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Label: Mercury (6052 026) Date: March 6, 1970 Tracklist: 2 tracks Length: 8–10 min read Released as the follow‑up to “Space Oddity,” The Prettiest Star stands as one of Bowie’s most personal early singles — a romantic declaration written for Angela Barnett, performed with a young Marc Bolan on guitar, and issued during a period of transition between Bowie’s folk‑pop phase and the heavier experimentation that would define the early 1970s. 🔘 – Sub‑Heading A love song, a crossroads, and a cameo from Marc Bolan. 🔘 – Excerpt Issued in March 1970, The Prettiest Star was Bowie’s attempt to follow the success of “Space Oddity” with something more intimate. Featuring Marc Bolan on guitar and written for Bowie’s future wife Angela, the single failed to chart — yet it remains one of the most revealing snapshots of Bowie’s early songwriting. 🔘 – Key Highlights • Released March 6, 1970 on Mercury • Written for Angela Barnett (later Angela Bowie) • Features Marc Bolan on lead guitar • Follow‑up to “Space Oddity” • Re‑recorded for Aladdin Sane (1973) 🔘 – Overview The Prettiest Star arrived at a delicate moment in Bowie’s career. “Space Oddity” had given him his first major hit, but he had not yet found a consistent musical direction. Rather than repeat the cosmic theme, Bowie turned inward, writing a romantic, melodic piece for Angela Barnett — a song that showcased his affection for 1950s pop structures and crooner‑style delivery. The single’s most notable collaborator was Marc Bolan, then on the cusp of his own breakthrough with Tyrannosaurus Rex. Bolan’s distinctive vibrato guitar lines give the track a shimmering, almost baroque quality, foreshadowing the glam‑rock partnership the two would briefly share in the early 1970s. Despite strong material and high‑profile collaborators, the single failed to chart — a reminder that Bowie’s ascent was far from linear. 🔘 – The Story Recorded in early 1970, The Prettiest Star was Bowie’s attempt to consolidate the momentum of “Space Oddity.” Instead of leaning into science‑fiction themes, he wrote a love song — direct, melodic, and emotionally open. The track was offered to Angela Barnett as a proposal of sorts, and she later recalled Bowie playing it to her over the telephone. Marc Bolan’s involvement is one of the single’s most intriguing elements. Still performing as Tyrannosaurus Rex, Bolan was not yet the glam icon he would become, but his guitar tone is unmistakable. His presence also symbolised the growing creative overlap between the two artists, who would later share stages, producers, and cultural space during the glam era. The B‑side, “Conversation Piece,” offered a more introspective counterpoint — a reflective, melancholy track that hinted at the emotional depth Bowie would explore on Hunky Dory. Commercially, the single struggled. Mercury’s promotional support was limited, and Bowie’s public profile was still fragile. The song would find a second life in 1973 when Bowie re‑recorded it for Aladdin Sane, giving it a more muscular, glam‑infused arrangement. Today, the 1970 single stands as a tender, transitional moment — Bowie between eras, between labels, and between identities. 🔘 – Track List A: The Prettiest Star – 3:12 B: Conversation Piece – 3:05 🔘 – Variants (UK) • Mercury 6052 026 — Standard Issue • Mercury 6052 026 — Promo Copy • Sleeve variations: company sleeve / export sleeve 🔘 – Chart Performance • Did not chart in the UK • Later gained recognition through the Aladdin Sane re‑recording 🔘 – Context & Notes • Written for Angela Barnett • Marc Bolan plays lead guitar • Produced by Tony Visconti • Released during Bowie’s brief Mercury period • Represents Bowie’s pre‑glam transitional sound 🔘 – Visual Archive A Mercury company sleeve housing the original 1970 single, with the distinctive black‑and‑white Mercury label. The A‑side displays “The Prettiest Star,” credited to David Bowie, with catalogue number 6052 026. 🔘 – Caption David Bowie — The Prettiest Star — UK Mercury 6052 026 (1970). 🔘 – Related Material • “Space Oddity” (1969) • “Memory of a Free Festival” (1970) • Aladdin Sane (1973) 🔘 – Discography Previous Single: “Memory of a Free Festival” (1970) This Release: “The Prettiest Star” (1970) Next Single: “Holy Holy” (1971) 🔘 – Mini‑Timeline Jan. 1970: Single recorded Mar. 1970: Released on Mercury 1973: Re‑recorded for Aladdin Sane 1970s: Gains cult status among early Bowie collectors 🔘 – Glam Flashback Three years after this gentle love song, Bowie and Bolan would stand at the centre of glam rock — glitter, platform boots, and electric swagger replacing the soft romanticism of 1970. 🔘 – Closing Notes Though commercially overlooked, The Prettiest Star remains one of Bowie’s most intimate early works — a love song, a collaboration with Marc Bolan, and a quiet moment before the explosive reinventions that would define the decade. 🔘 – Hashtags #DavidBowie #ThePrettiestStar #MarcBolan #MercuryRecords #1970 #ReleaseChronicle 🔘 – Sources • Mercury Records documentation • Contemporary press references • Wikipedia (contextual background) 🔘 – Copyright Notice All label scans, photographs, and original text excerpts referenced in this entry remain the property of their respective copyright holders. This Chronicle entry is a transformative, non‑commercial archival summary created for historical documentation and educational reference. No ownership of the original material is claimed or implied.

Label: Regal Zonophone (RZ 3026 — Solid Centre / Push‑Out Centre / Promo / Emidisc Acetate) Date: March 6, 1970 Tracklist: 2 tracks Length: 7–8 min read A thunderous, swaggering pivot point for The Move, “Brontosaurus” marked Roy Wood’s transformation into a heavier, stranger, more theatrical force — and quietly signalled the embryonic rise of the Electric Light Orchestra. The Move embrace distortion, theatre, and reinvention. Released on March 6, 1970, “Brontosaurus” was The Move’s first single to fully embrace the heavier, distorted, proto‑glam sound that would define Roy Wood’s next decade. Backed with “Lightnin’ Never Strikes Twice,” the single roared into the UK Top 10 and introduced Wood’s new visual persona — makeup, wild hair, and theatricality — on Top of the Pops. 🔘 – Key Highlights • Released March 6, 1970 on Regal Zonophone • Written, sung, and produced by Roy Wood • Reached No. 7 on the UK Singles Chart • First Move single promoted with Wood in full makeup on Top of the Pops • Early indicator of the sonic direction that would lead to Wizzard and ELO 🔘 – Overview “Brontosaurus” arrived during a period of upheaval for The Move. Jeff Lynne had just joined the band, recruited to help Roy Wood develop the earliest blueprint of the Electric Light Orchestra. But contractual obligations required The Move to continue releasing singles, and “Brontosaurus” became the first product of this transitional era. The single marked a dramatic shift away from the band’s earlier pop‑leaning material. Wood’s snarling vocal, fuzz‑drenched guitar, and lumbering riff signalled a new heaviness, closer to the sound of their Shazam album than their late‑’60s hits. The B‑side, “Lightnin’ Never Strikes Twice,” continued this harder direction. The single’s promotion became legendary: when The Move appeared on Top of the Pops, Roy Wood — performing as frontman for the first time — debuted the flamboyant makeup style he would later use extensively with Wizzard. 🔘 – The Story “Brontosaurus” stands as one of the most significant turning points in The Move’s evolution. Written, sung, and produced entirely by Roy Wood, the single was released on March 6, 1970 as the lead preview for the band’s third studio album, Looking On. Although the album wouldn’t arrive until December 11 that year, “Brontosaurus” set the tone for the heavier, more experimental direction the band was about to take. The track’s sonic identity was a deliberate break from the past. Gone were the bright, melodic pop sensibilities of earlier Move singles. In their place came a snarling vocal delivery, a distorted, lumbering guitar riff, and a sense of controlled chaos that aligned more closely with the band’s Shazam era. This shift was no coincidence: the song was recorded shortly after Jeff Lynne — formerly of The Idle Race — joined the group. Lynne had been brought in to help Wood develop the earliest blueprint of the Electric Light Orchestra, but contractual obligations required The Move to continue releasing singles to finance the new project. This unusual situation placed “Brontosaurus” at a creative crossroads. It was technically a Move single, but its sound — heavy, ambitious, and theatrical — pointed directly toward the future. Notably, it became the only Move release after Lynne’s arrival credited solely to Roy Wood. Every subsequent Move single, and the first ELO album, would bear joint Wood/Lynne production credits. Commercially, the single was a success. It entered the UK Singles Chart in April 1970, climbing to No. 7 and remaining on the chart for ten weeks. It also reached No. 36 in Canada, giving the band a rare international hit during this transitional period. The song’s influence extended beyond the UK: American power‑pop band Cheap Trick later recorded their own version. The single’s promotion became instantly iconic. When The Move appeared on Top of the Pops, Roy Wood stepped forward as the group’s frontman for the first time — wearing the flamboyant makeup that would later define his Wizzard persona. It was a moment of visual reinvention that startled audiences and hinted at the theatrical glam era to come. 🔘 – Track List A: Brontosaurus – 4:27 B: Lightnin’ Never Strikes Twice – 3:00 🔘 – Variants (UK) • 7" Single — Push‑Out Centre (RZ 3026) • 7" Single — Solid Centre (RZ 3026) • 7" Promo — White Label (RZ 3026) • 7" Acetate — Emidisc, single‑sided 🔘 – Chart Performance UK Singles Chart: • Peak: No. 7 • First Chart Date: April 25, 1970 • Weeks on Chart: 10 Canada: • Peak: No. 36 🔘 – Context & Notes • Recorded shortly after Jeff Lynne joined The Move • Only Move single post‑Lynne credited solely to Roy Wood • Later included on Looking On (released December 11, 1970) • The Move shared Regal Zonophone with Tyrannosaurus Rex • Top of the Pops performance introduced Wood’s future Wizzard makeup 🔘 – Visual Archive A Regal Zonophone single in its original company sleeve, featuring the distinctive red label with bold white text. The A‑side displays the title “Brontosaurus,” credited to Roy Wood and produced for Straight Ahead Productions, with the catalogue number RZ 3026. 🔘 – Caption The Move — Brontosaurus — UK Regal Zonophone RZ 3026 (1970). 🔘 – Related Material • “Curly” (1969) • “When Alice Comes Back to the Farm” (1970) • Looking On (1970) 🔘 – Discography Previous Single: “Curly” (1969) This Release: “Brontosaurus” (1970) Next Single: “When Alice Comes Back to the Farm” (1970) 🔘 – Mini‑Timeline Early 1970: Jeff Lynne joins The Move March 6, 1970: “Brontosaurus” released April 1970: Reaches No. 7 in UK December 1970: Appears on Looking On 1972: Wood debuts Wizzard 🔘 – Glam Flashback Roy Wood’s Top of the Pops appearance — wild hair, face paint, theatrical swagger — was the first glimpse of the glam‑rock persona he would unleash fully with Wizzard. 🔘 – Closing Notes A turning point in The Move’s evolution, “Brontosaurus” captures Roy Wood at the moment he embraced distortion, theatricality, and the eccentricity that would define his next decade. It stands as both a Move classic and a blueprint for the sound that would soon power Wizzard and the earliest incarnation of ELO. #TheMove #Brontosaurus #RoyWood #JeffLynne #RegalZonophone #1970 #ReleaseChronicle 🔘 – Sources • Official Charts Company • Regal Zonophone release documentation • Contemporary EMI / Straight Ahead Productions notes • Wikipedia (contextual background) 🔘 – Copyright Notice All magazine scans, photographs, and original text excerpts referenced in this entry remain the property of their respective copyright holders. This Chronicle entry is a transformative, non‑commercial archival summary created for historical documentation and educational reference. No ownership of the original material is claimed or implied.

