Customer Reviews

Manifesto

5 star:		(6)
4 star:		(11)
3 star:		(5)
2 star:		(3)
1 star:		(1)

 

 

In the span of eight albums, Roxy Music went all over the musical map. They made genre defining, experimental albums (the first two) glorious song cycles ('Stranded' and 'Country Life') two absolutely perfect albums ('Siren' and 'Avalon') one album to overlook (the bland 'Flesh + Blood') and this one, the one everybody forgets about.

And that's too bad, for 'Manifesto' is neither as slick as what would follow or as groundbreaking as what came before. This is understandable, of course, when you realize that this is actually the second manifestation of Roxy, coming four years (and many solo records) after 'Siren.' That said, the first half picks up pretty well from that masterpiece, opening with the minor-chord bass chops of the title track, taking you down the fifties glam lane of "Trash" (which almost sounds like an outtake of their first album) the catchy, wonderful "Angel Eyes" and then the slow-downs of the last two songs. As tends to be the case with Roxy albums, the second side doesn't quite match up, seeming a bit slick at times, but never banal like 'Flesh + Blood.' Plus, Ferry ends the record with "Spin Me Round," one of his most elegant odes.

Much has also been made about Roxy Music becoming little more than a glorified Bryan Ferry backing band with this album, but I would disagree. Both Phil Manzanera and Andy Mackey more than earn their billing, and the album is edgier as a whole than Ferry's solo releases of the time. In short, 'Manifesto' may not be the best (or the worst) Roxy album, but it is worth a spin. A terrific collection deserving of a better place in the Roxy canon.

This is my favorite Roxy Music album. I'm not the most devoted fan, but to me, this record was the best mix of "art" and "commercial" they ever achieved. The early stuff I think can be overindulgent, and the later stuff is a little too laid-back for me. "Manifesto" is a masterful track, just as the title states, it's almost like a document being read aloud, as Bryan's screed goes on, the music continues to intensify--whether or not it's sincere, the "what I believe" thing he has going is affecting to me deep down in some way. I've loved "Angel Eyes" since I first heard it as an LP track featured on my favorite FM station--wonderful elasticity in the guitars, and those ornate touches of harp mixed with scrawking saxophone--inventive and blissfully over the top..."Stronger Through the Years" has the same intensity as the title track--great dense, soupy sound of all those electric instruments chattering away..."Spin Me Round"'s gentle & touching lullaby, "Ain't That So"'s slick and sexy soul...and last but not least "Dance Away" which has one of my favorite pop song sentiments: "Loneliness is a crowded room, full of open hearts turned to stone...all together, all alone..." Breathtaking modulation to the chorus...Excellent all around.

After Siren Roxy called it quits. This strong return showed that the band was more than willing to incorporate new musical styles into their own unique sound.

The last album to feature four of the five original members, Manifesto adds the ingredients of new wave, sythe pop and even disco into the band's art rock sound. The resulting soup is rich and spicy without sacrificing the band's trademark quirky sound.

The dark, swirling vertigo inducing Manifesto, straight ahead rock of Angel Eyes (this newly remastered version features the original song not the disco remix that appeared on later editions and the first CD), funky Ain't That So and delicate Spin Me Round are among the albums stand out tracks. All would have fit in well with any of Roxy's classic songs.

The sound on this edition is spectacular (it was remastered by Bob Ludwig with Bryan Ferry's input using the High Definition Compact Disc system). Ludwig manages to capture the warmth of the original recording without sacrificing the detail inherent in the CD format.

After years of being a Roxy fan and never being able to find a copy of this album, I finally purchased it on vinyl.
I love it.
It puzzles me how every critic basically says its a cow patty.
If you are like me and have read many reviews calling it their disco album (whatever that means..seriously, listen to it)
stop reading and listen...it is definately not the throw away they say it is.

This album is an equal mix of Roxy Music seeking a new direction and, at the same time, reconciling that search with the current music trends that surrounded them. The result is more focused, more assertive, more energetic, more enigmatic, more "Roxy" than "Siren," the previous album. Of course, a three and a half year hiatus allows ample time for reinvention. "Angel Eyes" and "Dance Away" are perhaps the best known tracks here, but the title track is the one that cuts right to the essence of Roxy...the fluid, elastic bass line snakes through the track with a constant air of menace. The lyrics, delivered with classic Bryan Ferry ennui, talk about his penchant for "friendship and plain sailing through frenzied ports o' call..."

