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Do the Strand

"Do the Strand" is a song by the English art rock band , written by lead vocalist and released in March 1973 as the opening track on their second studio album, . The track presents a fictional called "the Strand," portrayed as a glamorous new sensation sweeping , with drawing on sophisticated cultural allusions inspired by Cole Porter's style, including references to the Sphinx, , , and . It was issued as a single in 1973 in markets such as the , , and , though it did not chart significantly; a single release followed in 1978 to promote the compilation Greatest Hits. The song exemplifies Roxy Music's early glam rock aesthetic, blending theatrical flair, witty wordplay, and innovative production by the band and producer Chris Thomas, engineered by John Punter, featuring Ferry's crooning vocals over a driving rhythm section from bassist John Porter and drummer Paul Thompson, accented by Andy Mackay's saxophone and Brian Eno's synthesizer treatments. Ferry has described it as one of the few upbeat compositions in his songwriting catalog and an enduring "anthem for Roxy fans." Since its debut, "Do the Strand" has been a fixture in nearly every Roxy Music tour setlist, often serving as the concert closer, and it remains an iconic representation of the band's fusion of high art and pop culture influences during the glam era.

Background

Writing and inspiration

Bryan Ferry drew inspiration for "Do the Strand" from the sophisticated songwriting style of Cole Porter and the dance craze hits of the 1920s, such as the Charleston and Black Bottom, seeking to craft a contemporary equivalent that infused glamour and wit into rock music. In interviews, Ferry explained his admiration for Porter's era of elegant, rhythmic tunes, which prompted him to experiment with a similar structure but updated for the glam rock scene of the early 1970s. The song's title originated from a 1959 advertisement for Strand cigarettes, featuring the "You're never alone with a Strand," which evoked images of solitary sophistication and urban allure; Ferry adapted this to suggest a fictional evoking rather than providing literal instructions. This choice allowed the track to capture a sense of stylish isolation amid social frenzy, aligning with Roxy Music's thematic interests. Ferry intentionally wove high-art allusions, such as the , Picasso's , and Nabokov's , into the lyrics alongside pop culture elements, creating a playful fusion that elevated the song's dance-craze conceit with intellectual references. He described this approach as an attempt to emulate Porter's lyrical dexterity while incorporating eclectic cultural nods, resulting in rhyming couplets that juxtaposed and modern icons. The song was developed during Roxy Music's recording sessions for their second album, , which took place in early 1973 at AIR Studios in , where the band refined its experimental edges into a cohesive opener. These sessions marked a period of growing confidence for the group, enabling Ferry to fully realize the track's blend of revue-style flair and rock energy.

Recording process

The recording of "Do the Strand" occurred at AIR Studios in during February 1973, as part of the sessions for Roxy Music's second album, . The track was co-produced by Chris Thomas and John Anthony, who guided the band through a process that emphasized layered instrumentation and dynamic arrangements. Thomas, recommended by after the band initially sought Cale's involvement, brought a sense of efficiency to the sessions, contrasting with more deliberate productions elsewhere at the studio. Key personnel contributions shaped the song's sound, with Bryan Ferry handling lead vocals and piano to anchor its rhythmic drive, Phil Manzanera delivering distinctive guitar riffs that added edge to the glam rock foundation, and Andy Mackay providing oboe and saxophone solos for melodic flair. utilized the EMS VCS3 synthesizer to generate atmospheric effects and tape treatments, enhancing the track's experimental texture alongside Paul Thompson's drumming and John Porter's bass—Porter having replaced Rik Kenton prior to the album's recording. These elements were captured in a collaborative environment where backing tracks were laid down first, allowing for iterative additions that built the song's complexity. The sessions presented challenges in reconciling the band's high-energy ethos with Eno's inclinations, creating productive tensions that propelled the music's innovation. This balance resulted in a full version of 4:04, while a edit trimmed it to 3:19 for radio play, tightening the structure without losing its core vitality.

