T. Rex: Futuristic Dragon (Rhino Deluxe Edition) - Disc 2 of 2 CD Track Listing

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T. Rex Futuristic Dragon (Rhino Deluxe Edition) - Disc 2 of 2 (1976)
Futuristic Dragon (Rhino Deluxe Edition) - Disc 2 of 2\n2006 Rhino Records, Inc.\n\nOriginally Released January 1, 1976 \nRemastered CD Edition Released March 18, 1997\nEdsel 2CD Expanded Edition Released July 16, 2002\nRhino 2CD Expanded Edition Released January 24, 2006\n\nAMG EXPERT REVIEW: The most blatantly, and brilliantly, portentous of Marc Bolan's albums since the transitional blurring of boundaries that was Beard of Stars, almost seven years before, Futuristic Dragon opens on a wave of unrelenting feedback, guitars and bombast, setting an apocalyptic mood for the record which persists long after that brief (two minutes) overture is over. Indeed, even the quintessential bop of the succeeding "Jupiter Liar" is irrevocably flavored by what came before, dirty guitars churning beneath a classic Bolan melody, and the lyrics a spiteful masterpiece. While the oddly Barry White-influenced "Ride My Wheels" continues flirting with the neo-funk basics of 1975's Bolan's Zip Gun, the widescreen sonic majesty of Futuristic Dragon was, if anything, even more gratuitously ambitious than its predecessor. "Calling All Destroyers," "Sensation Boulevard" and the magnificent "Dawn Storm" all bristle with lyrical splendor, while "Casual Agent" revisits some older glories with its near-slavish re-creation of the old "Rip Off" vibe. But if the other tunes pursue Bolan's new-found fascination for pomp over pop with barely disguised glee, he wasn't above slipping the odd joke into the brew to remind us that he knew what he was doing. "Theme for a Dragon" is an all-but Wagnerian symphonic instrumental -- with the sound of screaming teenyboppers as its backdrop and the punchline lurking further afield, among the handful of obvious hits which he also stirred in. The first of these, the big-budget ballad "Dreamy Lady," scored even before the rest of the album was complete. It was followed by the idiotically contagious "New York City," a piece of pure pop-nonsense-genius which so effortlessly returned him to the British Top 20 that, for a few weeks in mid-'76, the idea of seeing "a woman coming out of New York City with a frog in her hand" really didn't seem as silly as it sounded. And when he followed that up with the rhythm'n'punk swagger of "I Love to Boogie," few people would deny that Bolan was on the way back up. That particular gem would be featured on his next album, 1977's Dandy in the Underworld; the Edsel remaster of Futuristic Dragon does, however, wrap up three further cuts from the era, the single sides "Laser Love," the languid "Life's an Elevator" and, best of all, "London Boys," a piece of undisguised childhood nostalgia which was allegedly written about David Bowie, one of Bolan's teenaged running mates. The song, incidentally, was drawn from a proposed concept album, ambitiously titled London Opera (one of two Bolan was then considering, the other was the sci-fi themed Billy Super Duper). The project was never completed, however -- for something else was stirring in the capital's bowels, that snarling monster which emerged as punk. And the moment Bolan saw it, he knew precisely what it represented. He began work on a new album right away. [The 2003 Repertoire reissue included three bonus tracks.] -- Dave Thompson\n\nAmazon.com Product Description\nThe phenomenally popular and influential T.Rex spearheaded the glam-rock movement, a genre owing everything to its quintessential superstar, Marc Bolan. Rivaled only by Bowie, whose own glam period followed in their flamboyant footsteps, Bolan and T.Rex created an incredible vibe and sound whose legacy lives. Driven by primal grooves, effortless hooks, trippy vocals, and deliciously fat guitar riffs, their music was both infused with hippie spirituality and raw sexuality-a rich, ripe, sonic delight both primitive and evolved. While their music defined an era, their irresistible grooves are timeless, and Bolan's later, more experimental tracks, marrying pop genius with creative expansion and proto-punk power, underscore his groundbreaking artistry.\n\nAMAZON.COM CUSTOMER REVIEW\nchrome sitar, October 22, 2004\nReviewer: cary fundaugh "cary fundaugh" (usa)\nWhat a cool, trippy sounding album! This is the first T-rex album I owned, and still My favorite. The only song on here that sucks is London boys, which is about a bunch of rump pumpers, other than that, highly recomended.