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David Bowie’s Diamond Dogs  was released as an LP album in the UK by RCA Records (catalog number APLI 0576) on May 24, 1974, under the moniker Bowie. Bowie produced the album and recorded it in early 1974 in London and the Netherlands, following the disbanding of his backing band the Spiders from Mars and the departure of the producer Ken Scott. Bowie played lead guitar on the record in the absence of Mick Ronson. Diamond Dogs featured the return of Tony Visconti, who had not worked with Bowie for four years; the two would collaborate for the rest of the decade. Musically, it was Bowie's final album in the glam rock genre, though some songs were influenced by funk and soul music, which Bowie embraced on his next album, Young Americans (1975). In January during the recording sessions bot Rod Stewart and Ronnie Wood visited and gave Bowie permission to use an excerpt from Faces album, Coast To Coast Overtures For Beginners, if you listen you can here Rod Stewart's 'Hey' on the intro to the album. Conceived during a period of uncertainty over where his career was headed, Diamond Dogs is the result of multiple projects Bowie envisaged at the time: a scrapped musical based on Ziggy Stardust (1972); an adaptation of George Orwell's novel Nineteen Eighty-Four (1949); and an urban apocalyptic scenario based on the writings of William S. Burroughs. The title track introduces a new persona named Halloween Jack. The Belgian artist Guy Peellaert painted the controversial cover artwork depicting Bowie as a half-man, half-dog hybrid, based on photos taken by the photographer Terry O'Neill. Preceded by the lead single "Rebel Rebel", Diamond Dogs was a commercial success, peaking at number one in the UK and number five in the US. It has received mixed reviews since its release, many criticising its lack of cohesion; Bowie's biographers consider it one of his best works and, in 2013, NME ranked it one of the greatest albums of all time. Bowie supported the album on the Diamond Dogs Tour, which featured elaborate and expensive set-pieces. Retrospectively, Diamond Dogs has been cited as an influence on the punk revolution in the years following its release. It has been reissued several times and was remastered in 2016 for the Who Can I Be Now? (1974–1976) box set. courtesy Wikipedia A1a Future Legend A1b Bewitched A2 Diamond Dogs A3 Sweet Thing A4 Candidate A5 Sweet Thing (Reprise) A6 Rebel Rebel B1 Rock 'N Roll With Me B2 We Are The Dead B3 1984 B4 Big Brother B5 Chant Of The Ever Circling Skeletal Family

David Bowie’s Aladdin Sane  was released as an LP album in the UK by RCA Records (catalog number RS 1001) on April 13, 1973, debuting at number one on the UK Albums Chart during the week of May 5, 1973. It held the top spot for five weeks and remained in the top three for an additional four weeks, all part of an impressive consecutive run of 47 weeks on the chart. When the album was re released in 1983, it spent another 20 weeks on the UK Chart. Aladdin Sane is a pivotal album in David Bowie's discography, often described as the bridge between the glam rock exuberance of The Rise and Fall of Ziggy Stardust and the Spiders from Mars (1972) and the more experimental, soul-inflected sounds of his later work. It’s a kaleidoscopic record that captures Bowie at the height of his Ziggy Stardust fame while grappling with the chaos of stardom, identity, and his experiences touring America. Below is a comprehensive exploration of the album’s context, themes, music, production, impact, and legacy. Context and Creation Aladdin Sane was written and recorded during a period of intense activity for Bowie. Following the breakthrough success of Ziggy Stardust, Bowie and his band, the Spiders from Mars (Mick Ronson on guitar, Trevor Bolder on bass, and Woody Woodmansey on drums), embarked on their first major U.S. tour in 1972. The album’s songs were largely inspired by Bowie’s impressions of America—its glamour, decadence, and underbelly—penned during tour bus rides and hotel stays. The title Aladdin Sane is a pun on “A Lad Insane,” reflecting both Bowie’s fascination with fractured identities and the mental strain of his rock-star persona. Recording took place in late 1972 and early 1973, primarily at Trident Studios in London and RCA Studios in New York, with additional sessions in Nashville. Bowie reteamed with producer Ken Scott, who had worked on Ziggy Stardust, and introduced avant-garde pianist Mike Garson, whose contributions became a defining feature of the album. The sessions were fast-paced, reflecting Bowie’s prolific creativity and the Spiders’ road-honed chemistry, though tensions within the band foreshadowed their eventual dissolution later in 1973. Themes and Lyrics Aladdin Sane is a fragmented, cinematic portrait of fame, alienation, and cultural collision. Unlike the cohesive narrative of Ziggy Stardust, this album feels like a series of vivid snapshots, blending surreal imagery with raw emotion. Key themes include: Identity and Duality: The title character, Aladdin Sane, is an extension of Ziggy Stardust—a glamorous, androgynous figure teetering on the edge of sanity. Bowie described the album as “Ziggy goes to America,” with Aladdin embodying his observations of a chaotic, seductive culture. The lightning bolt on the album cover, splitting Bowie’s face, symbolizes this fractured identity. ** America’s Underbelly: Songs like “Panic in Detroit” and “The Jean Genie” reflect Bowie’s fascination with America’s urban grit, drawing from encounters with figures like Iggy Pop and the seedier side of cities like Detroit and New York. The lyrics mix decadence with danger, capturing both allure and decay. Fame and Excess: Tracks like “Watch That Man” and “Cracked Actor” explore the highs and lows of stardom, with Bowie reflecting on his own meteoric rise and the toll it takes. The album feels like a commentary on the rock ‘n’ roll lifestyle, laced with irony and self-awareness. Nostalgia and Reinvention: Songs like “Drive-In Saturday” and “Let’s Spend the Night Together” (a Rolling Stones cover) evoke retro Americana—drive-ins, doo-wop, and 1960s rock—while pushing them into a futuristic, glam context. Bowie’s ability to blend past and future is a hallmark of his work. The lyrics are dense with cultural references, from Hollywood icons to Beat poets, and delivered with Bowie’s theatrical flair. However, the album’s emotional core lies in its vulnerability, particularly in tracks like “Time” and “Lady Grinning Soul,” which hint at the personal cost of Bowie’s chameleonic persona. Musical Style and Production Aladdin Sane is a stylistic melting pot, blending glam rock’s theatricality with hard rock, jazz, cabaret, and proto-punk energy. The Spiders from Mars provide a tight, muscular backbone, with Mick Ronson’s guitar riffs and arrangements stealing the show. Mike Garson’s avant-garde piano, rooted in his jazz and classical background, adds a surreal, dissonant edge, particularly on the title track. Key musical elements include: Glam Rock Swagger: Tracks like “The Jean Genie” and “Watch That Man” are built on gritty, bluesy riffs and infectious hooks, embodying glam’s mix of camp and rebellion. “The Jean Genie” was a UK Top 5 hit, driven by Ronson’s iconic riff and Bowie’s sly vocals. Avant-Garde Flourishes: The title track, “Aladdin Sane (1913–1938–197?)”, is a standout, with Garson’s sprawling piano solo evoking pre-war Berlin cabaret and post-apocalyptic unease. The dates in the title reference the years before World Wars I and II, with the question mark hinting at future chaos. Retro Futurism: “Drive-In Saturday” is a sci-fi doo-wop ballad, imagining a dystopian future where humans relearn love from old films. Its lush harmonies and quirky narrative make it a fan favorite. Emotional Depth: “Time” and “Lady Grinning Soul” showcase Bowie’s vocal range, from Brechtian drama to tender crooning. The latter, a sultry ballad, closes the album with a cinematic flourish, highlighting Ronson’s delicate guitar work. Production-wise, Ken Scott’s work is crisp yet raw, balancing the album’s polished hooks with a live-band energy. The mix emphasizes Bowie’s vocals and Ronson’s guitar, though some critics note the rhythm section feels slightly understated compared to Ziggy. The album’s sonic diversity—spanning raucous rock to delicate ballads—mirrors its thematic fragmentation. Track-by-Track Overview Watch That Man (4:25): A rollicking opener about a wild New York party, with Ronson’s crunchy guitars and a Stones-esque vibe. Aladdin Sane (1913–1938–197?) (5:06): A haunting centerpiece, blending jazz, glam, and cabaret, with Garson’s wild piano solo. Drive-In Saturday (4:31): A retro-futuristic gem, mixing doo-wop and sci-fi storytelling. Panic in Detroit (4:25): A funky, Bo Diddley-inspired track about urban unrest, inspired by Iggy Pop’s stories of Detroit. Cracked Actor (2:59): A gritty rocker about a faded Hollywood star, with a snarling riff and vivid lyrics. Time (5:15): A theatrical meditation on mortality, with Garson’s piano and Bowie’s emotive delivery. The Prettiest Star (3:31): A tender, retro love song originally written for Bowie’s wife, Angie, with a glam makeover. Let’s Spend the Night Together (3:10): A campy, sped-up cover of the Rolling Stones’ hit, infused with Ziggy’s energy. The Jean Genie (4:07): A swaggering blues-rock single, one of Bowie’s biggest hits, with a proto-punk edge. Lady Grinning Soul (3:54): A lush, cinematic closer, blending romance and mystery with Ronson’s flamenco-tinged guitar. Artwork and Imagery The album’s cover, shot by Brian Duffy, is one of Bowie’s most iconic. It features a shirtless Bowie with his face split by a red-and-blue lightning bolt, his eyes closed and expression serene yet alien. The makeup, designed by Pierre La Roche, became synonymous with Bowie’s glam era, symbolizing his divided persona. The inner sleeve includes a photo of Bowie as Aladdin Sane, with tousled hair and a futuristic outfit, reinforcing the album’s theatricality. The artwork’s bold minimalism and androgynous allure cemented Bowie’s status as a visual innovator. Reception and Impact Upon release, Aladdin Sane was a commercial success, reaching No. 1 in the UK and No. 17 in the U.S., bolstered by the hit single “The Jean Genie.” Critics praised its energy and ambition, though some felt it lacked the narrative cohesion of Ziggy Stardust. Rolling Stone called it “a mess, but a grand one,” while others lauded its daring eclecticism. The album solidified Bowie’s status as a glam rock pioneer, influencing bands like T. Rex, Roxy Music, and later punk and new wave acts. Its fusion of theatricality and raw rock inspired generations of artists, from The Cure to Lady Gaga. Mike Garson’s piano work, particularly on the title track, remains a touchstone for avant-garde rock, and songs like “Drive-In Saturday” and “Panic in Detroit” are staples in Bowie’s catalog. However, the album also marked the end of an era. Tensions within the Spiders from Mars, coupled with Bowie’s desire to evolve, led to the band’s breakup in July 1973, shortly after the album’s release. Bowie retired the Ziggy Stardust persona at a legendary London concert, paving the way for his next phase. Legacy Aladdin Sane is now regarded as one of Bowie’s essential albums, celebrated for its bold experimentation and raw energy. It’s often cited as the peak of his glam period, capturing the moment when Bowie was both a rock star and a cultural provocateur. The album’s influence extends beyond music—its androgynous imagery and exploration of identity resonate in fashion, art, and queer culture. In 2013, a 40th-anniversary remaster was released, and tracks like “The Jean Genie” and “Drive-In Saturday” remain radio staples. The album’s themes of fame, alienation, and reinvention feel timeless, especially in the age of social media and celebrity culture. For fans, it’s a snapshot of Bowie at his most electric, teetering between genius and madness. Aladdin Sane is David Bowie at his most vibrant and volatile—a glam rock masterpiece that’s as chaotic as it is captivating. It’s an album of contradictions: nostalgic yet futuristic, glamorous yet gritty, accessible yet avant-garde. For listeners, it’s a chance to dive into Bowie’s world, where identity is fluid, and music is a vehicle for transformation. Whether you’re drawn to its iconic riffs, surreal lyrics, or lightning-bolt imagery, Aladdin Sane remains a testament to Bowie’s ability to turn insanity into art.

David Bowie’s Rare  was released as an LP album in the UK by RCA Records (catalog number PK 70013) on December 10, 1983. By this time, his relationship with RCA had deteriorated; he had completed his final recordings for the label with the "Baal" EP and was upset over RCA's release of his five-year-old duet with Bing Crosby, "Peace on Earth/Little Drummer Boy," without his consent. Dissatisfied with the "Rare" compilation, Bowie chose to leave RCA and signed with EMI Records for his next album. "Rare" included tracks being made available on LP and cassette for the first time. The compilation featured rarities recorded between 1969 and 1980. RCA did not release "Rare" in the United States, and the album was not reissued on CD alongside most of Bowie's other RCA albums in 1984. On the UK Albums Chart, it peaked at number 34 and stayed on the chart for eleven weeks. A1 David Bowie Ragazzo Solo, Ragazza Sola D. Bowie A2 David Bowie 'Round And 'Round Chuck Berry A3 David Bowie Amsterdam J. Brel, English Lyrics M. Schuman A4 David Bowie Holy Holy D. Bowie A5 David Bowie Panic In Detroit D. Bowie A6 David Bowie Young Americans D. Bowie 8.3 Rate B2 David Bowie Helden D. Bowie, B. Eno, B3 David Bowie John, I'm Only Dancing (Again) D. Bowie B4 David Bowie Moon Of Alabama K. Weill, B. Brecht B5 David Bowie Crystal Japan (Instrumental) D. Bowie Side 1 A1. "Ragazzo solo, ragazza sola" (Bowie, Mogol) – An Italian-language song featuring all new lyrics set to the music of "Space Oddity", released as a single in Italy in late-1969/early-1970 A2. "'Round and 'Round" (Chuck Berry) – A cover of the Chuck Berry song "Around and Around", recorded for the Ziggy Stardust sessions, and released as the B-side to the single “Drive-In Saturday" A3. "Amsterdam" (Jacques Brel, Mort Shuman) – A cover of a Jacques Brel song, recorded for the Ziggy Stardust sessions, and released as the B-side to the single "Sorrow" A4. "Holy Holy" – An updated version of Bowie's 1970 single, recorded for the Ziggy Stardust sessions, and released as the B-side to the single "Diamond Dogs" A5. "Panic in Detroit" – Live recording from the same concerts as “David Live”, and released as the B-side to the single "Knock On Wood" A6. "Young Americans" – US single edit Side 2 B1. "Velvet Goldmine" – Recorded during the Ziggy Stardust sessions, and released as the B-side to the 1975 reissue of "Space Oddity" B2. "Heroes"/"Helden" (Bowie, Brian Eno, Antonia Maass) – A version of "Heroes" with English and German lyrics, released as a single in West Germany in 1977 B3. "John, I'm Only Dancing (Again)" – Single edit B4. "Moon of Alabama" (Bertolt Brecht, Kurt Weill) – Recorded in 1978 and released as a single in 1980 under the title “Alabama Song” B5. "Crystal Japan" – Recorded in 1979 as the soundtrack for a Japanese commercial. Released as a Japanese single A-side, 1980, then internationally as the B-side to "Up The Hill Backwards" in 1981.

Mott The Hoople’s All the Young Dudes  was released as an LP album in the UK by CBS Records (catalog number S 65184) on September 8, 1972, marking their fifth studio album and a pivotal commercial breakthrough after years of cult status. Album front cover UK catalogue S 65184. Release Details: UK: Released as a 12" vinyl LP on CBS Records (S 65184) on September 8, 1972. US: The album was also issued in the US by Columbia Records (KC 31750) with a different design on the back of the sleeve. Chart Performance: The album was a commercial success, reaching #21 on the UK Albums Chart and #89 on the US Billboard 200. The title track, "All the Young Dudes," was a major hit single, peaking at #3 in the UK and #37 in the US. Key Tracks: "All the Young Dudes": Written by David Bowie, this glam rock anthem became Mott’s signature song, with its anthemic chorus and lyrics celebrating youth and rebellion. Featuring Ian Hunter’s emotive vocals, Bowie’s backing vocals, and Andy Mackay’s (Roxy Music) saxophone, it was a #3 UK hit and is considered a glam rock classic. "Sweet Jane": A cover of The Velvet Underground’s song, arranged with a glam rock flair. Bowie’s influence is evident in its polished production, making it a standout track. "One of the Boys": Released as a single in the US (Columbia 4-45695), it reached #96 on the Billboard Hot 100, showcasing the band’s hard rock edge. "Sea Diver": A tender ballad closing the album, highlighting Hunter’s songwriting depth. Album back cover UK catalogue S 65184. Context and Background Mott the Hoople in 1972: Formed in 1969 in Herefordshire, England, Mott the Hoople were a cult rock band with four albums (Mott the Hoople [1969], Mad Shadows [1970], Wildlife [1971], Brain Capers [1971]) that failed to achieve major commercial success. By early 1972, they were on the verge of breaking up after a lackluster Zurich performance on March 16, 1972. David Bowie, a fan of the band, intervened by offering them “Suffragette City” (which they declined) and then “All the Young Dudes,” which he wrote specifically for them. Bowie’s production and involvement revitalized the band, giving them their first major hit and a new glam rock identity. Track Listing Side A: "Sweet Jane" (Lou Reed) "Momma’s Little Jewel" (Ian Hunter, Pete Overend Watts) "All the Young Dudes" (David Bowie) "Sucker" (Ian Hunter, Mick Ralphs, Pete Overend Watts) "Jerkin’ Crocus" (Ian Hunter) Side B: "One of the Boys" (Ian Hunter, Mick Ralphs) "Soft Ground" (Verden Allen) "Ready for Love/After Lights" (Mick Ralphs) "Sea Diver" (Ian Hunter) Notes: The album was produced by David Bowie, with additional production by Mott the Hoople. Album front cover US catalogue KC 31750. The US version (KC 31750) is identical in track listing to the UK release, though some international pressings (e.g., Japan) include bonus tracks on reissues. Musical and Cultural Significance: All the Young Dudes is a landmark glam rock album, bridging Mott’s raw rock roots with the theatricality of the early 1970s UK scene. Bowie’s production polished their sound, aligning them with contemporaries like T. Rex and Slade. The title track became an anthem for disaffected youth, often interpreted as a celebration of glam’s outsider ethos. Its cultural impact endures, with covers by artists like Billy Bragg and its inclusion in films like Juno (2007). The album blends hard rock (“Sucker,” “One of the Boys”), glam anthems (“All the Young Dudes”), and introspective moments (“Sea Diver”), showcasing Mott’s versatility. Released in 1972, it competed with albums like David Bowie’s The Rise and Fall of Ziggy Stardust and the Spiders from Mars and Roxy Music’s debut, cementing glam rock’s dominance. Critical Reception: Critics at the time praised the album, with Rolling Stone calling it “a breakthrough” for Mott, highlighting Bowie’s production and the title track’s impact. AllMusic rates it 4.5/5, noting its “perfect balance of raw energy and glam polish.” Retrospective reviews, like those on RateYourMusic (3.8/5), celebrate its enduring appeal, though some fans prefer the band’s earlier, rawer sound or their follow-up, Mott (1973). The album is often ranked among the best glam rock records, with “All the Young Dudes” listed in NME’s top 500 songs and the album in Rolling Stone’s essential 1970s albums. Streaming and Compilations: The album is widely available on Spotify, Apple Music, and YouTube, with the original track listing and remastered versions (e.g., 2006 Columbia/Legacy reissue). Expanded editions (e.g., 2006) include bonus tracks like demo versions of “All the Young Dudes” and “One of the Boys.” Key tracks appear on compilations like The Best of Mott the Hoople (2003) and All the Young Dudes: The Anthology (1998). Album back cover US catalogue KC 31750. Additional Notes Musicians and Production: Produced by David Bowie, with contributions from Mott the Hoople, the album was recorded at Olympic Studios and Trident Studios, London, in 1972. The band included Ian Hunter (vocals, piano), Mick Ralphs (guitar), Pete Overend Watts (bass), Dale “Buffin” Griffin (drums), and Verden Allen (organ). Guest musicians included Andy Mackay (saxophone) and Bowie (backing vocals). Bowie’s production added a glam sheen, with lush arrangements and a focus on Hunter’s emotive vocals, elevating Mott’s raw rock sound. Cultural Context: Released in 1972, All the Young Dudes captured the glam rock zeitgeist, with its androgynous aesthetic and youth-centric themes. It resonated with fans of Bowie, T. Rex, and Slade, while appealing to rock audiences with its raw energy. The title track’s association with glam’s outsider ethos made it a generational anthem, later adopted in punk and indie contexts. The album’s release followed Mott’s near-breakup, making it a story of redemption, as detailed in the B-side “Ballad of Mott the Hoople” from their later single (1973). Legacy: All the Young Dudes is Mott the Hoople’s defining album, credited with saving their career and cementing their place in rock history. The title track remains a cultural touchstone, covered by artists like Ozzy Osbourne and featured in films, TV shows, and commercials. The album influenced later bands like The Clash and The Smiths, with its blend of raw rock and theatricality.

