A concise Rolling Stone review of Jeff Beck’s new trio with Tim Bogert and Carmine Appice, evaluating their self‑titled debut album. The piece situates Beck’s return to recording after the breakup of the Jeff Beck Group, highlighting the band’s heavy‑rock credentials and the chemistry between its three virtuoso members

n 5 May 1973, Aladdin Sane entered the UK Albums Chart at No. 1, a rare achievement and a defining moment in Bowie’s rise. It began a 47‑week chart run that lasted from 05/05/1973 to 23/03/1974, including five consecutive weeks at the top. The album’s debut at No. 1 marked Bowie’s commercial peak of the Ziggy era, arriving less than a year after Ziggy Stardust and confirming his status as Britain’s leading rock figure of 1973.

A dramatic multi-page feature from New Hit Parader Songs and Stories (Charlton Publications) focusing on Alice Cooper’s infamous violent stage theatrics during the early 1970s SOURCE DETAILS Publication: New Hit Parader Songs and Stories Date: May 1973 Country: United States Section / Pages: Feature Article (pp. 32–33) Title: Alice Cooper Violence Bag THE STORY The article vividly recounts a chaotic and disturbing incident at one of Alice Cooper’s concerts, where a fan attemp

A striking Creem magazine cover from May 1973 featuring an illustrated portrait of David Bowie in full Aladdin Sane splendour — lightning bolt, red‑orange hair, and the heightened theatricality of his Ziggy‑era persona. The headline asks whether Bowie is “still sane,” capturing the American rock press’s fascination with his rapid rise, shape‑shifting identity, and the blurred line between character and creator

A playful Circus feature capturing Elton John at home, surrounded by gold records and eccentric décor.

This Hit Parader one‑page feature spotlights Lou Reed as a defining creative force in early‑’70s rock. The headline — “Lou Reed Influence” — frames him as a touchstone for artists such as Alice Cooper and Iggy Pop, both of whom cite Reed’s songwriting and attitude as major inspirations.

By April 1973, Bowie was at the height of his glam‑rock fame. This advert served as a dual campaign: promoting Drive‑In Saturday, his follow‑up to The Jean Genie, and previewing the May tour that would culminate in the legendary Ziggy Stardust farewell at Hammersmith. The image — a ghostly close‑up of Bowie’s face — captures the tension between celebrity and alienation that defined his work at the time. The accompanying text lists fourteen UK dates, from Earls Court to Blackb