\n\nAMAZON.COM CUSTOMER REVIEW\nIf he'd only waited we would've caught up (really we would), June 10, 2004\nReviewer: krimboy (Australia)\nFor reasons too boring to go into I've been revisiting Marc Bolan lately and what an interesting experience its proving to be. I'd bailed after Slider and whilst continuing to get the occasional kick out of a blast from the past never bothered to listen to Tanx and everything that came afterwards. But then after reading the review of Futuristic Dragon by "derblueangel" I figured I really should check this album out. Well, splash me with tomato sauce and call me a sausage roll if this isn't one dam fine set of songs. \nWhats really interesting though is not the fact that here we have a bunch of richly textured songs that wail like vampires on heat but rather the way the album draws attention to the fact that a certain set of circumstances acted in concert to doom Bolan and deify his best mate Bowie. \n\nThere are remarkable parallels in the careers of Bolan and Bowie, but, where Bowie was arguably calculating and clever, Bolan was, to be frank, a bit of a tosser. Both boys started out markedly influenced by the residues of the hippie 60's with Mark all elfin and trippy and Bowie all folksy and long haired. Good friends it was nevertheless Marc who was undeniably the senior partner. Marc had hits and swooning girls whilst Bowie had 'interesting' potential. Check out the old "Jackie" magazines of the early seventies - Marc's all over them with Bowie making guest appearances. Bowie was cool'ish but that Bolan boy was sex on a stick.\n\nBolan clearly adored being adored (even if 90 percent of the fans were below the legal age of consent) and enthusiastically courted the media at every opportunity. In practice what this meant was a stretching the truth that only someone with a truly monstrous ego could sustain. He famously claimed to have jammed with Hendrix and taught him how to really wield that axe and that he'd spent three months in the woods in France living with a warlock learning how to cast spells. The truth about the magic is that on a weekend trip to Paris he went home with the juggling waiter who served dinner. Its unclear if he ever actually spent time with Hendrix at all. \n\nNone of this would matter were it not for the fact that the music powefully reminds us of the necessity to separate the artist from the art. Marc acted like a complete idiot because he loved the adulation but he equally clearly loved the music and wanted to push it into new territory. But, he'd made his deal with the devil. He got the fame he craved but it was almost entirely dependent on people not yet ready to follow him into a sort of funk soul that in another ten years would sound soooo right. \n\nAnd on the margins, Bowie watched, learned and understood the importance of timing.\n\nBowie saw how one album could transform an audiance base and bring it all home. Electric Warrior cut Bolan loose from the earnest student types and gave Marc the swooning high school masses that lapped up his good looks as much as those beautifully crafted songs. Bowie took note and lo and behold we have Ziggy Stardust doing the same trick - but - with a twist. In contrast to Bolan, Bowie cut loose from the teeny boppers and aimed straight for the jugular of the very student types that Bolan had abandoned.\n\nTanx, and more particularly Futuristic Dragon, reveal Marc carving out a sound that was just quite simply unheard of at the time but who was there to 'get it'. Not the folks that had given Marc his start and if he seriously thought American lovers of funk and soul were going to embrace it delivered by a now pudgy former glam teenybop star from England he was even further away with the fairies than most people thought. Meanwhile, on the margins, Bowie waited. \n\nBowie, it would seem, genuinely loved Marc and his sound and it comes squarely to the foreground on Station to Station and Young Americans(and just by the by, check out the sax on Tanx and Futuristic Dragon if you miss the days when David actually played). What a difference a few years and and different audiance makes. Bolan is derided as having lost the plot whilst Bowie is lauded as innovative and right on the money. \n\nWe'll never know what might have been but the later Marc was clearly well on the way to capturing something unique in the way he melded together boogie, funk, soul, and a Spector'ish wall of sound that none of us had ever heard before. Maybe without what Bowie went on to achieve we wouldn't fully appreciate just what overlooked gems albums like Futuristic Dragon really are - maybe - whats certain is that its hard not to listen to these songs and curse the fates "its a rip off".