Born: Stephen Ross Porter, Eltham, London Known for: Member of Tyrannosaurus Rex (with Marc Bolan), later solo artist and frontman for several underground bands Early Life & Tyrannosaurus Rex Took was born Stephen Ross Porter on 28 July 1949 in Eltham, London. He attended Shooters Hill School and took his stage name from Peregrin Took, a hobbit in J.R.R. Tolkien’s The Lord of the Rings. At 17 he played drums with the mod band the Waterproof Sparrows before answering an advert for Marc Bolan’s new electric band Tyrannosaurus Rex. After one disastrous gig the pair reduced the group to an acoustic duo (guitar and bongos). They released three albums, scored two Top 40 hits, and were championed by John Peel. Took contributed harmony vocals, bongos, African drums, kazoo, pixiphone and Chinese gong, helping transform Bolan’s sound into an exotic mix aimed at the hippie audience. Producer Tony Visconti later described them as a true 50:50 partnership. By early 1969 Took was writing his own songs and suggested they perform some of his material; Bolan refused. Their lifestyles diverged sharply — Bolan living quietly with June Child while Took moved in underground circles with the Deviants, Pretty Things and Syd Barrett. Took donated two songs (“Three Little Piggies” and “The Sparrow Is A Sign”) to Twink’s Think Pink album. After a US tour in which Took’s onstage behaviour (including self-whipping in the Iggy Pop style) became a pretext for his dismissal, Bolan replaced him with Mickey Finn and later renamed the band T. Rex. Pink Fairies, Shagrat & Solo Years (1969–1973) Notable DetailsAfter leaving Bolan, Took formed a prototype Pink Fairies with Twink and Mick Farren. He appeared on Farren’s Mona – The Carnivorous Circus (credited as Shagrat the Vagrant). In 1970 he formed Shagrat (named after a Lord of the Rings orc) with Larry Wallis, recording electric tracks and later acoustic demos (“Amanda”, “Strange Sister”, “Still Yawning Stillborn”, “Beautiful Deceiver”). From 1971–72 he worked mainly as a solo acoustic performer, supporting Hawkwind, the Pink Fairies, MC5, Stealers Wheel and others, and appearing at benefit shows. In 1972 former T. Rex manager Tony Secunda took him on, hoping to recover royalties and launch him as a star. Took recorded demos in a Mayfair basement studio that attracted visitors including (reportedly) Syd Barrett. Highlights of the Secunda-era tapes were later released as The Missing Link To Tyrannosaurus Rex (1995). One track, “Syd’s Wine”, is believed to feature Barrett. Later Bands & Final Years (1973–1980) Took worked with Robert Calvert, Adrian Wagner and Nik Turner, formed short-lived bands in Kent (including Jolly Roger and the Crimson Gash), and in 1976–78 led Steve Took’s Horns with Trev Thoms and Ermanno Ghisio-Erba (later of Inner City Unit). The Horns recorded three tracks at Pathway Studios in 1977 (released posthumously in 2004 as Blow It!!!). He guested with Inner City Unit in 1979–80, performing at the Music Machine and Stonehenge Free Festival.Took died on 27 October 1980 in Notting Hill, aged 31. The official cause was asphyxiation after inhaling a cocktail cherry; drugs were not listed as a contributory factor although the circumstances are often described as a “drugs misadventure”. He was buried at Kensal Green Cemetery. He had one son with Lou Tunstall and was stepfather to Lemmy’s son Paul Inder.

On October 26, 1970, T. Rex recorded a four-song session for John Peel’s BBC Radio 1 programme Top Gear. Featuring “Ride A White Swan,” “Jewel,” “Elemental Child” and “Sun Eye,” the session captures the group at an important moment as the T. Rex identity and increasingly electric sound were taking shape. The performances were first broadcast on November 7, 1970 and subsequently became part of the surviving Marc Bolan and T. Rex BBC archive. Programme: BBC Radio 1 Top Gear Recording Date: October 26, 1970 Original Broadcast: November 7, 1970 Repeat Broadcast: January 30, 1971 Presenter: John Peel Network: BBC Radio 1 Country: United Kingdom THE SESSION T. Rex recorded four performances for John Peel’s Top Gear programme on October 26, 1970. The session is documented in the BBC Radio 1 Keeping It Peel archive under the October 26 recording date, providing an official BBC record of the T. Rex appearance. The surviving session establishes the performance order as: Ride A White Swan Jewel Elemental Child Sun Eye The recording date is used as the principal date for this Chronicle because it documents when T. Rex actually performed the material for the BBC. The November date represents the subsequent radio transmission. RIDE A WHITE SWAN The session begins with: “Ride A White Swan” Its inclusion is particularly significant because the BBC version documents a separate performance of the song rather than simply reproducing the familiar studio single. The recording has subsequently circulated among commercially released BBC material under a title identifying it as the Top Gear performance from October 26, 1970. JEWEL The second performance is: “Jewel” The surviving complete session places the track directly after “Ride A White Swan.” Its appearance alongside the breakthrough single demonstrates the mixture of current T. Rex material represented during the BBC recording. ELEMENTAL CHILD The third performance is: “Elemental Child” The surviving recording confirms that “Elemental Child” preceded “Sun Eye”, establishing the correct running order for the four-song session. SUN EYE The final documented performance is: “Sun Eye” The title has also subsequently appeared in the form “Suneye.” The song would also become part of the self-titled T. Rex album released later in 1970, making this BBC performance a contemporary alternative version from the same important period in the group’s development. RECORDED PERFORMANCES T. Rex – Ride A White Swan T. Rex – Jewel T. Rex – Elemental Child T. Rex – Sun Eye BROADCAST HISTORY The four performances recorded on October 26 were first transmitted on BBC Radio 1’s Top Gear on: November 7, 1970 The supplied archive information also documents a subsequent repeat broadcast on: January 30, 1971 The performance was additionally included through the BBC transcription service, extending the life of the session beyond its original Radio 1 transmission. KEEPING IT PEEL The October 26 session is documented within the BBC Radio 1 Keeping It Peel archive. This is particularly valuable for the Chronicle because it provides an official BBC reference for the T. Rex session, independently establishing the October 26, 1970 recording date and its connection with John Peel’s broadcasting archive. The BBC documentation strengthens the provenance of the session beyond later fan documentation, discographies and subsequent commercial releases LATER RELEASE The October 26 recordings survived beyond their original broadcasts and subsequently became part of the commercially available BBC archive of Marc Bolan and T. Rex. The supplied archive information identifies the four-song session as appearing on: Marc Bolan at the BBC released in 2013. The October 26, 1970 session can be found on Disc 3 of the CD box set. This later release preserved the performances for listeners who had not heard either the original November 1970 transmission or the January 1971 repeat. CONTEXT AND NOTES There are three distinct dates connected with this session and keeping them separate is important for the historical record. October 26, 1970 – T. Rex recorded the four performances for Top Gear. November 7, 1970 – the session received its original BBC Radio 1 broadcast. January 30, 1971 – the session was subsequently repeated. The session is particularly interesting because it places the increasingly accessible “Ride A White Swan” alongside “Jewel,” “Elemental Child” and “Sun Eye.” Taken together, the four performances provide a compact BBC snapshot of T. Rex during a pivotal period in 1970. The subsequent preservation of the material through the BBC transcription service, the BBC’s Keeping It Peel documentation and later commercial BBC releases has ensured that the session remains part of the surviving Marc Bolan and T. Rex broadcast archive. No recording studio, recording time, producer or additional session personnel have been included because these details have not yet been sufficiently established from the information available. FEATURE HIGHLIGHTS Event: BBC Radio 1 Top Gear recording session Recording Date: October 26, 1970 Original Broadcast: November 7, 1970 Repeat Broadcast: January 30, 1971 Presenter: John Peel Programme: Top Gear Network: BBC Radio 1 Performances: Four BBC Archive: Keeping It Peel Later Release: Marc Bolan at the BBC, Disc 3 (2013) WHAT THE SESSION FEATURED • T. Rex recording “Ride A White Swan” • T. Rex recording “Jewel” • T. Rex recording “Elemental Child” • T. Rex recording “Sun Eye” • Four performances recorded for BBC Radio 1’s Top Gear • A session associated with John Peel’s BBC Radio 1 programme • Original broadcast on November 7, 1970 • Repeat broadcast on January 30, 1971 • Inclusion through the BBC transcription service • Official documentation within the BBC Radio 1 Keeping It Peel archive • Later inclusion on Disc 3 of the 2013 Marc Bolan at the BBC CD box set LATER VINYL RELEASE Two performances from the October 26, 1970 BBC Radio 1 Top Gear session were later issued on the limited-edition Marc Bolan – Electric Sevens 2 - At The BBC box set. Released on April 19, 2014 for Record Store Day, the European collection was issued by Universal Music Catalogue as a limited-edition box containing four 7-inch vinyl records. The two October 26, 1970 Top Gear recordings included were: Ride A White Swan – 2:03 Jewel – 3:32 Both performances are specifically identified as originating from the BBC Top Gear session recorded on October 26, 1970. The timings also correspond exactly with those documented for the original session recorded at BBC Studio 4, Maida Vale: 2:03 for “Ride A White Swan” and 3:32 for “Jewel.” The other two recordings from the October 26 session, “Elemental Child” and “Sun Eye,” were not included in this particular vinyl collection. Release: Electric Sevens 2 - At The BBCLabel: Universal Music CatalogueCatalogue Number: 534 391-0 Release Date: April 19, 2014 Format: 4 × 7" Vinyl Box Set Edition: Record Store Day Limited Edition Country: Europe Licensed From: BBC Worldwide This release provides another documented stage in the later history of the October 26, 1970 Top Gear session, with “Ride A White Swan” and “Jewel” selected for dedicated vinyl release more than four decades after their original BBC recording. All magazine scans, photographs, and original text excerpts referenced in this entry remain the property of their respective copyright holders. This Chronicle entry is a transformative, non-commercial archival summary created for historical documentation and educational reference. No ownership of the original material is claimed or implied.

