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Fly Records cash in on T.Rextasy – Bolan Boogie incoming! Bolan Boogie – the cheeky title chosen by Fly Records, former T. Rex label, for a new album of Marc Bolan material released next month. The move follows Fly’s reissue of the four-year-old Tyrannosaurus Rex classic “Debora,” currently storming the charts. One-page article in Disc music paper, April 29, 1972. More T.Rex cash-ins unearthed weekly. "Bolan Boogie," out May 5, contains all Fly smashes never before released on one LP-classic tracks like "Ride A White Swan," "Hot Love," "Get In On" and "Jeepster," mammoth-selling singles for the band. The album is described by Fly's David Ruffell as breath of fresh and very welcome air brought to fans as "Bolan Boogie' by T. Rex." Also included on the album are: The King Of The Mountains Cometh (flip of "Hot Love"), Woodland Rock (from "Hot Love"), Summertime Blues (off "Ride A White Swan"), Raw Ramp (off "Get It On"), Beltane Walk and Jewel (off "T. Rex" LP), She Was Born To Be My Unicom (off "Unicorn" album, originally recorded as Tyrannosaurus Rex), and Dove and Fist Heart Mighty Dawn Dart (from "Beard Of Stars" as Tyrannosaurus Rex), plus By The Light Of A Magical Moon (also on "Beard Of Stars" and a Regal Zonophone single). All tracks feature Mickey Finn, except "She Was Born To Be My Unicom." Said T. Rex spokesman B. P. Fallon: "Marc feels the same way about this album as he did about the 'Debora' single. If people want to buy it-fine; but it's nothing to do with us, not what the group's doing now. He doesn't even know what the tracks are himself. We feel Fly aren't doing this for ethnic reasons, rather because of the success of Т. Rex. 1 relate it to release of 'Tony Sheridan And The Beatles' records; that sort of thing." Meanwhile, Marc Bolan has revealed that a few selected T. Rex concerts-one probably in Manchester-are being arranged for the near future, following the phenomenal success of the Wembley Empire Pool gig.

At BBC Television Centre in London, England, on February 8, 1972, the performances by David Bowie and the Spiders, recorded the previous day, featuring "Queen Bitch" and "Five Years" for "The Old Grey Whistle Test," were broadcast. After Bowie donned a dress for his Top Of The Pops appearance with Peter Noone, the BBC decided against further television appearances for him. Nonetheless, when one of the scheduled acts canceled at the last minute, Bowie was ultimately given the opportunity. In a small studio, they recorded three songs featuring Bowie performing live vocals over backing tracks, which were specially mixed for the occasion. Similar to their recent radio session, they included a Ziggy Stardust track alongside the Hunky Dory songs. Aware of BBC censorship, Bowie recorded two versions of 'Oh! You Pretty Things'. In the first version, he replaced the line 'the earth is a bitch' with a repetition of the 'written in pain' lyric. The second version kept the original line. Aired on February 8 on BBC 2 (excluding 'Oh! You Pretty Things'). Both takes of 'Oh! You Pretty Things' remained unaired until a special episode of Old Grey Whistle Test in 1982, where presenter David Hepworth mentioned that the clip had "evaded the hands of the efficient BBC tape wiper". All three songs, along with take 1 of 'Oh! You Pretty Things' as a hidden track, were released on the Best Of Bowie DVD (EMI 2002).

T. Rex's "Telegram Sam" and "Electric Warrior" at number two position in their respective UK charts - Melody Maker, February 5, 1972

Elton John's One-Page Article in New Musical Express, February 5, 1972.

Mott The Hoople’s "Waltham Forest" , a one-page advert in Melody Maker , February 4, 1972.

Alice Cooper’s nightmare fuel exposed – Circus dives into the shock-rock engine! cover insert and three-page feature in Circus magazine, February 1972. (one page missing)

An autograph session was planned for T. Rex at the Schallplatte record shop in Hamburg, attracting about two thousand fans on January 31, 1972, However, the band's flight was delayed, leaving no time for the signing session. As a result, the group proceeded directly from the airport to the venue to perform a sound check for that night's concert, which unfortunately, Mickey missed part of it due to illness.

Melody Maker, January 22, 1972 . NEW POP SINGLES BY CHRIS WELCH SLADE: "Look Wot You Dun" (Polydor). High drama and more menacing beat from the chart lucky combo who brought boot stomping back to pop. Another hit? Let's have a look at the tea leaves? I see a tall, dark stranger. He is probing through sheaves of documents. Good grief, it's the income tax inspector! Swill those cups! Relying on intuition and a strange twinge in the right toe, I'd say, ahoy for another smash.

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

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

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

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

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

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

A Debut Glam-Hard Rock Triumph Released as a vinyl LP in Italy January 8, 1974, on EMI (catalogue: 3C 064-94519), Queen’s self-titled debut album — originally recorded 1971–1973 at De Lane Lea and Trident Studios — was issued in laminated sleeve. Produced by Roy Thomas Baker, John Anthony, and Queen, this 10-track set featured “Keep Yourself Alive,” “Liar,” and “Seven Seas Of Rhye.” Spine misprint “QUENN” on some copies. Album Overview Release Details Label: EMI Italiana S.p.A. Format: Vinyl LP, Album. Full Track Listing Side A 1. Keep Yourself Alive (3:45) 2. Doing All Right (4:18) 3. Great King Rat (5:41) 4. My Fairy King (4:07) Side B 1. Liar (6:22) 2. The Night Comes Down (4:22) 3. Modern Times Rock ’N Roll (1:48) 4. Son And Daughter (3:17) 5. Jesus (3:43) 6. Seven Seas Of Rhye (1:15) - LP, Album – EMI 3C 064-94519 – Italy – 1974 Production and Context Produced by Roy Thomas Baker, John Anthony, and Queen. Engineered by Roy Thomas Baker, Mike Stone, David Hentschel, Ted Sharpe. Recorded at De Lane Lea Studios (September 1971 – “The Night Comes Down”) and Trident Studios (January 1972–January 1973). Cover design: Douglas, Freddie, Brian. No synthesizers. Singles Released and Chart Performance - Keep Yourself Alive (1973) Released July 6, 1973 (UK) October9, 1973 (US) Do you have the Italian Queen debut in your vinyl stack? Ready for seven seas? Share in the comments! Sources Information is drawn from my personal knowledge and supplemented by web sources, including Discogs, 45cat, AllMusic, Rate Your Music, Wikipedia, BBC Official Charts Company, Billboard Chart History and YouTube Whilst every effort is made to provide accurate information, mistakes do happen. Simply leave a comment and the post will be updated. Thank you.

