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A Psychedelic Pop No. 1 Masterpiece Released as a 7-inch vinyl single in the UK on November 28, 1968, on Regal Zonophone (catalogue: RZ 3015), The Move’s “Blackberry Way” was Roy Wood’s psychedelic pop triumph. Backed with “Something” (written by Dave Morgan), this Jimmy Miller-produced A-side — with Denny Cordell & Tony Visconti on B — stormed to No. 1 on the Official Singles Chart for 1 week (11 February 1969), staying in the Top 75 for 12 weeks. Pressed with solid centre, push-out centre, and promo white label variants. A defining late-’60s UK pop moment. Single Overview Release Details Label: Regal Zonophone. Formats: Vinyl, 7", 45 RPM, Single (solid centre / push-out centre / promo white label). Full Track Listing Side A Blackberry Way – Written-By: Roy Wood – Producer: Jimmy Miller Side B Something – Written-By: David Morgan – Producer: Denny Cordell, Tony Visconti Reissues & Global Variants - 7", 45 RPM, Single – Regal Zonophone RZ 3015 – UK – 1968 - 7", 45 RPM, Single, Solid Centre – Regal Zonophone RZ 3015 – UK – 1968 - 7", Promo, White Label – Regal Zonophone RZ 3015 – UK – 1968 - 7", 45 RPM, Single – Parlophone/Stateside/Regal Zonophone – Argentina/France/Greece/Ireland/Lebanon/Netherlands/Nigeria/Singapore/South Africa/Spain/Turkey – 1968 - 7", 45 RPM, Single – Polydor/A&M/Festival – Germany/India/Italy/Japan/New Zealand/Norway/Portugal/Sweden/USA/Israel – 1969 Production and Context A-side produced by Jimmy Miller for Straight Ahead Productions. B-side produced by Denny Cordell & Tony Visconti for Straight Ahead Productions. Roy Wood’s answer to The Beatles’ psychedelic era. Official Singles Chart Data Peak position: 1 12 weeks – December 31, 1968 to March 18, 1969 49 → 42 → 29 → 13 → 5 → 2 → 1 → 3 → 5 → 7 → 18 → 41 Singles Released and Chart Performance - UK Official Singles Chart : 1 (1 week at No. 1) – entry 31 December 1968 Legacy and Collectibility “Blackberry Way” is The Move’s psychedelic pop No. 1 masterpiece. Original UK Regal Zonophone pressings (solid/push-out centre) fetch £15–£50 on eBay/Discogs, promo white labels £50–£100+. Verify catalogue RZ 3015. Streams on Spotify preserve the bittersweet brilliance. This single is a must-have for ‘60s psych-pop collectors. Do you have Blackberry Way in your vinyl stack? Are you walking down it again? 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

A Youthful Pop Prelude David Essex’s “Just For Tonight” 7-inch vinyl single, was released in the UK on October 25, 1968, on Pye Records (catalogue: 7N 17621). Single Overview 7" Vinyl Single Commercial Country: UK Label: Pye Records – 7N.17621 Format: Vinyl, 7" A1 Just For Tonight (B. Mason, T. Macaulay) B1 Goodbye C. (Westlake, D. Most) 7" Vinyl Single Promo Country: UK Label: Pye Records – 7N.17621 Format: Vinyl, 7", 45 RPM, Single, Promo A1 Just For Tonight (B. Mason, T. Macaulay) B1 Goodbye C. (Westlake, D. Most) 7" Vinyl Single 1 Sided Acetate Country: UK Label: Pye Records – none Format: Acetate, Vinyl 7", 45 RPM, Single A1 Just For Tonight (B. Mason, T. Macaulay) Label: Pye Records – 7N17621 Country: Portugal Format: Vinyl, 7", 45 RPM, Single A1 Just For Tonight (B. Mason, T. Macaulay) B1 Goodbye C. (Westlake, D. Most) Have you unearthed this early Essex rarity in your vinyl collection? Does “Just For Tonight” spark nostalgia? Share in the comments! Sources Discogs: Just For Tonight (1968) Official Charts Company: David Essex Singles AllMusic: David Essex Discography Wikipedia: David Essex Discography 45cat: 7N 17621 Single YouTube: Just For Tonight Audio (2015 upload, 10K+ views)

Jeff Beck Group’s Truth LP, was released in the UK on October 4, 1968 on Columbia Records (catalogue: SCX 6293) in the U.K. This debut album, a cornerstone of British blues-rock, showcased guitarist Jeff Beck’s fiery virtuosity alongside Rod Stewart’s raw vocals, blending heavy blues, rock, and psychedelic touches. Produced by Mickie Most, the 10-track album featured future Led Zeppelin members Jimmy Page and John Paul Jones in guest roles, delivering a proto-hard rock sound that influenced the genre’s evolution. Housed in a simple sleeve with a striking band photo, Truth peaked at No. 15 in the UK, cementing Beck’s post-Yardbirds legacy. Album Overview Tracklist: Side A: Shapes of Things (3:17) – Reimagined Yardbirds classic. Let Me Love You (4:41) Morning Dew (4:38) – Tim Rose cover. You Shook Me (2:28) – Willie Dixon cover. Ol’ Man River (3:57) – Jerome Kern cover. Side B: Greensleeves (1:47) – Traditional, arranged by Beck. Rock My Plimsoul (4:11) Beck’s Bolero (2:50) – Instrumental with Jimmy Page. Blues De Luxe (7:30) I Ain’t Superstitious (4:53) – Willie Dixon cover. Release Details: Label: Columbia Records (UK pressing, mono SCX 6293, stereo SXC 6293). Format: Vinyl LP, 33⅓ RPM, in a single sleeve with a band photo by Stephen Goldblatt. Notes: ℗ 1968 EMI Records Ltd. Recorded at Abbey Road Studios, London, in May 1968. US release on Epic Records (BN 26413) preceded the UK by three months (July 1968). Matrix numbers (e.g., SCX 6293 A-1) confirm authenticity. Production and Context Produced by Mickie Most, known for pop hits but adept at capturing Beck’s bluesy edge, Truth was recorded in a brisk two weeks at Abbey Road. The core lineup featured Jeff Beck (guitar), Rod Stewart (vocals), Ronnie Wood (bass), and Micky Waller (drums), with guests including Jimmy Page (guitar on “Beck’s Bolero”), John Paul Jones (organ), Keith Moon (drums on “Beck’s Bolero”), and Nicky Hopkins (piano). Tracks like “You Shook Me” and “I Ain’t Superstitious” showcased heavy blues covers, while “Beck’s Bolero” hinted at progressive rock. Released amid the 1968 blues boom, alongside acts like Cream and Fleetwood Mac, Truth bridged British blues with the heavier sound of emerging hard rock. Chart Performance Truth achieved solid chart success for a debut: UK: Peaked at No. 15 on the Official Albums Chart, charting for 12 weeks. US: Reached No. 15 on the Billboard 200, charting for 28 weeks, certified Gold (500,000 copies sold). Other Markets: Limited data exists, but it gained traction in Europe (e.g., Germany, Netherlands) via touring and radio play. No specific chart entries noted for Australia or Canada, though it built a cult following. The lack of a lead single limited its pop chart impact, but its influence grew through word-of-mouth and FM radio airplay. Legacy and Collectibility Truth is a seminal blues-rock album, often credited with inspiring Led Zeppelin’s debut (released months later in 1969). Tracks like “You Shook Me” and “Beck’s Bolero” became staples, with the latter a live favorite. Its raw energy influenced bands like Deep Purple and Black Sabbath. Original UK vinyls (mono or stereo) fetch £30–£150 on Discogs, with first pressings (blue/black Columbia labels) or intact sleeves commanding premiums—check matrix numbers for authenticity. Remastered CDs (2005 EMI reissue with bonus tracks) and Spotify streams preserve its gritty analog sound, making it accessible for collectors. This LP is a blues-rock milestone, showcasing Jeff Beck and Rod Stewart’s early brilliance. Do you have Truth in your vinyl collection? Which track rocks your turntable? Share in the comments!

The Sweet’s "Slow Motion", backed with "It’s Lonely Out There", was released as a 7-inch vinyl single in the UK by Fontana Records (catalog number TF 951) on July 19, 1968, marking the debut single of the band, originally formed as The Sweetshop in London in 1968. Background and Formation Band Formation: The Sweet was formed by vocalist Brian Connolly and drummer Mick Tucker, who had previously played together in Wainwright's Gentlemen. They recruited bassist/vocalist Steve Priest from a local band called The Army and guitarist Frank Torpey. The band initially called themselves The Sweetshop but shortened their name to The Sweet after another band released a single under the same name, creating potential confusion. Management and Production: The band was managed by Paul Nicholas, who later starred in the musical Hair. Nicholas connected them with producer Phil Wainman at Mellin Music Publishing, leading to a contract with Fontana Records. Wainman produced the debut single, which was recorded at Jackson's Studios in Rickmansworth and featured pianist Alan Benson. The Single: "Slow Motion" / "It's Lonely Out There" Release Details: Label: Fontana Records (UK, catalog number TF 958) Release Date: July 19, 1968 Format: 7" vinyl, 45 RPM Tracks: A-side: "Slow Motion" (3:07) B-side: "It's Lonely Out There" (2:32) Producer: Robert Mellin (credited on some releases), with Phil Wainman overseeing production Musical Style and Content: "Slow Motion": Described as a "poppige" (poppy) and "saubere Produktion" (clean production), the song is a light, melodic pop track that reflects the band’s early bubblegum pop influences, far from the glam rock and hard rock sound they later embraced. The lyrics, available on Genius, convey a theme of slowing down to appreciate life’s pleasures, with lines like "Slow down, you're chasing my life away / No time in life for tastin' / The sweet perfections of life with you." The song is noted for its accessibility but lacks the energy of The Sweet’s later hits like "Ballroom Blitz" or "Fox on the Run." "It's Lonely Out There": The B-side was written by the band, a common practice for their B-sides, which allowed them to earn royalties comparable to the A-side. The single was a stylistic departure from the band’s later glam rock and hard rock sound, aligning more with the 1960s pop influences of bands like The Monkees or The Archies. Chart Performance: "Slow Motion" failed to chart in the UK or elsewhere, marking a commercial disappointment. This lack of success led to the termination of The Sweet’s contract with Fontana Records. Rarity and Collectibility Market Value: The original 1968 Fontana pressing is considered extremely rare, with only 417 known copies. Its scarcity has driven significant collector interest: Original Pressing (1968): Prices for the original vinyl range from approximately $385.54 to $1,195.65, with a median value around $525-$595, based on Discogs sales data up to September 2024. Reissue (1991): A limited-edition reissue by Repertoire Records (Germany, REP 6005-SP, 500 numbered copies) is also collectible, valued between $51.01 and $128.87 as of April 2024. A rare U.S. pressing on 20th Century Records (tc-2033) with "It's Lonely Out There" as the A-side and "I'm On My Way" as the B-side is noted as unlisted on Discogs, adding to its obscurity and value. Collector Comments: On Discogs, users describe the single as "MEGA RARE," with one noting a copy sold for £280 about 30 years ago, indicating its long-standing value among collectors. Another user reported finding a copy with the tri-center intact in VG+ condition, planning to sell it. Cover art for The Sweet's limited edition release "Slow Motion" and "It's Lonely Out There," from Repertoire Records, edition number 225 out of 500. Critical Reception Contemporary Views: The single was not well-received commercially, described as “verstaubt” (dusty) and “misslungene Pop-Single” (failed pop single) by some modern reviewers on hitparade.ch, suggesting it didn’t capture the energy or innovation of The Sweet’s later work. However, others called it an “akzeptabler Erstling” (acceptable debut) and “durchaus hörbar” (quite listenable), appreciating its clean production and pop charm for a debut effort. Historical Context: The single’s failure is attributed to its timing and style, as it predated the band’s collaboration with songwriters Nicky Chinn and Mike Chapman, who helped craft their first hit, "Funny, Funny" in 1971. The Sweet’s early sound was still developing, and "Slow Motion" did not hint at their later glam rock success. Legacy and Subsequent Releases Band Evolution: After "Slow Motion" flopped, The Sweet parted ways with Fontana and signed with Parlophone, releasing three more unsuccessful singles before Andy Scott joined as guitarist in 1970. Their breakthrough came with "Funny, Funny" in 1971, marking a shift to a bubblegum pop sound that later evolved into glam rock and hard rock. Reissues and Compilations: The single was reissued in 1991 by Repertoire Records in Germany as a limited-edition, numbered 7" vinyl. A 1998 CD release of "Slow Motion" is also noted on Discogs, though details are sparse. The tracks appeared on early compilations like Gimme Dat Ding (1970), a split album with The Pipkins, though Andy Scott appeared on the cover despite not playing on the recordings. Streaming Availability: "Slow Motion" is available on Spotify, reflecting its continued accessibility despite its initial commercial failure. Additional Notes Lineup for the Single: The recording featured Brian Connolly (vocals), Steve Priest (bass/vocals), Mick Tucker (drums), and Frank Torpey (guitar). Andy Scott, who became a key member, did not join until 1970. Cultural Impact: While "Slow Motion" itself had little impact, it represents The Sweet’s formative years before they became glam rock pioneers with hits like "Block Buster!" (1973) and "Ballroom Blitz" (1973). The single’s rarity has made it a cult item among collectors, and its pop sound offers a glimpse into the band’s early experimentation.