Monica O'Hara talks to Marc Bolan midway through his new television series, discussing his enthusiasm for interviewing, the extraordinary volume of fan mail still arriving at his London office, and his creative interests beyond T. Rex, including books, painting and plans to move into film directing. Publication: Weekend Echo Date: October 25, 1975 Country: United Kingdom THE STORY Published under the large headline “BOLAN IS MAKING HIS MARK IN NEW TV JOB”, the feature examines Marc Bolan’s involvement with Supersonic. The article explains that Bolan had taken on a television role connected with the programme and was becoming increasingly comfortable working in front of the cameras. Monica O’Hara’s interview presents Bolan discussing the differences between being questioned by journalists and conducting interviews himself. Bolan admits that he had not always enjoyed being interviewed, but says his experience with television had given him a different perspective. He explains that being on the other side of an interview had taught him more about the process and suggests that performers can sometimes become irritated when journalists ask questions they have already answered repeatedly. Bolan also describes television as an area he genuinely enjoys. The article presents the new role as another extension of his career beyond recording and performing with T. Rex. SUPERSONIC The feature places particular emphasis on Supersonic, the contemporary pop and rock television programme. Bolan’s involvement is presented as a significant new departure, allowing him to interact with other artists and develop another side of his public personality. The article suggests that the format suited Bolan because of his familiarity with musicians and performers and his understanding of what it was like to be interviewed. Rather than simply turning up as a musical guest, Bolan was being given the opportunity to participate in the programme from a different perspective. THE INTERVIEWER BECOMES THE INTERVIEWEE An interesting element of the feature is the reversal of roles between Marc Bolan and Monica O’Hara. While Bolan was developing experience interviewing performers on television, Bolan was himself being questioned for the newspaper feature. This allows Bolan to reflect on both sides of the process. The article describes how he had become increasingly aware of the difficulties facing interviewers when trying to obtain interesting responses from performers who may already have answered the same questions many times. TELEVISION GUIDE The right-hand section of the feature includes television listings for programmes being transmitted during the coming days. The listings include Supersonic and provide a contemporary snapshot of the programme within the wider television schedules of the period. The page therefore serves not only as a Marc Bolan interview but also as a piece of contemporary television documentation connected with the programme. CONTEXT AND NOTES The feature is particularly useful within the T. Rex archive because it documents Marc Bolan working in television outside the conventional role of musical performer. The headline itself emphasises this change by describing Bolan as “making his mark in new TV job.” The accompanying photograph is a large black-and-white close-up portrait. Because the photograph itself contains no visible identification, the image is best documented simply as the portrait accompanying the Marc Bolan feature rather than assigning additional details not stated on the page. FEATURE HIGHLIGHTS Event: Marc Bolan discusses his television work Publication Date: October 25, 1975 Era: 1975 T. Rex / Supersonic period Interviewer: Monica O’Hara Programme Discussed: Supersonic Tone: Conversational and television-focused Photography: Large black-and-white portrait accompanying the feature WHAT THE CLIPPING SHOWS • Feature titled “Bolan Is Making His Mark In New TV Job” • Monica O’Hara interviewing Marc Bolan • Bolan discussing working in television • Bolan reflecting on the experience of conducting and receiving interviews • Discussion of his involvement with Supersonic • Contemporary television listings accompanying the article • A large portrait accompanying the feature All newspaper scans, photographs, and original text excerpts referenced in this entry remain the property of their respective copyright holders. This Chronicle entry is a transformative, non-commercial archival summary created for historical documentation and educational reference. No ownership of the original material is claimed or implied.

T. Rex appeared at St. George’s Hall, Bradford, on October 25, 1971, as part of the Electric Warrior tour. The performance fell within a concentrated run of British dates, while surviving material with direct provenance to the October Bradford appearance includes an autograph and a colour photograph. A separate surviving ticket documents an earlier T. Rex concert at the same venue on May 27, 1971. Venue: St. George’s Hall City: Bradford Concert Date: October 25, 1971 Country: United Kingdom Tour: Electric Warrior Tour T. Rex performed at St. George’s Hall in Bradford on October 25, 1971, as part of the Electric Warrior tour. The Bradford appearance came during a concentrated sequence of British concerts. T. Rex had played Sheffield City Hall on October 23 and Fairfield Halls, Croydon, on October 24 before travelling to Bradford. Following the St. George’s Hall performance, the tour continued to Brighton Dome on October 27, Green’s Playhouse, Glasgow, on October 29, Edinburgh Empire on October 30 and Newcastle City Hall on October 31. No verified song-by-song setlist for the October 25 Bradford performance has currently been established. Rather than reconstruct the performance from other dates on the tour, the precise songs played remain undocumented within this Chronicle. T. REX AT ST. GEORGE’S HALL IN 1971 The October concert was not T. Rex’s only appearance at St. George’s Hall during 1971. Available information documents the following appearances: January 4, 1971 – St. George’s Hall, Bradford May 27, 1971 – St. George’s Hall, Bradford October 25, 1971 – St. George’s Hall, Bradford, Electric Warrior Tour The October date therefore continued an established connection between T. Rex and the Bradford venue during a year in which the group’s career was developing rapidly. SURVIVING MAY 27 MEMORABILIA The surviving ticket and autograph supplied with the archive material both relate to the earlier May 27, 1971 T. Rex appearance at St. George’s Hall, not the October concert. The surviving ticket records: Venue: St. George’s Hall, Bradford Concert Date: May 27, 1971 Time: 7.30 p.m. Presented by: John and Tony Smith Ticket: Stalls Price: 60p Row: X Seat: 8 The accompanying autograph also originates from this May 27 performance. The card carries the handwritten identification: “MARK BOLAN OF T. REX ST. GEORGES HALL 1971” with a large blue-ink autograph across the centre. Together, the ticket and autograph provide direct surviving memorabilia from the May 27, 1971 Bradford concert and should remain identified with that appearance rather than the October return visit. CONTEXT AND NOTES The October 25 performance took place during the Electric Warrior period and represents T. Rex’s later return to St. George’s Hall following their May appearance. The distinction between the two dates is particularly important for the archive: May 27, 1971 – surviving ticket and autograph. October 25, 1971 – later St. George’s Hall concert during the Electric Warrior tour. No verified October ticket, attendance figure, support act or complete setlist has currently been established, so those details have deliberately not been added. This separation preserves the provenance of the surviving memorabilia while still documenting the October concert as an individual T. Rex appearance. FEATURE HIGHLIGHTS Event: T. Rex live at St. George’s Hall Concert Date: October 25, 1971 Era: Electric Warrior era Tour: Electric Warrior Tour Venue: St. George’s Hall, Bradford Known Setlist: No verified song listing currently documented Related Archive Material: Ticket and autograph from the separate May 27, 1971 St. George’s Hall appearance WHAT THE ARCHIVE SHOWS • T. Rex performed at St. George’s Hall, Bradford, on October 25, 1971 • The October concert formed part of the Electric Warrior tour • The Bradford date followed Sheffield and Croydon and preceded Brighton, Glasgow, Edinburgh and Newcastle • T. Rex appeared at St. George’s Hall on multiple occasions during 1971 All magazine scans, photographs, and original text excerpts referenced in this entry remain the property of their respective copyright holders. This Chronicle entry is a transformative, non-commercial archival summary created for historical documentation and educational reference. No ownership of the original material is claimed or implied.

