MARC BOLAN & T.REX/ACROSS THE AIRWAVES ICS 1004 (-82) UK MONO

One of the better Marc Bolan posthumous issues. Twentyone cuts from the BBC vaults, originally recorded for radio broadcasts 1968-71. Twelve from the combo's first incarnation Tyrannosaurus Rex and nine as T.Rex, including two songs - "Misty Mist" and "Riders On The Highway" - that didn't make it to original vinyl in the first place (although a mid-sixties recording of "Misty Mist" appears on the 1974 "Beginning Of Doves" compilation). Some of the cuts sounds very much like the album versions with only slightly different arrangements while others are alternate versions. "Girl" is totally stripped with Bolan and acoustic guitar, "Jewel" a lot more offensive than the LP version, "Hot Love" sounds like arranged for the "Beard Of Stars" album and "Summertime Blues" rawer than the original '45 B-side. Some of the cuts are early trials that later would be remade for album or '45 versions, others were hits already but forced to a simpler treatment by studio location. Sound quality varies from excellent to OK. Maybe not the best Bolan album for beginners, but if you're already a fan and know the songs it's a welcome addition with lots of nerve. Also issued as picture disc (ICSX 1004). German (Cube 6.26268) came with title on front sleeve. 1998 CD issue on A&M (541 004-2). First UK had label as shown here and glossy fold/out cover with no text on front. (RÄX*) (FXÖ*)

TYRANNOSAURUS REX/MY PEOPLE WERE FAIR AND HAD SKY IN THEIR HAIR, BUT NOW THEY'RE CONTENT TO WEAR STARS ON THEIR BROWS LRZ 1003 (-68) UK MONO

 

After trying his luck in different kid groups, skiffle bands, as a boy model and in psych combo "Johns Children" Marc Bolan (born Marc Feld) finally teamed up with Steve Peregrin Took and formed Tyrannosaurus Rex. This first LP, recorded in early -68, is impossible to describe...maybe acoustic, psychedelic folk rock fits. Lyrics are mystic and sometimes incomprehensible, built from the fairy tale worlds of Tolkien and CS Lewis, but also containing eastern religious motives. They are preformed with Bolans very special squeaky voice to a sparse back-ground of acoustic guitar, bongo drums and assorted hand percussion. Looks like an almost impossible combination, but it's done with self-cofidence and a lot of charm, so in the end it turns out just fine, though totally unique. I guess producer Tony Visconti contributed a lot to the final result. This mono sounds great, clear and with good separation, but due to the content of the recording it's almost impossible to say if it's a separate mix or a fold down. 1:st UK with label as shown here, laminated flip/back cover and lyric/picture insert. (RÄZ*)(RÄX*)(YMÖ*)(ÖRJ*)

T.REX/TANX BLN 5002 (-73) UK

After the group finding a winning formula and releasing two big selling albums world wide - "Electric Warrior" and "The Slider" - one should expect this to be more of the same, but it's not. While those were filled with positive glam rock and bouncy boogie, this partly has a darker taint. With thirteen songs, most under three minutes, there's elements of soul, psych and orchestrated ballads. It's elaborated and feels steady and grown-up in comparison to his previous. The melodies are simple and catchy with much phasing and other effects. I guess Tony Visconti had a lot to do with the final result, both as producer, arranger and playing the mellotron. It's easily Bolans most well produced album with every song getting the perfect dress. The sessions took place in Tokyo, Paris and London during four months at the end of -72. There could have been a more uneven result depending on different recording locations, but it comes through as a unit - a coherent piece of art more than separate items. Didn't do well in US at #102, but was a big hit in England and Europe. There's been at least four CD re-issues through the years, with shifting numbers of bonus tracks - first 1994 on Edsel (EDCD 391). Early US on Reprise (MS 2132) with f/o cover and poster. Premiere UK with label as shown here, thin matt cover, turquoise "tanx" inner and poster. (RÄX*)

T.REX/ZINC ALLOY AND THE HIDDEN RIDERS OF TOMORROW BLNA 7751 (-74) UK

At the time of release I didn't like this at all. Used to Bolan's happy, simple melodic glam of the previous LP:s I couldn'd grasp the dark, more complicated images he was painting. There had been tendences towards this on the -73 Tanx album, but here he took one full step ahead to a new sound. The result is hard to describe. Ground is a kind of white soul with ingredients of hard rock and psych, still with some glam traces. The melodies are simple and catchy, but the layout and production more complicated with tempo changes, odd vocals and elaborated orchestral arrangements. All those things I didn't like back then is what makes me appreciate it now. It's pretty unique - his special voice, guitar figures and soul backing, kept together by Tony Visconti's arrangements and production, sounds rather appealing today. This was the first time a UK glam artist tried a US soul outfit, recorded almost two years before Bowies "Young Americans". However the album didn't go well with the record buyers and hardly made any lists, while the '45 "Teenage Dream" halted at #13 in the UK - the first in over two years not to hit top 10. It was the beginning of a downward spiral for Bolan and the group and although there were a few more charters before his death 1977, they never fully recovered. Not released in America, but three of the songs showed up on the US only "Light Of Love" (Casablanca NBLP 7005). Very first UK (promo?) issue came in an exclusive triple folded lattice cover. Shown here is early stock release with matt foldout cover and yellow lyric/credit inner. (RÄX*)

