GLAM ROCK - made in UK!

Glam Rock Artists Highlights
http://www.allmusic.com/subgenre/glam-rock-ma0000002619/artists

Glam Rock
Often confused with '80s hair metal (at least by American listeners), glam rock was an almost entirely British phenomenon that became wildly popular during the first half of the '70s. Glam rock was fairly simple, crunchy guitar rock put across with outrageous theatricality. Most of the music was unabashedly catchy, with melodies drawn from teenage bubblegum pop and hip-shaking rhythms from early rock & roll. But those innocent-sounding influences were belied by the delivery, which was all campy, glitzy showmanship and sexuality. In fact, one of the main reasons glam never caught on in the U.S. was that glam artists intentionally played around with gender conventions, dressing themselves up in outlandish, androgynous costumes and makeup. In general, glam rock fell into two schools. The most prevalent one was the intentionally disposable trashiness of T. Rex; leader Marc Bolan pioneered glam's fashion sense and crafted music that was all sexy, silly fun -- or, to put it another way, music where the surface was the substance. Artists like Gary Glitter, Sweet, and Slade followed the T. Rex aesthetic, in the process creating a substyle known as glitter (which was even more exclusively British). But for a style which relied so heavily on image, glam had a surprisingly arty side too, epitomized by David Bowie and Roxy Music. This school was more grandly dramatic and ambitious, both sonically and lyrically; glam was an opportunity for these artists to manipulate their personas at will, making their senses of style part of the overall artistic statement, and exploring the darkness lurking under the music's stylish, glitzy surface. Apart from them, the lone American glam-rock band was the New York Dolls, whose raw, Stonesy proto-punk sounded different from their British peers, but whose trashy aesthetic and transvestite wardrobe clearly put them in the same camp. Glam effectively began with T. Rex's 1971 hit Electric Warrior, but 1972 was its real breakthrough year: T. Rex consolidated its popularity with The Slider; David Bowie released his classic Ziggy Stardust and produced Mott the Hoople's star-making All the Young Dudes album; Roxy Music issued their groundbreaking debut; and the New York Dolls embarked on their first tour of England. Glam rock's creative peak was over by 1975, as most of its remaining major artists were either moving away from the style or releasing subpar work. However, glam had a definite influence on the kids who grew up to head the British punk movement, and an even bigger impact on the theatrical gloom of post-punk. And, of course, glam rock was extremely important to '80s pop-metal, though apart from Def Leppard, many of those bands were American and had minimal knowledge of the original sources.

Ian Hunter
With Mott the Hoople, guitarist/vocalist Ian Hunter established himself as one of the toughest and most inventive hard rock songwriters of the early '70s, setting the stage for punk rock with his edgy, intelligent songs. As a solo artist, Hunter never attained the commercial heights of Mott the Hoople, but he cultivated a dedicated cult following.

Hunter was born in Owestry, Shropshire, but was raised in cities throughout England since his father worked in the British Intelligence agency called MI5 and had to move frequently. Eventually, the family returned to Shrewsbury, where the teenaged Hunter joined a band called Silence in the early '60s. Silence released an album, but it received no attention. In the years following Silence, Hunter played in a handful of local bands and worked a variety of jobs.
http://www.allmusic.com/artist/ian-hunter-mn0000087597/biography

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(3)Ian Hunter

David Bowie turns 68 today, and if there was ever a time to celebrate the icon’s birthday, it’s now. Glam rock trended hard on Spring runways (look no further than Saint Laurent’s glittering party girls for the proof), and the best of the season’s pieces are just starting to hit stores. Turn on The Rise and Fall of Ziggy Stardust and shop the best Bowie-worthy pieces in the slideshow. http://www.style.com/trends/fashion/2015/david-bowie-glam-rock-style

