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

The single and album took the band into 1974 and by this time not only was Gloria Jones a full time member, she was also Marc’s partner, his marriage to June having finally broken up. Drummer Davey Lutton was recruited to replace Bill Legend and the new look T.Rex went on the “Truck Off Tour” early in the year. Boasting a fuller figure, and the new fuller sound, which also showcased an additional drummer, Paul Fenton, Marc played to ecstatic fans and the tour was well received by critics and fans alike. A new single hit the shops in February and amazed the media and fans. “Teenage Dream”, taken from the forthcoming album, was a complete change in style to anything that T.Rex had done before. The lyrics harked back to the Tyrannosaurus Rex days in that they were wordy and almost poetic in essence, but the music was pure soul and blues. A self mocking track in a way, this release saw the single being credited to “ Marc Bolan & T.Rex” and then just “Marc Bolan” which, along with the production credit amendments, was a clear indication that Marc’s attitude was beginning to change.

It sold well and made no.13 in the charts - not bad for a song that was hardly danceable and certainly was not aimed at the screaming teenage market in spite of its endearing title. The album from which it came sent ripples through the media as well as Marc’s parent company, EMI. Way back in the early days Marc had joked with journalists that when he achieved success he would change his name to “Zinc Alloy” and wear metal clothing! The new album saw him do (almost) that as it was titled “Zinc Alloy & The Hidden Riders Of Tomorrow” and carried a sub-title “Or, A Creamed Cage In August”. Initially the album was planned for release in a multi gatefold sleeve but the paper shortage of 1974 meant that costs were too high and so a revised version hit the shops, whilst the de-luxe version was saved for competition prizes etc. Where “Tanx” was smooth and slinky, “Zinc Alloy” was metallic and brash and was a true reflection of the name that Marc had adopted for the release, although EMI insisted on a diagonal “Marc Bolan & T.Rex” name banner proclaiming the album’s true origins. Drastically underrated by the critics and ignored by the fickle fans that couldn’t understand where Marc’s head was at, the album still made the Top 20 and peaked at a creditable no. 12. Gloria’s soul influences were everywhere and she and Pat Hall punctuated many of the albums tracks with their powerful backing vocals.

The old style T.Rex was well and truly gone, a fact emphasised by the departure of producer Tony Visconti who moved on to pastures new. Tony’s departure left Marc in charge of production and the world waited to see just what would emerge next from the recording studios. In the meantime guitarist Jack Green also left and so did backing singer Sister Pat Hall, though not before she had laid down a number of recordings with Marc for a projected album release . That August keyboard player Peter 'Dino' Dines was recruited and in the autumn of 1974 the latest incarnation of T-Rex made what was to be their final tour of North America to a lukewarm response, although a new record deal with Casablanca Records had seen the release of the “Light Of Love” album over there. Track Records took advantage of a loophole in this year and issued a compilation of Marc’s 1960’s demos on the album “Beginning Of Doves”. They had previously sought to release it back in 1972, along with a single, “Jasper C Debussy”, but Marc had successfully blocked both records appearance. However, this time round they slipped through the net and both the album and single reached the shops, much to the delight of Marc’s legions of followers. Neither disc troubled the charts but the songs were a welcome addition to many Bolan fans record collections.

The 'Light Of Love' single was released in July 1974 in Britain but peaked lower than “Teenage Dream” at number 22. By this time Marc was a tax exile and was living outside of Britain for tax purposes and so a video was recorded to promote the track in Britain. The single was a lovely slice of pop’n’soul and the video expertly portrayed the song with its clever use of special effects and colours. However, it did not get shown in Britain and only surfaced on the Bolan scene years later. Had it been seen at the time it would justifiably have been credited with being one of the first pop videos as it pre-dated “Queen’s” “Bohemian Rhapsody” by well over a year. The next single- “Zip Gun Boogie” miserably stalled at no. 41 although media reaction had been favourable indeed on its release. Marc had even been credited with emerging from the doldrums sound-wise but sales-wise it was a disappointing flop.

1975’s British album was also a bit of a disappointment to many - the poorly received “Bolan’s Zip Gun” released in February. It did get some good media reviews but the record buying public were seemingly unimpressed by this latest venture. The album contained some of those used on the Casablanca album in the USA along with new ones that replaced the “Zinc Alloy” ones on that release. It was not one of Marc’s most consistent albums although there were some good tracks in the grooves, including perhaps one of Marc’s most beautiful songs ever, “Till Dawn”. For the first time since 1968 an official “Bolan-released” album missed hitting the charts. This album was also the last to feature Marc’s sidekick Mickey Finn, who left the band in January to go his own way, leaving Steve Currie as the last of Marc’s “glory years” T.Rex collaborators.

