![]() one, wraps with a Who cover: My Generation. As deep cuts go, this one’s a banger! Heavy and cool. As usual, the verses are way better than the chorus but classic nonetheless. Whew, with that over let’s move on to the original Fox On The Run. This kinda stuff works live but I wouldn’t put it on a studio album. Well over eight minutes long and dominated by a five-minute drum solo. Sweet, of course, add lyrics - the title, anyway. The first is a bedazzling version of Elmer Bernstein‘s instrumental theme from 1956’s The Man With The Golden Arm. This is the one I’d drop for Ballroom Blitz. ![]() When I looked that up I noticed Scorpions also have a song called Lady Starlight. JFC, do they ever say “lady” A LOT in this number. The last track on the first side is the super-’70s-titled Lady Starlight. It’s like a drink made from Boston and Slade. The kind where the lead singer should have his arms stretched out wide, summoning the spirits of rock like some sort of showboat mountain bird soaring on thermals. Then it’s Medusa, which starts with appropriately “spooky” synth, giving way to a cool bassline and a whole lot of affected, soaring guitar chords. This is the second one in a row that’s weak. I much prefer Cheap Trick’s narrative where the parents “got my KISS records out.” Besides, Sweet aren’t great at writing choruses. This is a decent but simple little glam banger aimed at teens whose parents don’t get their music and why it has to be played so loud. I mentioned earlier that this one created some minor controversy and was actually banned for including the lyrics “I can’t take no more of that God-awful sound, so for God’s sake turn it down.” Broadcasters took issue with the lord’s name and not the poor grammar. The latter just happens to be the next song up, the first of seven not on the Capitol version. version of Desolation Boulevard: The Six Teens and Turn It Down. Mostly they were a songwriting duo, but they also produced several acts including Suzi Quatro and Mud. The album was produced by Michael Donald “Mike” Chapman and Nicholas Barry “Nicky” Chinn - known as Chinn & Chapman. Quite an excellent mix, I should point out. It has a brilliant face-melter guitar solo in it. This song is also great, apart from the sorta lame chorus. Solid Gold Brass is next, and the only other song which you can hear on both the U.K. Not as lovely as Queen or ELO, but pretty great. Loads of the signature Sweet/glammy high-pitched backing vocals here and throughout. This song is also where the album title comes from. Sweet were trying to write specifically for their fans, even using random, common proper names. By this I mean heavy-strummed acoustic guitar with electric guitar and thunderous drums overtop. The Six Teens, which is on both versions, is a solid, very Ziggy-era Bowie-esque cut. Two of the eight songs in the set were from Desolation Boulevard. In fact, they (he) did a show at Cooper Park in Elgin, Scotland on April 30. ![]() Only Scott survives, and yes - he does perform as Sweet. Andy is Andy Scott, who plays guitar and synth, and Mick Tucker is the drummer. Incidentally - we all know that famous Blitz intro? “Are you ready Steve? Andy? Mick? Alright fellas - let’s go!” It’s sung by Brian Connolly. My version would drop all the Sweet Fanny Adams songs, but find a way to include Ballroom Blitz. Weird, isn’t it? Totally different records. Solid Gold Brass (from Desolation Boulevard) I Wanna Be Committed (from Sweet Fanny Adams) The 6-Teens (from Desolation Boulevard, but different spelling) My Generation (Who cover, not on Capitol version) Capitol Version (1975) Man With The Golden Arm (not on Capitol version)įox On The Run (original non-single version) RCA original - is more Sweet Fanny Adams than Desolation Boulevard. Truthfully, the Capitol pressing - released the year after the U.K. The North American version also has a bunch of songs from the previous album - Sweet Fanny Adams - rather than the slightly controversial single Turn It Down. ![]()
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