SIREN

Rolling Stone called it the band's "masterpiece." Vibe (no, really) ranked it among their 100 Essential Albums. All of which begs the question: Do these guys even own a copy of Country Life? It's not that I don't like Siren, but I don't love it the way I do Country Life, For Your Pleasure, even their first album. Maybe it's the banality of "Love Is The Drug" or the rushed arrangements, perhaps the knowledge of what would come makes me twinge at the traces of disco, but to me Siren feels less like a culmination than a commercialization. Mind you, I like almost every song on here, and that's by design. The hooks are punched up, the pathos played up, and (voila!) we go from Greta Garbo to Marilyn Monroe in two easy payments. So we come to the conclusion that Siren lacks subtlety rather than passion. Garbo is an acquired taste, Monroe universal. "Casanova" and "Mother of Pearl" put up some resistance, "Sentimental Fool" and "Just Another High" are easy. It's when Siren sounds most like Country Life that I'm happiest: "Prairie Rose" blooming anew in "Whirlwind," "If It Takes All Night" spilling over into "End of the Line," "Nightingale" following the manic tailwinds of "All I Want Is You." But Ferry never returns to his old, cryptic self; it's as if he went from solo album to Siren without making the requisite costume change. The love songs are simply that, the European cafes replaced by late-night discos, the hero vulnerable and human. Obviously, that's exactly what some folks were looking for, but a masterpiece? One of the world's top 100 albums? I'd be surprised if Roxy fans rated this among the band's top 5 albums (Avalon and Viva! Roxy Music might give it a run for its money).

In 1975, Roxy Music released their fifth album, SIREN, and it was both a triumph and a departure for the English glam/art rockers. On the prior STRANDED and COUNTRY LIFE, Roxy had attained the perfect blend of their artier explorations and glam rock leanings. SIREN, however finds a band now content to be less daring, yet more unified and polished in its sound. With suave front man Bryan Ferry now firmly ensconced in his white dinner jacket, bowtie and "seen it all" playboy image, the group was arguably more quintessentially "Roxy" than ever before.

BY '75, as those of my generation will recall (some with fond nostalgia, others, with a shudder), disco had become a major force in the music industry, and on the airways. The "sexy" slinky sound with the generic unvarying beat was, for many seasoned rock fans like myself, boring, tepid listening, but -- if you were so inclined (I wasn't) -- it was very easy to dance to.

Songwriter Ferry, like many of his contemporaries, hearkened to disco's "siren" song, and incorporated its beat and hip-swaying bass line for SIREN's opener. The infectious "Love Is the Drug" is disco-flavoured, true, and doubtless caused many long term followers to fear the worst as it first boomed out of their stereos, but Ferry is no Donna Summer. This number manages to be both eminently danceable, and a wry commentary upon disco's frequently shallow, hedonistic scene of "nose candy" and casual encounters. "Love Is the Drug" gave Roxy frequent airplay, exposure to an ever-expanding audience and their biggest hit to that time. It was also a harbinger of things to come, as the next two albums, the disappointing "one-hit wonder" MANIFESTO, and the slick FLESH AND BLOOD would be even more unabashedly dance floor and airwaves-oriented -- and thus much less imaginative and interesting. After SIREN, Roxy, regrettably, would never again release an album as well suited to long term fans' more eclectic tastes. Henceforth, the rocking edge, experimentation, and often darkly clever lyrics would be absent, in favour of ever greater monetary - if not artistic - "success."

Still, "Love Is the Drug" is a good song, and the only one on SIREN that gets the disco treatment. Other fine tracks include the easy-going "End of the Line," which features some nice Eddie Jobsen violin, along with effectively evocative harmonica and piano, and "Sentimental Fool," which opens with some eerie Manzanera guitar and atmospheric keyboards, before morphing, about half-way through its six-plus minutes, into a more straight-forward paean to the bitter-sweet pain of romantic love, and the heart-quickening, life-affirming allure of the fairer sex. Paul Thompsen's drums, Manzanera's axe, and Jobsen and Ferry's keys work particularly well together here.

