T. Rex (band)
T. Rex was a British glam rock band formed in London in 1967 by singer-songwriter and guitarist Marc Bolan as the acoustic folk duo Tyrannosaurus Rex, which evolved into an electric rock ensemble by 1970 and achieved international fame with hits like "Ride a White Swan" and "Bang a Gong (Get It On)".[1][2] Originally comprising Bolan and percussionist Steve Peregrin Took, the band released three psychedelic folk albums before Took's departure in 1969, after which conga player Mickey Finn joined, marking the transition to the shortened name T. Rex and a more commercial sound influenced by 1950s rock 'n' roll and Bolan's flamboyant, androgynous image.[1][3] The classic early 1970s lineup featured Bolan on vocals and guitar, Finn on percussion and vocals, bassist Steve Currie, and drummer Bill Legend, who together recorded the breakthrough album Electric Warrior (1971), which topped the UK charts and included the transatlantic hit "Bang a Gong (Get It On)", reaching number one in the UK and number ten in the US.[1][3] This period, often called "Bolanmania", saw a string of UK number-one singles including "Hot Love" and "Telegram Sam" from the follow-up The Slider (1972), establishing T. Rex as pioneers of glam rock alongside acts like David Bowie.[1][2] Lineup changes in the mid-1970s, including the additions of vocalist Gloria Jones, keyboardist Dino Dines, bassist Herbie Flowers, and drummer Tony Newman, reflected Bolan's shifting focus toward funkier sounds on albums like Zinc Alloy and the Hidden Riders of Tomorrow (1974) and the final release Dandy in the Underworld (1977), though commercial success waned amid personal struggles.[4][3] Bolan died in a car crash on September 16, 1977, at age 29, just weeks after the band's last performance, effectively ending T. Rex's original run.[2] The band's legacy endures through their influence on punk, alternative rock, and metal artists, culminating in their 2020 induction into the Rock & Roll Hall of Fame, honoring core members Bolan, Currie, Finn, and Legend, with continued recognition including a 2025 English Heritage Blue Plaque for Bolan and the release of previously unreleased tracks such as "I'm Dazed".[3][5][6]History
Formation and psychedelic folk period (1967–1970)
Tyrannosaurus Rex was formed in July 1967 in London by singer-songwriter and guitarist Marc Bolan and percussionist Steve Peregrin Took as an acoustic duo, evolving from Bolan's solo performances and his brief stint with the psychedelic rock band John's Children.[7][8] The pair quickly immersed themselves in the burgeoning UK underground scene, performing intimate sets at venues like the Middle Earth club and developing a distinctive sound rooted in acoustic folk with improvisational elements. Bolan, who had earlier dabbled in mod bands and modeling during his teenage years, placed an advertisement seeking a drummer, leading to Took's involvement and the duo's rapid coalescence around Bolan's vision of ethereal, myth-infused music.[7][9] The band's debut album, My People Were Fair and Had Sky in Their Hair... But Now They're Content to Wear Stars on Their Brows, was released on 5 July 1968 by Regal Zonophone, produced by Tony Visconti and featuring Bolan's poetic, stream-of-consciousness lyrics alongside Took's bongo and percussion contributions. This was swiftly followed by their second release, Prophets, Seers & Sages: The Angels of the Ages, in October 1968, a collection of shorter, more whimsical tracks that further showcased their psychedelic folk style.[10] Subsequent albums Unicorn (May 1969) and A Beard of Stars (March 1970) continued this trajectory, with Unicorn delving deeper into pastoral fantasies and A Beard of Stars marking Took's final contribution before his departure later that year.[11][12] Bolan's lyrics drew heavily from J.R.R. Tolkien's works and broader mythology, evoking elves, wizards, and ancient lore in songs like "The Children of Rarn" and "Romany Soup," which resonated with the era's hippie counterculture.