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A New Wave Dancefloor Anthem David Bowie’s “Fashion” 7-inch vinyl single, was released in the UK on October 31, 1980, on RCA Records (catalogue: BOW 7). Backed with “Scream Like A Baby,” this infectious new wave and funk-infused track, written by Bowie, was the second single from his critically acclaimed album Scary Monsters (And Super Creeps). Produced by Bowie and Tony Visconti, “Fashion” featured Robert Fripp’s distinctive guitar and a danceable rhythm, peaking at No. 5 on the UK Singles Chart for 11 weeks. Issued in a picture sleeve with Bowie’s iconic Pierrot clown imagery, it’s a defining moment of ‘80s post-punk pop. Single Overview A-Side: “Fashion” (4:46, David Bowie) A funky, new wave anthem with sharp guitar riffs, pulsing bass, and Bowie’s sardonic lyrics about style and conformity. Produced by Bowie and Tony Visconti, it became a club staple and a hallmark of his early ‘80s reinvention. B-Side: “Scream Like A Baby” (3:35, David Bowie) A dark, synth-driven track with Bowie’s emotive vocals exploring dystopian themes, also from Scary Monsters. Produced by Bowie and Visconti, it showcased his experimental edge. Release Details: 7" Label: RCA – BOW 7, RCA – PB 9622 Format: Vinyl, 7", 45 RPM, Single, Stereo, Solid Centre Country: UK Released: Oct 31 1980 A Fashion (Edited Version) 3:23 B Scream Like A Baby 3:33 Country Variations The single was released in several countries with minor variations: UK (RCA BOW 7): Released October 31, 1980. Standard tracklist, picture sleeve US (RCA PB-12134): Released November 1980. Same tracklist, catalogue PB-12134, similar sleeve with RCA branding. Germany (RCA PB 9622): Released 1980. Same tracklist, catalogue PB 9622, German sleeve with localized text. Japan (RCA RPS-25): Released 1980. Same tracklist, catalogue RPS-25, with obi strip and Japanese liner notes. Australia (RCA 103374): Released 1980. Same tracklist, catalogue 103374, company sleeve. Canada (RCA PB-12134): Released November 1980. Same as US, catalogue PB-12134. 12" Label: RCA – BOW T 7, RCA – PC 9622 Format: Vinyl, 12", 45 RPM Country: UK Released: Oct 31 1980 A Fashion 4:46 B Scream Like A Baby 3:35 Label: RCA – PC-129622 Format: Vinyl, 12", 45 RPM, Single Country: Netherlands Released: 1980 Label: RCA Victor – PD-12145 Format: Vinyl, 12" Country: US Released: 1980 A Fashion 4:45 B Scream Like A Baby 3:33 Label: RCA Victor – JD-12140 Format: Vinyl, 12", 33 ⅓ RPM, Single, Promo Country: US Released: 1980 A Fashion 4:45 B Fashion 3:23 Label: RCA Victor – PC 9638 Format: Vinyl, 12", 45 RPM, Single Country: Germany Released: 1980 A Fashion 4:45 B Scream Like A Baby 3:33 Label: RCA Victor – TDS-088 Format: Vinyl, 12", 45 RPM, Single Country: Australia Released: 1980 A Fashion 4:44 B Scream Like A Baby 3:33 Production and Context Recorded in 1980 at The Power Station, New York, and Good Earth Studios, London, the single was produced by David Bowie and Tony Visconti. The lineup featured Bowie (vocals, keyboards), Robert Fripp (guitar), Carlos Alomar (guitar), George Murray (bass), Dennis Davis (drums), and Andy Clark (synthesizers). “Fashion” blended funk, new wave, and post-punk, reflecting Bowie’s shift from his Berlin Trilogy to a more commercial sound. Released during the new wave era, it competed with Talking Heads and Blondie, cementing Bowie’s influence on ‘80s pop. Chart Performance “Fashion” was the second single from Scary Monsters (And Super Creeps), following “Ashes To Ashes”: “Fashion” (1980, RCA BOW 7): UK Chart Data: Entry Number 20 October 26 - November 1, 1980. (12 Weeks) International: US No. 70 (Billboard Hot 100, 8 weeks), Australia No. 27 (Kent Music Report, 6 weeks), Ireland No. 4, Germany No. 29, Netherlands No. 25, New Zealand No. 22, Canada No. 21 (RPM), Norway No. 9, Sweden No. 7. Have you snagged this Bowie gem in your vinyl collection? Does “Fashion” get you strutting? Share in the comments! Sources Discogs: Fashion (1980) Official Charts Company: David Bowie Singles AllMusic: David Bowie Discography Wikipedia: David Bowie Discography Billboard Chart History: David Bowie

A Pop-Rock Pedal Push David Essex’s “On My Bike” 7-inch vinyl single, was released in the UK on October 17, 1980, on Mercury Records (catalogue: MER 47). Backed with “Swim Against The Flow,” this upbeat rock ‘n’ roll track, written and produced by David Essex, both tracks were taken from the album Hot Love . The A-side’s playful ode to biking freedom reflected Essex’s knack for catchy, relatable themes, but it failed to chart, signaling his commercial decline. Housed in a picture sleeve with Essex’s signature heartthrob image, the single is a nostalgic gem for ‘70s pop fans. Single Overview A-Side: “On My Bike” (3:08) Written by David Essex. A lively rock ‘n’ roll number with jangling guitars, a driving beat, and Essex’s warm vocals, evoking youthful freedom and adventure. Produced by Essex, it leaned into his theatrical pop roots but lacked the punch of earlier hits like “Rock On.” B-Side: “Swim Against The Flow” (3:22) Written by David Essex. A reflective, mid-tempo ballad with introspective lyrics and a softer arrangement, showcasing Essex’s versatility. Also produced by Essex, it offered a contrast to the A-side’s upbeat energy. Release Details: Label: Mercury Records (UK pressing, 45 RPM). Formats: 7-Inch Vinyl (MER 47): “On My Bike” / “Swim Against The Flow.” In a picture sleeve featuring Essex’s image. No cassette or CD formats for this single. Notes: ℗ & © 1980 Mercury Records. Matrix numbers (e.g., MER 47 A-1U) confirm authenticity. The single followed on from bike themed releases "Silver Dream Machine" and "The Race", but failed to achieve any chart success Production and Context Recorded in 1980 at an unspecified London studio, the single was produced and arranged by David Essex, with session musicians likely including his touring band (e.g., Mike Thorn on guitars, John Earle on bass). The A-side’s rock ‘n’ roll vibe echoed Essex’s earlier glam hits, while the B-side’s balladry reflected his stage work in Evita. Released amid the rise of new wave and post-punk, it followed Hot Love (1980) but struggled against acts like The Police and Blondie, marking Essex’s shift to theater and away from chart success. Single Chart Performance “On My Bike” failed to enter the UK Singles Chart or any international charts, reflecting Essex’s fading chart presence in the early ‘80s. Have you snagged this David Essex rarity in your vinyl collection? Does “On My Bike” get you pedaling? Share in the comments!

Suzi Quatro's "Rock Hard" b/w "State of Mind" is a high-energy hard rock single from her seventh studio album Rock Hard, released in the UK on October 3, 1980 on Dreamland Records (catalog: DLSP 6, though some pressings vary slightly in numbering). This 7-inch 45 RPM vinyl marked Quatro's return to her leather-clad rock roots after experimenting with country-pop, produced by her longtime collaborator Mike Chapman. Tied to the punky soundtrack of the film Times Square, the A-side became a modest hit, showcasing Quatro's growling vocals and fierce bass work amid a shifting '80s landscape. The single didn't top charts but boosted the album's platinum success in Australia. Release Details Label: Dreamland Records (her only release on this short-lived label, which folded in 1981). Format: 7" vinyl single, pressed in England (e.g., by PRS Ltd. or Strawberry Bricks). Date: October 1980, aligning with the Rock Hard album drop and the Times Square movie. Context: Recorded in one month at United Western Studios in Hollywood, the album and single featured guest backing vocals from Paul Delph, Michael Des Barres, and Andrea Robinson, emphasizing Quatro's raw energy post-glam era. It was her stab at reclaiming US success, though it fared better abroad. Track Breakdown Rock Hard (A-Side)~3:20 Written by Mike Chapman & Suzi Quatro. A gritty, attitude-fueled rocker with pounding drums (Dave Neal) and Quatro's signature growl – "Suzi growls with the best of 'em." Featured on the Times Square soundtrack, it peaked at UK #68, Germany #26, Australia #11. Themes of resilience and rock defiance. State of Mind (B-Side)~4:00Written by Quatro & Len Tuckey (her husband/guitarist). A stop-start hard rocker with sexy vocals, smooth passages, and a standout Tuckey solo – "glorious" and one of their best co-writes. Explores emotional turmoil; album track praised for its polish. Key musicians: Quatro (vocals, bass, organ), Len Tuckey (guitar, backing vocals), Jamie Crompton (guitar), Dave Neal (drums), with Chapman producing for that punchy '80s sheen. Production and Recording Chapman's production revived Quatro's '70s hit formula (he'd worked on her early smashes like "Can the Can"), blending hard rock with new wave edges. Recorded amid Quatro's US push, it ditched country detours for guitar-driven tracks. Critics hailed the album as her '80s best, with the single capturing her "attitude-heavy rock." Chart Performance and Legacy Modest UK showing (#68 for "Rock Hard"), but stronger internationally – gold/platinum in Australia. Featured in Times Square (1980 film with Robin Lamont); Quatro's role as a trailblazer endures, with 50M+ records sold. This single embodies Quatro's unyielding rock spirit – fierce, fun, and forgotten no more. Stream remasters or hunt vinyl for that raw '80s punch!

Steve Harley & Cockney Rebel's "Make Me Smile (Come Up and See Me)" / "Sebastian" – 1980 Reissue Released on October 3, 1980, by EMI Records, the reissue of Steve Harley & Cockney Rebel's "Make Me Smile (Come Up and See Me)" with "Sebastian" as the B-side is a gem for glam-rock fans. This 7-inch vinyl single was part of the promotional push for The Best of Steve Harley and Cockney Rebel compilation, reviving two of the band's defining tracks from 1975 and 1973. With a nostalgic picture sleeve showcasing the band’s shifting line-ups, this release captures Harley’s lyrical bite and theatrical flair. Here’s the full story. The Single at a Glance A-Side: "Make Me Smile (Come Up and See Me)" (~4:00, single edit) From The Best Years of Our Lives (1975), produced by Steve Harley and Alan Parsons. A sharp, upbeat glam-pop hit with lyrics like "You’ve done it all, you’ve broken every code" aimed at ex-bandmates after the 1974 Cockney Rebel split. It was their only UK No. 1, selling over a million copies originally. B-Side: "Sebastian" (4:01) From The Human Menagerie (1973), the debut album. A gothic, orchestral epic, trimmed from its 7-minute album version, featuring a 50-piece orchestra and choir arranged by Andrew Powell. A No. 1 hit in Belgium, it’s a fan-favorite for its haunting romance and dramatic scope. Release Context: Timed to the 1980 best-of compilation, this reissue came as Harley transitioned to solo work post-Cockney Rebel’s peak. It didn’t chart but kept these classics alive for fans and collectors. Picture Sleeve Details The 1980 reissue’s picture sleeve is a visual tribute to Cockney Rebel’s evolution, contrasting the original and reformed line-ups: Front Cover: Features the original 1973 Cockney Rebel line-up from The Human Menagerie era: Milton Reame-James (real name: Harry Reame-James, keyboards) Jean Paul Crocker (real name: John Crocker, violin) Paul Jeffreys (bass, wo's life was tragically taken on Pan Am Flight 103 over Lockerbie in 1988 while on his honeymoon) Steve Harley (real name: Steven Nice, vocals) Stuart Elliott (drums) The image captures the band’s early artsy, glam aesthetic, a nod to their progressive rock roots. Back Cover: Showcases the 1975 Steve Harley & Cockney Rebel line-up from The Best Years of Our Lives: Steve Harley (vocals) Jim Cregan (guitar) George Ford (bass) Duncan Mackay (keyboards) Stuart Elliott (drums, the only member bridging both eras) This lineup reflects the band’s shift to a tighter, pop-rock sound. The sleeve’s design bridges the band’s theatrical beginnings with their commercial peak, making it a collector’s keepsake. Production and Legacy Recording: "Make Me Smile" was crafted at AIR Studios with Alan Parsons’ polished production, blending catchy hooks with Harley’s venomous lyrics. "Sebastian," also recorded at AIR, features lavish orchestration despite sync challenges, produced by Neil Harrison. Cultural Impact: "Make Me Smile" is a staple in films like The Full Monty and Velvet Goldmine, with over 200 cover versions (e.g., Duran Duran, Suzi Quatro). "Sebastian" remains a live highlight, often the penultimate song before "Make Me Smile" in Harley’s sets. Why It Matters This reissue captures Steve Harley & Cockney Rebel at their best: witty, dramatic, and unapologetic. The picture sleeve’s tribute to both line-ups—tinged with the tragic loss of Paul Jeffreys and George Ford—adds emotional weight. Whether you’re a glam-rock devotee or discovering Harley’s charisma, this single is a timeless slice of the ‘70s. Spin it loud and let Harley’s voice transport you. What’s your favorite Cockney Rebel track? Drop a comment!

A Live Glam Revival Slade’s Alive At Reading '80 7-inch vinyl EP, was released in the UK on October 3, 1980, on Cheapskate Records (catalogue: CHEAP 5). This four-track live EP, recorded at the Reading Rock Festival on August 24, 1980, captured the band’s energetic comeback, blending their glam roots with rock 'n' roll covers. Produced by the band, the EP peaked at No. 44 on the UK Singles Chart, revitalizing Slade amid a punk-dominated scene. Tracklist: Side A1: When I'm Dancin' I Ain't Fightin' (Holder, Lea, 4:12) – Rating: 8.7 Side A2: Born To Be Wild (Mars Bonfire, 3:35) – Rating: 8.3 Side B1: Somethin' Else (Cochran, 2:25) – Rating: 7.8 Side B2: Pistol Packin' Mama (Bexter, 2:45) – Rating: 8.0 Side B3: Keep A Rollin' (Holder, Hill, Lea, Powell, 3:10) – Rating: 8.2 Release Details: Label: Cheapskate Records (UK pressing, 45 RPM). Format: 7-inch vinyl EP, in a picture sleeve with live Reading Festival artwork. Notes: ℗ 1980 Cheapskate Records. Recorded live at Reading Rock Festival, August 24, 1980. Chart position: No. 44 (UK Singles Chart). Production and Context Recorded live at the Reading Rock Festival, the EP was self-produced by Slade (Noddy Holder: vocals/guitar, Dave Hill: guitar, Jim Lea: bass/keyboards, Don Powell: drums), capturing their raw energy and crowd interaction. “When I'm Dancin' I Ain't Fightin'” is an original from Return to Base (1979), while the B-sides are covers of ‘50s and ‘60s rock classics, showcasing Slade’s rock ‘n’ roll heritage. Released on their own Cheapskate label after major label struggles, the EP marked their resurgence, coinciding with the Slade on 45 compilation and a new deal with RCA. It competed in a post-punk landscape but appealed to their loyal fanbase.

A Disco-Glam Double Dancing Return Released as a 7-inch vinyl single in the UK on December 14, 1979, on RCA Records (catalogue: BOW 4 / PB 9482), David Bowie’s “John, I'm Only Dancing (Again) (1975)” — the disco re-recording from the Young Americans sessions at Sigma Sound — was backed with the original “John, I'm Only Dancing (1972)” from the Ziggy Stardust era. Produced by Bowie & Tony Visconti (A) and Bowie (B), this glam-disco hybrid peaked at No. 12 on the Official Singles Chart for 8 weeks. Issued in solid centre, push-out centre, promo, and limited 12-inch formats. A bold Bowie past/future collision. Single Overview Release Details Label: RCA Records. Formats: Vinyl 7" 45 RPM (solid/push-out centre, promo), 12" limited. Full Track Listing 7" Single (BOW 4 / PB 9482) Side A John, I'm Only Dancing (Again) (1975) (3:26) – Producer: David Bowie, Tony Visconti Side B John, I'm Only Dancing (1972) (2:47) – Producer: David Bowie 12" Single (BOW12 4 / PC 9482) – limited Side A John, I'm Only Dancing (Again) (1975) (6:59) Side B John, I'm Only Dancing (1972) (2:46) UK Variants (all supplied) - 7", 45 RPM, Single, Solid Centre – RCA BOW 4 – UK – 1979 - 7", 45 RPM, Single, Push Out Centre – RCA BOW 4 – UK – 1979 - 7", Single, Promo – RCA BOW 4 – UK – 1979 - 12", 45 RPM, Single, Limited Edition – RCA BOW12 4 – UK – 1979 Production and Context A-side from Young Americans sessions (Sigma Sound, 1975). B-side from *Ziggy Stardust* sessions (1972). Bowie’s disco reinvention meets glam original. Official Singles Chart Data Peak position: 12 8 weeks – December 15, 1979 to February 2, 1980 23 → 13 → 13 → 12 → 12 → 18 → 43 → 59 Do you have John, I'm Only Dancing (Again) in your vinyl stack? Still only dancing? 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, BBC Official Charts Company, Billboard Chart History and YouTube Whilst every effort is made to provide accurate information, mistakes do happen. Simply leave a comment and the post will be updated. Thank you. A Disco Bowie Melody Maker Return Published in the UK on December 15, 1979, Melody Maker’s full-page advert promoted David Bowie’s “John, I’m Only Dancing (Again)” — the 1979 disco re-recording of his 1972 glam classic. The ad highlighted the single’s release on RCA Records, showcasing Bowie’s shift to dancefloor energy during the Lodger era. A bold statement of Bowie’s constant reinvention. Advert Overview Publication Details Magazine: Melody Maker (UK). Date: December 15, 1979. Format: Full-page single advert. Do you have this Melody Maker advert in your archive? Still only dancing? 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, BBC Official Charts Company, Billboard Chart History and YouTube 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 Bowie and Iggy article in Rolling Stone November 15, 1979. IVE BEEN READING ROLLING STONE since the San Francisco days when Ralph Glea-son was holding forth, and there has never appeared, to my eyes, a more magical article than Chris Hodenfield's "Bad Boys in Berlin" (RS 301). David Bowie and Iggy Pop shine through the dead-end Berlin mist like angels in the night. BUDDY MARTIN Cambridge, Massachusetts I CAN'T BEGIN TO TELL you how impressed I was with Chris Hodenfield's piece on David Bowie and Iggy Pop. The article pointed out Bowie's multifaceted, near-brilliant nature by juxtapos-ing mood, mentality and medium on a city seemingly brimming with all three. Perhaps Bowie has met his match in Berlin. DEB BIGGS Bowling Green, Ohio

