Heavy Metal Kids – The Albums 1974-1976 (3CD Clamshell box set)
The Heavy Metal Kids (named after the kids gang in the William S. Burroughs novel Nova Express) could put what was a bright burning but relatively short, and not as successful as it could (or should) have been, career, down to that badly fitting moniker.
It certainly played a part, being (in musical terms) a far Gary Holton cockney cry from the mix of rock and roll, glam, vaudeville and even burlesque the band, fronted by the aforementioned late and mercurial singer/ actor, delivered in their own inimitable style.
But the bigger picture is a band (who would become a punk influence) that were ever-shifting in personnel, had personality conflicts and never truly established an identity, stuck between party-led rock and roll and a hard place to sell it (notable festival slots, a Top of The Pops & Old Grey Whistle Test appearance and breaking Jimi Hendrix’s attendance record at The Marquee are significant feathers in the cap however).
Nor did such issues as a ban from playing Municipal halls help, one of many anecdotes documented in the 32 page booklet (with liner notes by rock journalist Dave Ling, from conversations with the surviving original members) that accompanies this definitive 3CD set.
More importantly however, they produced three albums that are more solid than sales numbers suggested. None are without their faults, but that just makes them all the more honest and endearing; a true reflection of what the band were all about in the mid to late 70s.
1974’s self-titled debut album, featuring Gary Holton (think The Artful Dodger (whom Holton played in a production of Oliver) as a rock and roll frontman), guitarist Mickey Waller, bassist Ronnie Thomas, keys player Danny Peyronel (later of UFO) and drummer Keith Boyce (plus uncredited guitarist "Cosmo," who played on some tracks before being fired) most definitely has its moments, from the Hoople-esque rock and roll of 'Hangin' On' and piano led sing-a-long 'Ain’t It Hard' to singles 'It’s The Same' (a forlorn but engaging ballad) and tempo-shifting 'Rock ‘N’ Roll Man,' which is far more powerful in its seven-and-a-half minute album guise.
The uncomfortable reggae-ska appropriation 'Run Around Eyes' is, however, a decidedly ill-advised miss.
The album is accompanied by the single edit of 'Rock ‘N’ Roll Man' and three unreleased album out-takes.
Anvil Chorus, from 1975, released under the band name The Kids, saw Cosmo (who had been rehearsing with Thin Lizzy) return to replace the departing Mickey Waller.
A lot of the album was created in the studio, and fairly quickly, but it still stands as their strongest album.
Rock and roll nuggets include the punky 'Crisis' and the semi-narrative 'The Cops Are Coming' (think The Sensational Alex Harvey Band with a cockney accent). The hard rockin’ instrumental 'The Turk (An’ What E’ Smokes)' is another winner, while the ballad 'Situations Outta Control' has Gary Holton crooning at his most cockney.
The album also includes the perfectly titled 'Ain’t Nothing But a House Party' single and previously unreleased album out-take, 'Stand Back.'
In 1976 the band headed to the studio to record what became Kitsch, featuring, and in some places dominated by, John Sinclair (later of Uriah Heep), who had since replaced Danny Peyronel.
Original member Barry Paul (who inexplicably left immediately after he and the band signed to Atlantic in 1973) was also back, replacing Cosmo.
Mickie Most’s over-production, meticulous & time-consuming mixing and decision to use additional musicians (including members of Smokie for harmony-backing vocals) irked the band somewhat, but the album, released nearly a year after completion, contains some of the band’s best moments including the rollicking rocky fun of 'Chelsea Girl.'
It certainly played a part, being (in musical terms) a far Gary Holton cockney cry from the mix of rock and roll, glam, vaudeville and even burlesque the band, fronted by the aforementioned late and mercurial singer/ actor, delivered in their own inimitable style.
But the bigger picture is a band (who would become a punk influence) that were ever-shifting in personnel, had personality conflicts and never truly established an identity, stuck between party-led rock and roll and a hard place to sell it (notable festival slots, a Top of The Pops & Old Grey Whistle Test appearance and breaking Jimi Hendrix’s attendance record at The Marquee are significant feathers in the cap however).
Nor did such issues as a ban from playing Municipal halls help, one of many anecdotes documented in the 32 page booklet (with liner notes by rock journalist Dave Ling, from conversations with the surviving original members) that accompanies this definitive 3CD set.
