That's the part that surprised me, that apparently it didn't even warrant a mention in Tommy's list.

I don't think I've ever heard that song.

ION, just downloaded the soundtrack to Kick Ass. I love the version of "This Town Ain't Big Enough For Both Of Us." Is this the original version (it's by the Sparks)? I love the Siouxie and the Banshees version.

Also, great cover of the Banana Splits theme song by The Dickies.

Is this the original version (it's by the Sparks)?

Yes, the Sparks version is the original. It was a hit in the UK (are we seeing a theme) but not in the U.S. Siouxsie did a whole album of covers including that.

It was a hit in the UK (are we seeing a theme)

Maybe I should have grown up in the UK. I could have been a Teddy Boy!

I could have been a Teddy Boy!

Way cooler than mere rockers, since the Teds affected an Edwardian look.

When I was younger, I was sorta' envious of women because they could wear such a big variety of clothes. Then I thought about maybe clutivating an Edwardian look....

In the sway of a teddy girl's hips
In the curl of a teddy boy's lips tonight

- The Soft Boys - "Tonight".

Most. Awesome. Guitar. Evah!

[link]

Just imagine the stage moves you could do....

Just imagine the stage moves you could do....

You mean like these?

And then, at the opposite extreme is this.

Of course, Rick Nielsen has been playing a FIVE neck guitar for years.

Julian Cope's got a fascinating take (and rant) in his longish Glamrocksampler essay and collection.

You can nab the actual music here.

The discovery for me was the Neil Merryweather track, "The Groove." Fantastic lead guitar not unlike Mick Ronson or Bill Nelson.

This is not really about the poppy end of Glam, but the hard rock dudes in eyeliner and the arty, bleak space mutant epics.

So more along the lines of obscurities like Peter Hamill's Nadir's Last Chance (glam dystopia, Bowie influenced) and Doctors of Madness (between glam and punk with electric violin). Though there are bits of Slade and lots of Bowie influences.

Not to oversell it but you do hear the kind of thing that Bauhaus, Suede and MCR took into their sound. A certain bleak grandiosity.

I really love Julian's writing. Here he discusses Craig Bell's bass on Rocket From the Tombs:

Then, they blast into the rock'n'roll guitar riff of "I Didn't Really Wanna Kill Myself" with five seconds of acceptable sonic shmeer, before, sure enough, bassist Craig Bell emerges from that mysterious bass-ment with a fresh dollop of Tony Visconti/Trevor Bolder overplay. Remember how Tony Visconti played bass on those early Bowie albums? He was never the ablest of bass players, but his co-producer's position meant that rock'n'roll's hoariest bass cliches were transformed into giant's steps glitterstomping across the sonic landscape, inspiring Trevor Bolder to similar heights/lows on the following LPs. Well, here in the Rocket from the Tomb's loft, lack of control means the guy with the loudest instrument wins, and he who dares is always Craig Bell. Right ON!

A certain bleak grandiosity.

Mmm, bleak grandiosity.