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David Bowie’s Sound + Vision Tour 1990 a one-page advert in Billboard Magazine, July 28, 1990.

David Bowie’s "Jump They Say," a Single of the Week with two one-page adverts in New Musical Express, March 20, 1993.

1921 Series (2LP ‘Zinc Alloy’ Vinyl) HMV EXCLUSIVE LP1 Venus Loon Sound Pit Explosive Mouth Galaxy Change Nameless Wildness Teenage Dream Liquid Gang Carsmile Smith & the Old One You've Got To Jive To Stay Alive - Spanish Midnight Interstellar Soul Painless Persuasion v. the Meathawk Immaculate The Avengers (Superbad) The Leopards Featuring Gardenia & the Mighty Slug LP2 The Groover Midnight Truck On (Tyke) Sitting Here Satisfaction Pony Release Date: September 18, 2020

David Bowie’s "Top Rank Proudly Present” -September Tour, a one-page advert in New Musical Express, August 26, 1972.

David Bowie’s "Opening Hardrock," a one-page advert in Melody Maker, August 26, 1972.

David Bowie’s "David Bowie & Iggy Pop's Birthday," a one-page article in Rolling Stone, September 9, 1976.

Alice Cooper Group's “ Muscle of Love” one-page advert in Billboard Magazine, dated February 16, 1974.

Alice Cooper Group’s "Geishas Peel For Alice," a one-page feature in Circus Magazine, January 1, 1974.

Alice Cooper Group’s Alice in Popswop, a one-page in Popswop Magazine, February 17, 1973.

Alice Cooper Group's “ Alice Never Ordinary” a two-page article and news clip featured in Creem magazine on March 1, 1973.

Alice Cooper Group's “ Making Slow Progress” a one-page Mail Bag in Melody Maker, dated March 10, 1973.

Alice Cooper Group's “ Off with His Head “ two-page article in Melody Maker, March 10, 1973. Yes, friends, it's the guillotine for Alice in his latest stage outrage. Michael Watts got an exclusive preview before this show hit the road for a record-breaking US tour.

Alice Cooper Group’s "Alice The Cover Girl," a one-page article in Popswop Magazine, April 7, 1973.

Alice Cooper Group’s "The Master of Fantasy," a one-page article in Sounds Music Newspaper, April 14, 1973.

Alice Cooper Group’s "Hype, Hype Hooray," a two-page article in New Musical Express, June 30, 1973.

Alice Cooper Group’s "Alice & Liza Make Love," a one-page article in Circus Raves Magazine, January 1, 1974.

Alice Cooper Group’s Bronzed Bomber Alice, a cover and one-page article in Sounds, March 30, 1974.

Alice Cooper Group’s “Can You Pass Alice's Love Exam?” a cover insert and two-page article in 16 Magazine, May 1, 1974.

Alice Cooper Group’s "Its Iron Curtains for Alice," a one-page article in Music Star Magazine, June 22, 1974.

Alice Cooper Group’s "No Business Like Show Business," a two-page article in Hit Parader Magazine, July 1, 1974.

Alice Cooper Group’s "Alice is a Pussycat," a one-page article in Teen Star Magazine, September 1974.

Alice Cooper Group's “ It's My Life and I’ll Play Golf If I What to” one-page article in New Musical Express, dated March 23, 1974.

Alice Cooper Group's “ Golfing With Alice” a five-page feature in Hit Parader magazine, dated August 1, 1974.

David Bowie’s By Bowie - David Writes, a cover and four-page feature in No.1 Magazine, November 10, 1984.

David Bowie’s "Gary Numan, Fear Not" a one-page concert review in New Musical Express, July 8, 1989. TIN MACHINE LONDON TOWN & COUNTRY CLUB ROCK GOD PLAYS NON-STADIUM GIG! One minute David was an ex-mod mime artist protesting about Tibet and then he was a superstar chameleon with a bit of a rep for worshipping the devil and Benito Mussolini. Like a giant he bestrode the early '70s and stood firm on his 400 feet tall spindly legs as the emetic of punk washed all around him. Not only did he survive, but the scum that thrived in the post-punk vacuum saw him as a role model. Yes! David Bowie! Monster of Rock! Master of Disguise! Live! Yes, this is a working band. And so we don't forget it the stage is lit up with harsh white light. David Bowie, wrinkles and all. The sight of extremely skillful musicians wringing the necks of guitars is exciting and quite interesting for about a minute. I wandered around the crowd. They were mildly excited. This was not an event. And then Tin Machine played their version of 'Working Class Hero'. They didn't just kill it, they tortured it in front of its children, urinated on it and stuffed its dick in its mouth. Every hair was pulled out with teezers. The nose was slit and fed to the ants. The testicles were attached to a car battery with crocodile clips and studded rubber coshes were smashed across the kidneys. The screams for mercy were ignored. The song suffered. It was battered black and blue and shat upon. Bowie postured and preened without any sense of self-irony. Lennon's greatest songwriting moment, a brilliantly bitter summation of working class existence, was rendered as if it was a postmodernist advert for a new bank account. Bowie sang with that tedious, bland, empty white voice. It wasn't camp, it wasn't kitsch, it wasn't even particularly clever. Patronising 'Cor-blimey-guv-oi-grew-ap-in-Beckenham- don'tcha-blinkin'-know!' waffle doesn't cut it either. Tin Machine are a lumbering rock nightmare. There is no tension, no catharsis, no purpose. They sound like the most leaden of leaden heavy metal bands. Bowie 'sings' like Rex Harrison in Dr Doolittle. God it was boring. With his silly cockernee accent and ridiculous 'shape throwing' Mr Bowie and his session musician friends just ploughed through the album, song after bloody tedious song. Occasionally they'd let rip with a bit of a 'jam'. Shivers ran down my spine. It was so contrived, so deadening. So 1975. He could have cheered me up by playing one of his very few decent old songs like 'Laughing Gnome', but he didn't. He has once again shed his ugly bug skin to emerge as another ugly bug. Gary Numan, you have nothing to fear. No fun. Steven Wells "Does that say what I think it does?"

