Initially a British folk-rock combo called Tyrannosaurus Rex, T. Rex was the primary force in glam rock, thanks to the creative direction of guitarist/vocalist Marc Bolan (born Marc Feld). Bolan created a deliberately trashy form of rock & roll that was proud of its own disposability. T. Rex's music borrowed the underlying sexuality of early... [+] Read More

Initially a British folk-rock combo called Tyrannosaurus Rex, T. Rex was the primary force in glam rock, thanks to the creative direction of guitarist/vocalist Marc Bolan (born Marc Feld). Bolan created a deliberately trashy form of rock & roll that was proud of its own disposability. T. Rex's music borrowed the underlying sexuality of early rock & roll, adding dirty, simple grooves and fat distorted guitars, as well as an overarching folky/hippie spirituality that always came through the clearest on ballads. While most of his peers concentrated on making cohesive albums, Bolan kept the idea of a three-minute pop single alive in the early '70s. In Britain, he became a superstar, sparking a period of "T. Rextacy" among the pop audience with a series of Top Ten hits, including four number one singles. Over in America, the group only had one major hit -- the Top Ten "Bang a Gong (Get It On)" -- before disappearing from the charts in 1973. T. Rex's popularity in the U.K. didn't begin to waver until 1975, yet they retained a devoted following until Marc Bolan's death in 1977. Over the next two decades, Bolan emerged as a cult figure and the music of T. Rex has proven quite influential on hard rock, punk, new wave, and alternative rock.

Following a career as a teenage model, Marc Bolan began performing music professionally in 1965, releasing his first single, "The Wizard," on Decca Records. Bolan joined the psychedelic folk-rock combo John's Children in 1967, appearing on three unsuccessful singles before the group disbanded later that year. Following the breakup, he formed the folk duo Tyrannosaurus Rex with percussionist Steve Peregrine Took. The duo landed a record deal with a subsidiary of EMI in February 1968, recording their debut album with producer Tony Visconti. "Debora," the group's first single, peaked at number 34 in May of that year, and their debut album, My People Were Fair and Had Sky in Their Hair...But Now They're Content to Wear Stars on Their Brow, reached number 15 shortly afterward. The duo released their second album, Prophets, Seers & Sages, the Angels of the Ages, in November of 1968.

By this time, Tyrannosaurus Rex was building a sizable underground following, which helped Bolan's book of poetry, The Warlock of Love, enter the British best-seller charts. In the summer of 1969, the duo released their third album, Unicorn, as well as the single "King of the Rumbling Spires," the first Tyrannosaurus Rex song to feature an electric guitar. Following an unsuccessful American tour that fall, Took left the band and was replaced by Mickey Finn. The new duo's first single did not chart, yet their first album, 1970's A Beard of Stars, reached number 21.

The turning point in Bolan's career came in October of 1970, when he shortened the group's name to T. Rex and released "Ride a White Swan," a fuzz-drenched single driven by a rolling backbeat. "Ride a White Swan" became a major hit in the U.K., climbing all the way to number two. The band's next album, T. Rex, peaked at number 13 and stayed on the charts for six months. Encouraged by the results, Bolan expanded T. Rex to a full band, adding bassist Steve Currie and drummer Bill Legend (born Bill Fifield). The new lineup recorded "Hot Love," which spent six weeks at number one in early 1971. That summer, T. Rex released "Get It On" (retitled "Bang a Gong (Get It On)" in the U.S.), which became their second straight U.K. number one; the single would go on to be their biggest international hit, reaching number ten in the U.S. in 1972. Electric Warrior, the first album recorded by the full band, was released in the fall of 1971; it was number one for six weeks in Britain and cracked America's Top 40.

By now, "T. Rextacy" was in full swing in England, as the band had captured the imaginations of both teenagers and the media with its sequined, heavily made-up appearance; the image of Marc Bolan in a top hat, feather boa, and platform shoes, performing "Get It On" on the BBC became as famous as his music. At the beginning of 1972, T. Rex signed with EMI, setting up a distribution deal for Bolan's own T.Rex Wax Co. record label. "Telegram Sam," the group's first EMI single, became their third number one single.

