Search Results

David Bowie’s "Rebel Rebel"  backed with "Queen Bitch" , was released as a 7-inch vinyl single in the UK by RCA Records (catalog number RCA LPBO 5009) on February 15, 1974, as the lead single from his album Diamond Dogs . Written and produced by Bowie, the song features a memorable guitar riff that evokes the style of the Rolling Stones. Often considered his most-covered song, "Rebel Rebel" is described as Bowie's goodbye to the glam rock era he helped start, while also being recognized as a proto-punk track. Two versions were recorded: the popular UK single and the shorter US single, which included additional background vocals, extra percussion, and a new arrangement. When released, the song achieved commercial success, reaching number five on the UK Singles Chart and number 64 on the US Billboard Hot 100. It was critically acclaimed for its prominent guitar riff and its power as a glam anthem. Numerous publications regard it as one of Bowie's finest songs. Bowie performed it live during numerous concert tours, and it has appeared on various compilation albums. It was remastered in 2016 for the "Who Can I Be Now? (1974–1976)" box set.

T.Rex’s "New York City"  backed with "Chrome Sitar" , was released as a 7-inch vinyl single in the UK by EMI Records under T. Rex Wax Co. (catalog number MARC 10) on June 27, 1975, entering the UK Singles Chart on July 12, 1975, peaking at number 15 on August 9, 1975, and charting for eight weeks. In some territories, the single was released with "Solid Baby"  as the B-side. Cover T. Rex's 1975 single "New York City" with "Solid Baby," released in Germany under the Ariola label. Japanese release of T. Rex's single "New York City" catalogue number EMR-10842.

David Essex’s "Cool Out Tonight"  backed with "Yesterday in L.A." , was released as a 7-inch vinyl single in the UK by CBS Records (catalog number S CBS 5555) on August 19, 1977, entering the BBC UK Singles Chart on September 11, 1977, peaking at number 23 and charting for 6 weeks. David Essex's single "Cool Out Tonight" with the B-side "Yesterday in L.A." released in the Netherlands under CBS label, catalogue number CBS 5495.

Cockney Rebel’s "The Best Years of Our Lives (Live)"  backed with "Tumbling Down (Live)" , was released as a 7-inch vinyl single in the UK by EMI Records (catalog number EMI 2677) on August 12, 1977. The single did not achieve any chart success unlike the parent album, The Best Years of Our Lives (released March 1975), performed well, peaking at 4 on the UK Albums Chart and spending 19 weeks on the chart (10 weeks from 22 March to 24 May 1975, 7 weeks from 21 June to 2 August 1975, and brief re-entries at 50 and 53 in August and September 1975).

Suzi Quatro’s "Your Mamma Won't Like Me"  backed with "Peter, Peter" , was released as a 7-inch vinyl single in the UK by RAK Records (catalog number RAK 191) on January 31, 1975. Cover from Japan: "Your Mamma Won't Like Me" and "Peter, Peter." Catalogue: EMR-10715. The single peaked at number 14 on the Australian Chart, as noted in the Australian Chart Book, reached number 27 on the German Entertainment Chart, and climbed to number 31 in the UK. The song was featured on the album also titled "Mamma Won't Like Me," which is Suzi Quatro's third studio album. Released in May 1975 by Rak Records in most regions, the album was distributed in the US by Arista Records, the successor to Bell Records, which had handled Quatro's first two releases in America. This LP signaled a shift from the hard rock style of her earlier albums, "Suzi Quatro" and "Quatro," towards a more funk-influenced rock sound.

Slade’s "Let's Call It Quits"  backed with "When the Chips Are Down" , was released as a 7-inch vinyl single in the UK by Polydor Records (catalog number 2058 659) on January 30, 1976, as the second single from their sixth studio album Nobody's Fools . Written by lead singer Noddy Holder and bassist Jim Lea, and produced by Chas Chandler, the song reached number 11 on the UK Singles Chart and remained in the top 50 for seven weeks. "Let's Call It Quits" was released on 7" vinyl by Polydor Records across the UK, Ireland, Europe, Scandinavia, Yugoslavia, and Japan. The B-side, "When the Chips Are Down," was exclusive to the single and later appeared on the band's 2007 compilation, B-Sides Sleeve Country: Netherlands Catalogue: 2058 690

Wizzard’s "Angel Fingers (A Teen Ballad)"  backed with "You Got the Jump on Me" , was released as a 7-inch vinyl single in the UK by Harvest Records (catalog number HAR 5076) on August 24, 1973. The track was written and produced by Roy Wood, it became Wizzard's second and final UK number one hit, topping the UK Singles Chart for one week in September 1973 and peaking at number seven in Ireland. The song is a nostalgic tribute to 1950s and early 1960s rock 'n' roll, channeling the "Wall of Sound" production style of Phil Spector with its layered instrumentation, including brass, strings, and backing vocals by the Bleach Boys and the Suedettes. It was released on Harvest Records in the UK (HAR 5076) and EMI in Germany, with vinyl variants noted for different sleeve designs.

David Bowie’s "Rock 'N' Roll Suicide"  backed with "Quicksand" , was released as a 7-inch vinyl single in the UK by RCA Victor (catalog number RCA 2424) on April 11, 1974. The song detailed Ziggy's final collapse like an old, washed-up rock star and, as such, was also the closing number of the Ziggy Stardust live show. In April 1974, RCA, eager for new content and having already hastily released "Rebel Rebel" from the Diamond Dogs sessions, randomly selected the song for single release. Although it was two years old and already owned by most Bowie fans through Ziggy Stardust, its release was described merely as a "money-grabbing exercise." It reached only No. 22 on the UK charts, marking Bowie's first RCA single to fall short of the British Top 20 since "Changes" in January 1972. Bob Dylan featured the song in the "Death and Taxes" episode of Season 1 of his Theme Time Radio Hour show in 2007. Afterward, Dylan reminisced about how Bowie "announced he was going to retire after the Ziggy Stardust Tour," and added, "I remember that. I advised him against it."

T.Rex’s "I Love To Boogie"  backed with "Baby Boomerang" , was released as a 7-inch vinyl single in the UK by EMI Records under T. Rex Wax Co. (catalog number MARC 14) on June 4, 1976.

Sparks’ "Amateur Hour"  backed with "Lost and Found" , was released as a 7-inch vinyl single in the UK by Island Records (catalog number WIP 6203) on July 12, 1974, peaking at number 7 on the UK Singles Chart and charting for 9 weeks.

Cover of "Sergeant Fury / Gang Bang," released under the Vertigo label in the Netherlands, catalogue number 6059 106. The Sensational Alex Harvey Band’s "Sergeant Fury"  backed with "Gang Bang" , was released as a 7-inch vinyl single in the UK and other regions including Norway and Japan by Vertigo Records (catalog number 6079 006) on August 2, 1974.. A-Side: "Sergeant Fury" Overview: "Sergeant Fury" is a glam rock track with a theatrical flair, characteristic of The Sensational Alex Harvey Band’s (SAHB) blend of blues rock, hard rock, and cabaret elements. Written by Alex Harvey and Hugh McKenna, the song was arranged by Derek Wadsworth and features a mix of 1930s dance band and vaudevillian jump rhythm, described as “engaging and amusing” by biographer John Neil Munro. Despite its title, the song is not directly about the Marvel Comics character Nick Fury (Agent of S.H.I.E.L.D.) but uses the name for a playful, experimental vibe. Length: 3:30 Production: Recorded with the band’s core lineup—Alex Harvey (vocals), Zal Cleminson (guitar), Chris Glen (bass), Hugh McKenna (keyboards), and Ted McKenna (drums)—the track showcases SAHB’s theatrical stage energy, though it was lip-synced in a 1974 Austrian TV performance. Chart Performance: Released coinciding with the band’s appearance at the Knebworth Festival, the single did not chart, possibly due to its experimental nature failing to connect broadly with audiences. Cultural Notes: The song appeared on SAHB’s 1974 album The Impossible Dream (remastered in 2002) and was later included in the 1992 compilation All Sensations (Best Of). It’s less known than hits like “Delilah” but reflects the band’s bold, genre-blending style. Cover of The Sensational Alex Harvey Band's single "Sergeant Fury / Gang Bang" released under the Vertigo label in Norway, catalogue number 6059 106. B-Side: "Gang Bang" Overview: Also written by Alex Harvey and Hugh McKenna, "Gang Bang" is a 4:47 track with a provocative title and gritty, bluesy rock sound typical of SAHB’s edgy approach. It was covered by artists like Bob Seger (in a 1974 Denver performance, introduced jokingly as a “love song ballad”) and Nick Cave’s early band, highlighting its influence on punk and rock scenes. Cultural Impact: The song’s raw energy and controversial title resonated with figures like Robert Smith of The Cure, who cited SAHB as a proto-punk influence in Britain, and Nick Cave, whose first band heavily drew from SAHB’s catalog, including “Gang Bang.” Note: A Japanese vinyl release (SFL-2005) had a printing error on the cover, listing the B-side as “Bang Bang” instead of “Gang Bang.” Release Details Format: 7" vinyl, 45 RPM, released in multiple regions (UK, Norway, Japan). Variants include different pressings, with the Japanese issue noting Eiger Music as the rights society. Context: SAHB, formed in Glasgow in 1972, was known for theatrical performances with graffiti-covered stage props and Alex Harvey’s charismatic delivery. The single came during their peak creative period, following albums like Framed and Next, and before their UK Top 10 hit “Delilah” in 1975. The band’s influence extended to artists like AC/DC, Nick Cave, and The Cure, with their mix of aggressive Glaswegian street theater and rock. Cover "Sergeant Fury/Gang Bang" by The Sensational Alex Harvey Band, released in Germany on the Vertigo label, catalog number 6059 106. Collectibility: As of recent Discogs data, the 1974 vinyl has an average rating of 4.25/5 from collectors, with 231 owners and 142 on wantlists. A rare Japanese pressing sold for $78.12 in 2017, with one copy listed at $208.33. Additional Notes The single’s release aligned with SAHB’s growing European popularity, though it didn’t replicate the chart success of later hits like “Delilah” (#7 UK, 1975) or “Anthem” (#30 Australia, 1975).

