“There’s a great string arrangement on Love Me Madly Again, which Ann Odell did, which was really beautiful”

January 22, 2018 by


“Craft is what enables you to be successful
when you’re not inspired.” – Brian Eno

Uncut MAY 2015 – by Tom Pinnock


The Roxy Music maestro on his best solo work: “People like you to be difficult and weird…”

Much as you’d imagine, Bryan Ferry’s West London studio/office complex is a stylish and sophisticated place. Once through the main doors, a visitor must pass a row of sofas neatly strewn with For Your Pleasure cushions, then walls bearing pictures of models and a neon ‘Roxy Music’ sign, before descending a flight of stairs to Ferry’s studio itself. There, the man offers insight into some of the more intriguing synths and keyboards on display. “What’s the oldest one here? Hmm, either this Farfisa or the VCS3…” says Ferry, motioning nonchalantly to the EMS synth used by Eno on Roxy’s first two albums. Today, though, we’re here at Ferry’s HQ to discuss his often spectacular solo career, from These Foolish Things right up to last year’s Avonmore. “I don’t write often,” explains Ferry, as he relaxes in his office space upstairs. “So when I do, it feels special. If there’s something happening I like the sound of, I’ll record it, then I might listen to it a month later or a year or two later. So hopefully there’s a few great things lying on a cassette that haven’t been listened to yet!”

• • •

THESE FOOLISH THINGS [1973] – Ferry branches out after Roxy’s second LP with a singular set of covers – including Dylan’s A Hard Rain’s A-Gonna Fall and the “square” title track – influencing Bowie’s Pin Ups in the process.

After For Your Pleasure, I just wanted to make another record. So I thought I’d make one like Elvis or Sinatra or Billie Holiday or Bing Crosby would. I loved the albums I had of great singers singing great songs, written by songwriters in teams. I did this really fast, in about two or three weeks, and it was such fun. It was good to just get out of the group, out of the group angst. Phil Manzanera guested on it and Paul Thompson played drums, so there was a bit of Roxy on it. I don’t think Roxy minded me doing a solo album… I don’t think I ever asked them. But, I don’t know, it didn’t do any harm. Bowie actually telephoned me. We must have done the [Finsbury Park] Rainbow show with him before that, and the Greyhound in Croydon, another show where Roxy supported Bowie. David rang me cheerfully one day and said, “Just to let you know, I’ve just done an album like yours.” But it wasn’t really, it was a covers LP, but all from the ’60s, whereas mine was a more comprehensive take on pop, just lots of different people who were interesting to me, writers like Goffin & King, Leiber & Stoller, The Rolling Stones, Smokey Robinson, of course, and Dylan. The most important of all was the title track – that was the most adventurous, being a 1930s song. It was considered really square music at the time. This album opened up my audience to a more mainstream group of people who maybe hadn’t ‘got’ Roxy Music. And singing some of these great songs was a way of getting to them. The downside of it, of course, is that some more snobbish music people don’t like you to do something that’s more mainstream, people like you to be difficult and weird and underground.

ANOTHER TIME, ANOTHER PLACE [1974] – After Stranded, Ferry returns with another covers album, this time taking a more soulful tack and featuring the stunning The ‘In’ Crowd.

The first record was a great success for me, and suddenly I had two careers. I went back and made Stranded after the first one, then I made this. With the same team as the first one, pretty much. Except I did one of my own songs on this, the title track. There was no big theory behind it. Once again we did another standard, Smoke Gets In Your Eyes, one of the best songs I’ve ever heard. And I had another Dylan song on there. Davy O’List played a great solo on The ‘In’ Crowd. I’d seen him when I was a student in Newcastle. We used to have quite good bands playing there, and they had The Nice playing, and he was the guitarist. It stuck in my memory what a great player he was. He did some out-of-this-world feedback sounds on this… he’s a strange cat. You Are My Sunshine is my Geordie sentimental side coming out – I don’t know why I did that, it’s not traditional, that’s for sure. Some of the songs here are more off-the-wall. A couple of country songs, like Walk A Mile In My Shoes. So this consolidated the solo career mainly because of Smoke Gets In Your Eyes and The ‘In’ Crowd.

