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4.6 out of 5 stars
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4.6 out of 5 stars
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on 31 May 2012
This debut album is a good as any, and laid down the foundations of art rock, with searing electric guitar, vibrato voiced clever lyrics, oboes and saxophones, and electronic noises and treatments not heard before , all mixed together, creating one of the most original sounds of popular music. This is Roxy Music at its raw, unpolished best, a complete juxtaposition to the more familiar slick West Coast sounds of their Eighties work. And its none the worse for that. Made with very little money Ferry wanted a definitive look and used his designer, and art friends, to come up with an album cover which looks more like an established bands cover, an arrogance born from confidence, seen by many at the time as pompous, but paved the way for the Roxy image we are now used to. You get a sense of the energy within the band, its eagerness to impress the Roxy Music style on the listener, the dam that is about to burst with creativity. The songs are constructed with little regard to convention, combining 50s rock and roll beats with heavy 70s guitar riffs, jazz influenced oboe twitterings, and Eno just starting to get to grips with electronics, tapes, and a very early synth, whilst trying to live produce the bands sound. Ferry starts his career on this album with lyrics which are cleverly put together, setting scenes, creating moods, cutting comments, wit, sadness, his journey to find his lusted after fame and fortune style, whether in Bel Air or on an English country estate, starts here. This band created their image, wrote their music and lyrics, and could all play exceptionally well, which is incomprehensible to the young x factor audience of today. They don't know what they are missing!
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on 20 June 2017
Roxy's first album really good,before they became MOR
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on 22 May 2017
I've given this 5 stars, just because of this superb ground breaking debut album.
Still blows me away now at 59 the same as when I was 15.
Can't blame Amazon for the state of the vinyl, returns are so easy it's really not a problem
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on 24 January 2016
My absolute favourite Roxy Music album,arrived in good time in very good condition, as advertised and I couldn't be happier.
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on 10 November 2015
Roxy's debut album, released in 1972, is full of fascinating ideas although, as other reviewers have suggested, it isn't until the release of 'For Your Pleasure' that Ferry & Co. really hit the ground running in terms of nailing a great album. Even so, there are some fascinating tracks here including the likes of 'Re-Make/Re-Model', 'Ladytron', 'If There Is Something' and the classic 'Virginia Plain' (magnificently restored to the running order despite only featuring on the US version originally). This is definitely worth buying although the sheer quirkiness of the material may well come as a shock to fans of Roxy's later, more commercial output.
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on 16 March 2017
A great album, but is there a way of getting a CD of this without 'Virginia Plain' shoehorned into it? Nothing against 'Virginia Plain' (I've always loved it), but it wasn't on this album originally and spoils the flow of the music (different producer, different bass guitarist, different recording studio, different atmosphere, not really an 'album track'). I can understand why it was put on (to sell more copies by jamming a hit single in there), but it really spoils things for me. Does anyone else feel this way? That's it!
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on 7 April 2016
awesome.an absolute must for all Roxy fans . awesome awesome .
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TOP 500 REVIEWERon 5 April 2013
I was recently reading the sleeve notes of the remastered version of Wire's classic debut album Pink Flag which (for me, rather fancifully) claimed that (along with the Velvet Underground - more justified) these two bands had been the most successful at fusing art and rock. In my view, perhaps a more justified band to share the 'podium' with the Velvets would have been Roxy Music, and in particular the band in the (musical) incarnation they portrayed on this most innovative of debut albums. As it happens, I have always regarded the follow-up, For Your Pleasure, as the band's ultimate masterpiece - for me, whilst Virginia Plain - included on the US version - Re-make Re-model, Ladytron and Sea Breezes might get close, there is nothing on this debut to match the likes of Beauty Queen, Editions Of You, In Every Dream Home A Heartache or Grey Lagoons from the later album. That said, this debut, on which the influence of Eno is at its greatest, is still an outstandingly creative piece of work.

It is probably not appropriate to describe anything on Roxy's debut as 'conventional', but we probably get closest on Ferry's dedication to Humphrey Bogart, 2 H.B., on which Washington's (that's the Geordie one) finest sounds at his most sultry, on Chance Meeting, which continues the cinematic theme, the song being inspired by the David Lean film Brief Encounter, and finally on the superb doo-wop-inspired Bitter's End, whose angostura-linked theme provides a nicely poignant (and ironic) close to the album.

At the other musical extreme we have three mini-epic, multi-sectioned songs. For me, probably the least successful of the three is The Bob, whose Battle of Britain theme (sound effects and all) is enhanced by some typically eccentric playing from Eno and Andy Mackay. If There Is Something also provides a whole plethora of musical styles (from country, honky tonk to power ballad) seamlessly transitioned, and overlaid with some superb Mackay sax and a heartfelt slice of Ferry vibrato in the song's concluding instrumental exposition. At seven minutes duration, Sea Breezes is, for me, the album's piece de resistance, with a sublime Ferry vocal, Mackay's oboe and wafting wave sounds bookending a middle section of extemporisation by Messrs. Eno, Mackay, Manzanera and Thompson (with the latter's drums unusually to the fore).

Otherwise, we have, of course, the classic rocking Re-make Re-model on which Ferry romantically yearns for the driver of registration CPL 593H, accompanied by Eno's extravagant pyrotechnics, the superb Mackay oboe solo (plus Manzanera's guitar) on the similarly romantic Ladytron, the excellent Would You Believe? on which Ferry's delightful falsetto crooning is followed by a full-on (should that be glam?) rocker, and finally the aforesaid Virginia Plain, one of the band's absolute finest and peppered with some of Ferry's most witty, poetic and referential lyrics.

A must-have album.
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on 29 November 2012
Some Roxy afficianados seem to delight in polarizing the fact that they loved early Roxy but never liked the later stuff. Personally, and I am probably in a small minority here, but I like all phases of the best group that I have ever heard. All of their diverse albums cater to the diversity of taste, mood and experimental enjoyment. To me, the music without the lyrics would be worth having alone as the sounds puts images through the mind like an arthouse movie. With Bryan Ferry's lyrics and voice an added component takes the listener into another dimensional journey. What each listener makes of this musical lyrical mix is up to each individual. Take away the much followed prejudice of "the earlier albums were great but not the latter" and dare yourself not to follow that cliche, you may find you enjoy ALL the Roxy albums. Yes, of course you will still have preferences, but hopefully people who are guilty of that lazy cliche can listen again without polarizing the start and end of the Roxy back catalogue.

The title of my review is something I remember reading years ago about the way Mr Ferry looked physically at some early gigs. He went on to become a singer/songwriter genius and this debut album was just the start.
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on 23 February 2012
Occupying their own curious space, wedged between Glam and Prog, this is a truly timeless album in which any listener can hear the raw core of so many 'Alternative' bands of today.

Eno's 'treatments' ingeniously tone themselves with Ferry's brash foppish delivery while all the instrumentation (whatever you may make of the production values) is frenetic yet together - the whole baby is one big paid-off risk. It audaciously announces itself. There is Punk in 'Re-make / Re-model' yet lush delight in 'Sea Breezes'.

As with all true rock'n'roll this album, more than any I own, has a transgressive confidence - joy even - driving right through it.They are right and they are here.

How did they end up making pop?
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