[7] Early performances solidified their cult status, including multiple BBC Radio sessions hosted by John Peel, who became a key champion, and support slots at landmark events such as the inaugural free concert in Hyde Park on 29 June 1968 alongside Pink Floyd, Jethro Tull, and Roy Harper.[13] These appearances, often in student unions and underground clubs, highlighted the duo's live chemistry—Bolan's charismatic guitar work paired with Took's rhythmic intensity—earning them a devoted following in London's folk and psychedelic circles despite limited commercial success.[7] By late 1969, amid growing frustrations with Took's contributions and a desire for broader appeal, Bolan decided to shorten the band's name to T. Rex and incorporate electric instrumentation, signaling the end of their pure psychedelic folk phase and paving the way for their glam rock evolution in 1970.[7]Glam rock breakthrough and peak success (1970–1973)
In 1970, Marc Bolan shortened the band's name from Tyrannosaurus Rex to T. Rex, signaling a shift toward a more accessible, electric sound influenced by his earlier folk roots.[14] Drummer and percussionist Mickey Finn joined that year, replacing Steve Peregrin Took and helping to expand the duo into a fuller ensemble with added rhythmic drive.[14] The band's self-titled album T. Rex, released on December 18, 1970, served as a transitional work, blending acoustic elements with emerging electric guitars and featuring the single "Ride a White Swan," which peaked at No. 2 on the UK Singles Chart and ignited widespread fan hysteria known as "T. Rextasy."[14][15] This breakthrough marked T. Rex's entry into the glam rock scene, characterized by Bolan's glittery image and catchy, riff-driven songs. The band expanded further in 1971 with the addition of bassist Steve Currie and drummer Bill Legend, solidifying a classic lineup that propelled their commercial ascent.[16] Their second album under the new name, Electric Warrior (1971), produced by longtime collaborator Tony Visconti, captured this evolution with its blend of boogie-rock and orchestral touches, yielding the No. 1 UK singles "Hot Love" and "Get It On" (retitled "Bang a Gong" in the US, where it reached No. 10 on the Billboard Hot 100).[17][18][19][20] Frequent appearances on the BBC's Top of the Pops, where Bolan's charismatic performances amplified their glam appeal, further fueled their UK dominance.[21] T. Rex reached their zenith with The Slider (1972), another Visconti production recorded swiftly in France, which delivered the No. 1 UK hits "Telegram Sam" and "Metal Guru" amid a backdrop of intense creativity and Bolan's growing superstardom.[17] The album's raw energy and contributions from backing vocalists Flo & Eddie enhanced its glam rock swagger, while US tours helped extend their international reach despite modest American chart impact beyond "Bang a Gong."[21] During this period, T. Rex amassed 11 UK Top 10 singles, four of which topped the chart, cementing their status as glam rock pioneers at the height of "T. Rextasy" mania.[22][21]Decline, transition, and final years (1973–1977)
Following the commercial peak of their glam rock era, T. Rex faced mounting challenges in 1973, including critical backlash against the genre's excesses and Marc Bolan's increasing cocaine use, which exacerbated personal and professional instability. The album Tanx, released in March 1973, marked an early sign of transition, blending boogie-rock with more intimate, acoustic-leaning tracks, though it still reached No. 4 on the UK Albums Chart. The non-album single "20th Century Boy," issued on March 2, 1973, became one of their last major hits, peaking at No. 3 on the UK Singles Chart and showcasing Bolan's raw, riff-driven style amid the band's shifting dynamics. However, reviews noted the album's smaller scope compared to prior stadium-oriented works, signaling a creative contraction as glam's novelty waned.