Legendary Manchester-based writer and producer Mike Bennett has been working furiously on his latest project Glamnezia. It sees him teaming up with The Rubettes (ft John Mick & Steve) and is co-produced by Steve Etherington. Glamnezia is a boxed set and coffee table book which will feature re-recordings of glam classics and a selection of new songs.
Mike has worked with a slew of high profile acts such as Bad Manners, Fuzzbox, Hazel O’Connor, The Fall, Ian Brown and The Specials, Neville Staple and Gregory Isaacs, but this is his first foray into the glam arena!
The Rubettes featuring John, Mick and Steve have created the music for the boxed set with reworkings of famous glam classics from the ‘70s era including a glam metal version of Crazy Horses by The Osmonds (with Donny playing the opening organ screech!), See My Baby Jive by Wizzard and many other timeless smashes from the day.
Sugar Baby Love recently entered the top 10 in the North American charts inspiring them to embark on this ambitious project.
The Glamnezia box set and coffee table book has been put back due to the pandemic, and lands when the press implants and book manufacturers are back in full flow. Release dates to be announced with massive contributions from artists Steve Bowden and Tony Gleed of Boogaloo Radio.
Louder Than War’s Nigel Carr caught up with Mike Bennet to discuss everything glam, from its origins in English music hall, through the very first stirrings in the late sixties to the US crossover of glam and hair metal!
NC: Did The Rubettes represent Glam? If you look at Glam from as early as 1970 when Bolan turned up riding a white swan with that little bit of glitter on his face they did not look like your average sparkly glam star.
MB: “They looked like Pearly Kings and Queens. Arthur Brown argues the point about the glitter, he’s put in the claim! I can argue about Rubettes being archetypical glam rock because I would say that I would put them in the bubble glam category, right? Because I’ve got my own categories”.
“What I say is this: Glam rock is quintessentially English, but we are musical magpies. We flew over and we went back in time, and we hit the American jukebox diners, and we took as much from the American jukebox diners as we could or in Roy Wood’s case, as much from Phil Spector’s catalogue as he could, and then we made it our own. But we also harked back to a time gone by to a place called the East End and that is where glam rock started”.
NC: So you are talking about Marie Lloyd and the old music halls?
MB: “I’m talking about Marie Lloyd, I’m talking about Little Titch, I’m talking about Vesta Tilley as well”.
NC: That’s interesting I was talking to the guy from It’s Immaterial, John Campbell and he talked about how music hall tradition and particularly Little Titch was an influence on early punk.
MB: “Very much so as well. I used to write an article for Encore magazine. A series of articles about the evolution of music hall. Prior to being commissioned to do this, I was chatting to Andy Scott from Sweet, and he said they used to watch The Good ‘Ole Days permanently, saying ‘Look at that patch, look at that coloured garment that woman is wearing, and then they would show it to their designers and that would help with the costume. Now, you mentioned punk, you mentioned glam. These are all pop genres and so the costumes in some ways and the fashion statement is as integral as the song”.
MB: “Glam rock came out of a poverty-stricken period. The three day week, the miners’ strike, when the going gets tough, the Brits go glam!”.
“In the music hall period you had your pearly kings and queens, that was pure glam and at places like The Players Theatre under the arches in Charing Cross, they would form the chorus, they would also be the bouncers. They would be a bit like those guys who used to jump on the stage with Mud”.
“When I was looking at the Wilton’s Music Hall, I was going through some of the old original literature and some of the programmes, and they said ‘Next week please make sure you’re wearing your ‘glam rags’ which was a play on the words ‘glad rags’ but they actually used the phrase, ‘please bring your glam rags and dress as your favourite star”.
“The coincidence is that if there ever was a glam rock musical, it’s the Rocky Horror Show. People turn up in their ‘glam rags’ dressed as their favourite star so there is a correlation”.
NC: Surely it was a coincidence that they wore their glam rags and we had glam rock? Where did the term ‘glam rock’ come from, who coined the term?
