BRYAN FERRY
''LET'S STICK TOGETHER''
SEPTEMBER 1976
37:50
**********
1 /Let's Stick Together
Wilbert Harrison/2:59
2 /Casanova
Bryan Ferry/2:46
3 /Sea Breezes
Bryan Ferry/6:11
4 /Shame, Shame, Shame
Jimmy Reed/3:16
5 /2HB
Bryan Ferry/3:14
6 /Price of Love
Don Everly / Phil Everly/3:27
7 /Chance Meeting
Bryan Ferry/3:15
8 /It's Only Love
John Lennon / Paul McCartney/3:49
9 /You Go to My Head
J. Fred Coots / Haven Gillespie/2:42
10 /Re-Make/Re-Model
Bryan Ferry/2:43
11 /Heart on My Sleeve
Benny Gallagher / Graham Lyle/3:28
**********
Rick Willis /Bass
John Wetton /Bass, Violin
Paul Thompson /Drums
Martha Walker /Vocals, Vocals (Background)
Vicki Brown /Vocals
Doreen Chanter /Vocals, Vocals (Background)
Helen Chappelle /Vocals
Mel Collins /Sax (Soprano)
Martin Drover /Horn, Trumpet
Bryan Ferry /Harmonica, Keyboards, Piano, Vocals
John Gustafson /Bass
Neil Hubbard /Guitar
Eddie Jobson /Keyboards, Synthesizer, Violin
Phil Manzanera /Guitar
Paddy McHugh /Vocals, Vocals (Background)
Chris Mercer /Sax (Tenor), Saxophone
Davy O'List /Guitar
Ann Odell /String Arrangements
Morris Pert /Percussion
John Porter /Bass, Guitar
Chris Spedding /Guitar
Jacquie Sullivan /Vocals, Vocals (Background)
**********
REVIEW/AMG
Ned Raggett
As Roxy approached its mid- to late-'70s hibernation, Ferry came up with another fine solo album, though one of his most curious. With Thompson and Wetton joined by U.K. journeyman guitarist Chris Spedding, Ferry recorded an effort that seemed as much of a bit of creative therapy as it was music for its own sake. On the one hand, he followed the initial formula established for his solo work, looking back to earlier rock, pop, and soul classics with gentle gusto. The title track itself, a cover of the fluke Wilbert Harrison '60s hit, scored Ferry a deserved British hit single, with great sax work from Chris Mercer and Mel Collins and a driving, full band performance. Ferry's delivery is one of his best, right down to the yelps, and the whole thing chugs with post-glam power. Other winners include the Everly Brothers' "The Price of Love" and the Beatles' "It's Only Love," delivered with lead keyboards from Ferry and a nice, full arrangement. On the other hand, half of the album consisted of Ferry originals -- but, bizarrely, instead of creating wholly new songs, he re-recorded a slew of earlier Roxy classics. Fanciful fun or exorcising of past demons? It's worth noting that most of the songs come from the Eno period of the band, and consequently the new versions stear clear of the sheer chaos he brought to the original Roxy lineup. As it is, the end results are still interesting treats -- "Casanova" exchanges the blasting stomp of the original for a slow, snaky delivery that suggests threat without sounding too worried about it. "Re-Make/Re-Model," meanwhile, turns downright funky without losing any of its weird lyrical edge. Others have subtler differences, as when the stark, stiff midsection of "Sea Breezes" becomes a looser, slow jam.
**********
BIOGRAPHY/AMG
Jason Ankeny
While his tenure as the frontman for the legendary Roxy Music remained his towering achievement, singer Bryan Ferry also carved out a successful solo career that continued in the lush, sophisticated manner perfected on the group's final records. Born September 26, 1945, in Washington, England, Ferry, the son of a coal miner, began his musical career as a singer with the rock outfit the Banshees while studying art at the University of Newcastle Upon Tyne under pop conceptualist Richard Hamilton. He later joined the Gas Board, a soul group featuring bassist Graham Simpson; in 1970, Ferry and Simpson formed Roxy Music.
Within a few years, Roxy Music had become phenomenally successful, affording Ferry the opportunity to cut his first solo LP in 1973. Far removed from the group's arty glam rock, These Foolish Things established the path that all of Ferry's solo work -- as well as the final Roxy Music records -- would take, focusing on elegant synth pop interpretations of '60s hits like Bob Dylan's "A Hard Rain's A-Gonna Fall," the Rolling Stones' "Sympathy for the Devil," and the Beatles' "You Won't See Me," all rendered in the singer's distinct, coolly dramatic manner.
