Penny Valentine interviews Marc Bolan at a crucial moment in T. Rex’s career, as the singer responds to criticism following a difficult American tour and reflects on fame, credibility, David Bowie, Slade, Michael Jackson and the future direction of his music. Publication: Melody Maker Date: November 1972 (unconfirmed) Country: United Kingdom In this substantial interview by Penny Valentine, with photographs by Mike Putland, Marc Bolan dismisses suggestions that his career is in decline despite reports surrounding a troubled American tour. He argues that reports of cancelled shows and disappointing attendance figures have been exaggerated, pointing instead to T. Rex's continued chart success and record sales. Bolan discusses criticism from the music press and admits he has become more selective about giving interviews because comments are often taken out of context. He challenges the idea that there is a throne to lose, insisting that his position has never been about competition with other artists. The interview also explores Bolan's thoughts on creativity and songwriting. He speaks about constantly searching for new ideas and describes his desire to continue evolving musically rather than repeating past successes. References are made to The Slider, changing musical fashions and the pressures that accompany being one of Britain's biggest pop stars. When discussing other performers, Bolan praises David Bowie, describing him as one of the few artists whose records he regularly listens to, and speaks positively about Michael Jackson, calling attention to his talent and future potential. He also comments on Slade and the changing landscape of British pop music. Context and Notes The feature appears to have been published shortly before T. Rex's Christmas 1972 concerts and during the period immediately following their American tour. It captures Bolan in a more reflective mood than many earlier interviews, presenting him not as the flamboyant face of Bolanmania but as a songwriter and musician considering how to maintain momentum in an increasingly competitive music industry. The article is significant for its candid discussion of criticism, success and change, while also documenting Bolan's views on several major artists of the era. It provides a valuable snapshot of T. Rex at the close of another highly successful year. Feature Highlights Event: Major Marc Bolan interview discussing fame, criticism and musical direction Era: 1972 – Bolanmania period Tone: Candid, reflective and analytical Photography: Large black-and-white portraits by Mike Putland featuring Marc Bolan seated indoors and with acoustic guitar What the Clipping Shows Marc Bolan responding to criticism following the American tour Discussion of David Bowie, Slade and Michael Jackson Reflections on songwriting and future musical plans Interview by Penny Valentine Photography by Mike Putland References to The Slider and T. Rex's continuing success 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 appeared on the cover of Popswop during the height of Bolanmania, reflecting his status as one of Britain's most popular music stars. Dominated by a large live performance photograph, the issue combined pop culture, fashion, songwords and celebrity features aimed at the youth market of the early 1970s. Publication: Popswop Publication Date: November 18, 1972 Country: United Kingdom Event Date: November 1972 This issue of Popswop places Marc Bolan prominently on the cover with a full‑colour stage photograph showing him performing with T. Rex. The image captures Bolan during one of the most successful periods of his career, when T. Rex were enjoying a remarkable run of hit singles, chart albums and extensive media coverage. While Bolan dominates the cover, the magazine also promotes colour photographs of Rod Stewart, Cliff Richard, Paul McCartney and Cat Stevens. Additional features include relationship advice, fashion and beauty content, plus a large collection of song lyrics. The issue was aimed at younger readers and reflects the broad appeal of Marc Bolan, whose popularity extended beyond the traditional music press into teen magazines, fan publications and mainstream youth culture titles. CONTEXT AND NOTES Published just weeks after T. Rex completed their high‑profile American tour, this issue appeared while The Slider continued to strengthen Bolan's reputation as the leading figure of the glam rock movement. By late 1972, Marc Bolan had become one of the most recognisable faces in British popular culture. His distinctive appearance, songwriting and stage presence made him a favourite cover subject for youth publications throughout the United Kingdom. The cover demonstrates how widely Bolan's image was being used across the magazine market, reinforcing his position as one of the defining stars of the era. FEATURE HIGHLIGHTS Event: Popswop cover appearance Era: 1972 – The Slider era Tone: Youth‑oriented and celebratory Photography: Full‑colour live performance photograph of Marc Bolan WHAT THE CLIPPING SHOWS • Marc Bolan on the front cover of Popswop • Issue dated November 18, 1972 • Large live performance photograph • References to Rod Stewart, Cliff Richard, Paul McCartney and Cat Stevens • Songwords section promoted on the cover • Fashion, beauty and youth culture content • Contemporary evidence of Bolanmania in the British teen press 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.

