Album Reviews

Rhino re-enters the LP market. Good idea?

Michael Fremer  |  May 26, 2003

Electric Warrior
T-Rex
 
Reprise/Rhino 76111 180g LP/CD
Produced by: Tony Visconti
Engineered by: Rik Pekkonen, Malcolm Cecil, Roy T. Baker & Martin Rushent
Mixed by: no mixing credit
Mastered by: Dan Hersch & Bill Inglot (CD)/no LP credit
 
MUSIC
SOUND

Sound quality aside, the very fact that this album has been reissued by Rhino on vinyl (anonymously mastered at Capitol from the original analog tapes) is astounding. More than a dozen years ago, Rhino begin a limp-wristed "Save the LP" campaign. Predictably, it went down in flames and the company issued a 12-inch package of Rhino catalog items called (I Guess We Didn't) Save the LP containing a three-CD set in a 12-by-12 slide-out insert. Cute.

Now, in 2003, just as downloading MP3s seems to have gone legit, Rhino's re-entered the LP market. These are truly fabulous times! But they sure don't make pop stars like Marc Bolan anymore. A young man truly taken with himself, he lived the character he created, unlike today's boring (or fearful) types who remove the mask as soon as they get off stage.

I accompanied an old friend to a Marc Bolan interview in 1971 before his Orpheum Theater concert in support of Electric Warrior. Lounging on a couch, cat-like in a chic Boston hotel, Bolan announced, among other things, that his goal was to buy a populated island somewhere and proclaim himself king. He was audacious, outrageous, full of himself, obnoxious, and, in retrospect, fabulous.

At the time I found him offensive and too full of himself, but now I realize that's only because at the time I was feeling particularly empty inside and didn't think anyone was entitled to inhabit themselves the way Bolan did. So that rainy evening when the curtain went up and Bolan slid across the Orpheum stage, leaped high in the air, and fell flat on his ass, I thought it was perfectly justified and thanked whatever god or gods were watching over the show. Fortunately for all, Bolan got up off his ass and gave, as best as I can remember it, an outstanding performance.

For those who missed Electric Warrior, it is one of the seminal albums of the '70s. Bolan, more than Bowie, (and certainly with considerable help from the great Tony Visconti) invented campy glam rock here, and bubblegum and metal too it could be argued. Of course Bolan was heavily influenced by Bowie's first two albums, but Ziggy Stardust surely sprung from Electric Warrior. With his warbly, non-threatening growl fronting spare, distorted, fuzz-toned electric guitars riffing thick, "bloozy" boogie rhythms, and aided immeasurably by strategically placed strings, and Howard Kaylan and Mark Volman's cheery falsetto background vocals, Bolan (and his partner Mickey Finn) created a nonaggressive pop incarnation of Led Zeppelin.

Unfortunately, here in America it didn't go down well with the headbangers or the popsters (it went to number one in the U.K. but only hit 32 in America), though plenty of aspiring young musicians heard its stripped-down clarion call and marveled at its perfect conception and execution--even the cover art is perfection as a visual representation of the musical and cultural world Bolan was trying to create--with himself at its vital center, of course.

Songs like "Jeepster" and "Bang A Gong (Get It On)" have become iconic, but there's not a less-than-memorable tune on the album, including the chilling "Cosmic Dancer" and the raw, rap-like finale "Rip Off." Listening all these years later, one is struck by the craft and ingenuity of all involved in repackaging basic, familiar blues riffs in such sparkling attire. But beyond that, Bolan's lyrics still captivate. He could revisit and reinvent the '50s on "Monolith," move you to tears on "Cosmic Dancer," and then have you rocking again on "Jeepster." Every tune has some juicy riff or production trick to draw you in.

I spent a few pleasant hours comparing Rhino's CD and LP reissues with a Reprise first pressing I've had since it was issued, as well as with an original UK Fly Records pressing (HIFLY 6) mastered by George Peckham (who typically signs his work "Another Porky Prime Cut," but, on this set, uses simply "Porky" and "PECKO DUCK" to identify his lathe work).

