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Alice Cooper sparks teen chaos on Melody Maker's front page! Swinging by the Neck, a cover and two-page feature in Melody Maker, November 18, 1972.

Bolan doubles the magic – two classics for the price of one! half-page advert for the double album reissue of A Beard of Stars / Unicorn (TOOFA 9/30, Cube Records, recommended retail price £2-40), released Friday 17th November, in Melody Maker, November 18, 1972. Tyrannosaurus Rex A Beard of Stars/Unicorn TOOFA 9 30 TRACKS including Pavilions of Sun; Wind Cheetah; Great Horse & Chariots of Silk.

Bowie revisits his psychedelic past – Melody Maker digs deep! one-page review of the Space Oddity and The Man Who Sold the World reissues in Melody Maker, November 18, 1972.

Roxy prove the haters wrong – Manchester Hardrock explodes! one-page article in Melody Maker, November 18, 1972. If you think Roxy Music are a hype, you should have been at the Hardrock last week... "WELL, we never expected anything like this. He's lying. You can tell by his voice that Bryan Ferry is acting. But maybe the audience have never heard him talk before and maybe they don't care, any-way. They just carry on bawling and stomping and leaping up and down, urging an encore. What would you like to hear?" says Ferry, all got up like Joselito in his wasp-waisted Suit of Lights. Virginła Plain ginia Plain Plain Vir-Virginia what's the "Sorry name of that again?" Oh boy, he's really milking them now. In fact he nearly takes it over the top but just in time, they crash into the thudding rhythm of their hit single, fighting against the crowd's unison clapping, which speeds up until it crashes and disintegrates against the wall of Paul Thompson's driving percussion. If you think Roxy Music are a hype, you should have been at the Hardrock last week... MELODY MAKER, November 18, 1972-Page 9 "WELL, we never expected anything like this. He's lying. You can tell by his voice that Bryan Ferry is acting. But maybe the audience have never heard him talk before and maybe they don't care, any-way. They just carry on bawling and stomping and leaping up and down, urging an encore. What would you like to hear?" says Ferry, all got up like Joselito in his wasp-waisted Suit ofLights. Virginła Plain ginia Plain Plain Vir-Virginia what's the "Sorry name of that again?" Oh boy, he's really milking them now. In fact he nearly takes it over the top but just in time, they crash into the thudding rhythm of their hit single, fighting against the crowd's unison clapping, which speeds up until it crashes and disintegrates against the wall of Paul Thompson's driving percussion. "What's your name/Vir-ginia Plain/..." A second of silence, and then a shout. I wish that shout had been heard by those people in the music business who think that Roxy Music are a hype. It's a claim I've heard many times, and always from people involved with the kind of unimaginative loser bands who nearly strangled rock a year or so ago. You know the kind I mean: those bands and managers whose "honesty" and "integrity" last just as long as their obscurity, and are banished by one hit record. Roxy Music never claimed any honesty. The concept would be meaningless to them, because they have a clear vision of what rock entertainment is about and it's not about integrity, or any other kind of facile morality. When Roxy leave out their hit single from the set, knowing that it'll be demanded as an encore, it's a device and they wouldn't deny it. The jeans-and-sweat shirt brigade do just the same but try getting them to admit it. It's they who're the pretentious ones, not Roxy. Let no man think, though, that Roxy are without fault. Uncritical approval is not what's called for at this time, as we'll see later. The gig was at Manchester's Hardrock emporium, last Thursday night. True to Mancunian form it was pouring so hard that the car park resembled a yachting marina, but the place was packed with good-humoured folk. Rock auditoria are not normally noted for their excellence, and few seem to have come to terms with the requirements of electric music for either players and subtract soon, for songs like "Would You Believe" and "" If There Is Some-thing" are becoming over-familiar (through records, gigs, Top Gear, etc). format of However, there's much to commend in the way they treat the established repertoire. Not content to stick to the the recording, they expand specific areas of each song, usually instrumentally, but without any of the longeurs usually engendered by inter-minable solos. or audience. But it seems that the Hardrock is just about the best yet: built in a semi-circle, the theatre is half-seating and half-standing, but the latter half sat on the floor anyway, and the view and sound in all parts were more than adequate. Roxy using the Hardrock's own PA system, for some reason, and also the house lighting equipment, because the stage is too low to take their own complex set. were The faithful were called out of the bars and into the arena by the sound of a marvellous piece of orchestral music on tape. Written by a neglected genius named Pachabel, it's an utterly lovely thing, with a logic tempered by sweetness slightly reminiscent of Bach, and it happens to be Eno's favourite piece of music. was syn-to Pachabel was allowed to run on for a good ten minutes before the Synthesizer Ignited produce that nightmarish warping and woofing noise which introduces "The Bob Melody" on their album. Shadowy figures took the stage, the greatest response being reserved for the lad with the dye in his hair and a twinkle in his fingers. were "Eno! Eno!" they roared. And the odd thing is that the loudest roarers thickset bearded lads who looked as though they'd just come from thrashing the All Blacks on the rugby field. To see them yelling for this slight blond youth was, indeed, strange. Their standard set for the present tour consists of all the numbers from the album, except "Bitters End," with "Virginia Plain" as the encore. Like other critics, I was mildly dis-appointed by the lack of new material but it should be pointed out that many people are seeing Roxy live for the first time on this tour, and want to hear the music they already know. But they must add Phil Manzanera's guitar bears the solo brunt, and is sometimes effectively stylised, but when you're not exaggerating like, say, Mick Ronson does, it's hard to make the point that what you're doing is a recreation or an allusion. But he manages, most of the time. the lift The highlight of the solos, in fact, is almost never the soloist. It's what Eno does with the sound of instruments that can what would otherwise be a very average bit of playing into other-worldly realms. On "If There Is Some-he thing," for instance, tinkered around with the tones of guitar and alto sax in a series of tinglingly dramatic fandango-style cadenzas, adding real point and attack. What they really must learn, if they're to fulfil their potential, is that the music must come first. At the moment they're naturally preoccupied by the success of their visual image, and sometimes they forget that when the music is as contrived as theirs is, everything has to be absolutely right. Any mistake or malfunction seriously under-mines the whole act, destroys the illusion they work hard to create. Too frequently for comfort, there were little mistakes or sloppiness in tuning. The gig proved two things: (a) that the Hardrock is an excellent venue, maybe the best in the country from the audience's viewpoint, and (b) that Roxy are going to be okay. A little more of that attention to detail, chaps, and the doubters will be silenced.

Gentle "Clair" climbs to the top spot! up one place on this weeks Singles Chart, to number one in the POP 30 as published in Melody Maker, November 18, 1972. Gilbert O’Sullivan released "Clair" in October 1972 as a single from his album Back to Front  on MAM Records. The Irish singer-songwriter’s tender ballad, written for his manager’s young daughter, Clair Mills, showcases his knack for melodic pop with heartfelt lyrics. Featuring O’Sullivan’s soft vocals, gentle piano, and a lush orchestral arrangement, it was produced by Gordon Mills at Audio International Studios in London. The song’s whimsical charm, complete with Clair’s giggles at the end, captured listeners with its sincerity. "Clair" hit #1 on the UK Singles Chart for two weeks, reached #2 on the US Billboard Hot 100, and topped charts in Canada and Ireland. It sold over a million copies globally, boosting O’Sullivan’s international profile after hits like "Alone Again (Naturally)." Its warm, nostalgic tone made it a standout in his catalog, though some later critiqued its sentimentality.

From guillotine to Romeo – Alice reinvents shock rock romance! cover and one-page “death of a killer birth of a lover” article in Sounds, November 17, 1973.

Roy Wood plans the ultimate glam Christmas spectacular! one-page news article in Sounds, November 17, 1973.

Roy Wood throws glam's wildest bash – Wizzard style! news article in Record Mirror, November 17, 1973..

Faces' bass hero steps out with rootsy solo gold! half-page advert in Record Mirror, November 17, 1973.

Steve Harley’s theatrical rebels unleash 1974’s sound – today! one-page review titled “A New Band Sounds Like 1974” in Record Mirror, November 17, 1973.

NYC's trash-glam rebels invade London's fashion mecca! news article in Record Mirror, November 17, 1973..

Faces' bass man steps out solo – Ronnie's ready to roam! two-page feature in Sounds, November 17, 1973.

Bowie bares his soul – retirement rumours rock the glam world! cover only Music Star, November 17, 1973.

Roy Wood's glam wizards brew more chart magic! one-page article in Record Mirror, November 18, 1973.

Rod & the boys bring boozy rock 'n' roll chaos to the UK! one page advert with special guest Long John Baldry Sounds, November 17, 1973.