"Whirlwind" is a terrific rocker, with some punchy, crunchy bass from Jon Gustafson, Thomsen's trademark pounding drums, and some excellent Manzanera lead. "She Sells" keeps the session moving apace, and has an interesting time change, terrific piano and drums, and Jobsen's violin rounding out the sound. Crank it up and smile - this one really kicks!

"Both Ends Burning" is also a favourite of mine, and was destined to become a staple of the band's live act. Very danceable (sans the disco beat) -- very Roxy. "Keep on burning 'til the end - the very end!"

"Nightingale," co-written with Manzanera, is another winner, and a great showcase for the band as a well-oiled machine. Excellent guitar, bass, drums and violin make this "bird" fly past.

Closing out the session is "Just Another High," a longer, moodier Ferry composition in the tradition of COUNTRY LIFE's "A Really Good Time." The song provides a powerful end to the album, with Ferry lamenting a lost love for whom: "playing at love was another high - just another high." (By the way, that's Ferry's beautiful then-love Jerry Hall on the cover, reclining moistly and seductively on the kelp-strewn English coast. In Greek myth, the siren's supernatural song would lure smitten, spellbound sailors to wreck and ruin on the rocks. In this world, Hall would leave Ferry for Mick Jagger - hmmm. life imitating art?)

Overall then, SIREN was another solid four-star offering from Roxy Music. One of their defining, truly essential albums, it yet marked the end of an exciting era for the band. The ancient example of Odysseus and crew notwithstanding, you can safely listen to this SIREN song in complete confidence of "a really good time." Whole-heartedly recommended!

That's the kind of rock music that really B-O-R-E-S me, especially the side 1! I cannot believe that my favorite keyboardist Eddie Jobson is involved: Mostly, I cannot recognize his style or influence, except on the not bad "She sells", on which he plays his typical rhythmic piano and violin, plus some interesting clavinet parts: with a more aggressive guitar, this track could be taken for a Curved Air's one. I don't really see convincing progressive elements in the overall music: I even think it arguably stands near the lower limit of the prog related classification acceptance. I rather think it is just a slightly sophisticated standard accessible rock. Bryan Ferry's voice is not mature at all: you have to wait untill his solo career of the 80's to really appreciate his voice. The inoffensive electric guitar is REALLY, REALLY, REALLY bland: an unprecedented case in the prog history! The sax parts are just inexpressive and insipid. The psychedelic part on "Sentimental Fool" is just irritating with the grinding gross guitar. The side 2 is slightly better and more original. On the other hand, listening to the first 4 tracks leads to a real state of impatience. So, I give 2.5 stars for side 2 and 1.5 star for side 1.

What will Roxy deliver with "Siren" ?

The first four wonderful minutes are just INCREDIBLE. Of course everybody loves this song (or not ?). Pop, melodious, with great saxing from Mackay. An absolute "chef d'oeuvre". One of their best track ever and the fifth great opener in five albums. It will reach number two on the UK charts (being held off the Nr. one by the re-release of "Space Oddity" from ... Mr. David Bowie). It has been played in every Ferry and Roxy tour since it's release.

The very croony "End Of The Line" is also a very Roxy (Ferry?) song. Omnipresent bass and nice piano. This mellow song has a catchy melody and Ferry sounds pretty decadent in this number (as Roxy was on stage). The pleasure goes on...

"Sentimental Fool" is a very nice ballad, again highlighting Ferry's crooning style. It starts with pretty weird sounds for about 2'30" or so (it reminds the atmosphere of their first album very much). I love that track very much. It opened up Roxy usic's Siren tour in 1975

"Whirlwind" is another gigantic Roxy song : incredible rythm and feeling. Manzarena at his best : one the few hard rock tune from Roxy. "She Sells" is probably the weakest track on "Siren" : rather funky, but still not bad at all. "Could It Happen To Me?" is, again, a very good song : commercial, pop with nice rythm and, again, a great backing band (piano in particular).

IMO, the best is yet to come. "Both Ends Burning" is one of my top five from Roxy : incredible Mackay, great bass from Gustafson, superb vocal interpretation as always. This is a great moment of music. All genres, all periods being considered. This rather long song (over five minutes) for Roxy could have lasted for ever. Such a gorgeous five minutes, man !