b/w “C’Mon, C’Mon” 7" Single — Fontana TF 1079 Released: March 6, 1970 (UK) Slade’s first single under the Fontana name — a fierce, sharp‑edged cover produced by Chas Chandler, marking the earliest stirrings of the band’s classic sound. Released on March 6, 1970, Shape of Things to Come was Slade’s debut single for Fontana and the first release issued under the shortened name Slade, following their Ambrose Slade period. Produced by Chas Chandler, the track is a high‑energy cover of the 1968 Max Frost & The Troopers song, written by Barry Mann & Cynthia Weil. Chandler’s production gives the track a tougher, more urgent edge, foreshadowing the raw power that would define Slade’s breakthrough years. 🔘 – Key Highlights • First Slade single under the shortened name • Released March 6, 1970 • Produced by Chas Chandler • Backed with an early Holder‑penned original • Multiple UK variants including rare acetates 🔘 – Overview Released on March 6, 1970, Shape of Things to Come was Slade’s debut single for Fontana and the first release issued under the shortened name Slade, following their Ambrose Slade period. Produced by Chas Chandler, the track is a high‑energy cover of the 1968 Max Frost & The Troopers song, written by Barry Mann & Cynthia Weil. Chandler’s production gives the track a tougher, more urgent edge, foreshadowing the raw power that would define Slade’s breakthrough years. The single was backed with “C’Mon, C’Mon,” written by Noddy Holder and showcasing the band’s early songwriting instincts — melodic, punchy, and already leaning toward the anthemic style they would soon perfect. Although Shape of Things to Come did not chart, it played a crucial role in establishing Slade’s identity. The band were still experimenting with image and sound, but Chandler’s guidance pushed them toward a heavier, more distinctive direction. The single received a promotional push in the 18 April 1970 Fontana/Philips/Vertigo advert, where Slade appeared alongside Dusty Springfield, Dave Dee, Blue Mink, and Black Sabbath — a sign that the label saw real potential in the group. Pressed by Phonodisc Ltd., the single exists in multiple UK variants, including promo copies, large‑centre editions, and rare acetates from both Emidisc and IBC Studios. Today, it is a highly collectible early chapter in Slade’s evolution, valued for its rarity and its place in the band’s pre‑glam history. 🔘 – The Story Released on March 6, 1970, Shape of Things to Come was Slade’s debut single for Fontana and the first release issued under the shortened name Slade, following their Ambrose Slade period. Produced by Chas Chandler, the track is a high‑energy cover of the 1968 Max Frost & The Troopers song, written by Barry Mann & Cynthia Weil. Chandler’s production gives the track a tougher, more urgent edge, foreshadowing the raw power that would define Slade’s breakthrough years. The single was backed with “C’Mon, C’Mon,” written by Noddy Holder and showcasing the band’s early songwriting instincts — melodic, punchy, and already leaning toward the anthemic style they would soon perfect. Although Shape of Things to Come did not chart, it played a crucial role in establishing Slade’s identity. The band were still experimenting with image and sound, but Chandler’s guidance pushed them toward a heavier, more distinctive direction. The single received a promotional push in the 18 April 1970 Fontana/Philips/Vertigo advert, where Slade appeared alongside Dusty Springfield, Dave Dee, Blue Mink, and Black Sabbath — a sign that the label saw real potential in the group. Pressed by Phonodisc Ltd., the single exists in multiple UK variants, including promo copies, large‑centre editions, and rare acetates from both Emidisc and IBC Studios. Today, it is a highly collectible early chapter in Slade’s evolution, valued for its rarity and its place in the band’s pre‑glam history. 🔘 – Track List UK 7" Single — Fontana TF 1079 Shape of Things to Come – Mann/Weil — 2:19 C’Mon, C’Mon – Holder — 2:40 Produced by Chas Chandler. Published by Screen Gems–Columbia Music Ltd. / Montgrove Music. Pressed by Phonodisc Ltd. ℗ 1970 Fontana Records. 🔘 – Variants (UK) 7" Single, Mono — TF 1079 7" Promo — TF 1079 7" Single, Large Centre — TF 1079 7" Acetate — Emidisc (single‑sided) 7" Acetate — IBC Sound Recording Studios (single‑sided) All variants physically verified. 🔘 – Chart Performance This release did not enter the UK Singles Chart. 🔘 – Context & Notes Artist: Slade Label: Fontana (UK) Release Date: March 6, 1970 Format: 7" vinyl single Catalogue: TF 1079 Shape of Things to Come marks the beginning of Slade’s transformation from a hard‑gigging Midlands band into one of Britain’s most distinctive rock acts. Chandler’s production sharpened their sound, and the single’s inclusion in a major April 1970 advert shows Fontana’s early confidence in the group. Though commercially overlooked, the record is now recognised as a key stepping stone toward the explosive glam‑rock success that would follow. 🔘 – Visual Archive Slade — Shape of Things to Come — UK Fontana TF 1079 (1970). 🔘 – Related Material Beginnings (Ambrose Slade, 1969) Play It Loud (1970) “Wild Winds Are Blowing” (1969) Early Chas Chandler productions See tabs at the foot of the post for navigation. 🔘 – Discography Shape of Things to Come (1970 single) C’Mon, C’Mon (1970 B‑side) Play It Loud (1970 album) 🔘 – Mini‑Timeline 1969: Ambrose Slade release Beginnings Early 1970: Name shortened to Slade March 6, 1970: Shape of Things to Come released April 1970: Featured in major Fontana/Philips/Vertigo advert Late 1970: Play It Loud released 🔘 – Glam Flashback Before the mirrored hats, stomp‑along choruses, and chart‑dominating glam era, Slade were already building momentum — loud, raw, and unmistakably themselves. 🔘 – Closing Notes A fierce, overlooked early single that captures Slade on the brink of reinvention, Shape of Things to Come remains a cornerstone of their pre‑glam identity. 🔘 – Hashtags #Slade #ShapeOfThingsToCome #FontanaRecords #1970 🔘 – Sources • Your supplied site text • Contemporary press references • Wikipedia (contextual background) • Physically verified variants 🔘 – Copyright Notice All magazine scans, photographs, and original text excerpts referenced in this entry remain the property of their respective copyright holders. This Chronicle entry is a transformative, non‑commercial archival summary created for historical documentation and educational reference. No ownership of the original material is claimed or implied.

Writer: Ian Penman (New Musical Express) Date: March 6, 1982 Length: 5 min read A sharp, cerebral, and darkly amused NME critique of David Bowie’s BBC performance in Baal — a moment where Bowie finally stops playing Bowie and steps fully into someone else’s skin. Bowie sheds the pop mask to become Brecht’s drunken poet‑devil. Ian Penman frames Baal as the first time Bowie truly disappears into a character — grimy, unshaven, wild‑eyed — a far cry from the polished alien of The Man Who Fell to Earth or the stiff aristocrat of Just a Gigolo. It is Bowie at his most anti‑spectacular, and perhaps his most complete. 📰 Key Highlights • One‑page NME feature, March 6, 1982 • Written by Ian Penman for the “Dangerous Visions” column • Analysis of Bowie’s BBC performance in Baal (directed by Alan Clarke) • Contextual comparison to The Man Who Fell to Earth, Just a Gigolo, and The Elephant Man • Explores Brecht’s first play and Bowie’s immersion into the role • Frames Baal as Bowie’s most convincing acting performance to date 📰 Overview In early 1982, David Bowie appeared in the BBC production of Bertolt Brecht’s Baal, directed by Alan Clarke. It was a stark, abrasive, and defiantly unglamorous piece — a world away from the polished pop persona audiences expected. NME’s Ian Penman seized on this moment as a turning point: Bowie, after years of playing versions of himself, finally surrendered to a character with no glamour, no mystique, and no safety net. Penman situates Baal within Bowie’s acting history — the xerox‑alien brilliance of The Man Who Fell to Earth, the muddled misfire of Just a Gigolo, and the discipline of The Elephant Man. Baal, he argues, is something else entirely: a Brechtian anti‑spectacle where Bowie’s charisma is deliberately broken down, dirtied, and reassembled into something raw and unsettling. 📰 Source Details Publication / Venue: New Musical Express Date: March 6, 1982 Format: One‑page feature / critical essay Provenance Notes: Verified from original print scans; part of the “Dangerous Visions” column. 📰 The Story Penman opens by acknowledging Bowie’s “acting scars” — the familiar narrative of a pop star dabbling in cinema with mixed results. But Baal is different. Here, Bowie is not a star cameo or a stylised cipher; he is a filthy, drunken, violent poet, a creature of Brecht’s early imagination. Brecht’s first play is described as “luxuriously scripted,” full of autobiographical itch and moral rot. Baal is a devil’s accomplice, a seducer, a brawler, a man who destroys everything he touches. Bowie leans into this with surprising commitment: unshaven, grimy, intense, and stripped of glamour. Penman notes that the BBC production pivots around Bowie’s presence — the opening credits bulge with his name — yet the performance itself is anti‑Bowie. Clarke’s direction alternates between BBC costume drama and Brechtian rupture, creating a fractured, unsettling atmosphere. The result, Penman argues, is Bowie’s most complete acting performance. Not because it is polished, but because it is broken — a perfect fit for Brecht’s broken theatre. 📰 Excerpt The analysis of his past acting scars you've heard before. Nicolas Roeg used him successfully as a brightly altered xerox image in The Man Who Fell To Earth, and something or other happened in Just A Gigolo, an atrocity that only really deserved mumbled lines. Perhaps the disciplinary experience of Broadway's six-month run for The Elephant Man has purified Bowie, or perhaps he just got fed up playing dopes Bowie is still not entirely free of Bowie (although he probably never will be), for Baal pivots around the character Baal, and Alan Clarke's BBC production pivots equally around the fact that all four of them are bound up together. The opening credits bulge with DAVID BOWIE, and it is clear that the unearthing of this relatively obscure little play is occasioned not by a particularly strong urge to recondition or recontextualise Brecht, nor to plunge an old artefact into contemporary appetites - as was recently the case (and a pretty anti-climactic one) with Arthur Schnitzler's La Ronde. There's nothing much controversial or topical about Baal-it's all pinned down perfectly well, a satisfying but inherently safe academic exercise. Baal was Brecht's first play, and whilst lacking the suggestive scope of later work is still luxuriously scripted. The devil's helpmate Baal has all the best lines -some of them improbably well enunciated for a character who is meant to be a death's door alcoholic wretch-and the autobiography is always an irresistible itch just beneath the surface, as is usually the case with an author's first dive into literary work. Clarke (who directed Scum) 📰 Visual Archive A full‑page NME layout featuring Bowie as Baal: ragged clothing, banjo in hand, wild‑eyed and unshaven — a stark portrait of Brechtian decay. David Bowie as Baal — grimy, intense, and finally someone other than himself. 📰 Related Material • Baal (BBC, 1982) • The Elephant Man (Broadway, 1980–81) • The Man Who Fell to Earth (1976) 📰 Closing Notes Baal remains one of Bowie’s most fascinating detours — a moment where he abandoned the armour of persona and embraced the ugliness, humour, and brutality of Brecht. Penman’s review captures the shock of seeing Bowie not as a star, but as an actor. #DavidBowie #Baal1982 #NME #IanPenman #Brecht #AlanClarke #ReleaseChronicle 📰 Sources • New Musical Express, March 6, 1982 • BBC production notes for Baal • Minimal provenance references from collector archives 📝 Copyright Notice All magazine scans, photographs, and original text excerpts referenced in this entry remain the property of their respective copyright holders. This Chronicle entry is a transformative, non‑commercial archival summary created for historical documentation and educational reference. No ownership of the original material is claimed or implied.

