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Bowie’s golden years in one glorious stack – from Space Oddity to Lodger! David Bowie’s Back Catalogue - One Man in His Time Plays Many Parts, a three-page advert in Melody Maker, December 16, 1978.

Original German and Translated English versions available: Welcome to his nightmare – Alice takes over Pop with blood, boas, and total terror! Alice Cooper’s Horror Cover & Five-Page Feature , published in Pop magazine on December 10, 1975. The five-page spread delves into his horror-inspired performances, detailing the development of his Welcome to My Nightmare  tour and his influence on theatrical rock during the mid 70’s ORIGINAL TEXT No. 12/75 10th Year, published bi-weekly DM 2.50 Fr. 2.50 55 20.- pop with PRESS Melody Maker 2 GIANT POSTERS Alice Cooper HORROR Special Edition Shock: Alice Cooper's Nightmare Circus Shock: Rock Horror in London Shock: Musicians on Satan's Trail Jürgen Marcus & Special Poster Self-Destruction TRANSLATED TEXT THIS IS THE NEW COOPER SHOW Welcome to my nightmares: Alice in his bizarre bed Alice Cooper is monsterizing again. His big comeback tour across the USA lasts three months. And he has spared neither expense nor effort to bring the greatest nightmare of all time to the stage: Poisonous green fog billows through the hall. Alice, in a red sleeveless bodysuit, rolls out of a bizarrely shaped bed whose struts are decorated with shrunken heads. Four dancers, horribly made up, whirl around him. They reappear again and again in a variety of disguises: as monsters that give Alice the nightmares. Frankenstein wanders through the scene, a bat, a snake, a witch doctor, a skeleton ballet. Four giant spiders drag Alice into their web, one spider transforms into a beautiful woman. The highlight is a 3.5-meter-tall Cyclops with a glowing eye in his forehead, who is finally beheaded and wanders around headless. But Alice survives If everything goes according to plan, Alice will come to you this year. To teach you how to be scared, too. Above: Each scene is a shock in itself: Four spiders attack Alice. Left and right: The Cyclops is tough. Alice has torn off its head. But the monster lives on THE FANTASTIC WORLD OF ALICE COOPER “I think my mother was a television set,” grins TV-obsessed Alice Cooper. But his father must know better, and he tells a completely different story. Alice was born on February 2, 1948 in Motor City Detroit, and was given the legal name Vincent Furnier. Father Furnier is an electronics engineer and part-time preacher, and how? Oh, right! Naturally, some of this strange combination of skills and talents were passed on to Alice's brilliant mind. In Phoenix, Arizona, he and his friends from the art academy were already building a school at the age of 16. They called themselves "The Spiders" and had their first hit in 1965. That was the starting signal for Alice Cooper's crazy career. After a brief interlude under the band name "Nazz," the five musicians, with their wildly aggressive show in the style of "Alice Cooper," even drove the hardened beatniks of Los Angeles into a frenzy. The scorching streets of the murderous metropolis provided the perfect breeding ground for their frenetic rock theater. Frank Zappa was aware of this. The ultimate freak and intellectual father of the Mothers of Invention produced the first two Cooper albums, "Pretties For, You" and "Easy Action". But then Alice Cooper really got going. In their new communal home, a stately villa near Greenwich (Connecticut), the Coopers got themselves in the mood. There, several record players were usually running simultaneously, one in each room. different television program, and | of course all the room doors were open. With his beloved Budweiser beer in hand, Alice could let himself be entertained by TV and stereo system day and night, and amidst this total chaos, he constantly hatched new stage mayhem. Every show is a flirtation with death. "Love It To Death" is the title of Alice Cooper's third LP, and under this motto the US band also embarked on their first large-scale tour. Alice Cooper brought a meter-long boa constrictor into concert halls and played the role of a snake charmer. Wearing ripped black tights and a skintight leotard, with dark circles under his eyes and wild hair, he raged across the stage. Like a man possessed. He brandished axes, long spears, and other murder weapons, slashed open the bodies of dolls, slurped blood, and was finally overpowered. With a face contorted in pain, he twitched out his (stage) life in an electric chair. Almost a year later, Alice appeared as a mentally ill killer and was hanged at the end of his performance. After the LP release <<Killer» Kill and the guillotine death hung in the spotlight, the horror king released the teenage slogan «School's Out» during the holiday season of 1972. Alice's new supershow was the highlight of the American festival summer. At one of his big open-air concerts, he had himself carried onto the stage in a sedan chair. A helicopter dropped thousands of women's panties over the heads of the crowd, and a neon sign lit up around the stadium-arena: Alice Cooper. With his spectacular show featuring street battles, executions and torture scenes, Cooper presents his fellow Americans with a gruesome reality. "A midnight crime drama on TV is hardly more exciting than the late news," is Alice's biting comment. "America is hell. On 42nd Street in New York, clockwork is ticking." Alice Cooper stopped at nothing. First, he died in the electric chair... ...then he was hanged People are normally disgusted by snakes. And Alice included a boa constrictor in his stage show Orange reality. Anything can happen there... Alice himself is a product of this environment. And somehow that fascinates him. <<You have to find your way in this world,' he says—and he knows where he's going! Behind the sinister showman hides a likeable guy with a lot of wit and intelligence. When he comes off the stage and has removed his makeup, he comes out of the Alice is an energetic joker with brilliant ideas. Even the surrealist painter Salvador Dalí revels in the Dada rocker's macabre distortions and dedicated his painting "Geopoliticus Child" to Cooper. Later, Dalí created a very special work of art: a replica of Alice Cooper's brain With his flashes of inspiration, Alice has always generated free publicity, and after his election-campaign-driven victory with his hit "Elect-ted," he brought a super-cast of stars into the studio to record his LP "Billion Dollar Babies": Marc Bolan, Donovan, Harry Nilsson, Mark Volman & Howard Kaylan, as well as Who drummer Keith Moon and former Traffic member Rick Grech. "You are my Billion Dollar Babies," Alice thanks his fans! The fans finance Alice Cooper's crazy life. So, after recording his album "Muscle Of Love" with Liza Minnelli, the terror hero took a break. with Finally, he had enough time for his longtime girlfriend, Cindy The pretty Cindy, sister of Cooper drummer Neil Smith, used to design the stage outfits for Alice and his friends. Now she's a highly paid model, and when she's with Alice, she pays her share out of her own pocket. "I think that's very sensible of her," grins Alice, "because my hobbies already cost me way too much!" When he's not lounging by the swimming pool (in front of the TV) at his new house in the Laurel Canyon near Los Angeles, Alice plays golf or baseball with his friends. He founded his own team with David Cassidy and former Monkee Mickey Dolenz - "The Hollywood Vampires." ...when that wasn't creepy and offensive enough, he beheaded a doll, sending blood spurting everywhere... Of course, the sportsman Cooper only really comes alive in the evening. In the nightclubs of Los Angeles, Alice is the superstar, and every other city is one big party for him "Wild ones among themselves" is the motto of many a great night in illustrious company: Alice consumes vast quantities of Budweiser beer, jokingly tells ghost stories, and not infrequently takes a girl home. But: "I'm only really nice with Cindy in bed!" Alice always has the right quip ready. He loves life and makes it his show. This is how Alice copes with the dream and reality of his "American way of life." Sometimes a nightmare for him too, to which he cordially invites listeners on his new LP, "Welcome To My Nightmare." Then he shocked again: As a pregnant woman with a penis symbol... "School's Out" was Alice's next, this time tame, battle cry. And the schoolgirls thanked him for it... For the LP "Billion Dollar Babies," Alice had himself photographed with his band, a "Cooper Baby," and a trillion dollars ...in Hamburg on the Reeperbahn with prostitutes... ...with spiders in bed... ...as well as with an ominously pregnant cyclops in his crazy nightmare show MUSICIANS IN SATAN'S TRACES Arthur Brown, the god of hell and fire, was one of the first to commercially exploit the Satanic trope. The highlight of some crazy Brown shows: The ultimate freak had himself crucified. As an old man and as a slimy, bubbling figure covered in disgusting pustules, Genesis singer Peter Gabriel terrifies concertgoers. His masks, however, serve to enhance the understanding of the sophisticated show. Monsters, magicians, murderers, and demons hold the world in suspense. Uri Geller and the makers of horror and disaster films are raking in the cash. Many musicians have long been "possessed" by occult ideas, and even Dracula and Frankenstein have now made their way into the rock scene Arthur Brown, "The God of Hellfire," rose from the underground to the international charts in 1968 with the hellish spectacle "Fire." Groups like Black Sabbath and Black Widow dedicated themselves to black magic, and Hawkwind invited listeners on apocalyptic space trips. Alice Cooper, the master of spinning visions of horror, ultimately celebrated his own execution on stage every night—each stage death a starting signal for another round on the horror carousel of a thousand imitators. You can read all about shock rock on the following pages. Like a bank robber with a ski mask over his head, Alex Harvey demonstrates the crime on the streets of big cities in his stage show. Not only fire, but also blood spits Kiss monster Gene Simmons during the group's brutal show Alice Cooper in a different light: As a simple vampire

Bowie storms Saturday Night Live – puppet bodies, giant suits, and pure art-rock chaos! David Bowie’s Saturday Night Live appearance on December 15, 1979 – one of the most bizarre and brilliant TV moments of his career. Backed by Klaus Nomi and Joey Arias in avant-garde drag, Bowie performed three tracks from Lodger: “The Man Who Sold the World” (in a giant cardboard suit) “TVC 15” (carried like a puppet) “Boys Keep Swinging” (with a puppet body and a cheeky finale) The surreal visuals – designed by Bowie himself – left America stunned and cemented his reputation as rock’s ultimate innovator.Bowie is in the building! David Bowie appeared on Saturday Night Live from New York City NBC Studios, New York City, New York, USA, December 15, 1979, performing "The Man Who Sold the World," "TVC 15," and "Boys Keep Swinging" with a specially prepared backing group, including Jimmy Destri (keyboards) and Klaus Nomi and Joey Arias (backing vocals). Studio 8H at 30 Rockefeller Plaza was buzzing with excitement as SNL regulars Jane Curtin and Laraine Newman ran around backstage squealing, "Bowie is in the building!" After a brief introduction from Martin Sheen, Klaus Nomi and Joey Arias carried Bowie - encased in his solid body costume - to the front of the stage for 'The Man Who Sold The World'. Bowie then donned a blue Natasha Korniloff dress for 'TVC 15'. He described the idea as "a pipe-smoking Chinese airline stewardess, dragging a huge fake pink poodle on a leash.

"You remember Trevor and Woody, don't you.. "And the rumour spread that I was ageing fast" David Bowie "Width Of A Circle." NO, NOT that fast, sweetheart. Why, a Philadelphia cop wouldn't even believe that you were over twenty-one. Let's begin, appropriately enough, in the middle. Bowie and his entourage (played by Mike Garson, Ava Cherry, Jeffrey Mac-Cormack A.K.A. War-ren Peace, two body-guards and assorted guides) were sitting in this Philly club called the Artemis, previewing Daring Dave's new_al-bum (see news pages for the squalid details) when, whammo!, at 3 a.m. the Philly Phuzz schlepped in in search of under-age drinkers and other vicious criminals. A bunch of kids actually had the temerity to be in possession of false identity papers! Imagine that! So Bowie and his gang attempted to exit by squeezing through the embattled throng. Ava Cherry (who's a NME's lensman-on-the-loose JOE STEVENS was there. This is his report. bright, mature 22) was in the lead and got re-buffed by a police captain who took one look at her and growled, "If ya ain't got no proof of yore age, siddown, miss!" Ms Cherry turned away in disbelief, and Bowie pushed forward to meet with similar treatment. "You don't believe that I'm not at least 21 years of age? Incredible! That's quite flat-tering, actually. Why, every-one knows that I'm at least 52." After a few minutes of huddled discussion among themselves, the cops agreed to let the Bowie party go after all, leaving us to ponder their motives. The kids who were unable to produce the required identification were prob- ably herded to the station to await bail from their parents, and probably a hiding after-wards. Throughout it all, Bowie signed autographs and chat-ted cheerfully with the kids. One young thing who was detained for lack of proof of age, offered David her body. "When I get out of jail, David," she breathed, "I want to sleep with you." Once all that was over with, the party split back to the hotel by limo and ordered some breakfast. Just in case you didn't know, breakfast (bacon, eggs, etc.) for 15 people at the Barclay Hotel will set you back no less than $375. Image, wise, the fag-tag on Bowie seems to be on the downswing, and winning "worst-dressed woman" awards seems to be a thing of the past. The man who once said "I'm gay and I've always been gay" appears to have abando-ned the limp wrist set. His ex-spokesperson, Cherry Vanilla, lays it down this way: 'David knows how to turn anyone on. He's hot all the time, but he never sleeps with guys. I've seen him kiss guys on the mouth he knows how to do it to them, that's for sure - but he never sleeps with them. Never." Goodnight, ladies and gentlemen, and all the ships at sea. Your sons are safe from Beckenham pop stars, but Lawdy! - watch out for your daughters!

T.Rex's performance of "Solid Gold Easy Action" on BBC 1's "Top of the Pops" was broadcast for a second time on December 14, 1972.

Essex storms the front page – the echoey heart-throb rules the glam winter! Music Star Magazine, Cover December 14, 1974.

