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‘All That Glitters’: Vintage doc on legendary British glam rockers, The Sweet
10:21 am


glam rock

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.
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 | Leave a comment
Wild, weird glam rock Tropicália from Brazil: Secos e Molhados

Secos e Molhados (“Dry & Wet”) was an glam-rock/Tropicália band formed in Brazil in 1971 during the most repressive phase of the military dictatorship. The band was short-lived, recording just two albums, but launched the career of feminine-sounding vocalist, Ney Matogrosso.

Matogrosso’s distinctive voice is “sopranino” meaning that he can hit notes higher than F6. Now 72, he’s still a star in Brazil, but has dropped the wild costumes and make-up, concentrating more on the purely vocal aspects of his talents, and re-interpreting classic Portuguese pop songs.

João Ricardo, who founded the group, and Gerson Conrad were the other two members. Secos e Molhados recorded in a wide variety of styles. Their innovative make-up and costuming caused a sensation, if not exactly scandal, in early 70s Brazil and they sold millions of records.

Below, Secos e Molhados performing “Flores Astrais”

More Secos e Molhados after the jump…

Posted by Richard Metzger | Leave a comment