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Photographer Pete Sanders held a photo session with Marc Bolan and Mickey Finn at Holland Park and Blenheim Crescent on January 29, 1970. Pictures from this session were later featured on the cover of "A Beard of Stars."

Vasarely's Depth of a Circle David Bowie’s David Bowie (Space Oddity 1972) LP, released in the UK on November 14, 1969, on Philips Records (catalogue: SBL 7912 / SBL.7912 / 852 146 BY), was his second studio album. Produced by Tony Visconti (except “Space Oddity” by Gus Dudgeon) at Trident Studios, this 9-track folk-psych journey—featuring Rick Wakeman’s Mellotron, Paul Buckmaster’s cello, and hidden “Don't Sit Down”—followed David Bowie (1967). With Vernon Dewhurst’s Vasarely-inspired front cover and George Underwood’s back illustration (Depth of a Circle), it included lyrics inner and no musician credits. A commercial failure initially, the 1972 RCA reissue as Space Oddity charted. Issued in gatefold with variants (unassigned credits, hybrid labels), it’s a pre-glam Bowie milestone. Album Overview Release Details: Label: Philips Records (UK). Formats: Vinyl LP (gatefold). ℗ & ©: 1969. Recorded at Trident Studios. Pressed by Phonodisc Ltd. Notes: Published by Essex Music International Ltd. Track A2.2 hidden. UK Release Formats and Track Listings David Bowie was released in the UK in 1969 as a vinyl LP, all with the same 9-track sequence (A2.2 hidden): Vinyl LP, Stereo, Gatefold (Catalogue: SBL 7912): Side A: Space Oddity (5:13) – Arranged By – David Bowie, Paul Buckmaster – Producer – Gus Dudgeon 2.1. Unwashed And Somewhat Slightly Dazed (6:09) 2.2. Don't Sit Down (0:39) – Hidden Letter To Hermione (2:30) Cygnet Committee (9:22) Side B: Janine (3:22) An Occasional Dream (2:54) The Wild Eyed Boy From Freecloud (4:46) God Knows I'm Good (3:17) Memory Of A Free Festival (7:06) Packaging: Illustrated gatefold with lyrics. Black labels silver print. Variants: Vinyl LP, Gatefold (Unassigned Credits): SBL 7912 sleeve, SBL.7912 labels. All to Essex Music. Same tracklist. Vinyl LP, Stereo, Gatefold (Hybrid Label Variant): Side 1 bold “PHILIPS” Essex, Side 2 thin “PHILIPS” Copyright Control (B1,B2,B4,B5), Essex (B3). Same tracklist. UK (Philips SBL 7912): Released November 14, 1969. Gatefold variants. Tape Cassette: Not available until 1972 RCA Ziggy reissue Country Variations: Netherlands - Philips - 1969 Production and Context: Produced by Tony Visconti (A2.1–B5), Gus Dudgeon (A1). Arranged by Bowie/Visconti (A2.1–B5), Bowie/Buckmaster (A1). Musicians: David Bowie (vocals, 12-string, stylophone, kalimba, Rosedal organ), Tim Renwick (guitar, flute, recorder), Keith Christmas (acoustic guitar), Mick Wayne (guitar), Rick Wakeman (Mellotron, electric harpsichord), Tony Visconti (bass, flute, recorder), Herbie Flowers (bass), Honk (bass), John Cambridge (drums), Terry Cox (drums), Benny Marshall & friends (harmonica, backing on Memory). Engineered by Ken Scott, Malcolm Toft, Barry Sheffield. David Bowie was financed by Mercury post-“Space Oddity.” Commercial flop initially; 1972 RCA reissue as Space Oddity charted. Singles Released and Chart Performance "Space Oddity" Released: July 11 1969 Peak position 5 Album Chart Performance David Bowie (1969) had no chart data until 1972 reissue as Space Oddity. Legacy and Collectibility David Bowie is Bowie’s folk-psych gem, with Space Oddity and Cygnet Committee enduring. Verify catalogue SBL 7912. Streams on Spotify via reissues preserve the analog dream. This LP is a must-have for Bowie fans and ‘60s psych collectors. Do you have David Bowie in your vinyl stack? Which oddity orbits you? Share in the comments! Sources Information is drawn from my personal knowledge and supplemented by web sources, includingDiscogs, 45cat, AllMusic, Rate Your Music, Wikipedia, BBC Official Charts Company, Billboard Chart History and YouTube

