The April 14, 1973 edition of Sounds magazine features a full-page promotional advertisement for the film Born to Boogie, starring Marc Bolan & T. Rex, with Ringo Starr and Elton John. Publication: Sounds Date: April 14, 1973 Country: United Kingdom Location: London Section: Film Promotion / Full-Page Advertisement THE STORY The dramatic advert promotes the Apple Films production Born to Boogie, showcasing a striking image of Marc Bolan riding a tiger. It highlights a free large coloured poster offer with the May edition of the film review and lists nationwide cinema screenings. CONTEXT AND NOTES Born to Boogie, directed by Ringo Starr, captured T. Rex at the absolute height of their fame. This advert reflects the massive cross-media promotion surrounding the band in spring 1973, blending their music success with film and visual spectacle. FEATURE HIGHLIGHTS Event: Film promotional advertisement Era: 1973 (T. Rex Glam Rock peak) Tone: Bold, glamorous, exciting Photography: Iconic image of Marc Bolan riding a tiger with repeating motifs WHAT THE CLIPPING SHOWS Large title “Born to Boogie” with Marc Bolan on a tiger Text “Don’t miss ‘The Boogie Film of the Century’” Starring credits: T.REX • MARC BOLAN • RINGO STARR • ELTON JOHN Cinema listing dates and venues across the UK Offer for a large coloured Marc Bolan poster RELATED MATERIAL January 20, 1973 Popswop magazine cover February 1, 1973 Circus Magazine interview February 10, 1973 NME tour announcement February 17, 1973 Disc and Record Mirror features March 3, 1973 Melody Maker “The Godfathers of Rock” and “20th Century Boy” advert 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 Sounds, April 14, 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 April 25, 1973 edition of The Evening News and Star features a cinema advertisement for the film Born to Boogie starring Marc Bolan & T. Rex with Ringo Starr, promoting upcoming screenings and a free full-colour Marc Bolan poster. Publication: The Evening News and Star Date: April 25, 1973 Country: United Kingdom Location: Carlisle / UK Section: Cinema Advertisement THE STORY The advert announces Born to Boogie is now showing at the ABC Cinema in Carlisle with specific screening times. It also promotes the companion film Laurel & Hardy’s Laughing 20’s and offers a free full-colour poster of Marc Bolan with the May edition of Film Review. CONTEXT AND NOTES Born to Boogie, directed by Ringo Starr, documented T. Rex at the height of their fame. This local cinema ad reflects the widespread theatrical release of the film across the UK in spring 1973 and the continued merchandising around Marc Bolan. FEATURE HIGHLIGHTS Event: Film cinema advertisement Era: 1973 (T. Rex Glam Rock peak) Tone: Promotional, exciting Photography: Text-based film strip style advert WHAT THE CLIPPING SHOWS ABC Cinema header with film strip design Bold text “NOW SHOWING MARC BOLAN :: T.REX :: RINGO STARR” Screening times for Born to Boogie and the Laurel & Hardy film Offer for a free full-colour Marc Bolan poster RELATED MATERIAL April 7, 1973 Popswop Marc Bolan cover April 14, 1973 Sounds “Born to Boogie” film advert April 25, 1973 The Evening News and Star “Born to Boogie” cinema ad For other relevant posts, see the tags at the foot of the page. SOURCES The Evening News and Star, April 25, 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 31, 1973 edition of Billboard magazine features a full-page promotional advertisement for Flo & Eddie (Mark Volman and Howard Kaylan) on tour with the Alice Cooper Show, promoting their single “Afterglow” and upcoming live dates. Publication: Billboard Date: March 31, 1973 Country: United States Location: USA Section: Advertising / Tour Promotion THE STORY The fun, cartoon-style advert shows Flo & Eddie in a playful train window pose with the tagline “Catch Us If You Can.” It lists an extensive US tour schedule supporting Alice Cooper and promotes their new single “Afterglow” from the Reprise Records album. CONTEXT AND NOTES Flo & Eddie (formerly of The Turtles) were a popular live act in the early 1970s, known for their high-energy performances and humor. This tour with Alice Cooper placed them in the midst of the glam and rock theatre scene that T. Rex was also part of during the same period. FEATURE HIGHLIGHTS Event: Tour & single promotion Era: 1973 (Early 70s Rock / Glam era) Tone: Playful, promotional, fun Photography: Humorous black & white photo of Flo & Eddie WHAT THE CLIPPING SHOWS Large stylized “Flo & Eddie” logo Playful photo of the duo leaning out of a train window Full list of 1973 US tour dates with Alice Cooper Promotion for the single “Afterglow” on Reprise Records RELATED MATERIAL 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 Billboard, March 31, 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.

