Tag Archives: glam rock

Glitter, glam and Blackpool rock: interview with glam rock legend John Rossall

Following the release of his highly acclaimed new album ‘The Last Glam In Town’ I talk to former Glitter Band legend, John Rossall. Our chat covers glam rock, show bands, growing up in Blackpool and, of course, John’s new album and the prospect of touring again post-Covid.

The last glam in town – that’s quite a statement isn’t it?

People have their own perspectives and thoughts on it. I just wanted to do an album. I’ve not done one for years and years, well forty-odd years, of original songs. But, yeah, I think it’s a bit of a statement really.

It’s such an authentic sound on the album that really captures the original spirit of glam. What was the experience like in the studio, making a glam rock album in the 2020s rather than the 1970s?

Well, for a start in the 70s you were actually in the room with somebody. If anybody was going to record something, they actually came in the studio to do it. You couldn’t have a guitar player playing his part in, say, Berlin and the drummer drumming in Stockholm. That’s a change. That took me a while to get used to.

Clearly it worked! Did you find the technology helped you create that glam sound even though it was recorded in a completely different context?

In some ways it did. But you have to write the song first before you worry about the technology. But I knew what I wanted to do before I started recording. I wanted to update what we did – the Glitter sound, basically. I wanted to bring it right up to the twenty-first century. It’s not been played on radio stations for quite a long time and I kind of wanted to update it. Make the drums a bit more powerful and make one or two subtle changes. But the main ingredients of it, the original production – I wanted to keep some of that magic in it.

You must be very encouraged with the reviews so far?

Yes, I am. It’s like I’ve written them myself almost! It’s a surprise. The reviews everywhere – it’s been beyond my wildest dreams really.

Tell us about some of the people you collaborated with on the album.

I had a few people. Apart from my touring band – that was the basic bottom line – but I had different guests on different songs. For instance, Jon Robb from the Membranes, we got together. I wanted to take the Glitter thing to a bit of a dark side, an almost avant-garde thing. And I found that the most challenging thing, to update it in that way but keep the roots of it still there, you know. Also, I worked with Robert Lloyd from the Nightingales. I recorded three songs with him and also Mark Standby, who’s a long-time collaborator. He was in my band about twenty years ago. He lives in Berlin now. I got Bob Bradbury from Hello to write a song for me. I wanted him to do one where we produce a kind of tribal feel with the drums. And then I got Michael (Wikman) from Sweden who plays the drum track on that. Of course, not forgetting Alan Merrill from the Arrows who wrote ‘I Love Rock ‘n’ Roll’ who wrote a song for me (‘Equaliser’) not long before he passed away, a couple of months later.

That was written especially for you for this album, was it?

Yes. We knew each other quite well in the 70s, obviously. But you know, over the years you kind of lose touch, like you do. But in the last five years we reconnected and did about three short tours in the UK. And the magic – he was still the same guy. I really enjoyed the tours we did with him and it’s so sad he never got to hear the finished thing. He actually plays guitar and does backing vocals on there.

Some of the songs on the album are really personal to you, aren’t they, like ‘Blackpool Rocks’?

Well there’s quite a lot of songs about Blackpool that I learnt when I was growing up. Most of them by the great legend George Formby – ‘My Little Stick of Blackpool Rock’ and ‘Cleaning Windows’ and all that kind of thing. But I kind of wanted to do one that went over my childhood. I grew up in Blackpool. My dad was in quite a famous Blackpool band in the Empress Ballroom. He played there for twenty years and as a kid, aged about 10 or 11, I used to go down there about once a week. And I used to stand at the side of the stage. Of course, I liked swing bands when I was about 10, 11, 12. And because he worked at the Tower Company, Winter Gardens we used to get a lot of free tickets to the summer season shows. And the whole atmosphere of Blackpool in the 50s was amazing. And that’s what basically the song is about. My childhood, Blackpool in the summer and my dad, who was still my mentor, even after all these years. So that’s what that was about. I was quite happy when it was done although it was one of the hardest songs to write on the album, actually.

If we can now go back to the very early days of your career. You were leading the Boston Show Band in the late 60s and early 70s and they morphed into the Glitter Band. We tend to think of show bands as mainly an Irish thing, but you were an English band working in Germany, weren’t you?

My first professional job, earning a living, was in an Irish show band. And I lived in Ireland for a few years. And then I joined the Mike Leander Show Band, which was an eleven-piece band, back in 1965. We did an eleven-week tour, an old-fashioned kind of package tour with the Bachelors headlining and people like Susan Maughan. And then the band disbanded and I didn’t know what to do and I thought I’ll start my own band. And that’s what I did a few months after that. Got an act together, got some guys together and we went across to Germany in 1966 and we stayed there for about nearly six years. Of course, there were personnel changes, people leave, somebody wants to settle down and when they got home sick, they’d want to go back to the UK. But I enjoyed doing it. We worked together with Paul Raven (Gary Glitter) during that time. And we kind of split really beginning of 72. We were touring the UK quite heavily. And myself and Harvey Ellison, the other sax player in the band, we had laid some notes down on ‘Rock and Roll (Part 2)’ in December of 71 and we thought the record had fizzled out. Then I got a call from Mike Leander around about the beginning of June of 72. And he asked whether we’d like to re-acquaint ourselves and work with Paul Raven again with ‘Rock and Roll (Part 2)’. And I thought yeah, we’ll do that. We were doing quite well and had some records as the Boston Showband at that time and I did make it a condition – and I liked the idea of Mike Leander producing – I did make it a condition that we would get to do a record after a reasonable amount of time, which we did.

And how many albums did you do with the Glitter Band then?

I did two.

