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These are the user uploaded subtitles that are being translated: 1 00:00:02,040 --> 00:00:04,240 # Couldn't sleep a wink last night 2 00:00:04,240 --> 00:00:06,920 # Oh, how I'd love to hold you tight 3 00:00:08,480 --> 00:00:11,040 # They say you have a secret life 4 00:00:11,040 --> 00:00:14,760 # Made sacrifice your key to paradise 5 00:00:16,360 --> 00:00:18,760 # Take a sweet girl just like you 6 00:00:18,760 --> 00:00:23,280 # How nice if only we could bill and coo... # 7 00:00:45,520 --> 00:00:47,200 I couldn't go wrong with anything 8 00:00:47,200 --> 00:00:49,080 Bryan Ferry's ever done, or the Roxy. 9 00:00:49,080 --> 00:00:51,240 The whole Roxy thing is just really cool. 10 00:00:51,240 --> 00:00:56,080 It was really an enormous influence on Heaven 17's music. 11 00:00:56,080 --> 00:00:59,040 I remember on the inside of the first album cover it said, 12 00:00:59,040 --> 00:01:01,160 "Hair colour: blue-black." 13 00:01:01,160 --> 00:01:04,760 There are few bands that can cross a period of decades, 14 00:01:04,760 --> 00:01:08,200 always be innovative and always be ahead of the curve. 15 00:01:08,200 --> 00:01:10,480 And yeah, Roxy Music are one of them. 16 00:01:10,480 --> 00:01:12,120 People still name check them now. 17 00:01:12,120 --> 00:01:14,320 People go back and listen to the albums now. 18 00:01:14,320 --> 00:01:16,360 They oddly don't sound dated. 19 00:01:16,360 --> 00:01:19,160 They are such an amalgam of past, present and future. 20 00:01:19,160 --> 00:01:21,120 Virginia Plain, their first single, 21 00:01:21,120 --> 00:01:24,800 wasn't even on their first album, which is quite interesting. 22 00:01:24,800 --> 00:01:27,320 When it was played on the radio, when it was on TV, 23 00:01:27,320 --> 00:01:29,640 it was just, I think, mind-blowing 24 00:01:29,640 --> 00:01:32,520 and made everybody sit up and think, who is this band? 25 00:01:34,280 --> 00:01:37,440 # Make me a deal and make it straight 26 00:01:37,440 --> 00:01:39,440 # All signed and sealed 27 00:01:39,440 --> 00:01:41,040 # I'll take it 28 00:01:41,040 --> 00:01:43,920 # To Robert E Lee I'll show it 29 00:01:45,160 --> 00:01:47,960 # I hope and pray he don't blow it cos 30 00:01:47,960 --> 00:01:51,280 # We've been around a long time 31 00:01:51,280 --> 00:01:53,280 # Just try to try 32 00:01:53,280 --> 00:01:55,480 # Trying to make the big time 33 00:01:55,480 --> 00:01:58,680 # Take me on a roller-coaster 34 00:01:58,680 --> 00:02:01,920 # Take me for an airplane ride 35 00:02:01,920 --> 00:02:06,360 # Take me for a six day wonder but don't you 36 00:02:06,360 --> 00:02:09,800 # Don't you throw my pride aside besides 37 00:02:09,800 --> 00:02:12,800 # What's real and make believe 38 00:02:12,800 --> 00:02:15,240 # Baby Jane's in Acapulco 39 00:02:15,240 --> 00:02:17,600 # We are flying down to Rio... # 40 00:02:26,920 --> 00:02:29,400 There's something I really like about this. 41 00:02:29,400 --> 00:02:31,400 He's almost not singing in tune. 42 00:02:31,400 --> 00:02:34,280 It sounds at odds with the melody underneath. 43 00:02:34,280 --> 00:02:36,200 And that sounds incredibly modern. 44 00:02:36,200 --> 00:02:39,680 There's something about that sounds really punky as well, before its time. 45 00:02:39,680 --> 00:02:43,200 # Throw me a line, I'm sinking fast 46 00:02:43,200 --> 00:02:45,240 # Clutching at straws 47 00:02:45,240 --> 00:02:46,920 # Can't make it 48 00:02:46,920 --> 00:02:50,200 # Havana sound, we're trying 49 00:02:50,200 --> 00:02:53,480 # A hard edge, the hipster jiving 50 00:02:53,480 --> 00:02:57,000 # Last picture shows down the drive-in 51 00:02:57,000 --> 00:02:58,640 # You're so sheer 52 00:02:58,640 --> 00:03:00,360 # You're so chic 53 00:03:00,360 --> 00:03:02,200 # Teenage rebel of the week 54 00:03:02,200 --> 00:03:04,960 # Flavours of the mountain streamline 55 00:03:04,960 --> 00:03:08,160 # Midnight blue casino floors 56 00:03:09,520 --> 00:03:12,080 # Dance the cha-cha through till sunrise 57 00:03:12,080 --> 00:03:14,400 # Opens up exclusive doors... # 58 00:03:14,400 --> 00:03:16,280 I've become slightly entranced 59 00:03:16,280 --> 00:03:19,000 by the whole thing of seeing what everyone's wearing. 60 00:03:19,000 --> 00:03:21,520 You can see the glitter eyeshadow. 61 00:03:21,520 --> 00:03:24,560 It's amazing to see rock stars dressed like that. 62 00:03:25,960 --> 00:03:28,960 Roxy and Bowie actually both pioneered 63 00:03:28,960 --> 00:03:31,160 the glam rock look and the sound. 64 00:03:31,160 --> 00:03:32,840 They invented it. 65 00:03:32,840 --> 00:03:34,760 It didn't exist before them 66 00:03:34,760 --> 00:03:37,840 and they were real forerunners in a whole movement there. 67 00:03:39,800 --> 00:03:41,520 I remember it so well. 68 00:03:41,520 --> 00:03:44,480 I remember especially a friend of mine called Nick Dawson, 69 00:03:44,480 --> 00:03:48,160 he would dress completely camply and we'd go to nightclubs 70 00:03:48,160 --> 00:03:51,520 and he would just wait for that one moment when this came on. 71 00:03:51,520 --> 00:03:54,280 # What's her name? Virginia Plain. # 72 00:03:54,280 --> 00:03:57,480 # Far beyond the pale horizon 73 00:03:57,480 --> 00:04:01,000 # Some place near the desert strand 74 00:04:01,000 --> 00:04:04,520 # Where my Studebaker takes me 75 00:04:04,520 --> 00:04:07,920 # That's where I'll make my stand 76 00:04:07,920 --> 00:04:11,320 # Can't you see that Holzer mane? 77 00:04:11,320 --> 00:04:14,120 # What's her name? Virginia Plain. # 78 00:04:14,120 --> 00:04:17,360 Because of the age I was as well, you know, 79 00:04:17,360 --> 00:04:19,920 I'm, like, ten, nine, ten... Yeah, yeah. 80 00:04:19,920 --> 00:04:24,240 And when I first saw Bryan Ferry on Top Of The Pops 81 00:04:24,240 --> 00:04:27,080 it was like, we're all watching Top Of The Pops 82 00:04:27,080 --> 00:04:29,320 and he looked like my mam, Bryan Ferry. 83 00:04:29,320 --> 00:04:32,360 He had the same haircut and he just looked like my mam. 84 00:04:32,360 --> 00:04:36,440 But with us it was, again, that Roxy, Bowie sort of thing. Yeah. 85 00:04:36,440 --> 00:04:38,400 Roxy were amazing. 86 00:04:38,400 --> 00:04:40,320 They were the future. 87 00:04:40,320 --> 00:04:42,680 Yeah. Getting glam. Yeah. So glam. 88 00:04:42,680 --> 00:04:44,680 The record sounded great. 89 00:04:44,680 --> 00:04:46,960 To me it was just one up on glam. 90 00:04:46,960 --> 00:04:50,920 Do you know I mean? Yeah, it was. It was beyond glam. 91 00:04:50,920 --> 00:04:53,440 On Ladytron you get the... 92 00:04:53,440 --> 00:04:57,320 You really see the beginnings of Eno's genius, don't you? 93 00:04:57,320 --> 00:05:00,720 Yeah, yeah, yeah. You can kind of hear a foreshadowing 94 00:05:00,720 --> 00:05:03,800 of Here Come The Warm Jets, Music For Airports and all of that. 95 00:05:03,800 --> 00:05:06,040 It's very soundscapey, isn't it? Definitely. 96 00:05:06,040 --> 00:05:09,520 # You've got me, girl, on the run around, run around 97 00:05:09,520 --> 00:05:12,040 # You've got me all around town 98 00:05:12,040 --> 00:05:15,040 # You've got me, girl, on the run around 99 00:05:15,040 --> 00:05:19,040 # And it's getting me down Getting me down 100 00:05:21,520 --> 00:05:26,520 # Lady, if you want to find a lover 101 00:05:26,520 --> 00:05:29,760 # Then you look no further 102 00:05:29,760 --> 00:05:33,040 # For I'm going to be your only 103 00:05:34,040 --> 00:05:35,960 # Searching 104 00:05:35,960 --> 00:05:39,280 # At the start of the season 105 00:05:39,280 --> 00:05:42,520 # And my only reason 106 00:05:42,520 --> 00:05:45,760 # Is that I'll get to you... # 107 00:05:45,760 --> 00:05:50,040 The early band, almost as if it's a mini war going on between them, 108 00:05:50,040 --> 00:05:52,040 there are so many disparate elements 109 00:05:52,040 --> 00:05:54,120 and they're all jostling for attention. 