This NME interview finds Marc Bolan reflecting on his uneasy relationship with the music press at the height of T. Rex's success. Candid, thoughtful and occasionally frustrated, Bolan discusses fame, criticism, public expectations and the way journalists interpreted both his words and his music. Publication: New Musical Express (NME) Date: August 19, 1972 Country: United Kingdom Under the headline "Bolan On Love, Hate And The Press", Keith Altham interviews Marc Bolan during one of the most successful periods of his career. The article focuses largely on Bolan's complicated relationship with journalists and his growing discomfort with the way his comments were frequently reported and interpreted. Bolan explains that he had become increasingly cautious when dealing with interviews, arguing that remarks were often taken out of context and used to create stories that did not accurately reflect his views. He suggests that a gap had developed between himself and sections of the music press, despite his willingness to discuss both his music and personal ideas. Throughout the feature he reflects on criticism and public opinion, admitting that newspaper and magazine coverage could sometimes be frustrating. At the same time, Bolan makes it clear that he remains committed to his work and is more concerned with creating music than responding to every comment written about him. One of the central themes of the interview is the public perception of Marc Bolan as a personality. He argues that many people had become more interested in the image than the individual behind it, and he expresses concern that sensational stories sometimes distracted attention from the music itself. Despite this, he displays a sense of humour about celebrity and remains confident in his artistic direction. The article also touches upon changing public tastes, the expectations placed upon successful performers and the pressures created by fame. Bolan repeatedly returns to the importance of context, insisting that remarks should be judged as part of a larger conversation rather than in isolation. Accompanying the interview is a large portrait photograph showing Marc Bolan holding a Gibson guitar. The image reinforces his position as one of Britain's leading rock stars while providing readers with a direct visual counterpart to the thoughtful interview. CONTEXT AND NOTES Published during the The Slider era, the feature captures Marc Bolan at the peak of Bolanmania. T. Rex continued to dominate charts and headlines, yet the interview reveals that success also brought increasing scrutiny and media attention. The article is notable because it presents a more reflective side of Bolan than was often shown in promotional features. Rather than concentrating on hit records or fan reactions, the discussion focuses on journalism, celebrity and the challenges of maintaining a public image while remaining true to one's artistic intentions. The interview offers valuable insight into how Bolan viewed fame in 1972 and demonstrates his awareness of the growing mythology that surrounded both himself and T. Rex. FEATURE HIGHLIGHTS Event: Marc Bolan discusses fame, criticism and the music press Era: 1972 The Slider era Tone: Reflective and candid Photography: Large portrait photograph of Marc Bolan holding a Gibson guitar WHAT THE CLIPPING SHOWS • Keith Altham interview with Marc Bolan • Discussion of Bolan's relationship with the music press • Reflections on fame, criticism and public perception • Large portrait photograph of Bolan with guitar 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 Atlanta Constitution article from September 17 1972 previews upcoming concerts in Atlanta, highlighting T. Rex’s first engagement in the city alongside the Chi‑Lites. The piece introduces Marc Bolan’s band to local readers as a rising British rock phenomenon poised to captivate American audiences. Publication: The Atlanta Constitution Date: September 17 1972 Country: United States Written by Scott Cain, the article announces T. Rex’s headline performance at the Municipal Auditorium, supported by the Doobie Brothers. It describes Bolan as one of the most picturesque rock stars of the day, credited with transforming Tyrannosaurus Rex into a streamlined, electrified outfit aimed at mature American listeners. Cain recounts critical praise from the band’s Carnegie Hall and Los Angeles shows, noting Bolan’s charisma, musical instincts, and the crowd’s excitement. The piece also lists other major acts scheduled for Atlanta that autumn— including B. B. King, The Hollies, and America—placing T. Rex among the city’s most anticipated live attractions. A black‑and‑white photograph of Marc Bolan accompanies the feature, emphasizing his distinctive glam‑rock style and magnetic presence. CONTEXT AND NOTES By 1972, T. Rex were at the height of their fame following Electric Warrior and The Slider. This article captures their expansion into the U.S. market, where Bolan sought to translate his British stardom into international acclaim. The Atlanta concert marked part of that push, showcasing the band’s blend of rock, rhythm, and visual flair to new audiences. The coverage reflects the growing American curiosity about glam rock and Bolan’s role as its leading figure. FEATURE HIGHLIGHTS Event: T. Rex concert announcement at  Atlanta Municipal Auditorium Era: 1972 – The Slider / U.S. Tour Expansion Tone: Informative and enthusiastic Photography: Black‑and‑white portrait of Marc Bolan centered within the article WHAT THE CLIPPING SHOWS - Announcement of T. Rex’s first Atlanta  concert with the Doobie Brothers - Profile of Marc Bolan as a charismatic  British rock star - List of other major acts appearing in  Atlanta during autumn 1972 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 Charlotte Observer clipping from August 1972 reports on Marc Bolan’s visit to New York, where the T. Rex frontman was “trying to find out why he’s not a star in America.” The short piece contrasts Bolan’s immense fame in Britain with his more modest recognition across the Atlantic. Publication: The Charlotte Observer Date: August 20 1972 Country: United States Written by Mike Jahn, the article describes Bolan’s curiosity about his limited American success despite his superstardom in England. It notes that in Britain, Bolan was “as popular as any of the Beatles ever were,” requiring bodyguards and traveling in a car with blacked‑out windows to avoid mobs of fans. Whenever he appeared in public, he was “attacked by girls,” a testament to the hysteria surrounding him at the height of T. Rextasy. In contrast, Jahn observes that Bolan’s U.S. fame was far more subdued. Although Bang a Gong (Get It On) had recently become a hit single, it failed to spark the same frenzy that defined his reception in the U.K. The piece captures Bolan’s frustration and fascination with the cultural divide between British and American audiences. CONTEXT AND NOTES By 1972, Marc Bolan was one of Britain’s biggest pop icons, leading the glam‑rock revolution with T. Rex’s string of chart‑topping singles. His flamboyant style and mystical lyrics resonated deeply with British youth, but American