Michael Putland Black and White Photograph - Marc Bolan Timeless - 20th century black and white music photography
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Michael Putland
Marc Bolan Timeless - 20th century black and white music photography

1972

About

Marc Bolan of T Rex at Le Chateux recording studio France 1972 Large Oversize limited edition (ed size 15 only this size) and signed silver gelatin print. paper size 40x30" inches / 101 x 76 cm Certificate of authenticity supplied. About Michael Putland the photographer : orn in 1947, Michael grew up in Harrow where he took his first pictures at the age of nine before leaving school at sixteen to work as an assistant to various photographers including Time-Life photographer, Walter Curtain and the legendary motor racing photographer, Louis Klemantaski. In 1969 he set up his own studio and by 1971, he was the official photographer for the British music magazine Disc & Music Echo. His first assignment for them that year was to photograph Mick Jagger in London. From the editorial work for Disc and Music Echo, Sounds and later Smash Hits & Q magazine amongst others, to the 1973 tour with The Rolling Stones that led to a long-standing relationship working with the band, Michael has shot prodigiously including for major record labels including CBS, Warner, Elektra, Polydor, Columbia Records and EMI. Relocating to New York in 1977, it was here that Michael founded the photo agency, Retna. It has been said that Michael photographed everyone from Abba to Zappa … when looking at his archive this is actually true. Now living in East Sussex, recent 2016 exhibitions include “Off The Record” at The Lucy Bell Gallery in Hastings showing images both on and off stage including previously unseen contact sheets; whilst Ono Arte in Bologna, Italy is hosting a David Bowie show. Autumn 2014 saw Michael’s 50 year retrospective at the Getty Gallery in London: “A life in Music, 50 Years On The Road”. Snap Gallery in London’s Piccadilly Arcade regularly have a selection of Michael’s work on show. Michael continues to shoot the artists he most admires – likely to be jazz, classical and world musicians, who have always provided an alternative narrative to his rock music portfolio. “It has been a fantastic ride through an incredible period of music history, which combined my two great loves … music and photography. Little did I appreciate, when my Uncle Alan encouraged my photography back in the 1950s, that this would lead me to photographing nearly all of my heroes … and thrilled to be still finding new ones. A great never ending journey.” Michael Putland About Marc Bolan : Early life and career Plaque marking Marc Bolan's childhood home, 25 Stoke Newington Common, Hackney. (November 2005) Bolan grew up in Stoke Newington Common, in the borough of Hackney, east London, the son of Phyllis Winifred (née Atkins) and Simeon Feld, a lorry driver. His father was an American Ashkenazi Jew of Russian and Polish ancestry, while his mother was of English, Welsh and Scottish descent.[1][2] Later moving to Wimbledon, southwest London, he fell in love with the rock and roll of Gene Vincent, Eddie Cochran, Arthur Crudup and Chuck Berry and hung around coffee bars such as the 2i's in Soho. Bolan was a pupil at Northwold Primary School, Upper Clapton. He appeared as an extra in an episode of the television show Orlando, dressed as a mod. At the age of nine, he was given his first guitar and began a skiffle band. While at school, he played guitar in "Susie and the Hula Hoops," a trio whose vocalist was a 12-year-old Helen Shapiro. During lunch breaks at school, he would play his guitar in the playground to a small audience of friends. At 15, he was expelled from school for bad behaviour.[3] Bolan briefly joined a modelling agency and became a "John Temple Boy", appearing in a clothing catalogue for the menswear store. He was a model for the suits in their catalogues as well as for cardboard cut-outs to be displayed in shop windows. Town magazine featured him as an early example of the mod movement in a photo spread with two other models. In 1964, Bolan met his first manager, Geoffrey Delaroy-Hall, and recorded a slick commercial track backed by session musicians called "All at Once" (a song very much in the style of his youthful hero, Cliff Richard, the "English Elvis"), which was later released posthumously by Danielz and Caron Willans in 2008 as a very limited edition seven-inch vinyl after the original tape recording was passed onto them by Delaroy-Hall. This track is one of Bolan's first professional recordings. Bolan then changed his stage name to Toby Tyler when he met and moved in with child actor Allan Warren, who became his second manager. This encounter afforded Bolan a lifeline to the heart of show business, as Warren saw Bolan's potential while he spent hours sitting cross-legged on Warren's floor playing his acoustic guitar. Bolan at this time liked to appear in boho-chic, wearing a corduroy peaked cap similar to his then current source of inspiration, Bob Dylan. A series of photographs was commissioned with photographer Michael McGrath, although he recalls that Bolan "left no impression" on him at the time.