MB: “It just struck a chord with me because the real phrase is ‘glad rags’ not ‘glam rags’ so they used the word glam and look at the pearly kings and queens you know and look at the risqué factor of your Marie Lloyds and a ‘little bit of wot yer fancy’. It came from a working-class area that was poverty-stricken and then flash forward to early ‘70s and meanwhile ex-bricklayers who have turned into musicians are putting on make-up up north!”.
“This whole thing about the criticism about bands like Slade and Sweet ‘Oh they’re just like a bunch of brickies’, I think well what’s wrong with that? It’s even better it was a working-class phenomenon. Very English but of course you did have people like Suzi Quatro who came from Detroit and Alice Cooper. Suzi Quatro was sent really to English glam finishing school and the headmaster was Micky Most”.
“There is a saying in glam rock, ‘Tony Hatched the plot but Micky made the most’. I say that because Tony Hatch, in the very early days, did work with Bowie and not many people know that and I just quite like the phrase!”.
Glam Fact: Donovan sang the high notes on Alice Cooper’s Billion Dollar Babies!
NC: Alice Cooper was psychedelic when he started with Frank Zappa on Straight
MB: “Theatrical rock really. I’ll tell you what I would say. You’ve got Roxy Music. They jumped on the glam wagon, that’s art school rock – art school glam as far as I’m concerned. If you notice, a lot of people from the glam community were synonymous with acting”.
“Those are the people that jumped on the glam wagon. They were fading rockers. Your Barry Blue’s and the Alvin Stardusts”.
“Mott The Hoople, I’d say were a band that made copious amounts of excellent, if not sketchy bluesy kind of albums and they jumped on the glam wagon because Ian Hunter enjoyed it. The rest of them didn’t”.
“Then you’ve got your bubble glam bands like Paper Lace, which was more like bubble glum! The Night Chicago Died and all that”.
NC: There was a lot of shit in there wasn’t there?
MB: “You had Barry Blue in there, Racy, which I would call bubble glam”.
“I liked Arrows because of the American connection in our book. That is because he’s American, Alan Merrill. He wrote I Love Rock and Roll and lived on it for years. Of course, I worked with Kim Fowley for a very long time. Far too long. I’ll come to that because what I think happened was in the mid-’70s, almost getting to ’76 when pub rock, I’m talking about the Dr Feelgoods and glam was fading but Slade, Sweet and Queen, all decided to cross the pond and the music was getting sleazier with groups like Twisted Sister and Mötley Crüe. They owe a debt of gratitude for this Frankenstein thing called glam metal or corporate glam”.
NC: Kiss were around in ’72/73 so they were around at the same time?
MB: “Indeed, so were the New York Dolls who were glam and they were punk mixed together somehow”.
NC: If you listen to Trash, it’s pure proto-Clash
MB: “Yeh, absolutely, I’m not a fan”.
“Mötley Crüe, because it’s glam with no irony. They call it glam metal and hair metal, respectively. Kiss took on bands like Slade and Sweet as support acts. Sweet’s Desolation Boulevard was a massive album out there but a completely different album here. It’s got different tracks on it, heavier mixes. Sweet were a career band out there, possibly about 4 or 5 hit albums. Desolation Boulevard being the first one”.
“I bought into Sweet because of the B-sides, I was listening to them by accident. My brother had Little Willy and I put the other side on and it was a track called Done Me Wrong Alright and it was really heavy”.
“The Rubettes, they were definitely part of the glam scene, and If you look at all the bills they were on, they were half-way between something that’s Saturday morning pop and glam. What happened was, The Rubettes were a bunch session musicians and they were asked to record this track by the Svengali, Wayne Bickerton, who was one of the two co-writers. The first idea was that it was going to part of a new rock and roll musical. Then he re-made it, submitted it to Showaddywaddy (you can hear the Showaddywaddy name tag in the lyric), so it got sent to them and rejected, and Bickerton the Svengali producer of the time, released it as The Rubettes without telling the guys. It was going to be a flop but it hit number 54. It was going to bomb, but then they got word that Sparks could not get their work permits at the time to make Top of The Pops, so they ended up on Top of The Pops and ended up number 1 here and it was an absolute Billboard smash, leaving Sparks at number 2 with This Town Ain’t Big Enough For Both Of Us”.
