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Rod Stewart’s Top British Male Singer , a cover and one-page article in Melody Maker , October 1, 1972.

Rod Stewart’s "The Snaky Tale of Python Lee Jackson" , a one-page feature in Melody Maker , October 7, 1972.

Rod Stewart’s "Never a Dull Moment" , a one-page advert and apology advert in New Musical Express , October 7, 1972.

Rod Stewart’s "Music Scene Issue No.1" , a one-page advert in Melody Maker , October 21, 1972.

Rod Stewart’s "On The Rod Again" , a cover and six-page feature in Best Magazine (France) , September 1, 1975.

Rod Stewart’s "Atlantic Crossing" , a four-page feature and one-page advert in Circus Raves Magazine , October 1, 1975.

Rod Stewart’s "Atlantic Crossing", a one-page advert in Creem Magazine, October 1, 1975.

Rod Stewart’s "Atlantic Crossing" , a one-page album review in Circus Magazine , November 1, 1975.

Rod Stewart’s "Rod's In Love" , a one-page feature in Rock Scene Magazine , January 1, 1976.

Rod Stewart’s "The Vintage Years" , a two-page advert in Record Mirror , February 28, 1976.

Rod Stewart’s "The Vintage Years 1969 - 1970" , a one-page review in Record Mirror & Disc , February 28, 1976. ROD STEWART: 'The Vintage Years 1969 - 1970' (Mercury 6672013)

Rod Stewart’s "A Night on the Town" , a one-page advert in Circus Magazine , August 24, 1976.

Rod Stewart's Faceless Lover , a cover, four-page feature, and album review in Creem Magazine , September 1, 1976.

Queen’s "Keep Yourself Alive", a one-page advert in Melody Maker, August 11, 1973.

Queen’s "Seven Seas of Rye" , a one-page single review in Disc , February 16, 1974.

Queen’s "Queen Live Dates", a one-page article in Disc, February 16, 1974.

Queen’s "Rave Mates", a fold-out feature in Circus Raves Magazine, December 1, 1974.

Queen’s "Now I'm Here" , a one-page single review in New Musical Express , February 1, 1975.

Queen’s "Now I'm Here" , a one-page advert in New Musical Express Newspaper , February 15, 1975.

Queen’s "A Night at the Opera (Sold Out)" , a one-page advert for November & December Tour in Record Mirror , December 6, 1975.

Queen’s "The State of Future Rock", a three-page feature in Circus Magazine, December 1, 1975.

Queen’s "Queen Win Their New Hit LP!" , a cover and one-page article in Look-In Magazine , January 1, 1977.

Queen’s "Queen’s Legacy", a three-page retrospective feature in Circus Magazine, August 7, 1989.

Iggy Pop’s "Kill City", a one-page album review in New Musical Express, January 28, 1978.". As I'm writing this CSM is similarly reviewing a 12 inch Skydog three-tracker of "Metallic K.O." outtakes as well as a Bomp EP including two of "Kill City's official cuts coupled with a dreadful blues dirge entitled "Jesus Loves The Stooges". Not to mention the EP of "Raw Power" outtakes that Paul Morley reviewed last week. . but let the facts speak for themselves. For a start, "Kill City" wasn't recorded between '74 and '75 as claimed elsewhere. All but one track - the instrumental "Master Charge" - were laid down in (almost certainly) May of '75 at the expense of ex-rock critic/A&R man Ben Edmonds and famed MOR songwriter Jim Webb, using a modest financial donation from the former and the LA demo studio owned by the latter. The tracks themselves were pretty basic in terms of instrumentation and were certainly unmixed when someone who for convenience's sake will remain anonymous - decided to take possession of the tapes and hawk them round American record companies. Some of these expressed interest at the time. Sire for example was hot for their release but, like others, baulked at the price this anonymous gent was asking for their ownership. The final straw snapped when this same character demanded that if these tapes were to be released, then one Iggy Pop should sign a five year contract donating a charming 50% of anything he was to make into the gent's possession. Even Iggy wasn't going to fall for this old stunt and the tapes were abandoned by their creators in a mixture of despair and disgust. Subsequently, by early '76 Iggy had departed with Bowie and Williamson had returned to his record engineering job in LA. Then came the Iggy goldrush and-well, I don't know the details - Williamson got the tapes back somehow and, after adding further instrumentation and mixing down decently, sold the album first to Bomp's Greg Shaw who duly passed on their lease to Andrew Lauder for his Radar Records' first release. So that's the story behind the album's three year neglect. Now never mind the facts, here comes the bollocks! "Kill City" is rightly credited to just The Pop and Williamson because when these songs (except for "I Got Nothing") were conceived and recorded there was no Stooges left. As such most of these numbers could rightfully be credited as the pair's third shot at a fruitful songwriting partnership, following "Raw Power" and the transitory "Head On The Curve", "Cock In My Pocket", "Wet My Bed" phase. The "Kill City" tapes have often been compared favourably with The Stones' "Exile On Main Street" and The Doors' "LA Woman". Both comparisons have their points of relevance and their shortcomings. This is after all a definitively IGGY POP & JAMES Los Angeles album: a real deal gutter view shot at the plush, decadent cameos that The Eagles considered on "Hotel California". The title track says it all really with its keen, sharp images of The Promised Land as "Kill City, where the debris meets the sea". Lines based at the jugular vein of despair itself, motivated purely by the sheer adrenalin pulse of dancing in the ruins and the vaguest feeling that somewhere - beyond all the garbage, beyond all the vicarious highs, lows and in-betweens might just lie some grand, unimaginable freedom that will swoop down like some great white bird. The imagery of "Kill City" is simple enough. That playground Land which can only lead to d to indulgences that leave you "overdosed and on your knees" is counterpointed by a raging chorus in "Give it up, turn the boy loose". You just take it from there. The album proceeds through a collection of gutted confession, including a bonus in the classic punk anthem "Beyond The Law", a bulletin from the abyss where love and hate are inter-changeable in "Johanna" and then the frankly succinct "I Got Nothing". "Lucky Monkeys" seals the "Exiles" connection; the sound here is straight from the same claustrophobic mould pioneered by such wasted, warped masterpieces as "Ventilaor Blues". Elsewhere Williamson's arrangements meet Iggy's lyrics punch for punch - the fearsome crashing piano chords of the finale to "Johanna", for example, or the exquisite acoustic guitar that lulls one into "No Sense Of Crime". In fact this is arguably more Williamson's baby than Iggy's. He picked up the pieces on this project and his talents are what often gives "Kill City" its leading edge. Both partners are in the ascendant for the album's finest work, "Sell Your Love", where Ig's passionate diatribe is set against a haunting, tragic melody embellished by fierce sax howls courtesy one John Harden (who knocks previous Stooges collaborator Steve Mackay into a cocked hat). Williamson in fact uses saxes and keyboards more than his own guitar drive. Watch this man's work carefully but meanwhile don't bother with most of the other Ig stuff floating around - too much of which strikes me as too ghoulish to bear - and stick with "Kill City", a potent and suitably dangerous set of excellent rock.