110 00:05:54,120 --> 00:05:57,280 You've got Andy Mackay on oboe, and how often do you hear an oboe 111 00:05:57,280 --> 00:05:59,760 in a rock record? Especially a glam rock record. 112 00:05:59,760 --> 00:06:03,040 And you've got Brian Eno making the squiggly sounds with the synths 113 00:06:03,040 --> 00:06:06,280 and then the drumming is very solid, very traditional in that way, 114 00:06:06,280 --> 00:06:09,280 and somehow it works, but I think the tensions in the band, 115 00:06:09,280 --> 00:06:12,520 the things almost shattering it, are keeping it together. 116 00:06:12,520 --> 00:06:14,760 # I'll find some 117 00:06:14,760 --> 00:06:17,280 # Way of connection 118 00:06:17,280 --> 00:06:20,520 # Hiding my intention 119 00:06:20,520 --> 00:06:25,520 # Then I'll move up close to you 120 00:06:25,520 --> 00:06:27,520 # I'll use you 121 00:06:27,520 --> 00:06:30,520 # And I'll confuse you 122 00:06:31,520 --> 00:06:33,760 # And then I'll lose you 123 00:06:33,760 --> 00:06:36,520 # Still you won't suspect me... # 124 00:06:51,040 --> 00:06:54,040 It's amazing to think that Virginia Plain and Ladytron 125 00:06:54,040 --> 00:06:56,000 were of the same moment. 126 00:06:56,000 --> 00:06:57,680 They're so different. 127 00:06:57,680 --> 00:07:01,520 Of course, there's still the huge inspiration and the glam rock look, 128 00:07:01,520 --> 00:07:04,520 Ferry's got a completely different image. 129 00:07:04,520 --> 00:07:07,320 His hair's grown, he's a little bit more... 130 00:07:07,320 --> 00:07:09,760 I mean, it's much more out there as a song. 131 00:07:09,760 --> 00:07:12,440 But what's interesting is the different textures 132 00:07:12,440 --> 00:07:15,440 of everyone in the band. They have their own little image. 133 00:07:15,440 --> 00:07:19,920 What makes it so special is how everybody complements each other. 134 00:07:20,920 --> 00:07:23,960 MUSIC: Ladytron by Roxy Music 135 00:08:04,400 --> 00:08:07,280 Listen to all this stuff. Come on. It's fantastic. 136 00:08:07,280 --> 00:08:10,760 I loved the fly glasses. Whoever sourced them... Such a look. 137 00:08:10,760 --> 00:08:12,760 A stylist would. 138 00:08:12,760 --> 00:08:14,280 Really. 139 00:08:14,280 --> 00:08:18,760 And, of course, Eno, you know, he's solely responsible for me 140 00:08:18,760 --> 00:08:20,800 wanting to buy a synth. 141 00:08:20,800 --> 00:08:24,520 Wow. I wasn't bothered about buying a synth to play tunes on, 142 00:08:24,520 --> 00:08:27,280 I just wanted one that had a joystick. OK. 143 00:08:27,280 --> 00:08:30,280 It looked so cool with the Lurex gloves. Mm-hm. 144 00:08:31,520 --> 00:08:35,040 This is like this amazing, mad-scientist alien. 145 00:08:35,040 --> 00:08:36,520 Yeah, yeah. 146 00:08:37,520 --> 00:08:40,560 MUSIC: Ladytron by Roxy Music 147 00:08:47,840 --> 00:08:53,000 Eno was kind of the futuristic bit, really. 148 00:08:53,000 --> 00:08:55,280 What Eno's... What is Eno doing? 149 00:08:55,280 --> 00:08:58,640 Look, look. What's that?! What's that he's doing there? 150 00:09:00,520 --> 00:09:03,280 Some of the tracks on the Roxy Music album 151 00:09:03,280 --> 00:09:05,520 are meant to sound like space landscapes. 152 00:09:05,520 --> 00:09:07,520 Bryan Ferry would ask Brian Eno, 153 00:09:07,520 --> 00:09:12,040 "I want you to create something that sounds like the surface of Mars." 154 00:09:12,040 --> 00:09:15,040 They would be very interested in those sorts of concepts, 155 00:09:15,040 --> 00:09:18,040 of sight, sound, taste and touch all fusing together. 156 00:09:18,040 --> 00:09:20,920 And they also say they were surprised that they sold records. 157 00:09:20,920 --> 00:09:23,360 They thought they were going to be really niche, 158 00:09:23,360 --> 00:09:26,280 and suddenly the popularity comes and they embrace it. 159 00:09:27,280 --> 00:09:30,320 MUSIC: Ladytron by Roxy Music 160 00:09:37,280 --> 00:09:40,040 I think the reason that I loved Roxy Music 161 00:09:40,040 --> 00:09:43,280 was the glamness of it all, because 162 00:09:43,280 --> 00:09:47,280 Sheffield was in fact quite a dour place at the time. 163 00:09:47,280 --> 00:09:51,680 The steelworks were on the edge of, you know, working and not working, 164 00:09:51,680 --> 00:09:57,000 but the people of Sheffield loved to dress up Friday and Saturday night 165 00:09:57,000 --> 00:10:00,520 and Roxy Music kind of took that to the next level. 166 00:10:00,520 --> 00:10:04,040 You know, that kind of dressing up and craziness, 167 00:10:04,040 --> 00:10:09,040 which was almost unattainable but just about attainable enough, 168 00:10:09,040 --> 00:10:12,040 if you were willing to wear some ladies' clothes, 169 00:10:12,040 --> 00:10:14,280 which we were at that time. 170 00:10:14,280 --> 00:10:16,520 I remember meeting Martyn Ware one day. 171 00:10:16,520 --> 00:10:21,520 We were going to see a band at the Student Union in Sheffield 172 00:10:21,520 --> 00:10:23,760 and Martyn lived on the flats, 173 00:10:23,760 --> 00:10:26,760 a slightly dodgy area that you might not like, 174 00:10:26,760 --> 00:10:30,280 and I'd gone up to meet him and he came out of the house 175 00:10:30,280 --> 00:10:35,760 and he was wearing white trousers and girls' silver platform boots 176 00:10:35,760 --> 00:10:39,040 and a Fun Fair green jacket, 177 00:10:39,040 --> 00:10:43,280 completely luminous, kind of, frog, Kermit, green jacket. 178 00:10:43,280 --> 00:10:46,520 And I'm like, "Whoa! And we're going on the bus like that?" 179 00:10:46,520 --> 00:10:49,040 And he's like, "Yep, we're going on the bus." 180 00:10:49,040 --> 00:10:51,680 But that's what Roxy Music did to us. 181 00:10:51,680 --> 00:10:53,760 It gave us that little... 182 00:10:53,760 --> 00:10:56,760 ..that little push to push a little further 183 00:10:56,760 --> 00:11:01,040 and that outlet to be excited with fashion and with music. 184 00:11:01,040 --> 00:11:04,520 I do think Do The Strand. Do The Strand! 185 00:11:04,520 --> 00:11:06,400 "There's a new sensation." 186 00:11:07,400 --> 00:11:09,520 # There's a new sensation 187 00:11:10,520 --> 00:11:12,520 # A fabulous creation 188 00:11:13,760 --> 00:11:16,040 # A danceable solution 189 00:11:17,280 --> 00:11:19,280 # To teenage revolution 190 00:11:21,280 --> 00:11:23,760 # Do the Strand, love 191 00:11:24,760 --> 00:11:27,040 # When you feel love 192 00:11:28,040 --> 00:11:30,520 # It's the new way 193 00:11:31,520 --> 00:11:34,040 # And that's why we say 194 00:11:35,040 --> 00:11:37,040 # Do the Strand 195 00:11:38,520 --> 00:11:40,760 # Do it on the tables 196 00:11:41,760 --> 00:11:44,040 # Quaglino's place or Mabel's 197 00:11:45,520 --> 00:11:48,040 # Slow and gentle 198 00:11:49,040 --> 00:11:51,520 # Sentimental 199 00:11:52,520 --> 00:11:55,040 # All styles served here 200 00:11:56,040 --> 00:11:58,280 # Louis Seize, he prefer 201 00:11:59,280 --> 00:12:01,280 # Laissez faire Le Strand 202 00:12:03,040 --> 00:12:05,040 # Tired of the tango 203 00:12:06,280 --> 00:12:08,280 # Fed up with fandango 204 00:12:09,760 --> 00:12:12,280 # Dance on moonbeams 205 00:12:13,280 --> 00:12:16,040 # Slide on rainbows 206 00:12:17,040 --> 00:12:19,520 # In furs or blue jeans 207 00:12:20,520 --> 00:12:22,520 # You know what I mean 208 00:12:23,760 --> 00:12:26,040 # Do the Strand 209 00:12:27,760 --> 00:12:29,280 # Oooh... # 210 00:12:30,280 --> 00:12:33,880 When we were going to nightclubs in Sheffield at that point, like, 211 00:12:33,880 --> 00:12:36,760 we thought we were so glamorous because we liked Roxy Music, 212 00:12:36,760 --> 00:12:39,520 and really we were just young kids with no money, 213 00:12:39,520 --> 00:12:42,800 drinking watered-down beer for 10p a pint, you know, 214 00:12:42,800 --> 00:12:46,040 but just for that brief moment of glamour, you know, 215 00:12:46,040 --> 00:12:49,760 like Pyjamarama and Do The Strand, we would do all the moves, 216 00:12:49,760 --> 00:12:52,040 throwing shapes and, you know... 217 00:12:52,040 --> 00:12:54,040 We didn't know what any of it meant, 218 00:12:54,040 --> 00:12:57,200 but it was like an abstract set of wordscape. 