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T.rex The Slider Deluxe Edition Rar
limited edition box set with two cds and a dvd. over 4 hours of audio, video, and poster images. the slider is the seventh studio album by glam rock band t. rex, released on 21 july 1972. technically, it is the third album under the name t. rex – their first four albums were released under the tyrannosaurus rex moniker.
but what is the point of an album like this? it is to recreate the work of one of the greats with the tools of the time. they are not definitive works of art, but they are perfect products of their time. of course, these recordings aren’t perfect. there are mistakes and misjudgements in every track, but the fact they are errors is part of the charm. it is the intimacy of the experience. one of the highlights of the reissue, in fact, is the interview with marc bolan that plays at the end. it’s a fascinating insight into the man, who relishes the thrill of being misunderstood, especially as he has no interest in the new bolan of the internet. he is passionate about the slider and it comes across with perfect clarity in the interview. it is more than a glimpse of the old marc bolan; it is the old marc bolan, and he can take some of the blame for this rarities release.
the bonus tracks are an interesting addition, though they are short on variety. the five songs are intriguing, though none are as good as some of the album’s best songs. the four b-sides, however, are where the album makes its most unexpected find. two songs are just outtakes, but the other two are a rare, quality piece of t.rex history, which is probably why they’re included here. nervous was recorded live at the hammersmith odeon on august 28, 1981, and future shock was recorded in july at the marquee club in the midst of marcs enormous t.rex tour. both are stunning, charming pieces of music that show bolan at his most nuanced, and they perfectly complement the album, and not just because of the intimate venue in which they were recorded. the songs could’ve been released as singles or b-sides at any time. its a shame that their inclusion here can’t be used for the album.
almost every line in this song was transcribed and turned into a hit by some group or other — the appropriately named galaxy 3, soft cell, the paris angels, zulu, the motown family voices, the whispers, peter and gordon, soft machine, ume and so on. its particularly appropriate, then, that bolan should have ended his career with an updated sequel to a song whose original message has never lost its resonance. the original zip gun is a bulwark of b-sides, deeply spacey, elegiac but grippingly honed and highly-produced. like its original, the current remix succeeds in standing out amongst the clutter of bolans generally bitty output.
far from being a dreary rehash of an obsolete style, zip gun is a lean, silvery ode to the r&b of another era. with its reggae bass and heady spacey keyboard sounds, it’s even more effective than the original, and the combination of loopy sci-fi lyrics and moog- and fender-inflected riffs make it a joy to listen to, suggesting a bolan that’s bigger than life.
elsewhere this record covers ground as wide as marc bolan himself. motorhead, led by ian and peter bells brother-in-law, is one of them, and exterminator, a cover of the b-side of the bat out of hell soundtrack, is another. the backings are odd – steve winwood and dick morrissey? – but the vocals are fabulous. the cover of cadillac queen (arista fs015) is by the motorhead dj, liz dawn, who also sang on ginger baker and roy harper’s candyman track in the legendary soundtrack to the sixties cult film underground.
the album kicks in to a frenetic riff (halfway to utopia?) with the nervous guitar of session man dave edmunds who was previously in the creation, and the raucous harmonies of ex-traffic bassist larry wallis who also worked with paul mccartney, roxy music and art of noise. it was almost as though marc, who was born marc feld, had an earlier career as a bass player. he borrowed from john mclaughlin and stanley clarke, but also added an idiosyncratic and almost right-of-field strain of jazz.