TYRANNOSAURUS REX/UNICORN LRZ 1007 (-69) UK MONO

On this their third LP all the pieces suddenly fits and the result is marvellous. Sixteen tracks of wich most are very strong. There are more instruments like bass guitar, piano and lip organ and producer Tony Visconti makes his best work so far (probably the collaboration with the more experienced Danny Cordell on Procols Harums "Shine On Brightly" and Joe Cockers debut at this time had strengthen him and taught him well). The first two albums gives the impression of searching for something, looking for a firm ground. On this LP they found it! Very nice melodies and groovy lyrics (oozing with pot smoke)and a beautiful production that keeps it all together makes it truly unique. Almost all tracks are personal favorites, but "Chariots Of Silk", Catblack", "She Was Born To Be My Unicorn", "Nijinsky Hind" and "The Misty Coasts Of Albany" stands out. Visconti himself plays piano on one track and John Peel reads a childrens story. Not sure about the mono mix. Like with their two first it's hard to hear if it's true or a fold down. This was also issued in US (BLUE THUMB BTS 7). First UK with blue label as shown here (later red) and laminated f/o cover. (RÄZ*)(RÄX*)(YMÖ*)

T.REX HIFLY2 (-70) UK

Although issued under their new abbreviated name "T.Rex" as it was at time for release, this is actually the last Tyrannosaurus Rex album, recorded five months earlier while they still were a duo before the name change. The '45 "Ride A White Swan", made at the same sessions, became the first T.Rex issue in October 1970 and the follow-up single "Hot Love", released three months after this album, the first with the new group. Complicated circumstances, but the important thing is - this is a Tyrannosaurus Rex LP and has very little to do with T.Rex glam. Apart from a 8.50 remake of Marc Bolan's 1965 '45 A-side "The Wizard" (Decca F.12288) the songwriting is simple with short catchy tunes carried by sparse arrangements and lyrics having pastoral or fairytale motives. A lot like the previous "Beard Of Stars" album, but a few things pointing forward to the band's next incarnation, like some of the cuts having orchestral arragements and some actual drums instead of bongos or other assorted rythm instruments. It was also the first collaboration with former Turtles vocalists Mark Volman and Howard Keyland, who would be a big part of the future group's special sound. With exception of "The Wizard" and "The Children Of Rarn" portions opening and closing the album all tracks are around two minutes long and more like odd pieces of candy than heavy meals. Bizarrely sweet and impossible to resist. First US on Reprise (RS 6440) replaced pt. 2 of "Children Of Rarn" with "Ride A White Swan". Premiere UK had label as shown here, heavy vinyl and semi-gatefold sleeve. (RÄX*) (FXÖ*)

T.REX/BOLAN'S ZIP GUN BLNA 7752 (-75) UK

UK version of the US 1974 "Light Of Love" album (see earlier post). Side one has same tracking, while the side two cuts "Teenage Dream", "Explosive Mouth" and "Venus Loon" - already issued in UK on "Zink Alloy" - was replaced by "I Really Love You Babe", "Golden Belt" and "Zip Gun Boogie" - originally recorded for an intended but cancelled US follow-up. The common tracks has some audiophile differences. The US pressing comes out more even and somewhat sharper, while the UK has bigger bass and is slightly more dynamic. Even if I'm not all in with Bolan's soul-glam merging trials of the period I actually like the three new songs here. Less soul and more quirky glam puts him on home turf and with the boogie it's like he never left. Not that I dislike soul music, but there were about 5000 Americans doing that ten times better then so he shouldn't have meddled. Cobbler, stick to thy last! Even if T.Rex still had a considerable fan base in Britain at time for release this didn't sell at all, mostly because the US original already had been imported in large quantities to reduced cost and few wanted to pay full album price just to get three new tracks. Originally also issued in Australia (EMI - same no.as UK) and Germany (Ariola 88679 XOT). Premiere UK had label as shown here and fully laminated die-cut sleeve with glossy picture inner. (RÄX*)

