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Where the Glitter Began From grey Britain to a technicolour explosion – the story of how rock got fabulous. Glam rock didn’t just happen – it erupted in the UK at the start of the 1970s like a sequinned volcano, turning drab streets into catwalks and ordinary lads into peacocks. The Spark That Lit the Fuse The drab backdrop: Three-day weeks, power cuts, strikes, and post-war austerity still hanging in the air. Britain needed colour, escape, and a damn good kick up the backside. Theatrical seeds: The Beatles in military jackets on Sgt. Pepper, The Who smashing guitars, Mick Jagger prancing like a satanic peacock – the 60s had flirted with showbiz, glam married it. Art-school rebellion : Roxy Music, Bowie, and their ilk brought conceptual weirdness, fashion, and performance art straight from the classroom to the charts. The Big Bang Moments Late 1970 – Marc Bolan plugs in: Tyrannosaurus Rex goes electric, shortens the name to T.Rex, adds glitter and a Les Paul → “Ride a White Swan” hits #2 and the glam blueprint is born. 1971 – Bowie drops Hunky Dory: “Changes”, “Life on Mars?”, and that hair. July 1972 – Bowie drapes an arm round Mick Ronson on Top of the Pops singing “Starman”: Millions of teenagers simultaneously decide normal is over. The alien had landed. 1972–73 – The floodgates open: Sweet, Slade, Roxy Music, Alice Cooper, Suzi Quatro, Gary Glitter, Wizzard – suddenly every week brings a new silver-booted hero. The Secret Ingredients Psychedelic hangover → fantasy lyrics and surreal visuals 50s rock ’n’ roll revival → quiffs, greaser jackets, but in satin Bubblegum pop → massive, chant-along choruses Music hall & cabaret → camp, humour, and a wink to the audience Sexual ambiguity → boys in make-up, girls with bass guitars, nobody quite sure who fancied who (and that was the point) Glam rock lasted barely four years in its pure form, but in that flash of silver and feather boas it rewrote the rules: rock could be pretty, funny, theatrical, androgynous, and above all FUN. So strike a pose, dust off the platforms, and remember – the world was grey until glam turned it day-glo. Deep Dive: Glam Rock, also known as glitter rock, originated in the United Kingdom in the early 1970s. Glam rock emerged during a period of economic and social upheaval in Britain. The glam movement was partly a response to the drabness of the post-war era, offering an escape through flamboyance, excess, and theatricality. Glam rock was influenced by the pop sensibilities of the 1960s, particularly from artists like The Beatles, The Rolling Stones, and The Who, who occasionally used theatrical elements in their performances. Bands like The Velvet Underground and Roxy Music introduced art rock's emphasis on performance art and conceptual elements into glam rock. The psychedelic music of the late '60s with its love for surrealism and fantasy influenced the imaginative and sometimes otherworldly aspects of glam rock. Marc Bolan and T. Rex: Often cited as one of the first glam rock bands, T. Rex's transition from folk to glam with albums like "Electric Warrior" (1971) marked a new era. Bolan's charisma and style set the stage for glam. David Bowie: With his creation of the Ziggy Stardust persona, Bowie not only popularized glam rock but also became its defining figure. His album "The Rise and Fall of Ziggy Stardust and the Spiders from Mars" (1972) was pivotal. Roxy Music: Brought an art-school sensibility to glam, combining avant-garde fashion, music, and visuals. Glam rock was revolutionary in its use of makeup, glitter, and androgynous clothing, challenging traditional gender roles. This aesthetic was part of a broader cultural shift towards gender fluidity. Performances were heavily staged with elaborate costumes, dramatic stage setups, and sometimes science fiction or fantasy themes, making concerts more like theatrical events. Glam Rock artists were masters at using the media to their advantage, often creating personas that were as much about the image as the music. This was the era of music magazines like "Melody Maker" and TV shows like "Top of the Pops", which helped spread the glam aesthetic. Glam rock wasn't just music; it was a lifestyle and a statement against the norms of the time. It influenced fashion, art, and even later music genres like punk, which reacted against Glams perceived excesses but adopted its DIY ethos and performance art aspects. While glam rock was predominantly a British phenomenon, it had echoes in the U.S. through artists like Alice Cooper and New York Dolls, who, while not strictly glam, embraced similar elements of theatricality and androgyny. In summary, Glam Rock's origins lie in a mix of musical innovation, cultural commentary, and a desire for escapism through extravagance, leading to one of the most visually and conceptually rich periods in rock music history.

