A distinguished member of the Better Records Rock Hall of Fame.
Stranded is one of the higher quality recordings by the band, coming in second for sonics only to the first album, which is really saying something considering that the first album is a Top 100 title. The Tubey Magic on the early albums has to be heard to be believed.
In our experience the right British original Sunray Island pressing will always be the Ultimate Pressing. (There are some bad sounding Island LPs out there, so don’t assume the Sunray is the answer. It’s potentially the right answer. Without at least five copies in hand you won’t know whether the copy you like is a true Hot Stamper or a not-that-hot-Hot Stamper.)
The domestic, German, Japanese and Dutch pressings are not remotely competitive with the Brits on this album (which is not true for all of Roxy’s albums but true for this one, Siren being the clear exception to the rule).
Now for those of you who are not Roxy Music fans and don’t know this music, this album may take a bit of getting used to. We assure you it will be well worth your while. We think it’s brilliant!
The sound on some tracks is noticeably better than others. Amazona is a KNOCKOUT here. These British pressings give you the richest, fullest, biggest sound with the least amount of sibilance on the vocals, grain or grunge. It’s the rich, full-bodied ANALOG sound we adore here at Better Records.
We thank Chris Thomas for his production and John Punter for his engineering work at AIR Studio. This album and the first one are without question the two best sounding Roxy albums, and that’s true for any incarnation of the band.
Both belong in any serious rock and pop collection, and if you are a fan of Art Rock, every Roxy album should be on your shelf, along with all your Bowie, Pink Floyd, Supertramp, Eno, Peter Gabriel, 10cc and so many others (most of which are personal favorites of mine, albums I have played hundreds of times over the last 30 years and plan to play hundreds of times in the next).
I’ve been a giant Roxy Music fan since 1975. Rolling Stone gave Siren a rave review that year, and I went right out and bought myself a copy on their say-so. I then proceeded to play it every day. This went on for weeks. I’m a bit obsessive that way. (Being obsessive is extremely helpful if you have a desire to excel in audio. It may in fact be the most important trait of them all.)
I consider Roxy to be one of the greatest Art Rock bands in the history of the world. Although the general public and probably most audiophiles would surely cast their vote for Avalon as the band’s masterpiece, I much prefer the music of these others — their eponymous first album, Stranded, Country Life and Siren — to the more “accessible” music found on Avalon. To be fair, that’s splitting hairs, because any of those five titles are absolute Must Own Albums that belong in any serious popular music collection.
Just Like You
A Song for Europe
Mother of Pearl
AMG 4 1/2 Star Rave Review
Without Brian Eno, Roxy Music immediately became less experimental, yet it remained adventurous, as Stranded illustrates. Under the direction of Bryan Ferry, Roxy moved toward relatively straightforward territory, adding greater layers of piano and heavy guitars. Even without the washes of Eno’s synthesizers, Roxy’s music remains unsettling on occasion, yet in this new incarnation, they favor more measured material, whether it’s the reflective “A Song for Europe” or the shifting textures of “Psalm.” Even the rockers, such as the surging “Street Life” and the segmented “Mother of Pearl,” are distinguished by subtle songwriting that emphasizes both Ferry’s tortured glamour and Roxy’s increasingly impressive grasp of sonic detail.
Webr Rave Review (Author Unknown)
Feeling that the band couldn’t handle two egos (and talents) moving in opposite directions half the time, Eno quit the band after For Your Pleasure. This move made Roxy Music less quirky (and innovative), but more focused, without ugly synth grunts unsettling Ferry’s mannered music and melodies.
There’s still plenty of weirdness and odd sound effects, but these are incorporated more subtly – the telephone ringing on “Street Life”, the castanets punctuating “Mother Of Pearl”. Roxy practically reinvented their sound on each album, and here they are elegant and stately, with Latin rythms reinforcing its Mediterranean flavor. Smoothed out, they sound like a much different band – no longer would their music contain the hint of anarchy; every piece is integrated without seeming patched on. When Manzara’s guitar cuts through the stroll of “Amazona”, it’s the kind of shock that you live for, a half-court jump and slam-dunk through the net of Ferry’s pretensions.
The operative adjective for Roxy’s first true masterpiece is gorgeous (it’s the same adjective for their final one, too), a far remove from the first two albums. “Just Like You” contains lovely falsetto singing from Ferry, and a razor-lyrical guitar solo from Manzanera. The futurism of the first two albums gives way to the world-weary nostalgia of “Song For Europe”, which admits “There’s nothing left for us to share but yesterday.”
The centerpiece, “Mother Of Pearl”, might be Roxy’s finest seven minutes. Charging in with blazing guitars, the music suddenly gives way to a stately piano ballad – the effect is startling. Ferry soliloquizes on the elusiveness of true love, rhyming odd metaphors like “serpentine sleekness/was always my weakness”, summing it all up with the so-true phrase, “If you’re looking for love in a looking glass world, it’s pretty hard to do.” Continue that quest for thy damsel in distress, Bryan, as long as you always keep it this interesting.