Original subtitles

Couldn't sleep a wink last night

Oh, how I'd love to hold you tight

They say you have a secret life

Made sacrifice your key to paradise

Take a sweet girl just like you

How nice if only we could bill and coo...

I couldn't go wrong with anything

Bryan Ferry's ever done, or the Roxy.

The whole Roxy thing is just really cool.

It was really an enormous influence on Heaven 17's music.

I remember on the inside of the first album cover it said,

"Hair colour: blue-black."

There are few bands that can cross a period of decades,

always be innovative and always be ahead of the curve.

And yeah, Roxy Music are one of them.

People still name check them now.

People go back and listen to the albums now.

They oddly don't sound dated.

They are such an amalgam of past, present and future.

Virginia Plain, their first single,

wasn't even on their first album, which is quite interesting.

When it was played on the radio, when it was on TV,

it was just, I think, mind-blowing

and made everybody sit up and think, who is this band?

Make me a deal and make it straight

All signed and sealed

I'll take it

To Robert E Lee I'll show it

I hope and pray he don't blow it cos

We've been around a long time

Just try to try

Trying to make the big time

Take me on a roller-coaster

Take me for an airplane ride

Take me for a six day wonder but don't you

Don't you throw my pride aside besides

What's real and make believe

Baby Jane's in Acapulco

We are flying down to Rio...

There's something I really like about this.

He's almost not singing in tune.

It sounds at odds with the melody underneath.

And that sounds incredibly modern.

There's something about that sounds really punky as well, before its time.

Throw me a line, I'm sinking fast

Clutching at straws

Can't make it

Havana sound, we're trying

A hard edge, the hipster jiving

Last picture shows down the drive-in

You're so sheer

You're so chic

Teenage rebel of the week

Flavours of the mountain streamline

Midnight blue casino floors

Dance the cha-cha through till sunrise

Opens up exclusive doors...

I've become slightly entranced

by the whole thing of seeing what everyone's wearing.

You can see the glitter eyeshadow.

It's amazing to see rock stars dressed like that.

Roxy and Bowie actually both pioneered

the glam rock look and the sound.

They invented it.

It didn't exist before them

and they were real forerunners in a whole movement there.

I remember it so well.

I remember especially a friend of mine called Nick Dawson,

he would dress completely camply and we'd go to nightclubs

and he would just wait for that one moment when this came on.

What's her name? Virginia Plain.

Far beyond the pale horizon

Some place near the desert strand

Where my Studebaker takes me

That's where I'll make my stand

Can't you see that Holzer mane?

What's her name? Virginia Plain.

Because of the age I was as well, you know,

I'm, like, ten, nine, ten... Yeah, yeah.

And when I first saw Bryan Ferry on Top Of The Pops

it was like, we're all watching Top Of The Pops

and he looked like my mam, Bryan Ferry.

He had the same haircut and he just looked like my mam.

But with us it was, again, that Roxy, Bowie sort of thing. Yeah.

Roxy were amazing.

They were the future.

Yeah. Getting glam. Yeah. So glam.

The record sounded great.

To me it was just one up on glam.

Do you know I mean? Yeah, it was. It was beyond glam.

On Ladytron you get the...

You really see the beginnings of Eno's genius, don't you?

Yeah, yeah, yeah. You can kind of hear a foreshadowing

of Here Come The Warm Jets, Music For Airports and all of that.

It's very soundscapey, isn't it? Definitely.

You've got me, girl, on the run around, run around

You've got me all around town

You've got me, girl, on the run around

And it's getting me down Getting me down

Lady, if you want to find a lover

Then you look no further

For I'm going to be your only

Searching

At the start of the season

And my only reason

Is that I'll get to you...

The early band, almost as if it's a mini war going on between them,

there are so many disparate elements

and they're all jostling for attention.

You've got Andy Mackay on oboe, and how often do you hear an oboe

in a rock record? Especially a glam rock record.

