The Sweet

433. Blondie – Heart of Glass (1979)

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The Intro

Simultaneously one of the hottest and coolest new wave bands, US six-piece Blondie were also one of the most successful, notching up five UK number 1s in under two years (and another in 1999). Heart of Glass melded new wave, rock, disco and pop with a slither of punk attitude, and it’s their best single.

Before

Blondie’s beginnings start back in New York in 1973. Guitarist Chris Stein joined rock band the Stilettoes. He began a romantic relationship with one of their vocalists – Debbie Harry. She had been a waitress, a Playboy Bunny and a member of folk-rock group the Wind in the Willows in the late-60s. Harry and Stein decided to leave the Stilettoes and start a new band in 1974. Together with former bandmates Billy O’Connor on drums and Fred Smith on bass, they became Angel and the Snake that August.

Two months later and with only two gigs under their belts, they changed their name to Blondie. As the whole world knows, Harry was one of the most beautiful women in the world, and would turn heads wherever she went. Among no doubt filthier shouts, lorry drivers would bark ‘Hey, blondie!’ at her as they drove by her walking down the street.

Fast forward to spring 1975 and Blondie’s line-up had changed several times – including experimenting with female backing singers. Drummer Clem Burke then joined them, along with Gary Valentine on bass. They became regular performers at hip joints CBGB and Max’s Kansas City, wowing crowds with power-pop and Harry’s stage presence. A few months later they recruited keyboardist Jimmy Destri to fill out their sound.

Signing with Private Stock Records, their eponymous debut LP was released in December 1976. It made little of an impression, and first single X Offender sank without trace, despite them supporting Iggy Pop on tour. However, the follow-up In the Flesh became a number two hit in Australia after being played by accident on TV (they were supposed to be showing X Offender).

Blondie decided to buy back their contract and switched to the British label Chrysalis Records. Blondie was re-released on Chrysalis in October 1977 and the critics began to take note. Nevertheless Valentine left the group and they recorded second album Plastic Letters as a four-piece, released in 1978.

The first single from the album Denis (a cover of a 1963 song by Randy and the Rainbows) finally saw their commercial stock rise – all the way to number two in the UK, where the music papers made a story out of Harry battling it out for the top spot with another strong female pop star, namely Kate Bush, who won out with Wuthering Heights. Denis did reach the top spot in the Netherlands and Belgium though, and when the next 7-inch, (I’m Always Touched by Your) Presence, Dear peaked at 10 in the UK, it seemed Blondie were here to stay. They were.

Hiring Frank Infante on guitar and British bassist Nigel Harrison, the six-strong Blondie toured the UK and became one of the first new wave acts to hit the mainstream. Here at last was a rock group in which the men stayed out of the spotlight. It shone fully on Harry, who had star power like few others at the time.

In a clear attempt to really leave their mark on the pop scene, Blondie worked with a big-name producer. Australian Mike Chapman had been half of ‘Chinnichap’ with Nicky Chinn. Together they wrote and produced glam rock number 1 classics by The Sweet, Mud and Suzi Quatro. The latter proved particularly appropriate, as Chapman had experience in helping female rock stars climb the charts with catchy commercial pop songs.

Blondie’s Chapman-produced third album Parallel Lines was released in September 1978. first single Picture This climbed to 12 and Hanging on the Telephone peaked at five. Their first number 1 was next.

Heart of Glass was one of Blondie’s earliest tracks. Originally known as Once I Had a Love, it was written by Harry and Stein and 1974 and demoed a year later. Although slower and funkier than the released version, It had a disco influence right from the start, having been influenced by one of the genre’s earliest hits – The Hues Corporation’s Rock the Boat (1974). Harry later recounted that the lyrics to Heart of Glass weren’t directed personally to a former love of hers, it was written as a ‘plaintive moan about lost love’. They tried it as a ballad and even reggae over the years, but it never quite worked.

Blondie remained in thrall to disco, to the consternation of some rock die-hards, over the years, occasionally adding dance floor hits to their setlists. Harry expressed her love of the work of producer Giorgio Moroder in the NME early in 1978, and the band surprised a CBGB crowd with a cover of Donna Summer’s I Feel Love later that year.

