This memorabilia item consists of a copy of T. Rex's classic album The Slider bearing a Marc Bolan autograph in blue ink on the front cover. The signature was accompanied by supporting provenance in the form of a printed email from writer and broadcaster Spencer Leigh. According to the accompanying statement, Leigh interviewed Marc Bolan during an appearance at Southport Theatre in 1976. At the request of friend Pete Rimmer, he took along a copy of The Slider for Bolan to sign. MEMORABILIA TYPE: Signed Album Cover ARTIST: Marc Bolan / T. Rex ITEM: The Slider (BLN.5001) The inclusion of the supporting correspondence provides additional context for the autograph and links the signing to a documented public appearance during the final years of Bolan's career. "I interviewed Marc Bolan when he appeared at Southport Theatre in 1976. My friend Pete Rimmer asked me to take along a Bolan album of his to be signed. I can confirm that is Marc Bolan's signature." ITEM DETAILS Artist: T. Rex Title: The Slider Catalogue Number: BLN.5001 Signature: Marc Bolan (blue ink) Accompanied by provenance statement from Spencer Leigh SALE INFORMATION Auction House: Omega Auctions Sold Date: April 22, 2026 Sale Price: £512.00 SOURCE Omega Auctions / WorthPoint sale archive. COLLECTOR'S NOTES Signed copies of major T. Rex releases remain highly desirable among collectors, particularly when accompanied by supporting provenance. The Slider is one of the most recognisable albums in the T. Rex catalogue, making authenticated signed examples especially appealing. The combination of Marc Bolan's autograph and the accompanying statement connecting the signature to a 1976 appearance at Southport Theatre creates an attractive and well-documented piece of T. Rex memorabilia. 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.

An American newspaper profile examines Marc Bolan and T. Rex at the height of their popularity, presenting Bolan as an artist moving beyond simple rock and roll clichés and developing into a more thoughtful and poetic songwriter. Published during the band's first major breakthrough in the United States, the article captures how American journalists viewed the phenomenon of Bolanmania. Publication: News‑Chronicle Publication Date: October 13, 1972 Country: USA Event Date: October 1972 THE STORY Written by David Sterritt of the Christian Science Monitor News Service, this feature presents Marc Bolan as one of the most intriguing and unconventional figures in contemporary rock music. Under the headline “T. Rex Slides Into Poignancy”, the article argues that Bolan's appeal stretches beyond glitter, fashion and stage presentation. While acknowledging the band's colourful image and chart success, the writer focuses on the increasingly reflective qualities emerging within Bolan's songwriting and public persona. The piece discusses T. Rex's rapidly expanding popularity in America, noting recent appearances at the Santa Monica Civic Auditorium and the Long Beach Auditorium. Bolan is portrayed as both a charismatic performer and an artist deeply committed to his own creative vision. Much of the article centres on Bolan's thoughts about fame, music and individuality. He speaks openly about his desire to remain independent, his dislike of over‑analysis, and his belief that music should be experienced emotionally rather than intellectually. Rather than presenting himself as a spokesman or prophet, Bolan appears thoughtful, self‑aware and occasionally enigmatic. The feature also highlights the contribution of Mickey Finn, while emphasising that the heart of T. Rex remained Bolan's unique lyrical perspective and distinctive artistic identity. CONTEXT AND NOTES Published during October 1972, this article appeared at a crucial moment in T. Rex's American expansion. Although already one of Britain's biggest acts, Bolan was still in the process of establishing a lasting profile in the United States. The feature is notable for its unusually serious treatment of Bolan. Rather than focusing solely on glamour, chart success or teenage hysteria, the writer explores the intelligence and sensitivity behind T. Rex's music. The article also reflects the growing recognition among American critics that Marc Bolan's songwriting extended beyond simple pop formulas and contained themes of fantasy, emotion, poetry and personal expression. FEATURE HIGHLIGHTS Event: American newspaper profile of Marc Bolan and T. Rex Era: 1972 – The Slider era Tone: Reflective, analytical and appreciative Photography: Large black‑and‑white portrait photograph of Marc Bolan seated indoors WHAT THE CLIPPING SHOWS Headline: “T. Rex Slides Into Poignancy” Feature written by David Sterritt Discussion of T. Rex's growing American popularity References to performances in California Commentary on Marc Bolan's songwriting and artistic philosophy Discussion of Mickey Finn's role within the group Large portrait photograph of Marc Bolan SOURCES News‑Chronicle, October 13, 1972 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.

