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TYRANNOSAURUS REX
T. REX
MARC BOLAN & T. REX
MY
PEOPLE WERE FAIR AND HAD SKY IN THEIR HAIR...BUT NOW THEY'RE CONTENT TO WEAR
STARS (1967)
RATING: 6
PLAY THESE: SCENESCOF, CHILD STAR, FROWNING ATHUALLPA (MY INCA LOVE)
SKIP THESE: MUSTANG FORD, HOT ROD MAMA
If you are a new T. Rex fan, and are interested in exploring the group's Tyrannosaurus Rex era, please be forewarned: approach this album (and other with the Tyrannosaurus Rex moniker) with extreme caution. This music sounds nothing like the glam rock sensation T. Rex that we all know and love. No, this is another beast entirely, a long extinct musical artifact from ages past, that sounds like it was created in another time, another world even. It would be fair to say that most people won't like this music, but if you're willing to take a risk and approach it with an open mind, the rewards are potentially great. If nothing else, it's the most original music I've heard in a long time, which is usually not a bad thing.
The first release by the Tyrannosaurus Rex incarnation of the group, My People Were Fair is the musical document that introduced Marc Bolan to planet earth. Marc, for his part, sounds nothing he would later would as a glam singer, his high, warbling voice bleating almost like that of a hungry sheep on Quaaludes. The vocal resemblance is still there, of course, but the is such a huge difference between his two singing styles that you WILL be shocked by his early singing. If you can deal with it, you'll be be OK, but otherwise you would be advised to stop reading this review right now, and run away as fast as you can - this music is probably not for you.
That being said, Bolan's strange voice does suit the music, which can be vaguely summarized by a completely bollocks phrase like 'Tolkien-Dylan inspired, psychedelic medieval Celtic music played by Hobbits.' Sounds weird? Well, it is. Unlike the classic T. Rex sound, which was full-band electric boogie-woogie rock, this album consists of nothing but Marc's acoustic guitar and bleating voice, backed up by percussionist Steve Took, whose liner notes bio states that he loves "bongos, cappuccino, and romantic walks in the park with his boyfriend." OK, it doesn't really say that, but he seems to be the missing link in the group (although I must admit that I don't know much about the poor guy). His university coffee shop backing vocals are the most annoying thing this side of Fred Durst, and his timing is really, really bad at times. Hold a beat now, Steve! Steady now! Let's count it in now: one, two three, four, one two....ah shit, this ain't working.....All kidding aside, the album seriously sounds like it was recorded by elves in the middle of an enchanted forest, who were high on LSD at the time. The lyrics are simply out of this world. Bolan's lyrical imagery is nothing short of breathtaking, and he combines nonsensical prose with great descriptive phrases to create something truly magical. It's almost fairytale-like, in a strange sort of way. Very interesting, 'tis.
There are precious few actual "songs" on this album, if by song one means something with a familiar verse-chorus-verse structure (and hopefully) a hook. No, these songs have a fluid, free-flowing structure feel to them, with unpredictable, haunting melodies that come flying at you from every direction, leaving you spellbound. It can be quite beautiful at times, and although it can sometimes overload the senses, this music is rarely boring. The album's standout track is probably 'Child Star,' which has a chorus that sounds almost - but not quite - like a lost T. Rex outtake circa 1972. The most beautiful melody can be heard on 'Frowning Attuallpa,' a track so magical that even the stupid spoken poem section in the middle of the song can't ruin it. Honorable mention also goes to the ethereal 'Afghan Woman,' a sinfully sensuous ode to Muslim women which placed Marc on the Taliban's most wanted list in 1967, as well as 'Scenescof,' which has a haunting Bolan vocal delivery that has been stuck in my head over the past few days.
There is, however, some weaker material on the album, the worst of which are 'Mustang Ford' and 'Hot Rod Mama,' two generic blues rock clunkers that sound completely out of place in this vast ocean of otherwise unstructured psychedelic folk. The other major problem is (here we go again) Steve Took's backing vocals. It must be emphasized that he sounds like a complete idiot, with his "chick chicka," Mike Love-like tongue-clicking sounds and weird Dwarf impersonations on several tracks. He almost ruins a couple of songs, like 'Strange Orchestras' and 'Wielder of Words,' which might have been listenable if not for his vocals. Yikes.
In the end, if you are musically adventurous and willing to get your patience tested a few times, then My People Were Fair is something you might want to check out. But if you're like most people, and don't want to hear bleating sheep vocals, hippy poems, and bongos, you would be advised to run away screaming, never to return.
PROPHETS,
SEERS & SAGES THE ANGELS OF THE AGES (1968)
RATING: 5
PLAY THESE: DEBORAROBED, STACY GROVE, WIND QUARTETS
SKIP THESE: THE FRIENDS, OUR WONDERFUL BROWNSKIN MAN, SCENESCOF DYNASTY
Here's a strange bit of trivia, which I just read today: Tyrannosaurus Rex percussionist Steve Took died in 1980 after choking on a cocktail cherry. Fate certainly wasn't kind to poor old Steve, but then again neither has posterity, which views Prophets, Seers, and Sages with a mixture of contempt and scorn. The out-of-time bongos just ain't cuttin' it anymore, Steve! Sheesh!
Mind you, Marc Bolan didn't exactly help out in terms of songwriting either, so I guess we can't pin the blame entirely on the hapless Mr. Took. There is a definite drop-off in quality from the last album, and there is no point arguing against this truth. Then again, the album was released a mere three months after My People Were Fair, so the dip in quality should not come as a complete surprise. Essentially, Prophets, Seers and Sages, is an album of outtakes from My People Were Fair, with a couple of new tunes and a remake of an old single 'Debora' thrown into the mix as well. And the album is so front-loaded that it isn't even funny. The album starts off strongly with 'Daborarobed,' but with each successive song the quality gets lower and lower, until finally we arrive at that steaming pile of sh*t called' Scenescof Dynasty' at the end of the record. And boy, does that track ever stink to high heaven. It's just the enjoyable sound of repetitive, out-of-tune Bolan vocals, annoying word play, and Took's rhythm-by-bum-cheek-slaps for percussion. In other words, it's HORRIBLE.