A Proto-Glam Wind Howls The Slade’s “Wild Winds Are Blowing” 7-inch vinyl single, was released in the UK on October 24, 1969, on Fontana Records (catalogue: TF 1056). Backed with “One Way Hotel,” this energetic rock 'n' roll track, written by Bob Saker and Jack Winsley, marked the band's first single under their shortened name (from Ambrose Slade), produced by Chas Chandler. The A-side's driving rhythm and youthful vocals hinted at their future glam stomp, but as an early effort amid the beat group era, it failed to chart. Released in a Fontana company sleeve, it's a rare snapshot of Slade's pre-fame phase. Single Overview A-Side: “Wild Winds Are Blowing” (2:50, Bob Saker/Jack Winsley) B-Side: “One Way Hotel” (2:44, Holder/ Lea Powel) Release Details: Label: Fontana Records (UK pressing, 45 RPM). Formats: 7-Inch Vinyl (TF 1056): “Wild Winds Are Blowing” / “One Way Hotel.” In a Fontana company sleeve. UK (Fontana TF 1056): Released October 24, 1969. Standard tracklist, company sleeve. Notes: ℗ & © 1969 Fontana Records. Recorded at Philips Studios, London, 1969. Matrix numbers (e.g., TF 1056 A-1) confirm authenticity. The band's first single as "The Slade," following "Genesis" (1969). Production and Context Recorded in 1969 at Philips Studios, London, the single was produced by Chas Chandler, with the lineup: Noddy Holder (vocals), Dave Hill (guitar), Jim Lea (bass), and Don Powell (drums). The A-side's upbeat rocker reflected the band's beat group roots, while the B-side's balladry hinted at their future depth. Released amid the Beatles' final singles and the rise of Led Zeppelin, it followed the band's debut album Beginnings (1969) and failed to build momentum, but Chandler's involvement foreshadowed Slade's glam breakthrough. Singles Released and Chart Performance “Wild Winds Are Blowing” was a standalone single, with no additional singles from it: Country Variations The single was released in the Netherlands alongside the UK. Artist: The Slade Label: Fontana Country: Netherlands Catalogue: 267 967 TF Date: 24 Nov 1969 Note: Slade's earlier single “Genesis” (1969) also failed to chart, but later hits like “Get Down and Get With It” (No. 16, July 1971, 8 weeks) marked their ascent. Single Chart Performance “Wild Winds Are Blowing” failed to enter the UK Singles Chart or any international charts, reflecting Slade's early struggles before their glam reinvention. Legacy and Collectibility “Wild Winds Are Blowing” is a proto-Slade gem, hinting at their anthemic style, while “One Way Hotel” reveals emotional depth. Streams on Spotify via Beginnings deluxe editions preserve the analog wind. This single is a must-have for Slade completists. Have you unearthed this early Slade rarity in your collection? Does “Wild Winds Are Blowing” stir your rock soul? Share in the comments! Sources Discogs: Wild Winds Are Blowing (1969) Official Charts Company: Slade Singles AllMusic: Slade Discography Wikipedia: Slade Discography 45cat: TF 1056 Single

In late October 1969, the vibrant world of Tyrannosaurus Rex welcomed a new face: Mickey Finn, a charismatic figure whose arrival marked a pivotal shift for the band. Officially announced in Melody Maker for the week ending October 25, 1969, Finn’s recruitment as a percussionist came after a tumultuous split with original member Steve Peregrin Took. With the issue going to press on October 22, it’s estimated Finn joined around October 16 or 17, 1969, as he and Marc Bolan were already “rehearsing in Wales,” according to the announcement. But who was Mickey Finn, and how did this non-musician painter become Bolan’s new creative partner? A Painter, Not a Musician Unlike Steve Took, a skilled multi-instrumentalist, Mickey Finn wasn’t known for musical prowess. Described in Melody Maker as a “painter,” Finn’s background was more colorful than technical. He had worked as a house painter, notably contributing murals to the Beatles’ Apple Boutique, and had dabbled in rudimentary percussion with the art collective Hapshash and the Coloured Coat. His connection to Tyrannosaurus Rex came through photographer Pete Sanders, a mutual acquaintance in London’s Chelsea scene, who introduced Finn to Bolan. As June Child, Bolan’s wife, later recalled, “He couldn’t play bongos particularly well, but he was beautiful” (The Guardian, 2003). Finn’s hiring wasn’t about musical virtuosity. Bolan, the undeniable creative force behind Tyrannosaurus Rex, sought a sideman whose personality and aesthetic fit the band’s evolving image. Rumors swirled that Finn’s good looks, superficial resemblance to Took, and even his cool motorcycle swayed Bolan’s decision (Wikipedia: Mickey Finn). Finn’s charm and willingness to follow Bolan’s lead made him the perfect foil for the band’s next phase. Rehearsals in Wales and a New Dynamic By mid-October 1969, Finn and Bolan were holed up in a rented cottage at Plas Tan Y Bwlch, Wales, rehearsing for what would become A Beard of Stars , Tyrannosaurus Rex’s fourth album, released in March 1970. This retreat marked the start of their partnership, with Finn laying down simple percussion tracks to complement Bolan’s intricate guitar and poetic lyrics. Unlike Took, who had pushed for a more democratic creative process, Finn was content to be the “silent young man who obeyed Bolan’s every command” (The Independent, 2003). From the outset, it was clear Bolan was the dominant partner, steering the band toward its eventual transformation into the glam-rock juggernaut T. Rex. The Melody Maker Moment The Melody Maker announcement was a publicity coup orchestrated by Bolan, who reportedly brought Finn to the magazine’s offices for an impromptu performance to seal the deal. The ad Bolan placed for a “gentle guy to play bongos” had drawn 300 replies, but Finn stood out—not for his musical chops but for his vibe (The Guardian, 2003). This moment, publicized in late October, set the stage for Finn’s debut with the band, including a BBC radio session on November 17, 1969, and his first public performance on November 21. A Sideman’s Legacy Mickey Finn’s role in Tyrannosaurus Rex was less about technical skill and more about embodying Bolan’s vision. His percussion added a raw, primal texture to albums like A Beard of Stars and T. Rex (1970), paving the way for the band’s commercial breakthrough with Electric Warrior (1971). While Bolan’s star power defined the group, Finn’s easygoing presence and photogenic appeal helped cement T. Rex’s iconic image during the glam era. Finn’s story is a testament to the power of personality in rock ‘n’ roll. A painter turned percussionist, he stepped into a musical whirlwind led by Marc Bolan, proving that sometimes, the right vibe can outshine technical expertise. For fans of T. Rex, Finn’s entry in October 1969 remains a turning point—a moment when the band began its metamorphosis into a cultural phenomenon. **Sources**: 1. Paytress, Mark. “Mickey Finn: T. Rex percussionist.” *The Independent*, January 14, 2003. https://www.independent.co.uk/news/obituaries/mickey-finn-124194.html 2. Sweeting, Adam. “Mickey Finn: Bongo player with T. Rex.” *The Guardian*, January 18, 2003. https://www.theguardian.com/news/2003/jan/18/guardianobituaries.artsobituaries 3. “Mickey Finn (percussionist).” *Wikipedia*. https://en.wikipedia.org/wiki/Mickey_Finn_%28percussionist%29 4. “A Beard of Stars.” *Wikipedia*. https://en.wikipedia.org/wiki/A_Beard_of_Stars 5. “Mickey Finn.” *Bolan World* (reprinting *The Independent* obituary), January 14, 2011. https://mistymist.wordpress.com/legacy/mickey-finn-obituary-in-the-independent/ 6. “Unsung Heroes: Mickey Finn.” *The Future is Past*, April 10, 2016. https://thefutureispast.co.uk/2016/04/10/unsung-heroes-mickey-finn/ 7. “Mickey Finn.” *Bolan World*, 2017. https://mistymist.wordpress.com/discography/solid-gold-easy-action/mickey-finn/ *Note*: The exact *Melody Maker* issue (week ending October 25, 1969) isn’t digitized in freely accessible online archives. For precise verification, consult physical archives at institutions like the British Library.

