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# Couldn't sleep a wink last night
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# Oh, how I'd love to hold you tight
3
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# They say you have a secret life
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# Made sacrifice your key
to paradise
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# Take a sweet girl just like you
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# How nice if only we could
bill and coo... #
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I couldn't go wrong with anything
8
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Bryan Ferry's ever done,
or the Roxy.
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The whole Roxy thing
is just really cool.
10
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It was really an enormous
influence on Heaven 17's music.
11
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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
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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
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Virginia Plain, their first single,
21
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wasn't even on their first album,
which is quite interesting.
22
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When it was played on the radio,
when it was on TV,
23
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it was just, I think, mind-blowing
24
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and made everybody sit up and think,
who is this band?
25
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# Make me a deal
and make it straight
26
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# All signed and sealed
27
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# I'll take it
28
00:01:41,040 --> 00:01:43,920
# To Robert E Lee I'll show it
29
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# 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
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# Just try to try
32
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# Trying to make the big time
33
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# 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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