Bryan Ferry’s "Smoke Gets in Your Eyes"  backed with "Another Time, Another Place" , was released as a 7-inch vinyl single in the UK by Island Records (catalog number WIP 6205) on August 23, 1974. First entering the UK chart on August 31 remaining for a total of 8 weeks, from 31/08/1974 to 19/10/1974, with its highest position being number 17. BRYAN FERRY: "Smoke Gets In Your Eyes" (Island): An unusually moving and piquant version of Kern and Harbach's moody standard, couched amid lush piano, strings and a saxophone whose baleful tones echo through the wilderness of lost love. The singer's voice clinks nostalgically like cubes of ice against the silver sides of a cocktail glass, vibrates like the fronds of an aspidistra in a balmy evening breeze. The atmosphere is less. time- Listen, and hang suspended in a chintz vortex of lingering memories, in a Mediterranean timewarp inhabited by Ezra Pound and Lawrence Durrell who live in white-stoned ruins by the seashore. Melody Maker August 24, 1974.

Alvin Stardust’s "You, You, You"  backed with "Come On" , was released as a 7-inch vinyl single in the UK by Magnet Records (catalog number MAG 14) on August 23, 1974, entering the UK Singles Chart on August 31, 1974, peaking at number 6 on September 26, 1974, and charting for 10 weeks until November 2, 1974.

Cockney Rebel’s "Make Me Smile (Come Up and See Me)"  backed with "Another Journey" , was released as a 7-inch vinyl single in the UK by EMI Records (catalog number EMI 2263) on January 31, 1975.

Elton John’s "The Bitch Is Back"  backed with "Cold Highway" , was released as a 7-inch vinyl single in the UK by DJM Records (catalog number DJS 322) on August 30, 1974. Released as the lead single from Elton John’s album Caribou (released June 28, 1974). Written by Elton John (music) and Bernie Taupin (lyrics). The song was inspired by a comment from Taupin’s wife, Maxine Feibelman, who jokingly referred to Elton’s cranky moods as “the bitch is back.” Peaking at 4 on the US Billboard Hot 100, 1 in Canada, and 15 in the UK. Some US radio stations banned it due to the word “bitch,” though others played it after public demand. Produced by Gus Dudgeon, recorded at Caribou Ranch, Colorado. "Cold Highway" was not included on the original Caribou album but was added as a bonus track in later reissues (e.g., 1995 CD release). Writers again were Elton John (music) and Bernie Taupin (lyrics). Cover art for Elton John's single "The Bitch is Back" and "Cold Highway," released by DJM in the Netherlands, catalog number 6102 333.

David Bowie’s Bowie's Greatest Hits , a unique promotional 7-inch flexi disc, was released in the UK by Record Mirror  (catalog number unknown) on September 28, 1974, under the catalog number LYN 2929 by Lyntone Recordings Ltd. in collaboration with Record Mirror & Popswop magazine. This one-sided flexi-disc, given away free with the magazine, features excerpts from eight Bowie tracks, connected by an announcer’s commentary, with a total playing time of 5:55. The tracks, primarily from Bowie’s glam rock and early soul periods, include “Knock on Wood” (listed first but appearing last), along with snippets from albums like Hunky Dory (1971), The Rise and Fall of Ziggy Stardust and the Spiders from Mars (1972), Aladdin Sane (1973), Pin Ups (1973), and Diamond Dogs (1974). Released by RCA/Mainman and manufactured by Lyntone, this flexi-disc is a rare collectible, capturing Bowie’s mid-1970s transition from glam rock to soul. Historical Context In 1974, David Bowie was navigating a pivotal phase in his career. Having retired his Ziggy Stardust persona in 1973, he released Diamond Dogs (May 1974), a dystopian glam rock album that hinted at his upcoming soul and funk influences. That summer, Bowie embarked on the ambitious Diamond Dogs Tour in North America, documented in the David Live album (recorded July 1974, released October 1974). His immersion in Philadelphia soul during this period led to Young Americans (1975). The Record Mirror Flexi Disc was a promotional tool tied to Record Mirror & Popswop, a UK music magazine that merged pop coverage with fan engagement. Released during this transitional year, the flexi-disc served to keep Bowie’s earlier catalog relevant while teasing his new soul direction with “Knock on Wood,” a cover of Eddie Floyd’s 1966 hit, released as a single in September 1974 from David Live. Bowie’s growing US popularity and UK chart dominance (e.g., Diamond Dogs hit No. 1 in the UK) made this a strategic release to maintain fan interest. Track List: "Knock on Wood" (Excerpt) "Space Oddity" (Excerpt) "The Man Who Sold the World" (Excerpt) "Life on Mars?" (Excerpt) "Starman" (Excerpt) "The Jean Genie" (Excerpt) "Sorrow" (Excerpt) "Diamond Dogs" (Excerpt) The announcer’s commentary, typical of promotional flexi-discs, likely provides context or introductions, weaving the excerpts into a narrative of Bowie’s career up to 1974.

The Sensational Alex Harvey Band’s "Mrs. Blackhouse"  backed with "Engine Room Boogie" , was released as a 7-inch vinyl single in the UK by Mountain Records (catalog number TOP 32) on August 26, 1977. It was not directly tied to an album at the time of release, as SAHB Stories came out a year earlier (1976), and Rock Drill, the album that later included "Mrs. Blackhouse," was released in Europe in 1977 and the UK in 1978. "Mrs. Blackhouse" is a satirical track aimed at Mary Whitehouse, a conservative British campaigner known for her moral crusades against perceived immorality in media. The song’s title is a deliberate play on her name, and its lyrics critique her puritanical views with biting humor, accusing her of hypocrisy and questioning her moral authority. The song is part of SAHB’s Rock Drill album, their eighth studio release, recorded during a turbulent period for the band. Alex Harvey had rejoined SAHB after a brief split in 1976, and keyboardist Hugh McKenna was absent due to an internal dispute, replaced by Tommy Eyre. "Engine Room Boogie," a rare track not included on Rock Drill, was performed live at the 1977 Reading Festival alongside "Mrs. Blackhouse." Rock Drill was initially set to include a track called "No Complaints Department," a deeply personal song tied to the deaths of Harvey’s manager Bill Fehilly (plane crash, 1976) and brother Leslie (electrocuted on stage, 1972). This track was pulled from the UK release of Rock Drill and replaced with "Mrs. Blackhouse" due to its emotional weight. Some early pressings and international versions (e.g., Germany, Norway) included "No Complaints Department," leading to confusion, with some CD releases like Portrait (1987) mistakenly listing it as "Mrs. Blackhouse."

David Bowie’s "The Prettiest Star"  backed with "Conversation Piece" , was released as a 7-inch vinyl single in the UK by Mercury Records (catalog number MF 1135) on March 6, 1970, as the follow-up single to "Space Oddity" . A love song for his soon-to-be wife Angie, it was recorded in January 1970 at Trident Studios in London and featured Marc Bolan on guitar, who was brought on by the producer Tony Visconti. Despite praise from music journalists, the single flopped and failed to chart. Years later, Bowie rerecorded the track for his 1973 album Aladdin Sane. On this more glam rock influenced take with lyrics matching themes on the album, Mick Ronson recreated Bolan's guitar part almost note-for-note.