Roxy Music remained Ferry's primary focus, but in 1974 he returned with a second solo effort, Another Time, Another Place, another collection of covers ranging from "You Are My Sunshine" to "It Ain't Me, Babe" to "Smoke Gets in Your Eyes." His third venture, 1976's Let's Stick Together, featured remixed, remade, and remodeled versions of Roxy Music hits as well as the usual assortment of covers. Released in 1977, In Your Mind was Ferry's first collection of completely original material; the following year's The Bride Stripped Bare, a work inspired by his broken romance with model Jerry Hall, split evenly between new songs and covers.
Ferry did not record another solo album until 1985's Boys and Girls, a sleek, seamless effort that was his first "official" solo release following the Roxy breakup. For 1987's Bete Noire, he was joined by former Smiths guitarist Johnny Marr on the shimmering "The Right Stuff," and notched his only U.S. Top 40 hit with "Kiss and Tell." Another covers collection, Taxi, followed in 1993; Mamouna, an LP of originals, appeared a year later, and in 1999 Ferry returned with a collection of standards, As Time Goes By. After a brief tour in support of As Time Goes By, there were rumors of a Roxy Music reunion. The next summer, the practically unimaginable came true when Ferry joined Andy Mackay and Phil Manzanera for a tour of Europe and the U.S. It was a celebration of hits, and the band's first jaunt out in more than a decade.
In summer 2002, Ferry returned to his solo career for the electrifying Frantic. Dylanesque, a set of Bob Dylan covers, followed in 2007, featuring assistance from several longtime associates (including Brian Eno, Chris Spedding, Paul Carrack, and Robin Trower). Ferry signed with the Astralwerks imprint for the release of 2010's Olympia. In 2012, he assembled the Bryan Ferry Orchestra and recorded The Jazz Age. This completely instrumental album features his band re-recording some of his biggest hits in a 1920s jazz style.
**********
WEBSITE
**********
TO THE TOP
**********
''LET'S STICK TOGETHER''
SEPTEMBER 1976
37:50
**********
1 /Let's Stick Together
Wilbert Harrison/2:59
2 /Casanova
Bryan Ferry/2:46
3 /Sea Breezes
Bryan Ferry/6:11
4 /Shame, Shame, Shame
Jimmy Reed/3:16
5 /2HB
Bryan Ferry/3:14
6 /Price of Love
Don Everly / Phil Everly/3:27
7 /Chance Meeting
Bryan Ferry/3:15
8 /It's Only Love
John Lennon / Paul McCartney/3:49
9 /You Go to My Head
J. Fred Coots / Haven Gillespie/2:42
10 /Re-Make/Re-Model
Bryan Ferry/2:43
11 /Heart on My Sleeve
Benny Gallagher / Graham Lyle/3:28
**********
Rick Willis /Bass
John Wetton /Bass, Violin
Paul Thompson /Drums
Martha Walker /Vocals, Vocals (Background)
Vicki Brown /Vocals
Doreen Chanter /Vocals, Vocals (Background)
Helen Chappelle /Vocals
Mel Collins /Sax (Soprano)
Martin Drover /Horn, Trumpet
Bryan Ferry /Harmonica, Keyboards, Piano, Vocals
John Gustafson /Bass
Neil Hubbard /Guitar
Eddie Jobson /Keyboards, Synthesizer, Violin
Phil Manzanera /Guitar
Paddy McHugh /Vocals, Vocals (Background)
Chris Mercer /Sax (Tenor), Saxophone
Davy O'List /Guitar
Ann Odell /String Arrangements
Morris Pert /Percussion
John Porter /Bass, Guitar
Chris Spedding /Guitar
Jacquie Sullivan /Vocals, Vocals (Background)
**********
REVIEW/AMG
Ned Raggett
As Roxy approached its mid- to late-'70s hibernation, Ferry came up with another fine solo album, though one of his most curious. With Thompson and Wetton joined by U.K. journeyman guitarist Chris Spedding, Ferry recorded an effort that seemed as much of a bit of creative therapy as it was music for its own sake. On the one hand, he followed the initial formula established for his solo work, looking back to earlier rock, pop, and soul classics with gentle gusto. The title track itself, a cover of the fluke Wilbert Harrison '60s hit, scored Ferry a deserved British hit single, with great sax work from Chris Mercer and Mel Collins and a driving, full band performance. Ferry's delivery is one of his best, right down to the yelps, and the whole thing chugs with post-glam power. Other winners include the Everly Brothers' "The Price of Love" and the Beatles' "It's Only Love," delivered with lead keyboards from Ferry and a nice, full arrangement. On the other hand, half of the album consisted of Ferry originals -- but, bizarrely, instead of creating wholly new songs, he re-recorded a slew of earlier Roxy classics. Fanciful fun or exorcising of past demons? It's worth noting that most of the songs come from the Eno period of the band, and consequently the new versions stear clear of the sheer chaos he brought to the original Roxy lineup. As it is, the end results are still interesting treats -- "Casanova" exchanges the blasting stomp of the original for a slow, snaky delivery that suggests threat without sounding too worried about it. "Re-Make/Re-Model," meanwhile, turns downright funky without losing any of its weird lyrical edge. Others have subtler differences, as when the stark, stiff midsection of "Sea Breezes" becomes a looser, slow jam.