“A lot of the Rubettes hits, Juke Box Jive, appeared on all the Glam compilations”.
NC: So they were very much Glam, but they had this Great Gatsby look – berets, and red shirts, very much theatrical?
MB: “When they were on the way to do Top of The Pops, they saw the Gatsby hats in the King’s Rd but I always thought that that was the pearly kings and queens hats off thing. I always thought that was their tribute to the music hall because they looked very music hall”.
“The fact it was a Gatsby thing and it was incidentally to hide the fact that they were very serious hard rock players really, hair down to here and they didn’t actually wasn’t to be associated with it at that point. The bass player has played with Elton John and The Tremeloes. They were all very seasoned session musician players and the reason they are doing Glamnezia, by default, it’s glam rock, because we have six glam rock classics, on side one. Then we have six re-vamped hits of The Rubettes on side two”.
“They are a massive arena band in France. It’s ridiculous! I am trying to pin them down to do Juke Box Jive and Yeh I Can Do It and I said, ‘do it as a medley, cos we are late in getting this album in’. I just finished Fuzzbox who were the first to cover Spirit in The Sky which I say was the first glam related riff”.
“One big giveaway in the glam sound is the slap-back sound on the drums. Adam Ant rode the crest of a wave from glam through to punk, but it’s a lot of using slap back on the drums. I’ve recorded drums before, and then I have got the guy to double track it but then you put a tiny bit of backwards reverb so it sounds slightly out but it’s not out. It gives it like a glam crunch. Then you put a big crunchy handclap trigger on the snare. A sort of double-tracking on drums”.
NC: If you listen to the first Gary Glitter tracks, Rock & Roll Part 1 and 2, it’s that sound isn’t it?
MB: “Yes, it does unfortunately, I can’t bear thinking about it. The glam crunch comes in all shapes and sizes. Double tracking of drums was more prevalent than one thinks, just on an ordinary record”.
NC: Is that what Martin Hannett did with Joy Division?
MB: “Yeh, he made them very dry but then augmented them with drum machines, didn’t he?”.
NC: There is a connection between Joy Division on their track Digital and Alice Cooper’s Slick Black Limousine. The opening bass lines are very similar.
MB: “I’ve been trying to get The Rubettes to do Slick Black Limousine. It’s Donovan on vocals, isn’t it? Donovan does all the high pitched falsettos. Donovan was up there; Alice Cooper was down there and it went ‘Hey Don can you come and do the high pitched bits?’ So Donovan’s a glam rocker by default!”.
“What I say is that we plundered the American Jukebox”.
NC: But hang on, we had Sweet and they were steeped in bubblegum and then you’ve got Eddie and the Falcons era Wizzard and The Rubettes and they were more American. Is there a twin threaded thing coming through here?
MB: “Yeh, I’m thinking that David Bowie was influenced by some American blues, wasn’t he? There is an American connection but we made it our own, and then we dressed the turn-up and put a British flag on it, and we sold it back to them in the late ’70s. This Frankenstein called glam metal also known as hair metal was born. I don’t like it but it made a lot of money”.
NC: If you compare The Man Who Sold The World to Hunky Dory, they are completely different, apart from one track, Queen Bitch (which everyone thinks is on Ziggy Stardust) which is very much Bowie’s first foray into glam.
MB: “I’ll tell you also who had the glam crunch, Hello. In abundance. It was this whole excessive riffing of Jean Genie and Blockbuster. What a coincidence, the same label released in the same week. A bit of a marketing thing going on there. Look at Desolation Boulevard by Sweet, look at Dirt Deeds Done Dirt Cheap by AC/DC. Look at the American versions of the albums and they are the same sleeves and Desolation Boulevard has a track called AC/DC on it which Joan Jett had a massive hit with”.
