Posts Tagged ‘Marc Bolan’

“Something was definitely happening,” said Tony Visconti. “We knew we were getting closer to what we wanted.” The American-born producer was talking about A Beard Of Stars, the album that paved the way for the “Bolanmania” of the early 1970s. The final LP released by Marc Bolan and his band as Tyrannosaurus Rex before they transmuted into T. Rex, it came out on 13th March 1970.

The album was the follow-up to 1969’s Unicorn, after which Bolan took the bold and decisive step of firing musical partner Steve Peregrin Took. His voice was already on some of the new material Visconti had recorded, so the producer had to replace it with new vocals by Bolan. Meanwhile, Took’s successor, Mickey Finn, started to be integrated into the band. Even if Visconti would find him to be less versatile than his predecessor, his good looks were a help, and he played percussion.

In his autobiography, Bowie, Bolan and the Brooklyn Boy, Visconti wrote: “The album was made in a really good atmosphere, helped no end by Finn’s positive spirit, which all led to the sessions being very creative and experimental.” A Beard Of Stars was also the album on which Marc Bolan went electric, playing Visconti’s guitar just before buying his own Fender White Stratocaster.

“A combination of Marc’s growing proficiency on rock guitar and my engineering chops getting better helped the duo sound more aggressive,” remembered Visconti. One single was released from the album, ‘By The Light Of A Magical Moon’; it missed the UK charts, but the album debuted and peaked at No. 21 and totalled six weeks on the bestsellers. It was clear that Marc Bolan was ready to become the pop star figurehead and idol he soon turned into.

“A Beard of Stars” was the fourth studio album by English psychedelic folk band Tyrannosaurus Rex, and their last before changing their name to T. Rex. It was released on 13th March 1970 by record label Regal Zonophone.

Tracklist 1. “Prelude” 1:04 2. “A Day Laye” 1:56 3. “Woodland Bop” 1:39 4. “Fist Heart Mighty Dawn Dart” 2:45 5. “Pavilions of Sun” 2:49 6. “Organ Blues” 2:47 7. “By the Light of a Magical Moon” 2:51 8. “Wind Cheetah” 2:38 9. “A Beard of Stars” 1:37 10. “Great Horse” 1:42 11. “Dragon’s Ear” 2:37 12. “Lofty Skies” 2:54 13. “Dove” 2:06 14. “Elemental Child” 5:33


At the start of their career Tyrannosaurus Rex had no recording contract but Peel promoted them energetically, mentioning them frequently on air and taking them with him to his gigs in 1967 and 1968. Top Gear’s first producer Bernie Andrews disliked them, but they were booked for a first session on the programme on Peel’s insistence. In late 1967, Track Records rejected some early Tyrannosaurus Rex recordings as “too uncommercial”, causing Peel to express his frustration and to fantasise about issuing a 4 LP set by them on a label of his own which would be called Dandelion Records.But eventually they signed with Regal Zonophone and Peel contributed sleevenotes to their first LP, also reading a fairy story by Bolan at the end of its final track. Bolan became a close friend of Peel and Sheila, but this relationship ended after Bolan became a chart-topping teen idol in 1970-71.

The complete session recorded by T. Rex on 26th October 1970 for John Peel on the Top Gear show on BBC Radio 1 and broadcast on 7th November 1970.


1. Ride A White Swan (0:07) 2. Jewel (2:10) 3. Elemental Child (5:41) 4. Sun Eye (13:24)

T Rex The Slider.jpg

The Slider is the seventh studio album by the glam rock band T.Rex , released on 21st July 1972 by record label EMI . Two singles,Telegram Sam” and “Metal Guru, were released to promote the album.  Bolan described the song “Metal Guru” as a “festival of life song”, and that he related “Metal Guru” to “all gods around… someone special, a godhead. I thought how god would be, he’d be all alone without a telephone” were released to promote the album. The album notes credit Ringo Starr with the front and back cover photographs. The photographs were taken the same day that Starr was filming the T. Rex documentary “Born To Boogie” on John Lennon’s estate, Tittenhurst Park .  The two singles “Telegram Sam” which was released January 1972 and charted in the UK for twelve weeks and peaked at number 1.  The second single was “Metal Guru” which was released in May 1972 and charted in the United Kingdom for fourteen weeks and peaking at number 1 too.