That being said, I don't want to give the impression that the whole album is a waste of vinyl, 'cause it's not. 'Wind Quartets' is one of the most beautifully melancholic pieces of music I've heard in a while (don't tell anyone, but I do like Took's harmony vocals on that one), and 'Stacy Grove' is a catchy pop tune that points in the direction of T. Rex glam rock. I'm also quite fond of 'Trelawny Lawns,' which has a dumb title but still has strange-but-catchy melodic things going on that you can't quite describe in words. The off-kilter acoustic descending guitar part is also pretty cool. 'Deborabored' is also quite good, which features the original single juxtaposed against a backwards recording of said song. Yes, it's a gimmick, but it's one that actually works wonders, probably because, as the backwards part sounds as interesting as the forward version! Only Bolan's vocals sound different, but then again we can't understand anything that he says when he sings forwards anyway, so who cares? If anything, it adds to the song's otherworldly ambience.
The other songs, however, fail to impress. The only promising song of the bunch is the too-short 'The Friends,' but since the song is over before it even begins, it's hard to call it a classic. In the end, this album, like all sequels, is a major letdown of almost Crocodile Dundee II-like proportions. The acoustic guitar-bongo thing is certainly getting more than a tad stale, and when you also consider the fact that the songwriting is perceptibly sub-par, it becomes clear that this is the least recommendable Tyrannosaurus Rex album of all.
RATING: 7
PLAY THESE: CHARIOTS OF SILK, CAT BLACK (THE WIZARD'S HAT), ISCARIOT
SKIP THESE: 'PON A HILL, ROMANY SOUP
Invariably described as another "transitional record," Unicorn marks another slight but perceptible turning point for Tyrannosaurus Rex, seeing the band cautiously attempt to bridge the gap between fairy tale acoustic folk and full-tilt electric rock 'n roll. For the most part, the changes in sound are slight - a touch of electric guitar here, a tympani or a Hammond organ there, a piano there...the odd full drum kit...plenty of backwards recording....you get the idea...The changes may be small, but when all you've previously attempted is hippy acoustic guitar/ bongo music, then tiny, ginger steps like the use of electronic instruments are a pretty big deal.
The songs are more conventional sounding too, with more traditional song structures and less esoteric melodies, with the odd hook thrown in to spice things up. My favorite tracks include the driving, rocky album opener 'Chariots of Silk,' which almost sounds like it could have been recorded by classic glam era T. Rex in the early 70's . It rocks, it's catchy, and it's good. Also great is 'Cat Black (The Wizard's Hat),' a 50's doo-wop about a mystical wizard so catchy and charming that even Steve Took's hilariously amateur attempts at playing a full drum kit can't ruin things. That being said, Steve's backing vocals are far more palatable now, with less of the chattering dwarf voices and more actual singing (with the exception of the Hobbits-on-crystal meth 'Pon A Hill' of course). Also recommendable is great 'Iscariot', an acoustic, glockenspiel-and-organ accented song of love and betrayal so hauntingly beautiful that it fully lives up to its unfaithful Biblical namesake, as well as a pair of gloomy medieval sounding pieces, 'The Throat of Winter' and 'The Sea Beast,' both of which demonstrate both Bolan's immense melodic abilities, as well as Steve Took's newfound ability to harmonize with them them (although the weird bleating and honking gibberish voices at the end of the later song serve to undermine the rest of track).
The rest of the songs kind of pass by without leaving a truly lasting impression, although there are certainly some great melodic moments on tracks like the propulsive 'She Was Born to Be My Unicorn' and 'The Pilgrim's tale,' among others. It should also be mentioned that the album is also quite lengthy by Tyrannosaurus Rex standards, featuring as it does a whopping sixteen tracks, and although the long and often unpredictable nature of the album is also part of what makes this record do compelling, one could make a good case for dropping weaker tracks like the pointless repetitive dirge 'Romany Soup' or the bizarre 'Pon a Hill.'
So what to make of this album? It's probably the best Tyrannosaurus Rex record, as it successfully merges new commercial musical sensibilities with the classic Tyrannosaurus Rex acoustic-bongo thing, with touches of interesting instruments used sparingly throughout. It has the best of everything the band could every hope to offer, and as such it is an essential purchase for Marc Bolan fans of any era.
RATING: 6
PLAY THESE: A DAY LAYE, FIRST HEART MIGHTY DAWN DART, ELEMENTAL CHILD
SKIP THESE: NONE
A Beard of Stars, eh? Marc Bolan sure did a lot of hallucinogenic drugs, didn't he? That's some wacky shit he's got goin' on there. I do like it though. I'm not brave enough to listen to this stuff on a regular basis, but if I'm in the right mood it really hits the spot. After gritting my teeth at Robert Plant's Hobbit-inspired lyrics over the years, I had come to believe that rock 'n roll and Tolkien were not compatible, but after hearing this album...let's just say I'm not so sure anymore. Bolan's whimsical fairy-tale lyrics contain sparklingly vivid imagery that Plant could never attain, and there is an underlying Dylan-like wit in the prose that makes Bolan a great poet, unlike poor old "Percy," who's basically just a moron with an inflated ego. Bolan's voice is also getting more digestible now, with his shaky donkey bleat style of old becoming more tempered, more even-sounding.