The original shock rock pioneers – five Phoenix kids who terrified parents and invented rock theatre! The Alice Cooper Group (1964–1975) were the godfathers of shock rock: raw Detroit garage energy, vaudeville horror shows, and glam-tinged hard rock that influenced everyone from Kiss to Marilyn Manson. The Classic Line-Up (The “Killer” era) Vincent Furnier (“Alice Cooper”) – vocals, ringmaster of chaos Glen Buxton – lead guitar (the quiet riff wizard, died 1997) Michael Bruce – rhythm guitar, keyboards, co-writer Dennis Dunaway – bass, spider-walk inventor Neal Smith – drums, the powerhouse Essential Starting Point (The Holy Trinity) Love It to Death (1971) – Album Release (1971) Their breakthrough – “I’m Eighteen” (#21 US) – teenage angst anthem. Killer (1971) – Album Release (1971) Darker, heavier – “Under My Wheels”, “Halo of Flies”, baby dolls meet the guillotine. Billion Dollar Babies (1973) – Album Release (1973) – US/UK #1 Peak Alice – “No More Mr. Nice Guy”, “Elected”, the snakeskin wallet packaging. The Big Hits Everyone Knows I’m Eighteen (1971) School’s Out (1972) – UK #1 summer anthem No More Mr. Nice Guy (1973) Elected (1973) Hello Hooray (1973) The Classic Albums (1971–1974) Love It to Death – Album Release (1970) – US #35 Killer – Album Release (1971) – US #21 School’s Out – Album Release (1972) – US #2 / UK #4 Billion Dollar Babies – Album Release (1973) – US/UK #1 Muscle of Love – Album Release (1973) – – US #10 Where to Start Listening Today (5 tracks) I’m Eighteen – the ultimate teen rebellion anthem School’s Out – summer never ends No More Mr. Nice Guy – pure swagger Under My Wheels – killer riff Billion Dollar Babies – theatrical masterpiece The Alice Cooper Group weren’t just a band – they were a full-on horror vaudeville assault that changed live rock forever. Turn it up, grab a boa, and welcome to their generation landslide! Detailed look The Alice Cooper Group, formed in Phoenix, Arizona, in 1964, was a pioneering force in rock music, blending raw, hard-hitting sounds with theatrical, shock-driven performances that laid the groundwork for the genre known as shock rock. The band, originally consisting of Vincent Furnier (vocals, later adopting the stage name Alice Cooper), Glen Buxton (lead guitar), Michael Bruce (rhythm guitar, keyboards), Dennis Dunaway (bass guitar), and Neal Smith (drums), was active until 1975, when it officially disbanded. Their legacy includes a string of influential albums, iconic live shows, and a lasting impact on rock, glam, metal, and punk. Below is a comprehensive exploration of the Alice Cooper Group’s history, music, stagecraft, band members, and cultural significance, focusing exclusively on their work as a band, not Alice Cooper’s solo career. The Alice Cooper Group’s origins trace back to Cortez High School in Phoenix, Arizona, where Vincent Furnier, a preacher’s son with a passion for music, recruited four classmates—Glen Buxton, Dennis Dunaway, John Tatum, and John Speer—to form a band for a school talent show in 1964. Initially called the Earwigs, they mimed Beatles songs with modified lyrics about their track team, wearing costumes and wigs to emulate the Fab Four. Their unexpected win at the talent show spurred them to learn instruments and pursue music seriously. By 1965, they had become the Spiders, playing covers of bands like the Rolling Stones and the Yardbirds, with Michael Bruce replacing John Tatum on rhythm guitar. They recorded their first single, “Why Don’t You Love Me,” in 1965 and scored a local hit with “Don’t Blow Your Mind” in 1966. Drummer Neal Smith replaced John Speer around this time, completing the core lineup that would later achieve fame. In 1967, the band, now called the Nazz, relocated to Los Angeles to chase a record deal. They discovered Todd Rundgren’s band already used the name Nazz, prompting a rename. The origin of “Alice Cooper” as the band’s name is debated. A popular legend claims it came from a Ouija board session, chosen for its wholesome contrast to their dark image, but Furnier later called this an urban legend, noting the name might have been inspired by a character from Mayberry R.F.D. played by Alice Ghostley. The name “Alice Cooper” was adopted in 1968, with Furnier taking it as his stage persona, creating an androgynous, villainous character that became central to the band’s identity. Their early Los Angeles shows were polarizing, blending aggressive, proto-punk energy with heavy makeup and feather boas, influenced by the all-female GTOs (signed to Frank Zappa’s Straight Records), who dressed the band in women’s clothing. A 1968 performance at the Cheetah club in Venice, California, saw most of the audience leave after ten minutes, but it caught the attention of manager Shep Gordon, who saw potential in their ability to provoke. Gordon arranged an audition with Frank Zappa, who signed them to Straight Records, valuing their bizarre stage presence. The Alice Cooper Group’s early albums, Pretties for You (1969) and Easy Action (1970), released on Straight Records, were commercial failures, leaning heavily into psychedelic rock with experimental, sometimes chaotic compositions. Critics and audiences in Los Angeles were indifferent, but the band found a more receptive audience in the Midwest, particularly Detroit, where their raw energy resonated with fans of bands like the Stooges and MC5. A notorious incident at the 1969 Toronto Rock ‘n’ Roll Revival festival, where Furnier threw a chicken into the crowd (which tore it apart), cemented their controversial reputation, with media wrongly claiming Furnier bit its head off. This incident, amplified by Zappa’s advice to lean into the controversy, boosted their notoriety. The band’s breakthrough came with their third album, Love It to Death (1971), after relocating to Pontiac, Michigan, near Furnier’s hometown of Detroit. Produced by Bob Ezrin, who became a pivotal figure in shaping their sound, the album marked a shift from psychedelia to a tighter, guitar-driven hard rock style. Ezrin refined their theatricality into more polished songs, drafting session musicians to bolster the sound when needed. The single “I’m Eighteen” became a youth anthem, reaching No. 21 on the U.S. Billboard Hot 100, with its raw energy and rebellious lyrics. The album hit No. 35 on the Billboard 200, and the 1971 tour introduced their signature stage show, featuring mock fights, gothic torture scenes, and a climactic execution by electric chair, with the band in sequined, glam rock costumes designed by Cindy Dunaway (Neal Smith’s sister and Dennis Dunaway’s wife). The tour, which included their first European dates (attended by Elton John and David Bowie), solidified their reputation as a must-see act. The Alice Cooper Group hit their stride with Killer (1971), School’s Out (1972), and Billion Dollar Babies (1973), a trio of albums that defined their sound and theatricality. Killer, also produced by Ezrin, leaned into darker themes with tracks like “Halo of Flies” and “Dead Babies,” the latter sparking controversy for its perceived stance against child abuse, though critics misread it as satanic. The album’s bluesy, hard rock edge, comparable to the New York Dolls, and its elaborate live show (including Furnier in a straitjacket for “The Ballad of Dwight Fry”) made it a fan favorite, reaching No. 21 on the Billboard 200. School’s Out (1972) was their commercial peak, with the title track hitting No. 7 in the U.S. and No. 1 in the UK, becoming a timeless anthem of youthful rebellion. The album, packaged in a school desk with paper panties, reached No. 2 in the U.S. and No. 1 in Canada. The tour’s theatricality escalated, featuring props like guillotines and mutilated dolls, drawing both acclaim and outrage. British MP Leo Abse called their act “the culture of the concentration camp,” fueling calls to ban them in the UK, which only increased their legend. Billion Dollar Babies (1973) was their masterpiece, topping the charts in the U.S. and UK. Packaged like a snakeskin wallet, it featured hits like “Elected” (No. 26 UK), “Hello Hooray,” “No More Mr. Nice Guy” (No. 25 U.S., No. 10 UK), and the title track with guest vocals by Donovan. The album explored themes of decadence and psychosis, with a polished yet aggressive sound. The supporting tour broke box-office records. The original lineup reunited for the 2011 Rock and Roll Hall of Fame induction performance, and a 2015 live album, Live From the Astroturf. They contributed to Furnier’s solo albums Welcome 2 My Nightmare (2011), Paranormal (2017), and Detroit Stories (2021), and reunited for the 2025 album The Revenge of Alice Cooper, their first studio album in 52 years, featuring surviving members Bruce, Dunaway, and Smith. The album, produced by Ezrin, includes tributes to Buxton, like a riff from an old demo in “What Happened to You.” The Alice Cooper Group’s legacy lies in their pioneering shock rock, blending music and theater in a way that reshaped rock performance. Their influence extends beyond music to pop culture, with their provocative image challenging societal norms. Despite Furnier’s solo success, fans and band members emphasize the group’s collaborative genius, with Dunaway, Bruce, and Smith advocating for recognition of their shared role in creating a rock ‘n’ roll legend. The band’s shocking performances, including simulated executions and baby doll mutilations, sparked moral panic, with figures like Mary Whitehouse in the UK decrying their influence. Yet, their theatricality was often satirical, critiquing societal excesses rather than endorsing violence. Their 1973 tour’s record-breaking success and 2011 Rock and Roll Hall of Fame induction affirm their enduring impact. The Michigan Rock and Roll Legends Hall of Fame inducted them in 2005, and “I’m Eighteen” and “School’s Out” are enshrined as iconic songs.

