Search Results

David Essex’s “Brave New World” 7-inch vinyl single, was released in the UK on October 6, 1978, on CBS Records (catalogue: S CBS 6705). Backed with “Streetfight,” this single featured Essex’s rendition of the Artilleryman’s song from Jeff Wayne’s Musical Version of The War of the Worlds, a groundbreaking rock opera adaptation of H.G. Wells’ novel. With its theatrical flair and Essex’s emotive vocals, the A-side captured the album’s post-apocalyptic optimism, while the B-side offered a gritty contrast. Produced by Jeff Wayne, the single reflected Essex’s involvement in the project and his post-glam pop phase but failed to chart, serving as a tie-in to the album’s enduring legacy. Single Overview A-Side: “Brave New World” (4:05)Written by Gary Osborne and Jeff Wayne. A dramatic, orchestral pop track with sweeping melodies and lyrics evoking exploration and idealism from the Artilleryman’s perspective in The War of the Worlds. Essex’s passionate delivery and Wayne’s lush arrangement aimed for stage-to-radio appeal. B-Side: “Streetfight” (3:50)Written by David Essex. A raw, upbeat rocker with a gritty edge, reflecting urban tension and Essex’s rock ‘n’ roll roots. Its driving rhythm contrasted the A-side’s theatrical grandeur. Release Details: Label: CBS Records (UK pressing, 45 RPM). Format: 7-inch vinyl single, in a CBS company sleeve or promotional picture sleeve featuring Essex in The War of the Worlds imagery. Notes: Produced for CBS Records Ltd. The single promoted Jeff Wayne’s Musical Version of The War of the Worlds (1978), where Essex voiced the Artilleryman. Matrix numbers (e.g., S CBS 6705 A-1) confirm authenticity. Production and Context Recorded in 1978 at Advision Studios, London, the A-side was produced by Jeff Wayne for the War of the Worlds project, with Essex on vocals, supported by Wayne’s orchestra and rock band (including Jo Partridge on guitar and Herbie Flowers on bass). The B-side was a standalone Essex track. Released amid the album’s success (No. 1 UK), the single capitalized on Essex’s role, following his hits like “Rock On.” It competed in a UK scene dominated by punk and new wave, which may have limited its commercial reach. Chart Performance UK: Did not chart (Official Singles Chart), despite the album’s popularity. International: No commercial release or chart impact in the US, Europe, Japan, or other regions; limited to UK promotion tied to The War of the Worlds. Legacy and Collectibility “Brave New World” and “Streetfight” are valued by fans for their connection to The War of the Worlds, a cultural milestone with Richard Burton as narrator. The single’s rarity adds appeal for collectors of ‘70s rock opera and Essex memorabilia. Original UK 7-inch vinyls fetch £5–£20 on Discogs, with picture sleeves or promo copies valued higher—verify matrix numbers to avoid reissues. Tracks are available on Spotify via The War of the Worlds reissues, preserving their orchestral grandeur. This single highlights David Essex’s theatrical versatility—a gem for ‘70s prog-pop enthusiasts. Have you unearthed this David Essex single in your vinyl stash? Does “Brave New World” evoke The War of the Worlds for you? Share in the comments!

Alvin Stardust’s “My Coo Ca Choo” 7-inch vinyl single, was released in the UK on October 5, 1973 by Magnet Records (catalogue: MAG 15). Backed with “Pull Together,” this glam rock gem marked Stardust’s breakthrough under his new persona. With its stomping beat, catchy hook, and Stardust’s vocals, the A-side became a No. 2 UK hit, embodying the era’s glittery pop energy. Produced by Peter Shelley, the single launched Stardust’s solo career, blending rock ‘n’ roll swagger with glam flair. Notably, Peter Shelley performed the track as Alvin Stardust on Lift Off with Ayshea on October 24, 1973, dressed in a clown costume, before the official release. A-Side: “My Coo Ca Choo” (3:30) B-Side: “Pull Together” (3:15) Label: Magnet Records (UK pressing, 45 RPM). Format: 7-inch vinyl single. Notes: Produced for Magnet Records Ltd. The single was Stardust’s debut under his stage name, following his Shane Fenton days. Matrix numbers (e.g., MAG 15 A-1) confirm authenticity. It entered the UK charts on November 3, 1973. Recorded in 1973 at a UK studio, the single was produced by Peter Shelley, who wrote and originally performed it as Alvin Stardust. Stardust (real name Bernard Jewry) adopted a new identity with a black leather jacket and quiff. The lineup included session musicians, with Shelley on backing vocals. Released amid the UK glam boom, it competed with hits from Sweet and Slade, boosted by TV appearances on Top of the Pops and radio play. Shelley’s pre-release performance on Lift Off with Ayshea on October 24, 1973, in a clown costume, generated early buzz. Chart Performance “My Coo Ca Choo” was a smash hit: UK: No. 2 (Official Singles Chart), charting for 16 weeks, certified Silver (250,000 copies sold), blocked from No. 1 by David Cassidy’s “Daydreamer” / “The Puppy Song.” Ireland: No. 2. Germany: No. 3. Netherlands: No. 5. Belgium: No. 6 (Flanders). Australia: No. 12. New Zealand: No. 15. The single’s success propelled Stardust’s career, leading to follow-ups like “Jealous Mind” (No. 5 UK). “My Coo Ca Choo” remains a glam classic, often featured in ‘70s compilations and media like Top of the Pops retrospectives. Its catchy hook influenced later pop acts. Have you got this Alvin Stardust single in your vinyl stash? Does “My Coo Ca Choo” get you dancing? Share in the comments!

On October 4, 1974, Rod Stewart's fifth solo album, "Smiler," was released on Mercury Records with the UK catalog number 9104 001. This LP, his final release with Mercury, captured Stewart at a creative crossroads, blending rock, blues, and soulful covers with original tracks. Recorded amid his commitments with the Faces, Smiler soared to No. 1 in the UK but drew mixed reviews for leaning on the familiar spark of albums like Every Picture Tells a Story. With contributions from Elton John and a song penned by Paul and Linda McCartney, it showcased Stewart’s raspy charisma in a vibrant, star-studded session. Album Overview Release Details: Label: Mercury Records (UK pressing, gatefold sleeve with printed inner). Format: Vinyl LP, stereo. Date: October 4, 1974 (UK release, delayed by legal disputes between Mercury and Warner Bros.). Tracks: 12 songs, ~42 minutes, mixing covers and originals, from Chuck Berry rockers to a Sam Cooke medley. Tracklist: Sweet Little Rock 'n' Roller (Chuck Berry cover) Lochinvar Farewell Sailor Bring It On Home to Me / You Send Me (Sam Cooke medley) Let Me Be Your Car (Elton John on backing vocals and piano) (You Make Me Feel Like) A Natural Man (Carole King cover, gender-switched) Dixie Toot Hard Road I've Grown Accustomed to Her Face (instrumental) Girl from the North Country (Bob Dylan cover) Mine for Me (written by Paul and Linda McCartney) Produced by Rod Stewart, Smiler was recorded from November 1973 to May 1974 at Morgan Studios, London, and The Wick, Richmond. The lineup featured Faces members Ronnie Wood (guitars), Ian McLagan (organ), and Kenney Jones (drums), alongside Martin Quittenton (acoustic guitar), Pete Sears (keyboards, bass), and Mickey Waller (drums). Notable guests included Elton John, who provided backing vocals and piano on "Let Me Be Your Car," adding a lively, soulful edge, and the Memphis Horns for brassy flourishes. Chris Barber’s jazz band contributed to "Dixie Toot," while Paul and Linda McCartney wrote "Mine for Me" but did not perform on the album. The eclectic mix—rockers, ballads, and jazz touches—reflected Stewart’s loose, pub-like recording atmosphere. Smiler hit No. 1 in the UK and No. 13 in the US, selling steadily despite critiques for retreading earlier formulas. It marked the end of Stewart’s Mercury era, paving the way for his Warner Bros. phase and smoother pop sound. Is Smiler a staple in your Rod Stewart collection? Which track keeps your turntable spinning? Share in the comments!