Appearing ahead of a major Southern California concert appearance, this Los AngeOne of the harshest contemporary American reviews of T. Rex's first major U.S. tour, this San Francisco Examiner article documents the band's appearance at Winterland and illustrates the mixed reaction Marc Bolan encountered as he attempted to translate Bolanmania into American success. Publication: The San Francisco Examiner Publication Date: October 14, 1972 Country: USA Event Date: October 13, 1972 Written by Philip Elwood, this review covers T. Rex's appearance at Winterland in San Francisco on the evening of October 13, 1972, where the band shared the bill with The Doobie Brothers and Poco. Under the headline “T. Rex: Bolan Musical Burlesque”, Elwood delivers a strongly critical assessment of the performance. While acknowledging Marc Bolan's enormous popularity in Britain, the reviewer argues that the Winterland appearance failed to impress much of the San Francisco audience. The article describes Winterland as being close to capacity, noting that many attendees appeared curious to see the British sensation who had generated such excitement overseas. However, Elwood suggests that a combination of excessive volume, poor sound balance and audience indifference undermined the performance. Bolan is portrayed as relying heavily on image and stage theatrics, with the reviewer questioning both the musical presentation and the band's effectiveness in a large American concert setting. Criticism is also directed at the concert's overall sound quality and production. Despite the negative review, the article provides a fascinating contemporary account of the challenges T. Rex faced while attempting to establish themselves in the United States during the height of their British success. CONTEXT AND NOTES This review appeared during T. Rex's first significant American touring campaign and reflects a broader divide between British enthusiasm for Bolan and the often more cautious response from sections of the American rock press. While Bolanmania was sweeping Britain and Europe, American critics frequently struggled to understand the phenomenon. Reviews of the 1972 U.S. tour ranged from enthusiastic to openly hostile, and this article falls firmly into the latter category. The Winterland appearances have since become an important chapter in the T. Rex story because they highlight the difficulties Bolan encountered when introducing his unique style of glam rock to American audiences more accustomed to hard rock, folk rock and West Coast acts. Today, the article stands as an interesting example of how differently T. Rex could be perceived depending on the market and the expectations of local critics. FEATURE HIGHLIGHTS Event: Winterland concert review Era: 1972 – The Slider era Tone: Critical and confrontational Photography: Large black‑and‑white photograph of Marc Bolan holding a guitar during the Winterland appearance WHAT THE CLIPPING SHOWS Headline: “T. Rex: Bolan Musical Burlesque” Review by Philip Elwood Coverage of the October 13, 1972 Winterland concert T. Rex appearing with The Doobie Brothers and Poco Criticism of the concert's sound and presentation Contemporary American reaction to Bolanmania Large performance photograph of Marc Bolan 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.

A syndicated entertainment report follows Ringo Starr and Maureen Starkey as they arrive in the United States to promote Born To Boogie, the new concert film centred on Marc Bolan and T. Rex. Publication: The Longview Daily News Date: October 8, 1972 Country: USA This entertainment column reports on Ringo Starr and Maureen Starkey arriving in the United States to promote Ringo's new film, Born To Boogie. The article identifies the movie as a celebration of the success of Marc Bolan and T. Rex, with Bolan described as the central subject of the production. The accompanying photograph shows Ringo and Maureen arriving in London before departing for America. The report notes that Ringo was sporting a beard while Maureen wore a long black coat and trousers. The article presents the film promotion as the main purpose of their visit and highlights the growing international interest in T. Rex and the Bolan phenomenon. Although the majority of the column covers various entertainment‑industry stories, the headline and photograph are devoted to the promotion of Born To Boogie, reinforcing the significance of the film as T. Rex's profile continued to expand beyond Britain. CONTEXT AND NOTES Published in October 1972, the article appeared during the height of Bolanmania and shortly before Born To Boogie reached wider audiences. The involvement of former Beatle Ringo Starr brought additional attention to the project and helped introduce Marc Bolan and T. Rex to American readers unfamiliar with their immense popularity in the United Kingdom. The report provides an interesting snapshot of how Born To Boogie was being promoted internationally as T. Rex continued their breakthrough into the American market. FEATURE HIGHLIGHTS Event: Promotion of Born To Boogie Era: 1972 – Bolanmania period Tone: Informative and promotional Photography: Black‑and‑white press photograph of Ringo Starr and Maureen Starkey arriving before travelling to the United States WHAT THE CLIPPING SHOWS Ringo Starr promoting Born To Boogie Marc Bolan and T. Rex identified as the film's subject Photograph of Ringo and Maureen Starkey American publicity for the T. Rex concert film October 1972 newspaper coverage during the height of Bolanmania 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.

Joseph Bensoua reports on T. Rex’s Southern California appearances at Santa Monica Civic Auditorium and Long Beach Auditorium, contrasting the enthusiastic local response with the more apathetic reception encountered elsewhere on the group's American tour. The review concentrates on Marc Bolan’s performance, from the power of the opening numbers through an acoustic interlude and an extended closing rendition of “Bang A Gong.” Publication: South Bay Daily Breeze Date: October 17, 1972 Country: United States Event Date: October 14–15, 1972 Under the headline “T-Rex Finds Its ‘Fans’”, staff writer Joseph Bensoua reflects on the closing Southern California dates of T. Rex’s American tour. The article states that after receiving apathetic responses at concerts across the United States, the group arrived at the Santa Monica Civic and Long Beach Auditorium over the weekend and encountered a notably stronger reaction. Bensoua describes the Santa Monica opening as one of the finest sets the writer had seen that year, beginning with two selections from The Slider. After an energetic start, Bolan moved into a calmer section by unplugging for two acoustic numbers. The review notes that this part of the performance initially appeared out of place before the music developed into a looser jam. The set then returned to familiar material through a medley of popular compositions before reaching its climax with a lengthy 30-minute performance of “Bang A Gong.” The review presents the bursts of audience excitement at the Civic as evidence of why T. Rex had attained superstar status in England. Bensoua closes by returning to the question of the band's comparatively limited American success. Despite that difficulty, the writer argues that the T. Rex phenomenon was likely to continue growing and notes the devotion of local fans, including two Torrance attendees who presented Bolan with several dozen flowers at the Long Beach appearance. CONTEXT AND NOTES The clipping captures T. Rex at the end of an American tour that had generated mixed audience responses. The article explicitly contrasts less-than-packed venues elsewhere in the United States with the reaction witnessed in Southern California, allowing the review to serve as both a concert report and an assessment of the band's attempts to establish a larger American following. The piece is particularly useful for documenting details of the Santa Monica performance itself. It records the progression from material from The Slider into acoustic numbers, a looser improvisational section, a medley of familiar compositions and the extended “Bang A Gong” finale. FEATURE HIGHLIGHTS Event: T. Rex concerts at Santa Monica Civic Auditorium and Long Beach Auditorium Era: 1972 – American Tour / The Slider period Tone: Observational, critical and ultimately positive Photography: None visible in the supplied clipping WHAT THE CLIPPING SHOWS • Headline: “T-Rex Finds Its ‘Fans’” • Review by Joseph Bensoua • Coverage of performances at Santa Monica Civic and Long Beach Auditorium • Two opening selections from The Slider • Acoustic section followed by a looser jam and medley • Extended 30-minute “Bang A Gong” finale • Discussion of T. Rex’s mixed reception during the American tour • Local fans presenting Bolan with flowers at Long Beach 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.