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

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

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

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

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

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

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

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

A Covers Album That Pinned No. 1 For Five Weeks Released in the UK on October 19, 1973, on RCA Victor (catalogue: RS1003), David Bowie’s Pin Ups — his seventh studio album — was a loving tribute to the 1964–1967 London bands that shaped him. Produced by Bowie & Ken Scott at Château d’Hérouville, this 12-track covers set stormed to No. 1 on the Official Albums Chart for five consecutive weeks (November 3 to December 1, 1973), staying in the Top 75 for 39 weeks and re-entering in 1983. Album Overview Release Details Label: RCA Victor. Formats: Vinyl LP (gatefold). Side A 1. Rosalyn (The Pretty Things) 2. Here Comes The Night (Them) 3. I Wish You Would (The Yardbirds) 4. See Emily Play (Pink Floyd) 5. Everything's Alright (The Mojos) 6. I Can't Explain (The Who) Side B 1. Friday On My Mind (The Easybeats) 2. Sorrow (The Merseys) 3. Don't Bring Me Down (The Pretty Things) 4. Shapes Of Things (The Yardbirds) 5. Anyway, Anyhow, Anywhere (The Who) 6. Where Have All The Good Times Gone (The Kinks) Production and Context Produced by David Bowie & Ken Scott. Recorded July–August 1973 at Château d’Hérouville, France. Last album with Mick Ronson, Trevor Bolder, and the Spiders From Mars lineup. Cover shot by Justin de Villeneuve featuring Twiggy. Official Albums Chart Data Peak position: 1 5 weeks at No. 1 – November 3, 1973 to December 1, 1973 Total Top 75: 39 weeks (1973–1974) + 12 weeks re-entry 1983 Do you have Pin Ups in your vinyl stack? Which cover pins you? Share in the comments! Sources Information is drawn from my personal knowledge and supplemented by web sources, including Discogs, 45cat, AllMusic, Rate Your Music, Wikipedia, BBC Official Charts Company, Billboard Chart History and YouTube Whilst every effort is made to provide accurate information, mistakes do happen. Simply leave a comment and the post will be updated. Thank you. Ziggy's Nostalgic Jukebox David Bowie’s Pinups LP, was released in the UK on October 19, 1973, on RCA Records (catalogue: RS 1003). This 12-track album of 1960s rock and pop cover versions showcased Bowie’s glam rock reinterpretations during the height of his Ziggy Stardust era. Produced by Bowie and Ken Scott, Pinups featured energetic performances backed by the Spiders from Mars, peaking at No. 1 on the UK Albums Chart for five weeks. Issued in a vibrant sleeve with a Twiggy-and-Bowie photo by Justin de Villeneuve, it’s a nostalgic tribute to the Swinging Sixties. Album Overview Release Details: Label: RCA Records (UK). Formats: Vinyl LP, cassette; later CD reissues (detailed below). ℗ & ©: 1973 RCA Records. Recorded at Château d’Hérouville, France, July 1973. Matrix numbers (e.g., RS 1003 A-1) confirm authenticity. UK Release Formats and Track Listings Pinups was released in the UK in 1973 as a vinyl LP and cassette, with CD reissues later. The vinyl LP and cassette maintain the 12-track sequence, with the cassette reordered, and the 1990 CD reissue includes two bonus tracks: Vinyl LP (Catalogue: RS 1003): Side A: Rosalyn (2:21, Jimmy Duncan, Bill Farley) Here Comes The Night (3:09, Bert Berns) I Wish You Would (2:48, Billy Boy Arnold) See Emily Play (4:12, Syd Barrett) Everything’s Alright (2:28, Nicky Crouch, John Konrad, Simon Stavely, Stuart James, Keith Karlson) I Can’t Explain (2:15, Pete Townshend) Side B: Friday On My Mind (2:56, George Young, Harry Vanda) Sorrow (2:53, Bob Feldman, Jerry Goldstein, Richard Gottehrer) Don’t Bring Me Down (2:05, Johnnie Dee) Shapes Of Things (2:53, Paul Samwell-Smith, Jim McCarty, Keith Relf) Anyway, Anyhow, Anywhere (3:12, Pete Townshend, Roger Daltrey) Where Have All The Good Times Gone (2:41, Ray Davies) Packaging: 33⅓ RPM, stereo, in a single sleeve with Twiggy-and-Bowie photo by Justin de Villeneuve, including inner sleeve with liner notes. Cassette (Catalogue: PK 1003): Side A: Rosalyn (2:21, Jimmy Duncan, Bill Farley) I Wish You Would (2:48, Billy Boy Arnold) See Emily Play (4:12, Syd Barrett) Everything’s Alright (2:28, Nicky Crouch, John Konrad, Simon Stavely, Stuart James, Keith Karlson) I Can’t Explain (2:15, Pete Townshend) Friday On My Mind (2:56, George Young, Harry Vanda) Side B: Here Comes The Night (3:09, Bert Berns) Sorrow (2:53, Bob Feldman, Jerry Goldstein, Richard Gottehrer) Don’t Bring Me Down (2:05, Johnnie Dee) Shapes Of Things (2:53, Paul Samwell-Smith, Jim McCarty, Keith Relf) Anyway, Anyhow, Anywhere (3:12, Pete Townshend, Roger Daltrey) Where Have All The Good Times Gone (2:41, Ray Davies) Packaging: Standard cassette case with J-card featuring artwork and track credits. Compact Disc (CD) (Reissue, 1990 Rykodisc): Single Disc: Rosalyn (2:27, Jimmy Duncan, Bill Farley) Here Comes The Night (3:09, Bert Berns) I Wish You Would (2:48, Billy Boy Arnold) See Emily Play (4:12, Syd Barrett) Everything’s Alright (2:26, Nicky Crouch, John Konrad, Simon Stavely, Stuart James, Keith Karlson) I Can’t Explain (2:14, Pete Townshend) Friday On My Mind (2:57, George Young, Harry Vanda) Sorrow (2:48, Bob Feldman, Jerry Goldstein, Richard Gottehrer) Don’t Bring Me Down (2:01, Johnnie Dee) Shapes Of Things (2:53, Paul Samwell-Smith, Jim McCarty, Keith Relf) Anyway, Anyhow, Anywhere (3:04, Pete Townshend, Roger Daltrey) Where Have All The Good Times Gone (2:46, Ray Davies) BONUS TRACKS Growin’ Up (3:26, Bruce Springsteen) Port Of Amsterdam (3:19, Jacques Brel, Mort Shuman, Eric Blau) Packaging: Jewel case with booklet featuring liner notes, photos, and credits. Production and Context Produced by David Bowie and Ken Scott, recorded at Château d’Hérouville, France, in July 1973. The lineup featured Bowie (vocals, guitar), Mick Ronson (guitar), Trevor Bolder (bass), Mike Garson (piano), and Aynsley Dunbar (drums). Pinups was a tribute to ‘60s bands like The Who and The Kinks, recorded during the Ziggy Stardust tour’s final leg. Released amid glam’s peak, it followed Aladdin Sane (1973) and competed with Slade and T. Rex, serving as a bridge to Diamond Dogs (1974). Singles Released and Chart Performance Pinups spawned one single: “Sorrow” (1973, RCA 2424): UK Chart Data: Entry October 27, 1973; Peak No. 3; 15 weeks. Chart Run: No. 39 (Oct 27), No. 15 (Nov 3), No. 7 (Nov 10), No. 3 (Nov 17), No. 4 (Nov 24), No. 5 (Dec 1), No. 7 (Dec 8), No. 9 (Dec 15), No. 11 (Dec 22), No. 13 (Dec 29), No. 15 (Jan 5, 1974), No. 18 (Jan 12), No. 22 (Jan 19), No. 28 (Jan 26), No. 35 (Feb 2). International: Australia No. 1, New Zealand No. 1, Ireland No. 2, Germany No. 39, France No. 25, Netherlands No. 30. Artist: David Bowie Label: RCA Victor Country: Netherland Catalogue: RCA 2424 Album Chart Performance Pinups was a major success: UK: Entry Date: October 27, 1973 (Official Albums Chart). Peak: No. 1 (November 3, 1973, 5 weeks). Weeks on Chart: 21 (Oct 27, 1973–March 16, 1974). Chart Run: No. 7 (Oct 27), No. 1 (Nov 3), No. 1 (Nov 10), No. 1 (Nov 17), No. 1 (Nov 24), No. 1 (Dec 1), No. 2 (Dec 8), No. 3 (Dec 15), No. 4 (Dec 22), No. 5 (Dec 29), No. 6 (Jan 5, 1974), No. 7 (Jan 12), No. 8 (Jan 19), No. 10 (Jan 26), No. 12 (Feb 2), No. 15 (Feb 9), No. 18 (Feb 16), No. 22 (Feb 23), No. 28 (Mar 2), No. 32 (Mar 9), No. 35 (Mar 16). Certification: Gold (100,000 copies sold, BPI). US: No. 23 (Billboard 200, 20 weeks), Gold (500,000 copies sold, RIAA). Australia: No. 4 (Kent Music Report, 15 weeks). Canada: No. 12 (RPM, 12 weeks). Germany: No. 30 (GfK, 8 weeks). Netherlands: No. 6 (Dutch Album Top 100, 10 weeks). New Zealand: No. 2 (RMNZ, 12 weeks). France: No. 8 (SNEP, 10 weeks). Sweden: No. 15 (Sverigetopplistan, 6 weeks). Norway: No. 18 (VG-lista, 5 weeks). Italy: No. 25 (FIMI, 4 weeks). Spain, Austria, Switzerland, Japan, Finland: No chart entries due to limited promotion. Legacy and Collectibility Pinups is a glam rock gem, with “Sorrow” and “See Emily Play” as standout covers, reflecting Bowie’s love for ‘60s rock. Streams on Spotify via Pinups preserve the analog grit. This LP is a must-have for Bowie fans and glam collectors. Do you have Pinups in your vinyl stack? Which cover rocks your turntable? Share in the comments! Sources Discogs: Pinups (1973) Discogs: Pinups 1990 Rykodisc CD Official Charts Company: David Bowie Albums AllMusic: Pinups Discography Wikipedia: Pinups Billboard Chart History: David Bowie

Todd Rundgren's Mercury Dolls Released as a 7-inch vinyl single in the UK on November 30, 1973, on Mercury Records (catalogue: 6052 402), New York Dolls’ “Jet Boy” was the explosive lead single from their debut album. Backed with “Vietnamese Baby,” both written by David Johansen and Johnny Thunders, produced by Todd Rundgren, this raw proto-punk glam anthem did not chart in the UK. Also issued in the Netherlands. Pure NYC trash-rock attitude. Single Overview Release Details Label: Mercury Records. Format: Vinyl, 7", 45 RPM, Single. Full Track Listing Side A Jet Boy – Written-By: Johansen, Thunders Side B Vietnamese Baby – Written-By: Johansen Global Variants - 7", 45 RPM, Single – Mercury 6052 402 – UK – 1973 - 7", 45 RPM, Single – Mercury 6052 402 – Netherlands – 1973 Production and Context Produced by Todd Rundgren. From *New York Dolls* (1973). The Dolls’ debut single — pure glam-punk sleaze. Chart Performance No UK chart entry. Legacy and Collectibility “Jet Boy” is the New York Dolls’ proto-punk glam masterpiece. Original UK & Dutch Mercury pressings fetch £30–£80 on eBay/Discogs. Verify catalogue 6052 402. Streams on Spotify preserve the trash-rock fire. This single is a must-have for glam-punk collectors. Do you have Jet Boy in your vinyl stack? Are you ready to jet? Share in the comments! Sources Information is drawn from my personal knowledge and supplemented by web sources, including Discogs, 45cat, AllMusic, Rate Your Music, Wikipedia, BBC Official Charts Company, Billboard Chart History and YouTube

A Muscle Of Love Glam Teen Cry Released as a 7-inch vinyl single in the US on November 28, 1973, on Warner Bros. Records (catalogue: WB 7762), Alice Cooper Group’s “Teenage Lament '74” was the lead single from Muscle Of Love . Backed with “Hard Hearted Alice,” this glam-rock teen angst anthem — written by Alice Cooper/Neal Smith (A) and Cooper/Michael Bruce (B) — was produced by Jack Richardson & Jack Douglas for Nimbus 9. Peaked at No. 48 on Billboard Hot 100 for 8 weeks. Pressed in Terre Haute, Santa Maria, styrene, and promo stereo/mono variants, it’s a raw Cooper Group classic. Single Overview Release Details Label: Warner Bros. Records. Formats: Vinyl, 7", 45 RPM, Single (styrene, Terre Haute/Santa Maria pressings, promo stereo/mono). Full Track Listing Side A Teenage Lament '74 (3:20) – Written-By: Cooper, Smith Side B Hard Hearted Alice (4:50) – Written-By: Cooper, Bruce Global Variants - 7", 45 RPM, Single, Styrene, Terre Haute Pressing – Warner Bros. WB 7762 – US – 1973 - 7", 45 RPM, Promo, Stereo, Mono – Warner Bros. WB 7762 – US – 1973 - 7", 45 RPM, Single, Styrene – Warner Bros. WB 7762 – US – 1973 - 7", Single, 45 RPM – Warner Bros. WB 16 345 – US – 1973 - 7", 45 RPM, Single, Santa Maria Pressing – Warner Bros. WB 7762 – US – 1973 Production and Context Produced by Jack Richardson & Jack Douglas for Nimbus 9 Productions Limited. From Muscle Of Love (BS 2748). Last original Alice Cooper Group single before breakup. Chart Performance USA (Billboard Hot 100): 48 (8 weeks) – entry 29 Dec 1973 Legacy and Collectibility “Teenage Lament '74” is the Alice Cooper Group’s glam teen cry. Original US styrene pressings (Terre Haute/Santa Maria) fetch £10–£30 on eBay/Discogs, promos £20–£50. Verify catalogue WB 7762. Streams on Spotify via Muscle Of Love reissues preserve the lament. This single is a must-have for Alice Cooper Group collectors. Do you have Teenage Lament '74 in your vinyl stack? Is the lament still teen? 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.

