Roxy Music Live - S/D

wrt Thriller, it wasn’t released until the end of November, 1982. As with 1999 (released only a month earlier), I feel like its impact wasn’t widely felt until 1983.

You can still see things that led up to them, even in the previous year (1981) in either Prince's own work, Rick James or even stuff like Hall & Oates's own music ("I Can't Go for That" feels like the rhythmic precursor of "Billie Jean"). Again, I'm saying it's at least where the transition is pretty visible.

Hmm, I don't associate The Blue Mask or Nebraska with the '80s at all, at least not sonically. Thematically, sure. But even then, nowhere near as much as (later) BitUSA and New York

Eliminator (the ultimate 'Boomer Goes New Wave' record) was March '83.

But yeah, the transition was already in place, probably as far back as "Cars" (late '79, iirc), or at the success of eventual tourmates the Police and especially the Go-Gos (who could have only broken through when they did).

I wouldn't even tie Nebraska to any decade sound-wise - but I strongly associate it with the '80s because of what it has to say about that decade, and for me that's more than enough. It probably does a better job of it than any other album I know, even more than Born in the USA.

I remember seeing massive displays in mall record stores — in Omaha, no less — for Nebraska, and even though I didn’t hear the record until two years later, for that memory alone I can only associate it with the ‘80s.

The irony is that much of Born In The U.S.A. — including the title track — was recorded before Nebraska. Imagine sitting on that song for two years, not realizing how insanely perfect the timing of its eventual release would be.

(To clarify: much of BITUSA was recorded before Nebraska was released.)

MJ is 1983 very much.

I love every mincing millisecond of this thing:

https://www.youtube.com/watch?v=Cg-Yte9X1go

Eliminator (the ultimate 'Boomer Goes New Wave' record) was March '83.

There were some lead-ups to Eliminator. Both the J Geils Band and REO Speedwagon had massive albums in 1981/1982 by turning down the 70s boomer rock/guitar solos and turning up the new wave pop. A lot of 70s bands back then (if they were still around) were all-hands-on-deck to boost sales and if it meant new wave-ish pop then so be it.

I think of the early 80s as when you start seeing new bands who were obviously listening to Roxy Music and then running past what Roxy was doing concurrently (it's interesting reading this thread as the New Gold Dream thread was revived for its 40th anniversary)

And while "Hungry Like The Wolf" was a big radio hit in the US in 1982, it didn't hit its chart peak until early '83, and only because it was re-released the previous December. The original June '82 release did nothing here.

As mentioned earlier MTV really was *the* hegemonic force across the country. "Girls On Film" was a massive KROQ hit here in Los Angeles but zilch outside of broadcast range.

Both the J Geils Band and REO Speedwagon had massive albums in 1981/1982 by turning down the 70s boomer rock/guitar solos and turning up the new wave pop.

J. Geils, definitely. But REO? I fail to hear anything remotely “new wave pop” in “Take It On The Run,” “Keep On Lovin’ You,” or “Keep The Fire Burnin’.” To me, they’re a kind of nadir of adult contemporary boomer rock that flourished in the uncanny valley of 1981 US top 40 radio (see also: Styx, Dan Fogelberg, John Lennon’s “Woman,” Christopher Cross, and the Climax Blues Band).

A story I heard regarding REO’s radio/chart success at that time was that the management of labelmates the Clash went to one of the bigger/more influential radio stations in the US and asked their program director, “What the hell? Why are you playing this REO crap instead of Sandinista?” The radio guy said, “Their managers gave us cocaine. You didn’t.”

This right here, here's the 1980s being born:

https://www.youtube.com/watch?v=keKySy4z6wc

My favorite from that album. IIRC, there is an incredible live version on TV of Flesh and Blood where Manzanera goes off but I haven’t been able to find it again.

At the Boston show, in the middle of Remake/Remodel, two plobby guys about 30y/o stood up from the jump in front of our section – when the boomer woman in front of us asked them to sit down he turned around and said, “I paid for these seats. Go fuck yourself.” At which point her husband started furiously and aggressively pumping his middle fingers (from a seated position) and they got up and complained (and got moved I think). The two plobby obnoxious guys eventually sat down and started … hugging affectionately for the rest of the show? The whole thing was completely bizarre.

