I befriended Graham Simpson in my shop in portobello road he loved the vintage clothes l sold to him ,l would give him credit until he received his royalty cheque from Roxy which they gave him until his death,l really liked the guy he was not in good shape the last few years of his life eventually passing on,l heard Bryan paid for his funeral the reason he left Roxy just before they really took off is the direction they were going with the addition of eno,it wasn't his bag he was a blues dude. R.i.p. mate.
I love his bass lines on that first album. Very atmospheric, so I just assumed he was of the same sort of "avant garde" mindset. Too bad he didn't get to continue on in a successful blues group. I know there is someone who basically shot a documentary on him but wasn't able to complete it.
I wonder if the reason Roxy never found a permanent guy on bass is because it was Simpson’s gig all along and Ferry didn’t know how to replace him. The two of them had been together like eight years when they recorded the debut.
BF’s iconic voice & lyrics with retro-futurist references plus Roxy Music in embryonic, genre-bending portmanteau form. Much needed archive format, many thanks for posting. Over half a century ago now, that too, like these post-pop surrealist musical pioneers is weird beyond words. All power to lovers of Roxy Music & their multifarious, marvellously joyously kaleidoscopic spin-offs. Life affirming & enriching through six decades, just WOW! PS; If anyone has heard Andy McKay tell of his saxophonic / woodwind influences please add comments. Thnx.
Fantastic ! Hadn't heard this early demo before. A truly achetypal wistful Ferry idea with lovely hypnotic rhythm in the finished article of course and here we witness Mackay's haunting sax evolving. It was the icing on the cake for me.
This transformed my computer screen into a sacred altar for 7 minutes. Very grateful for the opportunity to hear and see this. Mr. Ferry...you're a fabulous creature. I am utterly transfixed.
This sounds more Terry Riley than anything. The intro I mean, and what goes on in the middle. I hear traces of Family circa "Music In a Dolls House" too in the brass elsewhere on this demo tape. I love the bedroom quality of the recording. The murky long delay stuff Eno did with Mackay can be heard on "Time Regained" on the second issue of "In Search of Eddie Riff." I was instantly reminded of it.
What a joy! Andy seems to dominate this version, so interesting how they streamlined their sound into the magnificence of those first 3 albums. Thanks for posting.
Cool to hear Davy O'List here. A couple of his chords sound almost Phil-like. Davy put out a solo album not too many years ago; it's quite good in a Nice way.
Not so. According to himself he always liked fashion and being well dressed. It's just he thought it would not match the band and the music. He could not decide in between leather jacket or Armani, in between bitch or model, in between Bob Dylan or Sinatra. I believe him, he was always arch-conservative ... despite his compositions that partially still sound futuristic in 2021.
@@krollpeter [21 March 2021] Thanks for writing back. That was a good read. I think you're a good writer. I loved you lines about "He could not decide in between leather jacket or Armani, in between bitch or model, in between Bob Dylan or Sinatra"; those lines, with their repetitive rhythm, sound like something out of a poem. Though I have to say, I would have said "between Bob Dylan and Otis Redding", if I was you, since I know that Ferry counted Otis Redding as his chiefest musical influence. You're right about Ferry, of course - though it rather pains me to remember that he was, as you say, "always arch-conservative" (and I rather wish you would have written "always an *ARCH* conservative" instead of "always arch-conservative" [think about it 😉]) - but I only wrote that first comment because I saw that picture of Bryan (at the 1:13-minute mark of the video) and I thought it looked so striking. I hadn't seen a picture of Bryan from when he was that young, and I was surprised by how un-formed and un-polished he looked. You know, in that photo, he wasn't wearing a suit, and his hair wasn't styled in a quiff, and he didn't yet look like the supercilious smoothie of, say, the cover of *ANOTHER TIME, ANOTHER PLACE* or the video for "Avalon"; he just looked like an earnest young art-school boy with big ideas. Which he was, of course he was, at the start of his career, when he recorded this song.
@@elizabethhann4028 Don't see I'm a good writer. I learned English in school 40 years back. While I can express most of things I want to say, my sentences are full of grammatical mistakes. We are not used seeing him casual. We see him so many years already polished up. However I am old enough to remember him lesser polished, but I do not see his wearing a suit with his change in musical style. Look at his first solo album. He is an attractive man, and probably still is.
