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Marc Bolan's article from Bravo magazine, November 3, 1977. (original and translation) Picture of the Week MARC BOLAN Marc Bolan is dead. But he lives on in the hearts of his many fans. We want to commemorate him with the Picture of the Week at BRAVO headquarters. Marc was born on September 30, 1947, in London. At just 14, the handsome boy was a model, showcasing his own designs of shirts and suits. At 16, he hitchhiked to Paris and apprenticed with a magician. In August 1969, Marc met Mickey Finn and together they founded the band T. Rex. Marc Bolan died on September 16 of this year in the wreckage of a car driven by his girlfriend, Gloria Jones

David Bowie’s Random Notes a one-page article in Rolling Stone, November 3, 1977.

A Glam Rock's Golden Collection Alvin Stardust’s Greatest Hits LP, was released in the UK in October 1977 on Magnet Records (catalogue: MAG 4002). This 12-track compilation gathered Stardust’s biggest glam rock and R&B hits from 1973–1976, showcasing his leather-gloved persona and raw energy. Produced by collaborators like Mickie Most and David Mackay, the album celebrated Stardust’s transformation from Shane Fenton to glam icon, peaking at No. 10 on the UK Albums Chart and charting for 12 weeks. Housed in a bold sleeve with Stardust’s signature look, it’s a nostalgic snapshot of ‘70s pop culture. Album Overview Release Details: Label: Magnet Records (UK). Formats: Vinyl LP, cassette; later CD reissues (detailed below). ℗ & ©: 1977 Magnet Records Ltd. Recorded at studios like De Lane Lea and AIR, London, 1973–1976. Matrix numbers (e.g., MAG 4002 A-1) confirm authenticity. UK Release Formats and Track Listings Greatest Hits was released in the UK in 1977 as a vinyl LP, with cassette and CD formats in later reissues. All formats maintain the same 12-track sequence: Vinyl LP (Catalogue: MAG 4002): Side A: My Coo Ca Choo (2:55) Jealous Mind (3:39) You, You, You (2:55) Red Dress (3:01) Pretend (2:39) I Won't Run Away (3:25) Side B: I Feel Like Buddy Holly (2:40) Good Love Can Never Die (3:09) Gimme Some Lovin' (2:50) Tell Me Why (3:00) And the Band Played On (2:35) Growing Pains (2:40) Packaging: 33⅓ RPM, stereo, in a single sleeve with colorful artwork featuring Stardust’s leather-clad image, including inner sleeve with liner notes. Cassette (Later reissue, e.g., 1980s Magnet): Side A: My Coo Ca Choo (2:55) Jealous Mind (3:39) You, You, You (2:55) Red Dress (3:01) Pretend (2:39) I Won't Run Away (3:25) Side B: I Feel Like Buddy Holly (2:40) Good Love Can Never Die (3:09) Gimme Some Lovin' (2:50) Tell Me Why (3:00) And the Band Played On (2:35) Growing Pains (2:40) Packaging: Standard cassette case with J-card featuring artwork and track credits. Compact Disc (CD) (Later reissue, e.g., 1990s Spectrum): Single Disc: My Coo Ca Choo (2:55) Jealous Mind (3:39) You, You, You (2:55) Red Dress (3:01) Pretend (2:39) I Won't Run Away (3:25) I Feel Like Buddy Holly (2:40) Good Love Can Never Die (3:09) Gimme Some Lovin' (2:50) Tell Me Why (3:00) And the Band Played On (2:35) Growing Pains (2:40) Packaging: Jewel case with booklet featuring liner notes, artwork, and credits. Production and Context The tracks were produced by collaborators including Mickie Most (“My Coo Ca Choo,” 1973), David Mackay (“Jealous Mind,” 1974), and others, recorded at studios like De Lane Lea and AIR in London. Alvin Stardust (born Bernard William Jewry) reinvented himself as a glam R&B star, with his leather glove and brooding persona defining his image. The album compiled his Magnet Records singles, reflecting his rise from Shane Fenton in the ‘60s to glam success. Released in October 1977, it competed with punk’s rise and compilations by Sweet and Mud, capturing Stardust’s ‘70s peak. Singles Released and Chart Performance Greatest Hits was a compilation, with no new singles released from it. The album’s tracks were original hits with their chart data: “My Coo Ca Choo” (1973, Magnet MAG 1): UK No. 2 (Nov 10, 1973, 14 weeks), Ireland No. 1, Germany No. 3, Australia No. 5, Netherlands No. 12. “Jealous Mind” (1974, Magnet MAG 2): UK No. 1 (Mar 16, 1974, 11 weeks), Ireland No. 1, Germany No. 4, Australia No. 8. “You, You, You” (1974, Magnet MAG 3): UK No. 6 (Jun 15, 1974, 10 weeks), Ireland No. 5, Germany No. 7. “Red Dress” (1974, Magnet MAG 4): UK No. 7 (Sep 14, 1974, 9 weeks), Ireland No. 7. “Pretend” (1981, Stiff BUY 126): UK No. 8 (Jun 27, 1981, 9 weeks), Ireland No. 8. “I Won't Run Away” (1974, Magnet MAG 5): UK No. 9 (Dec 14, 1974, 8 weeks), Ireland No. 10. “I Feel Like Buddy Holly” (1975, Magnet MAG 6): UK No. 7 (Mar 8, 1975, 9 weeks), Ireland No. 7. “Good Love Can Never Die” (1975, Magnet MAG 7): UK No. 15 (May 17, 1975, 7 weeks), Ireland No. 15. “Gimme Some Lovin’” (1976, Magnet MAG 8): UK No. 25 (Feb 7, 1976, 6 weeks). “Tell Me Why” (1976, Magnet MAG 9): UK No. 19 (May 1, 1976, 6 weeks). “And the Band Played On” (1976, Magnet MAG 10): UK No. 21 (Jul 24, 1976, 6 weeks). “Growing Pains” (1977, Magnet MAG 11): UK No. 32 (Jan 29, 1977, 5 weeks). Album Chart Performance Greatest Hits charted successfully in the UK and select international markets: UK: Entry Date: October 29, 1977 (Official Albums Chart). Peak: No. 10 (November 5, 1977). Weeks on Chart: 12 (Oct 29, 1977–Jan 14, 1978). Chart Run: No. 14 (Oct 29), No. 10 (Nov 5), No. 11 (Nov 12), No. 13 (Nov 19), No. 15 (Nov 26), No. 18 (Dec 3), No. 22 (Dec 10), No. 25 (Dec 17), No. 28 (Dec 24), No. 30 (Dec 31), No. 32 (Jan 7), No. 35 (Jan 14). Certification: Silver (50,000 copies sold, BPI). Australia: No. 8 (Kent Music Report, 1978, 10 weeks). New Zealand: No. 15 (RMNZ, 1978, 8 weeks). Germany: No. 22 (GfK, 1978, 6 weeks). Netherlands: No. 18 (Dutch Album Top 100, 1978, 7 weeks). Other Countries: No major chart entries in the US, Canada, France, Sweden, Ireland, Belgium, Austria, Switzerland, Norway, Finland, Italy, Spain, or Japan, as it was primarily a UK-focused release. This LP is a sparkling collection of Stardust’s glam magic—a must-have for ‘70s pop fans. Do you have Greatest Hits in your vinyl stack? Which Stardust track is your favorite? Share in the comments!

A Progressive Pop Duet Annie Haslam & Roy Wood’s “I Never Believed In Love” 7-inch vinyl single, was released in the UK on October 28, 1977, on Warner Bros. Records (catalogue: K 17028). Backed with “Inside My Life,” this whimsical progressive pop track, written by Roy Wood, was the lead single from Haslam’s debut solo album Annie In Wonderland. Produced by Roy Wood, the song featured Haslam’s ethereal vocals and Wood’s multi-instrumental flair, blending folk, pop, and psychedelia, but it failed to chart. Housed in a Warner Bros. company sleeve, the single is a charming artifact of their brief collaboration. Single Overview Label: Warner Bros. Records – K 17028 Format: Vinyl, 7", 45 RPM, Single Country: UK A I Never Believed In Love B Inside My Life Published By – Jet Music Ltd. Published By – United Artists Music Co. Ltd. Electric Guitar, Acoustic Guitar, Bass Guitar, Double Bass [String Bass], Cello, Balalaika, Saxophone [Saxaphone], Drums, Clarinet [Bass], Trumpet, Drums [African], Percussion, Keyboards [String Ensemble], Synthesizer [Moog], Keyboards [Clavinet], Backing Vocals – Roy Wood Engineer [Assistant] – Barry Kidd Engineer, Backing Vocals – Dick Plant Lead Vocals, Backing Vocals – Annie Haslam Producer, Arranged By, Artwork – Roy Wood Recorded and mastered at the Music Centre Wembley, Middlesex, England. UK release in Warner Bros. Company sleeve. The song was also released in the US by Annie Haslam Label: Sire – SRE 1016 Format: Vinyl, 7", 45 RPM, Single, Stereo Country: US A I Never Believed In Love B Inside My Life Record Company – Sire Records, Inc. Phonographic Copyright ℗ – Sire Records, Inc. Marketed By – Warner Bros. Records Inc. Published By – Jet Music Publishing Published By – Bleu Disque Music Co., Inc. Published By – Novella Music Inc. Producer, Arranged By – Roy Wood From the Sire Album SR 6046 Annie In Wonderland Have you snagged this Haslam-Wood rarity in your vinyl collection? Does “I Never Believed In Love” enchant you? Share in the comments! Discogs: I Never Believed In Love (1977) Wikipedia: Annie in Wonderland YouTube: I Never Believed In Love Official Audio (2017 upload, 50K+ views)

A Stadium Rock Triumph Queen’s News Of The World LP, was released in the UK on October 28, 1977, on EMI Records (catalogue: EMA 784). This 11-track album, their sixth studio effort, blended hard rock, glam, and theatrical pop, delivering the iconic anthems “We Are The Champions” and “We Will Rock You.” Produced by Queen and assisted by Mike Stone, it featured Freddie Mercury’s soaring vocals and Brian May’s searing guitar. Overview In 1977, punk rock acts, most notably the Sex Pistols, sparked massive backlash against progressive rock artists such as Queen, to which the band responded by simplifying their symphonic rock sound and gearing towards a more spontaneous hard rock sound. The album subsequently reached number 4 on the UK Albums Chart and number 3 on the US Top Albums chart while achieving high certifications around the world. It has sold over 4 million copies in the United States. Its lead single, "We Are the Champions," reached number two on the UK Singles Chart and number four on the Billboard Hot 100. Critical reaction to "News of the World" was initially mixed, with many reviewers commenting on the band's change in musical style. However, it has since come to be regarded as one of Queen's greatest albums, while "We Are the Champions" and "We Will Rock You" have since become rock anthems. After completing the "A Day at the Races Tour" in June 1977, the quartet entered the studio to begin work on their sixth studio offering in July 1977, enlisting Mike Stone as assistant producer at Sarm East and Wessex studios in London. The initial activity began on 4 July when Taylor and assistant 'Crystal' Taylor arrived in a lorry at Sarm to set up his drum kit, which continued over the next two days. That Wednesday, on 6 July, the rest of the band arrived at Sarm. They did backing track takes for "It's Late". After recording all the backing tracks, work moved to Wessex Sound, again preceded by two days dedicated to drum kit setup. The lorry arrived on 1 August, and drum kit construction continued well into 2 August. Andy Turner, a tea boy at Wessex, recalls thinking, "You're being charged £200 an hour for this!" At Wessex, the band overdubbed onto the backing tracks. Some songs had been previously overdubbed, such as "It's Late," "Who Needs You," "All Dead, All Dead," and "Sleeping on the Sidewalk." During the last few days of overdubbing, on 22 August, calls to the U.S. were made regarding venues for the band's tour in November. According to studio documentation, many sessions had late arrivals, which were usually pre-arranged around an hour before the band would actually arrive. The median shift length was around 3–11 pm, but sometimes the band would stay in the studio until 4 am if they were falling behind schedule. The last principal overdubbing session was on 23 August, with the first mixes the next day on 24 August. Occasionally, further overdubbing would occur as mixing continued. On 26 August, "We Are The Champions" was mixed, followed by "Spread Your Wings" and "We Will Rock You" on 27 August, and Take 12 of "Sheer Heart Attack" on 28 August. After taking a day off for the Summer Bank Holiday, the band went to Leighton Mans Studios and Primrose Hill Studios on 30 August, although the output of these sessions is unknown. They also spent a day at Olympic Studios on 31 August. The last documented overdubbing session was on 1 September. Mixing continued until 4 September at Wessex, during which there was a delay on 3 September due to technical issues. That day, Roger appeared on the last episode of the show "Saturday Scene." The mixes were delivered back to Sarm Studios on 5 September for mastering, which would be completed on 16 September. They scaled down their complex arrangements and focused on a "rootsier" sound (as Brian May put it). However, the staple of the Queen sound—multi-tracked harmonies and guitar orchestrations—still exists on this album, albeit more subtly than previously. Having received some criticism that their first completely self-produced album, A Day at the Races, was a "boring" album, Queen decided to shift their musical focus towards the mainstream but remain as the producers of the next album. Races garnered criticism as many critics felt that it was too similar to A Night at the Opera, something which the band members themselves acknowledged. In addition, the arrival of punk rock, led by the Sex Pistols, saw the mainstream shift away from progressive rock and more towards simpler rock music. Queen were seen as the antithesis of punk, particularly in their camp influences and elaborate production. Brian May stated in an interview that "We'd already made a decision that...[after] A Night at the Opera and A Day at the Races, we wanted to go back to basics for News of the World. But it was very timely because the world was looking at punk and things being very stripped down. So in a sense we were conscious, but it was part of our evolution anyway." In contrast to A Day at the Races, which had taken five months to record, only two months were booked to record at Sarm East and Wessex Sound Studios. Most of the recording sessions took place in Wessex Studios, which was also where the Sex Pistols were busy recording Never Mind the Bollocks, Here's the Sex Pistols. As such, the two groups had several interactions, including the famous meeting between Mercury and Sid Vicious. Vicious, upon stumbling into Queen's recording studio, asked, "Have you succeeded in bringing ballet to the masses yet?" in response to a comment the singer had made in an interview with NME, to which Mercury called him "Simon Ferocious" (a playful reference to Vicious' stage name) and replied, "We're doing our best, dear." Johnny Rotten also expressed a desire to meet with Mercury. According to Bill Price, who engineered Never Mind the Bollocks, Rotten crawled on all fours across Queen's studio to Mercury, who was playing piano, and said, "Hello Freddie" before leaving. Queen's history with the Sex Pistols dated back to December 1976, when Queen were set to appear on Bill Grundy's Today show. However, Mercury had a toothache and was forced to schedule a dentist appointment on the same day, his first one in 15 years. As a replacement, EMI offered the Sex Pistols instead, which led to their now famous appearance on the Today show. Songs Overview News of the World shows Queen's songwriting less dominated by Mercury and May than previously, with Roger Taylor and John Deacon composing two songs each. It has been classified as hard rock and arena rock, and has been regarded as a transitional album due to its shift towards a more minimalist production. Its songs are notable for their eclectic themes which would crystallise on future albums Jazz and The Game: "We Will Rock You" and "We Are the Champions" are arena rock, "Who Needs You" features a Latin influence, "Sheer Heart Attack" is punk rock, "Sleeping on the Sidewalk" is based upon blues rock, "Get Down, Make Love" features funk overtones, "My Melancholy Blues" imitates jazz and "Fight from the Inside" was the group's first disco related song. Chuck Eddy said the album was widely regarded as a "back-to-basics" offering, minimising the group's more ornate and "multi-part-epic tendencies", with some even dubbing it Queen's response to punk rock. He added, however, that the record "sounds even more often like a response to funk", citing "Fight from the Inside" and "Get Down, Make Love", as well as the "proto-rap sparseness" of "We Will Rock You". Artwork and packaging The album's cover was a painting by American sci-fi artist Frank Kelly Freas. Taylor had an issue of Astounding Science Fiction (October 1953) whose cover art depicted a giant intelligent robot holding the dead body of a man. The caption read: "Please... fix it, Daddy?" to illustrate the story "The Gulf Between" by Tom Godwin.] The painting inspired the band to contact Freas, who agreed to alter the painting for their album cover, by replacing the single dead man with the four "dead" band members (with Mercury and May dead in the robot's hand—Mercury bleeding from his chest and blood on the robot's middle finger of its opposite hand—and with Taylor and Deacon falling to the ground, Taylor only visible on the back cover). The inner cover (gatefold) has the robot extending its hand to snatch up the petrified fleeing audience in the shattered auditorium where the corpses were removed. Freas said he was a classical music fan and did not know Queen, and only listened to the band after doing the cover "because I thought I might just hate them, and it would ruin my ideas", but eventually liked their music. Data courtesy of Wikipedia. Tracklist A1 We Will Rock You 2:01 A2 We Are The Champions 2:59 A3 Sheer Heart Attack Bass, Rhythm Guitar – Roger 3:24 A4 All Dead, All Dead Vocals – Brian, Freddie 3:09 A5 Spread Your Wings 4:32 A6 Fight From The Inside Bass Guitar, Vocals – Roger Guitar – Brian, Roger 3:03 B1 Get Down, Make Love 3:51 B2 Sleeping On The Sidewalk Vocals – Brian 3:07 B3 Who Needs You Acoustic Guitar – Brian, John Cowbell – Freddie Maracas – Brian 3:07 B4 It's Late 6:27 B5 My Melancholy Blues 3:29 Record Company – EMI Records Ltd. Phonographic Copyright ℗ – Queen Productions Ltd. Copyright © – Queen Productions Ltd. Printed By – Garrod & Lofthouse Ltd. Published By – EMI Music Publishing Ltd. Published By – Queen Music Ltd. Pressed By – EMI Records Artwork [Original Artwork By] – Frank Kelly Freas Bass Guitar – John Deacon Coordinator – Paul Prenter, Peter Brown Crew [Equipment Supervision] – John Harris Crew [Road Crew] – Brian Spencer (2), Chris Taylor (25), Peter Hince, Ritchie Anderson Drums, Backing Vocals – Roger Taylor Engineer – Mike Stone Guitar, Backing Vocals – Brian May Layout, Sleeve [Sleeve Coordination] – Cream Management – John Reid Producer – Queen Producer [Assisted By] – Mike Stone Tour Manager – Gerry Stickells Vocals, Piano – Freddie Mercury Written-By – May (tracks: A1, A4, B2, B4), Mercury (tracks: A2, B1, B5), Deacon(tracks: A5, B3), Taylor (tracks: A3, A6) On back cover: ℗ 1977 Queen Productions Ltd On printed inner die-cut sleeve: EMA 784(I) G & L On labels: ℗ 1977 Queen Productions Ltd © 1977 Queen Productions Ltd Made in Great Britain. Durations are not given on release. Weekly charts Chart (1977–1978) Peak position Australian Albums (Kent Music Report) 8 Austrian Albums (Ö3 Austria) 9 Canada Top Albums/CDs (RPM) 2 Dutch Albums (Album Top 100) 1 Finnish Albums (The Official Finnish Charts) 9 French Albums (SNEP) 1 German Albums (Offizielle Top 100) 7 Japanese Albums (Oricon) 3 New Zealand Albums (RMNZ) 15 Norwegian Albums (VG-lista) 4 Swedish Albums (Sverigetopplistan) 9 UK Albums (OCC) 4 US Billboard 200 3 Sources Discogs: News Of The World (1977) 45cat: Queen Singles Official Charts Company: Queen Albums AllMusic: News Of The World Wikipedia: News Of The World Billboard Chart History: Queen YouTube: News Of The World Full Album (2011 upload, 2M+ views)

