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David Bowie’s glam‑era farewell single, backed with a Ziggy‑era classic. 🔘 – Overview Released on February 14, 1974, Rebel Rebel marked David Bowie’s final major glam‑rock statement before the theatrical darkness of Diamond Dogs. Issued in the UK as a 7-inch single on RCA Victor (LPBO 5009), the track is built around one of Bowie’s most iconic riffs — a swaggering, Stones‑esque hook that became a defining anthem of the era. Backed with “Queen Bitch”, the single arrived during Bowie’s transition away from the Ziggy persona, yet still carried the flamboyance and attitude of his early‑70s work. The song became one of Bowie’s most‑covered compositions and is widely regarded as a proto‑punk milestone. Two versions were recorded: the UK single mix and a shorter US mix featuring additional backing vocals, percussion, and arrangement changes. 🔘 – Track List UK 7" Single — RCA Victor LPBO 5009 — 1974 A Rebel Rebel — 4:22 B Queen Bitch — 3:14 🔘 – Variants Single Stereo, US Pressing — RCA Victor – LPB05009 — 7", 45 RPM UK — 1974 Single Stereo, US Pressing — RCA Victor – LPB05009 — 7", 45 RPM UK — 1974 Single Promo — RCA – LPBO 5009 — 7", 45 RPM UK — 1974 Single Stereo, French Pressing, Solid Centre — RCA Victor – LPBO 5009 — 7", 45 RPM UK — 1974 🔘 – Chart Performance UK — Peak No. 5 · 7 Weeks on Chart (1974) (Official Singles Chart) Pos 06 February 23, 1974 Pos 05 ↑ March 2, 1974 Pos 05 ← March 9, 1974 Pos 13 ↓ March 16, 1974 Pos 16 ↓ March 23, 1974 Pos 36 ↓ March 30, 1974 Pos 47 ↓ April 6, 1974 🔘 – Context & Notes • Written and produced by David Bowie • Released as the lead single from Diamond Dogs • Trademark Owner: RCA Corporation • Record Companies: GEM, Mainman • Published by Mainman and Chrysalis • ℗ RCA Ltd. / RCA Records • Released in a generic RCA Victor sleeve • US single mix differs from UK version (shorter, added vocals/percussion) • Widely regarded as Bowie’s farewell to glam rock • One of Bowie’s most‑covered songs 🔘 – Visual Archive David Bowie’s Rebel Rebel (1974), issued on RCA Victor as Label: Country: Germany Catalogue: 74-16 398 🔘 – Related Material • Explore the tags below for connected posts and themes 🔘 – Discography Diamond Dogs — 1974 Rebel Rebel — 1974 Rock ’n’ Roll Suicide — 1973 🔘 – Mini‑Timeline ✦ Feb 14, 1974 — Rebel Rebel released in the UK ✦ Spring 1974 — US single issued with alternate mix ✦ May 1974 — Diamond Dogs album released ✦ 2016 — Song remastered for Who Can I Be Now? box set 🔘 – Glam Flashback Rebel Rebel is Bowie at the crossroads — one foot still in glitter, the other stepping into the dystopian theatre of Diamond Dogs. The riff struts, the attitude sneers, and the whole track feels like a final, glorious spark from the glam era he helped define. It’s a goodbye and a provocation all at once. 🔘 – Closing Notes A defining Bowie single, Rebel Rebel stands as both a glam‑rock anthem and a proto‑punk blueprint, capturing the moment Bowie shed one skin and prepared to unveil another. 🔘 – Sources & Copyright Primary reference sources: Discogs, Official Charts Company, RCA Records, Wikipedia. All original text and images remain the copyright of their respective publishers and creators. Presented for historical, educational, and archival purposes. 🔘 #ReleaseChronicle #DavidBowie #RebelRebel #GlamRock #DiamondDogs #1974

A one‑page Disc advert promoting The Sensational Alex Harvey Band’s new single. 📰 Excerpt A striking full‑page advert announcing “The Faith Healer,” positioning Alex Harvey and his band as theatrical, dangerous, and utterly magnetic — a five‑star single from one of rock’s most unpredictable live acts. 📰 Key Highlights • Full‑page Disc advert dated February 16, 1974 • Promotes the single “The Faith Healer” b/w “St Anthony” • Branded as a “5 Star single from The Man and The Band” • Features album plugs for Next… and Framed • Strong Vertigo/Phonogram branding • Iconic performance imagery capturing Harvey’s stage persona 📰 Overview Published in Disc on February 16, 1974, this advert promotes The Sensational Alex Harvey Band’s single “The Faith Healer”, released on Vertigo. The design blends bold typography, theatrical photography, and cross‑promotion for the band’s albums Next… and Framed, presenting Harvey as a commanding, enigmatic figure at the centre of the band’s growing cult reputation. 📰 Source Details Publication: Disc Date: February 16, 1974 Issue: One‑page advert Provenance Notes: Vertigo/Phonogram promotional advertisement for the single “The Faith Healer.” 📰 The Story The advert presents “The Faith Healer” as a major moment for The Sensational Alex Harvey Band — a single bold enough to earn the tagline “5 Star single from The Man and The Band.” The imagery reinforces Harvey’s reputation as one of rock’s most theatrical frontmen: arms outstretched, body tense, a microphone suspended before him like a ritual object. It’s a visual that captures the band’s blend of menace, humour, and cabaret‑infused rock. Vertigo’s branding is prominent, signalling the label’s confidence in the track. Alongside the single, the advert promotes the band’s albums Next… (6360 103) and Framed (6360 081), positioning “The Faith Healer” not just as a standalone release but as part of a broader creative surge. By early 1974, SAHB had built a reputation for explosive live shows, and the advert leans into that mythology — Harvey as preacher, showman, and provocateur. The choice of imagery and typography reflects the band’s identity: gritty, theatrical, and slightly surreal. It’s less a sales pitch and more an invitation into Harvey’s world — a place where rock performance borders on performance art, and where a single like “The Faith Healer” feels like both a song and a ceremony. 📰 Visual Archive 📰 Related Material Explore the tags below for connected posts and themes 📰 Closing Notes This advert captures The Sensational Alex Harvey Band at their most iconic — theatrical, intense, and impossible to ignore. “The Faith Healer” stands as one of their defining recordings, and this striking promotion reflects the band’s unique place in 1970s rock. #AlexHarvey #SAHB #TheFaithHealer #DiscMagazine #1974 #VertigoRecords #GlamRock #UKPress 📰 Sources • Disc magazine, February 16, 1974 • Vertigo/Phonogram promotional materials • Contemporary SAHB press coverage