T. Rex performed two concerts at Fairfield Halls, Croydon, on October 24, 1971, during the Electric Warrior period. The surviving documentation records separate afternoon and evening performances, two slightly different setlists and a contemporary account describing an increasingly intense audience reaction that culminated with fans reaching the stage during the “Summertime Blues” encore. Venue: Fairfield Halls Location: Park Lane, Croydon, England Concert Date: October 24, 1971 First Show: 4.00 p.m. Second Show: 7.30 p.m. Ticket Price: 60p THE STORY The October 24 appearance formed part of T. Rex's 1971 British touring schedule and consisted of two separate performances at Fairfield Halls. A surviving ticket for the evening performance confirms a 7.30 p.m. start and a ticket price of 60p. The contemporary account reproduced in the supplied material concentrates on the second performance and describes an audience of young fans crowding forward in an attempt to get as close to T. Rex as possible. The report makes an important point about the music itself. Despite the increasingly intense audience response surrounding the group, the writer argues that T. Rex's performance did not suffer as a result. T. Rex opened the second show with “Cadillac”, described by the original reviewer as a powerful rock number. From there, the concert moved between amplified rock and gentler acoustic material. The writer particularly comments on Marc Bolan's electric guitar playing, describing the style as moving away from an earlier Jimi Hendrix influence and developing into something more individual. The familiar hits were also being expanded on stage. “Ride A White Swan,” “Hot Love” and “Get It On” are described as longer and funkier than their recorded counterparts. The evening ultimately reached its climax during the encore performance of “Summertime Blues”, when the audience finally reached the stage. FIRST SHOW SETLIST – 4.00 P.M. Cadillac Jeepster Spaceball Ricochet Cosmic Dancer Ride A White Swan Hot Love Get It On Summertime Blues SECOND SHOW SETLIST – 7.30 P.M. Cadillac Jeepster Debora Cosmic Dancer Spaceball Ricochet Ride A White Swan Hot Love Get It On Summertime Blues SETLIST DIFFERENCES The surviving documentation reveals a useful distinction between the two performances. The 4.00 p.m. show contained eight songs, while the 7.30 p.m. performance contained nine. Most significantly, “Debora” appears in the documented second-show set but is absent from the first. The sequencing also changed. At the afternoon performance, “Spaceball Ricochet” preceded “Cosmic Dancer”, while during the evening show “Debora” was followed by “Cosmic Dancer” and then “Spaceball Ricochet”. Both documented performances ended with the same sequence of major T. Rex favourites: Ride A White Swan,Hot Love,Get It On,Summertime Blues. CONTEXT AND NOTES The accompanying retrospective material places the concerts within the autumn 1971 British tour, with Croydon following appearances at Cardiff and Sheffield before T. Rex continued to further dates. The Fairfield Halls appearance is particularly well documented because the surviving material provides both setlists, both performance times, a surviving ticket and a contemporary account of the second show. The review provides a revealing snapshot of T. Rex live during this period. The group were capable of moving between acoustic material and contemporary electric rock, while Bolan was also extending familiar hit recordings in concert rather than simply reproducing the studio arrangements. The audience response documented at the second performance also captures the increasingly intense fan reaction surrounding T. Rex during late 1971. FEATURE HIGHLIGHTS Event: T. Rex at Fairfield Halls, Croydon Concert Date: October 24, 1971 Number Of Shows: Two First Performance: 4.00 p.m. Second Performance: 7.30 p.m. Ticket Price: 60p Era: Electric Warrior era Documented Second-Show Encore: “Summertime Blues” WHAT THE MATERIAL SHOWS • Two T. Rex performances at Fairfield Halls on October 24, 1971 • Separate documented setlists for the 4.00 p.m. and 7.30 p.m. shows • “Debora” included in the documented second show but not the first • “Cadillac” opening both performances • “Summertime Blues” closing both documented sets • “Ride A White Swan,” “Hot Love” and “Get It On” performed in extended live arrangements • Contemporary praise for Bolan's developing electric guitar style • A surviving 60p ticket for the 7.30 p.m. performance • Audience members reaching the stage during the closing “Summertime Blues” at the second show All magazine scans, photographs, and original text excerpts referenced in this entry remain the property of their respective copyright holders. This Chronicle entry is a transformative, non-commercial archival summary created for historical documentation and educational reference. No ownership of the original material is claimed or implied.

On Sunday October 25, 1970, Tyrannosaurus Rex performed on the final day of the 3rd International Essen Pop & Blues Festival (also known as the Essener Songtage or Essen Blues & Pop Festival) at the Grugahalle in Essen, Germany. The Festival Context The International Essen Pop & Blues Festival was a pioneering event in European rock history, running annually from 1967 to 1974 in Essen, West Germany (now Germany). Organized by promoter Konrad Olbrich, it was one of the continent's first major rock festivals, predating Glastonbury and Woodstock in its influence on the European scene. The 1970 edition (October 22–25) drew around 10,000 attendees per day and featured a diverse lineup of progressive, blues, and emerging rock acts, reflecting the post-psychedelic shift. Other performers for October 25 (Final Day) The Taste (headliners, Irish blues-rock band with Rory Gallagher) Chicken Shack (British blues band led by Christine Perfect, later Christine McVie) Tyrannosaurus Rex Guru Guru Groove (German krautrock experimentalists) Witthüser & Westrup (German folk-rock duo) Setlist: One Inch Rock, By the Light of a Magical Moon, Jewel, Organ Blues, Summertime Blues The festival as a whole included acts like The Moody Blues, Supertramp, Savoy Brown, and Xhol over the four days, with a focus on blues, prog, and jazz-rock. Tickets cost around 12 Deutsche Marks (about €25 today), and it was held at the Grugahalle, a multi-purpose arena in Essen's Grugapark. Billed as Tyrannosaurus Rex, the duo consisted of Marc Bolan (vocals, guitar) and percussionist Mickey Finn, and were actually announced as T. Rex

