Tag Archives: Kari-Ann Muller

October 25th 1975

“Work. Got the new Sparks and Roxy Music LP’s – both great. Nig came round in evening and we went down the Clock. Got quite pi–ed”

What a great day! Two important albums added to my burgeoning collection then drinking until drunk in the evening!


Sparks’ Indiscreet – with it’s bizarre cover (where DID they get a scrap plane from?) – is perhaps my favourite of their output as it is crammed full of some fabulous memorable songs. Here’s a few highlights…

Things kick off in grand style with the military two-step of “Hospitality On Parade“, Ron Mael’s sly dig at America’s independence and its later obsession for mass consumerism. For me, this has always represented one of THE weirdest album openers I have ever heard but it does set out the table for the feast of great songs that follow it.

Without Using Hands” carries the refrain “Oh, what a lovely city, city, city, city”, referring to Paris, and is a snappy little number if somewhat bizarre in lyrical content, mixing as it does certain ‘sexual favours’ with that of  someone’s personal disability following a terrorist attack. No, I am not making that up.

Get In The Swing” was the second big hit single off the album. A real cracker of a pop song it was too!

Under The Table With Her” is beautiful. It would appear to the be the tale of two dogs hiding underneath a banquet table at a fancy-schmancy gathering of bigwigs. The strings are so crisp and becoming it suckers you in just long enough to spit you out with a premature finish.

How Are You Getting Home?” is another Ron Mael ode to ‘getting some’, in this case from a girl he’s met at a party to whom he want to give a ride to. In every sense of the phrase.

Tits” is as close to a drinking song as you’ll ever get from the Mael brothers. Apparently set in a bar it tells the tale of two beer buddies slowly getting drunk with one of  them complaining that his wife’s …erm… breasts are now for the sole pleasure of his new-born child. Motto: May as well get drunk instead!

Looks, Looks, Looks” was the biggie, the single which sent sales of the album soaring. The single reached #26 in the singles chart, whilst the album eventually peaked at number 18 in the album chart.

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Roxy Music’s “Siren” was – as far as I am concerned – the last of what I consider to be their ‘classic output’. (For me, 1979’s “Manifesto” represented the beginning of the end of Bryan Ferry’s songwriting skills).

It’s a bit hodge-podgy and not helped by the presence of Ferry’s then- girlfriend Jerry Hall gracing the cover. I never, ever thought her to be attractive and certainly not a patch on previous Roxy cover girls like Marilyn Cole or Kari-Ann Muller.


I have waxed lyrically about the album’s opener “Love is the Drugbefore, and I maintain that it is one of THE finest album openers of all time.

End of the Line” features some nice violin and slide guitar but is a little too ‘ploddy’ for my liking, plus Ferry’s vocals are double-tracked somehow making the sentiment of the lyrics diluted.

Sentimental Fool” finds Ferry trying a little bit too hard to emulate the ‘noisescape’ pioneered by Brian Eno on the debut album, the song itself taking forever to get going and turn itself into anything melodic. And then when it does it’s… well, disappointing.

Side One’s closer “Whirlwind” is MUCH more like it. Loud, bouncy and fun, Ferry’s quirky vocal stylings to the fore.

Side Two kicks off with “She Sells“. Actually it’s more of a mis-kick. It sounds very weak until Andy Mackay’s sax kicks in to liven things up.

Could it Happen to Me” feels like another sloppily-written song, pre-dating the whole ‘coffee table’ sound Ferry would later become FAR too enthusiastic about.

Then – almost unexpectedly – along comes another corker.

Both Ends Burning” feels like classic Roxy. And by classic I mean ‘first three albums Roxy’. Soaring sax, choppy guitars, bongos (yes bongos!) and Ferry’s lyrics all over the place and yet in the same place all at once. I love it… and there’s no wonder it was plucked as the follow-up single to “Love is the Drug”. It’s maybe the only other cut on the album that would have sounded good on the radio at the time. It reached a lowly #25 on the British chart, failing to even make an appearance on the Billboard chart across the pond.

The penultimate cut “Nightingale” is another clunker and doesn’t prepare you for the mighty “Just Another High” which brings the album to a close.

I’m not surprised that Roxy disbanded as soon as the tour support of “Siren” was completed. The album has three, maybe four, worthy tracks, the rest all sounding very limp. Still, four and half albums of classic rock music isn’t too bad is it?

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January 28th 1973

“Dave came up in the morning and borrowed Pictures and lent me Roxy Music”

I was almost dreading the debut mention of Roxy Music in this blog.

Why? Because it is extremely difficult to explain the impact that the band – and their style – had on this particular teenager. It’s also difficult to explain to an audience now wholly familiar with their sound just HOW radically different they appeared to be in 1973.

Vocalist Bryan Ferry – originally a ceramics teacher from Newcastle – formed Roxy Music in November 1970. This was a few months after he had failed to secure the spot as King Crimson‘s new lead singer following the departure of Greg Lake. (Yes, that Greg Lake) However, Crimson’s Robert Fripp and Pete Sinfield liked Ferry so much they helped the vocalist’s young band obtain a management contract with EG Records.

Ferry started the band with bassist Graham Simpson, then recruited saxophonist Andy MacKay and drummer Paul Thompson via wanted ads placed in Melody Maker. MacKay brought along his university chum Brian Eno to act (initially) as a technical advisor. Phil Manzanera joined the band just as they started recording their debut album, replacing former ex-Nice guitarist David O’List.

