"Love's A Mystery (I Don't Understand)" was released in Australia on October 22, 1979 through A&M Records under catalogue number K7583. The single paired "Love's A Mystery (I Don't Understand)" with "Telecide". Both recordings were produced by Todd Rundgren and were associated with The Tubes' Remote Control album period. RECORDING "Love's A Mystery (I Don't Understand)" was credited to Rundgren, Spooner, Steen, Prince, Welnick, Cotten, Anderson, Waybill and Styles. "Telecide"

Released on October 19, 1979, Tryouts For The Human Race was issued in the UK by Virgin as a 7" single. The release paired the shorter 3:15 version with the extended 6:05 Long Version on the reverse. The single was taken from No. 1 In Heaven and reflected the electronic direction of Sparks during this period, blending synth-pop and disco. Both versions were written by Ron Mael, Giorgio Moroder and Russell Mael, with Moroder producing the recording. The single reached number 4

Greatest Hits Vol. 1 was released on October 12, 1979, by Riva Records as the first major compilation album to collect Rod Stewart's most successful recordings from the 1970s. The album brought together many of Stewart's biggest international hits, including "Maggie May", "Sailing", "Tonight's The Night", "Da Ya Think I'm Sexy?" and "You're In My Heart". It served as a retrospective of his most commercially successful decade and became one of the best-selling releases of his

This feature from Record Mirror examines the role and influence of record producers through the career of Tony Visconti. Using Visconti's work with artists including David Bowie and T. Rex, the article explores how producers shape recordings, develop artists and contribute to successful records, while also presenting Visconti's own account of his early career and working methods. Publication: Record Mirror Date: September 22, 1979 Country: United Kingdom The article forms par

A lively Record Mirror feature documenting David Bowie’s visit to the Blitz club with Bob Geldof, written in the playful, conversational style typical of late‑1970s British music journalism.

Publication: Rolling Stone Date: August 9, 1979 Country: United States The feature, written by Greil Marcus, reviews David Bowie’s album Lodger (RCA). It opens by questioning the nature of Bowie’s work, describing his albums as incomplete and halfhearted despite the aura surrounding them. The piece explores Bowie’s shifting personas, from the early years through Hunky Dory, Ziggy Stardust, Aladdin Sane, Young Americans, and beyond, noting his moves between pure aesthetic smar

The 7 August 1979 issue of Circus features a multi-page photo spread on Queen. Publication: Circus Date: August 7, 1979 Country: United States The pages open with a full-page black-and-white group portrait of Queen, accompanied by a caption noting that Beach Boy Brian Wilson said Queen’s “Bohemian Rhapsody” was so good that it scared him, and that Live Killers shows the studio band can cut it onstage as well. Subsequent pages present live performance shots of Freddie Mercury

The 7 August 1979 special 10th anniversary issue of Circus Weekly (“The Best of Circus”) includes a multi-page photographic retrospective on David Bowie as part of its decade-of-rock celebration. Publication: Circus Weekly Date: August 7, 1979 Country: United States The cover promotes a rare collectors’ edition looking back at a decade of rock & roll thrills, listing Bowie among the featured artists. Inside, a double-page spread presents a sequence of black-and-white photogra

three‑page Circus feature exploring the dark theatricality of Alice Cooper’s Madhouse Rock! tour and From The Inside era, framing him through gothic imagery, sardonic humour, and the twisted pageantry that defined his late‑1970s persona.

A non‑album single released by Alvin Stardust in July 1979 on Gale Records. The A‑side is a cover of the Johnny Kidd & The Pirates classic “Shakin’ All Over,” while the B‑side “I Gotta Gotta” is an original track written by Alvin Stardust. Produced by Farrer and Fisher, the single blends late‑Seventies pop‑rock production with Stardust’s trademark vocal style. STYLE & THEMES “Shakin’ All Over” stays faithful to the rock ’n’ roll roots of the 1960 original, with a polished lat