This Evening Argus advertisement promotes T. Rex's forthcoming appearance at Brighton Dome during the breakthrough Electric Warrior era. Published one week before the event, the advert presents Marc Bolan and T. Rex as the “Electric Warriors”, reflecting the growing success of the album and the rapidly expanding phenomenon of Bolanmania. Publication: Evening Argus Date: October 20, 1971 Country: United Kingdom Performance: October 27, 1971 This concert advertisement announces a T. Rex performance scheduled for Wednesday, October 27, 1971, at 7.30 p.m. at The Dome, Brighton. Presented by John & Tony Smith, the advertisement prominently promotes the group under the title “Electric Warriors”, linking the concert directly to T. Rex's successful Electric Warrior album. The advert places the name T. REX at the centre of the design, followed by the words “In Concert”. Unlike later advertisements that featured multiple ticket categories, this concert offered a straightforward pricing structure with all seats priced at 60p. Booking information directs prospective concertgoers to the Brighton Dome box office at 29 New Road, Brighton, with advance tickets available through the venue. The simple design reflects the confidence promoters had in T. Rex's drawing power by late 1971. By this point, Marc Bolan had become one of Britain's most talked-about performers and the T. Rex name itself was sufficient to sell tickets without additional promotional material. CONTEXT AND NOTES For Chronicle purposes, the title uses the concert date of October 27, 1971, as the clipping exists specifically to advertise that event. The use of “Electric Warriors” mirrors several other contemporary T. Rex advertisements from autumn 1971, all capitalising on the enormous impact of Electric Warrior. The Brighton Dome was one of the key venues on T. Rex's British concert circuit during the period when Bolanmania was beginning to spread nationally. FEATURE HIGHLIGHTS Event: T. Rex live at Brighton Dome Concert Date: October 27, 1971 Era: Electric Warrior era Tone: Promotional concert advertisement Ticket Price: 60p WHAT THE CLIPPING SHOWS • Advertisement for T. Rex at Brighton Dome • Concert date of October 27, 1971 • Performance time of 7.30 p.m. • T. Rex promoted as “Electric Warriors” • Presented by John & Tony Smith • All seats priced at 60p • Advance booking through Brighton Dome Box Office 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 feature looks ahead to T. Rex’s imminent Australian appearances following the group's American and Far East touring. Published under the headline “Bolan, T. Rex Spectacular”, the item promises an unusually elaborate stage production involving fog machines, dramatic lighting, a special curtain backdrop and even oxy-welders, while reporting that Marc Bolan and T. Rex were due to arrive in Sydney the following Friday. Publication: The Sydney Morning Herald Date: October 28, 1973 Country: Australia THE STORY Appearing in Grant Thompson’s “Glitter Scene” column, the headline announces: “BOLAN, T. REX SPECTACULAR” The article looks forward to Marc Bolan and T. Rex bringing a visually ambitious production to Australia. The newspaper reports plans for fog machines, elaborate lighting and oxy-welders, suggesting that the forthcoming performances could become one of the most visually striking rock productions seen locally. EMI tour organiser Kevin Ritchie is quoted describing some of the band's specific technical requests. According to Ritchie, the production had requested approximately 500 lb of dry ice for each performance. T. Rex were also bringing their own special curtain backdrop for the concerts. MARC BOLAN’S STAGE PRESENTATION The clipping makes clear that the spectacle extended beyond stage equipment. The article draws attention to Marc Bolan’s stage presentation and particularly the wardrobe being brought for the Australian appearances. The combination of costumes, lighting, dry ice, fog and other production effects is presented as an important part of what audiences could expect from the forthcoming T. Rex concerts. The newspaper even suggests that the visual presentation had the potential to be among the most exciting since Yes. HORDERN PAVILION The article specifically promotes a T. Rex appearance at the Hordern Pavilion the following Saturday night. Rather than concentrating solely on the visual spectacle, the piece also promises that audiences would hear recent and established T. Rex hits through the venue’s PA system. Lobby Loyde and The Coloured Balls are named as appearing earlier on the bill. TOURING The feature also reports that Marc Bolan and T. Rex were finishing a tour of Japan. The group were due to arrive in Sydney on Friday, immediately preceding the Australian concert activity discussed in the column. This places the Australian visit within a wider sequence of international touring referenced elsewhere in contemporary T. Rex coverage. THE ELECTRIFYING T. REX ADVERT A separate advertisement reproduced alongside the feature promotes: “the ELECTRIFYING T. REX live in concert” and describes the Australian dates as following record-breaking American and Far East tours. The combination of the advertisement and Grant Thompson’s column reinforces the considerable emphasis being placed on T. Rex as a major international concert attraction. TOP 40 SURVEY The same page contains a 2SM Music Top 40 Survey representing the previous week’s chart positions. Although separate from the T. Rex feature, the chart provides useful contemporary context for the Australian music scene surrounding the visit. Artists visible in the Top 40 include Wings, Dawn featuring Tony Orlando, Suzi