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T Rex – Get It On

Electric Warrior, 1971: Visconti, Flo & Eddie, UK No. 1

On T. Rex’s 1971 album Electric Warrior (Fly / Reprise), Get It On opens with a short, dirty guitar riff and lets the band climb on. Marc Bolan’s vocal is a purr with edge, sung close to the mic rather than as a clean croon. Tony Visconti produced; Flo & Eddie (Howard Kaylan and Mark Volman) add backing that thickens the chorus without turning it soft. The UK single hit number one and became the band’s clearest glam-rock calling card outside the album’s deeper cuts.

Bolan later told NME he was trying to rewrite Chuck Berry’s Little Queenie. That debt sits in the riff shape and the swagger, not in a note-for-note cover. Mickey Finn’s percussion and the rhythm section keep the pulse dancing while Bolan’s guitar stays close to the bone. Glam clothes and a Chuck Berry-shaped riff share the same three minutes. There is no soft middle.

What you hear first is the riff statement, then Bolan’s vocal riding the beat rather than floating above it. Backing vocals answer in short bursts. The mix leaves the guitar upfront so the rewrite of Berry stays audible. US radio often used the title Bang a Gong (Get It On) to avoid confusion; the UK kept Get It On. Both point at the same Fly Records cut.

Decades of classic-rock radio, film cues, and covers kept the riff in circulation. Put it after a polite playlist and the contrast is plain: short dirty figure, Visconti polish, Bolan purring over a band that refuses to sand the edges. Electric Warrior’s hit single remains this one: Chuck rewritten for 1971 London volume.

When I wrote Get It On I was just trying to re-write Chuck’s Little Queenie.

(Marc Bolan, NME)

Live, the song still does the same job: raise a room with one riff and a chorus everyone already knows how to shout. Festival bills keep it near the top of any T. Rex shortlist for that reason.

Berry debt, Visconti room, Flo & Eddie thickening the hook: those are the facts. Play Get It On for the riff alone, then notice how little Bolan needs to raise his voice on the take.

Chart weeks, reissues, and later playlist circulation kept the cut in working memory rather than locked in a museum sleeve. The arrangement still explains the hit without a softer remake.

Players, studio, and the single’s radio job remain the clearest reasons to press play again. Played after a quieter set, the short dirty riff is still what you hear first.

The useful detail is still who played, when it landed, and how radio carried the riff.

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