People wouldn’t necessarily think show band to glam rock as the obvious route. But there were parts of the show band sound that became an integral part of the Glitter Band sound weren’t there?

The main thing was that most bands and groups around, they were just guitars and drums and maybe keyboards. Not a lot of them had sax and brass so that was correct. And, of course, in my very early days as a teenager in Blackpool I was playing in brass bands. And ‘Angel Face’ that’s got a kind of brass band feel about it, with the drums and the way the brass section goes especially in the middle eight. Some of those ideas, of course are apparent on the new album. As I said, I only did two albums with the Glitter Band back in the 70s, but this album is kind of the album I missed out on – that I wanted to make. Because when I left, I felt I had unfinished business with the band. I wanted the band to do something in America. We’d done it in the UK and Europe but to me the job was only half done. And I left.

So, this album isn’t just a career renaissance for you it’s actually a career highlight in terms of albums then?

Yeah, it is. When I started making the album it never entered my head, I was going to make a 70s album or a glam album. It’s just me. I’m the guy who wrote those songs in the 70s. And I’m a lot older now and more mature obviously – I hope! And I write songs now. And it’s people who are listening who put you where they think you should be. And it wasn’t a nostalgic album either. I just wanted to make a brand new statement and update the Glitter sound and do some fun songs. And that’s what this is about – having fun really, nothing serious.

You left the Glitter Band in the mid-70s for a solo career. For those who are maybe not familiar with your career since then do you want to just briefly sum up what you did musically between the Glitter Band and now with this album?

Well I did a couple of singles which were quite decent, but I was quite unlucky actually. One was playlisted everywhere. A song called ‘It’s No Use You Telling Me No’ a song I did with Twentieth Century Fox. And lo and behold just as it was coming out, they decided to close their UK office down. And we tried to buy the master back to give it to another record company, but they wouldn’t let us have it. And I was quite disillusioned. Then I went to Sweden for quite a few years. I was relatively unknown there. I thought my music was done but after a couple of years it never really leaves you. And I got a band together – Swedish guys – with the idea of just playing a few gigs, getting together at the weekends just for a bit of fun. But then I started getting invitations to go to Germany playing festivals. Big festivals, a couple of trips to the UK and, of course, it like reawakens you – the hunger. So, we were touring, quite a bit and shows in the UK. Not with any original music just mainly the old hits. And about two years ago I thought it would be nice to go on tour, make a new album with some brand-new songs and that would give me something new and creative. Well, of course, I got the album bit done and I should be on tour really now but obviously I’m not.

Yes, that’s something that’s affected every musician.

That’s the luck again! It strikes!

So, what are your plans now this album is out and assuming at some point venues reopen and we can start seeing live gigs again?

Hopefully, we’ll still tour the album, albeit next March, April, May – whenever we’re allowed to and it’s safe to do so, of course. That’s my immediate plan. Of course, the album’s only been released a couple of weeks so it’s still early days for it. We’ll have to see how we go with the album, really, and then that will decide what I do. But if it remains the same as now, I’ll probably go out and promote the album and do some shows. I still enjoy playing live. It’s still a great feeling you know.

And still going out there playing music. You could be the Jerry Lee Lewis of glam rock. The last glam standing?

Yes well. If the cap fits, yes!

Anything else you want to say?

Well I just hope people give it a chance, give it a good listen to and go out and buy it obviously. And I hope I can perform it next year on some live shows. I know through social media that people really want me to tour the album and that’s what I’ll try to do. So, all I want to say is I hope everyone gets through this alright and we can carry on and life gets back to something a bit like more like normal for us all.

Thanks to Claire Moat and Anne Street for their assistance in arranging this interview.

Related post:

Album review: Rossall – The Last Glam In Town

Glam rock: album review – Rossall ‘The Last Glam In Town’

From Slade’s Til Deaf Do Us Part in the early 80s New Wave of British Heavy Metal boom, to Sweet’s melodic, prog-inspired masterpiece Sweet Life in the early 00s, there have definitely been some great albums from glam rock artists who subsequently managed to reinvent themselves once the allure of sequins and silver platforms began to wane. But, really, has there been anything approaching a great glam rock album since the 1970s? Look no further Glitter Band alumni, John Rossall, has just released one.

All tribal beats, honking brass, fuzzed-up guitar, sing-along choruses and enough handclaps and chants of ‘Hey’ to last you a lifetime, The Last Glam In Town is a modern masterpiece of the genre.

Rossall was part of the original Glitter Band back in the day, playing not only on a string of the shamed Leader’s early hits but going on to record a succession of Glitter Band favourites without their now-disgraced and unmentionable frontman. Rossall subsequently left in 1974 for a somewhat uneventful solo career. I’ve seen him numerous times over the past couple of decades wowing the crowds with a selection of hits from both  Glitter (the man) and Glitter (the band). Last Glam In Town, however, is something else altogether – a whole new album of superbly-crafted songs that capture the vibrance, assertiveness and pure fun of glam in its heyday.

Longtime collaborator Mark Standley along with members of Rossall’s touring band, post-punk outfit the Nightingales (whose lead singer, Robert Lloyd, sings two songs), and John Robb of punk legends the Membranes (who also provides vocals on two tracks) all feature on the album alongside Rossall.

Among the album’s ten glam-filled tracks, highlights include the wonderfully menacing album opener ‘Fear of a Glam Planet’ and ‘Blackpool Rocks’ a tribute to Rossall’s home town and his father and musical hero, Bob Rossall, who returned  to Blackpool after serving in the Second World War and played in Blackpool’s Empress Orchestra for two decades.

