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The Sweets "Alexander Graham Bell" backed with "Spotlight" was released as a 7-inch vinyl single in the UK by RCA Victor (catalog number  RCA 2121 ) on October 1, 1971. The single was The Sweet's fourth release and their first for RCA after a brief stint with Parlophone. Produced by Chinn and Chapman at DJM Studios in London, it captured the band in their bubblegum phase—polished pop with a glam sheen, clocking in under three minutes per side for maximum radio punch. The sleeve featured the quartet in mod-ish attire against a stark white background, emphasizing their clean-cut image before the full glitter explosion. It peaked at No. 2 on the UK Singles Chart (behind T. Rex's "Jeepster"), marking their first major smash and outselling their prior efforts. In the US, it flopped on Bell Records, but it boosted their European profile, with German and French editions promoting it as a "neuausnahme" (new recording). The A-side appeared on their debut album Funny How Sweet Co-Co Can Be (1971), while the B-side remained a single exclusive until compilations like The Sweet Singles Album (1972). A-Side: "Alexander Graham Bell" Written by Chinn and Chapman, this jaunty 2:56 rocker humorously chronicles the inventor's life through a telephone lens: "Alexander Graham Bell, he was a mighty swell / He made the telephone and he made it well / Now you can talk to your mama in New York / While you're sittin' in your little old shack in Cork." Connolly's cheeky delivery, backed by Scott's twangy guitar and Tucker's crisp snare, delivers a foot-stomping chorus that's pure ear candy—think early Bay City Rollers with a glam twist. Its novelty appeal and singalong hook propelled it to stardom, though critics later dismissed it as lightweight fluff. A rare promo video from 1971 shows the band lip-syncing on a minimalist set, now viewable on YouTube. B-Side: "Spotlight" Credited to the band (with publishing via Sweet Publishing Ltd.), this 2:46 mid-tempo groove (also Chinn/Chapman in disguise) shifts to romantic yearning under fame's glare: "Spotlight, shining on me / Making me see what I could be." Priest and Scott handle harmonies over a bouncy bassline and subtle organ fills, offering a more introspective vibe than the A-side's romp. It's a competent filler—catchy but unremarkable—highlighting the band's growing songwriting chops before their self-penned era. Underrated by fans, it nods to their stage persona, evoking the thrill (and pressure) of the limelight. This single solidified The Sweet's formula: Chinnichap's hooks plus the band's charisma equaled hits. It bridged their poppy origins to glam dominance, influencing acts like Mud and Slade. For modern ears, stream it on Spotify or grab the 2019 Off the Record box set for rarities. If you're dipping into glam's golden age, this is a sparkling entry point—fun, frivolous, and forever foot-tapping.

The Moves " "Chinatown" backed with "Down on the Bay" , was released as a 7-inch vinyl single in the UK by Harvest Records (catalog number HAR 5043 ) on October 1, 1971. This release marked The Move's final release under their original name before fully morphing into ELO. It captured the band at a crossroads: Roy Wood's whimsical songwriting met Jeff Lynne's emerging production polish, recorded alongside ELO's debut album sessions at Philips Studios in London. Produced by Wood and Lynne, the single blended semi-acoustic folk-rock with glam-tinged melodies on the A-side and a retro rocker on the B. Despite critical favor—Carl Wayne called it his favorite Move track—it peaked at No. 23 on the UK Singles Chart, a modest showing compared to their earlier smashes, possibly due to the shifting rock landscape. In the US, it appeared briefly on MGM (K14332, quickly withdrawn) then United Artists, with an edited "Chinatown" (trimmed to ~3:09 from the full 3:40 album version), but saw minimal promotion and no chart action. A-Side: "Chinatown" Penned by Roy Wood, this evocative track (3:40 full length) paints a dreamy, exotic portrait of urban escapism in a bustling Asian quarter, with lyrics evoking lanterns, jasmine tea, dragon kites, and fleeting romance: "I could find a good time girl in Chinatown / Dancing in my shoes / See the eastern ladies walk in Chinatown / Chain me down, Chinatown." Its semi-acoustic arrangement—gentle guitars, subtle brass, and Wood's soaring falsetto—shifts from folk introspection to a catchy, melodic chorus, earning praise as one of the band's most underrated gems. Critics hail its "fantastically melodic" vibe, bridging psychedelia and the softer glam of T. Rex. The album version appears on Message from the Country (1971), but the single edit tightens the flow for radio. B-Side: "Down on the Bay" A Jeff Lynne composition (4:12), this upbeat, '50s-inspired rocker channels doo-wop energy with quacking duck sound effects (a Lynne quirk) and playful bayou imagery. Lyrics nod to simple pleasures like fishing and flirtation: "Down on the bay, where the fishin's good / And the girls are lookin' fine." It's a lighthearted foil to the A-side's poetry—straightforward, guitar-driven fun with harmonies and a stomping rhythm—but doesn't quite match "Chinatown's" depth, serving as a solid, nostalgic B-side rather than a standout. Lynne's hand here foreshadowed ELO's pop craftsmanship.