"Metal Guru" also hit number one, spending four weeks at the top of the chart. The Slider, released in the summer of 1972, shot to number one upon its release, allegedly selling 100,000 copies in four days; the album was also T. Rex's most successful American release, reaching number 17. Appearing in the spring of 1973, Tanx was another Top Five hit for T. Rex; the singles "20th Century Boy" and "The Groover" soon followed it to the upper ranks of the charts. However, those singles would prove to be the band's last two Top Ten hits. In the summer of 1973, rhythm guitarist Jack Green joined the band, as did three backup vocalists, including the American soul singer Gloria Jones; Jones would soon become Bolan's girlfriend. At the beginning of 1974, drummer Bill Legend left the group and was replaced by Davy Lutton, as Jones became the group's keyboardist.

In early 1974, the single "Teenage Dream" was the first record to be released under the name Marc Bolan and T. Rex. The following album, Zinc Alloy and the Hidden Riders of Tomorrow, was the last Bolan recorded with Tony Visconti. Throughout the year, T. Rex's popularity rapidly declined -- by the time "Zip Gun Boogie" was released in November, it could only reach number 41. Finn and Green left the group at the end of the year, while keyboardist Dino Dins joined. The decline of T. Rex's popularity was confirmed when 1975's Bolan's Zip Gun failed to chart. Bolan took the rest of the year off, returning in the spring of 1976 with Futuristic Dragon, which peaked at number 50. Released in the summer of 1976, "I Love to Boogie," a disco-flavored three-chord thumper, became Bolan's last Top 20 hit.

Bolan released Dandy in the Underworld in the spring of 1977; it was a modest hit, peaking at number 26. While "The Soul of My Suit" reached number 42 on the charts, T. Rex's next two singles failed to chart. Sensing it was time for a change of direction, Bolan began expanding his horizons in August. In addition to contributing a weekly column for Record Mirror, he hosted his own variety television show, Marc. Featuring guest appearances by artists like David Bowie and Generation X, Marc helped restore Bolan's hip image. Signing with RCA Records, the guitarist formed a new band with bassist Herbie Flowers and drummer Tony Newman, yet he never was able to record with the group. While driving home from a London club with Bolan, Gloria Jones lost control of her car, smashing into a tree. Marc Bolan, riding in the passenger's seat of the car, was killed instantly.

While T. Rex's music was intended to be disposable, it has proven surprisingly influential over the years. Hard rock and heavy metal bands borrowed the group's image, as well as the pounding insistence of their guitars. Punk bands may have discarded the high heels, feather boas, and top hats, yet they adhered to the simple three-chord structures and pop aesthetics that made the band popular. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

In some ways, the Sweet epitomized all the tacky hubris and garish silliness of the early '70s. Fusing bubblegum melodies with crunching, fuzzy guitars, the band looked a heavy metal band, but were as tame as any pop group. It was a dichotomy that served them well, as they racked up a number of hits in both the U.K. and the U.S. Most of those... [+] Read More

In some ways, the Sweet epitomized all the tacky hubris and garish silliness of the early '70s. Fusing bubblegum melodies with crunching, fuzzy guitars, the band looked a heavy metal band, but were as tame as any pop group. It was a dichotomy that served them well, as they racked up a number of hits in both the U.K. and the U.S. Most of those hits were written by Nicky Chinn and Mike Chapman, a pair of British songwriters that had a way with silly, simple, and catchy hooks. Chinn/Chapman and Sweet were smart enough to latch on to the British glam rock fad, building a safer, radio-friendly and teen-oriented version of Queen, T. Rex, and Gary Glitter. By the end of the '70s, the group's time at the top of the charts had expired but their hit singles lived on not only as cultural artifacts, but also as the predecessors for the pop-metal of the '80s.

