemplazado por Yukihiro Takahashi, y el bajista Ray Ohara se unió a la banda. Esta formación completó el LP debut homónimo de la banda, lanzado por el sello Harvest.

Katō le pasó el álbum a Malcolm McLaren, quien en ese momento ya tenía una tienda con Vivienne Westwood, y éste a su vez a Bryan Ferry, a cuya banda Roxy Music la SMB telonearía más tarde en la etapa europea de su Siren Tour 1975-76.

[blackkudos]

Philip Bailey

Philip James Bailey (born May 8, 1951) is an American R&B, soul, gospel and funk singer, songwriter and percussionist best known as an early member, and one of the two lead singers (along with group founder Maurice White) of the band Earth, Wind & Fire. Noted for his four-octave vocal range and distinctive falsetto register, Bailey has won seven Grammy Awards. He was inducted into the Rock and Roll Hall of Fame and the Vocal Group Hall of Fame as a member of Earth, Wind & Fire. Bailey was also inducted into the Songwriters Hall of Fame for his work with the band.

Bailey has released several solo albums. Chinese Wall from 1984, which received a Grammy Award nomination for Best R&B Vocal Performance, Male, included the international hit, "Easy Lover", a duet with Phil Collins. "Easy Lover" won an MTV Video Music Award for Best Overall Performance in a Video in 1985 and was Grammy nominated for Best Pop Performance by a Duo or Group With Vocals.

In May 2008, Bailey was awarded an Honorary Doctorate of Music from Berklee College of Music at Berklee's Commencement Ceremony where he was the commencement speaker.

Life and career

Early days

Bailey was born and raised in Denver, Colorado, United States. He attended East High School in Denver and graduated in 1969. He was also in a local R&B band called Friends & Love. Some of Bailey's early influences included jazz musicians such as Miles Davis, John Coltrane and Max Roach, the Motown sound, in particular the music of Stevie Wonder and he was also largely influenced by female singers such as Sarah Vaughan and Dionne Warwick.

Earth, Wind & Fire

In 1972, while attending college, Bailey was invited to join the band Earth, Wind & Fire by EWF-founder and bandleader Maurice White. Bailey was the featured lead vocalist on popular Earth, Wind & Fire songs as "Devotion", "Keep Your Head to the Sky", "Reasons", "Fantasy", "I'll Write A Song For You", "Imagination", "I've Had Enough", and "Guiding Lights". He also shared lead vocals with Maurice White on such EWF hits as "Shining Star", "Getaway", "September", "Sing A Song", "Serpentine Fire", "Saturday Night", and sang lead with both White and the girl group The Emotions on their classic disco collaboration "Boogie Wonderland".

With Maurice White's retirement and then death, Bailey became the on-stage leader of Earth, Wind & Fire, along with bassist Verdine White, vocalist/percussionist Ralph Johnson and vocalist/percussionist B. David Whitworth.

In live duet performances, Bailey will sing his falsetto part, then switch to the vocal part originally sung by White, showing off his vocal prowess and versatility.

Solo albums

In 1983, Bailey issued his debut studio album, titled Continuation, on Columbia Records. The album reached No. 19 on the Billboard Top R&B/Hip-Hop Albums chart. An album cut titled "I Know" rose to No. 10 on the Hot R&B/Hip-Hop Songs chart.

During 1984, Bailey released his second solo album, titled Chinese Wall, also on Columbia Records. The album reached No. 22 on the Billboard 200 chart and No. 10 on the Billboard Top R&B/Hip-Hop Albums chart. The album was certified Gold in the US by the RIAA. Off the album, a duet with Collins titled "Easy Lover", rose to Nos. 1 & 2 on the UK Singles and Billboard Hot 100 charts, respectively.

Bailey went on to issue his third studio album, titled Inside Out, in 1986 on Columbia. The album reached No. 30 on the Billboard Top R&B/Hip-Hop Albums chart. A single from the album titled "State Of The Heart" reached No. 20 on the Billboard Hot R&B/Hip-Hop Songs chart.