T. Rex’s “Ride a White Swan” 7-inch vinyl single, was released in the UK on October 9, 1970, by Fly Records (catalogue: BUG 1). Backed with “Is It Love” and “Summertime Blues,” this three-track release marked Marc Bolan’s seismic shift from the folk-psychedelic Tyrannosaurus Rex to what would become the electrified glam rock of T. Rex. "Ride a White Swan" UK Picture Sleeve Front The A-side’s whimsical riff and Bolan’s elfin vocals ignited T. Rexmania (although it wasn't until the start of 1972 that it fully took fire), peaking at No. 2 on the UK Singles Chart. Produced by Tony Visconti, this single became a cornerstone of Bolan’s legacy, blending mysticism with raw rock energy. Single Overview A-Side: “Ride a White Swan” (2:12) Written by Marc Bolan. A dreamy, folk-rock anthem with a catchy electric guitar riff, inspired by Chinese legends and fairy tales. Bolan’s falsetto vocals, singing “Ride a white swan / And steal a woman’s heart,” evoke a magical, romantic vibe. Backed by Mickey Finn’s congas and Visconti’s crisp production, it’s a concise burst of glam’s nascent sparkle. B-Side 1: “Is It Love” (2:34) Written by Marc Bolan. A punchy rocker with driving rhythms and Bolan’s playful vocals, its upbeat tempo and tight arrangement reflect T. Rex’s emerging electric sound. A perfect complement to the A-side’s ethereal charm. B-Side 2: “Summertime Blues” (2:44) A cover of Eddie Cochran’s 1958 classic, written by Eddie Cochran and Jerry Capehart. Bolan’s version infuses glam swagger with fuzzy guitars and a looser rockabilly feel, transforming the original into a T. Rex showcase of raw energy. Recorded at Advision Studios, London, in summer 1970, the single was produced by Tony Visconti, who captured T. Rex’s transition from acoustic folk. Release Details: Label: Fly Records (UK pressing, 45 RPM). Format: 7-inch vinyl single, typically in a Fly Records company sleeve or a limited picture sleeve featuring Bolan and his partner Mickey Finn's iconic portrait.  "Ride a White Swan" UK Picture Sleeve Back The lineup featured Marc Bolan (vocals, guitar) and Mickey Finn (percussion, congas), with session musicians like bassist Howard Kaylan and drummer Mark Volman (from The Turtles) adding depth. Visconti’s production emphasized Bolan’s simplified, riff-driven style, inspired by his frustration with Tyrannosaurus Rex’s limited commercial success. Released as psychedelia waned, the single’s success was fueled by BBC Radio 1 airplay and Bolan’s charismatic performances on Top of the Pops. Chart Performance “Ride a White Swan” was T. Rex’s first major hit, climbing to No. 2 on the UK Singles Chart in early 1971, blocked from No. 1 by Clive Dunn’s “Grandad.” It charted for 14 weeks, certified silver in the UK (250,000 copies sold). Internationally, it reached No. 13 in Ireland, No. 16 in Australia, No. 28 in Germany, and No. 76 in the US Billboard Hot 100, reflecting T. Rex’s broader appeal. The single’s success paved the way for Electric Warrior (1971) and a string of UK chart-toppers. Cover art for T. Rex's single "Ride A White Swan" with "Is It Love" as the B-side, released by Ariola Germany. Legacy and Collectibility “Ride a White Swan” launched T. Rex and Marc Bolan as a household name, influencing countless artists and defining the genre’s glittery aesthetic.. Covered by bands like the Damned and Goldfrapp, it remains a cultural touchstone, featured in films like Billy Elliot and Velvet Goldmine. Original 1970 UK vinyls, especially with picture sleeves, are highly sought, fetching £20–£100 on Discogs—mint copies with intact sleeves or promo stamps command premiums. Verify matrix numbers to avoid later reissues. Tracks are available on Spotify, with remasters from the Electric Warrior deluxe editions preserving the single’s analog warmth. This single is a glittering cornerstone of glam rock, capturing Marc Bolan’s rise to icon status. Have you scored this T. Rex single in your vinyl collection? Which track sparks your glam rock love? Share in the comments! More sleeves below. Label: Stateside Country: Norway Catalogue:7E 006-92148 Label: CBS Country: France Catalogue: 5381 Label: IL Country: Italy Catalogue: NIL 9036

Roxy Music's "Love Is the Drug" / "Sultanesque" – A 1975 Classic Released on October 3, 1975, Roxy Music's "Love Is the Drug" with its quirky B-side "Sultanesque" is a defining moment in the band's career. This 7-inch vinyl single (Island Records, UK: WIP 6248; US: Atco 7-7046) from their fifth album, Siren, blends glam rock, funk, and proto-disco into a seductive anthem that helped birth new wave. The Single at a Glance A-Side: "Love Is the Drug" (4:11, single edit)Writers: Bryan Ferry (lyrics), Andy Mackay (music)A funky, danceable ode to urban romance, driven by John Gustafson’s iconic bassline and Phil Manzanera’s sharp guitar riffs. Ferry’s opening line, "T’ain’t no big thing," sets the tone for a night of hedonistic swagger. B-Side: "Sultanesque" (5:27)Composer: Andy MackayAn experimental instrumental with hypnotic feedback loops and sine-wave synths, evoking an exotic, sultan-like dreamscape. It’s raw, lo-fi, and a nod to Roxy’s avant-garde roots. Release Context: Launched just before Siren (October 1975), the single was produced by Chris Thomas at AIR Studios, London. The cover art featured Ferry in a tuxedo, channeling film noir cool. Track Highlights Love Is the Drug This track is pure '70s alchemy—a blend of disco grooves and rock edge. Born from Andy Mackay’s Wurlitzer piano sketch, it was transformed by Ferry and drummer Paul Thompson into a dancefloor banger. Key elements: Musicians: Bryan Ferry (vocals, keyboards), Phil Manzanera (guitar), Andy Mackay (saxophone, synths), John Gustafson (bass), Paul Thompson (drums), Eddie Jobson (synthesizer, violin). Themes: A witty take on love as an addictive drug, set against a backdrop of urban nightlife. Lyrics like "Up on Broadway she can strut her stuff" drip with Ferry’s ironic charm. Legacy: Ranked #26 in Stylus Magazine’s Top 50 Basslines, it influenced Chic’s "Good Times" and countless new wave acts. It’s on the Rock & Roll Hall of Fame’s "500 Songs That Shaped Rock." Sultanesque The B-side is a peculiar gem—an instrumental that feels like a sonic mirage. Mackay’s composition uses ticking percussion and modulated synths, inspired by classical composers like Ralph Vaughan Williams. It’s experimental yet oddly captivating, a lo-fi contrast to the A-side’s polish. Chart Success The single was a commercial triumph, climbing charts worldwide: UK Singles Chart: Peaked at #2 (blocked by David Bowie’s "Space Oddity" reissue). US Billboard Hot 100: #30 (1976). Canada: #3. Australia: #18. Netherlands: #8 (Top 40), #9 (Single Top 100). Certified silver in the UK, with over 500,000 copies sold globally. Cultural Impact Covers: Grace Jones’ 1980 reggae-disco version hit UK #35 in 1986. Others include Ben Harper and Manic Street Preachers (live). Media: Featured in The Wolf of Wall Street (2013), Lock, Stock and Two Smoking Barrels (1998), and Grand Theft Auto: Vice City. Influence: Hailed as a new wave cornerstone, inspiring bands like Simple Minds and The Human League. Its bassline is a touchstone for disco-funk. Why It Still Resonates "Love Is the Drug" captures Roxy Music’s transition from art-rock oddballs to stylish hitmakers. Its infectious groove and Ferry’s louche charisma make it timeless, while "Sultanesque" offers a glimpse of their experimental heart. Whether you’re spinning the original vinyl or streaming the 2018 remaster, this single is a must for music lovers. Crank up the bass and let Ferry take you on a nocturnal ride. What’s your favorite Roxy Music track? Share below!

