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Bolan's Capital Radio Phone-In On January 18, 1976, Maggie Norden interviewed Marc Bolan on the Capital Radio show Hullabaloo. The programme featured Bolan discussing his music and career, responding to listener questions during a live phone-in segment, and playing tracks from his upcoming album Futuristic Dragon (released later that year). A lively, fan-focused radio moment during Bolan’s mid-’70s creative peak. Interview Overview Details Show: Hullabaloo (Capital Radio, UK). Date: January 18, 1976. Host: Maggie Norden. Format: Interview + listener phone-in. Highlights Marc Bolan in conversation with Maggie Norden Live phone-in with fan questions Airplay of preview tracks from Futuristic Dragon Do you have a recording of Marc's Hullabaloo interview? Ready for Futuristic Dragon previews? 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.

Bowie's Marius de Vries Remix Push Released as a 7-inch limited edition picture disc vinyl single in the UK by Virgin Records (catalogue: VSP 1767 / 7243 8 96486 76) on January 17, 2000, David Bowie’s “Survive” (Marius de Vries Mix) — backed with “Seven (Live)” — supported the album hours…. The single entered the UK Singles Chart on February 5, 2000, peaked at No. 28, and lasted 2 weeks. Track Listing A: Survive (Marius De Vries Mix) – 4:18 B: Seven (Live) – 4:17 Credits Co-producer – Marius De Vries (tracks: A), Reeves Gabrels (tracks: A) Producer – David Bowie Track B recorded live at the "Elysee-Montmartre", Paris, 14th October 1999. UK Chart Run Peak: 28 05/02/2000 – 28 12/02/2000 – 59 All Worldwide Formats & Variants Survive CD, Single Virgin – 7243 8 96487 2 0, Virgin – VSCDF 1767 UK & Europe 2000 1 Survive (Marius de Vries Mix) 2 Survive (Album Version) 3 Thursday Child (Live) 4 Seven (Live) 7", Limited Edition, Picture Disc Virgin – VSP 1767, Virgin – 7243 8 96486 76 UK 2000 A Survive (Marius De Vries Mix) B Seven (Live) CD, Single, Enhanced Virgin – 7243 8 96486 0 7, Virgin – VSCDT 1767 Europe 2000 1 Survive (Marius de Vries Mix) – 4:18 2 Survive (Album Version) – 4:11 3 The Pretty Things Are Going To Hell (Stigmata Film Version) – 4:46 Video Survive – 3:37 CD, Single, Enhanced, Collectors' Edition Live CD Virgin – 7243 8 96487 0 6, Virgin – VSCDX 1767, Virgin – 8 96487 0 Europe 2000 1 Survive (Live) – 4:10 2 Thursday's Child (Live) – 5:37 3 Seven (Live) – 4:07 Video Survive (Live In Paris) – 4:08 CD, Single, Promo, Cardsleeve Virgin – VSCDJ 1767 Europe 2000 1 Survive (Marius de Vries Mix) 2 Survive (Album Version) CD, Single, Cardboard Sleeve Virgin – VSCDE 1767, Virgin – 7243 8 96486 21 Europe 2000 1 Survive (Marius de Vries Mix) 2 Survive (Album Version) CDr, Single, Promo Virgin – none UK 2000 1 Survive (Marius de Vries Mix) 2 Survive (Album Version) CDr Virgin – VSP/VSCDT/VSCDX 1767 UK & US 2000 1 Survive (Marius de Vries Mix) 2 Survive (Album Version) 3 The Pretty Things Are Going To Hell (Stigmata Film Version) 4 Survive (Live) 5 Thursday's Child (Live) 6 Seven (Live) CDr, Single, Promo Virgin – none, Virgin Records Ltd. – none UK 2000 1 Survive (Marcus de Vries Edit) 2 Survive (Album Edit) Legacy A moody electronic single from Bowie's late-'90s introspection phase. The picture disc is the rarest — grab it if you spot one. Do you have Survive in your stack? Ready to survive? 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.