David Bowie’s "Fame 90," a one-page advert in New Musical Express, March 31, 1990. 7" CHANGES ENVELOPE PACK (with three Ltd edition Bowie prints) GASS MIX aa/QUEEN LATIFAH'S RAP VERSION Remix by JON GASS aa Remix by D.J. MARK “THE 45 KING" 12" SHRINK WRAP PACK HOUSE MIX bi/ HIP HOP MIX/GASS MIX Remix by ARTHUR BAKER Remix by JON GASS CD HOUSE MIX b/HIP HOP MIX c/GASS MIX d/QUEEN LATIFAH'S RAP VERSION Remix by ARTHUR BAKER c Remix by JON GASS d Remix by D.J. MARK “THE 45 KING" 7" PICTURE DISC GASS MIX b/ BONUS BEAT MIX USA a Remix by JON GASS b Remix by D.J. MARK “THE 45 KING"

David Bowie’s No Brasil! Exclusive Interview, a cover in Bizz Magazine, September 1, 1990.

David Bowie’s "Sound with Vision," a one-page advert in New Musical Express, August 31, 1991.

David Bowie’s "Tin Machine in Los Angeles," a two-page feature in New Musical Express, September 7, 1991.

David Bowie’s "The Man Who Fell to Earth - From Ziggy to Diamond Dogs," a two-page feature in BBC 50 Years of Pop, January 1, 1992.

David Bowie’s Getting On Famously - Brett and Bowie Whoop it up, a cover and two-page feature in NME, March 20, 1993.

David Bowie’s Brett & Bowie Round Two - "Alias Smiths and Jones," a two-page feature in NME, March 27, 1993.

David Bowie’s Black Tie White Noise Is Out April 5: UK Advert, a one-page UK advert, March 29, 1993.

David Bowie’s "50th Birthday Bash - Fifty in the Park," a one-page review in NME, January 25, 1997. KEVIN CUMMI MINS Frank Black bellows a rollicking 'Scary Monsters'. Robert Smith strums and sighs on an unimaginably wonderful "Quicksand'. Foo Fighters make a juggernaut guitar marathon out of 'Hallo Spaceboy'. Shiny-topped Billy Corgan (He's a baby! He's a baby!) towers over Bowie in romping versions of 'All The Young Dudes' and 'Jean Genie'. Magnificent. But even this starry parade can't compete in the eccentricity stakes with Bowie's current band: a carnival of chrome domes, Uncle Fester lookalikes and 3,000-year-old jazz pianists. Which is about as truly 'alternative' as it gets. They rock like bastards too, with minimum muso indulgence and maximum volume. Maybe that's why Dave pares his usual theatrical excesses down to some low-key back projections, revelling instead in a simple stage presentation where music is the prime focus. So when Lou Reed finally arrives he's almost surplus to requirements. This is the first time the grizzled old goat has performed with his one- time Britpop mentor in almost 25 years, but even that doesn't explain the extraordinary chorus of booing which greets his arrival. Only later does it transpire that the crowd are actually chanting Reed's surname, Springsteen-style, in mass worship. So that leaves just your NME reviewer jeering loudly between songs at the overrated old curmudgeon. Oh dear. To be fair, Lou enters into the event's spirit with a certain gusto. Introduced by Bowle as "the king of New York", the pair lurch into strutting glam-punk rarity 'Queen Bitch' from 'Hunky Dory' an inspired choice since Dave ripped the song's style and mood off Lou wholesale in the first place. 'I'm Waiting For The Man' and 'White Light, White Heat' both receive reverential hammerings and Reed also gets to trot out his more recent 'Dirty Boulevard', presumably as a reward for deigning to turn up at all. Strikingly, though, it is Reed who appears a generation apart at Madison Square Garden rather than the lithe, energised, robes of doom, the croaky old charlatan that is David Bowie uses this 50th birthday bash to piss away what remains of his career. Opening with the Lord's Prayer and ending with a Nazi salute, Dave tests the endurance of 20,000 assembled disciples with a medley of prog-metal noodling from his Tin Machine period and a silent mime about feeling a tad alienated in Chinese-occupied Tibet. He then delivers a Burroughsian cut-up poem about space donkeys and explodes. Hurray! That's what you want to hear, isn't it? A 50-year-old pantomime dame on the skids, making horrible music and murdering his classic hits? Not, say, an all-time original talent back in focus after years of false rebirths even the godfather of art- rock extremity testing his mettle against several generations of his musical offspring, from Robert Smith to Dave Grohl? Or maybe that, for the first time in nearly two decades, Dave has new songs which can hold their own against his back catalogue in terms of starkly dramatic delivery and simple melodic power? Insane notions, of course. Unlikely beyond reason. Too much to dare hoping for. But all completely true. Essentially, this mammoth benefit bash is a win-win situation for even the most disillusioned Bowie fan. If you've been patiently hanging on for Dave to make noises as savage and uncompromising as his '70s prime, then the gnashing Industrial junglism of 'Little Wonder' and 'Battle For Britain' fit the bill perfectly. If you only want the classics, they're here - from 'Jean Genie' to 'Heroes' to 'Fashion' and beyond. And if you've given up on old Wonky Eyes altogether, you ridiculously youthful Bowie. Even younger guests like Sonic Youth seem slothful by comparison, slouching onstage to add superfluous art-punk guitar turbulence to the already ear-splitting newie 'I'm Afraid Of Americans'. Scoff all you like at Bowie's gargoyle axeman Reeves Gabrels, but he makes a bloody great knob-in-a- blender racket by merely pressing the 'Sonic Youth' pedal on his Arseblaster 9000 control panel, thereby rendering the Yoof's amateurish lo-fi scrongling instantly redundant. Arf. It all ends with Dave's solo strum through 'Space Oddity. Inevitable, cheesy, predictable - but a slice of pop history and, yes dammit, quite a touching moment too. Next year he may well be back to rubbish big-haired metal again, of course. But right now, the case for a full- blown David Bowie revival has never looked stronger. Stephen Dalton