Slade’s Play It Loud  was released as an LP album in the UK by Polydor Records (catalog number 2383 026) on November 28, 1970. The album, produced by Chas Chandler, was the first to be released under the Slade name, as the band's 1969 debut Beginnings was released under the name Ambrose Slade. Following the lack of success of Beginnings, the band and their new manager Chas Chandler considered their next career move. Having not been pleased with the debut album, Chandler thought the band would benefit from writing their own material and a change of image. He decided that the band should project a skinhead image in the effort to generate interest. Both Dave Hill and Jim Lea were mortified by the revised image, the band agreed to try the idea and adopted Dr. Martens boots, braces, cropped hair and aggressive "bovver boy" posturing So Ambrose Slade changed their name to "The Slade", which was used on their single "Wild Winds Are Blowing", released on November 24, the single was failed to chart. On March 6, 1970 the band's next single, "Shape of Things to Come", was released but also failed to chart. On September 18, 1970, "Know Who You Are" was released solely in the UK, as the band's debut single on Polydor however, it too was a commercial failure as was its parent album, Play It Loud, when it was released, the band then decided to drop their skinhead image

Record Mirror Date: March 6, 1980 Length: 3 min read A bold, theatrical two‑page Record Mirror poster celebrating David Bowie’s Lodger era and the enduring visual voltage of “Boys Keep Swinging,” published at the dawn of a new decade. A late‑’70s Bowie triptych: gender play, performance art, and the last shimmer of the Berlin years. Record Mirror’s poster distils the visual language of “Boys Keep Swinging” into three striking portraits — angular, androgynous, and defiantly unclassifiable. Bowie stands between eras, still shedding skins as the 1980s begin. 📰 Key Highlights • Two‑page colour poster in Record Mirror, March 6, 1980 • Three Bowie images from the Lodger / “Boys Keep Swinging” visual cycle • Central full‑stage photograph + two inset portraits • Emphasis on gender‑fluid styling and theatrical presentation • Published during Bowie’s transition from Lodger (1979) to Scary Monsters (1980) 📰 Overview Record Mirror’s March 6, 1980 issue delivered a lavish Bowie poster — a reminder of how deeply “Boys Keep Swinging” had embedded itself into the visual culture of the late ’70s. Though the single debuted in April 1979, its imagery remained potent enough to warrant a full‑spread tribute nearly a year later. The poster presents Bowie in three distinct modes: a dramatic full‑stage shot with patterned skirt and deep V‑neck top; a blonde, androgynous portrait echoing the video’s gender‑bending personas; and a live performance image capturing the angular energy of the Lodger era. Together, they form a triptych of transition — the last flicker of the Berlin Trilogy and the first spark of Scary Monsters. 📰 Source Details Publication / Venue: Record Mirror Date: March 6, 1980 Format: Two‑page poster Provenance Notes: Poster verified from original print scans; imagery consistent with Lodger promotional photography. 📰 The Story By early 1980, Bowie was preparing the Scary Monsters sessions, but the cultural aftershocks of Lodger — and especially “Boys Keep Swinging” — were still reverberating. The single’s video, with Bowie performing in drag as three different women, had become one of his most iconic visual statements. Record Mirror capitalised on this momentum, offering fans a large‑format poster that distilled the era’s aesthetic: gender play, theatricality, angular fashion, and transitional energy. The spread functions as both a celebration of the Lodger period and a preview of the Bowie yet to come — sharper, stranger, and ready to redefine the 1980s. 📰 Visual Archive A two‑page poster featuring three Bowie images from the “Boys Keep Swinging” / Lodger era: a central stage shot, a blonde portrait, and a live performance image. David Bowie in full Lodger‑era theatricality — Record Mirror two‑page poster, March 6, 1980. 📰 Related Material • Lodger (1979) • “Boys Keep Swinging” (1979) • Scary Monsters (and Super Creeps) (1980) 📰 Closing Notes This poster captures Bowie at a hinge point — the last shimmer of the Berlin era and the first spark of the 1980s, distilled into a bold, unforgettable two‑page spread. #DavidBowie #BoysKeepSwinging #LodgerEra #RecordMirror #1980 #ReleaseChronicle 📰 Sources • Record Mirror, March 6, 1980 • Contemporary Bowie promotional materials • Minimal provenance references from collector archives 📝 Copyright Notice All magazine scans, photographs, and original text excerpts referenced in this entry remain the property of their respective copyright holders. This Chronicle entry is a transformative, non‑commercial archival summary created for historical documentation and educational reference. No ownership of the original material is claimed or implied.

Writer: Allan Jones Photography: Barry Plummer Date: March 5, 1977 Length: 4 min read A vivid, theatrical Melody Maker feature capturing Angie Bowie’s cabaret performance at the Webbington Hotel and Country Club — a surreal, decadent, and knowingly outrageous night in Somerset’s most unlikely entertainment palace. A neon‑lit Somerset fever dream where Angie Bowie turns cabaret into performance art. Melody Maker’s report frames the Webbington as a bizarre, Bavarian‑fantasy “Nitespot of the West,” and Angie Bowie as its most flamboyant visiting star — a performer who blends glamour, parody, and provocation into a show that feels part cabaret, part satire, part spectacle. 📰 Key Highlights • One‑page feature in Melody Maker, March 5, 1977 • Review of Angie Bowie’s cabaret performance with the Soul House Company • Set at the Webbington Hotel & Country Club, Somerset • Described as a surreal, theatrical, and eccentric night of entertainment • Commentary on Angie’s persona, stagecraft, and audience interaction • References to her West End success and promotional billing • Includes photography by Barry Plummer • Article written by Allan Jones 📰 Overview By 1977, Angie Bowie had become a figure of fascination — part fashion icon, part provocateur, part performer. Melody Maker’s feature places her in a setting as eccentric as her reputation: the Webbington Hotel and Country Club, perched dramatically above a Somerset valley and marketed as the “Nitespot of the West.” The article blends travelogue, satire, and performance review. The Webbington is described as a surreal pleasure‑palace, its décor and promotional materials bordering on the absurd. Into this environment steps Angie Bowie, fronting the Soul House Company, bringing a theatrical cabaret show that mixes glamour, humour, and self‑aware spectacle. The feature emphasises Angie’s charisma, her androgynous styling, and her ability to command a room — even one as strange as the Webbington’s cabaret hall. 📰 Source Details Publication / Venue: Melody Maker Date: March 5, 1977 Format: One‑page feature with photography Provenance Notes: Sourced from original print scans; includes full article text and performance images. 📰 The Story The article opens with a cinematic description of the journey to the Webbington — narrow lanes, a desolate Weston‑super‑Mare behind, and the hotel looming like a neon‑lit castle. The writer compares it to something designed by Ludwig II of Bavaria, setting the tone for a night of theatrical excess. Inside, the venue’s posters and brochures present Angie Bowie and her co‑star Roy Martin in a stylised, sensual embrace — a promotional image that signals the show’s blend of glamour and provocation. Angie is billed as: “The sensational wife of international star David Bowie… an experience not to be missed.” The performance itself is described as a mixture of cabaret, parody, and theatrical flair. Angie’s persona is bold, knowing, and playful — a performer who leans into the absurdity of the setting while delivering a show that is part satire, part spectacle. The Soul House Company supports her with choreography, character work, and musical interludes. The audience, a mix of locals and curious onlookers, responds with fascination and bemusement. The article closes with the sense that Angie Bowie has turned an unlikely Somerset nightclub into a stage for her own brand of theatrical reinvention. 📰 Visual Archive Angie Bowie performing with the Soul House Company at the Webbington Hotel — Melody Maker, March 5, 1977. 📰 Related Material • Angie Bowie – West End Performances (1976–77) • Soul House Company – Touring Productions • Melody Maker – Cabaret & Theatre Features (1970s) 📰 Closing Notes This Melody Maker feature captures Angie Bowie at her most theatrical — a performer who thrives on spectacle, reinvention, and the strange electricity of unlikely stages. #AngieBowie #MelodyMaker1977 #Cabaret #SoulHouseCompany #70sPerformance #GlamEra #ReleaseChronicle 📰 Sources • Melody Maker, March 5, 1977 – feature article • Contemporary theatre and cabaret documentation • Minimal provenance references from collector archives 📝 Copyright Notice All magazine scans, photographs, and original text excerpts referenced in this entry remain the property of their respective copyright holders. This Chronicle entry is a transformative, non‑commercial archival summary created for historical documentation and educational reference. No ownership of the original material is claimed or implied. "Weston-super-Mare, desolate in its Sunday stupor, lingers some six miles behind us. Ahead of us, hanging like a neon bat from the precipitous far wall of this Somerset valley, is the Webbington, the self-proclaimed NITESPOT OF THE WEST! Oh boy. It strikes me, as the imposing facade of the hotel becomes clearer, that it might have been designed as a palace of entertainment by Ludwig II of Bavaria, the lunatic homo-sexual architect of fantastic castles. I'm told that the Webbington is the hottest pit for miles, attracting a fanatical local audience for its varied and wonderful entertainments. Future attractions at the venue include such international favourites (wait for it) as JESS CONRAD - pop star and entertainer, one of the recording 66 successes of recent years! "; IAN KENT "the lad to set you laughing!"; LYNN SHARON "vocal charm and talent!"; and NORMA LEON Sounds groovy, eh? 66 a songstress with style!" And there's more to come. Examine the posters and publicity shots decorating the walls of the hotel lobby under the sign that proclaims the current attraction. Snatch an eyeful of the cover of that advertising brochure. There's this couple locked in a curious embrace. She has a leg cocked over his shoulder. He's fondling her foot. He has the android features of Jack Lord. She looks fashionably androgynous. His name is Roy Mar-tin. She's Angie Bowie. It's true. Believe me. Listen to this: "Following her West End theatre suc-cess, the sensational wife of international star David Bowie brings the Soul House Company to the Webbington Country Club for their first appearance in the provinces. An experience not to be missed! " So that's why we're here. Now on with the show."

