I hope to be back on the blog soon.
Sorry for the length of time since my last post.
Tuesday, 8 June 2010
Wednesday, 3 March 2010
I've had a couple of the annnoying DRM notices drop into my inbox in recent weeks. While this is a pain in the arse it has given me the push to do a 'spring clean' on this blog.
I also needed to clear some space in my 'Mediafire' account, so most of the links in all but the most recent posts have now gone. If you see something on here that you really like, then let me know by commenting on that post and I will then re-link.
Anyway as I said, i'll be taking a short break but hope to be back in a few weeks.
I also needed to clear some space in my 'Mediafire' account, so most of the links in all but the most recent posts have now gone. If you see something on here that you really like, then let me know by commenting on that post and I will then re-link.
Anyway as I said, i'll be taking a short break but hope to be back in a few weeks.
Monday, 1 March 2010
Short Break
I will be taking a short break from this blog for a few weeks, family commitments, new baby etc.
Hope to be back soon.
Hope to be back soon.
Friday, 26 February 2010
Lou Reed: Satellite of Love (a-side), Iggy Pop: I Need Somebody (album track)
American Glam part 5
Much has already been written about the work that David Bowie did with Lou Reed and Iggy Pop in the early seventies, so I won’t add much more here.
‘Satellite of Love’ is taken from the album ‘Transformer’ a Bowie and Mick Ronson produced record from 1972. It was issued as the second single in February 1973. Transformer introduced Reed to a wider audience especially in the UK, with the record proving to be Reed’s commercial and critical zenith.
This was to cause resentment in Reed because of the shadow that the record cast over the rest of his career. After the records release Reed and Bowie had a fairly public argument that ended their working relationship for many years.
Mick Ronson, who was at the time the lead guitarist with Bowie's backing band, played a major role in the recording of the album, serving as the co-producer and primary session musician (contributing guitar, piano, recorder and backing vocals) and arranger, notably the lush string arrangement for 'Perfect Day'.
Reed has praised the beauty of Ronson’s work on the album. David Bowie, can be heard providing background vocals throughout the record, and especially on Satellite of Love.
Though this song first saw the light of day on Transformer, it dates back to Reed's previous band The Velvet Underground, and a version of the song recorded by The Velvet Underground surfaced on the ‘Peel Slowly And See’ box set.
Iggy Pop and David Bowie first met in 1971, and there is no doubt that Pop's career received a boost from his relationship with Bowie. The album ‘Raw Power’ was originally produced and mixed by Pop himself, unfortunately, Pop's first attempt wasn’t very good as he mixed most of the instruments into one stereo channel and the vocals into the other.
‘MainMan’ management demanded that the album be remixed, but Pop initially refused. So MainMan informed Pop that if the album were not remixed by Bowie, the album would not be released. Pop eventually agreed.
Due to budgetary constraints, Bowie remixed the songs (except ‘Search and Destroy’ which still retained Pop’s original production) in a single day in an inexpensive Los Angeles studio.
It is said that Columbia executives insisted on two ballads, one for each side of the record. These two "ballads" were 'Gimme Danger' and 'I Need Somebody', both much more ominous and menacing than traditional ballads.
Guitarists James Williamson and Ron Asheton have both stated that they prefer Bowie's original mix of the album to Pop's re-mastered version that appeared many years later. The version of I Need Somebody here is the Bowie mixed version.
After the albums release Bowie continued to support Iggy Pop, but drug abuse was again to blame for stalling Pop’s career for some time. Years later Bowie and Pop would relocate to West Berlin where Bowie helped write and produce 'The Idiot' and 'Lust for Life' during 1977. These became Pop's two most acclaimed albums as a solo artist.
Much has already been written about the work that David Bowie did with Lou Reed and Iggy Pop in the early seventies, so I won’t add much more here.‘Satellite of Love’ is taken from the album ‘Transformer’ a Bowie and Mick Ronson produced record from 1972. It was issued as the second single in February 1973. Transformer introduced Reed to a wider audience especially in the UK, with the record proving to be Reed’s commercial and critical zenith.
This was to cause resentment in Reed because of the shadow that the record cast over the rest of his career. After the records release Reed and Bowie had a fairly public argument that ended their working relationship for many years.
Mick Ronson, who was at the time the lead guitarist with Bowie's backing band, played a major role in the recording of the album, serving as the co-producer and primary session musician (contributing guitar, piano, recorder and backing vocals) and arranger, notably the lush string arrangement for 'Perfect Day'.
