DENIM DISCO is a blog dedicated to the pop music and culture of the 1970's.
~ Glam Pop and Discotheque Rock ~
The Sound Of The 70's ~ Contact:denimdisco@hotmail.co.uk
MUNICH born MAX GREGER was one of a number of BANDLEADERS recording for POLYDOR RECORDS during the POSTWAR ERA. The GERMAN COMPANY issued a plethora of 12'' LP's for the EASY LISTENING market, including numerous offering from the likes of BERT KAEMPFERT, JAMES LAST, KURT EDELHAGEN and ROBERTO DELGADO. GREGER specialised in STRICT-TEMPO recordings for the practice and performance of BALLROOM DANCING. The material chosen could be wide ranging and would often include POP HITS of the day, each denoted with an appropriate category of dance and tempo. On occasion, even UK GLAM ROCK numbers could be found and GREGER's 1972 - STRICTLY FOR DANCING LP is a case in point. The record Includes covers of GARY GLITTER's '' ROCK AND ROLL PART 2 '' { described as: ' ROCK BEAT 33 ' } and THE SWEET's '' LITTLE WILLY '' { described as: ' BEAT 31 ' }
Other tunes on the LP include covers of GILBERT O' SULLIVAN's '' MATRIMONY '' { ' TANGO 33 ' }, HOT BUTTER's '' POPCORN '' { ' SAMBA 35 ' }, THE POP TOPS '' SUZANNE, SUZZANE { ' RUMBA 28 ' } and MOUTH & MACNEIL's '' HOW DO YOU DO '' { ' QUICKSTEP 52 ' }
CLICK HERE for the MAX GREGAR - STRICTLY FOR DANCING YouTube playlist:
The flamboyant GLAM ROCK explosion of the early 70's was largely instigated by performers who'd previously been involved in the 60's BRITISH POP BOOM. MARC BOLAN and DAVID BOWIE both achieved a degree of recognition with PSYCHEDELICIZED FOLK-POP numbers towards the end of the decade and SLADE, SWEET, MUD and GARY GLITTER had collectively produced a catalogue of under achieving 45's during the same period. As the trend grew, a number of previously successful artists were looking to join the party in order to reignite their flagging careers
The latest post from the excellent YESTERDAY'S PAPERS YouTube channel examines ' THE 60's STARS WHO JUMPED ON THE 70's GLAM ROCK BANDWAGON ' It's a great 25 min round-up that highlights a number of JUNKSHOP GREATS and reveals a clear winner in the form of a ROY WOOD, who achieved more success as part of THE GLAM SCENE than he had done as a member of THE MOVE during the late 60's
'' Everything about the 70's was the 40's, if you think about it.
People just don't realise it, but that's where all those wide
shoulders and platforms came from ''
Fashion designer / retailer Johnny Moke, quoted in The Look: Adventures In Rock & Pop Fashion
by Paul Gorman
'' You have no idea what a phenomenon this swing thing was in Canvey
Island with kids dressed in 40's gear ''
DJ Chris Hill quoted in The Soul Survivors Magazine #12 - May 2008
In 1971 HAUTE COUTURE designer YVES SAINT LAURENT presented a spring - summer collection inspired by 1940's WARTIME FASHION. It included short dresses, square shouldered jackets and platform shoes. The show was criticised in the press, but the essence of the look was largely adopted by the public and helped to kick off a RETRO TREND that would have a huge influence on THE LOOK OF THE ERA
The influence was mirrored in menswear. TOMMY NUTTER and JOHNNY MOKE were both inspired by the era and had already produced 40's styled tailored jackets with wide lapels and wide legged trousers with turnups, NUTTER working in the salubrious setting of Saville Row and MOKE at a more down-at-heel location in Fulham. The look of GLAM also acquired a retro and tailored appearance when DAVID BOWIE wore a 40's inspired ice-blue suit, designed by FREDDIE BURRETTI for the '' LIFE ON MARS? '' video in 1972 and was pictured in another suit with flared trousers, turn ups and a box jacket on the rear sleeve of his '' PIN UPS '' LP the following year. The later was supplied by TOMMY ROBERTS from his CITY LIGHTS boutique in Covent Garden. The shop stocked a range of ' RETRO FUTURIST ' clothing for both sexes and was obviously popular with fans of Bowie as well as those of ROXY MUSIC who appeared in similarly styled stage wear designed by ANTONY PRICE