The cover and lead feature on this page of New Musical Express presents Part Two of Keith Altham’s interview with Marc Bolan. Accompanied by a large portrait photograph, the article focuses on Bolan’s reflections on fame, songwriting, creativity, criticism, personal ambition and his future, highlighted by the striking headline quotation, “I'm writing as if I'm not going to be around much longer.” Publication: New Musical Express (NME) Date: October 7, 1972 Country: United Kingdom This NME feature continues Keith Altham’s extensive interview series with Marc Bolan during the height of T. Rex’s popularity. The page is dominated by a large black-and-white portrait of Bolan wearing dark sunglasses, alongside a bold headline built around one of his most memorable quotations. Throughout the interview, Bolan discusses his rapid rise from the early Tyrannosaurus Rex period to becoming the leader of T. Rex and one of the most visible figures in British rock music. Bolan reflects on his development as a performer and songwriter, explaining how his confidence evolved over time and describing his growing commitment to creative work. He speaks about films, recording projects, writing habits and the constant need to produce new material. The interview also addresses criticism from sections of the music press, his views on contemporary music, and his belief in maintaining artistic momentum. Bolan comments on the demands of success, the pressures surrounding public expectations and his determination to continue proving himself creatively. The feature presents him as thoughtful, ambitious and intensely focused on his work, while also revealing concerns about the speed of fame and the challenges that accompany it. CONTEXT AND NOTES This article appears as Part Two of an interview series conducted by Keith Altham and published in New Musical Express. The feature places Bolan at the centre of the British music scene and presents an extended opportunity for him to discuss his career in his own words. The page combines lengthy interview excerpts with a prominent photographic portrait, creating a detailed snapshot of Bolan's public profile during 1972. The presentation emphasises both the scale of Bolan’s success and the attention he was attracting from the music press. Rather than concentrating on a specific recording or performance, the piece focuses on his outlook, opinions and creative philosophy. The cover-style layout, substantial interview content and memorable headline quotation make the article a notable example of period music journalism centred on one of Britain's most talked-about rock performers. FEATURE HIGHLIGHTS Event: Part Two of Keith Altham's interview with Marc Bolan Era: 1972 glam rock period Tone: Reflective, candid and analytical Photography: Large black-and-white portrait photograph of Marc Bolan wearing sunglasses WHAT THE CLIPPING SHOWS • Part Two of Keith Altham's interview series with Marc Bolan • A prominent headline featuring the quote “I'm writing as if I'm not going to be around much longer” • A large portrait photograph accompanied by extensive interview text discussing fame, songwriting and creativity 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.

During the week of October 2, 1972, T.Rex’s compilation album Bolan Boogie re-entered the BBC Albums Chart at number 44. Released in May 1972 by Fly Records, It hit number 1 earlier that spring and returned to the chart amid T.Rex’s ongoing success with singles like “Children of the Revolution” and the album The Slider. UK first‑pressing of Bolan Boogie (HIFLY 8), released 5 May 1972 on Fly Records On January 15, 1972 T.Rex performed at The Starlight Rooms Boston Gliderdrome in Lincolnshire. This was a Saturday night show. This performance is one of the true high points of the band's history. It was filmed for both UK and overseas television and some footage is part of the documentary "Whatever Happened to Tin Pan Alley?". Many of the posters and pictures to adorn fans walls over the next year would come from photos taken on this night, including the image used om the back cover of Bolan Boogie. Track Listing — Side B Raw Ramp (originally the B‑side of “Get It On”) — 5:13 Jeepster (single A‑side from Electric Warrior) — 4:08 First Heart Mighty Dawn Dart (from A Beard of Stars) — 2:41 By the Light of a Magical Moon (single A‑side, included on A Beard of Stars) — 2:46 Summertime Blues (originally the B‑side of “Ride a White Swan”) — 2:40 Hot Love (single A‑side – 1971) — 4:55 Track Listing — Side A Get It On (single A‑side, included on Electric Warrior – 1971) — 4:25 Beltane Walk (from T. Rex – 1970) — 2:20 The King of the Mountain Cometh (originally the B‑side of “Hot Love” – 1971) — 3:48 Jewel (from T. Rex) — 2:48 She Was Born to Be My Unicorn (from Unicorn – 1969) — 2:32 Dove (from A Beard of Stars – 1970) — 2:02 Woodland Rock (originally the B‑side of “Hot Love”) — 2:25 Ride a White Swan (single A‑side – 1970) — 2:13 Recording Notes Recorded across multiple sessions from 1969–1971, drawing from: Unicorn (1969) A Beard of Stars (1970) T. Rex (1970) Non‑album singles and B‑sides from 1970–71 Produced throughout by Tony Visconti. Personnel Marc Bolan — lead vocals, acoustic & electric guitars (all tracks), harmonium (track 5) Mickey Finn — congas, bongos, backing vocals (tracks 1–4, 6–14) Steve Currie — bass (tracks 1, 3, 7, 9, 10, 14) Bill Legend — drums, tambourine (tracks 1, 7, 9, 10, 14) Steve Peregrin Took — bongos, backing vocals, African talking drum, bass (track 5) Legacy Bolan Boogie stands as the definitive early‑era T. Rex compilation, capturing the explosive run of singles that transformed Marc Bolan from cult folk mystic into a glam‑rock icon. Its release marked the end of Bolan’s association with Fly Records and the beginning of the T. Rex Wax Co. era. The album remains a cornerstone of any T. Rex collection, frequently reissued worldwide on Cube Records and licensed editions throughout 1972. Chart Performance (1972) UK Albums Chart: #1 (3 weeks at the top) Australia: #17 Norway: #13 UK Chart Run: 18 weeks from 20 May – 16 Sept 1972, plus one additional week in October. SOURCES Discogs, 45 World, Wikipedia, BBC Official Charts, Prince Vault, Sleeveographia2 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 feature profiles Marc Bolan during T. Rex's breakthrough American tour, contrasting his delicate appearance with the powerful stage presence that had made him one of Britain's biggest rock stars. Through an extended interview, Bolan discusses imagination, songwriting, fame, artistic control and the continuing growth of T. Rex. Publication: The Columbian Date: October 2, 1972 Country: United States Written by David Sterritt of the Christian