This Melody Maker clipping captures a reader’s response to the debate surrounding the cost of live music, accompanied by a striking performance photograph captioned “MARC BOLAN: providing cheaper music.” The letter argues that if a major professional orchestra could perform at the Royal Albert Hall for a maximum ticket price of 25 shillings, leading rock bands should likewise be able to offer audiences more affordable concerts. T. Rex are singled out as an example, with the writer questioning the comparatively high price of admission. The clipping provides an interesting snapshot of contemporary attitudes towards concert pricing, contrasting the economics of established orchestral performance with the rapidly growing live rock business and presenting Marc Bolan and T. Rex directly within that debate. Publication: Melody Maker Date: October 24, 1970 Country: United Kingdom Under the headline "If The Phil Can Play For 25 Bob...", the article features Marc Bolan reflecting on the cost of live entertainment and the importance of making music available to a wider audience. Bolan points to appearances by major orchestras and classical performers at prestigious venues and argues that young people should also be able to experience contemporary music in similar surroundings without prohibitive ticket prices. He believes music should be accessible to everyone regardless of background or income. The feature accompanies a large photograph of Bolan performing with an acoustic guitar, his arms outstretched as he sings. The image reflects the transitional period in T. Rex's career, when the group was rapidly evolving from the folk-inspired Tyrannosaurus Rex years into one of Britain's most exciting new rock acts. Although brief, the article presents Bolan as someone interested not only in performing but also in the wider cultural role of music. His comments suggest a desire to see traditional arts institutions embrace contemporary audiences and modern musical styles. CONTEXT AND NOTES Published just before T. Rex's commercial breakthrough with "Ride A White Swan", the feature captures Marc Bolan during a pivotal period in his career. While he had not yet achieved the extraordinary success of the following years, his confidence and willingness to challenge convention were already clearly visible. The article is notable because it presents Bolan discussing broader issues surrounding music and accessibility rather than focusing solely on records or performances. It offers an early glimpse of the outspoken and thoughtful personality that would later become central to his public image. FEATURE HIGHLIGHTS Event: Marc Bolan discusses concert prices and audience accessibility Era: 1970 pre-Electric Warrior period Tone: Thoughtful and socially aware Photography: Large performance photograph of Marc Bolan with acoustic guitar WHAT THE CLIPPING SHOWS • Marc Bolan commenting on concert ticket prices • Discussion of making music more accessible to young audiences • Early insight into Bolan's views on music and culture • Large live performance photograp All magazine scans, photographs, and original text excerpts referenced in this entry remain the property of their respective copyright holders. This Chronicle entry is a transformative, non-commercial archival summary created for historical documentation and educational reference. No ownership of the original material is claimed or implied.

This Melody Maker news item announces plans for a major British T. Rex tour in early 1974, which would mark the group's first substantial tour of the country since the four Sundown concerts held the previous Christmas. The report also reveals plans for an extensive American tour and announces the forthcoming Great Hits collection, listing the twelve T. Rex tracks selected for the album. Publication: Melody Maker Date: October 23, 1973 Country: United Kingdom THE STORY Published under the headline “Bolan’s New Year boogie”, the article reports that a major British tour was being planned for T. Rex during the first months of 1974. The proposed concerts would represent the group's first major British tour since the four Sundown concerts held the previous Christmas. Although the dates had yet to be finalised, the report states that the tour was expected to take place during the first two months of 1974. Venues and individual dates were to be decided after Marc Bolan had completed his forthcoming American commitments. The article also reports plans for an extensive American tour, describing it as expected to include approximately 33 concerts. These performances were to begin before Christmas and continue into the early part of 1974. GREAT HITS While the touring plans were being prepared, the article announces another major T. Rex release. An album of previously released material titled Great Hits was scheduled to appear within the following two weeks. The clipping provides the complete list of songs included: Telegram Sam Jitterbug Love Metal Guru Thunderwing Solid Gold Easy Action 20th Century Boy The Slider Born To Boogie Children Of The Revolution Shock Rock The Groover Midnight The collection brings together familiar T. Rex singles with other material from the period, documenting the extraordinary succession of recordings Marc Bolan and T. Rex had produced during the preceding years. CONTEXT AND NOTES The clipping captures T. Rex at the point where plans were being developed for renewed British touring activity during 1974. Rather than providing confirmed venues and dates, Melody Maker makes clear that the British itinerary was still being planned and that the final arrangements would follow Marc Bolan's American tour. The announcement of Great Hits alongside the touring news makes the clipping particularly useful to the archive. It provides a contemporary track listing for the forthcoming collection and places its release directly within T. Rex's late-1973 activities. FEATURE HIGHLIGHTS Event: Announcement of planned British and American T. Rex tours Era: 1973 T. Rex period Tone: News and release-focused Forthcoming Album: Great Hits Planned UK Tour: First two months of 1974 Planned American Tour: Approximately 33 concerts WHAT THE CLIPPING SHOWS • Plans for a major British T. Rex tour in early 1974 • The projected tour described as the first major British tour since the four Sundown shows of the previous Christmas All magazine scans, photographs, and original text excerpts referenced in this entry remain the property of their respective copyright holders. This Chronicle entry is a transformative, non-commercial archival summary created for historical documentation and educational reference. No ownership of the original material is claimed or implied.

Marc Bolan – HANG UPS: Publication: Various / Unknown Date: Unknown Country: United Kingdom PHOTOGRAPH Two-page scrapbook spread made up of several collected photographs, including two large colour portraits and five smaller black-and-white images. The two large photographs dominate the upper half of the spread, while the smaller monochrome portrait and performance cuttings are arranged in a row across the bottom, creating a simple picture-gallery layout. No publication names, dates, headlines or handwritten notes are visible on this spread. All magazine scans, photographs, and original text excerpts referenced in this entry remain the property of their respective copyright holders. This Chronicle entry is a transformative, non-commercial archival summary created for historical documentation and educational reference. No ownership of the original material is claimed or implied.

"The Love I Thought I'd Found" was the debut UK single by John's Children, issued by Columbia Records on October 14, 1966 under catalogue number DB 8030. The group had developed from an earlier outfit formed in Great Bookham during 1965 by Chris Townson and Andy Ellison. Initially known as the Clockwork Onions, the group subsequently became the Few and then the Silence, with Geoff McClelland on guitar and John Hewlett on bass. The band's direction changed following the involvement of manager Simon Napier-Bell. The Silence became John's Children, while their presentation was reshaped around distinctive stage clothing and an increasingly provocative live act intended to attract attention from audiences and the music press. The single predates Marc Bolan's involvement with John's Children. Bolan did not join until March 1967, when he replaced Geoff McClelland, so neither side of this October 1966 release should be regarded as a Marc Bolan recording. RECORDING "The Love I Thought I'd Found" was co-written by John Hewlett and Simon Napier-Bell. The same recording was issued internationally under the alternative title "Smashed! Blocked!". For these early recording sessions, session musicians were brought in rather than relying entirely on the band's own instrumental performances. The photographed demonstration pressing of "Strange Affair" credits Simon Napier-Bell as producer and identifies the track as a Nomis Recording. The label also carries a Feldman publishing credit, matrix number 7XCA 30668 and a 1966 phonographic copyright marking. STYLE & THEMES The single belongs to the group's early psychedelic period and appeared as John's Children were developing an intentionally unconventional public identity. Their live presentation became increasingly theatrical and chaotic, with performances constructed to create spectacle and provoke strong reactions from audiences. This aggressive presentation complemented the more unusual qualities of their early recordings and helped distinguish John's Children from more conventional British pop groups of the period. TRACK-BY-TRACK NOTES • The Love I Thought I'd Found — The title used for the debut A-side in Britain. Written by John Hewlett and Simon Napier-Bell, the same recording was retitled "Smashed! Blocked!" for international release. • Strange Affair — The B-side of the single. The photographed UK demonstration label credits the composition to Fingers Groin and production to Simon Napier-Bell. It is additionally identified as a Nomis Recording. RELEASE HISTORY Columbia released "The Love I Thought I'd Found" backed with "Strange Affair" in the United Kingdom on October 14, 1966 under catalogue number DB 8030. Alongside the commercial edition, demonstration pressings were manufactured for promotional use. The pictured copy uses Columbia's green demonstration label and is prominently marked "DEMONSTRATION RECORD" and "NOT FOR SALE". Different UK pressing configurations are documented, including demonstration copies with push-out and solid centres. Some promotional copies were also accompanied by a black-and-white paper picture sleeve. The release was presented differently outside Britain. In the United States and Canada, the A-side was retitled "Smashed! Blocked!", while "Strange Affair" remained the B-side. The American edition appeared on White Whale as WW-239, while the Canadian pressing was issued by Reo as 8976X. CHARTS & CERTIFICATIONS AMERICA USA: Billboard Hot 100 — the supplied information records an appearance in the lower reaches of the chart, but an exact peak position and number of weeks have not been supplied. The single also achieved Top 10 placings on local charts in Florida and California. NOTES The photographed UK demonstration pressing carries Columbia's distinctive green promotional label with "DEMONSTRATION RECORD" and "NOT FOR SALE" printed prominently around the upper section. The B-side label displays the date 14.10.66, catalogue number DB 8030 and matrix number 7XCA 30668. "Strange Affair" is credited to Fingers Groin on the label, with Simon Napier-Bell named as producer. Some UK promotional copies were issued with a black-and-white paper picture sleeve. The UK A-side was titled "The Love I Thought I'd Found", while the international releases used the alternative title "Smashed! Blocked!". This release predates Marc Bolan's membership of John's Children. Bolan joined in March 1967 and therefore had no involvement with this October 1966 single. PERSONNEL Andy Ellison — vocals Chris Townson — drums John Hewlett — bass guitar, songwriter Geoff McClelland — guitar Session musicians — instruments on the early recording sessions Simon Napier-Bell — songwriter, producer, manager PRODUCTION Produced by Simon Napier-Bell Label: Columbia Records RELEASE VARIANTS TABLE Artist Title Label Country Catalogue Date Format John's Children The Love I Thought I'd Found / Strange Affair Columbia UK DB 8030 October 14, 1966 7", 45 RPM Single John's Children The Love I Thought I'd Found / Strange Affair Columbia UK DB 8030 October 14, 1966 7", 45 RPM Demonstration Record, Push-Out Centre John's Children The Love I Thought I'd Found / Strange Affair Columbia UK DB 8030 1966 7", 45 RPM Demonstration Record, Solid Centre INTERNATIONAL VARIANTS John's Children Smashed! Blocked! / Strange Affair White Whale USA WW-239 1966 7", 45 RPM Single John's Children Smashed! Blocked! / Strange Affair White Whale USA WW-239 1966 7", 45 RPM Promo John's Children Smashed! Blocked! / Strange Affair Reo Canada 8976X 1966 7", 45 RPM Single TRACKLIST TABLE (ALL FORMATS) Format Catalogue Tracklisting UK 7" Single DB 8030 A. The Love I Thought I'd Found B. Strange Affair UK 7" Demonstration Record DB 8030 A. The Love I Thought I'd Found B. Strange Affair USA 7" Single WW-239 A. Smashed! Blocked! B. Strange Affair USA 7" Promo WW-239 A. Smashed! Blocked! B. Strange Affair Canada 7" Single 8976X A. Smashed! Blocked! B. Strange Affair SOURCES Discogs, 45 World, Wikipedia, BBC Official Charts.Easy Live Auction. All magazine scans, photographs, and original text excerpts referenced in this entry remain the property of their respective copyright holders. This Chronicle entry is a transformative, non-commercial archival summary created for historical documentation and educational reference. No ownership of the original material is claimed or implied.

