tag:blogger.com,1999:blog-67366557275696805112024-03-15T16:57:24.834-07:00Denim DiscoThe Sound Of The 70'sDenim Discohttp://www.blogger.com/profile/06574040953592340498noreply@blogger.comBlogger116125tag:blogger.com,1999:blog-6736655727569680511.post-85350560743443082742023-10-24T10:11:00.004-07:002024-02-27T06:28:03.592-08:00SLADE ALIVE - EVERYONE'S A WINNER<p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbWp84BhQ2TCJTjid29AgfYgIH7l1OjScPpgNnJQYTlOSX1nWonfsGxo8JmP8LVI_K0hsnu8wRqXq3yN4DcaCk21EnEe41vMKNWxN7LSQ_-QMLYu5Sb360AtJrhL16iTtkPOFeTALPC7VNhgDR618CNQ-W0EdcAJEyYm5bMkeOSrl6s98x_gRD1IL_EI_H/s1382/Rock%20on%20the%20road%20cover.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1382" data-original-width="980" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbWp84BhQ2TCJTjid29AgfYgIH7l1OjScPpgNnJQYTlOSX1nWonfsGxo8JmP8LVI_K0hsnu8wRqXq3yN4DcaCk21EnEe41vMKNWxN7LSQ_-QMLYu5Sb360AtJrhL16iTtkPOFeTALPC7VNhgDR618CNQ-W0EdcAJEyYm5bMkeOSrl6s98x_gRD1IL_EI_H/s320/Rock%20on%20the%20road%20cover.jpg" width="227" /></a></div><p><br /></p><p>Published in 1976, '' ROCK ON THE ROAD '' was a collection of essays on some of the major ROCK and POP acts of the day with photos by MICK GOLD. The book contained an excellent contribution from SIMON FRITH who describes how SLADE '' Weaned the hooligans off the football terraces and back into the concert halls '' . FRITH attended their EARLS COURT show in JULY 1973 and GOLD took photos at HAMMERSMITH ODEON in MAY 1974. What follows is an excerpt from the article and all of the photos that originally accompanied it</p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoQMAE4VSfqlKVdw5ysy7zdkfVadeRV4evpOL3caIu_NNld-2fEZ9up_hqBWcLsh1dI0n1VQym2T9wCf5misSxH1kohmrqoF1Ss_RpBVPOE9vbhuA_fbQERXCBa5N_SPu1TfMoplpGIDIGH7A8KMHrB-bP7W7EM-CBQnEv0kyTZtYjFLjbgNgdF9lgM7E1/s2254/Slade%20Fans%20-%2001%20PNG.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1685" data-original-width="2254" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoQMAE4VSfqlKVdw5ysy7zdkfVadeRV4evpOL3caIu_NNld-2fEZ9up_hqBWcLsh1dI0n1VQym2T9wCf5misSxH1kohmrqoF1Ss_RpBVPOE9vbhuA_fbQERXCBa5N_SPu1TfMoplpGIDIGH7A8KMHrB-bP7W7EM-CBQnEv0kyTZtYjFLjbgNgdF9lgM7E1/w320-h239/Slade%20Fans%20-%2001%20PNG.png" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsgDpzf2fRH4OEgXRBdSchLyje8fzIEsNz0e8hpRW2gmvXy2B_vnekP73imBEyCbtu7WBKZC-r6jvargnA0M6U6Nuf03tpZKuyJEPCnbrTZ1B9Fctc0iAHSi_UIoyV6U6skPNjVO-CAZYjbRGDwjRNylti__C-rE_9jFaU1sKwRuKZIHCw1OhCIdINkQqO/s1958/Slade%20Fans%20-%2002%20PNG.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="840" data-original-width="1958" height="171" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsgDpzf2fRH4OEgXRBdSchLyje8fzIEsNz0e8hpRW2gmvXy2B_vnekP73imBEyCbtu7WBKZC-r6jvargnA0M6U6Nuf03tpZKuyJEPCnbrTZ1B9Fctc0iAHSi_UIoyV6U6skPNjVO-CAZYjbRGDwjRNylti__C-rE_9jFaU1sKwRuKZIHCw1OhCIdINkQqO/w400-h171/Slade%20Fans%20-%2002%20PNG.png" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><p>'' We went down the Kings Road first - a sunny afternoon and elegant accents, the shops were playing David Bowie and everyone looked suitably weary. French coffee and we got the tube at Sloane Square: it was packed with West Ham's North End. On their way rather than coming back, but happy like they'd already won. Scarves waving, shouting, elbowed ribs - no aggro, friendly but private. They knew something we didn't and by the time we reached Earls Court we'd picked up a Terrace Convention. Clenched greetings but they marched from the station at respectful distances. The singing began: rival anthems, graphic rudeness, but still no trouble. It was truce night. In the stadium the terraces came together and the enemy was outside '' </p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5z3QxDyIq-pOJmqj7OMa6tGQUe4qHGOUjDrwaIAjm8EgUuxBtQlHxvaY-z4SSNjvKBVz2E1VxoIfvh-lh_Rbw_pOXdxz50H-7HcRGiDIlr2cevqTe_Qp_fVmC1LSch5Jw_n40f930-RjopJczL6SoISj48j_Rs-ouvH44HSpGWKYvBJCWdv3FMGMiOGXv/s2765/Slade%20Fans%20-%2003%20PNG.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2765" data-original-width="1872" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5z3QxDyIq-pOJmqj7OMa6tGQUe4qHGOUjDrwaIAjm8EgUuxBtQlHxvaY-z4SSNjvKBVz2E1VxoIfvh-lh_Rbw_pOXdxz50H-7HcRGiDIlr2cevqTe_Qp_fVmC1LSch5Jw_n40f930-RjopJczL6SoISj48j_Rs-ouvH44HSpGWKYvBJCWdv3FMGMiOGXv/s320/Slade%20Fans%20-%2003%20PNG.png" width="217" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgfVOzCl58f6qpClmX3s1TI2-enzGkFxije2L1kkGV75Oh3AdAqrYZGvVa1e2q-pXQBD2sl6I60iI3mFdNvGCj-OKQ_dP0zN7UEU9y_88lDVQq95QDRRK7eFb_TT2uf1iHENErji4tl-jZMlizp8a_F8lqHj6hfk0ael1v3a-0-jcWl3dW4BMUCG1InHup/s2208/Slade%20-%2001%20PNG.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1685" data-original-width="2208" height="244" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgfVOzCl58f6qpClmX3s1TI2-enzGkFxije2L1kkGV75Oh3AdAqrYZGvVa1e2q-pXQBD2sl6I60iI3mFdNvGCj-OKQ_dP0zN7UEU9y_88lDVQq95QDRRK7eFb_TT2uf1iHENErji4tl-jZMlizp8a_F8lqHj6hfk0ael1v3a-0-jcWl3dW4BMUCG1InHup/s320/Slade%20-%2001%20PNG.png" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQCOVjqkR3dfzKpnqBcP_9WK0gPIrWp0-HKUnokZukh3M0c5J8HH0zw-P98qMeaM9lXm_1nebViIrGxR90OFz6F3SuzIfggFFZ9XTHK5h8VeNxUywbl1zymN22DjmBlI5UnW3bPqNW8CB_MQcTmY-BY-UQRX1kkF07z-eH-B7MVh-mxpnmly0nI7jOUwOH/s2247/Slade%20-%2002%20PNG.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1685" data-original-width="2247" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQCOVjqkR3dfzKpnqBcP_9WK0gPIrWp0-HKUnokZukh3M0c5J8HH0zw-P98qMeaM9lXm_1nebViIrGxR90OFz6F3SuzIfggFFZ9XTHK5h8VeNxUywbl1zymN22DjmBlI5UnW3bPqNW8CB_MQcTmY-BY-UQRX1kkF07z-eH-B7MVh-mxpnmly0nI7jOUwOH/s320/Slade%20-%2002%20PNG.png" width="320" /></a></div><p><br /></p><p>'' At a football match the energy of the crowd moves in response to what is happening on the field - it is almost possible to follow a game just by listening. Not completely though, because the bond between footballers and their audience is twisted by two factors. First the crowd is not at one: every moment of joy is someone else's moment of frustration, every step forward is someone's mistake. In games of particular excitement or boredom or skill or brutality the contradictory responses of rival fans can create a pitch of tension which quite transcends what is happening on the real pitch - the crowd's energy becomes self-generated. Secondly, although footballers do respond to their crowds, only rarely do they do so exactly. The crowd is willing them to break the limits of their and their comrades' skills, to ignore the reality of the opposition, the pitch, the weather. Mostly they can't and if you do listen to a football match what you hear is brief moments of exhilaration punctured by periods of lull '' </p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEho0TZNrmXb9Ai9HTW69QIp7CEYKTv1nD6N4bYs9TBosw-qXzcJt-1d_TflrrrhL_V-dHvgMfv6swBOG3n_IXjkGozKUfe9HCOGTtldxtfvXXW-ZIFowUZSQQBlm-ZIBFdFdopz9wQ5VQvy8zhvbFPx77lNPiKuvNEKTMeS_HihrLXuKLkmwwRKcfjBm08O/s1464/Slade%20Fans%20-%2004%20PNG.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1164" data-original-width="1464" height="254" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEho0TZNrmXb9Ai9HTW69QIp7CEYKTv1nD6N4bYs9TBosw-qXzcJt-1d_TflrrrhL_V-dHvgMfv6swBOG3n_IXjkGozKUfe9HCOGTtldxtfvXXW-ZIFowUZSQQBlm-ZIBFdFdopz9wQ5VQvy8zhvbFPx77lNPiKuvNEKTMeS_HihrLXuKLkmwwRKcfjBm08O/s320/Slade%20Fans%20-%2004%20PNG.png" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPJxV9LwJrR-z8YHam09imCzuM9_8Wve5EpRYS08bOXCOecIyXUWNc47xEQDqbpNnqBIOlwPu59cdyVfxgcoVcG_l2YlVLl8mHAMKEGUHTU2p9eV1H8gilSYEwFLQTG8MIvc6AJ7y6qeUQrgerTTBzqaRO1TSo98eNmvuIv_KwnSEAIa_1Ozwl5LAAWGhp/s1816/Slade%20Fans%20-%2005%20PNG.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="960" data-original-width="1816" height="169" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPJxV9LwJrR-z8YHam09imCzuM9_8Wve5EpRYS08bOXCOecIyXUWNc47xEQDqbpNnqBIOlwPu59cdyVfxgcoVcG_l2YlVLl8mHAMKEGUHTU2p9eV1H8gilSYEwFLQTG8MIvc6AJ7y6qeUQrgerTTBzqaRO1TSo98eNmvuIv_KwnSEAIa_1Ozwl5LAAWGhp/s320/Slade%20Fans%20-%2005%20PNG.png" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbUHaW3lKVWNMGgTmCbtF82y2jIBjAxmp8EadN8TkrEqPtbu8Kc2HY1FQnnU3KbutqnKnIr3BAZ696Vy6-jNYRIsVGVB8VG9WrtgPweS625jqSd8NuyBCNSI3Z_HXV5Pgx23DMuChNLxcE5cl8TJQsJd_2Qwubjllk6Yr8ZYwgLJM2MdoM1KDboaTwQXyP/s3666/Slade%20-%2005%20PNG.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2484" data-original-width="3666" height="217" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbUHaW3lKVWNMGgTmCbtF82y2jIBjAxmp8EadN8TkrEqPtbu8Kc2HY1FQnnU3KbutqnKnIr3BAZ696Vy6-jNYRIsVGVB8VG9WrtgPweS625jqSd8NuyBCNSI3Z_HXV5Pgx23DMuChNLxcE5cl8TJQsJd_2Qwubjllk6Yr8ZYwgLJM2MdoM1KDboaTwQXyP/s320/Slade%20-%2005%20PNG.png" width="320" /></a></div><p><br /></p><p>'' In it's cheerfulness and unselfconscious passion, Slade's concert was much more like a football match than any rock concert I'd ever seen. But it was unlike any football match too - Slade's bond with their audience was total and never broke: there were no twists. It was easy to say why: Slade's crowd was at one, they had <i>all</i> come to see Slade win and there was no opposition, no rival supporters, no reasons for bitterness: and Slade could and did respond to the crowds demands, they had no opponents to trip them, no lumpy turf, and although their musical skills are limited those weren't the skills they needed for this night anyway - skill here was not a matter of technique but of picking up moods and laying them down without missing a beat of the communal stomp '' </p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTNv4ww6AJFIg8R0xaQOrrTMYTKJro-YNh51XLsUZe9yLlgDm9RxB8ctyiyIG2Y16dfF5pGf6i_zKPXICpDwxLatOvB2W6Br_qeN36lL8BDhElfXdURJQFszuYz4nA1hxyjkC8XQ_WgnIkLqyM0qWxgcVK8S4sJpnDRdywkK2u8ldK-YPKat52o-gQIhp8/s2254/Slade%20-%2003%20PNG.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1685" data-original-width="2254" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTNv4ww6AJFIg8R0xaQOrrTMYTKJro-YNh51XLsUZe9yLlgDm9RxB8ctyiyIG2Y16dfF5pGf6i_zKPXICpDwxLatOvB2W6Br_qeN36lL8BDhElfXdURJQFszuYz4nA1hxyjkC8XQ_WgnIkLqyM0qWxgcVK8S4sJpnDRdywkK2u8ldK-YPKat52o-gQIhp8/s320/Slade%20-%2003%20PNG.png" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDiJ2EtbI7zxdpTQGuNWofSjBtlBCxp_WFZJcbvAPwdAL6Wbc3pb6HOzM9xOraEa20RpbEZlyry6iFuoZIPei8vBI6P4Y_-3RVwJj-oh5jkwyHEhJFsaDHJbLAyaCwyAB5ZjTbwLuBAYQhMYPQ3keDweQHY54eeQacP37z4G-hQHtI3JWbt0Rb6bEF-L6w/s2251/Slade%20-%2004%20PNG.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1682" data-original-width="2251" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDiJ2EtbI7zxdpTQGuNWofSjBtlBCxp_WFZJcbvAPwdAL6Wbc3pb6HOzM9xOraEa20RpbEZlyry6iFuoZIPei8vBI6P4Y_-3RVwJj-oh5jkwyHEhJFsaDHJbLAyaCwyAB5ZjTbwLuBAYQhMYPQ3keDweQHY54eeQacP37z4G-hQHtI3JWbt0Rb6bEF-L6w/s320/Slade%20-%2004%20PNG.png" width="320" /></a></div><br /><p><br /></p>Denim Discohttp://www.blogger.com/profile/06574040953592340498noreply@blogger.com0tag:blogger.com,1999:blog-6736655727569680511.post-52587786351815936072023-10-12T08:31:00.003-07:002023-10-16T04:51:45.203-07:00BURUNDI BLACK<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCumNBuog2HRPt9Ot8EHr-K7TUagmnetXXHpsC0xnS0cLxpzBG-Kzv6m9OWzgyFsBVgn0tHqVPvXQhTue7Se23zx-E3JpnrbPPpbeSTVxRRqk5nFHyRQjJKjBm6XAgqCUI1AguCN6l2UUv-KVXspqXW-MQDKkBk1Wi4BWD9Dl4F1Q0HmtTkg24DigZ5hyL/s600/BB%20-%20Sleeve.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="596" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCumNBuog2HRPt9Ot8EHr-K7TUagmnetXXHpsC0xnS0cLxpzBG-Kzv6m9OWzgyFsBVgn0tHqVPvXQhTue7Se23zx-E3JpnrbPPpbeSTVxRRqk5nFHyRQjJKjBm6XAgqCUI1AguCN6l2UUv-KVXspqXW-MQDKkBk1Wi4BWD9Dl4F1Q0HmtTkg24DigZ5hyL/s320/BB%20-%20Sleeve.jpg" width="318" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div>'' BURUNDI BLACK '' is an early 70's FRENCH 45 that has interesting origins and a far reaching influence. The basis of the track was a ' FIELD RECORDING ' taken in BURUNDI, a small independent state in SUB-SAHARAN AFRICA. The recording was included on the LP '' MUSIQUE DU BURUNDI '' , issued on the FRENCH OCORA LABEL in 1968. It featured the CHANTING and DRUMMING of the people of THE BUKIRASAZI COMMUNE in CENTRAL BURUNDI. The techniques of playing and drum making are passed down from father to son and the music and performance have been used in ceremonies for hundreds of years <br /><div><br /><div><div><br /><div><iframe frameborder="0" height="360" src="https://youtube.com/embed/pVsq-9XUnNQ?si=9TlcrLnOejZNJuvU" width="480"></iframe></div></div></div><div><br /></div><div><br /></div><div>In 1971 a FRENCH RECORD PRODUCER named CLAUDE FRANCOIS augmented the recording with PIANO, CLAVINET and GUITAR parts for a 7'' SINGLE that was issued on BARCLAY RECORDS under the name '' BURUNDI STEIPENSON BLACK ''. The B-SIDE of the record contained an edited version of the original recording</div><div><br /></div><div><br /></div><div><iframe frameborder="0" height="360" src="https://youtube.com/embed/71CFK3ufp3E?si=D23nXORIZY4gT8z-" style="background-image: url(https://i.ytimg.com/vi/71CFK3ufp3E/hqdefault.jpg);" width="480"></iframe></div><div><br /></div><div><br /></div><div>The recording was picked up by CLUB DJ's and became a CULT RECORD in UNDERGOUND DISCOTHEQUES. It also sold well in a number of countries, including the UK where it reached number 31 in the SINGLES CHART. The RHYTHM OF BURUNDI was now ' out of the bag ' and continued to inspire other WESTERN MUSICIANS in the proceeding years. JONI MITCHELL used the same recording of THE BUKIRASAZI DRUMMERS on a song called '' THE JUNGLE LINE ''. The track was included on her 1975 LP '' THE HISSING OF SUMMER LAWNS '' . Sadly, like CLAUDE FRANCOIS, she proved to be A SNAKE and claimed sole songwriting credit!</div><div><br /></div><div><br /></div><div><iframe frameborder="0" height="360" src="https://youtube.com/embed/vF2_1Jfgo4I?si=UYcL40lUiKUMqMqU" width="480"></iframe></div></div><div><br /></div><div><br /></div><div>'' BURUNDI BLACK '' also proved to be an influence on POST PUNK music in the UK at the start of the next decade. '' C·30 C·60 C·90 GO '' by BOW WOW WOW and '' KINGS OF THE WILD FRONTIER '' by ADAM AND THE ANTS both utilized BURUNDI STYLE TRIBAL DRUMMING. The former was a minor hit towards the end of '81 { reaching number 34 } and the later climbed to number 2 at the start of the following year. The MUSIC PRESS began to use the term ' BURUNDI BEAT ' and a new arrangement of '' BURUNDI BLACK '' was created by JEAN PHILIPPE ILIESCO with the help of DJ RUSTY EGAN, giving the sound new life on the dancefloor </div><div><span face="sans-serif" style="background-color: white; color: #202122; font-size: 14px;"><br /></span></div><div><span face="sans-serif" style="background-color: white; color: #202122; font-size: 14px;"><br /></span></div><div><iframe frameborder="0" height="360" src="https://youtube.com/embed/d727nJUC5Tg?si=xsnLrjpqDNLFvrM8" width="480"></iframe></div><div><br /></div><div><br /></div><div>The BURUNDI DRUMMERS never received a penny from the SAMPLING of their playing or the CULTERAL APPROPRIATION of their sound and only began to benefit when they were brought to the UK for the first WORLD OF MUSIC, ARTS AND DANCE FESTIVAL in 1982. They displayed their skill and tradition to an enraptured audience and have since conducted TOURS AROUND THE WORLD, recorded THREE ALBUMS and appeared in WERNER HERZOG'S film FITZCARRALDO </div><div><br /></div><div><br /></div><div><iframe frameborder="0" height="360" src="https://youtube.com/embed/8eOFYWPxe7s?si=bwpOn2FLcmm-y9UT" width="480"></iframe></div><div><br /></div><div><br /></div><div><a href="https://www.worldmusic.co.uk/drummers_of_burundi#:~:text=%22The%20Drummers%20of%20Burundi%20first,Maclaren%20and%20Bow%20Wow%20Wow." target="_blank">LINK FOR DRUMMERS OF BURUNDI</a><br /></div><div><br /></div>Denim Discohttp://www.blogger.com/profile/06574040953592340498noreply@blogger.com0tag:blogger.com,1999:blog-6736655727569680511.post-9688856168174321762023-10-11T07:36:00.001-07:002023-10-11T13:11:36.029-07:00SPARKS ON THE MIDNIGHT SPECIAL TV SHOW 1974<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUY0lhixp-pFAgfxJWoB09OcT5Z89v_7yKok_UDl2hfXKtJzfiLdOqAZSQJZCjXt76M87oIb93Ju-EB7E_NXZto21GqRdq7onNFG5iFxDipC95weKK7oEoeKBE4guSKo8QLT43bxgv5nnWEw6mbbSf5Vwfsr7W__pYFQFcyPMLFgTLuhC95VVEHlGUVvhe/s900/Midnight%20Special.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="900" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUY0lhixp-pFAgfxJWoB09OcT5Z89v_7yKok_UDl2hfXKtJzfiLdOqAZSQJZCjXt76M87oIb93Ju-EB7E_NXZto21GqRdq7onNFG5iFxDipC95weKK7oEoeKBE4guSKo8QLT43bxgv5nnWEw6mbbSf5Vwfsr7W__pYFQFcyPMLFgTLuhC95VVEHlGUVvhe/s320/Midnight%20Special.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div>
Footage of GROUPS and SINGERS performing on TV SHOWS in the 70's turn up regularly on YouTube. They're always great to see, but more often than not, are unofficial and in fuzzy ' bootleg ' quality. THE MIDNIGHT SPECIAL YOUTUBE CHANNEL began a few months ago and sets a new standard that will hopefully be followed by others. The performances from the LEGENDARY US TV SHOW are all fully remastered and restored from the original tapes and a wealth of great artists from the era are included. A recent addition to this amazing archive is a dazzling four song set from SPARKS that was originally broadcast on November 15, 1974. All four numbers were taken from their third studio album '' KIMONO MY HOUSE ''
