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Rod Stewart’s Never a Dull Moment  one-page album advert, published in Melody Maker  music magazine on July 29, 1971.

Rod Stewart’s Two Faced cover and article, published in Melody Maker music newspaper on July 24, 1971.

T.Rex cover and one-page article, published in Record Mirror  music newspaper on July 24, 1971.

T Rex perform at the Odeon Theatre, Lewisham on the July 19, 1971. The poster measures 100.8cm x 77cm (39.6 inches x 30.2 inches).

Rod Stewart’s Every Picture Tells a Story was released as an LP album in the UK by Mercury Records (catalog number 6338 063) on July 16, 1971. (May 1971 (US) Label: Mercury Records Producer: Rod Stewart Band Context: Recorded during a transitional period for Stewart, who was balancing his solo career with his role in the Faces, a rock band he joined in 1969. The album blends his solo artistry with the raw, collaborative energy of the Faces. Musical Style: A fusion of rock, folk, blues, and soul, showcasing Stewart’s gravelly voice and eclectic influences. The album is noted for its loose, organic feel, combining heartfelt ballads with rollicking rockers. Album cover front released under Mercury in the UK, catalogue number 6338 063. Recording and Production Studio: Morgan Studios, London Musicians: The album featured key members of the Faces, including Ronnie Wood (guitar), Ian McLagan (keyboards), and Ronnie Lane (bass on some tracks). Other contributors included drummer Micky Waller, mandolin player Ray Jackson, and Maggie Bell on backing vocals for the title track. Approach: Stewart aimed for a spontaneous, live-in-the-studio vibe, with minimal overdubs. This gave the album its raw, authentic sound. He produced it himself, allowing creative control to shape the record’s diverse palette. Challenges: Stewart was still finding his footing as a solo artist while maintaining his commitment to the Faces. The album’s success helped solidify his reputation as a solo star. Track Listing and Key Songs The album consists of 10 tracks, blending original compositions, covers, and traditional songs. Every Picture Tells a Story (Rod Stewart, Ronnie Wood)A rollicking title track with a driving rhythm, featuring Stewart’s storytelling and Ray Jackson’s mandolin. It sets the album’s tone of raw energy and narrative depth. Lyrics reflect a young man’s journey through life’s adventures, with a nod to Stewart’s own experiences. Seems Like a Long Time (Ted Anderson) A soulful cover of a song by folk artist Ted Anderson, showcasing Stewart’s emotive vocal delivery and the band’s tight interplay. That’s All Right (Arthur Crudup) A medley with the traditional folk song “Amazing Grace.” This bluesy rendition pays homage to Elvis Presley’s version while adding a folk twist. Amazing Grace (Traditional, arr. Stewart) Seamlessly blended with “That’s All Right,” this brief interlude highlights the album’s folk influences. Tomorrow Is a Long Time (Bob Dylan) A tender cover of Dylan’s 1963 song, showcasing Stewart’s ability to interpret folk with emotional depth. His version is softer and more introspective than Dylan’s original. Album cover back released under Mercury in the UK, catalogue number 6338 063 Henry (Martin Quittenton) A short instrumental prelude to “Maggie May,” featuring acoustic guitar and mandolin, setting a reflective mood. Maggie May (Rod Stewart, Martin Quittenton) The album’s centerpiece and Stewart’s breakthrough hit. A semi-autobiographical tale of a young man’s relationship with an older woman, it became a global No. 1 single. Features Ray Jackson’s iconic mandolin riff and a loose, heartfelt arrangement. Initially a B-side, its popularity propelled the album to success. Notable for its lack of a traditional chorus, relying on storytelling and melody. Mandolin Wind (Rod Stewart) A fan favorite and one of Stewart’s finest compositions. A folk-rock ballad about love and devotion, inspired by his relationship at the time. Ray Jackson’s mandolin and Ronnie Wood’s guitar create a pastoral, evocative sound. (I Know) I’m Losing You (Norman Whitfield, Eddie Holland, Cornelius Grant) A high-energy cover of The Temptations’ 1966 soul hit, transformed into a gritty rock anthem. The Faces’ backing adds a raucous edge. Reason to Believe (Tim Hardin) A poignant folk ballad, originally by Tim Hardin. Stewart’s version, with its delicate arrangement, became a hit single (often paired with “Maggie May” as a double A-side). Showcases his ability to convey vulnerability and heartbreak. Themes and Lyrics Storytelling: The album’s title reflects its lyrical focus on vivid, personal narratives. Songs like “Maggie May” and “Every Picture Tells a Story” draw from Stewart’s experiences, blending humor, romance, and introspection. Eclectic Influences: The album bridges rock’s energy, folk’s introspection, and soul’s emotional depth, reflecting Stewart’s diverse musical tastes. Youth and Reflection: Many tracks explore themes of young love, wanderlust, and self-discovery, resonating with listeners of the early 1970s. Label: Mercury Country: USA Catalogue: SRM-1-609 / SRM 1-609 back cover of a U.S. pressing Critical Reception Initial Response: Critics praised the album for its authenticity, versatility, and Stewart’s distinctive voice. It was seen as a bold statement of his solo identity, distinct from his work with the Faces. Commercial Success: The album reached No. 1 in both the US (Billboard 200) and UK (UK Albums Chart), driven by the success of “Maggie May” and “Reason to Believe.” It was certified Platinum in the US. Accolades: Rolling Stone ranked it No. 173 on its 2020 list of the 500 Greatest Albums of All Time, lauding its “ragged glory” and Stewart’s vocal prowess. It’s often cited as a defining album of the early 1970s rock era. Legacy and Impact Cultural Significance: Every Picture Tells a Story established Rod Stewart as a major solo artist, distinct from his bandmate persona in the Faces. “Maggie May” became an enduring classic, covered and referenced widely. Influence: The album’s blend of rock, folk, and soul influenced later artists, from singer-songwriters to roots-rock bands. Its raw production style set a template for authentic, unpolished rock records. Stewart’s Career: The album’s success launched Stewart into superstardom, paving the way for hits like Never a Dull Moment (1972) and his later pivot to pop and disco in the late 1970s. Enduring Popularity: Tracks like “Maggie May” and “Mandolin Wind” remain staples on classic rock radio, and the album is frequently cited in discussions of Stewart’s best work. Label: Mercury Country: USA Catalogue: SRM-1-609 / SRM 1-609 Tare off poster top unique to this release Additional Notes Cover Art: The album’s cover features a colorful, cartoonish illustration of Stewart, reflecting the era’s playful aesthetic. It’s iconic for its bold design and connection to the album’s storytelling theme. Ray Jackson Controversy: Mandolin player Ray Jackson claimed he was under credited for his contributions, particularly on “Maggie May” and “Mandolin Wind.” Stewart later acknowledged Jackson’s role, but the issue remains a footnote in the album’s history. Faces Synergy: The album’s overlap with the Faces’ sound (several members played on it) made it a bridge between Stewart’s solo and band work, though it’s distinctly his vision. Chart Statistics for "Every Picture Tells a Story" (Album)United States: The album topped the Billboard 200 chart for four weeks starting October 2, 1971. It was certified Platinum by the RIAA, indicating over 1 million copies sold. United Kingdom: It reached number one on the UK Albums Chart for six weeks in 1971. Other Countries: The album also hit number one in Canada and Australia in September 1971. Critical Recognition: It was ranked number 172 on Rolling Stone’s 2003 list of the "500 Greatest Albums of All Time," later adjusted to number 177 in the 2020 revision. Label: Mercury Country: USA Catalogue: SRM-1-609 / SRM 1-609 Tare off poster bottom unique to this release Sales: The album has sold over 7 million copies worldwide. Chart Statistics for "Maggie May" (Single)United States: "Maggie May" reached number one on the Billboard Hot 100 on October 2, 1971, for five weeks. It was ranked the No. 2 record for 1971 on the Billboard Hot 100. United Kingdom: The single topped the UK Singles Chart for five weeks starting October 9, 1971. It was the No. 2 record for 1971 on the UK Singles Chart. Other Countries: It simultaneously hit number one in Australia (four weeks) and Canada (one week) in 1971. Certifications: In 2021, "Maggie May" was certified two-times Platinum by the RIAA for sales of 2 million units in the US. Additional Notes: Initially released as the B-side to "Reason to Believe," "Maggie May" gained traction after radio DJs, notably in Cleveland and Chicago, began playing it, leading to its reclassification as the A-side. It was inducted into the Grammy Hall of Fame in 2017 and ranked number 141 on Rolling Stone’s 2024 list of "The 500 Greatest Songs of All Time." Cover art for Rod Stewart's "Maggie May / Reason to Believe" Classic Edition released by Mercury Records in the Netherlands, catalogue number 6052 097, featuring a stylized purple and white image of the musician singing into a microphone. Simultaneous Number-One Status Rod Stewart was the first artist to achieve a simultaneous number-one album (Every Picture Tells a Story) and single ("Maggie May") in both the United States and the United Kingdom. This occurred in October 1971, with the album and single topping the Billboard 200 and Hot 100, and the UK Albums and Singles Charts, respectively. This feat is noted in multiple sources, with Pitchfork stating, “To this day, Stewart is the only artist to have accomplished this.” Additional Context Cultural Impact: The success of "Maggie May" and the album propelled Stewart from a relatively known artist in the UK (via his work with the Faces) to global stardom. The single’s unexpected rise, driven by radio play, and the album’s blend of rock, folk, and blues, resonated widely. Recording Details: "Maggie May" was recorded in two takes, with contributions from Faces members (Ronnie Wood, Ian McLagan), Martin Quittenton (acoustic guitar), and Ray Jackson (mandolin). The album featured a mix of originals and covers, with "Maggie May" and "Mandolin Wind" highlighted as standout tracks Label: Mercury Country: USA Catalogue: SRM-1-609 / SRM 1-609 Tare off poster top reverse side unique to this release The LP cover for Rod Stewart's "Every Picture Tells a Story", had notable differences between the US and UK versions, particularly regarding the sleeve and additional features like a tear-off poster. Front Cover US and UK: The front cover artwork for both regions was essentially the same, featuring an illustration of Rod Stewart in a colorful, cartoonish style, designed by John Craig. US Version: Inner Sleeve: The US release, issued by Mercury Records, typically included a custom inner sleeve with lyrics printed on it. This was a common feature for US LPs at the time, providing fans with song lyrics for tracks like "Maggie May," "Mandolin Wind," and others. Tear-Off Poster: Some US pressings included a perforated, tear-off poster as part of the packaging. This poster was a unique feature, often replicating the front cover artwork or featuring additional promotional imagery of Rod Stewart. The poster was attached to the inner sleeve or included as a separate insert, designed to be detached without damaging the main sleeve. This addition was a marketing tactic to enhance the album’s appeal, especially given Stewart’s rising popularity in the US. Label: Mercury Country: USA Catalogue: SRM-1-609 / SRM 1-609 Tare off poster bottom reverse side unique to this release UK Version: Inner Sleeve: The UK release, also on Mercury Records, typically had a plain inner sleeve without printed lyrics. UK LPs of the era often used generic paper or plastic-lined sleeves unless the album was a special edition. No Poster: There is no definitive evidence that the UK version included a tear-off poster. UK pressings were generally more utilitarian, focusing on the music rather than additional promotional items like posters, which were more common in the US market to attract buyers

T.Rex’s "Get It On" was released as a 7-inch vinyl single in the UK by Fly Records (catalog number BUG 10) on July 2, 1971, and as "Bang a Gong (Get It On)" in the US by Reprise Records (catalog number 1015) on September 24, 1971. Recorded at Trident Studios in London in early 1971, "Get It On" was produced by Tony Visconti. The track was laid down during sessions for the album "Electric Warrior", which solidified T. Rex’s shift to electric rock. The recording featured a tight, groove-heavy sound with a boogie-inspired rhythm, driven by Marc Bolan’s electric guitar and a punchy rhythm section. The core lineup included Marc Bolan (vocals, guitar), Mickey Finn (congas, bongos), Steve Currie (bass), and Bill Legend (drums). Notably, Rick Wakeman, then a session musician (later of Yes fame), contributed piano, adding a distinctive boogie-woogie flair. Backing vocals by Mark Volman and Howard Kaylan (Flo & Eddie) enhanced the track’s infectious energy. "Get It On" is a swaggering, upbeat rock song with a driving riff and a sensual, playful vibe. Bolan’s lyrics are flirtatious and evocative, with lines like “You’re dirty and sweet, clad in black, don’t look back” embodying the glam rock ethos of hedonism and charisma. The song’s raw, bluesy edge and catchy hook made it a dancefloor and radio favorite. "Get It On" is a glam rock anthem, epitomizing the genre’s blend of theatricality, sexuality, and rock ‘n’ roll swagger. It influenced countless artists, from David Bowie to the punk and new wave movements. The song’s riff and attitude made it timeless, with covers by acts like The Power Station (1985, reaching US No. 9) and its use in films, TV, and commercials. The UK B-side was "There Was a Time/Raw Ramp," while the US release featured "Cosmic Dancer." The song’s US title, "Bang a Gong," was chosen to avoid confusion with another song called "Get It On" by Chase. The track’s runtime is around 4:27, though radio edits were shorter. The song’s production is notable for its layered textures, including Wakeman’s piano, a saxophone solo by Ian McDonald (of King Crimson), and Visconti’s polished yet gritty sound. Unlike "Ride a White Swan," it featured a full drum kit, giving it a heavier, more driving rhythm, though still with a minimalist rock edge. The first pressing was released in a picture sleeve with the labels printed in handwritten text with a silver Fly logo. The second pressing label was still in a handwritten text but the Fly logo is white In later pressings return to silver Fly logo and text but the handwritten form has been replaced by a TYPESET in upper case.

