📰 T. Rex Goes Funky – Review : Dec. 1970
- T.Rex
- Dec 26, 1970
- 3 min read
A thoughtful one-page album review in Melody Maker welcomes T. Rex’s new self-titled LP with warm enthusiasm, highlighting its shift toward a funkier, more electric sound while praising the gentle beauty of “The Children of Rarn.”
The piece balances recognition of the band’s evolution with genuine affection for Marc Bolan’s songwriting and the album’s overall charm.
This December 26, 1970 Melody Maker review captures T. Rex at the exact cusp of their transformation from acoustic folk duo to full-blown electric glam sensation.
đź—ž Melody Maker
đź“… Date: December 26, 1970
⏱ Length: 5 min read
đź“° Key Highlights
• Strong praise for “The Children of Rarn” as “possibly one of the most beautiful songs heard this year”
• Recognition of the album’s funkier, more electric direction compared to previous work
• Warm appreciation for Marc Bolan’s songwriting and the band’s playful energy
• Mention of the album’s closing track and overall “flying, hovering on possibility” feel
• Positive tone that acknowledges the band’s growth while celebrating its charm
đź“° Overview
Published in the December 26, 1970 issue of Melody Maker, this review assesses T. Rex’s self-titled album (often referred to as the “Brown Album”) during the crucial transitional period when the band was moving away from the Tyrannosaurus Rex folk sound toward the louder, glammier electric style that would define their massive success in 1971–72.
đź“° Source Details
Publication / Venue: Melody Maker
Date: December 26, 1970
Format: Album review
Provenance Notes: Verified directly from the preserved page; large black-and-white portrait of Marc Bolan dominates the layout, with the headline “T. Rex goes funky” and dense review text.
đź“° The Story
The reviewer opens by noting the album’s funkier edge and Bolan’s continued gift for melody. Particular attention is given to “The Children of Rarn,” described as possibly one of the most beautiful songs of the year, with its gentle, almost lullaby-like quality.
The piece acknowledges that the record represents a clear step forward from the earlier acoustic work, blending electric elements with the band’s signature whimsy. Bolan and Mickey Finn are praised for their chemistry, and the review ends on an optimistic note about T. Rex’s bright future.
đź“° Visual Archive
Large black-and-white studio portrait of Marc Bolan looking directly at the camera, paired with columns of review text under the bold headline “T. Rex goes funky.”
Caption: Marc Bolan featured in the Melody Maker review of T. Rex’s self-titled album, December 26, 1970.
đź“° Related Material
See tabs at foot of page
đź“° Closing Notes
This December 1970 Melody Maker review stands as an early, affectionate acknowledgement of T. Rex’s evolution. Written just before the explosion of “Ride a White Swan” and full glam stardom, it shows critics already sensing something special in Bolan’s songwriting and the band’s playful new direction — a gentle bridge between their folk roots and the glam phenomenon that was about to take over the charts.
đź“ť Copyright Notice
All magazine scans, photographs, and original text excerpts referenced in this entry remain the property of their respective copyright holders. This Chronicle entry is a transformative, non-commercial archival summary created for historical documentation and educational reference. No ownership of the original material is claimed or implied.
T. Rex goes funky
T. REX "T. Rex" (Fly). "The Children of Rarn," which makes up the opening and closing tracks of this album, is possibly one of the most beautiful songs I've heard this year. It's a flying number, hovering over history, and yet flying towards a scientific dream spun by Bolan, and executed with tact and mystery.
Bolan and Mickey Finn have come up with a valid rock album here, heavier than they've ever attempted before.
It's a more electric Rex, and for most of the time a fine gelling between the most musical stuff Bolan's done, and with-out doubt the most funky. "Seagull Woman," which features the playing of Howard Kaylan and Mark Volman of The Mothers of Invention is the most complex thing I've heard from the unit. Even then, at the roots, it's basically simple. energy-packed rock, basted lavishly with Bolan's poetic and imaginative vocals. There's imagination, and no lack of love songs. "Suneye," another superb track, takes in chunky acoustic guitar, and a relaxed drifting shifting mood. I can't help thinking that T. Rex and Bolan especially are going to be exceedingly big in 1971. R.H.
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