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David Bowie’s "Modern Love"  backed with "Modern Love (Live Version)" , was released as a 7-inch vinyl single in the UK by EMI America (catalog number EA 158) on September 12, 1983. Chart Performance: UK: Peaked at No. 2 (UK Singles Chart, October 1983), held off No. 1 by Culture Club’s “Karma Chameleon.” US: No. 14 (Billboard Hot 100, November 1983). Canada: No. 6 (RPM Singles Chart). Other markets: Top 20 in Australia (No. 6), New Zealand (No. 10), Ireland (No. 3), and several European countries. A-Side: "Modern Love" (3:56, single edit) B-Side: "Modern Love (Live Version)" (3:43) Label: EMI America Catalog Number: EA 158 (UK, 7”); 12EA 158 (UK, 12”); other regional catalog numbers as noted below Release Date: September 12, 1983 (UK); October 1983 (US and other markets, with slight variations) Producers: David Bowie and Nile Rodgers (A-side); Bowie (B-side, live recording) Recording: A-side: Recorded at Power Station, New York City, December 1982, during Let’s Dance sessions. B-side: Live recording, likely from Montreal Forum, July 12–13, 1983, during the Serious Moonlight Tour. Context: Third single from the album Let’s Dance (released April 14, 1983), following “Let’s Dance” and “China Girl.” Released during the Serious Moonlight Tour to capitalize on Bowie’s commercial peak. Release Formats: The Modern Love single was issued in multiple formats to cater to radio, collectors, and the 1980s club scene. 7” Vinyl Single Catalog Numbers: UK: EMI America EA 158 US: EMI America B-8189 Canada: Capitol B-5238 Japan: Toshiba EMI EAS-17425 Australia: EMI America EMI-1178 Europe: EMI America 1C 006-2003047 (Germany, Netherlands, etc.) Other markets: Argentina (EMI 1877), New Zealand (EMI 1178), South Africa (EMIJ 4457), and more. Tracks: A: “Modern Love” (3:56, single edit, trimmed from the album’s 4:46 version for radio) B: “Modern Love (Live Version)” (3:43, recorded during Serious Moonlight Tour) UK pressings featured EMI America’s black and silver paper labels or silver injection-molded centers. US and Canadian versions had EMI America’s blue and white label design. 12” Vinyl Maxi-Single Catalog Numbers: UK: EMI America 12EA 158 US: EMI America V-7858 (commercial); SPRO-9969/9970 (promo) Europe: EMI America 1C K 062-2003046 (Germany, pressed in Holland or Germany) Canada: Capitol V-75073 Tracks: A: “Modern Love (Extended Version)” (5:23, remixed by Nile Rodgers) B1: “Modern Love (Live Version)” (3:43) B2: “Modern Love (Instrumental)” (4:02, exclusive to 12” in some markets) Extended Version: Remixed for club play, with elongated intro, extended instrumental breaks, and enhanced percussion/horn sections. Emphasized the song’s danceable rhythm for DJs. Instrumental: A rare mix, stripping vocals to highlight the arrangement. Not included on all 12” pressings (e.g., some US promos omitted it). Regional Notes: US Promo (SPRO-9969/9970): Side A had the Extended Version (5:23), Side B had the Instrumental (4:02). Mislabeling occurred on some copies, listing incorrect track times. Canada: V-75073 included the same tracklist as the UK 12EA 158, with a bilingual sleeve (English/French). Europe: EMI Electrola pressings were distributed across Germany, Netherlands, and Scandinavia, with consistent mastering. Availability: Targeted at DJs and collectors, with fewer copies pressed than the 7”. The extended and instrumental mixes were later reissued digitally (e.g., 2007 EP). Digital EP (2007): Tracks: “Modern Love (Extended Version)” (5:23) “Modern Love (Instrumental)” (4:02) “Modern Love” (3:56, single edit) Released via digital platforms (e.g., iTunes) to preserve the single’s mixes. No live version included. Loving the Alien Box Set (2018): Tracks: Remastered “Modern Love” (single edit) Extended and instrumental versions Live version (from Serious Moonlight Tour recordings) Part of Parlophone’s comprehensive box set, covering Bowie’s 1983–1988 EMI era. Includes high-fidelity remasters and tour footage. Other Compilations: “Modern Love” (single edit) appeared on: Changesbowie (1990) The Singles Collection (1993) Best of Bowie (2002) The Platinum Collection (2005) The Best of David Bowie 1980/1987 (2007) Nothing Has Changed (2014) Bowie Legacy (2016) The live version appeared in Serious Moonlight (Live ’83) (2009) and Loving the Alien box set. EMI America timed the release to coincide with the Serious Moonlight Tour (May–December 1983), which drew 2.6 million fans across 96 shows. The live B-side leveraged tour hype. The single followed “Let’s Dance” (No. 1 UK/US) and “China Girl” (No. 2 UK, No. 10 US), maintaining momentum for Let’s Dance’s multi-platinum sales (over 10 million globally). The 12” mixes targeted clubs, reflecting the 1980s trend of extended dance remixes, with Nile Rodgers’ involvement ensuring club credibility. Promotional Efforts: Promotional 7” and 12” singles (e.g., US SPRO-9969) were sent to radio and clubs, often with “DJ Copy” stamps. The music video, filmed during the Philadelphia tour stop (July 1983), aired heavily on MTV, boosting visibility. EMI distributed posters and in-store displays featuring Let’s Dance artwork, with “Modern Love” promoted as a tour highlight.

Roxy Music’s "Take a Chance with Me"  backed with "The Main Thing" , was released as a 7-inch vinyl single in the UK by E.G. Records (catalog number EGO 8) on September 17, 1982. Chart Performance: "Take a Chance with Me" peaked at #26 in the UK, a moderate hit compared to Avalon’s earlier singles. It did not chart significantly in the US, where Roxy Music’s popularity was more niche. Release Details: Artist: Roxy Music Title: Take a Chance with Me / The Main Thing (Remix) Label: EG (distributed by Polydor in the UK) Catalogue Number: ROXY 5 Release Date: 17 September 1982 Format: 7" Vinyl Single Country: UK Cultural Significance: The single reflects Roxy Music’s final polished phase, with Avalon’s sophisticated production appealing to a broad audience. "Take a Chance with Me" is a fan favorite for its catchy melody and Ferry’s emotive delivery, while "The Main Thing" showcases the band’s ability to blend rock with danceable grooves. Background: Roxy Music, formed in 1970 by Bryan Ferry (vocals, keyboards), Phil Manzanera (guitar), Andy Mackay (saxophone, oboe), and others, is an influential English art rock band known for blending glam, pop, and avant-garde elements. By 1982, the band was in its final phase before their initial breakup, having evolved from their experimental early sound to a polished, romantic pop-rock style with their eighth album, Avalon (1982). Context in 1982: Avalon, released in May 1982, was Roxy Music’s most commercially successful album, reaching #1 in the UK and showcasing a lush, sophisticated sound. The band was at its peak, but tensions and Ferry’s solo ambitions led to their disbandment after the 1983 tour. Take a Chance with Me was the third single from Avalon, following More Than This and Avalon. Tracklisting A-Side: "Take a Chance with Me"Written by Bryan Ferry and Phil Manzanera. Produced by Rhett Davies and Roxy Music. A romantic, upbeat track from Avalon, featuring Ferry’s crooning vocals and a polished pop-rock arrangement with atmospheric synths and Manzanera’s guitar flourishes. Released as a single to capitalize on Avalon’s success, it reached #26 on the UK Singles Chart. B-Side: "The Main Thing (Remix)"Written by Bryan Ferry. Produced by Rhett Davies and Roxy Music; remixed for the single release (details on the remix are sparse, but it likely emphasizes danceable elements, as was common for 1980s remixes). An album track from Avalon, known for its driving rhythm and funky bassline, showcasing the band’s tighter, groove-oriented sound in their later years. Recording: Both tracks originate from the Avalon sessions, recorded at Compass Point Studios, Nassau, Bahamas, and Power Station, New York, in 1981–1982. The band lineup included Bryan Ferry, Phil Manzanera, Andy Mackay, and session musicians like Neil Hubbard (guitar), Alan Spenner (bass), and Andy Newmark (drums). Other Formats: 12" Single (ROXYX 5): Released concurrently, featuring extended versions: A-Side: "Take a Chance with Me" B-Side: "The Main Thing" (Dance Mix) Remixed By Rhett Davies And Ian Little.x. US 12" Promo (Warner Bros.): Included dance remixes by François Kevorkian, reflecting the 1980s trend of club-oriented mixes. A-Side: Take a Chance with Me 2:46 A-Side: Take a Chance with Me 4:41 B-Side: More Than This 4:31 B-Side: Avalon 4:15 No CD single was released, as the format was not yet standard in 1982.

Sparks’ "A Big Surprise"  backed with "Forever Young" , was released as a 7-inch vinyl single in the UK by CBS Records (catalog number S CBS 5593) on September 30, 1977. It was the second single from their seventh studio album, Introducing Sparks, marking a transitional phase for the band as they returned to their American roots after their UK glam rock success. The Single: "A Big Surprise" / "Forever Young" Release Details: UK: Released as a 7" vinyl, 45 RPM single on CBS Records (S CBS 5593) on September 30, 1977. The single was pressed with matrix runouts including CBS S 5593 A1 and B1, often with a generic CBS sleeve. Chart Performance: The single failed to chart in the UK or US, reflecting the commercial struggles of the Introducing Sparks album, which also did not chart. A-Side: "A Big Surprise" (3:42): Written by Ron Mael and Russell Mael, produced by Ron Mael, Russell Mael, and Terry Powell, this track is an upbeat, melodic pop-rock song with a slick, radio-friendly sound. B-Side: "Forever Young" (3:27): Also written and produced by Ron and Russell Mael with Terry Powell, “Forever Young” is a more energetic, rock-oriented track with a driving rhythm and Sparks’ signature quirky lyrics. Context and Background Sparks in 1977: Sparks, formed by brothers Ron Mael (keyboards) and Russell Mael (vocals) in Los Angeles in 1971 (initially as Halfnelson), were known for their quirky, theatrical pop-rock. After UK success with Kimono My House (1974, #4 UK) and Propaganda (1974, #9 UK), they returned to the US in 1976, seeking a fresh sound after their glam rock phase. Introducing Sparks, their seventh album, was recorded with session musicians in Los Angeles and released by Columbia Records (CBS in the UK). It aimed for a polished “American” sound but was a commercial and critical failure, criticized for its slick production and lack of the band’s earlier edge. The album and its singles, including “A Big Surprise” and “Over the Summer” (both backed with “Forever Young”), did not chart, marking a low point in Sparks’ career. The ironic title Introducing Sparks—for their seventh album and second with Columbia—added to its critical panning. In 1977, Sparks also made a cameo in the film Rollercoaster, performing “Big Boy” and “Fill-er-up,” reflecting their brief foray into film during this transitional period. Musical and Cultural Significance: “A Big Surprise” reflects Sparks’ attempt to adapt to the 1977 music scene, which was dominated by punk (e.g., Sex Pistols) and disco. Its Beach Boys-inspired harmonies and pop sheen were out of step with punk’s raw energy, contributing to its lack of chart success. The single’s polished production, helmed by the Maels and Terry Powell, contrasts with their earlier Tony Visconti-produced work (Indiscreet, 1975). It aimed for mainstream US appeal but alienated some UK fans accustomed to their glam rock theatricality. Despite its commercial failure, the single and album have gained cult status, with reviewers like Jon Young (Trouser Press, 1977) praising the Maels’ originality and “adventurous” sound, calling Ron “one of the most underrated lyricists in the galaxy.” Critical Reception: Critics at the time, including a punk zine quoted in Artefact, dismissed Sparks as “outdated” by 1977, with Introducing Sparks savaged for its slick production. Retrospective reviews are kinder, with ProgArchives calling “A Big Surprise” a highlight for its “memorable melody” and “fun” lyrics, though the album’s inconsistency is noted. Additional Notes Musicians and Production: Produced by Ron Mael, Russell Mael, and Terry Powell, the single features session musicians David Foster (keyboards), Ed Greene (drums), Mike Porcaro (bass), and others, reflecting the album’s polished “American” sound. Recorded in Los Angeles, the single lacks the theatrical flair of Sparks’ UK recordings with Tony Visconti, aligning more with mainstream 1970s pop-rock. Cultural Context: Released in 1977, the single faced a music scene shifting toward punk and disco, making Sparks’ melodic pop-rock seem out of place. Their earlier glam hits had thrived in the UK, but their return to the US and shift in sound struggled to find an audience. The identical photograph was utilized for the Germany - CBS - 1977, Netherlands - CBS - 1977, and Yugoslavia - CBS - 1977 releases. The Maels’ 1977 Rollercoaster cameo and admiration for Giorgio Moroder (expressed in a German interview) foreshadowed their pivot to synth-pop with No. 1 In Heaven (1979), a major comeback. Legacy: “A Big Surprise” and “Forever Young” are minor entries in Sparks’ catalog but valued by fans for their catchy melodies and quirky lyrics, as noted in ProgArchives and Trouser Press reviews. The single’s failure marked the end of Sparks’ rock band phase, leading to their influential synth-pop era with Moroder, influencing bands like Pet Shop Boys and New Order. The Introducing Sparks album, despite its initial flop, has been re-evaluated as a “fascinating mishmash” of styles, with “A Big Surprise” a highlight for its pop craft.

Alice Cooper Group’s "Be My Lover"  backed with "Yeah, Yeah, Yeah" , was released as a 7-inch vinyl single in the UK by Warner Bros. Records (catalog number K 16161) on March 17, 1972, as the second single from their fourth studio album, Killer. Written by guitarist Michael Bruce and produced by Bob Ezrin, it peaked at No. 49 on the US Billboard Hot 100 on April 22, 1972, during a 10-week run, though it did not chart in the UK. Backed with You Drive Me Nervous, the single was praised in a 1972 Melody Maker review for its gritty, sleazy hard-rock vibe, bolstering the band’s shock-rock ascent. Tracklist (7” Vinyl): A1. Be My Lover – 3:21 B1. You Drive Me Nervous – 2:28 Note: The tracklist reflects the standard UK 7” vinyl release The song's lyrics are semi-autobiographical, coming from the perspective of a musician trying to seduce a woman and telling her what he does for a living ("I told her that I came from Detroit city / and I played guitar in a long-haired rock and roll band"). The musician recalls that the woman "asked me why the singer’s name was Alice." The song reached No. 49 on the Billboard Hot 100 singles chart, remaining on the chart for ten weeks. Record World called it Alice Cooper's "best single since "Eighteen". Cash Box called it an "autobiographical groupie tune [that] should outdistance 'Under My Wheels' and hit on the order of their 'Eighteen.'

David Bowie’s "Young Americans"  backed with "Knock on Wood" , was released as a 7-inch vinyl single in the UK by RCA Records (catalog number RCA 2523) on February 21, 1975, supported by "Suffragette City" across Europe. Interestingly, outside of Europe, the single featured "Knock On Wood," which was not released as a single elsewhere, except in Australia and New Zealand. Taken from the Album of the same name, the track was mostly recorded in August 1974 at Sigma Sound Studios in Philadelphia and was debuted on the Soul tour the following month. The song featured contributions from then-unknown singer Luther Vandross, who conceived the backing vocal arrangement. An embracement of R&B and Philadelphia soul, the song presents an Englishman's impressionist portrait of America at the time, featuring various characters and allusions to American totems and events. The song reached number 18 on the UK Singles Chart but was a breakthrough in the United States, at the time becoming Bowie's second highest charting single on the Billboard Hot 100 at number 28. He promoted it with an appearance on The Dick Cavett Show in November 1974 and on The Cher Show the following year. Bowie performed the song on his concert tours throughout the 1980s, before retiring it after the Sound+Vision Tour in 1990. Ranked among Bowie's best songs by numerous publications, critics praise "Young Americans" as a successful transition to soul music following the artist's glam rock releases. It has since appeared on several compilation albums and was remastered in 2016 for the Who Can I Be Now? (1974–1976) box set.

The Sweet’s "Wig-Wam Bam"  backed with "New York Connection" , was released as a 7-inch vinyl single in the UK by RCA Victor (catalog number RCA 2260) on September 1, 1972. In Italy and Japan, the B-side was "Little Willy"  instead. A 1977 German reissue was part of the “Oldies-But-Goldies” series, and a 1988 UK reissue paired "Wig-Wam Bam"  with "Co-Co"  (originally a 1971 single). Chart Performance: UK: Reached number 4, spending 5 weeks in the Top 10 and 13 weeks in the charts. Germany: Hit number 1, holding the top spot for 8 weeks, with 17 weeks in the Top 10 and 24 weeks overall. Switzerland: Peaked at number 2, behind Hawkwind’s “Silver Machine” and Les Humphries Singers’ “Mexico,” with 14 weeks in the charts. Austria: Reached number 5, with 2 months in the Top 10 and 3 months in the charts. Also achieved Top 10 positions in Belgium, the Netherlands, Norway, and South Africa. Album Context: “Wig-Wam Bam” was the fourth and final single from The Sweet’s first best-of album, The Sweet’s Biggest Hits (December 1972). It was later included on reissues of their debut album, Funny How Sweet Co-Co Can Be (1971). A-Side: Wig-Wam Bam Songwriters: Written by Nicky Chinn and Mike Chapman, the songwriting duo behind many of The Sweet’s 1970s hits, known for crafting catchy glam rock anthems. Lyrical Content: The lyrics draw inspiration from Henry Wadsworth Longfellow’s 1855 poem The Song of Hiawatha, referencing Hiawatha and Minnehaha (meaning “waterfall” or “Laughing Waters” in Dakota). The second verse nods to “Running Bear” and “Little White Dove” from the 1959 song “Running Bear” by Jiles Perry Richardson (The Big Bopper). The chorus (“Wig-wam bam, gonna make you my man / Wam bam bam, gonna get you if I can”) is playfully suggestive, aligning with the glam rock era’s flirtation with sexual ambiguity, possibly influenced by David Bowie’s “Suffragette City.” Band Contribution: This was the first Sweet single where the band members—Brian Connolly (lead vocals), Steve Priest (bass, backing vocals), Andy Scott (guitar, backing vocals), and Mick Tucker (drums, backing vocals)—played their own instruments, unlike earlier singles that used session musicians like John Roberts (bass) and Pip Williams (guitar). Steve Priest also sang parts of the lead vocal in the chorus (“try a little touch, try a little too much”), a technique that became a signature of their later hits. Cultural Significance: The song marked The Sweet’s full embrace of the glam rock aesthetic, with band members adopting glitter, makeup, and extravagant outfits, including Steve Priest’s Native American feathered headdress during BBC’s Top of the Pops performances on September 14, September 21, and October 5, 1972. Described as a “monument to ultracommercial rock & roll triviality” by Bomp magazine, it was their sixth consecutive UK hit and a key moment in their transition from bubblegum to glam rock.

Alice Cooper Group’s "Shoe Salesman"  backed with "Return of the Spiders" , was released as a 7-inch vinyl single exclusively in the US by Warner Bros. Records (catalog number 7406) on June 15, 1970. Initially issued by Straight Records (catalog number 7398) and later reissued by Warner Bros., the single did not chart on the US Singles Chart. No exact release date for the single is documented.