During 1994, Bailey issued his self titled fourth studio album on Zoo Entertainment. Artists including Brian McKnight, Chuckii Booker and PM Dawn guested on the LP. The album cut "Here With Me" rose to No. 33 on the Billboard Adult R&B Songs chart.

Bailey went on to release his first jazz album, titled Dreams in 1999 on Heads Up International records. The album featured artistes such as Gerald Albright, Grover Washington, Jr. and Pat Metheny. It reached No. 43 on the Billboard Jazz Albums chart. During 2002 he released Soul on Jazz, his sophomore jazz album once again on Heads Up. The album rose to No. 45 upon the Billboard Jazz Albums chart.

Gospel

Bailey featured on Andraé Crouch's 1979 album I'll Be Thinking of You. He and Maurice White then collaborated with The Hawkins Family on their 1981 live album, The Hawkins Family Live.

In 1980, Bailey joined with friends, Deniece Williams, Billy Davis and Marilyn McCoo to present a gospel show at a popular Los Angeles club named The Roxy. The show was called "Jesus At the Roxy". Williams later reported that "God did something miraculous. Over three hundred people were saved." After that, both Bailey and Williams decided to pursue careers in Christian music.

During 1984, Bailey issued his first gospel album titled The Wonders of His Love on Myrrh Records. The album reached No. 13 on the Billboard Christian Albums chart and No. 17 on the Billboard Top Gospel Albums chart. The Wonders of His Love was also Grammy nominated in the category of Best Inspirational Performance.

His second gospel album Triumph was released in 1986 on Horizon Records. The LP reached No. 18 on the Top Christian Albums chart and No. 33 on the Billboard Top Gospel Albums chart. Triumph also won a Grammy for Best Gospel Performance, Male.

During 1989 he released his third gospel album titled Family Affair on Myrrh Records. The album reached No. 37 on the Billboard Top Gospel Albums chart.

Bailey later played percussion and sang on the King Baptist Church Mass Choir's 1990 album Holding on to Jesus' Hand.

Work with other artists

Bailey sang on Jazz guitarist Alphonso Johnson 1976's LP Yesterday's Dreams. He later played percussion alongside Verdine White on bass upon the track "Tahiti Hut" composed by both Maurice White and Eumir Deodato from Deodato's 1978 album Love Island. He also sang on Ronnie Laws' 1978 album Flame.

Bailey went on to produce R&B Band Kinsman Dazz's 1978 debut LP Kinsman Dazz and work as an arranger and guest artist on their sophomore 1979 album Dazz. As a band, Kinsman Dazz later became known as the Dazz Band. Bailey also collaborated as a vocalist with tenor saxophonist Stanley Turrentine on his 1981 album Tender Togetherness.

As well he guested on Stevie Wonder's 1985 "In Square Circle" album, Kenny Loggins' 1985 LP Vox Humana, Ray Parker Jr.'s 1987 album After Dark and Anita Pointer's 1987 LP Love for What It Is. Bailey also collaborated with Julio Iglesias on his 1988 album Non Stop, Little Richard on the soundtrack of the 1988 feature film Twins and Deniece Williams on her 1988 album As Good As It Gets.

He later featured on Nancy Wilson's 1989 LP A Lady with a Song, Dianne Reeves' 1990 album Never Too Far and George Duke and Stanley Clarke's 1990 LP 3. Bailey also guested on jazz group Fourplay's 1991 self-titled debut album, Ronnie Laws' 1992 LP Deep Soul, George Duke's 1992 LP Snapshot and Fourplay's 1993 sophomore album Between the Sheets.

Bailey then featured on Chante Moore's 1994 album A Love Supreme, Keiko Matsui's 1994 LP Doll, George Duke's 2000 album Cool, Boney James's 2006 LP Shine, Deniece Williams' 2007 album Love Niecy Style and Gerald Albright's 2008 LP Sax for Stax.

Bailey sung uncredited vocals on Travis Scott's "STOP TRYING TO BE GOD" from his 2018 album Astroworld. The song also features fellow musicians Stevie Wonder and Kid Cudi.