219 00:12:57,200 --> 00:13:00,760 It was this really theatrical... 220 00:13:00,760 --> 00:13:04,760 It was this sort of weird anomaly and amalgamation 221 00:13:04,760 --> 00:13:07,520 of a whole bunch of different sounds, wasn't it? 222 00:13:09,760 --> 00:13:12,640 They can have a bit of funk when they want to. 223 00:13:12,640 --> 00:13:16,520 They're quite danceable and there's something about the glam, punk, 224 00:13:16,520 --> 00:13:20,600 but also they can soul it up a bit, they can noodle. 225 00:13:21,600 --> 00:13:24,640 MUSIC: Do The Strand by Roxy Music 226 00:13:33,040 --> 00:13:35,040 # Had your fill of quadrilles 227 00:13:36,040 --> 00:13:38,520 # The Madison and cheap thrills 228 00:13:39,560 --> 00:13:41,760 # Bored with the Beguine 229 00:13:42,760 --> 00:13:45,280 # The samba isn't your scene 230 00:13:46,520 --> 00:13:49,040 # They're playing our tune 231 00:13:50,040 --> 00:13:52,520 # By the pale moon 232 00:13:53,600 --> 00:13:56,040 # We're incognito 233 00:13:57,040 --> 00:13:59,280 # Down the Lido 234 00:14:00,280 --> 00:14:02,280 # And we like the Strand 235 00:14:04,040 --> 00:14:06,040 # Arabs at oases 236 00:14:07,520 --> 00:14:09,520 # Eskimos and Chinese 237 00:14:11,040 --> 00:14:13,280 # If you feel blue 238 00:14:14,480 --> 00:14:16,760 # Look through Who's Who 239 00:14:17,760 --> 00:14:20,040 # See La Goulue 240 00:14:21,040 --> 00:14:23,240 # And Nijinsky 241 00:14:24,760 --> 00:14:27,280 # Do the Strandsky 242 00:14:28,280 --> 00:14:30,280 # Weary of the waltz 243 00:14:31,520 --> 00:14:33,760 # And mashed potato schmaltz 244 00:14:35,040 --> 00:14:37,520 # Rhododendron 245 00:14:39,040 --> 00:14:41,040 # Is a nice flower 246 00:14:42,280 --> 00:14:44,280 # Evergreen 247 00:14:45,280 --> 00:14:47,760 # It lasts forever 248 00:14:48,760 --> 00:14:51,520 # But it can't beat Strand power 249 00:14:52,520 --> 00:14:54,520 # The Sphynx and Mona Lisa 250 00:14:55,760 --> 00:14:58,040 # Lolita and Guernica 251 00:14:59,520 --> 00:15:01,640 # Did the Strand. # 252 00:15:02,640 --> 00:15:05,280 In Every Dream Home A Heartache. Oh, gosh, yeah. 253 00:15:05,280 --> 00:15:08,000 This one is, like, amazing. 254 00:15:08,000 --> 00:15:12,040 This is like a dystopian sci-fi novel. 255 00:15:12,040 --> 00:15:15,280 And a lot darker, isn't it? It's a lot darker. 256 00:15:15,280 --> 00:15:18,520 And I think that's why they've toned the look down. 257 00:15:18,520 --> 00:15:20,680 And he's got a guitar now. 258 00:15:22,520 --> 00:15:25,040 # And every step I take 259 00:15:26,040 --> 00:15:29,760 # Takes me further from heaven 260 00:15:34,040 --> 00:15:36,040 # Is there a heaven? 261 00:15:38,520 --> 00:15:40,760 # I'd like to think so 262 00:15:45,280 --> 00:15:47,760 # Standards of living 263 00:15:50,040 --> 00:15:52,280 # They're rising daily 264 00:15:54,520 --> 00:15:57,280 # But home, oh, sweet home 265 00:15:59,040 --> 00:16:01,520 # It's only a saying 266 00:16:03,520 --> 00:16:06,520 # From bell push to faucet 267 00:16:08,280 --> 00:16:11,800 # In smart town apartment 268 00:16:13,040 --> 00:16:15,760 # The cottage is pretty 269 00:16:17,760 --> 00:16:20,280 # The main house a palace 270 00:16:22,520 --> 00:16:25,040 # Penthouse perfection 271 00:16:25,040 --> 00:16:27,520 # But what goes on? 272 00:16:27,520 --> 00:16:29,760 # What to do there? 273 00:16:29,760 --> 00:16:31,840 # Better pray... # 274 00:16:31,840 --> 00:16:33,520 I love this tune. 275 00:16:34,520 --> 00:16:36,680 I love his hair there as well. I know! 276 00:16:36,680 --> 00:16:40,280 It's very... It's kind of '60s or '50s greaser. 277 00:16:40,280 --> 00:16:41,760 Yeah. 278 00:16:41,760 --> 00:16:45,040 And that jacket. It's so great. 279 00:16:46,040 --> 00:16:49,760 So, this is off the second album, For Your Pleasure. 280 00:16:50,760 --> 00:16:55,520 And apparently this song is a love story to a blow-up doll, 281 00:16:55,520 --> 00:16:59,280 but also about the emptiness of modern life. 282 00:16:59,280 --> 00:17:02,040 # I bought you mail order 283 00:17:04,040 --> 00:17:06,760 # My plain wrapper baby 284 00:17:08,520 --> 00:17:11,280 # Your skin is like vinyl 285 00:17:13,280 --> 00:17:16,040 # The perfect companion 286 00:17:18,040 --> 00:17:20,520 # You float in my new pool 287 00:17:22,760 --> 00:17:25,280 # Deluxe and delightful 288 00:17:27,040 --> 00:17:29,760 # Inflatable doll 289 00:17:32,040 --> 00:17:34,520 # My role is to serve you 290 00:17:36,040 --> 00:17:39,040 # Disposable darling 291 00:17:41,040 --> 00:17:43,760 # Can't throw you away now 292 00:17:45,520 --> 00:17:48,520 # Immortal and life size 293 00:17:50,520 --> 00:17:53,040 # My breath is inside you 294 00:17:54,760 --> 00:17:57,520 # I'll dress you up daily 295 00:17:59,760 --> 00:18:02,520 # And keep you till death sighs 296 00:18:04,040 --> 00:18:07,040 # Inflatable doll 297 00:18:09,040 --> 00:18:11,760 # Lover ungrateful 298 00:18:13,520 --> 00:18:16,280 # I blew up your body 299 00:18:20,040 --> 00:18:22,000 # But you blew my mind 300 00:18:23,000 --> 00:18:25,040 GUITAR SOLO 301 00:18:33,520 --> 00:18:37,040 # Oh, those heartaches 302 00:18:40,280 --> 00:18:44,040 # Oh, those heartaches 303 00:18:47,040 --> 00:18:50,760 # Dream home heartaches 304 00:18:54,040 --> 00:18:57,760 # Oh, those heartaches 305 00:19:00,760 --> 00:19:04,520 # Dream home heartaches 306 00:19:07,760 --> 00:19:11,520 # Oh, those heartaches 307 00:19:14,520 --> 00:19:18,160 # Dream home heartaches... # 308 00:19:18,160 --> 00:19:20,440 Look, he's got a bigger keyboard now. 309 00:19:21,440 --> 00:19:23,760 # Oh, those heartaches... # 310 00:19:23,760 --> 00:19:25,760 Look at that. That's amazing. 311 00:19:27,040 --> 00:19:29,760 And it was great that you could do Virginia Plain 312 00:19:29,760 --> 00:19:31,760 and you could do stuff... 313 00:19:31,760 --> 00:19:33,960 ..like this, which was... 314 00:19:33,960 --> 00:19:38,320 ..very different. Very different to what anybody else was doing. 315 00:19:39,320 --> 00:19:42,360 MUSIC: In Every Dream Home a Heartache by Roxy Music 316 00:19:53,760 --> 00:19:56,040 There's a lot of characters in Roxy Music. 317 00:19:56,040 --> 00:19:59,280 It was obviously going to come to a point, which was a shame 318 00:19:59,280 --> 00:20:02,280 it came so soon after the second album, that there was just 319 00:20:02,280 --> 00:20:05,520 too many personalities, and Brian Eno left the band. 320 00:20:10,720 --> 00:20:13,520 I think the two Brians going their separate ways 321 00:20:13,520 --> 00:20:15,840 because of the clashes of their personality 322 00:20:15,840 --> 00:20:18,760 was quite difficult for a lot of the other band members. 