Marc Bolan & T.Rex’s The Unobtainable T. Rex  was released as an LP album and cassette in the UK by EMI Records (catalog number EMC 3346) in September 1980. The album was later released on compact disc (Japan 1989) and heavy weight vinyl (Europe 2016). Release Details: Label and Catalog: EMI Records, UK (NUT 28). Release Date: September 1980. Format: Vinyl LP (later reissued on 180g heavyweight vinyl by Demon Records, e.g., in 2016). Purpose: A compilation of non-album B-sides from T. Rex’s singles, primarily from their glam rock peak (1971–1973) and later years up to 1977. The title reflects the rarity of these tracks, as many original singles were out of print (“unobtainable”) by 1980. Background: After Maar's passing in a car accident on September 16, 1977, EMI capitalized on his enduring popularity by releasing this compilation to collect B-sides that were not included on T. Rex’s studio albums. The album captures the band’s prolific output, showcasing Bolan’s knack for crafting high-quality B-sides that often rivaled their A-side hits in creativity and energy. Released three years after Bolan’s passing, The Unobtainable T. Rex served as a tribute to his legacy and a gift to fans seeking rare tracks. Tracklist (1980 UK Vinyl, NUT 28): Side A:“Celebrate Summer” (2:36) – B-side to Bolan’s final single (1977). “Sunken Rags” (2:55) – B-side to “Children of the Revolution” (1972). “Tame My Tiger” (2:30) – B-side to “Dandy in the Underworld” (1977). “City Port” (2:44) – B-side to “Laser Love” (1976). “Thunderwing” (3:46) – B-side to “Metal Guru” (1972). “Satisfaction Pony” (3:29) – B-side to “20th Century Boy” (1973). “Midnight” (2:47) – B-side to “Solid Gold Easy Action” (1972). “Jitterbug Love” (2:58) – B-side to “20th Century Boy” (1973). Side B: “To Know Him Is to Love Him” (2:46) [cover, Phil Spector song] – B-side to “New York City” (1975). “Do You Wanna Dance” (2:15) [cover, Bobby Freeman song] – B-side to “Dreamy Lady” (1975). “Dock of the Bay” (2:22) [cover, Otis Redding song] – B-side to “Dreamy Lady” (1975). “Cadilac” (3:50) – B-side to “Telegram Sam” (1972). “Free Angel” (2:14) – B-side to “Solid Gold Easy Action” (1972). “Life’s an Elevator” (2:37) – B-side to “I Love to Boogie” (1976). “Sitting Here” (2:20) – B-side to “Light of Love” (1974). “Lady” (2:16) – B-side to “Metal Guru” (1972). Total Runtime: Approximately 40 minutes. Musical Style and Content Glam Rock Core: The majority of tracks reflect T. Rex’s signature glam rock sound—driving guitar riffs, boogie rhythms, and Bolan’s charismatic, sensual vocals. Songs like “Thunderwing,” “Cadilac,” and “Jitterbug Love” capture the raw energy and swagger of T. Rex’s 1972–1973 peak. Later Period Tracks: Tracks from 1975–1977, such as “Celebrate Summer” and “Tame My Tiger,” show Bolan experimenting with punk and disco influences, reflecting his adaptability to changing musical trends. Cover Songs: The three covers (“To Know Him Is to Love Him,” “Do You Wanna Dance,” “Dock of the Bay”) feature backing vocals by Gloria Jones (Bolan’s partner) and are often criticized for their softer, less distinctive arrangements compared to Bolan’s originals. Standout Tracks: “Thunderwing”: A fan-favorite B-side with a catchy riff and glam rock flair, often considered hit-worthy. “Cadilac”: A raw, boogie-driven track with Bolan’s playful energy. “Celebrate Summer”: Bolan’s final single B-side, blending glam with punk’s raw edge, released just before his death. “Life’s an Elevator”: A melodic, upbeat track showcasing Bolan’s knack for hooks. Production: Most tracks were produced by Tony Visconti, T. Rex’s longtime collaborator, who crafted their polished yet gritty sound during the glam era. Later tracks (1975–1977) were produced by Bolan and others. The album features various T. Rex lineups, including Marc Bolan (vocals, guitar), Mickey Finn (percussion), Steve Currie (bass), Bill Legend (drums), and later members like Gloria Jones (vocals) and Dino Dines (keyboards). Vinyl and Packaging Original 1980 Pressing (NUT 28): Standard 12-inch vinyl LP with a glossy picture sleeve featuring an iconic image of Marc Bolan. Reissues: Demon Records reissued the album on 180g heavyweight vinyl in 2016 and later, with high-quality pressings and faithful reproduction of the original artwork. Reception and Significance Critical Reception: The Unobtainable T. Rex is celebrated as a “fan favorite” for compiling rare B-sides that showcase Bolan’s songwriting depth. Amazon reviews (e.g., 5/5 stars) praise its value and the enduring appeal of T. Rex’s music, even decades after Bolan’s death. The cover songs are seen as weaker, with some reviewers noting their “middle-of-the-road” style, but the original tracks like “Thunderwing” and “Cadilac” are considered essential for glam rock enthusiasts. The album is valued for preserving tracks that were hard to find in 1980, before digital reissues made them more accessible. Cultural Significance: Released during a post-punk era when T. Rex’s influence was still felt (e.g., on bands like The Smiths), the compilation highlighted Bolan’s ability to deliver strong B-sides, a testament to his prolific output. It captures T. Rex’s evolution from glam rock pioneers to a band adapting to mid-1970s trends, offering a broader view of Bolan’s career. Additional Notes Context in T. Rex’s Catalog: The Unobtainable T. Rex stands out for focusing exclusively on B-sides, unlike studio albums or hits collections. It’s a snapshot of Bolan’s creativity across his career, from the glam rock peak to his final years.

Lou Reed’s Berlin  was released as an LP album in the UK by RCA International (catalog number INTS 5150) in September 1981, as part of a reissue following its original US release in July 1973, marking his third solo studio album. Below is a comprehensive overview of the album, covering its background, recording, musical style, lyrical themes, critical reception, commercial performance, and legacy. Background and Context: After leaving The Velvet Underground, Lou Reed achieved commercial success with his 1972 album Transformer, which included the hit Walk on the Wild Side. Berlin was a deliberate shift toward a more ambitious and darker project, following the glam-rock accessibility of Transformer. Conceived as a concept album, Berlin tells the tragic story of a doomed couple, Jim and Caroline, grappling with drug addiction, domestic abuse, and despair in the city of Berlin. The album was Reed's attempt to create a cinematic, narrative-driven work, often described as a "rock opera" or "song cycle." During this period, Reed was navigating personal struggles, including substance abuse, which influenced the album's bleak tone. Recording and Production: Berlin was recorded in 1973 at Morgan Studios in London and the Record Plant in New York City. The album was produced by Bob Ezrin, known for his work with Alice Cooper and later Pink Floyd. Ezrin brought a theatrical, orchestral approach, assembling a stellar lineup of musicians, including Steve Winwood (keyboards), Jack Bruce (bass), Aynsley Dunbar (drums), Steve Hunter (guitar), and Dick Wagner (guitar). The album featured lush instrumentation, including strings, horns, and piano, creating a dramatic, cinematic sound. Reed was deeply involved in the project, crafting the narrative and lyrics, though the recording process was intense due to the heavy subject matter and Ezrin's perfectionist approach. Track Listing: The original vinyl release of Berlin (RCA INTS 5150 in the UK, 1981 reissue) contains ten tracks: 1. Berlin (3:23) 2. Lady Day (3:40) 3. Men of Good Fortune (4:37) 4. Caroline Says I (3:57) 5. How Do You Think It Feels (3:42) 6. Oh, Jim (5:13) 7. Caroline Says II (4:10) 8. The Kids (7:55) 9. The Bed (5:15) 10. Sad Song (6:55) Notable Tracks: Berlin sets the scene with a melancholic piano-driven introduction. Lady Day introduces Caroline, a cabaret singer with a troubled life. Caroline Says II, a reworking of the Velvet Underground's Stephanie Says, depicts Caroline's abuse and addiction. The Kids is a harrowing track about Caroline losing her children to social services, featuring the sound of children crying, produced by Ezrin's own sons. Sad Song closes the album with a bittersweet reflection on the couple's tragic story. Musical Style and Themes: Berlin blends rock, orchestral pop, and cabaret influences, with a lush, theatrical sound that contrasts with Reed's earlier raw rock style. The album's arrangements, driven by Ezrin's production, include sweeping strings, jazzy horns, and intricate guitar work, creating a cinematic atmosphere. Lyrically, Berlin is a dark, narrative-driven exploration of love, addiction, violence, and loss. The story follows Jim and Caroline through their deteriorating relationship, touching on themes of drug abuse, domestic violence, prostitution, and suicide. The album's unflinching depiction of these topics makes it one of Reed's most emotionally intense works, often compared to a film or novel in its storytelling. Critical Reception: Upon release in 1973, Berlin received mixed reviews. Some critics, like those at Rolling Stone, dismissed it as overly bleak and pretentious, criticizing its heavy subject matter and departure from the accessible sound of Transformer. Others praised its ambition and emotional depth, recognizing it as a bold artistic statement. Over time, Berlin has been widely regarded as one of Reed's masterpieces, with retrospective reviews lauding its narrative complexity and musical sophistication. Critics now often rank it among the greatest concept albums in rock history, appreciating its raw honesty and cinematic scope. Tracks like Caroline Says II and The Kids are frequently highlighted for their emotional impact. Commercial Performance: Berlin was a commercial disappointment upon its initial release, failing to chart highly in the U.S. (peaking at #98 on the Billboard 200) or the UK. Its dark themes and lack of radio-friendly singles limited its mainstream appeal, especially compared to Transformer's success. The 1981 UK reissue (INTS 5150) was part of RCA's effort to capitalize on Reed's growing cult status, but specific chart data for the reissue is scarce. Despite its initial lack of commercial success, the album's reputation grew over time, particularly among fans of art rock and concept albums. Reed toured to support Berlin, with performances often emphasizing its theatrical elements, though his live shows during this period were erratic due to personal struggles. Singles: No major commercial singles were released from Berlin in 1973 or with the 1981 reissue. The album's narrative structure and dark themes made it less suited for radio-friendly singles. However, Caroline Says II and How Do You Think It Feels were occasionally used as promotional tracks in some markets, though they did not chart significantly. The lack of a hit single contributed to the album's initial commercial struggles. Legacy and Influence: Berlin is now considered one of Lou Reed's most significant works, often cited as a landmark in rock music for its ambitious storytelling and emotional depth. It influenced later concept albums and artists in genres like art rock, punk, and alternative music. The album's reputation grew significantly in the decades following its release, with critics and fans embracing its uncompromising vision. Reed himself revisited the Berlin material in later years, most notably with a 2006 live performance series directed by Julian Schnabel, which was filmed and released as the 2007 documentary Lou Reed's Berlin. The album has been reissued multiple times, including a 2007 deluxe edition with bonus tracks (live versions and outtakes) and a 2013 remaster. The 1981 UK release (INTS 5150) reflects RCA's continued effort to promote Reed's catalog to new audiences. Additional Notes: The album's cover art, designed by Pacific Eye & Ear, features a moody, green-tinted photo of Reed, with a back cover depicting a military-style scene, evoking the album's Berlin setting. The 1981 UK reissue retained similar artwork. Berlin's influence extends beyond music, inspiring visual artists and filmmakers due to its cinematic quality. The album's dark themes and Reed's detached vocal delivery create a haunting, immersive experience that remains polarizing yet revered. No significant unreleased material from the Berlin sessions has surfaced, though bootlegs of the 1973 recording process circulate among fans. Sources and Verification: This information is based on my knowledge of Lou Reed's discography, music history, and publicly available sources, including album liner notes, reviews from publications like Rolling Stone, and fan-compiled discographies. The 1981 UK release (INTS 5150) is noted in discography records, though specific details about its distribution are limited.

Iggy Pop’s Lust For Life  was released as an LP album in the UK by RCA Records (catalog number PL 12488) on September 9, 1977. It followed his debut solo album, The Idiot (March 1977), and was a pivotal moment in his career as he transitioned from his Stooges days and battled drug addiction. The album was a collaboration with David Bowie, recorded at Hansa Studio by the Wall in West Berlin from May to June 1977. This period, known as the "Berlin Years" for both artists, was marked by creative reinvention and personal recovery for Pop, who had moved to Europe with Bowie in 1976 to get sober. The album’s upbeat, rock-driven sound reflects Pop’s renewed energy, contrasting with the darker, experimental tone of The Idiot . Recording and Production The recording took place over eight days, a rapid process fueled by the spontaneity of Pop and Bowie’s partnership. Produced under the pseudonym Bewlay Bros. (Pop and Bowie), with engineer Colin Thurston, the album featured a core lineup of Pop (vocals), Bowie (keyboards, backing vocals), Ricky Gardiner (guitar), Tony Sales (bass), and Hunt Sales (drums), with additional contributions from Carlos Alomar (guitar). The sessions were marked by creative freedom, with Pop taking greater songwriting control than on The Idiot . For example, the title track was inspired by Bowie mimicking the Armed Forces Network call signal on a ukulele, while "The Passenger" drew from Jim Morrison’s poetry and Berlin nightlife. The album’s quick production and leftover advance money, split between Pop and Bowie, underscored their close collaboration. Musical Style and Themes Lust for Life blends rock, punk, and early new wave, departing from The Idiot ’s atmospheric experimentation. Its sound is characterized by "springy grooves" and a "laid-back" feel, with Pop’s vocals ranging from shouts to croons, showcasing his raw energy. The album’s production is lively, with tracks like "Lust for Life" featuring a distinctive drum beat inspired by Sandy Nelson, and "The Passenger" incorporating reggae-punk elements. Lyrically, it explores survival, hedonism, and personal reinvention. The title track’s line, "I’m worth a shock today," reflects Pop’s resilience, while "The Passenger" captures nocturnal wanderlust, inspired by rides with Bowie and Michelangelo Antonioni’s film. Other tracks, like "Tonight," balance darker themes with pop accessibility, showcasing Pop’s versatility. Tracklist and Key Songs The album includes nine tracks, each contributing to its cohesive yet varied sound. 1. "Lust for Life" (5:13) – Written by Pop and Bowie. Iconic title track with a driving drum beat, later popularized by "Trainspotting" (1996). A rock anthem of resilience. 2. "Sixteen" (2:25) – Written by Pop. A raw, punk-infused track, his sole composition, highlighting his vocal intensity. 3. "Some Weird Sin" (3:40) – Written by Pop and Bowie. Hard rock with a "lost-boy lyric," evoking Berlin’s gritty vibe. 4. "The Passenger" (4:42) – Written by Pop and Gardiner. Reggae-punk classic, inspired by Morrison and Berlin, a cultural staple. 5. "Success" (4:24) – Written by Pop and Bowie. Light-hearted with call-and-response, but seen as less impactful by some critics. 6. "Turn Blue" (6:55) – Written by Pop, Bowie, and others. The longest track, confessional, reworked from a 1975 session. 7. "Neighborhood Threat" (3:27) – Written by Pop and Bowie. Neo-punk, later covered by Bowie on "Tonight" (1984). 8. "Tonight" (3:37) – Written by Pop and Bowie. A pop ballad about loss, also covered by Bowie with Tina Turner. 9. "Fall in Love with Me" (6:31) – Written by Pop, Bowie, and others. An improvised jam reflecting Berlin’s nightlife. "Lust for Life" and "The Passenger" are the album’s standout tracks, with the former becoming a defining anthem and the latter a timeless classic. "Tonight" and "Neighborhood Threat" were later covered by Bowie, underscoring their collaborative strength. However, tracks like "Success" received mixed reviews for being less memorable. Reception and Chart Performance Upon release, Lust for Life faced limited promotion from RCA due to the label’s focus on reissuing Elvis Presley’s catalog after his death in August 1977. It peaked at No. 28 on the UK Albums Chart, Pop’s highest UK chart position until Post Pop Depression (2016) reached No. 5, and No. 120 on the US Billboard Top LPs & Tape chart. It also hit No. 8 in the Netherlands. Critics praised Pop’s energetic performance and creative control, with Rolling Stone calling side one "successful" but noting a weaker side two. Later reviews, like AllMusic’s, hailed it as a "masterpiece of rock music." The album’s initial modest success grew significantly with its inclusion in the 1996 film Trainspotting, where "Lust for Life" featured prominently, reaching No. 26 on the UK singles chart and No. 39 on the US Radio & Records Alternative chart. By 2025, it’s widely regarded as one of Pop’s best works, appearing on lists like *Rolling Stone*’s 500 Greatest Albums. Legacy and Cultural Impact Lust for Life was crucial in reestablishing Pop’s career, bridging his Stooges era with solo success and influencing punk and new wave. Its vibrant energy and Pop’s raw charisma made it a cultural touchstone, with "Lust for Life" and "The Passenger" becoming anthems. The *Trainspotting* feature in 1996 boosted its popularity, cementing its place in pop culture. In 2020, Virgin Records released The Bowie Years, a deluxe box set with remastered versions, outtakes, and live material, ensuring its accessibility. By 2025, tracks like "Lust for Life" have surpassed 2 billion Spotify streams, reflecting its enduring appeal. The album’s cover, showing Pop smiling, contrasts with The Idiot’s darker tone, symbolizing his recovery. Its production and Bowie’s involvement are often cited as a high point, with Pop’s balance of personal narrative and broad appeal solidifying his legacy. Compared to *The Idiot*, it’s often preferred for its upbeat rock sound, though some fans debate the relative merits of both albums. Personnel - Iggy Pop: Vocals - David Bowie: Keyboards, backing vocals, production - Ricky Gardiner: Guitar - Tony Sales: Bass - Hunt Sales: Drums - Additional musicians: Carlos Alomar (guitar), others - Production: Bewlay Bros. (Pop and Bowie), Colin Thurston (engineer) Additional Notes The album’s rapid recording and spontaneous moments, like the creation of Lust for Life, highlight Pop and Bowie’s chemistry. Its Berlin setting added a unique atmosphere, with tracks evoking the city’s nightlife and energy. The album’s influence extends to artists across genres, and its tracks remain staples in media, from films to commercials. Key Takeaways Lust for Life is a defining work in Iggy Pop’s career, showcasing his resilience and artistic growth with Bowie’s support. Its blend of rock, punk, and new wave, coupled with iconic tracks like "Lust for Life" and "The Passenger," ensures its status as a classic.