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<iframe frameborder="0" height="270" src="https://youtube.com/embed/-IVTSdF-YzI?si=hzcHfKy4r0eveJNq" width="480"></iframe><div><br /></div><div><a href="https://www.youtube.com/@themidnightspecialtvshow" target="_blank">The Midnight Special YouTube Channel</a><br /></div>Denim Discohttp://www.blogger.com/profile/06574040953592340498noreply@blogger.com0tag:blogger.com,1999:blog-6736655727569680511.post-37931715192826160382023-08-08T06:52:00.007-07:002023-08-08T09:53:12.260-07:00STARING AT THE RUDE BOYS WITH COLIN MCGLASHAN <div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjddjBrTd51xzVw_h-D9xuuNUV5VoOORbhx4u3VtU434cbTxpZ4jwOsBvyGh0Hr1lfD5LmdPboQ19I_OybXk7qMNT0YPsv7YEI2BdpIlscvnZO3RfCqEu3vwabIheO1A50InkPeHsEBvVtO65zacIBez4Uz0WNB7tP1-10DS-53YwA6aoWXfA0HwE2HByb-/s1189/Sunday%20Times%20Reggae%20cover%201973%20Jpeg.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1189" data-original-width="939" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjddjBrTd51xzVw_h-D9xuuNUV5VoOORbhx4u3VtU434cbTxpZ4jwOsBvyGh0Hr1lfD5LmdPboQ19I_OybXk7qMNT0YPsv7YEI2BdpIlscvnZO3RfCqEu3vwabIheO1A50InkPeHsEBvVtO65zacIBez4Uz0WNB7tP1-10DS-53YwA6aoWXfA0HwE2HByb-/s320/Sunday%20Times%20Reggae%20cover%201973%20Jpeg.jpg" width="253" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><p>The following is an extract from a SUNDAY TIMES MAGAZINE FEATURE on REGGAE SOUND SYSTEMS in LONDON. It was written by COLIN MCGLASHAN and focuses on the interaction between second generation West Indian teenagers and their white counterparts in East London. The full article was originally published in on 4th FEBURAY 1973</p><p>'' East London is different. There is a relationship between black and white. You can taste it in Dalston market and not in Brixton and Shepherds Bush. It is not liberal tolerance, not always even liking. It is respect based on similar values: family, toughness, extrovert warmth. In 1968-9, a new generation of black Cockneys threatened to become the East End's trendsetters. In street football games they picked the sides, scored the goals, settled the arguments. It was a time when what was being peddled as pop music might as well have been Beethoven. ' Underground ' music at two quid something an album, freaky lollipop heroes you couldn't admire...it didn't take down the Mile End Road. In the youth clubs, the black teenagers had what the girls wanted: not super-sexuality, but style, social confidence, and music you could dance to. Out of that equation came the skinheads, London's white Rudies: their music was Reggae</p><p>There followed a strange period when black and white girls and boys mixed in the East End's clubs and discos with an ease and casualness you could see nowhere in England, perhaps nowhere at all. It seemed almost impossible to use words like ' integration '. Thanks to the adults, it didn't last</p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZMW4TPhJPEuiEMu7rEX_dBlUTfvWTg_-OfmFxqx1XAhN6dEI1nFE_M_Oa1zXYBChMNcfk-QJNDhihFXnGquCuJLYUTWXpgUWINuJ6wLtePn5UayYJKmtPqcTshe1v22cLpeJ0ocEmr27hNBXfm6HwlyfmEVaZwoqo3XjBIxU4idHN0FjFtXIbyZeFSWOY/s3744/EX%20-%2007.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1524" data-original-width="3744" height="261" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZMW4TPhJPEuiEMu7rEX_dBlUTfvWTg_-OfmFxqx1XAhN6dEI1nFE_M_Oa1zXYBChMNcfk-QJNDhihFXnGquCuJLYUTWXpgUWINuJ6wLtePn5UayYJKmtPqcTshe1v22cLpeJ0ocEmr27hNBXfm6HwlyfmEVaZwoqo3XjBIxU4idHN0FjFtXIbyZeFSWOY/w640-h261/EX%20-%2007.jpg" width="640" /></a></div><p><br /></p><p>English society has always reacted with paranoia to groups of working-class teenagers in uniform - Teddy-boys, mods and rockers, skinheads. It credits them with starting patterns of delinquency that already exist, with alarmist publicity that ensures imitators to make the myth come true. Paki-bashing wasn't new. It attracted attention only when performed by another visible minority. Once it was unearthed by the media, most East End teenagers couldn't get out of their braces fast enough. While the Midlands and Manchester rushed to buy a cherry-reds and Ben Shermans, down in Bethnal Green you could almost <i>hear</i> the hair grow</p><p>What followed was London's great Reggae War. Black teenager's suddenly found youth clubs attractive. Starved for years of anywhere of places that would let them in, they travelled across London to anywhere with good sounds. They arrived twenty, fifty, even a hundred at a time. Some youth leaders with near-empty clubs were delighted: most neighbours weren't. Police virtually picketed some clubs and discos at closing-time: mayhem, predictably followed. White youngsters who had been happy with a one-third black minority, found themselves outnumbered: they fled or called in reinforcements of heavies. The game of musical clubs lasted perhaps nine months. Black teenagers wandered round a shrinking circle of youth clubs that played their music, to the accompaniment of clashes, residents petitions, frantic committee meetings. Most clubs chucked their Reggae records in the dustbin. Segregation returned</p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSyoDNm9mkWKQ4tmtpJ63QkGuCPNisK8W6GnaiLm09ojT7qw8ohjQOhHOpQZA30AYKsZv6AJ4UROBp1Ubgu82-d66drmfqYOKN6ULUIj3EFgT4k1X6gVooebbgYz5D_54rcnBO5JpXqXERqBvnQoHS0zg45Ue4IgquA2-osA0YMoMUZEjJ8xBKW0fW22aU/s3744/EX%20-%2006.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1524" data-original-width="3744" height="260" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSyoDNm9mkWKQ4tmtpJ63QkGuCPNisK8W6GnaiLm09ojT7qw8ohjQOhHOpQZA30AYKsZv6AJ4UROBp1Ubgu82-d66drmfqYOKN6ULUIj3EFgT4k1X6gVooebbgYz5D_54rcnBO5JpXqXERqBvnQoHS0zg45Ue4IgquA2-osA0YMoMUZEjJ8xBKW0fW22aU/w640-h260/EX%20-%2006.jpg" width="640" /></a></div><p><br /></p><p>But the skinheads had changed something. As late as the spring of 1971, you could see the juniors from the Mile End Mob at Sloopy's Disco or the A-Train, wearing West Indian-inspired gear like long open overcoats { a fad taken up by white youngsters around Brixton and translated into the crombie } and stingy-brim hats. They were dancing hesitantly to reggae and American soul numbers with lyrics like '' going back to Af-ri-ca 'coz I'm black '' . Remembering the generations of West Indians whose teachers obliged them to chant '' Bri-tons never-never-never shall be slaves '', those white youngsters presented a pleasantly ironic spectacle </p><p>No white kid, one of Britain's leading pop gurus told me confidently in 1971, is ever going to dig James Brown, much too strong.... A month later, James Brown's Albert Hall concert drew a sixty per cent white crowd. The black kids listened decorously; it was the ex-skinheads who leapt up and down and danced in the aisles and rushed for chartered buses for his second show in the East End. A devoted minority of white working-class teenagers haunt the Brixton reggae shops. And at Tiffanys, Mecca's archly renamed palais-de-danse at Ilford, there isn't a black face in sight. But peering through the plastic palm-fronds from the balcony, you can spot the thighs that have learned to move to other rhythms, learned, indeed, to dance to a very different drummer. The DJ plays two Otis Reddings and then James Brown. '' And we're really getting it together down there.... A lot of sex machines here tonight. ''</p><p>* The photos that accompany this article are screenshots from the documentary film EXTREMES. They show members of an EAST LONDON BLACK STREET GANG called THE BATTERY BOYS, who were being interviewed alongside their WHITE ASSOCIATES. The film was shot in 1970 and released the following year</p>Denim Discohttp://www.blogger.com/profile/06574040953592340498noreply@blogger.com0tag:blogger.com,1999:blog-6736655727569680511.post-34749643007542535952023-08-01T16:04:00.003-07:002023-08-01T16:33:45.607-07:00PUNCH ON THE ROAD - A BBC DOCUMENTARY FROM 1976 <div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLzf2WIVHjKZutk1Hyq8pjYf5kv9X2_18YPplD2W2cqfX_TkE0S4C3Mc2ZdA_YCa4NV79GJUUQ0uCD-0gZaxcLGrS0umtk12GZ8mVQYVfXY0EQ4807e6lnFrCOfmuqaP1fQwVKzB3O90RM_ch8kqolmO53asGW3Yt4V04mXEB8U2C51O7mLoc-oJj_KOnh/s1363/Punch%20-%2001.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="704" data-original-width="1363" height="165" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLzf2WIVHjKZutk1Hyq8pjYf5kv9X2_18YPplD2W2cqfX_TkE0S4C3Mc2ZdA_YCa4NV79GJUUQ0uCD-0gZaxcLGrS0umtk12GZ8mVQYVfXY0EQ4807e6lnFrCOfmuqaP1fQwVKzB3O90RM_ch8kqolmO53asGW3Yt4V04mXEB8U2C51O7mLoc-oJj_KOnh/s320/Punch%20-%2001.jpg" width="320" /></a></div><p><br /></p><p>'' In May they took a big gamble, they gave up their jobs, got themselves an agent and became full time professional musicians. That summer was the most exciting time of their lives. There was the possibility of a recording contract and the chance to audition for Opportunity Knocks. they'd all tried to make it before and failed every time, but somehow they thought this time would be different '' </p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDyjDB8vEPuwcKDqsHXpTOTmrqb5c-TxP7l9mrilQrMjQOVzNoC7tT7kyKFhjEkjwjgZdaJD9Dhrvsa03qQVnW8wMBvIhx4RvEP9vsG-i0VHyBjFrmN0NZjSfmfzW1Z0au7qc-BKJjfGGTncWPN-JwEobnYI2geoALIzG6IyZb4Wn33BNs3gMfA1VToUMl/s1364/Punch%20-%2005.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="705" data-original-width="1364" height="165" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDyjDB8vEPuwcKDqsHXpTOTmrqb5c-TxP7l9mrilQrMjQOVzNoC7tT7kyKFhjEkjwjgZdaJD9Dhrvsa03qQVnW8wMBvIhx4RvEP9vsG-i0VHyBjFrmN0NZjSfmfzW1Z0au7qc-BKJjfGGTncWPN-JwEobnYI2geoALIzG6IyZb4Wn33BNs3gMfA1VToUMl/s320/Punch%20-%2005.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiv1ilC3ErT4WGGmtF40l5Jx9NwrRkV3LXq7T4FHKqXUeaIvs5Fxmldzl_Fc_7K1RS5Q18csvcFT91RtTMrLWVzbjDrZqDzb4IHjc85IiVa9Nv8-Pi7UMIxdowf6OCZ2yBYEla2kH457gmEoL0uqeWsyiCBT4dtNoK8rZErHqUXcivU5mRWUQPCv4CUMOcS/s1365/Punch%20-%2002.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="706" data-original-width="1365" height="166" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiv1ilC3ErT4WGGmtF40l5Jx9NwrRkV3LXq7T4FHKqXUeaIvs5Fxmldzl_Fc_7K1RS5Q18csvcFT91RtTMrLWVzbjDrZqDzb4IHjc85IiVa9Nv8-Pi7UMIxdowf6OCZ2yBYEla2kH457gmEoL0uqeWsyiCBT4dtNoK8rZErHqUXcivU5mRWUQPCv4CUMOcS/s320/Punch%20-%2002.jpg" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><p>Bradford's PUNCH were a hard working HARMONY POP band who plied their trade around WORKING MEN'S CLUBS in the NORTH OF ENGLAND. A film crew from THE BBC followed them during the hot summer of '76 as they attempted a step up into the big time</p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixHLEQYoBaeW9t3ytGp3Wx7gSZyFESi_IG_bwFq0Wuqzwe7DqXs-0ZEEXN-Vf3h_hy3gbtQQd7gChmwxDnTIEjnrxJYijd1n-lY2oXQkeCzc2TvW81cNoBYSDqYzo9Ak4JyGk-H86lfnvrXf10fyLsGWcEnYlRB55c8LkDNMV6O9x7R8c8j5qtMTf99Xmy/s1366/Punch%20-%2004.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="768" data-original-width="1366" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixHLEQYoBaeW9t3ytGp3Wx7gSZyFESi_IG_bwFq0Wuqzwe7DqXs-0ZEEXN-Vf3h_hy3gbtQQd7gChmwxDnTIEjnrxJYijd1n-lY2oXQkeCzc2TvW81cNoBYSDqYzo9Ak4JyGk-H86lfnvrXf10fyLsGWcEnYlRB55c8LkDNMV6O9x7R8c8j5qtMTf99Xmy/s320/Punch%20-%2004.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><p style="text-align: left;">The band are captured playing sets that mainly consist of the popular tunes of the day. At a gig in SUNDERLAND they're rewarded with £43 for playing three 40 minute spots </p><p style="text-align: left;">'' You brainwash yourself into thinking you're going to make it, otherwise I don't think you would carry on''</p></div><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgY4sY7ACoCe88wnEC06QGcm5rXAK865wrH0KjREXKu8CM0Qb1lVR4qTicyPaa3bpXYtuqE_02p-oCIGxaR8x_hVWAIsdcJVtPJwghSJgWYoBv8KqgCExP-mUpRVogXfcADCu-s3V-f81g6GhKCG1WmV07ton0bTfd2twjCFtsa1cotp8C9mpPFFczWDeD9/s1362/Punch%20-%2003.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="705" data-original-width="1362" height="166" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgY4sY7ACoCe88wnEC06QGcm5rXAK865wrH0KjREXKu8CM0Qb1lVR4qTicyPaa3bpXYtuqE_02p-oCIGxaR8x_hVWAIsdcJVtPJwghSJgWYoBv8KqgCExP-mUpRVogXfcADCu-s3V-f81g6GhKCG1WmV07ton0bTfd2twjCFtsa1cotp8C9mpPFFczWDeD9/s320/Punch%20-%2003.jpg" width="320" /></a></div><p><br /></p><p>The film shows them passing an audition for OPPORTUNITY KNOCKS and their continuous slog the clubs while they search for a record contract. It ends with them playing a cover of the KINCADE hit '' DREAMS ARE TEN A PENNY '' to a receptive audience</p><p>'' We all just want to make a better living than we are now. If we didn't get into the top ten and get international recognition, I'm sure if our money went up, we would be happy '' </p><p><br /></p><p>WATCH THE FULL DOCUMENTARY ON YOUTUBE:</p><p><br /></p><p><iframe frameborder="0" height="360" src="https://youtube.com/embed/_DxLtuK3pD4" style="background-image: url(https://i.ytimg.com/vi/_DxLtuK3pD4/hqdefault.jpg);" width="480"></iframe></p><p><br /></p><p>The promised OPPORTUNITY KNOCKS appearance didn't transpire, but the band secured a RECORD DEAL with the RED BUS label and recorded a song penned by MITCH MURRAY and PETER CALLANDER. The pair had recently scored some big hits for PAPER LACE and '' BALLAD OF THE GOOD LUCK CHARM '' was in a similar vein to those . The single was released in NOVEMBER of that year, but their luck wasn't in and the single failed to chart</p><p><br /></p><p> <iframe frameborder="0" height="270" src="https://youtube.com/embed/s7IDs5Rm1pE" width="480"></iframe></p><p><br /></p>Denim Discohttp://www.blogger.com/profile/06574040953592340498noreply@blogger.com1tag:blogger.com,1999:blog-6736655727569680511.post-26627168843210743202023-07-28T14:56:00.001-07:002023-07-31T14:45:06.041-07:00TWO SUPER RARE JUNKSHOP GLAM TUNES ARE BACK ON '45<p><br /></p><p>JUST ADD WATER RECORDS have recently issued two of the RAREST 70's JUNKSHOP GLAM numbers on 7'' VINYL </p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkUg6STo1IcAf8ExlBqmPSEgLdFr91CQuMe-sr0fNflPYFMFZfZdIhkhR2l4i4BYYInT3hQveyuxqx_q6Yl3eHEjLkZfDmMIxTQ_Vthe98JCuD7fKjLMWCz3De4hKx3N9OQ3T8Kq9fHJtPX6w-5bZ7Ub3TA86dX9rAKdDnyoa419fmp0CKSkbxfxAorj5D/s600/It%20Came%20In%20The%20Night%20Sleeve.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkUg6STo1IcAf8ExlBqmPSEgLdFr91CQuMe-sr0fNflPYFMFZfZdIhkhR2l4i4BYYInT3hQveyuxqx_q6Yl3eHEjLkZfDmMIxTQ_Vthe98JCuD7fKjLMWCz3De4hKx3N9OQ3T8Kq9fHJtPX6w-5bZ7Ub3TA86dX9rAKdDnyoa419fmp0CKSkbxfxAorj5D/s320/It%20Came%20In%20The%20Night%20Sleeve.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><p>'' IT CAME IN THE NIGHT '' by A RAINCOAT first saw release in the UK on EMI RECORDS in 1976. The ART GLAM outfit were led by ANDY ARTHURS who went on to produce a number of NEW WAVE acts, including 999, THE SOFT BOYS, TONIGHT and LITTLE BO BITCH. The recording sits somewhere between the MIKE BATT penned '' HUMPHREY SONG '' and the TWISTED NURSERY RHYME feel that SYD BARRET utilized in early PINK FLOYD numbers. Underground film maker KENNETH ANGER later used the song in the soundtrack to his movie RABBIT'S MOON. The JAW release features a picture sleeve { originals came in a standard company one } and a new B-SIDE "Vote For Me"</p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgUTe9UlKIEYUuPq4wPFNcYkBx9qpvK3gYBjgWuKmn3gtuzHMkRse55T_3dTplOSOKMx4aIgoa75RlbYojhKfN9D_nk9aEzOrbgOdgvP87MDRV3s6GcRpVZATgTXW8CGZVbk7cbvnOH_-bBZTdqmSKk5MZ6laVdoktYbabcC6pjDWUbPDtPvh_9sy0hAXg/s600/We%20Dont%20Care%20Sleeve.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgUTe9UlKIEYUuPq4wPFNcYkBx9qpvK3gYBjgWuKmn3gtuzHMkRse55T_3dTplOSOKMx4aIgoa75RlbYojhKfN9D_nk9aEzOrbgOdgvP87MDRV3s6GcRpVZATgTXW8CGZVbk7cbvnOH_-bBZTdqmSKk5MZ6laVdoktYbabcC6pjDWUbPDtPvh_9sy0hAXg/s320/We%20Dont%20Care%20Sleeve.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div>
''WE DON'T CARE '' by GUMBO could originally be found on the B-SIDE of '' THE DEVILS '', a disc that seems to have sunk without trace when it was released in selected EUROPEAN COUNTRIES in '74. Fittingly JAW have switched it to the A-SIDE for this release. It's a high energy GLAM / PROTO PUNK stomper that predates similar sounding numbers by THE RUNAWAYS. The song also turned up on a 4 song EMIDISC ACETATE which was simply marked as ' GIRL GROUP '. Nothing else seems to be know about the band. In case you are wondering: The photo on the sleeve is of an ALL MALE group called THE GOOD SHIP LOLLIPOP. It was used for the original release and presumably a GUMBO group shot is still to surface<div><br /></div><div>* VINYL COLLECTORS TAKE NOTE: BOTH OF THESE RECORDS ARE LIMITED TO 300 COPIES EACH AND CAN BE BOUGHT DIRECTLY FROM JUST ADD WATER RECORDS</div><div><br /></div><div><a href="https://jawuk.bigcartel.com/" target="_blank">Just Add Water UK Shop</a><br /></div><div><br /></div><div><a href="https://justaddwaterrecords.bigcartel.com/" target="_blank">Just Add Water Shop { for rest of world }</a><br /></div><div><h1 class="title_1q3xW" style="font-family: "Helvetica Neue", Helvetica, "Nimbus Sans", Arial, sans-serif; font-size: 20px; grid-area: 1 / 2 / 2 / 3; hyphens: auto; margin-bottom: 0.25rem; margin-left: 1rem; margin-top: 0px; overflow-wrap: anywhere;"><br /></h1></div>Denim Discohttp://www.blogger.com/profile/06574040953592340498noreply@blogger.com0tag:blogger.com,1999:blog-6736655727569680511.post-86256608040636172812023-02-23T04:51:00.001-08:002023-02-23T13:54:33.689-08:00ELEPHANT STOMP - A COLLECTION OF 70's INSTRUMENTAL ROCKERS<div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOxIxnE39Y8S6fXHC1gOcAFT2WFyx2Yh-8qspfFEr4XsGzk7HCaU0KiewaSJi0g3GBXwlBDhqVGCZQEmlv4DpZPnX02quqb3BdzIF5ChP345hFYr3pWS4NTfQ_QzliNlgT2vs4VNNhqrUkvsDBFRh-Kmc5OQvJ0UY3BuDrlDmJvINFvtNXGhz6UtleIg/s480/ES.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="480" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOxIxnE39Y8S6fXHC1gOcAFT2WFyx2Yh-8qspfFEr4XsGzk7HCaU0KiewaSJi0g3GBXwlBDhqVGCZQEmlv4DpZPnX02quqb3BdzIF5ChP345hFYr3pWS4NTfQ_QzliNlgT2vs4VNNhqrUkvsDBFRh-Kmc5OQvJ0UY3BuDrlDmJvINFvtNXGhz6UtleIg/s320/ES.jpg" width="320" /></a></div><p><br /></p><p>During the past few years, the NAUGHTY RHYTHM label have issued a series of EURO DISCO / FUNK compilations in the form of the COSMIC DISCOTHEQUE series. These VINYL ONLY releases are is a must for lovers of ARCANE 70's OBSCURITIES and the most recent addition '' ELEPHANT STOMP '' focuses on GLAM ROCK related INSTRUMENTALS </p><p>SIDE ONE fittingly kicks off with '' ELEPHANT STOMP '' by GALAHAD. The track was the B-SIDE of their 1972 release '' ROCKET SUMMER ''. The band were a UK studio project created by singer / songwriter GERRY MORRIS and producer TONY ASHDON. Stylistically it follows on from the densely textured PSYCH / GLAM crossover of the A-SIDE, but here the rhythm track is allowed a little space to breathe, presenting a nice contrast. Second up is '' THETA '', the B-SIDE of the 1974 JUNKSHOP classic '' MORNING BIRD '' by THE DAMNED. The track was originally issued with a vocal in the previous year as '' DOCTOR ROCK '' by KID ROCK.. Both versions were issued on the YOUNGBLOOD label. It's a FAST TEMPO, SYNTH LED ROCKER driven by PRESTON EPPS style BONGO WORK </p><p><br /></p><p>THE DAMNED - THETA</p><p><iframe frameborder="0" height="360" src="https://youtube.com/embed/6tBagKnxzng" style="background-image: url(https://i.ytimg.com/vi/6tBagKnxzng/hqdefault.jpg);" width="480"></iframe></p><p><br /></p><p>'' ROCKET MAN '' by ELECTRIC TEAM is a FRENCH SYNTH ROCK number that was issued on the EURODISC label in 1974. The tune was penned by PHILIPPE RENAUX, who added a vocal to the track and issued it with his band ROCKETS the same year. The feel and melody bear some relation to '' ON THE ROAD AGAIN '' by CANNED HEAT, a song that was tellingly covered by ROCKETS a few years on, but it's one of the strongest tracks on the comp and a testament to how well the French were able to utilize SYNTHERSIZERS in the production of catchy POP INSTRUMENTALS { '' PEPPER BOX '' by THE PEPPERS being another example from the same year } </p><p><br /></p><p>ELECTRIC TEAM - ROCKET MAN</p><p><iframe frameborder="0" height="360" src="https://youtube.com/embed/6BNBA0sLnFI" width="480"></iframe></p><p><br /></p><p>'' ROCK AND ROLL DRUMMER '' by DUCTCH outfit THE ROCKETS is another obscurity highly cherished by lovers of JUNKSHOP GLAM. Here we have the B-SIDE: '' PART TWO '' . The 45' was issued on the PHILLIPS label in 1974 and it's a ROCKING DRUM FEATURE as the title indicates. The record appeared in the wake of UK Drummer COZY POWELL's '' DANCE WITH THE DEVIL '' hit. POWELL had taken inspiration from SANDY NELSON's '' LET THERE BE DRUMS '' and '' TEEN BEAT '' , which were recorded during the INSTRUMENTAL ROCK trend of the early 60's. THE ROCKETS used the same basic ingredients and threw in a little spice from the MORTON STEVENS / VENTURES '' THEME FROM HAWAII FIVE-0 ''. A very tasty concoction!