T. REX/THE SLIDER BLN 5001 (-72) UK

Wheather is finally getting warmer in this northly province so it's time to pull out my stack of summer albums. Common for those are an all positive aura - simple and catchy without any kind of low moments and always putting a smile on my face. Suitable for lazy mornings in the garden as well as midnight sun parties. This is perfect for any seasonal occation. After the big breakthrough with "Electric Warrior" the band went back to studio six months later to make a follow-up - basic tracks recorded in just five days in Copenhagen and Paris, while the Mark Volman/Howard Kaylan backgrund vocals were taped in Los Angeles. Then put together and arranged by producer Tony Visconti with help from Danish recording engineer Freddy Hansson. Made after the same success formula as Electric Warrior - unique mix of utterly simple melodies, partly unintelligible lyrics and quirky yet beautiful vocals. Even if you don't understand half of it you still get it 100%. Hard rock without being "Hard Rock" and concerned ballads about absolutely nothing. The details worthless taken separately, but put together it's magic. Empty and full at the same time and probably as close to Zen you'll get in the rock'n'roll world. Had copies of it since first release, but never got tired of it or stopped loving it. Pure feeling without hung-ups. First US on Reprise (MS 2095) came with fold/out sleeve. Issued and reissued all over the world on LP, cassette, 8-track and CD, some with bonus tracks. Premiere UK had label as shown here and thin matt cover with lyric/credit inner. (RÄX*)

T.REX/LIGHT OF LOVE NBLP 7005 (-74) US

After owning the British and European glam market for a few years Marc Bolan went to US with his band aiming for a big breakthrough there. This album was supposed to make way for American success, but instead it started a downward spiral that would last for three years and he never fully recovered before passing away 1977. It was a brave move. Tastes have always differed between Europe and US - many albums and '45:s being mega hits on one side of the Atlantic didn't even chart on the other and the European glam rock Bolan represented so far never really hit it off with the American public. At the time he'd been sacked by Reprise Records in US but signed a contract with newly founded Casablanca instead. Three of the cuts were re-used from UK "Zinc Alloy" album - not yet issued in US - and the remaining eight recorded at Music Recorders Inc. in Hollywood, produced by Bolan himself in the absence of Tony Visconti. However at time for marketing the label went bankrupt and in spite of a grand promo tour and some radio play the album failed to appease the American buyers and became his last US release. The eight new tracks were later used on his next UK LP "Bolan's Zip Gun", but since this actually had sold as export to Europe, fans already had most of the cuts and that failed too. Personally I enjoy most of the stuff he did up to "Zinc Alloy". There's a rascallion attitude and good humor to a point where you forget the flaws and the sometimes shameless commercial output. IMO that had a lot to do with Tony Visconti. His experience and skill lifted the material and could turn even the simplest basic tunes into something bright and joyful. Bolan's own productions comes through a lot more dense and serious which kills most of the joy - for me anyway. So my favorite here is one I already have on "Zinc Alloy" - "Teenage Dream". 1995 UK CD on Edsel (EDCD 413). First US had label as shown here and matt cover. (RÄX*) (YZÄ*)

JOHN'S CHILDREN/IN A MIDSUMMER NIGHT SCENE KIRI 095 (-88) UK MONO

Though only existing one year around 1967, during which they recorded seven singles and one album, Johns Children remains as probably one of the most notorious acts ever. It's hard to chose between all rumours and stories. Apparently records were withdrawn and partly remade because of controversial lyrics and titles and members sometimes posed naked for the press. Their show included mock fights on stage, whipping instruments with chains, knifing pillows and throwing themselves out in the audience (first ever stagediving?). They were even sacked mid-tour as support act for The Who as Pete Townshend thought they were "too loud and violent". Rumour also has they weren't very good at playing, the recordings were backed by studio musicians and the raging stage act was there just to hide the musical incompetence. Clearly one of those bands where the context is so flamboyant it becomes part of the music itself, impossible not to consider while listening. But let's try anyway. This compilation has their complete 45 discography - seven A:s and six B:s (one used for two flips). Marc Bolan, in the band between March and July 1967, participated on guitars and/or vocals on four of the singles - among them "Go Go Girl" which later would be reworked as the Tyrannosaurus Rex song "Mustang Ford". The most famous backing musician would be Jeff Beck guesting on "But She's Mine" with a smashing solo. The singles themselves may have been odd and non-selling at the time, yet put together like this in retrospective the result becomes a very good psych garage album. Labels say "stereo", but all cuts are original mono. Carefully enhanced and clarifyed providing very good listening. Favorite tracks - "Desdemona" with Bolan's vibrato saving the refrain, "Arthur Green" sounding British punk/new wave ten years too early, "Come And Play With Me In The Garden" has a lovely drive with some high pitched vocals (maiden glam rock?) and "It's Been A Long Time" towards baroque pop with loony lyrics. This was the first legal 45 compilation by the band. Strange it took twenty years, but maybe they didn't think it would sell too close to the dodgy source. It still shows up in the bins now and then and never too dear, so if you want a good psych/garage album combined with a big chunk of rock history it's recommended. To my knowledge only released in UK, also as Bam Caruso CD (MARI 095 CD). Vinyl had label as shown here, fully laminated cover and inner with pictures, discography and the band's full story. (RÄX*) (ÖGÄ*) (PÖP*)