audiences were slower to embrace his sound. This Charlotte Observer article reflects the moment Bolan sought to bridge that gap, visiting the U.S. to understand why his fame hadn’t translated overseas — a theme echoed throughout his later interviews and tours. FEATURE HIGHLIGHTS Event: Marc Bolan’s visit to New York and reflection on U.S. fame Era: 1972 – Glam Rock Peak / T. Rextasy Era Tone: Observational, comparative, and reflective Photography: None included; text‑only column WHAT THE CLIPPING SHOWS Report on Bolan’s trip to America and his curiosity about U.S. stardom Comparison of his British popularity to the Beatles’ level of fame Mention of Bang a Gong (Get It On) as his recent U.S. hit 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 Panorama magazine feature from 27 August 1972 presents Marc Bolan as one of Britain’s most magnetic new idols, capturing the height of T. Rex’s glam‑rock fame. The article frames Bolan as a modern pop phenomenon whose charisma, style, and musical energy had begun to influence youth culture far beyond the UK. Publication: Panorama Date: 27 August 1972 Country: Poland The article profiles Marc Bolan during the peak of T. Rex’s success, describing him as a leading figure in contemporary British pop music. It highlights his transformation from underground folk poet to international glam‑rock star, noting his distinctive appearance, theatrical flair, and the ecstatic reaction he inspired among young fans. The feature also comments on Bolan’s growing cultural impact, portraying him as a symbol of modernity and artistic freedom. Photographs show Bolan on a city street with a film crew, as well as a group portrait of T. Rex, reinforcing his dual identity as both musician and visual icon. CONTEXT AND NOTES Published behind the Iron Curtain, this Polish feature offers a rare Eastern‑European perspective on the glam‑rock explosion. Bolan’s image — flamboyant, romantic, and rebellious — stood in contrast to the more conservative cultural environment of 1970s Poland, making him an object of fascination. The article reflects how Western pop stars were interpreted as symbols of individuality and creative expression. It also captures the moment when T. Rex’s popularity was at its peak, with Bolan becoming a global figure whose influence extended well beyond the UK and US markets. FEATURE HIGHLIGHTS Event: Marc Bolan profile feature Era: 1972 – Glam‑Rock / T. Rextasy peak Tone: Admiring, cultural, and analytical Photography: Colour street photo of Bolan with film crew; group portrait of T. Rex WHAT THE CLIPPING SHOWS Polish feature article profiling Marc Bolan Commentary on his rise to fame and cultural impact Photographs presenting Bolan’s glam‑rock image and T. Rex as a group 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 Rock & Folk issue from September 1972 (No. 68) spotlights Marc Bolan on its cover, with the headline “T. Rex et Who arrivent” (“T. Rex and Who arrive”). The French magazine presents Bolan as the face of the glam‑rock revolution, his portrait filling the frame with shimmering makeup and intense gaze — a visual emblem of early‑1970s rock style. Publication: Rock & Folk Date: September 1972 Country: France The cover photograph captures Bolan in close‑up, his skin glowing under soft light, eyes rimmed with turquoise shadow — a look that defined his stage persona during The Slider era. Inside, the feature interview titled “Bolan et d’autres” explores his reflections on fame, touring, and the evolution of T. Rex. Bolan discusses the band’s growing international success, noting their upcoming Japan tour and the surprising discovery that they had sold millions of records there. He corrects misconceptions about T. Rex’s origins, emphasizing that they were never truly unknown — having built a loyal following since the Tyrannosaurus Rex days. He recalls early performances at London’s Albert Hall supporting Donovan, and contrasts those beginnings with the hysteria surrounding T. Rex in 1972. Bolan describes the difficulty of living normally amid fame, recounting how shopping trips now required police assistance due to crowds. Despite this, he expresses affection for his fans and insists he never sought to be idolized — preferring authenticity over image. CONTEXT AND NOTES By September 1972, T. Rex had achieved global stardom following The Slider and hit singles like Metal Guru and Children of the Revolution. Rock & Folk, France’s leading music magazine, positioned Bolan as a cultural phenomenon bridging British glam and continental pop. The interview’s tone — thoughtful yet playful — reveals Bolan’s awareness of his influence while maintaining humility. His comments about fan devotion and media attention mirror the glam‑rock era’s fascination with celebrity and spectacle. The accompanying black‑and‑white photograph of Bolan smiling on stage captures his charisma and joy in performance, contrasting the introspective tone of the text. FEATURE HIGHLIGHTS Event: Rock & Folk cover and interview with Marc Bolan Era: 1972 – Glam Rock / The Slider Era Tone: Reflective, candid, and iconic Photography: Cover: Color close‑up portrait of Bolan with makeup and curls Interior: Black‑and‑white live shot showing Bolan mid‑performance 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 concert review from The Tampa Times examines a T. Rex performance at the St. Petersburg Bayfront Center, focusing on technical problems, excessive volume, and audience frustration. While the article acknowledges Marc Bolan's popularity and stage presence, it concludes that sound issues significantly affected the show's overall impact. Publication: The Tampa Times Date: September 21, 1972 Country: United States The article, written by Steven Fox for The Tampa Times, reviews T. Rex's appearance at the St. Petersburg Bayfront Center. The reviewer notes that the venue provided strong equipment, lighting, and sound resources, but argues that the performance suffered because the music was played at an overwhelming volume. According to the report, audience members struggled to distinguish the musicians on stage, while the excessive loudness caused visible irritation among concertgoers. The review describes Marc Bolan spending time attempting to adjust equipment and coordinate sound levels, with technical difficulties affecting the flow of the performance. The writer states that Bolan's vocals were frequently buried beneath the volume of the band, making it difficult for the audience to hear lyrics and musical detail. Although Bolan performed several acoustic numbers and displayed elements of showmanship, the reviewer felt these efforts could not overcome the problems caused by the sound mix. The article singles out keyboard player Billy Preston for praise, highlighting his versatility during an interpretation of "Summertime" combined with a Bach interlude. In contrast, the reviewer characterises much of T. Rex's set as disappointing due to the dominance of volume over musical clarity. The piece concludes by observing that many audience members appeared relieved when the concert ended, despite the band's popularity. CONTEXT AND NOTES This review captures a