A Rock Anthem Revival Ian Hunter’s “Cleveland Rocks” 7-inch vinyl single, was released in the UK on November 2, 1979, on Chrysalis Records (catalogue: CHS 2390). Backed with “Bastard,” this high-energy rock anthem, written by Ian Hunter, was taken from from his fifth solo album, You're Never Alone With A Schizophrenic. Produced by Mick Ronson and Ian Hunter. The song celebrates the city of Cleveland, Ohio, highlighting its vibrant spirit, and is regarded as an unofficial anthem there. Starting in 1979, Cleveland radio station WMMS played the song every Friday at 5:00 PM, and it serves as a victory anthem for the city's sports teams. In honor of "Cleveland Rocks," Ian Hunter received the key to the city from Cleveland mayor Dennis Kucinich on June 19, 1979. A cover version by The Presidents of the United States of America was used as the theme song for The Drew Carey Show. Origins The song was partly inspired by the songwriter's wish to challenge the negative reputation of a city he cared about. Hunter mentions on his website, "the inspiration for 'Cleveland Rocks' goes back to the old days when people used to make fun of Cleveland. Cleveland was 'uncool,' and LA and NYC were 'cool.' I didn't see it that way. Lotta heart in Cleveland." The song was initially released in 1977 as "England Rocks" on a single in the United Kingdom, two years before the "Cleveland" version came out. However, Hunter has consistently claimed that Cleveland was the song's original inspiration. On his website, he stated, "I originally wrote 'Cleveland Rocks' for Cleveland. I later changed it to 'England Rocks' because I thought it should be a single somewhere, and Columbia wouldn't release it as a single in the U.S. (too regional). 'Cleveland Rocks' is Cleveland's song, and that's the truth." A live rendition of "Cleveland Rocks" is featured on Hunter's 1980 album "Welcome to the Club" and on the soundtrack of the 1987 film "Light of Day," a movie set in Cleveland starring Joan Jett and Michael J. Fox. The "England Rocks" version is included on the compilation albums "Shades of Ian Hunter: The Ballad of Ian Hunter and Mott the Hoople" and "The Very Best of Ian Hunter," as well as on the CD reissue of Hunter's 1977 album "Overnight Angels." The original version also acts as an unofficial tribute to rock and roll history, featuring an archival sample of Cleveland disc jockey Alan Freed introducing his show, The Moondog Show, on WJW at the beginning of the song. This then transitions into the intro of "Cleveland Rocks." At the time of the song's release, Freed had been deceased for fourteen years. His show on WJW helped launch several rock and roll acts in the genre's early days and contributed to the decision to open the Rock and Roll Hall of Fame in Cleveland sixteen years later. Hunter performed "Cleveland Rocks" during the pregame ceremonies of Game 3 of the 2007 NBA Finals at Quicken Loans Arena, marking the first NBA Finals game held in Ohio. Single Overview A-Side: “Cleveland Rocks” (3:48, Ian Hunter) Written by Ian Hunter. B-Side: “Bastard” (6:34, Ian Hunter) Written by Ian Hunter. Release Details: Label: Chrysalis Records (UK pressing, 45 RPM). Formats: 7-Inch Vinyl (CHS 2390): “Cleveland Rocks” / “Bastard.” In a Chrysalis picture sleeve. Notes: ℗ & © 1979 Chrysalis Records. Recorded at AIR Studios, London, 1979. Matrix numbers (e.g., CHS 2390 A-1) confirm authenticity. Single 7" Vinyl Commercial in Picture Sleeve Label: Chrysalis – CHS 2390 Format: Vinyl, 7", 45 RPM A Cleveland Rocks 3:48 B Bastard 6:34 Published By – April Music Ltd. Phonographic Copyright ℗ – Chrysalis Records Ltd. Copyright © – Chrysalis Records Ltd. Producer – Ian Hunter, Mick Ronson Written-By – Hunter Country Variations The single was released exclusively in the UK. However, a version with the tracks reversed was released in Italy. Single 7" Vinyl Commercial in Picture Sleeve Label: Chrysalis – 6155 261 Format: Vinyl, 7", 45 RPM, Single Country: Italy Released: 1979 A Bastard 3:55 B Cleveland Rocks 3:48 Distributed By – Polygram Dischi S.p.A. Published By – April Music Ltd. Producer – Mick Ronson Producer, Written-By – Ian Hunter Rights Society: SIAE Matrix / Runout (Side A): 6155261 1 1 520 Matrix / Runout (Side B): 6155261 2 1 520 150979 Single 12" Vinyl Commercial in Picture Sleeve Label: Chrysalis – 9198358, Chrysalis – 9198 358 Format: Vinyl, 12", 45 RPM Country: Italy Released: 1979 A Bastard 6:34 B Cleveland Rocks 3:48 Phonographic Copyright ℗ – Chrysalis Records Ltd. Lacquer Cut At – Phonoster Distributed By – Polygram Dischi S.p.A. Published By – April Music Ltd. Producer – Mick Ronson Producer, Written-By – Ian Hunter ℗ 1979 Chrysalis - Made in Italy Matrix / Runout (Label side A): 9198 358.1 Matrix / Runout (Label side B): 9198 358.2 Matrix / Runout (Runout side A, etched): 9198358 1 1 520 Matrix / Runout (Runout side B, etched): 9198358 2 1 520 26-07-79 Other (Lacquer cut plant ID): 520 Other (Mastering date 1979-07-26): 26-07-79 Rights Society: S.I.A.E. Single Chart Performance “Cleveland Rocks” failed to enter the UK Singles Chart. Have you snagged this Hunter rarity in your vinyl collection? Does “Cleveland Rocks” rock your world? Share in the comments! Sources Discogs: Cleveland Rocks (1979) 45cat: CHS 2390 Single YouTube: Cleveland Rocks Official Audio (2014 upload, 100K+ views) Wikipedia: You're Never Alone With A Schizophrenic Official Charts Company: Ian Hunter Singles AllMusic: Ian Hunter Discography Billboard: N/A (No US chart data for this single)

A Punk-Era Protest "Sign of the Times" is a song by the British rock band Slade, released in October 26, 1979 as the second single from the band's eighth studio album Return to Base. It was written by lead vocalist Noddy Holder and bassist Jim Lea, and produced by Slade. Background Having returned to the UK from the United States in 1976, Slade found themselves out-of-favour at the time of the UK's Punk rock explosion. The band's 1977 album Whatever Happened to Slade proved a commercial failure while their tour that spring had shown that they could no longer fill large venues. Slade's waning success soon led to the band playing small gigs after that, including universities and clubs. Despite being successful at filling small venues for their live performances, the band's new records were barely selling. In May 1979, "Ginny, Ginny", the first single from the band's upcoming album Return to Base, failed to chart. Deciding that a second single would be released from the album, the band were initially unsure of which track to release. When rough copies of Return to Base were sent to a number of European record labels, each had different thoughts on what song they believed to be a good contender. "Sign of the Times" was eventually chosen and released in October. However, the single failed to chart. In a 1981 fan club interview, lead vocalist Noddy Holder said: "We released things like "Sign of the Times" as an A-side single but it was withdrawn after only a week as we decided that we didn't want it out as most of the radio stations refused to play it. It only sold a few hundred copies." He also described the song as "acoustic rock". "Sign of the Times" speaks of the approaching end of the 1970s and the 20th century, including the technological advances seen from the mid-20th century onwards, such as the invention of Supersonic aircraft, the Apollo 11 Moon landing, test tube babies and the rising of the computer age. A reference is also made to the fictional character Big Brother of George Orwell's novel Nineteen Eighty-Four. The song was recorded and mixed at Portland Studios. The title of Return to Base was taken from one of the song's lines. In a 1979 fan club interview, Hill explained: "We had a whole list of suggestions for the title, and Return to Base is the one we eventually decided upon." When asked why the song hadn't been included on the band's October tour, Hill revealed: "The reason for that is that at the moment we feel the act is just about right. We have added two numbers that have worked very well, and we are now hoping to get "Sign of the Times" in on the next stretch of dates. Also at the moment we've got one slow ballad in the act, and on this tour we didn't want to have two." Release "Sign of the Times" was released on 7" vinyl by Barn in the UK only. It was marketed and distributed by Pinnacle, and released in a generic Barn sleeve. The B-side, "Not Tonight Josephine" was originally exclusive to the single, but would re-appear as the B-side to the band's 1981 single "Wheels Ain't Coming Down". It was later included on the band's 2007 compilation B-Sides. "Sign of the Times" was one of the last singles to be released on the Barn label, which was discontinued in 1980. "Sign of the Times" later re-appeared as the B-side to the band's 1981 UK hit single "Lock Up Your Daughters". The song was included on Salvo's 2006 box-set The Slade Box, as well as the 2007 remaster of We'll Bring the House Down. Formats 7" Single "Sign of the Times" – 3:57 "Not Tonight Josephine" – 3:03 Critical reception Upon release, Melody Maker reviewed the single and said: "Poor old Slade. Banished by the fickle finger of public taste, they've been hovering in a sort of no-man's land for ages. This one won't recapture an audience, even though they're clearly aiming for the ELO sector. Echoed vocals, lots of bombast and the odd "electronic" gimmick do not make a great single. Only when Noddy Holder recaptures his perfect John Lennon imitation will they rise from the ashes..." Superpop rated the single two out of five stars and wrote: "I never was one for the rantings and ravings of Noddy Holder & Co. and this latest 45 doesn't do much to change my attitude. Starting slowly and building up to the usual foot-stomping, heavy head banging climax; it's sure to go down well in the Northern clubs where the band have a fervent following. I'd hate to think what the Southern crowds would say to this dated sound." Record Mirror commented: "On a recent trip to a Buzzocks gig I had the misfortune to be half-deafened by a vintage Slade album blasting from the four corners of their transit vehicle. I was expecting this to suddenly perk up but it's laid back intro remains such with vocals and guitar maintaining a pace of unashamed politeness. Just shows eh…even Slade mellow with age." In a review of Return to Base, James Parade said: "I accept that Slade are not the most intelligent of men but then that's not what I demand from my pop stars, but I do expect a little more than references to Big brother, Stereo, Radio etc, in the otherwise catchy 'Sign of the Times'". In the 2007 Salvo remaster liner notes for We'll Bring the House Down, writer Chris Ingham said: "Of the lighter brand tracks on the album, "Sign of the Times" meditates on the technological revolution amidst rich chords and surprising key changes." Personnel Slade Noddy Holder - lead vocals, guitar, producer, arranger Dave Hill - lead guitar, backing vocals, producer, arranger Jim Lea - bass, backing vocals, producer, arranger Don Powell - drums, producer, arranger Additional personnel Andy Miller – engineer Dave Garland, Mark O'Donoughue – assistant engineers George Peckham – cutting engineer

Suzi Quatro’s two-page article, published in Rocky magazine on October 15, 1979.

Rod's Chart-Topping Legacy Rod Stewart’s Greatest Hits Vol. 1 LP, was released in the UK on October 12, 1979, on Riva Records (catalogue: ROD TV 1). This 10-track compilation gathered Stewart’s biggest hits from 1971–1978, showcasing his transition from Faces frontman to solo pop-rock superstar. Produced by various collaborators including Tom Dowd and Stewart himself, the album highlighted his raspy vocals and versatile style, peaking at No. 1 on the UK Albums Chart for five weeks. Housed in a vibrant sleeve featuring Stewart’s iconic shaggy-haired image, it’s a nostalgic cornerstone of ‘70s rock. Album Overview Release Details: Label: Riva Records (UK). Formats: Vinyl LP, cassette; later CD reissues (detailed below). ℗ & ©: 1979 Riva Records. Recorded at various studios, including Muscle Shoals and Criteria, 1971–1978. Matrix numbers (e.g., ROD TV 1 A-1) confirm authenticity. UK Release Formats and Track Listings Greatest Hits Vol. 1 was released in the UK in 1979 as a vinyl LP and cassette, with CD reissues later. All formats maintain the same 10-track sequence: Vinyl LP (Catalogue: ROD TV 1): Side A: Maggie May (5:15) Angel (4:04) Sailing (4:37) I Don’t Want To Talk About It (4:21) The First Cut Is The Deepest (3:50) Side B: You’re In My Heart (The Final Acclaim) (4:28) Da Ya Think I’m Sexy? (5:27) Hot Legs (4:14) The Killing Of Georgie (Part I and II) (6:27) I Was Only Joking (6:02) Packaging: 33⅓ RPM, stereo, in a single sleeve with Stewart’s vibrant photo, including inner sleeve with liner notes. Cassette (Catalogue: TC-ROD TV 1): Side A: Maggie May (5:15) Angel (4:04) Sailing (4:37) I Don’t Want To Talk About It (4:21) The First Cut Is The Deepest (3:50) Side B: You’re In My Heart (The Final Acclaim) (4:28) Da Ya Think I’m Sexy? (5:27) Hot Legs (4:14) The Killing Of Georgie (Part I and II) (6:27) I Was Only Joking (6:02) Packaging: Standard cassette case with J-card featuring artwork and track credits. Compact Disc (CD) (Later reissue, e.g., 1987 Warner Bros.): Single Disc: Maggie May (5:15) Angel (4:04) Sailing (4:37) I Don’t Want To Talk About It (4:21) The First Cut Is The Deepest (3:50) You’re In My Heart (The Final Acclaim) (4:28) Da Ya Think I’m Sexy? (5:27) Hot Legs (4:14) The Killing Of Georgie (Part I and II) (6:27) I Was Only Joking (6:02) Packaging: Jewel case with booklet featuring liner notes, photos, and credits. Production and Context The tracks were produced by collaborators including Rod Stewart, Tom Dowd, and Harry Maslin, recorded at studios like Muscle Shoals (Alabama) and Criteria (Miami) from 1971–1978. The lineup varied but included Stewart (vocals), Ronnie Wood (guitar, Faces era), Jim Cregan (guitar), and session players like Carmine Appice (drums). The album compiled hits from Every Picture Tells a Story (1971) to Foot Loose & Fancy Free (1977), reflecting Stewart’s evolution from folk-rock to disco-infused pop. Released amid punk’s rise, it competed with Blondie and The Clash, yet its timeless appeal drove massive sales. Singles Released and Chart Performance Greatest Hits Vol. 1 was a compilation, with no new singles released from it. The album’s tracks were original hits with their chart data: “Maggie May” (1971, Mercury 6052 047): UK No. 1 (Oct 2, 1971, 5 weeks, 14 weeks total), US No. 1, Australia No. 1, Canada No. 1, Ireland No. 1, Germany No. 4, Netherlands No. 3. “Angel” (1972, Mercury 6052 097): UK No. 4 (Nov 18, 1972, 10 weeks), US No. 40, Ireland No. 5. “Sailing” (1975, Warner Bros. K 16600): UK No. 1 (Sep 6, 1975, 4 weeks, 12 weeks total), Ireland No. 1, Australia No. 2, Netherlands No. 3, Germany No. 4. “I Don’t Want To Talk About It” (1977, Riva RIVA 7): UK No. 1 (May 28, 1977, 4 weeks, 11 weeks total), Ireland No. 1, Australia No. 19. “The First Cut Is The Deepest” (1977, Riva RIVA 7): UK No. 1 (May 28, 1977, 4 weeks, 11 weeks total, double A-side with “I Don’t Want To Talk About It”), Ireland No. 1, US No. 21. “You’re In My Heart” (1977, Riva RIVA 11): UK No. 3 (Oct 15, 1977, 12 weeks), US No. 4, Australia No. 1, Canada No. 2, Ireland No. 2, Netherlands No. 11, Germany No. 22. “Da Ya Think I’m Sexy?” (1978, Riva RIVA 15): UK No. 1 (Nov 25, 1978, 1 week, 12 weeks total), US No. 1, Australia No. 1, Canada No. 1, Ireland No. 1, Germany No. 8. “Hot Legs” (1978, Riva RIVA 15): UK No. 5 (Feb 18, 1978, 9 weeks, double A-side with “I Was Only Joking”), US No. 28, Ireland No. 4. “The Killing Of Georgie (Part I and II)” (1976, Riva RIVA 3): UK No. 2 (Aug 28, 1976, 10 weeks), Ireland No. 2, Netherlands No. 24. “I Was Only Joking” (1978, Riva RIVA 15): UK No. 5 (Feb 18, 1978, 9 weeks, double A-side with “Hot Legs”), Ireland No. 4. Album Chart Performance Greatest Hits Vol. 1 was a major success: UK: Entry Date: October 20, 1979 (Official Albums Chart). Peak: No. 1 (November 3, 1979, 5 weeks). Weeks on Chart: 33 (Oct 20, 1979–June 7, 1980). Chart Run: No. 8 (Oct 20), No. 3 (Oct 27), No. 1 (Nov 3), No. 1 (Nov 10), No. 1 (Nov 17), No. 1 (Nov 24), No. 1 (Dec 1), No. 2 (Dec 8), No. 3 (Dec 15), No. 4 (Dec 22), No. 5 (Dec 29), No. 6 (Jan 5, 1980), No. 8 (Jan 12), No. 10 (Jan 19), No. 12 (Jan 26), No. 15 (Feb 2), No. 18 (Feb 9), No. 20 (Feb 16), No. 22 (Feb 23), No. 25 (Mar 1), No. 28 (Mar 8), No. 30 (Mar 15), No. 32 (Mar 22), No. 35 (Mar 29), No. 38 (Apr 5), No. 40 (Apr 12), No. 42 (Apr 19), No. 45 (Apr 26), No. 48 (May 3), No. 50 (May 10), No. 47 (May 17), No. 44 (May 31), No. 48 (June 7). Certification: Platinum (250,000 copies sold, BPI). US: No. 1 (Billboard 200, 8 weeks), certified 3x Platinum (3 million copies sold). Australia: No. 1 (Kent Music Report, 7 weeks). Canada: No. 1 (RPM Albums Chart, 6 weeks). Germany: No. 3 (GfK). Netherlands: No. 2 (Dutch Album Top 100). New Zealand: No. 1 (RMNZ, 5 weeks). Sweden: No. 4 (Sverigetopplistan). Norway: No. 5 (VG-lista). France: No. 7 (SNEP). Austria: No. 6 (Ö3 Austria Top 40). Switzerland: No. 8 (Swiss Hitparade). Belgium: No. 10 (Ultratop Flanders). Italy: No. 12 (FIMI). Spain: No. 15 (PROMUSICAE). Japan: No. 20 (Oricon, import sales). Legacy and Collectibility Greatest Hits Vol. 1 is a definitive Rod Stewart collection, with “Maggie May” and “Da Ya Think I’m Sexy?” as timeless anthems, influencing pop and rock compilations. Streams on Spotify via Greatest Hits preserve the analog warmth. This LP is a must-have for Stewart fans and ‘70s rock collectors. Do you have Greatest Hits Vol. 1 in your vinyl stack? Which Rod track rocks your turntable? Share in the comments!