The Move’s "Curly", backed with "This Time Tomorrow", was released as a 7-inch vinyl single in the UK by Regal Zonophone (catalog number RZ 3021) on July 18, 1969, marking a notable release from their transitional phase. Overview Artist: The Move Single: "Curly" / "This Time Tomorrow" Release Date: July 18, 1969 Label: Regal Zonophone (UK, catalog no. RZ 3021), with various international releases on labels like Stateside and Polydor Genre: Psychedelic Pop Producer: Roy Wood (with Mike Hurst credited in some sources) Chart Performance: Peaked at number 12 on the UK Singles Chart Band Lineup: Carl Wayne (lead vocals, sitar) Roy Wood (guitar, recorder, mellotron, background vocals) Rick Price (bass guitar, replacing Trevor Burton) Bev Bevan (drums, tambourine) Significance: This was the last single featuring lead singer Carl Wayne before his departure and the first with Rick Price on bass. It marked a shift toward a more pop-oriented sound, though not fully embraced by all band members. A-Side: "Curly" Writer: Roy Wood Length: 2:46 (some sources list 2:39) Lyrics and Theme: The song tells the story of Curly, a young man stifled by his conservative father, who falls in love with a girl who ultimately leaves him, making him feel foolish. The lyrics explore themes of youthful love, betrayal, and emotional desolation, with a repetitive "bi-dum, bi-dum, bi-dum" hook and a Beatles-esque "la-da-da, na-na-na" outro. Key lyrics include: “Mister McCann was a practical man / Curly was his only son / And he loved him like no other can / Bi-dum, bi-dum, bi-dum” and “Oh Curly has she let you down and run? / Oh Curly where’s your girly? Where’s she gone?” Musical Style: Primarily acoustic, with Roy Wood’s multi-tracked recorder (flute-like sound) and acoustic guitar dominating. A mellotron appears briefly as the only electric instrument, alongside short a cappella harmonies. Described as a “lighter-than-air Roy Wood ditty,” highly melodic with a flute that’s “just-this-side-of-irritating.” It nods to The Beatles with its Liverpool reference and Beatle-esque finish, reflecting Wood’s admiration for the band. Reception: Chris Welch in Melody Maker (July 19, 1969) called it “an obvious success for The Move,” though Roy Wood and Bev Bevan disliked it. Wood called it “really corny” and was unhappy with the label’s decision to release it over other preferred tracks. Bevan found it too pop and sugary. Anecdote: Bev Bevan jokingly claimed “Curly” was about Carl Wayne’s pet pig, though this was not true. B-Side: "This Time Tomorrow" Writer: David Morgan Length: 3:42 (some sources list 3:34 or 3:39) Lyrics and Theme: Less information is available about the B-side’s lyrical content, but it complements “Curly” in its psychedelic pop style. It’s described as a melodic, introspective track, fitting the era’s sound. Continues the single’s acoustic-leaning, melodic approach, with Roy Wood’s influence evident in the arrangement. Specific instrumentation details are less documented, but it aligns with the band’s layered, pop-oriented production. Reception: Less discussed than “Curly,” but included in positive reviews of the single for its cohesive sound. It’s seen as a solid B-side that supports the A-side’s lighter, pop vibe. Recorded in 1969, likely at London’s Olympic Studios, where The Move often worked during this period. Instrumentation: Roy Wood’s multi-tracked recorder and acoustic guitar are central to “Curly,” with Carl Wayne on sitar and vocals, Rick Price on bass, and Bev Bevan on drums and tambourine. Background vocals and mellotron by Wood add texture. The Move's single "Curly" released under the Stateside label in France, catalog number 2C 006-90.469 M, featuring the track "This Time Tomorrow." Roy Wood produced the single, with Mike Hurst also credited in some sources. The acoustic focus and minimal electric elements reflect a departure from the band’s earlier, heavier sound. Released as a 7” vinyl single at 45 RPM, with versions on Regal Zonophone (UK), Stateside (e.g., Portugal, France), and Polydor (e.g., Norway, Germany, Japan). Some releases included unique picture sleeves (e.g., Dutch, German, Scandinavian versions). The Portuguese release (Stateside PSS 1019) and Norwegian Polydor release (59330) are noted for collectors. Vintage album cover for "Curly" by The Move, featuring bold psychedelic graphics and a black-and-white band portrait, released under the Festival label in Australia (Catalogue: FX-11652). A rare Australian 7” EP (Festival FX-11652) included “Curly” and “This Time Tomorrow” alongside “Yellow Rainbow” and “Weekend.” Context and Legacy Band Transition: This single marked a pivotal moment for The Move. Carl Wayne’s departure soon after and Rick Price’s arrival shifted the band’s dynamic. Roy Wood’s growing influence foreshadowed his later work with Electric Light Orchestra (ELO) and Wizzard, with “Curly” hinting at his melodic, orchestral style. Critical Reflection: While not as iconic as “Blackberry Way” or “Flowers in the Rain,” the single is appreciated for its catchy, nostalgic pop. Some fans see it as a precursor to Wood’s ELO/Wizzard sound, though others view it as a lighter, less defining entry in The Move’s catalog.

