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It took weeks to record, with an odd choice of producer and no record label involved. But it kick-started an iconic career. The album was 1972’s self-titled debut by Roxy Music, and it contained all the elements that would make them legendary. And for guitarist Phil Manzanera it was a hectic time. “I was only officially confirmed in the band on February 14, 1972, and a month later we were in the studio.”

Manzanera had auditioned the previous October, but lost out to former Nice man David O’List. But when the band played in front of EG Management in early February ’72, there was a fight between O’List and drummer Paul Thompson. As a result, EG took on the band but insisted on O’List going.

So in came Manzanera, joining Thompson, frontman Bryan Ferry, bassist Graham Simpson, synth player Brian Eno and saxophonist Andy Mackay. And, funded by EG, Roxy went to Command Studios in central London on March 14, working with producer Pete Sinfield, best known as the lyricist for King Crimson. “EG managed him, so they kept it in the family. I don’t why he was chosen, but the good thing is that Pete let us get on with it.”

Roxy recorded live in the studio, with few overdubs. But the band had rehearsed so much that they were ready to do it this way. “We were a band of inspired amateurs back then, who worked very hard and had lots of enthusiasm. And the album has a charm all of its own as a result.”

The songs were written by Ferry, bearing a number of cinematic references, something that delighted Manzanera. “That’s one of the things the two of us bonded over – we loved films. And to hear something like 2HB, with its tribute to Humphrey Bogart, or Chance Meeting [inspired by the classic movie Brief Encounter] was just incredible. Bryan had so many ideas, and I always thought the rest of us provided the music for his words.”

The opening song, Re-Make/Re-Model, actually sums up the band’s eclecticism, with nods to The Beatles, Duane Eddy and… Wagner. “We all got the chance at the end to do our own thing. It’s a mad journey with lots of energy and it’s so exciting. It immediately says who we were – a band who would try anything.”

While Roxy had a big hit with Virginia Plain later in 1972, reaching No.4 in the chart, this was recorded four months after the album and not included in the track listing. “In those days, we liked to keep singles separate and not feature them on albums.”

Apart from the music, what immediately stands out is the cover, featuring model Kari-Ann Muller. It set Roxy apart from almost everyone. “This cover was so striking that we’re going to be using it to promote our January UK tour – it still looks so good even now.”

The album was eventually released through Island, thanks to a licensing deal done by EG. “We got £5,000 from the label for a five-year lease. In those days, that was very innovative. I know EG had to fight to persuade some people at Island to put this out. But it did well for them.”

Roxy Music reached No.10 in the UK charts, selling over 100,000 copies. As Manzanera concludes: “This was just the beginning. The rest is history.”

Originally published in Classic Rock issue 150 (March 2010)

The father of a fan thrown out of a Sex Pistols gig by frontman Frank Carter has backed up the singer, calling his son “idiotic”.

The incident happened during the legendary punk band’s set at the Ogden Theater in Denver, Colorado on October 9. Carter had reportedly encouraged a women-only moshpit for one song and called out a male audience member who entered it.

Footage shows Carter berating the fan, saying [via Consquence]: “Every time, there’s always a fucking man that tells me, ‘[Women] can do this all the fucking time.’ Like, they can’t. They fucking can’t. Do you know why? Because they walk in the mosh pit and they get a fucking elbow to the head by a fucking idiot!”

Carter continued to address the fan from the stage: “You’re shaking your head like you’re a fucking woman? Are you fucking stupid? It’s not your lived experience, so just shut the fuck up! … Do you know what, instead of crouching, just fucking leave, bro!”

The singer reportedly had the fan thrown out of the show by security. He subsequently took to Instagram stories to expand on his reasons for calling him out.

“If you are a man who gets offended by a band making room for a female only moshpit then you are PART OF THE PROBLEM,” said Carter. “Stay home, read a book by Bell Hooks, come back when kindness, compassion and empathy have landed with you. Incels, homophobes, misogynists, racists, fascists not welcome.

“Also this isn’t up for debate. I don’t care for your pedantry. If it isn’t your lived experience, don’t fucking speak on it. If you are offended by being told something isn’t for you then imagine how it feels to be a woman in the current climate. And finally…

“When I say a Ladies only moshpit, I of course mean a trans inclusionary space. The space is for people who don’t usually feel safe… To dance and have fun without the worry of physical, sexual or psychological violence being used against them while they are vulnerable. DO NOT LET THEM DIVIDE US.”

After the show, Carter revealed that he had received a message from the fan’s father, who offered his support to the singer.