[23][23] Lineup instability compounded the decline, with drummer Bill Legend departing in early 1974 after an Australian tour, replaced by Davey Lutton, while percussionist Mickey Finn left by late 1974 amid tensions over the band's evolving sound. Bolan attempted stylistic reinvention on Zinc Alloy and the Hidden Riders of Tomorrow (March 1974), incorporating soul and R&B influences he termed "interstellar soul," with funkier grooves and philosophical lyrics, but the album peaked at No. 12 on the UK chart and alienated fans accustomed to simpler glam anthems. Self-produced Bolan's Zip Gun (January 1975) returned to a looser, boogie-heavy format yet fared worse commercially at No. 15, reflecting Bolan's cocaine-fueled binges and creative disarray during spring 1974. Futuristic Dragon (January 1976) continued the experimentation with heavier riffs and eclectic elements, reaching only No. 50, as Bolan's substance issues and the band's frequent personnel changes hindered cohesion.[24][25][26][27][28] By 1977, signs of revival emerged with Dandy in the Underworld (January 1977), Bolan's most focused effort in years, blending pop hooks and glam remnants to peak at No. 26 on the UK Albums Chart; the single "I Love to Boogie" reached No. 13, buoyed by Bolan's recovery from drug dependency and improved health. The band, now featuring Lutton on drums and Dino Dines on keyboards, toured the UK in March supported by punk act The Damned, bridging glam's legacy with emerging scenes. Bolan hosted the six-episode TV series Marc starting in September 1977, featuring guests like Generation X and The Jam, positioning him as a tastemaker in a post-glam landscape. Tragically, on September 16, 1977, Bolan died at age 29 in a car crash in southwest London when the purple Mini driven by his partner Gloria Jones struck a tree on Barnes Common, instantly killing him and effectively dissolving the original T. Rex lineup amid widespread grief. The posthumous release of Dandy in the Underworld underscored the band's unresolved potential.[29][24][30][31]Disbandment, reformations, and posthumous developments (1977–present)
Following Marc Bolan's death in a car crash on 16 September 1977, T. Rex officially disbanded, as the group had been centered around his songwriting, vocals, and leadership.[32] Bolan's partner, Gloria Jones, who had served as a backing vocalist for the band and was the mother of his son Rolan, initially oversaw aspects of the estate, including early posthumous matters.[33] Several attempts to reform the band or create successor groups emerged in the ensuing decades, often drawing criticism for lacking Bolan's creative essence and authenticity. In the late 1980s and early 1990s, percussionist Mickey Finn, an original T. Rex member from 1969 to 1975, participated in informal performances and guest appearances evoking the band's sound, though no formal reformation occurred until later.[34] This culminated in 1997, when Finn, alongside former T. Rex members Jack Green and drummer Paul Fenton, formed Mickey Finn's T-Rex to commemorate the 20th anniversary of Bolan's death; the group toured extensively, performing classic hits, but faced backlash from fans and critics who viewed it as an inauthentic tribute act rather than a true continuation. In 2014, original drummer Bill Legend assembled his own iteration, initially called Bill Legend's T. Rex and later rebranded as X-T. Rex, with the Bolan family's approval; this project focused on live performances of T. Rex material and new recordings inspired by the era.) Posthumous releases began shortly after the disbandment, with archival material surfacing to preserve Bolan's legacy. One early example was the 1978 compilation of demos and unfinished tracks, though such efforts were limited by the era's technology and estate priorities. The band's catalog has since seen ongoing reissues, including deluxe editions and remasters, managed by entities like Demon Music Group, which handle rights and distributions. Legal disputes over name usage and intellectual property have periodically arisen among estate representatives, revival performers, and record labels, ensuring controlled access to the T. Rex moniker.