323 00:20:18,760 --> 00:20:21,360 I think they were really split with their loyalty. 324 00:20:25,040 --> 00:20:29,760 I think Phil Manzanera secretly had to record both albums 325 00:20:29,760 --> 00:20:33,040 he was recording - Stranded in the day, 326 00:20:33,040 --> 00:20:36,160 and Brian Eno's album at night, and they both didn't know. 327 00:20:42,040 --> 00:20:45,040 So, there are official reports of why Brian Eno left the band 328 00:20:45,040 --> 00:20:48,520 and there seems to be... Everybody's got a different angle, I've heard. 329 00:20:48,520 --> 00:20:51,280 Apparently they're still friends though, now, the Brians, 330 00:20:51,280 --> 00:20:52,920 and do sometimes collaborate. 331 00:20:52,920 --> 00:20:57,160 On the third album, which was the first album without Brian Eno, 332 00:20:57,160 --> 00:21:00,480 there was a fantastic track called Street Life. 333 00:21:00,480 --> 00:21:04,520 # Wish everybody would leave me alone, yeah 334 00:21:04,520 --> 00:21:08,280 # They're always calling on my telephone 335 00:21:08,280 --> 00:21:11,520 # When I pick it up there's no-one there 336 00:21:11,520 --> 00:21:15,520 # So I walk outside just to take the air 337 00:21:16,520 --> 00:21:19,760 # Come on with me cruising down the street 338 00:21:19,760 --> 00:21:23,520 # Who knows what you'll see, who you might meet 339 00:21:23,520 --> 00:21:27,040 # This brave new world's not like yesterday 340 00:21:27,040 --> 00:21:31,520 # It can take you higher than the Milky Way 341 00:21:31,520 --> 00:21:34,760 # Now I'm blinded I can't really see, yeah 342 00:21:34,760 --> 00:21:38,760 # No more bright lights confusing me, no 343 00:21:38,760 --> 00:21:42,040 # Don't ask me why I'm feeling blue 344 00:21:42,040 --> 00:21:45,040 # Cos loving you 345 00:21:45,040 --> 00:21:50,240 # Is all I can do... # 346 00:21:55,040 --> 00:21:59,760 So, this album, without Brian Eno, went to Number 1 in the UK charts, 347 00:21:59,760 --> 00:22:03,920 and Street Life gave them their first Top 5 hit as well. 348 00:22:03,920 --> 00:22:07,760 # Hey, good-looking boys, gather around 349 00:22:07,760 --> 00:22:11,520 # The sidewalk papers gutter-press you down 350 00:22:11,520 --> 00:22:14,760 # All those lies can be so unkind 351 00:22:14,760 --> 00:22:19,040 # They can make you feel like you're losing your mind 352 00:22:19,040 --> 00:22:20,760 # Street life 353 00:22:22,520 --> 00:22:24,520 # Street life... # 354 00:22:24,520 --> 00:22:28,520 I think... It seems to me that Bryan Ferry just wanted to stand out 355 00:22:28,520 --> 00:22:33,280 and if he couldn't stand out wearing, erm, sequins any more, 356 00:22:33,280 --> 00:22:36,280 he had to do the opposite, and it's quite ironic that 357 00:22:36,280 --> 00:22:38,760 he stood out by just putting on a suit. 358 00:22:38,760 --> 00:22:42,280 And he's a young man, and young men didn't really wear suits then, 359 00:22:42,280 --> 00:22:44,440 especially white suits with a bow tie, 360 00:22:44,440 --> 00:22:48,520 but again, it's simple, but very glamorous and very sexy, 361 00:22:48,520 --> 00:22:51,640 so it's creating a whole new image. 362 00:22:52,640 --> 00:22:55,680 MUSIC: Street Life by Roxy Music 363 00:23:07,040 --> 00:23:10,280 # Back to nature boys, Vassar girls too 364 00:23:10,280 --> 00:23:13,720 # Watch what you say, or think, or do 365 00:23:14,720 --> 00:23:17,520 # Continental-style strasse girls might 366 00:23:17,520 --> 00:23:21,520 # But you know exactly if it's wrong or right 367 00:23:21,520 --> 00:23:25,520 # Education is an important key, yes 368 00:23:25,520 --> 00:23:29,520 # But the good life's never won by degrees, no 369 00:23:29,520 --> 00:23:32,520 # Pointless passing through Harvard or Yale 370 00:23:32,520 --> 00:23:36,520 # Only window shopping It's strictly no sale 371 00:23:36,520 --> 00:23:40,520 # Weekend starts Friday soon after eight 372 00:23:40,520 --> 00:23:44,120 # Your jet black magic helps you celebrate 373 00:23:44,120 --> 00:23:47,760 # You may be stranded if you stick around 374 00:23:47,760 --> 00:23:51,760 # And that's really something. # 375 00:23:51,760 --> 00:23:54,760 So what happened to Roxy is that they went slightly out 376 00:23:54,760 --> 00:23:57,600 of the glam thing and into this classic rock. 377 00:23:57,600 --> 00:24:00,280 Some of the songs are quite traditional in that sense, 378 00:24:00,280 --> 00:24:02,760 when we get the third album and then onwards. 379 00:24:02,760 --> 00:24:05,680 People seemed to be contributing a little bit more, 380 00:24:05,680 --> 00:24:08,520 but they were stronger without Brian Eno at that point. 381 00:24:08,520 --> 00:24:11,920 I think they would have exploded if he ever decided to stay in the band. 382 00:24:11,920 --> 00:24:15,520 So after the third album, when they were at the height of their success, 383 00:24:15,520 --> 00:24:18,440 Bryan Ferry decided to make a solo album, 384 00:24:18,440 --> 00:24:21,440 which was a series of covers. 385 00:24:21,440 --> 00:24:24,640 One of the first singles I ever went out and bought on my Jacksies 386 00:24:24,640 --> 00:24:26,840 was Bryan Ferry, Hard Rain. 387 00:24:26,840 --> 00:24:30,760 # Oh, where have you been, my blue-eyed son? 388 00:24:31,760 --> 00:24:35,040 # Where have you been, my darling young one? 389 00:24:37,960 --> 00:24:41,960 # I've stumbled on the side of 12 misty mountains 390 00:24:41,960 --> 00:24:46,080 # Walked and I've crawled on six crooked highways 391 00:24:46,080 --> 00:24:50,200 # Stepped in the middle of seven sad forests 392 00:24:50,200 --> 00:24:53,160 # Been out in front of a dozen dead oceans 393 00:24:53,160 --> 00:24:57,280 # I've been 10,000 miles in a mouth of a graveyard 394 00:24:57,280 --> 00:24:59,040 # It's a hard Hard 395 00:24:59,040 --> 00:25:01,040 # And it's a hard Hard 396 00:25:01,040 --> 00:25:02,840 # And it's a hard Hard 397 00:25:02,840 --> 00:25:05,040 # And it's a hard Hard 398 00:25:05,040 --> 00:25:09,520 # And it's a hard rain's a-gonna fall 399 00:25:09,520 --> 00:25:12,840 # Fall 400 00:25:12,840 --> 00:25:16,040 # And what did you hear, my blue-eyed son? 401 00:25:17,040 --> 00:25:20,520 # What did you hear, my darling young one? 402 00:25:23,040 --> 00:25:27,280 # I heard the sound of thunder that roared out a warning 403 00:25:27,280 --> 00:25:31,040 # Heard the roar of a wave that could drown the whole world 404 00:25:31,040 --> 00:25:34,840 # Heard 100 drummers whose hands were a blazing 405 00:25:34,840 --> 00:25:38,520 # Heard 10,000 whispering and nobody listening 406 00:25:38,520 --> 00:25:42,280 # Heard one person starve, many people laughing 407 00:25:42,280 --> 00:25:46,280 # Heard the song of a poet who died in the gutter 408 00:25:46,280 --> 00:25:50,040 # Heard the sound of a clown who cried in the alley 409 00:25:50,040 --> 00:25:52,040 # And it's a hard Hard 410 00:25:52,040 --> 00:25:54,040 # And it's a hard Hard 411 00:25:54,040 --> 00:25:57,760 # And it's a hard, hard, hard Hard, hard 412 00:25:57,760 --> 00:26:02,400 # And it's a hard rain's a-gonna fall 413 00:26:02,400 --> 00:26:06,000 # Fall 414 00:26:06,000 --> 00:26:10,040 # Oh, what'll you do now, my blue-eyed son... # 415 00:26:10,040 --> 00:26:12,520 What it feels like, it's just great, really, 416 00:26:12,520 --> 00:26:15,040 when you've got such a defined sound as a band, 417 00:26:15,040 --> 00:26:17,600 that you can cover something in your style. 