01	Re-Make/Re-Model						05:13
	02	Ladytron						04:25
	03	If There Is Something						06:34
	04	Virginia Plain						02:59
	05	2 H.B.						04:34
	06	The Bob						05:48
	07	Chance Meeting						03:08
	08	Would You Believe						03:57
	09	Sea Breezes						07:01
	10	Bitters End						02:02

Roxy Music
March 1972
The album that started it all with it's lavish sleeve, synthesized swirls and 50's doo wop. This made a huge impact on the music scene in 1972 and is seen as one of the most exciting and innovative debut albums ever.

This was Roxy Music's 1st album which was released March 1972 and reached number 10 in the UK album charts.

After the success of the album, Roxy went into the studio to record their first single Virginia Plain. This was included on the American pressings of the album. The first CD issue in 1984 included Virginia Plain. The mini LP style remasters released in 1999 kept to the original vinyl release by not having Virginia Plain, though it was included on the Jewel Case re-master.


Songs:
Re-make/Re-model
Ladytron
If There Is Something
2HB
The Bob (Medley)
Chance Meeting
Would You Believe?
Sea Breezes
Bitters End

Musicians:
Bryan Ferry Voice & Piano.
Phil Manzanera Guitar.
Graham Simpson Bass Guitar.
Andy MacKay Oboe & Saxaphone.
Eno Synthesiser & Tapes.
Paul Thompson Drums.

Andy Erikson Engineer.
Peter Sinfield Producer.
Bryan Ferry Cover Concept.
Nicholas de Ville Art.
C.C.S. Artwork.
Antony Price Clothes, make-up & hair.
Kari-Ann Cover Girl.
Smile Hair.
McInnes Laboratories & Turner Equipment.
Wragg Transport.
Susie. Album Dedicated To Her.
Simon Puxley Sleeve notes.
Antony Price Clothes, make-up & hair.

Bob C. Ludwig Remastered The 1999 Remaster Edition
Gateway Studios Portland Maine 1999 Remaster
Jim Lawn Information Service On The Jewel Case Re-master 1999



Roxy Music
Formed 1971
Disbanded 1983
Group Members Eddie Jobson Paul Carrack Bryan Ferry Phil Manzanera Jimmy Maelen Roger Bunn Brian Eno John Gustafson Neil Hubbard Rik Kenton Andy Mackay Andy Newmark Davy O'List John Porter Graham Simpson Alan Spenner Paul Thompson Gary Tibbs Dexter Lloyd Paul Thompson

by Stephen Thomas Erlewine

Evolving from the late-'60s art-rock movement, Roxy Music had a fascination with fashion, glamour, cinema, pop art, and the avant-garde, which separated the band from their contemporaries. Dressed in bizarre, stylish costumes, the group played a defiantly experimental variation of art-rock which vascillated between avant-rock and sleek pop hooks. During the early '70s, the group was driven by the creative tension between Bryan Ferry and Brian Eno, who each pulled the band in separate directions: Ferry had a fondness for American soul and Beatlesque art-pop, while Eno was intrigued by deconstructing rock with amateurish experimentalism inspired by the Velvet Underground. This incarnation of Roxy Music may have only recorded two albums, but it inspired a legion of imitators - not only the glam-rockers of the early '70s, but art-rockers and new wave pop groups of the late '70s. Following Eno's departure, Roxy Music continued with its arty inclinations for a few albums before gradually working in elements of disco and soul. Within a few years, the group had developed a sophisticated, seductive soul-pop that relied on Ferry's stylish crooning. By the early '80s, the group had developed into a vehicle for Ferry, so it was no surprise that he disbanded the group at the height of its commercial success in the early '80s to pursue a solo career.
The son of a coal miner, Bryan Ferry (vocals, keyboards) had studied art with Richard Hamilton at the University of Newcastle before forming Roxy Music in 1971. While at university, he sang in rock bands, joining the R&B group the Gas Board, which also featured bassist Graham Simpson. Ferry and Simpson decided to form their own band toward the end of 1970, eventually recruiting Andy Mackay (saxophone), who had previously played oboe with the London Symphony Orchestra. Through Mackay, Brian Eno joined the band. By the summer of 1971, the group - which was originally called Roxy, but a name change was necessary after the discovery of an American band called Roxy - had recruited classical percussionist Dexter Lloyd and guitarist Roger Bunn through an ad in Melody Maker; both musicians left within a month, but they did record the group's initial demos. Another ad was placed in Melody Maker, and this time the group landed drummer Paul Thompson and guitarist Davy O'List, who had previously played with the Nice. O'List left by the beginning of 1972 and was replaced by Phil Manzanera, a former member of Quiet Sun. Prior to recording their first album, Simpson left the band. Roxy Music never replaced him permanently; instead, they hired new bassists for each record and tour, beginning with Rik Kenton, who appeared on their eponymous debut for Island Records.

