The naive romantics music

in me the presents about as follows: In the well-kept cottage in the south of England, with modern music studio in the annexe, has a week large operation. Flea and Nile Rodgers tell stories from their glory days while with bass and guitar jam, again and again the stories of socks now indeed no longer quite fresh Red Hot Chili Peppers bassist be given to the best. Two older graying gentlemen, clear at first glance as Britten sit behind the mixing desk, chatting, drinking Earl Grey. The good-looking you a however must always back to the door to let in one of the other visitors. The welcome is always exuberant with everyone who comes to the little black-haired verhuschten trying something look younger than he is (Johnny Marr .hihi), the Americans with the saxophone case or the British with the bulbous nose. Work is underway, but chat and a laugh a lot.

Or so to must have happened ;-) Olympia was a wonderful album and managed the balancing act between retro and modern. To be honest I had then and no longer expected to Jazz Age with new material by Bryan Ferry. As then in late summer came the announcement (alone the album name), the anticipation grew very, the more with the advance publication of LOOP DE LI, a seductive song, in the style of the great successful time early and mid-80s.

To the evaluation to take now directly anticipate. Those who expect more from Ferry slight variations or even innovation, as indeed indicated a return to the experimental artrockigen 70s with a dash of modernity, at Olympia in some places, which will be bitterly disappointed. Who I like the 80's creative phase of Roxy Music and Ferry calls his favorites, who will love Avonmore and not put it down in the next few weeks. The album is absolutely consistent and closed, except for a small breakaway at the end, but that later, and produced exactly the atmosphere of perfect pop, where the classic Avalon, Boys & Girls and Bete Noire had been attempted.

LOST is the best example. Airy and abstract with a rhythm without haste, many well-placed percussions, a sparkling guitar that carries the melody, and a wonderful chorus the way too short song bows clearly against Avalon. LOOP DE LI, MIDNIGHT TRAIN or Drinving ME WILD are then typically 80s solo Ferry. Midtempo songs, with a slightly funky wrapping, tasteful synthesizers, many layers of guitars. All very elegant, dark, somewhat mystical, to use an old picture, dance music when you can start the jacket and holding a drink in hand. Elsewhere Ferry are the habitual womanizer, A SPECIAL KIND OF GUY example. Is a song you will probably just let him get away. Always on the border with a parody of himself (When youre with me every problem Seems to disappear / Fields of roses burst into flower and everyone A Tear) tilts the song never and always remains on the bead side. ONE NIGHT STAND belongs lyrically in the same drawer, but the song may seem a bit strange at first Hördurchläufen. So it went at least for me, too much at one time with the 80-pointed Beat, the turgid saxophone and the dolled Background Dame. But after a few times listening to it has also made on this song clicks. Among the poorer, that is mediocre and not bad, song include Johnny Marr cooperation Soldier of Fortune, a guitar shuffle, which unfortunately does not reach the quality of cooperation in Bete Noire and the Stephen Sondheim Cover Send in the Clowns, the for a nice atmospheric beginning unfortunately does not reach the quality of the original. This then creates but again the John Palmer Cover JOHN AND MARRY. Compared to the original, with its shimmering synthesizers tempo is reduced, a simple dark beat, handclaps, now and then a guitar that seems to get lost, and a Ferry that seems to breathe even more than he anyway does wonderfully. About all thrones of course the title song AVONMORE. Played by three (!) Bass player and five (!!!) guitarist developed a over a hurrying rhythm a song Pearl offers elegance and charm which summarizes the Ferry's microcosm together again. I want a love that's never ending / Through all the thunder and the rain / But theres no sense in pretending / I know I'll Never Fall in Love Again

The great musicians stay up on Nile Rogers, whose rhythm guitar but has a unique signature, it was rather invisible and arrange the whole under. Everything is held together by Rhett Davies, probably the most important piece of the puzzle. He manages to keep the overall sound in the context of giving in a frame. If this album would be his last, then it is a worthy conclusion. If his musical journey, however, goes on, then it could be something more emphatic issued eg in the hands of producer Todd Terje and the paths of Johnny and MARRY illuminate something. Or the idea may not be missing ;-) - there is still a last final reunification. Phil Manzanera had recently made in an interview for the Pink Floyd album, which he co-produced a hint that read very much room.

Either way, I'm grateful for Avonmore.

PS. Phil Manzanera interview at Eclipsed: [...] ... the very last paragraph.