And you've got Brian Eno making the squiggly sounds with the synths

and then the drumming is very solid, very traditional in that way,

and somehow it works, but I think the tensions in the band,

the things almost shattering it, are keeping it together.

I'll find some

Way of connection

Hiding my intention

Then I'll move up close to you

I'll use you

And I'll confuse you

And then I'll lose you

Still you won't suspect me...

It's amazing to think that Virginia Plain and Ladytron

were of the same moment.

They're so different.

Of course, there's still the huge inspiration and the glam rock look,

Ferry's got a completely different image.

His hair's grown, he's a little bit more...

I mean, it's much more out there as a song.

But what's interesting is the different textures

of everyone in the band. They have their own little image.

What makes it so special is how everybody complements each other.

Ladytron by Roxy Music

Listen to all this stuff. Come on. It's fantastic.

I loved the fly glasses. Whoever sourced them... Such a look.

A stylist would.

Really.

And, of course, Eno, you know, he's solely responsible for me

wanting to buy a synth.

Wow. I wasn't bothered about buying a synth to play tunes on,

I just wanted one that had a joystick. OK.

It looked so cool with the Lurex gloves. Mm-hm.

This is like this amazing, mad-scientist alien.

Yeah, yeah.

Ladytron by Roxy Music

Eno was kind of the futuristic bit, really.

What Eno's... What is Eno doing?

Look, look. What's that?! What's that he's doing there?

Some of the tracks on the Roxy Music album

are meant to sound like space landscapes.

Bryan Ferry would ask Brian Eno,

"I want you to create something that sounds like the surface of Mars."

They would be very interested in those sorts of concepts,

of sight, sound, taste and touch all fusing together.

And they also say they were surprised that they sold records.

They thought they were going to be really niche,

and suddenly the popularity comes and they embrace it.

Ladytron by Roxy Music

I think the reason that I loved Roxy Music

was the glamness of it all, because

Sheffield was in fact quite a dour place at the time.

The steelworks were on the edge of, you know, working and not working,

but the people of Sheffield loved to dress up Friday and Saturday night

and Roxy Music kind of took that to the next level.

You know, that kind of dressing up and craziness,

which was almost unattainable but just about attainable enough,

if you were willing to wear some ladies' clothes,

which we were at that time.

I remember meeting Martyn Ware one day.

We were going to see a band at the Student Union in Sheffield

and Martyn lived on the flats,

a slightly dodgy area that you might not like,

and I'd gone up to meet him and he came out of the house

and he was wearing white trousers and girls' silver platform boots

and a Fun Fair green jacket,

completely luminous, kind of, frog, Kermit, green jacket.

And I'm like, "Whoa! And we're going on the bus like that?"

And he's like, "Yep, we're going on the bus."

But that's what Roxy Music did to us.

It gave us that little...

..that little push to push a little further

and that outlet to be excited with fashion and with music.

I do think Do The Strand. Do The Strand!

"There's a new sensation."

There's a new sensation

A fabulous creation

A danceable solution

To teenage revolution

Do the Strand, love

When you feel love

It's the new way

And that's why we say

Do the Strand

Do it on the tables

Quaglino's place or Mabel's

Slow and gentle

Sentimental

All styles served here

Louis Seize, he prefer

Laissez faire Le Strand

Tired of the tango

Fed up with fandango

Dance on moonbeams

Slide on rainbows

In furs or blue jeans

You know what I mean

Do the Strand

Oooh...

When we were going to nightclubs in Sheffield at that point, like,

we thought we were so glamorous because we liked Roxy Music,

and really we were just young kids with no money,

drinking watered-down beer for 10p a pint, you know,

but just for that brief moment of glamour, you know,

like Pyjamarama and Do The Strand, we would do all the moves,

throwing shapes and, you know...

We didn't know what any of it meant,

but it was like an abstract set of wordscape.

It was this really theatrical...

It was this sort of weird anomaly and amalgamation

of a whole bunch of different sounds, wasn't it?

They can have a bit of funk when they want to.

They're quite danceable and there's something about the glam, punk,

but also they can soul it up a bit, they can noodle.