Ferry initially monikered the band “Roxy”, an homage to the name given to old-fashioned cinemas and dance halls across the UK. He then found out there was already a similarly-named American band, so added “Music” to differentiate the two.

The band’s debut album was recorded – along with their quirky hit single “Virginia Plain” (not included on the original LP release, but subsequently added to LP & CD re-issues) – in March 1972 and unleashed on the public a few months later.

I feel somewhat ashamed in retrospect that it apparently took me until January 1973 to first acknowledge it!

The sleeve alone stood out as completely different to everything else I was listening to at the time. Whilst groups like ELP, Deep Purple or the Edgar Broughton Band featured terrible representations of the band members, Roxy Music turned things on their head by having an extremely glamourous model – Kari-Ann Muller – lounging across the gatefold.

If that wasn’t enough to draw this impressionable teenager in, then the musical contents certainly did.

The opener, “Re-Make/Re-Model“, starts with the sounds of a cocktail party in progress before launching full-tilt into what, on the surface, appears to be a traditional rock & roll song from the 50’s, complete with solos from each of the band members. Subsequent listens unveil a whole separate texture to the song, with Eno’s futuristic synthesizer sounds and MacKay & Manzanera’s instruments creating an almost cacophonous roar. There’s more than just a cursory nod to The Beatles “Day Tripper” in the riffing, but the most off-the-wall element is the vocal chorus of “CPL 593H“, allegedly the number plate of Ferry’s car at the time!

Ladytron” is one of Ferry’s (what-would-become) trademark ‘seduction’ songs, and kicks off with an eerie duet between MacKay’s oboe skills and Eno’s synthesiser blips and gloops before eventually descending into another band battle of sounds and noises.

If There Is Something” is quintessential early-Roxy. It forges a sound that the band would duplicate over and over again;- Ferry’s vibrato – but utterly nonchalant – vocal styling at the forefront with repeated band melodies behind him. MacKay’s oboe playing is nothing short of magnificent, his mid-song solo bringing the tune its melancholy.

It would be easy to think that “2HB“, which closes side 1, is Ferry’s personal tribute to pencils. It is actually a song dedicated to actor Humphrey Bogart, specifically his role as Rick in Casablanca. In keeping with the movie, this song has a detached moody atmosphere, entirely driven by Ferry’s electric piano and MacKay’s erie Eno-enhanced sax.

Side 2’s opener is “The Bob (Medley)” , a bitty & somewhat unstructured affair – and probably my least favourite track on the whole album. Punctured by the sound of warfare (Bob is an acronym for “Battle of Britain”) the song is split into sections that veer dramatically from each other. It’s almost as if the band are showing off just a little too much, or trying a little too hard with this track, although it has be stated that without Thompson’s thumpy drums or Manzanera’s fretwork it would amount to very little indeed.

Things get properly back on course with “Chance Meeting“, one of Ferry’s more traditional love songs. It is peppered with Manzanera’s guitar – having first been fed through Eno’s box of electronic tricks – and underlined by Ferry’s own gentle piano playing.

I personally feel that “Would You Believe” is one of Roxy’s unsung little masterpieces, so ‘unsung’ that there’s no footage available at all on YouTube. The boogie-woogie piano, drum, guitar and sax section that intersperse the contrary starkness is pure rock and roll, and offers more than a mere hint to some of Ferry’s influences,

Sea Breezes” is, pure and simple, a Roxy Music ‘classic’ – assuming such a thing even exists. It is one of my – admittedly many – ‘shower songs’, wherein I persecute the walls of our bathroom with my singing. It starts off pretty traditionally, Ferry’s gentle voice overlaying some fine guitar, synth and sax work. Suddenly the silence is punctured by a drum break and we find ourselves in new territory altogether, amps turned up to ’11’ and the band members noisily battling each other. Then, as quickly as the noise starts, it all mellows out again and Ferry once again professes his love for the song’s protagonist. Delightful stuff.

Bitters End” ties the album up, a 50’s doo-wop pastiche containing a strange choral refrain of “bizarre” almost summing up the entire album’s sound. Its also the song that seems to ‘go’ with the band’s image seen on the inside LP sleeve.

I think those images ‘drew’ me to the album as much as the music itself. There’s Manzanera in ‘fly’ sunglasses a decade or two before U2’s Bono discovered them, MacKay personifying “rock’n’roll”, and Ferry & Eno in leopard/tiger skin leather jackets, the latter looking particularly ‘other-worldy’ (and, bless him, displaying early signs of hair loss)

The second Roxy Music album “For Your Pleasure” was the album that REALLY sealed my personal – and lifelong – fascination for the band, but this very assured debut introduced me to their quirky stylings and unique sound in a major way.

It also goes to underline the fact – repeated again for those that have forgotten it – that I was willing to listen to – and appreciate – just about anything that came my way. Whilst many of my school chums may have been fixated only by Heavy Rock or Pop Music my own listening rounded up both of those and a whole lot more besides.

I often wonder if bands such as Roxy Music would stand even half a chance in the current music ‘business’. I would like to think that with someone as always forward-thinking and technically-savvy as Brian Eno in its ranks the band would find a way of getting their music across to the masses but I’m not convinced there would be a 100% guarantee of success.

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