Robyn Hitchcock and Emma Swift: "Sweet Home Quarantine" All-Request RH Jukebox, July 22, 2020

Wednesday night means that it’s time for another installment of “Sweet Home Quarantine” with Robyn Hitchcock and Emma Swift. The July 22^nd show was an all-request show, spanning Robyn’s whole career. The show was a nice mix of the familiar and some songs that I don’t think have been played on SHQ so far. (I haven’t seen every SHQ show, so I can’t say with absolute certainty.)

Robyn opened the show with gorgeous versions of “Cathedral” and “Autumn is Your Last Chance,” both from his terrific 1984 solo album I Often Dream of Trains. Robyn said that “Autumn is Your Last Chance” was his first attempt at a song that was going for an effect similar to Bryan Ferry’s songs. I wrote in the chat that I like to imagine Bryan Ferry watching “Sweet Home Quarantine” every week, while wearing a tuxedo. Emma responded in the chat that she liked imagining that too.

Emma joined Robyn for a lovely version of “Light Blue Afternoon,” from 2011’s Tromso, Kaptein album. Robyn mentioned that it was written after he watched Magnum Force, one of the “Dirty Harry” movies, starring Clint Eastwood. This tidbit connects the song to 2006’s “(A Man’s Gotta Know His Limitations) Briggs,” which was also inspired by Magnum Force. In 2014, I put forth the theory that Robyn’s song “San Francisco Patrol” might also be inspired by Dirty Harry. So now we may have a trilogy of Dirty Harry songs!

Emma got a solo turn when she sang Bob Dylan’s “The Man in Me,” from her upcoming album Blonde on the Tracks. It was a great version of a fine Dylan song, and I’m really looking forward to getting my copy of the CD. There was some entertaining banter between Emma and Robyn at the beginning of the song. Robyn was playing the guitar intro, and Emma told him to go a bit faster. Then she said, “That’s just louder, not faster.”

Robyn sang “We’re Gonna Live in the Trees” solo, a funny song from 2004’s Spooked. It was fun to hear, it’s certainly a song I haven’t thought of in a long time. Robyn then sang one of my very favorite songs of his, “Underground Sun,” with lovely harmonies from Emma. For me, this song was the highlight of the show. Robyn and Emma followed it with a beautiful version of “Winchester,” previously heard a few weeks ago when Robyn sang Element of Light. Robyn and Emma then dusted off the Soft Boys’ tune “Queen of Eyes.” Because Robyn sang both "Winchester" and "Cathedral" during this show, I think he ought to do a cover of The New Vaudeville Band's "Winchester Cathedral."

A new song made its debut on the show, “Upgrade Me” was a key lyric in the chorus. (Although there was some discussion in the chat as to whether Robyn was in fact singing “Upbraid Me.”) It was an interesting tune. Robyn and Emma sang the great “Saturday Groovers,” from 2009’s excellent Goodnight Oslo. Only Robyn Hitchcock could write a song with the lyrics “Emphysema, heart disease and gout” and still make it catchy. The last song was the oddity “Trilobite,” from the outtakes collection Mossy Liquor. Yup, it’s all about the ancient arthropod.

This was an incredibly fun installment of “Sweet Home Quarantine,” and it was clear that Robyn and Emma were having a great time.

Concert Review: Bryan Ferry at the Palace Theatre in Saint Paul

Bryan Ferry on stage at the Palace Theatre, Saint Paul, August 5, 2017. (Photo by Pondie.)

Marquee of the Palace Theatre in Saint Paul. (Photo by Mark C. Taylor)

Last night I saw one of my favorite musicians live at the Palace Theatre in Saint Paul: Bryan Ferry. I’ve been a fan of Ferry’s music, both solo and with Roxy Music, for several years, and he’s been at the top of my list of artists that I hadn’t seen in concert yet. Ferry didn’t disappoint, bringing a set list full of gems from his formidable back catalogue. At age 71, Ferry still looks dapper, stylish and handsome as ever. He didn’t say much during the concert, and the closest he got to telling any stories was saying, “These songs are from here, there, and everywhere.” Ferry’s nine member band did a terrific job of re-creating tricky Roxy Music songs like “Ladytron” and “If There is Something.” Kudos to all of the band members, especially Jorja Chalmers, who handled saxophone duties, a job essential to capturing the sound of Roxy Music songs. 

