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Bolan declares war on albums – the 45 is king! one-page article in New Musical Express, November 21, 1970.

Bowie goes plastic soul – live from the Tower! David Bowie: The New Album Advert (1974) one-page advert in Rolling Stone, November 21, 1974

Slade conquer Britain – the loudest, daftest, most lovable gang in glam! Slade are a down to earth bunch of guys..., a one-page feature in Melody Maker, November 20, 1971.

A Bohemian Opera Masterpiece Released as a vinyl LP in the UK on November 21, 1975, on EMI Records (catalogue: EMTC 103 / 0C 066 ○ 97176), Queen’s A Night At The Opera — their fourth studio album — was a theatrical rock triumph. Produced by Roy Thomas Baker & Queen across six studios, this 11-track opus featured “Bohemian Rhapsody,” “You're My Best Friend,” and “Love Of My Life.” Iconic embossed gatefold with Blair’s cut, card inner (3/4 die-cut corners). Peaked at No. 1 UK, No. 4 US. Issued in multiple pressings and cassette/8-track variants. The album that made Queen superstars. Album Overview Release Details Label: EMI Records. Formats: Vinyl LP (embossed gatefold), cassette, 8-track cartridge. ℗ & ©: 1975 Queen Productions Ltd. Full Track Listing (all formats) Side A 1. Death On Two Legs (Dedicated To...) (3:37) – Written-By: Mercury 2. Lazing On A Sunday Afternoon (1:06) – Written-By: Mercury 3. I'm In Love With My Car (3:00) – Vocals: Roger Taylor – Written-By: Taylor 4. You're My Best Friend (2:47) – Electric Piano: John Deacon – Written-By: Deacon 5. '39 (3:13) – Double Bass: John Deacon – Vocals: Brian May – Written-By: May 6. Sweet Lady (4:09) – Written-By: May 7. Seaside Rendezvous (2:12) – Orchestrated By [Vocal Brass]: Roger Taylor – Orchestrated By [Vocal Woodwind]: Freddie Mercury – Written-By: Mercury Side B 1. The Prophet's Song (7:31) – Toy Koto: Brian May – Written-By: May 2. Love Of My Life (4:06) – Harp: Brian May – Written-By: Mercury 3. Good Company (3:22) – Ukulele [Genuine Aloha], Guitar [Jazz Band]: Brian May – Vocals: Brian May – Written-By: May 4. Bohemian Rhapsody (5:48) – Operatic Vocals: Brian, Freddie, Roger – Written-By: Mercury 5. God Save The Queen (1:07) – Arranged By: May – Written-By: Trad. Cassette Album (TC-EMTC 103 / 0C 244 ০ 97176) – UK Side A/B identical to vinyl. 8-Track Cartridge (8X-EMTC 103 / OC 246 o 97176) – UK Program A 1. Death On Two Legs (Dedicated To...) 2. Lazing On A Sunday Afternoon 3. I'm In Love With My Car 4. You're My Best Friend Program B 5. '39 6. Sweet Lady 7. Good Company Program C 1. Seaside Rendezvous 2. The Prophet's Song Program D 1. Love Of My Life 2. Bohemian Rhapsody 3. God Save The Queen UK Variants Vinyl releases 1975 - LP, Album – EMI EMTC 103 / 0C 066 ○ 97176 – UK – 1975 (Blair’s/Blair’s cut) - LP, Album – EMI EMTC 103 – UK – 1975 (crest design © on front) - LP, Album – EMI EMTC 103 – UK – 1975 (non-Blair’s/Blair’s cut) Cassette releases 1975 - Cassette, Album – EMI TC-EMTC 103 / 0C 244 ০ 97176 – UK – 1975 (black/white labels) - Cassette, Album – EMI TC-EMTC 103 – UK – 1975 (grey shell/blue text) 8-Track Cartridge - 8-Track, Album – EMI 8X-EMTC 103 – UK – 1975 Production and Context Produced by Roy Thomas Baker & Queen. Recorded at Sarm East, Roundhouse, Olympic, Rockfield, Scorpio, Lansdowne. Mixed at Sarm East. No synthesisers! The album that bankrupted Queen to make — and made them legends. Singles Released - Bohemian Rhapsody (31 Oct 1975) - You're My Best Friend (18 Jun 1976) Album Chart Performance - UK: 1 - US: 4 Legacy and Collectibility A Night At The Opera is Queen’s operatic masterpiece — "Bohemian Rhapsody", "You're My Best Friend", "The Prophet's Song". Original UK embossed gatefold vinyls (mint with intact corners). Verify catalogue EMTC 103. This LP is a must-have for Queen collectors. Do you have A Night At The Opera in your vinyl stack? Is Bohemian Rhapsody still your headbanger? 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

The night Alice threw a chicken – and shock rock legend was born! Alice Cooper Group performed at the Toronto Rock and Roll Revival on September 13, 1969 – a one-day, twelve-hour festival packed with 50s/60s legends and one very out-of-place psychedelic freakshow from Arizona. The bill featured Little Richard, Bo Diddley, Jerry Lee Lewis, Chuck Berry, Gene Vincent, Chicago… and John Lennon & Yoko Ono’s surprise debut as the Plastic Ono Band (with Eric Clapton, Klaus Voormann, and Alan White) – their set became the album Live Peace in Toronto 1969. But the moment everyone remembers? Alice, mid-set, grabs a chicken that had wandered onstage (thrown by the audience, probably), hurls it back into the crowd thinking it could fly… and the audience tore it apart. Next day the papers screamed “ALICE COOPER BITES HEAD OFF CHICKEN AND DRINKS BLOOD!” Frank Zappa rang up: “Don’t deny it – it’s the best publicity we’ll ever get.” The urban legend was born. One chicken, one riot, one headline – and shock rock changed forever. (Also filmed by D.A. Pennebaker for Sweet Toronto and revisited in the 2022 documentary Revival 69: The Concert That Rocked the World.) The bill featured Little Richard, Bo Diddley, Jerry Lee Lewis, Chuck Berry, Gene Vincent, Chicago… and John Lennon & Yoko Ono’s surprise debut as the Plastic Ono Band (with Eric Clapton, Klaus Voormann, and Alan White) – their set became the album Live Peace in Toronto 1969. But the moment everyone remembers? Alice, mid-set, grabs a chicken that had wandered onstage (thrown by the audience, probably), hurls it back into the crowd thinking it could fly… and the audience tore it apart. Next day the papers screamed “ALICE COOPER BITES HEAD OFF CHICKEN AND DRINKS BLOOD!” Frank Zappa rang up: “Don’t deny it – it’s the best publicity we’ll ever get.” The urban legend was born. One chicken, one riot, one headline – and shock rock changed forever. (Also filmed by D.A. Pennebaker for Sweet Toronto and revisited in the 2022 documentary Revival 69: The Concert That Rocked the World.) In 2014, the label Applebush released another version of this concert with the title Nobody Likes Us under the moniker of The Alice Cooper Group. This is the first known release to feature the whole concert speed corrected, correct song titles, and chronological track listing. Guitarist Michael Bruce advised how to name and to arrange the titles correctly

Your bedroom walls deserve full-colour glam gods – only 70p! advert featuring Alice Cooper, Slade, Donny Osmond (Nos 1–3) and seven more in full colour (33" x 24") for 70p each, in Melody Maker, October 28, 1972.

