Iron Cross - Everybody Rock On/ All Of The Time

glam rock - Hola Music Lovers, Music іѕ а form оf art thаt involves organized аnd audible sounds аnd silence. It іѕ nоrmаllу expressed іn terms оf pitch (which includes melody аnd harmony), rhythm (which includes tempo аnd meter), аnd thе quality оf sound (which includes timbre, articulation, dynamics, аnd texture). Music mау аlѕо involve complex generative forms іn time thrоugh thе construction оf patterns аnd combinations оf natural stimuli, principally sound. Music mау bе uѕеd fоr artistic оr aesthetic, communicative, entertainment, оr ceremonial purposes. Thе definition оf whаt constitutes music varies ассоrdіng tо culture аnd social context.This Blog tell About glam rock, Music is formulated or organized sound. Although it cannot contain emotions, it is sometimes designed to manipulate and transform the emotion of the listener/listeners. Music created for movies is a good example of its use to manipulate emotions. .

Label: Spark

Year of Release: 1974

We've encountered Iron Cross once already on this blog, in the form of their gruff, masculine cover of "A Little Bit O' Soul". This, then, is their "other" flop single, and when this proved equally unsuccessful they disappeared never to pester the record racks again.

A shame, actually, because from the limited evidence we have they actually sound like one of the more interesting Glam Rock bands of the era. Producing self-penned material that sounded convincing and sharp, the A-side here "Everybody Rock On" is perhaps the most straight ahead piece of tinsel, consisting of the usual foot-stomping chants. Nonetheless, it's well constructed and could have been a hit under the right circumstances.

It's the flip - which is commercially available, unfortunately, meaning I can't upload it in full here - which fascinates me most, though. "All Of The Time" is a piece of angst-ridden seventies rock with a yearning quality which is almost haunting. This isn't heavy-handed stuff, and shows a group capable of writing intricate songs which went far beyond the usual thudding glam cliches. Taking traces of early ELO as well as hard rock and glam, if this was left to rot on a flip side, you have to wonder what else they had up their sleeves.

The band apparently hailed from Staffordshire and consisted of Dave Hill (not that Dave Hill, obviously), Alan Saunders, John Isaacs, Alan Wallbanks, Graham Collier and Mark Lovatt. More than that, I do not know - get in touch if you have any further details.

Label: Spark

Year of Release: 1974

We've encountered Iron Cross once already on this blog, in the form of their gruff, masculine cover of "A Little Bit O' Soul". This, then, is their "other" flop single, and when this proved equally unsuccessful they disappeared never to pester the record racks again.

A shame, actually, because from the limited evidence we have they actually sound like one of the more interesting Glam Rock bands of the era. Producing self-penned material that sounded convincing and sharp, the A-side here "Everybody Rock On" is perhaps the most straight ahead piece of tinsel, consisting of the usual foot-stomping chants. Nonetheless, it's well constructed and could have been a hit under the right circumstances.

It's the flip - which is commercially available, unfortunately, meaning I can't upload it in full here - which fascinates me most, though. "All Of The Time" is a piece of angst-ridden seventies rock with a yearning quality which is almost haunting. This isn't heavy-handed stuff, and shows a group capable of writing intricate songs which went far beyond the usual thudding glam cliches. Taking traces of early ELO as well as hard rock and glam, if this was left to rot on a flip side, you have to wonder what else they had up their sleeves.

The band apparently hailed from Staffordshire and consisted of Dave Hill (not that Dave Hill, obviously), Alan Saunders, John Isaacs, Alan Wallbanks, Graham Collier and Mark Lovatt. More than that, I do not know - get in touch if you have any further details.

Buzz - The Digger On Mars/ Jubilee Rock

glam rock - Hola Music Lovers, Music іѕ а form оf art thаt involves organized аnd audible sounds аnd silence. It іѕ nоrmаllу expressed іn terms оf pitch (which includes melody аnd harmony), rhythm (which includes tempo аnd meter), аnd thе quality оf sound (which includes timbre, articulation, dynamics, аnd texture). Music mау аlѕо involve complex generative forms іn time thrоugh thе construction оf patterns аnd combinations оf natural stimuli, principally sound. Music mау bе uѕеd fоr artistic оr aesthetic, communicative, entertainment, оr ceremonial purposes. Thе definition оf whаt constitutes music varies ассоrdіng tо culture аnd social context.This Blog tell About glam rock, Music is formulated or organized sound. Although it cannot contain emotions, it is sometimes designed to manipulate and transform the emotion of the listener/listeners. Music created for movies is a good example of its use to manipulate emotions. .

Label: Crystal

Year of Release: 1977

Another record with something unusual and interesting on the flip, and something utterly insubstantial on the A-side. The 1977 Silver Jubilee only really produced one single which anyone still talks about, and that's The Sex Pistols "God Save The Queen". There were others which took a much more positive tone, such as Neil Innes' seldom referenced (by him or anyone else) "Silver Jubilee", or a multitude of associated singles BBC Records and Tapes slipped out. None made any real impact with the public, and it might be tempting to think that's because we're a bunch of Republicans at heart, but I rather suspect it had more to do with the quality of the material on offer.

Take this A-side, for example, a forgettable piece of chugging pop-rock with some boy scouts and girl guides singing on it. It was surely intended as a joyous party record, but nobody involved sounds enthused enough to really carry it. The vocals alone sound like the work of somebody who was keen to get the whole business over and done with as quickly as possible.