Slade’s Sladest  was released as an LP album in the UK by Polydor Records (catalog number 2442 119) on September 28, 1973. This LP, produced by Chas Chandler, was Slade’s first greatest hits collection, consolidating their chart-topping singles from 1971–1973 and select album tracks, capturing the band at the peak of their popularity during the glam rock era. Released alongside their single "My Friend Stan" (2058 407, also September 28, 1973), Sladest reached No. 1 on the UK Albums Chart, cementing Slade’s status as one of Britain’s biggest bands. Album Details Label: Polydor Records Catalogue Number: 2442 119 Release Date: September 28, 1973 Format: Vinyl LP, 33⅓ RPM, stereo, manufactured in the UK. Also released in cassette and 8-track formats. Production: Produced by Chas Chandler for Barn Productions Ltd. Tracks were recorded between 1969–1973, primarily at Olympic Studios, London, with some at Trident Studios. Packaging: Housed in a single sleeve with a striking cover featuring Slade in their glam rock attire—Noddy Holder in a top hat, Dave Hill in platform boots and glitter—against a bold, colorful background. The title Sladest reflects the band’s playful misspelling style (e.g., “Cum On Feel the Noize”). Includes a printed inner sleeve or lyric sheet in some pressings, detailing track credits and band photos. International releases (e.g., US on Reprise, 1973) have similar artwork but different track listings. Track Listing: Side A: "Cum On Feel the Noize" (4:30) – No. 1 UK, 1973 "Look Wot You Dun" (2:55) – No. 4 UK, 1972 "Gudbuy T’Jane" (3:31) – No. 2 UK, 1972 "One Way Hotel" (2:40) – From Play It Loud (1970) "Skweeze Me, Pleeze Me" (3:27) – No. 1 UK, 1973 "Pouk Hill" (2:24) – From Play It Loud (1970) "The Shape of Things to Come" (2:17) – Single, 1970 Side B: "Take Me Bak ‘Ome" (3:13) – No. 1 UK, 1972 "Coz I Luv You" (3:24) – No. 1 UK, 1971 "Wild Winds Are Blowing" (2:38) – Single, 1969 "Know Who You Are" (2:55) – Single, 1970 "Get Down and Get with It" (3:48) – No. 16 UK, 1971 "Look at Last Nite" (3:06) – From Slayed? (1972) "Mama Weer All Crazee Now" (3:43) – No. 1 UK, 1972 Track Notes: The album compiles Slade’s biggest hits from 1971–1973, including five UK No. 1 singles (“Coz I Luv You,” “Take Me Bak ‘Ome,” “Mama Weer All Crazee Now,” “Cum On Feel the Noize,” “Skweeze Me, Pleeze Me”) and other Top 5 hits (“Look Wot You Dun,” “Gudbuy T’Jane”). Earlier singles “Wild Winds Are Blowing” (1969), “The Shape of Things to Come” (1970), and “Know Who You Are” (1970) reflect their pre-glam, skinhead-era sound, all of which failed to chart. Album tracks like “One Way Hotel” and “Pouk Hill” (from Play It Loud) and “Look at Last Nite” (from Slayed?) showcase their raw, hard rock roots. The US version (Reprise, 1973) replaces “Pouk Hill” and “One Way Hotel” with “My Friend Stan” (No. 2 UK, 1973) and “Let the Good Times Roll,” and omits “Wild Winds Are Blowing” and “The Shape of Things to Come,” tailoring it to Slade’s later hits. Chart Performance and Reception Chart Performance: UK: Reached No. 1 on the UK Albums Chart in October 1973, staying in the Top 75 for 24 weeks. US: Peaked at No. 129 on the Billboard 200, reflecting Slade’s limited American success despite their UK dominance. Other territories: Charted in Australia (No. 2), Norway (No. 3), and Finland (No. 4). Critical Reception: New Musical Express (1973) highlighted the album’s role in capturing “Slade’s rabble-rousing spirit,” while The Guardian (later retrospectives) praised Slade’s influence on punk and metal. Historical and Cultural Context Slade in 1973: Background: Formed in Wolverhampton in 1966 as The N’Betweens, Slade (initially Ambrose Slade) comprised Noddy Holder (vocals), Dave Hill (guitar), Jim Lea (bass, keyboards, songwriting), and Don Powell (drums). Managed by Chas Chandler, they evolved from a covers band to glam rock pioneers. Their 1969 debut Beginnings (Fontana) and 1970’s Play It Loud (Polydor) flopped, but “Get Down and Get with It” (No. 16, 1971) sparked their breakthrough, followed by five No. 1 singles from 1971–1973. Peak Success: 1973 was Slade’s peak, with three No. 1 singles (“Cum On Feel the Noize,” “Skweeze Me, Pleeze Me,” “Merry Xmas Everybody”) and “My Friend Stan” (No. 2). Sladest capitalized on this, compiling their hits just before their Christmas classic. Their flamboyant stage presence—Holder’s top hats, Hill’s platform boots—and working-class appeal fueled “Slademania,” rivaling T. Rex’s “T. Rextasy.” Context of Sladest: Released alongside “My Friend Stan” and the Melanie flexi-disc “Slade Talk To Melanie Readers” (LYN 2645, 8 Sep 1973), Sladest was a strategic move to consolidate Slade’s dominance. It bridged their early hard rock (1969–1970) with their glam rock hits (1971–1973), appealing to both new fans and those discovering their back catalog. Slade’s Broader Legacy: Influence: Slade’s anthemic sound and misspelled titles influenced punk (Sex Pistols, Ramones), heavy metal (Def Leppard, Mötley Crüe), and alternative rock (Nirvana, who covered “Cum On Feel the Noize”). “Merry Xmas Everybody” remains a UK holiday staple, selling over 1 million copies. Later Years: After a decline in the late 1970s, Slade revived with a 1980 Reading Festival performance and hits like “My Oh My” (No. 2, 1983). Holder and Lea left in 1992, but Hill and Powell continue touring as Slade. The band was inducted into the UK Music Hall of Fame in 2006. Cultural Impact: Slade’s working-class roots and boisterous live shows made them a defining act of the 1970s. Sladest encapsulates their peak, showcasing why they were the UK’s top singles band of the decade, with over 6.5 million UK sales by 2006. Polydor’s Role: Polydor signed Slade in 1970, releasing all their major hits. Sladest was a commercial triumph, reinforcing Polydor’s investment in the band during their glam rock dominance. Comparison to Other Slade Releases Contemporary Releases:Singles (1973):“Cum On Feel the Noize” (2058 337, No. 1): A defining glam anthem. “Skweeze Me, Pleeze Me” (2058 353, No. 1): A live favorite. “My Friend Stan” (2058 407, No. 2): Released concurrently with Sladest. “Merry Xmas Everybody” (2058 422, No. 1): Followed in December 1973. Albums: Slayed? (1972, No. 1): Their breakthrough studio album. Slade Alive! (1972, No. 2): Captured their live energy. Play It Loud (1970): Source of “One Way Hotel,” “Pouk Hill,” and “Know Who You Are.” Earlier Singles: “Know Who You Are” (2058 054, 1970): A flop included on Sladest, showing their pre-glam sound. “Get Down and Get with It” (2058 112, 1971): Their first hit, also on Sladest. Sources Discogs: Slade – Sladest (1973, Vinyl) Rate Your Music: Sladest Wikipedia: Sladest, Slade Official Charts: Slade albums and songs AllMusic: Sladest review by Stephen Thomas Erlewine eBay UK: Slade Sladest vinyl vinylonthenet: SLADE Sladest maxvinylrecordscouk: Slade – Sladest Omega Auctions: Slade vinyl listings Conclusion Sladest (Polydor, 2442 119, 28 Sep 1973) is a definitive compilation of Slade’s early hits and select album tracks, reaching No. 1 in the UK and encapsulating their glam rock dominance. Featuring five No. 1 singles and early gems like “Know Who You Are,” it showcases their evolution from hard rock to chart-topping anthems.

David Bowie’s Let’s Dance  was released as an LP album in the UK by EMI America Records (catalog number AML 3029) on April 14, 1983, co-produced by Bowie and Nile Rodgers and recorded at the Power Station in New York City in December 1982. The sessions featured players from Rodgers' band Chic and the then-unknown Texas blues guitarist Stevie Ray Vaughan on lead guitar. For the first time on an album, Bowie only sang and played no instruments. Musically, Let's Dance has been described as a post-disco record, with elements of dance-rock, dance-pop and new wave. The album contains two cover songs: Iggy Pop's "China Girl", which Bowie and Pop had recorded together for the latter's The Idiot (1977), and Metro's "Criminal World". It also includes a reworking of "Cat People (Putting Out Fire)", originally recorded by Bowie and Giorgio Moroder in 1982 for the film of the same name. Let's Dance was released to massive commercial success, reaching number one in numerous countries, and turned Bowie into a major superstar; it remains Bowie's best-selling album. The record's four singles, including the title track, were all commercially successful. The album received mixed reviews from critics whose opinions on the artistic content varied. "Let's Dance" and "China Girl" were supported by music videos that received heavy airplay on MTV. It was supported by the successful Serious Moonlight Tour throughout 1983. Despite the album's success, Let's Dance began a period of low creativity for Bowie. He felt that he had to pander his music to his newly acquired audience, which led to his follow-up albums, Tonight (1984) and Never Let Me Down (1987), being critically dismissed. He later reflected poorly on the period, referring to it as his "Phil Collins years". The album was remastered in 2018 and included in the box set Loving the Alien (1983–1988). The album was released as the fifteenth studio album by the English singer-songwriter David Bowie, released on 14 April 1983 through EMI America Records. Co-produced by Bowie and Nile Rodgers, the album was recorded in December 1982 at the Power Station in New York City. The sessions featured players from Rodgers' band Chic and the then-unknown Texas blues guitarist Stevie Ray Vaughan on lead guitar. For the first time on an album, Bowie only sang and played no instruments. Musically, Let's Dance has been described as a post-disco record, with elements of dance-rock, dance-pop, and new wave. The album contains two cover songs: Iggy Pop's "China Girl", which Bowie and Pop had recorded together for the latter's The Idiot (1977), and Metro's "Criminal World". It also includes a reworking of "Cat People (Putting Out Fire)", originally recorded by Bowie and Giorgio Moroder in 1982 for the film of the same name. Let's Dance was released to massive commercial success, reaching number one in numerous countries, and turned Bowie into a major superstar; it remains Bowie's best-selling album. The record's four singles, including the title track, were all commercially successful. The album received mixed reviews from critics whose opinions on the artistic content varied. "Let's Dance" and "China Girl" were supported by music videos that received heavy airplay on MTV. It was supported by the successful Serious Moonlight Tour throughout 1983. Despite the album's success, Let's Dance began a period of low creativity for Bowie. He felt that he had to pander his music to his newly acquired audience, which led to his follow-up albums, Tonight (1984) and Never Let Me Down (1987), being critically dismissed. He later reflected poorly on the period, referring to it as his "Phil Collins years". The album was remastered in 2018 and included in the box set Loving the Alien (1983–1988). Source Wikipedia

Alice Cooper Group’s Love It To Death  was released as an LP album in the UK by Warner Bros. Records (catalog number WS 1883) on March 9, 1971, entering the UK Albums Chart on September 9, 1972, riding on the success of the group’s hit School’s Out , and peaking at number 28. The album marked the band's initial commercial success and solidified their aggressive hard-rocking sound, moving away from the psychedelic and experimental rock style of their first two albums. The most famous track from the album, "I'm Eighteen", was released as a single to gauge the band's commercial potential before the album's recording. In 1970, the band relocated to Detroit, drawing inspiration from the city's aggressive hard rock scene. They recruited a young Bob Ezrin as their producer, who motivated them to refine their songwriting during two months of intensive rehearsals lasting ten to twelve hours daily. The single "I'm Eighteen" soon reached the Top 40, i the US peaking at No. 21, convincing Warner Bros. of Alice Cooper's commercial viability to release an album. "Love It to Death" climbed to No. 35 on the Billboard 200 albums chart and eventually achieved platinum status. The album's second single, "Caught in a Dream," reached No. 94 on the charts. Cover of the censored sleeve for "Love it to Death" by Alice Cooper Group. The original album cover showed Alice posed with his thumb sticking out, making it look like his penis; Warner Bros. quickly replaced it with a censored version. The Love It to Death tour included an intricate shock rock live performance: during "Ballad of Dwight Fry"—a song about an inmate in a mental institution—Cooper would be dragged offstage and return in a straitjacket, with the show reaching its peak as Cooper was mock-executed in a prop electric chair during "Black Juju." Ezrin and the Coopers collaborated on a series of hit albums until the band split in 1974. The album is now regarded as a foundational influence on hard rock, punk, and heavy metal; several tracks have become live Alice Cooper staples and are often covered by other bands.

Alice Cooper’s DaDa, his eighth solo studio album, was released in the US as an LP by Warner Bros. Records (catalog number 9 23969-1) on September 28, 1983, with a UK release following in October 1983. Produced by Bob Ezrin, it combined surreal, experimental rock with Cooper’s signature theatrical style, reflecting his personal struggles during that period. Though the album failed to chart, it was praised in a retrospective 1983 Creem review for its dark and quirky narrative and eventually gained a cult following among fans. US front cover vinyl album Warner Bros. Records. 1-23969 Tracklist: A1. DaDa – 4:45 A2. Enough’s Enough – 4:19 A3. Former Lee Warmer – 4:07 A4. No Man’s Land – 3:51 A5. Dyslexia – 4:25 B1. Scarlet and Sheba – 5:18 B2. I Love America – 3:50 B3. Fresh Blood – 5:54 B4. Pass the Gun Around – 5:46 Note: The tracklist is based on the standard 1983 vinyl and CD release (Warner Bros. Records). Commercial Performance: DaDa failed to chart in the US (Billboard 200) or UK. Its release came during a period when Cooper’s label support was waning, and Warner Bros. did little to promote it. Background and Context: By 1983, Alice Cooper was at a low point in his career. After his 1970s peak with albums like Billion Dollar Babies (1973) and Welcome to My Nightmare (1975), he struggled with alcoholism and a decline in commercial success through albums like Lace and Whiskey (1977) and From the Inside (1978). His early 1980s albums— Flush the Fashion (1980), Special Forces (1981), and Zipper Catches Skin (1982)—leaned into new wave but failed to recapture his earlier popularity. DaDa, his final album for Warner Bros., was recorded during a period of personal turmoil, with Cooper in the depths of addiction and later claiming no memory of the recording process due to blackouts. The album marked a return to his theatrical, shock rock roots while retaining new wave influences, and it was his last studio release before a three-year hiatus and his 1986 comeback with Constrictor. Recording and Production: DaDa was recorded in 1982-1983 at ESP Studios in Buttonville, Ontario, Canada, produced by Bob Ezrin, who had shaped Cooper’s classic albums like Love It to Death (1971971) and Billion Dollar Babies. Ezrin co-wrote most tracks and played a key role in crafting the album’s concept and sound. The band included Dick Wagner (guitar, bass, co-writer), John Prakash (bass), Richard Kolinka (drums), and Karen Hendricks (backing vocals), with additional contributions from Ezra Klinger (synthesizer) and others. The album was a loose concept piece about a character named DaDa, possibly an alter ego or a metaphor for Cooper’s fractured mental state, blending horror, humor, and surrealism. The recording process was chaotic, reflecting Cooper’s personal struggles, but Ezrin’s production gave it a polished, theatrical edge. US back cover vinyl album Warner Bros. Records. 1-23969 Track Listing: The original LP release of DaDa (Warner Bros. 9 23969-1) contains nine tracks: 1. DaDa (4:45) 2. Enough’s Enough (4:19) 3. Former Lee Warmer (4:07) 4. No Man’s Land (3:51) 5. Dyslexia (4:25) 6. Scarlet and Sheba (5:18) 7. I Love America (3:50) 8. Fresh Blood (5:54) 9. Pass the Gun Around (5:46) Notable Tracks: DaDa, the opening track, sets a creepy tone with spoken-word narration and eerie synths, introducing the concept. Former Lee Warmer is a haunting ballad about a forgotten family member locked in an attic, showcasing Cooper’s storytelling. I Love America is a satirical rocker with humorous lyrics praising American excess, while Scarlet and Sheba blends horror and sensuality. Pass the Gun Around, the closing track, is a dark, introspective ballad hinting at Cooper’s struggles with addiction. Musical Style and Themes: DaDa combines theatrical hard rock, new wave, and elements of Cooper’s classic shock rock sound. The album features driving guitars, atmospheric synthesizers, and Ezrin’s cinematic production, blending punk-influenced energy with horror-inspired theatrics. Lyrically, it explores themes of mental instability, identity, societal satire, and personal struggle, with the loose concept of “DaDa” evoking surrealism and psychological fragmentation. Tracks like Dyslexia and I Love America add humor, while Former Lee Warmer and Pass the Gun Around delve into darker, introspective territory. The album’s tone reflects Cooper’s troubled state but maintains his trademark wit and theatricality. US cover Cassette Album Warner Bros. Records 9 23969-4 Singles Released: No official singles were released from DaDa in the USA or UK, a reflection of Warner Bros.’ lack of promotion and Cooper’s diminished commercial status at the time. The album was poorly marketed, with no music videos or significant radio push, contributing to its obscurity upon release. Some sources mention I Love America as a promotional track in limited markets (e.g., radio play in the US), but no formal 7" or 12" single releases are documented on platforms like Discogs or 45cat. The lack of singles underscores the album’s commercial neglect, despite its artistic merit. Critical Reception: DaDa received minimal attention upon release, with few contemporary reviews due to its lack of promotion and Cooper’s career low point. Critics who covered it were mixed, with some praising its return to theatrical rock and Ezrin’s production, while others found it uneven or too experimental. Retrospectively, DaDa is considered a hidden gem in Cooper’s discography. AllMusic rates it 4/5 stars, calling it “an ambitious, creepy, and underrated work” with strong storytelling. Fans on Discogs and Rate Your Music praise tracks like Former Lee Warmer and Scarlet and Sheba, with user ratings averaging 3.8/5. The album’s cult status has grown, particularly among fans who appreciate its dark humor and concept-driven approach. Legacy and Influence: DaDa is now regarded as one of Alice Cooper’s most underrated albums, appreciated for its bold experimentation and return to theatrical roots. It marked the end of his Warner Bros. tenure and his early 1980s new wave phase, paving the way for his glam metal comeback with Constrictor (1986). The album’s cult following has grown, with fans citing its influence on later theatrical rock and concept albums. Tracks like I Love America and Former Lee Warmer are occasionally performed live, and the album is available digitally on platforms like Spotify. A 2017 vinyl reissue by Rhino Records and a 1996 CD reissue (paired with Zipper Catches Skin) have kept it accessible. The album’s surreal artwork, featuring a distorted Salvador Dalí painting, reflects its avant-garde tone and adds to its collectible appeal. Additional Notes: - The album’s cover, inspired by Dalí’s surrealism, was designed by Pacific Eye & Ear and features a warped image of a face, tying into the “DaDa” theme. - Released on vinyl, cassette, and 8-track in the US, with international pressings in Canada, Germany, and Japan (Warner Bros. P-11396). - Cooper’s lack of memory of the recording process, as noted in interviews, underscores the album’s chaotic creation during his addiction struggles. - No music videos or live performances were recorded, as Cooper was not touring at the time, making DaDa a studio-only project. Sources and Verification: Information is drawn from my knowledge of Alice Cooper’s discography and supplemented by web sources, including Discogs, AllMusic, Rate Your Music, and Wikipedia. Release details are confirmed by 45cat and Rhino Records reissue notes. The release date is verified by Discogs and fan sites.

Alice Cooper Group’s Billion Dollar Babies  was released as an LP album in the US by Warner Bros. Records (catalog number BS 2685) on February 25, 1973, with a UK release in March 1973 marking their sixth studio album and became their best-selling record at the time, reaching No. 1 on both the US Billboard 200 and UK Albums Chart, later certified platinum by the RIAA. Recorded in Connecticut and London, England, and produced by Bob Ezrin, the album’s 40-minute, 51-second duration makes it the band’s longest studio effort. Its lyrics explore provocative themes like necrophilia, dental fear, horror, and sexual harassment, with Alice Cooper citing Chuck Berry as a key influence on his writing. The title, reflecting the band’s shock at their sudden wealth, inspired the later band name used by Neal Smith, Dennis Dunaway, and Michael Bruce post-split. Noted in a 1973 Rolling Stone review for its theatrical audacity, the album features standout tracks like “Hello Hooray” (written by Rolf Kempf, previously recorded by Judy Collins, styled as “Alice Cooper meets Cabaret”), “Elected” (a rewrite of Pretties for You’s “Reflected”), “Raped and Freezin’” (called “hilarious and gorgeously catchy” by Pop Matters’ Jason Thompson), “Unfinished Sweet” (with dental sound effects by Gerry Lyon), and “I Love the Dead,” a tongue-in-cheek take on necrophilia. The title track, co-written by Reggie Vinson (credited as R. Reggie), features Donovan’s vocals for a “horror story” vibe.Tracklist: A1. Hello Hooray – 4:15 A2. Raped and Freezin’ – 3:19 A3. Elected – 4:05 A4. Billion Dollar Babies – 3:43 A5. Unfinished Sweet – 6:18 B1. No More Mr. Nice Guy – 3:06 B2. Generation Landslide – 4:31 B3. Sick Things – 4:18 B4. Mary Ann – 2:21 B5. I Love the Dead – 5:09 Note: The tracklist reflects the standard 1973 vinyl release (Warner Bros. Records). C hart Positions: - Australian Albums (Kent Music Report): 4 - Austrian Albums (Ö3 Austria): 4 - Canada Top Albums/CDs (RPM): 2 - Dutch Albums (Album Top 100): 1 - Finnish Albums (The Official Finnish Charts): 1 - German Albums (Offizielle Top 100): 9 - Norwegian Albums (VG-lista): 6 - US Billboard 200: 1 - UK Albums (OCC): 1 LP Side one 1. "Hello Hooray" 2. "Raped and Freezin'" 3. "Elected" 4. "Billion Dollar Babies" 5. "Unfinished Sweet" Side two 6. "No More Mr. Nice Guy" 7. "Generation Landslide" 8. "Sick Things" 9. "Mary Ann" 10. "I Love the Dead"