Another track ‘Equaliser’ was written by Rossall’s old friend Alan Merrill of Arrows, writer of the glam anthem ‘I Love Rock ‘n Roll’, who gifted  the song to Rossall before tragically passing away from Covid back in March. Alongside the original material, the album also contains a suitably glammed-up cover of the Honeycombs ‘Have I The Right’ and concludes with an energetic cover of one of the Glitter Band’s biggest hits, playfully retitled here as ‘Let’s Get Together Again (Again)’.

For inspired and original glam rock with energy, joie de vivre and twenty-first century credibility John Rossall is definitely your man. A superb album.

Released: 30th October 2020 by Tiny Global Productions

https://www.rossall-glitter.com/

Related post:

Glitter, glam and Blackpool rock: interview with glam rock legend John Rossall

Slade at No. 8 in the UK albums chart – their highest position since 1974!

While I’ve no intention of buying it myself (given I’ve got more Slade albums, Slade singles, Slade reissues and Slade compilations than you can shake a stick at) I was well chuffed to see Slade’s new greatest hits compilation Cum On Feel The Hitz go straight in at No. 8 in the UK’s album chart last Friday.

This is the band’s highest ranking in the UK album charts since Slade In Flame was released back in 1974. Even during the days of the band’s early 80s comeback, a decade after glam, Slade albums were still struggling to make it to the Top 40, even when they had a second run of hit singles.

What has been nice, and clearly what has helped with sales, is all four original members working to publicise the release and celebrate the band’s shared legacy – even if they do not all see eye to eye these days.

While some bands of a certain vintage split into two rival camps, with Slade it’s all been a bit more complicated. Noddy doesn’t get on with Jim these days but rubs along just fine with Dave and Don. Jim doesn’t have time for Nod or Dave but is on good terms with Don, sending the latter heartfelt good wishes when he suffered a stroke earlier this year. Dave doesn’t get on with Jim and had a pretty acrimonious falling out with Don earlier this year, too, when he sacked him as drummer from his continuing version of Slade. But Dave does get on well with Nod, the two keeping in touch with one another by phone through lockdown. Don, meanwhile, gets on just fine with Jim and Nod in spite of that big falling out with Dave. Got all that?

Still, it’s nice that the four of them put on a united front to promote Cum On Feel The Hitz which collects most of Slade’s singles from 1970 to 1991. The double CD comprises 43 tracks, while the double vinyl features 24.

Noddy: “It’s been remastered. They sound bloody great and there’s a double vinyl out as well. The record company wanted to do it. They wanted to make it a definitive collection, which it pretty much is. In this time of lockdown, I think people need a bit of Slade. We always put a smile on people’s faces. This is the perfect time to cheer people up. Hopefully it’ll reach a new generation too.”

Dave: “The thinking behind it is that BMG signed us for this big deal and really when you’re looking at something like this you’re almost giving us a reappraisal of how many hits we really had.”

Jim: “I’m absolutely thrilled with the chart placing of ‘Cum On Feel The Hitz’ tonight. Many thanks to all the fans for buying the CDs, vinyl and downloading the album. Great to see it in the Top Ten. Rock on!”

Don: “This is fantastic news! I never thought that I’d see us back in the Top Ten again. I was told earlier that BMG thought the album would enter the charts around #7 or #8 – and if it’s been confirmed that the official position in the UK chart is number 8 then that’s great!”

Cheers guys – great to see you back in the charts!

Related posts:

Veteran drummer Don Powell out of Slade

Slade legend Jim Lea releases video footage in bid to locate recently stolen guitar

EP review – Jim Lea ‘Lost In Space’

Interview with former Slade legend Jim Lea

Jim Lea at the Robin 2, Bilston 2017

Before glam: the debut 60s singles of Bowie, Bolan, Slade, Mud and Sweet

Slade, strikes and the three-day week: the story of the greatest Christmas record ever made

Slade at Donnington 1981

Slade at White Rock Theatre, Hastings 2015

Giants of Rock, Minehead 26-29 January 2018

Slade at Brighton 2019

Photo montage of band members courtesy of Slade Facebook group

Death of a glam icon – Steve Priest: 1948-2020

Steve Priest, bass-player with the Sweet and an icon of 70s glam rock has sadly passed away following an illness that hospitalised him in recent months.

In a emotional post on his band’s Facebook page, former band-mate Andy Scott paid tribute to the best bassist he ever worked with:

“Then there was one!

I am in pieces right now. Steve Priest has passed away. His wife Maureen and I have kept in contact and though his health was failing I never envisaged this moment. Never. My thoughts are with his family x.

He was the best bass player I ever played with. The noise we made as a band was so powerful. From that moment in the summer of 1970 when set off on our Musical Odyssey the world opened up and the rollercoaster ride started! He eventually followed his heart and moved to the USA. First New York then LA.

Rest in Peace brother. All my love.

Andy”

Steve Priest’s latter-day colleagues in Steve’s own US-based version of the Sweet broke the news on their Facebook page on behalf of Steve’s family:

“Dear Friends and Fans,

We have very sad news – Please see the below statement from Steve Priest’s family.”

Love,
Richie, Stevie, Mitch & Paulie…

“It is with a heavy heart that we announce at 8:25am PT today, Steve Priest, founding member of The Sweet, passed away. He is survived by his wife, Maureen, three daughters, Lisa, Danielle & Maggie and 3 grandchildren, Jordan, Jade & Hazel.”

Steve Priest’s death follows the deaths of vocalist Brian Connolly in 1997 and drummer Mick Tucker in 2002, leaving Andy Scott the sole surviving member of the band’s classic 70s lineup. When I interviewed Andy at the end of last year he talked about attempts to reunite the two for the band’s fiftieth anniversary but it was not to be. However, he did stress that the two kept in touch on a personal level and asked after one another’s health.