David Bowie’s "Reeves Gabrels - Earthing from Mars," a five-page article in Guitarist Magazine, May 1, 1997.

David Bowie’s Stage "A Xerox Album From a Polaroid Hero," a one-page review in Melody Maker, September 30, 1978.

David Bowie’s "More Hype - Basildon Arts Center," a one-page advert in Scrapbook, February 28, 1970.

Alice Cooper Group’s "Sex, Rock And A Boy Named Alice," a one-page article in Record Mirror, June 5, 1971.

Alice Cooper Group’s "The Queen Of Shock," a one-page article in Record Mirror, June 5, 1971.

Alice Cooper Group’s Alice Really is a Nice Guy, a cover and four-page feature in Creem Magazine, July 1, 1971.

Alice Cooper Group’s "Its Defiantly Theatre," a two-page feature in Zig Zag Magazine, October 1, 1971.

Alice Cooper Group’s What a Drag, a one-page cover in Melody Maker, October 30, 1971.

Alice Cooper Group’s "Under My Wheels" - A Killer Single, a one-page advert in Billboard Magazine, October 30, 1971.

Alice Cooper Group’s "Alice Cooper on Tour," a one-page on-tour advert, December 1, 1971.

Alice Cooper Group’s "Through The Looking Glass," a six-page feature in Creem Magazine, December 1, 1971. Behind him there is some object shrouded in a white cover. He rips the cover back revealing an electric chair with a dummy sprawled across it. He picks the dummy up, lovingly cuts its throat with the spear head and then disembowels it. He throws it on the floor and flails away at it with the hammer. Bored, he wanders over and sits down in the chair. Behind him the band build up to the screaming climax of Black Juju. Suddenly lights flash around the chair and his body jerks spasmodically and then slumps. What seems like hours later he comes back to life, picks up an enormous watch and chain and starts swinging it in front of his eyes. The stage lights reflect on the metal casing. It is impossible not to stare at the clock as it swings backwards and forwards. He throws it to the ground and it breaks. Cooper moves to the front of the stage, a cushion in his hands. As the song builds to its last highpoint he swings the cushion over his head and showers the front rows with feathers. More feathers start to cascade from the ceiling of the hall. The other members of the band rush to the front of the stage with fire extinguishers and blast the feathers all over the auditorium with bursts of pressurised CO2 As the band files offstage the stunned audience erupts into deafening applause. The band comes back for one encore. Cooper stands at the front of the stage throwing rolled publicity posters of the group out into the audience. "

Alice Cooper Group’s Superpop Alice Poster, a two-page centrefold poster in Disc, January 1, 1972.

Alice Cooper Group’s "Who Is Alice Cooper?," a one-page article in Words Magazine, January 1, 1972

Alice Cooper Group’s Gold Diggers Of 1984, a cover and five-page feature in Rolling Stone, March 30, 1972.

Alice Cooper Group’s "School's Out," a one-page review in Circus Magazine, June 1, 1972.