Reed has praised the beauty of Ronson’s work on the album. David Bowie, can be heard providing background vocals throughout the record, and especially on Satellite of Love.Though this song first saw the light of day on Transformer, it dates back to Reed's previous band The Velvet Underground, and a version of the song recorded by The Velvet Underground surfaced on the ‘Peel Slowly And See’ box set.
Iggy Pop and David Bowie first met in 1971, and there is no doubt that Pop's career received a boost from his relationship with Bowie. The album ‘Raw Power’ was originally produced and mixed by Pop himself, unfortunately, Pop's first attempt wasn’t very good as he mixed most of the instruments into one stereo channel and the vocals into the other.
‘MainMan’ management demanded that the album be remixed, but Pop initially refused. So MainMan informed Pop that if the album were not remixed by Bowie, the album would not be released. Pop eventually agreed.
Due to budgetary constraints, Bowie remixed the songs (except ‘Search and Destroy’ which still retained Pop’s original production) in a single day in an inexpensive Los Angeles studio.
It is said that Columbia executives insisted on two ballads, one for each side of the record. These two "ballads" were 'Gimme Danger' and 'I Need Somebody', both much more ominous and menacing than traditional ballads.
Guitarists James Williamson and Ron Asheton have both stated that they prefer Bowie's original mix of the album to Pop's re-mastered version that appeared many years later. The version of I Need Somebody here is the Bowie mixed version.After the albums release Bowie continued to support Iggy Pop, but drug abuse was again to blame for stalling Pop’s career for some time. Years later Bowie and Pop would relocate to West Berlin where Bowie helped write and produce 'The Idiot' and 'Lust for Life' during 1977. These became Pop's two most acclaimed albums as a solo artist.
Saturday, 13 February 2010
New York Dolls: Lonely Planet Boy (album track)
American Glam part 3
The New York Dolls formed in 1971, and over the next three years they became the premiere American glam rock band. Musically they are based in the "dirty rock of the Rolling Stones, girl-group pop, the Stooges and Bowie glam".
The band's proto-punk sound signposted much of what was to come in the punk rock era; their visual style influenced the look of many new wave and 80s era glam metal groups, and they began the local New York scene that later spawned the Ramones, Blondie, Television and Talking Heads.
Initially, the group was composed of singer David Johansen, guitarists Johnny Thunders and Rick Rivets (who was replaced by Sylvain Sylvain after a few months), bass guitarist Arthur "Killer" Kane and drummer Billy Murcia. The original line-up's first performance was on Christmas Eve 1971 at a homeless shelter, the Endicott Hotel.
Late in 1972, the New York Dolls embarked on their first tour of England. During the tour, drummer Murcia died after mixing drugs and alcohol. He was replaced by Jerry Nolan. After Nolan joined the band, the Dolls finally secured a record contract with Mercury Records.
Todd Rundgren whose sophisticated pop seemed at odds with the band's crash-and-burn rock & roll produced the band's eponymous debut, which appeared in the summer of 1973. The record received overwhelmingly positive reviews, but it didn't stir the interest of the general public; the album peaked at # 116 on the U.S. charts.
The band's follow-up, Too Much Too Soon, was produced by the legendary girl group producer George "Shadow" Morton. The album was another commercial failure, only reaching # 167 upon its early summer 1974 release.
The band are another American glam act championed by Morrissey. A Jobriath compilation put together by the ex Smiths vocalist was called ‘Lonely Planet Boy’ after the New York Dolls song.
In 2004 the band reformed with three of their original members, two of whom, David Johansen and Sylvain Sylvain, continue on today and have released two records of new material. The original bassist, Arthur Kane died shortly after their first reunion concert.
The New York Dolls formed in 1971, and over the next three years they became the premiere American glam rock band. Musically they are based in the "dirty rock of the Rolling Stones, girl-group pop, the Stooges and Bowie glam".The band's proto-punk sound signposted much of what was to come in the punk rock era; their visual style influenced the look of many new wave and 80s era glam metal groups, and they began the local New York scene that later spawned the Ramones, Blondie, Television and Talking Heads.
Initially, the group was composed of singer David Johansen, guitarists Johnny Thunders and Rick Rivets (who was replaced by Sylvain Sylvain after a few months), bass guitarist Arthur "Killer" Kane and drummer Billy Murcia. The original line-up's first performance was on Christmas Eve 1971 at a homeless shelter, the Endicott Hotel.