Quatro, Cher, Shirley Bassey, The Rolling Stones, Slade, Donny Osmond and Neil Diamond. CONTEXT AND NOTES The clipping provides valuable advance information about the production being prepared for T. Rex’s Australian appearances. Rather than simply advertising a concert date, Grant Thompson reports specific details of the intended staging, including the unusual requirement for 500 lb of dry ice for each performance and the group’s own curtain backdrop. The separate T. Rex advertisement adds further context by promoting the group’s concerts after American and Far East touring. Together, the two items demonstrate that considerable emphasis was being placed on both T. Rex’s international reputation and the theatrical presentation of the forthcoming Australian shows. FEATURE HIGHLIGHTS Event: Preview of T. Rex’s Australian concert appearances Publication Date: October 28, 1973 Column: Glitter Scene Writer: Grant Thompson Era: 1973 T. Rex period Tone: Promotional and anticipatory Production: Fog, lighting, dry ice, curtain backdrop and additional visual effects WHAT THE CLIPPING SHOWS • “Bolan, T. Rex Spectacular” headline • Marc Bolan and T. Rex preparing for Australian appearances • Approximately 500 lb of dry ice requested for each performance • T. Rex bringing a special curtain backdrop • Fog machines, lighting and oxy-welders mentioned as part of the production • Marc Bolan’s stage wardrobe highlighted • Hordern Pavilion identified as a forthcoming concert venue • Lobby Loyde and The Coloured Balls named on the bill • T. Rex reported as finishing a tour of Japan • The group due to arrive in Sydney the following Friday • Separate “The Electrifying T. Rex Live In Concert” advertisement 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 positive Daily Dispatch review gives T. Rex’s The Slider a three-star rating, praising the album as an enjoyable collection of Marc Bolan compositions. The reviewer highlights the established hits “Metal Guru” and “Telegram Sam”, alongside tracks including “Chariot Choogle,” “Baby Boomerang,” “Rock On” and “Ballrooms Of Mars,” before selecting the title track as probably the strongest recording on the album. Publication: The Daily Dispatch Date: October 28, 1972 Country: United States Rating: ★★★ Label: Reprise THE REVIEW The review introduces The Slider as T. Rex’s latest release for the Reprise label and gives the album an enthusiastic assessment. The writer describes it as: “a really nice album with a lot of nice songs by Marc Bolan and company.” Attention is immediately drawn to Bolan’s songwriting, with the review noting that Marc wrote all 13 compositions on the album. Rather than concentrating exclusively on Bolan, the article acknowledges the musicians surrounding him and the production team responsible for the record. T. REX The article identifies the T. Rex musicians appearing on the album as: Marc Bolan Mickey Finn Steve Currie Bill Legend Backing vocals are credited in the review to: Howard Kaylan Mark Volman The writer also notes that Tony Visconti produced the album, while Ringo Starr is credited with the photography. These credits give the short review a useful contemporary record of some of the people responsible for the sound and presentation of The Slider. METAL GURU AND TELEGRAM SAM Two of T. Rex’s major hits are specifically highlighted: “Metal Guru” “Telegram Sam” The reviewer places both songs among the attractions of the album before moving on to some of its other tracks. OTHER ALBUM TRACKS The review singles out several additional songs: “Chariot Choogle” “Baby Boomerang” “Rock On” “Ballrooms Of Mars” Their inclusion shows that the writer’s favourable assessment extended beyond the familiar hit singles. THE SLIDER The reviewer reserves the strongest praise for the title track: “The Slider” It is described as probably the best cut on the record, with particular praise given to Marc Bolan’s vocal performance. The writer finishes the T. Rex review by encouraging readers to listen to the album and concludes that: “Marc and the rest of T. Rex really get it on.” CONTEXT AND NOTES The clipping provides a notably favourable American assessment of The Slider, contrasting with some of the more hostile reviews T. Rex received from sections of the United States press during 1972. The three-star review concentrates on the album’s songs and musicians rather than analysing Bolan’s image or the wider phenomenon surrounding T. Rex. Immediately after the T. Rex section, the column moves on to a separate review of Mark Volman and Howard Kaylan’s The Phlorescent Leech and Eddie album, noting their earlier work with Frank Zappa’s Mothers. That adjacent review is separate from the assessment of The Slider, although Volman and Kaylan are also acknowledged for their backing vocals on the T. Rex album. FEATURE HIGHLIGHTS Event: Review of The Slider Publication Date: October 28, 1972 Era: The Slider era Rating: Three stars Label: Reprise Tone: Positive and appreciative WHAT THE CLIPPING SHOWS • The Slider receiving a three-star review • Marc Bolan credited with writing all 13 compositions • Mickey Finn, Steve Currie and Bill Legend identified alongside Bolan • Howard Kaylan and Mark Volman credited with backing vocals • Tony Visconti identified as producer • Ringo Starr credited with the photography • “Metal Guru” and “Telegram Sam” highlighted as major hits • References to “Chariot Choogle,” “Baby Boomerang,” “Rock On” and “Ballrooms Of Mars” • “The Slider” selected as probably the album’s best track • Particular praise for Marc Bolan’s vocal on the title track 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 sharply critical Evening Argus review by Ray Miller covers