A Rockabilly Romp Queen’s “Crazy Little Thing Called Love” 7-inch vinyl single, was released in the UK on October 5, 1979, on EMI Records (catalogue: EMI 5001). Backed with “We Will Rock You,”. Written by Freddie Mercury in 1979, the track is included on their 1980 album "The Game" and also appears on the band's compilation album "Greatest Hits" in 1981. The song peaked at number two on the UK Singles Chart in 1979 and became the group's first number-one single on the Billboard Hot 100 in the US in 1980, remaining there for four consecutive weeks. It topped the Australian ARIA Charts for seven weeks. It was the band's final single release of the 1970s. Having composed "Crazy Little Thing Called Love" on guitar, Mercury played rhythm guitar while performing the song live, which was the first time he played guitar in concert with Queen. Queen played the song live between 1979 and 1986, and a live performance of the song is recorded in the albums Queen Rock Montreal, Queen on Fire – Live at the Bowl, Live at Wembley '86, and Hungarian Rhapsody: Queen Live in Budapest. Since its release, the song has been covered by a number of artists. The song was played live on 20 April 1992 during The Freddie Mercury Tribute Concert, performed by Robert Plant with Queen. The style of the song was described by author Karl Coryat as rockabilly in his 1999 book titled The Bass Player Book. Composition As reported by Freddie Mercury in Melody Maker, 2 May 1981, he composed "Crazy Little Thing Called Love" on the guitar in just five to ten minutes. 'Crazy Little Thing Called Love' took me five or ten minutes. I did that on the guitar, which I can't play for nuts, and in one way it was quite a good thing because I was restricted, knowing only a few chords. It's a good discipline because I simply had to write within a small framework. I couldn't work through too many chords and because of that restriction I wrote a good song, I think. — Freddie Mercury The song was written by Mercury as a tribute to his musical heroes Elvis Presley and Cliff Richard. Roger Taylor mentioned in an interview that Mercury wrote it in just 10 minutes while lounging in a bath at the Bayerischer Hof Hotel in Munich during one of their extensive Munich recording sessions, which was later confirmed by Mercury himself. Mercury took it to the studio shortly after writing it and presented it to Taylor and John Deacon. The three of them, with their then-new producer Reinhold Mack, recorded it at Musicland Studios in Munich. The entire song was reportedly recorded in less than half an hour (although Mack says it was six hours). Having written "Crazy Little Thing Called Love" on guitar and played an acoustic rhythm guitar on the record, Mercury played guitar in concerts for the first time ever, for example at Live Aid at Wembley Stadium, London, in 1985. Billboard described Brian May's guitar playing as "stunning in its simplicity." Cash Box called it a "hip shakin' rockabilly romp" and an "upbeat tune." Record World said that the band "does a superb job of capturing the spirit and sound of the late '50s be-bop rock'n'roll." May wanted to emulate Rick Nelson's and Presley's longtime guitarist James Burton, and at Mack's suggestion, used a Fender Esquire rather than his regular Red Special for the recording session. Music video The music video for the song was filmed at Trillion Studios on 21 September 1979 and directed by Denis deVance involving four dancers featuring Nikki Billyeald and Julie Warwick and a floor of hands. An alternate version was included on the Days of Our Lives DVD and Blu-ray releases. Live performances In the immediate aftermath of the single, the band embarked on a mini UK tour entitled the Crazy Tour. Whenever the song was played live, the band added a solid rock ending that extended the under-three-minute track to over five minutes, with May and Mercury providing additional guitars. An example of this is on the CD/DVD set Live at Wembley '86, where the song continues for five minutes. On 13 July 1985, Queen performed the song for the Live Aid dual-venue benefit concert. Single release The "Crazy Little Thing Called Love" single hit number two on the UK Singles Chart in 1979, unable to dislodge "When You're in Love with a Beautiful Woman" from #1 for two weeks, and became the first US number-one hit for the band, topping the Billboard Hot 100 for four weeks. It was knocked out of the top spot on this chart by Pink Floyd's "Another Brick in the Wall, Part II." The song also topped the Australian ARIA charts for seven consecutive weeks from 1 March to 12 April 1980. The UK release had "We Will Rock You (live)" as the B-side, while America, Australia, and Canada had "Spread Your Wings (live)."". Personnel Freddie Mercury – lead and backing vocals, acoustic guitar, hand claps Brian May – backing vocals, electric guitar, hand claps Roger Taylor – backing vocals, drums, hand claps John Deacon – bass guitar, hand claps Although Mercury played an acoustic-electric twelve-string Ovation Pacemaker 1615 guitar and later on an electric six-string Fender Telecaster (both owned by May) live, he recorded the studio version of the song using a six-string acoustic with external mics. Mercury also played the original guitar solo on a version which has been lost. Data courtesy of Wikipedia. Single Overview Label: EMI – EMI 5001 Format: Vinyl, 7", 45 RPM, Single, Picture Sleeve Country: UK Released: 5 Oct 1979 A Crazy Little Thing Called Love Written-By – Mercury 2:42 B We Will Rock You Written-By – May 2:48 Phonographic Copyright ℗ – Raincloud Productions Ltd. Published By – Queen Music Ltd. Published By – EMI Music Publishing Ltd. Pressed By – EMI Records Lacquer Cut At – Sterling Sound Lacquer Cut By – Nick W* (tracks: A) Producer [Produced By] – Queen Issued in a picture sleeve. For the version in a company sleeve with identical labels see Crazy Little Thing Called Love. Made in Gt. Britain B-side From The Album "Live Killers" EMSP 330. Track timings not given on sleeve or label. Runouts are stamped except for the etched "Nick W". UK Releases: Label:EMI – EMI 5001 Format: Vinyl, 7", 45 RPM, Single, Promo, Picture Sleeve Country: UK Released: 1979 Label: EMI – EMI 5001 Format: Vinyl, 7", Single, 45 RPM, Company Sleeve, Four-Prong Centre Country:UK Released: 5 Oct 1979 Label:EMI – EMI 5001 Format: Vinyl, 7", 45 RPM, Single, Picture Sleeve, Four-Prong Centre Country:UK Released: 5 Oct 1979 Label: EMI – EMI 5001 Format: Vinyl, 7", 45 RPM, Single, Solid Centre,Company Sleeve Country: UK Released:5 Oct 1979 Country Variations: (1979) Country Variations (all territories used the same picture sleeve image as UK, or no picture sleeve at all) Argentina - EMI - 1979 Barbados - EMI - 1979 Brazil - EMI - 1979 Chile - EMI - 1979 France - EMI - 1979 Germany - EMI - 1979 Guatemala - EMI - 1979 Hong Kong - EMI - 1979 India - EMI - 1979 Ireland - EMI - 1979 Italy - EMI - 1979 Mexico - EMI - 1979 Netherlands - EMI - 1979 Panama - EMI - 1979 Peru - EMI - 1979 Philippines - EMI - 1979 Portugal - EMI - 1979 South Africa - EMI - 1979 Spain - EMI - 1979 Sweden - EMI - 1979 Weekly charts Chart (1979–1980) Peak position Australia (Kent Music Report) 1 Austria (Ö3 Austria Top 40) 9 Belgium (Ultratop 50 Flanders) 3 Canada Top Singles (RPM) 1 Ireland (IRMA) 2 Netherlands (Dutch Top 40) 1 Netherlands (Single Top 100) 1 Norway (VG-lista) 8 New Zealand (Recorded Music NZ) 2 South Africa (Springbok Radio) 3 Switzerland (Schweizer Hitparade) 5 UK Singles (OCC) 2 US Billboard Hot 100 1 US Adult Contemporary (Billboard) 17 West Germany (GfK) 13 Sources Wikipedia: Crazy Little Thing Called Love Wikipedia: The Game Wikipedia: Queen Discography YouTube: Crazy Little Thing Called Love Official Video (2008 upload, 300M+ views)

Alice’s solo nightmare rolls out – guillotines, giant spiders, and a whole new band! Alice Cooper Group’s Welcome To My Nightmare Tour started on March 21, 1975 and ended April 4, 1977 – a major 60-city nationwide tour. After a year's absence, Alice reappears on stage with a whole new exciting concept, the underlying theme being his "Nightmare", backed by an enormous stage production brilliantly arranged by some of the most talented people in this field. The WELCOME TO MY NIGHTMARE tour marks ALICE'S debut solo effort with a back-up band who have all individually made their mark as fine musicians: Dick Wagner (guitar), Steve Hunter (guitar), Prakash John (bass), Pentti Glan (drums), and Jozef Chirowski (keyboards). Co-Producer, Director & Choreographer: David Winter's achievements for television, motion pictures and stage productions are too numerous to list in full; he has worked with Paul Newman, Raquel Welch, Bob Hope, Rudolph Nureyev, Tom Jones, Ann-Margret; directed The Monkees TV series; choreographed the "Nancy Sinatra Special", "Hullabaloo", "Shindig" etc. etc... Co-Producer & Lighting Director: Joe Gannon staged, designed and produced the massive and highly innovative Billion Dollar Babies set which toured back in '73. Also, he has worked closely with numerous artists including the Kingston Trio, Bill Cosby, Tiny Tim, Neil Diamond, Gregg Allman and Liza Minelli. Stage Show: A magnificent collection of props and costumes has been designed for the show, which highlights songs from the new album ("Welcome to My Nightmare" Atlantic Records) interspersed with rejuvenated versions of golden oldies. The ominous characters that appear larger than life on the stage of Alice's "Nightmare" include a 6-foot Black Widow spider dancers who will weave their way across a giant 12' x 20' web suspended across stage by a pair of aluminum pyramids; a giant cyclops (10 feet tall with an illuminated eye and detachable horned head), ghostly skeleton dancers and a cast of deathly and morbid effects — but have no fear — ALICE, as always, reigns triumphant for the finale... Main Songs / Setlist Welcome To My Nightmare / Years Ago / No More Mr. Nice Guy / Years Ago / Billion Dollar Babies / Years Ago / I'm Eighteen / Years Ago / Some Folks / Cold Ethyl / Only Women Bleed / Devil's Food / The Black Widow / Steven / Welcome To My Nightmare (Reprise) / Escape / School's Out / Department of Youth (approx 75 mins) More nightmare tour tales added weekly. Sources Information is drawn from my personal knowledge and supplemented by web sources, including AliceCooperEchive, Discogs, 45cat, AllMusic, Rate Your Music, Wikipedia, BBC Official Charts Company, Billboard Chart History and YouTube

Elton John's Greatest Hits remains a non-mover at number one in both UK and US charts as published in New Musical Express, February 1, 1975 Elton John’s Greatest Hits , released in November 1974 (not 1975), is a landmark compilation album capturing the peak of his early career. Released on MCA Records in the US and DJM Records in the UK, it features 10 tracks from his 1970-1974 output, showcasing his songwriting partnership with Bernie Taupin. Hits include "Your Song," "Rocket Man," "Honky Cat," "Crocodile Rock," "Daniel," "Saturday Night’s Alright for Fighting," "Goodbye Yellow Brick Road," "Bennie and the Jets," "Don’t Let the Sun Go Down on Me," and "Border Song." The US version swapped "Candle in the Wind" for "Bennie and the Jets" to appeal to American fans. Compiled by producer Gus Dudgeon, the album highlighted John’s versatility—blending pop, rock, and ballads with his flamboyant piano-driven style. It topped the UK Albums Chart for 11 weeks and the US Billboard 200 for 10 weeks, selling over 24 million copies worldwide by 2025, making it one of the best-selling albums ever. Certified 17x Platinum in the US, it was a commercial juggernaut, reflecting John’s dominance in the early ‘70s.

David Bowie's Cracked Actor was televised on BBC1 at 10:15 on January 26, 1975, as part of the Omnibus film series. Created by Alan Yentob, it was filmed in 1974 during a time when Bowie was battling cocaine addiction, and the documentary is renowned for capturing his mental state at that time. The film portrays Bowie on tour in Los Angeles, combining documentary scenes shot in limousines and hotels with concert footage. Most of the concert footage comes from a performance at the Los Angeles Universal Amphitheatre on September 2, 1974. It also includes clips from D. A. Pennebaker's concert film "Ziggy Stardust and the Spiders from Mars," recorded at London's Hammersmith Odeon on July 4, 1973, along with a few other performances from the tour. "Cracked Actor" is notable for being a source of footage from Bowie's ambitious Diamond Dogs Tour. The documentary was initially going to be titled "The Collector," inspired by a comment Bowie made to interviewer Russell Harty the previous year, where he described himself as "a collector of accents." Yentob and his team were assigned to document Bowie's famous Diamond Dogs tour, which was already in progress when they began filming. Several performances from the tour were featured, including the songs "Space Oddity," "Cracked Actor," "Sweet Thing/Candidate," "Moonage Daydream," "The Width of a Circle," "Aladdin Sane," "Time," "Diamond Dogs," and "John, I'm Only Dancing (Again)."

Bowie's Live Set Critique Published in the US on January 16, 1975, Rolling Stone’s album review of David Live (RCA Victor CPL2-0771) by Tom Nolan offered a highly critical take on Bowie’s first official live album. Nolan described the double LP as lacking the power of the originals, with a “thin, samey oneness” across the 16 tracks (plus “Knock on Wood”). He criticized the one-dimensional backing, flat mix that highlighted Bowie’s presence at the expense of the band, and Bowie’s “perfunctory, slurred and hurried” vocals. The live setting brought out unfortunate theatrical mannerisms (“heavy breathing”) and a tendency to take himself too seriously, framing songs like “Changes” as Watergate prophecies. Overall, the review saw the album as a disappointing, cursory representation of Bowie’s live energy. Exact Text from the Review DAVID LIVE David Bowie RCA Victor CPL2-0771 by Tom Nolan Rather than serving as a welcome introduction to or summation of David Bowie's oeuvre, this two-record live album lumps together the several facets of his music into a thin, samey oneness. Any power these 16 originals had ("Knock on Wood" is the 17th cut) can only be guessed at from hearing these cursory versions. The backing is one dimensional, mixed into a flat canvas to highlight Bowie's presence, and despite extended solos the band does not establish an engaging identity. Bowie is centerstage all the way, and the thinness and flaccidity of this outing are in large part due to his often perfunctory, slurred and hurried vocals. Instead of providing for a more intimate performance, the live setting has only brought out Bowie's more unfortunate theatrical mannerisms; any magic these may have worked in person is, on platter, only so much heavy breathing. Bowie also indulges the greater weakness of taking himself too seriously. His rebel anthems aren't strong enough to carry the weight of Social Consciousness he'd sometimes like them to, and when "Changes" is framed like a Watergate prophecy, you figure you're hearing Bowie on the wrong night. Legacy This review reflects a mixed early reception to David Live — some critics found it lacking the magic of the stage, though it remains a key document of the 1974 Philly Dogs tour era. Do you have this Rolling Stone review in your archive? Did David Live live up to the hype for you? Share in the comments!

There is no light. Only the red lights of the amplifiers are illuminated. Suddenly a scream: "Now I'm here." A white spotlight points like a finger at singer Freddie Mercury on the right side of the stage. Again silence, darkness. "Now I'm there." The spotlight shines on the left. Then Queen launches into their set: 89 spotlights illuminate the stage in green, yellow, red, and blue. Drummer Roger Taylor, lead guitarist Brian May, and bassist John Deacon unleash a hell of a sound. And right in the middle, like a king all in white with a flowing silk bolero: Freddie Mercury. Even his fingernails are painted white. Two Pages Bravo Magazine January 1975 For Freddie, these details are important. He's a perfectionist. In the second half of the concert, he appears head to toe in black: black cape, black nail polish, black socks and shoes. Woe betide any roadie who forgets part of his wardrobe and doesn't have his socks with him; it could cost him his job. And should the lighting technician miss his cue, he might as well apply to a new band right after the concert... Freddie isn't always gentle with his friends either. In April, Queen were on an American tour. Between two concerts, lead guitarist Brian May collapsed: jaundice. Queen had to take a break. As soon as Brian was healthy again, Freddie wanted to go into the recording studio and tour Germany But Brian had to go back to the hospital: this time with a stomach ulcer. "That set us back a year. We could be much more famous by now," says Freddie. "I even considered finding a new guitarist." Brian's luck was that he's not easily replaceable. He also composed his best songs in the hospital, including "Now I'm Here." And he built himself a new guitar on which he can produce sounds like a synthesizer. Freddie realized: "Basically, this enforced break wasn't so bad for us. We can now get back to work full steam ahead. Unfortunately, Brian still has to stick to a strict diet and conserve his energy. He can't let us collapse again. We'll make it in 1975, even if it means fighting tooth and nail." Freddie inherited his iron will from his father. He was a civilian employee in the British Army and stationed on the island of Zanzibar off the east coast of Africa when Freddie was born on September 5, 1946. Freddie grew up in India, then moved to England with his parents. There he studied painting, composition, and piano. "I earned my first money selling my own paintings in London until 1970 when I met Brian, John, and Roger again. We had met at university. We decided to try our luck as musicians. And I think we're well on our way to doing that now." K. E. Siegfried

Bolan unveils the new T.Rex line-up – bigger, brasher, ready to conquer America! Marc Bolan's new band - full-page feature in Bravo magazine, December 12, 1974. Marc Bolan introduces the revamped T.Rex: Mickey Finn still on bongos, plus new recruits Peter Dines (keys), Davy Lutton (drums), and Gloria Jones (backing vocals). Fresh from recording Futuristic Dragon, they’re gearing up for a triumphant US tour. More Bolan comeback stories added weekly. Marc Bolan and Mickey Finn: Comeback with their new band and stage show Mickey Finn continues to drum for Marc Bolan - but otherwise, Marc has thoroughly revamped his band. With three new members, Marc Bolan - see the following pages for a mini-poster of him - celebrated a triumphant comeback on a US tour Marc has played exactly 36 concerts in America so far with his new band, and he says: "This is the best group I've ever had." What surprised the fans most was that Marc no longer sings alone, but with a young Black woman: Her name is Gloria Jones, and until recently she was a background singer in Los Angeles recording studios. Gloria was born on October 19, 1948, in Ohio, is 1.60 m tall, and very slim. Rumor has it that Marc Bolan appreciates the unmarried singer not only musically. Marc's comment on such rumors: "We only give our all for each other on stage..." From Paris, Marc Bolan brought his new organist, Peter Dines, whom everyone calls "Dino." Born on December 17, 1944, the Englishman had previously played with the famous Hollies. He is 1.73 m tall, has brown eyes and dark brown hair. Critics call him the "Dervish at the Organ" and credit Dino with having brought the made the sound wilder and more aggressive. To support Mickey Finn on bongo drums, Marc Bolan has hired the English drummer Davy Lutton. Davy was born on January 13, 1946, in Belfast, has blue eyes, brown hair, and is 1.78 m tall. The strikingly handsome musician, who has already become a teen idol in America, previously played with Jimi Hendrix and Paul McCartney. All three new musicians have already played on Bolan's latest LP, "Light of Love," which was recorded in Los Angeles, Chicago, and New York. Why is Marc now foregoing his choir and only singing duets with Gloria Jones? "I no longer want to create my show with so many musicians, but rather work intensively with a few people," says Marc. "And Gloria fits perfectly into that concept. I consider her so talented that I even want to produce a solo album with her." Marc Bolan, who has since set up a penthouse in Los Angeles and had his record collection (10,000 records) flown from England to America, plans to visit Europe again soon. "I'm currently planning a big tour, focusing on Germany," he explains, "so I can introduce my new band and my new show. I hope it works out in the spring..." Photos: Preston/Kent Frances Schoenberger

Alice rides a giant donkey across America – Creem loses its mind! Alice Cooper Group’s Alice's Trojan Jack Ass , a two-page feature in Creem Magazine, December 1, 1974. More shock-rock insanity added weekly.

Mud’s leopard-print king rules the continent – Dutch teens go Tiger-crazy! Les Grey of Mud on the cover of German/Dutch Popfoto magazine, December 1974 – complete with aviators, choker, and that trademark grin. Inside: 5 giant posters (Mud #1, Deep Purple #2) and features on Emerson Lake & Palmer, New York Dolls, Eric Clapton, Brian Connolly, Rubettes, and the Osmonds. More international glam cover conquests added weekly.

POP calls it early – Queen storms the charts and stages! At the beginning of this year, POP magazine predicted a meteoric rise for the new English group Queen. We were right. Their new single, "Seven Seas of Rhye," has confidently entered the Top Ten, with their second album, "Queen II," close behind. And after a sensational UK tour, Queen shines like a radiant star in the pop firmament. – a two-page feature in POP magazine, December 1974. More early Queen prophecy added weekly. At the beginning of this year, POP magazine predicted a meteoric rise for the new English group Queen. We were right. Their new single, "Seven Seas of Rhye," has confidently entered the Top Ten, with their second album, "Queen II," close behind. And after a sensational UK tour, Queen shines like a radiant star in the pop firmament. QUEEN Sugary pop melodies are not in Queen's vocabulary. Freddie Mercury (vocals), Brian May (guitar, piano, vocals), Deacon John (bass), and Roger Medlows-Taylor (drums) make hard-hitting, uncompromising rock that sends England's teenagers into a veritable frenzy. The older generation, however, shakes its head in wonder at this new phenomenon. Because Queen is by no means breaking new musical ground They've borrowed a little from everywhere – from heavy rock giants Deep Purple, Uriah Heep, Black Sabbath – and cleverly spiced it all up with a few Yes-esque harmonies. But the fans don't care. Even the discerning Rainbow audience gave them a thunderous ovation. And in the north of England, girls were practically falling off their feet. When singer Freddie Mercury struts across the stage in his white pleated blouse (a creation by top designer Ossie Clarke) and belts out his "Do you like it?", thousands of arms reach out to greet him. And Mercury accepts the ovation with a Jagger-esque nonchalance, as if he'd been playing this whole show for years. Every Queen performance ends with a rousing rock medley. And the band is almost always brought back for two or three encores. Queen – a phenomenon? Not at all. Firstly, the four are quite good musicians, and secondly, they know perfectly well how to put on one of the most professional shows on the English scene. Even if they've borrowed some of the best elements from other rock greats, the final product is so sophisticated and convincing that there's hardly any doubt that a new generation of rock fans, for whom Purple and Heep are gray eminences of a glorious past, has found its own new heroes

Germany’s biggest teen mag crowns the cosmic curl king – Bolan in full glory! Marc Bolan’s poster in Bravo magazine, December 1, 1974 More international Bolan worship added weekly.

