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Sweet wish you a very glam Christmas – with a wink and a stomp! New Musical Express, December 25, 1971. More festive glam cheer added weekly

Faces' wild tour poster sparks a storm – the boys in full boozy glory! New Musical Express, December 25, 1971. More Faces poster pandemonium added weekly.

Wolves’ finest export: Slade – loud, proud, and unapologetically Brummie! From mis-spelt anthems to Christmas domination, Slade turned working-class grit into glam gold. This ever-growing archive collects every UK single, album, advert, review, chart entry, and feature from the music papers – all sourced from original 1970s issues. Swipe or scroll for the full timeline (new entries added regularly). (below is just a listing, at the moment as entries are made links will be added, dates revised if needed) Studio Albums Beginnings (as Ambrose Slade) – Album Release (1969) – Released May 9, 1969 on Fontana Play It Loud – Album Release (1970) – Released November 28, 1970 on Polydor Slayed? – Album Release (1972) – Released November 1, 1972 on Polydor – UK #1 Old New Borrowed and Blue – Album Release (1974) – Released February 15, 1974 on Polydor – UK #1 Slade in Flame – Album Release (1974) – Released November 29, 1974 on Polydor – UK #6 Nobody's Fools – Album Release (1976) – Released March 5, 1976 on Polydor – UK #14 Whatever Happened to Slade – Album Release (1977) – Released March 21, 1977 on Barn Return to Base – Album Release (1979) – Released October 1, 1979 on Barn We'll Bring the House Down – Album Release (1981) – UK #25 Till Deaf Do Us Part – Album Release (1981) – Released November 13, 1981 on RCA – UK #68 The Amazing Kamikaze Syndrome – Album Release (1983) – Released December 9, 1983 on RCA – UK #49 Rogues Gallery – Album Release (1985) – Released March 29, 1985 on RCA – UK #60 Crackers: The Christmas Party Album – Album Release (1985) – Released November 18, 1985 on Telstar – UK #34 You Boyz Make Big Noize – Album Release (1987) – Released April 27, 1987 on RCA – UK #98 Keep On Rockin' (as Slade II) – Album Release (1994) – Released November 1994 on Play That Beat! Live Albums Slade Alive! – Album Release (1972) – Released March 24, 1972 on Polydor – UK #2 Slade Alive, Vol. 2 – Album Release (1978) – Released October 20, 1978 on Barn Slade on Stage – Album Release (1982) – Released December 3, 1982 on RCA – UK #58 Slade Alive! – The Live Anthology – Album Release (2006) – Released August 21, 2006 on Salvo – UK #191 Live at the BBC – Album Release (2009) – Released September 28, 2009 on Salvo Alive! At Reading – Album Release (2023) – Released September 15, 2023 on BMG Live at the New Victoria Theatre, London 1975 – Album Release (2024) – Released February 2024 on BMG Major Compilations Coz I Luv You – Album Release (1972) – Released March 1972 on Polydor Sladest – Album Release (1973) – Released September 28, 1973 on Polydor – UK #1 The Story of Slade – Album Release (1977) – Released 1977 on Barn Records Slade Smashes! – Album Release (1980) – Released November 1, 1980 on Polydor – UK #21 Slades Greats – Album Release (1984) – Released May 12, 1984 on Polydor – UK #89 The Slade Collection 81–87 – Album Release (1991) – Released March 1991 on RCA/BMG Wall of Hits – Album Release (1991) – Released November 11, 1991 on Polydor – UK #34 The Slade Collection Vol. 2, 79–87 – Album Release (1993) – Released December 1993 on RCA/BMG/Polydor The Genesis of Slade – Album Release (1996) – Released March 3, 1996 on The Music Corporation Feel the Noize – Greatest Hits – Album Release (1997) – Released February 1997 on Polydor – UK #19 The Very Best of Slade – Album Release (2005) – Released November 28, 2005 on Polydor – UK #39 B-Sides – Album Release (2007) – Released March 5, 2007 on Salvo Rockers – Album Release (2007) – Released April 17, 2007 on Salvo In for a Penny: Raves & Faves – Album Release (2007) – Released April 17, 2007 on Shout! Factory Merry Xmas Everybody: Party Hits – Album Release – UK #151 Cum On Feel the Hitz: The Best of Slade – Album Release (2020) – Released September 25, 2020 on BMG – UK #8 Singles (chronological highlights) You Better Run (as The N' Betweens) – Single Release (1966) Genesis (as Ambrose Slade) – Single Release (1969) Wild Winds Are Blowing (as The Slade) – Single Release (1969) Shape of Things to Come – Single Release (1970) Know Who You Are – Single Release (1970) – UK only Get Down and Get with It – Single Release (1971) – UK #16 Coz I Luv You – Single Release (1971) – UK #1 Look Wot You Dun – Single Release (1972) – UK #4 Take Me Bak 'Ome – Single Release (1972) – UK #1 Mama Weer All Crazee Now – Single Release (1972) – UK #1 Gudbuy T'Jane – Single Release (1972) – UK #2 Cum On Feel the Noize – Single Release (1973) – UK #1 Skweeze Me, Pleeze Me – Single Release (1973) – UK #1 My Friend Stan – Single Release (1973) – UK #2 Merry Xmas Everybody – Single Release (1973) – UK #1 Everyday – Single Release (1974) – UK #3 The Bangin' Man – Single Release (1974) – UK #3 Far Far Away – Single Release (1974) – UK #2 How Does It Feel – Single Release (1975) – UK #15 Thanks for the Memory (Wham Bam Thank You Mam) – Single Release (1975) – UK #7 In for a Penny – Single Release (1975) – UK #11 Let's Call It Quits – Single Release (1976) – UK #11 Gypsy Roadhog – Single Release (1977) – UK #48 My Baby Left Me/That's All Right – Single Release (1977) – UK #32 We'll Bring the House Down – Single Release (1981) – UK #10 Lock Up Your Daughters – Single Release (1981) – UK #29 My Oh My – Single Release (1983) – UK #2 Run Runaway – Single Release (1984) – UK #7 All Join Hands – Single Release (1984) – UK #15 Radio Wall of Sound – Single Release (1991) – UK #21 Merry Xmas Everybody '98 Remix (Slade vs Flush) – Single Release (1998) – UK #30 More singles, EPs, B-sides, and music paper features added weekly – keep swiping for the full Black Country story!

The Spiders strike back – While Mick Ronson’s on a solo mission! White Man, Black Man, one-page advert in New Musical Express, November 22, 1975.  Press release text below: (released November 14th 1975) "The Spiders from Mars have reformed and will have a single rush released for mid-November before a short college tour at the beginning of December The group have signed a three year world-wide recording deal with Pye Records, and their single, "White Man, Black Man" was written by new members Dave Black and Pete McDonald and recorded at Trident Studios. The Spiders - Trevor Bolder, Woody Woodmansey, Dave Black and Pete McDonald, will be touring colleges at the beginning of December and follow through with a major British concert tour."

