The Sweet

Context: Guitarist Mick Stewart joined in 1969. Stewart had some rock pedigree, having previously worked with The (Ealing) Redcaps and Simon Scott & The All-Nite Workers in the mid-1960s. In late 1965, that band became The Phil Wainman Set when the future Sweet producer joined on drums and the group cut some singles with Errol Dixon. In early 1966, Stewart left and later worked with Johnny Kidd & The Pirates. The Sweet signed a new record contract with EMI's Parlophone label. Three bubblegum pop singles were released: "Lollipop Man" (September 1969), "All You'll Ever Get from Me" (January 1970), and a cover version of the Archies' "Get on the Line" (June 1970), all of which failed to chart. Stewart then quit, and was not replaced for some time. Connolly and Tucker had a chance meeting with Wainman, who was now producing, and knew of two aspiring songwriters, Nicky Chinn and Mike Chapman, who were looking for a group to sing over some demos they had written together. Connolly, Priest and Tucker provided the vocals on a track called "Funny Funny" which featured Pip Williams on guitar, John Roberts on bass and Wainman on drums. The latter began offering the track to various recording companies. The band held auditions for a replacement guitarist and settled on Welsh-born Andy Scott. He had most recently been playing with Mike McCartney (brother of Paul) in the Scaffold. As a member of the Elastic Band, he had played guitar on two singles for Decca, "Think of You Baby" and "Do Unto Others". He also appeared on the band's lone album release, Expansions on Life, and on some recordings by the Scaffold. The band rehearsed for a number of weeks before Scott made his live debut with Sweet on 26 September 1970 at the Windsor Ballroom in Redcar. The Sweet initially attempted to combine various musical influences, including the Monkees and 1960s bubblegum pop groups such as the Archies, with more heavy rock-oriented groups such as the Who. The Sweet adopted the rich vocal harmony style of the Hollies, with distorted guitars and a heavy rhythm section. This fusion of pop and hard rock would remain a central trademark of Sweet's music and prefigured the glam metal of a few years later. The Sweet's initial album appearance was on the budget label Music for Pleasure as part of a compilation called Gimme Dat Ding, released in December 1970. The Sweet had one side of the record; the Pipkins (whose sole hit, "Gimme Dat Ding", gave the LP its name) had the other. The Sweet side consisted of the A- and B-sides of the band's three Parlophone singles. Andy Scott appears in the album cover shot, even though he did not play on any of the recordings. The Sweet made their UK television debut in December 1970 on a pop show called Lift Off, performing the song "Funny Funny". A management deal was signed with the aforementioned songwriting team of Nicky Chinn and Mike Chapman. Phil Wainman resumed his collaboration with Sweet, as executive producer. This management deal also included a worldwide (the U.S. excepted) record contract with RCA Records (in the United States and Canada Bell Records issued the group's music until late 1973; followed by Capitol Records). In March 1971 RCA issued "Funny Funny", written by Chinn and Chapman, which became the group's first international hit, climbing to the Top 20 on many of the world's charts. EMI reissued their 1970 single "All You'll Ever Get from Me" (May 1971) and it again failed to chart. Their next RCA release "Co-Co" (June 1971) went to number two in the U.K. and their follow up single, "Alexander Graham Bell" (October 1971), only went to #33. These tracks still featured session musicians on the instruments with the quartet providing only the vocals. The Sweet's first full LP album, Funny How Sweet Co-Co Can Be, was released in November 1971. A collection of the band's recent singles supplemented by some new Chinn/Chapman tunes (including "Chop Chop" and "Tom Tom Turnaround") and pop covers (such as the Lovin' Spoonful's "Daydream" and the Supremes' "Reflections"), the album, recorded at Nova Studios in London, was produced by Phil Wainman and engineered by Richard Dodd and Eric Holland. It was not a serious contender on the charts. Their albums' failure to match the success of their singles was a problem that would plague the band throughout their career. February 1972 saw the release of "Poppa Joe", which reached number 1 in Finland and peaked at number 11 in the UK Singles Chart. The next two singles of that year, "Little Willy" and "Wig-Wam Bam", both reached No. 4 in the UK, and "Little Willy" peaked at No. 3 on the U.S. Billboard Hot 100 after a re-issue in 1973, thus becoming the group's biggest American hit. Although "Wig-Wam Bam" remained largely true to the style of the Sweet's previous recordings, the vocals and guitars had a harder, more rock-oriented sound, largely because it was the first Chinn-Chapman single on which only members of Sweet played. In January 1973 "Block Buster!" became the Sweet's first single to reach number 1 on the UK chart, remaining there for five consecutive weeks. After their next single "Hell Raiser" was released in May and reached number 2 in the U.K., the Sweet's U.S. label, Bell, released the group's first American album The Sweet in July 1973. To promote their singles, the Sweet made numerous appearances on U.K. and European TV shows such as Top of the Pops and Supersonic. In one performance of "Block Buster!" on Top of the Pops, Priest aroused complaints after he appeared wearing a German uniform and displaying a swastika armband. The band also capitalised on the glam rock explosion, rivalling Gary Glitter, T. Rex, Queen, Slade, and Wizzard for outrageous stage clothing. Despite the Sweet's success, the relationship with their management was becoming increasingly tense. While they had developed a large fan-base among teenagers, the Sweet were not happy with their 'bubblegum' image. The Sweet had always composed their own heavy-rock songs on the B-sides of their singles to contrast with the bubblegum A-sides which were composed by Chinn and Chapman. During this time, Sweet's live performances consisted of B-sides, album tracks, and various medleys of rock and roll classics; they avoided older 'novelty' hits like "Funny Funny" and "Poppa Joe". A 1973 performance at the Palace Theatre and Grand Hall in Kilmarnock ended in the Sweet being bottled off stage; the disorder was attributed by some (including Steve Priest) to the Sweet's lipstick and eye-shadow look, and by others to the audience being unfamiliar with the concert set (the 1999 CD release Live at the Rainbow 1973 documents a live show from this period). The incident would be immortalised in the hit "The Ballroom Blitz" (September 1973). In the meantime, the Sweet's chart success continued, showing particular strength in the UK, Denmark, Germany, Sweden and Australia. At the end of 1973, the band's name evolved from "The Sweet" to "Sweet". The change would be reflected in all of their releases from 1974 onward. CANNOTANSWER

Question: Did The Sweets succeed in combining influences from the Monkees, the Archies and the Who?
Answer: The Sweet adopted the rich vocal harmony style of the Hollies, with distorted guitars and a heavy rhythm section.