Alfred Soto and myself have been conducting a series of phone conversations about our mutual obsession with Roxy Music and Bryan Ferry — 10+ hours worth of Roxy/Ferry talk, running chronologically through both careers by delving into every release, from Roxy’s self-titled 1972 LP to Ferry’s Dylanesque from 2008. Along the way, we discuss our own personal Roxy and Ferry Top 10s, biographical (and autobiographical) details, hits and misses in the Roxy/Ferry ouevre, and of course, the exegesis-resisting entity known as “Bryan Ferry’s impeccable hair.”
I’ve been a big fan of Alfred’s writing for years — via his excellent blog, Humanizing the Vacuum, his essays in Stylus (including this classic piece on Ferry and his minions), and various and sundry I Love Music posts (including this lengthy, interesting Ferry back and forth) — so it was a pleasure to re-visit/re-evaluate all this music with him.
Downloadable MP3s of these chats are available here.
RockCritics.com 
Was blasting Boys and Girls and Manifesto last week. I got turned on to Byran Ferry first, when in the summer of ’85 me and fellow scribe Barry Walters worked in the cassette department at Tower Records on 4th and Broadway. If I remember correctly, Walters reviewed Boys and Girls for the Village Voice.
There’s something about Viva! Roxy Music that I’m drawn to. It competes with Avalon as my top Roxy album. And even though it’s bad enough to be considered a letdown, there’s something about Flesh + Blood that causes repeated listens. When Ferry sings “they’re playing for yoooouuu, on the radio…” my heart swells.