well 10cc faired better in the albums charts - they had a run of six top ten albums in the UK (their home) thru the 70s and also did ok in the states making the billboard top 40 a couple of times
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Hi again brEnsksi
10CC certainly did do way better in the album charts in the UK and the US than Sweet did. But I think Eric Stewart's point is still valid in the sense that if they didn't have a hit single, then the album sank. I love 10CC too, by the way.
The problem I think started for Sweet because they were transitioning from being a singles band. They were only releasing singles on their own back in 1973. If they had released an album at the time of their big glam rock hits back then, then maybe they would have got some momentum in the album charts too. (That certainly happened in Australia with The Sweet Singles in 1975, which was released while Fox was roaring up the charts to become the biggest song of the year in Oz).
In 1974 they released Sweet Fanny Adams with no singles on it, and it charted at number 27 for only one week. Then no album was issued at the time of Fox On the Run the single's release, and even Action was released before Give Us A Wink, and only got to number 20 in the UK anyway.
So the Wink album only had Lies in Your Eyes as a single to directly support it. And that song then only got to number 35 in the UK, whereas it went top 10 in Germany and Scandinavia as did the album in those places.
Level Headed then never charted in the UK, despite the success of Love is Like Oxygen. Then incredibly a follow up single off the album was never released there. Almost as bad was the fact that in the territories where one was released, it didn't have Brian singing the vocal. California Nights with Steve Priest singing it, did very little. Even in Germany it only got to Number 23. I guess in hindsight its easy to say that should have been a sign not to sack Brian.
So it was definitely a case of mistakes and missed opportunities with The Sweet, and this was especially the case with the UK's album charts. Yet they still did have some reasonable albums chart action in Germany, Scandinavia and Australia. And Desolation Boulevard got up to number 5 in Canada (probably because Little Willy was a million seller) and also went Gold in the US even though it only reached number 25. And Sweet have even managed to sell some albums in the UK over the years since then, as Sweet Fanny Adams has gone gold and Desolation Boulevard has managed to go silver.
10CC certainly did do way better in the album charts in the UK and the US than Sweet did. But I think Eric Stewart's point is still valid in the sense that if they didn't have a hit single, then the album sank. I love 10CC too, by the way.
The problem I think started for Sweet because they were transitioning from being a singles band. They were only releasing singles on their own back in 1973. If they had released an album at the time of their big glam rock hits back then, then maybe they would have got some momentum in the album charts too. (That certainly happened in Australia with The Sweet Singles in 1975, which was released while Fox was roaring up the charts to become the biggest song of the year in Oz).
In 1974 they released Sweet Fanny Adams with no singles on it, and it charted at number 27 for only one week. Then no album was issued at the time of Fox On the Run the single's release, and even Action was released before Give Us A Wink, and only got to number 20 in the UK anyway.
So the Wink album only had Lies in Your Eyes as a single to directly support it. And that song then only got to number 35 in the UK, whereas it went top 10 in Germany and Scandinavia as did the album in those places.
Level Headed then never charted in the UK, despite the success of Love is Like Oxygen. Then incredibly a follow up single off the album was never released there. Almost as bad was the fact that in the territories where one was released, it didn't have Brian singing the vocal. California Nights with Steve Priest singing it, did very little. Even in Germany it only got to Number 23. I guess in hindsight its easy to say that should have been a sign not to sack Brian.
So it was definitely a case of mistakes and missed opportunities with The Sweet, and this was especially the case with the UK's album charts. Yet they still did have some reasonable albums chart action in Germany, Scandinavia and Australia. And Desolation Boulevard got up to number 5 in Canada (probably because Little Willy was a million seller) and also went Gold in the US even though it only reached number 25. And Sweet have even managed to sell some albums in the UK over the years since then, as Sweet Fanny Adams has gone gold and Desolation Boulevard has managed to go silver.
Sorry, double post. Please see below.
brENsKi wrote:
some songs:
dream on, silver bird have a disctinctly "queen" feel about them either musically, or harmony
air on a loop - feels a bit 10cc/ELO/JM Jarre feel
and the doobie/steely dan/purple mkIV funk thing definitely slipped into, oxygen, strong love, california nights
and fountain reminds me of an old "jigsaw" song
Level Headed is not the most popular album with the fans on The Sweet Forum, possibly because it was too great a departure on their earlier stuff. But I think it showed that they were maturing as musicians and could do much more than just play melodic or heavy rock. The fans mainly prefer the demos to the album, before it got its acoustic and orchestral finish to it.
