Well, that's a wrap on this blog. I'm done.
I'd like to thank anyone who visited me, and I hope you found it entertaining, fun and worth your while.
I'd especially like to thank those who took the time to help me by providing content: Mike (RTM) for the Monmouth setlist, Toni (Platform Boots) and Mal for the details on the Monday and Tuesday shows, Madeline for providing links and event information, Steve for the Monmouth pictures, Keith and Morgan for sitting for the videos.
The trip was all I could ask for, with the visit to Ireland and the three MTH shows being experiences of a lifetime. I saw old friends and made new ones. Thanks to Keith for being my running mate in London, to Spike Lavender for the Fruit Fusion, and to Toni for graciously allowing me to keep a Martin Chambers drumstick that by the laws of fair play should have been his. It will have a good home and a prominent display.
I learned so many things about blogging. I could easily rattle off 20 things I'd do differently, and better, if the opportunity arises again. But I think this MTH experience -- from the day in January the shows were announced until today -- was the perfect topic for blogging, for me anyway.
The shows were a solid A. As I've said, I wish they'd mixed the setlist at least a bit from night to night, and I wish they'd given some light to Bender and Fisher. But overall it was fantastic. My lasting memory will be of pounding the stage from seat A7 and screaming along to The Moon Upstairs. I was out of my mind.
Finally, Mott the Hoople played again and after 35 years of waiting, I was in the front row. There is no better.
Thanks for your time.
Thursday, October 8, 2009
Wednesday, October 7, 2009
What's next?
Five nights at Hammersmith are behind us, and we're all wondering if that was the end for Mott the Hoople.
I wasn't able to get definitive answers. I don't think there are any.
There's no doubt the band will get offers in the immediate aftermath. The shows were extremely well-received. How much of that was based on pure nostalgia is a matter of opinion, but there must be short-term demand for more.
I still say the most likely course is a two- or three-day residency at a mid-sized New York venue such as Nokia Theatre at Times Square. Nothing larger, or smaller, would make financial sense. And I could see this happening in May, the same month as the 1974 Broadway shows. I don't think we're talking years of wait this time.
Here are the issues -- remember, I know nothing:
The drums: Buffin is out of the question. And with the reunion buzz done, he probably wouldn't even appear at subsequent performances. I thought the way they handled his situation was classy and appropriate. I thought they should have given him an introduction on Friday and Saturday, but then I realized they didn't introduce Verden Allen either.
Martin Chambers would be the ideal replacement, but complications with his own management or the Pretenders might scotch that idea. The Great Pretender (I stole that, it's great) was listed as a support musician on these shows and probably got less of a cut, but I can't see that happening again. If he plays again, he's a member of MTH. Martin's role in these shows is being applauded across the board. MTH fans love him now.
Steve Holley would be another capable choice.
Pete Watts: He's saying he doesn't know if he wants to do anymore. All I can say is, fans loved seeing him up there again, he looked great and can still perform. Pete, you haven't got another 35 years to play the Hamlet role. Get on board. If it's just Ian, Mick and Verden calling themselves MTH, my interest meter is way down.
(But when Ian said Tuesday that "Pete's still undecided," the implication is that the other three are decided).
Ian Hunter: One thing I missed in my stay in London was this interview with Ian and Joe Elliott in the Independent. So Joe was everywhere -- a fan, a journalist, a support act, a backup vocalist. Where does it end? But he did get Ian to say a few interesting things.
One of them was Ian's admission that Man Overboard had been "obliterated" by the MTH shows, an opinion I gave earlier on this blog. So again, what does the MTH pursuit do to the solo career of a 70-year-old man? He can't work year-round. A U.S. tour for Man Overboard was a casualty of these MTH shows.
Tour or no?: Mott the Hoople won't tour. Ian said as much in the Joe Elliott interview. Again -- a residency in New York. Maybe a couple of nights in Glasgow.
My conclusion: We'll see them again before the end of 2010. And it should really end there.
I wasn't able to get definitive answers. I don't think there are any.
There's no doubt the band will get offers in the immediate aftermath. The shows were extremely well-received. How much of that was based on pure nostalgia is a matter of opinion, but there must be short-term demand for more.
I still say the most likely course is a two- or three-day residency at a mid-sized New York venue such as Nokia Theatre at Times Square. Nothing larger, or smaller, would make financial sense. And I could see this happening in May, the same month as the 1974 Broadway shows. I don't think we're talking years of wait this time.
Here are the issues -- remember, I know nothing:
The drums: Buffin is out of the question. And with the reunion buzz done, he probably wouldn't even appear at subsequent performances. I thought the way they handled his situation was classy and appropriate. I thought they should have given him an introduction on Friday and Saturday, but then I realized they didn't introduce Verden Allen either.
Martin Chambers would be the ideal replacement, but complications with his own management or the Pretenders might scotch that idea. The Great Pretender (I stole that, it's great) was listed as a support musician on these shows and probably got less of a cut, but I can't see that happening again. If he plays again, he's a member of MTH. Martin's role in these shows is being applauded across the board. MTH fans love him now.
Steve Holley would be another capable choice.
Pete Watts: He's saying he doesn't know if he wants to do anymore. All I can say is, fans loved seeing him up there again, he looked great and can still perform. Pete, you haven't got another 35 years to play the Hamlet role. Get on board. If it's just Ian, Mick and Verden calling themselves MTH, my interest meter is way down.
(But when Ian said Tuesday that "Pete's still undecided," the implication is that the other three are decided).
Ian Hunter: One thing I missed in my stay in London was this interview with Ian and Joe Elliott in the Independent. So Joe was everywhere -- a fan, a journalist, a support act, a backup vocalist. Where does it end? But he did get Ian to say a few interesting things.
One of them was Ian's admission that Man Overboard had been "obliterated" by the MTH shows, an opinion I gave earlier on this blog. So again, what does the MTH pursuit do to the solo career of a 70-year-old man? He can't work year-round. A U.S. tour for Man Overboard was a casualty of these MTH shows.
Tour or no?: Mott the Hoople won't tour. Ian said as much in the Joe Elliott interview. Again -- a residency in New York. Maybe a couple of nights in Glasgow.
My conclusion: We'll see them again before the end of 2010. And it should really end there.
Tuesday, October 6, 2009
Monday, October 5, 2009
Monday gig?
I'm back in Texas.
I'm hoping fans will kindly share details of the Monday show, which by my reckoning ended half an hour ago.
Any setlist changes? Guests on stage?
How was Glen Matlock?
Thanks.
I'm hoping fans will kindly share details of the Monday show, which by my reckoning ended half an hour ago.
Any setlist changes? Guests on stage?
How was Glen Matlock?
Thanks.
Sunday, October 4, 2009
Some fan pictures (pictures of fans that is)
Keith from Albuquerque, blog author, Mark and Kendra (Mr. and Ms. Rooster) from Philadelphia
Blog author and Gerry from Tallahassee, Fla.
Rick and Patti from Boston, blog author from Dallas, Janet and Andy from San Francisco, Gordon from Winnipeg.
Saturday video: The Moon Upstairs
An early sound glitch, but still OK. Song was the best in the set IMO.
"I swear to you, before we're through you're gonna feel our every blow. We ain't bleeding you, we're feeding you, but you're too f***ing slow."
The Saturday Gig
I'll post pics and videos when I get back to the USA tonight. I videoed five songs, Hymn for Dudes, Angeline, Born Late, Mother and Moon Upstairs.
Those of us expecting special guests didn't get 'em. That was a flight of fancy on part of the fans. Only Joe Elliott back out for Dudes. It was funny when some guy came out with Overend's big, white bass (is that the T-bird?) and started playing it. Everyone's thinking, who's he? But it was just a roadie.
Support was Rumble Strips. No one famous, but the best of the three so far. Actually pretty good.
No major set changes again. They played a bit of Your Cheatin Heart and a Jerry Lee Lewis song I didn't know. Also played a couple of verses of Knockin on Heaven's Door.
Ian: That's a pretty good song. Who wrote that?
Overend: Me.
UPDATE: I want to reinforce just how classy Martin Chambers has been. There is his treatment of Buffin, which everyone has noticed. Also he stays in the background allowing the other four to have the limelight. When they come forward to the crowd during The Saturday Gigs, it's Ian, Mick, Pete and Verden, not Martin.
Sorry for the quick rehash, I'll have more later.
Those of us expecting special guests didn't get 'em. That was a flight of fancy on part of the fans. Only Joe Elliott back out for Dudes. It was funny when some guy came out with Overend's big, white bass (is that the T-bird?) and started playing it. Everyone's thinking, who's he? But it was just a roadie.
Support was Rumble Strips. No one famous, but the best of the three so far. Actually pretty good.
No major set changes again. They played a bit of Your Cheatin Heart and a Jerry Lee Lewis song I didn't know. Also played a couple of verses of Knockin on Heaven's Door.
Ian: That's a pretty good song. Who wrote that?
Overend: Me.
UPDATE: I want to reinforce just how classy Martin Chambers has been. There is his treatment of Buffin, which everyone has noticed. Also he stays in the background allowing the other four to have the limelight. When they come forward to the crowd during The Saturday Gigs, it's Ian, Mick, Pete and Verden, not Martin.
Sorry for the quick rehash, I'll have more later.
Saturday, October 3, 2009
Friday show
Way late, huh? And my camera battery expired, so no visual evidence. (If you've got shots you'd like to share, I'll be happy to post; let me know. We especially need pictures of Pete's outfit).