“Frank – let me apologize that was my idiotic son who decided to make a stand last night in Denver about the womens mosh pit,” read the message. “Wasnt how he was raised, wasnt what he was taught. His sisters learning of his stand are very upset w him as am I. Unfortunately this is what has happened in our country and the misinformation and poison that has been spewed into young and old people has infected and affected our country.”

Sex Pistols are currently touring the US to mark the 50th anniversary of their landmark debut album Never Mind The Bollocks.

Rick Wakeman has been to Mars. Well, kinda. The veteran keyboard player recently visited the Airbus Space Facility in Stevenage to film promo videos for his latest album, Return To The Red Planet, a sequel to 2020’s critically praised The Red Planet.

“Airbus has its own [recreation of] Mars; it’s where all of the craft that go into space are tested out,” Wakeman tells Classic Rock. “I did check my British Airways air miles and there were not enough for a trip to Mars, so they kindly allowed us to go in and do some filming. I do have a very genuine interest in the subject, so it was great to spend time talking to all of the technicians and scientists there.”

He continues: “Ever since [Russian cosmonaut] Yuri Gagarin went up and back [in 1961] I’ve been fascinated with space, and I’ve got some good friends at NASA. Photographs of the Russians’ first mission were grainy, understandably, but since then technology has improved things phenomenally. And with so much new information I thought: ‘Crikey, there’s another album here’. For instance, Mars almost certainly used to be a blue planet like Earth, and where there’s water it’s pretty certain there will also be life. My pal David [Bowie] was right.”

Speaking of the Bowie, Wakeman’s nine-track Return To The Red Planet features a rather wonderful selection titled Bowie’s Vision. With its false ending and uplifting choral climax, it’s a lovely tribute to Wakeman’s old friend, some of whose albums he played on and whose 1971 hit single Life On Mars? was enhanced by a distinctive piano solo from Wakeman.

“I’m glad you like that one,” he says of Bowie’s Vision, smiling. “It’s a tongue-in-cheek story of what David did, and I love the [choral] part at the end.”

Described as a “progressive work that fuses science, imagination and musical virtuosity”, Return To The Red Planet is released on October 16 via Madfish. It was created along with Wakeman’s regular backing collective The English Rock Ensemble, featuring Mollie Marriott (daughter of late Small Faces and Humble Pie frontman Steve) on lead vocals, plus bassist Lee Pomeroy, guitarist Dave Colquhoun and drummer Adam Falkner.

Should the opportunity arise in the future, Wakeman hopes to perform both of his Mars-themed albums together in a single show, although, as he points out, it depends very much on the reaction of the public to the new record. “If it’s only bought by eight people and a dog, that won’t be anywhere enough to sell tickets for a concert,” he notes.

Wakeman has repeatedly spoken of working towards retirement, but his calendar seems to contradict that. In December he and son Oliver undertake A Hint Of Christmas, six festive dates around Britain, followed by 18 UK shows billed as Wizard Of Prog in February and March 2027.

“In October I’m doing STARMUS VIII – The Search For Truth, a big piece for piano and chamber orchestra that’s based on the lectures of [late astrophysicist and cosmologist] Stephen Hawking, which I’m really looking forward to, and also next year I’m headed off to South America,” he explains. “But I am slowing down.”

It’s all set to come to a head on Wakeman’s birthday, May 18, in 2029. “That’s when I turn… oh Crikey,” he calculates theatrically. “Is it eighty-nine? Ninety? A hundred? I dunno. No, it’ll be my ninetieth birthday. That will be the last big bang for me. I hope to go out in style at somewhere like the Royal Albert Hall with lots and lots of friends and special guests on stage. I will keep on making music, there’s still tonnes of stuff left to do, but in terms of touring that will be it. I may still do the occasional concert here and there, but I have to be sensible.”

Before he heads off to rehearse for STARMUS VIII, we have a rumour to run past him: that in September he goes to Vietnam to play piano in an open-air concert for an audience of… bears.

“It’s true,” he affirms. “I’m an ambassador for Animals Asia, which saves moon bears from the dreadful bear bile trade. They go into sanctuaries and get their lives back. The Vietnamese have now banned bear bile farming, but as part of that deal we must look after them. I came up with this silly idea to raise awareness: why don’t I go there and do a concert for the bears? Not for people, but for the actual bears. Obviously I can’t go into the cages,” he says, grinning, “but they’re building a stage and we bring along a grand piano.

“The funny thing is, for the last few months they’ve been playing them some of my piano albums, so that the bears have an idea of what to expect. When I get there they’ll probably turn around and say: ‘Oh shit, it’s him again.’”

Return To The Red Planet is released via Madfish on October 16.