On New Year’s Day in 1972: Marc Bolan signed a deal with EMI Records to release albums in the UK on his own ‘T. Rex Wax Co.‘ label; the first album to be issued under the arrangement came in July, with ‘The Slider’ (reissued in Nov. 2012 as a 40th anniversary deluxe box set edition

I love The Slider but I will be the first to admit that “Buick MacKane” was not the most exciting track for me on that album. However, this live performance of “Buick MacKane” from Musikladen is just so good .  I’ve never seen Marc Bolan rock so hard! I’m thinking it’s because there’s no glossy Tony Visconti production to get in the way of that gorgeous loud Orange Cab speaker – now that’s what a Gold Top Les Paul should sound like! He almost reminds me a little of the sound of Black Sabbaths Tony Iommi . The band featuring Bill Legend, Mickey Finn, and Steve Currie are solid – this is peak Marc and T. Rex, right here!

“Buick MacKane” Live on Musikladen February 14th, 1973 , Musikladen was a German music TV series that aired from 1972 to 1984. There are tons of excellent clips from the show on YouTube.

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Marc Bolan and T Rex live for Record Store Day 2017

A live Marc Bolan and T.Rex album was never released during Marc’s lifetime. He claimed that he felt it unfair to expect fans to buy the same material more than once, and a multitude of contractual problems also kept his hands tied. This has often been due to the quality of the source tapes , a problem that has been largely unavoidable.

For this first release on vinyl the sound has been cleaned up as far as is possible without altering what was recorded. The 1977 ‘Dandy In The Underworld’ tour, which featured The Damned as the support, was Marc Bolan’s most successful since 1972, receiving widespread acclaim from previously hostile critics, and earning Bolan a whole new credibility amongst the burgeoning punk audience. It is from this final tour that these recordings are taken.

Despite extensive research over many years, a tape of the final three songs from The Rainbow has remained elusive. In order to present as complete a document of the final T.Rex tour as is possible, we have used recordings of the three missing Rainbow songs from the last date of the “Dandy In The Underworld” tour, Portsmouth Locarno on 20th March 1977.

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A live Marc Bolan and T.Rex album was never released during Marc’s lifetime. He claimed that he felt it unfair to expect fans to buy the same material more than once, and a multitude of contractual problems also kept his hands tied. This has often been due to the quality of the source tapes – a problem that has been largely unavoidable. For this first release on vinyl the sound has been cleaned up as far as is possible without altering what was recorded.

The 1977 ‘Dandy In The Underworld’ tour, which featured The Damned as the support, was Marc Bolan’s most successful since 1972, receiving widespread acclaim from previously hostile critics, and earning Bolan a whole new credibility amongst the burgeoning punk audience. It is from this final tour that these recordings are taken. On 18th March 1977, Marc Bolan and the latest incarnation of T.Rex brought their successful Spring tour to the Rainbow Theatre in north London. As the band crashed out the opening bars to “Jeepster”, few in the packed auditorium could have known that Bolan’s wheel had come full circle. As a boy in the 1950s he had visited this same building – used then as a cinema, the Finsbury Park Astoria – in the company of his older brother Harry Feld to see the movie “Jailhouse Rock”.

Despite extensive research over many years, a tape of the final three songs from The Rainbow has remained elusive. In order to present as complete a document of the final T.Rex tour as is possible, we have used recordings of the three missing Rainbow songs from the last date of the “Dandy In The Underworld” tour, Portsmouth Locarno on 20th March 1977. Whilst the Locarno tape suffers several faults, the songs included here feature the historic final UK performance of “Get It On”, with T.Rex joined on stage by The Damned.
Limited to just 2000! units.


LP 1: Jeepster / Visions Of Domino / New York City / Soul Of My Suit / Groove A Little / Telegram Sam / Hang Ups
LP 2: Debora / I Love To Boogie / Teen Riot Structure / Dandy In The Underworld / Hot Love / Get It On [with The Damned]

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Recorded at the Progressive Rock Festival at The Sport Halle Koln 4th April 1970 on 1/4″ tape. Marc Bolan Guitar/ Vox & Mickey Finn Percussion. Newly discovered reels of tape produced this rare and outstanding live unreleased performance by Marc Bolan & Mickey Finn in the last few weeks of their Tyrannosaurus Rex incarnation before becoming simply T.Rex. The CD comes in card gatefold sleeve with liner notes by Bolan Society main man Andrew Gardner and packed full of information about the festival and also what was going on with Marc & Mickey at that time. The booklet also includes unseen photos. With a cover designed by Les Clark. Recorded one month after the final Tyrannosaurus Rex LP release Beard of Stars. Tracks from that album included are: Pavilions of Sun, By The Light of the Magical Moon, Organ Blues. All royalties go towards The Marc Bolan School of Music / Light of Love Foundation.


