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Scrapbook UK One-Page Advert (September 15, 1989) NEW SINGLE 7", 12" & COMPACT DISC (12" & CD Include Only Women Bleed & Go To Hell LIVE!) CD only ALICE COOPER TRASHES THE UK 89 December 5 Glasgow S.E.C. 7 Newcastle Whitley Bay 10-11 Wembley Arena 14 Birmingham N.E.C. Taken from the album "TRASH" STRICTLY LIMITED EDITION GREEN VINYL 7" (ALICE G3)

Creem Magazine Four Pages (August 1977)

Creem Magazine One Page (November 1, 1978)

First Comic Published (October 1, 1978) The Marvel Premiere 50 issue, titled "Alice Cooper: From the Inside," is a notable comic book adaptation tied to Alice Cooper’s 1978 concept album From the Inside. Below a detailed overview based on available information Publication Date: October 1979 (cover date November 1979, per standard comic industry practice where cover dates are typically one to two months ahead of the actual release). It was published by Marvel Comics as part of their Marvel Premiere anthology series, which showcased different characters or special projects, with this issue being the 50th in the series. Content: The comic is a 32-page adaptation of Alice Cooper’s From the Inside album, which itself was inspired by Cooper’s experiences in a sanitarium during his 1977–1978 battle with alcoholism. The story follows Alice Cooper (depicted as himself) navigating a surreal, nightmarish mental institution, interacting with eccentric inmates, and confronting personal demons. The narrative mirrors the album’s themes of confinement, madness, and redemption, with each character (e.g., Nurse Rozetta, Millie and Billie) drawn from the album’s songs. Creative Team: Writers: Alice Cooper (credited for concept) and Jim Salicrup (script adaptation). Artists: Pencils by Tom Sutton, with inks by Terry Austin. Letterer: Tom Orzechowski. Colorist: Steve Oliff. Editor: Roger Stern. The team blended Cooper’s theatrical horror-rock aesthetic with Marvel’s comic storytelling, creating a visually striking and darkly humorous tale. Significance: This was a unique crossover between rock music and comics, capitalizing on Cooper’s fame and his reputation as a shock-rock pioneer. The comic served as a promotional tie-in for the From the Inside album, which was co-written with Bernie Taupin (Elton John’s lyricist) and featured songs like “How You Gonna See Me Now” (#12 U.S.). It’s considered a collector’s item today due to its one-shot nature and the niche appeal of combining Alice Cooper’s persona with Marvel’s brand. Copies in high-grade condition (e.g., NM 9.4) have been valued at around $50–$100 in recent years, per comic price guides like GoCollect. The comic was part of Marvel’s brief foray into music-related projects, following their 1977 KISS comic (printed with the band’s blood in the ink) and preceding other rock-themed issues. Format and Availability: Standard comic book format, full color, priced at 40 cents (typical for 1979). It included advertisements and a letters page, common for Marvel Premiere issues. The comic has not been widely reprinted, making original copies the primary way to read it. Digital versions are not officially available on platforms like Marvel Unlimited (as of my last data), but scans may exist on fan sites or secondary markets like eBay. A related Marvel Music reprint series in the 1990s included other music-themed comics but omitted this issue. Cultural Context: Released during a transitional period for Alice Cooper, post his 1970s peak with albums like Billion Dollar Babies (1973) and Welcome to My Nightmare (1975). From the Inside (1978) was a critical success but a commercial underperformer (#60 U.S.), and the comic aimed to boost visibility. The comic reflects the late-1970s trend of blending pop culture mediums, with rock stars like Cooper, KISS, and The Beatles inspiring comics, films, and TV specials. Additional Notes: The comic’s art style leans into Cooper’s horror aesthetic, with exaggerated, grotesque depictions of the sanitarium and its inhabitants, aligning with his stage persona (guillotines, snakes, etc.). Some fans note minor differences between the comic and album narratives, as the comic condenses the story for the medium, omitting some songs’ details (e.g., “The Quiet Room” is referenced but not fully explored). No direct sequels or follow-up comics were produced, though Cooper’s image appeared in later music-related media, like album artwork and promotional materials.