Iggy Pop’s "Rainbow Theatre (Sep 30-Oct 1)" , a one-page advert in New Musical Express , September 24, 1977.

Iggy Pop’s "Iggy Dates" , a cover insert and one-page article in Melody Maker , August 13, 1977.

Iggy Pop’s "Iggy Does It His Way" , a one-page article in Record Mirror , March 12, 1977.

Iggy Pop’s "You Might Say, Extreme" , a one-page article in Music Scene , February 1, 1974. His exploits constitute landmarks in the steamy history of rock. One night a couple of years back, stone-drunk, he vomited all over the first couple of rows at Ungano's Club in New York City. One of his favorite antics is to leap off the stage, into the audience, and thrash about like a landed fish, daring them to, well, do things to him. Some American audiences don't need much encouragement. There was the time some of this activity got shown on television. "I was held down, while one chick was pulling off my pants, some others were tryin' to French kiss me, and this other one gave me a blow job. All the while I'd be hittin' one, kickin' another. I like violence. It turns me on." Off stage it's amazing to realize just how small Iggy is. In performance he projects a gargantuan persona, doing backbends and somersaults and assorted bodily contortions of a kind which would stir even an advanced yogi from a trance. His own assessment of his performances is modest. "I'm jus' doin' my part." Mick Rock

Iggy Pop’s "Here Comes Iggy" , a one-page article in Rock Scene Magazine , September 1, 1973.

New York Dolls’ "Hallelujah! The Dolls Sign Up" , a one-page article in Rock Scene Magazine , September 1, 1973.

New York Dolls’ "To Mince or Not to Mince" , a one-page article in Music Scene , February 1, 1974.

New York Dolls’ Three-Page Feature , a three-page feature in Rock Scene Magazine , December 1, 1973.

New York Dolls’ "The Best New Group Of 1973", a one-page feature in Creem Magazine, August 1, 1974.

David Johansen’s Profile , a one-page feature in Creem Magazine , November 1, 1978.

Mud’s "Only a Little Bit Muddled" , a one-page feature in Record Mirror , November 1, 1975.

Mud’s Chart Bustin' , a cover and one-page feature in Record Mirror , November 17, 1973.

Mott The Hoople’s "Hot Mott" , a one-page feature on the High Wycombe live performance in New Musical Express , January 8, 1972.

Mott The Hoople’s "Fairfield Hall" , a one-page advert in Melody Maker , February 20, 1972.

Mott The Hoople’s "All The Young Dudes" , a one-page review in Melody Maker , July 29, 1972.

Mott The Hoople’s "All the Young Dudes & Tour" , a one-page advert in Melody Maker , September 30, 1972.

Mott The Hoople’s "MOTT at The Rainbow" , a one-page advert in Melody Maker , October 14, 1972.

Mott The Hoople’s "The Young Dude" , a one-page feature in Melody Maker , October 28, 1972

Mott The Hoople’s "MOTT" , a one-page advert in Melody Maker , August 11, 1973.

Mott The Hoople’s "We Can't Compete" , a cover and one-page article in Beat Instrumental Magazine , September 1, 1973.

Mott The Hoople’s "The Mott Radio" , a three-page article in Circus Magazine , February 1, 1974.

Ian Hunter and Mott The Hoople’s "Mott Came At The Right Time" , a cover and four-page feature in Hit Parader Magazine , August 1, 1974.

Mott The Hoople’s "Mott's Profile" , a one-page feature in Creem Magazine , August 1, 1974.

Mott The Hoople’s "Mott Celebrates" , a one-page feature in Circus Magazine , November 1, 1974.

Mott The Hoople’s "The Saving of Mott Part.2" , a two-page article and one-page on tour advert in New Musical Express , November 16, 1974.