**********
BIOGRAPHY/AMG
Jason Ankeny
While his tenure as the frontman for the legendary Roxy Music remained his towering achievement, singer Bryan Ferry also carved out a successful solo career that continued in the lush, sophisticated manner perfected on the group's final records. Born September 26, 1945, in Washington, England, Ferry, the son of a coal miner, began his musical career as a singer with the rock outfit the Banshees while studying art at the University of Newcastle Upon Tyne under pop conceptualist Richard Hamilton. He later joined the Gas Board, a soul group featuring bassist Graham Simpson; in 1970, Ferry and Simpson formed Roxy Music.
Within a few years, Roxy Music had become phenomenally successful, affording Ferry the opportunity to cut his first solo LP in 1973. Far removed from the group's arty glam rock, These Foolish Things established the path that all of Ferry's solo work -- as well as the final Roxy Music records -- would take, focusing on elegant synth pop interpretations of '60s hits like Bob Dylan's "A Hard Rain's A-Gonna Fall," the Rolling Stones' "Sympathy for the Devil," and the Beatles' "You Won't See Me," all rendered in the singer's distinct, coolly dramatic manner.
Roxy Music remained Ferry's primary focus, but in 1974 he returned with a second solo effort, Another Time, Another Place, another collection of covers ranging from "You Are My Sunshine" to "It Ain't Me, Babe" to "Smoke Gets in Your Eyes." His third venture, 1976's Let's Stick Together, featured remixed, remade, and remodeled versions of Roxy Music hits as well as the usual assortment of covers. Released in 1977, In Your Mind was Ferry's first collection of completely original material; the following year's The Bride Stripped Bare, a work inspired by his broken romance with model Jerry Hall, split evenly between new songs and covers.
Ferry did not record another solo album until 1985's Boys and Girls, a sleek, seamless effort that was his first "official" solo release following the Roxy breakup. For 1987's Bete Noire, he was joined by former Smiths guitarist Johnny Marr on the shimmering "The Right Stuff," and notched his only U.S. Top 40 hit with "Kiss and Tell." Another covers collection, Taxi, followed in 1993; Mamouna, an LP of originals, appeared a year later, and in 1999 Ferry returned with a collection of standards, As Time Goes By. After a brief tour in support of As Time Goes By, there were rumors of a Roxy Music reunion. The next summer, the practically unimaginable came true when Ferry joined Andy Mackay and Phil Manzanera for a tour of Europe and the U.S. It was a celebration of hits, and the band's first jaunt out in more than a decade.
In summer 2002, Ferry returned to his solo career for the electrifying Frantic. Dylanesque, a set of Bob Dylan covers, followed in 2007, featuring assistance from several longtime associates (including Brian Eno, Chris Spedding, Paul Carrack, and Robin Trower). Ferry signed with the Astralwerks imprint for the release of 2010's Olympia. In 2012, he assembled the Bryan Ferry Orchestra and recorded The Jazz Age. This completely instrumental album features his band re-recording some of his biggest hits in a 1920s jazz style.
**********
WEBSITE
**********
TO THE TOP
**********
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