The Tour That Hit NME Teazers Published in the UK on January 17, 1974, New Musical Express’s one-page article “Bowie UK Dates” detailed David Bowie’s upcoming tour plans and the latest news surrounding his career. The piece confirmed the continuation of all scheduled European and English dates (April–May) despite Bowie’s recent termination of business dealings with lawyer/adviser Michael Lippman. It announced rehearsals in Jamaica at Keith Richards’ house (with Keith absent), featuring musicians Carlos Alomar, Earl Slick, Dennis Davis, and George Murray. Bowie’s London shows were set for May 3rd through May 8th at Wembley Empire Pool. The article also noted inside sources promising a “surprise” element in the first part of the show, with rumours of mime and possibly ballet, plus Bowie-designed lighting by Showco. Additionally, Angela Bowie mentioned plans for a joint appearance on the Dinah Shore TV show (February 10th) and a potential UK TV special in the spring. Article Overview Publication Details Magazine: New Musical Express (UK). Date: January 17, 1974. Format: One-page news/feature article. Do you have this NME article in your archive? Ready for the Wembley dates? Share in the comments! ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ Article Text: Out from the mists of time comes an individual called SHANE FENTON. See the shiny mohair! See the jolly, saucy FENTONES behind him. Who could forget that fabulous hit "I'm A Moody Guy"? You did? What a shame. In a second incarnation he became ALVIN STARDUST, who some might say is heading back into the mist of time as fast as he can go. Lisa son Robinson HOT FROM NEW YORK inside sources promise that the first part of the show will be a "surprise". Rumours are that that surprise might feature some mime, a form that David has been fond of for a long time, and possibly even a bit of ballet Bowie designed the lighting that will be used by Showco, they're also doing the sound. In New York Angela Bowie said that she and David planned to do the Dinah Shore TV Show together on February 10th; "It's the first time we've ever done anything on TV together," she said excitedly. "Dinah wants David to be a sort of co-host, and when he asked me how I should be featured, we agreed that it should be "Guest Star" "They'll do that TV appearance if there's time, in between David's already sold out Forum shows. Angie said also that she hoped to do a TV Special "all singing, all dancing" in Britain in the spring. AS RUMOURED in Teazers last issue, David Bowie has terminated business dealings with his "lawyer/adviser" Michael Lippman, but all tour plans including the European and English dates scheduled for April and May will remain as set. David is currently in Jamaica at Keith Richard's house (Keith isn't there) where he's rehearsing with his band for the upcoming U.S. tour, slated to start Feb. 3 in Vancouver. He is in constant touch daily by telephone with both his "Administrative Assistant" Pat Gibbons, and wife Angela, who have both been in New York and in the RCA Records' offices this past week. (Bowie's London dates are May 3rd through the 8th at Wembley, Empire Pool.) Rehearsals are with musicians Carlos Alomar, Ford Slick Dennis Davis and George Murray

Queen's Sheer Heart Attack Live Cut The Single That Hit 11 EMI's 1975 Sheer Rock Push Released as a 7-inch vinyl single in the UK on January 17, 1975, on EMI (catalogue: EMI 2256), Queen’s “Now I’m Here” — backed with “Lily Of The Valley” — was the second single from Sheer Heart Attack. Written by Brian May, produced by Queen and Roy Thomas Baker, this live favourite entered the UK Singles Chart on January 25, 1975, peaked at No. 11, and charted for 7 weeks. Issued in EMI factory sleeve with solid centre pressing. Composed by guitarist Brian May, the song is recognized for its powerful guitar riffs and vocal harmonies. It peaked at No. 11 on the UK Singles Chart when it was released as a single in 1975. The song became a live favorite, featured in nearly every Queen concert from late 1974 to 1986. Details "Now I'm Here" reflects May's positive experiences during the band's US tour earlier in 1974. Mott the Hoople, whom Queen supported, are mentioned in the line "Down in the city, just Hoople and me". The song was also included in the 1981 compilation album Greatest Hits and the 1997 compilation album Queen Rocks. In March 2005, Q magazine ranked "Now I'm Here" at number 33 on its list of the 100 Greatest Guitar Tracks. Live performances "Now I'm Here" was a staple in Queen's setlists, performed on every concert tour from 1974 until their final tour in 1986. It was first played during the Sheer Heart Attack Tour in Manchester on 30 October 1974. During the Sheer Heart Attack Tour, Mercury would be seen singing "Now I'm here" on one side of the stage amidst darkness and dry ice, and a few bars later, at "Now I'm there", he would "appear" on the opposite side, an illusion created by a stagehand dressed identically. The liner notes of Live Killers (1979), Queen's first live album, mention that the song was removed from the setlist for a period but had recently been brought back. The song was rearranged to allow Mercury to engage with the audience in a "call and response" sing-along. The exact time when the song was dropped and for how long remains unclear. May continued to perform the song as a solo artist after Mercury's death in 1991. At The Freddie Mercury Tribute Concert in 1992, May joined Def Leppard on stage to perform the song, which later became the B-side to Def Leppard's single "Tonight" and was included in the deluxe edition of their Adrenalize album. It served as the opening song for the American, Asian, and Australian legs of the Queen + Adam Lambert Tour 2014–2015. Track Listing A: Now I'm Here B: Lily Of The Valley UK Variants 7", 45 RPM, Single – EMI EMI 2256 – UK – 1975 7", 45 RPM, Single, Promo – EMI EMI 2256 – UK – 1975 7", 45 RPM, Single, Solid Center – EMI EMI 2256 – UK – 1975 7", 45 RPM, Single, "Roy Thomas Baker" on 2 Lines – EMI 2256 – UK – 1975 UK Chart Performance Peak position: 11 7 weeks – January 25, 1975 to March 8, 1975 35 → 20 → 12 → 11 → 16 → 20 → 38 Do you have Now I'm Here in your vinyl stack? Ready to rock the house? 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.