418 00:26:17,600 --> 00:26:20,280 I think it's really cool, because it ultimately shows 419 00:26:20,280 --> 00:26:23,040 a lot of respect, that you don't try and, you know, 420 00:26:23,040 --> 00:26:26,280 match any of the instrumentation or the stylistic approach, 421 00:26:26,280 --> 00:26:29,760 you just do your thing but on an amazing song, 422 00:26:29,760 --> 00:26:32,200 so, yeah, this is such a great version. 423 00:26:32,200 --> 00:26:35,960 # Home in the valley meets the damp, dirty prison 424 00:26:35,960 --> 00:26:39,240 # Where the executioner's face is always well hidden 425 00:26:39,240 --> 00:26:42,760 # Where hunger is ugly, where souls are forgotten 426 00:26:42,760 --> 00:26:46,520 # Where black is the colour and none is the number 427 00:26:46,520 --> 00:26:50,720 # And I'll tell it and think it and speak it and breathe it 428 00:26:50,720 --> 00:26:54,280 # And reflect it from the mountains so all souls can see it 429 00:26:54,280 --> 00:26:58,040 # Then I'll stand in the ocean until I start sinking 430 00:26:58,040 --> 00:27:01,520 # But I'll know my song well before I start singing 431 00:27:01,520 --> 00:27:03,520 # And it's a hard Hard 432 00:27:03,520 --> 00:27:05,520 # It's a hard Hard 433 00:27:05,520 --> 00:27:09,280 # And it's a ha-ha-ha-ha-hard Hard, hard 434 00:27:09,280 --> 00:27:14,040 # And it's a hard rain's a-gonna fall 435 00:27:14,040 --> 00:27:16,760 # Fall 436 00:27:16,760 --> 00:27:18,760 # And it's a hard Hard 437 00:27:18,760 --> 00:27:20,720 # And it's a hard Hard 438 00:27:20,720 --> 00:27:24,600 # And it's so hard, so, so hard Hard, hard 439 00:27:24,600 --> 00:27:30,040 # And it's a hard rain's a-gonna fall. # 440 00:27:33,960 --> 00:27:36,880 The solo albums kept coming, 441 00:27:36,880 --> 00:27:40,760 and Bryan Ferry kept going back to these covers, 442 00:27:40,760 --> 00:27:44,440 and he would cover songs by artists that were his heroes. 443 00:27:45,680 --> 00:27:49,640 # They asked me how I knew 444 00:27:49,640 --> 00:27:55,160 # My true love was true 445 00:27:55,160 --> 00:27:57,280 # Oo-oo-oh 446 00:27:58,920 --> 00:27:59,960 # I of course replied 447 00:28:02,360 --> 00:28:05,200 # "Something here inside 448 00:28:06,760 --> 00:28:11,120 # "Cannot be denied" 449 00:28:18,520 --> 00:28:22,320 # They said someday you'll find 450 00:28:22,320 --> 00:28:26,320 # All who love are blind 451 00:28:28,160 --> 00:28:30,960 # Oo-oo-oh 452 00:28:30,960 --> 00:28:33,840 # When your heart's on fire 453 00:28:35,160 --> 00:28:36,600 # You must realise 454 00:28:38,680 --> 00:28:42,120 # Smoke gets in your eyes... # 455 00:28:42,120 --> 00:28:46,720 This is tongue-in-cheek, I'm assuming. 456 00:28:48,120 --> 00:28:51,440 It's quite, like, kind of arch and knowing, I feel, 457 00:28:51,440 --> 00:28:55,360 sending up that type of, um, lounge cabaret, 458 00:28:55,360 --> 00:28:59,880 slightly cheesy music, kind of Copacabana vibes. 459 00:28:59,880 --> 00:29:06,400 # Yet today, my love has flown away 460 00:29:07,920 --> 00:29:13,960 # I am without my love... # 461 00:29:30,840 --> 00:29:33,480 It was harking back to '50s crooners. 462 00:29:33,480 --> 00:29:36,000 It was harking back to '40s film stars. 463 00:29:36,000 --> 00:29:39,120 Bryan Ferry, in his heart, is Humphrey Bogart, I think. 464 00:29:39,120 --> 00:29:40,920 That's what he'd studied at art school 465 00:29:40,920 --> 00:29:42,880 and that's what he wanted to go with. 466 00:29:42,880 --> 00:29:46,120 He wanted that crooner idol thing. 467 00:29:49,840 --> 00:29:52,840 # Now laughing friends deride 468 00:29:54,160 --> 00:29:57,400 # Tears I cannot hide 469 00:29:58,520 --> 00:30:02,000 # Oo-ooh 470 00:30:03,040 --> 00:30:05,160 # So I smile and say 471 00:30:06,320 --> 00:30:09,680 # "When a lovely flame dies 472 00:30:09,680 --> 00:30:15,440 # "Smoke gets in your eyes." # 473 00:30:19,240 --> 00:30:22,280 APPLAUSE 474 00:30:22,280 --> 00:30:25,960 My entry point to Roxy Music was... 475 00:30:25,960 --> 00:30:29,960 ..was the big record collection that my uncle left in our basement 476 00:30:29,960 --> 00:30:33,120 when I was ten years old as he went off travelling. 477 00:30:33,120 --> 00:30:37,440 And, yeah, so I think I found Siren in there somewhere, 478 00:30:37,440 --> 00:30:38,600 flicking through them. 479 00:30:38,600 --> 00:30:40,240 That was the first one I heard. 480 00:30:46,880 --> 00:30:50,240 Love Is The Drug. Just look. 481 00:30:50,240 --> 00:30:52,480 That's the essence of cool right there. 482 00:30:56,600 --> 00:30:59,120 There was a club called the Crazy Daisy in Sheffield, 483 00:30:59,120 --> 00:31:03,000 and they would play an interesting mix of music, 484 00:31:03,000 --> 00:31:04,240 but this was the anthem. 485 00:31:04,240 --> 00:31:06,280 And it was a really weird club. 486 00:31:06,280 --> 00:31:09,200 It had a kind of low roof, and because I'm quite tall, 487 00:31:09,200 --> 00:31:11,320 I could only dance in one place on the dance floor, 488 00:31:11,320 --> 00:31:13,760 because if I moved to the left or right, I would cut my head. 489 00:31:13,760 --> 00:31:15,520 And in fact, that was where 490 00:31:15,520 --> 00:31:18,240 Phil Oakey met the two girls from The Human League. 491 00:31:18,240 --> 00:31:20,680 And they were dancing exactly like that. 492 00:31:20,680 --> 00:31:22,600 They were the kind of Roxy girls. 493 00:31:22,600 --> 00:31:25,520 # T'ain't no big thing 494 00:31:25,520 --> 00:31:28,160 # To wait for the bell to ring 495 00:31:30,200 --> 00:31:32,040 # T'ain't no big thing 496 00:31:33,400 --> 00:31:35,240 # The toll of the bell 497 00:31:38,040 --> 00:31:41,600 # Aggravated, spare for days 498 00:31:41,600 --> 00:31:45,240 # I troll downtown, the red light place 499 00:31:45,240 --> 00:31:49,560 # Jump up, bubble up, what's in store? 500 00:31:49,560 --> 00:31:53,000 # Love is the drug and I need to score 501 00:31:53,000 --> 00:31:56,880 # Showing out, showing out, hit and run 502 00:31:56,880 --> 00:32:00,680 # Boy meets girl where the beat goes on 503 00:32:00,680 --> 00:32:04,560 # Stitched up tight, can't shake free 504 00:32:04,560 --> 00:32:08,720 # Love is the drug, got a hook on me 505 00:32:08,720 --> 00:32:12,280 # Oh, oh, catch that buzz 506 00:32:12,280 --> 00:32:17,040 # Love is the drug I'm thinking of 507 00:32:17,040 --> 00:32:19,840 # Oh, oh, can't you see? 508 00:32:19,840 --> 00:32:23,680 # Love is the drug for me 509 00:32:23,680 --> 00:32:28,200 # Oh... # 510 00:32:29,520 --> 00:32:31,640 This is the song where apparently, 511 00:32:31,640 --> 00:32:33,640 everything was recorded apart from the vocals. 512 00:32:33,640 --> 00:32:35,600 So the band didn't even know what it was about 513 00:32:35,600 --> 00:32:38,680 until Bryan Ferry came in with his lyrics and sang over the top. 514 00:32:38,680 --> 00:32:40,040 And I think increasingly, 515 00:32:40,040 --> 00:32:42,080 he would sing over the top of the backing track, 516 00:32:42,080 --> 00:32:46,360 which is interesting in that they weren't jamming or doing anything. 517 00:32:46,360 --> 00:32:48,640 They weren't fusing it, it was quite separate. 518 00:32:49,680 --> 00:32:53,880 And this, again, is a song that doesn't have a standout chorus, 519 00:32:53,880 --> 00:32:55,720 it's part of the verse. 520 00:32:55,720 --> 00:32:58,680 # Lumber up, limbo down 521 00:32:58,680 --> 00:33:02,520 # The locked embrace, the stumble round... # 522 00:33:03,400 --> 00:33:04,920 Why did he wear that patch? 