Category Archives: Music

You Can’t Judge A Song By Its Cover….

Paul Fitzpatrick: London, July 2021

From the Beatles to Bowie every great artist has recorded a cover version of someone else’s songs.

In many cases you won’t even know it’s a cover, it usually depends on your musical knowledge and whether you’ve heard the original before.

For instance, until recently I had no idea that Adele’s ‘Make You Feel My Love’ was a Bob Dylan track and had previously been released by Billy Joel and Garth Brooks, well before Adele’s version attained over 200 million hits on streaming services.

Dylan’s song is now deemed to be a ‘Modern Standard’ and has been recorded by over 460 different artists, and all the while I thought it was an Adele original.

Nowadays of course I want to know every detail about the music I’m invested in, but when I was younger I couldn’t tell you if a song was a cover version or an original and to be honest it didn’t matter.
I loved Ob-La-Di Ob-La-Da by the Marmalade and cared not that it was a cover and the Beatles version had come before it.

In the early 70s, Bowie with Pinups and Bryan Ferry with Those Foolish Things brought credibility to the concept of ‘cover albums’, sharing their musical influences and displaying their penchant for covers like a badge of honour.

The topic of cover versions came into my mind recently when I was listening to ‘California Dreaming’ by Bobby Womack.
I wondered how many people knew about this version and it got me thinking about my favourite ‘cover versions’ and how I categorise them.

So here’s a ‘not so deep-dive’ into the concept….

When you think the cover is the original:

I think the first time I was caught out like this was with Rod Stewart’s ‘Reason to Believe’, the B side to Maggie May.

It was one of those singles where the B side got almost as much needle-time as the A side (in fact as you can see from the image, it was the original A side, and Maggie May was the B side), but I had no idea that it was a cover version that had been released previously by Tim Hardin.

Rod went on to become quite the cover specialist…. Cat Steven’s ‘The First Cut is the Deepest’, Hendrix’s ‘Angel’ the Sutherland Bros ‘Sailing’ and Carole King’s ‘Oh No not my Baby’ were all big hits for Rod with most of his legion of fans unaware of the original versions.

Similarly, for several years I had no idea that ‘All Along the Watchtower’ by Hendrix was a Dylan song or that ‘Whiskey in the Jar’ was a traditional Irish folk song recorded by The Dubliners before Thin Lizzy made it their own.
Ditto the Isley Bros ‘Summer Breeze’, a Seals & Croft recording and Nilsson’s ‘Without You’, a Badfinger track.

The common thread here is that from Hendrix to Adele there are always tracks that I’m shocked to discover are covers. I’m not suggesting the fact that they’re covers devalues them in any way, indeed, you can argue that there’s a great skill in identifying a ‘hit’ that nobody knows about and making it your own.

When the cover is better than the original:

This is a subjective point and totally in the ear of the beholder.
There’s obviously lots of examples where a cover version is more popular than the original (see Adele above), but I wanted to shine a light on a select band of elite songwriters who are great performers in their own right but for some reason or another there’s a pattern of other artists consistently improving upon some their material….

Bob Dylan: All Along the Watchtower by Hendrix, A Hard Rain’s a-Gonna Fall by Bryan Ferry, George Harrison’s version of ‘If Not For you’ and The Byrds classic, “Mr Tambourine Man’,
just a small selection of tracks that other artists have borrowed and updated from Dylan.

Bruce Springsteen: Patti Smith’s ‘Because the Night’, Manfred Mann’s ‘Blinded by the Light’ and ‘Fire’ by the Pointer Sisters. Three tracks buried beneath Boss anthems that became defining tracks for the artists who covered them

Leon Russell: Donny Hathaway’s ‘A Song for You’, George Benson’s ‘This Masquerade’, Joe Cocker’s ‘Delta Lady’ and The Carpenter’s ‘Superstar’.
Not one of these tracks charted for Leon but they were huge hits for the acts who covered them.

These are all great songs, written by iconic artists so it’s strange that the definitive versions of all of these classics are by other acts and not the original artist.

In some cases it seems that artists can come along, pick up a gem, give it a polish and make it shine even brighter.

Artists who make covers their own:

When Mick Jagger was asked about his favourite Stones cover he said it was Otis Redding’s version of ‘Satisfaction’, which is not a surprise as artists tend to compliment acts that reinterpret their music with a different take on the original… and this is what Otis Redding did, utilising Booker T and the MG’s and the Memphis Horns to give ‘Satisfaction’ the full Stax treatment.

Otherwise, it’s just karaoke….


It’s logical then to be able to love two divergent versions of the same song, particularly if the act covering does it in a manner that breathes new life into it.

Joe Cocker’s ‘With a Little Help from my Friends’ would be a prime example but to be fair there’s lots of candidates…

For instance, Elton John’s ‘Your Song’ is a classic but Billy Paul’s jazzy, Philly-infused rendition completely updates it and takes it to a different level.
It’s well worth a listen if you haven’t heard it before….

Likewise in the early 70s Isaac Hayes went through a phase of taking middle of the road classics like ‘Walk on by’ and ‘Close to You’ transforming them into big orchestral masterpieces lasting up to 12 minutes long.
His versions weren’t necessarily better than the originals, but they were just as good in their own way and they were unmistakably Isaac Hayes. Listen to them and you’ll see where Barry White got his schtick.

In a similar vein, Wilson Pickett’s version of Hey Jude, featuring Duane Allman’s first recording session on guitar, is also a bit special and worth checking out on the playlist.

Of course, you can also add Clapton’s version of Bob Marley’s ‘I Shot the Sheriff’ and the Hendrix versions of All Along the Watchtower and Hey Joe to this list.

Nowadays of course we’re awash with tribute albums and cover versions and songs with samples that sound like old songs, so it’s hard to sort the wheat from the chaff, but if you dig deep enough there are always some diamonds.

As is my wont, I have made up a playlist of some classic 70s based covers, many of them mentioned in this piece which you’re welcome to dip into.

It would also be good to hear about some of your favourite covers on the FB page….

teen heartthrobs – the page niners.

(Post by Colin ‘Jackie’ Jackson of Glasgow – June 2021)

Views expressed in this article are of the author himself, founded more on observation alone and with no forensic analysis of statistics whatsoever. Please don’t send abusive letters and dog poo through the post, should you be offended by the non-inclusion of your favourite ‘Page Niner’- or indeed by the inclusion of one you consider a Front Pager.


(Other Teen Heartthrobs are – or at least, were – available.)

From what I read in my sister’s copies of Jackie magazine, my sister told me about Jackie magazine, I believe the most popular teen heartthrobs of the early to mid Seventies would have been, in no particular order: Donny Osmond; David Cassidy; David Essex, Marc Bolan, Rod Stewart, David Bowie and each of the individual Bay City Rollers.