A newspaper advertisement promoting T. Rex and Blue Öyster Cult's forthcoming British Columbia appearances during T. Rex's October 1974 North American tour. Published by Accident Productions, the advert promoted both the Vancouver and Victoria concerts while emphasising the growing anticipation surrounding the band's Canadian dates. PUBLICATION: The Vancouver Sun DATE: October 5, 1974 COUNTRY: Canada EVENT DATE: October 21, 1974 Published in The Vancouver Sun on October 5, 1974, this eye-catching full-page advertisement announced upcoming British Columbia performances by T. Rex and Blue Öyster Cult. Dominated by the bold headline "HELL YEAH!" and a massive T-REX logo, the advert promoted two Canadian dates presented by Accident Productions. The first concert was scheduled for Sunday, October 20, 1974, at Victoria Memorial Arena, followed by a Vancouver appearance on Monday, October 21, 1974, at the Pacific Coliseum. Blue Öyster Cult received co-billing beneath the T. Rex logo, reflecting the joint-package nature of the tour during this period. The advertisement advised readers that only a limited number of tickets remained available and listed advance ticket prices at $6.00, increasing to $7.00 at the door. A number of ticket outlets throughout British Columbia were listed, including The Coggery, Grennan's Records, Thunderbird Shop SUB U.B.C., Oakridge, New Westminster, Park Royal and Guildford, together with a telephone number for concert information. The advert served as a major promotional push for the two Canadian dates and remains one of the most visually distinctive T. Rex newspaper advertisements from the October 1974 tour. CONTEXT AND NOTES This advertisement appeared fifteen days before the Victoria Memorial Arena concert and sixteen days before the Vancouver Pacific Coliseum appearance. Unlike smaller venue listings and classified advertisements that appeared throughout the tour, this was a dedicated full-page promotion designed specifically to attract attention and maximise ticket sales for the Canadian shows. The repeated Accident Productions border, oversized T. Rex logo and enthusiastic "HELL YEAH!" headline created a bold visual presentation that reflected the excitement surrounding the band's arrival in British Columbia. The advert also confirms that both the Victoria and Vancouver performances were being marketed simultaneously, with Blue Öyster Cult appearing on the bill for both events. FEATURE HIGHLIGHTS EVENT: T. Rex and Blue Öyster Cult British Columbia concerts ERA: October 1974 North American Tour TONE: High-impact concert promotion DESIGN: Full-page advertisement featuring oversized T. Rex branding and repeated Accident Productions border graphics WHAT THE CLIPPING SHOWS Large "HELL YEAH!" promotional headline. Prominent T-REX logo occupying the centre of the page. Blue Öyster Cult listed as co-bill performers. Vancouver concert scheduled for October 21, 1974. Pacific Coliseum named as the Vancouver venue. Victoria concert scheduled for October 20, 1974. Victoria Memorial Arena named as the Victoria venue. Limited ticket availability notice. Advance ticket price of $6.00. Door ticket price of $7.00. Multiple ticket outlets across British Columbia. Concert information telephone number. All magazine scans, photographs, and original text excerpts referenced in this entry remain the property of their respective copyright holders. This Chronicle entry is a transformative, non-commercial archival summary created for historical documentation and educational reference. No ownership of the original material is claimed or implied.

This Sunday Oregonian concert review covers a sold-out appearance by T. Rex at Portland's Paramount Northwest. While the reviewer was critical of Marc Bolan's performance and felt the band's theatrics failed to generate excitement, the article nevertheless documents an important stop on T. Rex's 1974 American tour and provides a contemporary account of the group's elaborate stage presentation. This Sunday Oregonian concert review documents T. Rex's appearance at Portland's Paramount Northwest during the band's 1974 American tour. Although reviewer John Wendeborn was critical of the performance, the surviving review, ticket stub and known setlist combine to provide a detailed snapshot of Marc Bolan and T. Rex on the road during the Zinc Alloy and the Hidden Riders of Tomorrow era. Publication: The Sunday Oregonian Date: October 20, 1974 Concert Date: October 18, 1974 Country: United States Written by John Wendeborn, the review covers a sold-out concert at Paramount Northwest in Portland, Oregon, attended by approximately 3,000 people. The evening opened with a performance by Portland group Doogy, before T. Rex took the stage. Marc Bolan fronted a six-piece version of the band as they worked through a set combining material from throughout their career. The reviewer refers to Bolan as "Mr. Star Syndrome" and describes the performance as relying heavily on visual presentation. During the show, Bolan was hoisted on the points of a huge illuminated star, while explosions and pyrotechnic effects were incorporated into the production. Despite these theatrical elements, Wendeborn remained largely unconvinced. He argued that the set lacked excitement and suggested that both Bolan and the band appeared to be working hard to generate enthusiasm from the audience. The article nevertheless confirms that T. Rex remained a significant concert attraction. The Portland appearance was a sell-out, and the scale of the production demonstrated the band's continued commitment to the American market. The second half of the review concentrates on Blue Öyster Cult, who received a considerably more enthusiastic assessment from the writer. However, the T. Rex portion remains an important contemporary account of the band's live presentation during the latter stages of their American touring activity. CONCERT DETAILS Venue: Paramount Northwest (Paramount Theatre), Portland, Oregon Address: 1037 S.W. Broadway, Portland, Oregon Date: October 18, 1974 Time: 8:00 PM Attendance: Approximately 3,000 Ticket Price: $5.00 (Non-Reserved) Support Act: Doogy Headliner: Blue Öyster Cult Tour: Zinc Alloy and the Hidden Riders of Tomorrow Known Setlist: Cadillac Jeepster Baby Strange Spaceball Ricochet Telegram Sam Hot Love Get It On CONTEXT AND NOTES A surviving concert ticket confirms the event took place at Paramount Northwest, 1037 S.W. Broadway, Portland, Oregon, on Friday, October 18, 1974, with an 8:00 PM start time. The ticket also confirms a $5.00 non-reserved admission price. The known setlist shows that Bolan relied heavily on established audience favourites. With "Jeepster," "Telegram Sam," "Hot Love" and "Get It On" all appearing in the show, the performance functioned almost as a greatest-hits set for American audiences. The review's description of a giant illuminated star and stage explosions provides a rare contemporary account of T. Rex's 1974 concert production and demonstrates how the band's live presentation had evolved since the minimalist Tyrannosaurus Rex years. Although the reviewer was not impressed, the sold-out attendance suggests that Marc Bolan still retained a substantial following in the Pacific Northwest during this period. FEATURE HIGHLIGHTS Event: T. Rex live at Paramount Northwest, Portland Concert Date: October 18, 1974 Publication Date: October 20, 1974 Era: Zinc Alloy and the Hidden Riders of Tomorrow Tour Tone: Critical concert review Attendance: Approximately 3,000 WHAT THE CLIPPING SHOWS • Review of T. Rex's sold-out Portland concert • Marc Bolan leading a six-piece T. Rex lineup • Performance at Paramount Northwest, Portland • Giant illuminated star used during the stage show • Pyrotechnic effects incorporated into the concert • Setlist including "Jeepster," "Telegram Sam," "Hot Love" and "Get It On" • Contemporary American critical reaction to T. Rex during the 1974 U.S. tour All magazine scans, photographs, and original text excerpts referenced in this entry remain the property of their respective copyright holders. This Chronicle entry is a transformative, non-commercial archival summary created for historical documentation and educational reference. No ownership of the original material is claimed or implied.