523 00:33:04,920 --> 00:33:07,760 I mean, there was one rumour that he was hit by a tennis ball. 524 00:33:07,760 --> 00:33:11,200 But he's done quite an un-slick patch, because you've got the patch 525 00:33:11,200 --> 00:33:13,560 and then you've got cotton wool hanging out, 526 00:33:13,560 --> 00:33:14,960 which is not as glamorous, 527 00:33:14,960 --> 00:33:17,160 but then I guess you've got the safari suit 528 00:33:17,160 --> 00:33:19,880 and the moustache to go with it, so it makes up for it. 529 00:33:26,880 --> 00:33:28,360 This is Let's Stick Together, 530 00:33:28,360 --> 00:33:30,840 and I can't believe Bryan's really playing that mouth organ. 531 00:33:31,960 --> 00:33:33,720 Again, it's sometimes difficult 532 00:33:33,720 --> 00:33:36,320 to tell a Bryan Ferry solo from Roxy Music, 533 00:33:36,320 --> 00:33:39,760 because they have a very similar musical aesthetic 534 00:33:39,760 --> 00:33:41,880 from that '76 period onwards. 535 00:33:43,120 --> 00:33:47,120 # And now the marriage vow is very sacred 536 00:33:47,120 --> 00:33:49,600 # The man has put us together now 537 00:33:49,600 --> 00:33:53,200 # You ought to make it stick together 538 00:33:53,200 --> 00:33:59,160 # Come on, come on, let's stick together 539 00:33:59,160 --> 00:34:06,920 # You know, we made a vow not to leave one another, never 540 00:34:06,920 --> 00:34:11,240 # But now you never miss your water till your well runs dry 541 00:34:11,240 --> 00:34:14,560 # Come on now, baby, give our love a try 542 00:34:14,560 --> 00:34:17,280 # Let's stick together 543 00:34:17,280 --> 00:34:22,960 # Come on, come on, let's stick together 544 00:34:22,960 --> 00:34:30,280 # You know, we made a vow not to leave one another, never... # 545 00:34:30,280 --> 00:34:34,520 This actually is a cover of a 1962 soul classic, 546 00:34:34,520 --> 00:34:36,200 but what I like about this song 547 00:34:36,200 --> 00:34:38,840 and I like about a lot of Bryan Ferry songs 548 00:34:38,840 --> 00:34:41,520 is the fact that the lyrics are so honest. 549 00:34:41,520 --> 00:34:45,800 You feel his pain. He's really good at conveying emotion. 550 00:34:45,800 --> 00:34:48,560 "We made a vow not to leave one another." 551 00:34:48,560 --> 00:34:51,080 I mean, could we not all say that, you know? 552 00:34:51,080 --> 00:34:55,080 "You made a vow! Stick to it. Let's stick together". 553 00:34:55,080 --> 00:34:59,240 # Well, if you're stuck for a while, consider our child 554 00:34:59,240 --> 00:35:02,880 # How can it be happy without its ma and pa? 555 00:35:02,880 --> 00:35:05,520 # Let's stick together 556 00:35:05,520 --> 00:35:08,720 # Come on, come on, let's stick together 557 00:35:11,040 --> 00:35:14,600 # You know we made a vow not to leave one... # 558 00:35:14,600 --> 00:35:16,280 And there she is. 559 00:35:16,280 --> 00:35:18,320 There's Jerry Hall. 560 00:35:22,000 --> 00:35:26,240 That's unbelievable, isn't it? How cool is this video? 561 00:35:26,240 --> 00:35:28,520 Yep. 562 00:35:28,520 --> 00:35:30,120 I mean, he's always had... 563 00:35:31,280 --> 00:35:34,920 ..quite attractive females around him, hasn't he, Bryan? 564 00:35:34,920 --> 00:35:37,960 Which is not surprising, because he's a very good looking guy. 565 00:35:42,680 --> 00:35:44,920 I'm not sure about the moustache, there, Bryan, 566 00:35:44,920 --> 00:35:46,200 but it's almost working. 567 00:35:48,200 --> 00:35:50,880 And also, if I'm to be brutally honest, 568 00:35:50,880 --> 00:35:53,720 his dancing always left a little something to be desired. 569 00:35:54,920 --> 00:35:59,600 But other than that, he styles it out very well indeed. 570 00:35:59,600 --> 00:36:05,760 # You know, we made a vow not to leave one another, never. # 571 00:36:14,120 --> 00:36:17,520 Bryan Ferry loved his covers, but also, 572 00:36:17,520 --> 00:36:19,880 he liked to be inspired by different things, 573 00:36:19,880 --> 00:36:22,440 and this song is original music of his 574 00:36:22,440 --> 00:36:25,600 and it was inspired by his former art teacher. 575 00:36:27,200 --> 00:36:31,480 He looks kind of a little bit Miami Vice or something, with the shades. 576 00:36:31,480 --> 00:36:35,080 It's very laid-back, isn't it? 577 00:36:35,080 --> 00:36:37,160 He's just always cool. 578 00:36:38,040 --> 00:36:45,760 # Layin' in my hotel bedroom, feelin' ceilin' blues 579 00:36:45,760 --> 00:36:53,840 # Wall to wall a TV's twitchin', clearly not a muse 580 00:36:53,840 --> 00:37:01,920 # Then flashin' through the interference beams a thousand tunes 581 00:37:01,920 --> 00:37:08,000 # This is tomorrow callin', what have I to lose? # 582 00:37:12,280 --> 00:37:16,560 I'm not sure why Bryan Ferry goes off and he does the solo career. 583 00:37:16,560 --> 00:37:19,480 It may be that he just felt he needed to strike out 584 00:37:19,480 --> 00:37:20,960 and be 100% Bryan Ferry 585 00:37:20,960 --> 00:37:24,720 rather than 95% Bryan Ferry and a bit of Roxy Music in the background. 586 00:37:24,720 --> 00:37:26,160 But again, it's his vision. 587 00:37:26,160 --> 00:37:28,560 You can see how fastidious he was. 588 00:37:28,560 --> 00:37:31,000 The cover art was important with Roxy Music, 589 00:37:31,000 --> 00:37:33,360 and he continues that theme. 590 00:37:33,360 --> 00:37:36,240 You could easily mistake a Bryan Ferry later record 591 00:37:36,240 --> 00:37:37,800 for a Roxy Music record. 592 00:37:37,800 --> 00:37:41,400 They're not musically that different when we get to that late '70s. 593 00:37:43,840 --> 00:37:51,960 # When steamin' through on cue I hear that wailin' whistle blow 594 00:37:51,960 --> 00:37:58,240 # If this is tomorrow callin', oh, what a way to go 595 00:38:31,800 --> 00:38:38,280 # Day to day you live old-fashioned, hi-toned, fancy free 596 00:38:39,080 --> 00:38:45,600 # A double take, an image-spittin', tailored to a T 597 00:38:45,600 --> 00:38:54,800 # While history is tellin' you the same old thing 598 00:38:54,800 --> 00:39:00,760 # This is tomorrow callin', let's stick a new oar in 599 00:39:02,560 --> 00:39:11,200 # This is tomorrow callin' y'all and come on in 600 00:39:11,200 --> 00:39:13,600 # Oooh. # 601 00:39:14,880 --> 00:39:18,680 The whole of Glasgow liked commercial Roxy Music. 602 00:39:18,680 --> 00:39:22,560 The Roxy Music we were talking about in the beginning was, like, 603 00:39:22,560 --> 00:39:27,360 you know, really out there, like In Every Dream Home A Heartache 604 00:39:27,360 --> 00:39:29,440 and stuff like that, and Ladytron. 605 00:39:29,440 --> 00:39:32,600 Those were weird, out there records. 606 00:39:32,600 --> 00:39:35,040 But by the time they got to Dance Away, 607 00:39:35,040 --> 00:39:36,360 the whole of Glasgow 608 00:39:36,360 --> 00:39:40,280 and probably the whole of Manchester liked Roxy Music. Mmm. 609 00:39:48,280 --> 00:39:49,720 # Yesterday 610 00:39:50,840 --> 00:39:53,440 # Well, it seemed so cool 611 00:39:54,800 --> 00:39:59,520 # When I walked you home, kissed goodnight 612 00:39:59,520 --> 00:40:02,920 # I said, "It's love," you said, "All right" 613 00:40:02,920 --> 00:40:04,920 # It's funny how 614 00:40:06,520 --> 00:40:09,800 # I could never cry 615 00:40:11,160 --> 00:40:14,640 # Until tonight and you pass by 616 00:40:14,640 --> 00:40:18,560 # Hand in hand with another guy 617 00:40:18,560 --> 00:40:23,400 # You're dressed to kill and guess who's dying? 618 00:40:23,400 --> 00:40:26,240 # Dance away the heartache 619 00:40:26,240 --> 00:40:28,960 # Dance away the tears 620 00:40:30,640 --> 00:40:33,600 # Dance away the heartache 621 00:40:33,600 --> 00:40:37,560 # Dance away the fear... # 622 00:40:37,560 --> 00:40:42,880 I mean, this song is definitely slicker and more sophisticated. 