Slade’s Festive Stomp aka Slade – Greatest Hits album released as an vinyl and cassette with special editions under the title of Slade – Greatest Hits in completely different packing in the UK on November 18, 1985, Slade’s Crackers (The Christmas Party Album) on Telstar (catalogue: STAR 2271 / STAC 2271). This festive glam-rock party mix—featuring re-recorded hits, covers, and holiday classics (produced by Jim Lea & John Punter), was issued post-Rogues Gallery as a Telstar commission. It peaked at No. 34 on the UK Albums Chart and was certified Gold by BPI in the same month. Issued in standard LP and special sleeve cassette with full track repeat, it’s a raucous ‘85 holiday reissue blast. Vinyl Album Crackers - The Slade Christmas Party Album Telstar – STAR 2271, Telstar – Star 2271 Side A Let’s Dance (J. Lea) Santa Claus Is Coming To Town (Coots, Gillespie) Hi Ho Silver Lining (English, Weiss) We’ll Bring The House Down (Holder, Lea) Cum On Feel The Noize (Holder, Lea) All Join Hands (Holder, Lea) Okey Cokey (J. Kennedy) Merry Xmas Everybody (Holder, Lea) Side B Do You Believe In Miracles (Holder, Lea) Let’s Have A Party (Baxter, Friend, Haynes) Get Down And Get With It (B. Marchand) My Oh My (Holder, Lea) Run Runaway (Holder, Lea) Here’s To … (The New Year) (Holder, Lea) Do They Know It’s Christmas (Feed The World) (Geldorf, Ure) Auld Lang Syne/You’ll Never Walk Alone (Trad., arr. Holder, Lea / Rodgers, Hammerstein) Copyright © – Telstar Records Ltd. Phonographic Copyright ℗ – Telstar Records Ltd. Phonographic Copyright ℗ – RCA Ltd. Licensed From – RCA/Ariola Ltd. Distributed By – RCA/Ariola Ltd. Distributed By – WEA Records (IRL) Ltd. Recorded At – Portland Studios Mixed At – Air Studios Mastered At – The Town House Pressed By – Lyntone Recordings Ltd. – LYN-16884 Pressed By – Lyntone Recordings Ltd. – LYN-16885 Printed By – Robert Stace Bass, Keyboards, Guitar, Vocals – Jimmy Lea* Drums – Don Powell Engineer – Dave Garland (tracks: A1 to A8, B2, B3, B6 to B8), Nigel Walker Guitar, Backing Vocals – Dave Hill (4) Lead Vocals, Guitar, Backing Vocals – Noddy Holder Plated By – Z (2) Producer – John Punter (tracks: B1, B4, B5) Producer, Arranged By – Jim Lea (tracks: A1 to A8, B2, B3, B6 to B8) Issued in a gloss sleeve. Plain inner, some may be by Robert Stace and production dated November 1985. Package came shrink-wrapped. Recorded at Portland Studios. Mixed at Air Studios. track B7: Publishing royalty to The Band Aid Trust Record royalty to UK Children In Need ℗ & © 1985 Telstar Records Ltd. A1: Chappell Morris Ltd. ℗ 1985 A2: United Partnership Ltd. ℗ 1985 A3: Peter Maurice Music Co. Ltd./EMI Music ℗ 1982 A4: Whild John Music Ltd. ℗ 1985 A5: Barn Publishing (Slade) ℗ 1985 A6: Whild John Music Ltd ℗ 1984 taken From the RCA Album/Cassette "Rogues Gallery" PL/PK 70604 A7: Campbell Connelly & Co. Ltd. ℗ 1985 A8: Barn Publishing (Slade) Ltd. ℗ 1985 B1: Whild John Music Ltd. ℗ 1985 B2: MCA Music Ltd. ℗ 1985 B3: Burlington usic Co. Ltd. ℗ 1985 B4: Whild John Music Ltd. ℗ 1983 RCA Ltd. Taken from the RCA Album/Cassette "The Amazing Kamikaze Syndrome" PL/PK 70116 B5: Whild John Music Ltd. ℗ 1983 Taken from the RCA Album/Cassette "The Amazing Kamikaze Syndrome" PL/PK 70116 B6: Whild John Music Ltd. ℗ 1984 B7: Chappell Music Ltd ℗ 1985 B8: Whild John Music Ltd./Chappell Music Ltd. ℗ 1985 All tracks ℗ 1985 Licensed from RCA/Ariola Ltd. © 1985 Telstar Records Ltd. Telstar Records Ltd. The Studio, King Edward Mews, Byfeld Gardens, London SW13 9HP. Distributed by RCA Ariola Ltd. Telstar Records (IRL) Ltd. 130 Slaney Road, Glasnevin, Dublin 11. Distributed in Eire by WEA (IRL) Ltd. Vinyl Album Misprint Crackers - The Slade Christmas Party Album Same as above bar: Label on Side 1 has IST in "Santa Claus is Coming to Town" Cassette Album (Paper Labels) Crackers - The Slade Christmas Party Album Telstar – STAC 2271 Side A Let’s Dance (Written-By – J. Lea) Santa Claus Is Coming To Town (Written-By – Gillespie, Coots) Hi Ho Silver Lining (Written-By – Weiss, English) We’ll Bring The House Down (Written-By – Lea, Holder) Cum On Feel The Noize (Written-By – Lea, Holder) All Join Hands (Written-By – Lea, Holder) Okey Cokey (Written-By – J. Kennedy) Merry Xmas Everybody (Written-By – Lea, Holder) Side B Do You Believe In Miracles (Written-By – Lea, Holder) Let’s Have A Party (Written-By – Baxter, Friend, Haymes; uncredited Jessie Mae Robinson) Get Down And Get With It (Written-By – G. Marchand) My Oh My (Written-By – Lea, Holder) Run Runaway (Written-By – Lea, Holder) Here’s To … (The New Year) (Written-By – Lea, Holder) Do They Know It’s Christmas (Feed The World) (Written-By – Geldorf, Ure) Auld Lang/You’ll Never Walk Alone (Arranged By – Lea, Holder; Written-By – Rodgers/Hammerstein, Traditional) Cassette Album Crackers - The Slade Christmas Party Album As above with different labels, text printed directly onto white cassette shell. Vinyl Album Slade – Greatest Hits Special Edition with a different sleeve and name (same tracklist) Telstar – STAR 2271, Telstar – HRT-1 Cassette Album Slade – Greatest Hits Special Edition with a different sleeve and name (same tracklist) Telstar – STARC 2271, Telstar – HRTC-1 Production and Context Commissioned by Telstar post-*Rogues Gallery*. Re-recorded “Cum On Feel The Noize” and “Get Down And Get With It”; new single “Do You Believe In Miracles” included. Covers of “Let’s Dance,” “Santa Claus…,” “Hi Ho…,” “Okey Cokey,” “Do They Know…,” and “Auld Lang Syne/YNWA” medley. Remaining tracks from back catalogue. Later reissued as *Slade’s Crazee Christmas* (1999), charted on UK Budget Albums 2001–05. Chart Performance: UK: No. 34 (Official Albums Chart). Certified Gold by BPI (November 1985). Legacy and Collectibility Crackers is the ultimate Slade party album—glam anthems, Xmas classics, and singalong chaos. Original UK LPs fetch £8–£20 on eBay/Discogs, special sleeve cassettes (£5–£15). Verify catalogue STAR 2271 and special sleeve. Streams on Spotify via Slade compilations keep the party alive. This ‘85 festive blowout is a must-have for Slade fans and holiday rock collectors. Have you cracked open this Slade Xmas party yet? Does “Okey Cokey” still get you on the floor? 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.

Bowie drops killer live triple-threat for just 99p! Full Page advert in Sounds, November 18, 1978. David Bowie’s Breaking Glass - New Live Single, featuring "Breaking Glass" / "Art Decade" / "Ziggy Stardust" live from the album Stage (Record: PL 02913 | Cassette: PK 02913 | Single: BOW 1 | RCA),

Fans debate Bolan’s double-album bargain – worth every penny? T.Rex’s Mail Bag article in Melody Maker, November 18, 1972. DOES A group have to have a so-called "stage act" to make any progress in the eyes of the anti T. Rex population? Sure T. Rex just go on to a stage and let rip with their own kind of music, but isn't that what they're supposed to do, instead of doing stupid and childish things like Alice Cooper, Slade and the Sweet for sheer promotion? Also you can at least be sure that on his singles you will get three good tracks for your 50p. Wake up Britain! T. Rex are here to stay! ROBERT WRAY, Skinner Street, Chatham, Kent. THERE I was watching the Whistle Test nice and peace-fully, when suddenly Bob Harris whispered those two magic words "Marc Bolan." I leapt to the edge of my chair hung on every inspired utterance, tingled to the heavenly sound of that Rolls-Royce voice then I rushed to the bathroom to be sick. May the OGWT live on forever in the "fine " hearts and minds of teenyboppers everywhere because they are the only places left for it. How are the mighty fallen!.

Noddy turns Rainbow into a footy sing-along – pure Slade madness! Slade’s Slade and the Masses, a one-page concert review of their Rainbow Theatre gig in Record Mirror, November 18, 1972. AFTER seeing Tony Prince conduct three thousands screaming teenies in a rousing version of Too Young at the Osmands Rainbow concert last week, it was nice to join in with Slade and the massed voices of the London football supporters in You'll Never Walk Alone on Saturday night. Arch loon, showman, entertainer, comedian, musician and composer, Noddy Holder had the crowd with him from the start, but once he got footy into the act all hell was let loose. Slade are now in the position where they can make past hits account for a large part of their act and fill the rest out with old faves. Together, the songs make up a pretty entertaining hour that most people enjoy unless they happen to have a nervous dispodition of a liking for the bad things in life. But he Mr. Holder looks some-thing like a Dame out of panto and his strange mannerisms took a little getting used to played it straight for laughs, and that's what he got but only in the right places. He talks to the kids like a doctor or a granddaddy and sounds like Hilda Baker. His favourite words would ap-pear to be "Alright, al-right, alright, alright,” and "I tell ya wot weer gonna do now." Both phrases go down well and usually herald a spate of "I luv Dave 'ill" "Oooooh Noddy." Their fans are very down to earth and don't act silly like fans of other well known stars who shall remain nameless. The Rainbow gig was a nice one for Slade, and a goodie for their followers. God bless 'em. Right now they're making a lot of people very happy. Just a quick mention for Thin Lizzy who are sup-porting Slade on their tour. They are a three piece act who set a lot of people talking with their fast, cool and imaginative set. They all work and give good value for money and, surprisingly enough, have actually added a new dimension to the old bass, lead and drums line up.

Slade deliver another glam stomper – is this their biggest yet? Slade’s "Gudbuy T’Jane", review in Record Mirror, November 18, 1972.

Bolan & Finn weave psychedelic folk magic for BBC Radio One! On their first radio session for BBC Radio One featuring Mickey Finn, Tyrannosaurus Rex recorded five tracks on November 17, 1969, they were transmitted on November 22. Hosted by Brian Matthews, the show included an interview and the songs.: “Fist Heart Mighty Dawn Dart,” “Pavilions Of Sun,” “A Day Laye,” “By The Light Of A Magical Moon,” “Wind Cheetah"

A Gudbuy T' Jane Jukebox Released as a 7-inch vinyl single in the UK on November 17, 1972, Slade’s “Gudbuy T' Jane” Polydor (catalogue: 2058 312) was b acked with “I Won’t Let It ‘Appen Agen.” This glam-rock stomper and gritty B-side (both written by Lea, Holder, produced by Chas Chandler for Barn Productions), were issued as the second commercial single from Slayed? . It peaked at No. 2 on the UK Singles Chart for 13 weeks, certified Silver by BPI. Issued in paper labels, injection moulded, solid centre, large jukebox with adapter, and mispress variants, it’s a roaring ‘72 glam issue. Single Overview A-Side: “Gudbuy T' Jane” (3:33) Written-By – Lea, Holder. Producer – Chas. Chandler. B-Side: “I Won’t Let It ‘Appen Agen” (3:17) Written-By – Lea. Producer – Chas. Chandler. Release Details: Label: Polydor (UK pressing, 45 RPM). Phonographic Copyright ℗ – Polydor Ltd. Produced For – Barn Productions. Pressed By – Phonodisc Ltd. Barn Pub. Made In England. Durations not shown on release. Vinyl, 7" Single Commercial Variants: Paper Labels Large Centre with Plastic Adapter (2058 312) (detailed above) Injection Moulded Stereo, Solid Centre (2058-312) Injection Moulded Push Out Small Centre (2058-312) Paper Labels, Solid Center (2058 312) Paper Labels, Solid Centre, (2058-312) This version has no dash in the catalogue number, and has a solid centre with small centre hole. Paper Labels, Mispress Large Center (2058-312 / 2058-313) A-side label from The Decoys – “Christmas Time” (2058-313). UK (Polydor 2058 312) Released November 17, 1972. 7-inch (multiple label/centre variants, mispress). Country Variations: The single was released in several countries: Australia (Polydor 1972) Austria (Polydor 1972) Belgium (Polydor 1972) Canada (Polydor 1972) France (Polydor 1972) Germany (Polydor 1972) Ireland (Polydor 1972) Italy (Polydor 1972) Lebanon (Polydor 1972) Netherlands (Polydor 1972) New Zealand (Polydor 1972) Norway (Polydor 1972) Portugal (Polydor 1972) Spain (Polydor 1972) Sweden (Polydor 1972) Argentina (Polydor 1973) Rhodesia (Polydor 1973) USA (Polydor 1973) Yugoslavia (Radio-Televizija Beograd 1973) Production and Context Written by Noddy Holder & Jim Lea (A), Jim Lea (B). Produced by Chas Chandler for Barn Productions. Second single from *Slayed?* (released Nov 1972), following #1 “Mama Weer All Crazee Now.” Reached #1 on NME chart, #68 US. Certified UK Silver. Included on 1973 compilation *Sladest*. Pressed by Phonodisc Ltd. Chart Performance: UK: No. 2 (Official Singles Chart), charting for 13 weeks. Entry Date: November 25, 1972. Peak: No. 2 (December 16, 1972). Weeks on Chart: 13 (Nov 25, 1972 – Feb 17, 1973). Chart Run: No. 8 (Nov 25), No. 4 (Dec 2), No. 3 (Dec 9), No. 2 (Dec 16), No. 6 (Dec 23), No. 6 (Dec 30), No. 5 (Jan 6), No. 9 (Jan 13), No. 14 (Jan 20), No. 31 (Jan 27), No. 35 (Feb 3), No. 41 (Feb 10), No. 44 (Feb 17). Legacy and Collectibility “Gudbuy T' Jane” is a glam-rock classic, “I Won’t Let It ‘Appen Agen” a raw B-side belter. Original UK 7-inch paper labels fetch £3–£8 on eBay/Discogs, injection/solid (£5–£12), mispress (£20–£40), jukebox with adapter (£10–£25). Verify catalogue 2058 312 and centre types. Streams on Spotify via Slayed? keep the stomp alive. This *Slayed?* gem is a must-have for Slade fans and ‘70s glam collectors. Have you said gudbuy to Jane on jukebox spin? Does “I Won’t Let It ‘Appen Agen” still fire you up? 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.