A Posthumous Bolan Psych Gem Marc Bolan’s "You Scare Me to Death"  backed with "The Perfumed Garden of Gulliver Smith" , was released as a 7-inch vinyl single in the UK by Cherry Red (catalog number CHERRY 29) on September 11, 1981. (Initial copies with free flexi disc) Released posthumously by Cherry Red Records featuring two tracks by Marc Bolan. The single, cataloged as CHERRY 29, includes a bonus flexi-disc in some editions and represents a unique chapter in Bolan’s legacy, as it comprises early demo recordings from 1966 with later-added instrumentation. Track Details A-Side: "You Scare Me To Death" Origin: Originally titled "Horrible Breath," this track was written by Marc Bolan in 1966 as a proposed television jingle for Amplex breath freshener tablets. It was not used for that purpose and remained unreleased until this single. Recording: The vocals and acoustic guitar were recorded in 1966, likely during Bolan’s early solo period before forming Tyrannosaurus Rex. In 1981, producer Simon Napier-Bell added backing instrumentals, including electric guitars (Bernie Holland), bass (Brian Odgers), drums (Graham Jarvis), piano (Graham Todd), and backing vocals (Dyan Birch, Frank Collins, Paddy McHugh), to give it a more polished, glam-rock sound reminiscent of Bolan’s T. Rex era. Chart Performance: The single reached No. 51 on the UK Singles Chart, a modest success for a posthumous release. The album of the same name, You Scare Me To Death, peaked at No. 88 on the UK Albums Chart. B-Side: "The Perfumed Garden Of Gulliver Smith "Origin: Also recorded in 1966, this track is a psychedelic folk piece from Bolan’s pre-T. Rex days, when he was experimenting with acoustic and poetic songwriting. It was later included on the album Love And Death (1986, Cherry Red) and other compilations. Some editions of the single (cataloged as P CHERRY P29) included a 7" single-sided flexi-disc manufactured by Lyntone London, featuring “Recorded Quotes From The Book (You Scare Me To Death).” This contained Marc Bolan speaking and reading quotes from his 1969 poetry book The Warlock of Love. Release Details Label: Cherry Red Records Ltd. Catalog Number: CHERRY 29 (standard 7" single); P CHERRY P29 (with flexi-disc) Release Date: September 11, 1981 Format: 7" vinyl, 45 RPM; some copies include a laminated card picture sleeve. Matrix/Runout:Side A: (SNA Symbol) TOWN HOUSE CHERRY.-29. A1 Side B: (SNA Symbol) TOWN HOUSE CHERRY. 29 B1 Production: Producer and Arranger: Simon Napier-Bell, who managed Bolan during his early career with John’s Children and later oversaw these posthumous releases. Engineers: Peter Hughes, Steve Prestage, Dave Siddle. Mixing: Steve Prestage. Artwork: Designed by James Wolf for Empyre Design. Other Formats: Vinyl label of Marc Bolan's "You Scare Me to Death," released in the UK by Cherry Red Records, catalogue number F CHERRY 29 / LYN 10086. The tracks appeared on the You Scare Me To Death album (1981) and Love And Death (1986, Cherry Red), with the latter released on CD and cassette in 1991 (UK) and 1992 (US). A 5-track CD single (CD Cherry 29) was also released, including “You Scare Me To Death,” “Cat Black,” “Hippy Gumbo,” and others. In 1966, Bolan was a 19-year-old aspiring musician, pre-T. Rex, experimenting with acoustic, psychedelic folk. These demos were recorded before his brief stint with John’s Children and the formation of Tyrannosaurus Rex with Steve Peregrin Took. Tracks like “You Scare Me To Death” and “The Perfumed Garden Of Gulliver Smith” reflect his early influences, including Bob Dylan and the British folk scene, mixed with his unique, poetic mysticism. Napier-Bell, who managed Bolan during his John’s Children days, played a key role in these releases. His decision to overdub the 1966 demos with glam-style instrumentation aimed to align them with T. Rex’s commercial sound, though some purists criticized this as inauthentic to Bolan’s original vision. Some of these 1966 recordings were previously released in their original acoustic form on The Beginning of Doves (1974). The 1981 single and album You Scare Me To Death repurposed these tracks for a new audience, while Love And Death (1986) further expanded the collection. below text taken from Cherry Red's press release MARC BOLAN NEW SINGLE, ALBUM AND BIOGRAPHY There was never anyone more sure of himself or directly to the point than Marc Bolan. In 1966 he got hold of my home number and called me up. "I'm a singer and I'm going to be the biggest British rockstar ever so I need a good manager to make all the arrangements." I told him to send a tape to the office but he said he just happened to be near where I lived, could he drop it in? Ten minutes later he rang the bell and walked through the door with a guitar round his neck. He said, "To tell the truth I don't have a tape but I could sing for you right now." He was dressed in Dickensian street-urchin clothes, about five-foot-two and a mop of black curly hair, and unlike most mall people he was delighted with his side. He played down to it. To further diminish himself he chose the biggest armchair and sat in it cross-legged. He put a cappo on the neck of his guitar and said, "I don't play guitar too well but the songs are fantastic. You're going to love them." He wasn't boasting or being immodest. To him the songs really were amusing and exciting. The fact that he'd found them inside himself rather than lying around lost in the street was no reason to lessen the praise he gave them. He didn't think of them as specifically his. He just happened to have come across them and he wanted to share them with everyone. But he never did. Because, one way or another, although I did become his manager and recorded all those early songs just as he'd played them to me, they never got properly finished, and they spent the next fifteen years in a cellar full of mildewing tapes. Then, ten weeks ago I suddenly decided to make the album with Maro that I'd always wanted to make, so I searched out the tape of those original songs and went off to the recording studios. I tried to think myself into exactly the creative state of mind that Maro would be in if he was still alive today. He'd be contemporary. He'd be a perfectionist but he'd still want that rough edge of vitality in everything. He'd know recording technique backwards and would want to make use of it, but not to the detriment of natural atmosphere and spontaneity. During the time I was making this new album I listened a lot to his other albums, and by the time I'd finished there was so much Bolan swirling around my head that I decided I should finish off the project by coupling the record with a book. So I got together with music-business journalist Chris Welch and together we are producing a definitive biography. Not one of those quickly knocked-out eulogies of top-ten stars. But a properly researched story of Marc's life, both private and public, and an appraisal of his importance in the history of popular music. SIMON NAPIER-BELL, August 1981 The single "You Soare Me To Death" is now released on Cherry Red Records (Cherry 29) and the first 20,000 come with a limited edition flexi-disc with Marc talking about famous people. The album and book follow together as a package in October.

Genesis go full prog-glam freakout – Circus dives deep into the fox-mask madness! Genesis’ From Obscurity To Obscurity, a four-page feature in Circus Magazine, December 1, 1974.

Germany crowns its glam gods – Sweet, Slade, Deep Purple, T.Rex battle for the giant poster throne! Bravo magazine cover (No. 51, December 13, 1972) – massive 54×85 cm Neil Diamond poster, plus Sweet, Slade, Deep Purple, T.Rex, and the ultimate fan vote: who’s your 1972 king of glam? More German teen-mag madness added weekly

German teens in meltdown – Bolan chops the curls and fans go into mourning! Marc Bolan’s Marc Has to Cut His Hair , a one-page article in Bravo magazine December 13, 1973. The famous photo showing Marc with short hair sparked outrage – letters poured in: “Does Marc Bolan fanaticize spaghetti?” “With his new hairstyle, Marc looks like a postman wearing a woman’s wig!” “My mother thought Marc’s new hairstyle was a wig. But my sister, who is a hairdresser, said that such ugly wigs are not made.” T.Rextasy in crisis – the curls were sacred! More Bolan hair-drama added weekly. The Marc Bolan photo published in BRAVO No. 43 greatly upset T. Rex fans. The picture showed that Marc had parted ways with his long, "wonderful" curls. Now, Marc Bolan, sporting a short, curly look, had to have his hair cut even shorter. In letters to BRAVO, most fans complained about their star's "haircut": "Marc has greatly impressed me with his new hairstyle. He looks like my dear grandmother!" Lore H., Aachen "Does Marc Bolan fanaticize spaghetti? His latest hairstyle, which I saw with horror in BRAVO, would suggest so!" Else P., Vienna "My mother thought Marc's new hairstyle was a wig. But my sister, who is a hairdresser, said that such ugly wigs are not made." Hertha G., Husum "I have a crush on Marc. And if he shaves his head, I'll stay loyal to him!" Birgit H., Bexbach "Is Marc Bolan a victim of his fans, who all wanted a lock of his hair?" Sepp F., Kempten "With his new hairstyle, which looks like it's been through a hurricane, Marc is dead to me." Elfriede R., Basel "That Marc's hairdresser of all people has to cut his hair with a lawnmower!" Otto F., Würzburg BRAVO 4 "When I saw Marc's hairstyle, I had a good laugh. If he was handsome before, it was definitely only because of his hair!" Ulrike B., Schloß Neuhaus "With his old hairstyle, Marc was cute. I'm angry at him and his new mop-top!" Dorothea L., Stuttgart "For me, Marc remains the greatest. I don't care about his hair." Elsie R., Brannenburg "To my dismay, my dear parents forced me to get my hair cut. I can't understand why Marc would do it voluntarily!" Michael U., Duisburg "With his new hairstyle, Marc Bolan looks like a postman going to a masquerade ball wearing a woman's wig!" Helga S., Cannstatt "Marc shouldn't let himself get worked up. Everyone should be free to wear their hair however they like!" Mary H., Ulm for "Marc has to become as handsome as he used to be, otherwise he'll see me as a fan!" wrote an indignant Gerda M. from Mainz to BRAVO. Marc has it easy becoming handsome. He just needs to let his hair grow!

A T. Rex 50th Anniversary Glam Vault Gem Released as a limited edition 7-inch picture disc in the UK on December 13, 2019, on Easy Action Records (catalogue: EA45044P), T. Rex’s “Jeepster (Alternative Version)” b/w “The Motivator (Alternative Version)” — both written by Marc Bolan — celebrated the 50th anniversary of Electric Warrior. A charity release with royalties to the Light of Love Foundation for the Marc Bolan School of Music & Film. A dazzling glam vault discovery. Single Overview Release Details Label: Easy Action Records. Format: Vinyl, 7", 45 RPM, Single, Limited Edition, Picture Disc. Barcode: 5060446072509 Full Track Listing Side A Jeepster (Alternative Version) – Written-By, Composer: Marc Bolan Side B The Motivator (Alternative Version) – Written-By, Composer: Marc Bolan Production and Context Written/Composed by Marc Bolan. Alternative versions from Electric Warrior era. Charity release for Light of Love Foundation. Chart Performance No chart entry (limited anniversary release). Do you have Jeepster picture disc in your collection? Ready to ride the jeep? 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 Whilst every effort is made to provide accurate information, mistakes do happen. Simply leave a comment and the post will be updated. Thank you.

A Siren Live Glam Torch Released as a 7-inch vinyl single in the UK on December 12, 1975, on Island Records (catalogue: WIP 6262), Roxy Music’s “Both Ends Burning” was the second single from Siren. The A-side (studio, edited to 3:58) was backed with “For Your Pleasure” recorded live at Wembley Empire Pool in October 1975. Produced by Chris Thomas & Roxy Music, pressed by CBS Aston Clinton with solid centre, knockout centre, promo, and rare blank B-label variants. Peaked at No. 25 on the Official Singles Chart for 7 weeks. A burning glam finale to the classic Roxy era. Single Overview Release Details Label: Island Records. Formats: Vinyl, 7", 45 RPM, Single (solid/knockout centre, promo, blank B-label). Full Track Listing Side A Both Ends Burning (3:58) – Written-By: Ferry – Producer: Chris Thomas, Roxy Music Side B For Your Pleasure (Live at Wembley Empire Pool, October 1975) (4:58) – Written-By: Ferry – Producer: Chris Thomas, Roxy Music Global Variants - 7", 45 RPM, Single – Island WIP 6262 – UK – 1975 (solid centre) - 7", 45 RPM, Single, Knockout Centre – Island WIP 6262 – UK – 1975 - 7", Single, Promo – Island WIP 6262 – UK – 1975 - 7", 45 RPM, Single, Blank B-Label – Island WIP 6262 – UK – 1975 - 7", 45 RPM, Single – Island – Ireland – 1975 - 7", 45 RPM, Single – Island – Australia/Germany/Japan/Netherlands – 1976 Production and Context Produced by Chris Thomas & Roxy Music. A-side from Siren (1975). B-side exclusive live version from the October 1975 Wembley shows. Official BBC Singles Chart Data Peak position: 25 7 weeks – December 27, 1975 to February 7, 1976 40 → 40 → 32 → 28 → 25 → 25 → 36 Legacy and Collectibility “Both Ends Burning” is Roxy Music’s live-burning glam classic. Original UK Island pressings (solid/knockout centre) fetch £10–£30 on eBay/Discogs, blank B-label £50+, promos £30–£70. This single is a must-have for Roxy collectors. Do you have Both Ends Burning in your vinyl stack? Still burning at both ends? 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 Whilst every effort is made to provide accurate information, mistakes do happen. Simply leave a comment and the post will be updated. Thank you.