A Psychedelic Pop Debut Mud’s “Flower Power” 7-inch vinyl single, was released in the UK on October 13, 1967, on CBS Records (catalogue: 203002). Backed with “You're My Mother,” this psychedelic pop track, written by R. Davis, marked the band's debut single during the Summer of Love era. Housed in a CBS company sleeve, the single is a rare artifact of Mud's pre-glam days before their 1970s hit-making reinvention. Single Overview (UK, Italy and Netherlands) Format: Vinyl, 7", Single, Promo, with Cover Label: CBS – 203002 Country: UK Released: Oct 13, 1967 A Flower Power 2:58 B You're My Mother 2:30 First Mud single. Drummer on these tracks is Peter Gray (brother of leadsinger Les Gray). Format: Vinyl, 7", Promo without Cover Label: CBS – 203002 Country: UK Released: Oct 13, 1967 A Flower Power 2:58 B You're My Mother 2:30 Format: Vinyl, 7", Single Commercial Label: CBS – 203002 Country: UK Released: Released: Oct 13, 1967 A Flower Power 2:58 B You're My Mother 2:30 Published By – B. Feldman & Co. Ltd. Published By – Gerrard Music Producer – Mike Smith Written-By – R. Davis Full orange label British release Format: Vinyl, 7", Single Commercial Label: CBS – 203002 Country: Netherlands Released: 1968 A Flower Power 2:58 B You're My Mother 2:30 Record Company – Columbia Broadcasting System, Inc. Published By – Copyright Control Producer – Mike Smith Written-By – R. Davis Made in Holland. Format: Vinyl, 7", Single Commercial Label: CBS – 203002 Series: Serie Hippies Format: Vinyl, 7", 45 RPM Country: Italy Released: 1968 A Flower Power B You're My Mother Record Company – CBS Italiana Distributed By – Messaggerie Musicali Printed By – Stampa Reparto Grafico C.G.D. This single is a must-have for Mud completists and ‘60s pop collectors. Have you unearthed this early Mud rarity in your vinyl collection? Does “Flower Power” bloom your playlist? Share in the comments! Sources Discogs: Flower Power (1967) Official Charts Company: Mud Singles AllMusic: Mud Discography Wikipedia: Mud (band) Discography 45cat: 203002 Single YouTube: Flower Power Audio

On September 30, 1967, BBC Radio 1 burst onto the airwaves as the UK’s first national pop music station, a bold response to the pirate radio stations that had been dominating youth culture. Here’s a concise dive into that historic day and its context: The Launch •First Broadcast: At 7:00 AM, Radio 1 kicked off with Tony Blackburn hosting the inaugural Daily Disc Show (later called Breakfast Show). The very first track played was “Flowers in the Rain” by The Move, followed by The Beatles’ “Massachusetts.” This set the tone for Radio 1’s focus on contemporary pop and rock. •Why It Started: The 1960s saw a youth-driven music explosion, but the BBC’s existing services (Light Programme, Home Service, Third Programme) were stuffy and out of touch with the Swinging Sixties. Offshore pirate stations like Radio Caroline filled the gap, illegally broadcasting pop hits from ships. The UK government’s Marine Broadcasting Offences Act (1967) shut down most pirates, paving the way for Radio 1 to capture that audience legally. •Vibe and Mission: Radio 1 was designed to appeal to under-30s, playing chart hits, rock, and emerging genres. It was the BBC’s attempt to be cool—hiring DJs like Blackburn, John Peel, and Annie Nightingale (the first female presenter, joining in 1970) to bring personality and edge. Key Details •Frequency and Reach: Radio 1 launched on 247 meters medium wave (now AM) and later expanded to FM. It shared airtime with the more traditional BBC Radio 2 (then the Light Programme) for much of the day. •First Day Highlights: Blackburn’s show was a mix of chart hits, jingles, and banter, setting a template for modern radio. The day featured other DJs like Chris Denning and Pete Murray, with a schedule packed with pop, soul, and early psychedelic rock. •Cultural Impact: Radio 1 instantly became a cultural hub, introducing millions to new music and shaping UK youth culture. It gave bands like The Beatles, The Rolling Stones, and The Who a national platform. Context and Legacy •Pirate Radio’s Shadow: The station poached talent from pirate stations, including Blackburn and John Peel, blending their freewheeling style with BBC polish. This mix defined Radio 1’s early sound. •Challenges: Some criticized it as a tame imitation of pirate radio, but it quickly found its footing, becoming a tastemaker for decades. •Long-Term Influence: Radio 1 evolved with music trends, championing punk, dance, hip-hop, and indie over the years. It remains a launchpad for new artists (like Louis Tomlinson’s Lemonade premiere today in 2025). Fun Fact The launch wasn’t flawless—technical glitches and a slightly chaotic vibe marked the day, but it only added to the excitement. The jingle “Radio 1, where it’s at!” became iconic.

Marc Bolan’s second appearance on Ready, Steady, Go! at Studio One, Wembley, Middlesex, England, coincided with Jimi Hendrix’s debut on British television, broadcast on December 13, 1966, performing "Hippy Gumbo", originally scheduled for the previous week but cancelled; the show’s full lineup included The Escorts (“Head To Toe”), The Four Tops (on film interview), The Jimi Hendrix Experience (“Hey Joe”), The Merseys (“Rhythm Of Love”), Keith Relf (“Shapes In My Mind”), Victor Sylvester (“You’re Dancing On My Heart”), and The Troggs (“5-4-3-2-1,” “Anyway That You Want Me,” and “I Can Only Give You Everything”), featuring an acetate of the single with doodle by Marc.

A Deram Debut Mod-Pop Gem Released as a 7-inch vinyl single in the UK on December 2, 1966, on Deram Records (catalogue: DM 107), David Bowie’s “Rubber Band” — backed with “The London Boys” (misspelled “The London Boy's” on label) — was his debut solo single. Produced by Mike Vernon, this brass-laden mod-pop curiosity — with “Rubber Band” published by Cooper Music and “The London Boys” by Sparta Music — did not chart. Issued in standard brown/white labels, promo light blue/white labels, and rare unreleased Decca demo with blank labels. A collector’s holy grail from Bowie’s pre-fame era. Single Overview Release Details Label: Deram Records. Formats: Vinyl, 7", 45 RPM, Single (standard / promo / unreleased Decca demo). Full Track Listing Side A Rubber Band – Written-By: Bowie – Producer: Mike Vernon Side B The London Boys – Written-By: Bowie – Producer: Mike Vernon UK Variants - 7", 45 RPM, Single – Deram DM 107 – UK – 1966 (brown/white labels) - 7", 45 RPM, Single, Promo – Deram DM 107 – UK – 1966 (light blue/white labels) - 7", 45 RPM, Single, Promo – Decca none – UK – 1966 (blank labels, unreleased) Production and Context Produced by Mike Vernon. Recorded 1966 at Decca Studios. Bowie’s first solo single after leaving The Lower Third — still in mod/R&B mode. Chart Performance No chart entry. Legacy and Collectibility “Rubber Band” / “The London Boys” is David Bowie’s ultra-rare debut solo single. Original UK Deram pressings fetch £1150–£1939 on eBay/Discogs, promos/unreleased Decca demo £2000+. Verify catalogue DM 107. Streams limited (often on compilations). This single is a must-have for Bowie completists. Do you have Rubber Band in your vinyl stack? Are you a London Boy? 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.

Rod Stewart's "Shake" backed with "I Just Got Some" is a raw, bluesy 7-inch vinyl single released in the UK on April 15, 1966 on Columbia Records (catalog: DB 7892). This marked Stewart's third solo single attempt in the UK, following his early efforts as a nascent solo artist before his breakthroughs with the Jeff Beck Group and Faces. Recorded during his pre-fame phase, it reflects his soulful, raspy R&B influences amid the British blues boom of the mid-1960s. The single failed to chart and is now a rare collector's item, emblematic of Stewart's gritty origins as a harmonica-wielding busker turned vocalist. Release Details Format: 7" 45 RPM vinyl single, mono pressing. Label: Columbia (EMI subsidiary), UK. Date: Apr 15, 1966 Producer/Backing: Likely self-produced or with minimal studio support; Stewart was backed by session musicians, drawing from his time in bands like the Dimensions and Long John Baldry's All Stars. No major hits attached, it was part of his independent solo forays before signing bigger deals. Context: This came after Stewart's first two UK singles—"Good Morning Little Schoolgirl" (1964, with the Ray Davies Quartet) and another early blues cover—neither of which charted. By 1966, he was honing his soul-blues style, covering American R&B tracks, before joining Jeff Beck in 1967 and achieving fame with Faces and solo albums like Every Picture Tells a Story (1971). Track Breakdown Shake (A-Side) 2:47 Sam Cooke (original 1964). Stewart's cover is a high-energy, mod-flavored R&B shaker with his distinctive gravelly vocals and harmonica flourishes, emphasizing danceable grooves typical of '60s British beat music. I Just Got Some (B-Side) 2:30 Willie Dixon & Billy "The Kid" Emerson (original by Willie Mabon, 1963). A cheeky, innuendo-laden blues track about newfound romantic satisfaction, delivered with Stewart's playful swagger—his version was an original recording, later covered in his style. The single's packaging was standard for the era: a plain label with Stewart's name and tracks, no elaborate artwork. Promo copies exist, adding to its rarity. Chart Performance: Did not chart in the UK or elsewhere; Stewart's early solo singles were commercial flops, overshadowed by his band work. This obscure gem showcases a young Rod Stewart channeling Sam Cooke and blues legends, far from his later rock anthems. If you're hunting vinyl, check promo variants for extra value!