LET’S STICK TOGETHER [1976] – A grab-bag rushed out to capitalise on the title track’s success, Ferry’s third nonetheless features some classic tracks, including covers of early Roxy songs, alongside some equally classic tailoring…

We recorded the single, Let’s Stick Together, first – I love the original version by Wilbert Harrison, it’s much better than the version I did. I love some of those early R’n’B records, quite rough and ready, warm, beautiful records, and I just fancied doing it. We had [Everly Brothers cover] The Price Of Love, too, and a couple of tracks, and I think everybody around me thought, ‘Let’s see how the single goes, it’s going to be a big record.’ And I guess it was. So Polydor said, ‘Please, can we have an album?’ So we quickly did these tracks and threw it all together. I covered myself for the first time – I did Chance Meeting, 2 H.B., Re-Make/Re-Model and Sea Breezes, all from the first Roxy album, and Casanova from Country Life. I just thought it would be fun to do them in a different style, in a different way. The same way that in my record collection I have several different versions of Charlie Parker playing the same song in different periods of his career, with different lineups. We were based in Air Studios in Oxford Circus, which was a great studio. They’ve got about four different rooms and all of the engineers there were very well-drilled – not quite wearing lab coats, but the next generation on. Let’s Stick Together was the first time I worked with Chris Spedding, who was, and is, a really great guitar player. He played a lovely Flying V guitar. It was all done very quickly, with a great spirit. Jerry Hall did that whooping on Let’s Stick Together – she appeared in the video, which was also done very quickly. The clothes and set were designed by Antony Price, and it was directed by a friend of mine, Jonathan Benson, who was the assistant director on some of the Monty Python movies, and a very nice man. Yes, it was a good look I had in that video, with the moustache! It was a look I’d seen in many a movie – Clark Gable type of thing. Movies have always been a big source of inspiration for me, with either songs or just looks. I like the way people looked in old black and white movies – everybody wore a hat and a suit. You’d see people walking down the street and everybody’s wearing a hat. It’s a terrible shame that people don’t anymore.

IN YOUR MIND [1977] – With Roxy Music on hiatus, Ferry creates his first solo album of original songs, with more help from Chris Spedding, Phil Manzanera, Paul Thompson and former King Crimson bassist John Wetton.

After Let’s Stick Together, I went on my first world tour as a solo artist. I think I’d got fed up with being in a band, and wanted to try making an album of original material as a solo artist. I say as a solo artist, but it was more like being in a different band ‘cos it wasn’t just me on my own with a guitar, or piano. I think this is the first time I worked with strings. There’s a great string arrangement on Love Me Madly Again, which Ann Odell did, which was really beautiful, I think. Once again we did this in Air Studios. I remember the great solo Chris Spedding did on Love Me Madly Again. I sort of tricked him, because it was one of those songs where it goes from one thing into a whole different mood, a different movement, really – and I just let it go on into the next part of the song, with completely different chords and everything, and he did the most incredible kind of recovery with this solo that was very beautiful! I’ve always tried to get people’s initial responses from a piece of music. So I always like to record the first take, and I remember that was one time when it really paid off. You just get people instinctively responding to the music they’re hearing for the first time, and that’s very important.

THE BRIDE STRIPPED BARE [1978] – Ferry hooks up with LA sessioneers in Switzerland for a confessional, bluesy response to his split with Jerry Hall.

This featured a composite band. Neil Hubbard was one of the two guitarists, and I had met this American guitar player, Waddy Wachtel, when I was writing some of the songs for this record in L.A. I met a drummer there, too, Rick Marotta, and I took them over to Switzerland, to this studio near Geneva called Mountain Studios. Ann Odell was the keyboard player as well as me, and Alan Spenner was the crazy bass player. So him and Neil Hubbard were the English guys, and so the friction between them and the two Americans was really exciting. I thought the results were fantastic. I was living out in L.A. with my friend Simon Puxley, who was a very important person in the making of all these records. He was the man in the background, who was my publicist and Roxy’s. He had written the sleevenotes for the first Roxy album, and he became my close friend and confidant. He was a wonderful person. He was like the extra member of the band, and he’s sorely missed to this day. There were a lot of things fermenting at that time. I had an assistant working for me who was into punk and he’d play me some of the things that were coming out of England; I was out in L.A., absorbing all this American stuff, so I was in a very different headspace, but I did this track Sign Of The Times, which had a kind of punk feeling to it. It was a way of getting Waddy and Rick to play in this aggressive kind of style.