Juicy Giants was a UK various artists compilation released by Cube Records in 1972. The album featured recordings by several artists associated with the Cube catalogue, including John Kongos, Joe Cocker, Procol Harum, The Move, T. Rex and Tyrannosaurus Rex. For Marc Bolan fans, the collection was notable for including four key T. Rex recordings alongside the Tyrannosaurus Rex classic Debora, making Bolan one of the most heavily represented artists on the album.. The compilation combines rock, glam rock, progressive rock and singer-songwriter material from Cube Records artists. The Marc Bolan selections chart the transition from the folk-psych sounds of Tyrannosaurus Rex to the chart-dominating glam rock success of T. Rex. T. REX / TYRANNOSAURUS REX TRACKS • Hot Love (T. Rex) • Ride A White Swan (T. Rex) • Jeepster (T. Rex) • Get It On (T. Rex) • Debora (Tyrannosaurus Rex) RELEASE VARIANTS TABLE Artist Title Label Country Cat No. Date Format Various Artists Juicy Giants Cube UK JUICY 1 1972 LP TRACKLIST TABLE (ALL FORMATS) Format Catalogue Tracklisting LP JUICY 1 SIDE ONE: John Kongos – He's Gonna Step On You Again • The Move – I Can Hear The Grass Grow • Joe Cocker – Woman To Woman • T. Rex – Hot Love • John Kongos – Great White Lady • Joe Cocker – High Time We Went • T. Rex – Ride A White Swan • Procol Harum – A Whiter Shade Of Pale SIDE TWO: T. Rex – Jeepster • John Kongos – Tokoloshe Man • Procol Harum – Conquistador • Tyrannosaurus Rex – Debora • The Move – Night Of Fear • Joe Cocker – Midnight Rider • T. Rex – Get It On • Joe Cocker – With A Little Help From My Friends NOTES • Features five Marc Bolan-related recordings. • Includes four classic T. Rex hit singles. • Includes the Tyrannosaurus Rex recording Debora. • Released on Cube Records in the UK. • Catalogue number JUICY 1. TAGS T. Rex, T. Rex Compilations, Tyrannosaurus Rex, Marc Bolan, Juicy Giants, Cube Records, Hot Love, Ride A White Swan, Jeepster, Get It On, Debora, 1972, Various Artists, Daily KK SOURCES Discogs, 45 World, Wikipedia, BBC Official Charts, Prince Vault, Sleeveographia2, Marc Bolan ‘There Was A Time’ by Cliff McLenehan 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 dedicated 16-page special issue of Disco 45 magazine devoted entirely to Marc Bolan and T. Rex, featuring their life story, photos, and fan-focused content at the height of their early success. Publication: Disco 45 Date: 1972 Country: United Kingdom Location: London Section: Special Edition / Fan Magazine THE STORY The special presents the complete Marc Bolan / T. Rex story in words and pictures, covering their rise, stage performances, fashion, and hits. It includes a strong promotional note for the regular Disco 45 Songbook monthly magazine and highlights Bolan as the most wanted pop star of the time. CONTEXT AND NOTES Released during the explosive early phase of T. Rextasy, this fan-oriented special catered to the dedicated young audience hungry for photos and stories about their idol. Disco 45 was a low-cost monthly that combined song lyrics with glamour shots and features. FEATURE HIGHLIGHTS Event: Dedicated artist special edition Era: 1972 (T. Rex early Glam breakthrough) Tone: Fan-celebratory, enthusiastic Photography: Multiple black & white and colour photos of Marc Bolan and the band WHAT THE CLIPPING SHOWS Bold “T.REX featuring MARC BOLAN” cover with green design “16 PAGES OF FAB PICS • LIFE STORY • STAR GUIDE FOR MARC & MICKEY” Large portrait photos and collage-style layout Text extract praising Bolan as the ultimate pop star and promoting the regular Disco 45 Songbook RELATED MATERIAL March 3, 1973 Melody Maker “The Godfathers of Rock” March 10, 1973 Melody Maker “Tanx for the memory” album review March 11, 1973 BRAVO Essen concert review April 7, 1973 Popswop Marc Bolan cover April 14, 1973 Sounds “Born to Boogie” film advert For other relevant posts, see the tags at the foot of the page. SOURCES Disco 45 T.Rex Special, 1972 All magazine scans, newspaper cuttings, scrapbook items, photographs and original text excerpts remain the property of their respective copyright holders. This entry is a transformative, non-commercial archival summary created for historical documentation and educational reference.