Many critics point to Beard of Stars as being the big turning point for the band (with 1969's Unicorn representing a slight change in sound), where the folky, Tolkien-worshipping Tyrannosaurus Rex was slowly morphing into the electric guitar wielding, glam rock group later known as T. Rex (founding member Steve Took was replaced by Mickey Finn, which may have contributed to the change). I have no quarrel with this argument, and I agree that this, along with Unicorn, is another obvious "transitional record" for the band. However, the overall sound is still mostly acoustic, backed up by only the occasional organ and/ or percussion. The tracks are generally even more commercially accessible than on Unicorn, with more hooks and more traditional song structures than in the past. Heck, songs like 'First Heart Mighty Dawn' and 'A Day Laye' sound like they were written with the Top 40 in mind, although I pretty sure they weren't even released as singles.
The presence of electric guitar on a few songs also makes this more conventional-sounding, and the crunchy chording on tunes like 'Woodland Bop' and 'Pavilions of Sun' (which even has a wah-wah guitar solo!) represent a dramatic change in musical direction for Bolan. There aren't any drums or bass though, so don't get the idea that that Tyrannosaurus Rex was some kind of glam rock powerhouse just yet. There's enough airy-fairy whimsy on several tracks (i.e. 'By The Light of a Magical Moon') to satisfy the old fans, and weird shit like 'Wind Cheetah' will leave even the most musically adventurous exhausted long after the listening journey is through. Man, is that song strange.
The other major selling point is the album closer 'Elemental Child,' an apocalyptic epic that is one of the coolest endings on an album I've ever heard. Bolan breaks out the electric guitar and proceeds to bash the crap out of it, frantically attacking the guitar like a man possessed. He may not have been a virtuoso, but he had a natural touch on the guitar that just can't be taught - a naturally-acquired intuition. This music certainly isn't for everyone, but if you want to hear some truly original-sounding music that is still relatively commercial-sounding, A Beard of Stars is as good a place to begin as any.
RATING: 7
PLAY THESE: JEWEL, VISIT, DIAMOND MEADOWS
SKIP THESE: THE WIZARD
Well, here we go again. Another transitional record. Just what we needed, right? Yes, actually. Critics and fans sometimes disdain the eponymous T. Rex, the first Marc Bolan album to wield the "T. Rex" moniker, but I'm not so sure I agree Yes, it was preceded by two other stepping stones, but you have to remember that the musical chasm that separates the folky/psychedelic 1967 My People Were and the 1971 commercialized glam rock Electric Warrior is so vast that it is unreasonable to expect the gap to be bridged immediately. These guys have come a long way, that's for sure. Whereas The Unicorn saw the group introduce new instrumentation, and Beard Of Stars was a more electrified, more commercial effort, T. Rex introduces a newer dimension to Bolan's music: the groove. This is what was missing from Beard Of Stars, and what made Steve Took era albums so frustrating to listen to. If you doubt this is so, just listen to the propulsive rhythms that drive 'Jewel' along, or try to stop tapping along to something like 'Beltane Walk,' among others. This kind of thing just didn't happen very often on previous Tyrannosaurus Rex albums, and when it did it just didn't sound right, if you know what I mean. I know that Steve Took was part of the problem, but the issue goes deeper than that. Bolan's earlier songs tended to emphasize atmosphere over rhythm, for many of these older tracks we more intellectually motivated, as opposed to the sensual earthiness of T. Rex-era Bolan tunes. This is what makes the four-year evolution of T. Rex so fascinating at this point: who ever could have foreseen this dramatic switch in style? The answer, of course, is nobody.
Although this fifteen track album is too long, there are some really special moments on this record, and anyone who considers themselves a Marc Bolan fan must seek them out. The standout track is undoubtedly 'Jewel,' a three chord rocker with fascinating imagery (i.e. "she has a panther with silver fur") and blistering guitar work - I mean just listen to the sounds that Bolan coaxes from his guitar. Amazing! Also great is the mesmerizing 12-Bar Blues number 'Is It Love,' which like a lost Electric Warrior outtake, as well as the highly melodic ballad 'Visit,' which is arguably the first Bolan power ballad.
The album is also notable as being the first to feature producer Tony Visconti's orchestral flourishes, which would later be such a key part of the glam-era T. Rex sound. The violins and cellos make tracks like 'Diamond Meadows' and 'Beltane Walk' sound almost medieval, and in so doing add another musical cannon (no pun intended) to the T. Rex arsenal. 'Seagull Woman' is another winner, a melodic, hook-filled track that sounds much more commercially oriented than anything in the past.
Clunkers? The only truly bad song is 'The Wizard,' an eight minute long affront to music that rambles on for what seems like forever, with no apparent sense or purpose. The worst part of the song, though, is when Bolan starts doing this weird Robert Plant impersonation over the electric freak-out section - it's very disturbing, and very bad. Heck, even I do a better job of heavy metal shrieking! Thankfully, Bolan never again tried to go heavy metal, which is certainly a good thing if this song is anything to go by.
Nevertheless, this is a good album overall. There's more commercial songwriting, scads of electric guitar, better production, and more general groovy-ness. If you have trouble picturing it, just imagine demos for Electric Warrior recorded at Marc's home studio with half a drum kit and no bass player, you'll have a good idea of what the album sounds like. In other words, basic, but good. It's not meant for the casual T. Rex fan, but for what it is it can't be beat.
RATING: 10
PLAY THESE: MAMBO SUN, BANG A GONG (GET IT ON), PLANET QUEEN
SKIP THESE: NONE
Rating along with David Bowie's The Rise And Fall Of Ziggy Stardust as the greatest musical artifact from the early 1970's glam rock era, T. Rex's Electric Warrior is certainly one groovy, rockin' album. It marks a true change of musical direction for the Marc Bolan-led T. Rex, which previously had been an acoustic, bongo-playin', quasi-medieval Celtic folk band of smelly, stoned flower children on magic mushrooms. Now, thank heavens, the group's sound is dominated by the electric guitar, and the sly, groovy, always-behind-the-beat drumming (with the odd bongo fill spicing things up) makes it impossible to sit still while the music is playing. Also undergoing dramatic change is Marc Bolan's singing style, which thankfully evolved from a high, warbled donkey bray with too much vibrato into a lower, quote-unquote "sexier" vocal delivery. It's still wobbly and androgynous, but the new lower register singing is far more effective, and as such Bolan makes the full transformation from an annoying, burnt out hippy to an electrifyingly magnetic rock star.