BOYS AND GIRLS [1985] – Following the final Roxy Music album to date, 1982’s Avalon, Ferry returns with a chart-topping record that still remains a very sophisticated template for his work.

It was a strong album, but it was Number 1 mainly because of the single Slave To Love. It was as simple as that. It just caught the mood, I guess. I had some great people working with me by then. All these great people I’d worked with through all this time, plus new people like Nile Rodgers and Marcus Miller, who also played on Avonmore – it was a very important album for me. There was a lot of New York in this record. We did some of this in Bette Midler’s loft, down in Tribeca. She had an apartment which I rented, and I was living there. We made a studio in one of the rooms. It was great, it felt very fresh and different working in a place like that. David Gilmour, of course, is very good. I worked with him again on Olympia. He’s a brilliant player, he’s got a real sound. Quite distinctive, and he plays with feeling, it’s good. It’s very important that they play as if they mean it. From this album on, I’d found a way of working… It wasn’t easy, but it just felt sort of special because nobody else took the trouble to spend months putting so many different parts from different players together like that. I was very into kind of sculpting all these different sounds to see what happened, see where it could lead you. You’d create solos which weren’t just one guy playing, it would go from one to another, and that’s very cool. One of the great moments of rock music is that solo in Hotel California, where it goes from Don Felder to Joe Walsh and it just changes its mood, a beautiful moment.

MAMOUNA [1994] – ‘Comped’ to perfection, this sumptuous album featured a co-writing credit with Brian Eno

Taxi and Mamouna were done mainly here [at Avonmore], and in Olympic in Barnes, which was another really good studio. I spent ages in Olympic. I went through fortunes, we really set up camp and did a lot of stuff there. It’s great to have my own space now, it’s perfect for this kind of work. We’ll be working on lots of different tracks, especially now you have Pro Tools, you can just dial them up, and see, ‘Ah, where are we with this one?’ Certain tracks would be left for years to age, in barrels, and you’d go back years later and finish them off. I worked with Brian Eno again on this – that was great. He came here, we worked downstairs, and we actually co-wrote a song. I also went to St Petersburg where he was living. We started that there and I finished it off here. Mamouna was great, it had some good things on it – it wasn’t terribly successful, but it has a great mood to it, I think. There are certain people you like working with, and yes, this had loads of people on it – including Carleen Anderson, who’s a very good singer. Chester Kamen, Guy Pratt, all these English lads.

OLYMPIA [2010] – The first collection of Ferry’s own songs since 2002’s Frantic featured Kate Moss on the cover and a huge number of guest guitarists…

My songs go through a lot of stages, if I get fed up with how one sounds I just take it off in a different direction. You Can Dance was rockabilly originally. Sometimes somebody will play something and you go, ‘Ah’, it shows you another way the song can go. Songs are very important to me, having a good melody. Melody is what I’m best at. Do I rewrite my lyrics? Sometimes I’ll change the odd word, but by the time I bring it in to sing, I’ll have it more or less what I want it to be. Sometimes it takes forever, and if it doesn’t seem like the right lyric is coming, then I’ll just wait and go back to it the following year. I got in contact with Jonny Greenwood to see if he wanted to play – I thought he was a very good player, very experimental, lots of different sounds, musically very adept, the real deal. Johnny Marr, obviously, is another great English guitar player. I worked with him first of all at Air Studios, on a couple of things, The Right Stuff on Bête Noire. I met him because John Porter produced The Smiths on their first LP. We wrote a song together on Avonmore, and he’s terrific, he’s got better and better. Very versatile. He’s a great fan of Nile Rodgers, too, so it’s funny having them on the same tracks.

