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Teenage Rampage: Listen to the ‘master tape’ of Sweet live at the Rainbow, 1973

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Things could have been so different for Sweet. On the verge of escaping their bubble gum pop/Glam Rock image to showcase their real talents as a hard rock band by supporting the Who at Charlton Athletic’s football ground in 1974, lead singer Brian Connolly was kicked in the throat by three thugs outside a bar in Staines, Sussex. Connolly had stopped to buy a pack of cigarettes. He thought the trio of ne’er-do-wells were about to trash his automobile when they set on him. Some thought it an act of wanton violence. Others, including the band’s bass player Steve Priest believe it was something “much more sinister.”

“It was a set-up job,” Priest says. “He’d annoyed someone. There were three guys attacking him and one of them kicked him in the throat. Brian heard him say, ‘That should do the job.’ The only one who knows the truth is an ex-roadie of ours, and he won’t tell.”

Connolly’s vocal cords were permanently damaged by the attack. He lost his confidence and started drinking heavily and taking drugs. The band pulled out of their gig with the Who. It was the beginning of the end of the Sweet. Connolly’s drinking led him to quit the band in 1979.

Sweet was always a hard rock band, despite the evidence of their poppier hit songs. Listen to some of the B-sides like “New York Connection” or “Rock and Roll Disgrace” on their classic hit singles and you’ll get a good idea where the group’s heart truly lay. Sweet was a long-haired denim and leather band. They should have been seen like Deep Purple, Judas Priest, early Queen (who on more than one occasion sound distinctly like Sweet) or even KISS. But Sweet tied themselves into an almost Faustian deal for pop fame with songwriters Mike Chapman and Nicky Chinn. This meant they were packaged as bubblegum/glam rockers with songs like “Funny Funny,” “Coco,” “Wig Wam Bam,” and “Little Willy.” Not that there’s much wrong with these tracks but they’re more suited to the Archies than say Ritchie Blackmore. Chinn and Chapman got nearer Sweet’s mark with “Ballroom Blitz” and “Blockbuster,” but they’re still not the full-on rock power of the group’s own songs like “Someone Else Will”—the uncensored version with the lyrics: “If we don’t fuck you, then someone else will”—or “Done Me Wrong All Right.”

Many of their fans recognized Sweet’s true potential as a hard rocking band, as did Pete Townshend who invited them to support the Who. But a kick to Connolly’s throat put paid to that. What’s also overlooked is the quality of Sweet’s musicianship: Andy Scott’s god-like guitar playing; Steve Priest’s heavy, heavy bass; and the sheer brilliance of Mick Tucker—whose innovation and style owes more to Gene Krupa than John Bonham—on drums.

At the frenzied height of their fame, Christmas 1973, Sweet played the Rainbow Theater, London. It ranks as one of the best concerts ever put down on tape—even if Tucker’s snare drums were missing from the multi-track recording and later dubbed in. It showcases the band’s ability to play bubble gum pop for the teenybop fans and high-octane rock for the more discerning listener. The choice tracks are the band’s self-penned numbers like “Burning”/“Someone Else Will,” “Rock ‘n’ Roll Disgrace,” “Need a Lot of Loving,” “Done Me Wrong Alright,” and “You’re Not Wrong For Loving Me.”

Part of this concert was released on Sweet’s double album Strung Up in 1975, before getting a full release on Live at the Rainbow 1973 in 1999. Take a listen and hear how great the kings of glam rock were as a balls-to-the-walls live band.

Set List: Intro—“The Stripper,” “Hellraiser,” “Burning”/“Someone Else Will,” “Rock ‘n’ Roll Disgrace,” “Wig Wam Bam,” “Need a Lot of Loving,” “Done Me Wrong Alright,” “You’re Not Wrong For Loving Me,” “The Man with the Golden Arm,” “Little Willy,” “Teenage Rampage,” Rock ‘n’ Roll Medley—“Keep a-Knockin’”/“Shakin’ All Over”/“Lucille”/“Great Balls of Fire”/“Reelin’ and Rockin”/“Peppermint Twist”/“Shout,” “Ballroom Blitz,” and “F.B.I.”/“Blockbuster.”
 