Overall, it's difficult to ignore the similarities between Electric Warrior and much of Bowie's early 70's material, but this is undoubtedly due to the efforts of Tony Visconti, who produced this album (as well as many of Bowie's classic early records). Visconti's handprint's are all over this one: the dry, deadened drum sound, the sparse soundscapes, and slightly "outer space" ambience on Electric Warrior are all classic Visconti trademarks. But Bolan also holds up his end of the bargain by writing some killer tunes, among them the beer commercial staple 'Bang A Gong,' with its classic blues-rock riff and sexual innuendos making it one of the era's most recognizable songs. Unfortunately, few rock fans have looked beyond this song, and generally have ignored what the rest of Electric Warrior has to offer, which is a lot. The ultra-groovy opener 'Mambo Sun' is a hooky, rhythmic delight, but 'Planet Queen' is even better, with its druggy, spacey atmosphere making it a true hidden gem ("flying saucer take me a away/ to your daughter"). Bolan's vocal delivery on the latter track is particularly strong, moving from a low, almost whisper to an upper register rasp that moves the song to previously unseen musical heights.
In addition to the rockers, there are some slower, acoustic guitar driven songs as well, but unlike T. Rex's older material, they still rock and groove as much as the uptempo songs. 'Cosmic Dancer' is a basic-yet-effective ballad with some a great, subdued orchestral arrangement and wonderfully strange lyrics (sample: "I was dancing right out the womb/ is it strange to dance so soon?" Say what?), while 'Girl' is a more basic kind of love song that works well. The album does have a few more generic moments ('Life's a Gas' and 'Rip Off'), but they still fit in well with the overall theme of druggy, oversexed rock star decadence, so they are still worth a listen. A classic album, one that deserves only the highest of praise. Ten out of ten.
RATING: 9
PLAY THESE: THE KING OF THE MOUNTAIN COMETH, RAW RAMP, RIDE A WHITE SWAN
SKIP THESE: NONE
The first-ever T. Rex compilation, Bolan Boogie consists of few choice T. Rex a-sides ('Ride A White Swan' and 'Hot Love'), Electric Warrior album cuts ('Get It On' and 'Jeepster'), b-sides ('Raw Ramp' 'Woodland Rock," etc.), several standout tracks from the T. Rex album (i.e. 'Jewel' and 'Beltane Walk'), and even a few of the "grooviest" Tyrannosaurus Rex era tracks ('Fist Heart Mighty Dawn Dart,' 'She Was Born To Be My Unicorn,' etc..). The primary selling point, obviously, is the fact that so many non-album tracks are included, which almost makes this a singles collection, rather than a straight ahead "best of" album. This compilation contains what is probably my favorite T. Rex track at the moment in 'Raw Ramp,' a four part mini rock opera that starts off as a symphonic ballad, but quickly morphs into one groovy motherfluffer of a song about a quarter of the way through. The lyrics make absolutely no sense, just some rambling about some stupid chick that seem to be a put-down of sorts ("you think you're a champ, but you ain't nothin' but a raw ramp"). Also great is 'Ride A White Swan,' Bolan's first truly "T. Rex" single and the band's first number one hit, that contains some of the greatest imagery of any Marc Bolan song ("Wear a tall hat like a druid in the old days/ Wear a tall hat and a tatooed gown"). The other major attraction is the first number one T. Rex hit in 'Hot Love,' but for my money I still think that the underappreciated 1970 T. Rex A-side 'The King Of The Mountain Cometh' is better. It's an minimalist, electric guitar-driven masterpiece quite reminiscent of The White Stripes. Also interesting is the group's cover of Eddie Cochrane's 'Summertime Blues,' a great b-side that is probably my favorite version of the song. The song suits Bolan to a tee, and the sly guitar licks and bongo-driven beat make this performance a memorable one. All in all, this is still one of the better Bolan compilations, and although more recent ones are a bit more comprehensive, this one has a great selection of songs that fit together as an entire package, which makes this sound more like an actual album rather than an anthology.
RATING: 9
PLAY THESE: TELEGRAM SAM, BUICK MACKANE, BALLROOMS OF MARS
SKIP THESE: NONE
OK, so I've broken down and got myself a copy of The Slider, which means that I've filled another one of the gaping holes in my CD collection I was talking about earlier. I'm ashamed to admit that before today I'd never heard anything on this album except for the repetitive-but-fun 'Metal Guru' and the sly, hooky 'Telegram Sam,' both of which were massive number one UK hits in 1972. However, The Slider has more going for it than these two quintessential glam rock singles - it boasts THIRTEEN catchy tunes that very easily could have been massive hits in their own right. I do not exaggerate when I claim that every single one of these songs (with the possible exception of the relatively limp but by no means crappy ballad 'Spaceball Ricochet') could have potentially been big hits in 1972, as the quality of these tunes is absolutely staggering. I mean, why wasn't 'Buick Mackane' released as a single? It's got everything 'Metal Guru' has and more - it's hard to believe that so many musical goodies could be crammed into this three minute track. Just listen to that energy, and the simplistic genius of that big riff! Brilliant!