Produced by Peter Sinfield of King Crimson, Roxy Music climbed into the British Top Ten in the summer of 1972; shortly afterward, the non-LP single "Virginia Plain" rocketed into the British Top Ten, followed by the non-LP "Pyjamarama" in early 1973. While Roxy Music had become a sensation in England and Europe due to their clever amalgamation of high and kitsch culture, they had trouble getting a foothold in the United States. Both Roxy Music and the group's second album, 1973's For Your Pleasure, which was recorded with bassist John Porter, were greeted with enthusiasm in the U.K., but virtually ignored in the U.S. Frustrated with Ferry's refusal to record his compositions, Eno left the band after the completion of For Your Pleasure. Before recording the third Roxy Music album, Ferry released a solo album, These Foolish Things, which was comprised of pop/rock covers.

Released in December of 1973, Stranded became the band's first number one album in the U.K. Stranded was recorded with new Roxy member Eddie Jobson, a multi-instrumentalist who previously played with Curved Air; it was also the first record to feature writing credits for Manzanera and Mackay. The album received a warmer reception in the U.S. than its two predecessors, setting the stage for the breakthrough of Country Life in late 1974. Sporting a controversial cover of two models dressed in see-through lingerie - the cover was banned in several stores, and it was eventually replaced with a photo of a forest in the U.S. - Country Life was the first Roxy album to break the U.S. Top 40 and became their fourth British Top Ten album. Following a tour with bassist John Wetton, the group recorded Siren. Featuring their first American Top 40 hit, the disco-flavored "Love Is the Drug," Siren was another British Top Ten hit; in the U.S., it was moderate hit, peaking at number 50. Following the tour for Siren, the band members began working on solo projects - Manzanera formed the prog-rock group 801, and Mackay and Ferry both began recording solo albums - and announced in the summer of 1976 that they were temporarily breaking up. The live album Viva! Roxy Music was released shortly after the announcement of the group's hiatus.

Roxy Music regrouped in the fall of 1978 after spending 18 months on solo projects. Ferry, Manzanera, Mackay and Thompson added former Ace keyboardist Paul Carrack to the band's lineup and hired Gary Tibbs, formerly of the Vibrators, and ex-Kokomo Alan Spenner as studio bassists; Jobson and Wetton, who were not asked to rejoin the band, formed UK. Roxy Music's comeback effort, Manifesto, was released in the spring of 1979, and it boasted a sleek, disco-influenced soul-pop sound that was markedly different from and more accessible than their earlier records. Manifesto confirmed their British popularity, reaching the Top Ten, and became their highest-charting U.S. record, peaking at number 23 on the strength of the single "Dance Away." Roxy Music supported the album with an international tour that featured Carrack and Tibbs; prior to the tour's start, Thompson left the band after breaking his thumb in a motorcycle accident. Flesh + Blood, the follow-up to Manifesto, was recorded just by Ferry, Manzanera and Mackay, and a host of studio musicians. Released in the summer of 1980, Flesh + Blood became Roxy's second British number one album on the strength of the Top Ten single "Over You"; in America, the album reached the American Top 40. In the spring of 1981, the band's non-LP cover of John Lennon's "Jealous Guy," recorded as a tribute to the slain singer, became the group's only British number one single.