"Nightingale" is also very good and keeps the quality of this album at "just another high". I can't help : I just love this Roxy sound ! It's one of the few Manzarena / Ferry compositions. This leads us to the closing number which is ..."Just Another High" ! This closing number is another highlight of this very good album. It will never be played live though.

So, yes, Roxy managed to release another great album after the fantastic "Country Life". This is probably the easiest Roxy album. The bad news is that Roxy decided to disband after this album. Each member pursuing their respective solo careers. The band has left an indelible mark on the seventies : full of creativity and innovation. Each of their first five studio effort ranges from good to sublime. They will come back soon. So, the Roxy adventure is not over yet. Four stars.

"Siren" is the 5th full-length studio album by UK pop/rock act Roxy Music. The album was released through Island Records (Europe) and Atco Records (US) in October 1975. It´s the successor to "Country Life" from November 1974 and was recorded by the exact same lineup as the predecessor was.

In terms of songwriting and musical direction, "Siren" can also be considered a sibling release to "Country Life" (1974). They are both a little less wild and experimental in nature compared to the first three albums, but are still relatively adventurous and sophisticated pop/rock releases. "Siren" opens with the short and catchy "Love Is the Drug" and doesn´t really look back from there. The tracks are relatively varied in style, but there´s still a consistency in quality and style throughout the album.

The musicianship is on a high level on all posts (loads of energetic and spirited performances) and "Siren" also features a powerful, organic, and detailed sound production, which suits the material perfectly. A 3.5 star (70%) rating is deserved.

Roxy Music's fifth studio album was (and remains) a quintessential model of modern rock in the mid-1970s. It might actually be easier to appreciate now, three decades later, than when the album was new, and sounded like such a calculated mainstream sell-out of the original Roxy vision. The sartorial weirdness of the ENO years was gone; the world-weary decadence of songs like "Mother of Pearl" had mellowed; what remained were only the suave European manners that would define the band for years to come.

Even the absurdly popular single "Love Is the Drug" sounds better in retrospect. In 1975 it was one of those ubiquitous AM radio hits (like JETHRO TULL's "Bungle in the Jungle", released a year earlier) that hardcore fans knew didn't really represent the true spirit of the band: in this case a truly shortsighted reaction expressing the connoisseur's distrust of sudden commercial success.

This was, keep in mind, an entirely different, less adventurous Roxy Music than the art school glam-rockers of 1972. The group by then belonged entirely to Bryan Ferry, but unlike later Roxy albums (all of them de facto Ferry solo projects) this one meshed like a well oiled, perfectly tuned machine. Even more than on earlier efforts, the music here was anchored by a rock-solid rhythm section, led by the stalwart drumming of Paul Thompson. It proved to be his farewell appearance on a Roxy studio album, and his muscular 4-4 punch, so at odds with the decade's penchant for jazz-influenced hyper-virtuosity, is a large part of what makes the album so remarkably fresh for such an undeniable artifact of its time (for proof, I direct your attention to the gut-thumping intro to "Just Another High").

"Siren" was the band's final album before their initial breakup, which couldn't have been better planned. After the shock waves from the Punk revolution had receded, Ferry was able to reconvene an even sleeker, slicker Roxy Music, one that would serve as a blueprint for the copycat dance-floor fashions of the New Romantics in the 1980s. Except for a few more, likeminded Bryan Ferry solo albums ("In Your Mind", "The Bride Stripped Bare"), this one would retire the classic Roxy Music sound of the 1970s.

One last observation: in a forum dedicated only to Progressive Rock the album probably wouldn't earn anything more than a respectable three stars. But a strict interpretation of the (revised?) Prog Archives rating guidelines allows me to happily reward it with an extra star, as an 'excellent addition to any rock [and not strictly Prog, take note] music collection'. Any album marking the end of an era for such an influential band deserves no less.