Bolan's Futuristic Dragon UK Tour Promo Published in the UK on January 24, 1976, Melody Maker’s one-page advert “Futuristic Dragon & Tour” promoted T. Rex’s upcoming UK tour in support of the album Futuristic Dragon . The ad listed 16 dates from February 5th to March 6th, 1976, across venues including Central Hall (Chatham), City Hall (St. Albans), Leas Cliff Hall (Folkestone), Cliffs Pavilion (Southend-on-Sea), Floral Hall (Southport), Palace Theatre (Newark), Grand Pavilion (Withernsea), Empire Theatre (Sunderland), Lyceum (London), Queensway (Dunstable), Town Hall (Birmingham), Free Trade Hall (Manchester), Winter Gardens (New Brighton), Apollo Theatre (Glasgow), Large Municipal Hall (Falkirk), Civic Centre (Motherwell), and Grand Hall (Kilmarnock). Advert Text (Venue List) FEBRUARY 5th – CENTRAL HALL CHATHAM FEBRUARY 6th – CITY HALL ST. ALBANS FEBRUARY 7th – LEAS CLIFF HALL FOLKESTONE FEBRUARY 8th – CLIFFS PAVILION SOUTHEND-ON-SEA FEBRUARY 12th – FLORAL HALL SOUTHPORT FEBRUARY 13th – PALACE THEATRE NEWARK FEBRUARY 14th – GRAND PAVILION WITHERNSEA FEBRUARY 15th – EMPIRE THEATRE SUNDERLAND FEBRUARY 18th – LYCEUM LONDON FEBRUARY 19th – QUEENSWAY DUNSTABLE FEBRUARY 23rd – TOWN HALL BIRMINGHAM FEBRUARY 24th – FREE TRADE HALL MANCHESTER FEBRUARY 28th – WINTER GARDENS NEW BRIGHTON MARCH 1st – APOLLO THEATRE GLASGOW MARCH 3rd – LARGE MUNICIPAL HALL FALKIRK MARCH 4th – CIVIC CENTRE MOTHERWELL MARCH 6th – GRAND HALL KILMARNOCK Legacy  This advert captures T. Rex in early 1976 — Marc Bolan touring behind Futuristic Dragon , a bold but underappreciated album in the post-peak T. Rextasy period. Do you have this Melody Maker advert in your archive? Ready for the Futuristic Dragon tour? Share in the comments! FEBRUARY 5th CENTRAL HALL CHATHAM FEBRUARY 6th CITY HALL ST. ALBANS FEBRUARY 7th LEAS CLIFF HALL FOLKSTONE FEBRUARY 8th CLIFFS PAVILION SOUTHEND-ON-SEA FEBRUARY 12th FLORAL HALL SOUTHPORT FEBRUARY 13th PALACE THEATRE NEWARK FEBRUARY 14th GRAND PAVILION WITHERNSEA FEBRUARY 15th EMPIRE THEATRE SUNDERLAND FEBRUARY 18th LYCEUM LONDON FEBRUARY 19th QUEENSWAY DUNSTABLE FEBRUARY 23rd TOWN HALL BIRMINGHAM FEBRUARY 24th FREE TRADE HALL MANCHESTER FEBRUARY 28th WINTER GARDENS NEW BRIGHTON MARCH 1st APOLLO THEATRE GLASGOW MARCH 3rd LARGE MUNICIPAL HALL FALKIRK MARCH 4th CIVIC CENTRE MOTHERWELL MARCH 6th GRAND HALL KILMARNOCK

Sweet's Early Parlophone Non-Hit Released on Parlophone (R 5902) in the UK on January 23, 1970, The Sweet’s “All You'll Ever Get From Me” — backed with “The Juicer” — was one of their earliest singles before the full Chinnichap glam breakthrough. Produced by John Burgess and Roger Easterby for AIR Production, the single did not chart in the UK. Connolly and Tucker unexpectedly met Wainman, who was now a producer and aware of two budding songwriters, Nicky Chinn and Mike Chapman, seeking a group to perform some demos they had composed. Connolly, Priest, and Tucker lent their vocals to a track titled "Funny, Funny," which featured Pip Williams on guitar, John Roberts on bass, and Wainman on drums. Wainman began pitching the track to various recording companies. The band conducted auditions for a new guitarist and chose Welsh-born Andy Scott. Scott had recently been playing with Mike McCartney (Paul's brother) in the Scaffold. As part of the Elastic Band, he played guitar on two Decca singles, "Think of You Baby" and "Do Unto Others," and appeared on the band's sole album, Expansions on Life, as well as some Scaffold recordings. The band rehearsed for several weeks before Scott's live debut with Sweet on 26 September 1970 at the Windsor Ballroom in Redcar. In March 1971, RCA released "Funny, Funny," penned by Chinn and Chapman, marking the group's first international success as it reached the Top 20 on numerous global charts. EMI re-released their 1970 single "All You'll Ever Get from Me" in May 1971, but it failed to chart again. Their subsequent RCA single "Co-Co" in June 1971 reached number two in the UK, while the follow-up single, "Alexander Graham Bell," released in October 1971, peaked at No. 33. These songs still had session musicians playing the instruments, with the quartet contributing only the vocal Track Listing A: All You'll Ever Get From Me B: The Juicer Production Producer – John Burgess, Roger Easterby Published By – Cookaway Music Ltd. NCB Made in Gt. Britain 1970 Release Country: Germany Catalogue: 1C 006-91 415 M UK Variants 7", 45 RPM, Single – Parlophone – R 5826 – UK – 1970 7", 45 RPM, Single, Promo – Parlophone – R 5902 – UK – 1970 7", 45 RPM, Single, Solid Centre – Parlophone – R 5826 – UK – 1970 7", 45 RPM, Single, Promo – Parlophone – R 5826 – UK – 1970 7", 45 RPM, Single, Solid Centre – Parlophone – R 5902 – UK – 1971 7", 45 RPM, Large Hole – Parlophone – R 5902 – UK – 1971 7", 45 RPM, Single, 4-prong centre – Parlophone – R 5902 – UK – 1971 Chart Performance No chart success in the UK. Legacy A transitional single from The Sweet’s pre-glam phase — raw, pop-rock energy hinting at their future stomp. Do you have All You'll Ever Get From Me in your collection? Ready for the juicer? Share in the comments! Sources Information is drawn from my personal knowledge and supplemented by web sources, including Discogs, 45cat, AllMusic, Rate Your Music, Wikipedia and BBC Official Charts Company Whilst every effort is made to provide accurate information, mistakes do happen. Simply leave a comment and the post will be updated. Thank you. 1971 Reissue Country: Spain Catalogue: 1J 006-91.415 M

