Of Influential Albums 2 - My People Were Fair And Had Sky In Their Hair ... But Now They're Content To Wear Stars On Their Brows - Tyrannosaurus Rex

This is one of the first albums I bought when I was just six weeks into my teens. It may be the one I have most eagerly anticipated too. People finding out about music for the first time in these present days of fan websites, social media, e-mail notifications, instant downloads, pre-releases, MP3s, streaming services and the rest of it can have no idea of what it was like when vinyl was the only format and there was no web. Information about new releases came from DJs on the radio (usually the BEEB, Radio Luxembourg or one of the independent broadcasters, many of whom at the time were "illegal"), from television's "Top Of The Pops" on Thursdays and later "The Old Grey Whistle Test" that came on way after bedtime, or from the music press. I pestered our local electrical shop for weeks in advance of the release of Tyrannosaurus Rex's first album. Electrical shops were often the only places to buy records in many towns like the one where I lived. Every week the man behind the counter would consult his Billboard list of new releases to no avail and it seemed like it would never arrive. Until this time I had bought mostly singles. At 6/8 a pop (six-and-eight or six shillings and eightpence to any youngsters reading - about 34p in "new money"), singles were expensive enough, but an L.P. (what we now call an album), at 32/6 (one pound, twelve-and-six = £1.62.5), was nearly three weeks of the hard-won money I earned from my new early-morning paper round.

John Peel had played Tyrannosaurus Rex on his weekly Top Gear radio show and his Wednesday evening mixed arts programmes for months. I had followed John Peel's selection of music from the days he first appeared on the pirate broadcaster, Radio London. He featured Tyrannosaurus Rex every week, often in live session. He probably played them more than he ever played anyone else. I was completely hooked. I think it was listening to Marc Bolan that started me thinking that I would like to play guitar. I had long had an interest in writing poems at school, so I tried writing songs, many of which came out as dreadful copies of Marc Bolan's songs. My favourite half of the duo by far though was Steve Took - Steve Peregrin Took (there was a lot of Tolkien in the air during 1967's summer of love and beyond). His hand drumming and backing vocalisations took Marc's songs to another world entirely. I was very sad when he split from what was to become the travesty of T.Rex. I'm sure Marc would have kept the faith had Steve not had to leave! I saw them live that year and followed them fanatically through the second album, "Prophets, Seers and Sages, the Angels of the Ages", and the third, "Unicorn". I bought Marc's book of poems  "The Warlock Of Love", the moment it was published. When I was at the third Isle of Wight Festival in 1970, "Ride A White Swan" was on very heavy rotation between the live performances. It signalled the end of a beautiful relationship. 

If I played covers in my Marshlander sets, I would be very tempted to try and cover "Strange Orchestras" - Steve Took at his finest, I think. He made the mistake of suggesting to Marc Bolan that the duo could try recording some of Steve's own songs ... often a signal to an imminent departure of a member of the band, ask Martin Gordon, ex-Sparks.

Side A 1. "Hot Rod Mama" 3:09 2. "Scenescof" 1:41 3. "Child Star" 2:52 4. "Strange Orchestras" 1:47 5. "Chateau in Virginia Waters" 2:38 6. "Dwarfish Trumpet Blues" 2:47 Side B 1. "Mustang Ford" 2:56 2. "Afghan Woman" 1:59 3. "Knight" 2:38 4. "Graceful Fat Sheba" 1:28 5. "Wielder of Words" 3:19 6. "Frowning Atahuallpa (My Inca Love)" 5:55