[4] Warren also hired a recording studio and had Bolan's first acetates cut. Two tracks were later released, the Bob Dylan song "Blowin' in the Wind" and Dion Di Mucci's "The Road I'm On (Gloria)". A version of Betty Everett's "You're No Good" (still unreleased) was later submitted to EMI for a test screening but was turned down. Warren later sold Bolan's contract and recordings for £200 to his landlord, property mogul David Kirch, in lieu of three months' back rent, but Kirch was too busy with his property empire to do anything for him. A year or so later, Bolan's mother pushed into Kirch's office and shouted at him that he had done nothing for her son. She demanded he tear up the contract and he willingly complied.[5][6][7] The tapes of the first two tracks produced during the Toby Tyler recording session vanished for over 25 years before resurfacing in 1991 and selling for nearly $8,000. Their eventual release on CD in 1993 made available some of the earliest of Bolan's known recordings. He signed to Decca Records in August 1965. At this point his name changed to Marc Bolan via Marc Bowland. There are several accounts of why Bolan was chosen, including that it was derived from James Bolam, a contraction of Bob Dylan, and - according to Bolan himself, that Decca Records chose the name.[8] He recorded his debut single "The Wizard" with The Ladybirds on backing vocals, and studio session musicians playing all the instruments. "The Wizard" was released on 19 November 1965. Bolan's first single was produced by Jim Economedes, with music director Mike Leander. Two solo acoustic demos recorded shortly afterwards by the same team ("Reality" and "Song For A Soldier") have still only been given a limited official release in 2015 on seven-inch vinyl. Both songs are in a folk style reminiscent of Dylan and Donovan. A third song, "That's the Bag I'm In," written by New York folk singer and Dylan contemporary Fred Neil, was also committed to tape, but has not yet been released. In June 1966, a second official single was also released, with session-musician accompaniment, "The Third Degree", backed by "San Francisco Poet", Bolan's paean to the beat poets. Neither song made the charts. In 1966, Bolan turned up at Simon Napier-Bell's front door with his guitar and proclaimed that he was going to be a big star and he needed someone to make all of the arrangements. Napier-Bell invited Bolan in and listened to his songs. A recording session was immediately booked and the songs were very simply recorded (most of them were not actually released until 1974, on the album The Beginning of Doves). Only "Hippy Gumbo", a sinister-sounding, baroque folk-song, was released at the time as Bolan's third unsuccessful single. One song, "You Scare Me to Death," was used in a toothpaste advertisement. Some of the songs also resurfaced in 1982, with additional instrumentation added, on the album You Scare Me to Death. Napier-Bell managed The Yardbirds and John's Children and was at first going to slot Bolan into the Yardbirds. In early 1967 he eventually settled instead for John's Children because they needed a songwriter and he admired Bolan's writing ability. The band achieved some success as a live act but sold few records. A John's Children single written by Bolan called "Desdemona" was banned by the BBC for its line "lift up your skirt and fly". His tenure with the band was brief. When the band split following an ill-fated German gig with The Who, Bolan took some time to reassess his situation. Bolan's imagination was filled with new ideas and he began to write fantasy novels (The Krakenmist and Pictures Of Purple People) as well as poems and songs, sometimes finding it hard to separate facts from his own elaborate myth - he famously claimed to have spent time with a wizard in Paris who gave him secret knowledge and could levitate. The time spent with him was often alluded to but remained "mythical". In reality the wizard was probably American actor Riggs O'Hara with whom Bolan made a trip to Paris in 1965. Given time to reinvent himself, after John's Children, Bolan's songwriting took off and he began writing many of the poetic and neo-romantic songs that would appear on his first albums with T. Rex. Tyrannosaurus Rex When John's Children collapsed, among other problems, the band's equipment had been repossessed by their label Track Records. But Bolan, unperturbed, rallied to create Tyrannosaurus Rex, his own rock band together with guitarist Ben Cartland, drummer Steve Peregrin Took and an unknown bass player. Napier-Bell recalled of Bolan: "He got a gig at the Electric Garden then put an ad in Melody Maker to get the musicians. The paper came out on Wednesday, the day of the gig. At three o'clock he was interviewing musicians, at five he was getting ready to go on stage.... It was a disaster. He just got booed off the stage."[9] Bolan took to wearing top hats and feather boas on stage as well as putting drops of glitter on each of his cheekbones. Stories are conflicting about his inspiration for this—some say it was introduced by his personal assistant, Chelita Secunda, although Bolan told John Pidgeon in a 1974 interview on Radio 1 that he noticed the glitter on his wife's dressing table prior to a photo session and casually daubed some on his face there and then. Other performers—and their fans—soon took up variations on the idea. The era of glam and glitter rock was born. The glam era also saw the rise of Bolan's friend David Bowie, whom Bolan had come to know in the underground days (Bolan had played guitar on Bowie's 1970 single "Prettiest Star"; Bolan and Bowie also shared the same manager, Les Conn, and producer, Tony Visconti) but their friendship was also a rivalry, which would continue throughout his career. Bolan followed "Ride a White Swan" and T. Rex by expanding the group to a quartet with bassist Steve Currie and drummer Bill Legend, and cutting a five-minute single, "Hot Love", with a rollicking rhythm, string accents and an extended sing-along chorus inspired somewhat by "Hey Jude". It was number one for six weeks and was quickly followed by "Get It On", a grittier, more adult tune that spent four weeks in the top spot. The song was re-titled "Bang a Gong (Get It On)" when released in the United States, to avoid confusion with another song with the same title by the American band Chase. The song reached No. 10 in the United States in early 1972, the only top 40 single the band had in America. In November 1971, the band's record label, Fly, released the Electric Warrior track "Jeepster" without Bolan's permission. Outraged, Bolan took advantage of the timely lapsing of his Fly Records contract and left for EMI, who gave him his own record label, the T. Rex Wax Co. Its bag and label featured an iconic head-and-shoulders image of Bolan. Despite the lack of Bolan's endorsement, "Jeepster" peaked at number two in the UK. In 1972, Bolan achieved two more British number ones with "Telegram Sam" and "Metal Guru" (the latter of which stopped Elton John getting to the top with "Rocket Man") and two more number twos in "Children of the Revolution" and "Solid Gold Easy Action". Bolan told Gloria Jones the track "Metal Guru" would be "the smoothest song in history". In the same year he appeared in Ringo Starr's film Born to Boogie, a documentary showing a concert at Wembley Empire Pool on 18 March 1972. Mixed in were surreal scenes shot at John Lennon's mansion in Ascot and a session with T. Rex joined by Ringo Starr on a second drum kit and Elton John on piano. At this time T. Rex record sales accounted for about six percent of total British domestic record sales. The band was reportedly selling 100,000 records a day; however, no T. Rex single ever became a million-seller in the UK, despite many gold discs and an average of four weeks at the top per number one hit. In 1973, Bolan played twin lead guitar alongside his friend Jeff Lynne on the Electric Light Orchestra songs "Ma-Ma-Ma Belle" and "Dreaming of 4000" (originally uncredited) from On the Third Day, as well as on "Everyone's Born To Die", which was not released at the time but appears as a bonus track on the 2006 remaster. Bolan played guitar on the track "Have You Seen My Baby (Hold On)" on Ringo Starr's album Ringo. By late 1973, his pop star fame gradually began to wane, even though he achieved a number three hit, "20th Century Boy", in February and mid-year "The Groover" followed it to number four. "Truck On (Tyke)" missed the UK top 10 reaching only No. 12 in December. However, "Teenage Dream" from the 1974 album Zinc Alloy and the Hidden Riders of Tomorrow showed that Bolan was attempting to create richer, more involved music than he had previously attempted with T. Rex. He expanded the line up of the band to include a second guitarist, Jack Green, and other studio musicians, and began to take more control over the sound and production of his records, including by then girlfriend Gloria Jones on keyboards as well as backing vocals. In 1974, Bolan played guitar for Ike & Tina Turner. He appeared on "Sexy Ida (Part II)", and "Baby Get It On". Tina Turner confirmed this in a BBC Radio 1 interview.