Queen is never far away as Sweet's harmonies are pretty gorgeous on this album, especially for me on Dream On, Strong Love and Fountain. Re Air on A Tape Loop, Andy says that was Sweet doing Pink Floyd.
I also always liked California Nights, but wasn't crazy about Silverbird, although lots of people say it should have been the followup single to Oxygen. I quite like the duet with Stevie Lange and I love Lady of the Lake, with Brian's vocal, the strings and the lovely Elizabethan feel to it. There is actually a lovely alternate version to that one as well, but it isn't on YouTube unfortunately.
However the jewel of the album for me and most Sweet fans is definitely the extended version of Love is Like Oxygen. Super single and a lovely build up in the middle of the song. Sad to think this album never breached the top 50 in either the UK or the US. But its great that you know it despite its relative lack of success over there.
some songs:
dream on, silver bird have a disctinctly "queen" feel about them either musically, or harmony
air on a loop - feels a bit 10cc/ELO/JM Jarre feel
and the doobie/steely dan/purple mkIV funk thing definitely slipped into, oxygen, strong love, california nights
and fountain reminds me of an old "jigsaw" song
Level Headed is not the most popular album with the fans on The Sweet Forum, possibly because it was too great a departure on their earlier stuff. But I think it showed that they were maturing as musicians and could do much more than just play melodic or heavy rock. The fans mainly prefer the demos to the album, before it got its acoustic and orchestral finish to it.
Queen is never far away as Sweet's harmonies are pretty gorgeous on this album, especially for me on Dream On, Strong Love and Fountain. Re Air on A Tape Loop, Andy says that was Sweet doing Pink Floyd.
I also always liked California Nights, but wasn't crazy about Silverbird, although lots of people say it should have been the followup single to Oxygen. I quite like the duet with Stevie Lange and I love Lady of the Lake, with Brian's vocal, the strings and the lovely Elizabethan feel to it. There is actually a lovely alternate version to that one as well, but it isn't on YouTube unfortunately.
However the jewel of the album for me and most Sweet fans is definitely the extended version of Love is Like Oxygen. Super single and a lovely build up in the middle of the song. Sad to think this album never breached the top 50 in either the UK or the US. But its great that you know it despite its relative lack of success over there.
Lord Fickle wrote:
I have to say, the Level Headed album didn't really do it for me. I loved LILO, Silverbird, and Lady of the Lake, primarily because Brian sang on them, but I didn't really go much on the other tracks. Fountain wasn't bad, and apparently, Brian did do a vocal for that, but I don't think it's ever surfaced.
Hi Lord Fickle
You're not the only one not to really go for that album. But if you replaced Silverbird with California Nights, you would have my four favourites, probably with Dream On next.
Do you also know Wink and Off the Record? They ARE popular amongst most Sweet fans. And the album they did while Brian was leaving called Cut Above The Rest just happens to be my favourite album, despite the vocals being distinctly weaker. Its a mix of pop, rock and even prog and includes the proggish Mother Earth and the anti-disco rant Discophony The latter has two interesting solos on the synth and guitar. Check out the links if you are interested.
Mother Earth > http://www.youtube.com/watch?v=YreljWuvfMs
Discophony http://www.youtube.com/watch?v=kIGbVivbTXw
I have to say, the Level Headed album didn't really do it for me. I loved LILO, Silverbird, and Lady of the Lake, primarily because Brian sang on them, but I didn't really go much on the other tracks. Fountain wasn't bad, and apparently, Brian did do a vocal for that, but I don't think it's ever surfaced.
Hi Lord Fickle
You're not the only one not to really go for that album. But if you replaced Silverbird with California Nights, you would have my four favourites, probably with Dream On next.
Do you also know Wink and Off the Record? They ARE popular amongst most Sweet fans. And the album they did while Brian was leaving called Cut Above The Rest just happens to be my favourite album, despite the vocals being distinctly weaker. Its a mix of pop, rock and even prog and includes the proggish Mother Earth and the anti-disco rant Discophony The latter has two interesting solos on the synth and guitar. Check out the links if you are interested.