OOR Magazine Cover & Two-Page Feature (January 24, 1979)ALICE COOPER NO. 2/24 JAN 1979 Alice Cooper was supposed to arrive at Schiphol on Friday afternoon as part of a promotional tour, which would also include a visit to our country. Everything went according to plan: he had boarded the right plane, the weather was fine and the wheels touched down on the tarmac of our international airport exactly on time. The reception committee was ready and everything seemed to be going smoothly. But when the last passenger from London had passed through the sliding doors, the committee became somewhat worried. Had he fallen down the aircraft steps? Got lost? Had he fished narcotics out of his suitcase? After some information, it turned out that Alice had indeed arrived and was in the VIP room. After bribing a few customs officials (corruption is a current issue and therefore causes few problems), the leader of the committee managed to gain access to the room. With a straight face, Cooper's manager told him that Alice was not feeling well and would return to London on the next plane. Protests that all kinds of agreements had been made and that there was little difference between a hotel room in London and one in Amsterdam did not help at all: his decision was made and with the words 'You'll Still Hear From Us' the bewildered record company executive could leave. A few days later a phone call: Mr. Cooper offers his sincere apologies and asks if you would be so kind as to come to London at his expense for the promised interview. And so you are now going to read a story subsidized by the artist himself. And that is also nice for a change. Living beyond your means for a long time Do you remember Alice Cooper? He was born Vincent Furnier in Detroit in 1948 and grew up in Detroit, Phoenix and Los Angeles until he was ten, after which the Furnier family settled permanently in Phoenix. In high school At school he becomes interested in music and forms a con band with a number of schoolmates, called The Earwigs. The group plays exclusively material from the Rolling Stones and the Yardbirds and succeeds in winning a language competition organized by the school. hit with the self-written Don't Blow Your Mind. In 1967, the group's name was changed to The Nazz and when everyone left schoolthe company moves to the musical mecca of the West Coast, Los Angeles. It is not at all what the young guns had imagined. The first year the group takes on every performance, hunt to gain some notoriety. Encouraged by this, things quickly become more professional and the name changes to The Spiders. In 1966, the band even scores a hefty local prize, but spectators who run into the dressing room afterwards with fat contracts, are absent. The group sleeps in the station wagon, or at best on the floor of friends' houses, and is regularly on the verge of starvation. One of the group members even starts a homosexual relationship with a businessman who is well off, so that the group has no shelter for a while. and food is assured. When it turns out that there is already a group in the States called The Nazz, it quickly becomes Alice Cooper. And that also becomes the new name of Vincent Furnier. Through the GTO's, a couple of prominent groupies, Alice comes into contact with Frank Zappa, who saw something in the group for his newly founded Straight-Bizarre label. In 1969 the group released their first clpee, entitled Pretties For You. The record did nothing and after much nagging they were allowed to make a successor after half a year, Easy Action, which also did nothing. In 1970 Alice Cooper is sent packing by Zappa and the future looks bleak. Still, the boys manage to keep themselves alive by touring all over the country, In Toronto they meet by chance an engineer with pro-ducer ambitions, named Bob Ezrin, who has good contacts with Warner Brothers and is prepared to try to get a record deal. This only succeeds with great difficulty, but when the single Eighteen becomes a big hit, the album Love It To Death soon follows and the boys finally have success. This is partly due to the bizarre stage act, which in the meantime Elton John partner Bernie Taupin he makes the end of '78 musically very different from earlier work LP From The Inside. Some explanation is now in order. Alice Cooper is in a great mood and he should be. Bernie Taupin is the laughing third. THE CLINIC WAS THE ONLY SOLUTION Dressed in glitter, women's clothing and leather and with the help of snakes, chickens, baby dolls and electrical chairs Alice Coo per knows how to make a deep impression on the young audience. and to the great annoyance of parents the group gets a lot attention of the media and carry the kids Alice Cooper on their hands. With the LPs Killer, School's Out and Billion Dollar Babies Alice manages to work his way up to world success and he enjoys this