Late in 1972, the New York Dolls embarked on their first tour of England. During the tour, drummer Murcia died after mixing drugs and alcohol. He was replaced by Jerry Nolan. After Nolan joined the band, the Dolls finally secured a record contract with Mercury Records.
Todd Rundgren whose sophisticated pop seemed at odds with the band's crash-and-burn rock & roll produced the band's eponymous debut, which appeared in the summer of 1973. The record received overwhelmingly positive reviews, but it didn't stir the interest of the general public; the album peaked at # 116 on the U.S. charts.
The band's follow-up, Too Much Too Soon, was produced by the legendary girl group producer George "Shadow" Morton. The album was another commercial failure, only reaching # 167 upon its early summer 1974 release.
The band are another American glam act championed by Morrissey. A Jobriath compilation put together by the ex Smiths vocalist was called ‘Lonely Planet Boy’ after the New York Dolls song.
In 2004 the band reformed with three of their original members, two of whom, David Johansen and Sylvain Sylvain, continue on today and have released two records of new material. The original bassist, Arthur Kane died shortly after their first reunion concert.
Sunday, 7 February 2010
Jobriath: Heartbeat (album track), Movie Queen (album track)
American Glam part 2
Jobriath was the stage name of Bruce Wayne Campbell an American glam rock singer from 1973 to 1974. He is credited as being the first mass-marketed pop star, and the first to be openly gay. Even today with his music championed by people such as Morrissey, he is still a largely forgotten figure on the musical landscape.
Jobriath's first, self-titled album was well-publicized at the time, but sold poorly. With its Broadway-style vocal flamboyance and thinly veiled lyrical references to homosexual love, male prostitution and sadomasochism, the songs were wrapped in huge arrangements with overwrought orchestral interludes and a bevy of female backup singers.
Oddities like "Morning Star Ship" shared vinyl with emotive piano ballads like "Inside" and bizarre, songs like "What a Pretty."
The first album was quickly followed by the second “Creatures of the Street”. Although his two LPs sound amazing even today, he was inevitably viewed as a Bowie copyist by the music press, who cruelly dismissed the artist. The public, who had been initially interested in the hype surrounding Jobriath soon unleashed a backlash of ridicule and indifference.
And so his LPs, treasured by many collectors as forgotten gems of the original glam era, went out of print for thirty years, with Elektra seemingly uninterested in reissuing them on CD.
In later years Jobriath sought to distance himself from his previous solo career, taking a new name, Cole Berlin, and adopting a new style - cabaret. He played out the rest of his life in local cabarets, clubs and parties. By the time the contract was up, Jobriath was dying of AIDS, which eventually took his life on August 3rd 1983. He was 37 years old, and his passing went largely unnoticed and unsung.
The following is taken from an article by Rob Cochrane that appeared in the November 1998 issue of Mojo Magazine.
“Glam rock was a movie in search of a soundtrack. Today, Velvet Goldmine is that movie, but 25 years ago the publicity machine roared into action to kick-start the strange yet true story of Jobriath.
In late '73 you couldn't open a music magazine without seeing rock impresario Jerry Brandt barking up the qualities of what he claimed would be the year's hottest new star. With Bowie busting out all over Britain and even stirring a sensation Stateside, the flamboyantly theatrical and shockingly un-closeted Jobriath would surely clean up in the biggest rock market in the world.
Eddie Kramer, producer of Jobriath's eponymous debut solo album, was famed for his work with Jimi Hendrix and Led Zeppelin. He remembers Jobriath as "a romantic soul, really. He wanted orchestrations like old film music, though he knew nothing about scoring. So he bought a book on orchestration and within a week he'd come up with scores of a haunting quality. These were recorded in Olympic Studios in London with a nine-foot grand piano and a 55-piece orchestra.
On the album's release in October '73, a media blitz ensued. Full-page ads were placed in Vogue, Penthouse, Rolling Stone and the New York Times, all reproducing the sleeve image of Jobriath as a discreetly nude statue creeping on smashed legs. The image dominated Times Square on a 41ft by 47ft billboard over the festive period and was also plastered across 250 New York buses.
A mere six months after the release of the debut came Creatures Of The Street, a rapid follow-up by any standards. "Some of the music is very haunting. If Jobriath had come out, excuse the pun, let's say during The Village People's success in the late '70s, he could have very well become a major star. "Timing is everything."