Do The Strand by Roxy Music

Had your fill of quadrilles

The Madison and cheap thrills

Bored with the Beguine

The samba isn't your scene

They're playing our tune

By the pale moon

We're incognito

Down the Lido

And we like the Strand

Arabs at oases

Eskimos and Chinese

If you feel blue

Look through Who's Who

See La Goulue

And Nijinsky

Do the Strandsky

Weary of the waltz

And mashed potato schmaltz

Rhododendron

Is a nice flower

Evergreen

It lasts forever

But it can't beat Strand power

The Sphynx and Mona Lisa

Lolita and Guernica

Did the Strand.

In Every Dream Home A Heartache. Oh, gosh, yeah.

This one is, like, amazing.

This is like a dystopian sci-fi novel.

And a lot darker, isn't it? It's a lot darker.

And I think that's why they've toned the look down.

And he's got a guitar now.

And every step I take

Takes me further from heaven

Is there a heaven?

I'd like to think so

Standards of living

They're rising daily

But home, oh, sweet home

It's only a saying

From bell push to faucet

In smart town apartment

The cottage is pretty

The main house a palace

Penthouse perfection

But what goes on?

What to do there?

Better pray...

I love this tune.

I love his hair there as well. I know!

It's very... It's kind of '60s or '50s greaser.

Yeah.

And that jacket. It's so great.

So, this is off the second album, For Your Pleasure.

And apparently this song is a love story to a blow-up doll,

but also about the emptiness of modern life.

I bought you mail order

My plain wrapper baby

Your skin is like vinyl

The perfect companion

You float in my new pool

Deluxe and delightful

Inflatable doll

My role is to serve you

Disposable darling

Can't throw you away now

Immortal and life size

My breath is inside you

I'll dress you up daily

And keep you till death sighs

Inflatable doll

Lover ungrateful

I blew up your body

But you blew my mind

Oh, those heartaches

Oh, those heartaches

Dream home heartaches

Oh, those heartaches

Dream home heartaches

Oh, those heartaches

Dream home heartaches...

Look, he's got a bigger keyboard now.

Oh, those heartaches...

Look at that. That's amazing.

And it was great that you could do Virginia Plain

and you could do stuff...

..like this, which was...

..very different. Very different to what anybody else was doing.

In Every Dream Home a Heartache by Roxy Music

There's a lot of characters in Roxy Music.

It was obviously going to come to a point, which was a shame

it came so soon after the second album, that there was just

too many personalities, and Brian Eno left the band.

I think the two Brians going their separate ways

because of the clashes of their personality

was quite difficult for a lot of the other band members.

I think they were really split with their loyalty.

I think Phil Manzanera secretly had to record both albums

he was recording - Stranded in the day,

and Brian Eno's album at night, and they both didn't know.

So, there are official reports of why Brian Eno left the band

and there seems to be... Everybody's got a different angle, I've heard.

Apparently they're still friends though, now, the Brians,

and do sometimes collaborate.

On the third album, which was the first album without Brian Eno,

there was a fantastic track called Street Life.

Wish everybody would leave me alone, yeah

They're always calling on my telephone

When I pick it up there's no-one there

So I walk outside just to take the air

Come on with me cruising down the street

Who knows what you'll see, who you might meet

This brave new world's not like yesterday

It can take you higher than the Milky Way

Now I'm blinded I can't really see, yeah

No more bright lights confusing me, no

Don't ask me why I'm feeling blue

Cos loving you

Is all I can do... #

So, this album, without Brian Eno, went to Number 1 in the UK charts,

and Street Life gave them their first Top 5 hit as well.

Hey, good-looking boys, gather around

The sidewalk papers gutter-press you down

All those lies can be so unkind

They can make you feel like you're losing your mind

Street life

Street life...

I think... It seems to me that Bryan Ferry just wanted to stand out

and if he couldn't stand out wearing, erm, sequins any more,

he had to do the opposite, and it's quite ironic that

he stood out by just putting on a suit.