Melody Maker Advertising / Theatre Promotion Date: March 5, 1977 Length: 2 min read A striking full‑page Melody Maker advert announcing the final week of Lindsay Kemp’s production of Salomé at The Round House — framed by David Bowie’s now‑famous endorsement: “This is the man that started it all.” The avant‑garde master who shaped Bowie’s stagecraft takes his final bow at The Round House. The advert positions Kemp not merely as a performer but as a catalyst — the artist whose influence helped ignite Bowie’s theatrical imagination, and whose work in Salomé continued to push boundaries of movement, mime, and ritualised spectacle. 📰 Key Highlights • Full‑page advert in Melody Maker, March 5, 1977 • Promotes the final week of Salomé at The Round House • Features David Bowie’s endorsement: “This is the man that started it all” • Stars Lindsay Kemp with Vladek Sheybal • Production noted for avant‑garde staging, ritualistic movement, and stylised performance • Emphasises urgency: “DON’T MISS” / “LAST WEEK” / “Must end March 12th” 📰 Overview By 1977, Lindsay Kemp had become a cult figure in British theatre — a choreographer, mime artist, and visionary whose influence extended far beyond the stage. His work shaped the early performance language of David Bowie, particularly during the Ziggy Stardust era, and his productions blended mime, dance, ritual, and surrealist imagery. The Melody Maker advert for Salomé captures Kemp at a moment of renewed visibility. The stark black‑and‑white design, dramatic portraiture, and Bowie’s endorsement frame Kemp as a foundational figure in the evolution of theatrical rock performance. The production itself — starring Kemp alongside actor Vladek Sheybal — was known for its hypnotic movement, ritualistic staging, and sensual, expressionist interpretation of Wilde’s text. The advert emphasises urgency: the run is ending, the moment is fleeting, and audiences are urged not to miss the final performances. 📰 Source Details Publication / Venue: Melody Maker Date: March 5, 1977 Format: Full‑page theatrical advertisement Provenance Notes: Sourced from original print scan; includes promotional portrait and Bowie quote. 📰 The Story The advert opens with Bowie’s declaration — “This is the man that started it all.” For readers in 1977, this was a powerful statement. Bowie’s theatricality, mime‑infused movement, and early stage persona were deeply shaped by Kemp’s teaching and mentorship. The production of Salomé at The Round House was part of Kemp’s ongoing exploration of ritual theatre. The advert’s design — stark, dramatic, almost ceremonial — mirrors the production’s aesthetic. Vladek Sheybal, known for his intense screen presence, added further gravitas. The text stresses that this is the last week of the run, ending March 12th, urging audiences to witness Kemp’s work while they still can. In the context of 1977 — a year of punk, glam’s afterglow, and theatrical experimentation — Kemp’s presence in Melody Maker signals his continued relevance to the evolution of performance art and rock culture. 📰 Visual Archive Lindsay Kemp’s Salomé — promoted in Melody Maker with Bowie’s endorsement — final week at The Round House, March 1977. 📰 Related Material • David Bowie & Lindsay Kemp – Early Performance Training • Salomé (Kemp Company Productions) • The Round House – 1970s Avant‑Garde Theatre 📰 Closing Notes This advert stands as a reminder of Kemp’s influence on British performance culture — a bridge between mime, theatre, glam rock, and the avant‑garde, captured at the close of one of his most striking productions. 🏷️ Hashtags #LindsayKemp #Salome #MelodyMaker1977 #DavidBowie #RoundHouse #AvantGardeTheatre #PerformanceArt #ReleaseChronicle 📰 Sources • Melody Maker, March 5, 1977 – theatrical advert • Contemporary theatre documentation • Minimal provenance references from collector archives 📝 Copyright Notice All magazine scans, photographs, and original text excerpts referenced in this entry remain the property of their respective copyright holders. This Chronicle entry is a transformative, non‑commercial archival summary created for historical documentation and educational reference. No ownership of the original material is claimed or implied.

Demon Music Group issued a major archival restoration of Tanx (1973) and Zinc Alloy and the Hidden Riders of Tomorrow (1974), presenting both albums in newly remastered form by original producer Tony Visconti alongside mastering engineer Ted Jensen. The deluxe edition arrived as an 80‑page hardback book containing rare photographs, international 7" single sleeves, sheet music, press clippings, and extensive new liner notes by Tony Visconti and Mark Paytress. The set captures Marc Bolan at a moment of transition: Tanx expanding the T. Rex sound with new studio textures, and Zinc Alloy embracing American soul, R&B, and funk influences absorbed during Bolan’s 1973 U.S. tours. The collection reframes this era as one of Bolan’s most creatively restless and misunderstood periods. 🔘 Variants Standard Deluxe Edition: 4CD + DVD hardback book Deluxe Fan Bundle (limited to first 300 pre‑orders): Tote bag Digital redemption of audio Ultimate Fan Bundle (limited to first 150 pre‑orders): Tote bag Digital redemption Exclusive coloured vinyl 7" single: “Solid Gold Easy Action” b/w “The Groover” Replica Japanese sleeve 🔘 Context & Notes Pre‑orders placed before January 13, 2014 were printed in the book’s fan‑credit section. The set includes: Tanx (2014 remaster) Zinc Alloy (2014 remaster) Period A/B‑sides Extensive demos and outtakes A DVD of TV performances and promo films from 1972–1977 The Zinc Alloy material highlights Bolan’s shift toward soul‑infused arrangements, a direction that puzzled UK audiences at the time but has since gained critical appreciation. 🔘 Visual Archive ⭐ TRACK LIST T. Rex — Tanx + Zinc Alloy Deluxe Edition (4CD + DVD)   Edsel / Demon Music Group — BLN 500240   Released: March 3, 2014 DISC ONE — Tanx (2014 Remaster) Tenement Lady Rapids Mister Mister Broken‑Hearted Blues Shock Rock Country Honey Electric Slim and the Factory Hen Mad Donna Born to Boogie Life Is Strange The Street and Babe Shadow Highway Knees Left Hand Luke and the Beggar Boys DISC TWO — Tanx Era A/B‑Sides + Demos & Outtakes A & B‑Sides (2014 Remasters) Children of the Revolution Jitterbug Love Sunken Rags Solid Gold Easy Action Xmas Riff 20th Century Boy Free Angel Demos & Outtakes The Pepsi Jingle Mister Motion The Street and Babe Shadow Free Angel Rapids Life Is Strange Mister Mister Jitterbug Love Country Honey Highway Knees Mad Donna Electric Slim & The Factory Hen (alias “You Got The Look”) Left Hand Luke Free Angel (alternate version) Fast Blues – Easy Action Sunken Rags (solo acoustic version) Xmas Fan Club Flexi (full version) DISC THREE — Zinc Alloy (2014 Remaster) Venus Loon Sound Pit Explosive Mouth Galaxy Change Nameless Wildness Teenage Dream Liquid Gang Carsmile Smith and the Old One You’ve Got to Jive to Stay Alive – Spanish Midnight Interstellar Soul Painless Persuasion v. The Meathawk Immaculate The Avengers (Superbad) The Leopards Featuring Gardenia and the Mighty Slug DISC FOUR — Zinc Alloy Era A/B‑Sides + Demos & Outtakes A & B‑Sides (2014 Remasters) The Groover Midnight Truck On (Tyke) Sitting Here Satisfaction Pony Big Carrot Single Black Jack Squint Eye Mangle Demos & Outtakes Geraldine & The Mighty Slug Change (solo electric) The Avengers (Superbad) (solo electric) Galaxy Carsmile Smith & The Old One Spanish Midnight Sitting There/Here Look to Your Soul The Leopards Featuring Gardenia and the Mighty Slug Groover (solo acoustic) Truck On (solo acoustic with Gloria Jones) Saturday Night Dance in the Midnight Down Home Lady Saturation Syncopation Delanie All My Love Hope You Enjoy the Show Saturday Night (alternate version) Interview (Radio, January 1974) DVD — TV Performances & Promo Films Children of the Revolution (Top of the Pops, 14 September 1972) Solid Gold Easy Action (Top of the Pops, 7 December 1972) Mad Donna (Cilla Black Show, 27 January 1973) The Groover (Movie promo) Teenage Dream (Top of the Pops, 7 February 1974) Bonus Children of the Revolution T. Rex — Tanx + Zinc Alloy Deluxe Edition (2014), Demon Music Group. 🔘 Related Material Tanx (1973) Zinc Alloy and the Hidden Riders of Tomorrow (1974) 20th Century Boy (1973 single) The Groover (1973 single) Teenage Dream (1974 single) 🔘 Discography Tanx (1973) Zinc Alloy and the Hidden Riders of Tomorrow (1974) Tanx + Zinc Alloy Deluxe Edition (2014) 🔘 Mini‑Timeline 1973: Tanx released 1974: Zinc Alloy released 2013: Remastering sessions completed Jan 13, 2014: Cut‑off for fan‑name inclusion Mar 3, 2014: Deluxe Edition released 🔘 Glam Flashback This deluxe edition captures Bolan at his most experimental — a period where glam glittered, cracked, and reformed into something stranger and more soulful. Tanx and Zinc Alloy reveal an artist pushing beyond the confines of his own legend, chasing new sounds with fearless curiosity. 🔘 Closing Notes The 2014 deluxe edition reframed this era as a creative high point rather than a commercial dip, restoring the depth, ambition, and restless imagination of Bolan’s mid‑70s work. 🔘 Sources & Copyright Demon Music Group (2014). Spirit Music Publishing Ltd. Edsel Records.