Vinyl record label for "Laser Love" by T. Rex, released on 17 September 1976 under EMI in the UK, Catalog number: MARC 15. T.Rex’s "Laser Love"  backed with "Life's an Elevator" , was released as a 7-inch vinyl single in a T. Rex Wax Co. sleeve in the UK by EMI Records (catalog number MARC 15) on September 17, 1976. Debuting at number 47 on the UK Official Singles Chart the week of September 26–October 2, 1976, beginning a four-week chart run that peaked at number 41. Song and Album Context: "Laser Love" was a single from T.Rex’s Futuristic Dragon album, released on January 30, 1976. Written and produced by Marc Bolan, the song featured a futuristic, sci-fi-inspired sound with upbeat guitar riffs and Bolan’s signature vocals, aiming to blend glam rock with emerging musical trends. The B-side, "Life’s an Elevator," was also from the album. 1976 Music Scene: During the week of its chart entry, the UK Singles Chart was topped by ABBA’s "Dancing Queen," with other acts like Rod Stewart and Bay City Rollers also prominent. The single was released in the following regions: Label: T. Rex Country: UK Catalogue: MARC 15 Date: 17 Sep 1976 Cover art for T. Rex's single "Laser Love" and "Life's an Elevator," released in November 1976 under the Ariola label in Germany, catalog number 17 382 AT. Label: T. Rex Country: Australia Catalogue: T.REX-11268 Date: 8 Nov 1976 Label: Ariola Country: Germany Catalogue: 17 382 AT Date: Nov 1976 Label: T. Rex Country: Ireland Catalogue: MARC 15 Date: 1976 Label: T. Rex Country: South Africa Catalogue: MARC J15 Date: 1976 Label: Edsel Country: UK Catalogue: GURU 20 Date: 16 Mar 2015 (part of the 7-inch Box Set)

A Timeless Masterpiece Reborn in Crystal Clear Glory! Queen: A Night At The Opera Album Worldwide Reissue (2025) Released worldwide as a half-speed mastered 180gm crystal clear vinyl LP on October 17, 2025, Queen’s A Night At The Opera (catalogue: 00602475946410) remains their magnum opus — the 1975 classic now restored with Bob Ludwig mastering and Miles Showell’s Abbey Road half-speed lacquer cut. Pressed by Optimal Media, with gold labels, embossed/debossed gold foil gatefold, picture inner, and gold hype sticker. The definitive audiophile edition of the album that gave the world "Bohemian Rhapsody". Album Overview Release Details Label: EMI / Queen Productions Ltd. Format: Vinyl, LP, Album, Reissue, Half Speed Mastered, Crystal Clear, Heavyweight 180gm. ℗ & ©: Queen Productions Ltd. Licensed to Universal International Music B.V. Mastered at Gateway Mastering (Bob Ludwig), half-speed lacquer Abbey Road (Miles Showell). Pressed by Optimal Media GmbH – BP32334 Track Listing Side A 1. Death On Two Legs (Dedicated To....) 2. Lazing On A Sunday Afternoon 3. I'm In Love With My Car 4. You're My Best Friend 5. '39 6. Sweet Lady 7. Seaside Rendezvous Side B 1. The Prophet's Song 2. Love Of My Life 3. Good Company 4. Bohemian Rhapsody 5. God Save The Queen Production and Context Original production: Roy Thomas Baker & Queen. Executive reissue production: Brian May & Roger Taylor. Additional audio supervision: Justin Shirley-Smith & Kris Fredriksson. Restoration: Kris Fredriksson. Recorded 1975 at Sarm East, Roundhouse, Olympic, Rockfield, Scorpio, Lansdowne. The album that bankrupted Queen to make — and made them legends. Reissues & Global Variants - Vinyl, LP, Half Speed Mastered, Crystal Clear 180gm – EMI 00602475946410 – Worldwide – 17 Oct 2025 Legacy and Collectibility A Night At The Opera i s Queen’s masterpiece — "Bohemian Rhapsody", "You're My Best Friend", "The Prophet's Song" — now in pristine crystal clear 180gm half-speed glory. Original 2025 pressings with gold foil gatefold and hype sticker fetch £40–£80 on release day (expected). Verify runouts with mirrored plating marks and Miles Showell signature. This reissue is a must-have for Queen audiophiles and vinyl collectors. Do you have A Night At The Opera in your vinyl stack? Is Bohemian Rhapsody still your headbanger? 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 Official announcement: Queen's landmark album A Night At The Opera was reissued as part of the band's 50th anniversary celebrations for both the album and its iconic single "Bohemian Rhapsody." Originally released on November 21, 1975, the album was Queen's grandest artistic statement to date, reaching No. 1 in five countries (including the UK) and featuring the classic lineup of Freddie Mercury, Brian May, Roger Taylor, and John Deacon. It contains an entire musical universe in its 12 songs, spanning glam-tinged hard rock ("Death On Two Legs"), heartfelt ballads ("Love Of My Life"), and the groundbreaking 6-minute epic "Bohemian Rhapsody," which topped the UK charts for a record-breaking nine weeks. The reissue, overseen by Brian May and Roger Taylor, honors the album's multi-platinum status and its role in Queen's breakthrough. It's the first in a series of anniversary releases, with "Bohemian Rhapsody" getting its own vinyl variants. The album's legacy includes its ambitious scope—covering folk, opera, and rock—and its influence on everything from Queen II's theatricality to the band's live spectacles. Reissue Details Label: Universal Music (worldwide, excluding US where it's Hollywood Records) Catalog Number: Not specified in announcements; standard for the edition is expected to be a new variant like "OPULENT" or "50th Edition." Release Date: October 18, 2025 (UK, as part of National Album Day); October 17, 2025 (rest of the world) Format: Lavish crystal clear 180g vinyl with gold labels, limited edition Special Features: The vinyl is pressed on clear material for a "see-through" aesthetic, emphasizing the album's opulent legacy. No bonus tracks or remastering details announced yet, but it's positioned as a collector's item. Tracklist (Original 1975 Sequence) Death on Two Legs (Dedicated to...) – 3:43 Lazing on a Sunday Afternoon – 1:08 I'm in Love with My Car – 3:05 You're My Best Friend – 2:50 '39 – 3:30 Sweet Lady – 4:01 Seaside Rendezvous – 2:13 The Prophet's Song – 8:21 Love of My Life – 3:38 Good Company – 3:23 Bohemian Rhapsody – 5:55 God Save the Queen – 1:15 Legacy & Why It Matters A Night At The Opera was Queen's first No. 1 album and a commercial juggernaut, selling over 6 million copies worldwide. "Bohemian Rhapsody" alone revolutionized radio with its operatic structure and became the band's signature song, later revived in the 2018 film Bohemian Rhapsody. Brian May has called it "a hugely important album for us," highlighting the band's creative freedom. The 50th anniversary edition ties into Queen's ongoing revival, including the 2020 Greatest Hits reissue and 2025 tour announcements. The vinyl reissue is available for pre-order on QueenOnline and Amazon, priced around £25–£30. A companion "Bohemian Rhapsody" single reissue drops October 31, 2025, on blue heavyweight vinyl, 12" picture disc, and cassette. For more, check Queen's official site or the Classic Rock magazine issue out October 10, 2025, which includes a premium edition with stickers and posters. If you're a collector, this is a must-have alongside the 2011 remaster. Let me know if you need track-by-track analysis or comparisons to the original!