Ferry also addresses the "what is life" riddle in definitive fashion when he croons "Hold out when you're in doubt, question what you see, and when you find an answer, bring it home to me..."

That's what really lies at the heart of "Country Life" (or should I say "Street Life"), at least through Roxy Music's filter of perception: You're bored, you're restless, but hey...you LOOK like a million bucks. Dance away, everyone. Just dance away. Nothing wrong with being clueless while you're making a fashion statement.

"...but you blew my mind..." (cue air guitar here)

:-)

This disc would be more beloved if it weren't for the exceptional strength of the Roxy Music catalog. For fans that prefer Roxy Music, the band, over Roxy Music as a Bryan Ferry back-up band, Manifesto is truly primo stuff.

The sound of Manifesto is much, much more varied than the mush that was Avalon. Half of the ten tracks were co-written (4 by Manzanera, 1 by Mackay). Many minor quirks in the sound -- enough to give it that Roxy distinctiveness without calling too much attention to cleverness for its own sake. With few exceptions, these songs just could not have been created by any artists other than Roxy Music. Sometimes it rocks out, other times it sighs. No Roxy devotee should be without it, although it would never be anyone's favorite Roxy effort.

Roxy Music's finest hour is what Manifesto is. The biggest surprise is the original rock'n roll version of "Angel Eyes". This was a big breath of fresh air/sigh of relief to hear a GREAT version of the song after being all too familiar with the lame disco version. As a bass player, this cd is a bassist's dream. Songs like "Stranger Through the Years" are as jazzy as white people can get(which apparently is very jazzy). Almost a decade later, bands like Duran Duran were obviously looking to 'Manifesto' as a template when making such albums as 'Notorious'. I said before and I'll say it again, to every bass guitarists who happen to be reading this review, get this album now, for this is ultimate bass-driven music from Ferry and the boys.

Roxy Music defined the edges of great alternative rock in the 70s. "Manifesto" marks the departure of guitar-laiden earlier LPs toward Ferry's more vocal/rhythmic style which peaked in "Avalon." Although others prefer the pop dance beat of "Angel Eyes," I'm still drawn to the swirling, dark mix of the CD opener, "Manifesto." This cd is a nearly great Roxy effort.

After four years on the sidelines, Roxy Music was greeted with a new musical landscape that was clawing at the fabric of pop culture; in one corner was disco and in the other was punk rock. And Bryan Ferry tackled the lost generation of beautiful people in clubland with an artistic intelligence that leaned heavily on dance grooves in this March 1979 release.

Peaking at #23 on the Billboard Pop Albums chart, the intriguing title track leads into the first single - the powerful, but brief - Trash. Dance Away and Angel Eyes - the second and third singles, respectively - delve deeply into the quest for true love, though the blues can get lost in the rhythms. Ain't That So, Stronger Through the Years and Still Falls the Rain are biting cuts for the flickering lights that signal last call on a very early Sunday morning. Spin Me Round, My Little Girl and Cry, Cry Cry capture the brakes being applied to the wild roller coaster ride of the party that was never going to end.

The nucleus of Ferry (vocals, keyboards), Andy Mackay (sax, oboe), Phil Manzanera (guitars) and Paul Thompson (drums) is supplemented by Alan Spenner and Gary Tibbs (bass), Paul Carrack (keyboards), Richard Tee (piano) and Rick Marotta (drums). Greeted with mixed reviews by critics and fans - the U.S. leg of the Manifesto Tour had tepid ticket sales in a number of venues - it remains an underrated gem in the incredible discography of one of the most influential groups from the 1970s.

This album very nicely has one foot in the older catalog (first five studio albums), and one in the latter period (Flesh+Blood, Avalon). It also still has many of the original band members (Ferry, Manzanera, Mackay, Thompson) to continue the creative and cool sound that is destinctive of the band.

I'd even argue that this is more enjoyable than the preceeding album Siren (which sounds a bit like the band is going through the motions and is a bit uninspired). Manifesto sounds a band ready to try some new things, but not necessarily out of scope or character for the band.

The title track itself is a strange rambling piece that seems to stalk the countryside. Trash is a personal favorite; uptempo and fun, and reminiscent of the very early days of Roxy. Angel Eyes is strong funky song that kind of punches it's way along. Still Falls the Rain is in the classic Roxy Music vein. Other notable tracks are Dance Away (gorgeous song), and the quieter Spin Me Round.

Very nicely done. Good balance. Still creative and origin enough to have a slightly weird edge, but also new and modern enough to be enjoyable by the many.