T. Rex (November 10, 1972) – “Glamour Rock – The New Wave” Feature - Vieux Carre Courier
This Vieux Carre Courier feature examines the emerging glam-rock movement and places T. Rex and Marc Bolan at its centre alongside David Bowie, Roxy Music and Silverhead. The article discusses image, sexuality and theatrical presentation within the new British rock scene, while assessing The Slider and describing Bolan as one of the movement's leading figures.
Publication: Vieux Carre Courier
Date: November 10, 1972
Country: United States
Published in the newspaper's “Records” section under the heading “GLAMOUR ROCK – The new wave”, the article considers what the next major development in rock music might be. Looking towards England, the writer identifies glamour, theatricality and visual presentation as central characteristics of an emerging movement.
The article names T. Rex, David Bowie, Roxy Music and Silverhead among the English acts associated with this direction.
The writer argues that glamour rock places considerable importance on visual presence and stage appearance alongside the music itself.
T. Rex receives substantial attention. Marc Bolan is characterised as a central figure in the style, with the article discussing the image surrounding Bolan and the way that appearance had become intertwined with the music. The writer also turns specifically to T. Rex's current album, The Slider, describing it as illustrative of the band's basic guitar, bass and drums foundation.
The article comments on the repetitive rhythms within T. Rex's music and contrasts that simplicity with Bolan's distinctive lyrical imagery. Several examples from “Ballrooms Of Mars” are used to demonstrate the unusual and cryptic nature of the words.
The feature notes that the combination of music, image and enigmatic lyrics had already proved enormously successful, stating that Bolan had sold over 14 million records in England in three years.
Bolan's appeal is described in terms that emphasise both his visual presentation and his attraction to a young audience. The article reproduces a comment attributed to the Birmingham Evening Mail describing him as “Rextacy”, illustrating the intensity of the fan response surrounding T. Rex.
The supplied portion concludes by comparing Bolan with David Bowie, with the article continuing onto another page.
CONTEXT AND NOTES
The clipping provides a contemporary American perspective on the emerging British glam-rock movement. Rather than examining T. Rex in isolation, the writer places the group alongside David Bowie, Roxy Music and Silverhead as examples of a scene in which visual presentation had become increasingly important.
The accompanying photograph is captioned “T. REX: Marc Bolan, the hottest property in British pop music, as he appeared at the Warehouse this Fall.” The image shows a performer on stage with a guitar, linking the article back to T. Rex's appearance at New Orleans' Warehouse.
The feature is particularly useful as a contemporary record of how American writers were attempting to define British glam rock in 1972 and how strongly Marc Bolan was associated with the movement.
FEATURE HIGHLIGHTS
Event: Examination of the emerging glamour-rock movement
Era: 1972 The Slider era
Tone: Analytical, provocative and observational
Photography: Large live concert photograph captioned as Marc Bolan appearing at the Warehouse during the autumn
WHAT THE CLIPPING SHOWS
• Feature headed “Glamour Rock – The New Wave”
• T. Rex discussed alongside David Bowie, Roxy Music and Silverhead
• Assessment of The Slider and T. Rex's musical approach
• Discussion of Marc Bolan's visual image and unconventional lyrics
• Live photograph from T. Rex's Warehouse appearance
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