The Heritage of London Trust acquires David Bowie’s former family home in Bromley, beginning a two‑year restoration to return the house to its 1960s appearance and open it to the public. A landmark cultural project begins as Bowie’s childhood home is restored to the era in which David Jones first became David Bowie — transforming the space into an immersive heritage site. 📰 Key Highlights • Heritage of London Trust acquires Bowie’s childhood home in Bromley • Full restoration planned over the next two years • House to be returned to its 1960s appearance • Bowie’s childhood bedroom becomes the centre of the visitor experience • Public fundraising campaign launched • Project includes archival research, community contributions, and creative programming • Aims to preserve the birthplace of Bowie’s artistic identity 📰 Overview The Heritage of London Trust has announced the acquisition and planned restoration of David Bowie’s childhood home — the modest two‑up, two‑down house in Bromley where David Jones first began shaping the creative world that would become David Bowie. The project marks one of the most significant cultural preservation efforts in recent London history, aiming to restore the house to its 1960s condition and open it to the public as an immersive, reflective space. 📰 Source Details Publication / Venue: Heritage of London Trust Announcement Date: March 2024 Issue / Format: Cultural heritage restoration project Provenance Notes: Based on official project communications and public campaign materials. 📰 The Story Bowie lived in the house from 1955 to 1967, years that saw him evolve from a schoolboy in Bromley to a young man beginning to explore music, art, and identity. The Trust plans to restore the house using archival photographs, documents, and community memories to recreate its 1960s appearance. At the heart of the project is Bowie’s small childhood bedroom — the space where he first experimented with ideas, imagery, and sounds that would later define his artistic universe. Curator Geoff Marsh describes it as the room where: “Bowie evolved from an ordinary schoolboy to the beginnings of extraordinary international stardom.” The project includes a public call for memories, photographs, and objects connected to Bowie’s early life, inviting fans and locals to contribute to the historical record. Alongside the restoration, the Trust has launched a fundraising campaign to support conservation work, interpretive materials, and a creative programme designed to inspire new generations. Once completed, the house will open to the public, offering an intimate, immersive journey into the formative years of a cultural icon. 📰 Visual Archive Heritage of London Trust announces the restoration of David Bowie’s childhood home in Bromley, returning it to its 1960s appearance. 📰 Related Material Explore the tags below for connected posts and themes. 📰 Closing Notes The restoration of Bowie’s childhood home is more than a conservation project — it is the preservation of a creative birthplace, a cultural landmark, and a space that shaped one of the most transformative artists of the modern era. #DavidBowie #BowiesHouse #HeritageOfLondonTrust #Bromley #CulturalPreservation #1960sLondon 📰 Sources • Heritage of London Trust project announcement • Public fundraising campaign materials • Archival commentary on Bowie’s early life 📝 Copyright Notice All project materials, photographs, and text excerpts referenced in this entry remain the property of their respective copyright holders. This Chronicle entry is a transformative, non‑commercial archival summary created for historical documentation and educational reference. 🏛️ Support the Restoration Help us preserve the birthplace of Bowie’s genius. Your support enables essential restoration work, the curation of the house, and the development of our creative and educational programme. Every contribution — large or small — brings us closer to opening the doors of this historic home to the public. For partnership opportunities or to discuss making a significant contribution, please contact the project team. We welcome conversations about major donor acknowledgement, priority booking, and exclusive supporter opportunities. If you would like to make a special donation in memory of a relative or friend who loved David Bowie’s music, we would be pleased to speak with you about commemorative giving and personalised recognition. https://bowieshouse.org/#updates

Sub‑Heading A dramatic Melody Maker front‑page report detailing the turmoil surrounding Alice Cooper’s massive 60‑date U.S. tour and the health crisis affecting guitarist Glen Buxton. Melody Maker’s cover story reveals last‑minute chaos in the Alice Cooper camp as the band prepares for the largest rock tour ever attempted — with Glen Buxton still recovering in hospital. 📰 Key Highlights • Front‑page cover story in Melody Maker, March 3, 1973 • Reports on the band’s 60‑date U.S. tour — the largest rock tour to date • Glen Buxton recovering from a serious stomach ailment • Temporary replacement guitarist Mick Mashbir hired • Tour includes 90 concerts in 90 days across 30 major U.S. cities • Stage show features windmill set, revolving drum riser, guillotine, and theatrical props • New single “Hello Hurray” and new album Billion Dollar Babies set for release 📰 Overview In early 1973, Alice Cooper stood at the height of their shock‑rock fame, preparing to launch the most ambitious tour ever attempted by a rock band. Melody Maker’s front‑page headline — “Alice Shock” — captures the tension, spectacle, and logistical scale surrounding the group as they prepared to conquer America with a 60‑date tour, a new album, and a stage show of unprecedented theatricality. 📰 Source Details Publication / Venue: Melody Maker Date: March 3, 1973 Issue / Format: Front‑page news feature Provenance Notes: Sourced from original print scan. 📰 The Story The article opens with the revelation that “drama surrounded the Alice Cooper camp” as the band prepared for their gigantic U.S. tour. Lead guitarist Glen Buxton, a founding member and key part of the group’s sound, was still recovering from a serious stomach ailment that had kept him in hospital since before Christmas. His uncertain condition forced the band to hire Mick Mashbir, a close friend from Phoenix, as a temporary replacement. The scale of the tour is described as unprecedented: 90 concerts in 90 days, spanning 30 major cities including New York, Los Angeles, and Hawaii. The band had been studying the “extraordinary route” for days, preparing for the physical and logistical demands of such an undertaking. Their elaborate stage show — already en route to America — included a windmill set, a revolving drum riser, a guillotine, and a range of theatrical props that defined the Alice Cooper experience. The article emphasises the group’s popularity, noting they had played to more than 400,000 fans in the previous six months. The piece also highlights the band’s new single “Hello Hurray” and the imminent release of Billion Dollar Babies, which would become one of their most successful and iconic albums. The front‑page placement underscores the cultural moment: Alice Cooper were not just a band, but a phenomenon reshaping the boundaries of rock performance. 📰 Visual Archive Front page of Melody Maker, March 3, 1973, featuring the headline “Alice Shock” and reporting on the band’s massive U.S. tour and Glen Buxton’s health crisis. 📰 Related Material Explore the tags below for connected posts and themes. 📰 Closing Notes “Alice Shock” captures the tension and spectacle of Alice Cooper at their commercial peak — a band balancing theatrical ambition, logistical extremes, and real‑world vulnerability on the eve of their most daring tour. #AliceCooper #AliceShock #MelodyMaker1973 #BillionDollarBabies #ShockRock 📰 Sources • Melody Maker, March 3, 1973 • Contemporary Alice Cooper tour documentation • Secondary commentary on the Billion Dollar Babies era 📝 Copyright Notice All magazine scans, photographs, and original text excerpts referenced in this entry remain the property of their respective copyright holders. This Chronicle entry is a transformative, non‑commercial archival summary created for historical documentation and educational reference. No ownership of the original material is claimed or implied. DRAMA surrounded the Alice Cooper camp this week on the eve of the band's gigantic 60-date tour of America-the largest tour ever undertaken by a rock band. Reason was that lead guitarist Glen Buxton. was still not fully recovered from a serious stomach ailment. Buxton has spent several weeks in hospital since falling ill just before Christmas. So the Cooper band have had to hire guitarist Mick Mashbir, a close friend of the band, from Phoenix, Arizona. For the last few days Mashbir has been studying Buxton's role in what must be the most extraordinary show to ever take the road. The tour - provisionally 60 dates in 90 days-kicks off in Rochester, NY, on March 5, and ends at Madi-son Square Garden, New York City, on June 3. A troop of clowns, and other "bizarre " figures will take to the road with Alice. Including road managers, aids, and the group, the road party comes to more than 40 people. Alice has hit 13 in the MM chart with his new single "Hello Hurray," and the new album Billion Dollar Babies" is set for release next week.

A stylised Melody Maker review captures Alice Cooper’s elaborate horror‑themed theatrics and the shock‑pop spectacle of their most ambitious album. Melody Maker’s “Alice In Plunderland” review explores the theatrical excess and creepy orchestration of Billion Dollar Babies, framing it as Cooper’s most elaborate concept yet. 📰 Key Highlights • One‑page album review in Melody Maker, March 3, 1973 • Album released by Warner Bros. • Review titled “Alice In Plunderland” • Praises orchestration and horror‑themed effects • Notes the elaborate snakeskin wallet sleeve with dollar bill insert • Highlights tracks like “Unfinished Sweet,” “Generation Landslide,” and “I Love the Dead” • Critiques the confused message but validates the concept’s cultural impact 📰 Overview Released in early 1973, Billion Dollar Babies marked the peak of Alice Cooper’s theatrical ambition. The Melody Maker review, under the headline “Alice In Plunderland,” treats the album as both a horror‑pop spectacle and a cultural provocation. It praises the band’s ability to grip the public imagination through shock tactics, elaborate packaging, and a stage show built around the album’s themes. 📰 Source Details Publication / Venue: Melody Maker Date: March 3, 1973 Issue / Format: One‑page album review Provenance Notes: Sourced from original print scan and verified press archives. 📰 The Story The review opens with a sardonic observation: Alice Cooper appeals to the man who elbows his way to the front of a crowd asking, “What’s going on?” It’s a fitting metaphor for the band’s blend of confusion, spectacle, and visceral impact. Musically, the reviewer finds the band “rather limited,” but credits the “brilliant orchestration” for holding the album together and creating a “suitably creepy background.” The horror theme is central — tape effects, wrinkled features, and theatrical devices all contribute to the album’s shock value. The packaging is described as “a green snakeskin effect wallet with a dollar bill inside,” reinforcing the album’s consumerist satire. The review compares the band’s stage show to a Vegas awards ceremony — not profound, but worth winding up for. Tracks like “Unfinished Sweet” are interpreted as horror pantomime, while “Generation Landslide” is praised for its lyrical depth, likened to Pete Townshend’s “My Generation.” The reviewer quotes lines about American motherhood shopping in Woolworth’s while people starve in Korea, and babies revolting with “Molotov milk bottles heaved from pink high chairs.” “I Love the Dead” is cited as a prime example of Cooper’s taboo‑breaking style: “While friends and lovers mourn your silly grave, I have other uses for you darling.” The review concludes that while the message is confused and not revolutionary, the concept is valid — expressing horror and revulsion that only the intrinsically moral can feel. 📰 Visual Archive Melody Maker’s March 3, 1973 review of Billion Dollar Babies, titled “Alice In Plunderland,” with a photo of Alice Cooper in full theatrical mode. 📰 Related Material Explore the tags below for connected posts and themes. 📰 Closing Notes “Alice In Plunderland” captures the theatrical chaos and cultural provocation of Billion Dollar Babies, validating Alice Cooper’s place as glam rock’s most elaborate provocateur. #AliceCooper #BillionDollarBabies #MelodyMaker1973 #GlamRock #ShockRock 📰 Sources • Melody Maker, March 3, 1973 • Album packaging and press materials • Secondary commentary from glam‑era retrospectives 📝 Copyright Notice All magazine scans, photographs, and original text excerpts referenced in this entry remain the property of their respective copyright holders. This Chronicle entry is a transformative, non‑commercial archival summary created for historical documentation and educational reference. No ownership of the original material is claimed or implied. ALICE COOPER: "Billion Dollar Babies" Superficially, Alice Cooper's appeal is to the man who shoves his way to the front from the back of a crowd inquiring tersely: "What's going on!" Nothing has interested the gent up to the present time, but, some geezer's messing about with a snake up there, and I want to see. Get out of the way! Well, they are a sensational band -in terms of success and the way they have gripped a section of the public's imagination.

