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Bryan Ferry at the Albert Hall, 1974

Bryan Ferry Albert Hall

My most powerful memory of Bryan Ferry’s debut as a solo artist at the Albert Hall, four and a half decades ago, is of a blonde woman sitting just along the row from me in the ringside seats. She was in her early thirties, I’d guess, tanned and expensively dressed and coiffed; she’d arrived by herself, carrying a bouquet of flowers. After each song, she rose to her feet and shouted “Bravo!” several times, as if we were at the Royal Opera House. I think she might have been German, possibly Austrian or Swiss. At the end of the encore she reached under her seat to retrieve the bouquet, which she hurled towards the stage. It seemed a clear sign that Ferry had made a decisive move away from the college and club circuit on which Roxy Music had made their reputation, and had acquired a new audience in the process.

Now a recording of one of the concerts Ferry gave over three consecutive nights at the Albert Hall in December 1974 has finally been released, and it fully captures the sense of occasion. Barely two years after Roxy’s debut album had made them the object of mingled wonder and scorn, their singer now had two solo albums behind him and was confident enough to present himself alone in the spotlight in the country’s most famous concert hall.

Musically, it was a lavish production: John Porter and Phil Manzanera on guitars, Eddie Jobson on piano and violin, John Wetton on bass, Paul Thompson on drums, plus three female backing singers (one of them Vicki Brown, formerly of the Vernons Girls and the Breakaways), and a large orchestra, conducted by Martyn Ford, including Chris Mercer and Ronnie Ross on saxophones, Martin Drover on trumpet and Malcolm Griffiths on trombone. It sounded big at the time, and I’d guess not much 21st-century post-production was needed to make it sound impressive today.

The repertoire is mostly drawn from those two solo albums, from the arch teenage pop of the Paris Sisters’ “I Love How You Love Me” and Lesley Gore’s “It’s My Party” via the howling rock and roll of “Sympathy for the Devil”, “(You’re So Square) Baby I Don’t Care” and “A Hard Rain’s a-Gonna Fall” to the grown-up cocktail-hour balladry of “Smoke Gets in Your Eyes” and “These Foolish Things”. There are a couple of originals: “Another Time, Another Place” and “A Really Good Time”.

For me, the biggest successes are Ferry’s daring covers of two of my all-time favourite records: the Beach Boys’ “Don’t Worry Baby” and the Miracles’ “The Tracks of My Tears”. You tamper with the masterpieces of Brian Wilson and Smokey Robinson (and their co-writers) at your peril, but Ferry treated them with affection, respect and imagination. I remember being in AIR Studios on Oxford Street during the sessions for These Foolish Things — the first solo album — and listening to a playback of “Don’t Worry Baby”, during which I was particularly struck by the guitar solo, played by Porter. Ah yes, Ferry said — he’d told his old Newcastle University friend to start the solo at the bottom of the lowest string and finish, eight bars later, at the top of the highest. It was a perfect example of the application of art-school thinking to pop music. The Miracles song is rendered beautifully, with one minor niggle: I wish he’d sung “You’re the permanent one” — the way Smokey did — rather than “You’re the only one”, as subsequent interpreters (including Gladys Knight) have done.

Maybe the most successful piece of all is “The ‘In’ Crowd”, a Top 20 hit for Ferry earlier in 1974, in which he gives Dobie Gray’s Mod-era anthem a thorough update: those implacable opening electric-piano chords, the screeching, chopping guitars of Porter and Manzanera, the double-beating thunder of Wetton and Thompson, and a vocal speaking directly to party people from Bigg Market to Saint-Tropez. As the song ends and the applause erupts, I’m almost sure I can detect a German-accented shout of “Bravo!”

* The photograph of Bryan Ferry, © Michael Putland, is from the jacket of Live at the Royal Albert Hall 1974, released by BMG.

11 Comments Post a comment
  1. Great stuff. One of those gigs my 17-year-old self would have loved to have gone to.
    You’ve just sold the CD to me, Richard 🙂

    February 8, 2020
  2. The Teddy Bears’ I Love How You Love Me? Wasn’t it The Paris Sisters?

    February 8, 2020
    • Aargh. And I only wrote a book about bloody Phil Spector! Will correct when back at laptop.

      February 8, 2020
  3. Jonny Ripman #

    Wonderful Richard, now how about a piece on ” Drift Away ” Dobie Gray , whose epic album I purchased on your MM recommendation??

    February 8, 2020
  4. Richard Harris #

    “Ah yes, Ferry said — he’d told his old Newcastle University friend to start the solo at the bottom of the lowest string and finish, eight bars later, at the top of the highest. It was a perfect example of the application of art-school thinking to pop music.”

    Oh C’mon!

    February 8, 2020
  5. I think, early on, Roxy Music were one of the 1970s’ most interesting bands, producing some seriously inspired stuff between ‘Roxy Music’ and ‘Country Life’ (and including among those the great ‘Viva’ live album). But I fear it all went south once Ferry started to believe in his own image and publicity; the solo career, with that pesky Eno gone and the other chaps conveniently sidelined, seemed to mark the beginning of the end. From there RM/Ferry were all aboard the good ship Bland and adrift in the Avalon doldrums. IMHO, of course.

    February 8, 2020
    • Stephen Bamber #

      They evolved and became even more successful. Avalon is beautiful, For Your Pleasure is amazing.

      February 8, 2020
  6. Paul Crowe #

    Well said, Richard.

    February 8, 2020
  7. Anne #

    Looking forward to seeing him at the RAH (again) in March. At this point I buy a ticket for every tour, on the basis that we’re all knocking on a bit, so who knows when the curtain will come down for the last time (!). He always gathers excellent musicians around himself (still a joy to see/hear Chris Spedding) and puts on a top class show, including the hits you’d expect and plenty of early Roxy. Kicked off last year’s gig with ‘In Every Dream Home a Heartache’. Mesmerising. Will be interesting to hear how he sounded in ’74.

    February 9, 2020
  8. andrew pring #

    From where did such a diffident, working class, County Durham boy get the confidence to book the Albert Hall for three consecutive nights when he’d only produced his first album a couple of years earlier? Astonishing bravado

    February 10, 2020
  9. I’d forgotten that Ferry recorded ‘Don’t Worry Baby’, one of my favourites too. Just ordered it on the strength of your review.

    February 12, 2020

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