They’ll be dancing in the streets of Llanharan with the news that Glasgow rockers HEAVY PETTIN‘ return for the second leg of their ‘Back On The Road Part II‘ tour and a festival appearance at Golden Age Rock Festival in Belgium for August and September.
Back On The Road Part II – Tour dates:
Aug 22 – Eleven, Stoke, England
Aug 23 – Camden Underworld, London, England
Aug 25 – Golden Age Rock Festival, Liege, Belgium
Aug 30 – Crauford Arms Music Venue, Milton Keynes, England
Aug 31 – The Tivoli, Buckley, North Wales w/ Rock Godess
Sep 01 – The Exchange Bristol, England w/ Rock Godess
Sep 04 – Rescue Rooms, Nottingham, England w/ Rock Godess
Sep 05 – The Waterloo Music Bar, Blackpool, England w/ Rock Godess
Sep 06 – Oran Mor, Glasgow, Scotland w/ Rock Godess
Sep 07 – Yardbirds Rock Club, Grimsby, England w/ Rock Godess
Sep 08 – The Robin 2, Bilston, England w/ Rock Godess
Feb 08-13, 2020 – MORC X, ‘Monsters of Rock Crusie‘ Florida, Belize & Mexico
Stardom beckoned for Heavy Pettin‘ back in the early 80’s with arena tours supporting Kiss, Ozzy and Mötley Crüe and along with the help of MTV, the band scored a couple of Stateside hits.
In 2017, original members Hamie, Punky, and Gordon joined by Jez Parry on bass and Michael Ivory on drums performed for the first time in 25 years. Reinvigorated, HEAVY PETTIN‘ , joined by ex-Gun guitarist Dave Aitken due to Punky hanging up his guitar and going in to retirement, did several shows in 2018 and 2019.
According to Hamie, fans should look for a bit of 4PLAY “…the demand and support for new HEAVY PETTIN‘ material has been so overwhelming, we are excited to say we’re now working on brand new HEAVY PETTIN‘ material which will be released in 2019… and it’s going great!”
Get your Heavy Pettin’ Merchandise Here: https://heavypettinofficialmercandise.bigcartel.com
The Official KISS Poster Book #2 and The Official KISS Poster Book #1 and the two issues of The Official KISS Magazine are available exclusively at Fantasm-Media.com. The next issue of The Official KISS Poster Book will be released later this year and will be accompanied by yet another original KISS card set.
It’s without a doubt KISS has become something of a worldwide rock’n’roll phenomenon. Since their initial inception in ‘73, they’ve racked up a sizeable amount of miles on the road, albums, and tours, spanning the length of the globe. I’ve been raised listening to this band and had the pleasure of watching them perform on numerous other tours over the years. This, however, seems to be the end of the road for them, hence the name of the tour I suppose… (Well supposedly… I mean look at Ozzy and Priest for example)
The evening started out not with a warm-up band, but a performance by David Garibaldi, an American painter. I have to say, it was really refreshing and different to see an opening act performing something totally different, and out-of-the-box instead of the usual warm-up band line-up. Garibaldi painted three paintings in his half-hour time slot, one of Mick Jagger, and upside-down painting of Freddie Mercury (there was a big gasp when he flipped it around, although all the Queen songs playing while he was painting it sorta gave it away…) Ahem, where was I? Oh! And finally a painting of all the KISS members. The final painting would be ‘put up’ as a prize, where concert-goers could make a donation to a children’s cancer charity. The painting would then be given at random to one lucky donor.
KISS took the stage at 21:55 with a blistering two-hour setlist. Everyone was greeted by the usual:
“ALL RIGHT BIRMINGHAM. YOU WANTED THE BEST. YOU GOT THE BEST. THE HOTTEST BAND IN THE WORLD. KISS.”
No matter how many times I hear that opening it never gets old. Whether it be on record or in person.