fame to the fullest. But then slowly but surely the decline sets in. Muscle Of Love is disappointing and Alice decides to disband his group, in order to continue alone. This results in Welcome To My Nightmare and an extremely spectacular stage show for the world tour. The success seems to have returned, but after a while it collapses like a house of cards. The LPs Alice Cooper Goes To Hell and Lace And Whiskey do not change the situation and in 177 Alice, by now a very heavy alcoholic, collapses and is out of the picture for months. In the summer of 78 he recovered and went on tour with a kind of Best Of show, but the success was disappointing. It was clear that the rudder had to be turned around somewhat and together with his friend and ex What was going on last week at Schiphol? 'Oh, I suddenly didn't feel well at all and I didn't feel like doing any interviews, photo shoots, etc. at all, so I went back to London. After all, I had already cancelled all my appointments there, back and because no one would know that I was back, I could relax and within two days I was back to my old self. I asked if you could come here, because I didn't feel like coming to the Netherlands for the second time. I think it's great that you came. -Okay, back to business. How did the rather unexpected collaboration between you and Bernie come about? More or less naturally, actually. Bernie and I have been friends for over ten years, but hardly anyone knows that. Last summer we met again and I told them I had plans for a new clip and Bernie happened to be looking for something else at that moment and then...' Benie: 'I had been with Elton John, that I increasingly felt that I wanted to do something different. It's a long story, of course, but in short it comes down to the fact that over the years I started drinking more and more and stronger alcohol, until at one point I was a wreck. Admission to the clinic was the only solution. I was there for three months and since then I have been completely free of alcohol. I haven't felt as good as I do now in the last ten years. I'm so glad I'm free of it.' Are there also reasons why you're going to drink so much? Yeah, of course; someone doesn't just drink two or three bottles of whisky a day. After Welcome To My Nightmare things weren't going as well as they used to and that's why I started drinking more. During Alice Cooper Goes To Hell things were still going well, but after that I had to make a record according to my contract. And I didn't want to make a record at all, so it turned out to be a bad album and then my drinking got out of hand. And once you get past a certain point, you start needing more and more." - And what happened when you clean? 'My first idea was to make a record about the clinic. I took my audience to the 'Nightmare' and to 'Hell', so it seemed gave me a great idea to take them to the clinic now. But yeah, I was kind of out of it, so I decided in consultation with my manager and the promoters to first do a Best Of tour to get back into the spotlight and then start making the LP. DEPRESSED When did you start writing and how long did it take to create it? When I first got to the clinic I didn't think about it because I was too sick for that. But once my body was clean and the therapy was peeps started around the ear things about my drinking, the idea came slowly. By the time Bernie and I got to work, I had developed so many ideas that it actually went very quickly. The recording itself went very smoothly: we neither of you have ever made an album so quickly - You've been out of that clinic for a year now, do you have any trouble staying off the booze? 'Not at all. I have no need for it at all anymore. Even when people in my company drink, I have no problem with that. It used to be different. I started with beer, but because of the tensions of touring and the uncertainty of whether you can maintain your success, you look for a way out and that became the strong drink. And everywhere you went there was drinking, so you joined in. From 276 on I didn't even drink beer anymore, because it had no effect on me anymore. And I got so depressed that I needed more and more. And then I made Alice Cooper Goes To Hell and I still think that's a fantastic LP, but the sales were not so well and when I had to prepare for the tour afterwards, I was physically not up to it anymore. It took a lot of effort from people at the time to get me to actually go on tour. And that tour was exhausting for me, because I didn't really want to and because of that I was always in a bad mood and I tried to find an escape in drinking.' -What do you think of the music scene these days? Well, it's all become big business. I used to sell one or two million records and then I was the absolute superstar, but these days five or ten million records is quite normal. Icdercen also has a sterco installation these days and that wasn't the case in the past either. That's why a lot of singles were sold in the past and mainly LPs these days. I expect From The Inside to sell at least five million copies. And you'll see, when we go on tour it will be even more." NIPPLE - Are there any new groups or movements that you find interesting? 