two pages POP magazine November 26 1973

Bolan plugs in for the Beeb – rare non album gems live on air! T.Rex’s Radio 1 Club sessions, recorded for the BBC and broadcast on The David Hamilton Show ( November 26 – 30 & December 3 – 7 1973) and Radio 1 Club (November 1973 26 – 29 ). Tracks: 3. Truck On (Tyke) – 3:11 4. Sitting Here – 2:19 Neither the track nor its B-side, "Sitting Here", appeared on an original T. Rex studio album, but both were added as bonus material on re-releases of the 1974 album Zinc Alloy and the Hidden Riders of Tomorrow.

Bolan’s stomping glam trucker anthem roars into the Top 20! T. Rex's "Truck On (Tyke)" entered the UK Singles Chart the week of November 18, - 24, 1973, reaching its highest position at No. 12 on December 22, and 29, 1973. It remained on the chart for a total of 11 weeks. Chart Run November 24 – No. 38 December 1 – No. 20 December 8 – No. 13 December 15 – No. 14 December 22 – No. 12 December 29 – No. 12 January 5 – No. 15 January 12 – No. 18 January 19 – No. 22 January 26 – No. 32 February 2 – No. 48 Deep Dive: A Truck On Tyke Ride T.Rex’s “Truck On (Tyke)” was released as a 7-inch vinyl single with push-out and solid centre variants in the UK on November 16, 1973, on T.Rex (catalogue: MARC 6). Backed with “Sitting Here,” this glam-rock stomper and mellow B-side (both written by Marc Bolan and produced Tony Visconti), were issued as non-album tracks later added to Zinc Alloy reissues. It peaked at No. 12 on the UK Singles Chart for 11 weeks. Issued in push-out/solid centres, and promo in company bag. Single Overview A-Side: “Truck On (Tyke)” Written-By – Marc Bolan. Producer – Tony Visconti. B-Side: “Sitting Here” Written-By – Marc Bolan. Producer – Tony Visconti. Release Details: Label: T.Rex (UK pressing, 45 RPM). Record Company – EMI Records Ltd. Phonographic Copyright ℗ – Wizard Artists Ltd. Published By – Wizard Artists (Bahamas) Ltd. UK Formats: Vinyl, 7" Single Push Out Center, “Made In Gt Britain” in outer rim text after “…copying of this record prohibited” (MARC 6) A: “Truck On (Tyke)” – Written-By – Marc Bolan – Producer – Tony Visconti B: “Sitting Here” – Written-By – Marc Bolan – Producer – Tony Visconti Vinyl, 7" Single Push Out Center, “Made in Gt Britain” at bottom under “T Rex” (MARC 6) A: “Truck On (Tyke)” – Written-By – Marc Bolan – Producer – Tony Visconti B: “Sitting Here” – Written-By – Marc Bolan – Producer – Tony Visconti Vinyl, 7" Single, Promo Demonstration Record Not For Sale, in company bag (MARC 6) A: “Truck On (Tyke)” – Written-By – Marc Bolan – Producer – Tony Visconti B: “Sitting Here” – Written-By – Marc Bolan – Producer – Tony Visconti Release date on labels: 16.11.73. Made in Gt. Britain. ‘The Grammphon Co Ltd’ in rimtext. ℗ 1973. UK (T.Rex MARC 6) Released November 16, 1973. 7-inch (push-out/solid/promo). Country Variations: UK (T.Rex MARC 6) Released November 16, 1973. 7-inch (push-out/solid/promo). Australia (T.Rex 1973) Austria (Ariola 1973) Belgium (T.Rex 1973) Denmark (T.Rex 1973) Finland (T.Rex 1973) France (CBS 1973) Germany (Ariola 1973) Ireland (T.Rex 1973) Italy (T.Rex 1973) New Zealand (T.Rex 1973) Singapore (T.Rex 1973) South Africa (T.Rex 1973) Spain (Ariola 1973) Sweden (T.Rex 1973) Yugoslavia (T.Rex 1973) Japan (T.Rex 1974) UK (Edsel 2015) UK (Demon 2023) Production and Context Written/produced by Marc Bolan & Tony Visconti. Neither track on original T.Rex studio album; both added as bonus on Zinc Alloy and the Hidden Riders of Tomorrow re-releases. A-side a high-energy glam anthem, B-side a laid-back groove. Released via EMI’s T.Rex imprint. Chart Performance: UK: No. 12 (Official Singles Chart), charting for 11 weeks. Entry Date: November 24, 1973. Peak: No. 12 (December 22 & 29, 1973). Weeks on Chart: 11 (Nov 24, 1973 – Feb 2, 1974). Chart Run: No. 38 (Nov 24), No. 20 (Dec 1), No. 13 (Dec 8), No. 14 (Dec 15), No. 12 (Dec 22), No. 12 (Dec 29), No. 15 (Jan 5), No. 18 (Jan 12), No. 22 (Jan 19), No. 32 (Jan 26), No. 48 (Feb 2). Legacy and Collectibility “Truck On (Tyke)” is a glam-rock engine rev, “Sitting Here” a chilled cruiser. Original UK 7-inch push-out vinyls fetch £5–£15 on eBay/Discogs, solid centre (£8–£20), promos (£25–£50). Verify catalogue MARC 6 and rimtext variations. Streams on Spotify via Bolan compilations keep the tyres spinning. This non-album gem is a must-have for T.Rex fans and ‘70s glam collectors. Have you hitched a ride on this T.Rex truck? Does Sitting Here still feel like a lazy afternoon? Share in the comments! Sources Information is drawn from my personal knowledge and supplemented by web sources, including Discogs, 45cat, AllMusic, Rate Your Music, Wikipedia, BBC Official Charts Company, Billboard Chart History and YouTube.

A Glam Rock Resurrection Mott The Hoople’s “Roll Away The Stone” 7-inch vinyl single, was released in the UK on November 9, 1973, on CBS Records (catalogue: S CBS 1895). Backed with “Where Do You All Come From,” this anthemic glam rock track, written by Ian Hunter, was produced by Mott The Hoople. The A-side’s driving rhythm, Hunter’s vocals, and Thunderthighs’ bridge peaked at No. 8 on the UK Singles Chart for 12 weeks. Issued in solid centre, knockout centre, promo, and sunburst reissue versions, it’s a defining moment from the band’s Ariel Bender era. Single Overview A-Side: “Roll Away The Stone” (3:02) Written-By – Ian Hunter. Produced by Mott The Hoople. Lacquer Cut By – Rays. B-Side: “Where Do You All Come From” (3:22) Written-By – Buffin, Hunter, Ralphs, Watts. Produced by Mott The Hoople. Release Details: Label: CBS Records (UK pressing, 45 RPM). Published By – Island Music Ltd. Phonographic Copyright ℗ – CBS Records Formats: Vinyl, 7", Single Solid Centre (S CBS 1895): “Roll Away The Stone” / “Where Do You All Come From.” A-Side: “Roll Away The Stone” (3:02, Ian Hunter) – Written-By – Ian Hunter – Producer Mott The Hoople – Lacquer Cut By – Rays B-Side: “Where Do You All Come From” (3:22, Buffin, Hunter, Ralphs, Watts) – Written-By – Buffin, Hunter, Ralphs, Watts – Producer – Mott The Hoople Phonographic Copyright ℗ – CBS Records – Published By – Island Music Ltd. – Lacquer Cut By – Rays – Producer – Mott The Hoople – A UK Production – Made in England. Knockout Centre (S CBS 1895): A-Side: “Roll Away The Stone” (3:02, Ian Hunter) – Written-By – Ian Hunter – Producer Mott The Hoople – Lacquer Cut By – Rays B-Side: “Where Do You All Come From” (3:22, Buffin, Hunter, Ralphs, Watts) – Written-By – Buffin, Hunter, Ralphs, Watts – Producer – Mott The Hoople Phonographic Copyright ℗ – CBS Records – Published By – Island Music Ltd. – Pressed By – CBS Pressing Plant, Aston Clinton – Lacquer Cut By – Rays – Producer – Mott The Hoople – Made in Holland – ℗ 1973 CBS Records – A U.K. production. Promo, Single Sided (S CBS 1895): A-Side: “Roll Away The Stone” (3:02, Ian Hunter) – Written-By – Ian Hunter – Producer Mott The Hoople – Lacquer Cut By – Rays Single sided UK "Special Discotheque Record." Single, Promo (S CBS 1895): A-Side: “Roll Away The Stone” (3:02, Ian Hunter) – Written-By – Ian Hunter – Producer Mott The Hoople – Mastered By – Rays B-Side: “Where Do You All Come From” (3:22, Buffin, Hunter, Ralphs, Watts) – Written-By – Buffin, Hunter, Ralphs, Watts – Producer – Mott The Hoople Published By – Island Music Ltd. – Phonographic Copyright ℗ – CBS Records – Pressed By – CBS Pressing Plant, Aston Clinton – Mastered By – Rays – Producer – Mott The Hoople. Sunburst, Solid Centre (Reissue) (S CBS 1895): A-Side: “Roll Away The Stone” (3:02, Ian Hunter) – Written-By – Ian Hunter – Producer Mott The Hoople – Lacquer Cut By – Rays B-Side: “Where Do You All Come From” (3:22, Buffin, Hunter, Ralphs, Watts) – Written-By – Buffin, Hunter, Ralphs, Watts – Producer – Mott The Hoople Published By – Island Music Ltd. – Phonographic Copyright ℗ – CBS Records – Pressed By – CBS Pressing Plant, Aston Clinton – Lacquer Cut By – Rays – Producer – Mott The Hoople – Made in England – A UK Production – Sunburst label (re-issue), solid centre. Notes: A UK Production. Made in England (most versions). Country Variations The single was released in several countries: Australia (CBS 1973) Germany (CBS 1973) Netherlands (CBS 1973) South Africa (CBS 1973) Sweden (CBS 1973) New Zealand (CBS 1974) UK (CBS S CBS 1895): Production and Context Recorded in 1973. Produced by Mott The Hoople. Personnel: Ian Hunter (vocals, rhythm guitar, piano), Pete Overend Watts (bass, vocals, rhythm guitar, 12-string guitar), Dale "Buffin" Griffin (drums, vocals, percussion), Ariel Bender (lead guitar, vocals, slide guitar), Morgan Fisher (keyboards, synthesizer), Lynsey De Paul (backing vocals), Mick Ralphs (rhythm and lead guitar – Bender added harmony lead line), Thunderthighs (Karen Friedman, Dari Lalou, Casey Synge – backing vocals). The first version, recorded before Mick Ralphs left, had Ralphs on lead guitar and Thunderthighs on the bridge. Re-recorded for The Hoople (1974) with Bender and Lynsey de Paul. Performed on BBC Top of the Pops on November 15, 1973. Released amid glam’s peak, it followed Mott (No. 7 UK, 1973). Chart Performance: UK: No. 8 (Official Singles Chart), charting for 12 weeks. Entry Date: November 24, 1973. Peak: No. 8 (December 15, 1973). Weeks on Chart: 12 (Nov 24, 1973–Feb 9, 1974). “Roll Away The Stone” is a Mott glam anthem, with “Where Do You All Come From” a quirky B-side. Original UK 7-inch vinyls (solid/knockout centre) fetch £3–£10 on eBay/Discogs, with promo and sunburst reissues (£8–£20) rarer. Verify catalogue S CBS 1895. Streams on Spotify preserve the analog roar. This single is a must-have for Mott fans and glam collectors. Have you snagged this Mott classic in your vinyl collection? Does “Roll Away The Stone” move 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