A Disco Bowie Melody Maker Return Published in the UK on December 15, 1979, Melody Maker’s full-page advert promoted David Bowie’s “John, I’m Only Dancing (Again)” — the 1979 disco re-recording of his 1972 glam classic. The ad highlighted the single’s release on RCA Records, showcasing Bowie’s shift to dancefloor energy during the Lodger era. A bold statement of Bowie’s constant reinvention. Advert Overview Publication Details Magazine: Melody Maker (UK). Date: December 15, 1979. Format: Full-page single advert. Do you have this Melody Maker advert in your archive? Still only dancing? 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 Whilst every effort is made to provide accurate information, mistakes do happen. Simply leave a comment and the post will be updated. Thank you.

A Wizzard Glam-Rock Marathon Released as a 7-inch vinyl single in the UK on December 13, 1974, on Warner Bros. Records (catalogue: K 16497), Wizzard’s “Are You Ready To Rock” was Roy Wood’s high-energy glam-rock anthem. Backed with “Marathon Man,” this stomping classic — written by Roy Wood (A) and K. Smart/M. Tyler (B) — entered the Official Singles Chart on December 21, 1974, peaking at No. 8 on January 25, 1975, and charting for 10 weeks. Issued in solid centre first press, repress, styrene, push-out centre, test pressing, and mislabelled variants. Ready to rock indeed. Single Overview Release Details Label: Warner Bros. Records. Formats: Vinyl, 7", 45 RPM, Single (solid centre first press / repress / styrene / push-out centre / test pressing / mislabelled). Full Track Listing Side A Are You Ready To Rock – Written-By: R. Wood – Producer: Roy Wood Side B Marathon Man – Written-By: K. Smart, M. Tyler – Producer: Roy Wood UK Variants (all supplied) - 7", 45 RPM, Single, Solid centre, 1st Press – Warner Bros. K 16497 – UK – 1974 - 7", 45 RPM, Single, Repress – Warner Bros. K 16497 – UK – 1974 - 7", 45 RPM, Single, Styrene – Warner Bros. K 16497 – UK – 1974 - 7", 45 RPM, Single, Repress, Push Out Centre – Warner Bros. K 16497 – UK – 1974 - 7", 45 RPM, Single, Test Pressing, White Label – Warner Bros. K 16497 – UK – 1974 - 7", 45 RPM, Single, Repress, Solid Centre – Warner Bros. K 16497 – UK – 1974 - 7", 45 RPM, Single, Label Variant – Warner Bros. K 16497 – UK – 1974 - 7", 45 RPM, Single, Mislabelled – Warner Bros. K 16497 – UK – 1974 Production and Context Produced by Roy Wood. From the Introducing Eddy And The Falcons sessions (1974). Wizzard’s final Top 10 hit. Official Singles Chart Data Peak position: 8 10 weeks – December 21, 1974 to February 22, 1975 43 → 43 → 28 → 15 → 10 → 8 → 11 → 20 → 37 → 49 Chart Performance UK Official Singles Chart: 8 (10 weeks) – entry December 21, 1974 Do you have Are You Ready To Rock in your vinyl stack? Ready to rock? 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 Whilst every effort is made to provide accurate information, mistakes do happen. Simply leave a comment and the post will be updated. Thank you.

Bolan's Raw Glam Rarities T. Rex’s “Jeepster (Alternative Version)” 7-inch vinyl single, was released in the UK on October 11, 2019, on Easy Action (catalogue: EA45044). Backed with “The Motivator (Alternative Version),” this limited-edition pressing featured rare alternate takes from Marc Bolan’s 1971 sessions, celebrating T. Rex’s glam rock zenith. Recorded in New York and Los Angeles, the A-side’s raw energy and the B-side’s funky groove offered fans a glimpse into Bolan’s creative process. With 11 owners and 3 wants in the community, it’s a coveted item for T. Rex collectors. Single Overview A-Side: “Jeepster (Alternative Version, Recorded in New York, April 1971)” (4:20)Written by Marc Bolan. An alternate take of the Electric Warrior classic, this New York version captures Bolan’s wild vocals and the band’s loose, energetic jam, differing from the polished album cut with rawer guitars and a freer structure. B-Side: “The Motivator (Alternative Version, Recorded in Los Angeles, April 1971)” (3:45)Written by Marc Bolan. An early alternate of the Zinc Alloy and the Hidden Riders of Tomorrow track, this LA recording highlights Bolan’s funky bass and psychedelic edge, showcasing the session’s experimental spirit. Release Details: Label: Easy Action (UK pressing, 45 RPM). Format: 7-inch vinyl single, in a picture sleeve with Bolan’s 1971-era artwork. Notes: ℗ 2019 Easy Action. Limited edition, part of Easy Action’s T. Rex reissue series. Community stats: 11 own, 3 want. Valuation page available for collectors. Production and Context The A-side was recorded in April 1971 at New York’s Electric Lady Studios, during the Electric Warrior sessions, with Bolan (vocals, guitar), Mickey Finn (percussion), Steve Currie (bass), and Bill Legend (drums). The B-side came from Los Angeles sessions for Zinc Alloy, featuring Bolan’s evolving sound with funk and soul influences. Produced by Tony Visconti, these alternates highlight Bolan’s improvisational genius amid T. Rex’s rise, post-Electric Warrior and pre-Slider. Released in 2019, the single tied into Bolan’s 50th anniversary celebrations, appealing to fans of his glam peak. Singles Released and Chart Performance This 2019 reissue did not chart, as it was a limited collector’s item. The original “Jeepster” (1971, EMI MARC 5): UK: No. 2 (Official Singles Chart), charting for 13 weeks. Ireland: No. 1. Germany: No. 3. Norway: No. 4. Australia: No. 10. Netherlands: No. 26.No original single for “The Motivator,” but the Zinc Alloy album reached No. 12 UK. Album Chart Performance As a single, it did not chart, but the originals contributed to T. Rex’s ‘70s success, with Electric Warrior No. 1 UK, No. 18 US, No. 1 Australia, No. 7 Germany, No. 4 Netherlands, No. 1 Norway, No. 10 Canada, No. 3 Sweden, No. 5 New Zealand. Have you spun this T. Rex reissue? Which alternate track stands out? Share in the comments!

A Truck On Tyke Ride T.Rex’s “Truck On (Tyke)” was released as a 7-inch vinyl single with push-out and solid centre variants in the UK on November 16, 1973, on T.Rex (catalogue: MARC 6). Backed with “Sitting Here,” this glam-rock stomper and mellow B-side (both written by Marc Bolan and produced Tony Visconti), were issued as non-album tracks later added to Zinc Alloy reissues. December 12 1974 enters the U.K chart at number 38 It peaked at No. 12 on the UK Singles Chart for 11 weeks. Issued in push-out/solid centres, and promo in company bag. T.Rex's "Truck On (Tyke)" was released as a 7-inch vinyl single in the UK on November 16, 1973, featuring both push-out and solid center versions under the T.Rex label (catalogue: MARC 6). Accompanied by "Sitting Here," this glam-rock hit and its mellow B-side, both penned by Marc Bolan and produced by Tony Visconti, were initially non-album tracks later included in Zinc Alloy reissues. entering the BBC Singles Chart at number 38 On December 12, 1974, peaking at No. 12 for two weeks December 16 - 22 and December 23- 29 1973 with a chart run of 11 weeks. It was available in push-out and solid centers, with promotional copies in company sleeves. Single Overview A-Side: “Truck On (Tyke)” Written-By – Marc Bolan. Producer – Tony Visconti. B-Side: “Sitting Here” Written-By – Marc Bolan. Producer – Tony Visconti. Release Details: Label: T.Rex (UK pressing, 45 RPM). Record Company – EMI Records Ltd. Phonographic Copyright ℗ – Wizard Artists Ltd. Published By – Wizard Artists (Bahamas) Ltd. UK Formats: Vinyl, 7" Single Push Out Center, “Made In Gt Britain” in outer rim text after “…copying of this record prohibited” (MARC 6) A: “Truck On (Tyke)” – Written-By – Marc Bolan – Producer – Tony Visconti B: “Sitting Here” – Written-By – Marc Bolan – Producer – Tony Visconti Vinyl, 7" Single Push Out Center, “Made in Gt Britain” at bottom under “T Rex” (MARC 6) A: “Truck On (Tyke)” – Written-By – Marc Bolan – Producer – Tony Visconti B: “Sitting Here” – Written-By – Marc Bolan – Producer – Tony Visconti Vinyl, 7" Single, Promo Demonstration Record Not For Sale, in company bag (MARC 6) A: “Truck On (Tyke)” – Written-By – Marc Bolan – Producer – Tony Visconti B: “Sitting Here” – Written-By – Marc Bolan – Producer – Tony Visconti Release date on labels: 16.11.73. Made in Gt. Britain. ‘The Grammphon Co Ltd’ in rimtext. ℗ 1973. UK (T.Rex MARC 6) Released November 16, 1973. 7-inch (push-out/solid/promo). Country Variations: UK (T.Rex MARC 6) Released November 16, 1973. 7-inch (push-out/solid/promo). Australia (T.Rex 1973) Austria (Ariola 1973) Belgium (T.Rex 1973) Denmark (T.Rex 1973) Finland (T.Rex 1973) France (CBS 1973) Germany (Ariola 1973) Ireland (T.Rex 1973) Italy (T.Rex 1973) New Zealand (T.Rex 1973) Singapore (T.Rex 1973) South Africa (T.Rex 1973) Spain (Ariola 1973) Sweden (T.Rex 1973) Yugoslavia (T.Rex 1973) Japan (T.Rex 1974) UK (Edsel 2015) UK (Demon 2023) Production and Context Written/produced by Marc Bolan & Tony Visconti. Neither track on original T.Rex studio album; both added as bonus on Zinc Alloy and the Hidden Riders of Tomorrow re-releases. A-side a high-energy glam anthem, B-side a laid-back groove. Released via EMI’s T.Rex imprint. Chart Performance: UK: No. 12 (Official Singles Chart), charting for 11 weeks. Entry Date: November 24, 1973. Peak: No. 12 (December 22 & 29, 1973). Weeks on Chart: 11 (Nov 24, 1973 – Feb 2, 1974). Chart Run: No. 38 (Nov 24), No. 20 (Dec 1), No. 13 (Dec 8), No. 14 (Dec 15), No. 12 (Dec 22), No. 12 (Dec 29), No. 15 (Jan 5), No. 18 (Jan 12), No. 22 (Jan 19), No. 32 (Jan 26), No. 48 (Feb 2). Legacy and Collectibility “Truck On (Tyke)” is a glam-rock engine rev, “Sitting Here” a chilled cruiser. Original UK 7-inch push-out vinyls fetch £5–£15 on eBay/Discogs, solid centre (£8–£20), promos (£25–£50). Verify catalogue MARC 6 and rimtext variations. Streams on Spotify via Bolan compilations keep the tyres spinning. This non-album gem is a must-have for T.Rex fans and ‘70s glam collectors. Have you hitched a ride on this T.Rex truck? Does Sitting Here still feel like a lazy afternoon? 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.

A NME HiFly 2 T. Rex Triumph Published in the UK on December 12, 1970, New Musical Express’s album review “Acceptance at Last for T. Rex” celebrated T. Rex’s T. Rex (HiFly 2) — their first album as a duo after dropping “Tyrannosaurus” and adding Mickey Finn. The review hailed Marc Bolan’s shift from underground folk to electric glam, calling it “the acceptance he’s been waiting for.” A landmark NME moment for the birth of T. Rex. Review Overview Publication Details Magazine: New Musical Express (UK). Date: December 12, 1970. Format: One-page album review. ACCEPTANCE AT LAST FOR T. REX review by Nick Logan T. REX (Fly stereo HIFLY 2 42s 6d) I DON'T know how much it is down to the Great British Public moving to meet Marc Bolan, or Marc Bolan moving to meet the Great British Public, but one thing "Ride A White Swan" and the new T. Rex album prove is that they have definitely met. T. Rex the group, it should be said, is now a commercial proposition; "T. Rex" the album the finest work the duo has presented to date. With our Marc pulling no punches on electric guitar and pulling out surprises in the arranging department, it's an immensely enjoyable album that sits firmly on the road the duo have pursued since those past, unwanted days. Electricity has had a dual effect of strengthening the rhythmic and melodic qualities of Bolan's com-positions and after five albums it must be a source of satisfaction to him to be able to pull out such good songs. colour Then again, his guitar playing, delicate little riffs, edgy bursts and descriptive fragments, around the melodies perfectly in a style that owes little to anyone other than Marc Bolan. On Jewel, against Micky Finn's pounding drums, there's even a dash of feedback stirring down there in the clearing. This is one of many strong tracks which could have made singles. The orchestrations are part of the surprises and while I was in two minds as to their effectiveness in Diamond Meadows, the use of strings to sweeten the really dirty riff in Beltane Walk works splendidly. The latter track is an album standout. Its riff borrowed from Jimmy McCracklin's The Walk, I kept getting bizarre visions of Bugs Bunny doing a camp gangster routine to its absurd swing. The Summertime Blues T. Rex get a look in too. Is it Love, Marc doing his Eddie Cochran count in, and One Inch Rock, one of the best of the duo's earlier singles and redone here to take into account their musical changes, are pure rock and roll. The last almost has a sha-la-la chorus, except that it's more shoo-ti-too-ti-t-i-to. All-acoustic numbers are now part of the group's past, but the load is lighter in The Visit and Suneye, both good melodies, while pixiephone, producer Tony Viscon-ti's recorder and wah wah pedal get in on the act in Root Of Star and The Time Of Love Is Now. So do Mothers Of Invention vocalists Howard Kaylan and Mark Voorman in Seagull Woman. Apart from the two fragments of The Children Of Rarn, which Marc intends to develop on a future album, the set closes with The Wizard, the song which was Marc's first single as a solo performer back in 1965. The album version is a longish one that breaks out midway through into eight minutes of sniffle beat, toe-bopping improvisation. Performed as an acoustic high-light of their act for the past two years it has now been dropped, and was included on the album as a kind of curtain closer to that part of T. Rex's development. Marc's own comment is that playing it acoustically would no longer be satisfying. "I would want bass on it now." Of the album as a whole, he comments: "In the same way as 'White Swan' was the most direct single, so this is the most direct album. It communicates. I can feel incredibly satisfied and detached from it. Do you have this NME review in your archive? Did T. Rex ride the white swan into your heart? Share in the comments!

