If the 1980's could be remembered for only one thing, it would surely be decadence & debauchery. At least from my romanticized, nostalgic perspective, that is a singular culturally defining trait of the decade. It permeated everything, from the film, literature, television, and of course- the music. And if there's any album that encapsulates and romanticizes this concept even further, it would be Bryan Ferry's 1985 solo record, Boys and Girls.
His first since disbanding the iconic, glam / art rock group Roxy Music, it showcased the refined, sleek image he first began to curate on their last album together, Avalon. Ferry's style was always in stark contrast to that of his former Roxy collaborator, Brian Eno, who was more interested in how bizarre and artistic the music could get (which he expanded on in his own solo work), than making refined artistic rock, that was still accessible to the masses. Their creative differences led to Eno's eventual departure from the group, and Ferry taking Roxy to their peak of popularity.
On Boys and Girls, Ferry dives deeper and deeper into the romantic, modern crooner image, resulting in one of the decade's most sensual, decadent works, but while still maintaining his artistic, sophisticated side. He capitalizes on his striking good looks, and suave aura, by creating a record that is as attractive as he is. I feel the need to discuss this record, because of how powerful it is, and what sets it apart from other romantic / sensually-driven music of its time.
The album begins with the pretty overtly sexual, "Sensation". Simplistic in its lyrics, it seems to clearly be depicting the desire and need to spend a night of passion with someone. Musically, it is luscious and smooth, almost is if Ferry is trying to seduce the listener into going to bed with him by sound alone. His voice takes the old-fashioned crooner vibe, and corrupts it, taking it to a place that surely would have been unacceptable and "raunchy" at that time. This of course will only be expanded upon by the next track, and the rest of the album.
Then there is the track that most will remember from the record, "Slave to Love". Probably Ferry's best known song, there are even many from my generation who know it (though most probably couldn't say who it's by). The song is featured in countless film and TV show soundtracks, from the 80's to the 2010's. There is a reason for this fame and notoriety. It is on par with the Police's "Every Breath You Take", insofar as the ideas of obsession and needing to have someone as your own being heavily romanticized and sought after. The lyrics follow along the sensual, romantic path the rest of the album takes, but is more subtly lustful- some listeners even taking the song's lyrics to a sadomasochistic place. Think of it what you will, but there is no denying the entrancing, passion this song exudes. With renowned "slap" bassist Tony Levin (Peter Gabriel), Guy Fletcher on keyboards (Dire Straits), and Keith Scott on guitar (Bryan Adams), the track has enough musical prowess and star-power to stand tall on that fact alone. But it is of course Ferry's modern 80's crooner voice, and sexually, romantic-driven lyrics that make this song the stand-out that it is. Give it a listen for yourself, below.
The third track pumps the breaks on the "hot and heavy" motifs, if you will, and goes for a dancier song about well...dancing! "Don't Stop the Dance" has such a unique sound, with its low-key synthesizers and saxophone, stays on the sensual track of the beginning of the record, but focuses more on a need to simply dance. "There will always be more time to find a perfect lover, but for right now, all I want is to dance until the sun comes up", might be the universal feeling of every single person dancing the night away, finally feeling at peace with just being with themself, not needing a partner to be happy. This is at least, my take-away from the song, but there isn't much to go off of, so feel free to develop your own theories.
"Windswept" harkens back to an Avalon sort of sound, with its abstract lyrics, depicting a magical, enchanted landscape that could only come from the mind of Ferry. It maintains the romanticism contained within all of Boys and Girls, via heavy sax, this time giving the song its more mystical feel, done in such a stylized way, and castanets also contributing to this vibe. Topping it off with Pink Floyd guitarist David Gilmour on lead guitar, "Windswept" is a mystic rocker of a track, which is unfortunately often overlooked. I invite you to check it out below.
I'll leave the remainder of Boys and Girls a pleasant surprise for you to discover on your own (or a pleasant reminder, for those of you already familiar with it). Other highlights, however, include Mark Knopfler of Dire Straits and his signature guitar genius on the track "Valentine", and the album's ender, and title track, "Boys and Girls".
When you look at it from a modern perspective, Bryan Ferry's Boys and Girls is everything a romantic 80's album should be. From Ferry's 80's take on the crooner (sometimes referred to also as "blue-eyed soul") voice, to the luscious synths and over-indulgence of saxophone and slap bass, and the sensual (often sexual) lyrics- it's enough to get anyone in the mood. Ferry lets his fascination with decadence run free, but keeps it suave, charming and never-overbearing. Boys and Girls is the record you put on, with candles lit, wine flowing, and a prospective lover sitting on your couch, trying to make some magic happen. And who could blame you? Certainly not the 80's!
Thank you as always for reading, and have a romantic start to your new year!
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| Bryan Ferry, photographed by John Swannell, in 1985. |