T. Rex, led by Marc Bolan, performed at the Weeley Festival in Clacton-on-Sea, Essex, on August 28, 1971, as part of a massive rock festival that ran from August 27-29. The festival, organized by the Clacton Round Table, was initially planned for 5,000 attendees but drew an estimated 110,000 to 150,000 people, boosted by the cancellation of that year’s Isle of Wight Festival. T. Rex took the stage late Saturday night, around 11:00 PM, following the Faces, with a set that included. "Cadillac," "Beltane Walk," "One Inch Rock," "Spaceball Ricochet," "Girl" "Debora," "Ride a White Swan," and "Hot Love"

Rod Stewart’s Every Picture Tells a Story album advert, published in Melody Maker music newspaper on July 31, 1971.

Rod Stewart’s Never a Dull Moment  one-page album advert, published in Melody Maker  music magazine on July 29, 1971.

Rod Stewart’s Two Faced cover and article, published in Melody Maker music newspaper on July 24, 1971.

T.Rex cover and one-page article, published in Record Mirror  music newspaper on July 24, 1971.

T Rex perform at the Odeon Theatre, Lewisham on the July 19, 1971. The poster measures 100.8cm x 77cm (39.6 inches x 30.2 inches).

Rod Stewart’s Every Picture Tells a Story was released as an LP album in the UK by Mercury Records (catalog number 6338 063) on July 16, 1971. (May 1971 (US) Label: Mercury Records Producer: Rod Stewart Band Context: Recorded during a transitional period for Stewart, who was balancing his solo career with his role in the Faces, a rock band he joined in 1969. The album blends his solo artistry with the raw, collaborative energy of the Faces. Musical Style: A fusion of rock, folk, blues, and soul, showcasing Stewart’s gravelly voice and eclectic influences. The album is noted for its loose, organic feel, combining heartfelt ballads with rollicking rockers. Album cover front released under Mercury in the UK, catalogue number 6338 063. Recording and Production Studio: Morgan Studios, London Musicians: The album featured key members of the Faces, including Ronnie Wood (guitar), Ian McLagan (keyboards), and Ronnie Lane (bass on some tracks). Other contributors included drummer Micky Waller, mandolin player Ray Jackson, and Maggie Bell on backing vocals for the title track. Approach: Stewart aimed for a spontaneous, live-in-the-studio vibe, with minimal overdubs. This gave the album its raw, authentic sound. He produced it himself, allowing creative control to shape the record’s diverse palette. Challenges: Stewart was still finding his footing as a solo artist while maintaining his commitment to the Faces. The album’s success helped solidify his reputation as a solo star. Track Listing and Key Songs The album consists of 10 tracks, blending original compositions, covers, and traditional songs. Every Picture Tells a Story (Rod Stewart, Ronnie Wood)A rollicking title track with a driving rhythm, featuring Stewart’s storytelling and Ray Jackson’s mandolin. It sets the album’s tone of raw energy and narrative depth. Lyrics reflect a young man’s journey through life’s adventures, with a nod to Stewart’s own experiences. Seems Like a Long Time (Ted Anderson) A soulful cover of a song by folk artist Ted Anderson, showcasing Stewart’s emotive vocal delivery and the band’s tight interplay. That’s All Right (Arthur Crudup) A medley with the traditional folk song “Amazing Grace.” This bluesy rendition pays homage to Elvis Presley’s version while adding a folk twist. Amazing Grace (Traditional, arr. Stewart) Seamlessly blended with “That’s All Right,” this brief interlude highlights the album’s folk influences. Tomorrow Is a Long Time (Bob Dylan) A tender cover of Dylan’s 1963 song, showcasing Stewart’s ability to interpret folk with emotional depth. His version is softer and more introspective than Dylan’s original. Album cover back released under Mercury in the UK, catalogue number 6338 063 Henry (Martin Quittenton) A short instrumental prelude to “Maggie May,” featuring acoustic guitar and mandolin, setting a reflective mood. Maggie May (Rod Stewart, Martin Quittenton) The album’s centerpiece and Stewart’s breakthrough hit. A semi-autobiographical tale of a young man’s relationship with an older woman, it became a global No. 1 single. Features Ray Jackson’s iconic mandolin riff and a loose, heartfelt arrangement. Initially