One-page advertisement in Melody Maker , November 17, 1973.

A one-page article in Record Mirror on November 17, 1973.

One-page advertisement in Sounds, November 17, 1973.

one-page from Sounds , November 17, 1973.

Alice's Heartfelt Plea Released as a 7-inch vinyl single in the UK on November 17, 1978, on Warner Bros. Records (catalogue: K 17270 / WBS 8695). Alice Cooper’s “How You Gonna See Me Now”, Backed with “No Tricks” featuring Betty Wright, this reflective ballad and soulful B-side (produced by David Foster, written by Cooper/Taupin/Wagner), were issued from the album From The Inside . It peaked at No. 61 on the UK Singles Chart for 6 weeks. Issued in commercial, large-A label, and promo “PROMOTION ONLY” variants, lacquer cut by Allen at CBS Aston Clinton, it’s a poignant ‘78 recovery-era reissue pair. Single Overview A-Side: “How You Gonna See Me Now” (3:48) Written-By – Alice Cooper, Bernie Taupin, Dick Wagner. Producer – David Foster. B-Side: “No Tricks” (4:14) Featuring – Betty Wright. Release Details: Label: Warner Bros. Records (UK pressing, 45 RPM). Produced For – Foster Frees Music, Inc. Record Company – Warner Communications. Phonographic Copyright ℗ – Warner Bros. Records Inc. Published By – Warner Bros. Music Ltd. (A), Big Pig Music Ltd. (A), Copyright Control (B). Distributed By – WEA Records Ltd. Pressed By – CBS Pressing Plant, Aston Clinton. Lacquer Cut By – Allen. Track A from the LP K 56577 From The Inside . Duration not listed on release. UK Formats: Vinyl, 7" Single Commercial Release, Stereo (K 17270 / WBS 8695) A: “How You Gonna See Me Now” – Written-By – Alice Cooper, Bernie Taupin, Dick Wagner – Producer – David Foster B: “No Tricks” – Featuring – Betty Wright Vinyl, 7" Single Large A Label, Stereo (K 17270 / WBS 8695) A: “How You Gonna See Me Now” – Written-By – Alice Cooper, Bernie Taupin, Dick Wagner – Producer – David Foster B: “No Tricks” – Featuring – Betty Wright Track name at top, artist at bottom, large A above centre hole. Vinyl, 7" Single, Promo Stereo, “PROMOTION ONLY, NOT FOR SALE” stamp on both labels (K 17270 / WBS 8695) A: “How You Gonna See Me Now” – Written-By – Alice Cooper, Bernie Taupin, Dick Wagner – Producer – David Foster B: “No Tricks” – Featuring – Betty Wright Duration not listed on release. The single was released in several countries: USA - Warner Bros. - 1978 Belgium - Warner Bros. - 1978 Brazil - Warner Bros. - 1978 Canada - Warner Bros. - 1978 El Salvador - Warner Bros. - 1978 Italy - Warner Bros. - 1978 Japan - Warner Bros. - 1978 Mexico - Warner Bros. - 1978 Netherlands - Warner Bros. - 1978 New Zealand - Warner Bros. - 1978 Philippines - Warner Bros. - 1978 South Africa - Warner Bros. - 1978 Spain - Warner Bros. - 1978 USA - Warner Bros. - 1978 Germany - Warner Bros. - 1979 UK (Warner Bros. Records K 17270 / WBS 8695) Released November 17, 1978. 7-inch (commercial, large-A, promo). Production and Context Produced by David Foster for Foster Frees Music, Inc. A-side co-written with Bernie Taupin & Dick Wagner, reflecting Cooper’s post-rehab vulnerability. B-side features soul legend Betty Wright. From the *From The Inside* album (K 56577), inspired by Cooper’s time in a psychiatric ward. Lacquer cut by Allen at CBS Aston Clinton. Chart Performance: UK: No. 61 (Official Singles Chart), charting for 6 weeks. Entry Date: December 23, 1978. Peak: No. 61 (multiple weeks). Weeks on Chart: 6 (Dec 23, 1978 – Jan 27, 1979). Chart Run: No. 61 (Dec 23), No. 61 (Dec 30), No. 68 (Jan 6), No. 61 (Jan 13), No. 61 (Jan 20), No. 64 (Jan 27). Legacy and Collectibility “How You Gonna See Me Now” is a tender recovery ballad, “No Tricks” a soul-infused rarity. Original UK 7-inch vinyls fetch £3–£8 on eBay/Discogs, large-A label (£8–£15), promos (£15–£30). Verify promo stamp and Allen cut. Streams on Spotify via *From The Inside*. This introspective gem is a must-have for Alice Cooper ballad fans and ‘78 rock collectors. Have you seen Alice through the haze of this recovery anthem? Does “No Tricks” still surprise with Betty Wright’s fire? 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. Tracklist (7” Vinyl): A1. How You Gonna See Me Now – 3:57 B1. No Tricks – 4:15 Note: The tracklist reflects the standard US 7” vinyl release

A Glam Art-Rock Desert Island Roxy Music’s Stranded LP was released in the UK on November 16, 1973, on Island Records (catalogue: ILPS 9252). Their third album — and first without Brian Eno — saw Bryan Ferry share songwriting with Andy Mackay and Phil Manzanera, while Eddie Jobson joined on violin/synth. Produced by Chris Thomas at AIR Studios, this lush, romantic art-rock masterpiece reached No. 1 on the UK Albums Chart (their first). The iconic gatefold cover — photographed by Karl Stoecker, styled by Antony Price — features Playboy model Marilyn Cole drenched and torn-dress “stranded” in a jungle. Lead single “Street Life” hit No. 9 UK. A timeless Roxy classic. Album Overview Release Details Label: Island Records (UK). Formats: Vinyl LP (fully laminated gatefold). ℗ & ©: 1973 Island Records Ltd. Recorded at AIR Studios, London, September 1973. Pressed by EMI Records (pink rim/palm tree labels). UK Release Formats and Track Listings Vinyl LP, Gatefold (ILPS 9252) – 1st UK pressing Side A 1. Street Life (3:27) 2. Just Like You (3:34) 3. Amazona (4:12) 4. Psalm (8:04) Side B 1. Serenade (2:55) 2. A Song For Europe (4:44) 3. Mother Of Pearl (6:53) 4. Sunset (6:00) Global Variants (all 1973 unless noted) - LP, Album – Island 5453 – Argentina – 1973 - LP, Album – Island 87 369 IT – Austria/Germany/Netherlands – 1973 - LP, Album – Island 6499 742 – France – 1973 - LP, Album – Island ILPS 9252 – Ireland – 1973 - LP, Album – Island ILPS 19252 – Italy – 1973 - LP, Album – Island IL 35031 – New Zealand – 1973 - LP, Album – Island ILPS 9252 / ILPS-9252 – Scandinavia – 1973 - LP, Album – Island ILPS 9252 – Singapore – 1973 - LP, Album – Island ILPS 9252 – South Africa – 1973 - LP, Album – Island ILPS 9252 – UK – 1973 - LP, Album – Jugoton LSY-73002 – Yugoslavia – 1973 Cassette Album (ZC1 9252 / ZCI 9252) – UK Side A 1. Street Life 2. Just Like You 3. A Song For Europe 4. Psalm Side B 1. Serenade 2. Amazona 3. Mother Of Pearl 4. Sunset Global Variants (all 1973 unless noted) - Cassette, Album – Island 7206 015 – France – 1973 - Cassette, Album – Island IL-K 719252 – Italy – 1973 - Cassette, Album – Island ZC1 9252 – Norway – 1973 - Cassette, Album – Island D-54774 / D-54.774 – Spain – 1973 - Cassette, Album – Island ZC1 9252 / ZCI 9252 – UK – 1973 Production and Context Produced by Chris Thomas for E.G. Records. First album without Brian Eno (replaced by Eddie Jobson). First with songwriting contributions from Andy Mackay and Phil Manzanera. Cover star: Marilyn Cole (1973 Playmate of the Year), styled by Antony Price, shot by Karl Stoecker. Eno later called it one of his favourite Roxy albums. Singles Released and Chart Performance - Street Life / Hula-Kula (Nov 1973) – UK No. 9 Album Chart Performance - UK Albums Chart: 1 - US Billboard 200: 186 Legacy and Collectibility Stranded is Roxy Music’s first No. 1 and the definitive post-Eno statement. Original UK pink-rim gatefold vinyls fetch £30–£100 on eBay/Discogs (mint laminated £150+). Verify catalogue ILPS 9252 with “GRAMOPHLTD” stamper letters. Streams on Spotify preserve the art-rock glamour. This LP is a must-have for glam/art-rock collectors. Do you have Stranded in your vinyl stack? Are you marooned on the island? Share in the comments! Sources Information is drawn from my personal knowledge and supplemented by web sources, including Discogs, 45cat, AllMusic, Rate Your Music, Wikipedia, BBC Official Charts Company, Billboard Chart History and YouTube