Bowie's Golden Years In Crystal Clarity David Bowie: Station To Station Album 50th Anniversary Reissue will be released worldwide on January 23, 2025, David Bowie’s Station To Station 50th anniversary edition revives his 1976 masterpiece in two limited formats: half-speed mastered black 180g LP and picture disc LP (with reproduced 1976 promotional poster). The half-speed master — cut by John Webber on a customised late Neumann VMS80 lathe from 192kHz restored Record Plant masters (no additional processing) — delivers the closest representation of the original sound. The Thin White Duke’s cocaine-fueled transition from soul to krautrock-electronica, now in pristine audiophile glory. Album Overview Release Details Label: Parlophone. Formats: Vinyl LP Half-Speed Master 180g, Vinyl LP Picture Disc + Poster (limited). Full Track Listing (both formats) Side One 1. Station To Station (10:08) 2. Golden Years (4:03) 3. Word On A Wing (6:00) Side Two 1. TVC 15 (5:29) 2. Stay (6:08) 3. Wild Is The Wind (5:58) Reissues & Global Variants (all supplied) - LP Half-Speed Master 180g – Parlophone – Worldwide – 23 Jan 2025 - LP Picture Disc + Poster (limited) – Parlophone – Worldwide – 23 Jan 2025 Production and Context Original production: David Bowie & Harry Maslin (1975 at Cherokee Studios). 2025 half-speed master: John Webber. The album that birthed the Thin White Duke — Bowie’s “return to Europe” after Young Americans, blending funk, krautrock, and occult mysticism. Singles Released and Chart Performance (original 1976) - Golden Years (No. 10 UK, No. 10 US) - TVC 15 (No. 33 UK) - Stay (edit, 1976) Album Chart Performance (original 1976) - UK: 5 - US: 3 Legacy and Collectibility Station To Station is Bowie’s transitional masterpiece — the bridge from soul to Berlin. 2025 half-speed and picture disc editions are a must-have for Bowie audiophiles. Do you have Station To Station in your vinyl stack? Is the Thin White Duke still your conductor? Share in the comments! Sources Information is drawn from my personal knowledge and supplemented by web sources, including Discogs, 45cat, AllMusic, Rate Your Music, Wikipedia, BBC Official Charts Company, Billboard Chart History and YouTube What’s the next classic vinyl you’d like to feature? Share in the comments!

Faces' Fourth & Final Chart-Topper Reissue The Faces' fourth and final studio album Ooh La La (originally released in 1973) was their only effort to top the UK Albums Chart and featured some of the band’s most popular tracks, including the title track “Ooh La La,” “Cindy Incidentally,” “Glad and Sorry,” and “Just Another Honky.” The cover of the album was designed by Jim Ladwig, around a stylised photograph of "Gastone", a stage character of 1920s Italian comedian Ettore Petrolini. The original LP's Art Deco-inspired cover was constructed in such a way that when the top edge of the sleeve was pressed down, a concealed die-cut design element would descend that made Gastone's eyes appear to discolour and move to the side, and his jaw would appear to drop into a leering smile. The back cover also featured art deco-inspired design elements, and detailed song information and album credits alongside tinted individual photographic portraits of the band members. The original gatefold sleeve's inner design depicted a large stylised photomontage of the band in typical 'laddish' pose, admiring the charms of a can-can dancer (referencing the lyric of the title track). Reissue Details Released on February 13, 2026, by Rhino/Warner Music (catalog number 0603497810673) Format: 140g 1LP vinyl Track Listing (Original 1973 Album) Side One Silicone Grown Cindy Incidentally Flags and Banners My Fault Borstal Boys Fly in the Ointment Side Two If I'm on the Late Side Glad and Sorry Just Another Honky Ooh La La Legacy Ooh La La is the Faces' swan song — a loose, boozy, heartfelt collection of rock 'n' roll classics, with Rod Stewart, Ronnie Wood, Ronnie Lane, Ian McLagan, and Kenney Jones at their ramshackle best. The 2026 140g vinyl reissue brings the album back in high-quality physical form for new and longtime fans. Do you have Ooh La La in your vinyl collection? Ready for some Cindy Incidentally? Share in the comments! Sources Information is drawn from my personal knowledge and supplemented by web sources, including Discogs, 45cat, AllMusic, Rate Your Music, Wikipedia and BBC Official Charts Company Whilst every effort is made to provide accurate information, mistakes do happen. Simply leave a comment and the post will be updated. Thank you.

