I've posted some of those magazines you mention earlier in the thread. Jackie was 'for girls' of course. I remember they had big posters that came in 2 to 4 parts that you had to collect each week. They were massive! I had Popswap and I believe I have a couple of Music Star annuals, though I don't recall buying the mag.
He earned his Glam credentials too by playing on Get It On! Not to mention three well known Hunky Dory songs.
Just checked and I believe there are two which have the tracks from the first three albums - Underground Overground - The Ultimate Wombles Collection. This has 33 tracks, which matches the green box set, and The Wombles Collection, which has 34 tracks + 2 videos. I haven't checked track by track, but I believe the 34 tracks, are the first 3 albums plus the Roy / Wombles Christmas single. Someone outbid me last night on a copy. I am very suspicious about this as this was after 10pm last night, and surely all Wombles fans should be fast asleep by then? The 4th album, Superwombling, which I don't own, is available. You didn't outbid me, did you Bobby?
Elton had the look but not sure he was ever a glam rocker. Bowie moved quickly ,only a year before going all philly soul he was doing Chant Of The Ever Circling Skeletal Men
Bowie was morphing during the summer of 74 on the Diamond Dogs Tour, but what was Elton doing at the same time? Elton experts on here will know. To me as a kid in 73 Elton was Glam Rock. Eg Pinball Wizzard.
I would like to see an extensive wombles reissue campaign. On flat black vinyl, not compressed at all, audiophile quality. Then I would like to see a separate thread for it with those graphs that people post to compare them with the originals. Oh yes, and I would also like mono mixes if there are any, but they could be in a separate box. Finally I would like the whole shebang released on CD box sets as well. I don't think that's an unreasonable request do you?
Thinking that myself, maybe Steve should get involved? Obviously nothing comes close to the original orange label CBS, A1/B2 with Orinoco scratched into the run out groove. Vinyl is the only way for Wombles, preferably where they have been used as frisbees and crayoned, for that authentic 70s sound. Better still, been played with a penny on the headshell.
What with Chris Spedding on guitar and Clem Cattini on drums, The Wombles musicianship was superb. Clem has played on over 40 number 1 singles - a true legend.
is Rick Wakeman the missing link between the glam rock era and the progressive rock era? WAKEMAN: Well, I did all Marc Bolan's stuff as well. A lovely man. I did all T.Rex. MORGAN: I was looking for a credit on his albums and couldn't find one. WAKEMAN: I did a lot of - MORGAN: The singles? WAKEMAN: Yeah, I did "Ride A White Swan" - "Get It On" - In fact, at the time when Marc was really at his height, when T.Rex were just selling shed loads of stuff, I was sitting up at Regal Zonophone with him and Tony Visconti and Marc was having a huge argument with the record company. He was so fed up with them. And he had this song he wanted to record and, for whatever reason, the record company didn't want him to record it. And he said, "Sod it. I'm going into the studio, let's record it." And Tony Visconti, who was the producer, said: "OK, but the record company won't release it."So we went in and recorded this track. He only pressed up, I think it was 5,000, and it came out under the band name 'Dib Cochran And The Earwigs.' And it was only way after his death that it came out that it was Marc. I wish I had one. I mean, they've been going for five thousand dollars on eBay if you can find one, they're so collectible. But I'd play on everything from pop records to a lot of the glam stuff to rock stuff to classical stuff. I used to get called to do all those things, it was great. I really enjoyed it because I like people who are adventurous. When you sort of take away - and there's no pun intended - all the glam and glitter, you have to see what's left. And there's a lot of music left. And there were a lot of people like Lou Reed, people like Marc, who had a lot to offer, they were really very clever. David Bowie is far and away the cleverest man I've ever worked with. Far and away. Absolute walking genius, David Bowie was, to work with. I did about 2,000 sessions in four years, and of all those sessions the person I learned more from, was David. Interview with Rick Wakeman ยป
It's the whole Glam 'sound vs look' thing, isn't it? To me, there never was a Glam sound. Slade sounded nothing like Bowie, who sounded nothing like Sweet, who sounded nothing like Sparks, who sounded nothing like Bolan, who sounded nothing like Wizzard, who sounded nothing like Elt or Suzi or Mud..... But all were an integral part of something bigger. Certainly bigger than just simply having hits around the same time. It was a scene that many took advantage of being involved in. Elton was a major part. Glam wouldn't have been the same without him. You could say it made him in some ways. Think about his stage clothes and image. Had there not have been a Glam era, just a continuation of the sweaty long-hair and denim period from '70, and he'd still have been all pink trousers and feather boa, he might have had a few minor hits, faded and gone into West End musicals. Glam gave him a solid platform (no, not just the shoes) to build a far wider audience. Does anyone here think he'd have been as massive as he was on the music alone?
I don't, and his music was excellent in that era. Sometimes you need more, and glam was certainly more, including the shoes!
Saw Chris Spedding live a couple of years back. He didn't play any Wombles stuff. Mind you, he's a hard-looking bastard. If anyone in the crowd had shouted for some, he looked the type that might leap off the stage and t**t them. Great show though. Some had flown over from Japan to see him. That's dedication.
No, but Elton was talented so would have eventually made lots of money anyway,either as a session musician or as part of a group maybe or solo. Glam was like a movement, like Hippy or New Wave, which could encompass different styles but belonged in the same set so to speak. What interests me is how these movements changed into other things - how they end and turn into something else as tastes change. Like garage rock and glam bleeding into punk, soul and funk becoming disco, punk. disco and glam becoming new romantic etc. I find it really interesting.
By the way, did you know that Alvin didn't actually sing a note on that record? There was this guy called Peter Shelley (not the one from the Buzzcocks unfortunately) and he had this dog...
For example Duran Duran combined disco (Chic) and glam (Roxy) to become new romantics. It is fascinating.