Overall, The Slider sounds a bit more focused than the eclectic Electric Warrior - which still had one foot in the group's hippy-dippy past - and it is clear T. Rex has been completely transformed into a glam rock band. Yes, the lyrics still veer into the realm of otherworldly whimsy, but other than that there are few traces of the original Tyrannosaurus Rex incarnation of the group. The production is similar to Electric Warrior, but is slightly more bombastic this time around, with more layered, distorted guitars, dense orchestral arrangements, omnipresent saxophones, and increasingly prominent backing vocals. Thankfully, none of these embellishments detract from the glorious simplicity of the music, and only add to the sonic allure of the tracks. There is also an increased emphasis on "the groove," which takes precedence over everything else except the hooks. Even the ballads groove, and as such only the musically challenged would fail to understand the music's appeal.
As for the best songs, the title track is a slow burnin' groover of a song, with a good hook and great vocals, and 'Rabbit Fighter' is stoned symphonic Bolan pop at its best. Also recommendable is the fantastic acoustic-based ballad 'Ballrooms of Mars,' which sounds like a great John Lennon-Plastic Ono Band outtake. The first time I heard it's surprise chord sequence and bluesy melody I immediately thought of Lennon, and when the line "John Lennon knows your name, and I've seen his" pops up, it's clear that John was a major influence on Bolan (just listen to the White Album version of 'Revolution' or even 'Come Together' if you want further proof). I could go on forever naming all the album's highlights, but suffice to say it's solid from start to finish.
In the end, The Slider is a worthy sequel to Electric Warrior, and in many respects is a more even, consistent effort, although I tend to admire Electric Warrior's stylistic variation just a tad bit more than the relatively one-dimensional The Slider. That being said, it's undoubtedly a dimension worth spending a lot of time in. It's certainly a bit dumb at times, but it's good, harmless power pop fun. Nine out of ten.
By the way, if you buy the latest re-issue of The Slider you'll also get several great obscure b-sides, including the magnificent 'Thunderwing,' which is so good that one could argue that it just might be the quintessential T. Rex song, another potential hit single that never was.
RATING: 8
PLAY THESE: TENEMENT LADY, BROKEN HEARTED BLUES, LEFT HAND LUKE
SKIP THESE: NONE
Wow. What a stupid album cover. Even KISS did a better job of using phallic imagery on their Love Gun album cover, and were less overt in their attempt to excite the desires of their legions of teenage girl fans. Is it just me, or has Bolan gained some weight? It looks like he's grown himself a lovely pair of flabby "man boobs," and his face has an Elvis-like toxic bloat look to it. Very sexy, Marc. In all fairness though, Tanx is a very good album of consistently listenable tracks that ranks among Bolan's best, even if it is slightly worse than the last two records. Then again, if you are a band like T. Rex, and have continuously gotten better with each successive release, then a slight step down like Tanx is a bad omen for the future. As a result, it is sometimes difficult to separate the context of the album from the actual music, so there is a temptation to link it with Marc's decline in popularity, and ignore its merits, which are many. For starters, there isn't a single bad song on here. Sure, some are generic and even veer slightly into self-parody, ('Born to Boogie'), but even at their weakest the songs are infectiously groovy and catchy. This is, after, all, a T. Rex album that were talking about here.
Nevertheless, it should also be noted that none of the songs are truly outstanding by Bolan's lofty standards. Yes, all are very good, but there are no undeniable all-time classics like 'Get It On' or 'Ride A White Swan' here. He comes close to achieving perfection on energetic rockers like 'Rapids' and 'Mister Mister,' but he falls short of the mark on nearly every song, even if it's only by a mere whisker. However, I really do like the overall sound of the album, and on some tracks it is clear that Bolan was attempting to lead the band into uncharted musical territory. The powerful album opener, 'Tenement Lady,' which is actually a medley comprised of three distinctive musical parts, works quite well. It starts off all heavy sounding - just typical groovy Bolan glam rock - and then abruptly morphs into a gorgeous ballad, after which it returns to a cathartic rock 'n roll ending. Very cool.
In addition, the band really seem to be exploring new sounds, whether it's keyboards ('Electric Slim & The Factory Hen'), near heavy metal guitars ('Mad Donna'), or else increased emphasis on orchestral embellishments, which feature prominently on the majority of tracks. These subtle uses of new instrumentation add colorful sonic textures to the music, which otherwise would have sounded exactly like The Slider.
The best tracks, though, are - surprisingly enough - the ballads. The tear-jerking 'Broken-Hearted Blues' is simply one of Bolan's best-ever compositions, with one of the most exquisite melodies I've ever heard. I mean, the chord structure is just generic 50's balladry, but the melody that Bolan concocts is truly creative and awe inspiring. The lyrics are good too - very wistful, very sad, and very simple. Truly exceptional. The other ballad of note is the epic closer 'Left Hand Luke & The Beggar Boys,' which is one of Bolan's defining moments as a recording artist. If you haven't heard it, please do.
And the fun doesn't stop there...if you buy the latest re-mastered version of the album you'll also get bonus tracks like the ultimate heavy metal/ symphonic T. Rex single 'Children of the Revolution,' as well the catchiest song this side of 'Get It On' in '20th Century Boy.' The other bonus tunes are b-side cuts, all of which are pretty decent as well.
In summary, if you listen to this album with an open mind, you will have no choice but to conclude that this is one of T, Rex's best albums. However, there is a slight drop-off in the quality of the songwriting in comparison with The Slider that is somewhat disconcerting, and there is no point in denying this fact. Eight out of ten.
ZINC
ALLOY AND THE HIDDEN RIDERS FROM TOMORROW (1974)
RATING: 7
PLAY THESE: VENUS LOON, CHANGE, THE AVENGERS
SKIP THESE: SOUND PIT, LIQUID GANG
Usually dismissed as one of Marc Bolan's all-time career lows, Zinc Alloy and the Hidden Riders From Tomorrow is a pretty solid album, albeit one where Bolan's self-parody becomes a little more evident in spots. While some see this album as justification for Bolan's dipping popularity in the mid 70's, to me the record seems to be fairly indistinguishable from Tanx in some respects. Yes, the band has tweaked its sound just a smidge, with a slight emphasis on funkier rhythms and R & B songwriting, but in truth these are small baby steps - there is nothing so fantastically different (or bad) about this album so as to warrant the abuse that's been thrown its way.
