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At 65, you would think that former Roxy Music front man Bryan Ferry would become a bit more conservative in his music.
However, with a career that has survived the free love of the ‘70s and the extreme style of the ‘80s, modest is never an option. As suave as Barry Manilow (and about as old as him), Ferry is out to prove sexuality knows no age, with his 2010 release Olympia.
The record takes a complete 180 from its predecessor, Dylanesque, with a femme fatal-ized Kate Moss, splayed on the album cover, alluding to the verbal seduction inside.
Initially released as a single, “You Can Dance,” kicks off the album, throwing listeners who are expecting a throwback to old school Roxy Music through the ringer. With its rock sound, the piece is uncharacteristic of Ferry.
He sings, “I’ve been raving through the night looking for some company.” Bolstered by a backdrop of enticing electric riffs, as the piece conjures an almost vampiric allure.
Continuing in haunting manner, “Alphaville” includes a lusty foreign female voice in the beginning of the piece. Ferry’s breathy vocals come in alongside a soulful jam session, perfectly seasoned by industry veterans.
Similar to “Alphaville,” in “Shameless,” Ferry channels his prior days as a UK heartthrob while he croons about being “Fatefully entwined / In a shameless world.”
Musically, the piece is solid. The tech-inspired background beats are well composed, creating hypnotic layers of sound, rather than being tacky and overpowering. Aside from “Reason or Rhyme,” “Shameless” is probably the best track on the album.
At nearly seven minutes, “Reason Or Rhyme” is the longest track on the album, but it is by far the best. Ferry’s vocals take a backseat to an elegant blend of intricate piano and guitar work inspired by the best of ‘70’s psychedelia.
In the nearly two full vocal-free minutes in the middle of the piece, the instruments play on each other, creating layers with rock-inspired guitar and a smooth, timeless piano. Each piece fits effortlessly together, with no sound or lyric is out of place.
No Bryan Ferry album would be complete without a butchered cover track. The first victim is the Tim Buckley original “Song to the Siren.”
Buckley’s version is sweet and uncomplicated, with deep vocals accompanied by a mellow guitar and the faint sounds of strings.
Ferry’s take on the song brings back the worst of ‘80s music, with overly elaborate synth.
Next on the cover chopping block is Traffic’s “No Face, No Name, No Number.” Like “Song to the Siren,” the original copy is timeless, driven by the band’s characteristic psychedelic sound. Yet again, Ferry gives into his compulsive tendency to over accessorize, making the same ‘80s centric mistake as he did on the prior track.
Closing the album, “Tender is the Night” showcases the artist’s weakness, as he laments, “At the best of times I feel misunderstood.” The track is oddly honest of him, perhaps exposing some all too real insecurities.
Regardless, the vulnerability is a refreshing insight to the 65-year-old’s true state of mind.