On March 15 1973, BBC’s Top of the Pops (Episode 481) used T. Rex’s powerful new single “20th Century Boy” as the backing track for the entire Top 30 chart rundown — one of the most memorable uses of a glam rock anthem on the show. BROADCAST DETAILS Show: Top of the Pops Date: Thursday, March 15 1973 (broadcast at 18:45) Host: Noel Edmonds Status: Wiped (no surviving footage) Key Feature: “20th Century Boy” played over the full Top 30 chart rundown (Chart Position #3) PERFORMANCES FEATURED T. Rex – 20th Century Boy (Played Over Charts, #3) Gilbert O’Sullivan – Get Down (Mimed, #30) Cliff Richard – Power To All Our Friends (Mimed repeat, #13) Roxy Music – Pyjamarama (Mimed, #31) White Plains – Step Into A Dream (Mimed, #21) The O’Jays – Love Train (Pan’s People Dance Routine, #28) Shirley Bassey – Never, Never, Never (Mimed repeat, #20) Timmy Thomas – Why Can’t We Live Together (Mimed, #23) Slade – Cum On Feel The Noize (Mimed, #1) Kenny – Heart Of Stone (Audience Dancing, #19) CREDITS Presenter: Noel Edmonds Producer: Johnnie Stewart Director: Johnny Pearson Choreographer: Flick Colby THE STORY Even without a live studio appearance, Marc Bolan and T. Rex dominated the episode through the thunderous riff of “20th Century Boy” powering the chart countdown. This was peak glam rock television — capturing the energy of 1973 when T. Rex, Slade, and Roxy Music ruled the airwaves. CONTEXT & NOTES This wiped episode remains a legendary entry in Top of the Pops history among glam fans. “20th Century Boy” — one of T. Rex’s heaviest and most enduring hits — perfectly soundtracked the chart rundown, giving the broadcast an unmistakable glam edge. RELATED MATERIAL T. Rex – “20th Century Boy” (1973 Single) T. Rex – Tanx (1973 Album) For other relevant posts, see the tags at the foot of the page. SOURCES Wikipedia, Discogs, BBC Charts, TOTP Archive, and 45cat. All single 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.

A historic one-night collision of glam and orchestral rock, captured by the only professional photographer in the room. SOURCE DETAILS Publication / Venue: Artist Archive / Liner Notes Date: April 10, 1973 (Event) / 2003 (Reissue Context) Format: News Note + Release Context Provenance Notes: Verified via ELO 2 – First Light Series (Harvest / EMI) and Gary Merrin’s own commentary. THE STORY Gary Merrin recalls being fully prepared for a “guest” appearance — but nothing matched the eruption of screams when Marc Bolan walked onstage. With no restrictions on movement or flash, Merrin captured the moment from every vantage point, including shots with the audience glowing behind the performers. For decades, the photographs circulated quietly among collectors, gaining a reputation as some of the most important visual documents of ELO’s early years. Their rarity and intimacy made them essential to fans of both ELO and Bolan. The 2003 ELO 2 – First Light Series reissue brought the story full circle. The expanded edition included early takes, BBC sessions, and — crucially — tracks featuring Marc Bolan on twin lead guitar, formally acknowledging his role in the band’s studio history. This connection between the Watford performance and the studio recordings reframed the event as more than a one‑off cameo: it became part of a broader creative relationship between Bolan and ELO during a formative period. CONTEXT & NOTES This appearance occurred during a highly creative period for both artists. The moment gained even greater significance in 2003 when EMI released the expanded ELO 2 – First Light Series. The reissue formally credited Marc Bolan on several tracks (including “Auntie (Ma-Ma-Ma Belle)” and “Mambo”), linking the live guest spot to his studio contributions with the band. FEATURE HIGHLIGHTS • Gary Merrin: the only professional photographer at ELO’s Watford Town Hall concert • Marc Bolan’s surprise appearance on “Roll Over Beethoven” • Unrestricted flash photography capturing rare angles and crowd energy • Photos later became “legendary” among ELO and Bolan collectors • The 2003 ELO 2 – First Light Series reissue formally credits Marc Bolan on multiple tracks WHAT THE CLIPPINGS SHOW A two-page spread featuring lyrics to “Everyone’s Born to Die” alongside striking live photographs of Marc Bolan performing with ELO. The images show Bolan on stage with Jeff Lynne and the band, captured with dramatic flash and high energy. 003 REISSUE – ELO 2 (First Light Series) ELO – ELO 2 (First Light Series) Label: Harvest / EMI Year: 2003 Format: 2 × CD Limited Edition Reissue, Remastered Catalogue Numbers Harvest – 7243 5 43328 2 1 Harvest – 543 3282 EMI – 7423 5 43329 2 0 (UK limited edition) Content CD 1: Full ELO 2 album + bonus tracks and “The Elizabeth Lister Observatory Sessions” CD 2 (The Lost Planet): BBC sessions, early takes, and rare material Total Running Time: 124:15 Marc Bolan Credits Twin lead guitar on: “Auntie” (Ma-Ma-Ma Belle Take 1) “Auntie” (Ma-Ma-Ma Belle Take 2) “Mambo” (Dreaming of 4000 Take 1) Line-up Highlights Jeff Lynne, Bev Bevan, Richard Tandy, Michael de Albuquerque, Wilf Gibson, Mike Edwards, Colin Walker Guest: Marc Bolan (guitar) Roy Wood & Carl Wayne (on selected tracks) RELATED MATERIAL ELO 2 – First Light Series (2003) Marc Bolan guest appearances, 1972–1973 BBC sessions and early ELO archival releases For other relevant posts, see the tags at the foot of the page. All magazine artwork, 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 April 7, 1973 edition of Popswop (No.27) features Marc Bolan on the front cover in a striking colour photograph, capturing him mid-performance in a sparkly pink jacket. Publication: Popswop Date: April 7, 1973 Country: United Kingdom Location: London Section: Front Cover THE STORY The vibrant cover shows Marc Bolan looking upwards with an intense expression, surrounded by colourful teasers about pop stars, fashion, dreams, and other features including David Bowie, Roy Wood, and more. CONTEXT AND NOTES Early 1973 Teen pop magazines like Popswop frequently put Marc Bolan on the cover to appeal to their young readership, reflecting his enormous popularity as a glam rock pin-up idol. FEATURE HIGHLIGHTS Event: Magazine cover feature Era: 1973 (T. Rex Glam Rock peak) Tone: Colourful, exciting, teen-oriented Photography: Large full-colour action portrait of Marc Bolan WHAT THE CLIPPING SHOWS Bold “POPSWOP” logo across the top Large central photo of Marc Bolan in a sparkly pink jacket Multiple teaser headlines about models, dreams, David Bowie, Roy Wood, and more Issue details (No.27, 5p) and typical early-70s pop magazine design RELATED MATERIAL November 17, 1973 Melody Maker “Truck On (Tyke)” single advert November 24, 1973 Music Star “We Meet The New Marc At Last!!” cover December 22, 1973 Melody Maker “Truck Off” tour advertisement For other relevant posts, see the tags at the foot of the page. SOURCES Popswop, April 7, 1973 All magazine scans, newspaper cuttings, scrapbook items, photographs and original text excerpts remain the property of their respective copyright holders. This entry is a transformative, non-commercial archival summary created for historical documentation and educational reference.