[citation needed] Eventually, the vintage T. Rex line-up disintegrated. Legend left in 1973 and Finn in 1975 and Bolan's marriage came to an end because of his affair with backing singer Gloria Jones. He spent a good deal of his time in the US during this period, continuing to release singles and albums which, while not reaching major commercial success, were full of unusual lyrics and sometimes eccentric musical experiments. Bolan was not living healthily and began to gain weight, though he subsequently improved and continued working, producing at least one album every year. Resurgence In September 1975 Gloria Jones gave birth to Bolan's son, whom they named Rolan Bolan (although his birth certificate lists him as 'Rolan Seymour Feld'). That same year, Bolan returned to the UK from tax exile in the US and Monaco and to the public eye with a low-key tour. Bolan made regular appearances on the LWT pop show Supersonic, directed by his old friend Mike Mansfield and released a succession of singles, but he never regained the success of his glory days of the early 1970s. The last remaining member of Bolan's halcyon era T. Rex, Currie, left the group in late 1976. In early 1977, Bolan got a new band together, released a new album, Dandy in the Underworld, and set out on a fresh UK tour, taking along punk band The Damned as support to entice a young audience who did not remember his heyday. Later in 1977, Granada Television commissioned Bolan to front a six-part series called Marc in which he hosted a mix of new and established bands and performed his own songs. By this time Bolan had lost weight, appearing as trim as he had during T. Rex's earlier heyday. The show was broadcast during the post-school half-hour on ITV earmarked for children and teenagers and it was a big success.[citation needed] One episode reunited Bolan with his former John's Children-bandmate Andy Ellison, then fronting the band Radio Stars. Bolan's longtime friend and sometimes rival David Bowie was the final guest on the last episode of Marc. The two performed Bowie's song "Heroes" near the end of the show, and after Bolan's signoff, they began to play a bluesy song over the closing credits. Right as the vocals were about to begin, however, Bolan stumbled off the stage and out of the camera frame. Bowie's amusement was clearly visible, and the band stopped playing after a few seconds. With no time for a retake, the occurrence was aired.[13] Death On 16 September 1977, Bolan was riding in a Mini 1275GT driven by Gloria Jones as they headed home from Mortons drinking club and restaurant in Berkeley Square. After she crossed a small humpback bridge near Gipsy Lane on Queens Ride, Barnes, southwest London, the car struck a fence post[14] and then a tree.[15][16] Bolan was killed instantly, while Jones suffered a broken arm and broken jaw. Marker for the ashes of Mark Feld (Marc Bolan) and his parents, Golders Green Cemetery At Bolan's funeral, attended by David Bowie, Rod Stewart, Tony Visconti, and Steve Harley,[17] a swan-shaped floral tribute was displayed outside the service in recognition of his breakthrough hit single "Ride a White Swan". His funeral service was at the Golders Green Crematorium, a secular provision in north London, where his ashes were buried. The car crash site has subsequently become a shrine to his memory, where fans leave tributes beside the tree. In 2013, the shrine was featured on the BBC Four series Pagans and Pilgrims: Britain's Holiest Places.[18] The site, referred to as Marc Bolan's Rock Shrine, is owned and maintained by the T. Rex Action Group. Bolan never learned to drive, fearing a premature death.[19][20] Despite this fear, cars or automotive components are at least mentioned in, if not the subject of, many of his songs. He also owned a number of vehicles, including a white 1960s Rolls-Royce that was loaned by his management to the band Hawkwind on the night of his death.[21][22][23] keywords : surreal, surrealist, glam rock, fashion, rock, music, 1970s, 70s

Details

  • Condition
    New
  • Dimensions
    H 30 in. x W 40 in.H 76.2 cm x W 101.6 cm
  • Gallery Location
    London, GB
  • Reference Number
    LU44933904622
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