Tunes from the 40's SWING ERA were saw a revival in the U.S. Vocal group THE MANHATTAN TRANSFER included versions of GLEN MILLER's '' TUXEDO JUNCTION ' and THE INK SPOTS '' JAVA JIVE '' on their commercially successful LP for Atlantic records in 1975. The label was also home for BETTIE MIDLER who recorded covers of THE ANDREW SISTERS '' BOOGIE WOOGIE BUGLE BOY '' and GLEN MILLER's '' IN THE MOOD '' . MIDLER was discovered at Manhattan's CONTINENTAL BATHS, an all gay venue where R&B vocal group THE POINTER SISTERS also performed. The group had adopted a 40's style look before recording the LP ''THAT'S A PLENTY'' in '74. On the LP they performed covers of COUNT BASIE's '' LITTLE PONY '' and DIZZY GILLESPIE's '' SALT PEANUTS ''
'' Unlike their older brothers and sisters who took pride in a pair
of dungarees, free-flowing unkempt hair and hang loose dances,
todays young people value sleek clothes, fancy high heeled shoes
and a more stylized, structured form of dancing ''
William Safire '' On The Hustle '' New York Times 1975
The New York DISCOTHEQUE scene had grown in popularity by the mid 70's, with many dances being held in large ballrooms previously used during THE BIG BAND ERA. The soundtrack became increasingly sophisticated in order to match this newly opulent environment. One of the biggest DISCO HITS '75 was ' ' THE HUSTLE '', which VAN McCOY composed after seeing LATINO ADOLESCENTS doing partnered dances with choreographed moves at a club in the SOUTH BRONX. Another was '' GET DANCIN' '' by DISCO-TEX & THE SEX-O-LETTES, a camp number with a RETRO FEEL that harked back to the BURLESQUE ERA. ESTHER PHILLIPS dance driven cover of '' WHAT A DIFFERENCE A DAY MAKES '' and '' SKYLINER '' by DON SEBESKY { a reworking of CHARLIE BARNET's 1945 SWING CLASSIC } continued this nostalgic trend
Back in the UK, DJ CHRIS HILL took things further when he began to regularly feature a selection of 40's SWING MUSIC during his night at THE GOLD MINE CLUB in CANVEY ISLAND. Hill was know for playing cutting edge SOUL, FUNK and DISCO, but the curveball worked and grew to be enormously popular. For a few months in 1975, the BRITISH MEDIA descended on the club to witness a new wave of SWING MANIA, with clubbers in 40's fashion dancing to ' THE HIT'S OF THE BLITZ '
HILL soon realised the SWING RECORDS distracted from his primary focus and returned to new releases, but the resulting publicity pushed up sales of vintage recordings and prompted the budget record label WARWICK to commission an LP of SWING CLASSICS. The talents of producer GORDON SMITH and arranger FREDDIE STAFF combined to produce what the sleeve notes described as ' the very best collection of swing music on one LP '. The traditional instruments were augmented with FUNK sounding ELECTRIC BASSLINES, OVERDRIVEN ELECTRIC GUITAR and DANCE FRIENDLY DRUMS that really cut through the mix and resulted in an interesting period piece. Like other WAWICK releases, the LP was advertised on TV in the UK and presumably shifted a few copies as it turns up in USED RECORD STORES and CHARITY SHOPS to this day
DENIM DISCO PRESENTS THE LP IN ENTIRETY - ALL ABOARD - THE SWINGING STEREO SENSATION!