Slade's Return To Base was released as an LP album in the UK by Barn Records (Chas Chandler's indie label, catalog NARB 003 on October 1, 1979. Return to Base is Slade's eighth studio album and a gritty snapshot of their wilderness years. This UK vinyl LP (33⅓ RPM, gatefold sleeve with inner lyric booklet) arrived amid commercial freefall—over two years after the underperforming Whatever Happened to Slade (1977)—as the band ditched their glitter for a rawer hard rock sound to compete with punk. Recorded in six weeks at Ridge Farm Studio in Surrey (June–July 1979), it was their first self-produced effort, born from frustrations with Chandler's oversight; the band demoed 20 tracks, whittling to 11, with Lea emerging as a key sonic architect. Engineer Andy Miller coaxed in the bonus "Another Win" (unreleased until 2011). The title, a military nod to "returning to headquarters," symbolized their battered regrouping after US flop and domestic punk snubs. Pressed in limited runs (exact figures unknown, but singles suggest modest distribution), original copies are collectible today, It bombed in the UK (no chart entry), but hit No. 1 on Belgium's Telemoustique Albums Chart in 1980 via import buzz and Warner Bros. local release, buoyed by airplay and fan fervor. No US edition surfaced until 2006 CD reissues. Track Listing All songs written by Holder/Lea except "I'm a Rocker" (Chuck Berry cover). Total runtime: 33:48. Side splits reflect the original vinyl pressing. | Side | Track | Title | Duration | |------|-------|-------|----------| | A | 1 | Wheels Ain't Coming Down | 3:40 | | A | 2 | Hold on to Your Hats | 2:32 | | A | 3 | Chakeeta | 2:26 | | A | 4 | Don't Waste Your Time (Back Seat Star) | 3:28 | | A | 5 | Sign of the Times | 3:57 | | B | 6 | I'm a Rocker | 2:46 | | B | 7 | Nut Bolts and Screws | 2:30 | | B | 8 | My Baby's Got It | 2:34 | | B | 9 | I'm Mad | 2:46 | | B | 10 | Lemme Love into Ya | 3:26 | | B | 11 | Ginny, Ginny | 3:38 | Singles drawn from it: "Ginny, Ginny" b/w "Dapple Rose" (May 1979, Barn BAR 102; 3,500 copies, no chart); "Sign of the Times" b/w "Lemme Love into Ya" (October 1979, Barn BAR 105; melted down post-flop); "I'm a Rocker" (Belgium-only, March 1980). Personnel - Slade: - Noddy Holder: Lead vocals, rhythm guitar, producer - Dave Hill: Lead guitar, backing vocals, producer - Jim Lea: Bass, piano, synthesizer, backing vocals, producer - Don Powell: Drums, percussion, backing vocals, producer - Production: - Andy Miller: Engineer - Dave Garland, Mark O'Donoughue: Assistant engineers - George Peckham (Porky): Mastering/cutting engineer - Eric Massey: Art direction Critical Reception and Legacy Reviews were tepid, mirroring Slade's faded star. *Record Mirror* lauded energetic cuts like "Nut Bolts and Screws" and "My Baby's Got It" for recapturing '70s fire but slammed the rest as uninspired retreads. *Sounds* deemed it a "fair to impressive" hard rock return, praising Holder's snarls amid dated vibes that punk kids might scoff at. *NME*'s Max Bell was harsher, dubbing Slade a "poor man's hard rock band" in a scathing pan of their persistence. Modern takes vary: Rate Your Music users rate it 3.1/5 as solid but unremarkable glam-hard rock, while superfans hail its DIY grit as a prelude to their '80s resurgence. Reissued on CD (e.g., 2006 Union Square with bonuses like "Dapple Rose"), it's a cult fave for completists, streaming on Spotify/YouTube with era clips. If you're chasing Slade's underdog phase, this raw slab outshines their glossier hits—pure, unvarnished Wolverhampton soul.

Davy Jones’ "You've Got a Habit of Leaving"  backed with "Baby Loves That Way" , was released as a 7-inch vinyl single in the UK by Parlophone Records (catalog number R 5315) on August 20, 1965, with both songs being original compositions. The label of the record was only credited to Davy Jones, but he was accompanied by The Lower Third. Both tracks were produced by Shel Talmy, who had also worked with The Who and The Kinks. Shel Talmy says of the record, "like most of the songs I recorded with him it was an original, marking the first time Bowie's compositions were made available to the record-buying public". (Sleeve Bowie 1965! EP)

A Historic Night at Market Square, September 25, 1971 On Saturday, September 25, 1971, at 8 p.m., David Bowie took the stage at Friars Aylesbury (held at the Borough Assembly Hall in Market Square, Aylesbury, Buckinghamshire, England) for a pivotal early performance, marking the first live show with his soon-to-be-iconic backing band, The Spiders from Mars (Mick Ronson on guitar, Trevor Bolder on bass, and Woody Woodmansey on drums), alongside pianist Tom Parker. Supported by the American folk-rock trio America (whose set was canceled that night), this gig—advertised at 50p admission—was billed as Bowie's "only current British appearance." The quirky poster, with its wavy borders and gothic "Friars" lettering, captured the underground rock vibe of the era. This concert, held 54 years ago to the day as of today, Thursday, September 25, 2025, at 04:29 PM BST, was a cornerstone in Bowie's career. It served as an experimental showcase for much of the material from Hunky Dory (released December 1971), performed just weeks after his influential meeting with Andy Warhol in New York. Friars Aylesbury, a legendary club (1969–1984) that boosted acts like Genesis and Roxy Music, inspired Bowie to form The Spiders, with promoter David Stopps noting the night's impact. The city's bond with Bowie endures, marked by the first worldwide Bowie statue in 2016. The Official Setlist Here’s the confirmed 14-song setlist from that night: Fill Your Heart Buzz The Fuzz Space Oddity Amsterdam The Supermen Oh! You Pretty Things Eight Line Poem Changes Song For Bob Dylan Andy Warhol Queen Bitch Looking For A Friend Round And Round Waiting For The Man This setlist blended Hunky Dory previews with covers like "Amsterdam" (Jacques Brel) and "Waiting for the Man" (Velvet Underground), alongside rarities like "Buzz The Fuzz" and possibly unreleased tracks like "Looking for a Friend." The raw, eclectic performance showcased Bowie’s transitional phase from folk to glam. Legacy and Recordings This is one of the earliest surviving full Bowie concert recordings, captured on an audience tape and later released on the Divine Symmetry box set (2022), featuring tracks like "The Supermen," "Space Oddity," and "Oh! You Pretty Things." Bootlegs like Aylesbury Friars Club 1971 (2006) also circulate. The original poster remains a collector’s item, fetching £500+ at auctions. On X, fans still celebrate the setlist and the night’s role in sparking The Spiders’ formation. CD 3: BBC Radio Session and Live from Divine Symmetry The Divine Symmetry box set includes a dedicated section on CD 3 for the September 25, 1971, Aylesbury performance, marking its first official release. Sourced from a lo-fi audience recording, these tracks capture the electric debut of the Spiders from Mars with pianist Tom Parker. The Aylesbury setlist is as follows: BBC Session (Kensington House, London, September 21, 1971): The Supermen Oh! You Pretty Things Eight Line Poem Kooks* Fill Your Heart* Amsterdam* Andy Warhol* Live Friars, Aylesbury, 25th September 1971: Introduction* Fill Your Heart* Buzz The Fuzz* Space Oddity* Amsterdam* The Supermen* Oh! You Pretty Things* Eight Line Poem* Changes* Song For Bob Dylan* Andy Warhol* Looking For A Friend* Round And Round* Waiting For The Man* (* denotes previously unreleased tracks). These recordings, remastered for the 2022 release, retain the raw energy of the night, including Bowie’s banter in the introduction. This aligns with the setlist you provided, offering a historic snapshot of the pre-Ziggy era. This "very good event" was a fly-on-the-wall moment at history unfolding—raw, unpolished, and electric. Whether you’re spinning the bootleg or streaming the official release, it’s a pre-glam gem worth revisiting.

