It was electric, so frantically hectic/And the band started leaving, ‘cause they all stopped breathing

If the legend is to be believed, The Sweet’s glam rock classic Ballroom Blitz was inspired by a gig in Ayrshire. Friday marked the 50th anniversary of their gig at Kilmarnock’s Grand Hall, during which they were reportedly bombarded with bottles.

The frenzied atmosphere would go on to inspire one of the genre’s most enduring hits, which has been covered by the likes of The Damned and The Rezillos, as well as Tia Carrere’s Cassandra in Wayne’s World. 

Glam’s short golden age lasted just a few years in the early seventies, but the look and sound would inspire artists for decades to come. From Suede in the 1990s to the Darkness in the 00s, there has been no shortage of acts referencing that period. This month saw the release of a third album from 2021 Eurovision winners Måneskin, an Italian band who have ensured that the glam rock flag still flies in 2023. 

We’ve taken a look at some of the key songs that tell glam rock’s story. 

ROXY MUSIC - VIRGINIA PLAIN (Roxy Music, 1972)

More than 50 years on, Roxy Music’s debut single still sounds fresh and exciting. With Brian Eno and Bryan Ferry among their ranks, the band’s musical innovation and intriguing lyrics set them apart from their glam peers. 

MOTT THE HOOPLE - ALL THE YOUNG DUDES (All The Young Dudes, 1972)

Possibly the glam rock movement’s most anthemic recording, All The Young Dudes was written for the band by David Bowie and reached number three in the charts. Bowie recorded his own version during the sessions for his Aladdin Sane album later that year, but it went unreleased until 1995. 

SLADE - CUM ON FEEL THE NOIZE (Cum On Feel The Noize, 1973)

Glam rock produced two of Britain’s most enduring Christmas songs, with Slade releasing Merry Xmas Everyone just weeks before Wizzard’s I Wish It Could Be Christmas Everyday. Earlier that year, Cum On Feel The Noize and its singalong chorus held the top spot for four weeks. 

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Noel Gallagher clearly knew his glam rock, borrowing the riff from T. Rex’s Get It On for Oasis’ Cigarettes & Alcohol, and his band covered Cum On Feel The Noize as a b-side on Don’t Look Back In Anger. 

WIZZARD - SEE MY BABY JIVE (Wizzard Brew, 1973)

As with their famous Christmas single, See My Baby Jive is heavily influenced by Phil Spector’s ‘Wall of Sound’ production style. With his face-paint and extravagant hair, Wizzard founder Roy Wood was one of the most striking figures in glam rock. 

T. REX - 20TH CENTURY BOY (20th Century Boy, 1973)

Prior to his untimely death in 1977, Marc Bolan was responsible for more memorable riffs and hooks than almost anyone else of his generation. With his androgynous look and a barrage of hits including Get It On, Hot Love and Ride A White Swan, the T. Rex frontman was one of the decade’s most compelling rock stars. 

The relentless 20th Century Boy was covered in 1998 by glam-influenced American band Placebo, who went on to perform it as a duet with Davie Bowie at the following year’s Brit Awards.

THE SWEET - BALLROOM BLITZ (Ballroom Blitz, 1973)

One of glam’s catchiest hits, it was kept off the top spot by Wizzard’s Angel Fingers. The line ‘she thinks she’s the passionate one’ is referenced by the Beastie Boys in 1989’s Hey Ladies. 

MUD - TIGER FEET (Mud Rock, 1974)

A glam rock retrospective without the infectious Tiger Feet would be unthinkable. With over 700,000 copies shifted, it was the biggest-selling single of 1974, a year in which Mud also had number ones with Oh Boy and Lonely This Christmas. 

DAVID BOWIE - REBEL REBEL (Diamond Dogs, 1974)

Bowie’s glam era produced numerous classics, including Queen Bitch and The Jean Genie, with the latter held off the number one spot by Sweet’s Ballroom Blitz. Within 18 months of Diamond Dogs’ release, Bowie had moved on to a more soulful sound with Young Americans, but Rebel Rebel was a triumphant goodbye to this period of his career. 

STEVE HARLEY & COCKNEY REBEL - MAKE ME SMILE (COME UP AND SEE ME) (The Best Years Of Our Lives, 1975)

For all its ‘ooh la la la’ backing vocals and upbeat feel, this song’s message is surprisingly spiteful. Speaking to BBC’s The One Show in 2010, Harley explained that his lyrics addressed the original Cockney Rebel’s break-up, calling it “a finger-pointing piece of vengeful poetry”. That didn’t stop it becoming embraced by the public, topping the charts for two weeks in 1975 and selling over 1.5 million copies worldwide. 

SAILOR - A GLASS OF CHAMPAGNE (Trouble, 1975)

Have you ever heard A Horse With No Name and taken 30 seconds to realise it’s not Neil Young? You’ll need even longer to accept that this isn’t Roxy Music. Intentional pastiche or not, Sailor’s only top 10 hit has stood the test of time and even been sampled by German techno act Scooter. 

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BONUS TRACKS

LOU REED - HANGIN’ ROUND (Transformer, 1972)

Having made his name with the Velvet Underground, Lou Reed hit his peak as a solo artist with Transformer, which featured the likes of Perfect Day, Satellite of Love and Walk on the Wild Side. Speaking to PBS in 1998, Reed said: “Glam rock, androgyny, polymorphic sex, I was right in the middle of it. Some say I could have been at the head of the class.” 

NEW YORK DOLLS - PERSONALITY CRISIS (New York Dolls, 1973)

Glam was a predominantly British phenomenon, but the New York Dolls joined Lou Reed in the ranks of American acts bearing its influence. Scotland’s Teenage Fanclub teamed up with Donna Matthews to cover Personality Crisis for the soundtrack of Todd Haynes’ 1998 glam rock drama Velvet Goldmine. 

The Dolls were a favourite of Morrissey’s, but don’t hold that against them. 

JOBRIATH - I’M A MAN (Jobriath, 1973)

The first openly gay artist to be signed to a major pop music label, Jobriath was often compared to David Bowie but carved his own path as a musical trailblazer. While he didn’t score any chart hits before dying of AIDS in 1983, he’s become a cult figure cited as an influence by the likes of Marc Almond, The Pet Shop Boys and Scissor Sisters.

Jobriath was a favourite of Morrissey’s, but don’t hold that against him. 

SUZI QUATRO - CAN THE CAN (Can The Can, 1973)

While Quatro was one of the few glam rock Americans, her chart success came after moving to Britain. A number one in four countries, it made a star of the bassist who is otherwise best known for her role in American sitcom Happy Days.

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SPARKS - THIS TOWN AIN’T BIG ENOUGH FOR THE BOTH OF US (Kimono My House, 1974)

A striking Top Of The Pops performance propelled this classic to number two in the charts. Decades since the end of the glam rock era, Sparks are still releasing acclaimed albums, including 2015’s FFS collaboration with Scotland’s Franz Ferdinand. 

The Darkness frontman Justin Hawkins covered This Town Ain’t Big Enough For The Both Of Us with his British Whale side-project, and Sparks’ Mael brothers appeared in the video. 

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