T Rex perform at City Hall, Newcastle An original concert poster for the T Rex performance at City Hall, Newcastle on the May 20, 1971. It features pink tinted images of the group along with the venue and date. The poster measures 100cm x 76.5cm (39.5 inches x 30 inches). The item originally comes from the archive of designer David Arnott.

T Rex perform at City Hall, Sheffield on the May 17, 1971. The poster measures 100cm x 76.5cm (39.25 inches x 30 inches). Designer David Arnott.

George Harrison's "My Sweet Lord" and "All Things Must Pass" topped the NME Top 30 charts in their respective categories, as featured in New Musical Express on January 30, 1971. George Harrison released "My Sweet Lord" in November 1970 as the lead single from his landmark triple album All Things Must Pass. Written during his post-Beatles spiritual awakening, the song blends devotional lyrics with a catchy, uplifting melody, reflecting Harrison’s exploration of Hinduism and Christianity. Produced by Harrison and Phil Spector, it features Harrison’s slide guitar, lush orchestration, and backing vocals by the Edwin Hawkins Singers. The track’s iconic Wall of Sound production gives it a rich, anthemic quality. Recorded at Abbey Road Studios, it showcased contributions from musicians like Eric Clapton, Ringo Starr, and Billy Preston. "My Sweet Lord" became a global smash, hitting #1 on the UK Singles Chart for five weeks and topping the US Billboard Hot 100 for four weeks in early 1971. It was the first solo single by a Beatle to reach #1 in the UK and sold millions worldwide. Despite its success, the song faced a lawsuit for its similarity to The Chiffons’ "He’s So Fine," settled out of court.

T. Rex's Swan Up to No. 2 Peak As published in the Official Singles Chart for the week of January 17–23, 1971, T. Rex’s “Ride A White Swan” climbed two places to its peak position of No. 2 on the UK Singles Chart. The track, written and produced by Marc Bolan, had spent 14 weeks on the chart by this point, entering at lower positions and steadily rising through the festive season. It was held off the top spot by Clive Dunn’s “Grandad” (No. 1, LW: 1, Peak: 1, Weeks: 9). Chart Performance (week of January 17–23, 1971) Position: No. 2 Last Week: No. 4 Peak: No. 2 Weeks on Chart: 14 Legacy “Ride A White Swan” remains one of the most influential UK singles of the era — Bolan’s first major hit under the shortened T. Rex name, blending folk roots with electric pop magic. Verify catalogue BUG 1. Did you have Ride A White Swan in your vinyl stack? Still riding high at No. 2? Share in the comments! Sources Information is drawn from my personal knowledge and supplemented by web sources, including Discogs, 45cat, AllMusic, Rate Your Music, Wikipedia and BBC Official Charts Company Whilst every effort is made to provide accurate information, mistakes do happen. Simply leave a comment and the post will be updated. Thank you.

Bolan’s cosmic boogie hits the airwaves twice – Hot Love and rare session tracks! On December 21, 1970, the BBC broadcast two T.Rex sessions: The version of “Hot Love” recorded on December 9 aired on Radio One Club. Sounds of the 70s replayed the session recorded on November 5, featuring four tracks: Ride a White Swan My Baby's Like a Cloud Form Is It Love Funk Music

T. Rex album review, titled "T. Rex goes funky," published in Melody Maker December 26, 1970, praising "The Children of Rarn" as "possibly one of the most beautiful songs heard this year." T. Rex goes funky T. REX "T. Rex" (Fly). "The Children of Rarn," which makes up the opening and closing tracks of this album, is possibly one of the most beautiful songs I've heard this year. It's a flying number, hovering over history, and yet flying towards a scientific dream spun by Bolan, and executed with tact and mystery. Bolan and Mickey Finn have come up with a valid rock album here, heavier than they've ever attempted before. It's a more electric Rex, and for most of the time a fine gelling between the most musical stuff Bolan's done, and with-out doubt the most funky. "Seagull Woman," which features the playing of Howard Kaylan and Mark Volman of The Mothers of Invention is the most complex thing I've heard from the unit. Even then, at the roots, it's basically simple. energy-packed rock, basted lavishly with Bolan's poetic and imaginative vocals. There's imagination, and no lack of love songs. "Suneye," another superb track, takes in chunky acoustic guitar, and a relaxed drifting shifting mood. I can't help thinking that T. Rex and Bolan especially are going to be exceedingly big in 1971. R.H.

Elton’s dusty Americana masterpiece – order now before the rockets take off! The New ELTON JOHN Album Tumbleweed Connection (DJLPS 410) – one-page advert in Sounds, December 26, 1970. D.J.M. (Distributors) Ltd., James House, 71/75 New Oxford St., London W.C.1A 1DP. Tel: 01.836.4864. Distributed by Pye Records (Sales) Ltd. More Elton early-career gems added weekly.

T.Rex’s Play Poperama, Devizes on December 18, 1970, show with Freedom and Rinki Dink Show from 8 pm to 1 am, admission 12/ .Concert advert, published in Melody Maker music newspaper on December 12, 1970.

Fly Records' White Swan Magic Released in the UK as a 7-inch vinyl single on October 2, 1970, by Fly Records (catalogue: BUG 1), this catchy folk-glam rock song climbed to number 6 on the Official Singles Chart on December 12. It then dropped during the Christmas period before rising to its highest position of Number 2 on January 2. It remained in the Top 40 for 20 weeks. The track that prevented it from reaching No. 1 was Clive Dunn – Grandad. Single Overview Release Details Label: Fly Records. Format: Vinyl, 7", 45 RPM, Single. Full Track Listing Side A Ride A White Swan Side B Is It Love / Summertime Blues Official Singles Chart Data Peak position: 2 20 weeks total – entry October 24, 1970 Reached No. 6 on December 12, 1970 Held at No. 2 by Clive Dunn – Grandad Singles Released and Chart Performance UK Official Singles Chart: 2 (20 weeks) Do you have Ride A White Swan in your vinyl stack? Ready to ride the white swan? Share in the comments! Sources Information is drawn from my personal knowledge and supplemented by web sources, including Discogs, 45cat, AllMusic, Rate Your Music, Wikipedia, BBC Official Charts Company, Billboard Chart History and YouTube Whilst every effort is made to provide accurate information, mistakes do happen. Simply leave a comment and the post will be updated. Thank you.

Dave Edmunds' "I Hear You Knocking" is a non-mover at number one in NME Top 30 singles chart. Dave Edmunds, a Welsh singer, guitarist, and producer, released his cover of "I Hear You Knocking" in 1970, which became his biggest hit. Originally written in 1955 by Dave Bartholomew and Pearl King and first recorded by Smiley Lewis, Edmunds' version was a raw, energetic take rooted in rockabilly and blues. Recorded for MAM Records, it was a one-man show—Edmunds played all the instruments himself, showcasing his knack for crafting tight, punchy rock 'n' roll. The single shot to #1 in the UK charts, staying there for six weeks, and reached #4 on the Billboard Hot 100 in the US. Its success was fueled by Edmunds' gritty vocals and a driving, no-frills arrangement that captured the early '70s rock revival vibe. The song’s raw energy and Edmunds’ retro style stood out against the era’s prog rock and glam trends. It remains a defining track of his career, often associated with his love for 1950s rock and roll influences like Chuck Berry and the Everly Brothers.

Bolan’s acoustic duo storm the Paris Theatre – Peel’s perfect Christmas gift! T.Rex’s John Peel's Sunday Concert, recorded at The Paris Theatre, Regent Street, London, on Thursday, December 10, 1970. First broadcast on John Peel’s Sunday Concert on Sunday, December 20, 1970, and repeated Wednesday, December 23, 1970. Setlist Debora – 5:44 Elemental Child – 9:04 Woodland Bop Medley – 7:33 i. Woodland Bop ii. Conesuala iii. The King Of The Mountain Cometh iv. Woodland Bop Ride A White Swan – 3:13 Jewel – 8:01 More pre-glam Bolan treasures added weekly.

Bolan plugs in for the Beeb – Hot Love hits the airwaves early! T.Rex’s Dave Lee Travis Show session, recorded at BBC Studio 5, Maida Vale, London, on Wednesday, December 9, 1970. First broadcast on The Dave Lee Travis Show on Sunday, December 13, 1970. Tracks: Summertime Blues (Eddie Cochran / Jerry Capehart cover) – 3:33 Jewel – 3:20 Hot Love – 3:09 More early electric Bolan gems added weekly.

A Teen Angst Anthem Alice Cooper Group’s “Eighteen” 7-inch vinyl single, was released in the US on November 11, 1970, on Warner Bros. Records (catalogue: 7449). Backed with “Body,” this raw hard rock track, written by Alice Cooper, Michael Bruce, Glen Buxton, Dennis Dunaway, and Neal Smith, was produced by Bob Ezrin and Jack Richardson. Both tracks from the album Love It to Death, the A-side’s teen rebellion anthem peaked at No. 21 on the Billboard Hot 100 for 13 weeks. Issued in a Warner Bros. company sleeve, it’s a defining moment of Cooper’s shock rock ascent. Single Overview A-Side: “Eighteen”  3.00 (Alice Cooper, Michael Bruce, Glen Buxton, Dennis Dunaway, Neal Smith) Produced by Bob Ezrin, Jack Richardson. B-Side: “Body” 2.39 (Alice Cooper, Michael Bruce, Glen Buxton, Dennis Dunaway, Neal Smith) Produced by Bob Ezrin, Jack Richardson. Release Details: Label: Warner Bros. Records (US pressing, 45 RPM). Formats: 7" Vinyl Single (7449): “Eighteen” / “Body.” In a company sleeve. A: “Eighteen” (Alice Cooper, Michael Bruce, Glen Buxton, Dennis Dunaway, Neal Smith) – Written-By – Alice Cooper, Michael Bruce, Glen Buxton, Dennis Dunaway, Neal Smith – Produced by Bob Ezrin, Jack Richardson B: “Body” (Alice Cooper, Michael Bruce, Glen Buxton, Dennis Dunaway, Neal Smith) – Written-By – Alice Cooper, Michael Bruce, Glen Buxton, Dennis Dunaway, Neal Smith – Produced by Bob Ezrin, Jack Richardson Notes: Both tracks from Love It to Death. US Country Variations 7", 45 RPM, Single Warner Bros. Records – 7449 7", 45 RPM Single, Promo Warner Bros. Records – 7449 7", 45 RPM, Single, Styrene, Intro Warner Bros. Records – 7449 7", 45 RPM, Single, Styrene Warner Bros. Records – 7449 7", 45 RPM, Single Warner Bros. Records – 7449 7", 45 RPM, Single, Stereo, Terre Haute Pressing Warner Bros. Records – 7449 7", 45 RPM, Single, Stereo, Santa Maria Pressing Warner Bros. Records – 7449 US (Warner Bros. 7449): Released November 11, 1970. Other Country Releases: Canada - Warner Bros. - 1970 Argentina - Warner Bros. - 1971 Argentina - Music Hall - 1971 Australia - Warner Bros. - 1971 Brazil - Warner Bros. - 1971 Denmark - Stateside - 1971 Germany - Stateside - 1971 Greece - Warner Bros. - 1971 Italy - Warner Bros. - 1971 Japan - Warner Bros. - 1971 Lebanon - Warner Bros. - 1971 Mexico - Warner Bros. - 1971 Netherlands - Stateside - 1971 New Zealand - Warner Bros. - 1971 Philippines - Warner Bros. - 1971 Portugal - Warner Bros. - 1971 Singapore - Warner Bros. - 1971 South Africa - Warner Bros. - 1971 UK - Straight - 1971 Venezuela - Warner Bros. - 1971 Production and Context Produced by Bob Ezrin and Jack Richardson. Recorded in 1970 at RCA Studios, Chicago, during Love It to Death sessions. The lineup: Alice Cooper (vocals), Glen Buxton (guitar), Michael Bruce (guitar/keyboards), Dennis Dunaway (bass), Neal Smith (drums). “Eighteen” was a teen identity crisis anthem, while “Body” added dark humor. Released amid Cooper’s rise, it preceded Love It to Death (No. 35 US, 1971) and competed with Black Sabbath and Deep Purple. Singles Released and Chart Performance “Eighteen” was the lead single from Love It to Death: Chart Performance: US: No. 21 (Billboard Hot 100), charting for 13 weeks. International: No chart entries in UK, Australia, Germany, Netherlands, Ireland, France, Canada, New Zealand, Switzerland, Austria, Norway, Sweden, or elsewhere. US Chart Data: Debut Date: February 20, 1971. Peak: No. 21 (April 24, 1971). Weeks on Chart: 13. Note: Cooper’s first US Top 40 hit. Legacy and Collectibility “Eighteen” is Cooper’s teen angst classic, with “Body” a dark B-side gem. Original US 7-inch vinyls fetch £5–£15 on eBay/Discogs. Verify catalogue 7449. Streams on Spotify via Love It to Death reissues preserve the analog menace. This single is a must-have for Cooper fans and ‘70s rock collectors. Have you snagged this Cooper debut hit in your vinyl collection? Does Eighteen still rebel? Share in the comments! Sources Information is drawn from my personal knowledge and supplemented by web sources, including Prince Vault, Discogs, 45cat, AllMusic, Rate Your Music, Wikipedia, BBC Official Charts Company, Billboard Chart History and YouTube What’s the next classic vinyl you’d like to feature? Share in the comments!