\n\nAMAZON.COM CUSTOMER REVIEW\nThis album is better than people rate it!, December 8, 2003\nReviewer: carlbaratta (Chicago, IL United States)\nI would've given it a 5 except that the bonus tracks are just ok. The album proper, Futuristic Dragon (intro) -Casual Agent, is super tight and a definate Marc Bolan gem. \nIt's more disco and funky but still retains that sort of trashy fun sound that's so loveable on 'Tanx'. I have 16 T-Rex albums which either makes me an expert or just plain crazy (probably both). This is truely his last great album. There are songs from the 1 or 2 albums afterwards, but basically this is the final complete gem of the late Marc Bolan!\n\nThe second album 'Dazzling Arrainment' is pretty good as well. Some of the earlier paired down versions of songs on 'Futuristic Dragon' sound just as good as the originals but produced in a much more paired down raw format.\n\nIn short: get these songs and listen to them immediately! It's good for you!\n\nAMAZON.COM CUSTOMER REVIEW\nLunacy's Back, But Does It Really Matter?, November 3, 2003\nReviewer: "derblueangel" (Sri Lanka)\nIn fact yeah, it does matter. I've read loads of horrible reviews for this album. I wouldn't have even entertained the idea of buying it if it wasn't for a little thing called file sharing. I downloaded the complete versions of Dawn Storm, Jupiter Liar, and Sensation Boulevard from Kaaza and gave them a listen. At first I didn't know what to make of the songs. They were so different from Electric Warrior and The Slider. It took me a couple of listens to get used to them. And then something happened. Don't really know what but I found myself humming Jupiter Liar one day and desperately wanting to own it on cd. Payday that week sent me running to the nearest record store where I had to special order the album and wait two weeks for it to arrive. The same day I brought it home I listened to it twice in its entirety. I think I put New York City on repeat. Since late August it has become a permenant staple of my most played cds. I even made a copy of the entire album on tape so I could listen to it in my car. It may actually be easier for someone who isn't familiar with Marc Bolan's other work to pick this album up and enjoy it as is. To compare it with his earlier stuff is futile 'cause by this time he was moving in a completely different direction both musically and with his life. I think that this album is his real farewell to his former life as a glam rock superstar. There are still lots of really fun lyrics here though. I guess the best way to describe the feel of the album is to relate a story involving it. A couple of weeks ago I went to visit a friend in Boston. We spent the night drinking vodka, walking around the city dolled up in fishnets and vinyl, washing down questionable pharmaceuticals with Jolt Cola all the while smoking French Silk Cut Ciagrettes which my friend carried around in a little black ciagrette case. After emerging from The Linwood, a little punk club with a couple of fashionably seedy boys on our arms we got a ride back to her place just outside of the city. I forced my copy of Futuristic Dragon into the tape player of the hapless driver (I think it was her roomate but I can't be sure) and as Jupiter Liar segued into Chrome Sitar something strange happened. I think that the mood of Chrome Sitar kind of summed up our evening 'cause we sat there tired and staring out of the windows in awe as the lights of the 3 a.m. city passed over our heads. It was a really washed out, happy feeling like your body is ready to shut down 'cause you haven't slept in a week but you've had a really amazing night doing all this decadent, stupid stuff that you never should have done in the first place and loved every minute of it. I think that Futuristic Dragon might just be Marc Bolan's 3 a.m. in a big US city heading home after the party and smiling at the thought of his nice warm bed album.\n\nAMAZON.COM CUSTOMER REVIEW\nOverlooked Glam Rock Gem, April 9, 2002\nReviewer: "thestateunfair" (Wheaton, IL United States)\nI can certainly understand that in the world of Pop, you're either hot, or you're not. After "Zinc Alloy", which many perceived as a lame "Ziggy Stardust"-styled ...(after Bowie spent so much time stealing from Bolan, ironically), I stopped buying T-Rex records. The reviews at Amazon brought me back to this one. Purportedly recorded before "Zip Gun" (which most people detest), this would've been perceived as a "Diamond Dogs" ...