Tag Archives: For Your Pleasure

July 23rd 1973

“Stuck project into folder” / “Went into ELeigh and got Life on Mars + Pyjamarama” /”Neil came up later”

This purchase of two singles – probably both snagged at Jack Hobbs Records in their clearance bins  – would seem to solidify my teenage passion for all things musically “glam”

David Bowie’s “Life on Mars?” single was released (somewhat strangely in retrospect) by RCA Records almost two years after the album it came from; “Hunky Dory”. Twinned with the cut “Man Who Sold the World” (later butchered by Nirvana) on the b-side, it reached #3 in the charts and had remarkable staying power, staying in and around the Top 30 for over 3 months.

It came after a run of 4 hit singles – “Starman” , “John, I’m Only Dancing“, “Jean Genie” and “Drive-In Saturday” – for Bowie, enhancing the remarkable success he had been enjoying with 1972’s “Ziggy Stardust” album and the more recent (in April 1973) “Aladdin Sane” LP. I don’t think anyone could have anticipated the timeless, ongoing appeal of Mr Bowie in 1973 or the fact that now, in 2009, he is considered one of  rock music’s “gods”

I loved – and still love – Bowie’s early work (I kinda started to pass on his ‘art’ after 1980’s “Scary Monsters” album), “Life on Mars?” remaining one of my absolute faves. This is despite the unfortunate overkill the single received on the back of the BBC’s drama series (of the same name) in 2006. Like many other people of that time, I was first drawn in by the singles, moving to his classic albums a little later.

What some people may find weird is that despite seeing Bowie a few weeks earlier, I had STILL not heard the Ziggy Stardust album in its entirety!

Roxy Music’s “Pyjamarama” has been poetically talked about by me before.

Released in Island Records’ familiar bright pink paper sleeve, the single featured another non-album cut, the tunelessly-atmospheric “The Pride and the Pain” on the b-side.

It was released in March 1973, reached as high as Number 10 in the charts before dropping out of the Top 30 at the end of May. (Jack Hobbs usually sold off non-chart singles pretty cheaply as a way of clearing his shelves, which is doubtless why I waited until July to snag it).

The cut was originally scheduled to be included on Roxy Music’s “For Your Pleasure” album but was left off the final mix. The decision to use the single as the album’s “promotion” would come to be regarded as commercial madness by the music industry in later years, but I seem to remember this practise was quite common in the early part of the seventies.

Here’s today’s trivia corner…

• All-girl pop trio Bananarama’s name was inspired by the phrase “Pyjamarama”
• Rick Wakeman played keyboards on “Life on Mars?”
• “Life on Mars” has been covered by artists as diverse as Michael Ball, The Flaming Lips, Seal and Barbra Streisand

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April 29th 1973

“2nd aniv at T.I.B. – took beer and Roxy Music album”

See?…. if organised religion was like this all the time I could possibly have been a player.

In hindsight there’s something quite glorious about taking an album which features a song about a blow-up doll to a churchly get-together.

Not to mention the ‘beer’ thing.

I was 15 remember.

Fantastic memories.

Or brain-addled lack thereof.

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April 19th 1973

“Bit boring all morning with Mormor – in afternoon went into eastleigh;- lent Mark P Tarkus and bought For Your Pleasure – Roxy Music – smart!”

Poor old Mormor. For the second time in these diaries I have referred to her staying with us as “boring”. What an complete git ungracious grandson I was in 1973.

In apparently better news I finally nabbed Roxy’s “For Your Pleasure” – about a week after first hearing it – and doubtless played it to death, deeming it – like so many other bloody things these days – “smart!”

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April 14th 1973

“Work all day. Broke bottles. Went up Nigs in evng – listened to For Your Pleasure – Brilliant!”

Broke bottles? What does that mean? Does it mean that I maybe knocked some bottles off a shelf and broke them, or did my work today involve breaking down bottles, maybe to recycle them? (Unlikely it’s the latter as the concept of recycling didn’t really exist in 1973 – which, retrospectively, is obviously a crying shame)

So, tonight I heard Roxy Music‘s “For Your Pleasure” for the first time eh?