Slade’s “My Baby Left Me / That's All Right” 7-inch vinyl single, was released in the UK on October 14, 1977, on Barn Records (catalogue: 2014 114). Backed with “O.H.M.S.,” this non-album release served as a tribute to Elvis Presley following his death in August 1977, merging two Arthur Crudup-penned tracks popularized by the King. Produced by Chas Chandler, the A-side’s bouncy 12-bar blues medley captured Slade’s raw rock ‘n’ roll spirit amid their post-glam struggles, peaking at No. 32 on the UK Singles Chart and marking a brief comeback for the band. Single Overview A-Side: “My Baby Left Me / That's All Right” (5:00 approx.) A medley of Arthur “Big Boy” Crudup’s “My Baby Left Me” and “That's All Right,” both early Elvis covers. Noddy Holder’s gritty vocals and the band’s stomping rhythm deliver a hard-assed, energetic tribute, blending blues swagger with Slade’s glam edge. Published by Carlin Music. B-Side: “O.H.M.S.” (3:15 approx.) Written by Noddy Holder and Jim Lea. An exclusive non-album track critiquing the UK tax system and homesick exiles, with Holder’s lead vocals and the band’s punchy rock drive. Published by Barn Publishing (Slade) Ltd., it later appeared on the 2007 compilation B-Sides. Release Details: Label: Barn Records (UK pressing, 45 RPM, small center hole on some variants). Format: 7-inch vinyl single, often in a plain company die-cut paper sleeve or promotional packaging. Notes: Produced for Barn Productions Ltd., ℗ 1977 Barn Records Ltd. Released in the UK, Ireland, Belgium, France, Germany, and Australia. Matrix numbers like 2014 114 A//1 confirm authenticity. Production and Context Recorded in 1977 at Portland Studios (formerly IBC Studios), London, under Chas Chandler’s production—the band’s manager and former Animals bassist—the single aimed to revive Slade’s fortunes after flops like Whatever Happened to Slade. The lineup featured Noddy Holder (vocals, guitar), Dave Hill (guitar), Jim Lea (bass, keyboards, backing vocals), and Don Powell (drums). Released on Chandler’s Barn label amid punk’s rise, it was Slade’s nod to rock ‘n’ roll roots, with positive reviews from Sounds (Best Comeback Single) and NME praising its strut. Chart Performance In the UK, the single reached No. 32 on the Singles Chart, charting for four weeks—a modest hit that provided a brief resurgence but Slade’s last Top 40 until 1981. International details are limited, with releases in Europe and Australia but no major chart entries noted. It followed poor sales of prior Barn singles like “Gypsy Roadhog” (No. 48 UK), reflecting the band’s challenges in the late ‘70s. Legacy and Collectibility As a heartfelt Elvis tribute, the single highlighted Slade’s rock heritage, with critics like Tony Mitchell of Sounds calling it a “fabulous treatment” and Charles Shaar Murray of NME noting its hard-assed medley. “O.H.M.S.” remains a fan favorite for its social commentary. Original 1977 UK vinyls fetch £5–£20 on Discogs, with injection-moulded pressings or intact sleeves valued higher—beware counterfeits. Tracks stream on Spotify, with the medley preserving its analog punch on compilations like B-Sides (2007). This single revives Slade’s raw energy—a gritty gem for glam and rock ‘n’ roll collectors. Have you spun this Slade tribute single? Does it capture Elvis’s spirit for you? Share in the comments!

A Berlin Masterpiece David Bowie’s Heroes LP, was released in the UK on October 14, 1977, on RCA Victor (catalogue: PL 12522). This 10-track album, the second in Bowie’s revered Berlin Trilogy, blended art rock, krautrock, and ambient influences, capturing a raw, experimental edge. Produced by Bowie and Tony Visconti, with contributions from Brian Eno and Robert Fripp, Heroes was recorded in Berlin’s Hansa Studios, reflecting the city’s Cold War tension. Housed in a stark sleeve with a black-and-white Bowie portrait by Masayoshi Sukita, the album peaked at No. 3 on the UK Albums Chart, cementing Bowie’s avant-garde legacy. Album Overview Tracklist: Side A: Beauty and the Beast (3:32) Joe the Lion (3:05) “Heroes” (6:07) Sons of the Silent Age (3:15) Blackout (4:02) Side B: V-2 Schneider (3:10) Sense of Doubt (3:57) Moss Garden (5:03) Neuköln (4:34) The Secret Life of Arabia (3:46) Release Details: Label: RCA Victor (UK). Formats: Vinyl LP, cassette; later CD reissues (detailed below). ℗ & ©: 1977 RCA Records. Recorded at Hansa Tonstudio 2, West Berlin, July–August 1977. Matrix numbers (e.g., PL 12522 A-1) confirm authenticity. UK Release Formats and Track Listings Heroes was released in the UK in 1977 on vinyl LP and cassette, with CD editions appearing later. All formats maintain the same 10-track sequence: Vinyl LP (Catalogue: PL 12522): Side A: Beauty and the Beast (3:32) Joe the Lion (3:05) “Heroes” (6:07) Sons of the Silent Age (3:15) Blackout (4:02) Side B: V-2 Schneider (3:10) Sense of Doubt (3:57) Moss Garden (5:03) Neuköln (4:34) The Secret Life of Arabia (3:46) Packaging: 33⅓ RPM, stereo, in a single sleeve with Sukita’s iconic black-and-white photo, including lyric insert. Some pressings had a hype sticker for the title track. Cassette (Catalogue: PK 12522): Side A: Beauty and the Beast (3:32) Joe the Lion (3:05) “Heroes” (6:07) Sons of the Silent Age (3:15) Blackout (4:02) Side B: V-2 Schneider (3:10) Sense of Doubt (3:57) Moss Garden (5:03) Neuköln (4:34) The Secret Life of Arabia (3:46) Packaging: Standard cassette case with fold-out J-card featuring lyrics and artwork. Compact Disc (CD) (Later reissues, e.g., 1984 RCA PCD1-2522, 1991 Rykodisc, 1999 EMI): Single Disc: Beauty and the Beast (3:32) Joe the Lion (3:05) “Heroes” (6:07) Sons of the Silent Age (3:15) Blackout (4:02) V-2 Schneider (3:10) Sense of Doubt (3:57) Moss Garden (5:03) Neuköln (4:34) The Secret Life of Arabia (3:46) Packaging: Jewel case with booklet featuring lyrics, Sukita’s photo, and credits. Later editions (e.g., 1991 Rykodisc) added bonus tracks like “Abdulmajid.” Production and Context Produced by Bowie and Tony Visconti, with Brian Eno’s ambient influence, Heroes was recorded at Hansa Studios, Berlin, near the Berlin Wall, infusing tracks with Cold War tension. The lineup featured Bowie (vocals, keyboards, saxophone), Mick Ronson (replaced by Robert Fripp on guitar), Carlos Alomar (guitar), George Murray (bass), Dennis Davis (drums), and Eno (synthesizers). The title track, co-written by Bowie and Eno, used Fripp’s layered guitar and Visconti’s vocal effects. Released amid punk’s rise, Heroes followed Low (1977) and stood alongside Kraftwerk and Iggy Pop’s Berlin works. Chart Performance Heroes was a commercial success: UK: No. 3 (Official Albums Chart), charting for 18 weeks, certified Gold (100,000 copies sold). US: No. 35 (Billboard 200), certified Gold (500,000 copies sold). Australia: No. 6. Canada: No. 22. Germany: No. 14. Netherlands: No. 3. France: No. 8. Sweden: No. 13. New Zealand: No. 15.The single “Heroes” peaked at UK No. 24, US No. 80, but later became iconic, with multilingual versions charting higher (e.g., No. 11 in France). Legacy and Collectibility Heroes is a landmark of art rock, with the title track a cultural touchstone, covered by artists like Blondie and featured in films like Jojo Rabbit. Its influence spans post-punk and electronic music. Original UK vinyls fetch £20–£80 on Discogs, with first pressings (orange RCA labels, lyric insert) commanding premiums—verify matrix numbers. Cassettes (£5–£20) and CDs (£5–£25, e.g., 1999 EMI) are collectible, with reissues adding bonuses. Spotify streams and remasters (2017 A New Career in a New Town box) preserve its analog depth. This LP is a Berlin-era masterpiece—a must-have for Bowie collectors. Do you have Heroes in vinyl, cassette, or CD? Which track resonates with your Berlin dreams? Share in the comments!

Two one-page articles featuring an interview with David Bowie and a review of the Heroes album in Sounds, dated October 8, 1977.

David Bowie’s Heroes one-page album review, titled "The Last Days of David Bowie," published in New Musical Express on October 8, 1977.

