Alvin Stardust

When Alvin Stardust materialized on the British pop landscape in November 1973, his leather catsuit, fierce glare, and declarations of affection for his little coo-ca-choo appeared entirely fresh, yet multiple onlookers instantly identified the face behind the new guise. More than ten years earlier, between 1961 and 1962, the same performer had operated as Shane Fenton and notched two standout pre-Beatles successes with “I’m a Moody Guy” and “Cindy’s Birthday.”

Afterward he receded from view, working the club circuit with increasingly dated material until songwriter and producer Pete Shelley engineered a timely return. Although neither Fenton nor Shelley ever repeated the spellbinding impact of “My Coo Ca Choo,” the single that unveiled the Alvin Stardust character, they formed one of the mid-1970s’ most dependable hitmaking partnerships, and Stardust’s refusal to withdraw cemented his status among Britain’s favorite entertainers.

Shelley had written “My Coo Ca Choo” well before choosing its singer, knowing only that he sought someone who could deliver rock & roll while projecting a distinctly menacing presence. At a moment when glam rock dominated the country, Shelley aimed for the precise antithesis of that aesthetic and located it in Shane Fenton.

The name Shane Fenton itself carried too strong an association with an earlier period, so the updated identity Alvin Stardust was adopted; despite early missteps, including a pink jumpsuit chosen for the first television appearance, the complete Alvin Stardust presentation was locked in place once the record neared the Top 40. By the time journalists grasped his prior identity, a new generation of listeners had already become devoted.

Sporting a 1950s haircut, form-fitting black leather, and an unvarying scowl while crouching in a stance that blended a boxer’s readiness with echoes of Gene Vincent, Stardust presented the most intimidating image of any pop figure of the era. Even before Magnet Records’ publicity team began its work, the press had coined several monikers: “The Man in Black,” “The Untouchable,” “The Star Who Is Forbidden to Smile,” and “The Son of Gary Glitter.”

Some children’s television producers weighed banning him for fear of alarming young viewers, yet nothing slowed “My Coo Ca Choo,” which climbed to number two before Gary Glitter blocked its path to the top. “Jealous Mind” reached number one and offset that setback; across the following year and into summer 1975, Shelley and Stardust added five further notable singles: “Red Dress,” “You You You,” “Tell Me Why,” “Good Love Can Never Die,” and “Sweet Cheatin’ Rita.”

Chart entries ceased after that point, but Stardust had already mapped a new direction. He abandoned the leather and scowl, and his final pair of singles had already disclosed a gentler facet of the performer. With an audience now spanning parents and children alike, he concentrated on the rock & roll revival circuit and maintained strong live attendance well into the early 1980s.

A striking return followed when he signed with Stiff Records and reentered the chart with “Pretend,” which reached number four in fall 1981. Although another quiet period ensued, it proved brief; May 1984 brought “I Feel Like Buddy Holly” into the U.K. Top Ten, followed by “I Won’t Run Away” and the seasonal favorite “So Near to Christmas.” The next year he marked twenty-five years of chart activity when “Got a Little Heartache” entered the Top 60, his final hit. After that he continued regular live work and occasional television and stage appearances. Alvin Stardust died in October 2014 following a short battle with prostate cancer, just two weeks before the release of Alvin, his first studio album in more than twenty-five years.