And he's a young man, and young men didn't really wear suits then,

especially white suits with a bow tie,

but again, it's simple, but very glamorous and very sexy,

so it's creating a whole new image.

Street Life by Roxy Music

Back to nature boys, Vassar girls too

Watch what you say, or think, or do

Continental-style strasse girls might

But you know exactly if it's wrong or right

Education is an important key, yes

But the good life's never won by degrees, no

Pointless passing through Harvard or Yale

Only window shopping It's strictly no sale

Weekend starts Friday soon after eight

Your jet black magic helps you celebrate

You may be stranded if you stick around

And that's really something.

So what happened to Roxy is that they went slightly out

of the glam thing and into this classic rock.

Some of the songs are quite traditional in that sense,

when we get the third album and then onwards.

People seemed to be contributing a little bit more,

but they were stronger without Brian Eno at that point.

I think they would have exploded if he ever decided to stay in the band.

So after the third album, when they were at the height of their success,

Bryan Ferry decided to make a solo album,

which was a series of covers.

One of the first singles I ever went out and bought on my Jacksies

was Bryan Ferry, Hard Rain.

Oh, where have you been, my blue-eyed son?

Where have you been, my darling young one?

I've stumbled on the side of 12 misty mountains

Walked and I've crawled on six crooked highways

Stepped in the middle of seven sad forests

Been out in front of a dozen dead oceans

I've been 10,000 miles in a mouth of a graveyard

It's a hard Hard

And it's a hard Hard

And it's a hard Hard

And it's a hard Hard

And it's a hard rain's a-gonna fall

Fall

And what did you hear, my blue-eyed son?

What did you hear, my darling young one?

I heard the sound of thunder that roared out a warning

Heard the roar of a wave that could drown the whole world

Heard 100 drummers whose hands were a blazing

Heard 10,000 whispering and nobody listening

Heard one person starve, many people laughing

Heard the song of a poet who died in the gutter

Heard the sound of a clown who cried in the alley

And it's a hard Hard

And it's a hard Hard

And it's a hard, hard, hard Hard, hard

And it's a hard rain's a-gonna fall

Fall

Oh, what'll you do now, my blue-eyed son...

What it feels like, it's just great, really,

when you've got such a defined sound as a band,

that you can cover something in your style.

I think it's really cool, because it ultimately shows

a lot of respect, that you don't try and, you know,

match any of the instrumentation or the stylistic approach,

you just do your thing but on an amazing song,

so, yeah, this is such a great version.

Home in the valley meets the damp, dirty prison

Where the executioner's face is always well hidden

Where hunger is ugly, where souls are forgotten

Where black is the colour and none is the number

And I'll tell it and think it and speak it and breathe it

And reflect it from the mountains so all souls can see it

Then I'll stand in the ocean until I start sinking

But I'll know my song well before I start singing

And it's a hard Hard

t's a hard Hard

And it's a ha-ha-ha-ha-hard Hard, hard

And it's a hard rain's a-gonna fall

Fall

And it's a hard Hard

And it's a hard Hard

And it's so hard, so, so hard Hard, hard

And it's a hard rain's a-gonna fall.

The solo albums kept coming,

and Bryan Ferry kept going back to these covers,

and he would cover songs by artists that were his heroes.

They asked me how I knew

My true love was true

Oo-oo-oh

I of course replied

"Something here inside

"Cannot be denied"

They said someday you'll find

All who love are blind

Oo-oo-oh

When your heart's on fire

You must realise

Smoke gets in your eyes...

This is tongue-in-cheek, I'm assuming.

It's quite, like, kind of arch and knowing, I feel,

sending up that type of, um, lounge cabaret,

slightly cheesy music, kind of Copacabana vibes.

Yet today, my love has flown away

I am without my love...

It was harking back to '50s crooners.

It was harking back to '40s film stars.

Bryan Ferry, in his heart, is Humphrey Bogart, I think.

That's what he'd studied at art school

and that's what he wanted to go with.