A Sanitarium Rock Opera Alice Cooper’s album From The Inside was released in the UK on November 17, 1978, on Warner Bros. Records (catalogue: K 56577 UK). This concept album chronicles Cooper’s real-life stay in a New York sanitarium battling alcoholism — every character based on actual fellow patients he met. Co-written with Bernie Taupin (lyrics) and Dick Wagner (music), it features three longtime Elton John associates: Taupin, guitarist Davey Johnstone, and bassist Dee Murray. Produced by David Foster, recorded across six LA studios. Iconic die-cut triptych “asylum door” gatefold opens to reveal a padded cell with Cooper in a straitjacket (“In memory of Moonie” – a tribute to Keith Moon) and inmates stampeding free. The lead single “How You Gonna See Me Now” hit No. 12 US Hot 100. Peaked at No. 60 US, No. 68 UK. Adapted into Marvel Premiere #50 comic. A dark, melodic triumph. Album Overview Label: Warner Bros. Records. Formats: Vinyl LP (die-cut triptych gatefold worldwide), cassette, 8-track cartridge. ℗ & ©: 1978 Warner Bros. Records Inc. Recorded at Sound City, Davlen, Cherokee, Hollywood Sound, Kendun, Studio 55. Length: 39:08 Release Formats and Track Listings Vinyl Album (K 56577) – UK (1978) Side A 1. From The Inside 2. Wish I Were Born In Beverly Hills 3. The Quiet Room 4. Nurse Rozetta 5. Millie And Billie Side B 1. Serious 2. How You Gonna See Me Now 3. For Veronica's Sake 4. Jacknife Johnny 5. Inmates (We're All Crazy) Cassette Album (K456577 / K 456577) – UK (1978) Side A 1. From The Inside 2. Wish I Were Born In Beverly Hills 3. The Quiet Room 4. Nurse Rozetta 5. Millie And Billie Side B 1. Serious 2. How You Gonna See Me Now 3. For Veronica's Sake 4. Jacknife Johnny 5. Inmates (We're All Crazy) 8-Track Cartridge (M8 3263) – US (1978) Program A 1. From The Inside 2. The Quiet Room 3. For Veronica's Sake (Beg.) Program B 1. For Veronica's Sake (Concl.) 2. Nurse Rozetta 3. How You Gonna See Me Now Program C 1. Millie And Billie 2. Wish I Were Born In Beverly Hills 3. Jacknife Johnny (Beg.) Program D 1. Jacknife Johnny (Concl.) 2. Serious 3. Inmates (We're All Crazy) Global Variants (1978)) Cassette releases Warner Bros. M5W 3263 – Australia – 1978 Warner Bros. M5-3263 – Canada – 1978 Warner Bros. 456 577 / 4-565 77 – Europe – 1978 Warner Bros. 456 577 / 4-565 77 SE – France – 1978 Warner Bros. C 90.092 – Spain – 1978 Warner Bros. K456577 / K 456577 – UK – 1978 Warner Bros. M5 3263 – US – 1978 Warner Bros. M5 3263 – US – 1978 8-Track Cartridge releases 1978 Album – Warner Bros. M8 3263 – US – 1978 Club Edition – Warner Bros. M8 3263 – US – 1978 Album, White – Warner Bros. M8 3263 – US – 1978 Album, Stereo – Warner Bros. M8 3263 – Canada – 1978 Vinyl releases (selected major) Warner Bros. BSK 3263 – Australia – 1978 Warner Bros. WB 56 577 / BSK 3263 – Austria/Belgium – 1978 Warner Bros. 36.100 – Brazil – 1978 Warner Bros. BSK 3263 – Canada – 1978 Warner Bros. K 56577 / BSK 3263 / WB 56 577 – Europe – 1978 Warner Bros. 56577 – France – 1978 Warner Bros. BSK 3263 / WB 56 577 – Germany – 1978 Warner Bros. W 56577 – Italy – 1978 Warner Bros. P-10611W – Japan – 1978 Gamma GWEA-5321 – Mexico – 1978 Warner Bros. WB 56 577 / BSK 3263 – Netherlands – 1978 Warner Bros. BSK 3263 – New Zealand – 1978 Warner Bros. S 90.092 – Spain – 1978 Warner Bros. K 56577 / BSK 3263 – UK – 1978 Warner Bros. BSK 3263 (various pressings) – US – 1978 Production and Context Produced by David Foster. All songs Cooper/Taupin + Wagner/Foster/Lukather/Roberts. Guests: Toto (Lukather, Hungate), Rick Nielsen, Davey Johnstone, Flo & Eddie, Kiki Dee. Die-cut triptych gatefold with asylum cell interior (Pacific Eye & Ear design) and hidden “In memory of Moonie” tribute to Keith Moon. Singles Released and Chart Performance How You Gonna See Me Now (Oct 1978) – US No. 12, UK No. 61 From The Inside (Jan 1979) Album Chart Performance USA (Billboard 200): 60 UK: 68 Legacy and Collectibility From The Inside is Alice Cooper’s raw, autobiographical rock opera — adapted into Marvel Premiere #50 comic. Original die-cut triptych vinyls fetch £20–£80 on eBay/Discogs (mint with intact doors £100+), UK cassettes £8–£20, US 8-tracks £15–£40. Verify catalogue K 56577 (UK vinyl) / K456577 (UK cassette) / M8 3263 (US 8-track) / BSK 3263 (US vinyl). Streams on Spotify preserve the theatrical drama. This LP is a must-have for theatrical rock and ‘70s Cooper collectors. Do you have From The Inside in your vinyl stack? Are you an inmate too? 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.

Faces’ "Thank You, Rod", a one-page advert New Musical Express, November 16, 1974.

Elton John’s "Lucy in the Sky with Diamonds" , a half-page advert in Record Mirror , November 16, 1974.

Mott The Hoople Hunter ill - "Hoople's Dates Hit", one-page news article New Musical Express, November 16, 1974.

Station To Soul Train David Bowie’s “Golden Years” was released as a 7-inch vinyl single in the UK on November 21, 1975, on RCA Victor (catalogue: RCA 2640 / PB 10441). Backed with “Can You Hear Me,” this funky soul-disco gem and tender B-side (both written/produced by Bowie with Harry Maslin, strings by Tony Visconti), were issued in six commercial label variants and demo. It peaked at No. 8 on the UK Singles Chart for 10 weeks. Issued in paper labels, push-out/solid centre, company sleeve, promo with large A “DEMONSTRATION SAMPLE NOT FOR SALE,” it’s a golden ‘75 *Station to Station* reissue pair. Single Overview A-Side: “Golden Years” (3:27) Written-By, Producer – Bowie. Producer – Harry Maslin. B-Side: “Can You Hear Me” (5:04) Written-By – Bowie. Arranged By – David Bowie. Arranged By [Strings] – Tony Visconti. Mixed By – David Bowie, Harry Maslin. Label: RCA Victor (UK pressing, 45 RPM). Manufactured By – RCA Ltd. Phonographic Copyright ℗ – RCA Records. Published By – Bewlay Bros. Music / EMI / Chrysalis Music / Mainman (A), Mainman / Chrysalis (B). Pressed By – RCA Records Pressing Plant, Washington, UK. Runouts: RCA 2640-A-1E A1W ‘W’ / RCA 2640-B-1E A3S ‘W’e. UK Formats: Vinyl, 7" Single Paper Labels, Push Out Center, Company Sleeve (RCA 2640 / PB 10441) Commercial. Vinyl, 7" Single Paper Labels, Push Out Center, Company Sleeve (RCA 2640 / PB 10441) Different publisher list and label layout. Vinyl, 7" Single Paper Labels, Push Out Center, Company Sleeve (RCA 2640 / PB 10441) Slight layout/publisher differences; only David Bowie credited as producer on A. Vinyl, 7" Single Paper Labels, Solid Center, Company Sleeve (RCA 2640 / PB 10441) Vinyl, 7" Single Paper Labels, Push Out Center, Company Sleeve (RCA 2640 / PB 10441) Credits only Bewlay Bros. as publisher. Vinyl, 7" Single Paper Labels, Push Out Center, Company Sleeve (RCA 2640 / PB 10441) Mispress – B-side no print on label. Vinyl, 7" Promo Paper Labels, Push Out Center (RCA 2640 / PB 10441) Large A “Demonstration Sample Not For Sale” on A, “Demonstration Sample Not For Sale” on B. Country Variations: The single was released in several countries: UK (RCA Victor RCA 2640 / PB 10441) Released November 21, 1975. 7-inch (six commercial, one promo). Australia (RCA Victor 1975) Belgium (RCA Victor 1975) Canada (RCA Victor 1975) El Salvador (RCA Victor 1975) France (RCA Victor 1975) Germany (RCA Victor 1975) Portugal (RCA Victor 1975) South Africa (RCA Victor 1975) USA (RCA Victor 1975) Italy (RCA Victor 1976) Japan (RCA 1976) New Zealand (RCA Victor) Production and Context Produced by Bowie & Harry Maslin (A), Bowie (B). Partially written May 1975 before The Man Who Fell to Earth filming. Offered to Elvis Presley (declined). First Station to Station track. Bowie mimed it on Soul Train Nov 4, 1975 (second white artist after Elton). Funk-soul transition era. Chart Performance: UK: No. 8 (Official Singles Chart), charting for 10 weeks. Entry Date: November 29, 1975. Peak: No. 8 (December 20, 1975 & January 10, 1976). Weeks on Chart: 10 (Nov 29, 1975 – Jan 31, 1976). Chart Run: No. 39 (Nov 29), No. 24 (Dec 6), No. 15 (Dec 13), No. 8 (Dec 20), No. 9 (Dec 27), No. 9 (Jan 3), No. 8 (Jan 10), No. 12 (Jan 17), No. 19 (Jan 24), No. 40 (Jan 31). Legacy and Collectibility “Golden Years” is plastic soul perfection, “Can You Hear Me” a haunting deep cut. Original UK push-out vinyls fetch £5–£12 on eBay/Discogs, solid centre (£8–£15), mispress (£20–£40), demos (£30–£60). Verify runouts ‘W’, publisher variations, and large A. Streams on Spotify via Station to Station. This soulful bridge is a must-have for Bowie ‘75 fans and funk collectors. Have you whistled along to these Golden Years? Does “Can You Hear Me” still echo? 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. ---