Marc Bolan graces the cover of Disco magazine as the publication responds to growing criticism directed at the T. Rex frontman. The cover boldly declares that despite the attacks from critics and detractors, Bolan remains one of the biggest figures in British popular music. Publication: Disc Publication Date: November 11, 1972 Country: United Kingdom Event Date: November 1972 This issue of Disco places Marc Bolan prominently on the cover beneath the headline: "Marc Bolan – The slaggers strike, but he's not dead yet!" The cover reflects the increasingly divided opinions surrounding Bolan during late 1972. While T. Rex continued to enjoy major commercial success, sections of the music press had begun questioning whether Bolanmania was losing momentum. The magazine responds directly to those criticisms, positioning Bolan as a survivor who remained very much at the forefront of British pop music. A striking colour portrait dominates the cover, showing Bolan wearing an elaborate turquoise jacket with embroidered decorative detailing and a pale shirt, presenting the glamorous image that had become synonymous with T. Rex during the The Slider era. The cover also promotes additional features on David Cassidy, who was reportedly considering leaving The Partridge Family, and the Jackson Five, whose latest British visit is advertised as part of the issue's content. CONTEXT AND NOTES Published during November 1972, this cover appeared at a time when Marc Bolan remained one of Britain's most recognisable music stars. Although criticism from parts of the music press had become increasingly vocal, T. Rex were still enjoying substantial record sales and major concert success. The wording of the cover headline is particularly revealing, documenting the growing debate surrounding Bolan's position in British music while simultaneously defending his continued importance. As a result, the cover provides a fascinating snapshot of changing attitudes towards T. Rex at the height of Bolanmania. FEATURE HIGHLIGHTS Event: Marc Bolan cover feature Era: 1972 – Peak Bolanmania period Tone: Defiant, promotional and supportive Photography: Full‑colour cover portrait of Marc Bolan in glam‑rock attire WHAT THE CLIPPING SHOWS Marc Bolan featured on the cover of Disco Headline defending Bolan against growing criticism Colour portrait from the The Slider era Additional cover promotions for David Cassidy and the Jackson Five Contemporary evidence of the media debate surrounding Bolan's popularity 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 fashion page provides an unusual glimpse of Marc Bolan’s influence beyond music, with a featured jacket specifically described as having been bought by Marc Bolan and Gary Glitter. Edited by Suzy Menkes, the page examines the continuing popularity of glitter, velvet and flamboyant clothing during 1972. HEADLINE PARAGRAPH Publication: Evening Standard Date: December 11, 1972 Country: United Kingdom THE STORY Appearing on the Evening Standard’s “Fashion 3” page, edited by Suzy Menkes, the clipping examines contemporary fashion at a moment when glitter, velvet and highly decorative clothing had become increasingly prominent. The main photograph shows two models wearing richly patterned outfits, with the accompanying caption providing the direct connection to Marc Bolan. One of the featured garments is described as “a jacket as bought by Marc Bolan and Gary Glitter.” The jacket is priced at £100 and credited to John Lloyd, available through the King’s Road Silver Laver. The caption continues by identifying other clothing displayed on the page, including trousers, a gold-and-pink brocade waistcoat with gold elasticated wrists and waistband, and additional garments by designers and retailers including Paul Reeves and Diana. The accompanying article, “Does all this strike a chord?”, discusses the continuing presence of glitter and flamboyant fashion. References to stage-inspired clothing and decoration place the fashion within the same broader visual culture that surrounded popular music during the period. For a Marc Bolan scrapbook, the significance rests firmly in the photograph caption. Bolan is specifically named as a purchaser of the featured jacket, documenting the connection between his highly visible public style and contemporary London fashion retail during 1972. CONTEXT AND NOTES This is not a conventional Marc Bolan interview or music article. Instead, the clipping places Bolan within a contemporary fashion feature and demonstrates how his name had become associated with distinctive clothing and the glitter-oriented visual style of the period. The direct reference to a jacket “as bought by Marc Bolan and Gary Glitter” shows Bolan being used as a recognisable fashion reference for readers. His association with the garment is presented without further explanation, suggesting that his clothing choices were already sufficiently familiar to add promotional value to the fashion feature. The clipping therefore provides a different perspective on Bolanmania, documenting Marc Bolan not through records or concerts but through the influence of his personal clothing choices on the wider fashion culture of 1972. FEATURE HIGHLIGHTS Event: Marc Bolan referenced within an Evening Standard fashion feature Era: 1972 Bolanmania era Tone: Fashion-focused and promotional Photography: Large fashion photograph illustrating the clothing described in the accompanying caption WHAT THE CLIPPING SHOWS • Evening Standard “Fashion 3” page edited by Suzy Menkes • A featured jacket specifically described as having been bought by Marc Bolan and Gary Glitter • The Marc Bolan-associated jacket priced at £100 and credited to John Lloyd • Contemporary glitter, velvet and decorative fashion associated with the period • An unusual contemporary record of Marc Bolan’s influence beyond 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.

