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T.Rex’s Play Poperama, Devizes on December 18, 1970, show with Freedom and Rinki Dink Show from 8 pm to 1 am, admission 12/ .Concert advert, published in Melody Maker music newspaper on December 12, 1970.

Fly Records' White Swan Magic Released in the UK as a 7-inch vinyl single on October 2, 1970, by Fly Records (catalogue: BUG 1), this catchy folk-glam rock song climbed to number 6 on the Official Singles Chart on December 12. It then dropped during the Christmas period before rising to its highest position of Number 2 on January 2. It remained in the Top 40 for 20 weeks. The track that prevented it from reaching No. 1 was Clive Dunn – Grandad. Single Overview Release Details Label: Fly Records. Format: Vinyl, 7", 45 RPM, Single. Full Track Listing Side A Ride A White Swan Side B Is It Love / Summertime Blues Official Singles Chart Data Peak position: 2 20 weeks total – entry October 24, 1970 Reached No. 6 on December 12, 1970 Held at No. 2 by Clive Dunn – Grandad Singles Released and Chart Performance UK Official Singles Chart: 2 (20 weeks) Do you have Ride A White Swan in your vinyl stack? Ready to ride the white swan? Share in the comments! Sources Information is drawn from my personal knowledge and supplemented by web sources, including Discogs, 45cat, AllMusic, Rate Your Music, Wikipedia, BBC Official Charts Company, Billboard Chart History and YouTube Whilst every effort is made to provide accurate information, mistakes do happen. Simply leave a comment and the post will be updated. Thank you.

Dave Edmunds' "I Hear You Knocking" is a non-mover at number one in NME Top 30 singles chart. Dave Edmunds, a Welsh singer, guitarist, and producer, released his cover of "I Hear You Knocking" in 1970, which became his biggest hit. Originally written in 1955 by Dave Bartholomew and Pearl King and first recorded by Smiley Lewis, Edmunds' version was a raw, energetic take rooted in rockabilly and blues. Recorded for MAM Records, it was a one-man show—Edmunds played all the instruments himself, showcasing his knack for crafting tight, punchy rock 'n' roll. The single shot to #1 in the UK charts, staying there for six weeks, and reached #4 on the Billboard Hot 100 in the US. Its success was fueled by Edmunds' gritty vocals and a driving, no-frills arrangement that captured the early '70s rock revival vibe. The song’s raw energy and Edmunds’ retro style stood out against the era’s prog rock and glam trends. It remains a defining track of his career, often associated with his love for 1950s rock and roll influences like Chuck Berry and the Everly Brothers.

Bolan’s acoustic duo storm the Paris Theatre – Peel’s perfect Christmas gift! T.Rex’s John Peel's Sunday Concert, recorded at The Paris Theatre, Regent Street, London, on Thursday, December 10, 1970. First broadcast on John Peel’s Sunday Concert on Sunday, December 20, 1970, and repeated Wednesday, December 23, 1970. Setlist Debora – 5:44 Elemental Child – 9:04 Woodland Bop Medley – 7:33 i. Woodland Bop ii. Conesuala iii. The King Of The Mountain Cometh iv. Woodland Bop Ride A White Swan – 3:13 Jewel – 8:01 More pre-glam Bolan treasures added weekly.

Bolan plugs in for the Beeb – Hot Love hits the airwaves early! T.Rex’s Dave Lee Travis Show session, recorded at BBC Studio 5, Maida Vale, London, on Wednesday, December 9, 1970. First broadcast on The Dave Lee Travis Show on Sunday, December 13, 1970. Tracks: Summertime Blues (Eddie Cochran / Jerry Capehart cover) – 3:33 Jewel – 3:20 Hot Love – 3:09 More early electric Bolan gems added weekly.

A Teen Angst Anthem Alice Cooper Group’s “Eighteen” 7-inch vinyl single, was released in the US on November 11, 1970, on Warner Bros. Records (catalogue: 7449). Backed with “Body,” this raw hard rock track, written by Alice Cooper, Michael Bruce, Glen Buxton, Dennis Dunaway, and Neal Smith, was produced by Bob Ezrin and Jack Richardson. Both tracks from the album Love It to Death, the A-side’s teen rebellion anthem peaked at No. 21 on the Billboard Hot 100 for 13 weeks. Issued in a Warner Bros. company sleeve, it’s a defining moment of Cooper’s shock rock ascent. Single Overview A-Side: “Eighteen”  3.00 (Alice Cooper, Michael Bruce, Glen Buxton, Dennis Dunaway, Neal Smith) Produced by Bob Ezrin, Jack Richardson. B-Side: “Body” 2.39 (Alice Cooper, Michael Bruce, Glen Buxton, Dennis Dunaway, Neal Smith) Produced by Bob Ezrin, Jack Richardson. Release Details: Label: Warner Bros. Records (US pressing, 45 RPM). Formats: 7" Vinyl Single (7449): “Eighteen” / “Body.” In a company sleeve. A: “Eighteen” (Alice Cooper, Michael Bruce, Glen Buxton, Dennis Dunaway, Neal Smith) – Written-By – Alice Cooper, Michael Bruce, Glen Buxton, Dennis Dunaway, Neal Smith – Produced by Bob Ezrin, Jack Richardson B: “Body” (Alice Cooper, Michael Bruce, Glen Buxton, Dennis Dunaway, Neal Smith) – Written-By – Alice Cooper, Michael Bruce, Glen Buxton, Dennis Dunaway, Neal Smith – Produced by Bob Ezrin, Jack Richardson Notes: Both tracks from Love It to Death. US Country Variations 7", 45 RPM, Single Warner Bros. Records – 7449 7", 45 RPM Single, Promo Warner Bros. Records – 7449 7", 45 RPM, Single, Styrene, Intro Warner Bros. Records – 7449 7", 45 RPM, Single, Styrene Warner Bros. Records – 7449 7", 45 RPM, Single Warner Bros. Records – 7449 7", 45 RPM, Single, Stereo, Terre Haute Pressing Warner Bros. Records – 7449 7", 45 RPM, Single, Stereo, Santa Maria Pressing Warner Bros. Records – 7449 US (Warner Bros. 7449): Released November 11, 1970. Other Country Releases: Canada - Warner Bros. - 1970 Argentina - Warner Bros. - 1971 Argentina - Music Hall - 1971 Australia - Warner Bros. - 1971 Brazil - Warner Bros. - 1971 Denmark - Stateside - 1971 Germany - Stateside - 1971 Greece - Warner Bros. - 1971 Italy - Warner Bros. - 1971 Japan - Warner Bros. - 1971 Lebanon - Warner Bros. - 1971 Mexico - Warner Bros. - 1971 Netherlands - Stateside - 1971 New Zealand - Warner Bros. - 1971 Philippines - Warner Bros. - 1971 Portugal - Warner Bros. - 1971 Singapore - Warner Bros. - 1971 South Africa - Warner Bros. - 1971 UK - Straight - 1971 Venezuela - Warner Bros. - 1971 Production and Context Produced by Bob Ezrin and Jack Richardson. Recorded in 1970 at RCA Studios, Chicago, during Love It to Death sessions. The lineup: Alice Cooper (vocals), Glen Buxton (guitar), Michael Bruce (guitar/keyboards), Dennis Dunaway (bass), Neal Smith (drums). “Eighteen” was a teen identity crisis anthem, while “Body” added dark humor. Released amid Cooper’s rise, it preceded Love It to Death (No. 35 US, 1971) and competed with Black Sabbath and Deep Purple. Singles Released and Chart Performance “Eighteen” was the lead single from Love It to Death: Chart Performance: US: No. 21 (Billboard Hot 100), charting for 13 weeks. International: No chart entries in UK, Australia, Germany, Netherlands, Ireland, France, Canada, New Zealand, Switzerland, Austria, Norway, Sweden, or elsewhere. US Chart Data: Debut Date: February 20, 1971. Peak: No. 21 (April 24, 1971). Weeks on Chart: 13. Note: Cooper’s first US Top 40 hit. Legacy and Collectibility “Eighteen” is Cooper’s teen angst classic, with “Body” a dark B-side gem. Original US 7-inch vinyls fetch £5–£15 on eBay/Discogs. Verify catalogue 7449. Streams on Spotify via Love It to Death reissues preserve the analog menace. This single is a must-have for Cooper fans and ‘70s rock collectors. Have you snagged this Cooper debut hit in your vinyl collection? Does Eighteen still rebel? Share in the comments! Sources Information is drawn from my personal knowledge and supplemented by web sources, including Prince Vault, Discogs, 45cat, AllMusic, Rate Your Music, Wikipedia, BBC Official Charts Company, Billboard Chart History and YouTube What’s the next classic vinyl you’d like to feature? Share in the comments!