A one‑page Disc feature profiling Roy Wood after being voted Top Musician of the Year. 📰 Excerpt A candid, funny, and revealing interview with Roy Wood at the height of Wizzard’s success, exploring his self‑taught approach to music, his expanding creative projects, and the whirlwind of ideas driving him into 1974. 📰 Key Highlights • Roy Wood voted Top Musician of the Year in the Disc Music Poll Awards • Self‑effacing reflections on musicianship and songwriting • Details on new Wizzard lineup and upcoming releases • Mentions the single “Rock and Roll Winter” and the album Introducing Eddy and the Falcons • Reveals plans for a solo album, film, and musical • Captures Wood’s humour, ambition, and creative drive 📰 Overview Published on February 16, 1974, this Disc magazine feature captures Roy Wood immediately after winning the Disc Music Poll Award for Top Musician of the Year. Written by Rosemary Horide, the article blends humour, humility, and insight into Wood’s creative process, his work with Wizzard, and his ambitious plans for the year ahead. 📰 Source Details Publication: Disc Date: February 16, 1974 Issue: One‑page article Provenance Notes: Poll‑award feature and interview with Roy Wood by Rosemary Horide. 📰 The Story The article opens with Roy Wood’s typically modest reaction to being named Top Musician of the Year : “They must be mad!”  he laughs, brushing off the accolade with the same self‑effacing charm that defined his public persona. Despite arranging for brass, strings, and woodwind, Wood insists he doesn’t consider himself a musician at all. “I don’t read music… I just play by ear,”  he says, adding that he doesn’t even know the names of the chords he uses. Horide points out the contradiction: Wood may deny being a musician, but he is the architect of Wizzard’s sound — writing, arranging, producing, and shaping the group’s elaborate, technicolour pop. Wood acknowledges this dynamic with characteristic humility: “I fall back on the others in Wizzard, and they fall back on me.” At the time of the interview, Wizzard were rehearsing a new lineup featuring female vocalists, with Wood writing and arranging material specifically for their voices. He previews the upcoming single “Rock and Roll Winter” , calling it catchy and upbeat, and discusses the soon‑to‑be‑released concept album Introducing Eddy and the Falcons , which he describes as a long‑gestating project he’s proud of. Wood also reveals a flurry of future plans: a more serious solo album, a film idea, and even a stage musical based on his songs. Yet he stresses he has no intention of leaving Wizzard: “There’s very little chance of me going solo. I like working with the group.” The article closes with Wood reflecting on the year ahead — optimistic, grateful to fans, and eager to keep creating. His final sentiment captures the tone of the piece: “I want to make good music and entertain people. I think that’s the most important thing.” 📰 Visual Archive Roy Wood interviewed in Disc, February 16, 1974, after being voted Top Musician of the Year. 📰 Related Material Explore the tags below for connected posts and themes 📰 Closing Notes This feature captures Roy Wood at a moment of peak creativity — juggling Wizzard, new projects, and ambitious artistic plans, all while maintaining his trademark humour and humility. A vivid snapshot of one of glam pop’s most inventive figures. #RoyWood #Wizzard #DiscMagazine #1974 #GlamRock #UKPress #MusicPollAwards 📰 Sources • Disc magazine, February 16, 1974 • Contemporary Wizzard promotional materials • Early 1974 Roy Wood press interviews

A full‑page New Musical Express advert promoting Queen’s hit single “Now I’m Here,” published February 15, 1975. 📰 Overview This New Musical Express advert from February 15, 1975 promotes Queen’s single “Now I’m Here,” taken from their breakthrough album Sheer Heart Attack. The design emphasises the band’s theatrical energy, pairing bold typography with a dramatic live image of Freddie Mercury. The advert also directs listeners to the band’s earlier albums Queen and Queen II, reflecting EMI’s strategy to capitalise on Queen’s rising commercial momentum. 📰 Source Details Publication: New Musical Express Date: February 15, 1975 Issue: One‑page advert Provenance Notes: Original EMI promotional advert for the UK release of “Now I’m Here.” 📰 The Story “Now I’m Here” was released in January 1975 as the second single from Sheer Heart Attack. The track quickly became one of Queen’s signature early hits, showcasing their blend of hard rock, vocal layering, and theatrical flair. The advert positions the song as a “stunning hit single,” reinforcing the band’s growing mainstream presence following the success of “Killer Queen.” The advert also promotes Sheer Heart Attack (EMC 3061) in multiple formats, reflecting the mid‑1970s shift toward cassette and cartridge availability. EMI further uses the opportunity to spotlight Queen’s earlier albums, encouraging new fans to explore the band’s developing sound. 📰 Key Highlights Promotes the single “Now I’m Here” Supports the album Sheer Heart Attack (EMC 3061) Also advertises Queen (EMC 3006) and Queen II (EMA 767) Features a dramatic live image of Freddie Mercury Reflects Queen’s rising commercial profile in early 1975 📰 Visual Archive Promotional advert for Queen’s single “Now I’m Here,” published in New Musical Express, February 15, 1975. 📰 Article Text The advert presents “Now I’m Here” as a “stunning hit single” from Queen, directing listeners to the band’s album Sheer Heart Attack (EMC 3061), available on LP, cartridge, and cassette. It also highlights the availability of the earlier albums Queen (EMC 3006) and Queen II (EMA 767). The design centres on a dramatic performance image of Freddie Mercury, capturing the theatrical stage presence that defined Queen’s mid‑1970s identity. 📰 Related Material Explore the tags below for connected posts and themes 📰 Closing Notes This advert captures Queen at a moment of rapid ascent, using bold imagery and catalogue promotion to reinforce the impact of “Now I’m Here” and the success of Sheer Heart Attack. 📰 Sources • Wikipedia – “Now I’m Here” • Wikipedia – “Sheer Heart Attack” • Wikipedia – “Queen discography” • New Musical Express, February 15, 1975 – original advert #GlamSlamChronicles #MusicEphemera #Queen #FreddieMercury #SheerHeartAttack #1970sRock

A one‑page New Musical Express advert promoting Slade’s Flame soundtrack and nationwide cinema rollout. A bold Polydor advert announcing the single “How Does It Feel,” backed with “So Far, So Good,” and promoting the February cinema schedule for Slade’s feature film Flame. A classic mid‑70s multimedia push tying together film, soundtrack, and single. 📰 Overview Published on February 15, 1975, this New Musical Express advert forms part of the promotional campaign for Slade’s film Flame and its accompanying soundtrack. The advert highlights the new single “How Does It Feel,” lists the soundtrack catalogue numbers, and provides an extensive schedule of UK cinemas screening the film throughout February. 📰 Source Details Publication: New Musical Express Date: February 15, 1975 Issue: One‑page advert Provenance Notes: Polydor promotional advert for the Flame soundtrack and film screenings. 📰 The Story The advert promotes Slade’s single “How Does It Feel”, taken from the soundtrack to their feature film Flame. The B‑side, “So Far, So Good,” is also highlighted. The design features a dramatic band photo and bold typography, typical of Polydor’s mid‑70s advertising style. The bulk of the advert is dedicated to a long list of UK cinemas screening Flame throughout February 1975, including major Odeon, ABC, Classic, and Granada venues across London and the surrounding regions. This reflects the scale of the film’s distribution push, positioning Flame as a major release for Slade at the height of their popularity. The advert also notes that 200,000 copies of the single were issued in special colour bags, emphasising the marketing effort behind the release. Production credits for the film—produced by Chas Chandler for Barn Productions and released as a VPS/Good Times Production—are included at the bottom. 📰 Key Highlights • Promotes the single “How Does It Feel” b/w “So Far, So Good” • Tied to Slade’s feature film Flame • Includes extensive February 1975 cinema listings • Soundtrack catalogue numbers prominently displayed • Notes 200,000 copies issued in special colour bags • Produced by Chas Chandler for Barn Productions 📰 Visual Archive Polydor advert for Slade’s Flame soundtrack and cinema rollout, published in New Musical Express, February 15, 1975. 📰 Article Text The advert promotes Slade’s single “How Does It Feel,” backed with “So Far, So Good,” from the Flame soundtrack. It lists catalogue numbers for the soundtrack album and provides a detailed schedule of UK cinemas screening the film throughout February 1975. The advert notes that 200,000 copies of the single were issued in special colour bags and credits Chas Chandler as producer of the film. 📰 Related Material Explore the tags below for connected posts and themes 📰 Closing Notes This advert captures Slade’s ambitious multimedia moment, uniting film, soundtrack, and single into a coordinated promotional push. It stands as a vivid example of mid‑70s rock marketing at scale. 📰 Sources & Copyright All original text and images remain the copyright of their respective publishers and creators. This post is presented for historical, educational, and archival purposes only.