Jobriath was the stage name of Bruce Wayne Campbell an American glam rock singer from 1973 to 1974. He is credited as being the first mass-marketed pop star, and the first to be openly gay. Even today with his music championed by people such as Morrissey, he is still a largely forgotten figure on the musical landscape.Jobriath's first, self-titled album was well-publicized at the time, but sold poorly. With its Broadway-style vocal flamboyance and thinly veiled lyrical references to homosexual love, male prostitution and sadomasochism, the songs were wrapped in huge arrangements with overwrought orchestral interludes and a bevy of female backup singers.
Oddities like "Morning Star Ship" shared vinyl with emotive piano ballads like "Inside" and bizarre, songs like "What a Pretty."
The first album was quickly followed by the second “Creatures of the Street”. Although his two LPs sound amazing even today, he was inevitably viewed as a Bowie copyist by the music press, who cruelly dismissed the artist. The public, who had been initially interested in the hype surrounding Jobriath soon unleashed a backlash of ridicule and indifference.
And so his LPs, treasured by many collectors as forgotten gems of the original glam era, went out of print for thirty years, with Elektra seemingly uninterested in reissuing them on CD.
In later years Jobriath sought to distance himself from his previous solo career, taking a new name, Cole Berlin, and adopting a new style - cabaret. He played out the rest of his life in local cabarets, clubs and parties. By the time the contract was up, Jobriath was dying of AIDS, which eventually took his life on August 3rd 1983. He was 37 years old, and his passing went largely unnoticed and unsung.
The following is taken from an article by Rob Cochrane that appeared in the November 1998 issue of Mojo Magazine.
“Glam rock was a movie in search of a soundtrack. Today, Velvet Goldmine is that movie, but 25 years ago the publicity machine roared into action to kick-start the strange yet true story of Jobriath.
In late '73 you couldn't open a music magazine without seeing rock impresario Jerry Brandt barking up the qualities of what he claimed would be the year's hottest new star. With Bowie busting out all over Britain and even stirring a sensation Stateside, the flamboyantly theatrical and shockingly un-closeted Jobriath would surely clean up in the biggest rock market in the world.
Eddie Kramer, producer of Jobriath's eponymous debut solo album, was famed for his work with Jimi Hendrix and Led Zeppelin. He remembers Jobriath as "a romantic soul, really. He wanted orchestrations like old film music, though he knew nothing about scoring. So he bought a book on orchestration and within a week he'd come up with scores of a haunting quality. These were recorded in Olympic Studios in London with a nine-foot grand piano and a 55-piece orchestra.
On the album's release in October '73, a media blitz ensued. Full-page ads were placed in Vogue, Penthouse, Rolling Stone and the New York Times, all reproducing the sleeve image of Jobriath as a discreetly nude statue creeping on smashed legs. The image dominated Times Square on a 41ft by 47ft billboard over the festive period and was also plastered across 250 New York buses.
A mere six months after the release of the debut came Creatures Of The Street, a rapid follow-up by any standards. "Some of the music is very haunting. If Jobriath had come out, excuse the pun, let's say during The Village People's success in the late '70s, he could have very well become a major star. "Timing is everything."Monday, 1 February 2010
Alice Cooper: Teenage Lament 74 (a-side)
American Glam part 1
In America, unlike the UK, glam rock (or glitter rock as it was known) was much less successful as a commercial genre. Bands that became popular on the US glam scene were a lot heavier and raw and less ‘bubblegum’ than their UK counterparts. Eventually Popular American glam rock acts such as Alice Cooper, The New York Dolls and Kiss rivalled the success of similar British artists such as David Bowie, by using a different stylistic and sound in their music.
Although glam rock is primarily a UK-centred genre and initially had a nebulous impact in the US (artists such as T Rex and Roxy Music had only a fraction of the success they had in the UK), glam rock rapidly influenced popular culture to the point where acts as disparate as The Osmonds and the Rolling Stones wore some glitter and makeup. Even though their music didn’t have much to do with glam rocks general themes.
......................................................................................................................
Alice Cooper’s (real name Vincent Damon Furnier) career spans more than four decades. With a stage show that features guillotines, electric chairs, fake blood, boa constrictors and baby dolls, Cooper has drawn equally from horror movies, vaudeville, and garage rock to pioneer a grandly theatrical and violent brand of heavy metal that was designed to shock, and fitted in perfectly with the emerging glam rock scene.
