Posts Tagged ‘T.Rex’

The Ty Rex corner of Ty Segall’s oeuvre represents the nom-de-rock behind which the artist puts his spin on favored Tyrannosaurus Rex and T. Rex compositions. With previous releases now dwelling in out-of-print nether-regions, the album compiles the six-song Ty Rex EP (a.k.a. Ty Rex I, originally released by Goner Records as a limited edition 12-inch for Record Store Day 2011) and the two-song Ty Rex II 7-inch (RSD 2013). As if this wasn’t enough of a corrective gesture, Ty Rex is expanded to include a previously-unreleased cover as a bonus
For those who missed out on this nook of Segall’s rapidly-growing footprint across the rock landscape, here is a cursory rundown: The compilation showcases a nice balance between T. Rex’s ’67-70 psych-folk incarnation under the name Tyrannosaurus Rex and the better-known pioneering and perfecting of glam-rock that defined the initial ’71-73 era under the shortened T. Rex moniker. Kicking things off is the thick, woozily rocking interpretation of “Fist Heart Mighty Dawn Dart,” one of two covers pulled from Tyrannosaurus Rex’s fourth and best album, 1970’s A Beard of Stars. Segall then double-dips into the consummate T. Rex (and for that matter, the entire glam-rock movement) achievement, The Slider, with a rendition of “Buick MacKane” followed by an excellent dirtying-up of the title track.Clearly executed with the ear and understanding of a super-fan, next up is Segall’s awesome tackling of “Woodland Rock” an Electric Warrior outtake that also surfaced on the B-side to 1971’s non-album “Hot Love” single. Returning to Tyrannosaurus Rex fare for the two tracks that originally concluded the Ty Rex I EP, “Salamanda Palaganda” originates from 1968’s Prophets, Seers & Sages: The Angels of the Ages and “Elemental Child” from A Beard of Stars. “Cat Black” (from Tyrannosaurus Rex’s 1969 album, Unicorn) and Electric Warrior’s closing song “The Motivator” follow, before wrapping up this compilation of Ty-Rex material is the aforementioned previously unreleased bonus track, Segall’s cover of “20th Century Boy” (a non-album T. Rex single from 1973).

All Songs by Marc Bolan / T. Rex 
Goner Records, 2015
Released November 27th, 2015
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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.

Songs:

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

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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.

In 1969, Marc Bolan published a folio of poetry titled The Warlock of Love. By that point, the man born Mark Feld had already been the guitarist of mod-rock band John’s Children (for all of four months) before turning his attention to folk-rock duo Tyrannosaurus Rex. Together with bongo player Steve Peregrin Took, the group released albums with titles like My People Were Fair and Had Sky in Their Hair… But Now They’re Content to Wear Stars on Their BrowsandUnicorn. Bolan mostly sat cross-legged style on stage, strumming an acoustic guitar, singing with such heavy affect that his future producer Tony Visconti was certain he was French, not English. None of these endeavors turned him into a star. But the last line of that folio portended what was to come: “And now where once stood solid water/Stood the reptile king, Tyrannosaurus Rex, reborn and bopping.”

The very next year, Tyrannosaurus Rex was reborn. Bolan stood up, plugged in a Les Gibson, replaced Took with Mickey Finn, and began to enunciate each syllable with lip-smacking aplomb on the band’s first single as T. Rex. Propelled by handclaps and a strutting gamecock of a guitar lick, “Ride a White Swan” climbed up the UK charts to No. 2. T. Rex was bopping. So much so that The Warlock of Love sold over 40,000 copies, making Bolan a best-selling poet.