'No ceht. Take that punk craze, there's not much that's really interesting in there. They don't sell any records at all, certainly not in America. The only band that sells records and draws full houses is Cheap Trick, but I think they're more New Wave. Besides, that punk in America is all fake, isn't it? Just go and look at the parking lot of the Whiskey in Los Angeles, when a punk band is playing, all Mercedes and BMWs But the music is still sometimes bearable; I'd rather hear a punk band than a folk band, because that doesn't make me feel good. Concerts to save trees, you know, or whales. I hate nature, you know. -Are you actually going on tour again? Jazekor, we're going to start rehearsals in January and they're going to last about six weeks and then we're going to tour the States for three to four months. If all goes well, we're going to be back in the summer Europe, Japan and Australia and then probably record another LP. The show will be very spectacular, I can tell you that. On the cover of From The Inside you see all those people in the clinic, right? Those people will also go on tour and there will be a lot of decor and such. It will be a direct report from the clinic, org Cooperesque, so to speak." Won't that be a costly affair, with all those people and those sets? 'It certainly will be, but I can afford it. I pay for everything myself and I am convinced that the money will come back. also. I have a reputation in that respect and people also expect that Alice Cooper will show something on stage and that there will be all kinds of unexpected Things happen." Do you and Bernie also work together on developing the stage show? 'More or less. Everything I come up with with the various ideas is presented to Bernie.' Bernie: 'Yeah, I keep an eye on things, but of course Alice has a lot more experience with that kind of thing than I do, but I find it interesting, because once Alice is on tour, I start working with Elton John on stage production of Goodbye Yellow Brick Road and of course I can use my experiences with the Alice Cooper show very well. When that stage adaptation is finished, we're even going to film it, so I'll be covered for the coming year, I think." - Which musicians are you taking with you, Alice? I'm still working on that. Definitely Davey Johnstone as lead guitarist and maybe Steve Hunter. It's unlikely that Dick Wagner will join because he's been very busy producing lately. I still have to find the rest of the guys. It would be nice to bring my old backers from the Nightmare tour, I haven't seen those guys in three years." JOURNAL Are you also going to make it clear to people through the show that you are a drinker? Definitely. But I'm not going to protest against the use of alcohol or anything like that, not at all. Besides, in America almost everyone knows about it, because the fact that I'm in that clinic ended up, has been on all the front pages. When I arrived at the clinic with my suitcase, there was even a film crew from the news, so everyone was already fully informed. But I do want to show people that I am in excellent condition and that I am quite excited about it again. This tour is also very well set up, because to span and fatigue too far avoid, we apply the rule: three weeks of performing, three we know freely. And that seems really ideal, worked really hard for a while and then relax for a while. I'm really looking forward to it.' - How do you look back on the past ten years? 'It has been a very strange period, with fantastic moments and terrible moments. In the beginning it was like this, that we were the eccentric clothing and the stage act for the did fools, to give the people a a little bit shocking, but when we had so much success with it, it got crazier and crazier and we got crazier and crazier. At first I was only Alice Cooper for two hours in the evening and the rest of the day I was just Vincent Furnier, but at a certain point I became Alice Cooper 24 hours a day and I couldn't break away from that character. I had created a character for fun, but I had become that character myself and when I started to realize that that was wrong, I couldn't go back. The tension and the pressure were much too great, I started to hate Alice Cooper and that's when the drinking problem started. The Alice Cooper of that time ruined me, but now the situation is fortunately such that I am no longer that character, but I can still play him. And that's how it should be. Kees Baars Bernie keeps an eye on things photo anton corbijn

