Steve Marriott & Bryan Ferry (August 26, 1972) – “Whatever Turned Me On / I Don’t Believe the Kids Really Identify with Bolan or Bowie” Feature – New Musical Express
This New Musical Express issue from August 26 1972 pairs two distinct features: Bryan Ferry’s reflections on musical influences under the column “Whatever Turned Me On” and James Johnson’s interview with Steve Marriott, boldly headlined “I don’t believe the kids really identify with Bolan or Bowie.” Together, they capture the tension between emerging glam rock and the established British rock tradition.
Publication: New Musical Express Date: August 26 1972 Country: United Kingdom
The left column spotlights Bryan Ferry of Roxy Music, listing the songs and artists that shaped his style — from The Crystals’ “Da Doo Ron Ron” and The Shirelles’ “Will You Still Love Me Tomorrow” to Bob Dylan’s “Like A Rolling Stone” and Billie Holiday’s “All of Me.” Ferry’s choices reveal his eclectic taste, blending 1950s pop, jazz, and avant‑garde influences that informed Roxy Music’s art‑rock aesthetic. The right‑hand feature, written by James Johnson, profiles Steve Marriott — former Small Faces frontman and then leader of Humble Pie.
Marriott discusses his career, his uncompromising attitude toward fame, and his skepticism about glam rock’s appeal. His quote, “I don’t believe the kids really identify with Bolan or Bowie,” underscores his belief that authenticity and raw performance mattered more than image or theatrics. A large photograph shows Marriott mid‑performance, guitar in hand, exuding the energy that defined his stage presence.
CONTEXT AND NOTES
This page reflects a turning point in British music journalism. By mid‑1972, glam rock was dominating headlines, yet veteran musicians like Marriott voiced resistance to its stylized approach.
His comments reveal a generational divide: while Bowie and Bolan were redefining rock through spectacle and persona, Marriott represented the gritty, blues‑rooted authenticity of the 1960s. His remarks also highlight the anxiety many traditional rock artists felt as glam’s theatricality began to eclipse musicianship in the public eye.
Bryan Ferry’s segment, meanwhile, situates Roxy Music within a broader lineage of pop experimentation. His cited influences — from doo‑wop to modernist jazz — show how Roxy Music fused nostalgia with futurism, creating a sound that was both intellectual and sensual.
The juxtaposition of Ferry’s introspective list and Marriott’s outspoken critique encapsulates the diversity of British rock in 1972: one side embracing artifice and innovation, the other defending emotional honesty and live performance.
The issue itself captures NME’s editorial balance at the time — giving equal space to emerging glam figures and established rock icons. It stands as a vivid snapshot of the cultural dialogue shaping the decade’s musical evolution.
FEATURE HIGHLIGHTS
Event: Dual feature on Bryan Ferry’s influences and Steve Marriott’s interview Era: 1972 – Glam Rock / British Rock Transition Era Tone: Reflective, candid, and contrasting Photography: Black‑and‑white portrait of Bryan Ferry performing; dynamic stage shot of Steve Marriott playing guitar
WHAT THE CLIPPING SHOWS
Bryan Ferry’s “Whatever Turned Me On” column listing formative songs and artists
Full‑page interview with Steve Marriott by James Johnson
Bold subheadline: “I don’t believe the kids really identify with Bolan or Bowie”
Photographs of Ferry and Marriott illustrating their contrasting personas
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