David Bowie’s "Space Oddity"  backed with "Changes"  and "Velvet Goldmine" , was released as a 7-inch vinyl single in the UK by RCA Victor (catalog number RCA 2593) on September 26, 1975. Advertised as MAXIMILLION, SERIES 2 TRACKS FOR THE PRICE OF 3 DAVID BOWIE SPACE ODDITY CHANGES VELVET GOLDMINE BOWIE 3 tracks for the price of 2: Space Oddity, Changes, Velvet Goldmine 26/9/77 59 p R.R.P. Straight into the charts at number 23 with his amazing maxi single. You've waited a long time for a bargain like this. Don't miss out. Grab a copy today. RCA Records and Tapes The Bowie Maxi. RCA-2593 This release is notable as a maxi-single, featuring three tracks: “Space Oddity” on the A-side and “Changes” and “Velvet Goldmine” on the B-side. It was issued to capitalize on David Bowie’s growing fame during his transition from glam rock to the soul-infused Young Americans era, while also celebrating the re-release of The Man Who Sold the World (1970) and Hunky Dory (1971) in the UK. The single was part of RCA’s strategy to re-promote Bowie’s earlier work, particularly as “Space Oddity” had been re-released multiple times since its 1969 debut. The inclusion of “Velvet Goldmine,” a previously unreleased track from the Ziggy Stardust sessions, made this single particularly significant for fans and collectors. Historical Context By 1975, David Bowie was at a creative crossroads. Having risen to stardom with The Rise and Fall of Ziggy Stardust and the Spiders from Mars (1972) and subsequent glam rock albums like Aladdin Sane (1973) and Diamond Dogs (1974), he shifted toward soul and funk with Young Americans (1975), which yielded the hit “Fame.” The re-release of earlier albums like The Man Who Sold the World and Hunky Dory in 1975 aimed to rekindle interest in Bowie’s pre-Ziggy catalog, particularly as his fanbase expanded. “Space Oddity,” originally a 1969 single tied to the moon landing, had become a signature song, while “Changes” from Hunky Dory was gaining retrospective acclaim. “Velvet Goldmine,” an outtake from the 1971 Ziggy Stardust sessions, was dusted off for this release, adding a rare gem for fans. The single’s release coincided with Bowie’s growing US popularity and his preparation for the Station to Station album (1976), marking a bridge between his glam past and soulful present. Track Analysis A-Side: Space Oddity (5:15, Album Version)Lyrics and Theme: Written by David Bowie, “Space Oddity” tells the story of Major Tom, an astronaut who loses contact with Earth and drifts into space, blending existential dread with sci-fi wonder. Inspired by Stanley Kubrick’s 2001: A Space Odyssey and the 1969 Apollo 11 moon landing, the song’s narrative and melancholic tone made it a cultural touchstone. The 7" was pressed with a standard RCA orange label and housed in a special picture sleeve, not typical for UK singles of the era, copies were also supplied with a black and yellow labels and housed in a MAXIMILLION SEIES sleeve Music and Production: Produced by Gus Dudgeon, the track features Bowie on vocals and acoustic guitar, Rick Wakeman on Mellotron, and a lush string arrangement by Paul Buckmaster. Recorded at Trident Studios, London, in June 1969, the album version (5:15) used here retains its cinematic scope, unlike the shorter 1969 single edit (4:33). Cultural Impact: A UK No. 5 hit in 1969 (and No. 1 in 1975 upon re-release), “Space Oddity” introduced Bowie to a wide audience. Its legacy includes sequels like “Ashes to Ashes” (1980) and covers by artists like Chris Hadfield (2013). It remains one of Bowie’s most iconic songs, used in films, TV, and space-related media. B-Side 1: Changes (3:33, Album Version)Lyrics and Theme: Written by Bowie, “Changes” from Hunky Dory (1971) is a reflective anthem about personal transformation and artistic reinvention, with the famous line “Turn and face the strange.” Its introspective lyrics and chameleon imagery foreshadowed Bowie’s career-long shape-shifting. Music and Production: Produced by Ken Scott and Bowie, the track features Rick Wakeman’s distinctive piano, Mick Ronson’s guitar, and Trevor Bolder’s bass. Recorded at Trident Studios in 1971, its jazzy, upbeat arrangement contrasts with its philosophical depth. The 3:33 album version is used here, not a single edit. Cultural Impact: Though not a hit upon Hunky Dory’s release, “Changes” became one of Bowie’s signature songs, reaching No. 66 in the US when released as a single in 1972. Its inclusion in 1975 helped cement its status, later featured in films like Shrek 2 and covered by artists like Seu Jorge. B-Side 2: Velvet Goldmine (3:09, Previously Unreleased)Lyrics and Theme: Written by Bowie, “Velvet Goldmine” is a glam rock outtake from the Ziggy Stardust sessions (November 1971). Its suggestive lyrics and swaggering tone evoke the decadent, androgynous vibe of Bowie’s Ziggy persona, possibly referencing the 1967 film Velvet Underground and Nico. The song’s risqué content may have led to its exclusion from the original album. Music and Production: Produced by Ken Scott and Bowie, the track features Mick Ronson’s iconic guitar riffs, Trevor Bolder’s bass, and Woody Woodmansey’s drums. Recorded at Trident Studios, its raw, glittery energy aligns with Ziggy Stardust’s aesthetic. This 1975 release was its first official outing, later included on reissues like The Best of David Bowie 1974/1979. Significance: As a previously unreleased track, “Velvet Goldmine” was a major draw for fans, offering a glimpse into the Ziggy Stardust era’s creative process. Its title inspired the 1998 film Velvet Goldmine, a fictionalized take on glam rock. Production and Credits Producers: Gus Dudgeon (“Space Oddity”), Ken Scott and David Bowie (“Changes,” “Velvet Goldmine”). Songwriters: David Bowie (all tracks). Musicians: “Space Oddity”: David Bowie (vocals, acoustic guitar), Rick Wakeman (Mellotron), Herbie Flowers (bass), Terry Cox (drums), Paul Buckmaster (strings). “Changes”: David Bowie (vocals), Rick Wakeman (piano), Mick Ronson (guitar), Trevor Bolder (bass), Woody Woodmansey (drums). “Velvet Goldmine”: David Bowie (vocals, guitar), Mick Ronson (guitar), Trevor Bolder (bass), Woody Woodmansey (drums). Studios: Trident Studios, London. Label: RCA Victor UK (RCA 2593). Vinyl Specs: 7-inch maxi-single, 45 RPM, with three tracks (unusual for the era). Pressed with RCA’s orange label, typically in a generic sleeve, though some markets (e.g., Netherlands) had picture sleeves. Critical Reception: The 1975 maxi-single was well-received by fans and collectors, capitalizing on Bowie’s rising stardom. “Space Oddity” topped the UK charts (No. 1) upon re-release, driven by renewed interest in Bowie’s early work and the David Bowie at the Beeb radio sessions. “Changes” was gaining retrospective acclaim, while “Velvet Goldmine” was a revelation, praised for its raw glam energy. Discogs reviews note the single’s sound quality as “clean and dynamic,” Critics at the time, as noted in Record Collector, saw the release as a savvy move by RCA to bridge Bowie’s past and present, though some felt it leaned heavily on nostalgia rather than new material.

David Bowie’s "Bowie No.1", one-page advert in New Musical Express, November 15, 1975.

Roxy’s Rural Glam Censored Roxy Music’s Country Life was released as an LP, cassette, and 8-track cartridge in the UK on November 15, 1974, on Island (catalogue: ILPS 9303 / ZCI 9303 / Y81 9303). This art-glam masterpiece—featuring Ferry’s croon, Manzanera riffs, and infamous censored cover (produced by John Punter & Roxy), was issued in five vinyl variants with pink rim labels, laminated sleeves, and inner lyrics. It peaked at No. 3 on the UK Albums Chart. (controversial models Karoli & Grunwald), printed inners, and cassette with pink labels, it’s a sleek ‘74 art-rock reissue blast. The 4th Roxy Music Album Club-Sonderauflage (Special Club Edition) S&R International (Schallplattenring International). Censored Cover with only one model featured (Eveline Grunwald). Album Overview Vinyl Album (ILPS 9303) Side A The Thrill Of It All (Ferry) – 6:23 Three And Nine (Ferry, Mackay) – 4:01 All I Want Is You (Ferry) – 2:50 Out Of The Blue (Ferry, Manzanera) – 4:40 If It Takes All Night (Ferry) – 3:09 Side B Bitter-Sweet (Ferry, Mackay) – 4:57 Triptych (Ferry) – 3:09 Casanova (Ferry) – 3:23 A Really Good Time (Ferry) – 3:44 Prairie Rose (Ferry, Manzanera) – 5:13 Cassette (ZCI 9303) Side A A1 The Thrill Of It All (Written-By – Ferry) A2 A Really Good Time (Written-By – Ferry) A3 All I Want Is You (Written-By – Ferry) A4 Out Of The Blue (Written-By – Ferry, Manzanera) A5 If It Takes All Night (Written-By – Ferry) Side B B1 Bitter-Sweet (Written-By – Mackay, Ferry) B2 Triptych (Written-By – Ferry) B3 Casanova (Written-By – Ferry) B4 Three And Nine (Written-By – Mackay, Ferry) B5 Prairie Rose (Written-By – Ferry, Manzanera) 2 panel inlay, grey plastic with pink paper labels. 8-Track Cartridge (Y81 9303) Program 1 A1 The Thrill Of It All A2 Three And Nine Program 2 B1 All I Want Is You B2 Out Of The Blue B3 If It Takes All Night Program 3 C1 Triptych C2 Casanova C3 A Really Good Time Program 4 D1 Bitter-Sweet D2 Prairie Rose Release Details: Label: Island (UK pressing). Record Company – E.G. Records Ltd. Phonographic Copyright ℗ – Island Records Ltd. Copyright © – E.G. Music Ltd. / E.G. Music. Published By – E.G. Music Ltd. Recorded At – Air Studios, London, Summer 1974. Produced For – E.G. Records Ltd. Engineer – John Punter Assistant Engineers – Michael Sellers, Paul Nunn, Sean Milligan, Steve Nye Art Direction – Bryan Ferry Artwork – Bob Bowkett, CCS Bass – John Gustafson Design – Nicholas De Ville Drums – Paul Thompson Guitar – Phil Manzanera Keyboards, Strings, Synthesizer – Eddie Jobson Oboe, Saxophone – Andy Mackay Photography – Eric Boman Stylist – Antony Price German Translation (B1) – Constanze Karoli, Eveline Grunwald Printed By – Robor Ltd. / SIB-Tryck Tumba Pressed By – EMI Records UK Formats: Vinyl, LP, Album Original first issue, pink rim label, laminated cover, printed inner with lyrics (ILPS 9303) Vinyl, LP, Album, Promo Pink rim label, “Promotion Copy Only” on labels, laminated sleeve (ILPS 9303) Vinyl, LP, Album 1st issue, pink rim, laminated sleeve, die-cut inner with 3 cut-off corners (ILPS 9303) Vinyl, LP, Album Roxy Music – Country Life (The Fourth Roxy Music Album) Pink rim, Swedish SIB-Tryck Tumba laminated sleeve, printed inner, no NCB on labels (ILPS 9303) Vinyl, LP, Album Pink rim/palm tree, fully laminated cover, printed inner with lyrics & ads, 2 clipped corners (ILPS 9303) Cassette, Album Island Tapes – ZCI 9303 Grey plastic, pink paper labels, 2 panel inlay one side. 8-Track Cartridge, Album Y81 9303 Stereo. Singles: "All I Want Is You" Released: October 4, 1974 UK "The Thrill of It All" (US) Country Variations: The album was released in: Germany - Island - 1974 Netherlands - Island - 1974 Sweden - Island - 1974 USA - Atco - 1974 Australia - Island - 1975 Japan - Island - 1975 Yugoslavia - Island - 1975 Germany - Polydor - 1977 Japan - Polydor - 1977 Norway - Polydor - 1977 UK (Island ILPS 9303 / ZCI 9303 / Y81 9303) Released November 15, 1974. LP (five variants), cassette, 8-track. Production and Context Produced by John Punter & Roxy Music for E.G. Records Ltd. Recorded Air Studios, Summer 1974. Cover shot by Eric Boman in Portugal with Constanze Karoli (Can’s sister) & Eveline Grunwald (German translation on “Bitter-Sweet”). Controversial in US/Spain/Australia—censored, shrink-wrapped, or black-bagged. US reissue used back cover trees. First US Top 40 (#37). “All I Want Is You” UK #12 single. Chart Performance: (BBC Official Albums Chart) UK: No. 3 Entry Date: November 30, 1974. Peak: No. 3 (November 30, 1974). Weeks on Chart: 10 (Nov 30, 1974 – Feb 1, 1975).Chart Run: No. 3 (Nov 30), No. 5 (Dec 7), No. 8 (Dec 14), No. 13 (Dec 21), No. 13 (Dec 28), No. 20 (Jan 4), No. 24 (Jan 11), No. 41 (Jan 18), No. 22 (Jan 25), No. 36 (Feb 1). Legacy and Collectibility Country Life is peak art-glam—sleek, surreal, seductive. Original UK pink rim LPs with inner fetch £30–£80 on eBay/Discogs, promo (£100+), Swedish sleeve (£60–£120), cassettes (£10–£25), 8-tracks (£40–£80). Verify runout dots, clipped corners, and no mask on cover (inside only) Streams on Spotify via remasters. This censored classic is a must-have for Roxy fans and ‘74 art-rock collectors. Have you braved the *Country Life* cover scandal? Does “Prairie Rose” still sweep you away? 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’s Mistletoe Boogie "Marc's Christmas Bop" is an unreleased 7-inch single by T. Rex, catalogued as MARC 12, with several proposed release dates, though November 14, 1975, is considered the most likely. It was meant to be a limited Christmas release but never officially came out at the time. The A-side, "Christmas Bop," is a new, previously unheard holiday-themed track, while the B-side includes two of T. Rex’s major 1972 hits: "Telegram Sam" and "Metal Guru." Although shelved in 1975, the master tapes survived, and "Christmas Bop" later appeared on official posthumous compilations beginning in the 1990s. The complete intended vinyl single was also featured in the T. Rex – The 7" Singles Box Set released by Edsel Records on March 16, 2015. (DEMRECBOX005) A Christmas Bop B1 Telegram Sam B2 Metal Guru GURU 17 / Christmas Bop Issued under licence from Spirit Services Holdings s.a.r.l. Cover/Label side A: ℗ 1982 Spirit Services Holdings s.a.r.l. © 2015 Demon Music Group Ltd. Label side B: ℗ 1972 Spirit Services Holdings s.a.r.l. © 2015 Demon Music Group Ltd. Published by Spirit Music Publishing Ltd. A: 45 rpm / B: 33rpm Manufactured in the EU.