Rolling Stone One Page Advert (February 8, 1979)

Veronica Magazine Cover Insert & Two-Page Article (February 24, 1979) Millions of parents were pleased to hear that the most terrifying beast in the pop business had collapsed. Alice Cooper was taken out of circulation a year and a half ago because of extreme alcohol abuse. But alas, weeds die hard. Alice the Terrible is back. And he doesn't drink anymore. "From the inside" is the title of his new LP, with which he also shows that Alice Cooper is no longer the same. Hit-sensitive Dutch people have already taken note of his single hit | "How are you gonna see me now", in which song one of the aspects of his victory over alcohol is sung. Alice is recovering, his wife writes, but when she returns home she appears to be ready for the clinic. Alice: "Everything on 'From the inside' has to do with the withdrawal clinic. It is the only thing that I have been very busy with lately. I couldn't write about anything else. I deliberately let my own wife play in the promotional video on TV to emphasize the authentic character. That is one of the additional problems. I had met my wife on my own show. She was a kind of ball girl. I met her when I was drunk. At that time I was already on my way to total addiction. I can safely say that she has never seen me sober. We also got married drunk. Can you imagine how scared I was to go home? I was terrified that she wouldn't love me anymore when I was sober. Maybe she would have married Alice Cooper and not me. Luckily, that turned out to be a good thing. She's still with me. Things are only getting better now." Alice Cooper became a pop idol during the seventies. As the son of a minister, he had accumulated enough frustrations to lose himself in all sorts of foolishness. After years of fruitless toil with his orchestra in Los Angeles, they started painting their faces. They slaughtered chickens on stage, trampled baby dolls, and even dragged the electric chair onto the stage before the show. The elders thought it was corrupting, immoral and depraved, but the youth went wild. Cooper too, by the way, because he could no longer stop. "At first I only became Alice Cooper when we got changed and went on stage. But we got crazier and crazier. The pressure and the tension of the success were too big for me. When things suddenly started to go wrong, I drank myself to death. There was always a full bottle of whiskey near me. At the height of my addiction, I drank a crate of beer and at least two bottles of whiskey every day. We were crazy. Until there was only one solution left: six months in a clinic to detox. Now I don't drink a drop anymore. It's over. I feel like a new person. I'm a different person." Victim Many hundreds of miles away in America there was another victim of Bacchus. Bernie Taupin, who wrote the world songs for Elton John, was also not sober for a second a day and disappeared for treatment. When he stepped outside as fresh as a daisy, it was obvious that he would make a comeback together with Cooper. With Elton he was past his peak. They remained friends, but still wanted to go their own way. They made an LP on which their battle against alcohol is melodiously expressed. Now Cooper is ready for a tour again. A few years ago they had to knock the bottle from his mouth and drag him onto the stage. There he stood, vomiting and staggering, acting vulgar. Many situations "I haven't lost that bizarreness. Anyone who comes to see my show will be in for a lot of surprises again. The show is going to cost a lot of money, because I want to have the entire clinic travel with me, so to speak. Many people, many situations. But I know for sure that it will come out again. We win." "I'm not supposed to be running an anti-alcohol campaign. That's pointless. I'm not a preacher. Everyone already knows what happened to me. When I went into the clinic, there was even a TV crew ready to record everything. Strangely enough, there was no one there when I came out healthy and well." Identity Alice Cooper can now be himself during the day. Just call him Vincent, and he'll feel human again. The thirty-year-old pop star's original name is Vincent Furnier. "Alice Cooper is actually the name of the group I worked with. Because of the success, I took on that name, but only when I was working. At a certain point, we had gone so crazy that I didn't play Alice Cooper anymore, no, it was me. Then you're completely lost. Then your identity is pulverized. Now I'm Vincent again. If I want to, I can be Alice Cooper." And all that idiocy in his show? Can we still have bloody and scary expect such scenes? "If I feel like it, I'll be happy to decapitate someone on stage. I think of my wife first. People like to see that. I take care of the plays, she takes care of my bread." Alice Cooper disappears, leaving us in complete confusion.