He wanted that crooner idol thing.

Now laughing friends deride

Tears I cannot hide

Oo-ooh

So I smile and say

"When a lovely flame dies

"Smoke gets in your eyes."

My entry point to Roxy Music was...

..was the big record collection that my uncle left in our basement

when I was ten years old as he went off travelling.

And, yeah, so I think I found Siren in there somewhere,

flicking through them.

That was the first one I heard.

Love Is The Drug. Just look.

That's the essence of cool right there.

There was a club called the Crazy Daisy in Sheffield,

and they would play an interesting mix of music,

but this was the anthem.

And it was a really weird club.

It had a kind of low roof, and because I'm quite tall,

I could only dance in one place on the dance floor,

because if I moved to the left or right, I would cut my head.

And in fact, that was where

Phil Oakey met the two girls from The Human League.

And they were dancing exactly like that.

They were the kind of Roxy girls.

T'ain't no big thing

To wait for the bell to ring

T'ain't no big thing

The toll of the bell

Aggravated, spare for days

I troll downtown, the red light place

Jump up, bubble up, what's in store?

Love is the drug and I need to score

Showing out, showing out, hit and run

Boy meets girl where the beat goes on

Stitched up tight, can't shake free

Love is the drug, got a hook on me

Oh, oh, catch that buzz

Love is the drug I'm thinking of

Oh, oh, can't you see?

Love is the drug for me

Oh...

This is the song where apparently,

everything was recorded apart from the vocals.

So the band didn't even know what it was about

until Bryan Ferry came in with his lyrics and sang over the top.

And I think increasingly,

he would sing over the top of the backing track,

which is interesting in that they weren't jamming or doing anything.

They weren't fusing it, it was quite separate.

And this, again, is a song that doesn't have a standout chorus,

it's part of the verse.

Lumber up, limbo down

The locked embrace, the stumble round...

Why did he wear that patch?

I mean, there was one rumour that he was hit by a tennis ball.

But he's done quite an un-slick patch, because you've got the patch

and then you've got cotton wool hanging out,

which is not as glamorous,

but then I guess you've got the safari suit

and the moustache to go with it, so it makes up for it.

This is Let's Stick Together,

and I can't believe Bryan's really playing that mouth organ.

Again, it's sometimes difficult

to tell a Bryan Ferry solo from Roxy Music,

because they have a very similar musical aesthetic

from that '76 period onwards.

And now the marriage vow is very sacred

The man has put us together now

You ought to make it stick together

Come on, come on, let's stick together

You know, we made a vow not to leave one another, never

But now you never miss your water till your well runs dry

Come on now, baby, give our love a try

Let's stick together

Come on, come on, let's stick together

You know, we made a vow not to leave one another, never...

This actually is a cover of a 1962 soul classic,

but what I like about this song

and I like about a lot of Bryan Ferry songs

is the fact that the lyrics are so honest.

You feel his pain. He's really good at conveying emotion.

"We made a vow not to leave one another."

I mean, could we not all say that, you know?

"You made a vow! Stick to it. Let's stick together".

Well, if you're stuck for a while, consider our child

How can it be happy without its ma and pa?

Let's stick together

Come on, come on, let's stick together

You know we made a vow not to leave one...

And there she is.

There's Jerry Hall.

That's unbelievable, isn't it? How cool is this video?

Yep.

I mean, he's always had...

..quite attractive females around him, hasn't he, Bryan?

Which is not surprising, because he's a very good looking guy.

I'm not sure about the moustache, there, Bryan,

but it's almost working.

And also, if I'm to be brutally honest,

his dancing always left a little something to be desired.

But other than that, he styles it out very well indeed.

# You know, we made a vow not to leave one another, never.

Bryan Ferry loved his covers, but also,

he liked to be inspired by different things,

and this song is original music of his

and it was inspired by his former art teacher.

He looks kind of a little bit Miami Vice or something, with the shades.

It's very laid-back, isn't it?

He's just always cool.