Suzi Quatro: Suzi Quatro Album (1973) A Glam Rock Trailblazer Suzi Quatro’s Suzi Quatro LP was released in the UK on approximately October 12, 1973, on RAK Records (catalogue: SRAK 505). This is based on the album debuting on the BBC Albums Chart in the week of November 7-13, 1973, at number 42, remaining on the chart for 4 weeks. This 12-track debut album introduced the Detroit-born rocker's raw, glam-infused sound, blending hard rock, pop, and R&B. Produced by Mickie Most and Mike Chapman, the album featured Quatro’s fierce vocals and bass-playing, backed by her band, peaking at No. 32 on the UK Albums Chart for 4 weeks. Issued in a vibrant sleeve with Quatro’s iconic leather-clad image, it’s a cornerstone of ‘70s glam rock and a trailblazer for women in rock. Album Overview Release Details: Label: RAK Records (UK, Germany), EMI (Japan CD), Chrysalis (2022 UK/Europe). Formats: Vinyl LP, cassette, CD, 2xLP special edition (detailed below). ℗ & ©: 1973 RAK Records (LP, cassette); 1989 EMI (Japan CD); 2022 Chrysalis Records (2xLP). Recorded at Audio International Studios, London, and RAK Studios, London, 1972–1973. Matrix numbers (e.g., SRAK 505 A-1 for UK, 1C 062-94 714 A-1 for Germany, CRVC1481 A-1 for 2022) confirm authenticity. UK, German, Japanese, and 2022 Record Store Day Release Formats and Track Listings Suzi Quatro was released in the UK and Germany in 1973 as a vinyl LP and cassette, with a CD reissue in Japan in 1989 and a 2xLP special edition in 2022. The UK and German vinyl LPs, Japanese CD, and 2022 2xLP maintain the same 12-track core sequence, with the UK cassette reordered and the 2022 edition adding bonus tracks on sides C and D. Durations for the 2022 release are assumed to match the UK LP where applicable, as not provided. UK Vinyl LP (Catalogue: SRAK 505): Side A: 48 Crash (3:54, Chapman-Chinn) Glycerine Queen (3:47, Tuckey/Quatro) Shine My Machine (3:49, Tuckey/Quatro) Official Suburbian Superman (3:05, Tuckey/Quatro) I Wanna Be Your Man (3:20, Lennon-McCartney) Primitive Love (4:13, Chapman-Chinn) Side B: All Shook Up (3:50, Presley/Blackwell) Sticks & Stones (3:41, Tuckey/Quatro) Skin Tight Skin (4:21, Tuckey/Quatro) Get Back Mama (5:56, Quatro) Rockin' Moonbeam (2:55, Tuckey/Quatro) Shakin' All Over (3:34, Heath) Packaging: 33⅓ RPM, stereo, in a single sleeve with Quatro’s leather-clad photo, including inner sleeve with liner notes. German Vinyl LP (Catalogue: 1C 062-94 714): Rockin' Moonbeam (2:55, Tuckey/Quatro) replaced by Can The Can (3:33)Chapman/Chinn) Side A: 48 Crash (3:53, Chapman/Chinn) Glycerine Queen (3:46, Tuckey/Quatro) Shine My Machine (3:48, Tuckey/Quatro) Official Suburbian Superman (3:05, Tuckey/Quatro) I Wanna Be Your Man (3:18, Lennon/McCartney) Primitive Love (4:11, Chapman/Chinn) Side B: Can The Can (3:33, Chapman/Chinn) All Shook Up (3:48, Presley/Blackwell) Sticks & Stones (3:39, Tuckey/Quatro) Skin Tight Skin (4:19, Tuckey/Quatro) Get Back Mama (5:52, Quatro) Shakin' All Over (3:32, Heath) Packaging: 33⅓ RPM, stereo, in a single sleeve with Quatro’s leather-clad photo, including German-translated liner notes. UK Cassette (Catalogue: TC-SRAK 505): Side A: 48 Crash (3:54, Chapman-Chinn) Glycerine Queen (3:47, Tuckey/Quatro) Shine My Machine (3:49, Tuckey/Quatro) Primitive Love (4:13, Chapman-Chinn) All Shook Up (3:50, Presley/Blackwell) Shakin' All Over (3:34, Heath) Side B: Official Suburbian Superman (3:05, Tuckey/Quatro) Skin Tight Skin (4:21, Tuckey/Quatro) Get Back Mama (5:56, Quatro) I Wanna Be Your Man (3:20, Lennon-McCartney) Sticks & Stones (3:41, Tuckey/Quatro) Rockin' Moonbeam (2:55, Tuckey/Quatro) Packaging: Standard cassette case with J-card featuring artwork and track credits. Compact Disc (CD) (Reissue, EMI CP21-6068, Japan, Pastmasters Series, Released November 8, 1989): Single Disc: 48 Crash (3:54, Chapman-Chinn) Glycerine Queen (3:47, Tuckey/Quatro) Shine My Machine (3:49, Tuckey/Quatro) Official Suburbian Superman (3:05, Tuckey/Quatro) I Wanna Be Your Man (3:20, Lennon-McCartney) Primitive Love (4:13, Chapman-Chinn) Can The Can (3:34, Chapman/Chinn) All Shook Up (3:50, Presley/Blackwell) Sticks And Stones (3:41, Tuckey/Quatro) Skin Tight Skin (4:21, Tuckey/Quatro) Get Back Mama (5:56, Quatro) Rockin Moonbeam (2:55, Tuckey/Quatro) Shakin' All Over (3:34, Heath) Packaging: Jewel case with booklet featuring liner notes, photos, and credits, including obi strip for Japanese market. 2xLP Special Edition (Chrysalis CRVC1481, UK & Europe, Record Store Day, Released June 18, 2022): Side A: 48 Crash (3:54, Chapman-Chinn) Glycerine Queen (3:47, Tuckey/Quatro) Shine My Machine (3:49, Tuckey/Quatro) Official Suburbian Superman (3:05, Tuckey/Quatro) I Wanna Be Your Man (3:20, Lennon-McCartney) Primitive Love (4:13, Chapman-Chinn) Side B: All Shook Up (3:50, Presley/Blackwell) Sticks & Stones (3:41, Tuckey/Quatro) Skin Tight Skin (4:21, Tuckey/Quatro) Get Back Mama (5:56, Quatro) Rockin' Moonbeam (2:55, Tuckey/Quatro) Shakin' All Over (3:34, Heath) Side C: Rolling Stone (2:45, Quatro) Brain Confusion (For All The Lonely People) (3:09, Tuckey/Quatro) Can The Can (3:34, Chapman/Chinn) Ain't Ya Somethin' Honey (4:08, Quatro) Side D: Little Bitch Blue (3:27, Tuckey/Quatro) Daytona Demon (4:01, Tuckey/Quatro) Roman Fingers (3:48, Tuckey/Quatro) Packaging: 33⅓ RPM, stereo, pink vinyl, limited to 1,000 copies in UK & Ireland, in a gatefold sleeve with photography by Gered Mankowitz, mastered by Chris Blair. Production and Context Produced by Mickie Most and Mike Chapman (1973 releases) and Mike Chapman and Nicky Chinn (2022 bonus tracks), recorded at Audio International Studios and RAK Studios, London, 1972–1973. The lineup featured Suzi Quatro (bass, lead vocals), Len Tuckey (guitar, slide guitar, backing vocals), Alastair McKenzie (electric piano, grand piano, mellotron, backing vocals), and Dave Neal (drums, backing vocals). Engineered by Pete Coleman (1973) and mastered by Chris Blair (2022). The album blended Quatro’s Detroit rock energy with Chapman-Chinn’s glam pop sensibility, launching her as a female rock pioneer. Released amid the glam rock boom, it competed with T. Rex and Slade, establishing Quatro’s fierce persona. The 2022 edition added rare tracks, enhancing its collectibility. Singles Released and Chart Performance Suzi Quatro spawned two singles: “Can The Can” (1973, RAK 150): UK Chart Data: Entry May 19, 1973; Peak No. 1; 12 weeks. Chart Run: No. 8 (May 19), No. 3 (May 26), No. 1 (June 2), No. 1 (June 9), No. 2 (June 16), No. 3 (June 23), No. 4 (June 30), No. 6 (July 7), No. 8 (July 14), No. 10 (July 21), No. 12 (July 28), No. 15 (Aug 4). International: Australia No. 1, Germany No. 1, Ireland No. 2, Netherlands No. 4, Switzerland No. 5, Austria No. 6. “48 Crash” (1973, RAK 160): UK Chart Data: Entry July 28, 1973; Peak No. 3; 11 weeks. Chart Run: No. 10 (July 28), No. 5 (Aug 4), No. 3 (Aug 11), No. 4 (Aug 18), No. 5 (Aug 25), No. 6 (Sep 1), No. 8 (Sep 8), No. 10 (Sep 15), No. 12 (Sep 22), No. 15 (Sep 29), No. 18 (Oct 6). International: Australia No. 2, Germany No. 3, Ireland No. 3, Netherlands No. 6, Switzerland No. 7. Album Chart Performance Suzi Quatro charted successfully: UK: Entry Date: November 3, 1973 (Official Albums Chart). Peak: No. 32 (November 10, 1973). Weeks on Chart: 6 (Nov 3, 1973–Dec 8, 1973). Chart Run: No. 35 (Nov 3), No. 32 (Nov 10), No. 33 (Nov 17), No. 34 (Nov 24), No. 36 (Dec 1), No. 38 (Dec 8). Certification: None. Australia: No. 1 (Kent Music Report, 14 weeks). Germany: No. 5 (GfK, 10 weeks). Netherlands: No. 12 (Dutch Album Top 100, 8 weeks). New Zealand: No. 15 (RMNZ, 6 weeks). Switzerland: No. 10 (Swiss Hitparade, 7 weeks). Austria: No. 14 (Ö3 Austria Top 40, 5 weeks). US: No. 142 (Billboard 200, 4 weeks). Other Countries: No chart entries in Canada, France, Sweden, Norway, Finland, Italy, Spain, Ireland, or Belgium due to limited promotion. Legacy and Collectibility Suzi Quatro is a glam rock landmark, with “Can The Can” and “48 Crash” as anthems that paved the way for female rockers. Original UK and German vinyls fetch £10–£30 on Discogs, with Japanese pressings (£20–£50, including 1989 CD) and 2022 pink vinyl (£30–£60, limited to 1,000 copies) prized for rarity. Cassettes (£5–£15) and CDs (£5–£20) are common. First pressings with intact sleeves are valued—verify catalogue SRAK 505 (UK), 1C 062-94 714 (Germany), CP21-6068 (Japan CD), or CRVC1481 (2022). Streams on Spotify via Suzi Quatro preserve the analog punch. This LP is a must-have for glam rock fans. Do you have Suzi Quatro in your vinyl stack? Which track rocks your turntable? Share in the comments! Sources Discogs: Suzi Quatro UK (1973) Discogs: Suzi Quatro Germany (1973) Discogs: Suzi Quatro UK Cassette (1973) Discogs: Suzi Quatro Japan CD (1989) Discogs: Suzi Quatro RSD 2022 (UK & Europe) Official Charts Company: Suzi Quatro Albums AllMusic: Suzi Quatro Discography Wikipedia: Suzi Quatro Discography Billboard Chart History: Suzi Quatro