AVONMORE [2014] – After 2012’s curio, The Jazz Age, Bryan reacts with his most uptempo set of songs in decades…

The Jazz Age didn’t really influence this, other than that I wanted to make a record very different from it. It’s nice veering from one direction to the other with records that follow each other. A lot of care goes into the making, especially now, as you’re thinking, ‘How many more records will I make?’ So you don’t want to put it out unless you think it achieves something. It’s nice to think you’re getting better at things. The more uptempo feel here is down to the fact I’d been doing so much live work the past few years, and festivals and stuff, where you’re conscious of everyone playing very fast songs. I felt I needed more fast songs in my repertoire, that’s for sure. Avonmore was going to be all original, but I had a couple of covers I thought made it a bit more expansive. Send In The Clowns is such a classic showbusiness song, and I like the strings on it that I did with Colin Good. Johnny & Mary had such a different sound to the others, too. I did that with Todd Terje, who’s very talented and it added a new dimension to the record. There’s still a lot of comping involved. You want to get that person to do what they do best – with Nile, it’s beautiful rhythm parts. On the odd occasion he bursts into a solo, we say, ‘No!’, or let him go for a bit ’til he blows himself out… All these people I work with are clever, they’re not show-offs. It’s a treat to work with people of that quality or skill.


Source: http://www.moredarkthanshark.org/eno_int_uncut-may15.html



Ann Odell has been a member of Blue Mink, Chopyn and Brian Ferry’s band.

She released a solo LP on Elton John’s ‘DJM’ label in 1973, called A Little Taste.

Ann has played and recorded with famous jazz musicians too and has performed as a resident musician on the QE2.

During the 1980’s she arranged the orchestrations for the very popular and successful ‘Hooked On Classics’ series of recordings.


Ann Odell – A Little Taste



“I was introduced to the practice by the musician and arranger, Anne O’Dell in September 1977 following a trip to LA together to discuss some recording work with Bryan Ferry.”




@CalciteAsh News #GOP #UNIDO Sometimes STUFF just piles up! 16 January 2018

January 16, 2018 by








Polluting our way out of global warming: The lunacy of sulphur dioxide SRM | ClimateX



Saudi Arabia Israeli plans to expand illegal West Bank settlements Pharaoh first hardened his own heart. God hardening Pharaoh’s heart later Not too late for Decider-in-Chief to decide again = capital of







Norwegian Society of Engineers and Technology Organization therefore has for years been focusing on climate. We were the initiator and key in the worldwide project “Future Climate – Engineering Solutions.” This project started in 2008, where engineering organizations from all over the world working on national plans of how much greenhouse gas emissions in individual countries could be reduced by using available or imminent technology.



  • Geoengineering Research Evaluation Act of 2017 (H.R.4586). Introduced Dec. 7 by Rep. Jerry McNerney (D-CA), this bill would provide for the National Academies to study and report on a research agenda to advance the understanding of albedo modification strategies. 



IDK, Trump is “vying for first place amongst the giants”





















Destructive potentials

All materials have resonant frequencies which is a product related to its natural state of induced excitability. Buildings along with bodies too have their own particular resonant frequency. (Fig 1 – 3) If you locate this frequency, the value of efficient excitation, and through mechanical reinforcement impart this frequency you can literally ‘ring’ material similar to that of a struck bell. If, through a feedback system, you encourage a phase aligned addition to this wave form, potentials for the material oscillate out of control become possible. In 1898 the inventor Nikola Tesla was working with similar energy imparting devices which was said to be so small ” you could put it in your overcoat pocket.”15
I was experimenting with vibrations. I had one of my machines going and I wanted to see if I could get it in tune with the vibration of the building. I put it up notch after notch. There was a peculiar cracking sound.
I asked my assistants where did the sound come from. They did not know. I put the machine up a few more notches. There was a louder cracking sound. I knew I was approaching the vibration of the steel building. I pushed the machine a little higher.
Suddenly all the heavy machinery in the place was flying around. I grabbed a hammer and broke the machine. The building would have been about our ears in another few minutes. Outside in the street there was pandemonium. The police

15Article from the New York World-Telegram, July 11, 1935.

and ambulances arrived. I told my assistants to say nothing. We told the police it must have been an earthquake. That’s all they ever knew about it.16
This notorious event was said to have also created intense sympathetic vibrations two blocks away from Tesla’s laboratory producing a similar extreme reaction which had summoned the authorities.
There is a correlation between bodies and buildings insofar as they relate to oscillatory motion. The same amplitudes and frequencies have corresponding effects in both. Vibration induced pain in humans is relative to the same value of intensity which causes failure in structures. Both bodies and buildings are excited most efficiently at the same frequencies of between one and twenty cycles per second. Though the Live Room is not trying to actually destroy buildings or cause physical pain, defining this extreme range helps to clarify the potential power resident in the project. This parallel relation also helps to reinforce the concept of bridging through sympathetic vibration and connecting a trace between the body and architecture.