Fontana's Wild New Boy Released as a 7-inch vinyl single in the UK on December 3, 1965, on Fontana Records (catalogue: TF 620 / 267503 TF), David Essex’s “Can't Nobody Love You” was his second solo single — a raw, bluesy soul belter. Backed with “Baby I Don't Mind,” both tracks showcased the 18-year-old’s powerful voice. Record Mirror raved: “This new boy is really wild… very good.” No chart entry, but the first step of Essex’s journey to Rock On glory. Single Overview Release Details Label: Fontana Records. Format: Vinyl, 7", 45 RPM, Single, Mono. Full Track Listing Side A Can't Nobody Love You – Written-By: James Mitchell Side B Baby I Don't Mind – Written-By: Luck, Sago, Dann, Lynton, Guidotti Global Variants No major reissues or international variants noted. Production and Context David Essex’s first solo release after leaving The Everly Brothers’ backing band. Raw R&B/soul before the glam era. Chart Performance No chart entry. Legacy and Collectibility “Can’t Nobody Love You” is David Essex’s ultra-rare debut single — pre Rock On , pre- Stardust . Original UK Fontana pressings fetch £100–£300+ on eBay/Discogs. Verify catalogue TF 620. Streams extremely limited. This single is a must-have for Essex completists and ‘60s UK soul collectors. Do you have Can't Nobody Love You in your vinyl stack? Did the wild new boy blow you away? 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 Bluesy Debut Howl Rod Stewart's 7-inch vinyl single "Good Morning Little Schoolgirl" was released in the UK on October 30, 1964, by Decca Records (catalogue: F 11996). Paired with "I'm Gonna Move To The Outskirts Of Town" on the B-side, this blues-rock cover of a Sonny Boy Williamson original marked Stewart's solo debut, though it did not make it onto the charts. Single Overview Country: UK 7" Vinyl Single Promotional Release Label: Decca – F.11996 Format: Vinyl, 7", 45 RPM, Promo Released: 1964 A Good Morning Little Schoolgirl Written-By – Williamson B I'm Gonna Move To The Outskirts Of Town Written-By – Weldon, Jacobs Producer – Ray Horricks Demonstration sample not for sale Country: UK 7" Vinyl Single Commercial Release Label: Decca – F.11996 Format: Vinyl, 7", 45 RPM Released: 30 Oct 1964 A Good Morning Little Schoolgirl Written-By – Williamson B I'm Gonna Move To The Outskirts Of Town Written-By – Weldon, Jacobs Producer – Ray Horricks Released in both solid center and prong centers. OFFICIAL BIOGRAPHY DECCA GROUP RECORDS ROD STEWART DECCA Rod Stewart debuts with "Good Morning Little Schoolgirl" backed with "Out-skirts of Town" on Decca F0096 released 16th October, 1964. A typical quote from this polished performer-"A White person can sing the blues with just as much conviction as a negro... All these negro singers singing about "Walking down the rail-road track..." They've never walked down a railroad track in their lives. Nor have I. You've got more to sing the the blues about in the Archway Road than on any railroad track I know." Roderick David Stewart was born in London on 10th January, 1945 and has lived in the Archway Road all his life where his parents Robert and Elsie own a newsagent shop. Rod doesn't remember exactly where he learned to play the guitar: "I just picked it up and there I was", he says. The first time he ever had to earn his living with the guitar was when he turned beatnik ("It was the fashionable thing to do at the time") and went busking around France and Spain with folk singer Wiz Jones. Life in Spain was tough. They slept under the arches of Barcelona Football Stadium, which was almost home from home for Rod who has turned down several offers to turn professional footballer. He still plays on Sunday mornings and has just signed for the Show Biz XI. France proved more profitable. "We could make 50 francs an hour in St. Tropez and it wasn't bad sleeping on the beaches", Rod says. But in the end they were arrested for vagrancy and sent home (third class) by the British Consul. After a few unhappy experiences at such jobs as "Fence putter-upper" and collecting the odd £6/17 for semi-professional footballing he got a job with Jimmy Powell and the Five Dimensions at the Ken Collyer Club. (They played the intervals when the Rolling Stones were off stage.) In order to make ends meet he worked with his brother's display and sign-writing business until Long John Baldry tool ever the late Cyril Davies' Rhythm and Blues All Stars and asked Rod to be second singer. "The best things which have happened to me are meeting Long John Baldry: playing with, Memphis Slim in Paris, (he has also played with him in London "Marquee Club where he played with Harmonica star Little Walter); appearing at the Richmond, Redcar and Belle Vue Jazz Festivals." Cutting "Up Above My Head" on the B side of Long John's latest disc. Appearing on BBC "Saturday Club". Living with 20 beatniks on a derelict houseboat at Shoreham. "All the greybeards in the area didn't like the idea of us all not working so they got the police to drive us out with hoses. of cold water. Then they towed the barge away and sank it so we wouldn't be able to go back, which was just as well as the boat filled up with water every time the tide came in." This was the first time he made the newspaper front pages (Mirror and Sketch) and doesn't mind if he doesn't star there again for the same reason. It was in January that Rod turned fully professional and with T.V. appearances and his discovery by Decca A & R man Ray Horricks this artist will go far. FACTS OF LIFE: REAL NAME: Roderick David Stewart. PARENTS: Robert and Elsie. BROTHERS: Don and Bob: and sisters: Mary and Peggy. (all married) BORN: 10th January, 1945. SCHOOLS: Secondary Modern, with Ray and Dave Davis and Pete Quaife of the Kinks. HONOURS, DIPLOMAS School prefect and House Captain. AND MEDALS: HAIR: Blond. EYES: Brown. WEIGHT: 10 stones. HEIGHT: 6ft. "Wearing my size eights". FIRST PUBLIC APPEARANCE: "Somewhere in France". FIRST RADIO APPEARANCE: BBC Saturday Club. FIRST TV APPEARANCE: Beat Room, BBC-2, Southern TV, "Late Date". FORTHCOMING TV APPEARANCE: Probably January, 1965 in ITV's "Rod the Mod". INSTRUMENTS: 12 and 6 string guitar, harmonica, banjo and mandolin. LIKES; SINGERS: Billie Holliday, Bobby Bland, Frank Sinatra, LIKES; INSTRUMENTALISTS: Nancy Wilson.Buddy Rich, Ben Webster, Gerry Mulligan. LIKES; GROUPS: Long John Baldry and the Hoochie Coochie Men, the Rolling Stones. DISLIKES: Plonkers. NOT VERY FOND OF: Scotland. AMBITION: To sing with the Basie Orchestra. PUBLICITY DEPARTMENT THE DECCA RECORD COMPANY LIMITED DECCA HOUSE ALBERT EMBANKMENT WITH COMPLIMENTS LONDON B.E.Ι. (OCTOBER (4) Decca Press Release

The Konrads performed at “La Rouselle”, Justin Hall, West Wickham on January 3, 1963. During this period David Bowie, then David Jones was a lead vocalist and saxophonist in the group.

On this day in October 29, 1949, the world got a sonic storm named James Williamson in Castroville, Texas. As the guitarist who injected pure proto-punk fury into Iggy and the Stooges, he didn't just play Raw Power—he was Raw Power. Co-writing classics like "Gimme Danger" and "Your Pretty Face Is Going to Hell," Williamson's jagged riffs on that 1973 album redefined rock's edge, influencing everyone from the Sex Pistols to Nirvana. After a wild hiatus, he roared back with the reformed Stooges in 2009, dropping gems like Ready to Die and Re-Licked. At 76, he's still a force—engineering, producing, and shredding without compromise. Happy Birthday, James! You're the demon intellect of guitar gods. Raise a fist for the man who made chaos sound like art. #Stooges #RawPower #JamesWilliamson #ProtoPunk

🎸🔥 October 5th, 1945—a legend was born. Happy 80th birthday to Brian Connolly, the unforgettable frontman of The Sweet! His larger-than-life voice and glitter-soaked charisma defined glam rock’s golden era. From the raw energy of “Ballroom Blitz” to the soaring melody of “Fox on the Run,” Brian’s performances were pure magic, lighting up stages and airwaves in the ‘70s. That iconic falsetto and fearless swagger made The Sweet a household name, and his influence still sparkles in rock history. Gone too soon, but his music keeps the party alive. 🥁🎤 What’s your favorite Sweet memory or song? Let’s crank up the volume and celebrate Brian’s legacy today! 🎉 #BrianConnolly #TheSweet #GlamRock #BallroomBlitz #RockLegends

T.Rex: "Bolan Dates & New Single" two articles in Melody Maker, November 11, 1972.

T.Rex's glam anthem explodes on West German TV! T.Rex’s performance of Children of the Revolution, recorded for BBC’s Top of the Pops and rebroadcast on West Germany’s Disco 72 on November 11, 1972. Disco (Die ZDF-Musikshow), launched October 2, 1971, and hosted by Ilja Richter, showcased chart hits via live, lip-synced, and pre-recorded clips for young audiences. Tracklist: Blackfoot Sue – "Standing in the Road" (studio); Daniel Boone – "Annabelle" (studio) T.Rex – "Children of the Revolution" (Top of the Pops) Uriah Heep – "Easy Living" (recording) Danyel Gérard – "Meine Stadt" (studio) Chris Andrews – "Pretty Belinda" (studio) Sweet – "Wig-Wam Bam" (Top of the Pops) Dimitri – "Poor Soul" (studio).

David Bowie's Santa Monica concert review October 20/21 published November 11, 1972 in Melody Maker.

Rundgren's Bearsville Spark Sparks' “Wonder Girl” 7-inch vinyl single, was released in the UK on November 10, 1972, on Bearsville Records (catalogue: K 15505). Backed with “(No More) Mr Nice Guys,” this effervescent track, written by Ron Mael, was produced by Todd Rundgren. The A-side's quirky pop energy and Mael brothers' eccentric charm did not chart in the UK but reached No. 112 in the US. Issued in a Bearsville company sleeve, it's an early gem from the band's Kimono My House era precursors.Sparks Single Overview: A-Side: “Wonder Girl” (2:15) Written-By – Ron Mael. Producer – Todd Rundgren. B-Side: “(No More) Mr Nice Guys” (5:45) Written-By – Mankey, Mael. Engineer – James Lowe Producer – Todd Rundgren. Label: Bearsville Records (UK pressing, 45 RPM). Formats: Commercial 7" Vinyl (K15505) A Wonder Girl 2:15 B(No More) Mr. Nice Guys 5:45 Promotional 7" Vinyl (BSV 0006) A Wonder Girl 2:15 B(No More) Mr. Nice Guys 5:45 Label lists duration of 3:33 for side B (the length of the edit used on the US edition) but record plays full 5:45 album version. Country Variations: The single was a UK release with limited international distribution: 7" Wonder Girl / (No More) Mr. Nice Guys 7", Single, Promo Bearsville – BSV 0006 US 1972 7", Single Bearsville – BSV 0006 US 1972 7", Single, Styrene, Terre Haute Pressing Bearsville – BSV 0006 US 1972 7", Single Bearsville – K 15505, Bearsville – BSV 0006 UK 1972 7", Single, Promo Bearsville – K 15505, Bearsville – BSV 0006 UK 1972 7", Single Bearsville – BSV 0006 Canada 1972 7" Single, Stereo Bearsville – BEA 15.505 Netherlands 1972 Production and Context: Produced by Todd Rundgren. Recorded in 1972 during early Sparks sessions. The lineup: Ron and Russell Mael, with Rundgren's production. “Wonder Girl” was the band's debut single, while “Mr Nice Guys” added theatrical flair. Singles Released and Chart Performance “Wonder Girl” was Sparks' debut single: Chart Data: UK: No chart entry. US: No. 112 (Billboard Bubbling Under Hot 100). International: No chart entries elsewhere. Single Chart Performance “Wonder Girl” did not chart in the UK and peaked at No. 112 in the US Bubbling Under Hot 100, with no international success. Legacy and Collectibility “Wonder Girl” is Sparks' quirky debut, with “Mr Nice Guys” a fan-favorite oddity. Original UK 7-inch vinyls, verify catalogue K 15505. Streams on Spotify via compilations preserve the analog fizz. This single is a must-have for Sparks fans and early glam collectors. Have you snagged this Sparks rarity in your vinyl collection? Does Wonder Girl wonder 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 What’s the next classic vinyl you’d like to feature? Share in the comments! Tube