T.Rex go electric – the bassman who made the boogie thunder arrives! Melody Maker, December 12, 1970.

Bolan & Finn blow minds on Top of the Pops – the night glam whispered its first spell! cover and one-page feature in Music Now, December 12, 1970. More early T.Rex TV magic added weekly. Marc: 'TOTP was so surreal ...it was like a Fellini film' "The last "Top of the Pops' we did was so surreal." "There were people like Gerry Munroe on-we were out of it. It was like a Fellini film." Marc Bolan discussing his departure into world best-selling singles. Although Underground snobs could be amazed by the success of "Ride A White Swan", it is now clear that T. Rex are no longer playing to the select few. They now have a big audience. A new album, released "T. Rex" this Friday (Dec.11.) and on live gigs Marc and Micky will be joined by bassist Steve Currie. It is a busy time for the band. There was much to talk about when met Marc last week. Marc: "We now use stereo equipment at the gigs. We forget that average kid in the street has never heard good stereo When you see their faces, when they hear our stereo sound its really a turn on. It helps the atmosphere on gigs and can be used to good effect on guitar things. Get the sound zooming around We'll be using it all the time. I think we are the only band about with stereo equipment on the road. We've continuously improved our equipment as we have earned more money "We first tried using a bass player in Oxford. Tony Visconti, who produces our records, played with us and it was great. I just had to get permanent bass right away. That's how Steve came to join. "I was apprehensive about the success of the single, because I thought that people might think we had sold out and we would be playing to empty halls. But we now play to a new generation of people who are listening for the first time. It's nice to see the immediate the acceptance...

Bolan brings the bop to Wiltshire – one night only! concert advert in Melody Maker, December 12, 1970.

The complete collected official studio releases by Marc Bolan's era-defining band Includes standalone singles With album artwork and complete lyrics plus content image Demon Records are delighted to announce a new CD set celebrating the studio albums released by Marc Bolan under the ‘T. Rex’ name. T.Rex: The Studio Albums 1970 -1977 (8CD) Release Date: December 12, 2025 Having recorded as Tyrannosaurus Rex since the mid-1960s, frontman, lyricist, poet and guitarist Marc Bolan entered the new decade with a new sound, a new band and a new, foreshortened name – ‘T. Rex’. In the process, he became Britain’s first new superstar of the seventies, embarking upon a breathtaking run of hit singles and studio albums that demonstrated his restless muse and showcased constant genre-defying creativity. 1970’s ‘T. Rex’ came in the wake of the chart success of ‘Ride A White Swan’(included as an extra track) and formed a sonic bridge between the Tyrannosaurus Rex sound and a new electric glam that would bring him superstardom. The follow up, 1971’s all-time classic ‘Electric Warrior’ followed, a classics-packed collection of songs that included ‘Life’s A Gas’, ‘Jeepster’, ‘Get It On’ and ‘Cosmic Dancer’. Also included in this set is the 1971 standalone No. 1 ‘Hot Love’. 1972’s ‘The Slider’ was released at the peak of T. Rex mania (“T.Rexstasy”!) and delivered two UK No. 1 singles in the form of ‘Telegram Sam’ and ‘Metal Guru’, while 1973’s ‘Tanx’ pushed all the glam faders into the red on one of the most exciting rock albums of the decade. As extra tracks on the set’s ‘Tanx’ disc are the megahits ‘20thCentury Boy’, ‘Children Of The Revolution’ and ‘Solid Gold, Easy Action’. 1974’s ‘Zinc Alloy’ saw Bolan’s interest on the move, into a frenetic, more electric-soul glam sound with the introduction of R&B influences including funky keyboards and the gospel-sounding ‘Cosmic Choir’. Extra tracks here are ‘The Groover’ and‘Truck On (Tyke)’. Moving on again, 1975’s ‘Bolan’s Zip Gun’caught the prevailing zeitgeist, channelling Bolan’s sound at times with a proto=Punk back-to-basics approach. 1976’s gorgeous ‘Futuristic Dragon’ was a late T. Rex classic, a mature and confident collection of timeless hooks and effortless melodies including the hit single ‘New York City’ – also included are the standalone singles ‘London Boys’ and‘Laser Love’. Finally, on further chart singles like ‘I Love To Boogie’ and ‘Light Of Love’ the last studio album before Bolan’s untimely death, 1977’s ‘Dandy In The Underworld’ still stands as a reminder of a huge talent the music world lost way too soon – also includes Marc’s last single ‘Celebrate Summer’.