Detroit Rock City was first on the setlist, with the band lowering themselves down from the ceiling rafters on platforms. Alas, you’ve gotta expect the usual theatrics when it comes to Kiss shows. I’ve got to say, Paul Stanley and Gene Simmons are getting on a bit but man they still sound good. Gene especially. Paul can’t really hit the highs he could back in the day but he can still put on a damn good performance. That being said, instrumentally, they were totally flawless. I guess that’s what you get for playing your music for this long, eh? Tommy Thayer and Eric Singer returning as the Spaceman and the Catman respectively also performed to the absolute top tier.
Kiss classics old and new were on the setlist. The likes of ‘Cold Gin’, ‘God of Thunder’, ‘Deuce’, ‘Lick it Up’, ‘I Was Made for Lovin’ You’ were all present at this show. (Unfortunately so was ‘Crazy Crazy Nights’, if you like that song, more power to you but I can’t say I’m a fan sorry.) all the usual theatrics were present too. Gene spat some fire, Flew up and played a bass solo while spitting blood, the usual good stuff. Plenty of pyros and fireworks too.
The real curveball for me was Eric Singer rising from below the stage sporting a grand piano for the encore. I didn’t expect to hear Beth on this farewell tour but goddamn, I sang my heart out. Of course Rock and Roll All Nite was the grand finalé, let’s be honest you wouldn’t expect to leave a Kiss show on any other song. Looking back, all in all, it was probably the best Kiss show I’ve been too. Knowing they went out on such a high note (maybe, we’ll see) really added to the experience.
Author: Adam Hathaway
What’s that musty smell? Ah yes, it’s emanating from the veritable feast of vintage collectables housed in the Pop Culture Schlock archive. For your delectation today I take you back to the Christmas of 1979; a seminal decade of music about to come to an end and give way to the dawn of a more brash, more brazen ten year period…
If you were a good, music-loving boy or girl in 1979 and had a.) done well in school, and; b.) not scratched your big brother’s vinyl, then there was a good chance that you’d find the Rock On! Annual 1980 nestled under the Christmas tree in your modest living room.
“The Rock What Annual?” I hear you exclaim, and you shouldn’t be embarrassed at your lack of knowledge on this subject because, truth be told, Rock On! magazine was a short-lived, oft-forgotten publication… if you’d ever heard of it at all.
Rock On! magazine debuted with an issue cover-dated May 1978. Debbie Harry featured on its cover and the mag – costing a whole 25p – promised a healthy mix of punk, new wave, heavy metal, and prog rock. It kept its promise too as, over the course of seven eclectic issues, Rock On! dished out features and photo spreads on a dizzying cadre of top musical combos; from Status Quo to Sham 69, The Clash to KISS, Rush to The Rezillos. Meat Loaf graced a cover, Ozzy, too, until Issue 7, with Jimmy Pursey as its cover star, and cover-dated November 1978, when Rock On! disappeared from newsagent shelves. The editorial in that final issue wrote of the outrage of cutting off such a desirable publication in its prime but, if anything, Rock On! was a victim of its own blurring of genre lines: readers seemingly wanting specialist publications dedicated to singular strands of the rock ‘n’ roll world rather than this ambitious crossover style.
That final editorial, though, did offer some hope for the future; stating that it was the last Rock On! “in its present form”. Fast forward to around a year later and, in the Autumn of 1979, the true final piece of the Rock On! jigsaw arrived in shops and catalogues to complete the punk ‘n’ prog rocking picture.
With a scorching hot live photo of Thin Lizzy’s Phil Lynott on the cover, Rock On! Annual 1980 (price – £2.00) may well have been jostling for attention on the shelves alongside big-hitting television and film spin-off annuals, but it certainly looked the most badass. It was, the cover screamed, packed with pictures, facts, and quizzes on your favourite rock bands. It did not disappoint.
The heady mix of photo spreads and more in-depth features on select bands really did make Rock On! stand out from its competitors, and this annual amps that angle right up to eleven. The first photo spread was a “Tribute to Vocal Power!!!” (yes, with three exclamation marks) and featured cool live action shots of Joe Strummer, Johnny Rotten, Cherie Currie, Pete Townsend, Willy DeVille, Graham Parker, Joan Jett, and Mick Jagger. A good start, I’m sure you’ll agree.