It sounds pretty restrained for David O'List however it may because he is not using distortion here. I seem to remember a P.P. Arnold track which he had a similar sound.
Interesting but pretty unformed at this point. The vision they have for the song doesn't really exist yet. The instrumental break on the finished 1972 version is sublime and otherworldly, here it barely holds interest. Ferry does have his vocal thing down already though. Anyway, they certainly benefited massively from the presence of Manzanera and Thompson. Guitar and drums on this really not very interesting at all, and Eno is barely factored in.
Keep in mind with its homage to Bogie, nodding to his 'Casablanca' role, then you can guess why it was originally presaged so: the AM's sax interlude would also seem to presage his 'Resolving Contradiction's era?
Roxy Music confused the hell out of me. The first album is from outer space. A Masterpiece. Challenging. Unique. Shame Byran Ferry turned into such rightwing knob? Maybe he always was but his early lyrics don't seem to suggest anything but the avent garde. Doors of perception heaven and hell.
Is Bryan Ferry a rightwing knob? Doesn't surprise me, he always did have a thing for authoritarians & uniforms, and those album covers certainly never showed any feminist influences lol...
@@kittona8754 i also dont understand roxy's covers.... as a heterosexual man, i like them (especially stranded's), but it confuses me so much... such a contradiction with the supposed "avant garde" conception of the band.... they're objectifying women in the most traditional way possible
@@jmrm2227 You know, it seems stupid, but when I was a teenager I thought that the sexy girls cover was supposed to be ironic, a send-up of less enlightened bands, and a bid for shock value. As a got older I couldn't help thinking, but who are they sending up? Feminists? Women who are struggling against the oppression of normalised pornographic displays of the female body? After a while, after I realised how little had really changed for women, I just sighed and thought, it's amazing how many otherwise decent guys just do't get it. I feel sad for all the talented women musicians over the decades who never had a career because the men with the power couldn't get past viewing women as sexual objects. It's amazing that some women did anyway, did have careers, but think of all the talent we lost that way. I gave up on music myself because of this and there were women a lot more talented than me who also did.
@@kittona8754 I understand you. I think in a way they're meant to be ironic. They're assuming the cliche of the objectified woman that rock bands propelled in the 60's and 70's with the lyrics, lifestyle, etc and they are exposing it in the most direct way possible (a send-up and a value of shocking, as you said). But what i get from Ferry's interviews is none of this. He doesn't talk about it as an act of irony towards "less enlightened bands", as an intelectual act against this body/image standards; he just seems to like it, it looks like it was just cool and eccentric to have a beautiful lady on the cover (at least this is what i get from some interviews that i've watched/read) Although i really love some roxy's albums, i will never dig this cover's stuff because of what we said and also because i think it's just uninteresting, there are so many thing to do with an album cover besides having a woman there
I befriended Graham Simpson in my shop in portobello road he loved the vintage clothes l sold to him ,l would give him credit until he received his royalty cheque from Roxy which they gave him until his death,l really liked the guy he was not in good shape the last few years of his life eventually passing on,l heard Bryan paid for his funeral the reason he left Roxy just before they really took off is the direction they were going with the addition of eno,it wasn't his bag he was a blues dude. R.i.p. mate.
Lovely Gesture ❤
I love his bass lines on that first album. Very atmospheric, so I just assumed he was of the same sort of "avant garde" mindset. Too bad he didn't get to continue on in a successful blues group. I know there is someone who basically shot a documentary on him but wasn't able to complete it.
I wonder if the reason Roxy never found a permanent guy on bass is because it was Simpson’s gig all along and Ferry didn’t know how to replace him. The two of them had been together like eight years when they recorded the debut.
BF’s iconic voice & lyrics with retro-futurist references plus Roxy Music in embryonic, genre-bending portmanteau form. Much needed archive format, many thanks for posting. Over half a century ago now, that too, like these post-pop surrealist musical pioneers is weird beyond words. All power to lovers of Roxy Music & their multifarious, marvellously joyously kaleidoscopic spin-offs. Life affirming & enriching through six decades, just WOW! PS; If anyone has heard Andy McKay tell of his saxophonic / woodwind influences please add comments. Thnx.