Alice Cooper was originally a band consisting of Furnier on vocals and harmonica, lead guitarist Glen Buxton, Michael Bruce on rhythm guitar, Dennis Dunaway on bass guitar, and drummer Neal Smith.
The original Alice Cooper band broke into the international music mainstream with the 1971 hit "I'm Eighteen" from the album ‘Love it to Death’, which was followed by the even bigger single "School's Out" in 1972. The band reached their commercial peak with the 1973 album 'Billion Dollar Babies'.
"Teenage Lament" was a UK # 12 in 1974. The song features backing vocals by US divas Liza Minelli and Ronnie Spector. The song can be found on the 1973 album ‘Muscle of Love’.
Image taken from "Marvel Premiere" # 50 by Marvel Comics Group.
In America, unlike the UK, glam rock (or glitter rock as it was known) was much less successful as a commercial genre. Bands that became popular on the US glam scene were a lot heavier and raw and less ‘bubblegum’ than their UK counterparts. Eventually Popular American glam rock acts such as Alice Cooper, The New York Dolls and Kiss rivalled the success of similar British artists such as David Bowie, by using a different stylistic and sound in their music.
Although glam rock is primarily a UK-centred genre and initially had a nebulous impact in the US (artists such as T Rex and Roxy Music had only a fraction of the success they had in the UK), glam rock rapidly influenced popular culture to the point where acts as disparate as The Osmonds and the Rolling Stones wore some glitter and makeup. Even though their music didn’t have much to do with glam rocks general themes.
......................................................................................................................
Alice Cooper’s (real name Vincent Damon Furnier) career spans more than four decades. With a stage show that features guillotines, electric chairs, fake blood, boa constrictors and baby dolls, Cooper has drawn equally from horror movies, vaudeville, and garage rock to pioneer a grandly theatrical and violent brand of heavy metal that was designed to shock, and fitted in perfectly with the emerging glam rock scene.Alice Cooper was originally a band consisting of Furnier on vocals and harmonica, lead guitarist Glen Buxton, Michael Bruce on rhythm guitar, Dennis Dunaway on bass guitar, and drummer Neal Smith.
The original Alice Cooper band broke into the international music mainstream with the 1971 hit "I'm Eighteen" from the album ‘Love it to Death’, which was followed by the even bigger single "School's Out" in 1972. The band reached their commercial peak with the 1973 album 'Billion Dollar Babies'."Teenage Lament" was a UK # 12 in 1974. The song features backing vocals by US divas Liza Minelli and Ronnie Spector. The song can be found on the 1973 album ‘Muscle of Love’.
Image taken from "Marvel Premiere" # 50 by Marvel Comics Group.
Tuesday, 26 January 2010
The Successors Of Glam
Glam rock as a youth movement and a musical sub-genre was essentially over by the end of 1975. It had, if I’m being honest, been in slow decline since early in 1974. The best of the glam anthems had been and gone and established glam artists had either moved on to other pastures or were simply treading water.There were a few ‘Johnny come lately’ artists hanging on for grim death or trying to keep the whole thing going, but essentially glam was dead, its ability to outrage and shock had long since passed in the eyes of the public and mainstream media.
But can any musical genre ever truly be finished? In today’s world of unlimited access to music, (often highlighted in blogs such as this or accessed through sites like ‘Spotify’ and ‘You Tube’) every form of music is at your fingertips.
Even after its immediate mark on mainstream music had ended, the glamorous, aesthetic styles, unusual clothes and hard pop-rock sounds were a major influence upon the punk rock movement that followed.
Bowie, Bolan, and the New York Dolls among others directly influenced early punk bands such as The Ramones, Blondie, The Sex Pistols, The Damned (with whom Marc Bolan toured during 1977) and Siouxsie & the Banshees.
Glam would be an even bigger influence on post-punk bands such as Joy Division, The Cure, Adam and the Ants, on later ‘New Romantic’ artists such as Culture Club and Japan, and on late 70’s, early 80’s synthpop.
Artists like Gary Numan, Ultravox and Soft Cell were strongly influenced by glam in both image and sound, with some even starting out in glam bands.
The Gothic rock movement that also came from post-punk took cues from glam, and in particular Roxy Music and David Bowie. Artists such as these were a great influence on bands like Bauhaus who covered Bowie’s Ziggy Stardust, and later Telegram Sam by T Rex.