Next up, a photo diary detailing a “hard band” going “soft” as The Stranglers met their devoted fans, followed by a quartet of stinging live shots of “the band the critics love to hate”, Status Quo. Rock On!’s attitude to those Quo critics could be “summed up in two fingers” readers were informed.
With barely a pause for breath, a six-page A-Z of Heavy Metal feature detailed the prime acts in the genre, from AC/DC to, erm, Wishbone Ash. A-W, then. A few curious names in this run-down, too: Prism, Quartz, and Mahogany Rush rubbing shoulders with the expected likes of Whitesnake, Black Sabbath, Judas Priest, and, a firm favourite on the turntable at RPM HQ, Uriah Heep. A “Heads Down Heavy Metal Quiz” followed: a select question being “On Your Feet Or On Your Knees was a double live album for which heavy metal superstars?”
A Ten Years of Genesis feature followed, the first in a series of in-depth essays by John Tobler. His similar two-page spread on the history of Queen followed, as did those dedicated to Thin Lizzy, Blue Öyster Cult, Rush, and KISS. The latter, subtitled “Kings of Shock Rock”, wrote of “the forty foot columns of fire that emit from Gene Simmons’ mouth” and, c’mon, if you were eight years old at Xmas 1979 you had every excuse for then falling head over platform heels in love with the idea of the hottest band in the world.
There was a Rock On! reggae report, a fashion guide of sorts where the Quo’s Rick Parfitt spoke of his love of jeans and Hugh Cornwell of The Stranglers of his love of raincoats (!), a Hi-Fi buying guide, a feature on sound engineers, a top DJ article covering John Peel and Anne Nightingale, plus one-page specials on Peter Gabriel and Ken Hensley of the Heep.
A photo spread of Ian Dury swimming (just your seven shots) padded out the pages, but not before an impressive photo set of live Black Sabbath shots appeared, a Star Cars article featuring Steve Jones, Meat Loaf, Midge Ure, and, ominously, Cozy Powell, a “Cult Heroes” feature detailing the likes of Iggy Pop, Nils Lofgren, Todd Rundgren, Tom Petty, and Bruce Spingsteen, and a “Sex ‘n’ Girls ‘n’ Rock ‘n’ Roll” spread featuring Debbie Harry, Joan Jett, Siouxsie Sioux, Linda Ronstadt, Annie Golden, Poly Styrene, Stevie Nicks, and Rachel Sweet.
A “That Was The Year That Was” feature dedicated to 1978 was an obvious leftover from the previous year’s magazine and makes for entertaining if a little sombre reading amongst the other genuinely funny articles. Rock On! was a cool magazine, with its tongue firmly in its cheek and its love of a broad range of music at the forefront of any thinking. Your Uber Rocks, your RPMs are all subconscious descendants of Rock On! magazine.
No annual is complete, however, without a pull-out poster section (even if no kid ever dared pull a poster out of an annual!), and Rock On! Annual 1980 does not disappoint in that department. There are pin-ups of the aforementioned Pursey, Rezillos, Dury, Harry, Clash, and Lynott, plus Bob Geldof, Paul Weller, Freddie Mercury, David Lee Roth, Jon Anderson, Elvis Costello, Paul Stanley, and the Buzzcocks. Great photos too.
The Rock On! Annual 1980 may well be an uncommon piece in the average music memorabilia collection, but it is certainly a worthy one. Copies turn up on the secondary market relatively cheaply and, yeah, you should pick one up if you get the chance. The Rock On! staff were most certainly music journalist mavericks, and we’ve all tried to go there, right? Search for this precious, rockin’ tome… or you might never know how Rick Parfitt’s aunt ironed his double denim.
