1.    More Than This
2.    The Space Between
3.    Avalon
4.    India
5.    While My Heart Is Still Beating
6.    The Main Thing
7.    Take a Chance with Me
8.    To Turn You On
9.    True to Life
10.   Tara

Musicians:
    Bryan Ferry -  vocals, kryboards
    Andy Mackay - saxophone
    Phil Manzanera - guitar
    Neil Hubbard - guitar
    Alan Spenner - bass
    Andy Newmark -  drums
    Jimmy Maelen – percussion

Flesh + Blood suggested that Roxy Music were at the end of the line, but they regrouped and recorded the lovely Avalon, one of their finest albums. Certainly, the lush, elegant soundscapes of Avalon are far removed from the edgy avant-pop of their early records, yet it represents another landmark in their career. With its stylish, romantic washes of synthesizers and Bryan Ferry's elegant, seductive croon, Avalon simultaneously functioned as sophisticated make-out music for yuppies and as the maturation of synth pop. Ferry was never this romantic or seductive, either with Roxy or as a solo artist, and Avalon shimmers with elegance in both its music and its lyrics. "More Than This," "Take a Chance with Me," "While My Heart Is Still Beating," and the title track are immaculately crafted and subtle songs, where the shifting synthesizers and murmured vocals gradually reveal the melodies. It's a rich, textured album and a graceful way to end the band's career. --- Stephen Thomas Erlewine, allmusic.com

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1. "Re-Make/Re-Model"   	5:14
2. "Ladytron"   	4:26
3. "If There Is Something"   	6:34
4. "Virginia Plain"   	2:58
5. "2HB"  
6. "The Bob (Medley)"   	5:48
7. "Chance Meeting"   	3:08
8. "Would You Believe?"   	3:53
9. "Sea Breezes"   	7:03
10. "Bitters End"  

Personnel
    Bryan Ferry – vocals, piano, Hohner Pianet, Mellotron
    Brian Eno – VCS3 synthesizer, tape effects, backing vocals
    Andy Mackay – oboe, saxophone, backing vocals
    Phil Manzanera – electric guitar
    Graham Simpson - bass guitar
    Paul Thompson – drums
    Rik Kenton – bass guitar on "Virginia Plain"

Falling halfway between musical primitivism and art rock ambition, Roxy Music's eponymous debut remains a startling redefinition of rock's boundaries. Simultaneously embracing kitschy glamour and avant-pop, Roxy Music shimmers with seductive style and pulsates with disturbing synthetic textures. Although no musician demonstrates much technical skill at this point, they are driven by boundless imagination -- Brian Eno's synthesized "treatments" exploit electronic instruments as electronics, instead of trying to shoehorn them into conventional acoustic patterns. Similarly, Bryan Ferry finds that his vampiric croon is at its most effective when it twists conventional melodies, Phil Manzanera's guitar is terse and unpredictable, while Andy Mackay's saxophone subverts rock & roll clichés by alternating R&B honking with atonal flourishes. But what makes Roxy Music such a confident, astonishing debut is how these primitive avant-garde tendencies are married to full-fledged songs, whether it's the free-form, structure-bending "Remake/Remodel" or the sleek glam of "Virginia Plain," the debut single added to later editions of the album. That was the trick that elevated Roxy Music from an art school project to the most adventurous rock band of the early '70s. --- Stephen Thomas Erlewine, allmusic.com

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1. Street Life (3:29) 
2. Just Like You (3:36) 
3. Amazona (4:16) 
4. Psalm (8:04) 
5. Serenade (2:59) 
6. A Song for Europe (5:46) 
7. Mother of Pearl (6:52) 
8. Sunset (6:04)

Line-up / Musicians

- Bryan Ferry - voices, piano, keyboards
- Eddie Jobson - synthesizer, violin, keyboards, synthesizer violin
- Phil Manzanera - guitar
- John Gustafson - bass
- Andy Mackay - oboe, saxophone
- Paul Thompson -drums, timbales, tympani
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- Chris Lawrence - bass, string bass
- London Welsh Male Choir - choir, chorus

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. --- Stephen Thomas Erlewine, Rovi

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