Originally, the Sweet were called the Sweetshop and consisted of Brian Connolly (vocals), Mick Tucker (vocals, drums), Frank Torpey (guitar), and Steve Priest (bass). In 1970, the group truncated their name to Sweet and signed a record contract with Fontana/EMI, releasing four unsuccessful singles. Following the failure of the four singles, Torpey left the group and was replaced by Andy Scott. The new lineup of Sweet signed to RCA Records in 1971, where they were placed under the direction of songwriters Nicky Chinn and Mike Chapman. Chinn and Chapman wrote a number of light bubblegum pop songs for the group, the first of which, "Funny Funny," reached number 13 on the U.K. charts. Following "Funny Funny," the duo wrote five more Top 40 hits for the group -- including "Little Willy" and "Wig-Wam Bam" -- which were all lightweight bubblegum numbers loaded with double entendres. During this time, Sweet were writing their own B-sides and album tracks. All of the group's compositions were harder than Chinn and Chapman's songs, featuring crunching hard rock guitars. Consequently, the duo decided to write tougher songs for the group. "Blockbuster," the first result of Chinn and Chapman's neo-glam rock approach, was the biggest hit Sweet ever had in the U.K., reaching number one on the charts in early 1973 and eventually going platinum. For the next two years, Sweet continued to chart with Chinn and Chapman compositions, including the Top Ten hits "Hell Raiser," "Ballroom Blitz," "Teenage Rampage," and "The Six Teens."

By the summer of 1974, the members of Sweet had grown tired of the control Chinn and Chapman exerted over their career and decided to record without the duo. The resulting album, Sweet Fanny Adams, reached number 27 in the U.K., but it yielded no hits. In the spring of 1975, Sweet had their first self-penned hit with "Fox on the Run," which reached the Top Ten in both the U.K. and the U.S. "Fox on the Run" appeared on the collection Desolation Boulevard; in America, it's release helped "Ballroom Blitz" reach the Top Ten in the summer of 1975. Strung Up, released in the fall of 1975, continued the group's move toward album-oriented rock. For the rest of the decade, the group continued to churn out albums, which were all less successful than their predecessor. Sweet bounced back into the charts in 1978 with "Love Is Like Oxygen," but the single proved to be their last gasp; they never reached the Top Ten again, neither in the U.S. or the U.K.

Connolly left the band after "Love Is Like Oxygen" and the group replaced him with keyboardist Gary Moberley. The group carried on for three more years, releasing three more albums that all achieved little success. After several years of little success or attention, Sweet broke up in 1982. In the decade following their breakup, Sweet reunited on various occasions. In 1985, a dance club medley of their hits called "It's the Sweet Mix" became a British Top 50 hit and, following the single's success, the group re-formed for a tour that proved to be less anticipated than expected. Later in the decade, Scott toured as part of the group Paddy Goes to Holyhead. In 1989, Scott and Tucker re-formed Sweet to record a live album at London's Marquee Club. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

Roy Wood, born Ulysses Adrian Wood in Birmingham, England, has long been regarded as one of the most important, if eccentric, rock musicians to have come out of that city, primarily for his role as the leader/co-founder of both the Move and the Electric Light Orchestra.

Wood took up the guitar in his early teens, and the first... [+] Read More

Roy Wood, born Ulysses Adrian Wood in Birmingham, England, has long been regarded as one of the most important, if eccentric, rock musicians to have come out of that city, primarily for his role as the leader/co-founder of both the Move and the Electric Light Orchestra.

Wood took up the guitar in his early teens, and the first "successful" band of which he was a member was Gerry Levene and the Avengers, which actually got to record a single. They broke up in mid-1964, and Wood joined Mike Sheridan and the Nightriders. During this period, Wood attended the Moseley College of Art, from which he was expelled in 1964. That same year, he organized the Move, with Bev Bevan (drums), Carl Wayne (lead vocals), Ace Kefford (bass), and Trevor Burton (guitar). The band was fortunate enough to land a residency at London's Marquee Club, where they began to build an enthusiastic following.

Wood contributed most of the songs and eventually many of the vocals to the Move. Their single "Night of Fear" rose to number two on the U.K. charts in early 1967. The group evolved over the ensuing three years, eventually becoming a quartet. Later, the group added guitarist Jeff Lynne and passed through psychedelic, progressive, and heavy metal phases on albums such as Shazam, Message from the Country, and Looking On, which were popular in England but virtually unknown in America. Their sound embraced everything from old time rock & roll, including Duane Eddy and even some doo wop influences, but also displayed Beatles-style harmonies and lyrical complexity.

By 1971, Wood had developed ideas and ambitions that were too wide to be embraced by any one band, and proposed the formation of an offshoot of the Move called the Electric Light Orchestra. The group's eponymous debut was released on the Harvest label in England to strong critical approval and decent sales -- indeed, the new band seemed to attract more serious attention than the Move had been getting. Originally ELO and the Move were to have existed side-by-side, but ELO supplanted the Move, and the latter ceased to exist. Wood exited soon after, leaving ELO in the hands of Lynne and Bevan, and went off on his own to form Wizzard.

