Embryonic Roxy rehearsals comprised Ferry on harmonium and piano and Simpson on bass. And I had a group life in the evening with The Gas Board, playing harder-edged stuff like Bobby Bland, and things like ‘The Stumble’, the Freddie King instrumental."įerry left Newcastle for London in 1968, eventually teaming up with fellow Gas Board member Graham Simpson. "We regarded ourselves as the cool crew, into The Beach Boys and Tamla. Ferry remembers the Newcastle art school cliques being built around the French school (the squares with beards and sandals into trad jazz) and the American school (the pop art devotees of Richard). His attitude towards the relationship between popular culture and high art was a real eye-opener." Hamilton also had a penchant for 1940s Hollywood, another motif which would feature heavily in the Roxy panorama. Nick de Ville, who was in the year below Bryan at college and who subsequently worked on all of Roxy's sleeves until Siren, was also taught by Hamilton. Hamilton was also the first bloke to put the word "pop" into a painting. At college Ferry was taught by pop art innovator Richard Hamilton, as integral to the Roxy equation as Warhol had been to the Velvets, though Hamilton was a seminal influence, not just an enabler. I was a bit of a snob, more into jazz and blues."įrom a co-ed grammar school Ferry moved to Newcastle Art College, which is where the Roxy story really begins. For the Coronation? "No, Newcastle got into the Cup Final."įerry remembers his parents living vicariously, "but we always seemed to be better dressed than anyone else." Musically what else was there apart from 'Cathy's Clown' at the fairground? "My big sister had Little Richard, Elvis, Fats Domino on 78s.
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Both ends burning.īRYAN FERRY GREW UP IN a working-class household in Washington, County Durham. To have alienated purists across the celebrity scale is kinda unique. Where once they wound up hairy musos by being camp, they incurred latterday sneers for becoming Mr and Mrs Mainstream’s house band, the soundtrack in every dream home. Remarkably, there is not a single Roxy Music fanzine (there is probably a Woody Woodmansey's U-Boat fanzine), though their music is still played everywhere from high-class catwalks to low-cost wedding receptions. Fragmented into solo projects 1976: regrouped 1978. Subsequently irritated the purists no end. Avant-glamstars who had big pop hits exuding intelligence and humour rare in an age when the only other options were (a) buffoons in pancake make-up (Mud, Sweet, Slade) or (b) clown princes of pomp rock (everyone else). An audio-visual confusion, a collision of retro-futurism. The art school dance you could actually dance to. They were Roxy Music, and this is the story of their bizarre odyssey from iconoclastic chaos to chilled perfection - and the price they paid.Ī selective but salient résumé: a 1970s band playing 1950s music in the 21st century. Listen Without Prejudice Vol.Brought together by musical differences, they looked into the future - and it was dressed to kill.You Could Have Been with Me (EMI, 1981).
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Reality Killed the Video Star (Virgin Records, 2009).Sing When You're Winning (Chrysalis Records, 2000).He performed in 2002 as a member of the backing band at the Queen's 50th anniversary rock concert at Buckingham Palace, "Party at the Palace".Īccording to himself, he appeared on over 500 Albums and over 5000 Songs.
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Palmer was the musical director of and performed with the numerous artists (The Strat Pack) at the 50th anniversary celebration of the Fender Stratocaster guitar which was held in 2004 at Wembley Arena in London. They released one album, a self-titled project, made up of classic rock covers including songs by Jimi Hendrix, The Who, Led Zeppelin, Blind Faith, Steely Dan and Bob Dylan. In 1993, Palmer assembled a band called Spin 1ne 2wo, with Paul Carrack (vocals and keyboards), Steve Ferrone (drums), Rupert Hine (producer, keyboards) and Tony Levin (bass). He co-wrote I'm No Angel, recorded separately by Bill Medley and the Gregg Allman Band. In 1986, he worked as a studio musician on Alphaville's album Afternoons in Utopia. He often works with producer Trevor Horn. Palmer has supported artists that include Lucio Battisti (album Una giornata uggiosa, 1980), Pet Shop Boys, Murray Head, Steve Harley, Wishbone Ash (1986 touring), Joan Armatrading, Eric Clapton, Roger Daltrey, Iggy Pop, Scott Walker ( Track Three, 1984), Thomas Anders (1989), Bob Dylan, Tina Turner, Dire Straits (1992 tour), Pete Townshend (19 shows), Eros Ramazzotti (Tutte storie 1993), Alejandro Sanz (Alejandro Sanz 3 1995), (Paola e Chiara (1997), Pino Daniele, Geri Halliwell, Katey Sagal, Chris de Burgh, Bryan Adams, Johnny Hallyday, David Knopfler, George Michael, Ivano Fossati, Renato Zero, Claudio Baglioni, Massimo Di Cataldo, Melanie C, Robbie Williams and David Sylvian.