Hailing from Cardiff, Wales, this
R&B-styled sextet comprised Andy Fairweather-Low (vocals) b.1948, Blue
Weaver (organ), Neil Jones (guitar), Clive Taylor (bass), Allen Jones (baritone
sax), Mike Smith (tenor sax) and Dennis Bryn (drums). After hitting the charts
with the bluesy "Gin House" in 1967, Fairweather-Low became a pin-up
and the group swiftly ploughed more commercial ground with a succession of hits
including "World Of Broken Hearts," "Bend Me Shape Me" and
"High In The Sky." What the pop press failed to reveal was the
intense power-struggle surrounding the proprietorship of the group, and the
menacingly defensive tactics of their manager Don Arden. After all the drama,
the group moved from Decca to Andrew Oldham's Immediate
label and enjoyed their only
UK number 1 with "Half As Nice" in 1969.
After one final Top 10 hit, the energetic "Hello Suzie," they split.
Ironically, their pop star career ended on an anti-climactic note with the
inappropriately-titled Beatles' cover "Get Back." Lead singer Andy
Fairweather-Low formed Fairweather and then went solo while Blue Weaver found
his way into Strawbs. His keyboard work on their GRAVE NEW WORLD was
particularly noteworthy. The brass section became Judas Jump. © 1996 Microsoft Corporation and/or its suppliers. All
rights reserved.
This hard rock group was formed in
Cardiff,
Wales, by John Burke Shelley (b.
10 April 1947,
Cardiff,
South
Glamorgan,
Wales; bass/acoustic guitar/lead vocals) and Ray Phillips
(drums) in 1968. Joined by Tony Bourge (b.
23 November 1948,
Cardiff,
South
Glamorgan,
Wales; lead guitar/vocals) the trio established a
substantial following in the south
Wales college and club circuit
and were subsequently signed to MCA Records. Plying their trade in a basic,
heavy riffing style, the standard was set with the first single, charmingly
entitled "Crash Course To Brain Surgery."
The vagaries of early '70s British album artwork were typified by the treatment
given to Budgie's releases and promotional material, depicting a ludicrous
image of a budgerigar variously posed dressed as a fighter pilot (staring nobly
out into the far horizon), a Nazi Gestapo officer, or as a squadron of fighter
budgies flying in formation, tearing into combat. Founder member Phillips quit
in 1974 before the recording of their fourth album and was replaced by Pete
Boot (b. 30 September 1950, West Bromwich, Staffordshire, England), who in turn
departed that year before Steve Williams took over. The exiled drummer would
form Ray Phillips' Woman back in
Wales, then Tredegar in 1982. With the success of IN FOR
THE KILL, Budgie won over a wider audience, although they were held in higher
esteem in
Europe during this period. Their sixth album, IF I WAS
BRITTANIA I'D WAIVE THE RULES, their first on A&M Records, was the last to
feature Bourge, who left in 1978, joining Phillips in Tredegar. He was replaced
by former George Hatcher Band guitarist John Thomas. The group's popularity
grew in the
USA resulting in Budgie concentrating on touring there
for two years. Returning to Britain, and now signed to RCA, Budgie found
themselves fitting in well with the new heavy rock scene, and despite being
label less for much of the mid-'80s, their reputation and influence on a
younger generation of musicians brought them consistent work until Shelley
wound up the group in 1987. He subsequently worked with a new trio,
Superclarkes. Phillips would use Budgie's original nom de plume, Six Ton
Budgie, for a new line-up featuring his son, Justin, on guitar, who still play
out regularly with versions of his former group's standards. ©
1996 Microsoft Corporation and/or its suppliers. All rights reserved.
The
New York Dolls
One of the most influential rock bands of the
last 20 years, the New York Dolls pre-dated the punk and sleaze-metal movements
which followed long after their own demise. Formed in 1972, the line-up
stabilized with David Johansen (vocals), Johnny Thunders (b. John Anthony
Genzale Jnr., 15 July 1952, New York City, New York, USA, d. 23 April 1991, New
Orleans, Louisiana, USA; guitar), Arthur Harold Kane (bass), Sylvain Sylvain
(guitar/piano) and Jerry Nolan (drums), the last two having replaced Rick
Rivets and Billy Murcia (who died in November 1972). The band sported an
outrageous, glam-rock image: lipstick, high-heels and tacky leather outfits
offering their visual currency. Underneath they were a first rate rock 'n' roll
band, dragged up on the music of the Stooges, Rolling Stones and MC 5. Their self-titled
debut, released in 1973, was a major landmark in rock history, oozing attitude,
vitality and controversy from every note. It was met with widespread critical
acclaim, but this never transferred to commercial success. The follow-up, TOO
MUCH TOO SOON, was an appropriate title—and indicated that alcohol and drugs
were beginning to take their toll. The album is a charismatic collection of
punk/glam-rock anthems, delivered with a chaotic coolness,
that has yet to be equalled. It received a unanimous thumbs down from
the music press and the band began to implode shortly afterwards. Johansen
embarked on a solo career and Thunders formed Heartbreakers. The Dolls
continued for a short time before eventually grinding to a halt in 1975. Jerry
Nolan died as a result of a stroke on
14 January 1992 whilst undergoing treatment for pneumonia and
meningitis. RED PATENT LEATHER is a poor quality and posthumously-released live
recording from May 1975. © 1996 Microsoft Corporation and/or
its suppliers. All rights reserved.