CLICK HERE for the full SWINGING STEREO SENSATION playlist:
'' INTERPLANERTARY TWIST '' by SCREEMER is a jaw dropping example of LATE PERIOD UK GLAM ROCK, produced by PHIL WAINMAN and co-written by him with the singer / songwriter RICHARD MYHILL. WAINMAN was a very successful producer during the 70's and worked with a host of big hitting UK acts including SWEET, MUD, BAY CITY ROLLERS, HELLO and THE SENSATIONAL ALEX HARVEY BAND. The record was released on BELL RECORDS in the summer of '76 a few years after the GLAM WAVE had peaked. Label mates HELLO had a UK hit with '' STAR STUDDED SHAM '' earlier that year, but the Glam element had been turned down a notch and BELL had recently abbreviated The Glitter band's name to the G Band in a vain effort to distance them from their past and prevent their sliding popularity. Given that, the label seem to have had high hopes for the record and and sent out 50,000 promo packs containing a band photo, press release and FLEXI DISC with excerpts from the song and messages from the group in advance of it's release. The song begins with a spoken intro over the sound of an ATMOSPHERIC SWIRLING SYNTH. We're told it's the year 2025, then a '' BALLROOM BLITZ '' style drum roll kicks in and we learn that '' People in the Twenty First Century ain't never seen a Rock ' n ' Roller '' and the way to save humanity is to '' ALL JOIN HANDS AND DO THE INTERPLANERTARY TWIST ''. The song is a CAMP SCI-FI GLAM EXTRAVAGANZA that builds { and builds! } on the foundations of SWEET , MUD and THE ROCKY HORROR PICTURE SHOW to great effect. The B-Side '' BILLY '' is an admirable band penned effort that uses a BO DIDDLEY BACKBEAT similar to BOWIE'S '' PANIC IN DETRIOT '' from ''ALLADIN SANE ''
The band was comprised of New Zealand born ZAINE GRIFF { Bass and Vocals }, ALAN COATES
{ guitar and vocals }, DAVID WELLS { guitar }, ROBERT NORMAN { keyboards } and ADRIAN SHEPPARD { drums }. They appear to have been formed the previous year and they played { bottom of the bill } at a FREE OUTDOOR CONCERT, held in HYDE PARK on MAY 31st and headlined by DONE MCLEAN, CARAVAN and JOAN ARMATRADING. LONDON GIG GOERS also remember them playing regularly at THE BRIDGE HOUSE in CANNING TOWN and THE THREE RABBITS in MANOR PARK around this time
SCREEMER at THE HYDE PARK FREE CONCERT
Notwithstanding the singles failure, their record label { Rebranded as ARISTA } issued a follow up in '77, again produced by PHIL WAINMAN, but this time, both songs were group compositions. '' IN THE CITY '' was penned by ZAINE GRIFF and the flip: '' JOEY CORRELLA '' was jointly written by WELLS and NORMAN. The former was a MELODIC GLAM POP number similar to STEVE HARLEY's post COCKNEY REBEL work and the latter a complex and well crafted song that sits somewhere between 10CC and QUEEN. The single seems to have fared no better than the first and no more was heard from the band. ZAINE GRIFF played on THE KINKS '' MISFITS '' LP the following year and went on to achieve a degree of success as a solo performer during the next decade
COUNTDOWN TO THE YEAR TWO THOUSAND AND TWENTY FIVE