On screen

Bailey appeared in an episode of the TV show Matlock in the role of Pvt. Bobby Thomas. He also played a soldier in the 1987 feature film Full Metal Jacket.

On October 27, 2007, Bailey sang "God Bless America" during the seventh-inning stretch in Game 3 of the 2007 World Series held at Coors Field, Denver, Colorado. This was the first World Series game that was ever played in his hometown of Denver. He also threw out the ceremonial first pitch on June 30, 2012 in an MLB game between the Tampa Bay Rays and the Detroit Tigers held at Tropicana Field, St. Petersburg, Florida.

Personal life

Bailey is currently married to singer/ songwriter, Valerie Bailey (née Davis), who has worked with Whitney Houston and Celine Dion.Bailey is the father of seven children, one of whom is Pili Bailey, the daughter of Jeanette Hutchinson of the R&B hit group The Emotions. His son, Philip Doron Bailey, is also a member of Earth Wind & Fire.

Accolades

Grammy Awards

The Grammy Awards are awarded annually by the National Academy of Recording Arts and Sciences. Bailey has received one award out of four solo nominations.

[prettyinnoise]

Roxy Music – For Your Pleasure (Half Speed Master) (LP) (01.04.2022)

Roxy Music – For Your Pleasure (Half Speed Master) (LP) (01.04.2022)

Arriving seemingly perfectly formed from nowhere, Roxy Music’s self-titled debut instantly propelled the band into the affections of both the music-buying public and the serious music press – no mean feat in 1972. Frontman Bryan Ferry’s lyrical evocations of romance and glamour, pop-art references and allusions to both old Hollywood and future shock sci-fi came showcased against an eclectic and…

[viralnewstime]

You often hear songwriters say that once their work is made available for public consumption, it’s theirs no longer. This isn’t a matter of rights ownership, but rather one of subjective significance as the writer’s personal intentions are trumped by the multiplicity of listener interpretations.

The hit-heavy catalogue of Elton John epitomises this phenomenon. Rarely do Sir Elton’s songs feel solipsistic or inward looking; conversely, they’re designed to engage the public imagination.

John is a songwriter’s songwriter – he trained at the Royal Academy of Music and his early admirers included Bob Dylan and John Lennon – but he also writes pop music in the truest sense, combining captivating narratives with belting sing-alongs that appeal to both young and old, aesthetes and laypeople.

John emerged at the tail end of the 1960s in the dying light of Beatlemania and on the cusp of glam and prog rock. His songwriting over the ensuing decade bore shades of these sounds while also encompassing orchestral soft rock, singer-songwriter balladry and yacht rock.

Working hand-in-hand with lyricist Bernie Taupin, John worked at a maniacal pace through the 1970s and ‘80s. His debut album Empty Sky arrived in 1969 while his fifth LP – and first of seven consecutive US number ones – Honky Château came fewer than three years later. By 1989 he’d made 22 studio albums and he reached 30 with his latest, 2016’s Wonderful Crazy Night.

Not all of these LPs are enduring classics, but every John and Taupin collaboration between 1970 and 1983 yielded at least a couple of monster singles, scores of which continue to occupy prime real estate in the collective consciousness.

John is currently midway through his ‘Farewell Yellow Brick Road World Tour’, which takes residence in Australia between November 2019 and March 2020. Ahead of the visit, we’ve rounded up 10 essential Elton John originals. (NB, this list could be quadrupled in number and we still wouldn’t have run out of quality material.)

–

I’m Still Standing, Too Low For Zero (1983)

It’s difficult to separate one’s perception of this song from its beachside music video shot on the French Riviera. Elton John was a flamboyant megastar – as big and bold as the world has ever seen – but he was still a nerdy West Londoner at heart.

The video is endearing for just how much of dag John shows himself to be, but the song’s driving groove and defiant lyrics can’t be faulted. Melodies burst through the seams of ‘I’m Still Standing’ as John kicks back against music industry sycophants and the perils of alcohol and drug abuse.

