The group's initial years were characterized by bubblegum songs that they were only allowed to sing on, with heavier self-penned rock songs as the b-sides. They achieved their first hit in 1970 with the release of Funny Funny. In the following months, Sweet released "Co-Co" and Poppa Joe, both achieving huge success in the charts. In 1971 they released the album "Funny How Sweet Co-Co Can Be", which consisted mostly of songs written by Nicky Chinn and Mike Chapman.
Sweet's success continued with more glam rock and power pop oriented tunes, such as "Little Willy", "Wig Wam Bam", Hellraiser and Ballroom Blitz. By this time Sweet had a world-wide following, clocking up no less than 18 top 20 hit singles, and the guys were most notably popular in Germany and the U.K.
The group's members are perhaps best remembered for their very 'glam' outfits, featuring a lot of glitter, platform boots, chain mail shirts, and plenty of makeup. The group practically defining the camp extreme of the glam rock look, Steve Priest would later say it was very short-lived and only happened by accident, as some sort of ongoing rivalry between them and artists such as David Bowie and T. Rex. Everyone tried to outdo each other’s ridiculousness on Top Of The Pops. Sweet’s glam rock era lasted from 1972 to 1973.
In 1974, Sweet released Teenage Rampage, The Six Teens and Turn It Down, showing their desire to take a more hard rock direction. By this time tensions between the band and the songwriters and producer started to grow. The guys also pushed for more songwriting control, which increased tensions between them, the songwriters and producer.
In 1975, Sweet wrote, recorded and produced the smash hit Fox on the Run on their own, essentially severing ties with Chinn and Chapman. Following the song’s success, they released the acclaimed track Action. Their momentum went on, the band embarking their first U.S. tour.
After their recent success, Sweet released the “Give Us A Wink” album in 1976, which was notably heavy. It contained the single The Lies In Your Eyes, which achieved moderate success. A year later, in 1977, they released the album “Off The Record”, but singles such as Fever Of Love and Lost Angels failed to gain traction, partly due to bad marketing from their label. Despite this, the band continued to distance themselves from their earlier commercial ventures.
Sweet’s career was revitalized with the release of Love Is Like Oxygen in 1978. By this time Connolly had developed a drinking problem and started to be increasingly unreliable during recording sessions. Following a disastrous U.S. tour, he left the band officially in early 1979. The band continued on as a three piece band for three more years, releasing “Cut Above The Rest”, “Waters Edge”, and “Identity Crisis”. Priest took over most of the lead vocals until Sweet’s disbandment in 1981.
In 1985, Andy Scott and Mick Tucker re-formed Sweet with various new vocalists and bass players, the most notable being a 1986 reunion featuring Paul Mario Day (the first singer of Iron Maiden), keyboardist Phil Lanzon, and bass player Malcolm McNulty (who is now lead singer for fellow glam rock band Slade). Steve Priest was asked to join Tucker and Scott for the 1985 Australian tour, but declined at the last moment. Vocalist and bass player Jeff Brown joined in 1988. In 1991, Mick Tucker departed due to ill health, leaving Andy Scott as the only original member. He was replaced by German Bodo Schopf, and subsequently, Bruce Bisland. After Tucker's departure, Andy Scott changed the band's name to 'Andy Scott's Sweet'.
During this time, Brian Connolly, now in bad health, also performed with his version of Sweet. In 1981, he suffered multiple cardiac arrests, which permanently affected his health. He died on 9 February 1997, aged 51. He was cremated after a ceremony at Most Holy Name Roman Catholic Church at Old Mill Lane, Denham, Buckinghamshire and his ashes were scattered over the water by his adult daughters Nicola and Michelle. He also left an ex-wife, Marilyn, and a two-year-old son called Brian Junior (BJ) by his girlfriend Jean.
Michael Thomas (Mick) Tucker died 14 February 2002 in Welwyn Garden City, Hertfordshire from leukemia, aged 54; his funeral took place 25 February 2002. He is buried in an unnamed grave in Chorleywood House cemetery. It is marked by a sleeping angel. A wooden bench with a brass plaque funded by fans as a dedication to Mick is also positioned in the grave's vicinity.[2] He left behind a widow, Jan, and a daughter Ayston from his first marriage to Pauline (†1979). According to Steve Priest: "He was the most underrated drummer that ever came out of England. He was the powerhouse of the band. He was technically marvellous. His timing was impeccable, but he had a lot of soul as well and he really felt what he was playing."
