17
Nov 06

T REX – “Hot Love”

FT + Popular170 comments • 22,484 views

#298, 20th March 1971

I long ago read a piece by Jonathan King, an attack on 70s pop as opposed to the 60s version. King’s argument was that the big stars who emerged in the early seventies – Bolan, Bowie, Elton – were all failed sixties wannabes who had only managed to become famous because the real stars had cleared the pitch. (“JK” himself was exempt from this, naturally, because of “Everyone’s Gone To The Moon”).

Obviously this argument is bogglingly unfair (you might as well say that the Beatles were failed skiffle stars) but for Bolan and Bowie he is touching on something important. Both men had been around the scene since the mid-60s, trying on and shaking off styles, hunting for the look and sound that would give them their breakthrough. Bowie turned that restlessness into a schtick in itself; Bolan’s winning style was so monolithically perfect he stuck with it until he died. (There’s a lot more pleasure and depth in the Bowie catalogue, but none of his singles – and few of anybody’s – are as magnificently formed as “Hot Love”, “Metal Guru”, “Children Of The Revolution”, et al.)

These prehistories of relative failure make pop more interesting. They seem less common now than they did when I was a kid, though. Take the Stone Roses, a band who won’t be bothering Popular but who have muscled into the canon on the strength of their debut album. At the time the NME let us know soon enough that the Roses had spent half a decade clattering round the Manchester Goth scene, casting about for a style, thinking very hard about how to craft a sound and image. I didn’t love them any less for it. When the word “manufactured” has such common currency in pop, it’s worth being reminded that almost every great act involves at least a degree of self-manufacture.

Self-manufacture was the front-and-centre principle of glam rock. Though Marc Bolan looked terrific, I’ll save comments on the imagery of glam for later: in any case, “Hot Love” is all about a band excited by sonic possibilities, possibilities opened up by the simple addition of drums and bass to T Rex’s nursery-rhyme pop-folk. The name for the possibilities is “groove”, and “Hot Love”‘s is wickedly playful – those staccato drum flourishes are like chorus-line high kicks, and though the song starts as a blues pastiche a la “Baby Jump”, this is a teasing, confident re-imagining of the blues, not a cack-handed sardonic plod through them. (The “Hot Love” groove is also highly enduring – I first fell in love with the song in Justus Kohnke’s version, by which time the rhythm had been brushed up, digitised, and called schaffel)

The band in fact get so excited that they never want to stop. We’ve had massive codas in pop before, of course, in fact we’ve had a big “na-na-na” singalong finale feature on this blog quite recently. So why does “Hot Love” work and “Hey Jude” not? It’s faster, which never hurts. And partly it’s that sense of possibility – “Hey Jude” is the biggest band in the world throwing its weight around, whereas “Hot Love” is a new-ish kid on the block, giddy with the excitement of having found his very own philosophers stone. Also the build-up to the coda is different – with “Hey Jude” the song has been getting bigger and heavier for several minutes anyway, so the coda is like a cumbersome supertanker gradually braking. “Hot Love” doesn’t have much build-up, so the coda feels much cheekier. Every time Bolan starts another round of “la la la”s he sounds like he’s getting away with something, rewriting more of the world in his newborn glitter image, and then inviting us to join in for as long as we dare make it last.

{democracy:20}

10

Comments

  1. 1

    huzza for hot goblinism!

    when commenters have finished agreeing unreservedly with the score, i have 1xquestion: what are the roots of t rex’s sound? i have never been able to come up with anyone – in folk, in r&r, in pop — who really makes me feel OH! this is where bolan came from (but i also assume i’m being DEAF WITH UNDIMMED DEMENTED TEENAGE ADORATION here and probably anyone less in love can hear more clearly)

    (also there might be the fact i don’t believe that the word “influence” has meaning hah!)

  2. 2
    Martin Skidmore on 17 Nov 2006 #

    I’m with Mark all the way there, including my undimmed teenage adoration – Marc was the first man I ever fancied, and I still love him totally. There are several T. Rex singles that are even better, so you might have to give them 11 or 12…

  3. 3
    Tom on 17 Nov 2006 #

    Luv the fact that the B side to this was called WOODLAND ROCK!

  4. 4

    (i must write up my “teach mark s a lesson” about UNICORN)

  5. 5
    Tom on 17 Nov 2006 #

    Perhaps oddly I DON’T love Marc Bolan unreservedly – in fact I never really got into him until I started doing Popular and heard his various No.1s in context. I own one T Rex album and have never managed to get the whole way through it, but he was obviously fantastic at making singles.

  6. 6

    yes on the whole i think the tyrannosaurus rex duo worked better at LP length: w.t.rex the sdound and structure of songs became a bit more samey, so an LP is more like eating a entire box of quality street in one go

  7. 7
    Lex on 17 Nov 2006 #

    I love love love the J Kohncke version so much, it is one of the most glorious pop moments of this decade. I have not heard the original though.

  8. 8
    Doctor Casino on 17 Nov 2006 #

    I’ve been looking forward to this entry. We’ve had more than a few prophetic comments sprinkled throughout the past few years of this blog, to the effect that we were in the midst of a sort of void and that glam was on its way to bring in a fresh new current. I was interested not only for Tom’s take on this, but really for any take on this, because at least as far as my classic rock radio upbringing goes, glam had ZERO impact on my musical landscape. None of these singles are household names over here – although “Bang a Gong” shows up from time to time, and certainly we all know what became of “Rock n Roll Part Two.” So my glam information is largely self-taught, gappy, and weirdly skewed: I discovered Suzi Quatro from being curious about all her castoff records in the cheapy bin (and her fetching silver jumpsuits!) and ended up loving her, and I have a Glitter greatest hits now that I rather like.

    But as for the seminal, crucial, so-iconic-he’s-actually-an-icon-at-the-top-of-the-screen Mr. Bolan [but isn’t that the guy from the Strokes in the inset photo?], I know next to nothing about him, and little that I hear does much to convince me I should. “Hot Love” is fey and muffled – and not the charming muffled of that Troggs hit from a few years back. I was expecting something with some bite, something a little searing around the edges maybe, or at least something with a nice loud drum track. Perhaps I’ve been spoiled by Glitter and Quatro, but this strings-sweetened, gently intoned 50’s homage doesn’t strike my ears as a bold new direction for pop – if you’d told me it was just another one of the countless one-hit amalgamations we’ve been seeing for a few years, I would have bought it completely.

    It’s not that it’s godawful, and I don’t mean to just go around kicking at idols, but, with these virgin American ears I have a hard time hearing it as the harbinger of any particularly exciting movement. It’s not without hooks or charm, but I’ll take “48 Crash” or “Suffragette City” any day.