The major problem most T. Rex fans seem to have with this album is the more prominent role of Marc's girlfriend Gloria Jones, whose wailing background vocals are often the target of intense hatred. And while her powerful voice does seem to overpower Marc's on tracks like 'Sound Pit' and 'Liquid Gang,' and can be annoying at certain times, I would argue that Jones is only part of a much bigger problem: the mix. On many of these tracks, there are so many instruments (and voices) competing for the listener's attention that Marc Bolan's melodies seem to get lost in the commotion. On any given track, we get unmercifully bombarded with most of the following sonic distractions: screeching background vocals, wailing saxes, over-played guitar solos, and loud, in-your-face brass, not to mention the more prominent bass lines and drums. Generally speaking, the songs are probably just about as good as on Tanx, but it's so hard to notice the actual songs, what with all of this over-the-top sonic rubbish going on.
Still, there are some fine musical moments on this record. At the top of the list is the album opener 'Venus Loon,' a great, rocked-up ditty that stands up to anything Bolan ever did in the past, with an infectious energy and hook to die for. Just wait and see how long it takes you to sing along to the "gonna see my baby in the afternoon" refrain - it's very catchy. The cod 50's doo-wop 'Teenage Dream' sounds like a lost Phil Spector production, with an effective orchestral backing and sly Bolan vocals, and the strange-but-good proto-disco ballad 'Change' sounds like an electric, polyester adorned child of early period Tyrannosaurus Rex. Rockers like 'Explosive Mouth' and 'Nameless Wildness' veer into Bolan self-parody, but are enjoyable nonetheless, and the funked-up, 'The Avengers (Superbad)' is driven along by the groovy bass and massive-sounding cello riff in the verses. Another good moment worth mentioning is the slowed-down semi-funk album closer 'The Leopards Featuring Gardenia and The Mighty Slugs,' which is one song where Gloria Jones actually shines. Her restrained (for once!) harmonies over Marc's half-spoken, half-sung vocals make the song, which is one of the best on the album.
In the end, this is one T. Rex album that has been unfairly relegated to the trash bins of rock history. And while no-one would claim it to be among Bolan's best works, it's got several of his catchiest-ever songs, and as such is nowhere close to being the disaster many claim it to be. With better mixing, and a bit less emphasis on Jones' so-called "backing" vocals, this album could have been just as good as Tanx. It's not exactly quintessential, but it's nothing to turn one's nose up at either.
RATING: 5
PLAY THESE: LIGHT OF LOVE, SOLID BABY, TOKEN OF MY LOVE
SKIP THESE: THINK ZINC, ZIP GUN BOOGIE
Well, this isn't nearly the disaster I thought it would be. OK, it is a bit of a disaster, but it's not exactly the end of the world either. I mean, if you presented the first couple of songs to someone who'd never heard of T. Rex before, you would more than likely get a positive response. Long, successful musical careers have had less to offer than this album. This stuff is not bad. Nevertheless, this album does suffer from two pretty big problems: pretension and soulless self-parody. It's clear that drugs are starting to take their toll on Mark's mental clarity, and that he's drunkenly half-assing this one in the worst way because HE KNOWS HE'S THE SHIT. The songwriting is connect-the-dots Marc Bolan, and sounds like it was given no thought whatsoever. He even lazily plagiarizes 50's classic hit 'The Sea of Love' on 'Token Of My Love,' and it it sounds like he's too tanked to notice or even care (e.g. the opening line "do you remember when we first met'). Bolan more than likely just congratulated himself for his brilliance (ok, I admit it is catchy) and poured himself another drink, ate another burger, and then snorted another line.
Oh, and I guess I should also address the fact that Gloria Jones' ascension to the role of co-lead vocalist with Marc isn't exactly helping matters either. Now I finally know what all the other music reviewers are talking about when they slay Jones for her obnoxious singing. At least on Zinc Alloy she was shoved a little bit into the background, but on Bolan's Zip Gun she's right out in front - all four hundred and fifty pounds of her! All kidding aside, she's not actually fat, but Gloria bellows like an angry, obese dyke on some of these tracks, and as such the sound is nearly intolerable at times. If you want proof, just give the otherwise good 'Think Zinc' a listen. The song itself isn't bad, but when you throw Jones into the mix it becomes downright irritating, and pressing the skip button becomes the only remaining option.
Nevertheless, this album has a few things going for it, namely better than average songwriting and groovy rhythms. Some observers has branded this album as "disco,' but to my ears this is just extremely groovy rock 'n roll boogie. Yes, it has mid-1970's synths, but they are low in the overall mix - they don't overpower the drums. The way I see it, Bolan's Zip Gun is just the latest in a series of increasingly more groovy recordings, and that the rhythm-section heavy sound is the logical conclusion of a process that began on A Beard Of Stars. In the beginning it was a case of simply fitting a groove around a stellar melody, but with Bolan's Zip Gun it is more of an exercise in fitting a generic melody around the all-important groove. It's all about the drums, and the rhythm. Tracks like the ultra-catchy anthem 'Light Of Love' and the sly 'Solid Baby' are extremely groovy creations, and even the ballads ('I Really Love You Babe') are pure, unrepentant Bolan boogie. Personally, I feel that Bolan had already achieved the perfect groove-melody ratio on The Slider, and that most everything thereafter was slightly generic in terms of songwriting, but there's still nothing truly offensive on Zip Gun, and great tracks like the vaguely rockabilly 'Precious Star' can stand up to any of the many early period T. Rex songs. It's not essential listening, and the lyrics are painfully slight by Bolan standards, but if you like Electric Warrior there's still much to like about Bolan's Zip Gun. Like the clichéd music critic (me?) once said, "do yourself a favor and check it out." It's a five out of ten, but almost a six. Almost.