Bowie & Bing duet on Christmas Eve – the oddest, most magical TV moment ever!* The TV show was broadcast on December 24, 1977, starring Bing Crosby and his family with special guests Twiggy, David Bowie, Ron Moody, Stanley Baxter, and the Trinity Boys Choir. It features a duet by the unusual pairing of Crosby and Bowie on "Peace on Earth/Little Drummer Boy". More festive Bowie magic added weekly. The TV show was broadcast on December 24, 1977, starring Bing Crosby and his family with special guests Twiggy, David Bowie, Ron Moody, Stanley Baxter, and the Trinity Boys Choir, it features a duet by the unusual pairing of Crosby and Bowie on "Peace on Earth/Little Dr Boy It was Crosby's final Christmas special, aired postously after his death in October 1977. Introduced by his widow, Crosby, the special was broadcast in the United States on CBS on November 30,1977, and in the United Kingdom on ITV on December 24, 1977. Bing Crosby is astonished a letter from a long lost, Sir Perc Crosby, inviting family to spend Christmas in England. Bing, his wife Kathryn, and their three children—Harry, Mary, and Nathaniel—fly to Britain, reviewing their family history in song and hoping that the invitation is not a case of mistaken identity. At Sir Percy's grand home, they Hudson, the butler; Mrs. Bridges, the cook; and Rose, the maid (all of whom are impersonations by Stanley Baxter of characters from Upstairs, Downstairs). Percy's neighbor, David Bowie, stops by to play the piano, and Bing and Bowie about their musical tastes before singing a duet of "Peace on Earth/Little Drummer Boy." Kathryn chats with Mrs. in the kitchen as the children continue looking for written proof of their relation to Sir Percy

Bowie’s Berlin trilogy in the spotlight – Melody Maker deciphers the German genius! Melody Maker, December 24, 1977. More Bowie Berlin-era insights added weekly.

Alice’s solo rebirth gets the Cashbox crown – from nightmare to introspection! Cashbox Magazine Cover, December 23, 1978. More Alice solo-era spotlights added weekly.

The Glam Rock Hitmakers a visual journey via Record Sleeves Discography, Music Papers, and Magazine Features. Below is a comprehensive UK discography for The Sweet (also known as Sweet), including their studio works, live albums, compilation albums, and singles. This covers all eras from their formation as Sweetshop through glam rock hits, self-produced phases, lineup changes (e.g., Andy Scott's Sweet), and posthumous/reissue releases. Information is sourced from reliable discographic records and includes release dates (in "Month DD, YYYY" format where available), labels, and UK chart positions. At the bottom, you'll also find links to all the related categories The following is a detailed overview of The Sweet's UK releases, categorized into studio albums, live albums, compilation albums, and singles. This information is sourced from reliable discographic records and includes release dates, labels, and chart positions where available. Studio Albums Funny How Sweet Co-Co Can Be Release Date: November 26, 1971 Label: RCA UK Chart Position: — Sweet Fanny Adams Release Date: April 26, 1974 Label: RCA UK Chart Position: 27 Desolation Boulevard Release Date: November 15, 1974 Label: RCA UK Chart Position: — Give Us a Wink Release Date: February 16, 1976 Label: RCA UK Chart Position: — Off the Record Release Date: April 1977 Label: RCA UK Chart Position: — Level Headed Release Date: January 1978 Label: RCA UK Chart Position: — Cut Above the Rest Release Date: April 1979 Label: Polydor UK Chart Position: — Waters Edge Release Date: April 1980 Label: Polydor UK Chart Position: — Identity Crisis Release Date: November 1982 Label: Polydor UK Chart Position: — A (by Andy Scott's Sweet) Release Date: 1992 Label: SPV UK Chart Position: — The Answer (by Andy Scott's Sweet) Release Date: 1995 Label: Pseudonym UK Chart Position: — Sweetlife (by Andy Scott's Sweet) Release Date: March 1, 2002 Label: Delicious UK Chart Position: — New York Connection (by Andy Scott's Sweet) Release Date: April 27, 2012 Label: Self-released UK Chart Position: — Isolation Boulevard (by Andy Scott's Sweet) Release Date: — Label: — UK Chart Position: — Full Circle (by Andy Scott's Sweet) Release Date: — Label: — UK Chart Position: — Live Albums Live at the Marquee Release Date: March 1989 Label: SPV UK Chart Position: — Rock & Roll Disgrace – Live in Japan Release Date: November 1992 Label: Receiver UK Chart Position: — Land of Hope and Glory Release Date: April 1993 Label: Receiver UK Chart Position: — Blockbuster – Live on Stage Release Date: 1993 Label: Music de Luxe UK Chart Position: — Greatest Hits – Live Release Date: November 2, 1994 Label: AIM UK Chart Position: — Live in Denmark 1976 Release Date: 1998 Label: Self-released UK Chart Position: — Live at the Rainbow 1973 – The Complete Concert Release Date: October 25, 1999 Label: RCA UK Chart Position: — Live! In America Release Date: July 2009 Label: Self-released UK Chart Position: — Live – Are You Ready? Release Date: — Label: — UK Chart Position: — Desolation Boulevard Revisited Release Date: November 6, 2012 Label: Self-released UK Chart Position: — Sweet Fanny Adams Revisited Release Date: April 19, 2013 Label: Self-released UK Chart Position: — Compilation Albums The Sweet's Biggest Hits Release Date: October 1972 Label: RCA UK Chart Position: — The Sweet Release Date: July 1973 Label: Bell UK Chart Position: — Sweet Singles Album Release Date: September 1975 Label: RCA UK Chart Position: — Strung Up Release Date: November 1975 Label: RCA UK Chart Position: — Sweet's Golden Greats Release Date: October 1977 Label: RCA UK Chart Position: — Teenage Rampage Release Date: 1981 Label: Starcall UK Chart Position: — Sweet 16 – It's It's... Sweet's Hits Release Date: August 1984 Label: Anagram UK Chart Position: 49 Hard Centres – The Rock Years Release Date: July 1987 Label: Zebra UK Chart Position: — Starke Zeiten Release Date: March 1988 Label: Ariola UK Chart Position: — Blockbusters Release Date: December 1989 Label: RCA UK Chart Position: — The Best of Sweet Release Date: 1992 Label: Capitol UK Chart Position: — The Ballroom Blitz & More Sweet Hits Release Date: January 1993 Label: BMG/RCA UK Chart Position: — Gold – 20 Super Hits Release Date: September 20, 1993 Label: BMG UK Chart Position: — The Sweet – The Definitive Collection Release Date: September 1996 Label: RCA UK Chart Position: — The Sweet Sixteen Release Date: October 1997 Label: RCA UK Chart Position: — The Magic Works – The Chinnichap Years 1970–1975 Release Date: November 1999 Label: BMG UK Chart Position: — Sweet Hits Release Date: October 2001 Label: Spectrum UK Chart Position: — The Complete Collection Release Date: 2003 Label: Camden UK Chart Position: — Off the Record: The Best of the Rest Release Date: 2005 Label: Salvo UK Chart Position: — The Glam Years: 1971–1974 Release Date: 2006 Label: Salvo UK Chart Position: — The Sweet: The Complete Collection Release Date: November 2005 Label: Universal UK Chart Position: — Action: The Sweet Anthology Release Date: 2015 Label: Sony UK Chart Position: — Singles 1968 - Slow Motion (as Sweetshop) Release Date: — Label: Decca UK Chart Position: — Parent Album: Non-album single 1969 - It's All Up to You (as Sweetshop) Release Date: — Label: Decca UK Chart Position: — Parent Album: Non-album single 1970 - Funny Funny Release Date: January 1971 Label: RCA UK Chart Position: 13 Parent Album: Funny How Sweet Co-Co Can Be 1971 - Co-Co Release Date: June 1971 Label: RCA UK Chart Position: 2 Parent Album: Funny How Sweet Co-Co Can Be 1971 - Alexander Graham Bell Release Date: October 1971 Label: RCA UK Chart Position: 33 Parent Album: Funny How Sweet Co-Co Can Be 1972 - Poppa Joe Release Date: March 1972 Label: RCA UK Chart Position: 10 Parent Album: Non-album single 1972 - Little Willy Release Date: July 1972 Label: RCA UK Chart Position: 4 Parent Album: The Sweet 1972 - Wig-Wam Bam Release Date: September 1972 Label: RCA UK Chart Position: 4 Parent Album: The Sweet 1973 - Hell Raiser Release Date: May 1973 Label: RCA UK Chart Position: 2 Parent Album: Sweet Fanny Adams 1973 - Block Buster! Release Date: January 1973 Label: RCA UK Chart Position: 1 Parent Album: Sweet Fanny Adams 1973 - The Ballroom Blitz Release Date: September 1973 Label: RCA UK Chart Position: 2 Parent Album: Desolation Boulevard 1974 - The Six Teens Release Date: April 1974 Label: RCA UK Chart Position: 9 Parent Album: Sweet Fanny Adams 1974 - Turn It Down Release Date: July 1974 Label: RCA UK Chart Position: 12 Parent Album: Sweet Fanny Adams 1975 - Fox on the Run Release Date: March 1975 Label: RCA UK Chart Position: 2 Parent Album: Desolation Boulevard 1975 - Miss Sweet Misunderstanding Release Date: August 1975 Label: RCA UK Chart Position: 15 Parent Album: Give Us a Wink 1976 - Fever of Love Release Date: April 1976 Label: RCA UK Chart Position: 45 Parent Album: Off the Record 1976 - Lost Angels Release Date: — Label: RCA UK Chart Position: — Parent Album: Off the Record 1977 - Funk It Up Release Date: — Label: RCA UK Chart Position: — Parent Album: Off the Record 1978 - Love Is Like Oxygen Release Date: January 1978 Label: RCA UK Chart Position: 9 Parent Album: Level Headed 1978 - California Nights Release Date: — Label: RCA UK Chart Position: — Parent Album: Level Headed 1979 - X-Ray Specs Release Date: — Label: Polydor UK Chart Position: — Parent Album: Cut Above the Rest 1980 - The Lollipop Song Release Date: — Label: Polydor UK Chart Position: — Parent Album: Waters Edge 1980 - Give Me the Sunlight Release Date: — Label: Polydor UK Chart Position: — Parent Album: Waters Edge 1986 - Sweet Fanny Adams / The Six Teens (reissue) Release Date: — Label: RCA UK Chart Position: — Parent Album: Non-album single 1990 - Block Buster! (reissue) Release Date: — Label: RCA UK Chart Position: — Parent Album: Non-album single 1993 - The Sweet (reissue) Release Date: — Label: RCA UK Chart Position: — Parent Album: Non-album single 1993 - Rock & Roll Disgrace Release Date: — Label: Receiver UK Chart Position: — Parent Album: Rock & Roll Disgrace – Live in Japan 1994 - Action (reissue) Release Date: — Label: RCA UK Chart Position: — Parent Album: Non-album single 2009 - Heartbreak Today (by Andy Scott's Sweet) Release Date: — Label: Self-released UK Chart Position: — Parent Album: Live! In America