  9. 9
    Erithian on 17 Nov 2006 #

    Great review Tom! I’ve been looking forward to this one ever since your comment on my comment on “Hey Jude”, and it was worth the wait. Not as good as “Ride a White Swan” IMHO but still a landmark.

    If you’re the kind of person who’d like to pinpoint a date as “when the 70s really started”, this is as good as any. Significantly perhaps, the record kept off number 1 by “Hot Love” was Macca’s “Another Day”. (Less significantly, Marc also spared us “Bridget the Midget” reaching the top.) In fact if I’m not mistaken April ’71 was the only instance of all four ex-Beatles having solo Top 20 singles in the same month (“Another Day”, “Power to the People”, the fading “My Sweet Lord” and the rising ”It Don’t Come Easy”).

    And all hail the fourth 10 out of 10! Would you still give full marks to Nancy Sinatra, Tom, or did she just catch you in a receptive mood?

  10. 10
    Rosie on 17 Nov 2006 #

    I think we’re now reaching the point at which I start to diverge from the consensus. It’s been hard for me to dispute the previous 10s – I raised an eyebrow at Boots but on reflection I could go along with the idea that it was something different.

    One problem for me was that the rise of T Rex the pop band (as opposed to Tyrannosauraus Rex the psychedelic album band) was the confirmation that chart music now belonged to another generation – I know Tom has said he doesn’t like the Doors and I adored the Doors then and I adore their back catalogue now.

    Hot Love is a good song, but for me not that good – a 7 from me I think. It’s better than what T Rex came out with afterwards, mind. Metal Guru makes my teeth ache just thinking about it!

  11. 11
    Tom on 17 Nov 2006 #

    “Fey” was an adjective I struck out from my list of meant-to-be-complimentary ones in the review! (And if you think this is fey you should hear the Kohnke version). Yes, this isn’t the tuff end of glam – it points much more towards Morrissey, Adam Ant, Kate Bush, and other self-made British popsters. (It also reminds me of Kraftwerk’s wimpier moments)

    I dunno if I think of glam as an amazing new dawn, more as a coherent direction that the singles market seized on after a few rudderless years.

  12. 12
    Tom on 17 Nov 2006 #

    Erithian: Nancy is a 10 yes.

    The only 10 I think I was wrong about was “Jumping Jack Flash”, which should have been one. But I like all four of the records which did get 10s more than it, even so.

  13. 13
    jeff w on 17 Nov 2006 #

    Last sentence of comment 2 and all of comment 4 = OTM

  14. 14
    Kat on 17 Nov 2006 #

    I had never heard ‘Hot Love’ until I purchased the Best Of T-Rex about five years ago. It was my favourite track that I hadn’t heard already, if you get what I mean. More understated than the later hits but still full of JOY. A very good review this, on basis of which I think I would give this an 8 (as opposed to my earlier hazarding of a 7).

  15. 15
    Lena on 17 Nov 2006 #

    I would give this a 10 except I like “Get It On” (as it was called in the US) more…

    …and as for all the 70s people coming from the 60s, maybe it’s safe to say that this was the 60s (a particular strand of it, of course) continuing on into the 70s by another means? How far away is Nick Drake from Marc Bolan, essentially?

  16. 16
    Steve Mannion on 17 Nov 2006 #

    I didn’t expect a ’10′ but mainly cos I have no idea what makes this better than other T Rex #1s…and for them all to receive a 10 seems [CONTROVERSIAL MARK S EDIT] but no great shakes.

  17. 17

    mannion you big [UNCONTROVERSIAL MARK S EDIT]

  18. 18
    Tom on 17 Nov 2006 #

    Maybe they will all get a 10!

    I think there’s a sense of “enjoying new ground” on this one which hardens into (hugely entertaining) formula quite quickly – but yeah each of them could credibly be someone’s absolute favourite. Funny Rosie should mention hating “Metal Guru” above – that was my fave for a long time, dunno how I’ll perceive it when the time comes tho.

  19. 19
    Steve Mannion on 17 Nov 2006 #

    also the Marc Bolan in the picture for this entry and the one for the Popular graphic up top are so different i am starting to think that perhaps i mistakenly culled the above image from an edition of Stars In Their Eyes.

  20. 20
    Doctor Casino on 17 Nov 2006 #

    “Another Day” was robbed!

  21. 21
    Steve Mannion on 17 Nov 2006 #

    ‘Metal Guru’ is prob. my favourite but I would not be offended if it ended up with a 7…

    I think of T Rex lyrics as simplistic and repetetive but with perhaps the right does of playfulness (backed up with Bolan charisma) to make this work. I do really like the ‘I don’t mean to be bold but may I hold your hand’ line a LOT. So sweet! But ‘Well she ain’t no witch and I love the way she twitch’ and ‘Well she’s faster than most and she lives on the coast’ did have me thinking he wasn’t really putting much effort in! I’m sure there’s a good enough reason for this (e.g. ‘it is fun’)…

    But what’s the deal with the German bit (‘jetzt kommt sie doch’?) at the end?

  22. 22
    Tom on 17 Nov 2006 #

    These kind of OMG WHERE IS TEH RHYME lyrics are a great thing about T Rex – “I drive a Rolls Royce cos it’s good for my voice” being surely the pinnacle. It’s part of the cheekiness I think – how far can he strip things down, how much can he get away with and just coast on his obvious huge charisma?

    Also maybe if you’d spent 5 years writing hippy psych material that gets nowhere (and publishing a poetry book called THE WARLOCK OF LOVE!!) you’d fancy a change too! A lot of the big singles hit lyrics around this time are really blatantly basic – some of this is no doubt commercial but might there not be a ‘poetry of rock’ backlash going on too?

  23. 23

    i don’t think there IS a change! his “hippy poetry” is just as er gnomic!

    eg: Romany soup
    I gotta get some ooo
    Romany Soup

    = entire song!

  24. 24
    Tom on 17 Nov 2006 #

    I thought you had written “ergonomic” – WHAT A GREBT ADJECTIVE i thought.

    Have you read the Warlock Of Love? I have not, I have however seen an excerpt in a Q feature on rock star poetry (Q was resolutely disapproving as you would xpect.)

  25. 25
    Rosie on 17 Nov 2006 #

    I seem to remember being very scathing at the time of ‘She’s faster than most and she lives by the coast’ – I suppose that deserves a 10 for chutpah!

  26. 26

    radiergonomic (that’s a GONG JOKE PPL)

    no sadly, but i have a peculiar fan-biography-by-probable-stalker (not me) which quotes it

    my sister owns TWO slim vols of poitry by thin lizzy’s phil lynott

  27. 27
    Rosie on 17 Nov 2006 #

    Oh, and I think the one that really made me wince, more so than Metal Guru, was Telegram Sam!

  28. 28
    Tom on 17 Nov 2006 #

    ISTR The Rolls-Royce one – apols to T Rex fans for whom this is new info – was much cited by the Gallagher brothers as the kind of lyric they were after.

  29. 29

    *postpones attempt to encourage the lex/t rex encounter*

  30. 30
    Steve Mannion on 17 Nov 2006 #

    “I’m a labourer of love with my Persian gloves” = Beginning to understand the ’10′ evermore…

  31. 31
    Tom on 17 Nov 2006 #

    The clinching factor that bumped this from 9 to 10 was actually the incredibly un-macho “Ow! Ow! Ooooooooh!” before the (deliciously perfunctory) guitar solo.

  32. 32
    Lena on 17 Nov 2006 #

    Yeah whoo-yeah okay for the song’s lyrics, but I like his “Take me!…” at the end of “Get It On” even more…

  33. 33
    Marcello Carlin on 17 Nov 2006 #

    Yes, on reflection it has to be a 10 really (as does “Get It On”) since it’s the real beginning of my time; seven years old and already he was doing something to me – I couldn’t yet pinpoint it but I knew it was (a) pleasing, (b) new and (c) OURS (in the way that my generation was too young to claim the Beatles first hand).

    Think of how Grinderswitch’s “Jammin’ The Blues” a.k.a. Peel theme, from the same period and with an identical bass riff and rhythm, is many things but not especially sexy (but then TS McPhee’s closer-than-the-ear-can-hear picking on “Groundhog Blues” isn’t that far away from Bolan’s guitar style). Bolan made the blues pop in both senses transitive and non-transitive.

    And yes, at the time I think I loved him…

    (re. Nick Drake: there but for the grace of Elton/Cat Stevens/Chris De Burgh?)

  34. 34
    Tom on 17 Nov 2006 #

    (If “Get It On” doesn’t get a 10 then please address all complaints to Mr J.Taylor, The Power Station, Popland rather than me.)

  35. 35

    i am willing to bet i prefer warlock of love to anything by nick drake ever!

  36. 36
    Marcello Carlin on 17 Nov 2006 #

    Cue parallel universe where “Northern Sky” rather than “Your Song” gets to number one in America.

    Nick D goes glam – could it have happened?

  37. 37
    Erithian on 17 Nov 2006 #

    Re your intro, Tom, it occurs to me that Bolan was also a “failed” skiffle musician! – from his time in a band called Susie and the Hula Hoops when he was just a nipper (joined the band when he was 9 according to one website!); “Susie” reverted to her real name, Helen Shapiro, and became one of the biggest pre-Beat Boom UK stars. Disturbingly, when I googled their names together to research a quiz question a while back, one of the first hits (since removed) was a neo-Nazi site listing Jewish celebrities.

  38. 38
    Erithian on 17 Nov 2006 #

    Re Martin’s “There are several T. Rex singles that are even better, so you might have to give them 11 or 12 ” –

    now if only Spinal Tap had had a number one single…

  39. 39
    intothefireuk on 17 Nov 2006 #

    I would near enough regard this pretty much as ground zero for the 70s – the inspiration for many new bands/acts and just as many, if not more already on the circuit. Bolan was a breath of fresh air (and a gigantuan ego) for a depressed singles market in need of a bright shiny star. He almost single handedly resurrected singles sales and saved the world (well Britain at least) from an overdose of prog. Without Bolan there would be no glam and without glam – no punk etc etc. His success directly influenced Bowie – and for a couple of years they vied for who was top dog (similar to the 60s Beatles/Beach Boys trumping contest)* without Bowie achieving number one (unless you count the NME chart where Jean Genie made it) but triumphing eventually with album sales. There would be better singles (Telegram Sam, Metal Guru) and like others I’m intrigued to see what mark they achieve. For Iconic achievement it warrants a 10 – pure listening pleasure I’d have to go with one of the other singles with this as an 8 or 9.

    * How odd they are all B’s.

  40. 40
    jeff w on 17 Nov 2006 #

    To be fair, prog (save for Deep Purple and Argent) wanted no truck with the singles chart either.

  41. 41
    Chris Brown on 17 Nov 2006 #

    Sorry to spoil the party, but I always thought this was one of the weaker T.Rex chart-toppers; admittedly though, I didn’t hear them in order so I can appreciate that this must have made more sense when the formula was fresh.

  42. 42
    blount on 17 Nov 2006 #

    i would’ve gone ‘8’ maaaybe ‘9’ but only cuz there’s other t. rex i love so so much more. commenting on something addis casino said above i’ll say that glam (from what i can tell) definitely had a impact stateside (not even including ye old ‘yay verily w/out it’s influence no motley crue, poison etc.’). it seems to have been the first ‘next big thing’ and specifically ‘next big brit thing’ that didn’t quite take – bowie and roxy music not scoring their big huge pop hits until they dropped rock and went more r&b/disco, t. rex being effectively a one-hit wonder over here (there’s a great lester bangs piece on dick clark where clark rants about how bolan ‘blew it’, a nice dark side to an american icon whose darkness elsewhere seems to be relegated to being barabbas to freed’s christ and unwittingly planting the seed for punk’d ergo unwittingly planting the seed for a number of ashton kutcher flix), even now w/ t. rex established as ‘yes, true rock legend’ in american rock canon w/ electric warrior regularly appearing in top whatever of all time lists his q factor is limited to ‘bang a gong’ and ’20th century boy’ (prefer both of those to ‘hot love’ btw, esp ’20th century boy’). at the same time glam had an impact at the time in america beyond relatively flopping on the charts – i remember in the navy hanging out w/ these old boomer squids and getting to see certain rock things in a context of its audience (beefheart described to me as a ‘freakier dr. hook’ for instance lol) and one of the wives, who was maybe five years younger than the rest of the pack telling me about how huge a thing glam was, that it seemed a total break from hendrix/cream/doors 60s hangover, that it was crucially something ‘new’ and ‘ours’. for the little sisters and bros coming into their own at this point there was obv a feeling that they’d ‘missed it’ or at least definitely a feeling of being told that they’d ‘missed it’ (cf jonathan king, phillip seymour hoffman as bangs, ‘all the young dudes’), post-hendrix/joplin/morrison deaths, post-beatles breakup, post-woodstock/altamont, post-‘the dream is over’. in america among the rock crowd there definitely seems to have been a drawing back, the wave having crested, a specific ratio of success and failure on the progressive front making many young people turn inward and take it easy (enter ‘mellow’ and the me decade), with the aesthetics already set in motion w/ john wesley harding/big pink/beggars banquet/the white album/ccr. in the uk (for reasons i’m hoping marcello or mark can elucidate if they don’t decide i’m completely full of shit here) the 68-69 back to basics approach got tossed aside as just another fashion and suddenly we’re back in 66 swinging london, only this time gayer, louder, more theatrical and more glamourous. i know which i prefer.

