Roxy Music

We’ve talked about them before but there is much left to be said.

Roxy Music is right up there among the greatest bands of all time. I’ll put their first five albums up against anybody’s five albums, and you will be forced to admit it’s close. But unlike every other band I’ve ever loved, I didn’t love them at first. Or rather, I loved the music but couldn’t stand Brian Ferry’s voice. Then my friend Dee talked me into seeing them at the Academy of Music. Later known as The Palladium, it was the successor to the Fillmore East in New York and a great place to see a show.

Dee worked with a coke dealer named Jimmy Digs, an extraordinary character. First of all, the guy worked as a meat cutter in the old Brook Ave. meat market deep in the South Bronx, roughly four square blocks with decades of animal fat ground into the sidewalks and streets.One of the harder and nastier jobs on the planet. And yet he was a weight dealer who made a lot of money. I know because I saw his apartment. Sure, it was in the Bruckner projects, but it was huge and lavishly decorated in the Afro style of the 1970’s.  Second, he was a great guy, at least as I knew him. He liked us and gave us great deals. Jimmy (he was late-30’s, maybe 40) introduced us to his wife, got us some drinks, and led us to his getting high room, containing two sofas, a coffee table, and state of the art stereo and TV. He smiles and slaps a 3-finger bag of coke on the table. “You sniff?” he asks, and I say yes, I sniff. We sniffed a lot for about an hour, talking mostly about music and grooving to, as I recall, Bohanon. When we left someone was trying to break into D’s car. We yelled and started running to the car and the guy took off. He had done no damage. “When they see a white face the first thing they think is ‘cop’,” said D.

But that was another night. This night, on our way to the show, we were supposed to meet Jimmy at a bar on Lenox Ave and 146th St. Dee parks the car and we walk in and I swear at that second the song on the jukebox stops and every eye in the jam-packed joint is fixed on us. I was shitting bricks trying to act blasé. Dee just asks the guy next to him “Where’s Jimmy Digs?” “In the back,” he replies and we walk through into a back room where Jimmy was. “You should have come in the back door” he says. I was like, how silly of me. How could I fail to grasp the adventure potential in exploring a Harlem back alley on Friday night? So I took my chances with the front door. We did our business and left, got into the car and Dee says: “We were lucky.”

One more thing about Jimmy Digs: he had four thumbs. True. A second thumb grew from each of his regular thumbs.

So we arrive at the Academy in fine shape and we see Roxy. This was the Stranded tour, post-Eno with Eddie Jobson on violin and keyboards and (I think) John Wetton on bass. They were spectacular. I had to see Ferry live to understand his singing, which come to think of it is a strange thing. I can only say that what sounded mannered and overly stylized on vinyl sounded natural and highly emotional live. I understood: while so many singers pretend to care and they don’t, Ferry pretends not to care and he does. Nothing new really, it goes back equally to the blues and the sophisticates of the jazz era, and probably a thousand years before. Ferry gave the stance new context in the 70s. The context of their music. Seeing them opened up the whole to me, and I have loved them ever since.

Roxy Music is far, far more than Brian Ferry and the Roxies. Every musician who was ever in the band added heaps to the whole, including every single one of their endless parade of bass players. Which is amazing but I’m about to prove it to you. It’s one proof of their greatness: the least important member was always fantastic. I only say “least important” in band personnel terms, certainly not musically.

So here we go with five different bass players from each of their first five albums. The original bassist, Graham Simpson, was also with Ferry a co-founder of the band. Ferry (and anyone in his right mind) wanted him to stay, but Simpson didn’t like the Roxy image manipulation. A no-fun guy, but he sure could play. In demonstrating, I think it’s important to stray from the best-known Roxy tunes, because there are so many great songs that are lesser-known. “Ladytron” from the first album:



So Simpson leaves and in comes Rik Kenton or else John Porter, nobody seems to know, and I ask you: can you tell the difference? If I told you this was Simpson you wouldn’t think twice:


Great amateur video too.

I have to laugh when people say that Roxy became less experimental when Eno left. It shows that these people are not listening. Again I’m not sure if the bass player is John Wetton or Jon Gustafson but who cares, this guy plays his ass off too, and this one song has more cool sonic/musical experimentation than all of Pink Floyd combined:


Picking a tune from Country Life is tough because the bass is largely passed over in the high-end mix that Chris Thomas and Ferry imposed on that album. Maybe it was the right decision, for many people like Country Life above all others (Lawr is one as I recall). It is a dense album that must have been a bitch to mix. But the bass punches through on “Out of the Blue”


Ferry and others have pointed to Jon Gustafson’s bass on “Love Is The Drug” as the key to its hit status, so it must be true. But I wouldn’t say it was Gustafson’s best work on the Siren album. “Just Another High” and “Both Ends Burning” equally display his killer timing, and so does “Could It Happen To Me?”


See what I mean? Most of the time the bass is pure groundwork – there is so much else going on in every song – and yet it never fails to propel and fill and create space as needed, as the best bass players always do. And Roxy had like eight of them.




Bettie Serveert, Brain Tag

I got into conversation about a young rock prodigy today who named her band Snail Mail. She’s had a Tiny Desk concert, her new album comes out this week from Matador (a good label).