In fact it has always been acknowledged that Roxy Music and especially David Bowie played a large part in shaping the new wave sounds that followed glam. Both used the genre and their retrospective influence to gain large commercial success in the early 1980s.
The Alternative and indie rock scene in the 90’s would also be influenced by glam, particularly in the UK. In the 1990s, Britpop referenced glam rock, with bands like Oasis using Slade and Mott the Hoople as primary influences.
Others include, Suede, Manic Street Preachers, Heavy Stereo, and even Morrissey whose album ‘Your Arsenal’ also had glam rock leanings, with production by Mick Ronson.
At the 2004 Brit awards David Bowie appeared with Placebo to sing a cover of T Rex’s 20th Century Boy, and in a direct line from glam via the Sex Pistols were one hit wonders Sigue Sigue Sputnik who recreated the glam sound in the 80’s with ‘Love Missile F1-11’, later to be covered by David Bowie himself, so the glam sound came full circle.
In America the glam rock influence can be seen in the emergence of ‘Glam Metal’. Hanoi Rocks (formed in 1979) are widely regarded as one of the first glam punk/metal bands.
In the beginning the American glam metal movement would take huge influence from glam rock bands like the New York Dolls. Quiet Riot had their first huge commercial success by covering Slade's 'Cum on Feel the Noize' in 1983.
However as time went on there was less of a pure glam rock sound in glam metal and it began to be more influenced by a number of different styles of 1980s pop music. Nonetheless, the Los Angeles music scene spawned many glam metal bands, including Poison and Twisted Sister.
In the UK (where glam was always more popular) bands such as The Quireboys and Girlschool emerged forging a glam metal sound to rival the American version.
In the intervening years, glam has enjoyed sporadic and modest revivals through bands as diverse as, The Darkness, Placebo, Gay Dad, Scissor Sisters, Goldfrapp and Marilyn Manson. Even into the present day with Lady Ga Ga and The Stereophonics, whose new single ‘Innocent’ has a definite glam rock rhythm and feel.
Thursday, 21 January 2010
What's in a name?
A little name changing didn't hurt in the glam rock world.
David Robert Jones - David Bowie Marc Feld - Marc Bolan
Bernard William Jewry - Alvin Stardust
Paul Gadd - Gary Glitter
Barry Ian Green - Barry Blue
Frederick Bulsara - Freddie Mercury
Stephen Malcolm Ronald Nice - Steve Harley
and best of all
Luther James Grosvenor - Ariel Bender (guitarist with Mott the Hoople)
Tyrannosaurus Rex - T Rex
The Sweetshop - The Sweet
Ambrose Slade - Slade
A couple of classic album tracks, a lost 45 and a Bowie out-take to check out.
'Baby Boomerang' taken from the album 'Slider' 1972
'How Can It Be' taken from 'Old New Borrowed and Blue' album 1974
'Turn It Down' was a single released in 1974 reaching #41 in the UK charts
'Sweet Head' is an out-take from the 'Ziggy Stardust' album in 1972
David Robert Jones - David Bowie Marc Feld - Marc Bolan
Bernard William Jewry - Alvin Stardust
Paul Gadd - Gary Glitter
Barry Ian Green - Barry Blue
Frederick Bulsara - Freddie Mercury
Stephen Malcolm Ronald Nice - Steve Harley
and best of all
Luther James Grosvenor - Ariel Bender (guitarist with Mott the Hoople)
Tyrannosaurus Rex - T Rex
The Sweetshop - The Sweet
Ambrose Slade - Slade
A couple of classic album tracks, a lost 45 and a Bowie out-take to check out.
'Baby Boomerang' taken from the album 'Slider' 1972
'How Can It Be' taken from 'Old New Borrowed and Blue' album 1974
'Turn It Down' was a single released in 1974 reaching #41 in the UK charts
'Sweet Head' is an out-take from the 'Ziggy Stardust' album in 1972
Wednesday, 13 January 2010
The Polecats: John I'm Only Dancing & Jeepster (cover versions)
The Polecats were a rockabilly style band formed in the late seventies, originally calling themselves the Cult Heroes.A record deal lead to the release in early 1981 of the double A-side, “John I'm Only Dancing/Big Green Car" on Phonogram's Mercury label. This got to #35 in the UK charts.Their third single release was another glam cover this time the old T Rex track "Jeepster". This got to #53 in the UK charts.These cover songs are a bit different from the straight versions you normally hear. They have been given a rockabilly make over, which I think suits the styles of the songs perfectly.
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