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En estos tiempos de hipercomunicación bastaría la invitación de enviar a un amigo cualquiera de los textos que consideres interesantes algo redundante: demasiada comunicación, demasiados textos y , en general, demasiado de todo.
Es posible que estemos de acuerdo... pero cuando encuentras algo interesante en cualquier sitio, la red, la calle, tu casa, o un lugar escondido y remoto, compartirlo no sólo es un acto (acción, hecho) de amistad o altruismo, también es una manera de ahorrar tiempo a los demás (y de que te lo ahorren a ti (si eres afortunado) a costa del tiempo que tu has podido derrochar (emplear) y el gustazo de mostrar que estuviste ahí (o donde fuera ) un poco antes (el tiempo ya no es más el que era).
Comparte con tus conocidos aquello que encuentras, es evolución.
T. Rex
06-01-06 Revista de Prensa  

 


The Slider / Zinc Alloy and the Hidden Riders of Tomorrow / Dandy in the Underworld / The T. Rex Wax Co. Singles: A's and B's
[Wizard; 1972 / 1974 / 1977 / Demon; 2002; r: Rhino; 2005]
Rating: 9.8 / 5.8 / 7.9 / 7.0

by Stephen M. Deusner
"Mwa-AAAA-aaaaa-Yeaaaaaaaaaaaaaah! Yeahhhh!"

That's how Marc Bolan kicks off The Slider, T. Rex's follow-up to the career-making Electric Warrior, which brought the band out of the folk circuit and onto the rock stage. That lead track, "Metal Guru", belongs in the pantheon of great rock album openers: It's a rapturous two-and-a-half minutes, a joyous celebration of itself. Amazingly, The Slider doesn't let up after that, but sustains its high across 13 boogie-bound tracks, each punctuated by Bolan's enthusiastic "yeah!"'s and "woo!"'s. He even starts "Baby Strange" with what might be the silliest count-off ever.

At the peak of his rock superstardom, Bolan was also at the top of his game, and The Slider is his ecstatic ode both to himself and to music in general. The 50s rock rhythms that threatened to burst the seams of Electric Warrior here explode mightily and repeatedly. Buddy Holly, Chuck Berry, Bo Diddley, and Elvis Presley loom large, but Bolan throws some glitter and make-up into the mix and comes up with something both familiar and new. Meanwhile, the band-- percussionist Mickey Finn, Steve Currie on bass, and Bill Legend on drums, plus producer Tony Visconti-- lock in on the grooves that propel "Buick McKane", "Baby Strange", and "Chariot Choogle". In a glam-jive code that combines Dylanesque wordplay with psychedelic imagery, Bolan writes about himself and his coterie, filling songs with shout-outs to hangers-on he nicknames Telegram Sam (allegedly his supplier during the recording sessions), Golden Nose Slim, Jo Jo, and Buick McKane, as well as to Dylan, Alan Freed, and Max's Kansas City. As such, The Slider reveals a lot about the man behind the glitter-- not through outright confessional songwriting, but via personal peccadilloes like, "And when I'm sad... I slide!" It's Bolan locating the perfect stance from which he can say nothing and everything at once.

Of course, neither the celebrity nor the music lasted. For one thing, Bolan was quickly outdone by the pomp of David Bowie and other glam androgynes, and left behind when his cultural moment passed. For another, his gift for excess, while previously a boon to his songwriting, was a bane when it came to drugs. When his star began to fade, so did his music. These four reissues from Rhino, which are essentially identical to the Edsel reissues from a few years ago, track T. Rex's downward trajectory but attempt to redeem the band's later, lesser releases by packaging each album with a bonus disc that re-creates the tracklist using alternate takes, live tracks, and B-sides. On Zinc Alloy and the Hidden Riders of Tomorrow, the second disc actually outshines the original album, presenting looser, funkier, less worked-over versions of those clunky songs.

Released after Tanx (which will be reissued later this month, alongside two other albums and a collection of unfinished songs), Zinc Alloy flails desperately as Bolan tries to incorporate his new fascination with American funk into the T. Rex sound. Unfortunately, these elements only make the songs sound as leaden as their titles suggest. On "Galaxy" and "Sound Pit" he alludes to past hits "Bang a Gong (Get It On)", "Metal Guru", and "Telegram Sam", but here his self-mythologizing sounds jaded, as if he needs to remind listeners of past glories to justify his current excesses. "Carsmile Smith and the Old One", "Painless Persuasion v. the Meathawk Immaculate", and "The Leopards Featuring Gardenia and the Mighty Slug" all sink under the weight of bulky concepts and awkward grooves, and the prominent backing vocals by Bolan's American girlfriend, soul singer Gloria Jones, ratchet up the theatrical bombast to gaudy heights. Change, as the bonus disc is retitled, strips away most of the orchestral overkill, but the songs still sound empty, their joy curdling into bitterness.

Originally released three years later (with two other albums in between), Dandy in the Underworld recaptures Bolan's former spiritedness, as he imagines himself cast out from the realm of stardom. On the title track, he's Orpheus traveling through a hell of popular indifference. "When will he come up for air? Will anybody ever care?" Bolan asks on the chorus, but instead of whining, he seems genuinely hurt by the betrayal of his errant muse. Oddly enough, the album finds a reinvigorated Bolan crafting some of his best hooks and calibrating his catchiest grooves in years. The cosmic "Crimson Moon", the infectious "I'm a Fool for You Girl", and the album's centerpiece, "Jason B. Sad", alternate between carefree and cautious, conjuring a gravity that counterbalances the upbeat, stripped-down rhythms. The album trails off near the end-- especially with Bolan's hammy Elvis impersonation on "Pain and Love"-- but "Teenage Riot Structure" picks up the Orpheus thread again, with lyrics that intimate his fears, doubts, and hopes. The album's most noteworthy flaw, perhaps, is that it sounds best in context with the other albums; only to a degree does Dandy stand on its own, but it accrues additional force as the final chapter in Bolan's ongoing story of Marc Bolan.

That mythology further unfolds on The T. Rex Wax Co. Singles: A's and B's 1972-1977, which collects the singles Bolan released between albums. He often released songs as singles long after they'd already appeared on albums, and as a result, there's no strict chronology to the tracklist. "Baby Boomerang", for example, appeared as an A-side nearly five years after it was originally released on The Slider. Plus, all of these songs appear either as regular or bonus tracks (some in multiple versions) on the Rhino album reissues, so this 2xCD set sounds like an abridged edition of the series rather than an career overview. Still, it's amazing that singles like "Children of the Revolution", the mighty "20th Century Boy", and the giddy "Celebrate Summer" never made it onto any of the band's original albums-- omissions that reveal the depth of T. Rex's catalog as well as its sturdiness 30 years on.


Publicado originalmente en pitchforkmedia

   
 

Rating: 4 - 1 voto(s).

   
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