A Glam Rock Reissue Gem Roxy Music’s “Virginia Plain” 7-inch vinyl single, was re-released in the UK on October 7, 1977, on Polydor Records (catalogue: 2001 739). Backed with “Pyjamarama,” this reissue paired two of the band’s early glam rock hits, originally released in 1972 and 1973, to capitalize on their enduring popularity following the Viva! Roxy Music live album. Produced by Chris Thomas and John Anthony, the single showcased Bryan Ferry’s suave vocals and the band’s art-rock flair, reaching No. 11 on the UK Singles Chart. Housed in a picture sleeve with vibrant ‘70s artwork, it’s a prized collectible for glam enthusiasts. Single Overview A-Side: “Virginia Plain” (2:58)Written by Bryan Ferry. Originally released in 1972 (Island WIP 6144), this debut single is a frenetic glam anthem with Ferry’s quirky lyrics and Phil Manzanera’s searing guitar. Produced by Chris Thomas, it captures Roxy Music’s avant-garde energy, inspired by a painting by Ferry. B-Side: “Pyjamarama” (2:52)Written by Bryan Ferry. Originally released in 1973 (Island WIP 6160), this follow-up single blends pop catchiness with art-rock edge, featuring Andy Mackay’s saxophone and Eno’s synths. Produced by John Anthony, it’s a playful nod to nocturnal romance. Release Details: Label: Polydor Records (UK pressing, 45 RPM). Formats: 7-Inch Vinyl (2001 739): “Virginia Plain” / “Pyjamarama,” in a picture sleeve with band imagery. No CD or cassette formats for this reissue. Notes: ℗ 1977 Polydor Records. Reissued to promote Roxy Music’s catalog post-Viva! (1976). Matrix numbers (e.g., 2001 739 A-1) confirm authenticity. Production and Context “Virginia Plain” was recorded in 1972 at Command Studios, London, with Chris Thomas, featuring Bryan Ferry (vocals, piano), Phil Manzanera (guitar), Andy Mackay (saxophone, oboe), Brian Eno (synths), Paul Thompson (drums), and Rik Kenton (bass). “Pyjamarama” was recorded in 1973 at AIR Studios, produced by John Anthony, with John Gustafson on bass. The 1977 reissue followed Roxy Music’s brief hiatus and the punk explosion, leveraging their glam legacy to compete with acts like The Sex Pistols. Singles Released and Chart Performance This 1977 reissue was a standalone single, with no additional singles tied to it: Chart Performance (1977 Reissue): UK: No. 11 (Official Singles Chart), charting for 7 weeks. Ireland: No. 8. Netherlands: No. 26 (Single Top 100). Germany: No. 39. Australia: No. 42. Other Countries: No chart entries in US, Canada, France, Sweden, or New Zealand due to limited distribution. Original releases: “Virginia Plain” (1972): UK No. 4, Ireland No. 3, Germany No. 11, Australia No. 8. “Pyjamarama” (1973): UK No. 10, Ireland No. 6, Germany No. 17. Single Chart Performance The 1977 reissue reached No. 11 in the UK, charting for 7 weeks, reflecting Roxy Music’s lasting appeal despite punk’s dominance. Advert & Publicity: a full-page advertisement accompanied the release Roxy Music Virginia Plain Roxy Music Virginia Plain Pyjamarama THEIR MOST REQUESTED SINGLES AVAILABLE AGAIN ON ONE RECORD FIRST 50,000 IN FULL COLOUR BAGS 2001739 Order from Polydor's own distribution company: Phonodisc Limited, Clyde Works, Grove Road, Romford, Essex, RMO 4QR. Telephone: 01-5907766 Have you snagged this Roxy Music reissue in your vinyl collection? Which track sparks your glam vibe? Share in the comments!

Stewart's Soulful Serenade Rod Stewart’s “You're In My Heart (The Final Acclaim)” 7-inch vinyl single, was released in the UK on October 7, 1977, on Riva Records (catalogue: RIVA 11). Backed with “You Really Got A Nerve,” this tender ballad, written by Stewart, served as the lead single from his eighth album, Foot Loose & Fancy Free. Produced by Tom Dowd, the A-side’s lush orchestration and Stewart’s raspy vocals crafted a heartfelt love song, peaking at No. 3 on the UK Singles Chart. Housed in a picture sleeve featuring Stewart’s iconic shaggy-haired look, the single captured his transition from rock to romantic pop stardom. Cover of Rod Stewart's 1977 German single "You're In My Heart" from Warner Bros. Single Overview A-Side: “You're In My Heart (The Final Acclaim)” (4:30)Written by Rod Stewart. A soulful ballad with acoustic guitar, strings, and Stewart’s emotive delivery, blending rock and Celtic influences inspired by his love for football and Lynsey de Paul. Produced by Tom Dowd, it became one of Stewart’s signature hits. B-Side: “You Really Got A Nerve” (4:48)Written by Rod Stewart and Gary Grainger. A gritty, upbeat rocker with driving guitars and Stewart’s raw vocals, offering a contrast to the A-side’s tenderness. Also produced by Dowd, it showcased his rock roots. Release Details: Label: Riva Records (UK pressing, 45 RPM). Formats: 7-Inch Vinyl (RIVA 11): “You're In My Heart (The Final Acclaim)” / “You Really Got A Nerve.” In a picture sleeve with Stewart’s image. No cassette or CD formats for this single. Notes: ℗ & © 1977 Riva Records. Matrix numbers (e.g., RIVA 11 A-1U) confirm authenticity. The single promoted Foot Loose & Fancy Free (November 1977). Country Variations The single was released in several countries with variations: Cover art for the Japanese release of Rod Stewart's single "You're In My Heart" under Warner Bros. label, November 1977. UK (Riva RIVA 11): Released October 7, 1977. Tracklist: “You're In My Heart” / “You Really Got A Nerve.” Picture sleeve with Stewart’s photo. US (Warner Bros. WBS 8475): Released October 1977. Same tracklist, catalogue WBS 8475, US sleeve with Warner branding. Germany (Riva 17 103 AT): Released October 1977. Same tracklist, catalogue 17 103 AT, German sleeve with localized text. Netherlands (Riva 17 103): Released October 1977. Same tracklist, catalogue 17 103, Dutch sleeve. Australia (Riva K-6970): Released October 1977. Same tracklist, catalogue K-6970, company sleeve. France (Riva 17 103): Released October 1977. Same tracklist, catalogue 17 103, French sleeve. Canada (Warner Bros. WBS 8475): Released October 1977. Same as US, catalogue WBS 8475. Production and Context Recorded in 1977 at Cherokee Studios, Los Angeles, the single was produced by Tom Dowd, known for his work with Aretha Franklin. The lineup included Stewart (vocals), Jim Cregan (guitar), Gary Grainger (guitar), Phil Chen (bass), Carmine Appice (drums), and session strings. The A-side’s romantic tone reflected Stewart’s shift toward pop ballads, while the B-side retained his Faces-era rock grit. Released amid the punk explosion, it followed A Night on the Town (1976) and competed with acts like The Sex Pistols, yet its emotional appeal resonated widely. Singles Released and Chart Performance “You're In My Heart” was the lead single from Foot Loose & Fancy Free: Cover of Rod Stewart's 1977 single "You're in My Heart," released by Warner Bros. in the Netherlands, catalog number WB 17.026. Chart Performance: UK: No. 3 (Official Singles Chart), charting for 12 weeks. US: No. 4 (Billboard Hot 100), charting for 17 weeks. Australia: No. 1 (Kent Music Report, 3 weeks). Canada: No. 2 (RPM Singles Chart). Germany: No. 22 (GfK). Netherlands: No. 11 (Single Top 100). Ireland: No. 2. New Zealand: No. 2 (RMNZ). Belgium: No. 15 (Ultratop Flanders). France: No. 25. Sweden: No. 13 (Sverigetopplistan). Austria: No. 20 (Ö3 Austria Top 40). Switzerland: No. 18 (Swiss Hitparade). Other Countries: No chart entries in Norway, Finland, Italy, Spain, or Japan due to limited promotion. UK Chart Data: Entry Date: October 15, 1977. Peak: No. 3 (October 29, 1977). Weeks on Chart: 12 (Oct 15, 1977–Jan 7, 1978). Chart Run: No. 18 (Oct 15), No. 6 (Oct 22), No. 3 (Oct 29), No. 4 (Nov 5), No. 5 (Nov 12), No. 7 (Nov 19), No. 9 (Nov 26), No. 12 (Dec 3), No. 15 (Dec 10), No. 20 (Dec 17), No. 25 (Dec 31), No. 30 (Jan 7). Single Chart Performance “You're In My Heart” peaked at No. 3 in the UK, charting for 12 weeks, and achieved strong global success, driven by its radio-friendly balladry and Stewart’s star power. Legacy and Collectibility “You're In My Heart” is a Rod Stewart classic, covered by artists like Celtic Thunder and featured in media like The Simpsons.This single is a timeless gem of Stewart’s romantic era. Have you snagged this Rod Stewart classic in your vinyl collection? Does “You're In My Heart” tug at your heartstrings? Share in the comments!

On October 3, 1977, RCA Records released Sweet's Golden Greats in the UK, a 12-track compilation celebrating the glam rock icons The Sweet at the height of their chart-dominating run. This LP (catalog: PL 25114) was a vibrant snapshot of the band’s biggest hits from 1971–1976, showcasing their infectious blend of bubblegum pop, hard rock riffs, and theatrical flair. Curated by RCA to capitalize on Sweet’s UK success, Golden Greats targeted fans eager for a definitive collection of their anthems, produced by luminaries like Phil Wainman and Mike Chapman. While it didn’t chart significantly, it remains a beloved artifact of Sweet’s glittery legacy. Album Overview Label: RCA Records (UK). Format: 12-inch vinyl LP, later reissued on CD and digital platforms. Release Date: October 3, 1977, timed to keep Sweet’s hits in circulation after their peak glam era. Context: By 1977, Sweet—Brian Connolly (vocals), Steve Priest (bass), Andy Scott (guitar), and Mick Tucker (drums)—were transitioning from glam to harder rock, with albums like Level Headed (1978) on the horizon. Golden Greats was a nostalgic look back, compiling singles from their Chinn/Chapman hit-making days and later self-penned tracks. Tracklist and Highlights Golden Greats gathers Sweet’s most iconic singles, blending their early bubblegum pop with the heavier sound they developed later. A1 Blockbuster Nicky Chinn, Mike Chapman 1973 UK No. 1, with its wailing siren and stomping beat. A glam rock classic. A2 Ballroom Blitz Chinn, Chapman 1973 UK No. 2, a riotous anthem covered by everyone from The Damned to Krokus. A3 Teenage Rampage Chinn, Chapman 1974 UK No. 2, a rebellious call to arms with layered vocals. A4 The Six Teens Chinn, Chapman 1974 UK No. 9, a reflective ode to youth with lush harmonies. A5 Fox on the Run Andy Scott, Brian Connolly, Steve Priest, Mick Tucker 1975 UK No. 2, a self-produced hit with sleek production and biting riffs. A6 Action Scott, Connolly, Priest, Tucker 1975 UK No. 15, a defiant rocker later covered by Def Leppard. B1 Wig-Wam Bam Chinn, Chapman 1972 UK No. 4, bubblegum glam with a playful nod to Native American imagery. B2 Little Willy Chinn, Chapman 1972 UK No. 4, a cheeky earworm that broke them in the US (No. 3). B3 Co-Co Chinn, Chapman 1971 UK No. 2, their first major hit, blending calypso vibes with pop. B4 Funny Funny Chinn, Chapman 1971 UK No. 13, early bubblegum with sugary hooks. B5 Poppa Joe Chinn, Chapman 1972 UK No. 11, another tropical-tinged pop hit. B6 Alexander Graham Bell Chinn, Chapman 1971 UK No. 33, a quirky tribute to the telephone inventor. The tracks, mostly from 1971–1975, highlight Sweet’s evolution from Chinn/Chapman’s pop factory to their own songwriting on Desolation Boulevard (1974) and Give Us a Wink (1976). Producers Wainman and Chapman gave the songs their polished, radio-ready sheen, while Sweet’s live energy—Connolly’s soaring vocals, Priest’s harmonies, and Tucker’s thunderous drums—shines through. Band Lineup: Brian Connolly (lead vocals), Steve Priest (bass, vocals), Andy Scott (guitar, vocals), Mick Tucker (drums, vocals)—the classic quartet at their peak. Cultural Moment: Released as glam rock waned and punk rose, Golden Greats reminded fans of Sweet’s chart dominance (13 UK Top 20 singles by 1977). It followed their 1976 album Give Us a Wink and preceded Connolly’s departure in 1979. Legacy and Impact Chart Performance: Golden Greats didn’t chart in the UK, as compilations rarely did, but it sustained Sweet’s fanbase. Tracks like “Ballroom Blitz” and “Fox on the Run” remain radio staples. Cultural Reach: The album’s hits appeared in films (Dazed and Confused, Wayne’s World), TV, and games (Guitar Hero). “Ballroom Blitz” alone has over 100 covers, from Tia Carrere to The Struts. Fan Reception: Praised as a “perfect glam primer” on forums like Rate Your Music, it’s a go-to for discovering Sweet’s hits. Some fans lament the absence of deeper cuts, but the tracklist is undeniably stacked. Why It Resonates Golden Greats captures The Sweet at their glittery best—big hooks, bold riffs, and unapologetic swagger. From the siren wail of “Blockbuster” to the raw energy of “Fox on the Run,” it’s a time capsule of glam rock’s golden age. For fans old and new, this compilation is a testament to Sweet’s knack for blending pop catchiness with rock muscle. Crank up “Ballroom Blitz” and relive the ‘70s glitter explosion! What’s your favorite Sweet anthem? Share in the comments!

Today, I say TANX for the legendary Marc Bolan, whose music and magic continue to inspire. Your songs, filled with cosmic dreams and electric energy, still spin on my turntable and live in my heart. Thank you, Marc, for the timeless tunes I carry with me every day. Rest in peace, T. Rex king. 🕊️✨ #MarcBolan #TRex #ThankYouForTheMusic #KALMIYH

MARC was a music show hosted by Marc Bolan on ITV in the UK, making its debut on August 24, 1977. The show was a significant moment in British television, showcasing a mix of glam rock, punk, and pop performances, reflecting the vibrant music scene of the late 1970s. It aired in the late afternoon, targeting a younger audience, and was produced by Muriel Young for Granada Television. The series ran for six episodes, with the final one airing posthumously. The show was a half-hour program, airing at 4:45 PM, a slot aimed at teenagers. It featured colorful sets and a mix of live performances and pre-recorded segments. Bolan’s charm and star power were central to its appeal. Episode 6 Aired on September 28, 1977: Performances: "Deborah" - Marc Bolan with T. Rex "Your Generation" - Generation X "I'm a Fighter" - Lip Service "Heart Throb's Dance" - Ain't it Strange) "Groove A Little" - Marc Bolan with T. Rex "Ride A White Swan" - Marc Bolan with T. Rex "Heart Throb's Dance (I Haven't Stopped Dancing Yet)" / Gonzalez (band) "Do Anything You Want to Do" - Eddie and the Hot Rods "Heroes" - David Bowie Instrumental Jam with David Bowie and Marc Bolan & T. Rex

MARC was a music show hosted by Marc Bolan on ITV in the UK, making its debut on August 24, 1977. The show was a significant moment in British television, showcasing a mix of glam rock, punk, and pop performances, reflecting the vibrant music scene of the late 1970s. It aired in the late afternoon, targeting a younger audience, and was produced by Muriel Young for Granada Television. The series ran for six episodes, with the final one airing posthumously. The show was a half-hour program, airing at 4:45 PM, a slot aimed at teenagers. It featured colorful sets and a mix of live performances and pre-recorded segments. Bolan’s charm and star power were central to its appeal. Episode 5 Aired on September 21, 1977: Performances: "Sing Me a Song" - Marc Bolan with T. Rex "Sunshine of Your Love" - Rosetta Stone "Heart Throbs Dance" (Get On by Hurriganes (FIN)) "Bring Back the Love" - Blue "Celebrate Summer" - Marc Bolan with T. Rex "No Russians In Russia" - Radio Stars "Dancing In the Moonlight (It's Caught Me In It's Spotlight)" - Thin Lizzy "Get It On" - Marc Bolan with T. Rex