Wizzard's first single, "Ballpark Incident," combined the Move's hard rock with a texture reminiscent of Phil Spector's "wall of sound" productions, and rose to number six on the British charts. In April of 1973, Wizzard reached number one with "See My Baby Jive," a success duplicated by the follow-up, "Angel Fingers." Unfortunately, the band's first album, Wizzard's Brew, didn't fare nearly as well, being a highly experimental body of work. The group's fortunes, even as a singles band, faltered after this, partly because of Wood's decision to continue recording and releasing records under his own name in addition to his work with Wizzard. His Phil Spector-ish "I Wish It Could Be Christmas Everyday" reached number four in England in 1973, and "Forever" made it to number eight the same year. The Wizzard albums See My Baby Jive and Eddie & the Falcons were both critical and commercial failures, and the unsuccessful release of the latter led to the demise of the group. Meanwhile, Wood's own solo albums, Boulders (1973) and Mustard (1975), were too idiosyncratic to achieve major followings.

The Roy Wood Story (Harvest), released in 1976, summed up his career with EMI Records, and performed well as a best-of. His subsequent records, On the Road (1979) and Starting Up (1987), failed to achieve anything like the success of his early-'70s work, and since then Wood has become one of the more elusive active musicians of his generation, although he has continued to record into the 1990s. ~ Bruce Eder, All Music Guide [-] Hide

Slade may have never truly caught on with American audiences (often narrow-mindedly deemed "too British-sounding"), but the group became a sensation in their homeland with their anthemic brand of glam rock in the early '70s, as they scored a staggering 11 Top Five hits in a four-year span from 1971 to 1974 (five of which topped the charts).... [+] Read More

Slade may have never truly caught on with American audiences (often narrow-mindedly deemed "too British-sounding"), but the group became a sensation in their homeland with their anthemic brand of glam rock in the early '70s, as they scored a staggering 11 Top Five hits in a four-year span from 1971 to 1974 (five of which topped the charts). Comprised of singer/guitarist Noddy Holder (born Neville Holder, June 15, 1946 in Walsall, West Midlands, England), guitarist Dave Hill (born April 4, 1946, in Fleet Castle, Devon, England), bassist Jimmy Lea (born June 14, 1949, Wolverhampton, West Midlands, England), and drummer Don Powell (born September 10, 1946, Bilston, West Midlands, England), the group originally formed in the spring of 1966 under the name the In-Be-Tweens, playing out regularly with a mixture of soul and rock tracks. But besides a lone obscure single, "You Better Run" (penned by future Runaways svengali Kim Fowley), the band never issued any other recordings. By the end of '60s, the group had changed their name to Ambrose Slade and signed on with the Fontana label. Soon after, the quartet hooked up with Animals bass player-turned-manager Chas Chandler (who had discovered Jimi Hendrix a few years prior), who promptly suggested the group shorten the name to just Slade and assume a "skinhead" look (Dr. Martin boots, shaved heads) as a gimmick.

After several albums featuring few original compositions from the quartet came and went (1969's Beginnings, 1970's Play It Loud), the group began to write their own tunes, grew their hair long, and assumed the look of the then-burgeoning glam movement, joining the same cause championed by such fellow Brits as David Bowie and T. Rex. This new direction paid off in 1971 with the number 16 U.K. single "Get Down and Get With It," which soon touched off a string of classic singles and led to Slade becoming one of the most beloved party bands back home. Slade also utilized another gimmick, humorously misspelled song titles, as evidenced by such singles as "Coz I Luv You," "Look Wot You Dun," "Take Me Bak 'Ome," "Mama Weer All Crazee Now," "Gudbuy t'Jane," "Cum on Feel the Noize," "Skweeze Me, Pleeze Me," and "Merry Xmas Everybody" (the latter of which re-entered the charts every holiday season for years afterward). Several attempts at cracking the U.S. market came up empty (with track listings between their U.K. and U.S. full-lengths differing), although such albums as Slade Alive! and Slayed? are considered to be some of the finest albums of the glam era.

