Chaise Longue

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Baxter Dury (born 18 December 1971) is an English indie musician, originally signed to Rough Trade Records. [1] Early life [ edit ]

Baxter is parched. He downs his pineapple juice and soda in one, and is on to the next. When my bitter and whitebait arrives, he turns an ever whiter shade of pale. A family of four at the next table is enjoying an exuberant Thursday afternoon out. It’s important for me not to take it too seriously. That’s all. There’s nothing really conceptual about it beyond that. If I took fashion or being who I thought I should be too seriously then it’s over with. And no one who could be convinced of what I do anyway. I think there has to be a bit of me that has to be quite self-effacing or aware of that who I think I’m not. Or some strange…whatever. The right side of vanity, the wrong side of vanity are important to be aware of. Maybe they were rhetorical, but either way, they raise certain images, and ideas, in the mind about who does what, about what goes where…yet still “it doesn’t really answer anything. It has no real, deep social commentary that’s valid to anyone. It’s a kind of Pinocchio nonsense”. Baxter Dury: The Night Chancers review – downbeat charisma, immaculately delivered". The Guardian. 20 March 2020 . Retrieved 13 June 2021.In August 2021 Dury combined with producer Fred Again for the single "Baxter (These Are My Friends)". The same month, he published his memoir, Chaise Longue. [7] Personal life [ edit ] I was a kid of beatnik/hippie-era parents that had broken away from the post-war regulations, so children of the early 1970s were experiments that were just set free.” In Baxter’s words, repositioned here and meditating upon the movements of his father, ”it’s a personal triumph of applied effort”.

It’s a funky poking of the belly belonging to the local charmers stood on a chair in a crowd of folks with chagrinned grins and their egos on charge. A looped bass groove lassoes playful vocals that stretch the perceptions of what shapes Baxter can shake himself into, whilst also reinforcing his ability as a singer to keep a fair percentage of the tune in the hands of Madaline who performs a certain book of vocal wonders, the theatrical and the melancholic, ever the perfect counterpart to Baxter’s earnest vocal, his low howl. And everyone goes ‘yah’. This is many different things containing many diverse themes. In parts a book about making sense out of imagined realities. But equally it’s a book; a confessional book , a psychological travelogue, a psychoanalytical constellation, a fascinating piece of work. It makes one wonder if Baxter, always the wordsmith, never short on a lyric even when, off-duty but on-record, finds it difficult to decide what works, to remove himself after one line is a line too many and a mess has been made of the flow of it all once the mark has been overstepped. “I don’t prioritise me at all. I’m an afterthought” he reveals about the nature of his presence, and impact when a song is hot. “I get the vibe of the song right first, and I think that, to me, is the flow of it. The melody of it and how it sounds. I just need to weave in and out of it naturally”. No, not at all. More like in terms of, I had no sort of example of that type of effort ever in my life before, probably. But in other ways I’m quite good at the task, I could complete it in quite a haphazard way. But I’d never had to do anything of that nature to a concentrated type of past, and I couldn’t quite really ever believe I’d be able to do it. I don’t know. It was a fantasy more than anything.

Comments

As is common with a best-of, they have the power, if curated just right, to leave much to the imagination about where the artist is heading. The best-of is an opportunity to flash your badge at an audience in how far you have come, in spite of perhaps how many had you down as someone destined to decline, doomed to fall off, because you’re such-and-such’s son. Mine is, I suppose, unavoidably sad in some ways. We were forced to swim around the memories more than most because living in the vacuum that is a famous parent there are various events and things that seem unreal. You rely on those, even anecdotally, to slightly impress people around you, and you end up regurgitating almost constantly your life, or at least your early life. Without you realising it, it becomes a bit of a byproduct. I went into much greater detail in the book, of course, but then I’m probably more likely to talk about my life than other people. Maybe by writing it, I’m hoping to qualify the nonsense I’ve come out with in the past, or maybe it’s to create new nonsense!”

He writes of his mother, Betty, in a lighter, warmer way. You don’t have to read between the lines to sense that her presence was central to his emotional survival, yet he doesn’t necessarily see it that way. Oh yeah. I’m a tiny improvement but not that much. I actually shared the same account that my dad had. He had no bank account whatsoever. I have one debit card. Which I’ve lost. I don’t know where it is. Still pretty primitive which works to my advantage, that small amount of money that I had was not quite accessible. I live in quite a strange way. a b c "Baxter Dury, son of Ian, talks to David Peschek". The Guardian. 12 August 2005 . Retrieved 10 June 2020. It hit me in ways that such lyrical precision often does. But delivered here with a uniquely layered filter, a peculiar opportunity to turn the dial another degree and refocus, even reconfigure, our notions of what a book-about-a-boy-whose-dad-was-a-famous-pop-star can really reflect.Baxter Dury Has a Lot to Say, in Person and on a New Album". www.vice.com. November 2018 . Retrieved 18 June 2021. Although it’s filtered through your encounters with that kind of environment and the events which happened within, they’re essentially experiences that underpin a lot of people’s lives in one way or another. Be it relationship with dad, relationship with drugs, relationship with the law, rebelling against the education system, or being ostracised for signifying this sense of automatic otherness. It’s cool and nice that everyone can look through the magnifying glass. That everyone can take a trip in the time machine. That it’s not a rigid description of facts or a description of factual events but is a potent suggestion of childhood… Fast forward to now. I ask Baxter does he have any children, and he laughs, somewhat ruefully, as if he fully knew he’d be asked. “I have a son, and we have lived together for years. He’s now 18, we live in the same flat that I write about in the book, and he’s an entirely different species. Can he fry an egg? Actually, he’s completely useless in the kitchen, but there’s a different appreciation of parenting now, isn’t there? I’m much more dedicated to my son, but I think society has attended to or balanced that because everything in that area has changed, or mostly, anyway. Dad was someone who felt awkward in a parental role – he probably cooked twice for me in his life. That was odd but it didn’t feel wrong.”