A two‑page New Musical Express feature dissecting Alice Cooper’s shock‑rock persona at its theatrical peak. 📰 Overview Published on February 15, 1975, this two‑page New Musical Express feature presents a dual‑layered look at Alice Cooper. One page offers a cultural critique of Cooper’s shock‑rock theatrics, while the second — written by Charles Shaar Murray — delivers a tongue‑in‑cheek, hyper‑stylised exploration of Cooper’s persona. Together, they form one of the era’s most vivid press examinations of Cooper’s impact on rock performance and public imagination. 📰 Source Details Publication: New Musical Express Date: February 15, 1975 Issue: Two‑page article Provenance Notes: Includes commentary page and Charles Shaar Murray’s feature “The Man Who Ate Alice.” 📰 The Story The first page of the feature frames Alice Cooper as a cultural flashpoint — a performer whose theatrical violence, grotesque humour, and shock tactics provoked both fascination and moral panic. The article questions whether Cooper’s stage persona reflects genuine social commentary or simply panders to audiences hungry for transgression. Photographs of Cooper mid‑performance, paired with satirical speech bubbles, underline the tension between spectacle and self‑parody. The second page, written by Charles Shaar Murray, adopts a more playful, surreal tone. Murray positions himself as the “man who ate Alice,” using exaggerated prose, mock‑academic language, and absurdist humour to deconstruct Cooper’s image. The piece blends critique with affectionate parody, acknowledging Cooper’s theatrical intelligence while poking fun at the hysteria surrounding him. Across both pages, the feature highlights Cooper’s ability to provoke, entertain, and unsettle — a performer who blurred the lines between horror, cabaret, satire, and rock. The article captures a moment when Cooper’s influence on stagecraft, shock aesthetics, and rock mythology was at its height. 📰 Key Highlights • Two‑page NME feature examining Alice Cooper’s shock‑rock persona • Includes Charles Shaar Murray’s satirical essay “The Man Who Ate Alice” • Explores Cooper’s theatricality, cultural impact, and audience reactions • Features staged performance photos with humorous captions • Reflects mid‑70s debates around shock rock, morality, and spectacle 📰 Visual Archive Two‑page Alice Cooper feature from New Musical Express, February 15, 1975. 📰 Article Text The article critiques Alice Cooper’s shock‑rock persona, exploring the theatrical violence, satire, and audience reactions surrounding his performances. It questions the cultural meaning of Cooper’s stagecraft and the moral panic it inspired. The companion page by Charles Shaar Murray uses humour and surreal commentary to deconstruct Cooper’s image, blending parody with analysis. Together, the pieces present a multifaceted portrait of Cooper’s influence on 1970s rock performance. 📰 Related Material Explore the tags below for connected posts and themes 📰 Closing Notes This feature stands as one of the most colourful press examinations of Alice Cooper’s mid‑70s persona, capturing both the cultural anxiety and the theatrical brilliance that defined his rise. It remains a key document of shock rock’s evolution. 📰 Sources & Copyright All original text and images remain the copyright of their respective publishers and creators. This post is presented for historical, educational, and archival purposes only.

Two full‑page New Musical Express adverts promoting Alvin Stardust’s February 1975 live dates. 📰 Excerpt A pair of bold B.N.A. promotional adverts announcing Alvin Stardust’s “Only London Appearance” at the Hammersmith Palais and a companion show at Mecca Stevenage. Classic mid‑70s gig advertising with heavy type, stark layouts, and fan‑club‑style ticketing. 📰 Overview Published in New Musical Express on February 15, 1975, these two adverts promote Alvin Stardust’s upcoming live appearances in London and Stevenage. Presented by B.N.A., the posters use striking block typography and simple, high‑impact layouts typical of mid‑70s concert advertising. They highlight Stardust’s status as a major glam‑era performer and emphasise the exclusivity of his London date. 📰 Source Details Publication: New Musical Express Date: February 15, 1975 Issue: Two one‑page adverts Provenance Notes: B.N.A. promotional adverts for Alvin Stardust’s February 1975 live shows. 📰 The Story The first advert announces Alvin Stardust’s “Only London Appearance” at the Hammersmith Palais on Monday, February 24. The design is dominated by bold black‑and‑white typography, with supporting acts listed as DJs and Hellraisers, alongside bar service. Tickets were priced at £1.00 from the box office or £1.25 on the door, with postal orders accepted via B.N.A.’s London Colney address. The second advert promotes a companion show at Mecca Stevenage on Sunday, February 23. Featuring similar design language, it again lists DJs, Hellraisers, and bars, with identical ticketing arrangements. Both adverts reflect the grassroots, fan‑club‑driven promotional style of the period, relying on mail‑order ticketing and local box offices rather than national distribution. These adverts capture Alvin Stardust at a moment of strong visibility in the glam‑pop landscape, following hits such as “My Coo Ca Choo,” “Jealous Mind,” and “You You You.” The emphasis on exclusivity and limited appearances underscores his popularity and the demand for live performances during this phase of his career. 📰 Key Highlights • Two full‑page adverts published in NME on February 15, 1975 • Promotes Alvin Stardust’s Only London Appearance at Hammersmith Palais • Companion advert for Mecca Stevenage, February 23 • Presented by B.N.A. with mail‑order ticketing • Classic mid‑70s gig‑poster typography and layout • Reflects Stardust’s strong popularity during the glam‑pop era B.N.A. promotional adverts for Alvin Stardust’s February 1975 live dates, published in New Musical Express. 📰 Article Text The adverts promote Alvin Stardust’s “Only London Appearance” at the Hammersmith Palais on February 24, 1975, and a second show at Mecca Stevenage on February 23. Both feature bold typography, list DJs and Hellraisers as support, and offer tickets via box office, door sales, or mail‑order through B.N.A. The posters reflect the promotional style of mid‑1970s UK live music advertising. 📰 Related Material Explore the tags below for connected posts and themes 📰 Closing Notes These adverts offer a vivid snapshot of Alvin Stardust’s mid‑70s live presence, capturing the grassroots promotional energy of the glam‑pop era and the fan‑driven excitement surrounding his limited London appearance. 📰 Sources & Copyright All original text and images remain the copyright of their respective publishers and creators. This post is presented for historical, educational, and archival purposes only.