A weekly magazine featuring only those stars would still have sold in tens of thousands.

Who, though, were the others? Who were the stars that didn’t make the front, back on centre pages so often? Who were more likely, the Page 9 ‘fillers?’

OK – so we’re almost fifty years too late, but let’s show some love for the Teen Heartthrob ‘also rans.’

You can comment and vote for your favourite from the following list of ‘second division stars’ in the poll which features on the

Once Upon a Time in The ‘70s Facebook Group

DAVID SOUL

Attracting fame for his starring role in the hit Seventies TV series ‘Starsky & Hutch,’ he actually set out to be a musician. He first came to the attention of American TV audiences as ‘The Covered Man’ – a 1966 ‘Masked Singer’ feature on The Merv Griffin Show.

The TV detective series quickly established itself in USA and UK, and his partner in (anti) crime, Paul Michael Glaser also became a bit of a pin-up in girls’ magazines.

However, it’s David Soul’s additional musical output that sees him make our poll.

In total, David Soul spent fifty-six weeks in the UK music charts, hitting Number One in both the UK and US with ‘Don’t Give Up On Us’  and matching that in the UK with ‘Silver Lady.’ Both were released in 1977. In the same year, ‘Going In With My Eyes Open’ reached number two, and ‘Let’s Have a Quiet Night In’ managed number eight. The following year, ’It Sure Brings Out The Love In Your Eyes’ was held up just outside the Top Ten at number twelve.

PETE DUEL & BEN MURPHY

Ben Murphy (Kid Curry) (left) and Pete Duel (Hannibal Heyes.)

Pete Duel (Hannibal Heyes) and Ben Murphy (Jedediah ‘Kid’ Curry) were the stars of the hit TV comedy / western, Alias Smith & Jones. The series ran to fifty episodes over three series, though the final seventeen saw the character Hannibal Heyes recast after Pete Dual had sadly taken his own life at the end of 1971.

Merely watching the introduction in the following video reminded how much I loved this programme – I still knew it almost word for word.

Like ‘Starsky & Hutch’ and ‘Happy Days,’ ‘Alias Smith & Jones’ succeeded in harnessing cute looking actors to a dynamic and entertaining story-line, thereby appealing not only to teenage girls but to action focussed boys and adults alike.

Pictures of both actors will have adorned the bedroom wall of many a young girl. I may be wrong here, but my perception was that Ben Murphy slightly edged it in the ‘hot’ stakes?

SCOTT BAIO

Having already played the lead role (alongside Jodie Foster) in the film version of the hit kids’ musical, ‘Bugsy Malone,’ the now sixteen year old Scott was introduced to fans of the fantastic ‘Happy Days’ television series as Chachi Arcola, the young cousin of The Fonz. He then went on to star in the spin-off series, ‘Joanie Loves Chachi,’ in the early 80s.

It’s for the former role that I remember Scott … and why his Jackie or Look-in magazine photo adorned the bedroom wall of many a young girl in the Seventies.

PAUL NICHOLAS

Straight outta left field, this one! Although he had toured with Rocky Horror Show and appeared in ‘Tommy’ as Tommy’s vicious cousin, ‘Cousin Kevin,’ Paul Nicholas was largely unknown in UK … until he set out to conquer the UK music charts in 1976 with three single releases: ‘Reggae Like It Used To Be,’ ‘Dancing With The Captain’ and ‘Grandma’s Party.’

I suspect it was more his smiling, cheeky-boy looks than delivery of cheezy Seventies pop songs that prompted the swooning and cut-out photos stuck onto school jotters. For eight months in 1976 though, Paul Nicholas owned the pre-mid / post-mid pages of Teen magazines everywhere.

(Greater fame was of course to follow though, in the Eighties, when he concentrated on acting, starring first in the short-lived TV sitcom ‘Two Up, Two Down,’ and two years later in the hugely popular ‘Just Good Friends.’ And more recently, of course, ‘Eastenders.’)

BARRY BLUE

It’s very easy to be dismissive of Barry Green (real name) as a bit of a watered down version of ‘he that shall not be named.’ His two biggest hits, ‘(Dancing) On A Saturday Night’ and ‘Do You Wanna Dance’ were both from 1973, his three other lesser successes coming the following year. Resultantly, he would have hovered around Page Nine of Jackie etc, for only a short period of time.

However, prior to that he had co-written ‘Sugar Me’ with Lyndsey de Paul and played bass in the rock band Spice … which later morphed into legends, Uriah Heep! And then, subsequent to all that, he wrote a million seller for Brotherhood of Man and penned hits for artists as diverse as Diana Ross and Andrea Bocelli.

ALVIN STARDUST

He may have been a good deal older than your average Teen Heartthrob of the time (thirty-one, when he scored his debut hit ‘My Coo-Ca-Choo’ in 1973) but as I recall, he was all over the popular magazines throughout 1973 and ’74.

There’s a lot to be said for the leather and studs look, I guess.

SLIK

Formed initially as Salvation in 1970, they played the local clubs and bars of Glasgow, before changing some personnel and name to Slik around four years later.  I’ll bet I’m not the only one reading this who saw them play a least once in the famous Clouds Disco, above The Apollo venue.

Probably more famous now for being Midge Ure’s first band of note, they never-the-less scored a Number One hit with ‘Forever And Ever’ in 1976, followed later in the year by ‘Requiem.’

They were quite obviously targeted for the teenage girls market, but though I didn’t stare longingly and doe-eyed at a poster on my bedroom wall, like many lads of my age, I harboured a grudging admiration for Slik.

And there you have it – the Once Upon a Time in The ‘70s list of Teen Heartthrob also-rans. Is your second, third or even fourth favourite in there?

**JOIN OUR FACEBOOK GROUP TO VOTE IN THE POLL FOR YOUR FAVOURITE, ALMOST-FAVOURITE.**


(POLL CLOSES MIDNIGHT WEDNESDAY 23rd JUNE.)

The Girl With Colitis Goes By

Paul Fitzpatrick: London, June 2021

When I moved to London in 84, I worked beside a guy who had just made the same move but from Manchester rather than Glasgow. We hit it off straight away, moved to a different company together and then after a few years we decided that we wanted to start up our own business, which we did in 1990.

This meant that for nigh-on 20 years I probably spent more time with Laurence than I did with my own wife and young family.
We were constantly travelling, going to see customers all over the UK, Factories in Hong Kong, Cape Town and Morocco. Fabric Suppliers in Italy & France and trade fairs in Europe and the US.

We were different people, but we got on really well, he was a graduate that spoke 3 languages, whilst I was still trying to master English; he loved rugby, I loved football; he drank real ale and red wine, I drank lager & lime.