Ronnie Lane's Doomladen Prophecy Published in the UK on January 17, 1976, New Musical Express’s one-page feature “Can Rock Survive the Holocaust” and one full-page advert for the One More for the Road Tour. Chris Salewicz probed prophetic Ronnie Lane about his life after leaving the Faces, his new band Slim Chance, the Passing Show circus tour, and his move to a farm in Monmouthshire. Lane discussed the problems of going solo, the expense of studios, the boredom of the rock-star lifestyle, and his belief that technology and society were heading for disaster. He described the Faces era as “amateur night out” and expressed contentment with a simpler, more real way of living. Article Overview Publication Details Magazine: New Musical Express (UK). Date: January 17, 1976. Format: One-page feature article + One More for the Road Tour full-page advert. Do you have this NME feature in your archive? Ready for the holocaust forecast? Share in the comments! ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ CHRIS SALEWICZ probes prophetic RONNIE LANE. R ONNIE LANE'S up in town today. Been up from the farm in Monmouthshire for about a week now. Played the Olympia Great British Etc. with the new permanent issue of Slim Chance, recorded a couple of numbers for Supersonic down at London Weekend the day before yesterday, and now he's in the offices of EG Management on the Kings Road, doing a phone interview with an Edinburgh daily. Ronnie Lane's Slim Chance start a 22date British tour in Edinburgh the day after tomorrow. We leave the two kids in manager David Enthoven's office watching the colour telly the Lanes don't bother with a TV at home and Ronnie and Kate Lane and Adi Hunter, his publicist, and me go round the corner to "The Phoenix" and have a bit of a talk. It's a Watneys pub so we have to drink wine. Since leaving the Faces Ronnie Lane's existence, within the terms of the music business, has seemed confused to say the least. Now, though, he's got "One For The Road", his second album for the Island label released next week, and a management deal with the same company that has been the careerminders of Roxy Music and King Crimson, not to mention ELP and Julie Felix. Lane split with Billy Gaff, the Faces' manager, "because he had too much on his plate sorting out the Warners/Mercury thing for Rod. He was like doing a Dr. Kissinger backwards and forwards to America all the time." Then Lane was introduced to Trentdale, a management company who were handling the Sharks and Andy Fraser. RONNIE LANE then brought himself and Slim Chance to EG. Life as a solo artist had so far proved to be Problem City. "There was a helluva lot of problems. I mean, I'm still sorting 'em out in actual fact. I mean, like the hangover from that period is quite considerable. You know, VAT (laughs) and things like that, let alone "In a way I just ended up trusting a lot of people to do things which they said they could do which they couldn't, you know? "It sort of backfired on me more than anyone else, really. "Bit of an amateur night out. I mean I was pretty amateur too. I just used to take pot luck. but I can't really do that any. more. Because I can't afford to." Just an expensive way of finding out? "Yeah," he nods, licking up a rollup. "It was also a way of starting up and doing something completely different which was one of the reasons the Passing Show (Lane's circus tent tour) came about. "When I left the Faces I couldn't really face the prospect of going back on the road to do a tour like what I'm about to embark on now. But I hadn't set the Show up properly anyway, I did learn a helluva lot, you know. I think I'd know how to do one properly now." If it was done properly it could be done, could it? "Well, yes. It wouldn't make a lot of money. But it's such a nice way to live... Well, I suppose it could make a lot of money but there's no point in letting it get that big. Otherwise you might as well go back in the halls again," he laughs, as "Let's Twist Again" provides the soundtrack from the pub jukebox. Like fellow former Small Face Steve Marriott, much of Lane's earnings were sunk into a studio. Marriott's studio, of course, caused The Death Of A Horse. Lane's Mobile saved his skin. "It did pay for the Passing Show. What money it made went straight into that. And it still wasn't enough. I had to get subs all the way round to keep it on the road the last few weeks. "But I'm very pleased the way the mobile's turned out. We just done this record on it and it's the way I wanna record. I don't like studios very much. We even mixed it in the mobile this time. We started it in there and we finished it in there, which really is what I'm after. And it worked too. "It works for me. I don't say it'd work for everyone but I work in a ." he pauses. . in a slightly different way to a lot of people in the busi66 ness. "They're not happy to put up with a bit of rough." Oh, you mean you're prepared to put up with the kind of conditions that most people have to put with in their everyday lives anyway. "Yeah, I suppose so. Instead of trying to avoid them all the time." I suppose that's the antithesis of the way you used to record with the Faces. Rod Stewart's moan was that studios would get booked and then all the time would be spent in the pub. Which must have thoroughly disturbed his Scottish understanding of fiscal affairs. "Really expensive," Ronnie Lane smiles. "But it was exaggerated. A lot of time wasn't spent in the pub. Only if someone hadn't turned up because there was bugger else to do. But even then we used to carry on without them. "But that was basically what started to go wrong. I mean 'Nods As Good As A Wink' was started and finished in twelve days. So there couldn't have been a lot of time spent in the pub there. But 'Ooh La La' was a saga. there "It started off great guns like 'Nods As Good As A Wink'. But then finishing it just wasn't the interest there anymore," he shakes his head. You were living in a caravan, weren't you? "We're living in one now," says Lane. "Up here. Except it's not a caravan. It's my old bus." I'm quite interested in why you started getting into all of this, oh, Getting Back To Your Roots, as it were. After all, it comes over very strongly in your postFaces music, even down to "One For The Road" having the Welsh farm on the sleeve. "Quite interested? Why?" Because I quite possibly agree with you. What "Well, you see can I say. I don't wanna particularly preach to anyone My theory of why you're into it would go like this: that you all got so bombed on the Faces tours that you eventually began to get bored by it all. And after a while you began to think that maybe that wasn't the way to do it. "I don't particularly want to get used to that way of doing things, because it's not real. I come from a workingclass background. Why should I try and become the aristocracy of this age, you know? It's not an ambition of mine. "I just want to stay the way I am. You can surround yourselves with all sorts of facades but I'd rather get on with living. "It's very hard to talk about it, really," he adds, looking pensively through me. So success didn't change our Ron, eh? "Uhhhh. Oh, I enjoyed it," the Stratford accent filters through on the emphasis "Don't get me wrong. I really enjoyed looning about in the limousines. It was a good game. But it never became any more than a game. "We was just playing pop stars. That's all. It's like cowboys and Indians. You had to grow up some time." And the music that you're writing now. That seems to come very much out of the way you're living now. Right? "Yeah. Totally." Could you not have written songs like the ones you're writing now, then? "Well... no. It's a different sort of band. The Faces was a heavy sort of rock band. And also had, like, a geezer up the front with a very powerful voice. Which I don't possess. "I mean, what I'm doing now The band's basically a vehicle for the stuff I write. I mean, it is a band and the way it's been got together it's good for the stuff I write, whereas the Faces and even the Small Faces weren't particularly good for the stuff that I personally conceived. "It was great to write with one of the Faces like Ronnie Wood or with Steve in the Small Faces. It was great to actually write something for that band. "But when I wrote something on me own it didn't really fit. It didn't really stick." "AM I disillusioned with the rock business? "No. Of course I'm not. I think it's a ONEDERFULL function. HaHaHaНаНаHa!!! "It just got boring, that's all. It lost its point somehow. Became like Marks and Spencer. "You know what I mean? Marks and Spencer has branches everywhere and has a huge turnover and it just became like that." He yawns, as if to emphasise a point. "I don't know. It's very odd. You're talking about a long period of time. And for me to sum it up in a few words is very hard, you know. I mean, you could write a book about it if it weren't so boring." LONG MOMENTS of silence. Then: "1976. What a violent start it's had, hasn't it? Innit shocking?" Yeah, I think it's gonna be a very bad year. "It's gotta be a bad year. "You see, I think things are going to get so bad a lot of people ain't gonna know what's hit 'em. "In a way I try to be ready for that sort of thing rather than be caught with me pants down. I mean, we're all gonna get caught with our pants down anyway, without totally living in cuckooland as well and then suddenly waking up one morning and it's all happening, you know. "I didn't move down to the country to run away. I moved because there I could live a bit more like I wanted to. I don't want to bother anyone. On the other hand I don't want anyone to bother me either. "Anyway, we don't want this interview turning into a forecast of doom, do we?" Well, you never know: it might be quite profitable. "No. The point is... I mean, you can shout about doom as much as you like but noone will realize it's coming so it's best just to keep it to yourself, I think, and try and keep the troops happy. "You see, we've all been brought up in a society that said that technology was going to be such a wonderful thing. I mean, like when we was kids don't worry. Man will find out how to do it. "And noone can actually grasp the fact that really we've buggered the whole system, you know." "It was like that yesterday in the hardware shop," Kate Lane reminds her husband. He nods: "We were down the East End. We found this hardware store. And for all the world it was like a hardware store that you'd go into fifty years ago. Right? And we Continues page 29 Much better on the eyes now! Let me know if you’d like any other formatting tweaks. 🎸 January 17, 1976 NEW MUSICAL EXPRESS Page 114 RONNIE LANE'S SLIM CHANCE THEIR NEW ALBUM ane Far the Road Tour JANUARY 17 COLCHESTER ESSEX UNIVERSITY 20 AYLESBURY FRIARS 22 MANCHESTER FREE TRADE HALL 23 COVENTRY WARWICK UNIVERSITY 24 LEEDS UNIVERSITY 25 CROYDON GREYHOUND 28 SWANSEA UNIVERSITY 29 TUNBRIDGE WELLS ASSEMBLY ROOMS 30 BRUNEL UNIVERSITY 31 BIRMINGHAM TOWN HALL FEBRUARY COLSTON HALL BRISTOL PLYMOUTH FIESTA CLUB 123567 7 PORTSMOUTH GUILD HALL WAKEFIELD UNITY HALL UNIVERSITY OF EAST ANGLIA NORWICH NOTTINGHAM UNIVERSITY 8 SHAFTESBURY THEATRE LONDON island records RONNIE LANE'S SLIM CHANCE ONE FOR THE ROAD ALBUM ILPS 9366 CASSETTE ZCI 9366 THEIR NEW SINGLE 'Don't Try n' Change My Mind' c/w 'Well Well Hello (The Party) WIP 6258 OUT NOW