Fantastic ! Hadn't heard this early demo before. A truly achetypal wistful Ferry idea with lovely hypnotic rhythm in the finished article of course and here we witness Mackay's haunting sax evolving. It was the icing on the cake for me.
The addition of Paul Thompson radically changed EVERYTHING!
This is remarkable. Andy's sax playing is magical. Manzera's guitar is the missing piece.
This is where the magic happened. And Thank God for that! Viva Roxy Music.
This transformed my computer screen into a sacred altar for 7 minutes. Very grateful for the opportunity to hear and see this. Mr. Ferry...you're a fabulous creature. I am utterly transfixed.
Don't forget Brian Eno!. Big influence!!!
Wow. Just wow. That sax interlude... Wow. I was lost but then found.
Thanks for posting!
This sounds more Terry Riley than anything. The intro I mean, and what goes on in the middle. I hear traces of Family circa "Music In a Dolls House" too in the brass elsewhere on this demo tape. I love the bedroom quality of the recording. The murky long delay stuff Eno did with Mackay can be heard on "Time Regained" on the second issue of "In Search of Eddie Riff." I was instantly reminded of it.
What a joy! Andy seems to dominate this version, so interesting how they streamlined their sound into the magnificence of those first 3 albums. Thanks for posting.
Amazing - surreal- way advanced beyond the times!
So nice to hear the beginnings of this great band.
Thanks for this life long Roxy Music fan never heard this before tho nice one
my all time Roxy fav. Hence I used 2HB as part of my email addy 🥰
Cool to hear Davy O'List here. A couple of his chords sound almost Phil-like. Davy put out a solo album not too many years ago; it's quite good in a Nice way.
He played on “The In Crowd” iirc
Wow...what a rare & special treat that was x
a favourite song from a faveourite album. Whereas i prefer the album version this is certainly interesting thanks for uploading.
Probably the first band to rock the casbah with that intro
Brilliant, thanks for the upload
Wow, a delight!
How can this unique brilliance be lumped in with glam rock !?😨
I sense Eno's dark hand again!
Wow, what happened just then? I'm gobsmacked!!!
Its exactly what I needed to hear at 5.15 am on a very hot muggy sommers eve..absolutely sublime !
Amazing. Way ahead of the times.
Pretty incredible 🎧🎹🎤🎸🎥
Good to hear this .Thanks😀👍
What a find! Thank you! Brilliant!
Brave!!
& my feelings are not that possesive..and the need if you'd like is just nothing that impulsive ..but the thrill ..can't deny missing you sometimes
[03 October 2020] The heavy avant-garde. The *HEAVENLY* avant-garde. Bryan before he started wearing suits...
Reason I got into them.
@@adriengomez2825 [19 October 2020] Good to know 😉.
Not so.
According to himself he always liked fashion and being well dressed. It's just he thought it would not match the band and the music.
He could not decide in between leather jacket or Armani, in between bitch or model, in between Bob Dylan or Sinatra. I believe him, he was always arch-conservative ... despite his compositions that partially still sound futuristic in 2021.
@@krollpeter [21 March 2021] Thanks for writing back. That was a good read. I think you're a good writer. I loved you lines about "He could not decide in between leather jacket or Armani, in between bitch or model, in between Bob Dylan or Sinatra"; those lines, with their repetitive rhythm, sound like something out of a poem. Though I have to say, I would have said "between Bob Dylan and Otis Redding", if I was you, since I know that Ferry counted Otis Redding as his chiefest musical influence.
You're right about Ferry, of course - though it rather pains me to remember that he was, as you say, "always arch-conservative" (and I rather wish you would have written "always an *ARCH* conservative" instead of "always arch-conservative" [think about it 😉]) - but I only wrote that first comment because I saw that picture of Bryan (at the 1:13-minute mark of the video) and I thought it looked so striking. I hadn't seen a picture of Bryan from when he was that young, and I was surprised by how un-formed and un-polished he looked. You know, in that photo, he wasn't wearing a suit, and his hair wasn't styled in a quiff, and he didn't yet look like the supercilious smoothie of, say, the cover of *ANOTHER TIME, ANOTHER PLACE* or the video for "Avalon"; he just looked like an earnest young art-school boy with big ideas. Which he was, of course he was, at the start of his career, when he recorded this song.