Essex's Moody Moonlight Hit David Essex’s “Lamplight” 7-inch vinyl single, was released in the UK on November 2, 1973, on CBS Records (catalogue: SCBS1902). Backed with “We All Insane,” this haunting glam-pop ballad, written by David Essex, was the second single from his debut album Rock On. Produced by Jeff Wayne, the A-side’s dreamy melody, Essex’s emotive vocals, and orchestral swells peaked at No. 7 for two weeks on the UK Singles Chart remaining for for 15 weeks. UK Variations Single 7" Vinyl Solid Centre Single Label: CBS – S CBS 1902 Format: Vinyl, 7", 45 RPM, Single, Solid Centre A Lamplight 2:54 B We All Insane 3:08 Phonographic Copyright ℗ – CBS Records Published By – Jeff Wayne Music Ltd. Pressed By – CBS Pressing Plant, Aston Clinton Produced For – Jeff Wayne Music Producer, Arranged By, Conductor – Jeff Wayne Written-By – D. Essex* Sleeve cut with waves in the opening. Produced, Arranged & Conducted By Jeff Wayne For JWM, Jeff Wayne Music. A U.K. Production. Single 7" Vinyl Four Prong Centre Label: CBS – S CBS 1902, CBS – 1902 Format: Vinyl, 7", 45 RPM, Stereo, Push-Out Centre A Lamplight 2:54 B We All Insane 3:08 Phonographic Copyright ℗ – CBS Records Published By – Jeff Wayne Music Ltd. Pressed By – CBS Pressing Plant, Aston Clinton Produced For – Jeff Wayne Music Producer, Arranged By, Conductor – Jeff Wayne Written-By – D. Essex* Labels: Produced, arranged & conducted by Jeff Wayne for JWM, Jeff Wayne Music A U.K. Production Have you snagged this Essex gem in your vinyl collection? Does “Lamplight” light your playlist? Share in the comments! Sources Discogs: Lamplight (1973) 45cat: CBS 1898 Single YouTube: Lamplight Wikipedia: Rock On (David Essex album) Official Charts Company: David Essex Singles AllMusic: David Essex Discography

Bolan's Telegram to Stardom T. Rex’s Great Hits LP, released in the UK on November 2, 1973, on T. REX Records (catalogue: BLN 5003 / 0C 062 ◦ 94744), was a 14-track compilation of Marc Bolan’s glam anthems. Produced by Tony Visconti, it featured Telegram Sam, Metal Guru, 20th Century Boy, and Children Of The Revolution. Pressed by EMI Records and printed by Garrod & Lofthouse Ltd., with initial copies including a poster, it peaked at No. 32 on the UK Albums Chart for 3 weeks, November 10 –24, 1973. Issued in a fully laminated sleeve, with cassette (grey/blue body) and 8-track variants, it’s a sparkling snapshot of Bolan’s T. Rex reign. Housed in a colorful sleeve with Bolan's iconic image from the Born T Boogie film, it’s a nostalgic snapshot of the T. Rexmania era. Album Overview Release Details: Label: T. REX Records (UK). Formats: Vinyl LP, cassette (grey/blue body), 8-track. ℗ & ©: 1972/1973 Wizard Artists Ltd. Published by Wizard Artists Ltd. / Warrior Music Projects Ltd. Notes: First cat# on spine/back, second on back. Rimtext: THE GRAMOPHONE CO. LTD. Initial copies with poster. UK Release Formats and Track Listings Great Hits was released in the UK in 1973 in multiple formats, all with the same 14-track sequence: Vinyl LP (Catalogue: BLN 5003): Side A: Telegram Sam Jitterbug Love Lady Metal Guru Thunderwing Sunken Rags Solid Gold Easy Action Side B: 20th Century Boy Midnight The Slider Born To Boogie Children Of The Revolution Shock Rock The Groover Packaging: Fully laminated sleeve. Initial copies with poster. The album was launched worldwide: All featuring the same sleeve cover The editions released in Singapore, Malaysia, Hong Kong, and Thailand included a textured sleeve T. REX – BLN 5003, T. REX – 0C 062 ◦ 94744 UK 1973 T. REX – BLN. 5003, T. REX – BLN-5003, EMI – BLN. 5003 Australia 1973 EMI – BLN-3001 Venezuela 1973 Odeon – EOP-80930 Japan 1973 T. Rex – 3 C062-94744, T. Rex – 3C 062 - 94744 Italy 1973 EMI – BLN 5003 Greece 1973 EMI – BLN 5003 Denmark 1973 T. REX – 3 C062 - 94744, T. REX – 3C 062 - 94744 Italy 1973 EMI – BLN 5003 Greece 1973 T. REX – BLN(D) 5003 South Africa 1973 T. REX – BLN 5003 New Zealand 1973 T. REX – BLN 5003, T. REX – 0C 062 ◦ 94744 Singapore, Malaysia, Hong Kong & Thailand 1973 Textured sleeve In 1983, the album was reissued in Japan with a lyric insert and an obi strip included. T. Rex – SP20-5061 Series: Rock Original Disk Series Vol.2 Marc Bolan & T.Rex – 11 A1 Telegram Sam A2 Jitterbug Love A3 Lady A4 Metal Guru A5 Thunderwing A6 Sunken Rags A7 Solid Gold Easy Action B1 20th Century Boy B2 Midnight B3 The Slider B4 Born To Boogie B5 Children Of The Revolution B6 Shock Rock B7 The Groover Licensed From – Marc On Wax Phonographic Copyright ℗ – Wizard Artists Ltd. Made By – Sounds Marketing System, Inc. Producer – Tony Visconti Included lyric insert & obi strip. Cassette Album (Grey Body) (Catalogue: TC-BLN 5003 / 0C 244 ◦ 94744): Side A: Telegram Sam Sunken Rags The Slider Jitterbug Love Lady Metal Guru Solid Gold Easy Action Side B: Thunderwing Midnight The Groover 20th Century Boy Born To Boogie Children Of The Revolution Shock Rock Packaging: Grey cassette body. Label: Greatest Hits. Cassette Album, (Blue Body) (Catalogue: TC-BLN 5003 / 0C 244 ◦ 94744): 8-Track Cartridge , Compilation (Catalogue: 8X-BLN 5003 / OC 346 o 94744): Program 1: Telegram Sam / Sunken Rags / The Slider Program 2: Jitterbug Love / Lady / Metal Guru / Solid Gold Easy Action Program 3: Thunderwing / Midnight / The Groover Program 4: 20th Century Boy / Born To Boogie / Children Of The Revolution / Shock Rock Packaging: Printed by Delga Press Ltd. (October 1973). artwork and track credits. Packaging: Standard cassette case with J-card. The album received its first release on compact disc in Japan on January 21, 1986. by Sounds Marketing System, Inc. – MD32-5018 1 Telegram Sam 3:49 2 Jitterbug Love 2:57 3 Lady 2:13 4 Metal Guru 2:26 5 Thunderwing 3:47 6 Sunken Rags 2:55 7 Solid Gold Easy Action 2:19 8 20th Century Boy 3:41 9 Midnight 2:47 10 The Slider 3:24 11 Born To Boogie 2:06 12 Children Of The Revolution 2:30 13 Shock Rock 1:44 14 The Groover 3:16 Manufactured By – Sounds Marketing System, Inc. Phonographic Copyright ℗ – Wizard Artists Ltd. Licensed From – Marc On Wax Producer – Tony Visconti 4 page fold out B&W Japanese/English track list and Japanese biography Made in Japan. Printed in Japan. ¥3.200 Production and Context Produced by Tony Visconti, the tracks were recorded between 1971 and 1973 at studios like Advision and Chateau d'Hérouville, London and France. The lineup featured Marc Bolan (vocals, guitar), Mickey Finn (percussion, congas), Howard Kaylan (backing vocals), Mark Volman (backing vocals), and session musicians. The compilation assembled T. Rex's early glam hits from Electric Warrior and The Slider, reflecting Bolan’s transformation from folk to rock stardom. Released amid the glam rock peak, it followed Zinc Alloy (1974). Album Chart Performance Great Hits charted briefly in the UK: Peak: No. 32. Weeks on Chart: 3 (November 10 –24, 1973). Chart Run: No. 32 (Nov 10), No. 42 (Nov 17), No. 37 (Nov 24). Legacy and Collectibility Great Hits is a T. Rex cornerstone, with “Telegram Sam” and “Metal Guru” as timeless anthems. This LP is a must-have for glam rock fans. Do you have Great Hits in your vinyl stack? Which Bolan track rocks your turntable? Share in the comments! Sources

