Revitalised by the new focus, the resulting record was made in only five months, mainly at London’s storied Matrix studios, using a typically stellar cast of contributors: alongside Robin Trower, who co-produced the album with Ferry (after initially being brought in to keep an eye on the Horoscope sessions), there are also notable turns from David Williams, Neil Hubbard, Carleen Anderson, Steve Ferrone, Greg Phillinganes and Maceo Parker, to mention just a few. Top 10 Sales in Europe" (PDF). Music & Media. Vol.10, no.18. 1 May 1993. p.24. OCLC 29800226– via World Radio History. Filename F:\Bryan Ferry\2010 - Olympia (Collector's Edition)\CD2\Bryan Ferry - Olympia (Alternative Mixes).wav Additional command line options : -8 -V -T "Date=%year%" -T "Genre=%genre%" -T "COMMENT=ripped by bvstudio®" %source% Six years elapsed between the release of Taxi, Bryan Ferry’s eighth solo album, and his previous release, Bête Noire. It was the most protracted artistic silence of his career, and in the intervening time he had become a father again, twice over, experienced the sad passing of his mother Mary Ann (to whom the record is dedicated), released two ‘Greatest Hits’ collections and witnessed the dissolution of the world’s largest nation state, the former Soviet Union.

Roxy Music split in 1983, just after they had finally achieved major success in the US with their eighth and final studio album Avalon. The popularity of the album, whose ten songs were all written or co-written by Bryan Ferry, provided the perfect relaunch platform for his solo career, but this time without the distraction of the band. At least initially, it marked a new direction for him, away from covers and focused entirely on his own songwriting. Accurately ripped, or (23/27) differs in 19 samples @00:38:11,00:39:54,00:44:71,00:48:46,01:00:02,01:09:32,01:16:50,01:55:27,02:08:64,02:35:08,02:49:73,03:03:52,03:29:19,03:35:30,03:42:00 That first album provided a musical template for Ferry’s solo output, although his own songwriting gradually came to the fore, particularly after the break-up of Roxy Music. Taxi represents the perfect confluence of Ferry’s high-gloss and painstaking production and the unerringly precise and muscular playing of his session cohorts. As with those early solo albums, songs aren’t so much ‘covered’ as converted. ‘Just One Look’, a Motown ballad best known for the Hollies’ uptempo interpretation, here becomes sombre and reflective giving the lyric a pathos entirely absent from its forebears, with a masterful vocal performance cast against a radically reworked arrangement that makes it, to all intents and purposes, an entirely new composition. Top 10 Sales in Europe" (PDF). Music & Media. Vol.10, no.16. 17 April 1993. p.28. OCLC 29800226– via World Radio History.Filename F:\1988 - The Ultimate Collection\Bryan Ferry with Roxy Music - The Ultimate Collection.wav

This split was made immediately apparent by his debut solo album, released just a year after Roxy Music’s breakthrough hit “Virginia Plain.” Exclusively made up of covers, it includes an eclectic mix of 1960s pop, Motown, and the 1930s evergreen “These Foolish Things,” which also served as the album’s title. While there are no original songs here, his talents as a songwriter are clearly evident. Ferry does not just sing these songs, he reinvents them. As ‘Taxi’ nears its 30th anniversary in March 2023 we are reminded of Bryan Ferry’s long tradition of reimagining songs from across the history of music, free from the bounds of genre and time. The ‘Taxi’ album features his refined, inspired interpretations of Screamin’ Jay Hawkins’ ‘I Put A Spell On You’, Goffin and King’s ‘Will You Love Me Tomorrow’ and Lou Reed’s ‘All Tomorrow’s Parties’.Accurately ripped, or (23/27) differs in 128 samples @00:21:18,00:23:45,00:24:42,00:31:16,00:35:71,00:38:59,00:39:56,00:43:41,00:44:37,00:46:28,00:47:24,00:49:15,00:56:58,00:58:51,01:02:36,01:06:19,01:07:49,01:09:09,01:11:20,01:12:68,01:24:27,01:25:23,01:26:20,01:32:33,01:35:59,01:37:53,01:45:21,01:49:41,01:50:02,01:51:33,01:52:30,02:00:16,02:07:03,02:10:31,02:11:26,02:13:20,02:15:09,02:16:04,02:17:00,02:20:22,02:26:38,02:27:35,02:28:31,02:29:28,02:30:25,02:33:15,02:36:05,02:53:18,02:53:74,02:55:11,03:02:58,03:11:24,03:12:21,03:13:17,03:15:10,03:19:68,03:22:57,03:23:53,03:25:09,03:26:42,03:28:69,03:30:28,03:31:25,03:33:16,03:38:33,03:39:32,03:39:66,03:43:23,03:45:53,03:53:31 Pennanen, Timo (2006). Sisältää hitin – levyt ja esittäjät Suomen musiikkilistoilla vuodesta 1972 (in Finnish) (1sted.). Helsinki: Kustannusosakeyhtiö Otava. ISBN 978-951-1-21053-5. Filename F:\Bryan Ferry\1995 - More Than This (The Best Of Bryan Ferry + Roxy Music)\Bryan Ferry And Roxy Music - More Than This.wav