Queen's Nostalgic Radio Anthem Released as a 7-inch vinyl single in the UK by EMI Records (catalog number QUEEN 1) on January 23, 1984, Queen’s “Radio Ga Ga” — backed with “I Go Crazy” — served as the lead single from their album The Works. Written by Roger Taylor, the track nostalgically defends the radio format amid the rise of MTV and video. It became a global smash, topping charts in 19 countries, reaching No. 2 on the UK Singles Chart and Australian Kent Music Report, and No. 16 on the US Billboard Hot 100. It was the band’s last original single to enter the US Top 40 during Freddie Mercury’s lifetime. The song was performed at every Queen concert from 1984 until their final show with Freddie in 1986, including the iconic 1985 Live Aid performance. The music video, directed by David Mallet, heavily featured footage from Fritz Lang’s 1927 silent film Metropolis and earned an MTV Video Music Award nomination in 1984. Track Listing A: Radio Ga Ga B: I Go Crazy Production and Context From The Works (1984). Also featured on Greatest Hits II and Classic Queen. The song’s handclap rhythm and synth-driven sound made it a staple of Queen’s live shows. Chart Performance UK Singles Chart: No. 2 US Billboard Hot 100: No. 16 Topped charts in 19 countries worldwide Legacy “Radio Ga Ga” is one of Queen’s most enduring anthems — a celebration of radio, crowd participation, and timeless melody. Verify catalogue QUEEN 1. Do you have Radio Ga Ga in your vinyl collection? Ready to wave your hands? Share in the comments! Sources Information is drawn from my personal knowledge and supplemented by web sources, including Discogs, 45cat, AllMusic, Rate Your Music, Wikipedia and BBC Official Charts Company Whilst every effort is made to provide accurate information, mistakes do happen. Simply leave a comment and the post will be updated. Thank you.

Bowie's Thin White Duke Epic Released as in the UK by RCA Victor on January 23, 1976, David Bowie’s Station To Station was his tenth studio album and a pivotal transitional work — blending soul/funk grooves with experimental rock, marking the birth of the Thin White Duke persona. Produced by Bowie and Harry Maslin, it featured George Murray (bass), Dennis Davis (drums), Earl Slick (lead guitar), Carlos Alomar (rhythm guitar), and Roy Bittan (piano). The title track clocked in at over 10 minutes, with “Golden Years,” “TVC 15,” “Stay,” and the cover of “Wild Is The Wind” becoming enduring classics. The album was released with addition tracks in 1991, see below. Primarily recorded at Cherokee Studios in Los Angeles, California, in late 1975, following Bowie's completion of filming The Man Who Fell to Earth; the cover art featured a still from the film. During the recording sessions, Bowie struggled with various drug addictions, particularly cocaine, and later admitted he remembered almost nothing of the production. The commercial success of Bowie's prior album, Young Americans (1975), granted him greater creative freedom when he started recording his subsequent album. These sessions solidified the lineup of guitarist Carlos Alomar, bassist George Murray, and drummer Dennis Davis, whom Bowie would collaborate with for the rest of the decade, and also included contributions from guitarist Earl Slick and pianist Roy Bittan. Musically, Station to Station served as a transitional album for Bowie, expanding on the funk and soul of Young Americans while introducing a new direction influenced by the German krautrock genre, particularly bands like Neu! and Kraftwerk. The lyrics reflected Bowie's interests in Friedrich Nietzsche, Aleister Crowley, mythology, and religion. Preceded by the single "Golden Years," Station to Station achieved commercial success, reaching the top five on both the UK and US charts. After abandoning a soundtrack for The Man Who Fell to Earth, Bowie promoted the album with the Isolar Tour in early 1976, during which he sparked controversy with statements perceived as supporting fascism. At the tour's conclusion, he relocated to Europe to distance himself from L.A.'s drug scene. The musical styles explored on Station to Station culminated in some of Bowie's most acclaimed work with the Berlin Trilogy over the following three years. Upon its release, Station to Station was well-received by music critics and has been featured on several lists of the greatest albums of all time. It has been reissued multiple times and was remastered in 2016 as part of the Who Can I Be Now? (1974–1976) box set. Track Listing Side A Station To Station – 10:08 Golden Years – 4:03 Word On A Wing – 6:00 Side B TVC 15 – 5:29 Stay – 6:08 Wild Is The Wind – 5:58 UK Variants LP, Album, CBS contract pressing – RCA Victor – APL1 1327, RCA Victor – APL1-1327, RCA Victor – RS 1038 – UK – 1976 LP, Album, Test Pressing, White Label – RCA – APL1 1327 – UK – 1976 LP, Album – RCA – APL1-1327, RCA – APLI-1327, RCA Victor – APL1 1327 – UK – 1976 LP, Album – RCA – APL1-1327, RCA – APLI-1327, RCA Victor – APL1 1327 – UK – 1976 LP, Album – RCA – APL1-1327, RCA Victor – APL1 1327 – UK – 1976 Cassette, Album, Orange Paper Labels – RCA – PK 11715 – UK – 1976 Cassette, Album, Orange Paper Labels, No Indent – RCA – PK 11715 – UK – 1976 Cassette, Album, Orange Paper Labels – RCA – PK 11715 – UK – 1976 8-Track Cartridge, Album, Stereo – RCA – P8S 11715 – UK – 1976 UK Chart Performance Peak position: 5 8 weeks initial run (February 7, 1976 to March 27, 1976): 13 → 5 → 8 → 10 → 14 → 23 → 46 → 41 Additional runs in 1976, 2010, 2016, 2017, and 2021 (posthumous surges). Production and Context Recorded at Cherokee Studios, Hollywood. The album reflected Bowie’s cocaine-fuelled Hollywood period and his fascination with soul, occultism, and the Thin White Duke character. It bridged the soul phase of Young Americans and the ambient Berlin Trilogy. Legacy Station To Station remains one of Bowie’s most enigmatic and influential albums — a dark, funky, cinematic masterpiece that set the stage for his most experimental phase. Do you have Station To Station in your vinyl collection? Ready for the Thin White Duke? Share in the comments! Sources Information is drawn from my personal knowledge and supplemented by web sources, including davidbowie.com, Discogs, 45cat, AllMusic, Rate Your Music, Wikipedia and BBC Official Charts Company Whilst every effort is made to provide accurate information, mistakes do happen. Simply leave a comment and the post will be updated. Thank you. David Bowie – Station To Station Label: EMI – EMD 1020 Series: Sound+Vision Format: Vinyl, LP, Album, Reissue, Gatefold Country: UK Released: 1991 A1 Station To Station 10:08 A2 Golden Years 4:03 A3 Word On A Wing 6:00 A4 TVC15 5:29 A5 Stay 6:08 B1 Wild Is The Wind 5:58 B2 Word On A Wing ( Live) 6:10 B3 Stay (Live) 7:24