Still Buddies 37 years on

Still Buddies 37 years on

The one thing we always bonded on apart from work was music, we were a similar age and had grown up listening to the same radio stations and buying the same albums, but Laurence had a unique talent that was even more impressive to me than speaking 3 languages…. he knew the lyrics to any 70s song (and most 60’s songs) that came on the radio!

In the late 80s we worked for a Chinese company and spent a lot of time in Hong Kong just as Karaoke was starting to break through, and before it hit the UK.
We used to travel out to HK to meet customers who were visiting our factory… buyers from UK retailers like Top Shop, River Island and Next, and in the evening we’d take them to one of the first Karaoke Bars to open in Kowloon called The Bali Lounge.

Whilst I’d be scrambling to read the words on the monitor to ‘You’re So Vain’ or ‘New Kid in Town’, Laurence would be face-on to the crowd belting out the song without glancing once at the lyrics.

I asked him once if when he was younger he used to study and memorise lyrics from album sleeves or from those pop mags that were around in the 70s, like Disco 45, but he didn’t need to, he just heard songs on the radio and the lyrics stayed with him.

I would test him with obscure songs, and he rarely failed, it didn’t matter if he liked the song or not, if he’d heard it a couple of times the lyrics always stuck.

I thought about his unique talent the other day as I was listening to one of the songs from our 70s playlist and remembered that I’d been singing the wrong lyrics for nigh on 40 years to a song I love.

The song was Tumbling Dice by The Rolling Stones it was released in 1971 and up until a few years ago I always thought Jagger was singing ‘Tommy the tumblin’ dice’.
I now know of course that it should be…. ‘Call me the tumblin’ dice’.

I love that song and had belted out “Tommy the tumblin dice” at Stones gigs, any die-hard Stones fans within earshot at Glastonbury in 2013 must have cringed.
For nearly half a century I thought the song was about a gambler called Tommy, when in fact it’s a ditty penned by Jagger (riffs by Richards) about love, money and loose women… using gambling metaphors.
There was no Tommy in sight!

I also didn’t realise that there’s an official term for this sort of thing.

Mondegreen: a mondegreen is a mishearing or misinterpretation of a phrase in a way that gives it a new meaning.

It made me think of other classic mondegreens…. like my friend who will go unnamed, who on hearing the track Ziggy Stardust for the umpteenth time finally cracked and asked why Bowie would be ‘Making love with his Eagle’?
When we all know that in fact he was “Making love with his ego’!

Or a girl I knew who genuinely thought Crystal Gale was singing…. ‘Donuts make my brown eyes blue’

I was always big on melodies and never that strong on lyrics when I was younger, so I’ve had a lot of catching up to do with lyrics over the years.

Some lyrics as I knew them didn’t even make sense, but I never stopped to wonder why, for instance why would Kenny Rogers have 400 children, as in….
You picked a fine time to leave me Lucille, with 400 children and a crop in the field’?
Of course, on closer inspection I now know that it was only ‘4 hungry children’ the bold Kenny was left with… he may have been a lothario and a favourite of Dolly’s but he wasn’t that prolific!

There are sites and forums dedicated to mis-heard lyrics now and the three mondegreens below seem to be the ones that pop up the most…

Song – Lucy in the sky with diamonds:
Lyric – ‘The girl with colitis goes by‘ (should be – The girl with kaleidoscope eyes)

Song – Bad Moon Rising:
Lyric – ‘There’s a bathroom on the right‘ (should be – There’s a bad moon on the rise)

Song – Purple Haze:
Lyric – ‘Scuse me whilst I kiss this guy‘ (should be – Scuse me whilst I kiss the sky)

Peter Kay did an excellent stand-up routine based on misheard lyrics that you can find the link for below and if you’ve ever been caught out lyrically, then please share and let us know what your mis-heard lyrics were on the comments or the Facebook page….

Golden Years

Paul Fitzpatrick: London, May 2021

Every generation tends to think there era was best.

And why wouldn’t they… typically, every era has access to more ‘stuff’ and better lifestyle choices than the previous one.

For our generation (late Baby-Boomers born between 1954-1964), I think we hit the sweet spot culturally…. particularly when it comes to music.

My musical awareness began around 1968, just in time to catch the Beatles, and all the brilliant 70s artists that followed.
I look back now and realise that the 70s wouldn’t have been so prolific without the 60s…. with The Beatles, Dylan, Hendrix, Motown, Stax and the Laurel Canyon scene inspiring what was to follow.

And what was to follow was pretty special…….

The Rolling Stones, The Who, Steely Dan, David Bowie, Marvin Gaye, Elton John, Rod Stewart, Neil Young, Joni Mitchell, Paul Simon, The Eagles, Earth Wind & Fire, James Brown, The Doobie Brothers, Roxy Music, T-Rex, Little Feat, Fleetwood Mac, James Taylor, Diana Ross, Aretha Franklyn, Carole King, Carly Simon, Bob Marley, Parliament/Funkadelic, Bobby Womack, Pink Floyd, Al Green, Led Zeppelin, Bob Dylan, Van Morrison, Queen, McCartney, Lennon, Harrison , Yes, Genesis, AWB, The Bee Gees, Deep Purple, Linda Ronstadt, Curtis Mayfield, George Benson, Rory Gallagher, John Martyn, Todd Rundgren…. and many more

Whether you were a fan of some of these acts or not, the one thing they all shared was a prolificacy of output…. amazingly they all managed to release multiple albums of exceptional quality, whilst still finding time to compose, record, tour, collaborate and live a 70s rock ‘n’ roll lifestyle, with all the excesses that entailed.

This image has an empty alt attribute; its file name is groupies.jpg
I’m with the band – On the road with Zep

Indeed, there was so much quality being produced in the 70s that for the first five or six years of the decade it seemed like there was a landmark release every other week.

Take 1971 as an example.

  • The Rolling Stones – Sticky Fingers
  • Carole King – Tapestry
  • Led Zeppelin – Led Zeppelin IV
  • David Bowie – Hunky Dory
  • Marvin Gaye – What’s Going On
  • Rod Stewart – Every Picture Tells a Story
  • John Lennon – Imagine
  • Joni Mitchell – Blue
  • The Who – Who’s Next
  • T Rex – Electric Warrior
  • Cat Stevens – Teaser and the Firecat
  • The Doors – LA Woman
  • Sly and the Family Stone – There’s a Riot Goin’ On
  • The Faces – A Nods as Good as a Wink to a Blind Horse
  • James Brown – Sex Machine
  • Don McLean – American Pie
  • Gil Scott Heron – Pieces of a Man
  • Jethro Tull – Aqualung
  • Pink Floyd – Meddle 
  • James Taylor – Mud Slide Slim 
  • Isaac Hayes – Shaft 
  • Yes – Fragile
  • Paul McCartney – Ram 
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71 A Classic Year

Included in this list from 71 are two of the top three albums of all time, according to Rolling Stone magazine….
Marvin Gaye’s – What’s Going On and Joni Mitchell’s – Blue.
Both seminal and often cited as landmark recordings by other artists and critics, but in truth just two excellent albums from a catalogue of exquisite releases.
There is a neat book about the quality of the music released in 1971 by David Hepworth who describes the year as ‘the most creative in popular music’

Anther remarkable thing about the 70s was the diversity of the music.