</p><p><br /></p><p>THE ROCKETS - ROCK AND ROLL DRUMMER { PART TWO }</p><p><iframe frameborder="0" height="360" src="https://youtube.com/embed/lz2cfPAZgPU" style="background-image: url(https://i.ytimg.com/vi/lz2cfPAZgPU/hqdefault.jpg);" width="480"></iframe></p><p><br /></p><p>'' B SIDE STOMP '' by BLITZ was the FLIP SIDE of '' MELODY LADY '', a FRENCH release from 1973 on the EURODISC POP label. It's a A WIGGED OUT PSYCH ROCKER that wouldn't sound out of place if it appeared on the SOUNDTRACK to a JESS FRANCO EXPLOITATION MOVIE. '' BIG TROUBLE { PART TWO } '' by T.N.T closes the first side. The band were a studio outfit created by JEREMY PAUL and PAUL LYNTON. The duo oversaw a number of projects in the early 70's and worked with the band HECTOR on their classic GLAM ROCK 45's. '' PART TWO '' elongates the break from the A-SIDE into a barely tethered BONGO BEATING, TRIBAL RAVE-UP. Surprisingly the number peters out at around the minute mark, but the track fades in, so it was possibly the climax of a much longer jam . A 1972 release on the UK JAM LABEL { which was a short lived venture connected to D.J.M } </p><p><br /></p><p>T.N.T - BIG TROUBLE { PART TWO }</p><p><iframe frameborder="0" height="360" src="https://youtube.com/embed/Y4jL89YtnkE" width="480"></iframe></p><p><br /></p><p>SIDE TWO starts with '' SLOW ROCK '' by K. W. Winston. The track isn't slow { breezing along at 140BPM }, but it certainly is rocking and the steady ROLLING SNARE BEAT, RAW GUITAR CHORDS and SAXOPHONE BLASTS revamped the 1950's INSTRUMENTAL ROCK sound of DUENE EDDY and LINK WRAY for the 1970's. The track appeared on the ARIOLA label in 1974 as the FLIP SIDE to '' DON'T ASK ME '' . As with the T.N.T track on SIDE ONE, it was produced by JEREMY PAUL and PAUL LYNTON. '' FLIGHT 2 '' by ANGELO & EIGHTEEN is altogether more curious. A one off project by two FRENCH CANADIANS that was produced by MICKEY MOST and released on his RAK label in '72. It incorporates elements of the TRIBAL FUSION of MIKE STEIPENSON's '' BURUNDI BLACK '' and the LATIN ROCK of TITANIC's '' SULTANA '' { both of which were EURO HITS in 1971 }. The track saw release as the B-SIDE of the POP ORIANTATED VOCAL '' MIDNIGHT FLIGHT '' and was based on the PERCUSSIVE BREAK that appeared at the end of that song</p><p><br /></p><p>ANGELO & EIGHTEEN - FLIGHT 2</p><p><iframe frameborder="0" height="270" src="https://youtube.com/embed/DB6KBnwDP0Y" width="480"></iframe></p><p><br /></p><p>'' JUNGLE JUICE '' first appeared on the '' GO MOOG! - SMASH HIT'S SYNTHERISER STYLE '' LP by ELEKTRIK COKERNUT. The LP was conceived as a collection of instrumental covers and the track was the only original composition included. It's an awesome DANCEFLOOR MOVER that utilizes a '' ROCK AND ROLL PART TWO '' type GLITTER BEAT. The record was released on the budget MUSIC FOR PLEASURE LABEL in 1973</p><p><br /></p><p>ELEKTIK COCKERNUT - JUNGLE JUICE</p><p><iframe frameborder="0" height="360" src="https://youtube.com/embed/nUi4WtczGYs" style="background-image: url(https://i.ytimg.com/vi/nUi4WtczGYs/hqdefault.jpg);" width="480"></iframe></p><p><br /></p>'' SAFARI ROCK '' by THE ROCKETTERS has a '' CAN THE CAN '' meets '' GUITAR BOOGIE SHUFFLE '' feel. BONGO BEATS and a few ANIMAL NOISES were mixed in to create a charming slice of GLAM EXOTICA. A FRENCH release on the DISQUES CARRERE label from 1975. '' SLOOP '' by THE SLOOPERS was another SYNTH ROCK / GLAM NOVELTY from writer / producer PHILIPPE RENAUX. A 1974 release on the FRENCH SINUS MUSIC label<div><br /></div><div><br /></div><div>THE SLOOPERS - SLOOP<br /><div><br /></div><div> <iframe frameborder="0" height="360" src="https://youtube.com/embed/jEmxh9aafCM" style="background-image: url(https://i.ytimg.com/vi/jEmxh9aafCM/hqdefault.jpg);" width="480"></iframe></div></div><div><br /></div><div>THE COMP ends with '' DISCO DRUM { PART 5 } by THE CATS ' N ' JAMMER KIDS. A one off UK DISCO project from 1977 on the EBONY label { which was also home to the early RAH BAND recordings }. This cut was SIDE-B. It's a more stripped down take on the ' PART ONE ' top and has a unique and quirky BALEARIC / GLAM feel. A sparse HAMILTON BOHANNON style BEAT sets down a nice base for some BROODING SYNTH CHORDS and FUNKY SAX WORK as the number builds and drops around a couple of fleeting CONGA BREAKS, before reaching it's zenith by way of an assertive GLITTER BAND styled GUITAR RIFF. A perfectly MEASURED but INTENSE 3 mins and a great way to end this ECLECTIC and ENTERTAINING selection of INSTRUMENTAL ARTIFACTS</div><div><br /></div><div><br /></div><div><br /></div><div>THE CATS ' N ' JAMMER KIDS - DISCO DRUM { PART 5 }</div><div><br /></div><div><iframe frameborder="0" height="270" src="https://youtube.com/embed/JyTHoydv274" width="480"></iframe></div>Denim Discohttp://www.blogger.com/profile/06574040953592340498noreply@blogger.com0tag:blogger.com,1999:blog-6736655727569680511.post-16390773647329904732022-05-25T14:28:00.058-07:002024-02-19T09:13:26.160-08:00THE ROCK 'N' ROLL REVIVAL - PART TWO<div class="separator"><br /></div><div class="separator">AN IN DEPTH LOOK AT THE INFLUENCE OF 50's ROCK 'N' ROLL ON THE ROCK AND POP MUSIC OF THE 1970's </div><div class="separator"><br /></div><div class="separator"><a href="http://denimdisco.blogspot.com/2021/07/the-rock-n-roll-revival-part-one.html" target="_blank">READ PART ONE HERE</a></div><div class="separator"><br /></div><div class="separator">PART TWO - THE INFLUENCE OF 50's ROCK ' N ' ROLL ON THE 70's GLAM ROCK MOVEMENT AND THE REVIVALISTS WHO YEARNED TO JOIN THE PARTY </div><div class="separator"><br /></div><div class="separator"><br /></div><div class="separator"><br /></div><div class="separator"> </div><div class="separator"> THE SOUND OF THE CITY </div><div class="separator"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5Kk4AsbePgdkTTv0aY9_mSIRHjJHAKLJ1Xnk5tZY2s1tpfJmQNTmu5fkE2ho_NcwP4AerTSjHotCEbuB85cyolfR0ttoCQyEd33GXdltp80h2ESRpjx_538Ph9LUrGb9rW3xw1aCxz9ZX83Up182uFiK7pUCeilo7az-rW0SmdIuUO5x3_V5WQFOs_g/s1131/Sound%20of%20the%20City.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1131" data-original-width="669" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5Kk4AsbePgdkTTv0aY9_mSIRHjJHAKLJ1Xnk5tZY2s1tpfJmQNTmu5fkE2ho_NcwP4AerTSjHotCEbuB85cyolfR0ttoCQyEd33GXdltp80h2ESRpjx_538Ph9LUrGb9rW3xw1aCxz9ZX83Up182uFiK7pUCeilo7az-rW0SmdIuUO5x3_V5WQFOs_g/w236-h400/Sound%20of%20the%20City.jpg" width="236" /></a></div><div class="separator"><br /></div><div class="separator"><br /></div><div class="separator">ROCK ' N ' ROLL arrived in Europe in the mid 50's as a fully formed entity and for the most part fans were unaware of the origins of the music or how it evolved into the recognizable sound of CLASSIC ROCK. By the late 60's a large amount of vintage 45's were in the hands of collectors and a number of LP's and various artist compilations were freely available. Collectors and fans were becoming aware that the music they once regarded as a homogeneous entity was actually the coming together of a number of regional US forms. In 1970 a book called THE SOUND OF THE CITY was published. It's author CHARLIE GILLETT was an ENGLISH ROCK FAN who had written a thesis on rock history while studying for a master's degree in NEW YORK. It was the most in-depth look into THE HISTORY OF ROCK ' N ' ROLL that had been attempted and five distinct styles of rock were identified : NORTHERN BAND ROCK, NEW ORLEANS DANCE BLUES, MEMPIS COUNTRY ROCK, CHICAGO RHYTHM AND BLUES and VOCAL GROUP ROCK ' N ' ROLL. For each form he identified a popular exemplar. These were in turn: BILL HALEY, FATS DOMINO, ELVIS PRESLEY, CHUCK BERRY and THE PLATTERS</div><p>MEMPIS ROCK { or ROCKABILLY } would have a great influence over the next decade. Hundreds of obscure records were discovered, performers were brought out of retirement and new bands formed to play the music as it was relatively easy to master. Likewise VOCAL GROUP ROCK { or DOO-WOP } would continue to have an impact. In the US the songs were endlessly used in movies as a soundtrack to THE POST WAR BOOM YEARS and they also provided hits for several UK VOCAL GROUPS. BILL HALEY continued to be the only celebrated performer of NORTHERN BAND ROCK, but his following was huge {particularly in EUROPE }. He toured regularly and '' ROCK AROUND THE CLOCK '' made the charts on a number of occasions. CHICAGO RHYTHM AND BLUES would have less impact as it had formed the basis of THE MID 60's ROCK BOOM and was already part of the DNA of CONTEMPORARY ROCK MUSIC. In a similar way NEW ORLEANS DANCE BLUES had a fundamental influence on JAMAICAN music from BLUE BEAT through to REGGAE, but in ROCK the nuances of the style often remained too subtle to be perceived unless they closely mimicked the frantic style of LITTLE RICHARD</p><p><br /></p><p> WOODSTOCK, ALTAMONT and POWIS SQUARE</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVBmtPFp6aI9aXKq5aL5aQJHqxX4i-PGO2g_0zQxX7P5tV7sj8HUjtDBxRD1e7OcD02Mc0aoc7cjOgPMLdjYDnPU6NeQEEaGEZvt414B8Z0-Q3rSBbxXsHnKeVC2eEH-FTCzA-KfNgx-0XNNpD84uD3Dz1Ax9hLJShXcb1hvNDEpXdBU6wFPQjx4tbsA/s1599/MC5.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1599" data-original-width="1086" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVBmtPFp6aI9aXKq5aL5aQJHqxX4i-PGO2g_0zQxX7P5tV7sj8HUjtDBxRD1e7OcD02Mc0aoc7cjOgPMLdjYDnPU6NeQEEaGEZvt414B8Z0-Q3rSBbxXsHnKeVC2eEH-FTCzA-KfNgx-0XNNpD84uD3Dz1Ax9hLJShXcb1hvNDEpXdBU6wFPQjx4tbsA/s320/MC5.jpg" width="217" /></a></div><p>The US HIPPY COUNTERCULTURE reached its apex with THE WOODSTOCK MUSIC FESTIVAL in AUSUST 1969, but was quickly brought back to earth after the tragic events at ALTAMONT SPEEDWAY in DECEMBER and the trial of THE MANSON FAMILY the following year. HARD ROCK BANDS like THE STOOGES, THE MC5 { both from Detroit } BLUE CHEER { San Francisco } and STEPPENWOLF { Los Angeles } reflected this mood of despondency with their COMBATIVE, HIGH-VOLUME, ROUGH-EDGED sound</p><p>Across the Atlantic FREAK ROCK bands like THE PINK FARIES, DEVIANTS, GROUNDHOGS and EDGAR BROUHTON BAND were on a similar wavelength. These bands were closely linked to the UK wing of the COUNTERCULTURE and attracted an audience of STREET HIPPIES who realized that a LEATHER JACKET and a pair of LEVIS offered better protection against a cold English winter than a THREADBARE VELVET SUIT ever could. MICK FARREN of THE DEVIANTS was deeply involved in the movement which centered around the NOTTING HILL / LABROKE GROVE area of LONDON and he simultaneously edited the countercultural bible INTERNATIONAL TIMES</p><p>'' For him, the underground was a logical extension of the original rock 'n' roll rebellion. He cared passionately about ELVIS PRESLEY, GENE VINCENT and all the original rockers, and quite rightly thought they should belong in the pantheon along with BUCKMINSTER FULLER, WILLIAM BURROUGHS and JACK KEROUAC '' </p><p>IT founder BARRY MILES quoted from MICK FARREN's Obituary in The Guardian - July 2013</p><p>'' I visited MICK FARREN one day. He was always telling me about all this ' property is theft ' stuff. He had some GENE VINCENT LP's that I was rather keen to own, so I said, ' I don't feel as strongly about it as you do, but I'll take these GENE VINCENT LP's '. It turned out that property is theft apart from GENE VINCENT LP's ''</p><p>DJ JOHN PEEL quoted in the book DAY'S IN THE LIFE by JONATHAN GREEN - 1988 </p><p><br /></p><p>The MC5 Revive LITTLE RICHARD's '' TUTTI FRUTTI '' on their 1970 LP '' BACK IN THE USA '' </p><p><iframe frameborder="0" height="360" src="https://youtube.com/embed/ctJxt5fbW-Q" width="480"></iframe></p><p>THE STOOGES exhumed the BO DIDDLEY Beat for this raw and vital state of the nation address</p><p><iframe frameborder="0" height="270" src="https://youtube.com/embed/mS_BsLxMqn4" width="480"></iframe></p><p>MICK FARREN - SUMMERTIME BLUES - from '' MONA – THE CARNIVOROUS CIRCUS '' 1970</p><p><iframe frameborder="0" height="360" src="https://youtube.com/embed/c24cozAmkEo" style="background-image: url(https://i.ytimg.com/vi/c24cozAmkEo/hqdefault.jpg);" width="480"></iframe></p><p> </p> CROSSING TO THE MAINSTREAM AND THE BEGINNING OF GLAM<div> <div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUBJZHU_eVzcxNxBpxUjB4qOLC1OAbTScEiaDGAho_dtZxgvOVnW1kNCkRGDotf7TNAbW4uCj3rxXy0n55CJrmIuFpCeMHllhO4fTpHelTuVZ4toyggKaTtWl-_x9FTEV36kI64K8IqGtnGMMkoBzU5r9k6oWhhmDkYHdlrTTrL7qfCPl2bjwRpfUxfw/s499/T-Rex++Tyrannosaurus+Rex+A+Disco+45+Magazine+-+T-Rex+Sp-588780.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="499" data-original-width="367" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUBJZHU_eVzcxNxBpxUjB4qOLC1OAbTScEiaDGAho_dtZxgvOVnW1kNCkRGDotf7TNAbW4uCj3rxXy0n55CJrmIuFpCeMHllhO4fTpHelTuVZ4toyggKaTtWl-_x9FTEV36kI64K8IqGtnGMMkoBzU5r9k6oWhhmDkYHdlrTTrL7qfCPl2bjwRpfUxfw/s320/T-Rex++Tyrannosaurus+Rex+A+Disco+45+Magazine+-+T-Rex+Sp-588780.jpg" width="235" /></a></div><div><p></p><p>None of the previously mentioned UK FREAK bands had an eye on crossing over and making a pitch for the singles chart, but a couple of acts with ROOTS IN THE UNDERGROUND did just that. DAVE EDMUNDS cover of '' I HEAR YOU KNOCKING '' { a 50's NEW ORLEANS R 'N B number originally recorded by SMILEY LEWIS } topped the UK SINGLES CHART for six weeks in 1970. EDMUNDS recorded in the newly opened ROCKFIELD STUDIOS using the sound of SUN RECORDS as a template. The music of MUNGO JERRY was based on SKIFFLE / JUG BAND BLUES and EARLY ROCK. Their GOOD TIME sound proved to be extremely popular. '' IN THE SUMMERTIME '' topped the charts for seven weeks in 1970 and the follow up '' BABY JUMP '' held the NUMBER 1 spot for two weeks the following year. </p><p>T. REX were the other UNDERGROUND act that CROSSED OVER at this time. '' RIDE A WHITE SWAN '' reached NUMBER 2 at the start of 1971 and the follow up '' HOT LOVE '' made number one and stayed there for 6 weeks. The 12 BAR ROCKABILLY feel of '' RIDE A WHITE SWAN '' and the '' ALL SHOOK UP '' vocal lift coupled with '' HEARTBEAK HOTEL '' middle eight in '' HOT LOVE '' showed that MARC BOLAN was captivated by VINTAGE ROCK, but he wasn't simply recycling it . His distinctive quivering vocal style, mystical lyrics and TONY VISCONTI's string laden productions helped to elevate his recordings into a different realm from those of his ROOTS ROCK contemporaries. He didn't share their workmanlike BLUE DENIM look and he emanated sex appeal and star quality</p><p>'' The way he moves really gets me. His curls stick to his forehead with the perspiration. Then there's the way he wriggles. His body actually ripples. It's too much. He pumps feeling into you. You just let yourself go. And his clothes are fantastic. He dresses to suit his body and his beautiful face. People knock him for wearing women's shoes but he wears what suits him. He doesn't care about anybody else ''</p><p>15-year-old Bolan fan NOELLE PARR quoted in THE MELODY MAKER - June 1972</p><p>Subsequent hits in '71 / '72: '' GET IT ON '', '' JEEPSTER '', '' TELEGRAM SAM '', '' METAL GURU '' and '' SOLID GOLD EASY ACTION '' stuck to the same R 'N' R based formula. '' CHILDREN OF THE REVOLUTION '', '' 20TH CENTURY BOY '', '' THE GROOVER'' and '' TRUCK ON { TYKE }'' moved in a HEAVIER direction. '' TEENAGE DREAM '', '' DREAMY LADY '' and '' DANDY IN THE UNDERWORLD '' all used the C Am F G / SLOW ROCK template and both '' NEW YORK CITY '' and '' I LOVE TO BOOGIE '' marked a return to the 12 BAR / ROCKABILLY format. He also performed covers of '' SUMMERTIME BLUES '' { EDDIE COCHRAN }, DO YOU WANNA DANCE '' { BOBBY FREEMAN }, '' TEENAGER IN LOVE '' { FRANKIE LYMON } and '' ENDLESS SLEEP '' { JODY REYNOLDS } . The later was performed twice in the MARC TV SERIES broadcast shortly before his tragic death in 1977</p><p>T.REX - HOT LOVE - TOP OF THE POPS 1971</p><p><iframe frameborder="0" height="360" src="https://youtube.com/embed/fGx7nrjn0ic" width="480"></iframe></p><p>MARC BOLAN - ENDLESS SLEEP - THE MARC TV SHOW 1977</p><p><iframe frameborder="0" height="360" src="https://youtube.com/embed/5N-XVQHA9n4" width="480"></iframe></p><p> </p><p> BOWIE and SLADE</p><p>DAVID BOWIE had been a friend of MARC BOLAN since the mid 60's. He had also dabbled with the HIPPY FOLK SINGER / SONGWRITER style, but Little Richard had been his initial inspiration and the '' RISE AND FALL OF ZIGGY STARDUST '' concept LP { inspired by British ROCK ' N ' ROLL singer VINCE TAYLOR } made the top 5 and earned him a fanatical following. '' HANG ON TO YOURSELF '' had been written with GENE VINCENT in mind and '' SUFFRAGETTE CITY '' was similarly rocking, but the remaining tracks were written in a variety of styles. He returned to the ROCKABILLY feel for '' JOHN I'M ONLY DANCING '' and '' THE JENE GENIE '' , but experimented with numerous forms during the decade and became one of the UK's biggest stars</p><p>SLADE broke through on 45 with a cover of LITTLE RICHARD's '' GET DOWN AND GET WITH IT ''. Vocalist NODDY HOLDER's hollering vocal style was based on RICHARD, but the bands self- penned 45's tended to alternate between the HARD ROCK of THE ROLLING