contemporary newspaper reaction to T. Rex during the height of the group's early 1970s success in the United States. Rather than focusing on chart achievements or celebrity, the article concentrates on the live concert experience and the technical conditions of the performance. The review reflects the challenges faced by large rock productions of the era, where increasingly powerful sound systems could sometimes overwhelm audiences and critics alike. The accompanying photographs reinforce the article's focus on the performers. One image shows Billy Preston, while another features Marc Bolan on stage with a guitar. Together, the photographs provide a visual record of the concert and complement the review's discussion of the musicians who appeared during the event. FEATURE HIGHLIGHTS Event: T. Rex concert review at the St. Petersburg Bayfront Center Era: 1972 glam rock touring period Tone: Critical and observational Photography: Concert photographs featuring Billy Preston and Marc Bolan performing on stage WHAT THE CLIPPING SHOWS • Review of a T. Rex concert at the St. Petersburg Bayfront Center • Criticism of excessive volume and technical sound problems during the performance • Photographs of Billy Preston and Marc Bolan accompanying the article 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 calendar poster from September 1972 features Marc Bolan as the publication’s Star des Monats (“Star of the Month”). The striking close‑up portrait captures Bolan at the height of his glam‑rock fame, his face framed by dark curls and lit with warm, cinematic tones that emphasize his iconic mystique. Publication: Bravo Magazine Date: September 1972 Country: Germany The poster presents Bolan in an intimate, almost hypnotic composition — his gaze direct, his expression serene yet magnetic. This image coincided with T. Rex’s dominance on European charts following The Slider and singles like Metal Guru and Children of the Revolution. Printed as part of Bravo’s monthly calendar series, the layout includes a full‑width calendar strip for September 1972, with weekdays labeled in German. The design reflects Bravo’s signature pop‑culture aesthetic: vivid color, minimalist typography, and a focus on youth idols. Bolan’s selection as Star des Monats underscored his immense popularity among German fans, who embraced his flamboyant style and poetic charisma. CONTEXT AND NOTES By late 1972, Bolan had become a European phenomenon, bridging British glam with continental pop appeal. Bravo — Germany’s leading teen magazine — regularly featured international stars, but Bolan’s recurring appearances marked him as a cultural icon beyond the UK. His Star des Monats portrait symbolized the fusion of rock glamour and romantic allure that defined the era’s visual language. The calendar format also served as collectible memorabilia, often pinned to bedroom walls, making Bolan’s image a daily presence for fans throughout the month. FEATURE HIGHLIGHTS Event: Bravo magazine’s Star des Monats calendar poster featuring Marc Bolan Era: 1972 – Glam Rock / European Pop Culture Peak Tone: Iconic, intimate, and celebratory Photography: Close‑up color portrait emphasizing Bolan’s eyes and curls WHAT THE CLIPPING SHOWS Bravo calendar poster for September 1972 Marc Bolan named Star des Monats Full‑width calendar strip with German weekday labels 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 entertainment listings clipping promotes a T. Rex concert at The Warehouse in New Orleans, highlighting Marc Bolan and his group as England's hottest rock 'n' roll band. The brief notice advertises the appearance alongside The Doobie Brothers and predicts an enthusiastic audience response. Publication: Vieux Carre Courier Date: September 22, 1972 Country: United States THE STORY The clipping appears within an entertainment events listing and announces a concert taking place at The Warehouse, located at 1820 Tchoupitoulas Street in New Orleans. Scheduled for 9 p.m. on September 22, the event features T. Rex together with The Doobie Brothers. Contact information for the venue is also provided as part of the listing. The notice specifically draws attention to Marc Bolan, identifying him as the driving force behind T. Rex. The brief promotional text describes T. Rex as England's hottest rock 'n' roll band and emphasises the group's strong reputation and popularity. The wording is designed to encourage attendance and build anticipation for the performance. The item concludes by stating that "Pandemonium should be expected," suggesting a lively audience reaction to the band's appearance. Ticket information is included, with admission priced at $5 at the door. Although concise, the clipping serves as a promotional snapshot of T. Rex during their American touring activities in 1972. CONTEXT AND NOTES This clipping is a straightforward concert advertisement rather than a review or feature article. Its purpose is to inform readers about an upcoming live appearance and to promote the event through a short but enthusiastic description of the group. The notice reflects the strong promotional language often used for major touring acts of the period. Marc Bolan is singled out by name, while T. Rex is presented as a leading British rock attraction. The clipping provides a contemporary record of the band's live schedule and how they were being marketed to American audiences at the time. FEATURE HIGHLIGHTS Event: T. Rex and The Doobie Brothers concert at The Warehouse, New Orleans Era: 1972 glam rock era Tone: Promotional and enthusiastic Photography: No photographs included in the clipping WHAT THE CLIPPING SHOWS • Concert listing for T. Rex and The Doobie Brothers at The Warehouse • Marc Bolan described as bringing England's hottest rock 'n' roll band to town • Ticket price and event details accompanied by a prediction of "Pandemonium" 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 issue of Record Mirror places Marc Bolan on the front cover during the height of T. Rex's popularity. Alongside a large cover photograph, the magazine promotes a feature titled "Cool Time In The Hot City", while also highlighting major articles on David Cassidy, Pete Townshend and Slade's Jim Lea Publication: Record Mirror Date: September 23, 1972 Country: United Kingdom The cover is dominated by a large colour photograph of Marc Bolan, presented as the magazine's principal visual attraction. Positioned above the photograph is a boxed feature headed "Cool Time In The Hot City", accompanied by a smaller image of Bolan wearing dark glasses. The feature text introduces a story centred on Bolan and his activities, giving the T. Rex leader prominent placement on one of Britain's leading music weeklies. The left-hand side of the cover contains a contents panel advertising major features inside the issue. Readers are directed to articles on David Cassidy and the hazards of superstardom, Pete Townshend's views on audience relationships, and an interview with Slade's Jim Lea discussing the group's success. A note also advertises an additional free fact section for Jackson 5 fans. The lower section of the cover contains a large advertisement for Johnny