This compilation, another in Virgin Records' lengthy line of double-CD "Best Ever" compilations, tackles the world of glam rock. It's expansive length allows The Best Glam Rock Album in the World Ever to show off the impressive versatility of the artists who worked under the glam rock banner: from the pure pop of Sweet and Mud to the edgy and intellectual stylistic excursions of Mott the Hoople and Roxy Music, this compilation shows off an impressive range of artistry that existed in this genre. It also includes some impressive rarities that attract the genre's hardcore fans: "Seven Deadly Finns" is a non-album Brian Eno single that finds that arty iconoclast in an unusually pop-minded mood, and Chris Spedding's "Motor Bikin'" is a delightful glam rock tune built on roaring, motorcycle-style guitar riffs. However, The Best Glam Rock Album in the World Ever suffers from the kind of basic selection problems that hinder many compilations. The first problem is the occasional questionable choice of artist: Golden Earring's "Radar Love" may have the kind of tribal drum break that popped up in many glam rock classics, but it is really a prog-rock trac,k and the Faces' "Stay With Me" rocks as hard as a glam classic, but it is too straightforward a rock & roll song to fit under the genre's banner. Also, the compilers sometimes make the wrong choice for the right artist: Bryan Ferry was a leading light for the artsy side of glam, but the R&B-styled ""Let's Stick Together"" is one of his least glam-oriented tracks, and "Perfect Day" is a great Lou Reed ballad, but "Walk on the Wild Side" had a stronger glam feel and a greater influence on the glam rock scene. Finally, there are a few big oversights: the biggest and most notable is the total absence of tracks by Gary Glitter, who scored one of the definitive glam hits with "Rock and Roll, Part 2." Despite these problems, The Best Glam Rock Album in the World Ever remains an entertaining and solid compilation of glam rock tracks with enough rarities to entice the hardcore enthusiast. It may not succeed as a definitive collection, but it makes a good introduction to the charm and surprising stylistic versatility of glam rock.
http://www.allmusic.com/album/the-best-glam-rock-album-in-the-world-ever-mw0001034773

Glam rock musical tops awards list
http://www.themorningbulletin.com.au/news/glam-rock-musical-tops-awards-list/1494082/

Suzi

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2 игорь комсомоленко :

* Такой снимок Марка Болана, более обзорный и более качественный, помещён здесь :
- https://www.beatles.ru/postman/forum_messages.asp?msg_id=4800&cfrom=1&showtype=0&cpage=31

* Marc Bolan.

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Glam rock - the real thing, not the '80s hair metal genre which mutated from it - was a cultural revolution that, in its own way, was as much a reactionary movement as punk would become a few years later. It shrugged off years of hippie psychedelia and proggish pretension to make rock fun again, returning to the classic three-chord boogie but augmenting it with a camp androgyny, a tribal beat, and a steadfast post-ironic refusal to take anything too seriously. The result was a birthing ground for hair-metal but also punk, art-rock, and power-pop. Here are the legendary artists which made it happen.

1. T. Rex

Marc Bolan, who for all intents and purposes was T. Rex, more or less invented glam rock in 1971, although it was definitely an idea whose time had come. Dialing back the freak-folk of his first band John's Children and the original incarnation called Tyrannosaurus Rex, and adding some electrified Chuck Berry groove to his Tolkien tales, Marc rocked glitter and boas like few other. Appearing on Top of the Pops to sing his hit "Hot Love," Bolan created an instant sensation, in the process inspiring every single artist on this list.

Постер Mott the Hoople

2. David Bowie

Like Bob Marley and reggae, Bowie embodied the genre while simultaneously rising above it, creating his "Ziggy Stardust" persona after seeing his good friend Marc Bolan's career take off with a similar concept. Bowie had also been a hippie folkie of sorts, but Marc's template appealed to both his theatrical side and his love for simple, stripped-down rock and roll, previously embodied by his other friend, Lou Reed. The combination did for Bowie what it couldn't do for Bolan: it made him a star in the US. And while Bowie soon transmogrified into a blue-eyed soulster, a New Wave experiment, and even eventually an EDM artist, it's his glam period people first think of when assessing his legacy

Ian Hunter в свои лучшие Glam-годы