Bryan Ferry: Let's Stick Together - 1976
Let's Stick Together was a big hit for Ferry and is now iconic, with its blistering dual saxophone opening riff, and rousing female whooping backing vocals (the vocalist was never named, strangely). Ferry’s vocal is top notch too. Great stuff. It still had the vivacious trappings of glam even though that era had passed.
Casanova, from Country Life, loses its rock bombast and becomes almost funky, with a deep, infectious, rhythmic drum backing and a moody Ferry vocal. I really like the interpretation of the song, despite loving the original too. I feel this one really mines the song's nefarious seams.
Sea Breezes, from Roxy's debut album is pretty similar to the original until the staccato pace change in the middle, then it becomes, once again, funky, with a great chunky bass sound and some impressive acoustic guitar. Some blistering guitar riffs come too, together with some really pounding drums. This is a really good re-make, it really enhances the song, giving it a different sheen.
Shame Shame Shame is a superb, grinding bluesy cover of the Jimmy Reed number while 2HB is a tad more jaunty than previously, with a prominent melodic piano coda, slightly more shuffling drums and a slightly clearer vocal. Otherwise, though, it sticks pretty much to the vibe of the original.
The Everly Brothers’ The Price Of Love is given a similar pounding blues rock makeover. Both this and Shame Shame Shame are excellent tracks, full of energy and verve and the former is proof that Ferry knew how to interpret the blues more than people may have thought. It was released as a single in EP format, on which it was the lead-off single.
Chance Meeting is similar to the original, although Ferry's vocal is more pronounced and the backing a bit more industrial, particularly near the end. It actually still sounds very Roxy-ish. The Beatles' It's Only Love is a lot better a cover than many say it is, with a fetching brassy backing. I have always really liked it, but then again, I'm not a Beatles obsessive who may object to it.
Then there is the vaguely reggae with accompanying brass-wah-wah revamp of the crooner You Go To My Head - a smoky lounge bar number from the late 1930s, which is the first sign of Ferry covering a sort of song the like of which he would do many more times in subsequent times. He does it very sensually and atmospherically. Lovely. It is a most underrated song in the Ferry catalogue.
Re-Make Re-Model is a funked up, sleazy delight. The original is wonderful, but this take is too. It is shorter but it really has something about it - the funky feel works so well. It has to be said also that featuring heavily on these recordings are Roxy alumni Paul Thompson (on all drums), John Wetton (on all bass), John Gustafson (Bass on Re-Make Re-Model), Phil Manzanera (guitar on the same track), Eddie Jobson (all violin and synthesiser), David O' List (guitar on Chance Meeting) and old mate John Porter (bass on 2HB). So there is a lot of Roxy influence going on all over the album. Other notable players on the album are saxophonists Mel Collins and Chris Mercer, percussionist Morris Pert and guitarist Chris Spedding (who went on to play in Ferry's live band in the 2000s).
Gallagher & Lyle’s evocative, catchy Heart On My Sleeve is suitably laid-back, delivered in that typical Ferry style.
This album rarely gets mentioned in Ferry’s canon, which is a shame as it is a really good one. Some critics have bemoaned the fact that the Roxy re-makes and the rest of the album sort of delineate it into two halves. I disagree, I think they all fit together rather well. Incidentally, Ferry's image changed slightly in this era, growing a moustache and growing his hair floppy, briefly. The old white tuxedo was still around or if not a white/cream suit was sported.