2003 - RPM Records release '' VELVET TINMINE '' a compilation CD of super obscure UK Glam Rock 45's from the 70's. THE JUNSHOP GLAM craze kicks off. Records made by bands like IRON VIRGIN, CRUNCH and THE WASHINGTON FLYERS start to change hands for REAL MONEY and CASTLE MUSIC release a similar comp on CD titled '' GLITTER FROM THE LITTER BIN ''
2005 - RPM release '' BOOBS { THE JUNKSHOP GLAM DISCOTHEQUE } '' a JUNKSHOP GLAM compilation CD that includes SCREEMER's '' INTERPLANERTARY TWIST ''
2008 - PSYCHIC CIRCLE release '' BLITZING THE BALLROOM { 20 UK POWER GLAM INCENDIARIES } '' a JUNKSHOP GLAM compilation CD that includes SCREEMER's '' BILLY ''
2019 - '' INTERPLANERTARY TWIST '' is included on '' GLAM! GLAM! GLAM! a JUNKSHOP GLAM compilation, pressed on vinyl and { unofficially } released by GLITTER RECORDS
2023 - '' INTERPLANERTARY TWIST '' is included on '' TEENAGE GLANPAGE! '' a 4 CD JUNKSHOP GLAM Boxset issued by CHERRY RED
JOHN BAKER, a 70's Glam ROCK Fanatic from NEW ZEALAND is interviewed by WIRED UP! Fanzine. During the interview he mentions the existence of an acetate containing a previously uncreased SCREEMER song
A playlist appears on YouTube containing 11 songs by SCREEMER. The playlist is titled '' SINGLES COMPILATION '' The list is credited to CHERRY RED RECORDS. The first four tracks are the A's and B's of their two 45's and the remaining seven are previously unreleased and appear to have been produced by PHIL WAINMAN around that time
'' KAMIKAZE QUICK-STEP '' is the aforementioned track that JOHN BAKER heard on a demo disc and it's cut from the same cloth as '' INTERPLANERTARY TWIST ''. There isn't a composers credit, but again it sounds like the work of WAINMAN and MYHILL. The song contains a humorous and slightly convoluted lyric around DOING A DANCE OF DEATH with a BIONIC JAPANESE WOMAN. It's a dynamic number that makes use of the '' TIGER FEET '' drum beat, the break from '' LET THERE BE DRUMS '' and the horn riff from '' IN THE MOOD ''. It features a snappy BOOGIE PIANO, a slick double tracked QUEEN style harmony vocal and is arguably the only remaining song that could strictly be defined as a GLAM ROCK number
'' THE ESCAPE '' is a well crafted BEACH BOYS / 10CC style pop song with harmony vocals co-written by guitarist ALAN COATES
'' FOR MY LOVE '' is a mid tempo pop number that could have fitted into a WINGS album from the same period
'' MR SAX AND THE GIRL '' is a SOUL / DISCO number written by DOMINIC BUGATTI and FRANK MUSKER who penned hits for PAUL NICOLAS as well as numbers performed by the fictional group KIPPER in the movie '' CONFESSIONS OF A POP PERFORMER ''. This version features a female vocal similar to LULU, so maybe this presents the band in session mode rather than an actual group project? PAUL NICOLAS picked up the song and added his own version to the '' GRANDMA'S PARTY '' EP in '76
'' JOLLY ROGER AND THE EVER HOPEFUL SEAMAN '' is another WAINMAN / MYHILL penned song. It's laced with the sort of BLACK HUMOUR and INNUENDO that ALEX HARVEY and ANDY ARTHURS deployed. Imagine CAPTAIN HOOK crashing a performance of THE ROCKY HORROR PICTURE SHOW and you're halfway there
The DARK HUMOUR continues with another WAINMAN / MYHILL song: '' JACQUES THE RIPOFF ''. Here we find NOEL COWARD style VAUDEVILLE going into a DEEPLY UNSETTLING place. The forerunner of SPINAL TAP's '' SAUCY JACK '' ?
