Reason #307 Why The ’80’s Didn’t Suck: Flesh + Blood
I didn’t grow up with the Eno version of Roxy Music. I grew up with the Manifesto/Flesh+Blood/Avalon version. I have, over the years, learned to appreciate and even love virtually every Roxy album (if not every song) released, including the live ones, and most of Ferry’s solo stuff (especially Let’s Stick Together, but that’s for another day). But the Manifesto/Flesh+Blood/Avalon albums will always remain my favorites.
I’m pretty sure I’m alone in my feelings here. I think I am at the opposite side of the table of virtually every Roxy Music fan ever, but that’s OK. I think that most Roxy lovers at least appreciate this era of the band. Rich Kamerman (of the great Kamer Tunes Blog), who reviewed their entire discography–go read it, by the way–, had this to say about Flesh+Blood, the middle child of Roxy’s “smooth transition” phase:
“One of the pleasant surprises was “Oh Yeah,” which grew on me with each successive listen. I never would’ve remembered it based on the song title, since the catchy lyrical refrain is “there’s a band playing on the radio.” Here they finally have a song with verses & choruses. I heard a clear influence on bands like Duran Duran and ABC on the synth-pop of “Same Old Scene.” They introduce a funky synth-dance groove, reminiscent of Ultravox and Gary Numan, on “Flesh And Blood.”
I think Rich nails it. From this version of Roxy I went straight into my synth pop phase, and still retain a strong connection to the best from that era (obviously), especially Lexicon Of Love which is a direct descendant and willing disciple of this version of RM.