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David Bowie’s "Tin Machine in Los Angeles," a two-page feature in New Musical Express, September 7, 1991.

Marc Bolan & T.Rex’s "20th Century Boy" , a single with B-sides "Midnight"  and "The Groover" , was released in September 1991 as a 7-inch vinyl along with a 12-inch vinyl and 5-inch CD single in the UK.( both including the additional track "Telegram Sam"(Live) The release was in conjunction with Levi’s 501 Campaign, hence its catalogue number of MARC 501, where "20th Century Boy" was featured in the advert directed by Chris Hartwill. The ad features Brad Pitt as a prisoner r

David Bowie’s "Sound with Vision," a one-page advert in New Musical Express, August 31, 1991.

Raw Magazine Twp Pages August 7, 1991

Hot Metal Cover & Two Pages July 1991

Alice Cooper’s Hey Stoopid  was released as an album in the US by Epic Records (catalog number EK 46786) on July 1, 1991, with a UK...

Queen's "Innuendo" was released as a single in the UK by EMI Records on January 14, 1991. Written by Freddie Mercury and Roger Taylor, though credited to Queen, the song serves as the opening track on the 1991 album of the same name and was also the album's lead single. The single premiered at number one on the UK Singles Chart in January 1991, marking the band's first chart-topping hit since "Under Pressure" nearly ten years earlier, and it also entered the top ten in ten ot

A Tom Waits Cover That Hit No. 10 Released as a 7-inch vinyl single in the UK on December 2, 1989, on Warner Bros. Records (catalogue: W 2758), Rod Stewart’s “Downtown Train” — his soaring cover of Tom Waits’ 1985 classic — was backed with “The Killing Of Georgie (Part I And II).” Produced by Trevor Horn, this emotional ballad peaked at No. 10 on the UK Singles Chart and No. 3 on the US Billboard Hot 100, hitting No. 1 on both Adult Contemporary and Album Rock Tracks. Grammy-

A Slade Xmas Evergreen Reborn Released as a 7-inch vinyl single reissue in the UK on November 26, 1990, on Polydor Records (catalogue: PO 112 / 979 268-7), Slade’s “Merry Xmas Everybody” — their 1973 Christmas No. 1 — returned with “Don't Blame Me.” The 12-inch (PZ 112) added the Peter Hammond & Jimmy Lea Extended Remix (5:18) and original 7" version. Issued in silver injection labels (small/large centre), black plastic injection, and 12-inch. A festive glam classic recharged

A Duet Dynamite Revival Rod Stewart & Tina Turner’s “It Takes Two” 7-inch vinyl single, was released in the UK on November 12, 1990, on Warner Bros. Records (catalogue: ROD 1 / 5439-19493-7). Backed with “Hot Legs (Live),” this soul-pop cover of the Marvin Gaye/Kim Weston classic, written by William Stevenson and Sylvia Moy, was produced by Bernard Edwards and Rod Stewart. The A-side’s electrifying chemistry and Turner’s courtesy of Capitol Records appearance peaked at No. 5

David Bowie’s No Brasil! Exclusive Interview, a cover in Bizz Magazine, September 1, 1990.

David Bowie’s Sound + Vision Tour 1990 a one-page advert in Billboard Magazine, July 28, 1990.

David Bowie’s Pinups and Aladdin Sane Digitally Remastered, a one-page advert in Billboard Magazine , July 7, 1990.

David Bowie’s Classic Albums Remastered , a one-page in Melody Maker , April 7, 1990.

David Bowie’s "Fame 90," a one-page advert in New Musical Express, March 31, 1990. 7" CHANGES ENVELOPE PACK (with three Ltd edition Bowie...

David Bowie’s "Fame '90"  backed with "Fame '90 (Gass Mix)" , was released as a 7-inch vinyl single in the UK by EMI Records (catalog...

David Bowie’s ChangesBowie  was released as a double album in the US by Rykodisc and in the UK by EMI (catalog number CDP 79 4180 2) on...

Metal Hammer One-Page (February 12, 1990)

Iggy Pop’s "Livin' On The Edge Of The Night"  backed with "High On Rebellion" , was released as a 7-inch vinyl single in the UK by Virgin...

Bowie's Sound + Vision Relaunch Promo Published in the US on January 23, 1990, Billboard Magazine’s one-page advert “Bowie's Long Awaited Relaunch” announced Rykodisc’s first three individual titles in the Sound + Vision chronological reissue series of David Bowie’s catalogue. The striking tagline read: “THE FUTURE BELONGS TO THOSE WHO CAN HEAR IT COMING.” The ad urged fans to catch up with music that “remains as far ahead of its time now as when it originally appeared,” posi