ALBUM REVIEW: Bryan Ferry – ‘Avonmore’

What do Bryan Ferry, Johnny Marr, Ronnie Spector and Flea have in common? Oh, and Mark Knopfler, Todd Terje, Nile Rodgers and Maceo Parker? That’s right: they all made this record. Avonmore might have Mr Ferry’s name on the front (for the bedroom legends amongst you who still buy CDs), but this is as eclectic as it gets when it comes to collaboration.

The first newly written tracks in over four years, it’s hard to know, before you listen to them, whether Ferry will be reaching into the past or into the unknown for inspiration. After listening repeatedly for three days, I’m still trying to figure that one out. Take opening number, ‘Loop De Li’: it’s as fresh and interesting as anything that he’s produced before, but something’s bothering me about the verse melody – perhaps it’s the striking resemblance it has to Talking Heads’ ‘Life During Wartime’? I mean, the vocal track could almost have been directly lifted off one and placed onto the other, but that’s not to say it’s plagiarised. Rather, Ferry is doing what Ferry does best: finding a way to fit velvet-padded lyrics to a selection of musicians who may or may not be in the same room, the same planet, or acting towards the same musical end as any other single musician who ends up on the album with them. That’s the brilliance of this extraordinary performer: all his best stuff sounds like it came out of a fantastic accident, and that’s why, 44 years into his career, he’s still able to surprise.

There’s a fair amount of 80s influence in here, as you’d expect, but it’s not gimmicky or overpowering. In fact, no single element of the record plays above another, and that includes the personalities that have formed it. Perhaps only ‘Lost’ and ‘One Night Stand’ take the less fashionable tropes of that decade and reuse them in the same tired way that they were used then – specifically, the ability to be put to a music video featuring a smoke machine to the former, and distorted guitar that sounds like it’s played from inside a large drainpipe on the latter. That aside, ‘Soldier of Fortune’ (co-written with Marr) and ‘Midnight Train’ are great additions, both employing the best of Ferry’s characteristic crooning style with alternatively funky and smooth abandon.

The two cover tracks are perhaps among the most notable numbers to feature on the album. Stephen Sondheim’s ‘Send in the Clowns’ is plain bizarre, but perfectly musical and interesting – a bit like a tongue-in-cheek dare where one producer says to the other ‘hey – what do you think that would sound like with Bryan Ferry singing it?’ over a late-night pint. It sort of works, albeit in a strange way. Robert Palmer’s ‘Johnny and Mary’ is much more convincing. The echoing, layered synth is beautifully executed and we’re allowed to enjoy the dynamism of Ferry’s iconic voice as he half whispers, half cries “Johnny’s always running around, trying to find certainty”.

This is an accomplished and ever-stylish record in Ferry’s now bulging catalogue of releases. It’s not particularly ground-breaking; it’s not surprising or unique – but it continues to work listen after listen, and that’s pretty remarkable in a career that’s as long as this gent’s is. His voice continues to be the star of the show – and so long as that remains the case, I’m all ears.

Pete Cary

@PeterCary1

Pete Cary

Pete Cary

Pete Cary

Latest posts by Pete Cary (see all)