More importantly however, they produced three albums that are more solid than sales numbers suggested. None are without their faults, but that just makes them all the more honest and endearing; a true reflection of what the band were all about in the mid to late 70s.
1974’s self-titled debut album, featuring Gary Holton (think The Artful Dodger (whom Holton played in a production of Oliver) as a rock and roll frontman), guitarist Mickey Waller, bassist Ronnie Thomas, keys player Danny Peyronel (later of UFO) and drummer Keith Boyce (plus uncredited guitarist "Cosmo," who played on some tracks before being fired) most definitely has its moments, from the Hoople-esque rock and roll of 'Hangin' On' and piano led sing-a-long 'Ain’t It Hard' to singles 'It’s The Same' (a forlorn but engaging ballad) and tempo-shifting 'Rock ‘N’ Roll Man,' which is far more powerful in its seven-and-a-half minute album guise.
The uncomfortable reggae-ska appropriation 'Run Around Eyes' is, however, a decidedly ill-advised miss.
The album is accompanied by the single edit of 'Rock ‘N’ Roll Man' and three unreleased album out-takes.
Anvil Chorus, from 1975, released under the band name The Kids, saw Cosmo (who had been rehearsing with Thin Lizzy) return to replace the departing Mickey Waller.
A lot of the album was created in the studio, and fairly quickly, but it still stands as their strongest album.
Rock and roll nuggets include the punky 'Crisis' and the semi-narrative 'The Cops Are Coming' (think The Sensational Alex Harvey Band with a cockney accent). The hard rockin’ instrumental 'The Turk (An’ What E’ Smokes)' is another winner, while the ballad 'Situations Outta Control' has Gary Holton crooning at his most cockney.
The album also includes the perfectly titled 'Ain’t Nothing But a House Party' single and previously unreleased album out-take, 'Stand Back.'
In 1976 the band headed to the studio to record what became Kitsch, featuring, and in some places dominated by, John Sinclair (later of Uriah Heep), who had since replaced Danny Peyronel.
Original member Barry Paul (who inexplicably left immediately after he and the band signed to Atlantic in 1973) was also back, replacing Cosmo.
Mickie Most’s over-production, meticulous & time-consuming mixing and decision to use additional musicians (including members of Smokie for harmony-backing vocals) irked the band somewhat, but the album, released nearly a year after completion, contains some of the band’s best moments including the rollicking rocky fun of 'Chelsea Girl.'
The raunchy pop of single 'She's No Angel' is another Kitsch stand-out, as is cheeky rockney number 'Jackie The Lad' (the band’s 'Lazy Sunday Afternoon' moment); 'Squalliday Inn' is, title fittingly, sleazy groupie rock and roll, as well as a verbal/ lyrical pre-cursor to Gary Holton’s "Wayne" character from hugely popular TV series Auf Weidersehen Pet.
Five bonus tracks are included including punk rock single 'Delirious' and the final track recorded with Gary Holton, 'New Wave,' which mixes hard rock, punk and new wave pop.
The band continued in a state of flux (Gary Holton was both fired and rehired) until Holton’s death in 1985. After a lengthy hiatus a reformation of sorts (built around Danny Peyronel, Ronnie Thomas and Keith Boyce) led to a new album in 2003.
Since then there have been further line-up changes (including vocal stints for Phil Lewis (Girl, L.A. Guns), actor/singer John Altman and most recently Simon Gordon) with Keith Boyce and Cosmo still very much part of the act.
But it’s The Kids of the 70s that still hold that cheeky three album charm, with no Heavy Metal in sight.
Ross Muir
FabricationsHQ
Five bonus tracks are included including punk rock single 'Delirious' and the final track recorded with Gary Holton, 'New Wave,' which mixes hard rock, punk and new wave pop.
The band continued in a state of flux (Gary Holton was both fired and rehired) until Holton’s death in 1985. After a lengthy hiatus a reformation of sorts (built around Danny Peyronel, Ronnie Thomas and Keith Boyce) led to a new album in 2003.
Since then there have been further line-up changes (including vocal stints for Phil Lewis (Girl, L.A. Guns), actor/singer John Altman and most recently Simon Gordon) with Keith Boyce and Cosmo still very much part of the act.
But it’s The Kids of the 70s that still hold that cheeky three album charm, with no Heavy Metal in sight.
Ross Muir
FabricationsHQ