This is a somewhat harsh-sounding recording on top. Bolan is closely miked, and when he hits consonants and sibilants it hurts if you crank it up--on any of these editions. Easily the best is the Peckham LP, but good luck finding one! It has a transparency and extension missing from all other editions, including the original Reprise. But the differences aren't what I would call significant enough to label either the reissued LP or CD a failure, though of course the vinyl has better low-level resolution, more natural decay, and more convincing percussion. In fact, both Reprise issues catch the tonal spirit of the recording quite well.

I've received some complaints about some of the other Rhino vinyl issues from some readers, but this one is pretty close to right--at least it's very close to the CD reissue, which is itself a bit brighter and harsher than the Reprise original. A sound closer to the Porky cut would have been nice--especially for its juicy, deep bass and stinging electric rhythm guitars. But short of a complete and wholly inappropriate sonic revision, you couldn't ask for too much more from either Rhino reissue.

The CD includes some bonus material, the most interesting of which is a Bolan interview conducted by Mosaic Records' Michael Cuscuna (a jazz producer). The bonus music is interesting but not essential. Bolan wanted desperately to be accepted, or at least heard, by Americans. That really didn't happen until well after he had died in a 1977 car crash. Much of the interview is consumed by the business end of music--especially the record side of it. While the LP reproduces the original cover, it does not come with the original's poster. The CD's far more impressive packaging includes a dual-pocket, 8-panel fold-out, a smaller version of the original poster, and typically complete Rhino annotation. In either format, a vital reissue.

Music Direct Buy It Now

COMMENTS
Bigrasshopper's picture
Submitted by Bigrasshopper on Wed, 2014-11-26 22:01

So, now 12 years later in 2014 this reissue is still currently available. I picked it up recently and was happy, overall, that I did. Happy enough to keep an eye out for other likely Bolan specimens. I was of course familiar with Bang a Gong and Jeepster, but the album as such, had in fact passed me by. I had just assumed it was a compilation because it was such a strong collection. I added the 20th Century Boy - Mark Bolan's T Rex, CD back in 2008 to my new and expanding digital library, just to have him covered in a single swoop. At that time a revival of my dwindling collection of just playable, worn and scratched CDs was underway. Not having then added the word Audiophile to my lexicon, acquiring a vinyl copy was still far over my horizon. Groping around in the dark, trying get a handle on this new convenience, computer playback, my system was beginning to stretch out from a consumer level and was in a state of flux. Honestly, itunes, a new phone and computer helped to spur on my interest in music searches and rediscovery. Though it wasn't until after my subscription to Stereophile that a slow dawning of faith began to really brighten my outlook, - that continued reading and a substantial commitment would bring all those adjectives off the page and into my life and give me the confidence that I could "do it right". I sensed a keen presence of truth in Michael's point of view by way of an agnostic missionary like conviction in his writing that eventually pushed me over the edge and well, here I am. For better or worse, both richer and poorer.