The Sensational Alex Harvey Band bring vaudeville madness to the stage! one-page article in Disc, January 26, 1974.

Spider from Mars goes solo – Ronson’s ready to shine! one-page news article in Sounds, February 2, 1974. "March release for Ronson MICK RONSON will be stag-ing his first live solo perform-ances at London's Rainbow Theatre on February, 22 and 23. His solo album "Slaughter On Tenth Avenue" is set for release in the middle of March. Mainman Management said that there has been no other dates or venues set for Ronson at the time of going to press. Mainman have added Wayne County to their list of artists."

Alice pushes shock rock to the guillotine – three-page feature in Music Scene, February 1, 1974. Alice Cooper had to go further each time to maintain the shock of his performance. His act ends with his own gruesome beheading (above) - the nasty penalty for nastiness. Gary Glitter returned to the simpler Hollywood theatrics of glamour and sparkle, filling the stage with choreographed girls for the finale (top centre) and his own fantastic presence. THE TERM 'ROCK THEATRE' is getting tossed around a lot these days, but there's nothing very new about theatricality in rock. Anyone who wants to make it in rock and roll has to be either good or weird or, better still, both. Flamboyance has been an integral part of the attraction of rock music since its earliest days. American singer Screaming Jay Hawkins had a good voice and his version of "I Put A Spell On You" deserved the success it achieved back in the fifties, but his habit of climbing out of a coffin to sing the song did help things along a little. Our own Dave (Screaming Lord) Sutch has rather more limited vocal abilities, but he managed to keep his career staggering along for some years by using similar if slightly more ghoulish gimmicks as a part of his stage act. The James Brown Show (where Mr. Dynamite struts his stuff in front of a row of male dancers sashaying their way through the intricacies of the sideways pony with the disciplined precision of a team of robots) relies as much on spectacle as sound for its effect. The 1967 psychedelic explosion helped to emphasize the theatrical possibilities of rock. The guitar smashing and smoke bomb throwing of the Who, the Move, and Hendrix may seem a little daft looking back, but at the time the effects were shattering. And who could forget the awe-inspiring spectacle of Arthur Brown, robed, painted, head ablaze, being lowered into the middle of his Crazy World by a crane? Even the lighter side of rock has had its theatrical moments, as anyone who ever saw the lunatic Bonzo Dog Doo Dah Band can easily testify. Rock music at the moment seems to be in the doldrums, and one of the ways in which current chart toppers like Gary Glitter and the Sweet have attempted to combat this lethargy is by an increased emphasis on spectacle in their stage acts. Their obsession with glitter hasn't yet affected the basic hard-rock formula of their music enough to be worth examining closely, but there are two current superstars, Alice Cooper and David Bowie, who have begun to explore the theatrical possibilities of rock in some depth. When Frank Zappa first signed Alice Cooper for his own label, Straight Records, in 1968, it was not so much a tribute to the band's musical abilities (which in those days were a bit limited) as a recognition of the enormous stage possibilities of Cooper's obsession with the freakier and more ghoulish aspects of contemporary America.

Bowie hits the cover – Diamond Dogs, dystopia, and pure Hunger City madness, cover and one-page article in New Musical Express, May 11, 1974.

The svengali who turned Ziggy into a millionaire – meet the man behind the mask! three-page feature in Melody Maker, May 18, 1974.

Alice goes full Godfather – shock rock meets mobster mayhem! a one-page article in Circus magazine, December 1, 1974.

Top of the Pops – the teenage allowance still rules British pop! two-page article in Beetle magazine, January 2, 1971. "Top Of The Pops is still the barometer of the ever-shifting British singles scene. Unlike American pop radio which is controlled by tight playlists, promo tipsheets, and marketing reports in the trades, the English 45 action is still controlled by teen- agers with their allowances. TOTP is a weekly BBC television programme that features film clips of the top ten, dancing and fashion, as well as new performers who hope to smile their way to maybe six to eight weeks on the charts..."

The Thin White Duke’s Victoria Station wave – triumph or Nazi salute? NME demands answers! one-page article in New Musical Express, May 8, 1976.

Album Review (1976) Bowie’s first greatest hits – or the vacuum behind the mask? one-page New Musical Express, May 29, 1976.

NME’s ultimate glam buyer’s guide – who to worship, who to burn! Consumers Guide to Glam Rock - Oh You Pretty Things, two-page feature in NME, October 8, 1977.

Bolan’s rarest vinyl from around the globe – the international glam treasure hunt! Record Collector, February 1984. Cover & three-pages

Album (2005) A Triumphant Tour Legacy Released as a limited 3×LP box set in the UK on October 24, 2005, on Parlophone Records (catalogue: 00946 3 36979 1 1), Queen + Paul Rodgers’ Return Of The Champions captured the band’s 2005 European tour — live from Hallam FM Arena, Sheffield. Produced and engineered by Justin Shirley-Smith, this 27-track set blended Queen classics with Rodgers’ soulful edge. Peaked at No. 5 on the UK Albums Chart for 4 weeks. Issued in a deluxe box with picture inners, it’s a nostalgic celebration of Queen’s enduring legacy. Album Overview Release Details Label: Parlophone. Format: 3× Vinyl LP, Album, Box Set, Limited Edition. Full Track Listing Side A 1. Reaching Out (1:08) 2. Tie Your Mother Down (4:30) 3. I Want To Break Free (3:59) 4. Fat Bottomed Girls (5:45) 5. Wishing Well (4:33) Side B 1. Another One Bites The Dust (4:02) 2. Crazy Little Thing Called Love (4:35) 3. Say It's Not True (4:14) 4. '39 (4:38) 5. Love Of My Life (5:11) Side C 1. Hammer To Fall (6:45) 2. Feel Like Making Love (6:20) 3. Let There Be Drums (3:42) 4. I'm In Love With My Car (3:36) Side D 1. Guitar Solo (6:59) 2. Last Horizon (4:44) 3. These Are The Days Of Our Lives (4:40) 4. Radio Ga Ga (5:59) Side E 1. Can't Get Enough (4:22) 2. A Kind Of Magic (6:07) 3. I Want It All (5:09) 4. Bohemian Rhapsody (6:18) Side F 1. The Show Must Go On (4:33) 2. All Right Now (6:54) 3. We Will Rock You (2:35) 4. We Are The Champions (4:30) 5. God Save The Queen (1:36) 3×LP Box Set Limited – Parlophone 00946 3 36979 1 1 – UK – 24 Oct 2005 Production and Context Produced/Engineered by Justin Shirley-Smith. Recorded live at Hallam FM Arena, Sheffield. Band: Brian May (guitar/vocals), Roger Taylor (drums/vocals), Paul Rodgers (vocals/guitar), Jamie Moses (guitar/backing), Danny Miranda (bass/backing), Spike Edney (keyboards/backing). The 2005 Queen + Paul Rodgers reunion tour. Album Chart Performance UK: 5 (4 weeks) Legacy and Collectibility Return Of The Champions is Queen + Paul Rodgers’ triumphant tour document. Original 2005 3×LP limited box sets Verify catalogue 00946 3 36979 1 1. This box is a must-have for Queen live collectors. Do you have Return Of The Champions in your collection? Which live anthem rocks your playlist? 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

Marc Bolan – the curly-haired messiah who turned folk into cosmic boogie! “Return of the Scream-age Idol”, cover insert and one-page article "Prophet of the New Generation" in Melody Maker, November 20, 1971.