Marc Bolan & Mickey Finn bring psychedelic folk to Utrecht’s first big Dutch pop bash! Tyrannosaurus Rex appeared at Paradise II, Margriethal – Jaarbeurs Utrecht, Holland, on December 28, 1968. The "Paradise II" festival was a landmark event in Dutch music history – a one-day psychedelic extravaganza inspired by the 14-Hour Technicolor Dream. Organized by Utrecht provo artist Bunk Bessels, it featured a diverse lineup of experimental and underground acts, drawing a huge crowd and marking one of the Netherlands’ first major pop festivals with a mix of live performances, art, and happenings. More pre-glam Bolan adventures added weekly! ✨

Bolan’s acoustic elves weave pure folk magic for the Beeb – the underground at its dreamiest! Tyrannosaurus Rex’s The Travelling Tradition was recorded at BBC Studio 1, 201 Piccadilly, London, on Monday, October 14, 1968. First aired on Top Gear on Sunday, December 22, 1968. More pre-glam Bolan whispers added weekly.

Bolan’s acoustic elves share the bill with psychedelic heavies – pure late-60s underground magic! Tyrannosaurus Rex played the Highbury Technical College Dance, London, England on December 18, 1968, accompanied by Elmer Gantry’s Velvet Opera, Heaven, and Coconut Mushroom.

A Psychedelic Pop No. 1 Masterpiece Released as a 7-inch vinyl single in the UK on November 28, 1968, on Regal Zonophone (catalogue: RZ 3015), The Move’s “Blackberry Way” was Roy Wood’s psychedelic pop triumph. Backed with “Something” (written by Dave Morgan), this Jimmy Miller-produced A-side — with Denny Cordell & Tony Visconti on B — stormed to No. 1 on the Official Singles Chart for 1 week (11 February 1969), staying in the Top 75 for 12 weeks. Pressed with solid centre, push-out centre, and promo white label variants. A defining late-’60s UK pop moment. Single Overview Release Details Label: Regal Zonophone. Formats: Vinyl, 7", 45 RPM, Single (solid centre / push-out centre / promo white label). Full Track Listing Side A Blackberry Way – Written-By: Roy Wood – Producer: Jimmy Miller Side B Something – Written-By: David Morgan – Producer: Denny Cordell, Tony Visconti Reissues & Global Variants - 7", 45 RPM, Single – Regal Zonophone RZ 3015 – UK – 1968 - 7", 45 RPM, Single, Solid Centre – Regal Zonophone RZ 3015 – UK – 1968 - 7", Promo, White Label – Regal Zonophone RZ 3015 – UK – 1968 - 7", 45 RPM, Single – Parlophone/Stateside/Regal Zonophone – Argentina/France/Greece/Ireland/Lebanon/Netherlands/Nigeria/Singapore/South Africa/Spain/Turkey – 1968 - 7", 45 RPM, Single – Polydor/A&M/Festival – Germany/India/Italy/Japan/New Zealand/Norway/Portugal/Sweden/USA/Israel – 1969 Production and Context A-side produced by Jimmy Miller for Straight Ahead Productions. B-side produced by Denny Cordell & Tony Visconti for Straight Ahead Productions. Roy Wood’s answer to The Beatles’ psychedelic era. Official Singles Chart Data Peak position: 1 12 weeks – December 31, 1968 to March 18, 1969 49 → 42 → 29 → 13 → 5 → 2 → 1 → 3 → 5 → 7 → 18 → 41 Singles Released and Chart Performance - UK Official Singles Chart : 1 (1 week at No. 1) – entry 31 December 1968 Legacy and Collectibility “Blackberry Way” is The Move’s psychedelic pop No. 1 masterpiece. Original UK Regal Zonophone pressings (solid/push-out centre) fetch £15–£50 on eBay/Discogs, promo white labels £50–£100+. Verify catalogue RZ 3015. Streams on Spotify preserve the bittersweet brilliance. This single is a must-have for ‘60s psych-pop collectors. Do you have Blackberry Way in your vinyl stack? Are you walking down it again? 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