Mother Earth > http://www.youtube.com/watch?v=YreljWuvfMs
Discophony http://www.youtube.com/watch?v=kIGbVivbTXw
Lord Fickle wrote:
Heavenite wrote: Hi Lord FickleYou were at the Hammersmith Odeon gig in 1978? You lucky so and so.
Yup, I was 13 at the time, and it was my very first gig. My older cousin took me on the back of his motor bike. Trouble was, we got there and realised we'd forgotten the tickets, so had a mad dash back through London to get them! Luckily, I think the band came on late, and we didn't miss anything. I remember being deaf for a couple of days afterwards lol!I was also thinking earlier, how interesting it would be to have the tables turned somewhat, and hear Brian Connolly singing stuff like Gates of Babylon, Stargazer, Man on the Silver Mountain, Kill The King, etc. I think he would have perhaps fitted in with Rainbow, better than Dio would have with Sweet. Now, there's a thought... :)
Nice idea Lord Fickle!
I only have Holy Diver at this point, but I think you're right. Brian seems to have had the "sweeter" voice of the two, but still seemed to be able to do the heavier stuff. Probably a bit like Freddie in that respect.
Although apparently the heavier stuff contributed to his vocal problems, so maybe he wouldn't have been up for the touring so much.
Heavenite wrote: Hi Lord FickleYou were at the Hammersmith Odeon gig in 1978? You lucky so and so.
Yup, I was 13 at the time, and it was my very first gig. My older cousin took me on the back of his motor bike. Trouble was, we got there and realised we'd forgotten the tickets, so had a mad dash back through London to get them! Luckily, I think the band came on late, and we didn't miss anything. I remember being deaf for a couple of days afterwards lol!I was also thinking earlier, how interesting it would be to have the tables turned somewhat, and hear Brian Connolly singing stuff like Gates of Babylon, Stargazer, Man on the Silver Mountain, Kill The King, etc. I think he would have perhaps fitted in with Rainbow, better than Dio would have with Sweet. Now, there's a thought... :)
Nice idea Lord Fickle!
I only have Holy Diver at this point, but I think you're right. Brian seems to have had the "sweeter" voice of the two, but still seemed to be able to do the heavier stuff. Probably a bit like Freddie in that respect.
Although apparently the heavier stuff contributed to his vocal problems, so maybe he wouldn't have been up for the touring so much.
Lord Fickle wrote:
I was also thinking earlier, how interesting it would be to have the tables turned somewhat, and hear Brian Connolly singing stuff like Gates of Babylon, Stargazer, Man on the Silver Mountain, Kill The King, etc. I think he would have perhaps fitted in with Rainbow, better than Dio would have with Sweet. Now, there's a thought... :)
it certainly is...although when you think how Bonnet only just got by on the older Rainbow stuff live (and he had a great set of pipes on him) makes me wonder how Connolly's voice woulda coped
Heavenite wrote: Lord Fickle wrote:
Heavenite wrote: Hi Lord FickleYou were at the Hammersmith Odeon gig in 1978? You lucky so and so.
Yup, I was 13 at the time, and it was my very first gig. My older cousin took me on the back of his motor bike. Trouble was, we got there and realised we'd forgotten the tickets, so had a mad dash back through London to get them! Luckily, I think the band came on late, and we didn't miss anything. I remember being deaf for a couple of days afterwards lol!I was also thinking earlier, how interesting it would be to have the tables turned somewhat, and hear Brian Connolly singing stuff like Gates of Babylon, Stargazer, Man on the Silver Mountain, Kill The King, etc. I think he would have perhaps fitted in with Rainbow, better than Dio would have with Sweet. Now, there's a thought... :)
Nice idea Lord Fickle!
I only have Holy Diver at this point, but I think you're right. Brian seems to have had the "sweeter" voice of the two, but still seemed to be able to do the heavier stuff. Probably a bit like Freddie in that respect.
Although apparently the heavier stuff contributed to his vocal problems, so maybe he wouldn't have been up for the touring so much.