623 00:40:42,880 --> 00:40:47,720 He had such a sort of way about him, just the way he carried himself, 624 00:40:47,720 --> 00:40:52,000 the voice, even the slightly kind of over-affected performance. 625 00:40:52,000 --> 00:40:53,680 # Turned to stone 626 00:40:53,680 --> 00:40:57,440 # All together, all alone 627 00:40:57,440 --> 00:40:59,640 # All at once 628 00:41:01,120 --> 00:41:03,800 # My whole world had changed 629 00:41:05,360 --> 00:41:08,880 # Now I'm in the dark, off the wall 630 00:41:09,800 --> 00:41:13,360 # Let the strobe light up them all 631 00:41:13,360 --> 00:41:17,720 # I close my eyes and dance till dawn 632 00:41:17,720 --> 00:41:21,200 # Dance away the heartache 633 00:41:21,200 --> 00:41:23,720 # Dance away the tears 634 00:41:25,560 --> 00:41:28,960 # Dance away the heartache 635 00:41:28,960 --> 00:41:31,520 # Dance away the fear 636 00:41:32,880 --> 00:41:35,120 # Dance away 637 00:41:36,760 --> 00:41:38,840 # Dance away 638 00:41:40,560 --> 00:41:43,360 # Dance away 639 00:41:55,720 --> 00:41:58,120 # Now I know 640 00:41:59,320 --> 00:42:01,760 # I must walk the line 641 00:42:03,760 --> 00:42:08,120 # Until I find an open door 642 00:42:08,120 --> 00:42:11,360 # Off the street, onto the floor 643 00:42:11,360 --> 00:42:13,480 # There was I 644 00:42:14,920 --> 00:42:17,240 # Many times a fool 645 00:42:19,200 --> 00:42:22,480 # I hope and pray, but not too much 646 00:42:23,720 --> 00:42:26,760 # Out of reach is out of touch 647 00:42:27,800 --> 00:42:31,640 # All the way is far enough 648 00:42:31,640 --> 00:42:35,080 # Dance away the heartache 649 00:42:35,080 --> 00:42:37,880 # Dance away the tears... # 650 00:42:37,880 --> 00:42:42,080 There isn't one member, apart from Phil Manzanera, of Roxy Music 651 00:42:42,080 --> 00:42:44,520 that wasn't brought up in a working-class household. 652 00:42:44,520 --> 00:42:47,800 So, something about this playing with the idea of aspiration 653 00:42:47,800 --> 00:42:50,080 and elevation and another world 654 00:42:50,080 --> 00:42:52,920 is very close to them, and they lived it. 655 00:42:52,920 --> 00:42:55,280 And, you know, they did go on and marry supermodels 656 00:42:55,280 --> 00:42:57,000 and have incredibly posh children. 657 00:42:57,000 --> 00:42:58,800 So they did it in some form. 658 00:42:58,800 --> 00:43:00,400 They really understood that 659 00:43:00,400 --> 00:43:03,800 and it was what Bowie understood and what pop music can do. 660 00:43:10,440 --> 00:43:13,960 # Oh, angel eyes 661 00:43:16,240 --> 00:43:21,200 # Am I deceived or did you sigh? 662 00:43:22,960 --> 00:43:29,040 # For all I know, you let your love light 663 00:43:29,040 --> 00:43:31,040 # Shine on me 664 00:43:39,360 --> 00:43:43,360 # Oh, angel eyes 665 00:43:45,240 --> 00:43:51,080 # You never close, who's got the time? 666 00:43:52,520 --> 00:43:57,920 # Well, I can wait until your love light 667 00:43:57,920 --> 00:44:03,480 # Shine on me... # 668 00:44:05,240 --> 00:44:08,840 Roxy, sounding slicker, late '70s, '80s, 669 00:44:08,840 --> 00:44:11,240 is a progression of just the form, 670 00:44:11,240 --> 00:44:14,800 is getting more and more polished, like a pebble, 671 00:44:14,800 --> 00:44:19,440 and becomes something without edge, which happens to most bands, really. 672 00:44:19,440 --> 00:44:20,920 It's very hard to get that edge back. 673 00:44:20,920 --> 00:44:23,120 Maybe it's that natural inclination 674 00:44:23,120 --> 00:44:26,240 to smooth everything over. Production values go up. 675 00:44:26,240 --> 00:44:29,880 # Oh, angel eyes 676 00:44:32,280 --> 00:44:37,280 # On the wing and open wide 677 00:44:39,280 --> 00:44:44,040 # No matter now how high the moon 678 00:44:44,040 --> 00:44:47,760 # Shine down on me... # 679 00:44:54,400 --> 00:44:56,360 He could be really tender, you know. 680 00:44:56,360 --> 00:44:59,960 I love the way he was really kind of tender with his vocal, 681 00:44:59,960 --> 00:45:03,360 as well as kind of theatrical and slightly, you know, 682 00:45:03,360 --> 00:45:05,360 absurd and surreal at times. 683 00:45:12,760 --> 00:45:16,000 # Some expression in your eyes 684 00:45:19,880 --> 00:45:23,000 # Overtook me by surprise 685 00:45:25,840 --> 00:45:31,480 # Where was I, how was I to know? 686 00:45:32,480 --> 00:45:35,360 # Oh-oh 687 00:45:35,360 --> 00:45:40,960 # How can we drive to a movie show 688 00:45:42,320 --> 00:45:46,880 # When the music is here in my car? 689 00:45:49,440 --> 00:45:54,360 # There's a band playing on the radio 690 00:45:56,120 --> 00:46:00,720 # With a rhythm of rhyming guitars 691 00:46:03,040 --> 00:46:09,840 # They're playing Oh Yeah on the radio, oh... # 692 00:46:09,840 --> 00:46:13,160 It's so interesting how you see, like, 693 00:46:13,160 --> 00:46:16,560 some bands kind of start off subtle and get more and more crazy, 694 00:46:16,560 --> 00:46:18,200 and he's gone the other way. 695 00:46:21,200 --> 00:46:23,000 It's so easy to become a cliche of yourself 696 00:46:23,000 --> 00:46:25,240 when everyone else is emulating you. 697 00:46:25,240 --> 00:46:28,320 Songwriting was his ultimate talent, 698 00:46:28,320 --> 00:46:31,160 and his ballads and the way he could hook you in. 699 00:46:31,160 --> 00:46:35,000 # It's some time since we said goodbye 700 00:46:38,640 --> 00:46:42,160 # And now we lead our separate lives 701 00:46:44,640 --> 00:46:50,320 # But where am I, where can I go? 702 00:46:51,400 --> 00:46:53,680 # Oh-oh 703 00:46:54,920 --> 00:46:59,760 # Driving alone to a movie show 704 00:47:01,400 --> 00:47:05,760 # So I turn to the sounds in my car 705 00:47:08,400 --> 00:47:13,480 # There's a band playing on the radio 706 00:47:15,240 --> 00:47:19,920 # With a rhythm of rhyming guitars 707 00:47:22,000 --> 00:47:27,200 # There's a band playing on the radio 708 00:47:29,000 --> 00:47:33,000 # And it's drowning the sound of my tears 709 00:47:36,040 --> 00:47:41,200 # They're playing Oh Yeah on the radio 710 00:47:41,200 --> 00:47:44,480 # Oh-oh-oh 711 00:47:47,880 --> 00:47:50,440 # Oh-oh-oh... # 712 00:47:50,440 --> 00:47:55,200 I think it always is inspiring when you're a big fan of an artist 713 00:47:55,200 --> 00:47:57,880 or a band and you realise where they've come from 714 00:47:57,880 --> 00:48:00,080 or what they've gone through 715 00:48:00,080 --> 00:48:03,640 or the changes that have happened around them. 716 00:48:03,640 --> 00:48:07,040 And I think for me, it just shows freedom of expression. 717 00:48:07,040 --> 00:48:10,200 It goes back to that art school kind of beginning 718 00:48:10,200 --> 00:48:12,840 where you're not closed off to anything. 719 00:48:14,040 --> 00:48:16,640 # Now the party's over 720 00:48:16,640 --> 00:48:19,720 # I'm so tired 721 00:48:21,120 --> 00:48:23,440 # Then I see you coming 722 00:48:24,600 --> 00:48:26,760 # Out of nowhere 723 00:48:28,200 --> 00:48:33,200 # Much communication in a motion 724 00:48:35,080 --> 00:48:40,800 # Without conversation or a notion 725 00:48:46,960 --> 00:48:48,680 # Avalon 726 00:48:52,480 --> 00:48:54,920 # Ooh 727 00:48:57,880 --> 00:49:00,480 # When the samba takes you 728 00:49:01,520 --> 00:49:03,760 # Out of nowhere 729 00:49:05,160 --> 00:49:07,880 # And the background's fading 730 00:49:07,880 --> 00:49:10,560 # Out of focus 731 00:49:11,960 --> 00:49:14,240 # Yes, the picture's changing 732 00:49:15,400 --> 00:49:17,560 # Every moment 733 00:49:18,960 --> 00:49:21,760 # And your destination 734 00:49:21,760 --> 00:49:24,440 # You don't know it 735 00:49:30,880 --> 00:49:33,640 # Avalon 736 00:49:47,240 --> 00:49:50,880 # Ooh, ooh 737 00:49:54,600 --> 00:49:57,680 # Dancing, dancing 738 00:50:01,840 --> 00:50:05,120 # Dancing, dancing 739 00:50:09,800 --> 00:50:12,240 # When you bossa nova 740 00:50:13,360 --> 00:50:15,640 # There's no holding 741 00:50:16,840 --> 00:50:19,280 # Would you have me dancing 742 00:50:20,280 --> 00:50:22,080 # Out of nowhere? 