David Bowie’s "Scary Monsters (and Super Creeps)"  backed with "Because You're Young" , was released as a 7-inch vinyl single in the UK by RCA Records (catalog number BOW 9) on January 2, 1981. NME critics Roy Carr and Charles Shaar Murray labelled its release another instance "in the fine old tradition of milking albums for as much as they could possibly be worth". The song was subsequently performed on a number of Bowie tours. Musically the track was notable for its lead guitar work by Robert Fripp and distinctive synthesized percussion. The lyrics, sung by Bowie in his Cockney accent, charted a woman's withdrawal from the world and descent into madness ("When I looked in her eyes they were blue but nobody home ... Now she's stupid in the street and she can't socialise"). Thematically the song has been compared to Joy Division's "She's Lost Control" (1979), and to the "claustrophobic romance" of Iggy Pop's 1977 collaborations with Bowie, The Idiot and Lust for Life. The edited single reached No. 20 on the UK singles chart. As well as 7" vinyl, it was issued in Compact Cassette format. Track listing All tracks written by David Bowie. "Scary Monsters (and Super Creeps)" – 3:27 "Because You're Young" – 4:51 The French release of the single had "Up the Hill Backwards" as the B-side.

David Cassidy's "Rock Me Baby" single cover, released by Bell in Germany, featuring the tracks "Rock Me Baby" and "Two Time Loser". David Cassidy’s "Rock Me Baby"  backed with "Two Time Loser" , was released as a 7-inch vinyl single in the UK by Bell Records (catalog number BELL 1260) on November 17, 1972. It was the second track to be taken from the album of the same name. The single entered the UK Singles Chart on November 25, where it spent 9 weeks, peaking at the number 11 position.

David Bowie’s "Absolute Beginners"  backed with "Absolute Beginners (Dub Mix)" , was released as a 7-inch vinyl single in the UK by Virgin Records (catalog number VS 838) on March 3, 1986. Recorded in August of 1985, it was the theme song to the 1986 film of the same name (itself an adaptation of the book Absolute Beginners). Although the film was not a commercial success, the song was a big hit, reaching No. 2 on the UK singles chart. It also reached the top 10 on the main singles charts in ten other countries. In the US, it peaked at No. 53 on the Billboard Hot 100. Bowie performed "Absolute Beginners" live on his 1987 Glass Spider Tour, his 2000 "Mini" Tour, and his 2002 Heathen Tour. The song has been included on a number of Bowie's compilation and "Best-of" releases, and was included as a bonus track on the 1995 re-release of Tonight (1984).

Tin Machine’s "Maggie's Farm (Live)"  backed with "Tin Machine" , was released as a limited-edition 7-inch vinyl shaped picture disc single in the UK by EMI USA (catalog number MTPD 68) on September 4, 1989. Chart Performance: The single reached #48 on the UK Singles Chart, reflecting modest commercial success but strong appeal among Bowie fans. Overview Artist: Tin Machine (featuring David Bowie, Reeves Gabrels, Tony Sales, and Hunt Sales) Title: Maggie's Farm (Live) / Tin Machine Label: EMI USA Catalogue Number: MTPD 73 Barcode: 5099920350901 Format: 7" Shaped Picture Disc, Limited Edition Country: UK Release Date: September 1989 Genre: Rock, Hard Rock Background Tin Machine was a rock band formed by David Bowie in 1988, alongside guitarist Reeves Gabrels and the rhythm section of Tony and Hunt Sales (sons of comedian Soupy Sales). The band was Bowie’s attempt to return to a raw, band-oriented sound after the commercial pop of his 1980s solo work. Their debut album, Tin Machine (1989), was a hard rock project that aimed to strip away the gloss of Bowie’s previous releases. The single "Maggie's Farm (Live) / Tin Machine" was released to promote the album and the band’s early live performances."Maggie's Farm" is a cover of Bob Dylan’s 1965 protest song, originally a folk-rock anthem about rejecting oppressive authority. Tin Machine’s version, recorded live, was a heavier, more aggressive take, infusing it with a T. Rex-like energy (specifically borrowing elements from “Jeepster”). The B-side, "Tin Machine," is the title track from their debut album, a studio recording showcasing the band’s raw, guitar-driven sound. Release Details Format: This is a 7" shaped picture disc, a collectible vinyl format where the record itself is cut into a non-standard shape (often a circle with a unique outline) and features printed artwork. Shaped picture discs are rare and highly valued by collectors due to their visual appeal and limited production. Tracklisting: A-Side: "Maggie’s Farm (Live)" – Recorded live at La Cigale, Paris, on 25 June 1989. Mobile recording services were provided by Westwood One. The live performance captures Tin Machine’s raw energy, with Bowie’s vocals described as intense, though he reportedly struggled with the first verse. AA-Side: "Tin Machine" – The studio version taken directly from the Tin Machine album. Production: Manufactured by: EMI Records Ltd. Published by: EMI Music Publishing Ltd. (for "Tin Machine") and Warner Chappell Music Ltd. (for "Maggie’s Farm"). Copyright: A-side (studio track) © 1989 David Bowie under exclusive license to EMI-USA, a division of Capitol Records Inc. B-side (live track) © 1989 EMI Records Ltd. Barcode: 5099920350901 Packaging: Issued in a clear PVC sleeve with a backing picture insert. Context and Significance Musical Context: Tin Machine’s cover of "Maggie’s Farm" was performed during their initial 1989 tour, a series of 12 small-venue shows in the US, UK, and Europe (June–July 1989). The tour avoided Bowie’s solo hits, focusing on Tin Machine material and a few covers, like "Maggie’s Farm," as a nod to rock roots. The song was first performed at the Docks in Hamburg on 22 June 1989 and remained in the setlist for the tour but was not revisited for their 1991–1992 tour. Additional Notes Other Versions: The single was also released in other formats, including a standard 7" vinyl (catalogue MTG 73) with a gatefold sleeve, some of which were numbered limited editions (though some copies lacked the number stamp). Other variants: 7" Vinyl Single (Gatefold Sleeve, Limited Edition, Numbered) Catalogue Number: MTG 73 Format: 7" vinyl, 45 RPM Country: UK Details: A-side: "Tin Machine" (studio version). AA-side: "Maggie’s Farm (Live)" (recorded at La Cigale, Paris, 25 June 1989). Issued in a gatefold sleeve, some copies marked as "Limited Edition Numbered Sleeve" but not always stamped with a number. Sleeve folds out to a 24 x 36" horizontal photograph of the band playing live. Released August 1989. 12" Vinyl Single Catalogue Number: 12MT 73 Format: 12" vinyl, 45 RPM Country: UK Details: Tracks: A-side: "Tin Machine" (studio version). AA-side: "Maggie’s Farm (Live)" (recorded at La Cigale, Paris, 25 June 1989). Additional track: "I Can’t Read (Live)" (recorded at La Cigale, Paris, 25 June 1989). CD Single Catalogue Number: CDMT 73 Format: CD Country: UK Details: Tracklisting: "Tin Machine" (studio version). "Maggie’s Farm (Live)" (recorded at La Cigale, Paris, 25 June 1989). "I Can’t Read (Live)" (recorded at La Cigale, Paris, 25 June 1989). "Bus Stop (Live)" (Country Version, recorded at La Cigale, Paris, 25 June 1989).

T.Rex’s "Children of the Revolution"  backed with "Jitterbug Love"  and "Sunken Rags" , was released as a 7-inch vinyl single in the UK by EMI Records under Marc Bolan’s T. Rex Wax Co. (catalog number T. REX 101) on September 8, 1972. Chart Performance: UK Singles Chart: Peaked at number 2, held off the top spot by Slade’s “Mama Weer All Crazee Now" for one week and David Cassidy's "How Can I Be Sure" for two weeks. It spent 4 weeks in the Top 10 and 10 weeks in the charts. Ireland: Reached number 3. Germany: Peaked at number 7, with 7 weeks in the Top 10 and 15 weeks in the charts. Austria: Reached number 15. The single was a global hit, also charting in countries like France, Australia, and New Zealand. Album Context: “Children of the Revolution” was a standalone single, not included on T. Rex’s 1972 album The Slider (released July 1972), though it was recorded during the same sessions. It later appeared on compilations like Great Hits 1972–1977 (1997) and Born to Boogie (2005 soundtrack). “Jitterbug Love” and “Sunken Rags” were also non-album tracks, with “Sunken Rags” later included on the Tanx album reissue (2002). A-Side: Children of the Revolution A quintessential glam rock anthem, “Children of the Revolution” includes lush string arrangements by Tony Visconti and backing vocals by Flo & Eddie (Mark Volman and Howard Kaylan of The Turtles), adding a dramatic flair. Recording: Recorded at Château d’Hérouville, France, during The Slider sessions in March–April 1972, with additional work at Rosenberg Studios, Copenhagen. Musicians: Marc Bolan (vocals, guitar), Mickey Finn (percussion, congas), Steve Currie (bass), Bill Legend (drums), plus Flo & Eddie (backing vocals) and a string section. Cultural Significance: The song captured the peak of “T. Rextasy,” the fan frenzy surrounding T. Rex in the UK, rivaling Beatlemania. Its release followed hits like “Telegram Sam” and “Metal Guru” (both UK number 1s in 1972). It was featured in the 1972 film Born to Boogie, directed by Ringo Starr, which documented T. Rex’s live performances and Bolan’s stardom. The song’s iconic status was cemented by its use in the film’s concert scenes at Wembley Empire Pool (March 18, 1972). The track has been widely covered, including by Elton John, Marianne Faithfull, and The Violent Femmes, and was sampled by Kesha in her 2010 single “Sleazy.” It also appeared in films like Billy Elliot (2000), Dogma (1999), and Moulin Rouge! (2001, as part of a medley with Bono, Gavin Friday, and Maurice Seezer). B-Sides: Jitterbug Love and Sunken Rags Jitterbug Love: Recorded during the same The Slider sessions, it was a non-album track exclusive to the single until later reissues. Later covered by The Polecats (1981) and included on T. Rex compilations like The Definitive T. Rex (1987). Sunken Rags: Also recorded during The Slider sessions, it was another non-album track, later included on the 2002 Tanx reissue as a bonus track. Cultural and Historical Context Glam Rock Peak: Released in 1972, “Children of the Revolution” was part of the glam rock explosion, alongside acts like David Bowie, Slade, and The Sweet. Its heavy riff and theatricality aligned with the genre’s emphasis on spectacle and rebellion, while Bolan’s androgynous image and charisma made T. Rex a defining act of the era. T. Rex Wax Co.: The single marked one of the first releases under Bolan’s own label imprint, a move reflecting his desire for creative and financial control after disputes with Fly Records (e.g., the unauthorized release of “Jeepster” in 1971). EMI’s backing gave Bolan greater autonomy. Live Performances: The song was a staple of T. Rex’s 1972–1973 live shows, notably featured in Born to Boogie and performed on Top of the Pops (September 21, 1972). The Wembley concerts captured in the film showcased Bolan’s star power, with guest appearances by Ringo Starr and Elton John. Legacy: “Children of the Revolution” remains one of T. Rex’s signature songs, frequently included in greatest-hits compilations and cited as a glam rock classic. Its influence extends to punk, new wave, and later pop artists, with its riff and attitude inspiring countless covers and tributes. Related Media: The Born to Boogie film and its 2005 restored soundtrack (including studio and live versions of the song) are key artifacts for fans. The song’s use in modern media, like Grand Theft Auto V’s radio playlist, underscores its enduring appeal. Release Date: September 8, 1972, in the UK. One- Page Avert in Melody Maker, September 16, 1972. Release Details Format: 7-inch vinyl single, 45 RPM. Label: T. Rex Wax Co./EMI Records (UK catalog number T. REX 101). In the US, it was released by Reprise Records (catalog number REP 1108) in October 1972. Tracks: A-side: “Children of the Revolution” (2:30). B-side: “Jitterbug Love” (2:58) and “Sunken Rags” (2:53). Production: Producer: Tony Visconti. Songwriter: Marc Bolan for both A-side and B-sides. Publisher: Wizard Artists Ltd. Matrix Numbers (UK pressing): Side A: T REX 101 A-1U. Side B: T REX 101 B-1U.

Roxy Music’s "Angel Eyes"  backed with "My Little Girl" , was released as a 7-inch vinyl single in the UK by Polydor Records (catalog number POSP 66) on August 3, 1979. The third single from their sixth studio album, Manifesto. Written by Bryan Ferry and Andy Mackay, it peaked at No. 4 in the UK Singles Chart, becoming one of the band's notable hits. The single version is a disco-infused re-recording of the original album track, which had a more rock-oriented sound. This re-recorded version, running at 3:06, replaced the original 3:32 album version in later releases of Manifesto. An extended 12" dance mix, lasting 6:39, was also released, reflecting the emerging popularity of the format in 1979. The song’s lyrics use religious imagery to describe a woman’s captivating gaze, exploring themes of desire and longing. It features uncredited backing vocals by Luther Vandross, who was a sought-after session singer at the time. The single was accompanied by Roxy Music’s first music video, directed by Bill Stewart, featuring Bryan Ferry in a pink suit, dry ice effects, and two female harpists evoking an angelic aesthetic. The video, designed with fashion designer Antony Price, anticipated 1980s music and style trends. The single included the B-side "My Little Girl" from Manifesto and had a chart run of 11 weeks in the UK, peaking in late August and early September 1979. The original album version, with an additional verse, was later restored in the 1995 The Thrill of It All box set and the 1999 remastered Manifesto album. Cover art for the UK release of "Angel Eyes" by Roxy Music, under the EG/Polydor label, catalogue number POSP 67 / 2001 900.

Alice Cooper’s "He's Back (The Man Behind the Mask)"  backed with "Billion Dollar Babies (Live)" , was released as a 7-inch vinyl single in the UK by MCA Records (catalog number MCA 1123) on October 6, 1986., featured a remixed “live” version of “Billion Dollar Babies” as the B-side. The 12” single (catalog number MCAT 1123) included “Billion Dollar Babies (Recorded Live)” and a haunting live version of “I’m Eighteen,” both originally recorded in the studio for the 1981 Alice Cooper à Paris TV specia l during the Special Forces era and remixed in 1986 with crowd effects to simulate live performances. Noted in a 1986 Kerrang! review, the single tied to the Friday the 13th Part VI: Jason Lives soundtrack, boosting Cooper’s glam-metal comeback. Tracklist (7” Vinyl): A1. He’s Back (The Man Behind the Mask) – 3:50 B1. Billion Dollar Babies (Recorded Live) – 3:20 Tracklist (12” Vinyl): A1. He’s Back (The Man Behind the Mask) – 3:50 A2. Billion Dollar Babies (Recorded Live) – 3:20 B1. I’m Eighteen (Recorded Live) – 4:15 Note: The tracklist reflects the standard UK 7” and 12” vinyl releases. The “live” tracks were studio recordings from 1981 with added crowd effects. The single entered the UK Singles Chart at number 61 on October 18, 1986. It was the lead single from his 1986 album "Constrictor" and served as the theme song for the movie "Friday the 13th Part VI: Jason Lives." The song features the iconic "ki-ki-ki ma-ma-ma" sound effect (often misheard as "ch-ch-ch, ha-ha-ha"), a signature of the Friday the 13th series. It celebrates the return of the series' antagonist, Jason Voorhees, who had been killed off in the fourth film, "Friday the 13th: The Final Chapter" (1984), and appeared only in flashbacks and hallucinations in the fifth installment, "Friday the 13th: A New Beginning" (1985). "He's Back (The Man Behind the Mask)" achieved modest chart success and gained popularity among fans of Cooper's later work and slasher film enthusiasts. It has been praised for "perfectly encapsulating the Friday the 13th films and the era in which they rose to prominence."

David Bowie’s "Space Oddity"  backed with "Wild Eyed Boy From Freecloud" , was released as a 7-inch vinyl single in the UK by Philips Records (catalog number BF 1801) on July 11, 1969. Label: Philips Country: UK Catalogue: BF 1801 / 304 201 BF Overview: Label: Philips (UK), Mercury (US) Producer: Gus Dudgeon ("Space Oddity"), Tony Visconti ("Wild Eyed Boy From Freecloud") Context: Released to coincide with the Apollo 11 moon landing (July 20, 1969), the single marked a pivotal moment in David Bowie’s career, establishing him as a visionary artist. "Space Oddity" (A-side):Genre: Folk rock, psychedelic, space rock Length: 5:15 (album version); 4:33 (single edit) Inspiration: Inspired by Stanley Kubrick’s 2001: A Space Odyssey (1968), the song tells the story of Major Tom, an astronaut who becomes detached from his spacecraft and drifts into space, symbolizing alienation and existential drift. Musical Elements: Features a haunting melody with acoustic guitar, strings, and the innovative use of the Stylophone, a pocket-sized electronic instrument. Lyrically, it blends sci-fi imagery with themes of isolation and loss of control ("Ground Control to Major Tom"). Impact: Initially a modest hit, reaching #5 in the UK Singles Chart in 1969. Became Bowie’s breakthrough, especially after its 1973 re-release in the US, where it reached #15 on the Billboard Hot 100. Reused in later works, notably in Bowie’s 1980 sequel "Ashes to Ashes." Widely regarded as one of Bowie’s signature songs, covered by artists like Chris Hadfield (recorded aboard the International Space Station in 2013). Cultural Significance: The BBC used the song during its coverage of the Apollo 11 moon landing, cementing its association with space exploration. Its themes of alienation resonated with the counterculture of the late 1960s. Label: Philips Country: UK Catalogue: BF 1801 / 304 201 BF "Wild Eyed Boy From Freecloud" (B-side):Genre: Folk rock, psychedelic Length: 4:50 Inspiration: A poetic, narrative-driven song about a mystical boy facing persecution from a village, interpreted as a metaphor for individuality versus conformity. Musical Elements: Features lush orchestration, including strings and brass, arranged by Tony Visconti. Showcases Bowie’s early storytelling style, with vivid, almost theatrical imagery. Impact: Less commercially prominent than "Space Oddity" but critically appreciated for its ambition. Appeared on Bowie’s 1969 album David Bowie (also known as Space Oddity in some markets). A fan favorite among early Bowie enthusiasts for its lyrical depth. Reception and Legacy: The single was a bold step for Bowie, transitioning from his earlier, more conventional pop efforts to a distinctive, theatrical style. "Space Oddity" became iconic, influencing the space rock genre and inspiring countless artists. The single’s release aligned perfectly with the cultural fascination with space travel, making it a zeitgeist-defining moment. Both tracks were included on the 1969 album David Bowie (reissued as Space Oddity), which laid the groundwork for Bowie’s chameleon-like career. Label: Philips Country: Belgium Catalogue: 704 201 BW Chart Performance: UK: Peaked at #5 (1969), later #1 upon re-release in 1975. US: Reached #15 in 1973 (Mercury re-release). Certified Gold in the UK (2016) for over 400,000 sales. Session Musicians: The release featured a talented group of session musicians, with Herbie Flowers playing a pivotal role as the bassist. Contribution: "Space Oddity": Flowers provided the distinctive, melodic bassline that anchors the song’s atmospheric and melancholic tone. His playing complements the song’s dynamic shifts, from the acoustic verses to the soaring, orchestral choruses. "Wild Eyed Boy From Freecloud": His bass work supports the song’s lush, cinematic arrangement, adding depth to the narrative-driven track. Label: Philips Country: Norway Catalogue: BF 304 201 Other Session Musicians: The ensemble was a mix of skilled session players and emerging talents, assembled by producer Gus Dudgeon (for "Space Oddity") and Tony Visconti (for "Wild Eyed Boy From Freecloud"). Key musicians included: Rick Wakeman (Mellotron, Keyboards):Then an up-and-coming session player (later of Yes fame), Wakeman played the Mellotron, contributing to the ethereal, spacey sound of "Space Oddity." His keyboard work added a haunting, futuristic texture, particularly in the song’s instrumental sections. Mick Wayne (Guitar):Guitarist for the band Junior’s Eyes, Wayne provided the electric guitar parts for "Space Oddity." His playing added subtle rock flourishes, complementing Bowie’s acoustic guitar. Terry Cox (Drums):A member of the folk-jazz group Pentangle, Cox provided understated yet precise drumming, giving "Space Oddity" its rhythmic backbone. Paul Buckmaster (String Arrangements):Arranged the lush string sections for both tracks, particularly prominent in "Wild Eyed Boy From Freecloud." His orchestral work added a cinematic quality, enhancing the songs’ emotional depth. David Bowie (Vocals, Acoustic Guitar, Stylophone): Bowie himself played acoustic guitar and the Stylophone (a small electronic instrument) on "Space Oddity," contributing to its distinctive sound. Notable Facts :Recorded at Trident Studios, London, in June 1969. The song’s production was rushed to capitalize on the Apollo 11 mission, with Bowie reportedly writing it in a matter of days. "Space Oddity" was Bowie’s first major hit, but he struggled to replicate its success until Ziggy Stardust in 1972. The single’s cover art featured a simple portrait of Bowie, reflecting his folk-singer persona at the time.