The B-side gives us some clues as to why, and makes it apparent that this clearly wasn't a band whose ambitions lay with Royal event novelty tie-in singles. It sounds out-of-time for 1977 but also notable. Clearly taking its cues from both the David Bowie and Pink Floyd back catalogue, "The Digger On Mars" combines whizzing analogue synths, chugging Glam Rock guitars, and a surprisingly ambitious arrangement. Just when you think the song has settled into a knuckle-dragging, punchy glam rut, there's a superb middle-eight which sounds almost prog in its leanings, a "Dark Side of The Moon" inspired piece of spacey introspection. Then the drums burst in again, the song returns, and this time buzzes full-throttle into something much more minimal and repetitive and almost - but not quite - motorik. A three minute song of clear thirds, then, and the last thing on Earth you'd expect to find buried on the back side of a Royal Family tribute record.

As for who Buzz were, they had two singles out on Crystal in 1977, this and "What A Feeling", neither of which made any impact. To complicate matters further, there have been at least seven bands called Buzz or The Buzz since the sixties, and while I'm absolutely positive that this lot have nothing to do with the Joe Meek associated group, it's possible there may be links to the others. I can't begin to unknot the chaos by myself, however, so if anyone has any ideas, please drop me a comment.

Label: Crystal

Year of Release: 1977

Another record with something unusual and interesting on the flip, and something utterly insubstantial on the A-side. The 1977 Silver Jubilee only really produced one single which anyone still talks about, and that's The Sex Pistols "God Save The Queen". There were others which took a much more positive tone, such as Neil Innes' seldom referenced (by him or anyone else) "Silver Jubilee", or a multitude of associated singles BBC Records and Tapes slipped out. None made any real impact with the public, and it might be tempting to think that's because we're a bunch of Republicans at heart, but I rather suspect it had more to do with the quality of the material on offer.

Take this A-side, for example, a forgettable piece of chugging pop-rock with some boy scouts and girl guides singing on it. It was surely intended as a joyous party record, but nobody involved sounds enthused enough to really carry it. The vocals alone sound like the work of somebody who was keen to get the whole business over and done with as quickly as possible.

The B-side gives us some clues as to why, and makes it apparent that this clearly wasn't a band whose ambitions lay with Royal event novelty tie-in singles. It sounds out-of-time for 1977 but also notable. Clearly taking its cues from both the David Bowie and Pink Floyd back catalogue, "The Digger On Mars" combines whizzing analogue synths, chugging Glam Rock guitars, and a surprisingly ambitious arrangement. Just when you think the song has settled into a knuckle-dragging, punchy glam rut, there's a superb middle-eight which sounds almost prog in its leanings, a "Dark Side of The Moon" inspired piece of spacey introspection. Then the drums burst in again, the song returns, and this time buzzes full-throttle into something much more minimal and repetitive and almost - but not quite - motorik. A three minute song of clear thirds, then, and the last thing on Earth you'd expect to find buried on the back side of a Royal Family tribute record.

As for who Buzz were, they had two singles out on Crystal in 1977, this and "What A Feeling", neither of which made any impact. To complicate matters further, there have been at least seven bands called Buzz or The Buzz since the sixties, and while I'm absolutely positive that this lot have nothing to do with the Joe Meek associated group, it's possible there may be links to the others. I can't begin to unknot the chaos by myself, however, so if anyone has any ideas, please drop me a comment.

Smiffy - See You Later (Little Baby Love)/ How Can You Be A Millionaire

glam rock - Hola Music Lovers, Music іѕ а form оf art thаt involves organized аnd audible sounds аnd silence. It іѕ nоrmаllу expressed іn terms оf pitch (which includes melody аnd harmony), rhythm (which includes tempo аnd meter), аnd thе quality оf sound (which includes timbre, articulation, dynamics, аnd texture). Music mау аlѕо involve complex generative forms іn time thrоugh thе construction оf patterns аnd combinations оf natural stimuli, principally sound. Music mау bе uѕеd fоr artistic оr aesthetic, communicative, entertainment, оr ceremonial purposes. Thе definition оf whаt constitutes music varies ассоrdіng tо culture аnd social context.This Blog tell About glam rock, Music is formulated or organized sound. Although it cannot contain emotions, it is sometimes designed to manipulate and transform the emotion of the listener/listeners. Music created for movies is a good example of its use to manipulate emotions. .

Label: Antic

Year of Release: 1974

As much as I believe that the mid to late sixties era is absolutely blessed with obscure pop music riches, and it's far easier to strike gold when digging around in that period than most others, the early glam rock era is also surprisingly fertile. While it may be an acquired taste, it's not difficult to find flop pieces of tinsel covered rock and roll which are insanely uplifting.

And here's one. Way back at the start of January, you may remember we explored the work of a synth-pop artist called Alpha Beta, fronted by the mysterious Pete Smith. A reader kindly pointed me in the direction of this single which was also his handiwork, and I was slightly surprised to find out that far from having a short career based in Numan styled observations on space aliens, he'd also had a brief glam rock past.

"See You Later (Little Baby Love)" is a honking Wizzard-esque piece of work filled to the brim with Spector styled arrangement, and a totally joyous bounce. It's not been compiled on to any of the existing compilations focused on Glam Rock obscurities, and that's slightly surprising because it's far superior to many of the tracks that have found a place - indeed, it seems unlucky not to have been at least a minor hit at the time. Had Wizzard themselves put this out, it would almost certainly have registered.

None of this really leaves me much the wiser as to who Pete Smith actually was and what else (if anything) he did, but he managed to straddle two entirely different styles across two 45s issued in the seventies, so I get the impression he could have turned his hand to a great deal of other work as a songwriter if he had wanted.

Label: Antic

Year of Release: 1974

As much as I believe that the mid to late sixties era is absolutely blessed with obscure pop music riches, and it's far easier to strike gold when digging around in that period than most others, the early glam rock era is also surprisingly fertile. While it may be an acquired taste, it's not difficult to find flop pieces of tinsel covered rock and roll which are insanely uplifting.