When T. Rex’s second single “Hot Love” shot straight to #1, Bolan dabbed some glitter on his cheekbones before a “Top of the Pops” performance. As Simon Reynolds recalled in Shock and Awe: Glam Rock and Its Legacy, that performance was “the spark that ignited the glam explosion,” confessing himself to “being shaken by the sight and sound of Marc Bolan…that electric frizz of hair, the glitter-speckled cheeks…Marc seemed like a warlord from outer space.” With 1971’s Electric Warrior, T. Rex topped the charts and was poised to break in the U.S., where “Bang a Gong (Get It On)” reached the top 10. For a glorious, nearly two-year reign, England was caught up in what the music mags would call “T. Rextasy.”

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.

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.

TRACK LISTING

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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Edsel are to issue a new T. Rex deluxe ‘bookset’ pairing expanded versions of 1975’s Bolan’s Zip Gun with 1976’s Futuristic Dragon, across three CDs.

Both albums were produced by Bolan (who by then had parted ways with Tony Visconti) and between them they delivered three top 30 hit singles in the UK, including New York City. Amongst the bonus outtakes on this new deluxe set, seven are said to have been mastered from original first generation tapes supplied by two fans – the first time these tapes have been used.

Mark Paytress has written a new 10,000 word essay for the book and the cover features a rare Terry O’Neill photograph.

This Bolan’s Zip Gun / Futuristic Dragon deluxe edition will be released on 3rd March 2017.

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T Rex  –  Taverne De L’ Olympia Paris 1971

Limited Edition of 300 – Pressed on Purple Vinyl, The Earliest recorded Live performance by T.Rex whilst still a 3 piece band – Features the single Ride A White Swan All royalties go to Light Of Love foundation for The Marc Bolan School Of Music.

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Lou Reed –  American Poet (Deluxe Edition)

Recorded live at Alice Tully Hall, NYC, January 27, 1973. Re- Packaged with completely new design photos and liner notes housed in deluxe card gatefold sleeve – Re mastered audio. CD Contains additional bonus disc of Unreleased U.S broadcast of the very first ‘proper’ Lou Reed solo show before the global Hit Walk On The Wild Side’. Contains classic Velvet Underground tracks’ I’m Waiting for the Man, Heroin, Sister Ray, Sweet Jane, and White Light White heat.

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Woods  –  Live At Third Man Records

There are certain bands in this supersaturated, hyper-fragmented, temperamental internet era that rise above ephemeral popularity not because they perpetually reinvent themselves or stay ahead of trends or make headlines with crazy antics or write a mega hit or have a super dreamy frontperson… there are certain bands that rise above because of one characteristic that trumps all others: consistency. Woods is one of those bands, and their wheelhouse is a decidedly mellow blend of folk, psych, soul, and funk that’s wise beyond its years in timbre and lyric. It’s a comforting kind of music Woods makes. It doesn’t take you anywhere you don’t want to go, even if they world they depict is less and less hospitable with every passing day. It’s a soundscape reflective of the world it was created in, and its lack of call-it-action and angst makes it endlessly listenable for those of us with regrettably overactive minds. With over ten years and nine studio records under their belt, this Brooklyn band also runs their own label and 2-day festival at Big Sur, and has carved out a loyal legion of appreciators who extol their steadfast artistry and work ethic. We got to see the Nashville Chapter of this legion, as well as a whole slew of new members, at their live taping in our Nashville Blue room, Monday May 2nd. All captured on their Live at Third Man Records LP.

Neil young peace trail

Neil Young  –  Peace Trail

Neil Young releases the brand new studio album Peace Trail on Reprise Records. Peace Trail features all new songs that Young wrote since the release of his album Earth in June. This new album is primarily acoustic and reflects an intimate, sparse approach to each of the ten songs within. The album was recorded at Rick Rubin’s Shangri-La Studios and features Young on vocals and guitar, Jim Keltner on drums, and Paul Bushnell on bass. It was produced by Young and John Hanlon .