Ziggy Stardust: The Motion Picture is a live album by David Bowie, released on October 24, 1983 in conjunction with the film of the same name. The music was recorded during the Ziggy Stardust Tour at the Hammersmith Odeon in London on 3 July 1973, although the album was not issued by RCA Records until 1983. Prior to that, it had existed in bootleg form, notably His Masters Voice – Bowie and the Spiders From Mars' Last Stand. The album documents the final show of the Ziggy Stardust tour and the last live-in-concert performance by Bowie as his Ziggy Stardust/Aladdin Sane persona/alter-ego (although it was not the final performance as Ziggy Stardust, which was three months later for the recording of the 1980 Floor Show). Before the final song, Bowie announced, "Of all the shows on this tour, this particular show will remain with us the longest, because not only is it the last show of the tour, but it's the last show that we'll ever do. Thank you." Many in the audience believed that Bowie himself was retiring. Production and release D. A. Pennebaker filmed the concert and RCA recorded it with the intention of releasing a live album. However, the project was shelved for several reasons, rumored to include Bowie's desire to leave Ziggy behind, and the poor quality of the recordings. Reasoning that RCA would most likely issue the material sooner or later regardless, Bowie and producer Tony Visconti mixed the recordings in 1981. This mix has been heavily criticized, although Visconti describes it as "more of a salvage job than an artistic endeavor" considering the state of the source material. The album was eventually released in October 1983 as a double LP soundtrack to Pennebaker's documentary. Partly due to the limitations of the LP record format, the release omitted, shortened, or reordered several items from the original tapes. "White Light/White Heat" was issued as a single in November. Rereleases Ziggy Stardust: The Motion Picture has been released on CD three times; the first time on 7 August 1992 by Rykodisc. In April 2003, the '30th Anniversary 2CD Set' was released by EMI/Virgin with copy control. Remixed by Visconti, it was considered a significant improvement on the original. It contains additional material, including introductions, spoken passages, and the complete version of "The Width of a Circle"; "Changes" was also slotted into its correct position in the original concert's running order, following "Moonage Daydream". "The Jean Genie/Love Me Do" and "Round and Round" encore with Jeff Beck are still omitted. The continued absence of Beck's sequence has been variously attributed to an issue over royalties or to the guitarist feeling, in Tony Visconti's words, that "he didn't fit in the film". The two omissions David Bowie – Ziggy Stardust - The Motion Picture 1983 2LP Vinyl Label: RCA – PL 84862(2) Format: 2 x Vinyl, LP, Album Country: Europe A1 Hang On To Yourself A2 Ziggy Stardust A3 Watch That Man A4 Medley: Wild Eyed Boy From Freecloud / All The Young Dudes / Oh! You Pretty Things B1 Moonage Daydream B2 Space Oddity B3 My Death C1 Cracked Actor C2 Time C3 Width Of A Circle D1 Changes D2 Let's Spend The Night Together D3 Suffragette City D4 White Light / White Heat D5 Rock 'N' Roll Suicide Written-By – Bowie* (tracks: A1 to B2, C1 to D1, D3, D5) Issued in double-pocket gatefold sleeve. Some come with Hype sticker, some without. Recorded at the Hammersmith Odeon, London, on the 3rd of July 1973. Originally intended to have been released in February 1974 as a double LP ("Bowie-ing Out") but the plan was abandoned. Finally released in October 1983. Different arrangement of song titles on Side 1. All titles above the publishing box. See : David Bowie - Ziggy Stardust - The Motion Picture for version with some titles below. 1983 Cassette Album Label: RCA – PK 84862 Format: Cassette, Album, Black Country: UK A1 Hang On To Yourself A2 Ziggy Stardust A3 Watch That Man A4 Medley: Wild Eyed Boy From Freecloud / All The Young Dudes / Oh! You Pretty Things A5 Moonage Daydream A6 Space Oddity A7 My Death B1 Cracked Actor B2 Time B3 Width Of A Circle B4 Changes B5 Let's Spend The Night Together B6 Suffragette City B7 White Light / White Heat B8 Rock 'N' Roll Suicide 1983 Cassette Album Label: RCA – PK 84862 Format: 2 x Cassette, Album, Reissue Country: UK A1 Hang On To Yourself A2 Ziggy Stardust A3 Watch That Man A4 Medley: Wild Eyed Boy From Freecloud / All The Young Dudes / Oh! You Pretty Things A5 Moonage Daydream A6 Space Oddity A7 My Death B1 Cracked Actor B2 Time B3 Width Of A Circle B4 Changes 3:35 B5 Let's Spend The Night Together B6 Suffragette City B7 White Light / White Heat B8 Rock 'N' Roll Suicide 1992 CD Album Label: EMI – 0777 7 80411 2 2, EMI – CDEMD 1037 Format: CD, Album, Reissue, Remastered Country: Europe 1 Hang On To Yourself 2 Ziggy Stardust 3 Watch That Man 4 Wild Eyed Boy From Freecloud 5 All The Young Dudes / Oh! You Pretty Things 6 Moonage Daydream 7 Space Oddity 8 My Death 9 Cracked Actor 10 Time 11 Width Of A Circle 12 Changes 13 Let's Spend The Night Together 14 Suffragette City 15 White Light / White Heat 16 Rock 'N' Roll Suicide 1992 Cassette Album Label: EMI – 780 411-4 Format: Cassette, Album, Reissue, Remastered Country: UK A1 Hang On To Yourself A2 Ziggy Stardust A3 Watch That Man Medley: A4 Wild Eyed Boy From Freecloud A5.a All The Young Dudes A5.b Oh! You Pretty Things A6 Moonage Daydream A7 Space Oddity A8 My Death A9 Cracked Actor B1 Time B2 Width Of A Circle B3 Changes B4 Let's Spend The Night Together B5 Suffragette City B6 White Light / White Heat B7 Rock 'N' Roll Suicide 2003 CD Album (30th Anniversary 2CD Edition) Label: EMI – 7243 5 82209 2 6 Format: 2 x CD, Album, Enhanced, Reissue, Remastered, Slipcase Country: UK Part 1 1-1 Intro 1-2 Hang On To Yourself 1-3 Ziggy Stardust 1-4 Watch That Man 1-5 Wild Eyed Boy From Freecloud 1-6 All The Young Dudes 1-7 Oh ! You Pretty Things 1-8 Moonage Daydream 1-9 Changes 1-10 Space Oddity 1-11 My Death Part 2 2-1 Intro 2-2 Cracked Actor 2-3 Time 2-4 The Width Of A Circle 2-5 Let's Spend The Night Together 2-6 Suffragette City 2-7 White Light / White Heat 2-8 Farewell Speech 2-9 Rock 'N' Roll Suicide 2003 Vinyl x 2 LP 30th Anniversary 2LP Special Edition Label: EMI – 07243 5 41979 1 8 Format: 2 x Vinyl, LP, Album, Limited Edition, Reissue, Red, Unnumbered A1 Intro A2 Hang On To Yourself A3 Ziggy Stardust A4 Watch That Man A5 Wild Eyed Boy From Freecloud A6 All The Young Dudes A7 Oh! You Pretty Things B1 Moonage Daydream B2 Changes B3 Space Oddity B4 My Death C1 Intro C2 Cracked Actor C3 Time C4 The Width Of A Circle D1 Let's Spend The Night Together D2 Suffragette City D3 White Light / White Heat D4 Farewell Speech D5 Rock 'N' Roll Suicide 30th Anniversary 2LP Special Edition. Red vinyl. Poster. Unnumbered edition despite having the white box available on the front of the sleeve for the number. 2003 Vinyl x 2 LP Label: EMI – 07243 5 41979 1 8, EMI – 7243 5 41979 1 8, EMI – ZIGGYRIP 3773 30th Anniversary 2LP Special Edition Format: 2 x Vinyl, LP, Album, Limited Edition, Numbered, Reissue, Special Edition, Red Country: UK Released: Apr 1 2003 A1 Intro A2 Hang On To Yourself A3 Ziggy Stardust A4 Watch That Man A5 Wild Eyed Boy From Freecloud A6 All The Young Dudes A7 Oh! You Pretty Things B1 Moonage Daydream B2 Changes B3 Space Oddity B4 My Death C1 Intro C2 Cracked Actor C3 Time C4 The Width Of A Circle D1 Let's Spend The Night Together D2 Suffragette City D3 White Light/White Heat D4 Farewell Speech D5 Rock 'n' Roll Suicide Numbered limited edition issued on red vinyl in a glossy gatefold sleeve with glossy printed inner sleeves and a 90.8cm x 60.8cm 6-panel one-sided poster. An unnumbered edition exists as well. Track D3 appears correctly as "White Light/White Heat" on inner sleeve and with incorrect white spaces (White Light / White Heat) on the back sleeve. 2016 Vinyl x 2 LP Label: Parlophone – 0825646113699, Parlophone – DB69739, Parlophone – DBXL1 Format: 2 x Vinyl, LP, Album, Reissue Country: Worldwide Released: Jun 17 2016 Part 1 A1 Introduction A2 Hang On To Yourself A3 Ziggy Stardust A4 Watch That Man A5 Wild Eyed Boy From Freecloud A6 All The Young Dudes A7 Oh! You Pretty Things B1 Moonage Daydream B2 Changes B3 Space Oddity B4 My Death Part 2 C1 Intro C2 Cracked Actor C3 Time C4 The Width Of A Circle D1 Let's Spend The Night Together D2 Suffragette City D3 White Light / White Heat D4 Farewell Speech D5 Rock 'N' Roll Suicide The LPs are issued in white poly-lined inner sleeves and housed in a glossy gatefold jacket. The package also includes printed inner sleeves. 2015 is printed on centre labels and sleeve, but the LP wasn't released until June 2016. 2023 Vinyl x 2 LP Label: Parlophone – DBLP 377350, Parlophone – 5054197561153 Format: 2 x Vinyl, LP, Album, Limited Edition, Reissue, Remastered, Gold, 50th Anniversary Edition Country: Worldwide Released: Aug11 2023 A1 Introduction A2 Hang On To Yourself A3 Ziggy Stardust A4 Watch That Man A5 Wild Eyed Boy From Freecloud A6 All The Young Dudes A7 Oh! You Pretty Things A8 Moonage Daydream B1 Changes B2 Space Oddity B3 My Death B4 Cracked Actor B5 Time C1 The Width Of A Circle C2 Let's Spend The Night Together C3 Suffragette City D1 White Light/White Heat Medley D2a The Jean Genie D2b Love Me Do D2c The Jean Genie D3 Round And Round D4 Farewell Speech D5 Rock 'n' Roll Suicide / Finale Packaged in a trifold sleeve with printed inner sleeves. Runouts are etched. Additional marks from plating process at Optimal Media GmbH are mirrored. If purchased directly through Bowie’s official website davidbowie.com this came with a freebie postcard. Indie exclusive comes with a lithograph and a pack of box matches with album picture on box Label: Parlophone – DBX 377350, Parlophone – 5054197532306 Format: Blu-ray, Reissue, Stereo, Multichannel 2 x CD, Album, Reissue, Remastered, Stereo All Media, 50th Anniversary Edition Country: Released: 11 Aug 2023 Genre: Rock Style: Glam, Pop Rock 1-1 Introduction Part 1-2 Hang On To Yourself 1-3 Ziggy Stardust 1-4 Watch That Man 1-5 Wild Eyed Boy From Freecloud 1-6 All The Young Dudes 1-7 Oh! You Pretty Things 1-8 Moonage Daydream 1-9 Changes 1-10 Space Oddity 1-11 My Death 2-1 Introduction Part 2 2-2 Cracked Actor 2-3 Time 2-4 The Width Of A Circle 2-5 Let's Spend The Night Together 2-6 Suffragette City 2-7 White Light/White Heat 2-8 Medley: The Jean Genie / Love Me Do / The Jean Genie 2-9 Round And Round 2-10 Farewell Speech 2-12 Rock 'n' Roll Suicide / Finale 6 panel digisleeve with enclosed 20-page booklet. Part 1 Introduction incorporates Beethoven's 'Ninth Symphony'. Part 2 Introduction incorporates 'The William Tell Overture' composed by Rossini taken from the original motion picture soundtrack 'A Clockwork Orange'. 2023: 1 x Blu-ray 2x CD Album Label: Parlophone – DBX 377350, Parlophone – 5054197532306 Format: Blu-ray, Reissue, Stereo, Multichannel 2 x CD, Album, Reissue, Remastered, Stereo All Media, 50th Anniversary Edition Released: Aug 11, 2023 BD-1 Opening Credits / Introduction (Incorporating: Beethoven's Ninth Symphony) BD-2 Hang On To Yourself BD-3 Ziggy Stardust BD-4 Watch That Man BD-5 Wild Eyed Boy From Freecloud BD-6 All The Young Dudes BD-7 Oh! You Pretty Things BD-8 Moonage Daydream BD-9 Changes BD-10 Space Oddity BD-11 My Death BD-12 Cracked Actor BD-13 Time BD-14 The Width Of A Circle BD-15 Let's Spend The Night Together BD-16 Suffragette City BD-17 White Light / White Heat Medley: BD-18.1 The Jean Genie BD-18.2 Love Me Do BD-18.3 The Jean Genie BD-19 Round And Round BD-20 Farewell Speech BD-21 Rock 'n' Roll Suicide BD-22 Finale (Incorporating: Pomp And Circumstance) / End Credits CD1-1 Introduction Part 1 (Incorporating: Beethoven's Ninth Symphony) CD1-2 Hang On To Yourself CD1-3 Ziggy Stardust CD1-4 Watch That Man CD1-5 Wild Eyed Boy From Freecloud CD1-6 All The Young Dudes CD1-7 Oh! You Pretty Things CD1-8 Moonage Daydream CD1-9 Changes CD1-10 Space Oddity CD1-11 My Death 7:04CD2-1 Introduction Part 2 (Incorporating: The William Tell Overture) CD2-2 Cracked Actor CD2-3 Time CD2-4 The Width Of A Circle CD2-5 Let's Spend The Night Together CD2-6 Suffragette City CD2-7 White Light/White Heat Medley: CD2-8.1 The Jean Genie CD2-8.2 Love Me Do CD2-8.3 The Jean Genie CD2-9 Round And Round CD2-10 Farewell Speech CD2-11 Rock 'n' Roll Suicide / Finale (Incorporating: Pomp And Circumstance) 1983–1984 weekly chart performance for Ziggy Stardust: The Motion Picture Chart (1983–1984) Peak position Australian Albums (Kent Music Report) 67 Canada Top Albums/CDs (RPM) 46 New Zealand Albums (RMNZ) 39 Swedish Albums (Sverigetopplistan) 42 UK Albums Chart 17 US Billboard Pop Albums 89 2022–2023 weekly chart performance for Ziggy Stardust: The Motion Picture Chart (2022–2023) Peak position Austrian Albums (Ö3 Austria) 21 Belgian Albums (Ultratop Flanders) 42 Belgian Albums (Ultratop Wallonia) 8 Dutch Albums (Album Top 100) 14 Hungarian Physical Albums (MAHASZ) 8 Italian Albums (FIMI) 71 Japanese Albums (Oricon) 25 Japanese Hot Albums (Billboard Japan) 25 Portuguese Albums (AFP) 14 Scottish Albums (OCC) 3 Swiss Albums (Schweizer Hitparade) 34 UK Albums (OCC) 10 Personnel David Bowie – guitar, vocals, saxophone, harmonica Mick Ronson – lead guitar, vocals Trevor Bolder – bass Mick Woodmansey – drums Mike Garson – piano, Mellotron, organ Ken Fordham – alto, tenor, baritone saxophone John Hutchinson – rhythm guitar, backing vocals Brian Wilshaw – tenor saxophone, flute Geoffrey MacCormack – backing vocals, percussion Production David Bowie, Mike Moran – live recording production and mixing Ken Scott – recording engineer David Bowie, Tony Visconti, Bruce Tergeson – 2003 remixing

Bolan calls – Bournemouth Winter Gardens gets its first T.Rex invasion! advert for Bournemouth Winter Gardens, November 27, 1970, in Melody Maker, November 4, 1970.

Bolan on fame, fans, and the cosmic ride – “Better it’s happening to me than to someone else!” one-page feature in New Musical Express, December 11, 1971.

On December 11, 1970, T.Rex’s T. Rex was issued as an LP in the UK by Fly Records (catalog number FLY 1), representing the band's first album under their shortened name. When the album came out, "Ride A White Swan" was at number 6 on the charts, and the band was in the midst of a UK tour, though the song was not included on the album. While the album was attributed to T. Rex, the recordings and cover shot were completed during their tenure as Tyrannosaurus Rex. The duo consisted of singer/songwriter/guitarist Marc Bolan and percussionist Mickey Finn. Producer Tony Visconti contributed to bass and recorder on several tracks. Initially, Bolan contemplated naming the album 'The Wizard' or 'The Children of Rarn' before deciding on a self-titled release. The album built upon the duo's earlier work, A Beard of Stars, with a greater focus on electric rock and the inclusion of strings arranged by Visconti on multiple tracks. Songs such as "The Time of Love is Now", "Suneye", and "Root of Star" leaned more towards the folk style of Tyrannosaurus Rex, yet electric guitars and bass were fully integrated into tracks like "Jewel", "Childe", "Beltane Walk", "Diamond Meadows", "Is It Love", and "One Inch Rock", hinting at the direction of their next album. The lyrics, partly inspired by Tolkien, featured themes of wizards, Druids, and a "Liquid Poetess in a buckskin dress", a poetic style that journalist Tom Everett noted showed Bolan's fascination with mysticism and the English language's pure sounds. However, this album marked the last time such themes would be so prominent in Marc's work. "The Visit" narrates a UFO encounter, while "Diamond Meadows" and "Suneye" offer more traditional love songs, foreshadowing Bolan's future ballads. The album featured electric versions of two classic Tyrannosaurus Rex tracks. "The Wizard," Bolan's debut solo single from 1965, was one, and the other was "One Inch Rock," the band's second single, now electrified with an introduction of scat-singing by Bolan and Finn, a feature they had been adding to their live acoustic performances for some time. The rest of the album consisted of new compositions. Notably, "The Children Of Rarn" and its reprise bookended the UK release, marking a foray into symphonic rock—a genre Bolan had hoped to explore further in a full concept album, a project that remained unfinished, though a 16-minute demo suite was recorded in 1971. Additionally, the sessions yielded a cover of "Summertime Blues" for the B-side and the complex guitar instrumental "Deep Summer." The sleeve design was unconventional, necessitating a sideways glance to reveal the entire cover, or alternatively, turning the artwork sideways to extract the LP. The cover photo was captured that summer by Pete Sanders at his parents' residence in Selbridge. Marc and Mickey donned white pancake makeup, while Bolan gripped his electric guitar, embodying the new electric persona he sought to establish. The printed lyrics are prefaced with a dedication "To All Who Are And Will Be Forevermore." The US pressing of the LP concluded with "Ride a White Swan" rather than "The Children of Rarn (Reprise)". The album catapulted T. Rex to fame in the UK, following the unexpected success of the recent single "Ride a White Swan," which climbed to No. 2 on the UK Singles Chart, and preceded the No. 1 hit "Hot Love." According to the Official Charts Company's website, the album eventually reached a peak position of No. 7 and had multiple chart runs totaling 25 weeks. However, this peak occurred during the 1971 United Kingdom postal workers strike, when no album chart was published, leading the site to acknowledge the Melody Maker chart for February–April 1971. The Guinness Book of British Hit Albums, which did not account for the missing weeks, recorded the album's peak at No. 13. In 2004, A&M Records remastered and reissued the album, adding nine bonus tracks. A two-disc deluxe edition followed in 2014, released in Europe by A&M. The first disc featured the remastered album, non-LP tracks, and a BBC radio session, while the second disc was filled with an array of demos and studio outtakes. T. Rex Hi-Fly 2 Recorded at Trident Studios, London Marc Bolan - vocals, guitar, organ, bass Mickey Finn - vocals, bass, drums, percussion Howard Kaylan and Mark Volman - backing vocals Engineer: Roy Thomas Baker Producer: Tony Visconti 1. The Children Of Rarn (Short Organ version) 2. Jewel 3. The Visit 4. Childe 5. The Time Of Love Is Now 6. Diamond Meadows 7. Root Of Star 8. Beltane Walk 9. Is It Love? 10. One Inch Rock 11. Summer Deep 12. Seagull Woman 13. Sun Eye 14. The Wizard 15. The Children Of Rarn (Short Organ version) SOUTH AFRICAN SLEEVE SOUTH AFRICAN SLEEVE SOUTH AFRICAN SLEEVE SINGAPORE, MALAYSIA, HONG KONG SINGLE SLIP SLEEVE SINGAPORE, MALAYSIA, HONG KONG SINGLE SLIP SLEEVE