And here's one. Way back at the start of January, you may remember we explored the work of a synth-pop artist called Alpha Beta, fronted by the mysterious Pete Smith. A reader kindly pointed me in the direction of this single which was also his handiwork, and I was slightly surprised to find out that far from having a short career based in Numan styled observations on space aliens, he'd also had a brief glam rock past.

"See You Later (Little Baby Love)" is a honking Wizzard-esque piece of work filled to the brim with Spector styled arrangement, and a totally joyous bounce. It's not been compiled on to any of the existing compilations focused on Glam Rock obscurities, and that's slightly surprising because it's far superior to many of the tracks that have found a place - indeed, it seems unlucky not to have been at least a minor hit at the time. Had Wizzard themselves put this out, it would almost certainly have registered.

None of this really leaves me much the wiser as to who Pete Smith actually was and what else (if anything) he did, but he managed to straddle two entirely different styles across two 45s issued in the seventies, so I get the impression he could have turned his hand to a great deal of other work as a songwriter if he had wanted.

Trevor Burton - Fight For My Country/ Janie Slow Down

glam rock - Hola Music Lovers, Music іѕ а form оf art thаt involves organized аnd audible sounds аnd silence. It іѕ nоrmаllу expressed іn terms оf pitch (which includes melody аnd harmony), rhythm (which includes tempo аnd meter), аnd thе quality оf sound (which includes timbre, articulation, dynamics, аnd texture). Music mау аlѕо involve complex generative forms іn time thrоugh thе construction оf patterns аnd combinations оf natural stimuli, principally sound. Music mау bе uѕеd fоr artistic оr aesthetic, communicative, entertainment, оr ceremonial purposes. Thе definition оf whаt constitutes music varies ассоrdіng tо culture аnd social context.This Blog tell About glam rock, Music is formulated or organized sound. Although it cannot contain emotions, it is sometimes designed to manipulate and transform the emotion of the listener/listeners. Music created for movies is a good example of its use to manipulate emotions. .

Label: Wizard

Year of Release: 1971/72

After Trevor Burton left The Move, he had huge plans for his future. Not for him the usual course of putting an advert in Melody Maker for musicians and waiting for the results - on the contrary, he wanted to tap into the much in-vogue (at the time) practice of forming a supergroup of respected and talented musicians.

The ridiculously named Balls were born, consisting of Brummie wunderkinds like Steve Gibbons of The Uglys, Richard Tandy (later of ELO), and Denny Laine from The Moody Blues. In truth, the formation of the group was muddy, complicated and fraught with difficulties and intense arguments. A revolving doors policy appeared to be in operation, and describing the personnel coherently here would be a task and a half. If you're really interested, the excellent Brum Beat website has patched together a very patient and detailed overview of their history here.

During the chaos of rehearsals and recording, it would seem that only one usable piece of work emerged, and that was this single, which consisted of Burton, Steve Gibbons and Denny Laine. Originally released under the group's name Balls in January 1971, it failed to sell, and was subsequently reissued as an edited version in 1972 under Trevor Burton's name. That also flopped, and the track was then reissued again on Birds Nest Records in 1975 under the name B L and G (with the track retitled as "Live In The Mountains"), where it also did precisely nothing. After that point, clearly everyone involved simply gave up.

I suspect the single's sales chances were harmed by the fact that it only appeared an entire year after Balls ceased to exist, but it's not hard to hear why many people felt the track had enormous potential. Strident, cocksure, anthemic and unusual, the buzzing analogue synths spin throughout the track like helicopter rotary blades while Burton and the boys build a naive but relatable anti-military message over the top. "Why don't we all go and live in the mountains?" Burton roars, and far from being the usual pile of old hoary supergroup mush, this actually sounds like psychedelic Brum beat crossed with early electronica and glam - a squidgy, messy soup of ideas taking place on the cusp of two decades which shouldn't really work, but does so brilliantly. I'd be willing to bet that at least one member of the Super Furry Animals likes this one...

After Balls petered out, Steve Gibbons went off to form The Steve Gibbons Band, and Denny Laine enjoyed colossal success with Paul McCartney in Wings, co-authoring "Mull of Kintyre" in the process. To my ears, both sides of this record are preferable to that bagpipe festooned anthem, but your feelings may differ.

Label: Wizard

Year of Release: 1971/72

After Trevor Burton left The Move, he had huge plans for his future. Not for him the usual course of putting an advert in Melody Maker for musicians and waiting for the results - on the contrary, he wanted to tap into the much in-vogue (at the time) practice of forming a supergroup of respected and talented musicians.

The ridiculously named Balls were born, consisting of Brummie wunderkinds like Steve Gibbons of The Uglys, Richard Tandy (later of ELO), and Denny Laine from The Moody Blues. In truth, the formation of the group was muddy, complicated and fraught with difficulties and intense arguments. A revolving doors policy appeared to be in operation, and describing the personnel coherently here would be a task and a half. If you're really interested, the excellent Brum Beat website has patched together a very patient and detailed overview of their history here.

During the chaos of rehearsals and recording, it would seem that only one usable piece of work emerged, and that was this single, which consisted of Burton, Steve Gibbons and Denny Laine. Originally released under the group's name Balls in January 1971, it failed to sell, and was subsequently reissued as an edited version in 1972 under Trevor Burton's name. That also flopped, and the track was then reissued again on Birds Nest Records in 1975 under the name B L and G (with the track retitled as "Live In The Mountains"), where it also did precisely nothing. After that point, clearly everyone involved simply gave up.

