The Noël Coward masterpiece that inspired a Roxy Music classic
Roxy Music is a group lauded by a diverse line of fans, with their influence very much alive and well today. Much of this can be attributed to their individualistic style and unwavering dedication to pushing themselves artistically.
When the group broke onto the scene in the early 1970s, no other act sounded or looked like them, despite being tied into the broader glam scene. Duly, the band have much greater longevity than all of their glitter-wearing peers, bar the late David Bowie.
Fronted by the eminent Bryan Ferry – a crooning answer to the sci-fi figures of the 1950s – and backed by the electronics wizard Brian Eno, guitarist Phil Manzanera, oboeist Andy Mackay, bassist Graham Simpson and drummer Paul Thompson, the original lineup created a kaleidoscopic sound that remains distinctive.
With cuts such as the opener of their eponymous 1972 debut album, ‘Re-Make/Re-Model’ and ‘Do The Strand’ from their following album, 1973’s For Your Pleasure, the band made such an impact that a host of acts have cited them as an influence, including Sex Pistols, The Smiths and Radiohead. In fact, the art rockers’ mark on culture is so far-reaching that even ’80s pop sensations Banarama have a connection, given that they took part of their name from the 1973 Roxy Music song ‘Pyjamarama’.
As expected of an outfit with such an eclectic style, Bryan Ferry and the band took their inspiration from a range of places. For one of their best early tracks, they looked to the master of British theatre, the late Noël Coward. The piece in question is ‘Chance Meeting’ from Roxy Music. Ferry later explained that it was inspired by the Coward’s 1945 romantic drama, Brief Encounter, starring Celia Johnson and Trevor Howard. Telling the story of a passionate extramarital affair in the days preceding World War II, it is regarded as one of the greatest movies of all time.
A quote from Kathryn Altman, the wife of the late auteur Robert Altman, reflects the widespread impact of Coward’s film. She recalled in 2014: “One day, years and years ago, just after the war, [Altman] had nothing to do and he went to a theater in the middle of the afternoon to see a movie. Not a Hollywood movie: a British movie. He said the main character was not glamorous, not a babe. And at first he wondered why he was even watching it. But twenty minutes later he was in tears, and had fallen in love with her. And it made him feel that it wasn’t just a movie.”
Like in the movie, ‘Chance Meeting’ tells the story of two star-crossed lovers. Ferry later told the NME: “Some of my lyrics are pure throwaway, while others are of vital relevance. I think ‘Chance Meeting’ is of great social importance.”
One of the highlights of the track is Phil Manzanera’s guitar playing. It’s expressive, droning, and at parts jarring, and can be regarded as a precursor to the noise rock genre that would flourish in the 1980s and beyond.
In 1972, Manzanera spoke to the NME and revealed how he recorded his part: “On the album I got the chance to prepare some stuff beforehand on my Revox, but even then a lot of it was improvised on the spot. On ‘Chance Meeting’ they wanted me to play backward, or rather play forward while the tape went backward. When that failed dismally I tried feedback which meant playing so loud I couldn’t hear Bryan singing, only the chord changes. Eno likes that a lot – randomness. Taping one track and then sticking another one over the top without listening to the first one. And with ‘Chance Meeting’ it was singularly appropriate.”