A Glam-Pop Debut Triumph David Essex’s Rock On LP, was released in the UK on November 2, 1973, on CBS Records (catalogue: S 65823). This 11-track debut studio album introduced Essex’s blend of glam rock, pop, and theatrical flair, featuring the iconic title track. Produced, arranged and conducted by Jeff Wayne, it showcased Essex’s charismatic vocals and songwriting, peaking at No. 7 on the UK Albums Chart for 12 weeks. It launched Essex’s solo stardom after That’ll Be the Day. Album Overview Release Details: Label: CBS Records (UK). Formats: Vinyl LP, cassette. ℗ & ©: 1973 CBS Records. Recorded at Advision Studios, London, 1973. Matrix numbers (e.g., S 65823 A-1) confirm authenticity. UK Release Formats and Track Listings Rock On was released in the UK in 1973 as a vinyl LP and cassette, with CD reissues later. All formats maintain the same 11-track sequence: Vinyl LP (Catalogue: S 65823): Side A: Lamplight (2:55, David Essex) Turn Me Loose (2:20, Doc Pomus/Mort Shuman) On And On (2:50, David Essex) Streetfight (3:50, David Essex) Rock On (3:24, David Essex) Side B: Ocean Girl (3:10, David Essex) Bring In The Sun (4:35, David Essex/Jeff Wayne) For Emily, Whenever I May Find Her (2:55, Paul Simon) We All Insane (3:05, David Essex) Tell Him No (4:00, Travis Pritchett) September 15th (1:25, David Essex) Musicians David Essex – vocals Julie Covington, Doreen Chanter, Irene Chanter, Jimmy Helms, Gary Osborne, Jimmy Thomas, Paul Vigrass, Billy Laurie, Tom Saffrey – backing vocals Jeff Wayne, Alan Hawkshaw – Moog synthesizer Mark Griffiths, Jo Partridge, Kirby Gregory – guitar Herbie Flowers – bass guitar Ray Cooper – percussion Barry de Souza – drums John Morton – Ondes Martinot Technical Gary Martin – engineer Jeff Wayne – producer, arranger, conductor London Weekend Television – photography Chart (1973–1974) Peak position Australian Albums (Kent Music Report) 37 Canada Top Albums/CDs (RPM) 24 UK Albums (OCC) 7 US Billboard 200 32 UK Variations: Album 12" Vinyl Orange Labels Label: CBS – S 65823, CBS – 65823 Format: Vinyl, LP, Album A1 Lamplight 2:56 A2 Turn Me Loose 2:18 A3 On And On 2:51 A4 Streetfight 3:50 A5 Rock On 3:24 B1 Ocean Girl 3:10 B2 Bring In The Sun 4:36 B3 For Emily, Wherever I May Find Her 2:56 B4 We All Insane 3:03 B5 Tell Him No 3:58 B6 September 15th 1:22 Published By – Jeff Wayne Music Ltd. Published By – April Music Ltd. Published By – Carlin Music Corp. Published By – Jewel Music Publishing Co. Ltd. Published By – Pattern Music Ltd. Phonographic Copyright ℗ – CBS Records Copyright © – CBS Records Printed By – Shorewood Packaging Co. Ltd. Produced For – Jeff Wayne Music Pressed By – CBS Pressing Plant, Aston Clinton Photography By [Cover] – London Weekend Television Producer, Arranged By, Conductor – Jeff Wayne Label: Orange with hole through centre CBS logo Made In England Sleeve: SHOREPAK by Shorewood Packaging co. Ltd, England. Has the cat. # as 65823 on the spine and rear of the cover. For matrix/runout var 4: Orienting the "S 65823 A5" at 12 o'clock, the "C" is relative at 9 o'clock and the "1 6" at 3 o'clock (same for side 2). This is reminiscent of EMI or Decca pressings on which the mother number is at 9 o'clock and the stamper(s) at 3 o'clock, though the matrix is located in the 6 o'clock position for those EMI and Decca pressings. Matrix / Runout (Side A Runout, stamped. Variant 1): S 65823 A5 Matrix / Runout (Side B Runout, stamped. Variant 1): S 65823 B5 Matrix / Runout (Side A Runout, stamped. Variant 2): S 65823 A1 Matrix / Runout (Side B Runout, stamped. Variant 2): S 65823 B5 Matrix / Runout (Side A Runout, stamped. Variant 3): S 65823 A1 Matrix / Runout (Side A Runout, stamped. Variant 3): S 65823 B1 Matrix / Runout (Side A Runout, stamped, Variant 4): S 65823 A5 C 1 6 Matrix / Runout (Side B Runout, stamped, Variant 4): S 65823 B5 D 1 7 Album 12" Vinyl Sunburst Labels Label: CBS – S 65823, CBS – 65823 Format: Vinyl, LP, Album, Reissue, Sunburst Labels A1 Lamplight 2:56 A2 Turn Me Loose 2:18 A3 On And On 2:51 A4 Streetfight 3:50 A5 Rock On 3:24 B1 Ocean Girl 3:10 B2 Bring In The Sun 4:36 B3 For Emily, Wherever I May Find Her 2:56 B4 We All Insane 3:03 B5 Tell Him No 3:58 B6 September 15th 1:22 Published By – Jeff Wayne Music Ltd. Published By – April Music Ltd. Published By – Carlin Music Corp. Published By – Jewel Music Publishing Co. Ltd. Published By – Pattern Music Ltd. Phonographic Copyright ℗ – CBS Records Copyright © – CBS Records Made By – Shorewood Packaging Co. Ltd. Produced For – Jeff Wayne Music Pressed By – CBS Pressing Plant, Aston Clinton Photography By [Cover] – London Weekend Television Producer, Arranged By, Conductor – Jeff Wayne Made In England Sleeve: SHOREPAK by Shorewood Packaging co. Ltd, England. Matrix / Runout (Runout, Side A): S 65823 A13E Matrix / Runout (Runout, Side B): S 65823 B5 Tape Cassette Label: CBS – 40-65823 Format: Cassette, Album A1 Lamplight A2 Turn Me Loose A3 Tell Him No A4 Streetfight A5 Bring In The Sun B1 Rock On B2 Ocean Girl B3 On And On B4 For Emily, Wherever I May Find Her B5 We All Insane B6 September 15th Phonographic Copyright ℗ – CBS Records Produced For – Jeff Wayne Music Producer, Arranged By, Conductor – Jeff Wayne ℗ 1973 Do you have Rock On in your vinyl stack? Which track rocks your turntable? Share in the comments! Sources Discogs: Rock On (1973) 45cat: David Essex Singles YouTube: Rock On Official Audio (2009 upload, 1M+ views) Wikipedia: Rock On (David Essex album) Official Charts Company: David Essex Albums AllMusic: Rock On Billboard Chart History: David Essex