[35] In more recent years, T. Rex's enduring impact has been highlighted through major recognitions and discoveries. The band was inducted into the Rock and Roll Hall of Fame in 2020, with inductees including Bolan, Finn, Legend, and bassist Steve Currie; the ceremony featured tributes from Ringo Starr, Joan Jett, and Billy Idol, emphasizing Bolan's role in pioneering glam rock.[3] On 30 September 2025, coinciding with the unveiling of an English Heritage blue plaque at Bolan's former home at 31 Clarendon Gardens in Maida Vale, London—where he composed hits like "Children of the Revolution"—Demon Music Group announced the discovery of two lost 1975 vault tracks: the previously unreleased "I'm Dazed," featuring Bolan's signature riff-driven glam style, and an alternate take of "Billy Super Duper." These were released as a 7-inch single on 7 November 2025, marking a significant archival find after 50 years.[36][37] Estate activities continue to focus on such reissues, including the 50th-anniversary vinyl edition of Bolan's Zip Gun for National Album Day 2025 and a Record Store Day collection of B-sides from 1972–1977, sustaining the band's influence into the present.[38][39]Musical style and evolution
Early psychedelic and folk influences
During the late 1960s, Tyrannosaurus Rex, the original incarnation of T. Rex, established a distinctive acoustic-driven sound rooted in psychedelic folk, characterized by Marc Bolan's intricate fingerpicking on guitar and his high-pitched, warbling vocals that evoked a sense of otherworldly whimsy.[40] Bolan's poetic, mythological lyrics drew heavily from the folk revival tradition, reflecting inspirations from Bob Dylan and Donovan, with surreal imagery often centered on fairy-tale motifs, ancient myths, and nature's enchantment, as heard in tracks like "Debora," a hand-drummed, Lord of the Rings-inspired ditty that exemplifies their charming yet slightly goofy psychedelic folk aesthetic.[41][40] The band's minimalist duo format, featuring Bolan alongside percussionist Steve Peregrin Took, emphasized improvisational structures and sparse arrangements that prioritized atmosphere over conventional song forms, creating an intimate, trance-like quality in their performances and recordings.[40] Took contributed a eclectic array of percussion instruments, including bongos, tabla, finger cymbals, and kazoo, which added rhythmic texture and exotic flair without overpowering Bolan's delicate guitar work.[40] This setup allowed for fluid, exploratory jams that blurred the lines between folk storytelling and psychedelic experimentation. A key example of their evolving style appears in the 1969 album Unicorn, where Bolan incorporated Eastern scales and subtle sitar-like elements through guitar tunings and modal progressions, infusing tracks with an authentic exoticism that evoked both Asian folk traditions and medieval mysticism, enhancing the album's improvisational and narrative-driven songs.[42] Critics praised Unicorn and the band's early output for their innovative blend of whimsy and depth, hailing Bolan's visionary songcraft as a refreshing counterpoint to the era's heavier rock trends, though their niche, underground appeal limited mainstream commercial success during this period.[43][44]Glam rock sound and innovations
T. Rex's transition to glam rock marked a significant evolution in their sound, beginning in 1970 after Steve Peregrin Took's departure and the addition of percussionist Mickey Finn. The album A Beard of Stars (1970), still released under Tyrannosaurus Rex, introduced initial electric guitar elements alongside acoustic tracks, signaling Bolan's growing interest in rock amplification.[45] This shift accelerated with the self-titled T. Rex album later that year, which fully embraced electrified instrumentation, boogie-woogie riffs, and a pop sensibility, highlighted by the breakthrough single "Ride a White Swan," whose simple, hypnotic groove and Bolan's emerging glamorous image laid the groundwork for glam rock.