1. Hot Rod Mama 2. Debora 3. Pavilions of Sun 4. One Inch Rock 5. By The Light of the Magical Moon 6. Jewel 7. Organ Blues 8. Summertime Blues

1 T-Rex, Hot Love February 1971

Marc Bolan’s third huge hit in a row, No 1 for four weeks. His Top of the Pops performance showed him going truly imperial, with flying-V guitar, pink trousers, silver jacket and, prompted by his friend and colleague Chelita Secunda, glitter on his cheekbones.

2 David Bowie, Queen Bitch December 1971

“There should be some real unabashed prostitution in this business,” Bowie told Cream magazine in late 1971. He did his best to make it happen with this Velvet Underground tribute, saturated in homosexuality and Manhattan sleaze. Mick Ronson’s guitar slices through everything.

3 Alice Cooper, School’s Out April 1972

From Detroit by way of LA, these hard rockers had been wearing makeup and frocks since 1969, so were well-suited to the glam imperative. School’s Out was a definitive entrant in the teenage rampage stakes and scored hard with the kids, hitting No 1 for three weeks in the summer holidays.

4 Roxy Music, Virginia Plain August 1972

With Bryan Ferry’s ultra-stylised performance and Eno’s other wordly synth shrieks, this one definitely arrived from Planet Mars in the late summer of 1972. Chock-full of pop art and pop culture references, Virginia Plain was nothing less than a manifesto for a new age: “So me and you, just we two, got to search for something new.”

5 Mott The Hoople, All the Young Dudes July 1972

Bowie may have provided the raw material, but Mott gave the definitive performance of this generation-defining song, with its sneering reference to the Beatles and the Stones. The musicians curled and uncurled around Ian Hunter’s snarling voice: “Oh is there concrete all around/ Or is it in my head.”

6 Lou Reed, Vicious November 1972

Another Bowie production, and another career revival. Vicious begins Reed’s second solo album in exactly the way that you would wish, with the poet laureate of Manhattan spitting out the Warhol inspired lyrics – “Vicious: you hit me with a flower” – while Mick Ronson, cutting through everything, embodies the song’s threat.

7 David Bowie, The Jean Genie November 1972

Bowie reached back to his 60s R&B days with this one, based on the old I’m a Man riff but updated with Ronson’s buzzing guitar, burlesque rhythms, gay double entendres – his by-now patented patch. The band did a fantastic Top of the Pops performance, recently rediscovered.

8 Slade, Cum On Feel the Noize February 1973

This was their fourth No 1 in 18 months, which gave guitarist Dave Hill an excuse – as if he needed it – to wear ever more outrageous outfits on Top of the Pops. An anthemic chorus and a lyric that’s a direct invitation “to get wild, wild, wild”.

9 Roxy Music, Editions of You March 1973

“For Your Pleasure” – with model and singer Amanda Lear on the cover – is one of the period’s few coherent albums, and this 120mph rocker is one of its hidden pleasures: a camp-saturated male bonding song, featuring ooohs, sirens, and the immortal line, “boys will be boys will be boyoyoys”.

10 Bonnie St Claire, Clap Your Hands and Stamp Your Feet May 1973

With its stomping tunes and rock’n’roll roots, glam was huge on the continent – blending, as it would, into Europop – and this is a great entrant from Holland, featuring Beach-Boys’ style backing vocals, terrace handclaps, and of course the ever-present Chuck Berry riffs.

11 T-Rex, 20th Century Boy May 1973

It could have been any of the four top-two hits that T-Rex had in 1972 – particularly Metal Guru – but this was the toughest of them all: a furious rocker with a heroic riff that showed, plain for all to see, just how well Bolan understood the nature of pop fame – 20th century toy, I wanna be your boy.