Composition and style

Lyrics

The lyrics of "Do the Strand" employ a verse-chorus structure characterized by repetitive, exhortatory choruses that mimic the playful, instructional tone of mid-20th-century dance craze songs, urging listeners to "Do the Strand." The verses introduce the dance as "a fabulous creation" and "a danceable solution / To teenage revolution," while subsequent sections specify locations and contexts, such as "On the Strand, love / In Quaglino's, Mabel's / On the Lido, love / In the zoo," evoking a cosmopolitan, hedonistic lifestyle. This format builds a rhythmic, mantra-like quality, with the chorus repeated multiple times to reinforce the dance's infectious appeal. Central themes revolve around glamour, seduction, and the absurdity of , presenting the Strand as a metaphorical "dance of life" that transcends conventional social norms. The text contrasts elite cultural icons with pop frivolity, as in the bridge and outro where "The Sphinx and / Lolita and / Did the Strand," implying that even timeless symbols of enigma, beauty, literature, and war partake in this whimsical ritual. This juxtaposition underscores an ironic celebration of superficiality over profundity, with wordplay like "evergreen / It lasts forever / But it can't beat Strand power" poking fun at enduring forms while elevating a fictional . The lyrics avoid overt , instead drawing on traditions for their lighthearted, escapist irony. Allusions to historical dances abound, with the song explicitly rejecting popular 1960s moves—"No twist, no stomp, no fox trot / No bop, no waltz, no jitterbug"—to position the Strand as a superior, invented elite alternative. References to diverse global and artistic figures, including "Arabs at the oases / Eskimos and Chinese / La Goulue and Nijinsky," further blend highbrow modernism with exoticism, evoking the Ballets Russes era while maintaining a satirical edge. Ferry's sophisticated phrasing, influenced by Cole Porter's witty style, infuses the text with rhythmic puns and cultural nods that enhance its playful absurdity.

Music and arrangement

"Do the Strand" exemplifies Roxy Music's genre-blending approach, fusing with influences and proto-new wave elements, all set in 4/4 time at approximately 135 beats per minute. The track's energetic pulse draws from early rock and R&B rhythms, creating a danceable foundation that underscores its thematic nod to . The arrangement opens with an iconic riff by , which evokes a theatrical and sets a highbrow, Broadway-inspired tone reminiscent of standards. This is layered with Brian Eno's swirling swells, adding experimental texture, while Paul Thompson's driving drums provide a propulsive backbone, and Phil Manzanera's guitar contributes sharp, angular riffs. The instrumentation highlights the band's ability to merge electronics with rock energy, featuring a piano that punctuates the verses. Structurally, the song shifts dynamically from the verses' confident strut—built on repeated chord progressions in —to an anthemic build that amplifies its communal, rhythmic drive. These transitions emphasize the track's infectious groove, with layered horns and synths creating crescendos that heighten the celebratory mood without resolving into full chaos. Compared to the raw, tape-loop experiments on Roxy Music's 1972 debut , "Do the Strand" demonstrates a polished evolution in production on , with tighter songwriting and more focused sonic layering that refines the band's art-rock ambitions. This refinement marks a step toward greater while retaining flair.

Release and promotion

Single release

"Do the Strand" was initially released as a single in the United States and in July 1973 by , with "Editions of You" as the B-side. The UK release was delayed until January 13, 1978, on , serving as a promotional for Roxy Music's Greatest Hits . The was issued in the 7-inch vinyl format. In 1973, it peaked at on the Dutch charts but did not enter the , as it was not released there at the time. The 1978 UK edition also failed to chart significantly. As the opening track on Roxy Music's second album, For Your Pleasure, released on March 23, 1973, by Island Records, the song helped propel the album to number 4 on the UK Albums Chart. For single release, the track was edited from its album length of 4:04 to 3:19, with instrumental sections removed to suit radio play.