A phenomenal bass-player whose harmony vocals were an essential part of the band’s classic sound Steve Priest we salute you – a true glam rock icon.

Related posts:

Interview with Andy Scott

News: All change at The Sweet

Review: Sweet 50th anniversary concert – Berlin

The Sweet versus Bowie: the riff in Blockbuster and Jean Genie – origins and influences

Before glam: the debut 60s singles of Bowie, Bolan, Slade, Mud and Sweet

From AC/DC to ABBA: five classic glam rock singles by non-glam bands

In the early 70s the likes of Bolan, Bowie and Slade were pioneering both the sounds and the looks that would come to define glam rock. Emerging in 1971, building momentum in 1972 and absolutely dominating the UK charts by 1973, glam was everywhere by 1974. Even non-glam bands were at it.

Here we look at five bands who managed to release great glam rock singles in 1974.

AC/DC – Can I Sit Next To You Girl

Released as their debut single in July 1974 the original version of ‘Can I Sit Next to You Girl’ is the only AC/DC release to feature Dave Evans on lead vocals, prior to Bon Scott taking over. The band would re-record the track with Scott but here you can see and hear the original. Angus is in his schoolboy uniform, of course, but the rest of the band are looking spectacularly glammed up. And it’s not just the image that’s glam either. The vocal delivery, arrangements and guitar riff all have far more of a glam rock than a hard rock feel to them. Now I love the sleazy hard-rocking Bon Scott-era of AC/DC and wouldn’t want to change a thing – but this debut single gives a delicious glimpse of how things might have been in some parallel universe.

Mungo Jerry – Long Legged Woman Dressed In Black

When ‘In The Summertime’ became the band’s first big hit in 1970 Mungo Jerry’s laid-back jug-band sound couldn’t be further away from glam rock if you tried. By 1974, however, it’s blindingly clear that glam was having an influence. It’s not just lead singer Ray Dorset’s studded white leather sleeveless jacket over his bare chest, we have a drum beat that wouldn’t be out of place on a Glitter Band release and a sing-along chorus that just screams pure unadulterated glam. My particular memory of this song was at my 8th birthday party when my dad crammed me and half the kids down the street into the back of his Ford Anglia to take us to the park. On the way back this came on the radio at full volume and we had all the widows open, screaming along to it at the top of our voices.

The Wombles – Remember You’re A Womble

Although their first single and (the theme tune from the BBC series) epitomises the lush orchestral pop that creator Mike Batt has been associated with much of his career, for the Wombles’ second single they went down a much rockier route. Joining Mike Batt (vocals/keyboards) were session musicians Chris Spedding (guitars), Les Hurdle (bass), Clem Cattini (drums), Ray Cooper (percussion), Rex Morris (saxophone), Eddie Mordue (saxophone) and Jack Rothstein (violin). Not only was the single a brilliantly bouncy slice of glam rock but, thanks to the glorious fiddle solo, it’s a brilliant slice of folk rock, too. As such it remains the greatest glam-folk single ever made. Tim Hart of Steeleye Span kind of agreed. In his book ‘Electric Eden’ Rob Young recounts that Hart “bought a triple LP of Wombles tunes and was impressed with the clarity of it’s sub glam power pop”. Batt was hired by the band and the result was Steeleye Span’s own glam-folk smash ‘All Around My Hat’.

The Rolling Stones – I Know It’s Only Rock n Roll

This July 1974 single and title track of the Stones’ album later that year originally emerged out of a jam session Mick Jagger had with Ronnie Wood and Kenney Jones of the Faces, along with David Bowie and bass player Willie Weeks. The track was polished up, some guitar licks were added by Richards and a Rolling Stones classic was born. Easily the most glam-influence song the Stones produced it really reminds me of T.Rex. And, of course, if you are going to release a glam rock single you need a glam rock video to go with it. Directed by Michael Lindsay-Hogg the video shows the band dressed in sailor suits and playing in a tent which eventually fills up with bubbles. According to Keith Richards, the idea for the sailor suits came about at the last minute because none of the Stones wanted to get their own clothes ruined with detergent bubbles.

ABBA – Waterloo

Waterloo was written specifically as ABBA’s bid for the 1974 Eurovision Song Contest, after the group finished third with ‘Ring Ring’ in the contest for Sweden’s entry the previous year. With a driving guitar riff and a rocking upbeat tempo the song was quite a departure from the romantic ballads of previous European winners and, indeed, of ABBA’s later releases. Throw in the knee-high silver platforms, the glittery costumes and the star-shaped guitar and ‘Waterloo’ is a glam rock classic in all but name. Indeed, Abba themselves had cited ‘See My Baby Jive’ by English glam rockers Wizzard as a major influence at the time. My Nana, who was babysitting for us that night, let us stay up to watch them win Eurovision.

Related posts:

Before glam: the debut 60s singles of Bowie, Bolan, Slade, Mud and Sweet

The Sweet versus Bowie: the riff in Blockbuster and Jean Genie – origins and influences

Slade, strikes and the three-day week: the story of the greatest Christmas record ever made

 

News: Slade’s Don Powell recovering from stroke

Drummer and veteran Slade legend, Don Powell, suffered a stroke on Saturday 29th February at his home in Denmark. Fortunately, his step-daughter Emilie, a doctor, was with him when it happened and was able to act swiftly to call an ambulance and get him to hospital. The subsequent day, 1st March, his wife Hanne released the following statement via Don’s website:

“On Sunday afternoon I picked Don up from the hospital. He will be monitored from home until Wednesday afternoon as it is less stressful for him to be at home, and that is important at the moment. The MRI and CT scan results shows two blood clots in the left frontal lobe, and he is now on medication. There is a narrowing on his artery on his neck so we will know in a few days if he will need an operation. The scan results are sent to the cardiology surgeons to decide. Don is tired but in good spirits and he is happy that he can use/feel his right arm and leg again. So we are all very relieved and thankful.”