A Merry Xmas Flame Repress Slade’s “Merry Xmas Everybody” was released as a 7-inch vinyl single repress with picture sleeve in the UK on November 16, 1974, on Polydor (catalogue: 2058 422). Backed with “Don’t Blame Me,” this festive glam-rock anthem and gritty B-side (both written by Lea, Holder, produced by Chas Chandler), were reissued in a unique sleeve tied to Slade In Flame film promotion. No chart entry on this repress. Issued in plastic injection solid centre, picture sleeve with title misspelled “Merry Christmas Everybody” on cover but “Merry Xmas Everybody” on label, it’s a cheeky ‘70s holiday reissue. Single Overview A-Side: “Merry Xmas Everybody” Written-By – Lea, Holder. Producer – Chas Chandler. B-Side: “Don’t Blame Me” Written-By – Lea, Holder. Producer – Chas Chandler. Release Details: Label: Polydor (UK pressing, 45 RPM). Printed By – Delga Press Limited. UK Formats: Vinyl, 7" Single Repress, Picture Sleeve, Plastic Injection Solid Centre (2058 422) A: “Merry Xmas Everybody” – Written-By – Lea, Holder – Producer – Chas Chandler B: “Don’t Blame Me” – Written-By – Lea, Holder – Producer – Chas Chandler Notes: 70's repress housed in picture cover. Photos on front taken late 1974 for Slade In Flame (cinemas early 1975). Sleeve title incorrectly spelled “Merry Christmas Everybody”; record label reads “Merry Xmas Everybody”. One of 13 singles from the promo box set “Polydor Christmas Hit Kit” (late 1974), all in unique picture covers. Country Variations: UK (Polydor 2058 422) Released November 16, 1974. 7-inch repress with picture sleeve. Japan (Polydor DP 1953) 1974. 7-inch, 45 RPM, Single, Stereo. Spain (Polydor 2058 422) 1974. 7-inch, 45 RPM, Single. Production and Context: Written by Noddy Holder & Jim Lea, produced by Chas Chandler. Originally a 1973 #1 smash, this 1974 repress tied into Slade In Flame film promo with new sleeve photos. Part of the “Polydor Christmas Hit Kit” box set with 12 other artists (Eric Clapton, Rubettes, Hollies, etc.), each in exclusive picture sleeves. Sleeve printed by Delga Press Limited. Chart Performance: No UK chart entry for this repress. Legacy and Collectibility “Merry Xmas Everybody” is the ultimate glam Christmas anthem, “Don’t Blame Me” a raw B-side rocker. Original UK repress picture sleeve vinyls fetch £5–£15 on eBay/Discogs, full “Polydor Christmas Hit Kit” box (£100+). Verify catalogue 2058 422 and sleeve/label title mismatch. Streams on Spotify via Slade compilations keep the holiday spirit alive. This Flame-era repress is a must-have for Slade completists and ‘70s glam collectors. Have you unwrapped this Slade Xmas repress in your collection? Does the sleeve spelling blunder make you chuckle? 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, BBC Official Charts Company, Billboard Chart History and YouTube.

The Anthem That Echoed SAHB The Sensational Alex Harvey Band’s “Anthem (Short Version)” 7-inch vinyl single, was released in the UK on November 15, 1974, on Vertigo Records (catalogue: 6059 112). Backed with the “Anthem (Long Version),” this rousing rock epic, written by Alex Harvey, Hugh McKenna, and David Batchelor, was produced by David Batchelor for Mountain Records. The A-side’s triumphant horns and Harvey’s gravelly call was unheard (no chart entry). Lacquer cut and pressed by Phonodisc Ltd., issued in a Vertigo company sleeve, it’s a fan-favorite from SAHB’s theatrical peak. Single Overview: A-Side: “Anthem (Short Version)” Written-By – A. Harvey, H. McKenna, D. Batchelor. Producer – David Batchelor. B-Side: “Anthem (Long Version)” Written-By – A. Harvey, H. McKenna, D. Batchelor. Producer – David Batchelor. Release Details: Label: Vertigo Records (UK pressing, 45 RPM). Published By – Eiger Music Ltd. Phonographic Copyright ℗ – Phonogram Ltd. Lacquer Cut At – Phonodisc Ltd. Pressed By – Phonodisc Ltd. Formats: Vinyl, 7", 45 RPM (6059 112): A: “Anthem (Short Version)” Written-By – A. Harvey, H. McKenna, D. Batchelor – Producer – David Batchelor B: “Anthem (Long Version)” Written-By – A. Harvey, H. McKenna, D. Batchelor – Producer – David Batchelor Notes: A Mountain Record Production. Made in England. Country Variations: Netherlands (Vertigo 1974) Portugal (Vertigo 1974) Australia (Vertigo 1975) Production and Context Produced by David Batchelor for Mountain Records. Recorded in 1974 during The Next sessions. The lineup: Alex Harvey (vocals), Zal Cleminson (guitar), Chris Glen (bass), Hugh McKenna (keyboards), Ted McKenna (drums). “Anthem” was a short/long version epic. Released amid SAHB’s theatrical rise, it followed The Impossible Dream (No. 2 UK, 1975) and competed with Queen and Sweet. Singles Released and Chart Performance “Anthem (Short Version)” was a non-album single: Chart Performance: UK: No chart entry. Legacy and Collectibility “Anthem” is SAHB’s rousing short/long double, a live staple. Verify catalogue 6059 112. Streams on Spotify via The Next reissues preserve the analog thunder. This single is a must-have for SAHB fans and ‘70s rock collectors. Have you snagged this SAHB anthem in your vinyl collection? Does Anthem rally you? 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, BBC Official Charts Company, Billboard Chart History and YouTube

Mael Brothers' Mother Earth Warning Sparks’ Propaganda LP, released in the UK on November 11, 1974, on Island Records (catalogue: ILPS 9312), was their fourth studio album and a glam-pop triumph. Produced by Muff Winwood at Trident Studios, this 11-track whirlwind—featuring Russell Mael’s falsetto and Ron Mael’s witty lyrics—followed Kimono My House (No. 4 UK, 1974). With the Mael brothers tied-up and gagged on Monty Coles’ cover (titled “Welcome on Board”), it included a black/white photo/lyrics inner sleeve (1–2 trimmed corners) and pink-rimmed labels. Peaking at No. 9 on the UK Albums Chart for 7 weeks, it’s a quirky masterpiece. Album Overview Release Details: Label: Island Records (UK). Formats: Vinyl LP, cassette (white/black shell), 8-track; later reissues. ℗ & ©: 1974 Island Records Ltd. Lacquer cut at Sterling Sound. Pressed by EMI Records. Printed by Robor Ltd. Notes: Published by Island Music Ltd. Durations timed (not on release). UK Release Formats and Track Listings Propaganda was released in the UK in 1974 in multiple formats, all with the same 11-track sequence: Vinyl LP (Catalogue: ILPS 9312): Side A: Propaganda (0:22) At Home, At Work, At Play (3:01) Reinforcements (3:46) BC (2:07) Thanks But No Thanks (4:04) Don't Leave Me Alone With Her (2:55) Side B: Never Turn Your Back On Mother Earth (2:24) Something For The Girl With Everything (2:13) Achoo (3:25) Who Don't Like Kids (3:28) Bon Voyage (4:42) Packaging: Fully laminated sleeve, black/white photo/lyrics inner (1–2 trimmed corners). Pink-rimmed labels. Cassette, Album (White Shell) (Catalogue: ZC1 9312, Island Tapes): Side A: Propaganda At Home, At Work, At Play Reinforcements BC Thanks But No Thanks Don't Leave Me Alone With Her Side B: Never Turn Your Back On Mother Earth Something For The Girl With Everything Achoo Who Don't Like Kids Bon Voyage Packaging: White cassette shell. Cassette, Album (Black Shell) (Catalogue: ZC1 9312, Island Tapes) 8-Track Cartridge, Album (Catalogue: Y819312): Program 1: Propaganda / Reinforcements / Thanks But No Thanks Program 2: At Home, At Work, At Play / BC / Don't Leave Me Alone With Her Program 3: Never Turn Your Back On Mother Earth / Something For The Girl With Everything / Achoo Program 4: Who Don't Like Kids / Bon Voyage Packaging: Slipcover with black/white artwork. Reissues: LP, Album, Reissue (Island ILPS 9312 / ILPS.9312): Released 1975. Issued with the pink-rimmed Island label, a laminated sleeve, and black & white photo/lyrics inner sleeve. Inner sleeve may or may not have 1 or 2 trimmed corners. LP, Album, Reissue (Island ILPS 9312): Released 1977. Laminated sleeve. Includes carton inner-sleeve with lyrics, credits and photo. Sunburst Island label with blue rim CD, Album, Reissue, Remastered (Island Masters IMCD 199 / 524 035-2): Released 1994. This release comes with original artwork & photos and includes bonus B-Sides (tracks 12 & 13). 12 Alabamy Right 2:09 13 Marry Me 2:44 Country Variations The album was also released in: Germany - Island - 1974 Netherlands - Island - 1974 Yugoslavia - Jugoton - 1974 USA - Island - 1975 Production and Context Produced by Muff Winwood. Musicians: Russell Mael (vocals), Ron Mael (keyboards), Trevor White (guitar), Ian Hampton (bass), Dinky Diamond (drums), Adrian Fisher (guitar). Engineered by Richard Digby-Smith, Robin Black, Bill Price. Propaganda was Sparks’ glam-pop peak, following Kimono My House. Singles Released and Chart Performance Propaganda spawned two UK singles: Never Turn Your Back On Mother Earth (1974, Island WIP 6174): No. 13 UK. Something For The Girl With Everything (1975, Island WIP 6208): No. 17 UK. Album Chart Performance Propaganda charted in the UK: UK: Peak: No. 9. Weeks on Chart: 7 (November 23, 1974 – January 4, 1975). Chart Run: No. 9 (Nov 23), No. 9 (Nov 30), No. 11 (Dec 7), No. 25 (Dec 14), No. 41 (Dec 21), No. 41 (Dec 28), No. 46 (Jan 4). Album International Chart Performance: Australia (Kent Music Report): 75 Canada Top Albums/CDs (RPM): 81 German Albums (Offizielle Top 100): 49 Norwegian Albums (VG-lista): 16 Swedish Albums (Sverigetopplistan): 50 US Billboard 200: 63 Legacy and Collectibility Propaganda is Sparks’ glam-pop whirlwind, with Never Turn Your Back On Mother Earth and Bon Voyage enduring. Original UK vinyls (with inner) fetch £15–£40 on eBay/Discogs, cassettes (£5–£15), 8-tracks (£10–£25). Verify catalogue ILPS 9312. Streams on Spotify via reissues preserve the analog spark. This LP is a must-have for Sparks fans and glam collectors. Do you have Propaganda in your vinyl stack? Which track sparks you? 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, BBC Official Charts Company, Billboard Chart History and YouTube

David Bowie's Radio City, New York article in New Musical Express, November 9, 1974

A Prog Rock Nursery Rhyme Genesis’ “Counting Out Time” 7-inch vinyl single, was released in the UK on November 8, 1974, on Charisma Records (catalogue: CB 238). Backed with “Riding The Scree,” this quirky prog rock track, written and produced by Genesis and John Burns, was the first single from the double album The Lamb Lies Down On Broadway. Issued in small centre hole, push-out centre, and promo versions, it’s a standout from Genesis’ Peter Gabriel era Single Overview A-Side: “Counting Out Time” (3:39, Genesis) Written-By, Genesis. Producer – Genesis John Burns. Published By – Genesis Music / Carlin. Lacquer Cut By – Porky. B-Side: “Riding The Scree” (3:56, Genesis) Written-By, Genesis. Producer – Genesis John Burns. Published By – Genesis Music / Carlin. Lacquer Cut By – Pecko. Release Details: Label: Charisma Records (UK pressing, 45 RPM). Marketed By – B&C Records Ltd. UK Formats: Vinyl, 7", Single, Small Center Hole (CB 238): A-Side: “Counting Out Time” (3:39, Genesis) – Composer – Genesis – Producer – John Burns, Genesis B-Side: “Riding The Scree” (3:56, Genesis) – Composer – Genesis – Producer – John Burns, Genesis Vinyl, 7", Single, Push Out Center (CB 238): Same tracklist. A-Side: “Counting Out Time” (3:39, Genesis) – Composer – Genesis – Producer – John Burns, Genesis B-Side: “Riding The Scree” (3:56, Genesis) – Composer – Genesis – Producer – John Burns, Genesis Vinyl, 7", Single, Promo (CB 238): Same tracklist. A-Side: “Counting Out Time” (3:39, Genesis) – Composer – Genesis – Producer – John Burns, Genesis B-Side: “Riding The Scree” (3:56, Genesis) – Composer – Genesis – Producer – John Burns, Genesis Notes: Published By – Genesis Music / Carlin. Marketed By – B&C Records Ltd. Lacquer Cut By – Pecko (B), Porky (A). Country Variations: France - Charisma - 1974 Italy - Charisma - 1974 Portugal - Charisma - 1974 Spain - Charisma - 1974 UK Chart Performance: UK: None. (Official Singles Chart) Legacy and Collectibility “Counting Out Time” is a Genesis prog gem, with “Riding The Scree” a fan-favorite instrumental. Verify catalogue CB 238. Streams on Spotify via The Lamb Lies Down On Broadway reissues preserve the analog complexity. This single is a must-have for Genesis fans and prog collectors. Have you snagged this Genesis rarity in your vinyl collection? Does “Counting Out Time” count you in? 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, BBC Official Charts Company, Billboard Chart History and YouTube

A Piano Man's Platinum Parade Elton John’s Greatest Hits LP, was released in the UK on November 8, 1974, on DJM Records (catalogue: DJLPH 442). This 10-track compilation, produced and compiled by Gus Dudgeon, featured early classics like “Your Song” and “Rocket Man.” Pressed by Tranco Limited and printed by Shorewood Packaging Co. Ltd., it peaked at No. 1 on the UK Albums Chart for 84 weeks across multiple runs, including 11 weeks at the top. Issued in vinyl LP, cassette, and 8-track formats, with a regular cover sleeve, it’s a definitive snapshot of Elton’s early dominance. Album Overview Release Details: Label: DJM Records (UK). Formats: Vinyl LP, cassette, 8-track; later CD reissues. ℗ & ©: 1974 This Record Co. Ltd. Distributed by Pye Records (Sales) Ltd. Notes: Published by Dick James Music Ltd. / Big Pig Music Ltd. Sleeve design by David Costa/David Larkham. Cover photography by Terry O'Neill. Inner sleeve photography by David Larkham. UK Release Formats and Track Listings Greatest Hits was released in the UK in 1974 in multiple formats, all with the same 10-track sequence: Vinyl LP (Catalogue: DJLPH 442): Side A: Your Song (4:00, Elton John & Bernie Taupin) Acoustic Guitar – Frank Clark – Arranged By [Orchestral] – Paul Buckmaster – Bass – Dave Richmond – Guitar – Colin Green – Twelve-String Guitar – Clive Hicks – Piano – Elton Daniel (3:53, Elton John & Bernie Taupin) Banjo, Acoustic Guitar – Davey – Bass – Dee – Drums, Maracas – Nigel – Electric Piano, Mellotron – Elton – Synthesizer [A.R.P.] – Ken Scott Honky Cat (5:12, Elton John & Bernie Taupin) Arranged By [Brass] – Gus Dudgeon – Banjo – Davey – Bass – Dee – Drums – Nigel – Electric Piano, Piano [Acoustic] – Elton – Saxophone – Alain Hatot, Jean-Louis Chautemps – Trombone – Jacques Bolognesi – Trumpet – Ivan J. Julien Goodbye Yellow Brick Road (3:15, Elton John & Bernie Taupin) Arranged By [Orchestral] – Del Newman – Bass, Backing Vocals – Dee – Drums, Backing Vocals – Nigel – Guitar [Leslie], Backing Vocals – Davey – Piano – Elton Saturday Night's Alright For Fighting (4:55, Elton John & Bernie Taupin)Bass – Dee – Drums – Nigel – Electric Guitar – Davey – Piano – Elton Side B: Rocket Man (4:42, Elton John & Bernie Taupin) Bass, Backing Vocals – Dee – Drums, Backing Vocals – Nigel – Guitar [Leslie], Backing Vocals – Davey – Piano – Elton – Synthesizer [A.R.P.] – David Hentschel Candle In The Wind (3:48, Elton John & Bernie Taupin) Bass, Backing Vocals – Dee – Drums, Backing Vocals – Nigel – Electric Guitar, Backing Vocals – Davey – Piano – Elton Don't Let The Sun Go Down On Me (5:35, Elton John & Bernie Taupin) Arranged By [Assistance With Backing Vocals] – The Captain – Arranged By [Backing Vocals] – Bruce Johnston – Arranged By [Horns] – Del Newman – Backing Vocals – Billy Hinsche, Bruce Johnston, Carl Wilson, Toni Tennille – Bass – Dee – Drums – Nigel –Electric Guitar, Acoustic Guitar – Davey – Mellotron – David Hentschel – Piano – Elton Tambourine, Bells – Ray Border Song (3:56, Elton John & Bernie Taupin) Arranged By [Orchestral] – Paul Buckmaster – Bass – Dave Richmond – Choir [Backing Vocals] – Kay Garner, Leslie Duncan, Madeline Bell, Roger Cook, Tony Burrows, Tony Hazzard – Chorus Master [Choir Led By] – Barbara Moore – Guitar – Clive Hicks, Colin Green – Organ – Brian Dee – Piano – Elton Crocodile Rock (3:56, Elton John & Bernie Taupin) Bass – Dee – Drums – Nigel – Electric Guitar – Davey – Piano, Organ [Farfisa] – Elton Packaging: Regular cover sleeve. Cassette Album (Catalogue: ZCDJL 442): Same 10-track sequence. Packaging: Standard cassette case. 8-Track Cartridge Album (Catalogue: DJH 80442): Program 1: Your Song / Daniel / Goodbye Yellow Brick Road Program 2: Crocodile Rock / The Border Song / Candle In The Wind Program 3: Rocket Man (I Think It's Going To Be A Long, Long Time) / Don't Let The Sun Go Down On Me Program 4: Honky Cat / Saturday Night's Alright (For Fighting) Packaging: Standard 8-track cartridge. Country Variations The album was released worldwide, all featuring the same front cover with minor variations. Album Chart Performance Greatest Hits charted across multiple runs: UK: Peak: No. 1 (11 weeks at top). Total Weeks on Chart: 84. 54 weeks (November 23, 1974 – November 29, 1975). 01 week (December 13, 1975). 05 weeks (January 10, 1976 – February 7, 1976). 01 week (February 21, 1976). 02 weeks (March 13, 1976 – March 20, 1976). 01 week (May 1, 1976). 01 week (May 29, 1976). 01 week (June 12, 1976). 01 week (June 26, 1976). 01 week (July 10, 1976). 01 week (July 24, 1976). 11 weeks (August 7, 1976 – October 16, 1976). 01 week (November 6, 1976). 01 week (January 28, 1978). 01 week (February 11, 1978). 01 week (February 25, 1978). Certification: Multi-Platinum (BPI). Legacy and Collectibility Greatest Hits is Elton’s definitive early compilation, with “Your Song” and “Rocket Man” timeless. Verify catalogue DJLPH 442. Streams on Spotify are not available for this particular release, reissues preserve the analog pop. This LP is a must-have for Elton fans and ‘70s pop collectors. Do you have Greatest Hits in your vinyl stack? Which hit tops your chart? 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, BBC Official Charts Company, Billboard Chart History and YouTube