As for the show, the irreconcilable nature of early and later Roxy was never more obvious IMO. In addition to an older crowd that seemed to know (and prefer) the Avalon-era material, bc all of those songs had been adapted to a lower key they felt somewhat less convincing (tho still perfectly enjoyable). The s/t material was stunningly good – Ladytron and If There Is Something in particular had a Bryan Ferry Psychedelic Jazz Quartet vibe to them that was wonderful. Ferry was good, I loved him seated at his electric piano with all the swirling atmospherics, but Manzanera and Mackay were just terrific.

There is this:

https://www.youtube.com/watch?v=OIRWJr1l1pI

Yep!

One of the best attributes of Manzanera's playing is that he's rarely flashy even when he's got more going on. In a way kind of ego-less, happy to cede space to the sonics and effects in service of the song. Kind of an anti-guitar hero a la such peers and successors as Andy Summers (who is truly gifted) and the Edge (who is not).

I was trying to identify the caveman they have playing drums in that clip (Allan Schwartzberg?), but then I came across this:

https://www.youtube.com/watch?v=9Q1JKqwtgwM

Mimed or no, Bryan Ferry with a guitar! Steve Goulding (from the Rumour/Mekons) on drums!

Ferry played real guitar on "Flesh and Blood," but it doesn't mean I wanna see him holding one.

One of the best attributes of Manzanera's playing is that he's rarely flashy even when he's got more going on.

Even on "Remake/Remodel", where he's basically soloing through the entire song, there's something modest about it - "this song needs non-stop lead guitar, I will provide".

he tried but he could not find a way iirc

Been a while since I've heard it, but really enjoyed 801's Live, with Mananzera, Eno & Co. https://www.youtube.com/watch?v=bOG7SfERU0k
That's an LP; there's also more of a CD-length rehearsal of that set posted here and there, dunno how it is. Didn't get into their studio album, Listen Now so much: was okay, but more on the broody Floydian side. Also didn't get into the one by his prog band, Quiet Sun, but some of my friends did. Oh, I did like his Diamond Head!

Oho, here's Andy MacKay's In Search of Eddie Riff:
https://www.youtube.com/watch?v=ap9G9z-AeZM

Was disappointed in their Roxy-ish pop Explorers venture; mainly what tipped the scales was an off-putting, off-brand Ferry clone (aptly named James Wraith). One after that was billed as Manzanera-MacKay, didn't listen.

Your collective strategery paid off: bought secondhand nosebleed seats last week (though not the worst I could get) for about $80 a pop (after taxes/fees), got to the venue tonight and we were upgraded to awesome $175 face value seats, from the 300 level to 100. I had a hunch when I saw that Ticketmaster had greyed out all these seats that were for sale just a week ago that the upgrades some of you had seen or experienced would be in effect tonight, too.

Band was good, setlist was good, Ferry sounded good enough, everyone was into it, though I am always a little sad/suspicious when every musician has a double. Reminds me of when the saw the Beach Boys 50th anniversary tour and there were as many as 7 or 8 guys holding guitars on stage and I thought, come on ...

St Vincent did indeed kill it tonight. Annie Clark's current ott rock star persona was perfected suited to the occasion. She was having a blast, and I bet she made some new fans.

I would argue that Thompson technically didn’t have a double, and the auxiliary percussionist was largely unnecessary (and often barely audible).

And looking back (all I did was look away), I realize that all the Roxy Music I ever heard on the radio was on WXRT, and it was a regular occurrence.

The percussionist was keeping time for the whole band but also afaict triggering a lot of pads arrayed to look like regular percussion. He was often barely audible because he was often doubling (thickening, mostly) Thompson's snare and tom hits. Not that Thompson was bad or anything, just needed a little juicing. Same with Mackay; there were lots of times the other player was perfectly matching his sax and oboe stuff, to help him out a bit. Again, no biggie: Bryan gets three singers (and thee keyboard players) to help him out, so why not the others?

I was surprised they skipped "Virginia Plain," given the anniversary nature of it all.

Ferry played real guitar on "Flesh and Blood," but it doesn't mean I wanna see him holding one.

Requires a 'apart from on the For Your Pleasure gatefold spread' qualifier imo.