Marc Bolan graces the cover of Disco magazine as the publication responds to growing criticism directed at the T. Rex frontman. The cover boldly declares that despite the attacks from critics and detractors, Bolan remains one of the biggest figures in British popular music. Publication: Disc Publication Date: November 11, 1972 Country: United Kingdom Event Date: November 1972 This issue of Disco places Marc Bolan prominently on the cover beneath the headline: "Marc Bolan – The slaggers strike, but he's not dead yet!" The cover reflects the increasingly divided opinions surrounding Bolan during late 1972. While T. Rex continued to enjoy major commercial success, sections of the music press had begun questioning whether Bolanmania was losing momentum. The magazine responds directly to those criticisms, positioning Bolan as a survivor who remained very much at the forefront of British pop music. A striking colour portrait dominates the cover, showing Bolan wearing an elaborate turquoise jacket with embroidered decorative detailing and a pale shirt, presenting the glamorous image that had become synonymous with T. Rex during the The Slider era. The cover also promotes additional features on David Cassidy, who was reportedly considering leaving The Partridge Family, and the Jackson Five, whose latest British visit is advertised as part of the issue's content. CONTEXT AND NOTES Published during November 1972, this cover appeared at a time when Marc Bolan remained one of Britain's most recognisable music stars. Although criticism from parts of the music press had become increasingly vocal, T. Rex were still enjoying substantial record sales and major concert success. The wording of the cover headline is particularly revealing, documenting the growing debate surrounding Bolan's position in British music while simultaneously defending his continued importance. As a result, the cover provides a fascinating snapshot of changing attitudes towards T. Rex at the height of Bolanmania. FEATURE HIGHLIGHTS Event: Marc Bolan cover feature Era: 1972 – Peak Bolanmania period Tone: Defiant, promotional and supportive Photography: Full‑colour cover portrait of Marc Bolan in glam‑rock attire WHAT THE CLIPPING SHOWS Marc Bolan featured on the cover of Disco Headline defending Bolan against growing criticism Colour portrait from the The Slider era Additional cover promotions for David Cassidy and the Jackson Five Contemporary evidence of the media debate surrounding Bolan's popularity 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 Vieux Carre Courier feature examines the emerging glam-rock movement and places T. Rex and Marc Bolan at its centre alongside David Bowie, Roxy Music and Silverhead. The article discusses image, sexuality and theatrical presentation within the new British rock scene, while assessing The Slider and describing Bolan as one of the movement's leading figures. Publication: Vieux Carre Courier Date: November 10, 1972 Country: United States Published in the newspaper's “Records” section under the heading “GLAMOUR ROCK – The new wave”, the article considers what the next major development in rock music might be. Looking towards England, the writer identifies glamour, theatricality and visual presentation as central characteristics of an emerging movement. The article names T. Rex, David Bowie, Roxy Music and Silverhead among the English acts associated with this direction. The writer argues that glamour rock places considerable importance on visual presence and stage appearance alongside the music itself. T. Rex receives substantial attention. Marc Bolan is characterised as a central figure in the style, with the article discussing the image surrounding Bolan and the way that appearance had become intertwined with the music. The writer also turns specifically to T. Rex's current album, The Slider, describing it as illustrative of the band's basic guitar, bass and drums foundation. The article comments on the repetitive rhythms within T. Rex's music and contrasts that simplicity with Bolan's distinctive lyrical imagery. Several examples from “Ballrooms Of Mars” are used to demonstrate the unusual and cryptic nature of the words. The feature notes that the combination of music, image and enigmatic lyrics had already proved enormously successful, stating that Bolan had sold over 14 million records in England in three years. Bolan's appeal is described in terms that emphasise both his visual presentation and his attraction to a young audience. The article reproduces a comment attributed to the Birmingham Evening Mail describing him as “Rextacy”, illustrating the intensity of the fan response surrounding T. Rex. The supplied portion concludes by comparing Bolan with David Bowie, with the article continuing onto another page. CONTEXT AND NOTES The clipping provides a contemporary American perspective on the emerging British glam-rock movement. Rather than examining T. Rex in isolation, the writer places the group alongside David Bowie, Roxy Music and Silverhead as examples of a scene in which visual presentation had become increasingly important. The accompanying photograph is captioned “T. REX: Marc Bolan, the hottest property in British pop music, as he appeared at the Warehouse this Fall.” The image shows a performer on stage with a guitar, linking the article back to T. Rex's appearance at New Orleans' Warehouse. The feature is particularly useful as a contemporary record of how American writers were attempting to define British glam rock in 1972 and how strongly Marc Bolan was associated with the movement. FEATURE HIGHLIGHTS Event: Examination of the emerging glamour-rock movement Era: 1972 The Slider era Tone: Analytical, provocative and observational Photography: Large live concert photograph captioned as Marc Bolan appearing at the Warehouse during the autumn