T.Rex unleashed in BBC’s Maida Vale! T.Rex’s Top Gear Session, recorded four tracks at BBC Studio 4, Maida Vale, London, on Monday, October 26, 1970. First broadcast on Top Gear on Saturday, November 7, 1970 and produced by John Walters. Tracks: “Ride A White Swan” (2:03), “Jewel” (3:32), “Elemental Child” (7:44), “Sun Eye” (2:00).

T.Rex storm the BBC with Visconti-powered glam! T.Rex recorded two tracks at BBC Studio 5, Maida Vale, London, on Friday November 6, 1970, for the Sounds Of The 70s show, produced by John Muir, both featuring Tony Visconti on bass. First broadcast on Sounds Of The 70s (The Bob Harris Show) on Monday November 16, 1970. Tracks: “My Baby's Like A Cloudform” (1:25), “Funk Music” (1:46). Tracks 3-1 to 3-4: Recorded at BBC Studio 4, Maida Vale, London, Monday 26th October 1970. First broadcast on Top Gear on Saturday 7th November 1970. 3-1 T. Rex– Ride A White Swan 2:03 3-2 T. Rex– Jewel 3:32 3-3 T. Rex– Elemental Child 7:44 3-4 T. Rex– Sun Eye 2:00

A Stewart-Sung Glam Enigma Python Lee Jackson's "In A Broken Dream" 7-inch vinyl single, was released in the UK on November 6, 1970, on Young Blood International – YB 1002. Backed with “Boogie Woogie Joe,” Formed in Sydney in December 1965 by UK expats Frank Kennington (vocals) and Mick Lieber (guitar) alongside local drummer David Montgomery, Python Lee Jackson began as a surf-influenced underground act. After Kennington’s deportation in 1966, the lineup evolved with Dave Bentley (keyboards/vocals) and singer Malcolm McGee, opening Rhubarb’s club. Relocating to London in 1968, Bentley, Lieber, and Montgomery rebuilt with bassist John Helman. Spotted by John Peel at the Arts Lab, they recorded three tracks in April 1969 with guest vocalist Rod Stewart — paid in car seat covers — including “In A Broken Dream.” Peel produced the originals; Miki Dallon later re-produced for Young Blood. Python Lee Jackson’s “In A Broken Dream” 7-inch vinyl single, was released in the UK on November 6, 1970, on Young Blood Records (catalogue: YB 1017). This moody hard rock track, written by David Bentley, featured uncredited vocals by Rod Stewart. Produced by Miki Dallon, the A-side’s haunting melody failed to chart on release. Issued in a company sleeve, it was reissued in 1971 and 1972 (YB 1002) to reach No. 3 UK. The 1970 debut is a cult classic from the band’s British period. Single Overview 1970: November 6 A-Side: “In A Broken Dream” (3:40, David Bentley) Written by David Bentley. Arranged by Python Lee Jackson. Vocals (uncredited): Rod Stewart. Produced by Miki Dallon. B-Side: “Doing Fine” (4:09, Roy Stephens) Written by Roy Stephens. Produced by Miki Dallon. Release Details: Label: Young Blood Records (UK pressing, 45 RPM). Formats: 7-Inch Vinyl (YB 1017): “In A Broken Dream” / “Doing Fine.” In a company sleeve. Notes: ℗ 1970. Published by Young Blood Music / D.I.G.I.T. Music. Distributed by EMI Records Ltd / Lugton & Co Ltd / Clyde Factors Ltd. Made in Gt. Britain. 1971: A-Side: In A Broken Dream B-Side: The Blues Label: Young Blood – YB 89 Format: Vinyl, 7", Single, 45 RPM Distributed By – Polygram Record Operation Services Copyright © – Young Blood Music Published By – Young Blood Music Ltd. Featuring – Rod Stewart Producer – Miki Dallon Written-By – Dave Bentley White label with light blue text. 1972: A-Side: In A Broken Dream B-Side: Boogie Woogie Joe Label: Young Blood International – YB 1002 Format: Vinyl, 7", 45 RPM, Single, Reissue, Solid-centre Published By – Young Blood Published By – Campbell Connelly Music Pressed By – CBS Pressing Plant, Aston Clinton Published By – Young Blood Music Arranged By – Python Lee Jackson Producer – Miki Dallon Written-By – David Bentley Notes: Release in push-out and solid centers Production and Context Recorded in 1969; re-produced by Miki Dallon for Young Blood. The lineup: Python Lee Jackson (David Bentley, Mick Lieber, David Montgomery, John Helman). Guest: Rod Stewart (uncredited vocals). “In A Broken Dream” was one of three Stewart tracks. Released amid glam’s dawn, it was reissued August 1972 after Stewart’s solo fame. Single Chart Performance The 1970 and 1971 releases did not chart. The 1972 reissue peaked at No. 3 in the UK for 1 week, charting for 12 weeks. Peak Position: 3 October 22, 1972 First Charted: September 24, 1972 Last Charted: December 10, 1972 Legacy and Collectibility “In A Broken Dream” is a Stewart guest classic, with “Doing Fine” adding bluesy grit. Verify catalogue YB 1017. Streams on Spotify via compilations preserve the analog melancholy. This single is a must-have for Stewart and glam collectors. Have you snagged this Python gem in your vinyl collection? Does “In A Broken Dream” haunt you? Share in the comments! Sources Information is drawn from my personal knowledge and supplemented by web sources, including Prince Vault, Discogs, 45cat, AllMusic, Rate Your Music, Wikipedia, BBC Official Charts Company, Billboard Chart History and YouTube What’s the next classic vinyl you’d like to feature? Share in the comments!