Nearly two years after the release of Flesh + Blood, Roxy Music returned in the summer of 1982 with Avalon. Marking a new level in the group's production and musical sophistication, Avalon became their biggest album, spending three weeks at the top of the British charts and 27 on the U.S. charts, generating the British hits "More Than This" and "Take a Chance With Me." It became the group's only American gold album, and over the years, it worked its way to platinum status. Following a successful supporting tour for Avalon, the group released the live EP Musique/The High Road in the spring of 1983. The Avalon tour turned out to be Roxy Music's final activity as a group. Ferry began to concentrate on his solo career, beginning with 1985's Boys and Girls. Manzanera and Mackay formed a band called the Explorers in 1985; the pair would record under a variety of guises, as well as pursue solo careers, over the next 15 years. The compilation Street Life: 20 Great Hits, which also featured Ferry solo hits, was released in 1989. A year later, Heart Still Beating, a live album documenting a 1982 concert, was released.


1972 Roxy Music Virgin
1973 For Your Pleasure Virgin
1973 Stranded Virgin
1974 Country Life Virgin
1975 Siren EG Music
1976 Viva! Virgin
1979 Manifesto Virgin
1980 Flesh + Blood Virgin
1982 Avalon Virgin
1990 Heart Still Beating [live] Virgin
2000 Valentine [live] NMC
2001 Concerto [live] Pilot
2002 Reflection NMC
2003 Live Eagle (Red)
Viva Roxy Music! The Live Roxy Music Album Atco

1977 Greatest Hits Atco
1978 The Ultimate Collection EG-Virgin
1981 First 7 albums [Box Set] EG x
1983 Atlantic Years (1973-1980) Atco
1986 Street Life: 20 Greatest Hits Reprise
1989 The Early Years EG
1989 The Later Years EG
1995 Thrill of It All Virgin x
1995 Manifesto/Flesh + Blood/Avalon Virgin
2001 The Best of Roxy Music Virgin
2001 Vintage Import
2002 Ladytron [live] Import



Roxy Music
Date of Release 1972

Falling halfway between musical primitivism and art-rock ambition, Roxy Music's eponymous debut remains a startling redefinition of rock's boundaries. Simultaneously embracing kitschy glamour and avant-pop, Roxy Music shimmers with seductive style and pulsates with disturbing synthetic textures. Although no musician demonstrates much technical skill at this point, they are driven by boundless imagination - Brian Eno's synthesized "treatments" exploit electronic instruments as electronics, instead of trying to shoehorn them into conventional acoustic patterns. Similarly, Bryan Ferry finds that his vampiric croon is at its most effective when it twists conventional melodies, Phil Manzanera's guitar is terse and unpredictable, while Andy Mackay's saxophone subverts rock & roll cliches by alternating R&B honking with atonal flourishes. But what makes Roxy Music such a confident, astonishing debut is how these primitive avant-garde tendencies are married to full-fledged songs, whether it's the free-form, structure-bending "Remake/Remodel" or the sleek glam of "Virginia Plain," the debut single added to later editions of the album. That was the trick that elevated Roxy Music from an art-school project to the most adventurous rock band of the early '70s. - Stephen Thomas Erlewine

1. Re-Make/Re-Model (Ferry) - 5:14
2. Ladytron (Ferry) - 4:26
3. If There Is Something (Ferry) - 6:34
4. Virginia Plain (Ferry) - 2:58
5. 2HB (Ferry) - 4:30
6. The Bob [medley] (Ferry) - 5:48
7. Chance Meeting (Ferry) - 3:08
8. Would You Believe (Ferry) - 3:53
9. Sea Breezes (Ferry) - 7:03
10. Bitter's End (Ferry) - 2:03