Accompanying the update was a photo of a convalescing Don looking in very good spirits.

don-stroke-2

The stroke follows a snapped tendon in 2019 which put Don out of action as a drummer for the rest of the year as well as more recent news of Don’s sacking from Dave Hill’s continuing version of Slade last month.

http://www.donpowellofficial.com/

Don’s former colleague Jim Lea, who played with him from the original band’s formation in 1996 through to 1991 released the following statement via his own website:

“Hi Don – It was terrible to hear of your stroke. A real body blow!! Although the band finished many moons ago, we were like brothers during that 25 years together. You were and still are the quickest wit in the band. You kept us laughing through the ups and downs of those years. I’m sure that everyone who’s met you thinks the same. Keep smiling Don and get through this. Get well soon. Jim.”

http://www.jimleamusic.com/

The Sweet’s Andy Scott, who collaborated with Don ,along with Suzi Quatro, on the QSP project in recent years also released his own statement via his band’s Facebook page.

“I am in touch with Don on a daily basis and of course wish him the speediest recovery. After the trauma of injury in 2018 and his fight back to fitness in 2019 the last thing one needs in 2020 is another setback. Knowing Don he will be cracking jokes again very soon. Chin up my old mate. I am in DK this week so will pop in with some good cheer if you are receiving visitors. Love & best wishes from all in the Sweet camp x. Andy.”

https://www.facebook.com/TheSweetOfficial/

Related posts:

Veteran drummer Don Powell out of Slade

Slade legend Jim Lea releases video footage in bid to locate recently stolen guitar

EP review – Jim Lea ‘Lost In Space’

Interview with former Slade legend Jim Lea

Jim Lea at the Robin 2, Bilston 2017

Header photo: Don and Darren in Birmingham
Photo of Don: via his website

Before glam: the debut 60s singles of Bowie, Bolan, Slade, Mud and Sweet

When glam rock burst into the UK pop charts in the early 1970s the genre may have appeared all shiny and new and suitably outrageous but many of its lead players had been trying to make their all-important breakthrough in the previous decade. Five of the acts we look at here all released their debut singles in the mid to late 60s.

Bowie – 1964

David Bowie’s debut single ‘Liza Jane’ which was released under the name Davie Jones & the King Bees and was recorded at Decca Studios in West Hampstead in May 1964 but released on the Vocalion Pop label. Although producer Leslie Conn is credited as the composer the song is an arrangement of an old standard ‘Li’l Liza Jane’ which dates back to at least the 1910s. Bowie released two more singles the following year under the names The Manish Boys and Davy Jones & the Lower Third but his first release using the name David Bowie was his 1966 single ‘Can’t Help Thinking About Me’ which was released as David Bowie & the Lower Third. Bowie’s next single, ‘Do Anything You Say’ released that same year was the first credited solely to David Bowie. Bowie release four more singles and a debut album prior to his first success chart success in 1969 with the single ‘Space Oddity’ which reached number five.

Bolan – 1965

Marc Bolan’s debut ‘The Wizard’ was released by Decca in 1965. “I sounded like Dylan,” Bolan later admitted in an interview. Mark Paytress in ‘Bolan – The Rise and Fall of a 20th Century Superstar’ takes up the story: “On the morning of September 14th 1965 Mike Leander, Jim Economides, Mark Pruskin and Marc Bolan congregated in Decca’s Broadhurst Gardens studios in West Hampstead. A small backing orchestra, comprising string section and pop instruments, and The Ladybirds vocal group were briefed and awaited further instructions from Leander. It was ten in the morning and everyone knew the session would be over by lunchtime.” When it failed to make its mark on the charts a couple more solo singles followed after which their was a stint in John’s Children. Bolan then enjoyed modest success in the underground acoustic duo Tyrannosaurus Rex before shortening the name, expanding the personnel, turning up the amps and hitting glam rock superstardom.

Slade – 1966

Recording as the N’ Betweens prior to changing their name firstly to Ambrose Slade and then Slade, Noddy Holder, Jim Lea, Dave Hill and Don Powell made their debut single in 1966. ‘You Better Run’ released by Columbia was a cover of a song by US band The Young Rascalls. Ian Edmondson & Chris Selby in ‘The Slade Discography’ take up the story: “Visiting American record producer Kim Fowley saw something in them that he liked and decided to to approach them with a view to recording some music. Fowley was what was referred to in those days as a ‘freak’. This was a combination of his height and his way out American dress style and attitude. He was fond of calling his records ‘Instant Productions’. This seemed to be mainly because he didn’t waste a lot of time and money on recording.” ‘You Better Run’ sold exceptionally well in Wolverhampton but failed to sell many copies elsewhere. Several more singles and two albums would follow until the band hit the UK Top 20 with ‘Get Down and Get With It’ in 1971.

Mud – 1967

Mud released their debut single ‘Flower Power’ on CBS in 1967, a song written by the band’s guitarist Rob Davis. Several more flop singles would follow until Mud hit the charts with ‘Crazy’ six years later, after they were signed to Mickie Most’s Rak label and enjoyed the fruits of the Chinn-Chapman songwriting team. Even at this early stage, however, three-quarters of the classic Mud line-up are already in place: Les Gray, Rob Davis, Ray Stiles. Drummer, Dave Mount, would join a year later. The band worked the social clubs of Surrey whilst continuing with their day jobs, Les Gray recalling in an interview: “We would do anything because we wanted to work.” Before finding their glam-meets-rock n roll-revivalist niche they hit us with this wonderful bit of psychedelic kitsch silliness.