In 1994, Steve Priest published his autobiography “Are You Ready Steve?”, which was a raw expose of his time with Sweet and pre-Sweet. In 2006 he released Priest's Precious Poems, a CD of tracks largely consisting of his more recent material. In 2008, he came out of retirement to form his own version of Sweet, based in the US. A year later this band released a live CD called Live In America. In March 2020, he was admitted to a hospital in L.A. After battling pneumonia for a few months, he died on June 4th 2020 at the age of 72.
Andy Scott currently continues to tour with Sweet. In 2002, Sweet released a new album called Sweetlife. February 2006 saw the release of a new Suzi Quatro album, Back To The Drive, which was produced by Scott. In March 2012, Scott released a covers album called New York Connection. Scott teamed up with Suzi Quatro and Don Powell to release a CD called Quatro, Scott and Powell in 2017. Scott has continued to produce for bands throughout the years, currently being the producer for Novatines.
In recent years, Sweet's popularity has surged again. The song Ballroom Blitz was featured in 2016's Suicide Squad, while Fox on the Run was featured in the trailer for 2017's Guardians of the Galaxy 2.
Waters Edge
Sweet Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
The price is too hard to pay
With a little less take and a little more give
I might find a reason for staying
Down by the waters edge
'Cause there's too much gone under the bridge
Down by the waters edge
Give me a ticket to the promised land
I'll still gotta settel my score
The next boat is leaving and i be there
We're the last in line we shot the door
Down by the waters edge
'Cause there's too much gone under the bridge
Down by the waters edge
'Cause there's too much gone under the bridge
Now I am here in my paradise
Living my life my way
Love is the only thing that i need
I found my reason for staying
Down by the waters edge
'Cause there's too much gone under the bridge
Down by the waters edge
'Cause there's too much gone under the bridge
The song Waters Edge by Sweet depicts a person who is contemplating leaving a place they used to call home. The first stanza of the song clearly indicates that the person is tired of paying the price of staying and they need a little more balance in the give and take aspect of the community. The use of the words "a little less take and a little more give" implies that the person feels like they have been giving much more than they have been receiving, hence the price becoming too hard to pay. However, if there was to be more of a fair exchange, they could find a reason for staying.
The next stanza talks about the person wanting to leave to go to the promised land, but still needing to settle their score. This can either mean that they have unsettled business they need to attend to before leaving, or that they have personal issues they need to come to terms with before leaving. The use of the words "we shot the door" implies that they might be leaving with someone else or a group of people.
In the last stanza, the person has now found their paradise and love is the only thing they need, hence the reason for staying. This implies that they were able to find balance in their give and take and were able to settle their scores before they left. The repetition of the phrase "down by the waters edge, 'cause there's too much gone under the bridge" symbolizes the idea that the person is leaving things behind them as they move on either to the promised land or their paradise.
Line by Line Meaning
I don't want to live here any more
I am tired of living in this place
The price is too hard to pay
It is too difficult to stay here
With a little less take and a little more give
If there is more compromise, I can consider staying
I might find a reason for staying
I could possibly find a justification for keeping myself here
Down by the waters edge
I went towards the water's edge
'Cause there's too much gone under the bridge
Because a lot has already happened in the past
Give me a ticket to the promised land
Get me a ticket to a better place
I'll still gotta settle my score
I have unfinished business to attend to
The next boat is leaving and I'll be there
I will join the next available boat
We're the last in line we shot the door
We are the final people to board as the door will be closed
Now I am here in my paradise
I have arrived in my dream place
Living my life my way
I am enjoying my life on my own terms
Love is the only thing that I need
All I require is love
I found my reason for staying
I have discovered why I should remain here
Lyrics © Warner Chappell Music, Inc.