Bowie's US Cartoon Cover Classic David Bowie’s The Man Who Sold The World LP was released in the US on 12" vinyl and 8-Track Cartridge on November 4, 1970, on Mercury Records (catalogue: SR-61325 and MC8 61325, respectively).. This 9-track proto-glam rock album, Bowie’s third, featured heavy riffs and sci-fi lyrics, marking his shift from folk to hard rock. Produced by Tony Visconti, it peaked at No. 105 on the US Billboard Top LPs & Tape . Issued in a cartoon cover sleeve (five months before the UK “dress” version), it’s the first of three original Mercury sleeves, with a fourth Ziggy-era RCA reissue in 1972. Album Overview Release Details: Label: Mercury Records (US). Formats: 12-inch vinyl LP; ℗ & ©: 1970 Mercury Records. Recorded at Trident and Advision Studios, London, April–May 1970. Matrix numbers (e.g., SR-61325 A-1) confirm authenticity. US Release Formats and Track Listings The Man Who Sold The World was released in the US in 1970 as a 12-inch vinyl LP, and 8-Track Cartridge. 12-Inch Vinyl LP (Commercial): Label: Mercury – SR 61325, Mercury – SR-61325 Format: Vinyl, LP, Album, Stereo, Stamped Matrix, PR - Philips Pressing Side A: The Width Of A Circle (8:07, David Bowie) All The Madmen (5:38, David Bowie) Black Country Rock (3:33, David Bowie) After All (3:52, David Bowie) Side B: Running Gun Blues (3:12, David Bowie) Saviour Machine (4:27, David Bowie) She Shook Me Cold (4:13, David Bowie) The Man Who Sold The World (3:58, David Bowie) The Supermen (3:40, David Bowie) Notes: Packaging: 33⅓ RPM, stereo, in a cartoon cover sleeve by Michael J. Weller Record Company – Mercury Record Corporation Manufactured By – Mercury Record Productions, Inc. Distributed By – Mercury Record Productions, Inc. Recorded At – Trident Studios Recorded At – Advision Studios Remixed At – Trident Studios Pressed By – Philips Recording Company, Inc. Drums – Mick Woodmansey Electric Bass, Piano, Guitar – Tony Visconti Engineer – Ken* Executive-Producer – Robin McBride Guitar – Mick Ronson Guitar, Vocals – David Bowie Producer – Tony Visconti Synthesizer [Moog] – Ralph Mace Written-By – David Bowie This release has stamped matrix numbers in the dead wax. All other versions with this cover are counterfeits (with etched matrix numbers) and should not be listed here. "PR/P.R." in the runouts, and a 2.75" pressing ring denotes a Philips Recording Company, Inc. pressing. This US release is the first release on LP of The Man Who Sold the World. It was only released in two countries - US and Japan (SFX-7345) - with this original cover. The building in the background is the Cane Hill Hospital where David Bowie's half-brother Terry was a patient. The album was released in a further three countries on the Mercury label - Germany (David Bowie - The Man Who Sold The World) in a large circular fold-out cover and the United Kingdom and Australia with a picture of David reclining in a dress. This latter cover is the one used on contemporary releases. The US Mercury album was counterfeited (see David Bowie - The Man Who Sold The World) in the early 1970s after Bowie became popular. It was possible for a potential buyer to choose between the official RCA reissue (in yet another cover, see David Bowie - The Man Who Sold The World) and the widely distributed counterfeit. The following visual indicators can be used to confirm an original US Mercury LP: • The matrices in the runout (the space between the label and the grooves) are machine stamped (the counterfeits are hand etched). • The space between the final lyric line of The Supermen and the cartoon bubble "Oh By Jingo" on the back cover is approximately the height of a line of text, while on the counterfeits the space is notably wider. There are other differences, though these can be more easily seen and described in a side-by-side comparison. SR 61325 on covers & spine, SR-61325 on labels. Runouts are stamped except '1-11, 1-1, +, PR, P.R.' are etched. Rights Society: ASCAP Rights Society: PRS Pressing Plant ID (In runouts): PR, P.R. Matrix / Runout (Side A runout): SR 61325-A- M2 1-11 + PR Matrix / Runout (Side B runout): SR 61325-B- M1 1-1 P.R 12-Inch Vinyl LP (Promotional): Label: Mercury – SR-61325 Format: Vinyl, LP, Album, Promo, Stereo Side A: The Width Of A Circle (8:07, David Bowie) All The Madmen (5:38, David Bowie) Black Country Rock (3:33, David Bowie) After All (3:52, David Bowie) Side B: Running Gun Blues (3:12, David Bowie) Saviour Machine (4:27, David Bowie) She Shook Me Cold (4:13, David Bowie) The Man Who Sold The World (3:58, David Bowie) The Supermen (3:40, David Bowie) Notes: Record Company – Mercury Record Corporation Manufactured By – Mercury Record Productions, Inc. Distributed By – Mercury Record Productions, Inc. Bass – Tony Visconti Drums – Mick Woodmansey Guitar – Mick Ronson Producer – Tony Visconti Synthesizer – Ralph Mace Vocals, Guitar – David Bowie Written-By – David Bowie White promotional labels with black print and additional "Promotional Copy · Not For Sale" text. Issued in the same sleeve as the commercial release. (A widely distributed counterfeit of the commercial edition exists; see The Man Who Sold The World for images and descriptions of the main differences.) Matrix / Runout (A side runout, stamped, inverted ["PR + 1-11" is etched]): SR 61325-A- M2 PR + 1-11 Matrix / Runout (B side runout, stamped, inverted ["P.R. 1-1" is etched]): SR 61325-B- M1 P.R. 1-1 8-Track Cartridge (Catalogue: MC8 61325): A: The Width Of A Circle (David Bowie) Saviour Machine (Part 1) (David Bowie) B: Saviour Machine (Conclusion) (David Bowie) Black Country Rock (David Bowie) She Shook Me Cold (David Bowie) C: After All (David Bowie) The Supermen (David Bowie) All The Madmen (Part 1) (David Bowie) D: All The Madmen (Conclusion) (David Bowie) Running Gun Blues (David Bowie) The Man Who Sold The World (David Bowie) Notes: Producer – Ton Visconti* White shell. Catalog number if MC8 61325 on spine, MC8-61325 on rear, and 61325 on top. Production and Context Recording for "The Man Who Sold the World" commenced on April 17, 1970 at Advision Studios in London, starting with the track "All the Madmen". The following day, Ralph Mace was brought in to play a Moog synthesiser after contributing to the single version of "Memory of a Free Festival". At that time, Mace was a 40-year-old concert pianist and the head of the classical music department at Mercury Records. During this period, Bowie ended his contract with Pitt and met his future manager, Tony Defries, who helped with the termination. Recording sessions shifted to Trident Studios in London on 21 April and continued there until mid-May. On 4 May, the band recorded "Running Gun Blues" and "Saviour Machine"; the latter was initially the working title for the album's title track before Bowie altered it into a different melody to create the final version of "Saviour Machine". Recording and mixing returned to Advision on 12 May and concluded ten days later, with Bowie recording his vocals for the title track on the last day. Singles Released and Chart Performance Personnel David Bowie – lead vocals, backing vocals, 12-string acoustic guitar, Stylophone Mick Ronson – lead and rhythm guitar, acoustic guitar, backing vocals, recorder, piano Tony Visconti – bass, backing vocals, recorder Mick Woodmansey – drums, timpani, percussion Ralph Mace – Moog synthesiser Technical Tony Visconti – producer Ken Scott – engineer Gerald Chevin – engineer Robin McBride – executive producer Do you have the US cartoon Pinup in your vinyl stack? Which track sells the world? Share in the comments! Sources Discogs: The Man Who Sold The World (1970) 45cat: David Bowie Singles YouTube: The Man Who Sold The World Full Album (2014 upload, 1M+ views) Wikipedia: The Man Who Sold The World Official Charts Company: David Bowie Albums AllMusic: The Man Who Sold The World Billboard Chart History: David Bowie What’s the next classic vinyl you’d like to feature? Share in the comments!