Don’t Let the Sun Go Down On Me, Caribou (1974)

John’s long time producer Gus Dudgeon – who oversaw the ecstatic ten album run that lasted from 1970’s Elton John to Blue Moves in 1976 – described the Caribou LP as “a piece of crap,” with lousy production and songs that are “nowhere.”

Dudgeon must’ve had an axe to grind for other reasons, because the mere presence of ‘Don’t Let the Sun Go Down On Me’ warrants the album praise.

The song, a cresting power ballad that exposes stark insecurities and a hopeless need to be loved, had three lives. First as a top ten single in 1974, then as duet performed by John and George Michael at Live Aid 1985. But it’s greatest success came when a recording of the pair’s performance from Wembley Arena in 1991 dominated the US, UK and ARIA charts in ’91-‘92.

Tiny Dancer, Madman Across the Water (1971)

In John’s own words, ‘Tiny Dancer’ has a “very cinematic, California in the early-‘70s lyric.” It’s home to one of the great anthemic choruses in the rock and pop canon, but listeners are made to wait for its arrival. Two verses and a bridge precede the first chorus, which could explain why ‘Tiny Dancer’ made only a moderation impression on the charts.

“Writing a song like that is a bit like having a wank,” John recently told The Guardian. “You want the climax to be good, but you don’t want it to be over too quickly.”

Funeral For a Friend/Love Lies Bleeding, Goodbye Yellow Brick Road (1973)

This 11-minute mini opera opens Goodbye Yellow Brick Road, which is comfortably John’s album-length opus. It’s two separate pieces, essentially, stapled together because… well it was the ‘70s.

‘Funeral For a Friend’ is an instrumental piece inspired by John’s musings on the music he’d like played at his funeral. ‘Love Lies Bleeding’ is the real gem, though, a glam rock stomper that’d confidently give the Spiders From Mars a run for their money.

Davey Johnstone’s sizzling lead guitar riff channels the best of Mick Ronson while John sings with a sort of cavalier abandon about a ruined relationship.

Bennie and the Jets, Goodbye Yellow Brick Road (1973)

A surreal feeling runs through ‘Bennie and the Jets’ due to the addition of applause and other audience sounds to its studio recording. Canned laughter might long have been a feature of comedy TV shows, but it was an oddity on serious-minded albums.

Something else that distinguishes ‘Bennie’ (which is sometimes written as ‘Benny & the Jets’) is the closely cropped band arrangement. John was always a heterogeneous songwriter, but ‘Bennie’ is a novelty for placing emphasis on precision and dynamic subtlety.

This unique characteristic encouraged A Tribe Called Quest to sample ‘Bennie’ on 2016’s ‘Solid Wall of Sound’, for which John added extra piano and backing vocals.

I Guess That’s Why They Call It the Blues, Too Low For Zero (1983)

1983’s Too Low For Zero was a return to form for John after a quintet of lacklustre albums that delivered not a hit between them – the 1979 disco misfire, Victim of Love, being the biggest clanger of the lot.

Not only was Too Low John and Taupin’s first full-length collaboration since Blue Moves, but it also saw the return of John’s early-70s backing band, including guitarist Johnstone who co-wrote ‘Blues’.

With Pretenders and Roxy Music-producer Chris Thomas behind the boards, ‘Blues’ is an elegant ballad that’s become a singer-songwriter standard. In John’s own reckoning, “it’s timeless.”

Crocodile Rock, Don’t Shoot Me I’m Only the Piano Player (1973)

For school children around the world, ‘Crocodile Rock’ is their introduction to Elton John. Though, the singer’s name is largely irrelevant – it’s the hysterical lead vocal melody and ‘50s rock’n’roll spirit that draws them in, giving the song a cartoon-like quality.

But despite its adoption by the under-10s audience, ‘Crocodile Rock’ stands up as quality pop song. And while it doesn’t acutely represent John’s oeuvre, it exemplifies the chameleonic adaptability of his early-‘70s period.

Border Song, Elton John (1970)

Aretha Franklin selected ‘Border Song’ to close her 1972 LP, Young, Gifted and Black, which is one of the finest entries in the Queen of Soul’s back catalogue. You can see why – John’s original is an overt attempt at a soul spiritual.