A Breaking Glass Stage Dive David Bowie’s “Breaking Glass live” was released as a 7-inch EP single with push-out centre and a promo version in the UK on November 17, 1978, on RCA Victor (catalogue: BOW 1 / PB 9337 / PL 02913(2)). Backed with “Art Decade live” and “Ziggy Stardust live,” this raw Stage trio (all live from the 1978 tour), produced by Bowie & Tony Visconti, were issued in picture and company sleeves. It peaked at No. 54 on the UK Singles Chart for 7 weeks. Issued in push-out centre, promo with “NOT FOR SALE,” runouts crossed out with harp symbol before ‘GATES/GETAS’ (Utopia mastering), it’s a live ‘78 glam reissue trio. Single Overview A-Side: “Breaking Glass live” Written-By – Bowie, Davis, Murray. Producer – David Bowie, Tony Visconti. B1-Side: “Art Decade live” Written-By – Bowie. Producer – David Bowie, Tony Visconti. B2-Side: “Ziggy Stardust live” Written-By – Bowie. Producer – David Bowie, Tony Visconti. Release Details: Label: RCA Victor (UK pressing, 45 RPM). Manufactured By – RCA Ltd. Phonographic Copyright ℗ – RCA Records. Published By – Bewlay Bros. Music (A, B1, B2), Fleur Music (A, B1), Chrysalis Music Ltd. (B1, B2), Mainman Ltd. (B2). Printed By – Delga Press Limited. Mastered At – Utopia Studios. Pressed By – RCA Records Pressing Plant, Washington, UK. Runouts: ‘PB 93 37’ crossed out both sides, harp symbol before ‘GATES’ and ‘GETAS’. UK Formats: Vinyl, 7" EP Single Push Out Centre, Picture and Company Sleeves (BOW 1 / PB 9337 / PL 02913(2)) A: “Breaking Glass live” – Written-By – Bowie, Davis, Murray – Producer – David Bowie, Tony Visconti B1: “Art Decade live” – Written-By – Bowie – Producer – David Bowie, Tony Visconti B2: “Ziggy Stardust live” – Written-By – Bowie – Producer – David Bowie, Tony Visconti All tracks from the album Stage. Vinyl, 7" EP Single, Promo Demonstration Sample Not For Sale (BOW 1 / PB 9337 / PL 02913(2)) A: “Breaking Glass live” – Written-By – Bowie, Davis, Murray – Producer – David Bowie, Tony Visconti B1: “Art Decade live” – Written-By – Bowie – Producer – David Bowie, Tony Visconti B2: “Ziggy Stardust live” – Written-By – Bowie – Producer – David Bowie, Tony Visconti Country Variations: The single was released in several countries: UK (RCA Victor BOW 1 / PB 9337 / PL 02913(2)) Released November 17, 1978. 7-inch EP (standard & promo). Belgium (RCA Victor 1978) France (RCA Victor 1978) Netherlands (RCA Victor 1978) Spain (RCA Victor 1978) Australia (RCA Victor 1979) Production and Context Produced by David Bowie & Tony Visconti. All tracks live from the 1978 Stage tour, recorded during the Isolar II shows. A-side from Low, B1 from Low, B2 from Ziggy Stardust. Publishers: A – Bewlay Bros./Fleur; B1 – Bewlay Bros./Chrysalis/Fleur; B2 – MainMan/Chrysalis/Bewlay Bros. Mastered at Utopia, pressed in Washington, UK. Sleeve printed by Delga Press Limited. Chart Performance: UK: No. 54 (Official Singles Chart), charting for 7 weeks. Entry Date: December 2, 1978. Peak: No. 54 (December 9, 1978). Weeks on Chart: 7 (Dec 2, 1978 – Jan 13, 1979). Chart Run: No. 58 (Dec 2), No. 54 (Dec 9), No. 56 (Dec 16), No. 70 (Dec 23), No. 70 (Dec 30), No. 71 (Jan 6), No. 68 (Jan 13). Legacy and Collectibility “Breaking Glass live” is a snarling Stage highlight, “Art Decade live” an atmospheric instrumental, “Ziggy Stardust live” a glam resurrection. Original UK 7-inch EPs fetch £8–£20 on eBay/Discogs, promos (£25–£50). Verify crossed-out runouts and harp symbol. Streams on Spotify via Stage album preserve the live electricity. This Isolar II snapshot is a must-have for Bowie live collectors and ‘78 glam fans. Have you felt the shatter of this live Breaking Glass? Does Ziggy still rise on stage in your heart? 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 Good Time That Skidded Faces’ “Had Me A Real Good Time” 7-inch vinyl single, was released in the UK on November 13, 1970, on Warner Bros. Records (catalogue: WB 8018). Backed with “Rear Wheel Skid,” this raucous rock track, written by Rod Stewart, Ronnie Wood, and Ronnie Lane, was produced by The Faces, was a unique early mix that appeared ahead of the album Long Player. Recorded by Warner Bros. Records Ltd. and distributed by Pye Records (Sales) Ltd., it did not chart in the UK. Issued in four-prong push-out centre and promo white label variants, it’s a raw slice of Faces’ boozy brilliance. Single Overview A-Side: “Had Me A Real Good Time” (Stewart, Wood, Lane) Written-By – R. Stewart, R. Wood, R. F. Lane. Production – The Faces. B-Side: “Rear Wheel Skid” (McLagan, Jones, Stewart, Wood, Lane) Written-By – J. P. McLagan, K. T. Jones, R. D. Stewart, R. Wood, R. F. Lane. Production – The Faces. Release Details: Label: Warner Bros. Records (UK pressing, 45 RPM). Published By – Warner Bros. Music. Formats: Vinyl, 7", 45 RPM, Single (WB 8018) Four prong push out center. A: “Had Me A Real Good Time” (Stewart, Wood, Lane) – Written-By – R. Stewart, R. Wood, R. F. Lane – Production – The Faces B: “Rear Wheel Skid” (McLagan, Jones, Stewart, Wood, Lane) – Written-By – J. P. McLagan, K. T. Jones, R. D. Stewart, R. Wood, R. F. Lane – Production – The Faces Runouts etched; matrix at six o'clock, 1 at three o'clock, alpha at nine o'clock. ℗ 1970. A Warner Bros. Records Ltd. recording. Vinyl, 7", 45 RPM, Single (WB 8018) Promo White label, four prong push out center. A: “Had Me A Real Good Time” (Stewart, Wood, Lane) – Written-By – R. Stewart, R. Wood, R. F. Lane – Production – The Faces B: “Rear Wheel Skid” (McLagan, Jones, Stewart, Wood, Lane) – Written-By – J. P. McLagan, K. T. Jones, R. D. Stewart, R. Wood, R. F. Lane – Production – The Faces Country Variations The single was released in several countries: UK (Warner Bros. WB 8018) Canada (Warner Bros. 1970) France (Warner Bros. 1970) Germany (Warner Bros. 1970) Greece (Warner Bros. 1970) USA (Warner Bros. 1970) Australia (Warner Bros. 1971) Japan (Warner Bros. 1971) New Zealand (Warner Bros. 1971) Production and Context Production – The Faces. Recorded in 1970 during First Step sessions. The lineup: Rod Stewart (vocals), Ronnie Wood (guitar), Ronnie Lane (bass), Ian McLagan (keyboards), Kenney Jones (drums). “Had Me A Real Good Time” was a party anthem, “Rear Wheel Skid” an instrumental jam. Released amid Faces’ rise, it preceded Long Player (No. 31 UK, 1971) and competed with The Who and Led Zeppelin. Singles Released and Chart Performance “Had Me A Real Good Time” was a non-album single: UK Chart Data: Entry Date: N/A (did not chart). Peak: N/A. Weeks on Chart: 0. Legacy and Collectibility “Had Me A Real Good Time” is Faces’ rowdy rock gem, with “Rear Wheel Skid” a loose B-side. Original UK 7-inch vinyls fetch £5–£15 on eBay/Discogs, promo white labels (£10–£25). Verify catalogue WB 8018. Streams on Spotify via First Step reissues preserve the analog pub rock. This single is a must-have for Faces fans and ‘70s rock collectors. Have you snagged this Faces frolic in your vinyl collection? Does Had Me A Real Good Time get you going? 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

Alice Cooper Group’s "Alice's Moving Performance," one-page November 7, Rainbow Theatre concert review in Melody Maker, on November 13, 1971.

Rod Stewart’s "Me New Single!" one-page advert in Melody Maker, November 11, 1972.

Alice Cooper Group’s "Quite a Reception," a one-page article in Melody Maker, November 11, 1972.