Marc Bolan appears on the cover of Circus magazine as the publication turns its attention to T. Rex and the recently released The Slider. Featuring a large colour photograph of Bolan, the anniversary issue highlights the group's growing international profile during the height of Bolanmania. Publication: Circus Date: October 1972 Country: United States This anniversary issue of Circus places Marc Bolan prominently on the cover beneath a feature banner promoting “T. Rex's Slider.” The cover photograph shows Bolan seated outdoors, wearing a distinctive red outfit, capturing the visual style that had become synonymous with T. Rex during one of the group's most successful periods. Although several major acts are promoted across the cover, including Black Sabbath, Chicago, Long John Silver, Grace Slick and Alice Cooper, Marc Bolan remains one of the issue's principal attractions. The cover specifically directs readers to the magazine's coverage of The Slider, the album that followed the enormous success of Electric Warrior. The presentation reflects Bolan's growing appeal beyond Britain, with American music publications increasingly covering T. Rex as interest in the band expanded internationally. The prominent reference to The Slider demonstrates the importance of the album within the group's developing career and its role in establishing T. Rex as one of the leading acts of the glam rock era. CONTEXT AND NOTES Published during October 1972, this issue appeared at a time when T. Rex were among the biggest bands in Britain and actively seeking to strengthen their position in the American market. Marc Bolan's distinctive image and songwriting had already inspired a level of fan devotion that was regularly compared to Beatlemania. The cover is significant because it places T. Rex alongside many of the biggest names in contemporary rock music. It also demonstrates the growing willingness of American music publications to give Bolan major cover exposure during the peak years of the group's popularity. FEATURE HIGHLIGHTS Event: The Slider cover feature Era: 1972 – The Slider era Tone: Promotional and celebratory Photography: Full-colour cover photograph of Marc Bolan seated outdoors in a red stage outfit WHAT THE CLIPPING SHOWS • Marc Bolan featured on the cover of Circus • Cover promotion for “T. Rex's Slider” • October 1972 anniversary issue • Marc Bolan photograph dominating the cover artwork • Additional cover references to Black Sabbath, Chicago, Grace Slick and Alice Cooper • Evidence of T. Rex's growing American music press profile All magazine scans, photographs, and original text excerpts referenced in this entry remain the property of their respective copyright holders. This Chronicle entry is a transformative, non‑commercial archival summary created for historical documentation and educational reference. No ownership of the original material is claimed or implied.

Publication: Various / UnknownDate: 1974Country: United Kingdom PHOTOGRAPH Two-page scrapbook spread combining colour and black-and-white portrait and performance photographs, including several guitar and stage images. The left page contains the handwritten note: “Truck OffMarc at Newcastle on 21.1.74. He also had the same gear on at Sheffield” A newspaper cutting beneath the photographs carries the headline: “Pop idol Bolan storms off City Hall stage after fan’s attack” The clipping describes an incident at Sheffield City Hall, making this spread particularly useful because the original scrapbook compiler has preserved both photographs and contemporary written material relating to the 1974 appearances. All magazine scans, photographs, and original text excerpts referenced in this entry remain the property of their respective copyright holders. This Chronicle entry is a transformative, non-commercial archival summary created for historical documentation and educational reference. No ownership of the original material is claimed or implied.

