Search - T. Rex :: Zinc Alloy & Hidden Riders of Tomorrow

A Wonderful (Although Disjointed) Album!

James Choma | 01/06/2005

(4 out of 5 stars)

"Many critics have hailed "Zinc Alloy" as a train wreck. While it definitely is an odd, disjointed album, I find it to be a delightful album. I would caution those not familiar with Bolan's music -- I don't think this is the place to start. I'd give this album a go only after you've heard "Electric Warrior," "The Slider," and "Tanx."



Marc Bolan's star was still in free fall mode when this album had come out. His glory days appeared to be behind him and (check out "The Slider" and the wonderful "Tanx") his muse seems to have all but deserted him.



"Zinc Alloy" was recorded on the run in several different contries during late '73 and early '74. After the critical failure of "Tanx," the pressure was on to continue the streak of hits that, until recently, seemed to flow so freely from Bolan's imaginiation.



Drugs, booze, a lack of focus, and Marc's massive ego all contributed to the problems experienced on this album. Production duties were still in the hands of Tony Visconti - but after his patience was tested, his advice ignored, and frequent arguements, he and Marc parted ways after "Truck On Tyke," a single released during this album's run.



One, maybe two songs would have been suitable for the radio back in '74. The rest seem like "ideas" Marc had thrown together in an effort to hastily make another album for the fans. Tony's emphasis seemed to be to make the T. Rex sound, bigger, grander, and louder. He has often stated he threw everything but the kitchen sink into the production of this album. These are the moments where the albums shines. Without much to work with, Visconti put a polish on these songs, making them enduring T. Rex classics.



While it's hard to say what direction Marc was trying to take - or the statement he was trying to get across, his aim seemed to be to redefine the band's sound as "Interstellar Soul," to put an urban soul/funk into the music. I don't see it myself, but there are some tunes that were left WAY out in left field ("Galaxy," "Change" and "Gardenia & the Mighty Slug"). But there are definitly moments of brilliance:



"Carsmile Smith & The Old One" - Listen to the arrangement - the violins and cellos are expertly arranged and compliment one the the best Bolan solos I've ever heard.



"Teenage Dream" - Another wonderfully arranged piece built around Marc's magical lyrics. The commercial hit single from the album.



"Liquid Gang" - A bizarre song that has one of the most Beatlesque/The Who fade out's I've ever heard on a T. Rex album. It sounds as if they invaided the local Oktoberfest, stole the Oompah Band and booked them for studio time. A stunning ending.



"Explosive Mouth" - I can't say 've ever heard anything quite like this song. If Marc ever wrote a song he considered "Cosmic Punk," this would be it. A T. Rex classic.



"Spanish Midnight" - The tail end of "You Gotta Jive". Two songs merged that should have stayed on their own. While it is repetative, it's a gorgeous song that Marc should have expanded. As Marc says at the end - "Beautiful, I (expletive) love it!"



"Sitting Here" - A single not on the original album. Another beautiful song reminicient of Marc's "Electric Warrior/The Slider/Tanx" era hits. A beautiful acoustic piece.



"The Groover" - Another single not on the original album. One of Marc's last huge hits. "T-R-E-X" is chanted at the beginning - it still sends shivers down my spine. Pure T. Rex boogie/funk/heavy metal.



"Satisfaction Pony" - Early heavy metal showcasing Marc's guitar talents. A B-side that could stand on its own.



The rest of the songs are really out there and aren't anywhere near Marc's best work. Some of them can be downright irritating - "Nameless Wildness" and "Interstellar Soul" come to mind immediately.



This was truly a transitional album for Marc. It showed an artist looking to change his sound and image, while alienating his established fanbase and any new fans at the same time. While this was not "the bottom" (that's reserved for "Zip Gun") it did mark the departure of Tony Visconti who added so much to T. Rex's signature sound and success.



"

Give it a try or two

Michael-Angelo | Miami, Fl | 12/09/2006

(5 out of 5 stars)

"I have to admit when I first heard this CD I wanted to strangle Gloria Jones and I was a little weirded out by the sound of it. After a few more listens I came to the realization that it was an amazing CD, you just have to listen closely. While yes the songs seem a bit out there, really the CD has a really space-funk feeling to it. All of the songs have their own individual sounds and reasons for being awesome, although to be honest I still cannot decipher The Leopards & Gardennia and the Mighty Slug. It seems like it was intended to be more of a rant instead of an actual song. The album has some of Bolan's best guitar work as a matter of fact. Best songs? It is between Carsmile Smith, Interstellar Soul, Explosive Mouth. Everything else is amazing too, but those are my 3 personal favorites. The album is extremely funky and original, I think Marc wanted to escape the original T. Rex sound and try something new and original. An album where each track is actually a new experiment. And I think he succeeded."

Exciting transitional album - underrated

Stalwart Kreinblaster | Xanadu | 01/18/2007

(4 out of 5 stars)

"marc bolan seemingly oblivious to the publicity and t-rextacy of 1971-73 - created a new sound for his next album and, indeed, embraced change throughout the remainder of his career.. while many fans of his earlier music didn't follow him those that did were rewarded with some of his finest productions.. a mixture of funk, rock, and something else..."