Opening for Ferry was the British singer/songwriter Judith Owen, who played a half hour of songs that reminded me of Carole King’s work from the 1970’s. Owen was playing with bassist Leland Sklar, who has played on over 2,000 recordings, according to Wikipedia. Sklar has played on many of James Taylor’s albums, as well as albums by Leonard Cohen, Phil Collins, Neil Diamond, Neil Sedaka, Rod Stewart, and Barbra Streisand. Owen also featured a percussionist, cello, and violin, which lent her songs an engaging sound. Fun fact: Judith Owen is married to Harry Shearer, well known for playing bassist Derek Smalls in This is Spinal Tap and for voicing numerous characters on The Simpsons.

Ferry played keyboards on quite a few songs, and also blew some nice harmonica solos on a cover of Bob Dylan’s “Simple Twist of Fate,” and the old chestnut “Let’s Stick Together.” As a vocalist, Ferry still smolders effectively, even if he’s lost some of his top range-the high notes on “More than This” just aren’t quite there anymore. But Ferry’s voice still has great emotion in it, and his voice now adds a melancholy vulnerability to his songs. 

My only disappointment from the set list is that Ferry didn’t sing any of the songs from his most recent solo album, 2014’s excellent “Avonmore.” (Which I reviewed back in 2014 here.) Well, and if I’m being honest, there are some Roxy Music songs like “Over You,” “Dance Away,” and “Same Old Scene” that I would have loved to hear as well. But that’s a small quibble when you’re seeing a rock legend up close. I was a little surprised that Ferry sang “In Every Dream Home a Heartache,” which has to be the weirdest Roxy Music song. It’s a good song, but it is weird-it’s a critique of capitalism as Ferry gets a little too attached to a blow-up doll. The lyrics aren’t sung, but spoken like a prose poem. 

The Palace Theatre was a superb venue for Bryan Ferry, as its style of decaying glamor fits his own aesthetics quite well. The open seating on the floor meant that my wife and I were very close to Ferry, and it was fun to watch his facial expressions throughout the show. It’s very evident, for all of his British reserve, that he really enjoys what he does. Ferry seemed quite touched by the huge audience reaction at the end of the show, which he fully deserved. 

Set list:

The Main Thing

Slave to Love

Ladytron

Out of the Blue

Simple Twist of Fate

A Waste Land

Windswept

Bête Noire

Zamba

Stronger Through the Years

Can’t Let Go

Remake-Remodel

In Every Dream Home a Heartache

If There is Something

More than This

Avalon

Love is the Drug

Virginia Plain

Let’s Stick Together

What Goes On

Jealous Guy

Editions of You

Album Review: Bryan Ferry, "Avonmore" (2014)

Album cover of "Avonmore," showing a young Bryan Ferry from the 1970's.

This is the cover image that Amazon showed for Bryan Ferry's "Avonmore" before it was released.

Bryan Ferry, mid-1970's, looking like the cat that swallowed the canary.

Bryan Ferry in 2014, still as handsome and well-dressed as ever.

Bryan Ferry’s 15^th solo studio album “Avonmore” was released last month, and it’s yet another excellent piece of smooth pop from the former Roxy Music frontman. Ferry’s music hasn’t changed a great deal since 1980 or so, when the rough edges got sanded off of Roxy Music, but he still puts out perfectly glossy, elegant records full of beautiful midnight ennui. Ferry’s solo albums since 1985’s “Boys and Girls” are usually as smooth as a pane of glass, and “Avonmore” is no exception to that. 

“Avonmore” features eight new Ferry originals and two covers. Ferry is in great voice throughout the record. His voice has been burnished by the years, and that brings a certain melancholic quality to it that fits his songs very well. Ferry’s voice now sounds as world-weary as his songs have always been. “Avonmore” was produced by Ferry and Rhett Davies, who has worked with him off and on since the Roxy Music days. There are a lot of layers of sound going on, but “Avonmore” never feels overproduced. Ferry is supported by an all-star cast of musicians, including Nile Rodgers, Johnny Marr, Mark Knopfler, and Flea. Ferry’s son Tara plays drums on all of the songs, except for “Johnny and Mary,” and Ferry himself plays keyboards throughout the album. 

The track listing for “Avonmore” is as follows:

“Loop De Li”: A catchy song, featuring some hallmarks of Roxy Music’s sound, like an oboe and a saxophone. Ferry’s lyrics tell the story of someone caught in a pattern or loop with no way out. Ferry sings, “Well I know you know/we’re killing time/we’re on an up down see-saw/loop de li.” A beautiful portrait of alienation.