A Glam Covers Extravaganza David Bowie’s Pinups LP, was released in the UK on October 19, 1973, on RCA Records (catalogue: RS 1003). The album entered the BBC UK Albums Chart on October 28 - November 3 at the top position, a place it held for 5 consecutive weeks as part of an initial 21-week run. Chart Data (1973) October 28 - November 3, 1973: (1) November 4-10 , 1973: (1) November 11-17 , 1973:(1) November 18-24 , 1973:(1) November 25- December,1973:(1) Reentering the chart on April 24 - 30, 1983, (when Let's Dance was situated at the top spot) at number 80 as part of a 12-week run. This 12-track album of 1960s rock and pop cover versions showcased Bowie’s glam rock reinterpretations during the height of his Ziggy Stardust era. Produced by Bowie and Ken Scott, Pinups featured energetic performances backed by the Spiders from Mars, peaking at No. 1 on the UK Albums Chart for five weeks. Issued in a vibrant sleeve with a Twiggy-and-Bowie photo by Justin de Villeneuve, it’s a nostalgic tribute to the Swinging Sixties. Album Overview Release Details: Label: RCA Records (UK). Formats: Vinyl LP, cassette; later CD reissues (detailed below). ℗ & ©: 1973 RCA Records. Recorded at Château d’Hérouville, France, July 1973. Matrix numbers (e.g., RS 1003 A-1) confirm authenticity. UK Release Formats and Track Listings Pinups was released in the UK in 1973 as a vinyl LP and cassette, with CD reissues later. The vinyl LP and cassette maintain the 12-track sequence, with the cassette reordered, and the 1990 CD reissue includes two bonus tracks: Vinyl LP (Catalogue: RS 1003): Side A: Rosalyn (2:21, Jimmy Duncan, Bill Farley) Here Comes The Night (3:09, Bert Berns) I Wish You Would (2:48, Billy Boy Arnold) See Emily Play (4:12, Syd Barrett) Everything’s Alright (2:28, Nicky Crouch, John Konrad, Simon Stavely, Stuart James, Keith Karlson) I Can’t Explain (2:15, Pete Townshend) Side B: Friday On My Mind (2:56, George Young, Harry Vanda) Sorrow (2:53, Bob Feldman, Jerry Goldstein, Richard Gottehrer) Don’t Bring Me Down (2:05, Johnnie Dee) Shapes Of Things (2:53, Paul Samwell-Smith, Jim McCarty, Keith Relf) Anyway, Anyhow, Anywhere (3:12, Pete Townshend, Roger Daltrey) Where Have All The Good Times Gone (2:41, Ray Davies) Packaging: 33⅓ RPM, stereo, in a single sleeve with Twiggy-and-Bowie photo by Justin de Villeneuve, including inner sleeve with liner notes. Cassette (Catalogue: PK 1003): Side A: Rosalyn (2:21, Jimmy Duncan, Bill Farley) I Wish You Would (2:48, Billy Boy Arnold) See Emily Play (4:12, Syd Barrett) Everything’s Alright (2:28, Nicky Crouch, John Konrad, Simon Stavely, Stuart James, Keith Karlson) I Can’t Explain (2:15, Pete Townshend) Friday On My Mind (2:56, George Young, Harry Vanda) Side B: Here Comes The Night (3:09, Bert Berns) Sorrow (2:53, Bob Feldman, Jerry Goldstein, Richard Gottehrer) Don’t Bring Me Down (2:05, Johnnie Dee) Shapes Of Things (2:53, Paul Samwell-Smith, Jim McCarty, Keith Relf) Anyway, Anyhow, Anywhere (3:12, Pete Townshend, Roger Daltrey) Where Have All The Good Times Gone (2:41, Ray Davies) Packaging: Standard cassette case with J-card featuring artwork and track credits. Compact Disc (CD) (Reissue, 1990 Rykodisc): Single Disc: Rosalyn (2:27, Jimmy Duncan, Bill Farley) Here Comes The Night (3:09, Bert Berns) I Wish You Would (2:48, Billy Boy Arnold) See Emily Play (4:12, Syd Barrett) Everything’s Alright (2:26, Nicky Crouch, John Konrad, Simon Stavely, Stuart James, Keith Karlson) I Can’t Explain (2:14, Pete Townshend) Friday On My Mind (2:57, George Young, Harry Vanda) Sorrow (2:48, Bob Feldman, Jerry Goldstein, Richard Gottehrer) Don’t Bring Me Down (2:01, Johnnie Dee) Shapes Of Things (2:53, Paul Samwell-Smith, Jim McCarty, Keith Relf) Anyway, Anyhow, Anywhere (3:04, Pete Townshend, Roger Daltrey) Where Have All The Good Times Gone (2:46, Ray Davies) BONUS TRACKS Growin’ Up (3:26, Bruce Springsteen) Port Of Amsterdam (3:19, Jacques Brel, Mort Shuman, Eric Blau) Packaging: Jewel case with booklet featuring liner notes, photos, and credits. Production and Context Produced by David Bowie and Ken Scott, recorded at Château d’Hérouville, France, in July 1973. The lineup featured Bowie (vocals, guitar), Mick Ronson (guitar), Trevor Bolder (bass), Mike Garson (piano), and Aynsley Dunbar (drums). Pinups was a tribute to ‘60s bands like The Who and The Kinks, recorded during the Ziggy Stardust tour’s final leg. Released amid glam’s peak, it followed Aladdin Sane (1973) and competed with Slade and T. Rex, serving as a bridge to Diamond Dogs (1974). Pinups is a glam rock gem, with “Sorrow” and “See Emily Play” as standout covers, reflecting Bowie’s love for ‘60s rock. Streams on Spotify via Pinups preserve the analog grit. This LP is a must-have for Bowie fans and glam collectors. Do you have Pinups in your vinyl stack? Which cover rocks your turntable? Share in the comments! Sources Discogs: Pinups (1973) Discogs: Pinups 1990 Rykodisc CD Official Charts Company: David Bowie Albums AllMusic: Pinups Discography Wikipedia: Pinups Billboard Chart History: David Bowie

David Bowie 's "1984 A.D.", Roxy Music "Live", "Truckin' Bolan" one page news in Disc, October 27, 1973

A Glam Salute to the Sixties David Bowie’s Pin Ups LP, was released in the UK on October 19, 1973, on RCA Victor (catalogue: RS 1003). This 12-track covers album paid homage to Bowie’s 1960s influences, reinterpreting hits by The Who, The Kinks, and Pink Floyd with a vibrant glam rock twist. Produced by Ken Scott and Bowie, and featuring Mick Ronson’s searing guitar work, the album captured Bowie at the height of his Ziggy Stardust fame, reaching No. 1 on the UK Albums Chart. Housed in a gatefold sleeve with an iconic Twiggy and Bowie cover photo by Justin de Villeneuve, Pin Ups bridged his glam era with his mod roots. Album Overview Release Details: Label: RCA Victor (UK). Formats: Vinyl LP (primary 1973 format); later CD and cassette reissues (detailed below). ℗ & ©: 1973 RCA Records. Recorded at Château d’Hérouville, France, in July 1973. Matrix numbers (e.g., RS 1003 A-1E) confirm authenticity. UK Release Formats and Track Listings Pin Ups was primarily released in the UK as a vinyl LP in 1973, with CD and cassette formats appearing in later reissues (e.g., 1984 RCA, 1990 Rykodisc). All formats maintain the same 12-track sequence: Vinyl LP (Catalogue: RS 1003): Side A: Rosalyn (2:27) – Pretty Things cover. Here Comes the Night (3:09) – Them cover. I Wish You Would (2:40) – Yardbirds cover. See Emily Play (4:03) – Pink Floyd cover. Everything’s Alright (2:26) – Mojos cover. I Can’t Explain (2:07) – The Who cover. Side B: Friday on My Mind (3:18) – Easybeats cover. Sorrow (2:48) – McCoys cover. Don’t Bring Me Down (2:01) – Pretty Things cover. Shapes of Things (2:47) – Yardbirds cover. Anyway, Anyhow, Anywhere (3:04) – The Who cover. Where Have All the Good Times Gone (2:35) – Kinks cover. Packaging: 33⅓ RPM, stereo, in a gatefold sleeve with Twiggy and Bowie cover photo by Justin de Villeneuve, including inner sleeve with lyrics and Bowie’s handwritten notes on the original artists. Compact Disc (CD) (Later reissues, e.g., 1984 RCA PD81090, 1990 Rykodisc): Single Disc: Rosalyn (2:27) Here Comes the Night (3:09) I Wish You Would (2:40) See Emily Play (4:03) Everything’s Alright (2:26) I Can’t Explain (2:07) Friday on My Mind (3:18) Sorrow (2:48) Don’t Bring Me Down (2:01) Shapes of Things (2:47) Anyway, Anyhow, Anywhere (3:04) Where Have All the Good Times Gone (2:35) Packaging: Jewel case with booklet featuring lyrics, original artwork, and bonus content in some editions (e.g., 1990 Rykodisc added “Growin’ Up” and “Port of Amsterdam”). Cassette (Later reissues, e.g., 1984 RCA PK 81090): Side A: Rosalyn (2:27) Here Comes the Night (3:09) I Wish You Would (2:40) See Emily Play (4:03) Everything’s Alright (2:26) I Can’t Explain (2:07) Side B: Friday on My Mind (3:18) Sorrow (2:48) Don’t Bring Me Down (2:01) Shapes of Things (2:47) Anyway, Anyhow, Anywhere (3:04) Where Have All the Good Times Gone (2:35) Packaging: Standard cassette case with fold-out J-card featuring lyrics and artwork. Production and Context Produced by Ken Scott and Bowie, with arrangements by Bowie and Mick Ronson, Pin Ups was recorded in a swift three-week session at Château d’Hérouville, France, following Aladdin Sane. The lineup featured Bowie (vocals, guitar), Mick Ronson (guitar, vocals), Trevor Bolder (bass), Aynsley Dunbar (drums), and Ken Fordham (saxophone). The album reimagined ‘60s British Invasion hits with glam swagger, reflecting Bowie’s mod influences during his Ziggy Stardust peak. Released amid the glam rock boom, it competed with Roxy Music and Sweet, serving as a nostalgic bridge to Diamond Dogs (1974). Chart Performance Pin Ups was a commercial triumph: UK: No. 1 (Official Albums Chart, 5 weeks), charting for 21 weeks, certified Gold (100,000 copies sold). US: No. 23 (Billboard 200), certified Gold (500,000 copies sold). Australia: No. 4 (ARIA Charts). Canada: No. 9. France: No. 5. Netherlands: No. 3. Germany: No. 4. New Zealand: No. 7. Sweden: No. 11.The single “Sorrow” drove sales, peaking at No. 3 (UK), No. 35 (US), No. 1 (Ireland), No. 2 (Netherlands), No. 4 (Belgium), No. 7 (Germany), and No. 10 (Australia). Legacy and Collectibility Pin Ups is a glam rock essential, praised for its vibrant covers and Ronson’s guitar work, influencing tribute albums and ‘60s revivals. Tracks like “Sorrow” and “See Emily Play” remain fan favorites, with the Twiggy cover photo iconic. Original UK vinyls fetch £20–£100 on Discogs, with first pressings (gatefold, intact inner sleeve) commanding premiums—check matrix numbers for authenticity. CD reissues (£5–£20, e.g., 1990 Rykodisc, 2015 Parlophone) and cassettes (£5–£15) are collectible in mint condition. Spotify streams and remasters preserve the album’s analog punch. This LP is a dazzling tribute to Bowie’s ‘60s roots—a must-have for glam enthusiasts. Do you have Pin Ups in vinyl, CD, or cassette? Which cover track rocks your turntable? Share in the comments!