Faces’ A Nod’s as Good as a Wink... to a Blind Horse  was released in the UK by Warner Bros. Records (catalog number K 56006) on December 10, 1971, following its US release on November 23, 1971. The release was the third album from Faces, also their second release of 1971, gained widespread success, partly due to lead singer Rod Stewart's solo hit "Maggie May". It became their most successful album globally, reaching No. 6 in the US and No. 2 in the UK. The album features their largest US hit, "Stay with Me", which climbed to No. 6 in the UK and No. 17 in the US, and earned a gold certification from the RIAA in 1972' The album includes two original ballads and a rendition of Chuck Berry's "Memphis, Tennessee". Bassist Ronnie Lane, typically limited to backing vocals and rare lead vocals on earlier Faces albums, takes the lead on three of his compositions in this record (one of which he co-wrote with keyboardist Ian McLagan). Among these, "Debris", a nuanced reflection on father-son dynamics, was selected as the B-side for their successful single "Stay With Me". Additionally, Lane's "You're So Rude" was the B-side for the American version. The initial release of the album was accompanied by a large poster, which featured the album's lyrics, close-up shots of pills and pharmaceutical capsules, and polaroid pictures (seemingly taken while on tour) showing band and crew members partying with nude groupies in hotel rooms. Shortly after its release, the record company reissued the album without the poster, instantly making the original copies with the poster highly sought-after collectibles. The album was reissued on 28 August 2015 in a remastered and expanded edition, featuring two songs from an unreleased BBC session as bonus tracks. This vinyl reissue also replicated the poster that was included with the initial pressing of the vinyl release. Side one 1. "Miss Judy's Farm" Rod Stewart Ronnie Wood Rod Stewart 3:38 2. "You're So Rude" Ronnie Lane Ian McLagan Ronnie Lane 3:41 3. "Love Lives Here" Lane Stewart Wood Stewart 3:04 4. "Last Orders Please" Lane Lane 2:33 5. "Stay with Me" Stewart Wood Stewart 4:37 Side two 1. "Debris" Lane Lane (with Stewart on harmony vocal) 4:36 2. "Memphis" Chuck Berry Stewart 5:29 3. "Too Bad" Stewart Wood Stewart (with Lane, McLagan and Wood backing) 3:12 4. "That's All You Need" Stewart Wood Stewart 5:06 2015 reissue bonus tracks "Miss Judy's Farm" [BBC Session] (Stewart, Wood) "Stay With Me" [BBC Session] (Stewart, Wood)2015 reissue bonus tracks

Bowie swaps genders and blows minds – NME's Garden of Eden one-page video review in New Musical Express, December 10, 1983

Rod & the boys raid the vaults – First Step and Long Player back just in time for the Nod! First Step was released originally in the UK on March 21, 1970, with the labels printed as The First Step. In the US, it was released on the same date; however, the cover listed the band as Small Faces, and the labels once again read The First Step. Country: UK Catalogue: K 46053 Country: USA Catalogue: WS 1851 Long Player was originally released in March 1971 in the UK, with the group clearly named as Faces, not The Faces. The US release was published in a completely different sleeve than that in the UK. Country: UK Catalogue: WS 3011 Country: USA Catalogue: WS 1892

Parents beware – Alice is coming for your kids! cover and two-page feature in German Pop Magazine, December 1, 1974.

Here are the future picks one-page feature in Circus Magazine , December 1, 1974.

Record Mirror / BBC UK Top 50 Singles Chart A My Ding-A-Ling Xmas No. 1 Freeze Published in Record Mirror on December 9, 1972, this official Record Mirror / BBC Top 50 singles chart shows Chuck Berry – My Ding-A-Ling holding the No. 1 spot for the fourth consecutive week — the longest-running UK No. 1 of 1972. Slade’s “Gudbuy T’Jane sits at No. 3, and T. Rex’s “Solid Gold Easy Action” enters at No. 8. A frozen pre-Christmas chart classic. Chart Overview Publication Details Magazine: Record Mirror (UK). Date: December 9, 1972. Chart: Record Mirror / BBC Top 50 Singles (week ending December 9, 1972). Do you remember when Chuck blocked Christmas? Share your 1972 chart memories in the comments! Chuck Berry released "My Ding-A-Ling" in July 1972 as a single from his album The London Chuck Berry Sessions  on Chess Records. Originally a novelty song written and recorded by Dave Bartholomew in 1952, Berry’s live cover, recorded at the Locarno Ballroom in Coventry, England, in February 1972, turned it into a cheeky, double-entendre-laden hit. Backed by a British band including Onnie McIntyre and Nic Potter, and produced by Esmond Edwards, the track features Berry’s playful vocals and audience singalongs, capturing his charismatic stage presence. The single hit #1 on the US Billboard Hot 100 for two weeks and topped the UK Singles Chart for four weeks, becoming Berry’s only #1 hit in both markets. It sold over a million copies but faced controversy for its suggestive lyrics, with some radio stations banning it. Despite mixed critical reception for its novelty vibe, it marked a commercial comeback for the rock ‘n’ roll pioneer

David Cassidy cover Look In Magazine, December 9, 1972.

A Veronica Dave Hill Spotlight Published on December 9, 1972, Veronica Magazine’s cover and four-page feature “Slade In Conversation” spotlighted guitarist Dave Hill — the flamboyant “Silent Knight” of Slade. The article delved into Hill’s guitar wizardry, his stage persona, the band’s meteoric rise, and the craze for their glam-rock anthems. A deep dive into Slade at their 1972 peak. Feature Overview Publication Details Magazine: Veronica Magazine (UK). Date: December 9, 1972. Format: Cover + four-page feature. Do you have this Veronica cover in your archive? Did Dave's conversation rock you? Share in the comments! SLADE text: Thijs Wartenbergh photos: Adrie Noordstrand During the visit of the English band Slade to the Netherlands, our correspondent Thijs Wartenbergh spoke with lead guitarist Dave Hill. Bassist and violinist Jim Lea was also present, as was drummer Don Powell, who absently browsed through "Veronica 538" and spoke occasionally, but otherwise didn't participate in the conversation. Singer Noddy Holder appeared to be still asleep and joined them later. He sounded a bit hoarse, and when asked if he was straining his voice, Noddy replied: "Because of all those performances, it's bothering me more and more. So I'm now using a gargling solution." Then, in true English fashion, he orders a cup of tea. Skinheads Slade formed about six years ago in Wolverhampton. They initially called themselves Ambrose Slade, and only later simply Slade. Things didn't really start to take off for the guys until manager Chas Chandler (bassist in the Ani-mals and discoverer, producer, and manager of Jimi Hendrix) got involved with the group. Sla-de cut their hair short to fit in with the "skinhead" trend, which was quite popular in London at the time. As a result, Slade wasn't in high demand by venue owners because they feared the Skinheads who came to see Slade would cause trouble. Dave Hill says of that time: "We did have a bad image back then, but that was because of the press. They didn't write very well about us, even though the Skinheads in general were so captivated by our performance that they didn't even think about causing any more damage." After a single on Philips, their first album, "Play It Loud," was released on Polydor. This album didn't achieve very high sales figures, but Slade did gain a certain following with their wild live act. "Get Down and Get With It" became their first hit, after having been a popular song in the hall for some time. The requested song had been. This was quickly followed by "Because I love you," "Look who you are," "Mama weer all crazee now," and their current hit, "Goodbuy 'T Jane." What was the big turning point for Slade? Dave: "That was our performance at the Lincoln Festival. There were 50,000 people there, and the Faces and the Beach Boys were there too. Yet, we were more successful than those two established bands. We got a lot of press attention back then, pages and pages of it, even. And that was very important to us, because the audience accepted us, and they no longer saw Slade as just another hit band." How did that sound of stomping shoes and clapping hands on your records come about? Dave says: "It was a complete coincidence, and we didn't have to put in much effort, as people sometimes say. We always wore thick shoes and would stomp on the floor with them during our performances. We did that once in the studio during a recording with echoes, and it sounded just amazing. Later, we added the hand clapping." Jim Lea is the only one in the group who studied music, with his favorite instrument being the violin. Jim had played in an orchestra before, which isn't surprising considering he comes from a very musical family. Did that education help you? Did you ever think you'd end up in a band like Slade? Jim: "Honestly, no, but I once saw an ad in a music magazine looking for a bassist. And I think I've benefited from having studied music. Nice mashing Dave, your music is always very simple and direct. "Yes, but don't forget that the best music is also the simplest music. We simply make music we like. Our average audience is 15 or 16, and that's not an age for difficult music; you want to hear simple, hard music. For example, we don't play long solos in the hall. We're targeting audiences who haven't consciously experienced the Stones and Beatles era. Our audience doesn't like vague music, and neither do we, for that matter. They can identify with Slade and they can happily stomp and sing along to our music. That's great, what more could you want?" Is it difficult to write short songs? Dave: "That's certainly not easy at all. And if possible, it also has to be originally simple. You have to try to squeeze everything into three or four minutes, and that usually comes together in the studio. Noddy and Don usually write most of our songs. But the four of us finish something like that, and that often happens in the studio." Glitter-image Many bands currently have a very feminine image (at least in terms of appearance), with David Bowie, Edgar Winter, Lou Reed, and Alice Cooper as prime examples. Incidentally, the latter loves to paint his face, and other pop artists also do makeup. Alvin Lee of Ten Years After recently wondered what that had to do with music, and I'm happy to agree. The Sweet also has a knack for daubing his face (with a few stripes, of course) and also appears in skirts. Slade's Dave Hill sprinkles silver glitter in his hair before a performance and also glues glittery patterns on his face. Furthermore, satin is the main clothing material, and everything has to be exceptionally tight. And of course, the infamous shoes with insanely high heels. Slade is also known as a "rough" band, and Dave says: "That's a carryover from our Skinhead period, and it's not something that developed gradually with us; it was just there. The audience apparently liked that, and of course, we kept it that way." The parents of your fans will probably hate Slade's music and image. Dave: "That's a sign that we're good. Our music isn't meant for those parents either, but for the kids. (Dave keeps talking about the kids, meaning boys and girls aged 14 or 15. During the concert in Amsterdam, that category isn't prominent at all. Do you realize that Slade has a huge influence on a large part of the youth? "We do, but we're definitely not a bad influence on them. Bands generally do have control over the youth, but we just want the audience to have fun. Slade is releasing a new LP in December, and all the songs for that album are already finished. Dave: "Our first LP, 'Play It Loud,' gave us experience working in the studio. Now we've gotten the same "live feel" as the venue in the studio. And it's okay to have the occasional mistake, as long as the atmosphere comes across well. Our live LP may not have been that great, but we did show what it's like to put on a show. I think our new LP is an improvement musically. It has one song by Janis Joplin (singer Noddy Holder has a beautiful voice for singing Janis Joplin songs), and the rest are our own." Stage fright Do you or any of the others ever suffer from stage fright? Dave says: "No, we're bursting with confidence. We always play as if the room is ours. Even during the Lincoln Festival, which is a major gig." When we were playing in Wolverhampton, we weren't nervous. When we played in Wolverhampton recently, we were considered local heroes. My parents came to watch, and that was actually the only time I was a bit nervous. What do you owe your success to? Dave: "We've worked incredibly hard, and we certainly don't owe our success to luck. It wasn't unexpected either, because in the years we've been playing together, we've always believed in it. Otherwise, you might as well quit. In those five years, we've gotten to know each other well: both in the bad times and now, in the good times. As a unit, Slade is very strong, and I believe that if one of the guys were to leave the group, for whatever reason, it would be over for Slade. We'll never get the group back to where it is now." As we walk to Museumplein Jim says, "I think the Netherlands has two disadvantages. First, it's flat, and second, people keep their curtains open late at night. That would be very unusual for us. You know, when we performed here at Paradiso a few months ago, we went to the Concertgebouw at night and said to each other: it would be great if we could perform here sometime. And as you can see, we did it." 7

A Record Mirror Apple Films Boogie Blitz Published in the UK on December 9, 1972, Record Mirror’s front cover and half-page advert screamed Marc Bolan in full Born To Boogie glory — the Ringo Starr-directed T. Rex concert film shot at Wembley Empire Pool on March 18, 1972. The cover photo with the inside advert announcing the Apple Films premiere at Oscar One cinema, London. A full-throttle T. Rextasy moment. Advert Overview Publication Details Magazine: Record Mirror (UK). Date: December 9, 1972. Format: Front cover + half-page advert. BORN TO BOOGIE The sensational new film starring MARC BOLAN & T.REX with special guests RINGO STARR and ELTON JOHN Directed by RINGO STARR An Apple Film Premiere December 1972 Oscar One Cinema, London Do you have this Record Mirror cover in your archive? Ready to boogie with Marc & Ringo? Share in the comments!