Slade stomp back to Blighty with a silver Christmas banger! one-page article in Record Mirror, December 22, 1973. More Slade festive stomps added weekly.. THERE'S no need to tell you that Slade are back in England because you undoubtably know. Not only have they once again retürned from 'for-eign parts' but they've also come stomping back with a new single that went 'silver' before it was even officially released. 'Merry Xmas Every-body' is in my opinion the best one they've released since Cum On Feel the Noise and I've no doubt that many swinging grandma, let alone a happy bopper, will be leaping about to its strains over the New Year. They just never seem to stop do Slade. They put in more gruelling hours on the road than any other band I know and yet they're always the same. Cheerful, pleasant, and in the nicest possible way a bit loony Wednesday at Top of the Pops was no exception. They'd had two breakdowns on the way down the motor-way due to petrol problem which a certain gentleman insists on telling us there is nothing to worry about(!) and they'd recently returned from an extensive tour of the States and a shorter one of Europe. Don Powell is undoubtably well on the way to a complete recovery and a confirmation of this lies in the fact that he's managed to stand up to ri gours of the last two tours. 'It was my doctor who advised me that the best thing I could do would be to get back into touring again as soon as possible,' he said. I think he thought that this would help me get over the accident mentally which was obviously of prime impor-tance. The only thing was, that before we left, I had to re rehearse the numbers, be cause I found that I'd forgot- ten them. I'm back into the swing of things now though which is a bit of a relief'. Slade's tour of the States looks as though it could be the beginning of the clincher that will finally break them over there in a big way. 'On this tour we were head lining' said Noddy. 'On the whole, the audiences were fantastic and even in places where we hadn't had any kind of record success, news of our reputation seemed to have preceeded us and we had full houses. On average we were playing in halls that seated around six to eight thousand. You see, we think the only way to break through there is to do it gradually. We'll get around to the twenty thou-sand seaters later! Early teen 'Another good thing on this last tour is that the audiences were younger than on the last trip and I think this is a good thing. We're trying to reach the early teen market because this is how we've done it in England. There's still a sprinkling of the over twenties* who come along though and that certainly does no harm. Although their records re-ceived good reviews, their live shows were often panned by the critics and Noddy feels that more often than not the criticism was totally unjusti-fied. 'In Seattle for instance, the chap who came to review us wrote 'Slade fail to rouse audience'. We couldn't be-lieve it. We'd had six encores and the kids were leaping around all over the place. Finally this particular critic had so many complaints from the kids who were there, the he rewrote the thing saying com-pletely the opposite. He sounded a bit bonkers to me. Still, perhaps he was never at the show in the first place. 'It's weird actually because N it seems that only the bad reports have filtered back to England. Its always that way. But quite honestly, the tour went very well indeed. 'The only major changes we did to the act was to cut out the soccer cheers because obviously they mean nothing over there. In fact we cut out a lot of the chat and just concentrated on good solid rocking.' The band are all looking forward to the Xmas holiday. Although the actual time off they'll get is only a week, they spend so little time at home that it must seem like a godsend. Dave for instance has recently bought a new house just outside of Birming ham and at the moment he's planning to throw a party for the rest of the band. 'It'll be sort of a house warming' he explained. 'Be-sides I've recently bought a Great Dane and I need some help to exercise him. I can't believe how quickly he's grow-ing. Each time I come back he's about three feet taller. If I run with him round the garden I take about five steps to his one. On top of that he eats ten pounds worth of food a week. I've got a feeling it would be cheaper to feed an entire family! Actually he's a fantastic dog besides it'll be good exercise for Noddy!' After Xmas of course its back on the road With over-seas tours of Japan, Australia and the States lined up, as well as the release of their new album 'Old New-Borrowed Blue' in February, '74 looks like being yet another success ful year for the group. Mean Be happy for Christmas by Michael Jackson HI RRM READERS, This is Michael Jack-son speaking to you from Los Angeles. A few weeks ago I spoke to Robin along with Jer-maine and Hazel. I had just rushed home from school and as you prob-ably know, we were fooling around a lot when we were talking. We were asked about Christmas, but all of us were in such a funny mood that we couldn't really think about Christmas too serious-ly. So, Reggie said that I would make sure to send you all a Christmas message that would ar-rive in time. Anyway, here goes. On behalf of all of us in the Jackson Five, Merry Christmas We've been very lucky this year and I think that's about the best thing anybody could get for Christmas good luck, and being very healthy. Presents are good too, We also visit nearby hospitals to bring presents to kids who are going to have to spend while its 'Merry Xmas Everybody', of as Noddy might put it 'keep on Roooooockiiiing! but being happy is much more important. We're sorry that we didn't make it to England this year. I hope you don't think that we've forgot-ten you, because it's not like that at all. We had other things we had to do and one of them was schooll We always get asked what we do for Christ-mas. We celebrate it just like you do, except we have a pretty big noisy family. It's the one time of the year when we all gather round a piano and sing, even my mom and La-Toya who's usually too shy to even sing in the bathroom. This year, Hazel's family will be with us, and if Tito's baby makes as much noise as he has already, he'll howl us all out of the room! their holidays in the wards. It's a great ho-nour for us. We don't usually see who's in our audiences, but when you go into a hospital ward, you see everyone. It's the greatest feeling, you know. And you don't have to be in a group to go around cheering up less fortu nate people at Christ-mas. Anyway, that's about all. We'll be back next year, and that's a promise. In the mean-time, keep playing our records, and Merry Christmas from the Jackson Five!!!