The set concludes with '' IF YOU CAN'T BE MY LOVER BE MY FRIEND '' a straight COUNTRY TINGED BALLAD that's somewhat reminiscent of ALAN PRICE
STEVE HARLEY sadly passed away at the age of 73 in FEBRUARY of this year. All major UK NEWS OUTLETS ran obituaries for the singer who made such an impact in the 70's and continued to perform until ill heath forced him to cancel shows in 2023. Inevitably the tributes focused on '' MAKE ME SMILE (COME UP AND SEE ME) '' which was a huge hit in 1975 and remained his most recognized song. Footage of the number being performed on TOP OF THE POPS was shown and served as a reminder that TOTP's appearances featuring his breakthrough hits with COCKNEY REBEL: '' JUDY TEEN '' and '' MR. SOFT '' are currently missing from the BBC ARCHIVE
The band that appeared on both singles split after recording two remarkable LP's: '' THE HUMAN MENANGERIE '' { in 1973 } and '' PSYCHOMODO '' { in 1974 }. Harley's songs and the use of VIOLIN and FENDER RHODES PIANO as lead instruments marked them out as a UNIQUE and INNOVATIVE outfit. They performed live on BBC 2's OLD GREY WHISTLE test in FEBRUARY '74 and happily that footage WAS saved for prosperity. The band played two numbers: '' HIDEAWAY '' and '' MY ONLY VICE ''. They can be found as studio recordings on '' THE HUMAN MENANGERIE '' LP
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
'' 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 ''
'' 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 ''
'' 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 all 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 ''
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 ''
'' 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 ''
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
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
'' You brainwash yourself into thinking you're going to make it, otherwise I don't think you would carry on''
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
'' 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 ''
WATCH THE FULL DOCUMENTARY ON YOUTUBE:
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
JUST ADD WATER RECORDS have recently issued two of the RAREST 70's JUNKSHOP GLAM numbers on 7'' VINYL
'' 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"
''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
* VINYL COLLECTORS TAKE NOTE: BOTH OF THESE RECORDS ARE LIMITED TO 300 COPIES EACH AND CAN BE BOUGHT DIRECTLY FROM JUST ADD WATER RECORDS
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
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
THE DAMNED - THETA
'' 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 }
ELECTRIC TEAM - ROCKET MAN
'' 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!
THE ROCKETS - ROCK AND ROLL DRUMMER { PART TWO }
'' 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 }
T.N.T - BIG TROUBLE { PART TWO }
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
ANGELO & EIGHTEEN - FLIGHT 2
'' 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
ELEKTIK COCKERNUT - JUNGLE JUICE
'' 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
THE SLOOPERS - SLOOP
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
THE CATS ' N ' JAMMER KIDS - DISCO DRUM { PART 5 }
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
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
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!
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 here 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
'' 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
BROWN SUGAR had a sister who moved on up to HARLEM:
'' It was a cold grey day in Harlem, the rain was pouring down
As I shivered past the doorway, where the hookers and the priest stood around
It was a hobo on the corner, he laughed and began to shout
See the crazy chick right down the street man, she really givin' out ''
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
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!
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: bovverglam }. 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 KNUCKLE GIRLS VOLUMES 1 & 2 }
Here's a brief teaser of the interview with THE KNUCKLE GIRL'S: DEMOLITION DAWN and SADO SHAZ:
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?
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
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
QUESTION: The ROCK FOLLIES tracks sound so much better than I remember. Time for a re-appraisal?
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
WIRED UP! can be purchased via the following links:
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
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
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
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
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
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!
A Selection of 70's GLAM POP and DISCOTHEQUE ROCK Mixed By DENIM DISCO
TRACKLIST:
01 - April Wine - You Could Have Been A Lady
02 - Rick Derringer - Rock And Roll Hoochie Koo
03 - The Doobie Brothers - Pursuit On 53rd Street
04 - Cherry Vangelder-Smith - Jokers
05 - Shocking Blue - Ball Of Confusion
06 - Baker Gurvitz Army - Dancing The Night Away
07 - Poker - Driving In The City
08 - Zenda Jacks - Earthquake
09 - Rococo - Ultrastar
10 - Dragon - This Time
11 - Washington Flyers - Another Saturday Morning
12 - Pilot - Magic
13 - Mike Batt { with The New Edition } - Summertime City
14 - Brotherly Love - Weekend Love Affair
15 - Mark Bolan & T.Rex - Dreamy Lady
16 - Kristine Sparkle - Devil Woman
17 - Lulu - The Man Who Sold The World
18 - Child - River Of Love
19 - The Knack - Always
20 - Rubettes - Dancing In The Rain
21 - Mud - Shake It Down
22 - Glitter Band - Makes You Blind
23 - Life - Cat's Eyes
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
