Romantic pop band Roxy Music broke numerous trends in music, fusing a sultry sound with powerful esoteric, occasionally extraterrestrial riffs which appealed equivalently to the dance crowd and the intelligentsia.

Best known as Roxy Music's guitarist, Phil Manzanera has pursued a solo career on the side since the mid-'70s, delivering albums that continue to break sonic ground with experimental and enchanting effect.

You've enjoyed the sounds this man pioneered, now examine the works that made it all possible.

In 1975, Manzanera's debut solo album was hailed as a milestone of delightful rock. Rightly so; and this assessment stands today with equal validity.

Gathered on this 47-minute release are some of the most notable talents from the British eclectic pop scene of the early '70s: Brian Eno, Robert Wyatt, John Wetton, Eddie Jobson, Andy Mackay and more.

Expect a passionate blend of uptempo pop and serious rock, a truly inspired dose of tunes that rank even today as unparalleled sonic achievements. Tasty and thought-provoking, this music alternates from vocals to instrumental pieces, striving toward (and achieving) emotional highs that will leave you breathless no matter how many times you listen to this album. The combination of pop and prog surges like a cheerful volcano.

Vocals alternate between songs. When a fanciful voice is required, there's Wyatt's ethereal tremble-throat; when deep authority is required, there's Wetton's commanding style; when festivities are called for, there's Eno's eerie pop vocals.

Manzanera's guitar soars, twirling in the air with nimble-fingered pyrotechnics. His crisp riffs snare catchy melodies with carefree abandon, mixing them with sly intent with sinuous basslines, intricate percussion, keyboards of energetic nature, and truly innovative electronic effects. And don't forget the swing saxophone or the swirling violin. The mix is well-balanced, structured so that each instruments' melodies are allowed time to shine as the center of attention. Yet these moments all flow together, becoming grander and superb with their interaction.

This new CD edition of this essential eclectic pop release features a bonus track (the conga-crazed "Carhumba"), previously only available as a B-side of a seven-inch single.

Quiet Sun was Phil Manzanera, Charles Hayward, Dave Jarrett, and Bill MacCormick, with Brian Eno adding synthesizers, treatments, and oblique strategies.

Recorded during the same sessions which produced Manzanera's "Diamond Head" album in 1975, Quiet Sun's album is a stark counterpart to that release. Where "Diamond Head" applies a rock context to experimentalism, "Mainstream" displays an unrestrained explosion of progressive tendencies. "Mainstream" is 39 minutes of prog rock laced with attack guitar and a distinctly felt enhancing tweak to nearly every sound heard.

In this music, no individual instrument dominates for very long, the structures are constantly flowing from one instrument to another. From a guitar snarl to a twinkling organ to a monstrously growling fuzz bass to intricate percussion to more guitar snarl to moody electric piano. . . .

Compositionally, this music is deliciously complex and esoteric despite the powerfully appealing riffs. Confounding its intellectual nature, this music radiates a strong sense of cheery playfulness. Yet, this secret sonic smirk is delivered in tandem with some incredibly intense moments . . . the beginning of "Mummy Was an Asteroid, Daddy Was a Small Non-Stick Kitchen Utensil" stands as one of the most pulse-quickening start-ups in modern music.

Without question, this 1976 release is one of the best live modern rock albums of any century. It documents the third and final concert of 801 with the superstar line-up of: Phil Manzanera, Brian Eno, Francis Monkman (from Curved Air) on keyboards, Quiet Sun's bassist Bill MacCormick, the slide guitar of Lloyd Watson and drummer extraordinaire Simon Phillips.

Featured among the songs captured live by this powerhouse union of talent are: Eno's "Sombre Reptiles" (unexpectedly uptempo), "Baby's on Fire" (the all-time classic), and "Third Uncle" (in monstrously epic form); Manzanera's "Diamond Head" (superbly re-enacted with astral style); the Manzanera/Eno collab "Miss Shapiro" (making perfection better); Quiet Sun's "East of Asteroid" (shriller than ever), "Rongwrong" (transforming experimentalism into soft rock); Lennon/McCartney's "Tomorrow Never Knows" (no slicker rendition exists); and the Kinks' "You Really Got Me" (adding smoothness to power chords).

Manzanera's guitars are brilliant, versatile and straining toward hyperspeed. Eno's vocals are miraculous, captivating the dynamics of rock and the cool of croon with every syllable, while Eno himself also contributes synthesizers and guitar tapes to the dense mix. Monkman's keyboards are swift and have no difficulty keeping up with the rest of the sonic busy-ness. McCormick's bass thunders with such speed that it's a miracle the man has any fingers left. Watson's slide guitar adds a country twang to the modern sound, while Phillips' drumming is simply beyond any human velocity.

This new CD edition clocks in at 56 minutes with two previously unreleased bonus tracks from this historic concert (Eno's "Golden Hours" and "The Fat Lady of Limbourg").

To promote Manzanera's "Listen Now" album, a second version of 801 went touring in 1977 with the line-up of Manzanera, MacCormick, Paul Thompson, Dave Skinner and Simon Ainley.

Mixing material from "Listen Now" with the "801 Live" song list (with the Roxy Music fave "Out of the Blue" tossed in for fun), the music on this 57-minute CD represents a different side of that material. The performance is rougher, harsher, with more of a rock 'n' roll edge -- trading polish for a traditional raw sound.

Showing up as surprise guests for this Manchester gig were Andy Mackay (from Roxy Music) and Kevin Godley and Lol Creme (from 10cc).

Do not expect simplicity or rudimentary performance here. Manzanera's intent is to display the evolution of his guitar playing, from his childhood in South America, to his youth in London, leading to his work with Roxy Music and the other musicians. This autobiographical structure is enhanced by snatches of dialog covertly recorded through his career.

All of the instruments are played by Manzanera here (with the exception of John Wetton on bass for one song).This time, guitar, percussives, bass, keyboards, and treatments are all under his control. And it's slick control, applied to powerful compositions that are full of life and spiraling guitar peaks. There are no vocals.

The tuneage is savage and sharp, driving melodies that surge and churn, pouncing on riffs with the ferocity and grace of starving lions. It's is also highly catchy. While creating music of an esoteric nature, Manzanera cannot refrain from utilizing enticing rhythms that plug directly into the human pleasure center.

As the album progresses, the music seems to mature, but the high quotient of ultimately satisfying hooks continues unabated.

Originally released in 1982, this new CD edition expands the total time to 55 minutes with two bonus tracks: "Criollo (French Remix)" from a rare twelve-inch single, and an instrumental version of "Frontera" (from "Diamond Head").

On this 48-minute CD from 1999, Manzanera passionately embraces a Latin flair, expressing his Colombian and British roots, flavored with his years spent in Cuba.

The result is a selection of sensuous rock tunes which glisten with authoritative guitar, intricate percussives, soaring trumpet, anthemesque basslines, and sneaky electronics. Vocals alternate between distant voices, heavenly crooning, and choir. You can trust the guitar to manifest as each composition's backbone, from delicate Spanish guitar to outbursts of squealing, ecstatic fury.

This music is ruled by compelling melodies, sinuous rhythms blending with fiery guitar to generate a mood of jungle celebration. Complex riffs cavort through the songs, mating to give birth to even tastier patterns.

Rejoining him for this release are Robert Wyatt (whose distinctively charmed vocals, tricky percussion, ghostly trumpet, and grandly grand piano grace several songs), and Andy Mackay (whose haunting oboe shows up on one track).