Slade continued to score further hit singles back home, including such correctly spelled tracks as "My Friend Stan," "Everyday," "Bangin' Man," "Far Far Away," "How Does it Feel," and "In for a Penny," but with glam rock's dissolution and punk's emergence by the mid-'70s, the hits eventually dried up for the quartet. Despite the change in musical climate, Slade stuck to their guns and kept touring and releasing albums, as the title to their 1977 album, Whatever Happened to Slade?, proved that the group's humor remained intact despite their fall from the top of the charts. A large, dedicated following still supported the group as they offered a performance at the 1980 Reading Festival that was considered one of the day's best, resulting in sudden renewed interest in the group back home and Slade scored their first true hit singles in six years with 1981's "We'll Bring the House Down" and "Lock up Your Daughters."

Slade received a boost stateside around this time as well, courtesy of the U.S. pop-metal outfit Quiet Riot, who made a smash hit out of "Cum on Feel the Noize" in 1983 that resulted in a strong chart showing for Slade's 1984 release Keep Your Hands Off My Power Supply (issued as The Amazing Kamikaze Syndrome in the U.K. a year earlier). Slade then enjoyed a pair of U.S. MTV/radio hits, "Run Runaway" and "My Oh My." Holder and Lea also tried their hand at producing another artist around this time as well, as they manned the boards for Girlschool's 1983 release Play Dirty. Despite another all-new studio release, Rogues Gallery, and Quiet Riot covering another classic Slade tune ("Mama Weer All Crazee Now"), Slade was unable to retain their newfound American audience or rekindled British following and they eventually faded from sight once more, this time without a comeback waiting around the corner. During the '90s, a truncated version of the group dubbed Slade II was formed (without Holder or Lea in attendance), while Holder became a popular U.K. television personality as well as the host of his own '70s rock radio show. A 21-track singles compilation, Feel the Noize: The Very Best of Slade, was issued in 1997 (re-released under the simple title of Greatest Hits a couple of years later), which proved to be a popular release in England. ~ Greg Prato, All Music Guide [-] Hide

Although the late '90s apparently saw the end of Gary Glitter's career, following his conviction for sexual offenses, there is no doubting that for a full 25 years before that tragic denouement, Glitter ranked among Britain's best-loved performers of all time. The hits which catapulted him to fame in the early '70s, the anthemic "Rock and Roll"... [+] Read More

Although the late '90s apparently saw the end of Gary Glitter's career, following his conviction for sexual offenses, there is no doubting that for a full 25 years before that tragic denouement, Glitter ranked among Britain's best-loved performers of all time. The hits which catapulted him to fame in the early '70s, the anthemic "Rock and Roll" of course, but also the likes of "I'm the Leader of the Gang," "Do You Wanna Touch Me," and "I Love You Love Me Love," still have the capacity to stir an audience -- as "Rock and Roll" itself proves, every time it airs at a major sporting event in the U.S. And, if it is at all oxymoronic that the King of British Glam should be responsible for one of the national anthems of American Football, then that is simply further testament of what made Gary glitter so brightly. Musically, visually, and emotionally, he transcended so many barriers that even categorizing him as a rock & roller seems somehow stingy. He was so much more than that.

Gary Glitter emerged on the U.K. scene in 1972, although he had been touring and recording for over a decade beforehand. Still in his mid-teens, the young Paul Gadd performed at the legendary 2 I's Coffee Bar in London's Soho district, moving onto the Laconda and the Safari clubs before his repertoire of rock & roll classics and sweetly executed ballads brought him to the attention of Robert Hartford Davis, a small-time movie producer looking to break into the music industry. He financed the teenager's first recording session and landed him a deal with Decca, who released "Alone in the Night" in January, 1960, under the first of the multitude of pseudonyms which the singer would utilize through the remainder of the decade, Paul Raven.

In 1961, new manager Vic Billings landed Raven a deal with Parlophone and producer George Martin. Two singles, "Walk on Boy" and "Tower of Strength," followed, but neither sold well and by 1964, Raven was working as a studio warm-up man for the cult television show Ready Steady Go. He also appeared in a handful of television commercials and auditioned unsuccessfully for the lead role in the movie Privilege (Paul Jones ultimately took the part). It was a meeting with producer/arranger Mike Leander which marked the turning point in Raven's fortunes. The singer joined Leander's eponymous Show Band in April, 1965; Leander also arranged for his young protégé to oversee a handful of recording sessions, producing singles by Thane Russell and Scottish beat band the Poets.