Originally recording as the 'N Betweens, this
UK quartet comprised Noddy Holder (b. Neville Holder, 15 June 1946, Walsall,
West Midlands, England; vocals/guitar), Dave Hill (b. 4 April 1952, Fleet
Castle, Devon, England; guitar), Jimmy Lea (b. 14 June 1952, Wolverhampton,
West Midlands, England; bass) and Don Powell (b. 10 September 1950, Bilston,
West Midlands, England; drums). During the spring of 1966, they performed
regularly in the
Midlands, playing an unusual mixture of soul standards, juxtaposed
with a sprinkling of hard-rock items. A chance meeting with producer Kim Fowley
led to a one-off single, "You Better Run," released in August 1966.
Two further years of obscurity followed until their agent secured them an
audition with Fontana Records' A&R head Jack Baverstock. He insisted that
they change their name to Ambrose Slade and it was under that monicker that
they recorded BEGINNINGS. Chaff on the winds of opportunity, they next fell
into the hands of former Animals' bassist turned manager, Chas Chandler. He
abbreviated their name to Slade and oversaw their new incarnation as a skinhead
group for the stomping "Wild Winds Are Blowing." Their image as
'bovver boys', complete with cropped hair and Dr Marten boots, provoked some scathing
press from a media sensitive to youth culture violence. Slade persevered with
their skinhead phase until 1970 when it was clear that their notoriety was
passe. While growing their hair and cultivating a more colourful image, they
retained their aggressive musicianship and screaming vocals for the bluesy
"Get Down Get With It," which reached number 20 in the UK. Under
Chandler's guidance, Holder and Lea commenced composing
their own material, relying on distinctive riffs, a boot-stomping beat and
sloganeering lyrics, usually topped off by a deliberately misspelt title.
"Coz I Luv You" took them to number 1 in the
UK in late 1971, precipitating an incredible run of
chart success which was to continue uninterrupted for the next three years.
After the average "Look Wot You Dun" (which still hit number 4) they
served up a veritable beer barrel of frothy chart-toppers including 'Take Me
Bak "Ome," "Mama Weer Al Crazee Now," "Cum On Feel The
Noize" and "Skweeze Me Pleeze Me." Their finest moment was
1977's "Merry Xmas Everybody," one of the great festive rock songs.
Unpretentious and proudly working class, the group appealed to teenage
audiences who cheered their larynx-wrenching singles and glorified in their
garish yet peculiarly masculine forays into glam rock. Holder, clearly no sex
symbol, offered a solid, cheery image, with Dickensian side whiskers and a hat
covered in mirrors, while Hill took tasteless dressing to marvellous new
extremes. Largely dependent upon a young, fickle audience, and seemingly
incapable of spreading their parochial charm to the
USA, Slade's supremacy was to prove ephemeral. They
participated in a movie Slade In Flame, which was
surprisingly impressive, and undertook extensive tours, yet by the mid-'70s
they were yesterday's teen heroes. The ensuing punk explosion made them
virtually redundant and prompted in 1977 the appropriately titled, WHATEVER
HAPPENED TO SLADE. Undeterred they carried on just as they had done in the late
'60s, awaiting a new break. An appearance at the 1980 Reading Festival brought
them credibility anew. This performance was captured on the SLADE ALIVE AT
READING '80 EP which pushed the group into the
UK singles chart for the first time in three years.
Their festive "Merry Xmas Everybody" was re-recorded and charted that
same year, (the first in a run of seven consecutive years, subsequently in it's original form). Slade returned to the Top 10 in January
1981 with "We'll Bring The House Down" and they have continued to gig
extensively, being rewarded in 1983 with the number 2 hit, "My Oh
My," followed up the next year with "Run Run Away," a UK number
7 and their first US Top 20 hit, and the anthemic "All Join Hands"
(number 15). Slade are one of the few groups to have survived the heady days of
glitter and glam with their reputation intact and are regarded with endearing
affection by a wide spectrum of age groups. © 1996 Microsoft
Corporation and/or its suppliers. All rights reserved.