Roxy Music fifth´s album was something of a return to form after the rather uneven Country Life... And it´s a little underrated too. Siren is not the kind of CD that will win you over right away. In fact, at first I thought it was a bit dull and uninspired when I heard it. It was only a few spins that I started to notice the fine, subtle and intricated arrangements. The band never sounded more cohesive, tight and creative in terms of perfoming the songs. it´s not a good album for background music: it demands your atention most of the time, but it also rewards you when you do so.

Besides, Srien have at least two of Roxy´s classic stuff: their bigest self penned single, Love Is The Drug and Both Ends Burning. Love... is the perfect hit: the thumping bass opening, the great drum roll, the infectious guitar riff and one of McKay´s best sax lines. Very good lyrics (even if the real drug mentioned is not love, but quick sex. But it works in the ironic and desperate way Bryan Ferry delivers the words). Both Ends Burning is another highlight with Eddie Jobson´s ARP String synthesizer as the main instrument to give the song its floating feeling. Although its somewhat chaotic live version included on Viva is better, this one is very good too.

The remaining tracks are not as easy to get into as those two songs, but still there are no fillers and all of them are very well performed and produced. According to bassist John Gustafson, Siren was the first album since he joined Roxy that the band actually wrote the tunes first and rehearsed them before going to the studio (the ones did before were made while recording!). And it shows. The result was not one of the group´s most accessible stuff (bar the two aforementioned tracks), but it is also one of their most elaborated ones. It was complex music disguised as simple and I believe a lot of people took it for face value.

The bad news were that Roxy disbanded soon after its release. The pressure was mounting up on the group (particulary on Bryan Ferry). So, after five albums in just three years (not counting several side projects and collaborations by the band members, two Ferry highly successful solo albums, plus grueling tours) they decided to call it a day. They needed a break (and the timing was just right, for they avoided the clash with the arriving punk rock movement). They would only come back eventually some four years later. But that´s another history. With Siren Roxy Music managed to close their ´classic´ period with grace. The album may be different alright, but it is also one of their best. Four stars.

Looking around other forums, I've found that a lot of people tend to consider this one of Roxy's two best albums, and this is an idea I heartily endorse. One thing kinda bugs me when I see some reviews of it, though (again, not in this forum, but in other places); there often tends to be quite a bit of praise for the album being so sleek and stripped-down and dancable. This isn't bad in itself, of course, but I always get the feeling that the implication of such statements is that this stripped-down, funkier state is a big improvement over the sound they'd had before, which was much more dense and tricky and insane. I mean, wasn't being dense and tricky and insane one of the main reasons people liked the band in the first place? I just can't help but be bothered by the idea that being stripped down is better in and of itself than being lush (I mean, just look at Manifesto), just as I am bothered by the idea that being lush is better in and of itself than being stripped down.

That's not to say I don't like the sound of the album, of course. It's just that I'm of the mindset that the sound works not because it's stripped and dancable, but rather works because it still sounds like this stripped and dancable music is being made by a freaking great band. The band is still tight as can be, the drum sound is terrific for this kind of music (for whatever reason, which I'm still not sure of, the drums are the first thing that really caught my ear on this album), and Ferry is still at the top of his game (much more consistently so than on Country, if you ask me). Furthermore, the sound is perfect for the "post- breakup debauchery" theme that runs through the album, and it makes the great pleadings and croonings come that much more alive.

Actually, come to think of it, the "dance pop" (or funk or disco or whatever) reputation this album has is kinda overstated, as there are only three tracks out of nine that I think would really qualify. Ironically, for all my rantings about funkiness not automatically improving something, these are my three favorite tracks on the album, though in a different order from how most tend to order them. Believe it or not, the infamous opening "Love is the Drug" is only my third favorite on the album; this of course means that it's a great song, with a fine bassline and amusing lyrics about needing to score his fix, but I honestly don't find it as addictive as so many others do. "She Sells," on the other hand, gets a no-hesitation thumbs up from me. What makes this song so great in my eyes is that, as overpowering as the funk breaks in the middle might be (and oh man, do they groove, accentuated by the great saxophone lines that had become underutilized by this time), they are *not* the main feature of the song, which is formed around this great sorta sleazy vaudeville piano theme and Ferry alternating a bizarre (even by his standards) croon with other great parts like where he goes into that robotic "con-sum-ing you con-sum-ing meeeeee" part. Oh man what a great song.