The sweet stuff that just won’t melt away! Bubblegum it seems will always be with us...while stile of music change – article in Melody Maker, November 20, 1971.

The bearded wizard quits ELO and plots total glam domination! The Telephone rang in the lounge... Roy Wood’s From The Wood, one-page article in Melody Maker, November 20, 1971. Mel

Young Americans hits the US – Bowie goes plastic soul! David Bowie’s It's What Made Bowie Famous , a one-page advert in Rolling Stone, November 20, 1975 Bowie's nine RCA albums are a provocative and permanently entertaining account of his celebrated changes, musical and mental. Fascination is a part of them all. See Bowie as Cher's special guest Sunday Nov. 23rd on CBS-TV RCA DAVID LIVE DAVID TOWER PHILADELPHIA 2 RECORD SET BOWIE RCA DAVID BOWIE THE RISE AND FALL OF ZIGGY STARDUST AND THE SPIDERS FROM MARS RCA DAVID BOWIE HUNKY DORY DIAMOND DOGS YOUNG AMERICANS - "Fame" and the title tune made Bowie's premiere in future soul a smash. DAVID LIVE-Electrifying concert performances of 17 of Bowie's best songs. DIAMOND DOGS-Bowie's most intense rock dream includes "Rebel Rebel" and "1984." ZIGGY STARDUST-Turned nice kids into momma-poppa space invaders, with classic Bowie bits like "Starman" and "Suffragette City." ALSO AVAILABLE: "The Man Who Sold The World". " Space Oddity Changes Life on Mars? Warhol Queen Bitch Also includes: Unwashed and Somewhat Slightly Dazed Janine God Knows I'm Good SPACE ODDITY -Discover Bowie's scintillating surrealism on the album named after the hit single. HUNKY DORY-Bowie's much admired debut on RCA introduced "Changes," "Life on Mars," and "Queen Bitch" to seventies audiences in search of a star. Aladdin Sane". "Pin ups" RCA Records and Tapes

Take early steps back to 1960s London with the Faces! with this 1xCD and 1xLP release featuring the band’s first, previously unheard recordings, out on October 31 2025 as a commercial release on CD Take early steps back to 1960s London with Rod Stewart, Ronnie Wood, Kenney Jones, Ronnie Lane and Ian McLagan to the Faces’ first and previously unheard recording session at Olympic Studios in Barnes. Walk by the River Thames to Bermondsey to hear rehearsals in The Rolling Stones’ warehouse, the earliest recordings of the Faces captured in all their raucous glory on the band’s own cassette tapes. Track listing Shake, Shudder, Shiver (Take 1 Rough Mix, Olympic Studios, Autumn 1969) Devotion (Take 1 Rough Mix, Olympic Studios, Autumn 1969) Train (Take 4 Rough Mix, Olympic Studios, Autumn 1969) Flying (Take 1 Rough Mix, Olympic Studios, Autumn 1969) I Feel So Good (Rehearsal, Rolling Stones Rehearsal Space, Summer 1969) Evil (Rehearsal, Rolling Stones Rehearsal Space, Summer 1969) Shake, Shudder, Shiver (Rehearsal, Rolling Stones Rehearsal Space, Summer 1969) Pineapple and the Monkey (Rehearsal, Rolling Stones Rehearsal Space, Summer 1969) Stone (Rehearsal) Devotion (Rehearsal)

In celebration of the 50th Anniversary of Alice Cooper's debut solo record Welcome To My Nightmare comes this previously unreleased live show from the Forum, recorded June 17, 1975. Welcome To My Nightmare Live From the Forum 6/17/75" will be released on vinyl as a RSC exclusive. The tour was categorized as one of the most over-the-top excursions of the era. Details: Event: BLACK FRIDAY 2025 Release Date: 11/28/2025 Format: 2 x LP Label: Rhino Quantity: 3500 Release type: RSD Exclusive Release Tracklist SIDE ONE: 1. Welcome To My Nightmare 2. Years Ago 3. No More Mr. Nice Guy 4. Years Ago 5. Billion Dollar Babies 6. Years Ago 7. I'm Eighteen SIDE TWO: 1. Years Ago 2. Some Folks 3. Cold Ethyl 4. Only Women Bleed SIDE THREE: 1. Devil's Food 2. The Black Widow 3. Steven SIDE FOUR: 1. Welcome To My Nightmare (Reprise) 2. Escape 3. School's Out 4. Department Of Youth

The Jive That Jingles re-released in the UK as a 7-inch vinyl single, on November 10, 1978, by Harvest Records (catalogue: HAR 5173). Wizzard’s “I Wish It Could Be Christmas Every Day” was backed with “See My Baby Jive,” this festive glam rock anthem, written and produced by Roy Wood, was a reissue of 1973 tracks. The A-side featured the Stockland Green Bilateral School First Year Choir and The Suedettes, with additional noises from Class 3c, Snob. Pressed by EMI Records and mastered by Blair’s, it did not chart on this release but became a perennial holiday staple. Wizzard’s “I Wish It Could Be Christmas Every Day” 7-inch vinyl single, was Single Overview A-Side: “I Wish It Could Be Christmas Every Day” (Roy Wood) Written-By – Roy Wood. Producer – Roy Wood. Backing Vocals – The Stockland Green Bilateral School First Year Choir, The Suedettes. Other [Additional Noises] – Class 3c, Snob. B-Side: “See My Baby Jive” (Roy Wood) Written-By – Roy Wood. Producer – Roy Wood. Release Details: Label: Harvest Records (UK pressing, 45 RPM). Published By – April Music Ltd. Phonographic Copyright ℗ – EMI Records Ltd. Manufactured By – EMI Records Ltd. Mastered At – EMI Studios. Pressed By – EMI Records. Mastered By – Blair’s. Formats: Vinyl, 7", 45 RPM, Single (HAR 5173): “I Wish It Could Be Christmas Every Day” / “See My Baby Jive.” In a company sleeve. A: “I Wish It Could Be Christmas Every Day” (Roy Wood) – Written-By – Roy Wood – Producer – Roy Wood – Backing Vocals – The Stockland Green Bilateral School First Year Choir, The Suedettes – Other [Additional Noises] – Class 3c, Snob B: “See My Baby Jive” (Roy Wood) – Written-By – Roy Wood – Producer – Roy Wood Notes: Reissue of 2 tracks from 1973. Country Variations: The single released in 1978 was exclusively available in the UK and Ireland, sharing the same catalogue number. UK (Harvest HAR 5173): Released November 10, 1978. Production and Context: Produced by Roy Wood. Recorded in 1973. The lineup: Roy Wood (vocals, multi-instruments), with Wizzard and choirs. “I Wish It Could Be Christmas Every Day” was a glam holiday anthem, while “See My Baby Jive” was a 1973 hit. The 1978 reissue followed Wizzard’s breakup. Later re-recorded in 1981 (with Kempsey Primary School choir) due to lost tapes, reaching No. 41 UK; 1984 version hit No. 23 with 12-inch. Singles Released and Chart Performance “I Wish It Could Be Christmas Every Day” / “See My Baby Jive” was a 1978 reissue: Single Chart Performance: 1978 Release: No chart entry. 1981 Re-recording: No. 41 UK. 1984 Reissue (with 12-inch): No. 23 UK. Legacy and Collectibility: “I Wish It Could Be Christmas Every Day” is a holiday glam staple, with “See My Baby Jive” a jukebox classic. Streams on Spotify via compilations preserve the analog cheer. This single is a must-have for Wizzard fans and Christmas collectors. Have you snagged this Wizzard holiday gem in your vinyl collection? Does it jingle your bells? Share in the comments! Sources Information is drawn from my personal knowledge and supplemented by web sources, including Prince Vault, Discogs, 45cat, AllMusic, Rate Your Music, Wikipedia, BBC Official Charts Company, Billboard Chart History and YouTube What’s the next classic vinyl you’d like to feature? Share in the comments! getting as far as number 23.