T.Rex unleashed in BBC’s Maida Vale! T.Rex’s Top Gear Session, recorded four tracks at BBC Studio 4, Maida Vale, London, on Monday, October 26, 1970. First broadcast on Top Gear on Saturday, November 7, 1970 and produced by John Walters. Tracks: “Ride A White Swan” (2:03), “Jewel” (3:32), “Elemental Child” (7:44), “Sun Eye” (2:00).

T.Rex storm the BBC with Visconti-powered glam! T.Rex recorded two tracks at BBC Studio 5, Maida Vale, London, on Friday November 6, 1970, for the Sounds Of The 70s show, produced by John Muir, both featuring Tony Visconti on bass. First broadcast on Sounds Of The 70s (The Bob Harris Show) on Monday November 16, 1970. Tracks: “My Baby's Like A Cloudform” (1:25), “Funk Music” (1:46). Tracks 3-1 to 3-4: Recorded at BBC Studio 4, Maida Vale, London, Monday 26th October 1970. First broadcast on Top Gear on Saturday 7th November 1970. 3-1 T. Rex– Ride A White Swan 2:03 3-2 T. Rex– Jewel 3:32 3-3 T. Rex– Elemental Child 7:44 3-4 T. Rex– Sun Eye 2:00

A Stewart-Sung Glam Enigma Python Lee Jackson's "In A Broken Dream" 7-inch vinyl single, was released in the UK on November 6, 1970, on Young Blood International – YB 1002. Backed with “Boogie Woogie Joe,” Formed in Sydney in December 1965 by UK expats Frank Kennington (vocals) and Mick Lieber (guitar) alongside local drummer David Montgomery, Python Lee Jackson began as a surf-influenced underground act. After Kennington’s deportation in 1966, the lineup evolved with Dave Bentley (keyboards/vocals) and singer Malcolm McGee, opening Rhubarb’s club. Relocating to London in 1968, Bentley, Lieber, and Montgomery rebuilt with bassist John Helman. Spotted by John Peel at the Arts Lab, they recorded three tracks in April 1969 with guest vocalist Rod Stewart — paid in car seat covers — including “In A Broken Dream.” Peel produced the originals; Miki Dallon later re-produced for Young Blood. Python Lee Jackson’s “In A Broken Dream” 7-inch vinyl single, was released in the UK on November 6, 1970, on Young Blood Records (catalogue: YB 1017). This moody hard rock track, written by David Bentley, featured uncredited vocals by Rod Stewart. Produced by Miki Dallon, the A-side’s haunting melody failed to chart on release. Issued in a company sleeve, it was reissued in 1971 and 1972 (YB 1002) to reach No. 3 UK. The 1970 debut is a cult classic from the band’s British period. Single Overview 1970: November 6 A-Side: “In A Broken Dream” (3:40, David Bentley) Written by David Bentley. Arranged by Python Lee Jackson. Vocals (uncredited): Rod Stewart. Produced by Miki Dallon. B-Side: “Doing Fine” (4:09, Roy Stephens) Written by Roy Stephens. Produced by Miki Dallon. Release Details: Label: Young Blood Records (UK pressing, 45 RPM). Formats: 7-Inch Vinyl (YB 1017): “In A Broken Dream” / “Doing Fine.” In a company sleeve. Notes: ℗ 1970. Published by Young Blood Music / D.I.G.I.T. Music. Distributed by EMI Records Ltd / Lugton & Co Ltd / Clyde Factors Ltd. Made in Gt. Britain. 1971: A-Side: In A Broken Dream B-Side: The Blues Label: Young Blood – YB 89 Format: Vinyl, 7", Single, 45 RPM Distributed By – Polygram Record Operation Services Copyright © – Young Blood Music Published By – Young Blood Music Ltd. Featuring – Rod Stewart Producer – Miki Dallon Written-By – Dave Bentley White label with light blue text. 1972: A-Side: In A Broken Dream B-Side: Boogie Woogie Joe Label: Young Blood International – YB 1002 Format: Vinyl, 7", 45 RPM, Single, Reissue, Solid-centre Published By – Young Blood Published By – Campbell Connelly Music Pressed By – CBS Pressing Plant, Aston Clinton Published By – Young Blood Music Arranged By – Python Lee Jackson Producer – Miki Dallon Written-By – David Bentley Notes: Release in push-out and solid centers Production and Context Recorded in 1969; re-produced by Miki Dallon for Young Blood. The lineup: Python Lee Jackson (David Bentley, Mick Lieber, David Montgomery, John Helman). Guest: Rod Stewart (uncredited vocals). “In A Broken Dream” was one of three Stewart tracks. Released amid glam’s dawn, it was reissued August 1972 after Stewart’s solo fame. Single Chart Performance The 1970 and 1971 releases did not chart. The 1972 reissue peaked at No. 3 in the UK for 1 week, charting for 12 weeks. Peak Position: 3 October 22, 1972 First Charted: September 24, 1972 Last Charted: December 10, 1972 Legacy and Collectibility “In A Broken Dream” is a Stewart guest classic, with “Doing Fine” adding bluesy grit. Verify catalogue YB 1017. Streams on Spotify via compilations preserve the analog melancholy. This single is a must-have for Stewart and glam collectors. Have you snagged this Python gem in your vinyl collection? Does “In A Broken Dream” haunt you? Share in the comments! Sources Information is drawn from my personal knowledge and supplemented by web sources, including Prince Vault, Discogs, 45cat, AllMusic, Rate Your Music, Wikipedia, BBC Official Charts Company, Billboard Chart History and YouTube What’s the next classic vinyl you’d like to feature? Share in the comments!

Bowie's US Cartoon Cover Classic David Bowie’s The Man Who Sold The World LP was released in the US on 12" vinyl and 8-Track Cartridge on November 4, 1970, on Mercury Records (catalogue: SR-61325 and MC8 61325, respectively).. This 9-track proto-glam rock album, Bowie’s third, featured heavy riffs and sci-fi lyrics, marking his shift from folk to hard rock. Produced by Tony Visconti, it peaked at No. 105 on the US Billboard Top LPs & Tape . Issued in a cartoon cover sleeve (five months before the UK “dress” version), it’s the first of three original Mercury sleeves, with a fourth Ziggy-era RCA reissue in 1972. Album Overview Release Details: Label: Mercury Records (US). Formats: 12-inch vinyl LP; ℗ & ©: 1970 Mercury Records. Recorded at Trident and Advision Studios, London, April–May 1970. Matrix numbers (e.g., SR-61325 A-1) confirm authenticity. US Release Formats and Track Listings The Man Who Sold The World was released in the US in 1970 as a 12-inch vinyl LP, and 8-Track Cartridge. 12-Inch Vinyl LP (Commercial): Label: Mercury – SR 61325, Mercury – SR-61325 Format: Vinyl, LP, Album, Stereo, Stamped Matrix, PR - Philips Pressing Side A: The Width Of A Circle (8:07, David Bowie) All The Madmen (5:38, David Bowie) Black Country Rock (3:33, David Bowie) After All (3:52, David Bowie) Side B: Running Gun Blues (3:12, David Bowie) Saviour Machine (4:27, David Bowie) She Shook Me Cold (4:13, David Bowie) The Man Who Sold The World (3:58, David Bowie) The Supermen (3:40, David Bowie) Notes: Packaging: 33⅓ RPM, stereo, in a cartoon cover sleeve by Michael J. Weller Record Company – Mercury Record Corporation Manufactured By – Mercury Record Productions, Inc. Distributed By – Mercury Record Productions, Inc. Recorded At – Trident Studios Recorded At – Advision Studios Remixed At – Trident Studios Pressed By – Philips Recording Company, Inc. Drums – Mick Woodmansey Electric Bass, Piano, Guitar – Tony Visconti Engineer – Ken* Executive-Producer – Robin McBride Guitar – Mick Ronson Guitar, Vocals – David Bowie Producer – Tony Visconti Synthesizer [Moog] – Ralph Mace Written-By – David Bowie This release has stamped matrix numbers in the dead wax. All other versions with this cover are counterfeits (with etched matrix numbers) and should not be listed here. "PR/P.R." in the runouts, and a 2.75" pressing ring denotes a Philips Recording Company, Inc. pressing. This US release is the first release on LP of The Man Who Sold the World. It was only released in two countries - US and Japan (SFX-7345) - with this original cover. The building in the background is the Cane Hill Hospital where David Bowie's half-brother Terry was a patient. The album was released in a further three countries on the Mercury label - Germany (David Bowie - The Man Who Sold The World) in a large circular fold-out cover and the United Kingdom and Australia with a picture of David reclining in a dress. This latter cover is the one used on contemporary releases. The US Mercury album was counterfeited (see David Bowie - The Man Who Sold The World) in the early 1970s after Bowie became popular. It was possible for a potential buyer to choose between the official RCA reissue (in yet another cover, see David Bowie - The Man Who Sold The World) and the widely distributed counterfeit. The following visual indicators can be used to confirm an original US Mercury LP: • The matrices in the runout (the space between the label and the grooves) are machine stamped (the counterfeits are hand etched). • The space between the final lyric line of The Supermen and the cartoon bubble "Oh By Jingo" on the back cover is approximately the height of a line of text, while on the counterfeits the space is notably wider. There are other differences, though these can be more easily seen and described in a side-by-side comparison. SR 61325 on covers & spine, SR-61325 on labels. Runouts are stamped except '1-11, 1-1, +, PR, P.R.' are etched. Rights Society: ASCAP Rights Society: PRS Pressing Plant ID (In runouts): PR, P.R. Matrix / Runout (Side A runout): SR 61325-A- M2 1-11 + PR Matrix / Runout (Side B runout): SR 61325-B- M1 1-1 P.R 12-Inch Vinyl LP (Promotional): Label: Mercury – SR-61325 Format: Vinyl, LP, Album, Promo, Stereo Side A: The Width Of A Circle (8:07, David Bowie) All The Madmen (5:38, David Bowie) Black Country Rock (3:33, David Bowie) After All (3:52, David Bowie) Side B: Running Gun Blues (3:12, David Bowie) Saviour Machine (4:27, David Bowie) She Shook Me Cold (4:13, David Bowie) The Man Who Sold The World (3:58, David Bowie) The Supermen (3:40, David Bowie) Notes: Record Company – Mercury Record Corporation Manufactured By – Mercury Record Productions, Inc. Distributed By – Mercury Record Productions, Inc. Bass – Tony Visconti Drums – Mick Woodmansey Guitar – Mick Ronson Producer – Tony Visconti Synthesizer – Ralph Mace Vocals, Guitar – David Bowie Written-By – David Bowie White promotional labels with black print and additional "Promotional Copy · Not For Sale" text. Issued in the same sleeve as the commercial release. (A widely distributed counterfeit of the commercial edition exists; see The Man Who Sold The World for images and descriptions of the main differences.) Matrix / Runout (A side runout, stamped, inverted ["PR + 1-11" is etched]): SR 61325-A- M2 PR + 1-11 Matrix / Runout (B side runout, stamped, inverted ["P.R. 1-1" is etched]): SR 61325-B- M1 P.R. 1-1 8-Track Cartridge (Catalogue: MC8 61325): A: The Width Of A Circle (David Bowie) Saviour Machine (Part 1) (David Bowie) B: Saviour Machine (Conclusion) (David Bowie) Black Country Rock (David Bowie) She Shook Me Cold (David Bowie) C: After All (David Bowie) The Supermen (David Bowie) All The Madmen (Part 1) (David Bowie) D: All The Madmen (Conclusion) (David Bowie) Running Gun Blues (David Bowie) The Man Who Sold The World (David Bowie) Notes: Producer – Ton Visconti* White shell. Catalog number if MC8 61325 on spine, MC8-61325 on rear, and 61325 on top. Production and Context Recording for "The Man Who Sold the World" commenced on April 17, 1970 at Advision Studios in London, starting with the track "All the Madmen". The following day, Ralph Mace was brought in to play a Moog synthesiser after contributing to the single version of "Memory of a Free Festival". At that time, Mace was a 40-year-old concert pianist and the head of the classical music department at Mercury Records. During this period, Bowie ended his contract with Pitt and met his future manager, Tony Defries, who helped with the termination. Recording sessions shifted to Trident Studios in London on 21 April and continued there until mid-May. On 4 May, the band recorded "Running Gun Blues" and "Saviour Machine"; the latter was initially the working title for the album's title track before Bowie altered it into a different melody to create the final version of "Saviour Machine". Recording and mixing returned to Advision on 12 May and concluded ten days later, with Bowie recording his vocals for the title track on the last day. Singles Released and Chart Performance Personnel David Bowie – lead vocals, backing vocals, 12-string acoustic guitar, Stylophone Mick Ronson – lead and rhythm guitar, acoustic guitar, backing vocals, recorder, piano Tony Visconti – bass, backing vocals, recorder Mick Woodmansey – drums, timpani, percussion Ralph Mace – Moog synthesiser Technical Tony Visconti – producer Ken Scott – engineer Gerald Chevin – engineer Robin McBride – executive producer Do you have the US cartoon Pinup in your vinyl stack? Which track sells the world? Share in the comments! Sources Discogs: The Man Who Sold The World (1970) 45cat: David Bowie Singles YouTube: The Man Who Sold The World Full Album (2014 upload, 1M+ views) Wikipedia: The Man Who Sold The World Official Charts Company: David Bowie Albums AllMusic: The Man Who Sold The World Billboard Chart History: David Bowie What’s the next classic vinyl you’d like to feature? Share in the comments!