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Lucy Rose – Live At Urchin Studios

Live at Urchin Studios is Lucy Rose’s latest record, recorded in just one hour in front of a live audience at Urchin Studios, London. Rose has spent the last year touring mostly acoustically, not just in the UK and Europe but India, Turkey and for 8 weeks in Latin America where she lived with fans and played gigs every night for free. It was during this experience that she decided to record an acoustic live record with fellow bandmate Alex Eichenberger as many fans wanted to be able to listen to the songs again in this stripped down fashion. The record consists of six songs from Rose’s first LP, Like I Used To, and four from her second, Work It Out. The album is stripped back, raw, real, full of emotion and made entirely for the fans. Each song finds a new home in this intimate setting and highlights the stunning songwriting and vocals of an evolving artist.

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Tom Petty and The Heartbreakers – The Complete Studio Albums Volume 1 (1976-1991)

Tom Petty and the Heartbreakers commemorate the 40th anniversary of their self-titled debut album by releasing two companion vinyl box sets featuring their entire studio album repertoire. Several of these albums have been out of print on vinyl for years and all albums have been remastered for this release except where noted. All LP’s in each of the limited-edition box sets are pressed on 180-gram vinyl with replica artwork.

The Complete Studio Albums Volume 1 (1976-1991) features nine vinyl albums and features:

Tom Petty And The Heartbreakers
You’re Gonna Get It!
Damn The Torpedoes
Hard Promises
Long After Dark
Southern Accents
Let Me Up (I’ve Had Enough)
Full Moon Fever
Into The Great Wide Open

Marc Bolan & T Rex Born To Boogie: The Concerts, Wembley Empire Pool, 18thMarch 1972 (Demon): Ringo Starr’s concert film of T Rex at the height of their glam rock fame was interspersed with all manner of wacky cameos and kitsch oddments. Demon Records vinyl package, however, focuses on the meat of the matter, presenting both of the day’s concerts, matinee and evening, on yellow and green vinyl respectively, in gatefold packaging with a tacky look. There’s nothing Bolan-philes haven’t heard before but for those who want a bootleg-alike window, replete with screaming fans, to 40-something years ago and killers songs such “Get It On” and “Telegram Sam”, it’s all present and correct.

Captured at the peak of T. Rextasy, ‘Born To Boogie’ is the Ringo Starr-directed 1972 film of the Godfather of Glam, Marc Bolan. Featuring live versions of T. Rex’s greatest hits, recorded at their famous Wembley concerts, the film also includes a legendary jam session with T.Rex joined by Ringo Starr and Elton John, and a mad hatter’s tea party with Catweazle and (Bolan/Bowie producer) Tony Visconti.

The deluxe package also features the only live T.Rex concerts filmed on 16mm with a soundtrack recorded to 8- and 16-track, mixed to 5.1 by Tony Visconti, as well as numerous extra features, some previously unreleased, and two CDs of the two concerts.

Housed in a beautiful book with new annotation by Mark Paytress and previously unpublished Keith Morris photos (and trays for all four discs), ‘Born To Boogie’ is the ultimate film of Marc Bolan and superstardom in the early 1970s.

If you order direct from the T.Rex store, you’ll also receive a set of eight reproductions of the original 1972 cinema foyer cards which are exclusive to the store.

CD1 – The Matinee Show
CD2 – The Evening Show

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.

Before Ty Segall can issue Emotional Mugger, his latest (in a string of many) collections of grimy garage rock, he has to look back before he moves forward. Way back. The California-based songwriter’s affinity for the sparkly songwriting of T. Rex’s Marc Bolan has been no secret, but next week he’s underscoring that with the release of Ty-Rex, a compilation of covers on Goner Records. Most of these renditions have already seen release on a pair of 7-inches that he released in 2011 and 2013, but Goner’s collecting them in one package for the first time, alongside a previously unreleased cover of “20th Century Boy.”

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Sidled up against one another its clear just what a glam-rock glitter bomb Segall’s built up over the years under this banner. It’s due out in full on November 27, Record Store Day Black Friday, so it should be a perfect burst of color for one of the bleaker days of the year.

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.

The ORIGINAL ROLLING STONE REVIEW
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.

TRACKS:
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