16 Ibid.


“JO 171998 – Semantic Scholar”


[Warning: Above Link downloads pdf automatically!]

by MS Bain – ‎1998












@CalciteAsh News #GOP #UNIDO Sometimes STUFF just piles up! 12 December 2017

January 16, 2018 by

Rosettasister's Weblog

“everything in the quantum world” “has a dual character”



Physicist Thomas Campbell presents in his lectures on the structure of our reality to the claim that we live in a virtual reality. He bases this conclusion with the results of quantum physics, specifically those of the double-slit experiment. In this article, both structure and results of the experiment in simple terms will be explained.

The content of this article is also available as video is available, in which the key messages possibly even explain better understood with the aid of numerous animated graphics than this self-items is possible:






Final check as instruments set sail to track aerosols over Southern Ocean

Shipboard instruments will collect crucial climate data during a series of routine voyages between Australia and Antarctica



The melt event occurred upwind from an Atmospheric Radiation…

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What is Pit River Country?

January 16, 2018 by

via What is Pit River Country?

What is Pit River Country?

January 16, 2018 by

Pit River Country

The Pit River is the largest river system in Northern California. It  flows from Goose Lake north of Alturas to the Sacramento River near Redding. As it flows toward the Sacramento, it is fed by 21 named tributaries. All together the system totals more than 1000 miles of streams and consists of a watershed of about 4,324

"PitRiverMap" by Background layer attributed to DEMIS Mapserver, modified by Shannon1 - Background from http://www2.demis.nl/mapserver/mapper.asp. Licensed under GFDL via Commons - https://commons.wikimedia.org/wiki/File:PitRiverMap.jpg#/media/File:PitRiverMap.jpg “PitRiverMap” by Background layer attributed to DEMIS Mapserver, modified by Shannon1 – Background from http://www2.demis.nl/mapserver/mapper.asp. Licensed under GFDL via Commons – https://commons.wikimedia.org/wiki/File:PitRiverMap.jpg#/media/File:PitRiverMap.jpg

square miles. On the maps of the earliest fur traders it was known as the Upper Sacramento.

When it passes Fall River Valley, it is fed by the springs of Ajumawi State Park and the Fall River. Then, at Lake Britton, it is fed by Hat Creek, which flows from MT Lassen down through Hat Creek Valley; and Burney Creek, which flows through Burney and Black Ranch and then over the falls in McArthur-Burney Falls State…

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Why the Universe Only Needs One Electron

January 13, 2018 by

via Why the Universe Only Needs One Electron

Why the Universe Only Needs One Electron

January 13, 2018 by

Musings on the Nature of Reality

According to renowned physicist Richard Feynman (recounted during his 1965 Nobel lecture)…

“I received a telephone call one day at the graduate college at Princeton from Professor Wheeler, in which he said, ‘Feynman, I know why all electrons have the same charge and the same mass.’ ‘Why?’ ‘Because, they are all the same electron!’”

John Wheeler’s idea was that this single electron moves through spacetime in a continuous world line like a big knot, while our observation of many identical but separate electrons is just an illusion because we only see a “slice” through that knot. Feynman was quick to point out a flaw in the idea; namely that if this was the case we should see as many positrons (electrons moving backward in time) as electrons, which we don’t.

But Wheeler, also known for his now accepted concepts like wormholes, quantum foam, and “it from bit”, may have been…

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Israel Is Becoming an Illiberal Thugocracy, and I’m Running Out of Ways to Defend It

January 8, 2018 by

Peace and Freedom

It’s not just the BDS blacklist. In Israel, the basic rights and values underlying democracy itself are being repealed

By David Rothkopf Jan 08, 2018 1:20 PM

An Australian graffiti artist works on his mural depicting U.S. President Donald Trump and Israeli Prime Minister Benjamin Netanyahu on the Israeli barrier in the West Bank city of Bethlehem. October 28, 2017

An Australian graffiti artist works on his mural showing U.S. President Donald Trump and Israeli PM Benjamin Netanyahu on the Israeli barrier in the West Bank city of Bethlehem. October 28, 2017 AMMAR AWAD/REUTERS

Block me.