Alice Cooper Group’s "Billion Dollar Babies"  backed with "Mary Ann" , was released as a 7-inch vinyl single in the USA by Warner Bros. Records (catalog number WB 7724) on July 11, 1973., was taken from their sixth studio album, Billion Dollar Babies. The A-side, “Billion Dollar Babies” (3:44), a hard rock/glam rock track, features a duet with Alice Cooper and Donovan, whose falsetto and high harmonies add a creepy ambiance to the satirical take on fame and excess. Written by Alice Cooper, Michael Bruce, and session guitarist Reggie Vinson (credited as R. Reggie in some sources), it showcases Neal Smith’s dynamic drumming and a catchy riff. Record World predicted strong sales, noting it “should see billions of Cooper babies flocking to the stores.” The B-side, “Mary Ann” (2:23), is a melodic, piano-driven track with contributions by Alan MacMillan, offering a lighter, whimsical contrast often likened to Paul McCartney or Western film music. A 1973 Cash Box review praised the single’s balance of shock-rock energy and melodic charm, though some considered “Mary Ann” a weaker album track. Label: Warner Bros. Country: USA Catalogue: WB 7724 Tracklist (7” Vinyl): A1. Billion Dollar Babies – 3:44 B1. Mary Ann – 2:23 Note: The tracklist reflects the standard US 7” vinyl release. Personnel: Alice Cooper (vocals, harmonica) Glen Buxton (lead guitar) Michael Bruce (rhythm guitar, keyboards, writer) Dennis Dunaway (bass) Neal Smith (drums) Additional musicians: Donovan (vocals on "Billion Dollar Babies"), Reggie Vinson (guitar), Mick Mashbir (guitar), Steve Hunter (guitar), Dick Wagner (guitar). Produced by Bob Ezrin for Nimbus 9 Productions. Label: Warner Bros. Country: Portugal Catalogue: N-S-63-45 Recording Locations: Recorded at the Cooper Mansion in Greenwich, CT (August/October 1972), Morgan Studios in London (December 1972), and The Record Plant in New York (December 1972–January 1973). The Greenwich sessions used the mansion’s acoustics for unique vocal effects, while Donovan’s parts were recorded in London. Context and Significance: Album Success: Billion Dollar Babies was Alice Cooper’s most commercially successful album, reaching #1 in the US and UK album charts and achieving platinum status by 1986. The single "Billion Dollar Babies" was the fourth single from the album, following "Elected," "Hello Hooray," and "No More Mr. Nice Guy," all of which were Billboard Hot 100 hits. The album’s themes of wealth, decadence, and horror (e.g., necrophilia in "I Love the Dead") stirred controversy, with UK MP Leo Abse criticizing the band’s act as “an incitement to infanticide.” Despite (or because of) this, the album and its singles sold exceptionally well. "Billion Dollar Babies" Song: The title track reflects the band’s shock at their rapid rise from obscurity to global fame. Alice Cooper noted the inspiration came from their disbelief at becoming “the Number One band in the world, with people throwing money at us” after living in poverty just years earlier. The song’s lyrics, influenced by Chuck Berry’s storytelling style, mock rock star excess and societal perversions. Neal Smith described it as evolving from an Elvis Presley-style rock track into something darker and more “Alice Cooper-ish” with “rolling drums and dark psychedelics.” A notable feature is the duet with Donovan, recorded in London while he was working nearby, adding a unique texture to the track. Label: Warner Bros. Country: Japan Catalogue: P-1247W "Mary Ann" Song: This track stands out for its brevity and melodic simplicity, contrasting with the album’s heavier tracks. Described as a “very melodic” piece with a piano-driven arrangement, it’s been compared to a McCartney-esque or Western film-style song. While not a major hit, it’s appreciated by fans for showing the band’s versatility. Some reviews note it foreshadows the softer direction Alice Cooper (the solo artist) would take after the band’s split in 1975. Cultural Impact: The single and album solidified Alice Cooper’s reputation as shock rock pioneers, blending theatricality, macabre themes, and catchy rock. The band’s provocative lyrics and elaborate live shows (e.g., guillotine stunts, attacking mannequins with a giant toothbrush) outraged critics but thrilled fans, influencing later acts like Marilyn Manson and inspiring songs like Turbonegro’s “Zillion Dollar Sadist.” Chris Cornell cited the album as a favorite, noting its ability to “scare the fuck out of certain people” in the 1970s. Reception and Legacy: Critical Reception: The single version of "Billion Dollar Babies" is praised for its energy, with Neal Smith’s drumming and the guitar riffs standing out. However, some fans prefer the unedited album version over the single edit, which received a 4/5 rating on Rate Your Music. "Mary Ann" is often seen as a minor track but valued for its melodic contrast. The album itself earned high praise, with AllMusic’s Greg Prato giving it 4.5/5 stars, calling it “one of rock’s all-time, quintessential classics,” while Robert Christgau gave it a B+ for consistency. Releases: The single was not issued worldwide, only in the US, Canada, Brasil, New Zealand, Greece, South Africa, Philippines Japan, Portugal and Sweden . Label: Warner Bros. Country: USA Catalogue: BS 2685 Additional Context: Band Dynamics: The Billion Dollar Babies era marked the peak of the original Alice Cooper band (Alice Cooper, Glen Buxton, Michael Bruce, Dennis Dunaway, Neal Smith) but also showed early signs of strain. Glen Buxton’s alcohol-related health issues (pancreatitis) led to additional guitarists like Dick Wagner and Steve Hunter being brought in, and the band split in 1975, with Cooper continuing solo. Michael Bruce, Dennis Dunaway, and Neal Smith later formed a band called Billion Dollar Babies, releasing one album, Battle Axe (1977). Recording Anecdotes: The album was recorded across multiple locations, with the Cooper Mansion in Greenwich, CT, used for its acoustics (including a greenhouse for vocal effects). A famous London session with Keith Moon, Marc Bolan, Donovan, and others produced no usable material due to excessive partying. Live Performances: "Mary Ann" is the only track from the album never performed live, while "Billion Dollar Babies" remains a staple in Alice Cooper’s setlists, second only to Welcome to My Nightmare tracks in frequency. Conclusion: The "Billion Dollar Babies" / "Mary Ann" single encapsulates the Alice Cooper band’s 1973 peak, blending hard-hitting glam rock with theatrical flair. "Billion Dollar Babies" is a high-energy, satirical anthem of excess, elevated by Donovan’s contribution, while "Mary Ann" offers a melodic, understated counterpoint. The single reflects the band’s ability to shock and entertain, cementing their legacy as rock provocateurs.

Les Gray’s "What Do You Want To Make Those Eyes At Me For"  backed with "Stand Still Stella" , was released as a 7-inch vinyl single in the UK by Warner Bros. Records (catalog number K 17007) on September 30, 1977. Background and Context: Les Gray (born Leslie George Gray, April 9, 1946 – February 21, 2004) was the frontman of Mud, a UK glam rock band known for 1970s hits like "Tiger Feet," "Lonely This Christmas," and "Oh Boy." By 1977, Mud's commercial success was declining due to the fading popularity of glam rock and issues with their label, Private Stock. Gray began pursuing solo projects while still associated with Mud, which was transitioning to RCA Records after Private Stock's financial troubles. The release of this single marked Gray's attempt to establish a solo career, capitalizing on his recognizable voice and Mud's rock and roll revival style. The single was released shortly after Mud's "Beating Round The Bush" / "Under The Moon Of Love" single (September 23, 1977), indicating Gray was exploring solo work concurrently with band activities. Single Details: A-side: What Do You Want To Make Those Eyes At Me For (2:49) A cover of a 1916 song by Joseph McCarthy, Howard Johnson, and James V. Monaco, popularized in the 1950s by artists like Emile Ford and The Checkmates (a 1959 UK #1 hit). Produced by Pip Williams, who also worked on Mud's later recordings. B-side: Stand Still Stella (2:30) An original track, credited to Les Gray Release Information: Released on 7" vinyl by Warner Bros. UK (K 17007) on September 30, 1977. The single did not chart in the UK, reflecting Gray's struggle to replicate Mud's earlier success as a solo artist. This was a challenging period for glam rock acts, with punk and disco dominating the charts. Critical and Commercial Reception: The single received little critical attention and did not make a significant impact commercially. By 1977, Les Gray and Mud were struggling to maintain relevance in a music scene dominated by emerging genres like punk and new wave. Legacy and Context: This single is a minor entry in Les Gray's career, overshadowed by Mud's 1973-1976 peak. It reflects his attempt to branch out as a solo artist while maintaining the retro rock and roll style that defined Mud. After this release, Gray left Mud in 1978 to focus on solo work and later fronted Les Gray's Mud, a revival act touring with various lineups. The single is not included in major Mud compilations like the 2023 Cherry Red set Mud: The Singles 1973-80, as it was a solo release. What Do You Want To Make Those Eyes At Me For remains a curiosity for Mud fans and collectors, but it lacks the enduring appeal of Gray's work with the band. Stand Still Stella is largely forgotten, with minimal documentation or fan discussion.

David Bowie’s "Sorrow"  backed with "Amsterdam" , was released as a 7-inch vinyl single in the UK by RCA Victor (catalog number RCA 2424) on September 28, 1973. This single features “Sorrow,” a cover of a 1965 song by The Merseys, as the A-side, and “Amsterdam,” a cover of a Jacques Brel song, as the B-side. The A-side drawn from Bowie’s album Pin Ups (released October 19, 1973), a collection of cover versions paying homage to 1960s British rock and pop songs that influenced Bowie’s early career. The single was a commercial success, reaching No. 3 in the UK Singles Chart, and it capitalized on Bowie’s glam rock stardom during his Ziggy Stardust and Aladdin Sane era. Pressed as a standard 7" vinyl at 45 RPM, it typically came in a generic RCA sleeve. Historical Context In 1973, David Bowie was at the peak of his glam rock phase, having retired his Ziggy Stardust persona in July 1973 at London’s Hammersmith Odeon. Following the success of The Rise and Fall of Ziggy Stardust and the Spiders from Mars (1972) and Aladdin Sane (1973), Pin Ups was a nostalgic project, recorded in July 1973 at Château d’Hérouville, France, to bridge the gap before Diamond Dogs (1974). Pin Ups featured covers of songs from 1964–1967, reflecting Bowie’s influences from his teenage years, with a glam rock twist. The release of “Sorrow” as a single capitalized on Bowie’s UK chart dominance, while “Amsterdam” showcased his admiration for Jacques Brel’s dramatic chanson style, a nod to his earlier theatrical influences. The single’s release came during a transitional period, as Bowie was beginning to explore new directions, including soul and theatrical rock, while maintaining his glam rock fanbase. Track Analysis A-Side: Sorrow (2:53, Single Edit)Lyrics and Theme: Originally written by Bob Feldman, Jerry Goldstein, and Richard Gottehrer, “Sorrow” was a 1965 hit for The Merseys (No. 4 UK). Bowie’s version transforms the melancholic pop ballad into a lush, glam-infused track. The lyrics, about heartbreak and lost love (“With your long blonde hair and your eyes of blue”), retain their emotional core but gain a cinematic quality through Bowie’s delivery. France - RCA Victor - 1973 Music and Production: Produced by Ken Scott and Bowie, the track features Mick Ronson’s distinctive guitar and string arrangements, Mike Garson’s piano, Trevor Bolder’s bass, and Aynsley Dunbar’s drums. Recorded at Château d’Hérouville, the single edit (2:53) trims the Pin Ups album version (2:53, though some sources note slight variations) for radio play. The addition of strings and Bowie’s emotive vocals elevates the song beyond its 1960s origins. Cultural Impact: Bowie’s “Sorrow” became a bigger hit than the original, peaking at No. 3 in the UK and charting in Australia (No. 1) and New Zealand. Its success solidified Pin Ups’s commercial appeal, and the song remains a fan favorite, often cited for its blend of nostalgia and glam flair. It has appeared in media like The Crown and is celebrated for its polished production. B-Side: Amsterdam (3:19) Lyrics and Theme: Written by Jacques Brel (with English lyrics by Mort Shuman), “Amsterdam” is a dramatic chanson about sailors, prostitutes, and existential longing in the port of Amsterdam. Bowie’s rendition, previously performed live in the late 1960s, retains Brel’s raw intensity, with lyrics like “In the port of Amsterdam, where the sailors all meet.” The song reflects Bowie’s early cabaret influences and theatricality. Music and Production: Produced by Ken Scott and Bowie, the track features Bowie’s acoustic guitar and emotive vocals, with minimal instrumentation compared to “Sorrow.” Recorded during the Pin Ups sessions, it’s a stark contrast to the A-side’s lush production, emphasizing Bowie’s vocal delivery and storytelling. Significance: “Amsterdam” was a bold B-side choice, showcasing Bowie’s versatility and love for Brel (he later covered “My Death” and “Port of Amsterdam”). It appealed to fans familiar with his BBC sessions (e.g., 1970 performance) and added depth to Pin Ups’s nostalgic concept. Its rarity as a single track enhances its collectible appeal. Netherlands - RCA Victor - 1973 Critical Reception The Sorrow / Amsterdam single was a commercial and critical success. “Sorrow” was praised for its glamorous reworking of the 1965 original, with NME and Melody Maker noting Bowie’s ability to modernize a classic while retaining its emotional core. The single’s No. 3 UK chart position and international success (e.g., No. 1 in Australia) underscored its appeal. The single’s role in promoting Pin Ups was seen as a savvy move, though some critics viewed Pin Ups as a stopgap compared to Bowie’s original albums.

David Bowie’s "Love You Till Tuesday"  backed with "Did You Ever Have a Dream" , was released as a 7-inch vinyl single in the UK by Deram Records (catalog number DM 135) on July 14, 1967. Vinyl record label for David Bowie's "Love You Till Tuesday," released in 1967 under the Deram label in the UK, catalogue number DM 135. A-Side: "Love You Till Tuesday" Writer: David Bowie Producer: Mike Vernon Length: 3:09 (single version) Style: Baroque pop with a theatrical, music-hall influence, featuring lush orchestration and a whimsical tone. The song reflects Bowie’s early, pre-glam style, blending pop with a quirky, storytelling quality. Lyrics Theme: A playful yet bittersweet love song, with lyrics like “I’m gonna love you till Tuesday / Then I’ll pack my bags and go away,” expressing a fleeting romance with a touch of irony. Recording Details: Recorded at Decca Studios in London in June 1967, during sessions for Bowie’s self-titled debut album, David Bowie (released June 1, 1967). The single version was slightly edited from the album track (2:59 vs. 3:09). Chart Performance: The single was not a commercial success and failed to chart in the UK. At this early stage in his career, Bowie was still struggling to find a mainstream audience. Promotion: A promotional film for "Love You Till Tuesday" was made in 1969 for a planned short film of the same name, showcasing Bowie’s theatrical flair. The film was later released in 1984 with a re-recorded version of the song. Critical Reception: At the time, the single received little attention. Retrospective reviews note its charm but highlight its dated, pre-Ziggy Stardust style, which didn’t resonate with 1967 audiences amid the psychedelic rock boom. Vinyl record label for David Bowie's "Did You Ever Have A Dream," released in 1967 under the Deram label in the UK, catalogue number DM 135. B-Side: "Did You Ever Have a Dream" Writer: David Bowie Producer: Mike Vernon Length: 2:06 Details: A jaunty, upbeat track with a jazzy, dreamlike quality, featuring Bowie’s playful vocals and lyrics about fantastical dreams. It was exclusive to the single and not included on the David Bowie album, making it a rarity at the time. Style: Similar to the A-side, it leans into baroque pop with a theatrical edge, showcasing Bowie’s early experimentation with narrative-driven songs. Context and Background: Released shortly after Bowie’s debut album, this single was part of his early Deram Records period (1966–1968), where he explored various styles before finding fame with Space Oddity in 1969. The single came during the "Summer of Love" in 1967, when heavier psychedelic acts like The Beatles and Pink Floyd dominated, making Bowie’s lighter, theatrical pop less commercially viable. The David Bowie album and its singles, including "Love You Till Tuesday," were produced with a polished, orchestral sound by Mike Vernon, aiming for a broad pop appeal that didn’t fully materialize. Cover "Love You Till Tuesday" released under the Deram label in the Netherlands, catalogue number DM 135, featuring intricate cherub and floral designs. Cultural Notes: The 1969 promotional film for "Love You Till Tuesday" (part of a larger project) was later included in the 1984 video compilation Love You Till Tuesday, which featured a re-recorded version of the song with a more polished arrangement. Both tracks reflect Bowie’s early influences, including Anthony Newley and music-hall traditions, which shaped his theatrical persona before his glam-rock reinvention. Availability: Both tracks are available on streaming platforms like Spotify and YouTube, often as part of reissues of the David Bowie album or compilations like The Deram Anthology 1966–1968 (1997). The promotional film can be found on YouTube or through Bowie’s official releases, such as the 1984 Love You Till Tuesday video collection. "Love You Till Tuesday" reached number 18 on the Dutch Top 40 for the week of October 21, 1967. German release by Deram, catalog number DM. 135, showcasing the songs "Love You Till Tuesday" and "Did You Ever Have A Dream." DAVID BOWIE: "Love You Till Tuesday" (Deram) Yeah, it's a joke number. Jokes are good. Everybody likes jokes The Pink Floyd like jokes it's very casual If you play it a second time It might even be more of a joke, Joke Jokes are good. The Pink Floyd like jokes I think that was a funny joke, think people will like the bit about it being Monday, when in fact it was Tuesday Very chirpy, but I don't think my toes were tapping at all. Melody Maker review, July 22, 1967

David Essex’s "Oh What a Circus"  backed with "High Flying, Adored" , was released as a 7-inch vinyl single in the UK by Mercury Records (catalog number 6007 174) on August 4, 1978. Both tracks are from the musical Evita by Andrew Lloyd Webber and Tim Rice, where Essex played the character Che in the original 1978 London production. The single was a commercial success, reaching 3 on the UK Singles Chart, 29 in Belgium, and 26 in the Netherlands. It marked a comeback for Essex after a string of less successful singles, revitalizing his career following a split with CBS Records.

Elton John’s "Honky Cat"  backed with "Lady Samantha"  and "It's Me That You Need" , was released as a 7-inch vinyl single in the UK by EMI Records (catalog number EMI 2002) on August 25, 1972. where it stayed for six weeks, reaching a peak position of #31. It was the lead track from his fifth studio album, Honky Château. Written by Elton John and Bernie Taupin, and produced by Gus Dudgeon, the song is a lively, New Orleans-inspired funk-rock number with a distinctive piano riff and horn section. It reflects Taupin’s lyrical theme of escaping rural simplicity for city life, blending humor and nostalgia. The single reached No. 8 on the US Billboard Hot 100 and No. 31 in the UK Singles Chart. The B-side was "Lady Samantha" in some regions, though releases varied (e.g., "It's Me That You Need" in others). Released on DJM Records (UK) and Uni Records (US) as a 7" vinyl, it had no official music video but was performed live on shows like Top of the Pops. Recorded at Château d'Hérouville in France, the album marked John’s first No. 1 in the US, with "Honky Cat" driving its success. The track remains a fan favorite, often praised for its upbeat energy and John’s vocal delivery.