Science Monitor News Service, the article examines the contrast between Marc Bolan's appearance and the impact of T. Rex in performance. While Bolan's face is described as delicate and youthful, the writer notes that T. Rex's records and concerts are anything but fragile, generating an excitement that had already attracted millions of followers. Throughout the interview, Bolan discusses the imaginative source of his songwriting. Referring to songs such as "Dragon's Ear", "Ballrooms Of Mars", "First Heart Mighty Dawn Dart", "The Wizard" and "Summer Deep", he explains that inspiration comes from imagination rather than direct experience. Bolan admits that he often sees little distinction between reality and fantasy, preferring to allow listeners to interpret his songs in their own way. The article also explores Bolan's growing concern with communication between performer and audience. Describing himself as a "warrior", he explains that he wants listeners to respond to what he does and is interested in understanding why audiences react as they do. According to Bolan, success depends upon maintaining a connection with the people attending concerts and buying records. Considerable attention is given to T. Rex's evolution from Tyrannosaurus Rex into a successful rock band. Bolan explains that he shortened the name because the original title was too long and no longer suited the group's direction. He also discusses his preference for recording and touring equally, viewing both activities as stimulating and necessary parts of his career. The feature concludes with Bolan rejecting excessive mystique. Although he acknowledges that people often search for deeper meanings in his work, he insists that many things simply exist because he enjoys creating them. Rather than encouraging elaborate explanations, he prefers listeners to draw their own conclusions. CONTEXT AND NOTES Published during T. Rex's American breakthrough period, the article presents one of the most detailed contemporary interviews with Marc Bolan. Rather than concentrating on celebrity or chart positions, the piece focuses on creativity, communication and personal philosophy. The feature is notable because it captures Bolan explaining his work in his own words. His comments reveal a thoughtful artist who valued imagination and emotional response more than straightforward explanation, providing insight into the mindset behind some of T. Rex's most distinctive songs. FEATURE HIGHLIGHTS Event: Marc Bolan discusses songwriting, imagination and the growth of T. Rex Era: 1972 The Slider era Tone: Reflective and conversational Photography: Large portrait photograph of Marc Bolan accompanying the interview WHAT THE CLIPPING SHOWS • Marc Bolan discussing the imaginative origins of his songs • Reflections on fame, audience communication and artistic growth • Commentary on the transition from Tyrannosaurus Rex to T. Rex • Large portrait photograph of Marc Bolan 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.

Released in the United States on October 4, 1972 through Reprise Records, "The Slider" was issued as a standalone single taken from T. Rex's acclaimed album The Slider. At a time when T. Rex were enjoying enormous success in the United Kingdom and Europe, Reprise Records continued efforts to establish Marc Bolan and the group in the American market. The title track from The Slider was selected as the A-side and paired with "Rock On", another track from the same album. Although the single did not match the band's UK chart dominance, it remains one of the key American releases from the The Slider era and is notable for its exclusive US single presentation on Reprise Records. Both tracks were written by Marc Bolan. Recording took place at Rosenberg Studios in Copenhagen and Château d'Hérouville Studios in France during sessions for The Slider album. Production was handled by Tony Visconti, whose collaborations with Marc Bolan helped define the classic T. Rex sound of the early 1970s. STYLE & THEMES "The Slider" combines driving glam-rock rhythms, layered production and Bolan's distinctive vocal style. "Rock On" continues the energetic and melodic approach that characterised much of the The Slider album and serves as a strong companion piece to the A-side. TRACK-BY-TRACK NOTES • The Slider (3:24) — The title track from T. Rex's landmark 1972 album and the featured side of the US single release. • Rock On (3:26) — Album track selected as the B-side for the American issue. RELEASE HISTORY The single was issued in October 1972 by Reprise Records in the United States under catalogue number REP-1122. Commercial stock copies were issued with brown Reprise labels, while a promotional edition was pressed for radio distribution. The release was also issued in Canada using the same catalogue number and artwork configuration. PRODUCTION Recorded at: Rosenberg Studios, Copenhagen Recorded at: Château d'Hérouville Studios, Paris Produced by: Tony Visconti Label: Reprise Records Catalogue Number: REP-1122 NOTES • Released in the United States on October 4, 1972. • Issued to promote The Slider album in North America. • Both "The Slider" and "Rock On" were written by Marc Bolan. • Produced by Tony Visconti. • Standard US stock copies were pressed with brown Reprise labels. • Promotional copies were manufactured with dedicated DJ labels and alternate run-out inscriptions. • The commercial release paired two tracks taken directly from The Slider album. • The single was distributed by Reprise Records, T. Rex's American label during the band's peak years. • Recording sessions took place at both Rosenberg Studios in Copenhagen and Château d'Hérouville Studios in France. • Canadian editions were issued using the same REP-1122 catalogue number. • Promo run-outs included "QAA-5447-D.J." and "QAA-5446-D.J." matrix inscriptions. • Commercial copies included QAA-5447 and QAA-5446 matrix numbers with T1 stamping. • The release is one of the principal US singles from the The Slider era and is popular among collectors of American T. Rex issues. RELEASE VARIANTS TABLE Artist Title Label Country Catalogue Date Format T. Rex The Slider Reprise Records USA REP-1122 October 4, 1972 7" Single T. Rex The Slider Reprise Records USA REP-1122 1972 7" Promo T. Rex The Slider Reprise Records Canada REP-1122 1972 7" Single TRACKLIST TABLE Format Catalogue Tracklisting 7" Single REP-1122 Side 1: The Slider (3:24) Side 2: Rock On (3:26) 7" Promo REP-1122 Side 1: The Slider (3:24) Side 2: Rock On (3:26) SOURCES Discogs, 45 Worlds, Wikipedia, BBC Official Charts, Demon Records, Rockfiles, Official Marc Bolan archives, All album artwork, photographs, labels, 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.