David Bowie’s "The 1980 Floor Show" , a broadcast on The Midnight Special  in the US, November 16, 1973.The visual elements of the show referenced the Ziggy Stardust character, who, along with the Spiders from Mars, had been terminated after a performance on July 3, 1973. The troupe of dancers wore crocheted cobweb-like costumes, and Bowie sported outfits designed by Freddi Buretti, Kansai Yamamoto and Natasha Korniloff, most notably a body-stocking outfit with a flame motif, as well as a fishnet full-leotard with stuffed gold lamé hands.

The Glam Rock Muse Who Shaped Marc Bolan’s World 'She filled in all the pieces that were missing in his (Marc Bolan) life.' Tony Visconti. June Ellen Child (later Feld-Bolan), born August 23, 1943, in London, England, was a trailblazing music industry figure, model, and manager whose sharp instincts and nurturing spirit propelled the career of T. Rex frontman Marc Bolan. As his wife, lover, and creative confidante during the height of glam rock's glittery explosion, June was far more than a footnote in rock history—she was Bolan's anchor, driver (literally, since he couldn't drive), and a key influence on his flamboyant style. Her life, though cut short, wove through the psychedelic and glam scenes of 1960s-70s London, leaving an indelible mark on music and fashion. Early Life Raised in Fulham, London, alongside her sister Sandra, by working-class parents; attended Holland Park Comprehensive School. After leaving school, she worked in fashion as an importer for Veroniques before transitioning to photography assistance in Hanover Street studios. By the late 1960s, June had entered the burgeoning music business at Blackhill Enterprises, a management firm handling acts like Pink Floyd. There, she briefly dated and supported the fragile genius Syd Barrett during his mental health struggles, honing her skills as a fixer in the chaotic rock world. Relationship with Marc Bolan and T. Rex Met Marc Bolan (born Mark Feld) in 1968 at a London party; four years his senior, she was instantly captivated by his poetic ambition and elfin charm. They fell "madly and totally in love," moving in together after just days. June became Bolan's unofficial manager, booking gigs, arranging interviews, and chauffeuring him to shows. Dyslexic and bookish, Bolan leaned on her to read J.R.R. Tolkien's The Lord of the Rings and The Hobbit aloud in bed, fueling his mythic songwriting style. Married on January 30, 1970, in a simple ceremony; she took his surname, becoming June Feld-Bolan. Their union inspired Bolan's shift from folkish Tyrannosaurus Rex to the electric glam of T. Rex, with hits like "Ride a White Swan" (1970) and "Hot Love" (1971). June nurtured Bolan’s vibrant wardrobe of satin and sequins, complementing the glam rock aesthetic pioneered by stylist Chelita Secunda, who applied glitter to Bolan’s cheeks for his iconic March 1971 Top of the Pops performance of “Hot Love,” a moment that ignited the glam revolution and influenced peers like David Bowie. The couple had no children together, but their home was a hub for rock's elite, blending bohemian creativity with high-society glamour. Career and Influence As a model in swinging London, June rubbed shoulders with photographers like David Bailey and appeared in magazines, embodying the era's mod-to-glam aesthetic. Her business acumen at Blackhill extended to T. Rex; she handled logistics during their breakthrough, including the psychedelic soul of albums like Electric Warrior (1971) and The Slider (1972). Post-separation, June remained a guardian of Bolan's legacy, contributing to documentaries, reissues, and fan events. Her support for tribute acts like T.Rextasy, the premier T. Rex tribute band, ensured Marc’s music lived on authentically through electric performances and Tyrannosaurus Rex-era folk tributes. Personal Life and Later Years The marriage frayed by 1973 amid Bolan's affairs, including his relationship with American singer Gloria Jones (with whom he had a son, Rolan, in 1975). They separated but never finalized a divorce—June remained legally his wife until his death. In her later years, June enjoyed a long-term relationship with drummer Paul Varley (of Dave Allen & The Arrows) starting in 1976 and had a daughter, Ilona, in 1978. She lived quietly in London, occasionally attending T. Rex tributes and reflecting fondly on Marc as her "best friend." Struggled with health issues, including alcohol abuse; passed away on August 31, 1994, at age 51, from a heart attack while on holiday in Turkey, just days after her 51st birthday. Her death echoed the tragic symmetry of Bolan's fatal car crash on September 16, 1977 (at age 29), in which Gloria Jones was driving. Legacy June's story underscores the unsung women of glam rock—mentors who turned raw talent into stardust. Without her, Bolan's Tolkien-fueled fantasies might never have reached the stage. Her influence endures through T. Rex revivals like T.Rextasy, endorsed by Bolan’s estate, and in books like Mark Paytress's Bolan: The Rise and Fall of a 20th Century Superstar. At what would be 82 in 2025, June endures as a symbol of rock's romantic, rebellious heart—glamorous, grounded, and gone too soon.