Layin' in my hotel bedroom, feelin' ceilin' blues

Wall to wall a TV's twitchin', clearly not a muse

Then flashin' through the interference beams a thousand tunes

This is tomorrow callin', what have I to lose?

I'm not sure why Bryan Ferry goes off and he does the solo career.

It may be that he just felt he needed to strike out

and be 100% Bryan Ferry

rather than 95% Bryan Ferry and a bit of Roxy Music in the background.

But again, it's his vision.

You can see how fastidious he was.

The cover art was important with Roxy Music,

and he continues that theme.

You could easily mistake a Bryan Ferry later record

for a Roxy Music record.

They're not musically that different when we get to that late '70s.

When steamin' through on cue I hear that wailin' whistle blow

If this is tomorrow callin', oh, what a way to go

Day to day you live old-fashioned, hi-toned, fancy free

A double take, an image-spittin', tailored to a T

While history is tellin' you the same old thing

This is tomorrow callin', let's stick a new oar in

This is tomorrow callin' y'all and come on in

Oooh.

The whole of Glasgow liked commercial Roxy Music.

The Roxy Music we were talking about in the beginning was, like,

you know, really out there, like In Every Dream Home A Heartache

and stuff like that, and Ladytron.

Those were weird, out there records.

But by the time they got to Dance Away,

the whole of Glasgow

and probably the whole of Manchester liked Roxy Music. Mmm.

Yesterday

Well, it seemed so cool

When I walked you home, kissed goodnight

I said, "It's love," you said, "All right"

It's funny how

I could never cry

Until tonight and you pass by

Hand in hand with another guy

You're dressed to kill and guess who's dying?

Dance away the heartache

Dance away the tears

Dance away the heartache

Dance away the fear...

I mean, this song is definitely slicker and more sophisticated.

He had such a sort of way about him, just the way he carried himself,

the voice, even the slightly kind of over-affected performance.

Turned to stone

All together, all alone

All at once

My whole world had changed

Now I'm in the dark, off the wall

Let the strobe light up them all

I close my eyes and dance till dawn

Dance away the heartache

Dance away the tears

Dance away the heartache

Dance away the fear

Dance away

Dance away

Dance away

Now I know

I must walk the line

Until I find an open door

Off the street, onto the floor

There was I

Many times a fool

I hope and pray, but not too much

Out of reach is out of touch

All the way is far enough

Dance away the heartache

Dance away the tears...

There isn't one member, apart from Phil Manzanera, of Roxy Music

that wasn't brought up in a working-class household.

So, something about this playing with the idea of aspiration

and elevation and another world

is very close to them, and they lived it.

And, you know, they did go on and marry supermodels

and have incredibly posh children.

So they did it in some form.

They really understood that

and it was what Bowie understood and what pop music can do.

Oh, angel eyes

Am I deceived or did you sigh?

For all I know, you let your love light

Shine on me

Oh, angel eyes

You never close, who's got the time?

Well, I can wait until your love light

Shine on me...

Roxy, sounding slicker, late '70s, '80s,

is a progression of just the form,

is getting more and more polished, like a pebble,

and becomes something without edge, which happens to most bands, really.

It's very hard to get that edge back.

Maybe it's that natural inclination

to smooth everything over. Production values go up.

Oh, angel eyes

On the wing and open wide

No matter now how high the moon

Shine down on me...

He could be really tender, you know.

I love the way he was really kind of tender with his vocal,

as well as kind of theatrical and slightly, you know,

absurd and surreal at times.

Some expression in your eyes

Overtook me by surprise

Where was I, how was I to know?

Oh-oh

How can we drive to a movie show

When the music is here in my car?

There's a band playing on the radio

With a rhythm of rhyming guitars

They're playing Oh Yeah on the radio, oh...

It's so interesting how you see, like,

some bands kind of start off subtle and get more and more crazy,

and he's gone the other way.

It's so easy to become a cliche of yourself

when everyone else is emulating you.

Songwriting was his ultimate talent,

and his ballads and the way he could hook you in.

