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
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
'' 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
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
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 hear the hair grow
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
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
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. ''
* 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
'' 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 }
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
THE SOUND OF THE CITY
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
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
WOODSTOCK, ALTAMONT and POWIS SQUARE
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
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
'' 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 ''
IT founder BARRY MILES quoted from MICK FARREN's Obituary in The Guardian - July 2013
'' 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 ''
DJ JOHN PEEL quoted in the book DAY'S IN THE LIFE by JONATHAN GREEN - 1988
The MC5 Revive LITTLE RICHARD's '' TUTTI FRUTTI '' on their 1970 LP '' BACK IN THE USA ''
THE STOOGES exhumed the BO DIDDLEY Beat for this raw and vital state of the nation address
MICK FARREN - SUMMERTIME BLUES - from '' MONA – THE CARNIVOROUS CIRCUS '' 1970
CROSSING TO THE MAINSTREAM AND THE BEGINNING OF GLAM
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.
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
'' 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 ''
15-year-old Bolan fan NOELLE PARR quoted in THE MELODY MAKER - June 1972
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
T.REX - HOT LOVE - TOP OF THE POPS 1971
MARC BOLAN - ENDLESS SLEEP - THE MARC TV SHOW 1977
BOWIE and SLADE
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
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
DAVID BOWIE - HANG ON TO YOURSELF
SLADE - GET DOWN AND GET WITH IT
GARY GLITTER
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
'' 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 ''
GARRY GLITTER explaining the inspiration behind '' ROCK AND ROLL PARTS 1 and 2 '' to THE NME in 1974
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
GARY GLITTER– ROCK AND ROLL PARTS 1 And 2
The public now regard GLITTER as a ' hate figure ' due to his 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 }
GARY GLITTER - ALWAYS YOURS
THE GLITTER BAND / HELLO
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
THE GLITTER BAND - SEA CRUISE
HELLO - TELL HIM
ALVIN STARDUST
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 }
ALVIN STARDUST - JEALOUS MIND
ALVIN STARDUST - LIVE ON THE WHEELTAPPERS AND SHUNTERS SOCIAL CLUB
THE CHINNICHAP HITS BLITZ
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
'' WHO IS THE FACE THAT'S GONNA SET THE PACE,
I'M A ROCKER, I'M A ROLLER, I'M AN OUTER SPACE ''
SWEET - REBEL ROUSER
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 }
SUZI QUATRO - DEVIL GATE DRIVE
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
MUD - ROCKET
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 }
WIZZARD
'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
WIZZARD - BALL PART INCIDENT
MOTT THE HOOPLE
'' 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 ''
IAN HUNTER on his midnight foray into the grounds of GRACELANDS MANSION during MOTT THE HOOPLE's 1972 US TOUR
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
MOTT THE HOOPLE - ALL THE WAY FROM MEMPHIS
DANCING ON A SATURDAY NIGHT
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
'' GOOD GRIEF CHRISTINA
HOW COME YOU NEVER HEARD OF ROCK ' N ' ROLL
GOOD GRIEF CHRISTINA
HOW COME IT NEVER MADE IT TO YOUR SOUL
I SEE YOU STANDING ROUND WHEN THE MUSIC'S SO HOT
WITH A BEAT LIKE THAT OF GOOD TIME ROCK
THEY'RE BRINGING IT BACK LIKE IT USED TO BE
COME AND SING THIS RIFF WITH ME ''
CHICORY TIP - GOOD GRIEF CHRISTINA
'' 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 }
ARROWS - TOUCH TOO MUCH
DO THE JUKEBOX JIVE
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
THE RUBETTES - JUKE BOX JIVE
'' 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
BILBO BAGGINS - SATURDAY NIGHT
BAY CITY ROLLERS - SHANG-A-LANG
KENNY - JULIE ANN
SLICK - THE KIDS A PUNK
THE JUNKSHOP BOP
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
HARLEY QUINNE '' NEW ORLEANS '' 1972 - A great rocking cover of the GARY U.S BONDS number
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
LORENZA JOHNSON '' MR. TEASER '' 1973 - A FRANTIC PARTY ROCKER with great BRENDA LEE style vocals, UPFRONT PIANO RIFFS and LOCOMOTIVE SNARE ROLLS
ROCK REBELLION '' LET'S GO '' 1973 - A cool update of the ROUTERS classic INSTRUMENTAL ROCKER for the GLAM ERA
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
DALSTON DIAMONDS '' KAMIKAZI KRAZY '' 1975 - A FAST PACED ROCKER that matches the piano attack of JERRY LEE LEWIS with the beat of '' TIGER FEET ''
GEOFF APPLEBY '' HEY SADIE '' 1976 - A wonderful WIZZARD inspired slice of PHIL SPECTOR ROCK
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 ''
SHOWADDYWADDY
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
SHOWADDYWADDY - HEY ROCK AND ROLL - 1974
SHOWADDYWADDY - UNDER THE MOON OF LOVE - 1976
REDDIES FOR TEDDIES
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
A group of ' Authentic ' TEDDY BOYS - Inside The Black Raven Pub - London 1969
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
TEDDY BOYS AND GIRLS AT THE LONG BAR – SOUTHEND-ON-SEA - 1972
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
Ted Exploitation Sleeves for Budget Price Compilation LPs on Golden Hour, Contour and MFP
Photoshoot for ' Top Shelf ' Men's Publication GAME MAGAZINE - 1974
THE ROCK ' N ' ROLL ALLSTARS
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
ROCK ' N ' ROLL ALLSTARS - GET IT ON - 1971
SHAKIN' STEVENS AND THE SUNSETS
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
SHAKIN' STEVENS AND THE SUNSETS ON THE GEORDIE SCENE TV SHOW - 1974
SHAKIN' STEVENS AND THE SUNSETS - FRANTIC - 1975
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
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''
WILD ANGELS - CLAP YOUR HANDS AND STAMP YOUR FEET
ROCK ISLAND LINE - ROCK ON MAN
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
FUMBLE - GET UP
FUMBLE LP Sleeves Designed by The HIPGNOSIS Group
LONG TALL ERNIE AND THE SHAKERS
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
LONG TALL ERNIE AND THE SHAKERS - KISS ME BABY
HANK THE KNIFE & THE JETS - TOPPOP TV SHOW - 1975
TEDDY PALMER
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
TEDDY PALMER & THE RUMBLE BAND - TEDDY BEAR
TEDDY PALMER & THE RUMBLE BAND - HELL OF A FUSS ON THE LATE NIGHT BUS
TEDDY PALMER - BRING BACK ROCK ' N ' ROLL
REMEMBER THIS
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?
REMEMBER THIS - ROCK ' N ' ROLL REVIVAL
REMEMBER THIS - LIVE ON THE WHEELTAPPERS AND SHUNTERS SOCIAL CLUB
*** THE INFLUENCE OF 50's ROCK ' N ' ROLL ON THE BROADER POP WORLD OF THE 70's WILL BE EXAMINED IN PART THREE ***
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
