Who is bryan ferry dating now
A few years ago he asked me to write his tour programme.
After I’d emailed it over, he phoned up and said he’d sent a car for me.
“Exactly, yes, ha ha.” Just shaking off the flu and having sung frequently of late, he has a game, throaty laugh. All these pierced people walking around with devil horns on. From their definitively art-school debut album of 1972, the collision of past and future of which still startles, through the Gatsby sighs of Ferry’s gondolas, glam and goddesses period, then the two-year split, then the return with the likes of (so improbably refined that they shouldn’t exist, can’t exist, but do), Roxy were the ultimate marriage of style and substance: inspiring, influential, intoxicating. Unless you have a top twenty record, Tesco won’t stock you.
More than this, Ferry finessed a solo career, and has since oscillated – but languidly – between covers (or as he prefers, “readymades”) and his own increasingly balmy, textured craft-quirks. And there aren’t any record shops any more, which is slightly worrying. I don’t see promoting a record as a 'sell-out' though, if that’s what you think.” It isn’t. You’ve spent years on this album, as you tend to, almost endlessly polishing tracks and ideas that you’ve kept on file.
If after doing a video for eight hours you aren’t fed up with it, then you must really like it.” The video – the Ferry aesthetic turned up to eleven - was shot in Wiltons Music Hall (“I like old venues that have a bit of history to them”) and the director’s pitch appears to have been, “Wall-to-wall gyrating supermodels, right? Ferry adds how he loves playing the Olympia Music Hall in Paris, (“Where you feel: Piaf has sung here”) and reckons he was one of the first people to play a rock concert at the Royal Albert Hall (“because I had an orchestra, for my first solo gig for 'These Foolish Things', so they let us in...”) He discusses the Kate Moss cover shot, which extends the proud tradition of Roxy/Ferry album sleeves.
“Normally we’d try to choose an unknown as this glamorous icon figure, but this time, why not go for the icon? She has this strength of image, as well as the beauty, to play the Olympia role.
And nowadays there are so many things that require that you talk to them; it’s just endless media. Even in the days when we did Parkinson and so on, I never did the talking bit, I didn’t feel comfortable squirming about. All I knew was there were these flames going in and out of my field of vision. It’s been a lucky project." Do your sons foist new music upon you? And there are no DJs with character like John Peel or people of that nature who play their own choices.
Now I’d probably say yes.” The studied ballroom glamour of was in many ways apropos... It’s all teams of producers, selection committees, formats. They think 'You Can Dance' is 'specialist'...” 'You Can Dance' plays with the list-twist idea of 'Do The Strand'... I’ve been singing it a lot lately, and I can tell I like those lyrics because I’m still enjoying it.
Of course, it would be disappointing if there wasn’t.
We’ve got a good team here in this building at the moment with lots of young people passing through the portals.
How organised the archive is I’m not sure, because I never look at it.
You’ve been getting out and about a fair bit lately, doing plenty of promo and surprising TV appearances. For instance, having three bass players on a track ('You Can Dance'), which people think is a bit mad. Like the great leader James Brown always had two drummers, and when I saw him he had two bassists as well. “Most people can’t be bothered with things like that now...” I once interviewed James Brown in his dressing room before a show and as I left he insisted I take a bowl of bananas as a gesture of his “love and spirit.” I was too polite to decline and so walked to my seat in the crowd, holding the bowl of bananas throughout the concert. By the time I’d sung, it had all gone.” , more unified in mood and atmosphere. An unabashed return to the classic Ferry themes of yearning for impossible romance and idealised beauty and then yearning some more.
In the past you’d have been cagier, guarded your mystique... The longer you spend on a record the more you feel obliged to promote it. I suppose in some ways the older you get, the more interest there is, in case it’s your last. You just go on and do your song, there’s no awkward 'chat', and I love it when you don’t have to do any of that. He supported me, believe it or not, at a gig at the..know..dinosaur. A kind of corporate show for a bank or something, a few years ago. And loving this yearning, wallowing in it, relishing it. A seam he’s profitably mined, usually with exquisite results, since the currents and jetstreams and vapour trails are played by his own stunning band (including Nile Rodgers, bassist Marcus Miller, young guitarist Oliver Thompson and twin drummers Andy Newmark and Ferry’s son Tara), plus a stellar guest list of Brian Eno, Phil Manzanera, Andy Mackay, David Gilmour, Jonny Greenwood, Flea, Mani, Scissor Sisters, Groove Armada... They were very keen it would be strong-sounding, have a certain edge to it. My son Isaac drew in the dance mix people that got involved, because that’s a world I don’t know much about really.” As a perfectionist auteur, it must be agony for you to let someone remix tracks... I tend to go: oh that’s interesting, how funny that they didn’t use this or that line or element that I thought was fundamental. I’ve made my version, and now they can make theirs. I thought they’d play these on the radio, but that’s the only area that’s let us down. I think there’s an ageist thing with radio in England, sadly.
“I’ve got a good Roxy archive forming downstairs now.