I suspect the single's sales chances were harmed by the fact that it only appeared an entire year after Balls ceased to exist, but it's not hard to hear why many people felt the track had enormous potential. Strident, cocksure, anthemic and unusual, the buzzing analogue synths spin throughout the track like helicopter rotary blades while Burton and the boys build a naive but relatable anti-military message over the top. "Why don't we all go and live in the mountains?" Burton roars, and far from being the usual pile of old hoary supergroup mush, this actually sounds like psychedelic Brum beat crossed with early electronica and glam - a squidgy, messy soup of ideas taking place on the cusp of two decades which shouldn't really work, but does so brilliantly. I'd be willing to bet that at least one member of the Super Furry Animals likes this one...

After Balls petered out, Steve Gibbons went off to form The Steve Gibbons Band, and Denny Laine enjoyed colossal success with Paul McCartney in Wings, co-authoring "Mull of Kintyre" in the process. To my ears, both sides of this record are preferable to that bagpipe festooned anthem, but your feelings may differ.

Giggles - Reaching Out/ Street Dancer

glam rock - Hola Music Lovers, Music іѕ а form оf art thаt involves organized аnd audible sounds аnd silence. It іѕ nоrmаllу expressed іn terms оf pitch (which includes melody аnd harmony), rhythm (which includes tempo аnd meter), аnd thе quality оf sound (which includes timbre, articulation, dynamics, аnd texture). Music mау аlѕо involve complex generative forms іn time thrоugh thе construction оf patterns аnd combinations оf natural stimuli, principally sound. Music mау bе uѕеd fоr artistic оr aesthetic, communicative, entertainment, оr ceremonial purposes. Thе definition оf whаt constitutes music varies ассоrdіng tо culture аnd social context.This Blog tell About glam rock, Music is formulated or organized sound. Although it cannot contain emotions, it is sometimes designed to manipulate and transform the emotion of the listener/listeners. Music created for movies is a good example of its use to manipulate emotions. .

Label: EMI

Year of Release: 1977

When writing about music, there's a temptation to apply strict chapter headings to certain eras and movements, but things are seldom that simple. As late as 1979 Racey were tearing up the charts with the none-more-RAK offering "Some Girls", producing a sound that owed a bigger debt to Mud than The Clash. While that offering is a particularly peculiar anomaly, the late seventies were riddled with rock offerings that could have easily been issued three or four years ahead of their debut.

"Reaching Out" by Giggles in one such effort. Chugging along and pouting defiantly, putting on a Jagger sneer for anyone who dares approach, it's tinseltown rock and roll with a bit of attitude. Occupying the uncomfortable middle ground between The Faces and Hello, it has a definite swagger lacking in many of the singles of the time. 

My wife has voiced her uneasiness with the lyrical content, stating that the track belongs among the grand canon of what she calls "Sex Pest Rock and Roll". While the lyrics definitely do seem to state "Reaching out and touching you - ooh, touch touch! Ooooh, touch touch!" I'm confident that the band are talking about touring and bringing their sounds to fresh, new audiences, and all the excitement and enriching experiences such endeavours can bring. However, if you want to imagine a rocker running around interfering with ladies in a nightclub while this song plays, that's entirely your own choice. Since Benny Hill died, we've all had to use our imaginations, after all.

Giggles produced a number of singles in the seventies before morphing into the rather more New Wave act The Giants, who signed to RCA. Given their relatively long career, they should be easy to trace online - but they really aren't. It's impossible to find line-up details anywhere, with even the trusty old tome "Tapestry of Delights" turning up nothing. If you know more, please do pass on the information.

Label: EMI

Year of Release: 1977

When writing about music, there's a temptation to apply strict chapter headings to certain eras and movements, but things are seldom that simple. As late as 1979 Racey were tearing up the charts with the none-more-RAK offering "Some Girls", producing a sound that owed a bigger debt to Mud than The Clash. While that offering is a particularly peculiar anomaly, the late seventies were riddled with rock offerings that could have easily been issued three or four years ahead of their debut.

"Reaching Out" by Giggles in one such effort. Chugging along and pouting defiantly, putting on a Jagger sneer for anyone who dares approach, it's tinseltown rock and roll with a bit of attitude. Occupying the uncomfortable middle ground between The Faces and Hello, it has a definite swagger lacking in many of the singles of the time. 

My wife has voiced her uneasiness with the lyrical content, stating that the track belongs among the grand canon of what she calls "Sex Pest Rock and Roll". While the lyrics definitely do seem to state "Reaching out and touching you - ooh, touch touch! Ooooh, touch touch!" I'm confident that the band are talking about touring and bringing their sounds to fresh, new audiences, and all the excitement and enriching experiences such endeavours can bring. However, if you want to imagine a rocker running around interfering with ladies in a nightclub while this song plays, that's entirely your own choice. Since Benny Hill died, we've all had to use our imaginations, after all.

Giggles produced a number of singles in the seventies before morphing into the rather more New Wave act The Giants, who signed to RCA. Given their relatively long career, they should be easy to trace online - but they really aren't. It's impossible to find line-up details anywhere, with even the trusty old tome "Tapestry of Delights" turning up nothing. If you know more, please do pass on the information.

Edwina Biglet And The Miglets - Thing/ Vanessa's Luminous Dogcoat

glam rock - Hola Music Lovers, Music іѕ а form оf art thаt involves organized аnd audible sounds аnd silence. It іѕ nоrmаllу expressed іn terms оf pitch (which includes melody аnd harmony), rhythm (which includes tempo аnd meter), аnd thе quality оf sound (which includes timbre, articulation, dynamics, аnd texture). Music mау аlѕо involve complex generative forms іn time thrоugh thе construction оf patterns аnd combinations оf natural stimuli, principally sound. Music mау bе uѕеd fоr artistic оr aesthetic, communicative, entertainment, оr ceremonial purposes. Thе definition оf whаt constitutes music varies ассоrdіng tо culture аnd social context.This Blog tell About glam rock, Music is formulated or organized sound. Although it cannot contain emotions, it is sometimes designed to manipulate and transform the emotion of the listener/listeners. Music created for movies is a good example of its use to manipulate emotions. .

