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Bowie's 1977 Rock Star Persona Probe Published in the UK on January 22, 1977, Rock Star magazine’s cover and four-page feature “King, Queen, or Joker?” offered an in-depth look at David Bowie during his Low era transition and reviewed the album. Exploring his shifting personas — from Ziggy Stardust to the Berlin experimental phase — and questioning whether he was rock royalty, a regal figure, or a playful trickster. The piece examined his artistic evolution, the influence of Brian Eno, and his enigmatic public image. KING QUEEN or JOKER? David Hancock says: 'I'd blown my brains out in Goa; been hustled out of Baghdad on the double; got beaten up in Syria. But I wasn't ready for David Bowie.' Feature Overview Publication Details Magazine: Rock Star (UK). Date: January 22, 1977. Format: Front cover + four-page feature. Legacy “King, Queen, or Joker?” is a classic 1977 Bowie press piece — reflecting the mystery and reinvention of the Berlin Trilogy period. Do you have this Rock Star cover/feature in your archive? King, queen, or joker? Share in the comments!

The New Seekers' Coca-Cola Harmony No. 1 As published in New Musical Express on January 22, 1972, The New Seekers’ “I'd Like to Teach the World to Sing (In Perfect Harmony)” retained its No. 1 position on the NME Top 30 chart. Originally created as the jingle for a Coca-Cola TV commercial (“I'd Like to Buy the World a Coke”), the full-length single version became a global hit, symbolizing peace and unity in the early 1970s. Written by Bill Backer, Billy Davis, Roger Cook, and Roger Greenaway, the song’s uplifting message and catchy melody made it one of the decade’s most recognizable anthems. Track Listing A: I'd Like to Teach the World to Sing (In Perfect Harmony) B: Boom Town UK Chart Performance Peak position: 1 21 weeks total – entry December 18, 1971 to May 6, 1972 32 → 32 → 4 → 1 → 1 → 1 → 1 → 2 → 4 → 7 → 13 → 15 → 21 → 22 → 20 → 24 → 31 → 29 → 34 → 47 → 49 Legacy A defining early-’70s pop single — born from an advert but embraced as a genuine peace anthem. Do you have I'd Like to Teach the World to Sing in your collection? Ready to buy the world a Coke? Share in the comments! Sources Information is drawn from my personal knowledge and supplemented by web sources, including Discogs, 45cat, AllMusic, Rate Your Music, Wikipedia and BBC Official Charts Company Whilst every effort is made to provide accurate information, mistakes do happen. Simply leave a comment and the post will be updated. Thank you. Cat Stevens released Teaser and the Firecat in October 1971, his fifth studio album, on Island Records (UK) and A&M Records (US). Inspired by a children's book concept Stevens illustrated himself, the album explores themes of spirituality, peace, and self-discovery through folk-rock introspection. Recorded at Morgan Studios in London with producer Paul Samwell-Smith, it features Stevens’ acoustic guitar, piano, and warm vocals, backed by subtle strings and percussion. Standout tracks include “Morning Has Broken” (a reimagined Gaelic hymn), “Peace Train” (an optimistic anthem), “Moonshadow,” and “The Wind,” blending melodic hooks with philosophical lyrics. The album topped the US Billboard 200 for three weeks, reached #3 on the UK Albums Chart, and sold over 3.5 million copies worldwide by 2025. It spawned three hit singles: “Peace Train” (#1 US, #7 UK), “Morning Has Broken” (#6 US, #4 UK), and “Moonshadow” (#30 US). Critically acclaimed for its accessibility and charm, it marked Stevens’ commercial peak before his conversion to Islam.

Bolan's First T.Rex Wax Co. Maxi Single Promo Published in the UK on January 22, 1972, Melody Maker’s one-page advert promoted T. Rex’s “Telegram Sam” — Marc Bolan’s first single on his newly launched T.Rex Wax Co. label (distributed by EMI). The ad featured the single’s sleeve design, highlighted the stereo 45 RPM format, and listed the running time as 3:45. It was backed with “Cadilac” and “Baby Strange” (double B-side), and described as the “NEW MAXI SINGLE OUT NOW ON T-REX WAX CO.” Advert Text TELEGRAM SAM Marc Bolan T.REX 1972 Wizard Artists Ltd Produced by Tony Visconti EMI 45 RPM Stereo 3.45 T.REX 101 T-REX MADE IN GT BRITAIN b/w 'Cadilac' & 'Baby Strange' NEW MAXI SINGLE OUT NOW ON T-REX WAX CO. EMI GRAMOPHONE CO LTD ALL RIGHTS OF THE MANUFACTURER AND OF THE OWNER OF THE RECORDED WORK RESERVED UNAUTHORISED PUBLIC PERFORMANCE BROADCASTING Legacy This advert marks the official launch of Marc Bolan’s own label — a bold step in T. Rextasy’s 1972 takeover. Do you have this Melody Maker advert in your archive? Ready for Telegram Sam? Share in the comments!