The July 1973 issue of Creem magazine features Janis Schacht’s in-depth article “The Bowie-Bolan Battle,” exploring the rivalry and complicated relationship between Marc Bolan and David Bowie. Publication: Creem Magazine Date: July 1973 Country: United States Location: USA Section: Music Feature THE STORY The article details the early friendship between Bolan and Bowie, their diverging careers, public jabs (Bolan calling Bowie a “lame brain” and Bowie retorting that Bolan is “prissy and fey”), and the broader context of their competition in the glam rock scene. It includes quotes, historical background from 1969 onward, and reflections on their respective rises to fame. CONTEXT AND NOTES This piece captures the peak glam rock era when Bolan and Bowie were frequently compared and contrasted. Written by Janis Schacht, it provides a detailed American perspective on the personal and professional tensions between the two British stars. FEATURE HIGHLIGHTS Event: In-depth artist rivalry feature Era: 1973 (T. Rex / Ziggy Stardust Glam Rock era) Tone: Analytical, gossipy, detailed Photography: Striking close-up portraits of Marc Bolan and David Bowie WHAT THE CLIPPING SHOWS Bold headline “The Bowie-Bolan Battle” with dramatic quotes Large close-up portrait of Marc Bolan Extensive article text covering their history and rivalry Additional photo of David Bowie with guitar RELATED MATERIAL March 2, 1973 Melody Maker “20th Century Boy” single review 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 Creem Magazine, July 1973 (by Janis Schacht) 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 3, 1973 edition of Melody Maker reviews T. Rex’s new single “20th Century Boy”, describing it as a high-energy track with Marc Bolan’s signature howling vocals and driving rhythm. Publication: Melody Maker Date: March 3, 1973 Country: United Kingdom Location: London Section: Single Reviews THE STORY The review highlights the song’s powerful guitars, Marc Bolan’s vocal delivery, and its infectious, danceable energy. It notes the “gang awa’” feel and compares elements to earlier T. Rex hits while praising its overall impact. CONTEXT AND NOTES “20th Century Boy” became one of T. Rex’s most iconic and successful singles. This review, published alongside the single’s promotional push, reflects the continued high anticipation for new T. Rex material at the peak of their glam rock dominance. FEATURE HIGHLIGHTS Event: Single review Era: 1973 (T. Rex Glam Rock peak) Tone: Energetic, positive Photography: Text-based review WHAT THE CLIPPING SHOWS “T. REX - ‘20th Century Boy’ (EMI)” review heading Detailed commentary on the song’s sound, vocals, and groove Placement within the weekly singles review column Surrounding reviews of other artists (Jimmy Stevens, Lou Reed, etc.) RELATED MATERIAL February 17, 1973 Record Mirror “The Starmakers No. 3: Tony Visconti” March 2, 1973 Melody Maker “20th Century Boy” single review (earlier mention) March 10, 1973 Melody Maker “Tanx for the memory” album review March 11, 1973 BRAVO Essen concert review For other relevant posts, see the tags at the foot of the page. SOURCES Melody Maker, March 3, 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 13, 1973 edition of Bravo Magazine features a photograph of 16-year-old Irmgard Pilger from Frankfurt with Marc Bolan and Mickey Finn after a BBC live show, where the two band members signed autographs for her. Publication: Bravo Date: March 13, 1973 Country: Germany Location: Munich Section: Pop / Fan Feature THE STORY The image shows Irmgard Pilger proudly holding signed items alongside Marc Bolan and Mickey Finn. The accompanying text describes her trip from Frankfurt to London to attend a BBC live performance by T. Rex, after which she received personal dedications in her autograph album from both musicians. CONTEXT AND NOTES This charming fan-focused piece reflects the intense popularity of T. Rex in Germany during the height of their glam success. Bravo, as the leading German teen magazine, frequently covered the band and their dedicated young fanbase across Europe. FEATURE HIGHLIGHTS Event: Fan meet-and-greet / BBC show coverage Era: 1973 (T. Rex Glam Rock peak) Tone: Fan-friendly, celebratory Photography: Black & white group photo of Marc Bolan, Irmgard Pilger, and Mickey Finn WHAT THE CLIPPING SHOWS Black & white photograph of Marc Bolan, Irmgard Pilger (16), and Mickey Finn Irmgard holding autographed items German text describing her journey from Frankfurt to London for the BBC show and receiving personal dedications RELATED MATERIAL This March 13, 1973 Bravo Magazine feature showing Marc Bolan and Mickey Finn with a young fan connects with other 1973 T. Rex press items, including the February 10 tour announcement and June 16 Disc cover. For other relevant posts, see the tags at the foot of the page. SOURCES Bravo Magazine, March 13, 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.