But Matador and journalists seems to be saying that Jordan Lindsay, the singer songwriter who is Snail Mail, is somehow someone body surfing in the legacy of Liz Phair. But this appears to be totally wrong. Maybe because Lindsay is only 18, and graduated high school like this week. She’s less than a sophomore. Right?

Apart from whatever virtues Snail Mail have, they exhibit none of the immediacy of Phair and any of her albums, including the challenged but actually overall okay Funstyle. I mean, Funstyle, once you excise track one and two, is pretty okay.

In any case, Liz Phair is a giant of plain speaking, rock making, self exposing, and none of that should be disregarded. Is it great art, great rock, great personal decisions are all good topics for discussion. But Liz Phair did this, and she didn’t have to.

In any case, this discussion reminded me of Bettie Serveert, who made a record I loved in the mid 90s, called Palomine, and another record I liked. The point here is that rock takes many shapes, but all should be judged on how far you push it.

Bettie Serveert pushed it modestly, but she rocked. It’s hard to know what to with the perfectly affable Snail Mail in that context. Like them? Maybe on Facebook.

Jackie Wilson

The man died onstage. But he didn’t die, he was resuscitated and lived another nine years. Tragically, a lack of oxygen to his brain made him semi-comatose for those years. You don’t see his name much these days, or hear his music, so I thought I’d post some.

This song is also an example of what I mean when I contend that the Beatles did not invent sophistication in rocknroll. No doubt the Beatles knew his work. This is from 1958:


And check out this live performance. Mr. Excitement they called him, and Elvis himself copped some moves from Jackie. The band here is stiff compared to the record but the vocal is simply amazing.


Song of the Week – Being Around, The Lemonheads


The Lemonheads strong 1993 album, Come on Feel the Lemonheads, had the Modern Rock hit “Into Your Arms” on it. “Into Your Arms” may be this underappreciated band’s most popular song – except, maybe, their cover of ‘Mrs. Robinson” is better known. That’s all the more interesting because he didn’t write either of them.

The album is a lot of fun, containing some of eye-candy frontman Evan Dando’s finest examples of “bubblegrunge.”.

Today’s SotW is the goofy but catchy, country flavored, “Being Around,” that comes in under 2 minutes!

The lyrics ask a bunch of questions from someone seeking attention from a person he /she wants to “be around.” It sounds to me like an awkward 4th grade boy trying to get a disinterested girl in his class to notice him.

If I was the fridge would you open the door?
If I was the grass would you mow your lawn?
If I was your body would you still wear clothes?
If I was a booger would you blow your nose?
Where would you keep it? Would you eat it?
I’m just trying to give myself a reason, for being around.

Really? Boogers!!! The other verses go on just like this.

The current popular rock star Courtney Barnett covered “Being There” during her 2014 tour. Versions of it can be found all over the internet.

If the album title – Come on Feel the Lemonheads – sounds vaguely familiar, it’s because it was nicked from the Slade hit “Cum on Feel the Noise.” Sufjan Stevens took it a step further with the title of his 2005 album, Come on Feel the Illinoise.

Enjoy… until next week.

Song of the Week Revisited Revisited – I’m Hip, Blossom Dearie

Jazz great Bob Dorough died Monday at the age of 94. Here is the NYT obituary:

It reminded me of the time I met him a few years ago and posted about it on this blog.

Here it is again.

Song of the Week Revisited – I’m Hip, Blossom Dearie

Bass Players Who Could Sing

You don’t find much Beatles on youtube, much less good Beatles. As the concept of intellectual property continues to lose hold, it’s nice to see that someone is still ripping them off.

The greatest singing bass player is McCartney of course. I think this an underrated Beatles song, indeed I played it as much as She Loves You because it was the flipside. This is live at the BBC and it’s better than the record. A simple ditty but damn it’s good.

New Speakers in My Life

For weeks I had a blown speaker. At first I was busy, then I was lazy, then I started digging on Roxy with a single channel, and otherwise hearing little things I had missed in songs I knew very well. You should try it with Roxy, or with one of the great dense production albums like Exile or Layla or – check it out – Cry of Love. Hendrix ain’t on youtube except for live stuff (some of which is great), and I hope that forces everybody who doesn’t own it to buy that album. I think it’s his best, which ain’t saying much unless you go for that oh wow doodling that stops all his other albums in their tracks. Makes me wanna drop Orange Sunshine into my eyes and become a strobe.

So finally I broke down and bought new ones. Actually, my sweet baby bought ’em for me today. Vic thinks of everything and makes me do things I like. So I hauled the box down to my cave and spent my usual befuddled half-hour trying to assemble the wires and plot an installing strategy. Detatching the old stuff proved impossible withour a forklift – cables running behind my massive desk-bookshelf-table-for-four – so I had to cut the wires.

The key new piece is a subwoofer. That threw me. I know mono and stereo and even remember quadraphonic but three speakers is new to me. When I hear subwoofers on the street I always have to take a shit – there’s the generation gap right there – but I have to admit the setup sounds great. We’ll see if I make it to the bathroom tomorrow morning.

Jimi live before he began indulging himself: