The August 15, 1974 edition of The Courier features “Early Bolan”, a new compilation album showcasing Marc Bolan’s pre-T. Rex material from his days with John’s Children and Tyrannosaurus Rex. Publication: The Courier Date: August 15, 1974 Country: United Kingdom Location: UK Section: Music Review / Album Feature THE STORY The article reviews the album Beginning of Doves (Track Select 2410 201), which collects early Marc Bolan recordings. It notes that while Bolan is now busy with T. Rex, this release allows fans to hear his underground roots, including tracks like “Hippy Gumbo”, “Mustang Ford”, “Cat Black”, and “The Beginning of Doves”. CONTEXT AND NOTES By mid-1974, T. Rex’s commercial peak had passed, and this compilation gave fans a chance to rediscover Bolan’s early psychedelic folk and underground work. It highlights the contrast between his teenybopper image and his earlier, more experimental material. FEATURE HIGHLIGHTS Event: Album feature / retrospective Era: 1974 Tone: Nostalgic, appreciative Photography: Text-based article (no photo in clipping) WHAT THE CLIPPING SHOWS Bold headline “EARLY BOLAN” Track listing for Side One and Side Two Commentary on Bolan’s early underground days Mention of the album Beginning of Doves All magazine scans, newspaper cuttings, scrapbook items, photographs and original text excerpts remain the property of their respective copyright holders. This entry is a transformative, non-commercial archival summary created for historical documentation and educational reference.

This San Francisco Examiner feature from September 5 1972, written by Roderick Mann, profiles Ringo Starr during his transition from musician to actor and film producer. The article highlights his latest project, Count Downe, and his reflections on post‑Beatles life, including his recent documentary work on Marc Bolan and T. Rex. Publication: The San Francisco Examiner Date: September 5, 1972 Country: United States Mann’s interview finds Ringo in London, relaxed yet introspective, discussing his film career and personal evolution. He describes shaving his beard for his role as Merlin in Count Downe, a fantasy‑horror production featuring characters like Frankenstein and The Mummy. Ringo speaks candidly about his desire to be taken seriously as an actor, noting that he avoids trading on his Beatles fame. The article also reveals that Ringo had recently completed a full‑length documentary on Marc Bolan, capturing a concert and the fan frenzy surrounding T. Rex. He recalls being struck by the sight of “kids dressed just like him,” comparing Bolan’s glam‑rock phenomenon to the Beatlemania of the 1960s. Ringo’s tone is affectionate and amused, acknowledging the cyclical nature of pop stardom. CONTEXT AND NOTES By 1972, Ringo Starr was exploring film production through Apple Films while maintaining ties to the music world. His documentary on Marc Bolan coincided with T. Rex’s U.S. tour and the height of their international fame following The Slider. The Examiner piece captures a moment of generational continuity — one pop icon observing another’s rise — and reflects Ringo’s growing interest in creative independence beyond the Beatles legacy. FEATURE HIGHLIGHTS Event: Ringo Starr interview and mention of Marc Bolan documentary Era: 1972 – Post‑Beatles  T. Rex Glam Rock Era Tone: Reflective, humorous, and personal Photography: Black‑and‑white image of Ringo Starr at a London premiere before shaving his beard for Count Downe WHAT THE CLIPPING SHOWS Ringo Starr interview discussing Count Downe and acting ambitions Mention of his documentary on Marc Bolan and T. Rex Reflections on Beatlemania and fame 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.

This Phoenix review from September 5 1972, written by Tim Osburn, appears under the “Captive Audience – Phoenix Reviews” banner and offers a lively critique of T. Rex’s The Slider. The piece situates Marc Bolan’s glam‑rock sound within the broader early‑1970s rock landscape, comparing his style to contemporaries like Rod Stewart and Jimi Hendrix while celebrating Bolan’s unique mix of sensuality and pop mysticism. Publication: The Phoenix Date: September 5, 1972 Country: United States Osburn’s column, titled Plasticware, opens with reflections on the “jungle rhythms coursing through hot teenage blood,” positioning Bolan as a figure who bridges rock’s primal energy and pop sophistication. The review praises The Slider for its sleek production and infectious hooks, noting Bolan’s ability to fuse “rock and roll and the jungle rhythms” into a sound both playful and erotic. Songs like Buick Mackane and Telegram Sam are singled out for their swagger and lyrical wit, with Osburn quoting Bolan’s cheeky self‑referential line: “Slider, slider / You’re just a sexual glider.” The critic contrasts Bolan’s confident glam persona with the introspective tendencies of other rock acts, arguing that The Slider captures the essence of youthful fantasy and flamboyant showmanship. CONTEXT AND NOTES By 1972, The Slider had cemented T. Rex as a leading force in glam rock, following the success of Electric Warrior. American reviewers like Osburn viewed Bolan as both a pop idol and a poet of excess, whose music embodied the glittering escapism of the era. The Phoenix review reflects the period’s fascination with British glam culture, emphasizing Bolan’s charisma and his ability to make rock feel simultaneously mystical and accessible. FEATURE HIGHLIGHTS Event: Review of The Slider album Era: 1972 – Glam Rock Peak / T. Rex U.S. Tour  Era Tone: Energetic, humorous, and culturally observant Photography: Illustrated header “Captive Audience” with comic‑style art WHAT THE CLIPPING SHOWS Full‑page Phoenix review of The Slider under “Plasticware” Commentary on Bolan’s lyrical style and glam‑rock persona Comparison to other major rock artists of the early 1970s 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.

This short Bolton Evening News item from September 5 1974 notes the release of a Marc Bolan maxi‑single featuring three early tracks — Hippy Gumbo, Jasper C. Debussy, and The Perfumed Garden. The piece highlights the nostalgic appeal of Bolan’s pre‑T. Rex material, offering all three songs together for 50 pence. Publication: The Bolton News  Evening News Date: September 5, 1974 Country: United Kingdom The brief column celebrates Bolan’s return to his roots with a reissue of early recordings originally released under his own name before the rise of T. Rex. These tracks, drawn from his late‑1960s psychedelic period, showcase the whimsical and poetic style that preceded his glam‑rock fame. The mention of the low price — “three Bolan records all on one disc for 50p” — reflects the era’s marketing of collectible vinyl singles to fans eager for rare material. CONTEXT AND NOTES By 1974, Bolan was on a wave of success following The Slider and Tanx, yet interest in his earlier work persisted. This maxi‑single offered listeners a glimpse of his formative songwriting, bridging the gap between his psychedelic beginnings and the glittering pop persona that defined mid‑’70s T. Rex. Regional press items like this one often served as informal record‑shop recommendations, helping sustain Bolan’s visibility across local music scenes. FEATURE HIGHLIGHTS Event: Release of Marc Bolan maxi‑single featuring early tracks Era: 1974 – Post‑Slider / Glam Rock Era Tone: Informative, nostalgic, and promotional Photography: Text‑only clipping; no accompanying image WHAT THE CLIPPING SHOWS Mention of Marc Bolan’s new maxi‑single release Listing of three early songs: Hippy Gumbo, Jasper C. Debussy, The Perfumed Garden Reference to the 50p retail price 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.

This Bravo magazine spread from September 6 1973 presents a vibrant photo collage titled “Das Star‑Album: T. Rex.” The feature celebrates Marc Bolan and Mickey Finn at the height of their glam‑rock fame, combining live performance shots, candid portraits, and playful imagery that capture the band’s magnetic stage presence and flamboyant style. Publication: Bravo Magazine Date: September 6, 1973 Country: Germany The layout bursts with color and energy, showcasing Bolan and Finn in concert and offstage moments. Central images depict Bolan performing under bright lights with his signature Les Paul guitar, while smaller frames show Finn at the congas and the duo posing with a cat. The right‑hand column, titled “Die Steckbriefe der T. Rex,” lists biographical details of the band members in German, including birth dates and hometowns. The spread’s design — red, green, orange, and blue borders against a black background — mirrors the exuberant aesthetic of early‑1970s pop magazines. It reflects Bravo’s role in popularizing British glam acts across Europe, presenting T. Rex as both musical innovators and fashion icons. CONTEXT AND NOTES By 1973, T. Rex were international superstars following the success of The Slider and Tanx. Their imagery blended rock attitude with playful surrealism, appealing to fans drawn to Bolan’s charisma and Finn’s cool elegance. Bravo’s “Star‑Album” series offered readers collectible photo features of major artists, and this edition immortalized T. Rex’s dynamic chemistry and visual flair. FEATURE HIGHLIGHTS Event: Bravo “Star‑Album” photo feature on T. Rex Era: 1973 – Tanx / Glam Rock Era Tone: Vibrant, celebratory, and fan‑oriented Photography: Live performance and studio portraits of Marc Bolan and Mickey Finn 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.

This Bravo International double‑page spread from September 6 , 1971 includes a short feature titled “Pop gibt’s noch in 50 Jahren” (“Pop will still exist in 50 years”), spotlighting Marc Bolan of T. Rex as a symbol of enduring pop vitality. The article appears alongside humor, lifestyle, and youth‑culture columns, reflecting the magazine’s eclectic mix of entertainment and personality coverage. Publication: Bravo International  (Pop Magazine) Date: September 6, 1971 Country: Germany The right‑hand page features a striking black‑and‑white photograph of Marc Bolan performing live with his guitar, dressed in a shimmering jacket typical of his early glam‑rock style. The accompanying text discusses the lasting power of pop music, using Bolan’s success as evidence that youthful creativity and charisma would keep the genre alive for decades. Other sections on the spread include “Wer liebt, soll nicht viel fragen!” (relationship advice), “Zwischen Bett und Pfanne” (domestic and celebrity snippets), and “Bist Du ein Girl mit Mumm?” (a confidence quiz for girls). Together, they frame Bolan’s appearance as part of a broader cultural snapshot of early‑1970s teen life — humor, romance, and pop idols intertwined. CONTEXT AND NOTES By 1971, T. Rex were at the height of their fame following Hot Love and Get It On. Bolan’s image had become synonymous with the glam‑rock movement, and German youth magazines like Bravo and Pop frequently featured him as an emblem of modern pop stardom. This feature captures the optimism of the era — a belief that pop music, embodied by Bolan’s glittering energy, would remain timeless. FEATURE HIGHLIGHTS Event: Bravo International pop‑culture feature including Marc Bolan Era: 1971 – Electric Warrior / Glam Rock Emergence Tone: Upbeat, youthful, and celebratory Photography: Black‑and‑white performance shot of Marc Bolan with guitar WHAT THE CLIPPING SHOWS Double‑page Bravo International layout with humor and lifestyle columns Feature titled “Pop gibt’s noch in 50 Jahren” highlighting Marc Bolan Photograph of Bolan performing live, symbolizing pop’s enduring appeal 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.

This Bravo magazine image from September 6 1973 captures Marc Bolan and Mickey Finn of T. Rex performing live under vivid red stage lighting. The photograph radiates the intimate, electric atmosphere of the band’s glam‑rock peak, emphasizing Bolan’s charisma and Finn’s rhythmic energy. Publication: Bravo Magazine Date: September 6, 1973 Country: Germany The image shows Bolan seated with an acoustic guitar, singing passionately into a microphone while Finn accompanies him on percussion. Both wear matching outfits featuring bold red lips printed on their shirts — a signature visual motif of T. Rex’s theatrical style. The warm red lighting and close framing evoke the sensual, hypnotic mood of their live performances during the Tanx era. This photograph reflects the band’s effortless blend of rock and glamour, with Bolan’s curls and Finn’s sleek look embodying the visual allure that defined early‑1970s pop culture. CONTEXT AND NOTES By 1973, T. Rex were international icons, riding the success of The Slider and Tanx. Their concerts had evolved into immersive experiences, combining raw musicianship with flamboyant presentation. Bravo magazine frequently featured Bolan, recognizing his influence on European youth culture and his role as a symbol of glam‑rock’s golden age. FEATURE HIGHLIGHTS Event: Live performance photograph of T. Rex Era: 1973 – Tanx / Glam Rock Era Tone: Energetic, intimate, and atmospheric Photography: Red‑lit stage shot of Marc Bolan and Mickey Finn WHAT THE CLIPPING SHOWS Marc Bolan performing with acoustic guitar and microphone Mickey Finn accompanying on percussion Distinctive red lighting and matching lip‑print shirts 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 is the first album released under the shortened band name and the fifth overall since their debut as Tyrannosaurus Rex in 1968. Issued in December 1970 by Fly Records, the album continued the stylistic shift away from the duo’s earlier folk‑based sound toward a more minimal electric rock approach, balancing acoustic and electric textures. The previous album A Beard of Stars had charted moderately, but Marc Bolan remained frustrated at not breaking beyond cult status. Touring extensively with Mickey Finn throughout 1970 helped introduce audiences to their evolving electric sound, while Bolan’s decision to shorten the group’s name coincided with signing to Fly Records and the release of “Ride a White Swan.” Although credited to T. Rex, all recordings and the cover photography were completed while still known as Tyrannosaurus Rex, with Bolan and Finn as the core duo and Tony Visconti contributing bass and recorder. Bolan considered several titles, including The Wizard and The Children of Rarn, before choosing a self‑titled album. Track Listing All songs written by Marc Bolan. Side one • The Children Of Rarn — Marc Bolan — 0:53 • Jewel — Marc Bolan — 2:46 • The Visit — Marc Bolan — 1:55 • Childe — Marc Bolan — 1:41 • The Time Of Love Is Now — Marc Bolan — 2:42 • Diamond Meadows — Marc Bolan — 1:58 • Root Of Star — Marc Bolan — 2:31 • Beltane Walk — Marc Bolan — 2:38 Side two • Is It Love? — Marc Bolan — 2:34 • One Inch Rock — Marc Bolan — 2:28 • Summer Deep — Marc Bolan — 1:43 • Seagull Woman — Marc Bolan — 2:18 • Suneye — Marc Bolan — 2:06 • The Wizard — Marc Bolan — 8:50 • The Children Of Rarn (Reprise) — Marc Bolan — 0:36 Total length: 37:41 Album Details Released: 18 December 1970 Recorded: 14 May – 31 August 1970 Studios: Trident Studios, London Length: 37:41 Labels: Fly (UK); Reprise (US) Producer: Tony Visconti Chronology: A Beard of Stars (1970) → T. Rex (1970) → Electric Warrior (1971) Packaging Semi‑gatefold sleeve. Photograph by Peter Sanders. Design by Graphreaks. Manufactured for Fly Records, London. Printed and made by the E. J. Day Group, London and Bedford. Songs and recording Although the album was credited to T. Rex, all of the recording work — along with the cover photography — was completed while the duo were still operating under the name Tyrannosaurus Rex. The sessions featured Marc Bolan on vocals and guitar and Mickey Finn on percussion, with Tony Visconti contributing bass and recorder on selected tracks. Bolan considered naming the album The Wizard or The Children of Rarn before settling on a self‑titled release. Musically, the record followed the direction set by A Beard of Stars, pushing further into electric rock while incorporating string arrangements written by Visconti. Some pieces, such as “The Time of Love Is Now,” “Suneye,” and “Root of Star,” retained elements of the duo’s earlier folk style, while tracks like “Jewel,” “Childe,” “Beltane Walk,” “Diamond Meadows,” “Is It Love,” and “One Inch Rock” integrated electric guitar and bass more fully, hinting at the sound of the next album. As on previous releases, Bolan’s lyrics drew inspiration from Tolkien, weaving imagery of wizards, Druids, and a “Liquid Poetess in a buckskin dress.” Journalist Tom Everett noted Bolan’s fascination with mysticism and the sonic qualities of language, marking the last time this thematic focus would dominate his writing. Other songs explored different ideas: “The Visit” describes a UFO encounter, while “Diamond Meadows” and “Suneye” function as more traditional love songs that anticipate later ballads. The album also included electric reworkings of two earlier Tyrannosaurus Rex songs. “The Wizard” had originally appeared as the A‑side of Bolan’s first solo single in 1965, and “One Inch Rock” was the second Tyrannosaurus Rex single, now presented with a scat‑sung introduction that Bolan and Finn had been using in live acoustic performances. The remaining tracks were newly written. “The Children of Rarn” and its reprise, which bookend the UK album, represented Bolan’s attempt at a symphonic rock concept he hoped to expand into a full‑length project; a 16‑minute demo suite was recorded in 1971. Additional material from the sessions included a cover of “Summertime Blues” and the instrumental outtake “Deep Summer.” Recording began at Trident Studios on 14 May 1970 with “Jewel” and “Is It Love,” the former already familiar from live shows. This session established the electric pop/rock direction of the album. On 1 June, “Diamond Meadows,” “The Visit,” and “Ride a White Swan” were recorded, though some sources place “Swan” on 1 July. The instrumental “Deep Summer” was attempted on 16 June but left unreleased. On 24 June, Howard Kaylan of Flo & Eddie joined the session for “Seagull Woman” to provide backing vocals — the first time he appeared on a T. Rex track — although Mark Volman’s credit on the sleeve is not confirmed by session notes. The pair would later contribute to many of the group’s hits. “Summer Deep” and “The Time of Love Is Now” followed on 26 June, while “Beltane Walk” and an early version of “King of the Mountain Cometh” were attempted on 1 July. Remakes of “One Inch Rock” and “The Wizard” were recorded on 6 July along with “The Children of Rarn.” The final sessions on 5 and 31 August produced “Root of Star.” Documentation for the recording of “Childe” and “Suneye” has not survived. Reception On release, Rolling Stone responded enthusiastically, noting that the album made it hard to single out specific tracks as standouts. Reviewer Todd Everett highlighted the group’s unusual blend of vocal and instrumental textures, pointing out moments where the voices mimic feedback‑style guitar tones — a technique he felt few bands could pull off convincingly. UK critics were similarly impressed. Ray Hollingworth of Melody Maker described the record as vigorous and full of drive, carried by Bolan’s imaginative and poetic vocal style. Nick Logan of New Musical Express called the album highly enjoyable, observing that the electric approach strengthened both the rhythmic and melodic aspects of Bolan’s writing, and remarking that after several albums it must have been gratifying to produce material of such quality. Disc & Music Echo also praised the album, noting that the sweeping strings and rich arrangements suited the duo better than expected, while Penny Valentine of Sounds commented that although some listeners might feel the group’s sound was no longer mystical or pure, she welcomed the change, saying Bolan’s work now carried greater rhythmic appeal and a more assured presence. Retrospective commentary has remained positive. Mark Deming of AllMusic described the album as a calm moment before the arrival of Electric Warrior, retaining a playful energy and charm that make it one of Bolan’s key works. Writing for The Guardian, Alexis Petridis noted that the record brought Bolan’s instincts forward — more electric guitar, tighter rhythms, vocals treated with slapback echo, and string parts that emphasized the descending chord patterns later associated with early glam. Ultimate Classic Rock likewise praised the album, calling it an immediate classic filled with tracks such as “Childe,” “Beltane Walk,” and “One Inch Rock,” describing them as ’50s‑style rockers reimagined with early ’70s flair. The review added that Bolan, Finn, and producer Tony Visconti shaped a sound that, with only slight refinement, would soon carry T. Rex to major chart success in the UK. COUNTRY VARIANTS • LP, Album, Stereo — Fly Records — HIFLY 2 — UK — 1970 • LP, Album, Cover Variant — Fly Records — HIFLY 2 — UK — 1970 • Cassette, Album, Stereo — Fly Records — ZCFLY 2 — UK — 1970 • 8‑Track Cartridge, Album, Stereo — Fly Records — Y8FLY 2 — UK — 1970 Personnel T. Rex Marc Bolan — vocals, guitar, bass, organ Mickey Finn — drums, bass, Pixiphone, vocals Additional Personnel Tony Visconti — bass, piano, recorder, string arrangements, production Howard Kaylan — backing vocals Mark Volman — backing vocals Roy Thomas Baker — engineering Technical Recorded at Trident Studios, London Produced by Tony Visconti Engineered by Roy T. Baker Charts Chart (1971–1971) — Peak Position UK Albums Chart — 7 Certifications Singles from T. Rex Ride a White Swan — Released October 9, 1970 B-side "Is It Love?" "Summertime Blues" Label Fly Songwriter Marc Bolan Producer Tony Visconti 20 weeks on BBC Singles Chart - 24/10/1970 to 06/03/1971 Peak Position - 2 OVERSEAS VARIANTS — US In the United States, the album did not appear until 20 March 1971, as listed in BB New LP / Tape Releases. The American edition used the same semi‑gatefold sleeve as the UK pressing, but the final track was replaced with “Ride a White Swan.” This substitution was notable because “Ride a White Swan” had already been distributed as a free single with the band’s previous US release, A Beard of Stars. OVERSEAS VARIANTS — GERMANY In Germany, the album was also issued in 1971, released by Ariola under catalogue number 85 070 IT. This edition was retitled Ride a White Swan and came in a full gatefold sleeve. The interior featured the familiar photograph of Marc and Mickey, with the lyrics printed along the lower edge, echoing the layout of the UK and US fold‑over flap versions. This German release carried a completely unique front and back sleeve, distinguishing it from all other international variants. As with the US edition, the final track was replaced, in this case with the title track “Ride a White Swan.” SOURCES Discogs, 45 World, Wikipedia, BBC Official Charts. 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: The Gazette (Montreal, Canada) Date: Saturday, September 2, 1972 Author: Bill Mann Section: Feature / Music Commentary “T.Rex – best that since the Beatles” Major feature praising T.Rex (led by Marc Bolan) as the most exciting British rock act since The Beatles. The article celebrates their massive rise in popularity and cultural impact in 1972. Key Content Notable Mentions The piece discusses T.Rex’s phenomenal success, their glam rock sound, Marc Bolan’s star power, and the electric atmosphere surrounding the band during the height of T.Rextasy. Strong emphasis on T.Rex as a game-changing force in rock music, with comparisons to The Beatles and commentary on their influence on the current music scene. 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.

Melody Maker news brief announcing T. Rex’s strictly limited promotional single featuring “Jeepster” and “Life’s A Gas”, available only to friends and DJs ahead of the Electric Warrior album release. Publication: Melody Maker Date: September 4, 1971 Country: United Kingdom Section: News Brief THE STORY WHAT THE CLIPPING SHOWS T. Rex release a limited single on September 10 that will not be available to the public. The tracks — “Jeepster” and “Life’s A Gas” — are taken from the forthcoming album Electric Warrior, due September 24. Only 500 copies will be pressed and given to friends and disc-jockeys. • Bold headline: “PRIVATE REX” • Details of the limited single release • Titles “Jeepster” and “Life’s A Gas” • Album release date and exclusivity note CONTEXT AND NOTES RELATED MATERIAL This September 4, 1971 news item reflects T. Rex’s strategic promotion at the peak of their success. The limited “Jeepster” single was a clever way to generate industry buzz and reward loyal supporters just before the full Electric Warrior album dropped, helping fuel the growing T. Rextasy phenomenon. For more similar posts, check out the tags at the bottom of the page. FEATURE HIGHLIGHTS SOURCES Event: Limited single announcement Era: 1971 (Peak glam era) Tone: Exclusive, anticipatory Photography: N/A • Melody Maker, September 4, 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.

This Bravo Musik Express page from September 1970 includes a short studio update announcing the upcoming Tyrannosaurus Rex maxi‑single featuring Ride a White Swan and Summertime Blues. The note appears in Dieter Stiegls’ Aus den Studios column, alongside news on Elvis Presley, Mary Hopkin, and Thunderclap Newman. Publication: Bravo Musik Express Date: 4 September 1970 Country: Germany The column reports that Tyrannosaurus Rex were preparing a “kleine gedankliche Platte” (a small conceptual record) containing Ride a White Swan and Summertime Blues, described as the three songs of their forthcoming maxi‑single. This brief mention marks the transitional moment when Marc Bolan’s duo was evolving from acoustic mysticism toward electric glam rock. The surrounding page features reviews of new LPs by Donovan, Brian Auger, and James Last, plus a full‑page spotlight on Mungo Jerry, whose In the Summertime had become a European sensation. The layout — notebook‑style with torn edges and collage graphics — reflects Bravo’s lively pop‑journalism aesthetic. CONTEXT AND NOTES By September 1970, Ride a White Swan was poised to launch T. Rex into mainstream success, soon reaching the UK Top 10 and defining the glam rock sound. Bravo’s early coverage of the single demonstrates Germany’s growing interest in British pop innovation. The Musik Express section, curated by Dieter Stiegls, served as a weekly roundup of studio news, giving readers a glimpse of upcoming releases before they hit the charts. FEATURE HIGHLIGHTS Event: Announcement of Tyrannosaurus Rex’s Ride a White Swan maxi‑single Era: 1970 – Transition from Folk to Glam Rock Tone: Informative, anticipatory, and concise Photography: Collage layout with artist portraits (Elvis Presley, Mary Hopkin, Mungo Jerry) WHAT THE CLIPPING SHOWS Bravo Musik Express column mentioning Tyrannosaurus Rex’s upcoming maxi‑single Contextual placement among other studio updates and LP reviews Early documentation of Marc Bolan’s shift toward electric glam rock 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, T. Rex Scrapbook, Bravo Magazine, 1970, Ride a White Swan (Single)

This single is part of Cube Records’ Backtrackin’ Classic Singles Series, a run of re‑issues presenting key Marc Bolan tracks from the T. Rex and Tyrannosaurus Rex eras. Issued in the UK on 3 September 1982, the release pairs the chart‑topping glam‑rock anthem Get It On with the earlier Tyrannosaurus Rex track Debora, presented here in its distinctive Deboraarobed forward/backward album version. The release date is confirmed in the booklet The New Singles No. 942. RECORDING Both tracks originate from their respective early‑1970s sessions produced by Tony Visconti. No new recording was undertaken for this 1982 edition; the single re‑uses the original masters. The B‑side uses the Deboraarobed version, which combines the forward and reversed mixes from the original Tyrannosaurus Rex album. STYLE & THEMES The pairing highlights two distinct phases of Marc Bolan’s evolution: • Get It On represents the peak of T. Rex’s glam‑rock dominance, defined by swagger, groove, and electric‑driven confidence. • Debora reflects Bolan’s earlier mystical, acoustic‑leaning Tyrannosaurus Rex period, with its psychedelic folk textures and experimental reversed‑audio presentation. TRACK‑BY‑TRACK NOTES • Get It On — A defining glam‑rock hit, showcasing Bolan’s rhythmic vocal delivery and Visconti’s polished production. • Debora — Presented here in the Deboraarobed forward/backward album version, blending psychedelic folk with experimental tape manipulation. RELEASE HISTORY Released 3 September 1982 in the UK as a 7" vinyl single on Cube Records. Catalogue number BAK 4. Issued as part of the Backtrackin’ Classic Singles Series. Noted as a re‑issue, not a new recording. PERSONNEL T. Rex — performance Marc Bolan — songwriting Tony Visconti — production PRODUCTION Produced by Tony Visconti Label: Cube Records Catalogue numbers: • BAK 4 Artist: T. Rex Title: BackTrackin’ — Get It On / Debora Label: Cube Records Country: United Kingdom Catalogue: BAK 4 Date: September 3, 1982 Format: 7" Single Tracklist (7"): A — Get It On B — Debora (Deboraarobed version) Notes: Re‑issue. Part of the Backtrackin’ Classic Singles Series. B‑side uses the Deboraarobed forward/backward album version by Tyrannosaurus Rex. Release date sourced from The New Singles No. 942. 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 single forms part of Cube Records’ BackTrackin’ Classic Singles Series, a set of re‑issues revisiting key Marc Bolan hits from the early 1970s. Issued in the UK on 3 September 1982, the release pairs two of T. Rex’s most iconic glam‑rock tracks: Hot Love and Jeepster. The date is confirmed in the booklet The New Singles No. 942. As a re‑issue, the single was aimed at collectors and fans seeking affordable access to classic Cube catalogue titles. RECORDING Both tracks originate from T. Rex’s early‑1970s sessions produced by Tony Visconti, featuring Marc Bolan’s signature glam‑era sound. No new recording was undertaken for this 1982 edition; the single simply re‑presents the original masters. STYLE & THEMES The pairing showcases Bolan’s transition into full glam‑rock confidence. Hot Love captures the band’s shift toward a more expansive pop‑rock sound, while Jeepster highlights Bolan’s playful lyrical swagger and rhythmic groove. TRACK‑BY‑TRACK NOTES • Hot Love — A defining glam‑rock single, driven by Bolan’s melodic phrasing and Visconti’s warm production. • Jeepster — A swaggering, groove‑heavy track showcasing Bolan’s rhythmic vocal delivery and acoustic‑electric blend. RELEASE HISTORY Released 3 September 1982 in the UK as part of Cube’s BackTrackin’ Classic Singles Series. Catalogue number BAK 3. Issued as a 7" vinyl single. Noted as a re‑issue, not a new recording. PERSONNEL T. Rex — performance Marc Bolan — songwriting Tony Visconti — production PRODUCTION Produced by Tony Visconti Label: Cube Records Catalogue numbers: • BAK 3 Artist: T. Rex T itle: BackTrackin’ — Hot Love / Jeepster Label: Cube Records Country: United Kingdom Catalogue: BAK 3 Date: September 3, 1982 Format: 7" Single Tracklist (7"): A — Hot Love B — Jeepster Notes: Re‑issue. Part of the BackTrackin’ Classic Singles Series. Release date sourced from The New Singles No. 942. 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 2007 UK re‑issue presents Hot Love alongside two early‑1970s T. Rex recordings, issued as part of Universal’s catalogue programme. The single was released on 3 September 2007, pairing the original A‑side with two B‑side selections from the same era: Woodland Rock and The King Of The Mountain Cometh. The release was pressed as a 7" vinyl single and carries the Universal catalogue number 1744373, with barcode 602517443730. RECORDING All tracks originate from Marc Bolan’s early‑1970s sessions produced by Tony Visconti. No new recording was undertaken for this 2007 edition; the single re‑presents the original masters. STYLE & THEMES The three tracks highlight Bolan’s transition from acoustic‑leaning psychedelic folk into full glam‑rock confidence. • Hot Love marks the shift toward a more expansive pop‑rock sound. • Woodland Rock retains the raw, energetic edge of early T. Rex. • The King Of The Mountain Cometh reflects Bolan’s mystical lyrical imagery and rhythmic drive. TRACK‑BY‑TRACK NOTES • Hot Love — A defining glam‑rock single, driven by Bolan’s melodic phrasing and Visconti’s warm production. • Woodland Rock — A high‑energy track showcasing Bolan’s raw electric sound. • The King Of The Mountain Cometh — A rhythm‑driven piece with Bolan’s characteristic mystical imagery. RELEASE HISTORY Released 3 September 2007 in the UK as a 7" vinyl single on Universal. Catalogue number 1744373. Barcode 602517443730. Issued as a re‑issue of classic early‑1970s material. PERSONNEL T. Rex — performance Marc Bolan — songwriting Tony Visconti — production PRODUCTION Produced by Tony Visconti Label: Universal Catalogue numbers: • 1744373 Artist: T. Rex Title: Hot Love Label: Universal Country: United Kingdom Catalogue: 1744373 Date: September 3, 2007 Format: 7" Single Tracklist (7"): A1 — Hot Love B1 — Woodland Rock B2 — The King Of The Mountain Cometh 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

Issued as part of Cube Records’ Backtrackin’ Classic Singles Series, this 1982 re‑issue pairs two key Marc Bolan tracks from different phases of his career. The A‑side, One Inch Rock, originates from the Tyrannosaurus Rex era, while the B‑side, Ride A White Swan, represents the early breakthrough of T. Rex’s glam‑rock period. The release date is confirmed in The New Singles No. 942. RECORDING Both tracks are original early‑1970s recordings produced by Tony Visconti. No new studio work was undertaken for this 1982 edition; the single simply re‑presents the existing masters. STYLE & THEMES The pairing highlights Bolan’s stylistic evolution: • One Inch Rock reflects the mystical, acoustic‑driven Tyrannosaurus Rex sound. • Ride A White Swan showcases the emerging glam‑rock confidence that would soon define T. Rex’s chart success. TRACK‑BY‑TRACK NOTES • One Inch Rock — A whimsical, acoustic‑leaning track from the Tyrannosaurus Rex period, marked by Bolan’s distinctive lyrical imagery. • Ride A White Swan — A pivotal early glam‑rock single, driven by rhythmic swagger and Bolan’s evolving electric sound. RELEASE HISTORY Released 3 September 1982 in the UK as a 7" vinyl single on Cube Records. Catalogue number BAK 5. Part of the Backtrackin’ Classic Singles Series. Noted as a re‑issue. PERSONNEL T. Rex — performance Marc Bolan — songwriting PRODUCTION Produced by Tony Visconti Label: Cube Records Catalogue numbers: • BAK 5 Artist: T. Rex Title: BackTrackin’ — One Inch Rock / Ride A White Swan Label: Cube Records Country: United Kingdom Catalogue: BAK 5 Date: September 3, 1982 Format: 7" Single Tracklist (7"): A — One Inch Rock B — Ride A White Swan Notes: Re‑issue. Part of the Backtrackin’ Classic Singles Series. Release date sourced from The New Singles No. 942. 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 September 7, 1973 edition (Issue 18) of German teen magazine POP features an exclusive behind-the-scenes studio report on T. Rex recording in Munich at Musicland Studios with producer Tony Visconti. Publication: POP Magazine Date: September 3, 1973 Country: Germany Location: Germany Section: Studio Report THE STORY The article follows Marc Bolan and the band (Steve Currie, Bill Legend, Mickey Finn) during sessions for the upcoming album. It includes multiple studio photos and insights into the recording process, new song development, and the band’s evolving sound. CONTEXT AND NOTES These Munich sessions were part of the transition toward the Zinc Alloy and the Hidden Riders of Tomorrow album. Published in early September 1973, this report gives fans a rare look at T. Rex working on new material as they moved beyond peak glam. FEATURE HIGHLIGHTS Event: Studio recording report Era: 1973 (T. Rex Glam Rock / Zinc Alloy transition) Tone: Behind-the-scenes, intimate Photography: Multiple colour and black & white shots of the band at work WHAT THE CLIPPING SHOWS “Studio-Report: T.Rex in Munich” headline Large photos of Marc Bolan and the full band in the studio Images of Steve Currie, Mickey Finn, mixing desk work, and group discussions Detailed German text about the recording process RELATED MATERIAL November 17, 1973 Melody Maker “Truck On (Tyke)” single advert November 24, 1973 Music Star “We Meet The New Marc At Last!!” cover November 26, 1973 POP Magazine “Wie wird dein neues Gesicht, Marc?” December 13, 1973 BRAVO “Marc muß Haare lassen” feature For other relevant posts, see the tags at the foot of the page. SOURCES POP Magazine, Issue 18, September 7, 1973 All magazine scans, newspaper cuttings, scrapbook items, photographs and original text excerpts remain the property of their respective copyright holders. This entry is a transformative, non-commercial archival summary created for historical documentation and educational reference.

This Lincoln Star concert preview from August 19 1973 announces a joint performance by Three Dog Night and T. Rex at Pershing Auditorium. The article highlights Three Dog Night’s chart success with Shambala and introduces Marc Bolan’s British group T. Rex to local readers, describing Bolan as a “combination of stupefying voice and peacockery.” Publication: The Lincoln Star Date: 19 August 1973 Country: United States The preview promotes the evening’s concert, noting that Three Dog Night will headline with support from Marc Bolan and T. Rex. It lists Three Dog Night’s lineup — Danny Hutton, Chuck Negron, Cory Wells, Mike Allsup, Jimmy Greenspoon, Jack Ryland, and Floyd Sneed — and celebrates their commercial success, boasting fourteen gold records and over $30 million in sales. The piece introduces T. Rex as an English pop group formerly known as Tyrannosaurus Rex, emphasizing Bolan’s flamboyant stage persona and noting that Tanx is their latest album. The tone is promotional and informative, aimed at building anticipation for the show while giving American readers a glimpse of Bolan’s distinctive glam‑rock style. CONTEXT AND NOTES This clipping captures a moment from T. Rex’s 1973 U.S. tour, when the band supported Three Dog Night across several dates. The pairing reflected Bolan’s attempt to break deeper into the American market following his massive British success. The description of Bolan’s “peacockery” mirrors how U.S. press often viewed glam rock — as theatrical and exotic compared to mainstream American rock. The concert at Pershing Auditorium was part of a Midwest run that also included Davenport and Des Moines, marking one of T. Rex’s final major U.S. appearances before returning to Britain later that year. FEATURE HIGHLIGHTS Event: Concert preview for Three Dog Night and T. Rex at Pershing Auditorium Era: 1973 – Glam Rock / U.S. Tour Era Tone: Promotional, descriptive, and enthusiastic Photography: Text‑only concert notice WHAT THE CLIPPING SHOWS Announcement of joint concert featuring Three Dog Night and T. Rex Introduction of Marc Bolan’s group to American readers Mention of Tanx as T. Rex’s newest album 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 Winnipeg Sun article from August 19 2005 reviews the reissue of Born to Boogie, the 1972 film directed by Ringo Starr and starring Marc Bolan and T. Rex. Written by Darryl Sterdan, the piece praises the restored edition for transforming the once‑dismissed glam‑rock film into a “classic rock movie that never was.” Publication: The Winnipeg Sun Date: 19 August 2005 Country: Canada Sterdan’s review opens by noting that while many classic rock films deserve preservation, Born to Boogie was long overlooked. The 2005 reissue from Sanctuary / EMI includes remastered sound, restored visuals, and bonus footage such as live performances of Jeepster, Baby Strange, and Bang a Gong (Get It On). He describes the original film as a “self‑indulgently silly affair” mixing concert footage with surreal interludes — Bolan sipping tea with nuns, riding in a convertible with Ringo Starr, and other eccentric scenes typical of early‑1970s glam. Despite its quirks, Sterdan concludes that the reissue’s quality and energy make it worth rediscovery, turning Born to Boogie into a vibrant document of Bolan’s charisma and the era’s flamboyant spirit. CONTEXT AND NOTES Originally released in 1972, Born to Boogie captured T. Rex at their commercial peak, with Bolan’s star power rivaling that of Bowie and Elton John. The film’s reissue coincided with renewed interest in glam rock and archival restorations of classic music films. Sterdan’s review reflects this revival, acknowledging Bolan’s enduring appeal and the film’s transformation from cult curiosity to historical artifact. The accompanying image of the DVD cover features Bolan in a dynamic pose beneath bold lettering — a visual echo of his theatrical stage presence and the glam aesthetic that defined T. Rex. FEATURE HIGHLIGHTS Event: Reissue review of Born to Boogie (DVD) Era: 2005 – Glam Rock Revival / Archival Reissue Era Tone: Retrospective, witty, and appreciative Photography: DVD cover image of Marc Bolan in stylized black‑and‑white design WHAT THE CLIPPING SHOWS Review of Born to Boogie’s restored DVD release Commentary on Ringo Starr’s direction and Bolan’s eccentric performance Recognition of the film’s transformation into a glam‑rock classic 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 Southern Daily Echo review from August 19 1972 praises T. Rex’s album The Slider, urging readers not to dismiss Marc Bolan’s work as lightweight pop. The critic calls Bolan “quite a poet,” highlighting his lyrical wit and referencing standout tracks such as Ballrooms of Mars, Telegram Sam, and Metal Guru. Publication: Southern Daily Echo / Southern Evening Echo Date: 19 August 1972 Country: England The review opens with a direct appeal to readers: “Don’t be a musical snob, and give this a  try.” It positions Bolan as a serious songwriter whose lyrics reveal unexpected depth beneath the glam‑rock sheen. The writer singles out Ballrooms of Mars for its poetic references to Alan Freed, Bob Dylan, and John Lennon, and quotes Bolan’s surreal line, “I had never kissed a car before,” as proof of his imaginative flair. The piece concludes by celebrating Bolan’s success with Telegram Sam and Metal Guru, encouraging readers to “Rock on, Marc.” The tone is warm and persuasive, aiming to convert skeptics into admirers of Bolan’s artistry. CONTEXT AND NOTES Published during The Slider’s initial chart run, this review reflects the growing critical respect for Bolan’s songwriting. By mid‑1972, T. Rex had evolved from underground folk origins into Britain’s leading glam‑rock phenomenon. The Echo’s endorsement captures how regional British press helped legitimize Bolan’s pop brilliance, bridging the gap between mainstream appeal and lyrical sophistication. The review’s concise style mirrors the era’s newspaper album columns — short, punchy, and designed to fit alongside gig listings and local entertainment news. FEATURE HIGHLIGHTS Event: Album review of The Slider by T. Rex Era: 1972 – Glam Rock / Peak T. Rextasy Era Tone: Supportive, poetic, and persuasive Photography: Text‑only review under “ALBUMS” header WHAT THE CLIPPING SHOWS Newspaper album review praising The Slider Mentions of Ballrooms of Mars, Telegram Sam, and Metal Guru Recognition of Marc Bolan’s lyrical talent and poetic style 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.