Alice Cooper Group’s "Muscle of Love"  backed with "Crazy Little Child" , was released as a 7-inch vinyl single in the US by Warner Bros. Records (catalog number WB 7762) on January 25, 1974.Both tracks are from the Muscle of Love album, with the single noted in a 1974 Cash Box review for its gritty hard rock edge and theatrical flair, characteristic of the band’s final studio effort. Tracklist (7” Vinyl): A1. Muscle of Love – 3:42 B1. Crazy Little Child – 5:12 Note: The tracklist reflects the standard US 7” vinyl release.

Alice Cooper Group’s "Reflected"  backed with "Living" , was released as a 7-inch vinyl single in the US by Straight Records (catalog number STS-1051) on June 12, 1969. Both tracks were taken from their upcoming debut album, Pretties for You. Written by all five band members—Alice Cooper, Glen Buxton, Michael Bruce, Dennis Dunaway, and Neal Smith—Reflected critiques the false allure of Hollywood glitz with what Cooper later called “stupid” and “fake, quasi-spiritual 60s” lyrics. The song’s riff and melody were later reworked for Elected on the 1973 album 、Billion Dollar Babies. Performed during a party scene in the 1970 film Diary of a Mad Housewife, the single was noted in a 1969 Billboard review for its raw, psychedelic edge, marking the band’s early experimental phase. It did not chart in the US. Tracklist (7” Vinyl): A1. Reflected – 3:17 B1. Living – 3:12

Alice Cooper Group’s "Be My Lover"  backed with "You Drive Me Nervous" , was released as a 7-inch vinyl single in the US by Warner Bros. Records (catalog number WB 7568) on February 8, 1972, through Warner Bros. Records in Argentina, Brazil, Canada, Germany, Greece, New Zealand, the Philippines, Portugal, and the USA (catalog number WB 7568). Written by guitarist Michael Bruce and produced by Bob Ezrin, the song’s partly autobiographical lyrics narrate a musician’s attempt to charm a woman by describing his life in a “long-haired rock and roll band” from Detroit, with a humorous nod to the question, “why the singer’s name was Alice.” It peaked at No. 49 on the US Billboard Hot 100, charting for 10 weeks. Record World called it the band’s “finest single since ‘Eighteen,’” while Cash Box described it as an “autobiographical groupie song” poised to surpass Under My Wheels and rival I’m Eighteen’s success. The single, from the Killer album, was noted in a 1972 Melody Maker review for its sleazy, hard-rock swagger. Tracklist (7” Vinyl): A1. Be My Lover – 3:21 B1. You Drive Me Nervous – 2:28 Note: The tracklist reflects the standard 7” vinyl release across the listed countries.

Alice Cooper Group’s "Love It to Death"  backed with "Below the Belt" , was released as a 7-inch vinyl single in the US by Warner Bros. Records (catalog number WB 7402) on March 26, 1971. The single featured the same tracks on both sides: "Sun Arise" Alice Cooper - The Sound of 3rd Generation Rock "Sun Arise" (continued)... "Love It to Death," a new album by Alice Cooper, featuring: "Eighteen" On Warner Bros. Records, showcasing "Eighteen" by Alice Cooper - 3rd Generation Rock. "Eighteen" (fade out).

David Bowie’s "Let's Dance"  backed with "Cat People (Putting Out Fire)" , was released as a 7-inch vinyl single in the UK by EMI America (catalog number EA 152) on March 14, 1983. Co-produced by Nile Rodgers of Chic, the song was recorded in late 1982 at New York City's Power Station. With the help of engineer Bob Clearmountain, Rodgers converted the track from its folk rock roots into a dance tune using studio effects and new musicians with whom Bowie had not previously collaborated. Bowie brought in then-unknown Texas guitarist Stevie Ray Vaughan, who contributed a blues touch. Released as the lead single from the album in both full-length and edited versions, "Let's Dance" became the best-selling single of Bowie's career, reaching number one in several countries, including the UK and the US. The music video for the song, shot in Australia, offered commentary on the treatment of Aboriginal Australians, using the red shoes mentioned in a line to symbolize their mistreatment

David Bowie’s "Fame '90"  backed with "Fame '90 (Gass Mix)" , was released as a 7-inch vinyl single in the UK by EMI Records (catalog number EM 141) on March 29, 1990. It was remixed version timed with the Sound+Vision Tour, the Changesbowie compilation, and the Pretty Woman soundtrack. Bowie aimed to remix a successful American single for the tour and album release; between "Let's Dance" and "Fame," the former was considered too recent. Bowie appreciated the selection: "Fame covers a lot of ground; it holds up well over time. It still sounds powerful. It's quite a nasty, angry little song. I quite like that." For the Sound+Vision tour, Bowie integrated elements of "Fame '90" into the live performance. Regarding the remix, Spitz states: "The best thing you can say about "Fame '90" is that it's much better than the Police's "Don't Stand So Close to Me '86" but far inferior to George Michael's "Freedom! '90". Ultimate Classic Rock called it a "now happily forgotten" remix and placed it at number 104 (out of 119) in a list ranking every Bowie single from worst to best

Label: RCA Victor Country: UK Catalogue: RCA 2466 David Bowie’s "Knock On Wood"  backed with "Panic In Detroit" , was released as a 7-inch vinyl single in the UK by RCA Victor (catalog number RCA 2466) on September 13, 1974. Featuring live recordings from his Diamond Dogs tour in the United States. Tracks: A-Side: "Knock On Wood" (3:08) B-Side: "Panic In Detroit" (5:51) releases in other regions like Germany and Italy (see images below) Production: A MainMan Production, with tracks co-produced by Bowie and Ken Scott (for "Panic In Detroit" as part of the Aladdin Sane sessions) and Tony Visconti (for "Knock On Wood" from David Live). A-Side: "Knock On Wood" Origin: A cover of the 1966 soul classic written by Eddie Floyd and Steve Cropper, originally performed by Eddie Floyd. Context: This live version was recorded during Bowie’s 1974 Diamond Dogs tour, specifically for the David Live album, which captured performances from July 1974 at the Tower Theater in Philadelphia. Notes: The track was included on the David Live album, showcasing Bowie’s energetic live performance style with his backing band, featuring musicians like Earl Slick on guitar. Label: RCA Victor Country: France Catalogue: XB 01001 B-Side: Written by Bowie for his 1973 album Aladdin Sane, inspired by Iggy Pop’s descriptions of revolutionaries in Michigan and the 1967 Detroit riots. The song references figures like Che Guevara and John Sinclair of the White Panther Party. This live version, also from the 1974 Diamond Dogs tour, was not originally included on David Live but was later added to the 2005 and subsequent reissues of the album, as well as compilations like Rare (1983) and Re:Call 2 (2016). Described as a “salsa variation on the Bo Diddley beat,” it features a bluesy guitar part by Mick Ronson (on the original studio version) and a darker, intense live performance with prominent percussion, including congas and maracas added by Geoff MacCormack. Publisher: Mainman Ltd./Chrysalis Music Ltd. Recording Details: The studio version from Aladdin Sane was recorded at Trident Studios in London in January 1973, with the Spiders from Mars (Mick Ronson on guitar, Trevor Bolder on bass, Woody Woodmansey on drums). A dispute during recording between Bowie and Woodmansey over the drum arrangement reportedly contributed to tensions leading to Woodmansey’s departure later in 1973. Label: RCA Victor Country: Yugoslavia Catalogue: SRCA-88783 Release Details Other Releases: The single was also released in regions like Germany, Italy, and Yugoslavia (e.g., Jugoton SRCA-88783). A 1983 re-release (RCA BOW 505) exists, with some copies featuring a misprinted A-side label (orange with no text). Matrix/Runout: Side A: RCA 2466-A / RCA·2466·A1 STERLING Side B: RCA 2466-B / RCA·2466·B1 STERLING Both tracks were recorded during the Diamond Dogs tour, a pivotal moment in Bowie’s career as he transitioned from glam rock to soul and funk. The tour was known for its elaborate stage production, reflecting the dystopian themes of the Diamond Dogs album. Significance of "Panic In Detroit": The song’s lyrics explore urban decay, violence, drugs, and alienation, tying into the broader themes of Aladdin Sane. Rolling Stone highlighted its connection to Motown’s “Nowhere to Run” and praised Mick Ronson’s guitar work, listing it as his “essential recording” in their 2003 “100 Greatest Guitarists” list.