  43. 43
    Marcello Carlin on 18 Nov 2006 #

    To be fair, prog (save for Deep Purple and Argent) wanted no truck with the singles chart either.

    Not entirely the case; acts like the Moody Blues, Family, Atomic Rooster and Curved Air had hit singles throughout this period.

  44. 44
    intothefireuk on 18 Nov 2006 #

    What I was actually aiming at there was to emphasise that without Glam rekindling interest in singles, album artists such as Led Zep, Pink Floyd & Yes would have become the prevailing model for all upcoming bands.

  45. 45

    blount sez: “in the uk (for reasons i’m hoping marcello or mark can elucidate if they don’t decide i’m completely full of shit here) the 68-69 back to basics approach got tossed aside as just another fashion”

    there was a specific UK folk-rock movement* of some presence — carmody is (of course) an expert here — but (as we’ve talked a bit about before?) the key element missing from uk rock is that here you can’t relax back into COUNTRY as a BASIC (which in the UK is as exotic as, I dunno, reggae) (in fact probably MORE so, in terms of family ties)

    one underlying factor is the different media set-up of course: TV and radio were just SO DIFFERENTLY structured to US ditto that the post-67 energies flowed (and were thence amplified) very very differently — no real sustained equiv of album-centric FM-radio, and a tendency to prefer to continue to consider the single the primary unit of significance (counter the “BACK TO BASICS” movement?), a tendency which the leisure industry and the er “rock-critical avant-garde” actually unwittingly agreed about…

    (an awful lot more to dig up and mull over here, tho: what’s interesting abt glam for me is that it had almost NO constituency among the schoolkids exactly my age where i was — bcz there was a local younger-brother fogeyish micro-reaction against its utter dominion over the older-brother two-years-above set — this was an all boys school, and — to my “set” — prog was less “girly” than glam… the 60s seemed impossibly distant, dinosaurs in the sense of being fabulous dragons unreachably long ago, not in the present, lamer sense of lumberingly all around and hopefully soon-extinct)
    us
    *Fairport Convention and offshoots; Steeleye Span, Incredible String Band, Pentangle

  46. 46

    “unreachably long ago” = i’m talking abt 74-75 now, when glam had already passed its peak

  47. 47

    a book i’d love to see written — maybe i should write it! :|:|:| — is essentially a map* of the various london club scenes (blues, R&B, jazz, soul, reggae, other) starting say 1958, and how these cooked along, battled one another, flourished, stagnated — and at various different times threw up their own contributions to the er “global conversation”; so that eg bolan and bowie had been around the block in the 60s, but their time only came in the 70s (it’s a non-pejorative reading of king’s snark i guess): this is true of the psych-prog wave of 66-68, in that all sorts of intense stuff was going on the performance and haha “arts-lab” level (soft machine at the ica; amm supporting floyd at the roundhouse and ufo)

    *you could almost do it geographically i think — how actual clubs in actual streets cooked along, and then such and such broke up out into the stratosphere, leaving its roots behind (which would then bubble down again and reactively change — good example is the relationship of The Who to the Mod scene, esp.given that the Who didn’t break as big as soon as their hit ratio implied they should)

  48. 48
    Erithian on 20 Nov 2006 #

    Lloyd Bradley’s “Bass Culture”, which Tom refers to in the “Double Barrel” thread, is very good on how Jamaican music moved uptown from the households of the first immigrant generation into central London clubs by the early 60s, and how those clubs began to attract white fans and musicians, thus contributing to the general cross-pollination of cultures.

  49. 49
    Marcello Carlin on 20 Nov 2006 #

    er, mark, i’ve been writing that book for the last three years…

  50. 50
    Marcello Carlin on 20 Nov 2006 #

    (not the CoM book but the Song From Somewhere thing to which I refer occasionally in the blog)

  51. 51

    hurrah!

    DUBDOBDEE: apologies for not processing that project thru to the MEMORY bit of my head, marcello!
    the MEMORY bit of DUBDOBDEE’S head: DISK FULL d00d!

  52. 52
    Ward Fowler on 20 Nov 2006 #

    the singer that Bolan sounds closest to is Karen Dalton – I’ve no idea if Bolan ever heard her, but his folkie past makes me think he might well have done

  53. 53
    wwolfe on 20 Nov 2006 #

    I’ve only heard “Bang a Gong” and short excerpts from “20th Century Boy.” I like the band’s sound, even though it doesn’t knock my socks off. As far as influences, it seems mostly Chuck Berry minus Berry’s cold, sub-surface rage at being black in a very white America.

    If glam had hit big in America at the time, I might regard it with much more fondness. Since it didn’t, I like a handful of songs without being swept up emotionally in any of the ones I know. And maybe that’s because, compared to a musical movement that was huge in America at exactly the same time, but doesn’t seem to have been as big in England – that being the remarkable wave of socially conscious black music from Motown and Philly International, among others – glam just doesn’t seem like such a big deal to me. That’s somewhat puzzling to me, since I tend to love short, catchy songs with humor and a sense of style. Perhaps glam was the first pop moment when ironic distance outweighed emotional connection. Of course, if that’s not the way the music hit you, that response will seem like total bunk. I’m just trying to figure out why a genre of music that checks all the right bozes never made my personal list of “10s”.

  54. 54
    wwolfe on 20 Nov 2006 #

    Typo alert: “all the right bozes” s/b “all the right boxes.”

  55. 55
    major clout on 21 Nov 2006 #

    i would’ve eaten ‘8′ maaaybe ‘9′ tacos but only cuz there’s other taco stands i love so so much more.

  56. 56
    Dadaismus on 22 Nov 2006 #

    Bolan sang like Bolan in 1965, so how could he have been influenced by Karen Dalton? Had anyone in the UK ever heard of Karen Dalton until, ummmmmmmmm, last week or sumthin’? Donovan seems like a possible “influence” and, later, the Incredible String Band and, of course(!), Syd Barrett … but I think Marc made most of it up himself, to be honest.

  57. 57

    i agree with dada (!blimey!)

    even the “sounds like chuck berry” argument — which at least makes some of grand historical sense — makes me think “er ok if you say so (*whispers to self*: no it doesn’t really)”

  58. 58
    Tom on 22 Nov 2006 #

    Does it sound like Donald Swann?

  59. 59
    Doctor Mod on 22 Nov 2006 #

    Although I said on the TO and Dawn discussion that I began to lose interest in pop music around this time, I actually quite like TRex–just to confirm that for anyone who thought my lack of comment here suggested otherwise. But my appreciation of Bolan is something that has taken time to grow–while “Bang a Gong” was a substantial hit in the US, his other recordings weren’t necessarily heard all that often and thus, while I did hear them, sporadically, it’s only in retrospect that I’ve seen the bigger picture of his career.

    The glam aesthetics notwithstanding, what Bolan injected into pop was a much needed dose of whimsy–and what’s wrong with whimsy, I say. I think many underestimate the degree to which whimsy added to the appeal of the early Beatles, even though it had either disappeared or become cloying before the Fab Four called it a day. I think it hardly surprising then that Bolan, who was a sort of funked-up Donovan–I mean, listen to the lyrics–came to the fore at the particular moment he did. Some worthy party had to fill the gap the Beatles left behind–surely the four of them working separately didn’t accomplish the task.

    I, for one, wouldn’t be offended by the “fey” tag–I think Bolan played with it as much as Bowie, at least performativity, but so had the Beatles in the mid-60s. And, yes, as much of a stretch as it might seem, Bolan also exists in a continuum with Kate Bush, Adam Ant, and Morrissey. And as far as I’m concerned, that’s a good thing.

    (And I confess my TRex fave is “Ride a White Swan”–how whimsical can you get?)

  60. 60

    tom i OWN THAT SONGBOOK ph34r me and my grebt yule pi4no-p4rty

  61. 61
    DR.C on 24 Nov 2006 #

    Hello. I’ve been meaning to join in the fun here for a while. I’ve been reading but not commenting so far. Anyway, Hot Love is the beginning of everything for me – it was number one on the first TOTP that I remember sitting down to watch from beginning to end. It’s T-Rex’s greatest hit because it genuinely swings and has a lightness of touch that they lost almost immediately afterwards. Maybe Get It On has a little of the funkiness, possibly Jeepster too, but the real swing, the feline swagger of Hot Love is what marks it out as their best.

  62. 62
    Diego on 24 Nov 2006 #

    I half-remember that he once said that he sounded like a speed-up Bessie Smith… that he indeed put her records at a higher speed than intended and learned that style. But Bolan being Bolan, he could be lying.

  63. 63

    diego that is an AWESOME SPOT — from now on i shall claim just that, and SO WHAT if mb was lying

  64. 64
    Wrestling_Nun on 3 Jan 2007 #

    What to say, the song is a 10 as are the next 7 T.Rex singles, until slipping badly to 5 with Truck On (Tyke) in late 74. The pic is wrong it’s from summer 75 when MB was fat and tired, this song needs a glitter punk shot. As for lyrics Marc thought of them (mostly) as instrumentation. But as for “I drive a rolls Royce cos it’s good for my voice”, it’s a brilliant incisive peace of poetry. Think about, why else drive Rolls. Marc was a genius. His influences are clearly, Dylan, Chuck Berry, the Beach Boys, Hendrix, Tolkien, C S Lewis, moody US b&w films and most of all Rock and Roll.

  65. 65
    Gavin on 22 Jan 2009 #

    Truck On was late 73. Late 74 was Zip Gun Boogie, Marc’s weakest single that shouldn;t have been released when tracks like Think Zinc and Solid Baby were in the can and ready but held over for the 75 album Bolan’s Zip Gun. Hot Love was the single that started Glam Rock with Marc gilttering up his face on TOTP’s as a joke. He never expected everyone to copy him.

  66. 66
    swanstep on 23 Feb 2010 #

    I’d give this a highish 6 or a 7. It’s good, but not in the same pop league, in my view, as singles by the Carpenters, Jackson 5, Marvin Gaye etc. that were in the upper eschelons of the singles charts most places in 1971. Hot Love wouldn’t be in my top 10 singles of that year (‘Get it on’ *might* make it). And in terms of rocking out, of course, it can’t touch Who, Led Zep, Floyd, Sabbath stuff from this period (all of which are still absolutely crucial ‘in the air’ today).

    More generally, apart from the dude’s phenomenal looks (Hunky Dory was late in 1971 so I guess this probably is some sort of peak year for male beauty in the charts!), I guess I’ve never quite understood what great unmet demand Bolan supplied. Nolan and T.Rex never ‘travelled’ that well (not just not-to-America, they didn’t do that much down under either), and everyone else survived just fine. So no ‘new direction’ that Bolan and T.Rex especially represented was needed most places. Specific features of the the UK pop psyche and its frenzied media culture presumably explain the difference.

  67. 67
    swanstep on 23 Feb 2010 #

    There’s a lot more pleasure and depth in the Bowie catalogue, but none of his singles – and few of anybody’s – are as magnificently formed as “Hot Love”, “Metal Guru”, “Children Of The Revolution”, et al.
    Can’t agree with that. Maybe they’re a little played out for most of us by now, but Bowie’s best singles are just monumental. Even sticking with 1971, both singles from Hunky Dory (Changes, Life on Mars) are so very accomplished and exciting, I can’t see Bolan besting them really. *Maybe* equaling them… Deep down, perhaps the problem for me is that (like a lot of people) I really love the 1971-1973 period of music, and Bolan and T. Rex seems relatively minor, and sort of understandably regional or parochial to the UK in that context (in something like the way Journey and so on were understandably, relatively parochial to the US in the ’80s). Yes, the big singles are fine, but they’re not a patch on, say, what Stevie Wonder was filling the charts with at the time (tho’ not so much in the UK): Superstition, Sunshine, Higher ground, Living for the City. Now *that’s* a world-beating run of great singles.

  68. 68
    Tom on 23 Feb 2010 #

    Something I absolutely love in pop is where a band perfectly develops a single idea, and I think that’s what T Rex hits on – in many ways I prefer that to songs (and careers) with lots of different ideas. There’s a simplicity to the great T Rex singles which feels like a future echo of dance music as well as a conscious throwback to rock’n’roll, and it’s definitely something I look for in music.

  69. 69
    thefatgit on 23 Feb 2010 #

    Tom, I’m trying to think of a band that fits that brief today and it’s hard to pin down anyone that signifies the future and the past at the same time. The ’70s seemed to be chock-full of candidates (Blondie, Kraftwerk, New York Dolls) which kind of suggests that decade was almost unique.

  70. 70
    lonepilgrim on 23 Feb 2010 #

    re 69 ‘I’m trying to think of a band that fits that brief today’
    Bands like Fleet Foxes, Animal Collective and Yeasayer seem to be selfconsciously trying to achieve such a feat but with one major problem being that they/we don’t know what the future holds.

    Jon Savage makes a case for 1974 as ‘the year the 60’s ended and the 80’s began’ at his blog: http://tinyurl.com/ycr62kh

  71. 71
    swanstep on 23 Feb 2010 #

    @Tom,68. Would you agree that the Ramones and Ac/dc and Oasis are other examples of this ‘one idea’ idea? (Such outfits never end up meaning that much to me, now I think about it.)

    @69,70. Gaga might be a good candidate for being simultaneously backward- and forward-looking. She absolutely feels like the culmination of, say, bowie/glam + madonna studies, but it’s also obvious she hasn’t got close to fulfilling her potential yet. She’s become huge though sheer will/drive and personality, i.e., without doing anything that musically imaginative yet. What in god’s name will she be throwing at us in 5 years time?