I'm not sure where Michael found that this was mastered from original tapes, that notation, if it was present then, has fallen off the descriptions and there're still no cutting credits, just the Capital label. The runout groves are inscribed with RM, so I assume that's Ron McMaster. I only just stumbled upon this review after ordering a newer re-master from CB, Chris Bellman from a Rhino 2012 Record Store Day release.
-The ELECTRIC WARRIOR SINGLES BOX is a clamshell-box featuring the entire album, plus the non-album b-side “Raw Ramp,” spread across six 7-inch singles. When combined, the six picture sleeves form an image of T. Rex founder Marc Bolan in his prime. Chris Bellman used the original analog masters to cut each disc at Bernie Grundman Mastering. Limited to 3,000 copies, the ELECTRIC WARRIOR SINGLES BOX will be available for a suggested list price of $49.98. - from Rhino's website.
I didn't have anything analog to compare, as did Michael, but I think I can corroborate his general impressions.
I would be very surprised to find this was digital. I don t think it is. The base presentation was sufficiently full, articulated and warm to satisfy, base guitars have a ferocious growl on Bang a Gong that grabs my attention yet keeps me from wanting to run away. The midrange is generally smooth and transparent, life can be seen moving within, though during Bolan's throaty animal like gasping vocalizations things can become drained of blood rather abruptly, high backing vocals can bite and pierce, as can cymbals crashes become thin and anemic verging on painful. If Bolan were spitting out every sibilant, by the records end I would certainly need to wipe my face. Electric instruments, even when screaming don't seem to illicit this bleached frigid effect. Since the base and midrange are well rooted these amount to distractions.
I just get so happy when I find something that's good and then find an improvement that takes advantage of what my system has to offer. This is especially welcome on important rock albums that do more that replay fading memories but make me reexamine a youthful exuberance that I sometimes seem to have to search for. And thats what the 45 box does in almost every way. In short, all the positives remain while the sound stage expands much wider and deeper and the sibilant stridency is almost completely reined in except at the very leading edge. I'm not aware of any loss in of detail, just a lack of smearing. On Planet Queen I couldn't help but keep edging up the volume as I was totally sucked in, but at around -35 the upper end did begin to tear so I backed it down. At -38 ample portions are served up on at most frequencies, but that's what 45s do, tempt one to explore the decibel limit. The 12" LP sounds a little lean in comparison! Which it mostly isn't. How is that done ? Is that just a result of the extended groove time ? Ask Mr. bellman. Obviously there is some compression that occurs during peaks, it is a rock recording, but really the only serious, almost fatal drawback is that you're forced to get up or stay moving to change sides for every track to enjoy these improvements. Unfortunately it took an advertised price reduction to get me to bite. Now if we could just get passed the 7" nostalgia format, that is really just a security seeking backward glance and get down to the real business of real improvements in this new era of analog. I'd take all this good stuff on two slabs of 12" 45rpm vinyl, please, like MoFi is beginning to do, like what APO has done for jazz, on into the huge market of Classic Rock Recordings.
I can't help but wonder how Michael would compare this to his Peckham LP, but surely his indicators would take it up notch. 9 for sure. There is a T. Rex album collection due out any day now and though I am curious about it, I don't think I could really swallow all that playful pop, glittery vampiric blood lust in one dose. Do them right, offer them individually and let me explore each vein that's offered up at my leisure.

jpvisual's picture
Submitted by jpvisual on Thu, 2015-12-10 20:35

Michael, based on your comment, "you'll sh!t yourself" if you hear a PORKY issue on Fly records. I went out and found a copy of this record, well actually I found two fly records copies with "Porky" in the dead wax, Hifly 6.

YOU ARE 100% RIGHT. This HIfly version sounds much better than the Rhino.

Here is my question. In ONE of my HiFly 6 copies, next to "Proky" there is also the name "Richard Evans" in the dead wax. As far as I know he was the graphic designer who created the album cover. So why is his name in the dead wax?

I looked up all 3 Hifly 6 releases on discogs and can't find any information on "Richard Evans". It doesn't even list him as being written in the dead wax. The other Hifly 6 copy I have does not have his name in the dead wax.

What's up with this? Michael or Anyone?

Michael Fremer's picture
Submitted by Michael Fremer on Fri, 2015-12-11 11:42
someone scribed his name there as a tribute?
jpvisual's picture
Submitted by jpvisual on Fri, 2015-12-11 12:28

Michael,

Thanks for getting back to me on this. I think it's so weird that someone would write the Graphic Designer of the album cover in the dead wax as a tribute, but I guess anything is possible.

BTW, after hearing the "PORKY" version of Electric Warrior, I would have to give the Rhino version less than a score of 8. It's a real shame how dead it sounds compared to the "PORKY" version. There is no comparison whatsoever.

This little comparison I did based on your recommendation has made me question buying any reissue of an older LP.

I have found the Analogue Productions reissues to be the best and Rhino to be hit or miss. Sudazed is also hit or miss. I think the MONO Jefferson Airplane reissues that Sundazed put out were weak. MOFI just released a much better version of Surrealistic Pillow (mono DBL 45). Would love to read your review on that one.

I think for most older albums, I'll try to find the original and deal with a few pops and clicks. It's worth it!

Thanks again!

Michael Fremer's picture
Submitted by Michael Fremer on Tue, 2015-12-15 08:48
They are hit or miss because how they are produced is that way, particularly Rhino. When they tell you Chris Bellman or Bernie or Kevin Gray mastered, it's always going to be good as it can be IMO. Sundazed uses original sources when possible but inexplicably mostly masters for vinyl from CD resolution files.
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