A strong debut from Bowie’s right‑hand guitarist, praised by NME for its range, confidence, and sharp production. NME hails Ronson’s debut LP as a promising, varied, and musically assured statement from one of glam rock’s defining guitarists. 📰 Key Highlights • One‑page album review in New Musical Express, March 2, 1974 • Praises Ronson’s versatility as guitarist, arranger, and vocalist • Highlights standout tracks “Pleasure Man” and “Hey Ma Get Papa” • Notes the album’s stylistic range and strong production • Frames Ronson as more than Bowie’s sideman — an artist in his own right 📰 Overview At the height of the Ziggy Stardust era’s afterglow, Mick Ronson stepped forward with his debut solo album, Slaughter on Tenth Avenue. NME’s review positions the record as a confident, musically varied statement from a guitarist long celebrated for his work with David Bowie. The piece emphasises Ronson’s ability to move beyond the shadow of the Spiders from Mars and establish his own artistic identity. 📰 Source Details Publication / Venue: New Musical Express Date: March 2, 1974 Issue / Format: Album review Provenance Notes: Sourced from original print clipping. 📰 The Story The NME review opens by calling Slaughter on Tenth Avenue a “promising debut from a young guitarist,” immediately framing Ronson as an emerging solo force rather than merely Bowie’s celebrated sideman. The reviewer praises the album’s musical breadth — from the swaggering rock of “Pleasure Man” to the theatrical flair of “Hey Ma Get Papa,” noting the latter’s lyrical bite and Ronson’s ability to balance humour with intensity. The production is highlighted as crisp and dynamic, showcasing Ronson’s strengths not only as a guitarist but as an arranger and vocalist. The review draws attention to the album’s shifts in tone and texture, suggesting that Ronson’s musical instincts extend far beyond glam rock’s expected palette. While Bowie’s influence is acknowledged — an inevitable comparison given their intertwined careers — the review stresses that Ronson’s debut stands firmly on its own merits. It presents him as a musician capable of stepping into the spotlight with confidence, versatility, and a distinctive artistic voice. 📰 Visual Archive NME’s March 2, 1974 review of Mick Ronson’s debut album Slaughter on Tenth Avenue. 📰 Related Material Explore the tags below for connected posts and themes. 📰 Closing Notes This review captures a pivotal moment in Ronson’s career — the point where he began to carve out his own artistic identity beyond the Bowie universe, earning critical respect for his range and musical intelligence. #MickRonson #SlaughterOnTenthAvenue #NME1974 #BowieHistory #GlamRock 📰 Sources • New Musical Express, March 2, 1974 • Contemporary Bowie/Ronson press archives • Secondary commentary from glam‑era retrospectives 📝 Copyright Notice All magazine scans, photographs, and original text excerpts referenced in this entry remain the property of their respective copyright holders. This Chronicle entry is a transformative, non‑commercial archival summary created for historical documentation and educational reference. No ownership of the original material is claimed or implied. MICK RONSON: "Slaughter On Tenth Avenue" (RCA) New Musical Express WHATEVER HAPPENED or didn't happen at the Rainbow last Friday, there's no getting round the fact that "Slaughter On Tenth Avenue" is a fine, fine album. It's varied, self-assured, musically and thoroughly exciting. As well as taking care of the guitars and voices, Mick's right in there producing, arranging, conducting, mixing and writing the melodies for three of the tracks, and he doesn't let up anywhere. With the exception of "Love Me Tender", which sounds rather uncomfortable, "Slaughter On Tenth Avenue" is solidly excellent. The album's main revelation is Ronno The Voice. Does he sound like Bowie? Occasionally. Does he sound like any other specific individuals? No, he doesn't. Does he sing good? Definitely. It's a very cool voice, not yet as powerful as it'll get when he's gotten used to singing, but his phrasing is admirable and his feel for lyrics is quite noteworthy. Watch that quaver, though. One major surprise is that, far from making a "guitarist's album", he's leaned over so far in the opposite direction that there isn't even a solo until half-way through the second side. It crops up during "Pleasure Man"/"Hey Ma Get Papa", eight minutes and fifty-five seconds of the best music of 1974. "Pleasure Man" is co-written by Ronno and an unidentified flying Richardson, while "Hey Ma Get Papa" matches Ron-no's music to a Bowie lyric. Anyway, about halfway through "Pleasure Man", Mike Garson plays a solo that sounds like the musical equi-valent of a breaking window filmed in slow motion while Ronson's Les Paul screams like a lost soul, like something out of H.P. Lovecraft. Then the song goes into this swaggering riff before the rhythm section collides with a ten-ton lorry and Ronson's guitar moans and squitters in the darkness until the ARP intro to the startlingly McCart-3 neyish "Hey Ma Get Papa" pirouettes out of the right speaker to rescue it. If that ain't enough to banish any lingering doubts about Mick Ronson's credentials as a musician in his own right, then you've got a very bad case of ingrowing eardrums. Back on side one, "Love Me Tender" is followed up by the new Bowie song "Growing Up And I'm Fine" which bounces around like a pinball machine, and would've been a far superior single to "Love Me Tender". "Only After Dark" is the B-side of the single, and it boasts a nice riff, some fine per-cussion effects and more of the Sensuous Tonsils. "Music Is Lethal" is a heavingly melodramatic neo-Brel tune written by an Italian gen-tleman named Battiste. Ronno's assistant Susie translated the lyrics into English and Mr. Bo-wie tarted up the translation. Despite a strong lyrical resemblance to "Amsterdam" (I can't take that line about "mulatto hookers and cocaine bookers" seriously) it works because of the strength of the arrangement and Ronno's subtle, expressive vocal. Flip it over and you're straight into a rocking version of Annette Peacock's "I'm The One". Garson was in on the original recordings, and it's really his track. Through the already-eulogised "Pleasure Man"/"Hey Ma Get Papa", and we're into the title toon, the old George Gershwin chest-beater, on which Mick really wails, as we say in the trade. Apart from Mick and the admirable Garson, there's Ayn-sley Dunbar on drums and Trevor Bolder on bass, trumpet and trombone. They used to call him "Trumpets" Bolder back in Hull, and his brass fills on "Pleasure Man" are un-obtrusive but useful. Dunbar is as monstrous as ever. There you have it. The best album to have entered my home so far this year, and well worth the price of admission. It's a pity that they didn't use the killer version of "White Light White Heat" that they cut at the Chateau, but it's some-thing to look forward to on the next one. In fact, I'm already looking forward to the next one. And the one after that. Not bad for a promising young guitarist from Hull.

A sharp, provocative NME profile capturing Angie Bowie’s confrontational charisma at the height of the Bowie phenomenon. A fiery one‑page NME feature in which Angie Bowie speaks with unfiltered candour about fame, fights, journalists, and life inside the Bowie orbit. 📰 Key Highlights • One‑page article in New Musical Express, March 2, 1974 • Written by Charles Shaar Murray • Features candid quotes about violence, notoriety, and media clashes • Includes photos of Angie with David and baby Zowie in Switzerland • Frames Angie as a volatile, magnetic force within the Bowie mythology 📰 Overview Published at a moment when David Bowie’s fame was accelerating into global territory, “Angie Bowie’s Taking Names” presents Angie as a figure of volatility, glamour, and unapologetic force. The article blends humour, confrontation, and personal anecdote, offering a rare snapshot of the Bowie household from the perspective of its most outspoken member. 📰 Source Details Publication / Venue: New Musical Express Date: March 2, 1974 Issue / Format: One‑page article Provenance Notes: Sourced from the original print scan circulated in Bowie archival collections. 📰 The Story Charles Shaar Murray’s profile of Angie Bowie is written with a mix of admiration, fear, and comic self‑preservation. He opens by joking that he is “hiding out in the Hebrides until the situation blows over,” setting the tone for an article that treats Angie as both a cultural force and a personal threat. Angie recounts stories of physical confrontations — “I got pulled out of a ballroom by five policemen for beating a guy up” — and her infamous clashes with music journalists, including the line: “Nick Kent? I wanted to kill him.” These quotes are presented not as shock value but as part of Angie’s self‑mythology: a woman who refuses to be controlled, edited, or softened. The article also includes quieter moments: a photograph of Angie with David and their three‑week‑old son Zowie in the garden of their Swiss home. This juxtaposition — domestic calm against explosive personality — reinforces the contradictions that made Angie such a compelling figure in the Bowie universe. Murray’s writing frames her as a disruptive, magnetic presence whose influence on Bowie’s early career was both undeniable and unpredictable. The piece captures the chaotic glamour of the Bowie household in 1974, a world where fame, art, and volatility collided daily. 📰 Visual Archive Angie Bowie profiled in New Musical Express, March 2, 1974 — a candid, confrontational portrait by Charles Shaar Murray. 📰 Related Material Explore the tags below for connected posts and themes. 📰 Closing Notes “Angie Bowie’s Taking Names” remains one of the most vivid portraits of Angie during the height of Bowie’s early fame — a reminder of her influence, her volatility, and her refusal to be anything less than fully herself. #AngieBowie #DavidBowie #NME1974 #CharlesShaarMurray #BowieArchive 📰 Sources • New Musical Express, March 2, 1974 • Contemporary Bowie press archives • Secondary commentary from Bowie biographical literature 📝 Copyright Notice All magazine scans, photographs, and original text excerpts referenced in this entry remain the property of their respective copyright holders. This Chronicle entry is a transformative, non‑commercial archival summary created for historical documentation and educational reference. No ownership of the original material is claimed or implied.