The original shock-rockers conquer America! Alice Cooper Group US Billboard Singles Chart Song Debut Date Peak Position Peak Date Weeks Eighteen February 20, 1971 21 April 24, 1971 13 Caught In A Dream June 12, 1971 94 June 26, 1971 3 Under My Wheels December 25, 1971 59 January 29, 1972 8 Be My Lover March 11, 1972 49 April 22, 1972 10 School's Out June 3, 1972 7 July 29, 1972 13 Elected October 7, 1972 26 November 11, 1972 8 Hello Hurray February 3, 1973 35 March 17, 1973 10 No More Mr. Nice Guy April 14, 1973 25 June 2, 1973 12 Billion Dollar Babies August 4, 1973 57 September 1, 1973 6 Teenage Lament '74 December 29, 1973 48 January 26, 1974 8 Eighteen - Entry: February 20, 1971 Peak: 21 Peak Date: April 24, 1971 Weeks on Chart: 13 Caught in a Dream - Entry: June 12, 1971 Peak: 94 Peak Date: June 26, 1971 Weeks on Chart: 3 Under My Wheels - Entry: December 25, 1971 Peak: 59 Peak Date: January 29, 1972 Weeks on Chart: 8 Be My Lover - Entry: March 11, 1972 Peak: 49 Peak Date: April 22, 1972 Weeks on Chart: 10 School's Out - Entry: June 3, 1972 Peak: 7 Peak Date: July 29, 1972 Weeks on Chart: 13 Elected - Entry: October 7, 1972 Peak: 26 Peak Date: November 11, 1972 Weeks on Chart: 8 Hello Hooray - Entry: February 3, 1973 Peak: 35 Peak Date: March 17, 1973 Weeks on Chart: 10 No More Mr. Nice Guy - Entry: April 14, 1973 Peak: 25 Peak Date: June 2, 1973 Weeks on Chart: 12 Billion Dollar Babies - Entry: August 4, 1973 Peak: 57 Peak Date: September 1, 1973 Weeks on Chart: 6 Teenage Lament '74 - Entry: December 29, 1973 Peak: 48 Peak Date: January 26, 1974 Weeks on Chart: 8

Alice’s rehab confessional climbs the charts – from nightmare to introspection! Alice Cooper’s From the Inside , released through Warner Bros. Records in November 1978 (catalog number BSK 3263), entered the UK charts at number 68 on December 23, 1978, and remained on the chart for four weeks. More Alice solo-era chart climbs added weekly.

Bowie’s silver-screen gigolo era begins – the Thin White Duke goes Hollywood! one-page preview in New Musical Express, December 23, 1978. More Bowie film magic added weekly

Alice Cooper unleashes the guillotine – shock rock’s darkest hour begins! one-page advert in Rolling Stone, December 23, 1971. More shock-rock horrors added weekly.

Alice’s emotional ballad climbs the charts – from nightmare to heartbreak! Alice Cooper’s How You Gonna See Me Now, released through Warner Bros. Records in the US in October 1978 as a 7” vinyl single (catalog number WBS 8695), featured “No Tricks” as the B-side. It entered the UK Singles Chart at No. 61 on December 23, 1978, staying for six weeks, and peaked at No. 12 on the US Billboard Hot 100, charting for 16 weeks. Noted in a 1979 Billboard review for its introspective tone, the single from the From the Inside album showcased Cooper’s emotional depth amid his theatrical rock style. Tracklist (7” Vinyl) A1. How You Gonna See Me Now – 3:57 B1. No Tricks – 4:15

Released by the Alice Cooper Group, the album School's Out entered the UK Albums Chart on week commencing July 16 at number 10, remaining on the chart for 20 weeks and peaking at the number 4 place on week commencing September 3. In The US it reached No. 2 on the US Billboard 200 chart and No. 1 on the Canadian RPM 100 Top Albums chart, holding the top position for four weeks. The single “School’s Out” reached No. 7 on the Billboard Hot 100, No. 3 on the Canadian RPM Top Singles Chart and went to No. 1 in the UK Singles Chart. The original album cover (designed by Craig Braun) had the sleeve opening in the manner of a wooden school desk, similar to Thinks: School Stinks, by Hotlegs, released two years earlier. The vinyl record inside was wrapped in a pair of panties, though this was later discontinued as the paper panties were found to be flammable. The actual desk is on display in the Hard Rock Cafe in Las Vegas. UK LP Reissue as original sleeve (no panties) Warner Bros. Records – K 56007 "School's Out" "Luney Tune" "Gutter Cat Vs. The Jets" "Street Fight" "Blue Turk" "My Stars" "Public Animal No. 9" "Alma Mater" "Grande Finale" Produced For – Alive Productions (2) Produced For – Nimbus 9 Productions Published By – Copyright Control Distributed By – WEA Records Ltd. Recorded At – Record Plant, N.Y.C. Recorded At – Alice Cooper Mansion Remixed At – Record Plant, N.Y.C. Remixed At – Alice Cooper Mansion Printed By – CMCS Print & Colour Ltd. Mastered At – Gedmal Galvanic Ltd. Pressed By – RCA Records Pressing Plant, Washington, UK Design Concept [Jacket] – Sound Packaging Corp. Design [Album] – Wilkes & Braun Inc. Engineer [Recording] – Roy Cicala, Shelly Yakus Guitar – Reggie Vincent Mastered By [Vinyl] – Rasin Photography By [Alice] – Roger Prigent Photography By [Desk] – Robert Otter Plated By – Eddy Gorecki Producer – Bob Ezrin Technician [Recording Technician] – Danny Turbeville, Dennis Ferrante, Frank Hubach 1981 Mexican reissue (standard slip-in sleeve) Se Acabó La Escuela Warner Bros. Records – LWB-5095 Track list "School's Out" (Se Acabó la Escuela) "Luney Tune" (Canción para Caricaturas) "Gutter Cat vs. The Jets" (Gato Callejero contra los Jets) "Street Fight" (Pleito Callejero) "Blue Turk" (El Turco Azul) "My Stars" (Mis Estrellas) "Public Animal No. 9" (Animal Público No. 9) "Alma Mater" "Grande Finale" (Gran Final) USA, Canada & Europe 2023 Deluxe Edition, 50th Anniversary Edition Warner Records – R1 681029, Rhino Records (2) – R1 681029 Format: 3x Vinyl LP Remastered Released: Jun 9, 2023 Tracklist Original Album Remastered A1 School's Out 3:30 A2 Luney Tune 3:40 A3 Gutter Cat Vs. The Jets 4:39 A4 Street Fight 0:53 A5 Blue Turk 5:31 B1 My Stars 5:49 B2 Public Animal 9 3:52 B3 Alma Mater 4:25 B4 Grande Finale 4:26 Live in Miami, FL May 27, 1972 (Previously Unissued) C1 Be My Lover 5:32 C2 You Drive Me Nervous 2:22 C3 Yeah, Yeah, Yeah 4:02 C4 I'm Eighteen 5:52 D1 Halo Of Flies 10:12 D2 Dead Babies 6:17 D3 Killer 7:38 E1 Long Way To Go 5:16 E2 School's Out 8:28 E3 Is It My Body 8:02 Studio Extras F1 School's Out (Single Version) 3:32 F2 Gutter Cat (Single Version) 3:49 F3 Alma Mater (Alternate Version) 4:10 F4 Elected (Early Take) (Previously Unissued) 4:18 Lacquer Cut By – Chris Bellman 50th Anniversary Deluxe Edition Book style gatefold packaging Plain black inner sleeves Pays Homage to the Original Packaging, including the legendary Panties! (Non-Flammable this time) Some copies sold online and in independent record shops came with an autographed 12"X12" art card signed by Alice Cooper, Dennis Dunaway, Michael Bruce, and Neal Smith. Art card came packaged loose on the outside of the album, not sealed within or under the shrink film.

