Stranded

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Stranded album cover
Album Information
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  • Artist: Roxy Music (See All Albums by Roxy Music)
  • Date Released: Mar 3, 2003

  • Genre: Rock/Pop, Style: Rock

  • Label: VIRGIN

Total Tracks: 8   Total Length: 41:06

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Barry Walters

eMusic Contributor

05.18.11
A monumental transitional album
2003 | Label: VIRGIN

Released in the U.K. only seven months after For Your Pleasure and less than a month after leader Bryan Ferry's first covers album These Foolish Things, 1973's Stranded ushers in the beginning of Roxy Music MK II. Out went Brian Eno, and another temporary bass player. In come keyboardist/violinist Eddie Jobson, a full time member, and the greatest of the hired bassists, John Gustafson. Together they both stay for three studio albums. Combined with the band's rapid increase in skill, these changes prove monumental. Although opening salvo and single "Street Life" connects new Roxy with old there is, on its third album in two years, less full-throttle rocking/droning out, fewer sudden twists in the arrangements, and more sophisticated soul-searching.

No longer jockeying for leadership with Eno, Bryan Ferry starts sharing songwriting credit here, and yet he feels more in control. This is more of a songwriter's album: There's more piano, and it's more suave, while Phil Manzanera's guitar is less noisy. He's still pretty out-there, though, and chances within the rest of the band are still taken: Listen to how "Amazona" nearly grinds to a halt for the beginning of his convulsive solo, shifts into what feels like another song, and… read more »

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They Say All Music Guide

Without Brian Eno, Roxy Music immediately became less experimental, yet it remained adventurous, as Stranded illustrates. Under the direction of Bryan Ferry, Roxy moved toward relatively straightforward territory, adding greater layers of piano and heavy guitars. Even without the washes of Eno’s synthesizers, Roxy’s music remains unsettling on occasion, yet in this new incarnation, they favor more measured material, whether it’s the reflective “A Song for Europe” or the shifting textures of “Psalm.” Even the rockers, such as the surging “Street Life” and the segmented “Mother of Pearl,” are distinguished by subtle songwriting that emphasizes both Ferry’s tortured glamour and Roxy’s increasingly impressive grasp of sonic detail. – Stephen Thomas Erlewine

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