Bryan Ferry- Slave To Love (1985)

Jimmy Scott – Slave To Love (1998)

A recap. I will try to get things back in track with more consistent posting and some new themes hopefully. We’ll see how it goes. I’ve neglected the blog somewhat and searching for inspiration, consistency. Suffice to say, my original drive or inspiration for No Dancing No Satisfaction which was never economic and still remains so have changed, evolved somewhat. But that’s a subject that for a future psychiatrist to delve into and Lord knows, he will have plenty of material at his/her disposal in my archives. Let’s just say that initial drive is less emotionally charged and the reason for writing has become just that, writing for the sake of writing to improve my skills through daily or regular practice, to achieve pleasure by simply doing it and not being fueled by past resentments. I will leave it at that lest that has scared you, the reader off permanently.

Now. The music of Bryan Ferry and Roxy Music. An echo in my formative years. On the radio, on the tv, ever so tasteful, grown up and a bit boring until yes, I began to experience what people call love or feelings of desire towards the fairer sex. Ferry’s songs, in late period Roxy and in his solo career shimmer with a kind of faded glamour, his poised phrasing and theatrical sartorialism offering a compelling aesthetic paradox.

Often, the songs were about a moment or a time fading, the loss of something that could never be regained. Lovers both aware of the finiteness of their passion and helpless to change anything about their fate. And there was yearning. As rehearsed and worked out as it was, the subtleties of Ferry’s phrasing complimented by the delicate swell of the music created a sense of space; languid and steady yet it’s undertow suggested a slow collapse, stylishly forestalling the inevitable and yet acknowledging the sweet pain of adult yearning.

The ship is going down but let me feel that sharpness pierce my heart as I sway in my stylish attire to the pulse of the night as I sip my scotch/martini catching her glance over her bare shoulder at me for a moment as I stare into the middle distance, all manly and stoical yet sensitive.

Now Slave To Love is a lush sway of heightened romanticism with slightly masochistic overtones used suitably in an effective though ridiculously eroticized manner in Adrian Lyne’s 1986 drama Nine an a Half Weeks.

But Jimmy Scott’s version, by virtue of his heavenly contralto voice seems to exist in a universe all of its own. The arrangement slows down, an almost casual intensity highlighting Scott’s vocal prowess and ability to create an operatic level of emotion that is quite stunning really.