The Wild West in Song Tumbleweed Connection is the third studio album by British singer-songwriter Elton John. It was recorded at Trident Studios, London, in March 1970, and released on October 30, 1970 in the UK and January 1971 in the US. It is a concept album based on country and western and Americana themes. All songs are written by John and Bernie Taupin, with the exception of "Love Song" by Lesley Duncan. In 2012, Tumbleweed Connection was ranked number 458 on Rolling Stone magazine's list of the 500 greatest albums of all time. The album peaked at number two on the UK Albums Chart and number five on the US Billboard 200 chart. In the US, it was certified gold in March 1971 and platinum in August 1998 by the RIAA. Background Co-writer Bernie Taupin said of the album, "Everybody thinks that I was influenced by Americana and by seeing America first hand, but we wrote and recorded the album before we'd even been to the States. It was totally influenced by The Band's album Music From Big Pink and Robbie Robertson's songs. I've always loved Americana, and I loved American Westerns. I've always said that "El Paso" was the song that made me want to write songs, it was the perfect meshing of melody and storyline, and I thought that here was something that married rhythms and the written word completely." John has remarked, "Lyrically and melodically, that's probably one of our most perfect albums. I don't think there's any song on there that doesn't melodically fit the lyric." Basic tracks for three of the album's titles, "Come Down in Time", "Country Comfort" and "Burn Down the Mission", were recorded at Trident during the sessions for the previous LP, Elton John, with overdubs completed for Tumbleweed Connection. An early version of "Madman Across the Water", featuring Mick Ronson on electric guitar, was also recorded during the sessions for the album. It was released on several albums and reissues of Tumbleweed Connection, though the track was ultimately re-recorded for the Madman Across the Water album. Dee Murray and Nigel Olsson appear for the first time together on this album as the rhythm section on "Amoreena". Olsson had played on one track on Empty Sky for John in 1969. It is Murray's first appearance on an Elton John album. In addition to several studio players who also performed on John's previous self-titled second album, several tracks feature backing musicians from the band Hookfoot, who were also his DJM Records label mates. Hookfoot guitarist Caleb Quaye and drummer Roger Pope had also appeared on John's Empty Sky album. No singles were released from the album in the US by either DJM or John's US distributor, Universal Records, but "Country Comfort" (b/w "Love Song") was released as a single in Australia, New Zealand and Brazil.[10] It peaked at No. 15 in New Zealand, and did not chart in the other two territories it was released in. Artwork The wraparound cover photo for the album was taken at Sheffield Park railway station in Sussex, approximately 30 miles (50 km) south of London on the Bluebell Railway. Photographer Ian Digby Ovens captured John (seated to the right in the photo but appearing to the left on the front cover, shown above) and Taupin (standing to the left, on the back cover) in front of the late-nineteenth-century station, to represent the album's rural Americana concept despite the English location. Additional photos were taken from the interior of a train on the line for the album liner notes and libretto. In August 2020, the Bluebell Railway announced that, to mark the 50th anniversary of the release of the album, it had restored the station to look as it did when the cover photo was taken, giving people an opportunity to re-create the scene in their own photos. Reception Tumbleweed Connection Platinum Record The album peaked at number two on the UK Albums Chart and number five on the US Billboard 200 chart. In the US, it was certified gold in March 1971 and platinum in August 1998 by the RIAA. The album sold very quickly in the US, debuting at number 28 on Billboard's Top LPs, an unusually high debut for a new artist at the time, and reached its peak position in just four weeks. In 2012, Tumbleweed Connection was ranked number 458 on Rolling Stone magazine's list of the 500 greatest albums of all time. Critical reception Reviewing later for AllMusic, Stephen Thomas Erlewine wrote: "Half of the songs don't follow conventional pop song structures; instead, they flow between verses and vague choruses. These experiments are remarkably successful, primarily because Taupin's lyrics are evocative and John's melodic sense is at its best." Robert Christgau wrote in his 1981 Record Guide: "good melodies and bad Westerns on it. Why do people believe that these latter qualify as songpoems?" (Note: There's an earlier Christgau review of the album, written in 1970 for The Village Voice). Reviewing for Rolling Stone, David Fricke wrote: "1971’s Tumbleweed Connection needs no improvement; it is one of the best country-rock albums ever written by London cowboys." Robert Hillburn wrote for The Los Angeles Times: "Tumbleweed Connection is that near-perfect album that artists often spend a whole career trying to produce."Dave DiMartino wrote for Yahoo! Music: "A step up from the slightly more overtly commercial Elton John... Tumbleweed is beautifully recorded and filled with very fine songs... Bordering on classic status." In The Rough Guide to Rock (1999), Neil Patrick wrote that the album highlighted John and Taupin's "shared obsession with Wild West mythology", and deemed it the best of the three albums John released in 1970. Martin C. Strong, writing in The Great Rock Discography (2006), considers the album a "relatively successful attempt at retro Americana". In an overview of John's career, Andy Gill of The Word deemed the album "a full-bore paean to a forgotten America" clearly inspired by the Band's first two albums, but added that "credit should be given for the way that the swamp-rock sound of 'Ballad Of A Well Known Gun' and 'Son Of Your Father', with its braiding of disparate guitar and piano lines in rhythmic symbiosis, paralleled the contemporary work of real Americans like Ry Cooder and Little Feat." New Musical Express contributor Charles Shaar Murray opined that the record "mined some new ore, and explored a few new things", with Taupin's love of the Band reflected in the lyrics' preoccupation with "the Old West, full of images of guns, fathers, stagecoaches, plantations and the like"; he added: "Buckmaster's orchestrations were played down, and the band worked overtime and really got funky. Apart from Lesley Duncan's 'Love Song', it was virtually raunch all the way, with some really sweet touches carefully placed en route." "Burn Down the Mission" "Burn Down the Mission", the tenth and final track on Tumbleweed Connection, is the most enduring and frequently played song from the album, the only one played by John on his Farewell Yellow Brick Road Tour in 2022–23. It was one of the very few non-singles on the Farewell Tour setlist, being played every night. Song information "Burn Down the Mission" is musically driven by the story told by Bernie Taupin's lyrics, as is common in John/Taupin collaborations. In the premiere episode of Elvis Costello's show Spectacle, John cited Laura Nyro as an influence on, among other things, the unusual structure and rhythm changes of this song in particular. John has frequently performed it live over the last 40 years: John's first live album, the WABC-FM radio broadcast 11-17-70, concludes with a version (running 18:10), interpolating Elvis Presley's "My Baby Left Me" and the Beatles' "Get Back" The song was a regular feature of the 1974 US and UK tours, with a version from the Royal Variety Performance in London, included in the album Here and There John's longest and most complex standalone jam of "Burn Down the Mission" (lasting 10:17) was in the Christmas Eve 1974 performance broadcast live on the BBC from Hammersmith Odeon in London, much bootlegged as Ol' Pink Eyes Is Back and Just Like Strange Rain (listen here at timecode 9:43). A more conventional rendition was recorded in December 1986 and released on Live in Australia with the Melbourne Symphony Orchestra. Cover versions In 1991, "Burn Down the Mission" was covered by Phil Collins for the tribute album Two Rooms: Celebrating the Songs of Elton John & Bernie Taupin. In 2002, "Burn Down the Mission" was recorded by Toto for their album Through the Looking Glass. Track listing All tracks are written by Elton John and Bernie Taupin, except where noted. Side one No. Title 1. "Ballad of a Well-Known Gun" 2. "Come Down in Time" 3. "Country Comfort" 4. "Son of Your Father" 5. "My Father's Gun" Side two No. Title 6. "Where to Now St. Peter?" 7. "Love Song" (Lesley Duncan) 8. "Amoreena" 9. "Talking Old Soldiers" 10. "Burn Down the Mission" Total length: 46:56 Bonus tracks (1995 Mercury and 2001 Rocket reissue) No. Title 11. "Into the Old Man's Shoes" 12. "Madman Across the Water" (Original version, featuring Mick Ronson) Total length: 59:48 2008 Deluxe edition bonus disc No. Title 1. "There Goes a Well Known Gun" (Previously unreleased band demo) 2. "Come Down in Time" (Piano demo) 3. "Country Comfort" (Piano demo) 4. "Son of Your Father" (Previously unreleased piano demo) 5. "Talking Old Soldiers" (Piano demo) 6. "Into the Old Man's Shoes" (Piano demo) 7. "Sister of the Cross" (Piano demo) 8. "Madman Across the Water" (Original version, featuring Mick Ronson) 9. "Into the Old Man's Shoes" 10. "My Father's Gun" (BBC session) 11. "Ballad of a Well-Known Gun" (BBC session) 12. "Burn Down the Mission" (BBC session) 13. "Amoreena" (BBC session) Total length: 59:16 Musicians Elton John – lead vocals, acoustic piano (1, 3–6, 8–10), Hammond organ, backing vocals Brian Dee – Hammond organ Caleb Quaye – lead guitar, acoustic guitar, electric guitar Les Thatcher – acoustic guitar, 12-string acoustic guitar Gordon Huntley – steel guitar Lesley Duncan – backing vocals, acoustic guitar Mike Egan – acoustic guitar Dave Glover – bass guitar Herbie Flowers – bass guitar Chris Laurence – acoustic bass Dee Murray – backing vocals, bass guitar Roger Pope – drums, percussion Barry Morgan – drums Nigel Olsson – backing vocalsmdrums Robin Jones – congas, tambourine Karl Jenkins – oboe Skaila Kanga – harp Ian Duck – harmonica Johnny Van Derek – violin Paul Buckmaster – orchestral arrangements and conductor Madeline Bell – backing vocals Tony Burrows – backing vocals Kay Garner – backing vocals Tony Hazzard – backing vocals Dusty Springfield – backing vocals Tammi Hunt – backing vocals Heather Wheatman – backing vocals Yvonne Wheatman – backing vocals Production Gus Dudgeon – producer Robin Geoffrey Cable – engineer Gus Skinas – editing SACD release Ricky Graham – digital transfers Greg Penny – surround mix 5.1 & Dolby Atmos Mix Bernie Taupin – lyricist David Larkham – art direction, design, cover design, cover artwork, photography Barry Wentzell – photography Ian Digby-Ovens – photography John Tobler – liner notes Source Wikipedia