(complete with spoken intro, half-baked thematic concept, etc.), and perhaps by the time it came out, people hadn't even cared to listen anymore, but I must say, I love this album. I bought it three months ago, and I still listen to it every week. It's good, semi-overblown but catchy T.Rex rock. Start with the single (and bonus track) "Laser Love". It's a lost glam gem. Gloria Jones doesn't bother me a bit; this song is a blast. The first five tracks are solid, especially "All Alone" with its swinging violins (I have this perverse love of pre-Bee Gees disco, especially heavily orchestrated tunes). It gets a little soft in the middle, and then gets wonderfully odd at the end, especially with "Dreamy Lady", which is this perverse sorta lounge number that would be at home at any karaoke bar. Am I being facetious? Heck no! This album is Bolan having FUN. It's utterly charming, unpretentious, and wickedly absurd. This could inspire the next Radiohead album! Don't pass it up; it's a keeper.\n\nAMAZON.COM CUSTOMER REVIEW\nFly with the Dragon King- Marc Bolan., January 29, 2002\nReviewer: Vishal Krishna "mauricekilroy" (Leeds, U.K)\nCertainly not futuristic, but the strongest set of tracks since 1972. I don't understand what was Marc trying to make, a concept album out of a dragon as the main focus of his story or was he in two worlds, we remember his world of Tolkienesque dreams and his other world were he considers himself to be a bionic soulboy. Well all I can say is Bolan was trying to get back to his roots and he nearly pulled of a good record, but that wasn't to be. The album Futuristic Dragon is very complicated and only has a few tracks which make you feel good, songs like Chrome Sitar, All Alone and Sensation Boulevard are excellent. The title intro is superb with an amazing guitar riff and Bolan seems to be coming into his own. The best track on this album would be the top 20 hit single "New York City", partly because Flo and Eddie were doing the backing vocals (for newcomers, these two were former members of the band "Turtles" and were responsible for T-Rex's amazing backing vocals during T-Rex's heyday in the early 70's). Apart from this, songs which are gullible are My Little Baby, Jupiter Liar and Dreamy Lady. The other tracks are better off in the Bolan song rack as a collection and are not good songs, I say this because Bolan's girl friend Gloria Jones who had now taken over the backing vocals of T-Rex made Bolan's songs sound more soul and sour . Marc being a professional could have done better. I know Gloria Jones was a soul singer, but she doesn't give a good performance on Marc's tracks. \nComing back to the Futuristic Dragon Album, you could buy it, but don't expect the music to give you a lift. If you really want to see Marc Bolan making a come back, then buy the "Dandy in the Underground" album since it can be rated among his best work.\n\nAMAZON.COM CUSTOMER REVIEW\nA Great Surprise, October 26, 2001\nReviewer: "mb971" (York, PA USA)\nAfter listening to "Zinc Alloy," I figured that it would just go downhill from there. I was right about "Bolan's Zip Gun," but "Futuristic Dragon" truly surprised me. It does have a few tracks that everyone except the seriously dedicated fans will skip, but there rest are truly excellent songs that are just as good as anything from "Electric Warrior" or "The Slider." This certainly isn't better than "Electric Warrior" or its two successors, but it is as close as it comes.\n\nAMAZON.COM CUSTOMER REVIEW\nNot the best, not the worst, March 13, 2001\nReviewer: Joh Bridge (West Sussex, England)\nFuturistic Dragon is one of my more recent T.Rex purchases and is not one I have to play regularly. It seems as though this is a compilation of recorded tracks and aborted ideas between 1975 and 1976 and a tired Bolan put these tracks together instead of creating an album. Half the album could be the unfinished work of a concept album, hence the tracks 'Futuristic Dragon', 'Calling All Destroyers' and 'Theme For A Dragon'. I understand many of the tracks were recorded around the time of Bolan's Zip Gun and Bolan delayed the release of FD so as not to crowd the market. This would explain Mickey Finn's very audible bongos,which had become very hard to pick out in prevous albums, even though he is not credited in the album. Most tracks seem badly produced but in general this is a good album which lacks any real standout songs and originality.