Humanizing The Vacuum

Scott Woods and I finish our Roxy/Ferry chat, during which we weigh in on Bowie versus Ferry and the merits of David Buckley’s superb biography The Thrill of It All.

The next and, to my ears, most interesting chapter in my discussion with Scott Woods on Roxy Music and Bryan Ferry: the solo years between 1985 and 1999. Listening to this again, I’m not sure how well I defined “sophisti-pop” and how solo Ferry seemed both part of yet above it (the Stylus essay I wrote years ago to which Scott alludes is here). One thing became clear: it’s easier to discuss music about which I’m ambivalent or despise than music I love with some reservations. I didn’t adequately explain why Boys + Girls, Bete Noire, Taxi, and Mamouna are worth listening to, but then again, even the most ardent Ferry fan has problems distinguishing between those four albums anyway.

Scott Woods and I continue our Roxy Music/Bryan Ferry chat, this one concerning the creamiest phase of their careers: Manifesto, Flesh + Blood, and Avalon. I’m fonder of this part of our discussion than the others. We share our thoughts on Roxy’s comeback at the height of punk and at the dawn of the New Romantic scene; the mystery of Roxy’s American non-success; the sight of Bryan Ferry wielding a guitar and actually playing one; and making out with dates who give scant attention to the mood music. Finally, Manifesto (still underrated) and Flesh + Blood get more discussion than I’ve seen elsewhere, maybe ever.

I’m very flattered that GQ linked to my Roxy/Ferry conversation with Scott Woods. And, wow, that picture of Ferry…

Scott Woods posts more updates to our Roxy-Ferry talk. In this installment: These Foolish Things, Another Time, Another Place, Stranded, Country Life, and Siren.

Another edition of the Woods-Soto interview re Roxy Music and Bryan Ferry; this time we address These Foolish Things and Stranded.