Rock, pop, soul, reggae, jazz, punk, folk, glam, funk….. it was one big melting pot where you could find Benny Hill rubbing shoulders at the top of the charts with Jimi Hendrix, Abba with Pink Floyd, and The Wombles with Stevie Wonder.

The 70s record buying public represented a ‘broad church’ of musical styles and tastes and they were all represented in the weekly top 30.

There was also a constant flow of talent breaking through in the 70s.
Take the chart below from July 1972 and you will see the emergence of a few acts making their chart debuts that month, who went on to do pretty well….
Roxy Music, Mott the Hoople, Alice Cooper, ELO

Another barometer of how good an era is, can be measured I think, by the interest in it from future generations.

Based on my own anecdotal evidence, I have a daughter who loves Gladys Knight and Marvin Gaye as much as she loves Beyonce or John Mayer and I have sons who dig Steely Dan, The Rolling Stones and Stevie Wonder as much as they dig Kings of Leon, Foo Fighters or Kanye West.

That only happens when the music is timeless…..

Talking of timeless music, the updated 70s Jukebox links are below.
There are 250 songs on the master playlist now, with the common thread being that they are all singles that would almost certainly have been playing on a jukebox somewhere in the 70s.

Thanks to everyone who contributed, it’s a playlist that’s been curated by you and not surprisingly our choices have proved to be a microcosm of the record buying public with a wide range of tastes and musical styles covered.

It was clear from the song choices coming through at the start that there were two distinctive threads –
Soul/Disco
Classic Pop/Rock

Therefore I’ve prepared two playlists….

1) The Ultimate Playlist which is the master playlist and features all 250 songs, tracks 1-150 are classic pop/rock songs and tracks 151-250 are soul/disco tracks…. select shuffle and it will churn out 17 hours of hit after hit, just like a great jukebox should.

2) The Boogie Nights Playlist features the 100 soul/disco tracks taken from the master playlist which you can boogie or smooch to….. just like a night up Joannas or your favourite 70s nightclub of choice!

Within each playlist I have tried to group the songs in a running order that makes sense but if you’re like me you’ll probably just hit ‘shuffle’, pour out your beverage of choice and boogie round the kitchen like it’s 1975…

To save the playlist to your Spotify library….. press the Spotify icon in the top right hand corner of the playlists above and when you’ve been transferred to the playlist on your own Spotify account, click the Heart icon to save the playlist to your library.

you pays your money …

(Post by Colin ‘Jackie’ Jackson of Glasgow – May 2021)

Who remembers the ‘listening booth?’

In the early 1970s, other than borrowing a record from a friend, or perhaps thieving one, there were very few means of listening to new music. The choice of radio stations was also limited, and their playlists were generally ‘mainstream,’ catering for the masses.

With an L.P. costing around £2/ 5s (£2.25 a year later when decimalisation came into effect) you really wanted to know what you were shelling out for.

It was all very well enjoying a single (‘45’) released by a band or artist, but this was no guarantee they could produce ten or twelve tracks of similar quality – three if ‘Progressive Rock’ bands were your bag.

Misjudgements were costly.

The old ‘try before you buy’ mantra was never more pertinent. Most credible music stores provided some means or other for prospective buyers to skip through the tracks of an album before deciding whether or not to buy.

Of course, this facility was open to abuse. Some shoppers would spend a whole Saturday afternoon on a constant loop of listening to an L.P. re-joining the queue of punters, then listen to another album. This would continue until such time as the store-assistant caught on, and asked the evident time-waster to splash the cash … or leave.

(Guilty as charged m’lud.)

As I mentioned in an earlier post, my very first vinyl L.P. purchase was made initially on the strength of two singles, but backed by the safety net of listening to the remaining tracks on the eponymous John Kongos album.

Whether it were pressure on floor space, the ease of home-taping, or the advent of more specialised radio stations, by the mid-70s though, these booths started to disappear from the high street. And with all the streaming services at our finger tips now, they are not likely to make a comeback in any meaningful sense.

Resultantly, from that time, until the latter became more freely available, I reckon there must have been millions of pounds spent by music fans ‘on spec’ – paid in the simple hope and belief that they were purchasing forty minutes or so of wonderful music.

I also reckon there must be millions of music fans who rue the vanishing listening booth; who have at least one album in their collection that they regret buying; who would rather have spent their equivalent of nowadays, £20 plus on a kebab and a few beers.

So, it’s time to ‘fess up – what album from The Seventies, still in your collection, really disappoints you? What ‘70s album do you flick past without so much as a cursory glance?

What album do you bewail, and why? What disappoints you about this record, and why did you buy it in the first place?

Me? The one and only of my Seventies LPs that I no longer play, and indeed really only bought for one track, is ‘Bat Out Of Hell’ by Meatloaf

(I can almost hear that communal, sharp intake of breath!)

This album was released in 1977. The year of Punk; the year I was wearing ripped jeans and cap sleeve T-shirts. It was everything Punk rebelled against and in truth it troubled me to be seen buying it. But what the heck – I was working. I had money to burn …. and I may as well have done just that.

I was sucked in by the general hype and, it has to be said, a blistering performance on The Old Grey Whistle Test of ‘Paradise by the Dashboard Light,’ featuring Karla Devito. I still love that song.

The rest of the album?

Total pants!

… you takes your chance.

**********

The Tale of Two Keiths and the No.64 Bus

Mark Arbuckle: Glasgow, May 2021

Inspired by the recent Apollo posts I’ve decided to share some of my own gig memories.

On 12th of May 1976 myself and my friend Peter attended The Rolling Stones concert at The Glasgow Apollo. 

I don’t remember too much about the gig but apparently it wasn’t their best as it was beset by sound problems all night.

It’s what happened after the gig that is etched on my mind however.

As we were leaving there was an altercation on the street right outside the main doors.
Peter and I decided to cut along Renfield Lane to avoid whatever was happening. Just as we got to the side door it burst open and a figure hurtled out, slipped on the cobbles and crashed to the ground. I reached down to help him to his feet.

‘Scrag-dab Groog Slubdabahoo!’ spluttered the man and I suddenly realised that the skinny figure I was propping up was a totally wasted Keith Richards!
Almost immediately a black limo screeched to a halt in front of us and a very large man jumped out, removed KR from my arms, opened the back door and threw him onto the back seat!
He grunted ‘Thanks man’ jumped into the car and sped off! The entire incident lasted about 40 seconds!