A Major Tom Glam-Folk Resurrection Released as a vinyl LP reissue in the US on November 10, 1972, on RCA Victor (catalogue: LSP-4813), David Bowie’s Space Oddity — originally issued in the UK as David Bowie (1969) — was the first US release under the Space Oddity title. Produced by Gus Dudgeon (A1) and Tony Visconti (A2–B5) at Trident Studios, this 9-track folk-psych gem featured “Space Oddity,” “Letter To Hermione,” and “Cygnet Committee.” Issued in Hollywood, Indianapolis, Rockaway, and Dynaflex pressings, with 8-track, cassette, and reel-to-reel variants. Included poster in many copies. The US pressings were imported into the UK, as stated in the advert of November 11, 1972 Make room for 2 Bowie albums NOW AVAILABLE ON RCA RECORDS AND TAPES DAVID SPACE ODDITY LSP 4813 PK 2101 cartridge P8S 2101 cassette THE MAN WHO SOLD THE WORLD LSP 4816 PK 2103 cartridge P8S 2103 cassette Specially imported from the U.S.A. Released November 10th. Each album includes a poster of David Bowie. Also available Ziggy Stardust SF 8287 P8S 1932 cassette PK 1932 cartridge Hunky Dory SF 8244 P8S 1850 cassette PK 1850 cartridge. RCA Records and Tapes Album Overview Release Details Label: RCA Victor. Formats: Vinyl LP (various pressings), 8-track cartridge, cassette, reel-to-reel. Full Track Listing Side A 1. Space Oddity (5:15) – Arranged By: David Bowie, Paul Buckmaster – Producer: Gus Dudgeon 2. Unwashed And Somewhat Slightly Dazed (6:09) 3. Letter To Hermione (2:28) 4. Cygnet Committee (9:33) Side B 1. Janine (3:18) 2. An Occasional Dream (2:51) 3. The Wild Eyed Boy From Freecloud (4:45) 4. God Knows I'm Good (3:13) 5. Memory Of A Free Festival (7:05) 1972 Variants (all supplied) - LP, Album, Reissue, Hollywood Press – RCA Victor LSP-4813 – US – 1972 - LP, Album, Reissue, Stereo, Indianapolis Pressing – RCA Victor LSP-4813 – US – 1972 - LP, Album, Reissue, Rockaway Press – RCA Victor LSP-4813 – US – 1972 - LP, Album, Reissue, Dynaflex – RCA Victor LSP-4813 – US – 1972 - 8-Track Cartridge, Album, Reissue – RCA Victor P8S-2101 – US – 1972 - Cassette, Album, Reissue – RCA Victor PK-2101 – US – 1972 - Reel-To-Reel, 7 ½ ips – RCA Victor EPPA 4813-C – US – 1972 Production and Context Produced by Gus Dudgeon (Space Oddity) and Tony Visconti (remainder). Recorded 1969 at Trident Studios. First US release under *Space Oddity* title with poster in many copies. Album Chart Performance - UK (1972–1974 runs): - November 25, 1972 to January 6, 1973 (7 weeks): 31 → 24 → 25 → 40 → 36 → 36 → 47 - January 20, 1973 to February 24, 1973 (6 weeks): 43 → 29 → 30 → 20 → 42 → 37 - March 10, 1973 (1 week): 40 - March 31, 1973 to April 14, 1973 (2 weeks): 47 → 36 - May 12, 1973 (1 week): 41 Do you have Space Oddity 1972 US reissue in your vinyl stack? Ground control to Major Tom? 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 Doubleback Psychedelic Dream Tyrannosaurus Rex’s A Beard Of Stars / Unicorn double LP, was released in the UK on November 10, 1972, on Cube Records (catalogue: TOOFA 9) as part of the Doubleback Series. This reissue paired the 1970 A Beard Of Stars (with Mickey Finn) and 1969 Unicorn (with Steve Peregrin Took), both produced by Tony Visconti at Trident Studios. Featuring Marc Bolan’s whimsical lyrics, acoustic guitars, and ethereal vocals—plus John Peel’s narration on The Misty Coast Of Albany—it peaked at No. 44 on the UK Albums Chart for 2 weeks. Issued in a gatefold cover with brown Fly inners and one sleeve printed upside down, it’s a budget-priced psychedelic treasure. Album Overview Release Details: Label: Cube Records (UK). Formats: 2 x Vinyl LP (reissue compilation). ℗ & ©: 1969/1970. Recorded at Trident Studios. Published by Essex Music International / Lupus Music. Produced for Straight Ahead Productions. Notes: Gatefold cover with reproduced original sleeves (one upside down). Number 2635 008 under TOOFA 9 inside cover. UK Release Formats and Track Listings A Beard Of Stars / Unicorn was released in the UK in 1972 as a double LP reissue: 2 x Vinyl LP, Compilation (Catalogue: TOOFA 9): A Beard Of Stars (Side A & B): A1. Prelude A2. A Day Laye A3. The Woodland Bop A4. Fist Heart Mighty Dawn Dart A5. Pavilions Of Sun A6. Organ Blues A7. By The Light Of The Magical Moon A8. Wind Cheetah B1. A Beard Of Stars B2. Great Horse B3. Dragon's Ear B4. Lofty Skies B5. Dove B6. Elemental Child Unicorn (Side C & D): C1. Chariots Of Silk C2. 'Pon A Hill C3. The Seal Of Seasons C4. The Throat Of Winter C5. Catblack (The Wizzard's Hat) – Piano – Tony Visconti C6. Stones For Avalon C7. She Was Born To Be My Unicorn C8. Like A White Star, Tangled And Far, Tulip That's What You Are D1. Warlord Of The Royal Crocodiles D2. Evenings Of Damask D3. The Sea Beasts D4. Iscariot D5. Nijinsky Hind D6. The Pilgrim's Tale D7. The Misty Coast Of Albany – Narrator – John Peel D8. Romany Soup Packaging: Gatefold cover with brown Fly inners. D7 The Misty Coast Of Albany Narrator [Children's Story Read By] – John Peel D8 Romany Soup Produced For – Straight Ahead Productions Recorded At – Trident Studios Published By – Essex Music International Published By – Lupus Music Backing Vocals, Drums [Moroccan Clay Drums], Tabla, Bass, Finger Cymbals – Mickey Finn (3) (tracks: A1 to B6) Bongos, Vocals, Drums [African Talking Drums], Bass Guitar, Piano, Percussion, Drums, Gong – Steve Peregrin Took (tracks: C1 to D8) Engineer – Malcolm Toft, Rob Cabel* (tracks: C1 to D8) Guitar, Written-By – Marc Bolan Lead Vocals, Organ, Bass – Marc Bolan (tracks: A1 to B6) Organ [Lip Organ], Fiddle [Fonofiddle], Harmonium, Vocals – Marc Bolan (tracks: C1 to D8) Photography – Pete Sanders Producer – Tony Visconti Issued With Brown Fly Inners Gatefold cover ℗ 1969 and ℗ 1970 on labels The number (2635 008) appears under TOOFA 9 inside the cover Country Variations The double LP was released in several countries: UK (Cube TOOFA 9): Released November 10, 1972. Germany (Cube 2635 008): Italy (Cube 2635 008 S / 2338 017 / 2338 018): Japan (Cube MW 9027/8): Australia (Cube 2635 008): Production and Context Produced by Tony Visconti. Musicians: Marc Bolan (guitar, vocals, organ, bass), Mickey Finn (backing vocals, drums, tabla, bass, finger cymbals on A Beard Of Stars), Steve Peregrin Took (bongos, vocals, drums, bass, piano, percussion, gong on Unicorn), John Peel (narrator on The Misty Coast Of Albany). Engineered by Malcolm Toft. A Beard Of Stars / Unicorn was a budget reissue of Bolan’s folk-psych era before T. Rex’s glam explosion. Released amid The Slider success, it competed with David Bowie and Roxy Music. Album Chart Performance A Beard Of Stars / Unicorn charted briefly: UK: Peak: No. 44. Weeks on Chart: 2 (December 9–16, 1972). Chart Run: No. 44 (Dec 9), No. 44 (Dec 16). Legacy and Collectibility A Beard Of Stars / Unicorn is Tyrannosaurus Rex’s psychedelic double, with Elemental Child and Catblack fan favorites. Original UK double vinyls fetch £15–£40 on eBay/Discogs. Verify catalogue TOOFA 9. Streams on Spotify via reissues preserve the analog whimsy. This reissue is a must-have for Bolan fans and psych-folk collectors. Do you have A Beard Of Stars / Unicorn in your vinyl stack? Which side enchants 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 Double A-Side Heartbreaker Rod Stewart’s “Angel” / “What Made Milwaukee Famous (Has Made A Loser Out Of Me)” 7-inch double A-side vinyl single, was released in the UK on November 10, 1972, on Mercury Records (catalogue: 6052 198). This emotional pair of tracks, with Rod Stewart as producer, came from his album Never A Dull Moment. The A-sides' soulful “Angel” (a cover adapted for the album) and the poignant “What Made Milwaukee Famous” peaked at No. 4 on the UK Singles Chart for 11 weeks. Housed in a Mercury company sleeve, with a US export pressing featuring orange-red labels and a large-hole jukebox-style centre USA export pressing issued for the UK market to supply demand, it’s a gem from Stewart’s Faces-era peak. Single Overview. Vinyl, 7", 45 RPM, Single (6052 198): “What Made Milwaukee Famous (Has Made A Loser Out Of Me)” / “Angel.” In a company sleeve. A1: “What Made Milwaukee Famous (Has Made A Loser Out Of Me)” (2:50, Sutton) – Producer – Rod Stewart A2: “Angel” (4:04, Hendrix) – Producer – Rod Stewart Vinyl, 7", 45 RPM, Single (US Export): Same tracklist. Orange-red labels, large hole jukebox-style centre. A1: “What Made Milwaukee Famous (Has Made A Loser Out Of Me)” (2:50, Rod Stewart) – Producer – Rod Stewart A2: “Angel” (4:04, Rod Stewart) – Producer – Rod Stewart Notes: “Angel” has been recorded by numerous artists; Stewart was the first to adapt it for Never A Dull Moment. UK Variations: 7", Single, 45 RPM, Injection Moulded Labels Mercury - 6052-198 7", Single, 45 RPM, Injection Moulded Labels Mercury - 6052-198 7", 45 RPM, Single, Solid Centre Mercury - 6052 198 7", Single, 45 RPM, Solid Centre Metallic Blue Injection Labels Mercury - 6052-198 7", 45 RPM, Single, Large Centre Mercury - 6052 198 7", 45 RPM, Single, 4-Prong Centre Mercury - 6052 198 Country Variations: The single was released in multiple countries, featuring either a picture sleeve or company sleeves. Australia - Mercury - 1972 Austria - Mercury - 1972 Germany - Mercury - 1972 Norway - Mercury - 1972 Portugal - Mercury - 1972 Spain - Mercury - 1972 Produced by Rod Stewart. Recorded in 1972 during Never A Dull Moment sessions. “What Made Milwaukee Famous” was a heartfelt loser’s lament, while “Angel” was a tender cover. Released amid Stewart’s solo ascent. Chart Performance: UK: No. 4 (Official Singles Chart), charting for 11 weeks. FULL PAGE ADVERT DATED: NOVEMBER 11, 1972 UK Chart Data: Entry Date: November 12, 1972. Peak: No. 4 (December 3, 1972). Weeks on Chart: 11 (Nov 12, 1972 – Jan 21, 1973). Chart Run: No. 23 (Nov 12), No. 10 (Nov 19), No. 6 (Nov 26), No. 4 (Dec 3), No. 9 (Dec 10), No. 12 (Dec 17), No. 12 (Dec 24), No. 23 (Dec 31), No. 28 (Jan 7), No. 36 (Jan 14), No. 50 (Jan 21). Note: Stewart’s fourth UK Top 10 hit; double A-side format boosted airplay. Legacy and Collectibility “Angel” / “What Made Milwaukee Famous” is a Stewart emotional double, with “Angel” a timeless cover and “Milwaukee” a heartfelt gem. . Verify catalogue 6052 198. Streams on Spotify via Never A Dull Moment reissues preserve the analog soul. This double A-side is a must-have for Stewart fans and ‘70s rock collectors. Have you snagged this Stewart double in your vinyl collection? Which side steals your heart? 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

Germany’s teen bible crowns Rod the sexiest voice in rock! Rod Stewart’s full-page Bravo magazine feature, November 8, 1972 – the gravel-voiced, heart-throb in all his 1972 glory., cover only.