A chorus of voices fortifies the song’s two main lyrical hooks: “Holy Moses, I have been deceived,” and “He’s my brother, let us live in peace.” The latter line caps off a verse-long plea for racial harmony, which could’ve factored into Franklin’s adoption of the song.

‘Border Song’ was the first single from John’s second album and the first to land on a chart anywhere in the world. Its commercial fortunes were surpassed by the album’s next single, ‘Your Song’, but ‘Border Song’ illustrates the scope of John’s creative appetite before the onset of pop stardom.

Don’t Go Breaking My Heart feat. Kiki Dee, Single (1976)

‘Don’t Go Breaking My Heart’ is a slick soft rock duet that drips with melody. Although not widely recognised outside of her work with Sir Elton, Kiki Dee proves a fantastic offsider, giving the song a family friendly playfulness.

‘Don’t Go…’ is reputed to be an homage to the classic Motown duets, but it bears as much semblance to contemporaneous acts like Steely Dan and the Doobie Brothers. It’s devoid of irony, however, and eschews any unnecessary musical extravagance to keep attention fixed squarely on the duetting vocalists.

Rocket Man (I Think It’s Going to Be a Long, Long Time), Honky Château (1972)

Thrumming acoustic guitars and a lyric about feeling lonely up in space? Stop me if you’ve heard this one before. But irrespective of the ‘Space Oddity’ parallels, the gambit worked and ‘Rocket Man’ became John’s first veritable global hit.

To add another layer of similitude, John’s producer Gus Dudgeon also handled Bowie’s 1969 breakthrough single. ‘Rocket Man’ is not much interested in musical quirk, however, and the easy-going melodiousness makes for a hopelessly infectious concert sing-along.

– Elton John kicks off his absolutely massive ‘Farewell Yellow Brick Road Tour’ tomorrow night in Perth.

The post Elton John: 10 Essential Tracks appeared first on Music Feeds.

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[lambfans]

Roxy Music Plan Massive 45th Anniversary Reissue of Debut LP

Art rock pioneers Roxy Music will revisit their 1972 self-titled debut album in early 2018 with a 45th anniversary reissue packed with unreleased demos, outtakes, radio sessions and more.

Roxy Music: 45th Anniversary Edition will arrive February 2nd

This article originally appeared on www.rollingstone.com: Roxy Music Plan Massive 45th Anniversary Reissue of Debut LP

via a http://ift.tt/2jvmF7N

[ebonynightclubblog]

Roxy Music Plan Massive 45th Anniversary Reissue of Debut LP

[Ebony Nightclub] Rolling Stone Music News: Art rock pioneers Roxy Music will revisit their 1972 self-titled debut album in early 2018 with a 45th anniversary reissue packed with unreleased demos, outtakes, radio sessions and more. Roxy Music: 45th Anniversary Edition will arrive February 2nd This article originally appeared on www.rollingstone.com: Roxy Music Plan Massive 45th Anniversary Reissue of Debut LP http://dlvr.it/Q50bk8 #RollingStone #MusicNews

[howardmackenzie75]

Roxy Music Plan Massive 45th Anniversary Reissue of Debut LP

Art rock pioneers Roxy Music will revisit their 1972 self-titled debut album in early 2018 with a 45th anniversary reissue packed with unreleased demos, outtakes, radio sessions and more.

Roxy Music: 45th Anniversary Edition will arrive February 2nd

This article originally appeared on www.rollingstone.com: Roxy Music Plan Massive 45th Anniversary Reissue of Debut LP

from Rolling Stone Latest Sports and Music and Movies and Politics and Culture News http://www.rollingstone.com/music/news/roxy-music-plan-massive-45th-anniversary-reissue-of-debut-lp-w513650

[savage-kult-of-gorthaur]

THE GROUP'S ARTY PENCHANT FOR RETRO GLAMOUR STARTS HERE.

PIC(S) INFO: Spotlight on a photo-session/photo-dump of ROXY MUSIC cover-girl/model Kari-Ann Muller posing for RM'S self-titled 1972 debut album sleeve art. 📸: Karl Stoecker.

