By the time glam-rock really took hold in the early ’70s, rock stars had discovered that there was more than one way to make an entrance. Some went for the glitter and platform boots. Others preferred makeup, outrageous costumes or something considerably stranger. Either way, the music was still the thing that mattered.

Our first installment covered some of glam’s biggest names. But the movement was too sprawling to stop there. There were art-rock outsiders, theatrical showmen, pop hitmakers and future hard-rock stars all working within or at least somewhere near the glam orbit. Here are 12 more songs from an era when rock ’n’ roll was rarely content to simply stand there and play.

Roxy Music—“Virginia Plain” (1972)

A debut single that sounded as if it had arrived from somewhere several years in the future. Bryan Ferry supplied the cool, detached vocals, while Brian Eno and company filled the track with electronic effects, saxophone and a decidedly unconventional arrangement. It reached #4 in Britain and immediately established a band that would make glam considerably more adventurous.

Lou Reed—“Vicious” (1972)

Reed already knew something about the darker side of rock ’n’ roll. Produced by David Bowie and Mick Ronson for Transformer, this compact rocker turned an insult into a memorable hook, with Reed delivering the lyrics in typically dry fashion. The inspiration came from Andy Warhol, who reportedly suggested the title during one of their conversations.

Wizzard—“See My Baby Jive” (1973)

Roy Wood had no interest in understatement. Strings, horns, handclaps and layers of backing vocals were thrown into the arrangement until the whole thing practically bursts through the speakers. It spent four weeks at #1 in Britain and became one of the country’s biggest-selling singles of 1973. Glam had plenty of swagger; this had sheer excess.

Elton John—“Saturday Night’s Alright for Fighting” (1973)

Driven by Davey Johnstone’s razor-sharp guitar riff and Bernie Taupin’s kinetic lyrics, this Goodbye Yellow Brick Road standout swapped piano ballads for raw, high-energy boogie-woogie. It captured Elton John’s rowdiest side, proving the flamboyant pop maestro could out-rock almost anyone on the block when he wanted to.

Alvin Stardust—“My Coo Ca Choo” (1973)

The character was every bit as important as the record. Peter Shelley wrote, sang and recorded the original under the name Alvin Stardust, but Bernard Jewry soon stepped into the role, complete with leather, sunglasses and the sneering stage persona that would define the act. The single reached #2 in Britain and topped the Australian chart for seven weeks.

Geordie—“All Because of You” (1973)

Long before he became the voice of AC/DC, Brian Johnson was fronting a Newcastle band making its way through the glam scene. The breakthrough single reached #6 in Britain, driven by the singer’s already distinctive rasp. Hearing that unmistakable voice in such a thoroughly early-’70s setting is one of the track’s enduring pleasures.

Related: Was this the greatest glam album of all?

The Glitter Band—“Angel Face” (1974)

The double-drum attack was impossible to miss. After working as Gary Glitter’s backing group, the musicians stepped out on their own and scored a top 5 British hit with their first single. John Rossall and Gerry Shephard wrote the song, while the pounding rhythm gave it considerably more muscle than the average glam-pop production.

Steve Harley & Cockney Rebel—“Make Me Smile (Come Up and See Me)” (1975)

By 1975, glam was already beginning to change, and Harley had found a way to make the theatrics sound considerably more sophisticated. The bright melody masks a pointed farewell to former bandmates who had left the group. Released in February, it reached #1 in Britain and became the biggest-selling single of his career.

Arrows—“I Love Rock ’n’ Roll” (1975)

Alan Merrill and Jake Hooker wrote it, Merrill sang it and the Arrows recorded the original in 1975. Joan Jett later saw the group perform it on British television and eventually turned it into a worldwide hit with the Blackhearts. The familiar version may belong to another decade, but the swagger was already fully intact here.

The Runaways—“Cherry Bomb” (1976)

Joan Jett and Kim Fowley reportedly wrote the song quickly for Cherie Currie’s audition after she arrived without a suitable number to perform. It became the perfect introduction to a teenage band that mixed glam’s visual attitude with a much harder attack. The original didn’t make much of an impact on the U.S. charts, but its reputation grew steadily afterward.

The Tubes—“White Punks on Dope” (1975)

Subtlety wasn’t exactly the point. Written by Bill Spooner, Roger Steen and Michael Evans and produced by Al Kooper, the song aimed at the excesses of wealthy Hollywood offspring. Onstage, Fee Waybill’s Quay Lewd character pushed the theatricality even further, with towering platform shoes, a feather boa and a stage show that could include explosions, smoke and other assorted madness.

Great White—“Once Bitten Twice Shy” (1989)

Ian Hunter’s 1975 original was already part of glam’s history when this harder-edged version arrived 14 years later. Released on …Twice Shy, it became the band’s biggest U.S. hit, reaching #5, while the album went double platinum. By 1989, glam had evolved into something considerably heavier, but the song’s basic rock ’n’ roll swagger had survived intact.

A number of glam-rock collections are available in the U.S. here, in Canada here and in the U.K. here.