I think probably the chain-smoking and heavy drinking contributed more, according to an interview I saw recently with Steve Priest. Didn't he also sustain a throat injury in a brawl outside a nightclub in 1976? Seems that could have been where it all started going downhill for him.
brENsKi wrote:Lord Fickle wrote:
I was also thinking earlier, how interesting it would be to have the tables turned somewhat, and hear Brian Connolly singing stuff like Gates of Babylon, Stargazer, Man on the Silver Mountain, Kill The King, etc. I think he would have perhaps fitted in with Rainbow, better than Dio would have with Sweet. Now, there's a thought... :)
it certainly is...although when you think how Bonnet only just got by on the older Rainbow stuff live (and he had a great set of pipes on him) makes me wonder how Connolly's voice woulda coped
Yes, I was thinking more the '73-'77 Connolly voice, while it was still in good shape, though, you're right, he probably wasn't a match for Dio. Who was?
Heavenite wrote: Lord Fickle wrote:
I have to say, the Level Headed album didn't really do it for me. I loved LILO, Silverbird, and Lady of the Lake, primarily because Brian sang on them, but I didn't really go much on the other tracks. Fountain wasn't bad, and apparently, Briandid do a vocal for that, but I don't think it's ever surfaced.
Hi Lord Fickle
You're not the only one not to really go for that album. But if you replaced Silverbird with California Nights, you would have my four favourites, probably with Dream On next.
Do you also know Wink and Off the Record? They ARE popular amongst most Sweet fans. And the album they did while Brian was leaving called Cut Above The Rest just happens to be my favourite album, despite the vocals being distinctly weaker. Its a mix of pop, rock and even prog and includes the proggish Mother Earth and the anti-disco rant Discophony The latter has two interesting solos on the synth and guitar. Check out the links if you are interested.
Mother Earth > http://www.youtube.com/watch?v=YreljWuvfMs[/url[/url[/url]]]
Discophony http://www.youtube.com/watch?v=kIGbVivbTXw
[/QUOTE]
Yes, I know all of their material intimately. I am lucky enough to be of an age where I bought all the records as they came out, so I followed the band's career in 'real time', so to speak. I still have GUAW in it's original 'slide up' sleeve, which gave the appearance of the winking eyes. I loved the albums, and especially collecting all the different versions of songs like Action, the Strung Up version of which still eludes me in CD or digital format.
I always felt, however, that the real rockers on those LPs, namely, White Mice and She Gimme Lovin', were a bit of a let down, and could have been done much better - give them a better production, and a proper, non-fade, ending, for a start. That said, the remasters do sound a lot better than the originals, and they have matched the audio dynamics on the tracks very well, given the diversity of the production values on the original releases. Sorry, I'm getting a bit geeky now, but the overall sound of a recording does as much for me as the quality of the performance and composition. Windy City, Live for Today, Lost Angels, to name a few, all sound as fresh today as when they were recorded (same as many of the old Queen recordings), but some of 'Wink', was quite 'muddy' in it's sound, and White Mice lacked the punch that a track like that needs. It would be great to get hold of some stems for Sweet stuff, but I don't know if any exist.
Here's a clip, and great version I hadn't heard before. This is comparable with the Queen BBC version of GOFLB, in that it's much better than the original! Just listen to Mick's drumming. That guy was phenomenal, and never really got the recognition he deserved. I know this isn't actually live, but it's a great sounding re-recorded audio.
http://www.youtube.com/watch?v=7Q8GMLu9S3g
http://www.youtube.com/watch?v=7Q8GMLu9S3g
brENsKi wrote:
Lord Fickle wrote:
I was also thinking earlier, how interesting it would be to have the tables turned somewhat, and hear Brian Connolly singing stuff like Gates of Babylon, Stargazer, Man on the Silver Mountain, Kill The King, etc. I think he would have perhaps fitted in with Rainbow, better than Dio would have with Sweet. Now, there's a thought... :)
it certainly is...although when you think how Bonnet only just got by on the older Rainbow stuff live (and he had a great set of pipes on him) makes me wonder how Connolly's voice woulda coped
Yes, I doubt it would have brENski. Brian's voice is completely shot in some of the soundboard recordings in 1976 when they were touring Give Us A Wink.
Lord Fickle wrote:
I was also thinking earlier, how interesting it would be to have the tables turned somewhat, and hear Brian Connolly singing stuff like Gates of Babylon, Stargazer, Man on the Silver Mountain, Kill The King, etc. I think he would have perhaps fitted in with Rainbow, better than Dio would have with Sweet. Now, there's a thought... :)
it certainly is...although when you think how Bonnet only just got by on the older Rainbow stuff live (and he had a great set of pipes on him) makes me wonder how Connolly's voice woulda coped
Yes, I doubt it would have brENski. Brian's voice is completely shot in some of the soundboard recordings in 1976 when they were touring Give Us A Wink.