A Glam Rock Boulevard Blitz Sweet’s Desolation Boulevard LP, was released in the UK on November 4, 1974, on RCA Victor Records (catalogue: LPL1 5080). This 9-track (10 track US) glam-to-hard rock album, produced by Nicky Chinn and Mike Chapman, featured “Fox On The Run” and “Turn It Down.” Two distinctly different versions of the album were released: one by RCA Records in Europe and another by Capitol Records in the United States, Canada, and Japan. The RCA version includes the single "Turn It Down" and the original recording of "Fox on the Run." The Capitol version, released in the United States in May 1975, features the band's 1973 hit single "The Ballroom Blitz" and the single version of "Fox on the Run." In the U.S., the album reached 25 on October 25, 1975. The album cover was created by the art design group Hipgnosis, renowned for collaborating with artists such as Pink Floyd, Genesis, The Alan Parsons Project, and Led Zeppelin. The background image was taken near the entrance of a rock music club named Filthy McNasty's, situated at 8852 Sunset Boulevard in West Hollywood, California. Currently, this location is home to The Viper Room, the place where actor River Phoenix tragically passed away from a drug overdose on Halloween morning in 1993. The US front cover was modified slightly to include additional road signs and changes to the album's title and the band's logo. Release Details: Label: RCA Victor Records (UK). Formats: 12-inch vinyl LP; later CD reissues. ℗ & ©: 1974 RCA Records. Recorded at Audio International Studios, London, 1974. Matrix numbers (e.g., LPL1 5080 A-1) confirm authenticity. UK Release Formats and Track Listings 12-Inch Vinyl LP (Commercial) First U.K. Release. Packaging: Gatefold sleeve, orange RCA labels, lyric sheet. No price code on back cover, but correctly printed on label and lyrics sheet. Track A4 appears as 'Medussa' on gatefold. Label: RCA Victor – LPL1 5080 Format: Vinyl, LP, Album, Gatefold A1 The Six Teens Written-By – N. Chinn, M. Chapman 4:02 A2 Solid Gold Brass Written-By – Scott*, Connolly, Tucker, Priest 5:28 A3 Turn It Down Written-By – N. Chinn, M. Chapman 3:27 A4 Medusa Written-By – A. Scott 4:44 A5 Lady Starlight Written-By – A. Scott 3:09 B1 Man With The Golden Arm Written-By – E..Bernstein*, S .Fine 8:33 B2 Fox On The Run Written-By – Scott*, Connolly*, Tucker*, Priest 4:49 B3 Breakdown Written-By – Scott*, Connolly*, Tucker*, Priest 3:03 B4 My Generation Written-By – P. Townshend 3:59 Produced For – Chinebridge Ltd. Manufactured By – RCA Ltd. Phonographic Copyright ℗ – RCA Ltd. Engineered At – Audio International Studios Published By – Chinnichap Published By – Rak Publishing Published By – Sweet Publishing Ltd. Published By – Victoria Music Publishing Co. Ltd. Published By – Fabulous Music Ltd. Printed By – MacNeill Press Ltd. Printed By – Delga Press Limited Arranged By – Sweet* Arranged By [Brass] – Phil Dennys (tracks: B1) Arranged By, Concept By [Conception] – Mick Tucker (tracks: B1) Art Direction – Hipgnosis (2), John Dyer Bass Guitar, Vocals, Lead Vocals – Steve Priest Drums, Timpani, Bells [Tubular], Gong, Vocals – Mick Tucker Engineer – Peter Coleman Guitar, Synthesizer, Vocals – Andy Scott Lead Vocals – Brian Connolly Photography By [Front] – Big Cigar Productions Photography By [Inside] – Richard Imrie Producer – M.Chapman-N.Chinn* 12-Inch Vinyl LP (Commercial) Variation: First U.K. Release. Glossy Labels. Label: RCA Victor – LPL1 5080 Format: Vinyl, LP, Album, Gatefold Gatefold sleeve, orange RCA labels, lyrics sheet. No price code on back cover. Glossy labels not matte feel. A1 The Six Teens 4:02 A2 Solid Gold Brass 5:28 A3 Turn It Down 3:27 A4 Medusa 4:44 A5 Lady Starlight 3:09 B1 Man With The Golden Arm 8:33 B2 Fox On The Run 4:49 B3 Breakdown 3:03 B4 My Generation 3:59 The label is flat with only one concentric ridge around the center hole as opposed to this version The Sweet - Desolation Boulevard that is 'lifted' around the label edge. 12-Inch Vinyl LP (Commercial) Variation: First U.K. Release. Matte Labels Label :RCA – LPL1 5080, RCA Victor – LPL1 5080 Format: Vinyl, LP, Album, Stereo, Gatefold, Matte Labels, No Price Code, RCA Pressing A1 The Six Teens 4:02 A2 Solid Gold Brass 5:28 A3 Turn It Down 3:27 A4 Medusa 4:44 A5 Lady Starlight 3:09 B1 Man With The Golden Arm 8:33 B2 Fox On The Run 4:49 B3 Breakdown 3:03 B4 My Generation 3:59 Original UK release in matte gatefold cover without price code but 'STEREO' on top right cover back below catalogue number. Matte orange RCA Victor labels with 'Stereo' after side identification. Labels are flat with only one concentric ridge around the center hole. For similar variant with glossy labels visit The Sweet - Desolation Boulevard. Paper lyrics insert, printed by Delga Press Ltd. 12-Inch Vinyl LP (Commercial) Variation: RCA Records Pressing Plant Label: RCA Victor – LPL1 5080, RCA – LPL1 5080 Format: Vinyl, LP, Album, Stereo, Gatefold A1 The Six Teens 4:02 A2 Solid Gold Brass 5:28 A3 Turn It Down 3:27 A4 Medusa 4:44 A5 Lady Starlight 3:09 B1 Man With The Golden Arm 8:33 B2 Fox On The Run 4:49 B3 Breakdown 3:03 B4 My Generation 3:59 Rear sleeve variation of Desolation Boulevard: 'Price code HH' and not 'stereo' below the catalog number on the top right corner.Desolation Boulevard. Includes an insert with the lyrics. Tracklist as initially released. 12-Inch Vinyl LP (Commercial) Variation: MacNeill Press Label: RCA Victor – LPL1 5080 Format: Vinyl, LP, Album, Gatefold Includes an insert with the lyrics. A1 The Six Teens 4:02 A2 Solid Gold Brass 5:28 A3 Turn It Down 3:27 A4 Medusa 4:44 A5 Lady Starlight 3:09 B1 Man With The Golden Arm 8:33 B2 Fox On The Run 4:49 B3 Breakdown 3:03 B4 My Generation 3:59 12-Inch Vinyl LP (Test Pressing) Label: RCA – LPL1 5080 Format: Vinyl, LP, Album, Test Pressing A1 The Six Teens 4:02 A2 Solid Gold Brass 5:28 A3 Turn It Down 3:27 A4 Medusa 4:44 A5 Lady Starlight 3:09 B1 Man With The Golden Arm 8:33 B2 Fox On The Run 4:49 B3 Breakdown 3:03 B4 My Generation 3:59 Matrix / Runout (Side A runout): LPL1-5080-A-1 A1 Matrix / Runout (Side B runout): LPL1-5080-B-1 A1A Tape Cassette (Commercial) First UK release 74" RCA, Dolby System Label: RCA – LPK1 5080 Format: Cassette, Album, Stereo, Dolby Dystem A1 The Six Teens A2 Solid Gold Brass A3 Breakdown A4 Medussa A5 Lady Starlight B1 Man With The Golden Arm B2 Fox On The Run B3 Turn It Down B4 My Generation Production and Context Produced by Nicky Chinn and Mike Chapman, recorded at Audio International Studios, London, 1974. The lineup featured Brian Connolly (vocals), Andy Scott (guitar, vocals), Steve Priest (bass, vocals), Mick Tucker (drums, vocals). Desolation Boulevard was Sweet’s hard rock pivot, with the UK version retaining original “Fox On The Run.” Released amid glam’s decline, it competed with Queen and Slade, bridging bubblegum and heavy rock. Singles Released and Chart Performance UK singles from the album: A: The Six Teens B: Burn On The Flame RCA Victor UK LPBO 5037 July 5 1974 A: Turn It Down B: . . . Someone Else Will RCA Victor UK RCA 2480 November 1 1974 A: Fox On The Run B: Miss Demeanour RCA Victor UK RCA 2524 March 7 1975 Weekly charts Australian Albums (Kent Music Report) 13 Canada Top Albums/CDs (RPM) 5 Finnish Albums (Suomen virallinen lista) 9 German Albums (Offizielle Top 100) 9 New Zealand Albums (RMNZ) 17 Norwegian Albums 2 Swedish Albums US Billboard 200 25 This LP is a must-have for Sweet fans and glam collectors. Do you have Desolation Boulevard in your vinyl stack? Which version rocks your turntable? Share in the comments! Sources Discogs: Desolation Boulevard (1974) 45cat: Sweet Singles YouTube: Desolation Boulevard Full Album (2014 upload, 1M+ views) Wikipedia: Desolation Boulevard Official Charts Company: Sweet Albums AllMusic: Desolation Boulevard Billboard Chart History: Sweet What’s the next classic vinyl you’d like to feature? Share in the comments!

A McCartney-Penned Gem Rod Stewart’s “Mine For Me” 7-inch vinyl single, was released in the US on November 4, 1974, on Mercury Records (catalogue: 73636). Backed with “Farewell,” this soulful track, written by Paul McCartney, was the second single from Stewart’s sixth album Smiler. The US and Canada only release was produced by Rod Stewart, the A-side’s gritty vocals and brass-heavy groove peaked at No. 91 on the Billboard Hot 100. Cash Box said that "the song is a sensitive tune and Rod’s interpretation is excellent" and that "the instrumentation is mellow and Rod’s vocal textures do much to bring life to this vibrant tune." Record World said that the song "breezes along with tropical climes suggested by steel drums." Billboard Hot 100™ Debut Date December 14, 1974 Peak Date  December 21, 1974 Peak No. 91 Weeks On Chart 2 Single Overview A-Side: “Mine For Me” Written by Paul McCartney. A soulful ballad with Stewart’s raspy delivery, horns, and a funky groove. Produced by Rod Stewart. B-Side: “Farewell” Written by Rod Stewart and Martin Quittenton. A farewell ballad with introspective lyrics. Produced by Rod Stewart. Release Details: Label: Mercury Records (US pressing, 45 RPM). Formats: 7-Inch Vinyl (73636): “Mine For Me” / “Farewell.” In a Mercury company sleeve. Notes: ℗ & © 1974 Mercury Records. Matrix numbers (e.g., 73636 A-1) confirm authenticity. US Variations Single 7" Vinyl (Promotional) Label: Mercury – 73636 Format: Vinyl, 7", 45 RPM, Promo A Mine For Me 4:02 B Farewell 4:31 Phonographic Copyright ℗ – Phonogram, Inc. Manufactured By – Phonogram, Inc. Distributed By – Phonogram, Inc. Published By – McCartney Music Published By – Chappell & Co., Inc. Published By – G.H. Music Ltd. Pressed By – G Kong Producer – Rod Stewart Manufactured and distributed by Phonogram, Inc. Promotion Copy Not For Sale "Mine For Me" McCartney Music (ASCAP) (For Editing Fade) at 3:26 "Farewell" Chappell & Co. Inc. / G. H. Music Limited (ASCAP) (For Editing Fade) at 2:45 From Mercury's Album "Smiler" SRM-1-1017 ℗ 1974 Phonogram Inc. Single 7" Vinyl (Commercial) Label: Mercury – 73636 Format: Vinyl, 7", 45 RPM, Single A Mine For Me 4:02 B Farewell 4:31 Phonographic Copyright ℗ – Phonogram, Inc. Manufactured By – Phonogram, Inc. Distributed By – Phonogram, Inc. Published By – McCartney Music Published By – Chappell & Co., Inc. Published By – G.H. Music Ltd. Producer – Rod Stewart Manufactured and distributed by Phonogram, Inc. "Mine For Me" Mc Cartney Music (ASCAP) "Farewell" Chappell & Co. Inc./G.H. Music Limited (ASCAP) ℗ 1974 Phonogram, Inc. From Mercury's Album "Smiler" SRM-1-1017 Matrix / Runout (Label Matrix - Side A): 2-51698 Matrix / Runout (Label Matrix - Side B): 2-51689 Rights Society: ASCAP Single 7" Vinyl (Commercial) Variation: Slightly lighter disc labels than on the other US version Label: Mercury – 73636 Format: Vinyl, 7", 45 RPM, Single A Mine For Me 4:02 B Farewell 4:31 Phonographic Copyright ℗ – Phonogram, Inc. Manufactured By – Phonogram, Inc. Distributed By – Phonogram, Inc. Published By – McCartney Music Published By – Chappell & Co., Inc. Published By – G.H. Music Ltd. Producer – Rod Stewart Manufactured and distributed by Phonogram, Inc. "Mine For Me" McCartney Music (ASCAP) "Farewell" Chappell & Co. Inc./G.H. Music Limited (ASCAP) ℗1974 Phonogram Inc. From Mercury's Album "Smiler" SRM-1-1017 Label: Mercury – 73636 Variation: Terre Haute Pressing Format: Vinyl, 7", 45 RPM, Single, Styrene, Stereo, Terre Haute Pressing A Mine For Me 4:02 B Farewell 4:31 Distributed By – Phonogram, Inc. Manufactured By – Phonogram, Inc. Phonographic Copyright ℗ – Phonogram, Inc. Published By – McCartney Music Published By – Chappell & Co., Inc. Published By – G.H. Music Ltd. Mastered At – Masterdisk Pressed By – Columbia Records Pressing Plant, Terre Haute Mastered By – G.K.* Producer – Rod Stewart Label-factory variant, styrene pressing (Columbia Terre Haute, with small TI etched in the run-outs) Pressing differentiations: -Title font is larger than artist -"Smiler" text is at the left -℗1974 Phonogram text is at the bottom From MERCURY'S Album "Smiler" SRM-1-1017 Rights Society: ASCAP Matrix / Runout (A-Side Label): 2-51698 Matrix / Runout (B-Side Label): 2-51689 Matrix / Runout (A-Side Runout Etching): 2-51698-CTI T TI Matrix / Runout (B-Side Runout Etching): 2-51689-CT2 T MASTERDISK G.K. Pressing Plant ID (Run-out both sides, etched): CANADA Single 7" Vinyl (Promotional) Label: Mercury – M-73636-DJ Format: Vinyl, 7", 45 RPM, Promo A Mine For Me 3:16 B Farewell 2:45 Producer – Rod Stewart *Edited Versions Single 7" Vinyl (Commercial) Label: Mercury – M-73636 Format: Vinyl, 7", 45 RPM, Single A Mine For Me 4:02 B Farewell 4:31 Distributed By – Polydor Ltd. (2) Phonographic Copyright ℗ – Phonogram, Inc. Producer – Rod Stewart ℗ 1974 Phonogram Inc. Matrix / Runout (Side A label): 2-51698 Matrix / Runout (Side B label): 2-51689 Have you snagged this McCartney-Stewart gem in your vinyl collection? Does “Mine For Me” mine your heart? Share in the comments! Sources Discogs: Mine For Me (1974) 45cat: 73636 Single YouTube: Mine For Me Official Audio (2014 upload, 50K+ views) Wikipedia: Smiler Official Charts Company: Rod Stewart Singles AllMusic: Rod Stewart Discography Billboard Chart History: Rod Stewart What’s the next classic vinyl you’d like to feature? Share in the comments!

A Glam Rock Farewell Anthem Mott The Hoople’s “Saturday Gig” 7-inch vinyl single, was released in the UK on October 18, 1974, on CBS Records (catalogue: S CBS 2754). Backed with “Mott The Hoople Medley,” this reflective glam rock track, written by Ian Hunter, was the band's final single with Hunter as frontman, peaking at No. 41 on November 3-9, 1974 in the UK Singles Chart for 3 weeks. It’s a poignant epitaph for Mott’s glam legacy. Single Overview Label: CBS – S CBS 2754 Format: Vinyl, 7", 45 RPM, Solid Centre Country: UK Released on October 18, 1974 A Saturday Gig 3:50 B Medley: Jerkin' Crocus / Sucker / Violence 4:20 Phonographic Copyright ℗ – CBS Inc. Written-By – I. Hunter (tracks: A, B) A UK production

A Glam Rock Gunshot T. Rex’s “Zip Gun Boogie” 7-inch vinyl single, was released in the UK on November 1, 1974, on EMI Records (catalogue: MARC 9). Backed with “Space Boss,” The release was actually released under the name of Marc Bolan in the UK and some European countries, this energetic glam rock track, written and produced by Marc Bolan, was the third single taken from the album Bolan's Zip Gun. 1- "Think Zinc" b/w "Liquid Gang" Released: 1974 (Germany only) with the A-side credited to Marc Bolan Bolan and the B-Side to Marc Bolan And T. Rex 2- "Light Of Love" b/w "Venus Loon" both credited to T. Rex The A-side’s riff-driven bounce and Bolan’s playful vocals marked a return to his early glam roots, but it peaked at No. 41 on the UK Singles Chart for 3 weeks. Housed in the UK in the Blue and Red EMI T. Rex Wax Co sleeve. Single Overview UK Variations Single 7" Vinyl Promotional Label: T. Rex – MARC 9 Format: Vinyl, 7", 45 RPM, Single, Promo A Zip Gun Boogie B Space Boss Record Company – EMI Recorded At – MRI Recording Studio Published By – Wizard Publishing Ltd. Producer, Written-By – Marc Bolan Made in Gt Britain. Single 7" Vinyl Commercial in EMI T. Rex Wax Co sleeve. Four Prong Centre Label: T. Rex – MARC 9 Format: Vinyl, 7", 45 RPM, Single A Zip Gun Boogie B Space Boss Record Company – EMI Recorded At – MRI Recording Studio Published By – Wizard Publishing Ltd. Phonographic Copyright ℗ – Wizard Artists Ltd. Pressed By – EMI Records Engineer – Gary Ulmer Producer – Bolan* Written-By, Composed By – Marc Bolan Recorded at MRI - Hollywood. Matrix / Runout (A-side label): YMARC 9A Matrix / Runout (B-side label): YMARC 9B Matrix / Runout (A-side runout): YMARC 9 A-1 GA 2 Matrix / Runout (B-side runout): YMARC 9 B-1 GR 2 Single 7" Vinyl Commercial in EMI T. Rex Wax Co sleeve. Solid Centre Label: T. Rex – MARC 9 Format: Vinyl, 7", 45 RPM, Single A Zip Gun Boogie B Space Boss Record Company – EMI Recorded At – MRI Recording Studio Published By – Wizard Publishing Ltd. Phonographic Copyright ℗ – Wizard Artists Ltd. Pressed By – EMI Records Engineer – Gary Ulmer Producer – Bolan* Written-By, Composed By – Marc Bolan Recorded at MRI - Hollywood. Matrix / Runout (A-side label): YMARC 9A Matrix / Runout (B-side label): YMARC 9B Matrix / Runout (A-side runout): YMARC 9 A-1 GA 2 Matrix / Runout (B-side runout): YMARC 9 B-1 GR 2 Country Variations The single was released in several countries with sleeve variations: Austria - Ariola - 1974 Belgium - T. Rex - 1974 Germany - Ariola - 1974 Greece - T. Rex - 1974 New Zealand - T. Rex - 1974 France - T. Rex - 1975 Japan - T. Rex - 1975 UK Chart Data: Entry Date: November 10-16, 1974. (No. 50) Peak: No. 41 (November 17-23, 1974 (No.41) Weeks on Chart: 3 Chart Run: No. 50 (Nov 10-16), No. 41 (Nov 17-23), No. 49 (Nov 24-30). Have you snagged this T. Rex oddity in your vinyl collection? Does “Zip Gun Boogie” bang for you? Share in the comments! Sources Discogs: Zip Gun Boogie (1974) 45cat: EMI 2275 Single YouTube: Zip Gun Boogie Official Audio (2009 upload, 500K+ views) Wikipedia: Bolan's Zip Gun Official Charts Company: T. Rex Singles AllMusic: T. Rex Discography Billboard: N/A (No US chart data for this single)

A Glam Rock Power Chord Sweet’s “Turn It Down” 7-inch vinyl single, was released in the UK on November 1, 1974, on RCA Victor Records (catalogue: RCA 2480). Backed with “...Someone Else Will,” this hard rock anthem, written by Nicky Chinn and Mike Chapman, was the second single from the album Desolation Boulevard. Produced by Chinn and Chapman, the A-side’s heavy riffs, Brian Connolly’s soaring vocals, and pounding drums peaked at No. 41 on the UK Singles Chart for 7 weeks. The song was removed from the US version of Desolation Boulevard, along with two other songs, "Breakdown," and "Medussa. In the UK, the single reached No. 41 on the charts (their first single to miss the top 40 since "Get on the Line" (1970), which missed the chart altogether), but fared better in Europe, reaching the top five in Norway and Germany. Single Overview Label: RCA Victor – RCA 2480 Format: Vinyl, 7", 45 RPM, Single, Promo, Stereo A Turn It Down 3:27 B ...Someone Else Will 3:26 Produced For – Chinebridge Ltd. Phonographic Copyright ℗ – RCA Ltd. Published By – Chinnichap Ltd. Published By – Rak Publishing Ltd. Published By – Sweet Publishing Ltd. Published By – Essex Music International Ltd. Manufactured By – RCA Ltd. Producer – Mike Chapman & Nicky Chinn* ℗1974 RCA Ltd. (A-side) Chinnichap Ltd./ Rak Publishing Ltd. (B-side) Sweet Publishing Ltd./ Essex Music Int. Ltd Label: RCA Victor – RCA 2480 Format: Vinyl, 7", 45 RPM, Single, Stereo Country: UK A Turn It Down 3:27 B ...Someone Else Will 3:26 Produced For – Chinebridge Ltd. Phonographic Copyright ℗ – RCA Ltd. Published By – Chinnichap Ltd. Published By – Rak Publishing Ltd. Published By – Sweet Publishing Ltd. Published By – Essex Music International Ltd. Manufactured By – RCA Ltd. Pressed By – CBS Pressing Plant, Aston Clinton Producer – Mike Chapman & Nicky Chinn* ℗1974 RCA Ltd. (A-side) Chinnichap Ltd./ Rak Publishing Ltd. (B-side) Sweet Publishing Ltd./ Essex Music Int. Ltd.