Thanks for reading, and for the feedback on my first column on the debut Alice Cooper comic. I’ll be back next month with something suitably archaic that the rock ‘n’ roll world tried to forget. Search for Pop Culture Schlock 365 on Instagram, Twitter & Facebook
Kevin Michael “GG” Allin was born Jesus Christ Allin on August 29, 1956. One of the most divisive members of the punk rock community he courted controversy wherever and whenever he could. Love him or loathe him he certainly left an impression on the punk rock scene in the 80s and early ’90s. Passing away on this day back in 93 is possibly one of the least surprising things to have happened in punk rock. Let’s face it GG was never going to grow old and after promising to take his own life on stage as part of his act many times he sort of quietly slid off his mortal coil in tragic circumstances. Playing his last ever show in NYC the club turned off the power after a couple of songs which caused Allin to trash what wasn’t already trashed and then roaming the street almost naked covered in blood and shit the performer ended up partying at a friends house where he took a lethal Heroin overdose and never woke up being pronounced the morning after by paramedics exactly where he laid down the night before.
I guess whilst it wasn’t a surprise to hear the news it’s still a shame to hear about anyone passing away under such tragic circumstances. Allin was fairly prolific throughout his career and moving from his early more glam roots he passed through punk, hardcore and country as well as spoken words performances Allin was no slouch when it came to what he considered art.
Even in death, the Allin circus continued when he was laid to rest his open casket was videotaped and he can be seen wearing a jock strap accompanied by a bottle of booze whilst friends posed with his corpse, placing drugs and whiskey into his mouth. As the funeral ended, his brother Merle put a pair of headphones on Allin. plugged them into a cassette player which had a copy of The Suicide Sessions on it.
The film ‘Hated’ features the footage of that final performance and chaos that went on after. Sadly GG’s grave was frequently vandalised urinated on, cigarette butts left as well as feces and alcohol left by so-called fans, an act that was greatly discouraged by his mother Arleta. His tombstone has since been removed because of this.
Musically he was a Beatles fan and that was reflected in his early songs other bands that greatly influenced him were the likes of Alice Cooper, the Stooges and Kiss. when he put the Jabbers together.
Allin became popular when ROIR released a cassette-only ‘Hated in the Nation’ containing tracks from the Jabbers, the Scumfucs and Cedar Street Sluts. All unavailable elsewhere. The tape also featured recordings with the likes of J Mascis of Dinosaur Jr. on lead guitar and Mark Kramer on bass. The most famous person to work with GG would have to be none other than Dee Dee Ramone who toured with the band as part of the Murder Junkies.
It wasn’t until the mid ’80s that he began to spiral out of control as his commercial career failed to take off he took full advantage of his underground personal and the myths began to appear (remember kids this is pre-internet) Allin was already making record designed to offend and provoke and he certainly achieved that with titles and collaborations to cause outrage (which they certainly did) the subject matter was attacking gay people, promoting drug use and his fascination with serial killers like Gacy led him to go visit the guy in prison. Live he couldn’t finish a set either because the fans stopped it or the police and/or venue interrupted him for his behavior.
There was nothing big or clever about his behavior from the mid-’80s as he tried to stir up a hornet’s nest at every opportunity by saying repulsive comments about women, children, and boasting of his antics. The music had long since stopped being relevant and instead he’d turned into a parody of himself and covered in ones own blood and poop began to fade into history and be a figure of fun that people would poke fun at and goad on to carry out his threat of killing himself on stage. In 91 he recorded with Antiseen what he described as his best album that most closely connected with himself.
If you’ve never heard him or fancy seeing what all the fuss was about then I suggest you check out ‘Hated’ it sure is an extreme ride and one you won’t forget in a hurry. I hope finally after such a chaotic life GG found his peace and afterlife and he can finally rest in peace.
you can pick up his records on the net but this company Aggronautix make a whole bunch of GG related collectibles as well as other bands and iconic figures in punk you really should check them out.