Slade's 1981 Comeback Stomper Released as a 7-inch vinyl single in the UK on January 23, 1981, on Cheapskate Records (catalog number CHS 2480), Slade’s “We'll Bring The House Down” — backed with “Hold On To Your Hats” — was the lead single from their ninth studio album of the same name. Penned by Noddy Holder and Jim Lea, produced by Slade, it marked the band’s first UK Top 40 entry since 1977, peaking at No. 10 and charting for 9 weeks. Track Listing A: We'll Bring The House Down B: Hold On To Your Hats Production & Context Written by Noddy Holder and Jim Lea. Produced by Slade. A raw, stomping glam-rock return-to-form after a few quieter years. UK Chart Performance Peak position: 10 9 weeks on chart Legacy “We'll Bring The House Down” signalled Slade’s triumphant early-’80s resurgence — loud, proud, and full of their classic party energy. Do you have We'll Bring The House Down in your vinyl stack? Ready to bring it down? Share in the comments! Sources Information is drawn from my personal knowledge and supplemented by web sources, including Discogs, 45cat, AllMusic, Rate Your Music, Wikipedia and BBC Official Charts Company Whilst every effort is made to provide accurate information, mistakes do happen. Simply leave a comment and the post will be updated. Thank you. Country: UK Catalogue: CHEAP 16 Country: Germany Catalogue: ZB 5358

Bowie's Sound + Vision Relaunch Promo Published in the US on January 23, 1990, Billboard Magazine’s one-page advert “Bowie's Long Awaited Relaunch” announced Rykodisc’s first three individual titles in the Sound + Vision chronological reissue series of David Bowie’s catalogue. The striking tagline read: “THE FUTURE BELONGS TO THOSE WHO CAN HEAR IT COMING.” The ad urged fans to catch up with music that “remains as far ahead of its time now as when it originally appeared,” positioning the reissues as essential for rediscovering Bowie’s visionary work. Advert Overview Publication Details Magazine: Billboard (US). Date: January 23, 1990. Format: One-page album reissue advert. Exact Text from the Advert THE FUTURE BELONGS TO THOSE WHO CAN HEAR IT COMING. Rykodisc presents the first three individual titles in SOUND + VISION, the chronological series of re-releases of the David Bowie catalogue. Catch up with this music which remains as far ahead of its time now as when it originally appeared. Legacy This advert marks the launch of Rykodisc’s influential Sound + Vision series — one of the first major Bowie catalogue reissue campaigns Do you have this Billboard advert in your archive? Ready for the future? Share in the comments!

T.Rex’s Rexmania , a cover and one-page feature in New Musical Express , January 22, 1972. AT the Boston Gliderdrome on Saturday, T. Rex turned the musical clock back to the early sixties. In scenes of hysteria and confusion unparalleled since the days of Beatlemania, thirty- three people fainted and one girl was taken to hospital after falling off the balcony in her excitement. Extra police were drafted in to cope with the crowd of more than five thousand including some from as far as Cardiff and Lon- don. Here NME's James Johnson sets the scene. by early evening there is a queue four deep outside the hall. And mostly they're all small girls. Many have "Marc" scribbled on their arms in shakey biro and hold torn, tattered pictures of Bolan between hot, sticky fingers. Some are al- ready a little over-excited and just a little tearful. The rea- son behind it all is T. Rex are in town, playing tonight and everybody knows it's going to be the biggest night out for months. It's the archetypal Saturday night out of the old tradition that has been enacted in palais and dance halls throughout the country for years. there's But this Saturday share tension in the air. have been erected around the stage, bouncers nervously sip cans of beer trying to look tough for the chicks and television crew try to act cool hampered all the time by people jostling for a good position. Gradually the excitement mounts. The dancing gets a little more hectic, a T. Rex record is played and draws a few screams until finally the D-J starts the chant "We Want T. Rex Want T. Rex." --- We But, of course, they don't appear. They know how to delay the impact. So the chant carries on, people move a little closer to the stage until finally there they are Rex - T. with Bolan poker- faced striding on last. All hell breaks loose. The screaming is deafening. Girls get crushed or faint. After the initial chaos dies down Bolan makes a little speech about how it's their first gig since the States, they're glad to be back, and, yeah, we're gonna have a good time. Then they break into it. The jumping T. Rex beat, each number simple and direct but the beat coming over loud and clear and undeniably all their own. Bolan stands out front pouting to the front-line of out-stretched hands trying to touch anything connected with the group, Micky Finn frighteningly stone-faced rushes across the stage whipping the crowd up into all kinds of frenzies while the bassist and drummer plug away expressionlessly churning out the rhythm. "Hot Love," "Get It On " and "Jeepster" expectedly get the best reception but it's just the whole scene that was so completely amazing. Like it or not, Marc Bolan has be- comes the only true rock star of the seventies. Maybe T. Rex have sold out to their original head audience, maybe with the simplest of lyrics their music has little to offer on aesthetic terms. But now, the group are cap- able of drawing a huge audience and leaving them completely devastated. The "scream scene " is what rock culture was built on. Why should it be any less valid now?