In my world, though, all on Siren bows down before the might of "Both Ends Burning." This is a disco-rocker that does both aspects proud, with great sounding background synth noises and a relentless groove that grabs me and never lets go (and believe me, it takes a lot for a dancable groove to grab me) while Ferry pulls out some more absolutely amazing vocal hooks. Look, I know it'll never happen, but if ever comes the day where I'm allowed to be a DJ for one evening, there is no doubt in mind that this would be the song I'd choose to be the closing send-off, as I really can't think of any song that would be better suited. I can also say that, on the 16-track Roxy Music compilation I made for myself, this was a hands-down choice to close it out, as it does an amazing job of leaving me wanting more (and wanting to put the compilation back on, natch).

There are six other songs on here, and they're mostly good. I could live without the really awkward, schmaltzy "Could it Happen to Me?" (possibly the WORST choice to stick between "She Sells" and "Both Ends Burning," as is the case here), but that's the only one I can gripe about. "End of the Line" is first-rate nostalgia (and with a great 'home-on-the-range' style harmonica to boot), "Whirlwind" is a marvelous pop-rocker whose opening gives Phil his best moment on the album (the wall-of-sound strummed distortion, I mean), "Nightingale" is a decent ballad, and "Just Another High" is pretty much the perfect philosophical end to the album (basically it's "great, the buzz is wearing off, and I'm still lonely. I miss her"). Oh, there's also "Sentimental Fool," which opens with a long stretch of creepy Eno-ish and Fripp-ish noises before going into another nice ballad with more nice vocals...

Ok, so the album isn't exactly spectacular outside of the three main highlights, big deal. It's really good, though, and those high points are easily high enough to guarantee this thing a high ****. Which is a lot more than I can say for the album that came into being after the band took a lengthy break ...

If you got up to this "SIREN" album , the fifth album in Roxy's discography, I suppose you quiet got the idea, that Roxy was a mutable organism, that moved freely and unattached, even to its "followers" or markets at the time. Therefore, surprises were always welcomed, knowing beforehand, that great and daring performances, were part of the game always. Newcomers, yes you will read the word pop, written on all reviews, that are in PA, I suppose it should sound like BLASPHEMY!!! Well for starters, most proggers only know those 2 terms, POP or PROG. I suppose that "Rock" as such, takes them back to Chuck Berry or Little Richard. BUT no!, The Beatles were "Rock", "Yes" one, was Pop/Rock . Anyway, a "Rock", album that is pushed in a mish-mash of a category, alongside M.Oldfield/Phideaux/Supertramp/Peter Gabriel/ and everyone that doesn't fit anywhere, being that, "Roxy" was born Avant-Garde from day one, if excluded by the then RIO/AG "serious" musicians, now copy-cats of the first two albums,was by luck, BUT yes!!, this band was born Avant- Garde, with the same, " No-Sell-Out " ideology of those RIO musicians. That, they share the same flat with Mr. Oldfield, is just coincidental. as with the other guests. As told, the 5th project, of a never-repeating, always daring, perfect-pitch studio performances and commited, if not always happy, but yes!!, always comitted band founders, Andy Mackay and Phil Manzanera, to Bryan Ferry's visions and muses, and down straight, street experiences, with the girls, and with his haunting-obsessions. A gifted composer who has the attribute of self -demanding evolution ,musically speaking of course, that moves everywhere and nowhere (Manifesto), with impeccable (if not always) great results. Roxy was never a sell-out band, even when they tried, their language, even if highly sophisticated, still carries, the "rebel" torch, like a "birthmark" for good and bad (like the Crimson, they never made "BIG" money, they were not "show-biz" material) the curse of not selling your soul.... So, if you like to explore the 5th offering, well no-speed freak will feel comfortable here..I guess, an "Avant-Garde Jazz/Rock" Roxy-style, tagging will suit. If you have the whim for the "strange", Roxy 1 & 2, will fill it up. SO, cross-over, because Roxy, knows no boundaries, but their own, and their "worlds" either there be "Bogus Man" or "Sentimental Fool" wil always be Roxy's "orbit". So, if not for "Just Another HIgh", the last song (too long & boring), an easy 5 stars, not being the case, ****4.5, almost perfect always searching!, PA-stars!!