A Youthful Pop Prelude David Essex’s “Just For Tonight” 7-inch vinyl single, was released in the UK on October 25, 1968, on Pye Records (catalogue: 7N 17621). Single Overview 7" Vinyl Single Commercial Country: UK Label: Pye Records – 7N.17621 Format: Vinyl, 7" A1 Just For Tonight (B. Mason, T. Macaulay) B1 Goodbye C. (Westlake, D. Most) 7" Vinyl Single Promo Country: UK Label: Pye Records – 7N.17621 Format: Vinyl, 7", 45 RPM, Single, Promo A1 Just For Tonight (B. Mason, T. Macaulay) B1 Goodbye C. (Westlake, D. Most) 7" Vinyl Single 1 Sided Acetate Country: UK Label: Pye Records – none Format: Acetate, Vinyl 7", 45 RPM, Single A1 Just For Tonight (B. Mason, T. Macaulay) Label: Pye Records – 7N17621 Country: Portugal Format: Vinyl, 7", 45 RPM, Single A1 Just For Tonight (B. Mason, T. Macaulay) B1 Goodbye C. (Westlake, D. Most) Have you unearthed this early Essex rarity in your vinyl collection? Does “Just For Tonight” spark nostalgia? Share in the comments! Sources Discogs: Just For Tonight (1968) Official Charts Company: David Essex Singles AllMusic: David Essex Discography Wikipedia: David Essex Discography 45cat: 7N 17621 Single YouTube: Just For Tonight Audio (2015 upload, 10K+ views)

Jeff Beck Group’s Truth LP, was released in the UK on October 4, 1968 on Columbia Records (catalogue: SCX 6293) in the U.K. This debut album, a cornerstone of British blues-rock, showcased guitarist Jeff Beck’s fiery virtuosity alongside Rod Stewart’s raw vocals, blending heavy blues, rock, and psychedelic touches. Produced by Mickie Most, the 10-track album featured future Led Zeppelin members Jimmy Page and John Paul Jones in guest roles, delivering a proto-hard rock sound that influenced the genre’s evolution. Housed in a simple sleeve with a striking band photo, Truth peaked at No. 15 in the UK, cementing Beck’s post-Yardbirds legacy. Album Overview Tracklist: Side A: Shapes of Things (3:17) – Reimagined Yardbirds classic. Let Me Love You (4:41) Morning Dew (4:38) – Tim Rose cover. You Shook Me (2:28) – Willie Dixon cover. Ol’ Man River (3:57) – Jerome Kern cover. Side B: Greensleeves (1:47) – Traditional, arranged by Beck. Rock My Plimsoul (4:11) Beck’s Bolero (2:50) – Instrumental with Jimmy Page. Blues De Luxe (7:30) I Ain’t Superstitious (4:53) – Willie Dixon cover. Release Details: Label: Columbia Records (UK pressing, mono SCX 6293, stereo SXC 6293). Format: Vinyl LP, 33⅓ RPM, in a single sleeve with a band photo by Stephen Goldblatt. Notes: ℗ 1968 EMI Records Ltd. Recorded at Abbey Road Studios, London, in May 1968. US release on Epic Records (BN 26413) preceded the UK by three months (July 1968). Matrix numbers (e.g., SCX 6293 A-1) confirm authenticity. Production and Context Produced by Mickie Most, known for pop hits but adept at capturing Beck’s bluesy edge, Truth was recorded in a brisk two weeks at Abbey Road. The core lineup featured Jeff Beck (guitar), Rod Stewart (vocals), Ronnie Wood (bass), and Micky Waller (drums), with guests including Jimmy Page (guitar on “Beck’s Bolero”), John Paul Jones (organ), Keith Moon (drums on “Beck’s Bolero”), and Nicky Hopkins (piano). Tracks like “You Shook Me” and “I Ain’t Superstitious” showcased heavy blues covers, while “Beck’s Bolero” hinted at progressive rock. Released amid the 1968 blues boom, alongside acts like Cream and Fleetwood Mac, Truth bridged British blues with the heavier sound of emerging hard rock. Chart Performance Truth achieved solid chart success for a debut: UK: Peaked at No. 15 on the Official Albums Chart, charting for 12 weeks. US: Reached No. 15 on the Billboard 200, charting for 28 weeks, certified Gold (500,000 copies sold). Other Markets: Limited data exists, but it gained traction in Europe (e.g., Germany, Netherlands) via touring and radio play. No specific chart entries noted for Australia or Canada, though it built a cult following. The lack of a lead single limited its pop chart impact, but its influence grew through word-of-mouth and FM radio airplay. Legacy and Collectibility Truth is a seminal blues-rock album, often credited with inspiring Led Zeppelin’s debut (released months later in 1969). Tracks like “You Shook Me” and “Beck’s Bolero” became staples, with the latter a live favorite. Its raw energy influenced bands like Deep Purple and Black Sabbath. Original UK vinyls (mono or stereo) fetch £30–£150 on Discogs, with first pressings (blue/black Columbia labels) or intact sleeves commanding premiums—check matrix numbers for authenticity. Remastered CDs (2005 EMI reissue with bonus tracks) and Spotify streams preserve its gritty analog sound, making it accessible for collectors. This LP is a blues-rock milestone, showcasing Jeff Beck and Rod Stewart’s early brilliance. Do you have Truth in your vinyl collection? Which track rocks your turntable? Share in the comments!