Label: RCA

Year of Release: 1972

Nothing causes me to gravitate to a flop record more than a completely ridiculous group name, and if the song titles are off-the-wall as well, then my money is as good as yours (provided, of course, we're not talking excessive amounts. I'm not that stupid). Edwina Biglet and The Miglets is arguably as stupid a name as seventies glam rock ever spawned, and for that at least we have to salute the individuals involved.

More than that, though, "Thing" is is a chirpy Moog-infested track about... er... well, it's not really clear exactly what it's about, actually, and I doubt if you asked anyone involved they'd be able to tell you either. The intro promises an utter proto-techno noisefest, but it quickly calms down and establishes itself as something altogether more vacant and silly. The lyrics seem to involve various characters with different English accents bragging about a "thing" they own. It could be sexual innuendo at work, but the descriptions given defy logic and reason, as the "thing" is described with electronic squelches, buzzes and bleeps. It lights up, it's fun to play with, people think it should be banned, and your guess is as good as mine. 

More appealing to Moogheads out there is probably the B-side, "Vanessa's Luminous Dogcoat", an almost groovy jam which, had it been released by some obscure French artist would probably be commanding insane money on eBay now. As it stands, we're left with a record that neither charted - despite receiving modest amounts of airplay - nor really holds its head high in the collector's market, which given the double-sided oddness on offer seems a bit unjust. It won't be the best single you hear all year, but there's something irrepressibly charming about it. 

The complete details of who Edwina Biglet and The Miglets are isn't easy to find, but the lead singer Edwina dropped by on 45cat a number of years ago to reveal that her real name is Vanessa, and that the B-side was named after an actual jacket she knitted her greyhound. So at least we know something. If anyone has any additional information, please let me know. In a parallel universe somewhere, I'm sure this record was probably an extraordinarily irritating and huge hit. 

Label: RCA

Year of Release: 1972

Nothing causes me to gravitate to a flop record more than a completely ridiculous group name, and if the song titles are off-the-wall as well, then my money is as good as yours (provided, of course, we're not talking excessive amounts. I'm not that stupid). Edwina Biglet and The Miglets is arguably as stupid a name as seventies glam rock ever spawned, and for that at least we have to salute the individuals involved.

More than that, though, "Thing" is is a chirpy Moog-infested track about... er... well, it's not really clear exactly what it's about, actually, and I doubt if you asked anyone involved they'd be able to tell you either. The intro promises an utter proto-techno noisefest, but it quickly calms down and establishes itself as something altogether more vacant and silly. The lyrics seem to involve various characters with different English accents bragging about a "thing" they own. It could be sexual innuendo at work, but the descriptions given defy logic and reason, as the "thing" is described with electronic squelches, buzzes and bleeps. It lights up, it's fun to play with, people think it should be banned, and your guess is as good as mine. 

More appealing to Moogheads out there is probably the B-side, "Vanessa's Luminous Dogcoat", an almost groovy jam which, had it been released by some obscure French artist would probably be commanding insane money on eBay now. As it stands, we're left with a record that neither charted - despite receiving modest amounts of airplay - nor really holds its head high in the collector's market, which given the double-sided oddness on offer seems a bit unjust. It won't be the best single you hear all year, but there's something irrepressibly charming about it. 

The complete details of who Edwina Biglet and The Miglets are isn't easy to find, but the lead singer Edwina dropped by on 45cat a number of years ago to reveal that her real name is Vanessa, and that the B-side was named after an actual jacket she knitted her greyhound. So at least we know something. If anyone has any additional information, please let me know. In a parallel universe somewhere, I'm sure this record was probably an extraordinarily irritating and huge hit. 

Screamer - City or Bust/ I've Got Hairs

glam rock - Hola Music Lovers, Music іѕ а form оf art thаt involves organized аnd audible sounds аnd silence. It іѕ nоrmаllу expressed іn terms оf pitch (which includes melody аnd harmony), rhythm (which includes tempo аnd meter), аnd thе quality оf sound (which includes timbre, articulation, dynamics, аnd texture). Music mау аlѕо involve complex generative forms іn time thrоugh thе construction оf patterns аnd combinations оf natural stimuli, principally sound. Music mау bе uѕеd fоr artistic оr aesthetic, communicative, entertainment, оr ceremonial purposes. Thе definition оf whаt constitutes music varies ассоrdіng tо culture аnd social context.This Blog tell About glam rock, Music is formulated or organized sound. Although it cannot contain emotions, it is sometimes designed to manipulate and transform the emotion of the listener/listeners. Music created for movies is a good example of its use to manipulate emotions. .

Label: Arista

Year of Release: 1975

Glam rock probably produced more one-single wonders than even psychedelia managed, leaving  behind a plethora of mysterious names performing a beery rock and roll racket. Many were studio based bands produced by wannabe Mickie Most and Mike Leander figures desperate for some teenage readies - some, on the other hand, were genuine releases by hopelessly obscure circuit bands.

And here's one. All I've managed to ascertain from Internet rumour is that the band were based in East London and throughout a large chunk of the seventies had a residency at the Three Rabbits pub in Manor Park (don't go looking for it, it closed over a decade ago and is now a Boots Pharmacy - though given that the pub was apparently haunted, it would be interesting to know if anything spectral had also made itself apparent amongst the stacks of Ibuprofen). 