Bryan Ferry - Piano, Keyboards, Vocals, Art Direction, Cover Art Concept
Phil Manzanera - Guitar
Brian Eno - Synthesizer, Keyboards, Tape, Tapes
Rik Kenton - Guitar (Bass)
Andy Mackay - Oboe, Saxophone
Roxy Music - Arranger
Graham Simpson - Bass, Guitar (Bass)
Peter Sinfield - Producer
Paul Thompson - Drums
Andy Hendriksen - Engineer
Andy Henderson - Engineer
Anthony Price - Make-Up, Stylist, Wardrobe
Nicholas Deville - Artwork
Karl Stoecker - Photography
Wragg - Transportation

2000 CD Virgin 47447
CD Reprise 2-26039
197- LP Reprise 2114
CS Reprise 4-26039
2000 CD EMI 847448





Re-Make/Re-Model
Composed By Bryan Ferry
Performed By Roxy Music

AMG REVIEW: The opening track on Roxy Music's eponymous debut album is also one of the most bizarre love songs ever written. Opening with the building rumble of a distant party, it explodes into life on freak guitar and freakier electronics, while Bryan Ferry half-sings, half-machine-guns an ode to "the sweetest queen I've ever seen" - a young lady whose name, oddly enough, is an early '70s British automobile license plate, CPL 593H.
"Remake/Remodel" was a remarkable highlight of Roxy's second BBC radio session in May 1972, stunning viewers with a protracted ending which allowed every instrumentalist in the band to take his own, so distinctive solo. The LP version replicates this phenomenal finale over close to three minutes of the song's nearly six-minute running time.

A shorter, and somewhat less dramatic re-recording by Ferry alone was included on his 1976 Chance Meeting collection. - Dave Thompson



Ladytron
Composed By Bryan Ferry
Performed By Roxy Music

AMG REVIEW: Of all the masterpieces that comprise the first Roxy Music album, few (the America-only "Virginia Plain" included) match "Ladytron" for delineating the territory which the band would dominate from now on, a profoundly worded, perfectly played, and atmospherically virtuoso art-Reich in which every single instrument was a featured star and, even in the depths of melody, each could take a solo.
A delicious love song, introducing both the smooth crooning tones that would swiftly become Bryan Ferry's trademark, and the almost casual misogyny which so calculatedly contradicted his image as the ultimate lady's man, "Ladytron" swerves between sweet gentility and wild improvisation - its fadeout is as apocalyptic as any in the band's catalog. A version performed on TV's Old Grey Whistle Test that summer closes with a Brian Eno solo spot which has to be heard to be believed.

To be filed under rock's greatest myths, meanwhile, is the rumor that no less a personage than David Bowie recorded a version of the song for possible inclusion on 1973's Pin Ups album - a journalist visiting the sessions spotted the sheet music lying in the studio. Unfortunately, it appears to have been a red herring; Mick Ronson was later adamant that they never even looked at it. But the dream remains delightful all the same. - Dave Thompson




If There Is Something
Composed By Bryan Ferry
Performed By Roxy Music

AMG REVIEW: "If There Is Something" was one of the first Roxy Music songs to be publicly aired, when the band (then featuring guitarist Davy O'List) performed a remarkable 12-minute version on their maiden John Peel radio session in January 1972.
An epic number, looking back at the halcyon days of an impossibly idealistic youth ("the grass was greener when we were young") and unfathomable love ("I would put roses around our door"), the song served notice of the vast instrumental capabilities within what was then a wholly unknown band. Of course, by the time the group included a shorter version on their debut album, in 1972, "Virginia Plain" had already brought them their first hit, and Bryan Ferry and Eno, at least, were as familiar as any pop star of the day. And, while acolytes can complain that the studio version was but a shadow of its broadcast counterpart ( Ferry's vocals are certainly less abandoned), the newly tightened arrangement and the brilliant guitar/oboe interplay is peerless.