SLEEVE ART OVERVIEW: "Cornwall-born Kari-Ann Muller was a former Bond girl (she appeared in "On Her Majesty’s Secret Service") paid a scant £20 to appear on the cover of "Roxy Music" – a steal for the then-unknown band, whose debut album would go on to define 70s art-rock. Evoking classic glamour shots of the '40s and '50s, the "Roxy Music" artwork set the template for all future Roxy Music album covers, though Muller would retire from modeling in order to become a yoga teacher. She retains ties to the rock world, however, as she married Chris Jagger, whose brother has fronted a popular beat combo since the '60s."

-- U DISCOVER MUSIC, "Beauty Queens: the Stories Behind Roxy Music’s Album Covers," by Jason Draper, c. September 2022

Sources: https://twitter.com/dark_shark/status/953525448411037697 & www.udiscovermusic.com/stories/beauty-queens-behind-roxy-musics-artwork.

[savage-kult-of-gorthaur]

"THE CLOTHES WE WERE WEARING AT THAT TIME WOULD HAVE PUT OFF QUITE A LARGE CHUNK OF PEOPLE."

PIC INFO: Spotlight on a quiffed-up Bryan Ferry, singer-songwriter of English glam rock/art pop band ROXY MUSIC, as he appeared inside the gatefold to their 1972 self-titled debut LP. 📸: Karl Stoecker.

“The clothes we were wearing at that time would have put off quite a large chunk of people. What I liked about the American bands, the Stax label and Motown, they were into presentation and show business, mohair suits, quite slick. And the cover art, I thought of all the American pop culture icons, Marilyn Monroe: selling cigarettes or beer with a glamorous image. But it was a bit off-kilter as well; there was something a bit strange about it, futuristic as well as retro. All that, instead of a picture of the band, in a dreary street, looking rather sullen. Which was the norm.”

-- BRYAN FERRY to the Guardian, "Bryan Ferry on how ROXY MUSIC invented art pop: "We were game for anything," February 2018

Source: www.theguardian.com/music/2018/feb/01/bryan-ferry-roxy-music-invented-new-pop-game-for-anything.

[prettyinnoise]

Roxy Music – Roxy Music (Half Speed Master) (LP) (01.04.2022)

Roxy Music – Roxy Music (Half Speed Master) (LP) (01.04.2022)

Arriving seemingly perfectly formed from nowhere, Roxy Music’s self-titled debut instantly propelled the band into the affections of both the music-buying public and the serious music press – no mean feat in 1972. Frontman Bryan Ferry’s lyrical evocations of romance and glamour, pop-art references and allusions to both old Hollywood and future shock sci-fi came showcased against an eclectic and…

[julio-viernes]

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El 16 de junio de 1972 salió a la venta uno de los discos que cambiaría la música británica de los dos siguientes lustros. “Roxy Music” llegaba a las tiendas con su magnífica portada gatefold retro 50´s inmaculadamente laminada con la modelo Kari-Ann Muller, en extraña pose, como protagonista.

Roxy Music fue de algún modo el grupo que se esperaba para acompañar las aventuras innovadoras y glam de David Bowie, una vez creado el subgénero por Marc Bolan, el verdadero rey del glam rock.

Ahora se anuncia una reedición a todo meter para el 2 de febrero de aquel histórico álbum: “Roxy Music: 45th Anniversary Edition”, una box set de lujo con 3 CDs y un DVD con toda clase de demos, outtakes, sesiones de radio y viejos videoclips, además de un generoso libro de 136 páginas >>>

[julio-viernes]

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La canción que tituló el tercer álbum de Ohio Players, y segundo de su imponente serie “Pain”, “Pleasure”, “Ecstasy”, “Climax” etc publicada entre 1972 y 1974, la que les puso en órbita, en la élite de la música funk americana contemporánea tras un LP de debut no demasiado afortunado. Como casi siempre, Pat Evans en portada. Glamour sexy, como unos explícitos Roxy Music.