WHAT THE CLIPPING SHOWS • Feature headed “Glamour Rock – The New Wave” • T. Rex discussed alongside David Bowie, Roxy Music and Silverhead • Assessment of The Slider and T. Rex's musical approach • Discussion of Marc Bolan's visual image and unconventional lyrics • Live photograph from T. Rex's Warehouse appearance 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 extensive album review examines T. Rex and The Slider during the height of Marc Bolan's success. Writer David Sterritt concentrates on Bolan's distinctive songwriting, imagery and electric sound, presenting T. Rex as music built around fantasy, deliberately unusual language and the powerful pull of amplified guitars. Publication: Salisbury Evening Post Date: November 30, 1972 Country: United States Written by David Sterritt of the Christian Science Monitor News Service, the feature opens simply with “Marc Bolan is T. Rex.” From there, the review examines the distinctive qualities that Sterritt believes separate Bolan and T. Rex from conventional rock music. The article describes Bolan as a performer whose songs are filled with unusual fantasy imagery. References are made to figures including wizards, dragons and other characters inhabiting the private imaginative world expressed through the songs. Sterritt suggests that listeners looking for conventional storytelling may find Bolan's lyrics difficult to interpret, but argues that straightforward meaning is not necessarily the point. Bolan's own comments are used extensively throughout the feature. He describes himself as “a warrior” and discusses the importance of communication with the audience. The article portrays Bolan as someone less interested in explaining every lyrical image than in allowing listeners to react instinctively to the sound, words and atmosphere. The review then turns directly to The Slider, described as an “Electric Warrior.” Sterritt discusses the album's combination of mystical lyrical imagery and electric rock, drawing attention to the contrast between Bolan's imaginative writing and the increasingly amplified sound of T. Rex. Several songs are mentioned throughout the piece, including “Metal Guru”, “Mystic Lady”, “Rock On”, “Telegram Sam”, “Rabbit Fighter”, “Ballrooms Of Mars”, “Main Man”, “The Slider” and “Baby Strange.” These examples are used to illustrate Bolan's unconventional language and the range of characters, images and phrases that populate the record. The article also discusses Bolan's interest in technology and recording. Bolan explains that he enjoys experimenting in the studio, while stressing that technology remains a tool rather than an end in itself. Sterritt ultimately presents the appeal of T. Rex as something instinctive rather than easily analysed. The article suggests that Bolan's music succeeds through its mixture of rhythm, electric guitars, imaginative language and the distinctive personality at its centre. CONTEXT AND NOTES The clipping provides an unusually detailed contemporary American assessment of Marc Bolan and The Slider. Rather than treating T. Rex purely as a chart phenomenon, Sterritt attempts to understand the ideas, language and approach behind Bolan's songs. Bolan's own comments are central to the article, particularly his statements about fantasy, audience communication and recording. The feature repeatedly contrasts attempts to interpret his words literally with Bolan's preference for imagination and instinct. The result is a substantial snapshot of how The Slider and T. Rex were being interpreted by an American newspaper audience during 1972. FEATURE HIGHLIGHTS Event: Detailed review and examination of The Slider Era: 1972 The Slider era Tone: Analytical, descriptive and inquisitive Photography: No artist photograph appears within the supplied clipping; the article is presented as a multi-column record review WHAT THE CLIPPING SHOWS • Feature headed “Jubilant Wails Of Amplified Strings Call Out To Fans Of T. Rex” • David Sterritt's assessment of Marc Bolan and The Slider • Extensive discussion of Bolan's fantasy-based lyrics and songwriting • References to “Metal Guru”, “Telegram Sam”, “Ballrooms Of Mars”, “The Slider” and other tracks • Marc Bolan discussing audience communication, imagination and studio technology 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 striking full‑page Music Star concert advertisement promoting T. Rex’s Christmas 1972 appearances at the Sundown venues in Edmonton and Brixton. Published at the height of Bolanmania, the advert places T. Rex alongside many of the era’s leading rock acts while promoting two special festive performances scheduled for December 22 and 23. Publication: Music Star Date: December 1972 Country: United Kingdom This full‑page advert promotes the December programme of concerts presented at the various Sundown venues, featuring an impressive line‑up of major British rock acts. Dominating the centre of the page is the announcement for T. Rex, advertising two special Christmas performances. The advert lists: Sundown Edmonton – Friday December 22 Sundown Brixton – Saturday December 23 Two performances at Brixton – 5.00pm and 8.30pm Surrounded by artwork depicting clouds floating above a stylised landscape, T. Rex share the page with a diverse range of leading artists including The Faces, Hawkwind, Argent, Genesis, Status Quo, Mick Greenwood Band, Osibisa, Stray, Electric Light Orchestra with Velvet Underground, Home, and Amon Düül. The advert reflects T. Rex’s continued drawing power at the end of 1972, a year which had seen Marc Bolan remain at the forefront of British popular music following a succession of major singles and sold‑out tours. CONTEXT AND NOTES This advertisement provides useful supporting evidence for dating the contemporaneous Music Star Marc Bolan special feature from December 1972. That issue promoted a competition