Circus Magazine Three Pages (August 7, 1979)

Raw Magazine, Two Pages (August 23, 1989)

Metal Hammer One-Page (February 12, 1990)

Hot Metal Cover & Two Pages July 1991

Raw Magazine Twp Pages August 7, 1991

Alice Cooper Group's "Eighteen" was released as a 7-inch vinyl single in the UK on April 18, 1971, five months after its US release on November 11, 1970. Like in the US, the track was backed with "Body" but failed to achieve any chart success.

Alice Cooper Group's "Caught in a Dream" was released as the second single from the album "Love It to Death" on April 26, 1971, in the US. Backed with "Hallowed Be My Name" from the same album, it reached number 94 on the US Billboard Hot 100 chart.

The Alice Cooper Group performed at the Fairgrounds Arena (also referred to as State Fair Arena) in Oklahoma City, Oklahoma, on July 13, 1971, as part of the Love it to Death tour. This period marked a pivotal moment for the group, as the Love It to Death album was their first major success, reaching number 35 on the U.S. Billboard 200, with “Eighteen” peaking at number 21 on the Billboard Hot 100. The tour helped establish Alice Cooper as pioneers of shock rock.

Alice Cooper headlined a concert at The Park in North Baltimore, Ohio, on August 21, 1971 during their Love It to Death tour, a pivotal period when the band was gaining notoriety for their shock rock performances and the success of their breakthrough album. The lineup for this show included supporting acts SRC, Ormandy, Reginal True Rabbitt, and Abu-Tala. Notably, Michael Bruce, the band’s rhythm guitarist, reportedly missed this performance, though specific reasons are not detailed in available records. The concert poster was designed by Gary Grimshaw, a well-known artist in the Detroit music scene. The Love It to Death tour was marked by the band’s theatrical and controversial stage antics, including mock fights, gothic torture scenes, and a staged execution by electric chair, with the band wearing tight, sequined glam rock costumes designed by Cindy Dunaway. The setlist likely featured tracks from Love It to Death (released January 1971), such as “I’m Eighteen,” “Caught in a Dream,” “Is It My Body,” and “Ballad of Dwight Fry,” alongside earlier material and possibly some tracks from their upcoming album Killer (released November 1971), like “Under My Wheels” or “Halo of Flies.” The show was part of a broader tour that saw Alice Cooper building their reputation as a provocative live act, following the success of “I’m Eighteen,” which peaked at 21 on the Billboard Hot 100.

Advert in Melody Maker, September 30, 1972

One-Page Advert in Billboard Magazine, February 17, 1973.

"No More Mr. Nice Guy," backed with "Raped and Freezin'," was released as a 7-inch vinyl single in the US on March 16, 1973, both tracks were taken from the album Billion Dollar Babies . The single climbed to No. 25 on the US charts and No. 10 on the UK charts, contributing to the album's success in reaching No. 1 in both the UK and the US. The song was penned by Michael Bruce and Alice Cooper. Alice's inspiration for the song's lyrics were the reactions of his mother's church group to his stage performances, saying that there were worse things that he could do with his life and that the "gloves were off now".

Two-Page Circus Magazine Feature (Sep 8, 1977)

One-Page NME Article (Feb 12, 1977)

Cover & Seven-Page Feature (Feb 1981)

Kerrang! UK Cover & Five-Page Feature (Aug 5, 1989)

Raw Magazine Six-Page Feature & Full-Page Ad (Aug 8, 1989)

Smash Hits Two Page (Aug 23, 1989)

New Musical Express One Page (Oct 7, 1972)

David Bowie's Cover One-Page Look-in Magazine, July 7, 1973.

Melody Maker One Page Advertisement (Jul 26, 1975)

Bravo Magazine One Page (Oct 1, 1972)

Scrapbook One Page (Sep 30, 1972)

NME One-Page "John, I’m Only Dancing" and " Hang on to Yourself" Reviews (Sep 23, 1972)

Scrapbook One Page Hardrock Concert Review (Sep 16, 1972)

NME One Page Advert (Sep 2, 1972)

Record Mirror One Page Review (Sep 2, 1972)

Musicians Only One Page (Sep 20, 1980)

Sounds Two Pages (Nov 1, 1980)