[46][14] The sound matured on albums like Electric Warrior (1971) and The Slider (1972), where producer Tony Visconti introduced sweeping string arrangements, drawing inspiration from Phil Spector's wall-of-sound approach, which added orchestral depth to the band's raw energy.[47][48] This innovation created a dense sonic landscape, with electric guitars—often featuring crunchy, riff-driven Gibson Les Paul licks—layered alongside percussion and boogie piano to produce a propulsive, foot-stomping groove that defined early glam aesthetics.[49][48] Central to this sound was a fusion of rock 'n' roll, soul, and pop elements, evident in tracks like "Bang a Gong (Get It On)," which incorporated infectious handclaps, saxophone solos by Ian McDonald, and the nasal, androgynous backing vocals of Howard Kaylan and Mark Volman (Flo & Eddie).[50][51] These components blended gritty guitar riffs with rhythmic funk, evoking 1950s influences like Chuck Berry while infusing a modern, theatrical pop sensibility that propelled the song to chart success during the band's 1970–1973 peak.[52][53] Visconti's production polished these elements into concise, hook-laden songs built on simple chord progressions, allowing Marc Bolan's charismatic, raspy delivery—often laced with surreal, sexual innuendo—to shine as the focal point.[49][47] Complementing the sonic innovations was T. Rex's glittery, androgynous image, pioneered by Bolan through the use of makeup, sequined outfits, and platform boots, which amplified glam rock's emphasis on visual spectacle and campy showmanship.[54] This aesthetic, paired with the music's disposable yet seductive trashiness, positioned Electric Warrior and The Slider as blueprints for the genre, influencing subsequent acts by prioritizing surface-level fun, sexuality, and theatricality over complex structures.[49][48] The albums' layered guitars, percussion, and orchestral flourishes not only captured Bolan's vision of "sexy, silly fun" but also established a template for glam's blend of accessibility and extravagance.[54][52]Later experimentation and maturation
Following the commercial peak of their glam rock era, T. Rex began incorporating funk, soul, and R&B elements into their sound on the 1973 album Tanx, marking a departure from their earlier boogie-driven style. The album featured twisted soul and funk grooves, alongside gospel-tinged backing vocals, as heard in tracks like "Mad Donna" and "Left Hand Luke and the Beggar Boys," which added rhythmic complexity and emotional depth to Marc Bolan's compositions.[55] Bolan experimented with falsetto vocals and synthesizer textures, creating a more polished yet eclectic production that reflected his growing interest in American musical traditions.[56] This evolution continued on Zinc Alloy and the Hidden Riders of Tomorrow (1974), where Bolan deepened the soul and R&B influences, blending them with futuristic themes inspired by science fiction and his self-mythologizing persona. Tracks such as "Interstellar Soul" and "Teenage Dream" showcased funky rhythms and prominent soulful backing vocals from Gloria Jones, Bolan's partner, while the album's dense arrangements incorporated synthesizers for a "space-age funk" atmosphere.[57][58] Bolan's personal struggles, including heavy drug use and the pressures of fading fame, infused the lyrics with notes of turmoil and bitterness, evident in songs like "Change," which alluded to his jaded state.[57] By 1976's Futuristic Dragon, Bolan further explored eclectic sounds, blending rock with emerging disco elements on "Dreamy Lady" and incorporating orchestral experiments like sitar for an otherworldly feel. The album's themes of futurism and cosmic escapism were overshadowed by Bolan's ongoing personal issues, including continued drug references and relational strains, which contributed to a sense of introspective chaos in tracks like "Futuristic Dragon (Introduction)."[59][25] T. Rex's final studio album, Dandy in the Underworld (1977), saw a return to rock roots with rawer production and more direct guitar-driven energy, stripping back some of the prior experimentation for immediacy. Bolan's lyrics turned increasingly introspective, grappling with themes of decline and redemption, as in the title track, which served as a candid reflection on his own excesses and career trajectory. This maturation, influenced by Bolan's turbulent life including substance abuse and health concerns, provided a poignant capstone to the band's evolving sound amid their post-1973 chart decline.[57][25]Band members