 

Previously on Dangerous Minds:
‘The Ballroom Blitz’: The teenage rampage that inspired Sweet’s greatest hit
‘All That Glitters’: Vintage doc on legendary British glam rockers, The Sweet

Posted by Paul Gallagher
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03.13.2019
09:17 am
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The Scorpions’ stealthy, stellar Sweet covers on scarce ‘75 single
03.08.2019
08:39 am
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Scorpions Sweet collage
 
The German hard rock/heavy metal band, the Scorpions, has existed in one form or another since 1965. A decade in, they were still years away from achieving mainstream success. In 1975, the group covered two tracks by the popular glam act, Sweet, with the Scorpions using an alias when the recordings were released on a 45.

The single, credited to the Hunters, was put out by the German label, Colorit Records, and was distributed in that country by Electrola, a subsidiary of EMI. The covers of “Fox on the Run” and “Action” were sung by Scorpions vocalist, Klaus Meine, in the German language, with the titles changed to “Fuchs Geh’ Voran,” and “Wenn es Richtig Losgeht,” respectively. According to Wikipedia, the German lyrics for “Fuchs Geh’ Voran” concern a literal fox being pursued by fur hunters.
 
The Hunters
 
Though there are no personnel credits listed anywhere on the record, it’s believed the 45 was produced by Dieter Dierks, who first hooked up with the band for the Scorpions third LP, In Trance, which also came out in 1975. Dierks was at the helm for a number of subsequent Scorpions records, including their international breakthrough album, Love at First Sting (1984).

As there’s very little information online concerning the Hunters single, I’m going to go out on a limb here and speculate a bit. Regarding the purpose of the release and why it wasn’t put out as a Scorpions record: the original Sweet recordings of the songs had been big hits in Germany, and the 45 was an attempt to capitalize on that success by issuing cover versions specifically for the German speaking market; the project was a way for the pre-fame Scorps to make a few bucks on the side, and was never intended to be released under their established moniker (the band was signed to RCA, so they had to use an alias, regardless). 
 
The Scorpions 1
 
One thing that’s certain is that the single failed to sell. The 45 is now quite rare, and when it does show up, usually sells in the $250 range. Currently, there are a few copies listed on Discogs.

Keep reading after the jump…

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Posted by Bart Bealmear
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03.08.2019
08:39 am
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‘The Ballroom Blitz’: The teenage rampage that inspired Sweet’s greatest hit

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Well now, I suppose you could call it art out of chaos. That in a sequinned nutshell is the story behind Sweet‘s “The Ballrooom Blitz.” For glam rock’s catchiest trashiest most lovable song was inspired by a riot that saw the band bottled off the stage at the Grand Hall, Palace Theater, Kilmarnock, Scotland, in 1973. Boys spat and hurled abuse while girls screamed their loudest to drown out the music. Hardly the kind of welcome one would expect for a pop group best known for their million selling singles “Little Willy,” “Wig-Wam Bam” and of course their number one smash “Block Buster.”

Why this literal teenage rampage (the title of another Sweet hit) ever occurred and what caused such unwarranted and let’s be frank unnecessary violence against such four lovable glam rockers has been the focus of much speculation over the years.

One suggestion was the band’s androgynous nay effeminate appearance in figure-hugging clothes, eye-shadow, glitter, long hair and lipstick—in particular the gorgeous bass player Steve Priest—was all too much for the sexually binary lads and lassies o’ Killie.

Bass player Priest thinks so and has said as much in his autobiography Are You Ready Steve? But this does raise the question as to why an audience of teenage Sweet-haters would pay their hard-earned pocket money to go and see a bunch of overtly camp rockers they hated?

Money was tight. After all this was 1973 when the country was beset by cash shortages, food shortages, strike action, power cuts and three-day work weeks. People couldn’t afford to waste their readies on some pseudo queer bashing.