The Piano Player That Hit No. 1 Released as an LP album in the UK by DJM Records (catalogue: DJLPS 427) on January 22, 1973, Elton John’s Don’t Shoot Me I’m Only the Piano Player was his sixth studio album. The first of two albums in 1973 (followed nine months later by Goodbye Yellow Brick Road), it marked his second consecutive No. 1 on the US Billboard 200 and his first No. 1 on the UK Albums Chart. The lead single "Crocodile Rock" gave John his first No. 1 hit in both the US and Canada. Another big track, "Daniel," became his second Canadian No. 1 on the RPM Top Singles Chart, climbed to No. 2 on the US Billboard Hot 100, and peaked at No. 4 on the UK Singles Chart, surpassing "Crocodile Rock" by one spot. Track Listing All tracks written by Elton John and Bernie Taupin. Side One "Daniel" – 3:55 "Teacher I Need You" – 4:10 "Elderberry Wine" – 3:34 "Blues for Baby and Me" – 5:39 "Midnight Creeper" – 3:52 Side Two 6. "Have Mercy on the Criminal" – 5:58 7. "I'm Going to Be a Teenage Idol" – 3:56 8. "Texan Love Song" – 3:33 9. "Crocodile Rock" – 3:55 10. "High Flying Bird" – 4:12 Total Length: 42:45 Bonus Tracks (1995 Mercury and 1996 Rocket reissue) 11. "Screw You (Young Man's Blues)" – 4:43 12. "Jack Rabbit" – 1:50 13. "Whenever You're Ready (We'll Go Steady Again)" – 2:51 14. "Skyline Pigeon" (Piano version) – 3:56 Total Length with Bonuses: 56:23 Production and Context Produced by Gus Dudgeon. Engineered by Robin Cable and David Hentschel. Recorded at Trident Studios, London. Elton’s sixth album, it solidified his superstar status with a mix of rockers and ballads. Chart Performance UK Albums Chart: No. 1 US Billboard 200: No. 1 Singles Released and Chart Performance "Crocodile Rock" – US No. 1 / Canada No. 1 / UK No. 5 "Daniel" – US No. 2 / Canada No. 1 / UK No. 4 Legacy Don’t Shoot Me I’m Only the Piano Player is Elton’s breakthrough double-album year opener — packed with hits and showcasing his songwriting peak with Bernie Taupin. Do you have Don't Shoot Me I'm Only the Piano Player in your collection? Ready for Crocodile Rock? Share in the comments! Sources Information is drawn from my personal knowledge and supplemented by web sources, including Discogs, 45cat, AllMusic, Rate Your Music, Wikipedia and BBC Official Charts Company

Slade's Second No. 1 Hope Published in the UK on January 22, 1972, New Musical Express’s one-page single review of Slade’s “Look Wot You Dun” (Polydor) predicted it could be another No. 1 hit. The enthusiastic review praised the track as “immensely catchy,” heavily laden with the same successful gimmicks as their previous single “Coz I Luv You” — including the ungrammatical but colloquial title and that startling pistol-shot beat. The reviewer noted that while the routine was similar to the earlier hit, it was unlikely to hinder its success. The outcome would largely depend on competition from the new T. Rex single, but Slade’s offering was described as good, honest, unpretentious, enormously entertaining, and thoroughly irresistible pop. Exact Text from the Review SLADE: Look Wot You Dun (Polydor). ANOTHER No. 1 hit for Slade? Well, it could be! On the strength of their current popularity, I'm sure Slade would have no trouble in securing a chart placing even if they recorded diabolical material. In actual fact, this is an immensely catchy number. It's heavily laden with the same sort of gimmicks that proved SO successful on their previous single — ungrammatical but colloquial title, and that startling pistol-shot beat. If there's any fault at all, it's that this routine is too much like "Cos I Love You" but I don't think that's likely to prove any obstacle. Whether or not it reaches the top spot depends, to a large extent, on the new T. Rex single. But this is good honest pop — unpretentious, enormously entertaining and thoroughly irresistible. Do you have this NME review in your archive? Look wot you dun? Share in the comments! Sources