offering readers the chance to attend a T. Rex Christmas concert in London, almost certainly referring to the Sundown Brixton performances advertised here. Published during the peak of Bolanmania, the advert captures the scale of Marc Bolan's popularity and the prominence afforded to T. Rex within the British concert circuit. The Christmas concerts formed part of a busy festive programme featuring many of the country's leading rock attractions. FEATURE HIGHLIGHTS Event: T. Rex Christmas 1972 concerts Era: 1972 – Peak Bolanmania period Tone: Promotional, vibrant, festive Photography: Stylised monochrome concert advertisement featuring cloud‑shaped artist panels and Sundown branding WHAT THE CLIPPING SHOWS T. Rex Christmas concerts at Sundown Edmonton and Sundown Brixton Brixton performances scheduled for 5.00pm and 8.30pm T. Rex featured alongside many major British rock acts December 1972 Sundown concert programme Evidence linking Music Star’s T. Rex Christmas concert competition to the Brixton dates 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 record column by Charles H. Sanders considers the continuing success of T. Rex while looking back at Marc Bolan’s earlier Tyrannosaurus Rex recordings. The piece contrasts Bolan’s glitter-era 1972 image with vintage material from the mid-1960s, highlighting an American reissue containing two early albums. Publication: The Argus Date: November 4, 1972 Country: United States Appearing within Charles H. Sanders’ “rock, jazz, country, vintage” column, the T. Rex item opens by describing the group as a “going concern” on Reprise Records and identifies Marc Bolan as the driving figure behind T. Rex. The article looks back to Bolan’s earlier Tyrannosaurus Rex period before contrasting that music with his contemporary success. By 1972, the writer places Bolan alongside young favourites including Alice Cooper and David Bowie Particular attention is given to Bolan’s appearance. The article describes the glitter surrounding his eyes and the distinctive star positioned at the corner of one eye, reflecting the visual transformation that accompanied the rise of T. Rex. The main record-related focus is a package of vintage Tyrannosaurus Rex material imported from England by A&M Records. The writer explains that the set gathers two early albums, “Prophets, Seers and Sages” and “My People Were Fair and Had Sky in Their Hair.. Sanders notes that the recordings date from an earlier period of Bolan’s career and argues that they provide insight into the influences surrounding the young musician. The article concludes that although the albums belong to an earlier era of pop-rock, there should still be a ready market for the recordings among listeners in the former British colonies. CONTEXT AND NOTES The clipping is particularly interesting because it places two different versions of Marc Bolan side by side: the earlier Tyrannosaurus Rex musician represented by the reissued albums and the glitter-covered T. Rex star familiar to American audiences in 1972. Rather than reviewing a current T. Rex single, Sanders uses archival recordings to examine Bolan’s musical background and development. The piece therefore provides an American contemporary perspective on how dramatically his image and career had changed. A photograph accompanies the column and is captioned “Mark Bolan, of T. Rex”, using the alternative spelling “Mark” in the newspaper caption. FEATURE HIGHLIGHTS Event: American feature on T. Rex and vintage Tyrannosaurus Rex recordings Era: 1972 Bolanmania era Tone: Retrospective and record-focused Photography: Photograph accompanying the article, captioned “Mark Bolan, of T. Rex” WHAT THE CLIPPING SHOWS • T. Rex described as a current success on Reprise Records • Marc Bolan discussed alongside Alice Cooper and David Bowie • Reference to Bolan’s glitter and star eye decoration • Vintage Tyrannosaurus Rex recordings imported by A&M Records • “Prophets, Seers and Sages” and “My People Were Fair and Had Sky in Their Hair...” identified as the two albums in the package • The early recordings presented as an insight into the development 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.

Publication: The Ann Arbor News (Ann Arbor, Michigan) Date: Thursday, November 23, 1972 Page: 88 Author: David Sterritt (Christian Science Monitor Service) A detailed and affectionate profile of Marc Bolan during the peak of T.Rex-mania in late 1972. The article presents Bolan as a Peter Pan-like figure in rock — a popstar who retains a childlike wonder, fragility, and playful spirit even as he commands massive audiences and commercial success “Popstar T. Rex Stays A Child” Singer-Entertainer Marc Bolan Key Content Notable Mentions The piece opens with a vivid description of Bolan’s delicate, almost feminine features on the The Slider album jacket, noting how his face seems ready to “crack” or break at any moment. It explores his charismatic yet mysterious personality, his hotel suite interviews filled with smiles, and his refusal to conform to typical rock star expectations. Bolan discusses his evolution from Tyrannosaurus Rex to T.Rex, his songwriting process, and his desire to stay connected to his inner child. He reflects on fame, creativity, and performing, describing himself as an “Electric Warrior.” The article also touches on his earlier whimsical imagery (“Dragon’s Earl,” “First Heart Mighty Dawn Dart”) and his current hits. Bolan is portrayed as both a glamorous rock idol and an eternal child — joyful, imaginative, and slightly elusive. The feature emphasizes his love for performing, his playful approach to interviews, and his belief in keeping a sense of mystery and wonder in rock ‘n’ roll. It captures the magic and cultural phenomenon of T.Rex at the height of their early 1970s success. 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.