Anyway ...
This was the night Pete Watts went back to being Overend Watts. He was all over the stage. He came to the front so often I thought he'd be playing in the front row at any moment. And he talked quite a bit. "We're now a four-piece," he said when Ian Hunter went offstage to get something or other. "Ian's retired."
Better show than Thursday because of the energy shown. I can't say enough about how much fun they seem to be having, unlike what I've heard about the Pink Floyd and Cream reunions. These guys seem really happy to be out there and to be together again. Also much more crowd interaction, Ian, Mick and Pete frequently came forward and extended hands to people up front.
No major setist changes. I fear it will be the same all three nights I'm here, shame. They dropped "Like a Rolling Stone," which was impromptu anyway. They added the old "one of the boys, two of the boys, three of the boys" routine to "One of the Boys" after not doing it Thursday.
At one point Ian asked, "How many were here last night," and got a loud response.
"See," he said, "we've only sold about 40 tickets, 900 times over."
Ian also rolled out his old joke about asking for requests. The twist was that Overend came to the mike and requested "Angeline," which, of course, was the next song on the setlist.
Same deal with Buffin, except, believe it or not, he wasn't introduced. Also he didn't walk stage front before the encore, just started off on the drum throne. Better that way. On Thursday, people were shocked and saddened watching him stumble to his spot.
Ian thanked Jimmy Page and Mick Jones for being there. I didn't see them. He also implied that Noel Gallagher was there and dedicated a song to him. He said Duran Duran had been there Thursday. I was told Mick Box was there Thursday buying T-shirts.
Joe Elliott wasn't out for "Dudes" on Friday.
Gotta say some words about Martin Chambers. The man is a powerhouse. As someone said I believe in my comments section, he's really driving the band. I don't know the band's plans going forward, but if they do New York as rumored you need to hope Martin is a part of it. He's listed as a guest musician on the program. The program also elaborates on his previous relationship with Buffin and Pete.
Correction from Thursday: Mick Ralphs' son is James. Addition from Thursday: The other woman in the chorus is Phoebe White from Tracey's band.
Another slight change Friday that worked for me: They had Stan Tippins, back in the chorus, doing the "I've got this friend, he's a screwdriver-jiver" portion of "Honaloochie Boogie." Great idea, as Ian often screws it up.
Oh, on the so-called Golden Tickets: It's disorganized. You're supposed to get various bonuses with tickets in the front two rows, but they're not being proactive about it. You've got to seek them out and ask. I did. The bonus is a program signed by all five MTH members and Martin, a poster also signed and a laminate. No T-shirt. The T-shirts are pretty nice, price 18 pounds.
Anyway ...
This was the night Pete Watts went back to being Overend Watts. He was all over the stage. He came to the front so often I thought he'd be playing in the front row at any moment. And he talked quite a bit. "We're now a four-piece," he said when Ian Hunter went offstage to get something or other. "Ian's retired."
Better show than Thursday because of the energy shown. I can't say enough about how much fun they seem to be having, unlike what I've heard about the Pink Floyd and Cream reunions. These guys seem really happy to be out there and to be together again. Also much more crowd interaction, Ian, Mick and Pete frequently came forward and extended hands to people up front.
No major setist changes. I fear it will be the same all three nights I'm here, shame. They dropped "Like a Rolling Stone," which was impromptu anyway. They added the old "one of the boys, two of the boys, three of the boys" routine to "One of the Boys" after not doing it Thursday.
At one point Ian asked, "How many were here last night," and got a loud response.
"See," he said, "we've only sold about 40 tickets, 900 times over."
Ian also rolled out his old joke about asking for requests. The twist was that Overend came to the mike and requested "Angeline," which, of course, was the next song on the setlist.
Same deal with Buffin, except, believe it or not, he wasn't introduced. Also he didn't walk stage front before the encore, just started off on the drum throne. Better that way. On Thursday, people were shocked and saddened watching him stumble to his spot.
Ian thanked Jimmy Page and Mick Jones for being there. I didn't see them. He also implied that Noel Gallagher was there and dedicated a song to him. He said Duran Duran had been there Thursday. I was told Mick Box was there Thursday buying T-shirts.
Joe Elliott wasn't out for "Dudes" on Friday.
Gotta say some words about Martin Chambers. The man is a powerhouse. As someone said I believe in my comments section, he's really driving the band. I don't know the band's plans going forward, but if they do New York as rumored you need to hope Martin is a part of it. He's listed as a guest musician on the program. The program also elaborates on his previous relationship with Buffin and Pete.
Correction from Thursday: Mick Ralphs' son is James. Addition from Thursday: The other woman in the chorus is Phoebe White from Tracey's band.
Another slight change Friday that worked for me: They had Stan Tippins, back in the chorus, doing the "I've got this friend, he's a screwdriver-jiver" portion of "Honaloochie Boogie." Great idea, as Ian often screws it up.
Oh, on the so-called Golden Tickets: It's disorganized. You're supposed to get various bonuses with tickets in the front two rows, but they're not being proactive about it. You've got to seek them out and ask. I did. The bonus is a program signed by all five MTH members and Martin, a poster also signed and a laminate. No T-shirt. The T-shirts are pretty nice, price 18 pounds.
Ronson gathering
A gathering took place Saturday afternoon to hype a new book about Mick Ronson and to push his candidacy for the Rock N Roll Hall of Fame.
Packed room when I was there. Mick's mother, Minnie, his wife, Suzi, and his daughter, Lisa, were all there. (Above picture, me with Suzi; below, me with Mick's belt and stage clothes). We were told Lou Reed had come earlier in the day.
Friday, October 2, 2009
Musician talks MTH
Guitarist Keith Drummond of Albuquerque discussed MTH.
Keith was most recently in the band Saddlesores and now exploring writing songs for movies and other media.
Keith was most recently in the band Saddlesores and now exploring writing songs for movies and other media.
Pre-show stuff, Texans return
They were pitching the CDs hard. 20 pounds. Workers were out front handing out cards. I might get one Saturday.
I didn't go to the T-shirt stand but they look pretty nice, 4-5 varieties all black. So I don't know the price. There are posters too.
Only rock figure I saw was Leee Black Childers (and if Matt Baker is still out there, it really is Leee).
Our friends the Texans were on hand, and I correct myself from yesterday, there are six. Never thought I'd see a bunch of tough Texans falling over themselves to be photographed with Leee Black Childers, but there you go.
Top photo: Texans (except this Texan) and Leee Black Childers. We are missing a Texan.
Second photo: Me, Texans all accounted for and a couple of CD pushers
Last photo: Me, Keith and Leee Black Childers. Oh yeah: I dressed in black so nobody sees you, smile from the wings and tell me I please you. Call me a king and wait for the woodworm to choke me.
Small bit of video
They were letting you do everything -- flash, video etc. I was in A7, great opportunity, but camera ran out of juice quickly.
Anyway I got a little bit of "Sucker," here you go:
That's what I get for taking photo after photo of Texans with Leee Black Childers.
Tonight I'm in G45, I'll juice up the camera but the best opportunity has passed.
Thursday's show
MOTT THE HOOPLE SETLIST
Jupiter
Hymn for the Dudes
Rock N Roll Queen
Sweet Jane
One of the Boys
Sucker
The Moon Upstairs
Acoustic portion
The Original Mixed Up Kid
I Wish I Was Your Mother
Ready for Love
Born Late '58
Ballad of Mott the Hoople
Sweet Angeline
Walkin with a Mountain/Jumpin Jack Flash
Like a Rolling Stone
The Journey
Golden Age of Rock N Roll
Honaloochie Boogie
All the Way from Memphis
Encore I (with Buffin)
Roll Away the Stone
All the Young Dudes
Keep a Knockin
Encore II
The Saturday Gigs
They played for a little over two hours. Buffin came out only for the three songs on the first encore. They had a second drum kit set up for him. He needed assistance. It was moving to see Martin Chambers help Buffin onto the drum chair and off, and lead applause for him. Buffin did bang away on his kit and kept a rhythm, but someone was crouched behind him in case of accident. It still was good to see him. Wonder if he'll come out tonight?
They had a chorus line of five backing vocalists on some songs. They were Ian's kids Jesse and Tracey, Mick Ralphs' son (is it Stan?), Stan Tippins with cowboy hat, and a woman I did not know. A sixth choruser joined them on ATYD -- Joe Elliott. He also came to the front and sang a verse (yeah, I know -- Joe Elliott got stage time and Morgan and Ariel didn't). Joe wore a T-shirt with the name of MMA fighter Randy Couture.
Mick had a goldish, spotted jacket, which he soon took off and went with a white shirt and black pants, Ian the same topped by a black jacket. Verden had a maroon T-shirt. He's rail-thin. Pete had on a multi-colored sweater that made him look like he was off to ski the Alps after these shows, and with all the money they're making, he could. The only concession to glam of anyone was Pete wearing white shoes.
The front line, Mick, Ian and Pete, looked really relaxed and into it. They clearly were enjoying it. Mick and Pete came to the edge of the stage several times. Pete came all the way across the stage once. I did not really see Verden interacting with the others, but I was on the other side of the stage. They lined up Mick left, Ian center, then Pete and Verden with Martin in back. Ian had keys all the way to the left and played them on maybe four songs.