Alice Cooper’s Special Forces  was released as an LP album in the US by Warner Bros. Records (catalog number BSK 3581) on August 7, 1981, with a UK release in September 1981 marking his sixth solo studio album. Available on vinyl LP and cassette, with later CD reissues including a 1990 Japanese release and a 2014 limited-edition CD by Culture Factory, it continues the “new wave” phase begun with Flush the Fashion  (1980). Part of a trilogy of experimental “blackout” albums alongside Flush the Fashion  and Zipper Catches Skin , it reflects Cooper’s struggle with alcoholism and commercial decline, embracing a lean, punk- and new wave-influenced sound. The album shifts from his theatrical glam-rock roots to a raw, stripped-down style while retaining his dark humor and provocative edge. Track Listing: "Who Do You Think We Are" (3:05) "Seven & Seven Is" (2:41) – Cover of Love’s 1966 song "Prettiest Cop on the Block" (3:13) "Don’t Talk Old to Me" (2:54) "Generation Landslide ’81 (Live)" (3:50) – Re-recorded live version of a 1973 track "Skeletons in the Closet" (3:42) "You Want It, You Got It" (3:15) "You Look Good in Rags" (3:35) "You’re a Movie" (3:37) "Vicious Rumours" (3:43) Personnel: Alice Cooper: Vocals Duane Hitchings: Keyboards, synthesizer Danny Johnson: Guitar Craig Krampf: Drums Mike Pinera: Guitar Erik Scott: Bass Producer: Richard Podolor Executive Producer: Shep Gordon Additional Musicians: Joe Pizzulo and Flo & Eddie (backing vocals) Arranger: Alice Cooper Mixing: Bill Cooper, Richard Podolor Engineer: Bill Cooper Mastering: Mobile Fidelity Sound Lab (for some reissues) Production and Recording: Recorded at American Recording Co., Studio City, California. The album was produced by Richard Podolor, known for his work with Three Dog Night, with Bill Cooper engineering. It was recorded quickly, reflecting Cooper’s attempt to capture a raw, urgent sound. The track "Generation Landslide ’81" was a live re-recording from the Special Forces tour, adding a gritty edge to the studio-heavy album. Musical Style and Themes: Special Forces blends new wave, punk, and hard rock, with synthesizers and angular guitar riffs replacing the orchestral grandeur of earlier Cooper albums. The sound is minimalist, with a focus on tight song structures. Lyrically, it explores dark humor, social satire, and Cooper’s signature theatricality. Tracks like "Prettiest Cop on the Block" and "Skeletons in the Closet" tackle quirky character studies, while "You’re a Movie" uses military metaphors for biting commentary. The cover of Love’s "Seven & Seven Is" is a high-energy highlight, showcasing Cooper’s ability to reinterpret proto-punk classics. Singles and Promotion: Singles: "You Want It, You Got It" / "Generation Landslide ’81 (Live)" (US, July 1981). "Seven & Seven Is" / "Generation Landslide ’81 (Live)" (UK, October 1981). A promotional TV special, Alice Cooper à Paris, aired in France in 1982, featuring performances and skits tied to the album’s tour. The Special Forces tour included theatrical elements like Cooper wielding a shotgun and wearing military-inspired outfits, though it was less elaborate than his 1970s shows. Reception and Legacy: Special Forces received mixed reviews and was a commercial disappointment, failing to chart significantly in the US or UK. It peaked at 125 on the US Billboard 200 and 60 in Canada. Critics noted the album’s raw energy but found it uneven compared to Cooper’s classic 1970s output. Fans of his glam-rock era were divided on the new wave direction. Over time, the album has gained a cult following among fans for its bold experimentation and Cooper’s resilience during a turbulent period. Songs like "You Look Good in Rags" and "Seven & Seven Is" are often cited as underrated gems. The album’s influence is seen in Cooper’s later return to form with Constrictor (1986), and it remains a fascinating snapshot of his early ’80s reinvention. Notable Facts: The album was recorded during a low point in Cooper’s career, with his alcoholism impacting his health and creativity. He checked into rehab shortly after its release. The track "Look at You Over There, Ripping the Sawdust from My Teddybear" was recorded but omitted from the final release due to time constraints. It later appeared on the 1999 box set The Life and Crimes of Alice Cooper. A 1982 French TV performance included a re-recorded version of "Who Do You Think We Are" with alternate lyrics, used in Alice Cooper à Paris. Vinyl copies are collectible, with a 1981 Australian pressing listed on Discogs for $10–$30 and a 2014 Culture Factory CD reissue noted for its high-fidelity mastering. Availability: Streaming: Available on Spotify, Apple Music, and YouTube (e.g., official uploads of "Seven & Seven Is" and full album streams). Physical: Original vinyl and cassette releases are available on secondary markets like Discogs and eBay. The 2014 Culture Factory CD is a limited-edition reissue with restored artwork. Collectors’ Note: A rare misprint vinyl with an incorrect track listing occasionally surfaces at auction, valued at $50–$100 depending on condition. info courtesy Discogs for release details and collector data. Wikipedia and AllMusic for track listing and personnel. Fan sites and YouTube for tour and TV special information. Atlas Records and MusicStack for vinyl availability.

David Bowie’s "Day-In Day-Out"  backed with "Julie" , was released as a 7-inch vinyl single in the UK by EMI America (catalog number EA 239) on March 23, 1987. Bowie was the sole writer of the recording, with production managed by him and David Richards. The R&B track "Day-In Day-Out" critiques the treatment of the homeless in the United States during that period and explores the extreme measures a young mother takes to provide for her child. A music video for the single was filmed in 1987 and faced bans from certain stations due to its content. Despite this, it was nominated for a 1987 MTV Video Music Award in the "Best Male Video" category. On the commercial front, "Day-In Day-Out" was the most successful single from "Never Let Me Down," reaching number 17 in the United Kingdom and securing a spot within the top 40 in several other countries. A re-engineered version of the song that includes Bowie's original vocals, some original and new instrumentation, and new mastering was released in 2018 as part of the album "Never Let Me Down 2018," part of the "Loving the Alien (1983–1988)" box set. Standard 7" Released Limited Edition Box Set

David Bowie’s "Young Americans"  backed with "Knock on Wood" , was released as a 7-inch vinyl single in the US by RCA Records (catalog number PB-10152) on February 17, 1975, four days before its UK release, becoming his most successful hit at the time, peaking at number 28 on the Billboard Hot 100.

David Bowie’s "Fame"  backed with "Right" , was released as a 7-inch vinyl single in the UK by RCA Records (catalog number RCA 2579) on July 18, 1975, as the second single from his 1975 album Young Americans, by RCA Records. Co-written by Bowie, guitarist Carlos Alomar, and John Lennon, it was recorded at Electric Lady Studios in New York City in January 1975. The song is a biting commentary on the pitfalls of stardom, reflecting Bowie’s and Lennon’s frustrations with the music industry, particularly Bowie’s issues with his former manager, Tony Defries, and MainMan Management. It became Bowie’s first number-one single in the United States and a landmark in his career, marking his shift to a "plastic soul" sound. Record label for David Bowie's "Fame," released by RCA Victor in the UK, catalogue number RCA 2579. The track, from the "Young Americans" album, was produced and mixed by David Bowie and Harry Maslin. Creation and Recording Background: By late 1974, most of the Young Americans sessions were complete, but Bowie, staying in New York, met John Lennon during his "Lost Weekend" period (an 18-month separation from Yoko Ono). The two bonded over discussions about fame, management troubles, and the music industry’s exploitative nature. Song Development: The song originated from a guitar riff by Carlos Alomar, inspired by The Flares’ "Foot Stompin’," which Bowie had performed on tour. Bowie deemed it too strong for a cover and repurposed it for an original track. During a jam session, Lennon sang the word "aim" to Alomar’s riff, which Bowie adapted to "Fame." The lyrics were written quickly, with Bowie crafting them in the control room while Lennon and Alomar worked in the studio. Recording Process: Recorded in one evening, the session was fast-paced. Lennon contributed acoustic guitar and backing vocals (notably the repeated "Fame, Fame, Fame" toward the end). A distinctive "suction" sound was created by reversing Lennon’s acoustic guitar track, and a heavy reverb was added to Alomar’s riff to give it a spacious, funky feel. Musicians: David Bowie: Vocals John Lennon: Backing vocals, acoustic guitar Carlos Alomar: Guitar Dennis Davis: Drums Emir Ksasan: Bass Additional contributors: Willie Weeks (bass), Mike Garson (piano), and others Producers: David Bowie, Harry Maslin Innovations: The track’s manipulated vocals (Lennon’s sped-up and slowed-down "Fame") foreshadowed later use of vocoders and autotune in the 1980s and beyond. The blend of hard rock and funk guitar riffs also anticipated their use in hip-hop and electronica. Record label for David Bowie's "Right," released by RCA Victor in the UK, catalogue number RCA 2579. The track, from the "Young Americans" album, was produced and mixed by David Bowie and Harry Maslin. Chart Performance United States: "Fame" reached number one on the Billboard Hot 100 on September 20, 1975, for two non-consecutive weeks (briefly dropping to number two behind John Denver’s "I’m Sorry"). It ranked number 8 on the Billboard Year-End Hot 100 for 1975 and was certified Gold by the RIAA. Canada: It also hit number one on the Canadian Singles Chart. United Kingdom: The single was less successful, peaking at number 17 on the UK Singles Chart, reflecting Bowie’s stronger US breakthrough at this time. Other Regions: It performed modestly in Europe but was a major hit in North America. A 40th-anniversary release in 2015 peaked at number 141 in France. Cultural and Musical Impact Themes and Lyrics: "Fame" is a cynical take on stardom, with lyrics like “Fame, what you need you have to borrow” and “Fame, it’s not your brain, it’s just the flame” addressing the emptiness and exploitation of celebrity life. Bowie later reflected, “Fame itself doesn’t afford you anything more than a good seat in a restaurant,” emphasizing its hollow rewards. German single release "Fame" and "Right," under the RCA Victor label, catalogue number PB-10 320. Genre and Style: The song’s funk rock and "plastic soul" sound marked a departure from Bowie’s glam rock roots (e.g., Ziggy Stardust), alienating some UK fans but winning over US audiences. Its rhythm, driven by Alomar’s riff and Dennis Davis’s drumming, influenced later funk and hip-hop, notably sampled by James Brown in "Hot (I Need to Be Loved, Loved, Loved)." Recognition: "Fame" is included in The Rock and Roll Hall of Fame’s 500 Songs that Shaped Rock and Roll. It was ranked number 21 by NME in their list of Bowie’s 41 greatest songs (2018) and number 25 by Ultimate Classic Rock among his singles. Media Appearances: Bowie performed "Fame" on Soul Train in 1975, one of the first white artists to do so, and on The Cher Show (November 7, 1975), marking his US TV debut. An animated music video, directed by Richard Jefferies and Mark Kirkland, won a Student Academy Award in 1975. Single Formats and B-Side A-Side: "Fame" (3:30, single edit; 4:22, album version) B-Side: "Right" (a Young Americans track written by Bowie) Formats (1975): Released as a 7" vinyl single (RCA BOW 507). Some pressings, particularly in the US, used vinyl that appeared translucent with a purple glow under light, though RCA typically used vinyl, not styrene. "Fame 90" cover, released under EMI USA in the UK, featuring an exclusive changes pack with three limited edition prints. "Fame ’90" Remix Release: In 1990, Bowie remixed "Fame" as "Fame ’90" for his Sound+Vision Tour and the Changesbowie compilation, also appearing on the Pretty Woman soundtrack. Bowie chose "Fame" over "Let’s Dance" (too recent) for its enduring potency. Formats: Released as a 7" single, 12" single, cassette single, CD singles, and two limited editions: a picture disc with a "Bonus Beat mix" and a 7" envelope pack with three prints of Bowie’s career phases and a Queen Latifah remix. Video: Directed by Gus Van Sant, the video featured clips from Bowie’s past videos and a dance with Louise Lecavalier of La La La Human Steps. Reception: The remix was less impactful, with critics like Ultimate Classic Rock calling it “now happily forgotten” and ranking it 104 out of 119 Bowie singles. The Queen Latifah remix was a highlight for some fans. Covers and Samples Covers: Artists covering "Fame" include Duran Duran (1981), Eurythmics (2005 Touch remaster), George Michael (1991 tour), and Nina Hagen (using the “Is it any wonder” line in "Heiss"). New Musical Express ad from November 15, 1975, celebrating Bowie's chart successes with "Fame" and "Space Oddity" and announcing the rush release of his new single "Golden Years." Samples: The song’s beat was sampled in James Brown’s "Hot (I Need to Be Loved, Loved, Loved)" (1975), Lady Gaga’s early track "Fancy Pants," and over 30 other songs. "Fame" hit number one in the US (Billboard Hot 100, September 20, 1975) but only reached number 17 in the UK. Conclusion "Fame" was a groundbreaking single for David Bowie, marking his first US number-one hit and reflecting his shift to funk and soul. Its creation with John Lennon and Carlos Alomar, its incisive lyrics, and its innovative production made it a classic, included in The Rock and Roll Hall of Fame’s 500 Songs.

Slade's "The Bangin' Man" is a non-album single released by Polydor Records on June 28, 1974. Written by lead vocalist Noddy Holder and bassist Jim Lea, the song reached No. 3 on the UK Singles Chart, where it stayed for seven weeks. It was certified UK Silver by the BPI for selling over 250,000 copies in 1974. Written by lead vocalist Noddy Holder and bassist Jim Lea, the song reached No. 3 on the UK Singles Chart, where it stayed for seven weeks. It was certified UK Silver by the BPI for selling over 250,000 copies in 1974. B-Side: "She Did It to Me," also written by Holder and Lea, exclusive to the single and later included on the 2007 compilation B-Sides. Musical Style: Glam rock and power pop, characterized by Slade’s signature high-energy, foot-stomping sound with raucous guitars, thundering bass, and Noddy Holder’s distinctive vocals. Background and Inspiration Context: After the release of their single "Everyday" in March 1974, Slade returned to the studio to create a follow-up with a more rock-oriented sound, moving away from the softer tone of "Everyday." Inspiration: The song was written during Slade’s tour in Australia and is lyrically inspired by their tour manager, Graham "Swinn" Swinnerton. His job involved waking band members in their hotel rooms to prepare for the next leg of their tour, reflecting the grueling life on the road. The lyrics capture the weariness and relentless cycle of touring, offering a rare glimpse into the less glamorous side of fame. Musical Characteristics: The track features Dave Hill’s blistering guitar riffs, Jim Lea’s powerful basslines, and Don Powell’s pounding drums, with Chas Chandler’s production retaining the band’s raw, live energy. It’s described as a gritty, autobiographical anthem that balances Slade’s celebratory style with an undercurrent of exhaustion. Release Details Formats and Regions: Released as a 7" vinyl single in multiple regions, including the UK, Ireland, Europe, Scandinavia, Yugoslavia, America, Australia, New Zealand, and Japan. UK Release: Featured injection-molded labels, not paper labels as used in Ireland. US Release: Included on the Warner Bros. Records release of the album Slade in Flame (1975). Brazilian EP: In Brazil, the B-side "She Did It to Me" was given prominence as the title track of a four-track EP in 1975 (Polydor 2229'166). Picture Sleeve: Some versions, particularly sought after by collectors, featured a red and white cartoon picture sleeve with a small Polydor label in the lower left corner. Track Durations: A-side: "The Bangin' Man" – 4:00 B-side: "She Did It to Me" – 3:16–3:23 (varies by source) Promotion and Performances No Music Video: No official music video was filmed for the single. Television Appearances: Performed on the UK ITV show Supersonic. Performed on the German TV show Disco (mimed performance, available on YouTube). Performed on the Dutch AVRO TV show TopPop. Not performed on Top of the Pops due to a BBC strike at the time. Critical Reception: Record Mirror described it as a "dramatically direct commercial song" with ample space for guitar work, highlighting its commercial appeal and rock energy. Cultural Impact and Legacy Chart Success: As Slade’s twelfth UK hit, "The Bangin' Man" reinforced their dominance in the early 1970s British rock scene. Its No. 3 peak and Silver certification underscored their commercial prowess. Fan Favorite: Despite not being on a studio album, the song remains a beloved track for its raw energy and authentic portrayal of touring life. It’s featured on compilations like Cum On Feel the Hitz: The Best of Slade (2020) and Old New Borrowed and Blue (Expanded) (2006). Label: Polydor Country: UK Catalogue: 2058 492

The Sensational Alex Harvey Band’s "Amos Moses"  backed with "Satchel and the Scalp Hunters" , was released as a 7-inch vinyl single in the UK by Mountain Records (catalog number TOP 16) on August 27, 1976, as part of the promotional efforts for their sixth studio album, SAHB Stories, which was released in July 1976 on Mountain Records (UK) and Vertigo (Europe). "Amos Moses" is a cover of a 1970 song by Jerry Reed, a country-rock track about a one-armed Cajun alligator poacher. It was the second single from SAHB Stories, following their hit "The Boston Tea Party," which had charted in the UK Top 40 earlier in June 1976. The B-Side: "Satchel And The Scalp Hunter" Also known as "$25 For a Massage", is an original composition credited to Alex Harvey, Zal Cleminson, and Chris Glen. The single was part of SAHB Stories, which reached 11 on the UK Albums Chart and 33 in Sweden. The album featured a mix of originals and covers Both tracks are available on streaming platforms like Apple Music, included in compilations such as The Last of the Teenage Idols (2016).

David Bowie’s "Memory Of A Free Festival Part 1"  backed with "Memory Of A Free Festival Part 2" , was released as a 7-inch vinyl single in the UK by Mercury Records (catalog number MF 1135) on June 12, 1970.Initially recorded in September 1969 as a seven-minute piece for his second self-titled album, it was later reworked in March–April 1970 at the request of Mercury Records. The label believing that the track had a better chance of success as a single than "The Prettiest Star", released earlier in the year. Bowie and Tony Visconti roughly split the track in half, re-recording it so both halves could function as individual songs. A more rock-oriented version than the earlier album cut, this rendition featured guitarist Mick Ronson. Biographer David Buckley described "Memory of a Free Festival" as "a sort of trippy retake of the Stones' 'Sympathy for the Devil' but with a smiley lyric". The track was written as a homage to the Free Festival, organised by the Beckenham Arts Lab, which was held at Croydon Road Recreation Ground in Beckenham on 16 August 1969. Released in America, the single was commercially unsuccessful; only a few hundred copies sold. It was also issued in the UK, but was similarly unsuccessful there. The two-part single version was subsequently released on CD on the EMI/Rykodisc reissue of Bowie's 1969 self-titled album (in 1990), on a 2-CD special edition of that album (in 2009), and on Re:Call 1, part of the Five Years (1969–1973) compilation (in 2015). Label: Mercury Country: Norway Catalogue: 6052 026 Melody Maker August 1, 1970 Review dated June 27, 1970

David Bowie’s "China Girl"  backed with "Shake It" , was released as a 7-inch vinyl single in the UK by EMI America (catalog number EA 158) on May 31, 1983. The song was originally written by Iggy Pop and David Bowie in 1976. First released by Pop on his debut solo album, The Idiot (1977). Inspired by an affair Pop had with a Vietnamese woman, the lyrics tell a story of unrequited love for the protagonist's Asian girlfriend, realizing by the end that his Western influences are corrupting her. Like the rest of The Idiot, Bowie wrote the music and Pop improvised the lyrics while standing at the microphone. The song was released as a single in May 1977 and failed to chart. Bowie recorded the more well-known version during the sessions for his 1983 album Let's Dance, reportedly to assist Pop with his poor finances at the time. It was co-produced by Nile Rodgers, who transformed the song into a pop number with an Asian-inspired guitar riff. Bowie's version was released as the second single from the album in May 1983, reaching number two in the UK and number 10 in the US. Its accompanying music video featured New Zealand Actress Geeling Ng. Containing an interracial romance and clashing cultural perspectives, Bowie said the video was intended as a statement against racism. He performed the song frequently during his concert tours. Bowie's version has also appeared on compilation albums and lists of the artist's best songs. Info courtesy of Wikepida Label: EMI America - 12 EA 157, EMI America - 12EA 157 Format: Vinyl, 12", 45 RPM, Single Country: UK

T.Rex’s "Truck On (Tyke)" EP, backed with "Zip Gun Boogie", "Teenage Dream", and "Light of Love", was released as a 7-inch vinyl extended play single in a picture sleeve in the UK by Marc On Wax (catalog number MARC 22) on September 6, 1982.