During ’75 Marc made many appearances on the pop show “Supersonic” and his fans were able to enjoy seeing Marc on TV even if not live on stage. A welcome return to the charts came with the “One Inch Rock” inspired “New York City” single which frog-hopped its way up to No. 15 in the summer of ’75 and was considered a “comeback” single for the band, although to his loyal fans he really had never been away! Marc’s image had drastically changed for this release with his frizzed hair and pancake make-up concealing his delicate features. It certainly grabbed the attention of the media who made much of the new look, and of what they considered a return to form music–wise.

A UK tour was pencilled in for November 1975, but was subsequently cancelled when Marc and Gloria became the proud parents to son Rolan Seymour Feld in September, a few days before Marc’s own birthday. His music was important but Marc’s new family came first! The single out at the time of Rolan’s arrival was the disco inspired “Dreamy Lady” that also charted at no 30. The b-side tracks heavily featured Gloria whilst Marc’s image for the song on “Supersonic” surprised everyone with his dramatic blue make-up and hair pre-dating the punk/Goth look by a good many years!

In February 1976, Marc and the band embarked on their biggest UK tour since 1971 to promote a new album with “The Futuristic Dragon” tour. The “Futuristic Dragon” album had been released in January, and sneaked into the charts at number 50. It wasn’t a brilliant album in comparison to, say, “The Slider”, but it proved that Marc was returning to form. Consisting of some “left over “tracks from 1974 and bolstered with new ones, plus a couple of hit singles too the album sold on the back of the successful tour. The album began with a screeching, wailing piece of heavy metal fretwork before Marc’s vocals spat out the title song’s lyrics with a passion. No one would have guessed that the track had originally started out as the vocal song “Bolan’s Zip Gun” and rejected for that album.

Never one to waste a good idea though, Marc resurrected it and gave it a new slant- “Yes, and I do mean Yes!” Hidden gems abounded amongst the tracks and songs like “Sensation Boulevard” and “Jupiter Liar” cried out for singles release but instead a new song called “London Boys” was issued. Based on Marc’s “Mod King” memories and “about the time when I used to beat up little old ladies” (to quote a tongue in cheek Marc) the band heavily promoted its February 20th release during the tour and the single hit the charts but stuck at number 40. For this incarnation Marc invented “The Bolan Blob”- a golden glint at the forefront of his corkscrew hair and wore tailored jackets trimmed with leopard skin! He may have forsaken his old “Glam” look but he still had sartorial elegance in abundance. The next single of the year was a real cracker! ”I Love To Boogie”, released in June, shot into the charts and was one of the summer tunes in the long hot summer of ’76.

Yet another image change portrayed Marc as a short haired rocker- a look that owed much to his early 60’s style - and the single reached number 13 in June. The song owed a great deal to the old rockabilly tune “Teenage Boogie”, which Marc denied (at the time!) but nevertheless still had the Bolan touch to add that little extra “oomph”. It proved that Marc still had what it took to deliver the goods and he promoted it on TOTP, much to the delight of the fans. On the back of the success, Supersonic producer Mike Mansfield signed Marc for a TV special and the “Rollin’ Bolan” special was duly recorded at Wimbledon in July and broadcast on television in August. T.Rex were the hosts for the show and played a selection of old and new songs to the enthralled audience. Marc looked fantastic in his short-sleeved jacket, short hair and delicate make-up and the band was red-hot.

New band member Miller Anderson’s guitar added a new dimension to the T.Rex sound and Marc was able to give it his all alongside Millers fret-work. On a roll, “Laser Love” was released the following September but a slightly lacklustre production let the single down and once again a T.Rex single missed the top 40 , reaching the no 41 position. Had the production been just that little bit more powerful, just that little more spirited, then it would have done better. Even an appearance on TOTP with Marc sporting another(!!!) image change failed to help its chart climb. Looking like a cross between a pimp and a 1930’s matinee idol Marc punked his way through the song but the public were unmoved and the single failed to climb higher. After a T.Rex career of almost 6 years Steve Currie then left the band, as did drummer Davey Lutton, and were replaced by top session musicians Herbie Flowers and Tony Newman. This new T.Rex was perhaps the most musically proficient of all the bands line-ups and Marc proudly proclaimed the fact to the media and to anyone else who would listen!