When it came to meeting Chapman to start work on Parallel Lines, the producer asked Blondie to show him what they could record. At the end he asked if there was anything else, and the band sheepishly decided to perform Heart of Glass. Despite their reticence, Chapman loved it and saw a potential hit. Blondie began to agree, but having also become fans of Kraftwerk, wanted to recreate the futuristic sounds of the German innovators as well as Moroder’s hits.

The six-piece assembled at the Record Plant in New York in June 1978 to record Heart of Glass. Unusually at the time, a rock band chose to build the song around a drum machine. The Roland CR-78 had only been released earlier that year, and it was Stein and Destri who introduced it to the studio, having bought one from a store in Manhattan. Destri in particular had a lot to do with the sound of Heart of Glass and brought in some synthesisers. Other technology used in the production included the Roland SH-5 and Minimoog.

Review

Heart of Glass is one of my favourite number 1s of the 70s and one I’ll never tire of. It never dates either. You could argue the 80s began right here and it certainly had an influence on music over the next few years. It’s icy, cool as fuck and one of the greatest disco tracks of all time – despite not actually being that easy to dance to. I love the lyrics, which suit Harry’s ‘not arsed mate’ attitude. Yes, she was once in love. She’s not any more, and you only have to listen to the first few lines to know she’s totally over it.

The lyrics to Heart of Glass are fascinating. What actually is a heart of glass? Does she have a heart of glass or does he? If it’s him, does she mean she’s cut herself because of him? Or does she mean she’s discovered her heart is fragile and he broke it into pieces? Hard to tell, because although she’s given the impression she’s moved on, the choruses suggest otherwise. In the second one Harry suggests he’s cheated on her, and she sings ‘I’m the one you’re using, please don’t push me aside’. ‘Mucho mistrust’ also suggests infidelity.

It’s worth noting that, as far as I can tell, Heart of Glass is the first chart-topper to contain a swear word of sorts. Blondie decided to try and get away with one instance of ‘Soon turned out, it was a pain in the ass’ in both the single and album mixes. It soon got replaced on the radio with another ‘heart of glass’, but good on them for trying! The song then ends on that catchy-as-hell, resigned ‘Ooh ooh ooh, ah-ah’, which comes across as another ‘ah, fuck it’.

With Heart of Glass, Blondie and Chapman really melded those influences of Moroder and Kraftwerk together to create something unique. Like I Feel Love, it feels like it could go on forever and that wouldn’t be a bad thing. I listened to 45 minutes of different versions of this in one go and I only began to tire towards the end. And like Kraftwerk, its machine-like, but scratch the surface and there’s human emotions underneath.

For the single, Chapman beefed up the sound and accentuated the double-tracked bass drum. For me, the best version is the 5:50 ‘Disco Version’ released as a 12-inch. Unlike a lot of 12-inch mixes of the time, it doesn’t sound like bits have been unnecessarily tacked on. It sounds like the natural version, just for letting the rhythm stretch out that bit longer.

The promo video to Heart of Glass was directed by Stanley Dorfman, a British director who did just that on the very first edition of Top of the Pops. The film begins with aerial shots of New York, slowly revolving like a mirrorball, before showing the streets of the city and landmarks including the Ed Sullivan Theatre and Studio 54. Although we’re meant to get the suggestion the latter is where this is filmed, it was actually made in a long-forgotten, short-lived club.

The rest of the video alternates between close-ups of Harry miming and mid-distance shots of the rest of the band ‘performing’. Harry looks particularly drop-dead gorgeous here, her hair slightly dishevelled, in a silver dress with one shoulder strap. Her bored, slightly pissed-off performance really suits the song and apparently came about through a genuine sulk. Harry wanted to dance but she was told to stay still. She wasn’t keen on Dorfman after that and didn’t appreciate all the close-ups. Nonetheless, it’s an iconic performance.

After

Heart of Glass was a deserved global smash and number 1 in most countries, including the US. Harry became a pin-up and hero to millions of teens and were a breath of fresh air. With this song toppling Hit Me with Your Rhythm Stick, 1979 was shaping up to be a hell of a year for pop.

The Info

Written by

Debbie Harry & Chris Stein

Producer

Mike Chapman

Weeks at number 1

4 (3 February-2 March)

Trivia

Births

13 February: Labour MP Rachel Reeves

2 March: Comedian Jocelyn Jee Esien

Deaths

14 February: Conservative MP Reginald Maudling – 14 February

19 February: Comedian Wee Georgie Wood

Meanwhile…

9 February: Trevor Francis signed for Nottingham Forest. He was the first player to sign a deal worth £1 million.

12 February: The Winter of Discontent continued, with more than 1,000 schools closed due to the heating oil shortage caused by the lorry drivers’ strike.

14 February: Talks between unions and the government, known as the ‘Saint Valentine’s Day Concordat’ marked the end to the Winter of Discontent.

15 February: However, the damage was done. Opinion polls showed the Tories up to 20 points ahead of Labour.

22 February: Saint Lucia became independent of the UK.

1 March: Scotland voted for a Scottish Assembly in the devolution referendum. However this was less than 40% of the electorate, which meant it wasn’t followed through.
Also on this day, Wales voted against devolution.

374. Bay City Rollers – Give a Little Love (1975)

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The Intro

In the summer of 75, Bay City Rollers were the biggest band in the UK. Their cover of The Four Seasons’ Bye Bye Baby had become the biggest seller of the year, they had their own ITV series, Shang-a-Lang, and ‘Rollermania’ was considered the new ‘Beatlemania’. There was one more number 1 to come.

Before

Give a Little Love was penned by Johnny Goodison and Phil Wainman. Goodison had been a member of The Brotherhood of Man’s original line-up in 1969 until 1971, and Wainman was a former colleague of Nicky Chinn and Mike Chapman, producing many of their hits including The Sweet’s number 1 Block Buster !. They conjured up an anthem for their loyal fans to hold their tartan scarfs aloft and sway away to.

Review

By starting Give a Little Love with ‘It’s a teenage dream to be 17/And to find you’re all wrapped up in lo-o-ove’, Goodison and Wainman are ensuring every adoring teenage girl feels like singer Les McKeown is speaking directly to them about their love of the Rollers. The whole song is a love letter to the fans and I can imagine tears being shed to this one at live shows. It’s OK as far as this sort of thing goes, but it goes on a bit, and the single version is strangely missing the strings that were included in the album version – did this get rush-released to capitalise on Bye Bye Baby?

After

Bay City Rollers capped off the end of their peak year with the album Wouldn’t You Like It?, featuring the superior string-laden version of this single, and non-album track Love Me Like I Love You climbed to four. With the UK theirs, they next looked to repeat their fame in the US with the help of Clive Davis, head of Arista. It paid off in early 1976 when Saturday Night, a UK single from 1973, reached 1 on the Billboard Hot 100. However, the pressures of megastardom took their toll on bassist Alan Longmuir, one of the original members of the band. He was replaced by 17-year-old Ian Mitchell from Northern Ireland, the first non-Scottish member. Money Honey and a cover of Dusty Springfield’s I Only Want to Be with You were huge hits in the UK, peaking at three and four respectively.

From 1977, the fortunes of the Rollers faded. It’s a Game reached 16, but You Made Me Believe in Magic only just scraped into the UK top 40, and it was their last single to do so here and in the US. Mitchell quit and was replaced by Pat McGlynn, and there were arguments over the band’s future direction. They worked with Harry Maslin, a producer for David Bowie, but it didn’t work out.

At the end of 1978, McKeown quit and manager Tam Paton was fired. They decided to become a new wave band, and became simply the Rollers. South African Duncan Faure became the new singer. But they couldn’t come close to the fame they had in the mid-70s, and called it a day in 1981. In 1982 Paton was convicted of gross indecency with two teenage boys aged 16 and 17.

The inevitable reunions with shifting line-ups soon began and continued throughout the 80s and 90s. 1999 saw the classic line-up of McKeown, Alan Longmuir (Derek declined), Stuart ‘Woody’ Wood and Eric Faulkner performed on the final New Year’s Eve of the millennium outside Edinburgh Castle. Paton found himself in the news several times in the last few years of his life as further allegations of his predatory past came to light. He was arrested for child sexual abuse charges in 2003 but they were later dropped, and he was also accused of trying to rape McGlynn in a hotel room in 1977, but it was decided there was insufficient evidence. Original singer Gordon ‘Nobby’ Clark claimed in 2016 that Paton had urged the band to have sex with paedophile Radio 1 DJ Chris Denning. Paton died in 2009 of a suspected heart attack.

In 2007 the ‘classic’ line-up of the group plus Faure announced a lawsuit against Arista for ‘tens of millions’ in unpaid royalties. But their move was delayed by a 2010 lawsuit by Clark, Mitchell and McGlynn against the band. It took until 2016 for the original case to be decided, with an out-of-court settlement in which parent company Sony Music awarded each member £70,000.

The latest incarnation of the Bay City Rollers began in 2018, and includes Wood. Alan Longmuir died in 2018 after falling ill while on holiday in Mexico, and Mitchell died in 2020 from throat cancer. McKeown died of a cardiac arrest in 2021, aged 65.

The Outro

In 2023, ITV broadcast the documentary Secrets of the Bay City Rollers. DJ Nicky Campbell, who was himself abused as a child, highlighted the shocking abuse members of the band suffered at the hands of Paton.

The Info

Written & produced by

Johnny Goodison & Phil Wainman

Weeks at number 1

3 (19 July-8 August)

Births

30 July: Artist Graham Nicholls
31 July: Radio DJ Stephanie Hirst

Deaths

7 August: Labour MP Jim Griffiths

Meanwhile…

19 July: Hatton Cross tube station was opened, completing the first phase of the extension of the London Underground’s Piccadilly line to Heathrow Airport.

1 August: The Government’s anti-inflation policy came into full effect. During the year, inflation reached 24.2% – the second-highest recorded level since records began in 1750, and the highest since 1800.

343. Mud – Tiger Feet (1974)

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The Intro

Early 1974 was peak ‘Chinnichap’, with the writers/producers responsible for two number 1s in a row. This first one took Mud out of the minor leagues and made them one of the biggest names in glam rock. And rightly so, because Tiger Feet is a classic pop anthem and one of my favourite number 1s of the 70s. If you don’t love Tiger Feet, you are dead already.

Before

The origins of the Surrey quartet begin with singer Thomas Leslie ‘Les’ Gray, born in Carshalton on 9 April 1946. Gray was a self-taught musician who originally played trumpet in a jazz band while still at school, before forming a skiffle group called The Mourners. When he left education he wrote commercials for cinema advertising legends Pearl & Dean, and then worked for Moss Bros.

By 1966, The Mourners featured guitarist Rob Davis, who had joined with drummer Dave Mounts, his companion in several previous bands. Along with bassist Ray Stiles, they became Mud that February. The following year they released their debut single on CBS Records, the very 1967-sounding Flower Power. It failed to make an impression, and nor did their next few singles, released on Phillips, over the next three years.

With psychedelia largely over, Mud were sinking (sorry) until they met impresario Mickie Most, whose Rak Records were fast becoming the hippest label around when they joined. Much like The Sweet before them, as soon as they began working with their new writers and producers Nicky Chinn and Mike Chapman (despite being on different labels), things swiftly improved.

In 1973 they scored three top 20 singles – Crazy (number 12), Hypnosis (number 16) and best of the three, Dyna-Mite, which climbed to number four. With the Chinnichap template of pop-rock, Gray’s sideburns and deep Elvis-style vocal and Davis’s increasingly outlandish get-up, Mud became a fully fledged glam band with this single, which had originally been rejected by labelmates The Sweet. And then came Tiger Feet.

But what the hell is it actually about, if anything? Much like Can the Can, it’s likely they just stumbled upon a phrase they liked and worked it into a song. Clearly, in general though, Tiger Feet is a come-on to some ‘dance hall cutie’, and Gray sees her as a kind-of sexual predator in the way she cuts a rug (I’m lost at ‘tiger lights’ though). Which is ironic, considering the dance that Mud and their crew made up to this song – which may be the least sexy ever witnessed in pop.

Review

It may look ridiculous, but let me say in all seriousness that watching Mud performing the Tiger Feet dance is for me one of the most uplifting moments in pop music. It encapsulates the power of pop, and glam in particular, to make grown men act and look as stupid as possible, with all worries abandoned, totally lost in the moment. At the music night I used to DJ at with friends, I would, without shame, perform said dance time and time again, and I am proud of the fact. Everyone should try it.

So, yes, I am a huge fan of Mud’s first number 1. Ignore the words and any notion of being cool and feel the rip-roaring, childlike glee running wild throughout, from the manic rhythm guitar at the start to the ‘t-t-t-t-t-t-t-tiger feet’ at the song’s fade. It’s very difficult to analyse something so stupid and brilliant too much, so just enjoy it.

The Outro

Just like Slade, Mud gave the country some much-needed light relief in particularly trying times. This is 70s pop at its best.

The Info

Written & produced by

Nicky Chinn & Mike Chapman

Weeks at number 1

4 (26 January-22 February) *BEST-SELLING SINGLE OF THE YEAR*

Trivia

Births

30 January: Actor Christian Bale
6 February: Sports presenter Ed Chamberlin
11 February: Footballer Nick Barmby
13 February: Singer Robbie Williams
22 February: Singer-songwriter James Blunt/Radio DJ Chris Moyles

Deaths

29 January: Novelist HE Bates

Meanwhile…

4 February: One of the Provisional IRA’s most shocking attacks took place when 11 people, three of whom were civilians, were killed in the M62 coach bombing. 

7 February: In the midst of the Three-Day Week, Prime Minister Edward Heath, called a General Election for 28 February, asking who governed, he or the unions. During the campaign, the Labour Party and Trades Union Congress agreed a ‘Social Contract’ intended to produce wage restraint. 
Also this day, Grenada became independent of the UK.

8 February: The death toll from the M62 coach bombing reaches 12 with the death in hospital of a seriously injured 18-year-old soldier.

12 February: BBC One first aired the classic children’s series Bagpuss, made by Peter Firmin and Oliver Postgate’s Smallfilms in stop-motion animation. 

14 February: Birmingham City centre forward Bob Latchford becomes Britain’s most expensive footballer in a £350,000 move to Everton. 
Also this day, opinion polls showed the Conservative government in the lead for the forthcoming election.

325. The Sweet – Block Buster ! (1973)

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The Intro

We’re now in 1973, one of the peak years for glam rock, and one of the biggest bands of the era were London quartet The Sweet, who combined a nascent metal sound with the sugary pop stylings of hitmakers Chapman and Chinn. After several dire, strange number 1s in the latter half of 1972, they get the year off to a brilliant start with their classic, Block Buster !.

Before

The Sweet’s origins lie in 60s London soul band Wainwright’s Gentlemen. Originally formed as Unit 4 in 1962, the line-up changed several times, and included from 1964 to 1965, future Deep Purple frontman Ian Gillan. Around the time Gillan joined, Mick Tucker from Ruislip became their drummer. In 1966, a Scotsman named Brian Connolly became their singer.

By January 1968 the band split, and Connolly and Tucker opted to form a new group. Hiring Steve Priest, a bass player from Hayes, Middlesex (who had previously worked with Joe Meek) and former Wainwright’s Gentlemen guitarist Frank Torpey, they called themselves The Sweetshop. They gained a following on the pub circuit and soon signed to Fontana Records, but upon hearing there was another band with the same name, they shortened theirs to The Sweet. Debut single Slow Motion was a failure, Fontana quickly washed their hands of the band, and so did Torpey. Mick Stewart, who had worked with Johnny Kidd and the Pirates, took his place in 1969.

The Sweet signed with EMI’s Parlophone and released three further singles, which also failed, so Stewart left. Around this time the remaining trio were put in touch with songwriting duo Mike Chapman and Nicky Chinn. Australian Chapman was working as a waiter when he first met struggling songwriter Chinn in 1970. They were looking for an outlet for bubblegum pop songs they’d worked on, and with session musicians performing, The Sweet recorded vocals for a track called Funny Funny. They auditioned for a new guitarist, hiring Welsh-born Andy Scott, who had worked with The Scaffold. The classic line-up had arrived, and they signed with Chapman and Chinn to RCA Records.

Funny Funny became a hit, climbing to number 13 in 1971, quickly followed by Co-Co, which did even better, stalling at number two behind Chirpy Chirpy Cheep Cheep that July. An LP was quickly cobbled together – the unimaginatively titled Funny How Sweet Co-Co Can Be, released that November.

1972 saw further hits for The Sweet, including the seedy but infectious Little Willy and follow-up Wig-Wam Bam, which was still a staple in family holiday resorts in the early- to-mid 80s. The latter was also the first single to feature the band playing their own actual instruments, and it’s no coincidence the sound was a little heavier as a result. With both these songs reaching number four, the top spot was within reach.