Nash and his single "There Are More Questions Than Answers". Despite these additional elements, the overall design is centred on Marc Bolan, whose image occupies most of the page and reinforces his position as one of the era's leading pop stars. CONTEXT AND NOTES Published during the peak of the glam rock era, this cover reflects Marc Bolan's continuing prominence in the British music press. His image was frequently used by major music publications to attract readers, and Record Mirror gives him the leading position on this issue. The cover combines celebrity appeal with music journalism, drawing attention to both Bolan and several other major artists of the period. As a result, it provides a useful snapshot of the performers and personalities dominating the British music scene during September 1972. FEATURE HIGHLIGHTS Event: Marc Bolan featured on the cover of Record Mirror Era: 1972 glam rock era Tone: Promotional and music-focused Photography: Large colour cover portrait of Marc Bolan with an additional inset photograph WHAT THE CLIPPING SHOWS • Marc Bolan featured as the cover star of Record Mirror • Promotion for the feature "Cool Time In The Hot City" • Contents references to David Cassidy, Pete Townshend and Slade's Jim Lea dominates the page, showing Marc Bolan performing on stage with a fellow band member visible in the background. The image reinforces the band's powerful stage presence and highlights the visual style that had become closely associated with T. Rex during the glam rock era. The article appears as a substantial feature covering the band's progress in America and reflects the excitement surrounding their attempts to translate British success into a lasting presence in the United States. The combination of detailed reporting and performance photography presents T. Rex as one of the most talked-about British rock acts of 1972. 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 concert review by Jane Scott covers T. Rex's appearance at the Allen Theatre in Cleveland during the band's 1972 American tour. Despite a smaller-than-expected audience, the article praises Marc Bolan's stage presence and the group's energetic performance, highlighting both the band's musicianship and Bolan's charisma. Publication: The Plain Dealer Date: September 29, 1972 Country: United States Reviewing T. Rex's appearance at the Allen Theatre, Jane Scott describes Marc Bolan arriving on stage in a striking red outfit, complete with glittering stars beneath his eyes and his trademark curls. Bolan immediately became the focal point of the evening, generating excitement despite the modest attendance. The article notes that approximately 1,500 fans attended the concert, a number smaller than expected but enthusiastic in their support. Bolan reportedly addressed the situation directly, explaining that there had been some uncertainty about whether the band would perform due to the limited turnout, but that previous experiences had convinced them the audience would be worthwhile. The review highlights performances of "Spaceball Ricochet" and "Cosmic Dancer", with the latter receiving particular attention for Bolan's vocal delivery. Throughout the concert, T. Rex maintained the hard-driving rock sound that had become the band's trademark. The article also singles out Mickey Finn during a duet segment and notes the contributions of the other musicians in the line-up. Scott concludes that Bolan demonstrated the power and confidence expected of a major rock performer. While the audience may have been smaller than anticipated, the review suggests that T. Rex delivered a full-scale performance that fully justified the appearance. CONTEXT AND NOTES The article captures T. Rex during an important phase of the band's efforts to establish themselves in the United States following the American success of "Bang A Gong (Get It On)". Rather than focusing on record sales or chart positions, the review concentrates on the live experience and the reaction generated by Bolan's appearance. The piece is notable for emphasising Bolan's professionalism in the face of a relatively small audience. Rather than reducing the effort given, the review suggests that T. Rex approached the performance with the same intensity and commitment that had made the group one of the leading acts of the glam rock era. FEATURE HIGHLIGHTS Event: T. Rex concert at the Allen Theatre, Cleveland Era: 1972 American tour era Tone: Positive and performance-focused Photography: Portrait photograph of Marc Bolan accompanying the review WHAT THE CLIPPING SHOWS • Review of T. Rex's Cleveland appearance at the Allen Theatre • Discussion of Marc Bolan's stage presence and audience interaction • References to performances of "Spaceball Ricochet" and "Cosmic Dancer" All magazine scans, photographs, and original text excerpts referenced in this entry remain the property of their respective copyright holders. This Chronicle entry is a transformative, non-commercial archival summary created for historical documentation and educational reference. No ownership of the original material is claimed or implied.

Marc Bolan appears on the cover of the October 1972 issue of Beat Instrumental and contributes a feature discussing his music, future ambitions and attitudes toward success. The interview presents Bolan in a candid mood, reflecting on media attention, creativity, films and public perceptions while offering insights into his outlook during the height of T. Rex's success. Publication: Beat Instrumental Date: October 1972 Country: United Kingdom The cover story, titled "My Music, Film & Future", features Marc Bolan discussing a wide variety of subjects ranging from touring and publicity to films and personal ambitions. Conducted in a London restaurant owned by friends of Bolan, the interview captures him speaking openly about the intense attention surrounding his career and the way journalists often interpreted his comments. Bolan admits that he rarely reads articles written about him in detail and expresses amusement at some of the stories that appear in the press. He reflects on public perceptions and explains that many comments become exaggerated once they appear in print. Throughout the feature he appears determined to maintain a sense of humour about celebrity and the mythology that often surrounds successful performers. The conversation moves to subjects including wealth, status and public image. Bolan dismisses suggestions that material possessions define success and argues that everybody has the opportunity to pursue their own interests and talents. He also discusses reactions to stories involving luxury hotels and Rolls-Royces, suggesting that many such stories attract attention because they fit public expectations rather than because they are especially important. Towards the end of the interview Bolan turns to film projects and future plans. He describes an interest in combining concerts, visual ideas and performance into a film format, while making it clear that he does not see a deeper message or theme in everything he creates. Instead, he suggests that many of his creative ideas exist simply because he enjoys them