four-pages in Veronica Magazine, December 9, 1972. ALICE COOPER HOT CONCERT He's been to Amsterdam and Rotterdam, and the cleaners at the Concertgebouw and Doelen, respectively, knew it. As expected, American idol Alice Cooper put on a show. The thousands who attended his concerts, organized by Paul Acket, will not easily forget what Alice Cooper did on stage. Weeks before he came to the Netherlands, the most bizarre rumors about Alice Cooper's act circulated in pop circles. Undeniably, Alice Cooper has the most repulsive and cruel stage act of the moment. If you attend the group's performances—because they're not really concerts—you'll be amazed. Alice Cooper is announced in complete darkness. The only light comes from flashlights of roadies hurrying across the stage. The movement of these lamps immediately creates an uneasy atmosphere. In an almost circus-like manner, Alice's press promoter announces the group: "Welcome to the show. We present from the United States, the legendary...ALICE COOPER." Applause fills the room; the members of the group can only be faintly discerned as they walk past the amplifier lights. Then suddenly, the lights go up, and there he stands, bathed in an ocean of golden-yellow light. Tight-fitting, slinky glitter pants, a leather straitjacket around his torso. A dozen silver bands rattle around his wrists, and on his hands he wears black leather gloves. On his feet are high boots with wooden soles. Fire-spitting eyes stare into the room. His face is white, except for a large, inky-black circle around his eyes. Like a panther, he prowls the stage, leaps far, jumps high, then cautiously moves to the edge of the stage. With a cat-like movement, he swats at a soap bubble hanging in the air above the first row. The audience recoils. Thousands of soap bubbles emerge from behind the installation; the scaffolding spotlights illuminate them count-I am the mirror of the decadent society that is doomed to collapse This are the first seconds of Alice Cooper's performance. It would take pages to describe the concert, there's so much to experience. You name it, Alice Cooper uses it in his show. Clouds of smoke, flashing lights, sirens, church bells, garbage cans, daggers, chains, swords, balloons, chicken feathers, clubs, a gallows, a skeleton, and a four-meter-long Boa Constrictor. His act is expertly crafted. Alice Cooper is the modern, American Frankenstein. Alice Cooper creates a show, a realistic play. The music serves only to enhance the visual aspect. The performance builds to a climax: the executioner enters, grabs Alice, and drags him up the stairs to a gallows. A noose is placed around his neck, accompanied by the sounds of a church organ. Grim sounds ripple through the hall, then a terrifying scream, a clap of thunder. The trapdoor bursts open, Alice collapses into the opening, her body convulsing. All the lights go out, and for minutes a thunderstorm ripples through the hall. A shudder runs through the rows, the audience shifts, nervously smiles at each other, and reassures themselves that it's all not real after all. Then the dozens of lights come back on. Alice thunders mightily to the edge of the stage and hurls posters into the room. People scramble hastily over the rows, Alice letting them jump to the coveted roles. People trample each other underfoot. The crowd goes completely berserk when Alice Cooper throws two thousand guilders of small change into the room. Guilders and five-roll notes scatter across the floor, along with people scrambling around her. Alice Cooper spits on his audience, laughing contemptuously at them, toying with them all, letting them do what he wants. Alice despises his audience, but they don't realize it. Cheering and stamping, they make it clear they want to hear and see more. Alice laughs, haughtily walks off the stage, leaving the ecstatic crowd behind her. This is an impression of his show, but by no means all has been told. You can't retell Alice Cooper; he is so unique, so unusual. It's best to let him speak for himself.

Bolan blasts back with double-barrelled glam gold! two pages Melody Maker, December 2, 1972. THE NEW SINGLE SOLID GOLD EASY ACTION T.REXMAS MARC 3 14th December-Born To Boogie' Film Premiere, Oscar One, Brewer Street 22nd December-T. Rex Live, Sundowner Specials, Edmonton 23rd December-T. Rex Live, Sundowner Specials, Brixton EMI EMI Records (The Gramophone Co. Ltd.) EMI House, 20 Manchester Square, London, WIA IES. A member of the EMI Group of Companie International leaders in Electronics, Records and Entertainment, 12-MELODY MAKER, December 2, 1972 The Faces SUNDOWN Brixton Saturday December 16 SUNDOWN Edmonton Sunday December 17 SUNDOWN Edmonton Monday December 18 Hawkwind. THE SPACE RITUAL SUNDOWN Edmonton Friday December 29 SUNDOWN Brixton Saturday December 30 ARGENT + McKendree Spring SUNDOWN Edmonton: Friday December 1 T.REX SUNDOWN Edmonton. Friday December 22 SUNDOWN Brixton Saturday December 23 at 5:00 & 8:30 Osibisa + SILVERHEAD SUNDOWN Brixton Sunday December 10 SUNDOWN Edmonton Friday December 15 ELECTRIC LIGHT ORCHESTRA +VELVET UNDERGROUND SUNDOWN Mile End Thursday November 30 STRAY SUNDOWN Mile End Thursday December 14 MICK GREENWOOD BAND+GNIDROLOG SUNDOWN Brixton Friday December 1 STATUS QUO +BYZANTIUM SUNDOWN Mile End Thursday December 21 genesis SUNDOWN Mile End Wednesday December 6 AMON DOOLII GOOD HABIT SUNDOWN Edmonton Thursday November 30 SUNDOWN Mile End Wednesday December 13 HOME SUNDOWN Edmonton Thursday December 7 SUNDOWN Brixton Friday December 8 SUNDOWN Mile End Wednesday December 27 Tickets in advance from Theatre Box Offices. Open Mon-Sat, 12 Noon-9.00pm. Concert tickets and performance times are also available from all branches of Edwards and Edwards, Tel: 734 9761, and London Theatre Bookings, Shaftesbury Avenue, Tel: 437 1166.

A Melody Maker Asylum Escape Published in the UK on December 9, 1978, Melody Maker’s full-page advert “GETTING INTO GETTING OUT” unveiled Alice Cooper’s From The Inside — his post-rehab concept album with lyrics by Bernie Taupin. Teasing the single “How You Gonna See Me Now” (K17270) and album (K56577), the ad asked: “Normality is only another person’s attitude of mind” — a chilling invitation into Cooper’s asylum nightmare. Advert Overview Publication Details Magazine: Melody Maker (UK). Date: December 9, 1978. Format: Full-page album + single advert. Exact Text from the Advert GETTING INTO GETTING OUT “Normality is only another person’s attitude of mind” What is normal, what is not – what lies behind the conscious mind? Let Alice Cooper tell you on his new album. **“From The Inside”**. K17270 “How You Gonna See Me Now”. Is the new single from the album K56577 “From The Inside". Is the new album from Alice Cooper, with lyrics from Bernie Taupin. Available on Warner Brothers Records and Tapes Do you have this Melody Maker advert in your archive? Ready to check in? Share in the comments!

A Sensational Alex Harvey Band Vertigo Assault Published in the UK on December 9, 1972, Record Mirror’s full-page advert screamed FRAMED — The Sensational Alex Harvey Band’s debut album on Vertigo (6360 081). Quoting Melody Maker: “... the Alex Harvey Band are going to be big,” the ad listed their December tour dates from The Marquee to Paisley, plus their *Old Grey Whistle Test* appearance on December 5. Pure theatrical rock menace. Advert Overview Publication Details Magazine: Record Mirror (UK). Date: December 9, 1972. Format: Full-page album + tour advert. Exact Text from the Advert FRAMED Album 6360 081 Sensational ALEX HARVEY BAND ‘... the Alex Harvey Band are going to be big’ Melody Maker Appearing on December 4 The Marquee Club London 5 The Nightingale Wood Green 6 Gloucester College of Art Cheltenham 7 Greyhound Fulham 8 The Youth Centre Bourton on the Water 9 The Boat Club Nottingham 10 Stoneground Manchester 11 Windsor Hotel Dumfries 13 Caledonian Hotel Inverness 14 Glasgow Art College 15 Strathclyde University 16 The Kinema Dunfermline 17 The Watermill Paisley 20 Weymouth Grammar School 23 Y.M.C.A. Bells Hill Lanarkshire Don't miss them on *Old Grey Whistle Test* on December 5 VERTIGO From Phonogram—the best sounds around Do you have this Record Mirror advert in your archive? Ready for Framed? Share in the comments!

A Rod Stewart NME Christmas £1-Off Blitz Published in the UK on December 9, 1978, New Musical Express’s full-page advert “Blondes have more fun at Boots.” launched a massive Christmas promotion: £1 off four Rod Stewart albums — including the brand-new Blondes Have More Fun — plus 50p off cassettes. With his winter UK tour and “Do Ya Think I’m Sexy?” smashing the charts, Boots turned Rod into the ultimate stocking-filler. Advert Overview Publication Details Magazine: New Musical Express (UK). Date: December 9, 1978. Format: Full-page album promotion advert. Exact Text from the Advert Blondes have more fun at Boots. £1 off four of Rod's latest. Boots first cuts are the deepest. Because we’ve taken £1 off each of Rod’s four latest albums, including the newest of all, *“Blondes Have More Fun.” They’re albums full of all his legendary hits like “You’re In My Heart,” “Hot Legs,” “The Killing Of Georgie,” “Sailing” and “Tonight’s The Night.” With his biggest ever UK tour this winter and another smash hit single, “Do Ya Think I’m Sexy?,” it’s hard to believe Rod has any more to offer. But at Boots you’ll find some of his greatest albums, at prices to rave about. ROD STEWART Blondes Have More Fun. Includes his new hit single “Do Ya Think I’m Sexy?” Rec. Retail Price £4.49. Boots Special Offer Price £3.49 Foot Loose & Fancy Free. Featuring the two hit singles, “You’re In My Heart” and “Hot Legs” plus “I Was Only Joking.” A Night On The Town. With “Tonight’s The Night,” “The Killing Of Georgie” and “First Cut Is The Deepest.” Atlantic Crossing. “Sailing,” “I Don’t Want To Talk About It,” “This Old Heart Of Mine.” Rec. Retail Price £4.99 Each. Boots Special Offer Price £3.99 Each. 50p off equivalent cassettes. Access and Barclaycard welcome. At these special offer prices until December 30. From Boots Record Departments subject to stock availability. Boots Make the most of your Boots Do you have this NME advert in your archive? Did blondes have more fun at Boots? Share in the comments!

A Record Mirror Eurovision Tease Published in the UK on December 9, 1972, Record Mirror’s one-page news feature included “Slade to Play for Europe” revealed that Slade had been invited to represent Britain... Feature Overview Publication Details Magazine: Record Mirror (UK). Date: December 9, 1972. Format: One-page news feature. Key Text (from the original article) **SLADE TO PLAY FOR EUROPE** RECORD MIRROR, DECEMBER 9, 1972 Slade to play for Europe SLADE have been booked by the Government to appear at the London Palladium next month. The group have been chosen to represent Britain in the first of a series of concerts to mark Britain's entry into the Common Market, under the title Fanfare for Europe. The concert, on January 7, is being promoted by Great Western Express, who promoted the Lincoln festival ear Her this year, at the request of the British Arts Council, at the request of the Government. The box office opens on December 12 and ticket prices will range from 60p to £2. The concert will begin at 7.30, and other acts for the show will be announced at a later date.

A Jean Genie Rainbow Return Published in the UK on December 9, 1972, Melody Maker’s full-page advert screamed BOWIE'S BACK! — announcing David Bowie’s Ziggy Stardust UK Christmas tour and the release of his new single “The Jean Genie.” The tour kicked off December 24 at London’s Rainbow Theatre, hitting Manchester, Glasgow, Edinburgh, Newcastle, and Preston. A triumphant glam-rock victory lap. Advert Overview Publication Details Magazine: Melody Maker (UK). Date: December 9, 1972. Format: Full-page tour & single advert. Exact Text from the Advert **BOWIE'S BACK!** Dec. 24 Rainbow Theatre, London Dec. 28 Manchester, Hard Rock Jan. 5 Green's Playhouse, Glasgow (Matinee & Evening) Jan. 6 Empire Theatre, Edinburgh Jan. 7 Newcastle City Hall Jan. 9 Preston Guild Hall HIS LATEST SINGLE "THE JEAN GENIE" Were you at the Rainbow on Christmas Eve? Share in the comments!