Also passing on this day back in ’81 a guy named Robert “Bob” Davis better known as Chuck Wagon from the punk band the Dickies. Chuck was a talented multi-instrumentalist who played Drums, Bass, Rhythm Guitars, keyboards and Saxophone. He will be best remembered for their iconic debut record ‘The Incredible Shrinking Dickies’. He also returned to the band to record its follow up ‘Dawn Of The Dickies’ as well as playing a few tracks on the third album which came out after his untimely suicide. suffering from depression after the breakup of his relationship Wagon returned after a show with the band and shot himself with a rifle this was 1981 and he was only twenty Five years young. Rest in peace Bob.
Finally today former Gun Club guitarist Rob Graves also known as Rob Ritter. Rob died of a Heroin Overdose on this day in ’90. Rob played with the Gun Club, 45 Grave as well as a bunch of other lesser known bands like The Bags and. Graves played on Gun Clubs early 80s ‘Fires Of Love’ and ‘Miami’ as well as 45 Grave ‘Sleep In Safety’. Gun Club will always be remembered as the vehicle used by Jeffrey Lee Pierce but 45 Graves were part of the art Goth Rock scene with their striking images and this outlandish video for ‘Party Time’. Its believed that Hole and Courtney Love dedicated ‘Pretty On The Inside’ to Rob when it came out.
of Metallica’s “WorldWired” European Stadium Tour
Manchester & London shows set for next week!
Ghost premieres a brand-new webizode, “Chapter 7: New World Redro.” This chapter first brings the viewer up to date with the Cardinal Copia-Papa Nihil-Sister Imperator storyline and then begins to lay the foundation for more backstory secrets yet to be revealed. Check out “Chapter 7: New World Redro”.
Ghost is spending the bulk of its summer as Special Guest on Metallica’s four-leg “WorldWired” European Stadium Tour. Leg One saw Ghost playing to more than a quarter-million fans; Leg Two kicked off on June 8, and Legs Three and Four will take place July and August. Ghost will perform at Heavy Montreal on July 27, and then kick off its North American “Ultimate Tour Named Death” headline arena tour on September 13.
As Forbes writer David Hochman put it in his review of Ghost at the Los Angeles Forum last November, “Equal parts horror church, headbanger’s ball and midnight Stockholm cabaret, a Ghost concert draws elements from opera, Gregorian chant, classic glam rock – Kiss, Alice Cooper and Bowie, come to mind…Imagine Iron Maiden or Blue Oyster Cult under a blast of liquid nitrogen, and you start to get the vibe.”
13-20 Metallica’s WorldWired European Stadium Tour
18 Manchester Etihad Stadium
20 Twickenham Stadium
6-21 Metallica’s WorldWired European Stadium Tour
27 Heavy Montreal, Montreal QC
14-25 Metallica’s WorldWired European Stadium Tour
13 – 30 “Ultimate Tour Named Death” North American Fall Dates
1 – 26 “Ultimate Tour Named Death” North American Fall Dates
POP CULTURE SCHLOCK at RPM: Exhibit A – Alice Cooper’s 1st comic-book appearance
Step inside; walk this way; you and me, babe; hey, hey! Welcome, RPM-People, to the first irregular column dedicated to music-related items from the Pop Culture Schlock archive. Some will be cool, some will be curious, but all will be from a simpler time when music wasn’t just binary code on a smartphone stolen by some scally on a moped. So, pour yourself a Skol, slip into your Starsky cardigan, and wrap yourself in the warm embrace of nostalgia via a New York sanitarium by way of a Seventies newsagent.
Marvel Comics, before becoming responsible for almost every three hours you spend in the cinema, saw the late 1970s ripe for its own slice of the mass market appeal afforded to the rock stars of the day. Rather than living fast and dying young, your common or garden rock ‘n’ roll visage was more likely to be on the cover of a teen magazine or the panel of a game show than the front of a memorial service brochure.