On October 26, 1970, four songs were recorded by T.Rex for BBC Radio 1's 'Top Gear': “Ride a White Swan,” “Jewel,” “Suneye,” and “Elemental Child.” The show initially aired on November 7, 1970, and was rebroadcast on January 30, 1971. These tracks, along with many other similar recordings, are included in the 'Marc Bolan at the BBC' CD box set, released in 2013. Details below Marc Bolan Featuring John's Children, Tyrannosaurus Rex, Marc Bolan & T. Rex – Marc Bolan At The BBC (Radio Sessions And Broadcasts 1967 -1977) Label: Universal Music Catalogue – 534 309-2 Format: 6 x CD, Compilation Box Set Country: UK Released: Aug 26, 2013: Track List; 1-1 John's Children – Jagged Time Lapse 2:38 1-2 John Hewlett – Interview With John Hewlett 0:53 1-3 John's Children – The Perfumed Garden Of Gulliver Smith 2:46 1-4 John's Children – Daddy Rolling Stone 2:12 1-5 John's Children – Hot Rod Mama 3:11 1-6 Tyrannosaurus Rex – Top Gear Jingle 0:12 1-7 Tyrannosaurus Rex – Highways (With Chat) 1:54 1-8 Tyrannosaurus Rex – Dwarfish Trumpet Blues (With Chat) 2:36 1-9 Tyrannosaurus Rex – Scenescof (With Interview) 2:18 1-10 Tyrannosaurus Rex – Child Star (With Interview) 3:02 1-11 Tyrannosaurus Rex – Pictures Of Purple People (With Interview) 2:50 1-12 Tyrannosaurus Rex – Hot Rod Mama (With Interview) 3:17 1-13 Tyrannosaurus Rex – Knight (With Chat) 2:26 1-14 Tyrannosaurus Rex – Frowning Atahuallpa (With Chat) 4:41 1-15 Tyrannosaurus Rex – Strange Orchestras 1:53 1-16 Tyrannosaurus Rex – Afghan Woman (With Chat) 2:04 1-17 Tyrannosaurus Rex – Deborah (With Chat) 3:13 1-18 Tyrannosaurus Rex – Mustang Ford (With Chat) 3:17 1-19 Tyrannosaurus Rex – Stacey Grove (With Chat) 1:53 1-20 Tyrannosaurus Rex – One Inch Rock (With Chat) 1:43 1-21 Tyrannosaurus Rex – Salamanda Palaganda (With Chat) 2:06 1-22 Tyrannosaurus Rex – Eastern Spell (With Chat) 1:35 1-23 Tyrannosaurus Rex – Wind Quartets (With Chat) 2:53 1-24 Marc Bolan – Juniper Suction (Poem) 0:31 1-25 Marc Bolan – Juniper Suction (With Interview) 1:46 1-26 Tyrannosaurus Rex – The Friends (With Chat) 1:23 1-27 Tyrannosaurus Rex – Consuela (With Chat) 2:24 1-28 Tyrannosaurus Rex – The Seal Of Seasons (With Chat) 1:40 1-29 Tyrannosaurus Rex – Evenings Of Damask (With Chat) 2:25 1-30 Tyrannosaurus Rex – The Travelling Tragition 1:47 2-1 Tyrannosaurus Rex – Pewter Suitor (With Chat) 1:21 2-2 Tyrannosaurus Rex – Interview With Brian Matthew 1:33 2-3 Tyrannosaurus Rex – Chariots Of Silk 2:31 2-4 Tyrannosaurus Rex – Once Upon The Seas of Abyssinia (With Chat) 2:29 2-5 Tyrannosaurus Rex – Nijinsky Hind (With Chat) 2:23 2-6 Tyrannosaurus Rex – The Misty Coast of Albany (With Chat) 2:27 2-7 Tyrannosaurus Rex – Iscariot (With Chat) 2:03 2-8 Marc Bolan – A Star of Youth: Poem With Chat 1:04 2-9 Marc Bolan – A Ship Of Rhythm: Poem With Chat 1:36 2-10 Marc Bolan – The Winged Man With Eyes Downcast To The Moon: Poem With Chat 0:54 2-11 Tyrannosaurus Rex – Interview With Brian Matthew 0:57 2-12 Tyrannosaurus Rex – Fist Heart Mighty Dawn Dart 2:35 2-13 Tyrannosaurus Rex – Pavilions Of Sun 2:50 2-14 Tyrannosaurus Rex – A Day Laye 2:00 2-15 Tyrannosaurus Rex – By The Light Of A Magical Moon 2:46 2-16 Tyrannosaurus Rex – Wind Cheetah 2:31 2-17 Tyrannosaurus Rex – Hot Rod Mama (With Chat) 2:17 2-18 Tyrannosaurus Rex – Debora (With Chat) 3:44 2-19 Tyrannosaurus Rex – Pavilions Of Sun (With Chat) 3:36 2-20 Tyrannosaurus Rex – Dove (With Chat) 4:27 2-21 Tyrannosaurus Rex – By The Light Of The Magical Moon (With Chat) 3:49 2-22 Tyrannosaurus Rex – Elemental Child (With Chat) 7:05 2-23 Tyrannosaurus Rex – The Wizard (With Chat) 9:21 3-1 T. Rex – Ride A White Swan 2:03 3-2 T. Rex – Jewel 3:32 3-3 T. Rex – Elemental Child 7:44 3-4 T. Rex – Sun Eye 2:00 3-5 T. Rex – My Baby's Like A Cloudform 1:25 3-6 T. Rex – Funk Music 1:46 3-7 T. Rex – Summertime Blues 3:33 3-8 T. Rex – Jewel 3:20 3-9 T. Rex – Hot Love 3:09 3-10 T. Rex – Debora 5:44 3-11 T. Rex – Elemental Child 9:04 3-12 T. Rex Woodland Bop Medley (7:33) 3-12.i – Woodland Bop 3-12.ii – Conesuala 3-12.iii – The King Of The Mountain Cometh 3-12.iv – Woodland Bop 3-13 T. Rex – Ride A White Swan 3:13 3-14 T. Rex – Jewel 8:01 4-1 T. Rex – Woodland Rock 2:27 4-2 T. Rex – Beltane Walk 2:22 4-3 T. Rex – Seagull Woman (Backing Track) 2:20 4-4 T. Rex – Hot Love 2:48 4-5 T. Rex – Interview With Keith Altham 3:53 4-6 T. Rex – Jeepster 3:09 4-7 T. Rex – Get It On 4:39 4-8 T. Rex – Electric Boogie 1:54 4-9 T. Rex – Bob Harris Jingle 0:19 4-10 T. Rex – Sailors Of The Highway 2:46 4-11 T. Rex – Girl 2:13 4-12 T. Rex – Cadilac 2:48 4-13 T. Rex – Jeepster 3:20 4-14 T. Rex – Life's A Gas 2:18 4-15 T. Rex – Christmas Jingle 0:17 4-16 Marc Bolan – Interview with Tony Norman 9:41 4-17 T. Rex – Telegram Sam 2:50 4-18 Marc Bolan – Interview With Keith Altham 15:39 5-1 T. Rex – Metal Guru 2:05 5-2 Marc Bolan – Interview With Andrew Salkey 7:10 5-3 T. Rex – The Slider 3:29 5-4 T. Rex – Mystic Lady 3:07 5-5 T. Rex – Rock On 3:18 5-6 T. Rex – Main Man 4:14 5-7 Marc Bolan – Interview With Johnny Moran 14:34 5-8 T. Rex – Children Of The Revolution 2:29 5-9 T. Rex – Solid Gold Easy Action 2:06 5-10 T. Rex – 20th Century Boy 3:37 5-11 T. Rex – Free Angel 2:12 5-12 Marc Bolan – Interview With Nicky Horne 7:35 5-13 T. Rex – Rapids 2:47 5-14 T. Rex – Mad Donna 2:16 5-15 T. Rex – The Groover 3:00 5-16 T. Rex – Midnight 3:04 6-1 Marc Bolan – Interview With Anne Nightingale 4:50 6-2 T. Rex With 'Big Carrot' – Blackjack 3:21 6-3 T. Rex – Truck On (Tyke) 3:11 6-4 T. Rex – Sitting Here 2:19 6-5 T. Rex – Teenage Dream 5:18 6-6 Marc Bolan – Interview With Michael Wale 12:23 6-7 T. Rex – Light Of Love 3:29 6-8 T. Rex – Explosive Mouth 2:32 6-9 T. Rex – Zip Gun Boogie 3:21 6-10 T. Rex – Space Boss 2:56 6-11 T. Rex – New York City 3:29 6-12 T. Rex – Dreamy Lady 3:09 6-13 T. Rex – Do You Wanna Dance 2:34 6-14 Marc Bolan – Interview 3:34 6-15 Marc Bolan – Interview 5:46 6-16 T. Rex – I Love To Boogie 2:15 6-17 T. Rex – Celebrate Summer 2:11 The recording of “Ride a White Swan” was also featured in the Marc Bolan – Electric Sevens 2 - At The BBC, a limited edition box set containing four vinyl 7" records, released on April 19, 2014. The recording of “Jewel” was also featured on the Electric Sevens -2 At The BBC 7 inch singles box set - Record Three "Woodland Bop (Medley)" - Recorded for John Peel's Sunday Concert 10th December 1970 "Jewel" - BBC Top Gear Session 26th October 1970

On Sunday October 25, 1970, Tyrannosaurus Rex performed on the final day of the 3rd International Essen Pop & Blues Festival (also known as the Essener Songtage or Essen Blues & Pop Festival) at the Grugahalle in Essen, Germany. The Festival Context The International Essen Pop & Blues Festival was a pioneering event in European rock history, running annually from 1967 to 1974 in Essen, West Germany (now Germany). Organized by promoter Konrad Olbrich, it was one of the continent's first major rock festivals, predating Glastonbury and Woodstock in its influence on the European scene. The 1970 edition (October 22–25) drew around 10,000 attendees per day and featured a diverse lineup of progressive, blues, and emerging rock acts, reflecting the post-psychedelic shift. Other performers for October 25 (Final Day) The Taste (headliners, Irish blues-rock band with Rory Gallagher) Chicken Shack (British blues band led by Christine Perfect, later Christine McVie) Tyrannosaurus Rex Guru Guru Groove (German krautrock experimentalists) Witthüser & Westrup (German folk-rock duo) Setlist: One Inch Rock, By the Light of a Magical Moon, Jewel, Organ Blues, Summertime Blues The festival as a whole included acts like The Moody Blues, Supertramp, Savoy Brown, and Xhol over the four days, with a focus on blues, prog, and jazz-rock. Tickets cost around 12 Deutsche Marks (about €25 today), and it was held at the Grugahalle, a multi-purpose arena in Essen's Grugapark. Billed as Tyrannosaurus Rex, the duo consisted of Marc Bolan (vocals, guitar) and percussionist Mickey Finn, and were actually announced as T. Rex Did you catch Tyrannosaurus Rex live in their folk days? What's your favorite Bolan setlist? Share in the comments!