Record Mirror looks ahead to the coming year with predictions for the biggest stars of 1973, featuring a prominent photo of Slade and mentions of acts including T. Rex, David Cassidy, the Osmonds, and others. Publication: Record Mirror Date: January 6, 1973 Country: United Kingdom Location: London Section: New Year Predictions / Feature THE STORY The article asks readers and industry figures who they believe will be the stars of 1973. It includes commentary on current acts like Slade (pictured), predictions for continued success or breakthroughs, and reflections on the previous year’s trends. CONTEXT AND NOTES This New Year edition captures the music industry’s optimism at the start of 1973, during the height of the glam rock boom. T. Rex, Slade, and other acts mentioned were central to the era’s sound and cultural impact. FEATURE HIGHLIGHTS Event: New Year predictions feature Era: 1973 (Glam Rock peak) Tone: Forward-looking, speculative, celebratory Photography: Prominent black & white photo of Slade WHAT THE CLIPPING SHOWS Large headline “RM Predicts The New Year Honours” Photo of Slade with caption about their continued success Discussion of potential 1973 stars including David Cassidy, the Osmonds, Jacksons, and references to T. Rex Industry opinions and reader predictions RELATED MATERIAL This January 6, 1973 Record Mirror New Year predictions feature connects with other 1973 T. Rex items including the February 10 tour announcement, March 13 Bravo fan photo, and June 16 Disc cover. For other relevant posts, see the tags at the foot of the page. SOURCES Record Mirror, January 6, 1973 All magazine scans, newspaper cuttings, scrapbook items, photographs and original text excerpts remain the property of their respective copyright holders. This entry is a transformative, non-commercial archival summary created for historical documentation and educational reference.

The March 2, 1973 edition of Melody Maker reviews T. Rex’s new single “20th Century Boy”, praising its high-energy sound and danceable groove. Publication: Melody Maker Date: March 2, 1973 Country: United Kingdom Location: London Section: Single Review THE STORY The review describes the single as full of “nervous energy” with Marc Bolan’s howling vocals, tremolo guitars, and a powerful beat. It notes influences and compares it favourably to previous releases, calling it strong enough to get fans dancing. CONTEXT AND NOTES “20th Century Boy” was one of T. Rex’s biggest and most enduring hits. This early review captures the anticipation and excitement around the release during the peak of their glam rock success. FEATURE HIGHLIGHTS Event: Single review Era: 1973 (T. Rex Glam Rock peak) Tone: Energetic, positive Photography: Text-based review WHAT THE CLIPPING SHOWS Headline “T. REX: ‘20th Century Boy’ (EMI)” Detailed single review highlighting the song’s energy and dance appeal References to Marc Bolan’s vocals and the band’s style Typical compact Melody Maker single review format RELATED MATERIAL March 10, 1973 Melody Maker “Tanx for the memory” album review April 7, 1973 Popswop Marc Bolan cover For other relevant posts, see the tags at the foot of the page. SOURCES Melody Maker, March 2, 1973 All magazine scans, newspaper cuttings, scrapbook items, photographs and original text excerpts remain the property of their respective copyright holders. This entry is a transformative, non-commercial archival summary created for historical documentation and educational reference.

The January 20, 1973 edition of Popswop (No.16) features Marc Bolan on the cover, promoting “crazy colour pics” of top stars including The Osmonds, Gary Glitter, Alice Cooper, and Jeff Beck. Publication: Popswop Date: January 20, 1973 Country: United Kingdom Location: London Section: Front Cover THE STORY The vibrant cover shows Marc Bolan with guitar and curly hair, alongside a bright red box highlighting content such as fashion tips, songwords, and features on other glam and pop stars of the era. CONTEXT AND NOTES This cover appearance reflects Marc Bolan’s massive popularity with the teen audience in early 1973, during the height of T. Rextasy. Popswop was a popular music weekly aimed at younger readers, full of posters, gossip, and song lyrics. FEATURE HIGHLIGHTS Event: Magazine cover feature Era: 1973 (T. Rex Glam Rock peak) Tone: Colourful, teen-oriented, exciting Photography: Striking colour portrait of Marc Bolan with acoustic guitar WHAT THE CLIPPING SHOWS Large “POPS WOP” masthead Prominent colour photo of Marc Bolan holding a guitar Red box promoting “crazy colour pics!” of The Osmonds, Gary Glitter, Alice Cooper, Jeff Beck, and more Teasers for fashion, songwords, and “Pally Popsters” RELATED MATERIAL This January 20, 1973 Popswop cover featuring Marc Bolan connects with other early 1973 T. Rex coverage including the January 6 Record Mirror New Year predictions and the February 10 NME tour announcement. For other relevant posts, see the tags at the foot of the page. SOURCES Popswop No.16, January 20, 1973 All magazine scans, newspaper cuttings, scrapbook items, photographs and original text excerpts remain the property of their respective copyright holders. This entry is a transformative, non-commercial archival summary created for historical documentation and educational reference .