Publication: Various / UnknownDate: UnknownCountry: United Kingdom PHOTOGRAPH Two-page scrapbook spread combining several colour and black-and-white cuttings. The left page contains four photographs, including full-length images, a large close-up portrait and a seated image. The right page contains a large picture feature headed “T. REXTASY”, built around a large red-tinted photograph surrounded by several smaller live performance images featuring guitars, microphones and stage equipment. No date or publication name is clearly visible on the surviving 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.

Within a wider article examining the state of contemporary rock music and the emergence of new stars, The Los Angeles Times highlights T. Rex as one of the British acts attempting to generate excitement in the American market. The piece focuses on Marc Bolan's popularity, the band's ongoing U.S. tour and the challenges facing their American breakthrough. Publication: The Los Angeles Times Date: October 15, 1972 Country: United States Event Date: October 15, 1972 Written by Robert Hilburn, the article primarily discusses David Bowie and the changing direction of rock music during the early 1970s. However, T. Rex receives specific mention as another British act attempting to ignite enthusiasm among American concert audiences. The article states that T. Rex were appearing at the Long Beach Auditorium that evening as part of their second U.S. tour. Marc Bolan and the group are described as having achieved popularity in England that had reached near‑Beatlemania proportions among younger fans. Hilburn notes that the band had experienced only moderate success during its first American tour earlier in the year and reports that difficulties had arisen during the eastern leg of the current tour. Despite those setbacks, T. Rex are presented as one of the few contemporary British rock acts capable of generating genuine excitement and anticipation. The reference is brief but significant, placing T. Rex alongside major touring artists of the period and recognising the scale of Bolan's success in Britain, even as the group continued its efforts to establish itself in the United States. CONTEXT AND NOTES By October 1972, T. Rex had become one of Britain's biggest recording acts, following a remarkable run of hit singles and albums. American success, however, proved more difficult to achieve, despite strong promotional efforts and extensive touring. This article captures a contemporary American perspective on the group during that campaign. Rather than focusing on records or chart positions, the piece highlights the contrast between T. Rex's immense British popularity and the challenge of converting that fame into lasting U.S. success. The clipping is also useful because it documents a specific stop on the band's second American tour and shows how major American newspapers were assessing the growing wave of British glam rock artists entering the U.S. market. FEATURE HIGHLIGHTS Event: T. Rex U.S. tour appearance at Long Beach Auditorium Era: 1972 – American Tour Era Tone: Observational and analytical Photography: None relating to T. Rex within the article excerpt WHAT THE CLIPPING SHOWS • T. Rex appearing at Long Beach Auditorium on October 15, 1972 • Reference to the band's second U.S. tour • Description of Marc Bolan's popularity reaching near‑Beatlemania levels in England • Recognition of difficulties encountered during the eastern leg of the tour • Contemporary American newspaper coverage of T. Rex's U.S. campaign 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 / Unknown Date: Unknown Country: United Kingdom PHOTOGRAPH Two-page scrapbook collage containing a mixture of colour and black-and-white photographs. The left page includes two smaller colour performance photographs above a large colour close-up, all showing the subject at a microphone. The right page contains a large black-and-white close-up surrounded by several smaller cuttings, including performance photographs, portrait images and a full-length cut-out photograph. 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.