Mott The Hoople's Rock and Roll Queen one-page album review Record Mirror November 4, 1972

A Glam Rock Grand Slam Wizzard’s “Ball Park Incident” 7-inch vinyl single, was released in the UK on November 3, 1972, on Harvest Records (catalogue: HAR 5062). Backed with “The Carlsberg Special (Piano's Demolished Phone 021 373 4472),” this exuberant glam rock anthem, written by Roy Wood, was the band’s debut single. Produced by Roy Wood, the A-side’s brassy horns, pounding drums, and Wood’s playful vocals about a baseball romance peaked at No. 6 on the UK Singles Chart for 12 weeks. Issued in solid centre, 4 prong centre, and promo versions, it launched Wizzard’s chart reign. The band mimed the song on BBC TV's Top of the Pops on December 14 and 21, 1972, and again on January 4, 11, and 25, 1973. All recordings of these performances, except for the last one, have been erased. Personnel: Roy Wood – vocal, electric and acoustic guitars, sitar, cello, bassoon, baritone saxophone, string bass, B-flat bass tuba, trombone, recorders, percussion Rick Price – bass guitar, vocals, percussion Bill Hunt – piano, harpsichord, French horn, trumpet, flugelhorn, tenor horn, bugle, euphonium, E flat tuba, little glass, backing vocals Hugh 'H' McDowell – cello and ARP synthesiser Nick Pentelow – tenor saxophone, clarinet and flute; bass backing vocals Mike Burney – alto, tenor, baritone & synthesized saxes, clarinet and flute Keith Smart – drums Charlie Grima – drums, congas, percussion Chart Performance: Chart (1973) Position Australian Singles Chart 6 Irish Singles Chart 8 Dutch Top 40 1 UK Singles Chart 6 UK Chart Data: Entry Date: December 3-9, 1972. (46) Peak: January 7 - 13, 1973. (6) Peak: January 14 - 20, 1973. (6) Peak: January 21 - 27, 1973. (6) Weeks on Chart: (Dec 3, 1972–Feb 18, 1973). (12) The Carlsberg Phone Fiasco: A Glam Prank Gone Wild! 60 Calls in 9 Hours – Its Glam Chaos! Evening Mail, April 1973: A Birmingham pensioner’s quiet life exploded when her new phone number – ex-Wizzard pianist Bill Hunt’s old line – became the B-side gag on “The Carlsberg Special (Pianos Demolished Phone 021 373 4472).” Roy Wood slipped it in as a prank. Miss Georgina Wyre, 75, got 60 calls in nine hours from pop fans nationwide. “I told them they had the wrong number,” she said, unplugging to sleep. The Post Office stepped in to intercept future chaos. Glam rock’s wildest wrong number! Pensioner's phone number is top of the pops Evening Mail Reporter A PRACTICAL joke that backfired has shattered the normally quiet world of a 75-year-old Birmingham woman. In nine hours she received 60 calls on her new telephone from pop fans all over the country. And the calls are still flooding in. For Miss Georgina Wyre, of Anderson Road, Erdington, has been given one of the pop-worlds most publicised telephone numbers. It is the title of a record by Wizzard, now climbing the charT, called the Carisburg Special (Pianos Demolished. Phone 021 --). And that number, given in full, is where Miss Wyre's troubles began. "MISTAKEN" "I could not understand what. people were talking about when I answer," she said today. "They said something about Wizzard and pianos being smashed. I just told them they must be mistaken with the number." But pensioner Miss Wyre, who said she had the telephone fitted "for company" was not mistaken and the calls flooded in throughout the weekend. The telephone number was originally that of Wizzard's pianist Bill Hunt who lives in Birmingham. TELEPHONE And his telephone didn't stop ringing for days after the record was released. Roy Wood leader of the group, said he put the phone number into the title without Bill knowing it. "We did it just for a laugh," he said. Miss Wyre had her telephone fitted, with the group's old number, on Thursday. Callers first rang rang soon after the engineers had left at 2.30 p.m. And by 11 p.m. she had. listed 60 calls. "I took the receiver off so that I could get some sleep. I did not really mind, because people have usually been quite polite. "But it has gone past a joke now. I hope the Post Office can change my number." A spokesman for the Post Office said later: "We are making enquiries. I would think we will be able to intercept all her calls in future." Miss Georgina Wyre answering another call at her Erdington home today. Evening Mail April 1973 "Ball Park Incident" is included as a bonus track on the 2006 reissue of Wizzard's first album, Wizzard Brew. Single Overview A-Side: “Ball Park Incident” Written by Roy Wood. A high-energy glam rock stomper with Phil Spector-style production, brass, and Wood’s cheeky lyrics about a ballpark fling. Produced by Roy Wood. B-Side: “The Carlsberg Special (Piano's Demolished Phone 021 373 4472)” Written by Hunt. A chaotic, piano-driven instrumental with demolished phone sounds and a Birmingham number, showcasing Wizzard’s eccentricity. Produced by Roy Wood. Release Details: Label: Harvest Records (UK pressing, 45 RPM). Formats: 7-Inch Vinyl (Solid Centre) (HAR 5062): 7-Inch Vinyl (4 Prong Centre) (HAR 5062): 7-Inch Vinyl (Demo, Not For Sale, 4 Prong Centre) (HAR 5062): Notes: ℗ 1972 The Gramophone Company Limited. Published by Roy Wood Music / Carlin Music Corp. Management: Aquarius Management, Eric Hall. Matrix/Runout (A): SHAR 5062 A-1U KT; (B): SHAR 5062 B-1U KT. UK Variations 7-Inch Vinyl (Solid Centre) (HAR 5062): Label: Harvest – HAR 5062 Format: Vinyl, 7", 45 RPM, Single, Solid centre A Ball Park Incident B The Carlsberg Special (Piano's Demolished Phone 021 373 4472) Phonographic Copyright ℗ – The Gramophone Co. Ltd. Record Company – The Gramophone Co. Ltd. Published By – Roy Wood Music Published By – Carlin Music Corp. Management – Aquarius Management, Eric Hall (5) Producer – Roy Wood ℗ 1972 The Gramophone Company Limited. Made in Gt. Britain Label shades vary between yellow and green-yellow 7-Inch Vinyl (4 Prong Centre) (HAR 5062): Label: Harvest – HAR 5062 Format: Vinyl, 7", 45 RPM, Single, 4 Prong Centre A Ball Park Incident B The Carlsberg Special (Piano's Demolished Phone 021 373 4472) Phonographic Copyright ℗ – The Gramophone Co. Ltd. Record Company – The Gramophone Co. Ltd. Pressed By – The Gramophone Co. Ltd. Published By – Roy Wood Music Published By – Carlin Music Corp. Management – Aquarius Management, Eric Hall (5) Producer – Roy Wood ℗ 1972 The Gramophone Company Limited. Made in Gt. Britain Label shades vary between yellow and green-yellow. 7-Inch Vinyl (Demo, Not For Sale, 4 Prong Centre) (HAR 5062): Label: Harvest – HAR 5062 Format: Vinyl, 7", 45 RPM, Promo A Ball Park Incident B The Carlsberg Special ( Piano's Demolished Phone 021 373 4472 ) Management – Aquarius Management, Eric Hall (5) Producer – Roy Wood A&B-sides: Roy Wood Music / Carlin Music Corp. ℗ 1972 The Gramophone Company Limited. Made in Gt. Britain Matrix / Runout (A Side Label): SHAR.5062A Matrix / Runout (B Side Label): SHAR.5062B Matrix / Runout (A Side Stamped): SHAR 5062 A-1U KT Matrix / Runout (B Side Stamped): SHAR 5062 B-1U KT Country Variations The single was released in several countries with minor variations, many in picture sleeves. Denmark - Harvest - 1972 France - Harvest - 1972 Germany - Harvest - 1972 Greece - Harvest - 1972 Ireland - Harvest - 1972 Israel - Harvest - 1972 Netherlands - Harvest - 1972 Spain - Harvest - 1972 Australia - Harvest - 1973 Japan - Odeon - 1973 New Zealand - Harvest - 1973 USA - United Artists - 1973 Yugoslavia - Harvest - 1973 Have you snagged this Wizzard debut in your vinyl collection? Does “Ball Park Incident” hit a home run? Share in the comments! Sources Discogs: Ball Park Incident (1972) 45cat: HAR 5062 Single YouTube: Ball Park Incident Wikipedia: Ball Park Incident Official Charts Company: Wizzard Singles AllMusic: Wizzard Discography Billboard: N/A (No US chart data for this single)

Cooper's Campus Shock Therapy The Alice Cooper Group’s live performance at Hofstra University, was held on November 2, 1972, in Hempstead, New York, USA. This high-energy show, featuring the band’s theatrical shock rock antics, took place during their tour supporting the album School's Out. With Alice Cooper (vocals), Glen Buxton (guitar), Michael Bruce (guitar/keyboards), Dennis Dunaway (bass), and Neal Smith (drums), the setlist included hits like “School’s Out” and “I’m Eighteen,” captivating the university crowd. It was broadcast on November 24, as part of The ABC In Concert series, and included the "Gutter Cat" fight scene and the "Killer" Hanging scene. ABC kicked off its first In Concert, pre-empting the Dick Cavett Show, featuring performances taped a few weeks earlier at Hofstra University in Hempstead, New York. On the bill was the Senior General of Rock, Bo Diddley, acoustic duo Seals and Croft, R&B man Curtis Mayfield and for the opening act, The Alice Cooper Group. Rock fans in Cincinnati, however, didn't get to see beyond the first few minutes of Alice's violent theatrics. Lawrence H. Rogers II was so mortified by what he saw that he ordered the ABC affiliate he owned, WKRC-TV Channel 12, to yank the show off the air immediately. Channel 12's decision to protect its viewers was responded to within minutes with a phoned-in bomb threat and several carloads of youths picketing the station. Some 4,000 letters of protest, many profane, poured in over the next few days, the biggest mail load that station officials could remember. Station manager Ro Grignon told TV Guide that he wasn't opposed to rock concerts. "In fact, we think they're going to be a smashing success. We simply found Alice Cooper a little tense." Meanwhile, the ABC affiliate in Kingsport, Tennessee complained to the network about the performance but ran it nonetheless. WPVI-TV Channel 6 in Philadelphia ran the show on tape delay at 1:30 a.m. Channel 12 in Cincinnati later televised an edited version of the show, sans Alice, to give viewers a chance to enjoy the other, less offensive acts that were on the show. The next In Concert show was sent to affiliate managers via closed-circuit for approval before broadcast Concert Overview Event Details: Date: November 2, 1972. Venue: Hofstra University Gymnasium, Hempstead, New York, USA. Capacity: Approximately 5,000 (university gymnasium). Notes: Part of the School's Out tour, shortly after the album’s July 1972 release. The songs broadcast were: Eighteen Gutter Cat V The Jets Killer School's out The lineup was Alice Cooper (vocals), Glen Buxton (guitar), Michael Bruce (guitar/keyboards), Dennis Dunaway (bass), and Neal Smith (drums). The gig was part of the School's Out tour, following the album’s success (No. 7 US, 1972). Hofstra University’s student union booked the band for $5,000, a bargain for the era. Sources Prince Vault Discogs 45cat UTube Wikipedia Official Charts Company