and wants to explore them. CONTEXT AND NOTES Published at the height of Bolanmania, the interview captures Marc Bolan during one of the most commercially successful periods of his career. Rather than focusing on chart positions or specific records, the feature allows him to discuss broader topics including fame, creativity and future ambitions. The cover photograph reinforces Bolan's position as one of Britain's leading rock stars in 1972, while the interview highlights a thoughtful and often humorous perspective on celebrity. The feature serves as a valuable snapshot of how Bolan viewed himself and his work during the peak of T. Rex's popularity. FEATURE HIGHLIGHTS Event: Marc Bolan discusses music, films and future plans Era: 1972 T. Rex era Tone: Reflective and conversational Photography: Full-colour cover photograph of Marc Bolan with guitar, accompanied by illustrated portrait artwork within the feature WHAT THE CLIPPING SHOWS • Cover feature titled "My Music, Film & Future" • Marc Bolan discussing fame, publicity and creative ambitions • Reflections on films, media attention and future projects 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 issue of Look-in places Marc Bolan on the cover and prominently promotes a free four-page pop extra devoted to the T. Rex star. Featuring a large colour photograph of Bolan with his guitar, the cover presents him as the main attraction of the issue and highlights a special pull-out double-page colour pin-up. Publication: Look-in Date: September 23, 1972 Country: United Kingdom The cover is dominated by a full-colour image of Marc Bolan holding a red guitar and dressed in a glittering stage outfit. Across the top of the magazine appears the announcement "Free 4-Page Pop Extra ★ Marc Bolan", signalling that the issue contains a special feature dedicated to the performer. The presentation makes Bolan the clear focal point of the publication. The cover text promotes a "pull-out double-page colour pin-up of Marc!" and describes the feature as being "bigger and better". The issue's emphasis on visual content reflects Bolan's popularity with younger readers and his status as one of Britain's leading pop stars during 1972. The large photograph presents his distinctive image and stage style in a format designed to appeal to fans. Additional cover promotions advertise a competition offering remote control racing cars and cine projectors as prizes, alongside a colour feature on Black Beauty. Despite these additional attractions, the magazine's visual design centres overwhelmingly on Marc Bolan, whose image occupies most of the front cover. CONTEXT AND NOTES The cover reflects Marc Bolan's immense popularity during the height of the glam rock era. Children's and family-oriented publications frequently featured leading pop stars, and Bolan's appearance on the front of Look-in demonstrates his widespread appeal beyond the traditional music press The promise of a dedicated pop extra and a colour pin-up highlights the strong demand for Bolan-related content in 1972. The cover serves as a period example of how his image was marketed to a younger audience and illustrates the level of recognition he enjoyed at the peak of T. Rex's success. FEATURE HIGHLIGHTS Event: Marc Bolan featured on the cover with a free four-page pop extra Era: 1972 glam rock era Tone: Promotional and fan-focused Photography: Full-colour cover photograph of Marc Bolan holding a guitar WHAT THE CLIPPING SHOWS • Cover promotion for a free four-page Marc Bolan pop extra • Announcement of a pull-out double-page colour pin-up of Marc Bolan • Large full-colour cover photograph of Marc Bolan with his guitar 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 newspaper report covers events surrounding a T. Rex concert at the Bayfront Center in St. Petersburg, Florida. The article explains how promoters responded to concerns over possible gate crashers by allowing approximately 200 people free admission, while additional police presence at the venue resulted in several arrests on various charges during the evening.. Publication: St. Petersburg Times Date: September 22, 1972 Country: United States The article reports on a T. Rex concert held at the Bayfront Center on a Wednesday evening. According to the report, concert promoters sought to avoid potential problems involving an estimated 200 possible gate crashers by granting free admission to a group gathered around the venue lobby after the concert had begun. The article states that promoters for T. Rex, identified as Marc Bolan's English rock group, waived the $5.50 admission charge for those individuals. The report notes that increased police security was present around the hall and that plainclothes and private police officers made a number of arrests during the evening. Various charges mentioned in the article include breaking into automobiles, possession of narcotics paraphernalia, possession of marijuana, carrying a prohibited knife, and offences involving juveniles. The focus of the report is not on the concert performance itself, but on crowd management and law enforcement activity associated with the event. T. Rex is referenced as the attraction whose appearance brought the large gathering to the Bayfront Center. CONTEXT AND NOTES The clipping provides a local news perspective on the organisation and security surrounding a T. Rex concert during the band's 1972 American tour period. Rather than discussing the music or performance, the article concentrates on events occurring outside and around the venue. The report illustrates the level of public interest generated by T. Rex at the time, with enough people gathering at the Bayfront Center to prompt promoters to take unusual measures to prevent disturbances. The story serves as a snapshot of the logistical and security challenges that could accompany major rock concerts during the early 1970s. FEATURE HIGHLIGHTS Event: T. Rex concert at the Bayfront Center in St. Petersburg, Florida Era: 1972 T. Rex American tour period Tone: Straightforward local news reporting Photography: No photograph shown in the clipping WHAT THE CLIPPING SHOWS • Report that approximately 200 people were admitted free to avoid possible gate-crashing problems • Reference to T. Rex as Marc Bolan's English rock group performing at the Bayfront Center • Details of arrests and increased police security surrounding the concert venue 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 NME feature examines T. Rex's growing impact in the United States during the band's 1972 tour. Written by Mitch Cohen from New York, the article looks at audience reactions, the group's expanding popularity and the efforts being made to establish T. Rex as a major force in the American music market. Publication: New Musical Express (NME)Date: September 23, 1972Country: United Kingdom The article, headlined "T. Rex Is America", is presented as a report from New York by Mitch Cohen. The feature focuses on T. Rex's activities in the United States and explores how the band was being received during a crucial stage of its American breakthrough. The report discusses the group's performances, growing fan support