Remember me saying how Roxy’s debut album felt like nothing I’d ever heard before? The band’s second album did just that all over again. It even felt a departure from their first album without actually losing that intrinsic (certainly in the 70’s) Roxy ‘sound’

It’s almost impossible to start discussing this album without first commenting on the album sleeve. Like the band’s debut this was a glossy gatefold affair, the front a stylish shot (by photographer Karl Stoecker) of fashion model Amanda Lear. She is dressed in a tight black leather outfit, complete with stilleto heels and a pill box hat, and appears to be (for whatever reason) taking a black leopard for a walk along a rain-drenched urban street.

Folding out the sleeve reveals the picture continues across the back cover, where we see a waiting limo (I always used to think the limo’s interior would get really ruined if that leopard was allowed in it!).

For me, the sleeve’s stylish attitude feels somewhat undermined when you look at the limo driver, stood in the car’s doorway staring at Amanda with a smirk on his face. It’s none other than Bryan Ferry himself, doubtless grinning at all his fans because – at the time – he was dating her in real life. (Since this photo was taken of course, Ferry’s love life has become the subject of many a tabloid rumour)

When you opened up the sleeve, you saw this….

Do they look like bonafide pop stars or what? Nig, Mal and I investigated every little detail of this photo… from the fact that three of the band appear to be left-handed, via Brian Eno’s ludicrous ostrich feathers and all the way to Andy MacKay’s shiny silver pumps.

If the sleeve didn’t draw you in, then the musical contents did.

Opening with a flourish, “Do the Strand” (a hit single in its own right… but not until 1978!) sets the tone of this album immediately.
There’s a new Sensation,
A fabulous creation,
A danceable solution
To teenage revolution

is a killer collection of lyrics IMHO. It doesn’t let up either, as Ferry tries to persuade the entire world to to give up the ‘old’ dance crazes (“Tired of the tango, fed up with fandango“) and instead opt for “Strand Power” (or if you’re Russian, “the Strandsky“). That opening piano riff is as timeless now as it was exciting and original in 1973.

Vibrato piano and Ferry’s mangled vocal style both run right through “Beauty Queen“, the lyrics of which allegedly refer to one of the singer’s ex-girlfriends, Valerie Leon, a movie & TV actress who, like Ferry, was born in Newcastle.

(That’s “Carry On” star, Bond ‘chick’  – OK, and the Hai Karate Girl – Ms. Leon over on the right in that early promotional photo…. maybe pre-empting the “For Your Pleasure” cover by a few years?)

Strictly Confidential” finds a very mournful Ferry penning a pre-death letter to a long-lost lover. It’s almost deliberately dirge-like in its construction, Ferry’s vocals stretched, strained and pained. MacKay’s oboe punctures the gloom, as does Paul Thompson’s light staccato drumming. The only real upbeat moment of the piece comes right at the end with the lyric “There is no light here, is there no key? “, which presumably marks the passing of the song’s doom-laden protagonist.

Editions of You” should have been a single in its own right. It’s such an infectious heavy rock’n’roll song, riddled with catchphrase lyrics and some damn fine solo work from all the members of the band. MacKay, especially, gives a virtuoso sax performance, whilst Eno suitably hams it up on his ‘electronics’.

For most people, the mind-blowing “In Every Dream Home a Heartache” – which closes Side 1 – is perhaps archetypal seventies Roxy.

The first time I heard this song – even before I realised what it was about – I was in awe of the way it just sounded. Then when you get into the lyrical content – a blow-up sex doll – it takes on a whole new meaning. The song’s real panache is the break at around the three-minute mark. It stops being what is essentially a spoken word piece and – with Ferry’s eerie “but you blew my mind” lyric – descends into pure theatrical rock & roll with all the band’s instruments vying for attention. If anything, this cut was a pre-cursor to the material Brian Eno gave the world when he went solo. Structured, but strangely unstructured all at the same time. Yes, that may not make sense to anyone but me!

(Please be warned that later/live versions of “In Every Dream Home a Heartache” very much pale into insignificance compared to the album original)

Side 2 of “For Your Pleasure” features just three cuts.