Melody Maker One Page Advert (Aug 26, 1972) David Bowie’s concert at the Rainbow Theatre in London on August 30, 1972, was a significant event in his Ziggy Stardust Tour, marking the 50th date of a tour that began on January 29, 1972. This performance was an additional date added due to the rapid sell-out of the initial shows on August 19 and 20, reflecting Bowie’s growing popularity during the The Rise and Fall of Ziggy Stardust and the Spiders from Mars era. The concert was part of the second leg of the Ziggy Stardust Tour, which promoted Bowie’s albums Hunky Dory (1971) and The Rise and Fall of Ziggy Stardust and the Spiders from Mars (1972). The latter album, released just over two months prior, had sold nearly 200,000 copies in the UK and US by mid-1972, fueling Bowie’s rise to stardom. The Rainbow Theatre shows were notable for introducing theatrical and multimedia elements to rock performances, a revolutionary approach at the time. The Rainbow Theatre, located at 232 Seven Sisters Road, Finsbury Park, London, N4 3NX (not the BBC Paris Theatre at 12 Lower Regent Street), was a prestigious 3,000-seat venue, previously known as the Finsbury Park Astoria Cinema. It had recently been converted into a music venue, hosting major acts like The Who and Pink Floyd in 1971–72. Bowie collaborated with mime artist Lindsay Kemp, a significant influence from his earlier career, to choreograph a theatrical production. Kemp’s troupe, including four dancers called The Astronettes, added a dramatic flair with costumes and choreography, setting this concert apart from typical rock shows of the era. The performance was described as “the most extravagant rock show ever produced in Britain.” Bowie was backed by The Spiders from Mars: Mick Ronson (guitar, vocals), Trevor Bolder (bass), and Mick “Woody” Woodmansey (drums). Pianist Nicky Graham joined the band for the Rainbow shows, replacing Robin Lumley, and played from August 1 to September 7, 1972. The setlist for the August 30 show mirrored those of the August 19 and 20 performances, featuring 18 songs: "Lady Stardust" "Hang On to Yourself" "Ziggy Stardust" "Life on Mars?" "The Supermen" "Changes" "Five Years" "Space Oddity" "Andy Warhol" "My Death" (a Jacques Brel cover, introduced by Bowie as 'a Jacques Brel number, but it’s not ‘Port of Amsterdam’) "The Width of a Circle" "Wild Eyed Boy from Freecloud" (notably, the first and only full performance of this song during the tour) "Starman" (featuring Lindsay Kemp as the Starman, wearing a wig and wings, smoking, and leering from the stage and rafters) "Moonage Daydream" (encore) "Queen Bitch" "Suffragette City" "White Light/White Heat" (Lou Reed cover) "I’m Waiting for the Man" (Lou Reed cover) The show began with a screening of Luis Buñuel’s surrealist film Un Chien Andalou, followed by Beethoven’s Ode to Joy, with Bowie emerging through dry ice for a dramatic entrance. The Astronettes wore spider-web/fishnet costumes designed by Kemp, and a Japanese film crew led by Masayoshi Sukita was organized to film the event, though the footage remains unreleased. The concert was a critical success, with tickets selling out quickly (the August 19 show sold out in two hours, prompting the additional dates). The theatrical elements, including Kemp’s choreography and the integration of mime, drew significant attention, though some critics were uncomfortable with the fusion of theatre and rock. The performance boosted sales of the Ziggy Stardust album and cemented Bowie’s reputation as a groundbreaking performer. Bowie and The Spiders rehearsed for two weeks at the Theatre Royal in Stratford East, with Kemp summoned from Edinburgh to assist with choreography. The August 30 show was preceded by rehearsals at the Rainbow Theatre from August 16–18. A promotional video for “John, I’m Only Dancing” was filmed at the venue on August 25, directed by Mick Rock, featuring footage from the rehearsals and performances.

Melody Maker One Page Advert (June 3, 1972)

NME One Page Advert (May 13, 1972)

Scrapbook One Page Advert (May 11, 1972)

One Page (Jun 19, 1971)

Melody Maker One Page (Dec 24, 1972)

One Page (Aug 19, 1972)

Cover & Five Pages Official RCA Records Biography, (Aug 12. 1972)

Rolling Stone One-Page (Jul 20, 1972)

NME One Page What's On New (Jul 8, 1972)

Melody Maker One Page Review (Jul 8, 1972)

Melody Maker One Page Advert (Jul 8, 1972)

Melody Maker One Page Advert (Jun 17, 1972)