The Partridge Family’s "I Woke Up In Love This Morning"  backed with "Twenty Four Hours a Day" , was released as a 7-inch vinyl single in the UK by Bell Records (catalog number BELL 1190) on September 10, 1971, surprisingly baring in mind he popularity of the TV show and the fact that " I Think I Love You" had already been a hit February reaching the number 18 place, single did not chart in the UK. Interestingly the B-side was produced by Mike Melvoin, who worked in the early 1970s as a music director on The Partridge Family recordings, often playing keyboard, and also began composing for film and television including contributing scores to Fame and MacGyver. (Italian Sleeve) Label: Bell Country: Italy Catalogue: 2008 004

Marc Bolan’s "Life’s A Gas"  EP, backed with "Find A Little Wood" , "Once Upon The Seas Of Abyssinia" , and "Blessed Wild Apple Girl" , was released as a 12-inch vinyl extended play single in the UK by Cube Records (catalog number ANTS 001) on September 1, 1979 Special produced by Cube Records for the Official Marc Bolan Fan Club Contains part of an interview with B.P Fallon and Mick Watts about Marc Bolan on the backside sleeve. "The sleeve notes are part of a tape conversation in 1972 between B.P. Fallon (Bolan´s PR man) and Mick Watts of Melody Maker". Includes an info sheet about The Marc Bolan Family Society and MBFS founder John Bramley and Andrew Gardner TRACKLIST A1 Life's A Gas A2 Find A Little Wood B1 Once Upon The Seas Of Abyssinia B2 Blessed Wild Apple Girl

Lou Reed’s "Walk and Talk It"  backed with "Wild Child" , was released as a 7-inch vinyl single in the UK by RCA Records (catalog number RCA 2251) on August 4, 1972. Both tracks were taken from Lou Reed's self titled debut solo album. Album Overview: Lou Reed was recorded at Morgan Studios in London between December 1971 and January 1972, produced by Richard Robinson and Lou Reed. It featured session musicians, including Steve Howe and Rick Wakeman from the progressive rock band Yes. The album included eight re-recorded versions of unreleased Velvet Underground songs and two new tracks, "Going Down" and "Berlin." Despite high anticipation due to growing interest in The Velvet Underground, the album was a commercial and critical disappointment, peaking at No. 189 on the Billboard 200. TRACKLIST: A1 Lou Reed I Can't Stand It A2 Lou Reed Going Down A3 Lou Reed Walk And Talk It A4 Lou Reed Lisa Says A5 Lou Reed Berlin B1 Lou Reed I Love You B2 Lou Reed Wild Child B3 Lou Reed Love Makes You Feel B4 Lou Reed Ride Into The Sun B5 Lou Reed Ocean

T.Rex: "Telegram Sam" Single (1982) T.Rex’s "Telegram Sam"  backed with "Soul Of My Suit" , "Metal Guru" , and "Light of Love" , was released as a 7-inch vinyl extended play single in a picture sleeve in the UK by Marc On Wax (catalog number MARC 23) on September 24, 1982. TRACKLIST: A1: "Telegram Sam" A2: "Soul Of My Suit" B1: "Metal Guru" B2: "Light of Love"

David Bowie’s "Drive-In Saturday"  backed with "Round And Round" , was released as a 7-inch vinyl single in the UK by RCA Records (catalog number RCA 2352) on April 6, 1973, a week before the album Aladdin Sane , becoming a Top 3 hit in the UK. Strongly inspired by 1950s doo-wop, "Drive-In Saturday" portrays a scenario in a future post-apocalyptic world (Bowie mentioned the year as 2033) where people have lost the ability to make love and must rely on old films to relearn it. This narrative is often referenced as an example of Bowie's "futuristic nostalgia," where the tale is narrated from the viewpoint of a future resident reflecting on the past. It's composition was inspired by strange lights amidst the barren landscape between Seattle, Washington, and Phoenix, Arizona, as seen from a train at night on Bowie's 1972 US tour. The music featured Bowie's synthesizer and saxophone, while the lyrics name-checked Mick Jagger ("When people stared in Jagger's eyes and scored"), the model Twiggy ("She'd sigh like Twig the wonder kid"), and Carl Jung ("Jung the foreman prayed at work"). The reference to Jung is significant according to artist Tanja Stark, and heralds the pivotal influence of Jungian depth psychology frameworks upon his career. She suggests the lyric "crashing out with sylvian" is a cryptic reference to the Sylvian fissure in the brain associated with visionary and hallucinatory experiences.

Alice Cooper Group’s "Eighteen"  backed with "Body" , was released as a 7-inch vinyl single in the UK by Warner Bros. Records (catalog number K 16095) on April 18, 1971, five months after its US release on November 11, 1970, failing to achieve chart success. It would spend a total of thirteen weeks on the chart. The single "Eighteen" (often referred to as "I'm Eighteen") was released on November 11, 1970, in the United States by Straight Records/Warner Bros. (catalog no. 7449), backed with "Is It My Body." It was released in the UK on April 18, 1971, also backed with "Is It My Body," through Warner Bros. The song was included on the album Love It to Death, released on March 8, 1971, in the US by Straight Records/Warner Bros. (catalog no. WS 1883). The single was titled "Eighteen," while the album track is listed as "I'm Eighteen." Chart Performance: US Billboard Hot 100: The single "Eighteen" peaked at 21 in 1971, marking the band's first Top 40 hit and a breakthrough success. It likely entered the chart in late 1970 or early 1971, with its peak occurring around February–March 1971, based on typical chart progression and release timing. Exact entry and exit dates are not specified in sources. Canada RPM Top Singles: The single reached 7 in 1971, reflecting stronger performance in Canada, particularly in the Midwest where the band had significant support. UK Singles Chart: The single did not chart in the UK, the group would have to wait until the release of Schools Out to achieve chart success in the UK.

T.Rex’s "20th Century Boy"  backed with "Free Angel" , was released as a 7-inch vinyl single in the UK by EMI Records under T. Rex Wax Co. (catalog number MARC 21) on August 13, 1982. TRACKLIST A1: 20th Century Boy A2: Dreamy Lady B1: The Groover B2: New York City

Barry Blue’s "Dancin' (On a Saturday Night)"  backed with "New Day" , was released as a 7-inch vinyl single in the UK by Bell Records (catalog number BELL 1295) on April 6, 1973, entering the BBC UK Singles Chart, climbing to number 4 on August 21, 1973, peaking at number 2 for 2 weeks, and charting for 15 weeks.The track was co written by Barry Blue and Lynsey De Paul.

The Manish Boys and Davy Jones and The Lower Third’s The Manish Boys EP , featuring four tracks including "I Pity The Fool"  and "Take My Tip"  by The Manish Boys, and "You've Got a Habit of Leaving"  and "Baby Loves That Way"  by Davy Jones and The Lower Third, was released as a 7-inch vinyl extended play single in the UK by EMI Records (catalog number EMI 2957) on March 2, 1979. Side 1: The Manish Boys A1: I Pity The Fool A2: Take My Tip Side 2: Davy Jones and The Lower Third B1: You've Got a Habit of Leaving B2: Baby Loves That Way

Ian Hunter’s "Ships"  backed with "Wild East" , was released as a 7-inch vinyl single in the UK by Chrysalis Records (catalog number CHS 2353) on August 10, 1979. Written by Ian Hunter and produced by Ian Hunter and Mick Ronson, both tracks were taken from Hunter's fourth solo album, You're Never Alone with a Schizophrenic. The song is noted for its classic rock style with a melodic, introspective tone. While Hunter's version did not chart, it gained wider recognition through a cover by Barry Manilow, which peaked at 9 on the Billboard Hot 100 and 4 on the Adult Contemporary chart in the U.S. in 1979.

David Bowie’s "Baal"  backed with "All the Madmen" , was released as a 7-inch vinyl EP single in the UK by RCA Records (catalog number PB 110) on February 26, 1982. Featuring recordings of songs composed for Bertolt Brecht's play "Baal." It is occasionally called David Bowie in Bertolt Brecht's Baal, as noted on the cover. This EP marked Bowie's last release of new material with RCA Records before he transitioned to EMI Records for his subsequent album. Bowie's performance as Baal aired on 2 March 1982, and RCA released the EP to coincide with this event. Both the play and the EP received positive reviews, with the EP reaching No. 29 on the UK chart, which was impressive given the unconventional tracks. Besides the 7" edition, which came in a double gatefold sleeve with extensive notes on the musical content and a short biography of Bertolt Brecht, the EP was also released as a 12", gaining some play in clubs and radio airplay. "The Drowned Girl" appeared on the 2005 triple CD set The Platinum Collection and was later included in the 2007 re-release of its third CD titled The Best of David Bowie 1980/1987, which also featured a music video for the song on DVD. Both "The Drowned Girl" and "Baal's Hymn" were part of the 2003 and 2014 expanded re-issues of Sound + Vision. The EP was made available as a digital download in 2007. All five tracks were also featured on the Re:Call 3 compilation disc, which was part of the A New Career in a New Town (1977–1982) box set, released in September 2017. All lyrics are written by Bertolt Brecht and translated by John Willett, except "Remembering Marie A." which is traditional, adapted by Brecht and translated by Willett Side A 1. "Baal's Hymn" 4:02 2. "Remembering Marie A." 2:07 Total length: 6:09 Side B 1. "Ballad of the Adventurers" 2:01 2. "The Drowned Girl" 2:26 3. "The Dirty Song" 0:38 Total length: 5:05

T.Rex’s "T. Rex Disco Party" , also known as "Bolan's Jive In '75" , comprising three tracks including "Dreamy Lady"  backed with "Do You Wanna Dance?"  and "Dock of the Bay" , was released as a 7-inch vinyl extended play single in the UK by EMI Records under T. Rex Wax Co. (catalog number MARC 11) on September 26, 1975. Tracks: A-Side: Dreamy Lady B-Side: Do You Wanna Dance / Dock of the Bay Release Date: 26 September 1975 Record Label: EMI Records (UK, MARC 11) Format: 7-inch vinyl, 45 RPM, Single/EP Genre: Glam rock / Pop rock / Disco Producer: Marc Bolan Songwriters: Dreamy Lady: Marc Bolan Do You Wanna Dance: Bobby Freeman (cover) Dock of the Bay: Otis Redding, Steve Cropper (cover, performed by Gloria Jones) Matrix/Runout:Side A: YMARC 11 A-1 Side B: YMARC 11 B-1 Published By: Wizard Publishing Ltd., Sherwin Music Ltd., Warner Bros. Music Ltd. Background and Context T. Rex, led by Marc Bolan, was a pioneering glam rock band that transitioned from the psychedelic folk of Tyrannosaurus Rex in the late 1960s to a chart-topping glam rock act in the early 1970s with hits like "Hot Love," "Get It On," and "Metal Guru." By 1975, the band’s commercial peak had waned in the UK, but Bolan was adapting to new musical trends, incorporating disco and soul elements into T. Rex’s sound. This shift was evident in their 1975 album Bolan’s Zip Gun, which blended glam rock with R&B and funk influences.The "T. Rex Disco Party" single, released in the wake of Bolan’s Zip Gun and before Futuristic Dragon (1976), reflects Bolan’s experimentation with disco. The subtitle "Bolan's Jive In '75" emphasizes the danceable, upbeat vibe of the release. The inclusion of two cover songs on the B-side, one performed by Bolan’s partner Gloria Jones, highlights the band’s engagement with soul and R&B, genres Jones was known for as a soul singer and songwriter.Track DetailsA-Side: "Dreamy Lady"Written by Marc Bolan, this is an original T. Rex track with a disco-inflected glam rock sound. It features Bolan’s signature poetic lyrics and a catchy, danceable rhythm, reflecting the mid-1970s trend toward disco. Duration: Approximately 2:55 (based on Discogs and streaming platforms). The song was a moderate hit, aligning with T. Rex’s efforts to stay relevant in a changing musical landscape. B-Side: "Do You Wanna Dance" A cover of the 1958 rock and roll classic by Bobby Freeman, reinterpreted by T. Rex with a glam rock flair. Bolan’s version adds a slick, energetic vibe suitable for the disco era. Duration: Approximately 2:15 (based on typical cover versions). B-Side: "Dock of the Bay" A cover of the 1968 soul classic by Otis Redding and Steve Cropper, performed by Gloria Jones (credited as a solo performance on some sources). Jones, Bolan’s partner and a backing vocalist for T. Rex, brings her soulful vocal style to this track, making it a standout on the EP. Duration: Approximately 2:20 (based on streaming versions). This track underscores the soul influence on T. Rex’s mid-1970s output and highlights Jones’s role in the band’s evolving sound. Commercial Performance Chart Performance: The single reached No. 30 on the UK Singles Chart, staying in the charts for 5 weeks. T. Rex's "Dreamy Lady" One-Page Advert Record Mirror October 4, 1975. This was a modest success compared to T. Rex’s earlier string of 11 consecutive UK Top 10 singles from 1970 to 1973 (e.g., "Hot Love," "Get It On"). The lower chart position reflects the decline in T. Rex’s UK popularity by 1975, as glam rock gave way to disco, punk, and other genres. Recording and Production Recording Location: The tracks were recorded at Music Recorders Inc., Hollywood, as noted for other 1975 T. Rex singles. Producer: Marc Bolan, who took a hands-on role in production following his split with longtime producer Tony Visconti in 1974. Bolan’s self-production aimed for a harder, more futuristic sound, though it received mixed reviews from critics at the time. The inclusion of Gloria Jones on "Dock of the Bay" highlights her significant role in T. Rex’s mid-1970s sound, both as a vocalist and as Bolan’s creative partner. Cultural and Historical Context Glam Rock’s Decline: By 1975, glam rock was losing ground to disco, punk, and new wave. T. Rex’s incorporation of disco elements in "Dreamy Lady" and the soulful covers on the B-side was a strategic move to stay relevant, though it didn’t fully recapture their earlier UK chart dominance. Marc Bolan’s Career: In 1975, Bolan returned to the UK after a period of tax exile in the US and Monaco. He made regular appearances on the TV show Supersonic, directed by Mike Mansfield, to promote T. Rex’s new material, including this single. Gloria Jones’s Influence: Jones, who gave birth to Bolan’s son, Rolan Bolan, in September 1975, was a key figure in T. Rex’s shift toward soul and R&B. Her performance on "Dock of the Bay" reflects her established career as a soul artist (notably, the original performer of "Tainted Love"). Sleeve: The single typically came with a plain or company sleeve, though some European releases (e.g., Germany, Netherlands) included picture sleeves. Digital Availability: "Dreamy Lady" is available on streaming platforms like Spotify, Apple Music, and Amazon Music, often as part of T. Rex compilations or the Futuristic Dragon album reissues. "Do You Wanna Dance" and "Dock of the Bay" are less commonly featured but appear on select T. Rex anthologies or bootlegs. Compilations: The tracks are included in releases like The Essential Collection (2002) and Marc Bolan & T. Rex: The Singles 1973-80 (Cherry Red, 2023). YouTube: Audio for all three tracks is available, including fan uploads and official releases from T. Rex’s catalog. Critical Reception The single received mixed reviews at the time, as Bolan’s self-produced work was often criticized for lacking the polish of his earlier Tony Visconti-produced hits. Japan - T. Rex - 1975 "Dreamy Lady" was praised for its catchy, danceable quality but didn’t achieve the same cultural impact as T. Rex’s early-1970s hits. The B-side covers were seen as a nod to Bolan’s love for classic rock and soul, with Gloria Jones’s "Dock of the Bay" standing out for its soulful delivery. Retrospectively, the single is appreciated by T. Rex fans and glam rock collectors for its transitional sound, bridging glam rock with disco and soul. Legacy: The single is a snapshot of T. Rex’s mid-1970s evolution, reflecting Bolan’s adaptability to new musical trends. While not as iconic as "Get It On" or "Metal Guru," it remains a fan favorite for its disco-glam fusion. Gloria Jones’s involvement underscores her influence on Bolan’s later work and her role in shaping T. Rex’s sound during this period. T. Rex’s influence on glam rock, punk, and later genres is well-documented, and this single is part of their broader legacy, celebrated in their 2020 Rock and Roll Hall of Fame induction. Sources Discogs: Detailed credits, tracklists, and vinyl variants for "T. Rex Disco Party" Wikipedia: Background on T. Rex’s career, discography, and Bolan’s 1975 activities. Official Charts Company: Chart performance data.

Marc Bolan & T.Rex’s Goldies  series, comprising three 7-inch vinyl singles including "Ride a White Swan"  backed with "Is It Love?" , "Hot Love"  backed with "Woodland Rock" , and "Get It On"  backed with "Raw Ramp" , was released in the UK by Old Gold Records (catalog numbers OG 9200, OG 9201, OG 9202) on September 3, 1982, as part of the Golden Years of Pop Music  series. A: "Hot Love" B: "Ride a White Swan" OG 9229 Hundreds of Oldies from the Golden Years of Pop Music T.REX Hot Love/Ride A White Swan Marc Feld was a top mod face' in 1964 and a year later moved into the music business. He was a star from the start, but a star without a hit, and before he finally crashed into the top ten in 1970 he had to pay the proverbial dues. First he was Marc Bolan, then he was leader of John's Children, and in 1967 he first started to build a solid reputation in the acoustic hippy duo Tyrannosaurus Rex. When bongoman Steve Took split, Marc replaced him with Mickey Finn and cut his first real hit-"Ride A White Swan" (UK:2). The follow-up "Hot Love" (UK:1) was an intriguingly ethereal twelve-bar with "Hey Jude" type ending, and simultaneously Marc vamped up his image and in the process created glam-rock. Innovative and original, Bolan's short career nevertheless spanned the tumultuous years from mod to punk. (text from sleeve back) A: "Get It On" B: "Jeepster" OG 9230 Hundreds of Oldies from the Golden Years of Pop Music T.REX Get It On/Jeepster With "Get It On" (UK:1, US:10) in 1971, Marc Bolan finally threw off the attractively-fey 'wizards-and-fairies Image cultivated since his first solo record in 1965, continued as Tyrannosaurus Rex, and which even lingered a little in the lyrics of his previous chart-topper "Hot Love". T. Rex's new sound was a shimmeringly-heavy rock groove topped by Marc's sensual vocals. Produced by Tony Visconti, it also gave him his only big US hit where it was retitled "Bang A Gong" to avoid confusion with an earlier "Get It On" by jazz-rockers Chase. Rest of T.Rex were Mickey Finn (percussion), Steve Currie (bass), Bill Legend (drums) and Jack Green (guitar). Bolan, who invented the 'glam' that started the glam-rock boom of the early 70's, sang and played guitar, and also wrote poetry: his "Warlock Of Love" collection was a best-seller, but his barnstorming career ended In 1977 in a car crash. (text from sleeve back) A: "Deborah" B: "One Inch Rock" Tyrannosaurus Rex OG 9234 (released in a none picture sleeve)

Marc Bolan & T.Rex’s BackTrackin' Singles  series, comprising three 7-inch vinyl singles including "Jeepster"  backed with "Life’s a Gas" , "Hot Love"  backed with "Woodland Rock" , and "Get It On"  backed with "Raw Ramp" , was released in the UK by Cube Records (catalog numbers BUG 100, BUG 101, BUG 102) on September 3, 1982, as part of the Backtrackin' Classic Singles Series . BAK 3 "Hot Love" In Charts 17 Weeks, Reached No. 1 "Jeepster" In Charts 15 Weeks, Reached No. 2 BAK 4 "Get It On" In Charts 13 Weeks, Reached No. 1 "Debora" In Charts 10 Weeks, Reached No. 7 "One Inch Rock" In Charts 7 Weeks, Reached No. 28 "Ride A White Swan" In Charts 20 Weeks, Reached No. 2

The Move’s "Do Ya"  backed with "No Time" , was released as a 7-inch vinyl single in the UK by Harvest Records (catalog number HAR 5086) on September 13, 1974. A-Side: "Do Ya": Written by Jeff Lynne, "Do Ya" is a high-energy rock track characterized by its driving guitar riffs, catchy melody, and layered production, showcasing The Move's transition toward a more polished, proto-power pop sound. This 1974 version was a precursor to the more famous rendition by Electric Light Orchestra (ELO), which Lynne later led. ELO re-recorded "Do Ya" for their 1976 album A New World Record, where it became a hit in the US, peaking at #24 on the Billboard Hot 100. The Move’s original, however, was less commercially successful, only reaching #93 on the US Billboard Hot 100. Reception and Legacy: The single was not a major chart success in the UK, reflecting The Move’s declining commercial fortunes by 1974 as they transitioned into ELO. The Move in 1974 Lineup: By 1974, The Move was primarily a vehicle for Jeff Lynne and Roy Wood, with other members like Bev Bevan contributing. The band was in its final phase, with Lynne and Wood focusing on their new project, Electric Light Orchestra (ELO), alongside Move associate Richard Tandy. Context: The Move had been a significant UK rock band in the late 1960s, with hits like "Night of Fear" (#2 UK), "I Can Hear the Grass Grow" (#5 UK), "Flowers in the Rain" (#2 UK), and "Fire Brigade" (#3 UK). By the early 1970s, their chart success waned, with singles like "Wild Tiger Woman" and "When Alice Comes Back to the Farm" failing to chart significantly. The 1974 release of "Do Ya" came after hits like "Tonight" (#11 UK), "Chinatown" (#23 UK), and "California Man" (#7 UK), but the band was effectively dissolving as ELO took precedence. Harvest Records, known for progressive rock acts like Pink Floyd and Deep Purple, was The Move’s label during this period, having released several of their later singles. Transition to ELO: The Move disbanded shortly after this single, with Lynne, Bevan, and Wood forming ELO, which became a global success. "Do Ya" was a key track that Lynne carried into ELO’s repertoire, refining it for a broader audience.