STONES and the MELODIC ROCK of the BEATLES. Digging deeper: LP cuts like the storming '' WE'RE REALLY GONNA RAISE THE ROOF '' and '' THEM KINDA MONKEYS CAN'T SWING '' show the RICHARD influence and they covered 50's R ' N ' B numbers like '' LET THE GOOD TIMES ROLL / I FEEL SO GOOD { SHIRLEY AND LEE } and '' JUST A LITTLE BIT '' { ROSCO GORDON }. An ELVIS medley comprising of '' MY BABY LEFT ME / THAT'S ALL RIGHT '' was chosen for a rare non band penned single in 1977. SLADE were huge in the UK during the GLAM ERA and their record sales were only beaten by T.REX</p><p> DAVID BOWIE - HANG ON TO YOURSELF</p><p> <iframe frameborder="0" height="360" src="https://youtube.com/embed/AQJ2_BJja1Q" width="480"></iframe></p><p> SLADE - GET DOWN AND GET WITH IT</p><p><iframe frameborder="0" height="360" src="https://youtube.com/embed/15QFn1fNOxI" style="background-image: url(https://i.ytimg.com/vi/15QFn1fNOxI/hqdefault.jpg);" width="480"></iframe></p><p> </p><p> GARY GLITTER </p><p>Towards the end of 1971 singer PAUL GADD and producer MIKE LEANDER set about recording a track which they hoped would evoke the 50's ROCK ERA. JUKE BOXES, BLUE SUEDE SHOES and PONY TAILS were called out in the lyrics which were sung over a LOOPED TRIBAL DRUM BEAT and a STRIPPED DOWN HARD ROCK / BOLERO GUITAR RIFF. GADD had been recording since 1960. He was pushing 30 and lacked any obvious sex appeal, so he decided to play it tongue in cheek, calling himself GARRY GLITTER and affecting a HIGH CAMP approach to performance</p><p>'' I decided to try and get back to the initial flash I'd received from the first ROCK ' N ' ROLL I'd heard. Back to being 15 again. The very first ROCK ' N ' ROLL Thrill ''</p><p>GARRY GLITTER explaining the inspiration behind '' ROCK AND ROLL PARTS 1 and 2 '' to THE NME in 1974</p><p>The track was edited into two parts .The B-Side { Part 2 } proved popular in the clubs and 3 months after release it peaked at NUMBER 2. A ' GLITTER BAND ' { which included two drummers } was put together to back him on live dates and TV appearances, but only the sax players appeared on the records that followed</p><div><yt-formatted-string class="style-scope ytd-video-primary-info-renderer" force-default-style="" style="word-break: break-word;"> GARY GLITTER– ROCK AND ROLL PARTS 1 And 2 </yt-formatted-string></div><div><yt-formatted-string class="style-scope ytd-video-primary-info-renderer" force-default-style="" style="word-break: break-word;"><br /></yt-formatted-string></div><div><yt-formatted-string class="style-scope ytd-video-primary-info-renderer" force-default-style="" style="word-break: break-word;"><iframe frameborder="0" height="270" src="https://youtube.com/embed/EHM3IBF9HPQ" width="480"></iframe></yt-formatted-string></div><div><yt-formatted-string class="style-scope ytd-video-primary-info-renderer" force-default-style="" style="word-break: break-word;"><br /></yt-formatted-string></div><div><yt-formatted-string class="style-scope ytd-video-primary-info-renderer" force-default-style="" style="word-break: break-word;">The public now regard GLITTER as a ' hate figure ' due to his </yt-formatted-string>subsequent imprisonment for sexual offences, but from the early to mid 70's he was a hugely successful performer with a number of top selling records. These included high energy ROCK ' N ' ROLL numbers like '' I'M THE LEADER OF THE GANG { I AM } '', '' HELLO, HELLO I'M BACK AGAIN '' and '' ALWAYS YOURS ''. ROCK BALLADS like '' I LOVE, YOU LOVE, ME LOVE '' and '' OH YES! YOU'RE BEAUTIFUL '' and MID TEMPO STOMPERS such as '' I DIDN'T KNOW I LOVED YOU { TILL I SAW YOU ROCK AND ROLL} '', '' DO YOU WANNA TOUCH ME? { OH YEAH!} '' and '' DOING ALRIGHT {WITH THE BOYS}. He also recorded a number of R ' N ' R CLASSICS including: '' THE WANDERER '' { DION } , '' SCHOOL DAYS '' { CHUCK BERRY } and '' MONEY HONEY '' { ELVIS } </div><div><br /></div><div> GARY GLITTER - ALWAYS YOURS</div><div><br /></div><div><iframe frameborder="0" height="360" src="https://youtube.com/embed/5MBmj3Nss_4" style="background-image: url(https://i.ytimg.com/vi/5MBmj3Nss_4/hqdefault.jpg);" width="480"></iframe></div><div><br /></div><div> </div><div> THE GLITTER BAND / HELLO</div><div><br /></div><div>THE GLITTER BAND's debut LP '' HEY! '' contained covers of '' TELL HIM '' { THE EXCITERS }, '' SEA CRUISE '' { FRANKIE FORD }, '' ALL I HAVE TO DO IS DREAM '' { THE EVERLY BROTHERS }, '' TWISTING THE NIGHT AWAY '' { SAM COOKE } and SEALED WITH A KISS { BRIAN HYLAND }. Producer MIKE LEANDER recorded another version of '' TELL HIM '' with a band of TEENAGERS called HELLO and it peaked at NUMBER 6 </div><div><br /></div><div>THE GLITTER BAND - SEA CRUISE</div><div><br /></div><div><iframe frameborder="0" height="270" src="https://youtube.com/embed/CqnQiY5Oh7k" style="background-image: url(https://i.ytimg.com/vi/CqnQiY5Oh7k/hqdefault.jpg);" width="480"></iframe></div><div><br /></div><div> HELLO - TELL HIM</div><div><br /></div><div><iframe frameborder="0" height="270" src="https://youtube.com/embed/76Tb5KXq95k" style="background-image: url(https://i.ytimg.com/vi/76Tb5KXq95k/hqdefault.jpg);" width="480"></iframe></div><div><br /></div><div><br /></div><div> ALVIN STARDUST</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbUQ8k00YQ77G7jbnRDgKcP2UuxcEF7CPnblXL-GXa1WfR0xgFq3VKQJ94069tY-PEb8IHpxUQHC3-Y6XKeYj0jRao8_JaE6-at2E_eb985wAx8bCmxrmaAVyFPAvARMQ96g_jkwCy15Lg8w9S_N3qmLI-dUxW15-VGvKuRSf7PBU-zcuM5tUh0wWYEg/s800/AS%201974.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="564" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbUQ8k00YQ77G7jbnRDgKcP2UuxcEF7CPnblXL-GXa1WfR0xgFq3VKQJ94069tY-PEb8IHpxUQHC3-Y6XKeYj0jRao8_JaE6-at2E_eb985wAx8bCmxrmaAVyFPAvARMQ96g_jkwCy15Lg8w9S_N3qmLI-dUxW15-VGvKuRSf7PBU-zcuM5tUh0wWYEg/s320/AS%201974.jpg" width="226" /></a></div><div><br /></div><div>Singer BERNARD JEWRY already had some minor hits in the early 60's as SHANE FENTON and a couple of flops as JO JO ELLIS under his belt when he adopted the name ALVIN STARDUST and a GENE VINCENT inspired LEATHER CLAD image. A number of ROCK ' N ' ROLL inspired GLAM HITS followed. '' MY COO-CA-CHOO '' { NUMBER 2 at the end of 1973 } , '' JEALOUS MIND '' { NUMBER 1 in FEB '74 } and '' YOU YOU YOU '', '' TELL ME WHY '', '' GOOD LOVE CAN NEVER DIE '' and '' SWEET CHEATIN' RITA '' { all of which went TOP 10 in '74 / '75 } </div><div><br /></div><div> ALVIN STARDUST - JEALOUS MIND </div><div><br /></div><div><iframe frameborder="0" height="270" src="https://youtube.com/embed/a4q3Cy8X6Mo" width="480"></iframe></div><div><br /></div><div> ALVIN STARDUST - LIVE ON THE WHEELTAPPERS AND SHUNTERS SOCIAL CLUB</div><div><br /></div><div><iframe frameborder="0" height="360" src="https://youtube.com/embed/6SX3sdFjUsg" style="background-image: url(https://i.ytimg.com/vi/6SX3sdFjUsg/hqdefault.jpg);" width="480"></iframe> </div><div> </div><div> </div><div> THE CHINNICHAP HITS BLITZ</div><div><br /></div><div>The hugely successful SONGWRITING / PRODUCTION TEAM of NICKY CHINN and MIKE CHAPMAN also drew heavily on THE 50's ROCK ERA. They had a couple of hits with THE SWEET in the BUBBLEGUM style before looking towards THE GLAM WAVE with '' LITTLE WILLY '' in 1972. At their heart SWEET were an accomplished HARD ROCK band but were more than happy to record the material they were given and don outlandish outfits to promote them. The follow up '' WIG WAM BAM '' was based around a DUANE EDDY RIFF . '' BLOCKBUSTER '' { based on '' I'M A MAN '' by BO DIDDLEY } and '' BALLROOM BLITZ '' { inspired by '' LET'S STOMP '' by BOBBY COMSTOCK } were huge sellers. Their 1974 STUDIO LP contained a great cover of '' PEPPERMINT TWIST '' { JOEY DEE } and the amazing self-penned '' REBEL ROUSER ''. Based on a '' SOMETHIN' ELSE '' styled riff, the song defined THE GLAM APPROPRIATION of 50'S ROCK</div><div><br /></div><div>'' WHO IS THE FACE THAT'S GONNA SET THE PACE, </div><div>I'M A ROCKER, I'M A ROLLER, I'M AN OUTER SPACE ''</div><div><br /></div><div> SWEET - REBEL ROUSER</div><div><br /></div><div><iframe frameborder="0" height="270" src="https://youtube.com/embed/AbSYUP_3qF8" width="480"></iframe></div><div><br /></div><div><br /></div><div>SWEET broke free from the grip of CHINNICHAP, but SUZI QUATRO and MUD replaced them. Both were produced by MICKY MOST and the records were released on his RAK label. '' CAN THE CAN '' , '' DEVIL GATE DRIVE '', '' DAYTONA DEMON '' and '' WILD ONE '' all had a 12 BAR / 50's ROCKIN' feel to them and were big hits for the leather clad QUATRO. Her LP cuts included '' ALL SHOOK UP '' ,and '' TROUBLE '' { both ELVIS }, '' SHAKIN ALL OVER { JOHNNY KIDD }, '' A SHOT OF RYTHUM AND BLUES '' { ARTHUR ALEXANDER }, '' KEEP A-KNOCKIN' { LITTLE RICHARD } and '' MOVE IT '' { CLIFF RICHARD } </div><div><br /></div><div> SUZI QUATRO - DEVIL GATE DRIVE</div><div><br /></div><div><iframe frameborder="0" height="270" src="https://youtube.com/embed/JvJPjLPYyGY" style="background-image: url(https://i.ytimg.com/vi/JvJPjLPYyGY/hqdefault.jpg);" width="480"></iframe></div><div><br /></div><div>After a couple of eclectic sounding minor hits, MUD moved towards the VINTAGE ROCK / GLAM sound with '' DYNAMITE '' which made NUMBER 4 at the end of '73. '' TIGER FEET '' , '' LONELY THIS CHRISTMAS '' and their DOO_WOP style cover of '' OH BOY '' all reached NUMBER 1. '' THE CAT CREPT IN '' , '' ROCKET '' and '' THE SECRETS THAT YOU KEEP '' all made THE TOP 5</div><div><br /></div><div> MUD - ROCKET</div><div><br /></div><div><iframe frameborder="0" height="270" src="https://youtube.com/embed/2UW6EIJI8nw?si=50LrRVw1rhTDPE2U" style="background-image: url(https://i.ytimg.com/vi/2UW6EIJI8nw/hqdefault.jpg);" width="480"></iframe></div><div><br /></div><div>MUD were a fun band that commanded attention, decked out in bright TEDDY BOY SUITS while they did THE SHADOWS WALK. Singer LES GRAY took things a step further than the CAMP of GARY GLITTER, playing it for laughs while he channeled his INNER ELVIS. They appealed to parents who remembered the ORIGINAL ROCK ERA as well as their kids, recording two whole LPs of R ' N ' R covers { MUD ROCK 1 and 2 } </div><div><br /></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIrG_CoCub8-Tw9jHN_pf9yKwV7mz5-xN4iQNKJMGvU70COwlFhQSYLFEd8JsOd1SoNwu_o8v-p6zpruqsKSGe_THw7QKv8Z-zhi2aZ_Y6NGitY4MAjUIHPd6z_yyK-zvBiFfFz57CKsB66h_J9L-kH-cShjjKBuLQsSOAqWRhnJRi4hsYyzKWdELRnQ/s600/Mud%20Rock%202.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIrG_CoCub8-Tw9jHN_pf9yKwV7mz5-xN4iQNKJMGvU70COwlFhQSYLFEd8JsOd1SoNwu_o8v-p6zpruqsKSGe_THw7QKv8Z-zhi2aZ_Y6NGitY4MAjUIHPd6z_yyK-zvBiFfFz57CKsB66h_J9L-kH-cShjjKBuLQsSOAqWRhnJRi4hsYyzKWdELRnQ/s320/Mud%20Rock%202.jpg" width="320" /></a></div><div><br /></div><div> </div><div> WIZZARD </div><div><br /></div><div>'73 was a great year for former MOVE / ELO man ROY WOOD. His band WIZZARD made NUMBER 6 in January with '' BALL PARK INCIDENT '' and '' SEE MY BABY JIVE '' , '' ANGEL FINGERS '' and '' I WISH IT COULD BE CHRISTMAS EVERYDAY '' all went to NUMBER 1. The records used 50's ROCK as a template and utilized a PHIL SPECTOR type ' WALL OF SOUND '' production. Their '' WIZZARD BREW '' LP followed the same format and the follow up '' INTRODUCING EDDY AND THE FALCONS '' took things further. All the tracks were written as tributes to 1950s and early 1960s rock and roll musicians and the sleeve depicted the band wearing ROCKER GARB in a mocked up 50's CAFE, complete with a JUKEBOX and JAMES DEAN poster adorning the wall</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiAgGsHk41feOwow0W9Uc88M3wNRLhmcNrEuwxxzc2l1Vfo47qBE7PXNz48CqxOIoN584ZHD7k0K5xyKyr5E7BT4VlzsBweIr3C_wUeza2uwemnD5YZRaDnvCuO5M_aeAL2AJPGutcX1JlRJ3fTvSdjCITZgiYaeHoPvTlELJfaY1lGj5Vp0M-gbmw6A/s1600/Wizzard.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="794" data-original-width="1600" height="199" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiAgGsHk41feOwow0W9Uc88M3wNRLhmcNrEuwxxzc2l1Vfo47qBE7PXNz48CqxOIoN584ZHD7k0K5xyKyr5E7BT4VlzsBweIr3C_wUeza2uwemnD5YZRaDnvCuO5M_aeAL2AJPGutcX1JlRJ3fTvSdjCITZgiYaeHoPvTlELJfaY1lGj5Vp0M-gbmw6A/w400-h199/Wizzard.JPG" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div> WIZZARD - BALL PART INCIDENT</div><div><br /></div><div><iframe frameborder="0" height="270" src="https://youtube.com/embed/oBNnCQmzdwI" style="background-image: url(https://i.ytimg.com/vi/oBNnCQmzdwI/hqdefault.jpg);" width="480"></iframe> </div><div><br /></div><div> </div><div> MOTT THE HOOPLE</div><div><br /></div><div>'' We were in Memphis and it was something to do. My heroes were always LITTLE RICHARD, JERRY LEE LEWIS, and DYLAN. But it was there, it was ELVIS '' </div><div><br /></div><div>IAN HUNTER on his midnight foray into the grounds of GRACELANDS MANSION during MOTT THE HOOPLE's 1972 US TOUR</div><div><br /></div><div>IAN HUNTER had been a member of the revivalist band AT LAST THE 1958 ROCK ' N ' ROLL SHOW and as front man of MOTT THE HOOPLE was also at the vanguard of the GLAM REIMAGINING of THE EARLY YEARS OF ROCK ' N ' ROLL. '' HONALOOCHIE BOOGIE '', '' ALL THE WAY FROM MEMPHIS '', '' ROLL AWAY THE STONE '' and '' THE GOLDERN AGE OF ROCK ' N ' ROLL '' all showed the influence of the NEW ORLEANS RHYTHM & BLUES sound</div><div><br /></div><div> MOTT THE HOOPLE - ALL THE WAY FROM MEMPHIS</div><div><br /></div><div><iframe frameborder="0" height="360" src="https://youtube.com/embed/zvFpX98EOPo" width="480"></iframe></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div> DANCING ON A SATURDAY NIGHT<div><br /></div><div>Songwriter BARRY BLUE had hits with '' DANCIN' { ON A SATURDAY NIT } '' in 73 and '' SCHOOL LOVE '' in '74. The former was a BOUZOUKI DANCE / DOO-WOP hybrid and the later much closer to the genuine DOO-WOP format. '' CROCODILE ROCK '' by ELTON JOHN was another number that looked back to the sound and was in turn the inspiration behind '' GOOD GRIEF CHRISTINA '' by CHICORY TIP. An incredible GLAM / MOOG recording that lifted from the DOO-WOP NOVELTY '' PAPA OOM MOW MOW '' by THE RIVINGTONS </div><div><br /></div><div>'' GOOD GRIEF CHRISTINA </div><div> HOW COME YOU NEVER HEARD OF ROCK ' N ' ROLL </div><div> GOOD GRIEF CHRISTINA </div><div> HOW COME IT NEVER MADE IT TO YOUR SOUL</div><div><br /></div><div> I SEE YOU STANDING ROUND WHEN THE MUSIC'S SO HOT </div><div> WITH A BEAT LIKE THAT OF GOOD TIME ROCK </div><div> THEY'RE BRINGING IT BACK LIKE IT USED TO BE </div><div> COME AND SING THIS RIFF WITH ME ''</div><div><br /></div><div> CHICORY TIP - GOOD GRIEF CHRISTINA</div><div><br /></div><div><iframe frameborder="0" height="360" src="https://youtube.com/embed/kWwBBBCw_n0" style="background-image: url(https://i.ytimg.com/vi/kWwBBBCw_n0/hqdefault.jpg);" width="480"></iframe></div><div><br /></div><div>'' TOUCH TOO MUCH '' by ARROWS was another great CHINNICHAP / MICKY MOST product that hinged around an EDDIE COCHRON type riff. It reached NUMBER 8 in mid '74. Sadly, the BO DIDDLEY styled follow up '' TOUGHEN UP '' did less well and the bands own '' I LOVE ROCK ' N ' ROLL sunk without trace { but it later became a huge hit for JOAN JET }</div><div><br /></div><div> ARROWS - TOUCH TOO MUCH</div><div><br /></div><div><iframe frameborder="0" height="360" src="https://youtube.com/embed/tPelyeNqvw0" style="background-image: url(https://i.ytimg.com/vi/tPelyeNqvw0/hqdefault.jpg);" width="480"></iframe></div><div><br /></div><div> </div><div> DO THE JUKEBOX JIVE</div><div><br /></div><div>WAYNE BICKERTON and TONY WADDINGTON wrote the song '' SUGAR BABY LOVE '' for a ROCK ' N ' ROLL MUSICAL. They recorded it with vocalist PAUL DA VINCI and a group of session musicians and eventually put a band together { minus DA VINCI } in order to promote it. A suitably DOO-WOP sounding name was chosen for the group and THE RUBETTES had a NUMBER 1 in NOVEMBER 1974. An LP '' WEAR IT WELL '' followed and contained a number of songs that were seemingly written for the aborted musical, such as: '' WAY BACK IN THE 50's '', '' ROCK IS DEAD { BUT IT WON'T LIE DOWN '' and '' TONIGHT '' . The later was selected for their follow up 45. It reached NUMBER 12 and two songs from the second LP '' JUKE BOX JIVE '' and '' I CAN DO IT '' were similarly styled and reached NUMBER 3 and NUMBER 7 respectively</div><div><br /></div><div> THE RUBETTES - JUKE BOX JIVE</div><div><br /></div><div><iframe frameborder="0" height="360" src="https://youtube.com/embed/--GF1q4jeIE" width="480"></iframe></div><div><br /></div><div>'' SATURDAY NIGHT '' { a track from THE RUBETTES '' WEAR IT WELL '' LP } was given to the EDINBURGH based BILBO BAGGINS. None of their singles broke through, but the bands manager TAM PATON'S other act THE BAY CITY ROLLERS had some of the biggest selling singles of the decade. Their sound also relied on a MELODIC 50's ROCK / HARMONY VOCAL template. The bands breakthrough hits: '' REMEMBER { SHA-LA-LA-LA-LA }, '' SUMMERLOVE SENSATION ;'' SHANG-A-LANG '' and '' ALL OF ME LOVES ALL OF YOU '' were written and produced by BILL MARTIN & PHIL COULTER. When the ROLLERS jumped ship in 1975, the team continued having hits with KENNY and SLICK</div><div><br /></div><div> BILBO BAGGINS - SATURDAY NIGHT</div><div><br /></div><div><iframe frameborder="0" height="360" src="https://youtube.com/embed/TFotChb4seI" style="background-image: url(https://i.ytimg.com/vi/TFotChb4seI/hqdefault.jpg);" width="480"></iframe></div><div><br /></div><div> BAY CITY ROLLERS - SHANG-A-LANG</div><div><br /></div><div><iframe frameborder="0" height="360" src="https://youtube.com/embed/_Ue3dAqP4io" style="background-image: url(https://i.ytimg.com/vi/_Ue3dAqP4io/hqdefault.jpg);" width="480"></iframe></div><div><br /></div><div> KENNY - JULIE ANN</div><div><br /></div><div><iframe frameborder="0" height="360" src="https://youtube.com/embed/pkchPy8dlGM" style="background-image: url(https://i.ytimg.com/vi/pkchPy8dlGM/hqdefault.jpg);" width="480"></iframe></div><div><br /></div><div> SLICK - THE KIDS A PUNK</div><div><br /></div><div><iframe frameborder="0" height="360" src="https://youtube.com/embed/xY_9hocdxz8" style="background-image: url(https://i.ytimg.com/vi/xY_9hocdxz8/hqdefault.jpg);" width="480"></iframe></div><div><br /></div><div> </div><div> THE JUNKSHOP BOP</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitsdHti7Ix5UmAT7pXrPtxgrC0DM0LPxczfNMaC3HsIG1l9iSbKVcL4BlalFmsoe7fbqTphTavHzbhnTkFtIE8VwgsOshMnTTFgUwEeoZS8-NBhEtYbP9x9GNYipaiGb1ec98Z-t_Z4LiMxidRJ9xgFAQQZb7yEuxmCD2hZwFJDpGT5eYOKKHfbGhG6g/s709/Junkshop%20Bop.