“From Darling Of The Underground To Dandy In The Underworld” - A Brief Bolan Biography
Part Two

The band continued to tour throughout the UK and made many appearances on BBC radio via John Peel’s shows for Radio 1. Tyrannosaurus Rex achieved much success as an underground band and gained a healthy fan-base who appreciated the whimsical, Tolkien inspired feel of Marc’s music combined with his unique vocals and Steve’s gymnastic backing and assured percussion. Feted as the “Darlings of the Underground” Tyrannosaurus Rex played to sell out concerts and had one time even had the then unknown David Bowie as a support act. However by 1969 there was increasing tension between Marc and Steve Took, which accelerated after March that year when Marc bought his Fender Stratocaster, and started to introduce the electric guitar into the band’s set. Despite this tension they released the excellent “Unicorn” album in May ‘69, which returned them once again to the charts and reached a respectable no 12. Although their third single, “Pewter Suitor”, released in January, had failed to shift many copies, the fourth, the thumping, electric “King Of The Rumbling Spires” did reach No.44 in the charts in July and introduced the band’s fans to a different sounding Rex.

In August of that year, Tyrannosaurus Rex embarked on an American tour, which unfortunately turned out to be a disaster. The promotion for the tour was poor and Steve Took had increasingly taken drugs and drink, causing a lot of problems between him and Marc. He disrupted performances by being drunk or under the influence of drugs and when the tour finished he left the band “under a cloud”. To the music world it appeared that Tyrannosaurus Rex were no more but ever the fighter, Marc was not about to relinquish the success that he had worked so hard to achieve. He recruited new band member Mickey Finn to replace Steve and he joined Tyrannosaurus Rex in October 1969. That November they embarked on a successful British tour and also laid down some tracks in readiness for the next LP and single release. Many tracks had been already recorded with Steve Took and so Marc and Visconti removed his participation and, using Mickey’s contribution, they re-recorded the tracks for the album by the “new” Tyrannosaurus Rex. Released early in 1970 the 'Beard Of Stars' album reached number 21 in the charts whilst the single “By The Light Of A Magical Moon” sold healthily but didn’t set the charts alight. However, the new Tyrannosaurus Rex proved to be a success and Steve’s departure had not seemed to harm the bands reputation at all. Their records still sold well and the gigs were sold out. Tyrannosaurus Rex was still striding forth but Marc wanted more.

In September the band name was officially shortened to the easier to pronounce “T-Rex” and the three track gem “Ride A White Swan” was issued as the first single on the newly formed “Fly” label in October. Complete with bass guitar and strings it was the most commercial single up to that date and it attracted massive sales. Marc and Mickey made their first appearance on Top Of The Pops in November 1970 as it rode the charts, peaking at number 2 and remaining in the charts for a phenomenal 20 weeks. America also took to the single and it made a respectable no 76 in the Hot 100. Marc had struck gold. However, the new, fuller, sound that the band had adopted meant that a new member was required for live performances and so Steve Currie joined “T-Rex” to add his skilful bass guitar to the line up, debuting with the band in November. The “T.Rex” album, released in December 1970 reached number 13 in the UK charts and was one of the first- if not the first – albums to sport a half-page gatefold sleeve that opened out into a mini poster. The image of Marc and Mickey, white faced like innocent geishas, remains a potent one to this day and surely helped attract interest in the album on display in the shop racks.

Things were really moving now and early in 1971 the decision was taken to add a full drum kit to the line up. Bill Legend was chosen to be the bands drummer as he had already worked with T-Rex as a session drummer for “Hot Love” and “Woodland Rock”, both tracks intended for the soon to be released follow up single to “Ride A White Swan”. Following its February release “Hot Love” became the band's first number 1 single. Another value-for- money three track single, “Hot Love” was a pounding, catchy, danceable song and it shot up the charts to the number 1 spot where it remained for 6 weeks. It peaked at number 72 in the USA Top 100 and was also a big success worldwide. Marc’s stunning attire, and the dab of glitter under his eyes for BBC television’s “Top Of The Pops”, single-handedly created a new musical genre - “Glam Rock”. The impact that this glamorous appearance made on Britain and Europe’s record buying public was immense and almost overnight the shops were full of glitter and silks and satins. Even lads adopted the look and it was not unusual to see male Marc Bolan look-alikes in the High Street alongside the girls! Not since the Beatles had popularised the “no-collar” jackets in the early ‘60’s had any rock star influenced so many people. Cashing in on the two big singles, in March “Fly Records” issued 'The Best Of T-Rex' album, a misnomer as it consisted of “Tyrannosaurus Rex” tracks only, but it still reached number 21 in the charts. By mid 1971, T-Rex were huge in Britain, and most other countries, though it has to be said that they were still struggling to find major recognition in the USA though as a cult band they were respected.

