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3 days ago
Sunday, June 7, 2020
All That Glitters
The American experience of an early 1970’s UK music style known as Glitter Rock and/or Glam Rock is quite different from what our older cousins across the pond enjoyed. Though some cross pollination in dress, style, attitude and musical craft occurred between the two Rock Tribes, the Brits embraced it in an all-round much bigger way. The ever-changing 70’s Rock scene was characterized by the swiftness in which new musical fads appeared, dominated the charts, and then became extinct. How did Glitter and Glam take hold? Gradually, and then suddenly, like a tidal wave heading toward shore that no one sees until it’s massive waves are breaking over your head.
The period of 1967 - 1970 is known as the Blues Power era in England, and had a big spillover effect in the U.S. as well. The original power trio Cream featured Eric Clapton, and their reworking of Robert Johnson’s 1934 dusty acoustic blues song Crossroads into an electrified Rock assault signaled the beginning of long solos as well as the need for a “Blues Feel'' to be part of the new hip sound. A high level of musicianship had to be present, no amateurs allowed onstage; Peter Green’s Fleetwood Mac (ex-members of John Mayall’s Blues Breakers), Free, Ten Years After, and a whole slew of groups required to have "Blues Band" in their title.
But soon enough the lads got tired of listening to
Chicken Shack, and the whole Blues Rock scene
crumbled under a bland conformity in sound.
Meanwhile, Marc Feld (Bolan) and
David Jones (Bowie)
had been lurking, ligging, and busking around the London music scene for so long they were
almost invisible to everyone, just a couple of wannabes who would do anything to get a record
deal and become stars. Ultimately, they understood that fashion, style and presentation would
be as important as their sound. If long hair, beads, flowing blouses, and Hippie music were in,
then they would follow that path until it dead-ended. In June of 1970
Ray Davies, bard of the
British Rock Scene, released his most prophetic song yet: “
Girls will be boys, and boys will be girls, it’s a mixed-up, muddled-up shook up world.” The Future would be for those unafraid to try
something new.
British Rock fans were growing slightly older and now listening to “serious” rock music;
The Cold Wind of Prog Arsery was in a full force gale during the early 70’s with King
Crimson, Yes, and ELP leading the way. The technical musicianship of those bands had no
appeal to the youth who wanted to have a good time. Deep Purple, Black Sabbath, and Rory Gallagher -to name but a few- all supplied crunching riffs to their predominantly male fan base, but the younger teen crowd watching Top of the Pops needed something flashy. The Glitter/Glam attire of platform boots, makeup, wild fashion and hair styles all created a distinct look that emphasized glamour and fun.
Bolan smashed through first with his glitter pants, makeup, and Boogie guitar riffs,
understanding that the look was important - but the kids still had to dance. T.Rex helped unleash a need to have fun, look crazy, and escape from the conformity that society tries to impose on everyone. Bowie became the ultimate chameleon who would nick a good idea (dress, sound) from anyone. His N.Y.C. fascination with The Velvet Underground and Lou Reed led him to the early New York Dolls. He saw first-hand how outrageous the reaction was for men to dress up like women; he could now wear make-up onstage (like his old performances with the Lindsay Kemp Mime Troupe.) Bowie’s Ziggy Stardust creation showed he wasn’t going to let his pal Bolan get too far ahead in the race for Stardom. T.Rex, David Bowie, Slade, and The Sweet were all part of the huge first Glam wave that engulfed the U.K. Rock Scene circa 1971-1973. The mass hysteria and adulation for the new sound was reminiscent of Beatlemania just ten years before.
While T.Rex and David Bowie had the most obvious early success in The States, Alice Cooper and Lou Reed were homegrown leaders of the Shock Rock style that still emphasized makeup, costumes and outrageous behavior onstage. With Bowie off to conquer America, Slade and The Sweet dominated the Pop charts. They were soon joined by Roy Wood’s Wizzard , Mott the Hoople, Gary Glitter, Mud, and Detroit's own Suzi Quatro. While this was all happening, Gene Klein (Simmons) and Stanley Eisen (Paul Stanley) were plotting how to create a band that would encompass the Glam style of platform boots and make-up but also adding a new theatrical component that would create a fantastic explosion of lights and music. The Kiss Army was about to start their march across the globe.