Bowie's Lippman Management Break Published in the UK on January 17, 1974, Melody Maker’s one-page article “Bowie In Surprise Split” announced David Bowie’s sudden parting with his lawyer/manager Michael Lippman. In a brief statement issued by Bowie’s public relations firm on Thursday, Bowie confirmed Lippman no longer represented him in any capacity. Inquiries about business matters were to be directed to Patrick Gibbons, a longtime Bowie associate who had previously worked for Main Man and served as tour manager. The statement also named Bowie’s new attorney. Exact Text from the Article DAVID BOWIE has parted company with his lawyer/manager Michael Lippman. In a brief on statement issued by Bowie's public relations firm on Thursday, Bowie said that Lippman no longer represents him in any capacity and that any inquiries business matters should be directed to Patrick Gibbons, a long time Bowie associate who worked for Main Man and has acted as tour manager for Bowie in the past. The statement added the name of Bowie's new attorney. No reasons for this sur-prise move were given, though Bowie is currently in Jamaica rehearsing his new band for the upcoming American and European tour. The MM understands that Bowie made the decision to drop Lippman, who has represented him since his split with Tony De Fries, while in Jamaica. Lippman would not comment on the situation. new Bowie's band includes guitarist Earl Slick who appeared on the "Diamond Dogs" tour, as well as guitarist Carlos Alomar, drummer Dennis Davis and bassist George Murray. A keyboard player may be added. Bowie's US tour opens on February 2 at Vancouver and lasts two months, culminating in New York at Madison Square Garden on March 26. Included in the dates is a three-day stop-over in Los Angeles that includes three shows at the Forum. While in New York he will also play the Nassau Coliseum. In every city he visits Bowie will appear at the largest arena available. Following the New York date, Bowie sails to Europe to begin the European tour. Do you have this Melody Maker article in your archive? Were you shocked by the split? Share in the comments!.