Peter and I just stared open mouthed at each other and then burst out laughing!

A few weeks later, on 5th June 1976 I was very fortunate to be asked to be part of the security team at ‘The Who Put The Boot In’ all day gig at Celtic Park.

My brother was friendly with a guy (MR) who booked all the bands for Glasgow Tech and he was asked to provide some bodies for the day.
MR was very well known in the UK music industry and even had Pans People at his 22nd birthday party at the old Albany Hotel, where I danced with my long time crush, the gorgeous Cherry Gillespie……but I digress.

My brother and I and 4 other friends duly turned up at Celtic Park at 8.00am and along with 60 other ‘security’ guards were given a briefing on our duties for the day.
We were issued with our yellow ‘Harvey Goldsmith’ security jackets and split up into teams of six.
We were then taken on a tour of the ground’s fire exits, toilets, catering and first aid points.
We were also shown the No Access areas and told that in no uncertain terms that the large, bulky figures sporting the blue ‘Rock Steady’ jackets were the REAL security and we were to assist them whenever asked to!

Our team of six was then told to report to the front of the stadium where the crowds had been gathering for the last few hours. We were to assist the Police confiscating the fans’ alcohol before they entered the stadium! ‘Either drink it where you stand or give it to us!’
We had to open and empty the beer cans and smash the glass bottles into large brick bins. The smell of alcohol was eye watering! People were attempting to consume their entire kerryoot there and then! Especially the ones at the back of the huge queues as the word quickly spread.

I watched a skinny wee guy down a bottle of vodka in the five minutes it took him to get to the turnstile!
I doubt if he saw much of the day’s entertainment!

Though I imagine quite a lot (hunners) of half and quarter bottles of alcohol were missed by our untrained searches and smuggled into the stadium.
(I’m also sure quite a few made it into Yella Jaikets’ zipped pokits!)
After about 2 hours confiscating booze, I was partnered with an older guy and sent to guard the pylon on the right side of the stage. 

We were there to prevent anybody trying to climb up it, but as you couldn’t see the stage from there, nobody did! After a boring half hour my partner announced that he was ‘Offski’ ‘F#€K This’ were his exact words.
I later found out that he was ejected for drinking. I lasted another 15 minutes then abandoned my post and decided to have a wander back stage. Little Feat were on stage and I was enjoying Lowell George’s superb slide guitar work.

Little Feat’s Lowell George

I was talking to a long haired denim clad guy next to me who turned out to be the bass player (Frank O’Keefe… I had to google him) of The Outlaws who had already played their set. 

The Outlaws, Frank O’Keefe second from right

A man approached us and said to Frank ‘Excuse me, this is Alan Longmuir of The Bay City Rollers….’Alan also plays bass’ Frank stared right through him, shrugged a ‘So what?’ and returned to talking to me! I felt really sorry for Alan Longmuir.

A Rock Steady Security Guy shouted ‘Right you! Follow me!’ So I did.

I followed him down a back staircase and emerged outside in a courtyard.

A few weeks before the gig a Sunday newspaper ran a competition to win a gig ticket and the chance to meet Keith Moon and help him smash up a replica of the organ used in Rock Opera, Tommy!

There stood Keith Moon dressed in a leather bikers jacket with tasseled sleeves and brandishing a sledgehammer!

Keith Moon

After posing for press photographs, cackling Keith dealt the first mighty blow to the poor keyboard sending black and white keys flying in all directions! Then he handed his sledgehammer to me and said ‘Your turn’ The competition winner and I then set about the helpless instrument with glee! After 15 minutes our ‘Appetite for Destruction’ waned and we put down our weapons. Keith reappeared and invited us onto The Who’s tour bus for a drink. We were greeted by a stunning 6′ 2″ woman dressed in a black leather basque, fishnet stockings and thigh length leather boots with 4″ stiletto heels! Oh and she was carrying a whip!
The bus had been converted into a fully functioning bar with beer pumps, spirit optics and high stools! We took our seats and Miss Whiplash served our drinks. I had an ice cold beer (very welcome after our exertions) and a Jack & Coke. I did feel a pang of guilt for all the poor sods that had had their carry outs destroyed earlier…but not for long.

Keith was laughing and talking nonstop and it was obvious that he was already quite drunk and had probably partaken of other various substances. It was around 4pm and The Who weren’t due on stage for at least another 5 hours!

Keith offered us a second round but I declined and said I’d better, very reluctantly, get back to work. The competition winner (we never did introduce ourselves) left the bus with me. We were both still on a high after this amazing encounter with one of the legends of rock!

I returned backstage and watched SAHB’s amazing set.
Nobody questioned why I was there and I had a brilliant view!
The crowd went wild at Alex Harvey’s mad antics and Zal and the rest of the band pounded out song after song!

SAHB’s elaborate Vambo set then had to be dismantled and The Who’s much heralded outdoor laser light show (the first in Scotland) was set up.

The crowd were getting a bit restless by the time The Who took the stage about 9.30pm but they played a magnificent set.

However the laser show didn’t really work as intended as it was still pretty light until around 10.30pm.
Then the show was over and I met up again with my brother and his pals as we queued up to be paid.
The deal was ‘Hand in your Yellow Jacket and get paid £1 per hour cash or keep the jacket and get zero. Now if I’d known then that eBay would exist in the future then I would’ve kept the jacket and sold it now for £500!

However I took my  £14.00  handed out by Harvey Goldsmith himself sitting in a little wooden booth. 

HG was beaming as he handed over the little bundles of cash obviously calculating the tens of thousands that he’d personally made from the tour!

I can’t even remember how we all got home from that exhausting but exhilarating day!

Now this last story may not be true…..It was told to me by an older guy who regularly attended gigs throughout 70’s

Fun and substance loving band Dr. Hook were partying hard with their crew and local security at The Central Hotel after their gig at The Apollo.

Dr Hook

One of the band overheard a local guy mentioning ‘Hocken-Shoe-Gal! 
and in their spaced out, inebriated state the sound of this, strange, mystical place must’ve appealed to them and they decided they must visit, so they enquired how to get there.
The local guy suggested a taxi but the band insisted on travelling ‘like the other pilgrims do’ 
‘Then get the No. 64 bus from under the bridge’ They were told, so off they went to Argyle St. and got on the No. 64 bus…. 

Unfortunately they boarded it on the wrong side of the road so instead of travelling east to the magical, mystical Auchenshuggle, they headed west through Finnieston, Partick, Whiteinch, Yoker, Clyebank and arrived at the large concrete terminus of Dalmuir West! 

