Salon des Refusés: Roxy Music

In 1863, the Salon des Refusés was launched to counter the conservative aesthetics enforced by the Academy of Fine Arts in the annual Paris Salon. That year, the “rejects” included such later revered painters as Manet, Courbet, Whistler, Pissarro and Cezanne. Perhaps it is now time to establish a Salon des Refusés for the Rock & Roll Hall of Fame‘s rejects.

The rules of eligibility for induction to the Rock & Roll Hall of Fame include:

Besides demonstrating unquestionable musical excellence and talent, inductees will have had a significant impact on the development, evolution and preservation of rock & roll.

And yet many artists who have had huge impacts on the development and evolution of rock & roll have been snubbed over and over, including: Kraftwerk, Chic, Big Star, Roxy Music, Brian Eno, New York Dolls, T. Rex, Television, The Slits, X-Ray Spex, Sonic Youth, Joy Division.

Roxy Music was a thoroughly British band. Every one of their eight studio albums entered the U.K. top ten, with three of them topping the charts, while only three entered the U.S. top 40, none breaching the top 20. They had numerous top 10 singles in the U.K., beginning with their debut, “Virginia Plain,” . . .

. . . but only one top 40 hit in the U.S., “Love Is the  Drug,” which reached only #30.

Many British bands in the ’60s and ’70s were formed in art schools. However, as Michael Bracewell’s excellent pre-history of the band, Re-Make/Re-Model: Becoming Roxy Music, makes very clear, bandleader Bryan Ferry took his art studies far more seriously than most would-be rockers. He was particularly influenced by the instruction of British pop artist Richard Hamilton at the University of Newcastle.

Richard Hamilton is perhaps best known to the general public for designing the cover of The Beatles, AKA the “White Album.” He and the Independent Group launched British pop art (Hamilton is credited with the first documented use of the term “pop art”) in their section of the This Is Tomorrow exhibition at the Whitechapel Gallery in 1956, when Andy Warhol was still drawing shoes. (Bryan Ferry would later record a solo song titled “This Is Tomorrow.”)

Both U.K. and U.S. pop art reveled in contemporary pop culture and embraced its imagery, but those on opposite sides of “the pond” approached the similar material in very different ways. Early U.S. Pop tended to focus on and blow up individual images: flags and targets (Jasper Johns), single frames from comic books (Roy Lichtenstein and Warhol), consumer goods like Campbell soup cans or Brillo boxes, celebrity and/or tabloid photos (Warhol).

U.K. Pop also appropriated images of (mostly American) comic books and consumer goods, but they were more likely to mash them up in a postmodern pastiche, as in Richard Hamilton’s collage Just what is it that makes today’s homes so different, so appealing?, which made a big impression at This Is Tomorrow . . .

todays-homes

. . . and later, presumably, on Bryan Ferry. Could this living room be the setting of “In Every Dream Home a Heartache” on Roxy Music’s second album, For Your Pleasure?

Of course, there were trans-Atlantic bridges between the two movements, particularly in the person of Mark Lancaster. Hamilton supplied his student with an introduction to Warhol, for whom Lancaster briefly worked as an assistant. He even appeared in a few of Warhol’s films.

Upon his return to the U.K., Lancaster shared his travel photos:

Back in Newcastle I put together a slide show for the school, with all the things I had photographed in New York, and music like that at the Factory, such as Lesley Gore singing “It’s My Party,” and ending with the taxi sequence with “Moon River” playing, because it reminded me, like all of New York in 1964, of Breakfast at Tiffanys. Images from America were still pretty rare, and some of the students, including my friends Stephen Buckley and Bryan Ferry, were impressed and affected by this experience. I remember I was just trying to keep the projector and the record player going and trying not to cry.

The Factory and Warhol’s traveling multi-media show, the Exploding Plastic Inevitable, also provided a platform for Rock and Roll Hall of Fame Inductees The Velvet Underground. In some ways, Roxy Music was to Richard Hamilton as The Velvet Underground was to Andy Warhol. The Velvet Underground had the amphetamine focus of Warhol’s pop art, homing in on a single riff, chord, even note, repeating it endlessly with very little variation. Roxy Music engaged in musical pastiche, juxtaposing bits and pieces from many different musical styles from many different contexts and eras.

This postmodern approach was not just apparent in their music. As Chic‘s Nile Rodgers explains, Roxy Music was a whole package. . . .

. . . integrating music, performance, fashion and art into their overall image.

With few exceptions (Richard Hamilton’s cover of the “White Album” being a rare and notable one), most pop and rock albums of the late ’60s and early ’70s featured the performers on the cover. Roxy Music had different designs. They featured classic pin up style glamour shots by Karl Stoecker, beginning with former Bond girl Kari-Ann Muller on the cover of the band’s debut album:

Bryan Ferry was known to date most of these cover models, even became engaged to Jerry Hall (before losing her to Mick Jagger):

(In his autobiography, Le Freak, Nile Rodgers tells the funny story of Chic also imitating this aspect of Roxy’s overall package, featuring two models on the cover of their debut album, only to end up hiring two female singers for their tours because fans kept asking where the women on the cover were. Their next several album covers featured the band.)