a B-side, its popularity propelled the album to success. Notable for its lack of a traditional chorus, relying on storytelling and melody. Mandolin Wind (Rod Stewart) A fan favorite and one of Stewart’s finest compositions. A folk-rock ballad about love and devotion, inspired by his relationship at the time. Ray Jackson’s mandolin and Ronnie Wood’s guitar create a pastoral, evocative sound. (I Know) I’m Losing You (Norman Whitfield, Eddie Holland, Cornelius Grant) A high-energy cover of The Temptations’ 1966 soul hit, transformed into a gritty rock anthem. The Faces’ backing adds a raucous edge. Reason to Believe (Tim Hardin) A poignant folk ballad, originally by Tim Hardin. Stewart’s version, with its delicate arrangement, became a hit single (often paired with “Maggie May” as a double A-side). Showcases his ability to convey vulnerability and heartbreak. Themes and Lyrics Storytelling: The album’s title reflects its lyrical focus on vivid, personal narratives. Songs like “Maggie May” and “Every Picture Tells a Story” draw from Stewart’s experiences, blending humor, romance, and introspection. Eclectic Influences: The album bridges rock’s energy, folk’s introspection, and soul’s emotional depth, reflecting Stewart’s diverse musical tastes. Youth and Reflection: Many tracks explore themes of young love, wanderlust, and self-discovery, resonating with listeners of the early 1970s. Label: Mercury Country: USA Catalogue: SRM-1-609 / SRM 1-609 back cover of a U.S. pressing Critical Reception Initial Response: Critics praised the album for its authenticity, versatility, and Stewart’s distinctive voice. It was seen as a bold statement of his solo identity, distinct from his work with the Faces. Commercial Success: The album reached No. 1 in both the US (Billboard 200) and UK (UK Albums Chart), driven by the success of “Maggie May” and “Reason to Believe.” It was certified Platinum in the US. Accolades: Rolling Stone ranked it No. 173 on its 2020 list of the 500 Greatest Albums of All Time, lauding its “ragged glory” and Stewart’s vocal prowess. It’s often cited as a defining album of the early 1970s rock era. Legacy and Impact Cultural Significance: Every Picture Tells a Story established Rod Stewart as a major solo artist, distinct from his bandmate persona in the Faces. “Maggie May” became an enduring classic, covered and referenced widely. Influence: The album’s blend of rock, folk, and soul influenced later artists, from singer-songwriters to roots-rock bands. Its raw production style set a template for authentic, unpolished rock records. Stewart’s Career: The album’s success launched Stewart into superstardom, paving the way for hits like Never a Dull Moment (1972) and his later pivot to pop and disco in the late 1970s. Enduring Popularity: Tracks like “Maggie May” and “Mandolin Wind” remain staples on classic rock radio, and the album is frequently cited in discussions of Stewart’s best work. Label: Mercury Country: USA Catalogue: SRM-1-609 / SRM 1-609 Tare off poster top unique to this release Additional Notes Cover Art: The album’s cover features a colorful, cartoonish illustration of Stewart, reflecting the era’s playful aesthetic. It’s iconic for its bold design and connection to the album’s storytelling theme. Ray Jackson Controversy: Mandolin player Ray Jackson claimed he was under credited for his contributions, particularly on “Maggie May” and “Mandolin Wind.” Stewart later acknowledged Jackson’s role, but the issue remains a footnote in the album’s history. Faces Synergy: The album’s overlap with the Faces’ sound (several members played on it) made it a bridge between Stewart’s solo and band work, though it’s distinctly his vision. Chart Statistics for "Every Picture Tells a Story" (Album)United States: The album topped the Billboard 200 chart for four weeks starting October 2, 1971. It was certified Platinum by the RIAA, indicating over 1 million copies sold. United Kingdom: It reached number one on the UK Albums Chart for six weeks in 1971. Other Countries: The album also hit number one in Canada and Australia in September 1971. Critical Recognition: It was ranked number 172 on Rolling Stone’s 2003 list of the "500 Greatest Albums of All Time," later adjusted to number 177 in the 2020 revision. Label: Mercury Country: USA Catalogue: SRM-1-609 / SRM 1-609 Tare off poster bottom unique to this release Sales: The album has sold over 7 million copies worldwide. Chart Statistics for "Maggie May" (Single)United States: "Maggie May" reached number one on the Billboard Hot 100 on October 2, 1971, for five weeks. It was ranked the No. 2 record for 1971 on the Billboard Hot 100. United Kingdom: The single topped the UK Singles Chart for five weeks starting October 9, 1971. It was the No. 2 record for 1971 on the UK Singles Chart. Other Countries: It simultaneously hit number one in Australia (four weeks) and Canada (one week) in 1971. Certifications: In 2021, "Maggie May" was certified two-times Platinum by the RIAA for sales of 2 million units in the US. Additional Notes: Initially released as the B-side to "Reason to Believe," "Maggie May" gained traction after radio DJs, notably in Cleveland and Chicago, began playing it, leading to its reclassification as the A-side. It was inducted into the Grammy Hall of Fame in 2017 and ranked number 141 on Rolling Stone’s 2024 list of "The 500 Greatest Songs of All Time." Cover art for Rod Stewart's "Maggie May / Reason to Believe" Classic Edition released by Mercury Records in the Netherlands, catalogue number 6052 097, featuring a stylized purple and white image of the musician singing into a microphone. Simultaneous Number-One Status Rod Stewart was the first artist to achieve a simultaneous number-one album (Every Picture Tells a Story) and single ("Maggie May") in both the United States and the United Kingdom. This occurred in October 1971, with the album and single topping the Billboard 200 and Hot 100, and the UK Albums and Singles Charts, respectively. This feat is noted in multiple sources, with Pitchfork stating, “To this day, Stewart is the only artist to have accomplished this.” Additional Context Cultural Impact: The success of "Maggie May" and the album propelled Stewart from a relatively known artist in the UK (via his work with the Faces) to global stardom. The single’s unexpected rise, driven by radio play, and the album’s blend of rock, folk, and blues, resonated widely. Recording Details: "Maggie May" was recorded in two takes, with contributions from Faces members (Ronnie Wood, Ian McLagan), Martin Quittenton (acoustic guitar), and Ray Jackson (mandolin). The album featured a mix of originals and covers, with "Maggie May" and "Mandolin Wind" highlighted as standout tracks Label: Mercury Country: USA Catalogue: SRM-1-609 / SRM 1-609 Tare off poster top reverse side unique to this release The LP cover for Rod Stewart's "Every Picture Tells a Story", had notable differences between the US and UK versions, particularly regarding the sleeve and additional features like a tear-off poster. Front Cover US and UK: The front cover artwork for both regions was essentially the same, featuring an illustration of Rod Stewart in a colorful, cartoonish style, designed by John Craig. US Version: Inner Sleeve: The US release, issued by Mercury Records, typically included a custom inner sleeve with lyrics printed on it. This was a common feature for US LPs at the time, providing fans with song lyrics for tracks like "Maggie May," "Mandolin Wind," and others. Tear-Off Poster: Some US pressings included a perforated, tear-off poster as part of the packaging. This poster was a unique feature, often replicating the front cover artwork or featuring additional promotional imagery of Rod Stewart. The poster was attached to the inner sleeve or included as a separate insert, designed to be detached without damaging the main sleeve. This addition was a marketing tactic to enhance the album’s appeal, especially given Stewart’s rising popularity in the US. Label: Mercury Country: USA Catalogue: SRM-1-609 / SRM 1-609 Tare off poster bottom reverse side unique to this release UK Version: Inner Sleeve: The UK release, also on Mercury Records, typically had a plain inner sleeve without printed lyrics. UK LPs of the era often used generic paper or plastic-lined sleeves unless the album was a special edition. No Poster: There is no definitive evidence that the UK version included a tear-off poster. UK pressings were generally more utilitarian, focusing on the music rather than additional promotional items like posters, which were more common in the US market to attract buyers