RATING: 6
PLAY THESE: FUTURISTIC DRAGON (INTRODUCTION), JUPITER LIAR, NEW YORK CITY
SKIP THESE: RIDE MY WHEELS
Did you evah see a lady, with a frog in her hand, in New York City? No? Well, Marc evidently did, and decided to write about it in what is probably his best song since 'Venus Loon,' the effervescent hit single 'New York City.' Hot damn, I love that song! It's got a swinging backbeat, a typical 50's walking bass line, a piano, cool synths, and a classic Bolan melody - with strange-but-memorable repetitive lyrics as well (the song only contains that opening single line!). It's a classic, and a definite return to form for the slumping T. Rex, which had been on a three-year-long musical slide that threatened to derail the whole enterprise. The rest of the album is very good as well, with improved songwriting, more energetic performances and - most importantly - diminished vocal involvement from the obnoxious Gloria Jones. She's still around, of course, but she plays a far less prominent role this time around. The album's still got that funk-metal-disco thing going on, and the synths are still kicking around, but this album is WAY more engaging than Bolan's Zip Gun.
I suppose I should also mention that Futuristic Dragon is supposed to be a concept album, but for the life of me I haven't noticed a common thread running through any of these tracks, apart form the fact that any of them are better than all of the best songs on Bolan's Zip Gun combined. Sure, we do get a 'Futuristic Dragon Introduction' and the teenybopper scream infused instrumental 'Theme For A Dragon,' but for the life of me I can't find a plotline anywhere here. It doesn't matter though, because the music is so much better than it was on the last album. The aforementioned 'Futuristic Dragon Intro' is a great way to kick off the record, with it's aggressive distorted/ feedback guitar beginning, but by the time Bolan's vocals kick in over the metal-disco hybrid coda (sample lyric: "relentless dimensions of quadraphonic sleep." What the eff is that?), there is ample evidence to suggest that Marc is back. Equally great is the super duper catchy 'Jupiter Liar, with its propulsive glam stomp and epic guitar vs. synth sonic battles, as well as the big chorus hook of the infectiously energetic 'Sensation Boulevard.'
The only major missteps are the dreary disco/ porn soundtrack pastiche 'Ride My Wheels' and the seriously misguided ballad 'Dreamy Lady,' both of which sound more like a cabaret-style impersonation of Bolan than Marc himself. Sure, the album isn't quite as good as Tanx or The Slider, but overall the effort is there, and is being rewarded in the form of ultra-catchy tunes like 'My Little Baby,' and the rockin,' swirling synths fiesta otherwise known as 'Casual Agent,' which closes the recorded. All in all, this album doesn't sound much different than Bolan's Zip Gun, but the difference is the energy in the performances, as well as a more concentrated emphasis on songwriting, all of which makes Futuristic Dragon a minor classic in its own right. The lyrics are also much better and feature refreshingly obscure Bolan images like "distorted contortionist barely saved his cool as he rubberized Hannah by the 'lectric school with the planetary pearl," instead of the simplistic and repetitive nursery rhyme lyrics on the last album. If you want to hear some obscure late period Bolan that doesn't suck, then please give this album a listen. Six out of ten.
DANDY
IN THE UNDERWORLD (1977)
RATING: 6
PLAY THESE: DANDY IN THE UNDERWORLD, I LOVE TO BOOGIE, SOUL OF MY SUIT
SKIP THESE: VISIONS OF DOMINO, GROOVE A LITTLE
I must say that I expected to something a little bit different than this. Isn't Dandy In The Underworld supposed to be Bolan's response to punk? According to most accounts I've read, Bolan first heard punk in the summer of 1976, and was so inspired by the violent, nihilistic musical movement that he recorded an entire album of semi-punk classics, heralding a career comeback that was cut short by Marc's untimely death in 1977. However, a quick listen will reveal that this isn't actually the case. Instead, what we have is a slightly less-cheesy version of Bolan's Zip Gun, with stripped-down, less overpowering production/Gloria Jones vocals, and a slightly diminished emphasis on "the groove." In some ways this album is actually a regression from Futuristic Dragon, which represents the first time in years that Bolan actually tried to outreach his grasp, which is to say "experiment." This album is more of the same simplistically catchy Bolan boogie style - and little of the punk sound of music critic lore. Even the song titles are misleading, with the Clash-like phrase 'Teen Riot Structure' turning out to be just another cheesy semi-disco Bolan track - and not the anarchic manifesto suggested by the title.
The album does, however, boast some moments of greatness. The sing-along anthem 'Dandy in the Underworld' is one of Bolan's best-ever singles, a strident, groovily infectious track that sounds like Marc was finally getting his muse back. The cheesy-but-fun retro piece 'I Love To Boogie' is fun as well, with its classic Bolan boogie and charmingly simplistic wordplay making it a worthy classic in the T. Rex catalog. Also worth checking out is the catchy 'Soul Of My Suit,' which was also released a single, as well as the groovy 'Crimson Moon,' which sounds like something off of Electric Warrior (although the jarring bass voice singing one octave below Bolan's during the verse suggests Axl Rose's lower register growl). I suppose that 'Jason B. Sad' is also pretty decent, although the fact that it cheekily plagiarizes the main riff from 'Get It On' (right down to the saxophone!) makes it hard to take the thing seriously. As for the rest, it's just more of the same semi-disco, typical late T. Rex sound. The only songs that really stick out do so for all the wrong reasons, whether it is the fiddle solo in 'Visions of Domino,' or else the wimpy guitar tones on 'Groove A Little.'
In the end, this is one album that doesn't live up to the praise its received over the years. There is nothing even remotely "punk" about Dandy In The Underworld, and when you add to that the fact that the album is a bit of an artistic regression, then this sacred cow of rock hasn't even got a leg to stand on. Chalk this one up as another case of death being a good career move for a rock star. A low six, then.