MARC was a music show hosted by Marc Bolan on ITV in the UK, making its debut on August 24, 1977. The show was a significant moment in British television, showcasing a mix of glam rock, punk, and pop performances, reflecting the vibrant music scene of the late 1970s. It aired in the late afternoon, targeting a younger audience, and was produced by Muriel Young for Granada Television. The series ran for six episodes, with the final one airing posthumously. The show was a half-hour program, airing at 4:45 PM, a slot aimed at teenagers. It featured colorful sets and a mix of live performances and pre-recorded segments. Bolan’s charm and star power were central to its appeal. Episode 2 Aired on August 31, 1977: Performances: "Celebrate Summer" – Marc Bolan with T. Rex "Heart Throb's Dance" (Roots Rock & Desmond Dekker) "If I Can Just Get Through Tonight" – Alfalpha "You Made Me Believe in Magic" – Bay City Rollers "New York City" – Marc Bolan with T. Rex "Ride a White Swan" – Marc Bolan with T. Rex "Just a Little Tenderness" – Mud "People in Love" – 10cc "Endless Sleep" – Marc Bolan with T. Rex

Mud's Rak Replay Triple-Hit Reissue Released on RAK Replay (catalogue: RR 6) in the UK in 1977, Mud’s “Tiger Feet / Oh Boy / Dyna-mite” was a 7-inch single on January 21, 1977 compiling three of their biggest glam-rock hits. Side A featured “Tiger Feet” (the 1974 UK No. 1), while Side B contained “Oh Boy” (a cover of the Buddy Holly classic) and “Dyna-mite” (another 1973 smash). Produced by Mike Chapman and Nicky Chinn for Chinnichap Ltd, this budget reissue came in a picture sleeve and was marketed by EMI Records Ltd. Track Listing A: Tiger Feet B1: Oh Boy B2: Dyna-mite Production Produced For – Chinnichap Ltd. Published By – Rak Publishing Ltd. (A, B2), Southern Music Pub. Co. Ltd. (B1) Producer – Mike Chapman And Nicky Chinn Pressed By – EMI Records Mastered By – Blair's UK Variants 7", 45 RPM, Single – RAK RR6 – UK – 1977 7", 45 RPM, Single, Solid Centre – RAK RR 6 – UK – 1977 7", 45 RPM, Single, Knock-Out Centre – RAK RR 6, RAK YRR 6 45 – UK – 1977 7", 45 RPM, Single, Knock-Out Centre – RAK RR 6, RAK YRR 6 45 – UK – 1977 7", 45 RPM, Single, Promo, Knock-Out Centre – RAK RR 6, RAK YRR 6 45 – UK – 1977 Chart Performance No new chart data (reissue of earlier hits: “Tiger Feet” was UK No. 1 in 1974, “Dyna-mite” No. 2 in 1973). Do you have Tiger Feet / Oh Boy / Dyna-mite in your collection? Ready for the glam triple? Share in the comments! Sources Information is drawn from my personal knowledge and supplemented by web sources, including Discogs, 45cat, AllMusic, Rate Your Music, Wikipedia and BBC Official Charts Company Whilst every effort is made to provide accurate information, mistakes do happen. Simply leave a comment and the post will be updated. Thank you.

A Prog Rock Eleventh Earl Epic Released as a vinyl LP in the UK on December 23, 1976, on Charisma Records (catalogue: CDS 4005), Genesis’ Wind & Wuthering — their seventh studio album — was the last with Steve Hackett. Co-produced by David Hentschel & Genesis at Relight Studios (Holland) and remixed at Trident Studios, this 9-track prog masterpiece featured “Eleventh Earl Of Mar,” “One For The Vine,” and “Your Own Special Way.” Peaked at No. 7 on the UK Albums Chart for 22 weeks. Issued in textured sleeve, cassette, and 8-track variants. Album Overview Release Details Label: Charisma Records. Formats: Vinyl LP (textured sleeve), cassette, 8-track cartridge. Full Track Listing Side A 1. Eleventh Earl Of Mar (7:40) 2. One For The Vine (9:58) 3. Your Own Special Way (6:16) 4. Wot Gorilla? (3:18) Side B 1. All In A Mouse's Night (6:35) 2. Blood On The Rooftops (5:25) 3. 'Unquiet Slumbers For The Sleepers... (2:23) 4. ...In That Quiet Earth' (4:49) 5. Afterglow (4:09) Cassette Album (7208 611 / CDSMC 4005) – UK 8-Track Cartridge (7749 611) – UK 1976 Variants (all supplied) - LP, Album – Charisma CDS 4005 – UK – 1976 (textured sleeve) - Cassette, Album – Charisma 7208 611 – UK – 1976 - Cassette, Album – Charisma CDSMC 4005 – UK – 1976 - 8-Track Cartridge, Album – Charisma 7749 611 – UK – 1976 (cream cartridge) - LP, Album, White Label – Charisma CDS 4005 – UK – 1976 Production and Context Co-produced/Engineered by David Hentschel & Genesis. Recorded at Relight Studios, Hilvarenbeek, Holland. Remixed at Trident Studios, London. Last album with Steve Hackett. Singles Released and Chart Performance - Your Own Special Way Released: 4 February 1977 Peak: 43, Weeks: 3 Album Chart Performance - UK: 7 (22 weeks) – entry January 15, 1977 Do you have Wind & Wuthering in your vinyl stack? Ready for the quiet earth? 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 Millionaire Waltz Glam Opera Released as a vinyl LP in the UK on December 10, 1976, on EMI Records (catalogue: EMTC 104 / 0C 066-98 485), Queen’s A Day At The Races — their fifth studio album — was the sequel to A Night At The Opera. Produced by Queen at Sarm East, Roundhouse, Olympic, Rockfield, Scorpio, and Lansdowne, this 10-track masterpiece featured “Somebody To Love,” “Tie Your Mother Down,” and “Good Old-Fashioned Lover Boy.” Peaked at No. 1 on the UK Albums Chart. Issued in gatefold sleeve, cassette, and 8-track variants. Album Overview Release Details Label: EMI Records. Formats: Vinyl LP (gatefold), cassette, 8-track cartridge. Full Track Listing Side A 1. Tie Your Mother Down 2. You Take My Breath Away 3. Long Away 4. The Millionaire Waltz 5. You And I Side B 1. Somebody To Love 2. White Man 3. Good Old-Fashioned Lover Boy 4. Drowse 5. Teo Torriatte (Let Us Cling Together) Cassette Album (TC-EMTC 104) – UK Side A/B identical to vinyl. 8-Track Cartridge (8X-EMTC 104) – UK Program A 1. Somebody To Love 2. White Man 3. Tie Your Mother Down (Part I) Program B 1. Tie Your Mother Down (Part II) 2. Drowse 3. Long Away Program C 1. The Millionaire Waltz 2. You And I 3. Good Old-Fashioned Lover Boy Program D 1. You Take My Breath Away 2. Teo Torriatte (Let Us Cling Together) UK Variants (all supplied) - LP, Album – EMI EMTC 104 – UK – 1976 - Cassette, Album – EMI TC-EMTC 104 – UK – 1976 - 8-Track Cartridge, Album – EMI 8X-EMTC 104 – UK – 1976 Production and Context Produced by Queen. Recorded July–November 1976. “No Synths!” declaration. Last album before punk explosion. Singles Released and Chart Performance - Somebody To Love (November 12, 1976) - Tie Your Mother Down (March 4, 1977) - Teo Torriatte (March 25, 1977 – Japan) - Good Old-Fashioned Lover Boy (May 20, 1977) Album Chart Performance - UK: 1 Legacy and Collectibility A Day At The Races i s Queen’s operatic glam-rock sequel — “Somebody To Love,” “Tie Your Mother Down.” Original UK EMI gatefold vinyls fetch £30 on eBay/Discogs. Verify catalogue EMTC 104. This LP is a must-have for Queen collectors. Do you have A Day At The Races in your vinyl stack? Ready to race? 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 Street-Soul Soft Rock Whisper Released as a 7-inch vinyl single in the UK on November 26, 1976, on CBS Records (catalogue: S CBS 4842), David Essex’s “Ooh, Love” was a tender soft-rock ballad from Out On The Street . Backed with “The City,” both written by Essex and produced/arranged by Jeff Wayne for Ollie Record Productions, it did not chart in the UK. Issued in standard, promo, and Australian variants, it’s a warm ‘70s Essex moment. Single Overview Release Details Label: CBS Records. Formats: Vinyl, 7", 45 RPM, Single. Full Track Listing Side A Ooh, Love (2:59) – Written-By, Producer, Arranged By: David Essex, Jeff Wayne Side B The City (3:16) – Written-By, Producer, Arranged By: David Essex, Jeff Wayne UK & Global Variants - 7", 45 RPM – CBS S CBS 4842 – UK – 1976 - 7", 45 RPM, Promo – CBS SCBS 4842 – UK – 1976 - 7", 45 RPM, Single – CBS BA 222270 – Australia – 1976 Production and Context Produced/Arranged by Jeff Wayne for Ollie Record Productions. From *Out On The Street (S 86017). Published April Music Ltd. / Jeff Wayne Music Ltd. Chart Performance No UK chart entry. Legacy and Collectibility “Ooh, Love” is David Essex’s gentle soft-rock caress. Original UK CBS pressings verify catalogue S CBS 4842. This single is a must-have for Essex collectors. Do you have Ooh, Love in your vinyl stack? Does it ooh 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

A Beatles War Cover Conquest Released as a 7-inch vinyl single in the UK on November 19, 1976, on Riva Records (catalogue: RIVA 6), Rod Stewart’s “Get Back” was his powerhouse Beatles cover from the All This And World War II soundtrack. Backed with “Trade Winds” from A Night On The Town , the A-side — co-produced by Lou Reizner & Rod Stewart — stormed to No. 11 on the UK Singles Chart for 9 weeks. Pressed by CBS Aston Clinton with solid centre and knock-out centre variants, lacquer cut by ARUN, it’s a standout ‘70s Rod moment. Single Overview Label: Riva Records. Formats: Vinyl, 7", 45 RPM, Single (solid centre / knock-out centre). Side A Get Back (4:24) – Lennon, McCartney – Co-Producer: Lou Reizner, Rod Stewart Side B Trade Winds (5:16) – MacDonald, Salter – Producer: Tom Dowd, Cyril Shane Reissues & Global Variants (all supplied) - 7", 45 RPM, Single – Warner Bros. WB 6698 – Australia – 1976 - 7", 45 RPM, Single, Stereo – Warner Bros. WB 16 858 – Austria – 1976 - 7", 45 RPM, Single – Warner Bros. 16 863 – France – 1976 - 7", 45 RPM, Single, Mispress – Warner Bros. 16 863 – France – 1976 - 7", 45 RPM, Single, Stereo – Warner Bros. WB 16 858 – Germany – 1976 - 7", 45 RPM, Single, Stereo – Warner Bros. 32114 – Greece – 1976 - 7", 45 RPM, Single – Warner Bros. W 16863 – Italy – 1976 - 7", 45 RPM, Single, Stereo – Warner Bros. P-90W – Japan – 1976 - 7", 45 RPM, Single, Promo, Stereo – Warner Bros. P-90W – Japan – 1976 - 7", 45 RPM, Single – Warner Bros. WB 16.858 – Netherlands – 1976 - 7", 45 RPM, Single – Warner Bros. WB 6698 – New Zealand – 1976 - 7", 45 RPM, Single, Stereo – Warner Bros. K-16858 – Scandinavia – 1976 - 7", 45 RPM, Single – Warner Bros. 45-1427 – Spain – 1976 - 7", 45 RPM, Single, Solid Centre – Riva RIVA 6 – UK – 1976 - 7", 45 RPM, Single, Knock Out Centre – Riva RIVA 6 – UK – 1976 Production and Context A-side co-produced by Lou Reizner & Rod Stewart. B-side produced by Tom Dowd & Cyril Shane. A from All This And World War II soundtrack (RVLP2), B from A Night On The Town (RVLP 1). Published Northern Songs Ltd. (A), Cyril Shane (B). Official UK Singles Chart Data Peak position: 11 9 weeks – 20/11/1976 to 15/01/1977 47 → 15 → 12 → 11 → 13 → 18 → 18 → 23 → 34 Singles Released and Chart Performance UK Official Singles Chart: 11 (9 weeks) – entry November 20, 1976 Legacy and Collectibility “Get Back” is Rod Stewart’s Beatles war-soundtrack powerhouse. Original UK Riva pressings (solid/knock-out centre) Verify catalogue RIVA 6. Streams on Spotify via compilations preserve the ‘70s grit. This single is a must-have for Rod Stewart and Beatles cover collectors. Do you have Get Back in your vinyl stack? Does it get you back? Share in the comments! Sources Information is drawn from 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 Gospel Rock Cry for Connection Queen’s “Somebody To Love” 7-inch vinyl single, was released in the UK on November 12, 1976, on EMI Records (catalogue: EMI 2565). Backed with “White Man,” this gospel-infused rock ballad, written by Freddie Mercury, was produced by Queen and engineered by Mike Stone. The A-side’s soaring vocals, layered harmonies, and Brian May’s guitar peaked at No. 2 on the UK Singles Chart for 9 weeks. Issued in solid centre, white label, company sleeve, and different back sleeve variants, it’s a cornerstone of A Day at the Races. Single Overview A-Side: “Somebody To Love” (Mercury) Written-By – Mercury. Produced By – Queen. Engineered By – Mike Stone. B-Side: “White Man” (May) Written-By – May. Produced By – Queen. Engineered By – Mike Stone. Release Details: Label: EMI Records (UK pressing, 45 RPM). Published By – EMI Music Publishing Ltd. / Queen Music Ltd. Phonographic Copyright ℗ – Queen Productions Ltd. Copyright © – Queen Productions Ltd. Pressed By – EMI Records. Lacquer Cut By – Nick W. UK Formats: Vinyl, 7", 45 RPM, Single, Stereo (EMI 2565): “Somebody To Love” / “White Man.” A: “Somebody To Love” (Mercury) – Written-By – Mercury – Producer – Queen – Engineered By – Mike Stone B: “White Man” (May) – Written-By – May – Producer – Queen – Engineered By – Mike Stone Vinyl, 7", Single, 45 RPM, White Label (EMI 2565) Vinyl, 7", 45 RPM, Single, Company Sleeve (EMI 2565) Vinyl, 7", 45 RPM, Single, Solid Centre Issue (EMI 2565) Vinyl, 7", 45 RPM, Single, Stereo, Different Back Sleeve (EMI 2565) Notes: Crest design © 1975 Queen Productions Ltd. Runouts stamped except NICK W etched. Variant 13: Labels swapped (A label plays B track, B label plays A track). Country Variations The single was released globally: UK (EMI EMI 2565): Released November 12, 1976. Standard, white label, company sleeve, solid centre, different back sleeve. Australia (Elektra 1976): Released 1976. Belgium (EMI 1976): Released 1976. Brazil (EMI 1976): Released 1976. Canada (Elektra 1976): Released 1976. Chile (EMI 1976): Released 1976. Denmark (EMI 1976): Released 1976. Ecuador (EMI 1976): Released 1976. France (EMI 1976): Released 1976. Germany (EMI 1976): Released 1976. Guatemala (EMI 1976): Released 1976. Italy (EMI 1976): Released 1976 (three variants). Japan (Elektra 1976): Released 1976. Mexico (EMI 1976): Released 1976. Netherlands (EMI 1976): Released 1976. Peru (EMI 1976): Released 1976. Philippines (EMI 1976): Released 1976. Portugal (EMI 1976): Released 1976. South Africa (EMI 1976): Released 1976. Spain (EMI 1976): Released 1976. Sweden (EMI 1976): Released 1976. USA (Elektra 1976): Released 1976 (two variants). Yugoslavia (EMI 1976): Released 1976. New Zealand (Elektra 1977): Released 1977. Turkey (EMI 1977): Released 1977. Production and Context Produced by Queen. Musicians: Freddie Mercury (lead/backing vocals, piano), Brian May (guitars, backing vocals), Roger Taylor (drums, backing vocals), John Deacon (bass). Engineered by Mike Stone. Recorded in 1976 during A Day at the Races sessions. “Somebody To Love” was Mercury’s gospel plea, while “White Man” was May’s Native American tribute. Released amid A Day at the Races (No. 1 UK, 1976), it competed with ABBA and Showaddywaddy. Singles Released and Chart Performance “Somebody To Love” was the lead single from A Day at the Races: Chart Performance: UK: No. 2 (Official Singles Chart), charting for 9 weeks. Australia (Kent Music Report): 15 Belgium (Ultratop 50 Flanders): 2 Belgium (Ultratop 50 Wallonia): 5 Canada Top Singles (RPM): 5 Denmark (Tracklisten): 19 Finland (Suomen Virallinen): 21 Ireland (IRMA): 6 Italy (Musica e Dischi): 10 Netherlands (Dutch Top 40): 1 Netherlands (Single Top 100): 1 South Africa (Springbok): 7 US Billboard Hot 100: 13 US Cash Box Top 100: 9 West Germany (GfK): 21 UK Chart Data: Entry Date: November 27, 1976. Peak: No. 2 (December 11, 1976). Weeks on Chart: 9 (Nov 27, 1976 – Jan 22, 1977). Chart Run: No. 4 (Nov 27), No. 4 (Dec 4), No. 2 (Dec 11), No. 3 (Dec 18), No. 4 (Dec 25), No. 4 (Jan 1), No. 6 (Jan 8), No. 13 (Jan 15), No. 32 (Jan 22). Legacy and Collectibility “Somebody To Love” is Queen’s gospel rock masterpiece, with “White Man” a bold B-side. Original UK 7-inch vinyls fetch £3–£10 on eBay/Discogs (value £10 for mint). Verify catalogue EMI 2565. Streams on Spotify via A Day at the Races reissues preserve the analog soul. This single is a must-have for Queen fans and ‘70s rock collectors. Have you snagged this Queen classic in your vinyl collection? Does Somebody To Love find you? Share in the comments! Sources Information is drawn from my personal knowledge and supplemented by web sources, including Prince Vault, Discogs, 45cat, AllMusic, Rate Your Music, Wikipedia, BBC Official Charts Company, Billboard Chart History and YouTube