Cat's Rhythmic Revolution Talk Published in the UK on January 22, 1972, Melody Maker’s one-page feature on Cat Stevens saw the singer-songwriter discussing his views on sex, the universe, rhythm, and creativity. He described the universe as “making love to itself, it's one big climax all the time,” and emphasized that true peace and religion come from within and a happy family. Stevens explained his unconventional rhythms as natural, influenced by his Greek heritage and a desire to shock listeners with silence and complexity, comparing it to George Harrison’s “rightly wrong” guitar playing. He also shared how owning his own home studio would preserve spontaneous ideas (like a sound from two broken strings) and avoid the drag of booking external time. Exact Text Excerpts from the Article about sex and the universe. The universe is making love to itself, it's one big climax all the time. We talk of world peace, but we are being used all the time at the moment. The thing is have a happy family and the world is happy. It's within, your religion is you. Your songs have an unusual quality, in that the rhythms are not as simple as those usually used by writers in the rock idiom. Is this something you realised and played on? "It was natural from the beginning. I kind of realised it myself, and then when people started bringing it to my attention I thought to myself: What am I doing here? When I became aware of rhythmic changes, I started to use them a lot more. As far as timing is concerned, I get bored very easily. I like to be shocked. I like to hear a phrase of, say, silence. You might not agree with the way it is used, but that is the idea to get people thinking about what you are doing. I like to think about why he did that it makes you think about the music. "I think that because my father is Greek. I think it came from that too. A 7/8 rhythm is so hypnotic. Once these rhythms are universally used I suppose they will not much more than a 4/4, but at the moment it's so totally fresh. It's a new insight into rhythm instead of this bang, bang, bang, bank. I think actually that I am more tied up with rhythm than anything. If I wasn't a guitarist I'd probably be a percussionist. "It's like guitarists. If you listen to George Harrison he has knack of playing rightly wrong which is tremendously exciting. Singers too. If you hear someone who sings perfectly all the time, with exact timing, it is terribly boring. Every singer has a way of singing out of time." How will having your own studio in the house help you? "It'll save a lot of ideas. Only the other night I got this incredible sound on the guitar from two broken strings. Obviously I couldn't keep the guitar like that until I could book studio time. If I'd had the studio, then I could have nipped down and recorded a variation on two broken guitar strings. "The only drag is getting too involved. The business tends to get too involved in things around it. When I was trying to get round to making music I was going round to these people. It was so difficult to get them involved in what I wanted to do. It's like touring, there are so many places to see, and you never do get round to actually seeing them." Legacy This early 1972 feature captures Cat Stevens at a creative turning point — philosophical, rhythmic, and ready to build his own studio. Do you have this Melody Maker feature in your archive? Ready for the universe’s climax? Share in the comments!

Lou Reed's Mad Speaker Explosion Published in the UK on January 22, 1972, Melody Maker’s one-page feature “Reed Between the Lines” captured Lou Reed in a vivid, intense moment during his post-Velvet Underground transition. The article opened with a dramatic scene: “THE big speakers at the far end of the small, narrow room are about to burst. Guitars wash across them, while a kettle-drum cracks and a gong explodes in slow motion, like a flower opening, aaaaoooommmmm! Inside those speakers, a man is going mad.” The piece explored Reed’s raw energy, his creative process, and his emerging solo identity after the Velvets’ dissolution, blending vivid sound description with insight into his artistic state. Article Overview Publication Details Magazine: Melody Maker (UK). Date: January 22, 1972. Format: One-page feature article. THE big speakers at the far end of the small, narrow room are about to burst. Guitars wash across them, while a kettle-drum cracks and a gong explodes in slow motion, like a flower opening, aaaaoooommmmm! Inside those speakers, a man is going mad. Lou Reed leans forvard, lights a Marlboro, and emp- ties a glass of beer into his face. Someone's gotta speak for those people," he says. LOU REED made his first record when he was 14. His group was called the Shades, changed to the Jays when they found out that somebody else already had the name. "Our lead singer couldn't reach the microphone they had to put him on a stool," he says. "We played shopping centre openings, things like that. Typical teenage hoodlum band." The Jays were in the tradition of the New York vocal groups of the Fifties. "The Ravens, the Diabolos, the Cleftones, the Jesters. I used to go crazy for records like that, the street group sound." Favourite One of his all-time favourite records, he says, was only ever popular on his block. It was called "Why Can't I Be Loved," by Elisha and the Rockways, and he proudly drags the words out of his memory: "Why can't I be loved/Why doesn't someone take me/If I've been asleep/Won't somebody please come and awake me." "I fall down when I hear those lyrics," he says. "I don't think that a lot of our contemporary poet laureates are nearly up to songs like that." For the Velvet Underground's fourth album, Lou wrote a song which was based on that old sound. It even had a solemn speaking bit in the middle. And on his next album, which he's finishing right now in London, there's a tune called "Love Makes You Feel Ten Feet Tall" which is another attempt to regain the directness of the sounds of his adolescence. Legacy This article is an early 1972 snapshot of Lou Reed’s post-Velvet Underground intensity — raw, chaotic, and prophetic of his solo career. Do you have this Melody Maker feature in your archive? Ready for the mad speaker explosion? Share in the comments!