\n\nAMAZON.COM CUSTOMER REVIEW\nMarc Bolan not forgotten, but somtimes drowned out:(, July 7, 2000\nReviewer: Chelly Howard (Columbus, OH USA)\nMarc Bolan, the mastermind behind the whole glam rock era always compliments himself with mystical magical lyrics and a lewd british voice that could never be duplicated. In futuristic dragon, Bolan really goes all out with catchy guitar riffs and vocals that could just make anyone ooze in amazement. This album, however doews have one major flaw... Marc's American girlfriend, Gloria Jones (who is the soprano usually backing marc up) needs to be reminded of her position as a back up singer, not a co-lead. Her overpowering, yet lovely voice, sometimes drowns Marc's out and can make a song that was supposed to be mellow and dramatic a loud, alert song. This album really demonstrates the pure genious of Marc Bolan and i would reccommend it to my closest friends:) ~~Rock on~~\n\nAMAZON.COM CUSTOMER REVIEW\nWonderfully Awesome, February 13, 2000\nReviewer: Brett Knaup (Kansas)\nI love listening to this album. To me, Marc Bolan's music is clever, fun, mysterious, and sexy. Its an awesome feeling and relief to get back to listening to T.Rex after hearing today's bands and groups; songs with poor melody, teeny bopper boy groups who top the charts without writing any music or lyrics nor play any intruments. But, to me, this album is golden. I love it! This was Bolan's second album that he produced by himself and I think he produced a very satisfying and enjoyable album. I bought this album when I was with my last girlfriend and I used to hear it a lot when we were together so the songs bring back some heavy memories. Great stuff Marc!\n\nAMAZON.COM CUSTOMER REVIEW\nHit and Miss, January 13, 2000\nReviewer: James Choma (Brecksville, OH United States)\nFuturistic Dragon: After "Bolan's Zip Gun", this was a welcome return to form. This is the second album without the production talents of long time Producer Tony Visconti. Songs like "All Alone", "Calling All Destroyers", and "Jupiter Liar" sound very weak and underproduced; while songs like "Theme for a Dragon" and "New York City" demonstrate Bolan was getting much more comfortable in the Producer's chair amd put out good material. To me, the stand out track is the instrumental "Theme For a Dragon"; a powerhouse instrumental track that showcases a really good mix of violins, violas and cellos behind the band. There's some very good stuff on this CD!\n\nAMAZON.COM CUSTOMER REVIEW\nBack to business and almost back to form, July 9, 1999\nReviewer: A music fan\nFuturistic Dragon is a good if somewhat predictable return to form. A more classic T Rex sound is heard on this album. the songs are also much stronger than previous albums and Bolans voice sems almost back on form. Sometimes the ideas on the album don't always work such as Dawn Storm, but more often than not, the sheer catchiness of this album will win you over. sometimes the prduction can be a little messy, but with great songs like Chrome sitar, All Alone, Calling all Destroyers this is easy to forgive. for those who like classic Bolan boogie, Jupiter Liar shows that Bolan was never an Eric Clapton on guitar, but then else has ever has made it sound quite like him. A very easy going album. some great tunes, and usual those bizzare lyrics! This album could have oen with better production, but then none of us are perfect, well worth a listen. If you don't believe me, check out the samples on this site!\n\nHalf.com Details \nProducer: Marc Bolan & T. Rex \n\nAlbum Notes\nThe 1997 reissue of FUTURISTIC DRAGON features 3 additional tracks that did not appear on the original release; "London Boys," "Laser Love" and "Life's An Elevator."\n\nMarc Bolan/T. Rex: Marc Bolan (vocals, guitar, Moog); Gloria Jones (vocals, Clavinet); Dino Dines (organ, keyboards); Steve Currie (bass); Davey Lutton (drums).\n\nAdditional personnel: Tyrone Scott (vocals); Paul Fenton (drums); Jimmy Haskell.\n\nRecorded at MRI Studios, Hollywood, California.\n\nIncludes liner notes by Mark Paytress.\n\nAll tracks have been digitally remastered.\n\nMarc Bolan & T. Rex: Marc Bolan (vocals, guitar, Moog synthesizer); Gloria Jones (vocals, Clavinet); Dino Dines (organ, keyboards); Steve Currie (bass guitar); Davey Lutton (drums).\n\nBy the mid-'70s, Marc Bolan's T. Rex had fallen on hard times. Bolan, who remained the essential element in the band, began experimenting with soul/funk sounds and collaborating with his wife, singer Gloria Jones, with mixed results.\nWhile 1976's FUTURISTIC DRAGON didn't hit the charts as hard as T. Rex's earlier classics ELECTRIC WARRIOR, SLIDER, and TANX had, it finds Bolan back on track. "New York City" turned out to be one of Bolan's final U.K. hits before his untimely death one year later. Other highlights include the orchestrated instrumental "Theme for a Dragon," and the upbeat power pop of "Chrome Sitar."
This folk cd contains 20 tracks and runs 59min 3sec.
Freedb: f00dd514

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