The opener is a 9+ minute sheer magnificence of a song.

The Bogus Man” stutters and shudders its way through a child’s scary nightmare. Its repetitive structure with the thrown-in clicks and noises now feels similar – to me – to material found much later on David Bowie’s “Low“… an album produced by Brian Eno.

Indeed, when “For Your Pleasure” was released Eno stated that he thought “The Bogus Man” reminded him of music by famed electronic krautrock pioneers Can. At the time I would not have known what the hell he was talking about. It would be a few years yet before I could personally appreciate the electronic noodlings of bands such as Can, Neu!, Faust and Kraftwerk.

The Bogus Man ends with Ferry giving a great big sigh before he goes straight into “Grey Lagoons” which initially presents itself as an atypical good-time rock ballad, complete with vintage-sounding sax work, guitar riffing and some oh-so-tight drumming. Then – like other songs on the album – it seems to kick it up a notch and becomes a different kind of beast, drenched in electronically-generated sounds before resorting, once again, to a feeling of “normality”

The album’s title track closes proceedings. “For Your Pleasure“, despite being written by Bryan Ferry, feels very much like an Eno track from start to finish.

The electronic interludes, the drifting drum sounds, the multi-tracked background (“ta-ra”) vocals and the enhanced piano are all elements Eno would keep coming back to in his later solo work.

I’ll always remember that the distorted end of the cut played havoc with bass speakers everywhere – their inability to deal with the sonics only adding to the distortion.

Trivia buffs may like to know that the female voice muttering “don’t ask why” just before the fade out is none other than Dame Judi Dench!

As regular readers will respect, there are few things I truly, truly remember from these early 70’s. Listening to “For Your Pleasure” for the first time however IS something I can recall.

Maybe it’s because I felt more connected to the band having seen them just a few nights earlier, but I’d rather believe it’s because the album impressed me so immediately and so positively. I remember Nig, Mal & me listening to it over and over – and over – again. I remember loving “Do the Strand” with its clever lyrics, I remember hearing that break in “In Every Home…” for the first time just as much as the human sigh at the finish of “The Bogus Man”.

I remember us looking diligently at the sleeve wondering if the band looked cool or not, eventually deciding “yes, cool”. I remember wanting fancy gold boots like Ferry’s and a white jumpsuit like Mackay’s. Most of all I remember wanting to own the album myself. How long would it take me?!

The thing is – this was just the first of two Roxy Music albums released in 1973. 

Although “For Your Pleasure” was the final album to feature the considerable talents of Brian Eno, it would be the third album – Stranded – that would always prove to be my absolute Roxy favourite… but more about that when it comes out eh?!

I’ll say the same as I said about the debut album; that Roxy Music seemed just so very different to us at the time. So unique. Sure they wore their pop sensibilities on their collective sleeves, but they seemed to wear them almost as an excuse for something that was much more interesting and important. Especially – but not limited to – when Eno was with the band.

In retrospect I always feel it a bit of shame that they got pigeonholed along with the multitude of “glam rock” acts that were emerging around this time. OK, so the clothes the band wore didn’t help matters in that regard, but I always felt they were several miles above the rest (Bowie excluded) in terms of talent and originality.

To paraphrase a remark from a book I am currently reading (about Captain Beefheart) ‘they’ say that whilst most of the time you find the music you want, every so often the music you want finds you. In 1973, I truly believe that Roxy Music found me.

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April 12th 1973

“All work all day. Got wages for something 2.84 (wow!)” / “Roxy Music at Gaumont. Sharks support”

So, my third ever concert was Roxy Music at the Southampton Gaumont.

Nice of me to write so very much about it eh?

Naturally, I can’t remember anything about the night, even more surprised by my diary entry that Sharks were the support act!

I know I would eventually buy “First Water”, the Sharks’ debut album. How do I know this? Because, for some inexplicable reason, I still own it! I say inexplicable because having found and played this cut on youtube, I can’t understand my fascination one little bit.