Slade’s "Mama Weer All Crazee Now"  backed with "Man Who Speeks Evil" , was released as a 7-inch vinyl single in the UK by Polydor Records (catalog number 2058 254) on August 25, 1972, as lead single from their third studio album, Slayed?. Written by lead vocalist Noddy Holder and bassist Jim Lea, and produced by Chas Chandler, it became one of Slade’s signature anthems and a glam rock classic. The song hit No. 1 in the UK, their third chart-topping single, and stayed in the charts for ten weeks. It also reached No. 76 in the US Billboard Hot 100. The track’s raucous energy and singalong chorus were inspired by a wild concert at Wembley’s Empire Pool, where Holder, seeing the smashed seats afterward, thought, “Christ, everyone must have been crazy tonight.” Jim Lea, influenced by a Chuck Berry gig where the crowd sang along en masse, crafted the melody to capture that live audience vibe. Originally titled "My My We're All Crazy Now," it was changed to "Mama" after Chandler misheard it and preferred the tweak. The B-side, "Man Who Speeks Evil," written by Lea and drummer Don Powell, was exclusive to the single and later included on the 2007 compilation B-Sides. The song was released on 7" vinyl by Polydor Records across multiple countries, with no music video but live performances on shows like Top of the Pops and TopPop. Its raw, anthemic sound, described as a “full-on adrenalin monster,” cemented Slade’s live essence and became a staple in their performances.

David Bowie’s "Diamond Dogs"  backed with "Holy Holy" , was released as a 7-inch vinyl single in the UK by RCA Records (catalog number APBO 0293) on May 17, 1974. The lyric introduces the listener to Bowie's latest persona and his environment; Halloween Jack dwells on top of an abandoned skyscraper ("Manhattan Chase", a.k.a. One Chase Manhattan Plaza) in a post-apocalyptic Manhattan. The guitar sound is heavily influenced by The Rolling Stones, and signalled Bowie moving away from glam rock and closer to a proto-punk Stooges-influenced sound. The track was considered by many commentators to be an unconventional single, and it only reached number 21 in the United Kingdom. According to NME critics Roy Carr and Charles Shaar Murray, "As a potential hit single, the title track from Diamond Dogs was something of a non-event. Too long, too bleak in vision, too tough to dance to... you know the drill." Although it was not issued in the US as a single (despite the fact that copies were pressed in the US for shipment to the UK and were commonly imported into the US for sale in shops that sold imports), the song became a central part of Bowie's North American tour in 1974. The B-side was a version of Bowie's 1971 single "Holy Holy", re-recorded during the Ziggy Stardust sessions the same year. courtesy Wikipedia

Ian Hunter’s "You Nearly Did Me In"  backed with "Letter to Britannia from the Union Jack" , was released as a 7-inch vinyl single in the UK by CBS Records (catalog number S CBS 4477) on August 6, 1976. It was part of Hunter’s second solo album, All American Alien Boy, following his departure from Mott the Hoople. Written by Ian Hunter, the song features a dramatic buildup with his raw vocals, backed by a stellar lineup including members of Queen (Freddie Mercury, Brian May, and Roger Taylor) providing backing vocals, which add a rich, layered texture. The track also includes contributions from saxophonist David Sanborn, bassist Jaco Pastorius, and drummer Aynsley Dunbar, blending rock with soul and jazz elements. Its chord progression and Hunter’s Dylan-esque delivery create a powerful, anthemic feel. Single label for "You Nearly Did Me In" by Ian Hunter, released on 6th August 1976 under CBS in the UK. Despite its quality, the single did not chart significantly in the UK or elsewhere, reflecting the album’s commercial struggles. All American Alien Boy was a critical success but a commercial failure, partly due to its departure from Mott’s glam-rock roots. Single label for Ian Hunter's "Letter to Britannia from the Union Jack," released by CBS in the UK in 1976, featuring a track from the album "All American Alien Boy."

Rod Stewart’s "Little Miss Understood"  backed with "So Much To Say" , was released as a 7-inch vinyl single in the UK by Virgin Records (catalog number VS 366) on September 19, 1980. Single Details Label: Virgin Records (VS 366), under license from Nems Records Ltd. Format: 7" Vinyl, 45 RPM, Single, Reissue, Stereo. Country: UK. Release Date: September 19, 1980. Tracks: A: Little Miss Understood (3:41) – Written and produced by Mike d’Abo. B: So Much To Say (3:13) – Written by Rod Stewart, produced by Mike d’Abo. Background and Context Original Release: "Little Miss Understood" was first released in March 1968 on Immediate Records (IM 060), marking one of Rod Stewart’s earliest solo efforts. At the time, Stewart was a relatively unknown singer, having performed with bands like The Dimensions (1963), Long John Baldry’s All Stars (1964), and The Jeff Beck Group (1967–1969). The 1968 single was not a commercial success and was initially released in select markets (e.g., US, Netherlands) but not the UK. 1980 Reissue: By 1980, Stewart was a global superstar, thanks to hits like Maggie May (1971), Tonight’s the Night (1976), and Da Ya Think I’m Sexy? (1978). The Virgin Records reissue of Little Miss Understood b/w So Much To Say was a nostalgic release, capitalizing on Stewart’s fame to revisit his pre-fame solo work. It was released shortly before his album Foolish Behaviour (November 1980), which featured a new wave/soft rock sound. Musical Content A-Side: Little Miss Understood Writer/Producer: Written and produced by Mike d’Abo, former frontman of Manfred Mann (Mighty Quinn). B-Side: So Much To Say Writer/Producer: Written by Rod Stewart, produced by Mike d’Abo. Style: A raw, upbeat rock track with a straightforward, energetic vibe. It’s less Production and Personnel Producer: Mike d’Abo, a seasoned songwriter and performer, brought a polished yet soulful touch to both tracks. His experience with Manfred Mann ensured a radio-friendly sound, though the 1968 release didn’t gain traction. Musicians: Specific session musicians for the 1968 recording are not well-documented, but the orchestral elements suggest contributions from studio players common in Immediate Records’ productions, possibly including strings and woodwind sections arranged by d’Abo. France - Immediate - 1968 Reception and Impact Chart Performance: 1968 Original: The single flopped commercially, failing to chart in most markets. It was not released in the UK initially, and its US release saw minimal impact. 1971 Release: A later release in the Netherlands (1971, Immediate Records) reached #17 on the Tip 30, showing some retrospective interest as Stewart’s fame grew. 1980 Reissue: The Virgin reissue (VS 366) did not chart significantly in the UK or elsewhere, as it was a niche release for fans and collectors rather than a mainstream push. Its timing alongside Foolish Behaviour suggests it was a promotional afterthought. France - Immediate - 1971 Context in Stewart’s Career 1968: At the time of the original release, Stewart was a journeyman singer, gaining notice with The Jeff Beck Group but not yet a solo star. Little Miss Understood was a bold early attempt to establish his solo identity, though it was overshadowed by his band work. 1980: By the reissue, Stewart was at the peak of his fame, riding the success of albums like Blondes Have More Fun (1978) and transitioning to a new wave-influenced sound with Foolish Behaviour. The reissue served as a nostalgic nod to his roots, contrasting with his contemporary hits like Passion (1980). Career Trajectory: The single’s re-release underscores Stewart’s transformation from a 1960s mod rocker to a versatile, chart-topping artist who could tackle rock, soul, disco, and later, standards (Great American Songbook series, 2002–2010). Additional Notes Historical Note: Little Miss Understood predates Stewart’s breakthrough with Maggie May (1971), showing his early reliance on covers and collaborations with established songwriters like Mike d’Abo. It’s a precursor to his knack for emotive ballads and soulful rock.

