A warm, curious tone runs through this 1968 feature, capturing Tyrannosaurus Rex at the very beginning of their journey. The clipping radiates the sense of discovery that surrounded Marc Bolan and Steve Took as they emerged from London’s underground clubs into the wider pop conversation. 📰 Quotes from the Article “‘Tyrannosaurus Rex’ means ‘King of the Lizards.’” “Their music is as unusual as their name.” 📰 What the Clipping Shows The clipping is a mid‑column feature with a

A warm, lightly amused tone runs through this late‑’60s profile, capturing Tyrannosaurus Rex at the moment they first began to attract wider attention. The atmosphere is one of curiosity and discovery — two young musicians emerging from London’s underground scene with a sound and identity unlike anything else in the pop pages of the time. “‘Tyrannosaurus Rex’ means ‘King of the Lizards.’” “Their music is as unusual as their name.” 📰 Publication Details Publication: Widnes We

A brief, wry introduction to Marc Bolan and Steve Took as they step out of the underground and into the public eye — strange name, stranger music, and a debut single already marking them as something different. 📰 Publication Details Publication: Manchester Evening News Date: April 19, 1968 Country: United Kingdom Section / Page: Page 13 Format: Single Review / Small Article 📰 What the Clipping Shows The article appears under the headline “Biggest ever”, presented in a co

A lost broadcast from the earliest days of Bolan and Took — six songs, one interview, and a vanished moment of psychedelic folk alchemy.

Tyrannosaurus Rex record a six‑track session for John Peel’s Top Gear at BBC Studio 1, Piccadilly, capturing the duo at their earliest and most mystical. Recorded on March 11, 1968 and broadcast across two Top Gear programmes, these performances showcase Marc Bolan and Steve Peregrin Took at their most intimate — acoustic, incantatory, and steeped in early T. Rex mythology. 📰 Key Highlights • Recorded March 11, 1968, BBC Studio 1, 201 Piccadilly, London • First broadcast on

In early 1968, Tony Visconti walked into Middle Earth and saw a duo unlike anything he had encountered in London’s psychedelic underground. Marc Bolan and Steve Peregrin Took sat cross‑legged on the floor, weaving strange, hypnotic songs over hand‑drummed rhythms. That night, Visconti approached Bolan, offered his card, and unknowingly set the stage for one of the most important producer‑artist relationships of the era