Sweet - Off the Record (1977) [1999, BMG, 74321 66010 2]

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Sweet - Off the Record (1977) [1999, BMG, 74321 66010 2]

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After the international success of the self-produced "Fox on the Run," Sweet broke away from songwriters Nicky Chinn and Mike Chapman in an attempt to shake their "pop puppets" and took a stab at conquering the hard rock album market. Sadly, a lot of their post-hit singles period output lacked the tight songwriting and hooks that made them famous, and this problem is in evidence on Off the Record. The band's musical approach seems schizophrenic on this album: Songs like "Windy City" and "Live for Today" attempt a tough sound built on gritty lyrics and heavy guitar riffs, but this approach is undone by the overt slickness of the production, which tarts everything up with Queen-style harmonies and thickly layered synthesizers that would feel more at home on a prog rock album. There is also an awkward attempt in creating a dance music track in "Funk It Up," which starts with a ham-fisted attempt at a funk rock groove and devolves into a series of repetitive disco-style chants. Despite this confused approach, some solid songs occasionally shine through: "Fever of Love" is a likable rocker built on an effective blend of guitars and synthesizers that sports a catchy chorus worthy of their hits, and "Midnight to Daylight" is a stomping rocker that sports heavy riffs worthy of Black Sabbath. However, moments like these are few and far between on Off the Record, making this an album that's only really suited to Sweet completists.

~ Donald A. Guarisco, All Music Guide

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Sweet - Off the Record (1977) [1999, BMG, 74321 66010 2]

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Sweet Biography:

Formed: 1968, London, England
Disbanded: 1982
Genres: Rock
Representative Albums: "Sweet 16: It's…It's…Sweet's Hits", "Complete A & B Sides: Hit Singles", "Action: The Sweet Anthology"
Representative Songs: "Ballroom Blitz", "Fox on the Run", "Blockbuster"

In some ways, the Sweet epitomized all the tacky hubris and garish silliness of the early '70s. Fusing bubblegum melodies with crunching, fuzzy guitars, the band looked a heavy metal band, but were as tame as any pop group. It was a dichotomy that served them well, as they racked up a number of hits in both the U.K. and the U.S. Most of those hits were written by Nicky Chinn and Mike Chapman, a pair of British songwriters that had a way with silly, simple, and catchy hooks. Chinn/Chapman and Sweet were smart enough to latch on to the British glam rock fad, building a safer, radio-friendly and teen-oriented version of Queen, T. Rex, and Gary Glitter. By the end of the '70s, the group's time at the top of the charts had expired but their hit singles lived on not only as cultural artifacts, but also as the predecessors for the pop-metal of the '80s.

Originally, the Sweet were called the Sweetshop and consisted of Brian Connolly (vocals), Mick Tucker (vocals, drums), Frank Torpey (guitar), and Steve Priest (bass). In 1970, the group truncated their name to Sweet and signed a record contract with Fontana/EMI, releasing four unsuccessful singles. Following the failure of the four singles, Torpey left the group and was replaced by Andy Scott. The new lineup of Sweet signed to RCA Records in 1971, where they were placed under the direction of songwriters Nicky Chinn and Mike Chapman. Chinn and Chapman wrote a number of light bubblegum pop songs for the group, the first of which, "Funny Funny," reached number 13 on the U.K. charts. Following "Funny Funny," the duo wrote five more Top 40 hits for the group – including "Little Willy" and "Wig-Wam Bam" – which were all lightweight bubblegum numbers loaded with double entendres. During this time, Sweet were writing their own B-sides and album tracks. All of the group's compositions were harder than Chinn and Chapman's songs, featuring crunching hard rock guitars. Consequently, the duo decided to write tougher songs for the group. "Blockbuster," the first result of Chinn and Chapman's neo-glam rock approach, was the biggest hit Sweet ever had in the U.K., reaching number one on the charts in early 1973 and eventually going platinum. For the next two years, Sweet continued to chart with Chinn and Chapman compositions, including the Top Ten hits "Hell Raiser," "Ballroom Blitz," "Teenage Rampage," and "The Six Teens."

By the summer of 1974, the members of Sweet had grown tired of the control Chinn and Chapman exerted over their career and decided to record without the duo. The resulting album, Sweet Fanny Adams, reached number 27 in the U.K., but it yielded no hits. In the spring of 1975, Sweet had their first self-penned hit with "Fox on the Run," which reached the Top Ten in both the U.K. and the U.S. "Fox on the Run" appeared on the collection Desolation Boulevard; in America, it's release helped "Ballroom Blitz" reach the Top Ten in the summer of 1975. Strung Up, released in the fall of 1975, continued the group's move toward album-oriented rock. For the rest of the decade, the group continued to churn out albums, which were all less successful than their predecessor. Sweet bounced back into the charts in 1978 with "Love Is Like Oxygen," but the single proved to be their last gasp; they never reached the Top Ten again, neither in the U.S. or the U.K.

Connolly left the band after "Love Is Like Oxygen" and the group replaced him with keyboardist Gary Moberley. The group carried on for three more years, releasing three more albums that all achieved little success. After several years of little success or attention, Sweet broke up in 1982. In the decade following their breakup, Sweet reunited on various occasions. In 1985, a dance club medley of their hits called "It's the Sweet Mix" became a British Top 50 hit and, following the single's success, the group re-formed for a tour that proved to be less anticipated than expected. Later in the decade, Scott toured as part of the group Paddy Goes to Holyhead. In 1989, Scott and Tucker re-formed Sweet to record a live album at London's Marquee Club.

~ Stephen Thomas Erlewine, Rovi

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Sweet - Off the Record (1977) [1999, BMG, 74321 66010 2]

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Sweet - Off the Record (1977) [1999, BMG, 74321 66010 2]

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