Bowie's Posthumous Mail on Sunday Tribute Published in the UK on January 17, 2016, The Mail on Sunday’s cover “Golden Years: A Unique Tribute to a Musical Icon” was a heartfelt, full-colour tribute to David Bowie, released just one week after his passing on January 10, 2016. The cover featured a striking image of Bowie, with the feature celebrating his life, music, and cultural impact — from Ziggy Stardust to Blackstar — as the world mourned the loss of one of rock’s greatest innovators. Cover Overview Publication Details Magazine: The Mail on Sunday (UK). Date: January 17, 2016. Format: Front cover Do you have this Mail on Sunday cover in your archive? Did Bowie’s golden years touch you? Share in the comments!

Bowie's Cover Album US Push Published in the US on January 17, 1974, Rolling Stone’s one-page advert promoted David Bowie’s Pinups — his seventh studio album, a collection of covers of his favourite 1960s songs. The ad highlighted the album’s nostalgic glam-rock take on tracks by The Pretty Things, The Kinks, The Who, Them, Pink Floyd, The Yardbirds, The Easybeats, and more, positioning it as a bold celebration of British rock history during Bowie’s peak Ziggy-era fame. Advert Overview Publication Details Magazine: Rolling Stone (US). Date: January 17, 1974. Format: One-page album advert. Do you have this Rolling Stone advert in your archive? Ready for Pinups? Share in the comments!

Released on Regal Zonophone (RZ 3016) in the UK on January 17, 1969, Tyrannosaurus Rex’s “Pewter Suitor,” a non-album track backed with “Warlord Of The Royal Crocodiles” from Unicorn, was their third single. Written by Marc Bolan and produced by Tony Visconti, it did not chart in the UK. Contemporary Reviews (1970) Tony Hatch (Melody Maker) admired Bolan’s courage and described it as a fantastic rhythm with the potential to sound amazing in a stoned state at a party. Chris Welch (Melody Maker) called it a bopping opus distinguished by a natty guitar figure, with rattling pots and tiny voices heating up like rough gnomes bashing each other with toad-stools. Derek Johnson (NME) felt it was uncomplicated and easily absorbed, with an urgent fast-driving beat, complex counter-harmonies, and exciting guitar work, though he had doubts about its chart potential due to its lack of substance. Single Overview Track Listing A: Pewter Suitor B: Warlord Of The Royal Crocodiles Production Produced For – Straight Ahead Productions Published By – Essex International, Lupus Music Ltd. Producer – Tony Visconti Worldwide Variants: (all same track listing) 7", 45 RPM, Single Regal Zonophone – RZ 3016 UK 1969 7", 45 RPM, Single, Promo Regal Zonophone – RZ 3016 UK 1969 7", 45 RPM, Single, Stereo Stateside – hss 1339 Netherlands 1969 7", 45 RPM, Single Stateside – 2C 006 90026 France 1969 Do you have Pewter Suitor in your collection? Ready to gnome-bash? 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.

Elton's Early Taupin Ballad Released as a 7-inch vinyl single in the UK on January 17, 1969, on Philips Records (catalogue: BF 1739 / 326 939 BF), Elton John’s “Lady Samantha” — backed with “All Across The Havens” — was one of his earliest professional singles. Written by Elton John & Bernie Taupin, this gentle ballad, his second single, six months before his first album, Empty Sky, came out. It appeared on its 1995 reissue as a bonus track. The single did not chart in the UK. CRITIC REVIEW This is Elton John. He's twenty- one, a singer and songwriter, and is out next week on Philips with "Lady Samantha". Quite a character is Elton, He was trained at the Royal Academy of Music for five years-writes music and his lyricist partner is Bernie Taupin, Elton was "discovered" by Beatles publisher Dick James who signed him up to an exclusive contract. He plays six instruments, used to be organist with Long John Baldry's backing group Bluesology, An all-rounder of music, then. With a highly promising future... RECORD MIRROR January 18, 1969. Track Listing A: Lady Samantha B: All Across The Havens 7", 45 RPM, Single, Mono – Philips BF 1739 – UK – 1969 International Variants Germany – Hansa 14 273 AT – 1969 US – DJM Records 70,008 (promo) – 1969 US – DJM Records 70,008 – 1969 Production A 'This' Production. Published by Dick James Music. Chart Performance No UK chart success. Do you have Lady Samantha in your collection? Ready for the early days? 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.

two pages in Entertainment Weekly, May 31, 2002.