A Glam Leather Heart-Tug Alvin Stardust’s “Tell Me Why” 7-inch vinyl single, was released in the UK on November 15, 1974, on Magnet Records (catalogue: MAG 19). Backed with “Roadie Roll On,” this emotive glam ballad (A) and upbeat rocker (B), both composed/produced by Peter Shelley (B co-written with Stardust), peaked at No. 16 on the UK Singles Chart for 8 weeks. Pressed with solid centre, push-out centre, and promo (large A, release date) variants, it’s a poignant ‘70s Stardust staple. Single Overview A-Side: “Tell Me Why” (3:10, Peter Shelley) Producer – Peter Shelley. B-Side: “Roadie Roll On” (2:51, Peter Shelley, Alvin Stardust) Producer – Peter Shelley. Release Details: Label: Magnet Records (UK pressing, 45 RPM). UK Variants: Vinyl, 7", 45 RPM, Single, Solid Centre (MAG 19): A: “Tell Me Why” (3:10, Peter Shelley) – Producer – Peter Shelley B: “Roadie Roll On” (2:51, Peter Shelley, Alvin Stardust) – Producer – Peter Shelley Vinyl, 7", 45 RPM, Single, Push-out centre (MAG 19): A: “Tell Me Why” (3:10, Peter Shelley) – Producer – Peter Shelley B: “Roadie Roll On” (2:51, Peter Shelley, Alvin Stardust) – Producer – Peter Shelley Vinyl, 7", 45 RPM, Single, Promo Push-out centre (MAG 19): A: “Tell Me Why” (2.59, Peter Shelley) – Producer – Peter Shelley B: “Roadie Roll On” (2:50, Peter Shelley, Alvin Stardust) – Producer – Peter Shelley Large A label with printed release date and varying timings. UK (Magnet MAG 19): Released November 15, 1974. Solid centre, push-out centre, promo. Country Variations: 7", 45 RPM, Single EMI – EMI-10669 Australia 7", 45 RPM, Single, Promo EMI – EMI-10669 Australia 7", Single, 45 RPM Ariola – 13 707 AT Austria 7", Single, 45 RPM Columbia – 2C 004-96229 France 7", 45 RPM, Single, Stereo Ariola – 13 707 AT Germany 7", 45 RPM, Single, Stereo Ariola – 13 707 AT Netherlands 7", 45 RPM, Single Parlophone – NZP 3492 New Zealand Production and Context: Produced by Peter Shelley. Recorded in 1974. The lineup: Alvin Stardust (vocals), with session musicians. “Tell Me Why” was a heartfelt ballad, “Roadie Roll On” a tour-life rocker. Released amid Stardust’s glam peak, it followed Alvin Stardust (No. 37 UK, 1974). Chart Performance: UK: No. 16 (Official Singles Chart), charting for 8 weeks. Entry Date: November 30, 1974. Peak: No. 16 (December 21–28, 1974). Weeks on Chart: 8 (Nov 30, 1974 – Jan 18, 1975). Chart Run: No. 27 (Nov 30), No. 24 (Dec 7), No. 19 (Dec 14), No. 16 (Dec 21), No. 16 (Dec 28), No. 19 (Jan 4), No. 21 (Jan 11), No. 46 (Jan 18). Legacy and Collectibility “Tell Me Why” is Stardust’s glam ballad gem, with “Roadie Roll On” a live-wire B-side. Original UK 7-inch vinyls fetch on eBay/Discogs (value £2 mint), promo (£5–£12). Verify catalogue MAG 19. Streams on Spotify via Alvin Stardust reissues preserve the analog leather. This single is a must-have for Stardust fans and ‘70s glam collectors. Have you snagged this Stardust why in your vinyl collection? Does Tell Me Why tell 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

Elton & Lennon's O'Boogie Jam Elton John’s “Lucy In The Sky With Diamonds” 7-inch vinyl single, was released in the UK on November 15, 1974, on DJM Records (catalogue: DJS.340). Backed with “One Day At A Time,” this reggae-tinged Beatles cover (Lennon/McCartney) and Lennon original, was produced by Gus Dudgeon at Caribou Ranch. Featuring John Lennon on backing vocals/guitar as Dr. Winston O'Boogie, the A-side peaked at No. 15 on the UK Singles Chart for 7 weeks and No. 1 in the US/Canada. Pressed by Tranco Limited (red translucent vinyl), issued in solid centre, push-out centre, and promo yellow label variants, it’s a star-studded ‘70s gem. Single Overview A-Side: “Lucy In The Sky With Diamonds” (Lennon/McCartney) Written-By – Lennon/McCartney. Producer – Gus Dudgeon. Featuring – Dr. Winston O'Boogie (guitar, backing vocals). B-Side: “One Day At A Time” (John Lennon) Written-By – J. Lennon. Producer – Gus Dudgeon. Release Details: Label: DJM Records (UK pressing, 45 RPM). Published By – Northern Songs (A), John Lennon / ATV Music Ltd. (B). Phonographic Copyright ℗ – This Record Co Ltd. Pressed By – Tranco Limited. Variants: Vinyl, 7", 45 RPM, Single, Solid Centre (DJS.340): A: “Lucy In The Sky With Diamonds” (Lennon/McCartney) – Producer – Gus Dudgeon B: “One Day At A Time” (John Lennon) – Producer – Gus Dudgeon Red translucent when held to light. Vinyl, 7", Single, Push-out Centre (DJS.340): A: “Lucy In The Sky With Diamonds” (Lennon/McCartney) – Producer – Gus Dudgeon B: “One Day At A Time” (John Lennon) – Producer – Gus Dudgeon Vinyl, 7", Single, Promo (DJS 340): A: “Lucy In The Sky With Diamonds” (Lennon/McCartney) – Producer – Gus Dudgeon B: “One Day At A Time” (John Lennon) – Producer – Gus Dudgeon Yellow labels in company sleeve. Notes: Made in England. Country Variations: Angola - DJM - 1974 Canada - MCA - 1974 France - DJM - 1974 Germany - DJM - 1974 Jamaica - DJM - 1974 Japan - DJM - 1974 Mexico - Musart - 1974 Netherlands - DJM - 1974 Norway - DJM - 1974 Peru - Odeon - 1974 Philippines - Parlophone - 1974 Portugal - DJM - 1974 South Africa - DJM - 1974 Spain - DJM - 1974 USA - MCA - 1974 Australia - DJM - 1975 Italy - DJM - 1975 Yugoslavia - DJM - 1975 Production and Context: Produced by Gus Dudgeon. Recorded at Caribou Ranch. Musicians: Elton John (vocals, piano), John Lennon (backing vocals, reggae guitar as Dr. Winston O'Boogie). “Lucy In The Sky With Diamonds” was a Beatles cover, “One Day At A Time” from Lennon’s Mind Games. Chart Performance: UK: No. 15 (7 weeks). US (Billboard Hot 100): 1 (2 weeks). Canada (RPM): 1 (4 weeks). UK Chart Data: Entry Date: November 23, 1974. Peak: No. 15. Weeks on Chart: 7. Legacy and Collectibility “Lucy In The Sky With Diamonds” is Elton & Lennon’s reggae-psychedelic collab, with “One Day At A Time” a tender B-side. Verify catalogue DJS.340. Streams on Spotify via compilations preserve the analog diamond. This single is a must-have for Elton/Lennon fans and ‘70s pop collectors. Have you snagged this Elton-Lennon diamond in your vinyl collection? Does Lucy sparkle for 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

Marc & Mickey cast a spell on BBC’s biggest stage! With "Ride a White Swan", at number 30 on the BBC Singles Chart, T. Rex recorded their TOTP debut at BBC Television Centre, 201 Wood Lane, Shepherd’s Bush, London W12, England, on Wednesday, November 11, 1970. The duo—Marc Bolan on Gibson Les Paul and Mickey Finn on bass—delivered a mimed performance, broadcast the following day (November 12). The song was performed for a second time and broadcast on November 26, 1970. Again, a mimed performance, then repeated on December 10, 1970. And lastly, on January 7, 1971, played over charts. The recording of November 11/12, 1970 is available on: A&M Records Deluxe Edition of the T. Rex 1970 album – Universal 534 732-2 (CD, Album, Reissue, Remastered), released 2014. A&M 7" vinyl single – Catalogue: 534 731-8, Barcode: 0600753473184, released March 3, 2014. Full Show rundown: Matthews Southern Comfort – "Woodstock" (over charts, #1) Roger Whittaker – "New World In The Morning" (mimed, #17) McGuinness Flint – "When I'm Dead And Gone" (mimed, NEW) T.Rex – "Ride a White Swan" (mimed, #30) Dave Edmunds – "I Hear You Knockin'" (mimed, NEW) Don Fardon – "Indian Reservation" (mimed, #4) Neil Diamond – "Cracklin' Rosie" (audience dancing, #29) Clarence Carter – "Patches" (mimed, #2) The Move – "When Alice Comes Back To The Farm" (mimed, NEW) Jimi Hendrix Experience – "Voodoo Chile" (Pan's People dance, #5) Creedence Clearwater Revival – "Bayou Country" (audience dancing, NEW) The Bee Gees – "Lonely Days" (mimed, NEW) Matthews Southern Comfort – "Woodstock" (audience dancing) 60 years ago......... "Today in Music History – November 12th. 1965, After changing his name from Toby Tyler to Marc Bolan, the future T.Rex star performed his first single ‘The Wizard’ on the UK TV show Ready Steady Go!" November 12th 1965 Marc makes his television debut on Rediffusion's Ready Steady Go! performing “The Wizard” also on the show were Tom Jones, Nashville Teens, Wilson Pickett, The Small Faces, and Sylvie Vartan

The Woman That Hit 8 Mud’s “Show Me You're A Woman” 7-inch vinyl single, was released in the UK on November 14, 1975, on Private Stock Records (catalogue: PVT.45). Backed with “Don't You Know,” this catchy glam-pop plea, written by John Goodison/Phil Wainman (A) and Ray Stiles/Rob Davis (B), was produced by Phil Wainman (A) for The Utopia Group and Ray Stiles (B). The A-side’s upbeat strut and B-side’s arranged charm peaked at No. 8 on the UK Singles Chart for 8 weeks. Lacquer cut by MELYS at I.B.C. Studios, issued in solid centre, pushout centre, promo, and acetate variants, it’s a bubbly ‘70s Mud hit. Single Overview A-Side: “Show Me You're A Woman” (4:08, Goodison, Wainman) Written-By – John Goodison, Phil Wainman. Producer – Phil Wainman. B-Side: “Don't You Know” (3:05, Stiles, Davis) Written-By – Ray Stiles, Rob Davis. Arranged By – Mud. Producer – Ray Stiles. Release Details: Label: Private Stock Records (UK pressing, 45 RPM). Published By – Utopia Music Ltd. (A), Dick James Music Ltd./Evolution Music/Island Music Ltd. (B). UK Formats: Vinyl, 7", 45 RPM, Single, Solid Centre Company Sleeve (PVT.45) A: “Show Me You're A Woman” (4:08, Goodison, Wainman) – Producer – Phil Wainman – Written-By – John Goodison, Phil Wainman B: “Don't You Know” (3:05, Stiles, Davis) – Arranged By – Mud – Producer – Ray Stiles –Written-By – Ray Stiles, Rob Davis Vinyl, 7", 45 RPM, Single, Pushout Centre (PVT.45) Vinyl, 7", 45 RPM, Single, Promo Pushout Centre (PVT.45) Vinyl, 12" Acetate, 33 ⅓ RPM, Single Sided, Single (none): A1 “Show Me Your A Woman” / A2 “(She's Got) The Devil In Her Eyes.” One-sided, spelling error. Country Variations Austria (Philips 1975) Germany (Philips 1975) Ireland (Private Stock 1975) Ireland (Private Stock 1975): Black Label Ireland (Private Stock 1975): Black Label (mispress variant) Netherlands (Philips 1975) Portugal (Philips 1975) Scandinavia (Philips 1976) US (Private Stock 45,049 promo 1975) UK (Private Stock PVT.45): Released November 14, 1975. Solid centre, pushout centre, promo, acetate. Production and Context Produced by Phil Wainman (A) for The Utopia Group, Ray Stiles (B). Recorded in 1975. The lineup: Les Gray (vocals), Rob Davis (guitar), Ray Stiles (bass), Dave Mount (drums). “Show Me You're A Woman” was a glam strut, “Don't You Know” a Mud-arranged B-side. Released amid Mud’s hit streak, it followed Use Your Imagination (No. 33 UK, 1975) and competed with Bay City Rollers and Hot Chocolate. Singles Released and Chart Performance “Show Me You're A Woman” was a non-album single: Chart Performance: Entry Date: November 29, 1975. Peak: No. 8 (December 13, 1975). Weeks on Chart: 8 (Nov 29, 1975 – Jan 17, 1976). Chart Run: No. 26 (Nov 29), No. 15 (Dec 6), No. 8 (Dec 13), No. 10 (Dec 20), No. 11 (Dec 27), No. 11 (Jan 3), No. 20 (Jan 10), No. 29 (Jan 17). Legacy and Collectibility “Show Me You're A Woman” is Mud’s glam-pop flirt, with “Don't You Know” a solid B-side. Verify catalogue PVT.45. Streams on Spotify via compilations preserve the analog bubble. This single is a must-have for Mud fans and ‘70s glam collectors. Have you snagged this Mud flirt in your vinyl collection? Does Show Me You're A Woman show 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.