12 Iggy and the Stooges, Search and Destroy June 1973

Iggy wore silver, the Stooges were produced by David Bowie, the record sounded glam – all treble tones and slicing guitar – but Search and Destroy, like its parent album Raw Power, went much further and deeper than hardly anyone wished in 1973. Three years later, it would find its time.

13 New York Dolls, Trash July 1973

Simultaneously ludicrous and tough, sloppy and hard, vicious and tender – just listen to those soaring, girl-group harmonies – Trash was, along with Jet Boy, the Dolls‘ big pop move. It being 1973, of course, there could only have been one question: “Uh, how do you call your lover boy?” In the US, they didn’t answer.

14 The Sweet, The Ballroom Blitz September 1973

The Sweet were on a roll after Blockbuster and this may well be the archetypal glam song: teenage hysteria – check; camp interjections and beyond over the top TV costumes – check; a stomping beat, tough guitar riffs and a fey vocal – check. Unstoppable and still thrilling: the contrived becomes real.

15 Mud, Dyna-Mite October 1973

Written by the Sweet svengalis, Nicky Chinn and Mike Chapman, “Dyna-Mite” stays firmly within the ballroom – glam’s central location – during this relentless stomper. Mud yocked it up on Top of the Pops with ludicrous flares and a spot of aceing – the biker’s dance, shoulder to shoulder – and the future Sex Pistols were listening.

16 Suzi Quatro, Devil Gate Drive January 1974

Quatro had gold-plated garage credentials – her first band, the Pleasure Seekers, had recorded What a Way to Die in 1966 – and this, her fourth hit (No 1 for two weeks), mixes rock’n’roll with a hint of the Burundi beat, while continuing the explosive club/ballroom theme of the time with a hint of autobiography.

17 Sparks, This Town Ain’t Big Enough for Both of Us April 1974

Sparks were the late great glam flash: tricky, artificial, super-hooky and high-concept, with a hard rocking band and definitive high gloss sleeves. They took a song with the lyric “you hear the thunder of stampeding rhinos, elephants and tacky tigers” all the way to No 2, and made it seem natural.

18 David Bowie, Rebel Rebel US version May 1974

Bowie’s goodbye to the youth movement he had helped to form – “You’ve got your mother in a whirl, because she’s not sure whether you’re a boy or a girl” – and his last top 10 hit for 18 months. This US mix has dreamy backwards harmonies, extra percussion and phased guitar.

19 Iron, Virgin Rebels Rule June 1974

Almost all the great glam records were hits, but this is one of the best that wasn’t: an abrasive slice of Sweetarama from a Scottish band, who toughened up the teenage-rampage meme while wearing Clockwork Orange-inspired costumes. The singer had a padlock on his crotch with the legend: “No Entry.”

20 Sweet, The Sixteens July 1974

A four-minute mini-opera on the theme of failed youth revolution, and a summer top-10 hit, this shows the renamed group – having lost the definite article – rising to the song’s complex structure with a totally convincing performance. The Sixteens is a classic of teen disillusionment, at the point of glam’s supersession.

T.Rex (The Brown Album) is released in the UK. the fifth studio album by English Glam Rock band T. Rex and the first released under that name since changing their name from Tyrannosaurus Rex. Released by record labels FlyRecords in the Uk and Reprise in the USA. Although the album was credited to T. Rex, all the recordings (as well as the cover shot) were done when they still were Tyrannosaurus Rex, with the two-man lineup of singer/songwriter/guitarist Marc Bolan and percussionist Mickey Finn, although producer Tony Visconti played bass and recorder on a couple of tracks. “Ride A White Swan” was recorded during the same sessions but did not appear on the album. They officially changed the band name to T. Rex to release that single in October 1970

The album continued in the vein of the duo’s previous album A Beard Of Stars with an even further emphasis on an electric rock sound and the addition of strings on several tracks. Howard Kaylan and Mark Volman, aka “Flo and Eddie, sang backup vocals for the first time on a T. Rex song, “Seagull Woman”. They would go on to sing on most of the group’s subsequent string of hits.

The album contained electric reworkings of two old Tyrannosaurus Rex songs, one of which, “The Wizard”, was originally recorded even earlier than Bolan’s pre-T.Rex band Johns Children. The second was an electric version of the second Tyrannosaurus Rex single, “One Inch Rock”, with an intro of scat-singing by Bolan and Finn. The remaining short songs, however, were new material.
At The time of release Ride A White Swan was high in the Charts at number 6 and a UK tour ongoing, yet the song was not included.

