A vibrant multi-page Circus Magazine spread from July 1975 celebrating Elton John’s live album Here and There, featuring a glamorous photoshoot with Elton in flamboyant attire alongside stunning models, alongside promotional content highlighting his recent concert recordings from London and New York during his unstoppable 1970s superstar era. THE STORY WHAT THE CLIPPING SHOWS Publication: Circus Magazine Date: July 6, 1975 Country: United States Section: Multi-Page Artist Fea

Circus Magazine major 4-page feature on Golden Earring, focusing on guitarist George Kooymans and the band’s explosive rise, their high-energy live shows, and their ambitions as they prepared to conquer America with their new album Switch. THE STORY WHAT THE CLIPPING SHOWS A substantial 4-page feature on Golden Earring with a strong focus on guitarist George Kooymans, who declares “I Don’t Want To Be The World’s Greatest Guitarist.” The article explores the band’s gritty, hig

Circus Magazine full-page advertisement promoting Elton John’s highly anticipated and autobiographical album Captain Fantastic and the Brown Dirt Cowboy, featuring one of the most elaborate and imaginative album covers of the 1970s. THE STORY WHAT THE CLIPPING SHOWS A spectacular full-page advertisement celebrating the release of Elton John’s Captain Fantastic and the Brown Dirt Cowboy, a deeply personal and conceptual album that tells the autobiographical story of Elton and

Circus Magazine full-page artistic illustration tribute to Elton John, part of their “Rock Idylls” series, featuring a striking and surreal depiction of Elton with a ghostly Marilyn Monroe figure rising above him, paying homage to his iconic persona and the emotional depth of his music. THE STORY WHAT THE CLIPPING SHOWS A beautiful and surreal full-page illustration in Circus Magazine’s “Rock Idylls” series, portraying Elton John in a dramatic, theatrical pose with a ghostly,

This single‑page review column from Circus’s May 1, 1975 issue showcases the magazine’s punchy, conversational mid‑’70s editorial style. Bold black‑and‑yellow section headers frame three concise album reviews, each written for the magazine’s young rock readership. A performance photograph anchors the bottom corner, giving the page its signature Circus visual energy.

This Circus Magazine one‑page feature from May 1975 presents Queen at a moment of rapid ascent, following the success of Sheer Heart Attack and the singles Killer Queen and Now I’m Here. Appearing in Jonh Ingham’s London column, the article positions Queen as a band thriving regardless of critical approval, comparing them to Jethro Tull and Grand Funk — groups whose popularity outpaced their reviews.

This full‑page Circus advertisement from May 1975 features Elton John in a glamorous stage portrait, promoting Pioneer Electronics. The image shows Elton seated at his piano, wearing oversized crystal‑rimmed glasses and a white fur‑trimmed jacket, illuminated by stage lights. Across the top, a handwritten message reads:

Freddie in full relaxed rock star mode — red velvet, black nails, silver bracelets, and a glass in hand. This gorgeous pull-out calendar page from Circus magazine captures him perfectly in that sweet spot between Sheer Heart Attack and the explosion of A Night at the Opera. Pure mid-70s Queen glamour.

The interview, conducted by Scott Cohen, finds Cooper reflecting on his friendship with Groucho Marx, who affectionately dubbed him “the last of the showmen.” Cooper recounts Groucho’s late‑night calls, their shared love of old Hollywood stories, and the gift of Groucho’s infamous round bed — a keepsake Cooper describes as “big, obnoxious, and full of history.”

A major four-page feature from Circus magazine dated May 1, 1975, examining The Faces’ resilience amid solo careers and their triumphant return to the American stage. The headline sits boldly across the top in yellow type against a blue sky, with the sub‑heading describing the band’s return to America after solo pursuits. The photograph captures The Faces performing outdoors — Ronnie Lane on bass and Ron Wood on guitar — surrounded by amplifiers and sunlight, radiating the ba