“There are all these strange coincidences but I tell you where the melting pot was, Rodney Biggenheimer’s English Disco on Sunset Strip. He was a major K-rock DJ that brought all the glam rock bands over. Friend of the notorious Kim Fowley who did The Runaways, sort of post-glam based on the English singers”.
“He was a major part of it actually”.
NC: In terms of bringing it back to America?
MB: “Yes. There is a faction of people that say, Lou Reed, Iggy Pop, all those, they put that in the glam idiom. I don’t. I wouldn’t put Loue Reed as glam. If we are talking about the make-up and the make-up only. I think you’re right, glam rock got a bit of a bad name because it was peppered with some bubblegum bands like Kenny”.
“Do you know what they were actually quite well produced those records”.
Glam Fact: On Crazy Horses, Donny Osmond’s voice had broken so the brothers recorded it. Donny played the opening wahhh on the organ!
NC: Funny, I was listening to Barry Blue, we turned it up in my wife’s car the other day and the production is unbelievable.
MB: “Yeh, of course, he wrote a lot of hits for people like I Eat Cannibals by Toto Coello, which I produced actually”.
“Norman Greenbaum, that’s where I reckon it started”.
NC: What happened to him and why did he never have another hit?
“Well, he had four hits. Spirit in The Sky with Fuzzbox, then he had Spirit in The Sky with Dr and The Medics, then he had it with Gareth Gates. It was number one three times, and then, of course, Fuzzbox were in the indie chart with it for 25 weeks. I’m a little bit biased because I have just remade it with them, a dub version. I could call it glam dub!”.
“Norman was an American singer-songwriter who just had one hit”.
NC: And that was proto-glam right?
MB: “I would absolutely say so”.
NC: Does anything else precede it in terms of ‘the’ sound? You could also say that Mick Ronson may have taken that ‘Ziggy’ guitar from that?
MB: “Absolutely, because it’s just that incessant riffing you know. Mick Ronson was my favourite of the Bowie era. It was the most exciting”.
“You were saying was that the first glam record which is a great question. David Bowie had Space Oddity in ’69 but it was dressed up as glam when it was re-released in 1975”.
NC: When it came out it wasn’t was it? Bowie was long-haired, big guitar. I suppose the only glam part was the lift-off played on a Stylophone.
MB: “When it was re-marketed, he was dressed in his glam attire, boots and everything”.
“We mustn’t forget that Roy Wood was a glam protagonist. Electric Light Orchestra were leaning a bit too much in that direction for Jeff Lynn’s liking. If you look at the costumes, and Roy Wood has been criticised a few times for going far too over the top with the costume side of glam and marginalising his potential audience, but I just think he had amazing humour, and he liked Arthur Brown!”.
“There are so many different factions. Glam rock was absolutely massive in Germany. British glam rock”.
NC: So who is the progenitor?
MB: “The protagonist? The first riff I can think of is Norman Greenbaum. It was 1970. Then the wonderful Bolan came along with Ride a White Swan”.
“Let me tell you a story, A quick story which is in the book”.
“Malcolm Hardy and Squeeze were attending Freddie Mercury’s birthday and they thought they would be invited into the party so allegedly they stole Freddie’s cake which was allegedly a big white chocolate swan. Now, allegedly, it got taken back to a certain band’s unit and they cracked it open and there was this fluffy stuff in there and they couldn’t call the police, they could do nothing. There was white chocolate in there, powdered white chocolate and we call that chapter ‘Hide a White Swan’”.
“It’s glam rock story, it could be myth, but Malcolm Hardy did write a book called ‘I stole Freddie Mercury’s Birthday Cake!”.
“We call it ‘Hide a White Swan’, it may have been mythologized, but we quite like the title.”