Core and principal members
Marc Bolan, born Mark Feld on September 30, 1947, was the founder, lead vocalist, guitarist, and primary songwriter of T. Rex, serving from the band's inception in 1967 until his death in a car accident on September 16, 1977.[60] As the charismatic frontman, Bolan shaped the band's evolution from psychedelic folk to glam rock, writing and performing on all 12 studio albums and driving its commercial success with hits like "Bang a Gong (Get It On)."[61] His distinctive elfin image and poetic lyrics defined the group's identity.[62] Steve Peregrin Took, born Stephen Porter on July 28, 1949, joined as percussionist and multi-instrumentalist in 1967 alongside Bolan to form the original duo Tyrannosaurus Rex, remaining until 1969.[60] Took contributed to the band's first three albums, My People Were Fair and Had Sky in Their Hair... But Now They're Content to Wear Stars on Their Brows (1968), Prophets, Seers & Sages: The Angels of the Ages (1968), and Unicorn (1969), adding bongos, bass, and backing vocals that enhanced the acoustic folk sound.[61] He left due to creative differences with Bolan over the band's direction, later pursuing a solo career until his death on October 27, 1980.[60] Mickey Finn, born Michael Norman Finn on June 3, 1947, joined in late 1969 as percussionist, replacing Took and helping transition the band to its electric glam rock era, remaining until 1975 with principal involvement through 1974 (with occasional bass duties).[60]) Finn's congas and tambourine provided rhythmic energy on key albums including A Beard of Stars (1970), T. Rex (1970), Electric Warrior (1971), and The Slider (1972), contributing to the live dynamism that fueled T. Rex's chart-topping success in the UK.[63] He departed amid lineup shifts, passing away on January 11, 2003.[60] Steve Currie, born May 19, 1947, was the bassist from late 1970 to 1976, stabilizing the rhythm section during the band's glam peak and later years.[60]) He played on albums such as Electric Warrior (1971), The Slider (1972), Tanx (1973), and Bolan's Zip Gun (1975), providing a solid foundation for Bolan's guitar work and the group's hits.[61] Currie left in 1976 before the final album, and he died on April 28, 1981, in a car crash.[60] Bill Legend, born William Arthur Fifield on May 8, 1944, joined as drummer in late 1970 and remained until 1974, completing the classic lineup for T. Rex's breakthrough.[60] His powerful drumming drove tracks on Electric Warrior (1971) and Tanx (1973), including singles like "Telegram Sam" and "20th Century Boy," and he contributed to the band's energetic live performances.[62] As of 2025, Legend is the only surviving member of this core glam-era group.[60] Gloria Jones, born May 19, 1945, served as vocalist and keyboardist from 1973 to 1976, adding soulful backing vocals and contributions to the band's transitional sound on albums like Tanx (1973), Zinc Alloy and the Hidden Riders of Tomorrow (1974), and Bolan's Zip Gun (1975).)[60] As Marc Bolan's partner, she played a significant role in the band's later years and continued performing T. Rex material posthumously. She remains active as of 2025. Dino Dines, born Peter Leslie Dines on December 17, 1944, served as keyboardist from 1974 to 1977, adding atmospheric layers to the band's later sound on albums like Bolan's Zip Gun (1975) and Dandy in the Underworld (1977).[60] He enhanced the experimental elements during T. Rex's transitional phase before dying on January 28, 2004.[60] Tony Newman, born March 21, 1947, joined as drummer in 1976 and stayed until 1977, bringing a robust style from his prior work with David Bowie to the final lineup, notably on Dandy in the Underworld.[60] His tenure supported the band's maturation amid declining popularity.[63]Line-up timeline