The band smoked on the rockers, I mean smoked. The Moon Upstairs was off-the-hook good and a highlight for me as I'd never heard it live before. If you'd closed your eyes you'd never guess these were performers aged 65 and up. Angeline and Memphis were also highlights for me, though I hear them all the time with Ian's band. Mick's solo on Honaloochie Boogie was amazing -- made the song a lot different from the novelty song Ian has made it out to be in recent years. It was great.
They came forward on stools for a two-song acoustic set with Martin on bongos.
Finish of The Saturday Gigs saw Mick, Ian, Pete and Verden come to the front and lead the fans in singing "Goodbye, goodbye!" a capella, and they walked off with this as the backdrop. They teased another song but this was it.
Everyone I talked to was really satisfied, and overall so was I. You can go on about setlists, but I'd really rather hear "No Wheels to Ride" than "Sweet Jane," NWTR being a group composition that would bolster the representation of the earlier albums.
Oh I got a drumstick -- off the floor after it had struck my seatmate Platform Boots in the face. Yes, I offered it to him -- twice! But he was kind enough to let me bring it back to the U.S. Thanks Toni! Martin had broken it at the end of The Moon Upstairs and I guess heaved it. Martin should be an Olympic javelin-tosser.
Thursday, October 1, 2009
Party for MTH fans
We had about 125 persons at the Inn on the Green on Wednesday night -- from all over the U.S. and the U.K. Four guys from Texas, unknown to the rest of us, walked in saying, "We heard there was a Mott the Hoople party here tonight." For those of you back at (my) home, they're from Kennedale. One guy looked like he was from not only another place, but also another time -- about 1880. He had a handlebar moustache, beard and long hair. He looked the way Brits think all of us in Texas look. I wondered if he had a horse parked outside. Anyway they all wound up on stage chorusing "All the Young Dudes." (I've got to do a better job of thinking video. I should have gotten you a picture of said Texan. I did tell them I was from Cedar Hill. I'm kicking myself for not jumping up on stage with them, everyone was having such a good time). Highlight was our beloved Scotsman Willie singing, or rather kazooing, "No Wheels to Ride" with Billy Oblivion and the Legendary DNA Cowboys -- a song Willie is apparently going to be denied tonight. Here's a pic of Willie's moment and a video of Billy O's band on "Irene Wilde."Notes on tonight
Some random stuff ...
Word is Buffin's out only for the encore(s). No surprise there. Those who were at Monmouth are very impressed with Martin Chambers.
There is talk of bringing it to the U.S. I'll try to find out more.
Those at Monmouth say Ian looks invigorated by all this. That will be something to see.
Word is Buffin's out only for the encore(s). No surprise there. Those who were at Monmouth are very impressed with Martin Chambers.
There is talk of bringing it to the U.S. I'll try to find out more.
Those at Monmouth say Ian looks invigorated by all this. That will be something to see.
Morgan Fisher talks MTH
Morgan Fisher, keyboard player for Mott the Hoople on the album The Hoople and the 1974 tour, is giving an exhibition of his photography at the Troubador in London simultaneously with the MTH reunion shows. I went to visit. He's very gracious, and his photos and videos are an interesting behind-the scenes look at the band, kind of the visual equivalent to Ian Hunter's Diary of a Rock Star. By the way, John Fiddler, singer for the post-MTH ensemble British Lions, was on hand also. He lives in Phoenix these days. Morgan said that he is disappointed he has not been invited to perform at the Hammersmith shows (and I'm disappointed as well), but he said the timing at least is giving him a chance to meet fans and show his work to fans. He lives in Japan. Hear what he had to say about his experience in Mott the Hoople.
Day 0: It's here!
"The show's gonna move, everybody groove
There ain't no trouble on the streets now
So if the going gets rough, don't you blame us
You ninety-six decibel freaks!"
-- The Golden Age of Rock N Roll (1974)
The picture I've waited 35 years for, 'nough said.
Wednesday, September 30, 2009
Bolan's birthday
Today we visited the Marc Bolan Rock Shrine on what would have been the 62nd birthday of the T-Rex singer.
The shrine is along a wooded stretch of road in southwest London. It marks the spot where Bolan died in a car crash Sept. 16, 1977.
We met a Bolan uberfan there -- Mark Chapman, who'd brought flowers. After we were done, Chapman (not the guy who shot John Lennon) showed us Bolan's house. Then he planned to go to the crematory where Bolan's ashes remain. We passed on that.
This guy was a repository of Bolan knowledge.
"Gotta keep him alive," he said.
The shrine was built in 1999. For years before that, fans had been visiting the tree, but the site was in disrepair. The new site has a stone and bust dedicated to Bolan, a couple of boards with photos, messages, and the like, and a staircase which includes plaques memorializing other T-Rex members who have died. I didn't know they were such a tragic band. They rival Badfinger and the New York Dolls for for deaths.
Mark told us the big night for the shrine is not Bolan's birthday but rather the anniversary of his death. People come to sing songs and hold a vigil.
Bolan lived on King's Road, by the way.
(From left: Keith Drummond, John O'Rourke, Mark Chapman -- note T-Rex t-shirt)
I'm not as familiar with T-Rex as I am with Mott the Hoople and Thin Lizzy, but it seemed a pretty heartfelt memorial.
Tuesday, September 29, 2009
Day 2: In London
It's quiet around the Hammersmith today. There are signs up that whatever act was scheduled for tonight has cancelled. Let's hope that's not a trend.
The marquee shows Paolo Nutini, who's here Wednesday night. I don't know who that is, but he has sold the place out, so a lot of people must know.
Scouting the area: WiFi is available at a McDonalds and a Starbucks across the street from the Hammy A, so I should be able to get stuff up pre-show and a setlist, photos if they let me and review real quick Thursday.
I'm going to a reception for Morgan Fisher on Thursday, and if significant people are there we'll see what they have to say -- on camera.
The marquee shows Paolo Nutini, who's here Wednesday night. I don't know who that is, but he has sold the place out, so a lot of people must know.
Scouting the area: WiFi is available at a McDonalds and a Starbucks across the street from the Hammy A, so I should be able to get stuff up pre-show and a setlist, photos if they let me and review real quick Thursday.
I'm going to a reception for Morgan Fisher on Thursday, and if significant people are there we'll see what they have to say -- on camera.
Monday, September 28, 2009
Day 3: Thoughts on Monmouth
I wanted to thank those who posted info about the Monmouth shows and to give a few thoughts on the setlist before we start to focus on London and Hammersmith. I'm attaching a few more photos from Steve.
I'm going to assume the setlist and order will be pretty much the same in London.
The choice of "Hymn for the Dudes" to open surprised me, but only a bit. After all, Ian Hunter has shown some penchant for opening with slow stuff in recent hyears. "Rest in Peace" opens both his live CDs of this decade.
In a way, "Hymn for the Dudes" gives IH the opportunity to set right the fiasco opening of his London show of 2005, the last time he played a full set with Mick Ralphs in London. That was the night IH came out singing "Hymn for the Dudes" while the rest of the band was playing something else. I don't remember the other song in question, but I do remember IH singing a verse of "Hymn" then turning to Mark Bosch and saying, "No?" before finishing with the other song. So this time we'll hear the whole "Hymn." I love the song, so we'll see.
No "Thunderbuck Ram" on the set, and I'm thinking, what with the reports that Mick Ralphs' voice is weaker, "Ram" is now out of his range and will have to be retired. Too bad, I was hoping for it.
They seem to have put thought into some of the arrangements. I can't wait to hear "The Saturday Gigs" performed as I've read it was.
So much for the thought that the Mott and The Hoople albums would be ignored. If you count "The Saturday Gigs" among The Hoople songs, as I think you should, eight of the 21 songs were from those albums.
As to the omission of "No Wheels to Ride;" Guys, you've got a guy out there who has more tha paid his dues as a MTH and IH fan, and he lives for the song. Don't go breaking that poor Scotsman's heart.
Visit to Ireland
DISCLAIMER: This is the non-MTH portion of the blog. Hey, this is a vacation for me!
I've had a great two days in Ireland. Finally coming to this country, plus the MTH shows this week, will make this the trip of a lifetime.
Today I visited the harbor at Cobr (pronounced Cove, bottom photo). My maternal grandfather left for America from there in 1905, when it was called Queenstown. I'm sure my other three grandparents left from there also, but I don't have details. It is the second biggest natural harbor in the world (Trivia: What's first?)
Having been to Ellis Island in 2004, this kind of completed the set. It was interesting to hear the stories of the emigrants from the viewpoint of the country they left.
It was a good time to debut my new hat, as I figure my grandfather wore one like it when he left.
What I didn't know about Queenstown is that it was the last port of call for Titanic in 1912. They had a feature on Titanic in the museum at Cobr. It told of how the small boats Ireland and America came out alongside Titanic to sell goods and souvenirs before Titanic left. Lots of details. 123 persons boarded Titanic at Queenstown. They had a list here. Seventy-nine died. Overall, another thing I didn't know was how high a percentage of Titanic's load was crew. It was something like 1,300 passengers, 800 crew. I'm sure there will be a revivala of interest in Titanio in three years.
There is a church overlooking the harbor, St. Colman's Cathedral. Its spires were the last thing the emigrants would see as they sailed off. Got some striking pictures of it and visited inside, where I signed a book in memory of my grandfather. He died when I was 4.
Also today, visited Blarney Castle and kissed the Blarney Stone (middle photo). Another surprise for me. I figured it would be a rock inside a room. It's not. It's part of the castle wall. For you to kiss it, the staff puts you on your bad and then turns you virtually upside down.