Bolan's Born To Boogie B-Side Released as a 7-inch vinyl single in the UK on December 1, 1972, on T. Rex Wax Co. (catalogue: MARC 3), T. Rex’s “Solid Gold Easy Action” was Marc Bolan’s infectious glam-rock anthem. Backed with “Born To Boogie,” both written/produced by Bolan with Tony Visconti, this solid-gold stomper peaked at No. 2 on the Official Singles Chart for 11 weeks. Issued in solid centre, push-out centre, and promo variants, with worldwide releases. Single Overview Release Details Label: T. Rex Wax Co. Formats: Vinyl, 7", 45 RPM, Single (solid centre / push-out centre / promo). Full Track Listing Side A Solid Gold Easy Action – Written-By, Producer: Marc Bolan – Producer: Tony Visconti Side B Born To Boogie – Written-By, Producer: Marc Bolan – Producer: Tony Visconti Global Variants - 7", 45 RPM, Single – T. Rex MARC 3 – UK – 1972 - 7", Single, Promo – T. Rex MARC 3 – UK – 1972 - 7", 45 RPM, Single – Ariola/T. Rex – Austria/Belgium/Denmark/Finland/Germany/Greece/Ireland/Italy/Netherlands/New Zealand/Norway/Portugal/Singapore/South Africa/Spain/Sweden – 1972 - 7", 45 RPM, Single – T. Rex/CBS/Stateside – Australia/Brazil/France/Japan/Lebanon/Turkey/Yugoslavia – 1973 Production and Context Written/Produced by Marc Bolan. Co-Producer: Tony Visconti. From the peak of T. Rextasy — between *The Slider* and *Tanx*. Official Singles Chart Data Peak position: 2 11 weeks – December 9, 1972 to February 17, 1973 8 → 4 → 3 → 3 → 2 → 3 → 7 → 17 → 28 → 32 → 41 Chart Performance - UK Official Singles Chart : 2 (11 weeks) – entry December 9, 1972 Legacy and Collectibility “Solid Gold Easy Action” is T. Rex’s glam boogie masterpiece. Original UK T. Rex Wax Co. pressings (solid/push-out centre) fetch £20–£60 on eBay/Discogs, promos £50–£120. Verify catalogue MARC 3. Streams on Spotify keep the boogie alive. This single is a must-have for T. Rex collectors. Do you have Solid Gold Easy Action in your vinyl stack? Are you born to boogie? 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 What’s the next classic vinyl you’d like to feature? Share in the comments! Whilst every effort is made to provide accurate information, mistakes do happen. Simply leave a comment and the post will be updated. Thank you.

Alice hits the cover – Cream goes full gonzo on shock rock’s wildest ride! cover and four-page feature DaDa Weer All Zrazee Now Cream magazine, November 1972.

On October 30th, 1972, "Hi-Ho Silver Lining" backed with "Beck's Bolero" and "Rock My Plimsoul" by Jeff Beck entered the UK singles chart at number 32. The song remained on the chart for 11 weeks, reaching its peak at number 17 Catalogue: 1C 006-93 925 MA Psychedelic Rock Reissue Jeff Beck’s “Hi Ho Silver Lining” 7-inch vinyl single, was released in the UK on October 20, 1972, on RAK Replay (catalogue: RR 3). Backed with “Beck's Bolero” and “Rock My Plimsoul,” this reissue of his 1967 hit, with the added track of “Rock My Plimsoul, written by Scott English and Larry Weiss, capitalized on Beck's growing legend. Produced by Mickie Most, the A-side's upbeat psychedelic rock with strings and bells peaked at No. 17 on the UK Singles Chart for 11 weeks. Housed in a die-cut paper sleeve, it's a collectible snapshot of Beck's Yardbirds-to-solo evolution. "Hi Ho Silver Lining" is a rock song, written by American songwriters Scott English and Larry Weiss and first released as a single in March 1967 by English band the Attack, then a few days later by Jeff Beck. The Attack's version failed to chart, while Beck's recording reached the top 20 of the singles chart in his native Britain in both 1967 and 1972, becoming his biggest solo hit. Beck's single failed to crack the Billboard Hot 100 in the United States, however. The song is popular with fans of numerous football clubs in the United Kingdom, including Aston Villa, Sheffield Wednesday, and Wolverhampton Wanderers, where it is often chanted by spectators. During the chorus, the words 'silver lining' are usually replaced with the name of the football club in question. Background Songwriters English and Weiss started writing a song together, with a chorus of "Hi ho silver lining", but no verses. When producer Mickie Most heard their early version, he suggested that it would be a hit and persuaded English to complete the lyrics. According to writer and musician Bob Stanley, English wanted to record a finished version of the song himself, so decided to deter Most by writing "the most unusable, stupid lyric he could think up, about flies in pea soup and beach umbrellas". To English's chagrin, Most liked the song, and had Jeff Beck record it. Jeff Beck version In May 1967, Beck's version peaked at No. 14 (for three consecutive weeks) on the UK Singles Chart during a then lengthy 14-week run. The single spent a further 11 weeks on the chart when reissued in the autumn of 1972, peaking at No. 17 (for three consecutive weeks) in December. In the U.S., Beck's single (released as "Hi-Ho Silver") peaked at No. 123 in May 1967. The song was not included on Beck's album Truth when first released in 1968, but featured as a bonus track on the 2006 reissue. In 1983, in an all-star jam with Steve Winwood and Simon Phillips, Beck performed "Hi Ho Silver Lining" live at the ARMS Charity Concert, a charity benefit show for multiple sclerosis, at London's Royal Albert Hall. The song was resurrected for the Together and Apart Japanese and U.S. tours with Eric Clapton in 2009 and 2010. According to Kate Mossman, writing in the New Statesman, Beck "has likened 'Hi Ho Silver Lining' to having a pink toilet seat hung around your neck for the rest of your life." Single Overview Label: RAK – RR 3 Series: RAK Replay – RR 3 Format: Vinyl, 7", 45 RPM, Single, Reissue, Repress Country: UK Released: 1973 A Hi Ho Silver Lining Drums [Uncredited] – Clem Cattini Written-By – Scott English B Bolero Bass Guitar [Uncredited] – John Paul Jones Drums [Uncredited] – Keith Moon Electric Guitar – Jeff Beck Electric Guitar [12 String] [Uncredited] – Jimmy Page Piano [Uncredited] – Nicky Hopkins Written-By – Jeff Beck B2 Rock My Plimsoul Written-By – Rod* Personnel Jeff Beck – guitars, vocals John Paul Jones – bass guitar Clem Cattini – drums Rod Stewart – backing vocals Mickie Most – producer UK Releases Format: Vinyl, 7", 45 RPM, Single, Promo, Reissue Label: RAK – RR 3 Country: UK Released: 1973Format: Vinyl, 7", 45 RPM, Single, Reissue, Repress, Push-Out Centre Label: RAK – RR 3 Series: RAK Replay – RR 3 Country: UK Released: 1973 Format: Vinyl, 7", 45 RPM, Single, Reissue, Solid Center Label: RAK – RR 3 Series: RAK Replay – RR 3 Country: UK Country Variations France - RAK - 1972 Germany - Columbia - 1972 Portugal - Columbia - 1972 Australia - RAK - 1973 UK - RAK Replay - 1982 Chart Peak Position Australia 25 Ireland 17 Netherlands 12 Netherlands 12 New Zealand 4 UK 15 UK 12 UK 23 UK Singles 14 US Billboard Bubbling Under Hot 100 23 Have you snagged this Beck classic in your vinyl collection? Does “Hi Ho Silver Lining” still shine? Share in the comments!

A Gritty Glam Rock Satire The Sensational Alex Harvey Band’s “There’s No Lights On The Christmas Tree Mother, They’re Burning Big Louie Tonight” 7-inch vinyl single, was released in the UK on October 27, 1972, on Vertigo Records (catalogue: 6059 070). Backed with “Harp,”only single from the band’s debut album Framed. Housed in a Vertigo swirl company sleeve, it’s a cult classic of SAHB’s early years. The single was only released in the UK. Single Overview Label: Vertigo – 6059 070 Format: Vinyl, 7", 45 RPM, Single Company Sleeve Country: UK Released: 27 Oct 1972 1 There's No Lights On The Christmas Tree Mother, They're Burning Big Louie Tonight Written-By – Harvey, Condron 2 Harp Written-By – Harvey Published By – Copyright Control Country Variations 1: Label: Vertigo – 6059 070 Format: Vinyl, 7", 45 RPM, Single, Promo Country: UK 2: Label: Vertigo – 6059 070 Format: Vinyl, 7", 45 RPM, Single Company Sleeve Country: UK Released: 27 Oct 1972 Have you snagged this SAHB rarity in your vinyl collection? Does “There’s No Lights” spark your playlist? Share in the comments! Sources Discogs: There’s No Lights On The Christmas Tree Mother (1972) 45cat: 6059 070 Single Official Charts Company: The Sensational Alex Harvey Band Singles AllMusic: The Sensational Alex Harvey Band Discography Wikipedia: The Sensational Alex Harvey Band YouTube: There’s No Lights Official Audio (2010 upload, 50K+ views) YouTube: Heart Of Stone Official Audio (2014 upload, 100K+ views)