The Bohemian Icon Whose Voice Echoed Through Rock's Shadows Marianne Evelyn Gabriel Faithfull, born December 29, 1946, in London, England, was a singer, actress, and enduring symbol of rock's wild heart—known for her crystalline Sixties ballads, her role as muse to the Rolling Stones, and her gritty reinvention amid personal turmoil. While her path briefly glittered in glam rock's orbit with a unforgettable 1973 duet alongside David Bowie, Faithfull's true legacy was her raw authenticity, blending folk, punk, and cabaret into a voice that captured both fragility and fire. Her life of triumphs and tragedies made her a beacon for generations of artists. Early Life Born in Hampstead, London, to an eclectic family: her father, Major Robert Glynn Faithfull, was a British academic and spy novelist, while her mother, Eva von Sacher-Masoch, was an Austrian baroness descended from the author of Venus in Furs. Raised between intellectual communes and boarding schools, including St. Joseph’s Convent in Reading, where her rebellious spirit clashed with convention. Discovered at 17 by Rolling Stones manager Andrew Loog Oldham at a 1964 party, her ethereal beauty and breathy voice launched her into the spotlight. A Glittering Moment in Glam Rock Faithfull's sole brush with glam rock came in October 1973 during David Bowie's The 1980 Floor Show at London's Marquee Club—a futuristic TV special marking Bowie's farewell to Ziggy Stardust. Dressed as a provocative nun (a sly nod to her scandalous public image), she duetted with Bowie on a gender-swapped cover of Sonny & Cher's "I Got You Babe," her deepened, Nico-like voice contrasting his flamboyant flair in a performance broadcast on NBC's The Midnight Special. This one-off collaboration, amid her struggles with addiction, offered a fleeting spark of glam's theatricality—Bowie later called it "great fun," and it hinted at the decadent edge her style shared with the era, though she never fully embraced the movement. Career and Broader Rock Influence Exploded to fame with "As Tears Go By" (1965), a Jagger-Richards-penned hit that topped UK charts and defined her as the British Invasion's fragile ingenue. Her 1960s albums, like Marianne Faithfull (1965), blended folk and orchestral pop; she co-wrote "Sister Morphine" for the Stones' Sticky Fingers (1971), a haunting track reflecting her own heroin battles. After a 1970s descent into addiction and homelessness, she roared back with Broken English (1979)—a punk-tinged masterpiece featuring the proto-rap title track (dedicated to Ulrike Meinhof) and earning a Grammy nomination for Best Female Rock Vocal. Later works like Strange Weather (1987) fused jazz and rock with collaborators including Tom Waits and Mark Eitzel; she covered Bowie's "Rebel Rebel" in 2002, nodding to their shared history. Personal Life and Later Years Her 1966–1970 romance with Mick Jagger fueled tabloid frenzy, including the infamous 1967 Redlands drug raid where she was found wrapped in a fur rug; it inspired Stones songs like "Wild Horses" but ended amid miscarriage and scandal. Married three times—to John Dunbar (1965–1966, father of her son Nicholas), Giorgio della Terza (1979–1986), and briefly to a French aristocrat—she lost custody of Nicholas during her addiction years but rebuilt their bond. Overcame breast cancer (2006) and COVID-19 (2021), authoring memoirs like Faithfull (1994) that chronicled her resilience. Passed away on January 30, 2025, at age 78, in London, from complications following a stroke; tributes from Nick Cave and PJ Harvey hailed her as a "towering artist" and "avenging angel" of rock. Legacy Faithfull's brief glam intersection with Bowie encapsulated her knack for boundary-pushing moments, but her enduring gift was transforming pain into art—inspiring punks, indies, and survivors like PJ Harvey and Florence Welch. Far from just a muse, she was rock's unflinching chronicler, her voice evolving from crystalline to gravelly as a testament to lived experience. At 79 in 2025, Faithfull's spirit lingers in every raw, unapologetic note—a bohemian flame that outshone the glitter. Sources Used: Wikipedia (en.wikipedia.org/wiki/Marianne_Faithfull) [web:0, web:13] The Guardian (theguardian.com/culture/2025/jan/30/marianne-faithfull-towering-artist-not-just-a-muse) Rolling Stone (rollingstone.com/music/music-news/marianne-faithfull-dead-obituary-1235149876/) Open Culture (openculture.com/2023/04/watch-david-bowies-final-performance-as-ziggy-stardust-singing-i-got-you-babe-with-marianne-faithfull-on-the-midnight-special-1973.html) Far Out Magazine (faroutmagazine.co.uk/david-bowie-marianne-faithfull-cher-i-got-you-babe-cover/) NME (nme.com/news/music/marianne-faithfull-dies-aged-77-3698745) David Bowie Official Site (davidbowie.com/blog/2025/1/30/go-well-marianne) Gold Radio (goldradio.com/artists/david-bowie/got-you-babe-marianne-faithfull-sonny-cher/)

David Bowie’s "Hype and The Future" , a one-page article in Melody Maker , March 28, 1970. HYPE HAS been kindly defined by a friend as being ninety per cent hyperbole and ten per cent hypocrisy. With that clearly in mind who would ever think of giving the title to their own group? David Bowie would and has, partly as a pro-test against the pretentiousness and insincerity in some quarters of the music business. Explained David last week over the almost over-whelming din of a lunch time ale house: "I deliberately chose the name in favour of something that sounded perhaps heavy be-cause now no one can say they're being conned. Especially nowadays there's a lot of narrow mindedness among groups or at least behind the organisers who claim to be presenting free music for free people but I don't see how they can because they're so hypocritical in everything else. I suppose you could say I chose Hype deliberately with tongue in cheek." David's last record was the ultra dramatic "Space Oddity" which was a good reflection of the extent to which his imagination will stretch. in some ways the conception of the song was so simple (dealing with the disastrous shortcomings of an astronaut) that you wonder why it hadn't been done before. It is more than probable five or six years ago "Space Oddity" would have been given an icy reception and even banned as being sick. The dise was in fact banned in the States. "I was pleased that the record was a success but getting a hit wasn't so very important and I honestly can't see why it was so popular.". The last statement could only be put down to modesty and David is a very modest character. He has refused to allow him self the easy way out of be coming bitter towards the business. "Space Oddity" at last brought him de-served recognition after several attempts at getting a hit but now the charts hold little attention for him. What then does the future hold for his new release with Hype "Pretty Star?" "I think a lot of people are expecting another and Space Oddity" said David, "and Pretty Star' is nothing it. I'm sure this is why the BBC aren't plugging it. Everyone wanted another song with the same feel as Space Oddity but as I'd done it I didn't see the point of doing it again. "The song served its pur-pose but I hope I'm not going to be expected, to write and record a whole lot of stuff that is so obvious as 'Space Oddity." I remarked that it had taken some time for "Space Oddity" to start making an impression on the charts. a statement which had David nodding vigorously. "Yes," he agreed, "it took about three or four months to catch on and the release had been held back about three months before that. The only reason I can think of is that the record company were waiting to cash in on the American moon landing. It was banned in the States because they thought it was in bad taste and even might upset some people." This is something which David stoically makes no apologies for. "All my songs are very personal and I combine this with an exaggeration so the meaning is clearly brought home to the listener. A lot of my compositions are very much fantasy tales. I like Marc Bolan's songs very much because I think he obviously feels the same way." The conversation then swung once more to the intriguing Hype. "I'm very hanny with the band," says David, "I have Tony Visconti who has played bass on nearly all my records, John Cambridge, who used to be with Juniors Eyes and Mick Ronson on guitar and I play 12 string guitar. "Although we're all happy with the set up, can't see it becoming a really permanent thing. want to retain Hype and myself as two separate working units whereby we can retain identities. our Own "The gigs we've done so far have gone better than expected. We played the Roundhouse recently and i was great. The Roundhouse audiences seem to be some thing apart from the usual blasé London audiences. "We've had these costumes made by various girlfriends which make us look like Dr. Strange or the In credible Hulk. I I was a bi apprehensive about wearing them at the Roundhouse gig because I didn't know how the audience would react. 1 they think it's a huge put on the whole thing will backfire but they seemed to accept it which was nice. "The best audiences know of are up north where they really appreciate you In London the audiences are very aware that they are living in the place where it' all supposed to be happens so inevitably they have this cool attitude they'll try and sell you I you anything from a pair of trousers to you own car." BOWIE: 'you could say I chose Hype with tongue in cheek.'