Written by: ANDREW SCOTT, MICHAEL TUCKER, STEPHEN PRIEST
Lyrics Licensed & Provided by LyricFind
@jvalatka
0:00 Sixties Man
4:09 Getting in the Mood for Love
7:13 Tell the Truth
10:46 Own Up
14:06 Too Much Talking
18:03 Thank You for Loving Me
21:44 At Midnight
25:05 Water's Edge
28:04 Hot Shot Gambler
31:37 Give the Lady Some Respect
The album starts with a tepid, ill-advised tribute to the Woodstock era, which seems to acknowledge that the band's best days are now behind them and so... they draw a line and tell their audience which generation they're singing to? Not a great look for the long term. At least they get a decent outside assist at the end ("Give the Lady Some Respect"), an upbeat reminder to treat your better half right. The album presents the band cutting out much of their experimental inclinations of recent years (everything under four-and-a-half minutes!), keeping the louder dynamics, and rockin' largely straight ahead as they tumble into the big '80s with a new look. This music may be crunchy loud and well-played, but it easily fades into the background in a barroom setting. "At Midnight" seems to come the closest to their glory days. Probably wise that they kept this set short...
Oh look... extra tracks (first one's not bad):
36:03 Tall Girls
40:34 Oh Yeah!
42:55 Sixties Man (single version)
46:48 Give the Lady Some Respect (single version)
@user-cs3oq3gd9m
SIDE 1:
1. Sixties Man (Peter Hutchins, Pip Williams) - 4:08
2. Getting in the Mood for Love (Priest, Scott, Tucker) - 3:01
3. Tell the Truth (Priest, Scott, Gary Moberley) - 3:30
4. Own Up (Priest, Scott, Tucker) - 3:16
5. Too Much Talking (Ray McRiner) - 3:57
SIDE 2:
6. Thank You for Loving Me (Scott, Moberley) - 3:40
7. At Midnight (Scott) - 3:16
8. Waters Edge (Priest, Scott, Tucker) - 2:54
9. Hot Shot Gambler (Priest) - 3:32
10. Give the Lady Some Respect (McRiner) - 3:27
@jvalatka
0:00 Sixties Man
4:09 Getting in the Mood for Love
7:13 Tell the Truth
10:46 Own Up
14:06 Too Much Talking
18:03 Thank You for Loving Me
21:44 At Midnight
25:05 Water's Edge
28:04 Hot Shot Gambler
31:37 Give the Lady Some Respect
The album starts with a tepid, ill-advised tribute to the Woodstock era, which seems to acknowledge that the band's best days are now behind them and so... they draw a line and tell their audience which generation they're singing to? Not a great look for the long term. At least they get a decent outside assist at the end ("Give the Lady Some Respect"), an upbeat reminder to treat your better half right. The album presents the band cutting out much of their experimental inclinations of recent years (everything under four-and-a-half minutes!), keeping the louder dynamics, and rockin' largely straight ahead as they tumble into the big '80s with a new look. This music may be crunchy loud and well-played, but it easily fades into the background in a barroom setting. "At Midnight" seems to come the closest to their glory days. Probably wise that they kept this set short...
Oh look... extra tracks (first one's not bad):
36:03 Tall Girls
40:34 Oh Yeah!
42:55 Sixties Man (single version)
46:48 Give the Lady Some Respect (single version)
@carolinewoodward1016
Thank you
@carolinewoodward1016
Thank you
@user-cs3oq3gd9m
SIDE 1:
1. Sixties Man (Peter Hutchins, Pip Williams) - 4:08
2. Getting in the Mood for Love (Priest, Scott, Tucker) - 3:01
3. Tell the Truth (Priest, Scott, Gary Moberley) - 3:30
4. Own Up (Priest, Scott, Tucker) - 3:16
5. Too Much Talking (Ray McRiner) - 3:57
SIDE 2:
6. Thank You for Loving Me (Scott, Moberley) - 3:40
7. At Midnight (Scott) - 3:16
8. Waters Edge (Priest, Scott, Tucker) - 2:54
9. Hot Shot Gambler (Priest) - 3:32
10. Give the Lady Some Respect (McRiner) - 3:27
@alanweber9849
I love this album❤
@julieblaskie3419
Wow! I had never heard this one before - and I love it! Thank you! I am so glad to hear this album, and I will be listening to it some more!
@user-fk2bh5pr4k
Мне нравится эта вещь. Спасибо! 🤝👍
@user-cs3oq3gd9m
Mick Tucker - drums and vocal
Steve Priest - bass, harmonica and vocals
Andy Scott - all guitars, synthesizers and vocals
+
Guest musician:
Gary Moberley - piano, organ, synthesizers
@goodoldeternal
Sw̲e̲e̲t - Wa̲t̲e̲r̲’̲s̲ ̲E̲d̲g̲e 1980 (full album)
@aleks.k.5615
уже не то с глэма в какой то прог рок и без Конноли