Pop Music - Weekly -
20th march 1973 - # 132
I'd expected the Olympia to collapse under the crowd of young all made-up and duly glittered fans so impatient to enter the musicoramas temple (musicoramas were concerts that were recorded and aired on Europe 1. This concert wasn't recorded or aired), but no,nothing. On my arrival I could hardly guess that a special gig was to be held there. T.Rextasy that is shaking England doesn't seem to have reached our shores so far, if ever it will. A young audience had gathered anyway, they were quite many and the hall was almost full, though not in the proportions we recently witnessed with Alice Cooper for instance. The problem with T.Rex is obviously that only people under 18 are interested in Max (sic) Bolan. The opinion that he's only a passing pop-star of no importance is, unfortunately, well shared among elders, those who knew Tyrannosaurus Rex well.
Marc's image,
at the moment, is directly and deliberately aimed towards the
teenagers. But the original fans are aware the band's evolution
was slow and progressive, and they kept faithful; sadly they are
few! It is obvious, however, that Bolan, albums afeter albums,
gigs after gigs, once lead guitarist within a rock combo, John's
Children, slowly came back to his real roots : electric music.
Sophistication, from his point of view, was never T.Rex but
Tyrannosaurus Rex, indeed! Progressively Bolan started bringing
an electric guitar on stage but only used it for a few songs at
the end of his concerts and then used it more and more. Then a
bassist joined in, to enlarge their sound, and finally a
drummer. Shortening their name was a sign of change, the choice
of selling 7" rather than albums.Tyrannosaurus Rex used to sell
a lot of lps, that's why one can hardly tell that Bolan's move
in music was due to commercial reasons only.
Suddenly he was aware of the real nature of Pop Music. The poetry of his first songs is still very present in his latest, but music has become sexier, rhythm became more obsessive and the need of the audience for some visual appeal has been more taken in count. Bolan played with creating his own myth, here is poetry as a life style, not only in lyrics! He opened the path to David Bowie, Slade, Roxy, Silverhead,etc.. Even Rod Stewart has changed under his influence. His vocal skill, a tremendous warbling had been copied, imitated, plagiarised by no less than Ray Dorset and Roger Chapman! Marc Bolan is no betrayer, but a forerunner, slagged by those who are unable to understand him or simply jealous.
The gig itself was great. I like listening to opening bands when they are good. That was the case! 4 Z and Claude Engel cannot be blamed for being unable to awake a rather lethargic audience. The 4 Z's song "Fais la fête" is now well known, thanks to numerous TV screenings, and a nice voice along a lovely smile are always welcome, but nothing could move the audience! Claude Engel stands among the greatest, and backed by a good band he was able to show his high class. The only disapointment was that the PA system was not loud enough or clear enough to be able to understand the lyrics and kept Ripoche's violin on a too low level. Nevertheless, Claude Engel deserves much success. Only Marc Bolan was able to cheer up the audience a lot. His show is now 100% hard rock. Bill Legend is an iron drummer who's strike is impressive! Steve Currie's on the same level and both provide a brilliant rhythm section.
Marc Bolan walks the stage in the best Chuck Berry's style, he even does the duck walk. He strums his Gibson Les Paul or white Stratocaster like mad, a la Pete Townsend. His charisma is obvious. He deals with the audience af if it was a submissive mistress, though unfortunately the latter is too quiet. As well as the Who guitarist, and that will be my only critic, he may be a little too much calculating in all of his moves, in terms of impact on the audience. He knows how to drive an audience but nothing is really crazy. Even the freak out part at the end of 'Get it On' is anything but spontaneous. "Telegram Sam", "Metal Guru" and "The Jeepster" got some response. Marc doesn't play "Summertime Blues" anymore. There's no need to borrow others rock songs, he now writes his own himself.
Jean-William THOURY.
Facing the T.Rex page in the same number : Claude ENGEL's interview. There were 2 first acts on that night: 4Z, then Claude ENGEL and his band... hmm!
Jean-William : You opened the show for T.Rex on the musicorama gig, did you enjoy doing it ?
Claude: It was fine, although the audience did not react. We played rock' n' roll, by the end of our part, like "Money", and "Roll Over Beethoven", with the intention of warming the audience, but to no avail. Fortunately we were playing for our own pleasure too and we really enjoyed it.
J.-W : Michel Ripoche was not highlighted by the amplification and your lyrics could not be understood
C. : We were not really able to rehearse and good amplification is very hard to get at the Olympia. We used both our amps and the hall's, but... And with both we played on a much lower level than T.Rex !
J.-W. : You didn't like T. Rex ?
C. : Not at all and I don't resist telling so! Musically it's of no interest. Stagewise it may give fun to people, but not to me. Nothing happens at all.
J.-W. : You told us that you love rock and roll. Is that not rock music ?
C. : That's not the one I appreciate.
J.-W. : What does it miss ?
C. : He's not a great guitarist, and as they are a small band his lack of skill is more obvious! guitar is the only melodic instrument of their band.
J.-W. : Your point is a guitarist point, a technical critic.
C. : No, he doesn't have any feeling. Really, I don't like him. Maybe his lyrics are of interest, I can not tell.
J.-W. : T. Rex's audience couldn't have been yours anyway ?
C. : I don't know what's their audience, nor do I know what is ours, so....
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