The Mike Leander Show Band collapsed in late 1965 and Raven formed a new group, Boston International (later truncated to the Bostons), with saxophonist John Rossall. They spent much of the next five years touring Germany, the schedule interrupted by occasional recording dates back in England with Leander. Between 1968-1970, "Musical Man" and a cover of George Harrison's "Here Comes the Sun" were issued under the name Paul Monday. "Soul Thing" and Sly Stone's "Stand" returned Paul Raven to the racks and "We're All Living in One Place" debuted Rubber Bucket and, though the records themselves flopped, the sound was slowly crystallizing. By late 1971, with the glam rock movement now exploding across the U.K., Leander and Raven were convinced they had finally found the elusive formula they had been searching for.

"Rock and Roll" first took shape as a 15-minute jam session before Leander edited it down into two three-minute gems, sensibly subtitled "Part One" and "Part Two." Next came the matter of a new name for the performer -- according to legend, Raven's first instinct was Vicki Vomit, followed by Terry Tinsel, Stanley Sparkle, or Horace Hydrogen, working backwards through the alphabet, Gary Glitter was simply the next alliteration he thought of. And this time, it stuck.

Despite a slow start (it took six months to break into the U.K. chart) "Rock & Roll," of course, became one of the biggest hits of 1972 and one of the most unique. A number two in the U.K. and Top Ten in America, it set Glitter up for a period of almost unassailable chart domination, as a string of barely disguised sound-alikes flew from his and Leander's pens, unerringly affixing themselves on the British Top Ten: "I Didn't Know I Loved You (Till I Saw You Rock and Roll)," "Do You Wanna Touch Me (Oh Yeah)," and "Hello Hello, I'm Back Again" all charted during the next 12 months. Two albums, Glitter and Touch Me, were no less successful, while Glitter's first ever London concert in spring, 1973, saw him sell out the London Palladium, one of the first rock & rollers ever to play that venerable old pile.

Glitter lived up to his image with a vengeance. He poured a fortune into his wardrobe -- at one point he owned 30 glitter suits and 50 pairs of monstrous silver platform boots. But it was worth it. Glittermania was breaking out everywhere. "I'm the Leader of the Gang (I Am)" became his first British chart-topper in the summer of 1973, "I Love You Love Me Love" repeated the success that fall, while "Remember Me This Way," a brass-led ballad which had absolutely nothing in common with the Glitter sound, reached number three. A show at the London Rainbow was recorded for a live album (also titled Remember Me This Way). Glitter's backing band, the aptly named Glitter Band, were launched on a parallel hitmaking career of their own and while attempts to follow up the original American success were less well-starred, "Leader of the Gang" did at least breach the Top 50, in the capable hands of Brownsville Station.

"Always Yours" gave Glitter his eighth successive hit and third number one, in June, 1974; another ballad, "Oh Yes! You're Beautiful" reached number two, the insistent "Love Like You and Me" made number ten, and "Doing Alright With the Boys" hit number six in summer, 1975. And suddenly, it was all over. Glitter's next single, a cover of "Papa Ooh Mow Mow," stalled at #38 and, with successive releases proving similarly catastrophic, the singer announced his retirement in early 1976.

For the next year, Glitter existed in a twilight world of rumor alone, as financial and psychological pressures pushed him to the brink. He was drinking heavily and later admitted that he seriously contemplated suicide. A half-hearted return to action saw him take the lead role in a New Zealand production of The Rocky Horror Show and score a pair of minor U.K. Top 30 hits during 1977, "It Takes All Night Long" and "A Little Boogie Woogie in the Back of My Mind." But it was 1980 before he truly began to come out his shell again, launching a series of low-key concerts for a post-punk audience which had, somewhat curiously, embraced him as a figurehead of sorts. In 1981, he returned to the studio and recorded a new single, a dance medley of all his greatest hits, "All That Glitters." By 1984, he was playing upwards of 80 gigs a year, mainly around the college and club circuit, and returned to the chart with "Dance Me Up" and "Another Rock and Roll Christmas."