It's some time since we said goodbye

And now we lead our separate lives

But where am I, where can I go?

Oh-oh

Driving alone to a movie show

So I turn to the sounds in my car

There's a band playing on the radio

With a rhythm of rhyming guitars

There's a band playing on the radio

And it's drowning the sound of my tears

They're playing Oh Yeah on the radio

Oh-oh-oh

Oh-oh-oh...

I think it always is inspiring when you're a big fan of an artist

or a band and you realise where they've come from

or what they've gone through

or the changes that have happened around them.

And I think for me, it just shows freedom of expression.

It goes back to that art school kind of beginning

where you're not closed off to anything.

Now the party's over

I'm so tired

Then I see you coming

Out of nowhere

Much communication in a motion

Without conversation or a notion

Avalon

Ooh

When the samba takes you

Out of nowhere

And the background's fading

Out of focus

Yes, the picture's changing

Every moment

And your destination

You don't know it

Avalon

Ooh, ooh

Dancing, dancing

Dancing, dancing

When you bossa nova

There's no holding

Would you have me dancing

Out of nowhere?

Avalon...

Again, just a brilliant, fantastic tune, so effortlessly cool.

No matter what happens with the band with Roxy,

because the members seem to change almost weekly,

you know, they were in, they were out.

But the music always hit the same level. Didn't ever falter.

Avalon

Ooh, ooh...

And of course, there's that kind of iconic vocal at the end,

which, as far as I'm aware, happened quite by happenstance

when Bryan Ferry was in a recording studio in New York

and heard this kind of celestial voice from the next booth

or from a booth that was close by, and went in to investigate

and found, I think, a pretty...

..I don't know that she was a very well known Haitian singer,

and just asked her if she would do a guest vocal on the track.

It was recorded in one take and it made it onto this huge hit.

Avalon

Ooh

Avalon...

To me, it seems like it was all-conquering.

I feel like when I was very little, it was everywhere.

And, yeah, to me, this is Roxy Music.

This is my association and memory of them.

I could feel at the time

There was no way of knowing

Fallen leaves in the night

Who can say where they're blowing?

As free as the wind

And hopefully learning

Why the sea on the tide

Has no way of turning

More than this

You know there's nothing

More than this

Tell me one thing

More than this

Ooh, there's nothing

It was fun for a while

There was no way of knowing

Like a dream in the night

Who can say where we're going?

No care in the world

Maybe I'm learning

Why the sea on the tide

Has no way of turning

More than this

You know there's nothing

More than this...

This actually seems less ironic to me

than some of the earlier kind of playing with,

um, that kind of,

I guess, kind of cabaret-type singer look.

This actually seems more genuine. Like, this is what they are.

More than this

Nothing

More than this

More than this...

I think they're enormously influential,

and I don't think that will stop.

There is something about that concoction.

They are a concoction and a confection

that people really adhere to.

And musically, they're so interesting

that musicians will be listening to them in ten years' time.

Roxy Music will have an everlasting legacy for me.

Yes, they had style, but more importantly, they had substance,

and I think they will live on for ever and ever.

I'm in with the in crowd

I go where the in crowd goes

I'm in with the in crowd

And I know what the in crowd knows

How to have fun

Any time of the year, don't you hear?

How to have fun

Dressin' fine, makin' time

We breeze up and down the street

We get respect from the people we meet

They make way, day or night

They know the in crowd is out of sight

I'm in with the in crowd

I know every latest dance

When you're in with the in crowd

It's easy to find romance

And we work out

At a spot where the beat's really hot

And we work out

If it's square, we ain't there

We make every minute count

Our share is always the biggest amount

Other guys imitate us

But the original's still the greatest

We got our own way of walkin'

We got our own way of talkin'

Gotta have fun

Any time of the year, don't you hear?

Gotta have fun

Spendin' cash, talkin' trash

Girl, I'll show you a real good time

Come on with me and leave your troubles behind

I don't care where you've been

You ain't been nowhere till you been in

With the in crowd

With the in crowd.