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Disco de T. Rex: “Zinc Alloy and the Hidden Riders of Tomorrow”
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| Título: |
Zinc Alloy and the Hidden Riders of Tomorrow |
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Fecha de Publicación:2007-10-31
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Tipo:Desconocido
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Género:Rock, Classic Rock, 1970s Rock
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Sello Discográfico:Repertoire
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Letras Explícitas:Si
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UPC:4009910490525
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| Lista de temas : |
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| 1 |
Venus Loon Video |
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| 2 |
Sound Pit |
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| 3 |
Explosive Mouth Video |
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| 4 |
Galaxy |
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| 5 |
Change Video |
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| 6 |
Nameless Wildness |
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| 7 |
Teenage Dream Video |
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| 8 |
Liquid Gang |
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| 9 |
Carlisle Smith & the Old One |
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| 10 |
You've Got to Jive to Stay Alive - Spanish Midnight |
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| 11 |
Interstellar Soul |
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| 12 |
Painless Persuasion V The Meathawk Immaculate |
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| 13 |
Avengers (Superbad) |
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| 14 |
Leopards Featuring Gardenia and the Mighty Slug |
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Análisis (en inglés) - :
By late 1973, {$Marc Bolan}'s star was waning fast. No longer gunning out those effortless classics which established him as the most important figure of the decade so far, he embarked instead on a voyage of musical discovery, which cast him so far adrift from the commercial {\pop} mainstream that when his critics said he'd blown it, he didn't even bother answering them back. Or that's the way it appeared at the time, and today, too, it must be acknowledged that 1974's {^Zinc Alloy & the Hidden Riders of Tomorrow} is not classic {$Bolan}, even if one overlooks the transparency of its title. After all, hadn't {$Bowie} already done the Fictional Someone & the Somethings from Somewhere routine? Indeed he had, as his fans kept remarking at the time, and when the knives began slashing {^Zinc Alloy} to shreds, that was one of the fiercest wounds. Time, however, has healed almost all of them. Indeed, hindsight proves that, far from losing his muse, {$Bolan}'s biggest sin was losing his once-impeccable sense of occasion. The world wasn't ready for this latest {$T. Rex}, and the fact that it wasn't interested in the old {$T. Rex} either is just another object lesson in the fabled fickleness of {\pop} fans. How faulty was {$Bolan}'s timing, though? As it transpired, he was out by no more than a year, maybe less than six months. The era of {\disco} was coming, and with it the wholesale transformation of a wealth of rocking talents. But while {$David Bowie} was barely dreaming of young Americans' fame, and {$Bryan Ferry} was still road testing the pharmaceutical properties of l'amour, {$Bolan} was up to his neck in American radio, pulling out an album which exceeded his assumed capabilities no less than it shot right over the heads of the kids who once bought all his hits. {&"The Groover,"} the spring 1973 single which many regarded as the first sign of {$Bolan}'s fall from grace, marked the birth of this new fascination, a simple but solid slab of funk-inflected {\rock} which did, indeed, groove. (The track is one of five bonus tracks appended to the album's {@Edsel} reissue). The yearning, heavily orchestrated hit {&"Teenage Dream"} hit notwithstanding, the heart of {^Zinc Alloy}, then, simply followed in {&"The Groover"}'s footsteps, an abandoned romp through the {\R&B} influences which {$Bolan} had always acknowledged, but never truly explored -- the solid {$James Brown} drive of {&"The Avengers (Superbad),"} {&"Interstellar Soul,"} {&"Liquid Gang,"} and the implausibly slight, but impressively groove-ridden {&"You've Got to Jive to Stay Alive."} Into the same bag, one can also throw the period b-sides {&"Satisfaction Pony"} and {&"Sitting Here"} -- both of which have also been added to the album. Deeply soul-soaked songs like these aren't simply a new direction. They are the very signposts which would soon be guiding so many other English rock talents down some very unfamiliar alleyways. {^Zinc Alloy} was released in March, 1974. {$Bowie} began rehearsing his Philly Dogs tour in July. Yet, even with such credentials to uphold it, this isn't quite {$Bolan}'s {\soul} album. Those demons would be exorcised on a second record cut with singer {$Sister Pat Hall} and elsewhere in his collaborations with girlfriend {$Gloria Jones}. Besides, the production here was just a little too cautious to truly convince the wary listener. Neither can it be neatly categorized in the same fashion as, say, {$Bowie}'s {^Young Americans} -- {$Bolan} looked across the spectrum for his influences, but he never once went to Philadelphia. Rather, it straddles that same {\pop/rock}, {\funky} {\R&B} landscape as early {$Funkadelic}, {$Sly Stone} and Co., neither fish nor fowl, dead fish nor foul, but something somewhere in between. Approach it with caution. But get in there regardless. ~ Dave Thompson, All Music Guide
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