743 00:50:29,040 --> 00:50:30,720 # Avalon... # 744 00:50:33,560 --> 00:50:39,400 Again, just a brilliant, fantastic tune, so effortlessly cool. 745 00:50:39,400 --> 00:50:42,960 No matter what happens with the band with Roxy, 746 00:50:42,960 --> 00:50:46,920 because the members seem to change almost weekly, 747 00:50:46,920 --> 00:50:49,720 you know, they were in, they were out. 748 00:50:49,720 --> 00:50:55,480 But the music always hit the same level. Didn't ever falter. 749 00:50:55,480 --> 00:50:56,920 # Avalon 750 00:50:56,920 --> 00:51:00,680 # Ooh, ooh... # 751 00:51:06,080 --> 00:51:10,640 And of course, there's that kind of iconic vocal at the end, 752 00:51:10,640 --> 00:51:14,440 which, as far as I'm aware, happened quite by happenstance 753 00:51:14,440 --> 00:51:17,160 when Bryan Ferry was in a recording studio in New York 754 00:51:17,160 --> 00:51:21,280 and heard this kind of celestial voice from the next booth 755 00:51:21,280 --> 00:51:25,000 or from a booth that was close by, and went in to investigate 756 00:51:25,000 --> 00:51:26,720 and found, I think, a pretty... 757 00:51:26,720 --> 00:51:30,000 ..I don't know that she was a very well known Haitian singer, 758 00:51:30,000 --> 00:51:34,080 and just asked her if she would do a guest vocal on the track. 759 00:51:34,080 --> 00:51:37,920 It was recorded in one take and it made it onto this huge hit. 760 00:51:37,920 --> 00:51:39,360 # Avalon 761 00:51:39,360 --> 00:51:42,920 # Ooh 762 00:51:42,920 --> 00:51:45,800 # Avalon... # 763 00:51:52,280 --> 00:51:54,360 To me, it seems like it was all-conquering. 764 00:51:54,360 --> 00:51:56,960 I feel like when I was very little, it was everywhere. 765 00:51:56,960 --> 00:52:00,600 And, yeah, to me, this is Roxy Music. 766 00:52:00,600 --> 00:52:04,040 This is my association and memory of them. 767 00:52:04,040 --> 00:52:06,920 # I could feel at the time 768 00:52:06,920 --> 00:52:11,000 # There was no way of knowing 769 00:52:11,000 --> 00:52:14,880 # Fallen leaves in the night 770 00:52:14,880 --> 00:52:18,600 # Who can say where they're blowing? 771 00:52:18,600 --> 00:52:23,040 # As free as the wind 772 00:52:23,040 --> 00:52:25,920 # And hopefully learning 773 00:52:25,920 --> 00:52:30,200 # Why the sea on the tide 774 00:52:30,200 --> 00:52:33,920 # Has no way of turning 775 00:52:37,080 --> 00:52:39,280 # More than this 776 00:52:40,600 --> 00:52:44,480 # You know there's nothing 777 00:52:44,480 --> 00:52:46,400 # More than this 778 00:52:47,680 --> 00:52:52,120 # Tell me one thing 779 00:52:52,120 --> 00:52:53,640 # More than this 780 00:52:56,000 --> 00:52:59,320 # Ooh, there's nothing 781 00:53:07,120 --> 00:53:10,560 # It was fun for a while 782 00:53:10,560 --> 00:53:14,360 # There was no way of knowing 783 00:53:14,360 --> 00:53:18,040 # Like a dream in the night 784 00:53:18,040 --> 00:53:22,080 # Who can say where we're going? 785 00:53:22,080 --> 00:53:25,120 # No care in the world 786 00:53:26,800 --> 00:53:28,920 # Maybe I'm learning 787 00:53:28,920 --> 00:53:33,800 # Why the sea on the tide 788 00:53:33,800 --> 00:53:37,280 # Has no way of turning 789 00:53:40,560 --> 00:53:42,560 # More than this 790 00:53:44,240 --> 00:53:48,000 # You know there's nothing 791 00:53:48,000 --> 00:53:50,360 # More than this... # 792 00:53:50,360 --> 00:53:54,160 This actually seems less ironic to me 793 00:53:54,160 --> 00:53:59,520 than some of the earlier kind of playing with, 794 00:53:59,520 --> 00:54:01,560 um, that kind of, 795 00:54:01,560 --> 00:54:05,080 I guess, kind of cabaret-type singer look. 796 00:54:05,080 --> 00:54:10,200 This actually seems more genuine. Like, this is what they are. 797 00:54:10,200 --> 00:54:12,520 # More than this 798 00:54:15,120 --> 00:54:17,520 # Nothing 799 00:54:17,520 --> 00:54:19,760 # More than this 800 00:54:25,600 --> 00:54:27,240 # More than this... # 801 00:54:27,240 --> 00:54:29,040 I think they're enormously influential, 802 00:54:29,040 --> 00:54:30,920 and I don't think that will stop. 803 00:54:30,920 --> 00:54:33,320 There is something about that concoction. 804 00:54:33,320 --> 00:54:35,680 They are a concoction and a confection 805 00:54:35,680 --> 00:54:37,520 that people really adhere to. 806 00:54:37,520 --> 00:54:39,280 And musically, they're so interesting 807 00:54:39,280 --> 00:54:42,200 that musicians will be listening to them in ten years' time. 808 00:54:42,200 --> 00:54:46,440 Roxy Music will have an everlasting legacy for me. 809 00:54:46,440 --> 00:54:49,920 Yes, they had style, but more importantly, they had substance, 810 00:54:49,920 --> 00:54:53,280 and I think they will live on for ever and ever. 811 00:54:58,040 --> 00:55:00,800 # I'm in with the in crowd 812 00:55:01,840 --> 00:55:04,960 # I go where the in crowd goes 813 00:55:05,720 --> 00:55:08,120 # I'm in with the in crowd 814 00:55:09,000 --> 00:55:12,080 # And I know what the in crowd knows 815 00:55:12,080 --> 00:55:13,840 # How to have fun 816 00:55:13,840 --> 00:55:16,480 # Any time of the year, don't you hear? 817 00:55:16,480 --> 00:55:18,680 # How to have fun 818 00:55:18,680 --> 00:55:20,960 # Dressin' fine, makin' time 819 00:55:22,760 --> 00:55:24,840 # We breeze up and down the street 820 00:55:26,160 --> 00:55:29,520 # We get respect from the people we meet 821 00:55:29,520 --> 00:55:32,320 # They make way, day or night 822 00:55:33,400 --> 00:55:38,080 # They know the in crowd is out of sight 823 00:55:47,720 --> 00:55:49,760 # I'm in with the in crowd 824 00:55:50,960 --> 00:55:54,560 # I know every latest dance 825 00:55:54,560 --> 00:55:57,920 # When you're in with the in crowd 826 00:55:57,920 --> 00:56:01,160 # It's easy to find romance 827 00:56:01,160 --> 00:56:03,560 # And we work out 828 00:56:03,560 --> 00:56:06,040 # At a spot where the beat's really hot 829 00:56:06,040 --> 00:56:08,840 # And we work out 830 00:56:08,840 --> 00:56:11,080 # If it's square, we ain't there 831 00:56:11,080 --> 00:56:14,640 # We make every minute count 832 00:56:14,640 --> 00:56:18,360 # Our share is always the biggest amount 833 00:56:19,280 --> 00:56:22,160 # Other guys imitate us 834 00:56:22,160 --> 00:56:27,720 # But the original's still the greatest 835 00:56:31,080 --> 00:56:33,880 # We got our own way of walkin' 836 00:56:39,040 --> 00:56:41,680 # We got our own way of talkin' 837 00:56:43,280 --> 00:56:45,440 # Gotta have fun 838 00:56:45,440 --> 00:56:47,880 # Any time of the year, don't you hear? 839 00:56:47,880 --> 00:56:51,040 # Gotta have fun 840 00:56:51,040 --> 00:56:53,400 # Spendin' cash, talkin' trash 841 00:56:53,400 --> 00:56:56,280 # Girl, I'll show you a real good time 842 00:56:57,600 --> 00:57:00,320 # Come on with me and leave your troubles behind 843 00:57:01,440 --> 00:57:04,080 # I don't care where you've been 844 00:57:05,200 --> 00:57:08,400 # You ain't been nowhere till you been in 845 00:57:10,880 --> 00:57:13,000 # With the in crowd 846 00:57:17,520 --> 00:57:19,400 # With the in crowd. # 64749

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