  72. 72
    thefatgit on 23 Feb 2010 #

    Yeah, we know not what the future holds, but conversely it was easy to recognise the futuristic in the ’70s. Funnily enough, what had been tagged futuristic back then, turned out to be massively influential* later on. The bands mentioned in your post, lonepilgrim, are candidates for sure, depending on which direction we/they choose to take (us).

    That Jon Savage piece was fascinating, btw. Will I be tempted to visit some of his music choices for that year? I think so!

    *Oh shit! The “I” word! Sorry!

  73. 73
    Tom on 23 Feb 2010 #

    #71 Ramones and AC/DC sure, though small doses of each are enough for me. Oasis, well, we’ll get to them in due course :)

  74. 74
    lonepilgrim on 23 Feb 2010 #

    re 69-72 thinking some more about it – perhaps the past/future hybrid isn’t going to be an individual star/act but a format like Glee where songs are re-presented in new narratives

  75. 75
    punctum on 24 Feb 2010 #

    I’ve a lot of time for artists who find their sound and stick with it, which doesn’t necessarily mean they don’t evolve but at the same time if I get a new record by them I’m happy that it sounds exactly the same as all the previous ones. The Ramones, AC/DC and Quo for sure, and then less obviously Boards of Canada and Sade: you know what you’re getting and you’re comforted by it but at the same time “comforted” doesn’t equate with “nullified.”

  76. 76
    lord darlington on 24 Feb 2010 #

    Most of these ‘one sound’ acts run their course fairly quickly, though: Oasis begin to smell bad after two albums, the Ramones after three. I’m intrigued to know what people make of T Rex after The Slider as the 73-77 period is panned by everyone, even Bolan’s biographer Mark Paytress – are they an exception? (clue – the answer is yes).

    69 – Blondie don’t fit this bill, surely? More’s the pity.

  77. 77
    thefatgit on 24 Feb 2010 #

    @76 In terms of a trademark sound, you’re right, Blondie were an evolving band. In terms of past/future juxtaposition, undoubtedly so.

  78. 79
    punctum on 12 Jun 2012 #

    Lena asked me to write this entry, and you can see why: http://musicsoundsbetterwithtwo.blogspot.co.uk/2012/06/i-spit-on-your-grave-and-stick-out-my.html

  79. 80
    Jimmy the Swede on 12 Jun 2012 #

    # 79 – I found BTM really worrying even back in the day as a ten year-old and recall clearly being delighted that it got stuck at number two. I had no idea at all what Stevens was doing and still don’t. By far the worst aspect of it is when the fan (clearly a simpleton) twice tries to storm the stage only to be thwarted by the MC. The whole concept of this record is more than a little odd. But apart from this rubbish, I have nothing against Stevens at all. His take on “Misty” was a great effort, that also being stuck at number two, IIRC.

  80. 81
    wichita lineman on 13 Jun 2012 #

    “I dig it. I really dig it” – sounds more like one of the Hair Bear Bunch than a lech. But Bridget’s cackle is REALLY annoying.

  81. 82
    Mark G on 13 Jun 2012 #

    As a kid, I thought he said “I did it! I really did it.” which is, um, worse, obv.

  82. 83
    thefatgit on 13 Jun 2012 #

    He’s sulphur hexafluoride to Bridget’s helium. Still piss-poor though.

  83. 84
    wichita lineman on 13 Jun 2012 #

    In The Mood, sung by chickens. That was Ray Stevens’ low point. I was 11 when it came out and thought it was embarrassing.

    But unlike Marcello I really like Mr Businessman: straight Americana taking a cold look at itself and finding doubt, if only for a little while, in the upheaval of1968. See also: Frank Sinatra’s Watertown, Roy Orbison’s Southbound Jericho Parkway, Bing Crosby’s What Do We Do With The World. If anyone knows any others in this vein please let on!

  84. 85
    thefatgit on 13 Jun 2012 #

    All this time, I thought it was The Muppets who did “In The Mood”! That kinda sours it for me. Oh well…

  85. 86
    punctum on 14 Jun 2012 #

    They did do it, but Mr Stevens did it first. The record was credited to “Henhouse Five Plus Two” or something not dissimilar.

    #84 – totally do not agree, but “Billy, You’re My Friend” by Gene Pitney is one such, as indeed is the entirety of Genuine Imitation Life Gazette but you don’t need me to tell you that.

  86. 87
    Mark G on 14 Jun 2012 #

    The thing is with Ray Stevens is that he wanted to be both Don McLean and Don McLean.

    (i.e. the US guy and the UK comedian)

  87. 88
    punctum on 14 Jun 2012 #

    The latter is Don Maclean, pronounced as in “yes, I had a bath this morning.” It is probably relevant that at one time he was resident comic on the Black And White Minstrel Show.

  88. 89
    Mark G on 14 Jun 2012 #

    Ah, i did imagesearch “Don McLean Crackerjack” and got enough correct pix.

    Also, I forgot that Ray Stevens *and* Don Maclean both did “gitarzan”

    anyways, moving on..

  89. 90
    Mutley on 14 Jun 2012 #

    #84 and #86 I’m not sure why Roy Orbison, Gene Pitney and Frankie Valli should fall into the category of “Mr Businessman straight Americana” (other than having hits before 1963) but if they do, Dion should also be there with Abraham, Martin and John (US #4 in 1968).

  90. 91
    wichita lineman on 14 Jun 2012 #

    Straight, as in non-hippie. Lots of Country Joe & the Fish-type action but for singers like Sinatra and Crosby to be investigating the American Dream was a new and shortlived trend. Pitney and Orbison were no rebels, either (see Nik Cohn’s description of the former in Awopbopaloobop). Dion was from the pre-Beatles era, yes, but he wasn’t a straight – he was a blue and folk-loving junkie! But AM&J certainly fits songwise.

    Gosh, how I love Billy You’re My Friend.

  91. 92
    Mutley on 15 Jun 2012 #

    #91 I see what you mean and you are right about Dion. Of course there was also the “Mr Businessman hippie Capitalist” of which Richard Branson is probably the best-known example. And also the less extreme example of weekend hippies. Any examples of songs about these types that are not intended to be mocking or funny?

  92. 93
    Jimmy the Swede on 27 Dec 2012 #

    #95 – Well hello and welcome to the party. Tom Ewing, our Managing Director, posted his first review (on the UK’s first ever number one single) on 16/09/2003. There has been much comment, many a bunfight and lots of fun since then.

  93. 94
    lonepilgrim on 1 Feb 2013 #

    glam slam.

