GLAM ROCK - made in UK!

2игорь комсомоленко:

>Ровно 40 лет назад стали первыми в британском
>чарте синглов:
>
> 1975, Steve Harley and Cockney Rebel had their
>only UK No.1 single with 'Make Me Smile (Come
>Up And See Me).

В этом феврале Make Me Smile тоже попала в топ20 рок-чарта Великобритании.

Hello - Let It Rock - New York Groove

Noddy Holder(Slade)
Pop Today cover star,1974

SLADE Get Down With It (1972 - Live at Granada Studios) *** HD

Сегодня родился:
1948: Steve Priest,bass-guitar,back vocal, Sweet

The 20 best glam-rock songs of all time
http://www.theguardian.com/music/2013/feb/01/20-best-glam-rock-songs-all-time

1 T-Rex, Hot Love February 1971

Marc Bolan's third huge hit in a row, No 1 for four weeks. His Top of the Pops performance showed him going truly imperial, with flying-V guitar, pink trousers, silver jacket and, prompted by his friend and colleague Chelita Secunda, glitter on his cheekbones.

2 David Bowie, Queen Bitch December 1971

"There should be some real unabashed prostitution in this business," Bowie told Cream magazine in late 1971. He did his best to make it happen with this Velvet Underground tribute, saturated in homosexuality and Manhattan sleaze. Mick Ronson's guitar slices through everything.

3 Alice Cooper, School's Out April 1972

From Detroit by way of LA, these hard rockers had been wearing makeup and frocks since 1969, so were well-suited to the glam imperative. School's Out was a definitive entrant in the teenage rampage stakes and scored hard with the kids, hitting No 1 for three weeks in the summer holidays.

4 Roxy Music, Virginia Plain August 1972

With Bryan Ferry's ultra-stylised performance and Eno's other wordly synth shrieks, this one definitely arrived from Planet Mars in the late summer of 1972. Chock-full of pop art and pop culture references, Virginia Plain was nothing less than a manifesto for a new age: "So me and you, just we two, got to search for something new."

5 Mott The Hoople, All the Young Dudes July 1972

Bowie may have provided the raw material, but Mott gave the definitive performance of this generation-defining song, with its sneering reference to the Beatles and the Stones. The musicians curled and uncurled around Ian Hunter's snarling voice: "Oh is there concrete all around/ Or is it in my head."

6 Lou Reed, Vicious November 1972

Another Bowie production, and another career revival. Vicious begins Reed's second solo album in exactly the way that you would wish, with the poet laureate of Manhattan spitting out the Warhol inspired lyrics – "Vicious: you hit me with a flower" – while Mick Ronson, cutting through everything, embodies the song's threat.

7 David Bowie, The Jean Genie November 1972


Bowie reached back to his 60s R&B days with this one, based on the old I'm a Man riff but updated with Ronson's buzzing guitar, burlesque rhythms, gay double entendres – his by-now patented patch. The band did a fantastic Top of the Pops performance, recently rediscovered.

8 Slade, Cum On Feel the Noize February 1973


This was their fourth No 1 in 18 months, which gave guitarist Dave Hill an excuse – as if he needed it – to wear ever more outrageous outfits on Top of the Pops. An anthemic chorus and a lyric that's a direct invitation "to get wild, wild, wild".

9 Roxy Music, Editions of You March 1973


"For Your Pleasure" – with model and singer Amanda Lear on the cover – is one of the period's few coherent albums, and this 120mph rocker is one of its hidden pleasures: a camp-saturated male bonding song, featuring ooohs, sirens, and the immortal line, "boys will be boys will be boyoyoys".

10 Bonnie St Claire, Clap Your Hands and Stamp Your Feet May 1973

With its stomping tunes and rock'n'roll roots, glam was huge on the continent – blending, as it would, into Europop – and this is a great entrant from Holland, featuring Beach-Boys' style backing vocals, terrace handclaps, and of course the ever-present Chuck Berry riffs.

(2)
The 20 best glam-rock songs of all time
11 T-Rex, 20th Century Boy May 1973


It could have been any of the four top-two hits that T-Rex had in 1972 – particularly Metal Guru – but this was the toughest of them all: a furious rocker with a heroic riff that showed, plain for all to see, just how well Bolan understood the nature of pop fame – 20th century toy, I wanna be your boy.