Mud’s "Nite on the Tiles"  backed with "Time and Again" , was released as a 7-inch vinyl single in the UK by Private Stock Records (catalog number PVT 80) on September 24, 1976. The single was recorded in March 1976 and released as the lead single from their fourth studio album, It’s Better Than Working!. According to Ray Stiles in a 1976 interview with Record Mirror & Disc, the song represented a musical evolution for the band, with Stiles describing it as "perhaps musically the best thing we’ve done." However, the decision to release "Nite on the Tiles" as a single was controversial, as it was chosen by the band’s labels (Private Stock in the UK and Philips in Europe) after consultations with label managers across Europe. This choice was later criticized by vocalist Les Gray, who felt it wasn’t the right fit for the UK market. Commercial Performance: "Nite on the Tiles" was a commercial disappointment in the UK, failing to reach the Top 50 and breaking Mud’s run of fourteen consecutive UK Top 20 hits from 1973 to 1976. This marked a significant decline from their earlier chart success, including three UK number-one singles. However, the song performed better in Europe, suggesting a divergence in musical tastes between the UK and continental markets. Les Gray attributed the UK’s lack of reception to changing musical trends and the influence of commercial radio stations, which were pushing British audiences toward newer sounds. Artist: Mud A-Side: Nite on the Tiles B-Side: Time and Again Album: From the album It’s Better Than Working! (1976) Songwriters: Ray Stiles (bassist) and Rob Davis (guitarist) Producer: Pip Williams Background and Context Mud, formed in 1966 in Surrey, England, were a prominent glam rock band known for hits like "Tiger Feet," "Lonely This Christmas," and "Dyna-mite." By 1976, the band had parted ways with their earlier songwriting and production team, Nicky Chinn and Mike Chapman, who were instrumental in their chart-topping success from 1973 to 1975. For It’s Better Than Working!, Mud took creative control, with bassist Ray Stiles and guitarist Rob Davis writing most of the material, including "Nite on the Tiles." This shift marked a new phase for the band, moving away from the Chinn-Chapman formula toward a more self-directed sound, though still rooted in glam rock with influences from 1950s rock and roll and emerging disco trends. The song’s title, "Nite on the Tiles," is a British colloquialism for a night out, often implying a lively or hedonistic evening, which aligns with the band’s playful, energetic style. The track was praised by Ray Stiles for its musical quality, suggesting it was a step forward in terms of composition and arrangement, though it didn’t resonate with UK audiences as hoped. B-Side: "Time and Again" Was also written by Stiles and Davis and produced by Pip Williams. I Digital Platforms: The song is available for streaming on Spotify (including a 2023 remastered version) and Apple Music. Germany - Philips - 1976 It’s also part of compilation albums like The Private Stock Mudpack: Special Great Hits Recipe (released 2016) and Mud: The Singles 1973-80 (3CD set by Cherry Red, 2023). YouTube: Performances and audio of "Nite on the Tiles" are available, including a TopPop performance from 1976 and official uploads from Private Stock Records. Critical Reception: The song received mixed feedback due to its commercial failure in the UK. Les Gray’s comments in Record Mirror suggest frustration with the label’s choice, as the band felt other tracks from It’s Better Than Working! might have been better suited for the UK market. Cultural and Historical Context Mud’s Career Arc: By 1976, Mud were transitioning from their peak glam rock years (1973–1975) into a period of experimentation. The split from Chinn and Chapman gave them creative freedom but also led to inconsistent chart performance. "Nite on the Tiles" reflects this transitional phase, where the band tried to balance their established sound with new influences. Glam Rock Decline: The mid-1970s saw glam rock waning in the UK as punk and disco gained traction. The single’s failure to chart highly in the UK may reflect these shifting musical trends, as Gray noted in his comments about commercial radio’s influence. Band Lineup: At the time of the single’s release, Mud consisted of:Les Gray (lead vocals) Rob Davis (lead guitar) Ray Stiles (bass) Dave Mount (drums) Norway - Philips - 1976 Legacy: While not one of Mud’s biggest hits, "Nite on the Tiles" is part of their broader discography, which includes iconic tracks like "Tiger Feet" and "Lonely This Christmas." The song’s availability on modern streaming platforms and inclusion in retrospective compilations show its enduring niche appeal. Sources and Further Exploration Discogs: Detailed tracklists, credits, and vinyl versions of "Nite on the Tiles" are available for collectors. Wikipedia: Provides background on the song’s creation, release, and commercial performance. Streaming Platforms: Spotify, Apple Music, and Gaana offer the song in various formats, including remastered versions. YouTube: Offers audio and performance footage, including a 1976 TopPop appearance. eBay/Amazon: Current listings for vinyl copies provide insight into the single’s condition and market value. Mud’s Official Website: Offers historical context on the band’s career and discography.

Alvin Stardust’s "Move It"  backed with "Be Smart, Be Safe (The Green Cross Code Song)" , was released as a 7-inch vinyl single in the UK by Magnet Records (catalog number MAG 39) on September 5, 1975. Tracks: A-Side: "Move It" (3:33) B-Side: "Be Smart, Be Safe (The Green Cross Code Song)" (2:54) Producer: Roger Greenaway A-Side: "Move It" Description: "Move It" is a cover of the classic 1958 rock and roll song originally performed by Cliff Richard and the Drifters, written by Ian Samwell. Alvin Stardust’s version is described as a vibrant and fun rendition, with the singer, musicians, and producers clearly enjoying the recording process. It captures the energetic spirit of the original while infusing Stardust’s glam rock style, characteristic of his 1970s persona. Chart Performance: The single "Move It" peaked at number 5 on the UK Breakers chart, an extension of the UK Singles Chart, indicating moderate success but not a major hit compared to Stardust’s earlier chart-toppers like "Jealous Mind." Context: By 1975, Alvin Stardust was an established glam rock artist, having achieved fame with hits like "My Coo Ca Choo" (1973) and "Jealous Mind" (1974). His cover of "Move It" was part of his effort to maintain relevance in the evolving music scene, blending his theatrical glam rock persona with classic rock and roll influences. B-Side: "Be Smart, Be Safe (The Green Cross Code Song)"Description: "Be Smart, Be Safe (The Green Cross Code Song)" was a public service announcement (PSA) song tied to the UK’s Green Cross Code campaign, a road safety initiative launched in 1970 by the National Road Safety Committee (now the Royal Society for the Prevention of Accidents, RoSPA). The campaign aimed to teach pedestrians, particularly children, how to cross roads safely. The song was designed to be catchy and memorable, reinforcing the Green Cross Code’s safety messages. Purpose and Context: Alvin Stardust was involved in the Green Cross Code campaign in 1976, appearing in television PSAs to promote road safety for children. The song was likely created to complement these efforts, using Stardust’s popularity to reach a young audience. The Green Cross Code campaign was notable for its use of celebrities like Stardust, Jon Pertwee, Joe Bugner, Les Gray, and Kevin Keegan to make safety messages relatable. Musical Style: Described as a “dynamic” and “flot” (lively) song, it was crafted to be engaging for children while delivering an educational message about road safety. The song’s inclusion on the B-side of "Move It" suggests it was a secondary track but still significant due to its association with a prominent public safety campaign. Germany - Ariola - 1975 Lyrics and Availability: The lyrics for "Be Smart, Be Safe" are not widely available online, as noted on some platforms, but the song is accessible for streaming on services like Spotify, Deezer, and SoundCloud. It was later included in compilation albums such as The Platinum Collection (2005). Release Details: The single was released in 1975, with "Move It" as the primary track and "Be Smart, Be Safe" as the B-side. It was part of Stardust’s broader discography, which included 35 singles as Alvin Stardust, many tied to his glam rock era. The vinyl is listed on platforms like Discogs and eBay, with copies in very good condition available for collectors. Reception: While "Move It" was well-received for its lively cover of a classic, it did not achieve the same chart success as Stardust’s earlier hits. The B-side, "Be Smart, Be Safe," was more of a cultural artifact due to its association with the Green Cross Code campaign. Reviews on platforms like Rate Your Music praise the energy of "Move It," while the B-side is noted for its nostalgic and educational value, particularly in the context of 1970s British public safety efforts. Cultural Impact: The Green Cross Code campaign, bolstered by Stardust’s involvement, was a significant part of 1970s UK culture, replacing earlier pedestrian safety initiatives like the Kerb Drill. The song and Stardust’s PSA appearances helped embed road safety messages in the public consciousness, particularly for children. A Reddit post from 2020 highlights a 1976 Green Cross Code PSA featuring Stardust, underscoring its lasting nostalgic impact. Availability Streaming: "Be Smart, Be Safe (The Green Cross Code Song)" is available on streaming platforms like Spotify, Deezer, and SoundCloud, often as part of The Platinum Collection (2005). "Move It" is also included in this compilation. Alvin Stardust’s Career: By 1975, Stardust was a prominent figure in the UK glam rock scene, having transitioned from his earlier persona as Shane Fenton in the 1960s. His involvement in the Green Cross Code campaign aligned with his public image as a charismatic, family-friendly performer, further evidenced by his 1989 children’s TV series It’s Stardust on ITV. Green Cross Code Campaign: The campaign’s use of celebrities and catchy media, like Stardust’s song, was part of a broader strategy to make road safety engaging. The 1976 PSA featuring Stardust, referenced in a 2020 Reddit post, included the memorable line, “Hey! You must be out of your tiny minds!” to grab children’s attention. Sources The information above is compiled from various sources, including:Spotify and Deezer listings for track details and availability Wikipedia entries on Alvin Stardust and the Green Cross Code Discogs and 45cat for release details Reddit posts for cultural context and nostalgia Rate Your Music and other music databases for reviews and tracklists

Sparks’ "Looks, Looks, Looks"  backed with "Pineapple" , was released as a 7-inch vinyl single in the UK by Island Records (catalog number WIP 6249) on September 26, 1975, as part of their fifth studio album Indiscreet , produced by Tony Visconti. The Single: "Looks, Looks, Looks" / "Pineapple" Release Details: UK: Released on Island Records (WIP 6249) as a 7" vinyl, 45 RPM single on September 26, 1975. Matrix runouts include WIPX 1436 (A-side) and WIPX 1437 (B-side), with some variants etched "TRIDENT" for Trident Studios. Chart Performance: The single reached #26 on the UK Singles Chart, moderately successful but less impactful than earlier hits like "This Town Ain’t Big Enough for Both of Us" (#2 UK, 1974). International Releases: France: Released on Island Records (6837 296) as a 7" vinyl single in 1975. Copies are noted in Very Good Plus (VG+) condition, priced around €3. Germany: Released on Island Records (16 370 AT) as a 7" vinyl single in 1975. Available for purchase in VG+/VG condition for €3 at retailers like 45toeren.nl. US: Released on Island Records (IS 043) as a 7" vinyl single in 1975, with the B-side listed as "The Wedding of Jacqueline Kennedy to Russell Mael" (1:36) in some sources, though "Pineapple" is confirmed as the standard B-side in most markets. Other Potential Regions: While specific evidence for additional countries is limited, Sparks’ albums and singles from the Indiscreet era were distributed in other European markets (e.g., Netherlands, Belgium) and possibly Australia, given Island Records’ international reach. However, no definitive catalog numbers for these regions are confirmed in the provided data. A-Side: "Looks, Looks, Looks" (2:32): Written by Ron Mael, this track is a jazzy, big band-inspired pop song from Indiscreet, showcasing Sparks’ theatrical and eclectic style. It features swinging brass, playful piano, and Russell Mael’s distinctive vocals, with lyrics humorously extolling the virtues of physical appearance. Produced by Tony Visconti, the song incorporates orchestral elements, aligning with the album’s departure from the glam rock of Kimono My House (1974) and Propaganda (1974) toward jazz, swing, and vaudeville influences. Performed live on November 9, 1975, at Fairfield Halls, a 4:02 version appears on reissues (e.g., 2006 Island Records CD). B-Side: "Pineapple" (2:44): Written by Russell Mael, "Pineapple" is a music hall-style track with a quirky, repetitive refrain celebrating the fruit. Its theatrical delivery and oddball lyrics typify Sparks’ eccentric humor. The song is polarizing among fans; some, like a ProgArchives reviewer, find Russell’s exaggerated vocal delivery annoying, while others, as seen in Reddit fan posts, celebrate its kitschy charm. Produced by Tony Visconti, it features the same Indiscreet lineup, with Ian Hampton (bass), Trevor White (guitar), and Norman Diamond (drums), emphasizing a vaudevillian arrangement. Context and Background Sparks in 1975: Sparks, formed by brothers Ron (keyboards) and Russell Mael (vocals) in Los Angeles, had relocated to the UK for their glam rock breakthrough with Kimono My House (1974, #4 UK) and Propaganda (1974, #9 UK). By 1975, Indiscreet marked a shift to a more theatrical, genre-hopping sound under Tony Visconti’s production. The band’s lineup included British musicians Ian Hampton (bass), Trevor White (guitar), and Norman Diamond (drums), following the departure of earlier members. This was their third album with a UK-based lineup. Label: Island Country: Germany Catalogue: 16 370 AT Indiscreet peaked at #18 on the UK Album Chart but was less successful than its predecessors, leading the Mael brothers to disband the UK lineup and return to the US after 1975, marking the end of their glam-era phase. Sparks toured the US in 1975, gaining cult attention in cities like New York, Cleveland, and Los Angeles, with FM radio support from stations like WMMS and a TV appearance on American Bandstand hosted by Dick Clark. Musical and Cultural Significance: "Looks, Looks, Looks" reflects Sparks’ pivot to theatrical, non-rock styles like jazz and big band, influenced by Visconti’s orchestral expertise (known for work with David Bowie and T. Rex). The song’s playful tone and sophisticated arrangement align with Sparks’ quirky, art-pop identity. The B-side "Pineapple" exemplifies Sparks’ love for absurd, humorous lyrics, a trait that endeared them to fans like Björk and Franz Ferdinand’s Alex Kapranos, who cited Indiscreet as influential. The single’s moderate chart success (#26 UK) and the album’s #18 peak signaled a commercial dip, prompting the Maels’ return to the US and a shift to disco with No. 1 In Heaven (1979). Sparks’ 1975 American Bandstand performance and cult following in the US laid the groundwork for their enduring influence on artists like Faith No More and Red Hot Chili Peppers’ John Frusciante. Chart Performance and Reception: UK: Peaked at #26, less successful than "This Town Ain’t Big Enough for Both of Us" (#2) or "Something for the Girl with Everything" (#17). US: Limited chart impact, though the single was released (IS 043), and Indiscreet gained cult traction via FM radio in major cities. Label: Island Country: Japan Catalogue: ILR-10868 Streaming and Compilations: Both tracks are available on streaming platforms (Spotify, Apple Music) as part of Indiscreet or compilations like The Best & The Rest Of The Island Years 74-78 (2018, Island Records). The live version of "Looks, Looks, Looks" (Fairfield Halls, 1975) is included on 2006 reissues (Island 984 341-1). Additional Notes Musicians and Production: Produced by Tony Visconti, known for his work with David Bowie and T. Rex, the single features Sparks’ UK lineup: Ron Mael (keyboards), Russell Mael (vocals), Ian Hampton (bass), Trevor White (guitar), and Norman Diamond (drums). Additional orchestral and brass arrangements were likely coordinated by Visconti. Recorded at Trident Studios, London, the single’s polished sound reflects Visconti’s expertise, though some critics felt the collaboration didn’t fully click compared to earlier albums. Cultural Context: Released in 1975, the single competed in a vibrant music scene with glam rock (David Bowie, Queen), disco (Donna Summer), and early punk influences. Sparks’ theatrical style and genre experiments made them outliers, appealing to a cult audience. Their American Bandstand appearance and FM radio support in the US boosted their profile, with fans like Björk citing Indiscreet’s exotic flair as influential.

Elton John’s "Island Girl"  backed with "Sugar On The Floor" , was released as a 7-inch vinyl single in the UK by DJM Records (catalog number DJS 610) on September 19, 1975. It was also released in the US by MCA Records (MCA-40461). The single was a major commercial success, reaching #1 on the US Billboard Hot 100 for three weeks (his fifth US #1) and #3 on the UK Singles Chart. It also hit #1 in Canada and charted in other regions, including #4 in Ireland and #14 in Australia. Label: DJM Country: UK Catalogue: DJS.610 (promotional label showing release date of September 19) A-Side: "Island Girl" (3:46): Written by Elton John (music) and Bernie Taupin (lyrics), "Island Girl" is an upbeat, reggae-inflected rock song with a Caribbean vibe, reflecting Taupin’s fascination with exotic locales and storytelling. Lyrics describe a Jamaican sex worker in New York City, with vivid imagery ("She stands six foot three in her underwear") and a mix of sympathy and curiosity. The song’s narrative sparked some controversy for its depiction of race and prostitution, with modern critiques noting its dated stereotypes, though it was not widely criticized at the time. Musically, it features a punchy rhythm section, driven by new band members like drummer Roger Pope and bassist Kenny Passarelli, alongside longtime collaborators Davey Johnstone (guitar) and Ray Cooper (percussion). The track’s lively arrangement includes congas, marimbas, and a steel drum-like sound, enhancing its tropical feel. Produced by Gus Dudgeon, the song marked a shift from the orchestral grandeur of earlier albums like Goodbye Yellow Brick Road (1973) to the harder-edged rock of Rock of the Westies, recorded at Caribou Ranch in Colorado. The single’s success helped propel Rock of the Westies to #1 on the US Billboard 200 and #5 in the UK, with global sales exceeding 5 million copies for the album. Label: DJM Country: UK Catalogue: DJS.610 (promotional label showing release date of September 12) B-Side: "Sugar On The Floor" (4:31): Written by Kiki Dee (a close collaborator and Rocket Records artist), "Sugar On The Floor" is a soulful, melancholic ballad contrasting the upbeat A-side. The track, also from Rock of the Westies, features Elton John’s emotive piano and vocals, with a stripped-down arrangement emphasizing Dee’s songwriting. Lyrics evoke longing and vulnerability, showcasing John’s versatility in handling introspective material. Backed by the same band as the A-side, it includes subtle contributions from Johnstone’s acoustic guitar and Cooper’s percussion, with a focus on John’s expressive delivery. While not a chart hit, the B-side is well-regarded by fans and appears on streaming platforms as part of the Rock of the Westies album. It’s also noted for its inclusion in some international single pressings (e.g., US MCA-40461). Context and Background Elton John in 1975: By 1975, Elton John was at the peak of his commercial success, having released a string of hit albums (Honky Château, Goodbye Yellow Brick Road, Caribou) and singles like "Rocket Man," "Crocodile Rock," and "Bennie and the Jets." He was one of the world’s biggest pop stars, known for his flamboyant stage presence and prolific output. Rock of the Westies (released October 1975) followed his autobiographical Captain Fantastic and the Brown Dirt Cowboy (May 1975), both hitting #1 in the US. The album marked a new band lineup after parting ways with bassist Dee Murray and drummer Nigel Olsson, introducing Caleb Quaye (guitar), Roger Pope (drums), and Kenny Passarelli (bass). The single was released during a busy year: John founded Rocket Records, toured extensively, and made high-profile appearances, including a free concert in Central Park attended by 150,000 people in 1980 (though related to later events, it reflects his 1970s stardom). Musical and Cultural Significance: "Island Girl" reflects the mid-1970s trend of rock artists experimenting with reggae and Caribbean influences, seen in songs like Eric Clapton’s "I Shot the Sheriff" (1974). Its catchy hook and danceable rhythm made it a radio staple, though its lyrical content has been re-evaluated in modern contexts for cultural sensitivity. The B-side, "Sugar On The Floor," highlights John’s support for Kiki Dee, whom he later duetted with on the 1976 hit "Don’t Go Breaking My Heart" (#1 UK/US). It also shows his willingness to showcase other artists’ work, a trait evident in his Rocket Records ventures. The single’s success solidified John’s dominance in the US market, where he had five #1 singles between 1972 and 1975. However, its #3 UK peak reflects stiffer competition in his home market, where glam rock and emerging punk were gaining traction. Chart Performance and Reception: US: "Island Girl" topped the Billboard Hot 100 for three weeks in November 1975, certified Gold by the RIAA, and was a radio and jukebox favorite. It also hit #1 in Canada and charted in New Zealand (#22). UK: Peaking at #3, it was a strong performer but didn’t match the UK success of earlier hits like "Don’t Go Breaking My Heart" or later ones like "I’m Still Standing." Critics praised the single’s energy but noted Rock of the Westies as less cohesive than Captain Fantastic. Some reviews, like those on AllMusic, call "Island Girl" a highlight for its “exotic vibe,” while others critique its lyrical simplicity compared to Taupin’s more poetic work. Modern fan discussions on platforms like Reddit highlight the song’s nostalgic appeal, though some note its problematic lyrics by today’s standards. The B-side is less discussed but appreciated for its soulful contrast. Streaming and Compilations: "Island Girl" is widely available on streaming platforms (e.g., Spotify, Apple Music) as part of Rock of the Westies or compilations like Greatest Hits 1970–2002 and Diamonds (2017). "Sugar On The Floor" is less prominent but available on Rock of the Westies and select streaming versions of the album. The single itself is not typically available as a standalone digital release, making vinyl the primary way to experience it in its original format. Additional Notes Musicians and Production: Produced by Gus Dudgeon, known for his lush production on John’s earlier albums, the single features a tight band: Davey Johnstone (guitar), Caleb Quaye (guitar), Roger Pope (drums), Kenny Passarelli (bass), James Newton Howard (keyboards), and Ray Cooper (percussion). Backing vocals by Kiki Dee and others add depth. Recorded at Caribou Ranch, Colorado, the sessions captured a raw, live-band energy, contrasting with the orchestral polish of Captain Fantastic. Cultural Context: Released in the glam rock era, "Island Girl" fit the 1975 trend of vibrant, theatrical pop-rock, competing with acts like Queen ("Bohemian Rhapsody") and David Bowie. Its reggae elements also aligned with the growing popularity of Bob Marley and reggae in mainstream music. Elton John’s flamboyant persona—glasses, costumes, and stage antics—was at its peak, reflected in the single’s bold energy and his high-profile 1975 tours. The B-side’s inclusion of a Kiki Dee composition underscores John’s collaborative spirit, later cemented by their 1976 duet hit. Legacy: "Island Girl" remains one of Elton John’s signature 1970s hits, frequently included in retrospectives and live performances (e.g., his Farewell Yellow Brick Road tour setlists). Its chart success and album’s #1 status cemented John’s mid-1970s dominance, though some fans and critics prefer his earlier, more introspective work. The B-side, "Sugar On The Floor," is a hidden gem, showcasing Kiki Dee’s songwriting and John’s ability to elevate lesser-known tracks. The single was also released in the picture sleeves below. Austria - DJM - 1975 Germany - DJM - 1975 Japan - DJM - 1975 Netherlands - DJM - 1975 Spain - DJM - 1975