T.Rex’s "Get It On" was released as a 7-inch vinyl single in the UK by Fly Records (catalog number BUG 10) on July 2, 1971, and as "Bang a Gong (Get It On)" in the US by Reprise Records (catalog number 1015) on September 24, 1971. Recorded at Trident Studios in London in early 1971, "Get It On" was produced by Tony Visconti. The track was laid down during sessions for the album "Electric Warrior", which solidified T. Rex’s shift to electric rock. The recording featured a tight, groove-heavy sound with a boogie-inspired rhythm, driven by Marc Bolan’s electric guitar and a punchy rhythm section. The core lineup included Marc Bolan (vocals, guitar), Mickey Finn (congas, bongos), Steve Currie (bass), and Bill Legend (drums). Notably, Rick Wakeman, then a session musician (later of Yes fame), contributed piano, adding a distinctive boogie-woogie flair. Backing vocals by Mark Volman and Howard Kaylan (Flo & Eddie) enhanced the track’s infectious energy. "Get It On" is a swaggering, upbeat rock song with a driving riff and a sensual, playful vibe. Bolan’s lyrics are flirtatious and evocative, with lines like “You’re dirty and sweet, clad in black, don’t look back” embodying the glam rock ethos of hedonism and charisma. The song’s raw, bluesy edge and catchy hook made it a dancefloor and radio favorite. "Get It On" is a glam rock anthem, epitomizing the genre’s blend of theatricality, sexuality, and rock ‘n’ roll swagger. It influenced countless artists, from David Bowie to the punk and new wave movements. The song’s riff and attitude made it timeless, with covers by acts like The Power Station (1985, reaching US No. 9) and its use in films, TV, and commercials. The UK B-side was "There Was a Time/Raw Ramp," while the US release featured "Cosmic Dancer." The song’s US title, "Bang a Gong," was chosen to avoid confusion with another song called "Get It On" by Chase. The track’s runtime is around 4:27, though radio edits were shorter. The song’s production is notable for its layered textures, including Wakeman’s piano, a saxophone solo by Ian McDonald (of King Crimson), and Visconti’s polished yet gritty sound. Unlike "Ride a White Swan," it featured a full drum kit, giving it a heavier, more driving rhythm, though still with a minimalist rock edge. The first pressing was released in a picture sleeve with the labels printed in handwritten text with a silver Fly logo. The second pressing label was still in a handwritten text but the Fly logo is white In later pressings return to silver Fly logo and text but the handwritten form has been replaced by a TYPESET in upper case.