Lord Fickle wrote:
Heavenite wrote:
Lord Fickle wrote:
Heavenite wrote:
Hi Lord FickleYou were at the Hammersmith Odeon gig in 1978? You lucky so and so.
Yup, I was 13 at the time, and it was my very first gig. My older cousin took me on the back of his motor bike. Trouble was, we got there and realised we'd forgotten the tickets, so had a mad dash back through London to get them! Luckily, I think the band came on late, and we didn't miss anything. I remember being deaf for a couple of days afterwards lol!I was also thinking earlier, how interesting it would be to have the tables turned somewhat, and hear Brian Connolly singing stuff like Gates of Babylon, Stargazer, Man on the Silver Mountain, Kill The King, etc. I think he would have perhaps fitted in with Rainbow, better than Dio would have with Sweet. Now, there's a thought... :)
Nice idea Lord Fickle! I only have Holy Diver at this point, but I think you're right. Brian seems to have had the "sweeter" voice of the two, but still seemed to be able to do the heavier stuff. Probably a bit like Freddie in that respect. Although apparently the heavier stuff contributed to his vocal problems, so maybe he wouldn't have been up for the touring so much.
I think probably the chain-smoking and heavy drinking contributed more, according to an interview I saw recently with Steve Priest. Didn't he also sustain a throat injury in a brawl outside a nightclub in 1976? Seems that could have been where it all started going downhill for him.
Hi Lord Fickle:
Yes, Steve did say it was the smoking. But a few people on the Sweet website swear it wasn't. I recently asked on here if the changes in Freddie's voice on a Kind Of Magic and Miracle on songs like One Year of Love and Breakthru were smoking related, although the response was more that his voice was steadily lowering as he got older.
So maybe that was also true of Brian to some extent. Although I have read something that Andy Scott said back then to the effect that he had never heard a voice lose its range faster than Brian's did after the stomping it took in that nightclub incident. So that's often regarded as the start of the process of deterioration.
The brawl was actually during the making of Sweet Fanny Adams back in 1974 and Steve had to do some of the vocals for him because Brian's vocal cords were still swollen. As a result, Andy didn't get to rock with The Who, as they had to cancel an offer which they had accepted from Pete Townshend to play with them at a big gig in Charlton. A bit unforgiveable and both Steve and Andy regard that as a critical point and the start of the band's demise.
Heavenite wrote:
Lord Fickle wrote:
Heavenite wrote:
Hi Lord FickleYou were at the Hammersmith Odeon gig in 1978? You lucky so and so.
Yup, I was 13 at the time, and it was my very first gig. My older cousin took me on the back of his motor bike. Trouble was, we got there and realised we'd forgotten the tickets, so had a mad dash back through London to get them! Luckily, I think the band came on late, and we didn't miss anything. I remember being deaf for a couple of days afterwards lol!I was also thinking earlier, how interesting it would be to have the tables turned somewhat, and hear Brian Connolly singing stuff like Gates of Babylon, Stargazer, Man on the Silver Mountain, Kill The King, etc. I think he would have perhaps fitted in with Rainbow, better than Dio would have with Sweet. Now, there's a thought... :)
Nice idea Lord Fickle! I only have Holy Diver at this point, but I think you're right. Brian seems to have had the "sweeter" voice of the two, but still seemed to be able to do the heavier stuff. Probably a bit like Freddie in that respect. Although apparently the heavier stuff contributed to his vocal problems, so maybe he wouldn't have been up for the touring so much.
I think probably the chain-smoking and heavy drinking contributed more, according to an interview I saw recently with Steve Priest. Didn't he also sustain a throat injury in a brawl outside a nightclub in 1976? Seems that could have been where it all started going downhill for him.
Hi Lord Fickle:
Yes, Steve did say it was the smoking. But a few people on the Sweet website swear it wasn't. I recently asked on here if the changes in Freddie's voice on a Kind Of Magic and Miracle on songs like One Year of Love and Breakthru were smoking related, although the response was more that his voice was steadily lowering as he got older.
So maybe that was also true of Brian to some extent. Although I have read something that Andy Scott said back then to the effect that he had never heard a voice lose its range faster than Brian's did after the stomping it took in that nightclub incident. So that's often regarded as the start of the process of deterioration.