Helicopters' Hidden Gem Released as a 7-inch vinyl single in picture sleeve in the UK on October 24, 1980, through Cheapskate Records (catalogue: CHEAP 6)  “Rock City,” by Helicopters Featuring Roy Wood was backed with “Givin' Your Heart Away,” this hard rock track, written and produced by Roy Wood, showcased his enduring riff-driven style during a brief hiatus from his solo career. Recorded as a side project with the Helicopters band, the A-side's urgent guitars and Wood's urgent vocals evoked his Move and Wizzard roots, but it did not chart, reflecting his commercial decline. Issued in a picture sleeve with Wood's signature image, it's a cult favorite for fans of his rock 'n' roll legacy. Single Overview A-Side: “Rock City” (3:45) Written by Roy Wood. B-Side: “Givin' Your Heart Away” (4:20) Written by Roy Wood. Release Details: Label: Cheapskate Records (UK pressing, 45 RPM). Formats: 7-Inch Vinyl (CHEAP 6): “Rock City” / “Givin' Your Heart Away.” In a picture sleeve with band artwork. No cassette or CD formats for this single. Notes: ℗ & © 1980 Cheapskate Records. Recorded at Ridge Farm Studio, Surrey, England, 1980. Matrix numbers (e.g., CHEAP 6 A-1) confirm authenticity. Country Variations The single was a UK release with no confirmed international variations: Production and Context Recorded in 1980 at Ridge Farm Studio, Surrey, England, the single was written and produced by Roy Wood, with the Helicopters lineup: Wood (vocals, guitar), Robin George (guitar), Terry Rowley (keyboards), Jon Camp (bass), and Tom Farnell (drums). The A-side's riff-heavy rock reflected Wood's post-Wizzard phase, while the B-side's melody hinted at his balladry. Released amid the new wave boom, it followed Wood's solo album Super Active Wizzo (1977) and preceded On The Road Again (1980), competing with acts like The Police but finding little traction. Singles Released and Chart Performance “Rock City” was a standalone single, with no additional singles from it: Chart Performance: UK: Did not chart (Official Singles Chart). Note: Wood's earlier hits included “See My Baby Jive” (No. 1, June 1973, 14 weeks) and “Angel Fingers” (No. 1, November 1973, 12 weeks), but “Rock City” marked his commercial dip in 1980. This single is a must-have for Wood completists. Have you snagged this Roy Wood rarity in your vinyl collection? Does “Rock City” riff your turntable? Share in the comments! Sources Discogs: Rock City (1980) Official Charts Company: Roy Wood Singles AllMusic: Roy Wood Discography Wikipedia: Roy Wood Discography RateYourMusic: Helicopters Featuring Roy Wood

released October 4, 1980 as a 7-inch vinyl single on Polydor Records (catalog: POSP 160) "Sixties Man" backed with "Tall Girls" by Sweet was issued to promote their album Sweet VI (also known as Give Us a Wink in some markets), this single marked the band’s shift toward a synth-infused '80s sound, moving away from their classic bubblegum glam of the '70s. Without original vocalist Brian Connolly, it reflected The Sweet’s attempt to stay relevant amid a changing musical landscape, though some fans found its polished production a departure from their raw roots. Single Overview A-Side: "Sixties Man" A nostalgic rocker longing for the '60s era of Woodstock, Strawberry Fields, and Bob Dylan, set against the disillusionment of the '80s. Lyrics like "I'm a sixties man at last, I know it's true / A sixties man at heart like you" capture a yearning for flower power’s lost spirit. Produced for Handle Artists/Handle Music Ltd., it featured the evolving lineup: Andy Scott (guitar/vocals), Steve Priest (bass/vocals), Mick Tucker (drums), and Tony Mills (vocals, replacing Connolly). B-Side: "Tall Girls" A lighter, playful track serving as the flip side, less prominent in reviews but showcasing the band’s signature harmonies and riffs. Produced for Chinebridge Ltd., it complemented the A-side’s reflective tone with a touch of rock swagger. Release Details: Label: Polydor (UK pressing, made in West Germany). Format: 7-inch vinyl, 45 RPM. ℗: 1980 Chinebridge Ltd., with publishing by Sweet Publishing Ltd./Handle Music Ltd. Notes: Some copies, particularly radio promos, included an info sheet. The single followed The Sweet’s '70s hits like "Ballroom Blitz," aiming to bridge their glam legacy with a modern edge. Some copies were mispressed with B-side labels that credit the track "Oh Yeah," but all copies play "Tall Girls." Production and Context Recorded during a period of lineup changes and the rise of new wave, the single’s synth-heavy glam rock sound drew mixed reactions for its "plastic" feel compared to the band’s earlier raw energy. Tony Mills’ vocals altered The Sweet’s classic identity, but Andy Scott’s songwriting kept the tracks rooted in their melodic strengths, blending nostalgia with '80s production trends. Have you got this Sweet single in your vinyl stash? What’s your take on their '80s sound? Share in the comments!

comprising 10 x 7-inch vinyl singles with replica artwork from the European country of each original release, Slade’s "Feel the Noize The Singlez Box", was released in the UK by BMG Records (catalog number BMGCAT356BOX) on September 6, 2019. Background: Slade, formed in Wolverhampton, England, in 1966, is an iconic glam rock band known for their energetic performances, anthemic hits, and distinctive misspelled song titles. Comprising Noddy Holder (vocals), Dave Hill (guitar), Jim Lea (bass), and Don Powell (drums), Slade dominated the UK charts in the early 1970s with six #1 singles and a string of Top 20 hits. Their influence spans punk, heavy metal, and Britpop, with bands like The Sex Pistols, Nirvana, and Oasis citing them as inspirations. Context in 2019: By 2019, Slade’s legacy was being celebrated through reissues, with their classic 1970s singles and albums gaining renewed attention among collectors and fans. The Feel The Noize: The Singlez Box! was part of a wave of archival releases capitalizing on their enduring popularity. Overview: Feel The Noize: The Singlez Box! a strictly limited-edition box set featuring 10 rare internationally released 7" singles, each with replica artwork from the European country of its original release (e.g., France, Belgium, Italy, Spain, Germany). The set spans Slade’s “imperial phase” (1971–1974) and includes a rare UK promo single from 1981. The box set is housed in a lift-off lid box with high-quality cardboard sleeves replicating original 1970s designs. The vinyl is pressed for high sound quality. Tracklisting (with country of origin for sleeve artwork): A1: Coz I Luv You A2: My Life Is Natural (France) Slade's "Coz I Luv You" b/w "My Life Is Natural" was released in the UK as a 7" vinyl single on October 8, 1971 reaching the top spot of the UK Singles Chart on November 27, where it stayed for 4 weeks, spending a total of 14 weeks. For a detailed exploration of the release Coz I Luv You B1: Take Me Bak 'Ome B2: Wonderin' Y (Germany) C1: Mama Weer All Crazee Now C2: Man Who Speeks Evil (France) D1: Gudbuy T' Jane D2: I Won't Let It 'Appen Agen (Germany) E1: Cum On Feel The Noize E2: I'm Mee, I'm Now, An' That's Orl (Italy) F1: Skweeze Me, Pleeze Me F2: Kill 'Em At The Hot Club Tonite (France) G1: My Friend Stan G2: My Town (Spain) H1: Everyday H2: Good Time Gals (Belgium) I1: Far Far Away I2: O.K . Yesterday Was Yesterday   (France) J1: Night Starvation J2: When I'm Dancin' I Ain't Fightin' (UK, rare promo) single from 1981. Written by Noddy Holder and Jim Lea. Produced by Slade. Originally from the 1981 album *Till Deaf Do Us Part*, this track is a high-energy rock number reflecting Slade’s heavier sound during their early 1980s resurgence. It was not commercially released as a 7" single at the time, making its inclusion in this box set significant for collectors.

