success of The Slider in the US, reaching only No. 102 in the Billboard 200. Curiously, the popular single "20th Century Boy" recorded during a stay in Japan, and released two weeks before, on 2 March 1973, was not included on the album, which may have affected sales, as the album (unlike its two predecessors) did not include any single. Tanx was remastered for CD over and over again, beginning in 1985 on the Marc On Wax and label. This first reissue came with all of T. Rex's non-album singles and B-Sides released in 1973 as well as the tracks released under the Big Carrot moniker. Edsel Records re-released the album in 1994 as part of their extensive T. Rex reissue campaign with a different set of bonus tracks. A companion release, entitled Left Hand Luke (The Alternative Tanx), was released in 1995 and contained alternative versions, studio rough mixes and demos of the main album and bonus tracks. A combined album digipak was released in 2002. In 2003, further recordings from the Tanx sessions were released by Thunderwing Productions Limited (TPL), the owners of several original ¼", 1" and 2" Master Tape recordings of Marc Bolan & T. Rex. These tracks were released as The Tanx Recordings. Reception At the time, Tanx received favourable reviews in both the NME and Record Mirror. Creem hailed it saying, "song for song, this might be Marc Bolan's strongest album. Certainly, it's the most varied, and the most musical". However, it was derided by Rolling Stone: reviewer Paul Gambaccini wrote "This one album might have made a good EP [...] I can't see many people being truly pleased with it. But I've been wrong before." He nevertheless praised tracks like "Mister Mister," "Electric Slim and the Factory Hen," and "Broken Hearted Blues." Retrospective reviews have been more favourable. Whitney Strub of PopMatters wrote "One reason for Tanx's commercial failure was its lack of the immediacy for which glam was known. [...] But what doomed the album on the charts is precisely what earns it reinspection today: the songs, for the most part, flow cohesively from one fractured mini-narrative to the next". Stephen M. Deusner of Pitchfork, whilst praising the record, called it "a difficult album". The Quietus wrote "It's an excessive record in the best possible sense", qualifying "Tenement Lady" as a stunning opener. Neil Kulkarni considered that "Electric Slim & The Factory