The Sharks were formed by bassist Andy Fraser after the rock band Free split up in 1972. He was joined by drummer Marty Simon, Vocalist Steve Parsons (a.k.a. “Snips”) and guitarist Chris Spedding.

The same Chris Spedding who produced the original Sex Pistols demos, played on Jeff Wayne’s “War of the Worlds” classic concept album, featured on Harry Nilsson’s “Nilsson Schmilsson” LP, and even toured in a furry costume as a band member of cult kid band The Wombles (yes, that’s him on guitar)

However, in my mind Spedding is aces for just one thing. The magnificence of his 1975 hit single “Motorbikin’“. Sadly, there appears to be no footage available of this stand-out track, so the link comes courtesy of just a 30 second snippet via last.fm

In what is something of an ironic twist, Spedding played as a member of a reformed Roxy Music during their 2001 tour of the UK.

I seriously wish I could remember at least something from the evening’s proceedings, especially as this tour was the last one to feature Roxy’s electronics guru Brian Eno. (I am now such an Eno fan, you wouldn’t believe it)

Did I dress up at all? (Unlikely). Did other concert go-ers dress up in glamware? (Undoubtedly, yes) How did I get there? How did I get home? Who did I travel with? What was the encore? (Probably “Virginia Plain“?)

*sigh*…. as ever I must consign myself (and you, dear reader) to (sadly) a whole lotta nuthin’

I will hazard at an educated guess that the band did songs from both their debut album AND their recently released “For Your Pleasure” LP, something which – it appears – I had not yet heard before attending the concert. (I know this because I have read ahead couple of days ahead in my diary!)

So, 15 years old and my concert-going list so far consists of: 1) Oval Rock Concert w/ELP, Genesis, Focus, Wishbone Ash, etc 2) ELP & 3) Roxy Music. Not too shabby a start really.

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January 28th 1973

“Dave came up in the morning and borrowed Pictures and lent me Roxy Music”

I was almost dreading the debut mention of Roxy Music in this blog.

Why? Because it is extremely difficult to explain the impact that the band – and their style – had on this particular teenager. It’s also difficult to explain to an audience now wholly familiar with their sound just HOW radically different they appeared to be in 1973.

Vocalist Bryan Ferry – originally a ceramics teacher from Newcastle – formed Roxy Music in November 1970. This was a few months after he had failed to secure the spot as King Crimson‘s new lead singer following the departure of Greg Lake. (Yes, that Greg Lake) However, Crimson’s Robert Fripp and Pete Sinfield liked Ferry so much they helped the vocalist’s young band obtain a management contract with EG Records.

Ferry started the band with bassist Graham Simpson, then recruited saxophonist Andy MacKay and drummer Paul Thompson via wanted ads placed in Melody Maker. MacKay brought along his university chum Brian Eno to act (initially) as a technical advisor. Phil Manzanera joined the band just as they started recording their debut album, replacing former ex-Nice guitarist David O’List.

Ferry initially monikered the band “Roxy”, an homage to the name given to old-fashioned cinemas and dance halls across the UK. He then found out there was already a similarly-named American band, so added “Music” to differentiate the two.

The band’s debut album was recorded – along with their quirky hit single “Virginia Plain” (not included on the original LP release, but subsequently added to LP & CD re-issues) – in March 1972 and unleashed on the public a few months later.

I feel somewhat ashamed in retrospect that it apparently took me until January 1973 to first acknowledge it!

The sleeve alone stood out as completely different to everything else I was listening to at the time. Whilst groups like ELP, Deep Purple or the Edgar Broughton Band featured terrible representations of the band members, Roxy Music turned things on their head by having an extremely glamourous model – Kari-Ann Muller – lounging across the gatefold.

If that wasn’t enough to draw this impressionable teenager in, then the musical contents certainly did.

The opener, “Re-Make/Re-Model“, starts with the sounds of a cocktail party in progress before launching full-tilt into what, on the surface, appears to be a traditional rock & roll song from the 50’s, complete with solos from each of the band members. Subsequent listens unveil a whole separate texture to the song, with Eno’s futuristic synthesizer sounds and MacKay & Manzanera’s instruments creating an almost cacophonous roar. There’s more than just a cursory nod to The Beatles “Day Tripper” in the riffing, but the most off-the-wall element is the vocal chorus of “CPL 593H“, allegedly the number plate of Ferry’s car at the time!