David Bowie’s "The Laughing Gnome"  backed with "The Gospel According to Tony Day" , was released as a 7-inch vinyl single in the UK by Deram Records (catalog number DM 123) on April 14, 1967. A pastiche of songs by one of Bowie's early influences, Anthony Newley, it was originally released as a novelty single on Deram Records in 1967. The track consists of Bowie meeting and conversing with a gnome, whose sped-up voice (created by Bowie and studio engineer Gus Dudgeon) delivers several puns on the word "gnome". At the time, "The Laughing Gnome" failed to provide Bowie with a chart placing, but on its re-release in 1973 it reached number six on the British charts and number three in New Zealand Release and reception The single was not a commercial success upon initial release in April 1967, despite a positive review in the NME, which declared it "A novelty number chock full of appeal. This boy sounds remarkably like Tony Newley, and he wrote this song himself. An amusing lyric, with David Bowie interchanging lines with a chipmunk-like creature."[4] William Mann's 1967 review of Sgt. Pepper's Lonely Hearts Club Band compared that album's similar interest in music-hall and Victoriana influences to "The Laughing Gnome": "a heavy-handedly facetious number which ... steadfastly remained the flop it deserved to be". NME editors Roy Carr and Charles Shaar Murray later described it as "Undoubtedly the most embarrassing example of Bowie juvenilia".However, Bowie biographer David Buckley has called "The Laughing Gnome" a "supremely catchy children's song" and compared it to contemporary material by Pink Floyd's Syd Barrett,while Nicholas Pegg considered that "the world would be a duller place without it". The song became a hit when reissued in 1973, in the wake of Bowie's commercial breakthrough The Rise and Fall of Ziggy Stardust and the Spiders from Mars and the US reissue of his 1969 hit "Space Oddity". Despite it being radically different from his material at the time, the single made No. 6 in the UK charts and was certified silver in the UK (250,000 copies sold), which according to Carr and Murray left Decca Records as "about the only unembarrassed party". A second reissue in 1982 was not as successful, failing to chart. In 1990, Bowie announced that the set list for his "greatest hits" Sound+Vision Tour would be decided by telephone voting, and NME made a concerted effort to rig the voting so Bowie would have to perform "The Laughing Gnome" (with the slogan "Just Say Gnome"). The voting system was scrapped. Bowie later joked to NME's rival Melody Maker that he had been considering performing it in a new 'Velvet Underground-influenced' arrangement. He also considered performing it on his 2003 tour. In 1999, Bowie appeared on the bi-annual Red Nose Day telethon for Comic Relief performing a tongue-in-cheek composition entitled "Requiem for the Laughing Gnome", a deliberately poor piece of music seen as a parody of the original release. The mono single and its flip side were given a stereo remix in July 2009 at Abbey Road Studios for the 2010 double-disc "deluxe" package of Bowie's debut album. According to the sleeve notes, "The Laughing Gnome" was recorded at Decca Studios No. 2 on 26 January, 7 February and 10 February, and 8 March 1967. The original 1967 record is considered collectable, with UK pressings in perfect condition being valued at £200 by Record Collector magazine's 2016 Rare Record Price Guide. In 2011, a Belgian demonstration pressing (also from 1967) sold for more than £2300. Sourced from Wikipedia Track listing "The Laughing Gnome" (Bowie) – 3:01 "The Gospel According to Tony Day" (Bowie) – 2:48

David Bowie’s "Heroes"  backed with "V-2 Schneider" , was released as a 7-inch vinyl single in the UK by RCA Victor (catalog number PB 1121) on September 23, 1977, featuring the title track from the Heroes  album, the second in his Berlin Trilogy. This iconic single features the title track from Bowie’s 'Heroes ' album, the second in his Berlin Trilogy, paired with the instrumental B-side “V-2 Schneider.” The A-side, “Heroes,” is one of Bowie’s most enduring anthems, co-written with Brian Eno and produced by Tony Visconti, while “V-2 Schneider” showcases his experimental side. Released during Bowie’s influential Berlin period, this single captures a pivotal moment in his career, blending emotional depth with avant-garde innovation. Historical Context In 1977, David Bowie was in the midst of his Berlin Trilogy (Low, Heroes, Lodger), a creative peak marked by collaboration with Brian Eno and Tony Visconti. After moving to Berlin to escape the excesses of Los Angeles and his Station to Station era, Bowie embraced a more experimental sound, influenced by Krautrock, ambient music, and the city’s divided atmosphere. 'Heroes', recorded at Hansa Studios near the Berlin Wall, was inspired by the Cold War’s tension and Bowie’s personal reinvention. The title track, “Heroes,” became a cultural touchstone, its lyrics reflecting love and resilience in the face of adversity. Released as the lead single from the Heroes album (also October 1977), it initially peaked at No. 24 in the UK charts but grew in stature over time, becoming one of Bowie’s signature songs. The B-side, “V-2 Schneider,” pays homage to Kraftwerk’s Florian Schneider, reflecting Bowie’s admiration for the German electronic pioneers. Track Analysis A-Side: Heroes (3:35, single edit) Lyrics and Theme: Written by Bowie and Eno, “Heroes” was inspired by a moment Bowie observed near the Berlin Wall, where two lovers met in its shadow (later revealed to be Tony Visconti and backup singer Antonia Maass). The lyrics, with their iconic line “We can be heroes, just for one day,” evoke fleeting hope and defiance against the backdrop of a divided city. The quotation marks in the title emphasize its ironic, bittersweet tone. Music and Production: Produced by Tony Visconti, the track features Robert Fripp’s distinctive guitar work, recorded in one take, and Eno’s ambient synth textures. Bowie’s layered vocals, building to an emotive crescendo, are enhanced by Visconti’s innovative production, including a gated reverb effect on the vocals. The single edit trims the album’s 6:07 version to 3:35 for radio play, maintaining its emotional intensity. Netherlands - RCA Victor - 1977 Cultural Impact: Though not an immediate chart-topper, “Heroes” became a timeless anthem, covered by artists like The Wallflowers and used in films, TV shows, and events like the 2012 Olympics. Its bilingual versions (English/German and English/French) for European markets added to its global resonance. B-Side: V-2 Schneider (3:10) Composition and Theme: An instrumental track named after Kraftwerk’s Florian Schneider, “V-2 Schneider” reflects Bowie’s fascination with German electronic music. The title also nods to the V-2 rocket, tying into the Cold War imagery of the Heroes album. The track blends motorik rhythms with jazzy saxophone and synth layers, showcasing Bowie’s experimental side. Music and Production: Featuring Bowie on saxophone, Carlos Alomar on guitar, and Eno’s synth contributions, the track is a nod to Krautrock’s hypnotic pulse. Its minimalist structure contrasts with the A-side’s emotional weight, offering a playful yet cerebral counterpoint. Significance: As a B-side, it’s a fan favorite for its quirky energy and connection to Bowie’s Krautrock influences, often cited as a precursor to his later instrumental experiments. Production and Credits Producers: David Bowie and Tony Visconti. Songwriters: David Bowie and Brian Eno (“Heroes”); David Bowie (“V-2 Schneider”). Musicians: David Bowie (vocals, saxophone), Robert Fripp (guitar), Carlos Alomar (guitar), George Murray (bass), Dennis Davis (drums), Brian Eno (synthesizers). Studio: Hansa Tonstudio, Berlin. Label: RCA Victor UK (PB 1121). Spain - RCA Victor - 1977 Critical Reception Upon release, “Heroes” received mixed commercial success but critical acclaim. Its anthemic quality and innovative production were praised, though some UK critics found its art-rock leanings less accessible than Bowie’s earlier glam hits. Over time, it’s been hailed as one of Bowie’s greatest works, with Rolling Stone, NME, and Pitchfork ranking it among the top songs of all time. The 7" single’s B-side, “V-2 Schneider,” was less reviewed but appreciated by fans for its experimental edge. The Heroes / V-2 Schneider 7" single is a cornerstone of Bowie’s discography and a cultural artifact of the Berlin Trilogy. Its release during Bowie’s most experimental phase, combined with its recording near the Berlin Wall, gives it historical weight. The single’s enduring popularity is evident in its use in media, from Moulin Rouge! to Stranger Things, and its performance by Bowie at Live Aid (1985) and the Concert for Berlin (1987). For collectors, the 1977 UK pressing (PB 1121) is prized, especially with the original RCA sleeve or rare picture sleeves from markets like Germany or France. 40th Anniversary Edition: The Heroes / Heroes (‘Marc’ Show Version) 40th Anniversary 7" Picture Disc was released by Parlophone Records on September 22, 2017, to commemorate the 40th anniversary of David Bowie’s iconic single “Heroes,” originally released on September 23, 1977, by RCA Victor (PB 1121). Cataloged as DBHERO 40 (UK) and 5601-7-R (US), this limited-edition picture disc was part of Record Store Day 2017 and Bowie’s posthumous reissue campaign following his death in January 2016. The A-side features the 2017 remastered single edit of “Heroes” (3:35), while the AA-side (a double A-side designation) contains a previously unreleased live version of “Heroes” from Marc Bolan’s ITV show Marc, recorded on September 7, 1977, and broadcast on September 28, 1977, after Bolan’s tragic passing in a car accident on September 16, 1977. Music and Production: AA-Side: Heroes (‘Marc’ Show Version, 3:35, Previously Unreleased) This live version, recorded on September 7, 1977, for Marc Bolan’s Marc TV show, marks the first televised performance of “Heroes” in the UK. Performed in a studio setting for ITV, it captures Bowie’s raw energy and emotional delivery, though in mono audio, as noted in reviews. Significance: The Marc show version is a collector’s gem, previously unreleased until this picture disc. Its historical context—Bowie performing on Bolan’s show just days before Bolan’s fatal accident—makes it a poignant snapshot of their friendship and the glam rock era’s twilight. The performance’s mono audio is a noted drawback but doesn’t diminish its archival value.