The Sweet’s "Slow Motion", backed with "It’s Lonely Out There", was released as a 7-inch vinyl single in the UK by Fontana Records (catalog number TF 951) on July 19, 1968, marking the debut single of the band, originally formed as The Sweetshop in London in 1968. Background and Formation Band Formation: The Sweet was formed by vocalist Brian Connolly and drummer Mick Tucker, who had previously played together in Wainwright's Gentlemen. They recruited bassist/vocalist Steve Priest from a local band called The Army and guitarist Frank Torpey. The band initially called themselves The Sweetshop but shortened their name to The Sweet after another band released a single under the same name, creating potential confusion. Management and Production: The band was managed by Paul Nicholas, who later starred in the musical Hair. Nicholas connected them with producer Phil Wainman at Mellin Music Publishing, leading to a contract with Fontana Records. Wainman produced the debut single, which was recorded at Jackson's Studios in Rickmansworth and featured pianist Alan Benson. The Single: "Slow Motion" / "It's Lonely Out There" Release Details: Label: Fontana Records (UK, catalog number TF 958) Release Date: July 19, 1968 Format: 7" vinyl, 45 RPM Tracks: A-side: "Slow Motion" (3:07) B-side: "It's Lonely Out There" (2:32) Producer: Robert Mellin (credited on some releases), with Phil Wainman overseeing production Musical Style and Content: "Slow Motion": Described as a "poppige" (poppy) and "saubere Produktion" (clean production), the song is a light, melodic pop track that reflects the band’s early bubblegum pop influences, far from the glam rock and hard rock sound they later embraced. The lyrics, available on Genius, convey a theme of slowing down to appreciate life’s pleasures, with lines like "Slow down, you're chasing my life away / No time in life for tastin' / The sweet perfections of life with you." The song is noted for its accessibility but lacks the energy of The Sweet’s later hits like "Ballroom Blitz" or "Fox on the Run." "It's Lonely Out There": The B-side was written by the band, a common practice for their B-sides, which allowed them to earn royalties comparable to the A-side. The single was a stylistic departure from the band’s later glam rock and hard rock sound, aligning more with the 1960s pop influences of bands like The Monkees or The Archies. Chart Performance: "Slow Motion" failed to chart in the UK or elsewhere, marking a commercial disappointment. This lack of success led to the termination of The Sweet’s contract with Fontana Records. Rarity and Collectibility Market Value: The original 1968 Fontana pressing is considered extremely rare, with only 417 known copies. Its scarcity has driven significant collector interest: Original Pressing (1968): Prices for the original vinyl range from approximately $385.54 to $1,195.65, with a median value around $525-$595, based on Discogs sales data up to September 2024. Reissue (1991): A limited-edition reissue by Repertoire Records (Germany, REP 6005-SP, 500 numbered copies) is also collectible, valued between $51.01 and $128.87 as of April 2024. A rare U.S. pressing on 20th Century Records (tc-2033) with "It's Lonely Out There" as the A-side and "I'm On My Way" as the B-side is noted as unlisted on Discogs, adding to its obscurity and value. Collector Comments: On Discogs, users describe the single as "MEGA RARE," with one noting a copy sold for £280 about 30 years ago, indicating its long-standing value among collectors. Another user reported finding a copy with the tri-center intact in VG+ condition, planning to sell it. Cover art for The Sweet's limited edition release "Slow Motion" and "It's Lonely Out There," from Repertoire Records, edition number 225 out of 500. Critical Reception Contemporary Views: The single was not well-received commercially, described as “verstaubt” (dusty) and “misslungene Pop-Single” (failed pop single) by some modern reviewers on hitparade.ch, suggesting it didn’t capture the energy or innovation of The Sweet’s later work. However, others called it an “akzeptabler Erstling” (acceptable debut) and “durchaus hörbar” (quite listenable), appreciating its clean production and pop charm for a debut effort. Historical Context: The single’s failure is attributed to its timing and style, as it predated the band’s collaboration with songwriters Nicky Chinn and Mike Chapman, who helped craft their first hit, "Funny, Funny" in 1971. The Sweet’s early sound was still developing, and "Slow Motion" did not hint at their later glam rock success. Legacy and Subsequent Releases Band Evolution: After "Slow Motion" flopped, The Sweet parted ways with Fontana and signed with Parlophone, releasing three more unsuccessful singles before Andy Scott joined as guitarist in 1970. Their breakthrough came with "Funny, Funny" in 1971, marking a shift to a bubblegum pop sound that later evolved into glam rock and hard rock. Reissues and Compilations: The single was reissued in 1991 by Repertoire Records in Germany as a limited-edition, numbered 7" vinyl. A 1998 CD release of "Slow Motion" is also noted on Discogs, though details are sparse. The tracks appeared on early compilations like Gimme Dat Ding (1970), a split album with The Pipkins, though Andy Scott appeared on the cover despite not playing on the recordings. Streaming Availability: "Slow Motion" is available on Spotify, reflecting its continued accessibility despite its initial commercial failure. Additional Notes Lineup for the Single: The recording featured Brian Connolly (vocals), Steve Priest (bass/vocals), Mick Tucker (drums), and Frank Torpey (guitar). Andy Scott, who became a key member, did not join until 1970. Cultural Impact: While "Slow Motion" itself had little impact, it represents The Sweet’s formative years before they became glam rock pioneers with hits like "Block Buster!" (1973) and "Ballroom Blitz" (1973). The single’s rarity has made it a cult item among collectors, and its pop sound offers a glimpse into the band’s early experimentation.