Slade’s fourth studio album, recorded during adversity and released at the height of their chart‑topping power. 🔘 – Overview Released on February 15, 1974, Old New Borrowed And Blue captures Slade at a moment of both triumph and turbulence. Recorded in late 1973 while drummer Don Powell was recovering from a near‑fatal car accident, the album blends the band’s trademark glam‑rock stomp with a surprising shift toward melodic, piano‑driven material. Produced by Chas Chandler, the album debuted at No. 1 on the UK Albums Chart and was certified Gold on pre‑orders alone. In the US, the album was issued by Warner Bros. under the name Stomp Your Hands, Clap Your Feet, excluding the tracks "My Town" and "My Friend Stan" since they had already been released there on Sladest. Old New Borrowed and Blue was recorded amidst various tours and promotional activities in late 1973, coinciding with drummer Don Powell's recovery from a nearly fatal car accident in July, which briefly cast doubt on the band's future. Despite his severe condition, Powell managed to recover, allowing the band to soon enter the studio to work on their new album. During the recording of "My Friend Stan," Powell was still using a stick to walk and needed assistance to get onto his drum stool. On this album, the band aimed to maintain their usual style on some tracks, while exploring different musical directions on others. According to Holder, the album's title was inspired by its content, which the band felt included a mix of old, new, borrowed, and blue songs. ""My Friend Stan" was released as the album's lead single in September 1973, reaching No. 2 in the UK charts. During Christmas 1973, the band also found success with their No. 1 single "Merry Xmas Everybody". The album "Old New Borrowed and Blue" came out in February 1974, securing the No. 1 spot in the UK. Before its release, the album was awarded Gold by BPI in the UK based solely on pre-order sales. A Slade spokesperson informed the Record Mirror that the album had sold twice as many cartridges and cassettes as their previous releases. In March, the album's second single, "Everyday," climbed to No. 3. In the United States, "Stomp Your Hands, Clap Your Feet" reached No. 168. "Good Time Gals" was released there as a single in February 1974, and "When the Lights Are Out" followed in May in both America and Belgium. Neither of these singles made a chart impact. The singles “My Friend Stan” (No. 2) and “Everyday” (No. 3) signalled a new musical direction, while the US edition — retitled Stomp Your Hands, Clap Your Feet — featured a revised tracklist and peaked at No. 168. 🔘 – Track List UK LP — Polydor 2383‑261 (1974) A1 Just Want A Little Bit — 3:58 A2 When The Lights Are Out — 3:05 A3 My Town — 3:05 A4 Find Yourself A Rainbow — 2:09 A5 Miles Out To Sea — 3:48 A6 We're Really Gonna Raise The Roof — 3:06 B1 Do We Still Do It — 2:59 B2 How Can It Be — 3:00 B3 Don't Blame Me — 2:32 B4 My Friend Stan — 2:40 B5 Everyday — 3:09 B6 Good Time Gals — 3:30 UK 8‑Track Cartridge (1974) A1 Just Want A Little Bit A2 When The Lights Are Out A3 Find Yourself A Rainbow B1 My Town B2 Do We Still Do It B3 We're Really Gonna Raise The Roof C1 Miles Out To Sea C2 How Can It Be C3 Don't Blame Me D1 My Friend Stan D2 Every Day D3 Good Time Gals UK Cassette — Polydor 3170 157 (1974) A1 Just Want A Little Bit — 3:58 A2 When The Lights Are Out — 3:05 A3 My Town — 3:05 A4 Find Yourself A Rainbow — 2:09 A5 Miles Out To Sea — 3:48 A6 We're Really Gonna Raise The Roof — 3:06 B1 Do We Still Do It — 2:59 B2 How Can It Be — 3:00 B3 Don't Blame Me — 2:32 B4 My Friend Stan — 2:40 B5 Everyday — 3:09 B6 Good Time Gals — 3:30 🔘 – Variants UK — Polydor – 2383 261 — LP, Album, Stereo, Unipak Gatefold Sleeve — 1974 UK — Polydor – 2383‑261 — LP, Album — 1974 UK — Polydor – 2383 261 — LP, Album, Stereo — 1974 UK — Polydor – 2383 261 — LP, Album, Stereo, Gatefold — 1974 UK — Polydor – 2383 261 — LP, Album — 1974 UK — Polydor – 2383 261 — LP, Album — 1974 UK — Polydor – 2383‑261 — LP, Album, Gatefold — 1974 UK — Polydor – 2383 261 — LP, Test Pressing — 1974 UK — Polydor – 2383 261 — LP, Album — 1974 UK — Polydor – 2383 261 — LP, Album, White Label — 1974 UK — Polydor – 2383 261 — LP, Album, Unipak Gatefold Sleeve — 1974 UK — Polydor – 2383 261 — LP, Album, Misprint, Unipak Gatefold Sleeve — 1974 UK — Polydor – 2383‑261 — LP, Album, Stereo — 1974 UK — Polydor – 2383 261 — LP, Album, Stereo — 1974 🔘 – Chart Performance UK — Peak No. 1 · 15 Weeks on Chart Pos 02 February 23, 1974 Pos 01 ↑ March 2, 1974 Pos 02 ↓ March 9, 1974 Pos 02 ← March 16, 1974 Pos 07 ↓ March 23, 1974 Pos 11 ↓ March 30, 1974 Pos 13 ↓ April 6, 1974 Pos 06 ↑ April 13, 1974 Pos 07 ↓ April 20, 1974 Pos 06 ↑ April 27, 1974 Pos 05 ↑ May 4, 1974 Pos 14 ↓ May 11, 1974 Pos 20 ↓ May 18, 1974 Pos 16 ↑ May 25, 1974 Pos 28 ↓ June 1, 1974 Pos 46 ↓ June 15, 1974 🔘 – Context & Notes • Produced by Chas Chandler • Recorded at Olympia Studios during Don Powell’s recovery • Title reflects a mix of old, new, borrowed, and “blue” songs • Sleeve printed in the Netherlands by Euro‑Albums Holland B.V. • Numerous UK variants: gatefold, Unipak, white label, test pressings, misprints • US edition retitled Stomp Your Hands, Clap Your Feet with altered tracklist • “My Friend Stan” and “Everyday” showcased a softer, piano‑led direction • Certified Gold on pre‑orders before release 🔘 – Visual Archive Slade’s Old New Borrowed And Blue, released February 15, 1974. 🔘 – Related Material • Sladest (1973) • Stomp Your Hands, Clap Your Feet (US edition) • “My Friend Stan” (1973) • “Everyday” (1974) 🔘 – Discography Sladest — 1973 Old New Borrowed And Blue — 1974 Stomp Your Hands, Clap Your Feet — 1974 🔘 – Mini‑Timeline ✦ July 1973 — Don Powell’s near‑fatal car accident ✦ Late 1973 — Album recorded at Olympia Studios ✦ September 1973 — “My Friend Stan” reaches No. 2 ✦ February 1974 — Album released; debuts at No. 1 ✦ March 1974 — “Everyday” reaches No. 3 🔘 – Glam Flashback Old New Borrowed And Blue carries a tension between grit and vulnerability. Slade were still chart giants, yet the album reveals a band stretching beyond their stomp‑rock roots. The piano ballads, the bruised optimism, and Powell’s determination to return to the studio all give the record a sense of resilience. It’s Slade at full power — but also Slade evolving. 🔘 – Closing Notes A landmark release in Slade’s catalogue, Old New Borrowed And Blue captures a band balancing commercial dominance with creative growth, forged under extraordinary personal circumstances. 🔘 – Sources & Copyright Primary reference sources: Discogs, Official Charts Company, Wikipedia, Polydor Records. All original text and images remain the copyright of their respective publishers and creators. Presented for historical, educational, and archival purposes. #ReleaseChronicle #Slade #OldNewBorrowedAndBlue #1974Albums #GlamRock #ClassicRock

A one‑page Melody Maker special report from the U.S. on David Bowie’s return to touring. 📰 Overview Published on February 14, 1976, this Melody Maker feature documents David Bowie’s return to the American stage during his Station to Station tour. Written as a special report from the States, the article blends fan observation, performance critique, and cultural commentary, offering a striking portrait of Bowie’s evolving stage persona and the atmosphere surrounding his mid‑70s concerts. 📰 Source Details Publication: Melody Maker Date: February 14, 1976 Issue: One‑page article Provenance Notes: Special U.S. report covering Bowie’s Seattle Coliseum performance. 📰 The Story The article opens with a pair of flamboyant fans—“Sweet Thing” and her Bowie‑styled boyfriend—whose elaborate outfits contrast sharply with the largely subdued Seattle audience. Their anticipation sets the stage for a concert experience that defies expectations. Before Bowie appears, the crowd sits through a screening of Un Chien Andalou, the surrealist Buñuel/Dalí film whose shocking imagery confuses and frustrates many attendees. When Bowie finally enters the spotlight, he does so with minimalist theatricality: dressed in black evening wear, pale and composed, embodying the Thin White Duke. The performance leans heavily on Station to Station, supported by a tight band including Carlos Alomar, Dennis Davis, George Murray, Tony Kaye, and Stacey Heydon. The article notes that Bowie never introduces the musicians, reinforcing the sense of a stark, controlled presentation. The setlist blends new material with reimagined older songs. “Word On A Wing” becomes a dramatic, hymn‑like centrepiece, while “TVC 15” showcases Bowie’s playful melodrama. “Suffragette City,” “Panic in Detroit,” and “Jean Genie” inject bursts of energy, though sound issues occasionally mar the performance. The report emphasises Bowie’s shifting persona—part crooner, part cabaret singer, part avant‑garde performer—and the audience’s gradual adjustment to this new artistic direction. The show ends with “Rebel Rebel,” after which Bowie departs quickly for an after‑show gathering, leaving behind an audience both dazzled and unsettled. 📰 Key Highlights • Special U.S. report on Bowie’s Seattle Coliseum concert • Captures the emergence of the Thin White Duke persona • Notes the surreal pre‑show screening of Un Chien Andalou • Details the Station to Station‑era band lineup • Describes audience reactions, sound issues, and standout performances • Highlights Bowie’s evolving theatrical and musical approach 📰 Visual Archive Melody Maker special report on David Bowie’s 1976 U.S. tour, published February 14, 1976. 📰 Article Text The article reports on David Bowie’s Seattle Coliseum concert during his 1976 American tour. It describes the contrasting fan fashions, the surreal pre‑show screening of Un Chien Andalou, and Bowie’s entrance as the Thin White Duke. The piece highlights performances of “Station to Station,” “Word On A Wing,” “TVC 15,” “Suffragette City,” “Panic in Detroit,” “Jean Genie,” and “Rebel Rebel,” while noting sound issues and Bowie’s refusal to introduce his band. The report emphasises Bowie’s evolving stage persona and the audience’s mixed reactions to his new artistic direction. 📰 Related Material Explore the tags below for connected posts and themes 📰 Closing Notes This article offers a rare contemporary window into Bowie’s Station to Station tour, capturing the tension, theatricality, and artistic reinvention that defined his mid‑70s work. It stands as an essential document of the Thin White Duke’s arrival onstage. 📰 Sources & Copyright All original text and images remain the copyright of their respective publishers and creators. This post is presented for historical, educational, and archival purposes only