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="240" data-original-width="709" height="216" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitsdHti7Ix5UmAT7pXrPtxgrC0DM0LPxczfNMaC3HsIG1l9iSbKVcL4BlalFmsoe7fbqTphTavHzbhnTkFtIE8VwgsOshMnTTFgUwEeoZS8-NBhEtYbP9x9GNYipaiGb1ec98Z-t_Z4LiMxidRJ9xgFAQQZb7yEuxmCD2hZwFJDpGT5eYOKKHfbGhG6g/w640-h216/Junkshop%20Bop.jpg" width="640" /></a></div><br /><div><br /></div><div>Aside from the big names, a multitude of GLAM ROCK records were released in the early to mid 70's and many display the influence of 50's ROCK. The following is a tiny selection out of the mountain of FUTURE FIFTIES / SPACEAGE ROCK ' N ' ROLL discs that FANS and COLLECTORS continue to unearth </div><div><br /></div><div>HARLEY QUINNE '' NEW ORLEANS '' 1972 - A great rocking cover of the GARY U.S BONDS number</div><div><br /></div><div>KING BEDROCK AND THE RAJAH BAND - '' BEDROCK BOOGIE '' 1973 - An INSTRUMENTAL ROCKER that sounds like it was inspired by JOHNNY AND THE HARRICANES. Written and produced by RICHARD HEWSON who later re-worked it into the GLAM / SYNTH hit '' THE CRUNCH '' { as the RAH BAND } in '77</div><div><br /></div><div>LORENZA JOHNSON '' MR. TEASER '' 1973 - A FRANTIC PARTY ROCKER with great BRENDA LEE style vocals, UPFRONT PIANO RIFFS and LOCOMOTIVE SNARE ROLLS</div><div><br /></div><div>ROCK REBELLION '' LET'S GO '' 1973 - A cool update of the ROUTERS classic INSTRUMENTAL ROCKER for the GLAM ERA</div><div><br /></div><div>ELI CUTHBERTSON '' I NEED YOUR LOVE TONIGHT '' 1974 - A HARD ROCKIN' GLAM cover of the ELVIS number featuring the awesome ' I can't believe t's not the King ' voice of MR CUTHBERTSON</div><div><br /></div><div>DALSTON DIAMONDS '' KAMIKAZI KRAZY '' 1975 - A FAST PACED ROCKER that matches the piano attack of JERRY LEE LEWIS with the beat of '' TIGER FEET ''</div><div><br /></div><div>GEOFF APPLEBY '' HEY SADIE '' 1976 - A wonderful WIZZARD inspired slice of PHIL SPECTOR ROCK</div><div><br /></div><div>TERRY WEBSTER '' ROCK ' N ' ROLL WE LOVE YOU '' 1976 - A great DANNY AND THE JUNIORS meet THE BEACH BOYS vocal harmony R ' N ' R number that was tucked away on the B-Side of the GLAM / DISCO crossover number: '' I WANT TO SEE YOU DANCING '' </div><div><br /></div><div><br /></div><div> SHOWADDYWADDY </div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNBpUjdLlWGfhKgI96uZ-lVl0B0TNQVJU-y9FGpJIaWgejt_YQXdjBOWe-72wOL62r4B7YBKQOSOs0UbRIJetsWLF4bn93ac4WJKwJPNj0NBLdzT4AaBfF37GgNqXa95z_CeDWpQW4Go6DB1PitDQomxACmQSZ6jOb59LnWwr1z0wXMa1mI7H38dlYcw/s366/Showaddywaddy.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="366" data-original-width="366" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNBpUjdLlWGfhKgI96uZ-lVl0B0TNQVJU-y9FGpJIaWgejt_YQXdjBOWe-72wOL62r4B7YBKQOSOs0UbRIJetsWLF4bn93ac4WJKwJPNj0NBLdzT4AaBfF37GgNqXa95z_CeDWpQW4Go6DB1PitDQomxACmQSZ6jOb59LnWwr1z0wXMa1mI7H38dlYcw/s320/Showaddywaddy.jpg" width="320" /></a></div><div><br /></div><div>SHOWADDYWADDY were a band that bridged the gap between the GLAM BANDS that were influenced by 50's ROCK and a number of groups who focused on making music close to the ORIGINAL ARTICLE. They formed in the town of LEICESTER and started playing the CLUB CIRCUIT in SEPTEMBER 1973. The band wore BRIGHT PASTEL COLOURED TEDDY BOY SUITS, their act was SLICKLY CHOREOGRAPHED and their set consisted solely of CLASSIC 50's ROCK COVERS. In November they took their SHA NA NA style act onto a TV TALENT SHOW called NEW FACES. They were noticed by MANAGER / PRODUCER MIKE HURST who signed them, persuaded them to write new material and struck a deal with BELL RECORDS { home to GARY GLITTER , THE GLITTER BAND and HELLO }. Their initial 45s were in the GLAM / 50's R ' N ' R crossover style. '' HEY ROCK AND ROLL '' peaked at NUMBER 2 in mid '74 and '' ROCK ' N ' ROLL LADY '' , '' SWEET MUSIC '' and '' HEY MR CHRISTMAS '' all made the top 20. They returned to covers in 1975 with '' THREE STEPS TO HEAVEN '' and '' HEARTBEAT '' and were rewarded with another couple of TOP 10 HITS. After that they pretty much returned to their R 'N ' R REVIVAL base and continued to bag hits, mostly with covers of DOO-WOP STANDARDS</div><div><br /></div><div> SHOWADDYWADDY - HEY ROCK AND ROLL - 1974</div><div><br /></div><div><iframe frameborder="0" height="360" src="https://youtube.com/embed/pwp91xDcoqY" style="background-image: url(https://i.ytimg.com/vi/pwp91xDcoqY/hqdefault.jpg);" width="480"></iframe></div><div><br /></div><div> SHOWADDYWADDY - UNDER THE MOON OF LOVE - 1976</div><div><br /></div><div><iframe frameborder="0" height="270" src="https://youtube.com/embed/8oZDLEbRhg8" width="480"></iframe></div><div><br /></div><div><br /></div><div> REDDIES FOR TEDDIES</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9UQeTw39km_s_1JBLs2lkoK8dfNqostgQ-Lj-t05Lx91Poh8WEqniPeXqwHx_2XMe8tx50TSJvXgiJ0O6X7xt1AXet91rhOfiWjT0OoCJx-vmLDopeFNFcOhuKGIge7B2NDt3elBTqpDSFKSFjuIzeyuNPWW2Joorcb-JTqYLlCIb2ta3-Ekdi0VB5A/s1512/Game%20Mag%20Crop.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1512" data-original-width="959" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9UQeTw39km_s_1JBLs2lkoK8dfNqostgQ-Lj-t05Lx91Poh8WEqniPeXqwHx_2XMe8tx50TSJvXgiJ0O6X7xt1AXet91rhOfiWjT0OoCJx-vmLDopeFNFcOhuKGIge7B2NDt3elBTqpDSFKSFjuIzeyuNPWW2Joorcb-JTqYLlCIb2ta3-Ekdi0VB5A/w254-h400/Game%20Mag%20Crop.jpg" width="254" /></a></div><div><br /></div><div>The UK TEDDY BOY look evolved during the EARLY 50's prior to the arrival of ROCK ' N ' ROLL, but when it reached the UK in the middle of the decade it became their music of choice. The look had died out by THE MID SIXTIES and THE ROCKERS or TON-UP BOYS were seen to be holding the torch for VINTAGE ROCK at that time. By the EARLY 70's the influence of the US HELLS ANGELS had taken hold and the look of THE ROCKERS changed. Hair was GROWN LONG, LEATHER JACKETS were adorned with MULTIPLE CHAINS, STUDS and IRON CROSSES and CONTEMPORARY HARD ROCK bands like BLACK SABBATH and DEEP PURPLE became the new soundtrack. A relatively small group of men in their early to late 20's began to revive THE TEDDY BOY LOOK . They had been too young to participate THE FIRST TIME ROUND, but the style was familiar to them. The music was more closely linked to the fashion than it had been in the fifties and dressing as a TED now marked you out as a true ROCK ' N ' ROLL FAN</div><div><br /></div><div> A group of ' Authentic ' TEDDY BOYS - Inside The Black Raven Pub - London 1969</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikgdTWnQ8ZlMmWkJ643nPUx4SLFXs6abmTi2EvJbaJsVHt3MTVpOL89jikCcA2sfKbF3cprHM9WroryjekaGmEFpS9YeDzn6TYePybcsbu0HhrRS12NCqyYlsDR_phx7X9n911Spj3dFzaaqWSgT4C_fDJY4fca0xKlbtiy1QEMLf3axtT4x_qTYA5Pg/s600/BLlack%20Raven%201969.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="595" data-original-width="600" height="317" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikgdTWnQ8ZlMmWkJ643nPUx4SLFXs6abmTi2EvJbaJsVHt3MTVpOL89jikCcA2sfKbF3cprHM9WroryjekaGmEFpS9YeDzn6TYePybcsbu0HhrRS12NCqyYlsDR_phx7X9n911Spj3dFzaaqWSgT4C_fDJY4fca0xKlbtiy1QEMLf3axtT4x_qTYA5Pg/s320/BLlack%20Raven%201969.jpg" width="320" /></a></div><br /><div>A network of nights dedicated to the music started in the LATE 60's and continued to grow in the 70's. These were run BY FANS FOR FANS and were held in PUB FUNTION ROOMS, COMMUNITY CENTERS and WOKING MENS CLUBS. An increasing number of FEMALES and TEENAGERS began to JOIN THE PARTY. Off the peg DRAPES began to appear, These were often made in brighter colours than tradition dictated and were eagerly snapped up by the TEENAGE MALES as the look evolved. ELEPHANT TRUNK QUIFFS grew ever longer and the D.A spilled over the rear shirt collar. Shirts with POINTED COLLARS were adopted and CREEPER SHOES were worn in a variety of colours. FEMALES were more likely to dress in a MIX and MATCH of different styles. SIXTIES BEEHIVE or BOBBED HAIRCUTS were seen as often as 50's PONYTAILS and an outfit could consist of a DRAPE JACKET teamed with a 60's MINI DRESS and 70's CALF LENGTH BOOTS </div><div><br /></div><div> TEDDY BOYS AND GIRLS AT THE LONG BAR – SOUTHEND-ON-SEA - 1972</div><div><br /></div><div><iframe frameborder="0" height="360" src="https://youtube.com/embed/g4F2EFRpEgI" style="background-image: url(https://i.ytimg.com/vi/g4F2EFRpEgI/hqdefault.jpg);" width="480"></iframe></div><div><br /></div><div>The TED image was increasingly being used on the COVER ART of OLDIES COMPILATIONS and TEDS were being sought as extras for MOVIES, TV SHOWS and MAGAZINE SHOOTS. To help meet the demand DJ's WAXY MAXY NEEDHAM and JAILHOUSE JOHN ALEXANDER set up a ' RENT A TED ' agency </div><div> </div><div> Ted Exploitation Sleeves for Budget Price Compilation LPs on Golden Hour, Contour and MFP</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2QELC1vwchQluBPQDQRPm1lx3Yw9Z8uqU2TA9xdxtGdYr8GSPUJAQ8Ran6LUE2oV9SuKGsZhjqV_pQhD5OdZtycqEodzdmuzNcLTugteRd56giGNVBWL6iTkNlz2lJQ3FrUkvZM2UQLWRGkGD3N7SvYj-qJxO-MoDL2lWN3zOByN9gIFlhvi4W9Knhg/s697/Ted%20Exploitation%20Sleeves.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="232" data-original-width="697" height="214" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2QELC1vwchQluBPQDQRPm1lx3Yw9Z8uqU2TA9xdxtGdYr8GSPUJAQ8Ran6LUE2oV9SuKGsZhjqV_pQhD5OdZtycqEodzdmuzNcLTugteRd56giGNVBWL6iTkNlz2lJQ3FrUkvZM2UQLWRGkGD3N7SvYj-qJxO-MoDL2lWN3zOByN9gIFlhvi4W9Knhg/w640-h214/Ted%20Exploitation%20Sleeves.jpg" width="640" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">Photoshoot for ' Top Shelf ' Men's Publication GAME MAGAZINE - 1974</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjR9edUunj1LiLLYZhXDB_BZIJN0s3jiiHPNFZqscRGqsOcDRnW6eeJxKdAnp0wDb7_ex8C1iE38-xJPRVQuycCNdUgMLJI4QxKAYhXJe_GSEiRseXd3qGknQuTyD2hyBYizAPb5yEMjeYYT879iDLpEMvQcQzb0JcVpO-grvKQGySjFT1QyzZTw3NaaA/s2440/GM%20-02.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1612" data-original-width="2440" height="264" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjR9edUunj1LiLLYZhXDB_BZIJN0s3jiiHPNFZqscRGqsOcDRnW6eeJxKdAnp0wDb7_ex8C1iE38-xJPRVQuycCNdUgMLJI4QxKAYhXJe_GSEiRseXd3qGknQuTyD2hyBYizAPb5yEMjeYYT879iDLpEMvQcQzb0JcVpO-grvKQGySjFT1QyzZTw3NaaA/w400-h264/GM%20-02.jpg" width="400" /></a></div> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRYxgRen-yIHe5SU4UYftz_jIdG0xyYPGcL80MqahIxCH4ZOopgRmPUTXySJqLORSg0X2rAYIlbSa4LYzU1aFXIzA5tIfs4o7XzXJUKgZiYJ_deqwi8Z6VuM91wd1e6BjUhIy4ck2RVF64mqWMbi94CFgx1akqrGLCku8458llWJce7qNF6drWTWVYwQ/s2355/Game%20Mag%201975.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1572" data-original-width="2355" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRYxgRen-yIHe5SU4UYftz_jIdG0xyYPGcL80MqahIxCH4ZOopgRmPUTXySJqLORSg0X2rAYIlbSa4LYzU1aFXIzA5tIfs4o7XzXJUKgZiYJ_deqwi8Z6VuM91wd1e6BjUhIy4ck2RVF64mqWMbi94CFgx1akqrGLCku8458llWJce7qNF6drWTWVYwQ/w400-h268/Game%20Mag%201975.jpg" width="400" /></a></div><div><br /></div><div> </div><div> THE ROCK ' N ' ROLL ALLSTARS<br /><div> <span style="text-align: center;"> </span></div><div><div>
In addition to his DJ'ing and Ted Agency, WAXY MAXY also wrote a ROCK ' N ' ROLL COLUMN for RECORD MIRROR and managed THE ROCK ' N ' ROLL ALLSTARS. The band were AUTHENTIC sounding and came from the TED / R ' N ' R underground. The B & C LABEL signed them in the hope they could be sold to a wider audience. Their cover of '' GET IT ON '' was released in 1971 before most had considered jumping on the GLAM bandwagon. The band split in 1972 after releasing an LP housed in a NOVELTY RED CHINESE / CHAIRMAN MAO SLEEVE</div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggSfIRRzAAnLOo-xzAJ1n4uymG56FeA6y45aj6fvetWG_m4EfRJ8POwYzyItxwffvObmfD6lp6QOoLwxpQFWTItqgWx-jc9Fzb4N-i4rWh4NjqDfHrRyQL49wH6lHAFdBCdDABPnyVMNXqQT11AzBt8_qgzgjyBEoYD1Ko1ueZ5J7lmU-jHgMLtX0KkA/s624/RCR%20-%20Sleeve.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="323" data-original-width="624" height="208" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggSfIRRzAAnLOo-xzAJ1n4uymG56FeA6y45aj6fvetWG_m4EfRJ8POwYzyItxwffvObmfD6lp6QOoLwxpQFWTItqgWx-jc9Fzb4N-i4rWh4NjqDfHrRyQL49wH6lHAFdBCdDABPnyVMNXqQT11AzBt8_qgzgjyBEoYD1Ko1ueZ5J7lmU-jHgMLtX0KkA/w400-h208/RCR%20-%20Sleeve.jpg" width="400" /></a></div><br /> </div><div> ROCK ' N ' ROLL ALLSTARS - GET IT ON - 1971</div><div><br /></div><div><iframe frameborder="0" height="360" src="https://youtube.com/embed/hB5tQwIAfoM" style="background-image: url(https://i.ytimg.com/vi/hB5tQwIAfoM/hqdefault.jpg);" width="480"></iframe></div><div><div class="separator" style="clear: both; text-align: center;"> </div> </div><div> SHAKIN' STEVENS AND THE SUNSETS </div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMk_Y2HquiS4y0BsEad5ki7vCDeucbO6xsIrh20mygaEumK_cAeXLggHJRqvLB-V95Dfwg6gVXrrRbsSUAAovRp4BCGuackTArSAwrSWKmf9xIgvzeLakXK298EiJFnIIHQtAhhGeEW80dCQ7SdNu9GEkaR5v0yJmXWnFcw2wup40RlnQnEflILfhp5w/s600/A%20legend.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="598" data-original-width="600" height="319" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMk_Y2HquiS4y0BsEad5ki7vCDeucbO6xsIrh20mygaEumK_cAeXLggHJRqvLB-V95Dfwg6gVXrrRbsSUAAovRp4BCGuackTArSAwrSWKmf9xIgvzeLakXK298EiJFnIIHQtAhhGeEW80dCQ7SdNu9GEkaR5v0yJmXWnFcw2wup40RlnQnEflILfhp5w/s320/A%20legend.jpg" width="320" /></a></div> </div>CHAIRMAN MAO didn't make the sleeve of '' A LEGEND '', the 1970 debut LP by SHAKIN' STEVENS AND THE SUNSETS, even though the band were managed by a CARD-CARRYING COMMUNIST! The man in question was the CARDIFF BASED entrepreneur PAUL BARRET who got the WELSH band onto the LONDON gig circuit where they were spotted by DJ JOHN PEEL. A deal on his DANDEILION label was mooted and demos were cut, but the band held out and their debut LP was eventually produced by DAVE EDMUNDS and released on PALROPHONE. The sleeve showed them dressed in TEDDY BOY SUITS and the songs were covers, mostly obscure and within the ROCKABILLY genre. The band were pleased with the authentic SUN production, but not so happy when EDMUNDS recorded his own version of one of the songs: '' I HEAR YOU KNOCKING '' and had a huge hit with it. The band continued to release LP's and were a popular live attraction both in the UK and on the continent. '' LONESOME TOWN '' made the DUTCH TOP 20 in '74 and the FRENCH ONLY release '' FRANTIC '' from '75 was their wildest and most powerful moment. In 1977 STEVENS joined the cast of '' ELVIS! THE MUSICAL ''. The band folded and he became a solo artist and appeared in the revival of JACK GOOD's '' OH! BOY '' TV SERIES. Things took off for him during the 80's and he reached NUMBER 1 on 4 occasions and had numerous TOP 20 HITS</div><div><br /></div><div> SHAKIN' STEVENS AND THE SUNSETS ON THE GEORDIE SCENE TV SHOW - 1974</div><div><br /></div><div><iframe frameborder="0" height="270" src="https://youtube.com/embed/SqiIPaecB10" width="480"></iframe></div><div><br /></div><div> SHAKIN' STEVENS AND THE SUNSETS - FRANTIC - 1975</div><div><br /></div><div><iframe frameborder="0" height="360" src="https://youtube.com/embed/ve5cqwikhpk" style="background-image: url(https://i.ytimg.com/vi/ve5cqwikhpk/hqdefault.jpg);" width="480"></iframe></div><div><br /></div><div>THE WILD ANGELS were an AUTHENTIC band that broke out of the SPECIALIST R ' N ' R CLUB CIRCUIT. Another popular live act that signed to the B & G LABEL, before switching to DECCA and cutting an EP of songs from GREASE the BROADWAY MUSICAL. The musical was staged in LONDON in 1973 and the group joined the cast. The following year they put out a cover of '' CLAP YOUR HANDS AND STOMP YOUR FEET '', a GLAM styled number which had been a DUTCH hit for BONNIE ST. CLAIRE</div><div><br /></div><div>ROCK ISLAND LINE were a TED band who released a couple of 45's on DJM. The first of which '' ROCK ON MAN '' found it's way onto the soundtrack of the movie '' THREE FOR ALL ''. They also appeared in the movie '' THAT'LL BE THE DAY '' playing a cover of '' JAILHOUSE ROCK'' </div><div><br /></div><div> WILD ANGELS - CLAP YOUR HANDS AND STAMP YOUR FEET</div><div><br /></div><div><iframe frameborder="0" height="270" src="https://youtube.com/embed/888Po6HxeJY" width="480"></iframe></div><div><br /></div><div> ROCK ISLAND LINE - ROCK ON MAN</div><div><br /></div><div><iframe frameborder="0" height="270" src="https://youtube.com/embed/vKDj1MoUm4o" style="background-image: url(https://i.ytimg.com/vi/vKDj1MoUm4o/hqdefault.jpg);" width="480"></iframe></div><div><br /></div><div>FUMBLE were a ROCK REVIVAL band who were produced by MIKE HURST prior to his involvement with SHOWADDYWADDY. They released a number of singles and LP's on a variety of labels and supported DAVID BOWIE on his 1972 TOUR of the USA. They also joined SHAKIN' STEVENS in the cast of '' ELVIS! THE MUSICAL '' and the revival of JACK GOOD's '' OH! BOY '' TV SERIES. Today they are probably best remembered for their eye catching LP SLEEVES </div><div><br /></div><div> FUMBLE - GET UP </div><div><br /></div><div><iframe frameborder="0" height="360" src="https://youtube.com/embed/pbyT_UmOs88" style="background-image: url(https://i.ytimg.com/vi/pbyT_UmOs88/hqdefault.jpg);" width="480"></iframe></div><div><br /></div><div> FUMBLE LP Sleeves Designed by The HIPGNOSIS Group </div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj225HvkeRzjq-aDkHaFFOusmoGy_p52cx1LzXn45I1npyRm8j4xWJpkoTc5mVEzzbxu5QMmmbD_YseNQhQubRYow5uD-9nY5tSs6-TsjZNRPuEaaYeh_FMBwvBY_Pj1g5pdO0AEbIbbNN1MDPggYQxIbWs8SzbZNVKKpodgGSQMmTxpCpDN6pK9140Og/s733/Fumble%20Sleeves.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="371" data-original-width="733" height="325" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj225HvkeRzjq-aDkHaFFOusmoGy_p52cx1LzXn45I1npyRm8j4xWJpkoTc5mVEzzbxu5QMmmbD_YseNQhQubRYow5uD-9nY5tSs6-TsjZNRPuEaaYeh_FMBwvBY_Pj1g5pdO0AEbIbbNN1MDPggYQxIbWs8SzbZNVKKpodgGSQMmTxpCpDN6pK9140Og/w640-h325/Fumble%20Sleeves.jpg" width="640" /></a></div><br /><div><br /></div><div> LONG TALL ERNIE AND THE SHAKERS</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7raayllx_ZwU5h8QRc7MLnlOBABCf1wre-N7iX4R32Zwl9tOky11lKOYgXU763k1RfZ5-j52_d62FXcIl77_JReFOWKIVWGlECORPfmsSKhxg8e36jnYo_rQXRhpTieUvQPCp_qGHYnQ6JAwkw5XeHN625PrEUCFk2OzX5ZGpggPw43Jb-7IdF_vllw/s225/LTE.