Released in July 1971, the three track 'Get It On' became the second number 1 for T-Rex and it remained there for 4 weeks. Charting all over the world it also reached number 10 in the US Top 100. The 'Electric Warrior' album, with its free poster, was released in September 1971 and took the music world by storm. It was a huge seller and spent six months in the UK Top Thirty where it spent 6 weeks in the number 1 spot in 1971, returning to the top spot for a further 2 weeks in 1972 and spending 9 months in the charts overall. It was also a big success in the USA where it spent nearly eight months in the US Top 200, peaking at number 32. In October T-Rex embarked on their massively successful 'Electric Warriors' British tour during which “Jeepster” was released as a single by “Fly” against Marc's wishes in November 1971 just as his contract with them had expired. A class cut from the “Electric Warrior” album it was smash hit and reached number 2 in the UK Top Thirty despite Marc’s refusal to officially promote it and was only prevented from reaching number 1 by Benny Hill's novelty Christmas single 'Ernie'.

If 1971 was busy then 1972 was an extremely busy year for T-Rex. It started with Marc signing to EMI and the setting up of his own record label and company – Wizard. The “T.Rex Wax Co Ltd” label was a stunning piece of genius as not only did it give complete creative control to Marc, it also ensured that his face was emblazoned on the label in stunning red against a blue background with the name “T.Rex” boldly prominent for all to see on both the label and the record sleeve. It was a sign of the power that he now commanded that EMI had agreed to the deal and it meant that Marc joined the elite as only “The Beatles” and “The Rolling Stones” had their own labels and companies.

Following an appearance on ITV’s children’s show “Magpie” on January 13th the band played a pivotal concert on January 15th at the “Boston Gliderdrome” in Lincolnshire which was recorded by ATV for a documentary, “Whatever Happened To Tin Pan Alley?” shown later in the year. The concert was manic and it was as a result of this night of intense fan hysteria that the term “T-Rextasy” was first coined by the media to try and describe it. The ‘70’s version of the ‘60’s “Beatlemania” it proved to the world at large that T.Rex were the band of the moment. Marc’s dinosaur had finally dominated the music world, as he always knew it would do.

It might have taken a few small steps as well as a couple of backward ones along its way but it was now striding out at full speed. T.Rex were indeed reborn and bopping! On the 21st January the first single on the “T.Rex Wax Co Label”, “Telegram Sam”, was released and shot straight to the number 1 spot, also becoming a top 10 hit in numerous European countries, and even reached the US Top 100 at No. 68. At the end of January they performed a series of live dates in Scandinavia and West Germany before embarking on a reasonably successful North American tour in February. However, March 18th 1972 saw T.Rex perform two sell out concerts at Wembley, London, where the scenes of absolute hysteria, mayhem, fan-worship and idolising reached even greater heights. Playing to 20,000 screaming fans, Bolan and his band inspired headlines like “20,000 screamers and the day that Pop came back” and “Bolan’s Triumph”. The music world was rocked on its heels and Marc Bolan stood tall- the little “Bopping Elf” had become the gigantic “Electric Warrior” and the world was at his feet. In conjunction with Ringo Starr and Apple Films the two concerts were filmed for use in the movie “Born To Boogie” which was released later the same year.

With T.Rex records selling in their millions and Tyrannosaurus Rex oldies the top of many fans “wants” lists, and selling at extortionate prices, “Fly Records” were not slow to exploit their back catalogue. The first to emerge was an EP consisting of the old singles “Debora” and “One Inch Rock” plus an album track, “The Seal Of Seasons”. Issued immediately after the Wembley concerts the single sold in droves and gained a no 7 high for the Tyrannosaurus Rex oldies. Marc was publicly annoyed, but monetarily at least it did him no harm as he still got his royalties.