A one‑page Record Mirror feature charting the return of the Spiders From Mars. 📰 Overview Published on February 28, 1976, this Record Mirror feature documents the rebirth of the Spiders From Mars, the band once synonymous with David Bowie’s Ziggy Stardust era. Written by Ray Fox‑Cumming, the article explores how Trevor Bolder revived the group, recruited new members, navigated management setbacks, and prepared for a fresh chapter with a debut album and new single. 📰 Source Details Publication: Record Mirror Date: February 28, 1976 Issue: One‑page article Provenance Notes: Original Record Mirror feature by Ray Fox‑Cumming. 📰 The Story The article opens by revisiting the original Spiders From Mars lineup—Mick Ronson, Trevor Bolder, and Woody Woodmansey—and the band’s dissolution following Bowie’s surprise “retirement” announcement at the Hammersmith Odeon in July 1973. After several years of separate projects, Bolder set out to rebuild the band, bringing Woodmansey back on drums and recruiting two new members from Newcastle: guitarist Dave Black and vocalist Pete McDonald. The new Spiders wrote and demoed material quickly, completing an album by May 1975, only to have it shelved due to management and financial issues. A later deal with Pye finally cleared the way for release, preceded by the single “White Man Black Man,” which the band admits was lost in the Christmas rush. The article recounts their low‑key pre‑Christmas live dates, their new single “(I Don’t Wanna Do No) Limbo,” and the positive early radio support from DJs like Alan Freeman and John Peel. Plans for a March UK tour are outlined, along with cautious comments about negotiations to support Bowie at Wembley—talks the band insists are ongoing but far from confirmed. Looking ahead, the Spiders plan a second album, a U.S. tour, and a broader musical direction that moves beyond expectations tied to their Bowie past. They acknowledge performing two Bowie‑related songs live—“Suffragette City” and “The Man Who Sold the World”—but emphasise their desire to establish a new identity. The article closes with anecdotes about the rushed vocal sessions for the debut album and the band’s determination to refine their process for the next record. 📰 Key Highlights • Chronicles the re‑formation of the Spiders From Mars under Trevor Bolder • Details early setbacks, including management issues delaying the debut album • Covers the singles “White Man Black Man” and “(I Don’t Wanna Do No) Limbo” • Notes early radio support from Alan Freeman and John Peel • Mentions negotiations to support David Bowie at Wembley • Outlines plans for a second album and U.S. tour 📰 Visual Archive Record Mirror feature on the Spiders From Mars, published February 28, 1976. 📰 Article Text The article traces the re‑formation of the Spiders From Mars under Trevor Bolder, recounting the band’s origins with David Bowie, their breakup in 1973, and their revival with new members Dave Black and Pete McDonald. It details the writing and recording of their debut album, the delays caused by management issues, and the release of their singles “White Man Black Man” and “(I Don’t Wanna Do No) Limbo.” The piece highlights their early live dates, radio support, and plans for touring, as well as ongoing negotiations about supporting Bowie at Wembley. The band expresses a desire to establish a new musical identity while acknowledging their past. 📰 Related Material Explore the tags below for connected posts and themes 📰 Closing Notes This article captures the Spiders From Mars at a moment of reinvention, balancing the weight of their Bowie legacy with the ambition to forge a new path. It stands as a valuable snapshot of the band’s transitional mid‑70s chapter. 📰 Sources & Copyright All original text and images remain the copyright of their respective publishers and creators. This post is presented for historical, educational, and archival purposes only.

A two‑page New Musical Express feature previewing David Bowie’s 1976 world tour. 📰 Overview Published on February 14, 1976, this New Musical Express feature offers an in‑depth preview of David Bowie’s 1976 world tour, which opened in Vancouver. The article explores Bowie’s shifting musical direction, his theatrical inspirations, and the stark, minimalist persona of the Thin White Duke. It stands as one of the most insightful contemporary examinations of Bowie’s mid‑70s creative evolution. 📰 Source Details Publication: New Musical Express Date: February 14, 1976 Issue: Two‑page feature Provenance Notes: Original NME reportage previewing Bowie’s 1976 world tour. 📰 The Story The NME feature situates Bowie’s 1976 world tour within the broader arc of his artistic reinvention. Opening in Vancouver, the tour marked the live debut of the Thin White Duke persona—cool, detached, and sharply defined. The article traces Bowie’s influences, from German Expressionism to Brecht and Weill, and examines how these elements informed both the music of Station to Station and the staging of the tour. The writer reflects on Bowie’s ability to merge theatre, performance art, and rock music into a singular experience, noting how his stage presence had evolved from the flamboyance of Ziggy Stardust into something more austere and enigmatic. The feature also touches on Bowie’s shifting musical palette, his interest in European avant‑garde traditions, and the growing anticipation surrounding his return to the stage after a period of intense studio experimentation. 📰 Key Highlights • Two‑page NME feature previewing Bowie’s 1976 world tour • Explores the emergence of the Thin White Duke persona • Discusses Bowie’s influences, including Expressionism and Brecht/Weill • Frames the tour as a major artistic turning point • Includes contemporary reflections on Bowie’s evolving stagecraft 📰 Visual Archive NME’s two‑page preview of David Bowie’s 1976 world tour, published February 14, 1976. 📰 Article Text The feature previews David Bowie’s 1976 world tour, beginning in Vancouver, and examines the artistic evolution behind the Thin White Duke persona. It discusses Bowie’s theatrical influences, his shift toward a more minimalist stage presence, and the cultural context surrounding the release of Station to Station. The article highlights Bowie’s interest in German Expressionism, Brecht and Weill, and the avant‑garde traditions informing his new direction. It positions the tour as a major creative milestone, reflecting Bowie’s ongoing transformation as both a musician and performer. 📰 Related Material Explore the tags below for connected posts and themes 📰 Closing Notes This feature captures Bowie at a moment of profound reinvention, offering a contemporary lens on the artistic forces shaping the Station to Station era. It stands as an essential document of Bowie’s mid‑70s evolution and the anticipation surrounding his return to the stage. 📰 Sources & Copyright All original text and images remain the copyright of their respective publishers and creators. This post is presented for historical, educational, and archival purposes only.

A one‑page Melody Maker advert promoting the Spiders From Mars’ debut album and new single. 📰 Excerpt A bold promotional advert announcing the arrival of the Spiders From Mars’ debut album, paired with the release of their single “I Don’t Wanna Do No Limbo.” A striking visual identity marking the band’s post‑Bowie chapter. 📰 Overview This Melody Maker advert from February 14, 1976 introduces the Spiders From Mars’ debut album, released after their tenure as David Bowie’s legendary backing band. The advert uses a dramatic graphic design and bold typography to position the group as a standalone act, highlighting both the LP and the accompanying single. 📰 Source Details Publication: Melody Maker Date: February 14, 1976 Issue: One‑page advert Provenance Notes: Promotional advert for the Spiders From Mars’ debut album and single. 📰 The Story Following their iconic role as David Bowie’s backing band during the Ziggy Stardust era, the Spiders From Mars launched their own project in 1976. This advert announces their debut album, described as “out of this world,” and promotes the single “I Don’t Wanna Do No Limbo,” issued as an edited version from the LP. The design leans into the band’s extraterrestrial branding, using a bold red spider motif and dramatic layout to establish a distinct identity separate from their Bowie legacy. The advert lists catalogue numbers for both the album and cassette editions, reflecting the mid‑1970s shift toward multiple listening formats. 📰 Key Highlights • Promotes the debut album Spiders From Mars (NSPL 18479) • Highlights the single “I Don’t Wanna Do No Limbo” (7N 45578) • Features bold graphic design with a red spider motif • Positions the band as a standalone act post‑Bowie • Includes cassette edition catalogue number ZCP 18479 📰 Visual Archive Promotional advert for the Spiders From Mars’ debut album, published in Melody Maker, February 14, 1976. 📰 Article Text The advert promotes the Spiders From Mars’ debut album, describing it as “an incredible debut album that’s out of this world.” It also highlights the new single “I Don’t Wanna Do No Limbo” (7N 45578), noted as an edited version from the album. The design features a large red spider graphic and bold typography, reinforcing the band’s extraterrestrial theme. Catalogue numbers for the LP (NSPL 18479) and cassette edition (ZCP 18479) are included. 📰 Related Material Explore the tags below for connected posts and themes 📰 Closing Notes This advert captures the Spiders From Mars at a moment of reinvention, stepping into their own identity after their historic association with David Bowie. The bold visual branding and confident messaging reflect a band eager to define their next chapter. 📰 Sources & Copyright All original text and images remain the copyright of their respective publishers and creators. This post is presented for

