Bands Who Have Excellent Songs On Late '70s/Early '80s European K-Tel-Style Compilations

[koganbot]

I Have Never Heard Entire Albums By These Bands Who Have Excellent Songs On Late '70s/Early '80s European K-Tel-Style Compilations

Do any of them have albums worth hearing? The world wants to know, or at least I do.

The "I" who's saying this is chuckeddy. He has a feeling some folks on poptimists might be interested in this and might have input for it too, either there or here. The thread starts with these two compilations, but there are many more lists, contributed by Xhuxk and others, and quite a few YouTube imbeds:

Double Dancing (Record 2) (K-Tel Finland 1983)

GARY LOW "I Want You"
FREEZ "Pop Goes My Love" (have only otherwise heard his/their electro-hop classic "I.O.U." before)
STYLE "Dark Eyes"
BLACK LACE "Superman" (talked dance steps, sounds like an English version of Claudio Chechetto's Italian early '80s "Gioca-Jouer," or maybe the other way around)
CAROLA HĂGGVIST "Hunger"
DAVID GRANT "Love Will Find A Way" (Linx-style early '80s Brit soul I guess?)

― xhuxk, Sunday, 11 January 2009 16:59 (2 days ago) Permalink

Disco Fever (K-Tel U.K. 1977)

BROTHERHOOD OF MAN "Angelo" (Second-tier ABBAs, right?)
MERI WILSON "Telephone Man" (top 20 hit in U.S.!)
SMOKIE "It's Your Life" (superstars in this world, I guess. Lots of hits on lots of these compilations; "Living Next Door To Alice" was their only U.S. top 40)

Comments

the hard distinction is mine (afaik)

[dubdobdee.livejournal.com]

i mean i kind of extrapolated from what i'd unconsciously taken on board when much younger, but when i wrote this (http://tashpile.pitas.com/), i drew a line and used the words to make it concrete: that's to say, i think the distinction's real enough, in terms of how the the different wings were responded to (and by who), but i'm not aware the distinction had been made rigorously, qua upfront definition, before this piece

(that said, i quite possibly stole it wholecloth from something i read 20 years previously -- if i did, i donlt remember what it was i read)

anther way to define the axis is in terms of gender-preponderence: as you move from glam to glitter, the proportion of teengirl fans increases (and i'm talking UK only: i don't have any kind of a sense of how this varied in the US): boys (roughly) prefer music in albums-worth

i think (the) slade and (the) sweet started at opposite ends -- not actually AT the ends -- of the continuum, moved towards each other, passed, and continued away from one another: the glam end of the continuum is rooted in mod; the glitter end in songwriting teams putting pop groups together

(so yes, i'm using bubblegum VERY roughly -- i suspect it has a more rigorous meaning in the US)

alvin = glitter
mott = glam essex = hmmm, glam, but yes, he is a bit outside the field in a way (a concept-driven singer-songwriter with theatrical leanings and a teenybopper following -- marcello always good on essex)
gilder = neoglitter (not that i know much about him)?

Re: the hard distinction is mine (afaik)

[dubdobdee.livejournal.com]

i see clicking on that link and rereading it myself that i lumped sweet and slade together then myself

Re: the hard distinction is mine (afaik)

[koganbot]

Yeah, I was already to start cutting and pasting.

Out on Glam's bubblegum wing, Glitter, half-despised but hugely popular, The Sweet and Slade (once a Wolverhampton skinhead band) combined fag-drag look with consistently brutal lyrical content.

Re: the hard distinction is mine (afaik)

[koganbot]

already = all ready

Re: the hard distinction is mine (afaik)

[dubdobdee.livejournal.com]

in fact i think it is you that made me minded me to re-categorise them

or possibly seeing "slade in flame"

while making my supper i was thinking about the sweet -- and desolation boulevard -- as precursors to poison etc: so maybe i shall re-categorise THEM as well (everyone is glam)