Cannibal shock exclusive – who devoured Alice?! two-page article in New Musical Express, February 15, 1975.

Rod’s Mod Soul Dawn released as a 7-inch vinyl single in the UK on November 19, 1965, on Columbia (catalogue: DB 7766) Rod Stewart’s “The Day Will Come” was Backed with “Why Does It Go On,” this soulful mod-pop and brooding B-side (both composed by Barry Mason, arranged by Reg Guest), were issued in black label commercial and white label demo variants. No UK chart entry. Issued in four-prong push-out centre, black or white labels with large A and “DEMONSTRATIONAL NOT FOR SALE,” it’s a rare ‘65 pre-fame reissue pair. Single Overview A-Side: “The Day Will Come” Composer – Barry Mason. Arranger – Reg Guest. B-Side: “Why Does It Go On” Composer – Barry Mason. Arranger – Reg Guest. Label: Columbia (UK pressing, 45 RPM). Record Company – The Gramophone Co. Ltd. Published By – E. H. Morris & Co. Four prong push out centre. UK Formats: Vinyl, 7" Single Commercial (DB 7766) Black printed labels, four prong push out. Vinyl, 7" Single Demonstrational (DB 7766) White printed labels, four prong push out, large A on one side, “DEMONSTRATIONAL NOT FOR SALE” printed on both sides. FOR THE RECORD AN BIOGRAPHY I ROD STEWART FORMER ALDERMASTON marcher, beatnik, busker, soccer player, sign writer now singer. ROD STEWART has packed quite a bit of activity into his 20 years, but he looks forward now to security, marriage and a happy home. DESCRIBING himself as "happy-go-lucky but scared of growing old", Rod's attitude to life is to try anything once if it means bringing him some kind of reward: "After all, you only live once." HIS reward after busking all over the Continent a couple of years ago was experience. He had been working with his brother as a sign writer and also attended art school. After two years he decided to leave. "I left London and went to Paris with folk singer Wizz Jones. It was in a Paris club I met Memphis Slim. I went all over France and Spain on 23, not bad going. It was pretty rough sometimes and in Barcelona we used to sleep under the arches of the football stadium. France, however, was better. We could make 50 francs an hour in St. Tropez." ALL 'good' things come to an end though and the roving buskers were arrested for vagrancy and sent home by the British Consul. Rod came home to more trouble after he joined about 20 beatniks living on a derelict houseboat at Shoreham. "It was great fun there and again came under the heading of experience. We used to cook stew in a dustbin it was a new one though. But all the greybeards in the area didn't like the idea of us not working and so got the police to drive us out with cold water hoses. Then they towed away the barge so we wouldn't be able to go back". THIS episode in Rod's life happened about 22 years ago. Mean-while, he was earning his keep playing soccer semi-professionally with Brentford (he turned down offers to be fully professional) and singing with Jimmy Powell and The Five Dimensions. A keen football player, Rod has several times been asked to appear with the Show Biz Xl. As yet he has never had the time. WHEN Long John Baldry tock over the late Cyril Davies' Rhythm and Blues All Stars he asked Rod to be second vocalist - an offer immediately accepted. Rod now tours all over the country with The Steam Packet, comprising himself, Long John Baldry, Brian Auger and Julie Driscoll. SOME personal facts about Rod Stewart:- Born in London on January 10, 1945. Real name Roderick David Stewart. Has blond hair, brown eyes, is 6ft tall. Plays 12 and 6 string guitar, harmonica, banjo, mandolin. Likes the singing of Billie Holliday, Bobby Bland, Frank Sinatra, Nancy Wilson, Al Jolson ("I have all his record"). Also likes the music of Buddy Rich, Gerry Mulligan, The Rolling Stones. Ambition is to sing with Count Basie Orchestra. FIRST E.M.I. record by ROD STEWART is "THE DAY WILL COME"/"WHY DOES IT GO ON". Both Barry Mason compositions, the disc (Columbia D57766) was released on November 19, 1965. With the compliments of: Martin Ross, Press Office, E.M.I. RECORDS (Hunter 4488) NOVEMBER 1965. Country Variations: The single was a UK exclusive UK (Columbia DB 7766) Released November 19, 1965. 7-inch (commercial black label, demo white label). Production and Context Early solo debut by 20-year-old Rod Stewart, pre-Faces/Jeff Beck. Mod-soul sound with Mason’s songwriting and Guest’s orchestration. Recorded at EMI Studios. First of two Columbia singles before Decca switch. Chart Performance: No UK chart entry. Legacy and Collectibility “The Day Will Come” is raw mod-soul gold, “Why Does It Go On” a moody deep cut. Original UK black label vinyls fetch £30–£60 on eBay/Discogs, white demo labels (£80–£150). Verify large A and “DEMONSTRATIONAL” text. Streams rare; appears on early Rod compilations. This pre-stardom gem is a must-have for Rod Stewart collectors and ‘65 mod fans. Have you heard young Rod’s soulful debut? Does “Why Does It Go On” still haunt your playlist? 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.