A one‑page Melody Maker advert promoting David Bowie’s album Station to Station. 📰 Excerpt 📰 Overview This Melody Maker advert from February 14, 1976 promotes David Bowie’s album Station to Station, released at the height of his Thin White Duke period. The design pairs stark typography with a monochrome still from the album’s photo session, presenting Bowie as a figure of precision, detachment, and cinematic cool. RCA positions the album as a major artistic moment, emphasising Bowie’s new film role and the success of “Golden Years.” 📰 Source Details Publication: Melody Maker Date: February 14, 1976 Issue: One‑page album advert Provenance Notes: RCA promotional advert supporting the UK release of Station to Station. 📰 The Story Station to Station marked a pivotal moment in Bowie’s career, bridging the soul‑infused sound of Young Americans with the experimental direction that would define his Berlin period. The advert frames the album as “of considerable importance,” underscoring its ambition and the cultural momentum surrounding Bowie in early 1976. With “Golden Years” already a hit and his starring role in The Man Who Fell to Earth about to debut, Bowie was entering one of the most creatively charged phases of his life. The advert’s stark design mirrors the persona of the Thin White Duke—controlled, enigmatic, and sharply defined. 📰 Key Highlights • Promotes Bowie’s album Station to Station (APL1‑1327) • Highlights the hit single “Golden Years” • Mentions Bowie’s starring role in The Man Who Fell to Earth • Features bold, minimalist RCA design • Captures Bowie’s Thin White Duke era at its peak 📰 Visual Archive 📰 Alt Text Box A monochrome RCA advert for David Bowie’s Station to Station, featuring bold red typography and a photo of Bowie as the Thin White Duke. 📰 Caption RCA Records advert for David Bowie’s Station to Station, published in Melody Maker, February 14, 1976. 📰 Article Text The advert announces the release of David Bowie’s album Station to Station, describing it as a work “of considerable importance.” It highlights the six new tracks, including the hit “Golden Years,” and notes Bowie’s starring role in the upcoming film The Man Who Fell to Earth, set for a spring premiere. The design features bold red lettering and a monochrome image of Bowie, reinforcing the stark aesthetic of the Thin White Duke era. The advert lists the RCA catalogue number APL1‑1327. 📰 Related Material Explore the tags below for connected posts and themes 📰 Closing Notes This advert captures Bowie at a moment of transformation, balancing commercial success with artistic reinvention. Station to Station stands as one of his most influential works, and this promotional piece reflects the precision and intensity of the era. 📰 Sources & Copyright All original text and images remain the copyright of their respective publishers and creators. This post is presented for historical, educational, and archival purposes only.

A 140g vinyl reissue of the Faces’ 1973 album Ooh La La, released by Rhino/Warner Music on February 13, 2026. 📰 Excerpt A new 140g vinyl edition of the Faces’ final studio album Ooh La La brings the 1973 classic back into circulation. The reissue highlights the album’s enduring appeal and the distinctive Art Deco‑inspired packaging that made the original LP a standout release. 📰 Overview Originally released in 1973, Ooh La La was the Faces’ fourth and final studio album and the only one to reach the top of the UK Albums Chart. Featuring standout tracks such as “Ooh La La,” “Cindy Incidentally,” “Glad and Sorry,” and “Just Another Honky,” the album remains a defining moment in the band’s catalogue. The 2026 reissue presents the record on 140g vinyl, offering a high‑quality physical edition for collectors and new listeners alike. 📰 Source Details Publication: Rhino/Warner Music (release announcement) Date: February 13, 2026 Issue: 140g 1LP vinyl reissue Provenance Notes: Official reissue release; catalogue number 0603497810673. 📰 The Story Ooh La La marked the end of the Faces’ studio output, capturing the band’s loose, swaggering, and heartfelt approach to rock ’n’ roll. The album’s original 1973 packaging was designed by Jim Ladwig and built around a stylised photograph of “Gastone,” a character created by Italian comedian Ettore Petrolini. The LP sleeve featured a mechanical die‑cut design that allowed the character’s eyes and mouth to move when the top edge was pressed, creating a playful, theatrical effect. The back cover continued the Art Deco theme, while the gatefold interior presented a photomontage of the band in a humorous tableau referencing the title track’s lyrics. The 2026 reissue preserves the album’s legacy by returning it to vinyl format, offering listeners a renewed opportunity to experience the Faces’ final chapter in a tactile, analogue form. 📰 Key Highlights Reissue of the Faces’ 1973 album Ooh La La Features original tracks including “Ooh La La,” “Cindy Incidentally,” and “Glad and Sorry” Packaging inspired by Art Deco design and Ettore Petrolini’s “Gastone” character Released on 140g vinyl by Rhino/Warner Music in 2026 📰 Related Material Explore the tags below for more connected posts and themes. 📰 Closing Notes The 2026 vinyl reissue of Ooh La La reintroduces a key moment in the Faces’ history, preserving both the music and the inventive packaging that made the original LP memorable. It stands as a reminder of the band’s final, spirited contribution to early‑1970s rock. 📰 Sources & Copyright All original text and images remain the copyright of their respective publishers and creators. This post is presented for historical, educational, and archival purposes only. 📰 Tags #GlamSlamChronicles #MusicEphemera #RockHistory #Faces #OohLaLa #VinylReissues

📰Play Don't Worry Advert: Feb.1975 A one-page advertisement for Mick Ronson’s single "Play Don't Worry" featured in Rolling Stone magazine. 📰 Overview This one-page advert in Rolling Stone from February 13, 1975, captures the moment Mick Ronson stepped forward as a solo artist following his influential work with David Bowie and others. The ad promotes the single "Play Don't Worry," emphasizing Ronson’s distinctive style and musical direction. 📰 Source Details Publication: Rolling Stone magazine Date: February 13, 1975 Issue: One-page advert Provenance Notes: Original print edition; part of Rolling Stone’s mid-70s music promotion. 📰 The Story The advert presents Mick Ronson as a compelling solo artist, leveraging his reputation as a guitarist and collaborator to introduce his own music. The design and copy focus on the single "Play Don't Worry," aiming to attract attention from Rolling Stone’s readership and the broader rock audience. 📰 Key Highlights • Promotes Mick Ronson’s single "Play Don't Worry" • Emphasizes Ronson’s solo career post-David Bowie collaborations • Visual and textual elements designed to capture rock audience interest 📰 Visual Archive Caption One-page promotional advert for Mick Ronson’s single "Play Don't Worry" in Rolling Stone magazine. 📰 Related Material • Explore the tags below for more connected posts and themes. 📰 Closing Notes This advert marks a key moment in Mick Ronson’s career as he transitioned from celebrated guitarist to solo artist, capturing the spirit of mid-70s rock and the promise of his own musical voice. 📰 Sources & Copyright All original text and images remain the copyright of their respective publishers and creators. This post is presented for historical, educational, and archival purposes only. #GlamSlamChronicles #MusicEphemera #MickRonson #RollingStone #1970sRock #MusicPromotion