A Retro Rock 'n' Roll Romp The song written by Elton John and Bernie Taupin, and recorded in summer 1972 at the Château d'Hérouville studio in France (it was listed as "Strawberry Studios" in the album's credits), where John and his team had previously recorded the Honky Château album. It was released on October 27, 1972 in the UK and November 20, 1972 in the U.S., as a pre-release single from his forthcoming 1973 album Don't Shoot Me I'm Only the Piano Player, and became his first U.S. number-one single, reaching the top spot on February 3, 1973, and staying there for three consecutive weeks. In the U.S., it was certified Gold on 5 February 1973 and Platinum on September 13, 1995 by the Recording Industry Association of America (RIAA). In Canada, it topped the chart as well, remaining at number one on the RPM 100 national singles chart for four weeks from February 17 through March 10 . It was the first song released as a single on the MCA label (catalogue #40000) after MCA was created (John had previously been with the Uni label.) "Crocodile Rock" is dominated by a Farfisa organ riff, played by John. The lyrics take a nostalgic look at early rock 'n' roll, pop culture, dating and youthful independence of that era. John's band members, include Davey Johnstone on guitars, Dee Murray on bass and Nigel Olsson on drums, were also performers on the song. John performed all the vocals, including the falsetto backing vocals. Inspiration Inspiration: The song was inspired by John's discovery of leading Australian band Daddy Cool and their hit single "Eagle Rock", which was the most successful Australian single of the early 1970s (with 1,000,000 sold), remaining at No.1 for a record of 10 weeks. John heard the song and the group on his 1972 Australian tour and was greatly impressed by it. A photo included in the album packaging features John's lyricist, Bernie Taupin, wearing a "Daddy Who?" promotional badge. The song also includes a lyrical reference to the 1950s hit record "Rock Around the Clock" by Bill Haley and his Comets ("While the other kids were rocking around the clock..."). Taupin also stated in an Esquire magazine interview that "Crocodile Rock" was a funny song in that he did not mind creating it, but it would not be something he would listen to; it was simply something fun at the time. John has dismissed criticism of the song that it was "derivative", quoted in the booklet for the 1995 reissue of Don't Shoot Me ... as saying, "I wanted it to be a record about all the things I grew up with. Of course it's a rip-off, it's derivative in every sense of the word." Billboard reviewed the single, stating that it "is a clever easy beat rocker with a sound and flavor of the 50's hits." Record World called it a "loving homage to revival rock and roll" with "a solid, infectious beat, funny and clever Taupin lyrics, and brilliant Gus Dudgeon production. Single Overview: A-Side: “Crocodile Rock” (3:56, Elton John/Bernie Taupin) B-Side: “Elderberry Wine” (3:34, Elton John/Bernie Taupin) Release Details: Label: DJM Records (UK pressing, 45 RPM). Formats: 7-Inch Vinyl (DJS 271): “Crocodile Rock” / “Elderberry Wine.” In a DJM company sleeve. No cassette or CD formats for this single in 1972; later included in CD reissues of Don’t Shoot Me I’m Only the Piano Player (1995). Notes: ℗ & © 1972 This Record Co. Ltd. Recorded at Château d’Hérouville, France, June 1972. Matrix numbers (e.g., DJS 271 A-1) confirm authenticity. 7-Inch Vinyl was released as a Knockout Centre and Solid Centre in the U.K. UK Chart Data: Entry Week October 29-November 4, 1972; Peaking at No. 5 for 3 weeks (November 19-December 9, 1972) 14 weeks on the chart in total. Single Chart Performance “Crocodile Rock” reached No. 5 in the UK, charting for 14 weeks, and achieved massive international success. Country Chart (1972–1973) Peak Position Australia 2 Belgium 3 Canada Top Singles (RPM) 1 Germany 3 Ireland 10 Italy 1 Netherlands Dutch Top 40 11 Norway 3 New Zealand (Listener) 1 South Africa (Springbok) 6 Switzerland 1 UK Singles Chart 5 US Billboard Hot 100 1 US Adult Contemporary (Billboard) 11 US Cash Box Top 100 1 Zimbabwe (ZIMA) 2 Personnel: Elton John – vocals, piano, Farfisa organ Davey Johnstone – electric guitar Dee Murray – bass Nigel Olsson – drums Legacy and Collectibility “Crocodile Rock” is an Elton John classic, with its catchy organ riff and nostalgic vibe, while “Elderberry Wine” adds a rare, boozy gem. Original UK 7-inch vinyls fetch £3–£10 on eBay/Discogs, with Japanese pressings (£8–£20) prized for obi strips. Verify catalogue DJS 271. Streams on Spotify via Don’t Shoot Me I’m Only the Piano Player deluxe editions preserve the analog bounce. This single is a must-have for Elton fans and glam rock collectors. Have you snagged this Elton classic in your vinyl collection? Does “Crocodile Rock” get you jiving? Share in the comments! Sources Wikipedia: Crocodile Rock Wikipedia: Don’t Shoot Me I’m Only the Piano Player Wikipedia: Elton John Discography YouTube: Crocodile Rock Official Audio (2011 upload, 5M+ views)

David Bowie's Ziggy Stardust Triumph at Santa Monica '72On October 20, 1972, David Bowie performed at the Civic Auditorium in Santa Monica, California, during his Ziggy Stardust Tour, a pivotal moment in his career. This concert, part of his first major U.S. tour, showcased Bowie as Ziggy Stardust, his androgynous, alien rock star persona, backed by the Spiders from Mars band: Mick Ronson (guitar), Trevor Bolder (bass), and Woody Woodmansey (drums). The performance captured Bowie at the height of his early glam rock phase, blending theatricality with raw energy, and is considered a landmark show for its influence on rock performance art. The setlist included tracks from *The Rise and Fall of Ziggy Stardust and the Spiders from Mars* (1972), such as "Suffragette City," "Ziggy Stardust," and "Five Years," alongside songs from *Hunky Dory* (1971) like "Life on Mars?" and covers such as Jacques Brel’s "My Death." The concert was notable for its intimate yet electrifying atmosphere, with Bowie’s charismatic stage presence and the band’s tight musicianship captivating the audience. The performance was recorded by KMET FM, a Los Angeles radio station, for a live broadcast. This recording later surfaced as a bootleg album, *Santa Monica ’72*, which circulated among fans for decades. The bootleg’s popularity stemmed from its high-quality sound and the iconic status of the performance, capturing a raw, unpolished Bowie before his global superstardom. In 1994, the recording was released as a semi-legal album by Golden Years Records, but it wasn’t until June 30, 2008 (UK) and July 22, 2008 (US) that an official release, *Live Santa Monica ’72*, was issued by EMI. The official release was remastered from the KMET FM tapes, offering superior sound quality. The album features 18 tracks, including: - "Hang On to Yourself" - "Ziggy Stardust" - "Changes" - "The Supermen" - "Life on Mars?" - "Five Years" - "Space Oddity" - "Andy Warhol" - "My Death" - "The Width of a Circle" - "Queen Bitch" - "Moonage Daydream" - "John, I’m Only Dancing" - "Waiting for the Man" (Velvet Underground cover) - "The Jean Genie" - "Suffragette City" - "Rock ’n’ Roll Suicide" - "Round and Round" (Chuck Berry cover, bonus track on some editions) The official release was praised for its historical significance, showcasing Bowie’s theatrical evolution and the Spiders’ dynamic interplay. Critics noted Mick Ronson’s searing guitar work and the band’s ability to balance glam flamboyance with rock grit. The album peaked at #74 in the UK Albums Chart and remains a fan favorite for capturing a defining moment in Bowie’s career. The Santa Monica show also holds cultural weight as one of the earliest U.S. performances to cement Bowie’s reputation as a groundbreaking artist. It was attended by music industry figures and celebrities, amplifying its legend. The recording’s journey from radio broadcast to bootleg to official release mirrors Bowie’s own rise from cult figure to global icon.

A Psychedelic Rock Reissue Jeff Beck’s “Hi Ho Silver Lining” 7-inch vinyl single, was released in the UK on October 20, 1972, on RAK Replay (catalogue: RR 3). Backed with “Beck's Bolero” and “Rock My Plimsoul,” this reissue of his 1967 hit, with the added track of “Rock My Plimsoul, written by Scott English and Larry Weiss, capitalized on Beck's growing legend. Produced by Mickie Most, the A-side's upbeat psychedelic rock with strings and bells peaked at No. 17 on the UK Singles Chart for 11 weeks. Housed in a die-cut paper sleeve, it's a collectible snapshot of Beck's Yardbirds-to-solo evolution. "Hi Ho Silver Lining" is a rock song, written by American songwriters Scott English and Larry Weiss and first released as a single in March 1967 by English band the Attack, then a few days later by Jeff Beck. The Attack's version failed to chart, while Beck's recording reached the top 20 of the singles chart in his native Britain in both 1967 and 1972, becoming his biggest solo hit. Beck's single failed to crack the Billboard Hot 100 in the United States, however. The song is popular with fans of numerous football clubs in the United Kingdom, including Aston Villa, Sheffield Wednesday, and Wolverhampton Wanderers, where it is often chanted by spectators. During the chorus, the words 'silver lining' are usually replaced with the name of the football club in question. Background Songwriters English and Weiss started writing a song together, with a chorus of "Hi ho silver lining", but no verses. When producer Mickie Most heard their early version, he suggested that it would be a hit and persuaded English to complete the lyrics. According to writer and musician Bob Stanley, English wanted to record a finished version of the song himself, so decided to deter Most by writing "the most unusable, stupid lyric he could think up, about flies in pea soup and beach umbrellas". To English's chagrin, Most liked the song, and had Jeff Beck record it. Jeff Beck version In May 1967, Beck's version peaked at No. 14 (for three consecutive weeks) on the UK Singles Chart during a then lengthy 14-week run. The single spent a further 11 weeks on the chart when reissued in the autumn of 1972, peaking at No. 17 (for three consecutive weeks) in December. In the U.S., Beck's single (released as "Hi-Ho Silver") peaked at No. 123 in May 1967. The song was not included on Beck's album Truth when first released in 1968, but featured as a bonus track on the 2006 reissue. In 1983, in an all-star jam with Steve Winwood and Simon Phillips, Beck performed "Hi Ho Silver Lining" live at the ARMS Charity Concert, a charity benefit show for multiple sclerosis, at London's Royal Albert Hall. The song was resurrected for the Together and Apart Japanese and U.S. tours with Eric Clapton in 2009 and 2010. According to Kate Mossman, writing in the New Statesman, Beck "has likened 'Hi Ho Silver Lining' to having a pink toilet seat hung around your neck for the rest of your life." Single Overview Label: RAK – RR 3 Series: RAK Replay – RR 3 Format: Vinyl, 7", 45 RPM, Single, Reissue, Repress Country: UK Released: 1973 A Hi Ho Silver Lining Drums [Uncredited] – Clem Cattini Written-By – Scott English B Bolero Bass Guitar [Uncredited] – John Paul Jones Drums [Uncredited] – Keith Moon Electric Guitar – Jeff Beck Electric Guitar [12 String] [Uncredited] – Jimmy Page Piano [Uncredited] – Nicky Hopkins Written-By – Jeff Beck B2 Rock My Plimsoul Written-By – Rod* Personnel Jeff Beck – guitars, vocals John Paul Jones – bass guitar Clem Cattini – drums Rod Stewart – backing vocals Mickie Most – producer UK Releases Format: Vinyl, 7", 45 RPM, Single, Promo, Reissue Label: RAK – RR 3 Country: UK Released: 1973Format: Vinyl, 7", 45 RPM, Single, Reissue, Repress, Push-Out Centre Label: RAK – RR 3 Series: RAK Replay – RR 3 Country: UK Released: 1973 Format: Vinyl, 7", 45 RPM, Single, Reissue, Solid Center Label: RAK – RR 3 Series: RAK Replay – RR 3 Country: UK Country Variations France - RAK - 1972 Germany - Columbia - 1972 Portugal - Columbia - 1972 Australia - RAK - 1973 UK - RAK Replay - 1982 Chart Peak Position Australia 25 Ireland 17 Netherlands 12 Netherlands 12 New Zealand 4 UK 15 UK 12 UK 23 UK Singles 14 US Billboard Bubbling Under Hot 100 23 Have you snagged this Beck classic in your vinyl collection? Does “Hi Ho Silver Lining” still shine? Share in the comments!