David Bowie’s Bowie – A Reality Tour  was released as a 2-CD and 1-DVD in the UK by ISO/Columbia Records (catalog number 88697588272) on January 25, 2010. 2 x CD, Album 2 x CD, Album, Sony DADC, Digisleeve 2 x CD, Album, Limited Edition, Jewel Case 1 x DVD, DVD-Video, Multichannel, PAL, Repress, Digipak The release features November22 and 23, 2003 performances in Dublin during his concert tour A Reality Tour . This is an audio version of the concert video of the same name, except that it adds three bonus tracks. The digital download on iTunes adds two more bonus tracks. All songs written by David Bowie except where noted. Disc 1 1. "Rebel Rebel" Diamond Dogs (1974) 3:30 2. "New Killer Star" Reality (2003) 4:59 3. "Reality" Reality 5:08 4. "Fame" Young Americans (1975) 4:12 5. "Cactus" Heathen (2002) 3:01 6. "Sister Midnight" The Idiot 4:37 7. "Afraid" Heathen 3:28 8. "All the Young Dudes" All the Young Dudes (1972) 3:48 9. "Be My Wife" Low (1977) 3:15 10. "The Loneliest Guy" Reality 3:58 11. "The Man Who Sold the World" The Man Who Sold the World (1970) 4:18 12. "Fantastic Voyage" Lodger (1979) 3:13 13. "Hallo Spaceboy" Outside (1995) 5:28 14. "Sunday" Heathen 7:56 15. "Under Pressure" Hot Space (1982) 4:18 16. "Life on Mars?" Hunky Dory (1971) 4:40 17. "Battle for Britain (The Letter)" Earthling (1997) 4:55 Disc 2 1. "Ashes to Ashes" Scary Monsters (And Super Creeps) (1980) 5:46 2. "The Motel" Outside 5:44 3. "Loving the Alien" Tonight (1984) 5:17 4. "Never Get Old" Reality 4:18 5. "Changes" Hunky Dory 3:51 6. "I'm Afraid of Americans" Earthling 5:17 7. "'Heroes'" (Bowie, Eno) "Heroes" (1977) 6:58 8. "Bring Me the Disco King" Reality 7:56 9. "Slip Away" Heathen 5:56 10. "Heathen (The Rays)" Heathen 6:24 11. "Five Years" The Rise and Fall of Ziggy Stardust (1972) 4:19 12. "Hang On to Yourself" The Rise and Fall of Ziggy Stardust 2:50 13. "Ziggy Stardust" The Rise and Fall of Ziggy Stardust 3:44 CD Bonus Tracks No. 14. "Fall Dog Bombs the Moon" Reality 4:11 15. "Breaking Glass" Low 2:27 16. "China Girl" Let's Dance (1983) 4:18 Digital Edition Bonus Tracks No. Title Original Album Length 14. "5:15 The Angels Have Gone" Heathen 5:22 15. "Days" Reality 3:25 Personnel David Bowie – vocals, guitars, Stylophone, harmonica Earl Slick – guitar Gerry Leonard – guitar, backing vocals Gail Ann Dorsey – bass guitar, backing vocals, co-lead vocals on "Under Pressure" Sterling Campbell – drums Mike Garson – keyboards, piano Catherine Russell – keyboards, percussion, acoustic guitar, backing vocals

David Bowie’s The Next Day  was released as an album in the UK by ISO/Columbia Records (catalog number 88765 46192 2) on March 8, 2013. This album marked Bowie's first studio release in a decade, following his withdrawal from the public eye after a 2004 procedure to address a blocked heart artery. Co-produced with Tony Visconti, the album was recorded in New York City from May 2011 to October 2012. It included contributions from session musicians, some of whom Bowie had previously collaborated with, such as Gerry Leonard, Earl Slick, Gail Ann Dorsey, Steve Elson, Sterling Campbell, and Zachary Alford. The recording sessions were conducted in secrecy, with all involved parties signing non-disclosure agreements.