I spent an hour or so walking the castle grounds. It was a feeling of complete tranquility.
To get to these places, I took a train south about three hours each way.
I'm passing the time reading Dan Brown's new book, The Lost Symbol. Or should I say I read ait. I finished it on the train. Very similar to the The Da Vinci Code and Angels and Demons. The guy is pretty formulaic. Still a fun book. I must say I figured out the bad guy's secret almost immediately.
Sunday I was on one of those hop-on, hop-off busses in Dublin. Saw St. Patrick's Cathedral, the Guinness Brewery, St. Stephen's Green (top photo) and other places. I hung on as long as I could but I was wasted from the plane ride. I went back to the room around 3 p.m. and slept. I think I'm acclimated now.
They have a giant spire on the main downtown street in Dublin. It reaches about to the moon, but it looks to be only a few feet around, except at the base. It looks like the Washington Monument on the Nutri-System plan. It's a point of reference here when you get loist, especially at night.
I should say how friendly everyone is. People are unfailingly nice. One came up to me as I was reading my map and volunteered help. It's a beautiful country with great people. The city is old and reminds me most sof Boston. And, unlike London, it shuts down early.
I'm trying to get used to the language nuances. Some people I just don't understand. The bus driver on the hop-on bus, the first one I got, talked so fast with his brogue that I couldn't understand what I was looking at. His name, of course, was Paddy. On a later bus, I talked to a woman who said she'd had a driver earlier in the day she couldn't follow. Sure enough -- same guy. Nice guy but what's the point of having a tour guide whom tourists can't follow?
The guy today was great, but he had a habit of saying "are you happy" when we barbarians would say "are you sure?" Maybe they all do.
"Are you happy you've gotten everything off the bus?"
Yes, I'm delighted.
Having major access problems but finally learned WiFi is free in, of all places, McDonald's. The counter girl said I could have only half an hour but I've been typing for 90 minutes. Typing real fast in case they shut me down.
So I'm out of here tomorrow morning and on to London for the homestretch.
Ireland has been a real treat. I hope to return some day.
Visiting Phil
When you're in Dublin, you've got to visit the greatest Irish rocker who ever lived (deal with it, Bono).
My first order of business here was to find the statue of Phil Lynott in downtown Dublin. A couple of street sweepers sent me on my way; they were very familiar with it, and I was embarrassed to realize I'd been mispronouncing the name all these years. It's LIH-nit.
I followed tradition and left Phil one of my guitar picks. I can't play a lick, but I do own a guitar and I strummed it wildly before I left Texas and brought the pick to tuck into Phil's bass strings.
There's even a vague MTH connection. Back around 1980, I've read, Phil served as babysitter for Ian Hunter's son Jesse when Thin Lizzy and Hunter-Ronson were playing the same festival and it was time for IH to go on stage.
I'll never forget the only time I saw Thin Lizzy.
It was June 1976 at the Aragon Ballroom in Chicago. Lizzy were second-billed to Nazareth in the most catastrophically bad booking decision I've ever seen.
I admit, though, I was there to see Nazareth. But Thin Lizzy -- the classic lineup of Lynott, Brian Robertson, Scott Gorham and Brian Downey -- came out and, figuratively speaking, burned the house down. I've never seen a singer incite a crowd the way Phil Lynott did that night.
When Thin Lizzy went off, the fans would not stop screaming for them. When Nazareth came on, the fans were still screaming for Thin Lizzy and were throwing objects at Nazareth. I remember seeing Pete Agnew, or maybe it was Manny Charlton, get doused with beer. But it was a truncated set. Nazareth finally got tired of it and walked off. This was pre-Internet, so you weren't able to follow tour dates as well. But I'll bet Lizzy was off the tour the next night.
That showed me the power of Lynott and Thin Lizzy. Unfortunately, I never saw them again.
But I've always thought Jailbreak is a great album even beyond the familiar hits on that record. And I think Live and Dangerous is the best live album ever made.
Lynott's statue is tucked away on a small street in Dublin, right next to a bar. But it says something that they'd even have one for him. It was great to scratch that visit to Phil off my life's to-do list.
Sunday, September 27, 2009
Overend Watts song available for MTH fans
From the publicist for Mambo Sons:
The band is offering free dowloads of the song Overend Watts to MTH fans.
You can get it here.
The cd can be purchased for $9.99 at www.MamboSons.com
Guitarist and songwriter Tom Guerra is taking a break from Mambo Sons fall tour to fly to England to see the first reunion show on Thursday.
The band is offering free dowloads of the song Overend Watts to MTH fans.
You can get it here.
The cd can be purchased for $9.99 at www.MamboSons.com
Guitarist and songwriter Tom Guerra is taking a break from Mambo Sons fall tour to fly to England to see the first reunion show on Thursday.
Monmouth Saturday review
Great review from Edward Shirley via Madelina:
Even though Friday was superb, Saturday was much better and I can see why the band needed to have warm up. The whole lot just seemed to gel better and it all looked more natural. It was louder too but maybe that was because I was four rows nearer to the stage. Much better audience reaction on Saturday too, with all standing for the last few numbers and the space in front of the stage packed with standing people too. I'd be interested to hear what other members who went to both nights feel.
A few points which have been raised but I don't think have been answered yet:
Merchandise there was none which surprised me. I'd taken out too much cash to ensure I got a tour t-shirt and a then-and-now brochure but all there was was an assortment of CDs and Ian's 'Diary'. Looking at posts about lack of recording plans and seeing lack of merchandise I wonder if maybe even the powers that be were doubtful about whether or not this would really happen!
No glam, no platform boots, no surprise there. The band were all smart but casual and on Friday Overend appeared to have a noose around his neck! I know nothing about equipment but Overend had a pink base with the letters OW on and the swallow made an appearance towards the end on both nights but I don't think it was played. The Maltese cross was played for maybe one number, I think Angeline. Ian said he'd been given it for a birthday present on his recent, well publicised birthday. I think it had been owned for a while by somebody who posts here. Could you enlighten us on that? The Hammond is a legendry part of MTH history and it wouldn't have been the same without it. For I Wish I Wish I Was Your Mother, the band sat in a line across the front of the stage on stools. As they were preparing Verden had some other small but ancient piece of kit and Ian commented that Verden plays things that are fifty years old then he's surprised when they don't work! The wag next to me said it sounded just like his wife!
I understood the young male backing singer was Jim Ralphs, youngest son of Mick rather than Stan's grandson. The backing singers came on around the time of GAORR and stayed till nearly the end, leaving quietly during the last few bars of Saturday Gig to leave just the five band members on the stage alone. The end of the show was surreal, with the instrumental backing of Saturday Gig fading to leave the band singing 'Goodbye' accapella then taking of their instruments and walking quietly away.
For the second night the equipment had been rearranged slightly with Ian's keyboard moved in from the edge to sit almost behind Mick's mike. Some of Verden's wooden cabinet things had been rearranged too.
No Joe, nobody else, just James Maestro working hard as Ian's toady. Anybody know who all the other roadies were? They seemed to be into it, rather than just working!
Mick sang 'Ready For Love' For me this didn't work, his vocal range isn't what it was and he had to sing the whole melody differently to be sure he could do it. When Ian and Overend did the chorus it sounded rather like 'this is how it's done!'. Mick had to sing something though and this was as good a choice as any, so I'm glad it was there. We didn't get the whole of 'After Lights' but I was glad to see it included.
Overend sang, played lead and took centre stage for Born Late. Ian played base. He very obviously sang Listen Heller rather than feller which I believe is what he wrote originally but was changed for fear of litigation. Must listen and see if he does that on other live recordings. I have always underestimated the contribution that Overend's backing vocals make to the MTH sound. Somebody commented about Overend being in the shade, I can tell you he wasn't. For me he was the biggest surprise of the show. Beforehand I'd got the feeling he was reluctant but he spent the whole of both nights looking like a child who'd just found a long lost toy. All his classic poses were there and he made every effort to interact with the audience and still managed to pick out some 'individual' looking women. Far from being laid back he was nearly off the front of the stage a few times. I don't know why the Youtube clips look like that.
The set list was the same order both nights with The Original Mixed Up Kid slotted into the seated bit before I Wish I Was Your Mother and Like A Rolling Stone before The Journey. I got the feeling that LARS may have been an impromptu thing that Ian started on the piano as somebody wasn't ready and everybody gradually joined in. I too was surprised at Hymn For The Dudes as the opener and would prefer them to start with a bang!
Even though Friday was superb, Saturday was much better and I can see why the band needed to have warm up. The whole lot just seemed to gel better and it all looked more natural. It was louder too but maybe that was because I was four rows nearer to the stage. Much better audience reaction on Saturday too, with all standing for the last few numbers and the space in front of the stage packed with standing people too. I'd be interested to hear what other members who went to both nights feel.
A few points which have been raised but I don't think have been answered yet:
Merchandise there was none which surprised me. I'd taken out too much cash to ensure I got a tour t-shirt and a then-and-now brochure but all there was was an assortment of CDs and Ian's 'Diary'. Looking at posts about lack of recording plans and seeing lack of merchandise I wonder if maybe even the powers that be were doubtful about whether or not this would really happen!