Capers Proto Glam Chaos Mott The Hoople’s album Brain Capers was released as an vinyl and cassette in the UK on November 19, 1971, on Island Records (catalogue: ILPS 9178 / ZCI 9178). This raw hard-rock assault—featuring originals, covers, and Jim Price trumpet (produced by Guy Stevens), was issued in three vinyl variants (E.J. Day & Howards Printers) with Porky/Pecko cuts and initial mask. No UK chart entry. Issued in pink rim/palm tree labels, matt cover with pinched spine, inner sleeve with fighter planes, and cassette, it’s a chaotic ‘71 glam-proto-punk reissue blast. Album Overview Vinyl LP (ILPS 9178) Side A Death May Be Your Santa Claus (Hunter, Allen) – 4:48 Your Own Backyard (Dimucci) – 4:12 Darkness Darkness (Young) – 4:03 The Journey (Hunter) – 8:31 Side B Sweet Angeline (Hunter) – 5:13 Second Love (Allen) – Trumpet: Jim Price – 3:48 The Moon Upstairs (Hunter, Ralphs) – 5:13 The Wheel Of The Quivering Meat Conception (Stevens, Hunter) – 2:07 (actual ~1:17) Cassette(ZCI 9178) Side A Death May Be Your Santa Claus (Written-By – Hunter, Allen) – 4:48 Your Own Backyard (Written-By – Dimucci) – 4:12 Darkness Darkness (Written-By – Young) – 4:03 The Journey (Written-By – Hunter) – 8:31 Side B Sweet Angeline (Written-By – Hunter) – 5:13 Second Love (Written-By – Allen) – Trumpet – Jim Price – 3:48 The Moon Upstairs (Written-By – Hunter, Ralphs) – 5:13 The Wheel Of The Quivering Meat Conception (Written-By – Stevens, Hunter) – 2:07 Full track repeat both sides. Printed by E.J. Day Group. Release Details: Label: Island Records (UK pressing). Record Company – Island Records Ltd. Published By – Blue Mountain Music (A1, A4, B1–B4), Pigfoot Music (A2), Wedge Music / Fatzach Music (A3). Engineer – Andy Johns. Lacquer Cut By – Porky (A), Pecko (B). Photography By – Richard Polak. Producer – Guy Stevens. Sleeve – Bizarre Damage. Printed By – E.J. Day Group / Howards Printers (Slough) Ltd. Pressed By – The Gramophone Co. Ltd. ℗ 1971. Dedicated to James Dean. Initial copies include black mask. Matt cover, pinched spine, flipback inner with fighter planes (UK). UK Variants: Vinyl, LP, Album Porky/Pecko, E.J. Day, Label Variant (ILPS 9178 / ILPS-9178) ILPS 9178 on cover/spine, ILPS-9178 on labels. Different label layout. Runouts: A-1U GL 2 PORKY / B-1U RR 2 PECKO. Vinyl, LP, Album Porky/Pecko, E.J. Day (ILPS 9178 / ILPS-9178) Runouts variant 1: A-1U H 1 Porky / B-1U GA 2 Pecko. Variant 2: A-1U GG 1 Porky / B-1U T 1 Pecko. Vinyl, LP, Album Porky/Pecko, Howards Printers (ILPS 9178 / ILPS-9178) A-1U/B-1U runouts. A2 credit Dimucci only. Top-opening thick paper flipback inner. Title: MOTT THE HOOPLE - Featuring the Brain Caper Kids - BRAIN CAPERS. Country Variations: Australia - Island - 1971 Canada - Island - 1971 Germany - Island - 1971 New Zealand - Island - 1971 Spain - Island - 1971 USA - Atlantic - 1972 Production and Context: Produced by Guy Stevens. Recorded after self-produced sessions abandoned. Early working titles: AC/DC, Brain Damage, Bizarre Capers → Brain Capers. Only Mott album to miss UK/US charts. UK/Canadian covers lack mask (included inside UK). US has mask on cover. A2 credit varies (Dimucci / Dimucci-Safci / Dimucci-Fasci). B4 listed 2:07, actual ~1:17. Chart Performance: No UK chart entry. Legacy and Collectibility Brain Capers is raw proto-punk hard rock chaos—Hunter rants, Ralphs riffs, Stevens madness. Original UK pink rim LPs with mask fetch £50–£150 on eBay/Discogs, E.J. Day variants (£80–£200), Howards Printers (£60–£120), cassettes (£15–£40). Verify Porky/Pecko, runouts, and mask. Streams on Spotify via remasters. This unhinged gem is a must-have for Mott fans and ‘71 glam-punk collectors. Have you unmasked this Mott chaos yet? Does “The Journey” still take you on a wild ride? 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. ---

Slade’s Kamikaze Waltz released as a 7-inch vinyl single in the UK on November 19, 1982, Slade’s “(And Now - The Waltz) C’est La Vie” on RCA (catalogue: RCA 291 / PB 68015) was backed with “Merry Xmas Everybody (Live & Kickin’)” by Slade & The Assorted Nutters Choir, this sweeping ballad and raucous live B-side (both written by Lea, Holder), were issued as the lead single from The Amazing Kamikaze Syndrome (and later Keep Your Hands Off My Power Supply ). It peaked at No. 50 on the UK Singles Chart for 7 weeks. Issued in standard, German, Dutch, Australian, Irish, and Irish mispress variants, mastered by Porky, it’s a dramatic ‘82 glam reissue pair. Single Overview A-Side: “(And Now - The Waltz) C’est La Vie” Written-By – Lea, Holder. Producer – Jimmy Lea (for Perseverance Ltd.). B-Side: “Merry Xmas Everybody (Live & Kickin’)” Written-By – Lea, Holder. Producer – Slade. Performed with The Assorted Nutters Choir. Release Details: Label: RCA (UK pressing, 45 RPM). Paper Four-Prong Phonographic Copyright ℗ – RCA Ltd. Copyright © – RCA Ltd. Published By – Whild John Music Ltd. (A), Barn Publishing (Slade) Ltd. (B). Marketed By – RCA Ltd. Produced For – Perseverance Ltd. Mastered By – Porky (5). Picture Sleeve ©1982 RCA Ltd. UK Formats: Vinyl, 7" Single RCA – RCA 291, PB 68015 Standard release as above Released November 19, 1982. 7-inch standard. Country Variations: The single was released in several countries, all commercial, with the same tracks Germany (RCA PB 68015) Vinyl, 7", 45 RPM, Single, Stereo. Picture Sleeve Netherlands (RCA RCA-291) Vinyl, 7", 45 RPM, Single, Stereo. Picture Sleeve Australia (RCA Victor 104099 / RCA 104099) Vinyl, 7", Single, 45 RPM. Company Sleeve Ireland (RCA RCA 291 / PB 68015) Vinyl, 7", 45 RPM, Single. Company Sleeve Ireland (RCA RCA 291 / PB 68015) Vinyl, 7", 45 RPM, Single, Mispress – B-side label present but no track cut (some correct versions exist). Company Sleeve Production and Context Produced by Jimmy Lea (A, for Perseverance Ltd.) and Slade (B). Lead single from The Amazing Kamikaze Syndrome (1983) and US counterpart Keep Your Hands Off My Power Supply (1984). A-side a dramatic waltz-ballad, B-side a live festive anthem with choir. Kerrang! called it “indispensable,” Sounds praised its “sweeping grandeur” and “festive fury.” Chart Performance: UK: No. 50 (Official Singles Chart), charting for 7 weeks. Entry Date: November 27, 1982. Peak: No. 50 (December 4, 1982). Weeks on Chart: 7 (Nov 27, 1982 – Jan 8, 1983). Chart Run: No. 67 (Nov 27), No. 50 (Dec 4), No. 55 (Dec 11), No. 56 (Dec 18), No. 64 (Dec 25), No. 64 (Jan 1), No. 85 (Jan 8). Legacy and Collectibility “C’est La Vie” is a soaring glam ballad, “Merry Xmas Live” pure holiday chaos. Original UK 7-inch vinyls fetch £3–£8 on eBay/Discogs, Irish mispress (£15–£30). Verify Porky mastering and mispress B-side. Streams on Spotify via The Amazing Kamikaze Syndrome . This waltz-to-festive romp is a must-have for Slade ballad and live fans. Have you waltzed to this Slade C’est La Vie? Does the live Xmas still bring the house down? Share in the comments! Sources Information is drawn from my personal knowledge and supplemented by web sources, including Discogs, 45cat, AllMusic, Rate Your Music, Wikipedia, BBC Official Charts Company, Billboard Chart History and YouTube.