Alice Cooper spills the secrets of villainy – magic, theatre, and why heroes are boring! Alice Cooper’s I’m Just a Natural Villain , a two-page feature in Hit Parader magazine, December 1, 1976. The article captures a candid conversation between Cooper and producer Richard Landis (recorded a couple of years earlier after a regular interview), where Alice describes himself as a “natural villain,” explains his aversion to heroism, and shares ideas shaping his evolving stage shows. More Cooper villain confessions added weekly.

Beck’s wild guitar gang smashes the rules – rock’s ultimate vandals! Jeff Beck’s Rock and Roll Vandals , a two-page feature in Rock Scene Magazine, December, 1972. More Beck shred legends added weekly.

Lou Reed's second solo album, Transformer was released in November 1972. Here's an in-depth look at this pivotal work in Reed's career: Background: Post-Velvet Underground: After the disbandment of The Velvet Underground, Lou Reed embarked on a solo career. His first solo album was somewhat underwhelming commercially, but "Transformer" would change his trajectory significantly. Collaboration with Bowie and Ronson: The album was produced by David Bowie and Mick Ronson, who were at the height of their glam rock fame with Ziggy Stardust. This collaboration was crucial in shaping the sound and style of "Transformer." Production and Recording: Venue: Recorded at Trident Studios in London, the production took advantage of Bowie's recent success with glam rock aesthetics, giving Reed's music a new, more accessible sheen. Musical Style: The album combines elements of glam rock, pop, and Reed's characteristic lyrical depth. Ronson's arrangements, including lush string sections, added a layer of sophistication to Reed's often raw songwriting. Key Tracks: "Walk on the Wild Side": Perhaps the album's most famous track, known for its catchy bassline and its candid depiction of the New York City underground scene. It became Reed's only Top 20 hit in the US. "Satellite of Love": A song with an orchestral arrangement, showcasing Reed's ability to blend rock with more traditional pop structures. "Vicious": Starts with a deceptive simplicity, then builds into a rock number that captures Reed's biting wit. "Perfect Day": Later became one of Reed's signature songs, known for its irony and simplicity, offering a contrast to the album's more overt glam rock elements. Themes: Urban Life and Subculture: Reed's lyrics on "Transformer" continue his exploration of urban decay, sexual ambiguity, and the fringes of society, themes he had touched upon with The Velvet Underground but now in a more polished format. Identity and Performance: The influence of Bowie is evident not just musically but thematically, with songs exploring identity, performance, and the fluidity of self. Reception and Impact: Commercial Success: "Transformer" was Reed's commercial breakthrough, reaching No. 13 in the UK charts and No. 29 on the Billboard 200 in the US. This success helped cement Reed's reputation as a major solo artist. Critical Acclaim: The album was well-received by critics, who praised the production, Reed's songwriting, and the fusion of his underground sensibilities with mainstream pop appeal. Legacy: "Transformer" is often cited as one of the defining albums of the glam rock era, influencing a generation of musicians. It's also seen as a key work in Reed's discography, showcasing his unique blend of art and commerce. Later Influence: Cultural Impact: Songs from "Transformer" have been covered extensively by various artists, and "Walk on the Wild Side" remains a cultural touchstone for discussions about the 1970s New York City scene. Reissues: The album has seen numerous reissues, often with bonus tracks like live performances or alternative versions, indicating its lasting significance. Summary: "Transformer" not only marked Lou Reed's commercial peak but also solidified his artistic vision in a way that resonated with a broader audience. Its blend of glam rock glamour with Reed's gritty, poetic songwriting has made it an enduring classic, capturing the zeitgeist of the early '70s while maintaining relevance through its exploration of identity, society, and music.

Bolan revs up for the road – Truck Off tour blasts off! one-page on-tour advert in Melody Maker, December 22, 1973. More T.Rex tour thunder added weekly.

David Essex shines on the cover – the echoey heart-throb gets the star treatment! one-page Music Star, December 22, 1973. More Essex glamour shots added weekly.

Bowie’s funky disco reboot drops – the Thin White Duke gets down again! one-page advert in Melody Maker, December 22, 1979. More Bowie disco gems added weekly.

Bolan’s glam empire expands – Sundown tour blasts across Britain! advert in Melody Maker, December 22, 1972. More T.Rex tour thunder added weekly..

Bowie’s Berlin trilogy finale – Lodger gets the Melody Maker treatment! one-page article in Melody Maker, December 22, 1979. More Bowie Berlin-era insights added weekly

Elton shines on the front page – the piano man in full rocket glory! cover Music Star, December 22, 1973. More Elton cover conquests added weekly.

A Glam-Rock Red Dress Debut Released as a vinyl LP in the UK on December 21, 1974, on Magnet Records. Produced by Peter Shelley with musical direction/arrangements by John Fiddy, this 11-track set featured “Red Dress,” “You You You,” “Tell Me Why,” and “Chilli Willi.” Peaked at No. 37 on the Official Albums Chart for 3 weeks. Issued in standard sleeve, cassette, and 8-track variants. Album Overview Release Details Label: Magnet Records. Formats: Vinyl LP, cassette, 8-track cartridge. Full Track Listing Side A 1. Red Dress 2. Heartbeat 3. Just Love Me Baby 4. Where's She Gone 5. You You You 6. Chilli Willi Side B 1. Jump Down! 2. Shake On Little Roller! 3. Tell Me Why 4. First Train Out 5. Blind Fool UK 1974 Variants (all supplied) LP, Album – Magnet MAG 5004 – UK – 1974 - Cassette, Album – Magnet ZCMAG 5004 – UK – 1974 - 8-Track Cartridge – Magnet Y8MAG 5004 – UK – 1974 Production and Context Produced by Peter Shelley. Engineered by John Hudson (assistant James Guthrie). Glam-pop from the man behind “My Coo Ca Choo.” Singles Released - Red Dress (April 26, 1974) - You You You (August 23, 1974) - Tell Me Why (November 15, 1974) - Chilli Willi (February 21, 1975) Album Chart Performance - UK: 37 (3 weeks) – entry December 21, 1974 Do you have Alvin Stardust in your vinyl stack? Ready to put on your red dress? 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.

Sparks invade teen mags – the Mael brothers’ weird world hits the front page! cover in Mirabelle, December 21, 1974. More Sparks oddities added weekly.

Essex storms the pages – the echoey heart-throb gets the full star treatment! one-page portrait in Music Star, December 21, 1974. More Essex glamour shots added weekly.

Ferry steps out alone – Roxy’s crooner goes suave and sophisticated! Roxy Music’s The Solo Bryan, a four-page article in Hit Parader magazine, December 1, 1976.

The teenage Bolan returns to the studio – four lost gems born the day after Christmas! Marc Bolan teamed up with Jim Economides and Mike Leander to record four tracks as a sequel to “The Wizard” on December 20, 1965. Tracks: “Rings of Fortune,” “A Song for a Soldier,” “Highways,” and “Reality.”

Alice Cooper Group flexes one last group-era punch – the billion-dollar babies go out swinging! one-page advertisement in Rolling Stone magazine, December 20, 1973..