No glam, no platform boots, no surprise there. The band were all smart but casual and on Friday Overend appeared to have a noose around his neck! I know nothing about equipment but Overend had a pink base with the letters OW on and the swallow made an appearance towards the end on both nights but I don't think it was played. The Maltese cross was played for maybe one number, I think Angeline. Ian said he'd been given it for a birthday present on his recent, well publicised birthday. I think it had been owned for a while by somebody who posts here. Could you enlighten us on that? The Hammond is a legendry part of MTH history and it wouldn't have been the same without it. For I Wish I Wish I Was Your Mother, the band sat in a line across the front of the stage on stools. As they were preparing Verden had some other small but ancient piece of kit and Ian commented that Verden plays things that are fifty years old then he's surprised when they don't work! The wag next to me said it sounded just like his wife!
I understood the young male backing singer was Jim Ralphs, youngest son of Mick rather than Stan's grandson. The backing singers came on around the time of GAORR and stayed till nearly the end, leaving quietly during the last few bars of Saturday Gig to leave just the five band members on the stage alone. The end of the show was surreal, with the instrumental backing of Saturday Gig fading to leave the band singing 'Goodbye' accapella then taking of their instruments and walking quietly away.
For the second night the equipment had been rearranged slightly with Ian's keyboard moved in from the edge to sit almost behind Mick's mike. Some of Verden's wooden cabinet things had been rearranged too.
No Joe, nobody else, just James Maestro working hard as Ian's toady. Anybody know who all the other roadies were? They seemed to be into it, rather than just working!
Mick sang 'Ready For Love' For me this didn't work, his vocal range isn't what it was and he had to sing the whole melody differently to be sure he could do it. When Ian and Overend did the chorus it sounded rather like 'this is how it's done!'. Mick had to sing something though and this was as good a choice as any, so I'm glad it was there. We didn't get the whole of 'After Lights' but I was glad to see it included.
Overend sang, played lead and took centre stage for Born Late. Ian played base. He very obviously sang Listen Heller rather than feller which I believe is what he wrote originally but was changed for fear of litigation. Must listen and see if he does that on other live recordings. I have always underestimated the contribution that Overend's backing vocals make to the MTH sound. Somebody commented about Overend being in the shade, I can tell you he wasn't. For me he was the biggest surprise of the show. Beforehand I'd got the feeling he was reluctant but he spent the whole of both nights looking like a child who'd just found a long lost toy. All his classic poses were there and he made every effort to interact with the audience and still managed to pick out some 'individual' looking women. Far from being laid back he was nearly off the front of the stage a few times. I don't know why the Youtube clips look like that.
The set list was the same order both nights with The Original Mixed Up Kid slotted into the seated bit before I Wish I Was Your Mother and Like A Rolling Stone before The Journey. I got the feeling that LARS may have been an impromptu thing that Ian started on the piano as somebody wasn't ready and everybody gradually joined in. I too was surprised at Hymn For The Dudes as the opener and would prefer them to start with a bang!
Saturday, September 26, 2009
Day 5: Monmouth II, anyone?
" ... I curse you just for sharing." -- I Wish I Was Your Mother (1973)
Just a lyric, everyone. By no means will I curse you for sharing your observations on the second Monmouth show.
Please comment and let us all know how it went. Again -- what was played, what was said, who was there and how did everyone look?
I'm in transit, headed to Newark, Dublin and, eventually, London. Eager to see everyone next week.
If you can help with news about Monmouth, I'd appreciate it. Thanks.
UPDATE: C'mon everybody -- how does Pete look?
Just a lyric, everyone. By no means will I curse you for sharing your observations on the second Monmouth show.
Please comment and let us all know how it went. Again -- what was played, what was said, who was there and how did everyone look?
I'm in transit, headed to Newark, Dublin and, eventually, London. Eager to see everyone next week.
If you can help with news about Monmouth, I'd appreciate it. Thanks.
UPDATE: C'mon everybody -- how does Pete look?
Friday, September 25, 2009
Day 6: Monmouth, anyone?
"I scream at you for caring ... " -- I Wish I Was Your Mother (1973)
As I figure it, at this moment Mott the Hoople are taking the stage at the Blake Theatre in Monmouth, Wales, for their first performance in more than 35 years.
I'm in Dallas, working tonight and ready to fly out tomorrow to attend the shows in London next week.
This blog isn't complete without reports from Monmouth. So if you're following and you attend the show, please comment and let us all know how it went. I'll take as much detail as I can get -- what was played, what was said, who was there and how everyone looked.
Please help. Thanks.
As I figure it, at this moment Mott the Hoople are taking the stage at the Blake Theatre in Monmouth, Wales, for their first performance in more than 35 years.
I'm in Dallas, working tonight and ready to fly out tomorrow to attend the shows in London next week.
This blog isn't complete without reports from Monmouth. So if you're following and you attend the show, please comment and let us all know how it went. I'll take as much detail as I can get -- what was played, what was said, who was there and how everyone looked.
Please help. Thanks.
News on show recordings
I know those of you who can't get to the shows will be interested -- got this today from Peter Purnell of Angel Air records, who's the manager of some MTH members:
I wasn't given a price, but visit Concert Live's Web site to see what they do with other shows.
UPDATE ON THIS
Concert Live's site is saying they're recording the first show only and the cost is 20 pounds.
My question: If only one night, why not Saturday, when they'll have all the bugs worked out?
Note the fresh MTH pic on the site. I guess that's Overend on the left. Is he wearing a track suit?
Concert Live will be selling 2CD live performance each night with a 3rd CD
on bonus photos etc. These will be sold each night at the gigs as fans
leave and will also be sold for 3 months following from Concert Live web
site only
I wasn't given a price, but visit Concert Live's Web site to see what they do with other shows.
UPDATE ON THIS
Concert Live's site is saying they're recording the first show only and the cost is 20 pounds.
My question: If only one night, why not Saturday, when they'll have all the bugs worked out?
Note the fresh MTH pic on the site. I guess that's Overend on the left. Is he wearing a track suit?
Thursday, September 24, 2009
Day 7: Time to go
"Forgot my six-string razor and hit the sky, halfway to Memphis before I realized." -- All the Way from Memphis (1973)
Thirty-six years later, if I forget to pack anything it will be shaving cream, not a six-string razor.
I'm about ready to move out, and everybody should be focused on Monmouth right about now anyway.
When I get to London, my plans are to post what news, photos and video I can get.
Between Sunday and Tuesday I'll be showing you Ireland, and my planned picture alongside the statue of Phil Lynott. I'm bringing a guitar pick to leave with him.
If you're at Hammersmith on Thursday, come by and say hello. I'll be in stalls A7.
Thirty-six years later, if I forget to pack anything it will be shaving cream, not a six-string razor.
I'm about ready to move out, and everybody should be focused on Monmouth right about now anyway.
When I get to London, my plans are to post what news, photos and video I can get.
Between Sunday and Tuesday I'll be showing you Ireland, and my planned picture alongside the statue of Phil Lynott. I'm bringing a guitar pick to leave with him.
If you're at Hammersmith on Thursday, come by and say hello. I'll be in stalls A7.
Wednesday, September 23, 2009
Day 8: The appeal of MTH
"Don't you ever forget us! We'll never forget you!" -- outro to The Saturday Gigs (1974)
Pretty much all of us who are traveling from the United States to the United Kingdom for the MTH reunion shows next week (!!) have gotten the same reaction from friends who aren't as attached to the band.
They think we're nuts.
I've gotten that look. Probably you have too.
Why are you going all the way over there? Who?
And there's no point explaining. They never heard of the band, don't know the songs, aren't interested. Their idea of loyalty to a band is paying $200 for a second-deck seat to see U2 in a football stadium.
In a perverse way, though, those cockeyed looks we get are part of the appeal. This band is ours, not everybody's. While others, many others, were banging their heads to Deep Purple or meditating to Yes, our hearts were touched by this band.
Not interested? Your loss.
MTH were not the finest musicians, were not larger-than-life characters, certainly were not trendy. For so many of us in the U.S., they broke up just as we were taking notice.
But Ian Hunter's songwriting lasts because he gave of himself in the lyrics. Back in the '70s, songs like "I Wish I Was Your Mother," "Hymn for the Dudes," "Through the Looking Glass," I knew reflected Hunter's thoughts and experiences. They were more than just words that rhymed, more than lyrics meant merely to shock, more than profound-sounding lyrics that upon reflection meant nothing (Tales from Topographic Oceans, anyone?).
And so they meant more to me.
There was always something wise about MTH, a knowing, often bleak view of the world. There was an "It's all going to hell, but we can still smile a bit" feel -- surely you've heard "Pearl N Roy?"
And the earthiness of the MTH members created a special bond. These were people just like us, except on the stage, not sitting in front of the stage. And so, we tried to climb on the stage. And hey, we got thrown off. So what?
I liked Hunter's remarks in Mojo magazine to the effect that MTH fans have always felt just as responsible as the band for the success of a performance. If they have a good show, we all do. If they fail, we all do. That's the way it will be next week.
I return to outro of "The Saturday Gigs," the farewell song of 1974, specifically the "Goodbye!" sequence that must put a lump in your throat if you care about the band:
Finally next week, that sometime is here.
They've kept the promise.
And we've kept the faith.
Pretty much all of us who are traveling from the United States to the United Kingdom for the MTH reunion shows next week (!!) have gotten the same reaction from friends who aren't as attached to the band.
They think we're nuts.
I've gotten that look. Probably you have too.
Why are you going all the way over there? Who?