A documented live appearance by T. Rex at Birmingham Town Hall on February 16, 1971, advertised in New Musical Express. 📰 Overview This concert at Birmingham Town Hall on February 16, 1971 took place at a pivotal moment in T. Rex’s career. “Ride a White Swan” was still in the UK charts, “Hot Love” was days from release, and the band had recently expanded into the classic four‑piece electric lineup. The show formed part of a short UK run before the group embarked on a five‑week American tour beginning in late March. 📰 Source Details Publication: New Musical Express Date: February 13, 1971 Issue: Concert advertisement Provenance Notes: Verified via NME print advert and cross‑referenced with documented T. Rex touring history. 📰 The Story The Birmingham Town Hall concert was advertised in New Musical Express on February 13, 1971, listing T. Rex as the headlining act for February 16. This date falls within the promotional period surrounding the release of “Hot Love,” recorded the previous week and issued on February 19. At this time, T. Rex had fully transitioned from the Tyrannosaurus Rex acoustic duo into the electric four‑piece lineup that would define their early‑1970s sound. “Ride a White Swan” remained active in the UK charts, marking the band’s breakthrough into mainstream success. The Birmingham show was one of several UK dates leading into a scheduled five‑week American tour beginning March 26. While no confirmed setlist survives, the band’s repertoire at this time included material from the T. Rex (1970) album, the forthcoming “Hot Love” maxi‑single, and selected earlier songs still performed in concert. 📰 Key Highlights Confirmed concert date: February 16, 1971 Venue: Birmingham Town Hall Advertised in New Musical Express on February 13 Ticket price: 60p / 12/- Performed during the rise of “Ride a White Swan” Occurred three days before the release of “Hot Love” Band lineup: Marc Bolan, Mickey Finn, Steve Currie, Bill Legend Part of the lead‑up to a five‑week U.S. tour beginning March 26 📰 Visual Archive Apollo advert for T. Rex at Birmingham Town Hall, published in New Musical Express, February 13, 1971. 📰 Article Text The concert was promoted through an Apollo Best One Price Concerts advert in New Musical Express, listing T. Rex for a February 16 appearance at Birmingham Town Hall. The show took place during a crucial moment in the band’s rise, with “Ride a White Swan” still charting and “Hot Love” about to be released. By this point, T. Rex had expanded into a full electric lineup, and their live performances reflected the shift toward the sound that would define their early‑1970s success. Although no setlist survives, the band’s repertoire at this time included material from their 1970 album, the forthcoming “Hot Love” maxi‑single, and selected earlier songs still performed onstage. 📰 Related Material Explore the tags below for connected posts and themes 📰 Closing Notes This concert represents a key moment in T. Rex’s transformation from cult favourites to chart‑topping stars. The Birmingham Town Hall date stands as a documented milestone in the band’s early‑1971 momentum, bridging the success of “Ride a White Swan” and the imminent release of “Hot Love.” 📰 Sources • New Musical Express, 13 February 1971 – concert advert • Wikipedia – “T. Rex (band)” → Lineup history • Wikipedia – “Ride a White Swan” • Wikipedia – “Hot Love” • Official Charts Company – UK Singles Chart (February 1971) • Wikipedia – “T. Rex discography” (touring context and release timeline) #GlamSlamChronicles #MusicEphemera #TRex #MarcBolan #1970sConcerts #BirminghamTownHall #NME

Original 1971 UK pressing of “Jeepster” on Fly Records. A blues‑rooted glam strut released amid label tensions and rising superstardom, “Jeepster” captures Marc Bolan at his most charismatic and unstoppable. 🔘 – OVERVIEW Released in the UK on November 5, 1971, T. Rex’s “Jeepster” arrived as a defining glam‑rock single issued by Fly Records (BUG 16). Written by Marc Bolan and produced by Tony Visconti for Straight Ahead Productions Ltd., the track fuses blues roots with Bolan’s seductive glam strut, lifting its central riff and vocal phrasing from Howlin’ Wolf’s “You’ll Be Mine” (written by Willie Dixon). The release was steeped in controversy: Fly issued and promoted the single without Bolan’s permission, shortly after he had left the label for EMI and his own imprint, T. Rex Wax Co. Despite this, “Jeepster” became a major hit, reaching No. 2 in the UK and holding that position for five consecutive weeks. It also charted in AUS (No. 28) and CAN (No. 73). Backed with “Life’s A Gas,” the single featured a picture‑label B‑side with no printed duration and was housed in a plain single‑colour sleeve typical of Fly’s early‑’70s output. 🔘 – TRACK LIST A: Jeepster B: Life’s A Gas 🔘 – VARIANTS (selection) AUS · 1971 · 7" Single · Fly Records · Standard issue CAN · 1971 · 7" Single · Fly Records · Canadian issue UK · 1971 · 7" Single · Fly BUG 16 · Standard issue UK · 1971 · 7" Promo · Fly BUG 10 · Limited promo (500 copies) 🔘 – CHART PERFORMANCE UK — Peak No. 2 · 15 Weeks on Chart Pos 37 November 7, 1971 Pos 08 ↑ November 14, 1971 Pos 02 ↑ November 21, 1971 Pos 03 ↓ November 28, 1971 Pos 02 ↑ December 5, 1971 Pos 02 ← December 12, 1971 Pos 02 ← December 19, 1971 Pos 02 ← December 26, 1971 Pos 03 ↓ January 2, 1972 Pos 10 ↓ January 9, 1972 Pos 18 ↓ January 16, 1972 Pos 29 ↓ January 23, 1972 Pos 34 ↓ January 30, 1972 Pos 44 ↓ February 6, 1972 Pos 46 ↓ February 13, 1972 AUS — Peak No. 28 CAN — Peak No. 73 🔘 – CONTEXT & NOTES • Fly Records released “Jeepster” without Bolan’s consent, promoting it heavily after he had already moved to EMI. • The A‑side’s riff and vocal phrasing draw directly from Howlin’ Wolf’s “You’ll Be Mine”, written by Willie Dixon. • The B‑side featured a picture label and no printed duration, a detail prized by collectors. • A limited promo pressing (BUG 10) of 500 copies circulated on September 10, 1971, ahead of Electric Warrior. • Recorded at Trident Studios, featuring Marc Bolan, Mickey Finn, Steve Currie, and Bill Legend — the classic Electric Warrior lineup. • A promotional film was created because Bolan declined to appear on Top of the Pops. • Bolan performed an acoustic “Life’s A Gas” with Cilla Black on her BBC show in January 1973. 🔘 – RELATED MATERIAL • Explore tags below for connected posts 🔘 – DISCOGRAPHY Era‑related releases: Hot Love — 1971 Get It On — 1971 Telegram Sam — 1972 🔘 – MINI‑TIMELINE ✦ Sep 1971 — Limited promo pressing (BUG 10) distributed ahead of Electric Warrior ✦ Nov 1971 — “Jeepster” released by Fly Records without Bolan’s approval ✦ Dec 1971 — Holds No. 2 on UK charts for five weeks (not consecutive) 🔘 – GLAM FLASHBACK “Jeepster” is the sound of Bolan in full bloom — a glitter‑slicked blues riff turned into a swaggering love spell. Even wrapped in label politics, the single radiates the confidence of an artist who knew he was shaping the future. It’s glam at its most effortless: playful, stylish, and impossible to resist. 🔘 – CLOSING NOTES A defining moment in T. Rex’s glam‑rock ascent, “Jeepster” merges blues homage with Bolan’s unmistakable charisma. Despite label tensions and its unofficial release status, the single remains one of the most enduring and beloved entries in the band’s catalogue. 🔘 – SOURCES & COPYRIGHT All original text and images remain the copyright of their respective publishers and creators. This post is presented for historical, educational, and archival purposes only. Discogs, 45cat, AllMusic, Rate Your Music, Wikipedia and BBC Official Charts 🔘 – TAGS #ReleaseChronicle #TRex #Jeepster #ElectricWarrior #1971Singles #MusicArchive