Crazy in the Music Scene The Glam Rock Freebie Hit Slade’s “The Whole World's Goin' Crazy” 7-inch flexi disc single, was released in the UK on October 20, 1972, as a free insert with the first issue of Music Scene magazine. Backed with “Bonnie Charlie” by Mike Hugg, this high-energy glam rock track, written by Noddy Holder, was a taster from the soon to be released album Slayed?. Produced by Chas Chandler, the A-side’s anthemic chant and stomping rhythm captured Slade’s infectious joy, while the B-side offered a contrasting folk-pop vibe. As a promo freebie, it did not chart. Distributed with Music Scene (published on the third Friday of each month), it’s a rare collectible for Slade enthusiasts. Single Overview A-Side: “The Whole World’s Goin’ Crazy” spelt correct not like on the album "The Whole World's Goin' Crazee" (3:37, Noddy Holder) A raucous glam stomper with pounding drums, Holder’s exuberant vocals, and lyrics celebrating rock 'n' roll chaos (“The whole world's goin' crazee, crazee, crazee”). Recorded in 1972 at Olympic Studios, London, during Slayed? (November 1972) sessions. The A-side was produced by Chas Chandler. The lineup featured Noddy Holder (vocals), Dave Hill (guitar), Jim Lea (bass, violin, backing vocals), and Don Powell (drums). Text taken from disc: Slade All rights Polydor This is a sneaky earful of a track from the next Slade album 'Slayed' (Polydor 2383 163) given to you by Music Scene November issue 1972 33+ RPM The whole world's going crazy Composed by Holder, published by Barn Music, produced by Chas Chandler for Barn Productions - For better reproduction quality, get the album! Any copying of this record is prohibited SFI 122A Made in England by Sound for Industry - B-Side: “Bonnie Charlie” (N/A, Mike Hugg, David Heath-Hadfield) A folk-pop track by Mike Hugg (of Manfred Mann), offering a melodic contrast to Slade’s glam energy. Produced by EMI, it added variety to the flexi disc’s appeal. 33+ rpm Text taken from disc: This is a sample track from Mike Hugg's Polydor album 2383 140 'Somewhere' given to you by Music Scene November issue 1972. Bonnie Charlie Composed by Mike Hugg, published by Hugg Music, produced by David Heath-Hadfield. For better reproduction, get the album! Polydor SFI 122B Made in England by Sound for Industry All rights and copying of this record prohibited Note: Slade’s 1972 singles included “Mama Weer All Crazee Now” (No. 1, August 26, 1972, 14 weeks) and “Gudbuy T’Jane” (No. 2, November 18, 1972, 10 weeks), but as a free flexi disc, “The Whole World’s Goin’ Crazee” wasn’t eligible for charts. Have you unearthed this Slade flexi in your collection? Does “The Whole World’s Goin’ Crazee” get you jumping? Share in the comments!

Article over two pages in Bravo magazine October 18, 1972. Marc Bolan... Continued A lot of fuss about Marc Bolan. Here he answers his enemies. Judge for yourself whether his critics Does Marc Bolan have a flaw? T. Rex star Marc Bolan has many faces. Sometimes he sells himself as a sorcerer, sometimes as a romantic hero, pop star, poet. Only a few know what he's really like. But many are dazzled by his peacock-like appearance, cheer him on, or insult him. What do his enemies have against Marc Bolan? His answers speak for themselves... Accusation No. 1: Marc Bolan is a sex monkey and groupie hunter! Marc Bolan on this: "I'm a sex symbol. I seem sexier than Tarzan or Robin Hood. I wonder how a guy like Tarzan can even seduce a girl. I love to drive people into ecstasies. The girls climb the stage and try to undress me. I find this atmosphere neither vulgar nor obscene. I want to make one thing clear: I love my role as a sex idol very much. But I'm not a sex monkey. I don't intend to abuse my charisma to make babies of all the groupies who throw themselves at me. I'm not a green boy. I had my first girl when I was ten. But I'm not a pig!" Accusation No. 2: Marc Bolan is too effeminate! Marc Bolan on this: "My wife June receives letters asking her if she doesn't finally want to divorce me. It's impossible to live with a homosexual. Others say I'm having an affair with Mickey Finn. Just because I love my fur coats, satin trousers, makeup, and wild curls, they accuse me of this. Just because I have narrow hips and no hair on my chest. Causing a stir and wearing crazy clothes - that's just part of my job. If I were a civil servant, I'd probably act differently. I can only assure you that I'm completely normal." Accusation No. 3: Marc Bolan is a show-off! Marc Bolan on this: "It's wonderful to satisfy your whims with money. At Harrods, the exclusive London department store where you can find absolutely everything T. Rex boss has his rights! I once wanted to order a young rhinoceros. I thought that maybe the sight of it would inspire me to come up with some good songs. And at some point I bought myself a white Rolls-Royce, even though I don't have a driver's license. The Rolls is a kind of work of art to me. Maybe that's showing off. Well, please. It's my business, because I still don't charge my fans more than 75 pence (about 6.50 marks) for tickets. Accusation No. 4: Marc Bolan is egocentric Marc Bolan on this: "I was once a dishwasher and a model, sometimes an actor. Now I'm somebody. I'm Marc Bolan, the boss of T. Rex. Why is it only me and Mickey Finn who get the spotlight with T. Rex? That's enough, isn't it? I don't want interviews with Bill Legend or Steve Currie just because they're musicians with T. Rex. T. Rex are mainly a means to an end to emphasize my lyrics. I need Mickey on stage. He's important. There's no discussion about that order. I know who I am and what I can do. Does that make me self-centered? Now I've said it all—now judge me for yourself!"

Rod Stewart's "Never a Dull Moment" remains at the number one position in the NME British album chart as published in New Musical Express, October 14, 1972. Rod Stewart released Never a Dull Moment  in July 1972, his fourth solo album, on Mercury Records. Following the success of Every Picture Tells a Story , this album solidified Stewart’s blend of rock, folk, and soul, showcasing his raspy vocals and knack for storytelling. Recorded at Morgan and Olympic Studios in London, it was produced by Stewart with contributions from Faces bandmates Ron Wood and Ian McLagan, plus guitarist Martin Quittenton. Standout tracks include “You Wear It Well” (#1 UK, #13 US Billboard Hot 100) and a cover of Jimi Hendrix’s “Angel,” blending originals with covers like Etta James’ “I’d Rather Go Blind.” The album hit #1 on the UK Albums Chart for two weeks, #2 on the US Billboard 200, and sold over 2 million copies worldwide by 2025. Critically praised for its loose, rootsy vibe, it captured Stewart’s peak as a solo artist before his transatlantic shift. Its mix of rollicking rockers and heartfelt ballads remains a fan favorite

David Bowie's "For The Collector Early David Bowie" 7-inch vinyl EP, was released in the UK on October 6, 1972 as a budget reissue by a Pye-affiliated label. This four-track EP gathered three A-sides and one B-side from his mid-1960s Pye Records singles, offering a glimpse into his pre-fame mod-pop days before the iconic “Space Oddity.” Lacking a formal title on the labels, with just “Early David Bowie” on the cover, it’s a rare snapshot of Bowie’s formative years, showcasing his raw talent and Swinging London influences. EP Overview Side A1: “Do Anything You Say” From Bowie’s second solo single (April 1966, Pye 7N 17079), a lively mod rocker with session musicians backing his youthful vocals. Produced by Tony Hatch, it aimed for chart-friendly pop but didn’t break through. Side A2: “I Dig Everything” The A-side of his final Pye single (August 1966, Pye 7N 17157), a cynical ode to London’s teen scene with Hammond organ and flute accents. Session players replaced Bowie’s band, the Buzz, under Hatch’s direction. Side B1: “Can’t Help Thinking About Me” (David Bowie And The Lower Third) From his debut single as “David Bowie And The Lower Third” (January 1966, Pye 7N 17020), a raw, angsty track with gritty guitars. It marked his name change from Davy Jones to David Bowie. Side B2: “I’m Not Losing Sleep” The B-side to “I Dig Everything” (August 1966), a defiant retort to success and betrayal with guiro percussion and reverbed vocals, boasting rags-to-riches bravado in a glossy mod style. Release Details: Label: Pye or affiliated reissue label (UK pressing). Format: 7-inch vinyl EP, 45 RPM. Notes: Labeled simply “Early David Bowie” on the cover, this EP compiled 1966 singles, capturing Bowie’s commercial struggles before his Deram era and eventual stardom. Production and Context Produced by Tony Hatch at Pye Studios, London, these tracks used session musicians to achieve radio-ready polish, sidelining Bowie’s bands like the Lower Third and the Buzz. “Do Anything You Say” and “I Dig Everything” reflect his mod-pop phase, while “Can’t Help Thinking About Me” and “I’m Not Losing Sleep” hint at the outsider persona that would define his later work. The EP was issued as Bowie’s fame grew with Ziggy Stardust, appealing to fans curious about his roots. Legacy and Collectibility None of these singles charted in their day, but they foreshadowed Bowie’s lyrical depth and versatility. Later reissued on CDs like I Dig Everything: The 1966 Pye Singles (2000) and revisited in his unreleased 2000 Toy sessions, these tracks hold historical weight. Original 1972 EPs with UK pressings prized for authenticity. Stream them on Spotify to hear Bowie’s mod-era charm in crisp digital form. This EP is a collector’s treasure, unearthing David Bowie’s gritty beginnings before his cosmic rise. Do you have this early Bowie EP in your vinyl stash? Which track captures his ‘60s spirit best? Share in the comments!

Alice Cooper Group’s Portrait feature, published in Bravo magazine on October 4, 1972.

Mott The Hoople’s All the Young Dudes  album review, along with a live advertisement and Dunstable concert review, published in New Musical Express  on September 23, 1972.

T.Rex’s Poster feature, published in Pop magazine on September 7, 1972.

Alice Cooper Group's "School's Out" remains a non-mover at the number one position on the Record Mirror / BBC chart as published in Record Mirror, September 2, 1972. The Alice Cooper Group released "School's Out" in April 1972 as the lead single from their fifth studio album, School's Out, on Warner Bros. Records. Written by Alice Cooper and guitarist Michael Bruce, the rebellious glam-rock anthem captures teenage defiance with its crunchy guitar riffs, driving rhythm, and Cooper’s sneering vocals. Produced by Bob Ezrin at The Record Plant in New York, it features the band—Michael Bruce, Glen Buxton, Dennis Dunaway, and Neal Smith—along with Ezrin’s production flair, including children’s chants for the iconic chorus. The song’s anti-establishment vibe resonated widely. "School's Out" hit #1 on the UK Singles Chart for three weeks, reached #7 on the US Billboard Hot 100, and charted strongly across Europe, including #3 in Ireland. It sold over a million copies globally, becoming the band’s signature hit and a perennial summer anthem. Its raw energy and theatrical edge solidified Alice Cooper’s shock-rock legacy.

On August 30, 1972, T. Rex, led by Marc Bolan, pre-recorded their performance of "Children of the Revolution" at BBC Television Centre for a Top of the Pops broadcasts that aired in September. The song was featured on three September broadcasts of the show: two with a recorded performance on September 14 and 28, and one where the song played over the charts on September 21. This performance was part of the promotional push for the single, released on September 8, 1972, which reached number 2 on the UK Singles Chart and topped the Melody Maker and New Musical Express charts. The recording took place at Strawberry Studios, Château d’Hérouville, France, earlier that month on August 3, with demo versions captured from Bolan’s own tapes. The Top of the Pops performance featured the band miming to the single version, produced by Tony Visconti, with band members Marc Bolan, Mickey Finn, Steve Currie, and Bill Legend. Notably, this single version was distinct from earlier recordings for the film Born to Boogie, which included Elton John on piano and Ringo Starr on drums. The performance was a key moment in the "T. Rextasy" phenomenon, showcasing Bolan’s glam rock charisma, with photos from this Top of the Pops appearance later used for promotional materials

David Bowie’s Rainbow Theatre Review one-page article in Melody Maker, August 26, 1972.

Marc Bolan's One-Page Cover Bravo Magazine, August 16, 1972.

T.Rex cover and two-page article, titled "The Marc Bolan Story," published in Romeo magazine on August 12, 1972.

T.Rex’s Music for Pleasure album advert, published in Melody Maker music newspaper on July 22, 1972.

Faces’ Faces In America cover insert and one-page concert review, published in Sounds newspaper on July 15, 1972.

Rod Stewart’s Star of the Month Calendar feature, published in Bravo magazine on July 1, 1972.

David Bowie's Cover & Dunstable Civic Hall, June 21, 1972 Review, Melody Maker, July 1, 1972

David Bowie’s Friars Civic Hall Dunstable concert adverts, published in Melody Maker on June 10, 1972, and June 17, 1972, promoting his performance on June 21, 1972. Concert Advert Published June 10, 1972 Concert Advert Published June 17, 1972