Rod Stewart's NME Poll Sweep Published in the UK on January 22, 1972, New Musical Express’s advert “Good On Yer Rod!” proudly showcased Rod Stewart’s impressive results in the 1971 NME Readers Poll, celebrating his breakout year following the success of Every Picture Tells a Story  and the global smash “Maggie May.” Advert Text Highlights World Musical Personality – No. 3 Rod Stewart World Male Singer – No. 3 Rod Stewart British Male Singer – No. 3 Rod Stewart British Vocal Personality – No. 2 Rod Stewart Best British L.P. – No. 3 Rod Stewart Best British Single – No. 2 Maggie May New Disc Singer – No. 1 Rod Stewart Do you have this NME advert in your archive? Good on yer, Rod! Share in the comments!

Released as a 7-inch vinyl single in the UK by EMI Records through T. Rex Wax Co. (catalog number T. REX 1) on January 21, 1972, T. Rex’s "Telegram Sam" , accompanied by "Cadilac" and "Baby Strange" , transformed the music landscape for the following three years. The song was the groups third UK number one single, remaining at the top of the charts for two weeks. Glam Rock may have been initiated by Marc Bolan's appearance with glitter under each cheek during a performance of "Hot Love," but the release of T. Rex's "Telegram Sam" ushered in a new sound. Bowie's "Starman" was directly influenced by this release, and most bands would go on to emulate this new sound in the years that followed. The lyrics introduce various characters such as Bobby (a natural born poet who is just outta sight), Golden Nose Slim (who knows where you've been), Jungle Faced Jake (about whom no mistake must be made), and Purple Pie Pete (whose lips are like lightning and can generate enough heat to liquefy females). Despite their allure, the singer affirms his loyalty to his "main man," the titular Sam. The song also includes lines Marc Bolan wrote about himself: Me I funk/but I don't care/I ain't no square/with my corkscrew hair, a line later borrowed by the industrial rock band KMFDM for their song "Me I Funk". The riff is similar in style to T. Rex's global hit from the previous year, "Get It On," but in the key of A instead of E. The single was recorded at the Rosenberg Studios in Copenhagen, Denmark, in November 1971, along with its B-sides "Cadilac" and "Baby Strange," as well as the "Metal Guru" B-side "Thunderwing". "Telegram Sam" was the first single released by Marc Bolan's T.Rex Wax Co. label on 21 January 1972. The UK b-side included two tracks, "Cadilac" (as listed on the EMI label of the original single) and "Baby Strange," the latter also featured on the album The Slider. This single was seen as the official follow-up to "Get It On," since the previous label, Fly, had released the interim number 2 hit "Jeepster" without Marc's consent. Amid the height of T. Rextasy, it became the group's third number one hit in the UK, although it only reached number 67 on the Billboard Hot 100, which was disappointing after the top ten success of "Get It On" in America. It would be the group's last single to chart in the US. The song was highly acclaimed by the British press. Chris Charlesworth of Melody Maker expressed excitement, noting that "Boley layers the guitar riff and the strings swirl around him with a rocking menace." Penny Valentine of Sounds observed the guitar riff's resemblance to "Get It On" but commented that it evokes "those classic rock and roll records of the past." Derek Johnson of NME praised it as a "good old-fashioned stomping rocker" that is "rhythmic, compelling, insistent, and catchy." In 1980, the gothic rock band Bauhaus released a cover of the song as a single, which reached number 12 in New Zealand. Country: Italy Catalogue: 3C 006-93271 Country: Israel Catalogue: T-REX 101 Country: Germany Catalogue: 10 989 AT

Scrapbook article, published January 21, 1974. T. REX are to make their first big tour of Britain for more than two years with a special new stage production and album to follow. The tour, which begins at City Hall Newcastle on January 21, will be the first time that audiences in Britain have been able to see the act that Marc Bolan has taken to America, Australia and the Far East in the past year. Other tour dates are: Apollo, Glasgow (January 22), Sheffield City Hall (24), City Hall, Manchester (26), De Montfort, Leicester (27) and Birmingham Odeon (28). These are the only dates set SO far. Tickets will be on sale from box offices every where on January 2, ex-cepting Birmingham (January 6). T. Rex are currently com-pleting tracks on their next album, "A Creamed Cage In August," to be released February 1 on the T. Rex label. For his tour Bolan is recruiting further musicians and singers, bringing the stage retinue up to nine. He will be flying in American, singers Gloria Jones and Pat Hall. He's still looking for a new drummer to replace Bill Iegond

Released as a 7-inch vinyl single in the UK by Barn Records (catalog number 2014 104) on January 21, 1977. Sladfes "Gypsy Roadhog"  backed with "Forest Full of Needles" , was the sole single from the band's seventh studio album, Whatever Happened to Slade, was written by lead singer Noddy Holder and bassist Jim Lea, produced by Chas Chandler, and reached No. 48 on the UK charts. Cover art for "Gypsy Roadhog" by Slade, released under Barn Records in Germany, catalogue number 2014 105, featuring the band in vibrant, theatrical costumes on stage. After returning from the US in late 1976, Slade discovered that the UK music scene had significantly changed since they left in 1975 to pursue success in America. Punk rock had surged to become the leading influence on youth culture and the music media. Once back, the band started working on their new album, Whatever Happened to Slade, and released "Gypsy Roadhog" as the lead single in January 1977. Following their performance of the song on the children's TV show Blue Peter, complaints about the lyrics led to its removal from the Radio 1 playlist. Consequently, the single peaked at No. 48 and stayed in the charts for just two weeks. Whatever Happened to Slade was released in March but did not chart. Retro cover art for Slade's single "Gypsy Roadhog" and "Forest Full of Needles," released under Barn Records in Belgium, 2014, featuring the band members in a monochrome image with bold green typography. The song's lyrics narrated the story of a cocaine dealer in America. In a 1989 interview on Sky by Day, Holder reminisced about the song and its prohibition: "The song was centered on a cocaine dealer in America, but it was intended as an anti-drug message. The following day, newspapers reported that Keith Richards had been arrested for cocaine, with mentions of using silver spoons and such. Blue Peter reacted strongly when they discovered the song's cocaine theme, as it had already been aired. Radio One banned the record, and it disappeared without a trace.

The Telegram That Ushered In Glam Rock T. Rex's recorded performance of "Telegram Sam" was broadcast on Top of the Pops for the first time on January 20, 1972, a day prior to the single's official UK release. Glam Rock may have been initiated by Marc Bolan's appearance with glitter under each cheek during a performance of "Hot Love," but the release of T. Rex's "Telegram Sam" ushered in a new sound. Bowie's "Starman" was directly influenced by this release, and most bands would go on to emulate this new sound in the years that followed.

Bowie's Heroes-Era Single Launch Published in the UK on January 20, 1978, Melody Maker’s one-page advert “Beauty and the Beast - The New Single” promoted David Bowie’s latest single from the Heroes album. The eye-catching ad highlighted the track’s dark, experimental energy, positioning it as a bold follow-up in Bowie’s Berlin Trilogy phase, with striking visuals and text emphasizing his ongoing creative reinvention. Advert Overview Publication Details Magazine: Melody Maker (UK). Date: January 20, 1978. Format: One-page single advert. Do you have this Melody Maker advert in your archive? Ready for the beauty and the beast? Share in the comments!

Rod's Blistering Blues Kicker Released as a 7-inch vinyl single in the UK on January 20, 1978, on Warner Bros. Records (catalogue: K 17101), Rod Stewart’s “Hot Legs” — backed with “I Was Only Joking” — was the second single from his 1977 album Foot Loose & Fancy Free. In the UK, it was issued as a double A-side. The single reached No. 28 on the Billboard Hot 100 and peaked at No. 5 on the UK Singles Chart. The lead guitar was played by Billy Peek, a Saint Louis native and member of Stewart’s mid-1970s band. In 1993, Stewart recorded a live version for his MTV Unplugged session, included on Unplugged...and Seated, with altered lyrics in the final verse. The lead guitar, prominent throughout the song, was played by Billy Peek, a native of Saint Louis, Missouri, who was part of Stewart's band in the mid-seventies. Billboard described "Hot Legs" as a "blistering blues rocker" comparable to the best songs by the Rolling Stones. Cash Box noted it as a "solid kicker from the proven Stewart rock n' roll good-time format." Record World commented that Stewart's "voice and sense of humor are intact, while his L.A. session all star cast lays down a satisfyingly raunchy backup." Country: Netherlands Catalogue: WB 17.089 Track Listing A: Hot Legs B: I Was Only Joking Production & Context From Foot Loose & Fancy Free (1977). The lead guitar is prominent throughout, giving the track its raunchy edge. Contemporary Reviews Billboard: Described “Hot Legs” as a “blistering blues rocker” comparable to the best songs by the Rolling Stones. Cash Box: Called it a “solid kicker from the proven Stewart rock n' roll good-time format.” Record World: Noted that Stewart’s “voice and sense of humor are intact, while his L.A. session all star cast lays down a satisfyingly raunchy backup.” Chart Performance UK Singles Chart: Peak No. 5 Billboard Hot 100: Peak No. 28 Rod Stewart's single "Hot Legs / You're In My Heart" released under Warner Bros, catalog number 17 063. Do you have Hot Legs in your vinyl stack? Ready to rock those legs? Share in the comments! Sources Information is drawn from my personal knowledge and supplemented by web sources, including Discogs, 45cat, AllMusic, Rate Your Music, Wikipedia and BBC Official Charts Company Whilst every effort is made to provide accurate information, mistakes do happen. Simply leave a comment and the post will be updated. Thank you. Compilation of Rod Stewart's classic albums "A Night on the Town," "Atlantic Crossing," and "Coast to Coast Overture and Beginners," prominently featured in a French music catalogue under catalogue number 17 063 by Warner Bros, Paris.

Bowie's Jungle-Remix NME Push Published in the UK on January 20, 1997, New Musical Express’s one-page advert promoted David Bowie’s “Little Wonder” single from the album Earthling. The ad highlighted the track’s high-energy drum and bass sound and featured the various mixes available across formats: Junior Vasquez and Danny Saber remixes on CD1/CD2, with CD2 including the Leftfield remix of “Jump They Say,” and the 12"/CD2 editions featuring Adam F’s mix of “Telling Lies” (RCA). A bold visual push for Bowie’s late-’90s electronic reinvention. Advert Overview Publication Details Magazine: New Musical Express (UK). Date: January 20, 1997. Format: One-page single advert. Do you have this NME advert in your archive? Ready for Little Wonder? Share in the comments!

Bowie's Jungle-Electronica Earthling Cut Released as the second single from Earthling on January 20, 1997 (with wider availability January 27, 1997) by Arista/RCA in the UK, David Bowie’s “Little Wonder” was a high-energy drum and bass / electronica hybrid. Written by Bowie and Reeves Gabrels, the track was among the first composed for the album. Bowie described its creation as a “ridiculous” stream-of-consciousness exercise: “I just picked Snow White and the Seven Dwarves and made a line for each of the dwarves' names. And that's the song [laughs]. And then I ran out of dwarves' names, so there's new dwarves in it like 'Stinky'.” Originally envisioned as a “nine-minute jungle electronic epic,” it was trimmed to six minutes for the album. Biographer Chris O'Leary described it as a blend of arena rock and electronica, featuring percussion and power chords inspired by the Prodigy’s “Firestarter” (1996 UK No. 1). The music video, directed by Floria Sigismondi, showed Bowie at three different ages in a surreal, dance-oriented style reminiscent of Orbital’s “The Box” (1996). The single reached No. 14 in the UK and topped the charts in Japan. Track Listing (UK CD1 / Main Release) Little Wonder (Edit) Little Wonder (Junior Vasquez Club Mix) Little Wonder (Danny Saber Dance Mix) Little Wonder (Danny Saber Remix) Chart Performance UK: No. 14 Japan: No. 1 Legacy “Little Wonder” is a bold, futuristic standout from Earthling — Bowie’s triumphant return to cutting-edge dance and drum & bass in the late ’90s. Its playful, surreal lyrics and high-octane production make it a fan favourite. Do you have Little Wonder in your collection? Ready for the dwarves? Share in the comments! Sources Information is drawn from my personal knowledge and supplemented by web sources, including davidbowie.com, Discogs, 45cat, AllMusic, Rate Your Music, Wikipedia and BBC Official Charts Company Whilst every effort is made to provide accurate information, mistakes do happen. Simply leave a comment and the post will be updated. Thank you.David Bowie's "Little Wonder" was released as the second single from his album Earthling on January 20, 1997 accompanied by three remixes and released on January 27, 1997. The single achieved success, reaching number 14 in the UK and topping the charts in Japan. The music video, directed by Floria Sigismondi, features Bowie at three different ages. Biographer David Buckley describes it as a dance-oriented video, similar to Orbital's "The Box" (1996), rather than a rock one. Little Wonder was among the initial tracks Bowie and Reeves Gabrels composed for the album. Bowie described the creation of the track as a "ridiculous" exercise in pure stream of consciousness: "I just picked Snow White and the Seven Dwarves and made a line for each of the dwarves' names. And that's the song [laughs]. And then I ran out of dwarves' names, so there's new dwarves in it like 'Stinky'." Initially intended to be a "nine-minute jungle electronic epic", the song was shortened to six minutes for the album. Biographer Chris O'Leary characterized it as a blend of arena rock and electronica, incorporating percussion and power chords from the Prodigy's "Firestarter", a 1996 UK number one that helped introduce drum and bass rhythms to the mainstream. Label: BMG – 74321 45650 2 Format: CD Maxi-Single Country: Europe 1 Little Wonder (Album Version) 6:02 2 Little Wonder (Ambient Junior Mix) 9:55 3 Little Wonder (Danny Saber Mix) 3:06 4 Little Wonder (Club Dub Junior Mix) 8:10 5 Little Wonder (4/4 Junior Mix) 8:10 Label:RCA – 74321452072 Format: CD, Single CD1 1 Little Wonder (Edit) 3:40 2 Little Wonder (Ambient Junior Mix) 9:55 3 Little Wonder (Club Dub Junior Mix) 8:10 4 Little Wonder (4/4 Junior Mix) 8:10 5 Little Wonder (Juniors Club Instrumental) 8:14

Alice's 1978 Comeback Spotlight Published in the US on January 19, 1978, Circus Magazine’s two-page feature “Alice Comes Alive” captured Alice Cooper (solo) at a pivotal moment — his post-1975 recovery and triumphant return to the spotlight after the original band breakup. The article explored his new direction, the success of Welcome to My Nightmare, the theatrical live shows, and his reinvention as a solo star, with vivid photos and insights into his ongoing shock-rock legacy. Feature Overview Publication Details Magazine: Circus (US). Date: January 19, 1978. Format: Two-page feature article. Do you have this Circus feature in your archive? Ready for Alice alive? Share in the comments! ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ Alice Comes Alive First On-Stage LP Captures Alice Cooper's Best and Wildest Years I n Autumn of 1974 Alice Cooper was sitting in a Toronto bar get-ting plastered, after he finished a recording session for Welcome to My Nightmare. He had some good reason: His old band was contemplating suing him and ending his solo career, a career which most people in the music business already held in contempt. There were legal hassles with Warner Brothers as well, and in his personal life his on-again-off-again romance with model Cindy Lang was on the rocks. The prodigious amount of alcohol he consumed was itself a well-publicized problem. A group of college kids at a table next to him in the bar were fascinated that Alice Cooper was getting so drunk, and Alice, in his usual open and unassuming way, became an easy target for their snide and jealous barbs. When the college kids finally got up to leave one of the guys came over to Alice and said, "The tough life of a superstar, huh? You guys really suffer for your art." Well, yes. Although Alice Cooper has received enormous financial re-wards from the recording business, he's still considered a freak to the media, the punchline for tired and cruel jokes. Despite the fact that he has never failed his audience, or de-livered less than promised (which sometimes is nothing) his work is Yes, that's a dummy Alice is singing his sweet love songs to in his latest, greatest hits tour show. by Steven Gaines rarely held in esteem, including his catalogue of platinum albums or his last three gold singles. a And his personal life is still not in order. Last year, Cindy Lang slapped him with a six-million dollar lawsuit when he married a 22-year-old dancer, Cheryl Goddard. After fruitless year of therapy with an in-vogue LA psychologist, Alice still drinks too much. This past October he interrupted his filming of the role of Father Sun in the movie of Sgt. Pepper's Lonely Heart's Club Band to sign himself into a Westchester (New York) hospital for alcohol de-toxification. So, if you think it's ironic that Alice is singing "You and me ain't no movie stars, what we are is what we are," underneath the mirrored ceilings of his half-million dollar Bel Air home, remember that sometimes you can see your reflection too much. Yeah, the superstars have it tough. They sometimes do suffer for, along with, and in spite of their art. But Alice Cooper is a trouper. A survivor of the decade of the hardest segment of the entertainment world. And in the truest sense of the word, Alice Cooper is a star. It's almost a tender irony that after nine best-selling studio albums Cooper is releasing the first live recording of his career, The Alice Cooper Show on Warner Brothers. What's even more curious is that in Alice's salad days his live shows were far more talked about than his music. In fact, seeing him perform live was always recommended as a necessary evil to listening to the album. Why a live LP now? "Every one of my albums has been a concept piece for the most part," Cooper explains from his Bel Air abode, just a stone's throw from Elton John's mansion. "For instance, the Killer album was an exact reproduction of the stage show, including the order of the songs. So was Billion Dollar Babies and Welcome to My Nightmare. Basically, I'd have been cheating my fans with putting out a live LP because it would be the same exact thing they already had on an album." What Alice politely fails to mention is that the old band was hardly worth recording live. They had enough problems in the studio. At their best the original Alice Cooper group was loose and sloppy on stage, so much so that two sidemen musicians were hired to fake the real playing on their last famous Billion Dollar Babies tour. The more recent back-up is a different story. Dual guitar work is handled by Dick Wagner (who just produced Mark Farner's solo LP on Atlantic) and Steve Hunter, generally considered two of the finest and most affable session men in the business. Prakash John is back on bass, Whitey Glan tends drums and Freddy Mandel is new on keyboards. All, of course, are from the Bob Ezrin-Toronto axis. Recorded mostly at the Alladin Theater in Las Vegas, Ezrin himself handled the production chores along with Brian Christianson, who made so many live Elvis Presley recordings. As Alice points out, "The LP is so 'live' you can hear the dancing on it." For Cooper aficionados it's a superb collection, and for music fans in general it's a giant taste of what rock & roll was about in the golden age. No more need be said about these classics other than the title: "Under My Wheels," "Eighteen" (a longer version), "Only Women," "Billion Dol-lar Babies," "Go To Hell" and per-haps the first American punk anthem, "School's Out." "I occasionally hear people say that I was the first punk rocker and it's far from so," Alice is quick to point out. "The Rolling Stones were the first punk band and after them the Who, Them and Pretty Things came way before me. What's similar about me and the punks is that the whole thing is McLuhanism. Shock value. Like me in the old days, the punk rockers want to have the most erratic, difficult behavior to attract your attention. These guys might slash them-selves on stage but when they go home they listen to the Archies. "Punk is a fad. I'll say it. But at the same time anybody who doesn't have fun with it is crazy, because fads are neat. And it's the American way of life to cash in on a fad. I want to start a punk rock band called The Anita Bryant." No single release is being planned from The Alice Cooper Show and not surprisingly because the live album hardly fits in with the recent land-scape of Alice Cooper's AM radio hits. "I'll Never Cry," "Only Women" and "You and Me" were more in the vein of Barry Manilow than "Elected" or "School's Out." And as for suffering, Alice has taken more crap for the syrupy, sweet ballads than he probably sold singles. London Features Intl "I really don't. care," Cooper says with more than a touch of annoyance. "I think I made my mark. I think at this point in my life and career that I have a privilege to broaden myself. I think I'm still a rock & roller and everybody knows that. I mean, when you hear this live album -BAM!-it's one of the most rock & roll albums I've ever done and if The Alice Cooper Show is syrupy, then I'm crazy!" CIRCUS MAGAZINE/37 Jeffrey Mayer/Rainbow I n Autumn of 1974 Alice Cooper was sitting in a Toronto bar getting plastered, after he finished a recording session for Welcome to My Nightmare. He had some good reason: His old band was contemplating suing him and ending his solo career, a career which most people in the music business already held in contempt. There were legal hassles with Warner Brothers as well, and in his personal life his on-again-off again romance with model Cindy Lang was on the rocks. The prodigious amount of alcohol he consumed was itself a well publicized problem. A group of college kids at a table next to him in the bar were fascinated that Alice Cooper was getting so drunk, and Alice, in his usual open and unassuming way, became an easy target for their snide and jealous barbs. When the college kids finally got up to leave one of the guys came over to Alice and said, "The tough life of a superstar, huh? You guys really suffer for your art." Well, yes. Although Alice Cooper has received enormous financial rewards from the recording business, he's still considered a freak to the media, the punchline for tired and cruel jokes. Despite the fact that he has never failed his audience, or delivered less than promised (which sometimes is nothing) his work is Yes, that's a dummy Alice is singing his sweet love songs to in his latest, greatest hits tour. And his personal life is still not in order. Last year, Cindy Lang slapped him with a six million dollar lawsuit when he married a 22 year old dancer, Cheryl Goddard. After a fruitless year of therapy with an in vogue LA psychologist, Alice still drinks too much. This past October he interrupted his filming of the role of Father Sun in the movie of Sgt. Pepper's Lonely Heart's Club Band to sign himself into a Westchester (New York) hospital for alcohol detoxification. So, if you think it's ironic that Alice is singing "You and me ain't no movie stars, what we are is what we are," underneath the mirrored ceilings of his half million dollar Bel Air home, remember that sometimes you can see your reflection too much. Yeah, the superstars have it tough. They sometimes do suffer for, along with, and in spite of their art. But Alice Cooper is a trouper. A survivor of the decade of the hardest segment of the entertainment world. And in the truest sense of the word, Alice Cooper is a star. It's almost a tender irony that after nine best selling studio albums Cooper is releasing the first live recording of his career, The Alice Cooper Show on Warner Brothers. What's even more curious is that in Alice's salad days his live shows were far more talked about than his music. In fact, seeing him perform live was always recommended as a necessary evil to listening to the album. Why a live LP now? "Every one of my albums has been a concept piece for the most part," Cooper explains from his Bel Air abode, just a stone's throw from Elton John's mansion. "For instance, the Killer album was an exact reproduction of the stage show, including the order of the songs. So was Billion Dollar Babies and Welcome to My Nightmare. Basically, I'd have been cheating my fans with putting out a live LP because it would be the same exact thing they already had on an album." What Alice politely fails to mention is that the old band was hardly worth recording live. They had enough problems in the studio. At their best the original Alice Cooper group was loose and sloppy on stage, so much so that two sidemen musicians were hired to fake the real playing on their last famous Billion Dollar Babies tour. The more recent backup is a different story. Dual guitar work is handled by Dick Wagner (who just produced Mark Farner's solo LP on Atlantic) and Steve Hunter, generally Coop plays the mad inspector from 'Lace and Whiskey' and sings the machinegun toting chickens to death.

Alice's First Non-Singing TV Role Published in the UK on January 19, 1974, Melody Maker’s one-page article “TV Warlock Role For Alice” announced that Alice Cooper would make his first non-singing appearance on American television. The piece highlighted Cooper’s upcoming role as a warlock of shock in a TV special or programme, showcasing his theatrical persona beyond music performances. It emphasized his growing crossover appeal from rock to mainstream entertainment. Article Overview Publication Details Magazine: Melody Maker (UK). Date: January 19, 1974. Format: One-page news article. Exact Text from the Article A LICE COOPER will be making his first non-singing appear-ance on American television mid way through March in a TV movie entitled The Snoop Sisters. Shooting starts in Los Angeles next week. Alice will be playing a bar owner and also a war-lock in the movie, which is a mystery detective yarn about two old ladies the Snoop Sisters who turn detectives to solve a crime they become involved with. It will be the second appearance by the Snoop Sisters on American TV, but the first involving Alice. The complete show will be broadcast on NBC Channel 4 around 9 a.m., probably on March 5 to 12, lasting around two hours. Cooper is hoping to get his name in the Guinness Book of Records through having more albums banned than any other artist. His latest album, "Muscle Of Love," already certified gold, nearly added to a long line was of Cooper records that have been reasons It banned -for various immorality ("Love To Death" sacrilege ("Killer" USA), -Mexico), failure to comply with Trade Commission stan-dards ("School's Out" USA) and failure to meet with FBI approval on repro-duction of photos of United States currency ("Billion Dollar Babies" -USA). "Muscle Of Love" came under scrutiny in South Africa where the inner sleeves depicting Alice and group outside the "Institute of Nude Wrestling" were con-sidered obscene by the Customs and Vice Squad. The albums were finally allowed into the country without the offending material. Do you have this Melody Maker article in your archive? Ready for the warlock of shock? Share in the comments! Sources

Bowie's 1974 Music Star Spotlight Published in the UK on January 19, 1974, Music Star Magazine’s one-page article “Bowie Music Star” featured David Bowie at the height of his Ziggy Stardust fame. Publication Details Magazine: Music Star (UK). Date: January 19, 1974. Format: One-page poster