The Move: When Alice Comes Back to the Farm Single (1970) A Proto-Glam Rock Rocker The Move’s “When Alice Comes Back to the Farm” 7-inch vinyl single, was released in the UK on October 9, 1970, on Fly Records (catalogue: BUG 2). Backed with “What?,” this vibrant, proto-glam track, written and produced by Roy Wood, showcased the band’s shift from psychedelia to a heavier rock sound. Recorded as The Move transitioned toward the Electric Light Orchestra (ELO), the A-side’s rollicking energy and quirky lyrics failed to chart, but it remains a cult favorite. Housed in a simple Fly Records sleeve, this single captures a pivotal moment in The Move’s eclectic legacy. Single Overview A-Side: “When Alice Comes Back to the Farm” (3:44)Written by Roy Wood. A raucous, brass-infused rocker with Wood’s distinctive vocals and twangy guitar, blending glam and rock ‘n’ roll with a tongue-in-cheek farmyard narrative. Produced by Wood, it foreshadowed his orchestral experiments with ELO. B-Side: “What?” (6:30) featured on the UK Release Written by Jeff Lynne. A sprawling, progressive track with Lynne’s intricate guitar work and psychedelic flourishes, hinting at The Move’s evolving sound. Also produced by Wood, it offered a contrasting, experimental vibe. The Move’s “Kilroy Was Here” track, featured on the B-side of the German single release, on Ariola Records (catalogue: 14 742 AT). This non-album single, paired with “When Alice Comes Back to the Farm” as the A-side, showcased the band’s playful psychedelic style during their transition from flower power to proto-glam rock. Written and sung by Roy Wood, the B-side’s quirky ode to the WWII graffiti legend “Kilroy Was Here” captured The Move’s whimsical lyricism and experimental edge. Produced by Wood, the track failed to chart but remains a cult favorite, embodying the band’s late ‘60s eccentricity. Single Overview A-Side: “When Alice Comes Back to the Farm” (3:44) Written by Roy Wood. A rollicking proto-glam rocker with brass flourishes and Wood’s multi-tracked vocals, blending folk-rock with orchestral bombast. It marked The Move’s shift toward a heavier sound, hinting at Wood’s future ELO direction. B-Side: “Kilroy Was Here” (2:44) Written by Roy Wood. A lighthearted, upbeat pop track celebrating the famous WWII graffiti meme “Kilroy was here,” with Wood’s nasal vocals and jaunty melody evoking a mischievous wanderer’s exploits. Lyrics like “Kilroy was here / Left his name around the place” humorously personify the anonymous doodler as a “clever lad” and “public poet,” blending nostalgia with absurdity. The song’s simple, catchy structure and playful tone reflect The Move’s whimsical phase, recorded amid their post-Shazam evolution. Release Details: Label: Fly Records (UK pressing, 45 RPM). Formats: 7-Inch Vinyl (BUG 2): “When Alice Comes Back to the Farm” / “What?.” In a Fly Records company sleeve or promotional sleeve with band imagery. Notes: ℗ & © 1970 Fly Records. Matrix numbers (e.g., BUG 2 A-1U) confirm authenticity. Released during The Move’s transition to ELO, following Shazam (1970). Production and Context Recorded in 1970 at Advision Studios, London, the single was produced by Roy Wood, with contributions from The Move’s lineup: Wood (vocals, guitar, multi-instruments), Jeff Lynne (guitar, vocals), Rick Price (bass), and Bev Bevan (drums). The A-side’s brass and driving rhythm reflected Wood’s genre-blending vision, while the B-side showcased Lynne’s growing influence. Released amid the early ‘70s shift from psychedelia to glam, it followed The Move’s hits like “Blackberry Way” but struggled against contemporaries like T. Rex and Slade. Singles Released and Chart Performance The “When Alice Comes Back to the Farm” single was a standalone release, not tied to a specific album: Chart Performance: UK: Did not chart (Official Singles Chart). Ireland: Did not chart. Germany: Did not chart. Australia: Did not chart. Netherlands: Did not chart. Belgium: Did not chart. New Zealand: Did not chart. US: Not released, no chart data. Other Countries: No chart entries in Canada, France, Sweden, Norway, Finland, Italy, Spain, Austria, Switzerland, or Japan due to limited distribution. UK Chart Data: Entry Date: N/A (failed to chart). Peak: N/A. Weeks on Chart: 0. Note: The Move’s earlier hits like “Blackberry Way” (No. 1, February 1, 1969, 12 weeks), “Curly” (No. 12, August 16, 1969, 10 weeks), and “Brontosaurus” (No. 7, April 4, 1970, 11 weeks) set high expectations, but “When Alice Comes Back to the Farm” marked a commercial dip during their transition to ELO. Single Chart Performance “When Alice Comes Back to the Farm” failed to enter the UK Singles Chart or any international charts, reflecting The Move’s declining chart presence as glam and progressive rock took over in 1970. Legacy and Collectibility “When Alice Comes Back to the Farm” is a cult classic, praised for its quirky energy and Wood’s innovative production, influencing early glam acts. The B-side “What?” showcases Lynne’s proto-ELO style, appealing to completists. Have you tracked down this Move rarity in your vinyl collection? Does “Alice” rock your turntable? Share in the comments!

Mott The Hoople’s Mad Shadows LP, was released in the UK on September 25, 1970, on Island Records (catalogue: ILPS 9119). This seven-track sophomore album, following their 1969 self-titled debut, showcased the band’s raw, proto-glam rock sound, blending hard rock, blues, and introspective balladry. Produced by the band with engineer Andy Johns, Mad Shadows captured Mott at a creative peak, though it faced mixed reviews for its darker, less polished tone compared to their debut. Housed in a striking gatefold sleeve with abstract artwork by William S. Harvey, the album marked a pivotal step in their journey toward glam rock stardom. Album Overview Tracklist: Side A: Thunderbuck Ram (4:50) No Wheels to Ride (5:50) You Are One of Us (2:26) Walkin’ with a Mountain (3:49) Side B: I Can Feel (7:13) Threads of Iron (5:12) When My Mind’s Gone (6:31) Release Details: Label: Island Records (UK pressing, stereo, pink rim label). Format: Vinyl LP, 33⅓ RPM, in a gatefold sleeve with abstract, moody artwork by William S. Harvey and lyrics printed inside. Notes: ℗ 1970 Island Records Ltd. Recorded at Olympic Studios, London, in early 1970. US release on Atlantic Records (SD 8258) featured similar packaging. Matrix numbers (e.g., ILPS 9119 A-1U) confirm authenticity. Production and Context Self-produced by Mott The Hoople with engineering by Andy Johns (known for work with Led Zeppelin), Mad Shadows was recorded in a tense, rushed session at Olympic Studios. The lineup featured Ian Hunter (vocals, piano), Mick Ralphs (guitar, vocals), Verden Allen (organ), Pete “Overend” Watts (bass), and Dale “Buffin” Griffin (drums). Ian Hunter’s introspective songwriting dominated, with tracks like “When My Mind’s Gone” reflecting personal struggles, while Ralphs’ “Thunderbuck Ram” brought raw energy. Released amid the UK’s early ‘70s rock scene, alongside bands like Free and Black Sabbath, the album struggled commercially but built Mott’s cult following, setting the stage for their David Bowie-produced All the Young Dudes (1972). Chart Performance Mad Shadows had limited chart success, reflecting Mott The Hoople’s early commercial challenges: UK: Did not chart on the Official Albums Chart, as the band’s popularity was still growing. US: Peaked at No. 166 on the Billboard 200, with minimal traction. Other Markets: No significant chart entries in Europe or Australia, though the album gained cult status in Germany and Scandinavia through later tours. The lack of a hit single and its darker tone hindered mainstream appeal, but it resonated with fans of raw, emotive rock. Legacy and Collectibility Mad Shadows is now regarded as a proto-glam gem, praised for its gritty authenticity and Hunter’s emotive vocals. Tracks like “Thunderbuck Ram” and “Walkin’ with a Mountain” became live staples, with the latter later featuring a nod to “Jumpin’ Jack Flash” in performances. The album influenced later glam and punk acts, with its raw edge echoing in bands like The Clash. Original UK vinyls fetch £20–£80 on Discogs, with first pressings (pink rim labels, intact gatefolds) commanding premiums—check matrix numbers for authenticity. Remastered CDs (e.g., Angel Air’s 2003 reissue with bonus tracks) and Spotify streams preserve its analog warmth, making it accessible for collectors. This LP captures Mott The Hoople’s raw, transitional sound—a vital piece for glam rock enthusiasts. Do you have Mad Shadows in your vinyl collection? Which track rocks your turntable? Share in the comments!

Surprise, pop fans – T.Rex just grew from duo to electric quartet! Hello, pop fans, here’s a little surprise. The famous T. Rex are no longer just Marc Bolan and Mickey Finn… When the two English beat wizards first toured with “Ride a White Swan,” they needed reinforcements. Enter drummer Will Legend and bassist Steve Currie – the boys who turned the cosmic whisper into a full-on glam roar. More early T.Rex lineup scoops added weekly.Hello, pop fans, here's a little surprise. The famous T. Rex are no longer just Marc Bolan and Mickey Finn. When the two English beat wizards first went on tour with their hit "Ride a White Swan," they needed reinforcements for their sound. They recruited drummer Will Legend and bassist Steve Currie. Who these two boys in the shadow of T. Rex are, what they think about their bosses (and vice versa), you'll find out here… two pages Bravo Magazine, November 22, 1970.

T.Rex’s performance of "Ride a White Swan" for the French TV show Point Chaud at Le Rock 'n' Roll Circus, recorded on December 22, 1970, was broadcast on January 30, 1971.

Photographer Pete Sanders held a photo session with Marc Bolan and Mickey Finn at Holland Park and Blenheim Crescent on January 29, 1970. Pictures from this session were later featured on the cover of "A Beard of Stars."

Vasarely's Depth of a Circle David Bowie’s David Bowie (Space Oddity 1972) LP, released in the UK on November 14, 1969, on Philips Records (catalogue: SBL 7912 / SBL.7912 / 852 146 BY), was his second studio album. Produced by Tony Visconti (except “Space Oddity” by Gus Dudgeon) at Trident Studios, this 9-track folk-psych journey—featuring Rick Wakeman’s Mellotron, Paul Buckmaster’s cello, and hidden “Don't Sit Down”—followed David Bowie (1967). With Vernon Dewhurst’s Vasarely-inspired front cover and George Underwood’s back illustration (Depth of a Circle), it included lyrics inner and no musician credits. A commercial failure initially, the 1972 RCA reissue as Space Oddity charted. Issued in gatefold with variants (unassigned credits, hybrid labels), it’s a pre-glam Bowie milestone. Album Overview Release Details: Label: Philips Records (UK). Formats: Vinyl LP (gatefold). ℗ & ©: 1969. Recorded at Trident Studios. Pressed by Phonodisc Ltd. Notes: Published by Essex Music International Ltd. Track A2.2 hidden. UK Release Formats and Track Listings David Bowie was released in the UK in 1969 as a vinyl LP, all with the same 9-track sequence (A2.2 hidden): Vinyl LP, Stereo, Gatefold (Catalogue: SBL 7912): Side A: Space Oddity (5:13) – Arranged By – David Bowie, Paul Buckmaster – Producer – Gus Dudgeon 2.1. Unwashed And Somewhat Slightly Dazed (6:09) 2.2. Don't Sit Down (0:39) – Hidden Letter To Hermione (2:30) Cygnet Committee (9:22) Side B: Janine (3:22) An Occasional Dream (2:54) The Wild Eyed Boy From Freecloud (4:46) God Knows I'm Good (3:17) Memory Of A Free Festival (7:06) Packaging: Illustrated gatefold with lyrics. Black labels silver print. Variants: Vinyl LP, Gatefold (Unassigned Credits): SBL 7912 sleeve, SBL.7912 labels. All to Essex Music. Same tracklist. Vinyl LP, Stereo, Gatefold (Hybrid Label Variant): Side 1 bold “PHILIPS” Essex, Side 2 thin “PHILIPS” Copyright Control (B1,B2,B4,B5), Essex (B3). Same tracklist. UK (Philips SBL 7912): Released November 14, 1969. Gatefold variants. Tape Cassette: Not available until 1972 RCA Ziggy reissue Country Variations: Netherlands - Philips - 1969 Production and Context: Produced by Tony Visconti (A2.1–B5), Gus Dudgeon (A1). Arranged by Bowie/Visconti (A2.1–B5), Bowie/Buckmaster (A1). Musicians: David Bowie (vocals, 12-string, stylophone, kalimba, Rosedal organ), Tim Renwick (guitar, flute, recorder), Keith Christmas (acoustic guitar), Mick Wayne (guitar), Rick Wakeman (Mellotron, electric harpsichord), Tony Visconti (bass, flute, recorder), Herbie Flowers (bass), Honk (bass), John Cambridge (drums), Terry Cox (drums), Benny Marshall & friends (harmonica, backing on Memory). Engineered by Ken Scott, Malcolm Toft, Barry Sheffield. David Bowie was financed by Mercury post-“Space Oddity.” Commercial flop initially; 1972 RCA reissue as Space Oddity charted. Singles Released and Chart Performance "Space Oddity" Released: July 11 1969 Peak position 5 Album Chart Performance David Bowie (1969) had no chart data until 1972 reissue as Space Oddity. Legacy and Collectibility David Bowie is Bowie’s folk-psych gem, with Space Oddity and Cygnet Committee enduring. Verify catalogue SBL 7912. Streams on Spotify via reissues preserve the analog dream. This LP is a must-have for Bowie fans and ‘60s psych collectors. Do you have David Bowie in your vinyl stack? Which oddity orbits you? Share in the comments! Sources Information is drawn from my personal knowledge and supplemented by web sources, includingDiscogs, 45cat, AllMusic, Rate Your Music, Wikipedia, BBC Official Charts Company, Billboard Chart History and YouTube