And there's no point explaining. They never heard of the band, don't know the songs, aren't interested. Their idea of loyalty to a band is paying $200 for a second-deck seat to see U2 in a football stadium.
In a perverse way, though, those cockeyed looks we get are part of the appeal. This band is ours, not everybody's. While others, many others, were banging their heads to Deep Purple or meditating to Yes, our hearts were touched by this band.
Not interested? Your loss.
MTH were not the finest musicians, were not larger-than-life characters, certainly were not trendy. For so many of us in the U.S., they broke up just as we were taking notice.
But Ian Hunter's songwriting lasts because he gave of himself in the lyrics. Back in the '70s, songs like "I Wish I Was Your Mother," "Hymn for the Dudes," "Through the Looking Glass," I knew reflected Hunter's thoughts and experiences. They were more than just words that rhymed, more than lyrics meant merely to shock, more than profound-sounding lyrics that upon reflection meant nothing (Tales from Topographic Oceans, anyone?).
And so they meant more to me.
There was always something wise about MTH, a knowing, often bleak view of the world. There was an "It's all going to hell, but we can still smile a bit" feel -- surely you've heard "Pearl N Roy?"
And the earthiness of the MTH members created a special bond. These were people just like us, except on the stage, not sitting in front of the stage. And so, we tried to climb on the stage. And hey, we got thrown off. So what?
I liked Hunter's remarks in Mojo magazine to the effect that MTH fans have always felt just as responsible as the band for the success of a performance. If they have a good show, we all do. If they fail, we all do. That's the way it will be next week.
I return to outro of "The Saturday Gigs," the farewell song of 1974, specifically the "Goodbye!" sequence that must put a lump in your throat if you care about the band:
"We're just going to sleep for a while.
You be good, right?
See you again sometime!"
Finally next week, that sometime is here.
They've kept the promise.
And we've kept the faith.
Tuesday, September 22, 2009
Day 9: My favorite songs
"Seven years bad luck ain't that long, before I smash you, hear this song: Oh mirror, I'm sorry. You were wrong." -- Through the Looking Glass (1974)
We're almost through with the MTH buildup portion of this blog. Starting Friday, I'm hoping to get news from the Monmouth gigs. Then I'm shifting to a trip diary, detailing my visits to Ireland and England. And then it will be time for the Hammersmith shows.
So as I've already ranked the seven MTH studio albums, I thought I would list my 10 favorite MTH songs.
Of course that's as of this minute. By the time "Jupiter" starts playing next Thursday, I'll probably have a different list. But I'm trying to rate based on what each song has meant to me over the last four decades.
Here goes:
10. Jerkin Crocus (All the Young Dudes)
9. Thunderbuck Ram (Mad Shadows)
8. Roll Away the Stone (The Hoople)
7. All the Young Dudes (All the Young Dudes)
6. The Moon Upstairs (Brain Capers)
5. Honoloochie Boogie (Mott)
4. Marionette (The Hoople)
3. Sweet Angeline (Brain Capers)
2. Pearl N Roy (England) (The Hoople)
1. All the Way from Memphis (Mott)
We're almost through with the MTH buildup portion of this blog. Starting Friday, I'm hoping to get news from the Monmouth gigs. Then I'm shifting to a trip diary, detailing my visits to Ireland and England. And then it will be time for the Hammersmith shows.
So as I've already ranked the seven MTH studio albums, I thought I would list my 10 favorite MTH songs.
Of course that's as of this minute. By the time "Jupiter" starts playing next Thursday, I'll probably have a different list. But I'm trying to rate based on what each song has meant to me over the last four decades.
Here goes:
10. Jerkin Crocus (All the Young Dudes)
9. Thunderbuck Ram (Mad Shadows)
8. Roll Away the Stone (The Hoople)
7. All the Young Dudes (All the Young Dudes)
6. The Moon Upstairs (Brain Capers)
5. Honoloochie Boogie (Mott)
4. Marionette (The Hoople)
3. Sweet Angeline (Brain Capers)
2. Pearl N Roy (England) (The Hoople)
1. All the Way from Memphis (Mott)
Here's Gemma Ray
Here's Gemma Ray, opening act for Mott the Hoople on Oct. 2 at Hammersmith Apollo.
And here's some information about her.
And here's some information about her.
Update: Support acts
This is posted today on mottthehoople.com:
The following support acts have been announced for the Hammersmith shows:
1st October - Joe Gideon & The Sharks
2nd October - Gemma Ray
5th October - Glen Matlock
6th October - Down and Outs
Gemma Ray have a MySpace page with some music samples. They also list their tour dates; Hammersmith is on there for Oct. 2, and probably has been on there for days. So a clever sleuth could have unearthed this fact some time ago.
A slew of Gemma Ray songs here.
(UPDATE: Gemma Ray is a person, not a band.)
Joe Gideon also has a MySpace page with music samples.
Looks like they're backloading the support acts to pump the gate for the Monday and Tuesday shows. I know who Glen Matlock and Joe Elliott are; I don't know the other two.
And what of the Saturday show? Nothing listed. Somehow I think the Saturday show is going to be special all around. Hope so.
The following support acts have been announced for the Hammersmith shows:
1st October - Joe Gideon & The Sharks
2nd October - Gemma Ray
5th October - Glen Matlock
6th October - Down and Outs
Gemma Ray have a MySpace page with some music samples. They also list their tour dates; Hammersmith is on there for Oct. 2, and probably has been on there for days. So a clever sleuth could have unearthed this fact some time ago.
A slew of Gemma Ray songs here.
(UPDATE: Gemma Ray is a person, not a band.)
Joe Gideon also has a MySpace page with music samples.
Looks like they're backloading the support acts to pump the gate for the Monday and Tuesday shows. I know who Glen Matlock and Joe Elliott are; I don't know the other two.
And what of the Saturday show? Nothing listed. Somehow I think the Saturday show is going to be special all around. Hope so.
Monday, September 21, 2009
Day 10: A bit of news on support -- tiny bit
"What about the man who tried so hard but his heart is locked within?" -- The Original Mixed Up Kid (1971)
I e-mailed Peter Purcell of Angel Air Records -- the guy who sent out the release about Buffin, so he's an organizer -- seeking news about the support bands. Don't you think we should know by now? Here's his response:
Well, he was nice enough. He even wrote it was good to hear from me! But nothing new, except for the fact that they're eyeing "new and upcoming bands."
Or maybe he was hinting that the Eclectic Light Orchestra (top left) will open a show or two.
Of course we already know about Joe Elliott's Down and Outz for Oct. 6.
Five days until I fly out. It's time to begin the final preparations. The dogs go to the kennel Wednesday (I hate that), the lawn gets mowed one last time Thursday, the carpet is cleaned and I pack Friday. The parakeets ride halfway to the airport Saturday before being stored at a friend's house.
This thing is about to happen.
I e-mailed Peter Purcell of Angel Air Records -- the guy who sent out the release about Buffin, so he's an organizer -- seeking news about the support bands. Don't you think we should know by now? Here's his response:
Support for MTH has still not been finalized but will be an eclectic
mix of new and upcoming bands overall
We will announce support on MTH
web site when they are finalized
Well, he was nice enough. He even wrote it was good to hear from me! But nothing new, except for the fact that they're eyeing "new and upcoming bands."
Or maybe he was hinting that the Eclectic Light Orchestra (top left) will open a show or two.
Of course we already know about Joe Elliott's Down and Outz for Oct. 6.
Five days until I fly out. It's time to begin the final preparations. The dogs go to the kennel Wednesday (I hate that), the lawn gets mowed one last time Thursday, the carpet is cleaned and I pack Friday. The parakeets ride halfway to the airport Saturday before being stored at a friend's house.
This thing is about to happen.
Sunday, September 20, 2009
Day 11: Beyond Hammersmith
"Eight track machine playing Half Moon Bay ... " -- Drivin' Sister (1973)
The band, Ian Hunter at least, has been noncommittal about any MTH activity after the London dates.
There has been a steady drone from U.S. fans begging for their cities to be considered, including an outrageous suggestion on Hunter's fan site that five nights at New York's Madison Square Garden be scheduled.
Buddy -- get a clue.
Personally, I'd like for Hammersmith to be the end of it. An exception for me might be a two- or three-night engagement at a mid-sized New York venue, such as the Nokia Theatre in Times Square, capacity 2,100. But that's it. After that, any luster would be gone.
There are barriers toward continuing beyond London.
For one, they need a drummer. It's established now that Buffin isn't up to it. Martin Chambers, maybe, but he does have another band that probably gets first dibs on his time.
For another, I don't want to see Hunter's solo career shut down for this.
I wondered how the buildup for MTH would affect Hunter's July release, Man Overboard, and in the end the results were mixed. Man Overboard got more press attention than any Hunter album in decades, and almost all the reviews mentioned the MTH reunion and the fact that Ian turned 70 this year. Those were the hooks. So that was good. But on the downside, there was no IH tour to promote Man Overboard, just a couple of New York shows, one in the rain and the other at a tiny venue. I'm not in the loop, but New West, IH's new record company, can't be pleased.
My assessment: On balance, the MTH reunion hurt Man Overboard by diverting the attention of fans and Ian himself.
And I certainly don't want to see MTH, unable to draw on a headline tour, coming 'round as a support band, playing 45-minute sets before fans who don't know who they are. That would be too sad to bear.
Anyway, I hope once Hammersmith is done we get back to Rant band concerts for as long as IH chooses to perform.