Moreover, homosexuality was out and proud, Rocky Horror was on the stage, Bowie was the androgynous Ziggy Stardust, teen magazines were giving boys make-up tips, and the #1 youth program was the BBC’s music show Top of the Pops—on which Sweet appeared to have a weekly residency.

Another possible reason for such fury was the virulent rumor Sweet didn’t play their instruments and were just a “manufactured” band like The Monkees. This story gained credence as the famous song-writing duo of Nicky Chinn and Mike Chapman, who wrote and produced Sweet’s hit singles were well-known to prefer using session musicians to actual members of a given group. It was just easier and faster to leave it to the pros.

The sliver of truth in this well-known rumor was the fact Sweet only sang on their first three Chinn-Chapman singles “Funny, Funny”, “Co-Co” and “Poppa Joe”. It wasn’t until the fourth “Little Willy” that Chinn and Chapman realized Sweet were in fact way better musicians than any hired hand and so allowed the band to do what they did best—play their own instruments.
 
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Give us a wink…
 
Chinn and Chapman may have blessed Sweet with their Midas hit-making skills but it came at a price. This unfortunately meant the band was dismissed by London’s snobbish music press as sugar-coated pop for the saccharine generation. A harsh and unfair assessment. But this may also have added to the audience’s ire.

In an effort to redefine themselves with the public Sweet also tended to avoid playing their best known teenybopper hits when on tour. Instead they liked to perform their own compositions—the lesser known album tracks—and a set of standard rock covers. A band veering from the songbook of hits (no matter how great the material) was asking for trouble. As Freddie Mercury once said after Queen made their comeback at Live Aid, “always give the audience what they want.”

But it was the album tracks that gave Sweet and glam rock itself its distinct sound. The credit for this must go to Andy Scott’s guitar playing (his six-string prowess was often favorably compared to the talents of Jimmy Page and Jeff Beck), Steve Priest’s powerful bass and harmonizing vocals, and Mick Tucker’s inspirational drums (just listen to the way he references Sandy Nelson’s “Let There Be Drums” in “The Ballroom Blitz”). Add in Brian Connolly’s vocals and it is apparent Sweet were a band with talents greater than the sum of their bubble gum hits might indicate.
 
More plus a short documentary on 24-hours in the life of Sweet, after the jump…

READ ON
Posted by Paul Gallagher
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01.23.2017
09:59 am
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‘All That Glitters’: Vintage doc on legendary British glam rockers, The Sweet
05.13.2015
10:21 am
Topics:
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In 1973, Sweet were the subject of a documentary All That Glitters for BBC Schools series Scene. Being intended for “educational purposes,” the program had to pose a relevant topic for debate among its teenage audience—in this case, “Is the music business really that glamorous?” Over a period of two to three days, Scene followed the band members Brian Connolly (vocals), Steve Priest (bass/coals), Andy Scott (guitar) and Mick Tucker (drums) as they rehearsed for a Top of the Pops appearance (which led to an outcry over Priest’s Nazi outfit) and their (now hailed as “legendary”) Christmas show at London’s Rainbow Theater.

It had certainly been a good year for the band—probably their best: three hit singles (“Blockbuster,” “Hellraiser,” “Ballroom Blitz”) adding to their chart-topping back catalog and tipping their record sales to 14 million sold; sell-out gigs the length and breadth of the UK; and plans to record their first proper studio album—for which they would write most of the material and play all of the instruments. Yes, it had been a long hard graft, and it wasn’t always glamorous, but it seemed as if things could and should only get better.

But fame is fickle and pop careers are measured by the durability of three-minute songs. Sweet’s pop hits had been penned by Nicky Chinn and Mike Chapman, who had originally cast the band as sub-Archies bubblegum pop supplying them with such jolly toe-tappers as “Co-Co,” “Little Willy” and “Wig Wam Bam.” However, Sweet were always rockers and had a desire to write and play their own songs. As if signalling their gradual move away from Chinn and Chapman, the band dropped the definite article from their name—changing from The Sweet to Sweet.
 