GREAT
HITS: 1972-1977 THE A-SIDES (1991)
RATING: 8
PLAY THESE: TELEGRAM SAM, CHILDREN OF THE REVOLUTION, 20TH CENTURY BOY
SKIP THESE: ZIP GUN BOOGIE, DREAMY LADY, TO KNOW YOU IS TO LOVE YOU
Great Hits: 1972-1977 The A-sides is - appallingly low budget album sleeve aside - a fantastic collection of hits from late period T. Rex, and is guaranteed to make you want to get up and boogie like it's 1972 all over again. The compilation starts with the remarkable-and-catchy-as-bird-flu 'Telegram Sam,' which finds Bolan at the height of his musical powers, and ends with the burnt out glam queen pomp of 'Celebrate Summer,' which was the last-ever T. Rex single. What falls in between is a inevitable mid 70's career downward freefall, but boy, is the ride ever fun! Great stuff!
The first half dozen or so songs are all classic glam rock singles, from the high-octane, riff and hook-laden '20th Century Boy,' to the catchy retro-rock of 'Metal Guru." Best of all, though, is the masterpiece, 'Children of the Revolution' a song that was absolutely butchered on the Moulan Rouge soundtrack a few years back. Do yourself a favor and check out the original T. Rex recording. It's got all of the elements of a classic single. What do you need? A slow, menacing guitar riff? Check. Sly, sensual vocal hooks? Check. Subtle-yet-sympathetic orchestral arrangement? Check. Wailing background vocals? Check. A dense, well-produced soundscape? Guest Elton John on piano? The immortal Ringo Starr on the skins? I think that you get the point by now...it's a great song, easily one of the best singles of all time.
The songs that follow summarize Bolan's futile attempts at re-inventing himself as God knows what, but I guess the scattershot nature of the later-day singles is what makes them so dang entertaining. Some moments are definitely better than others: the 50's doo-wop style 'Teenage Dream' is good campy fun, but for every one of these gems we also have weaker tunes like the uninspired 'Zip Gun Boogie' or a tiresome cover like 'To Know You Is To Love You.' Still, most songs have some at least something to recommend them, and besides, how many artists can get away with singing three chord throwaways called 'I Love to Boogie' and come out of it smelling like a rose? Not many, I tell you! But Bolan pulls it off!
The end of the albums hints at what might have been, with songs like the hook-filled 'The Soul of My Suit' and the anthem-like 'Dandy of the Underworld' suggesting Bolan might have enjoyed a comeback as a New Wave icon, if fate had not been so unkind to him. Unfortunately, he died in a tragic accident a few months later, and a musical light was snuffed out at the young age of 29.
In conclusion, if you want a definitive greatest hits album that encompasses the band's entire career (i.e. the hippy albums and early hits like 'Ride a White Swan,' 'Hot Love' and 'Get It On'), you've come to the wrong place, but if you want a taste of what late period T. Rex has to offer, this CD can't be beat.
GREAT
HITS: 1972-1977 THE B-SIDES (1991)
RATING: 6
PLAY THESE: CADILLAC, THUNDERWING, LIFE'S AN ELEVATOR
SKIP THESE: DO YOU WANNA DANCE?/ SITTIN' ON THE DOCK OF THE BAY
Great Hits: 1972-1977 The B-sides is - appallingly low budget album sleeve aside - a fantastic collection of hits from late period T. Rex, and is guaranteed to make you want to get up and boogie like it's 1972 all over again (oh, how I love the copy and paste function!). The collection starts off with a dynamic deuce of Slider-era B-sides 'Cadillac' and 'Thunderwing,' both of which sound as good - if not better - as their respective A-sides ('Telegram Sam' and 'Metal Guru'). The Tanx-era B-Sides are also pretty sweet, even though an alarmingly camp-sounding Bolan sounds like he's singing "my buns are aching" during the verse. OK, I know it's officially "bones," but I'm pretty sure that Bolan wasn't discouraging such misunderstandings. That guy sure was a fruitcake, hehehe....
The album does get progressively worse towards the middle (during the Zip Gun era, in particular), with the Gloria Jones-sung 'Do You Wanna Dance' and 'Sittin' On The Dock Of The Bay' representing what are perhaps two of the worst cover recordings in the history of rock 'n roll. I don't think I need to explain why their very existence is tragically stupid, although suffice to say Jones totally butchers these two great songs, and the cheesy porn karaoke instrumental backing isn't exactly help matters either. The indescribable sonic mess that is 'Satisfaction Pony' is so bad that it's good, with those ridiculous Gloria Jones vocals in the chorus taking the song to previously unseen depths of unrepentant cheesiness.
However, things do pick up with the catchy-as-heck 'Solid Baby,' a song with a fantastically cheeky Bolan delivery - his delivery and phrasing is almost at an all-time high on this one. The overall quality of the collection also generally begins to improve during the Futuristic Dragon era material, with the haunting ballad 'Life's An Elevator' leading the pack in terms of its sheer quality. The song is probably the last important song Bolan ever wrote, with lines like "life's an elevator, it goes up and down" mirroring the wild rollercoaster ride that was Mark's fading music career. I love how the two acoustic guitars are separated on the left and right speakers, with one playing the main riff, while the other plays a simple-yet-beautiful counter-melody. Mark's singing is also remarkable, sung with obvious passion and regretfullness - a great performance, I dare say.
The album ends on an ambiguous note with the Dandy-era material ('Groove A Little' and 'Tame My Tiger') showing some promise, but for the most part still falling far of the mark set by Marc's early 70's material. There's some truly great stuff on this collection, and perhaps with a little trimming it could be a solid listen, but as it is is there's just too much crappola here for all but the most dedicated of T. Rex fans. Six out of ten.