Star-Invasion in deutschen Studios three- page article, published in Pop magazine on October 28, 1974.

Mott the Hoople's “Saturday Gigs” was released on October 18, 1974, through CBS Records in the UK (S CBS 2754), the 7" single “Saturday Gigs” / “Medley: a) Jerkin’ Crocus b) Sucker c) Violence” marked the band’s final studio recording with frontman Ian Hunter. Clocking in at around 4:17 for the A-side and 6:10 for the B-side, this double-sided gem captured Mott at a crossroads—celebrating their chaotic history while unknowingly signaling the end of an era. Written by Hunter, the single was a poignant farewell to fans, produced amid lineup shifts and mounting tensions. Cover art for Mott the Hoople's single "Saturday Gig," released in the Netherlands under CBS label, catalogue number CBS 2754. The Background: Turmoil, Talent, and Transition By 1974, Mott the Hoople were rock royalty, having risen from near-obscurity thanks to David Bowie’s lifeline hit “All the Young Dudes” in 1972. Their albums Mott (1973) and The Hoople (1974) delivered anthems like “All the Way from Memphis” and “The Golden Age of Rock ’n’ Roll,” blending Hunter’s snarling vocals with Pete Watts’ thunderous bass, Dale Griffin’s driving drums, and Verden Allen’s swirling keyboards. But internal strife was brewing: Keyboardist Allen had already departed earlier that year, and guitarist Ariel Bender (Luther Grosvenor) was out by September, replaced by none other than Mick Ronson—David Bowie’s ex-Spiders from Mars axe-man.“Saturday Gigs” was hastily recorded in late summer 1974 at Ronnie Lane’s Mobile Studio, with Ronson overdubbing guitar onto a backing track laid down by the core band. It was Ronson’s sole official contribution to a Mott release, and his image even graced the single’s sleeve alongside the group (despite not playing live with them). Intended as a reflective nod to the band’s scrappy beginnings—from cheap wine-fueled Roundhouse shows in ’69 to the highs of glam stardom—the track’s grandiose, horn-laden arrangement (featuring Bud Beadle’s sax) evoked a sense of closure. As keyboardist Morgan Fisher later reflected in Mojo magazine, the band didn’t see it as a goodbye at the time, but Hunter’s lyrics painted a vivid, nostalgic timeline of their journey. The single’s poor chart showing—peaking at No. 41 in the UK—devastated Hunter, leading him to cancel a planned UK tour and exit the band in December 1974. Mott the Hoople reformed as simply “Mott” with new singer Nigel Benjamin, but the magic was gone. “Saturday Gigs” thus became a symbolic endpoint, later closing their 2009 reunion shows as a full-circle tribute. Original Track Listing: (1974 7" Vinyl Single) The UK pressing (S CBS 2754) was a standard 45 RPM 7" vinyl, with picture sleeve featuring the band (including Ronson’s photo) against a starry backdrop. Produced by Dale Griffin and engineered by Pat Moran, it showcased Mott’s live-wire energy: the A-side’s studio polish contrasting the B-side’s raw Hammersmith Odeon live medley from their March 1974 residency. Durations are approximate based on original pressings.A-Side Saturday Gigs (4:17) – Written by Ian Hunter. A sweeping rock anthem chronicling Mott’s history, from ’69’s “cheapo wine” gigs to ’74’s stardom. Backed by brass and Ronson’s soaring solo, it’s a love letter to fans and the road. B-Side Medley: a) Jerkin’ Crocus b) Sucker c) Violence (6:10) – A live mash-up from Mott the Hoople Live (CBS 69093). a) Jerkin’ Crocus (from Mott, 1973) – A funky, riff-driven opener about rock excess. b) Sucker (from Wildlife, 1971) – A snarling midsection on betrayal and hype. c) Violence (from Mott, 1973) – Closes with chaotic intensity, Hunter’s wail echoing the band’s fraying edges. Recorded live at Hammersmith Odeon, London, March 1974; engineered by George Chkiantz. Total runtime: ~10:27. Note: An alternate B-side, “Lounge Lizard,” was recorded but shelved; it later surfaced on the 2006 reissue of The Hoople. Reissue Track ListingsAs a single from Mott’s swan-song era, “Saturday Gigs” hasn’t seen standalone reissues but lives on through compilations, remastered albums, and digital platforms. Key appearances maintain the original A/B structure, often with enhanced audio from 1990s/2000s remasters. Here’s a breakdown:1998 Columbia/Legacy CD: Original Mixed-Up Kid: The Best of Mott the Hoople Track 17: Saturday Gigs (4:20) – Remastered by George Marino; A-side only. No B-side medley (available on separate Mott the Hoople Live reissue). Total relevant runtime: 4:20. This 18-track compilation focuses on hits but includes the single as a closer. 2006 Sony/BMG CD Reissue: The Hoople (Deluxe Edition) Disc 1: Original album tracks. Bonus Disc 2, Track 11: Saturday Gigs (alternate mix, 4:18) – Early version with “Lounge Lizard” as intended B-side (3:24, Track 10). B-side medley appears on the 2004 Mott the Hoople Live reissue (Disc 2, Track 14: 6:12). Total: 2 tracks; runtime ~13:54. Remastered by Tim Turan; includes liner notes on the single’s recording. 2018 Sony/Legacy Digital Remaster (Streaming on Spotify/Apple Music) Saturday Gigs (4:17) – Standard A-side, part of Greatest Hits playlist. Medley: Jerkin’ Crocus / Sucker / Violence (Live) (6:10) – B-side as a standalone track on Mott the Hoople Live digital edition. Often bundled in “The Essential Mott the Hoople” (2000 tracks total, but single sides at Tracks 18–19). Runtime: ~10:27. This is the go-to for modern streaming, with high-res audio. Other compilations like All the Way from Stockholm to Philadelphia: A Box Set Retrospective (1998, 4-CD) include the A-side (Disc 4, Track 18) and medley (Disc 3, Track 15). No major vinyl reissues exist, but 180g picture-disc variants appear in fan bootlegs. The 2009 reunion live album Live: 1970–2009 features a fresh take on “Saturday Gigs” as the finale.Chart Positions“Saturday Gigs” was Mott’s last gasp on the charts, entering the UK Singles Chart on November 2, 1974, but stalling amid competition from disco and prog acts. It spent just 3 weeks, its modest peak sealing the band’s fate. No major US release followed, though it got airplay on rock radio. Below are key positions: Single Charts Peak Position Weeks on Chart Certification Notes UK Singles (OCC) 41 3 - Entered Nov. 2, 1974; sales ~20,000 copies US Billboard Hot 100 - - - Promo-only; minor FM radio play Dutch Top 40 - - - Limited European promo Preceded by “Foxy, Foxy” (UK No. 33), it was Mott’s seventh and final Top 50 UK single. The B-side medley boosted live album sales but didn’t chart independently. The Music: Standout Sides and Significance The A-side’s “Saturday Gigs” is pure Hunter poetry: A verse-by-verse diary of Mott’s evolution—“’69 was cheapo wine... ’74, we hit the road”—building to a euphoric brass climax and Ronson’s fiery solo. It’s less glam strut, more weary celebration, with Fisher’s keyboards adding wistful texture. Critics hail it as one of Hunter’s finest lyrics, evoking the band’s bond with fans amid burnout. The B-side medley is Mott unfiltered: A high-octane live frenzy from their Broadway/Hammersmith triumph, stitching ’70s grit (“Jerkin’ Crocus”) with raw aggression (“Sucker,” “Violence”). Clocking over six minutes, it captures the chaos of a Mott show—Hunter’s crowd-baiting banter, Watts’ bass rumble, and Griffin’s relentless drive. As a tie-in to Mott the Hoople Live, it underscored their stage prowess over studio polish. Reception was bittersweet: NME praised its “grand nostalgia,” but commercial indifference hastened the split. Hunter later called it “the end we didn’t see coming.” Legacy and Promotion Promoted via UK radio sessions and a Top of the Pops mime (October 31, 1974), the single tied into Mott’s farewell European tour, where it closed sets. Post-breakup, Hunter covered it solo on All of the Good Ones Are Taken (1981), while Mott’s remnants echoed its spirit on Drive On (1975). The 2009 reunion at Hammersmith Apollo—captured on DVD—ended with “Saturday Gigs,” proving its timeless pull. Today, it’s a cult staple, symbolizing glam’s gritty underbelly. As Fisher noted, it wasn’t meant as a goodbye, but hindsight makes it Mott’s perfect epitaph—a roar for the Saturday night faithful. For collectors, snag the original CBS pressing; streamers, queue up the 2018 remaster. If you’re new to Mott, pair it with The Hoople for the full send-off vibe. What’s your favorite Mott moment? Sound off below!

Bowie’s Theatrical Triumph David Bowie’s David Live double LP, was released in the UK on October 18, 1974, on RCA Victor (catalogue: APL2 0771). This 17-track live album, recorded during the final shows of Bowie’s 1974 Diamond Dogs Tour at the Tower Theater in Upper Darby, Pennsylvania (July 8–12, 1974). Produced by Tony Visconti, featuring the Diamond Dogs band, David Live showcased Bowie’s theatrical command, reaching No. 2 on the UK Albums Chart. Housed in a gatefold sleeve with a dramatic stage photo by Terry O’Neill, it preserved Bowie’s live legend. Album Overview Release Details: Label: RCA Victor (UK). Formats: Double vinyl LP, cassette; later CD reissues (detailed below). ℗ & ©: 1974 RCA Records. Recorded July 8–12, 1974, at Tower Theater, Upper Darby, PA. Matrix numbers (e.g., APL2 0771 A-1) confirm authenticity. UK Release Formats and Track Listings David Live was released in the UK on a double vinyl LP and cassette, with CD editions appearing later. The original 1974 release includes 17 tracks, with “Panic in Detroit” (live) among other tracks added in later reissues (e.g., 2005 EMI): 1974: Double Vinyl LP (Catalogue: APL2 0771): Side A: 1984 (3:20) Rebel Rebel (2:40) Moonage Daydream (5:10) Sweet Thing (8:48) Side B: Changes (3:20) Suffragette City (3:45) Aladdin Sane (1913-1938-197?) (4:57) All the Young Dudes (4:18) Cracked Actor (3:29) Side C: When You Rock 'n' Roll With Me (4:15) Watch That Man (5:04) Knock On Wood (3:08) Diamond Dogs (6:32) Side D: Big Brother (4:08) Width Of A Circle (8:12) Jean Genie (5:13) Rock 'N' Roll Suicide (4:30) Packaging: 33⅓ RPM, stereo, in a gatefold sleeve with Terry O’Neill’s stage photo and inner sleeves with liner notes and credits. 1974: Cassette (Catalogue: CPK2-0771): Side A: Big Brother (4:08) Rebel Rebel (2:40) Moonage Daydream (5:10) Sweet Thing (8:48) Changes (3:20) Suffragette City (3:45) Aladdin Sane (1913-1938-197?) (4:57) All the Young Dudes (4:18) Cracked Actor (3:29) Side B: When You Rock 'n' Roll With Me (4:15) Watch That Man (5:04) Knock On Wood (3:08) Diamond Dogs (6:32) 1984 (3:20) Width of a Circle (8:12) Jean Genie (5:13) Rock 'n' Roll Suicide (4:30) Packaging: Standard case with fold-out J-card featuring liner notes and artwork. 1990: Compact Disc (CD) (Catalogue: CDP 79 5363 2 / CDDBLD 1, 1990 Rykodisc Reissue): Disc 1: 1984 (3:20) Rebel Rebel (2:40) Moonage Daydream (5:10) Sweet Thing (8:48) Changes (3:20) Suffragette City (3:45) Aladdin Sane (4:57) All The Young Dudes (4:18) Cracked Actor (3:29) Rock 'n' Roll With Me (4:15) Watch That Man (5:04) Disc 2: Knock On Wood (3:08) Diamond Dogs (6:32) Big Brother (4:08) Width Of A Circle (8:12) Jean Genie (5:13) Rock 'n' Roll Suicide (4:30) Band Intro (0:09) Bonus Here Today, Gone Tomorrow (3:32) Bonus Time (5:19) Bonus 2005: Compact Disc (CD) (Catalogue: 7243 874307 2 3, 2005 EMI Reissue): Disc 1: 1984 (3:20) Rebel Rebel (2:40) Moonage Daydream (5:10) Sweet Thing / Candidate / Sweet Thing (Reprise) (8:48) Changes (3:20) Suffragette City (3:45) Aladdin Sane (4:57) All The Young Dudes (4:18) Cracked Actor (3:29) Rock 'N' Roll With Me (4:15) Watch That Man (5:04) Disc 2: Knock On Wood (3:08) Here Today, Gone Tomorrow (3:32) Space Oddity (6:27) Diamond Dogs (6:32) Panic In Detroit (5:49) Big Brother (4:08) Time (5:19) The Width Of A Circle (8:12) The Jean Genie (5:13) Rock 'N' Roll Suicide (4:30) New Stereo Mix. In Original set list order featuring 2 previously unreleased tracks. Comes in a Digipak Production and Context Produced by Tony Visconti, David Live was recorded during the Diamond Dogs Tour’s final shows, capturing Bowie’s theatrical peak with the band: Earl Slick (guitar), Mike Garson (piano), David Sanborn (saxophone), Herbie Flowers (bass), Tony Newman (drums), and backing vocalists like Gui Andrisano. Visconti’s overdubs enhanced the raw live tapes, blending Ziggy-era hits with Diamond Dogs material. Released after Bowie retired Ziggy Stardust, it documented his transition to soul and plastic soul, competing with live albums by The Rolling Stones and Queen in the ‘70s rock scene. Singles Released and Chart Performance Two singles were released from David Live: 1)“Knock on Wood” (Eddie Floyd cover, live, 3:08) UK Release: October 1974 (RCA 2466, 7-inch vinyl). B-Side: “Panic in Detroit” (live, 5:49, from same tour but not on original album). Chart Performance: UK: No. 10 (Official Singles Chart), charting for 8 weeks. Ireland: No. 4. Netherlands: No. 12. Belgium: No. 18 (Flanders). Germany: No. 24. Australia: No. 31. New Zealand: Did not chart. US: Not released as a single. 2) “Rock ‘n’ Roll with Me” (live, 3:54 edit) US Release Only: September 1974 (RCA PB-10105, 7-inch vinyl). B-Side: “Panic in Detroit” (live, 5:49, from same tour but not on original album). Chart Performance: US: No. 45 (Billboard Hot 100), charting for 8 weeks. Other Countries: No chart entries, as it was US-only. Album Chart Performance David Live achieved strong chart success: UK: No. 2 (Official Albums Chart), charting for 29 weeks, certified Gold (100,000 copies sold). US: No. 8 (Billboard 200), certified Gold (500,000 copies sold). Australia: No. 2 (Kent Music Report). Canada: No. 9 (RPM Albums Chart). Germany: No. 10 (GfK Entertainment Charts). Netherlands: No. 5 (Dutch Album Top 100). France: No. 8 (SNEP Albums Chart). Sweden: No. 12 (Sverigetopplistan). New Zealand: No. 6 (RMNZ Albums Chart). Norway: No. 13 (VG-lista). Finland: No. 15 (Suomen virallinen lista, limited data). Italy: No. 18 (FIMI, based on sales data). Belgium: No. 22 (Ultratop Wallonia). Spain: No. 25 (PROMUSICAE, limited data). Japan: No. 30 (Oricon Albums Chart, import sales). Austria: No. 15 (Ö3 Austria Top 40, limited data). Switzerland: No. 18 (Swiss Hitparade, limited data). Legacy and Collectibility David Live captures Bowie’s live brilliance, with highlights like “Sweet Thing / Candidate” and “Rock ‘n’ Roll Suicide.” It’s a cornerstone of his ‘70s catalog, influencing live albums by Queen and Thin Lizzy. Original UK double vinyls fetch £20–£80 on Discogs, with first pressings (gatefold, intact inners, orange RCA labels) commanding premiums—verify matrix numbers. Cassettes (£5–£15) and CDs (£5–£25, e.g., 2005 EMI with “Panic in Detroit”) are collectible. Spotify streams and 2005 remasters preserve the album’s analog energy. This double LP is a theatrical triumph—a must-have for Bowie live enthusiasts. Do you have David Live in your vinyl collection? Which track captures the Ziggy magic? Share in the comments!

A Glam Rock Masterstroke Queen’s “Killer Queen” 7-inch vinyl single, was released in the UK on October 11, 1974, on EMI Records (catalogue: EMI 2229). Backed with “Flick of the Wrist,” this flamboyant glam rock anthem, written by Freddie Mercury, was the lead single from the album Sheer Heart Attack. Produced by Roy Thomas Baker and Queen, the A-side’s intricate harmonies, Mercury’s campy vocals, and Brian May’s sparkling guitar the single entered the BBC UK Charts at number 23 on October 20, - October 26, rose to No. 2 for two weeks November 10 - November 23, remaining on the chart for a total of 12 weeks and reached number 12 on the Billboard Hot 100. The song is about a high-class call girl and has been characterised as "Mercury's piano-led paean to a Moët-quaffing courtesan". The song is included in Queen's 1981 Greatest Hits compilation. It is also recorded on the live albums Live Killers and Queen Rock Montreal. History and recording Mercury commented he wrote the lyrics before the melody and music, whereas normally he would do the opposite. He stated that the song was about a high-class call girl. The song's first verse quotes a phrase traditionally but falsely attributed to Marie Antoinette: "'Let them eat cake,' she says, just like Marie Antoinette". "Killer Queen" retained the essence of Queen's trademark sound, particularly in its meticulous vocal harmonies. Unlike the first two Queen albums, this song was partly recorded at Rockfield Studios in Wales. The recording features elaborate four-part harmonies (particularly in the choruses, and also providing backing parts in the verses), and also a multitracked guitar solo by Brian May which makes use of the bell effect. At one point there are two distinct bass guitar lines, one of which diverges into a descending run. Release When released as a single, "Killer Queen" was Queen's breakthrough hit, reaching number two in the United Kingdom and number twelve in the United States. It was released as a double A-side in the UK, the US, and Canada (where it reached number 15 in the RPM 100 national singles chart), with the song "Flick of the Wrist." Several different versions of "Flick of the Wrist" were used on different releases. In 1986, "Killer Queen" featured as the B-side to "Who Wants to Live Forever." Queen on the song Freddie Mercury: People are used to hard rock, energy music from Queen, yet with this single you almost expect Noël Coward to sing it. It's one of those bowler hat, black suspender belt numbers – not that Coward would wear that. ... It's about a high-class call girl. I'm trying to say that classy people can be whores as well. That's what the song is about, though I'd prefer people to put their interpretation upon it – to read into it what they like. Brian May: 'Killer Queen' was the turning point. It was the song that best summed up our kind of music, and a big hit, and we desperately needed it as a mark of something successful happening for us... I was always very happy with this song. The whole [album] was made in a very craftsman-like manner. I still enjoy listening to it because there's a lot to listen to, but it never gets cluttered. There's always space for all the little ideas to come through. And of course, I like the solo, with that three-part section, where each part has its own voice... It's vintage Queen. The first time I heard Freddie playing that song, I was lying in my room in Rockfield [a residential recording studio in Wales], feeling very sick. After Queen's first American tour, I had hepatitis, and then I had very bad stomach problems and I had to be operated on. So I remember just lying there, hearing Freddie play this really great song and feeling sad, because I thought, 'I can't even get out of bed to participate in this.' But then I got fixed up, thank God. And when I came out again, we were able to finish off 'Killer Queen.' They left some space for me and I did the solo. I had strong feelings about one of the harmony bits in the chorus, so we had another go at that too. Critical reception and legacy On the single's release, Cash Box said that it had "fine lead vocals, solid harmonies and an inventive production" and that "this song is bound to make you smile with its lighthearted whimsy and confident approach." Record World described it as "a cross between Bowie and Wings". Retrospectively, "Killer Queen" was described by AllMusic as the true beginning of Queen's "radio sound" and "recalls the cabaret songs of yesteryear, but also shows how Queen was fast becoming a master of power pop".[8] Rock historian Paul Fowles wrote that "Killer Queen", with its "sleazy Parisian imagery", allowed "free rein" to Mercury's "unique brand of rock theater". American pop singer Katy Perry cited "Killer Queen" as an important influence on her, saying it "made me discover music and helped me come into my own at the age of 15". Japanese manga artist Hirohiko Araki references the song in his series JoJo's Bizarre Adventure as the name of a "Stand", a supernatural creature manifested from psychic energy. Personnel Freddie Mercury – lead and backing vocals, grand piano, tack piano, finger snapping Brian May – guitars, backing vocals Roger Taylor – drums, triangle, chimes, backing vocals John Deacon – bass guitar Chart (1974–1975) Peak position Australia 24 Austria 10 Belgium 7 Belgium 4 Canadian Top Singles 15 Finland 16 Ireland 2 Netherlands 3 Netherlands 3 Norway 4 UK Singles 2 US Billboard Hot 100 12 US Cash Box Top 100 12 West Germany 12 Released Variations: Angola - EMI - 1974 Belgium - EMI - 1974 Brazil - EMI - 1974 Canada - Elektra - 1974 Finland - EMI - 1974 France - EMI - 1974 Germany - EMI - 1974 Greece - EMI - 1974 Ireland - EMI - 1974 Netherlands - EMI - 1974 Portugal - EMI - 1974 Spain - EMI - 1974 Sweden - EMI - 1974 USA - Elektra - 1974 USA - Elektra - 1974 Yugoslavia - EMI - 1974 Australia - Elektra - 1975 Chile - Odeon - 1975 Italy - EMI - 1975 Japan - Elektra - 1975 Mexico - EMI - 1975 New Zealand - Elektra - 1975 New Zealand - Elektra - 1975 Philippines - EMI - 1975 South Africa - EMI - 1975 Streams on Spotify via Sheer Heart Attack deluxe editions preserve the analog sparkle. This single is a must-have for Queen fans and glam rock collectors. Have you snagged this Queen gem in your vinyl collection? Does “Killer Queen” still dazzle you? Share in the comments! Sources Wikipedia: Killer Queen Wikipedia: Sheer Heart Attack Wikipedia: Queen Discography YouTube: Killer Queen Official Audio (2008 upload, 10M+ views)

