Glam Slam Chronicles (Everything)

A Life Is Fragile Instrumental Elegy Released as a 7-inch vinyl single in the UK on November 28, 1978, on The Rocket Record Company (catalogue: XPRES 5), Elton John’s “Song For Guy” — subtitled “Life Is Fragile” — was a haunting piano-led instrumental tribute to Guy Burchett, a Rocket messenger killed in a motorcycle accident. Backed with “Lovesick,” written by Elton/ Bernie Taupin, produced by Clive Franks & Elton John for Frank N. Stein Productions Ltd. Peaked at No. 4 on t

Slade’s Slade Alive Vol. Two  was released as an LP album in the UK by Barn Records (catalog number 2314 107) on November 27, 1978....

A Disco-Rock Sexy Peak Released as a vinyl LP in the UK on November 24, 1978, on Riva Records (catalogue: RVLP 8 / RVLP8 / BSK 3261), Rod Stewart’s Blondes Have More Fun was his ninth studio album. Produced by Tom Dowd, this 10-track disco-rock triumph featured the global smash “Da Ya Think I'm Sexy?” Peaked at No. 3 on the UK Albums Chart for 26 weeks. Issued in multiple pressings, with cassette and 8-track variants. A platinum-selling ‘70s Stewart classic. Album Overview Re

Bowie drops killer live triple-threat for just 99p! Full Page advert in Sounds, November 18, 1978. David Bowie’s Breaking Glass - New Live Single, featuring "Breaking Glass" / "Art Decade" / "Ziggy Stardust" live from the album Stage (Record: PL 02913 | Cassette: PK 02913 | Single: BOW 1 | RCA),

The UK release of How You Gonna See Me Now in 1978 marked one of Cooper’s most personal and emotionally direct singles — a soft‑rock confession drawn from the From The Inside era. Issued with distinctive UK sleeve variants, the single captured his late‑’70s shift toward introspective storytelling, pairing radio‑friendly polish with a narrative rooted in vulnerability, recovery, and the fear of returning home changed. A key moment in his chart presence during a transitional pe

A Breaking Glass Stage Dive David Bowie’s “Breaking Glass live” was released as a 7-inch EP single with push-out centre and a promo version in the UK on November 17, 1978, on RCA Victor (catalogue: BOW 1 / PB 9337 / PL 02913(2)). Backed with “Art Decade live” and “Ziggy Stardust live,” this raw Stage trio (all live from the 1978 tour), produced by Bowie & Tony Visconti, were issued in picture and company sleeves. It peaked at No. 54 on the UK Singles Chart for 7 weeks. Issued

🔘 From the Inside – Album: 1978Released in 1978, From the Inside marked one of Alice Cooper’s most personal and concept‑driven works, chronicling his time in rehabilitation at the Cornell Medical Center. Co‑written with Bernie Taupin, the album blends sharp pop‑rock craftsmanship with character‑driven storytelling, each track inspired by real individuals Cooper encountered during his stay. Produced with a polished, theatrical sheen, the record stands out for its mix of dark

A Fools Fall In Love Run Mud’s “Why Do Fools Fall In Love” was released as a 7-inch EP single with four-prong push-out centre in company sleeve in the UK on November 17, 1978, on RCA Victor (catalogue: PB 5129). Backed with “Book Of Love” and “Run, Don’t Walk,” this doo-wop medley and glam-rock B-side (produced by Mud), were issued in standard, crossed-out runout, and demo variants. No UK chart entry. Issued in four-prong push-out centre, company sleeve, some with “MUD” cross

The Jive That Jingles re-released in the UK as a 7-inch vinyl single, on November 10, 1978, by Harvest Records (catalogue: HAR 5173). Wizzard’s “I Wish It Could Be Christmas Every Day” was backed with “See My Baby Jive,” this festive glam rock anthem, written and produced by Roy Wood, was a reissue of 1973 tracks. The A-side featured the Stockland Green Bilateral School First Year Choir and The Suedettes, with additional noises from Class 3c, Snob. Pressed by EMI Records and

The Jazz Wall's Berlin Echo Queen’s Jazz LP, released in the UK on November 10, 1978, on EMI Records (catalogue: EMA 788 / 0C 064-61820 / EMA 788(I)), was their seventh studio album. Produced by Roy Thomas Baker, the artwork—suggested by Roger Taylor after seeing a similar mural on the Berlin Wall—featured an embossed gatefold sleeve with a 12x36-inch Bicycle Race poster (detachable via perforations). Recorded at Mountain and Super Bear Studios, it included a glossy laminated