I haven’t had it confirmed – nor seen this in any music history – but I believe this line ad to have been placed by Jerry Nolan three years before he replaced Billy Murcia as the drummer in the New York Dolls.
It appeared in the June 14, 1969 edition of Rolling Stone, the “first British issue” of the magazine produced in collaboration with newly recruited staff in London.
Last week I recovered this from the back pocket of a pair of trousers; a page torn from a copy of Mojo found on the tube a few months back.
Just came across this card from one of my heroines, Caroline Coon.
This portrait of David Bowie was taken by Kate Simon at Olympic recording studios in Barnes, west London, on January 14, 1974.
Simon’s photograph captures a man on the cusp; furiously occupied in the studio, Bowie was tying up loose ends ahead of his departure for America 10 weeks later. He hasn’t lived in Britain since.
Three days before this was taken, Bowie’s production job on Lulu’s version of The Man Who Sold The World was released as a single. Applying himself to finishing Diamond Dogs, Bowie also recorded such eventually unreleased tracks as Take It Right (to become Right, a “plastic soul” anthem on Young Americans) and a try-out of Bruce Springsteen’s Growin’ Up.
Sessions with vocal trio The Astronettes – including paramour Ava Cherry – had proved inconclusive, though an olive branch recently extended to erstwhile producer Tony Visconti soon bore fruit in the form of renewed collaboration.
A month after the shot was taken, Rebel Rebel was released ahead of the marathon US touring schedule over 1974/5 which marked the severing of business relations with Tony Defries and the faltering of his marriage to Angie.
I wanted to talk to Simon about the stories behind this image and others which deliver an emotional charge yet retain the reportage stance of the cool documentarist.
As explored in In Their Own Write, the most important creative in the development of British print media in the latter half of the 20th Century was Nick Logan. Arguably his greatest contribution was via the launch of The Face in 1980.
This year-end review – “123 things to remember 1980 by” – was featured in issue 9, published 30 years ago.
Adopting the technique applied at Harpers & Queen by the magazine’s poster boy Peter York – who appears in this issue in three separate articles due to the recent publication of his tone-setting Style Wars – The 1980 Face Show inaugurated the lifestyle list-culture which dominates global media to this day.
It’s as fascinating for who it promulgated – who can remember the name of Bad Manners’ lead singer now? – as for that which it found hard to define.
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