The Sweet – 1968

The Sweet’s debut single ‘Slow Motion’, a song written by Wolverhampton pianist Dave Watkins, was released in July 1968 on Fontana. Set to be released under their original name The Sweetshop the band’s name was hurriedly shortened when they discovered another band had been using the same name. At the time of their debut three quarters of the band’s classic line-up, Brian Connolly, Steve Priest and Mick Tucker are already in place. Guitarist Andy Scott would join two years later in 1970. Produced by Phil Wainman, who would go on to produce the band’s hit singles during the glam era, ‘Slow Motion’ is a long way away from Blockbuster! and Ballroom Blitz but at the same time not a million miles away from the string of bubblegum hits (Funny Funny, Co-Co, Poppa Joe et al) that the band had before hitting their stride with a rocked-up glam sound.

Related posts:

The Sweet versus Bowie: the riff in Blockbuster and Jean Genie – origins and influences

Slade, strikes and the three-day week: the story of the greatest Christmas record ever made

From AC/DC to ABBA: five classic glam rock singles by non-glam bands

Lost In Space: interview with former Slade legend Jim Lea

Interview with Andy Scott ahead of Sweet’s 2019 UK winter tour

News: Veteran drummer Don Powell out of Slade

In a statement on his website, veteran Slade drummer Don Powell reveals he has been informed by Dave Hill his services are no longer required. Although the original Slade broke up in the early 90s with the departure of Jim Lea and Noddy Holder, Dave Hill and Don have continued to tour under the Slade banner.

Don Powell’s statement is as follows:

“Monday 3rd February 2020 – It is with great sadness and regret that Don needs to inform his fans that he now is no longer a member of Dave Hill’s Slade.

Dave has sent Don a cold email to inform him that his services are no longer required, after working together and being friends since 1963.

However, the great news is that Don is now fully fit to play drums again! He is coming back with his band who will be called Don Powell’s Slade He is forming it with ex-Slade 2 bass guitar member Craig Fenney. We will post more news about the recruited members in due course. Don so looks forward to going on the road and seeing all the fans again.

More news! Don is currently recording a solo album. He is in North West England at the moment – recording tracks with Paul Cookson and Les Glover. All these tracks will be issued in Don’s debut solo album!

Additionally, as previously mentioned on this site, Don has finished and completed a new album with Don Powell’s Occasional Flames which will be released this year.

Don hopes that all his loyal fans will support his new ventures which he is very excited about.”

http://www.donpowellofficial.com/

*** Update 4th February 2020 – Statement from Dave Hill ***

Following Don’s statement Dave Hill has since responded with his own, released via his band’s Facebook page.

Light on detail, it seeks to refute Don’s account of his departure but does not offer any alternative sequence of events.

“I am sad to announce that Don and I will no longer be working together our parting of the ways has not come out of the blue and his announcement is not accurate. I wish Don every success in his future efforts. I will, of course, carry on and look forward to many future performances and meeting fans. Dave Hill”

 

Header photo taken from Don Powell's website
Below: me with Don and Dave in happier days

12189387_10153727216391449_5028113072138761433_o

Live review: Sweet at De La Warr Pavilion, Bexhill 21/12/19

My last gig of the year and my first time seeing the Sweet with their all-new line-up. I’d seen the previous line-up (Andy Scott, Bruce Bisland Pete Lincoln and Tony O’Hora) many times but when I interviewed Andy Scott recently he was positively brimming about how much the new line-up rocked. Lincoln and O’Hara are gone, replaced by Paul Manzi (ex Cats in Space) on lead vocals and Lee Small on bass – and, assisting temporarily, Sweet alumni and ex MSG man Steve Mann on keyboards/rhythm guitar.

Scott promised that as well as the glam singles this new line-up would certainly be delving into the hard rock side of the band’s persona. The Sweet Fanny Adams and Desolation Boulevard albums are duly raided for tracks like ‘Burn On The Flame’, ‘AC/DC’, ‘Sweet FA’ and ‘Set Me Free’ and acoustic versions of the band’s early bubblegum singles are abandoned.

Impressions: the new-look band are definitely fired up, the band rock hard (whether delivering the glam singles or the classic album tracks) while still maintaining those exquisite harmony vocals that are such an essential element of the overall sound. On top of that it has to be stressed that Manzi is just an incredible, incredible front-man. Unlike the previous line-up the vocalist does not have an instrument in his hands and uses every single minute of the gig to zip all over the stage and engage the audience in the most direct way possible.

It’s also very satisfying to see the Sweet boys filling out this considerable venue, too. We might be besides the sea and it might be late December but this is not some Christmas package tour in some rundown venue squeezed in between the tribute acts and the panto but rather a high-octane rock show in the prestigious (and packed out) Grade I listed De La Warr Pavilion.

Of course, we get all the big hits as well: ‘Hellraiser’. The Six Teens’, Wig Wam Bam’, ‘Fox On the Run’ et al and the band encored with some exceptionally energetic delivery of ‘Blockbuster’ and ‘Ballroom Blitz’. The band have proved, beyond doubt, that there’s plenty of life left in the Sweet yet – and, as Andy Scott tells the audience this new version of the band is just in its infancy. We want Sweet!