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Sweet’s audience were still mainly teenyboppers who liked their playground pop and the pretty boy make-up, though there were always some (including music journalist Paul Morley) who preferred the band’s self-penned hard-rocking B-sides. When Sweet started concentrating on their own kind of heavy glam music with the albums Sweet Fanny Adams (1974) and Desolation Boulevard (1975), they lost a chunk of their fan base who were now swooning over the Bay City Rollers while a younger generation were about to replace glam with punk.

Yet the music Sweet produced influenced artists such as Def Leppard, Mötley Crüe, Joan Jett and Poison.

Though half the band is sadly now dead (Connolly died in 1997, Tucker in 2002) the world is divided between Andy Scott’s Sweet, which covers Europe and Australia, and Steve Priest’s Sweet, which takes in the US, Canada and South America.
 

 

Posted by Paul Gallagher
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05.13.2015
10:21 am
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Dueling Sweets: Not so foxy, can hardly run anymore
09.23.2013
12:09 pm
Topics:
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The original Sweet

The Sweet are one of the great ‘70s British glam rock bands that, strangely, have not had a single movie or tell-all biography created in their honor. Just one documentary, Sweet’s Ballroom Blitz, from 1990. With their makeup, outrageous stage clothes, and terribly catchy songs, they influenced later bands like Guns N’ Roses, Def Leppard, Poison, Mötley Crüe, and their own contemporaries like KISS.
 

 
Sweet (they dropped the “The” in late 1973) recorded a slew of hits written by the team of Nicky Chinn and Mike Chapman: “Funny Funny,” “Little Willy,” “Hell Raiser,” “Block Buster!”, and “The Ballroom Blitz,” as well as their own compositions like “Sweet F.A.” and “Fox On the Run.”
 

 
During the recording of their album Sweet Fanny Adams in 1974, hard-partying vocalist Brian Connolly’s throat was injured in a street fight outside a pub in Surrey. The assault affected his voice for the rest of his life. In the short-term it affected the band’s career prospects, forcing them to turn down a tour opening for The Who. Connolly left the band in 1979 and the others continued briefly as a trio, still calling themselves Sweet.
 

 
Here is where the Sweet legacy gets confusing.

Connolly formed another band in 1984 and called it The New Sweet, later renaming it Brian Connolly’s Sweet. He occasionally played in exotic locations like Bahrain and Dubai, but his version of Sweet mainly eked out a living appearing at festivals, resorts (embarrassingly, Butlins holiday camps), and small clubs. His health problems prevented at least one proper Sweet reunion, planned by Mike Chapman in 1988. Connolly died in 1997 from liver failure and multiple heart attacks.

Andy Scott started Andy Scott’s Sweet in 1985 with original drummer Mick Tucker (who died in 2002) and a different line-up in 1991.

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Andy Scott’s Sweet

Steve Priest, who had immigrated to the U.S. In 1979, started Steve Priest’s Sweet in 2008.

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Steve Priest’s Sweet

Naturally this led to legal wrangling over the rights to the band’s name.

Following Connolly’s death the two surviving members of Sweet split up the world into territories. David Cavanagh of The Guardian wrote:

The two Sweets stay out of each other’s territories. Livelihoods are at stake, and if a promoter is uncertain which lineup of a band to book, he ends up booking neither. Scott has faced a challenge from rival Sweets before – Connolly fronted a few in the 80s and 90s – and is confident Priest will not encroach on his trademark in Britain or mainland Europe.

Scott, who appears to be the fitter and healthier of the two, tours Europe and Australia. Steve Priest’s Sweet tours North and South America. There is no shortage of festivals, small clubs, casinos, hotels, and benefit concerts all over the world that want some version of the band. But depending on where you happen to be, the Sweet you see performing may be comprised of an entirely different lineup than if you went 2000 miles in another direction.