The band were very confused and didn’t appreciate these surroundings at all! They clambered back on the bus for the return journey back to the city centre to continue their par-tay! Hahaha

True or Not… It’s a great story!! 

show & tell – John Allan

My show and tell is my silver plated alto saxophone. The Selmer Paris Balanced Action model from 1935-36. I realise that 99.99% of the population don’t know or care about this icon of the woodwind world but to us anorak train spotters of vintage saxes, a little bit of wee just came out at the mere mentioning of it’s name.

I bought it in around 1976 from a friend of a friend of my brothers called ‘Pete Tchaikovsky’ for ₤50. Considering big bro hung around with guys called Bev, Mod, Grimy and Fred Lawnmower, I’m guessing PT was a nickname or nom de plume. He could feasibly be related to Pyotr Ilyich but his accent was more east end Glasgow than central European. The Russian composer was also not known as a family man. I could say he was more Sugar Plum Fairy but that would be crass.

In it’s case, when I bought it, was a torn fragment of a football pools coupon from 1946 which I have unfortunately misplaced.

I’ve had the instrument serviced twice since owning it. Once in 1979 by my McCormacks’ colleague woodwind repairman and tenor sax legend Bobby Thomson who valued it at around ₤400 and more recently by a chap in Perth WA who put a price tag of about $4,000 about 15 years ago.

Sadly, the last time I played it live was about 15 years ago at various venues around the area including the annual Blues at Bridgetown festival

I was in a 6 piece jazz band then but became disheartened by being the acoustic wallpaper for the blue rinse set. Maybe, one day, it will rise again Phoenix like from the mausoleum (former music room).

There you have it. My 85 year old alto saxophone.

show & tell – andrea grace burn

Hi everyone – I’ve brought along some of my old record
collection for Show & Tell today; pretty cool, huh?

I kept most of my old 45’s from the ’70s as well as a few of my brother’s singles from the late ’60s: an eclectic hoard including everything from ‘In the Year 2525’ by Zager and Evans to ‘Wide Eyed and Legless’ by Andy Fairweather Low.

‘In The Year 2525’ –
Zager & Evans
‘Wide Eyed & Legless’ –
Andy Fairweather Low

 For my ninth birthday in 1969, my parents bought me a white clock radio, which I covered in ‘Peace’ and ‘Love’ stickers; well, America was in the grip of Flower Power!  I put it on my bedside table, where I drifted off to sleep to some of the best music ever written – Motown!

It was the moment of my musical awakening. This is where I first heard ‘Love Child’ by The Supremes. I went around the house glibly singing it – not understanding the lyrics, of course – causing my mother to shoot me one of her looks and say, “Honey, I don’t think you outta be listenin’ to that.”

It was here that I heard Freda Payne’s ‘Band of Gold’, Bobbi Gentry‘s version of ‘I’ll Never Fall in Love Again’, ‘Aquarius’ by The 5th Dimension, ”I heard it Through the Grapevine’ by Marvin Gaye and the first single I ever bought – ‘Raindrops Keep Falling on My Head’ by B.J. Thomas for the giddy price of 50 cents.

My first single!

My big brother David came home one Saturday afternoon with ‘Sugar, Sugar’, by The Archies tucked under his arm, but he soon tired of it and decided to sell it. My middle brother Dale and I both wanted it but David refused, saying he would “still have to listen to it!” He sold it to a friend. I bought an equally annoying single called ‘Dizzy’ by Tommy Roe and would jump up and down on the sofa until I felt sick while listening to it: life imitating art.

My parents had a 1950s stereogram in the living room on which we could drop stack 45’s.  As my brother’s record collection grew, we could listen to four or five singles at a time. A typical selection might include ‘The Snake’ by Al Wilson, ‘Hawaii Five-O’ by The Ventures, Simon and Garfunkel‘s ‘Cecilia’, ‘Classical Gas’ by Mason Williams and the comic record ‘Gitarzan’ by Ray Stevens – which still makes me howl with laughter! Mom and Dad played their own small selection of LPs which favoured Andy Williams, Frank Sinatra and The Sound Of Music soundtrack.

Mom got so carried away with this ‘hip’ new music, she made Dale a blue corduroy shirt with a gold braid Nehru collar and paid a dance instructor to come to the house and teach us all to do the Twist, the Hitch-hiker and the Watusi.

‘How Can I Be Sure’ –
David Cassidy

As we moved to the UK and throughout the 1970s, my musical tastes grew and changed – as any teenager’s do. I ran the gamut of chart singles, getting ‘lost in music’  with  my friend Denise; spending countless weekends sprawled across the dining room floor swooning to David Cassidy, Marc Bolan and The Carpenters – even Morris Albert! But Motown, Philly and disco stole my heart and still have it.

So please take a moment to enjoy my little collection of 45s – I hope they make you want to get dancin’!

(Copyright: Andrea Burn 13th May, 2021)

The Jean Genius

If you’re a Bowie fan you probably have a selection of his albums, tapes, cd’s and downloads in your music collection…. hit-after-hit stretching across six decades from 1969’s Space Oddity to 2016’s Blackstar.

For a few years though, until his WOW moment on TOTP in 1972, as implausible as it sounds, Bowie was on course to be a one-hit-wonder…. just like Thunderclap Newman with ‘Something in the Air’ or Norman Greenbaum with ‘Spirit in the Sky’

Then along came Ziggy Stardust and the rest as they say is history.
Bowie went on to become arguably the most influential artist of the 70s….. continually reinventing his sound and persona and influencing the tastes of a generation along the way.

As an example of the latter, on October 1974 David Live was released, it was a decent album showcasing Bowie’s transition from Glam to Soul with a great version of Eddie Floyd’s ‘Knock on Wood‘, but what captured my attention as much as the music was the DB suit DB wore on the cover.

Up until this point Bowie’s wardrobe had consisted of elaborate Japanese jumpsuits, kimonos and leotards.

Distinctive, perhaps, but not the kind of thing you could buy in Krazy House and wear to Shuffles on a dreich Saturday night in Glasgow!


A cool, smart suit on the other hand was something we could relate to, so on our next pay-day, a few of us went up to Glasgow to Jackson the tailors on Union St to order our own made to measure* version of the double-breasted tin-flute Bowie sported on the record sleeve.
*Mark Arbuckle covered the made to measure process brilliantly in this piece.
https://onceuponatimeinthe70s.com/2021/04/21/customers-incontinence-and-conga-lines/

After a few weeks the suits were ready and when we went up the town that Saturday night we all felt pretty ‘gallus’ in our high-waisted, loose-fitting trousers, and shorter-length, double breasted jackets, as did half the male population of Glasgow, who all had the same idea!

I was pretty much hooked from the minute I saw Bowie perform Starman on TOTP in 72 and stayed a fan all the way through his career.
I loved his 70s personas and in particular the Thin White Duke period which frustratingly he never talked about much… owing to the fact that he had absolutely no recall of recording the Station to Station album!