Stewart’s Sing It Again re-released as a 7-inch maxi-single in the UK on November 19, 1976 on Mercury (catalogue: 6160 006) Rod Stewart’s “Maggie May” was backed with “You Wear It Well” and “Twistin’ The Night Away,” this timeless folk-rock anthem and double B-side all from the album Sing It Again Rod , were issued in an accordingly shaped Picture Sleeve in beige/light blue injection moulded variants and Irish pressing. It peaked at No. 31 on the UK Singles Chart for 5 weeks. Issued in beige solid centre, light blue label, large centre, and Irish black labels, it’s a classic ‘76 reissue trio. Single Overview A-Side: “Maggie May” Written-By – M. Quittenton, R. Stewart. B1-Side: “You Wear It Well” Written-By – M. Quittenton, R. Stewart. B2-Side: “Twistin’ The Night Away” Written-By – S. Cooke. Release Details: Label: Mercury (UK pressing, 45 RPM). Published By – Chappell & Co. (A, B1), G.H. Music Ltd. (A, B1), Essex Music International Ltd. (B2). ℗ 1972. All tracks from the album *Sing It Again Rod* (6499 484). UK Formats: Vinyl, 7" Maxi-Single Beige Injection Moulded Solid Centre, Picture Sleeve (6160 006) Vinyl, 7" Maxi-Single Beige Injection Moulded Large Centre, Picture Sleeve (6160 006) Vinyl, 7" Maxi-Single Light Blue Injection Moulded Solid Centre, Picture Sleeve (6160 006) Country Variations: The single was released in several countries: UK (Mercury 6160 006) Released November 1976. 7-inch maxi (beige solid, light blue, beige large centre). Ireland (Mercury 6160 006) Vinyl, 7", 45 RPM, Maxi-Single. Solid centre black printed labels. Made in the Republic of Ireland. Production and Context All tracks originally ℗ 1972, reissued from Sing It Again Rod compilation. “Maggie May” and “You Wear It Well” co-written with Martin Quittenton, “Twistin’ The Night Away” a Sam Cooke cover. Classic Stewart blend of folk, rock, and soul. Chart Performance: UK: No. 31 (Official Singles Chart), charting for 5 weeks. Entry Date: December 4, 1976. Peak: No. 31 (December 18, 1976). Weeks on Chart: 5 (Dec 4, 1976 – Jan 1, 1977), plus re-entry Jan 15, 1977. Chart Run: No. 47 (Dec 4), No. 39 (Dec 11), No. 31 (Dec 18), No. 36 (Dec 25), No. 36 (Jan 1), [re-entry] No. 41 (Jan 15). Legacy and Collectibility “Maggie May” is an evergreen folk-rock masterpiece, “You Wear It Well” a reflective sequel, “Twistin’” pure dancefloor joy. Original UK beige solid centre vinyls fetch £3–£8 on eBay/Discogs, light blue label (£8–£15), large centre (£5–£10), Irish black labels (£10–£20). Verify catalogue 6160 006 and label colour/centre. Streams on Spotify via Sing It Again Rod playlists. This maxi reissue is a must-have for Rod Stewart fans and ‘70s rock collectors. Have you spun this Maggie May maxi yet? Does “Twistin’ The Night Away” still get you moving? 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.

Slade take their Flame soundtrack on the road – feel the burn! one-page advert in New Musical Express, February 15, 1975.

A Slade Dancefloor Resurrection released in the UK on November 15, 1988, Slade’s “Let's Dance (1988 Remix)” 7-inch vinyl single on Cheapskate Records (catalogue: BOYZ 3) was backed with “Standing On The Corner,” this remixed stomper, composed by Jim Lea and produced by James Lea, revived Chris Montez’s 1962 hit (written by Jim Lee, #4 US Hot 100, #2 UK). Montez’s original—featuring Joel Hill (guitar), Ray Johnson (Philicorda organ), Ray Pohlman (bass), Jesse Sailes (drums)—was re-released in 1972 with “Will You Love Me Tomorrow” (later swapped for “You're the One”), hitting top 5 in UK/Germany again and title track of Montez’s 1972 album. The A-side’s updated beat and Holder/Lea energy entered the UK Top 200 at No. 152 for 1 week on December 10, 1988. Issued in a standard sleeve, with a UK-exclusive mini-CD variant featuring Far Far Away and How Does It Feel, it’s a nostalgic Cheapskate gem. Single Overview A-Side: “Let's Dance (1988 Remix)” (Jim Lea) Composer – Jim Lea. Producer – James Lea. B-Side: “Standing On The Corner” (Jim Lea, Noddy Holder) Composer – Jim Lea, Noddy Holder. Producer – James Lea. Release Details: Label: Cheapskate Records (UK pressing, 45 RPM). Formats: Vinyl, 7" , 45 RPM (BOYZ 3): A: “Let's Dance (1988 Remix)” (Jim Lea) – Producer – James Lea B: “Standing On The Corner” (Jim Lea, Noddy Holder) – Producer – James Lea CD, Mini , Single (BOYZ CD3): “Let's Dance (1988 Remix)” (2:40) – Written-By – J. Lea – Producer – Jim Lea “Far Far Away” (3:36) – Written-By – Lea, Holder “How Does It Feel” (5:53) – Written-By – Lea, Holder “Standing On The Corner” (4:52) – Written-By – Lea, Holder Phonographic Copyright ℗ – Cheapskate Records – Copyright © – Cheapskate Records – Licensed From – BMG/RCA – Published By – Barn Publishing (Slade) Ltd. / Chappell Morris Ltd. – Glass Mastered At – DADC Austria – Sleeve – Intro – UK exclusive with adapter J-card. Country Variations The single was a UK exclusive release: UK (Cheapskate BOYZ 3 / BOYZ CD3): Released November 15, 1988. 7-inch, mini-CD. Production and Context Produced by James Lea. Recorded in 1988. The lineup: Noddy Holder (vocals), Dave Hill (guitar), Jim Lea (bass), Don Powell (drums). “Let's Dance (1988 Remix)” revived Chris Montez’s 1962 hit (Jim Lee composition, Monogram Records; Joel Hill guitar, Ray Johnson Philicorda organ, Ray Pohlman bass, Jesse Sailes drums; #4 US Hot 100, #2 UK; 1972 reissue top 5 UK/Germany, title track of Montez album). “Standing On The Corner” a new Lea/HOLDER cut. Released amid Slade’s ‘80s revival, it followed You Boyz Make Big Noize (No. 98 UK, 1987) Chart Performance: UK (Top 200): No. 152 (1 week). Entry Date: December 10, 1988. Peak: No. 152. Weeks on Chart: 1. Chart Run: No. 152 (Dec 10). Legacy and Collectibility “Let’s Dance (1988 Remix)” is Slade’s glam revival stomp, with “Standing On The Corner” a solid B-side. Original UK 7-inch vinyls, mini-CD (Price Guide: £30). Verify catalogue BOYZ 3. Streams on Spotify via compilations preserve the analog kick. This single is a must-have for Slade fans and ‘80s glam collectors. Have you snagged this Slade remix in your vinyl collection? Does Let's Dance dance you? 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.

Blackfoot Sue drop glam-pop gold – turn it up! produced by Noel Walker, available on JAM-JAM 29, distributed by Pye Records (Sales) Ltd., a one-page advert in Melody Maker and Sounds, November 18, 1972.

hold the front page – full colour chaos, no make up! cover of Record Mirror, November 18, 1972.

