Throughout the 1970s, Bryan Ferry explored an eclectic musical landscape that encompassed everything from the genre-blending art rock of Roxy Music to covers of artists like Bob Dylan, John Lennon, and various Motown singers. Through the atmospheric excursions of his post-Avalon career—that was Roxy’s final album which found them shifting sonic terrain—Ferry’s style over the last 40 years has been one of the elegant crooner whose voice is as much of his musical landscapes as it is leading them. He has still performed many Roxy classics live during his solo concerts, but his music is more informed by sonic landscapes for listeners to get immersed in.
In anticipation of Ferry’s five-disc, career-spanning box set Retrospective: Selected Recordings 1973-2023 (out on October 25), here are eight top-notch solo tracks from his career following the dissolution of Roxy Music as a recording band in the early 1980s. They are mainly deep cuts that are worthy of your attention and offer a change of pace from popular tracks like “Slave to Love,” “Kiss and Tell,” and “Don’t Stop the Dance.”
“Sensation” from Boys and Girls (1985)
Ferry’s first solo effort after Roxy Music’s Avalon swan song found him exploring more of that dreamy territory with some strong hooks, including this opening cut. Bassist Alan Spenner and drummer Andy Newmark, who played on Avalon, are joined by lead guitarist Nile Rodgers on this catchy cut. It’s one the most grooving tracks on the album.
“The Right Stuff” from Bête Noire (1987)
The inspiration for this energetic single came from The Smiths’ instrumental “Money Changes Everything,” so naturally Ferry enlisted guitarist Johnny Marr to play on and help transform and flesh out the tune into a more layered track with vocals. It became one of the standouts of the album, and the duo performed it live on British television. The use of congas is a nice touch.
“Bête Noire” from Bête Noire (1987)
Influenced by the sonic shift in direction of Avalon, this tango-infused track with Latin percussion from Bête Noire is classic, timeless Bryan Ferry. The violin and bandoneon playing interwoven throughout the song adds another dimension to the piece, and the choice to shirk standard rock drumming was a wise move. It’s got a great groove all on its own and is one of his most beautiful solo works. This is the Bryan Ferry one imagines performing at an intimate cafe gig.
“Don’t Want to Know” from Mamouna (1994)
By the time the ‘90s rolled around, Ferry was going deeper into his soundscape-style songwriting. Many songs would have multiple musicians, even on the same instruments, and the edict was about creating and riding a vibe. The opening track to Mamouna features Ferry’s elegant crooning gliding delicately over both dreamy verses and a funky chorus. It’s an album standout that includes bassist Nathan East, guitarist Phil Manzanera, and keyboardist Brian Eno.
“Goddess of Love” from Frantic (2002)
Co-written with Frantic’s co-producer, guitarist Dave Stewart of Eurythmics fame, “Goddess of Love” is a vibrant, effervescent track from an album that found Ferry returning to the more organic rock vibes one heard from him in the 1970s. There’s a fair amount of harmonica on the collection, including here, and the album admirably spans a wide range of styles.
“Hiroshima Mon Amour” from Frantic (2002)
This is a haunting track blending melody with an undercurrent of dissonance, and Kelli Dayton and Alice Retif’s singing in the chorus imbues it with a ghostly quality. While it flows smoothly, “Hiroshima Mon Amour” also features contributions from such people as Ferry and Eno on keyboards, and Stewart, Robin Trower (the album’s co-producer), and Radiohead’s Jonny Greenwood on guitar.
“BF Bass (Ode to Olympia)” from Olympia (2010)
Olympia was allegedly meant to be a Roxy Music reunion album of sorts, but in the end it turned into a Ferry solo release with many of the original members contributing. This grooving track was co-written by guitarist Phil Manzanara, who appears here along with Newmark and Eno. Stone Roses bassist Gary “Mani” Mounfield funks up the low end and make this one of Ferry’s most danceable tracks in recent times.
“
Avonmore” from
(2014)
Co-written with guitarist Oliver Thompson, this is one of those Ferry songs that manages to provide propulsive energy and also maintain a sense of ethereal grace. Richard White’s alto sax playing is appropriately subdued, as are the funky guitar stylings of a host of six-stringers including Marr, Rodgers, and the Sex Pistols’ Steve Jones. Flea is one of three bassists who contributed. Nobody outshines anyone else—they simply surf the sound together.
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