12 Iggy and the Stooges, Search and Destroy June 1973

Iggy wore silver, the Stooges were produced by David Bowie, the record sounded glam – all treble tones and slicing guitar – but Search and Destroy, like its parent album Raw Power, went much further and deeper than hardly anyone wished in 1973. Three years later, it would find its time.

13 New York Dolls, Trash July 1973

Simultaneously ludicrous and tough, sloppy and hard, vicious and tender – just listen to those soaring, girl-group harmonies – Trash was, along with Jet Boy, the Dolls' big pop move. It being 1973, of course, there could only have been one question: "Uh, how do you call your lover boy?" In the US, they didn't answer.

14 The Sweet, The Ballroom Blitz September 1973

The Sweet were on a roll after Blockbuster and this may well be the archetypal glam song: teenage hysteria – check; camp interjections and beyond over the top TV costumes – check; a stomping beat, tough guitar riffs and a fey vocal – check. Unstoppable and still thrilling: the contrived becomes real.

15 Mud, Dyna-Mite October 1973

Written by the Sweet svengalis, Nicky Chinn and Mike Chapman, "Dyna-Mite" stays firmly within the ballroom – glam's central location – during this relentless stomper. Mud yocked it up on Top of the Pops with ludicrous flares and a spot of aceing – the biker's dance, shoulder to shoulder – and the future Sex Pistols were listening.

16 Suzi Quatro, Devil Gate Drive January 1974

Quatro had gold-plated garage credentials – her first band, the Pleasure Seekers, had recorded What a Way to Die in 1966 – and this, her fourth hit (No 1 for two weeks), mixes rock'n'roll with a hint of the Burundi beat, while continuing the explosive club/ballroom theme of the time with a hint of autobiography.

17 Sparks, This Town Ain't Big Enough for Both of Us April 1974

Sparks were the late great glam flash: tricky, artificial, super-hooky and high-concept, with a hard rocking band and definitive high gloss sleeves. They took a song with the lyric "you hear the thunder of stampeding rhinos, elephants and tacky tigers" all the way to No 2, and made it seem natural.

18 David Bowie, Rebel Rebel US version May 1974

Bowie's goodbye to the youth movement he had helped to form – "You've got your mother in a whirl, because she's not sure whether you're a boy or a girl" – and his last top 10 hit for 18 months. This US mix has dreamy backwards harmonies, extra percussion and phased guitar.

19 Iron, Virgin Rebels Rule June 1974

Almost all the great glam records were hits, but this is one of the best that wasn't: an abrasive slice of Sweetarama from a Scottish band, who toughened up the teenage-rampage meme while wearing Clockwork Orange-inspired costumes. The singer had a padlock on his crotch with the legend: "No Entry."

20 Sweet, The Sixteens July 1974

A four-minute mini-opera on the theme of failed youth revolution, and a summer top-10 hit, this shows the renamed group – having lost the definite article – rising to the song's complex structure with a totally convincing performance. The Sixteens is a classic of teen disillusionment, at the point of glam's supersession.

Cтали первыми в чартах синглов Британии:
Второй сингл Suzi Quatro и четвёртая песня,написанная авторами Chinn & Chapman,стала хитом №1

23 февраля 1974,
Suzi Quatro was at No.1 on the UK singles chart with 'Devil Gate Drive', the singers second UK No.1 and fourth No.1 for the songs writers Chinn & Chapman.

Gary Glitter on the cover of Intro (April 1974)

Books About Glam Rock:

Performing Glam Rock: Gender and Theatricality in Popular Music

by Philip Auslander

4.18 of 5 stars 4.18 · rating details · 34 ratings · 2 reviews

When it first appeared in the early 1970s, glam rock not only caused a stir among audiences and performers, it also stood counterculture and psychedelic rock on their heads. Glam rock was outrageous and overtly theatrical, and its unforgettable characters-adorned with flamboyant costumes and heavy makeup and accompanied by elaborately constructed sets-were personified

Vince Cosmos: Glam Rock Detective

by Paul Magrs (Goodreads Author)

4.0 of 5 stars 4.00 · rating details · 3 ratings · 0 reviews

Why have sales of spray-on glitter gone up sevenhundredfold in one year?