Ladytron” is one of Ferry’s (what-would-become) trademark ‘seduction’ songs, and kicks off with an eerie duet between MacKay’s oboe skills and Eno’s synthesiser blips and gloops before eventually descending into another band battle of sounds and noises.

If There Is Something” is quintessential early-Roxy. It forges a sound that the band would duplicate over and over again;- Ferry’s vibrato – but utterly nonchalant – vocal styling at the forefront with repeated band melodies behind him. MacKay’s oboe playing is nothing short of magnificent, his mid-song solo bringing the tune its melancholy.

It would be easy to think that “2HB“, which closes side 1, is Ferry’s personal tribute to pencils. It is actually a song dedicated to actor Humphrey Bogart, specifically his role as Rick in Casablanca. In keeping with the movie, this song has a detached moody atmosphere, entirely driven by Ferry’s electric piano and MacKay’s erie Eno-enhanced sax.

Side 2’s opener is “The Bob (Medley)” , a bitty & somewhat unstructured affair – and probably my least favourite track on the whole album. Punctured by the sound of warfare (Bob is an acronym for “Battle of Britain”) the song is split into sections that veer dramatically from each other. It’s almost as if the band are showing off just a little too much, or trying a little too hard with this track, although it has be stated that without Thompson’s thumpy drums or Manzanera’s fretwork it would amount to very little indeed.

Things get properly back on course with “Chance Meeting“, one of Ferry’s more traditional love songs. It is peppered with Manzanera’s guitar – having first been fed through Eno’s box of electronic tricks – and underlined by Ferry’s own gentle piano playing.

I personally feel that “Would You Believe” is one of Roxy’s unsung little masterpieces, so ‘unsung’ that there’s no footage available at all on YouTube. The boogie-woogie piano, drum, guitar and sax section that intersperse the contrary starkness is pure rock and roll, and offers more than a mere hint to some of Ferry’s influences,

Sea Breezes” is, pure and simple, a Roxy Music ‘classic’ – assuming such a thing even exists. It is one of my – admittedly many – ‘shower songs’, wherein I persecute the walls of our bathroom with my singing. It starts off pretty traditionally, Ferry’s gentle voice overlaying some fine guitar, synth and sax work. Suddenly the silence is punctured by a drum break and we find ourselves in new territory altogether, amps turned up to ’11’ and the band members noisily battling each other. Then, as quickly as the noise starts, it all mellows out again and Ferry once again professes his love for the song’s protagonist. Delightful stuff.

Bitters End” ties the album up, a 50’s doo-wop pastiche containing a strange choral refrain of “bizarre” almost summing up the entire album’s sound. Its also the song that seems to ‘go’ with the band’s image seen on the inside LP sleeve.

I think those images ‘drew’ me to the album as much as the music itself. There’s Manzanera in ‘fly’ sunglasses a decade or two before U2’s Bono discovered them, MacKay personifying “rock’n’roll”, and Ferry & Eno in leopard/tiger skin leather jackets, the latter looking particularly ‘other-worldy’ (and, bless him, displaying early signs of hair loss)

The second Roxy Music album “For Your Pleasure” was the album that REALLY sealed my personal – and lifelong – fascination for the band, but this very assured debut introduced me to their quirky stylings and unique sound in a major way.

It also goes to underline the fact – repeated again for those that have forgotten it – that I was willing to listen to – and appreciate – just about anything that came my way. Whilst many of my school chums may have been fixated only by Heavy Rock or Pop Music my own listening rounded up both of those and a whole lot more besides.

I often wonder if bands such as Roxy Music would stand even half a chance in the current music ‘business’. I would like to think that with someone as always forward-thinking and technically-savvy as Brian Eno in its ranks the band would find a way of getting their music across to the masses but I’m not convinced there would be a 100% guarantee of success.

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