A Baroque Glam Ballad Sparks’ “Never Turn Your Back On Mother Earth” 7-inch vinyl single, was released in the UK on October 11, 1974, on Island Records (catalogue: WIP 6211). Backed with “Alabamy Right,” this orchestral ballad, written by Ron and Russell Mael, served as the lead single from the band's fourth album, Propaganda. Produced by Muff Winwood, the A-side's sweeping strings and Russell Mael's dramatic vocals delivered an environmental plea with glam flair, peaking at No. 13 on the UK Singles Chart. Housed in a picture sleeve with the band's quirky imagery, the single captured Sparks' theatrical evolution amid the glam rock era. Single Overview A-Side: “Never Turn Your Back On Mother Earth” (3:54)Written by Ron Mael and Russell Mael. A baroque pop lament with lush orchestration, piano, and Russell's soaring vocals, warning of environmental neglect. Produced by Muff Winwood, it blended Sparks' art rock with a symphonic grandeur, inspired by the era's ecological awareness. B-Side: “Alabamy Right” (2:12)Written by Ron Mael and Russell Mael. A whimsical, upbeat romp with twangy guitars and handclaps, evoking a Southern hoedown with Sparks' signature irony. Also produced by Winwood, it provided a playful contrast to the A-side's solemnity. Release Details: Label: Island Records (UK pressing, 45 RPM). Formats: 7-Inch Vinyl (WIP 6211): “Never Turn Your Back On Mother Earth” / “Alabamy Right.” In a picture sleeve with band artwork. No cassette or CD formats for this single. Notes: ℗ & © 1974 Island Records. Matrix numbers (e.g., WIP 6211 A-1U) confirm authenticity. The single promoted Propaganda (November 1974). Country Variations The single was released in several countries with variations: UK (Island WIP 6211): Released October 11, 1974. Tracklist: “Never Turn Your Back On Mother Earth” / “Alabamy Right.” Picture sleeve with band imagery. Germany (Island 14C 006 94817): Released October 1974. Same tracklist, catalogue 14C 006 94817, German sleeve with localized text. France (Island 12 224): Released October 1974. Same tracklist, catalogue 12 224, picture sleeve with French text. Netherlands (Island 6012 224): Released October 1974. Same tracklist, catalogue 6012 224, Dutch sleeve. Australia (Island 45-1189): Released late 1974. Same tracklist, catalogue 45-1189, company sleeve. US: Not released as a single; Propaganda was issued on Island (ILPS 9292), but the single was overlooked. Production and Context Recorded in 1974 at Chateau d’Hérouville, France, the single was produced by Muff Winwood, with the lineup: Russell Mael (vocals), Ron Mael (keyboards), Ian McLagan (bass), Dinky Diamond (drums), and session strings. The A-side’s arrangement drew from Sparks’ glam phase, blending vaudeville with environmental themes. Released as glam waned, it bridged Kimono My House (1974) and Propaganda, competing with Roxy Music and Queen but finding niche appeal. Singles Released and Chart Performance The “Never Turn Your Back On Mother Earth” single was a standalone release from Propaganda: Cover of Sparks' 1974 single "Never Turn Your Back on Mother Earth" / "Alabamy Right," released in France under the Island label. Chart Performance: UK: No. 13 (Official Singles Chart), charting for 6 weeks. Ireland: No. 8. Germany: No. 40 (GfK). Belgium: No. 48 (Ultratop Flanders). Australia: No. 45 (Kent Music Report). Netherlands: No. 25 (Single Top 100). France: No. 35. Other Countries: No chart entries in US, Canada, Sweden, Norway, Finland, Italy, Spain, Austria, Switzerland, New Zealand, or Japan due to limited promotion. UK Chart Data: Entry Date: October 26, 1974. Peak: No. 13 (November 2, 1974). Weeks on Chart: 6 (Oct 26–Nov 30, 1974). Chart Run: No. 25 (Oct 26), No. 13 (Nov 2), No. 14 (Nov 9), No. 20 (Nov 16), No. 28 (Nov 23), No. 35 (Nov 30). Single Chart Performance “Never Turn Your Back On Mother Earth” peaked at No. 13 in the UK, charting for 6 weeks, and saw modest success in Europe, reflecting Sparks' cult status amid the glam-to-punk shift. Legacy and Collectibility “Never Turn Your Back On Mother Earth” is a baroque glam classic, covered by Depeche Mode (1987 flexi-disc), Martin Gore (1989), and Neko Case (2009). The B-side’s whimsy highlights Sparks’ eccentricity. This single is a shimmering artifact of Sparks’ theatrical genius. Have you snagged this Sparks gem in your vinyl collection? Does “Mother Earth” resonate? Share in the comments!

A Vibrant Proto-Glam Compilation The Move’s California Man LP, was released in the UK on October 7, 1974, on Harvest Records (catalogue: SHSP 4035). This 11-track compilation gathered key singles and tracks from the band’s later years (1970–1972), showcasing their shift from psychedelia to proto-glam rock and foreshadowing the Electric Light Orchestra (ELO). Produced by Roy Wood and Jeff Lynne, the album highlighted Wood’s flamboyant energy and Lynne’s melodic finesse, but it did not chart in the UK. Housed in a sleeve featuring a vibrant band photo, it’s a nostalgic snapshot of The Move’s final chapter. Album Overview Release Details: Label: Harvest Records (UK). Formats: Vinyl LP, cassette; later CD reissues (detailed below). ℗ & ©: 1974 Harvest Records. Recorded at various studios, including Advision and Phonogram, London, 1970–1972. Matrix numbers (e.g., SHSP 4035 A-1) confirm authenticity. UK Release Formats and Track Listings California Man was released in the UK in 1974 as a vinyl LP and cassette, with CD reissues appearing later. All formats maintain the same 11-track sequence: Vinyl LP (Catalogue: SHSP 4035): Side A: California Man (Roy Wood, 3:37) Ella James (Roy Wood, 3:14) No Time (Jeff Lynne, 3:42) Tonight (Roy Wood, 3:19) Down On The Bay (Jeff Lynne, 4:15) The Minister (Jeff Lynne, 4:33) Side B: Do Ya (Jeff Lynne, 4:06) The Words Of Aaron (Jeff Lynne, 5:31) Until Your Moma's Gone (Roy Wood, 5:06) Chinatown (Roy Wood, 3:07) Message From The Country (Jeff Lynne, 4:47) Packaging: 33⅓ RPM, stereo, in a single sleeve with a vibrant photo and liner notes. Cassette (Catalogue: TC-SHSP 4035): Side A: California Man (3:37) Ella James (3:14) No Time (3:42) Tonight (3:19) Down On The Bay (4:15) The Minister (4:33) Side B: Do Ya (4:06) The Words Of Aaron (5:31) Until Your Moma's Gone (5:06) Chinatown (3:07) Message From The Country (4:47) Packaging: Standard cassette case with J-card featuring artwork and track credits. Compact Disc (CD) (Later reissue, e.g., 1999 Repertoire): Single Disc: California Man (3:37) Ella James (3:14) No Time (3:42) Tonight (3:19) Down On The Bay (4:15) The Minister (4:33) Do Ya (4:06) The Words Of Aaron (5:31) Until Your Moma's Gone (5:06) Chinatown (3:07) Message From The Country (4:47) Packaging: Jewel case with booklet featuring liner notes, band photos, and credits. Production and Context Produced by Roy Wood and Jeff Lynne, the tracks were recorded between 1970 and 1972 at studios like Advision and Phonogram, London, during sessions for Looking On (1970) and Message from the Country (1971). The lineup included Wood (vocals, guitar, multi-instruments), Lynne (guitar, vocals), Rick Price (bass), and Bev Bevan (drums). Back Cover of "Masters Of Rock" by The Move, released under the Harvest label in the Netherlands, featuring a tracklist of classic hits and a vintage photograph of the band members. The album compiled singles and album cuts, reflecting The Move’s evolution into ELO’s orchestral rock. Released in 1974, it came as glam rock waned, competing with T. Rex and Slade compilations, but failed to capitalize on The Move’s earlier chart success. Singles Released and Chart Performance California Man was a compilation, with several tracks originally released as singles: “California Man” (1972, Harvest HAR 5052): UK Chart Data: Entry May 6, 1972; Peak No. 7; 11 weeks. Chart Run: No. 22 (May 6), No. 15 (May 13), No. 10 (May 20), No. 7 (May 27), No. 8 (June 3), No. 10 (June 10), No. 12 (June 17), No. 15 (June 24), No. 18 (July 1), No. 22 (July 8), No. 25 (July 15). International: Ireland No. 6, Netherlands No. 12, Germany No. 28, Australia No. 35. “Tonight” (1971, Harvest HAR 5038): UK Chart Data: Entry June 12, 1971; Peak No. 11; 10 weeks. Chart Run: No. 28 (June 12), No. 18 (June 19), No. 13 (June 26), No. 11 (July 3), No. 12 (July 10), No. 14 (July 17), No. 17 (July 24), No. 20 (July 31), No. 24 (Aug 7), No. 29 (Aug 14). International: Ireland No. 9, Netherlands No. 15. “Chinatown” (1971, Harvest HAR 5043): UK Chart Data: Entry November 6, 1971; Peak No. 23; 7 weeks. Chart Run: No. 30 (Nov 6), No. 25 (Nov 13), No. 23 (Nov 20), No. 24 (Nov 27), No. 26 (Dec 4), No. 28 (Dec 11), No. 32 (Dec 18). International: Ireland No. 15. “Ella James” (1971, Harvest HAR 5037): Did not chart. “Do Ya” (1972, US-only, United Artists 50928): US No. 93, no UK release. Album cover of "Masters Of Rock" by The Move, released under the Harvest label in the Netherlands, featuring standout tracks like "Tonight," "California Man," and "Chinatown." Country Variations The album was released in various countries with minor differences: UK (Harvest SHSP 4035): Standard tracklist, as above, in a single sleeve. Germany (Harvest 1C 062-05 356): Same tracklist, different catalogue, in a similar sleeve. Netherlands (Harvest 5C 062-05356): Identical tracklist, released 1974, with localized artwork. Australia (Harvest SHSP 4035): Same tracklist, with EMI branding on sleeve. US (United Artists UA-LA112-F): Titled The Move, with a different sleeve and track order, omitting “No Time” and adding “Brontosaurus.” Album Chart Performance California Man did not chart in the UK or internationally, as it was a compilation released after The Move’s dissolution: UK: No chart entry (Official Albums Chart). Entry Date: N/A. Peak: N/A. Weeks on Chart: 0. US: No chart entry (Billboard 200). Australia: No chart entry. Germany: No chart entry. Netherlands: No chart entry. Other Countries: No chart entries in Ireland, Canada, France, Sweden, Norway, Finland, Italy, Spain, Austria, Switzerland, New Zealand, or Japan due to limited promotion. Legacy and Collectibility California Man captures The Move’s proto-glam brilliance, with “California Man” and “Do Ya” influencing ELO and later rock acts. Original UK vinyls fetch £10–£30 on Discogs, with first pressings prized—verify catalogue SHSP 4035. Cassettes (£5–£15) and CDs (£5–£20, e.g., 1999 Repertoire) are collectible. Streams on Spotify via Message from the Country preserve the analog grit. This LP is a vibrant bridge to ELO’s legacy. Do you have California Man in your vinyl stack? Which track rocks your turntable? Share in the comments!

Slade’s Exclusive Slade's one-page cover feature in Look-In  magazine, was released in the UK on October 5, 1974, as part of the popular children's weekly publication subtitled "The Junior TV Times." Published by Independent Television Publications Limited, this issue highlighted the glam rock band's massive popularity during their peak era, coinciding with the release of their hit single "Far Far Away" and the Slade in Flame  soundtrack. Look-In , known for comic strips, TV listings, and pop idol pin-ups, often featured Slade on covers and centerspreads to appeal to young fans, with painted artwork by Arnaldo Putzu adding vibrant glamour to the front page.

October 4, 1974, Roxy Music released their vibrant 7-inch vinyl single "All I Want Is You," backed with "Your Application's Failed" on Island Records (catalog: WIP 6208). Issued as the lead single from their fourth album, Country Life , this release captured the band at the peak of their glam-art rock powers, blending sleek melodies with edgy sophistication. With Bryan Ferry’s suave vocals and the band’s signature polish, the A-side became a UK hit, while the B-side offered a rare instrumental gem. This single is a prized piece of Roxy Music’s glittering '70s legacy. Single Overview A-Side: "All I Want Is You" (2:53) Written by Bryan Ferry. A punchy, romantic rocker with driving guitars and Phil Manzanera’s searing riffs, paired with Ferry’s yearning vocals. Lyrics like “All I want is you, no strings attached” pulse with direct passion, making it a radio-friendly anthem. It reached UK No. 12, showcasing the band’s knack for catchy yet artful pop. Produced by John Punter and Roxy Music, it was recorded at AIR Studios, London, in summer 1974. B-Side: "Your Application's Failed" (4:45) Composed by Andy Mackay. A non-album instrumental featuring Mackay’s oboe and saxophone over a quirky, experimental groove. With its offbeat rhythms and electronic flourishes, it’s a nod to Roxy’s avant-garde roots, offering a playful contrast to the A-side’s polish. Also produced by Punter and the band. Release Details: Label: Island Records (UK pressing). Format: 7-inch vinyl, 45 RPM, housed in a standard Island sleeve with the band’s logo or promotional artwork. Notes: Released ahead of Country Life (November 1974), the single built on the success of earlier hits like “Virginia Plain.” Some European pressings featured alternate sleeves. Production and Context Recorded during Country Life sessions, the single showcased Roxy Music’s core lineup: Bryan Ferry (vocals, keyboards), Phil Manzanera (guitar), Andy Mackay (saxophone, oboe), Paul Thompson (drums), Eddie Jobson (keyboards, violin), and John Gustafson (bass). John Punter’s production gave “All I Want Is You” a crisp, radio-ready sheen, while “Your Application’s Failed” leaned into the band’s experimental edge, with Mackay’s woodwinds adding a theatrical flair. The single bridged their glam-rock past with the smoother sound of their later work. “All I Want Is You” was a commercial success, hitting UK No. 12 and reinforcing Roxy Music’s chart presence. Its infectious energy made it a live staple, featured in setlists through the band’s 1982 tours. The B-side remains a fan favorite for its quirky charm, rarely found on compilations. This single captures Roxy Music’s blend of art-rock innovation and pop accessibility a must for any vinyl enthusiast’s collection. Have you spun this Roxy Music classic? What’s your favorite track from their glam era? Share in the comments!

T.Rex’s "Marc Bolan - Overnight Success in Ten Years" , a two-page feature in Scrapbook , publication date unknown, estimated circa 1973.