“What about Mud? Even though they were really cheesy, one of them was in The Hollies, the other one wrote loads of hits. Back to the theatricality of the music hall there he is, there’s the American connection. An Elvis impersonation, there’s theatrical music hall connection, a ventriloquist’s doll, now who could forget it, for good or for bad?”.
“The Thursday Top of The Pops thing. It was great because you’d wait for your favourite glam rock band to come on and do something to shock your Gran. Was it a fad? of course, it was a fad”.
NC: How long did it last?
MB: “Well, as I said it was trawled relentlessly across the pond. Then it continued in the states it just got heavier and sleazier”.
NC: Who was the best, who was most serious? I mean we had Slade, Bowie, Bolan, The Sweet; who was the best?
MB: “You know my favourite out of all of them was The Sensational Alex Harvey Band. Look at the Harlequin character created by Zal Cleminson. That was completely glam”.
NC: Can we say, these were the serious ones, Slade, Sweet, Bowie? And then these were the guys who reinvented themselves? Alex Harvey, Alvin Stardust and Gary Glitter? Because they were old stagers who had performed under lots of different guises previously?
MB: “I suppose you could say that The Rubettes were old stagers because they were session players, but it’s their album isn’t it? Oh yes, the US crossover band like The Rubettes, Wizzard with the Phil Spector sound and Hello”.
NC: Then you had the fluff, Barry Blue, Kenny, Racey, so you could almost go 1, 2, 3, 4 different phases, then the US sold it back.
MB: “Yes, Barry Blue, Kenny, Paper Lace, The Bay City Rollers, the biggest selling of all of course and dour set Midge Ure’s Slik. So we’ve got five there?”.
“We had those who were actors as well, like David Essex”.
NC: So we had those guys that started it, those who thought they had, the American influenced ones and those who jumped on the bandwagon.
“Wizzard was pure Spector, wasn’t it? There were very few female glam rockers apart from Suzi Quatro. I can think of another one, Clout, who had a hit with Substitute. Very few. Lyndsey De Paul did a cameo on Mott The Hoople’s All The Way From Memphis ‘There’s a rock and roll party on Saturday night, are you gonna be there, I’ve got my invite’ so she did that, whereas in time so old-time music hall, which had a rather androgynous theme going on. A lot more female stars. Male and female were playing Burlington Bertie, but a lot of drag, androgyny and glitter”.
NC: Time from Aladdin sane was very music hall with the honkytonk piano wasn’t it? And Drive in Saturday, pure doo-wop.
MB: “Name me a band that didn’t do a glam ballad at the end of a fucking album? From Rock and Roll Suicide, there was always the glam ballad”.
NC: What is your all-time favourite glam tracks?
MB: “Personality Crisis – New York Dolls, Teachers Pet by Mott The Hoople, Next by Alex Harvey (written by Jacques Brel), Spirit in The Sky – Norman Greenbaum, Rebel Rebel – David Bowie, Teenage Rampage by The Sweet”.
NC: For me, it would be Starman by Bowie, Ride a White Swan – T Rex, Rock n Roll Part 2 – Gary Glitter and maybe Virginia Plain by Roxy Music.
MB: “For me, the journey started in the East End. It travels into the 3 day week and the power cuts – ‘when the going gets tough, the Brits go glam’. Then it travels the ocean round about ’76 as it’s cooling off and is picked up by the likes of Twisted Sister and the Frankenstein, glam metal is born”.
“The producer Mike Chapman followed them out there and ended up producing things like The Knack and things like that and picked up Blondie while he was there, Heart of Glass era, becoming a bit of a head-hunter for Chrysalis records. He saved the Divinyls career with I Touch Myself as well”.
“The box set has been recorded by The Rubettes covering classic tracks from the era as well as re-recording their own hits from the day”.
“The Glam protagonists: Kim Fowley, Screaming Lord Sutch & Arthur Brown”.