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="224" data-original-width="225" height="398" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7raayllx_ZwU5h8QRc7MLnlOBABCf1wre-N7iX4R32Zwl9tOky11lKOYgXU763k1RfZ5-j52_d62FXcIl77_JReFOWKIVWGlECORPfmsSKhxg8e36jnYo_rQXRhpTieUvQPCp_qGHYnQ6JAwkw5XeHN625PrEUCFk2OzX5ZGpggPw43Jb-7IdF_vllw/w400-h398/LTE.jpg" width="400" /></a></div><div><br /></div><div>In 1972 A DUTCH PROG ROCK BAND called THE MOAN created an ALTER EGO 50's ROCK REVIVAL ACT. At gigs they would finish their set, then go backstage, SLICK THEIR HAIR BACK, don ROCKER GEAR and return as LONG TALL ERNIE AND THE SHAKERS. It was a tongue in cheek move that went down so well that THE MOANS were put on hold and the band dedicated themselves full time to being the SHAKERS. The band assumed the role of a GANG OF REPROBATES on stage and a SPOOF DOCUMENTARY { which formed part of a DUTCH SATIRICAL TV SHOW } showed them PLAYING WITH KNIVES, PIMPING and BRAWLING IN A CAFE. The band lasted for 10 years, during which they released a number of LP's and a few of their singles made THE DUTCH TOP 20. They also had a following in GERMANY and toured THE UK. Their BASSIST left in 1975 to form HANK THE KNIFE & THE JETS. This breakaway band released a couple of 45's that used DUANE EDDY influenced BASS LICKS: '' GUITAR KING '' and '' STAN THE GUNMAN ''. Both of them went down well and managed to outsell anything that THE SHAKERS had released</div><div><br /></div><div> LONG TALL ERNIE AND THE SHAKERS - KISS ME BABY</div><div><br /></div><div><iframe frameborder="0" height="360" src="https://youtube.com/embed/jsnlBbNCxLg" style="background-image: url(https://i.ytimg.com/vi/jsnlBbNCxLg/hqdefault.jpg);" width="480"></iframe></div><div><br /></div><div> HANK THE KNIFE & THE JETS - TOPPOP TV SHOW - 1975</div><div><br /></div><div><iframe frameborder="0" height="360" src="https://youtube.com/embed/s-ahOmGUrUk" width="480"></iframe></div><div><br /></div><div> </div><div> TEDDY PALMER</div></div></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEhafSLa33rNnVzVha21TCX13oG_kS2E7NGvczgG-ty6h2uZ0C6vgKk2pc_SDn0y9Xa5gQyCvyoT2Py_x92Zpu-cTCbxgTnqus-bu19MjkzyfcLK76BVgai8J-kb3n_paJjij5xbbFeA0oCktfj-KyHzIB7x9BFjpbyIE-LqmztKkWyNbzYNAM6-hEYw/s600/Teddy.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="597" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEhafSLa33rNnVzVha21TCX13oG_kS2E7NGvczgG-ty6h2uZ0C6vgKk2pc_SDn0y9Xa5gQyCvyoT2Py_x92Zpu-cTCbxgTnqus-bu19MjkzyfcLK76BVgai8J-kb3n_paJjij5xbbFeA0oCktfj-KyHzIB7x9BFjpbyIE-LqmztKkWyNbzYNAM6-hEYw/s320/Teddy.jpg" width="318" /></a></div><div><br /></div><div><br /></div>TEDDY PALMER & THE RUMBLE BAND were a NORTHERN IRISH ACT that came out of THE SHOWBAND scene. SHOWBANDS were DANCE BANDS that played a variety of styles ranging from ROCK 'N ' ROLL, COUNTRY and JAZZ through to TRADITIONAL IRISH DANCE MUSIC. THE RUMBLE BAND formed in 1969 and mostly played OLD ROCK ' N ' ROLL standards mixed with the POP HIT'S of the day. They also moonlighted under the name of TREMBLIN' TED AND THE ROCKERS, performing CLASSIC ROCK NUMBERS while dressed in VINTAGE TEDDY BOY garb. They broke through to THE BALLROOMS of the south around '72 / '73 where they caught the attention of former THIN LIZZY manager PETER BARTON. They signed with him, adopted a GLAM ROCK image and began to release records on POLYDOR. The bands subsequent 45's '' HELL OF A FUSS ON THE LATE NIGHT BUS '' { which featured in THE CONFESSIONS OF A POP PERFORMER movie }, '' TEDDY BEAR '', '' SUMMER LOVE '' and '' IS EVERYBODY HAPPY '' were all in the GLAM ' N ' ROLL style and an LP { mostly consisting of ROCK COVERS } was also released. As a solo artist PALMER covered the ELVIS number '' BLUE CHRISTMAS '' and recorded the excellent '' TEDDY '' LP for ID RECORDS in 1978<div><br /></div><div> TEDDY PALMER & THE RUMBLE BAND - TEDDY BEAR<br /><div><br /></div><div><iframe frameborder="0" height="360" src="https://youtube.com/embed/a9zdsHhzLIQ" style="background-image: url(https://i.ytimg.com/vi/a9zdsHhzLIQ/hqdefault.jpg);" width="480"></iframe></div><div><br /></div><div> TEDDY PALMER & THE RUMBLE BAND - HELL OF A FUSS ON THE LATE NIGHT BUS</div><div><br /></div><div><iframe frameborder="0" height="360" src="https://youtube.com/embed/qg6SF0lXUaw" style="background-image: url(https://i.ytimg.com/vi/qg6SF0lXUaw/hqdefault.jpg);" width="480"></iframe></div><div><br /></div><div> TEDDY PALMER - BRING BACK ROCK ' N ' ROLL</div><div><br /></div><div><iframe frameborder="0" height="360" src="https://youtube.com/embed/LAeHaZ0siFU" style="background-image: url(https://i.ytimg.com/vi/LAeHaZ0siFU/hqdefault.jpg);" width="480"></iframe></div><div><br /></div><div><br /></div><div> REMEMBER THIS</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinP0ydEtzaqopqWuKQ4CUeT0hUvHPi6SGCQcjAZAs9rxPDXlU1BVJcpWGVOZAqWFk-G5EHnceJNSQOS9c6C28nbvhKoAAYQnwdAn8lVODkkyr5OovF4KQMxGHBihm0-ZJjxXxryY-y5792p2Owvvl4mQ-kzLnPVwM4GGo5xvNjCY9rfHIhKgAR_SRALQ/s599/Remember%20this.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="599" data-original-width="591" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinP0ydEtzaqopqWuKQ4CUeT0hUvHPi6SGCQcjAZAs9rxPDXlU1BVJcpWGVOZAqWFk-G5EHnceJNSQOS9c6C28nbvhKoAAYQnwdAn8lVODkkyr5OovF4KQMxGHBihm0-ZJjxXxryY-y5792p2Owvvl4mQ-kzLnPVwM4GGo5xvNjCY9rfHIhKgAR_SRALQ/s320/Remember%20this.jpg" width="316" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div><br /></div>
Perhaps the greatest 70's JUNKSHOP BOPPER was '' ROCK ' N ' ROLL REVIVAL '' by REMEMBER THIS. A great R ' N ' R tribute number with GENE VINCENT style vocals and a PUNCHY GLAM ROCK production, released on THE PENNY FATHING LABEL in 1975. The band also appeared on ' THE WHEELTAPPERS AND SHUNTERS SOCIAL CLUB ' TV SHOW, playing a high energy medley of CHUCK BERRY numbers with a leather clad couple upfront, showing off all the 50's DANCE MOVES. A year later the band released an LP of CLASSIC ROCK covers on the DANISH SONET LABEL, but that appears to have been the end of their Journey unless { like many others } they continued to play the clubs?</div><div><br /></div><div> REMEMBER THIS - ROCK ' N ' ROLL REVIVAL<br /><div><br /></div><div><iframe frameborder="0" height="270" src="https://youtube.com/embed/kH8OuZHLnXc" width="480"></iframe></div><div><br /></div><div> REMEMBER THIS - LIVE ON THE WHEELTAPPERS AND SHUNTERS SOCIAL CLUB</div><div><br /></div><div><iframe frameborder="0" height="360" src="https://youtube.com/embed/GAkYPOwfn4I" style="background-image: url(https://i.ytimg.com/vi/GAkYPOwfn4I/hqdefault.jpg);" width="480"></iframe></div><div><br /></div><div>*** THE INFLUENCE OF 50's ROCK ' N ' ROLL ON THE BROADER POP WORLD OF THE 70's WILL BE EXAMINED IN PART THREE ***</div><div><br /></div></div>Denim Discohttp://www.blogger.com/profile/06574040953592340498noreply@blogger.com0tag:blogger.com,1999:blog-6736655727569680511.post-86984631386300262652022-04-27T10:59:00.001-07:002023-02-23T04:55:36.294-08:00JOHNNY BRISTOL - NOT A FACSIMILE <br />
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<div class="separator" style="clear: both;"><br /></div><p>JOHNNY BRISTOL enjoyed a creative and successful period as a SONGWRITER / PRODUCER working for TAMLA MOTOWN from the late 60's onward. He co-produced '' AIN'T NO MOUNTAIN HIGH ENOUGH '' for MARVIN GAYE and TAMMI TERREL and also co-wrote and produced '' MY WHOLE WORLD ENDED { THE MOMENT YOU LEFT ME } for DAVID RUFFIN, '' TWENTY FIVE MILES '' for EDWIN STARR, SOMEDAY WE'LL BE TOGETHER '' for THE SUPREMES and '' WHAT DOES IT TAKE { TO WIN YOUR LOVE } for JNR WALKER. He left MOTOWN in '73 and continued to produce records for CBS. When the company were unwilling to back him as a solo artist, he struck a deal with MGM and they released his Debut LP '' HANG ON IN THERE BABY '' the following year. The title track reached the US top ten when it was released on 45 and was hugely successful on the dancefloor. Today it's seen as one of the key records of the EARLY DISCO ERA </p><p><br /></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-HbZhlwsVaJeTp83NaGUf3G0Bmfw6hPYrG3T01ZdCNa4DBTsrBl4VqRQ2newV_-Q1cIWu_2jFcRXthRoN_HNywn2BFz5B0KnPxFYnXVzKKTxz7v5cPCYKnwk29VLShElo9caLgaR-jMwAQ5PSZaAlJDv2ClBMfMFkcXFGScfq3W-rHfMreihn4ThJ9w/s434/Johnny%20Bristol%20-%2001.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="434" data-original-width="433" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-HbZhlwsVaJeTp83NaGUf3G0Bmfw6hPYrG3T01ZdCNa4DBTsrBl4VqRQ2newV_-Q1cIWu_2jFcRXthRoN_HNywn2BFz5B0KnPxFYnXVzKKTxz7v5cPCYKnwk29VLShElo9caLgaR-jMwAQ5PSZaAlJDv2ClBMfMFkcXFGScfq3W-rHfMreihn4ThJ9w/s320/Johnny%20Bristol%20-%2001.jpg" width="319" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div>
The LP included a number of great DISCO / FUNK and DEEP SOUL BALLADS, but BRISTOL choose the COUNTRY / SOUL number '' MEMORIES DONT LEAVE LIKE PEOPLE DO '' as the follow up. He clearly had great enthusiasm for the song as he had already produced a version for JERRY BUTLER and later did the same for JOHNNY MATHIS and TOM JONES .Unfortunately his his own version failed to register in the same way that '' HANG ON IN THERE '' had . The LP contained another COUNTRY / SOUL number that had an unusual BAROQUE feel: '' LOVE ME FOR A REASON ''. The track was placed at the end of the LP and it fades into a reprise of the opening cut '' WOMAN, WOMAN ''. That could have been the end of the story, but the song was given to another MGM act: THE OSMONDS. Producer MIKE CURB went for a more straightforward sound for their recording and dropped the harpsichord / flute feature which was reminiscent of '' I DON'T KNOW HOW TO LOVE HIM '' from the musical '' JESUS CHRIST SUPERSTAR ''. Two hit versions of that song had been recorded { one by cast member YVONNE ELLIMAN and another by HELEN REDDY } and to cloud things further: the melody was presumed to have been lifted from a violin concerto by ' Bach fanboy ' FELIX MENDELSSOHN <div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLeOzieQntETM1fUCFtL-vRT5rZl4SSCm-PMk8ZduFs8mooilsTzl5mMX_3ORnQCS3zvCj6WBFwc34_qhLQ9UxSIBH1V7u2M8W4Re4mxfJ30oTnF7kIB3wbG6JjqP5ol7vEmDs0__92Uw6tbDSrTPNHh1PN8CP09uME2Uxt8CbqoUugLHplRzQ6ujJqg/s600/Osmonds.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLeOzieQntETM1fUCFtL-vRT5rZl4SSCm-PMk8ZduFs8mooilsTzl5mMX_3ORnQCS3zvCj6WBFwc34_qhLQ9UxSIBH1V7u2M8W4Re4mxfJ30oTnF7kIB3wbG6JjqP5ol7vEmDs0__92Uw6tbDSrTPNHh1PN8CP09uME2Uxt8CbqoUugLHplRzQ6ujJqg/s320/Osmonds.jpg" width="320" /></a></div><br /><div><br /></div>The OSMONDS were at the height of their success and the gifted song eased into the US top 10. In the UK it did even better, reaching the number 1 spot where it joined '' HANG ON IN THERE '' in the TOP 5. Ironically it's possibly still the only hit pop song to contain the word FACSIMILE!<div><br /><br /><iframe frameborder="0" height="360" src="https://youtube.com/embed/XQMPmRydjGU" width="480"></iframe></div>Denim Discohttp://www.blogger.com/profile/06574040953592340498noreply@blogger.com0tag:blogger.com,1999:blog-6736655727569680511.post-8089369446165694102021-12-30T14:24:00.005-08:002021-12-30T15:32:17.934-08:00TRAX ON WAX<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEj-oUPO4MjGRkgqfnCngfNk37d8o--mt0YnRcS8nI5rcCr7u6VVLNUrBxJFnRY1HedMgi6lHaOWPs9HslGsgPtR4VUCEX57CyWUYhtuZ6xV89z9CyS3auNQ_c6z6K7eS0lYRSPtWDxISEyZa-Yhdk_18SSqtq7VkTtOvzgkrWm7jVsosLdHJDQ4XlXdBA=s595" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="595" data-original-width="595" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEj-oUPO4MjGRkgqfnCngfNk37d8o--mt0YnRcS8nI5rcCr7u6VVLNUrBxJFnRY1HedMgi6lHaOWPs9HslGsgPtR4VUCEX57CyWUYhtuZ6xV89z9CyS3auNQ_c6z6K7eS0lYRSPtWDxISEyZa-Yhdk_18SSqtq7VkTtOvzgkrWm7jVsosLdHJDQ4XlXdBA=s320" width="320" /></a></div><br /><div><br /></div>TRAX were a LONDON based POP SOUL group who released a couple of 45's on FRESH AIR RECORDS during 1974. The label was run by REAL THING manager TONY HALL and put out a number of interesting soul related records during a three year period. London had a well established scene for live SOUL / FUNK bands by the mid 70's, but the record industry continually struggled in it's efforts to market them to the general public. The TRAX records were a case in point. The A and B sides of both records were self penned and display different facets of the bands sound. The A-Sides: '' WASN'T IT NICE '' and '' NUMBER ONE LOVER '' were both upfront and compelling numbers that built upon the work of two of the most successful LONDON POP / SOUL groups of the previous decade. The former appears to bear the influence of the CALYPSO / SOUL sound of THE EQUALS and the later the POP / MOTOWN derived melding of THE FOUNDATIONS. Both contained strong hooks, crisp harmonies and snappy brass arrangements, but despite their obvious merit and the bands unique and eye catching ORANGE HAIR / PVC CLOTHING combo, they failed to get the attention they clearly deserved. The B-Sides: '' BLACK BOY '' and '' HOUNDS '' are something else entirely and wonderful in their own right. Both are stylish CINEMATIC FUNK based numbers with lyrics that include a fair degree of SOCIAL COMMENTARY. Neither would sound out of place on the CURTIS MAYFIELD '' SUPERFLY '' soundtrack. Unfortunately there isn't much info about the band online apart from a brief bio <a href="https://www.youtube.com/watch?v=P--CaPWJMwI" rel="nofollow" target="_blank">here</a> which names the lineup and tantalizingly mentions an unreleased 3rd single! Surprisingly they also failed to get a mention in the otherwise excellent '' SOUNDS LIKE LONDON - 100 YEARS OF BLACK MUSIC '' book by LLOYD BRADLEY. It's regrettable that such a quality act has barely been acknowledged - If anyone has more info on the band: Please leave a comment below or get in touch at: denimdisco@hotmail.co.uk<div><br /></div><div><br /></div>
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<br /><div><br /></div>Denim Discohttp://www.blogger.com/profile/06574040953592340498noreply@blogger.com1tag:blogger.com,1999:blog-6736655727569680511.post-3793620297800410512021-12-16T15:17:00.000-08:002021-12-16T15:17:12.142-08:00PARIS - LIAR<br />
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<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEh9PFpUrFGME5d7qN3qYaytUlZ1rXQ4Q5TU2C-lYXaFLOiC3wGObyT32scUztZ96aiX2tElgd1Yeb0xsJG5-IhUgCFEN_s1Krj1eXIqP3WPUsbXz9MatktEgWpq5UaPm8ErDIVPqXg8qD2mNFo9hK-HooGngE8K37tF78PiTcRIVXXtyyphDoNCnekdsw=s600" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="600" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEh9PFpUrFGME5d7qN3qYaytUlZ1rXQ4Q5TU2C-lYXaFLOiC3wGObyT32scUztZ96aiX2tElgd1Yeb0xsJG5-IhUgCFEN_s1Krj1eXIqP3WPUsbXz9MatktEgWpq5UaPm8ErDIVPqXg8qD2mNFo9hK-HooGngE8K37tF78PiTcRIVXXtyyphDoNCnekdsw=s320" width="320" /></a></div><br /> <p></p>
'' LIAR '' was the B-Sibe of '' CIRLES '', The sole release by PARIS on the independant THUNDERBIRD label in '76. Both sides of the disc were co-produced by guitarist MICK GREEN whose band SHANGHAI put out an LP and a couple of singles on the label the same year { see the previous post on DENIM DISCO for more info on them }. The A side is a pleasant mid tempo MOR number that apparently went nowhere and it's interesting to speculate on the outcome had the disc been flipped as '' LIAR '' is a graceful and impressive YACHT SOUL number redolent of '' HOW LONG '' by ACE
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<iframe style="background-image:url(https://i.ytimg.com/vi/_1LrjmEpvRk/hqdefault.jpg)" width="480" height="360" src="https://youtube.com/embed/_1LrjmEpvRk" frameborder="0"></iframe>Denim Discohttp://www.blogger.com/profile/06574040953592340498noreply@blogger.com0tag:blogger.com,1999:blog-6736655727569680511.post-59453302248475175072021-12-16T14:36:00.003-08:002021-12-16T15:44:03.933-08:00SHANGHAI - HARLEM DANCER<div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEg8zeW6Wcvus3QhbrklDFSrVEOKTfm19PVE9Q-BEx7X2iMXu3c4-YKcBZtq7SmxjNHecI1yL9lt27MB2OiQqhRfDf3D96KlZi6IVmxdDP1bc4CA4rTHC5d_Dsdd_6P12ZBYImohQcbG-u2azhbxLuNnCh9U6MT6BoV9vdFMLd-erP7udOiTzzURG9TDrA=s3090" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2610" data-original-width="3090" height="270" src="https://blogger.googleusercontent.com/img/a/AVvXsEg8zeW6Wcvus3QhbrklDFSrVEOKTfm19PVE9Q-BEx7X2iMXu3c4-YKcBZtq7SmxjNHecI1yL9lt27MB2OiQqhRfDf3D96KlZi6IVmxdDP1bc4CA4rTHC5d_Dsdd_6P12ZBYImohQcbG-u2azhbxLuNnCh9U6MT6BoV9vdFMLd-erP7udOiTzzURG9TDrA=s320" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div> BROWN SUGAR had a sister who moved on up to HARLEM:<br /><div><br /></div> <div> '' It was a cold grey day in Harlem, the rain was pouring down <div> As I shivered past the doorway, where the hookers and the priest stood around </div><div> It was a hobo on the corner, he laughed and began to shout </div><div> See the crazy chick right down the street man, she really givin' out ''</div></div>
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SHANGHAI were a mid 70's BRITISH BLUES ROCK BAND formed by veteran guitar hero MICK GREEN and drummer Peter Kircher. The band released a self titled LP on the WARNER BROS label in '74 featuring the vocals of CHUCK BEDFORD and a follow up on the UK independant THUNDERBIRD in '76. The lineup had changed for the second LP '' FALLEN HEROS '' . Bedford was replaced by former ' REBEL ROUSER ' CLIFF BENNETT and a second guitarist BRIAN ALTERMAN was added. The band promoted the album on THE OLD GREY WHILSTLE TEST and toured as support for STATUS QUO, but quickly Fragmented. GREEN reformed THE PIRATES { the group he is primarily associated with } and BENNETT sadly quit the music business completely<div><br /></div><div> <div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjpu8O2DaAXehbTZGidvfNahF7rxaP4KtEfAtqa1GyLnoXRDVaT4zqP-r5TkUrc8oKkZeUDEMDAEkXhp7a8mbuHyeY4DCZKfW_xsJ2OQzqebWU63gt8iM0eFnCPbM9iE5t7Z_k56xlQXTbm2NgD2ZIMdLDYe7NzTDFCMiUBebaue_OSrODy4DUtFmYcuA=s2508" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2508" data-original-width="2478" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEjpu8O2DaAXehbTZGidvfNahF7rxaP4KtEfAtqa1GyLnoXRDVaT4zqP-r5TkUrc8oKkZeUDEMDAEkXhp7a8mbuHyeY4DCZKfW_xsJ2OQzqebWU63gt8iM0eFnCPbM9iE5t7Z_k56xlQXTbm2NgD2ZIMdLDYe7NzTDFCMiUBebaue_OSrODy4DUtFmYcuA=s320" width="316" /></a></div><br /><br />
Neither of their LP's have been reissued in any form and copies of the original vinyl pressings are now coveted by fans and collectors. The non LP '' HARLEM DANCER '' was one of their more interesting tracks and stands up well today. A FUNKY BLUES ROCK number in the BAD COMPANY / STONES mould that sneaked out on the B-SIDE of '' CANDY EYES '' { a track from '' FALLEN HEROES '' } . It's a real mover and one that really defines the term DISCOTHEQUE ROCK!