The original Sweet on Top of the Pops, 1975:

Posted by Kimberly J. Bright
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09.23.2013
12:09 pm
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Art from Chaos: The Sweet and the story behind ‘Ballroom Blitz’

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It was art out of chaos. Pop art. The Sweet‘s “Ballrooom Blitz”, Glam Rock’s catchiest, trashiest, most lovable song, came from a riot that saw the band bottled off the stage, at the Grand Hall, Palace Theater, Kilmarnock, Scotland, in 1973. Men spat, while women screamed to drown out the music. Not the response expected for a group famous for their string of million sellers hits, “Little Willy”, “Wig-Wag Bam” and the number 1, “Block Buster”.

Why it happened has since led to suggestions that the band’s appearance in eye-shadow, glitter and lippy (in particular the once gorgeous bass player Steve Priest) was all too much for the hard lads and lassies o’ Killie.

It’s a possible. Priest thinks so, and said as much in his autobiography Are You Ready Steve?. But it does raise the question, why would an audience pay money to see a band best known through their numerous TV appearances for their outrageously camp image? Especially if these youngsters were such apparent homophobes? Moreover, this was 1973, when the UK seemed on the verge of revolution, engulfed by money shortages, food shortages, strike action,  power cuts and 3-day-weeks, and the only glimmer of hope for millions was Thursday night and Top of the Pops.

Another possible was the rumor that Sweet didn’t play their instruments, and were a manufactured band like The Monkees. A story which may have gained credence as the band’s famous song-writing duo of Nicky Chinn and Mike Chapman, preferred using session musicians to working with artists.

The sliver of truth in this rumor was that Sweet only sang on the first 3 Chinn-Chapman singles (“Funny, Funny”, “Co-Co” and “Poppa Joe”). It wasn’t until the fourth, “Little Willy” that Chinn and Chapman realized Sweet were in fact far better musicians than any hired hands, and allowed the band to do what they did best - play.

True, Chinn and Chapman gave Sweet their Midas touch, but it came at a cost. The group was dismissed by self-righteous music critics as sugar-coated pop for the saccharine generation. A harsh and unfair assessment. But in part it may also explain the audience’s ire.

In an effort to redefine themselves, Sweet tended to avoid playing their pop hits on tour, instead performing their own songs, the lesser known album tracks and rock covers. A band veering from the songbook of hits (no matter how great the material) was asking for trouble. As Freddie Mercury proved at Live Aid, when Queen made their come-back, always give the audience what they want.

Still, Glam Rock’s distinct sound owes much to Andy Scott’s guitar playing (which has been favorably compared to Jimmy Page and Jeff Beck), Steve Priest’s powerful bass, and harmonizing vocals, and Mick Tucker’s inspirational drums (just listen to the way he references Sandy Nelson in “Ballroom Blitz”). Add in Brian Connolly’s vocals, and it is apparent Sweet were a band with talents greater than those limned by their chart success.

So what went wrong?

If ever there was a tale of a band making a pact with the Devil, then the rise and fall of Sweet could be that story. A tale of talent, excess, fame, money, frustration and then the decline into alcohol, back-taxes, death and disaster. Half of the band is now tragically dead: Connolly, who survived 14 heart attacks caused through his alcoholism, ended his days a walking skeleton, touring smaller venues and holiday camps with his version of Sweet; while the hugely under-rated Tucker sadly succumbed to cancer in 2002.

The remaining members Priest and Scott, allegedly don’t speak to each other and perform with their own versions of The Sweet on 2 different continents. Priest lives in California, has grown into an orange haired-Orson, while Scott, who always looked like he worked in accounts, is still based in the UK, and recently overcame prostate cancer to present van-hire adverts on the tube.

This then is the real world of pop success.

I doubt they would ever change it. And I doubt the fans would ever let them. So great is the pact with the devil of celebrity that once made, one is forever defined by the greatest success.

Back to that night, in a theater in Kilmarnock, when the man at the back said everyone attack, and the room turned into a ballroom blitz. Whatever the cause of the chaos, it gave Glam Rock a work of art, and Sweet, one of their finest songs.
 

 
Bonus ‘Block Buster’ plus documentary on Brian Connolly, after the jump…
 

READ ON
Posted by Paul Gallagher
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09.12.2011
11:33 am
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