Bowie’s biggest‑selling single — a reinvention that reshaped the sound of the 1980s.

Alice Cooper’s 1979 resurgence wasn’t just a comeback — it was a reclamation of identity, artistry, and theatrical power.

Rod Stewart laughs, drinks, kicks a football, and dismantles his own mythology — all in one of CREEM’s most entertaining late‑70s features.

In 1978, Queen were untouchable — which made them the perfect targets for CREEM’s sharpest jokes and most affectionate jabs.

Punk didn’t arrive quietly — it kicked the door in. CREEM’s Spring ’78 spread captured the moment the future of rock stopped asking permission.

March 20, 1977. On the final night of the Dandy Tour, Marc Bolan stood on a Portsmouth stage for the last time in the UK — glittering, grinning, and surrounded by the chaos of punk’s new heroes. The Damned crashed into “Get It On,” and for twenty minutes glam and punk became one unstoppable force. It was the end of an era, but Bolan made sure it ended in celebration.

A single page of print, but a universe of theatrical ambition — Alice Cooper’s nightmare spilled from vinyl onto the British music press with cinematic flair.

A cover tease, a shadowed stage photo, and a soul‑drenched reinvention — Bowie’s Young Americans era arrives in the British press with a mixture of awe and apprehension.

A chaotic collage of stars, flashbulbs, and irreverent captions — NME’s “Thrills” page turns Grammy week into a surreal New York fever dream.

A working‑class boy with a dream, David Essex rose from London’s East End to international fame, blending grit, charm, and raw talent into one of the most compelling pop‑culture ascents of the 1970s.