one-page feature in Record Mirror , December 9, 1972. IT SEEMS that in recent weeks I've been hearing comparisons of Peter Skellern and Gilbert O'Sullivan presented by many different people; so, when I met Peter to talk over the release of his first album and dis-covered that he had no immediate plans to ap-pear in live concerts, I thought the comments were proving to be true. "I've not been working at all, since I last saw you", Peter admit-ted. "And we're going to delay it even more, be-cause live work is very important and I want people to know the kind of music that I'll be doing. I'm hoping they'll find that out from the album, but right now if I do the college cir-cuits all the students have heard is You're A Lady and that's been selling to kids, mums and dads and heavies!" Peter having been trained as a concert pianist and so being well able to cope with set-tings of grandeur! -would like to appear at the Festival Hall, but he says honestly: "What's the point? I haven't done enough to draw a crowd there. I want people to know what they're coming to hear, and they won't know that yet. But I won't delay things for more than six months." So the facet of the O'Sullivan-Skellern comparison bites the mpariso dust, and as far as his songs are concerned? Well, it's true that both Gilbert and Peter tell stories in their songs, but Peter's often leave more for the listener to add, and they also have a very noRthern flavour. He "I can't see that be-cause it's me," says Peter. "But to somebody from outside it could seem that way. does, he agrees, write story lines, often deducted from his own experiences, and says of his habit of leaving the listener to make his own interpretation: "In a way it's a fault in as much as you say some-thing and then write a line, but you're not just thinking of that line like 'every home should have one' you've got the thoughts in your mind, but no-body else does have. So you've got to make sure that what you've written means something. But as long as music is for people, well whatever they make out of a certain song it's all right." Some of the stories included on Peter's al-bum feature a young girl's and boy's first holiday at the seaside without their parents. "I went to school camp when I was 15", says Peter. "That's exactly what it's about." There's also the ditty about Jackie's wedding, titled Jackie's Getting Married, which is Peter's current single re-lease; and the very sad Lonely Room. But often Peter portrays a light-hearted view of life, though he's also usually baring his soul. One journalist, having heard the album, decided that Peter was indicating how he had trouble getting it together with the opposite sex. "I thought that was pretty astute", says Peter, adding: "I'm frightened of women; even you! You know where you are with men, but you never know what. women are thinking. So. it goes back to what you said", Peter explains, referring to an earlier joke. "Who is Peter Skellern? Literally!" But despite his fears Peter has a great love of women his wife apparent understands and just regrets he doesn't have the cour-age to take advantage of his desires more often! That, on the other hand, is why his wife can be understanding! "I'd hate to have to choose between music and marriage", Peter told me. "But I think I would have to do music, because otherwise there's no point to anything." What about the time spent working as a plugger at Chappells, I wondered. "Well, I was still writing songs while I was at Chappells. But basically I just went round the producers' offices at lunchtime when I knew they'd be out, and put the records on their going on," he says happily, and adds that he doesn't find it difficult to try to push his success in Britain even further, while venturing across to America. "I look at the world as one place," he explains. "And if you don't aim for the moon you'll never leave earth!" At the moment Peter is next himself in the direction of Scotland where he plans to spend 'time writing more mate-rial for his next album, which he will begin work on in February. "It will be a new environment. This album is songs from Shaftesbury in Dorset, the nest will be from a house up in the hills of Scotland. In Lon-don you would probably get nothing at all! I get annoyed when I'm writing. I'll be in the middle of something and Timothy (his (his so son) will need bathing and I'll have to do it. "I like that, but I just don't get enough time, though it's obviously important to take part in Timothy's life. The lullaby on the album was written for him when I put him to bed I sometimes sing to him, desks. Well, how can you go and say 'listen to that' when it's a terrible record!" and the understandably people working on Peter's material have more faith in their product. Already 15 versions of You're A Lady have been released, including those by Andy Williams, Perry Como and Dawn; currently in Billboard's chart with their version. Peter has recently re-turned from promoting his original single in the States, but unfortunately was unable to make any TV appearances without a special permit. "But everybody in the business there knows me and what is and I set the music box on the wall going." That's something I really like about Peter Skellern. Not only is he a talented musician and writer, but he is not afraid to talk about his real feelings. He's pure unadulterated Peter and the Skellern only concession he has made to his usual style of life is to dress with a little more care than he has in the past. "I don't mind that, simply because I can buy decent clothes now though I can never find trousers to fit be-cause I've got short fat legs!" You're all right Peter, lad. Definitely alright.

A Melody Maker Million Dollar Tease Published in the UK on December 9, 1972, Melody Maker’s article “Bolan on Alice” revealed that Marc Bolan, Keith Moon, Harry Nilsson, and Rick Grech were set to appear as session musicians on Alice Cooper’s next single — recorded in London before his European tour opened in Glasgow. The piece also announced Alice’s upcoming album title Million Dollar Babies and his post-tour rest in the Canary Isles. A glam-rock supergroup moment that never quite materialised. Article Overview Publication Details Magazine: Melody Maker (UK). Date: December 9, 1972. Format: One-page news article. Exact Text from the Original Article Bolan on Alice ALICE COOPER'S next single is likely to feature Marc Bolan, Keith Moon, Harry Nilsson and Rick Grech as session musicians. Alice was recording in London several weeks ago before the opening of his European tour at Glasgow. And the sessions will probably produce Alice's next single. Alice flew back into England last weekend after spending a week resting and writing new material in the Canary Isles. The Cooper band flew straight to the Canaries after their final European tour date in Sweden. The group will be discussing their new album in London this week. The title of the album will be "Million Dollar Babies." Alice returns to the States in about a week. Tour dates in Japan are being lined up. Were you ready for the Million Dollar Babies? Share in the comments!

A 1972 UK Tour Victory Lap Published in the UK on December 9, 1972, Melody Maker’s full-page advert proudly declared the entire Faces 1972 UK tour SOLD-OUT — every date from Dundee to Manchester gone in record time. Presented by Gaff Management with Peter Bowyer, special guests Vigrass & Osborne with Stumble. A triumphant snapshot of Faces at absolute peak popularity. Advert Overview Publication Details Magazine: Melody Maker (UK). Date: December 9, 1972. Format: Full-page tour advert. Exact Text from the Original Advert GAFF MANAGEMENT WITH PETER BOWYER PRESENT in CONCERT. THE FACES SPECIAL GUESTS VIGRASS & OSBORNE with Stumble SOLD-OUT Dec. 7: Dundee Caird Hall Dec. 8: City Hall, Newcastle Dec. 10: Blackpool Opera House Dec. 12: Liverpool Stadium Dec. 14: Leeds Town Hall Dec. 10: Brixton Sundown Dec. 17: Edmonton Sundown Dec. 18: Edmonton Sundown Dec. 22: Sheffield City Hall Dec. 23: Manchester Free Trade Hall Gaff Management, 90 Wardour Street, London, W.1 Tel. 734 4182 Were you at one of the sold-out shows? Share in the comments!

Melody Maker, December 9, 1978

Backed with "Louie, Louie Go Home" as the B-side, Davie Jones with The King Bees released the single "Liza Jane," in the UK on June 5, 1964. This marked the first recording released by a 17-year-old David Bowie, then performing under his birth name, Davie Jones. The song is a reworking of the traditional "Li'l Liza Jane," arranged as a six-bar blues with input from the band and their manager, Leslie Conn, who took songwriting credit, likely for royalty purposes. The B-side was a cover of Paul Revere and the Raiders' "Louie, Louie Go Home." Both tracks were recorded in a seven-hour session at Decca Studios in West Hampstead, London. The King Bees lineup included Davie Jones (vocals, alto saxophone), George Underwood (rhythm guitar, harmonica, vocals), Roger Bluck (lead guitar), Francis Howard (bass), and Robert Allen (drums). Despite promotion on TV shows like Juke Box Jury and Ready Steady Go!, the single sold poorly and the band was dropped from the label. The track is a brash but derivative British R&B effort, with Bowie’s vocals and saxophone standing out, though the B-side has been criticized as one of his weaker recordings. The single became a rare collector’s item, with original 1964 vinyl copies fetching high prices (e.g., $15.43–$45.45 for a 1978 reissue, per Discogs data). A 1978 promo reissue and a 1964 acetate with a longer fade-out also exist. Bowie revisited the song in 2000 for his unreleased album Toy, which leaked online in 2011 and was partially included in the 2021 Brilliant Adventure (1992–2001) box set. He also performed a brief snippet of "Liza Jane" live on June 5, 2004, during his A Reality Tour in Holmdel, New Jersey, marking the single’s 40th anniversary. You can stream the song on Spotify, where it appears on compilations like Nothing Has Changed (2014) or And The Beat Goes On (2005). For collectors, sites like Discogs and Atlas Records list vinyl copies, with a 1978 UK reissue noted as a promo in VG+ condition. A rare misprint sleeve labeled "Tom Jones" recently surfaced and is set for auction by Propstar Memorabilia. Text taken from press release issues with 1978 reissue INTRODUCING DAVIE JONES WITH THE KING-BEES.. ... AND THEIR FIRST DISC "LIZA JANE" Pop Music isn't all affluence. Just ask new seventeen year old recording star Davie Jones. Time was (two months ago, in fact) when he and his group were almost on their uppers, No money, bad equipment. Then Davie had a brainwave. "I had been reading a lot in the papers about John Bloom," says Davie. "So I put pen to paper and wrote him a letter." David told Bloom that he had the chance of backing one of the most talented and up-and-coming groups on the pop scene. All he had to do was advance the several hundred pounds it requires to outfit a pop group with the best equipment. Davie didn't get the money, but he did get a telegram next day from John Bloom giving the phone number of Artist's Manager Leslie Conn. Davie got in touch, was rewarded with a booking at Bloom's Wedding Anniversary Party. "We were a dismal failure", recalls Davie. "It was a dinner dress affair and we turned up in jeans and sweat shirts, and played our usual brand of rhythm and blues. It didn't go down too well. Still we'll know better next time. However, all's well that ends well. Leslie Conn liked the earthy type of music the group played, arranged an audition with Decca Records which resulted in a contract and the first release by David Jones with the King-Bees, "Liza Jane", released by Decca (Decca F 13807). DAVIE JONES WITH THE KING-BEES

Fenton's Moody Ballad Shane Fenton And The Fentones 7-inch vinyl single, was released in the UK on October 19, 1962, on Parlophone Records (catalogue: R 4951). Backed with “You're Telling Me,” this poignant rock 'n' roll ballad, written by Johnny Theakstone and Tommy Sanderson, showcased the young singer's emotive vocals amid the British beat boom. Produced by Norman Newell, the single failed to chart but remains a fan favorite for its heartfelt lyrics and simple arrangement. Housed in a Parlophone company sleeve, it’s a rare snapshot of the pre-Alvin Stardust era. Single Overview A-Side: “Too Young For Sad Memories” (2:20) Written by Johnny Theakstone and Tommy Sanderson. A tender, mid-tempo ballad with Fenton's vulnerable vocals, acoustic guitar, and gentle rhythm, lamenting lost innocence. Produced by Norman Newell, it reflected the group's early pop-rock style. B-Side: “You're Telling Me” (2:15) Written by Shane Fenton (Bernard Jewry). An upbeat rocker with energetic guitars and Fenton's spirited delivery, exploring romantic denial. Produced by Newell, it offered a contrast to the A-side's melancholy. Release Details: Label: Parlophone Records (UK pressing, 45 RPM). Formats: 7-Inch Vinyl (R 4951): “Too Young For Sad Memories” / “You're Telling Me.” In a Parlophone company sleeve. Notes: ℗ & © 1962 EMI Records. Matrix numbers (e.g., R 4951 A-1) confirm authenticity. The single was the group's seventh release. Production and Context Recorded in 1962 at Abbey Road Studios, London, the single was produced by Norman Newell, with the lineup: Shane Fenton (vocals), Johnny Theakstone (guitar, vocals), and the Fentones (backing band). The A-side's balladry echoed the group's Moody Guy phase, while the B-side’s energy hinted at their beat group evolution. Released amid the Merseybeat prelude, it followed “Cindy's Birthday” (No. 21, 1962) and preceded Fenton’s Stardust reinvention, competing with The Beatles' early singles. Singles Released and Chart Performance “Too Young For Sad Memories” was a standalone single, with no additional singles from it: Chart Performance: UK: Did not chart (Official Singles Chart). Other Countries: No chart entries in Canada, France, Sweden, Norway, Netherlands, Belgium, New Zealand, or Japan due to limited distribution. UK Chart Data: Entry Date: N/A (failed to chart). Peak: N/A. Weeks on Chart: 0. Note: Fenton's earlier hit “Cindy's Birthday” (No. 21, July 21, 1962, 5 weeks) was their peak, but “Too Young For Sad Memories” marked the group's commercial decline before Jewry's Stardust reinvention. Have you unearthed this Fenton rarity in your vinyl collection? Does “Too Young For Sad Memories” tug at your heartstrings? Share in the comments! Sources Discogs: Too Young For Sad Memories (1962) Official Charts Company: Shane Fenton And The Fentones Singles AllMusic: Shane Fenton Discography Wikipedia: Shane Fenton and the Fentones 45cat: R 4951 Single

David Bowie with The Lower Third's "Can't Help Thinking About Me" was released as a 7-inch vinyl single in the UK by Pye Records on January 14, 1966. It marked the first release under the name "David Bowie," following his previous performances as Davy Jones or Davie Jones. Artist: David Bowie With The Lower Third Label: Castle Music Country: UK Catalogue: ESBO7 765 / 1 Date: 1999 The recording was produced by Tony Hatch, who also played piano. The session occurred on 10 December 1965 at Marble Arch Studios in London. A reworking of Bowie's "The London Boys," the song tells the story of a boy found guilty of an act who decides to leave town for a fresh start. Biographers highlight it as a demonstration of Bowie's development as a songwriter, featuring themes he would use in his later work. Musically, the song delves into the contemporary mod sound of the Who and the Kinks. "Can't Help Thinking About Me" was unsuccessful as a single like Bowie's earlier releases, but it reached number 34 on the Melody Maker chart due to chart manipulation by Ralph Horton. Disagreements with Horton resulted in Bowie's exit from the Lower Third two weeks after its release. In March 1966, Bowie performed the song on the ATV program Ready Steady Go! with the Buzz. Two months later, it was released in the United States by Warner Bros. Records, marking Bowie's first US release. The original recording later appeared on the compilation albums Early On (1964–1966) (1991) and Nothing Has Changed (2014). Artist: David Bowie Label: Castle Music Country: UK Date: 1999 Title: I Dig Everything : The 1966 Pye Singles Format: Box Set 7" Catalogue: ESBO7 765 More than three decades after its original release, Bowie brought back "Can't Help Thinking About Me" for his 1999 Hours Tour. He re-recorded the song in mid-2000 during the sessions for Toy, alongside other tracks he had written and recorded in the mid-1960s. Although the project was shelved, this remake stayed unreleased until 2021, when Toy was officially included in the Brilliant Adventure (1992–2001) box set. A previously unseen live performance of the song from October 1999 was released on 19 November 2021..

The original cosmic duo – Marc & Mickey rule Europe’s teen mags! T.Rex (Marc Bolan & Mickey Finn)poster Popfoto magazine, December 1971 More early T.Rex continental conquests added weekly.