GLAM ROCK More Glam

GLAM ROCK More Glam - US Style

GLAM ROCK BEAR'S GLAM ROCK SITE

HOMEPAGE

THE BIG THREE

THE CAMP GUITARIST FACTOR

GLITTER ROCK

THE IMAGE CHANGERS

GLAM GIRLS

FASHIONABLY LATE AND FRESH FROM ART SCHOOL

GOING SOLO

GLAM US STYLE

GLAM AUSTRALIAN STYLE

GLAM EUROPEAN STYLE

GLAM INTERNATIONAL STYLE

GLAM POP

GLAM ROCKERS

ODDS & ENDS

JUNK SHOP GLAM

FILMS, SHOWS & TV

THE GLAM ROCK LEGACY

GLAM ROCK CHRISTMAS

GLAM ROCK LINKS

GLAM ROCK DISCOGRAPHIES

GLAM DIARY

GLAM COVERS

GLITTERY OBITUARY

GLAM ROCK FOR SALE

WHO IS GLAM ROCK BEAR?

More Glam - US Style

BROWNSVILLE STATION had the correct musical stylings and platform boots to make it as glam rock artists (Brownsville’s cover of Gary Glitter’s ‘I’m The Leader Of The Gang’ was arguably even greater than the leader’s own version), however nervousness in the American arena prevented them from taking it any further. They supported SLADE on their first US tour in '73.

TODD RUNDGREN on the other hand wore the clothing and had the connections (producing the NEW YORK DOLLS), but in musical style was at glam’s polar opposite (wherever that was). He was, however, notable in the movement for being one of the first US stars to cause a scandal through wearing eye shadow on a national TV broadcast.

FANCY (not to be confused with the 80's disco group of the same name) scored international success (at least everywhere except the UK) with their terrific glam cover of The Troggs' 'Wild Thing'. That record was sung by sultry former Penthouse pet Helen Caunt, but the band then chose to take a more serious route and recruited a new singer to replace her. A series of unsuccessful follow ups put a stop to their aspirations.

MILK'N'COOKIES (whose line-up included Sal Maida, one of Roxy's ever changing line-up of bassists) followed Sparks route of moving to the UK in search of a recording contract. They found one with Island, but then apparently botched it by bad-mouthing the Bay City Rollers while on a promotional visit to Scotland. Their album did eventually appear, but not until after the group had split. Musically their sound was more akin to British glam pop than their American contemporaries. Singer Ian North later fronted similarly unsuccessful new wave act NEO.

WAYNE COUNTY emerged from Andy Warhol's factory, and was involved with the London production of 'Pork', which reportedly was a major influence on Bowie's change of image. He was also both DJ and a regular performer (with his band QUEEN ELIZABETH) on the New York glam scene. He went on to become a major figure in the punk scene with his group THE ELECTRIC CHAIRS, before finally going the whole hog and becoming JAYNE COUNTY in the early 80's.

PANDORA went pretty much un-noticed at the time with only a flexi-disc release to publicise their existance, but have recently been rediscovered following a CD release of their 70's recordings, although their line-up still remains a mystery.

THE RUNAWAYS fitted the bill, but came along too late in the day to make any chart impact in the UK, although 'Cherry Bomb' is now regarded as a classic. Lead singer JOAN JETT later forged a successful solo career from cover versions of glitter rock anthems like Gary Glitter’s ‘Do You Wanna Touch?’ and the Arrows ‘I Love Rock & Roll’.

The Runaways svengali, KIM FOWLEY, enjoyed a long and varied recording career in his own right, including a number of glam-styled recordings in the early 70's.

Previously featured on the Junk Shop Glam pages, DAVID WERNER released 3 albums during the 70's, the last of which made the US charts. His first 2 albums were in the style of prime era Bowie or Mott. Judging from the amount of e-mails I have received, he still has a big loyal fanbase.

TOMMY JAMES, who had enjoyed 60's hits such as 'Mony Mony', attempted a mid-seventies career revival when he covered songs by Gary Glitter and Suzi Quatro.

Although more usually lumped in with the punk rock genre, BLONDIE (and in particular lead singer DEBBIE HARRY) owe as much to glam in their visual and musical style as they do to punk. Blondie were also initally produced by Sweet/Mud/Suzi producer Mike Chapman, and included former Silverhead bassist Nigel Harrison.

THE TUBES were more of a glam satire than the real thing, along the lines of Kiss.

A couple of other US glam bands which have been brought to my attention by members of the bands themselves are ANOTHER PRETTY FACE and BANG! Check out their respective excellent web pages for more information.

Also deserving of a mention here are TWISTED SISTER, who formed in the early 70's and claim Slade and the Dolls as their influences, though it wasn't until the early 80's that they broke through commercially as forerunners of the glam metal movement.

The New York glam scene which spawned the New York Dolls also produced a number of other groups, most appear to never have commited any recordings to vinyl. These included THE MAGIC TRAMPS (who have a new website coming soon), TEENAGE LUST, THE MIAMI'S, THE HARLOTS OF 42ND STREET, and RUBY & THE REDNECKS (who reformed in the late 90's and have recently released their first CD). Similarly L.A.'s first glam band, and regulars at notorious glam haunt Rodney's English Disco, were ZOLAR-X, who did at least manage some recordings .

More US acts who toyed with the glam sound and/or image, include FLASH CADILLAC & THE CONTINENTAL KIDS (who recorded US covers of UK glam hits such as 'Dancin' on a saturday night' and 'See my baby jive'), FIVE DOLLAR SHOES, RICK DERRINGER, DARYL HALL & JOHN OATES, SUICIDE and BLACK OAK ARKANSAS.

Mention Glam Rock to Americans and chances are that they will think you are talking about the Glam Metal groups of the mid-late 80’s of the likes of POISON, MOTLEY CRUE etc. While these bands certainly owe a debt of gratitude to the artists listed here, theirs is another story.

Brownsville Station