Elton John’s "Pinball Wizard"  backed with "Harmony" , was released as a 7-inch vinyl single in the UK by DJM Records (catalog number DJS 10652) on September 3, 1976. A-Side: Pinball Wizard "Pinball Wizard" is a cover of The Who's 1969 classic, written by Pete Townshend. Elton John recorded it for the 1975 film adaptation of The Who's rock opera Tommy, where he also played the character of the Pinball Wizard. The song features Elton's energetic piano-driven style, with his band delivering a vibrant performance. It became one of his signature covers, showcasing his ability to reinterpret rock classics. Produced by Gus Dudgeon, the track was recorded with Elton's core band, including Davey Johnstone (guitar), Dee Murray (bass), Nigel Olsson (drums), and Ray Cooper (percussion). Portuguese cover art for Elton John's "Pinball Wizard" from the rock opera "Tommy," released under DJM label. Chart Performance: In the UK, the single reached #7 on the charts. It was a notable hit, though not as dominant as some of Elton’s original compositions from the same era. Cultural Impact: The song is iconic for its association with Tommy and Elton’s flamboyant performance in the film, wearing oversized boots and a glitzy outfit. It remains a staple in his live performances and is one of his most recognized covers. B-Side: Harmony "Harmony" is an original Elton John composition, written with lyricist Bernie Taupin, from the 1973 album Goodbye Yellow Brick Road. It’s a melodic, reflective ballad that contrasts with the high-energy A-side. The song features lush harmonies and a gentle arrangement, highlighting Elton’s vocal range and piano work. Though not as commercially prominent as other tracks from the album (like "Candle in the Wind" or "Bennie and the Jets"), it’s a fan favorite for its emotional depth. Role as B-Side: "Harmony" complemented "Pinball Wizard" by offering a softer, more introspective track, typical of Elton’s strategy to balance singles with contrasting styles. Release Context Label: DJM Records (UK), catalog number DJS 10652. Date: Released on 3 September 1976. Background: This single came during a peak period of Elton John’s career, following the massive success of albums like Goodbye Yellow Brick Road (1973) and Captain Fantastic and the Brown Dirt Cowboy (1975). The release capitalized on the popularity of Tommy and Elton’s rising global fame. Formats: The single was primarily released as a 7-inch vinyl, standard for the era. No additional formats (like 12-inch or CD singles) were common at the time. Additional Notes: The single’s success was driven by "Pinball Wizard," which resonated with both Elton John fans and audiences familiar with The Who’s original. The choice of "Harmony" as the B-side reflects the practice of pairing a high-energy hit with a deeper album cut to showcase an artist’s range. If you’re looking for specific details (e.g., chart performance in other countries, vinyl condition for collectors, or availability on modern platforms), let me know, and I can dig deeper or search for real-time data.

The Sweet’s "The Lollipop Man"  backed with "Time" , was released as a 7-inch vinyl single in the UK by Parlophone Records (catalog number R 5803) on September 5, 1969, as their second single following "Slow Motion"  in 1968. Originally formed in 1968 as Sweetshop in London, UK, by 1969, when they released the single, they were still in their early bubblegum pop phase, before fully embracing the glam rock sound that defined their 1970s hits. A-Side: "The Lollipop Man" (2:36): Written by Albert Hammond and Mike Hazlewood, this track is a catchy, upbeat bubblegum pop song with a repetitive, chant-like rhythm and psychedelic guitar elements. The song has a deep-voiced “ain’t he sweet” line, possibly by guitarist Frank Torpey, who was later replaced by Andy Scott. B-Side: "Time" (2:31): Less documented than the A-side, "Time" fits the band’s early bubblegum style, with a straightforward pop structure. It’s included on compilations like First Recordings 1968-1971. Reception: The single didn’t chart significantly and is considered a product of The Sweet’s pre-glam era, before producers Mike Chapman and Nicky Chinn transformed them into superstars with hits like "Blockbuster!" and "Ballroom Blitz." Critics note it lacks the polish of their later work but has charm for its era. The Sweet in 1969: Lineup: At this time, The Sweet consisted of Brian Connolly (vocals), Frank Torpey (guitar), Steve Priest (bass), and Mick Tucker (drums). This lineup was still developing its sound, rooted in 1960s beat and bubblegum pop. Context: The band was transitioning from their early influences, experimenting with a mix of beat, pop, and slight psychedelic elements. "The Lollipop Man" reflects this, with its schoolyard chant vibe and quirky lyrics. Sleeve Detail Label: Cornet International Country: Germany Catalogue: 5020 Date: 1969 They were regulars on radio shows, including a 1969 Radio One Club performance of the song Evolution: After modest success with early singles, The Sweet signed with RCA Records in 1971 and, under Chinn and Chapman’s guidance, adopted a glam rock style, leading to hits like "Co-Co," "Little Willy," and "Wig-Wam Bam." Their early Parlophone singles, including "The Lollipop Man," are now seen as collector’s items, with vinyl copies being rare. Availability: The single is hard to find and not widely available on streaming platforms, though "The Lollipop Man" can be streamed on Spotify. It’s included on compilations like First Recordings 1968-1971 (Repertoire Records). Vinyl copies, including a limited-edition blue vinyl German release or UK numbered editions, are sought after by collectors. Sleeve Detail Label: Cornet International Country: Germany Catalogue: 5020 Date: 1996 Details: Limited edition repress black and blue vinyl Cultural Note: The term "lollipop man" refers to a UK crossing guard, often seen with a circular stop sign (resembling a lollipop). The song’s playful tone aligns with 1960s pop trends, though its suggestive lyrics hint at the cheeky edge The Sweet later amplified in their glam era. Sleeve Detail Label: In a Spin Vinyl Country: Spain Catalogue: 5020 Date: 2025

David Bowie’s "Cat People (Putting Out Fire)"  backed with "Paul's Theme (Jogging Chase)" , was released as a 7-inch vinyl single in the UK by MCA Records (catalog number MCA 770) on April 9, 1982. The single achieved commercial success upon its release. The 7" single reached number 26 on the UK Singles Chart, staying there for six weeks, and climbed to number 13 in Canada. In the United States, it appeared on three different Billboard charts: it peaked at number 67 on the Pop Singles chart for 10 weeks, reached number 9 on the Mainstream Rock chart for 20 weeks, and hit number 14 on the Club Play Singles chart for 16 weeks. In other countries, it topped the charts at number 1 in New Zealand for three weeks, in Sweden for four weeks, and in Norway for seven consecutive weeks before returning to the top for an additional week. It also reached number 1 in Finland. Dissatisfied with the initial recording, Bowie re-recorded the track for his 15th studio album, Let's Dance (1983), at the Power Station in New York City in December 1982. This version, produced by Chic member Nile Rodgers and featuring lead guitar by blues guitarist Stevie Ray Vaughan, is more aggressive. Although the remake gained greater recognition due to the success of its parent album, some critics favor the original recording. The 2018 remaster of the remake was included in the Loving the Alien (1983–1988) box set.

Big Carrot’s "Blackjack"  backed with "Squint Eye Mangle" , was released as a 7-inch vinyl single in the UK by EMI Records (catalog number EMI 2042) on August 10, 1973. Marc Bolan wrote, composed, and produced both tracks, infusing them with his signature glam rock style—characterized by catchy riffs, playful lyrics, and a raw, energetic sound. The tracks are described as “semi-instrumentals,” suggesting a focus on groove and atmosphere, typical of Marc Bolan’s experimental side. BELOW Text taken from an article in New Musical Express date August 25, 1973. Bolan's Carrot NOTICED THAT NME ad. lately for a band under the name Big Carrot, who've released a single "Blackjack."? The advertisement shows a rather agile young lady with her head tilted backwards, ready to receive a carrot. And just about opposite her ankles are the words "produced by Bolan." Big Carrot are in fact two American West Coast chick singers, Stephanie Spruill and Gloria Jones, plus Bill Legend, Steve Currie and Mickey Finn. In other words, they're Marc's back-up band. He wote, produced and played guitar on the song which was recorded in Los Angeles during his last American tour. Marc met the ladies at a re-cording on the U.S. "In Con-cert" programme, on which T. Rex were appearing. The song was written by him while he was on holiday in Barbados earlier in the year. Depending on the success of "Blackjack" Big Carrot may release further singles and an album. Cover art taken from the UK release of T. Rex's "The 7" Singles Box Set," produced by Edsel and released on March 16, 2015. Cover art taken from the UK release of T. Rex's "The 7" Singles Box Set," produced by Edsel and released on March 16, 2015. Vinyl record of "Blackjack" by Big Carrot, released on 10 August 1973 under EMI label, UK (Catalogue: EMI 2047), written and composed by Marc Bolan. Vinyl record of "Squint Eye Mangle" by Big Carrot, released on 10 August 1973 under EMI label, UK (Catalogue: EMI 2047), written and composed by Marc Bolan.

Sparks’ "Funny Face"  backed with "The Willys" , was released as a 7-inch vinyl single in the UK by Why Fi Records (catalog number WHY 4) on September 18, 1981. Background and Context: Sparks, formed by brothers Ron Mael (keyboards) and Russell Mael (vocals) in Pacific Palisades, Los Angeles in 1971, were known for their quirky, theatrical approach to pop music, blending sophisticated lyrics with eclectic styles. By 1981, Sparks had transitioned from their influential disco albums No. 1 In Heaven (1979) and Terminal Jive (1980), produced with Giorgio Moroder, back to a rock-oriented sound with their tenth studio album, Whomp That Sucker, released in 1981. This album marked a return to a conventional band format after finding Moroder’s electronic equipment too cumbersome for touring. Whomp That Sucker was recorded at Musicland Studios in Munich, produced by Mack (who had worked on Queen’s The Game), and featured the backing band Bates Motel, consisting of guitarist Bob Haag, bassist Leslie Bohem, and drummer David Kendrick. The single "Funny Face" / "The Willys" was released to promote the album, reflecting Sparks’ signature blend of clever lyrics and catchy pop-rock. Single Details: A-side: Funny Face (3:16) Written by Ron Mael and Russell Mael. A pop-rock track with a strong keyboard presence and Russell’s distinctive falsetto, telling the story of a man famous for his good looks who is frustrated by people assuming he’s shallow. He finds happiness after disfiguring his face in an accident, as people finally value his personality. The song’s narrative is quirky yet poignant, with a catchy melody and polished production. Released as a single in multiple markets, including the UK (Why Fi Records, WHY 4) and France (Underdog), it was a lead single in France but a secondary single in the UK, following "Tips for Teens." It did not chart significantly in the UK but saw modest success in France, capitalizing on Sparks’ popularity there after their 1980 hit "When I’m with You." The music video, incorrectly credited to director Sam Peckinpah in some sources, features a man in a monster mask (likely representing the disfigured character) trying to get the attention of three playful girls, with another man singing the song. Russell Mael later clarified Peckinpah did not direct it, and the true director remains uncredited. B-side: The Willys (4:00) Also written by Ron Mael and Russell Mael. A quirky, 1950s-inspired rock track with a humorous narrative about a character experiencing "the Willys," a slang term for nervousness or anxiety, possibly triggered by bad lunch meat. . Release Information: Released on 7" vinyl by Why Fi Records UK (WHY 4) on September 18, 1981, as confirmed by Record Collector Magazine. Released in a standard die-cut paper sleeve, though some sources note a picture sleeve with the Why Fi logo was issued in certain markets. Pressings exist with B-side labels on both sides, a noted manufacturing error. The single is explicitly tied to Whomp That Sucker (catalog WHO 1), with both tracks credited to the album on the label. Musical Style and Themes: Both tracks reflect the pop-rock sound of Whomp That Sucker, with a strong keyboard presence, catchy hooks, and Russell Mael’s theatrical vocals. "Funny Face" is a melodic, narrative-driven pop song with a touch of new wave, while "The Willys" leans into a retro rock and roll feel with humorous, absurd lyrics. Sparks’ signature style—witty, idiosyncratic, and slightly subversive—shines through, though the album and singles are seen as less groundbreaking than their earlier work like Kimono My House (1974) or No. 1 In Heaven (1979). The themes explore personal identity and anxiety with a comedic twist, typical of Sparks’ lyrical approach. Critical and Commercial Reception: The "Funny Face" / "The Willys" single had limited commercial impact in the UK, where it did not chart, reflecting Sparks’ niche status despite their earlier success with "This Town Ain’t Big Enough for Both of Us" (#2 UK, 1974). In France, "Funny Face" performed better due to Sparks’ established fanbase. Critics viewed Whomp That Sucker as a solid but not exceptional album, with Rolling Stone calling it their “finest half-hour since Kimono My House” in 1981, praising tracks like "Funny Face" for their cleverness. "The Willys" is noted as a fun but less memorable track, with reviews on Prog Archives describing it as a “50s throwback” that doesn’t stand out. The single’s collectible value is modest, with interest primarily among Sparks fans and vinyl enthusiasts. Legacy and Context: The single is a snapshot of Sparks’ early 1980s transition from disco to a more conventional rock sound, maintaining their quirky identity. Whomp That Sucker reached #182 on the US Billboard 200, their first US chart entry since Indiscreet (1975), but its singles, including "Funny Face," didn’t break into the UK or US charts significantly. The Bates Motel backing band, also known as Gleaming Spires, recorded concurrently and had a minor hit with "Are You Ready for the Sex Girls?" in 1981, adding context to Sparks’ collaborative approach. The single is available on the 2018 Repertoire Records reissue of Whomp That Sucker (180g red and blue split vinyl) and digitally on platforms like Spotify. Sparks’ influence on synth-pop and new wave is well-documented, with artists like Joy Division and New Order citing their Moroder-produced work as inspiration, though this single represents a less pivotal moment in their career. Additional Notes: The music video for "Funny Face" is noted for its bizarre, corny charm, with a 6/10 rating on IMDb, though its director remains unconfirmed. Why Fi Records was a short-lived UK label, and the single’s release reflects Sparks’ shifting label partnerships in different markets (RCA in the US, Underdog in France, Ariola/Oasis in Germany). The Willys is available on YouTube and Spotify, credited to the Whomp That Sucker album, with lyrics on Genius emphasizing its humorous tone. Sources and Verification: Information is drawn from my knowledge of Sparks’ discography and supplemented by web sources, including Discogs, Wikipedia, Repertoire Records, Genius, and ProgArchives. for Teens

Alice Cooper Group’s "Hello Hurray"  backed with "Generation Landslide" , was released as a 7-inch vinyl single in the UK by Warner Bros. Records (catalog number K 16248) on January 26, 1973. In the UK, it entered the singles chart at number 44 during the week of February 4-10, 1973, staying on the chart for 12 weeks and peaking at number 6 in the week starting March 11. A NEW SINGLE RELEASE FROM WARNER BROS. K 16248 ALICE COOPER "HELLO HURRAY"/"GENERATION LANDSLIDE" HELLO HURRAY!! A new Alice Cooper single!!! A monster!! The untouchable Alice Cooper follows his last two chart-smashing singles, "School's Out" and "Elected" with another unbeatable performance. It's a monumental song called "HELLO HURRAY" written many years ago by Rolf Kempf. Its original conception may have been slightly folkier! but it adapts perfectly to Alice's deep throated rock version though it's slower than his other singles the overwhelming power of his delivery makes this a strong contender for record of the year after only one month! It comes from Alice's next album "BILLION DOLLAR BABIES". The album was recorded at the Cooper Estate in Connecticut, both before and after his record-breaking Autumn tour of Europe, that devasted well over a hundred thousand innocent souls. He can't unfortunately be back till the early summer, but he won't be relaxing. For a solid three months he tours the entire United States, east and west coasts, mid-west, mid-south and North America, climaxing in a concert at New York's Madison Square Gardens on June 3rd. In all, 56 venues will be covered and 800,000 people will see Alice in a tour of unprecedented dimensions. It promises to be a brilliant stage production too, and with this single, his album and all things weighed up and considered....Alice is going to be an even bigger success in 173 than last year and he was 1972's biggest thing. The polls in Britain's music press have indicated that he is far and away the world's top rock act. Check out the UK promotional release, featuring an information sheet and a Music Star magazine advert below. Music Star magazine advert

David Bowie’s "D.J."  backed with "Repetition" , was released as a 7-inch vinyl single in the UK by RCA Victor (catalog number BOW 3) on July 6, 1979, as the second single from his 1979 album Lodger . Overview Release Date: June 29, 1979 (UK); July 2, 1979 (US) Label: RCA Victor Catalog Number: BOW 3 (PB 9412 in some regions) Tracks: A-side: "D.J." (written by David Bowie, Brian Eno, and Carlos Alomar) B-side: "Repetition" (written by David Bowie) Producer: David Bowie and Tony Visconti Formats: 7" vinyl (standard black vinyl, with a scarcer green vinyl UK release and a picture disc for the 40th anniversary in 2019 Label: RCA Victor Country: UK Catalogue: BOW 3 / PB 9412 / AQL1 3254 About "D.J." Background: "D.J." is a cynical commentary on the cult of the DJ, reflecting Bowie’s response to the disco era. Bowie himself described it as a reaction to the pressures faced by DJs, where a single mistake (like mistiming a record) could ruin their career: “This is somewhat cynical but it’s my natural response to disco.” Musical Style: A mix of new wave and art rock, the track features a distinctive guitar solo by Adrian Belew, recorded in multiple takes and mixed to create a disjointed, channel-switching effect. Bowie’s vocal performance mimics David Byrne of Talking Heads, and the song includes allusions to artists like the Rolling Stones, Neil Young, and the Beach Boys. The primary key is A minor, with a tendency to shift to A major, and the original mix pushes bass, drums, and rhythm guitar to the background with an Envelope phaser effect on the guitar. Label: RCA Victor Country: UK Limited Edition Green Vinyl 3000 Copies Lyrics: The song explores the dehumanization of the DJ, reduced to their role: “I am a DJ, I am what I play.” Biographers compare it to Elvis Costello’s “Radio Radio” (1978) for its critique of media culture. The title “D.J.” also nods to Bowie’s real name, David Jones. Recording: The backing track was recorded at Mountain Studios in Montreux, Switzerland (September 1978), with vocals and overdubs at Record Plant in New York City (March 1979). Bowie and Eno used Oblique Strategies cards to spark creative ideas, a technique previously employed on “Heroes” (1977). Chart Performance: Peaked at #29 on the UK Singles Chart and #106 on Billboard’s Bubbling Under Top 200 Singles chart in the US. Music Video: Directed by David Mallet, it features Bowie walking down London’s Earl’s Court Road, where passersby recognize and follow him, interspersed with scenes of Bowie as a tortured DJ destroying his studio. Reception: Critics praised “D.J.” as a highlight of *Lodger*, with Ultimate Classic Rock calling it a “danceable gem” and AllMusic noting its “strong melodic hooks” subverted by layered, dissonant production. It was ranked #16 in a 2016 *Ultimate Classic Rock* list of Bowie singles and #76 in a 2015 *Mojo* magazine list of his best songs. About "Repetition" Background: The B-side, “Repetition,” is a darker, more introspective track from Lodger, addressing themes of domestic abuse and a crumbling marriage. It’s considered a standout by some reviewers for its emotional depth, with one noting it as “where it’s at” compared to the A-side. Label: RCA Victor Country: UK B-Side Solid Centre Musical Style: Less polished than “D.J.,” it has an “oddly lumbering” quality, described as sounding like an early run-through with rough edges, yet compelling for its rawness. Lyrics: The song chronicles a bleak domestic scenario, contrasting with the more upbeat, satirical tone of “D.J.” It’s noted for its stark, narrative-driven approach. Additional Details Vinyl Specifics: The UK release (BOW 3) includes matrix/runout details like PB 9412-A-2 and PB 9412-B-1, with some variants featuring a “W” etching and a lyre symbol. A US promotional version had “D.J.” in both stereo and mono on either side, marked “NOT FOR SALE.” Cultural Impact: “D.J.” was performed live only during Bowie’s 1995 Outside Tour. It appeared in a 2005 XM Satellite Radio commercial alongside stars like Snoop Dogg and Ellen DeGeneres. A 2009 remix by Benny Benassi was cleared by Bowie’s estate for digital release. The song is featured on compilations like Changestwobowie (1981), *The Singles Collection* (1993), and *Best of Bowie* (2002). 1983 Lifetimes Reissue Label: RCA Country: UK Catalogue: BOW 516 Critical Reflection: While “D.J.” is celebrated for its innovative production and cultural commentary, some critiques find it less imaginative lyrically compared to Bowie’s best work, with one reviewer calling it “rather boring” despite its intrigue. “Repetition,” however, is often praised for its raw emotional weight. This single encapsulates Bowie’s experimental phase during the *Berlin Trilogy* era, blending satire, innovative production, and social commentary, with “Repetition” offering a darker counterpoint.