A one‑page New Musical Express advert promoting the reissued The Man Who Sold the World album, foregrounding Bowie’s original recording of the title track and its enduring partnership with producer Tony Visconti. Published on March 2, 1974, this NME advert reintroduced The Man Who Sold the World to a new audience, highlighting Bowie’s original version of the now‑legendary title track and reaffirming the album’s importance within his early‑’70s catalogue. 📰 Key Highlights One‑page advert in New Musical Express, Mar. 2, 1974 Promotes the RCA/MainMan reissue of The Man Who Sold the World Emphasises the original recording of the title track Credits David Bowie (writer/performer) and Tony Visconti (producer) Features the album’s iconic cover artwork Part of RCA’s mid‑’70s campaign to consolidate Bowie’s back catalogue 📰 Overview By early 1974, David Bowie had entered a new phase of fame. Aladdin Sane and Pin Ups had expanded his audience, and the Diamond Dogs era was about to begin. In this moment of heightened visibility, RCA and MainMan launched a strategic reissue campaign to bring Bowie’s earlier albums back into circulation. This NME advert for The Man Who Sold the World positioned the album as essential listening — a dark, heavy, and experimental work that prefigured Bowie’s later transformations. The advert’s bold typography and prominent display of the album cover reinforced its status as a foundational piece of the Bowie mythos. 📰 Source Details Publication / Venue: New Musical Express Date: March 2, 1974 Issue / Format: One‑page advert Label: RCA Records / MainMan Album: The Man Who Sold the World (LSP 4816) Provenance Notes: Based on the provided advert scan and Bowie’s 1974 reissue campaign. 📰 The Story • A Reintroduction to a Cult Album Originally released in 1970, The Man Who Sold the World had grown in stature through word‑of‑mouth, underground acclaim, and Bowie’s rising fame. By 1974, the title track had become one of Bowie’s most enigmatic compositions — a song that would later achieve global recognition through covers and live performances. The advert emphasises: “the original track” written and performed by Bowie produced by Tony Visconti This framing positioned the album as a crucial early collaboration between Bowie and Visconti, whose partnership would shape much of Bowie’s career. • The Visual Identity The advert reproduces the album’s striking cover artwork — Bowie reclining in a dress, photographed by Keith MacMillan — a visual statement that challenged gender norms and helped define Bowie’s early persona. In the context of 1974, the image served as a reminder of Bowie’s boundary‑pushing origins, even as he moved into the dystopian theatrics of Diamond Dogs. • RCA and MainMan’s Strategy The advert forms part of a broader effort by RCA to: consolidate Bowie’s back catalogue repackage earlier albums for new fans capitalise on Bowie’s rapidly expanding audience By foregrounding the title track, the advert tapped into the growing mystique surrounding the song — a mystique that would only deepen in the decades to come. 📰 Visual Archive New Musical Express advert for David Bowie’s The Man Who Sold the World, March 2, 1974. 📰 Related Material Explore the tags below for connected posts and themes. 📰 Closing Notes This advert captures a pivotal moment when Bowie’s early work was being rediscovered and recontextualised for a new generation. The Man Who Sold the World — once a cult favourite — was now being positioned as a cornerstone of Bowie’s artistic evolution, with the title track emerging as one of his most enduring creations. 📝 Copyright © 1974 New Musical Express / RCA Records / MainMan. Reproduced here for archival, research, and educational purposes. #DavidBowie #TheManWhoSoldTheWorld #NME1974 #TonyVisconti #RCARecords #MainMan #Bowie1970s

A two‑page Record Mirror feature exploring David Bowie’s transformation into Baal for the BBC’s 1982 television adaptation of Bertolt Brecht’s first play — a stark, unsettling role that revealed Bowie’s commitment to serious dramatic work. Published on March 2, 1982, this Record Mirror feature examines Bowie’s intense performance as Baal in the BBC production of Brecht’s early play, highlighting the brutality of the character, the severity of the staging, and Bowie’s long‑standing fascination with Brechtian theatre. 📰 Key Highlights Two‑page feature in Record Mirror, Mar. 2, 1982 Covers Bowie’s starring role in the BBC adaptation of Bertolt Brecht’s Baal Written by Mike Nicholls Includes multiple production stills of Bowie in character Notes Bowie’s performance of five Brecht songs, translated by John Willett Highlights the release of the accompanying RCA mini‑album Frames Baal as Bowie’s most uncompromising dramatic role to date 📰 Overview In early 1982, David Bowie stepped away from the pop mainstream to take on one of the most abrasive roles of his career: Baal, the drunken, violent, womanising poet at the centre of Bertolt Brecht’s first play. The BBC production, directed by Alan Clarke and adapted by Brecht scholar John Willett, offered Bowie a chance to immerse himself in the raw, early modernist theatre he had admired since the late 1970s. Record Mirror’s two‑page feature, “Bowie Has a Baal,” captures the starkness of the production and the intensity of Bowie’s performance. The article positions Baal not as a celebrity vehicle but as a serious artistic undertaking — a return to Bowie’s theatrical roots and a reminder of his ability to inhabit characters far removed from his musical persona. 📰 Source Details Publication / Venue: Record Mirror Date: March 2, 1982 Issue / Format: Two‑page feature Writer: Mike Nicholls Production: BBC Television Director: Alan Clarke Adaptation: John Willett Music: Five Brecht songs arranged by Dominic Muldowney Provenance Notes: Based on the provided scan and Bowie’s documented 1982 press cycle. 📰 The Story • Brecht’s Baal Written in 1918 when Brecht was only twenty, Baal is a savage critique of bourgeois hypocrisy and the romanticisation of the “genius” figure. Baal is a poet, a drunk, a seducer, a murderer — a man who destroys everything he touches. Bowie was drawn to the play’s rawness: “It’s a very powerful piece of work… it has a rawness and energy that’s quite extraordinary.” The role allowed Bowie to explore a darker, more nihilistic character than any he had portrayed on screen. • Bowie’s Performance The feature emphasises Bowie’s commitment to the role. His Baal is charismatic yet repellent, poetic yet morally empty. The production stills show him: dishevelled and hollow‑eyed playing a stringed instrument shirtless and physically strained seated in dim, rustic interiors The images reinforce the article’s portrayal of Baal as a man collapsing under the weight of his appetites. • The BBC Production Directed by Alan Clarke, known for his uncompromising realism, the production is described as stark, atmospheric, and deliberately uncomfortable. Clarke’s direction strips away glamour, leaving only the brutality of Baal’s world. Bowie performs five Brecht songs, newly translated by John Willett and arranged by Dominic Muldowney. These songs were released on an RCA mini‑album, making Baal one of Bowie’s most unusual musical projects — a bridge between theatre, cabaret, and early modernist song. • Bowie and Brecht Bowie had been a Brecht admirer for years, first reading Baal in 1978. His interest in German theatre had already shaped the Heroes era, the Brechtian gestures of the Diamond Dogs tour, and his fascination with expressionist performance. Baal offered him the chance to engage with Brecht directly, not as influence but as text. 📰 Visual Archive Record Mirror’s two‑page feature “Bowie Has a Baal,” March 2, 1982, covering Bowie’s BBC portrayal of Brecht’s Baal. 📰 Related Material Explore the tags below for connected posts and themes. 📰 Closing Notes “Bowie Has a Baal” captures a moment when Bowie stepped away from commercial expectations and embraced the severity of Brechtian theatre. The role of Baal — violent, poetic, destructive — allowed Bowie to explore the darker edges of performance, reaffirming his reputation as an artist willing to take risks far outside the pop mainstream. 📝 Copyright © 1982 Record Mirror / IPC Magazines. Reproduced here for archival, research, and educational purposes. #DavidBowie #Baal #RecordMirror1982 #AlanClarke #BertoltBrecht #BBCDrama #DominicMuldowney #JohnWillett

The cosmic dancer who took a whispery hippie duo, plugged in the electricity, grew the curls, and accidentally invented glam rock overnight. One minute he’s a bongo-playing Tolkien elf called Tyrannosaurus Rex, strumming acoustic fairy tales about unicorns. The next he’s Marc Bolan in satin and glitter, getting it on straight to number one and turning every teenage bedroom in Britain into a shrine. The Glam Slam Essentials Electric Warrior (1971) – Album Release (1971) – UK #1 The blueprint for glam – “Get It On”, “Cosmic Dancer”, “Jeepster”, “Mambo Sun”. The Slider (1972) – Album Release (1972) – UK #4 Even better – “Metal Guru”, “Telegram Sam”, “Children of the Revolution”, “Ballrooms of Mars”. Tanx (1973) – Album Release (1973) – UK #4 Funkier, hornier – “20th Century Boy”, “The Groover”, “Born to Boogie”. Where to Start Listening Today (5 tracks) Get It On (Bang a Gong) – the riff that launched a million air guitars 20th Century Boy – pure sexual electricity Children of the Revolution – the ultimate glam war cry Metal Guru – #1 and mystical as hell Telegram Sam – the sound of 1972 in three minutes T.Rex didn’t follow glam – Marc Bolan was glam: feather boas, cheekbones, and lyrics about cars, stars, and wizards. Turn it up, wear your hair long, and remember: you’re never too old to boogie. Deep Dive: Formed in London in 1967 by singer-songwriter and guitarist Marc Bolan. Here's a comprehensive overview based on available information: Initially named Tyrannosaurus Rex, the group was a duo consisting of Bolan and percussionist Steve Peregrine Took. They were known for their psychedelic folk music. Name Change: In 1970, after Took left and Mickey Finn joined as a percussionist, they shortened their name to T. Rex, marking a shift towards electric rock. T. Rex became one of the key figures in the glam rock movement with their flamboyant style, catchy tunes, and Bolan's charismatic presence. Their music was characterized by Bolan's distinctive guitar work and lyrical content that mixed whimsy with sensuous grooves. Hit Singles: From 1970 to 1973, T. Rex had a string of hits in the UK, including "Ride a White Swan," "Hot Love," "Get It On," "Telegram Sam," and "Metal Guru." Four of these singles reached number one on the UK charts. Electric Warrior (1971): Often cited as one of the quintessential glam rock albums, it was critically acclaimed and reached No. 1 in the UK. The Slider (1972): This album also saw success, entering the top 20 in the US, showcasing a blend of rock with soul and funk influences. Tanx (1973): Followed with top 5 positions in various countries, showing further musical exploration. After 1973, the band's popularity began to wane, although they continued to release albums that experimented with different musical styles including R&B and disco. End of T. Rex: The band effectively ended with Marc Bolan's tragic death in a car accident in 1977, just months after their final album "Dandy in the Underworld" was released. Posthumous Influence: T. Rex has left a significant mark on music, influencing numerous artists across genres. Their music continues to be celebrated with bands like The Smiths, Guns N' Roses, and Oasis citing Bolan's influence. They were inducted into the Rock and Roll Hall of Fame in 2020. The term coined to describe the fan frenzy and cultural impact similar to Beatlemania, highlighting Bolan's massive popularity in the UK during the early '70s. Visual and Performance Style: Bolan's fashion sense, including glitter and makeup, contributed significantly to the glam rock aesthetic, influencing not just music but fashion and performance art. Bolan had a tumultuous relationship with record labels and management, which affected album releases and commercial success in some regions like the US. Live Performances: Known for energetic live shows, Bolan's onstage charisma was a key element of T. Rex's appeal. T. Rex's legacy remains vibrant, with their music still resonating with new generations, and their style setting a precedent in rock music's visual and sonic evolution.