A Glam Rock Heartthrob's Plea The G. Band’s “Lay Your Love On Me” 7-inch vinyl single was released in the UK on November 5, 1976, on CBS Records (catalogue: S CBS 4710). Backed with “Hard To Settle Down,” this upbeat glam rock track, written by Gerry Shephard and John Springate, was the band's debut under their new name. Produced by Mike Leander. Both tracks taken from the CBS album "Paris Match" S 81717. Single Breakdown Tracklist Label: CBS – S CBS 4710 Format: Vinyl, 7", 45 RPM, Single, solid centre Mastered By – Arun* Producer – Mike Leander Both Tracks Taken From The CBS Album "Paris Match" S 81717 UK Pressing Variations In the UK, two versions of the vinyl single were released, each with slight variations. Single 7" Vinyl (Promotional) White Label printed with release date Single 7" Vinyl (Commercial) Pushout Center Single 7" Vinyl (Commercial) Solid Center Weekly charts The release filed to make any impact on the BBC Official Singles Chart Overseas Pressings Japan Label: Epic – 06SP-131 Format: Vinyl, 7", 45 RPM, Single, Promo Australia Label: CBS – BA 222257 Format: Vinyl, 7", 45 RPM, Single Netherlands Label: CBS – CBS 4710 Format: Vinyl, 7", 45 RPM, Single Date: March 9, 1977 Legacy “Lay Your Love On Me” is a G. Band bubblegum glam staple, with “Hard To Settle Down” adding rock edge. Original UK 7-inch vinyls (solid centre) fetch £3–£10 on eBay/Discogs. Verify catalogue S CBS 4710. Streams on Spotify via Paris Match reissues preserve the analog bounce. This single is a must-have for Matchbox/G. Band fans and glam collectors. Have you snagged this G. Band gem in your vinyl collection? Does “Lay Your Love On Me” lay it on thick? Share in the comments! Sources Information is drawn from my personal knowledge and supplemented by web sources: Discogs: Lay Your Love On Me (1976) 45cat: S CBS 4710 Single Spotify Wikipedia: G. Band Official Charts Company: G. Band Singles AllMusic: G. Band Discography

A Glam Rock TV Beam Marc Bolan’s performance of “Laser Love” was recorded on October 21, 1976, at Granada Studios, Manchester, for the TV show The Arrows, and broadcast on November 2, 1976, on ITV. This vibrant glam rock performance, featuring Marc lip-syncing in a style similar to Prince around 1981-82, stands out as a memorable moment, it remains a beloved glimpse into Bolan’s final years.

Steve Harley and Cockney Rebel’s Love’s a Prima Donna  was released as an LP album in the UK by EMI Records (catalog number EMC 3150) on October 29, 1976. Steve Harley began writing material for the album while touring with Cockney Rebel to promote their 1976 album "Timeless Flight." The recording sessions for the new album occurred at Abbey Road Studios in London from June to September 1976. After completion, guitarist Jim Cregan departed from Cockney Rebel to join Rod Stewart's band. As the album recording sessions progressed, EMI issued "Here Comes the Sun" as a single in July 1976, which climbed to number ten on the UK Singles Chart, aligning with an exceptionally warm British summer. The album "Love's a Prima Donna" was launched by EMI in October 1976, securing the 28th spot on the UK Albums Chart. Concurrently, "(I Believe) Love's a Prima Donna" was unveiled as the second single from the album and reached number 41 in the UK Singles Chart. EMI had plans to release "(Love) Compared with You" as the third UK single; however, this was ultimately shelved, though the track was later issued as the sole US single. The album "Love's a Prima Donna" made its debut in the US on January 10, 1977. The album received its first CD release by EMI in 1990. In 2001, BGO Records released the album as a double CD set with the band's 1976 US compilation A Closer Look. The album's theme centers on love, encompassing true love, lost love, maternal affection, the solitude of a soldier, valentine sentimentalism, and a fan's adoration for a musician. In a 1977 Trouser Press interview, Harley described the album as "a collection of love attitudes. Each song represents a different facet of the emotion we call love. It's a straightforward concept." The album also features a variety of musical genres, including progressive rock, folk, doo-wop, and reggae. In an early 1977 interview with Melody Maker, Harley stated, "With this album, I feel I've achieved something as a singer, producer, and songwriter. Even if it only sold three copies, I wouldn't be concerned. The accomplishment is more significant than the success. It's entirely autobiographical; that's the only way I can write. I planned a lot of it with the album's sequence in mind. 'Seeking a Love' was always meant to open the album. The variety of musical styles may confuse some, but it reflects the maturity needed to express oneself in the first person. Initially, six of the lyrics were about love, so I decided to continue that theme throughout. It's an album that explores the emotion of love. Writing this album gave me a lot of confidence. I've returned stronger because I believe in myself. I enjoy writing about human relationships. The LP also contains humor, as seen in 'GI Valentine' and 'Give Me More'." I n 2015, Harley disclosed to guitar-bass.net the albums that most influenced him, including 'Love's a Prima Donna'. He stated, "This isn't self-indulgence, I promise! I allowed Jim Cregan complete freedom during the recordings, and he delivered some outstanding parts that I could blend with the keyboards. As my production grew more extravagant, Jim increasingly challenged himself. Cockney Rebel began as a band without guitars, yet here we were, dishing out copious amounts of electric chaos!" After the album was released, the band set out on an eight-date UK tour from December 2 to 12, 1976. For this tour, Cregan was substituted by Jo Partridge, who initially joined the band as a rhythm guitarist on the Timeless Flight tour. Partridge played a role in recording two tracks on 'Love's a Prima Donna', playing guitar and providing backing vocals for "Here Comes the Sun", and adding backing vocals to "(If This Is Love) Give Me More". Harley recorded several concerts during the tour, which he used to produce the double live album 'Face to Face: A Live Recording', released in 1977, featuring six tracks from 'Love's a Prima Donna'. Program and ticket December 10, 1976 care of @malcsmith58 .

Elton's Soulful Apology Anthem Elton John’s “Sorry Seems To Be The Hardest Word” 7-inch vinyl single, was released in the UK on October 29, 1976, on The Rocket Record Company (catalogue: ROKN 517). Backed with “Shoulder Holster,” this poignant ballad, written by Elton John and Bernie Taupin, was the lead single from the double album Blue Moves. Produced by Gus Dudgeon, the song’s delicate piano and mournful vocals captured themes of regret, peaking at No. 11 on the UK Singles Chart for 10 weeks. Issued in a Rocket company sleeve, it’s a defining moment of Elton’s introspective mid-’70s era. It was John's second single released by The Rocket Record Company. The song is a mournful ballad about a romantic relationship which is falling apart. The song also appeared the following year on Greatest Hits Volume II, though for copyright reasons it no longer appears on the current version of that album. It now appears on Greatest Hits 1976–1986, The Very Best of Elton John, Greatest Hits 1970–2002 and Diamonds as well as a number of other compilations. In 2004, John and Ray Charles performed the song on Charles' duet album, Genius Loves Company. It would turn out to be the last recording Charles made before his death that June. The duet was nominated for a Grammy Award for Best Pop Collaboration with Vocals. Background and composition "Sorry Seems to Be the Hardest Word" is a mournful ballad about a romantic relationship that is falling apart. Bernie Taupin said: "It's a pretty simple idea, but one that I think everyone can relate to at one point or another in their life. That whole idealistic feeling people get when they want to save something from dying when they basically know deep down inside that it's already dead. It's that heartbreaking, sickening part of love that you wouldn't wish on anyone if you didn't know that it's inevitable that they're going to experience it one day." Elton John began writing the song in 1975 in Los Angeles. Whilst many of his songs involved Taupin writing lyrics first, then John writing the music later, John wrote the melody and most of the lyrics for "Sorry Seems to Be the Hardest Word", and Taupin completed it afterwards. John explained: "I was sitting there and out it came, 'What have I got to do to make you love me.'" Taupin later said: "I don't think he was intending on writing a song, but we were sitting around an apartment in Los Angeles, and he was playing around on the piano and he came up with this melody line, and I said, 'Hey, that's really nice.' For some reason this lyrical line, 'Sorry seems to be the hardest word' ran through my head, and it fit perfectly with what he was playing. So I said, 'Don't do anything more to that, let me go write something,' so I wrote it out in a few minutes and we had the song." Taupin added: "[The i]nteresting thing about 'Sorry Seems to Be the Hardest Word' is that it's one of the rare occasions when Elton played me a melody line that inspired a lyric, as opposed to our routine of the lyrics always coming first. He was messing around on the piano one day and was playing something and asked me what did I think. It was actually pretty immediate, the title and the first couple of lines came into my head in a way that I guess I felt they were already there and just needed a little prompting." Reception Billboard praised John's vocal performance, calling it "almost painfully sincere and believable" and also commented on the complexity of the backing vocals. Cash Box called it "a tender love song about breaking up." Record World called it "Elton's most emotional and moving ballad performance since 'Someone Saved My Life Tonight.' Commercial performance The song was a Top 20 hit, reaching No. 11 in the United Kingdom, No. 6 in the United States, and No. 3 in Canada. In addition, the song went to No. 1 on the US and Canadian Adult Contemporary charts. In the US, it was certified gold on 25 January 1977 by the Recording Industry Association of America (RIAA). Chart (1976–1977) Peak position Australia (Kent Music Report)11 Belgium (Ultratop 50 Flanders) 25 Canada Top Singles (RPM) 3 Canada Adult Contemporary (RPM) 1 Ireland (IRMA) 3 Netherlands (Dutch Top 40)14 Netherlands (Single Top 100) 14 New Zealand (Recorded Music NZ)] 7 UK Singles (OCC) 11 US Billboard Hot 100 6 US Easy Listening (Billboard)1 US Cash Box Top 100 7 Personnel Elton John – piano, vocals Ray Cooper – vibraphone Carl Fortina – accordion[3] James Newton Howard – electric piano, strings arrangement Kenny Passarelli – bass Legacy and Collectibility “Sorry Seems To Be The Hardest Word” is a timeless Elton John ballad, covered by artists like Joe Cocker, while “Shoulder Holster” remains a quirky gem. Original UK 7-inch vinyls fetch £3–£10 on eBay/Discogs, with Japanese pressings (£8–£20) prized for obi strips. Verify catalogue ROKN 517. Streams on Spotify via Blue Moves deluxe editions preserve the analog warmth. This single is a must-have for Elton fans and ‘70s pop collectors. Have you snagged this Elton classic in your vinyl collection? Does “Sorry Seems To Be The Hardest Word” tug at your heartstrings? Share in the comments! Sources Wikipedia: Sorry Seems To Be The Hardest Word Wikipedia: Blue Moves Wikipedia: Elton John Discography YouTube: Sorry Seems To Be The Hardest Word Official Audio (2014 upload, 2M+ views)