After giving KISS its first appearances in issues 12 and 13 of its monthly Howard The Duck comic-book, Marvel rocked out no fewer than three times within the first five issues of its then-new title, Marvel Super Special, a 41-issue series of one-shots published between 1977 and 1986. KISS featured in the first (famously/supposedly donating blood to be used in the red ink) and fifth issues, The Beatles Story making up number 4. Now, any UK rock ‘n’ roll archivist with a shred of honesty who was in single figures age-wise when that first Holy Grail of a KISS comic came out will admit that it took until they were well versed in the art of mail order before they could add that piece of exquisite ephemera to their collection. Not so issue 50 of Marvel Premiere which hit spinner racks in the UK prior to its October 1979 cover-date…
Marvel Premiere was essentially a “try-out” comic; publishing a one-shot tale of a character to determine whether or not he/she/it could attract enough attention and/or revenue to launch their own regular title. After throwing around the idea of an Alice Cooper comic for a few years, Marvel finally took the plunge in 1979 with the special 50th issue of Marvel Premiere. That the legendary comic company did so with a storyline based around the Coop’s album from the previous year, ‘From The Inside’ (a concept record based on the then-troubled shock rocker’s time in a NY sanitarium where he was treated for alcoholism, with songs based around patients he met inside), remains bizarre to this day.
To be fair, the album – housed in luxurious fold-out sleeve and playing as I type – was pretty upbeat, musically if not lyrically, no doubt courtesy of Cooper’s collaboration with Bernie Taupin. It was with that in mind, I guess, that Marvel deemed the content suitable for adaptation in comic-book form. Of course, as an eight-year-old kid I read it all in a blur, oblivious to its roots, simply joyous that I could actually find a comic that featured one of the coolest rockers to grace my turntable in a British newsagents. Reading through it now, four decades later, that sense of wonder remains, even though I now understand the serious ramifications of the original subject matter. That Marvel decided to go for a lighter-hearted tone (albeit with a wicked bite) more in keeping with the commercially-accepted theatrics of the album now means that critical re-evaluation doesn’t come with the wince that oft-accompanies the remembering of once-troubled celebrities.
With artwork by Tom Sutton and Terry Austin, who also provided the stunning cover art, and a script by Ed Hannigan (based on a plot by Alice, Jim Salicrup, and Roger Stern) the comic version of ‘From The Inside’ opens with Alice trying to escape from his sanitarium cell via the time-honoured tying together of bedsheets. Caught by Nurse Rozetta (yes, she of the album track – also joined in ink form by Jackknife Johnny and Millie and Billie from the record) Alice is thrown into The Quiet Room by Dr. Fingeroth. Here, the Coop recalls the unfortunate series of events that saw him stuck there on the inside looking out.
Y’see, Alice, his mind undergoing a meltdown whilst trying to survive the “high-powered lunacy of the showbiz world,” had checked into a clinic in an attempt to dry up and calm his nerves. As (bad) luck would have it, Alice was confused with an Alex Cooper – a “certified paranoid schizo with a radical tyre fetish!” – and locked away by mistake. As our hero is treated to electro-shock therapy, ice water baths, and a crude haircut, Alex Cooper is about to be elected governor!
With Veronica (his trusty snake here, yet a dog on the album track, ‘For Veronica’s Sake’) stripped from him and locked away herself, Alice has to negotiate bed straps, sedatives, muscle-bound orderlies, and a doctor seemingly more crazed than the inmates of his facility, in order to get his story believed. Spoiler alert: doesn’t happen!
With a legion of background cameos and in-jokes for lynx-eyed readers (featuring the likes of Popeye, the Incredible Hulk, and Donald Sutherland’s character from 1978’s Invasion of the Body Snatchers remake), the comic is wildly entertaining, possibly more so than the album it is based on (‘From The Inside’ attracting much cooler critical acclaim than many of its long-playing predecessors), though that claim could well be down to my original childhood love for what was then the pinnacle of my fledgling comic buying.
“But what of the future?” asked the powers that be at Marvel Comics in 1979. “Should Alice be awarded his own regular Marvel title? Should we break him out of that Asylum and send him blasting through the Marvel Universe?” Well, it would be 1994 before Marvel featured Cooper again via a three-part, Neil Gaiman-penned comic series that tied-in with Alice’s 1994 album, ‘The Last Temptation’.