Essex's Funfair Waltz David Essex’s “If I Could” 7-inch vinyl single, was released in the UK on November 14, 1975, on CBS Records (catalogue: S CBS 3776). Backed with “Funfair,” this wistful ballad, written by David Essex, was produced/arranged/directed by Jeff Wayne for Jeff Wayne Music (Productions) Limited. Both tracks from All The Fun Of The Fair (S 69160), the A-side’s tender melody and fairground charm peaked at No. 13 on the UK Singles Chart for 8 weeks. Lacquer cut by ARUN at CBS Studios, pressed by CBS Aston Clinton, issued in solid centre, 4 prong centre, promo, and stereo solid centre variants, it’s a poignant ‘70s pop gem. Single Overview A-Side: “If I Could” (3:56) Written-By – David Essex. Producer – Jeff Wayne. B-Side: “Funfair” (2:49) Written-By – David Essex. Producer – Jeff Wayne. Release Details: Label: CBS Records (UK pressing, 45 RPM). Published By – April Music Ltd. (A), Rock On Music (B). Phonographic Copyright ℗ – CBS Records. Lacquer Cut At – CBS Studios, London. Pressed By – CBS Pressing Plant, Aston Clinton. Lacquer Cut By – Arun. UK Variants: Vinyl, 7", 45 RPM, Single, Sunburst, Solid Centre in Picture Sleeve (S CBS 3776): A If I Could 3:56 B Funfair 2:49 Vinyl, 7", 45 RPM, Single, Stereo, Sunburst, Solid Centre in Company Sleeve (S CBS 3776): A If I Could 3:56 B Funfair 2:49 Vinyl, 7", 45 RPM, Single, Sunburst, 4 Prong Centre in Company Sleeve (S CBS 3776): A If I Could 3:56 B Funfair 2:49 Vinyl, 7", 45 RPM, Single, Promotional White A, Solid Centre in Picture Sleeve with release date printed (S CBS 3776): A If I Could 3:56 B Funfair 2:49 DAVID ESSEX CBS BROADCASTING COPYING OF THIS RECORD PROHIBITED RELEASE DATE: 14th Nov., 1975 S CBS 3776 Side A 3.56 IF I COULD (Words and Music by David Essex) Taken from the LP "ALL THE FUN OF THE FAIR" S 69160 Music and Sound Produced. Arranged and Directed by Jeff Wayne for Productions Notes: Both from All The Fun Of The Fair (S 69160). Country Variations: Vinyl, 7", 45 RPM, Single, in Picture Sleeve CBS – BA 222192 Australia 1975 Vinyl, 7", 45 RPM, Single, in Picture Sleeve CBS – CBS S 3776, CBS – CBS 3776 Germany 1975 Vinyl, 7", 45 RPM, Single, Promotional in Info Sleeve CBS – CBS S 3776 Germany 1975 CBS-Blitzinformation DAVID ESSEX Stereo CBS 3776 (Not for sale sample) If I Could (3:56) (David Essex) From the LP CBS 69 160 "ALL THE FUN OF THE FAIR" April Music Ltd. / Rock On Music Funfair (2:49) (David Essex) From the LP CBS 69 160 "ALL THE FUN OF THE FAIR" April Music Ltd. /Rock On Music From his latest superb LP "All The Fun Of The Fair" comes David's newest single, "If I Could," which has begun its unstoppable climb to the top of the charts in England. Incidentally, the nationwide film premiere of "Stardust," starring David Essex... a pop star, of course..., takes place on March 12th! Vinyl, 7", 45 RPM, Single, in Picture Sleeve CBS – 3776 Netherlands 1975 UK (CBS S CBS 3776): Released November 14, 1975. Solid centre, promo, 4 prong, stereo solid centre. Production and Context Produced/Arranged/Directed by Jeff Wayne for Jeff Wayne Music (Productions) Limited. Recorded in 1975 during All The Fun Of The Fair sessions. The lineup: David Essex (vocals), with session musicians. “If I Could” was a reflective ballad, “Funfair” a nostalgic B-side. Released amid Essex’s Rock On fame, it followed All The Fun Of The Fair (No. 3 UK, 1975) and competed with Bay City Rollers and Hot Chocolate. Singles Released and Chart Performance “If I Could” was a single from All The Fun Of The Fair: Chart Performance: UK: No. 13 (Official Singles Chart), charting for 8 weeks. Entry Date: December 6, 1975. Peak: No. 13 (January 10–17, 1976). Weeks on Chart: 8 (Dec 6, 1975 – Jan 24, 1976). Chart Run: No. 50 (Dec 6), No. 25 (Dec 13), No. 21 (Dec 20), No. 16 (Dec 27), No. 16 (Jan 3), No. 13 (Jan 10), No. 13 (Jan 17), No. 27 (Jan 24). Legacy and Collectibility “If I Could” is Essex’s fairground-tinged ballad, with “Funfair” a whimsical B-side. Verify catalogue S CBS 3776. Streams on Spotify via All The Fun Of The Fair reissues preserve the analog charm. This single is a must-have for Essex fans and ‘70s pop collectors. Have you snagged this Essex fairground gem in your vinyl collection? Does If I Could tug your heart? 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 UTube

Ezrin's Muppet-Ready Mayhem Alice Cooper’s “Welcome To My Nightmare” 7-inch vinyl single, was released in the UK on November 14, 1975, on Anchor Records (catalogue: ANC 1025). Backed with “Black Widow,” this theatrical disco-jazz-hard rock fusion, written by Cooper/Wagner (A) and Cooper/Wagner/Ezrin (B), was produced by Bob Ezrin for My Own Production Company Ltd. The A-side’s funky beat, acoustic guitar (Dick Wagner), bass (Tony Levin), clarinet (Jozef Chirowski), drums (Johnny Badanjek), and electric guitar (Steve Hunter) peaked at No. 45 on the Billboard Hot 100 but did not chart in the UK. Issued in standard and US promo/Monarch/Specialty/Plastic Products variants, it’s a standout from Welcome To My Nightmare. Single Overview A-Side: “Welcome To My Nightmare” Written-By – Cooper, Wagner. Producer – Bob Ezrin. B-Side: “Black Widow” Written-By – Cooper, Wagner, Ezrin. Producer – Bob Ezrin. Release Details: Label: Anchor Records (UK pressing, 45 RPM). Published By – Warner Bros. Music Ltd. Phonographic Copyright ℗ – Anchor Records Ltd. UK Formats: Vinyl, 7", 45 RPM, Single (ANC 1025): Commercial A: “Welcome To My Nightmare”– Written-By – Cooper, Wagner – Producer – Bob Ezrin B: “Black Widow” – Written-By – Cooper, Wagner, Ezrin – Producer – Bob Ezrin Vinyl, 7", 45 RPM, Single (ANC 1025): Demonstrational A: “Welcome To My Nightmare”– Written-By – Cooper, Wagner – Producer – Bob Ezrin B: “Black Widow” – Written-By – Cooper, Wagner, Ezrin – Producer – Bob Ezrin Country Variations The single was released in Canada, Germany and the US: Vinyl, 45 RPM, 7" (all with the same two tracks) bar promotional releases Canada (Atlantic – AT 3298) A Welcome To My Nightmare 2:44 B Cold Ethyl 2:50 Manufactured By – WEA Music Of Canada, Ltd. Distributed By – WEA Music Of Canada, Ltd. US (Atlantic 45-3298): Vinyl, 7", 45 RPM, Single, Stereo, MO - Monarch Pressing A Welcome To My Nightmare 2:44 B Cold Ethyl 2:50 Vinyl, 7", 45 RPM, Single, Stereo, PL - Plastic Products Pressing A Welcome To My Nightmare 2:44 B Cold Ethyl 2:50 Vinyl, 7", 45 RPM, Single, Stereo, SP - Specialty Pressing A Welcome To My Nightmare 2:44 B Cold Ethyl 2:50 Vinyl, 45 RPM, 7", Promo, Stereo, Mono, PL - Plastic Products Pressing A Welcome To My Nightmare 2:44 B Welcome To My Nightmare 2:44 Vinyl, 45 RPM, 7", Promo, Stereo, Mono, SP - Specialty Pressing A Welcome To My Nightmare 2:44 B Welcome To My Nightmare 2:44 Vinyl, 7", 45 RPM, Single, Promo, Stereo, Mono, MO - Monarch Pressing A Welcome To My Nightmare 2:44 B Welcome To My Nightmare 2:44 Germany (Anchor 16 537 AT) A Welcome To My Nightmare 2:50 B Black Widow 3:22 Record Company – Ariola Eurodisc GmbH Phonographic Copyright ℗ – Anchor Records Ltd. Pressed By – Sonopress Production and Context Produced by Bob Ezrin for My Own Production Company Ltd. Recorded in 1975 during Welcome To My Nightmare sessions. The lineup: Alice Cooper (vocals), Dick Wagner (acoustic guitar), Tony Levin (bass), Jozef Chirowski (clarinet), Johnny Badanjek (drums), Steve Hunter (electric guitar). “Welcome To My Nightmare” mixed disco/jazz/hard rock, later performed on The Muppet Show. Single Chart Performance “Welcome To My Nightmare” peaked at No. 45 in the US, with no UK chart entry. Legacy and Collectibility “Welcome To My Nightmare” is Cooper’s theatrical disco-rock staple, with “Black Widow” a spooky B-side. Original UK 7-inch vinyls fetch £5–£15 on eBay/Discogs, US pressings (£3–£10). Verify catalogue ANC 1025. Streams on Spotify via Welcome To My Nightmare reissues preserve the analog nightmare. This single is a must-have for Cooper fans and ‘70s shock collectors. Have you snagged this Cooper nightmare in your vinyl collection? Does Welcome To My Nightmare haunt 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 What’s the next classic vinyl you’d like to feature? Share in the comments!

David Bowie’s "Make room for 2 Bowie albums", one-page advert in Melody Maker , November 11, 1972.