Released on 17 May 1974, The ‘In’ Crowd was issued as the lead single from Bryan Ferry’s second solo album Another Time, Another Place. Backed with Chance Meeting, the single entered the UK Singles Chart on 19 May and remained for six weeks, peaking at No. 13. The release continued Ferry’s stylish reinterpretations of classic material, paired with a reworking of an early Roxy Music composition on the B‑side.

A vivid, full‑colour Music Star magazine cover from May 1974 featuring The Glitter Band in their signature glam attire. The issue’s design captures the exuberant pop culture of mid‑1970s Britain, with bold typography and saturated hues typical of the era’s teen‑press aesthetic.

A striking Melody Maker front page featuring Rod Stewart and The Faces in full performance mode, announcing their major British tour. The issue also teases Bowie’s forthcoming album preview, capturing a pivotal moment in early‑1970s rock.

A full‑page collection of live concert advertisements from May 1974 featuring major touring acts across the UK including Bay City Rollers, Labi Siffre, Gordon Lightfoot, John Martyn, Alvin Stardust, and 10cc.

A full‑page advertisement from New Musical Express promoting Lou Reed’s latest album Rock ’n’ Roll Animal and his 1974 UK tour dates, accompanied by a stark monochrome portrait of Reed.

A two‑page New Musical Express feature capturing Mott the Hoople in concert during their 197tour, showcasing the band’s flamboyant stage presence and their growing stature in British rock.

A detailed album review by Nick Kent examining Sweet’s shift in musical direction on their 1974 release Sweet Fanny Adams, framed within a broader commentary on rock’s evolving respectability.

A feature review from Melody Maker covering the release of David Bowie’s Diamond Dogs album, written by Chris Charlesworth in New York. The article highlights Bowie’s evolving production style and the influence of Phil Spector’s “Wall of Sound”.

A two‑page feature from New Musical Express profiling Mick Ronson, written by Charles Shaar Murray. The article explores Ronson’s post‑Bowie career and his return to his Yorkshire roots following the success of his solo work.

A bright, full‑colour Pop Swop magazine cover featuring Sweet at the height of their glam‑rock fame. The issue’s design captures the exuberant pop aesthetic of mid‑1974 — vivid hues, bold typography, and the band’s unmistakable glitter‑era styling.