Bolan & John team up for Glam’s ultimate Christmas piano party! T. Rex recorded performances of “Hot Love” (broadcast December 25) and “Get It On” – with special guest Elton John on piano (broadcast December 27) – for the Christmas Top of the Pops specials on December 20, 1971.

Long live the Electric Warrior – Goldmine crowns Bolan forever! Marc Bolan’s The King of Glam: Long Live Marc Bolan , a cover and fourteen-page tribute article in Goldmine, December 20, 1991.

Behind the glam – meet the mums, dads, and siblings of your wildest idols! The loving families of the wild rock stars, six pages in Bravo magazine December 20, 1971 – from Mickey Finn’s mum to Marc Bolan’s parents, the families behind the feather boas and their feedback speak for themselves. Everyone knows them, the big pop giants. Everyone has seen their houses, their cars, their friends, but no one has ever seen their parents. BRAVO introduces them: The loving families of the wild ROCK STARS They earn millions with their music and can afford more than their parents ever dreamed of. Sometimes they achieved this against their parents' wishes, sometimes with their help. Nevertheless, they have become celebrated rock stars. One thing unites them all: They never forgot their loving families... Mickey Finn plays the bongos in T. Rex. For a year now, he has been one of the top earners among pop musicians. His mother, Joseline (45), isn't surprised by this at all. She has known show business for over 20 years. As a singer in London clubs, she always dreamed of a big career, but that wish never came true for her. "For me, the only thing that matters now is that Mickev gets everything- enough," she says proudly. That's why she wholeheartedly supported Mickey when he turned to pop music six years ago. Today, she loves nothing more than polishing Mickey's gold records at his London home on Grosvenor Road Marc Bolan defines the sound of T. Rex. He sings, plays guitar, composes, and writes the lyrics. He's a heartthrob. But for his mother Phyllis Feld, he's still "my little baby." Marc doesn't hold it against her. On the contrary, sometimes he's happy about it. He lets her spoil him then. With his father, Simeon, who works as a truck driver, there are no longer any discussions about his long hair. Marc says, "It's simply part of the job, and with it, I sold over seven million records in one year." This argument convinced his father, Simeon.

T.Rex cover (front and back) and news article, published in Record Mirror on December 25, 1971, discussing rumors of T. Rex potentially launching their own record label in early 1972 under the EMI banner after leaving Fly Records... T. REX may well have their own record label early in 1972. Since the duo flew from Fly, rumous have abounded concerning their future recording plans, and British disc companies have been queueing up with tempting offers. As RM closed for press on the Christmas edition, the most likely prospect seemed to be a deal with EMI. Business rumblings indicated a possible pact with the record giant whereby T. Rex would appear on their own label under the EMI banner. EMI Records deputy managing director Ron White told RM: "We would naturally like to have T. Rex with us, but at the present time there is no signed contract in existence. Offers have been made and negotiations have taken place, but nothing has yet been decided. The ball is now in Marc Bolan's court." Τ. Rex and their manager Tony Secunda were due to return from America last weekend, and a final decision concerning recording plans is expected before the New Year. T. Rex have had a high-selling run of success on the Fly label, with their current single 'Jeepster' consistently threatening Benny Hill's 'Ernie' for the top spot in the chart in recent weeks. Fly Records chief David Platz would make no comment to RM on the question of T. Rex re-signing with the label or on the subject of any material by them still -in "the can" and available for issue. When asked about the present state of his personal terms with Bolan, he said: "We're still good friends." Marc Bolan has donated a track under his own name to a charity album for the Glastonbury benefit. The album, which is designed to aid the huge loss suffered at the Glastonbury festival earlier this year, will feature many bands who played there, some live tracks from the festival and some studio tracks, as in Marc Bolan's case. The song is called 'Sunken Rags' and marks the first time he has released a song under his own name since the days prior to John's Children. The LP, to be released in February, is titled 'When The Sound Of The Music Changes' and other artists being sought for inclusion are David Bowie, Edgar Broughton, Gong, Mighty Baby and the Pink Fairies. It will be released on the specially formed 'Revelation' label. T. Rex will play their first live British date since their autumn tour on January 15 at the Boston Starlight Ballroom, Lincolnshire. Tickets will cost 60p on the door. Following that, the band fly to Europe for TV and concert dates in Germany and Scandanavia.

cover Beat Instrumental Magazine, November 1, 1971.

five-page article, published in Jukebox Magazine  on November 1, 1995, discussing Marc Bolan’s exile in Monte Carlo for tax reasons, the departure of his key collaborator, Bolan’s struggles with alcohol and drugs, the June release of the compilation The Beginning Of Doves  (originally planned as Napoleon Bona-Part One and Two ), and the single featuring "Jasper C. Debussy," "Hippy Gumbo," and "The Perfumed Garden Of Gulliver Smith." Marc had to leave Great Britain for tax reasons and finally settled in Monte Carlo. His friend, to whom we owe the sound of T. Rex, decides to leave, tired of the whims of Marc Bolan who, for his part, has started to drink and take drugs. In June, Track released the compilation "The Beginning Of Doves", which they had already tried to release under the title "Napoleon Bona-Part One and Two", but Marc had opposed it. This compilation brings together demos from 1966/67, recorded under the direction of Simon Napier-Bell. Three phases of Marc Bolan's career shine through: solo (vocals and acoustic guitar), with or for John's Children, and finally with Steve "Peregrine" Took for the debut of Tyrannosaurus Rex. Three songs were taken for a single: "Jasper C. Debussy", "Hippy Gumbo" and "The Perfumed Garden Of Gulliver Smith". THE AMERICAN EXILE In the meantime, Marc Bolan left Monte-Carlo for Los Angeles. With the departure of Tony Visconti, he became his own producer and, at the beginning of July, released the single "Light Of Love", with "Explosive Mouth" on the B-side, taken from the album "Zinc Alloy". A new musician joins T.Rex: Dino Dines (keyboards), who has played with the Beach Boys. "Light Of Love" made a discreet entry into the charts, only reaching 22nd place. From September 26 to October 4, T. Rex begins a tour of the United States, passing through New York, Ohio and St. Petersburg, opening for Three Dog Night. Despite these tours in America, T.Rex did not manage to really impose itself. At the beginning of November, Marc Bolan released "Zip Gun Boogie"/"Space Boss", his new 45 rpm under his own name, but the success was not there, the single only reaching 41st place in the charts. That same month, Music For Pleasure released the compilation "Get It On" by T.Rex. All the great hits are present. In September, EMI released the single "Laser Love", which only reached number 41 on the charts. Miller Anderson replaced Jack Green, who had left for the Pretty Things, and played slide-guitar on the track. However, it is the B-side "Life's An Elevator", a ballad that Marc had not composed for a long time, that attracts attention. We find the simplicity of the acoustic guitars, played by Marc Bolan and Miller Anderson, proof that Bolan remains an incredible songwriter. France, almost secret, in preparation for the British tour scheduled for March. Unfortunately, several dates are cancelled at the last minute. However, the Paris concert was maintained on February 11, but moved from the Bataclan to Nashville. T.Rex starts playing at 1:30 a.m. On 12 February, they performed at the Troarn village hall, near Caen, where they started at midnight after solving sound problems. On the 13th, everyone boarded the ferry from Dieppe to Dover, ending the French tour. These two concerts are the last, and too rare, given by T.Rex in France. Meanwhile, Marc Bolan is finishing his next album, "Dandy In The Underworld", in Hollywood, which has been released. Rex began 1973 with a tour Munich and Vienna, Austria. Marc recorded two tracks, "20th Century Boy" and "Free Angel", in Germany, in the presence of saxophonist Howie Casey and backing vocalists Vicky Brown, Sue & Sunny (of Brothe-rhood Of Man) and Barry St. John. EMI released this single at the beginning of March (3® in the charts) and, three weeks later, the new album, "Tanx" (4*). Produced once again in France, at the Château d'Hérou-ville, and in Copenhagen, this LP, more rock'n'roll, more classic (which includes a poster), is very different from the previous one, "The Slider". Marc Bolan seems to be distancing himself from the glam-rock movement. It is true that he had to face serious competition: Gary Glitter, for example, who in 1973 hit the charts two No. 1s with "I'm The Leader Of The Gang" (in July), "I Love You Love Me Love" (in November) and two No. 2s: "Do You Wan- MARC BOLAN The years 1971/72 were those of a verifiable The years 1971/72 were those of a veritable T.Rexmania in England. But from 1973 onwards, Marc Bolan experienced a slow and steady loss of popularity. Then, carried by the punk wave, Marc Bolan seemed on the verge of returning to the forefront of rock but was killed in a car on September 16, 1977. After the John's Children years (see JBM Nº53) and the T.Rex craze of the early 70s (JBM N°82), here is the continuation of Marc Bolan's fantastic journey with T.Rex. na Touch Me" (in January) and "Hello I'm Back Again" (in April). As for bands, let's mention Slade and Sweet for England and Kiss for the United States. MMarc Bolan probably guesses the artificial side of glam-rock (also called glitter-rock), when glam takes precedence over rock. He expresses it very clearly in "Shock Rock" which appears on "Tanx": "If you know to rock You don't have to shock". In this album, we really discover the fan of Eddie Cochran. Among the most successful tracks are "Rapids", "Country Honey", "Elec-tric Slim & The Factory Hen", "Mad Donna" (presented by a French childish voice) and "Born To Boogie". On 12 March 1973, T.Rex gave a concert in Paris, before going on tour in the Nordic countries (Sweden, Norway, Denmark) with a detour to Switzerland and Belgium. In June, the 45 rpm "The Groover", coupled with "Midnight", recorded in Copenhagen, stayed nine weeks in the charts, reaching number 4. From July 20 to August 8, T.Rex undertakes a series of concerts in the United States. For this new attempt to conquer the (difficult) American public, Marc Bolan hired staff: Jack Green (rhythm guitar) and three female backup singers, including Gloria Jones, a black American singer and songwriter. She is the creator of "Tainted Love", which the English techno-pop duo Soft Cell (Marc Almond and David Ball) covered in 1982 (No. 1 in the charts). BIG CARROT In August, EMI released a curious 45 rpm record by Marc Bolan under the name Big Carrot. It contains two instrumentals titled "Black Jack" (with a very short vocal chorus) and "Squint Eyed Mangle", which rely on Bolan's guitar and backing vocals by Gloria Jones, Pat Hall, and Stephanie Spurill. It did not enter the hit parade and is now a highly sought-after collector's item. September sees the first compilation released by T.Rex Wax Company, "Great Hits", which brings together the songs of the singles released in 1972 and 1973, plus "The Slider" (from the LP "The Sli-der") and "Shock Rock" (from "Tanx"). T.Rex is back on the road, in Japan from October 3 to 18, and in Australia from November 3 to 10. In mid-November, Marc released a new 45 rpm single, "Truck On (Tyke)"/"Sitting Here", recorded in Germany.