1977 looked promising and was all set to become a good year for T-Rex. It began interestingly with the single release of “To Know You Is To Love You”, a duet by Marc and Gloria reviving the old “Teddy Bears” classic for a new audience. It was lovely performance but it was largely ignored outside of the Bolan Fraternity and missed the charts, although a touching and amusing appearance on “Supersonic” did expose it to the world in general.

Marc’s media profile increased greatly throughout the year as Melody Maker and also Record Mirror recruited him to write articles, during which he mused about fellow artistes, the music scene, and world affairs in general. Rejuvenated by the burgeoning punk scene and the success of the previous year’s discs, Marc planned his new assault for 1977. Recruiting up and coming punk band “The Damned” as his support act the new T.Rex went out on tour across Britain and played to fanatical, enthusiastic crowds. By taking “The Damned” on tour Marc ensured that a whole new audience were exposed to his music and the critical acclaim and the audience reaction were equal in their thumbs-up acceptance. Hot on the heels of the tour’s launch date came the “Dandy In The Underworld” album which was released with a fanfare, and a party for music industry people, at the respected London punk club “The Roxy”.

Anyone who was anyone in the music business attended and the party garnered much publicity for the album that broke into the UK Top Thirty album charts at no 26. A strong album indeed it showed once and for all that Marc Bolan was on the up and that he was back! Reviews for the album were the best for years and it was evident that a resurgence of energy had powered up Marc’s music. The single, “Soul Of My Suit”, taken from the album, was an atmospheric joy and gave Marc what turned out to be his last appearance on TOTP. Once again the single mysteriously stalled just outside of the top 40 but further appearances on “Supersonic” and “Get It Together” pleased the fans, as did a follow up single “Dandy In The Underworld” which also saw Marc appear on “Get It Together” to promote it. A very strong song, “Dandy” had been re-recorded to take out the drug related line that had been on the album version in an attempt to allow radio play. Oddly the single did not make the BBC play list anyway and the epic single, which had echoes of “Teenage Dream” within it, sunk without trace and was the first non-chart single for T.Rex since 1970.

However, things were still in the ascendant for Marc as in August 1977 he hosted his own television series called the 'Marc' shows for Granada TV. Recorded in Manchester the shows were instrumental in exposing many new wave bands to Britain’s youth and bands such as The Jam, The Boomtown Rats, Generation X and the like enjoyed mass exposure via the shows. Marc and T.Rex – now minus Miller Anderson – performed a selection of classic tracks as well as new songs for the series and acted as host for the shows. A power packed single called “Celebrate Summer” was unleashed during the show’s run and enjoyed prime-time exposure each week. Bafflingly the single didn’t chart although whether it would have eventually done so had later circumstances been different is open to speculation. To Marc’s great satisfaction the show was such a success that plans were made for a second series and a second British tour was also proposed for later that year. He was on a high and things were really going well for him. “Summer’s not a bummer, it’s a stunner and it’s now!” he proclaimed.
However, fate has a habit of taking things in hand and getting in the way…..

On the evening of September 15th 1977, Marc and Gloria visited Mortons Club in London where they enjoyed an evening of conviviality with friends. Leaving in the early hours of the morning of 16th September, they made the fateful decision to drive themselves home rather than get a taxi or ask for a lift from friends. Gloria drove the mini homeward but whilst driving along Barnes Common it is likely that a combination of low-lying, dense ground-mist, tiredness, and a badly fitted front wheel, contributed to an accident causing Gloria to lose control of the car as they passed over a hump-backed bridge at around 5.00 am. Careering into a tree situated just around the curve of the road the mini stood no chance and Marc, sitting in the front passenger seat, bore the brunt of the impact and was killed instantly. Gloria suffered serious injuries herself and spent many days in hospital, unaware that the love of her life, the father of her child, was gone. Ironically the car was only a short distance from their home in Richmond.

The world woke that Friday morning to the awful news that 4 weeks on exactly from losing Elvis Presley it had lost Marc too. Fans were in shock and the world was once again rocked on its feet. Newspapers, television and radio all sported major articles and Marc’s name was on the lips of everyone. It was just too awful to take in.

Marc’s family lost a much- loved member. Fans lost their idol. The music world lost a true star and great innovator. Things were never to be the same again.

Coincidentally that same day the famous opera singer Maria Callas also passed away but she merited only a small piece in the news in comparison. All the concentration was on the tragic loss of Marc.

He would have loved that ……………………….

“Baby, baby I was born to boogie, spend some time with you, wanna do what I wanna do”

(from Born To Boogie by M.Bolan 1972)