Live performances and media appearances

The song debuted in live performances during Roxy Music's 1973 tour supporting their album For Your Pleasure, where it was played regularly throughout the tour, which included over 30 shows across the UK and Europe. These early concerts featured the band's signature elaborate stage visuals, including dramatic lighting and costumes that enhanced the glam rock atmosphere. A notable media appearance came on April 3, 1973, when performed "Do the Strand" on BBC's , highlighting their emerging aesthetic through Ferry's suave delivery and the ensemble's stylized presentation. Throughout the , "Do the Strand" became a staple in 's live sets, appearing in nearly every tour and often featuring variations such as extended guitar solos by . It was captured in this dynamic form on the band's 1976 live album Viva! Roxy Music, with the recording sourced from their October 27 or 28, 1974, show at . The track received renewed promotional attention in the UK with its January 1978 single re-release, paired with "Editions of You" to support the compilation Greatest Hits, which included radio airplay and accompanying press features.

Reception and legacy

Critical reception

Upon its release in 1973, "Do the Strand" received generally positive reviews from contemporary critics, who praised its energetic and innovative glam rock style while expressing mixed feelings about its dance craze conceit. In Melody Maker, Roy Hollingsworth described the track as "instantly attractive" and danceable, highlighting its piano and saxophone elements as a bizarre yet honest rock appeal that warranted repeated listens. Similarly, Disc's Caroline Boucher called it a "zappy, energetic" opener in Roxy Music's driving style, enhanced by saxes, piano, and guitars. However, New Musical Express critic Charles Shaar Murray viewed it as a hard rock-flavored "dance craze song," noting Bryan Ferry's affected persona and Andy Mackay's saxophone licks but implying a gimmicky edge to its promotional dance theme. Retrospective assessments have solidified "Do the Strand" as a of Roxy Music's catalog, often lauded for its energy and stylistic boldness. classifies the song within alongside the band's broader glam and influences, contributing to the album 's 5/5-star rating as a tightrope walk between accessibility and artiness. Pitchfork's 2019 review of the album, awarding it 9.5/10, portrays "Do the Strand" as a raucous opener inspired by influences, serving as a model for punk's ferocity with Ferry pledging to a modern sensation amid the band's art-school radicalism. Academic analyses further emphasize the track's role in bridging sophistication and pop immediacy. In : A Cultural Biography of (1998), Paul Stump discusses 's fusion of ironic detachment and visceral energy in their work, including tracks like "Do the Strand." The song consistently ranks among 's top tracks in fan polls, often topping lists for selections; for instance, it received the highest votes (9) in an ilXor community poll of the album's songs.

Cultural impact and cover versions

"Do the Strand" exerted a notable influence on the emerging scene, particularly inspiring Sex Pistols guitarist Steve Jones to name the band's earliest incarnation The Strand. This connection underscores the song's role in bridging aesthetics with the raw energy of , where Roxy Music's angular aggression and stylistic eclecticism echoed in the DIY ethos and fashion-forward rebellion of acts like the . The track's fusion of high-art references and danceable hooks also resonated in , influencing bands that blended sophistication with pop accessibility in the late 1970s and early 1980s. Cover versions have kept "Do the Strand" alive across genres, highlighting its adaptability. German synthpop group delivered an electronic reinterpretation on their 2003 album CrazyShow, transforming the original's glam strut into a pulsating, synthesizer-driven track that emphasized its futuristic undertones. Similarly, American electro-pop band offered a glam-infused, high-energy cover in 2009 for the charity compilation War Child Presents Heroes, infusing the song with their signature theatrical flair and campy exuberance to support the War Child organization. The song has appeared in media depictions of glam rock's cultural milieu, such as the 1998 film Velvet Goldmine, where it soundtracks scenes evoking the era's decadent allure and androgynous rebellion. It also featured in a 2018 episode of HBO's Westworld (Season 2, Episode 4), underscoring its enduring appeal as a symbol of stylized escapism. While direct sampling in 1990s tracks remains limited, the song's riff and rhythm have indirectly shaped electronic and indie productions through its influence on revivalist scenes. Reissues have sustained "Do the Strand"'s visibility, including its inclusion on Roxy Music's 1978 Greatest Hits album, which prompted a single release, and the band's expansive 2012 The Complete Studio Recordings, which remastered the track alongside the full album for modern audiences. These efforts, combined with its status as a live staple since —including performances during the band's 2022–2023 50th anniversary reunion tour—affirm the song's lasting relevance in retrospectives on and rock's evolution into .

Personnel

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