Why has a one-time songster on the drab folk scene suddenly reincarnated himself as an ambisexual rock god hero who claims he has come to save the Earth?

Just what are those strange, multi-coloured lights in the sky? Can anyone say for certain?

It’s 1972 and Vince Cosmos is all the rage. He is the enigma


Audio CD

Published February 1st 2013 by Bafflegab

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http://www.goodreads.com/book/show/17615800-vince-cosmos

Glam Rock: Dandies in the Underworld

by Alwyn Turner (Goodreads Author)

4.0 of 5 stars 4.00 · rating details · 6 ratings · 0 reviews

In the early 1970s, glam rock changed the face of popular culture in Britain. Against a backdrop of a nation racked by economical and social crises, the flamboyancy and theatricality of glam provided an excuse for a party and an escapist dream for musicians and fans alike. British acts like David Bowie, Roxy Music, T. Rex, and Mott the Hoople—together with Americans such a
...more


Hardcover, 160 pages

Published October 29th 2013 by V & A Publishing (first published October 7th 2013)

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http://www.goodreads.com/book/show/17290321-glam-rock

Children of the Revolution: The Glam Rock Story 1970-1975

by Dave Thompson

3.56 of 5 stars 3.56 · rating details · 9 ratings · 3 reviews

The definitive A-to-Z guide to a period of pomp, glitz, glamour, and parent-worrying fashion unlike any other

Despite its disposable appearance, glam rock has survived and thrived for four decades, and is now viewed as one the best loved and most productive periods for pop music.From theUK, itsinfluence spread and fused with ideas blossoming in Europe and the U.S.,spawning
Paperback, 456 pages

Published June 1st 2011 by Cherry Red Books (first published November 22nd 2010)

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http://www.goodreads.com/book/show/10224021-children-of-the-revolution

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Slade
Tuesday, 29th April 1975, Kings' Hall, Belle Vue, Manchester.

Dave Hill beside the fountain in his garden

Jim Lea

Slade,1973

Музыканты отмечают очередной успех нового сингла в чартах TOP-40 Британии.

DORIAN - glam rock lp from '77,

search out a section for DORIAN on page 4 of the 70s invasion, and u can read about a song he did called 'DESTINATION NOWHERE', this one is pure 70s glam trash, with a LOU REED influence, at least the guitars sound like it, someone once wrote that of this lp a number called 'MEN's ROOM' is a sleazy affair, the low point of the lp, whatever the case 'destination nowhere' is a real destination.........

Wall - in the Life - rare 7" danish glam 1972

Chinn and Chapman

Mike Chapman
Biography of Mike Chapman by Jason Ankeny
In collaboration with partner Nicky Chinn, Mike Chapman was among the most successful songwriters of the 1970s, later enjoying considerable fame as a producer. Born in Queensland, Australia on April 15, 1947, he was in the group Tangerine Peel when he first teamed with Chinn; under the supervision of RAK Records chief Mickie Most, the duo quickly composed a series of smashes for acts including Sweet ("Ballroom Blitz"), Suzi Quatro ("Stumblin' In"), New World ("Living Next Door to Alice"), and Mud ("Tiger Feet"), in all scoring over 40 U.K. hits during the 1970s. With Sweet'sDestination Boulevard, Chapman and Chinn also turned to production, helming Quatro that same year. As a solo producer, Chapman enjoyed his first hit with Nick Gilder's 1978 LP City Nights, which generated the smash "Hot Child in the City"; however, his real breakthrough was Blondie's classic Parallel Lines, which launched the blockbuster "Heart of Glass," a chart-topper on both sides of the Atlantic. He reunited with Blondie in 1979 for Eat to the Beat, and also teamed with Pat Benatar for her debut In the Heat of the Night, scoring a major hit with "Heartbreaker"; still, neither was as successful as his work on the Knack'sGet the Knack — one of the best-selling debuts in pop history, it yielded the perennial "My Sharona." Chapman and Chinn formed their own label, Dreamland, in 1979; the company folded within two years, but the duo continued writing smash hits like Exile's "Kiss You All Over" and Toni Basil's "Mickey." Chapman's pace slowed considerably in the years to follow, however, with his most notable projects including albums from Debbie Harry, the Divinyls and Lita Ford