Personal scrapbook page preserving original memorabilia from a T. Rex concert at Brixton Sundown on December 23, 1972, including a London Theatre Bookings receipt, postal order counterfoil and surviving pieces of concert confetti. Publication: Personal Concert Memorabilia Date: December 23, 1972 Country: United Kingdom This scrapbook page documents attendance at a T. Rex concert at Brixton Sundown on December 23, 1972. At its centre is a space originally intended for a ticket, accompanied by a handwritten note reading “I was there!” The page also preserves a London Theatre Bookings receipt showing a payment of £2.50 including booking fee, together with a postal order counterfoil dated 4‑12‑72. Scattered around the page are surviving pieces of green concert confetti collected during the show, transforming ordinary event ephemera into a unique personal record of the evening. A small photograph of Marc Bolan and another image associated with T. Rex have also been added to the layout, helping capture the atmosphere of the period. Context and Notes Original concert memorabilia rarely survives in such a personal form. While tickets are often discarded after an event, this page preserves several elements connected with attending the concert, including booking records and stage confetti. Together they create a first‑hand snapshot of the T. Rex live experience during the height of Bolanmania. Feature Highlights Event: T. Rex live concert at Brixton Sundown Era: 1972 – Peak Bolanmania period Tone: Personal, nostalgic and documentary Photography: Scrapbook layout featuring small contemporary images and preserved concert memorabilia What the Clipping Shows Brixton Sundown concert date label: December 23, 1972 London Theatre Bookings receipt showing payment details Postal order counterfoil dated 4‑12‑72 Original concert confetti collected from the event Handwritten note reading “I was there!” Publication: New Musical Express (NME) Date: December 30, 1972 Country: United Kingdom This NME feature forms part of the paper’s “Front Row Reviews” section and focuses on T. Rex’s special Christmas concert performances. Accompanied by a large photograph of Marc Bolan taken at Edmonton Sundown, the article reviews the group’s live appearances during the holiday season as Bolan continued his reign as Britain’s biggest glam‑rock star. The accompanying reviews assess the band’s stage performance, audience reaction and the continuing appeal of songs such as Telegram Sam, Metal Guru, Get It On, and other staples of the T. Rex catalogue. Reviewers discuss the atmosphere surrounding the concerts, the enthusiasm of the audience and Bolan’s growing status as a major live attractio The feature presents a snapshot of a group operating at peak popularity, combining chart success with a powerful live reputation. The photograph of Bolan on stage, illuminated by star‑shaped lighting, reinforces the larger‑than‑life image that had become synonymous with T. Rex throughout 1972. Context and Notes Published at the end of 1972, this feature documents T. Rex during one of the most successful periods of Marc Bolan’s career. The year had seen the continuing success of The Slider, a string of hit singles, and the growing phenomenon of Bolanmania. NME’s coverage reflects the band's dominance within British popular music as the year came to a close. Feature Highlights Event: T. Rex Christmas concert reviews Era: 1972 – Peak Bolanmania period Tone: Critical, celebratory and observational Photography: Large black‑and‑white concert photograph of Marc Bolan performing at Edmonton Sundown What the Clipping Shows NME “Front Row Reviews” coverage of T. Rex Christmas concerts Marc Bolan photographed performing at Edmonton Sundown Reviews of the festive T. Rex live shows Discussion of audience reaction and stage performance Coverage published at the close of T. Rex’s breakthrough year 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 Hammersmith and Shepherds Bush Gazette feature reviews Born To Boogie, the Marc Bolan and T. Rex film made by Ringo Starr. The short piece presents the film as a celebration aimed firmly at Bolan's audience, combining footage from the Wembley concerts with recording-studio material and fantasy sequences. Publication: Hammersmith and Shepherds Bush Gazette / Shepherds Bush Gazette, Hammersmith Post Date: December 28, 1972 Country: United Kingdom Published under the headline “Bolan boogie”, the article opens by making clear that Born To Boogie has little connection with the boogie-woogie music of the 1950s. Instead, the newspaper describes it as a thoroughly modern film in which Marc Bolan and friends provide the music. The feature identifies Ringo Starr as the person behind the film and explains that Born To Boogie features Bolan and T. Rex in several different settings. These include footage from the group's Wembley concert, scenes filmed in the recording studios, and a selection of fantasy sequences. The writer describes the production as a film made specifically for Bolan fans and notes that Bolan himself regards it as a statement of what he had achieved since first attracting major attention within the music press. The newspaper then summarises that success in straightforward terms: eight hit singles and sell-out London concerts, followed by a star-filled film created with Bolan's exceptionally strong audience in mind. The article concludes by noting that distributors were wasting no time in bringing the film to Bolan's followers. At the time the piece appeared, Born To Boogie had received only a brief showing in London's West End. CONTEXT AND NOTES The clipping presents Born To Boogie primarily as a film for the established Marc Bolan and T. Rex audience. Its emphasis is not on detailed film criticism, but on the combination of concert footage, studio sequences and fantasy material used to document the phenomenon surrounding Bolan. The article also places the film within the context of Bolan's achievements up to the end of 1972, specifically noting eight hit singles and sell-out London concerts. The involvement of Ringo Starr is given prominent attention, while the Wembley performances are identified as a central element of the film. FEATURE HIGHLIGHTS Event: Newspaper feature on Born To Boogie Era: 1972 T. Rex / Bolanmania era Tone: Positive and concise Photography: No photograph appears in the supplied clipping; the item consists entirely of text WHAT THE CLIPPING SHOWS • Feature titled “Bolan boogie” • Discussion of Born To Boogie and Ringo Starr's involvement • Reference to T. Rex's Wembley concert footage, recording-studio scenes and fantasy sequences • Recognition of Marc Bolan's eight hit singles and sell-out London concerts • Description of the film as being made firmly with Bolan's audience in mind 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 South Wales Argus feature by Peter Jones assesses Marc Bolan’s position in British pop at the end of 1972. While acknowledging the arrival of new stars including David Bowie, Slade, Mott The Hoople, The Osmonds and David Cassidy, the article argues that Bolan remained among the leaders and gives him space to respond directly to comparisons with his increasingly successful rivals. Publication: South Wales Argus Date: December 23, 1972 Country: Wales Under the headline “Bolan is still with the leaders”, Peter Jones looks back over the dramatic changes in British pop since Marc Bolan and T. Rex first generated mass teenage excitement. The article notes that around eighteen months earlier Bolan had dominated the teenybopper scene, but by the end of 1972 a larger group of artists were competing for attention. Among the names mentioned are The Jacksons, The Osmonds, David Bowie, David Cassidy, Slade and Mott The Hoople. Despite this expanding field, the article states that Marc Bolan remained among the leading performers. Bolan addresses the idea of rivalry directly. Asked about competitors for the teenage audience, he dismisses comparisons with David Cassidy and Donny Osmond, arguing that they occupy a different musical field because they do not write their own songs. Bolan’s comments concentrate instead on songwriting and artistic ability as the qualities by which performers should be judged. David Bowie receives a more substantial response. Bolan says it is too early to place Bowie in exactly the same class as T. Rex, but makes clear that the comment is intended without disrespect. Bolan acknowledges Bowie's record sales while contrasting Bowie's relatively short run of successful records with T. Rex’s longer commercial record. Slade are treated differently again. Bolan recognises their appeal and the direct rock style that keeps audiences excited. Michael Jackson is also singled out, with Bolan acknowledging the ability of the young performer and suggesting a potentially long career. The article then turns to Mott The Hoople, who are described in connection with the fresh direction they had taken after David Bowie became involved in producing their records. The reference places Bolan within a broader picture of British rock in 1972, where several established and emerging acts were competing for attention. Asked whether he worries about running out of ideas, Bolan rejects the suggestion. He describes songwriting as something almost compulsive, saying that he only needs to look around to find countless things worth writing about. The article concludes the Bolan section by suggesting that the following year would be devoted to continuing the Bolan Rock And Roll Circus, with the expectation that this effort would help deal with the growing field of new competitors. CONTEXT AND NOTES The clipping is particularly revealing because it captures Marc Bolan discussing several of his contemporaries at the end of a year in which British popular music had changed dramatically. Rather than presenting every artist as a direct rival, Bolan distinguishes between performers according to songwriting, musical style and career development. David Cassidy and Donny Osmond are separated from his own field, while David Bowie is treated as a more meaningful comparison and Slade are acknowledged for their direct rock appeal. The feature therefore provides a contemporary snapshot of Bolan’s view of his position within the rapidly expanding glam and teen-pop landscape of late 1972. A photograph above the article shows Bolan during a performance and is simply captioned “Marc Bolan.” FEATURE HIGHLIGHTS Event: Marc Bolan discusses his position among the leading pop performers of 1972 Era: 1972 Bolanmania era Tone: Confident, competitive and reflective Photography: Performance photograph of Marc Bolan accompanying the article WHAT THE CLIPPING SHOWS • Peter Jones assessing Marc Bolan’s continuing position among Britain’s leading stars • Bolan responding to comparisons with David Bowie, David Cassidy, Donny Osmond and Slade • References to Michael Jackson and Mott The Hoople • Bolan discussing songwriting and rejecting concerns that he might run out of ideas • Reference to future plans for the Bolan Rock And Roll Circus 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 and exceptionally hostile Daily Mirror review takes aim at Born To Boogie, the Marc Bolan and T. Rex film produced and directed by Ringo Starr. Rather than celebrating the intensity of Bolanmania captured on screen, the reviewer dismisses the film as overwhelming pop hysteria and attacks both its volume and Starr’s comic appearances. Publication: Daily Mirror Date: December 15, 1972 Country: United Kingdom The review focuses on Born To Boogie, giving the film a U certificate and an Oscar One rating. From the outset, the assessment is firmly negative, with the reviewer describing the film as essentially an extended burst of organised pop hysteria centred on Marc Bolan and T. Rex. The clipping identifies Ringo Starr as both producer and director and notes Starr’s appearances within the film. The reviewer is particularly dismissive of those sequences, describing Starr’s attempts at comedy as unsuccessful. Despite the criticism, the review confirms the substantial amount of music contained within the film, stating that fourteen Marc Bolan songs are featured. This musical content forms the centre of Born To Boogie, but the reviewer regards the sheer volume and intensity of the presentation as a weakness rather than an attraction. To emphasise the complaint about the sound, the article makes a deliberately exaggerated comparison, suggesting that a listener could recreate the experience by sitting inside a galvanised dustbin while several people hammered on its exterior. The final verdict is equally severe. The reviewer characterises the film as a relentless wall of noise and suggests that only an extremely young or undiscerning viewer might find entertainment in it. CONTEXT AND NOTES The clipping provides a striking example of the negative critical reaction that could accompany Marc Bolan’s enormous popularity during 1972. The very qualities that attracted T. Rex fans, including screaming audiences, overwhelming excitement and a performance centred on Bolan, are used by the reviewer as reasons to reject the film. The article nevertheless records several important elements of Born To Boogie: Marc Bolan and T. Rex are the principal attraction, Ringo Starr is credited as producer and director, and the film contains fourteen Marc Bolan songs. Rather than offering a detailed analysis of individual performances, the review concentrates overwhelmingly on the atmosphere of Bolanmania and the volume of the soundtrack. FEATURE HIGHLIGHTS Event: Review of Born To Boogie Era: 1972 