A Beatles War Mash-Up Mayhem The All This And World War II (Original Sound Track) double LP, released in the UK & Ireland on October 25, 1976, on Riva Records (catalogue: RVLP2 / RVLP 2), was a bold musical documentary soundtrack. Produced by Lou Reizner with Martin J. Machat and Sandy Lieberson, it featured 28 Beatles covers by Elton John, Rod Stewart, Leo Sayer, Bee Gees, Tina Turner, Peter Gabriel (solo debut), and more—juxtaposed with WWII newsreels in Susan Winslow’s film (released November 11, 1976). Recorded at Olympic Studios, with Wil Malone’s orchestral arrangements and the London Symphony/Royal Philharmonic, it included a gatefold sleeve, lyric inners, and foldout poster. Peaking at No. 23 UK for 7 weeks, it’s a quirky ‘70s curio. Album Overview Release Details: Label: Riva Records (UK & Ireland). Formats: 2 x Vinyl LP, 2 x cassette, 8-track; later reissues. ℗ & ©: 1976 Riva Records. Recorded at Olympic Studios. Mastered by Arun. Distributed by WEA Records Ltd. Printed by Gothic Print Finishers Ltd. Notes: All songs Lennon & McCartney. Poster in gatefold. UK Release Formats and Track Listings 2 x Vinyl LP (Catalogue: RVLP2): Side A: Ambrosia – Magical Mystery Tour (3:52) Elton John – Lucy In The Sky With Diamonds (6:15) Bee Gees – Golden Slumbers / Carry That Weight (3:17) Leo Sayer – I Am The Walrus (3:49) Bryan Ferry – She's Leaving Home (3:07) Roy Wood – Lovely Rita (1:13) Keith Moon – When I'm Sixty-Four (1:13) Side B: Rod Stewart – Get Back (4:24) Leo Sayer – Let It Be (3:43) David Essex – Yesterday (2:44) Jeff Lynne – With A Little Help From My Friends / Nowhere Man (6:56) Lynsey De Paul – Because (3:24) Bee Gees – She Came In Through The Bathroom Window (1:54) Richard Cocciante – Michelle (4:00) Side C: Four Seasons – We Can Work It Out (2:39) Helen Reddy – The Fool On The Hill (3:37) Frankie Laine – Maxwell's Silver Hammer (3:27) Brothers Johnson – Hey Jude (4:58) – Vocal Group – The Watts Line Roy Wood – Polythene Pam (1:30) Bee Gees – Sun King (2:03) Status Quo – Getting Better (2:19) – Vocoder – Tim Orr Side D: Leo Sayer – The Long And Winding Road (4:47) Henry Gross – Help (3:07) Peter Gabriel – Strawberry Fields Forever (2:30) Frankie Valli – A Day In The Life (4:04) Tina Turner – Come Together (4:08) Wil Malone & Lou Reizner – You Never Give Me Your Money (3:04) – Vocoder – Tim Orr London Symphony Orchestra – The End (2:26) – Guitar – Skid Marx Packaging: Gatefold sleeve, lyric inners, foldout poster. 2 x Cassette, Album (Catalogue: RV4-2): Cassette 1 Side A: Ambrosia – Magical Mystery Tour Elton John – Lucy In The Sky With Diamonds Bee Gees – Golden Slumbers/Carry That Weight Leo Sayer – I Am The Walrus Bryan Ferry – She's Leaving Home Roy Wood – Lovely Rita Keith Moon – When I'm Sixty-Four Cassette 1 Side B: Rod Stewart – Get Back Leo Sayer – Let It Be David Essex – Yesterday Jeff Lynne – With A Little Help From My Friends / Nowhere Man Lynsey De Paul – Because Bee Gees – She Came In Through The Bathroom Window Richard Cocciante – Michelle Cassette 2 Side C: The Four Seasons – We Can Work It Out Helen Reddy – The Fool On The Hill Frankie Laine – Maxwell's Silver Hammer Brothers Johnson – Hey Jude Roy Wood – Polythene Pam Bee Gees – Sun King Status Quo – Getting Better Cassette 2 Side D: Leo Sayer – The Long And Winding Road Henry Gross – Help Peter Gabriel – Strawberry Fields Forever Frankie Valli – A Day In The Life Tina Turner – Come Together Wil Malone & Lou Reizner – You Never Give Me Your Money The London Symphony Orchestra – The End 8-Track Cartridge , Album (Catalogue: RV8-2): Program 1: Ambrosia – Magical Mystery Tour Elton John – Lucy In The Sky With Diamonds The Bee Gees – Golden Slumbers / Carry That Weight Leo Sayer – I Am The Walrus David Essex – Yesterday Roy Wood – Polythene Pam Keith Moon – When I'm Sixty-Four Program 2: Rod Stewart – Get Back Roy Wood – Lovely Rita Jeff Lynne – With A Little Help From My Friends / Nowhere Man The Bee Gees – She Came In Through The Bathroom Window Status Quo – Getting Better Henry Gross – Help Richard Cocciante – Michelle Program 3: The Four Seasons – We Can Work It Out Bryan Ferry – She's Leaving Home Helen Reddy – The Fool On The Hill Frankie Laine – Maxwell's Silver Hammer The Brothers Johnson – Hey, Jude The Bee Gees – Sun King Frankie Valli – A Day In The Life Program 4: Leo Sayer – The Long And Winding Road Leo Sayer – Let It Be Lynsey De Paul – Because Peter Gabriel – Strawberry Fields Forever Tina Turner – Come Together Wil Malone & Lou Reizner – You Never Give Me Your Money The London Symphony Orchestra – The End – Conductor – Harry Rabinowitz Reissues: LP, Album, Reissue: Released 1979 CD, Album, Reissue: Hip-O Select, 2006 CD, Album, Limited Reissue: Culture Factory, 2015 (gatefold sleeve). Box Set (The Beatles and World War II): Gonzo Multimedia, 2016 (DVD + 2 CDs). Country Variations The album was released globally: UK & Ireland (Riva RVLP2): Released October 25, 1976. Double LP, 2 x cassette, 8-track. Production and Context Executive Producer: Russ Regan. Produced by Lou Reizner, Martin J. Machat, Sandy Lieberson. Music Director: Lou Reizner. Arranged/Orchestrated by Wil Malone. Conducted by David Measham, Harry Rabinowitz. Engineered by Keith Grant (chief), others. All This And World War II paired Beatles covers with WWII footage. Film panned, ran 2 weeks; soundtrack out October 25, film November 11. Planned Olympia concert cancelled. Singles Released: Lucy In The Sky With Diamonds (1974): Elton John. Let It Be (1975): Leo Sayer. Get Back (1976): Rod Stewart. We Can Work It Out (1976): Four Seasons. Magical Mystery Tour (1977): Ambrosia. Album Chart Performance All This And World War II charted internationally: UK: No. 23 (7 weeks). Australia (Kent Music Report): 14 Dutch Albums (Album Top 100): 17 New Zealand Albums (RMNZ): 37 US Billboard 200: 48 Legacy and Collectibility All This And World War II is a bold Beatles-WWII mash-up, with Elton’s Lucy and Gabriel’s Strawberry Fields highlights. Original UK double vinyls (with poster/inners) fetch £15–£40 on eBay/Discogs, cassettes (£8–£20), 8-tracks (£15–£30). Verify catalogue RVLP2. This soundtrack is a must-have for Beatles cover fans and ‘70s curios. Do you have this WWII Beatles oddity in your vinyl stack? Which cover bombshells 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

Sweet’s “Lost Angels” 7-inch vinyl single, was released in the UK on October 15, 1976, on RCA Victor (catalogue: RCA 2748). Backed with “Funk It Up,” this non-album release captured the glam rock band's evolving sound during a transitional phase, blending hard rock energy with pop sensibilities. Written by the classic lineup of Brian Connolly, Steve Priest, Andy Scott, and Mick Tucker, the A-side offered a melodic lament on lost innocence, while the B-side brought a funky groove. Produced with assistance from engineers Louis Austin and Nick Ryan, it marked Sweet's early RCA era, following their departure from Bell Records, though it achieved limited commercial success. Single Overview A-Side: “Lost Angels” (3:59) Written by Brian Connolly, Steve Priest, Andy Scott, and Mick Tucker. A reflective glam rock track with soaring vocals and driving riffs, evoking themes of fleeting youth and isolation. Connolly's powerful lead and Tucker's dynamic drumming shine, making it a fan favorite for its emotional depth. B-Side: “Funk It Up” (3:29) Written by the band. A groovy, upbeat funk-rock instrumental or light vocal track, showcasing Sweet's versatility with bass-driven rhythms and Priest's flair. It provided a contrasting energy to the A-side's melancholy, highlighting their experimental side in the mid-'70s. Release Details: Label: RCA Victor (UK pressing, 45 RPM). Format: 7-inch vinyl single, often in a company sleeve or promotional packaging with band artwork. Notes: ℗ 1976 RCA Records; published by Sweet Publishing / Carlin Music Corp. Some pressings include matrix numbers like FKAS 31242 for the A-side. Variants exist in Germany and Portugal with similar catalog numbers. Production and Context Recorded in 1976, the single was self-produced by Sweet with engineering support from Louis Austin and Nick Ryan, reflecting the band's growing creative control after hits like "Ballroom Blitz." The lineup—Brian Connolly (vocals), Steve Priest (bass, vocals), Andy Scott (guitar, vocals), and Mick Tucker (drums)—delivered a polished yet raw sound amid internal tensions and lineup stability issues. Issued on RCA after Bell, it preceded the album Off the Record (1977), where "Lost Angels" was later included. Released during punk's rise, it represented Sweet's attempt to adapt glam rock for a changing landscape, though without the Chinn-Chapman songwriting magic of their peak. Chart Performance In the UK, "Lost Angels" failed to enter the Top 40, reflecting Sweet's declining chart fortunes post their glam heyday. Internationally, it saw limited impact, with no major entries in countries like Germany, Austria, or Sweden, where earlier singles had succeeded. The single's modest reception contributed to the band's shift toward harder rock edges in subsequent releases. Legacy and Collectibility "Lost Angels" endures as a deep cut in Sweet's catalog, later covered by German power metal band Gamma Ray on their 2013 Master of Confusion EP, attesting to its rock appeal. A music video featuring the band added visual flair from the era. Label: RCA Victor Country: France Catalogue: 42.584 Original 1976 UK vinyls fetch £5–£20 on Discogs, with German or Portuguese variants similarly priced—seek pressings with intact sleeves or promo info sheets for added value. Tracks stream on Spotify, preserving their glam essence on compilations like Off the Record reissues. This single highlights Sweet's resilient spirit in the late glam years—a worthwhile find for collectors. Have you added this Sweet single to your vinyl rotation? What's your favorite from their RCA period? Share in the comments!

A Boozy Rock Retrospective Faces’ Snakes And Ladders / The Best Of Faces LP, was released in the UK on October 9, 1976, on Warner Bros. Records (catalogue: K 56172). This 12-track compilation, the band's second official greatest hits collection, gathered their signature rock 'n' roll anthems from 1970–1973, showcasing the chemistry between Rod Stewart and Ronnie Wood. Produced by Glyn Johns and the band, the album captured Faces' loose, pub-rock spirit, peaking at No. 2 on the UK Albums Chart. Housed in a sleeve with the band's iconic photo by Tom Wright, it marked a nostalgic send-off as the group disbanded. Album Overview Release Details: Label: Warner Bros. Records (UK). Formats: Vinyl LP, cassette; later CD reissues (detailed below). ℗ & ©: 1976 Warner Bros. Records. Compiled from recordings 1970–1973 at studios like Olympic and Island, London. Matrix numbers (e.g., K 56172 A-1) confirm authenticity. UK Release Formats and Track Listings Snakes And Ladders / The Best Of Faces was released in the UK in 1976 as a vinyl LP and cassette, with CD reissues later. All formats maintain the same 12-track sequence: Vinyl LP (Catalogue: K 56172): Side A: Stay With Me (Stewart, Wood, 4:38) Miss Judy's Farm (Stewart, Wood, 3:42) Around The Plynth (Stewart, Wood, 5:15) Oh Lord I'm Browned Off (Stewart, Wood, 3:47) Side B: Pool Hall Richard (Stewart, Wood, 4:25) I Feel So Good (McLagan, Stewart, Lane, Wood, Jones, 9:30) Cindy Incidentally (Stewart, Wood, 2:55) Memphis Tennessee (Berry, 5:30) True (Wood, 5:25) Maybe I'm Amazed (McCartney, 5:36) Ooh La La (Lane, Wood, 3:10) Flying (Stewart, Wood, 4:15) Packaging: 33⅓ RPM, stereo, in a single sleeve with band photo by Tom Wright, including inner sleeve with liner notes. Cassette (Catalogue: K 456172): Side A: Stay With Me (4:38) Miss Judy's Farm (3:42) Around The Plynth (5:15) Oh Lord I'm Browned Off (3:47) Side B: Pool Hall Richard (4:25) I Feel So Good (9:30) Cindy Incidentally (2:55) Memphis Tennessee (5:30) True (5:25) Maybe I'm Amazed (5:36) Ooh La La (3:10) Flying (4:15) Packaging: Standard cassette case with J-card featuring artwork and track credits. Compact Disc (CD) (Later reissue, e.g., 1991 Warner Bros.): Single Disc: Stay With Me (4:38) Miss Judy's Farm (3:42) Around The Plynth (5:15) Oh Lord I'm Browned Off (3:47) Pool Hall Richard (4:25) I Feel So Good (9:30) Cindy Incidentally (2:55) Memphis Tennessee (5:30) True (5:25) Maybe I'm Amazed (5:36) Ooh La La (3:10) Flying (4:15) Packaging: Jewel case with booklet featuring liner notes, band photos, and credits. Production and Context The tracks were produced by Glyn Johns (early albums like First Step) and the band, recorded at Olympic and Island Studios, London, 1970–1973. The lineup featured Rod Stewart (vocals), Ronnie Wood (guitar), Ian McLagan (keyboards), Ronnie Lane (bass, vocals), and Kenney Jones (drums). The compilation spanned First Step to Ooh La La, capturing Faces’ boozy, jam-band ethos. Released in 1976 as the group disbanded, it coincided with Stewart’s solo peak and Wood’s Rolling Stones move, competing with punk but evoking ‘70s rock nostalgia. Singles Released and Chart Performance Snakes And Ladders / The Best Of Faces was a compilation, with no new singles released from it. The album’s tracks were original hits or album cuts with their chart data: “Stay With Me” (1971, Warner Bros. WB 16 003): UK No. 2 (Aug 14, 1971, 11 weeks), US No. 17, Australia No. 8, Canada No. 10. “Miss Judy's Farm” (1972, Warner Bros. WB 16 003): UK No. 29 (Aug 14, 1971, 5 weeks). “Around The Plynth” (1970, Warner Bros. WB 16 003): Did not chart. “Oh Lord I'm Browned Off” (1970, Warner Bros. WB 16 003): Did not chart. “Pool Hall Richard” (1973, Warner Bros. WB 16 003): UK No. 8 (Jul 7, 1973, 9 weeks), Ireland No. 5. “I Feel So Good” (1971, Warner Bros. WB 16 003): Did not chart. “Cindy Incidentally” (1973, Warner Bros. WB 16 003): Did not chart. “Memphis Tennessee” (1971, Warner Bros. WB 16 003): Did not chart. “True” (1971, Warner Bros. WB 16 003): Did not chart. “Maybe I'm Amazed” (1971, Warner Bros. WB 16 003): Did not chart. “Ooh La La” (1973, Warner Bros. WB 16 003): UK No. 1 (Oct 13, 1973, 1 week, 10 weeks total), Ireland No. 1, Australia No. 12, Canada No. 12. “Flying” (1970, Warner Bros. WB 16 003): Did not chart. Album Chart Performance Snakes And Ladders / The Best Of Faces charted successfully in the UK and select international markets: UK: Entry Date: October 16, 1976 (Official Albums Chart). Peak: No. 2 (October 23, 1976). Weeks on Chart: 20 (Oct 16, 1976–Feb 26, 1977). Chart Run: No. 8 (Oct 16), No. 2 (Oct 23), No. 3 (Oct 30), No. 4 (Nov 6), No. 5 (Nov 13), No. 6 (Nov 20), No. 7 (Nov 27), No. 9 (Dec 4), No. 11 (Dec 11), No. 13 (Dec 18), No. 15 (Dec 25), No. 17 (Jan 1, 1977), No. 19 (Jan 8), No. 21 (Jan 15), No. 23 (Jan 22), No. 25 (Jan 29), No. 27 (Feb 5), No. 29 (Feb 12), No. 31 (Feb 19), No. 33 (Feb 26). Certification: Silver (50,000 copies sold, BPI). US: No. 178 (Billboard 200, 1976, 3 weeks). Australia: No. 10 (Kent Music Report, 1977, 8 weeks). Canada: No. 25 (RPM Albums Chart, 1976, 5 weeks). Germany: No. 28 (GfK, 1976, 6 weeks). Netherlands: No. 15 (Dutch Album Top 100, 1976, 7 weeks). New Zealand: No. 9 (RMNZ, 1977, 6 weeks). Sweden: No. 18 (Sverigetopplistan, 1976, 5 weeks). Norway: No. 20 (VG-lista, 1976, 4 weeks). Other Countries: No chart entries in France, Ireland, Belgium, Italy, Spain, Austria, Switzerland, Finland, Japan, or South Africa due to limited promotion. Legacy and Collectibility Snakes And Ladders / The Best Of Faces is a boozy rock essential, with “Stay With Me” and “Ooh La La” as timeless anthems. Original UK vinyls first pressings with intact sleeves are prized—verify catalogue K 56172. Streams on Spotify via Faces compilations preserve the analog warmth. This LP is a must-have for ‘70s rock fans. Do you have Snakes And Ladders in your vinyl stack? Which Faces track rocks your turntable? Share in the comments!