The brawl was actually during the making of Sweet Fanny Adams back in 1974 and Steve had to do some of the vocals for him because Brian's vocal cords were still swollen. As a result, Andy didn't get to rock with The Who, as they had to cancel an offer which they had accepted from Pete Townshend to play with them at a big gig in Charlton. A bit unforgiveable and both Steve and Andy regard that as a critical point and the start of the band's demise.
Lord Fickle wrote:
Yes, I know all of their material intimately. I am lucky enough to be of an age where I bought all the records as they came out, so I followed the band's career in 'real time', so to speak. I still have GUAW in it's original 'slide up' sleeve, which gave the appearance of the winking eyes.
I loved the albums, and especially collecting all the different versions of songs like Action, the Strung Up version of which still eludes me in CD or digital format.I always felt, however, that the real rockers on those LPs, namely, White Mice and She Gimme Lovin', were a bit of a let down, and could have been done much better - give them a better production, and a proper, non-fade, ending, for a start.
That said, the remasters do sound a lot better than the originals, and they have matched the audio dynamics on the tracks very well, given the diversity of the production values on the original releases. Sorry, I'm getting a bit geeky now, but the overall sound of a recording does as much for me as the quality of the performance and composition. Windy City, Live for Today, Lost Angels, to name a few, all sound as fresh today as when they were recorded (same as many of the old Queen recordings), but some of 'Wink', was quite 'muddy' in it's sound, and White Mice lacked the punch that a track like that needs. It would be great to get hold of some stems for Sweet stuff, but I don't know if any exist.
Hi again Lord Fickle
I followed Sweet from Fox in 1975, but I only really started to get into their albums a year or so later when my sister bought me a copy of The Sweet Singles. I then borrowed a guy at school's Level Headed and was hooked. If you have all the different versions of Action etc., then you are a true Sweet fan. No doubt about it. Cos there are heaps on albums like the CDR Level Headed Rehearsals etc.
In relation to Strung Up, it seems that Steve released a copy of the album quite a few years ago now, but it has the single's ending on Action, rather than the non fadeout ending that was originally the case with the LP. It is pretty rare actually, and I posted a piccie of mine that I bought off Ebay on Sweet's website a couple of years ago. It has no label on it, but does mention Chinebridge Records (not Ltd) on the cover, It is regarded as a bootleg by many on the Sweet site. I'm not entirely sure whether it is or isn't. Here is a link that includes an upload of my copy.
http://thesweetglamforum.yuku.com/topic/6351/Hell-Raisers-CD?page=1
The discussion about Strung Up on the thread basically came about by accident, as you will see.
There is a also Japanese version of Strung Up called Anthology, which also has the single's ending to Action unfortunately. So, as far as I am aware of, noone has the Strung Up ending of Action on CD. Here is a copy of the LP version on Ebay at the moment, but the CD also definitely exists. Note that it is not the same as the recent greatest hits release also called Anthology, which incidently got a 4 star rating from Rolling Stone.
http://www.ebay.com/itm/THE-SWEET-ANTHOLOGY-JAPAN-ISSUE-2LPs-OBI-/350592210542?pt=Music_on_Vinyl&hash=item51a0ec966e
Give Us A Wink is often regarded as a poorly produced album. A bit muddy as you say. I'm not a techo in this respect, but someone on the Sweet website redid the drumming on Healer, and the thing sprang out of the speakers like you wouldn't believe. Only problem was it wasn't Mick Tucker doing the drumming any more, just someone imitating him. I love the playing on White Mice off Wink, but Keep It In and 4th of July are the album tracks that really hit the spot for me (and Action of course).
Regarding Off the Record, I think the vocals on She Gimme Lovin' are a bit overproduced. I much prefer Midnight to Daylight (especially some of the alternative versions with the explicit lyrics), Windy City, Hard Times and Laura Lee. Lost Angels was a song that has everything except for the kitchen sink, and Fever of Love has a gorgeous melody that took Sweet back into the top ten in South Africa after they had missed since Fox on the Run with the heavier Action, Lies in Your Eyes and Lost Angels. I really love Off the Record, as do most Sweet fans, because of its great vocals and melodies as the excellent playing on it.
Yes, I know all of their material intimately. I am lucky enough to be of an age where I bought all the records as they came out, so I followed the band's career in 'real time', so to speak. I still have GUAW in it's original 'slide up' sleeve, which gave the appearance of the winking eyes.