A Glam Rock Revival David Bowie’s “Sorrow” picture disc, was released in the UK on October 14, 2013, on Parlophone Records (catalogue: DBSOZ 4039, barcode: 825646406845). This limited-edition 7-inch picture disc, featuring the studio track backed with a live version, celebrated Bowie’s glam rock era from his 1973 album Pin Ups. Issued as part of Parlophone’s reissue campaign and tied to the I Own It I Want It collector series, the disc showcased the song’s raw energy with remastered audio, appealing to fans during Bowie’s 2013 comeback with The Next Day. With 38 owners and 2 wants in the community, it’s a sought-after item for glam collectors. Single Overview A-Side: “Sorrow” (3:04)Written by Jerry Goldstein, Richard Gottehrer, and Bob Feldman (The McCoys, 1965 original). Bowie’s version, from Pin Ups, is a gritty glam rock cover with his brooding vocals, Mick Ronson’s snarling guitar, and Ken Scott’s production. It captures the album’s nostalgic tribute to ‘60s British Invasion, with a driving rhythm and haunting melody. B-Side: “Sorrow (Live)” (2:54)A live rendition of the same track, likely from Bowie’s 1973 Ziggy Stardust Tour (specific source unconfirmed, but aligning with Ziggy Stardust: The Motion Picture recordings). It features the band’s raw energy, with Ronson’s guitar and Bowie’s commanding presence, offering a dynamic contrast to the studio cut. Release Details: Label: Parlophone Records (UK pressing, 45 RPM). Format: 7-inch picture disc, with artwork depicting Bowie in his Ziggy-era glam pose (A-side) and live or album imagery (B-side). Part of the I Own It I Want It series. Notes: ℗ 2013 Jones/Tintoretto Entertainment Co. LLC, under license to Parlophone. Remastered for crisp fidelity. The disc’s community stats show 38 owners and 2 wants, with a valuation page for collectors. Search on eBay for current listings. Production and Context The studio “Sorrow” was produced by Ken Scott and Bowie, arranged by Bowie and Mick Ronson, recorded at Chateau d’Hérouville, France, in 1973 for Pin Ups, a covers album revisiting Bowie’s ‘60s influences. The live B-side likely captures a 1973 performance, emphasizing the band’s onstage intensity with Ronson (guitar), Trevor Bolder (bass), and Mick “Woody” Woodmansey (drums). Released during Bowie’s 2013 resurgence, the picture disc was part of Parlophone’s anniversary reissues, bridging his glam past with contemporary appeal. Chart Performance The 2013 picture disc was a limited collector’s item and did not chart. The original 1973 single (RCA RS 2137) peaked at: UK: No. 3 (Official Singles Chart), charting for 12 weeks. US: No. 35 (Billboard Hot 100). International: No. 1 in Ireland. No. 2 in Netherlands. No. 4 in Belgium (Flanders). No. 7 in Germany. No. 10 in Australia. No. 13 in New Zealand.The 1973 version was a major hit, solidifying Bowie’s glam era. Legacy and Collectibility “Sorrow” is a glam rock staple, praised for its brooding reinterpretation of the McCoys original, and remains a live favorite. The picture disc’s 8.0 (studio) and 7.0 (live) community ratings reflect its appeal. Original 2013 UK picture discs fetch £20–£60 on eBay or Discogs, with mint copies prized for their vibrant design—verify barcode and catalogue for authenticity. Tracks stream on Spotify via Pin Ups remasters, preserving their analog grit. This disc is a gleaming tribute to Bowie’s glam peak. Have you added this Bowie picture disc to your collection? Does “Sorrow” evoke the glam era for you? Share in the comments!

David Bowie’s Pin Ups Radio Show  was launched on Spotify on October 28, 2013, marking the album’s 40th anniversary. Originally recorded as a promotional tool for the release of the record in 1973, but never used, the recording features snippets from Pin Ups interspersed with brief but nevertheless wonderful observations from Bowie regarding some of the bands he covers on the album. Vinyl and CD versions of the release were made available in very limited quantities and command fairly stiff prices these days. The closest idea to this promotion back in 1973 was a 7" record sent to RCA Record Club members in New Zealand. Featuring Rosalyn and Where Have All The Good Times Gone the disc introduced listeners to the very enthusiastic Tim, The RCA Stereo Club Disc Jockey. His interjections over each track ensured lucky recipients had to buy the album if they wished to hear the tracks uninterrupted.