T. Rex
Hi-Fly 2
Recorded at Trident Studios, London
Marc Bolan – vocals, guitar, organ, bass
Mickey Finn – vocals, bass, drums, percussion
Howard Kaylan and Mark Volman – backing vocals
Engineer: Roy Thomas Baker
Producer: Tony Visconti
1. The Children Of Rarn (Short Organ version)
2. Jewel
3. The Visit
4. Childe
5. The Time Of Love Is Now
6. Diamond Meadows
7. Root Of Star
8. Beltane Walk
9. Is It Love?
10. One Inch Rock
11. Summer Deep
12. Seagull Woman
13. Sun Eye
14. The Wizard
15. The Children Of Rarn (Short Organ version)

On this day today 9th October 1971 , 44 years ago today – T. Rex:  released the album  Electric Warrior is released.
Electric Warrior was the sixth album by T. Rex, released in the USA on  September 24th, 1971. It reached #32 on the Billboard 200 Top LP’s chart, and reached #1 for several weeks on the UK Albums chart. It features the single, “Get It On”, which reached #10 on the Billboard Hot 100. In 2003 it was ranked number 160 in Rolling Stone magazine’s list of the 500 Greatest Albums of All Time.

Marc Bolan, in a 1971 interview, said of the album:
“I think Electric Warrior, for me, is the first album which is a statement of 1971 for us in England. I mean that’s… If anyone ever wanted to know why we were big in the other part of the world, that album says it, for me.”

Prior to Electric Warrior’s release, T. Rex (or, as it had mostly been known, Tyrannosaurus Rex) was a folk-rock duo that played acoustic guitar and bongos augmented by the occasional electric and full drum kit. While some of the hippie-prophet philosophy that dominated Tyrannosaurus Rex’s music can still be heard here (especially on the dreamy geneology of “Cosmic Dancer”), Electric Warrior, for the most part, represents a revolution in attitude and approach. Singer/songwriter/guitarist Marc Bolan expanded the band here for a full rock sound, and focused on lean, hook-heavy pop songs that relied on slinky grooves and the riveting energy of early rock & roll. Married to Bolan’s cheeky and charasmatic sexuality and theatrical flair, the results were undeniable.

From the mid-tempo thump of “Mambo Sun” to the crashing yowl of “Rip Off,” Electric Warrior is fuzzy, nasty, and immediately appealing. Songs like “Jeepster” and Get It On “Bang A Gong” pump straight from the elemental heart of rock & roll, yet the songs are fleshed out beautifully with strings, handclaps, backup vocals, and Tony Visconti’s expansive production. Bolan’s glitzy, sexy aesthetic directly sparked the glam movement (he was a huge influence on David Bowie and the creation of his Ziggy Stardust persona), while his punchy, back-to-basics approach also presaged the stripped-down, three-minute song attack of the Ramones and the punk movement in the later ’70s. As a result, Electric Warrior can be seen as one of the most enduring and quietly influential records in the rock canon.

So elegant, so fey (check the cover of T. Rex, his first on Reprise), Marc Bolan is a stripling, a sylph. Too old to be innocent in today’s world, though his years number 23, he plays to the post-J.F.K. set, yet with enough decadence and sarcasm for any war baby to hum along. He’s been rewarded with three No. One singles in England, where their sense of youth is less pristine (and besides, how old is the average singles consumer anyway?).

Marc is one of the eternally precocious, fated to live outside the world of adults forever. But he is an outsider in another sense, too. Back when T. Rex was known as Tyrannosaurus Rex, Marc sang of and inhabited a medieval world of wizards and unicorns. Now his subject and medium is rock ‘n’ roll, and his outsider’s stance (chronologically young because historically young) enables him to see things with a special clarity and vision. Marc’s lyrics still sound like nursery rhymes, and he sings with a puckish quaver, but he now plays a mean lead guitar.

What Marc seems to be saying on Electric Warrior is that rock is ultimately as quaint as wizards and unicorns, and finally, as defunct. It is a self-contained, completed form, with T. Rex and Black Sabbath, both parodists in their own way, its parentheses. His targets are your common rock & roll cliches, as well as your common pseudo-poetic, pseudo-philosophical rock & roll cliches. E.g. “Monolith,” or Stanley Kubrick meets the Duke of Earl: “And dressed as you are girl/In your fashions of fate/Baby it’s too late,” or “And lost like a lion/In the canyons of smoke/Girl it’s no joke.”