Roly’s "Car Friends"  backed with "Roly Pin" , was released as a 7-inch vinyl single in the UK by Philips Records (catalog number 6006 645) on September 15, 1978. Both songs were written by Rob Davis and Ray Stiles, who were core members of Mud. Background and Connection to Mud: Rob Davis (lead guitarist) and Ray Stiles (bassist) were founding members of Mud, formed in 1966 in Carshalton, Surrey, alongside lead vocalist Les Gray and drummer Dave Mount. Mud achieved significant success in the 1970s with glam rock and rock and roll revival hits like "Tiger Feet," "Dyna-mite," and "Lonely This Christmas." By 1978, Mud's popularity was declining due to changing musical tastes and the end of their contract with RCA Records. After Les Gray left the band in 1978 to pursue a solo career and perform in Jack Good's "Oh Boy" show, Davis and Stiles continued working together under the name Roly, releasing two singles for Logo Records in 1978, including "Car Friends" / "Roly Pin." Single Details: A-side: Car Friends Written by Rob Davis and Ray Stiles. The track did not chart, reflecting the limited commercial success of Roly's releases. B-side: Roly Pin Also written by Rob Davis and Ray Stiles. Release Information: Released on 7" vinyl by Logo Records UK (GO 327) on September 15, 1978. Matrix/Runout: Side A: GO 327-A-1; Side B: GO 327-B-1, with hand-etched matrices indicating a first UK pressing, as noted in collector listings. Context of Roly and Mud's Decline: In 1977, Mud moved from Private Stock to RCA Records, releasing singles like "Slow Talking Boy" and "Cut Across Shorty," but these failed to replicate earlier successes. Les Gray's departure in 1978 marked a turning point, and Davis and Stiles formed Roly as a side project to continue their creative output. The Roly project was short-lived, releasing only two singles in 1978, including "Car Friends" / "Roly Pin." After Roly, Stiles joined The Hollies in 1986, where he remains active, while Davis became a successful songwriter, co-writing hits like Kylie Minogue's "Can't Get You Out of My Head" and Spiller's "Groovejet (If This Ain't Love)." Since 2015, Davis and Stiles have reunited to perform as Mud with a new lineup, playing nostalgic gigs with hits like "Tiger Feet" and "Lonely This Christmas." Legacy and Context: The Roly single is a minor footnote in the careers of Rob Davis and Ray Stiles, representing a brief post-Mud collaboration before they pursued separate paths. It highlights their continued partnership and songwriting efforts during a transitional period. The single likely used a plain sleeve or minimal artwork, typical of Logo Records' low-budget releases. No direct connection exists between this single and later properties like Roary the Racing Car, despite the thematic similarity of car-related titles. Another Roly single, "Can't Take My Eyes Off You" / "All I Ever Wanna Do," was also released in 1978 on Logo Records, further confirming Roly as a Davis-Stiles project. Sources and Verification: Information is drawn from my knowledge of Mud's discography and supplemented by web sources, including mudrock.org.uk, Wikipedia, and a YouTube upload of "Roly Pin." Additional context comes from Express.co.uk, Lancashire Telegraph, and darrensmusicblog.com, which detail Davis and Stiles' Mud history and later careers. Collector listings on Discogs and eBay provide release details.

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 (catalog number DM 123) on September 14, 1973. This version can be identified by the matrix numbers printed upside-down above the catalogue numbers on the labels. It has the same catalogue number as the original release but has the matrix numbers printed the right way up. A release date of September 28, 1973, was given in booklet 'The New Singles' No. 494 for the re-release, it entered the UK Singles Chart the week of September 9, 1973 - September 15, 1973 at number 42, where it spent 12 weeks peaking at number 6 for two weeks. Release Details: A-Side: "The Laughing Gnome" B-Side: "The Gospel According to Tony Day" Label: Deram Records (DM 123) Original Release: April 14, 1967 (UK) Reissue: September 1973 (UK) Context: This was one of Bowie’s early singles, released when he was still finding his artistic voice, years before his breakthrough with Ziggy Stardust. The 1973 reissue capitalized on Bowie’s newfound fame as a glam rock icon. A-Side: "The Laughing Gnome" Written by David Bowie and produced by Mike Vernon. Released in 1967 when Bowie was 20, it reflects the whimsical, theatrical style of his early work, influenced by British music hall and novelty pop. The song features Bowie’s voice sped up to create the high-pitched voice of the gnome, a playful storytelling device. Reception: In 1967, the single flopped, failing to chart in the UK or elsewhere. Critics and fans largely dismissed it as a novelty track. The 1973 reissue, riding on Bowie’s Ziggy Stardust and Aladdin Sane fame, reached No. 6 in the UK Singles Chart, reflecting his growing popularity. France - Deram - 1973 B-Side: "The Gospel According to Tony Day" Also written by Bowie and produced by Mike Vernon, released as the B-side to "The Laughing Gnome" in 1967. Recorded during the same sessions as Bowie’s debut album David Bowie (1967) for Deram. Context in Bowie’s Career 1967: Early Struggles: At the time of the single’s original release, Bowie was an unknown artist experimenting with various styles (folk, pop, music hall) under Deram Records, a Decca subsidiary focused on progressive and experimental acts. His debut album David Bowie (1967) was a commercial failure, and singles like "The Laughing Gnome" and "The Gospel According to Tony Day" didn’t resonate with audiences. Bowie was still developing his songwriting and stage presence, influenced by artists like Anthony Newley and the British vaudeville tradition. 1973: Reissue and Stardom: By September 1973, Bowie was a global star, thanks to albums like The Rise and Fall of Ziggy Stardust (1972) and Aladdin Sane (1973). Deram reissued early tracks to capitalize on his fame. Netherlands - Deram - 1973 The reissue of "The Laughing Gnome" was a surprising hit, though it contrasted with the glamorous, edgy image Bowie had cultivated. This period marked Bowie’s transition from Ziggy Stardust to new personas like Aladdin Sane and the dystopian themes of Diamond Dogs (1974). Bowie’s Reflection: In later interviews, Bowie expressed mixed feelings about his early Deram work, calling tracks like "The Laughing Gnome" a product of youthful experimentation.

Barry Blue’s "Dancin' (On A Saturday Night)"  backed with "School Love" , was released as a 7-inch vinyl single in the UK by Old Gold (catalog number OG 9031) on September 7, 1979. Overview of the Single Track Details Dancin' (On a Saturday Night): Background: Originally released in 1973 on Bell Records (catalog BELL 1295), this track was co-written by Barry Blue and Lynsey de Paul. It became Blue’s biggest hit, reaching No. 2 on the UK Singles Chart, No. 1 on the Melody Maker Top 30, No. 2 in Australia (Kent Music Chart), No. 3 in Austria, No. 4 in Ireland, No. 9 in Germany, and No. 11 in the Netherlands. It was the 18th best- selling single in Australia and the 23rd best-selling single in the UK in 1973. Cultural Impact: The song became a line-dance classic and appeared in soundtracks for films like Anita and Me, American Swing, and The Long Good Friday. A 1989 remix (released on Escape Records, catalog AWOLT4) reached No. 86 on the UK Singles Chart. 1979 Reissue: The 1979 Old Gold release capitalized on the song’s enduring popularity, reissuing it as part of a wave of nostalgia-driven re-releases of 1970s hits. This version retained the original 1973 recording’s 3:09 duration. School Love: Background: Originally released in 1974 on Bell Records (catalog BELL 1345) with "Hi-Cool Woman" as the B-side, "School Love" was another Barry Blue hit, reaching No. 11 on the UK Singles Chart. It was also co-written with Lynsey de Paul and reflects Blue’s glam-pop style, with a youthful, romantic theme. Role in 1979 Reissue: Pairing "School Love" with "Dancin' (On a Saturday Night)" for the Old Gold release was a strategic choice, combining Blue’s biggest hit with another Top 20 single to appeal to collectors and nostalgic listeners. Release Context Old Gold Label: Old Gold was a UK label specializing in reissuing classic pop and rock hits from the 1950s to 1970s. By 1979, the label was catering to a growing market for nostalgic vinyl singles, often pairing two hits by the same artist to maximize appeal. The catalog number OG 9031 places this release in Old Gold’s early series of 7-inch reissues. Purpose of Reissue: The late 1970s saw a resurgence of interest in early 1970s glam rock, driven by nostalgia and the enduring popularity of artists like Barry Blue. The 1979 reissue aimed to reintroduce Blue’s hits to a new generation and capitalize on the song’s established status as a dancefloor favorite. Physical Characteristics: The 7-inch vinyl single was a standard 45 RPM release, likely housed in a generic Old Gold sleeve or a company die-cut sleeve, as was common for reissues. Specific details about the sleeve or matrix numbers for OG 9031 are not widely documented, but similar Old Gold releases used simple packaging to keep costs low. Germany - Bell - 1973 Barry Blue’s Career Context Early Career: Born Barry Ian Green, Blue adopted his stage name in 1973 after signing with Bell Records, following unsuccessful singles under his real name. His breakthrough came with "Dancin' (On a Saturday Night)" and "Do You Wanna Dance" (No. 7, 1973), establishing him as a glam rock star. By 1979, Blue was transitioning into a successful producer and songwriter, working with artists like Heatwave (Boogie Nights, Always and Forever), Dina Carroll, and later Andrea Bocelli, Celine Dion, and Diana Ross. 1970s Success: Blue’s 1973–1974 hits, including "School Love" (1974, No. 11), "Miss Hit and Run" (1974, No. 26), and "Hot Shot" (1974, No. 23), made him a fixture on UK charts and TV shows, performing alongside acts like Queen, ABBA, and Status Quo. Post-1970s: By 1979, Blue was less active as a performer but remained influential as a producer. His 1989 remix of "Dancin' (On a Saturday Night)" (Escape Records, AWOLT4) and a minor hit as Cry Sisco! ("Afro Dizzi Act", No. 42 UK) showed his continued presence in the industry. Cultural and Historical Significance Glam Rock Era: The 1979 reissue reflects the enduring appeal of early 1970s glam rock, a genre defined by its flamboyant style and catchy melodies. "Dancin' (On a Saturday Night)" captured the era’s carefree spirit, with its Greek-inspired instrumentation and danceable rhythm making it a standout. Fans on music forums praise its nostalgic charm, with comments like “a beautiful mix of glam, pop, and Greek folklore” and “a happy, danceable hit from the 70s.” Germany - Bell - 1974 Nostalgia Market: The Old Gold release targeted 1970s music fans, particularly those who frequented dancehalls where Blue’s songs were staples. The pairing of two chart hits ("Dancin'" and "School Love") made it a compelling purchase for collectors. Awards and Recognition: In 1974, "Dancin' (On a Saturday Night)" won a Carl Allan Award for Best Record of the Year, an accolade previously awarded to ABBA, The Beatles, and Queen, underscoring its impact. Notes Comparison to Original Releases: The 1979 Old Gold single differs from the 1973 Bell Records release of "Dancin' (On a Saturday Night)" (BELL 1295, B-side "New Day") and the 1974 "School Love" single (BELL 1345, B-side "Hi-Cool Woman"). The Old Gold reissue paired two A-side hits, a common practice for reissue labels to maximize value. Other Reissues: A 1984 Old Gold release (OG 9842) paired "Dancin' (On a Saturday Night)" with "Do You Wanna Dance?" instead of "School Love," showing the label’s strategy of varying B-sides for reissues.

Mud’s "Beating Round The Bush"  backed with "Under The Moon Of Love" , was released as a 7-inch vinyl single in the UK by Private Stock Records (catalog number PVT 84) on March 18, 1977. Background and Context: Mud, formed in 1966 in Carshalton, Surrey, were a prominent glam rock band in the 1970s, known for hits like "Tiger Feet," "Lonely This Christmas," and "Oh Boy," all of which reached #1 in the UK. By 1977, Mud had moved from Rak Records to Private Stock, transitioning away from their earlier glam rock sound toward a mix of rock and roll revival and pop influences. This shift came after parting ways with producers Nicky Chinn and Mike Chapman in 1975, who had crafted their biggest hits. The band at this time consisted of lead vocalist Les Gray, guitarist Rob Davis, bassist Ray Stiles, drummer Dave Mount, and keyboardist Andy Ball (who joined in 1975). Promotional label stamped with September 12, 1977. Single Details: - A-side: Beating Round The Bush (3:23) - Written by Rob Davis and Ray Stiles. - Produced by Pip Williams, known for work with Status Quo and others. - The song did not chart significantly in the UK, reflecting Mud's declining commercial success by 1977, as glam rock waned and Private Stock faced financial difficulties. - B-side: Under The Moon Of Love (3:00) - A cover of a 1961 song by Curtis Lee, written by Tommy Boyce and Curtis Lee, originally produced by Phil Spector. - Mud had previously recorded this track for their 1975 album Use Your Imagination, but it was not released as a single at the time. The decision to include it as the B-side in 1977 was notable, as a rival band, Showaddywaddy, had a #1 UK hit with their version in 1976. Mud's producer, Phil Wainman, believed their version was superior, but the band opted for other singles like "L'L'Lucy" instead, a decision Wainman called "professional suicide." - The track features a rock and roll revival style with doo-wop elements, including backing vocals by Jackie Sullivan, Vicki Brown, and Joy Yates, evoking a 1960s girl-group sound. - Release Information: - Released on 7" vinyl by Private Stock UK (PVT 113) on September 23, 1977. - Matrix/Runout: Side A: PVT 113 A-1U; Side B: PVT 113 B-1U, with "MELYS" etched, indicating mastering at IBC Studios. - The single was also issued as a promo in some markets, but it failed to enter the UK Singles Chart, though it reached #84 in the Record Business Singles Chart. Musical Style and Themes: Beating Round The Bush is a straightforward rock and roll track with a driving rhythm and catchy hooks, typical of Mud's later output as they leaned into retro influences. Under The Moon Of Love is a nostalgic, upbeat cover with lyrics about romantic longing under a moonlit setting, delivered with Mud's characteristic energy and layered vocal harmonies. Both tracks reflect the band's attempt to stay relevant in a changing music landscape, moving away from glam rock toward a more traditional rock and roll sound. Critical and Commercial Reception: The single was not a commercial success, as Mud's chart presence had faded by 1977. Beating Round The Bush lacked the impact of their earlier hits, and the choice of Under The Moon Of Love as the B-side was overshadowed by Showaddywaddy's chart-topping version the previous year. Critics and fans noted Mud's struggle to maintain relevance after their peak years (1973-1976). The single's lack of chart success contributed to Mud's eventual move to RCA Records later in 1977, where they released further singles like "Slow Talking Boy" with limited success. Legacy and Context: The Beating Round The Bush / Under The Moon Of Love single is a footnote in Mud's discography, reflecting a transitional period as the band navigated the decline of glam rock and financial issues at Private Stock. It is primarily of interest to collectors and fans, as evidenced by its availability on platforms like Discogs, where copies have sold for $0.59 to $7.23 (median $2.45). The single appears on compilations like the 2023 Cherry Red 3CD set Mud: The Singles 1973-80, which includes all their Private Stock and RCA releases. Under The Moon Of Love remains a notable track in Mud's catalog, though overshadowed by Showaddywaddy's hit version. Additional Notes: - By late 1977, Mud's momentum was waning, and after Private Stock's financial troubles, Les Gray left for a solo career in 1978, though the band continued briefly with vocalist Margo Buchanan. Sources and Verification: Information is drawn from my knowledge of Mud's discography and music history, supplemented by web sources including Discogs , Wikipedia, and mudrock.org.uk . Additional context comes from an interview on alwynwturner.com detailing the band and producer's perspective on Under The Moon Of Love.

David Essex’s "The Day The Earth Stood Still"  backed with "Is It So Strange?" , was released as a 7-inch vinyl single in the UK by Decca Records (catalog number F 12967) on September 26, 1969. Background and Context: David Essex (born David Albert Cook, July 23, 1947, in Plaistow, London) was an emerging artist in 1969, still years away from his 1970s fame as a glam rock and pop star with hits like "Rock On" (1973) and "Gonna Make You a Star" (1974). In the late 1960s, Essex was transitioning from small acting roles and a stint as a drummer in local bands to pursuing a solo music career. He had been discovered by manager Derek Bowman and was experimenting with various musical styles under Decca Records. The 1969 single "The Day The Earth Stood Still" / "Is It So Strange?" was one of his earliest releases, predating his breakthrough and reflecting a period of artistic exploration. At this time, Essex was relatively unknown, and his early singles were attempts to establish his presence in the competitive UK music scene. Single Details: A-side: The Day The Earth Stood Still Written by Arnold, Martin, Morrow. A dramatic, orchestral pop song with a science-fiction theme, likely inspired by the 1951 film The Day the Earth Stood Still. Produced by Arnold, Martin, Morrow The song did not chart, reflecting Essex’s limited recognition at the time and the single’s niche appeal. B-side: Is It So Strange? Written by Hunter Produced by Arnold, Martin, Morrow Release Information: Released on 7" vinyl by Decca Records UK (F 12967) on September 26, 1969. Matrix/Runout details are not widely documented, but Decca singles from this period typically featured standard mono pressings with simple labels. Released in a plain Decca sleeve, as was common for non-charting singles of the era, with no notable picture sleeve. Critical and Commercial Reception: The single received little critical attention and failed to chart in the UK, typical of Essex’s pre-fame releases. In 1969, he was still building his career, and the single’s lack of success reflects the competitive nature of the UK music scene, dominated by acts like The Beatles, The Rolling Stones, and emerging glam precursors. Collector sources like 45cat note its obscurity, with minimal fan discussion. The single is valued today primarily by collectors and fans of Essex’s early work, as it captures a formative stage before his 1970s stardom under CBS Records. Netherlands - Decca - 1969 Legacy and Context: "The Day The Earth Stood Still" / "Is It So Strange?" is a minor entry in David Essex’s discography, predating his breakthrough with albums like Rock On (1973) and David Essex (1974). It represents his early attempts to find a musical identity, blending pop with theatrical elements. Essex’s career took off after signing with CBS in 1971, with hits like "Lamplight" and "Hold Me Close," and his acting roles in films like That’ll Be the Day (1973) and Stardust (1974) cemented his star status. This 1969 single is rarely referenced in retrospectives but is notable for completists, as it shows Essex’s early songwriting and performance style. It is not widely available digitally, and neither track appears on major compilations, though the A-side is mentioned in discographies on sites like 45cat and Discogs. Additional Notes: The single’s release by Decca UK aligns with Essex’s early recordings for the label, including other non-charting singles like "Thigh High" / "De Boom Lay Boom" (1968, Fontana) and "Love Story" / "Cruisin’ Casanova" (1968, Uni). No music videos or promotional materials are documented, as was typical for minor releases in 1969. Essex’s shift to CBS and collaboration with producer Jeff Wayne in the 1970s marked his commercial peak, leaving these Decca singles as historical curiosities. Sources and Verification: Information is drawn from my knowledge of David Essex’s discography and supplemented by web sources, including 45cat, Discogs, and Wikipedia for Essex’s early career details. Collector listings on Discogs confirm the single’s rarity and release details. No direct references to fan reactions or chart data were found, as the single was obscure. If you need further details (e.g., vinyl condition, potential reissues, or fan discussions on X), I can search or elaborate. Let me know if you want more on David Essex, his early singles, or his later glam rock hits!