Roxy Music was not just Bryan Ferry, though, as quickly becomes evident when you compare Roxy’s albums to Ferry’s solo albums. Even though the latter feature a few of the same songs and even some of the same musicians (as well as Nile Rodgers, who has played on several of Ferry’s later solo albums), they sound very different from Roxy albums. Roxy Music was very much a collaborative project, with guitarist Phil Manzanera, saxophonist Andy Mackay and drummer Paul Thompson being the other constants in the band.

Perhaps foremost among Ferry’s collaborators in Roxy Music, at least at the beginning, was Brian Eno who played John Cale to Ferry’s Lou Reed. Eno, who studied cybernetics with pioneering interactive artist Roy Ascott, often described himself as a non-musician. He did not play an instrument, but fiddled with a mixing deck through which he live processed all of the other instruments. He initially manipulated the music out of view, but he eventually joined the rest of the band onstage with his electronics, and his flamboyant fashion sense:

Following John Cale’s model, Eno left the band after two albums, though Eno’s departure seems to have been far more amicable than when Reed kicked Cale out of the Velvet Underground. And don’t cry for Eno, who pursued a very successful career as a solo artist, often collaborating with various former bandmates, as well as John Cale and David Bowie, and especially as a producer of such bands as Talking Heads and U2.

Roxy’s next album, Stranded, proved that it was as overly simplistic to view Eno as wholly responsible for Roxy’s experimental side as it was to believe the same of John Cale in The Velvet Underground.

However, with the next two albums, Country Life and Siren, the band’s sound became more integrated. There was now one distinct Roxy Music style instead of a pastiche of many styles. That should not be taken as a criticism, though, as it was quite a distinctive style they settled on. It even earned them their one U.S. hit, “Love Is the Drug”:

Many even claim Siren is their best album, though I am partial to For Your Pleasure.

And then Roxy Music was done . . . at least for a while. Although Ferry had already released several solo albums, In Your Mind was his first to feature all original songs (the earlier albums were dominated by quirky covers, including some of Roxy songs). The other members also released solo albums, as well as collaborating with Eno in the band 801.

Roxy Music reformed in 1979, . . .

. . . just in time to usher in the era of the New Romantics, who were so influenced by the band’s original incarnation, both their music and their fashion sense.

Roxy’s influence is obvious in bands such as Ultravox, . . .

. . . The Human League, . . .

. . . ABC, . . .

. . . even in bigger bands like Duran Duran and Depeche Mode.

To Roxy, though, it must have felt like the same old scene . . .

. . . and they packed it in with their next studio album, Avalon.

It was a glorious, but ultimately nostalgic, valedictory. No longer postmodern deconstruction, but nostalgic revival.

Even notorious curmudgeon John Lydon (AKA Johnny Rotten) has nice things to say about Roxy:

Roxy Music surely deserves to be inducted into the Rock & Roll Hall of Fame, both for their “unquestionable musical excellence” and their “significant impact on the development, evolution and preservation of rock & roll.”

Metal Machine Music for Airports

Lou Reed’s Metal Machine Music is one of the loudest albums ever released, just over an hour of electronic feedback.

Brian Eno’s Ambient 1: Music for Airports is one of the quietest albums ever released, just over three-quarters of an hour of electronic music meant to fade into the background.*

While one affronts, the other relaxes, but both employed the electronic manipulation of sound to fill their environments.

I never would have imagined the two could work so well together to fill the same environment:

* In their hilarious comic strip satire of the history of rock and roll, Great Pop Things, Colin B. Morton and Chuck Death describe Brian Emo’s invention as “Ambivalent Music, which you can’t quite tell if you are listening to or not.”

ps — Thanks to DJ Food (who credits WFMU’s twitter feed for his finding it). This is just one of many, many great things his blog has introduced me to.

“Everyone who bought one . . . started a band!”

Brian Eno famously said:

I was talking to Lou Reed the other day and he said that the first Velvet Underground record sold 30,000 copies in the first five years. . . . I think everyone who bought one of those 30,000 copies started a band!”

While some have cast doubt on those sale figures, it is almost impossible to overestimate the influence the Velvet Underground has had over the years.  There are few alternative rock bands who have not been influenced by the Velvets, along with many bands in other genres.

For this last post in my week of sitting shiva for Lou Reed, here are just a few songs from behind the Velvet rope.

With its “he’s gone, he’s gone” refrain, this remix of the title track of Dean Wareham‘s new solo album (his first in a long music career), Emancipated Hearts, makes a fitting eulogy to Reed (though it was released before his death):

Wareham has written his own moving tribute to Reed, as is fitting since all of his bands have excavated the Velvet Underground.  Galaxie 500 seemed intent on turning the VU’s third album (the quiet one) into a multi-disc set.  Luna opened for the Velvet Underground’s 1993 European reunion tour.  Wareham and his wife, Dean and Britta, scored the recent DVD of 13 “Screen Tests,” short films of various visitors to Andy Warhol’s Factory staring into the camera.  The soundtrack included their cover of the never (officially) released Velvets’ song “Not a Young Man Anymore.”  A live version by the VU themselves will be included in the upcoming “45th Anniversary Super Deluxe Edition” of their second album, White Light/White Heat).

Many have noted that LCD Soundsystem’s “Drunk Girls” owes quite a bit to “White Light/White Heat”:

Wooden Shjips’ retake, released as the B-side to LCD’s own version on a UK-only single, makes the connection unmistakable:

Finally, Lissy Trullie‘s “Madeleine” captures the comedown after all tomorrow’s parties are over: