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Rod Stewart’s "It's All Over Now"  backed with "Jo's Lament" , was released as a 7-inch vinyl single in the UK by Vertigo (catalog number 6086 002) on September 11, 1970. Taken from Stewart’s second solo album, Gasoline Alley (released June 12, 1970), it marked an early milestone in his solo career while he was simultaneously a member of Faces. Produced by Stewart and Lou Reizner, the single failed to chart in the UK but reached No. 126 in the US, reflecting Stewart’s gradual rise to fame. A-Side: "It's All Over Now" (3:35, single version; 6:27 on Gasoline Alley) Origin: Written by Bobby Womack and Shirley Womack, originally recorded by The Valentinos in 1964 (peaking at No. 94 on the Billboard Hot 100). The Rolling Stones’ 1964 cover hit No. 1 in the UK, setting a high bar. Stewart’s version, recorded at Morgan Studios, London, from February to April 1970, was co-produced by Stewart and Lou Reizner. It features a shorter single edit (3:35) compared to the album’s extended version (6:27). The track includes contributions from Faces members Ronnie Wood (guitar), Ian McLagan (keyboards), and Kenney Jones (drums), with additional backing from Martin Quittenton (guitar), Stanley Matthews (mandolin), and Pete Sears (piano). Style: A rollicking rock’n’roll track with bar-room blues and soul influences, Stewart’s version showcases his raspy, emotive vocals and a loose, energetic arrangement. The single edit emphasizes the song’s upbeat tempo and harmonized backing vocals, blending folk-rock grit with R&B swagger. Critics note its “kraftvoller Rock’n’Roll mit Bar-Blues-Einschlag” (powerful rock’n’roll with a bar-blues edge), though some prefer The Valentinos’ original or the Stones’ cover for authenticity. Stewart’s take is praised for its “mit Freude vorgetragenes” (joyfully performed) energy, per hitparade.ch. Publisher: Kag’s Music Corp. Chart Performance: Did not chart in the UK but reached No. 126 on the US Billboard Bubbling Under Hot 100 in 1970. Its lack of chart success reflects Stewart’s early career struggles, before his 1971 breakthrough with “Maggie May.” Cultural Impact: The song’s inclusion on Gasoline Alley and its single release introduced Stewart’s distinctive fusion of rock, folk, and soul to a wider audience. While overshadowed by later hits, it’s a fan favorite for its raw energy and Faces’ backing. B-Side: "Jo's Lament" (3:25)Origin: Written by Rod Stewart, recorded at Morgan Studios in 1970, and co-produced by Stewart and Lou Reizner. Featured on Gasoline Alley, it’s one of three original tracks on the album, alongside “Gasoline Alley” and “Lady Day.” Stewart plays acoustic guitar, with backing from Ronnie Wood (guitar), Ronnie Lane (bass), and other Faces members. Style: A tender, introspective folk-ballad with a country-blues vibe, “Jo's Lament” showcases Stewart’s songwriting and emotional depth. The lyrics reflect a personal, melancholic narrative, possibly inspired by Stewart’s relationships, delivered with his raspy, heartfelt vocals. The track’s acoustic arrangement contrasts the A-side’s high-energy rock, highlighting Stewart’s versatility. Publisher: MRC Music Ltd. Reception: Less prominent than the A-side, “Jo's Lament” is appreciated by fans for its sincerity and folk roots. YouTube uploads and fan comments describe it as a “hidden gem” from Gasoline Alley, showcasing Stewart’s early songwriting talent. Release Details Label: Vertigo Records Catalogue Number: 6086 002 Barcode: Not applicable (1970 release, pre-barcode era). Release Date: September 11, 1970 Format: 7" vinyl, 45 RPM, stereo, manufactured in the UK. Features a wide-centered Vertigo ‘swirl’ label, iconic for early 1970s releases. Matrix/Runout (Per Discogs): Side A: 10 AA 6086 002 1W 320 1 H70 Z C (C sideways) Side B: 10 AA 6086 002 2W 320 1 H70 Z C (C sideways) Other Variants: Australia - Vertigo - 1970 Germany - Vertigo - 1970 New Zealand - Vertigo - 1970 USA - Mercury - 1970 Production: Co-produced by Rod Stewart and Lou Reizner for Mercury Productions. Recorded at Morgan Studios, London, February–April 1970. Packaging: Issued in a Vertigo company die-cut paper sleeve in the UK, with the swirl logo on the orange and black label. International pressings (e.g., Germany: Philips 6086 002, US: Mercury 73095) may include picture sleeves, increasing collectible value. Collector Notes: The Vertigo swirl label and wide center make it a collector’s item, especially in NM condition. The US Mercury pressing (73095) is less valuable but still sought after. Its rarity stems from its commercial failure and limited pressing run. Related Releases: Taken from Gasoline Alley (Vertigo, June 12, 1970, UK; Mercury, US). Precedes Stewart’s breakthrough single “Maggie May” / “Reason to Believe” (Mercury, July 1971, No. 1 UK/US). Follows “Street Fighting Man” / “Handbags and Gladrags” (Mercury, 1969, US-only single from An Old Raincoat Won’t Ever Let You Down). Historical and Cultural Context Rod Stewart in 1970:Background: Born Roderick David Stewart on January 10, 1945, in Highgate, North London, Stewart began his career busking with a harmonica in 1962, joining The Dimensions (1963) and Long John Baldry’s All Stars (1964). He gained prominence with the Jeff Beck Group (1967–1969) before joining Faces (formerly Small Faces) in 1969 alongside Ronnie Wood. His solo career launched with An Old Raincoat Won’t Ever Let You Down (1969, Vertigo UK; The Rod Stewart Album, Mercury US), blending rock, folk, soul, and R&B with a working-class sensibility. Faces and Solo Career: In 1970, Stewart balanced his role as Faces’ frontman with his solo work. Faces released First Step (March 1970), a raw rock’n’roll album, while Gasoline Alley refined Stewart’s folk-rock style. The single “It's All Over Now” reflects this dual career, featuring Faces members and Stewart’s solo vision. His raspy voice and emotive delivery were earning critical praise, though commercial success was elusive until Every Picture Tells a Story (1971). Context of the Single: Released three months after Gasoline Alley (No. 27 US, No. 62 UK), “It's All Over Now” was Stewart’s first UK solo single, aiming to capitalize on the album’s critical acclaim. Its failure to chart reflects the competitive 1970 music scene, dominated by acts like The Beatles and Led Zeppelin. However, Gasoline Alley’s critical success, with Rolling Stone’s Langdon Winner praising Stewart’s “rare sensitivity,” laid the groundwork for his 1971 breakthrough. Rod Stewart’s Broader Legacy: Breakthrough and Peak: Stewart’s third album, Every Picture Tells a Story (1971), and its single “Maggie May” topped charts in the UK, US, Canada, and Australia, establishing him as a global star. He continued with hits like “You Wear It Well” (1972), “Sailing” (1975), and “Da Ya Think I’m Sexy?” (1978). His career spans rock, folk, soul, disco, and the Great American Songbook, selling over 120 million records. Influence: Stewart’s raspy voice and genre-blending style influenced artists across rock, pop, and soul. His work with Faces and solo albums shaped 1970s rock, while his later Songbook albums (2002–2010) revived pop standards. He won a Grammy and Brit Award and was ranked No. 17 on Billboard’s Hot 100 All-Time Top Artists in 2008. Later Years: Stewart maintained success through the 1980s and 1990s with albums like Vagabond Heart (1991) and collaborations like “All for Love” (1993, No. 1 with Bryan Adams and Sting). After surviving thyroid cancer in 1999, he continued performing and recording, with recent support for political figures like Nigel Farage (2025) and Celtic FC. Vertigo Records: Launched in 1969 by Philips/Phonogram, Vertigo was a progressive rock label, signing acts like Black Sabbath and Uriah Heep. Stewart’s early solo albums on Vertigo’s swirl label reflect its prestige, making this single a collector’s item for label enthusiasts. Comparison to Other Rod Stewart Releases Contemporary Singles: “Street Fighting Man” / “Handbags and Gladrags” (Mercury, 1969, US-only): From An Old Raincoat Won’t Ever Let You Down, a promotional single that didn’t chart. “Maggie May” / “Reason to Believe” (Mercury, July 1971): Stewart’s breakthrough, No. 1 UK/US, from Every Picture Tells a Story. “(I Know) I’m Losing You” (Mercury, October 1971): A Faces cover from Every Picture Tells a Story, reaching No. 24 US. Albums: An Old Raincoat Won’t Ever Let You Down (1969)*: Stewart’s debut, setting his folk-rock template. Gasoline Alley (1970)*: Source of both tracks, praised for its raw, eclectic sound. Every Picture Tells a Story (1971)*: His breakthrough, topping charts worldwide. Critical Reception and Legacy Critical Acclaim: Hitparade.ch rates “It's All Over Now” 4.33/5 from 24 reviews, praising its “kraftvoller” energy but noting The Valentinos and Rolling Stones’ versions as stronger. Fans call it “aardige Womack klassieker” (nice Womack classic) and “geschaffen für den jungen Rod Stewart” (made for young Rod). Rolling Stone (via Gasoline Alley review) lauded Stewart’s “delicate moments,” and AllMusic notes the single’s role in his early sound. “Jo's Lament” is less reviewed but valued for its folk intimacy. Sources Discogs: Rod Stewart – It's All Over Now / Jo's Lament (1970, Vinyl) 45cat: Rod Stewart – It's All Over Now / Jo's Lament – Vertigo – UK – 6086 002 Hitparade.ch : Rod Stewart – It's All Over Now Wikipedia: Gasoline Alley, Rod Stewart RareVinyl.com : Rod Stewart – It's All Over Now PicClick: Rod Stewart – It's All Over Now / Jo's Lament (Mercury 73095) JazzRockSoul.com : Rod Stewart Recordsale.de : It's All Over Now Conclusion Rod Stewart’s "It's All Over Now" / "Jo's Lament" (Vertigo, 6086 002, 11 Sep 1970) is a pivotal early single, blending rock’n’roll energy with folk introspection from Gasoline Alley. Though it failed to chart, its Vertigo swirl label and Faces backing make it a collector’s gem, priced at £10–£40. It captures Stewart’s pre-stardom sound, laying the foundation for his 1971 breakthrough. If you need help sourcing a copy or want details on other Stewart releases, let me know!

Alice Cooper Group’s "America 1973" , a full-page advert in Billboard Magazine , June 8, 1973.

The Day Marc Bolan Became a Star and T. Rex a Supergroup. Over 2,000 jammed London's Lyceum, January 25, 1971. It was heart-warming for those who have followed the career of the unlikely duo down the years. But several doubts arose during the almost unbelievable response there was something a ... little disturbing about the readiness to cheer what was frequently unmusical. Marc whipped up incredible excitement with his minimal instrumentation and technique. While long sympathetic to the cause of Marc's cheerful pastiche of rock and poetry, when banging on top of a Woolworth's organ in loosely rhythmic fashion ... becomes the basis of a performance, one has to own up. The best moments were during Marc's electric guitar freak-out on 'Elemental Child', where his fantasies of being a heavy rock star were fully played out. And 'Ride a White Swan' is a great riff and a lovely hit. But the elements that make up the web of fantasy, fun and pop or Tyrannosaurus Rex are being un- comfortably stretched to the limits of credibility." Chris Welch, Melody Maker

Marc Bolan Marries June Child at Kensington Register Office, Chelsea Old Town Hall, King's Road, Chelsea, London SW3, England on January 30, 1970 The picture below of the bridal party was taken by a 10-year-old Indian boy who happened to be going by. Everyone decided that the group would be incomplete without the photographer in the picture so Pete Saunders joined the line-up and handed over his camera. Pictured just off the Portobello Road, they are: (left to right) Sue Worth (Mickey's girlfriend), Mickey Finn (other half of T. Rex), June, Marc, Jeff Dexter, Alice Ormsby-Gore (Eric Clapton's girlfriend-Eric was in America), and Pete Saunders.

The Supersonic TV Special "Rollin' Bolan," featuring T. Rex recorded on July 13, 1976, at The Wimbledon Theatre, was broadcast on August 28, 1976. Featuring 5 songs: "Funky London Childhood" "I Love To Boogie" "The Soul Of My Suit" "New York City" "Laser Love"

T.Rex’s "Marc Bolan on Video" , a one-page advert in New Musical Express , December 8, 1984.

T.Rex’s "If Marc Bolan Kissed You" , a one-page advert, 1972.

T.Rex’s Marc Bolan, a back-page in Disco 45 Magazine, October 20, 1972.

David Bowie's "Blue Jean" was released as a single, backed with "Dancing With The Big Boys", in the UK through EMI America on September 14, 1984. (some sources note September 10, 1984, for certain markets) 7-inch UK release, EMI America, 1984. Producers: David Bowie, Derek Bramble, Hugh Padgham Recording Location: Le Studio, Morin-Heights, Quebec, Canada, May 1984 Context: The lead single from Bowie’s sixteenth studio album, Tonight (released September 24, 1984), following the massive success of Let’s Dance (1983) and the Serious Moonlight Tour. A-Side: "Blue Jean" Written entirely by David Bowie, one of only two tracks on Tonight solely credited to him. Inspired loosely by Eddie Cochran’s rockabilly style, it’s a straightforward rock ‘n’ roll track with a pop sensibility. Bowie described it in a 1987 interview as “a piece of sexist rock ‘n’ roll... about picking up birds. It’s not very cerebral.” B-Side: "Dancing With The Big Boys" Written by David Bowie, Iggy Pop, and Carlos Alomar, reflecting their collaborative chemistry from Pop’s 1977 albums The Idiot and Lust for Life, which Bowie co-wrote and produced. Recorded in eight hours, with Bowie and Pop “egging each other on,” according to producer Hugh Padgham. Produced by Arthur Baker for remixes, adding a club-friendly edge. 7-inch UK release, EMI America, 1984. Chart Performance: Peaked at No. 6 in the UK Singles Chart and No. 8 on the US Billboard Hot 100, making it Bowie’s fifth and final US Top 10 hit without features. Critical Response: Mixed reviews. Some praised its catchy energy, with rock commentator Chris O’Leary calling it a “pastiche” but enjoyable. Others, like BBC’s Chris Jones in 2002, criticized it as “formulaic” and insubstantial. Music Video: Promoted with a 21-minute short film, Jazzin’ for Blue Jean, directed by Julien Temple. Bowie played dual roles: Vic, a man pursuing a girl, and Screamin’ Lord Byron, a flamboyant rock star. The performance segment was used as the main music video. The film won the 1985 Grammy Award for Best Video, Short Form (later Best Music Video), Bowie’s only competitive Grammy during his lifetime until Blackstar (2016). Two shorter videos exist: a 3-minute edit of the Jazzin’ for Blue Jean performance and an alternate MTV UK version unrelated to the film, both included on the Best of Bowie DVD (2002). Release Formats The single was released in multiple formats, reflecting the 1980s trend of catering to collectors and DJs. Below are the known formats, based on available information: 7” Vinyl Single: (EMI America EA 181, UK; B-8231, US; and others globally): Tracks: A: “Blue Jean” (3:08) B: “Dancing With The Big Boys” (3:32) Details: Standard release in the UK, US, Argentina (EMI 1872), Italy (EMI America 06 2003227), and other markets. Some versions, like the US pressing (B-8231), were on blue translucent vinyl, a collectible variant. UK version had black & silver paper labels or silver injection-molded centers. 12 -inch UK release, EMI America, 1984. 12” Vinyl Maxi-Single: (EMI America 12EA 181, UK; V 75073, US; 1C K 062-20 0333 6, Europe): Tracks: A: “Blue Jean (Extended Dance Mix)” (5:15) – Remixed by John “Jellybean” Benitez at Sigma Sound, NYC. B1: “Dancing With The Big Boys (Extended Dance Mix)” (7:28) – Remixed by Arthur Baker. B2: “Dancing With The Big Boys (Extended Dub Mix)” (7:15) – Remixed by Arthur Baker. UK and European pressings (e.g., 1C K 062-20 0333 6) manufactured by EMI, printed in Germany or Holland. US promo 12” (EMI SPRO 9996/9997) included a “7” Dance Edit” and “Edited Dance Mix” of “Blue Jean,” with the Extended Dub Mix mislabeled as Extended Dance Mix. Cassette Single: (EMI America, 4V-7838-1/2 US, EMI America – TC-ED-83 Australia)) Tracks: A1: “Blue Jean” (3:09) A2: “Dancing With The Big Boys” (3:32) B1: “Blue Jean” (3:09) B2: “Dancing With The Big Boys” (3:32) Cassette Single: (EMI America, 1989 reissue) (Blue Cassette) Tracks: A: “Blue Jean” B: “Dancing With The Big Boys” Published by EMI Music Publishing Ltd. and Ramola Music Inc. Other Formats: Blue Jean EP (2007): Reissued the Extended Dance Mix and Dub Mix of “Blue Jean” digitally. Loving the Alien Box Set (2018): Included a remastered “Blue Jean” and remixes from the Dance compilation. Compilation Appearances: “Blue Jean” 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), and Bowie Legacy (2016). “Blue Jean” was chosen as the lead single to maintain the pop-rock momentum, but the album received mixed reviews for lacking the innovation of Bowie’s earlier work. Commercial Success: “Blue Jean” was a solid hit, though it didn’t match the chart dominance of Let’s Dance singles. Its No. 8 US peak was notable, but it marked the tail end of Bowie’s mainstream pop phase. The Grammy-winning Jazzin’ for Blue Jean video boosted its visibility, blending Bowie’s theatricality with 1980s MTV aesthetics. Live Performances: “Blue Jean” was performed during the 1987 Glass Spider Tour (European leg), but rarely afterward.

Slade's "My Friend Stan" was released as a single, backed with "My Town", in the UK through Polydor Records on September 28, 1973. Vintage 1973 Polydor record sleeve featuring Slade's single "My Friend Stan," produced by Chas Chandler, with distinctive UK design branding. more sleeve variations below Produced by Chas Chandler, it came during Slade’s commercial peak in 1973, a year when they dominated the UK charts with three No. 1 singles. "My Friend Stan" reached No. 2 on the UK Singles Chart, showcasing Slade’s signature stomping, anthemic sound and Noddy Holder’s distinctive vocals. Due to demand, copies of this UK release were pressed in the US and France with the UK catalog number. Some copies seem to have included a cloth 'patch' sticker, as seen on the image. Track Details A-Side: "My Friend Stan" (2:41) Written by Noddy Holder and Jim Lea, "My Friend Stan" was recorded in 1973, produced by Chas Chandler for Barn Productions Ltd. Released as a standalone single between the albums Slayed? (1972) and Old New Borrowed and Blue (1974), it was part of Slade’s prolific 1973 output. The song was first performed on BBC’s Top of the Pops on September 27, 1973, the day before its official release. Publisher: Barn Publishing (Slade) Ltd. Chart Performance: Peaked at No. 2 on the UK Singles Chart in October 1973, held off the top spot by David Cassidy’s “Daydreamer” / “The Puppy Song.” It also reached No. 1 in Ireland, No. 9 in Germany, and charted in other European countries like Norway (No. 5) and Belgium (No. 12). The single sold over 500,000 copies, earning a UK Silver certification. B-Side: "My Town" (3:02) Also written by Holder and Lea, produced by Chas Chandler, and recorded in 1973. "My Town" was a non-album track, exclusive to the B-side of "My Friend Stan," though it later appeared on compilations like Slade’s Greats (1980) and The Slade Collection 81-87 (1991). Publisher: Barn Publishing (Slade) Ltd. Release Details Label: Polydor Records Catalogue Number: 2058 407 Release Date: September 28, 1973 Format: 7" vinyl, 45 RPM, stereo, manufactured in the UK. Matrix/Runout (Based on Discogs and 45cat):Side A: 2058 407 A//2 420 05 Side B: 2058 407 B//2 420 05 Production: Produced by Chas Chandler for Barn Productions Ltd. Recorded in 1973, likely at a UK studio (e.g., Olympic Studios, where Slade recorded much of their early material). Packaging: Issued in a Polydor company sleeve or plain sleeve in the UK, with some international pressings (e.g., Germany, Belgium) featuring picture sleeves depicting the band in their glam outfits. The UK pressing has a red Polydor label with black text, typical of their 1973 singles. The Melanie flexi-disc “Slade Talk To Melanie Readers” (LYN 2645, 8 Sep 1973) was released three weeks earlier, tying into Slade’s promotional efforts. Cultural Significance: The single captures Slade at their glam rock peak, with their Top of the Pops performance showcasing their theatrical style. It bridges their anthemic hits and the upcoming “Merry Xmas Everybody,” reinforcing their dominance in 1973. Fan Reception: Discogs and eBay reviews highlight nostalgia, with collectors valuing the single’s chart success and Slade’s working-class authenticity. Some fans prefer the B-side for its grit, while others see “My Friend Stan” as a lighter, accessible hit. Sources Discogs: Slade – My Friend Stan / My Town (1973, Vinyl) 45cat: Slade – My Friend Stan / My Town – Polydor – UK – 2058 407 Rate Your Music: My Friend Stan / My Town Wikipedia: Slade, My Friend Stan Official Charts: Slade songs and albums eBay UK: Slade My Friend Stan 7” vinyl The single was also released in the following countries. Australia - Polydor - 1973 Austria - Polydor - 1973 Belgium - Polydor - 1973 France - Polydor - 1973 Germany - Polydor - 1973 Ireland - Polydor - 1973 Italy - Polydor - 1973 Netherlands - Polydor - 1973 New Zealand - Polydor - 1973 Norway - Polydor - 1973 Philippines - Polydor - 1973 Portugal - Polydor - 1973 Spain - Polydor - 1973 Switzerland - Polydor - 1973 USA - Polydor - 1973 Yugoslavia - Polydor - 1973 Japan - Polydor - 1974

The Manish Boys' "I Pity the Fool" was released as a single, backed with "Take My Tip", in the UK through Parlophone Records on March 5, 1965. The recording was produced by Shel Talmy, who also worked on the early singles and albums for the Who and the Kinks. Jimmy Page, Talmy's regular session musician, performed the guitar solo on "I Pity the Fool". In these sessions, Page provided Bowie with a guitar riff that he was initially unsure how to use. Bowie eventually incorporated this riff into two separate songs: first in "The Supermen" from 1970 and later in "Dead Man Walking" from 1997. The B-side, "Take My Tip," was the first song written by David Bowie (then credited as Davie Jones) to be released on record. Releases In March 1979, EMI in the UK re-released both the A and B-side on one side of a 7-inch single. The B-side of this reissue included "You've Got a Habit of Leaving" and "Baby Loves That Way." This version was re-released by See For Miles Records in the UK in October 1982 and as a 12-inch picture disc in June 1985. The 1982 re-release by See For Miles reduced the collector's market demand since EMI's March 1979 reissue quickly vanished. Both tracks are featured on the 1991 CD compilation Early On (1964-1966), but with alternate vocals. Personnel According to Chris O'Leary David Jones – vocals, alto saxophone Johnny Flux – rhythm guitar Jimmy Page – lead guitar John Watson – bass guitar Mick White – drums Bob Solly – Leslie organ Woolf Byrne – baritone saxophone Paul Rodriguez – tenor saxophone, trumpet

The Tubes’ "Smokin’ Rock & Roll" , a one-page advert in Creem Magazine , September 1, 1978.

The Tubes’ "The Tubes Work on So Many Levels" , a one-page album review in Circus Magazine , November 1, 1975.

The Tubes’ "The Tubes Have Arrived!" , a one-page advert in Circus Magazine , September 1, 1975.

Suzi Quatro’s "The Sizzling Songbird" , a one-page feature in Valentine Magazine , August 11, 1973.

Suzi Quatro’s "The Girl with the Hot Bass" , a two-page feature in Bravo Magazine , August 9, 1973.

Suzi Quatro’s Suzi’s Cover , a cover and one-page article in Look In Magazine , August 3, 1974.

Suzi Quatro’s Suzi Quatro and Love , a cover article in Bravo Magazine , October 18, 1973.

Suzi Quatro’s "Suzi Quatro Private" , a two-page article in Bravo Magazine , August 29, 1974. Here you can see the house where Suzi lives on the first floor (the two windows on the right). Left picture: The doorbell signs on the front door. The middle button is Suzi's doorbell. You'll find out why the name Tuckey is there in this report... Her living room is her studio: Suzi loves to compose at night. Suzi Quatro in private... On tours, Suzi Quatro stays in the largest hotels in the world. In her private life, she lives in the smallest of spaces. BRAVO was the only magazine invited to get to know Suzi's home... Suzi Quatro in her bedroom. Her bedmate here is Teddy "Barney," her favorite childhood toy.

Suzi Quatro’s "Window Line Talk" , a two-page article in Bravo Magazine , September 22, 1975.

Sparks’ "Indiscreet" , a one-page advert in Creem Magazine , December 1, 1975.

Sparks’ "Hollywood's Madcaps" , a one-page feature in Circus Magazine , November 1, 1974.

Sparks’ "I Hate Kids" , a one-page article in Melody Maker , September 28, 1974.

Sparks’ "Dirty Little Ditties" , a one-page article in Circus Magazine , February 1, 1973.

Alex Harvey’s "Back Again" , a one-page feature in New Musical Express , October 7, 1972.

Alex Harvey’s "A Hard Road For Alex" , a one-page article in New Musical Express , October 14, 1972.

Rod Stewart’s "There's A Lot We Can Say" , a one-page advert in New Musical Express , September 2, 1972.

Rod Stewart’s "Top British Male Singer" , a two-page feature in Melody Maker , September 30, 1972.

Rod Stewart’s "Look at You Now" , a one-page feature in Show Magazine , August 1, 1973.

Rod Stewart’s "Sing it Again Rod" , a one-page album review in Record Mirror , July 21, 1973.

Rod Stewart’s "Sing It Again Rod" , a one-page advert in Melody Maker , August 11, 1973.

Rod Stewart’s "Good Luck Rod" , a one-page feature in Melody Maker , August 25, 1973.

Rod Stewart’s "Farewell" , a one-page advert in Melody Maker , September 28, 1974.

Rod Stewart’s "Sprang From Captivity" , a cover and seven-page feature in Circus Raves Magazine , December 1, 1974.

Rod Stewart’s "Smiler" , a one-page album review in Melody Maker , September 28, 1974.

Rod Stewart’s "Rod Gets a Facelift" , a cover and six-page feature in Creem Magazine , October 1, 1974.

Rod Stewart’s Question & Answer , a cover and one-page article in Beat Instrumental , December 1, 1972.

Rod Stewart’s "Smiler" , a two-page album review in Beetle US Music Magazine , January 2, 1975.

Rod Stewart’s "Rod Faces The Music" , a cover, three-page feature, and one-page news article in New Musical Express , August 2, 1975.

Rod Stewart’s "He's Our No.1" , a half-page advert in New Musical Express , January 27, 1973.

Rod Stewart’s "It's All Over Now" , a one-page advert and charts feature in New Musical Express , 1970.

Long John Baldry’s "Long Lost John" , a two-page article in Disc , August 28, 1971.

Rod Stewart’s "Good on Yer Rod" , a one-page advert in Melody Maker , October 9, 1971.

Rod Stewart’s "Sweet & Sour" , a one-page feature in Sounds , October 30, 1971.

Rod Stewart’s "Apprentice and Master" , a one-page feature in Record Mirror , December 4, 1971.

Rod Stewart’s "Words Of 26 Hits" , a cover and one-page article in Words Magazine , January 1, 1972.

Rod Stewart’s "A Snakebite from the Past" , a one-page feature in New Musical Express , October 21, 1972.

Rod Stewart’s "Never a Dull Moment in Philly" , a one-page gig review in Rock Magazine , August 28, 1972.

Rod Stewart’s "Well Done Rod" , a half-page advert in Melody Maker , September 30, 1972.