Records That Are Better Now Than They Were Then, Volume Two: Manifesto

 

 

Four years had passed since Roxy Music released "Siren" and hit the U.S. big time sorta, with "Love Is The Drug." Most assumed the band had broken up, but it was apparently just a hiatus and it was back to business with 1979's "Manifesto" and a coinciding tour. 
(I saw this tour at The Palladium and witnessed Phil Manzanera changing guitars mid-song at least five different times. Blew my mind.)

But I digress.

I liked the record, but I didn't love it. "Siren" remains my favorite Roxy album, an album that took the art rock and glam of their previous records, tightened up the songwriting and created what I think is one of the best sounding records in the history of recorded music. Drummers, if you're reading, when you're in the studio making your band's first record, insist your drums sound like Paul Thompson, regardless of the type of music you're playing. No one will listen to you, but at least you can say you tried.

But I digress.

In my world. "Manifesto" was never going to live up to "Siren." But what made me truly angry, were the rock critics, who as usual, only listened to enough of the record to make their review seem plausible. Some, didn't listen at all and just read press releases and hype stickers. 

I recall a review by the Daily News' health editor/podiatrist turned music journalist Hugh Wyatt who wrote a lukewarm review of the just released Talk Talk album "The Colour Of Spring," except he wrote,"The Colour Of Spring's new album 'Talk Talk.'" The guy should have stuck to jazz, his purported specialty, since he could barely read a rock and roll hype sticker. (I wish I could remember if Wyatt reviewed "Manifesto," but I can't.)

Once again, I digress.

 

"Manifesto" was called among other things, a failed attempt at new wave and light weight disco. All Music says it's unsatisfactory "disco-pop" even though that's not a thing. 

The title track is massive! It's nothing but verse after modulating verse. No chorus. No bridge. It's genius. And if there's one song that sounds like the proper progression after "Siren" it's "Manifesto." The extended instrumental intro contradicts All Music's claim that the band has "edited out the instrumental interludes in favor of concise pop songs." Okay, it begins the song, so it's not an interlude. Sue me. 

I'd say the first single "Trash" was indeed a successful attempt at new wave. It bashes away so quickly, there's no time to argue what it is. It works, and that's what counts. 

The slightly strange horn lines in "Angel Eyes" call back the arrangements found on the debut and "For Your Pleasure." Two more songs that are hardly "concise pop songs" are "Still Falls The Rain" and "Stronger Through The Years." These tracks are dramatic and ominous with beautiful melodies, sounds that Ferry would consistently opt for on his solo work only with smaller testicles. 

"Manifesto" is not all good. "My Little Girl" is a little too twee, and the two songs that close out Side Two just maybe...maybe fall into that "disco-pop" thing. But Side One is a winner from head to tail, and how bad can Side Two be if you get to listen to "Ain't That So," another song that could have been on the first album, and the gorgeous hit "Dance Away." 

CAVEAT EMPTOR:
You want the original pressing, as subsequent pressings pretty much fucked things up with bad ideas that label heads hoped would be user friendly, like remixes and alternates. 

On a five star scale-
1979- **1/2
2025- ***1/2