Don’t let me enter Israel.

I am a Jew. Three dozen of my relatives died in the Holocaust. My father, before he fled the Nazis, was an active member of Zionist youth organizations. By my understanding of what used to be Israel’s “right of return”, I was under the impression that I had a standing invitation to visit or even move to Israel whenever I chose.

But apparently, the ideas and ideals underlying both that right of return and the State of Israel itself are…

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Newsreel Bufo / 43 – UFOs, Russia Dossier: the unreleased films Cinegiornale bUFO / 43 – Ufo, Dossier Russia: i filmati inediti di Flavio Vanetti – Giorgio Bongiovanni

January 1, 2018 by

[From Italy, I thought this might be fun to check out.]

Flavio Flury
Newsreel Bufo / 43 – UFOs, Russia Dossier: the unreleased films

11 OCTOBER 2017 | of Flavio Flury

Mystery bufo

The Great Mother Russia, you know, is one of the places of ufology election, how will confirm many people and also one of the most loyal to the blog: the legendary Tigrinya, which Moscow has long lived reaching even to talk – being fans of matter – people with a certain level of military and scientific communities.

Well, a few days ago I was reporting a documentary film this for a while ‘(a few years ago, to be precise) on Youtube: summarizes some sort of secret files on UFOs and Russia.

One of the curators, Giorgio Bongiovanni, is a character probably a little ‘discussed and controversial (you’ll understand why), but there is also interesting material on which it is worth to think and maybe discuss.

The newsreel Bufo time is longish, but worth it to see him and to draw a conclusion (not necessarily in favor of the above: rather, they are like also and above all criticism, however justified).

Sit back, watch and comment.

On October 21, “Children of the Stars” Umanitaria Milan

ok-poster-2017Quali amazing secrets hid Wright-Patterson Air Force Base in his hangar and in the underground tunnels since 1947? What went through the Arizona sky before the eyes of thousands of stunned witnesses March 13, 1997?

Questions that intrigue the UFO enthusiasts and which will be answered in Milan on October 21, during the 5th International Meeting “Children of the Stars – Beyond the borders”, promoted by Extremamente and Sabrina Pieragostini http://www.extremamente blog .com in cooperation with the Humane Society and sponsored by the Forum of Associations.

The conference will take part in a special guest Raymond Szymanski, the engineer who worked for almost forty years in the US Air Force base in Ohio where they would be hidden UFO crashed on American soil along with the bodies of aliens recovered from the wreckage. Included ones – notorious – they would die in ‘Roswell incident of which this year is celebrating the 70th anniversary.

Szymanski – author of the book “Fifty Shades of Gray” – for the first time in Italy reveal what he discovered on investigating Wright-Patterson. 20 years on, however, by another sensational episode, known to history as “The Phoenix Lights”, possibly the largest mass UFO sighting ever recorded.

Key Witness Dr. Lynne Kitei, who has conducted his own search to understand the exact nature of the phenomenon on which he directed an award-winning documentary, “The Phoenix Lights,” which will be shown a clip never before presented in Italy. The American doctor will connect live from the United States to explain its findings and will respond to all public curiosity.

Theater of the fifth edition of “Children of the Stars”, which also includes other interesting topics, this year will be the beautiful Hall of Frescoes of the Humane Society, old charity Milan. Appointment then next October 21, from 9 to 19, in San Barnaba 48.

You must book though: you can do it on the blog http://www.extremamente.it

The American doctor will connect live from the United States to explain its findings and will respond to all public curiosity.







Spirit pushed into Matter Became our 3D world The kingdoms of the earth — The mineral The vegetable The animal Edgar Cayce

December 28, 2017 by

via Spirit pushed into Matter Became our 3D world The kingdoms of the earth — The mineral The vegetable The animal Edgar Cayce