Two years later, Doctor & the Medics invited him to guest with them on TV performances of their decidedly Glitter-esque reworking of "Spirit in the Sky." And in 1988, Glitter was back at number one, courtesy of the Timelords' "Doctoring the Tardis" a tribute to television's Dr Who set to samples of Glitter's "Rock and Roll." Glitter himself subsequently re-recorded "Rock and Roll" with producer Trevor Horn and only narrowly missed out on another hit.

Ever more extravagant live shows were celebrated with the 1988 live video Gary Glitter's Gangshow, while his back catalog began spawning a succession of still more adventurous hit compilations. He became the subject of a successful London stage show, while his 1991 autobiography, The Leader, was a major bestseller. In 1994, Glitter was one of the stars at the official World [soccer] Cup concert in Chicago, broadcast live to 46 countries. He returned to the U.S. in 1996, playing the Godfather in the Who's Quadrophenia revival and he found time to deliver a new single, the definitive reading of "The House of the Rising Sun" set to the most heart-stopping Glitter beat yet. "Rock and Roll" even claimed another new lease on life when it became one of the star turns in the movie The Full Monty.

Then came the news that Glitter was under investigation on child pornography charges and his world fell apart. Stores throughout the U.K. withdrew his records from the shelves, concerts were canceled; overnight, one of Britain's most adored icons became public enemy number one and even his staunchest allies now doubt whether Glitter will ever be able to pull one more comeback out of the bag. What cannot be erased, however, is the contribution he has made to the history of rock & roll -- the creation of "Rock and Roll" itself. ~ Dave Thompson, All Music Guide [-] Hide

Buoyed by two U.K. number one singles in "Telegram Sam" and "Metal Guru," The Slider became T. Rex's most popular record on both sides of the Atlantic, despite the fact that it produced no hits in the U.S. The Slider essentially replicates all the virtues of Electric Warrior, crammed with effortless hooks and trashy fun. All of Bolan's... [+] Read More

Buoyed by two U.K. number one singles in "Telegram Sam" and "Metal Guru," The Slider became T. Rex's most popular record on both sides of the Atlantic, despite the fact that it produced no hits in the U.S. The Slider essentially replicates all the virtues of Electric Warrior, crammed with effortless hooks and trashy fun. All of Bolan's signatures are here -- mystical folk-tinged ballads, overt sexual come-ons crooned over sleazy, bopping boogies, loopy nonsense poetry, and a mastery of the three-minute pop song form. The main difference is that the trippy mix of Electric Warrior is replaced by a fuller, more immediate-sounding production. Bolan's guitar has a harder bite, the backing choruses are more up-front, and the arrangements are thicker-sounding, even introducing a string section on some cuts (both ballads and rockers). Even with the beefier production, T. Rex still doesn't sound nearly as heavy as many of the bands it influenced (and even a few of its glam contemporaries), but that's partly intentional -- Bolan's love of a good groove takes precedence over fast tempos or high-volume crunch. Lyrically, Bolan's flair for the sublimely ridiculous is fully intact, but he has way too much style for The Slider to sound truly stupid, especially given the playful, knowing wink in his delivery. It's nearly impossible not to get caught up in the irresistible rush of melodies and cheery good times. Even if it treads largely the same ground as Electric Warrior, The Slider is flawlessly executed, and every bit the classic that its predecessor is. ~ Steve Huey, All Music Guide [-] Hide

One of the original glam rock bands, Sweet released a number of successful singles in England between 1970 and 1973 before making a breakthrough in North America. In 1973, the band finally hit it big with the single "Little Willy," which hit number three on the U.S. pop charts. With the success of that single, management at the band's U.S.... [+] Read More

One of the original glam rock bands, Sweet released a number of successful singles in England between 1970 and 1973 before making a breakthrough in North America. In 1973, the band finally hit it big with the single "Little Willy," which hit number three on the U.S. pop charts. With the success of that single, management at the band's U.S. label, Bell Records, felt it was time to treat the market to an LP, so they gathered together some earlier U.K. chart successes (along with some B-sides) and rush-released the ten-track album simply titled Sweet. [Razor & Tie resurrected the album along with five bonus tracks. The sound has been digitally remastered and the CD contains in-depth liner notes related to the original release. This CD release will give the listener a taste of Sweet when they were just a singles band.] ~ Keith Pettipas, All Music Guide [-] Hide