Screamer were essentially a crowd-pleasing covers band who occasionally wrote material of their own on the side, and this was one such attempt. It managed to achieve some light daytime radio airplay before disappearing from view, perhaps indicative of changing commercial tastes at that time. It's a shame, because "City or Bust" is very sprightly and entertaining, filled with bar-room boogie piano, deep bass backing vocals, and a sense of ceaseless frivolity. It's tricksy and incredibly catchy, and gives a strong impression of how some of the dafter, quirkier elements of glam eventually got absorbed into New Wave. 

The peculiarly titled "I've Got Hairs" on the flip is rather more adult rock, and does indeed seem to focus on the rather Alan Partridge-esque topic of adult experience and wisdom being represented via the presence of pubic hairs. This insight is interspersed with jazzy and adventurous guitar work. The mid-seventies were an odd place sometimes. 

The only member of Screamer I've managed to identify is bass player Steve Stroud, who apparently eventually married Cheryl Baker of Bucks Fizz - but I wouldn't swear even to that. They are also apparently not the same band as the "Screemer" whose "Interplanetary Twist" single I posted on here some time ago (and the two bands certainly don't sound alike).  

As ever, if any of you can fill in the blanks, you'll have a friend in me. Sorry for the pops and clicks on the record.

Label: Arista

Year of Release: 1975

Glam rock probably produced more one-single wonders than even psychedelia managed, leaving  behind a plethora of mysterious names performing a beery rock and roll racket. Many were studio based bands produced by wannabe Mickie Most and Mike Leander figures desperate for some teenage readies - some, on the other hand, were genuine releases by hopelessly obscure circuit bands.

And here's one. All I've managed to ascertain from Internet rumour is that the band were based in East London and throughout a large chunk of the seventies had a residency at the Three Rabbits pub in Manor Park (don't go looking for it, it closed over a decade ago and is now a Boots Pharmacy - though given that the pub was apparently haunted, it would be interesting to know if anything spectral had also made itself apparent amongst the stacks of Ibuprofen). 

Screamer were essentially a crowd-pleasing covers band who occasionally wrote material of their own on the side, and this was one such attempt. It managed to achieve some light daytime radio airplay before disappearing from view, perhaps indicative of changing commercial tastes at that time. It's a shame, because "City or Bust" is very sprightly and entertaining, filled with bar-room boogie piano, deep bass backing vocals, and a sense of ceaseless frivolity. It's tricksy and incredibly catchy, and gives a strong impression of how some of the dafter, quirkier elements of glam eventually got absorbed into New Wave. 

The peculiarly titled "I've Got Hairs" on the flip is rather more adult rock, and does indeed seem to focus on the rather Alan Partridge-esque topic of adult experience and wisdom being represented via the presence of pubic hairs. This insight is interspersed with jazzy and adventurous guitar work. The mid-seventies were an odd place sometimes. 

The only member of Screamer I've managed to identify is bass player Steve Stroud, who apparently eventually married Cheryl Baker of Bucks Fizz - but I wouldn't swear even to that. They are also apparently not the same band as the "Screemer" whose "Interplanetary Twist" single I posted on here some time ago (and the two bands certainly don't sound alike).  

As ever, if any of you can fill in the blanks, you'll have a friend in me. Sorry for the pops and clicks on the record.

Gene Latter - Sweet Little Rock n Roller/ Auntie Annie's Place

glam rock - Hola Music Lovers, Music іѕ а form оf art thаt involves organized аnd audible sounds аnd silence. It іѕ nоrmаllу expressed іn terms оf pitch (which includes melody аnd harmony), rhythm (which includes tempo аnd meter), аnd thе quality оf sound (which includes timbre, articulation, dynamics, аnd texture). Music mау аlѕо involve complex generative forms іn time thrоugh thе construction оf patterns аnd combinations оf natural stimuli, principally sound. Music mау bе uѕеd fоr artistic оr aesthetic, communicative, entertainment, оr ceremonial purposes. Thе definition оf whаt constitutes music varies ассоrdіng tо culture аnd social context.This Blog tell About glam rock, Music is formulated or organized sound. Although it cannot contain emotions, it is sometimes designed to manipulate and transform the emotion of the listener/listeners. Music created for movies is a good example of its use to manipulate emotions. .

Label: Vogue (France)
Year of Release: 1974

Ah... you wait all of your blogging life for an obscure Gene Latter single to turn up in a second hand record store, then two come along at once (this one was found in the rather brilliant "Record Museum" in Brussels, by the way). Although to be frank, the difference between this record and our last Latter upload "Sign on The Dotted Line" could barely be more extreme.

Latter appeared to have a scattershot approach towards musical genres throughout his entire career, doing sitar-tinged Rolling Stones cover versions, pounding Northern Soul tracks, and supremely ridiculous disco records (check out "John Travolta You Are A Superstar" for an example of just how far the boat of ludicrousness can be pushed out to sea). Perhaps it therefore shouldn't be a surprise to me that this single consists of two genres for the price of one, with a piece of pounding glam rock on the A-side and some second-hand popsike on the flip. "Sweet Little Rock N Roller" is a likable but inessential seventies thudder which seems to be drawing its inspiration from both Abba and Suzi Quatro without quite managing to scale the heights that either artist managed. Still, those influences were clearly enough to push this record towards some moderate sales on the continent, even if it was greeted with utter disinterest in the UK. A full version can be purchased over on iTunes if you're interested.

It's what's occurring on the flip-side which is a source of both surprise and bemusement to any seasoned "psych collectible" head, however, "Auntie Annie's Place" being a cover version of a track whose original version nestled on the "Circus Days" series of compilation albums. The original was released by a studio group called Kidrock and paired with the whimsical "Ice Cream Man" and released as a single specifically targeted towards the Infant and Junior School market in 1973. Whilst managing to become a minor hit in Spain thanks to the use of it on an ice cream commercial (as you'd expect) it did absolutely zip-all business in the UK, despite being a perfectly good piece of toytown pop in its own right. Fully grown (and probably predominantly middle-aged) "Circus Days" listeners were in fact listening to this for years without being informed that it was actually supposed to be appreciated by pre-pubescents.