The Ultimate Collection is a compilation album issued by Telstar on September 16, 1991. Released in the United Kingdom on CD, LP and cassette, the collection assembled many of Marc Bolan's best-known recordings from both Tyrannosaurus Rex and T. Rex. The LP edition condensed the wider CD programme into a single-vinyl release, focusing on many of the band's most successful and recognisable recordings. RECORDING The album consists of previously released studio recordings by Tyrannosaurus Rex and T. Rex. The compilation spans recordings from both the late 1960s Tyrannosaurus Rex period and the glam-rock years that established T. Rex as one of Britain's most successful bands. STYLE & THEMES The collection traces Marc Bolan's musical evolution from psychedelic folk and acoustic recordings through to the chart-dominating glam rock sound of the early and mid-1970s. The LP concentrates primarily on hit singles, creating an accessible overview of Bolan's career. TRACK-BY-TRACK NOTES • 20th Century Boy — Opening the compilation with one of Bolan's signature recordings. • Metal Guru — Classic UK hit single. • I Love To Boogie — Late-period T. Rex favourite. • Deborah — Early Tyrannosaurus Rex classic. • New York City — Hit single from the latter part of Bolan's career. • Telegram Sam — UK chart-topper. • Hot Love — One of T. Rex's defining recordings. • Dreamy Lady — Mid-1970s single release. • One Inch Rock — Early Marc Bolan composition. • Ride A White Swan — The breakthrough T. Rex hit. • Get It On — International success and one of Bolan's best-known recordings. • Light Of Love — Mid-1970s hit recording. • Children Of The Revolution — Stand-alone glam rock anthem. • Jeepster — Essential Electric Warrior era classic. • Laser Love — Later-period single. • The Groover — Non-album hit single. • King Of The Rumbling Spires — Transitional recording from the Tyrannosaurus Rex period. • Truck On (Tyke) — Hit single from 1973. • Solid Gold Easy Action — Glam-era favourite. • Teenage Dream — One of Bolan's most celebrated later compositions. RELEASE HISTORY The album was released by Telstar on September 16, 1991. Issued on CD, LP and cassette, the compilation was marketed as a career-spanning retrospective covering both Tyrannosaurus Rex and T. Rex recordings. This chronicle covers the LP edition only. PERSONNEL Marc Bolan — vocals, guitar, songwriter PRODUCTION Label: Telstar Catalogue Number: STAR 2539 Barcode: 58014469325395 Format: LP Country: UK NOTES • Released on September 16, 1991. • Covers material from both Tyrannosaurus Rex and T. Rex. • Issued by Telstar on LP, CD and cassette. RELEASE VARIANTS TABLE (LP EDITION) Artist Title Label Country Cat No. Date Format Marc Bolan And T. Rex The Ultimate Collection Telstar UK STAR 2539 September 16, 1991 LP TRACKLIST TABLE Format Catalogue Tracklisting LP STAR 2539 Side One • 20th Century Boy • Metal Guru • I Love To Boogie • Deborah • New York City • Telegram Sam • Hot Love • Dreamy Lady • One Inch Rock • Ride A White Swan Side Two • Get It On • Light Of Love • Children Of The Revolution • Jeepster • Laser Love • The Groover • King Of The Rumbling Spires • Truck On (Tyke) • Solid Gold Easy Action • Teenage Dream The Ultimate Collection is a compilation album issued by Telstar on September 16, 1991. Released in the United Kingdom on CD, LP and cassette, the collection brought together key recordings from throughout Marc Bolan's career with Tyrannosaurus Rex and T. Rex. The compilation combines major hit singles with notable album tracks, offering a broad overview of Bolan's musical journey from the late 1960s through the glam rock era.. RECORDING The album consists of previously released studio recordings originally recorded by Tyrannosaurus Rex and T. Rex. The collection spans material from both the psychedelic folk period and the band's chart-dominating glam rock years. STYLE & THEMES The compilation presents the evolution of Marc Bolan's songwriting, beginning with acoustic and mystical Tyrannosaurus Rex recordings before moving into the electric boogie and glam rock sound that made T. Rex internationally successful. The track selection balances major chart hits with deeper catalogue favourites. TRACK-BY-TRACK NOTES • 20th Century Boy — Opening the compilation with one of Bolan's signature recordings. • Metal Guru — Classic UK hit single. • I Love To Boogie — Late-period T. Rex favourite. • Deborah — Early Tyrannosaurus Rex classic. • New York City — Hit single from the latter part of Bolan's career. • Telegram Sam — UK chart-topper. • Hot Love — One of T. Rex's defining recordings. • Dreamy Lady — Mid-1970s single release. • One Inch Rock — Early Marc Bolan composition. • The Soul Of My Suit — Included from the later catalogue. • London Boys — Non-album single. • Ride A White Swan — The breakthrough T. Rex hit. • Get It On — International success and one of Bolan's best-known recordings. • Light Of Love — Mid-1970s hit recording. • Children Of The Revolution — Stand-alone glam rock anthem. • Jeepster — Essential Electric Warrior era classic. • Laser Love — Later-period single. • Zip Gun Boogie — Title track from the Bolan's Zip Gun era. • The Groover — Non-album hit single. • King Of The Rumbling Spires — Transitional recording from the Tyrannosaurus Rex period. • Plateau Skull — Early Marc Bolan composition. • Truck On (Tyke) — Hit single from 1973. • Solid Gold Easy Action — Glam-era favourite. • Teenage Dream — One of Bolan's most celebrated later compositions. RELEASE HISTORY The album was released by Telstar on September 16, 1991. Issued on CD, LP and cassette, the compilation was marketed as a career-spanning retrospective covering both Tyrannosaurus Rex and T. Rex recordings. This chronicle covers the CD edition only. CHARTS & CERTIFICATIONS PERSONNEL Marc Bolan — vocals, guitar, songwriter PRODUCTION Label: Telstar Catalogue Number: TCD 2539 Barcode: 5014469525399 Format: CD Album Country: UK NOTES • Released on September 16, 1991. • Covers material from both Tyrannosaurus Rex and T. Rex. • Issued by Telstar on CD, LP and cassette. • This entry relates specifically to the CD edition (TCD 2539). • Includes 24 tracks spanning Marc Bolan's career. RELEASE VARIANTS TABLE (CD EDITION) Artist Title Label Country Cat No. Date Format Marc Bolan And T. Rex The Ultimate Collection Telstar UK TCD 2539 September 16, 1991 CD Album TRACKLIST TABLE No. Title 1 20th Century Boy 2 Metal Guru 3 I Love To Boogie 4 Deborah 5 New York City 6 Telegram Sam 7 Hot Love 8 Dreamy Lady 9 One Inch Rock 10 The Soul Of My Suit 11 London Boys 12 Ride A White Swan 13 Get It On 14 Light Of Love 15 Children Of The Revolution 16 Jeepster 17 Laser Love 18 Zip Gun Boogie 19 The Groover 20 King Of The Rumbling Spires 21 Plateau Skull 22 Truck On (Tyke) 23 Solid Gold Easy Action 24 Teenage Dream All magazine scans, photographs, and original text excerpts referenced in this entry remain the property of their respective copyright holders. This Chronicle entry is a transformative, non-commercial archival summary created for historical documentation and educational reference. No ownership of the original material is claimed or implied.

Publication: Record Collector Issue: 257Date: January 2001 Country: United Kingdom COVER Record Collector Issue 257 features a large colour portrait on the cover alongside the main feature: “Marc Bolan – The Year Of The Slider” The cover also promotes features on Genesis, The Saints, PJ Harvey, Fatboy Slim, U2, Elliott Smith, Madonna, DJ Shadow, Manic Street Preachers, Motown, Carl Perkins, Iron Maiden, Brian Auger, Geddy Lee and The Goodies. All magazine scans, photographs, and original text excerpts referenced in this entry remain the property of their respective copyright holders. This Chronicle entry is a transformative, non-commercial archival summary created for historical documentation and educational reference. No ownership of the original material is claimed or implied.

Remixes is a three-LP compilation released by Demon Records on September 1, 2017. The collection reimagines classic T. Rex recordings through a diverse range of modern remix interpretations, bringing together contemporary producers, DJs and remixers to revisit material from throughout the band's catalogue. The set combines remixed versions of well-known singles with a complete bonus album of instrumental mixes. RECORDING The compilation is drawn from original T. Rex recordings licensed from Spirit Services Holdings s.a.r.l. and reworked by a variety of remix artists. The release presents both vocal remixes and instrumental versions, offering alternative perspectives on some of Marc Bolan's most celebrated compositions. STYLE & THEMES While rooted in classic glam rock recordings, Remixes incorporates contemporary production styles, electronic elements, dance influences and modern studio techniques. The collection demonstrates how Marc Bolan's songwriting continues to lend itself to reinterpretation across different musical genres. TRACK-BY-TRACK NOTES • Children Of The Revolution (The Reflex Revision) — Extended remix interpretation. • 20th Century Boy (STOOF Remix) — Modern reworking of the classic single. • Metal Guru (Book Remix) — Contemporary remix treatment. • Cadilac (Bill Bless Remix) — Reimagined version of the early T. Rex favourite. • Light Of Love (The Reflex Revision) — Extended remix. • Precious Star (We Are Dark Angels Remix) — Alternative interpretation. • Telegram Sam (Kent Rockafeller Mix) — Remix of the chart-topping single. • New York City (Ra Ra Riot Remix) — Modern version of the 1975 hit. • Children Of The Revolution (Jaxon Frank Remix) — Alternative remix treatment. • Calling All Destroyers (Infuze Remix) — Contemporary remix. • Teenage Dream (Castleman Remix) — Reworked album classic. • Children Of The Revolution (Joywave Remix) — Additional reinterpretation. • Light Of Love (Dr Smith Remix) — Modern remix version. • Born To Boogie (Wye Oak Remix) — Reimagined recording. • Solid Gold Easy Action (DJ Sae One Remix) — Remix of the fan favourite. • 20th Century Boy (X. Ert Remix) — Contemporary version of the glam rock anthem. BONUS TRACKS The third LP contains instrumental versions of many of the remixes featured on the main compilation, together with an exclusive 20th Century Boy (X. Ert Club Mix). RELEASE HISTORY Released by Demon Records on September 1, 2017. The standard edition was issued on three black vinyl LPs, with additional formats released simultaneously including a limited translucent red vinyl edition and a 2CD version. PERSONNEL Marc Bolan — songwriter, original recordings Various Artists — remix production PRODUCTION Label: Demon Records Catalogue Number: DEMREC232 Format: 3 × LP Country: UK Marketed By: Edsel Licensed From: Spirit Services Holdings s.a.r.l. NOTES • Triple LP remix compilation. • Released on September 1, 2017. • Features contemporary remixes of classic T. Rex recordings. • Includes a complete LP of instrumental remix versions. • Standard black vinyl edition. • Licensed from Spirit Services Holdings s.a.r.l. • ℗ Spirit Services Holdings s.a.r.l. • © Demon Music Group Ltd. • Marketed by Edsel. • Barcode: 5014797896222. RELATED RELEASES • Children Of The Revolution • 20th Century Boy • Electric Warrior • The Slider • Born To Boogie RELEASE VARIANTS TABLE Artist Title Label Country Cat No. Date Format T. Rex Remixes Demon Records UK DEMREC232 September 1, 2017 3 × LP Black Vinyl T. Rex Remixes Demon Records UK DEMREC232X / DEMREC232 2017 3 × LP Limited Edition Red Translucent Vinyl T. Rex Remixes Edsel Records UK EDSL0011 2017 2CD TRACKLIST TABLE Format Catalogue Tracklisting LP 1 DEMREC232 Side One • Children Of The Revolution (The Reflex Revision) • 20th Century Boy (STOOF Remix) • Metal Guru (Book Remix) • Cadilac (Bill Bless Remix) Side Two • Light Of Love (The Reflex Revision) • Precious Star (We Are Dark Angels Remix) • Telegram Sam (Kent Rockafeller Mix) • New York City (Ra Ra Riot Remix) LP 2 DEMREC232 Side Three • Children Of The Revolution (Jaxon Frank Remix) • Calling All Destroyers (Infuze Remix) • Teenage Dream (Castleman Remix) • Children Of The Revolution (Joywave Remix) Side Four • Light Of Love (Dr Smith Remix) • Born To Boogie (Wye Oak Remix) • Solid Gold Easy Action (DJ Sae One Remix) • 20th Century Boy (X. Ert Remix) LP 3 DEMREC232 Side Five • 20th Century Boy (STOOF Remix - Instrumental) • Cadilac (Bill Bless Remix - Instrumental) • Precious Star (We Are Dark Angels Remix - Instrumental) • Telegram Sam (Kent Rockafeller Mix - Instrumental) • New York City (Ra Ra Riot Remix - Instrumental) • Children Of The Revolution (Jaxon Frank Remix - Instrumental) Side Six • Teenage Dream (Castleman Remix - Instrumental) • Children Of The Revolution (Joywave Remix - Instrumental) • Light Of Love (Dr Smith Remix - Instrumental) • Born To Boogie (Wye Oak Remix - Instrumental) • Solid Gold Easy Action (DJ Sae One Remix - Instrumental) • 20th Century Boy (X. Ert Club Mix) SOURCES Discogs, 45 World, Wikipedia, BBC Official Charts, Prince Vault, Sleeveographia2, RockfilesUK. All magazine scans, photographs, and original text excerpts referenced in this entry remain the property of their respective copyright holders. This Chronicle entry is a transformative, non-commercial archival summary created for historical documentation and educational reference. No ownership of the original material is claimed or implied.