Dark Horse Comics would later reprint ‘The Last Temptation’ as a trade paperback, but Cooper’s comic book history doesn’t end there. 1990 saw Revolutionary Comics’ dubious Rock ‘n’ Roll Comics title (more on these chancers in a future article) feature an unofficial Alice Cooper history, with Bluewater Comics later picking up that company’s past monstrosities and lowbrow ethics. Much better was to follow in 2014 with an ongoing Alice Cooper comic book title from Dynamite Entertainment which lasted for six issues and was followed by ‘Alice Cooper vs. Chaos!’, another six-parter that saw the veteran shock rocker up against the denizens of Dynamite’s horror universe; including Evil Ernie, Chastity, and Purgatori. Oh yeah, also look out for the Coop in a Treehouse of Horror special Simpsons comic along with Rob Zombie, Gene Simmons… and Pat Boone.
It is Marvel Premiere issue 50 that will forever be the peak of comic-book Alice Cooper, however. With the guillotine of nostalgia cutting deep, that forty-year-old mass of paper, ink, and staples is a thing of beauty in a world turned ugly. As Millenials and Post-Millenials reminisce about their friggin’ iTunes playlists, us forever-cool-kids will always have stuff like Alice Cooper comics to read via torchlight under our covers at night, knotted bedsheets at the ready…
Author: Gaz Tidey
SWEET ANNOUNCE NOVATINES AS SPECIAL GUESTS ON THEIR NOVEMBER/DECEMBER 2019 UK TOUR
Following their sold-out “Still Got the Rock” European Tour legendary 70’s rock band SWEET embark upon the perfect Christmas gift for their UK fans, a 16-date nationwide tour November 28th until December 21st. Special guests on the tour will be alternative rock band Novatines. The four-piece from the UK recorded their debut album with Sweet’s Andy Scott as producer in 2018. Tickets go on sale via www.planetrocktickets.co.uk and www.thegigcartel.com, and from the 24-hour ticket box office – 08444 780 898. With over 55 million records sold worldwide, 34 number 1 hits worldwide, SWEET continue to tour and perform to sell-out audiences around the globe.
Gene Simmons of KISS says, “Without the Sweet there would not have been a KISS.”
“This is the band I wish I had been in.” – Joe Elliot – Def Leppard
By the early 70’s The Sweet were arguably the hottest ticket in town with a string of top ten records in the UK and Europe including Blockbuster, Hellraiser, Ballroom Blitz, Teenage Rampage and The Sixteens.
In 1975 the USA had discovered the band with Fox on the Run hitting the number 3 spot in the Billboard 100. Another self-penned hit Action followed in 1976 firmly establishing Sweet in the US charts.
On the face of it they were primarily a singles band however with albums including Desolation Boulevard (1975) and Give Us a Wink (1976), the band showed a much harder rocking band. The album Level Headed, released in 1978, brought with it another award-winning million-selling worldwide hit with Love is Like Oxygen written by Andy Scott.
In 1979 original lead singer Brian Connolly left the original line up leaving Andy Scott, Steve Priest & Mick Tucker to continue as a 3 piece. Sadly, both Brian Connolly & Mick Tucker passed away in 1997 and 2002 respectively and with Steve Priest relocating to the USA, Andy Scott was left to fly the flag. After a couple of line-up changes over the years, since 2006 the line-up has been primarily unchanged from what it is today.
Andy Scott (lead guitar, vocals), Bruce Bisland (drums, vocals) Tony O’Hora (lead vocal, bass) and Paul Manzi (guitar, keyboards, vocals). The Sweet still tour the world extensively with one of the most dynamic and slick live shows on the circuit. 1968 to 2019, 51 years and counting of hellraising, star chasing, trailblazing.
SWEET – NOVEMBER/DECEMBER 2019 UK DATES
WITH SPECIAL GUESTS NOVATINES
TICKETS: www.thegigcartel.com & 24-Hour Box Office: 0844 478 0898.