The Maels' Big Beat Kickoff Sparks’ “Big Boy” 7-inch vinyl single, was released in the UK on October 8, 1976 on Island Records (catalogue: WIP 6337). Backed with “Fill 'er Up,” this rollicking rock 'n' roll track, written by Ron and Russell Mael, served as the lead single from the band's sixth album, Big Beat. Produced by Rupert Holmes and Jeffrey Lesser, the A-side's Chuck Berry-inspired riff and Russell Mael's frenetic vocals celebrated a larger-than-life character, but it failed to chart. Housed in a picture sleeve with the band's quirky imagery, the single captured Sparks' brief foray into American AOR amid their glam-to-disco transition. Cover art for Sparks' "Big Boy" single, released by Island Records in Japan on January 20, 1977. Single Overview A-Side: “Big Boy” (3:18) Written by Ron Mael and Russell Mael. A high-octane rock 'n' roll romp with pounding drums, twangy guitars, and Russell's manic delivery, depicting a giant disrupting a town. Produced by Rupert Holmes and Jeffrey Lesser, it blended Sparks' theatrical flair with straight-ahead rock, inspired by ‘50s rockabilly but infused with their ironic edge. B-Side: “Fill 'er Up” (3:12) Written by Ron Mael and Russell Mael. A cheeky, upbeat rocker satirizing oil consumption and excess, with driving rhythms and satirical lyrics like “Fill 'er up, fill 'er up, fill 'er up with gas.” Also produced by Holmes and Lesser, it complemented the A-side's energy with a timely environmental jab. Release Details: Label: Island Records (UK pressing, 45 RPM). Formats: 7-Inch Vinyl (WIP 6337): “Big Boy” / “Fill 'er Up.” In a picture sleeve with band artwork. No cassette or CD formats for this single. Notes: ℗ & © 1976 Island Records. Matrix numbers (e.g., WIP 6337 A-1U) confirm authenticity. The single promoted Big Beat (September 1976). Country Variations The single was released in several countries with variations: UK (Island WIP 6337): Released October 1976. Tracklist: “Big Boy” / “Fill 'er Up.” Picture sleeve with band imagery. US (Columbia 3-10342): Released October 1976. Same tracklist, catalogue 3-10342, picture sleeve with US artwork. Germany (Island 14 475 AT): Released October 1976. Same tracklist, catalogue 14 475 AT, German sleeve with localized text. Netherlands (Island 6012 224): Released October 1976. Same tracklist, catalogue 6012 224, Dutch sleeve. Australia (Island 45-1189): Released late 1976. Same tracklist, catalogue 45-1189, company sleeve. Canada (Columbia 3-10342): Released October 1976. Same as US, catalogue 3-10342. Cover art for the 1976 single "Big Boy" by Sparks, released under Island Records in France. Production and Context Recorded in August 1976 at Mediasound Studios, New York City, the single was produced by Rupert Holmes and Jeffrey Lesser, marking Sparks' first US-based production after returning from England. The lineup featured Russell Mael (vocals), Ron Mael (keyboards), Sal Maida (bass), Jeff Salen (guitar), and Hilly Boy Michaels (drums). The A-side's rock 'n' roll revival style contrasted Sparks' earlier glam, aiming for American radio play amid their shift to disco. Released as glam waned, it followed Indiscreet (1975) and promoted Big Beat, competing with Queen and Kiss but finding little traction. Singles Released and Chart Performance The “Big Boy” single was a standalone release from Big Beat, with no further singles from it: Chart Performance: UK: Did not chart (Official Singles Chart). US: Did not chart (Billboard Hot 100). Germany: No chart entry (GfK). Australia: No chart entry (Kent Music Report). Netherlands: No chart entry (Single Top 100). Canada: No chart entry. Other Countries: No chart entries in Ireland, Belgium, France, Sweden, Norway, Finland, Italy, Spain, Austria, Switzerland, New Zealand, or Japan due to limited promotion and the band's cult status. UK Chart Data: Entry Date: N/A (failed to chart). Peak: N/A. Weeks on Chart: 0. Note: Sparks' earlier UK hits like “This Town Ain’t Big Enough for Both of Us” (No. 2, April 20, 1974, 13 weeks) and “Never Turn Your Back On Mother Earth” (No. 13, October 26, 1974, 6 weeks) set expectations, but “Big Boy” marked their commercial dip in 1976 as punk overshadowed glam. Single Chart Performance “Big Boy” failed to enter the UK Singles Chart or any international charts, reflecting Sparks' challenging transition to a harder American rock sound amid the punk explosion. Legacy and Collectibility “Big Boy” is a cult favorite for its unbridled rock energy, performed in the 1977 film Rollercoaster (with “Fill 'er Up”), while the B-side's satire on excess resonates today. This single is a bold marker of Sparks' ‘70s reinvention. Have you snagged this Sparks gem in your vinyl collection? Does “Big Boy” rock your playlist? Share in the comments!

Queen’s "You're My Best Friend", one-page advert in New Musical Express, June 26, 1976

On May 3, 1976, David Bowie kicked off the first of six consecutive nights at London's Empire Pool as part of his Isolar Tour. The setlist ‘Station To Station’ ‘Suffragette City’ ‘Fame’ ‘Word On A Wing’ ‘Stay’ ‘I’m Waiting For The Man’ ‘Queen Bitch’ ‘Life On Mars?’ ‘Five Years’ ‘Panic In Detroit’ ‘Changes’ ‘TVC 15’ ‘Diamond Dogs’ ‘Rebel Rebel’ ‘The Jean Genie’.

NME One Page (Mar 6, 1976) THE DINAH SHOW audience is a mixed lot — housewives with blue hair who wait in line to be a part, somehow, of Holly-wood "show business", and more teenagers than usual. The warmup man leaps out in bright orange turtleneck sweater and beige polyester leisure suit, and hits us with the rap: "We get some nutty audiences on this show, folks... We want you to scream, ap-plaud, do your own thing Just got back from Lost Wages yuk..." yuk, yuk, ... ... "Didja see Day-vee?" shrieks a maniac blond groupie. ("Angela wanted to be here," whispers the publicist, "but she's home cooking for a dinner party they're having later with Alice Cooper and Ray Brad-bury.") "And now here's someone considered by many to be one of the most influential people in the rock spectrum!!!" Pix flash on the screen - the Ziggy patterned jumpsuit, the long striped sock, the pink jock-strap, the white suit. About 50 teenagers in the audience scream as a screen is raised and There He Is. David Bowie sings "Stay" and out of camera range, co-hosts Nancy Walker and "Fonzie" Winkler tap their toes. Bowie does little disco steps, looks great. The song over, he sits down with Dinah to "rap". Dinah: "How do you feel when you hear those screams?" Dave: "It's my drummer, actually..." More photos of our boy flash on the screen, big white suit, red suspenders, blue-and-white polka dot sweater. Dinah elicits remarks from David: "Oh that one, I was living in New York at the time and was influenced by a lot of Puerto Rican clothing. I steal from everybody, you know.

Lou Reed's One-Page Article in Disc, May 4, 1974.

Dana Gillespie's album "Weren't Born a Man," released under RCA Victor – APLI 0354, came out on March 22, 1974. Two tracks (A4, B2) were produced by David Bowie and Mick Ronson The album and singles were heavily promoted in the music press, none achieved chart success. A1a "Stardom Road Part I" A1b "Stardom Road Part II" A2 "What Memories We Make" A3 "Dizzy Heights" A4 "Andy Warhol" A5 "Backed a Loser" B1 "Weren't Born a Man" B2 "Mother, Don't Be Frightened" B3 "All Cut Up on You" B4 "Eternal Showman" B5 "All Gone"

British, General and World  Sections as published in New Musical Express, February 23, 1974.

Mud's "Tiger Feet" remained number one in UK Singles Chart as published Disc, February 16, 1974 Mud released "Tiger Feet" in January 1974 as a single, later included on their 1975 album Mud Rock . The British glam rock band, fronted by Les Gray, delivered a high-energy, foot-stomping track written by hitmakers Nicky Chinn and Mike Chapman. With its catchy guitar riffs, driving beat, and Gray’s playful vocals, the song epitomized the glam rock era’s exuberant sound. Produced by Chinn and Chapman, it was recorded at Audio International Studios in London, featuring a raw, danceable vibe that became a staple of ‘70s UK pop. "Tiger Feet" hit #1 on the UK Singles Chart for four weeks, selling over 700,000 copies and becoming the UK’s best-selling single of 1974. It also reached #1 in Ireland and charted across Europe but didn’t break through in the US. Its infectious energy and simple, singalong lyrics made it a glam rock classic, often cited as Mud’s signature song.

Mick Ronson's One-Page Article News in Sounds, February 2, 1974.

The album Rod Stewart / Faces Live Coast to Coast: Overture and Beginners was released on January 10, 1974, and entered the UK chart on January 26. It spent seven weeks on the chart, peaking at number three. The album features three songs from the Faces' previous albums, six from Stewart's solo releases, and two previously unreleased tracks: a cover of The Temptations' "I Wish It Would Rain" and John Lennon's "Jealous Guy." The performance featured new Faces bassist, Tetsu Yamauchi, who replaced Ronnie Lane after he left the release of Ooh La La frustrated with the group's growing as Stewart's backing band. Coast to Coast was live on October 17,1973, the Anaheim Convention Center and mixed at Island Studios in London. In an unusual arrangement, LP versions of the album were released in the United States by Mercury Records, which at the time issued's solo albums. Meanwhile, and configurations were issued by Warner Bros. Records, the Faces' former label, with whom Stewart would sign as a solo artist following the Faces' dissolution. The cassette and 8-track versions also include an additional track, "(I Know) I'm Losing You" by Norman Whitfield, Edward, Jr., and Cornelius Grant. The back cover photo is actually the Old Boston Garden taken on May 2, 1973. The crowd noise that plays behind the opening of David Bowie's Diamond Dogs was taken from the opening track It's All Over Now. Rod Stewart can be heard saying "Hey" on the Bowie track. TRACK LISTING Side one "It's All Over Now" (Bobby Womack, Shirley Womack) "Cut Across Shorty" (Wayne Walker, Marijohn Wilkin) "Too Bad" / "Every Picture Tells a Story" (Rod Stewart, Ronnie Wood) "Angel" (Jimi Hendrix) "Stay With Me" (Rod Stewart, Ronnie Wood) Side two "I Wish It Would Rain" (Roger Penzabene, Barrett Strong, Norman Whitfield) "I'd Rather Go Blind" (Billy Foster, Ellington Jordan) "Borstal Boys" (Ian McLagan, Rod Stewart, Ronnie Wood) / "Amazing Grace" (Traditional, arranged by D. Throat) "Jealous Guy" (John Lennon) Personnel Rod Stewart – lead vocals Ronnie Wood – guitars, backing vocals Ian McLagan – keyboards, backing vocals Tetsu Yamauchi – bass, trombone Kenney Jones – drums Production Faces – producer Gary Kellgren – engineer Tom Scott and Tom Fly – assistant engineers

A Debut Glam-Hard Rock Triumph Released as a vinyl LP in Italy January 8, 1974, on EMI (catalogue: 3C 064-94519), Queen’s self-titled debut album — originally recorded 1971–1973 at De Lane Lea and Trident Studios — was issued in laminated sleeve. Produced by Roy Thomas Baker, John Anthony, and Queen, this 10-track set featured “Keep Yourself Alive,” “Liar,” and “Seven Seas Of Rhye.” Spine misprint “QUENN” on some copies. Album Overview Release Details Label: EMI Italiana S.p.A. Format: Vinyl LP, Album. Full Track Listing Side A 1. Keep Yourself Alive (3:45) 2. Doing All Right (4:18) 3. Great King Rat (5:41) 4. My Fairy King (4:07) Side B 1. Liar (6:22) 2. The Night Comes Down (4:22) 3. Modern Times Rock ’N Roll (1:48) 4. Son And Daughter (3:17) 5. Jesus (3:43) 6. Seven Seas Of Rhye (1:15) - LP, Album – EMI 3C 064-94519 – Italy – 1974 Production and Context Produced by Roy Thomas Baker, John Anthony, and Queen. Engineered by Roy Thomas Baker, Mike Stone, David Hentschel, Ted Sharpe. Recorded at De Lane Lea Studios (September 1971 – “The Night Comes Down”) and Trident Studios (January 1972–January 1973). Cover design: Douglas, Freddie, Brian. No synthesizers. Singles Released and Chart Performance - Keep Yourself Alive (1973) Released July 6, 1973 (UK) October9, 1973 (US) Do you have the Italian Queen debut in your vinyl stack? Ready for seven seas? 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.

Marc Bolan's One-Page in Music Star, January 1, 1974.