The February 17, 1973 edition of Disc features an in-depth article on Marc Bolan, in which he discusses his music, image, and dismisses any notion of sliding popularity while looking ahead to new material. Publication: Disc Date: February 17, 1973 Country: United Kingdom Location: London Section: Major Feature / Interview THE STORY Marc Bolan talks candidly about his career, recent work, and future plans. CONTEXT AND NOTES This feature appears during a busy period for T. Rex in early 1973, as the band promoted new singles and prepared for further releases and tours. It reflects Bolan’s confidence amid the pressures of stardom. FEATURE HIGHLIGHTS Event: In-depth artist interview Era: 1973 (T. Rex Glam Rock peak) Tone: Direct, confident, reflective Photography: Black & white portrait of Marc Bolan WHAT THE CLIPPING SHOWS Bold headline “Marc Bolan is no Slider” Large photo of Marc Bolan Extensive interview text covering his views on music, success, and the future Byline and typical 1970s music weekly layout RELATED MATERIAL February 1, 1973 Circus Magazine interview February 10, 1973 NME tour announcement February 17, 1973 Disc “Twentieth Century Boy” announcement and fan letter March 13, 1973 Bravo fan photo with Bolan and Finn For other relevant posts, see the tags at the foot of the page. SOURCES Disc, February 17, 1973 All magazine scans, newspaper cuttings, scrapbook items, photographs and original text excerpts remain the property of their respective copyright holders. This entry is a transformative, non-commercial archival summary created for historical documentation and educational reference.

This Rex Reed feature centres on Ringo Starr’s activities beyond The Beatles, but contains an important section on Marc Bolan and T. Rex. Starr discusses producing Born To Boogie, describes his friendship with Bolan, and explains why the T. Rex star represented a return to genuine show-business glamour. Publication: The San Francisco Examiner Date: December 31, 1972 Country: United States Written by Rex Reed, the article examines Ringo Starr’s move into film production and business following The Beatles. Within that wider story, Marc Bolan receives substantial attention through Starr’s discussion of his new rock documentary, Born To Boogie. The article states that Apple Films, with Starr as managing director, had produced Born To Boogie, described as a documentary constructed around a Marc Bolan concert together with recording sessions. Starr describes Bolan as representing a different generation and explains that the documentary grew from their friendship. Starr recalls initially approaching Bolan about another film project that did not proceed, but says the pair became friendly and eventually developed the idea for Born To Boogie. The feature also provides a direct connection between Starr and T. Rex’s contemporary music. Starr says that Starr played with T. Rex and Elton John on Marc Bolan’s new single, “Children Of The Revolution”, and describes the experience as helping strengthen their friendship. Starr speaks particularly warmly about Bolan’s approach to celebrity. The article reports Starr’s view that Bolan represented “a return to show business glamour.” Starr contrasts Bolan’s flamboyant lifestyle with Starr’s own preference for staying at home, pointing to Bolan’s parties and extravagant image as part of the appeal surrounding the T. Rex star. Bolan is also placed alongside David Bowie as part of a new generation of rock personalities. Starr suggests that contemporary stars such as Bolan and Bowie had brought back a sense of movie-star spectacle and theatricality that Starr believed had been missing from rock. CONTEXT AND NOTES Although the principal subject of the article is Ringo Starr, the feature provides an important contemporary account of Starr’s friendship and creative association with Marc Bolan. The discussion of Born To Boogie is particularly significant within the clipping. Starr describes the project as a rock documentary based around Marc Bolan, combining concert material with recording sessions and reflecting the friendship that developed between Starr and Bolan. The article also captures how Bolan’s image was perceived at the end of 1972. Through Starr’s comments, Bolan emerges as a performer who had restored glamour, flamboyance and a larger-than-life personality to rock music. FEATURE HIGHLIGHTS Event: Ringo Starr discusses Marc Bolan and Born To Boogie Era: 1972 Bolanmania era Tone: Personal, admiring and reflective Photography: Large photograph of Ringo Starr accompanying the feature WHAT THE CLIPPING SHOWS • Ringo Starr discussing the production of Born To Boogie • Starr describing a friendship that developed with Marc Bolan • Reference to Starr performing with T. Rex and Elton John on “Children Of The Revolution” • Bolan described as representing a return to show-business glamour • Marc Bolan and David Bowie discussed as part of a new generation of rock personalities 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.