JULY 1, 1989 - David Bowie, in his latest guise as a member of rock band Tin Machine, kicked up a storm onstage at a packed Newport Centre.

The gig was one of just a handful in the UK in support of the band's self-titled debut album.

Despite a couple of lacklustre and poorly received albums in the mid-1980s - in the wake of the huge success of 1983's Let's Dance - Bowie remained one of rock music's most charismatic and popular performers.

His seemingly undiminished pulling power was evidenced by the round-the-block queue and overnight vigils at the Newport Centre weeks earlier, ahead of tickets for the Tin Machine show - available only in person at the box office - going on sale.

Among the hundreds of Bowie fans-turned-campers who bedded down in that queue was Andy Jones, whose determination to go the extra mile for the opportunity to see his hero in the flesh, was rewarded with two tickets.

Several weeks later, Mr Jones was back in Newport for the gig itself, among a crowd of fans at barriers erected outside the venue.

Fans watched in wonder and disbelief as Bowie, following his bandmates Reeves Gabrels, Tony Fox Sales and Hunt Sales, disembarked from a van and strode to the entrance smiling and waving.

Ahead was an 80-minute show in a venue far more intimate than this global superstar would usually perform in.

Mr Jones, who lives in Weston-super-Mare, relates this story in more detail in the latest edition of a fanzine - David Bowie: Glamour - he helped set up and which, just three issues in, has taken on a thrilling life of its own.

The South Wales Argus was amid the Bowie-adoring hordes at the Newport Centre too that night. Twenty-nine years ago this summer, the newspaper was the only media outlet authorised to take photographs of the performance.

A double page spread of those images appeared in the July 2 edition, but many have not seen the light of day since.

Until now. Mr Jones, who edits David Bowie: Glamour with fellow contributor Nick Smart, has included several Argus photographs of Tin Machine's Newport performance in issue three.

They illustrate both Mr Jones' memories of the event, and Mr Smart's interview with the band's bass player Tony Sales.

A labour of considerable love, David Bowie: Glamour is technically a fanzine - a magazine for fans, compiled by fans.

However, its high production values with a premium put on design and artwork, lift it leagues above the type of publication one might normally associate with such a term.

David Bowie fans clearly think so too. Issues one and two, which were published last year, are sold out, and the 66-page issue three is also flying off the proverbial shelves.

"When we were thinking about doing this, we had no idea how it would take off," said Mr Jones, who began pondering the idea of a David Bowie fanzine on his retirement from the civil service.

"With the first issue, we thought we might sell 30. We sold 410 in 24 hours. It was unbelievable.

"A copy of issue one went for £108 on eBay last week. That's ridiculous - and there are a couple of others up there for auction now.

"I'm a collector of Bowie memorabilia and the fanzine was going to be about collecting this stuff. But since then, people have contacted us to ask if they could contribute.

"That includes people like Mike Garson (pianist and long-time Bowie collaborator). It's amazing really.

"Iman (Bowie's widow - they were married for more than 20 years) has mentioned us on Instagram and Facebook too, and we have sent her some copies of issue three."

The fanzine has also earned a 'shout-out' on the official Bowie website (www.davidbowie.com).

"Milky Cereal (otherwise known as Chris Jones) designs David Bowie: Glamour, and the cover art is by Helen Green , and they both do fantastic work," said Mr Jones.

Issue three was published last month and has so far reached buyers in 34 countries across the world, bringing the Argus' images of that night in Newport in July 1989 to a new and varied audience.

Tin Machine, after the global success of a self-titled debut album in 1989, disintegrated after a patchy follow-up two years later.

The project nevertheless helped reboot Bowie for a run of solo records - displaying a fine balance of the experimental and the commercial - through the 1990s and early 2000s.

"I remember buying a contact sheet and copies of the Argus photographs afterwards," said Mr Jones.

"I'm really pleased that we've been able to use some of them in our latest issue.

"We've got about 50 copies of issue three left. We're going to take a bit of a break now, but we've got plans for a fourth issue."

For more information on David Bowie: Glamour, visit https://davidbowieglamour.wordpress.com