@@elizabethhann4028 Don't see I'm a good writer. I learned English in school 40 years back. While I can express most of things I want to say, my sentences are full of grammatical mistakes.
We are not used seeing him casual. We see him so many years already polished up. However I am old enough to remember him lesser polished, but I do not see his wearing a suit with his change in musical style. Look at his first solo album.
He is an attractive man, and probably still is.
Wow, really happy to have stumbled upon this! Thanks for uploading it. Any other tracks from these demo sessions?
yes I have posted the versions of Lady and Chance Meeting as well...
nero54ad1 Thanks nero!!
I wanna hear more, but I think this group might have something
Good insight! Thanks!
Good to hear Davey O lists guitar
It sounds pretty restrained for David O'List however it may because he is not using distortion here. I seem to remember a P.P. Arnold track which he had a similar sound.
Et la chrysalide devint Papillon...👍
Roxy in the Raw ✌️
❤❤❤ROXY MUSIC/BRYAN FERRY ALL THE TIME ANYTIME❤❤❤
A much more somber 'Finding, not keeping's the lesson' section, did they ever release this jazz version?
Interesting but pretty unformed at this point. The vision they have for the song doesn't really exist yet. The instrumental break on the finished 1972 version is sublime and otherworldly, here it barely holds interest. Ferry does have his vocal thing down already though. Anyway, they certainly benefited massively from the presence of Manzanera and Thompson. Guitar and drums on this really not very interesting at all, and Eno is barely factored in.
I like the eastern intro- Roxy, stareted so good, ended so b(l)a(n)d- but they were right to loose the jazz bit in the middle of this IMHO
Keep in mind with its homage to Bogie, nodding to his 'Casablanca' role, then you can guess why it was originally presaged so: the AM's sax interlude would also seem to presage his 'Resolving Contradiction's era?
Roxy Music confused the hell out of me. The first album is from outer space. A Masterpiece. Challenging. Unique. Shame Byran Ferry turned into such rightwing knob? Maybe he always was but his early lyrics don't seem to suggest anything but the avent garde. Doors of perception heaven and hell.
Is Bryan Ferry a rightwing knob? Doesn't surprise me, he always did have a thing for authoritarians & uniforms, and those album covers certainly never showed any feminist influences lol...
you can stick it, you left wing twat
@@kittona8754 i also dont understand roxy's covers....
as a heterosexual man, i like them (especially stranded's), but it confuses me so much... such a contradiction with the supposed "avant garde" conception of the band.... they're objectifying women in the most traditional way possible
@@jmrm2227 You know, it seems stupid, but when I was a teenager I thought that the sexy girls cover was supposed to be ironic, a send-up of less enlightened bands, and a bid for shock value.
As a got older I couldn't help thinking, but who are they sending up? Feminists? Women who are struggling against the oppression of normalised pornographic displays of the female body?
After a while, after I realised how little had really changed for women, I just sighed and thought, it's amazing how many otherwise decent guys just do't get it.
I feel sad for all the talented women musicians over the decades who never had a career because the men with the power couldn't get past viewing women as sexual objects. It's amazing that some women did anyway, did have careers, but think of all the talent we lost that way. I gave up on music myself because of this and there were women a lot more talented than me who also did.
@@kittona8754 I understand you. I think in a way they're meant to be
ironic. They're assuming the cliche of the objectified woman that rock bands propelled in the 60's and 70's with the lyrics, lifestyle, etc and they are exposing it in the most direct way possible (a send-up and a value of shocking, as you said).
But what i get from Ferry's interviews is none of this. He doesn't talk about it as an act of irony towards "less enlightened bands", as an intelectual act against this body/image standards; he just seems to like it, it looks like it was just cool and eccentric to have a beautiful lady on the cover (at least this is what i get from some interviews that i've watched/read)
Although i really love some roxy's albums, i will never dig this cover's stuff because of what we said and also because i think it's just uninteresting, there are so many thing to do with an album cover besides having a woman there
Arty restaurant music. I like how drunk it sounds and instruments are out of tune.