A dazzling, disciplined account of Bowie’s Los Angeles Forum performance — a study in precision, control, and pure stage alchemy. The review glows with admiration for his mastery of movement and sound. A moment where Bowie redefines his live persona, merging the intensity of Station to Station with the clarity of Heroes. The piece captures the transformation of a performer who has learned to channel chaos into elegance. 🗞 Record Mirror 📅 Date: April 15, 1978 ⏱ Length: 4–5

A late‑era T. Rex release carrying the final sparks of Dandy in the Underworld resurgence — sharp, lean, and unmistakably his. Issued in the UK on 14 April 1978, it became the first T. Rex label single released after Marc Bolan’s passing. 🔘 The Story Recorded during the Dandy in the Underworld sessions, Crimson Moon and Jason B. Sad reflect Bolan’s late‑’70s shift toward tighter arrangements and a more direct lyrical tone. Both tracks were written and produced by Bolan, wit

A fierce, hard‑edged late‑’70s rock single from British Lions — a band formed from members of Mott and Medicine Head — issued during their brief but intense run across UK stages and American tours. Released in the UK on 14 April 1978, the single appeared on Vertigo as part of the promotional cycle for the band’s debut album British Lions. 🔘 Personnel • The Lions – producer • Kerry Scott – writer (A‑side) • Kim Fowley – writer (A‑side) • John Fiddler – writer (B‑side) • Phono

A sharp, tongue‑in‑cheek letter reacting to Melody Maker’s recent Devo feature, using a pointed Bowie reference to question the band’s anti‑individualist philosophy.

Released on April 7 1978, “I Got A Right” arrived as part of RCA’s final contractual sweep with Iggy Pop, drawing material from the live album *TV Eye Live 1977*. The single paired the ferocious A‑side with “Sixteen,” both taken from performances recorded across multiple US cities in 1977. Although assembled quickly and cheaply from soundboard tapes, the album and its associated singles captured Iggy at his most volatile and electrifying, backed by a band that included David

A sharp, no-nonsense one-page review in NME sets the record straight on Iggy Pop’s *Kill City*, clarifying that it is not a “new” Iggy album but a collection of 1975 demos recorded with James Williamson during a low point when both were struggling with addiction and label problems. The piece praises the raw energy and quality of the material while acknowledging its rough, unfinished feel, and defends its release as a valuable document rather than a cynical cash-in. This Janua