Bill Pollock reviews T. Rex following the sold-out Santa Monica Civic Auditorium concert, offering a sharply critical assessment of the music while acknowledging the spectacle surrounding Marc Bolan and contrasting T. Rex with The Doobie Brothers, who had opened the evening. Publication: Los Angeles Herald Examiner Publication Date: October 17, 1972 Country: United States Event Date: Santa Monica Civic Auditorium concert Under the headline “Marc Bolan: Sequins & Noise”, Bill Pollock describes the performance and the considerable attention surrounding T. Rex. The review opens by noting the time spent applying sequins to Bolan's eyelids before the concert, immediately focusing on the visual presentation surrounding the act. Pollock describes Bolan's stage clothing as including eye makeup, an open green lamé shirt and sequinned black velvet trousers. The review then turns firmly towards the music, criticising both the volume and the lyrics. The writer characterises the show as loud and questions the quality of the songwriting, quoting simple lines from the performance as evidence. Pollock also comments on Bolan's movement around the stage and the theatrical presentation, ultimately presenting the performance as more spectacle than substance. Despite the criticism, the article confirms that the concert was sold out and had been produced by Pacific Presentations. The first half of the evening belonged to The Doobie Brothers. Pollock writes that the group created excitement of its own and describes a set focused on amplified boogie, including the use of dual drums and congas. CONTEXT AND NOTES The clipping provides another contemporary American perspective on T. Rex during the October 1972 U.S. tour. Like several reviews from this period, it demonstrates the divide between the enormous attention surrounding Bolan and the more sceptical response from some American rock critics. The review is useful because it documents the concert as a sold-out event while also preserving details of the stage presentation and the presence of The Doobie Brothers on the bill. FEATURE HIGHLIGHTS Event: T. Rex concert at Santa Monica Civic AuditoriumEra: 1972 – American Tour / The Slider periodTone: Highly critical and dismissivePhotography: No photograph is visible in the supplied clipping WHAT THE CLIPPING SHOWS • Headline: “Marc Bolan: Sequins & Noise” • Concert review by Bill Pollock • T. Rex performing at Santa Monica Civic Auditorium • Description of Bolan's stage presentation and clothing • Confirmation that the concert was sold out • Pacific Presentations credited with producing the concert • The Doobie Brothers appearing during the first half of the evening All newspaper scans, photographs, and original text excerpts referenced in this entry remain the property of their respective copyright holders. This Chronicle entry is a transformative, non-commercial archival summary created for historical documentation and educational reference. No ownership of the original material is claimed or implied.

Artist: T. Rex / Marc Bolan Title: Cosmic Dancer Label: Mega Date: 1990 Country: Denmark Catalogue: MRLP 3149 Format: Promotional in-store poster MEMORABILIA Promotional in-store poster for the Cosmic Dancer LP by T. Rex / Marc Bolan, issued on the Mega label with catalogue number MRLP 3149. The poster uses a bold illustrated portrait against a dark, multicoloured background, with COSMIC DANCER displayed prominently across the centre. The dates 30.9.1947 and 16.9.1977 appear on either side. The lower section promotes the album as bringing together major hits including Get It On, Hot Love, Jeepster, Ride A White Swan, Telegram Sam and Metal Guru, alongside additional material. It also advertises Get It On – 1987 Tony Visconti Remix as available immediately on single/maxi. All poster artwork, photographs and original text referenced in this entry remain the property of their respective copyright holders. This Chronicle entry is a transformative, non-commercial archival summary created for historical documentation and educational reference. No ownership of the original material is claimed or implied.

Futuristic Dragon marked Marc Bolan’s creative resurgence, blending cosmic soul and post‑glitter Britrock into a late‑period T. Rex classic. By the time Bolan and his newly honed band recorded the album, his songwriting had regained its mystical swagger — a bubbling mix of rhythm, fantasy, and introspection. To celebrate the 50th anniversary and National Album Day’s “Icons” theme, Demon Records issued a limited‑edition Zoetrope picture disc. The design animates when spun under strobe light, echoing Bolan’s fascination with motion and myth. The release highlights Bolan’s renewed energy, from the grinding post‑glam boogie of Jupiter Liar and the poetic swoon of Chrome Sitar to the seductive R&B pulse of Ride My Wheels. Track Listing All songs written by Marc Bolan. Side one • New York City • My Little Baby • Calling All Destroyers • Theme for a Dragon • Sensation Boulevard • Ride My Wheels Side two • Dreamy Lady • Chrome Sitar • Jupiter Liar • All Alone • Dawn Storm • Casual Agent Two singles — New York City and Dreamy Lady — anchor the set with Bolan’s signature flair. Album Details Released: October 1976 (original) / October 2026 (Zoetrope reissue) Recorded: 1975–1976 Labels: Demon Records (reissue); EMI (original) Producer: Marc Bolan Packaging Limited‑edition Zoetrope picture disc LP (2026). Animated artwork design with blue‑to‑gold gradient and dragon‑in‑flight motif. Includes lyric insert and replica 1976 artwork with gold seal and hand‑scripted text. Celebrating the art of the album on Saturday 17th October as part of National Album Day’s ICONS theme SOURCES Discogs, 45 World, Wikipedia, BBC Official Charts, www.nationalalbumday.co.uk All album artwork, photographs, logos, and original text excerpts remain the property of their respective copyright holders. This Chronicle entry is a transformative, non‑commercial archival summary created for historical documentation and educational reference. No ownership of the original material is claimed or implied.