The Wild West in Song Tumbleweed Connection is the third studio album by British singer-songwriter Elton John. It was recorded at Trident Studios, London, in March 1970, and released on October 30, 1970 in the UK and January 1971 in the US. It is a concept album based on country and western and Americana themes. All songs are written by John and Bernie Taupin, with the exception of "Love Song" by Lesley Duncan. In 2012, Tumbleweed Connection was ranked number 458 on Rolling Stone magazine's list of the 500 greatest albums of all time. The album peaked at number two on the UK Albums Chart and number five on the US Billboard 200 chart. In the US, it was certified gold in March 1971 and platinum in August 1998 by the RIAA. Background Co-writer Bernie Taupin said of the album, "Everybody thinks that I was influenced by Americana and by seeing America first hand, but we wrote and recorded the album before we'd even been to the States. It was totally influenced by The Band's album Music From Big Pink and Robbie Robertson's songs. I've always loved Americana, and I loved American Westerns. I've always said that "El Paso" was the song that made me want to write songs, it was the perfect meshing of melody and storyline, and I thought that here was something that married rhythms and the written word completely." John has remarked, "Lyrically and melodically, that's probably one of our most perfect albums. I don't think there's any song on there that doesn't melodically fit the lyric." Basic tracks for three of the album's titles, "Come Down in Time", "Country Comfort" and "Burn Down the Mission", were recorded at Trident during the sessions for the previous LP, Elton John, with overdubs completed for Tumbleweed Connection. An early version of "Madman Across the Water", featuring Mick Ronson on electric guitar, was also recorded during the sessions for the album. It was released on several albums and reissues of Tumbleweed Connection, though the track was ultimately re-recorded for the Madman Across the Water album. Dee Murray and Nigel Olsson appear for the first time together on this album as the rhythm section on "Amoreena". Olsson had played on one track on Empty Sky for John in 1969. It is Murray's first appearance on an Elton John album. In addition to several studio players who also performed on John's previous self-titled second album, several tracks feature backing musicians from the band Hookfoot, who were also his DJM Records label mates. Hookfoot guitarist Caleb Quaye and drummer Roger Pope had also appeared on John's Empty Sky album. No singles were released from the album in the US by either DJM or John's US distributor, Universal Records, but "Country Comfort" (b/w "Love Song") was released as a single in Australia, New Zealand and Brazil.[10] It peaked at No. 15 in New Zealand, and did not chart in the other two territories it was released in. Artwork The wraparound cover photo for the album was taken at Sheffield Park railway station in Sussex, approximately 30 miles (50 km) south of London on the Bluebell Railway. Photographer Ian Digby Ovens captured John (seated to the right in the photo but appearing to the left on the front cover, shown above) and Taupin (standing to the left, on the back cover) in front of the late-nineteenth-century station, to represent the album's rural Americana concept despite the English location. Additional photos were taken from the interior of a train on the line for the album liner notes and libretto. In August 2020, the Bluebell Railway announced that, to mark the 50th anniversary of the release of the album, it had restored the station to look as it did when the cover photo was taken, giving people an opportunity to re-create the scene in their own photos. Reception Tumbleweed Connection Platinum Record The album peaked at number two on the UK Albums Chart and number five on the US Billboard 200 chart. In the US, it was certified gold in March 1971 and platinum in August 1998 by the RIAA. The album sold very quickly in the US, debuting at number 28 on Billboard's Top LPs, an unusually high debut for a new artist at the time, and reached its peak position in just four weeks. In 2012, Tumbleweed Connection was ranked number 458 on Rolling Stone magazine's list of the 500 greatest albums of all time. Critical reception Reviewing later for AllMusic, Stephen Thomas Erlewine wrote: "Half of the songs don't follow conventional pop song structures; instead, they flow between verses and vague choruses. These experiments are remarkably successful, primarily because Taupin's lyrics are evocative and John's melodic sense is at its best." Robert Christgau wrote in his 1981 Record Guide: "good melodies and bad Westerns on it. Why do people believe that these latter qualify as songpoems?" (Note: There's an earlier Christgau review of the album, written in 1970 for The Village Voice). Reviewing for Rolling Stone, David Fricke wrote: "1971’s Tumbleweed Connection needs no improvement; it is one of the best country-rock albums ever written by London cowboys." Robert Hillburn wrote for The Los Angeles Times: "Tumbleweed Connection is that near-perfect album that artists often spend a whole career trying to produce."Dave DiMartino wrote for Yahoo! Music: "A step up from the slightly more overtly commercial Elton John... Tumbleweed is beautifully recorded and filled with very fine songs... Bordering on classic status." In The Rough Guide to Rock (1999), Neil Patrick wrote that the album highlighted John and Taupin's "shared obsession with Wild West mythology", and deemed it the best of the three albums John released in 1970. Martin C. Strong, writing in The Great Rock Discography (2006), considers the album a "relatively successful attempt at retro Americana". In an overview of John's career, Andy Gill of The Word deemed the album "a full-bore paean to a forgotten America" clearly inspired by the Band's first two albums, but added that "credit should be given for the way that the swamp-rock sound of 'Ballad Of A Well Known Gun' and 'Son Of Your Father', with its braiding of disparate guitar and piano lines in rhythmic symbiosis, paralleled the contemporary work of real Americans like Ry Cooder and Little Feat." New Musical Express contributor Charles Shaar Murray opined that the record "mined some new ore, and explored a few new things", with Taupin's love of the Band reflected in the lyrics' preoccupation with "the Old West, full of images of guns, fathers, stagecoaches, plantations and the like"; he added: "Buckmaster's orchestrations were played down, and the band worked overtime and really got funky. Apart from Lesley Duncan's 'Love Song', it was virtually raunch all the way, with some really sweet touches carefully placed en route." "Burn Down the Mission" "Burn Down the Mission", the tenth and final track on Tumbleweed Connection, is the most enduring and frequently played song from the album, the only one played by John on his Farewell Yellow Brick Road Tour in 2022–23. It was one of the very few non-singles on the Farewell Tour setlist, being played every night. Song information "Burn Down the Mission" is musically driven by the story told by Bernie Taupin's lyrics, as is common in John/Taupin collaborations. In the premiere episode of Elvis Costello's show Spectacle, John cited Laura Nyro as an influence on, among other things, the unusual structure and rhythm changes of this song in particular. John has frequently performed it live over the last 40 years: John's first live album, the WABC-FM radio broadcast 11-17-70, concludes with a version (running 18:10), interpolating Elvis Presley's "My Baby Left Me" and the Beatles' "Get Back" The song was a regular feature of the 1974 US and UK tours, with a version from the Royal Variety Performance in London, included in the album Here and There John's longest and most complex standalone jam of "Burn Down the Mission" (lasting 10:17) was in the Christmas Eve 1974 performance broadcast live on the BBC from Hammersmith Odeon in London, much bootlegged as Ol' Pink Eyes Is Back and Just Like Strange Rain (listen here at timecode 9:43). A more conventional rendition was recorded in December 1986 and released on Live in Australia with the Melbourne Symphony Orchestra. Cover versions In 1991, "Burn Down the Mission" was covered by Phil Collins for the tribute album Two Rooms: Celebrating the Songs of Elton John & Bernie Taupin. In 2002, "Burn Down the Mission" was recorded by Toto for their album Through the Looking Glass. Track listing All tracks are written by Elton John and Bernie Taupin, except where noted. Side one No. Title 1. "Ballad of a Well-Known Gun" 2. "Come Down in Time" 3. "Country Comfort" 4. "Son of Your Father" 5. "My Father's Gun" Side two No. Title 6. "Where to Now St. Peter?" 7. "Love Song" (Lesley Duncan) 8. "Amoreena" 9. "Talking Old Soldiers" 10. "Burn Down the Mission" Total length: 46:56 Bonus tracks (1995 Mercury and 2001 Rocket reissue) No. Title 11. "Into the Old Man's Shoes" 12. "Madman Across the Water" (Original version, featuring Mick Ronson) Total length: 59:48 2008 Deluxe edition bonus disc No. Title 1. "There Goes a Well Known Gun" (Previously unreleased band demo) 2. "Come Down in Time" (Piano demo) 3. "Country Comfort" (Piano demo) 4. "Son of Your Father" (Previously unreleased piano demo) 5. "Talking Old Soldiers" (Piano demo) 6. "Into the Old Man's Shoes" (Piano demo) 7. "Sister of the Cross" (Piano demo) 8. "Madman Across the Water" (Original version, featuring Mick Ronson) 9. "Into the Old Man's Shoes" 10. "My Father's Gun" (BBC session) 11. "Ballad of a Well-Known Gun" (BBC session) 12. "Burn Down the Mission" (BBC session) 13. "Amoreena" (BBC session) Total length: 59:16 Musicians Elton John – lead vocals, acoustic piano (1, 3–6, 8–10), Hammond organ, backing vocals Brian Dee – Hammond organ Caleb Quaye – lead guitar, acoustic guitar, electric guitar Les Thatcher – acoustic guitar, 12-string acoustic guitar Gordon Huntley – steel guitar Lesley Duncan – backing vocals, acoustic guitar Mike Egan – acoustic guitar Dave Glover – bass guitar Herbie Flowers – bass guitar Chris Laurence – acoustic bass Dee Murray – backing vocals, bass guitar Roger Pope – drums, percussion Barry Morgan – drums Nigel Olsson – backing vocalsmdrums Robin Jones – congas, tambourine Karl Jenkins – oboe Skaila Kanga – harp Ian Duck – harmonica Johnny Van Derek – violin Paul Buckmaster – orchestral arrangements and conductor Madeline Bell – backing vocals Tony Burrows – backing vocals Kay Garner – backing vocals Tony Hazzard – backing vocals Dusty Springfield – backing vocals Tammi Hunt – backing vocals Heather Wheatman – backing vocals Yvonne Wheatman – backing vocals Production Gus Dudgeon – producer Robin Geoffrey Cable – engineer Gus Skinas – editing SACD release Ricky Graham – digital transfers Greg Penny – surround mix 5.1 & Dolby Atmos Mix Bernie Taupin – lyricist David Larkham – art direction, design, cover design, cover artwork, photography Barry Wentzell – photography Ian Digby-Ovens – photography John Tobler – liner notes Source Wikipedia