A Psychedelic Pop Debut Mud’s “Flower Power” 7-inch vinyl single, was released in the UK on October 13, 1967, on CBS Records (catalogue: 203002). Backed with “You're My Mother,” this psychedelic pop track, written by R. Davis, marked the band's debut single during the Summer of Love era. Housed in a CBS company sleeve, the single is a rare artifact of Mud's pre-glam days before their 1970s hit-making reinvention. Single Overview (UK, Italy and Netherlands) Format: Vinyl, 7", Single, Promo, with Cover Label: CBS – 203002 Country: UK Released: Oct 13, 1967 A Flower Power 2:58 B You're My Mother 2:30 First Mud single. Drummer on these tracks is Peter Gray (brother of leadsinger Les Gray). Format: Vinyl, 7", Promo without Cover Label: CBS – 203002 Country: UK Released: Oct 13, 1967 A Flower Power 2:58 B You're My Mother 2:30 Format: Vinyl, 7", Single Commercial Label: CBS – 203002 Country: UK Released: Released: Oct 13, 1967 A Flower Power 2:58 B You're My Mother 2:30 Published By – B. Feldman & Co. Ltd. Published By – Gerrard Music Producer – Mike Smith Written-By – R. Davis Full orange label British release Format: Vinyl, 7", Single Commercial Label: CBS – 203002 Country: Netherlands Released: 1968 A Flower Power 2:58 B You're My Mother 2:30 Record Company – Columbia Broadcasting System, Inc. Published By – Copyright Control Producer – Mike Smith Written-By – R. Davis Made in Holland. Format: Vinyl, 7", Single Commercial Label: CBS – 203002 Series: Serie Hippies Format: Vinyl, 7", 45 RPM Country: Italy Released: 1968 A Flower Power B You're My Mother Record Company – CBS Italiana Distributed By – Messaggerie Musicali Printed By – Stampa Reparto Grafico C.G.D. This single is a must-have for Mud completists and ‘60s pop collectors. Have you unearthed this early Mud rarity in your vinyl collection? Does “Flower Power” bloom your playlist? Share in the comments! Sources Discogs: Flower Power (1967) Official Charts Company: Mud Singles AllMusic: Mud Discography Wikipedia: Mud (band) Discography 45cat: 203002 Single YouTube: Flower Power Audio

On September 30, 1967, BBC Radio 1 burst onto the airwaves as the UK’s first national pop music station, a bold response to the pirate radio stations that had been dominating youth culture. Here’s a concise dive into that historic day and its context: The Launch •First Broadcast: At 7:00 AM, Radio 1 kicked off with Tony Blackburn hosting the inaugural Daily Disc Show (later called Breakfast Show). The very first track played was “Flowers in the Rain” by The Move, followed by The Beatles’ “Massachusetts.” This set the tone for Radio 1’s focus on contemporary pop and rock. •Why It Started: The 1960s saw a youth-driven music explosion, but the BBC’s existing services (Light Programme, Home Service, Third Programme) were stuffy and out of touch with the Swinging Sixties. Offshore pirate stations like Radio Caroline filled the gap, illegally broadcasting pop hits from ships. The UK government’s Marine Broadcasting Offences Act (1967) shut down most pirates, paving the way for Radio 1 to capture that audience legally. •Vibe and Mission: Radio 1 was designed to appeal to under-30s, playing chart hits, rock, and emerging genres. It was the BBC’s attempt to be cool—hiring DJs like Blackburn, John Peel, and Annie Nightingale (the first female presenter, joining in 1970) to bring personality and edge. Key Details •Frequency and Reach: Radio 1 launched on 247 meters medium wave (now AM) and later expanded to FM. It shared airtime with the more traditional BBC Radio 2 (then the Light Programme) for much of the day. •First Day Highlights: Blackburn’s show was a mix of chart hits, jingles, and banter, setting a template for modern radio. The day featured other DJs like Chris Denning and Pete Murray, with a schedule packed with pop, soul, and early psychedelic rock. •Cultural Impact: Radio 1 instantly became a cultural hub, introducing millions to new music and shaping UK youth culture. It gave bands like The Beatles, The Rolling Stones, and The Who a national platform. Context and Legacy •Pirate Radio’s Shadow: The station poached talent from pirate stations, including Blackburn and John Peel, blending their freewheeling style with BBC polish. This mix defined Radio 1’s early sound. •Challenges: Some criticized it as a tame imitation of pirate radio, but it quickly found its footing, becoming a tastemaker for decades. •Long-Term Influence: Radio 1 evolved with music trends, championing punk, dance, hip-hop, and indie over the years. It remains a launchpad for new artists (like Louis Tomlinson’s Lemonade premiere today in 2025). Fun Fact The launch wasn’t flawless—technical glitches and a slightly chaotic vibe marked the day, but it only added to the excitement. The jingle “Radio 1, where it’s at!” became iconic.