Bolanmania era Tone: Highly critical and dismissive Photography: No photograph appears within the supplied review clipping WHAT THE CLIPPING SHOWS • A strongly negative Daily Mirror review of Born To Boogie • Marc Bolan and T. Rex identified as the stars of the film • Ringo Starr credited as producer and director • Confirmation that the film features fourteen Marc Bolan songs • The reviewer attacking the volume and atmosphere of the film 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 festive Sunday Mirror picture feature highlights Marc Bolan and T. Rex as part of the Christmas television schedule. With a large performance photograph of Bolan dominating the clipping, the newspaper points readers towards a Top of the Pops appearance while noting that the current T. Rex single “Solid Gold, Easy Action” stood at No. 3 in the charts. Publication: Sunday Mirror Date: December 24, 1972 Country: United Kingdom Published under the headline “Bolan gets into the season’s spirit...”, the short Christmas Eve feature uses Marc Bolan and T. Rex as one of the festive attractions available to television viewers. The newspaper playfully suggests that many young fans would like to have this particular “Santa” arrive down their chimney. Instead, readers are told that they would have to settle for seeing their hero Marc Bolan with T. Rex on BBC-1’s Top of the Pops at 2.10. The short item also draws attention to T. Rex's current chart success, identifying “Solid Gold, Easy Action” as the group's latest record and stating that it occupied the No. 3 position in the charts at the time. A large black-and-white performance photograph fills most of the clipping. Bolan is shown performing with an electric guitar while wearing a large light-coloured beard as part of the seasonal presentation. The picture provides the visual joke behind the newspaper's Christmas-themed headline and accompanying text. Decorative stars run around the border of the entire clipping, reinforcing the festive presentation and turning the short television notice into a distinctive Christmas feature. CONTEXT AND NOTES The clipping combines three elements of T. Rex's profile at Christmas 1972: Marc Bolan's recognisable image, a BBC television appearance and the chart success of “Solid Gold, Easy Action.” Rather than providing an interview or lengthy article, the Sunday Mirror uses the seasonal photograph and brief text to promote Bolan as a Christmas television attraction. The reference to the single being at No. 3 also places the appearance alongside T. Rex's continuing chart success at the end of 1972. FEATURE HIGHLIGHTS Event: Christmas Top of the Pops television promotion featuring Marc Bolan and T. Rex Era: 1972 Bolanmania era Tone: Festive, playful and promotional Photography: Large black-and-white performance photograph showing Bolan with electric guitar and a large seasonal beard WHAT THE CLIPPING SHOWS • Feature titled “Bolan gets into the season’s spirit...” • Marc Bolan and T. Rex promoted for BBC-1's Top of the Pops at 2.10 • “Solid Gold, Easy Action” identified as No. 3 in the charts • Large festive performance photograph accompanied by a decorative star border All magazine scans, photographs, and original text excerpts referenced in this entry remain the property of their respective copyright holders. This Chronicle entry is a transformative, non-commercial archival summary created for historical documentation and educational reference. No ownership of the original material is claimed or implied.

This short feature looks back at Marc Bolan’s progression from the underground Tyrannosaurus Rex duo to the chart success of T. Rex. Published as the hits were described as arriving “thick and fast”, the article recalls the early partnership with Steve Peregrine-Took, Mickey Finn’s arrival and Bolan’s development towards a new style of rock music, before promoting T. Rex’s appearance at the Sundown in Edmonton that evening. Publication: Redbridge Guardian and Independent (Wanstead and Woodford ed.) Date: December 22, 1972 Country: United Kingdom Published under the headline “Hits are coming...”, the feature presents a concise account of Marc Bolan’s climb through the music business and the transformation of Tyrannosaurus Rex into T. Rex. The article begins by observing how much had changed since Bolan first began his journey towards show-business success. His earliest period with percussionist Steve Peregrine-Took is recalled, with the pair described as earning a reputation as the underground duo Tyrannosaurus Rex. The feature points to “Deborah” as an important step in their development, stating that the single reached the charts while two unusually titled albums helped expand the duo’s reputation. Bolan’s career continued to progress despite the departure of his original musical partner. The article notes that Mickey Finn replaced Took, marking another stage in the development of the group. The most significant change described in the clipping is musical. Bolan is said to have developed “a new brand of rock music, glitter, hip swinging and all”, with successful records subsequently arriving in rapid succession. By the end of the article, the transformation is complete. Bolan is described as having formed T. Rex, and readers are told that the group could be heard that very evening at the Sundown, Edmonton. CONTEXT AND NOTES The clipping gives readers a compact retrospective of Marc Bolan’s career while simultaneously promoting a contemporary T. Rex appearance. Its emphasis is firmly on progression: the underground Tyrannosaurus Rex partnership, the chart appearance of “Deborah”, the change from Steve Peregrine-Took to Mickey Finn, and finally the emergence of the more flamboyant rock style associated with T. Rex. The article’s description of Bolan’s music as involving “glitter, hip swinging and all” neatly captures how his public and musical image was being characterised by the end of 1972. Rather than focusing on a specific current record, the piece presents Bolan’s entire development as a story of continuing momentum, culminating in the observation that the hits were now arriving “thick and fast”. FEATURE HIGHLIGHTS Event: Career overview leading into a T. Rex appearance at the Sundown, Edmonton Era: 1972 Bolanmania era Tone: Concise, retrospective and promotional Photography: No photograph appears within the supplied clipping WHAT THE CLIPPING SHOWS • Marc Bolan’s progression from Tyrannosaurus Rex to T. Rex • Reference to Steve Peregrine-Took as Bolan’s original musical partner • “Deborah” identified as part of the duo’s early chart success • Mickey Finn replacing Steve Peregrine-Took • Bolan’s new music described through glitter and hip-swinging rock • T. Rex advertised at the Sundown, Edmonton, that evening 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.

New Musical Express reviews T. Rex’s festive “T. Rexmas” concerts, capturing Marc Bolan at the height of Bolanmania as the band closed out a remarkable year of commercial success and live popularity. Publication: New Musical Express (NME) Date: December 30, 1972 Country: United Kingdom This NME feature forms part of the paper’s “Front Row Reviews” section and focuses on T. Rex’s special Christmas concert performances. Accompanied by a large photograph of Marc Bolan taken at Edmonton Sundown, the article reviews the group’s live appearances during the holiday season as Bolan continued his reign as Britain’s biggest glam‑rock star. The accompanying reviews assess the band’s stage performance, audience reaction and the continuing appeal of songs such as Telegram Sam, Metal Guru, Get It On, and other staples of the T. Rex catalogue. Reviewers discuss the atmosphere surrounding the concerts, the enthusiasm of the audience and Bolan’s growing status as a major live attractio The feature presents a snapshot of a group operating at peak popularity, combining chart success with a powerful live reputation. The photograph of Bolan on stage, illuminated by star‑shaped lighting, reinforces the larger‑than‑life image that had become synonymous with T. Rex throughout 1972. Context and Notes Published at the end of 1972, this feature documents T. Rex during one of the most successful periods of Marc Bolan’s career. The year had seen the continuing success of The Slider, a string of hit singles, and the growing phenomenon of Bolanmania. NME’s coverage reflects the band's dominance within British popular music as the year came to a close. Feature Highlights Event: T. Rex Christmas concert reviews Era: 1972 – Peak Bolanmania period Tone: Critical, celebratory and observational Photography: Large black‑and‑white concert photograph of Marc Bolan performing at Edmonton Sundown What the Clipping Shows NME “Front Row Reviews” coverage of T. Rex Christmas concerts Marc Bolan photographed performing at Edmonton Sundown Reviews of the festive T. Rex live shows Discussion of audience reaction and stage performance Coverage published at the close of T. Rex’s breakthrough year 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 Western Daily Press feature announces the London premiere of Marc Bolan’s first film, Born To Boogie. The article describes the 65-minute production as a piece of rock ’n’ roll entertainment and highlights Ringo Starr’s role as producer and director, while also reporting plans for a limited London cinema release on New Year’s Eve.. Publication: Western Daily Press and Times and Mirror Date: December 14, 1972 Country: United Kingdom Published under the headline “Bolan’s Movie, Born To Boogie”, the article reports that Marc Bolan’s first film, Born To Boogie, was receiving its London premiere that evening. The feature describes the film as a 65-minute production starring Marc Bolan and centred on T. Rex. The clipping identifies Ringo Starr as both producer and director for Apple. Rather than presenting Born To Boogie as a conventional feature film, the article uses Bolan’s own description of the project. He characterises it simply as a piece of rock ’n’ roll entertainment and explains that he believes it documents the phenomenon surrounding T. Rex during the previous year. The brief report also looks beyond the premiere to the film’s next stage of release. It states that the Technicolour U-certificate production was due to receive a limited release in six London cinemas on New Year’s Eve. A portrait photograph of Marc Bolan accompanies the article. The caption beneath the photograph again identifies Born To Boogie as a production directed and produced by Ringo Starr. CONTEXT AND NOTES The clipping captures Born To Boogie at the point of its London premiere and provides a concise contemporary explanation of how Marc Bolan viewed the project. Bolan’s own description is central to the article. Rather than assigning a complicated meaning to the film, he presents it as rock ’n’ roll entertainment while acknowledging its role in documenting the extraordinary T. Rex phenomenon of the preceding year. The article also supplies specific contemporary release information, identifying the production as 65 minutes long, in Technicolour, carrying a U certificate, and scheduled for a limited six-cinema London release on New Year’s Eve. FEATURE HIGHLIGHTS Event: London premiere of Born To Boogie Era: 1972 Bolanmania era Tone: Informative and promotional Photography: Portrait photograph captioned Marc Bolan, accompanying the film announcement WHAT THE CLIPPING SHOWS • Announcement of the London premiere of Born To Boogie • Marc Bolan describing the film as rock ’n’ roll entertainment • Ringo Starr credited as producer and director • Running time stated as 65 minutes • Technicolour presentation with a U certificate • Limited release planned for six London cinemas on New Year’s Eve 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 reviews Born To Boogie, with Val Mabbs examining Ringo Starr’s film of Marc Bolan and T. Rex and concluding that the picture works best as a record of the Bolanmania phenomenon rather than as a conventional motion picture. Publication: Record Mirror Publication Date: December 16, 1972 Country: United Kingdom Event Date: December 1972 – UK release of Born To Boogie Written by Val Mabbs, this review assesses Born To Boogie, the Apple Films production directed by Ringo Starr and starring Marc Bolan and T. Rex. The article argues that the film is less a traditional movie and more a filmed T. Rex concert, capturing the excitement and energy generated by Bolan's performances. Mabbs notes that much of the picture centres on concert footage, particularly performances filmed at Wembley, featuring familiar T. Rex favourites including Telegram Sam, Jeepster, Hot Love, and Get It On. The review describes Bolan's stage presence, audience reaction and the atmosphere surrounding the performances as the film's greatest strengths. The article discusses Ringo Starr's role as director, praising the effort to add humour and unusual visual touches throughout the production. While some staged sequences are highlighted, the reviewer ultimately suggests that the strongest moments occur when the camera simply follows Bolan and T. Rex in concert. In addition to the review, the page also contains coverage of the NME 1972 Chart Points Survey, which shows T. Rex placed second overall behind Slade in the publication's ranking of the year's leading chart acts. The accompanying feature, headlined “Beat Off Rex Challenge”, reflects the fierce competition between the two groups throughout 1972. CONTEXT AND NOTES Published during the final weeks of 1972, this page documents both the arrival of Born To Boogie and the continuing commercial dominance of T. Rex. The film captured Marc Bolan at the height of Bolanmania and provided one of the earliest cinematic records of the phenomenon. The inclusion of the chart survey is equally significant, underlining T. Rex's position as one of Britain's biggest acts. Although Slade topped the annual survey, Bolan and T. Rex remained among the most successful and visible artists in British popular music. The page also features a substantial Born To Boogie promotional image using the now‑famous artwork showing Marc Bolan seated on a tiger. FEATURE HIGHLIGHTS Event: Review of Born To Boogie Era: 1972 – Peak Bolanmania period Tone: Analytical, appreciative and observational Photography: Large performance photograph of Marc Bolan on stage, Born To Boogie promotional artwork featuring Bolan on a tiger, and live photographs accompanying the chart survey WHAT THE CLIPPING SHOWS Record Mirror review of Born To Boogie Val Mabbs' assessment of Ringo Starr's direction Discussion of T. Rex concert footage featured in the film References to Telegram Sam, Jeepster, Hot Love and Get It On NME 1972 Chart Points Survey results T. Rex placed second in the annual chart survey Born To Boogie promotional artwork and advertising imagery 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 March 11, 1973 edition of German teen magazine BRAVO reviews T. Rex’s concert at the Grugahalle in Essen, delivering a passionate fan’s perspective on the show while noting some sound Publication: BRAVO Magazine Date: March 11, 1973 Country: Germany Location: Germany Section: Concert Review THE STORY The article, written from a fan’s viewpoint (Sandro), describes the atmosphere of the concert, Marc Bolan’s performance, and the band’s energy. It mentions technical problems with the loudspeakers and sound balance but still celebrates the overall experience, comparing it to T. Rex’s stronger UK shows. CONTEXT AND NOTES T his review captures T. Rex during their European tour in early 1973 at the height of their fame. German teen magazines like BRAVO played a big role in spreading glam rock across Europe, and fan-written pieces like this highlight the intense devotion of their young audience. FEATURE HIGHLIGHTS Event: Concert review Era: 1973 (T. Rex Glam Rock peak) Tone: Fan-driven, honest, enthusiastic Photography: Black & white stage photo of Marc Bolan with guitar + smaller inset photo WHAT THE CLIPPING SHOWS Bold red headline “T. Rex – Konzert in Essen: Götterdämmerung” Large photo of Marc Bolan performing on stage Smaller inset photo of fans/security Detailed German-language review text by a fan RELATED MATERIAL February 1, 1973 Circus Magazine interview February 10, 1973 NME tour announcement February 17, 1973 Disc and Record Mirror features March 2, 1973 Melody Maker “20th Century Boy” single review March 3, 1973 Melody Maker “The Godfathers of Rock” and “20th Century Boy” advert For other relevant posts, see the tags at the foot of the page. SOURCES BRAVO Magazine, March 11, 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 10, 1973 edition of Melody Maker reviews T. Rex’s new album Tanx, reflecting on the band’s continued evolution and Marc Bolan’s songwriting during their glam rock peak. Publication: Melody Maker Date: March 10, 1973 Country: United Kingdom Location: London Section: Album Review THE STORY The review discusses Tanx, noting standout tracks and the album’s overall sound. It includes commentary on Marc Bolan’s creative process, the band’s recent work, and their place in the current music scene. CONTEXT AND NOTES Tanx was released during T. Rex’s dominant period, showcasing a slight shift in sound while maintaining their signature glam appeal. This Melody Maker review captures the critical reception as the band balanced massive commercial success with artistic development. FEATURE HIGHLIGHTS Event: Album review Era: 1973 (T. Rex Glam Rock peak) Tone: Reflective, appreciative Photography: Text-based review with possible accompanying images WHAT THE CLIPPING SHOWS Bold headline “Tanx for the memory” Detailed review of the album Tanx Discussion of Marc Bolan’s songwriting and the band’s direction Commentary on specific tracks and overall production RELATED MATERIAL February 10, 1973 NME tour announcement February 17, 1973 Disc and Record Mirror features March 3, 1973 Melody Maker “The Godfathers of Rock” and “20th Century Boy” advert For other relevant posts, see the tags at the foot of the page. SOURCES Melody Maker, March 10, 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.