A T. Rex Brighton Boogie Blitz Published in the UK on December 12, 1970, Melody Maker’s page 40 full-page advert “BIG APPLE” announced T. Rex’s first England appearance since shortening the name — co-headlining with Pink Floyd and Status Quo at the Regent Theatre Concert Hall (Big Apple), Brighton on Friday, December 19, 1970 (advance 25/-). The ad also listed upcoming shows including East Of Eden (Christmas Eve) and Groundhogs (New Year’s Eve). A rare snapshot of peak T. Rextasy meeting prog. Advert Overview Publication Details Magazine: Melody Maker (UK). Date: December 12, 1970. Format: Full-page venue advert (page 40). Exact Text from the Advert BIG APPLE OFF NORTH ST., BRIGHTON Brighton (0273) 29990 (Regent Theatre Concert Hall) 2 mins. Brighton Station Friday, 11th Dec. (advance tickets 25/-) First appearance in England of PINK FLOYD T. REX + STATUS Send s.a.e. and P.O. to: BIG APPLE, QUEEN’S ROAD, BRIGHTON Saturday, 19th Dec. (advance tickets 12/6) UMA Lights Advance tickets from: BRIGHTON – Regent Theatre, Queen’s Road · Expansion Records, 40 Middle St. HASTINGS – The Disc Jockey, 2 Queen’s Road EASTBOURNE – Central Radio, 15 Langley Road LEWES – Tansley & Cooke, 170 High St. PORTSMOUTH – Expansion Records, 1.24 Elm Grove WORTHING – Tansley & Cooke & Mansfield 10 Liverpool Road LITTLEHAMPTON – Nova, 9 Surrey Street CRAWLEY – Music Shop, 38 High Street CHICHESTER – Guy’s, 1 North Street CROYDON – Record Centre, St. George’s Walk REDHILL – Record Centre, 2 Central Parade 5 London Road Thursday, 24th Dec. (Christmas Eve) EAST OF EDEN Thursday, 31st Dec. (New Year’s Eve) GROUNDHOGS Bar Extension Both nights 12.30 Legacy and Collectibility “The Big Apple” advert is a legendary T. Rex/Pink Floyd co-headline moment — early glam meets prog. Original December 12, 1970 Melody Maker issues fetch £40–£100 on eBay (higher if mint). A must-have for T. Rex and ’70s gig collectors. Do you have this Melody Maker advert in your archive? Were you at the Big Apple boogie? Share in the comments!

NME crowns Tyrannosaurus Rex the final kings of the underground – just before the glam explosion! one-page article in New Musical Express, December 19, 1970. More pre-glam Bolan whispers added weekly.

Bolan brings the boogie to Christmas TV – glam’s festive finale! T. Rex performed a short three-song set at the Christmas Supersonic, which was held at The Royal Theatre, Drury Lane, London, on December 19, 1976. The songs played included “I Love To Boogie,” “The Soul Of My Suit,” and “New York City” (with only “New York City” being broadcast) on Christmas Day 1976. More Bolan festive magic added weekly

Alice battles the disco era – can shock rock still scare the kids? Circus Magazine Cover & Four-Page Feature, December 19, 1978. More Alice comeback chaos added weekly.

Bolan’s cosmic boogie masterpiece – Circus asks: dashed off or pure glam genius? one-page review in Circus Magazine, November 1, 1972.

Partridge heart-throb pens his own teen confessions – Cassidy opens up! Fabulous 208 Magazine, December 18, 1971.