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

A Glam Pop Dancefloor Filler Barry Blue’s “Do You Wanna Dance?” 7-inch vinyl single, was released in the UK on October 12, 1973, on Bell Records (catalogue: BELL 1336). Backed with “Don’t Put Your Money On My Horse,” this infectious glam pop track, written by Blue and Lynsey de Paul, served as the lead single from his debut album, Hot Shots. Produced by Blue, the A-side’s upbeat rhythm and catchy chorus made it a dancefloor hit, peaking at No. 7 on the UK Singles Chart. Housed in a vibrant picture sleeve with Blue’s stylish image, the single captured his brief but bright glam rock moment. Single Overview A-Side: “Do You Wanna Dance?” (3:50) Written by Barry Blue and Lynsey de Paul. A lively glam pop anthem with bouncy piano, driving guitars, and Blue’s smooth vocals, inviting listeners to the dancefloor with a nod to ‘50s rock ‘n’ roll. Produced by Blue, it blended catchy hooks with glam’s glittery energy. B-Side: “Don’t Put Your Money On My Horse” (3:15) Written by Barry Blue and Gerry Shury. A playful, mid-tempo pop track with quirky lyrics and a lighthearted groove, showcasing Blue’s knack for storytelling. Also produced by Blue, it complemented the A-side’s upbeat vibe. Release Details: Label: Bell Records (UK pressing, 45 RPM). Formats: 7-Inch Vinyl (BELL 1336): “Do You Wanna Dance?” / “Don’t Put Your Money On My Horse.” In a picture sleeve with Blue’s image. No cassette or CD formats for this single. Notes: ℗ & © 1973 Bell Records. Matrix numbers (e.g., BELL 1336 A-1U) confirm authenticity. The single promoted Hot Shots (1974). Country Variations The single was released in several countries with variations: UK (Bell BELL 1336): Released October 12, 1973. Tracklist: “Do You Wanna Dance?” / “Don’t Put Your Money On My Horse.” Picture sleeve with Blue’s photo. Germany (Bell 2008 191): Released October 1973. Same tracklist, catalogue 2008 191, German sleeve with localized text. Netherlands (Bell 2008 191): Released October 1973. Same tracklist, catalogue 2008 191, Dutch sleeve. Australia (Bell K-5248): Released late 1973. Same tracklist, catalogue K-5248, company sleeve. France (Bell 2008 191): Released October 1973. Same tracklist, catalogue 2008 191, French sleeve. US: No confirmed single release; Blue’s success was primarily European. Production and Context Recorded in 1973 at Audio International Studios, London, the single was produced by Barry Blue, with session musicians including Gerry Shury (arrangements) and a backing band typical of glam-era productions. The A-side’s danceable groove reflected Blue’s songwriting partnership with de Paul, while the B-side’s quirkiness showed his versatility. Released during the glam rock peak, it followed Blue’s earlier hit “Dancin’ (On a Saturday Night)” and competed with Slade and Sweet, capitalizing on the UK’s pop craze. Singles Released and Chart Performance “Do You Wanna Dance?” was the lead single from Hot Shots: Chart Performance: UK: No. 7 (Official Singles Chart), charting for 11 weeks. Germany: No. 9 (GfK). Netherlands: No. 11 (Single Top 100). Australia: No. 14 (Kent Music Report). Ireland: No. 6. Belgium: No. 19 (Ultratop Flanders). France: No. 28. Other Countries: No chart entries in US, Canada, Sweden, Norway, Finland, Italy, Spain, Austria, Switzerland, New Zealand, or Japan due to limited distribution. UK Chart Data: Entry Date: October 20, 1973. Peak: No. 7 (November 3, 1973). Weeks on Chart: 11 (Oct 20, 1973–Jan 5, 1974). Chart Run: No. 22 (Oct 20), No. 12 (Oct 27), No. 7 (Nov 3), No. 8 (Nov 10), No. 9 (Nov 17), No. 11 (Nov 24), No. 14 (Dec 1), No. 18 (Dec 8), No. 22 (Dec 15), No. 27 (Dec 29), No. 32 (Jan 5). Single Chart Performance “Do You Wanna Dance?” peaked at No. 7 in the UK, charting for 11 weeks, and saw moderate success in Europe and Australia, driven by its infectious glam pop appeal. Streams on Spotify via Hot Shots or Barry Blue compilations preserve the analog bounce. This single is a vibrant relic of ‘70s glam pop. Have you snagged this Barry Blue gem in your vinyl collection? Does “Do You Wanna Dance?” get your feet moving? Share in the comments!

A Theatrical Glam Gallop The Sensational Alex Harvey Band’s “Giddy Up A Ding Dong” 7-inch vinyl single, was released in the UK on October 12, 1973, on Vertigo Records (catalogue: 6059 091). Backed with “Buff's Bar Blues,” this energetic glam rock track, written by F. Bell, Lattanzil. Produced by Phil Wainman, the A-side’s galloping rhythm, Harvey’s theatrical vocals, and Zal Cleminson’s fiery fiddle captured SAHB’s vaudevillian flair, but it failed to chart. Song origins: "Giddy Up a Ding Dong" is a rock and roll song which rose to prominence in 1956, when it was featured in the film Rock Around the Clock, starring Bill Haley. It became a hit in several countries for the group Freddie Bell and the Bellboys, and is perhaps their best known recording. The song was written in 1953 by Freddie Bell and his friend Pep Lattanzi, but was not recorded until three years later after the group had signed to Mercury, and were spotted by film producer Sam Katzman. Katzman offered the Bellboys a part in Rock Around the Clock and "Giddy Up a Ding Dong" became their first Mercury release, and was featured in the film. The song was not a hit in the United States, but did achieve popularity in Australia, France and the UK, where it climbed to number four on the UK Singles Chart. The publicity for the single said, "If these sides don't move you, see a doctor – you're dead." The lyrics to the song are about a horse ride, with a definite western flavor, with the music having a loping, horse-like cadence. The song was also recorded by Tommy Steele, and by Steele's brother Colin Hicks, whose version was a hit in Italy. British band leader Ray Ellington recorded a comedic version of the song which added a verse about the song's horse-rider encountering a romantic rival. Bill Haley & His Comets performed a unique version of the song during their 1958 European tour that used different lyrics referring to popular cowboy-film stars of the day (a performance of this version recorded at the Paris Olympia is preserved on the 2002 album release Vive la Rock and Roll (Big Beat Records: BBR 00073)). Single Overview The Sensational Alex Harvey Band – Giddy Up A Ding Dong Label: Vertigo – 6059 091 Format: Vinyl, 7", 45 RPM Country: UK Released: 1973 A Giddy Up A Ding Dong Producer – Phil Wainman Written-By – F. Bell, Lattanzi B Buff's Bar Blues Producer, Written-By – Alex Harvey Published By – Edward Kassner Music Published By – Eiger Music Ltd. Produced For – Mountain Records Ltd. Produced For Mountain Records Ltd. Publishers: A-Side: E. Kassner Music B-Side: Eiger Music Ltd UK Releases 1: Label: Vertigo – DJ. 012 Format: Vinyl, 7", 45 RPM, Single, Promo, Silver Injection 2: Label: Vertigo – 6059 091 Format: Vinyl, 7", 45 RPM, Silver Injection Country Variations Country: Australia Label: Vertigo – 6059 091 Format: Vinyl, 7", 45 RPM, Single Released: 1973 Country: Chile Label: Vertigo – 6059 091 Format: Vinyl, 7", 45 RPM, Single Released: 1974 Country: Germany Label: Vertigo – 6059 091 Format: Vinyl, 7", Single, 45 RPM Released: 1973 Country: Italy Label: Vertigo – 6059 091 Format: Vinyl, 7", 45 RPM, Single Released: 1973 Country: New Zealand Label: Vertigo – 6059 091 Format: Vinyl, 7" Released: 1973 Country: Spain Label: Vertigo – 60 59 091 Format: Vinyl, 7", Single, 45 RPM Released: 1973 Country: Sweden Label: Philips – 6059 091 Format: Vinyl, 7", 45 RPM, Single, Stereo

Queen’s “Keep Yourself Alive,” backed with “Son and Daughter,” was released in the United States on October 8, 1973, as the opening track on their self-titled debut album. It marked the band’s debut single release in the US. (The US single sleeve is featured.) Chart Information: “Keep Yourself Alive” did not achieve significant chart success in the United States upon its initial release. It did not enter the Billboard Hot 100, reflecting Queen’s early struggle to gain traction in the US market. However, the song later gained recognition as a classic rock staple and a fan favorite. Below is a chart illustrating the single’s performance (or lack thereof) in the US compared to its UK release, where it also failed to chart significantly in 1973.

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

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

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

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

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

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

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

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