The last album of Roxy Music's first incarnation (before a temporary split, a few mediocre comeback albums, and the swansong of Avalon) feels like it's a concept album in disguise; Bryan Ferry begins the album declaring that "Love is the Drug" for him, but by the end he's realised that it was "Just Another High". Although the band's art rock stylings begin to fray at the edges at some points, at other stages they're as strong as ever - Love Is the Drug is a great, muscular album opener which manages to hide some fascinating twists and textures within an illusion of apparent simplicity, in particular - and if they'd never reunited at this point this would have been as good a last gasp as any.

Bryan Ferry started out lampooning the suave and sophisticated image as lead singer of Roxy Music, but by the time 'Siren', the band's 5th studio album, came out, he was embracing it totally, and it was now his persona. This lounge style personality would also carry him through his solo projects. Taking advantage of this, Roxy Music moved to a more dance style sound, but still kept a level of complexity to their music.

Siren featured the classic lineup of the band with Ferry, long time guitarist Phil Manzanera, Eddie Jobson on keys and violin, Andy Mackay on sax, John Gustafson on bass, and Paul Thompson on drums. Many also consider Siren as being the pinnacle of the band's sound with their mix of sophisto-dance-prog rock. Even though the music after this album would definitely move to a more slick dance sound, this was were their sound was perfected.

'Love is the Drug' is the song that increased the band's popularity in America and they were able to find rabid fans quite quickly. The critics also loved the album, some putting it on their 'best of' lists for the year. Bryan Ferry had involvement in every track, however, the other members also were able to share in the credits in 5 of the 9 tracks, creating some nice levels of variety and sound. 'Sentimental Fool' leaned more to the new sound they were moving to, but did so quite cleverly, while 'Whirlwind' sounds more like a track from one of their previous albums. That mix kept the old fans around while new fans discovered their own pleasures in this unique style.

The elements that make the band so intriguing to me is Ferry's unique voice, the wavering tones that keep it Bowie-esque and sophisticated, yet so unabashedly loungy and cocky, showy and over-the-top at times, and the music moves so well around it creating layers of complexity around this art-pop sound. This music would go on to influence so many bands to come and still does, but just like the music, it wasn't an overnite sensation or a fad, but something that overtime influences a band here and another one there. But, at the same time, they took this sound themselves from Bowie and other British bands, but Roxy Music perfected it and make it 'sophisticated'.

Even after the growing success of the band and the accolades it was receiving, the band decided to disburse after the tour was over. Ferry, Manzanera, Jobson and others went on to either solo or other projects. But this breakup would only last for a few years and in 1978, the band would return with a slicker sound that would continue to attract the new and retain the old fans. Somehow, this change never messed up the reputation of the band and most fans made the transition willingly. Jobson and Gustafson wouldn't return with the band however as Jobson had found success with UK and other more experimental projects. We would be replaced with two keyboardists; Dave Skinner and the ever-popular Paul Carrack, who seems to pop up everywhere.

For those interested in discovering this band, this might be the best album to do it with. Then you can decide if you want more complexity and progressiveness, you can go backwards in time in their discography, or if you would rather go for the more art-pop, slick and rhythmic sound, then you can move forward in their discography from here. Either way, you will be rewarded with some amazing and unique music and will find music that is appealing to you. The position this album finds itself in makes it essential for both fans and newcomers alike, but also to lovers of progressive music as a standard for this style of sophisti-prog music. For everyone else, it is an excellent and important album for the band and for prog in general.

Review Nº 752

"Siren" is the fifth studio album of Roxy Music that was released in 1975. This album and the previous "Country Life" are considered by many critics as two of the most sophisticated original and consistent British albums of those times. It follows the same oath of "Stranded" and "Country Life". Thus, the last studio album of their second phase is no longer really new accents, which doesn't mean that the band would have completely lost their sense for bizarre sound compositions. In general, witty little ideas in rhythm and arrangements are always incorporated into the songs, really.