The line-up of T. Rex underwent several transformations, beginning as the acoustic duo Tyrannosaurus Rex and expanding into a rock band during its glam era, before becoming more unstable in the mid-1970s.[7][60]| Period | Core Members | Roles | Key Notes |
|---|---|---|---|
| 1967–1969 | Marc Bolan Steve Peregrin Took | Vocals, guitar Percussion, backing vocals | Formed as psychedelic folk duo Tyrannosaurus Rex; released three albums; Took left in late 1969 due to creative differences.[7][60] |
| 1969–1970 | Marc Bolan Mickey Finn | Vocals, guitar Percussion, backing vocals | Transition period with Finn replacing Took; remained largely acoustic duo for A Beard of Stars (1970); marked shift toward electrification.[7][60] |
| 1970–1973 | Marc Bolan Mickey Finn Steve Currie (from late 1970) Bill Legend (from late 1970) | Vocals, guitar Percussion, backing vocals Bass Drums | Expanded to four-piece for glam rock phase; Currie and Legend joined in late 1970 for live performances and T. Rex (1970); core line-up for breakthrough albums Electric Warrior (1971) and The Slider (1972); electric shift solidified in 1970 with "Ride a White Swan."[7][60] |
| 1973–1974 | Marc Bolan Mickey Finn (until mid-1974) Steve Currie Bill Legend (until 1974) Jack Green (1973–1974) Gloria Jones (from 1973) Paul Fenton (drums, 1973–1974) | Vocals, guitar Percussion, backing vocals Bass Drums Guitar Vocals, keyboards Drums | Fluid additions amid glam peak decline; Finn and Legend departed in 1974; core glam break-up around 1973–1974 due to internal tensions and commercial pressures.[7][60] |
| 1974–1977 | Marc Bolan Steve Currie (until 1976) Davy Lutton (drums, 1974–1976) Dino Dines (from 1974) Gloria Jones (until 1976) Miller Anderson (guitar, 1976–1977) Herbie Flowers (bass, 1976–1977) Tony Newman (drums, 1976–1977) Paul Fenton (guest drums, 1977) | Vocals, guitar Bass Drums Keyboards Vocals, keyboards Guitar Bass Drums Drums | Increasingly unstable with session-like rotations for albums like Zinc Alloy and the Hidden Riders of Tomorrow (1974) and Dandy in the Underworld (1977); Lutton fired in 1976; band effectively ended with Bolan's death on September 16, 1977.[7][60] |
Discography
Studio albums
T. Rex, initially recording as Tyrannosaurus Rex, released their debut studio album My People Were Fair and Had Sky in Their Hair... But Now They're Content to Wear Stars on Their Brows in July 1968, produced by Tony Visconti at Advision Studios in London. The album peaked at No. 15 on the UK Albums Chart, marking an early cult success in the psychedelic folk scene.[64] Their second album, Prophets, Seers & Sages: The Angels of the Ages, followed in October 1968, also produced by Visconti and featuring acoustic arrangements with poetic lyrics.[65] Unicorn, released in May 1969 and produced by Visconti, continued the folk-psych direction with orchestral elements, peaking at No. 12 in the UK.[66] A Beard of Stars, issued in March 1970, was the last album under the Tyrannosaurus Rex name and Visconti's final production for that phase; it introduced electric guitar on some tracks and charted at No. 21 in the UK. Marking the transition to T. Rex, the self-titled T. Rex (June 1970), produced by Visconti, featured more electric instrumentation and peaked at No. 7 in the UK and No. 188 on the US Billboard 200.[67] Electric Warrior (September 1971), Visconti's production blending rock and soul influences, became the band's breakthrough, topping the UK Albums Chart for four weeks and reaching No. 32 on the US Billboard 200; it was certified Gold in the US (500,000 units) and the UK (100,000 units).[68][69] The Slider (July 1972), also produced by Visconti, maintained the glam rock momentum, peaking at No. 4 in the UK and No. 17 in the US.[70][71] Tanx (March 1973), Visconti's last with the band, incorporated funk and soul elements and charted at No. 4 in the UK and No. 102 in the US.