Lenny Kaye, Disc, 15th June 1974
They had stunned audiences in Detroit and Cleveland, taken Philadelphia by literal storm, and closed with a forceful and intense set in New York that overcame initial audience unfamiliarity through a relentless and hypnotic bit of spell-weaving that was worlds apart from their first visit here over a year and a half ago. "It's been totally different,"vsaid Bryan, remembering that battle scarred premiere at Madison Square Garden under Jethro Tull. "We know that we've came along way since then but we we really been incredibly surprised by how well it's gone. "They were a bit cool here tonight„" he added„ waving his hand toward the stage where the last strains of applause could still be faintly heard. "but I do think we got to them in the end. Did you like it?"
Did I? The group is playing A Song for Europe. Bryan casually slinking around the microphone, left hand crammed into the pocket of his white dinner jacket. A serpentine head waiter in heat. He sings in French, pausing only to run back to the piano for a few moments of polite tinkling, the band a rich maelstrom of sound behind him. Andy Mackay tilts his saxophone in reverse to noticeable cheers. Phil Manzanera kicks at some of the electronic controls arrayed by his feet. Paul Thompson - fetchingly attired in a leopard skin apron - pounds each of his drums in turn, giving the gun to a demonic and inspired Eddie Jobson behind his bank of machinery and bassist Sail Maida, paying a home town call to the finest of effects It was that kind of a night.
All that was missing was In Every Dream Home A Heartache, which Bryan admitted had been much requested throughout the tour and "would've been nice to plug in somewhere"; and a few visits to favourite West Coast cities, such as Los Angeles.
"We've been amazed at the depth of fan appreciation over here," he said. "So many people travelled so far to see us . . we had kids driving five hundred miles to get to the gigs, and in Philadelphia, one guy even flew in from California!" The group performed the same set as they did on their recent European and English tours. "We figured it was tried and tested, and offered a selection from all three of the albums. We simply chose them on the basis of which we do best live, and we thought it worked well. Everybody seems to've been pleased - the promotors, the record company, the public. It's all we could've asked for. Bryan noted that their next American visit would probably be in November, and would be undertaken with more of a major circuit in mind.
Opening for Roxy was Sharks, making their American debut. Joined by Mountainesque Leslie West for their closer, they played a friendly and enthusiastic set which met with good response and a fair promise of things to come.
Chris Charlesworth, Melody Maker, 15th June 1974
Their first outing here was nothing short of a disaster, playing support to very big name bands in the huge arenas. Needless to say, the audience was still filing in while Roxy ware playing so the effort was largely wasted. Such was the bad feeling about the States that Roxy had almost decided not to return there at all. However, a change of record label - from Warner Bros to Atlantic - revitalised their ambitions and Ferry was more than happy in the interest shown on a recent promotional visit and on the current short tour. At the time of writing Roxy are at number 99 in the Cashbox charts with their "Stranded" album.
Most of Roxy's material on the current tour is taken from "Stranded" and audiences at both the Academy and a Philadelphia concert hall earlier in the week seemed familiar with their repertoire. One can't help feeling, however, that there's a certain unwillingness to work within the Roxy camp. Their stablemates King Crimson, on the other hand, seem to be permanently on the road in America at present. "Starless And Bible Black" is at number 54 with a bullet in the Cashbox charts this week. And while we're on about other up and coming British (or European) acts, Golden Earring are worth a mention. They're touring under the capable direction of US manager Peter Rudge and their "Moontan" album is at number 65 with a bullet. Mott the Hoople, arguably the latest British band to break in America, have made it into the top thirty with "The Hoople," a fact which surely reflects the hard work they've put in on numerous trips across the Atlantic.
But back to Roxy, who were well received at the Academy show (effectively their New York debut appearance). The New York fans seemed familiar With their music and the girl I took along, who'd never seen them, was quite stunned at Bryan Ferry's casual, loping mannerisms. Big favourite was "The Strand" which was constantly requested during their set. Roxy did it for an encore and went off to a standing ovation, but the real encore was later in the evening at a party thrown for them by artist Larry Rivers in his loft studio.
Roxy's image has attracted a clique following of film stars, artists and general Warhol-type personalities and they turned up in droves for the after-show party. David Bowie showed up too, along with Amanda Leer, the girl photographed on Roxy's second album. They all rubbed shoulders with Roxy and various avant-garde actors, writers and socialities until the early hours. Few British bands attract that kind of following in New York these days and seasoned observers remarked that such gatherings have rarely taken place since the demise of the Velvet Underground. Whether or not this kind of following will help Roxy in the great midwest, the southern states or the Pacific areas is doubtful, but it's a good sign for the band's future in New York and the eastern cities.