Beck's blazing guitar meets – but trouble brews in the band! one-page in Sounds, November 18, 1972

Roxy bring art-rock elegance to Manchester's Hardrock! concert review in Sounds, November 18, 1972. IT WAS quite a relief to find a full hall when I got to the Manchester Hardrock Thursday night. In fact it was quite a relief to find the Hardrock at all after a long grind up the M1/M6 and through the suburbs of Manchester in the pouring rain but that's the road for you. ROXY A NICE TOUCH TOUCH Last time I was at the Hardrock there weren't many people there at all, and the atmosphere was a little flat and desultory; but this time there was energy in the air half the hall full of people in seats, quiet but expectant, the other half jammed with people squatting on the floor, rather rowdier and screaming for Eno. It's easy to forget how important an audience is to how a band performs especially when you trek round to a lot of gigs in the role of reviewer. People expect that by tradition you are impartial and objective, but it's virtually impossible to take account of the music in isolation at a gig, and I'm sure if Roxy had been able to play in exactly the same way to a smaller and less responsive audience I wouldn't have en-joyed them half as much. Of course, they wouldn't have played the same way, SO there's that to take into account too. But anyway, what I'm' trying to say was that it was good to find the Hardrock determined to enjoy its night out, and to find Roxy willing and able to supply what they wanted. I got there just ahead of the band, milled around for a while until the strains of their introduction music which is a beautiful piece to use, lured me into the concert arena. They sound better every time I hear them, and as I'm sure I've said before, a few months on the road has given them a sureness and tightness of feel that has changed them from a rather loose bunch of musicians with a lot of ideas, into an imaginative band. The songs now come over much stronger than they do on the album, and stronger than on other gigs I've seen. And they're looking good well groomed, ex-pensively dressed, and lavishly made-up, they have a sense of style that transcends the tatty, cheapscate "glamour" many of their contemporaries have adopted. Bryan Ferry takes one end of the stage dark colours, wide shoulders, SO and traditional rock and roller's mannerisms facing outwards over his keyboards and occasionally dancing out into the centre of the stage. The other side belongs to Eno and his table of devices he looks brighter, with streaked blonde hair, wide braces, a hunched stance, and a rather seedier image. The band are between them both in position and appearance. The PA couldn't quite cope it had a lack of that night definition that in places gave your imagination more work than your ears and the effect of the lighting seemed to be a little low-key, but there was a lot to enjoy. The numbers were familiar things like "Would You Believe", Ladytron", “2 HB", "If There Is Something", "The Bob" and "Sea Breezes" and they know what they're doing as far as running orders are concerned. "Re-Make/Re-Model" ended the set, with everyone getting a little blow in the stop-time breaks, but they hadn't done "Virginia Plain" by then, so an encore was inevitable. Bryan's mock surprise was a nice touch, but they would have got called back anyway. ROXY MUSIC, Manchester Report by Steve Peacock

Rod & the boys bring boozy rock mayhem to London! article in Sounds, November 18, 1972.

Slade smash the 'dumb rockers' myth wide open! Jim Lea – “Jointly responsible for the group's original material” – in Sounds, November 18, 1972.

Slade spark total teen hysteria – black marias needed for escape! cover insert in Record Mirror, November 18, 1972. AT THE Winter Gardens, Bournemouth last week Slade found themselves in the centre of fan mania. To escape after their perform-ance the group used a black maria as a decoy vehicle and travelled in a second black maria to get them to safety. As all of the concerts have been sell-outs, Slade decided to give more fans a chance of obtaining tickets for their Bristol concert by making them available by post. Slade are set to visit Australia for a 15-day tour in the new year, and a visit to Japan is being considered. Meanwhile their fame is building throughout Europe with their sustained German tour and offers are flooding in from France, Italy, Spain, Sweden, Germany and Holland, as well as from behind the Iron Curtain in Yugoslavia. When Slade appeared at the Paris OΙympia they were called back on stage by police so that they could calm the frenzied audience. An excitable crowd also saw the group work at the Rainbow last weekend, when Wayne, Merrill and Alan Osmond also watched the show.

Alice brings theatrical chaos to Glasgow – pure shock rock mayhem! "Group’s Don't Kill Him", concert review in Record Mirror, November 18, 1972.

Zappa's ex-Turtles unleash satirical mayhem! one-page article titled “Mark & Howard: Leach and Eddy” in Sounds magazine, November 18, 1972.

Bowie’s early masterpieces resurface – grab The Man Who Sold The World while you can! one-page review of Space Oddity (RCA LSP 4813) and The Man Who Sold The World (RCA LSP 4816) in Sounds, November 18, 1972. DAVID BOWIE: "SPACE ODDITY" (RCA LSP 4813). "THE MAN WHO SOLD THE WORLD" (RCA LSP 4816). TWO OLD Mercury albums one with its original title, but with the "Man Of Words, Man Of Music" album retitled "Space Oddity" - have been repackaged and put out on Bowie's current label with new image pictures, glossy posters, and daft sleeve notes and would appear to have been written by an accountant with a thesaurus. But no matter, the music is the message as they say, and that's what you buy albums for, isn't it? I never did like the "Man Of Words, Man Of Music" album a lot: it sounds a little scrappy and hurriedly put together, with words from Bowie that do him much less than justice sloppy love songs like "Letter To Hermione" and a lot of clever word play that doesn't add up to a lot. There are some fine lines though, like ". you're the gleam in your banker's spleen", but the total effect is less than shattering. Musically it's slightly un-together, despite the presence of some excellent people like Keith Christmas, Tim Ren-wick, Honk, Rick Wakeman and Paul Buckmaster. I like the "Space Oddity" track, be-cause it's such a good treatment of a simple idea, a per-fect single, and also the last track "Memory Of A Free Festival", basically for the same reasons. "Man Who Sold The World" is altogether a different matter, and for me it rates with "Hunky Dory" as the justification of all the praise that's been heaped on Bowie's head so far; I thought "Ziggy Stardust" was going to have the power and depth of this, but it didn't, and I was thus disappointed. Whereas on "Man Of Words" Bowie used different people for different tracks, this one uses Mick Ronson and Mick Woodmansey (now Spiders), with producer Tony Visconti on bass throughout, and this gives it a unity and fluidity in sound as well as in concept. The album has some of Bowie's most amazing songs perception and fine craftsmanship tempered by a wry sense of humour. If you didn't pick up on songs like "All The Madmen", "Saviour Machine", "The Man Who Sold The World" and "The Supermen" the first time around, here's your chance. This is the one, really. - SP.

Slade turn the hall into a football terrace – total pandemonium! a Nod’s as good as a wink, concert review in Disc, November 18, 1972.

Alice survives knives & execution – Glasgow goes wild for shock rock! cover insert and one-page Glasgow Green's Playhouse concert review in Sounds, November 18, 1972. NIXON OUT elect Alice! The cry went up from a thousand teenage Scottish hearts as Alice Cooper, having survived a knife fight, and an execution came dancing back in white top hat and tails to sing his hit single to a packed and raving audience at Green's Playhouse, Glasgow. It was the final performance of "Killer" -again. Alice had all his licks down, even the snake charming number when the snake was on stage, licks was certainly the right word.

Rod Stewart & the Faces hit the road with blues legend Long John Baldry! one-page tour advert in Melody Maker, November 17, 1973.

All thumbs for the new single – it's a Slade of approval! one-page advert in Melody Maker, November 18, 1972.