Sweet have released a new video for their current single ‘Still Got The Rock’. The single is reworking of a song that first appeared as a newly-recorded bonus track on the 2015 Sweet compilation album Action: The Ultimate Story, by the band’s previous line-up. The new version features the current line-up of Andy Scott, Bruce Bisland, Lee Small and Paul Manzi. You can read my interview with Andy Scott about how the new line-up came about here.
Sweet’s new album, Isolation Boulevard, recorded within the necessary constraints imposed by the Covid-19 global pandemic, plays on the title of the mid-70s album by the band’s classic line-up: Desolation Boulevard.
In a statement on the band’s Facebook page, Sweet’s Andy Scott says:
“Once again you, the hard-core Sweet fans have stepped up and reacted positively to the new album Isolation Boulevard. The cover artwork tips a hat to Desolation Boulevard, 1975 and the band’s first Headline Tours in the USA. The comparison between the old and new is obvious as they are both a compilation of the best of Sweet’s recordings, satisfaction guaranteed.“
“Let’s go back to February 2020 and the world was just getting reports of a new virus, identified as Covid 19. Reaction to the news was slow at the start. I had some news of my own that I was dreading at this time, my cancer had returned. After our Denmark trip in March where we had a show cancelled due to new virus rules on social distancing, I started my treatment during the first lockdown in late March. This meant I was out of action until July/August and was naturally kept in total isolation. I have come through all clear thankfully and am looking forward to getting to grips with some new material next year when we as a band can be all together in a studio without restrictions.“
“The new album Isolation Boulevard was put together between lockdowns in September and October. It was pointed out to me that it had been more than 5 years since our last successful album release and as we hadn’t got Paul or Lee on any recordings especially the hits, we had better put that right as soon as possible. Most of the recording and editing was done in my studio and the results speak for themselves. The drum tracks and new bass lines are very powerful, the guitars are so clear you can hear the plectrum hit the strings and the vocal performances from Paul and Lee are perfection personified. Bruce and I cannot believe how lucky we are that this line up has hit the ground sprinting never mind running. I would personally like to sing the praises of Tom Cory, TC from the Novatines for his technical know-how and engineering skills during the recording of the album. Genius!“
“So, there you have it. Enjoy the single and album and with any luck we may just get back on the road next year.”
The ‘Still Got The Rock’ single was released in digital format on 8th December 2020. 18th December will see the digital release of the album Isolation Boulevard. There will be a limited-edition colour vinyl of both to pre-order on the release dates with delivery early in 2021. There will also be a CD format of the album available sometime in the new year.
Andy Scott – All Guitars, Synthesizers and Vocals Bruce Bisland – Drums and Vocals Paul Manzi – Lead Vocals Lee Small – Bass Guitar and Vocals Guest Musicians – Steve Mann – Keyboards on Love is Like Oxygen Producer – Andy Scott Engineer – Tom “TC” Cory Studio assistance – Kevin Smith Recorded, Edited and Mixed at Black Rock Studio, Wiltshire
Falling Nine are a two-piece rock project from Cardiff consisting of David Lydiard (Vocals, Guitars, Synths) & Steven Watts (Guitars, Bass, Drums, Synths). Releasing their debut EP back in 2007 they’ve had numerous releases since then and the pair has been joined by several collaborators.
For their latest release they take on the mighty Sweet classic ‘Fox On The Run’ which was the glam heroes’ first self-written smash hit in 1975 after stepping away from song-writing team Mike Chapman and Nicky Chinn.
Falling Nine frontman David Lydiard explains: “I hadn’t heard the song for ages and one day during a trip down a YouTube rabbit hole I came across a live cover by the Chili Peppers with John singing. It had a raw, punk energy to it, and being a massive Frusciante fanboy, I instantly loved it. So I put up a very rough, live acoustic version of it on our YouTube Channel, just for a bit of fun. During lockdown, Steve (Watts) stumbled across it, tells me that he likes it, and asked me if I fancy recording a full version of it, and here we are.”
‘Fox on the Run’is Falling Nine’s first new release in four years. “Sometimes life gets in the way, which is why we’ve taken so long between this and our last record (2016’s ‘Atonement’), but priorities have shifted and we’re pumped to be working on new music again.”
Falling Nine are:
David Lydiard – Vocals / Guitars / Synths
Steven Watts – Guitars / Bass / Drums
Guest lead guitarist Justin Larner was also enlisted by the duo and contributes his own original solo, giving the Sweet classic a twenty-first century makeover.
“Justin is an incredible guitar player and I’ve been a fan of his tone and his playing since first hearing him when he played with Grand Ultra, says Lydiard. “We wanted a solo that kicks you in the arse and Justin nailed it 100%.”
‘Fox on the Run’ was released on 27th November 2020 and is available on all streaming platforms
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.
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
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!
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 an 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.
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.
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.
1. 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.
2. 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.
3. 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’.
4. 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.
5. 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.
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.
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.
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.”
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.”
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.
Jim Lea, one of the four members of Slade throughout the original band’s entire twenty-five year career, has released a video in the hope that it will prompt members of the public in helping reunite him with his guitar. The multi-instrumentalist’s cherished Fender Stratocaster was stolen in central London on 31st January.
After an initial appeal for information two weeks ago proved fruitless, Lea’s website has issued the following statement, along with a video of him playing the guitar in question.
“Tuesday 18th February 2020 – Two weeks ago we advised that Jim’s prized Fender Stratocaster was stolen from Central London. We put out the word for fans to share the details of the theft on social media in a bid to try and get it recovered.
Unfortunately the guitar has still not been returned or found. We do not have the serial number to pass on to fans – and to date we have only shared photos of the guitar on social media in a hope that fans might see it and recognise it.
However today Jim has released this, previously unseen studio footage, for fans to see. It shows close ups of the famous guitar and we hope this will help fans recognise it.
Once more we ask that fans look out for the Stratocaster in music shops, or on internet websites such as Gumtree and eBay. A reward is offered. Please email website on email@example.com with any info if you find it’s whereabouts.
We have made the video downloadable. Please share on social media.”
As well as being downloadable direct from Jim’s website the video can also be viewed via YouTube here: