For a period during the 1970s, Sweet were second only in my pop affections to the mighty T.Rex. The band's run of Chinnichap hit singles and the string of self-written hard rock nuggets tucked away on the flipsides, were chewed over and eagerly devoured by me and my music loving pals back in the day. One old school chum and I managed to see Sweet at The Rainbow twice in their 1973 glam pomp, their final UK show with the classic line-up at Hammersmith Odeon in 1978, plus a three piece Sweet show at The Lyceum in 1981, the last concert I ever attended with that particular old mucker as life gradually drew us in separate directions. About 10 years ago, 30 years after losing contact altogether, my pal and I reconnected, thanks to the miracle of the internet. We exchange Christmas cards, birthday greetings and the occasional email, but in spite of living less than 40 miles from each other, we've yet to actually meet up again.
Had he lived beyond his tragically short 51 years, Sweet's lead singer Brian Connolly would have turned 80 yesterday.
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5 comments:
At least one of your readers will love this (although he probably has 40+ different versions of the same song already)
I'm (almost) lost for words, TS! I honestly can't remember the last time I heard Healer. It was their Kashmir, wasn't it? BC was still able to hit the notes and he hadn't yet pissed off the other three sufficiently enough for them to wrap his sandwiches up in a roadmap; though that day was always gonna come. Thank you for making my day. And God bless Brian.
JM
A band that both girls and boys both loved back in the day. Not always the case.
Good to hear you're back in touch with your old mate. I've had a great summer reconnecting with old friends from as long ago as 45 years. It's been so worthwhile meeting up face to face as in no time at all it's just like the old days. Arrange a meet-up... soon!
Ernie: Indeed, I was thinking of JM as I wrote the post.
John: Glad to reacquaint you with this gem. You're spot on with the Kashmir comparison.
Alyson: It's tricky. The same social media that helped us to re-establish contact has allowed me a glimpse into one or two of his contemporary world views, which, let's just say, don't altogether align with mine. He's not an extremist nutjob or anything, but I'd hate for a newly reignited friendship to falter over such things this late in life. So I'm thinking that perhaps it's best to just go on exchanging birthday cards and remember the many wonderful, happy times we shared together all those years ago, some of which I've written about on these pages. Maybe I'm overthinking it, I don't know.....
I couldn’t help myself; take it way, AI.
Led Zeppelin’s “Kashmir” and The Sweet’s “Healer” may hail from different corners of the 1970s rock landscape, but they share striking musical and cultural parallels that reflect the era’s fascination with mysticism, exoticism, and sonic grandeur.
🎶 Musical Architecture and Eastern Influence
Both tracks are built around hypnotic, modal riffs that evoke a sense of journey and transcendence. “Kashmir,” released in 1975 on Physical Graffiti, is renowned for its use of a non-Western scale and a relentless, syncopated rhythm that defies typical rock conventions. The song’s signature riff, played in DADGAD tuning, creates a droning, almost orchestral texture that mirrors Middle Eastern and North African musical traditions 9F742443-6C92-4C44-BF58-8F5A7C53B6F1.
Similarly, The Sweet’s “Healer,” though less widely known, channels a comparable exoticism. It leans into a darker, more atmospheric soundscape, with layered guitars and dramatic shifts in dynamics that suggest spiritual or metaphysical themes. While “Healer” doesn’t explicitly mimic Eastern scales, its use of minor keys, echo effects, and chant-like vocal phrasing creates a ritualistic ambiance akin to “Kashmir’s” sonic mystique.
🥁 Rhythmic Complexity and Theatricality
“Kashmir” is rhythmically complex, with drummer John Bonham playing in 4/4 while the guitar riff cycles in 3/4, creating a polyrhythmic tension that propels the song forward. This rhythmic dissonance adds to the track’s otherworldly feel, as if time itself is bending. The Sweet’s “Healer” also experiments with tempo and rhythm, using slow builds and sudden drops to heighten drama. Both songs resist the standard verse-chorus structure, opting instead for a more cinematic progression that unfolds like a narrative.
🎭 Cultural Mythos and Lyrical Themes
Lyrically, “Kashmir” is steeped in mysticism. Robert Plant’s lyrics were inspired not by the region itself, but by a drive through the Moroccan desert, conjuring images of vast landscapes and spiritual awakening. The song becomes a metaphor for transcendence, with lines like “All I see turns to brown” and “I am a traveler of both time and space” suggesting a metaphysical journey 9F742443-6C92-4C44-BF58-8F5A7C53B6F1.
“Healer,” too, invokes spiritual transformation. The title alone suggests a figure of mystical power, and the lyrics speak to redemption, inner struggle, and the search for salvation. Both songs tap into the 1970s rock zeitgeist, where artists sought to move beyond the material and into the metaphysical—whether through Eastern philosophy, psychedelia, or esoteric symbolism.
🌍 Legacy and Cultural Resonance
While “Kashmir” has become a cornerstone of Led Zeppelin’s legacy—often cited as one of their most original and powerful compositions—“Healer” remains a cult favorite among glam rock aficionados. Yet both reflect a broader cultural moment: the 1970s’ yearning for depth, mystery, and escape from the confines of Western rationalism. They embody a fusion of rock’s raw power with a spiritual sensibility, drawing listeners into expansive sonic worlds that feel both ancient and futuristic.
In essence, “Kashmir” and “Healer” are kindred spirits—epic, immersive, and emblematic of a time when rock music dared to dream beyond borders and genres.
JM
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