Marc Bolan’s second appearance on Ready, Steady, Go! at Studio One, Wembley, Middlesex, England, coincided with Jimi Hendrix’s debut on British television, broadcast on December 13, 1966, performing "Hippy Gumbo", originally scheduled for the previous week but cancelled; the show’s full lineup included The Escorts (“Head To Toe”), The Four Tops (on film interview), The Jimi Hendrix Experience (“Hey Joe”), The Merseys (“Rhythm Of Love”), Keith Relf (“Shapes In My Mind”), Victor Sylvester (“You’re Dancing On My Heart”), and The Troggs (“5-4-3-2-1,” “Anyway That You Want Me,” and “I Can Only Give You Everything”), featuring an acetate of the single with doodle by Marc.

A Deram Debut Mod-Pop Gem Released as a 7-inch vinyl single in the UK on December 2, 1966, on Deram Records (catalogue: DM 107), David Bowie’s “Rubber Band” — backed with “The London Boys” (misspelled “The London Boy's” on label) — was his debut solo single. Produced by Mike Vernon, this brass-laden mod-pop curiosity — with “Rubber Band” published by Cooper Music and “The London Boys” by Sparta Music — did not chart. Issued in standard brown/white labels, promo light blue/white labels, and rare unreleased Decca demo with blank labels. A collector’s holy grail from Bowie’s pre-fame era. Single Overview Release Details Label: Deram Records. Formats: Vinyl, 7", 45 RPM, Single (standard / promo / unreleased Decca demo). Full Track Listing Side A Rubber Band – Written-By: Bowie – Producer: Mike Vernon Side B The London Boys – Written-By: Bowie – Producer: Mike Vernon UK Variants - 7", 45 RPM, Single – Deram DM 107 – UK – 1966 (brown/white labels) - 7", 45 RPM, Single, Promo – Deram DM 107 – UK – 1966 (light blue/white labels) - 7", 45 RPM, Single, Promo – Decca none – UK – 1966 (blank labels, unreleased) Production and Context Produced by Mike Vernon. Recorded 1966 at Decca Studios. Bowie’s first solo single after leaving The Lower Third — still in mod/R&B mode. Chart Performance No chart entry. Legacy and Collectibility “Rubber Band” / “The London Boys” is David Bowie’s ultra-rare debut solo single. Original UK Deram pressings fetch £1150–£1939 on eBay/Discogs, promos/unreleased Decca demo £2000+. Verify catalogue DM 107. Streams limited (often on compilations). This single is a must-have for Bowie completists. Do you have Rubber Band in your vinyl stack? Are you a London Boy? 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.

Rod Stewart's "Shake" backed with "I Just Got Some" is a raw, bluesy 7-inch vinyl single released in the UK on April 15, 1966 on Columbia Records (catalog: DB 7892). This marked Stewart's third solo single attempt in the UK, following his early efforts as a nascent solo artist before his breakthroughs with the Jeff Beck Group and Faces. Recorded during his pre-fame phase, it reflects his soulful, raspy R&B influences amid the British blues boom of the mid-1960s. The single failed to chart and is now a rare collector's item, emblematic of Stewart's gritty origins as a harmonica-wielding busker turned vocalist. Release Details Format: 7" 45 RPM vinyl single, mono pressing. Label: Columbia (EMI subsidiary), UK. Date: Apr 15, 1966 Producer/Backing: Likely self-produced or with minimal studio support; Stewart was backed by session musicians, drawing from his time in bands like the Dimensions and Long John Baldry's All Stars. No major hits attached, it was part of his independent solo forays before signing bigger deals. Context: This came after Stewart's first two UK singles—"Good Morning Little Schoolgirl" (1964, with the Ray Davies Quartet) and another early blues cover—neither of which charted. By 1966, he was honing his soul-blues style, covering American R&B tracks, before joining Jeff Beck in 1967 and achieving fame with Faces and solo albums like Every Picture Tells a Story (1971). Track Breakdown Shake (A-Side) 2:47 Sam Cooke (original 1964). Stewart's cover is a high-energy, mod-flavored R&B shaker with his distinctive gravelly vocals and harmonica flourishes, emphasizing danceable grooves typical of '60s British beat music. I Just Got Some (B-Side) 2:30 Willie Dixon & Billy "The Kid" Emerson (original by Willie Mabon, 1963). A cheeky, innuendo-laden blues track about newfound romantic satisfaction, delivered with Stewart's playful swagger—his version was an original recording, later covered in his style. The single's packaging was standard for the era: a plain label with Stewart's name and tracks, no elaborate artwork. Promo copies exist, adding to its rarity. Chart Performance: Did not chart in the UK or elsewhere; Stewart's early solo singles were commercial flops, overshadowed by his band work. This obscure gem showcases a young Rod Stewart channeling Sam Cooke and blues legends, far from his later rock anthems. If you're hunting vinyl, check promo variants for extra value!