The Sweet’s "The Ballroom Blitz"  backed with "Rock & Roll Disgrace" , was released as a 7-inch vinyl single in the UK by RCA Victor (catalog number RCA 2403) on September 14, 1973. Produced by Phil Wainman, this single is one of The Sweet’s most iconic releases, reaching No. 2 in the UK Singles Chart and becoming a defining anthem of the glam rock era. RCA dropped a clanger a when pressing thousands of extra copies of Sweet's "Ballroom Blitz" to meet demand. A master was cut from tape running at the wrong speed and "Blitz" came out at over 50 rpm. Some copies were sold, and, say RCA: "if anybody is upset, they can take their record back and we'll make arrangements for it to be replaced." Below Rare Foreign Sleeves, and Single Review New Musical Express September 15, 1973 Track Details A-Side: "The Ballroom Blitz" (3:59, as listed on some pressings; 4:00 on others)Origin: Written by Nicky Chinn and Mike Chapman (Chinnichap), "The Ballroom Blitz" was recorded on June 11–12, 1973, at Audio International Studio, 18 Rodmarton Street, London, and produced by Phil Wainman for New Dawn Productions Ltd. Inspired by a January 27, 1973, incident where The Sweet were driven offstage by a bottling (audience throwing bottles) at the Grand Hall in Kilmarnock, Scotland, the song captures the chaotic energy of a live performance gone awry. It was released as a standalone single in the UK, not appearing on a UK studio album but included on the US and Canadian versions of Desolation Boulevard (1974) and later UK hits compilations. Style: A high-energy glam rock anthem with bubblegum pop and hard rock elements, "The Ballroom Blitz" features a stomping drum intro by Mick Tucker, a riff inspired by Bobby Comstock’s 1963 song “Let’s Stomp,” and The Sweet’s signature multi-layered, high-pitched harmonies. Brian Connolly’s lead vocals, backed by Steve Priest, Andy Scott, and Mick Tucker, deliver a theatrical narrative about a wild dancehall scene, with iconic lines like “Are you ready Steve? Uh-huh... Andy? Yeah... Mick? Okay... Alright fellas... Let's goooooo!” The track blends catchy pop hooks with a raw, frenetic edge, described as “glam punk” on Rate Your Music. Publisher: Chinnichap/Rak Publishing Ltd. Chart Performance: Peaked at No. 2 in the UK (September 1973, behind Simon Park Orchestra’s “Eye Level”), No. 1 in Canada, No. 1 in Australia, No. 5 on the US Billboard Hot 100 (June 1975), and charted in multiple countries (e.g., No. 4 in the Netherlands, No. 9 in Germany). It sold over 500,000 copies in the UK, earning a Silver certification. Cultural Impact: A defining glam rock classic, “Ballroom Blitz” is celebrated for its infectious energy and theatricality. Its influence spans punk (covered by The Damned in 1979, with Lemmy on bass), metal, and pop, with covers by Krokus (1984), Tia Carrere in Wayne’s World (1992), and others. Its use in films (Wayne’s World, Death Proof) and its enduring radio play cement its status as an “unverwüstlicher Evergreen” (indestructible classic), per hitparade.ch reviews. B-Side: "Rock & Roll Disgrace" (3:50) Origin: Written by The Sweet (Brian Connolly, Steve Priest, Andy Scott, Mick Tucker), recorded in 1973, and produced by Phil Wainman. A band-penned track, it was exclusive to the B-side and later included on some international compilations but not on UK studio albums. Publisher: Sweet Publishing Ltd./Essex International. Release Details Label: RCA Victor Catalogue Number: RCA 2403 Barcode: Not applicable (1973 release, pre-barcode era). Release Date: September 14, 1973 Format: 7" vinyl, 45 RPM, stereo, manufactured in the UK by RCA Ltd. Some pressings have a knock-out (push-out) center. Matrix/Runout (Per Discogs):Side A: RCA 2403 A-1 S Side B: RCA 2403 B-1 S Production: Produced by Phil Wainman for New Dawn Productions Ltd. ℗ 1973 RCA Ltd. Packaging: Issued in a generic RCA die-cut paper sleeve in the UK, with an orange RCA label featuring the catalog number and track details. International pressings (e.g., Germany: 74-16349, France: 41.127, Australia: 102371, Japan: SS-2333, Italy: RCA 2403) often include picture sleeves with band photos, A rare UK mispress plays a Perry Como single on the B-side (RCA 2402 B-1 matrix), valued at £20–£50. Related Releases: Follows The Sweet’s 1973 singles “Block Buster!” (No. 1 UK, RCA 2295) and “Hell Raiser” (No. 2 UK, RCA 2357). Precedes “Teenage Rampage” (No. 2 UK, January 1974, RCA 2394). US/Canada single paired “Ballroom Blitz” with “Restless” (Capitol 4055, 1975). Historical and Cultural Context The Sweet in 1973: Background: Formed in Harefield, Greater London, in 1968, The Sweet (initially Sweetshop) comprised Brian Connolly (vocals), Steve Priest (bass, vocals), Andy Scott (guitar, vocals), and Mick Tucker (drums). Signed to RCA Victor in 1971, they were guided by songwriters Nicky Chinn and Mike Chapman, who crafted their early hits. Their blend of bubblegum pop and hard rock made them glam rock pioneers alongside Slade and T. Rex. By 1973, they had eight UK Top 10 singles, including “Little Willy” (No. 4, 1972) and “Block Buster!” (No. 1, 1973). Peak Success: 1973 was a high point, with “Block Buster!” (No. 1), “Hell Raiser” (No. 2), and “The Ballroom Blitz” (No. 2) cementing their UK dominance. Their US breakthrough came later, with “Ballroom Blitz” hitting No. 5 in 1975. The band’s flamboyant image—platform boots, glitter, and androgynous style—aligned with glam rock’s theatricality, though their heavier sound presaged 1980s pop-metal. Context of the Single: “The Ballroom Blitz” was released during The Sweet’s peak, following their shift toward harder rock on albums like Sweet Fanny Adams (1974). The Kilmarnock bottling incident inspired its chaotic narrative, and its Top of the Pops performance (with Connolly’s campy delivery and the band’s glittery outfits) fueled its popularity. The B-side, written by the band, reflects their push for creative control against Chinnichap’s formula. The Sweet’s Broader Legacy: Influence: The Sweet’s fusion of pop hooks and hard rock influenced punk (The Damned’s 1979 cover), metal (Def Leppard), and pop-metal (Bon Jovi). “Ballroom Blitz” is a cultural touchstone, featured in Wayne’s World (1992) and covered by artists like Krokus and Tia Carrere. Their 1978 hit “Love Is Like Oxygen” (No. 9 UK) showed their versatility. Later Years: The Sweet parted ways in 1978 after Connolly’s departure, with internal tensions and alcohol issues cited. Andy Scott and Steve Priest led separate versions of the band (Andy Scott’s Sweet, Steve Priest’s Sweet) into the 2000s. Connolly died in 1997, Priest in 2020, and Tucker in 2002. Scott continues performing as The Sweet. Recognition: The Sweet are celebrated as glam rock pioneers, with “Ballroom Blitz” ranked among the era’s defining tracks by Rolling Stone and The Guardian. Their eight UK Top 10 singles and US hits underscore their transatlantic impact. RCA Victor and Glam Rock: RCA Victor signed The Sweet in 1971, releasing their hits through 1976. “Ballroom Blitz” reflects the label’s investment in glam rock, alongside acts like David Bowie, competing with Polydor’s Slade and T. Rex. Comparison to Other Sweet Releases Contemporary Singles (1973):“Block Buster!” (RCA 2295, January 1973): No. 1 UK, with a siren riff and Chinnichap’s pop flair. “Hell Raiser” (RCA 2357, April 1973): No. 2 UK, another high-energy Chinnichap hit. “Teenage Rampage” (RCA 2394, January 1974): No. 2 UK, continuing their glam rock streak. Albums: Funny How Sweet Co-Co Can Be (RCA, 1971): Their debut, with bubblegum hits like “Co-Co” (No. 2). Sweet Fanny Adams (RCA, April 1974): Showcased band-written tracks like “Set Me Free.” Desolation Boulevard (RCA, November 1974): Included “Ballroom Blitz” in US/Canada, with “Fox on the Run” (No. 2 UK, 1975). Related Release: The 1975 US single “Ballroom Blitz” / “Restless” (Capitol 4055) reflects the song’s delayed US success. Cultural Significance: The song’s chaotic energy, theatrical intro, and glam aesthetics make it a defining track of the 1970s. Its enduring popularity in media and covers underscores its legacy as a glam rock anthem. Sources Discogs: The Sweet – The Ballroom Blitz / Rock & Roll Disgrace (1973, Vinyl) 45cat: The Sweet – The Ballroom Blitz / Rock & Roll Disgrace – RCA Victor – UK – Rate Your Music: The Ballroom Blitz / Rock & Roll Disgrace Wikipedia: The Ballroom Blitz Hitparade.ch : The Sweet – The Ballroom Blitz eBay UK: The Sweet – The Ballroom Blitz PicClick: 7" SWEET THE Ballroom Blitz / Rock & Roll Disgrace Made In Italy 1973 Wax Vinyl Records: The Sweet – The Ballroom Blitz – RCA 2403 JazzRockSoul.com : Sweet Conclusion The Sweet’s "The Ballroom Blitz" / "Rock & Roll Disgrace" (RCA 2403, 14 Sep 1973) is a glam rock masterpiece, with its No. 2 UK and No. 5 US chart success and iconic drum intro making it a cultural touchstone. The B-side’s raw energy complements the A-side’s polished chaos, reflecting The Sweet’s dual pop-rock identity. The single was also released in the following countries. Angola - Plum - 1973 Australia - RCA Victor - 1973 France - RCA Victor - 1973 Germany - RCA Victor - 1973 Ireland - RCA Victor - 1973 Israel - RCA Victor - 1973 Italy - RCA Victor - 1973 Japan - RCA - 1973 Mexico - RCA Victor - 1973 Netherlands - RCA Victor - 1973 New Zealand - RCA Victor - 1973 Peru - RCA Victor - 1973 Rhodesia - RCA Victor - 1973 South Africa - RCA Victor - 1973 Spain - RCA Victor - 1973 Turkey - RCA Victor - 1973 Yugoslavia - RCA Victor - 1973

Barry Blue’s "Hot Shot"  backed with "Hobo Man" , was released as a 7-inch vinyl single in the UK by Bell Records (catalog number BELL 1379) on September 20, 1974. A-Side: "Hot Shot" B-Side: "Hobo Man" Label: Bell Records (UK) Catalog Number: BELL 1379 Release Date: 20 September 1974 Format: 7" vinyl single, 45 RPM Genre: Glam Rock / Pop Rock Producer: Barry Blue Track Details Hot Shot: The A-side, "Hot Shot," is a glam rock track co-written by Barry Blue and Lynsey de Paul, a frequent collaborator during his early career. It was a moderate success, reaching No. 23 on the UK Singles Chart in October 1974 and No. 3 in Zimbabwe, marking it as Blue's final Top 40 hit in the UK during his initial chart run. Hobo Man: The B-side, "Hobo Man," is less documented but complements the A-side with a similar pop-rock vibe, likely showcasing Blue’s storytelling style in his songwriting. Specific details about "Hobo Man," such as its lyrical content or chart performance, are scarce, but it was part of the single’s release and is noted in discographies. Review from Record and Popswop Mirror, 28th September 1974. Chart Performance: The UK chart position (No. 23) and Zimbabwe chart position (No. 3). Context and Background Barry Blue’s Career: Barry Blue, originally Barry Ian Green, adopted his stage name after signing with Bell Records in 1973, following advice that "Green" was considered an unlucky color in some circles. His earlier singles as Barry Green (1971–1974) were unsuccessful, but his switch to the stage name Barry Blue coincided with his breakthrough. Blue had already achieved success with earlier hits like "Dancin' (on a Saturday Night)" (No. 2, 1973) and "Do You Wanna Dance?" (No. 7, 1973), both of which established him as a prominent figure in the UK glam rock and pop scene. By 1974, Blue was a known performer, appearing on major TV shows and touring with acts like Queen, ABBA, and Status Quo. His music was part of the vibrant UK pop and glam rock movement, competing with other chart acts of the time. Germany - Bell - 1974 Bell Records: Bell Records UK, the label behind this single, was a significant player in the 1970s music scene. By 1974, it was undergoing a transition under Clive Davis, who was revitalizing Columbia Pictures’ music division, leading to the creation of Arista Records later that year. Some Bell releases, including Barry Blue’s work, were later reissued on Arista. Release and Reception: It followed his earlier 1974 single "School Love" / "Hi-Cool Woman" (BELL 1345), which reached No. 11 in the UK. "Hot Shot" was included in Blue’s 1974 album Hot Shots, released on Bell Records (catalog BELLS 238 in some markets). The album and single reflect Blue’s signature sound, blending pop accessibility with glam rock energy. Cultural and Historical Context: Released in 1974, "Hot Shot" / "Hobo Man" came at a time when glam rock was peaking in the UK, with artists like T. Rex, David Bowie, and Slade dominating charts. Blue’s music fit into this scene but leaned more toward pop accessibility, appealing to a broad audience. The single’s release coincided with Bell Records’ final year as a standalone label before its integration into Arista, marking it as part of a transitional period in the music industry. France - Barclay - 1974 Barry Blue’s Broader Impact: Beyond performing, Blue was a prolific songwriter and producer, contributing to hits for artists like Andrea Bocelli, Diana Ross, Celine Dion, and others. His work extended to film and TV soundtracks, including Eyes of Laura Mars and The Long Good Friday. In 1975, Blue co-wrote "Kiss Me Kiss Your Baby" for Brotherhood of Man, a million-seller, and in 1977, he co-wrote "Devil’s Gun" for C.J. & Company, which became the first song played at the opening of Studio 54.

Mud’s "L' L' Lucy"  backed with "My Love Is Your Love" , was released as a 7-inch vinyl single in the UK by Private Stock (catalog number PVT 41) on September 19, 1975. This was Mud’s first single for Private Stock after leaving RAK Records and parting ways with Chinn and Chapman in mid-1975. It marked a continuation of their glam rock sound but with a slightly heavier edge, reflecting the band’s attempt to evolve as glam rock’s popularity waned. A-Side: "L' L' Lucy" B-Side: "My Love Is Your Love" Label: Private Stock (UK) Catalog Number: PVT 41 Release Date: 19 September 1975 Format: 7" vinyl single, 45 RPM Track Durations: "L' L' Lucy": 3:02 "My Love Is Your Love": 2:54 L' L' Lucy: A rocky, upbeat glam rock track written by Mud’s lead guitarist Rob Davis and bassist Ray Stiles in the style of their earlier producers, Nicky Chinn and Mike Chapman. The song features a catchy, repetitive chorus ("La La Lucy, La La La Lucy") and lyrics about a tumultuous relationship, with lines like “It’s all over for you, don’t you know that it’s true” and “No messin’ or you’re out that door.” It reflects the band’s signature blend of energetic rhythms and playful, confrontational lyrics. Chart Performance: Reached No. 10 on the UK Singles Chart in October 1975 and was a notable hit in the Netherlands, peaking at No. 2 and staying in the Dutch Top 40 for 10 weeks from October to December 1975. It also charted at No. 19 in Germany. France - Philips - 1975 Cultural Impact: Described as a “fine glam rock hit” with a mainstream appeal typical of mid-1970s pop, it was less iconic than Mud’s earlier No. 1 hits like “Tiger Feet” or “Lonely This Christmas” but still resonated with fans. Some reviews note a slight decline in creativity after Mud’s move from Rak Records to Private Stock, with comments suggesting the song had a “monotonous” feel compared to earlier hits, though others praised its danceable rock’n’roll energy. Release Context Private Stock Label: Private Stock was a UK label that Mud signed with after their successful run with Rak Records (1973–1975). The label, licensed to Philips in Continental Europe, supported Mud’s transition to a slightly heavier, less glam-focused sound as the genre declined. The single was part of a series of three Top 20 hits for Mud on Private Stock within seven months: “L' L' Lucy” (No. 10), “Show Me You’re a Woman” (No. 8), and “Shake It Down” (No. 12). International Releases: The single was released in multiple countries, including Germany, the US, the Netherlands, and Austria, In Norway, it was released on Philips (catalog 6078 450). Mud’s Career Context Band Background: Mud, formed in 1966 in Carshalton, Surrey, consisted of lead vocalist Les Gray (died 2004), guitarist Rob Davis, bassist Ray Stiles, and drummer Dave Mount (died 2006). They rose to fame in the early 1970s with Rak Records, producing hits like “Tiger Feet” (UK No. 1, 1974), “Lonely This Christmas” (UK No. 1, 1974), and “Oh Boy” (UK No. 1, 1975), all under the guidance of Chinn and Chapman. By 1975, Mud had 14 UK Top 20 hits, including three No. 1s, and were a leading glam rock act. Transition to Private Stock: After splitting with Chinn and Chapman and Rak Records in mid-1975, Mud signed with Private Stock and welcomed keyboardist Andy Ball (formerly of Candlewick Green). This period saw a shift away from pure glam rock toward a mix of rockabilly and disco influences, as seen in later singles like “Shake It Down.” “L' L' Lucy” was their debut single for the new label, showcasing their ability to maintain chart success despite the changing musical landscape. Germany - Philips - 1975 Chart Dominance: In 1975, Mud had seven singles in the UK Top 40, totaling over 45 weeks on the chart, more than any other artist that year. “L' L' Lucy” was part of this prolific output, though it reflected a slight decline in chart peaks compared to their Rak-era No. 1s. Cultural and Historical Significance Glam Rock Decline: Released in 1975, “L' L' Lucy” came as glam rock was losing mainstream dominance, with bands like Mud adapting to stay relevant. The song’s rocky, Chinn-Chapman-inspired style was a nod to their earlier sound, but some fans and critics noted a “monotonous” or “less strong” quality compared to hits like “Tiger Feet.” Others appreciated its danceable energy, with one review calling it “genial” and praising its band-written authenticity. Media Appearances: The song was performed on shows like Disco (31 January 1976) and in a music store broadcast on 17 November 1975, reinforcing Mud’s visibility during this period.