A Proto-Glam Wind Howls The Slade’s “Wild Winds Are Blowing” 7-inch vinyl single, was released in the UK on October 24, 1969, on Fontana Records (catalogue: TF 1056). Backed with “One Way Hotel,” this energetic rock 'n' roll track, written by Bob Saker and Jack Winsley, marked the band's first single under their shortened name (from Ambrose Slade), produced by Chas Chandler. The A-side's driving rhythm and youthful vocals hinted at their future glam stomp, but as an early effort amid the beat group era, it failed to chart. Released in a Fontana company sleeve, it's a rare snapshot of Slade's pre-fame phase. Single Overview A-Side: “Wild Winds Are Blowing” (2:50, Bob Saker/Jack Winsley) B-Side: “One Way Hotel” (2:44, Holder/ Lea Powel) Release Details: Label: Fontana Records (UK pressing, 45 RPM). Formats: 7-Inch Vinyl (TF 1056): “Wild Winds Are Blowing” / “One Way Hotel.” In a Fontana company sleeve. UK (Fontana TF 1056): Released October 24, 1969. Standard tracklist, company sleeve. Notes: ℗ & © 1969 Fontana Records. Recorded at Philips Studios, London, 1969. Matrix numbers (e.g., TF 1056 A-1) confirm authenticity. The band's first single as "The Slade," following "Genesis" (1969). Production and Context Recorded in 1969 at Philips Studios, London, the single was produced by Chas Chandler, with the lineup: Noddy Holder (vocals), Dave Hill (guitar), Jim Lea (bass), and Don Powell (drums). The A-side's upbeat rocker reflected the band's beat group roots, while the B-side's balladry hinted at their future depth. Released amid the Beatles' final singles and the rise of Led Zeppelin, it followed the band's debut album Beginnings (1969) and failed to build momentum, but Chandler's involvement foreshadowed Slade's glam breakthrough. Singles Released and Chart Performance “Wild Winds Are Blowing” was a standalone single, with no additional singles from it: Country Variations The single was released in the Netherlands alongside the UK. Artist: The Slade Label: Fontana Country: Netherlands Catalogue: 267 967 TF Date: 24 Nov 1969 Note: Slade's earlier single “Genesis” (1969) also failed to chart, but later hits like “Get Down and Get With It” (No. 16, July 1971, 8 weeks) marked their ascent. Single Chart Performance “Wild Winds Are Blowing” failed to enter the UK Singles Chart or any international charts, reflecting Slade's early struggles before their glam reinvention. Legacy and Collectibility “Wild Winds Are Blowing” is a proto-Slade gem, hinting at their anthemic style, while “One Way Hotel” reveals emotional depth. Streams on Spotify via Beginnings deluxe editions preserve the analog wind. This single is a must-have for Slade completists. Have you unearthed this early Slade rarity in your collection? Does “Wild Winds Are Blowing” stir your rock soul? Share in the comments! Sources Discogs: Wild Winds Are Blowing (1969) Official Charts Company: Slade Singles AllMusic: Slade Discography Wikipedia: Slade Discography 45cat: TF 1056 Single

In late October 1969, the vibrant world of Tyrannosaurus Rex welcomed a new face: Mickey Finn, a charismatic figure whose arrival marked a pivotal shift for the band. Officially announced in Melody Maker for the week ending October 25, 1969, Finn’s recruitment as a percussionist came after a tumultuous split with original member Steve Peregrin Took. With the issue going to press on October 22, it’s estimated Finn joined around October 16 or 17, 1969, as he and Marc Bolan were already “rehearsing in Wales,” according to the announcement. But who was Mickey Finn, and how did this non-musician painter become Bolan’s new creative partner? A Painter, Not a Musician Unlike Steve Took, a skilled multi-instrumentalist, Mickey Finn wasn’t known for musical prowess. Described in Melody Maker as a “painter,” Finn’s background was more colorful than technical. He had worked as a house painter, notably contributing murals to the Beatles’ Apple Boutique, and had dabbled in rudimentary percussion with the art collective Hapshash and the Coloured Coat. His connection to Tyrannosaurus Rex came through photographer Pete Sanders, a mutual acquaintance in London’s Chelsea scene, who introduced Finn to Bolan. As June Child, Bolan’s wife, later recalled, “He couldn’t play bongos particularly well, but he was beautiful” (The Guardian, 2003). Finn’s hiring wasn’t about musical virtuosity. Bolan, the undeniable creative force behind Tyrannosaurus Rex, sought a sideman whose personality and aesthetic fit the band’s evolving image. Rumors swirled that Finn’s good looks, superficial resemblance to Took, and even his cool motorcycle swayed Bolan’s decision (Wikipedia: Mickey Finn). Finn’s charm and willingness to follow Bolan’s lead made him the perfect foil for the band’s next phase. Rehearsals in Wales and a New Dynamic By mid-October 1969, Finn and Bolan were holed up in a rented cottage at Plas Tan Y Bwlch, Wales, rehearsing for what would become A Beard of Stars , Tyrannosaurus Rex’s fourth album, released in March 1970. This retreat marked the start of their partnership, with Finn laying down simple percussion tracks to complement Bolan’s intricate guitar and poetic lyrics. Unlike Took, who had pushed for a more democratic creative process, Finn was content to be the “silent young man who obeyed Bolan’s every command” (The Independent, 2003). From the outset, it was clear Bolan was the dominant partner, steering the band toward its eventual transformation into the glam-rock juggernaut T. Rex. The Melody Maker Moment The Melody Maker announcement was a publicity coup orchestrated by Bolan, who reportedly brought Finn to the magazine’s offices for an impromptu performance to seal the deal. The ad Bolan placed for a “gentle guy to play bongos” had drawn 300 replies, but Finn stood out—not for his musical chops but for his vibe (The Guardian, 2003). This moment, publicized in late October, set the stage for Finn’s debut with the band, including a BBC radio session on November 17, 1969, and his first public performance on November 21. A Sideman’s Legacy Mickey Finn’s role in Tyrannosaurus Rex was less about technical skill and more about embodying Bolan’s vision. His percussion added a raw, primal texture to albums like A Beard of Stars and T. Rex (1970), paving the way for the band’s commercial breakthrough with Electric Warrior (1971). While Bolan’s star power defined the group, Finn’s easygoing presence and photogenic appeal helped cement T. Rex’s iconic image during the glam era. Finn’s story is a testament to the power of personality in rock ‘n’ roll. A painter turned percussionist, he stepped into a musical whirlwind led by Marc Bolan, proving that sometimes, the right vibe can outshine technical expertise. For fans of T. Rex, Finn’s entry in October 1969 remains a turning point—a moment when the band began its metamorphosis into a cultural phenomenon. **Sources**: 1. Paytress, Mark. “Mickey Finn: T. Rex percussionist.” *The Independent*, January 14, 2003. https://www.independent.co.uk/news/obituaries/mickey-finn-124194.html 2. Sweeting, Adam. “Mickey Finn: Bongo player with T. Rex.” *The Guardian*, January 18, 2003. https://www.theguardian.com/news/2003/jan/18/guardianobituaries.artsobituaries 3. “Mickey Finn (percussionist).” *Wikipedia*. https://en.wikipedia.org/wiki/Mickey_Finn_%28percussionist%29 4. “A Beard of Stars.” *Wikipedia*. https://en.wikipedia.org/wiki/A_Beard_of_Stars 5. “Mickey Finn.” *Bolan World* (reprinting *The Independent* obituary), January 14, 2011. https://mistymist.wordpress.com/legacy/mickey-finn-obituary-in-the-independent/ 6. “Unsung Heroes: Mickey Finn.” *The Future is Past*, April 10, 2016. https://thefutureispast.co.uk/2016/04/10/unsung-heroes-mickey-finn/ 7. “Mickey Finn.” *Bolan World*, 2017. https://mistymist.wordpress.com/discography/solid-gold-easy-action/mickey-finn/ *Note*: The exact *Melody Maker* issue (week ending October 25, 1969) isn’t digitized in freely accessible online archives. For precise verification, consult physical archives at institutions like the British Library.

The Move’s "Curly", backed with "This Time Tomorrow", was released as a 7-inch vinyl single in the UK by Regal Zonophone (catalog number RZ 3021) on July 18, 1969, marking a notable release from their transitional phase. Overview Artist: The Move Single: "Curly" / "This Time Tomorrow" Release Date: July 18, 1969 Label: Regal Zonophone (UK, catalog no. RZ 3021), with various international releases on labels like Stateside and Polydor Genre: Psychedelic Pop Producer: Roy Wood (with Mike Hurst credited in some sources) Chart Performance: Peaked at number 12 on the UK Singles Chart Band Lineup: Carl Wayne (lead vocals, sitar) Roy Wood (guitar, recorder, mellotron, background vocals) Rick Price (bass guitar, replacing Trevor Burton) Bev Bevan (drums, tambourine) Significance: This was the last single featuring lead singer Carl Wayne before his departure and the first with Rick Price on bass. It marked a shift toward a more pop-oriented sound, though not fully embraced by all band members. A-Side: "Curly" Writer: Roy Wood Length: 2:46 (some sources list 2:39) Lyrics and Theme: The song tells the story of Curly, a young man stifled by his conservative father, who falls in love with a girl who ultimately leaves him, making him feel foolish. The lyrics explore themes of youthful love, betrayal, and emotional desolation, with a repetitive "bi-dum, bi-dum, bi-dum" hook and a Beatles-esque "la-da-da, na-na-na" outro. Key lyrics include: “Mister McCann was a practical man / Curly was his only son / And he loved him like no other can / Bi-dum, bi-dum, bi-dum” and “Oh Curly has she let you down and run? / Oh Curly where’s your girly? Where’s she gone?” Musical Style: Primarily acoustic, with Roy Wood’s multi-tracked recorder (flute-like sound) and acoustic guitar dominating. A mellotron appears briefly as the only electric instrument, alongside short a cappella harmonies. Described as a “lighter-than-air Roy Wood ditty,” highly melodic with a flute that’s “just-this-side-of-irritating.” It nods to The Beatles with its Liverpool reference and Beatle-esque finish, reflecting Wood’s admiration for the band. Reception: Chris Welch in Melody Maker (July 19, 1969) called it “an obvious success for The Move,” though Roy Wood and Bev Bevan disliked it. Wood called it “really corny” and was unhappy with the label’s decision to release it over other preferred tracks. Bevan found it too pop and sugary. Anecdote: Bev Bevan jokingly claimed “Curly” was about Carl Wayne’s pet pig, though this was not true. B-Side: "This Time Tomorrow" Writer: David Morgan Length: 3:42 (some sources list 3:34 or 3:39) Lyrics and Theme: Less information is available about the B-side’s lyrical content, but it complements “Curly” in its psychedelic pop style. It’s described as a melodic, introspective track, fitting the era’s sound. Continues the single’s acoustic-leaning, melodic approach, with Roy Wood’s influence evident in the arrangement. Specific instrumentation details are less documented, but it aligns with the band’s layered, pop-oriented production. Reception: Less discussed than “Curly,” but included in positive reviews of the single for its cohesive sound. It’s seen as a solid B-side that supports the A-side’s lighter, pop vibe. Recorded in 1969, likely at London’s Olympic Studios, where The Move often worked during this period. Instrumentation: Roy Wood’s multi-tracked recorder and acoustic guitar are central to “Curly,” with Carl Wayne on sitar and vocals, Rick Price on bass, and Bev Bevan on drums and tambourine. Background vocals and mellotron by Wood add texture. The Move's single "Curly" released under the Stateside label in France, catalog number 2C 006-90.469 M, featuring the track "This Time Tomorrow." Roy Wood produced the single, with Mike Hurst also credited in some sources. The acoustic focus and minimal electric elements reflect a departure from the band’s earlier, heavier sound. Released as a 7” vinyl single at 45 RPM, with versions on Regal Zonophone (UK), Stateside (e.g., Portugal, France), and Polydor (e.g., Norway, Germany, Japan). Some releases included unique picture sleeves (e.g., Dutch, German, Scandinavian versions). The Portuguese release (Stateside PSS 1019) and Norwegian Polydor release (59330) are noted for collectors. Vintage album cover for "Curly" by The Move, featuring bold psychedelic graphics and a black-and-white band portrait, released under the Festival label in Australia (Catalogue: FX-11652). A rare Australian 7” EP (Festival FX-11652) included “Curly” and “This Time Tomorrow” alongside “Yellow Rainbow” and “Weekend.” Context and Legacy Band Transition: This single marked a pivotal moment for The Move. Carl Wayne’s departure soon after and Rick Price’s arrival shifted the band’s dynamic. Roy Wood’s growing influence foreshadowed his later work with Electric Light Orchestra (ELO) and Wizzard, with “Curly” hinting at his melodic, orchestral style. Critical Reflection: While not as iconic as “Blackberry Way” or “Flowers in the Rain,” the single is appreciated for its catchy, nostalgic pop. Some fans see it as a precursor to Wood’s ELO/Wizzard sound, though others view it as a lighter, less defining entry in The Move’s catalog.