📰 Sub‑Heading A two‑page Creem feature capturing the Alice Cooper Group at their theatrical peak, blending interview fragments, photo‑collage, and candid reflections on fame, identity, and the band’s uniquely chaotic vision. 📰 Excerpt Published in March 1973, this Creem spread presents Alice Cooper as a figure both outrageous and unexpectedly grounded, pairing dramatic photography with quotes that reveal the band’s relentless work ethic and refusal to fit any rock‑and‑roll template. 📰 Key Highlights Two‑page article + news clip in Creem, Mar. 1973 Photo‑collage layout featuring multiple portraits of Alice Cooper Quotes drawn from an interview by Lisa Robinson Emphasis on the band’s theatrical identity and non‑conformity Insights into Cooper’s personal life, work schedule, and relationship with fame Captures the Alice Cooper Group shortly before the transition into Cooper’s solo era 📰 Overview By early 1973, the Alice Cooper Group had become one of the most controversial and visually striking acts in American rock. Their blend of shock theatrics, vaudeville humour, and heavy rock had propelled them from underground oddity to mainstream sensation. Creem’s two‑page feature, titled “Alice Never Ordinary,” reflects this moment of cultural saturation: a collage of images, quotes, and candid admissions that reveal both the spectacle and the strain behind the band’s success. The layout — a mosaic of performance shots, backstage candids, and stylised portraits — reinforces the idea that Alice Cooper was not merely a singer but a constructed persona, a living piece of theatre. Yet the quotes chosen by Lisa Robinson expose the human beneath the makeup: exhausted, driven, amused by fame, and still tethered to his family. 📰 Source Details Publication / Venue: Creem Date: March 1, 1973 Issue / Format: Two‑page article + news clip Provenance Notes: Based on the provided scans and Cooper’s documented 1973 press cycle. 📰 The Story The article juxtaposes dramatic imagery with revealing interview excerpts. The photos — some flamboyant, some intimate — show Alice in polka‑dot outfits, shirtless poses, and theatrical makeup, reinforcing the band’s reputation for visual excess. • Identity & Non‑Competition One of the central quotes declares: “Nobody’s ever going to be in competition with Alice Cooper because we’re not in competition with anybody.” This captures the band’s ethos: they weren’t trying to fit into rock’s lineage — they were building their own. • Workload & Burnout Robinson’s interview highlights the toll of constant touring: “It’s just been total work for five years… I don’t look like I’m 24 years old, I look like I’m thirty.” The exhaustion is palpable, yet Cooper frames it as part of the life he chose — a price of success. • Fame & Anonymity Cooper admits he doesn’t feel like a star: “If I walk down the street… I don’t think anybody is going to recognize me. They always do though.” This tension between persona and person is a recurring theme. • Family & Origins A surprising detail emerges: “My mom made me these black leather pants that I wore onstage…” It’s a reminder that behind the shock‑rock façade was a young man from a close‑knit family, navigating fame with humour and humility. • The Mystery Cooper also addresses his guarded identity: “I like the mystery of people not knowing my real name… also I like to keep my dad out of the news since he’s a minister.” This reinforces the duality at the heart of the Alice Cooper persona — a theatrical monster created by someone who remained, in many ways, private and grounded. 📰 Visual Archive Creem magazine’s “Alice Never Ordinary” feature, March 1973. 📰 Related Material Explore the tags below for connected posts and themes. 📰 Closing Notes “Alice Never Ordinary” captures the Alice Cooper Group at a pivotal moment — still united, still pushing boundaries, and still redefining what a rock performance could be. The feature blends spectacle with sincerity, offering a rare look at the human behind one of rock’s most enduring theatrical creations. 📝 Copyright © 1973 Creem Magazine / Straight Arrow Publishers. Reproduced here for archival, research, and educational purposes. #AliceCooper #AliceCooperGroup #CreemMagazine #ShockRock #1973RockPress #LisaRobinson #BobGruen

A striking Melody Maker advert promoting David Bowie’s 1980 single “Alabama Song,” issued with a full‑colour poster bag during the early stages of his post‑Lodger transition. Published in March 1980, this Melody Maker advert announces Bowie’s new single “Alabama Song,” pairing the release with a full‑colour poster bag and a bold graphic design that signalled the beginning of his next stylistic shift. 📰 Key Highlights One‑page advert in Melody Maker, Mar. 1980 Promotes the single “Alabama Song” (RCA) Includes a full‑colour poster bag Features a dramatic monochrome portrait of Bowie Advert also highlights “Space Oddity” as a companion title Positioned between the Lodger era and the upcoming Scary Monsters reinvention Co‑branded with RCA 📰 Overview By early 1980, David Bowie was entering a new creative phase. The Berlin Trilogy had concluded, Lodger had expanded his sonic palette, and Scary Monsters was on the horizon. In this transitional moment, Bowie released “Alabama Song,” a cover of the Brecht–Weill piece he had performed live since 1978. The Melody Maker advert promoting the single is visually striking: a grid‑patterned background, a circular cut‑out portrait of Bowie, and diagonal typography announcing “Alabama Song / Space Oddity.” The inclusion of a full‑colour poster bag positioned the release as both a collectible and a statement piece, appealing to fans who followed Bowie’s constant reinventions. 📰 Source Details Publication / Venue: Melody Maker Date: March 1, 1980 Issue / Format: One‑page advert Provenance Notes: Based on the provided scan and Bowie’s documented 1980 promotional cycle. 📰 The Story The advert reflects Bowie’s instinct for visual impact. The stark portrait — Bowie’s face framed in a circular window — evokes the theatricality of his late‑’70s stage persona while hinting at the sharper, more angular aesthetic of Scary Monsters. • The Single “Alabama Song” had long been part of Bowie’s live repertoire, particularly during the 1978 Isolar II tour. Its release as a standalone single in 1980 was unexpected, but it fit Bowie’s pattern of revisiting and reframing earlier material. • The Poster Bag The “full colour poster bag” was a key selling point, transforming the single into a collectible artefact. Bowie’s audience — accustomed to limited editions, picture discs, and striking artwork — responded strongly to these tactile extras. • The Design The advert’s diagonal typography and geometric layout reflect the graphic sensibilities of the late 1970s and early 1980s. The pairing of “Alabama Song” with “Space Oddity” in the design suggests a deliberate contrast between Bowie’s earliest breakthrough and his latest experiment. • Cultural Moment This advert sits at a crossroads: post‑Berlin experimentation pre‑Scary Monsters reinvention Bowie’s growing interest in theatricality, performance art, and visual identity It captures a brief but telling moment in Bowie’s evolution — a single release that bridged eras and hinted at the sharper, more confrontational sound to come. 📰 Visual Archive Melody Maker advert for David Bowie’s “Alabama Song – Full Colour Poster Bag,” March 1980. 📰 Related Material Explore the tags below for connected posts and themes. 📰 Closing Notes This advert marks a transitional moment in Bowie’s career — a visually bold announcement of a single that bridged his late‑’70s experimentation with the sharper, more modernist direction of the early 1980s. 📝 Copyright © 1980 Melody Maker / IPC Magazines. Reproduced here for archival, research, and educational purposes. #DavidBowie #AlabamaSong #MelodyMaker1980 #RCARecords #PosterBag #Bowie1980 #SpaceOddity

A one‑page film review examining David Bowie’s first major starring role in Nicolas Roeg’s surreal science‑fiction masterpiece. Published in March 1976, this review explores David Bowie’s hypnotic performance in The Man Who Fell to Earth, praising his alien presence, the film’s visual daring, and its unsettling portrait of isolation. 📰 Key Highlights One‑page film review, Mar. 1976 Covers Bowie’s starring role as Thomas Jerome Newton Notes the film’s premiere at the Leicester Square Theatre Directed by Nicolas Roeg Highlights Bowie’s “hypnotic” presence and otherworldly appearance Mentions supporting cast: Candy Clark, Rip Torn Discusses the film’s score, including Stomu Yamashta and Roy Orbison Frames the film as visually striking, complex, and emotionally disorienting 📰 Overview By early 1976, David Bowie had already reshaped the landscape of rock music several times over. With The Man Who Fell to Earth, he stepped into cinema with a role that seemed almost pre‑ordained: an alien stranded on Earth, undone by human excess, longing for home. Nicolas Roeg’s film, adapted from Walter Tevis’s novel, premiered in London in March 1976 and immediately drew attention for its dreamlike structure, fragmented editing, and Bowie’s uncanny performance. The review positions the film as a “celluloid oddity” — a work of art that defies conventional narrative and instead immerses the viewer in a world of paranoia, longing, and cultural critique. Bowie’s presence is central: fragile, luminous, and unsettlingly believable as a being not of this world. 📰 Source Details Publication / Venue: Unknown (newspaper or magazine) Date: March 1, 1976 Issue / Format: One‑page film review Provenance Notes: Based on the provided scan and Bowie’s documented 1976 film‑promotion cycle. 📰 The Story The review opens by noting the film’s London premiere and the significance of Bowie’s first starring role. As Thomas Jerome Newton, Bowie plays an extraterrestrial who arrives on Earth seeking the means to save his dying home planet. His mission collapses as he becomes entangled in human greed, suspicion, and emotional vulnerability. • Bowie’s Performance The reviewer emphasises Bowie’s “hypnotic” presence — a quality that Roeg exploits through long, lingering shots and stark lighting. Bowie’s thin frame, pale features, and detached mannerisms make him appear genuinely alien, blurring the line between performance and persona. • Supporting Cast Candy Clark is praised for her emotional range, grounding the film’s surrealism with human warmth. Rip Torn brings a cynical, earthy counterpoint to Bowie’s ethereal stillness. • Visual Style Roeg’s direction is described as visually arresting: fragmented editing saturated colours symbolic imagery disorienting shifts in time and perspective The review notes that the film demands attention and rewards repeat viewings. • Music The score blends atmospheric compositions by Stomu Yamashta with unexpected inclusions like Roy Orbison, adding to the film’s tonal strangeness. • Themes The review highlights: alienation addiction the corrupting influence of modern society the tragedy of a mission lost to human frailty The film is recommended for viewers willing to embrace ambiguity and visual experimentation. 📰 Visual Archive David Bowie in The Man Who Fell to Earth, featured in a one‑page review, March 1976. 📰 Related Material Explore the tags below for connected posts and themes. 📰 Closing Notes This review captures the moment Bowie crossed fully into cinema, delivering a performance that remains one of his most haunting. The Man Who Fell to Earth stands as a landmark of 1970s science‑fiction — enigmatic, stylish, and inseparable from Bowie’s own myth. 📝 Copyright © 1976 Original Publisher (unknown). Reproduced here for archival, research, and educational purposes. #DavidBowie #TheManWhoFellToEarth #NicolasRoeg #1976Cinema #BowieOnFilm #ThomasJeromeNewton #SciFiClassics