In fact he was so bonkers and strung out during this period (75-76) that he reportedly kept his own urine in a fridge.
This in part was due to a falling out with Led Zeppelin’s Jimmy Page….. Bowie became paranoid that Page (well known for dabbling in the occult) would engage some form of black-magic against him if he got hold of his bodily fluids.

Based in LA and weighing in at a meagre 7 stone, his diet at the time consisted of milk, peppers and heaps of Colombian marching powder.
It’s well documented that Bowie fled this life of excess to regain health and sanity in Europe, specifically Berlin, and by the release of Heroes in 1977 he was in a much better place, both physically and mentally

Bowie 75
Bowie 77

I actually came into The Starman’s orbit very briefly in 1983.

I was working at Levis and we were developing a campaign to promote our 501 Jeans, which at the time, we couldn’t give away in the UK, in fact the only European country who sold them in any volume was Sweden.

UK retailers didn’t want to stock them as they were more expensive than our regular jeans and they reasoned that consumers didn’t like the American fit (low waist, straight leg).

Nonetheless, our chiefs in San Francisco had planned a global strategy around the 501, it was the original jean, which was the main point of difference for the brand in the US, where Levis was coming under threat from designer brands like Calvin Klein…. so we had no choice but to try and make it work.

I was part of a team tasked with coming up with innovative ideas to support the 501 campaign in Europe and as a first step we came up with the simple, but not so innovative idea of getting contemporary icons to wear 501’s the way James Dean & Brando used to, back in the day.

It was a classic ‘seeding’ strategy which more or less consisted of giving product away…. to opinion leaders (musicians, actors, sportsmen, models, etc), in order to get the product seen on the right people.

It’s a concept that can work pretty well if all the planets align.
As an example…

In early 1983 we sent some Levis denim jackets to an up and coming band coming out of Dublin called U2, Bono cut the sleeves off his jacket and wore it relentlessly.
The band released the albums War and Under a Blood Red Sky in 83 and it became U2’s big breakout year, Bono was everywhere… wearing his self-customised, sleeveless Levis jacket

To show how this filters down…
I met Charlie Nicholas in the Holiday Inn Glasgow around this time as we had a mutual friend, as soon as Charlie heard I worked for Levis he asked me if I could get him a Levis denim jacket “to cut the sleeves off… just like Bono”.

Within months, retailers started selling out of our denim jackets, sales tripled and we eventually had to increase our jacket production and develop our own sleeveless version.

The other avenue we explored was official sponsorship… ‘let’s get the coolest rock stars and bands to wear and promote Levis by sponsoring their tours’.
Everyone does this now but it was a new concept back then.

This was trickier than you’d think… some people in the room actually thought it would be a good idea to approach the gods of double-denim, Status Quo and there were a couple of Gary Numan fans in there as well… however to most of us it was clear we needed someone with gravitas, credibility and a wide appeal.

After some debate and research we discovered that Bowie was scheduled to tour (Serious Moonlight tour) in support of his new album – Let’s Dance, so he became the prime candidate.

To be honest we weren’t very optimistic that he’d go for it but he liked the brand and a few zero’s on a cheque later… the mighty DB was on board.

The concept worked so well that we repeated it over the next few years with tours and one-off events, but the tipping point for the brand in Europe came when we launched the famous 501 Laundrette ad with Nick Kamen in 1985, which also propelled ‘I Heard it Through the Grapevine’ to number one in the charts.

Ironically, the same retailers who claimed they couldn’t sell 501’s in 1983 were now begging for as much stock as they could get their hands on….

Bruce Springsteen and the E street band – Wembley 4th July 1985

Sting’s first solo tour 1985

Ultravox’s Lament tour 1984

Of course, guys like Bowie and The Boss were never going to do meet and greets no matter how much money they were paid, but Sting and the Ultravox guys were contracted to come and meet customers and prize winners after the gigs, which they mostly did although Sting’s face was usually tripping him, unlike Midge Ure who was always accommodating.

My brief Bowie moment came when he popped into our London office, he looked incredibly healthy and was extremely friendly and charming, he happily signed a few bits and pieces for some of us including a tour programme and the Let’s Dance album sleeve (pics of both below ) and before we knew it he was whisked away.

In truth, I struggled a bit with the 90’s Bowie, particularly the Tin Machine period but I got back on board in the noughties…. a return to form, spring-boarded by his stellar Glastonbury performance in 2000 when he decided to give the people what they wanted…. a set-list made up of his best songs.

Although I’d been a big fan in the 70s I had never seen Bowie live and the first time I saw him perform was when we took some customers to see his Serious Moonlight gig at Murrayfield in Edinburgh in June 83.

The next time I saw him perform live was the most memorable.
It was at the Hammersmith Odeon in October 2002, his first return to that venue since the shock July 1974 retirement announcement when he ‘broke up the band’ live on stage…. to their complete bemusement.

“Not only is it the last show of the tour, but it’s the last show that we’ll ever do. Thank you.”

It helped that we had fantastic tickets for that show, centre stage, six rows from the front.
I’ve no idea how long Bowie performed for but it must have been close to 3 hours… he played 33 songs starting with Life on Mars, finishing with Ziggy Stardust and included a song he’d only ever played live once before… the majestic Bewlay Brothers from Hunky Dory.

I also saw Bowie the following year at Wembley arena on his last live date in London.
He seemed so fit and healthy at 56 but six months later whilst still on the same gruelling ‘Reality’ tour he had a heart attack on stage in Hamburg and that proved to be his last ever gig.

He released an album in 2013, The Last Day, which raised hopes that he was fit and well but it all went quiet again, and then out of nowhere a new album – Blackstar dropped 3 years later on his 69th birthday, this was the encouraging news we’d all been waiting for… maybe we would even see him play live again?

He died two days after its release on the 10th of January.

There was much outpouring of grief when the news broke, he meant so much to so many people and it’s probably the only celebrity that I’ve ever felt sustained grief over.
I had grown up with Bowie from age 13, my kids had grown up listening to him, he’d been a fixture in my life for 45 years, and suddenly he wasn’t there any more.

But even in the end Bowie did the most Bowie thing ever, bowing out on his own terms with an innovative, out-of-the-blue, jazz-based album that nobody knew anything about until the day of its release.

If you listen to the lyrics it’s an album made by a man who wasn’t ready to leave us but knew he wasn’t going to be with us for long.
To this day I still find it hard to listen to that album…….

‘Something happened on the day he died
Spirit rose a metre and stepped aside
Somebody else took his place, and bravely cried’
“I’m a blackstar, I’m a blackstar”

All hail the Starman…..