The B-side "Auntie Annie's Place" was a stripped-back and sweet but unambitious piece of acoustic musing on the subject of going to visit one's favourite relative and her friendly dogs. Probably recorded in as few takes as time would allow, the understated nature of the work actually made it seem perhaps too subtle for kiddies, but as Marty Feldman once observed, artists can do whatever they want on the B-side... So in this case, why Latter has taken the song and given it a truly epic orchestral arrangement defies logic. The lyrics of child-like wonder remain, but are instead delivered with Latter giving them a full-throttle, high powered performance, in front of strings that would have shocked Suede circa "Dog Man Star". Such high production values are seldom found tucked away on flip-sides, which makes me wonder if at some point this was being mooted as the headline song.

It has to be said, the melodrama also suits the track, converting it from a piece of folksy acoustic musing into a Bowie-esque piece of musical theatre. "Auntie Annie's Place" - whatever that may be - now sounds like it lives in some glaring technicolour valley, whereas the original seemed to me as if might have been suggesting a run-down and barely converted straw barn. It turns the track into an incredibly unlikely but pretty damn marvellous observation on childhood nostalgia.

Label: Vogue (France)
Year of Release: 1974

Ah... you wait all of your blogging life for an obscure Gene Latter single to turn up in a second hand record store, then two come along at once (this one was found in the rather brilliant "Record Museum" in Brussels, by the way). Although to be frank, the difference between this record and our last Latter upload "Sign on The Dotted Line" could barely be more extreme.

Latter appeared to have a scattershot approach towards musical genres throughout his entire career, doing sitar-tinged Rolling Stones cover versions, pounding Northern Soul tracks, and supremely ridiculous disco records (check out "John Travolta You Are A Superstar" for an example of just how far the boat of ludicrousness can be pushed out to sea). Perhaps it therefore shouldn't be a surprise to me that this single consists of two genres for the price of one, with a piece of pounding glam rock on the A-side and some second-hand popsike on the flip. "Sweet Little Rock N Roller" is a likable but inessential seventies thudder which seems to be drawing its inspiration from both Abba and Suzi Quatro without quite managing to scale the heights that either artist managed. Still, those influences were clearly enough to push this record towards some moderate sales on the continent, even if it was greeted with utter disinterest in the UK. A full version can be purchased over on iTunes if you're interested.

It's what's occurring on the flip-side which is a source of both surprise and bemusement to any seasoned "psych collectible" head, however, "Auntie Annie's Place" being a cover version of a track whose original version nestled on the "Circus Days" series of compilation albums. The original was released by a studio group called Kidrock and paired with the whimsical "Ice Cream Man" and released as a single specifically targeted towards the Infant and Junior School market in 1973. Whilst managing to become a minor hit in Spain thanks to the use of it on an ice cream commercial (as you'd expect) it did absolutely zip-all business in the UK, despite being a perfectly good piece of toytown pop in its own right. Fully grown (and probably predominantly middle-aged) "Circus Days" listeners were in fact listening to this for years without being informed that it was actually supposed to be appreciated by pre-pubescents.

The B-side "Auntie Annie's Place" was a stripped-back and sweet but unambitious piece of acoustic musing on the subject of going to visit one's favourite relative and her friendly dogs. Probably recorded in as few takes as time would allow, the understated nature of the work actually made it seem perhaps too subtle for kiddies, but as Marty Feldman once observed, artists can do whatever they want on the B-side... So in this case, why Latter has taken the song and given it a truly epic orchestral arrangement defies logic. The lyrics of child-like wonder remain, but are instead delivered with Latter giving them a full-throttle, high powered performance, in front of strings that would have shocked Suede circa "Dog Man Star". Such high production values are seldom found tucked away on flip-sides, which makes me wonder if at some point this was being mooted as the headline song.

It has to be said, the melodrama also suits the track, converting it from a piece of folksy acoustic musing into a Bowie-esque piece of musical theatre. "Auntie Annie's Place" - whatever that may be - now sounds like it lives in some glaring technicolour valley, whereas the original seemed to me as if might have been suggesting a run-down and barely converted straw barn. It turns the track into an incredibly unlikely but pretty damn marvellous observation on childhood nostalgia.

Giorgio - Underdog/ Watch Your Step

glam rock - Hola Music Lovers, Music іѕ а form оf art thаt involves organized аnd audible sounds аnd silence. It іѕ nоrmаllу expressed іn terms оf pitch (which includes melody аnd harmony), rhythm (which includes tempo аnd meter), аnd thе quality оf sound (which includes timbre, articulation, dynamics, аnd texture). Music mау аlѕо involve complex generative forms іn time thrоugh thе construction оf patterns аnd combinations оf natural stimuli, principally sound. Music mау bе uѕеd fоr artistic оr aesthetic, communicative, entertainment, оr ceremonial purposes. Thе definition оf whаt constitutes music varies ассоrdіng tо culture аnd social context.This Blog tell About glam rock, Music is formulated or organized sound. Although it cannot contain emotions, it is sometimes designed to manipulate and transform the emotion of the listener/listeners. Music created for movies is a good example of its use to manipulate emotions. .

Label: Polydor (European Issue)
Year of Release: 1971

This one already featured on the Purepop blog a couple of years ago, but I couldn't not upload my copy on to here for two very particular reasons:
1. The utterly glorious European picture sleeve you see above, featuring Giorgio Moroder and his slightly sinister Basset Hound. Truly, if such a dog-walking sight appeared over the brow of a hill in your locality, you would surely feel at least a bit flustered? If not, you're a less easily alarmed person than I.
2. The B-side "Watch Your Step" is worth a listen in itself.