Queen’s "Bohemian Rhapsody"  backed with "I’m In Love With My Car" , was released as a special collector’s 7-inch vinyl single in the December issue of Rolling Stone  magazine in Germany by Universal Music (catalog number unknown) on December 1, 2021.The record includes “Bohemian Rhapsody” on the A-side and “Thank God It’s Christmas” on the B-side. The Issue was published on released October 27, 2021.

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 August 25, 1972. Arnold Corns was a band, formed by David Bowie in 1971, the name of which was inspired by the Pink Floyd song "Arnold Layne". 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 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. 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 was "Moonage Daydream" (with a spoken intro) "Whenever You're Ready"/"Hang On to Yourself", 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 "Dream"). A second single "Looking for a Friend"/ "Man in the Middle" (vocals by Valentino) was planned but scrapped (it was released by Krazy Kat in 1984). In August 1972, B&C issued "Hang on to Yourself"/"Man in the Middle" as the second single. In the Netherlands a 7" vinyl single in picture sleeve of "Moonage Dream" backed with "Hang On To Yourself" by Arnold Corns, was released. Courtesy of Wikipedia

Suzi Quatro’s "Glad All Over"  backed with "Ego In The Night" , was released as a 7-inch vinyl single in the UK by RAK Records (catalog number RAK 325) on January 30, 1981, composed by Dave Clark and Mike Smith, originally performed by the Dave Clark Five. Launched in 1963, the song became a success and was integral to the early British Invasion. It marked the first major hit of the movement by a band other than the Beatles, overtaking their song "I Want to Hold Your Hand" to reach number one on the UK Singles Chart. In 1964, it was the second best-selling single in the UK, following the Beatles' Can't Buy Me Love.

David Bowie’s "Alabama Song"  backed with an updated version of "Space Oddity" , was released as a 7-inch vinyl single in the UK by RCA Records (catalog number BOW 5) on February 22, 1980, debuting at No. 23 on the UK Singles Chart on March 1, 1980, where it charted for five weeks. David Bowie, an admirer of Brecht, performed the song during his 1978 Isolar II tour. A live version from this tour, recorded either in Philadelphia on 29 April 1978 or in Boston on 6 May, was included in the 1991, 2005, and 2017 reissues of the live album Stage. On 2 July 1978, a day after the European leg of the tour concluded, Bowie recorded a studio version at Tony Visconti's Good Earth Studios in London with his studio band. Pianist Sean Mayes mentioned that "it had been such a hit on the tour that David wanted to release it as a single." According to NME editors Roy Carr and Charles Shaar Murray, with its unconventional key changes, the track "seemed calculated to disrupt any radio programme on which it was fortunate enough to be played." Bowie later starred in a BBC adaptation of Brecht's Baal and released an EP featuring songs from the play. He went on to perform "Alabama Song" during his 1990 Sound+Vision and 2002 Heathen tours. The song was also included on the 1992 Rykodisc reissue of Scary Monsters (and Super Creeps), as well as on the compilation albums Rare (1982), The Singles Collection (1993), The Best of David Bowie 1980/1987 (2007), and Re:Call 3, part of the A New Career in a New Town (1977–1982) box set, released in 2017.

David Bowie’s "Do Anything You Say"  backed with "Good Morning Girl" , was released as a 7-inch vinyl single in the UK by Pye Records (catalog number 7N 17079) on April 1, 1966, produced by Tony Hatch with contributions from his backing band, The Buzz. It was the first single solely credited to 'David Bowie', and was a smash hit worldwide, giving Bowie his first number one in 5 countries. A review published in Melody Maker by singer Dusty Springfield read: "I haven't got a clue who this is either, but I can see the effort that has gone into this record. It's nice. The sound is a bit messy." The song would later be included in the 1991 compilation Early On (1964–1966) and the 1999 reissue I Dig Everything: The 1966 Pye Singles. In a 2016 list ranking every Bowie single from worst to best, Ultimate Classic Rock placed "Do Anything You Say" at number 111 (out of 119).

Slade’s "Coz I Luv You"  backed with "My Life Is Natural" , was released as a 7-inch vinyl single in the UK by Polydor (catalog number 2058 155) on October 8, 1971, reaching No. 1 on the UK Singles Chart on November 27, 1971, where it remained for 4 weeks and charted for a total of 14 weeks. The song was released as a non-album single, penned by lead vocalist Noddy Holder and bassist Jim Lea, with production by Chas Chandler. Marking the band's first chart-topping single, and stayed within the top 50 for fifteen weeks. In 1972, a compilation album of the same name would be released outside the UK. The song was included on the compilation and would also feature on the band's 1973 compilation album Sladest . "Coz I Luv You" features an electric violin played by Lea. The song's creation followed Chandler's insistence that the band write an original song for their next single. One evening, after hearing "Nine By Nine" by the John Dummer Blues Band, Lea arrived at Holder's home with his violin and a song idea inspired by a Django Reinhardt/Stéphane Grappelli "Hot Club" influence. Within half an hour, the duo composed the song, initiating the successful Holder/Lea songwriting partnership that would produce most of Slade's material. The next day, they presented an acoustic version to Chandler, who predicted it would be their first hit and even reach number one. The band immediately recorded the song at Olympic Studios in Barnes, completing it in two days. Despite Chandler's approval, the band had reservations, finding it too poppy and weak compared to "Get Down and Get with It." To align it more with Slade's style, they added foot-stomping and hand-clapping. They also changed the original title, "Because I Love You," to "Coz I Luv You," reflecting their Black Country dialect and starting Slade's tradition of title misspellings. In a 1980 interview with Sounds, Lea expressed his initial dislike for the song, considering it too saccharine and a mere album filler, yet it quickly soared to number one. Reflecting on the writing process in a 1984 Record Mirror interview, Lea recounted suggesting to Holder that they write a song, proposing a Stephan Grappelli-style piece, influenced by Marc Bolan's "Hot Love," which was popular at the time.

Slade’s "That's What Friends Are For"  backed with "Wild Wild Party" , was released as a 7-inch vinyl single in the UK by RCA (catalog number PB 41417) on April 20, 1987. The second single from their fourteenth and final studio album, You Boyz Make Big Noize. It was written by lead vocalist Noddy Holder and bassist Jim Lea, and was produced by Roy Thomas Baker. "That's What Friends Are For" reached number 95 in the UK Singles Chart. "That's What Friends Are For" was one of the two tracks from You Boyz Make Big Noize to be produced by Roy Thomas Baker. It was originally intended for Baker to produce the entire album but Slade felt his working methods were too lengthy and expensive. In a 1987 fan club interview, guitarist Dave Hill described the song as "a 'scarf waver' type of number". It was recorded at Wessex Sound Studios. It was the band's label, RCA, who chose to release "That's What Friends Are For" as a single. Shortly prior to its release, Dave Hill revealed in a 1987 fan club interview that it "looks to be the next single, mainly because there's a certain person up at RCA who is going wally over it". The band wanted to see "Ooh La La in L.A." issued as the album's second UK single but they were overruled by RCA. Slade promoted the song by performing it on the BBC children's show The Krankies Elektronik Komik. Sourced from Wikipedia

Artist: Slade Label: Polydor Country: UK Catalogue: 2058 054Slade’s "Know Who You Are"  backed with "Dapple Rose" , was released as a 7-inch vinyl single in the UK by Polydor (catalog number 2058 054) on September 18, 1970. This single, produced by Chas Chandler, marked Slade’s debut release on Polydor Records after moving from Fontana, and it was the lead single from their second studio album, Play It Loud (November 1970). Despite its musical quality, the single failed to chart, reflecting the band’s struggle to break through before their glam rock success in 1971. Track Details A-Side: "Know Who You Are" (2:54) Origin: Written by Noddy Holder, Jim Lea, Dave Hill, and Don Powell, "Know Who You Are" was recorded in 1970, produced by Chas Chandler for Barn Productions Ltd. It was included on Slade’s second album, Play It Loud (Polydor, November 1970). The song evolved from an instrumental called “Genesis” by Ambrose Slade (the band’s original name) from their 1969 debut album Beginnings. The 1970 version added lyrics and a tighter arrangement, showcasing the band’s early hard rock sound. Style: A hard rock track with bluesy and folk influences, "Know Who You Are" features a driving rhythm, Noddy Holder’s forceful vocals (described as “virtually snarled” by New Musical Express), and a walloping beat that explodes into a powerful chorus. Reviewers note folk elements in the verses, CSN&Y-style harmonies in the chorus, and a Beatles-esque descending chord progression at the end, distinguishing it from Slade’s later glam anthems with deliberate misspellings (e.g., “Cum On Feel the Noize”). The track draws from influences like The Yardbirds, The Move, and Ten Years After, with Chas Chandler keeping Holder’s vocals restrained for a polished sound. Publisher: Barn Publishing (Slade) Ltd. Promotion: Slade performed the song on the UK TV show Disco 2, broadcast on October 31, 1970, alongside another Play It Loud track, “Sweet Box.” The performance is presumed lost, as few Disco 2 recordings survive. They also played it in a BBC studio session around the same time. New Musical Express praised its “hard-hitting philosophy” and “wall of sound” hook but noted its “limited appeal,” while Record Mirror saw “chart chance” potential, citing Chas Chandler’s confidence in the band. Reception: Despite critical praise, the single failed to chart, leading Polydor to quickly delete it, making it a collector’s item. A live version on Slade Alive! (1972) and its inclusion on the No. 1 compilation Sladest (1973) later boosted its recognition. AllMusic’s Joe Viglione called it a “wonderful study” of Slade’s early sound, and Ultimate Classic Rock’s Dave Swanson named it one of Slade’s finest songs. Artist: Slade Label: Polydor Country: UK Catalogue: 2058 054 B-Side: "Dapple Rose" (3:31) Origin: Written by Jim Lea and Don Powell, “Dapple Rose” was also included on Play It Loud. Recorded in 1970, produced by Chas Chandler, it reflects Powell’s lyrical inspiration from his childhood in Wolverhampton. In a 2009 fan forum interview, Powell recalled seeing neglected horses and donkeys in gypsy camps near his home, expressing sadness at their poor treatment, which inspired the song’s theme of an elderly, mistreated horse. Style: A melancholic, folk-rock ballad with a gentle melody and introspective lyrics, “Dapple Rose” contrasts the A-side’s aggression. It features soft guitar work, Holder’s emotive vocals, and a somber tone, showcasing Slade’s versatility before their glam rock era. The track’s equine theme and emotional depth make it a standout B-side, though it’s less known than their later hits. Publisher: Barn Publishing (Slade) Ltd. Reception: Less reviewed than the A-side, “Dapple Rose” is appreciated by fans for its heartfelt lyrics and folk influence. Its inclusion on Play It Loud and YouTube uploads (e.g., a 2008 post calling it “poor horsie”) highlight its cult appeal among Slade enthusiasts. Release Details Label: Polydor Records Catalogue Number: 2058 054 Barcode: Not applicable (1970 release, pre-barcode era). Release Date: September 18, 1970 Format: 7" vinyl, 45 RPM, stereo, manufactured in the UK. Matrix/Runout (Per Discogs):Side A: 2058 054 A//2 420 05 Side B: 2058 054 B//2 420 05 Note: Later represses (possibly unofficial) have hand-etched matrix numbers (e.g., 2058 058) and lack the “needle-destroying” runout lines of the original. Production: Produced by Chas Chandler for Barn Productions Ltd. Recorded in 1970, likely at Olympic Studios, London, where Slade recorded much of their early material. Packaging: Issued in a Polydor company sleeve (red with black text) in the UK, without a picture sleeve, typical for their early singles. International pressings (e.g., Germany) may include picture sleeves, which are rarer and more valued.

Mott The Hoople’s "All the Way from Memphis"  backed with "Ballad of Mott the Hoople (March 16, 1972 Zurich)" , was released as a 7-inch vinyl single in the USA by Columbia Records (catalog number 4-45920) on September 5, 1973. It was the lead single from their sixth studio album, Mott, a pivotal release that marked their commercial peak. The Single: "All the Way from Memphis" / "Ballad of Mott the Hoople (March 16, 1972 Zurich)" Release Details: USA: Released as a 7" vinyl, 45 RPM single on Columbia Records (4-45920) on September 5, 1973. The single was also issued in the UK by CBS Records (CBS S 1677) around the same time. Matrix runouts include ZSS 157976-1B (A-side) and ZSS 157977-1B (B-side) for US pressings. Chart Performance: The single reached #10 on the UK Singles Chart, when released on August 31, 1973, prior to it's US date, a strong showing that reflected Mott the Hoople’s growing popularity. In the US, it peaked at #191 on the Billboard Bubbling Under Hot 100. A-Side: "All the Way from Memphis" (3:24): Written by Ian Hunter and produced by Mott the Hoople, this is a rollicking glam rock anthem with a driving piano riff, crunchy guitars, and Hunter’s distinctive, gritty vocals. The lyrics tell a semi-autobiographical tale of a rock musician’s misadventure after losing his guitar en route to Memphis, blending humor and swagger (“You look like a star, but you’re still on the dole”). Musically, it features the classic Mott lineup: Ian Hunter (vocals, piano), Mick Ralphs (guitar), Pete Overend Watts (bass), Dale “Buffin” Griffin (drums), and Morgan Fisher (keyboards), with guest Andy Mackay (Roxy Music) on saxophone, adding a raw, honky-tonk edge. Recorded at AIR Studios, London, the track’s infectious energy and glam rock swagger made it a radio favorite and a live staple, as seen in YouTube clips from 1973 performances. The song is a highlight of the Mott album, which reached #7 in the UK and #35 in the US, and is often cited as one of Mott the Hoople’s finest moments, praised by AllMusic for its “rollicking bravado.” B-Side: "Ballad of Mott the Hoople (March 16, 1972 Zurich)" (4:26): Written by Ian Hunter, Pete Overend Watts, Mick Ralphs, Dale Griffin, and Verden Allen, and produced by Mott the Hoople, this is a reflective, mid-tempo rock ballad from the Mott album. The lyrics chronicle the band’s struggles and near-breakup in 1972, referencing their Zurich performance on March 16, 1972, when they considered disbanding before David Bowie offered them “All the Young Dudes.” Lines like “Buffin lost his child-like dreams” and “Verden Allen’s got a cramp in his hands” capture the band’s hardships with wry humor. Featuring the same lineup as the A-side, the track showcases Hunter’s emotive vocals and Fisher’s piano, with a melancholic yet defiant tone. It’s a fan favorite for its introspective look at the band’s journey. Available on the Mott album and streaming platforms, it’s less prominent than the A-side but valued for its historical significance, as noted in fan discussions on RateYourMusic (4/5 rating). Germany - CBS - 1973 Context and Background Mott the Hoople in 1973:Formed in 1969 in Herefordshire, England, Mott the Hoople were a cult rock band until their 1972 breakthrough with “All the Young Dudes” (#3 UK, #37 US), written by David Bowie. By 1973, they were at their commercial and creative peak with the Mott album, produced without Bowie’s direct involvement. The Mott album, released in July 1973, was a critical and commercial success, hitting #7 in the UK and #35 in the US. It showcased their blend of glam rock, hard rock, and introspective songwriting, with tracks like “Honaloochie Boogie” and “All the Way from Memphis.” The band’s lineup was stable, but tensions were brewing, leading to Mick Ralphs’ departure in 1973 to form Bad Company, replaced by Ariel Bender (Luther Grosvenor) for their next phase. 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: “All the Way from Memphis” is a glam rock classic, blending rock ‘n’ roll energy with the theatricality of the era, akin to T. Rex or Slade. Its saxophone riff and Hunter’s charismatic delivery made it a standout, resonating with the 1973 rock scene. The song’s narrative of a musician’s misadventure reflects Mott’s own struggles, adding authenticity to their underdog persona. Its success helped solidify their post-Bowie identity. The B-side, “Ballad of Mott the Hoople,” is a poignant reflection on the band’s near-dissolution, making it a historical artifact for fans. Its reference to Zurich 1972 ties directly to their rescue by Bowie, a key moment in their career. Released in 1973, the single competed with hits like Elton John’s “Goodbye Yellow Brick Road” and David Bowie’s “Sorrow,” thriving in the glam rock-dominated UK scene while gaining cult traction in the US. Chart Performance and Reception: UK: Peaked at #10, a strong follow-up to “All the Young Dudes” and “Honaloochie Boogie” (#12 UK), cementറ

David Bowie’s "John, I’m Only Dancing"  backed with "Hang On to Yourself" , was released as a 7-inch vinyl single in the UK by RCA Victor (catalog number RCA 2263) on September 1, 1972. Written by David Bowie and recorded during the Ziggy Stardust sessions, “John, I’m Only Dancing” was a non-album single, though it later appeared on compilations like ChangesOneBowie (1976). The song was produced by Bowie and Ken Scott and recorded at Olympic Studios, London, on June 26, 1972, with additional mixing at Trident Studios. Musical Style and Themes: A glam rock track with a driving rhythm and playful lyrics, it features Bowie’s Ziggy Stardust persona. The lyrics, addressed to a character named John, describe dancing with a girl while reassuring a jealous partner, sparking speculation about bisexual undertones, though Bowie clarified it was about a straight relationship. The song’s upbeat tempo and Mick Ronson’s distinctive guitar work made it a fan favorite. Chart Performance: The single reached number 12 on the UK Singles Chart but was not released in the US at the time due to RCA’s concerns about its perceived homosexual undertones, though it was later included in US compilations. Versions: Two versions exist from 1972: the original single version (2:43) and a sax-heavy version recorded in January 1973 for the Aladdin Sane sessions, released in April 1973 (UK catalog RCA 2263). A re-recorded version, “John, I’m Only Dancing (Again),” with a disco influence, was released in 1979. B-Side: Hang On to Yourself Also written by Bowie, “Hang On to Yourself” was originally recorded for The Rise and Fall of Ziggy Stardust and the Spiders from Mars (released June 1972). The B-side version is the same as the album track, produced by Bowie and Ken Scott, recorded at Trident Studios in November 1971. Cultural Note: The song was initially performed by Bowie’s earlier band, The Arnold Corns, in 1971, but the Ziggy Stardust album version, used as the B-side, is the definitive recording. Label and Format: Released as a 7-inch vinyl single by RCA Victor in the UK, the single was part of Bowie’s rapid rise to fame during the Ziggy Stardust era. It followed the success of “Starman” and preceded “The Jean Genie.” Controversy: The song’s perceived ambiguity led to debates about its meaning, with some interpreting it as a nod to the gay subculture, which Bowie leaned into with his public persona, though he later downplayed this interpretation. 1973 Sax Version: “John, I’m Only Dancing” was released with the same B-side and catalog number, causing some confusion among collectors. Both songs reflect Bowie’s collaboration with The Spiders from Mars (Mick Ronson on guitar, Trevor Bolder on bass, Woody Woodmansey on drums), with Lou Reed’s influence evident in the lyrical style of “John, I’m Only Dancing.” The sax version was recorded on January 20, 1973, during the sessions for the Aladdin Sane album at Trident Studios, London. This version features a new arrangement with a prominent saxophone section by Brian Wilshaw and Ken Fordham, added at Bowie’s direction. Bowie instructed the saxophonists to think in terms of “renaissance” and “impressionist” sounds, described in colors rather than traditional musical terms, according to pianist Matthew Fisher, who was present at the session. The arrangement is described as “punchier” than the original 1972 recording, with a faster tempo and a refined vocal delivery where Bowie toned down some of the original’s eccentricities, such as the “touch me!” coda and spoken-word elements. This version was initially intended to close the Aladdin Sane album but was replaced at the last minute by “Lady Grinning Soul.” Release: The sax version was released as a single in April 1973 in the UK by RCA Victor, using the same catalog number as the original 1972 single: RCA 2263. The B-side remained “Hang On to Yourself,” consistent with the original release. The reuse of the same catalog number (RCA 2263) for both the 1972 original and 1973 sax versions caused significant confusion among collectors and fans, as RCA did not clearly distinguish between the two versions on the label or packaging. The sax version’s release was low-key, with “little fanfare,” and it was not promoted as a new recording, which added to the confusion. The sax version was not released in the US at the time, as RCA deemed the song’s lyrical content too risqué, a decision also applied to the 1972 original. The sax version first appeared on compilations with the first 1,000 copies of ChangesOneBowie (1976), where it was included by mistake before being replaced with the original 1972 version in later pressings. This mispress helped fans become aware of the sax version’s existence. It later appeared on the bonus disc of the 2003 Aladdin Sane 30th Anniversary Edition, Sound + Vision (1989), The Best of David Bowie 1969/1974 (1997), and Re:Call 1 in the Five Years (1969–1973) boxed set (2015). Catalog Number Confirmation: Both the 1972 original and 1973 sax versions were released under RCA 2263. The original version typically has stamped matrix numbers (BGBS 1056), while the sax version is identified by etched matrix numbers (BGBS·1056·A·2E) and lacks the word “STEREO” on the label. Some sources note that RCA’s practice of alternating the two versions under the same catalog number throughout the 1970s led to inconsistencies in pressings, with buyers sometimes receiving the sax version unexpectedly. A rare black label pressing of the sax version (RCA 2263) is noted as a collectible item, distinct from the common “Lifetimes” pressing or the 1979 “John, I’m Only Dancing (Again)” release. Musical and Cultural Notes: The sax version is often considered superior by some commentators for its tighter arrangement and enhanced instrumentation. The song’s lyrical content, interpreted by some as addressing a gay relationship, continued to spark discussion, though Bowie maintained it was about a straight relationship. The sax version retained the same lyrics but was delivered with a less overtly theatrical vocal. The 2012 40th Anniversary Edition picture disc single (not under RCA 2263) included both the 1972 original and 1973 sax versions as a double A-side, marking the first time they were officially paired together.

Alice Cooper’s "Talk Talk"  backed with "Dance Yourself to Death" , was released as a 7-inch vinyl single in the US by Warner Bros. Records (catalog number WBS49526) in September 1980. Single Details: A-side: Talk Talk (2:09, single edit; album version 2:09) Written by Sean Bonniwell, originally performed by The Music Machine in 1966. A fast-paced, new wave cover with a punk edge, featuring Cooper’s sneering vocals, jangly guitars, and a stripped-down production. The lyrics, about romantic frustration and communication' Produced by Roy Thomas Baker, the track was shortened slightly for radio play, emphasizing its raw energy and aligning with the early 1980s new wave trend. Released as the second single from Flush the Fashion, it did not chart in the US or UK, reflecting Cooper’s struggle to regain mainstream traction during this period. Its lack of chart success was partly due to the shift away from his signature shock rock sound, which alienated some fans. B-side: Dance Yourself to Death (3:25) Written by Alice Cooper and Frank Langford (a pseudonym for manager Shep Gordon, as confirmed by Discogs). A quirky, new wave-influenced rock track from Flush the Fashion, with a danceable beat and darkly humorous lyrics about exhaustion and escapism: “Dance yourself to death / You don’t have to take a breath.” The song features a tight rhythm section and Cooper’s theatrical delivery, blending punk energy with his characteristic flair. Also produced by Roy Thomas Baker, it showcases the album’s experimental tone, with contributions from musicians like Davey Johnstone (guitar) and Fred Mandel (keyboards). Background and Context: Alice Cooper (born Vincent Furnier, February 4, 1948) was transitioning into a new phase of his career in 1980. After the original Alice Cooper band disbanded in 1975, he pursued a solo career, achieving success with albums like Welcome to My Nightmare (1975) and hits like "Only Women Bleed." However, by the late 1970s, personal struggles with alcoholism and less commercially successful albums like Lace and Whiskey (1977) and From the Inside (1978) led to a dip in popularity. Flush the Fashion, released in April 1980, marked a shift toward a new wave and punk-influenced sound, produced by Roy Thomas Baker (known for work with Queen and The Cars). The album aimed to reposition Cooper in the changing music landscape, moving away from theatrical shock rock toward a leaner, modern rock style. "Talk Talk" was the second single from Flush the Fashion, following "Clones (We’re All)," and reflected this new direction. Release Information: Released on 7" vinyl by Warner Bros. Records USA (WBS49526) in September 1980. Matrix/Runout: Side A: XCA-9269-S; Side B: XCA-9270-S (US pressing, as noted on Discogs). Released with a standard Warner Bros. company sleeve in the US; some international pressings (e.g., UK, Warner Bros. K 17681) used similar sleeves or minimal artwork. (7", 45 RPM, Single) Warner Bros. Records WB 17 697 Germany 1980 (only release in a picture sleeve) A “Talk Talk” 2:08 B “Dance Yourself to Death” 3:10 Musical Style and Themes: "Talk Talk" is a punchy, new wave cover with punk-inspired energy, featuring jangly guitars and a minimalist arrangement that contrasts with Cooper’s earlier theatrical rock sound. Its short runtime and raw edge align with the early 1980s trend of blending punk and pop. "Dance Yourself to Death" is a quirky, danceable rock track with new wave influences, maintaining Cooper’s dark humor and theatricality. Both tracks reflect Flush the Fashion’s experimental shift, moving away from the shock rock of albums like Killer (1971) toward a sound influenced by bands like The Cars and Blondie. The themes explore romantic tension ("Talk Talk") and existential exhaustion ("Dance Yourself to Death"), delivered with Cooper’s sardonic wit. Critical and Commercial Reception: "Talk Talk" received mixed reviews, with some critics praising its energetic cover but others noting it lacked the impact of Cooper’s earlier hits like "School’s Out." Its failure to chart in the US or UK reflected Cooper’s declining commercial fortunes in 1980, as new wave and punk overshadowed his traditional fanbase. Fan reviews on Discogs appreciate the single’s “raw, fun vibe” but note its obscurity, with a rating of 3.0/5 based on limited feedback. "Dance Yourself to Death" was less discussed but valued by fans for its quirky charm, fitting the album’s experimental tone. Flush the Fashion itself peaked at #44 in the US and #56 in the UK, a modest performance compared to Cooper’s 1970s peak. The single’s lack of a music video (common for the era but a disadvantage by 1980 standards) limited its promotional reach. Legacy and Context: The "Talk Talk" / "Dance Yourself to Death" single is a minor entry in Alice Cooper’s discography, representing a transitional period before his major comeback with Trash (1989). It reflects his attempt to adapt to the new wave era, though it didn’t resonate widely with audiences. "Talk Talk" is occasionally included in live sets and appears on compilations like The Beast of Alice Cooper (1989), while "Dance Yourself to Death" remains a deep cut, valued by dedicated fans. The single is available digitally on platforms like Spotify and included in the 2008 Flush the Fashion remaster. Its collectible value is modest, with interest primarily among Cooper completists and vinyl collectors. The release ties into Cooper’s 1980-81 tours, which featured scaled-back theatrics compared to his 1970s shows but still included his signature guillotine and snake props. Additional Notes: - No promotional music video was produced, as videos were not yet standard for Cooper’s releases, unlike his later MTV-driven singles. - Released internationally in markets like Australia, Germany, and Canada, with minor variations in catalog numbers and sleeves. - The single’s release coincided with Cooper’s personal struggles, including ongoing battles with alcoholism, which impacted his career until his recovery in the mid-1980s. Sources and Verification: Information is drawn from my knowledge of Alice Cooper’s discography and supplemented by web sources, including Discogs, Rate Your Music, AllMusic, and Wikipedia. Release details are confirmed by 45cat and Musik-Sammler.de. The release date is verified by Discogs listings. Released Variants: (7", 45 RPM, Single) Warner Bros. Records WB 17 697 Germany 1980 (only release in a picture sleeve) A “Talk Talk” 2:08 B “Dance Yourself to Death” 3:10 (7", 45 RPM, Single) Warner Bros. Records WBS 49526 US 1980 A “Talk Talk” 2:08 B “Dance Yourself to Death” 3:10 (7", 45 RPM, Single, Promo, Stereo, Mono) Warner Bros. Records WBS 49526 US 1980 A “Talk Talk” 2:08 A “Talk Talk” 2:08 (7", 45 RPM, Single, Promo) Warner Bros. Records WBS 49526 Canada 1980 A “Talk Talk” 2:08 B “Dance Yourself to Death” 3:09 (7", 45 RPM, Single) Warner Bros. Records WBS 49526 Canada 1980 A “Talk Talk” 2:08 B “Dance Yourself to Death” 3:09

Bryan Ferry’s "A Hard Rain's A-Gonna Fall"  backed with "2HB" , was released as a 7-inch vinyl single in the UK by Island Records (catalog number WIP 6170) on September 14, 1973. Background and Context Bryan Ferry, the frontman of Roxy Music, launched his solo career in 1973 while still active with the band. His debut solo album, These Foolish Things, was a collection of cover songs, showcasing Ferry’s eclectic taste and theatrical vocal style. The album marked a departure from Roxy Music’s avant-garde art rock, focusing instead on reinterpretations of pop, rock, and folk standards. "A Hard Rain’s A-Gonna Fall", a Bob Dylan folk classic, was chosen as the lead single from These Foolish Things. Ferry’s version transformed Dylan’s acoustic protest song into a dramatic, orchestral glam rock piece, reflecting his signature suave and sophisticated style. The B-side, "2HB", is an original Roxy Music composition from their 1972 debut album, Roxy Music, written as a tribute to Humphrey Bogart (the title stands for "To Humphrey Bogart"). Its inclusion as the B-side tied Ferry’s solo work to his Roxy Music roots. Musical Style and Themes A-Side: "A Hard Rain’s A-Gonna Fall" Originally a poetic, folk ballad by Bob Dylan, Ferry’s cover reimagines the song with a lush, cinematic arrangement. It features prominent piano, strings, and a driving rhythm section, giving it a theatrical, almost apocalyptic energy that contrasts with Dylan’s stark delivery. The song’s lyrics, dense with imagery about societal collapse and human struggle, are delivered with Ferry’s crooning intensity, amplifying the song’s emotional weight. The single edit shortens the album version to make it more radio-friendly, though it retains the dramatic flair. Denmark - Island - 1973 B-Side: "2HB", this track is a quintessential Roxy Music piece with a dreamy, nostalgic vibe. It features Ferry’s smooth vocals, atmospheric synths, and a jazzy, lounge-like quality. The song includes references to Bogart’s film Casablanca (e.g., the line “Here’s looking at you, kid”), blending cinematic homage with Ferry’s art rock aesthetic. As a B-side, it served as a familiar touchstone for Roxy Music fans, contrasting with the A-side’s bold reinterpretation of Dylan. Commercial Performance Chart Performance: The single reached No. 10 on the UK Singles Chart, a strong showing for Ferry’s first solo single. This success helped establish him as a solo artist distinct from Roxy Music, while the album These Foolish Things peaked at No. 5 on the UK Albums Chart. The single’s performance benefited from Ferry’s growing fame with Roxy Music, whose second album, For Your Pleasure, had also been released in 1973. Critical Reception A-Side: Ferry’s cover of "A Hard Rain’s A-Gonna Fall" was praised for its bold reinvention of Dylan’s classic. Critics noted its theatricality and how it showcased Ferry’s ability to transform familiar songs into something uniquely his own. However, some Dylan purists may have found the glam rock treatment polarizing. B-Side: "2HB" was already a fan favorite from Roxy Music’s debut, and its inclusion as the B-side was seen as a nod to the band’s loyal audience. Its cinematic and romantic tone complemented the A-side’s drama. The single and album helped cement Ferry’s reputation as a versatile artist capable of bridging pop, rock, and art music. Spain - Island - 1973 Cultural and Historical Context Glam Rock Era: Released at the height of the glam rock movement, the single capitalized on the era’s love for theatricality, bold arrangements, and larger-than-life personas. Ferry, with his tailored suits and suave demeanor, was a key figure in this scene alongside David Bowie and Marc Bolan. Solo vs. Band: Ferry’s decision to release solo material while still leading Roxy Music showcased his ambition and versatility. These Foolish Things allowed him to explore cover songs, which contrasted with Roxy Music’s original, experimental output. Musicians: The single featured contributions from key Roxy Music collaborators, including: Paul Thompson (drums) John Porter (guitar, co-producer) Additional session musicians, such as Eddie Jobson (keyboards, later of Roxy Music), added to the lush sound. Legacy: "A Hard Rain’s A-Gonna Fall" remains one of Ferry’s most recognized solo tracks, celebrated for its bold reinterpretation of Dylan’s work. The single helped establish Ferry’s solo career, leading to further successful covers like "The ‘In’ Crowd" (1974) and "Let’s Stick Together" (1976). "2HB" is a cult favorite among Roxy Music fans, often cited as an early example of Ferry’s knack for blending pop culture references with art rock. Sources and Further Exploration Discogs: Lists detailed credits, vinyl variants, and international releases (e.g., Island Records in Germany and Japan). Wikipedia: Provides background on These Foolish Things and Ferry’s solo career. Streaming Platforms: Spotify, Apple Music, and Amazon Music offer both tracks in high quality. AllMusic: Reviews of These Foolish Things highlight the single’s significance. eBay/Discogs: Current listings for the vinyl single provide insight into its collectible value. A rtist: Bryan Ferry A-Side: A Hard Rain’s A-Gonna Fall B-Side: 2HB Release Date: September 1973 Record Label: Island Records (UK, WIP 6170) Format: 7-inch vinyl, 45 RPM Genre: Glam rock / Art rock Album: From the album These Foolish Things (1973) Songwriters: A-Side: Bob Dylan (written in 1962) B-Side: Bryan Ferry Producer: Bryan Ferry, John Porter, and John Punter

T.Rex’s "Jeepster"  backed with "Life’s a Gas" , was released as a limited edition promotional 7-inch vinyl single in the UK by Fly Records (catalog number BUG 10) on September 10, 1971. Only 500 copies were pressed and given to friends and disc jockeys, in advance of T. Rex’s album Electric Warrior, which was released on September 24, 1971, in the UK by Fly Records. This promotional disc was later upgraded to a commercial single, with “Jeepster” as the A-side, on November 5, 1971. The single was supplied in a single-sized envelope-styled sleeve in purple, matching one side of the single's labels. Both tracks, written by Marc Bolan and produced by Tony Visconti, are from the Electric Warrior album. “Jeepster” is a glam rock classic, heavily influenced by Howlin’ Wolf’s “You’ll Be Mine” (written by Willie Dixon), as Bolan himself acknowledged. The single reached number 2 on the UK Singles Chart, though its release caused controversy because Fly Records promoted it without Bolan’s permission, as he was transitioning to EMI and his own T. Rex Wax Co. Records. “Life’s a Gas,” the B-side, is a reflective track from the same album, later performed acoustically by Bolan and Cilla Black on her BBC show in January 1973. The 7-inch vinyl single was released by Fly Records (catalog number BUG 16) in the UK, available in both solid and push-out center versions with a paper label. T. Rex release a single on September 10 but it won't be on sale to the public. Titles are "Jeepster" and "Lie's A Gas," both Marc Bolan compositions for his album Electric Warrior" which is released on September 24. Only 500 copies of the single will be pressed and given to "Friends and disc-jockeys."

