Listen: Debora / Tyrannosaurus Rex
Debora

Never will I forget the sight of this first US single by Tyrannosaurus Rex. Their name was so foreign at the time, completely intimidating to all, particularly US programers. Yes, they were full of reasons back then to keep adventurous music off the airwaves too. Add to that the band’s warlock folk, as one reviewer called it. He couldn’t have conjured up a more tempting challenge.

A&M never did release either their first nor second album in the US when current, just this lone 7″, ‘Debora’.

The Los Angeles label had a deal with Regal Zonophone out of the UK, or maybe it was directly with Denny Cordell’s and Tony Secunda’s production company, Tarantula. Basically, the arrangement covered US representation for their UK artists: Procol Harum, Joe Cocker & The Grease Band, The Move and Tyrannosaurus Rex.

The latter two benefiting only from singles being issued in the US, and in the case of Tyrannosaurus Rex, just this one. WOUR were only too glad to have me cart their copy out of the building. That bunch literally had no clue. Bless their studipity.

Listen: Ride A White Swan / Tyrannosaurus Rex
Ride

What seemed like a generation later actually was one short year. Their third and fourth albums, UNICORN (’69) and A BEARD OF STARS (’70) were near perfect, still as exhilarating today as then. By this time, Bob Krasnow had picked up the band for his Blue Thumb label. He released both albums in quick succession plus ‘Ride A White Swan’ almost immediately after A BEARD OF STARS.

Although still using the full Tyrannosaurus Rex moniker in the US, Marc Bolan and Steve Peregrin-Took had officially shortened their name to T. Rex elsewhere, coinciding with their full on electric and pop path, not unlike Bob Dylan’s gear shift with BLONDE ON BLONDE, bar a name change to B. Dylan.

Almost simultaneously, Bob, as in Krasnow, joined Warner Brothers Records’ A&R department, bringing T. Rex with him. The rest is history.

Listen: Afterwards / Van Der Graaf Generator
Afterwards / Van Der Graaf Generator

I can only guess the reason to press 7″ promo records in the 60′s and early 70′s for underground artists, as they were known, had a singular purpose. Focus the very close to the mic disc jockey and his music director on edited versions of the album’s more/most playable songs.

Sometimes though, like with ‘Afterwards’, the label opted instead for the full length track, providing it wasn’t over four or five minutes long. Mercury generally preferred un-edits to edits, if memory serves me well, as I have several from the era, all full album versions.

Our local stations, WAER and WOUR, played early Van Der Graaf Generator quite generously for a few good years. I particularly loved ‘Killer’ from their third album, H TO HE, WHO AM THE ONLY ONE, and always hoped it’s eight minutes and change would get chopped into a single, but that never happened.

Took me ages to find a copy of ‘Afterwards’ from their debut, THE AEROSOL GREY MACHINE, figuring a shorter version would be a fun listen, if only to see how someone, preferably producer John Anthony, thought to edit it up.

No, Mercury pressed the full length album track. Regardless, a nice item to score.