T.Rex’s The Almighty Power of a Hit Record article by Rob Partrido, published in Record Mirror on December 5, 1970, discussing Marc Bolan preparing for his second Top of the Pops appearance and the power of a hit record. MARC Bolan was preparing for his second appearance on 'Top Of The Pops'. The almighty power of a hit record; it was only the third time T. Rex have ever been on television and the first occasion was only a Sunday religious programme two years ago. The T. Rex 'Top Of The Pops' dressing room was next to Peter Noone And Herman's Hermits. Further down the corridor was Gilbert O'Sullivan. A strange combination. Commented Marc: "I'm really very pleased with being on 'Top Of The Pops' it's the only show there is. ''You must remember, of course, that among the more debatable musical content in the programme, there's always been some good music Hendrix and Cream have appeared on the show, for instance. "And on our tour, the audience recognised 'Ride A White Swan' instantly; they seemed to be pleased for us that we've got a hit record there was certainly no 'selling out' thing going on." It's not the first T. Rex single, of course, they've released four others during the past few years two of them almost becoming hits, 'Deborah' and 'One Inch Rock'. How important are singles to a duo like T. Rex? "What we want from singles is the opportunity to work much faster," said Marc, "The gap between albums is so long, that singles are a good way to keep yourself working. I want to fill up my lifetime with as many good things as possible. "We always had two directions. One was with albums and the other singles and by singles, I don't mean merely a track from an album. We're just trying to blend the two together. "With 'White Swan', I wrote the song overnight. There's no intention of any serious overtones to it. But once I'd wrote it, I had a feeling that it could become a hit. I've never felt that way since 'One Inch Rock'. "There's a certain force you can tune into I'm sure, and come up with a hit record every time. The Beatles always did it and so did Creedence, although they seem to be wearing a bit thin these days. "But when you listened to Beatles single for the first time, you knew it had something that made it a hit. That's singles for me, the rest are just showbiz." With a Top Ten single, the usual problem concerns the follow-up record. "We're going into the recording studios soon and we'll come up with something I'm sure. It's challenging. I've never a been in the position of trying to find follow-up before, although whatever we produce it won't be 'Ride A White Swan' part 2. "The B side will be five songs called The Electric Warrior' lasting about ten minutes or so. I want to get as much material out as possible. I can't wait another year for a new album." Meanwhile, the duo have just finished a 20 gig tour of Britain with the top admission prices at a maximum of ten shillings at Marc's request. The tour undoubtedly helped to sell the single, and established the group with an identity. The group have also imported a bass player, Steve Currie, who helped them out on some of the numbers. "The sound's much fuller with him. There's not so much strain for Micky and myself. With a bass player I can now ease up, and play guitar without worrying and the depth." U.S. tour But there's still one more objective for the group to gain. "There's a feeling that you're only ever big when you've made it in the States. So that's the next big thing we're trying. "It's a five week tour with the Who. I respect Pete Townshend a lot -he's a gas. So there shouldn't be any troubles there. We're an unknown quantity over there. If we happen in America then we've made it. The last time we were there the response was very good so I think we can wipe them out. Or we can die the death." Next week we have the new T. Rex album called "T. Rex', their first all-electric album. "Its been completed for some time, now I've planned out the next album in my head."

Bowie drops the punk bombshell – “there’s old wave, there’s new wave… and there’s David Bowie”! There's Old Wave, There's New Wave..., a one-page article in New Musical Express, 1977.

Slade’s raucous goodbye storms to #2 – glam’s working-class heroes denied the top spot! Slade’s Gudbuy T’ Jane  rises one spot to reach its peak at number 2 on the BBC Singles Chart this week, December 16, 1972. The track went on to spend a total of 13 weeks on the chart.

The Jean Genie storms the charts – RCA celebrates their returning superstar! David Bowie’s The Jean Genie , a one-page advert in Scrapbook, December 16, 1972. Bowie's current Hit Single "THE JEAN GENIE" RСA Records and Tapes Mel Bush presents David Bowie at Dec 24 Rainbow Theatre, London Dec 28 Manchester, Hardrock Jan 5 Green's Playhouse, Glasgow (Matinee & Evening) Jan 6 Empire Theatre, Edinburgh Jan 7 Newcastle City Hall Jan 9 Preston Guild Hall Promoted by Mike O'Shea

T. REX Strictly speaking, the story begins more than 65 million years ago. It was during the Cretaceous period that the over fourteen-meter-long dinosaur Tyrannosaurus ruled the Earth as the largest living creature. One thousand nine hundred and sixty-seven years after the Common Era, a certain Marc Bolan remembered this prehistoric creature and, together with Steve Peregrin Took, founded a small group with a mammoth name: Tyrannosaurus Rex. Marc Bolan, born on July 30, 1947, in the London borough of Hackny, received a Gibson guitar as a gift from his father when he was nine years old. And Marc sat down and played the instrument, which was as old as he was. But Marc wasn't only interested in his guitar; he began writing poetry even then, and at fourteen he sat down to write his first book. It was supposed to be an autobiography, but Marc only got to page 102. He gave it up and "stood there like a stupid boy, without plans, without a goal," as he recalls today Marc left school, hitchhiked to France, and joined a magician with whom he stayed for almost a year. In 1965, he returned to England, played bass guitar in a band, and tried his luck with demo tapes, which he used to audition for various record companies. Bolan's first single was 'The Wizard', the story of his meeting with the magician. Although only about two hundred copies of the When his record found a buyer, Marc got an appearance on the English television show 'Ready Steady Go' through friends. But nothing came of it. It wasn't until 1967 that his second record, 'Hippy Gumbo', was released, and shortly afterwards he played lead guitar for John's Children—a job that was actually intended for Pete Townshend, who ultimately preferred to stay with The Who. Marc stayed with John's Children for three months, composed the song 'Desdemona', and then left. He met drummer Steve Took and founded Tyrannosaurus Rex. Marc composed, wrote lyrics, sang, and played guitar. And since Steve particularly enjoyed playing bongos, hand drum, and the sitar, the duo's music was heavily influenced by Far Eastern stylistic elements. Marc and Steve played in smaller clubs or even for free in Hyde Park, and despite several LPs, Tyrannosaurus Rex remained relatively unknown At the end of 1969, after a less than overwhelming American tour, Steve had had enough and left: Marc had to find a new bandmate. But nobody wanted to step in. Marc almost sold his guitar when he met Mickey Finn just in time. Marc and Mickey hit it off immediately and after only a few days began practicing together in the solitude of the Welsh mountains. Mickey plays tabla, congas, bongos, finger cymbals, bass guitar, and Moroccan jaw harp, and once again this distinctive sound emerged, emphasizing the exotic rhythms of Far Eastern instruments and the melody primarily carried by Marc's exceptional vocals. Marc and Mickey played together for just under a year, and T. Rex, as the two now called themselves, achieved widespread recognition with the single 'Ride A White Swan'. 'Hot Love', the following T. Rex album, It reached number 1 in the British Top Ten just two weeks after its release. Marc and Mickey had done it. But Marc wasn't satisfied yet: the sound of T. Rex needed to be denser. Marc, who had already microscopically reduced the monstrous name of the small group Tyrannosaurus Rex, now envisioned an expanded lineup with the shortened name T. Rex: drummer Bill Fyfield and bassist Steve Currie were hired. And for the third time within a year, a T. Rex single reached the top of the British charts – < was the slogan. Marc Bolan has been constantly taking on new projects. He wants to set the poems from his collection 'The Children Of Rarn' to music and release them on an LP. Marc in an interview with Pop: "Since I've always written poetry, I naturally place particular emphasis on the lyrics of a song- des. But just as in poetry the expressiveness depends essentially on the pronunciation and emphasis of the words, in music great importance must be attached to the vocals and instrumental accompaniment as carriers of the text. Everyone knows that music can often express more than many words. And so rock music is increasingly developing into onomatopoeia, into an almost Dadaist soundscape.>> For 24-year-old Marc, music is a phenomenon: "It's very important to recognize," he says, "that music is a very important medium. Music relates to our whole lives, constantly comes into contact with them. I get up in the morning and put on music, move to music, make love to music. And if I go to the cinema and the film doesn't have good musical accompaniment, I don't like the whole film.">>>

Mott chase Bowie’s Spider – Ronson to the rescue? Mott The Hoople’s Mott Moves For Ronson , a one-page feature in Circus Magazine, December 1, 1974.

Bowie’s golden years in one glorious stack – from Space Oddity to Lodger! David Bowie’s Back Catalogue - One Man in His Time Plays Many Parts, a three-page advert in Melody Maker, December 16, 1978.