Alice Cooper Group’s "School's Out"  backed with "Gutter Cat vs. The Jets" , was released as a 7-inch vinyl single in the UK by Warner Bros. Records (catalog number K 16188) on June 23, 1972.Taken from their fifth studio album, School’s Out, the single propelled the band to international stardom, topping the UK Singles Chart for three weeks in August 1972 and reaching No. 7 on the US Billboard Hot 100. Produced by Bob Ezrin, School’s Out captured the rebellious spirit of youth with its anthemic riff and iconic chorus, while Gutter Cat vs. The Jets, an homage to West Side Story with lyrics from “Jet Song” (crediting Leonard Bernstein and Stephen Sondheim), showcased the band’s theatrical edge. A 1972 NME review praised the single’s raw energy and cultural resonance, noting its perfect timing for the summer school break. The song’s legacy endures, with performances on The Muppet Show and its inclusion in various media, cementing its status as a rock classic. Tracklist (7” Vinyl): A1. School’s Out – 3:29 B1. Gutter Cat vs. The Jets – 4:39 Note: The tracklist reflects the standard UK 7” vinyl release. Context and Background In 1972, Alice Cooper (the band, fronted by Vincent Furnier, who later adopted the stage name Alice Cooper) was transitioning from a cult act known for theatrical shock rock to a mainstream force. Their previous albums, Love It to Death (1971) and Killer (1971), had built a loyal following in the U.S. with hits like “I’m Eighteen” and “Under My Wheels,” but international success was limited. The School’s Out album and its title single were designed to break this barrier, capitalizing on the band’s raw energy, theatrical flair, and knack for anthemic songwriting. The early 1970s were a fertile period for rock music, with glam rock (David Bowie, T. Rex), hard rock (Led Zeppelin, Black Sabbath), and progressive rock (Yes, Genesis) dominating the scene. Alice Cooper’s blend of hard rock, garage-punk attitude, and Broadway-inspired theatrics positioned them uniquely, appealing to both teenage rebels and fans of spectacle. The UK, with its vibrant music press and chart-driven culture, was a critical market for breaking acts, and the timing of the single’s release—coinciding with the start of summer holidays—proved strategic. The Single: "School’s Out" / "Gutter Cat vs. The Jets" The single was released by Warner Bros. Records on June 23, 1972, in the UK, with catalog number K 16188. It featured "School’s Out" as the A-side and "Gutter Cat vs. The Jets" as the B-side. The single was a 7-inch vinyl, spinning at 45 RPM, and was produced by Bob Ezrin, who played a crucial role in shaping Alice Cooper’s sound during this era. A-Side: "School’s Out" Songwriting and Inspiration: Written by Alice Cooper (vocals), Glen Buxton (guitar), Michael Bruce (guitar), Dennis Dunaway (bass), and Neal Smith (drums), “School’s Out” was conceived as an anthem capturing the universal joy of the last day of school. Cooper recounted in interviews that the song stemmed from a conversation about life’s greatest moments: Christmas morning and the final three minutes before summer break. The lyric “We got no class / And we got no principles / And we got no innocence / We can’t even think of a word that rhymes” encapsulates the song’s irreverent, celebratory spirit. Musical Elements: Clocking in at 3:29 (the single version was slightly sped up and remixed in narrow stereo compared to the album’s 3:34 cut), “School’s Out” is a hard rock anthem with a proto-punk edge. It features a driving riff by Buxton, a pounding rhythm section, and Cooper’s sneering vocals. The song’s climax includes children chanting rhymes, adding a playful yet anarchic vibe. Producer Bob Ezrin layered the track with theatrical flourishes, including a school bell and sound effects, though the single fades these out rather than using the album’s “turn-off” effect. Chart Performance: Released in the UK on June 23, 1972, “School’s Out” entered the UK Singles Chart and climbed to No. 1 for three weeks in August 1972, becoming Alice Cooper’s only UK chart-topper. It outperformed its U.S. showing, where it peaked at No. 7 on the Billboard Hot 100, and reached No. 3 in Canada, No. 2 in Ireland, and No. 39 in Australia. The song’s success in the UK was amplified by its timing, resonating with students on summer break, and its rebellious tone, which struck a chord with youth culture. Cultural Impact: “School’s Out” became a timeless anthem, synonymous with teenage rebellion and the end of the school year. Its inclusion in the Grammy Hall of Fame in 2015 underscores its enduring legacy. The song’s raw energy and theatricality helped elevate Alice Cooper from a novelty act to a serious contender, influencing later shock rockers like Marilyn Manson and punk bands like The Ramones. Its use in films (Dazed and Confused, 1993) and media cemented its status as a cultural touchstone. B-Side: "Gutter Cat vs. The Jets" Songwriting and Inspiration: Credited to Glen Buxton, Dennis Dunaway, Leonard Bernstein, and Stephen Sondheim, “Gutter Cat vs. The Jets” draws heavily from West Side Story, incorporating elements of the “Jet Song” into a gritty rock framework. The song paints a vivid picture of a street gang, with Cooper adopting a feline persona (“I’m a mean gutter cat / With a snarl and a snap”) before transitioning into a West Side Story-inspired rumble. The lyrics blend humor, menace, and theatricality, reflecting the album’s loose concept of high school cliques and rebellion. Musical Elements: At 4:41, “Gutter Cat vs. The Jets” is a multi-part epic, opening with Dunaway’s unsettling bass line before exploding into a hard rock groove. The track features carousel organ, clobbering drums, and a synthesizer whirring the West Side Story theme, creating a cinematic atmosphere. Ezrin’s production amplifies the song’s theatricality, making it a standout on the album, though it received little radio play as a B-side. Performance History: “Gutter Cat vs. The Jets” was performed during the School’s Out for Summer ’72 tour but never became a setlist staple. It was last played live in 2004 during the Eyes of Alice Cooper tour, reflecting its niche status compared to the A-side. Fans and critics, however, praise its ambition and nod to West Side Story, which aligns with the album’s broader theatrical influences. The Album: School’s Out The single was drawn from the School’s Out album, released in June 1972 (exact date varies by source, often cited as June 1 or shortly before the single). The album, also produced by Bob Ezrin, was a loose concept record revolving around school, youth rebellion, and West Side Story motifs. It reached No. 2 on the U.S. Billboard 200, No. 1 in Canada, and entered the top 10 in the UK, Germany, and Austria. Track Listing: School’s Out (3:34) Luney Tune (3:36) Gutter Cat vs. The Jets (4:39) Street Fight (0:55) Blue Turk (5:29) My Stars (5:46) Public Animal #9 (3:53) Alma Mater (3:39) Grande Finale (4:36) Packaging: The album’s iconic cover, designed by Craig Braun, resembled a wooden school desk with band members’ names carved as graffiti. Early vinyl pressings included a pair of paper panties wrapping the record, a gimmick discontinued due to flammability concerns. The desk used for the cover is displayed at the Hard Rock Cafe in Las Vegas. Critical Reception: Critics praised the album’s ambition but noted its unevenness compared to Love It to Death and Killer. Rolling Stone’s Ben Gerson called it less purely rock than its predecessors, with tracks like “Gutter Cat” and “Grande Finale” leaning into theatricality. AllMusic’s Greg Prato awarded it 4.5/5 stars, hailing “School’s Out” as a timeless classic and the album as a bold concept piece. Production and Recording Bob Ezrin, fresh off producing Killer, brought a polished yet raw edge to School’s Out. Recorded at The Record Plant in New York, the album and single benefited from Ezrin’s knack for blending hard rock with theatrical elements. For “School’s Out,” he added children’s chants and sound effects to evoke a schoolyard, while “Gutter Cat vs. The Jets” showcased his ability to integrate Broadway influences into rock. Ezrin’s collaboration with the band tightened their sound, though some critics argued it softened their earlier garage-rock grit. Cultural and Historical Significance The release of “School’s Out” / “Gutter Cat vs. The Jets” in the UK on June 23, 1972, coincided with a period of social change. In the UK, the school leaving age was raised from 15 to 16 effective September 1, 1972, under the Education Act, making the song’s rebellious tone especially resonant. The single’s No. 1 status reflected its appeal to a generation navigating extended schooling and societal shifts. In the broader context, Alice Cooper’s shock rock persona—complete with guillotines, snakes, and macabre stage antics—challenged rock’s boundaries. The UK embraced this theatricality, with the band’s appearance on Top of the Pops (though not aired from Disco as some sources note) amplifying their visibility. The single’s success also marked a shift in Alice Cooper’s image, from fringe provocateurs to pop culture icons. Legacy Influence: “School’s Out” remains Alice Cooper’s signature song, covered by artists like Krokus (1980) and used in countless media, from The Simpsons to Rock Band. Its proto-punk energy influenced punk rock, while its theatricality inspired glam metal and shock rock. “Gutter Cat vs. The Jets,” though less iconic, showcased the band’s versatility and willingness to experiment, influencing concept-driven rock acts. Live Performances: “School’s Out” is a staple of Alice Cooper’s live shows, often closing sets with confetti and balloons. “Gutter Cat vs. The Jets” was rarely performed after the 1970s, reflecting its status as a deep cut. Commercial Impact: The single’s UK success paved the way for Alice Cooper’s later hits like “Elected” (1972) and “No More Mr. Nice Guy” (1973). It also boosted the School’s Out album’s sales, which exceeded one million copies worldwide. Critical Reappraisal: Modern critics view School’s Out as a landmark of 1970s rock, blending humor, rebellion, and theatricality. The single’s raw power and universal theme ensure its relevance, while “Gutter Cat vs. The Jets” is celebrated by fans for its bold West Side Story homage. Critical Analysis While “School’s Out” is undeniably a classic, its success overshadows the B-side and the album’s broader ambition. “Gutter Cat vs. The Jets” exemplifies Alice Cooper’s risk-taking, merging hard rock with musical theater in a way that few bands dared. However, its length and niche appeal limited its commercial potential as a B-side. The single’s UK release was a masterstroke of timing, but its reliance on seasonal resonance (summer holidays) may have constrained its chart longevity compared to evergreen hits like The Rolling Stones’ “Satisfaction.” Some critics argue that Bob Ezrin’s production polished Alice Cooper’s sound too much, diluting the raw menace of earlier albums. Yet, this polish was crucial for mainstream appeal, particularly in the UK, where theatrical acts like David Bowie thrived. The single’s success also highlights the UK’s openness to provocative acts, contrasting with the U.S., where Cooper’s shock tactics sometimes alienated radio programmers. Conclusion The UK release of “School’s Out” / “Gutter Cat vs. The Jets” on June 23, 1972, was a defining moment for Alice Cooper, transforming them into global stars. The A-side’s anthemic rebellion and the B-side’s theatrical ambition captured the band’s dual strengths: raw rock energy and Broadway-inspired storytelling. Its No. 1 UK chart run, cultural resonance, and lasting influence underscore its significance. While “School’s Out” remains the centerpiece, “Gutter Cat vs. The Jets” offers a glimpse into the band’s creative daring, making the single a microcosm of their early-1970s peak.

Roxy Music’s "Virginia Plain"  backed with "The Numberer" , was released as a 7-inch vinyl single in the UK by Island Records (catalog number WIP 6116) on August 4, 1972, as a standalone release not featured on the album, Roxy Music (June 1972), though it was later included on some reissues. Written by frontman Bryan Ferry, the song encapsulates the early glam rock era's blend of art-pop flamboyance, surreal lyricism, and avant-garde energy. Cover art for Roxy Music's single "Virginia Plain" with "The Numberer," released under the Island label in Denmark. Catalogue number: WIP 6144. Background and Creation Band Context: Roxy Music, formed in 1970 by Bryan Ferry (vocals, keyboards), included Phil Manzanera (guitar), Andy Mackay (saxophone, oboe), Brian Eno (synthesizer, "treatments"), and others. They were part of the UK glam rock scene, alongside David Bowie and T. Rex, but stood out for their art-school aesthetic and experimental edge. David Bowie’s influence was notable—his management helped Roxy Music gain traction, and their shared producer, Chris Thomas, worked on Bowie’s Ziggy Stardust. Song Origin: "Virginia Plain" was inspired by a painting Ferry created in 1964, depicting a cigarette packet with a fictional brand, "Virginia Plain." The lyrics are a surreal, stream-of-consciousness collage, referencing pop culture (e.g., Humphrey Bogart, Baby Jane), Americana, and Ferry’s fascination with glamour. The title also nods to Virginia Plan, a U.S. constitutional proposal, adding a layer of esoteric wit. Recording: Recorded in July 1972 at Command Studios, London, the track was produced by Peter Sinfield (of King Crimson). It was a late addition to Roxy Music’s repertoire, written to capitalize on their debut album’s buzz. Brian Eno’s VCS3 synthesizer and tape effects were pivotal, giving the song its futuristic, jagged texture, while Phil Manzanera’s guitar riffs and Andy Mackay’s sax added raw energy. Cover of the 1972 single "Virginia Plain" by Roxy Music. Released by Island Records in Germany, catalogue number 12 291 AT. Musical and Lyrical Elements Sound: The song is a 2:58 burst of glam rock with art-rock leanings. It features: A driving, staccato piano riff by Ferry, setting a frenetic pace. Eno’s squelching synths and electronic manipulations, creating a proto-new-wave sound. Manzanera’s sharp, angular guitar work, blending rock with an avant-garde edge. A tight rhythm section (drummer Paul Thompson) and Mackay’s soaring sax, adding theatrical flair. The song’s structure is unconventional, with abrupt shifts and a chaotic outro, reflecting Roxy Music’s art-school roots. Lyrics: Cryptic and playful, the lyrics evoke a dreamlike narrative: “Make me a deal and make it straight / All signed and sealed, I’ll take it / To Robert E. Lee I’ll show it.” References like “Baby Jane’s in Acapulco” and “Flavio, you’ve got the action” mix Hollywood imagery with absurdity. The refrain, “What’s real and make-believe? / Virginia Plain,” captures the glam rock obsession with artifice and fantasy. Glam Connection: The song’s polished yet edgy sound, combined with Roxy Music’s flamboyant image—feathers, sequins, and androgynous style—aligned it with glam rock’s theatricality, though its art-rock leanings set it apart from the more straightforward stomp of T. Rex or Slade. Release and Impact Chart Performance: Released in August 4, 1972 by Island Records, it reached No. 4 on the UK Singles Chart, a major success for a debut single. It didn’t chart significantly in the U.S. but helped establish Roxy Music’s cult following. Cultural Significance: The song introduced Roxy Music to a wider audience and became a glam rock touchstone. Its appearance on Top of the Pops (August 24, 1972) was iconic, with Eno’s glittery attire and Ferry’s crooner charisma embodying the genre’s visual excess. The performance is often cited as a defining moment in glam rock’s mainstream breakthrough. Cover art for Roxy Music's single "Virginia Plain / The Numberer," released in the Netherlands under the Island label with catalogue number 12 291 AT. Legacy Influence: The track bridged Glam Rock with the emerging new wave and art-pop movements. Its quirky production and Eno’s synth work influenced acts like Talking Heads and Devo. Roxy Music’s blend of glamour and experimentation also paved the way for 1980s bands like Duran Duran. Critical Reception: Critics praised its originality, with NME and Melody Maker hailing it as a bold debut. Modern retrospectives, like those on Pitchfork or The Guardian, rank it among the greatest glam rock singles for its innovation and energy. Roxy Music’s Trajectory: The single’s success propelled Roxy Music to international fame, though Eno left the band in 1973 due to creative tensions with Ferry. The song remains a staple in their live sets and a fan favorite. Fun Facts Cigarette Connection: The "Virginia Plain" cigarette packet in Ferry’s painting was a nod to real cigarette brands like Virginia Slims, tying into Glam’s fascination with consumer culture. Video Absence: Unlike later Roxy Music singles, "Virginia Plain" lacked a formal music video, as the format wasn’t yet standard. Its Top of the Pops performance served as its visual legacy. Cover Versions: The song has been covered by artists like Spizzenergi (1980) and Slits members in punk renditions, reflecting its cross-genre appeal.

Elton John’s "Goodbye Yellow Brick Road"  backed with "Screw You"  (also known as "Young Man's Blues"  in some regions), was released as a 7-inch vinyl single in the UK by DJM Records (catalog number DJS 285) on September 21, 1973. It was the second single from his iconic double album Goodbye Yellow Brick Road, widely regarded as one of his greatest works. The Single: "Goodbye Yellow Brick Road" / "Screw You" Release Details Released as a 7" vinyl, 45 RPM single on DJM Records (DJS 285) in the UK on September 21, 1973, and by MCA Records (MCA-40148) in the US. The single was a major commercial success, reaching #1 in Canada, #2 on the US Billboard Hot 100, and #6 on the UK Singles Chart. It also charted globally, including #4 in Ireland, #7 in New Zealand, and #20 in Germany. Certified Platinum in the US by the RIAA for sales exceeding 1 million copies, reflecting its widespread popularity. A-Side: "Goodbye Yellow Brick Road" (3:14):Written by Elton John (music) and Bernie Taupin (lyrics), this is a timeless ballad from the Goodbye Yellow Brick Road album, often cited as one of John’s signature songs. The lyrics, penned by Taupin, reflect a longing for simplicity and a rejection of fame’s excesses, inspired by Taupin’s rural upbringing ("Back to the howling old owl in the woods / Hunting the horny back toad"). The title references The Wizard of Oz, symbolizing a desire to leave the glitzy, illusory path of stardom for authenticity. Musically, it features John’s emotive piano and vocals, backed by a lush arrangement with Gus Dudgeon’s production, including strings and subtle percussion. The core band—Davey Johnstone (guitar), Dee Murray (bass), and Nigel Olsson (drums)—delivers a polished, melodic sound. Recorded at Château d’Hérouville in France, the track showcases the peak of John’s 1970s songcraft, blending pop, rock, and orchestral elements. Its universal appeal has made it a staple in John’s live performances and a frequent feature in pop culture, covered by artists like Billy Joel and Sara Bareilles. B-Side: "Screw You" (4:44, retitled "Young Man's Blues" in the US): Also written by John and Taupin, "Screw You" is a rollicking, guitar-driven rock track from the Goodbye Yellow Brick Road album sessions, though it was not included on the final album tracklist in most regions. The song’s raw energy, with gritty guitar riffs by Davey Johnstone and a driving rhythm section, contrasts the A-side’s introspection. Lyrics are playful yet rebellious, reflecting a young man’s defiance and zest for life. In the US, the title was changed to "Young Man's Blues" to avoid radio censorship due to the phrase "screw you," which was deemed too provocative. The US B-side is identical in content, just retitled. Produced by Gus Dudgeon, it features the same band as the A-side, with a looser, Faces-like rock vibe. While less iconic than "Goodbye Yellow Brick Road," it’s a fan favorite for its high-energy performance and rarity. The track appears on some expanded reissues of Goodbye Yellow Brick Road (e.g., 2014 deluxe editions) and is available on streaming platforms as part of these collections. Context and Background Elton John in 1973:By 1973, Elton John was a global superstar, following hits like "Rocket Man" (1972), "Crocodile Rock" (1972), and Honky Château (1972). The Goodbye Yellow Brick Road album, a double LP, solidified his reputation as a versatile artist, blending pop, rock, glam, and balladry. Recorded in May 1973 at Château d’Hérouville (after initial attempts in Jamaica were abandoned), the album was a creative peak for John and Taupin, producing other hits like "Candle in the Wind," "Bennie and the Jets," and "Saturday Night’s Alright for Fighting." The album hit #1 in the UK, US, Australia, and Canada, selling over 30 million copies worldwide and earning a 2x Platinum certification in the US. John’s flamboyant persona—glittery costumes, oversized glasses, and dynamic live shows—was at its height, making him a cultural icon of the glam rock era. Musical and Cultural Significance: "Goodbye Yellow Brick Road" is a cornerstone of Elton John’s catalog, often ranked among his greatest songs. Its introspective lyrics resonated with audiences, reflecting the era’s tension between fame’s allure and personal authenticity. The song’s Wizard of Oz imagery tapped into 1970s pop culture’s fascination with nostalgia and fantasy, while its polished production set a standard for pop-rock ballads. The B-side, "Screw You" / "Young Man's Blues," showcases John’s versatility, balancing the A-side’s refinement with raw rock energy, appealing to fans of his harder-edged tracks like "Saturday Night’s Alright for Fighting." The single’s release coincided with John’s rise as a global act, supported by extensive touring and media appearances, including his legendary 1973 Hollywood Bowl concert. Chart Performance and Reception: US: Peaked at #2 on the Billboard Hot 100, blocked from #1 by Charlie Rich’s "The Most Beautiful Girl." It spent 15 weeks on the chart and was a radio staple. UK: Reached #6, a strong showing but less dominant than "Crocodile Rock" (#5 UK) or later hits like "Don’t Go Breaking My Heart" (#1 UK). Global: #1 in Canada, #4 in Ireland, and top 20 in several European markets. Its enduring popularity is evident in its frequent inclusion in greatest-hits compilations. Critics universally praised "Goodbye Yellow Brick Road" for its melody and emotional depth. Rolling Stone, in a 1973 review, called the album “a masterpiece,” with the title track as a highlight. Modern retrospectives (e.g., Ultimate Classic Rock, 2023) rank it among John’s top songs. The B-side received less attention but is noted for its gritty charm, with fans on platforms like Reddit appreciating its rarity and rock vibe. Streaming and Compilations: "Goodbye Yellow Brick Road" is widely available on streaming platforms (Spotify, Apple Music) as part of the Goodbye Yellow Brick Road album, Greatest Hits (1974), Diamonds (2017), and other compilations. "Screw You" / "Young Man's Blues" is less accessible but included on expanded reissues of the album (e.g., 2014 40th Anniversary Edition) and streaming versions of these releases. The single itself is not typically available digitally as a standalone, making vinyl the primary way to experience the original pairing. Additional Notes Musicians and Production: Produced by Gus Dudgeon, known for his work on John’s earlier albums, the single features John’s core band: Davey Johnstone (guitar), Dee Murray (bass), Nigel Olsson (drums), and John on piano/vocals. Additional instrumentation includes strings arranged by Del Newman. The Château d’Hérouville sessions, despite initial technical challenges, produced a crisp, vibrant sound that defined the album and single. Cultural Context: Released during the glam rock era, "Goodbye Yellow Brick Road" stood out for its emotional depth amid the theatricality of 1973’s music scene, competing with acts like David Bowie and T. Rex. The song’s Wizard of Oz reference resonated with audiences, reflecting a broader 1970s trend of cinematic and literary allusions in music (e.g., Bowie’s Ziggy Stardust). The B-side’s title change in the US highlights the era’s radio censorship practices, similar to adjustments made for songs by The Who or The Rolling Stones. Legacy: "Goodbye Yellow Brick Road" is one of Elton John’s most enduring songs, frequently performed live (including his Farewell Yellow Brick Road tour, 2018–2023) and covered by artists across genres. The song inspired the title of John’s 2018–2023 farewell tour, underscoring its personal and cultural significance. The B-side remains a curiosity, valued by fans for its rarity and insight into John’s rockier side during the album’s sessions. The single was also released in the following countries. Austria - DJM - 1973 France - DJM - 1973 Japan - DJM - 1973 Netherlands - DJM - 1973 Portugal - DJM - 1973 Yugoslavia - DJM - 1973