My top 12 Bowie songs change all the time, this weeks selection is….

uncovering my tracks (Parts 3 & 4)

(Post by Colin ‘Jackie’ Jackson, of Glasgow – May 2021)

Part #3: ALICE BANNED

(Catch up with Parts 1 & 2 of UNCOVERING MY TRACKS, here.)

My tastes were changing. I was thirteen years old and all ‘growed up’.

However, the 1971 kid in me still found it tough being weaned off the bubblegum and sugary Pop hits of the day.

The previous year, we’d been on our first overseas family holiday. Spain, it was, and wherever we went, whenever we went, bloody ’Candida‘ by Tony Orlando and Dawn, was being given big licks.


Breakfast in the hotel dining room: “Oh, Candida, We could make it together.” Lunchtime by the pool: “The further from here, girl, the better, Where the air is fresh and clean.” Evening by the beach-side bratwurst bar: ” Hmm, Candida, Just take my hand and I’ll lead ya. I promise life will be sweeter, And it said so in my dreams.


Back home in UK, The Mixtures and ‘The Pushbike Song’ had been popular enough to reach number two in the January charts of 1971.

Probably more so in those days before digital photos, when you returned from holiday, you craved anything that gave that instant hit of warm, glowing memories.

Scent and music best serve this purpose, I find. In the absence, though, of Yankee Candles emitting the heady, mixed aroma of sun-cream, paella and bleeding Watney’s Red Barrel, my parents opted for an LP that contained both these songs,

Chuffed to bits, they proudly told me I could play it (carefully) on the new radioogram.

My excitement, however, didn’t last long when it very quickly became apparent that the songs were not performed by the original artists Still, money was tight, and it was better than nothing at all.

A few months later, and buoyed by their ‘new cool,’ my folks bought another of those trendy compilations, principally for the T. Rex track ‘Get it On.’ Of course there was no fooling me this time. Once bitten and all that. Also, the song ‘Coco,’ was on the LP, and I had the proper, 7″ single by The Sweet. I could spot the difference.

The rest of 1971 music passed me by without leaving much of an impression. I do still have ‘Bannerman‘ by Blue Mink in my collection, but that’s about it.

The following year though, shaped my music of choice – pretty much for life.

On a family weekend trip to Blackpool, I remember buying what would be only my third album. (The second was ‘Slade Alive‘ by Slade.)

That album was ‘Love It To Death,’ by Alice Cooper. I have no idea as to how I knew of the band. I think perhaps I was flicking through the record box and the rebellious, now fourteen-year-old in me had decided to exact retribution for my mother’s uncomplimentary remarks about T. Rex.

You think Marc Bolan is ‘dirty’ and ‘weird,’ do you? Get a load of this dude and his cronies!

(I unfortunately now own only a CD copy. I sold the vinyl to a second hand record store in Stirling not long after being married when we had no cash.)

A few months later, Alice Cooper arrived in the UK for a series of shows. His reputation preceded him and of course the very conservative press of the time were all over it. I was desperate to go to the Glasgow show. It would be my first gig. But there was zero chance of that happening.

Determined my mind would not be corrupted by some deviant from the other side of the Atlantic, my folks properly ‘grounded’ me on the evening of 10th November 1972, to prevent me sneaking off to the show with a couple of pals who did have tickets. It was for my own good, of course.

One of my mates though, somehow managed to smuggle a tape recorder into the venue and so I was at least able to hear a very muffled version of the show.

My first gig would have to wait.

**********

Part #4: HEAVY ROTATION

It wouldn’t be too long a wait before my first gig – only another four months or so, in March 1973. But in the meantime, my Alice Cooper LP ‘Love it to Death‘ was being played to death in my bedroom.

It whetted my appetite for more ‘heavy rock.’ In late 1972, however, gaining access to such music was not easy. You either had to know somebody who had bought an album and lent it you, or you took a punt and bought blind (or perhaps that should be ‘deaf.’)

Some shops though, like Lewis’s in Glasgow had ‘listening booths,’ where you’d be allowed to listen to one or two tracks from an album in the hope that you’d eventually buy.

(Latterly, the dingy wee Virgin Records shop at the end of Argyle Street, then Listen, in Cambridge Street, Glasgow offered the use of headphones to listen to music. The down side though, was that only one person at a time could listen – we used to pile about six mates into the listening booth along the road in Lewis’s.)

Some rock bands, however, like Free, Deep Purple and the excellent Atomic Rooster had been given airtime on the UK’s prime time popular music show, Top of the Pops in late 1971 / early 1972 and although a bit late to the party (again) I started to search out music from such artists .

1972 also saw the blossoming of Glam Rock in the UK. Arguably started by Marc Bolan in mid 1971, the Glam movement was well and truly on the march through 1972.

(Paul has already written an excellent post on Glam Rock, focusing on Marc Bolan in particular. Uncovering My Tracks will run a more general feature as one of several ‘specials’ at a later date.)

At school, though as a thirteen / fourteen year old lad, it was not de rigueur, to show your true Glam self. Stars like Bolan and Bay City Rollers were for the girls. Boys had to be into what was perceived to be ‘harder’ rock. As mentioned in an earlier post, I got terrible stick for admitting I liked The Sweet. Little did those ‘macho’ pals of mine appreciate that most Glam bands could rock-out some pretty heavy riffs too.

My first rock album however, was one of those blind / deaf purchases I referred to earlier. I had read of this band Uriah Heep in Sounds paper / magazine, and around mid-1972, sent away for their debut album, ‘…very ‘eavy… very ‘umble.’ This immediately took over from the Alice Cooper LP that had hogged the turntable for so many months.

I still play this album a lot, and for me, the late David Byron was one of the best vocalists in rock music.

From a kid who was totally unaware of The Beatles just a few years earlier, I was now completely immersed in music. I couldn’t play a note, of course – I was far too lazy to learn despite my parents’ best efforts. And singing? There was more chance of me holding the World Heavyweight Boxing title than me holding a note.

1972 had been a year of musical enlightenment for me. It had started with me pestering my folks to buy me a shirt similar to one I’d seen Kenney Jones wear while playing drums for Rod Stewart on Top of the Pops. I wanted to look ‘cool’ at my school disco.

We never found one, of course, and I had to settle for a turquoise, paisley pattern shirt and matching kipper tie, with lilac needle-cord trousers.

It ended with me wearing that very same outfit to a disco in London (I was part of a representative Glasgow Boy Scouts group visiting the city) where I ‘got off’ a girl from a local Guides troop.

I made her laugh, apparently.

I now know why.

Isn’t Life strange, though? The song that kicked off 1972 for me, and remains possibly my all-time favourite single, is ‘Stay With Me,’ by The Faces.

… and the song that brought the year to a close, reminding me of that disco in London, is – ‘Angel‘ by Rod Stewart and The Faces.

ROLL ON 1973!!!

(To be continued …)