Essential Glam Listening with notes by Mike Bennett
GLAMNEZIA – The Rubettes ft John Mick & Steve
Steve Etherington and I wrote this in 25 minutes flat at the Marriott Bonvoy hotel in London. Steve was playing his guitar through a pig nosed amplifier and we got told off twice by a rather officious security chap as apparently we had woken up a French couple next-door who were on their honeymoon. Steve explained to the security guard that he forgot to turn his amp down because he had suffered a momentary surge of amnesia. This instantly gave us the title Glamnezia. It’s been compared to a certain 70’s glam hit but I can’t tell you if we were inspired by it because we had suddenly suffered a gargantuan glut of Glamnezia. And why not Queen had a Sheer Heart Attack.
Back to Drak – Vegan ‘Glampire’ film – exert from the soundtrack
Steve Etherington and I have been involved in a trilogy of films one of which is Back To Drak they all join together. This particular track from the film starts in a cinematic way courtesy of Steve Bowden who is also heavily involved in the effects and the editing. The film was shot in California and is about vegan vampires who live in the vault underneath the oldest vinyl store in California. Lots of mad things happened whilst we were out there. There was a scene where glam rock vampires were having a crystal meth
session and the props manager brought in real crystal meth. One of the actresses who is now fired caused trouble within the cast and her antics are the inspiration behind this song. It’s a shame really because she was actually quite a nice person.
The Glam actress to be announced who now plays Daisy Pusher in vegan ‘Glampire’ movie produced by Mike Bennett, Steve Etherington & Terry Marsh and appears on GLAMNEZIA
Sugar Baby Love – The Rubettes ft John Mick & Steve
Sugar Baby Love was a massive billboard hit and has recently recharted to top 10 in America. A great start to the campaign.
Mrs Pringle – The Rubettes ft John Mick & Steve
This is an interesting story. I was sat with the actress that we had to sack off from the movie soundtrack for Back To Drak and one of the directors asked me to write a song for his film First Time. I knocked it up on the guitar, sang it down the phone to The Rubettes, Steve added additional parts and we turned the track around fairly quickly. Apparently the director Phil Peel who asked us to do it for his film is making the video but we haven’t heard from him, perhaps he’s got Glamnezia.
Born To Be Alone – The Rubettes ft John Mick & Steve
Every Glam Rock album has to have a ballad. My lyrics are literally comprised of titles from famous Glam Rock songs. As I did it David Bowie cut-up style, Steve scored the music in a hotel in Munich.
Ugly Girl – Slade Produced by Kim Fowley Original Line Up Under Early Incarnation The N’Betweens 1966
This track is Slade whilst still called The N’Betweens. I had freaky experiences with Kim Fowley whilst working at Trojan Records who had big connections with Slade. In fact, I co-produced 2 of his albums.
His early production of fledgeling Slade it’s certainly is not glam per-se but with the guitar riff that appears later on Glam classics such as Blockbuster and Jean Genie.
Of course, Fowley went on to work with American Glam artists such as Alice Cooper, Kiss and The Runaways.
Everything about him created insane situations. Whilst working with him for Creation and Trojan he once got in an argument with some skinheads in a London pub and they set a dog on him. He bent into the crouching position and freaked the dog out by growling. Unfortunately, the dog ran into the street and was knocked over by a black cab. Considering he was the guy that worked with John Lennon and the Oko Ono bad ‘Give Peace A Chance’ project, the irony did not elude me.
Breakout – Rendacium ft Steve Etherington (The Rubettes ft John Mick & Steve)
A cover of this is going on the Glamnezia live set apparently.
I was introduced to Rendacium by Deborah Allen Management LTD who knew I remixed The Sweet and was basically a Glam fanatic.
When I heard the band she had discovered I noted that they had a glimpse of quintessential English Glam but also heard the energy of American glam influence bands such as The New York Dolls. Personality Crisis springs to mind with immediate effect. I’ve always suffered from a personality crisis myself. So I simply had to work with them.
Personality Crisis – New York Dolls
This track shows the energy levels that the New York Dolls embraced as they sing a cheerful little tune about mental illness. In my opinion, they bridged the gap between Glam and punk and were plundered somewhat from the British Glam movement.