Review

With those sirens blaring, backing vocals wailing and an incredibly catchy Bo Diddley-style riff, Block Buster ! remains one of the great glam number 1s. Of course, no coverage of this song would be complete without mentioning the similarity to David Bowie’s The Jean Genie, in the charts at the same time and just missing out on the 1972 Christmas number 1 spot. Both acts always maintained that this was nothing more than an incredible coincidence. Chinn later recalled meeting Bowie, who stared at him deadpan and called him a cunt, before bursting into laughter and embracing him.

So, which is best? It’s incredibly close to call. The Jean Genie‘s surreal lyrics are smarter and edgier – Block Buster !‘s wordplay revolves around the nefarious sex pest Buster, who, well, needs to be blocked, because he’ll ‘come from behind’ and steal your woman out from under your nose’, especially if she has long dark hair. Over the years, the wordplay has been largely forgotten and it’s more commonly known as Blockbuster now, and used on countless TV shows, adverts, films etc to put across, well, blockbusters!

Where Block Buster ! does win out though is in it’s polished production with effects to keep you interested, and special mention must go to the late Steve Priest, the recently deceased bassist, responsible for the camp interjection ‘We just haven’t got a clue what to do!’. I’ll never tire of that, in particular the footage of the band on the Christmas special of Top of the Pops, in which Priest is dressed as a Nazi, who looks to have his arse pinched by Scott. This caused many complaints at the time and would probably be even less popular now. I’m going to go with a preference for The Jean Genie though, just because, David Bowie.

After

The Sweet were one of the hottest acts of that year and into 1974, with Hell Raiser, The Ballroom Blitz and Teenage Rampage all reaching number two. The second of those in particular is another classic, and almost as good as their sole chart-topper.

By the time of Teenage Rampage, the band were calling themselves simply, Sweet. Change was in the air, as despite all they had done for them, the group were tiring of Chapman and Chinn’s control. They ditched the outlandish outfits and decided to record an album (mostly) without them, appropriately titled Sweet Fanny Adams, which showcased a harder sound. During the sessions, Connolly injured his throat in a fight, and apparently his voice was never the same again.

Next LP, Desolation Boulevard, followed six months later, and Sweet proved they could cope fine on their own with self-penned hit single Fox on the Run. They couldn’t maintain the success though, and despite moving on from glam, which was dying out by the mid-70s, their career suffered too, and The Lies In Your Eyes, the first single from self-produced 1976 album Give Us a Wink was their last chart action for two years.

By the time Sweet made their comeback, they had switched to Polydor and began experimenting with classical and the new disco style. Sounds potentially awful, yet Love Is Like Oxygen, released in January 1978, is actually pretty good. It would be their last hit. Connolly’s drinking was getting out of hand, and he became increasingly estranged from the rest of the band during support slots for Bob Seeger and the Silver Bullet Band and Alice Cooper. By the time 1979 album Cut Above the Rest was released in 1979, he had quit.

A three-piece Sweet (get it?) soldiered on, with Priest taking the lion’s share of vocal duties. They made one last album, Identity Crisis, but it didn’t even get a UK release until 1982, the year after they had split.

The former bandmates spent much of the 80s forming their own new versions of Sweet and touring the nostalgia circuit. Connolly sparked fears for his health whenever he appeared publicly, and in 1997 he died of liver failure and repeated heart attacks, aged only 51. Mick Tucker died in 2002 of leukaemia, aged 54. Priest passed away in June 2020, aged 72, leaving only Scott from the classic line-up, who still tours with Andy Scott’s Sweet.

The Outro

With their outrageous dress sense, raucous riffs and high camp, The Sweet certainly helped to liven up the early-70s, and it’s great to have had a classic to review once more. Chinnichap’ were to be responsible for plenty more chart-toppers.

The Info

Written by

Nicky Chinn & Mike Chapman

Producer

Phil Wainman

Weeks at number 1

5 (27 January-2 March)

Trivia

Births

7 February: TV presenter Kate Thornton
8 February: Presenter Sonia Deol
27 February: Singer Peter Andre

Deaths

28 January: Cricketer Francis Romney
16 February: Cricketer Harold Gibbons
22 February: Novelist Elizabeth Bowen

Meanwhile…

27 February: Civil servants and rail workers went on strike.

1 March: Prog-rockers Pink Floyd released The Dark Side of the Moon, which went on to become one of the best-selling albums of all time.