[72] Zinc Alloy and the Hidden Riders of Tomorrow (March 1974), self-produced by Marc Bolan, experimented with soul and R&B, reaching No. 12 in the UK but not released in the US.[65] Bolan's Zip Gun (January 1975), another Bolan production emphasizing funk, failed to chart in the UK or US.[73] Futuristic Dragon (January 1976), self-produced by Bolan with progressive rock leanings, peaked at No. 50 in the UK and was not released in the US until 1987.[22] The final studio album, Dandy in the Underworld (March 1977), produced by Bolan, showed a return to glam roots and charted at No. 26 in the UK.[74]| Album Title | Release Year | UK Peak | US Billboard 200 Peak |
|---|---|---|---|
| My People Were Fair and Had Sky in Their Hair... But Now They're Content to Wear Stars on Their Brows | 1968 | 15 | — |
| Prophets, Seers & Sages: The Angels of the Ages | 1968 | — | — |
| Unicorn | 1969 | 12 | — |
| A Beard of Stars | 1970 | 21 | — |
| T. Rex | 1970 | 7 | 188 |
| Electric Warrior | 1971 | 1 | 32 |
| The Slider | 1972 | 4 | 17 |
| Tanx | 1973 | 4 | 102 |
| Zinc Alloy and the Hidden Riders of Tomorrow | 1974 | 12 | — |
| Bolan's Zip Gun | 1975 | — | — |
| Futuristic Dragon | 1976 | 50 | — |
| Dandy in the Underworld | 1977 | 26 | — |
Singles and EPs
T. Rex, evolving from Tyrannosaurus Rex, began releasing singles in 1968, with early efforts reflecting their psychedelic folk roots before shifting to glam rock. The band's debut single "Debora" reached No. 34 on the UK Singles Chart in 1968.[75] Subsequent early releases like "One Inch Rock" (No. 28, 1968) gained modest attention, helping establish Marc Bolan's songwriting presence.[22] The band's breakthrough came with "Ride a White Swan" in 1970, peaking at No. 2 on the UK Singles Chart and marking their transition to electric glam sounds with its whimsical lyrics and Bolan's charismatic delivery. This was followed by a string of hits that propelled T. Rex to stardom, achieving 11 UK Top 10 singles overall.[22] Key successes included "Hot Love" (No. 1 for six weeks in 1971), backed by the raw "Woodland Rock"; "Get It On" (No. 1 for four weeks in 1971), with B-side "There Was a Time"/"Raw Ramp"; "Telegram Sam" (No. 1 for two weeks in 1972), featuring "Baby Boomer" on the flip; "Metal Guru" (No. 1 for four weeks in 1972), paired with "Black White"; and "20th Century Boy" (No. 3 in 1973), with "Free Angel" as B-side.[18][19] Other notable Top 10s were "Jeepster" (No. 2, 1971, B-side "Girl"), "Children of the Revolution" (No. 2, 1972, B-side "Jitterbug Love"), "Solid Gold Easy Action" (No. 2, 1973, B-side "Born to Boogie"), and "Groover" (No. 4, 1973, B-side "Midnight").[22] Later singles like "New York City" (No. 15, 1975, B-side "Chrome Sitar") showed a maturing sound but less commercial peak. B-sides often featured experimental tracks, adding depth to the singles' appeal.[76] Internationally, T. Rex found success primarily through "Get It On" (retitled "Bang a Gong (Get It On)" for the US market), which reached No. 10 on the Billboard Hot 100 in 1972, introducing glam rock to American audiences via its infectious boogie rhythm and Howard Kaylan's backing vocals. Few other singles charted significantly abroad, though reissues like "Jeepster" gained airplay in Europe. Posthumous singles, following Marc Bolan's death in 1977, included re-releases that revived interest. In 1987, "Children of the Revolution" peaked at No. 90 and "Get It On" at No. 54 on the UK chart.[22] A 1991 version of "20th Century Boy" (credited to Marc Bolan & T. Rex) reached No. 13, while a 1994 cover collaboration "Get It On" by Bus Stop featuring T. Rex elements hit No. 59.[22]| Single | Year | UK Peak | B-Side |
|---|---|---|---|
| Ride a White Swan | 1970 | 2 | Summersong |
| Hot Love | 1971 | 1 | Woodland Rock |
| Get It On | 1971 | 1 | There Was a Time / Raw Ramp |
| Jeepster | 1971 | 2 | Girl |
| Telegram Sam | 1972 | 1 | Baby Boomer |
| Metal Guru | 1972 | 1 | Black White |
| 20th Century Boy | 1973 | 3 | Free Angel |
| New York City | 1975 | 15 | Chrome Sitar |