I loved the albums, and especially collecting all the different versions of songs like Action, the Strung Up version of which still eludes me in CD or digital format.I always felt, however, that the real rockers on those LPs, namely, White Mice and She Gimme Lovin', were a bit of a let down, and could have been done much better - give them a better production, and a proper, non-fade, ending, for a start.
That said, the remasters do sound a lot better than the originals, and they have matched the audio dynamics on the tracks very well, given the diversity of the production values on the original releases. Sorry, I'm getting a bit geeky now, but the overall sound of a recording does as much for me as the quality of the performance and composition. Windy City, Live for Today, Lost Angels, to name a few, all sound as fresh today as when they were recorded (same as many of the old Queen recordings), but some of 'Wink', was quite 'muddy' in it's sound, and White Mice lacked the punch that a track like that needs. It would be great to get hold of some stems for Sweet stuff, but I don't know if any exist.
Hi again Lord Fickle
I followed Sweet from Fox in 1975, but I only really started to get into their albums a year or so later when my sister bought me a copy of The Sweet Singles. I then borrowed a guy at school's Level Headed and was hooked. If you have all the different versions of Action etc., then you are a true Sweet fan. No doubt about it. Cos there are heaps on albums like the CDR Level Headed Rehearsals etc.
In relation to Strung Up, it seems that Steve released a copy of the album quite a few years ago now, but it has the single's ending on Action, rather than the non fadeout ending that was originally the case with the LP. It is pretty rare actually, and I posted a piccie of mine that I bought off Ebay on Sweet's website a couple of years ago. It has no label on it, but does mention Chinebridge Records (not Ltd) on the cover, It is regarded as a bootleg by many on the Sweet site. I'm not entirely sure whether it is or isn't. Here is a link that includes an upload of my copy.
http://thesweetglamforum.yuku.com/topic/6351/Hell-Raisers-CD?page=1
The discussion about Strung Up on the thread basically came about by accident, as you will see.
There is a also Japanese version of Strung Up called Anthology, which also has the single's ending to Action unfortunately. So, as far as I am aware of, noone has the Strung Up ending of Action on CD. Here is a copy of the LP version on Ebay at the moment, but the CD also definitely exists. Note that it is not the same as the recent greatest hits release also called Anthology, which incidently got a 4 star rating from Rolling Stone.
http://www.ebay.com/itm/THE-SWEET-ANTHOLOGY-JAPAN-ISSUE-2LPs-OBI-/350592210542?pt=Music_on_Vinyl&hash=item51a0ec966e
Give Us A Wink is often regarded as a poorly produced album. A bit muddy as you say. I'm not a techo in this respect, but someone on the Sweet website redid the drumming on Healer, and the thing sprang out of the speakers like you wouldn't believe. Only problem was it wasn't Mick Tucker doing the drumming any more, just someone imitating him. I love the playing on White Mice off Wink, but Keep It In and 4th of July are the album tracks that really hit the spot for me (and Action of course).
Regarding Off the Record, I think the vocals on She Gimme Lovin' are a bit overproduced. I much prefer Midnight to Daylight (especially some of the alternative versions with the explicit lyrics), Windy City, Hard Times and Laura Lee. Lost Angels was a song that has everything except for the kitchen sink, and Fever of Love has a gorgeous melody that took Sweet back into the top ten in South Africa after they had missed since Fox on the Run with the heavier Action, Lies in Your Eyes and Lost Angels. I really love Off the Record, as do most Sweet fans, because of its great vocals and melodies as the excellent playing on it.
Hi again to both of you guys.
Just on the matter of what happened with Dio, one of the guys on the Sweet website who wrote the definitive book on their career says he actually contacted Dio who confirmed that discussions were held. I will read the book again and see what details there are on what happened.
And another one of the Sweet stalwarts says he has a tape where Andy Scott discussed it. So it may be that we will get some answers on what actually occurred between the two parties at the time.
Just on the matter of what happened with Dio, one of the guys on the Sweet website who wrote the definitive book on their career says he actually contacted Dio who confirmed that discussions were held. I will read the book again and see what details there are on what happened.
And another one of the Sweet stalwarts says he has a tape where Andy Scott discussed it. So it may be that we will get some answers on what actually occurred between the two parties at the time.