e
<font color="#080755" style="font-size: 1pt">70's music,70s,T.rextacy,
Trextasy, T rex,T.REX,MARC BOLAN Tribute,
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The
Marquee,The Beachcomber, Rock Cafe 2000, drummer, drummers, Split
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drums, ludwig drums, dw drums, black beauty snare drum, Steevi Bacon, Ian
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Cozy Powell, deep purple, myspace,</font></font></i></b></p>
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font-weight:700"><i>By now, "T.
R Welcome to the Official TooREX Website- The T.rex &Marc Bolan Tribute
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Following a career as a
teenage model, Marc Bolan began performing music professionally in 1965,
releasing his first single, "The Wizard," on Decca Records. Bolan joined
the psychedelic folk-rock combo John's Children in 1967, appearing on
three unsuccessful singles before the group disbanded later that year.
Following the break-up, he formed the folk duo Tyrannosaurus Rex with
percussionist Steve Peregrin (Sic) Took. The duo landed a record deal with
a subsidiary of EMI in February 1968, recording their debut album with
producer Tony Visconti. "Debora," the group's first single, peaked at
number 34 in May of that year, and their debut album, My People Were Fair
and Had Sky in Their Hair, But Now They're Content to Wear Stars on Their
Brow, reached number 15 shortly afterward. The duo released their second
album, Prophets, Seers and Sages, The Angels of the Ages, in November of
1968.
By this time, Tyrannosaurus Rex was building a sizable underground
following, which helped Bolan's book of poetry, The Warlock of Love, enter
the British best-seller charts. In the summer of 1969, the duo released
their third album, Unicorn, as well as the single "King of the Rumbling
Spires," the first Tyrannosaurus Rex song to feature an electric guitar.
Following an unsuccessful American tour that fall, Steve Peregrin Took
left the band and was replaced by percussionist Mickey Finn. The new duo's
first single did not chart, yet their first album, 1970's A Beard of
Stars, reached number 21.
The turning point in Bolan's career came in October of 1970, when he
shortened the group's name to T. Rex and released "Ride a White Swan," a
fuzz-drenched single driven by a rolling backbeat. "Ride a White Swan"
became a major hit in the U.K., climbing all the way to number two. The
band's next album, T. Rex, peaked at number 13 and stayed on the charts
for six months. Encouraged by the results, Bolan expanded T. Rex to a full
band, adding bassist Steve Currie and drummer Bill Legend (b. Bill Fifield).
The new line-up recorded "Hot Love," which spent six weeks at number one
in early 1971. That summer, T. Rex released "Get It On" (retitled "Bang a
Gong (Get It On)" in the U.S.), which became their second straight U.K.
number one; the single would go on to be their biggest international hit,
reaching number ten in the U.S. in 1972. Electric Warrior, the first album
recorded by the full band, was released in the fall of 1971; it was number
one for six weeks in Britain and cracked America's charts as well.
By now, "T. Rextacy" was in full swing in England, as T.REX had captured
the imaginations of both teenagers and the media with its sequined,
heavily made-up appearance; the image of Marc Bolan in a top hat, feather
boa, and platform shoes, performing "Get It On" on the BBC became as
famous as his music. At the beginning of 1972, T. Rex signed with EMI,
setting up a distribution deal for Bolan's own T.Rex Wax Co. record label.
"Telegram Sam," the group's first EMI single, became their third number
one single.
"Metal Guru" also hit number one, spending four weeks at the top of the
chart. The Slider, released in the summer of 1972, shot to number one upon
its release, allegedly selling 100, 000 copies in four days; the album was
also T. Rex's most successful American release, reaching number 17.
Appearing in the spring of 1973, Tanx was another Top Five hit for T. Rex;
the singles "20th Century Boy" and "The Groover" soon followed it to the
upper ranks of the charts. However, those singles would prove to be the
band's last two Top Ten hits. In the summer of 1973, rhythm guitarist Jack
Green joined the band, as did three backup vocalists, including the
American soul singer Gloria Jones; Jones would soon become Bolan's
girlfriend. At the beginning of 1974, drummer Bill Legend left the group
and was replaced by Davy Lutton, as Jones became the group's keyboardist.
In early 1974, the single "Teenage Dream" was the first record to be
released under the name Marc Bolan and T. Rex. The following album, Zinc
Alloy and the Hidden Riders of Tomorrow, was the last Bolan recorded with
Tony Visconti. Throughout the year, T. Rex's popularity rapidly declined
-- by the time "Zip Gun Boogie" was released in November, it could only
reach number 41. Finn and Green left the group at the end of the year,
while keyboardist Dino Dines joined. The decline of T. Rex's popularity
was confirmed when 1975's Bolan's Zip Gun failed to chart. Bolan took the
rest of the year off, returning in the spring of 1976 with Futuristic
Dragon, which peaked at number 50. Released in the summer of 1976, "I Love
to Boogie," a disco-flavoured three-chord thumper, became Bolan's last Top
20 hit.
Bolan released Dandy in the Underworld in the spring of 1977; it was a
modest hit, peaking at number 26. While "The Soul of My Suit" reached
number 42 on the charts, T. Rex's next two singles failed to chart.
Sensing it was time for a change of direction, Bolan began expanding his
horizons in August. In addition to contributing a weekly column for Record
Mirror, he hosted his own variety television show, Marc. Featuring guest
appearances by artists like David Bowie and Generation X, Marc helped
restore Bolan's hip image. Signing with RCA Records, the guitarist formed
a new band with bassist Herbie Flowers and drummer Tony Newman, yet he
never was able to record with the group. While driving home from a London
club one night, Marc and Gloria Jones' car lost control near Barnes,
smashing into a tree. Marc Bolan, riding in the passenger's seat of the
car, was killed instantly.
While T. Rex's music was intended to be disposable, it has proven
surprisingly influential over the years. Hard rock and heavy metal bands
borrowed the group's image, as well as the pounding insistence of their
guitars. Punk bands may have discarded the high heels, feather boas, and
top hats, yet they adhered to the simple three-chord structures and pop
aesthetics that made the band popular throughout the 1970s.
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