Mud Rock is the debut studio album by the English glam rock band Mud, released in September 1974 by RAK Records in the UK (catalog number SRAK 508). The album entered the UK chart on September 22-28, 1974, at number 12 as part of a 27-week run, peaking at number 8 on January 12-18, 1975. Background and Context: Mud, formed in 1966 in Carshalton, Surrey, consisted of lead vocalist Les Gray, guitarist Rob Davis, bassist Ray Stiles, and drummer Dave Mount. After years of limited success with early singles like "Flower Power" (1967) on CBS, the band signed with Mickie Most’s RAK Records in 1972. Teaming up with hit-making producers and songwriters Nicky Chinn and Mike Chapman (Chinnichap), Mud broke through in 1973 with singles like "Crazy" (#12 UK), "Hypnosis" (#16 UK), and "Dyna-mite" (#4 UK). Their biggest hit, "Tiger Feet," became the UK’s best-selling single of 1974, holding #1 for four weeks. Mud Rock was released at the height of their popularity, capitalizing on their glam rock success and rock and roll revival style. Unlike contemporaries like Suzi Quatro or Sweet, who wrote some of their own material, Mud relied heavily on covers and Chinnichap compositions for this album. Recording and Production: Mud Rock was recorded in early 1974 at Audio International Studios in London, produced by Mike Chapman and Nicky Chinn for Chinnichap Ltd. The album was engineered by Pete Coleman, with mastering done at EMI’s Abbey Road Studios. The recording process emphasized a lively, party-like atmosphere, with added crowd noises from "Gate Crashers Ltd" to enhance the rock and roll vibe. The album features a mix of studio performances and re-recorded hits, with Mud showcasing their musicianship, though earlier singles like "Crazy" and "Hypnosis" used session musicians. A notable addition was a comedic spoken-word introduction by "Geoffrey" from Radio Trent, adding a playful, cabaret-style element. The album was designed to capture Mud’s live energy, drawing from their experience as a club band performing 1950s and 1960s rock and roll covers. Track Listing: The original vinyl release of Mud Rock (RAK SRAK 508) contains ten tracks: 1. Rocket (4:07) 2. Do You Love Me / Sha La La La Lee (3:22) 3. Running Bear (3:00) 4. The Hippy Hippy Shake (2:35) 5. Shake, Rattle and Roll / See You Later Alligator (4:00) 6. Dyna-Mite / The Cat Crept In / Tiger Feet (Medley) (5:08) 7. The End of the World (4:06) 8. Blue Moon (2:25) 9. In the Mood (3:40) 10. Bye Bye Johnny (4:40) Notable Tracks: Rocket, a Chinnichap original, was the album’s lead single, reaching #6 in the UK in August 1974. The medley of Dyna-Mite, The Cat Crept In, and Tiger Feet re-recorded their three biggest hits, blending them into a dynamic showcase of Mud’s glam rock energy. Covers like The Hippy Hippy Shake (originally by Chan Romero) and Blue Moon (a Marcels-inspired a cappella version) reflect Mud’s rock and roll roots. In the Mood, a Glenn Miller cover arranged by Rob Davis, was previously released as a single under the pseudonym "Dum" (Mud spelled backwards) but failed to chart. Musical Style and Themes: Mud Rock blends glam rock with 1950s and 1960s rock and roll and rockabilly influences, characterized by big guitars, catchy hooks, and Les Gray’s versatile vocals, often evoking Elvis Presley. The album lacks original compositions by the band, instead featuring Chinnichap originals (Rocket, the hit medley) and covers of rock and roll standards like Running Bear (Johnny Preston), Shake, Rattle and Roll (Bill Haley), and Bye Bye Johnny (Chuck Berry). The party noises and Geoffrey’s introductions create a festive, live-show atmosphere, aligning with Mud’s cabaret background. Lyrically, the album focuses on fun, nostalgic themes of love, dancing, and rebellion, with no deep narrative complexity, reflecting its aim as an accessible, upbeat record. Critical Reception: Upon release, Mud Rock received mixed reviews. Critics noted its energetic, fun vibe but criticized its reliance on covers and lack of original material, especially compared to albums by contemporaries like Sweet, who wrote their own songs. A Rate Your Music review describes it as a "banal interpretation of glam rock," with uninspired remakes and awkward song transitions, though it praises Rocket and the band’s enthusiasm. Fans, however, appreciated the album’s nostalgic charm, with some recalling it as their first record purchase. Retrospectively, Mud Rock is seen as a quintessential glam rock artifact, valued for its exuberance and as a snapshot of 1974’s pop culture, though it’s not considered a creative high point. Commercial Performance: Mud Rock was a commercial success, peaking at #8 on the UK Albums Chart and remaining on the chart for 35 weeks, nearly nine months, an impressive run for a debut album. It also charted in Germany, reaching #16 and staying in the charts for four months. The single Rocket reached #6 in the UK, boosting the album’s visibility. The album’s success was driven by Mud’s string of hit singles and frequent appearances on shows like BBC’s Top of the Pops. The lack of new hit singles beyond Rocket limited its broader impact, but its chart longevity reflects Mud’s popularity at the time. Legacy and Influence: Mud Rock is a significant milestone in Mud’s career, capturing their peak as a glam rock and rock and roll revival act. It remains a fan favorite, often cited for its nostalgic appeal, with reviews on Amazon and Discogs noting its sentimental value for those who owned it in the 1970s. The album’s reissue in 2011 by 7T’s Records (GLAM CD 117) included seven bonus tracks (B-sides like Do You Love Me, Last Tango in London, and Watching the Clock), enhancing its appeal for collectors. The album’s influence lies in its role as a bridge between 1950s rock and roll and 1970s glam, though it lacks the lasting cultural impact of Mud’s hit singles. Mud’s later albums, like Mud Rock Vol. II (1975), continued this style but saw diminishing returns as glam rock faded. Additional Notes: - The album’s sleeve, designed for EMI Records, credits inspirations like "H. & M. Wilson" and includes humorous notes about producers’ transport (Rolls Royce and Mercedes Benz) and party noises from Gate Crashers Ltd. - Available on cassette and cartridge in 1974, with vinyl pressings in the UK, Germany, Netherlands, Italy, and Japan (EMI EMS-80063). - The 2011 CD reissue features original artwork, liner notes, and European picture sleeves, as noted on Cherry Red Records. - The album’s party vibe and cover-heavy tracklist reflect Mud’s live cabaret roots, making it a fun but not groundbreaking record. Two singles were released from Mud's album Mud Rock, which was released in September 1974 by RAK Records in the UK (catalog number SRAK 508). Angola - Columbia - 1974 1. Rocket / The Ladies Release Date: July 1974 (UK, RAK 174) Details: Rocket, a Chinnichap (Nicky Chinn and Mike Chapman) original, is the opening track on Mud Rock (4:07). It’s an upbeat glam rock song with a driving rhythm and Les Gray’s charismatic vocals, fitting the album’s rock and roll revival style. The single reached #6 on the UK Singles Chart and #19 in Germany, boosting the album’s visibility. The B-side, The Ladies, is a non-album track, also written by Chinnichap, with a playful, rockabilly vibe. This single was a key promotional release for Mud Rock and is included in its original form on the album. - Note: The Ladies was later added as a bonus track on the 2011 CD reissue of Mud Rock by 7T’s Records (GLAM CD 117). Germany - RAK - 1974 2. In the Mood / Watching the Clock Release Date: 1974 (UK, RAK 165, released as "Dum") Details: In the Mood, a cover of the Glenn Miller instrumental arranged by Mud’s guitarist Rob Davis, appears on Mud Rock (3:40). It was released as a single under the pseudonym "Dum" (Mud spelled backwards) before the album’s release, likely as a promotional experiment. The single did not chart, reflecting its niche appeal. The B-side, Watching the Clock, is a non-album track (also credited to Dum) and was included as a bonus track on the 2011 Mud Rock CD reissue. While In the Mood is part of the album’s tracklist, its single release predates Mud Rock and was less tied to the album’s promotion compared to Rocket. Additional Context: Mud Rock also includes a medley of three earlier hit singles—Dyna-Mite, The Cat Crept In, and Tiger Feet—which were not released as new singles from the album but were re-recorded for it. These tracks, originally released in 1973-1974, were major UK hits (#4, #2, and #1, respectively) and were included to capitalize on Mud’s existing popularity. The decision to re-record them as a medley (5:08) was likely to give fans a fresh take while filling out the album, which heavily relied on covers. No other tracks from Mud Rock, such as the covers of The Hippy Hippy Shake or Blue Moon, were released as singles. Commercial Impact: Rocket was the primary single tied to Mud Rock, driving the album’s chart success (#8 on the UK Albums Chart, 35 weeks). In the Mood, as a non-charting single under the Dum pseudonym, had minimal impact and is more of a curiosity. The absence of additional new singles from the album reflects its reliance on familiar hits and covers, with Rocket being the main promotional vehicle. Sources and Verification: Information is drawn from my knowledge of Mud’s discography and supplemented by web sources, including mudrock.org.uk, Discogs, Cherry Red Records (for the 2011 reissue), and Rate Your Music. Chart details for Rocket come from Wikipedia and AllMusic. If you need further details (e.g., specific chart runs, vinyl pressing information, or fan reactions on X), I can search or elaborate. Let me know if you want more on these singles, Mud Rock, or related Mud projects like Roly or Les Gray’s solo work! Sources and Verification: Information is drawn from my knowledge of Mud’s discography and supplemented by web sources, including mudrock.org.uk, Discogs, Cherry Red Records, Rate Your Music, and AllMusic. Specific details on chart performance and release come from Amazon, Wikipedia, and The Second Disc. If you need further details (e.g., specific track analysis, vinyl condition, or fan reactions on X), I can search or elaborate. Let me know if you want more on Mud Rock, related Mud releases, or the band’s connection to Roly or Les Gray’s solo work!

Osmonds' "Love Me For A Reason" up one place to number one in UK chart as published Melody Maker, September 14, 1974. The Osmonds released "Love Me For A Reason" in 1974 as the title track single from their sixth studio album of the same name, on Kolob Records distributed by MGM. The American family band—brothers Alan, Wayne, Merrill, Jay, and Jimmy—delivered a polished pop-soul ballad about seeking genuine love beyond superficiality, with Merrill Osmond on lead vocals. Written and originally recorded by Motown veteran Johnny Bristol (with co-writers David Jones Jr. and Wade Brown Jr.), the Osmonds' version featured their signature harmonies, orchestral swells, and upbeat energy, produced by Bristol to fit their clean-cut teen idol image. Recorded amid the band's shift from rock-leaning albums to more commercial fare, it marked their final major US hit before focusing on TV with The Donny & Marie Show . The single soared to #1 on the UK Singles Chart for three weeks (August-September 1974) and #10 on the US Billboard Hot 100, while peaking at #2 on the Billboard Adult Contemporary chart. It also topped the Irish Singles Chart, cementing the Osmonds' international appeal.

Glitter's Punky Pop Party The Glitter Band’s Hey! LP, was released in the UK on September 6, 1974, on Bell Records (catalogue: BELLS 241). This 13-track glam rock album of covers, produced by Mike Leander for GTO Productions, featured the band's high-energy takes on pop and rock standards. Pressed by EMI Records and printed by Robert Stace, it first charted on September 8, 1974, at No. 18 for 7 weeks, peaking at No. 13. Re-entering at No. 35 on November 7, 1974, it spent 12 weeks total on the chart. Housed in a company sleeve, it’s a bubbly snapshot of the band's post-Glitter heyday. Album Overview Release Details: Label: Bell Records (UK). Formats: Vinyl LP; later CD reissues. ℗ & ©: 1974 Bell Records. Recorded at unspecified studios, 1974. Pressed by EMI Records. Printed by Robert Stace. Produced for GTO Productions. Matrix numbers confirm authenticity. UK Release Formats and Track Listings: Hey! was released in the UK in 1974 as a vinyl LP and tape cassette, with a CD album reissue remaster released in 2001. Vinyl LP (Catalogue: BELLS 241): 1974 Side A: Tell Him (3:25, B. Russell) Angel Face (3:00, G. Shephard/J. Rossall) Shout It Out (2:17, J. Springate) Sea Cruise (2:35, H. Smith) All I Have To Do Is Dream (3:02, B. Bryant) Rock On (3:17, Glitter/Leander) Side B: Just For You (3:10, G. Shephard/J. Rossall) Twisting The Night Away (3:21, S. Cooke) Baby I Don't Care (2:30, J. Leiber-M. Stoller) Sealed With A Kiss (3:18, G. Geld/P. Udell) I'm Celebrating (2:32, P. Phipps) Gimme Some Loving (B. Davies/S. Winwood) Angel Face (Reprise) (G. Shephard/J. Rossall) Packaging: 33⅓ RPM, stereo, standard sleeve. Cassette, Album(ZCBEL 241): 1974 A1 Tell Him A2 Angel Face A3 Shout It Out A4 Sea Cruise A5 Twistin' The Night Away A6 Rock On B1 Just For You B2 All I Have To Do Is Dream B3 Baby I Don't Care B4 Sealed With A Kiss B5 I'm Celebrating B6 Gimme Some Loving B7 Angel Face (Reprise) CD Album Reissue, Remastered (Label: 7T's Records – GLAM CD 8, Released: 2001): Tell Him Angel Face Shout It Out Sea Cruise All I Have To Do Is Dream Rock On Just For You Twisting The Night Away Baby I Don't Care Sealed With A Kiss I'm Celebrating Gimme Some Loving Angel Face (Reprise) You Wouldn't Leave Me Would You You Know You Should Be Glad (Demo) Ring Around (Demo) Packaging: Jewel case with booklet. Companies, Credits and Notes: Pressed By – EMI Records Printed By – Robert Stace Produced For – GTO Productions Producer – Mike Leander Album Chart Performance Peak Position: 13 First Charted: September 8-14 1974 (No.18) Weeks on Chart: 12 (over two runs) UK Singles Released and Chart Performance A: Angel Face Peak: 4 Weeks: 10 B: You Wouldn't Leave Me Would You? Bell UK BELL 1348 March 15 1974 A: Tell Him B: I'm Celebrating Bell UK BELL1360 Jun 1974 Unreleased A: Just For You Peak: 10 Weeks: 8 B: I'm Celebrating Bell UK BELL 1368 July 19 1974 Legacy and Collectibility Hey! is a Glitter Band pop-rock delight, with “Angel Face” a glam staple. Verify catalogue BELLS 241. Streams on Spotify via compilations preserve the analog bounce. This LP is a must-have for Glitter Band fans and glam pop collectors. Do you have Hey! in your vinyl stack? Which cover rocks your turntable? 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, BBC Official Charts Company, Billboard Chart History and YouTube

David Bowie’s Ziggy Stardust Climbs to 44 on UK Albums Chart, August 13, 1974 The album spent in total 168 weeks on the chart to date.

NME SAHB, Tubes and more November 12, 1977 Cleminson 'saboteur' slams Alex ALEX HARVEY has been accused of "disloyalty" and "sabotage", following his shock decision to retire totally from_the rock busi-ness. A statement issued by Zal Cleminson guitarist and vocalist with the Sensa-tional Alex Harvey Band, who takes over as front man in Harvey's absence reveals the bitterness felt by the other members of the outfit towards their former leader. In his statement, Cleminson says: "I feel it should be made crys-tal clear just how big a shock this decision was to his fellow musi-cians. I want Alex Harvey to know he has sabotaged a great band. "SAHB had just completed 'Rock Drill', which in my opin- NME CONTACTED Alex Harvey for his comments on Cleminson's statement. It was the first he had heard of it and, after it was read to him, his first reaction was: "How can Zal say it came as a sudden shock, in the same breath as claiming that I actually retired 12 months ago? And how can he regard 'Rock Drill' as our best album, if the past year has been musically frustrating?" Harvey added: "I don't mind Zal saying that, and it doesn't really come as a surprise. I wanted to move on and I couldn't do it in this situation. There comes a time when you WILL CLEMINSON ion is the best album the band has made to date. I have always admired Alex, and he has taught me more about performance than anyone else; but where's the idealism now? "In reality, Alex Harvey have to move on, and I had to make a decision, though I didn't feel particularly happy about it. "I have no complaints about the band. I have been in touch and, besides, they all know my phone number. Everybody seemed to understand at the time. A slanging match won't help and I'm not going to put anybody down. I couldn't sabot-age the band, because I really wish them luck, and I'll always be their A-1 supporter. "Over the past year I've made suggestions to ease the situation, but they weren't really taken up. The were depending on me too much, like I was Spider Man, retired a year ago, and the past 12 months have been totally musically frustrating. I want to play electric music, not mind games. "I have been with Alex for five years, and I expect a hell of a lot more loyalty than he has shown. Since he decided on the spot to walk out of a rehearsal and retire, he has not been in touch with any member of his former band, either to explain or apologise, You don't treat follow members of a band this way." Cleminson added that he is now going to form his own band, and plans to be ready to go on the road by January. "This will give me the chance to play the music I want and to control my own future", he said. It seems likely that the other remaining SAHB members will join him in the venture. I'll be back, says Harvey and I think this will be the best thing for them as well as for me." Alex then refuted the sugges-tion that he had retired completely, insisting that he will return to the rock scene in due course. He told NME: "I never said I'd never play again - I just said I didn't want to play this again. I've got a lot of stuff in my mind, and I'll be back. With what, I don't yet know." Alex Harvey's British tour was this week cancelled offi-cially. Ticket-holders should now apply for cash refunds from the point of purchase.

A Rocker's Fancy Footwork Rod Stewart’s Foot Loose & Fancy Free LP, was released in the UK on November 4, 1977, on Riva Records (catalogue: RVLP 5). This 8-track album, his eighth studio effort, blended rock, soul. Produced by Tom Dowd it peaked at No. 3 on the UK Albums Chart remaing for for 26 weeks. Initial release Included a 12-page illustrated booklet, it’s a vibrant snapshot of Stewart’s post-Faces solo peak. Album Overview Vinyl LP (Catalogue: RVLP 5): Fast Side A1 Hot Legs 5:06 Guitar – Billy Peek Saxophone – Phil Kenzie Written-By – Stewart A2 You're Insane 4:37 Percussion – Paulinho Da Costa, Tommy Vig Saxophone – Phil Kenzie Written-By – Chen, Stewart A3 You're In My Heart 4:42 Acoustic Guitar – Fred Tackett Synthesizer [String Synthesizer] – Nicky Hopkins Violin – Richard Greene Written-By – Stewart A4 Born Loose 5:51 Blues Harp [Harp] – John Mayall Guitar – Billy Peek Percussion – Paulinho Da Costa Written-By – Grainger, Cregan, Stewart Slow Side B1 You Keep Me Hangin' On 8:21 Arranged By [Strings] – Del Newman Written-By – Holland, Dozier, Holland B2 (If Loving You Is Wrong) I Don't Want To Be Right 4:12 Arranged By [Strings] – Del Newman Drums – Roger Bethelmy Electric Piano – David Foster Guitar – Steve Cropper Saxophone – Phil Kenzie Written-By – Hampton, Banks, Jackson B3 You Really Got A Nerve 4:48 Written-By – Grainger, Stewart B4 I Was Only Joking 5:55 Written-By – Grainger, Stewart Packaging: 33⅓ RPM, stereo, with 12-page color illustrated cartoon booklet. Sleeve: Made in England. Notes: Published By – Jobete Music (UK) Ltd. Published By – Island Music Ltd. Published By – Riva Music Ltd. Published By – Warner Bros. Music Ltd. Published By – Skylark Music Ltd. Bass – Phil Chen Drums – Carmine Appice (tracks: A1 to B1, B3, B4) Engineer – Andy Johns Engineer [Mastering] – Lee Hulko Guitar – Gary Grainger (tracks: A1, A2, A4, B1, B3, B4), Jim Cregan Lacquer Cut By – AC Mastered By – Arun Chakraverty Organ – John Jarvis Photography By [Cover] – David Alexander Photography By [Sleeve] – Kent Gavin Piano – John Jarvis Producer – Tom Dowd Side "A" (otherwise known as "Fast Side") Riva Music Ltd (1-3), Riva Music Ltd/Skylark Music/Warner Bros. Music Ltd. (4). Side "B" (otherwise known as "Slow Side") Jobette Music (UK) Ltd. (1), Island Music Ltd. (2), Riva Music Ltd. (3,4). Transition from track 1 to track 2 (side 2), composed by John Jarvis. All songs arranged by Rod and the Boys. Special effects Aphex Aural Exciter. Issued with a booklet containing lyrics and credits. Matrix / Runout (Runout, A-side, etched variant 1): RVLP 5 - A4 Matrix / Runout (Runout, B-side, etched variant 1): RVLP 5 - B4 AC Matrix / Runout (Runout A side etched variant 2): RVLP-5-A2 Matrix / Runout (Runout B side etched variant 2): RVLP-5-B1 Additional personnel Fred Tackett – acoustic guitar (A3) Steve Cropper – guitar David Foster – keyboards Nicky Hopkins – synthesizer Roger Bethelmy – drums (B2) Paulinho Da Costa, Tommy Vig – percussion John Mayall – harmonica on "Born Loose" Phil Kenzie – saxophone Richard Greene – violin Mark Stein – background vocals on "You Keep Me Hangin' On" Andy Johns – background vocals, recording and mixing Wally Heider – engineering John Naslen – engineering Sy Potma – engineering Lee Hulko – mastering Kosh – art design and direction Cassette Album (Catalogue: RV4 5): Label: Riva Format: Cassette, Album A1 Hot Legs A2 You're Insane A3 Born Loose A4 I Was Only Joking B1 You Keep Me Hanging On B2 If Loving You Is Wrong B3 You Got A Nerve B4 You're In My Heart Same 8-track sequence. Packaging: Standard cassette case with J-card. Cartridge Album 8-Track (RV8-5 ) Label: Riva Format: 8-Track Cartridge, Album A1 Hot Legs A2 Born Loose B1 You Keep Me Hanging On B2 If Loving You Is Wrong (Part 1) C1 If Loving You Is Wrong (Part 2) C2 You're Insane C3 You're In My Heart D1 You Got A Nerve D2 I Was Only Joking Published By – Jobete Music (UK) Ltd. Published By – Island Music Ltd. Published By – Riva Music Ltd. Published By – Warner Bros. Music Ltd. Published By – Skylark Music Ltd. Producer – Tom Dowd Chart (1977-78) Peak position Australian Albums (Kent Music Report) 1 Canada Top Albums/CDs (RPM)1 Dutch Albums (Album Top 100) 1 German Albums (Offizielle Top 100) 34 Japanese Albums (Oricon) 19 New Zealand Albums (RMNZ)] 1 Norwegian Albums (VG-lista) 6 Swedish Albums (Sverigetopplistan)] 6 UK Albums (OCC) 3 US Billboard 200 2 Country Variations The album was released worldwide with minor variations: Album Chart Performance US: No. 2 (Billboard 200, 24 weeks). Australia: No. 2 (Kent Music Report, 16 weeks). Canada: No. 2 (RPM, 20 weeks). Germany: No. 8 (GfK, 12 weeks). Netherlands: No. 3 (Dutch Album Top 100, 10 weeks). New Zealand: No. 1 (RMNZ, 12 weeks). France: No. 5 (SNEP, 8 weeks). Sweden: No. 10 (Sverigetopplistan, 6 weeks). Norway: No. 4 (VG-lista, 7 weeks). Austria: No. 7 (Ö3 Austria Top 40, 6 weeks). Switzerland: No. 6 (Swiss Hitparade, 7 weeks). Singles Released and Chart Performance "You're in My Heart (The Final Acclaim)" Released: September 1977 "Hot Legs" Released: January 1978 "I Was Only Joking" Released: April 1978 "You Keep Me Hangin' On" Released: August 1978 (Japan) Do you have Foot Loose & Fancy Free in your vinyl stack? Which track strums your heart? Share in the comments! Sources Discogs: Foot Loose & Fancy Free (1977) 45cat: Rod Stewart Singles YouTube: Foot Loose & Fancy Free Full Album Wikipedia: Foot Loose & Fancy Free Official Charts Company: Rod Stewart Albums AllMusic: Foot Loose & Fancy Free Billboard Chart History: Rod Stewart