    FWIW
    My top glam singles could be
    – Metal Guru
    – All The Young Dudes
    – The Jean Genie
    – Starman
    – Virginia Plain
    – Rock On (David Essex)
    – Can the Can
    – Walk on the Wild Side
    – Ballroom Blitz
    – Tiger Feet

  94. 95
    Brendan on 2 Feb 2013 #

    Wot no Slade?

  95. 96
    Lone pilgrim on 2 Feb 2013 #

    No Slade for me. As much as I like a lot of their music they don’t register as Glam with me.

  96. 97
    old man sukrat on 2 Feb 2013 #

    Spade are the exact mid point between glam and glitter without being either

  97. 98
    old man sukrat on 2 Feb 2013 #

    which is why I call them spade

  98. 99
    Mark G on 6 Mar 2013 #

    Are you Morrissey?

  99. 100
    Lazarus on 17 Mar 2013 #

    Are you mates with even skin tone by any chance?

    One of the most spammed threads on the site, I would imagine.

    And ‘Killer Queen’ would be in my Glam top 10.

  100. 101
    Elsa on 28 Apr 2013 #

    w pogłowiu owiec tudzież bydła nieodmiennie
    oskarżano wilki a Elsa złodziei. Sir Roger słuchał zdumiony.
    – Nie uwierzycie, panie – wymamrotał Arnold przyciszonym głosem,
    rozglądając się z dystansem na ponieważ.

  101. 102
    enitharmon on 28 Apr 2013 #

    It’s all very well you saying that, young lady, but what are they going to say in Poznań when they find out what Sir Roger and Arnold have been doing with their livestock?

  102. 103
    curediabetesdiet.info on 30 Apr 2013 #

    Whole wheat bread – 1 slice. Trim off any visible fats before cooking.
    This diet plan will help normalize not only your blood sugar levels but as well as blood
    pressure and cholesterol levels.

  103. 104
    Patrick Mexico on 30 Apr 2013 #

    (Whatever happened to) the guilt-free double cream?

  104. 105
    Riley on 2 May 2013 #

    Good article. I definitely love this site. Thanks!

  105. 106
    Carson on 6 Jun 2013 #

    I visited multiple websites however the audio quality for audio songs existing
    at this site is really excellent.

  106. 107
    Mark G on 6 Jun 2013 #

    This site has audio tracks? Who knew???

  107. 108
    Izzy on 6 Jun 2013 #

    Wait, you get audio songs now? I’m still into sheet music.

  108. 109
    punctum on 18 Jun 2013 #

    I always wondered about those chart-topping songwrinters.

  109. 110
    Mark G on 19 Jun 2013 #

    I’m surprised the amusement account is still open!

  110. 111
    punctum on 21 Jun 2013 #

    I used to go to the one on Blackpool North Pier all the time when on holiday in the seventies.

  111. 112
    Mark G on 21 Jun 2013 #

    Did you come away in debit or credit?

  112. 113
    punctum on 21 Jun 2013 #

    I came away in a tram.

  113. 114
    Mark G on 26 Jun 2013 #

    Is breakfast the name of your girlfriend?

  114. 115
    punctum on 2 Jul 2013 #

    This dermatological spam commentary is fascinating.

  115. 116
    Cumbrian on 2 Jul 2013 #

    I assume that the title “Hot Love” confuses spambots and they think that this page must get a lot of views.

  116. 117
    Mark G on 4 Jul 2013 #

    Top marks here for wonderfully expressed
    awkwardsilence.

  117. 118
    Cumbrian on 17 Jul 2013 #

    It could well be that the spam on this thread outweighs the discussion of the record in question at some point in the future.

    Poor old Marc – struggling along whilst the spambots take advantage of his potential customers.

  118. 119
    Mark G Smith on 17 Jul 2013 #

    We can ‘ave a bleedin’ guess pal!

  119. 120
    Cumbrian on 18 Jul 2013 #

    Indeed. If someone makes the little change of switching off their spambots, it will result in the large change of this thread not being flooded with ridiculous posts trying to get us to buy 60 inch TVs.

  120. 121
    Brendan F on 18 Jul 2013 #

    or is he just telling us he’s a 5 foot transvestite?

  121. 122
    Mark G on 21 Jul 2013 #

    To Mr and Mrs Insurance-Quote, a son: Best Online

  122. 123
    Rory on 23 Aug 2013 #

    I like to imagine these being read out by Advertising Voiceover Man in Dolby Surround at the cinema. “The savings in premium can be so many options available!”

  123. 124
    spammer on 24 Aug 2013 #

    This design is incredible! You definitely know how to keep a reader
    amused. Between your wit and your videos, I was almost moved to start my own blog (well, almost…HaHa!) Great job.
    I really loved what you had to say, and more
    than that, how you presented it. Too cool!

  124. 125
    Tom on 6 Sep 2013 #

    Cease your appeals to my vanity, you devils.

  125. 126
    Mark G on 8 Sep 2013 #

    Well, it grabbed your attention, bignose!

  126. 127
    Mark G on 9 Sep 2013 #

    Looks like the appeals to Tom’s vanity have ceased.

  127. 128
    thefatgit on 24 Sep 2013 #

    Things are getting very surreal around here. It’s only a matter of time before the Hot Love thread becomes self-aware.

  128. 129
    Ed on 24 Sep 2013 #

    How long before there is a Jonny Trunk album of greatest spam lines?

    ‘Annd naturally, thanks inn your effort!’ has potential, I think.

    ‘Also play a great role to heal many of the diseases’ sounds like a blockbusting charity single.

  129. 130
    Lazarus on 25 Sep 2013 #

    Not much point in responding to the spambots if the admins are going to delete their posts; it makes our responses seem like a somewhat disjointed dialogue. See posts 125/126 – it now looks as if Mark is being rude to Tom.

  130. 131
    Mark G on 26 Sep 2013 #

    And yet, 124 is still there! There’s a moral somewhere but is it “appeals to vanity may last longer than statements to the effect that the content is dull and needs sharpening up by looking at *this* blog which can supply you cheaper pomegranates or something..”

  131. 132
    Mark G on 27 Sep 2013 #

    I can believe that.

  132. 133
    Mark G on 30 Sep 2013 #

    All that burn that fat are belong to use.

  133. 134
    thefatgit on 30 Sep 2013 #

    All this talk of burning fat makes me feel a little uncomfortable.

  134. 135
    Mark G on 6 Oct 2013 #

    Where are the typos? And the horribly formed grammar constructs?

  135. 136
    Lazarus on 8 Oct 2013 #

    They were never there, and now they’re gone.

  136. 137
    Mark G on 18 Oct 2013 #

    To Mr and Mrs 89, a son..

    actually, nm.

  137. 138
    Lazarus on 19 Oct 2013 #

    ‘Cambogia?’ Wasn’t that Kim Wilde?

  138. 139
    Lazarus on 22 Oct 2013 #

    That guy should be kept in for his username alone.