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AN IN DEPTH LOOK AT THE INFLUENCE OF 50's ROCK 'N' ROLL ON THE ROCK AND POP MUSIC OF THE 1970's<div><br /></div><div> PART ONE - ROCKIN' THROUGH THE 60's: FROM THE BEATLES TO BOLAN
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US Rock 'N' Roll arrived in Europe as a fully formed entity in the late 50's and many felt short changed when the sound evolved into a smoother and more polished form. The R 'N' R ' GREATS were still revered on this side of the Atlantic and continued to tour into the the 60's after their hits had dried up. GENE VINCENT liked the response from European audiences so much he chose to base himself in the UK from '63 onwards. For the most part UK Rockers followed the US model, but some like JOHNNY KIDD and LORD SUTCH continued to release exciting records and secured loyal support from the LEATHER CLAD ROCKERS who replaced the TEDDY BOYS as the most recognizable flag bearers for rock in the new decade
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<br /> BEAT BEAT BEAT<br /><br /></div><div>
The craze for INSTRUMENTAL GROUPS at the start of the 60's prolonged the rock era until THE BEATLES and the UK BEAT MUSIC trend superseded it. The beat groups established a new sound for a new era, but not a clean break from the past. They had without exception formed around a mutual interest in US ROCK ' N ' ROLL and during their early CAVERN and STAR CLUB residencies, THE BEATLES performed sets that consisted almost entirety of 50's CLASSICS with a LEATHER CLAD ' ROCKER ' image to match. The influence continued into their formative recording period where they introduced the songs of BUDDY HOLLY, CHUCK BERRY, LITTLE RICHARD, LARRY WILLIAMS and CARL PERKINS to a younger audience. The Fab's were not alone in doing this and record companies { most notably PYE } began to reissue 45's and LP's from their back catalogues to feed a demand for the originals.</div><div>
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THE BEATLES COVER EDDIE FONTAINE'S ROCKABILLY OBSCURITY FOR A BBC RADIO SESSION <br />
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GENE VINCENT PERFORMS ON THE 1964 UK TV SPECIAL '' WHOLE LOTTA SHAKIN' GOIN' ON ''
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<br /> MODS AND ROCKERS</div><div><br /></div><div>
Much has been made of the rivalry between MODS and ROCKERS but there was a point at which their musical tastes converged: RHYTHM AND BLUES. MODS mostly looked to the US for SOUL or R 'N' B records to dance to or followed the UK BANDS who covered them. GUY STEVENS was a DJ who worked at hip mod hangout THE SCENE CLUB in London's SOHO district. He also selected records for PYE's re-issue programme and later his own SUE label. Many of the releases dated from the 50's and appealed to MODS and ROCKERS alike. Stevens also bought up large stocks of deleted records from US warehouses and helped to create a market for VINTAGE 50's RECORDINGS in the UK. The Welsh dealer ‘BREATHLESS' DAN COFFEY { who continued to dress in TEDDY BOY style suits } was another important figure, bringing over crates full of US OBSCURITIES that were previously unknown to UK FANS. PIRATE RADIO DJ MIKE RAVEN was another fount of knowledge regarding vintage recordings and like Stevens made up tapes of songs for gigging bands to cover </div><div>
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'' Mike Raven made me an incredible tape and on it was stuff like '' RED HOT '' and '' UBANGI STOMP ''. They'd never been known in England, so we were pretty early in there on the ROCKABILLY stuff. I also picked up on ‘ BREATHLESS ’ DAN COFFEY very early and we were going up to DAN'S ROCKHOUSE in Wales in 64' / 65'. Dan had got this stuff all over the place. Crackin' records, all from the SUN STUDIO ''
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JESSE HECTOR from an interview in the '' A MESSAGE TO THE WORLD '' documentary 2014
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LONGING FOR SOMETHING ELSE<br />
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By 1967 the HIPPIE era was in full swing and the popular groups were producing elaborate concept LP's that relied on advanced recording techniques. Very much a time to '' Turn off your mind relax and float downstream '' , but a contrasting sentiment was beginning to be voiced when 68' dawned. Musicians who had picked up instruments during the BRITISH R 'N' B CRAZE had developed in feel and technique. Consequently a new BLUES BOOM was being talked about. The debut LP by PETER GREEN'S FLEETWOOD MAC { released in February } reached number 4 in the UK and showed there was a ready audience for bands with a ' back to the roots ' approach. '' FIRE BRIGADE '' by the MOVE utilised a guitar riff derived from '' SOMETHIN' ELSE '' by EDDIE COCHRAN and took it to number 3 in the singles chart. '' GOOD TIMES '' by THE EASYBEATS was another great rock based number that sold only moderately on first release but later inspired the BEATLES to record their own rock tribute '' GET BACK '' . In March a ' ROCK REVIVAL SHOW ' was held at THE ROUNDHOUSE featuring MARTY WILDE, JOE BROWN and TOMMY BRUCE. When BILL HALEY arrived to tour in APRIL he was met by a throng of press reporters eager to give coverage to THE ROCK REVIVAL</div><div><br /></div><div><br /></div><div>MOD HEROES SMALL FACES AND THE WHO RECAST AS ROCKERS FOR 1968 PHOTO SHOOTS<br /><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjo2tlC5RgPj7kbri9sjpmlPfDybxKUXPWMVOYjI7d_Q49-zdf6tHCH6XgyMlz356WFQI6pMMAhkaLRzx_GQl__CJRX5tPgVT7d3_I5VoLjuxF-p2kpeHJH8HquzSEJBZBpEy8fcqdUzj4U/s809/Who+and+Small+Faces.jpg" style="display: block; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="292" data-original-width="809" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjo2tlC5RgPj7kbri9sjpmlPfDybxKUXPWMVOYjI7d_Q49-zdf6tHCH6XgyMlz356WFQI6pMMAhkaLRzx_GQl__CJRX5tPgVT7d3_I5VoLjuxF-p2kpeHJH8HquzSEJBZBpEy8fcqdUzj4U/s600/Who+and+Small+Faces.jpg" width="600" /></a></div>
<div> </div><div> THE 1968 REVIVAL</div><br />
In April CBS RECORDS issued a 45 by the contemporary UK group AT LAST THE 1958 ROCK AND ROLL SHOW. The bands name told you all you needed to know about their musical intentions. The song '' I CAN'T DRIVE '' was penned by frontman FREDDIE ' FINGERS ' LEE who sang and played piano in the style of JERRY LEE LEWIS while future MOTT THE HOOPLE leader IAN HUNTER fulfilled bass playing duties. There were high hopes that the record would break on the back of the revival
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'' There was a massive upsurge in rock ' n ' roll and there weren't any real rock ' n ' roll bands, except us, who were already playing. It spanned roughly a year and the other artists who came along were TOMMY BISHOP who made a record called '' LONG BLACK TRAIN '' and GERRY TEMPLE who sang '' LOVING UP A STORM ''. It was short lived. People wanted something different then they moved onto something else ''
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FREDDIE LEE quoted in MOTT THE HOOPLE AND IAN HUNTER - THE BIOGRAPHY 1998
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<br /><br /> THE UK CLASS OF ' 68<br />
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FREDDIE LEE and CARL WAYNE of THE MOVE discuss the rock revival with fans on the GOOD EVENING with JONATHAN KING TV SHOW<br />
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<br /> THE RETURN OF THE TEDDY BOY</div><div><br /></div><div>
Ultimately the record labels saw a better return on 50's reissues than ' new school ' rock. '' ROCK AROUND THE CLOCK '' reached the top 20 and EMBER records shifted a few copies of their of MERRILL E MOORE compilation { Moore being another early rocker with roots in WESTERN SWING }. Rock fandom also became more organized at this point with appreciation societies forming and fan magazines like ROCK ' N ' ROLL COLLECTOR appearing. Another important aspect was the return of THE TEDDY BOY. Initially just guys in their 30's returning to the style, but over time a new generation was building up and a pub called THE BLACK RAVEN in LONDON'S BISHOPSGATE district became the the go to place for young and old alike</div><div>
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MERRIL E MOORE on EMBER RECORDS and GUY STEVENS' TESTAMENT OF ROCK AND ROLL on ISLAND
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A GROUP OF TEDS OUTSIDE THE BLACK RAVEN PUB { PIC FROM A 1970 SUNDAY TIMES FEATURE }
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In The USA the INSTRUMENTAL ERA ran even longer due to the SURF MUSIC craze which evolved into HOTROD and VOCAL SURF subgenres. There was also a renewed interest in the VOCAL GROUPS of the early DOO-WOP era
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'' Around '59 a DISC JOCKEY called JERRY BLAVAT began playing old R ' N ' B RECORDS on his RADIO PROGRAMME. Things like THE HARPTONES, THE CHANTELLS and THE HEARTS. Things that some of the white kids hadn't heard when they originally came out and sold to black folk. Pretty soon he was a real big personality. He'd play RECORD HOPS and around 2.000 people would come and hear those DOO-WOP things. It just got bigger and bigger. Hundreds of crazy white kids from SOUTH PHILADELPHIA were running around trying to find these OLDIES BUT GOLDIES as they were called ''
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Philadelphia record dealer SID PAYNE quoted in TONY CUMMINGS '' THE SOUND OF PHILADELPHIA '' book 1975
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Collectors on THE EAST COAST also caught the bug. Groups reformed. Compilations and 45's were reissued and some made the charts. New groups also formed and found success. The mainstream popularity of the sound fell off in the wake of MOTOWN and THE BRITISH INVASION, but retained a hardcore underground following
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DOO-WOP COMPILATION LP's ON ROULETTE and ORIGINAL SOUND RECORDS
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US PSYCHEDELIA relied less on electronic gimmicks than it's UK counterpart. The music of WEST COAST bands like THE GRATEFUL DEAD and JEFFERSON AIRPLANE was more closely attached to FOLK and BLUES traditions with the musicians soloing and improvising in the manner of JAZZ players. THE BAND who had backed BOB DYLAN on his groundbreaking LP '' BLONDE ON BLONDE '' had previously played with the ROCKABILLY vocalist RONNIE HAWKINS and the ' natural ' sound of their 1968 SOLO LP '' MUSIC FROM BIG PINK '' influenced many with it's blending of traditional US musical forms. The same year SAN FRANCISCO band CREEDENCE CLEARWATER REVIVAL broke through with a cover of DALE HAWKINS '' SUSIE Q '' and their own material drew inspiration from the likes of LITTLE RICHARD, ELVIS and CHUCK BERRY. FRANK ZAPPA went further still with his DOO-WOP based concept LP '' CRUISING WITH RUBIN & THE JETS ''. Although the record contained some unusual chord / tempo changes and an undercurrent of warped humor it was initially taken by some as a previously unreleased 50's recording
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CREEDENCE CLEARWATER REVIVAL GO BACK TO HEIR ROOTS
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THE MOTHERS OF INVENTION MASQUERADING AS RUBIN & THE JETS
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IN JUNE 1968 ELVIS PRESLEY appeared before a live audience for the first time in 7 years for the recording of the '' SINGER PRESENTS...ELVIS '' TV SHOW { later known as THE '68 COMEBACK SPECIAL } . It was a glorious return to his rock roots and delighted his fans when it was aired in DECEMBER. It effectively re-launched his career and was the prelude to his '' FROM ELVIS IN MEMPHIS '' LP the following year: A return to non-soundtrack albums, an artistic triumph and a commercial success. People were taking note... What's good for THE KING... In November JACK GOOD { the man responsible for the UK rock era tv shows SIX FIVE SPECIAL and OH BOY! } produced 33+1⁄3 REVOLUTIONS PER MONKEE, a one off TV SPECIAL which featured a fantasy flashback section showing the band dressed in outlandish 1950s vocal group gear and greased back hair. They performed a high energy 50's medley backed up by JERRY LEE LEWIS, LITTLE RICHARD and FATS DOMINO. The show was aired in APRIL the next year and possibly inspired the similarly styled DOO-WOP / ROCK ' N ' ROLL tribute act SHA NA NA who formed around that time. JIMI HENDRIX caught the bands act and helped them to secure a spot opening for him on the last day of THE WOODSTOCK FESTIVAL in August. The HIPPY audience were simultaneously ' delighted and bewildered ' by their brand of ' FLASHBACK ' ROCK ' N ' ROLL, but co-founder of the band, drummer Jocko Marcellino later recalled '' We did 40 minutes and were paid $350...and the check bounced! '' - NEVER TRUST A HIPPY! - More
rockin' was to follow at THE TORONTO ROCK AND ROLL REVIVAL FESTIVAL in September with a bill that featured CHUCK BERRY, BO DIDDLEY, LITTLE RICHARD, JERRY LEE LEWIS, GENE VINCENT and SCREAMING LORD SUTCH alongside more contemporary acts including THE DOORS, CHICAGO and ALICE COOPER
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ELVIS PERFORMS A MEDLEY: HEARTBREAK HOTEL / HOUND DOG / ALL SHOOK UP - '68 <iframe frameborder="0" height="360" src="https://youtube.com/embed/9179nS0o2sE" width="480"></iframe>
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SHA NA NA - A ROCK ' N ' ROLL FLASHBACK AT THE WOODSTOCK FESTIVAL
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LITTLE RICHARD AT THE TORONTO ROCK AND ROLL REVIVAL FESTIVAL - 1969
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<br /> </div><div> BORN TO BOOGIE</div><div>
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Singer songwriter MARC BOLAN achieved a degree of success in the late sixties with his PSYCHEDELIC FOLK styled duo TYRANNOSAURUS REX. His most discernible influences were DYLAN and DONOVAN, but those of the 50s rockers were lurking beneath the surface. At the age if 11 he'd performed at the LEGENDARY 2I's COFFEE BAR as one half of an EVERLY BROTHERS styled duo and the experience clearly left it's mark. A number of his songs were based on classic rock chord progressions and contained lyrical references to CARS and 50's AMERICANA. Upon leaving the ROUNDHOUSE ' ROCK REVIVAL SHOW ' in '68 he raved about the voice of FRANKIE LYMON and the guitar playing of LONNIE MACK and LINK WRAY to a passing journalist and later bonded with DJ JOHN PEEL over a mutual love of the ROCKABILLY session guitarist JAMES BURTON { Burton played on DALE HAWKINS '' SUSIE Q '' and most of RICKY NELSON'S early recordings }
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<div><br /></div>TYRANNOSAURUS REX were a big draw on the emerging festival scene and their LP's sold moderately well, but underground success wasn't Bolan's endgame and in October 1970 he unveiled a new TONY VISCONTI produced ELECTRIC POP 45: '' RIDE A WHITE SWAN ''. The name was abbreviated to T. REX and the song ran to little more than two minutes. An irresistible radio friendly THREE CHORD ROCKER, closer to the music of the 50's than his previous work, but infused with the same NEW AGE SENSIBILITY <div><br />
'' The lyrics were still mystical to an extreme, Bolan's charismatic warbling bray was prominent, and strings tended to swamp everything in their path, but the understructure sounded like some tantalizingly familiar rockabilly tune you couldn't quite place and the whole package rocked crisply
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KEN BARNES from the TEENAGE RAMPAGE article in BOMP #18 { 1978 } </div><div><br /></div><div>'' T. REX were the fifties if it had somehow come AFTER the sixties. Rock ' n ' roll, but with everything that historically followed folded into it '' </div><div><br /></div><div>SIMON REYNOLDS From SHOCK AND AWE - GLAM ROCK AND IT's LEGACY { 2016 }<br />
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MARC had finally hit pay dirt. The record slowly ascended to the number 2 position in the UK CHARTS. It was the first of a run of 11 TOP TEN HITS in the UK where he would encounter a popularity comparable to THE BEATLES. A number of performers would follow his lead, using 50's Rock influences to varying degrees and this punchy, pop orientated sound with a focus on the 7'' SINGLE would go on to captivate a whole new generation of rock fans at the start of the 70's
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THE INFLUENCE OF 50's ROCK ' N ' ROLL ON THE 70's GLAM ROCK MOVEMENT IS EXAMINED IN <a href="http://denimdisco.blogspot.com/2022/05/the-rock-n-roll-revival-part-two.html">PART TWO</a><br />
<br /></div>Denim Discohttp://www.blogger.com/profile/06574040953592340498noreply@blogger.com1tag:blogger.com,1999:blog-6736655727569680511.post-61276834992806814452021-07-14T06:59:00.002-07:002021-07-14T07:22:15.788-07:00WIRED UP! ISSUE #18<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6hfdFTdAugBRv1Jkiybonc23rYqXv6ljkAb2oBQ-_9uuC1sbf4uvKZ9oBHdP8WhG4NoHqLyDpYMxHFzHnM2dZHX2jqBP8k5TwyOI5PBqVQlPTvWI2VZ0lVBBgy6islgUHADqW1djanqQN/s2048/WU+-+18+-+Cover+-+B.jpg" style="display: block; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="2048" data-original-width="1375" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6hfdFTdAugBRv1Jkiybonc23rYqXv6ljkAb2oBQ-_9uuC1sbf4uvKZ9oBHdP8WhG4NoHqLyDpYMxHFzHnM2dZHX2jqBP8k5TwyOI5PBqVQlPTvWI2VZ0lVBBgy6islgUHADqW1djanqQN/s400/WU+-+18+-+Cover+-+B.jpg" /></a></div>
<div><br /></div>The latest issue of WIRED UP! GAMZINE features an interview with DANIEL CAMILO who colourizes 60's and 70's photos of SKINHEADS, SMOOTHIES, FOOTBALL FANS and so on. Five examples of his work on early 70's SMOOTHIE youths are included and show how he brings those old snaps to life { check out his INSTAGRAM page for more: <a href="https://www.instagram.com/bovverglam/?fbclid=IwAR3v9MUpx-xshfwH2v1bhHBjjoaFLtXKd9_PZFGJuPPaKUYy8qNmyzBujjw" rel="nofollow" target="_blank">bovverglam</a> }. Other items include Part 2 in a series of articles on the links between the 70's GLAM and PUNK scenes and an interview with the compilers of the KNUCKLE GIRLS LP's { plus the DENIM DISCO review of them <a href="http://denimdisco.blogspot.com/2021/05/knuckle-girls-volumes-1-2.html" rel="nofollow" target="_blank">KNUCKLE GIRLS VOLUMES 1 & 2</a> }
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Here's a brief teaser of the interview with THE KNUCKLE GIRL'S: DEMOLITION DAWN and SADO SHAZ:
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QUESTION: Some of the songs on the LP could have been hits. I'm thinking of '' LOOKING FOR LOVE '' by GLO MACARI and '' FAREWELL '' by AYSHEA . Going the other way, which are the oddest cuts?
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ANSWER: VIC LEZAL'S PROFESSIONALS are without doubt, the oddities from Vol.1. They were a 16-piece covers band from England, providing back up for touring performers like ANDY WILLIAMS and ENGLEBERT HUMPERDINK! House band at The Ritz nightclub in Manchester from 1973 for 37 years! '' BLITZ AT THE RITZ '' must have been made to promote the club
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From Vol.2. '' LIFELIGHT '' by THE { NEW } SETTLERS, stands out in so much that it's an unlikely FOLK-GLAM hybrid that had it been a hit, would have been a very distant cousin to their previous claim to fame '' LIGHTNING TREE ''. That was the theme to the kids TV Show FOLLYFOOT
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QUESTION: The ROCK FOLLIES tracks sound so much better than I remember. Time for a re-appraisal?
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ANSWER: The two series of ROCK FOLLIES were originally broadcast in the UK in 1976 and 1977, during the two key development years of PUNK. So to your average punk on the street they already appeared a little quiant and dated. Although THE BUZZCOCKS did take their name from a TIME OUT MAGAZINE review of the show. '' Ever get a buzz, cock? '' being a typical phraze from JULIE COVINGTON'S character DEVONIA '' DEE '' RHOADES. I think the ROCK FOLLIES, though, definately wore their '' LITTLE LADIES '' T-Shirts with a keen sense of irony
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WIRED UP! can be purchased via the following links: <div><br /></div><div>WIRED UP! EBAY PAGE:</div><div><a href="https://www.ebay.co.uk/usr/timebox2000" rel="nofollow" target="_blank">https://www.ebay.co.uk/usr/timebox2000</a><br /></div><div><br /></div><div>WIRED UP! FACEBOOK PAGE:</div><div><a href="https://www.facebook.com/Wired-Up-Fanzine-482775235421219/" rel="nofollow" target="_blank">https://www.facebook.com/Wired-Up-Fanzine-482775235421219/</a><br /></div><div><br /></div><div>WIRED UP! EMAIL CONTACT:</div><div><a href="mailto:wiredupfanzine@gmail.com" rel="nofollow" target="_blank">wiredupfanzine@gmail.com</a><br /></div><div><br /></div>Denim Discohttp://www.blogger.com/profile/06574040953592340498noreply@blogger.com0tag:blogger.com,1999:blog-6736655727569680511.post-21875462106950706492021-05-20T07:16:00.001-07:002021-05-20T07:52:29.202-07:00KNUCKLE GIRLS VOLUMES 1 & 2<br>
<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhss-gn4R1CNm59GrMhO89n-TL6NT65gCnHROOdp1uYlF02AmNBdYQM6cCCTfL0-0mggonp_vLCNrkiYG7U5YAcwaq1BOqRVqmnSPMxgFqJq1XHSYqQRgRY3XahjdJVkaKkRG1Y0MHYy6P/s810/Knuckle+Girls+-+Both.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="405" data-original-width="810" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhss-gn4R1CNm59GrMhO89n-TL6NT65gCnHROOdp1uYlF02AmNBdYQM6cCCTfL0-0mggonp_vLCNrkiYG7U5YAcwaq1BOqRVqmnSPMxgFqJq1XHSYqQRgRY3XahjdJVkaKkRG1Y0MHYy6P/w640-h320/Knuckle+Girls+-+Both.jpg" width="640" /></a></div><br /><p></p>
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KNUCKLE GIRLS VOLUMES 1 & 2 are the most recent JUNKSHOP GLAM compilation LP's to hit the streets and despite the replication of 4 tracks from the GLAMSTAINS 3 { CHERRY BOMBS } comp, they do a great job of highlighting some of the unjustly overlooked female performers of the era . The sound quality is decent, they're pressed on nice chunky vinyl and come in magnificent colour sleeves with sleevenotes that cleverly mimic the RICHARD ALLEN pulp novels
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VOLUME 1 { 14 BOVVER BIRD BLITZERS } kicks off strongly with '' I CAN SEE THE CHANGES '' by KUNY, a DUTCH release from 1973 seemingly inspired by SLADE and ALICE COOPER'S more melodic mid paced tunes. Sadly it appears to be her only release. Following on swiftly in the SUZI QUATRO mold we have '' SUZUKI 75 '' by CAROL AND THE BOSTON GARDEN, a dynamic stomper full of revving engine noises on the appropriately named VOOM VOOM label out of ITALY. We move aross the atlantic for '' GORILLA '' by DESIRA an L.A. NEW WAVE / HARD ROCK obscurity from '76, then back to the UK for '' OK '' from the ROCK FOLLIES OF 77 Soundtrack and '' CAROLINE '' a rare 70's ROCKIN' B-SIDE from TWINKLE { RIPLEY }. '' RESSURECTION SHUFFLE '' by MISTY is a US BUBBLEGUM reworking of the ASHTON GARDNER & DYKE hit and side one ends with a wonderful GLITTER POP reworking of '' EIGHT DAYS A WEEK '' by KRISTINE { Devil Woman } SPARKLE
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SIDE TWO opens in explosive fashion with '' LOOKING FOR LOVE '' by GLO MACARI. Try and imagine LULU going full pelt while THE KINKS pound out a HARD ROCK take on '' JOY TO THE WORLD '' and you're almost there. More GLAM from LELLY BOONE with an excellent cover of THE EVERLY BROTHERS '' WHEN WILL I BE LOVED '' and some COUNTRY tinged GLAM in the form of '' BAD BOY '' by C.STAR. '' FLIPPER STORY '' by VICKY FURY is a real belter and pretty much the hight water mark of FRENCH GLAM, then back to the UK for LIFT OFF presenter AYSHEA with the ROY WOOD penned and produced '' FAREWELL '' . Side two ain't done yet though and closes in great style with some classic DUTCH GLAM in the shape of '' LOVEMAKER '' by HEART and the UK super obscurity '' BLITZ AT THE RITZ '' by VIC LEZAL's PROFESSIONALS, a 1974 release which predates series one of THE ROCK FOLLIES, but sounds like it could have been lifted from the show
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VOLUME 2 { 14 PUGILISTIC PLATTERS } begins with '' I'm Aggressive '' by NINA MARTIN. A POST GLITTER bundle of energy with boisterous ABBA-ESQUE backing vox. A GERMAN RELEASE from '76 that also sneaked out in the UK the following year. '' BATTLE FOR MY LOVE '' by NORA follows hot on it's heels. A breathtaking high energy SPANISH STOMPER that builds and builds { Check out the amazing clip of her performaing the song on YOUTUBE! }. Back across the atlantic for '' SCHOOL'S BACK '' by PHILADELPHIA, a HARD GLAM number from '77 in the RUNAWAYS mold. '' IT'S THE MONSTER AGAIN '' by PAULA LINCOLN, is a DUTCH LP track from '75 that's heavily influenced by '' DEVIL GATE DRIVE '' and that has to be a good thing! Back to the UK for some POST PUNK HARD ROCK by biker chic VERMILION with '' I LIKE MOTORCYCLES '' and '' UPSIDE DOWN '' from GLITTER girl BOBBIE MCGEE. Side one ends on a high note with the GLAM CLASSIC '' LONG LONG WEEKEND '' by NQB, an ALL FEMALE SWEDISH GROUP
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SIDE TWO opens with '' MIDNIGHT RIDER '' by THE ALISON MARKLEW BAND. No relation to the ALLMAN BROTHERS / PAUL DAVIDSON tune, this is a blusterous GLAM BOOGIE number that dropped on the pioneering UK indie PINNACLE in 1975. '' MR TEASER '' by LORENZA JOHNSON turns the boogie knob up to 11. A ROCKIN' PARTY RECORD that would stand up if you threw it on after '' TIGER FEET '' { now there's a compliment and a half! }.
Back to Holland for the DEEP PURPLE meets ABBA monster ''NOBODY KNOWS '' by RADAR { a B-SIDE from '77 }, followed by something more familiar to most '' GOOD BEHAVIOR '' by ROCK FOLLIES, a PRE_PUNK feminist anthem from '76. THE NEW SETTLERS provide '' LIFELIGHT '' , A GLAM INFUSED HARMONY ROCKER , then it's back to the BOOGIE ROCK with '' SETTLE DOWN '' by PUNCHIN' JUDY { shades of ELKIE BROOKS in her VINEGAR JOE days }, before we reach closing time around the old joanna with '' STEAM HAMMER '' by JUDITH CROWNE, a UK obscurity on the DART label that's redolent of '' MY FRIEND STAN '' by those stalwarts of The Bilston Trumpet: SLADE
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Denim Discohttp://www.blogger.com/profile/06574040953592340498noreply@blogger.com0tag:blogger.com,1999:blog-6736655727569680511.post-16065566126132534322020-12-09T13:48:00.001-08:002021-05-18T09:54:42.825-07:0070's SHIRT UNBOXING<div><br /></div> UNBOXING A VINTAGE 70's ROCOLA SHIRT AND TIE SET<div><br /></div><div><br /><div>
<iframe frameborder="0" height="344" src="https://www.youtube.com/embed/jxVBw1qOkm8" style="background-image: url(https://i.ytimg.com/vi/jxVBw1qOkm8/hqdefault.jpg);" width="459"></iframe></div></div><div><br /></div><div><br /></div><div>In the 70's Shirts came in Gift Boxes. If you got one for Christmas there was more than just the wrapping paper to contend with. Inside the box shirts were pinned to cardboard. Around the collar...stiff plastic and more cardboard, held in place by more pins. Here's a video reminder of the struggle we faced!</div>Denim Discohttp://www.blogger.com/profile/06574040953592340498noreply@blogger.com0tag:blogger.com,1999:blog-6736655727569680511.post-5771202782361257652020-11-19T06:38:00.003-08:002020-11-20T12:21:51.048-08:00OLD HOLBORN - WHEN THE SMOOTHIES ROLLED UP!<div><br /></div>CITY KIDS LONDON 1973 - 1975 is a recent addition to the British Documentary Photography book series published by Café Royal. All of the photos were taken by SIMON POPE at various locations around London. Some { including the selection below } were shot in the EAST HOLBORN area a stones throw from the Denim Disco HQ! <div><br /></div><div>The TEENAGERS in the pics stand proudly outside their COUNCIL DWELLINGS sporting a riot of 'BUDGIE' STYLED HAIR, BUDGIE JACKETS, CROMBIE COATS, BEAGLE COLLAR SHIRTS, SCOOP NECK TANK TOPS, ' RUPERT' TROUSERS, CHECKED ' LUMBER ' and SHEARLING JACKETS. These are the SMOOTH youth fashions previously described on DENIM DISCO and strongly indicate the photos were taken circa '73 </div><div><br /></div><div>LINK TO ''SMOOTHIES - THE CULT THAT TIME FORGOT'' POST:</div><div> <a href="http://denimdisco.blogspot.com/2019/10/smoothies-cult-that-time-forgot.html" rel="nofollow" target="_blank">http://denimdisco.blogspot.com/2019/10/smoothies-cult-that-time-forgot.html</a></div><div><br /></div><div><br />
<a href="http://denimdisco.blogspot.com/2019/10/smoothies-cult-that-time-forgot.html" target="_blank"></a><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitIQu6sC7xjF15miA2MU97PMKvfdqA-PkNgqLINY0a8tK-nusMKaCoO8IVhFNwmOYzV1AB1VMupje52dAnfoH9TG65E62vIONgDkYfDpEIQdvl53AFjeggZRIwKkXbqg-zUw6EVp8Ye_LV/s2048/Clerkenwell+Kids+-+05+-+WM.jpg" style="display: block; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="1367" data-original-width="2048" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitIQu6sC7xjF15miA2MU97PMKvfdqA-PkNgqLINY0a8tK-nusMKaCoO8IVhFNwmOYzV1AB1VMupje52dAnfoH9TG65E62vIONgDkYfDpEIQdvl53AFjeggZRIwKkXbqg-zUw6EVp8Ye_LV/s400/Clerkenwell+Kids+-+05+-+WM.jpg" width="400" /></a></div> THE BOURNE ESTATE, LONDON EC1 - Between LANEY and KIRKEBY HOUSES</div><div><br />
<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjl8wEeQHcIAmIpdfwkvFOeNU8lhpFRSc8-jljl1oInBsckd7TycNob78Fu7SWDTuq9apzaFQIyNrZDfNV6u_8kmIfksDaHIBnSyDt6cb7j5IjLftPhxzM9ZHVFIjOOTVekXeipQ8mwzam_/s2048/Clerkenwell+Kids+-+03+-+WM.jpg" style="display: block; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="1368" data-original-width="2048" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjl8wEeQHcIAmIpdfwkvFOeNU8lhpFRSc8-jljl1oInBsckd7TycNob78Fu7SWDTuq9apzaFQIyNrZDfNV6u_8kmIfksDaHIBnSyDt6cb7j5IjLftPhxzM9ZHVFIjOOTVekXeipQ8mwzam_/s400/Clerkenwell+Kids+-+03+-+WM.jpg" width="400" /></a></div> THE BOURNE ESTATE, LONDON EC1 - In front of NIGEL HOUSE</div><div><br />
<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhujqmNLu76touGGV93mQBt5I-VA8osLL_2stlD2DPidiXRvesLxKMRQHwTO-y5O4vcreMkNXeViiqP6aGzFnSPZxqazivoQdOf79CJ_mgm25GDEDZWcMxHp6Pwk2S9f_UobXjZLoM7rZ82/s2048/Clerkenwell+Kids+-+04+-+WM.jpg" style="display: block; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="1376" data-original-width="2048" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhujqmNLu76touGGV93mQBt5I-VA8osLL_2stlD2DPidiXRvesLxKMRQHwTO-y5O4vcreMkNXeViiqP6aGzFnSPZxqazivoQdOf79CJ_mgm25GDEDZWcMxHp6Pwk2S9f_UobXjZLoM7rZ82/s400/Clerkenwell+Kids+-+04+-+WM.jpg" width="400" /></a></div> THE BOURNE ESTATE, LONDON EC1 - In front of KIRKEBY HOUSE</div><div><br />
<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgu7TnWo6yRP-cYaOSOu54s1-c4IbxnuOAlWwBdAJpbeMr26c5TCb7YcQZv3PNjE6kt7JxBej3p1YJbdgesordH2doD4a3tQGBCfLAO3fgAs7b_OUjF_R2t2O5_yWJGbw9_Mx8mgXv1pOrO/s2048/Clerkenwell+Kids+-+01+-+WM.jpg" style="display: block; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="1397" data-original-width="2048" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgu7TnWo6yRP-cYaOSOu54s1-c4IbxnuOAlWwBdAJpbeMr26c5TCb7YcQZv3PNjE6kt7JxBej3p1YJbdgesordH2doD4a3tQGBCfLAO3fgAs7b_OUjF_R2t2O5_yWJGbw9_Mx8mgXv1pOrO/s400/Clerkenwell+Kids+-+01+-+WM.jpg" width="400" /></a></div> The rear of GRAY'S INN BUILDINGS, LONDON EC1</div><div><br />
<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZ7e84TVDN_oxL9oAkjhfV-OmQVmNshp8zip3P5ZvC9i4L8pxD0mOX7wdpTa0Wvk6tcjWcPII5kcdFP6iSsilbAhbgrhiU6fLN3myqCWuFfYKQCJh9XjtMGcF6iMDATK3n254FdmyW4b_v/s2048/Clerkenwell+Kids+-+02+-+WM.jpg" style="display: block; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="1375" data-original-width="2048" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZ7e84TVDN_oxL9oAkjhfV-OmQVmNshp8zip3P5ZvC9i4L8pxD0mOX7wdpTa0Wvk6tcjWcPII5kcdFP6iSsilbAhbgrhiU6fLN3myqCWuFfYKQCJh9XjtMGcF6iMDATK3n254FdmyW4b_v/s400/Clerkenwell+Kids+-+02+-+WM.jpg" width="400" /></a></div> The rear of GRAY'S INN BUILDINGS, LONDON EC1</div><div><br />
<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicT8YtLa7b-FKmDFzDh5SkE-I1CJeJisZ2zkG_zNNhOZSphzWMEyOkHZ6lsr8YC8G2Az1mvPMm_G22Lyvj1v158k2afqncyXKQ4EfmVlfjaj6_vyYlrhe1D2EPrW2yMu6mxkEAVFskqB3H/s2048/Clerkenwell+Kids+-+06+-+WM.jpg" style="display: block; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="2048" data-original-width="1341" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicT8YtLa7b-FKmDFzDh5SkE-I1CJeJisZ2zkG_zNNhOZSphzWMEyOkHZ6lsr8YC8G2Az1mvPMm_G22Lyvj1v158k2afqncyXKQ4EfmVlfjaj6_vyYlrhe1D2EPrW2yMu6mxkEAVFskqB3H/s400/Clerkenwell+Kids+-+06+-+WM.jpg" /></a></div> The rear of GRAY'S INN BUILDINGS, LONDON EC1</div><div><br />
<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYWsdE8x_xYjYyK8woHOXjKjf6J2M4MFS2HNcjAkJHeaLvQS-4e2FDUt3gZ9jEdJrKAy8xEDqD8pP4QVUlrbqRGQasqFoyZxYd7ja_Kh0BFJvg6Z4yFHj0NNsr9tvmVSvDHLCFdYY_M9vL/s1069/Clerkenwell+Kids+-+07+-+WM.jpg" style="display: block; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="797" data-original-width="1069" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYWsdE8x_xYjYyK8woHOXjKjf6J2M4MFS2HNcjAkJHeaLvQS-4e2FDUt3gZ9jEdJrKAy8xEDqD8pP4QVUlrbqRGQasqFoyZxYd7ja_Kh0BFJvg6Z4yFHj0NNsr9tvmVSvDHLCFdYY_M9vL/s400/Clerkenwell+Kids+-+07+-+WM.jpg" width="400" /></a></div> LEFT: The rear of GRAY'S INN BUILDINGS - RIGHT: LAYSTALL HOUSE, MOUNT PLEASANT, LONDON, WC1 { MULLEN TOWER in the background }</div><div><br /></div><div><br /></div><div><br /></div>
LINK TO PURCHASE BOTH VOLUMES OF CITY KIDS LONDON 1973 - 1975 by SIMON POPE:<div><a href="https://www.caferoyalbooks.com/shop/simon-pope-city-kids-london-19731975-2-book-series" rel="nofollow" target="_blank">https://www.caferoyalbooks.com/shop/simon-pope-city-kids-london-19731975-2-book-series</a><br /><div><br /></div><div><br /></div><div>POSTSCRIPT:
Inevitably the area pictured has changed in the intervening years but has thankfully managed to resist the full force of gentrification that many parts of inner London have undergone. GRAY'S INN BUILDINGS has been extensively remodeled, but remains { like all the other buildings pictured } within the social rented sector</div></div>Denim Discohttp://www.blogger.com/profile/06574040953592340498noreply@blogger.com0tag:blogger.com,1999:blog-6736655727569680511.post-91035083766349146902020-11-17T15:41:00.002-08:002020-11-17T15:43:04.045-08:00WIRED UP! FANZINE - ISSUE 16<a href="https://www.ebay.co.uk/usr/timebox2000"></a><a href=""></a><p></p><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhf7Ajo70YZiC14jkg4vjKvmNzKpqdR_EzKTJwHzvLmixTk-MQTAXgFPF3tjgraDQ_GWs_GLaqBGFXgoAOtN_0ZU88uqPchFohCiCACj6VxVjj5s5SPbEyzKGhKexUyfoGgN7G78-qA-H9j/s960/WUF+-+Cover.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="960" data-original-width="698" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhf7Ajo70YZiC14jkg4vjKvmNzKpqdR_EzKTJwHzvLmixTk-MQTAXgFPF3tjgraDQ_GWs_GLaqBGFXgoAOtN_0ZU88uqPchFohCiCACj6VxVjj5s5SPbEyzKGhKexUyfoGgN7G78-qA-H9j/s320/WUF+-+Cover.jpg" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><p></p> ''A FLASH OF GLAM IN A CURRENTLY GREY WORLD''<div><br /></div>
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The glorious WIRED UP! GLAM ROCK FANZINE has continued to publish unabated throughout the difficult year of 2020 and issue 16 recently landed just as the UK shut for a 2nd lockdown. Lack of live gigs has shifted the focus of recent issues more heavily in the direction of VINTAGE over NEO GLAM and this one features in depth interviews with JOHN ROSSALL from THE GLITTER BAND, ANDY ELLISON / CHRIS TOWNSON from the cult 70's band JET, a look at GTO FILMS { responsible for a trio of low budget glam based
movies } and the story behind the MICK ROCK publicity shot for MOTT THE HOOPLES '' ALL THE YOUNG DUDES ''
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WIRED UP! can be purchased via the following links: <div><br /></div><div>WIRED UP! EBAY PAGE:</div><div><a href="https://www.ebay.co.uk/usr/timebox2000" rel="nofollow" target="_blank">https://www.ebay.co.uk/usr/timebox2000</a><br /></div><div><br /></div><div>WIRED UP! FACEBOOK PAGE:</div><div><a href="https://www.facebook.com/Wired-Up-Fanzine-482775235421219/" rel="nofollow" target="_blank">https://www.facebook.com/Wired-Up-Fanzine-482775235421219/</a><br /></div><div><br /></div><div>WIRED UP! EMAIL CONTACT:</div><div><a href="mailto:wiredupfanzine@gmail.com" rel="nofollow" target="_blank">wiredupfanzine@gmail.com</a><br /></div><div><br /></div>Denim Discohttp://www.blogger.com/profile/06574040953592340498noreply@blogger.com0tag:blogger.com,1999:blog-6736655727569680511.post-29336639250160203222020-06-26T15:12:00.001-07:002020-06-26T15:12:58.033-07:00DENIM & DIAMANTE VOL.2 MIX<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuL6SknFfkKbSpE9ujw4skEBgS_dBK8srUSxuSRpc6wIkgS5R1IVZoCQFAQyOJI1xfCbNWHt5l_5-ixNiWIbPkDP8kixPC-By8BSTROjDlzd7tUU6ttHaNKgPhsJpemHGkG-O27QJUnKaP/s1600/Denim+%2526+Diamante+Vol.2+-+Sleeve+-+Front.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="344" data-original-width="343" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuL6SknFfkKbSpE9ujw4skEBgS_dBK8srUSxuSRpc6wIkgS5R1IVZoCQFAQyOJI1xfCbNWHt5l_5-ixNiWIbPkDP8kixPC-By8BSTROjDlzd7tUU6ttHaNKgPhsJpemHGkG-O27QJUnKaP/s320/Denim+%2526+Diamante+Vol.2+-+Sleeve+-+Front.jpg" width="319" /></a></div>
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A Selection of 70's GLAM POP and DISCOTHEQUE ROCK Mixed By DENIM DISCO
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TRACKLIST:
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01 - April Wine - You Could Have Been A Lady<br />
02 - Rick Derringer - Rock And Roll Hoochie Koo<br />
03 - The Doobie Brothers - Pursuit On 53rd Street<br />
04 - Cherry Vangelder-Smith - Jokers<br />
05 - Shocking Blue - Ball Of Confusion<br />
06 - Baker Gurvitz Army - Dancing The Night Away<br />
07 - Poker - Driving In The City<br />
08 - Zenda Jacks - Earthquake<br />
09 - Rococo - Ultrastar<br />
10 - Dragon - This Time<br />
11 - Washington Flyers - Another Saturday Morning<br />
12 - Pilot - Magic<br />
13 - Mike Batt { with The New Edition } - Summertime City<br />
14 - Brotherly Love - Weekend Love Affair<br />
15 - Mark Bolan & T.Rex - Dreamy Lady<br />
16 - Kristine Sparkle - Devil Woman<br />
17 - Lulu - The Man Who Sold The World<br />
18 - Child - River Of Love<br />
19 - The Knack - Always<br />
20 - Rubettes - Dancing In The Rain<br />
21 - Mud - Shake It Down<br />
22 - Glitter Band - Makes You Blind<br />
23 - Life - Cat's Eyes<br />
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<iframe frameborder="0" height="120" src="https://www.mixcloud.com/widget/iframe/?hide_cover=1&feed=%2FDenimDisco%2Fdenim-diamante-vol2-mix%2F" width="100%"></iframe>
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Download An MP3 Of The Mix {With Artwork} Here:<br />
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<a href="https://www.mediafire.com/file/n45upln4o7r3e34/Denim_%26_Diamante_Vol.2.zip/file">https://www.mediafire.com/file/n45upln4o7r3e34/Denim_%26_Diamante_Vol.2.zip/file</a><br />
<br />Denim Discohttp://www.blogger.com/profile/06574040953592340498noreply@blogger.com0tag:blogger.com,1999:blog-6736655727569680511.post-88743986159929997692020-06-22T16:32:00.000-07:002020-06-26T04:17:17.487-07:00ARTHUR BROWN - SUPERSONIC 75<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhowHZZ2TO1xWaWyBYNvK2UU9jToHkM5-iB6cVq1KRgdgDLFdTDiyArH0k7vOmVOkI30YiCRQVxx-QsdwNvDITznohFEszjkDRvca9hnzrNFE5QalxZ4GOm4z1c2qveuyv2C8AVx0iQKN9N/s1600/Arthur+Brown+-+Supersonic.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="543" data-original-width="925" height="187" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhowHZZ2TO1xWaWyBYNvK2UU9jToHkM5-iB6cVq1KRgdgDLFdTDiyArH0k7vOmVOkI30YiCRQVxx-QsdwNvDITznohFEszjkDRvca9hnzrNFE5QalxZ4GOm4z1c2qveuyv2C8AVx0iQKN9N/s320/Arthur+Brown+-+Supersonic.jpg" width="320" /></a></div>
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Footage of Psychedelic shaman ARTHUR BROWN performing his reworking of THE ANIMALS classic ''WE GOTTA GET OUT OF THIS PLACE'' on the UK Pop Show SUPERSONIC. Wearing an incongruous ensemble of double denim and gold wellies he makes full use of the studio perspex stairway, pacing and gesticulating wildly as only the god of hell fire is able! Enjoy and if you are not already acquainted with the GULL LP ''DANCE'' { from which the song was taken } there is a handy link that enables you to listen to the whole thing on YouTube at the end of this post<br />
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<iframe allowfullscreen="" frameborder="0" height="344" src="https://www.youtube.com/embed/ASIEc5DiE3c" width="459"></iframe><br />
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<a href="https://www.youtube.com/watch?v=mjpvkKZXgVk">Arthur Brown - Dance (1974) FULL ALBUM</a><br />
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<br />Denim Discohttp://www.blogger.com/profile/06574040953592340498noreply@blogger.com0tag:blogger.com,1999:blog-6736655727569680511.post-3186214335493727862020-06-22T14:38:00.000-07:002020-06-22T14:38:04.766-07:00CUE ANDY BOWN and CUE SUPERSONIC!<div class="separator" style="clear: both; text-align: center;">
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ANDY BOWN was a former member of 60's teen sensations THE HERD { a band that was fronted by a young PETER FRAMPTON } Following their demise he recorded a couple of solo LPs before making his first contribution to the GLAM ROCK ERA with the bowiesque single ''NEW YORK SATYRICON ZANY'' in 1974. The following year saw the first broadcast of the UK Pop TV Show SUPERSONIC! and Bown was asked to supply a theme to play over the opening credits<br />
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The show was presented by film and music producer MIKE MANSFIELD and lasted for a couple years, capturing many of the classic UK GLAM ROCK acts towards the end of their respective time in the limelight. The high energy GLAM BOOGIE number that Bown composed for the show was a perfect fit. Sounding like ROY WOODS WIZZARD and STATUS QUO having a frantic jam on ''THE TIME WARP'' from THE ROCKY HORROR PICTURE SHOW, it had every kid sitting on the edge of their seat in eager anticipation of each weeks show!<br />
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<iframe allowfullscreen="" frameborder="0" height="344" src="https://www.youtube.com/embed/42C1o_0lvcg" width="459"></iframe>Denim Discohttp://www.blogger.com/profile/06574040953592340498noreply@blogger.com1tag:blogger.com,1999:blog-6736655727569680511.post-46092285765929142342020-06-22T13:37:00.000-07:002020-07-04T09:28:27.468-07:00VIVE LE ROCK! MAGAZINE - GLAM SPECIAL <div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgx0mOxMXLGdETzWQZqs_5h6fO1z0qQJfVA9NRw5BYpyGmuSm7EDCQHCcFtkgvUdKtIkfwNXBh3YCGAwnNoXM6Ghu0x-OSuPc7jrU_VMyLRUFI_AOrrfq3XbCHef1FNYQw5gnIIA9Gbs13A/s1600/VLR+-+Glam+Special.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1280" data-original-width="908" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgx0mOxMXLGdETzWQZqs_5h6fO1z0qQJfVA9NRw5BYpyGmuSm7EDCQHCcFtkgvUdKtIkfwNXBh3YCGAwnNoXM6Ghu0x-OSuPc7jrU_VMyLRUFI_AOrrfq3XbCHef1FNYQw5gnIIA9Gbs13A/s320/VLR+-+Glam+Special.jpg" width="227" /></a></div>
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The latest issue of VIVE LE ROCK! magazine celebrates 50 YEARS OF GLAM ROCK with articles on SLADE, HELLO, THE GLITTER BAND, CHINNICHAP and SWEET [ including a final interview with the sadly missed STEVE PRIEST }. Nice to see the introductory feature namecheck DENIM DISCO along with the wonderful WIRED UP! fanzine and other keepers of the flame { see links at the end of this post }. The magazine is available from Newsagents in the UK and can also be ordered here: <a href="https://vivelerock.net/product-category/latest-issue/">VIVA LE ROCK!</a><a href="https://vivelerock.net/product-category/latest-issue/"></a><br />
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LINKS FOR ADDITIONAL GLAM ROCK RESOURCES:<br />
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<a href="https://www.facebook.com/pages/category/Magazine/Wired-Up-Fanzine-482775235421219/">WIRED UP! FANZINE</a><br />
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<a href="https://www.suitsandtheplatformboots.com/?fbclid=IwAR2O9vG0VF5zqbALStbb8W4sDLeDPfrgOdOYTkOHT83AvgONjBfCAxEvTzE">SUITS AND THE PLATFORM BOOTS</a><br />
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<a href="http://purepop1uk.blogspot.com/">PUREPOP</a><br />
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<a href="http://proudfootsound.blogspot.com/">PROUDFOOT SOUND</a><br />
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<br />Denim Discohttp://www.blogger.com/profile/06574040953592340498noreply@blogger.com1tag:blogger.com,1999:blog-6736655727569680511.post-78355973532868879972020-06-17T09:59:00.001-07:002021-10-06T16:15:37.662-07:00LOCO GLAM FOR LOCAL PEOPLE<div class="separator" style="clear: both; text-align: center;">
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Leicester band LOCO released an excellent 45 on the BUK label in 1975 after they appeared on the NEW FACES TV TALENT SHOW. Both sides of the record were composed and produced by STEVE FERN who had previously led the 60's soul group FERNS BRASS FOUNDRY and worked with the former SPENCER DAVIS GROUP drummer PETER YORK. Side A ''AT THE LOCAL DANCE'' is a late period GLAM POP number that sounds reminiscent of MUD and early SHOWADDYWADDY, while the B Side ''THE MAN'' is a DISCOTHEQUE ROCK number that owes more than a little to the aforementioned SPENCER DAVIS GROUP
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<iframe allowfullscreen="" frameborder="0" height="344" src="https://www.youtube.com/embed/4fdnyYUQe1M" width="459"></iframe>Denim Discohttp://www.blogger.com/profile/06574040953592340498noreply@blogger.com0tag:blogger.com,1999:blog-6736655727569680511.post-34019153784888728512020-06-16T15:59:00.001-07:002023-03-01T04:17:38.519-08:00WALLY TAX - THIS GIRL IS MINE<div class="separator" style="clear: both; text-align: center;">
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Dutch singer/songwriter WALLY TAX was born in Amsterdam in 1948 and found fame as the vocalist in the 60's NEDERBEAT group THE OUTSIDERS. The band were highly regarded in Holland and were considered by many to be the Dutch ROLLING STONES. The live side of their DEBUT LP from 1967 captures the wildness of their act and the hysteria they generated in their audience<div><br /><div>
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The group recorded a string of amazing songs as good as any in the era, but made little impact in the rest of the world. They split at the end of the decade and Tax put together another band TAX FREE, briefly moving to the US where an LP was recorded and released
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Unfortunately the anticipated US breakthrough failed to materialize and Tax returned to Holland to embark on a solo career and write songs for others. His 70's material moved closer to the MOR field, string dominated and often reminiscent of BUDDY HOLLY'S later pop discs { ''MISS WONDERFUL'' from 1973 is a good example of this }
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His biggest hit would come in 1977 with ''LET'S DANCE'' and the songs he wrote for CHAMPAGNE { one of which: ''ROCK n' ROLL STAR'' charted in the US }. ''THIS GIRL IS MINE'' from 1975 didn't fare as well but was an artistic high, driven by a DISCO HI HAT, SWEEPING STRINGS and WAH WAH GUITAR it stands as a perfect example of MID SEVENTIES PHILLY INSPIRED DANCE POP
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</div></div>Denim Discohttp://www.blogger.com/profile/06574040953592340498noreply@blogger.com0tag:blogger.com,1999:blog-6736655727569680511.post-7041887462994176872020-06-11T13:39:00.000-07:002020-06-11T13:39:35.248-07:00LINDA LEWIS - ROCK A- DOODLE DOO - TOTP 1973<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgP2i0-sCUg5pZPAz5jSUXHC00Uh4atXtZuDe4A_6T3qQBDfsNGUYZBNZ5ZJacSc1Gxn0hHoPyyxlx-CdvXBTHj67UhKlbIIT6bPJXfn__Lq_JQsD05tUd9PmOJRPI5_vaofnWg7Ko8Kycu/s1600/Linda+Lewis+-+TOTP.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="480" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgP2i0-sCUg5pZPAz5jSUXHC00Uh4atXtZuDe4A_6T3qQBDfsNGUYZBNZ5ZJacSc1Gxn0hHoPyyxlx-CdvXBTHj67UhKlbIIT6bPJXfn__Lq_JQsD05tUd9PmOJRPI5_vaofnWg7Ko8Kycu/s320/Linda+Lewis+-+TOTP.jpg" width="320" /></a></div>
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Amazing 'thought to be lost' footage of LINDA LEWIS performing her first UK CHART hit ROCK A- DOODLE DOO on TOP OF THE POPS. Tapes of the original show were wiped, but thankfully this Black and White recording has been unearthed. The record peaked at 15 in July 1973<br />
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<iframe allowfullscreen="" frameborder="0" height="344" src="https://www.youtube.com/embed/Rz4JCk-PMXI" width="459"></iframe>Denim Discohttp://www.blogger.com/profile/06574040953592340498noreply@blogger.com0