The lovely front cover of the album features Bryan Ferry's then girlfriend and model Jerry Hall, on rocks near the South Stack Island, Anglesey in Welsh. Jerry Hall later became the wife of Mick Jagger of The Rolling Stones. At this time Bryan Ferry had a relationship with this American supermodel. We can't deny the great impact of her on the music and image of the band. Beyond appear on the front cover of "Siren", she served as inspiration for several songs of the band and also on the music video for "Let's Stick Together", the third solo studio album of Bryan Ferry, released in 1976.

The line up on "Siren" is the same of their two previous albums and is Bryan Ferry (vocals and keyboards), Andy MacKay (oboe and saxophone), Phil Manzanera (guitar), Eddie Jobson (violin, synthesizers and keyboards), John Gustafson (bass) and Paul Thompson (drums).

The album has nine tracks. The first track "Love Is The Drug" written by Bryan Ferry and Andy MacKay is another great beginning of a Roxy's Music album. It's an incredible great song, very melodic and with a very good quality. I know that this is more a Pop/Disco song but it has an incredible musical performance. Andy MacKay and his saxophone are absolutely great, Phil Manzanera and his guitar are very well and Bryan Ferry and his vocals are fantastic as always. It's a song played live in the live tours of the group since it was released. The second track "End Of The Line" written by Bryan Ferry is a very soft, melodic and pretty ballad. It has sentimental vocals, nice piano, beautiful harmonica, a very melodic violin and a good rhythm section. The third track "Sentimental Fool" written by Bryan Ferry and Andy MacKay is another very nice ballad with a prolonged and agonizing atmosphere in the beginning and then go to a romantic pain love song. The performance of all members of the band functioned particularly well on this song too. The fourth track "Whirlwind" written by Bryan Ferry and Phil Manzanera is another giant rock song of the group. We may say that this is a really hard rock song of the band. It's a powerful song with an incredible rhythm very well performed by all band's members. Eddie Jobson and Phil Manzanera are at their best, John Gustafson on bass is great and Paul Thompson on drums is very energetic. The fifth track "She Sells" written by Bryan Ferry and Eddie Jobson is a simple song very well performed with some good and interesting musical moments. Despite being a very good song I think this is probably the less interesting song on the all album. The sixth track "Could It Happen To Me?" written by Bryan Ferry is another very good, beautiful and melodic song with interesting and energetic rhythm. In style, is more a commercial pop song, but once again is performed with an impeccable, irreproachable and fantastic professionalism. The seventh track "Both Ends Burning" written by Bryan Ferry is a classic Roxy Music's song. It's one of the highest moments on the album, one of my favourite songs, one of the most loved by their fans and is also one of the songs most performed live by the band too. This is a great musical moment with an absolutely, fantastic and incredible performance. It's absolutely an unforgettable song. The eighth track "Nightingale" written by Bryan Ferry and Phil Manzanera is another very great musical moment on this album. It's very well sung and has also excellent guitar, violin, bass and drums. This is, without any doubt, a great moment on this great album. The ninth track "Just Another High" written by Bryan Ferry provides a very well end to this album. It's a soft rock and very melodic song, once more fantastically performed by all members and represents another highlight on this album. Are musics like this that keep high the quality of this album, naturally.

Conclusion: "Siren" marks the end of the second era of Roxy Music. The first era includes the first two studio albums of the band, "Roxy Music" and "For Your Pleasure" and corresponds to their experimental avant-garde period with Brian Eno. The second era includes their next three studio albums, "Stranded", "Country Life" and "Siren" and corresponds to their art rock period. "Siren" marks the end of their most experimental, innovative and creative period of music. Brian Eno himself later acknowledged the quality of "Stranded" and "Country Life" that followed his departure of the group. I will add "Siren" to that list. "Siren" is a fantastic album and a landmark in the prog rock music of the 70's. It's a model of the modern rock and we can't forget that Rolling Stone magazine considered "Siren" as the Roxy Music's masterpiece and ranked it in number 371 on their list of the 500 greatest albums of all time, published in 2003.

Prog is my Ferrari. Jem Godfrey (Frost*)