Seeing them in Manchester next month. I haven't been over-excited - I generally avoid arenas and big reunions, even (especially?) for a band this dear to me, but a friend suggested it as a reason to visit. Now though, getting cautiously optimistic.

I know I saw them in 2001, but it's one of those shows that for whatever reason I can't remember a single thing about it except for the venue and where I was sitting. Oh, and seeing Jon Langford there.

And I guess he was back again! (With Alan Doughty of Waco Brothers/Jesus Jones)

https://scontent-ord5-1.xx.fbcdn.net/v/t39.30808-6/308050326_5817507248301628_7110603320778770001_n.jpg?_nc_cat=100&ccb=1-7&_nc_sid=8bfeb9&_nc_ohc=sbP3Uz-C6dgAX_oQQXj&_nc_ht=scontent-ord5-1.xx&oh=00_AT_geOd0MQXA-o5WLeX7DgxlNp3RyBzqtHDA06F1haN06w&oe=632E65A8

Nice!

FWIW Hugo Burnham also posted this

there were as many as 7 or 8 guys holding guitars on stage and I thought, come on ...

Guy behind Mike Love was the only surplus player, and as Love had brought just two musicians from his band (this dude who is his bandleader, and his fucking great drummer) was almost certainly there to collaborate on arrangements, not to substitute for inadequacies among Brian’s players.

(Jardine strummed acoustic on just a handful of songs, probably as an aide-mémoire, and David Marks was lifted in the mix for solos.)

This made me laugh…

Last night at Roxy Music a friend reported that a dude on the floor was dancing & having a grand time until a very slow song & then he yelled “THIS IS WHY BRIAN ENO LEFT” which is both hilarious and not incorrect

September 20, 2022

Last night at Roxy Music a friend reported that a dude on the floor was dancing & having a grand time until a very slow song & then he yelled “THIS IS WHY BRIAN ENO LEFT” which is both hilarious and not incorrect

— Caryn Rose (@carynrose) September 20, 2022

Eno was on several slow ones on the first album.

It doesn't seem to be correct at all honestly, just a cheap joke.

not correct, def cheap, and def funny

My friend I took had no idea about the band's formative years. He only knew the smooth stuff, but found it fascinating that the same band could do both so well.

Missed this - Bill Wyman was able to write a nice primer in NYMag:

https://www.vulture.com/2019/03/roxy-music-guide-bryan-ferry-brian-eno.html

With Ferry no longer an obstacle, Eno could follow his muse and record blistering, high-velocity slammers like Music for Airports and On Land (originally titled Land Speed Record).

hahaha

How's that Ferry album he produced?

He didn't produce it. He co-wrote a song on Mamouna and Frantic apiece and was responsible for sonic gahoozits on the former.

"I Thought" (the Ferry/Eno collaboration on Frantic) is the capstone of his career for me. It's Ferry's "I Can't Give Everything Away", he even plays harmonica on it.

https://www.youtube.com/watch?v=q4HSj8IR8GE

It's a beautiful melody, and their harmonies are gorgeous.

wow never heard that song before. Maybe one of the best songs of all time?

Andy MacKay, riding with Mott The Hoople---"All The Way To Memphis":

https://www.youtube.com/watch?v=PuMOWrRZ0HA

Also on their "Honaloochie Boogie":

https://www.youtube.com/watch?v=qGdVMpuBiik

Damn, had no idea that was him. What a great album, Mott's best by a good margin.

Well, Mott and Brain Capers, I think---anyway just noticed that 2006 CD reissue of the former has bonus tracks I'd like to hear:https://en.wikipedia.org/wiki/Mott_(album)

Mamouna and Frantic both excellent albums

Eno also did a lot of keyboard stuff on Olympia, which was the failed attempt at making a new Roxy album, AFAICT

Have only heard Mamouna once but was really surprised by how good and strange it was - felt like it pushed Ferry’s solo aesthetic almost into abstraction- incredible grooves and barely-there songs - hope it lives up to my memory of it!

Sounds like I need to give Frantic a listen

Eno also did a lot of keyboard stuff on Olympia, which was the failed attempt at making a new Roxy album, AFAICT

― akm

He plays on only four songs -- Ferry plays most of the parts.