  139. 140
    Cumbrian on 22 Oct 2013 #

    Hot Love is not Fast.

    Actually, whilst I am here, I don’t think I’ve said anything about Hot Love other than bemoaning the spambots. Of all of Tom’s 10s (a short list), I think this is probably the one I like the least, which is not to say that it’s bad. It gets in and out well enough and the music is hooky and memorable but it just doesn’t excite me in the way that, say, 20th Century Boy does; I guess it’s a bit more gentle whereas 20CB has more bite to the guitar work – a gritty texture that makes it stand out a bit. Rightly or wrongly, Hot Love sounds like a lot of other records from the glam period (probably because they were ripping T Rex off) but 20CB sounds of glam but verging on hard rock (a genre I have a weakness for – just a month until Queens of the Stone Age at Wembley).

    I had this at a borderline 6 or 7 – I have all the other “Tom 10s” at 7s or higher.

  140. 141
    Jimmy the Swede on 24 Oct 2013 #

    Hot Love is not Fast?

    Well, it’s Faster than most.

  141. 142
    MarkG on 7 Nov 2013 #

    Yeah, we shouldn’t moan..

  142. 143
    dragon city cheat on 7 Nov 2013 #

    Aw, this was an exceptionaoly good post. Taking
    a few minutes and actual effort to make a good article… but what can I say… I procrastinate a whole lot and never
    manage too get nearly anything done.

  143. 144
    diabetes home test on 14 Nov 2013 #

    Magnificent web site. Plenty of useful info here.
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  144. 145
    Anonymous on 14 Nov 2013 #

    *spam squished*

  145. 146
    Mark G on 14 Nov 2013 #

    No you are not.

  146. 147
    Mark G on 14 Nov 2013 #

    (message 141 and 142 almost make sense, ran together..)

  147. 148
    Mark G on 20 Nov 2013 #

    vg+, almost a keeper.. Is it “Finish of Mine Day” yet?

  148. 149
    Lazarus on 4 Dec 2013 #

    The whole thing is fine thanks, and will do just as well without you … byeee!

  149. 150
    thefatgit on 12 Dec 2013 #

    Come again, again?

  150. 151
    admin on 15 Dec 2013 #

    I’ve resorted to trying out a plugin that allows me to set specific posts to accept comments from logged in users only. So far this is the only post I’ve activated that option for. the rest of the site is unaffected

  151. 152
    Philomena on 20 May 2014 #

    T REX – Hot Loѵe | FreakyTrіǥger

  152. 153
    hectorthebat on 17 Jun 2014 #

    Critic watch:

    Bruce Pollock (USA) – The 7,500 Most Important Songs of 1944-2000 (2005)
    Panorama (Norway) – The 30 Best Singles of the Year 1970-98 (1999) 6
    Gilles Verlant and Thomas Caussé (France) – 3000 Rock Classics (2009)
    Giannis Petridis (Greece) – 2004 of the Best Songs of the Century (2003)

  153. 154
    Harryo on 1 Sep 2014 #

    If you check this tune on Youtube not once does one have to sit through a commercial to view any version of this song. Perhaps the internet has given it less than a 10.

  154. 155
    mark g on 30 Sep 2014 #

    Blog blogger?

  155. 156
    Obvious Spam website.. on 2 Oct 2014 #

    I’m not doing my homework in a babydoll, sorry.

  156. 157
    Mark G on 22 Oct 2014 #

    Not me for a kickoff!

  157. 158
    Nixon on 20 Nov 2014 #

    For anyone who doesn’t read Arabic, the spam post at #159 just says “Download films! Download films! Download films!” over and over again.

    Anyway, I was just listening to this – I love it so much, and I’m endlessly amused that for all the various times people have said “(Record X) is a 2-minute song stretched out to five”, this one actually IS a two minute song with three glorious minutes of ascent padding tacked on the end, and I remembered Tom’s comment about it feeling like Marc was giddily getting away with something each time the record doesn’t fade out (especially on the version I’m listening to where the band finally collapse into fits of silly giggles and yet more na-na-na’s) so I wanted to read the review again.

  158. 159
    Mark G on 20 Nov 2014 #

    Yeah, and Mickey’s harmony na-na-na’s like they thought of another way to add something more before the fade

  159. 160
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  160. 161
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  161. 162
    Lazarus on 24 Apr 2015 #

    We have to help this guy out don’t we? If he was christened Dining Room Table With Bench, he needs all the help going. That’s just cruel!

  162. 163
    funny videos on 20 May 2015 #

    I every time spent my half an hour to read this web site’s articles or reviews daily along with a
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  163. 164
    facebook memes on 21 May 2015 #

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  164. 165
    Tom on 21 May 2015 #

    Its piqued ffs.

  165. 166
    Steve Mannion on 21 May 2015 #

    I trust that #163 jumped on our coffee bandwagon from the latest All Saints post. Facebook Memes your comparative vagueness in commitment terms is a thoroughly disappointing follow-up.

  166. 167
    Mark G on 21 May 2015 #

    #165 Nooh, the best is yet to come!

  167. 168
    Mark G on 3 Dec 2015 #

    That’s very interesting. But inappropriate.

  168. 169
    Phil on 3 Oct 2016 #

    I remember this coming out; it was utterly, utterly wonderful, but so was every other T Rex single right from (consults Wikipedia)… right from 1971 to early 1973. A 10? Maybe. Hard to judge. Hard to refuse, put it that way – although I thought at the time that “Metal Guru” was the most ecstatic blast of music ever recorded ever anywhere by anyone ever, so I might have held back the 10 for that great sf glam landslide.

    On the song structure, I’m surprised nobody’s mentioned Teenage Fanclub’s “Norman 3”, or the Homosexuals’ “Divorce (Proceedings) From Reality”*. They’re both exemplars of the “minimal song with huge fade”, and probably neither would have been possible without this song. I agree that this song (as well as those two) is light-years away from the superficially similar “Hey Jude” – that’s lumbering and smug** (“how can we end this brilliant song? let’s just not end it at all!”) where this is light-footed and oddly punky in its nihilistic self-assurance (“how about this for something different? fooled you, it’s the same thing again!”).

    *OK, not very surprised about the second one.
    **I’d give it a few more than 4, though. The movement you need is on your shoulder!

  169. 170
    lonepilgrim on 21 Jul 2018 #

    as a kid I experienced pop as part of a general flow of entertainment that i just eavesdropped on – it said nothing to me about my life, nor did I expect it to. As I moved into my second decade friends and classmates began to talk about records and argue about what was good or not.’Hot Love’ met with approval. My best friend got a copy of ‘Electric Warrior’ and suddenly the idea of buying and owning records myself became a possibility. There’s something delightfully airy and open about this and is Bolan at his most charming for me

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