T. Rex’s concert at Brighton Dome on October 27, 1971. Despite a capacity audience, Miller describes an evening dominated by delays, frustration and disappointment, criticising both the shortened performance and the heavier electric direction of Marc Bolan’s music while acknowledging renditions of major hits including “Ride A White Swan” and “Hot Love.” Publication: Evening Argus Date: October 28, 1971 Concert Date: October 27, 1971 Venue: Brighton Dome Country: United Kingdom THE STORY Published under the headline “Somehow the magic had gone”, Ray Miller opens with an uncompromising verdict on T. Rex’s Brighton appearance. A capacity audience had gathered at Brighton Dome expecting T. Rex’s autumn tour to deliver the excitement generated by the group’s growing popularity. Miller, however, believed the performance had abandoned much of the quality encountered during the earlier Tyrannosaurus Rex period. The evening is described in terms of delay, frustration and disappointment. The problems began before T. Rex even reached the stage. Doors were due to open at 7 p.m., but according to the review they opened 35 minutes late. The concert itself had been scheduled to begin at 7.30 p.m., but by 8 p.m. a compere announced that records would be played for half an hour. Miller sarcastically compares this to turning the Dome into an enormous static discotheque. There was then another interval for refreshments and poster buying before T. Rex finally appeared at approximately 8.50 p.m. THE PERFORMANCE Miller was equally dissatisfied with the duration of the concert itself. After the lengthy wait, T. Rex are described as playing for just over an hour, with the show finishing before 10 p.m. The reviewer complains that the concert contained only one encore. Marc Bolan’s choice of material is described as predictable, with the set drawing heavily upon familiar chart successes. Songs explicitly identified in the review include: Ride A White Swan Hot Love Debora Summertime Blues Miller acknowledges “Debora” and “Summertime Blues” as gestures towards listeners who remembered Bolan from the earlier Tyrannosaurus Rex period with Mickey Finn. THE ELECTRIC T. REX SOUND The strongest criticism is reserved for the group’s electric sound. Miller specifically mentions Steve Currie on bass and complains about what the reviewer regards as excessively muffled amplification. The writer contrasts the heavier electric performance with the “magical delicacy” associated with Bolan’s earlier work. Instead of finding the new direction exciting, Miller characterises the sound as pounding and compares aspects of it unfavourably with straightforward early rock ’n’ roll. For Miller, commercial success had changed what had once made Bolan distinctive. FROM TYRANNOSAURUS REX TO T. REX The review is particularly interesting because it captures resistance to Marc Bolan’s transformation from underground acoustic performer into mainstream electric pop star. Miller remembers the earlier Bolan very differently and suggests that the performer once associated with the more delicate Tyrannosaurus Rex sound had effectively disappeared. The closing argument is that commercial success may have trapped Bolan into becoming a more conventional teenage pin-up. Rather than celebrating the rapidly developing phenomenon surrounding T. Rex in late 1971, the article presents that success as potentially responsible for diminishing some of the qualities Miller had previously valued. The reviewer ends with a deliberately self-aware observation, admitting that perhaps the problem was partly personal resistance to change. CONTEXT AND NOTES The review appeared the day after T. Rex’s October 27, 1971 Brighton Dome concert. The clipping is especially valuable because it provides a strikingly different perspective from the enormous commercial enthusiasm surrounding T. Rex during this period. Rather than retrospectively treating every Electric Warrior-era appearance as triumphant, Miller documents substantial irritation with the organisation of the evening and expresses genuine disappointment with the musical direction of the band. For the archive, that criticism is important to retain. It demonstrates that T. Rex’s transition from their earlier underground identity to a hugely successful electric rock group was not universally welcomed by contemporary critics. The review also confirms several practical details of the night, including the capacity audience, delayed opening, the approximate 8.50 p.m. appearance of T. Rex and the concert concluding before 10 p.m. FEATURE HIGHLIGHTS Event: T. Rex live at Brighton Dome Concert Date: October 27, 1971 Publication Date: October 28, 1971 Reviewer: Ray Miller Era: Electric Warrior era Tone: Highly critical and disappointed Audience: Capacity Scheduled Start: 7.30 p.m. T. Rex Stage Time: Approximately 8.50 p.m. Performance Length: Just over one hour WHAT THE CLIPPING SHOWS • T. Rex performing before a capacity audience at Brighton Dome • The doors opening 35 minutes later than planned • A scheduled 7.30 p.m. concert start being substantially delayed • Records being played while the audience waited • T. Rex eventually appearing at approximately 8.50 p.m. • The show lasting just over an hour and ending before 10 p.m. • Only one encore reported • “Ride A White Swan,” “Hot Love,” “Debora” and “Summertime Blues” identified in the review • Steve Currie specifically mentioned on bass • Ray Miller strongly criticising the heavier electric T. Rex sound • A contemporary critic questioning whether commercial success had diminished some of Marc Bolan’s earlier musical qualities 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.