New York City – T Rex
At the start of the 70’s when Glam rock was a mere embryo, Bolan mania known as T Rextasy. His band had hit after hit including Hot Love to the maniacal Metal Guru which was loud, proud and replete with classic falsetto glam backing vocals. However, his career was to take a nosedive, talking of noses, no prizes for guessing what was going up his during this heady and hedonistic period. I actually loved some of the obscure material like the album Zinc Alloy and The Hidden Riders Of Tomorrow. The lyrics were mental and the glorious Gloria Jones had joined the band adding keyboards and her amazing voice which really gave a new dimension to Bolan’s new sound. As far as I’m concerned his comeback single was New York City and my favourite track from his brilliant but at times sketchy career. The thing I love about it the most is that its about a woman walking through New York city with a frog in her hand – highly unlikely but hilarious. Enough said.
Turn It Down – Sweet
I thought it was important to show this video as it signalled the start of glam metal. Sweet along with Slade and Queen travelled the pond and inspired the genre which is Glam Metal. Twisted Sister, Wasp and Poison were kind of fun but as far as I’m concerned the arguably mundane Mötley Crüe lacked the irony and Kiss’ repertoire represented a cataclysmically crass cacophony of corporate Glam Metal. A great money spinner obviously but it doesn’t mean I have to personally like it. I did like American Glam inspired bands especially Cheap Trick who embraced the humour and came out with some really catchy songs.
The new breed of bands that use subtle Glam influences like Rendacium and Fat White Family are not in it for the money. It’s about British originality. Both of these bands have it in abundance – END OF STORY!
Anyway for embryonic Glam Metal also known as hair Metal click the link below and hear an iconic English band turning up the anti in the ever enveloping Glam Rock movement.
What’s Your Name – Chicory Tip
In the 70’s there was another side to Glam and Chicory Tip are a perfect example. I could have included their classic Son Of My Father but I thought it was more fun to put a slightly more obscure track in What’s Your Name.
This Town Ain’t Big Enough For Both Of Us – Sparks
Sparks are amazing and although from American fit right in with the British Glam. Ironically The Rubettes kept them off the number 1 spot with Sugar Baby Love.
Dance With The Devil – Cozy Powell
This Glam-Drum-Stomp record is absolutely brilliant but in my opinion, but the worst fade out in Glam history. Perhaps producer Mickey Most was running out of budget.
Tiger Feet – Mud
On this track, Les Grey claims that he is in love with a woman who has the feet of a tiger. Highly unlikely – a sure-fire hit.
Giddy Up A Ding Dong – The Sensational Alex Harvey Band
Alex Harvey came from a theatrical background and this is the most Glam his band gets.
The Jean Genie – David Bowie
Jean Genie has the same riff as Sweets – Blockbuster both released RCA on the same week. His hit The Laughing Gnome is not really Glam but it has music hall qualities and it’s rumoured that his late aunt was a glitter clad pearly queen so I’m putting it in for fun.
The Juicer – Sweet
This is Sweet in 1970 prior to the Nicky Chinn and Mike Chapman years. The heavy sound came back later after the manufactured stuff.
Spirit In The Sky – Fuzzbox
It was drawn to my attention that they were the first to cover Norman Greenbaum’s massive version of this pre-Glam track. I’ve done a dubbed version for their new album proving a good track can shapeshift into a different idiom.
48 Crash – Suzi Quatro
Allegedly shipped in from America and put in British Glam finishing school by Mickey Most.
Waterloo – ABBA
I’m putting in ABBA early because of this one track Waterloo.
Sick On You – Hollywood Brats
A lost Glam classic about vomiting on people. Tremendous theme.
Games Up – Hello
The lead vocalist was more out of sync at miming that Bolan – worth checking.
Special Barbara Sobel at Barbara Sobel Promotions.
Rubettes ft John, Mike & Steve Facebook