When the Glam/Glitter Era began to collapse in England around 1974/75, it was time for a
new flavor of the month. Teens now had The Bay City Rollers to scream over, Freddie
Mercury was leading Queen onward with his dramatic look and, in the Summer of 1975, John Lydon stood in front of a jukebox with his I Hate Pink Floyd T-Shirt and mimed to Alice Cooper's School's Out with a few friends. Punk Rock would officially bury Glam, like they eventually buried Prog Rock and other passé music forms. The kids could now dress up in ripped clothes, wear their spiky hair in multi colors, and claim an angry, powerful sound that was all their own. Marc Bolan died in a car crash in 1977. At the time of his death, his music career was at a low ebb, never having found a way forward musically after his early Glam peak. David Bowie continued to ch-ch-ch-ch change through the years, from a heavy Soul period ( Young Americans) to a new character labeled the Thin White Duke. Bowie always embraced change, a true chameleon who took pleasure in revamping his whole sound and look periodically. The Punk style that
something new.
British Rock fans were growing slightly older and now listening to “serious” rock music;
The Cold Wind of Prog Arsery was in a full force gale during the early 70’s with King
Crimson, Yes, and ELP leading the way. The technical musicianship of those bands had no
appeal to the youth who wanted to have a good time. Deep Purple, Black Sabbath, and Rory Gallagher -to name but a few- all supplied crunching riffs to their predominantly male fan base, but the younger teen crowd watching Top of the Pops needed something flashy. The Glitter/Glam attire of platform boots, makeup, wild fashion and hair styles all created a distinct look that emphasized glamour and fun.
Bolan smashed through first with his glitter pants, makeup, and Boogie guitar riffs,
understanding that the look was important - but the kids still had to dance. T.Rex helped unleash a need to have fun, look crazy, and escape from the conformity that society tries to impose on everyone. Bowie became the ultimate chameleon who would nick a good idea (dress, sound) from anyone. His N.Y.C. fascination with The Velvet Underground and Lou Reed led him to the early New York Dolls. He saw first-hand how outrageous the reaction was for men to dress up like women; he could now wear make-up onstage (like his old performances with the Lindsay Kemp Mime Troupe.) Bowie’s Ziggy Stardust creation showed he wasn’t going to let his pal Bolan get too far ahead in the race for Stardom. T.Rex, David Bowie, Slade, and The Sweet were all part of the huge first Glam wave that engulfed the U.K. Rock Scene circa 1971-1973. The mass hysteria and adulation for the new sound was reminiscent of Beatlemania just ten years before.
While T.Rex and David Bowie had the most obvious early success in The States, Alice Cooper and Lou Reed were homegrown leaders of the Shock Rock style that still emphasized makeup, costumes and outrageous behavior onstage. With Bowie off to conquer America, Slade and The Sweet dominated the Pop charts. They were soon joined by Roy Wood’s Wizzard , Mott the Hoople, Gary Glitter, Mud, and Detroit's own Suzi Quatro. While this was all happening, Gene Klein (Simmons) and Stanley Eisen (Paul Stanley) were plotting how to create a band that would encompass the Glam style of platform boots and make-up but also adding a new theatrical component that would create a fantastic explosion of lights and music. The Kiss Army was about to start their march across the globe.
When the Glam/Glitter Era began to collapse in England around 1974/75, it was time for a
new flavor of the month. Teens now had The Bay City Rollers to scream over, Freddie
Mercury was leading Queen onward with his dramatic look and, in the Summer of 1975, John Lydon stood in front of a jukebox with his I Hate Pink Floyd T-Shirt and mimed to Alice Cooper's School's Out with a few friends. Punk Rock would officially bury Glam, like they eventually buried Prog Rock and other passé music forms. The kids could now dress up in ripped clothes, wear their spiky hair in multi colors, and claim an angry, powerful sound that was all their own. Marc Bolan died in a car crash in 1977. At the time of his death, his music career was at a low ebb, never having found a way forward musically after his early Glam peak. David Bowie continued to ch-ch-ch-ch change through the years, from a heavy Soul period ( Young Americans) to a new character labeled the Thin White Duke. Bowie always embraced change, a true chameleon who took pleasure in revamping his whole sound and look periodically. The Punk style that
started the initial 1976-77 revolution soon made room for Power Pop, labeled “New Wave” by the record companies, who hoped to generate more mass sales. With music
trends, you never knew when one was going to end and the next one begin.
The Rock scene changes, gradually and then very suddenly. It’s how the
music business has always worked.
-Jim Webb
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