and the attention being generated around Marc Bolan and T. Rex. A large live performance photograph dominates the page, showing Marc Bolan performing on stage with a fellow band member visible in the background. The image reinforces the band's powerful stage presence and highlights the visual style that had become closely associated with T. Rex during the glam rock era. The article appears as a substantial feature covering the band's progress in America and reflects the excitement surrounding their attempts to translate British success into a lasting presence in the United States. The combination of detailed reporting and performance photography presents T. Rex as one of the most talked-about British rock acts of 1972. CONTEXT AND NOTES This clipping captures T. Rex during a period when the group was actively pursuing greater recognition in the American market. By September 1972, the band had already become one of Britain's biggest attractions, and coverage such as this reflects the importance placed on expanding that success overseas. The feature highlights the interest that American audiences and music journalists had in Marc Bolan and demonstrates the significance of the band's U.S. appearances during the height of the glam rock movement. The prominent placement of the article and photograph indicates NME's ongoing attention to T. Rex's international progress. FEATURE HIGHLIGHTS Event: T. Rex's growing presence in the American music market Era: 1972 T. Rex American tour era Tone: Observational, enthusiastic and reportorial Photography: Large live performance photograph of Marc Bolan on stage with another band member visible in the background WHAT THE CLIPPING SHOWS • Feature titled "T. Rex Is America" by Mitch Cohen from New York • Coverage of T. Rex's activities and reception in the United States • Large concert photograph highlighting the band's live performance image 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 first major American breakthrough, presenting him as both a rock star and a dreamer whose imagination shaped the band's distinctive musical identity. Through extensive quotations, Bolan discusses creativity, performance, fame and the childlike outlook that informed his songwriting. Publication: Waukesha Freeman Date: September 29, 1972 Country: United States Written by David Sterritt of CSM News Service, the article introduces Marc Bolan as the driving force behind T. Rex and contrasts his delicate appearance with the energy and excitement generated by the band's music. The feature describes the fascination audiences have with Bolan's image and explores how that image connects with his songs and performances. During the interview, Bolan discusses the origins of his lyrical ideas and explains that the imagery found in songs such as "Dragon's Ear", "Ballrooms Of Mars", "First Heart Mighty Dawn Dart", "The Wizard" and "Summer Deep" comes from imagination rather than personal experience. He admits that he does not always know the precise distinction between reality and imagination, suggesting that creativity is often more important than explanation. The article also examines Bolan's relationship with his audience. He describes himself as a "warrior" and explains that performing is increasingly about communication. When discussing personal philosophy, Bolan talks about childhood, memory and imagination. He reflects on experiences from his youth and explains why ideas of wonder remain important to him. The interview also covers The Slider, his latest album at the time, and concludes that the key to understanding his work is not mystery but playfulness. Rather than presenting hidden meanings, Bolan suggests that his songs are expressions of imagination and delight. If a song fails to connect with listeners, he says he wants to understand why. The piece presents Bolan as an artist searching for ways to reach people through music while maintaining the mystery and fantasy that define his work CONTEXT AND NOTES Published during T. Rex's American touring period, the article provides one of the most detailed contemporary portraits of Marc Bolan's personality. Rather than concentrating on chart positions or celebrity, the feature focuses on his creative philosophy and the ideas that inspired his lyrics. The interview is notable because it presents Bolan explaining his work in his own words. Throughout the article he rejects straightforward interpretation, preferring imagination, spontaneity and emotional response. The result is a revealing snapshot of how Bolan viewed himself and his music during the height of the glam rock era. FEATURE HIGHLIGHTS Event: Marc Bolan discusses imagination, songwriting and communication through music Era: 1972 The Slider era Tone: Reflective and conversational Photography: Portrait photograph of Marc Bolan accompanying the interview WHAT THE CLIPPING SHOWS • Marc Bolan discussing the imaginative origins of his songs • Reflections on fame, performance and audience communication • Discussion of The Slider and the childlike outlook behind his music 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 newspaper report covers events surrounding a T. Rex concert at the Bayfront Center in St. Petersburg, Florida. According to the article, concert promoters allowed approximately 200 people free admission in an effort to prevent potential disruption from individuals gathered outside the venue, while police activity during the evening resulted in several arrests. Publication: St. Petersburg Times Date: September 21, 1972 Country: United States The article reports on security and crowd-control measures taken during a T. Rex concert at the Bayfront Center. Promoters of the event, featuring Marc Bolan's English rock group, reportedly faced concerns about a large number of potential "gate crashers" congregating around the venue after the concert had begun. To avoid possible trouble, the organisers decided to waive the $5.50 admission charge for approximately 200 individuals who were gathered in the lobby area. The report states that increased police security was deployed around the hall during the evening. Plainclothes officers and private police personnel were present at the event, and several arrests were made before the night concluded. The newspaper details a number of charges brought against individuals, including allegations relating to vehicle break-ins, possession of narcotics paraphernalia, possession of marijuana and the carrying of a prohibited knife. In addition to those arrested at the venue, the article notes that three people under the age of seventeen were taken to the Juvenile Detention Center. The story presents the concert as an event that required significant law-enforcement attention due to incidents occurring both inside and around the Bayfront Center during the performance. CONTEXT AND NOTES Rather than reviewing the concert itself, this clipping focuses entirely on crowd management and security issues connected with the appearance of T. Rex in Florida. The article provides a snapshot of the logistical challenges that could accompany major rock concerts during the early 1970s, particularly when popular touring