In 1984, the Swiss metal band Krokus covered “Ballroom Blitz,” originally recorded by The Sweet (a/k/a Sweet). In 1992, Tia Carrere performed “Ballroom Blitz” for the Wayne’s World soundtrack. Carrere’s version served as an important back drop to the film’s finale. While I enjoyed both iterations of the song in the respective time periods in which I heard them, nothing prepared me for the majesty, grace, and power of the original recording of “Ballroom Blitz.” The album that features “Ballroom Blitz,” Desolation Boulevard, is one of the best rock albums I’ve ever heard. I am kicking myself for not seeking out the original version of “Ballroom Blitz” sooner.
Released in November of 1974 in England and released in July of 1975 in the United States, Desolation Boulevard sold over 500,000 copies in the U.S. within two years. The U.S. release of Desolation Boulevard is a super-album of sorts, the best parts of the British release backed with “Ballroom Blitz,” which was released first as just a single, and several tracks from their previous album, Sweet Fanny Adams.
Desolation Boulevard excels as a glam rock album, heavier than T. Rex, more accessible than Gary Glitter, and more layered than Kiss. Sweet displays such incredible musicianship throughout Desolation Boulevard that their virtuosity detracts from the songs at times. Personally, I think “The Six Teens” would be much more powerful without four-part harmony throughout the choruses. But, in other instances, it works so well. “Ballroom Blitz” and “Fox on the Run” work because of the band’s collective prowess.
After the success of Desolation Boulevard, Sweet changed directions in more ways than one. Sweet switched labels, which allowed them to pursue a different, but no less grand, approach to their sound. Their experiments produced the international hit “Love is Like Oxygen,” but may have alienated fans who wanted more “Ballroom Blitz” and less what ended up sounding like the kissing cousin of Electric Light Orchestra.
Desolation Boulevard is such a tour-de-force that it’s a shame that all of Sweet’s albums aren’t available on streaming services, nor have they been remastered for modern devices. I would not be surprised if a remastering campaign re-issued so much of this important music. Until then, we have a version of Desolation Boulevard. At least that’s something.
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