Also, any chance to wax lyrical about this record is welcome. Way before Moroder developed a career as one of Europe's foremost synthesiser experts, he crafted a number of records which were variable in quality and often not particularly adventurous. In the take-it-or-leave-it corner rests some bubblegum experiments which added little to the world of music, the likes of "Looky Looky" being a head-on collision between The Beach Boys and The Archies without as much of the charm as either. By 1971, however, he'd produced this marvel, a twisted gem of a record which has never really received the full attention it deserves.

"Underdog" is an epic piece of glam pop which tells the tale of an unfortunate rural type who finds himself trying to make a name for himself in the city. Throughout his stay, he finds himself being bullied by his demanding boss, and being rejected by prostitutes who laugh at his very presence in their brothel (even whores have standards, you know). This largely preposterous, exaggerated tale of failure is propelled along brilliantly by the kind of minimalist violin riff later utilised to good effect on many Italian pop records, and a simplistic building structure which, after a period of respite in the middle, begins scaling new heights for the latter half of the record, twisting the whole thing around into a more optimistic and aggressive finale. It's a record that does a great deal with very little, and in many respects reminds me simultaneously of much of The Sparks output (who Moroder would later go on to produce) and also Pulp's "Common People", though in the latter case the differences are great enough to attribute to coincidence. Still, it has wit, ludicrousness, an ambitious amount of power behind it, and it's such a domineering piece of work that from the very first note, it's impossible to ignore. When you combine that with reverb-heavy drums and a fantastic pop guitar solo, you're really in Glam Rock heaven.

Moroder's achievements with electronic music were so astounding that it's unsurprising something like "Underdog" should be ignored by critics exploring his back catalogue, making it perhaps his most appropriately-named single. It doesn't quite fit the Moroder story, as it fails to break any new ground, unlike Donna Summer's "I Feel Love". Despite that, it's still a track I simply can't stop playing, a track which causes me to beam from ear to ear every time it comes on my iPod, and if it's unfamiliar to you, I predict a similar response.

Over on the flipside, "Watch Your Step" doesn't quite have the same effect, but any primitive, punkish glam rock track criticising the police force has to be worth a few spins at least. "Just you cut your hair, and take my advice/ when he passes by try to be so nice" advises our hero in rather hesitant English. It's a double-sided disc of victimhood, this one, but what fun there is to be had in hearing about these misfortunes. Put simply, this is probably one of the best records I've ever uploaded on to this blog.

(Sadly, I've had to take this down as its actually become reavailable - and remastered - on iTunes. So go there to grab it, you won't regret your decision in the slightest).  

Label: Polydor (European Issue)
Year of Release: 1971

This one already featured on the Purepop blog a couple of years ago, but I couldn't not upload my copy on to here for two very particular reasons:
1. The utterly glorious European picture sleeve you see above, featuring Giorgio Moroder and his slightly sinister Basset Hound. Truly, if such a dog-walking sight appeared over the brow of a hill in your locality, you would surely feel at least a bit flustered? If not, you're a less easily alarmed person than I.
2. The B-side "Watch Your Step" is worth a listen in itself.

Also, any chance to wax lyrical about this record is welcome. Way before Moroder developed a career as one of Europe's foremost synthesiser experts, he crafted a number of records which were variable in quality and often not particularly adventurous. In the take-it-or-leave-it corner rests some bubblegum experiments which added little to the world of music, the likes of "Looky Looky" being a head-on collision between The Beach Boys and The Archies without as much of the charm as either. By 1971, however, he'd produced this marvel, a twisted gem of a record which has never really received the full attention it deserves.

"Underdog" is an epic piece of glam pop which tells the tale of an unfortunate rural type who finds himself trying to make a name for himself in the city. Throughout his stay, he finds himself being bullied by his demanding boss, and being rejected by prostitutes who laugh at his very presence in their brothel (even whores have standards, you know). This largely preposterous, exaggerated tale of failure is propelled along brilliantly by the kind of minimalist violin riff later utilised to good effect on many Italian pop records, and a simplistic building structure which, after a period of respite in the middle, begins scaling new heights for the latter half of the record, twisting the whole thing around into a more optimistic and aggressive finale. It's a record that does a great deal with very little, and in many respects reminds me simultaneously of much of The Sparks output (who Moroder would later go on to produce) and also Pulp's "Common People", though in the latter case the differences are great enough to attribute to coincidence. Still, it has wit, ludicrousness, an ambitious amount of power behind it, and it's such a domineering piece of work that from the very first note, it's impossible to ignore. When you combine that with reverb-heavy drums and a fantastic pop guitar solo, you're really in Glam Rock heaven.

Moroder's achievements with electronic music were so astounding that it's unsurprising something like "Underdog" should be ignored by critics exploring his back catalogue, making it perhaps his most appropriately-named single. It doesn't quite fit the Moroder story, as it fails to break any new ground, unlike Donna Summer's "I Feel Love". Despite that, it's still a track I simply can't stop playing, a track which causes me to beam from ear to ear every time it comes on my iPod, and if it's unfamiliar to you, I predict a similar response.

Over on the flipside, "Watch Your Step" doesn't quite have the same effect, but any primitive, punkish glam rock track criticising the police force has to be worth a few spins at least. "Just you cut your hair, and take my advice/ when he passes by try to be so nice" advises our hero in rather hesitant English. It's a double-sided disc of victimhood, this one, but what fun there is to be had in hearing about these misfortunes. Put simply, this is probably one of the best records I've ever uploaded on to this blog.

(Sadly, I've had to take this down as its actually become reavailable - and remastered - on iTunes. So go there to grab it, you won't regret your decision in the slightest).