This short feature appears in response to a reader request for information about Marc Bolan and T. Rex. The article explains that Bolan, born in England 24 years earlier, was already enjoying superstar status in the United Kingdom but was only beginning to attract significant attention in the United States. Publication: The Cleveland Press Date: Friday, October 6, 1972 Country: USA The piece traces his career from occasional solo singing engagements through his time with John’s Children, noting that the group enjoyed a hit single before disbanding. It then follows the formation of Tyrannosaurus Rex, later shortened to T. Rex, and mentions the publication of Bolan’s book of poetry, The Warlock of Love. The article also highlights the transformation of the band’s sound from a softer acoustic style to an electrified approach that produced a succession of chart‑topping singles. It notes the success of the then‑current album The Slider and comments on Bolan’s desire to maintain affordable ticket prices despite his popularity. Looking ahead, it reports that Bolan was considering work on scoring a Federico Fellini film. CONTEXT AND NOTES Published during the height of T. Rex’s commercial breakthrough in America, the clipping reflects how many U.S. newspapers were introducing Marc Bolan to readers who were only just discovering him. While Bolan had already become one of Britain’s biggest music stars, American audiences were still becoming familiar with his background, career history and the phenomenon of “Bolanmania.” FEATURE HIGHLIGHTS Event: Introduction of Marc Bolan to U.S. newspaper readers Era: 1972 – Peak Bolanmania period Tone: Informative, introductory Photography: Black‑and‑white portrait photograph of Marc Bolan 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 Evening Standard cinema advertisement announces the London premiere of Born To Boogie, presenting Marc Bolan and T. Rex alongside Ringo Starr and Elton John as the major attractions. The advert promotes an invitation-only premiere at 7.00 p.m., followed by the first public performance at 9.00 p.m. the same evening. Publication: Evening Standard Date: December 14, 1972 Country: United Kingdom The advertisement announces that Marc Bolan, T. Rex, Ringo Starr and Elton John would be present at what it describes as the “Boogie Premiere of the Century” that evening. The premiere was scheduled for 7.00 p.m. and was explicitly marked “by invitation only.” A first public performance at 9.00 p.m. is advertised immediately beneath the premiere announcement. The central focus of the advert is Born To Boogie, displayed in large stylised lettering. The film is identified as an Apple Films production, with Ringo Starr Enterprises Ltd. also named in the presentation information. The advertisement states that the film was released by MGM/EMI. The venue is prominently identified as the Oscar 1, Brewer Street, off Shaftesbury Avenue, with the cinema's telephone number included alongside its name. A large promotional image occupies the centre of the advertisement, showing a figure positioned on a large tiger. Along the bottom, the billing names T. Rex, Marc Bolan, Ringo Starr and Elton John, reinforcing the star-focused presentation of the film. The advert also provides screening information beginning the following day, with performances listed at 1, 3, 5, 7, 9 and 11, Saturday screenings from 11 a.m., Sunday performances from 3 p.m., and late shows on Friday and Saturday at 1 a.m. CONTEXT AND NOTES The clipping documents the premiere-night promotion of Born To Boogie in London's West End. The emphasis is firmly on the occasion itself, with the appearance of Marc Bolan, T. Rex, Ringo Starr and Elton John used to promote the invitation-only premiere. The distinction between the 7.00 p.m. premiere and 9.00 p.m. first public performance is particularly clear in the advertisement, documenting how the film was introduced to invited guests and the general public on December 14, 1972. FEATURE HIGHLIGHTS Event: London premiere of Born To Boogie Era: 1972 Bolanmania era Tone: Celebratory and promotional Photography: Large central promotional image of a figure positioned on a tiger, surrounded by the Born To Boogie title and cinema information WHAT THE CLIPPING SHOWS • “Boogie Premiere of the Century” scheduled for 7.00 p.m. by invitation only • First public performance scheduled for 9.00 p.m. 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 brief Herald Express review welcomes T. Rex’s “Solid Gold Easy Action” and predicts another Top Ten success for Marc Bolan. The clipping draws particular attention to the record’s B-side, which contains a special Christmas message from Bolan to T. Rex fans. Publication: Herald Express Date: December 9, 1972 Country: United Kingdom The short review focuses on T. Rex’s “Solid Gold Easy Action”, immediately identifying the release as another Marc Bolan single likely to continue the group’s remarkable run of chart success. Rather than providing a lengthy assessment of the main track, the writer singles out the reverse side as something dedicated Bolan followers would especially want to hear. According to the clipping, the B-side contains a “personal Christmas message” from Marc Bolan to his fans, providing an additional attraction beyond the principal song. The reviewer describes those listeners as Bolan’s “worshippers”, reflecting the extraordinary devotion surrounding Marc and T. Rex during the height of Bolanmania. The article concludes confidently that Bolan would continue to “booby his way into the top ten again”, presenting another major chart placing as the expected outcome for the new release. CONTEXT AND NOTES Although extremely brief, the review captures the level of confidence surrounding a new T. Rex single by the end of 1972. Rather than questioning whether Bolan could secure another hit, the writer treats another Top Ten appearance as the likely outcome. The reference to the personal Christmas message is the most distinctive part of the clipping. It demonstrates how the release was presented not simply as another T. Rex record but as something containing an additional message specifically for Bolan’s devoted audience. FEATURE HIGHLIGHTS Event: Review of “Solid Gold Easy Action” Era: 1972 Bolanmania era Tone: Brief, positive and chart-focused Photography: No photograph appears in the supplied clipping WHAT THE CLIPPING SHOWS • Review of T. Rex’s “Solid Gold Easy Action” • Special attention given to the record’s B-side • Reference to Marc Bolan’s “personal Christmas message” for fans • Prediction that Bolan would reach the Top Ten again 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 Sydney Morning Herald advertisement announces the forthcoming Australian appearance of T. Rex at Randwick Racecourse. Promoted as “one concert only”, the advert encourages fans to secure tickets by post for the December 10 performance, with Marc Bolan given prominent billing and Jeff St. John announced as support. Publication: The Sydney Morning Herald Date: November 4, 1972 Country: Australia The advertisement places T. Rex prominently at the top of the design and announces the group’s forthcoming appearance at Randwick Racecourse on Sunday, December 10. The concert is specifically promoted as “ONE CONCERT ONLY”, with the advert warning that tickets were “definitely limited.” Fans are urged to book quickly to avoid disappointment. Postal bookings were already open when the advertisement appeared. Tickets were priced at $5 each, with applications directed to Mitchell’s Booking Services, 5 Hunter Arcade, Wynyard. Customers were asked to include a self-addressed envelope so tickets could be returned by post. Marc Bolan receives particularly prominent billing in the lower section through the large statement “DON’T MISS MARC BOLAN.” The advertisement also identifies Jeff St. John as the supporting artist. The layout contains no photography or elaborate artwork. Instead, the advert relies on large, bold typography and the recognition of the T. Rex and Marc Bolan names to promote the concert. CONTEXT AND NOTES The clipping is a straightforward advance concert advertisement rather than an editorial feature. Its purpose is to announce the December 10 Randwick Racecourse appearance and encourage advance postal bookings. The wording places equal emphasis on T. Rex and Marc Bolan, with the latter singled out by name through the large “DON’T MISS MARC BOLAN” message. The reference to a single concert, limited tickets and postal booking information reflects the practical information supplied to Australian fans ahead of the scheduled appearance. FEATURE HIGHLIGHTS Event: T. Rex concert announcement for Randwick Racecourse Era: 1972 Bolanmania era Tone: Promotional and urgent Photography: No photography; typography-based concert advertisement WHAT THE CLIPPING SHOWS • T. Rex advertised at Randwick Racecourse for December 10 • The performance promoted as “ONE CONCERT ONLY” • Marc Bolan highlighted through “DON’T MISS MARC BOLAN” • Jeff St. John announced as support • Tickets priced at $5 each • Postal bookings available through Mitchell’s Booking Services 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 Evansville Press feature focuses on Marc Bolan’s response to critics who dismissed T. Rex’s success as little more than an appeal to school-age fans. Drawing on Bolan’s own comments, the article argues that younger listeners should not be underestimated and considers whether their enthusiasm could drive a new generation of pop music. Publication: Evansville Press Date: October 19, 1972 Country: United States Published under the headline “Is young rock revolt coming?”, the London Express Service article places Marc Bolan and T. Rex at the centre of a wider discussion about younger music audiences and the future direction of pop. The article begins with Bolan’s argument that any genuine revolution in pop music must involve young people. According to Bolan, ignoring younger listeners means cutting oneself off from an essential part of rock music’s continuing vitality. The feature directly addresses criticism Bolan had received during the previous year. Critics, the article says, had attacked his continuing success within the school-age market and suggested that he deliberately catered to it. Bolan counters that argument by insisting that people continually underestimate the intelligence of young audiences. The article characterises Bolan as a leading figure in the glam rock movement and notes his continuing run of British hits following “Ride A White Swan”. Rather than presenting his younger audience as a weakness, the piece considers whether the enthusiasm surrounding T. Rex could represent the beginning of something larger. Bolan acknowledges that some fans simply want a fantasy figure to admire, but argues that this does not describe everyone listening to his music. His comments suggest that young audiences contain different kinds of listeners and should not be dismissed as a single, unquestioning group. The feature then broadens its argument to consider generational change in popular music. It suggests that if younger fans were buying Bolan’s records, attending his concerts and being influenced by his music in the same way an earlier generation responded to The Beatles and The Rolling Stones, T. Rex’s boogie-based sound might provide a starting point for a new generation’s own pop music. CONTEXT AND NOTES The clipping presents Marc Bolan not simply as a successful performer but as a spokesman for the importance of younger music audiences. The central argument is that popular music must continue to change and excite school-age listeners if it is to survive. The article contrasts the enthusiasm surrounding Bolan with changing attitudes towards heavier rock music. Emerson, Lake & Palmer are discussed later in the piece as an example of an established act facing changing critical reactions, reinforcing the article’s wider theme of generational movement within rock. For the Marc Bolan Chronicle, the most significant aspect is Bolan’s defence of his younger audience. Rather than apologising for T. Rex’s appeal to teenagers, he argues that their enthusiasm and intelligence could become part of the force shaping the next generation of pop. FEATURE HIGHLIGHTS Event: Marc Bolan discusses younger audiences and the future of pop music Era: 1972 Bolanmania era Tone: Analytical and forward-looking Photography: The supplied clipping is dominated by the headline and article text; a staff photograph credit to Don Goodaker is visible beneath the article WHAT THE CLIPPING SHOWS • Marc Bolan responding to criticism of T. Rex’s popularity with younger fans • Bolan arguing that the intelligence of young people is continually underestimated • Reference to T. Rex’s run of British hits following “Ride A White Swan” • Discussion of whether younger listeners could shape a new generation of pop music • Comparison between Bolan’s young following and earlier generations influenced by The Beatles and The Rolling Stones 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.

A short newspaper profile introduces Marc Bolan to American readers, examining his rapid rise from cult performer to international rock star as T. Rex's popularity continued to grow in the United States. Publication: The San Francisco Examiner Date: Saturday, October 7, 1972 Country: USA Written by Tom Campbell, the article describes Marc Bolan as both Britain's newest sex symbol and one of rock music's most talked‑about personalities. Referencing comments made earlier in the year by Paul McCartney, Bolan is presented as the figurehead of a phenomenon comparable to Beatlemania. The piece focuses on Bolan's carefully cultivated public image, noting how he surrounded himself with the trappings of stardom while becoming one of the most visible personalities in contemporary rock. One anecdote recounts a publicity stunt involving a mock shoot‑out at Tampa airport in which Bolan and members of T. Rex used water pistols before being "disarmed" by security personnel. The article also highlights Bolan's growing connection with Ringo Starr, who directed the T. Rex film Born To Boogie and was helping secure distribution arrangements for the project in the United States. Starr also contributed photography for T. Rex's then‑current album The Slider. According to the feature, both Ringo and Maureen Starr were frequently seen wearing T. Rex shirts in public. While acknowledging criticism that Bolan sometimes focused more on image than musicianship, the writer points out that only a short time earlier T. Rex had been a support act in America. By October 1972, the group had become headline performers touring major venues. The article concludes by noting that Bay Area audiences would soon be able to experience the phenomenon firsthand when T. Rex performed at Winterland Arena on Friday the 13th. CONTEXT AND NOTES Published during the height of Bolanmania, the feature reflects how American newspapers were attempting to explain Marc Bolan's extraordinary popularity in Britain to a U.S. audience. The article captures a moment when T. Rex were transitioning from a successful British act into American headliners, led by the continuing success of The Slider and the growing visibility of Born To Boogie. FEATURE HIGHLIGHTS Event: Introduction of Marc Bolan and T. Rex to American readers Era: 1972 – Bolanmania / The Slider period Tone: Informative, promotional, observational Photography: Black‑and‑white portrait photograph of Marc Bolan WHAT THE CLIPPING SHOWS Paul McCartney comparing Bolan's popularity to Beatlemania Reference to the filming and promotion of Born To Boogie Ringo Starr's involvement with Marc Bolan and T. Rex Discussion of T. Rex's rise from support act to headlining attraction Promotion of the forthcoming Winterland Arena appearance 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 half-page advertisement from the December 1970 issue of Beat Instrumental magazine promoting VAMP Power amplifiers, featuring Marc Bolan of T. Rex “riding a white swan” with the band’s equipment. RELEASE / PUBLICATION DETAILS Artist: T. Rex / Marc Bolan Title: Marc Bolan Rides A White Swan (VAMP Power Ad) Date: December 1970 Label: VAMP International Ltd. Format / Type: Magazine Advertisement Country: United Kingdom THE STORY This advertisement highlights Marc Bolan and T. Rex using VAMP Power amplifiers and speaker cabinets. The striking visual of Bolan “riding a white swan” ties into the band’s hit single “Ride A White Swan” and showcases the gear as used by one of the era’s biggest stars. CONTEXT & NOTES Published in Beat Instrumental magazine in December 1970, this ad capitalizes on T. Rex’s rising fame. It promotes the VAMP Power 100 Watt amplifier (£97 10s.) and Multi-Amp 4 x 12 cabinets (£104 15s. each). The ad reflects the growing commercial success of British rock acts and their endorsement deals. PERSONNEL Marc Bolan – featured artist VAMP International Ltd. – advertiser (Invicta Works, Elliott Road, Bromley, Kent) PACKAGING / ARTWORK HIGHLIGHTS Bold “VAMP POWER” logo with lightning bolt Photo of Marc Bolan playing guitar Equipment images on the left The half-page ad features a large VAMP POWER logo, images of the amplifiers and cabinets, a photo of Marc Bolan with guitar, and the headline “MARC BOLAN RIDES A WHITE SWAN.” Contact details for VAMP International Ltd. are listed at the bottom. RELATED MATERIAL See tags at foot of page. SOURCES Beat Instrumental magazine (December 1970) All album artwork, photographs, labels, 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 full-page Fly Records advertisement announces the release of T. Rex's landmark single "Ride A White Swan". Prominently positioned on the back page of New Musical Express, the advert introduces the group's first release for Fly Records and marks the beginning of a new chapter in Marc Bolan's career. Publication: New Musical Express (NME) Date: October 10, 1970 Country: United Kingdom This striking full-page advertisement promotes T. Rex's new single "Ride A White Swan", released on the newly established Fly Records label. The record is presented as a Triple "A" Side Stereo Single, an unusual marketing approach designed to emphasise the strength of all three featured tracks. The advert lists the songs as: • Ride A White Swan• Is It Love?• Summertime Blues The release carries the catalogue number BUG 1, making it the inaugural single issued by Fly Records. The advertisement prominently positions T. Rex at the top of the page and presents the record as one of the label's flagship releases. Sharing space within the same advertisement is The Move's single "When Alice Comes Back To The Farm" / "What?", identified as BUG 2. This pairing reflects Fly Records' intention to launch its catalogue with two of its most important acts. The centre of the advert features an illustration drawn from the single's visual presentation, while the bottom section displays the distinctive Fly Records logo together with the slogan "The Logo Colossal." The minimalist black-and-white design relies on bold typography and imagery rather than lengthy promotional text. CONTEXT AND NOTES Published immediately following the release of "Ride A White Swan", the advertisement documents a pivotal moment in T. Rex history. The single would prove to be the breakthrough that transformed Marc Bolan from a respected underground performer into a major chart star. The release also marked the beginning of the transition from the acoustic, mystical style associated with Tyrannosaurus Rex towards the more electric and commercially successful sound that would soon define T. Rex. Within months, "Ride A White Swan" had become one of the most important records of Bolan's career and the starting point of Bolanmania. The advert is equally notable for documenting the earliest days of Fly Records, a label that would become closely associated with T. Rex's success during the early 1970s FEATURE HIGHLIGHTS Event: Promotion of T. Rex's first Fly Records single Era: 1970 transition from Tyrannosaurus Rex to T. Rex Tone: Promotional Photography: Illustrated artwork associated with the single release; no artist photographs featured WHAT THE CLIPPING SHOWS • Full-page Fly Records advertisement • Promotion of "Ride A White Swan" • Triple A-side listing: • Ride A White Swan • Is It Love? • Summertime Blues • Reference to Fly Records catalogue number BUG 1 • Joint promotion with The Move's BUG 2 release 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.