Rod Stewart’s "Farewell"  backed with "Bring It On Home To Me / You Send Me" , was released as a 7-inch vinyl single in the UK by Mercury Records (catalog number 6167 033) on September 27, 1974, as part of his Smiler  album, his fifth solo album and final original release for Mercury before transitioning to Warner Bros. It was part of Stewart’s Smiler album, his fifth solo album and final original release for Mercury before he transitioned to Warner Bros. Released as a 7" vinyl, 45 RPM single on Mercury Records (6167 033) on September 27, 1974, in the UK. The single coincided with the release of Stewart’s Smiler album, which hit the UK charts at #1 and the US Billboard 200 at #13. It reached #7 on the UK Singles Chart but was less successful in the US, with the B-side track "Mine for Me" charting at #91 on the Billboard Hot 100 instead of "Farewell." A-Side: "Farewell" (4:34):Written by Rod Stewart and Martin Quittenton, "Farewell" is a heartfelt, folk-rock ballad from the Smiler album. The song features Stewart’s signature raspy vocals and a reflective tone, with lyrics addressing departure and brotherhood ("Fare thee well my brother, please don’t cry for me"). It’s a nostalgic nod to his early folk-rock roots, blending acoustic guitars and mandolin, likely influenced by his collaborations with Faces and Quittenton. Backed by members of Faces and frequent collaborators like Martin Quittenton (guitars), Pete Sears (bass/keyboards), and Mickey Waller (drums), the track has a warm, organic sound typical of Stewart’s Mercury era. Though critically well-received, some reviewers noted that Smiler and its singles, including "Farewell," faced a turning critical tide as Stewart’s fame grew, with some feeling it didn’t match the innovation of Every Picture Tells a Story (1971). B-Side: "Bring It On Home To Me / You Send Me" (4:00):This is a medley of two Sam Cooke soul classics, showcasing Stewart’s love for R&B and soul, a recurring theme in his early solo work. "Bring It On Home To Me" (written by Sam Cooke) and "You Send Me" (also by Cooke) are seamlessly blended, with Stewart’s emotive, gravelly voice adding a rock edge to the soulful originals. The medley features lush backing vocals and a smooth arrangement, likely with contributions from Faces members and session musicians like Pete Sears. The B-side reflects Stewart’s tendency to include covers on Smiler, which also featured renditions of Chuck Berry’s "Sweet Little Rock ‘n’ Roller" and Carole King’s "(You Make Me Feel Like) A Natural Woman" (reworked as "Natural Man"). The medley is listed as one track on the single and Smiler, clocking in at 4:00, and is included in compilations like The Mercury Anthology (1992). Context and Background Rod Stewart in 1974:By 1974, Rod Stewart was a major star, balancing his solo career with his role as frontman for Faces. His earlier albums, like Every Picture Tells a Story (1971) and Never a Dull Moment (1972), had established him as a leading rock and folk artist, with hits like "Maggie May" and "You Wear It Well." Smiler was released amidst legal disputes between Mercury Records and Warner Bros., delaying its release by five months. This was Stewart’s last original album for Mercury, as he switched to Warner Bros. afterward, while Faces were already signed to Warner Bros. The album and its singles reflected Stewart’s blend of rock, folk, soul, and R&B, but critics were starting to view his work as less groundbreaking, overshadowed by his growing celebrity status. Musical and Cultural Significance: "Farewell" captures Stewart’s ability to merge introspective folk-rock with his charismatic delivery, a hallmark of his Mercury years (1969–1974). It’s less anthemic than "Maggie May" but shares the same storytelling quality. The B-side medley of Sam Cooke covers underscores Stewart’s deep respect for soul music, a thread throughout his career (e.g., his cover of "Twistin’ the Night Away" on Never a Dull Moment). It also reflects the era’s trend of rock artists paying homage to R&B roots. The single came at a transitional moment: Stewart was moving toward a more polished, pop-oriented sound with Warner Bros., and Faces were nearing their breakup in 1975, partly due to Ronnie Wood joining the Rolling Stones and Stewart’s solo success. Chart Performance and Reception: "Farewell" peaked at #7 in the UK, a solid hit but not as dominant as earlier singles like "Maggie May" (#1 UK/US). Its US performance was weaker, with "Mine for Me" (another Smiler track) charting instead at #91. The Smiler album was a commercial success, reaching #1 in the UK and selling over a million copies worldwide, though it only hit #13 in the US. Critics were mixed, noting the album’s reliance on covers and lack of fresh material compared to Stewart’s earlier work. Additional Notes Musicians and Production: The single features contributions from Faces members (e.g., Ronnie Wood, Ian McLagan) and Stewart’s regular collaborators, including Martin Quittenton (guitars), Pete Sears (bass/keyboards), and Mickey Waller (drums). This lineup gave the tracks a cohesive, band-driven feel. Produced by Rod Stewart, the single reflects his hands-on approach to blending rock, folk, and soul elements, a style honed during his Mercury years. Cultural Context: Released in 1974, the single captures a moment when Stewart was at a crossroads, balancing his gritty Faces work with his solo stardom. The choice of a Sam Cooke medley as the B-side aligns with the era’s revival of soul influences in rock, seen in artists like The Rolling Stones and Eric Clapton. The Smiler album also included a duet with Elton John on "Let Me Be Your Car," highlighting Stewart’s connections within the UK rock scene. Legacy: "Farewell" is a fan favorite for its emotional resonance, often cited in retrospectives of Stewart’s Mercury years as a strong example of his folk-rock storytelling. The B-side medley remains a testament to Stewart’s soul influences, paving the way for later soul-infused hits like "This Old Heart of Mine" (1975) with Warner Bros. Australia - Mercury - 1974 The single was also released in the following countries. Austria - Mercury - 1974 Germany - Mercury - 1974 Ireland - Philips - 1974 Japan - Mercury - 1974 Netherlands - Mercury - 1974 New Zealand - Mercury - 1974 Norway - Mercury - 1974 Spain - Mercury - 1974

T.Rex’s "Celebrate Summer"  backed with "Ride My Wheels" , was released as a 7-inch vinyl single in the UK by EMI Records under T. Rex Wax Co. (catalog number MARC 18) on August 5, 1977. This standalone single featured "Ride My Wheels" or "Tame My Tiger" as the B-side, varying by the country of release. Released after T. Rex’s twelfth studio album, Dandy in the Underworld (March 1977), the single came during a period of resurgence. Bolan was navigating the punk rock wave of 1977, aiming to adapt his sound to stay relevant. He acknowledged a “new wave feel” in the song, suggesting a deliberate nod to punk influences. Front Sleeve Label: T. Rex Country: UK Catalogue: MARC 18 The track was recorded at AIR Studios in London in April 1977, following sessions at Decibel Studios. The recording featured Marc Bolan (vocals, guitar), Herbie Flowers (bass), and Tony Newman (drums), the core T. Rex lineup at the time. Written and produced by Marc Bolan, the song was crafted to capture a vibrant, summery vibe with a punk-inflected edge. Bolan remixed and partially re-recorded material from the Dandy in the Underworld sessions during this period, indicating a hands-on approach to refining his sound. Celebrate Summer A-side Label: T. Rex Country: UK Catalogue: MARC 18 The song blends T. Rex’s classic glam rock sound—characterized by catchy guitar riffs and Bolan’s distinctive vocals—with a raw, energetic feel influenced by punk rock. Reviewers noted its “pulsing guitar” and “heart-attack percussion,” combining Bolan’s early 1970s style with a contemporary twist. Issued as a 7” vinyl single with a special picture sleeve bag, a notable feature for collectors. The B-side was typically “Ride My Wheels” (2:29) or, in some releases, “Tame My Tiger” (2:47). T. Rex performed “Celebrate Summer” on Bolan’s British TV series Marc on three episodes (August 24, August 31, and posthumously on September 21, 1977). The September 7 episode featured the dance troupe Heart Throb performing to the song. Despite critical praise, the single did not achieve significant commercial success, failing to chart notably. Reviewers later suggested it “should have been enormous” given its quality. Edwin Pouncey (Sounds, 1977): Praised the song’s “strong punk influence” and called it Bolan’s “best [single] for ages.” Ride My Wheels B-side Label: T. Rex Country: UK Catalogue: MARC 18 Robin Smith (Record Mirror, 1977): Described it as a return to Bolan’s “former glories,” likening its sound to his early days. Stan Sayer (Daily Mirror, 1977): Noted its “chirpy little rock ‘n’ roller” vibe, questioning if Bolan was nostalgic or playfully retro, but praised the combination of modern lyrics and classic beat. Dave Thompson (AllMusic): Called it a “thunderous re-creation of Bolan’s classic old sound fed through the fiery updating of its punk rock legacy,” highlighting its simple yet powerful elements and anthem-like quality. Rate Your Music (RYM): Users noted Bolan’s strong performance despite a “mediocre” band, calling it his best single since “Hot Love” (1971). In the 1977 Record Mirror Reader’s Poll, the single’s picture sleeve reached number 4 in the “best single/album sleeve” category. Tame My Tiger Sleeve B-side Label: Ariola Country: Germany Catalogue: 11 364 AT As T. Rex’s last single before Bolan’s death, “Celebrate Summer” holds a poignant place in the band’s discography. Recorded just a month before his fatal car accident, it showcased Bolan’s enduring creativity and adaptability. The song’s punk influence reflects Bolan’s attempt to bridge glam rock with the emerging new wave and punk scenes, a move that resonated with critics but didn’t fully connect with audiences at the time.

Arnold Corns’ "Hang on to Yourself"  backed with "Man In The Middle" , was released as a 7-inch vinyl single in the UK by B&C Records (catalog number CB 189) on May 17, 1974. This was one of David Bowie’s side projects and something of a dry run for Ziggy Stardust. The band was formed in Dulwich College and Bowie agreed to write for them. At the same time he also agreed to write for the 19-year-old designer Freddie Burretti (born: Frederick Burrett, aka Rudi Valentino). Bowie came up with the idea of combining Burretti and Arnold Corns, and with the help of the trio of Mick Ronson, Mick Woodmansey and Trevor Bolder, a revised version of Arnold Corns was created during the spring of 1971. Bowie was writing material that later became Hunky Dory, as well as songs earmarked for Burretti, and Oliver Abraham was briefly given credit for helping with the majority of the songs. Burretti as the frontman was a total fabrication. The first session by the band, on 10 March 1971, which included "Lady Stardust", "Right on Mother" and "Moonage Daydream" was recorded at the Radio Luxembourg Studios. This was followed by a session, recorded at the Trident Studios on 4 June 1971, which included "Man in the Middle" and "Looking for a Friend". The band’s first single, "Moonage Daydream" (with a spoken intro "whenever you're ready") / "Hang On to Yourself", was released on B&C Records on 7 May 1971 and was a flop. Both these songs later reappeared on Ziggy Stardust in new versions with updated lyrics. The Arnold Corns versions appeared as bonus tracks on the Rykodisc CD re-release of The Man Who Sold the World (minus the spoken intro on "Moonage Daydream"). A second single, "Looking for a Friend" / "Man in the Middle" (vocals by Valentino), was planned but scrapped (it was released in 1985 by Krazy Kat Records. In August 1972, B&C Records issued "Hang on to Yourself" / "Man in the Middle" as the second single. Burretti designed a number of suits with Bowie, now displayed at the Victoria and Albert Museum. courtesy Wikipedia

David Essex’s "Hold Me Close"  backed with "Good Ol' Rock and Roll (Live Version)" , was released as a 7-inch vinyl single in the UK by CBS Records (catalog number S CBS 3572) on September 5, 1975, as the lead single from his third studio album All the Fun of the Fair , becoming one of his biggest hits. UK - CBS - 1975 Chart Performance: A major success, it reached #1 on the UK Singles Chart for three weeks in October 1975, Essex’s second UK #1 after "Gonna Make You a Star" (1974). It also hit #2 in Ireland and charted in other regions, though it had limited impact in the US, where Essex’s singles generally performed modestly compared to the UK. A-Side: "Hold Me Close" (3:51): Written by David Essex and produced by Jeff Wayne, this is a romantic, upbeat pop-rock ballad with glam rock influences, featuring Essex’s charismatic vocals and a catchy, singalong chorus (“Hold me close, don’t let me go”). The lyrics are tender yet playful, capturing Essex’s knack for blending heartfelt emotion with pop accessibility. Musically, it features a tight rhythm section with Herbie Flowers (bass), Chris Spedding (guitar), and Barry De Souza (drums), alongside Jeff Wayne’s orchestral arrangements, including strings and brass that add a theatrical flair. The production is polished, aligning with the glam rock sound of 1975. The song’s romantic theme and Essex’s heartthrob image made it a radio and Top of the Pops favorite, resonating with fans during his peak popularity. It remains a staple in Essex’s live performances and is widely available on streaming platforms, often cited as a quintessential 1970s pop hit. B-Side: "Good Ol' Rock and Roll (Live Version)" (4:25): Written by David Essex and produced by Jeff Wayne, this is a live rendition of a track from the David Essex album (1974), showcasing his energetic stage presence. The song is a high-energy rock ‘n’ roll medley, blending original lyrics with a nod to 1950s rock influences, performed with a glam rock edge. The live version captures Essex’s charisma as a performer, backed by his touring band, likely including Spedding, Flowers, and De Souza. Recorded during a 1974 or 1975 live performance (exact venue not specified in sources), it emphasizes Essex’s theatrical style, honed through his acting roles in That’ll Be the Day (1973) and Stardust (1974). Less prominent than the A-side, it’s a fan favorite for its raw energy and rarity, appearing only on the single and select compilations. Portugal - CBS - 1975 Context and Background David Essex in 1975:By 1975, David Essex was a major UK star, blending music and acting. His 1973 hit “Rock On” (#3 UK, #5 US) and 1974’s “Gonna Make You a Star” (#1 UK) established him as a glam rock icon, while his film roles in That’ll Be the Day and Stardust made him a teen idol. All the Fun of the Fair, released in September 1975, reached #3 on the UK Albums Chart and was a commercial success, driven by “Hold Me Close” and its follow-up single “Rolling Stone” (#5 UK). Produced by Jeff Wayne, the album continued Essex’s blend of glam rock, pop, and theatrical elements. Essex’s heartthrob status and media presence, including TV appearances and magazine covers, amplified the single’s success, making it a cultural touchstone of the era. Musical and Cultural Significance: “Hold Me Close” is a defining glam rock ballad, balancing romance with Essex’s cheeky charm. Its #1 status and radio ubiquity made it a 1975 staple, competing with hits like Queen’s “Bohemian Rhapsody” and 10cc’s “I’m Not in Love.” The song’s accessible melody and lush production reflect Jeff Wayne’s orchestral expertise, later showcased in War of the Worlds (1978). It appealed to both pop and glam rock audiences, cementing Essex’s versatility. The B-side, “Good Ol' Rock and Roll (Live Version),” highlights Essex’s roots in 1950s rock ‘n’ roll, a nod to his role as a rock star in Stardust. Its live energy captures his dynamic stage persona, a key part of his appeal. The single’s release aligned with the peak of glam rock, just as punk was emerging, making Essex a bridge between the theatricality of glam and the raw energy of what followed. Yugoslavia - CBS - 1975 Chart Performance and Reception: UK: Held #1 for three weeks in October 1975, outperforming “Gonna Make You a Star” in chart longevity and solidifying Essex’s star status. International: Reached #2 in Ireland, #72 in Australia, and charted in European markets like Germany and the Netherlands. Its limited US impact reflects Essex’s stronger UK/European fanbase. Critics praised “Hold Me Close” for its catchy melody and Essex’s vocal delivery, with AllMusic calling it a “glam pop gem.” Retrospective reviews on RateYourMusic (3.8/5) highlight its nostalgic appeal, though some note its production as quintessentially 1970s. The B-side is less reviewed but appreciated by fans for its live energy, as seen in YouTube comments on Essex’s 1970s performances. All the Fun of the Fair was a critical and commercial success, with “Hold Me Close” driving its #3 UK chart peak and global sales. Streaming and Compilations: “Hold Me Close” is widely available on Spotify, Apple Music, and YouTube as part of All the Fun of the Fair or compilations like The Best of David Essex (1996), Greatest Hits (2006), and The Essential David Essex (2011). “Good Ol' Rock and Roll (Live Version)” is less accessible, appearing primarily on the original single and rare reissues. The studio version is on the David Essex album (1974). Additional Notes Musicians and Production: Produced by Jeff Wayne, the single features Essex’s core band: Chris Spedding (guitar), Herbie Flowers (bass), Mike Moran (keyboards), and Barry De Souza (drums). Wayne’s orchestral arrangements add a cinematic quality to “Hold Me Close.” The B-side’s live recording likely captures a 1974–1975 performance, possibly from a UK tour tied to David Essex or All the Fun of the Fair promotions. Recorded at AIR Studios, London, the single’s polished sound reflects Wayne’s production expertise and Essex’s glam rock aesthetic. Spain - CBS - 1975 Cultural Context: Released in 1975, “Hold Me Close” thrived in a glam rock-dominated UK scene, alongside Queen, Slade, and emerging disco influences. Its romantic tone and Essex’s heartthrob image made it a teen favorite. Essex’s acting career, particularly Stardust (1974), amplified his music’s reach, with the single’s success tied to his Top of the Pops appearances and media presence. The B-side’s live rock ‘n’ roll energy connects to Essex’s roots in 1950s music, a recurring theme in his work and film roles. Legacy: “Hold Me Close” remains one of Essex’s signature hits, frequently performed live and featured in retrospectives of 1970s pop and glam rock. Its #1 status and cultural resonance make it a cornerstone of Essex’s catalog, alongside “Rock On” and “Gonna Make You a Star.” The B-side, while less iconic, showcases Essex’s live prowess, appealing to fans of his theatrical performances.

Peter Noone’s "Oh You Pretty Thing" , a cover of the David Bowie song, backed with "Together Forever" , was released as a 7-inch vinyl single in the UK by RAK Records (catalog number RAK 114) on April 30, 1971, marking Noone’s debut solo single after leaving Herman's Hermits. it was a cover of a song originally written by David Bowie as a demo. Noone's version marked his first venture outside the band and became a modest hit, peaking at No. 12 on the UK Singles Chart. The track is notable for its bubbly pop arrangement, which contrasted with Bowie's more introspective original, and for featuring Bowie himself on piano and backing vocals. The single first appeared on the UK Singles Chart at number 34 on the week of May 15, 1971. It stayed on the chart for nine weeks and peaked at number 12.

David Essex’s "Gonna Make You a Star"  backed with "Window" , was released as a 7-inch vinyl single in the UK by CBS Records (catalog number S CBS 2492) on September 27, 1974, as the lead single from his second studio album David Essex , becoming one of his signature hits. United Kingdom - CBS - 1974 Chart Performance and Reception: UK: Topped the UK Singles Chart for three weeks in November 1974, Essex’s first #1 hit, outshining earlier singles like “Rock On” (#3) and “Lamplight” (#71). International: Reached #12 in Ireland, #14 in New Zealand, #35 in Australia, and charted in European markets like Germany. Its global appeal was driven by Essex’s film-star status and CBS’s distribution. Critics praised the single’s infectious energy, with AllMusic calling it a “glam rock classic” and fans on RateYourMusic rating it 3.5/5 for its nostalgic appeal. Some retrospective reviews note its dated production but celebrate its cultural impact. The David Essex album was a commercial success, reaching #12 in the UK and selling well internationally, though critics were mixed, with some feeling it leaned too heavily on glam tropes. A-Side: "Gonna Make You a Star" (3:33): Written by David Essex and produced by Jeff Wayne, this track is a vibrant glam rock anthem with a catchy melody and satirical lyrics about the fleeting nature of fame and the music industry (“I’m gonna make you a star / But it’s only a star for a season”). The song reflects Essex’s own rise to fame, blending irony with an infectious pop-rock sound. Musically, it features a driving rhythm section, orchestral flourishes (arranged by Wayne), and Essex’s charismatic vocals, backed by his band, including Chris Spedding (guitar) and Herbie Flowers (bass). The production is polished, with a glam rock edge typical of 1974, akin to contemporaries like T. Rex or Slade. The song’s success was boosted by Essex’s growing fame as an actor (notably in That’ll Be the Day and Stardust) and his heartthrob status, making it a cultural touchstone of the UK glam rock era. It’s a staple on classic rock radio and appears in Essex’s live performances, as seen in YouTube clips from 1974 BBC sessions and later concerts. Portugal - CBS - 1974 B-Side: "Window" (4:01): Also written by David Essex and produced by Jeff Wayne, “Window” is a softer, introspective ballad from the David Essex album, contrasting the A-side’s upbeat energy. The song features gentle acoustic guitar, subtle orchestration, and Essex’s emotive vocals, with lyrics exploring themes of longing and reflection, possibly inspired by his own experiences in the spotlight. Backed by the same band, it showcases Essex’s versatility as a singer-songwriter, though it received less attention than the A-side. Context and Background David Essex in 1974: David Essex, born David Albert Cook in 1947, was a rising star in 1974, blending music and acting. His debut album, Rock On (1973), featured the #3 UK hit “Rock On,” establishing him as a glam rock icon. His roles in films like That’ll Be the Day (1973) and Stardust (1974) amplified his fame, making him a teen idol in the UK. The David Essex album, released in 1974, reached #12 in the UK and showcased his knack for blending glam rock with pop and theatrical elements, produced by Jeff Wayne (later known for War of the Worlds). “Gonna Make You a Star” capitalized on Essex’s charisma and the glam rock wave, competing with hits by Queen, Slade, and T. Rex in a vibrant 1974 music scene. The single’s release coincided with Essex’s peak popularity, supported by TV appearances (e.g., Top of the Pops) and his role in Stardust, which portrayed a rock star’s rise and fall, mirroring the A-side’s theme. Streaming and Compilations:“Gonna Make You a Star” is widely available on Spotify, Apple Music, and YouTube as part of the David Essex album or compilations like The Best of David Essex (1996) and Greatest Hits (2006). “Window” is less prominent but available on the David Essex album and select reissues. Spain - CBS - 1974 Additional Notes Musicians and Production: Produced by Jeff Wayne, known for his orchestral work, the single features Essex’s band: Chris Spedding (guitar), Herbie Flowers (bass), Mike Moran (keyboards), and Barry De Souza (drums). Wayne’s arrangements added a theatrical flair, especially on the A-side. Recorded in London, likely at AIR Studios, the single’s polished sound reflects the era’s glam rock production trends. Cultural Context: Released in 1974, “Gonna Make You a Star” thrived in a glam rock-dominated UK scene alongside Queen’s “Killer Queen” and Slade’s “Far Far Away.” Its satirical edge and Essex’s charisma made it a standout. Essex’s dual career as a musician and actor (e.g., Stardust) amplified the single’s cultural resonance, with the film’s themes echoing the song’s narrative. The B-side “Window” offered a quieter counterpoint, showcasing Essex’s range and appealing to fans seeking deeper cuts. Legacy: “Gonna Make You a Star” remains one of Essex’s defining hits, frequently performed live and featured in retrospectives of 1970s glam rock. Its #1 status and cultural impact make it a staple in Essex’s catalog, alongside later hits like “Hold Me Close” (1975) and “Silver Dream Machine” (1980). The B-side “Window” is a lesser-known gem, appreciated by fans for its introspective tone, as seen in fan discussions on RateYourMusic.