acts attracted large groups of young fans. The report demonstrates the level of public interest surrounding T. Rex during the group's American tour period. The newspaper's emphasis is placed on venue operations, police activity and public safety rather than the music, making the clipping a useful record of the wider circumstances surrounding a Marc Bolan concert appearance in the United States. FEATURE HIGHLIGHTS Event: Crowd-control measures and police activity during a T. Rex concert at Bayfront Center Era: 1972 American touring period Tone: Factual and news-oriented Photography: No concert photography visible within the clipping provided WHAT THE CLIPPING SHOWS • Report that approximately 200 people were admitted free to the concert to avoid possible disturbances • Reference to T. Rex as Marc Bolan's English rock group performing at the Bayfront Center • Details of arrests and police activity associated with the event 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 edition of Melody Maker showcases the week's leading singles chart, with T. Rex holding the number one position through "Children Of The Revolution". Accompanied by a photograph of Marc Bolan and a short editorial note, the page highlights the continuing dominance of T. Rex during one of the group's most successful periods. Publication: Melody Maker Date: September 30, 1972 Country: United Kingdom THE STORY The Melody Maker Pop Singles chart places T. Rex at number one with "Children Of The Revolution", maintaining the top position from the previous week. The chart confirms the record's continued popularity and reinforces Marc Bolan's status as one of the most successful artists in Britain. An accompanying editorial note beside a photograph of Marc Bolan comments on the ongoing success of the single and the remarkable chart performance achieved by T. Rex. The article highlights the strength of "Children Of The Revolution" and notes the significant impact Bolan continued to have on the British music scene. Below T. Rex are several major chart rivals including Slade with "Mama Weer All Crazee Now", David Cassidy with "How Can I Be Sure", and Faron Young with "It's Four In The Morning". Other chart entries include records by Roxy Music, Rod Stewart, Donny Osmond, Sweet, Michael Jackson and Lynsey De Paul, illustrating the variety of artists competing for chart positions. The page also contains publisher and composer information together with an America's Top 10 section. However, the primary focus remains the continued chart success of T. Rex and Marc Bolan's ability to remain ahead of an increasingly competitive field. CONTEXT AND NOTES By September 1972, T. Rex had become one of Britain's defining pop acts. The chart success of "Children Of The Revolution" followed a remarkable run of hit singles and confirmed that Bolan remained at the forefront of the glam rock movement. The inclusion of a photograph and editorial commentary alongside the chart listing demonstrates the significance attached to Bolan's success. Rather than appearing simply as another chart entry, T. Rex was presented as the act setting the pace for the rest of the field. FEATURE HIGHLIGHTS Event: T. Rex remains number one in the Melody Maker singles chart Era: 1972 glam rock era Tone: Informative and chart-focused Photography: Portrait photograph of Marc Bolan accompanying the chart feature WHAT THE CLIPPING SHOWS • T. Rex at number one with "Children Of The Revolution" • Photograph and editorial note relating to Marc Bolan • Complete Melody Maker Pop Singles chart • Contemporary chart competition from Slade, David Cassidy, Roxy Music and Rod Stewart 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 Disc feature examines Marc Bolan's views on the growing media rivalry between himself and David Bowie. Through interview comments and analysis, the article explores Bolan's reaction to comparisons with Bowie while reflecting on the changing landscape of British glam rock during 1972. Publication: Disc Date: September 30, 1972 Country: United Kingdom Written by Barbara Drillisma, the feature focuses on Marc Bolan at a moment when the British music press was increasingly presenting him and David Bowie as rivals. The article examines the so-called "Bowie war" and asks Bolan to respond to the comparisons being drawn between the two performers. Bolan dismisses the idea of a personal conflict and instead discusses the differences between their artistic approaches. The article notes that both artists had achieved major recognition during 1972, with each developing a distinctive image and attracting devoted followings. Rather than encouraging competition, Bolan appears more interested in explaining his own creative direction and the individuality of T. Rex. The feature also touches on Bolan's continuing popularity and the pressures generated by fame. As one of Britain's biggest stars, he reflects on success, public expectations and the attention devoted to glam rock performers. Throughout the interview he remains confident, humorous and determined to be judged on his own achievements rather than through constant comparisons with others. Dominating the page is a large live performance photograph of Marc Bolan playing guitar on stage. The image reinforces the article's focus on him as a performer and captures the visual style that had become synonymous with T. Rex during the height of Bolanmania. CONTEXT AND NOTES Published during one of the most significant years in British glam rock, the article captures the intense media interest surrounding both Marc Bolan and David Bowie. By late 1972, journalists were frequently framing stories around competition between major performers, particularly those operating within similar musical territory. The feature is notable because it gives Bolan the opportunity to address those comparisons directly. Rather than presenting a feud, the article reveals his desire to retain his own identity and artistic independence while continuing to lead T. Rex through one of its most successful periods. FEATURE HIGHLIGHTS Event: Marc Bolan discusses media comparisons with David Bowie Era: 1972 glam rock era Tone: Reflective and interview-focused Photography: Large live performance photograph of Marc Bolan playing guitar on stage WHAT THE CLIPPING SHOWS • Feature examining the supposed rivalry between Marc Bolan and David Bowie • Marc Bolan discussing fame, success and artistic identity • Large concert photograph of Bolan performing live 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 concert report follows Marc Bolan and T. Rex during the Canadian leg of their 1972 North American tour. Focusing on a performance in Toronto, the article documents the band's efforts to win over a largely unfamiliar audience and records the enthusiastic response that eventually greeted one of glam rock's biggest stars. Publication: Unknown Publication Date: September 30, 1972 Country: Canada Written by Marco Livingstone, the article examines T. Rex's appearance in Toronto during the group's six-week North American tour. While Marc Bolan had already achieved enormous success in Britain, the report notes that Canada and T. Rex