On October 26, 1970, four songs were recorded by T.Rex for BBC Radio 1's 'Top Gear': “Ride a White Swan,” “Jewel,” “Suneye,” and “Elemental Child.” The show initially aired on November 7, 1970, and was rebroadcast on January 30, 1971. These tracks, along with many other similar recordings, are included in the 'Marc Bolan at the BBC' CD box set, released in 2013. Details below Marc Bolan Featuring John's Children, Tyrannosaurus Rex, Marc Bolan & T. Rex – Marc Bolan At The BBC (Radio Sessions And Broadcasts 1967 -1977) Label: Universal Music Catalogue – 534 309-2 Format: 6 x CD, Compilation Box Set Country: UK Released: Aug 26, 2013: Track List; 1-1 John's Children – Jagged Time Lapse 2:38 1-2 John Hewlett – Interview With John Hewlett 0:53 1-3 John's Children – The Perfumed Garden Of Gulliver Smith 2:46 1-4 John's Children – Daddy Rolling Stone 2:12 1-5 John's Children – Hot Rod Mama 3:11 1-6 Tyrannosaurus Rex – Top Gear Jingle 0:12 1-7 Tyrannosaurus Rex – Highways (With Chat) 1:54 1-8 Tyrannosaurus Rex – Dwarfish Trumpet Blues (With Chat) 2:36 1-9 Tyrannosaurus Rex – Scenescof (With Interview) 2:18 1-10 Tyrannosaurus Rex – Child Star (With Interview) 3:02 1-11 Tyrannosaurus Rex – Pictures Of Purple People (With Interview) 2:50 1-12 Tyrannosaurus Rex – Hot Rod Mama (With Interview) 3:17 1-13 Tyrannosaurus Rex – Knight (With Chat) 2:26 1-14 Tyrannosaurus Rex – Frowning Atahuallpa (With Chat) 4:41 1-15 Tyrannosaurus Rex – Strange Orchestras 1:53 1-16 Tyrannosaurus Rex – Afghan Woman (With Chat) 2:04 1-17 Tyrannosaurus Rex – Deborah (With Chat) 3:13 1-18 Tyrannosaurus Rex – Mustang Ford (With Chat) 3:17 1-19 Tyrannosaurus Rex – Stacey Grove (With Chat) 1:53 1-20 Tyrannosaurus Rex – One Inch Rock (With Chat) 1:43 1-21 Tyrannosaurus Rex – Salamanda Palaganda (With Chat) 2:06 1-22 Tyrannosaurus Rex – Eastern Spell (With Chat) 1:35 1-23 Tyrannosaurus Rex – Wind Quartets (With Chat) 2:53 1-24 Marc Bolan – Juniper Suction (Poem) 0:31 1-25 Marc Bolan – Juniper Suction (With Interview) 1:46 1-26 Tyrannosaurus Rex – The Friends (With Chat) 1:23 1-27 Tyrannosaurus Rex – Consuela (With Chat) 2:24 1-28 Tyrannosaurus Rex – The Seal Of Seasons (With Chat) 1:40 1-29 Tyrannosaurus Rex – Evenings Of Damask (With Chat) 2:25 1-30 Tyrannosaurus Rex – The Travelling Tragition 1:47 2-1 Tyrannosaurus Rex – Pewter Suitor (With Chat) 1:21 2-2 Tyrannosaurus Rex – Interview With Brian Matthew 1:33 2-3 Tyrannosaurus Rex – Chariots Of Silk 2:31 2-4 Tyrannosaurus Rex – Once Upon The Seas of Abyssinia (With Chat) 2:29 2-5 Tyrannosaurus Rex – Nijinsky Hind (With Chat) 2:23 2-6 Tyrannosaurus Rex – The Misty Coast of Albany (With Chat) 2:27 2-7 Tyrannosaurus Rex – Iscariot (With Chat) 2:03 2-8 Marc Bolan – A Star of Youth: Poem With Chat 1:04 2-9 Marc Bolan – A Ship Of Rhythm: Poem With Chat 1:36 2-10 Marc Bolan – The Winged Man With Eyes Downcast To The Moon: Poem With Chat 0:54 2-11 Tyrannosaurus Rex – Interview With Brian Matthew 0:57 2-12 Tyrannosaurus Rex – Fist Heart Mighty Dawn Dart 2:35 2-13 Tyrannosaurus Rex – Pavilions Of Sun 2:50 2-14 Tyrannosaurus Rex – A Day Laye 2:00 2-15 Tyrannosaurus Rex – By The Light Of A Magical Moon 2:46 2-16 Tyrannosaurus Rex – Wind Cheetah 2:31 2-17 Tyrannosaurus Rex – Hot Rod Mama (With Chat) 2:17 2-18 Tyrannosaurus Rex – Debora (With Chat) 3:44 2-19 Tyrannosaurus Rex – Pavilions Of Sun (With Chat) 3:36 2-20 Tyrannosaurus Rex – Dove (With Chat) 4:27 2-21 Tyrannosaurus Rex – By The Light Of The Magical Moon (With Chat) 3:49 2-22 Tyrannosaurus Rex – Elemental Child (With Chat) 7:05 2-23 Tyrannosaurus Rex – The Wizard (With Chat) 9:21 3-1 T. Rex – Ride A White Swan 2:03 3-2 T. Rex – Jewel 3:32 3-3 T. Rex – Elemental Child 7:44 3-4 T. Rex – Sun Eye 2:00 3-5 T. Rex – My Baby's Like A Cloudform 1:25 3-6 T. Rex – Funk Music 1:46 3-7 T. Rex – Summertime Blues 3:33 3-8 T. Rex – Jewel 3:20 3-9 T. Rex – Hot Love 3:09 3-10 T. Rex – Debora 5:44 3-11 T. Rex – Elemental Child 9:04 3-12 T. Rex Woodland Bop Medley (7:33) 3-12.i – Woodland Bop 3-12.ii – Conesuala 3-12.iii – The King Of The Mountain Cometh 3-12.iv – Woodland Bop 3-13 T. Rex – Ride A White Swan 3:13 3-14 T. Rex – Jewel 8:01 4-1 T. Rex – Woodland Rock 2:27 4-2 T. Rex – Beltane Walk 2:22 4-3 T. Rex – Seagull Woman (Backing Track) 2:20 4-4 T. Rex – Hot Love 2:48 4-5 T. Rex – Interview With Keith Altham 3:53 4-6 T. Rex – Jeepster 3:09 4-7 T. Rex – Get It On 4:39 4-8 T. Rex – Electric Boogie 1:54 4-9 T. Rex – Bob Harris Jingle 0:19 4-10 T. Rex – Sailors Of The Highway 2:46 4-11 T. Rex – Girl 2:13 4-12 T. Rex – Cadilac 2:48 4-13 T. Rex – Jeepster 3:20 4-14 T. Rex – Life's A Gas 2:18 4-15 T. Rex – Christmas Jingle 0:17 4-16 Marc Bolan – Interview with Tony Norman 9:41 4-17 T. Rex – Telegram Sam 2:50 4-18 Marc Bolan – Interview With Keith Altham 15:39 5-1 T. Rex – Metal Guru 2:05 5-2 Marc Bolan – Interview With Andrew Salkey 7:10 5-3 T. Rex – The Slider 3:29 5-4 T. Rex – Mystic Lady 3:07 5-5 T. Rex – Rock On 3:18 5-6 T. Rex – Main Man 4:14 5-7 Marc Bolan – Interview With Johnny Moran 14:34 5-8 T. Rex – Children Of The Revolution 2:29 5-9 T. Rex – Solid Gold Easy Action 2:06 5-10 T. Rex – 20th Century Boy 3:37 5-11 T. Rex – Free Angel 2:12 5-12 Marc Bolan – Interview With Nicky Horne 7:35 5-13 T. Rex – Rapids 2:47 5-14 T. Rex – Mad Donna 2:16 5-15 T. Rex – The Groover 3:00 5-16 T. Rex – Midnight 3:04 6-1 Marc Bolan – Interview With Anne Nightingale 4:50 6-2 T. Rex With 'Big Carrot' – Blackjack 3:21 6-3 T. Rex – Truck On (Tyke) 3:11 6-4 T. Rex – Sitting Here 2:19 6-5 T. Rex – Teenage Dream 5:18 6-6 Marc Bolan – Interview With Michael Wale 12:23 6-7 T. Rex – Light Of Love 3:29 6-8 T. Rex – Explosive Mouth 2:32 6-9 T. Rex – Zip Gun Boogie 3:21 6-10 T. Rex – Space Boss 2:56 6-11 T. Rex – New York City 3:29 6-12 T. Rex – Dreamy Lady 3:09 6-13 T. Rex – Do You Wanna Dance 2:34 6-14 Marc Bolan – Interview 3:34 6-15 Marc Bolan – Interview 5:46 6-16 T. Rex – I Love To Boogie 2:15 6-17 T. Rex – Celebrate Summer 2:11 The recording of “Ride a White Swan” was also featured in the Marc Bolan – Electric Sevens 2 - At The BBC, a limited edition box set containing four vinyl 7" records, released on April 19, 2014. The recording of “Jewel” was also featured on the Electric Sevens -2 At The BBC 7 inch singles box set - Record Three "Woodland Bop (Medley)" - Recorded for John Peel's Sunday Concert 10th December 1970 "Jewel" - BBC Top Gear Session 26th October 1970