Bryan Ferry launched his solo career in September 1973 alongside Roxy Music, using it to explore covers and original material. His solo work often emphasized his crooner persona, blending rock, pop, and standards with a suave, sophisticated edge. Let’s Stick Together his third solo album, following These Foolish Things (1973) and Another Time, Another Place (1974) was released during a Roxy Music hiatus after their 1975 album Siren , allowing Ferry to focus on solo projects. Chart Performance: Let’s Stick Together reached #19 on the UK Albums Chart and #160 in the US (Billboard 200). The title track single was a major hit, peaking at #4 in the UK and charting in Australia (#1) and Europe. Critical Response: Critics praised Ferry’s charisma and the album’s infectious energy, though some noted its reliance on covers and re-recordings rather than new material. The title track’s success solidified Ferry’s solo career, proving he could thrive outside Roxy Music. Legacy: The album bridged Ferry’s glam roots with the smoother sound he’d explore in later solo work (In Your Mind, 1977; Boys and Girls, 1985). Its eclectic mix influenced the sophisti-pop and new wave scenes, and the title track remains a staple in Ferry’s live sets. Label: Island Records (ILPS 9367) Format: Vinyl, LP, Album, Stereo Country: UK Release Date: September 1976 Hybrid Approach: Let’s Stick Together is a unique blend of covers and re-recorded Roxy Music songs. Ferry revisited early Roxy tracks, giving them a smoother, more polished sound, while covering R&B, rock, and pop standards to showcase his interpretive skills. Purpose: The album served as a bridge between Ferry’s Roxy Music work and his solo identity, capitalizing on his growing reputation as a stylish cover artist while reintroducing Roxy songs to new audiences. Track Listing The album’s 11 tracks (UK vinyl release) are split between covers and Roxy re-recordings: "Let’s Stick Together" (Wilbert Harrison cover, 1962) – 2:59 A lively R&B track, transformed into a punchy, horn-driven hit. It became Ferry’s biggest solo single, reaching #4 in the UK. “Casanova” (Roxy Music re-recording from Country Life, 1974) – 2:45 A sleeker take on the original’s sardonic tone. “Sea Breezes” (Roxy Music re-recording from Roxy Music, 1972) – 6:10 A melancholic, atmospheric remake of the debut album’s experimental track. “Shame, Shame, Shame” (Jimmy Reed cover, 1963) – 3:15 A gritty blues cover with Ferry’s polished spin. “2HB” (Roxy Music re-recording from Roxy Music, 1972) – 3:50 A tribute to Humphrey Bogart, softened from its avant-garde original. “The Price of Love” (Everly Brothers cover, 1965) – 3:25 A heartfelt take on the rock classic. “Chance Meeting” (Roxy Music re-recording from Roxy Music, 1972) – 3:35 A cinematic reworking of the original’s moody narrative. “It’s Only Love” (The Beatles cover, 1965) – 3:45 A soulful reinterpretation of the Help! track. “Heart on My Sleeve” (Gallagher & Lyle cover, 1976) – 3:30 A contemporary soft-rock cover, showcasing Ferry’s emotional range. “Re-Make/Re-Model” (Roxy Music re-recording from Roxy Music, 1972) – 2:40 A streamlined version of Roxy’s debut album opener. “You Go to My Head” (1938 standard, Coots/Gillespie) – 2:50 A jazzy, romantic closer, highlighting Ferry’s crooner side. Production and Musicians Producers: Bryan Ferry and Chris Thomas, with engineering by Steve Nye and John Punter. Key Musicians: Chris Spedding (guitar): Added sharp, versatile riffs. John Wetton (bass): Provided a solid foundation, fresh from King Crimson. Paul Thompson (drums): Roxy Music’s drummer, ensuring continuity. Eddie Jobson (keyboards/violin): Added lush textures, later a Roxy member. Mel Collins (saxophone): Contributed soulful horn parts. Backing vocals by The Reading Sisters and others enhanced the album’s rich sound. Sound: The album balances raw R&B energy with Ferry’s polished production. The re-recorded Roxy tracks lose some of their original experimental edge but gain accessibility, while the covers showcase Ferry’s ability to reinterpret diverse styles. Released in 1976, Let’s Stick Together captured Ferry at a crossroads. Roxy Music’s hiatus gave him freedom to experiment, and the album’s retro-modern blend reflected the era’s fascination with nostalgia (evident in glam and punk’s nods to earlier rock). The title track’s danceable groove also resonated with the emerging disco trend. Broader Solo Career Highlights These Foolish Things (1973): Ferry’s solo debut, a covers album featuring Dylan’s “A Hard Rain’s A-Gonna Fall” (referenced in your earlier query) and The Beatles’ “It’s Only Love.” It established his knack for reinterpreting standards. Another Time, Another Place (1974): Included the hit “The ‘In’ Crowd” and Ferry’s take on “Smoke Gets in Your Eyes.” In Your Mind (1977): His first all-original solo album, showing his songwriting prowess. The Bride Stripped Bare (1978): A raw, emotional record reflecting his breakup with Jerry Hall. Boys and Girls (1985): A UK #1 album with hits like “Slave to Love” and “Don’t Stop the Dance.” Dylanesque (2007): A Dylan covers album, revisiting his folk-rock influences. Recent Work: Albums like Olympia (2010), Avonmore (2014), and Bitter-Sweet (2018) blend modern production with his classic style. A 2024 box set, Retrospective: Selected Recordings 1973–2023, celebrates his solo legacy. Legacy and Influence Impact: Ferry’s fusion of glam, art rock, and pop influenced David Bowie, Duran Duran, The Smiths, and the new romantic movement. His vocal style—smooth yet emotive—set a template for later crooners. Accolades: He received a CBE in 2011 for services to music and was inducted into the Rock and Roll Hall of Fame with Roxy Music in 2019. Cultural Reach: Ferry’s music has been featured in films (The Great Gatsby, Casino Royale) and TV, and his suave image remains iconic. Let’s Stick Together in Ferry’s Career The album was a pivotal moment, showcasing Ferry’s ability to reinterpret both his own work and classic songs. Its success, driven by the title track, proved his solo viability during Roxy Music’s break. The vinyl release (ILPS 9367) is a collector’s item, valued for its crisp production and iconic cover art featuring Ferry’s debonair image.Additional NotesMusical Evolution: Let’s Stick Together marked a shift toward accessibility, paving the way for Ferry’s 1980s pop success. The re-recorded Roxy tracks, like “2HB” (referenced in your earlier query), reflect his desire to refine early experiments. Live Performances: The title track remains a live staple, often performed with Roxy Music and solo sets. Recent Activity: As of 2025, Ferry continues to tour and release music. His 2024 Retrospective box set includes tracks from Let’s Stick Together, highlighting its enduring appeal.

David Bowie’s Rainbow Extra Show , performed as Ziggy Stardust on August 20, 1972, in the second of two concerts at The Rainbow Theatre, Finsbury Park, London, England, with Lloyd Watson and Roxy Music as the supporting acts. Both shows were sell-outs and commenced with the screening of Luis Bunuel and Salvador Dali's short film 'Un Chien Andalou', followed by 'Ode To Joy'. 'Lady Stardust' was the opening number, and an image of Marc Bolan was projected on the screen, a nod for those in the know to the songs inspiration. The setlist was updated to include the soon-to-be-released 'John, I'm Only Dancing', and during the performance of 'Starman', a snippet from 'Somewhere Over The Rainbow' was interwoven, paying homage to both the song's muse and the venue's name. Mick Rock captured the performances and audience interviews on film, aiming for inclusion in a documentary that, to date, remains unreleased.

Eno’s A Flight of Fantasy , a one-page article in New Musical Express magazine, February 3, 1973. ENO'S PLAYBOY bachelor flat in mystical Maida Vale possesses a decor that is God's own gift to a journalist caught for a good opening paragraph. Take the music room, festooned with all manner of bizarre technological innovations - keyboard instruments, sprawling tape equipment and such-like. The walls are decorated with objets d'art as diverse as the cover of a True Hollywood Confessions mag, a grim article on a child-killer and a series of outtake shots of Kari-Ann posing for that legendary first Roxy album cover. Directly adjacent to all this hangs the maestro's current fave stage costume - a rather remarkable black jacket embellished with garishly coloured peacock feathers pointing out in all directions (see picture). I hesitate to further describe the oddities to be found in other rooms. What was the sponge frozen for posterity in a jar doing in the fridge? And those ducks on the wall? No matter. I braced myself and left the lounge where I had been soothed by the music of (I think) Chopin coming from the radio and stepped out, determined to discover just what makes this man tick. I motioned toward the music room where I found Eno - Bryan Eno is his full and real name - deep at work. An easy smile spread across his gaunt features as he acknowledged my appearance.