Set-list:

Action
New York Groove
Hell Raiser
Burn on the Flame
The Six Teens
Peppermint Twist
AC/DC
Turn It Down
Sweet F.A.
Set Me Free
Teenage Rampage
Wig-Wam Bam
Little Willy
Love Is Like Oxygen
Fox on the Run
Blockbuster
The Ballroom Blitz

Sweet Bexhill pic

http://www.thesweet.com/

Related posts:

Interview with Andy Scott

News: All change at The Sweet

Review: Sweet 50th anniversary concert – Berlin

Review: Sweet live 2017, London and Bilston

Review: Rainbow and Sweet, Birmingham 2017

Review: Sweet, Bilston 2016

The Sweet versus Bowie: the riff in Blockbuster and Jean Genie – origins and influences

Review: Sweet at Dartford 2015

Review: Sweet at Bilston 2014

Interview with Sweet’s Andy Scott

This is a longer full-length version of an interview piece that was originally published by the Hastings Online Times here

Ahead of their gig at Bexhill’s De La Warr Pavilion on December 21st Darren Johnson talks to the Sweet’s Andy Scott who, along with Brian Connolly, Mick Tucker and Steve Priest, was part of the classic 1970s line-up and continues the band to this day.

DJ: The Sweet are well-known for their glam rock singles but there was always a hard rock albums side to the band’s persona as well. Will both of those elements be represented on this current tour?

AS: Yes – more so on this tour than the last one. We’ve had a slight revamp of the band. This revised line-up is certainly more akin to that. A couple of younger guys who are, shall we say, keeping us on our toes again. I would never, ever recommend changing two members of a band. I remember reading an interview with Mick Fleetwood who I got to know in the 70s just before they went to LA and he was saying they were going out there not knowing where the future lay. And he even said to me let’s see what happens. Then I saw what had gone on about two years later and heard, basically, they were looking for a replacement for Peter Green and they’ve got Christine McVie back in the band. They just haven’t got a guitar player who can sing. And it came with the two of them. Stevie Nicks as well (as Lindsey Buckingham). And just look at the way that burst open. So, in my head, I’m thinking Pete Lincoln left to pursue this outfit he’d been using shall we say as a back-up tool to Sweet with two other lead singers from other bands . And all of a sudden that’s taking off and I could see what’s on the horizon. There’s going to have to be a choice made here. And I knew which way he’d probably go because he’d been playing bass and singing with us. And he’s now doing this – because he’s a terrific guitar player and he’s now with a team of people where they’re all in at the starting point. And I thought – well we’re going to have to replace him. Now luckily we had Paul Manzi on the back-burner because he had depped – he’d come in and done a couple of gigs for us so he was an obvious choice.

And then Tony O’Hora at the end of August the bombshell was, “I’m leaving.” And Bruce (Bisland – Sweet’s drummer) and I, who’ve known him for years, were like – oh God, not again. Because we’d had this with him a couple of times, only this time I said there’s only so much you can cry wolf – you know. So I said – I’ll accept it but you’re gonna have to tell me what’s going on. And he didn’t. And then we were doing a couple of gigs in Poland and the Czech Republic and he just walked. So we ended up doing a couple of gigs with my guitar tech on bass and we managed to get Steve Mann who’d been playing with Michael Schenker to come out and finish the dates with us. It was a revelation to see Paul Manzi standing there with no guitar in his hand as a lead singer so the first thing I had to do when I got back – there was was one person on my list of people to call and that was Lee Small. I rang him and he jumped at the chance and so we now have Lee and Paul in the band. And on a temporary basis – but it could become permanent – we have Steve Mann back in the band as the second guitar/keyboard player. And it’s really, really gelling. And now we’ve done three shows in Denmark, one or two in Germany and four in England. We’ve only done nine gigs and my son who’s my sound engineer – I have to take his word because the sound he gets out is always remarkable – he said ‘It’s the best it’s been, Dad’.

Clearly, the line-up change has given the band a new energy but has it led to a change in the set-list, too?

Yes. The driving force for the acoustic part of the set last time we toured was basically me and Pete. And we felt like we ought to go for a bit more like it used to be in the 70s when we did a festival set. You’d get down to the nitty gritty. You play a couple of the heavier rock tunes that people want to hear so that’s what’s happening. It’s a work-in-progress. There will be a new Sweet album next year and we’ll see where we go from there.

And you’re coming to Bexhill on the 21st December which is the last night of the tour. Is that last night of a tour always a bit special or a bit of a relief – or both?

Well it depends who’s around – but I usually try and get some of my mates and anyone who wants to come to the gig and sing a bit or play or whatever. You just never know what happens on a night like this.

The other surviving member of the classic 70s line-up Steve Priest has his own version of the Sweet in America. I believe you tried to get him to join you on stage for the band’s 50th anniversary last year?

I mean look – we can all be angry young men and even grumpy old men. I just don’t like the idea that you can’t mellow in later life. I just don’t know what gets into Steve once in a while. We have contact – every time that I go over to LA, which I do on holiday these days because we don’t do anything in America – he has changed the dynamic of that. He doesn’t do a lot either – but having spoken to a couple of friends of mine who are promoters and stuff in America I said I don’t want to come back there unless it’s as organised as the gigs we do in Europe. And it seems you need specialist help over there. The country is so big you’re not going to end up using your own equipment. Friends of mine in Uriah Heep still go out there and Mick (Box) says you’ve got to get a different head on.

So you’re in touch with Steve Priest but no chance of you performing together?