This is not to minimize the MTH shows. They will be golden moments and a week of wonderful memories. But to aim for any degree of permanence, I think, would be a move for the worse.
Best-case scenario is the shows go down a storm and attract enough attention for MTH to get the berth in the Rock N Roll Hall of Fame they've deserved all along. And as fans we get the experience of a lifetime. Then we move on.
The band, Ian Hunter at least, has been noncommittal about any MTH activity after the London dates.
There has been a steady drone from U.S. fans begging for their cities to be considered, including an outrageous suggestion on Hunter's fan site that five nights at New York's Madison Square Garden be scheduled.
Buddy -- get a clue.
Personally, I'd like for Hammersmith to be the end of it. An exception for me might be a two- or three-night engagement at a mid-sized New York venue, such as the Nokia Theatre in Times Square, capacity 2,100. But that's it. After that, any luster would be gone.
There are barriers toward continuing beyond London.
For one, they need a drummer. It's established now that Buffin isn't up to it. Martin Chambers, maybe, but he does have another band that probably gets first dibs on his time.
For another, I don't want to see Hunter's solo career shut down for this.
I wondered how the buildup for MTH would affect Hunter's July release, Man Overboard, and in the end the results were mixed. Man Overboard got more press attention than any Hunter album in decades, and almost all the reviews mentioned the MTH reunion and the fact that Ian turned 70 this year. Those were the hooks. So that was good. But on the downside, there was no IH tour to promote Man Overboard, just a couple of New York shows, one in the rain and the other at a tiny venue. I'm not in the loop, but New West, IH's new record company, can't be pleased.
My assessment: On balance, the MTH reunion hurt Man Overboard by diverting the attention of fans and Ian himself.
And I certainly don't want to see MTH, unable to draw on a headline tour, coming 'round as a support band, playing 45-minute sets before fans who don't know who they are. That would be too sad to bear.
Anyway, I hope once Hammersmith is done we get back to Rant band concerts for as long as IH chooses to perform.
This is not to minimize the MTH shows. They will be golden moments and a week of wonderful memories. But to aim for any degree of permanence, I think, would be a move for the worse.
Best-case scenario is the shows go down a storm and attract enough attention for MTH to get the berth in the Rock N Roll Hall of Fame they've deserved all along. And as fans we get the experience of a lifetime. Then we move on.
Saturday, September 19, 2009
Day 12: Watt of Whats?
"He didn't see me coming but he surely saw me running, faster than the U.S. mail." -- Born Late '58 (1974)
Or maybe it should be "What of Watts?"
With the Buffin issue sorted out this week, the biggest remaining mystery of the MTH reunion is the status of bass player Pete Overend Watts, who has had nothing to say publicly. He was the only band member who didn't appear at the MOJO awards, and the only one not interviewed for the (London) Guardian's recent piece.
I'm not speculating Watts won't play. It's clear to me he really is involved, despite his elusiveness. But fans must be wondering what the guy even looks like, as all the others have been seen in recent weeks. Here's a person last widely seen standing on foot-high platforms with silver car paint coloring his hair. Whatever Watts 2009 looks like, it will be a shock. I wish I could be at Monmouth to see.
I always thought Watts was second only to Ian Hunter as the visual symbol of MTH. He adopted the glam look -- "tarted up," as Hunter says -- more easily than any of them. I also thought he was the one most screwed over by the 1974 split, as he had apparently turned down a spot in Bad Company out of loyalty to MTH only to be left with nothing. And remember, it was Watts who made the overture to David Bowie that led to "All the Young Dudes" and the very survival of MTH beyond Brain Capers.
His post-MTH endeavors are generally known. He ran an antique shop where his MTH stage gear was on display. He became an endurance walker, so we shouldn't worry about his stamina or leg strength for these shows. Now Watts returns to us with his own theme song, courtesy of the U.S. band Mambo Sons. As a songwriter we know so well once wrote, "Overend's just a rock 'n' roll star."
So here's looking forward to our reunion with Lord Watts, and here's hoping there's a place for "Born Late '58" on the Hammersmith set. It will be good to see him, and hear him.
Or maybe it should be "What of Watts?"
With the Buffin issue sorted out this week, the biggest remaining mystery of the MTH reunion is the status of bass player Pete Overend Watts, who has had nothing to say publicly. He was the only band member who didn't appear at the MOJO awards, and the only one not interviewed for the (London) Guardian's recent piece.
I'm not speculating Watts won't play. It's clear to me he really is involved, despite his elusiveness. But fans must be wondering what the guy even looks like, as all the others have been seen in recent weeks. Here's a person last widely seen standing on foot-high platforms with silver car paint coloring his hair. Whatever Watts 2009 looks like, it will be a shock. I wish I could be at Monmouth to see.
I always thought Watts was second only to Ian Hunter as the visual symbol of MTH. He adopted the glam look -- "tarted up," as Hunter says -- more easily than any of them. I also thought he was the one most screwed over by the 1974 split, as he had apparently turned down a spot in Bad Company out of loyalty to MTH only to be left with nothing. And remember, it was Watts who made the overture to David Bowie that led to "All the Young Dudes" and the very survival of MTH beyond Brain Capers.
His post-MTH endeavors are generally known. He ran an antique shop where his MTH stage gear was on display. He became an endurance walker, so we shouldn't worry about his stamina or leg strength for these shows. Now Watts returns to us with his own theme song, courtesy of the U.S. band Mambo Sons. As a songwriter we know so well once wrote, "Overend's just a rock 'n' roll star."
So here's looking forward to our reunion with Lord Watts, and here's hoping there's a place for "Born Late '58" on the Hammersmith set. It will be good to see him, and hear him.
Friday, September 18, 2009
Day 13: Buffin news
"And the kings are dying, the queens are crying, and the princes now stake their claim." -- Honoloochie Boogie (alternate lyrics, 1973)
Well, we finally got the announcement about Dale "Buffin" Griffin today in a news release from CeeDee Management -- Buffin is unable to participate fully in the MTH reunion shows. Martin Chambers of the Pretenders will be the drummer.
I've said all I had to say about the subject in this post a couple of weeks ago, so I won't belabor it.
I'll be happy to see Buffin on stage with everyone else. If he can't play, he can't play. They've got a world-class drummer to sit in. I don't feel cheated. It's a stark reminder that, no matter how much we'd like it to be, it's not 1971 anymore, not for any of us. It will still be good to see him with the others.
The announcement seems disingenuous, as Chambers' involvement has been known for more than seven months, but who knows, maybe Buffin gave it a try during rehearsals. We can't say.
This news does tell me that this reunion begins and ends with Hammersmith, though.
Well, we finally got the announcement about Dale "Buffin" Griffin today in a news release from CeeDee Management -- Buffin is unable to participate fully in the MTH reunion shows. Martin Chambers of the Pretenders will be the drummer.
I've said all I had to say about the subject in this post a couple of weeks ago, so I won't belabor it.
I'll be happy to see Buffin on stage with everyone else. If he can't play, he can't play. They've got a world-class drummer to sit in. I don't feel cheated. It's a stark reminder that, no matter how much we'd like it to be, it's not 1971 anymore, not for any of us. It will still be good to see him with the others.
The announcement seems disingenuous, as Chambers' involvement has been known for more than seven months, but who knows, maybe Buffin gave it a try during rehearsals. We can't say.
This news does tell me that this reunion begins and ends with Hammersmith, though.
Wednesday, September 16, 2009
Day 15: The bands of today
"The dude in the paint thinks he's gonna faint -- stoke more coke on the fire." -- The Golden Age of Rock N Roll (1974)
I saw the Killers a week ago at Red Rocks Amphitheatre outside Denver, the fifth time I've seen this band. Great show. Obviously I like the Killers, but then I'm the type who's easily awed by confetti and bright, blinking lights.
No, really: One reason I like them is that they are so clearly influenced by bands of my era.
Their shows always include one brief nod to their rock heritage. I love that. They did a snippet of Bowie's "Rock and Roll With Me" on tour a few years ago. This time it was Elvis' "Can't Help Falling In Love."
I hear a lot of the Cars in them. I hear a lot of U2. When they play "Bones," I hear Queen. When they play "This River is Wild," I hear Springsteen. And here's one: I see some Roxy Music, if only because Bryan Ferry wore dinner jackets and Brandon Flowers used to wear vests. Oh, and they have the same initials.
Lamentably, no Mott the Hoople, but if I ever get the chance I'm going to ask them what they think. They've done a collaboration with Lou Reed -- "Tranquilize" -- so there's your MTH link. "Sweet Jane" and "Tranquilize," 36 years apart.
And the New York Dolls opened for them in California this week, so there's your trivia. Name a band that has opened for both MTH and the Killers. It's the Dolls.
I signed up on the Killers site, and I believe I am the oldest one there.
Anyway -- while the MTH countdown continues, I'd love to hear from you what current bands you listen to. Who's carrying on the tradition? Give me some ideas. Thanks.
I saw the Killers a week ago at Red Rocks Amphitheatre outside Denver, the fifth time I've seen this band. Great show. Obviously I like the Killers, but then I'm the type who's easily awed by confetti and bright, blinking lights.
No, really: One reason I like them is that they are so clearly influenced by bands of my era.
Their shows always include one brief nod to their rock heritage. I love that. They did a snippet of Bowie's "Rock and Roll With Me" on tour a few years ago. This time it was Elvis' "Can't Help Falling In Love."