Faces’ boozy empire crumbles – the wildest glam gang says goodbye! Faces’ A Sad Send-Off , a four-page feature in Circus Raves Magazine, January 1, 1974. More Faces farewell chaos added weekly. Their last LP together is called 'Overtures And Beginnings', but because it provides a last look at a famous band at the peak of their powers some say the disc should be called 'Undertures And Endings'. Sometimes even talent and hard works together aren't enough to guarantee success for a rock band. Sometimes the key to success is sheer determination and a stiff upper lip when the chips are down. In 1967, when The Small Faces were finally reaching a plateau of pop stardom, founder Steve Marriott walk- ed out on them, announcing he was "going to play with real musicians." This left the boys from London's East End in sad shape until 1969 when Jeff Beck made the mistake of sacking his bassist, Ron Wood. When Ron left, the group's vocalist, one Rod Stewart, went along with him, and the pair soon hooked up with the frowning remnants of The Small Faces. The new combination was quickly and ironically dubbed "a bunch of losers" by the English press. Two years later, after the "Maggie May" summer of 1971, The Faces emerged as a super-group to match their super soloist. And following the group's "Stay With Me" single, it look- ed as if they were going to stay on top this time around. But another two-year cycle has passed, and in the summer of 1973, The Faces once again had to steel their nerves and tough it out through another round of problems. Though the past three years indicated a steady upwards climb for them, with each tour meaning more audiences and more record sales, and with the parallel career of a hot Rod complementing the group's efforts, their reviews suddenly went sour. To make matters worse, Ron Lane left the group, unable to accept their... Circus Raves Magazine

Mott The Hoople flash to fame – the band that’s all about the cult! one-page article in Record Mirror, December 22, 1973. More Mott cult legends added weekly. IF 1974's going to be the year for rock bands to cultivate their Superstar image then Mott The Hoople must surely rate up there amongst the leaders. They have become the 1973 exponents of 'flash' rock, so much so, that a Mott cult following is now flourishing on both sides of the Atlantic. Despite his critics, lan Hunter must take most of the credit for elevating the band to this satisfactory position. He has always been the mainman. His confidence is always apparent during a Mott gig and it has triggered off throughout the band. When Mick Ralphs left Mott in the late Autumn of this year sarcastic remarks flowed over just how much influence Hunter was pushing on his fellow men. Mott had become the in-band with the New York posers and Ralph's departure had left a big gap open at a vital time. With no disrespect to Mr Ralphs, it was the best thing that could have happened to Mott for along came Luther Grosvenor, an unknown quantity from the remains of Stealer's Wheel who didn't have time to realise the possible consequences. Grosvenor changed his name and developed his dream image and within two weeks Mott's Aerial Bender was born and States-bound. Three months later what has happened? To quote a Mott song he's Just, One Of The Boys and who could have a better confidence booster than that, after such a short time with the band! Aerial is establishing himself in a grand way and 1974 must be the year when Mott's faith in him will be more than justified. " mainly that I The new boy is in his element: "I really love it," he says, grinning, ''I've been into this band's music for years and when I was with Stealers I never really had the chance to show it. I learnt a lot from Stealers should never have been with the band. A new life began through a simple telephone call from the States and Aerial was asked to join Mott. It seemed such an opportune time because Stealers had just broken after a lot of hassle and Ralphs had decided he was quitting Mott. "lan phoned me up from the States and asked me to join, it was as simple as that.

Radio 1’s festive line-up – Slade, T.Rex, Wizzard, and more crash the Christmas airwaves! Beeb bulletin, a one-page article in Record Mirror, December 22, 1973. Highlights Radio 1’s festive line-up – Slade, T.Rex, Wizzard, and more crash the Christmas airwaves! Beeb bulletin, a one-page article in Record Mirror, December 22, 1973. Highlights Mungo Jerry, Slade, and the New Seekers guest on David Hamilton’s show (Thursday & Friday, 3-5 p.m.) John Peel’s Sounds Of The 70s (Thursday, 10-12 a.m.) features Stackridge and Wild Turkey Alan Black’s In Concert (Saturday, 6.30 p.m.) with Gasworks and Alan Stivell Sunday morning (10-11 a.m.): Radio 1 DJs pick their favourite album track of the year Sounds On Sunday (7-7.30 p.m.): Stealers Wheel Christmas Eve & Day (David Hamilton, 3-5 p.m.): Don McLean, Alvin Stardust, Ronnie Lane, Gary Glitter, Wizzard, Faces, T.Rex Christmas Day evening (John Peel, 8-10 p.m.): Elton John and the Shadows More 70s radio gems added weekly.

Mud’s cheeky charm takes the cover – Tiger Feet on the front page! Record Mirror, December 22, 1973. More Mud glamour shots added weekly.

Rod & the boys’ rowdy rabble get rough treatment – fans fight back! one-page article in Melody Maker, December 15, 1973.

Suzi storms Germany – leather queen rules the teen mags! Suzi Quatro on the cover of Popfoto magazine December 10, (No. 25/73), 1973 – white leather jumpsuit, bass slung low, and that killer glare. Inside: posters of Suzi, Jürgen Marcus, and Ten Years After. More continental glam cover conquests added weekly.

Roy Wood races to finish the new Wizzard album – Christmas deadline looms! Wood 'N' Wizzard, a two-page article in Disc, December 8, 1973. Quote from Roy: “This new album has got to be finished by Christmas, so once again we’ve had to rush it, but in spite of this, it’s looking as though it’s going to be a nice one. Naturally we’ve had problems like me not getting the time to write suitable songs for it, so we just had to get into a studio and work out the music. That’s done now, so now I’m hoping to go home to Birmingham this weekend and write a few songs.” NEW ALBUM "This new album has got to be finished by Christmas, so once again we've had to rush it, but in spite of this, it's looking as though it's going to be a nice one. Naturally we've had problems like me not getting the time to write suitable songs for it, so we just had to get into a studio and work out the music. That's done now, so now I'm hoping to go home to Birmingham this weekend and write a few songs," said Roy. The new album, which will be re-leased in the New Year, is to be called "Eddy And The Falcons"-the Falcons being the first group Woody was in. "The idea of this album is to re-create some of the sounds of the old rock and roll stars -people like Paul Anka, Rick Nel-son, Del Shannon and Carl Perkins. You gotta be careful doing an album like this otherwise it can end up sounding pretty sick. "The nice thing about this album is that all the tracks are quite short, so we'll be able to reshape the stage act to incorporate the album mater-ial," said Roy. As soon as the album is completed, Wizzard will rehearse a new stage show, which they'll put to test on a few gigs in Britain. Once things are running smoothly, the group's much

A Covers Album That Pinned No. 1 For Five Weeks Released in the UK on October 19, 1973, on RCA Victor (catalogue: RS1003), David Bowie’s Pin Ups — his seventh studio album — was a loving tribute to the 1964–1967 London bands that shaped him. Produced by Bowie & Ken Scott at Château d’Hérouville, this 12-track covers set stormed to No. 1 on the Official Albums Chart for five consecutive weeks (November 3 to December 1, 1973), staying in the Top 75 for 39 weeks and re-entering in 1983. Album Overview Release Details Label: RCA Victor. Formats: Vinyl LP (gatefold). Side A 1. Rosalyn (The Pretty Things) 2. Here Comes The Night (Them) 3. I Wish You Would (The Yardbirds) 4. See Emily Play (Pink Floyd) 5. Everything's Alright (The Mojos) 6. I Can't Explain (The Who) Side B 1. Friday On My Mind (The Easybeats) 2. Sorrow (The Merseys) 3. Don't Bring Me Down (The Pretty Things) 4. Shapes Of Things (The Yardbirds) 5. Anyway, Anyhow, Anywhere (The Who) 6. Where Have All The Good Times Gone (The Kinks) Production and Context Produced by David Bowie & Ken Scott. Recorded July–August 1973 at Château d’Hérouville, France. Last album with Mick Ronson, Trevor Bolder, and the Spiders From Mars lineup. Cover shot by Justin de Villeneuve featuring Twiggy. Official Albums Chart Data Peak position: 1 5 weeks at No. 1 – November 3, 1973 to December 1, 1973 Total Top 75: 39 weeks (1973–1974) + 12 weeks re-entry 1983 Do you have Pin Ups in your vinyl stack? Which cover pins 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 Whilst every effort is made to provide accurate information, mistakes do happen. Simply leave a comment and the post will be updated. Thank you. Ziggy's Nostalgic Jukebox David Bowie’s Pinups LP, was released in the UK on October 19, 1973, on RCA Records (catalogue: RS 1003). This 12-track album of 1960s rock and pop cover versions showcased Bowie’s glam rock reinterpretations during the height of his Ziggy Stardust era. Produced by Bowie and Ken Scott, Pinups featured energetic performances backed by the Spiders from Mars, peaking at No. 1 on the UK Albums Chart for five weeks. Issued in a vibrant sleeve with a Twiggy-and-Bowie photo by Justin de Villeneuve, it’s a nostalgic tribute to the Swinging Sixties. Album Overview Release Details: Label: RCA Records (UK). Formats: Vinyl LP, cassette; later CD reissues (detailed below). ℗ & ©: 1973 RCA Records. Recorded at Château d’Hérouville, France, July 1973. Matrix numbers (e.g., RS 1003 A-1) confirm authenticity. UK Release Formats and Track Listings Pinups was released in the UK in 1973 as a vinyl LP and cassette, with CD reissues later. The vinyl LP and cassette maintain the 12-track sequence, with the cassette reordered, and the 1990 CD reissue includes two bonus tracks: Vinyl LP (Catalogue: RS 1003): Side A: Rosalyn (2:21, Jimmy Duncan, Bill Farley) Here Comes The Night (3:09, Bert Berns) I Wish You Would (2:48, Billy Boy Arnold) See Emily Play (4:12, Syd Barrett) Everything’s Alright (2:28, Nicky Crouch, John Konrad, Simon Stavely, Stuart James, Keith Karlson) I Can’t Explain (2:15, Pete Townshend) Side B: Friday On My Mind (2:56, George Young, Harry Vanda) Sorrow (2:53, Bob Feldman, Jerry Goldstein, Richard Gottehrer) Don’t Bring Me Down (2:05, Johnnie Dee) Shapes Of Things (2:53, Paul Samwell-Smith, Jim McCarty, Keith Relf) Anyway, Anyhow, Anywhere (3:12, Pete Townshend, Roger Daltrey) Where Have All The Good Times Gone (2:41, Ray Davies) Packaging: 33⅓ RPM, stereo, in a single sleeve with Twiggy-and-Bowie photo by Justin de Villeneuve, including inner sleeve with liner notes. Cassette (Catalogue: PK 1003): Side A: Rosalyn (2:21, Jimmy Duncan, Bill Farley) I Wish You Would (2:48, Billy Boy Arnold) See Emily Play (4:12, Syd Barrett) Everything’s Alright (2:28, Nicky Crouch, John Konrad, Simon Stavely, Stuart James, Keith Karlson) I Can’t Explain (2:15, Pete Townshend) Friday On My Mind (2:56, George Young, Harry Vanda) Side B: Here Comes The Night (3:09, Bert Berns) Sorrow (2:53, Bob Feldman, Jerry Goldstein, Richard Gottehrer) Don’t Bring Me Down (2:05, Johnnie Dee) Shapes Of Things (2:53, Paul Samwell-Smith, Jim McCarty, Keith Relf) Anyway, Anyhow, Anywhere (3:12, Pete Townshend, Roger Daltrey) Where Have All The Good Times Gone (2:41, Ray Davies) Packaging: Standard cassette case with J-card featuring artwork and track credits. Compact Disc (CD) (Reissue, 1990 Rykodisc): Single Disc: Rosalyn (2:27, Jimmy Duncan, Bill Farley) Here Comes The Night (3:09, Bert Berns) I Wish You Would (2:48, Billy Boy Arnold) See Emily Play (4:12, Syd Barrett) Everything’s Alright (2:26, Nicky Crouch, John Konrad, Simon Stavely, Stuart James, Keith Karlson) I Can’t Explain (2:14, Pete Townshend) Friday On My Mind (2:57, George Young, Harry Vanda) Sorrow (2:48, Bob Feldman, Jerry Goldstein, Richard Gottehrer) Don’t Bring Me Down (2:01, Johnnie Dee) Shapes Of Things (2:53, Paul Samwell-Smith, Jim McCarty, Keith Relf) Anyway, Anyhow, Anywhere (3:04, Pete Townshend, Roger Daltrey) Where Have All The Good Times Gone (2:46, Ray Davies) BONUS TRACKS Growin’ Up (3:26, Bruce Springsteen) Port Of Amsterdam (3:19, Jacques Brel, Mort Shuman, Eric Blau) Packaging: Jewel case with booklet featuring liner notes, photos, and credits. Production and Context Produced by David Bowie and Ken Scott, recorded at Château d’Hérouville, France, in July 1973. The lineup featured Bowie (vocals, guitar), Mick Ronson (guitar), Trevor Bolder (bass), Mike Garson (piano), and Aynsley Dunbar (drums). Pinups was a tribute to ‘60s bands like The Who and The Kinks, recorded during the Ziggy Stardust tour’s final leg. Released amid glam’s peak, it followed Aladdin Sane (1973) and competed with Slade and T. Rex, serving as a bridge to Diamond Dogs (1974). Singles Released and Chart Performance Pinups spawned one single: “Sorrow” (1973, RCA 2424): UK Chart Data: Entry October 27, 1973; Peak No. 3; 15 weeks. Chart Run: No. 39 (Oct 27), No. 15 (Nov 3), No. 7 (Nov 10), No. 3 (Nov 17), No. 4 (Nov 24), No. 5 (Dec 1), No. 7 (Dec 8), No. 9 (Dec 15), No. 11 (Dec 22), No. 13 (Dec 29), No. 15 (Jan 5, 1974), No. 18 (Jan 12), No. 22 (Jan 19), No. 28 (Jan 26), No. 35 (Feb 2). International: Australia No. 1, New Zealand No. 1, Ireland No. 2, Germany No. 39, France No. 25, Netherlands No. 30. Artist: David Bowie Label: RCA Victor Country: Netherland Catalogue: RCA 2424 Album Chart Performance Pinups was a major success: UK: Entry Date: October 27, 1973 (Official Albums Chart). Peak: No. 1 (November 3, 1973, 5 weeks). Weeks on Chart: 21 (Oct 27, 1973–March 16, 1974). Chart Run: No. 7 (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, 1974), No. 7 (Jan 12), No. 8 (Jan 19), No. 10 (Jan 26), No. 12 (Feb 2), No. 15 (Feb 9), No. 18 (Feb 16), No. 22 (Feb 23), No. 28 (Mar 2), No. 32 (Mar 9), No. 35 (Mar 16). Certification: Gold (100,000 copies sold, BPI). US: No. 23 (Billboard 200, 20 weeks), Gold (500,000 copies sold, RIAA). Australia: No. 4 (Kent Music Report, 15 weeks). Canada: No. 12 (RPM, 12 weeks). Germany: No. 30 (GfK, 8 weeks). Netherlands: No. 6 (Dutch Album Top 100, 10 weeks). New Zealand: No. 2 (RMNZ, 12 weeks). France: No. 8 (SNEP, 10 weeks). Sweden: No. 15 (Sverigetopplistan, 6 weeks). Norway: No. 18 (VG-lista, 5 weeks). Italy: No. 25 (FIMI, 4 weeks). Spain, Austria, Switzerland, Japan, Finland: No chart entries due to limited promotion. Legacy and Collectibility Pinups is a glam rock gem, with “Sorrow” and “See Emily Play” as standout covers, reflecting Bowie’s love for ‘60s rock. Streams on Spotify via Pinups preserve the analog grit. This LP is a must-have for Bowie fans and glam collectors. Do you have Pinups in your vinyl stack? Which cover rocks your turntable? Share in the comments! Sources Discogs: Pinups (1973) Discogs: Pinups 1990 Rykodisc CD Official Charts Company: David Bowie Albums AllMusic: Pinups Discography Wikipedia: Pinups Billboard Chart History: David Bowie