The official follow up to “Telegram Sam” was “Metal Guru” which also reached number 1 in May and spent four weeks at the top. A searing wall of sound this single again was a huge hit worldwide and is considered by many as the epitome of the “Glam Rock Sound”. Also released in May was another “Fly” album called “Bolan Boogie” which gathered up the quartet of Fly singles, some b-sides and some Tyrannosaurus Rex material too. The album wasted no time in taking the pole position and, technically at least, gave Marc his second no.1 album. T.Rex’s official album though was the sublime “The Slider” released later in July and which was reported to have sold 100,000 copies in four days alone! Oddly the album stalled at no 4 though it remained in the charts for 19 weeks and also did big business in the USA where it reached no.17.

During a second North American tour in the Autumn of 1972 “Children Of The Revolution” was released in Britain and pounded its way to number 2 in the charts as well as taking off in many other countries. It was also featured in the yet to be released “Born To Boogie” although when the film was seen the version differed a great deal to that of the vinyl cut. On the 1st December '”Solid Gold Easy Action” was released, and once again a T.Rex song positioned itself at number 2 in the charts. As with “Ride A White Swan” and “Jeepster”, Marc was held off from the no. 1 spot by a novelty record. On those occasions the culprits had been “Grandad” and “Ernie (The Fastest Milkman in the West)” respectively. Those were bad enough - this time it was worse! Marc was held off the no. 1 spot by the awful “Long Haired Lover From Liverpool” by the precocious “Little Jimmy Osmond”.

However, the single remained chartbound for a 12 week run even so. The film 'Born To Boogie' was premiered later that month on the 14th December at the Oscar One Cinema, Soho, London, where it met with mixed critical reviews but did big box office throughout Britain. Fans flocked to the cinema showings and treated the film like a concert, screaming and crying along with the filmed audience to the sounds of T.Rex. They, at least, appreciated what Marc and Ringo had attempted to capture- the excitement and glamour of a T.Rex concert- even if the unenlightened critics had not!

1973 came and Marc’s music took on a different feel. American singers Gloria Jones, Pat Hall and Stephanie Spruill were employed as backing singers and Marc started to enhance the T-Rex sound by seeking to introduce the sound of soul into his music. However, in March, the latest single, '20th Century Boy' had blasted it way into the charts at number 3 – a phenomenal achievement to be sure. The single was pure “metal and power” and critically it gained rave reviews. The song dominated the airwaves for weeks but strangely did not rise higher than no. 3 despite this. Later, in the summer of 1973 Marc also introduced a second guitarist, Jack Green, into the line-up in order to give him more freedom on stage and to fill out the bands live sound. Another tour of the USA displayed the new bands prowess to the full and it was a very different sounding T.Rex that boogied across the States this time around, though it was to a largely dissatisfied audience on the East Coast at least.

The album of that year was the smooth sounding “Tanx”, also released in March, which emulated its predecessor by also attaining the no.4 slot in the album charts. Containing no singles to promote it, Marc did so instead by appearing on the Cilla Black Show and via music paper interviews. The album’s sound was very American and it showed Marc’s love of blues and soul clearly. There were still out and out rock songs, but overall the feel was very bluesy/sexy/sleazy, especially considering the risqué photograph on the sleeve of Marc and a cunningly placed tank and its muzzle!

The June single - “The Groover” – exploded on to the scene in June and was a typical T.Rex sounding record, complete with its drum and guitar intro and the tongue in cheek “T – R – E – X” chant that greeted the listener. Marc announced that it was to be the last single in the typical T.Rex vein, which proved to be correct. His fans loved it and it soared chart-wise to a respectable no. 4. It was though to be the last Top Ten single that Marc was to enjoy, although subsequent singles still saw healthy chart action through to 1977.

At the end of 1973 T-Rex carried out an extensive tour of the Far East and played to ecstatic audiences in Australia. However, following the tour, Bill Legend left the band in November, and Marc was left to recruit a new drummer.

During the band’s absence a new single was released. The driving “Truck On (Tyke”) received an indifferent reception from music critics but still charted at no 12 in Britain. The American influence was very strongly heard on the track and it was not really a typical T.Rex sounding song at all. Gloria’s vocals were much more upfront and the sound was minimalist in comparison to other singles but the lyrical content remained pure Bolan with his “Dinosowahs”, his “Palamino Lady” and his “You can’t hurt me though, ‘cos I’m Cosmic” imagery shining through. Also released this year was the “Great Hits” album that fared reasonably well but only reached chart position 32 in spite of its free colour poster and excellent collection of T.Rex aural masterpieces.