Melody Maker article covering a post‑concert disagreement between T. Rex and Slade, February 13, 1971. 📰 Excerpt A brief report from Melody Maker covering a disagreement between T. Rex and Slade following a Cardiff concert. The article captures the tensions, logistics, and competitive atmosphere surrounding two rising British rock acts in early 1971. 📰 Overview This one‑page article from Melody Maker (February 13, 1971) documents a dispute between T. Rex and Slade after a scheduled appearance at the Top Rank in Cardiff. The piece highlights the complexities of touring, billing, and band hierarchy during a period when both groups were gaining significant momentum in the UK rock scene. 📰 Source Details Publication: Melody Maker Date: February 13, 1971 Issue: One‑page article Provenance Notes: Original print edition; part of Melody Maker’s early‑1970s coverage of emerging British rock acts. 📰 The Story The article reports conflicting accounts from both camps following a Cardiff concert. Slade’s spokesman claimed that T. Rex did not want them on the same bill, suggesting that T. Rex’s rising popularity influenced the decision. In contrast, T. Rex’s spokesman stated that the Roy Young Band had already been booked as support and that they were unaware Slade would be appearing until they arrived with equipment. The piece reflects the competitive environment of the early 1970s British rock circuit, where scheduling, billing, and audience expectations often created friction between acts. It also illustrates how quickly T. Rex’s popularity was accelerating, placing them in situations where their status was both an asset and a point of contention. 📰 Key Highlights Reports a disagreement between T. Rex and Slade after a Cardiff concert Shows the competitive dynamics between rising UK rock acts in early 1971 Provides insight into touring logistics and communication issues of the era 📰 Article Text: Cardiff gig A ROW has broken out between Slade and T. Rex over Monday's concert at the Top Rank, Cardiff. A spokesman for Slade claimed that T. Rex did not want Slade on the same bill and as a result they were unable to play. "T. Rex have given no reason at all for their decision to have Slade removed from the bill and as the group are one of the most popular acts in the Cardiff area, they are very anxious that their fans should not be disap- pointed. They will try to get to Cardiff for another gig as quickly as possible," said the spokesman. But a spokesman for T. Rex told the MM that the Roy Young Band had been booked as support group, and they didn't require two supporting acts. "It was nothing to do with the skinhead thing, as T. Rex will play to any one who wants to listen. We generally play for two hours, so there would not have been time to fit all the groups in." Noddy Holder, of Slade, told the MM: "1 suppose they are afraid that a lot of skinheads would come to the ballroom to see us. We are no longer a skinhead group and are get-ting more and more college bookings. This annoys us, because we thought we were finally rid of the skinhead image." 📰 Related Material Explore the tags below for more connected posts and themes. 📰 Closing Notes This article captures a moment of tension between two major British rock acts as they navigated rapid success and shifting audience expectations. It offers a snapshot of the competitive energy surrounding T. Rex and Slade during a formative period in their careers. 📰 Sources & Copyright All original text and images remain the copyright of their respective publishers and creators. This post is presented for historical, educational, and archival purposes only. #GlamSlamChronicles #MusicEphemera #GlamRockHistory #TRex #Slade #MelodyMaker

T. Rex’s “Vamp Power”, a one‑page advert in Melody Maker, February 13, 1971. A striking full‑page advertisement linking T. Rex’s rising glam‑rock mystique with Vamp Power amplification. Published at the height of the band’s early‑’71 momentum, the ad positions Marc Bolan and Mickey Finn as the new faces of British electric swagger. 📰 Overview In early 1971, as “Ride a White Swan” was still echoing across the UK charts, T. Rex became the visual centrepiece of a bold Vamp Power advert. The image — Bolan and Finn flanked by towering amp stacks — captures the moment the band was transitioning from underground darlings to glam‑rock icons. This advert is both a period artifact and a snapshot of the commercial machinery beginning to form around Bolan’s star power. 📰 Source Details Publication: Melody Maker Date: February 13, 1971 Issue: Weekly issue Provenance Notes: Sourced from a period scan of the original advert; typical of early‑’70s UK music‑equipment marketing that leveraged rising artists for brand visibility. 📰 The Story By early 1971, T. Rex were no longer the acoustic‑leaning duo of the Tyrannosaurus Rex years. Electric guitars, stacked cabinets, and a new sense of theatricality were reshaping their identity. This Vamp Power advert capitalizes on that shift, presenting Bolan and Finn as glamorous, electrified, and unmistakably modern. The tagline — “T. REX RIDES A WHITE SWAN ON Vamp POWER” — cleverly ties the band’s breakout hit to the Vamp Power brand, suggesting that the magic behind the single’s success is rooted in these amplifiers. The pricing and contact details at the bottom reflect the era’s straightforward, no‑nonsense marketing style, while the photograph itself does the heavy lifting: youthful charisma, stylish minimalism, and the promise of volume. 📰 Key Highlights A rare example of T. Rex appearing in a commercial equipment advert during their early glam ascent. Connects the imagery of “Ride a White Swan” with the Vamp Power brand. Captures Bolan and Finn in a transitional moment between folk‑psych roots and full glam identity. 📰 Visual Archive T. Rex promoting Vamp Power amplifiers in Melody Maker, February 1971. 📰 Article Text Paste the cleaned, full article transcription here. 📰 Related Material • Explore the tags below for more connected posts and themes. 📰 Closing Notes This advert stands as a small but vivid artifact of T. Rex’s transformation into glam‑rock royalty. It captures the commercial world beginning to orbit Bolan’s charisma and documents the early visual language that would soon define an entire movement. 📰 Sources & Copyright All original text and images remain the copyright of their respective publishers and creators. This post is presented for historical, educational, and archival purposes only. #GlamSlamChronicles #MusicEphemera #GlamRockHistory

A one‑page Melody Maker feature announcing T. Rex’s first major American tour, paired with a contemporary Marc Bolan poster advert — published February 12, 1972. 📰 Overview By early 1972, T. Rex were at the height of their UK fame, topping both singles and album charts. This Melody Maker article documents the moment they prepared to take that success across the Atlantic, with a bill‑topping US tour culminating at New York’s Carnegie Hall. Alongside the article, a poster advert offers a vivid snapshot of Bolan’s growing cultural presence — a reminder of how deeply he resonated with fans during the glam‑rock explosion. 📰 Source Details Publication: Melody Maker Date: February 12, 1972 Issue: Page 3 Provenance Notes: Original scrapbook clipping containing both the article and the Marc Bolan poster advert. 📰 The Story The Melody Maker report captures T. Rex at a moment of transition — no longer a UK‑only phenomenon, but a band poised to break America. With “Get It On” entering the US charts and T. Rexmania spreading overseas, Marc Bolan and the band embarked on their first headline American tour, set to climax at Carnegie Hall on February 27. B.P. Fallon, acting as the group’s representative, highlights their strong performances in Scandinavia and reveals that work had begun on a new album in France. Recording sessions took place at Château d’Hérouville, a studio known for hosting the Grateful Dead, Elton John, and Pink Floyd. Tracks such as “Ballrooms of Mars” and “Thunderwing” were already completed, though the album remained untitled at the time. The accompanying advert — offering a full‑colour Marc Bolan poster with a free Neil Young print — reflects the era’s booming fan culture. Poster companies capitalised on Bolan’s image, recognising his appeal as both a musician and a visual icon. The juxtaposition of article and advert on the same page underscores Bolan’s dual status: chart‑topping artist and pop‑culture phenomenon. 📰 Key Highlights • T. Rex prepare for their first headline American tour • Carnegie Hall set as the climactic date • “Get It On” enters the US charts, boosting their stateside profile • New album sessions underway at Château d’Hérouville • Tracks completed include “Ballrooms of Mars” and “Thunderwing” • Poster advert offers Marc Bolan and Neil Young prints to fans • Snapshot of T. Rex’s peak glam‑rock visibility in early 1972 📰 Visual Archive A Melody Maker page from February 12, 1972 featuring the article “T. Rex to Storm States” and a Marc Bolan poster advert offering a full‑colour print with a free Neil Young poster. Caption Melody Maker, February 12, 1972 — T. Rex’s US breakthrough announcement alongside a Marc Bolan poster offer. 📰 Article Text Insert your cleaned transcription here. (Short excerpts only — no full copyrighted reproduction.) 📰 Related Material • Other early‑’70s T. Rex and Marc Bolan Chronicle entries • GlamSlamEscape posts covering The Slider, Electric Warrior, and related singles • External references on T. Rex’s 1972 US tour • Explore the tags below for more connected posts and themes. 📰 Closing Notes This Melody Maker page captures T. Rex at a moment of global expansion — a band riding high on UK success and preparing to conquer America, while Bolan’s image and charisma fuelled a thriving fan culture. It’s a perfect snapshot of glam‑rock momentum in early 1972. 📰 Sources & Copyright All original text and images remain the copyright of their respective publishers and creators. This post is presented for historical, educational, and archival purposes only. 📰 Tags #GlamSlamChronicles #MusicEphemera #MarcBolan #TRex #MelodyMaker #GlamRockHistory