that the band radiated high-tech decadence, and Flesh + Blood connects with this historical interpretation by confirming the decadent part: e.g., what could be more outré right now than an art-rock disco album?." David Hepworth, writing in Smash Hits, said, "Original followers [of the band] may find it low on character and surprise while lovers of the mighty "Over You" should be suckers for its mature, silky charms." Greil Marcus praised the album: "This record, all graceful lust and wistful regret, is pure romance; it’s also the best summer music anyone’s made since oil spills began undermining the concept ... Flesh + Blood floats; it drifts; it fades away; it soars back. It captures the easy, endless promises of summer, and it captures the summer you’ve never gotten over; it works as soothing, mindless background music, and it can break your heart. Like a perfect July day, it makes no demands on a listener, yet it can give a listener everything." Legacy The New Rolling Stone Record Guide give it three stars and say "Manifesto and Flesh + Blood, released after the band split up between 1976 and 1978, were good of their kind, but they lacked the spark that made some of the earlier albums so grand." Stephen Thomas Erlewine states "even the handful of undeniably strong moments can't erase the feeling that Roxy Music were beginning to run out of ideas." Pitchfork rate the record a 6.6 (the lowest of any of the studio Roxy Music albums) complaining "But the later material isn't always worthwhile. There are moments on 1980's Flesh + Blood, in particular, where the band stop sounding tired and start sounding bored, a fatal difference." Singles The singles released from the album have garnered more critical acclaim. The first single "Over You" is the only Roxy Music single included in Dave Marsh's The Heart of Rock & Soul: The 1001 Greatest Singles Ever Made. "Over You" is ranked at #511 in the book. Marsh writes "Roxy Music from time to time produced slices of music that were compulsively listenable, adding a dangerous groove to a fantasy Top 40 (since none of them actually reached it, in the States at least) in which such ironic distance might have actually communicated something other than the performers' feelings of inherent superiority to the genres in which they trafficked. Invariably, these pieces presented themselves as singles. Among the more