David Bowie’s "Suffragette City"  backed with "Stay" , was released as a 7-inch vinyl single in the UK by RCA Records (catalog number RCA 2726) on July 9, 1976, to promote the compilation album ChangesOneBowie . Label: RCA Victor Country: UK Catalogue: RCA 2726 Font Overview of the Single Catalog Number: RCA 2726 (UK), XB-01015 (Germany) Format: 7" vinyl, 45 RPM Purpose: Released to promote the CHANGESONEBOWIE compilation album, which highlighted key tracks from Bowie’s career up to that point. Chart Performance: The single failed to chart, despite the popularity of "Suffragette City" as a fan favorite. Tracks: Side A: "Suffragette City" (3:28) Side B: "Stay" (US single edit, 3:23) Production: "Suffragette City": Co-produced by David Bowie and Ken Scott. "Stay": Produced by David Bowie and Harry Maslin. Publishers: "Suffragette City": MainMan/Chrysalis Music Ltd./Moth Music (A Gem Production). "Stay": Bewlay Bros. Music/Chrysalis Music Ltd./MainMan Ltd. Track Details Side A: "Suffragette City" Origin: Originally recorded in 1972 and featured as the 10th track on Bowie’s fifth studio album, The Rise and Fall of Ziggy Stardust and the Spiders from Mars (released June 16, 1972). It was initially the B-side to the "Starman" single (April 28, 1972, RCA 2199) and later the B-side to "Young Americans" (February 1975) Label: RCA Victor Country: UK Catalogue: RCA 2726 Back Recording: Recorded on February 4, 1972, at Trident Studios, London, during the final stages of the Ziggy Stardust sessions Personnel: David Bowie: Vocals, guitar Mick Ronson: Guitar, piano, ARP synthesizer (mimicking a saxophone) Trevor Bolder: Bass Mick Woodmansey: Drums Musical Style: A high-energy glam rock, proto-punk, and hard rock track influenced by Little Richard (notably the piano riff) and the Velvet Underground. The song features a driving guitar riff, boogie-woogie piano, and an ARP synthesizer used to emulate a saxophone, a creative workaround due to budget constraints. Lyrics and Themes: The song is part of the Ziggy Stardust narrative, portraying the titular character as a sexually charged, rebellious rock star. The lyrics include pop culture references, such as "droogie" from A Clockwork Orange (inspired by Anthony Burgess and Stanley Kubrick’s 1971 film) and the phrase "wham bam thank you ma’am," borrowed from Charles Mingus. Interpretations vary, with some suggesting the song reflects Bowie’s bisexuality (with "Henry" as a male lover and "Suffragette City" symbolizing a shift to women) or drug use ("Henry" as slang for heroin), though Bowie never confirmed these theories. Notable Features: The song’s structure is dynamic, with starts, stops, and a sing-along hook. The backing vocals shift from the left channel in the first verse to the right in the second, adding a stereo effect Cultural Impact: Despite not charting as a single, "Suffragette City" is one of Bowie’s most iconic tracks, celebrated for its raw energy and glam rock swagger. It has appeared on multiple compilation albums CHANGESONEBOWIE (1976), CHANGESBOWIE (1990), The Best of David Bowie 1969/1974 (1997), Best of Bowie (2002)) and live albums (Live Santa Monica ’72, Ziggy Stardust: The Motion Picture, David Live, etc.). Label: RCA Victor Country: UK Catalogue: RS 1055 Side B: "Stay" (US Single Edit) Origin: Recorded in 1975 and featured on Bowie’s Station to Station album (released January 23, 1976). The version on the single is a shortened edit (3:23) compared to the album version (6:15). Recording: Recorded at Cherokee Studios, Los Angeles, in late 1975. Personnel: David Bowie: Vocals Carlos Alomar: Guitar Earl Slick: Guitar George Murray: Bass Dennis Davis: Drums Roy Bittan: Piano Musical Style: A funk-rock and soul-infused track with a spacey, experimental edge, reflecting Bowie’s Thin White Duke persona. Described as a “weird soul song” with an otherworldly vibe, it contrasts with the high-octane glam of "Suffragette City." Production: Arranged by Bowie and produced by Bowie and Harry Maslin. Context: "Stay" was chosen as the B-side to pair a newer track from *Station to Station* with the older "Suffragette City," bridging Bowie’s glam rock past with his evolving sound in 1976. The US single edit was used for most editions, though the German release included a slightly different edit. Background and Context Mott the Hoople Connection: Bowie originally offered "Suffragette City" to Mott the Hoople in 1971 to prevent their breakup. The band, led by Ian Hunter, declined it, deeming it not special enough, and instead recorded Bowie’s "All the Young Dudes," which became a hit. This decision allowed Bowie to record "Suffragette City" himself, making it a cornerstone of the Ziggy Stardust album. Ziggy Stardust Narrative: "Suffragette City" fits into the concept album’s story of Ziggy Stardust, an alien rock star navigating fame, sex, and rebellion. The song’s raw energy and provocative lyrics capture Ziggy’s hedonistic persona. A Clockwork Orange Influence: Bowie and Mick Ronson saw Kubrick’s A Clockwork Orange in January 1972, and its “malicious, malevolent” vibe influenced the song’s final version, particularly the use of “droogie.” Label: RCA Victor Country: Germany Catalogue: XB-01 015 / 26.11453 1976 Reissue: The single was part of RCA’s strategy to capitalize on Bowie’s growing fame with CHANGESONEBOWIE , a greatest-hits compilation. Pairing "Suffragette City" with "Stay" showcased Bowie’s evolution from glam rock to the soul and experimental sounds of Station to Station. Additional Details Vinyl Specifics: The German edition (XB-01015) misspelled the track as "SUFFRAGETTECITY" on the label and sleeve. Live Performances: "Suffragette City" was a staple in Bowie’s live sets, with performances from the 1972–1973 Ziggy Stardust Tour (Live Santa Monica ’72, Ziggy Stardust: The Motion Picture), 1974 Diamond Dogs Tour (David Live, Cracked Actor), 1976 Isolar Tour (Live Nassau Coliseum ’76), and 1978 Isolar II Tour (Stage, Welcome to the Blackout). A 1972 BBC session was released on Bowie at the Beeb (2000). A notable performance was on April 2, 1978, at Selland Arena, Fresno, CA, where "Suffragette City" and "Stay" were both played. Covers and Legacy: "Suffragette City" has been covered by artists like Red Hot Chili Peppers (B-side to "Aeroplane," 1996), L.A. Guns (Cuts* 1992), and Mr. Big (Live at Budokan, 1997). The song is celebrated as a glam rock classic, praised for its guitar work, energy, and cultural impact. It’s featured in games like Guitar Hero and*Rock Ban*. Label: Warner Bros. Records Country: Europe Catalogue: W0331CDX Critical Reception Critics have lauded "Suffragette City" for its raw power and Mick Ronson’s guitar work, calling it a quintessential Bowie track that embodies his glam rock era. Its “wham bam thank you ma’am” hook and unpredictable energy are often highlighted. "Stay" is noted for its unique blend of funk, soul, and experimental rock, with a spacey quality that complements Bowie’s 1976 persona. Despite the single’s commercial failure, both tracks remain fan favorites and are considered pivotal in Bowie’s discography. Collectibility and Availability The single is available on Discogs, with 7" vinyl copies varying in price based on condition and region. It’s part of Bowie’s collectible catalog, with editions like the German pressing noted for unique label errors. Both tracks appear on streaming platforms and have been remastered multiple times, including in the 2012 Ziggy Stardust 40th anniversary edition and the 2015 Five Years (1969–1973) box set. Label: RCA Victor Country: France Catalogue: 42576 Misconceptions A Reddit post suggested "Suffragette City" was inspired by Bowie’s 1976 arrest in Rochester, NY, for marijuana possession, linking the title to Susan B. Anthony. This is incorrect, as the song was recorded in 1972, years before the arrest. Conclusion The "Suffragette City" b/w "Stay" single is a snapshot of David Bowie’s evolution, pairing the electrifying glam rock of his Ziggy Stardust era with the soulful experimentation of his Thin White Duke phase. Though it didn’t chart, the single’s tracks are enduring classics, showcasing Bowie’s versatility, cultural influences, and raw musical power. Its significance lies in its role within the CHANGESONEBOWIE campaign and its lasting appeal among fans and collectors.