Marc Bolan & Mickey Finn bring psychedelic folk to Utrecht’s first big Dutch pop bash! Tyrannosaurus Rex appeared at Paradise II, Margriethal – Jaarbeurs Utrecht, Holland, on December 28, 1968. The "Paradise II" festival was a landmark event in Dutch music history – a one-day psychedelic extravaganza inspired by the 14-Hour Technicolor Dream. Organized by Utrecht provo artist Bunk Bessels, it featured a diverse lineup of experimental and underground acts, drawing a huge crowd and marking one of the Netherlands’ first major pop festivals with a mix of live performances, art, and happenings. More pre-glam Bolan adventures added weekly! ✨

Bolan’s acoustic elves weave pure folk magic for the Beeb – the underground at its dreamiest! Tyrannosaurus Rex’s The Travelling Tradition was recorded at BBC Studio 1, 201 Piccadilly, London, on Monday, October 14, 1968. First aired on Top Gear on Sunday, December 22, 1968. More pre-glam Bolan whispers added weekly.

Bolan’s acoustic elves share the bill with psychedelic heavies – pure late-60s underground magic! Tyrannosaurus Rex played the Highbury Technical College Dance, London, England on December 18, 1968, accompanied by Elmer Gantry’s Velvet Opera, Heaven, and Coconut Mushroom.

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

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

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

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

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

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

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

A Deram Debut Mod-Pop Gem Released as a 7-inch vinyl single in the UK on December 2, 1966, on Deram Records (catalogue: DM 107), David Bowie’s “Rubber Band” — backed with “The London Boys” (misspelled “The London Boy's” on label) — was his debut solo single. Produced by Mike Vernon, this brass-laden mod-pop curiosity — with “Rubber Band” published by Cooper Music and “The London Boys” by Sparta Music — did not chart. Issued in standard brown/white labels, promo light blue/white labels, and rare unreleased Decca demo with blank labels. A collector’s holy grail from Bowie’s pre-fame era. Single Overview Release Details Label: Deram Records. Formats: Vinyl, 7", 45 RPM, Single (standard / promo / unreleased Decca demo). Full Track Listing Side A Rubber Band – Written-By: Bowie – Producer: Mike Vernon Side B The London Boys – Written-By: Bowie – Producer: Mike Vernon UK Variants - 7", 45 RPM, Single – Deram DM 107 – UK – 1966 (brown/white labels) - 7", 45 RPM, Single, Promo – Deram DM 107 – UK – 1966 (light blue/white labels) - 7", 45 RPM, Single, Promo – Decca none – UK – 1966 (blank labels, unreleased) Production and Context Produced by Mike Vernon. Recorded 1966 at Decca Studios. Bowie’s first solo single after leaving The Lower Third — still in mod/R&B mode. Chart Performance No chart entry. Legacy and Collectibility “Rubber Band” / “The London Boys” is David Bowie’s ultra-rare debut solo single. Original UK Deram pressings fetch £1150–£1939 on eBay/Discogs, promos/unreleased Decca demo £2000+. Verify catalogue DM 107. Streams limited (often on compilations). This single is a must-have for Bowie completists. Do you have Rubber Band in your vinyl stack? Are you a London Boy? Share in the comments! Sources Information is drawn from my personal knowledge and supplemented by web sources, including Discogs, 45cat, AllMusic, Rate Your Music, Wikipedia, BBC Official Charts Company, Billboard Chart History and YouTube Whilst every effort is made to provide accurate information, mistakes do happen. Simply leave a comment and the post will be updated. Thank you.

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

Fontana's Wild New Boy Released as a 7-inch vinyl single in the UK on December 3, 1965, on Fontana Records (catalogue: TF 620 / 267503 TF), David Essex’s “Can't Nobody Love You” was his second solo single — a raw, bluesy soul belter. Backed with “Baby I Don't Mind,” both tracks showcased the 18-year-old’s powerful voice. Record Mirror raved: “This new boy is really wild… very good.” No chart entry, but the first step of Essex’s journey to Rock On glory. Single Overview Release Details Label: Fontana Records. Format: Vinyl, 7", 45 RPM, Single, Mono. Full Track Listing Side A Can't Nobody Love You – Written-By: James Mitchell Side B Baby I Don't Mind – Written-By: Luck, Sago, Dann, Lynton, Guidotti Global Variants No major reissues or international variants noted. Production and Context David Essex’s first solo release after leaving The Everly Brothers’ backing band. Raw R&B/soul before the glam era. Chart Performance No chart entry. Legacy and Collectibility “Can’t Nobody Love You” is David Essex’s ultra-rare debut single — pre Rock On , pre- Stardust . Original UK Fontana pressings fetch £100–£300+ on eBay/Discogs. Verify catalogue TF 620. Streams extremely limited. This single is a must-have for Essex completists and ‘60s UK soul collectors. Do you have Can't Nobody Love You in your vinyl stack? Did the wild new boy blow you away? Share in the comments! Sources Information is drawn from my personal knowledge and supplemented by web sources, including Discogs, 45cat, AllMusic, Rate Your Music, Wikipedia, BBC Official Charts Company, Billboard Chart History and YouTube Whilst every effort is made to provide accurate information, mistakes do happen. Simply leave a comment and the post will be updated. Thank you.

A Bluesy Debut Howl Rod Stewart's 7-inch vinyl single "Good Morning Little Schoolgirl" was released in the UK on October 30, 1964, by Decca Records (catalogue: F 11996). Paired with "I'm Gonna Move To The Outskirts Of Town" on the B-side, this blues-rock cover of a Sonny Boy Williamson original marked Stewart's solo debut, though it did not make it onto the charts. Single Overview Country: UK 7" Vinyl Single Promotional Release Label: Decca – F.11996 Format: Vinyl, 7", 45 RPM, Promo Released: 1964 A Good Morning Little Schoolgirl Written-By – Williamson B I'm Gonna Move To The Outskirts Of Town Written-By – Weldon, Jacobs Producer – Ray Horricks Demonstration sample not for sale Country: UK 7" Vinyl Single Commercial Release Label: Decca – F.11996 Format: Vinyl, 7", 45 RPM Released: 30 Oct 1964 A Good Morning Little Schoolgirl Written-By – Williamson B I'm Gonna Move To The Outskirts Of Town Written-By – Weldon, Jacobs Producer – Ray Horricks Released in both solid center and prong centers. OFFICIAL BIOGRAPHY DECCA GROUP RECORDS ROD STEWART DECCA Rod Stewart debuts with "Good Morning Little Schoolgirl" backed with "Out-skirts of Town" on Decca F0096 released 16th October, 1964. A typical quote from this polished performer-"A White person can sing the blues with just as much conviction as a negro... All these negro singers singing about "Walking down the rail-road track..." They've never walked down a railroad track in their lives. Nor have I. You've got more to sing the the blues about in the Archway Road than on any railroad track I know." Roderick David Stewart was born in London on 10th January, 1945 and has lived in the Archway Road all his life where his parents Robert and Elsie own a newsagent shop. Rod doesn't remember exactly where he learned to play the guitar: "I just picked it up and there I was", he says. The first time he ever had to earn his living with the guitar was when he turned beatnik ("It was the fashionable thing to do at the time") and went busking around France and Spain with folk singer Wiz Jones. Life in Spain was tough. They slept under the arches of Barcelona Football Stadium, which was almost home from home for Rod who has turned down several offers to turn professional footballer. He still plays on Sunday mornings and has just signed for the Show Biz XI. France proved more profitable. "We could make 50 francs an hour in St. Tropez and it wasn't bad sleeping on the beaches", Rod says. But in the end they were arrested for vagrancy and sent home (third class) by the British Consul. After a few unhappy experiences at such jobs as "Fence putter-upper" and collecting the odd £6/17 for semi-professional footballing he got a job with Jimmy Powell and the Five Dimensions at the Ken Collyer Club. (They played the intervals when the Rolling Stones were off stage.) In order to make ends meet he worked with his brother's display and sign-writing business until Long John Baldry tool ever the late Cyril Davies' Rhythm and Blues All Stars and asked Rod to be second singer. "The best things which have happened to me are meeting Long John Baldry: playing with, Memphis Slim in Paris, (he has also played with him in London "Marquee Club where he played with Harmonica star Little Walter); appearing at the Richmond, Redcar and Belle Vue Jazz Festivals." Cutting "Up Above My Head" on the B side of Long John's latest disc. Appearing on BBC "Saturday Club". Living with 20 beatniks on a derelict houseboat at Shoreham. "All the greybeards in the area didn't like the idea of us all not working so they got the police to drive us out with hoses. of cold water. Then they towed the barge away and sank it so we wouldn't be able to go back, which was just as well as the boat filled up with water every time the tide came in." This was the first time he made the newspaper front pages (Mirror and Sketch) and doesn't mind if he doesn't star there again for the same reason. It was in January that Rod turned fully professional and with T.V. appearances and his discovery by Decca A & R man Ray Horricks this artist will go far. FACTS OF LIFE: REAL NAME: Roderick David Stewart. PARENTS: Robert and Elsie. BROTHERS: Don and Bob: and sisters: Mary and Peggy. (all married) BORN: 10th January, 1945. SCHOOLS: Secondary Modern, with Ray and Dave Davis and Pete Quaife of the Kinks. HONOURS, DIPLOMAS School prefect and House Captain. AND MEDALS: HAIR: Blond. EYES: Brown. WEIGHT: 10 stones. HEIGHT: 6ft. "Wearing my size eights". FIRST PUBLIC APPEARANCE: "Somewhere in France". FIRST RADIO APPEARANCE: BBC Saturday Club. FIRST TV APPEARANCE: Beat Room, BBC-2, Southern TV, "Late Date". FORTHCOMING TV APPEARANCE: Probably January, 1965 in ITV's "Rod the Mod". INSTRUMENTS: 12 and 6 string guitar, harmonica, banjo and mandolin. LIKES; SINGERS: Billie Holliday, Bobby Bland, Frank Sinatra, LIKES; INSTRUMENTALISTS: Nancy Wilson.Buddy Rich, Ben Webster, Gerry Mulligan. LIKES; GROUPS: Long John Baldry and the Hoochie Coochie Men, the Rolling Stones. DISLIKES: Plonkers. NOT VERY FOND OF: Scotland. AMBITION: To sing with the Basie Orchestra. PUBLICITY DEPARTMENT THE DECCA RECORD COMPANY LIMITED DECCA HOUSE ALBERT EMBANKMENT WITH COMPLIMENTS LONDON B.E.Ι. (OCTOBER (4) Decca Press Release