On Sunday October 25, 1970, Tyrannosaurus Rex performed on the final day of the 3rd International Essen Pop & Blues Festival (also known as the Essener Songtage or Essen Blues & Pop Festival) at the Grugahalle in Essen, Germany. The Festival Context The International Essen Pop & Blues Festival was a pioneering event in European rock history, running annually from 1967 to 1974 in Essen, West Germany (now Germany). Organized by promoter Konrad Olbrich, it was one of the continent's first major rock festivals, predating Glastonbury and Woodstock in its influence on the European scene. The 1970 edition (October 22–25) drew around 10,000 attendees per day and featured a diverse lineup of progressive, blues, and emerging rock acts, reflecting the post-psychedelic shift. Other performers for October 25 (Final Day) The Taste (headliners, Irish blues-rock band with Rory Gallagher) Chicken Shack (British blues band led by Christine Perfect, later Christine McVie) Tyrannosaurus Rex Guru Guru Groove (German krautrock experimentalists) Witthüser & Westrup (German folk-rock duo) Setlist: One Inch Rock, By the Light of a Magical Moon, Jewel, Organ Blues, Summertime Blues The festival as a whole included acts like The Moody Blues, Supertramp, Savoy Brown, and Xhol over the four days, with a focus on blues, prog, and jazz-rock. Tickets cost around 12 Deutsche Marks (about €25 today), and it was held at the Grugahalle, a multi-purpose arena in Essen's Grugapark. Billed as Tyrannosaurus Rex, the duo consisted of Marc Bolan (vocals, guitar) and percussionist Mickey Finn, and were actually announced as T. Rex Did you catch Tyrannosaurus Rex live in their folk days? What's your favorite Bolan setlist? Share in the comments!