Well I think the moment has passed. At the end of 2017 I remember I wished him a Merry Christmas and I then said if something’s going to happen it’s going to be next year isn’t it? You know, the fiftieth anniversary of the inception of the band. And then I never heard anything. Then I got a message from him at the beginning of 2018 saying “We are getting involved with a new agent who thinks it might be a good idea if you and I did something.” And my answer to him was sod your agent what do you think about it? If you fancy doing it then we’ve got a starting point but to just do it because your agent says “you should do this, Steve” is coming at it from the wrong angle, I think. I could see where that was going. I would say yes let’s do something but all of a sudden all the rules and regulations come out. And really, if we’re going to do stuff like this, if he’s coming to Europe we have a collaboration and he does it the European way. And I go out to America and I do it the American way – as long as somebody looks after me. But there has to be some kind of continuity within the band as well. And one of the funniest things was a friend of mine from Germany who contacted him said “Would you be willing to come and do a festival?” And the first thing he said was “As long as I can bring my guitar player.” And so we laughed about that. And that never went anywhere. So now I’d much rather be in touch with him saying “Hello, how are you? How are the knees?” you know. And him saying “How are you? How’s your health?”

Nicky Chinn and Mike Chapman (writers of many of the hit singles for Sweet) obviously left a huge, huge impact on the band and left you with a slew of songs that people will always link to Sweet. Do you keep in touch with either of them?

Well yeah, I’m in touch with Mike because Mike is still a little bit of a mentor for Suzi (Quatro) and whenever I’ve been in the producer’s chair I talk to Mike about various things. He’s written songs that were on Back To The Drive which was one of her albums. And I’m hoping, because we’ve got a new album that’s coming out, that Mike and I might sit down together. A few years ago he was angling, “Well that could have been a Sweet single.” And we might be able to revamp or maybe write a song together. There’s a man who’s mellowed a little bit and kind of enjoying life again. And I’ve heard he’s back in the UK so, you know, all is possible. I’ve not fallen out with anybody. Life’s too short!

I always thought that Sweet missed a major opportunity for a come-back ion the early to mid 80s? Slade were back in the charts again. Queen were huge. Glam metal was taking off the States but it was the one time in the past 50 years that Sweet were AWOL?

Well you can look at it from all sides. Timing was absolutely everything. We’d reached a point in 81/82 where Steve was now living in America. He didn’t want to be in England. He didn’t want to come back. He feels, so somebody’s told me – I haven’t read all of his book he never sent me a copy – but it’s in there. I remember Mick Tucker saying to me “I don’t know where he got half of his stuff from.” but I said “Look it’s his personal view, Mick. You’ve got to let everybody have that.” It’s almost as if he’s forced to come back to England to record the last album in a studio in West London and he was put up in a hotel that was like a student hostel in Chelsea. And I thought well he stayed with me a little bit of the time and, yes, he was in that hotel for a while because, you know, it was easier and Mick had his problems with his first marriage. And it was a time when, I guess because we were still living our lives in England – this is the way he probably views it, at weekends we would take some time for ourselves and he would be left to his own devices. And any normal guy would be out having dinner with some mates you hadn’t seen for years but I guess he got the feeling that he was just being abandoned. So from that point of view, when the tour finished at the end of 81 – I think it was Glasgow University – we never heard from Steve for ages. He came back to England and it was that next year when Mick had a tragedy. His first wife died. It was a misadventure where she died in the bath. I think she had a glass of wine and was on some medication and he got back to the house and found her there. Well you wouldn’t wish that on anybody, would you? And so he didn’t want to do anything. And I was still out there – producing and writing and playing on other people’s records. And I managed to get a solo deal – first of all with Virgin then it turned out to be Statik. The guy from Virgin had left to form his own label. So for a couple of years – 83/84 – I was releasing some solo singles. And then in 85 – well at the end of 84 – I bumped into our old agent and he was looking after us in 81. And he said, “Oh I’ve got a bone to pick with you. I keep getting loads of enquiries. Are you still working with the Sweet? I didn’t know where you were.” And it just so happened that his office was literally up the Harrow Road from where I was living in Maida Vale.

Then you did the Live at the Marquee album?

Exactly. I managed to get Mick out of retirement. Steve was even at least saying the right things but Mick said ‘He’s not coming back’ so luckily I rehearsed a bass player. The guy who ended up in Sweet actually Mal McNulty. We were using him to rehearse and I said he may not be coming and he said “you’re a mate of mine. I love this”. And, of course, we went to Australia with Mal and the rest is history. We had Paul Mario Day as singer and Phil Lanzon who’s now with Uriah Heep on keyboards.

And with changes of personnel the band has continued to this day.

Yeah. We’ve had a few people come and go but when you look back over thirty-odd, almost forty years of reformation when you say you’ve had six singers hat doesn’t sound too bad really does it?

Other bands have gone through far more haven’t they. Probably Sabbath have gone through far more.

[Laughs]. Well they had a little concept going didn’t they? A new lead singer for nearly every tour.

You’ve had a couple of major scares with prostrate cancer and you’ve been open about that and done a lot for awareness through Rock Against Cancer. How are things health-wise these days?

Pretty good. In fact, I’m due another PSA test so I’d better get that organised hadn’t I? And the other thing is Rock Against Cancer will be coming back next year. It’s coming back on the 12th and 13th of September in the same venue in Wiltshire at All Cannings near Devizes. So it’ll be Rock Against Cancer 8. And it might well be the last one. We’re looking at the moment to see who can come back from previous years and making a real bonanza of a gig you know.

The Sweet play Bexhill’s De La Warr Pavilion on Saturday 21st December 2019.

Tickets: https://www.dlwp.com/event/the-sweet/

sweet-poster-may-2019

Related posts:

News: All change at The Sweet

Review: Sweet 50th anniversary concert – Berlin

Review: Sweet live 2017, London and Bilston

Review: Rainbow and Sweet, Birmingham 2017

Review: Sweet, Bilston 2016

The Sweet versus Bowie: the riff in Blockbuster and Jean Genie – origins and influences

Review: Sweet at Dartford 2015

Review: Sweet at Bilston 2014