"If There Is Something" remained a vital component of Roxy's live set for much of their career. Another excellent rendition appeared on 1976's Viva! live album, while the song was among those exhumed for your pleasure during the band's 2001 reunion tour. - Dave Thompson




Virginia Plain
Composed By Bryan Ferry
Performed By Roxy Music

AMG REVIEW: Roxy Music's first British hit, during summer 1972, remains one of the most distinctively memorable of what was already shaping up to be a remarkable year: David Bowie, Gary Glitter, Elton John, and Alice Cooper all made their mainstream breakthroughs that year, but you took one glance at Roxy, bequeathed space aliens on a Gene Vincent retro rampage, and all bets for the future were off.
"Virginia Plain" itself had its roots in Bryan Ferry's training as an art student - one of his paintings, of Warhol superstar Baby Jane Holzer modeling a pack of cigarettes, shared the same title; the song's lyric, meanwhile, was a pun-packed and utterly fascinating fantasy about life in New York City. Every line is eminently quotable ("just like flamingos look the same,") every chord is exquisitely placed. So it comes as something of a shock to learn that the guitar solo was wholly unpremeditated - Phil Manzanera later claimed to have simply slammed down the first thing that came into his head and, a decade later, confessed that he'd never been able to reproduce it since then!

Absent from U.K. pressings of the band's debut album, "Virginia Plain" was added to the American version and also to early CD reissues on both sides of the Atlantic. It has since disappeared again, but is readily available on a slew of Roxy compilations. As a single, it has charted twice in the U.K., making number four in 1972 and number 11 in 1978. - Dave Thompson





Kari-Ann

Kari-Ann Muller was the cover girl to Roxy Music's first album. She came to London from Cornwall aged 18, and her career was pretty much at its peak when her agent set her up with the Roxy Music shoot. She was the original "Roxy Girl"

From Q Magazine :-
"Bryan saw me doing a fashion show and decided he wanted to use me," recalls Kari Ann Muller, the glamourpuss starlette of Roxy Music's debut album cover. She knew Antony Price, Roxy's designer, and Karl Stoecker, who was taking the photo, "and I thought it would be fun. I got a meagre ?20, as Roxy were unknown at the time, and had no money. Ironic, isn't it, that it would be voted the best record cover of the decade? It always seems to be flashing up on TV for some reason. But it was great watching them being turned from boys next door into superstars."

She loved the album, "especially lyrics like "I would put roses round your door", that kind of stuff, it was so beautiful. I really liked them a lot."

Muller admits the assignment had no drastic effect on her career. She landed parts in the Joan Collins trashflick The Bitch and George Lazenby's only Bond film, On Her Majesty's Secret Service, before giving birth to two boys. She later worked at the Black Theatre Of Brixton where she met Chris "Brother Of Mick" Jagger, now her second husband. She carried on fashion modelling, had two more boys and juggled full-time motherhood with kindergarden teaching and studying yoga.

As for modelling, "I was with the Deja' Vu agency for the glamorous over-forties, but unfortunately that kind of work hasn't caught on." She admits she hasn't looked at the Roxy sleeve for a while, but the memory makes her smile.

The image itself, she explains, was created by herself and Price: "He did the hair and dress and I just got out there and did what I felt. How would I describe it? It was very glamorous, very sexy, or at least I felt that way. "It was very ... ice-creamy, in a way. The colours remind me of a marshmallow, like something really delicious. Fleshy, in a word" Someone to be eaten? "No! I felt like I could eat somebody up myself. I felt strong enough to take someone on."

Kari-Ann eventually gave up modelling and her short-lived acting career. She now lives in Highgate, teaching yoga, with her five sons and her husband of 20 years, who is, Chris Jagger, brother of Mick.