The Move: When Alice Comes Back to the Farm Single (1970) A Proto-Glam Rock Rocker The Move’s “When Alice Comes Back to the Farm” 7-inch vinyl single, was released in the UK on October 9, 1970, on Fly Records (catalogue: BUG 2). Backed with “What?,” this vibrant, proto-glam track, written and produced by Roy Wood, showcased the band’s shift from psychedelia to a heavier rock sound. Recorded as The Move transitioned toward the Electric Light Orchestra (ELO), the A-side’s rollicking energy and quirky lyrics failed to chart, but it remains a cult favorite. Housed in a simple Fly Records sleeve, this single captures a pivotal moment in The Move’s eclectic legacy. Single Overview A-Side: “When Alice Comes Back to the Farm” (3:44)Written by Roy Wood. A raucous, brass-infused rocker with Wood’s distinctive vocals and twangy guitar, blending glam and rock ‘n’ roll with a tongue-in-cheek farmyard narrative. Produced by Wood, it foreshadowed his orchestral experiments with ELO. B-Side: “What?” (6:30) featured on the UK Release Written by Jeff Lynne. A sprawling, progressive track with Lynne’s intricate guitar work and psychedelic flourishes, hinting at The Move’s evolving sound. Also produced by Wood, it offered a contrasting, experimental vibe. The Move’s “Kilroy Was Here” track, featured on the B-side of the German single release, on Ariola Records (catalogue: 14 742 AT). This non-album single, paired with “When Alice Comes Back to the Farm” as the A-side, showcased the band’s playful psychedelic style during their transition from flower power to proto-glam rock. Written and sung by Roy Wood, the B-side’s quirky ode to the WWII graffiti legend “Kilroy Was Here” captured The Move’s whimsical lyricism and experimental edge. Produced by Wood, the track failed to chart but remains a cult favorite, embodying the band’s late ‘60s eccentricity. Single Overview A-Side: “When Alice Comes Back to the Farm” (3:44) Written by Roy Wood. A rollicking proto-glam rocker with brass flourishes and Wood’s multi-tracked vocals, blending folk-rock with orchestral bombast. It marked The Move’s shift toward a heavier sound, hinting at Wood’s future ELO direction. B-Side: “Kilroy Was Here” (2:44) Written by Roy Wood. A lighthearted, upbeat pop track celebrating the famous WWII graffiti meme “Kilroy was here,” with Wood’s nasal vocals and jaunty melody evoking a mischievous wanderer’s exploits. Lyrics like “Kilroy was here / Left his name around the place” humorously personify the anonymous doodler as a “clever lad” and “public poet,” blending nostalgia with absurdity. The song’s simple, catchy structure and playful tone reflect The Move’s whimsical phase, recorded amid their post-Shazam evolution. Release Details: Label: Fly Records (UK pressing, 45 RPM). Formats: 7-Inch Vinyl (BUG 2): “When Alice Comes Back to the Farm” / “What?.” In a Fly Records company sleeve or promotional sleeve with band imagery. Notes: ℗ & © 1970 Fly Records. Matrix numbers (e.g., BUG 2 A-1U) confirm authenticity. Released during The Move’s transition to ELO, following Shazam (1970). Production and Context Recorded in 1970 at Advision Studios, London, the single was produced by Roy Wood, with contributions from The Move’s lineup: Wood (vocals, guitar, multi-instruments), Jeff Lynne (guitar, vocals), Rick Price (bass), and Bev Bevan (drums). The A-side’s brass and driving rhythm reflected Wood’s genre-blending vision, while the B-side showcased Lynne’s growing influence. Released amid the early ‘70s shift from psychedelia to glam, it followed The Move’s hits like “Blackberry Way” but struggled against contemporaries like T. Rex and Slade. Singles Released and Chart Performance The “When Alice Comes Back to the Farm” single was a standalone release, not tied to a specific album: Chart Performance: UK: Did not chart (Official Singles Chart). Ireland: Did not chart. Germany: Did not chart. Australia: Did not chart. Netherlands: Did not chart. Belgium: Did not chart. New Zealand: Did not chart. US: Not released, no chart data. Other Countries: No chart entries in Canada, France, Sweden, Norway, Finland, Italy, Spain, Austria, Switzerland, or Japan due to limited distribution. UK Chart Data: Entry Date: N/A (failed to chart). Peak: N/A. Weeks on Chart: 0. Note: The Move’s earlier hits like “Blackberry Way” (No. 1, February 1, 1969, 12 weeks), “Curly” (No. 12, August 16, 1969, 10 weeks), and “Brontosaurus” (No. 7, April 4, 1970, 11 weeks) set high expectations, but “When Alice Comes Back to the Farm” marked a commercial dip during their transition to ELO. Single Chart Performance “When Alice Comes Back to the Farm” failed to enter the UK Singles Chart or any international charts, reflecting The Move’s declining chart presence as glam and progressive rock took over in 1970. Legacy and Collectibility “When Alice Comes Back to the Farm” is a cult classic, praised for its quirky energy and Wood’s innovative production, influencing early glam acts. The B-side “What?” showcases Lynne’s proto-ELO style, appealing to completists. Have you tracked down this Move rarity in your vinyl collection? Does “Alice” rock your turntable? Share in the comments!