were still becoming acquainted, making the performance an important test of the band's appeal outside the United Kingdom. The concert took place at Toronto's Massey Hall, where attendance reportedly fell short of capacity. Nevertheless, T. Rex succeeded in generating considerable excitement among those present. Bolan took the stage wearing a striking metallic green jumpsuit and immediately launched into a set that included "Jeepster", "Baby Strange" and "Telegram Sam". Although the audience initially appeared reserved, the group continued to build momentum. A section featuring "Spaceball Ricochet", "Cosmic Dancer" and "Honey Don't" briefly reduced the pace before Bolan returned to more familiar material. The article recalls that "Hot Love" finally persuaded the audience to respond enthusiastically, with cheers and recognition becoming increasingly evident throughout the hall. The excitement continued through "Chariot Choogle" and a lengthy rendition of "Bang A Gong (Get It On)", described as the band's biggest hit to date in Canada. Bolan encouraged audience participation by throwing tambourines into the crowd and playing up his stage image to maximum effect. By the conclusion of the set, much of the audience had risen to its feet, applauding and dancing in the aisles. The report concludes that although it had taken effort to win over the crowd, T. Rex ultimately succeeded, turning a cautious audience into an enthusiastic one through persistence, energy and performance. CONTEXT AND NOTES Published during T. Rex's 1972 North American tour, the article captures the group during their attempts to establish a broader international audience. While Bolanmania was already firmly established in Britain, success overseas was not guaranteed, making each concert an important opportunity to build support. The report is particularly notable because it documents the contrast between the audience's initially cautious reaction and the enthusiasm that developed as the concert progressed. It provides a vivid account of T. Rex's live appeal and Marc Bolan's ability to engage an audience even when familiarity with the band was still developing. FEATURE HIGHLIGHTS Event: T. Rex concert at Massey Hall, Toronto Era: 1972 North American tour era Tone: Enthusiastic and performance-focused Photography: Large live performance photograph of Marc Bolan on stage with guitar WHAT THE CLIPPING SHOWS • Report on T. Rex's Toronto concert during the 1972 North American tour • Performances of "Jeepster", "Baby Strange", "Telegram Sam", "Hot Love", "Chariot Choogle" and "Bang A Gong (Get It On)" • Description of Marc Bolan's stage presence and audience interaction • Account of the crowd eventually dancing in the aisles and responding enthusiastically 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 Best Of T. Rex is a compilation album issued by Karussell in 1972 as part of the label's Gold-Serie collection. The album focuses on material from the Tyrannosaurus Rex period and compiles a selection of Marc Bolan compositions recorded prior to the commercial breakthrough of T. Rex's glam-rock era. Released in Scandinavia, the compilation presents recordings originally produced by Cube Records and showcases the group's psychedelic folk and early acoustic sound. The tracks included on the compilation were composed by Marc Bolan and originated from earlier Tyrannosaurus Rex recordings. The compilation was issued under licence from Cube Records. Lacquers for the Scandinavian pressing were cut at Rosenborg Studio. The album was pressed by Musikkindustri A/S. Photography reproduced on the release was credited to C. Hudalla and M. Hudalla of Berlin. STYLE & THEMES The compilation highlights the acoustic, mystical and psychedelic characteristics of the early Tyrannosaurus Rex catalogue. The recordings blend Bolan's imaginative lyrics with acoustic guitar, poetic imagery and fantasy-inspired themes. Unlike later T. Rex compilations focused on chart singles, this collection concentrates on the band's pre-glam period and documents the foundations of Marc Bolan's songwriting style. TRACK-BY-TRACK NOTES • Debora — One of the best-known compositions from the early Tyrannosaurus Rex period. • Child Star — Acoustic folk-rock recording. • Cat Black — Drawn from the group's psychedelic repertoire. • Conesuela — Characteristic Bolan fantasy composition. • Strange Orchestras — One of the band's most celebrated early recordings. • Find A Little Wood — Short acoustic piece. • Once Upon The Seas Of Abyssinia — Fantasy-inspired recording. • One Inch Rock — Early Tyrannosaurus Rex favourite. • Salamanda Palaganda — Representative of Bolan's surreal lyrical style. • Lofty Skies — Psychedelic folk recording. • Stacey Grove — Acoustic-era catalogue selection. • King Of The Rumbling Spires — Fantasy-themed composition. • Blessed Wild Apple Girl — Characteristic early Bolan recording. • Elemental Child — Extended closing track and one of the compilation's longest recordings. RELEASE HISTORY Released in Scandinavia in 1972 by Karussell. Issued as part of the Gold-Serie budget compilation line. A related cassette edition was later released by Karussell in Germany under catalogue number 3147 030. PERSONNEL Marc Bolan — composer C. Hudalla — photography M. Hudalla — photography PRODUCTION Cube Records Production Lacquer Cut By F Photography by C. Hudalla Photography by M. Hudalla Label: Karussell Series: Gold-Serie Catalogue Number: 2345 021 / 2345.021 Recorded At: Original Cube Records NOTES • Released in 1972. • Scandinavian compilation album issued by Karussell. • Part of the Karussell Gold-Serie collection. • Catalogue numbers 2345 021 and 2345.021. • Issued in stereo format. • Manufactured from Cube Records source material. • Focuses entirely on recordings from the Tyrannosaurus Rex era. • Compiles early Marc Bolan compositions recorded before the major commercial success of T. Rex. • Represents the acoustic and psychedelic side of the group's catalogue. • Includes several key early recordings including Debora, One Inch Rock, Strange Orchestras and Elemental Child. • All songs credited to Marc Bolan. RELEASE VARIANTS TABLE Artist Title Label Country Cat No. Date Format T. Rex The Best Of T. Rex Karussell Scandinavia 2345 021 / 2345.021 1972 LP, Compilation, Stereo T. Rex The Best Of T.Rex Karussell Germany 3147 030 1972 Cassette, Compilation TRACKLIST TABLE (ALL FORMATS) Format Catalogue Tracklisting LP 2345 021 / 2345.021 SIDE ONE: • Debora • Child Star • Cat Black • Conesuela • Strange Orchestras • Find A Little Wood • Once Upon The Seas Of Abyssinia SIDE TWO: • One Inch Rock • Salamanda Palaganda • Lofty Skies • Stacey Grove • King Of The Rumbling Spires • Blessed Wild Apple Girl • Elemental Child Cassette 3147 030 TRACK LISTING: • Debora • Child Star • Cat Black • Conesuela • Strange Orchestras • Find A Little Wood • Once Upon The Seas Of Abyssinia • One Inch Rock • Salamanda Palaganda • Lofty Skies • Stacey Grove • King Of The Rumbling Spires • Blessed Wild Apple Girl • Elemental Child SOURCES ES Discogs, 45 Worlds, Wikipedia, BBC Official Charts, Demon Records, 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.