The first (but certainly not the last) of the compilations issued in the wake of T. Rex's U.K. chart breakthrough, Bolan Boogie was also many of the band's new fans' first chance to acquaint themselves with all that Marc Bolan had done in the past -- a point which the compilers certainly kept in mind. The catalog at their disposal was vast,... [+] Read More

The first (but certainly not the last) of the compilations issued in the wake of T. Rex's U.K. chart breakthrough, Bolan Boogie was also many of the band's new fans' first chance to acquaint themselves with all that Marc Bolan had done in the past -- a point which the compilers certainly kept in mind. The catalog at their disposal was vast, reaching back to the acoustic birth of Tyrannosaurus Rex. Sensibly, however, Bolan Boogie concentrates on the material that lived up its title -- aside from one cut drawn from 1969's Unicorn, the entire album dated from the arrival of Mickey Finn, and the attendant headlong dive into electricity launched by the Beard of Stars album, and culminating with the epochal Electric Warrior album. Some incontrovertible classics emerge. "Beltane Walk," "The King of the Mountain Cometh," and "Fist Heart Mighty Drawn Dart" prove that Bolan's early flair for myth-weaving had effortlessly survived the move to amplification, while "Jewel" allies that assurance with some of the most gratuitously dirty guitar of the age. "Raw Ramp," a five-minute rock opera buried on the back of "Get It On," too, bristles with dynamism -- it opens gently, lavish strings and sad ballad sweet, pauses for a moment, then returns as a shuffling blues putdown ("you think you're champ, but girl, you ain't nothing but a raw ramp" -- whatever that may be), then concludes with a heads-down electric boogie. Perhaps the crowning glory, however, comes with T. Rex's take on "Summertime Blues," simultaneously the most unexpected track of them all, and the most appropriate one as well -- the ultimate anthem of youth disaffection, from the ultimate symbol of teenaged rebellion. The first new pop idol of the new decade, the first since the Beatles disbanded, Bolan hadn't simply shattered all predictions and preoccupations for the new decade. He had, single-handedly, dragged rock & roll out of a premature grave, then gift-wrapped it back to the kids who needed it most. They'd never have to work late again. ~ Dave Thompson, All Music Guide [-] Hide

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Although it was subsequently rendered academic by the release of the All the Young Dudes box set, Ballad of Mott would stand proud as the finest Mott the Hoople collection on the market for close to five years -- and, in many ways, it remains so. The emphasis is on the band's years at the top, the 1972-74 period when they machine gunned out hit... [+] Read More

Although it was subsequently rendered academic by the release of the All the Young Dudes box set, Ballad of Mott would stand proud as the finest Mott the Hoople collection on the market for close to five years -- and, in many ways, it remains so. The emphasis is on the band's years at the top, the 1972-74 period when they machine gunned out hit singles, at the same time as operating a virtual revolving door for guitarists. Mick Ralphs, Ariel Bender, and Mick Ronson all filed through the band during that period, and all three left some startling classics behind them -- the tasteful effervescence of "All the Young Dudes," "Violence," and "Whizz Kid" (Ralphs); the playful flash of "Roll Away the Stone," "Crash Street Kids," and "Golden Age of Rock'n'Roll" (Bender); the majestic sobriety of "Saturday Gigs" and "Lounge Lizard" -- both present here in previously unreleased form (Ronson). Of course all the hit singles are aboard, together with four well-chosen cuts from the band's years with Island/Atlantic in the days before fame came knocking. There's also some meaty rarities above and beyond the aforementioned -- the jokey "Henry & the H Bombs," recorded during the Dudes sessions with producer David Bowie, a version of The Hoople's masterful "Through the Looking Glass," which dissolves midway through into an utterly unexpected barrage of invective; and the opening verse of Don McLean's "American Pie," with which Mott introduced their 1974 era tours. Add a clutch of U.K. B-sides (nothing spectacular, but nice to have), and a generous dose of primo album cuts and, while The Ballad of Mott did draw some criticism from a Mott fanbase which was hoping for even more vault-exhuming lovelies, in terms of truly telling the story, it's a peerless collection. Yes, even more so than the box set. ~ Dave Thompson, All Music Guide [-] Hide