Mott The Hoople’s Mad Shadows LP, was released in the UK on September 25, 1970, on Island Records (catalogue: ILPS 9119). This seven-track sophomore album, following their 1969 self-titled debut, showcased the band’s raw, proto-glam rock sound, blending hard rock, blues, and introspective balladry. Produced by the band with engineer Andy Johns, Mad Shadows captured Mott at a creative peak, though it faced mixed reviews for its darker, less polished tone compared to their debut. Housed in a striking gatefold sleeve with abstract artwork by William S. Harvey, the album marked a pivotal step in their journey toward glam rock stardom. Album Overview Tracklist: Side A: Thunderbuck Ram (4:50) No Wheels to Ride (5:50) You Are One of Us (2:26) Walkin’ with a Mountain (3:49) Side B: I Can Feel (7:13) Threads of Iron (5:12) When My Mind’s Gone (6:31) Release Details: Label: Island Records (UK pressing, stereo, pink rim label). Format: Vinyl LP, 33⅓ RPM, in a gatefold sleeve with abstract, moody artwork by William S. Harvey and lyrics printed inside. Notes: ℗ 1970 Island Records Ltd. Recorded at Olympic Studios, London, in early 1970. US release on Atlantic Records (SD 8258) featured similar packaging. Matrix numbers (e.g., ILPS 9119 A-1U) confirm authenticity. Production and Context Self-produced by Mott The Hoople with engineering by Andy Johns (known for work with Led Zeppelin), Mad Shadows was recorded in a tense, rushed session at Olympic Studios. The lineup featured Ian Hunter (vocals, piano), Mick Ralphs (guitar, vocals), Verden Allen (organ), Pete “Overend” Watts (bass), and Dale “Buffin” Griffin (drums). Ian Hunter’s introspective songwriting dominated, with tracks like “When My Mind’s Gone” reflecting personal struggles, while Ralphs’ “Thunderbuck Ram” brought raw energy. Released amid the UK’s early ‘70s rock scene, alongside bands like Free and Black Sabbath, the album struggled commercially but built Mott’s cult following, setting the stage for their David Bowie-produced All the Young Dudes (1972). Chart Performance Mad Shadows had limited chart success, reflecting Mott The Hoople’s early commercial challenges: UK: Did not chart on the Official Albums Chart, as the band’s popularity was still growing. US: Peaked at No. 166 on the Billboard 200, with minimal traction. Other Markets: No significant chart entries in Europe or Australia, though the album gained cult status in Germany and Scandinavia through later tours. The lack of a hit single and its darker tone hindered mainstream appeal, but it resonated with fans of raw, emotive rock. Legacy and Collectibility Mad Shadows is now regarded as a proto-glam gem, praised for its gritty authenticity and Hunter’s emotive vocals. Tracks like “Thunderbuck Ram” and “Walkin’ with a Mountain” became live staples, with the latter later featuring a nod to “Jumpin’ Jack Flash” in performances. The album influenced later glam and punk acts, with its raw edge echoing in bands like The Clash. Original UK vinyls fetch £20–£80 on Discogs, with first pressings (pink rim labels, intact gatefolds) commanding premiums—check matrix numbers for authenticity. Remastered CDs (e.g., Angel Air’s 2003 reissue with bonus tracks) and Spotify streams preserve its analog warmth, making it accessible for collectors. This LP captures Mott The Hoople’s raw, transitional sound—a vital piece for glam rock enthusiasts. Do you have Mad Shadows in your vinyl collection? Which track rocks your turntable? Share in the comments!

Surprise, pop fans – T.Rex just grew from duo to electric quartet! Hello, pop fans, here’s a little surprise. The famous T. Rex are no longer just Marc Bolan and Mickey Finn… When the two English beat wizards first toured with “Ride a White Swan,” they needed reinforcements. Enter drummer Will Legend and bassist Steve Currie – the boys who turned the cosmic whisper into a full-on glam roar. More early T.Rex lineup scoops added weekly.Hello, pop fans, here's a little surprise. The famous T. Rex are no longer just Marc Bolan and Mickey Finn. When the two English beat wizards first went on tour with their hit "Ride a White Swan," they needed reinforcements for their sound. They recruited drummer Will Legend and bassist Steve Currie. Who these two boys in the shadow of T. Rex are, what they think about their bosses (and vice versa), you'll find out here… two pages Bravo Magazine, November 22, 1970.

T.Rex’s performance of "Ride a White Swan" for the French TV show Point Chaud at Le Rock 'n' Roll Circus, recorded on December 22, 1970, was broadcast on January 30, 1971.