Bolan's Boston Starlight Hysteria Published in the UK on January 22, 1972, Melody Maker’s one-page feature article “T.Rextasy!” by Michael Watts reported on a literally hysterical gig by T. Rex at the Starlight Rooms, Boston, Lincolnshire, on Saturday (January 15, 1972). The piece captured the explosive spark of T. Rextasy — the frenzied fan reaction, Marc Bolan’s charismatic command of the stage, and the undeniable confirmation of T. Rex as a cultural phenomenon. Watts described the atmosphere as one of pure pandemonium, likening the scene to “the adventures of a young man whose principal interests are ultra violence and Beethoven,” while noting that the turnout rivalled what the band might have drawn in the US. Article Overview Publication Details Magazine: Melody Maker (UK). Date: January 22, 1972. Format: One-page feature article. Legacy This article is one of the definitive early 1972 reports on T. Rextasy at its very beginning a intense — a chaotic, euphoric live moment that became legendary. Do you have this Melody Maker feature in your archive? Ready for T.Rextasy at the Starlight? Share in the comments! Michael Watts reports on a (literally) hysterical gig at Boston's Starlight on Saturday T-Rextasy! Being the adventures of a young man whose principal interests are ultra violence and Beethoven. AS IF one was needed, the final confirmation of the T. Rex phenomenon came at the Starlight Rooms, Boston, last Saturday. Not Boston, Mass., but Boston, Lincs, you dig. No matter. It's doubt- ful if the band could have drawn as many people as they did back in the USA. Something special The Starlight Rooms comprise a massive bar space, big enough to take about 2,000 people, called the Gliderdrome; a medium-sized concert area, with seating, where bands can play in reasonable intimacy; and a big ballroom, built on the lines of a Mecca dance hall. As the management doesn't have to comply with fire regulations, for some reason, it can cram as many as 8,000 people in, but the most people can remember being there was 6,500 to see Otis Redding four years ago. Stevie Wonder nearly bust the record a while back, falling short by about a thousand. T. Rex pulled in 6,000 by the time the guys on the door were refusing to let anyone else in. Saturday was something special for the kids in Boston, as you can see, and not just because Boston United, whose ground adjoins the Starlight had that afternoon played Portsmouth in the cup. Kids-mainly young chicks around 14 had come in coachloads from all over Britain; from Glasgow and Sheffield, Liverpool and Car- diff. And if you couldn't make it in comfort, you hitched with a piece of cardboard that had Boston writ large, and a sleeping bag. It was a fine evening for car drivers in Lincolnshire. Police The only people who were not as enamoured of the whole situation were the police. Reports had it that there were from nine to 60 cops on duty in the vicinity of the venue. There were certainly more than nine. Out front, after the concert ended, stood two police vans full of bobbies and a dog handler to keep in check the 400 or so fans who had gathered outside. Back- stage, as things got in progress, a cop was breathing over his walkie-talkie, "we've got to have some help can't cope we Boston was an ideal gig for Bolan to make his first appearance since his British tour last November and his last for a couple of months. Since there is no seating, the audience can leap around, and that's what Rex all about. is That's what ATV television wanted, anyway. They were there to film the show, to catch Bolan in his sky blue pants and gold lame jacket when he walked onstage, both hands flung in the air, like a pint-sized champion. Or Mickey Finn in his matching trousers and long grey cloak, literally running on and jumping upon his congas. I just know that you'll thrill to it all when it appears on your colour televisions. But T. Rex's gigs are only 50 per cent. about Bolan posturing glamourously and teasing the front row of the audience with his outstretched feet ;or even Mickey Finn, who stomps around the stage with a torn tambourine during "Hot Love." They're only 50 per cent, indeed, about the music, which represents a return to rock and roll roots, to singles music, pithy, danceable and catchy, to where rock and roll is at, in fact. T. Rex are also about fans -girl fans, who scream their hot little lungs out at the front of the stage while they hold up photos of The Curly Haired Prince Charming, there to dance and romance them out front. The corridor outside T. Rex's dressing room was like a casualty ward on Saturday. Tony Secunda, their manager, reports that 33 girls fainted and one chick bust her collar- bone. Nobody died, but they could have done. A porky bouncer had to dive into the audience to pull up by her fingertips a young blonde who was sinking to the floor in the press of bodies. Marc, who was sitting cross-legged on the stage in the midst of his acoustic Spaceball Ricochet," was interrupted in mid- spate during stream-of-consciousness vocabulary, as the bouncer flung her over his shoulder and then fell back into the audience. The chick was out for more than half an hour. All the same, she was luckier than the girl who broke her shoulder. She was escorted to an ambulance, shaking helplessly, after a TV light fell from a balcony on to her. T. Rextasy has its dangers. Rolls Yes, as the little girls, faint and flushed, appeared and re- appeared in a continuous stream backstage as their hot faces were wiped with damp towels by a team of Starlight officials you had to agree that Marc Bolan is now a Big Star. He'll make it in America this year. Every- one is predicting it. No one will be surprised. And Steve Took was there to see it. Steve Peregrine Took, who used to be in a group called Tyrannosaurus Rex. Remember him? He was walking around, not speaking much. Nobody recognised him. He went back on the coach, with the rest of us press people and T. Rex entourage. It was just as the coach was leaving that we heard the girly screams from the stage door. The chicks were still waiting, two hours after the show had ended. Marc was running to the safety of his white Rolls Royce

Melody Maker, January 22, 1972 . NEW POP SINGLES BY CHRIS WELCH T. REX: "Telegram Sam" (T. Rex Wax Company). Like all T. Rex singles, by the third play you get it on. At first hearing, one tends to say: "Gosh chaps, Marc's newie sounds a bit of an oldie." But press the head- phones a little closer and one begins to convulse in a not all together unpleasant fashion. Boley piles on the guitar riff and the strings topple around him with rocking menace. According to Beep, Marc's famous representative, "Telegram Sam is all of us." And you can find a reference to Bob Dylan if your stylus is less like a rusty nail than mine. It's the first on their own label and now the big question-can the lads do it yet again? T. REX NUMBER ONE AGAIN STOP DO THE BOOGIE STOP START STOP RIGHT ON STOP.

Sweet's 1976 Bravo Comeback Feature Published in Germany on January 22, 1976, Bravo Magazine’s cover and feature “Sweet with New Action” captured The Sweet at a pivotal moment in their mid-’70s career. The cover showcased the band in full glam regalia, with the article highlighting their latest singles, live energy, and ongoing success following hits like “Fox on the Run” and “Action.” It tied into the broader pop culture buzz of the time, including Bravo’s famous Otto election and other celebrity coverage. Cover Text Excerpts No. 5 22 Jan. 1976 - DM 1.20 for home delivery plus delivery fee Photo-Love-Big Huge surprise among the athletes of the Otto election: A princess among the winners! Article Overview Publication Details Magazine: Bravo (Germany). Date: January 22, 1976. Format: Front cover This cover is a vibrant 1976 Sweet press moment — capturing the band’s continued glam-rock popularity in Europe during their peak Chinnichap era. Do you have this Bravo cover/feature in your archive? Ready for Sweet's new action? Share in the comments!

Bowie's Swishiest Outrage Return Published in the UK on January 22, 1972, Melody Maker’s cover and article “Oh! You Pretty Things” heralded David Bowie’s return to live performance after three years since “Space Oddity.” The cover described him as “rock's swishiest outrage,” a self-confessed lover of effeminate clothes, noting that critics in the US had hailed him as the new Bob Dylan. The feature highlighted the imminent chart success of his album Hunky Dory and the single “Changes” (recently Tony Blackburn's Record Of The Week). It announced his upcoming appearance at the Lanchester Festival on February 3 with his three-piece band, promising a “super-style” comeback. Article Text ( front page) DAVID BOWIE, rock's swishiest outrage: a self-confessed lover of effeminate clothes, Bowie, who has hardly performed in public since his "Space Oddity" hit of three years ago, is coming back in super-style. In the States critics have hailed him as the new Bob Dylan, and his tour de force album, Hunky Dory," looks set to enter the British charts. Changes," the single taken from it, was Tony Blackburn's Record Of The Week recently. David will be appearing, suitably spiffy and with his three-piece band, at the Lanchester Festival on February 3. Breathless for more? Turn to page 19. Legacy This cover article marks a pivotal early 1972 moment — Bowie’s full return to the spotlight just before Ziggy Stardust exploded. Do you have this Melody Maker cover/feature in your archive? Breathless for Bowie? Share in the comments!