Roxy Music’s Now We've Got Sci-fi Rock , a one-page advert in Beat Instrumental  magazine, October 1, 1972. This bold promotion highlighted the band’s debut album, blending glam rock with futuristic, art-rock elements. Featuring Brian Eno’s synthesizer wizardry and Bryan Ferry’s suave vocals, the advert captured Roxy Music’s innovative sound, positioning them as pioneers in the early ’70s music scene.

Roxy Music’s Now We've Got Sci-fi Rock , a one-page advert in Beat Instrumental magazine, October 1, 1972.

Roxy Music’s Kind of Example? , a one-page article in New Musical Express magazine, September 23, 1972.

Roxy Music’s Ferry's Influences , a one-page article in Melody Maker magazine, August 26, 1972.

Roxy Music’s Keeping It Fresh , a one-page article in Melody Maker magazine, August 3, 1974.

Roxy Music’s Bryan Ferry Sleek Sheik of Pop , a one-page article in Circus magazine, November 1, 1974.

Roxy Music’s Stranded, But Only at the Top! , a one-page article in Popswop magazine, January 26, 1974.

Roxy Music’s Space Age Greasers , a one-page article in Circus magazine, February 1, 1973.

Roxy Music’s Roxy's Top Ten , a one-page thank you advert in Melody Maker magazine, October 13, 1973.

David Bowie’s Roxy Music Play The Rainbow Theatre , a one-page scrapbook advert, August 19, 1972.

Roxy Music’s Ferry Interesting Roxy , a one-page article in Melody Maker magazine, October 14, 1972.

Roxy Music’s Grow Up, Roxy! , a one-page mailbag article in Melody Maker magazine, August 11, 1973.

Roxy Music’s Roxy Meets Dali , a one-page article in Circus magazine, August 1, 1973.

Roxy Music’s Roxy on the Road , a two-page article in Music Scene magazine, January 31, 1974.

T. Rex's single "Children of the Revolution" moves up five places to number one in the Pop 30 Chart as published in Melody Maker, September 30, 1972. Please note on the official BBC chart, the single peaked at number two. T. Rex released "Children of the Revolution" in September 1972 as a non-album single on Reprise Records (US) and EMI’s T. REX label (UK). Written by Marc Bolan, the track is a gritty glam rock anthem with a driving riff, pounding rhythm, and Bolan’s charismatic vocals, backed by Mickey Finn (congas), Steve Currie (bass), and Bill Legend (drums). Produced by Tony Visconti at Air Studios in London, it features lush string arrangements and backing vocals by Flo & Eddie (of The Turtles), blending raw energy with pop polish. The song’s rebellious lyrics captured the era’s youth spirit. It peaked at #2 on the UK Singles Chart, held off the top by Slade’s "Mama Weer All Crazee Now," and reached #7 in Ireland, with strong European chart performance. It didn’t chart significantly in the US. Selling over 500,000 copies globally, it remains a T. Rex classic, later covered by artists like The Violent Femme

Sweet's "Little Willy" at number one in charts, as reported by Bravo magazine August 23, 1972. In the UK: T. Rex's "Electric Warrior" is the No. 1 album, and Alice Cooper Group's "School's Out" is the No. 1 single.

David Bowie’s Hunky Dory , a one-page scrapbook advert, April 21, 1972.

Alice Cooper Group’s Billion Dollar Babies , a one-page advertisement, March 10, 1973.

David Bowie's on page article in Scrapbbok May 6, 1972

T.Rex’s The Slider , a one-page advert in Sounds Music Newspaper, August 19, 1972.

Roxy Music’s Country Life , a one-page advert in New Musical Express, November 16, 1974.

Cherry Vanilla’s Bad Girl , a one-page advert in New Musical Express, April 15, 1978.

Alice Cooper Group’s Billion Dollar Babies , a one-page review titled “Alice In Plunderland” in Melody Maker, March 3, 1973. ALICE COOPER: "Billion Dollar Babies" Superficially, Alice Cooper's appeal is to the man who shoves his way to the front from the back of a crowd inquiring tersely: "What's going on!" Nothing has interested the gent up to the present time, but, some geezer's messing about with a snake up there, and I want to see. Get out of the way! Well, they are a sensational band -in terms of success and the way they have gripped a section of the public's imagination.

Alice Cooper Group’s School Days - The Early Recordings , a one-page review titled “Nasty Alice” in Disc, July 21, 1973.

Alice Cooper Group’s Liza Minnelli Making an Album with Alice , a one-page cover feature in Melody Maker, October 13, 1973.

Iggy Pop’s Lust for Life , a one-page review in Melody Maker, August 27, 1977.

David Bowie's The World of David Bowie was released on March 6, 1970, in the UK by Decca Records as part of their The World of... series, following Bowie's success with the "Space Oddity" single. It mainly features material he recorded in 1967 for Decca's subsidiary Deram, including all but four tracks from his debut album David Bowie, along with three previously unreleased songs — "Karma Man", "Let Me Sleep Beside You", and "In the Heat of the Morning" — and the 1966 B-side "The London Boys". The tracklist was approved by Bowie himself, while David Bebbington provided the sleeve photo. The album was reissued in April 1973 with a Ziggy Stardust-era sleeve photo. WORLD OF DAVID BOWIE (Decca, PA-mono, SPA-stereo 58; 19s 1ld). Pleasantly sung 14-tracker, by this avant garde guitarist-singer, who writes all his own songs. He has big orchestral backing. His diction is good and he makes you hear every word, though sometimes he puts on a bit of a BBC accent, as in Rubber Band. His range is from folk to folk-rock, as in Let Me Sleep Beside You. Interesting tracks vary from Come And Buy My Toys to Karma Man to She's Got Medals. AE Other titles: Uncle Arthur, Love You Till Tuesday, There Is A Happy Land, Little Bombardier, Sell Me A Coat, Silly Boy Blue, London Boys, In Heat Of Morning. When I Live My Dream. Album review, NME 21 Mar 1970

David Bowie’s one page advert in Melody Maker June 9, 1979

David Bowie’s Scary Monsters, a one-page review "The Moods of an Artist" in Musicians Only Magazine, September 20, 1980.

David Bowie’s Classic Albums Remastered , a one-page in Melody Maker , April 7, 1990.

Alice Cooper's The World of Alice Cooper was released, December 5, 1991. Tracklist: A1. Welcome To My Nightmare – 5:14 A2. I Never Wrote Those Songs – 4:31 A3. Devil’s Food – 3:33 A4. The Black Widow – 3:36 A5. Some Folks – 4:13 A6. You & Me – 5:04 B1. King Of The Silver Screen – 5:33 B2. Only Women Bleed – 5:48 B3. Lace & Whiskey – 3:15 B4. Years Ago – 2:52 B5. Steven – 5:46 B6. The Awakening – 2:24 A1 Welcome To My Nightmare 5:14 A2 I Never Wrote Those Songs 4:31 A3 Devil's Food 3:33 A4 The Black Widow 3:36 A5 Some Folks 4:13 A6 You & Me 5:04 B1 King Of The Silver Screen 5:33 B2 Only Woman Bleed 5:48 B3 Lace & Whiskey 3:15 B4 Years Ago 2:52 B5 Steven 5:46 B6 The Awakening 2:24

David Bowie’s Black Tie White Noise “The New Solo Album” a one-page, April 6, 1993.