A Record Store Day Diamond Dogs Transition Released as a limited edition 3-LP set in the UK on April 22, 2017, as part of Record Store Day by Parlophone Records, David Bowie’s Cracked Actor: Live in Los Angeles captured a previously unreleased live recording from the Los Angeles Forum on September 5, 1974. This pivotal gig marked the transition between the Diamond Dogs tour and the emerging Philly Dogs phase. Produced by David Bowie and mixed by Tony Visconti at Human Studios, NYC in October/November 2016. The set featured an etching on the sixth side and was limited to 17,000 copies worldwide. Track Listing Side A Introduction (Live) 1984 (Live) Rebel Rebel (Live) Moonage Daydream (Live) Sweet Thing / Candidate / Sweet Thing (Reprise) (Live) Side B Changes (Live) Suffragette City (Live) Aladdin Sane (Live) All The Young Dudes (Live) Cracked Actor (Live) Side 2A Rock 'N' Roll With Me (Live) Knock on Wood (Live) It's Gonna Be Me (Live) Space Oddity (Live) Side 2B Diamond Dogs (Live) Big Brother (Live) Time (Live) Side 3A The Jean Genie (Live) Rock 'N' Roll Suicide (Live) John, I'm Only Dancing (Again) (Live) Side 3B Etching (no audio) This release documented a fascinating bridge in Bowie’s 1974 live evolution — from the theatrical Diamond Dogs spectacle toward the soul-infused Philly Dogs sound. Do you have Cracked Actor: Live in Los Angeles in your collection? Ready for the 1974 transition? 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 "Heroes"  backed with "'Heroes' (‘Marc’ Show Version)" , was released as a 40th Anniversary 7-inch vinyl picture disc single in the UK by Parlophone Records (catalog number DBHERO40) on September 22, 2017, to commemorate the 40th anniversary of David Bowie’s iconic single “Heroes,” originally released on September 23, 1977, by RCA Victor (PB 1121). Cataloged as DBHERO 40 (UK) and 5601-7-R (US), this limited-edition picture disc was part of Record Store Day 2017 and Bowie’s posthumous reissue campaign following his passing in January 2016. The A-side features the 2017 remastered single edit of “Heroes” (3:35), while the AA-side (a double A-side designation) contains a previously unreleased live version of “Heroes” from Marc Bolan’s ITV show Marc, recorded on September 7, 1977, and broadcast on September 28, 1977, after Bolan’s tragic passing in a car accident on September 16, 1977. Historical Context David Bowie’s “Heroes,” from the 1977 album of the same name, is the second installment of his Berlin Trilogy (Low, Heroes, Lodger), a period marked by collaboration with Brian Eno and producer Tony Visconti. Recorded at Hansa Studios near the Berlin Wall, “Heroes” was inspired by the Cold War and a clandestine romance between Visconti and singer Antonia Maass, symbolizing defiance and hope. The original single reached No. 24 in the UK and became a global anthem, covered by artists like Prince, Blondie, and The Wallflowers. The 2017 reissue coincided with the A New Career in a New Town (1977–1982) box set, which included the Berlin Trilogy albums. The AA-side’s Marc show performance is historically significant as the first public performance of “Heroes” in the UK, recorded just weeks before Bolan’s death. Bowie’s appearance on Marc, a six-episode ITV series hosted by T. Rex’s Marc Bolan, also featured a duet on T. Rex’s “Standing Next to You,” cut short by Bolan tripping off the stage, adding poignancy to the release given the timing of Bolan’s passing.Track AnalysisA-Side: Heroes (Single Edit, 2017 Remaster, 3:35)Lyrics and Theme: Co-written by Bowie and Eno, “Heroes” captures the fleeting heroism of lovers meeting near the Berlin Wall, with the iconic line “We can be heroes, just for one day.” The quotation marks in the title, as Bowie noted, denote irony, reflecting the song’s bittersweet tone. AA-Side: Heroes (‘Marc’ Show Version, 3:35, Previously Unreleased) Composition and Theme: This live version, recorded on September 7, 1977, for Marc Bolan’s Marc TV show, marks the first televised performance of “Heroes” in the UK. Performed in a studio setting for ITV, it captures Bowie’s raw energy and emotional delivery, though in mono audio, as noted in reviews. Significance: The Marc show version is a collector’s gem, previously unreleased until this picture disc. Its historical context—Bowie performing on Bolan’s show just days before Bolan’s fatal accident—makes it a poignant snapshot of their friendship and the glam rock era’s twilight. The performance’s mono audio is a noted drawback but doesn’t diminish its archival value. [ASIDE] "HEROES" (SINGLE VERSION) (Lyrics by David Bowie, music by David Bowie and Brian Enol-DBRERO 40A Published by North America-Tintoretto Music (BMI) administered by R20 Music, Inc.. Screen Gems-EMI Music, Inc. (BMI) ofblo EMI Music Publishing Ltd.. Universal Music Careers (BMI). Rest of World-Tintoretto Music/RZO Music. Ltd., EMI Music Publishing Ltd. Universal Music MGB Ltd. Produced by David Bowie and Tony Visconti Recorded at Hansa by the Wall, Berlin Engineers - Tony Visconti and Colin Thurston, and Mountain Studios, Montreux Assistant engineers-David Richards and Eugene Chaplin Mixed at Mountain Studios. Montreux Originally 1977, Remaster 2017 The copyright in this sound recording is owned by Jones/Tintoretto Entertainment Company LLC under exclusive license to Parlophone Records Ltd. [AA SIDE] "HEROES"* ('MARC' SHOW VERSION) (Lyrics by David Bowie, music by David Bowie and Brian Eno) -DBHERO 40AA Published by North America - Tintoretto Music (BMI) administered by RZO Music, Inc., Screen Gems-EMI Music, Inc. (BMI) o/blo EMI Music Publishing Ltd., Universal Music Careers (BMI). Rest of World - Tintoretto Music/RZO Music Ltd., EMI Music Publishing Ltd.. Universal Music MGB Ltd. Recorded for the television show "Marc' on 7th September, 1977 and broadcast on 20th September, 1977. 2017 The copyright in this sound recording is owned by ITV Studios Limited. 2017 The copyright in this compilation is owned by Parlophone Records Ltd. ©2017 Jones/Tintoretto Entertainment Company LLC. This label copy information is the subject of copyright protection. All rights reserved. ©2017 Parlophone Records Ltd. A Warner Music Group Company. All rights of the producer and of the owner of the recorded work reserved. Unauthorised copying. hiring, renting, public performance and broadcasting of this record prohibited. Mastered by Ray Staff at AIR Mastering/Design by Gas Associates. 0190295772611/DBHERO 40/Made in the EU. *mono Parlophone 45RPM Critical Reception: The 2017 picture disc was warmly received by fans and collectors, particularly for the previously unreleased Marc show version. Discogs users praised the sound quality, with one noting “excellent clarity and dynamics” for a picture disc, though minor surface noise was reported, typical of the format. Amazon reviews highlight its collectible appeal, with comments like “another fantastic 7" Vinyl Picture Disc” and “sure to be a Collector’s Item,” emphasizing its value for Bowie completists. The Marc version was celebrated for its historical significance, though some fans noted the mono audio as a limitation compared to the stereo A-side. The disc debuted at No. 1 on the UK Official Physical Singles Chart (September 29–October 5, 2017), reflecting strong fan demand, and reached No. 25 overall, impressive for a vinyl-only release. Critics, like those at NME and SuperDeluxeEdition, lauded its role in Parlophone’s 40th anniversary series, though some preferred the original 1977 B-side “V-2 Schneider” for its Krautrock edge.