“Jeepster,” which sounds a lot like Carl Perkins, carries the great tradition of Chuck Berry and Beach Boys car songs one step further: “Just like a car/You’re pleasing to behold/I’ll call you Jaguar/If I may be so bold,” while several of Bolan’s specific images are Dylan-derived, like “society’s ditch,” “burning up your feet,” “Egyptian ruby,” and “Mountings of the moon/Remind me of my spoon.”

“Lean Woman Blues,” a takeoff on blues-rock, begins as Marc yells to the band, “One, two, buckle my shoe,” and then goes on to encounter wrong notes, chaotic over-dubbings, distorting guitar, and an extraneous “And I’m Blue” tagged on at the end of every stanza.

In “The Motivator,” Marc considers the aesthetics of government (“I love the velvet hat/You know the one that caused a revolution”), but saves his most profound convictions on you-know-what revolution for “Rip-Off”:

In the moonlight
Fighting with the night
It’s a rip-off
Kissing all the slain
I’m bleeding in the rain
It’s a rip-off
Such a rip-off…
etc., etc., for 16 stanzas.

Marc’s voice, appropriately, is Buddy Holly at several removes; Buddy, notwithstanding his genius, being, via Tommy Roe, the patron saint of bubblegum. At the same time, the combination of an effete vocal and an aggressive back-up is reminiscent of the early Ray Davies and the Dylan of Blonde on Blonde.

All of which goes to show that with Electric Warrior, Marc Bolan establishes himself as the heaviest rocker under 5’4″ in the world today.

Side one
“Mambo Sun” – 3:40
“Cosmic Dancer” – 4:30
“Jeepster” – 4:12
“Monolith” – 3:49
“Lean Woman Blues” – 3:02

Side two
“Get It On” – 4:27
“Planet Queen” – 3:13
“Girl” – 2:32
“The Motivator” – 4:00
“Life’s a Gas” – 2:24
“Rip Off” – 3:40

CD Bonus tracks:
“There Was a Time” – 1:00
“Raw Ramp” – 4:16
“Planet Queen” (acoustic version) – 3:00
“Hot Love” – 4:59
“Woodland Rock” – 2:24
“King of the Mountain Cometh” – 3:57
“The T. Rex Electric Warrior Interview” – 19:35

30th Anniversary Special Edition CD bonus tracks:
“Rip Off” [Work in Progress] – 2:30
“Mambo Sun” [Work in Progress] – 3:57
“Cosmic Dancer” [Work in Progress] – 5:15
“Monolith” [Work in Progress] – 4:47
“Get It On” [Work in Progress] – 4:43
“Planet Queen” [Work in Progress] – 0:56
“The Motivator” [Work in Progress] – 4:19
“Life’s a Gas” [Work in Progress] – 3:14

T.Rex recorded a performance of Jeepster for the german programme Beat-Club .
Beat-Club was a infamous German music program that ran from September 1965 to December 1972. Jeepster was performed in front of a blue screen, graphic’s were added later and the finished film was transmitted on November 13th T. Rex were a British glam rock band formed in 1967 by singer/ songwriter and guitarist Marc Bolan.

The band formed as Tyrannosaurus Rex, releasing four underground folk albums under the name. Tony Visconti (their producer for several albums) claimed in a documentary on the band that he had taken the abbreviated term “T. Rex” as a shorthand. This initially irritated Bolan, who gradually came around to the idea and officially shortened the band’s name to “T. Rex” at roughly the same time they started having their first big hits (and shortly after going electric).

After earning success in the early and mid-1970s, the band broke up after Bolan was killed in a 1977 car accident. In 1971 T. Rex performed their Hit Single “Jeepster” live at the Beat Club Show in Bremen


Fellow glam rock star Suzi Quatro narrates a documentary which examines Marc Bolan’s childhood ambitions of fame and where it led him, using previously lost TV and radio interviews, rediscovered Top of the Pops recordings, unseen concert footage and unique home movies.

Includes contributions from his companion Gloria Jones, brother Harry Feld, producer Tony Visconti, Queen’s Roger Taylor, Steve Harley, Zandra Rhodes and more, with Visconti also deconstructing the track Ride a White Swan.