Taxi is the eighth solo studio album by English singer Bryan Ferry, released in March 1993 by Virgin Records, over five years after the late 1987 release of his previous album Bête Noire. [10] It was first released in Japan on 10 March, before being released in the UK on 22 March and then in the US in April. This was Ferry's third solo album since the second demise of Roxy Music in 1983, ten years earlier. The album was a commercial and critical success, peaking at No. 2 in the UK, it was certified Gold by the BPI.Classifiche". Musica e dischi (in Italian) . Retrieved 22 July 2022. Select "Album" in the "Tipo" field, type "Bryan Ferry" in the "Artista" field, type "Taxi" in the "Titolo" field and press "cerca". The same can also be said of the album’s opener, a moody and magisterial take on Screamin’ Jay Hawkins’‘I Put A Spell On You’, that finds the groove and elegance one expects from Ferry enhanced by subtle, synthetic atmospheres, giving it a sang froid that suits the vocal perfectly. These two examples foreground the album’s greatest assets – Ferry’s voice, and the panoramic arrangements – that elevate the songs from tribute to triumph. The vocals exude the kind of mannered cool that will be instantly familiar to fans, but in the interval between Taxi and Bête Noire Ferry found an undercurrent of warm sincerity that is deployed here to devastating effect: the ‘remodel’ of The Shirelles’ classic ‘Will You Love Me Tomorrow’, taken at near-funereal pace, attains its emotional power from the dignified vulnerability that the singer imbues it with, and ‘Girl Of My Best Friend’ shows how Ferry’s experience as a singer allows him the assurance to play with the spaces around the music in a manner reminiscent of the great jazz stylists like Jimmy Scott.

Bryan Ferry’s eighth solo studio album ‘Taxi’ is being re-issued for the very first time since its initial release in March 1993. The album will be available from November 25th 2022 on limited edition yellow vinyl, and on CD in a limited edition Japanese-style oversized card sleeve, with new artwork overseen by Bryan. As he further matured, this type of repertoire suited his singing style even more, as evidenced by a 1999 cover of “As Time Goes By,” which was originally part of an intimate album made up entirely of 1930s songs. 1980s Pop Star (Slave To Love, Don’t Stop The Dance, Windswept, Kiss And Tell, Is Your Love Strong Enough?)Taxi’ shot to #2 in the UK Albums Chart upon its release, five years after the critically revered 1997 album, ‘Bête Noire’. ‘Taxi’ was produced by Bryan Ferry and British guitarist, Robin Trower, and features a cast of formidable supporting musicians including Nathan East, Steve Ferrone and the singer Carleen Anderson. Offiziellecharts.de – Bryan Ferry – Taxi" (in German). GfK Entertainment Charts. Retrieved 17 May 2022. Having paid homage to his soul music heroes with two Motown covers on his first album, Ferry extended the theme on the follow-up Another Time, Another Place where Sam Cooke and Ike & Tina Turner songs appeared alongside a punchy, menacing version of the Dobie Gray smash “The ‘In’ Crowd.” The album opener landed Ferry a second UK Top 20 entry and showcased his versatility reworking songs from different genres. Top 10 Sales in Europe" (PDF). Music & Media. Vol.10, no.17. 24 April 1993. p.24. OCLC 29800226– via World Radio History. The similarly restrained Bête Noire confirms Ferry’s commitment to innocuous sophistication. That wonderful voice is his sole asset: what he’s singing is all but irrelevant. But this record’s stronger melodic development and a wider variety of danceable tempos than on Boys and Girls are palpable signs of life; the involvement of ex-Smiths guitarist Johnny Marr as a player and the co-writer of one near-exciting song (“The Right Stuff”) is another positive touch. In the end, given one’s diminished expectations,”Limbo,”“Kiss and Tell” and “Day for Night” are coolly inviting and likable enough.