T Rex perform at City Hall, Newcastle An original concert poster for the T Rex performance at City Hall, Newcastle on the May 20, 1971. It features pink tinted images of the group along with the venue and date. The poster measures 100cm x 76.5cm (39.5 inches x 30 inches). The item originally comes from the archive of designer David Arnott.

T Rex perform at City Hall, Sheffield on the May 17, 1971. The poster measures 100cm x 76.5cm (39.25 inches x 30 inches). Designer David Arnott.

George Harrison's "My Sweet Lord" and "All Things Must Pass" topped the NME Top 30 charts in their respective categories, as featured in New Musical Express on January 30, 1971. George Harrison released "My Sweet Lord" in November 1970 as the lead single from his landmark triple album All Things Must Pass. Written during his post-Beatles spiritual awakening, the song blends devotional lyrics with a catchy, uplifting melody, reflecting Harrison’s exploration of Hinduism and Christianity. Produced by Harrison and Phil Spector, it features Harrison’s slide guitar, lush orchestration, and backing vocals by the Edwin Hawkins Singers. The track’s iconic Wall of Sound production gives it a rich, anthemic quality. Recorded at Abbey Road Studios, it showcased contributions from musicians like Eric Clapton, Ringo Starr, and Billy Preston. "My Sweet Lord" became a global smash, hitting #1 on the UK Singles Chart for five weeks and topping the US Billboard Hot 100 for four weeks in early 1971. It was the first solo single by a Beatle to reach #1 in the UK and sold millions worldwide. Despite its success, the song faced a lawsuit for its similarity to The Chiffons’ "He’s So Fine," settled out of court.

T. Rex's Swan Up to No. 2 Peak As published in the Official Singles Chart for the week of January 17–23, 1971, T. Rex’s “Ride A White Swan” climbed two places to its peak position of No. 2 on the UK Singles Chart. The track, written and produced by Marc Bolan, had spent 14 weeks on the chart by this point, entering at lower positions and steadily rising through the festive season. It was held off the top spot by Clive Dunn’s “Grandad” (No. 1, LW: 1, Peak: 1, Weeks: 9). Chart Performance (week of January 17–23, 1971) Position: No. 2 Last Week: No. 4 Peak: No. 2 Weeks on Chart: 14 Legacy “Ride A White Swan” remains one of the most influential UK singles of the era — Bolan’s first major hit under the shortened T. Rex name, blending folk roots with electric pop magic. Verify catalogue BUG 1. Did you have Ride A White Swan in your vinyl stack? Still riding high at No. 2? Share in the comments! Sources Information is drawn from my personal knowledge and supplemented by web sources, including Discogs, 45cat, AllMusic, Rate Your Music, Wikipedia and BBC Official Charts Company Whilst every effort is made to provide accurate information, mistakes do happen. Simply leave a comment and the post will be updated. Thank you.

Bolan’s cosmic boogie hits the airwaves twice – Hot Love and rare session tracks! On December 21, 1970, the BBC broadcast two T.Rex sessions: The version of “Hot Love” recorded on December 9 aired on Radio One Club. Sounds of the 70s replayed the session recorded on November 5, featuring four tracks: Ride a White Swan My Baby's Like a Cloud Form Is It Love Funk Music

T. Rex album review, titled "T. Rex goes funky," published in Melody Maker December 26, 1970, praising "The Children of Rarn" as "possibly one of the most beautiful songs heard this year." T. Rex goes funky T. REX "T. Rex" (Fly). "The Children of Rarn," which makes up the opening and closing tracks of this album, is possibly one of the most beautiful songs I've heard this year. It's a flying number, hovering over history, and yet flying towards a scientific dream spun by Bolan, and executed with tact and mystery. Bolan and Mickey Finn have come up with a valid rock album here, heavier than they've ever attempted before. It's a more electric Rex, and for most of the time a fine gelling between the most musical stuff Bolan's done, and with-out doubt the most funky. "Seagull Woman," which features the playing of Howard Kaylan and Mark Volman of The Mothers of Invention is the most complex thing I've heard from the unit. Even then, at the roots, it's basically simple. energy-packed rock, basted lavishly with Bolan's poetic and imaginative vocals. There's imagination, and no lack of love songs. "Suneye," another superb track, takes in chunky acoustic guitar, and a relaxed drifting shifting mood. I can't help thinking that T. Rex and Bolan especially are going to be exceedingly big in 1971. R.H.

Elton’s dusty Americana masterpiece – order now before the rockets take off! The New ELTON JOHN Album Tumbleweed Connection (DJLPS 410) – one-page advert in Sounds, December 26, 1970. D.J.M. (Distributors) Ltd., James House, 71/75 New Oxford St., London W.C.1A 1DP. Tel: 01.836.4864. Distributed by Pye Records (Sales) Ltd. More Elton early-career gems added weekly.