David Bowie’s "Sound and Vision"  backed with "A New Career in a New Town" , was released as a 7-inch vinyl single in the UK by RCA Records (catalog number PB 0905) on February 11, 1977. Co-produced by Bowie and Tony Visconti, the track was recorded at the Château d'Hérouville in Hérouville, France, in September 1976, and finished at Hansa Studios in West Berlin during October and November. The song originated from a basic G major chord progression that Bowie provided to the backing musicians, with him writing and recording his vocals later. It includes backing vocals from Brian Eno and Visconti's then-wife, Mary Hopkin. "Sound and Vision" achieved commercial success, reaching number three on the UK Singles Chart, partly due to its feature in BBC television ads. It reached number 69 on the Billboard Hot 100, marking a decline in Bowie's US commercial success until 1983. Music critics and biographers regard "Sound and Vision" as one of Bowie's finest songs. He performed it just once during his 1978 Isolar II world tour but included it more often in later tours. The song has been remixed in later decades and included in several compilation albums.

David Bowie’s "The Laughing Gnome"  backed with "The Gospel According to Tony Day" , was released as a 7-inch vinyl single in the UK by Decca Records (catalog number F 13807) on May 28, 1982. This 7" was part of Decca's 1982 reissue series of previous hits, all featuring the original 1950s-1960s curved Decca logo design instead of the later box-style logo.All the pressings have solid centres but appear to be of German manufacture although this isn't mentioned on the record labels but is on some of the Decca sleeves which accompany the records. These Decca sleeves are also the 'orange with white stripes design'. The releases are however all UK releases and appear in the Music Master catalogue 'British Pop Singles 1975-1984'. courtesy 45cat

David Bowie’s "Up the Hill Backwards"  backed with "Crystal Japan" , was released as a 7-inch vinyl single in the UK by RCA Records (catalog number BOW 8) on March 20, 1981. Initially titled "Cameras in Brooklyn," the song was recorded from February to April 1980 at the Power Station in New York City and Good Earth Studios in London. The recording includes backing vocals, guitar by Robert Fripp, and acoustic guitar by co-producer Tony Visconti. The lyrics address the challenges of dealing with a crisis, partly inspired by Bowie's divorce from his wife Angie. Musically, the song features multiple time signature changes and a beat inspired by Bo Diddley. The song has garnered positive feedback from music critics and biographers, with many commending its unique composition. Despite this, the song only reached No. 32 on the UK Singles Chart and No. 49 in Canada. Bowie never performed "Up the Hill Backwards" in full during his concert tours, though the first verse was used as the opening for the 1987 Glass Spider Tour. The song has been included on compilation albums, and a demo version has surfaced on bootlegs. In 2015, Mojo magazine ranked it as Bowie's 24th greatest song.

David Bowie’s "TVC 15"  backed with "We Are The Dead" , was released as a 7-inch vinyl single in the UK by RCA Records (catalog number RCA 2682) on April 30, 1976. The song was recorded in late 1975 at Cherokee Studios in Los Angeles. Co-produced by Bowie and Harry Maslin, the recording featured guitarists Carlos Alomar and Earl Slick, bassist George Murray, drummer Dennis Davis, pianist Roy Bittan and Warren Peace on backing vocals. The upbeat song is mostly art rock performed in a style reminiscent of the 1950s. Lyrically, the song concerns a character's girlfriend being eaten by a television set. It was inspired by a dream of Iggy Pop's and Bowie's role in The Man Who Fell to Earth (1976). Some lyrics are also influenced by the Yardbirds and Kraftwerk. Upon release as a single, "TVC 15" peaked at number 33 on the UK Singles Chart and number 64 on the Billboard Hot 100 chart. Its release coincided with the European leg of the Isolar tour. Initial reviews praised the song as one of the album's highlights, although some reviewers found the lyrics difficult to comprehend. Later reviews continue to praise the song, with some considering it one of Bowie's best. It has appeared on several compilation albums and was remixed by Maslin in 2010 for reissues of Station to Station and remastered in 2016 for the Who Can I Be Now? (1974–1976) box set. info courtesy Wikipedia Label: RCA Victor Country: France Catalogue: PB 10664

David Bowie’s "Starman"  backed with "Suffragette City" , was released as a 7-inch vinyl single in the UK by RCA Records (catalog number RCA 2199) on April 28, 1972. The song was recorded the song on 4 February 1972 at Trident Studios in London with his backing band known as the Spiders from Mars – comprising guitarist Mick Ronson, bassist Trevor Bolder and drummer Mick Woodmansey. The song was a late addition to the album, written as a direct response to RCA's request for a single; it replaced the Chuck Berry cover "Round and Round" on the album. The lyrics describe Ziggy Stardust bringing a message of hope to Earth's youth through the radio, salvation by an alien "Starman". The chorus is inspired by "Over the Rainbow", sung by Judy Garland, while other influences include T. Rex and the Supremes. Upon release, "Starman" sold favorably and earned positive reviews. Following Bowie's performance of the song on the BBC television programme Top of the Pops, the song reached number 10 on the UK Singles Chart and helped propel the album to number five. It was his first major hit since "Space Oddity" three years earlier. The performance made Bowie a star and was watched by a large audience, including many future musicians, who were all affected by it; these included Siouxsie Sioux, Bono, Robert Smith, Boy George and Morrissey. Retrospectively, the song is considered by music critics as one of Bowie's finest. info courtesy Wikipedia Label: RCA Victor Country: UK Catalogue: RCA 2199

Alvin Stardust’s "Pretend"  backed with "Goose Bumps" , was released as a 7-inch vinyl single in the UK by Stiff Records (catalog number BUY 123) on August 21, 1981, peaking at number 4 on the UK Singles Chart on September 5, 1981.

T.Rex’s "I Love To Boogie"  backed with "Baby Boomerang" , was released as a 7-inch vinyl single in the UK by Marc On Wax (catalog number MARC 101) on September 19, 1987, on 7", 12" and CD by Marc On Wax (date taken from Record Mirror advert) , it failed to make an appearance in the UK Singles Chart. TRACKLIST: 7" Vinyl Marc On Wax – MARC 11 A I Love To Boogie B1 Hot Love B2 Ride A White Swan 5" CD Marc On Wax – MARC D 11 1 I Love To Boogie 2 Ride A White Swan 3 Hot Love 4 Hot George 5 Get It On (New 7" Mix) 6 Sunken Rags (12" Mix) 7 Funky London Childhood 8 Megarex (12" Mix) 12"Vinyl Marc On Wax –12 MARC 11 A I Love To Boogie B1 Hot Love B2 Ride A White Swan B3 Hot George

Iggy Pop’s "Livin' On The Edge Of The Night"  backed with "High On Rebellion" , was released as a 7-inch vinyl single in the UK by Virgin Records (catalog number VS 1259) on January 29, 1990. It debuted on the UK Singles Chart on February 10, staying on the chart for four weeks and peaking at number 51. On Billboard Magazine's US Alternative Airplay Chart, the single reached a peak position of number 16.

The Sweet’s "Funny Funny"  backed with "You’re Not Wrong" , was released as a 7-inch vinyl single in the UK by RCA Records (catalog number RCA 2045) on January 29, 1971, as the lead single from their debut album Funny How Sweet Co-Co Can Be . It entered the UK singles chart on March 13 and remained there for 14 weeks, reaching a peak position of number 13. Country: Germany Catalogue: 47-15198 Country: Angola Catalogue: SIN 20.030

Terry Dactyl & The Dinosaurs’ "Seaside Shuffle"  backed with "It Happened on a Sunday Morning" , was released as a 7-inch vinyl single in the UK by Young Blood Records (catalog number YB 1013) on July 7, 1972. The track reached number 5 on the UK singles chart on August 22, 1972, dropping three spots from its peak position of number 2 the previous week. It remained on the chart for a total of 12 weeks. The band was actually an alias for Brett Marvin and the Thunderbolts, signed under a different record label.