“Midnight Train”: There are 9 guitarists on this song! But somehow it doesn’t sound overstuffed, just polished like a smooth river stone. “Midnight Train” is one of my favorite songs on the album. Ferry has a way of making lyrics that could sound like clichés sound fresh. The song is full of romantic yearning, as Ferry sings, “I’ll never know/the meaning of your kiss/midnight train/must it end/like this?” I can just imagine Ferry standing forlornly at a train station, waiting for his girlfriend to come back, looking sad and handsome in a trench coat smoking a cigarette. 

“Soldier of Fortune”: Co-written with Johnny Marr, the guitarist from The Smiths. It has a laid-back insistence. Features some great guitar playing, this time from only 3 guitarists. As usual, Ferry is in pain in this song, as he sings, “I’m going out of my mind/and I won’t be back again.” 

“Driving Me Wild”: This song has something of an ominous feeling, as Bryan sings in the first verse, “My heart is pounding/I’m trembling with rage/I’m wrestling with my demons/on every page.” A woman is driving him wild, and Ferry sinks deeper into anguish: “No dream will ever be the same/everything around me calls your name.” This song has one of my favorite lyrics on the album: “I’m dealing with a feeling/that nobody knows/an unkindness of ravens/a murder of crows.” I knew that the proper term for a gathering of crows is a “murder” but I had no idea until I heard this song that the term for a gathering of ravens is an “unkindness.” Those very loaded terms just add to the unease of the song.

“A Special Kind of Guy”: Ferry is once again lovelorn, as he wishes that he could have the love of the girl in this song. Ferry sings that she needs “A special kind of guy/would take you by the hand/for all the world to see/wish it could be me.” This song is a good showcase for Ferry’s piano and keyboard work. It’s a beautiful song, melancholy, elegant, and yearning. 

“Avonmore”: This is one of my favorite songs on the album. There’s an intensity to the rhythm of the song that I really like, and that reminds me a little bit of the Roxy Music song “Both Ends Burning.” Once again, Ferry plays the yearning romantic, as he sings on this chorus: “I want a love that’s never ending/through all the thunder and the rain/but there’s no sense in pretending/I know I’ll never fall in love again.” Features a lovely saxophone solo from Richard White. 

“Lost”: A slow ballad that features Mark Knopfler from Dire Straits on guitar. Another romantic song for late at night.

“One Night Stand”: A funky song about the possibility of finding love with that stranger on the dance floor. Like “Midnight Train,” this song also features 9 guitarists, but again it doesn’t feel like too much. Ferry sings, “In the mood and in the dark/can you mend that broken heart?” We don’t know what the answer will be, but I’m guessing from the melancholy nature of this album it’s probably no. 

“Send in the Clowns”: Bryan Ferry singing Stephen Sondheim? Sure, why not. Ferry has always had success with unlikely cover versions, from the very beginning of his solo career. This is a lovely version of this standard from “A Little Night Music.” Ferry’s voice adds the necessary pathos, but he keeps it from going over the top. Nice trumpet solo from Enrico Tomasso. 

“Johnny and Mary”: Ferry’s cover of Robert Palmer’s 1980 hit single jettisons the nervous, New Wave energy of the original, drastically slows it down, and strips the song down to its basics. It’s brilliant and beautiful, and it starts with just a murmuring synth line and finger snaps. This version was originally recorded for Norwegian DJ Todd Terje's album “It’s Album Time,” released in April, 2014. I really love Robert Palmer’s version of “Johnny and Mary,” so I was excited to hear what Bryan Ferry would do with it. I love the lyrics to this song, as Palmer paints a vivid picture of this couple: “Johnny’s always running around/trying to find certainty/he needs all the world to confirm/that he ain’t lonely/Mary counts the walls/knows he tires easily.” Ferry’s version plays up the paranoia in the song, inherent in lyrics like “Scared that he’ll be caught/without a second thought.” “Johnny and Mary” moves at a languid pace, stretching out over nearly seven minutes, and I find it mesmerizing. A great ending to a marvelous album. 

My three favorite songs from “Avonmore” are “Midnight Train,” “Avonmore,” and “Johnny and Mary.” If you like Bryan Ferry or Roxy Music, go out and get “Avonmore,” pour yourself a drink, listen to it late at night and let the music wash over you.