Queen’s "Save Me"  backed with "Let Me Entertain You" , was released as a 7-inch vinyl single in the UK by EMI Records (catalog number EMI 5031) on January 25, 1980. Composed by guitarist Brian May, the song was recorded in 1979 and released in the UK on 25 January 1980, almost six months before the album came out. "Save Me" remained on the UK Singles Chart for six weeks, reaching number 11. It was the band's first single release of the 1980s. This power ballad was performed live from 1979 to 1982 and was included in their live albums, Queen Rock Montreal at the Montreal Forum, Quebec, Canada in November 1981, and Queen on Fire – Live at the Bowl at the Milton Keynes Bowl, Buckinghamshire, England in June 1982. The song also appears on Queen's Greatest Hits and Queen Forever albums. The earliest known video of a live performance is from the Concerts for the People of Kampuchea at the Hammersmith Odeon in 1979.

Netherlands - RCA - 1981 Slade’s "Lock Up Your Daughters"  backed with "Sign of the Times" , was released as a 7-inch vinyl single in the UK by RCA Records (catalog number RCA 122) on September 4, 1981. Chart Performance: Reached #29 on the UK Singles Chart, staying in the Top 75 for eight weeks. It also hit #17 in the Netherlands and was a minor success in other European markets. Context in 1981: Following their comeback album We’ll Bring the House Down (1981) and the Top 10 hit of the same name, Slade signed with RCA Records and leaned into a heavier, metal-influenced sound to align with the New Wave of British Heavy Metal (NWOBHM) audience. Their tenth studio album, Till Deaf Do Us Part (released November 1981), reflected this shift. Background: Slade, formed in Wolverhampton, England, in 1966, is an English rock band known for their anthemic glam rock hits in the early 1970s, including Cum On Feel the Noize and Merry Xmas Everybody. By 1981, the band—consisting of Noddy Holder (vocals), Dave Hill (guitar), Jim Lea (bass), and Don Powell (drums)—was experiencing a resurgence after their 1980 Reading Festival performance, which reignited interest in their high-energy, hard rock sound. Tracklisting: A-Side: "Lock Up Your Daughters" (3:31) Written by Noddy Holder and Jim Lea. Produced by Slade. B-Side: "Sign of the Times" (3:58) Written by Noddy Holder and Jim Lea. Produced by Slade. Promotion: A music video was filmed on September 7, 1981 at Portland Studios, London, but received limited airplay. It was partially shown on Tiswas with overlaid children’s messages. Slade performed the song on Top of the Pops (broadcast September 24, and October 8, 1981) and Dutch TV’s TopPop. Significance and Reception Cultural Impact: The single marked Slade’s continued resurgence after their Reading Festival success, appealing to both their glam rock fanbase and newer NWOBHM audiences. "Lock Up Your Daughters" became a staple in their live sets, praised for its high-energy, party-rock vibe. Critical Reception: Reviews were mixed but generally positive. Sounds called it a “mighty rabble-rousing stomp” with a “Bad Company-style chorus,” while Melody Maker likened it to Slade’s 1972 hit Mama Weer All Crazee Now. Some critics, like Worcester Evening News, found it “predictable” and “stale,” citing limited lyrical appeal.

Cover of Rod Stewart's single "You Wear It Well," released by Mercury in Germany, catalog number 6052 171. Rod Stewart’s "You Wear It Well"  backed with "Lost Paraguayos" , was released as a 7-inch vinyl single in the UK by Mercury Records (catalog number 6052 171) on August 4, 1972. The A-side was co-written with Martin Quittenton, and both tracks were taken from the album Never A Dull Moment. The song entered the UK singles chart on August 6 at number 23, hitting the number 1 spot on August 27, it also spent three weeks at number 2, remaining on the chart of a total of 12 weeks. In the US it peaked at 13 on the Billboard Hot 100 where it was released with another track from Never A Dull Moment in "True Blue" cementing Stewart’s status as a solo star. It’s often compared to his earlier hit “Maggie May” for its similar style and storytelling. Recorded with the Faces and session musicians, it showcases Stewart’s knack for blending rock with folk influences.

Rod Stewart’s "The Killing of Georgie (Parts 1 and 2)"  backed with "Fool for You" , was released as a 7-inch vinyl single in the UK by Warner Bros. Records (catalog number K 16775) on August 13, 1976. Both tracks were taken from the album A Night on the Town. The single reached 2 in the UK Singles Chart and 30 on the US Billboard Hot 100. The track wasn't released in the US until 1977, then backed with "Rosie" a non album track. In Europe the track was released along side another track from the album in The "First Cut Is The Deepest" Praised for its storytelling and progressive stance on social issues, addressing homophobia and violence. It remains one of Stewart’s most poignant works.

David Bowie’s "Boys Keep Swinging"  backed with "Fantastic Voyage" , was released as a 7-inch vinyl single in the UK by RCA Records (catalog number BOW 2) on April 27, 1979. The single entered the UK chart on May 5, where it spent 10 weeks, peaking at number 7. Germany - RCA Victor - 1979 Written by Bowie and Brian Eno and recorded in Montreux and New York City in September 1978 and March 1979, the recording utilized techniques from Eno's Oblique Strategies cards, which resulted in the musicians swapping instruments. Adrian Belew contributed a guitar solo, which he played with little guidance and was composited from multiple takes. The song was also built on the same chord sequence as the album track "Fantastic Voyage." Musically, "Boys Keep Swinging" contains elements of glam rock, funk, and new wave, while lyrically, the song deals with the concept of gender identity, featuring various gender-bending lyrics. Bowie himself stated that the song was full of irony. Bowie filmed a promotional video for "Boys Keep Swinging" alongside an appearance on The Kenny Everett Video Show. Both were directed by David Mallet, marking the first in a series of collaborations with Bowie. The video features Bowie as himself and three backing dancers dressed in drag. The video helped the single reach number seven on the UK Singles Chart, his highest chart placement in two years. Bowie gave an acclaimed performance of the song on Saturday Night Live in December 1979 and later revived it for his 1995 Outside Tour. Although it received mixed reviews on release, with some finding a lack of payoff, commentators have reacted more positively to "Boys Keep Swinging" in later decades, with some naming it one of Bowie's best songs. It has appeared on several compilation albums and was covered by the Associates in late 1979, whose version earned them their first recording contract.

David Bowie’s "Diamond Dogs"  backed with "Holy Holy" , was released as a 7-inch vinyl single in the UK by RCA Records (catalog number APBO 0293) on June 14, 1974. It served as the second single and title track taken from Bowie’s eighth studio album, Diamond Dogs, which had been released earlier on May 24, 1974. The B-side of the single featured the track “Holy Holy,” a re-recorded version of a song Bowie originally released in 1971. Background and Context: Album Context: The Diamond Dogs album was a concept album blending dystopian themes inspired by George Orwell’s 1984 with Bowie’s own vision of a post-apocalyptic world. The single “Diamond Dogs” was a key representation of the album’s gritty, glam-rock sound, with its raw guitar riffs and theatrical energy. Production: Bowie produced the track himself, having parted ways with producer Ken Scott and taken a more hands-on role. The song was recorded at Olympic Studios in London and featured Bowie playing lead guitar, a rarity for him at the time. Chart Performance: In the UK, the “Diamond Dogs” single reached 21 on the UK Singles Chart, a modest hit compared to some of Bowie’s other singles from the era like “Rebel Rebel.” Its performance reflected the album’s darker, more experimental tone, which was less immediately commercial than his previous Ziggy Stardust-era work. Cultural Impact: The song’s lyrics, with references to a dystopian urban landscape and characters like “Halloween Jack,” tied into the album’s narrative. The single’s release came during a transitional period for Bowie, as he moved away from glam rock toward the soul-influenced sound of Young Americans. The iconic Diamond Dogs album artwork, featuring a controversial painting by Guy Peellaert, also helped cement the single’s place in Bowie’s visual and musical legacy. Release Specifics: Label: RCA Victor (catalogue number: RCA APBO 0293). Format: 7” vinyl single, with a running time of approximately 3:15 for the edited single version (the album version is longer, around 6:02). B-side: “Holy Holy” was a re-recording of a 1971 single that had failed to chart, offering fans a fresh take on an obscure track. Availability: The single was primarily distributed in the UK and select international markets. It was not released as a single in the United States, where “1984” was chosen instead. Interesting Fact: At the beginning of the song, you can hear "hey" being shouted, which was directly taken from the Faces album "Coast To Coast Overtures For Beginner's." Permission for this was granted by Rod Stewart and Ronnie Wood during a visit to Olympic Studios in January 1974.

Arnold Corns’ "Moonage Daydream"  backed with "Hang On to Yourself" , was released as a 7-inch vinyl single in the UK by B&C Records (catalog number CB 149) on April 30, 1971. The band’s first single, (with a spoken intro "whenever you're ready"), did not achieve any chart success. 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. Label: Philips Country: Netherlands Catalogue: 6073 212