I hear a lot of the Cars in them. I hear a lot of U2. When they play "Bones," I hear Queen. When they play "This River is Wild," I hear Springsteen. And here's one: I see some Roxy Music, if only because Bryan Ferry wore dinner jackets and Brandon Flowers used to wear vests. Oh, and they have the same initials.
Lamentably, no Mott the Hoople, but if I ever get the chance I'm going to ask them what they think. They've done a collaboration with Lou Reed -- "Tranquilize" -- so there's your MTH link. "Sweet Jane" and "Tranquilize," 36 years apart.
And the New York Dolls opened for them in California this week, so there's your trivia. Name a band that has opened for both MTH and the Killers. It's the Dolls.
I signed up on the Killers site, and I believe I am the oldest one there.
Anyway -- while the MTH countdown continues, I'd love to hear from you what current bands you listen to. Who's carrying on the tradition? Give me some ideas. Thanks.
Tuesday, September 15, 2009
Day 16: Getting frustrated
"Oh God these wires are so tight." -- Marionette (1974)
Classic Rock's Web site is reporting that the support band for Day 5 at Hammersmith will be Def Leppard singer Joe Elliott backed by the Quireboys.
In an interview with Classic Rock, Elliott says he'll be doing songs recorded by the MTH members after the band split up. He says songs by Mott, British Lions and Ian Hunter will be included. I guess even Bad Company is fair game.
Great idea. It's great that those songs will be heard on at least one of the shows. Joe should be tuning up on "Shout it All Out" right now.
I've e-mailed the venue trying to find out who will support on the other four nights. No response. I guess this is still a state secret.
(By the way, I agree with one of the respondents to the Elliott story -- this band needs to open one of the shows. Click on the link to "Overend Watts" if you haven't heard it.)
I hate that festivities surrounding this reunion have been expanding at both ends, and in a haphazard manner.
First there was the Tracy Hunter-Jesse Hunter gig announced for Sunday, Oct. 4. That one I kind of understand. But then there were the Monmouth shows added piecemeal for the preceding week. Now there is the Elliott news, plus the earlier story that all MTH keyboard players not named Verden Allen will be performing Oct. 5-6 (with a "special guest," and if they're not hinting at Ariel Bender my name is Abraham Lincoln).
I do understand that Mick Bolton, Blue Weaver and Morgan Fisher are acting on their own, but geez -- why couldn't their shindig be offered on the weekend?
This started off as an Oct. 2-3 reunion. Now it's a Sept. 25-Oct. 6 Mottthehooplefest.
Many of us are traveling from the U.S., and the great majority of us can't change travel plans at this point to partake in these other offerings. And, if we're taking time off from a job to go to Europe, it's natural to assume that our travel window is Sept. 26-Oct. 4 -- one work week plus two weekends.
It's frustrating. We colonials who begged vacation time and locked in travel plans in January, immediately upon the announcement of this adventure, are being taken for granted.
So, speaking for those persons, how about throwing us a crumb?
Let us know who will support on the first three Hammersmith shows.
Let us know when we can meet the band. No if.
Stop announcing events we can't attend.
That is all. Thank you.
Classic Rock's Web site is reporting that the support band for Day 5 at Hammersmith will be Def Leppard singer Joe Elliott backed by the Quireboys.
In an interview with Classic Rock, Elliott says he'll be doing songs recorded by the MTH members after the band split up. He says songs by Mott, British Lions and Ian Hunter will be included. I guess even Bad Company is fair game.
Great idea. It's great that those songs will be heard on at least one of the shows. Joe should be tuning up on "Shout it All Out" right now.
I've e-mailed the venue trying to find out who will support on the other four nights. No response. I guess this is still a state secret.
(By the way, I agree with one of the respondents to the Elliott story -- this band needs to open one of the shows. Click on the link to "Overend Watts" if you haven't heard it.)
I hate that festivities surrounding this reunion have been expanding at both ends, and in a haphazard manner.
First there was the Tracy Hunter-Jesse Hunter gig announced for Sunday, Oct. 4. That one I kind of understand. But then there were the Monmouth shows added piecemeal for the preceding week. Now there is the Elliott news, plus the earlier story that all MTH keyboard players not named Verden Allen will be performing Oct. 5-6 (with a "special guest," and if they're not hinting at Ariel Bender my name is Abraham Lincoln).
I do understand that Mick Bolton, Blue Weaver and Morgan Fisher are acting on their own, but geez -- why couldn't their shindig be offered on the weekend?
This started off as an Oct. 2-3 reunion. Now it's a Sept. 25-Oct. 6 Mottthehooplefest.
Many of us are traveling from the U.S., and the great majority of us can't change travel plans at this point to partake in these other offerings. And, if we're taking time off from a job to go to Europe, it's natural to assume that our travel window is Sept. 26-Oct. 4 -- one work week plus two weekends.
It's frustrating. We colonials who begged vacation time and locked in travel plans in January, immediately upon the announcement of this adventure, are being taken for granted.
So, speaking for those persons, how about throwing us a crumb?
Let us know who will support on the first three Hammersmith shows.
Let us know when we can meet the band. No if.
Stop announcing events we can't attend.
That is all. Thank you.
Monday, September 14, 2009
Day 17: Countdown No. 1, Mott (1973)
"''Cos if you think you are a star, for so long they'll come from near and far. But you'll forget just who you are. You ain't the Nazz. You're just a buzz. Some kinda temporary ... " -- Hymn for the Dudes (1973)This one finishes on top, deservedly so.
Debate all you want about MTH glam or not glam, pre- or post-Bowie, Verden in or out, Ralphs or Bender. Once all's said, this was one of the top albums of the greatest era in rock history.
Give it a spin to quench any emotion.
Angry? Shout along to "Violence."
Lonesome? Shed a tear to "I Wish I Was Your Mother." Defiant? Sing along to "Hymn for the Dudes," with a proviso -- the version on the three-disk anthology is superior to the Mott version.
Wistful? The guitar part alone should get you on "Ballad of MTH." And the full song is a heavyweight.
Happy? "Memphis" and "Honaloochie Boogie" are two of the most infectious songs ever recorded.
This was the album, and "Memphis" the track, that in 1973 pulled me away from AM radio and into a lifetime of appreciation of Mott the Hoople.
I know circumstances might push them into a supporting spot, but I hope to hear a lot of these songs at Hammersmith.
SONG RATINGS (OUT OF 5)
All the Way From Memphis (5)
Whizz Kidd (4)
Hymn for the Dudes (5)
Honaloochie Boogie (5)
Violence (3.5)
Drivin Sister (3.5)
Ballad of Mott the Hoople (5)
I'm a Cadillac/El Camino Dolo Rosa (2.5)
I Wish I Was Your Mother (5)
Sunday, September 13, 2009
Day 18: Countdown No. 2, The Hoople (1974)
"Hear me swear, hear every word. I ain't just a number, I wanna be heard." -- Crash Street Kidds (1974)I always considered this possibly the most theatric album of the early 1970s. It has such a showy feel to it, from the MC's introduction of the first track, through the operatic "Marionette" and the barroom sounds at the opening of "Pearl N Roy," and ending with the chat sequence and soaring guitars on "Roll Away the Stone."
I think it is underappreciated by fans who missed the old, raw MTH and also by fans who missed Mick Ralphs.
I understand the shortcomings. It's dominated by Ian Hunter's songwriting, with the only exception being the rush-job "Born Late '58" (which I love regardless). There is little guitar presence, with keyboards dominating. It's poppy. The one track that hearkens back to vintage MTH, "Crash Street Kidds," is somehow wimpy, with an out-of-place musical interlude at its core and poor effects on the machine gun fusillade that ends the track.
But it has so many guilty pleasures. "Pearl N Roy" is such a fun song, with great political lyrics. "Alice" is a neglected gem, one I know I'll never hear live because there's no way Ian Hunter will remember all the words. "Through the Looking Glass" -- my interpretation of it -- is inspirational, with its message to not fear looking at oneself. I was outraged when the profanity-laced out-take of this song was included in the MTH retrospective collection of the 1990s. Why spoil a beautiful track? It irritated the band as well.
And this is before you consider the masterpieces -- "Golden Age," "Marionette" and "Roll Away the Stone."
It's an unloved stepchild among many fans, but this is the only MTH alnum on which I love every track.
SONG RATINGS (OUT OF 5)
The Golden Age of Rock N Roll (5)
Marionette (5)
Alice (4.5)
Crash Street Kidds (3.5)
Born Late '58 (4)
Trudi's Song (3)
Pearl N Roy (England) (5)
Through the Looking Glass (4)
Roll Away the Stone (5)
The day after
Just learned that performing at Hammersmith the night after the MTH shows end will be none other than Lil Wayne.
Here's hoping he doesn't arrive a day early to do a duet with IH.
Well, they both wear shades.
Here's hoping he doesn't arrive a day early to do a duet with IH.
Well, they both wear shades.
Saturday, September 12, 2009
Day 19: Countdown No. 3, Brain Capers (1971)
"I would cry a million smiles for my Indian City queen." -- Sweet Angeline (1971)What a sloppy, funny, angry, honest record. What a great album.
My favorites are two of the rawest pieces of music I've ever heard -- "Sweet Angeline" and "The Moon Upstairs."
It's a highlight for me whenever "Angeline" makes an Ian Hunter setlist these days. I enjoy it because, as performed by the Rant band, it's a tight, precise rocker. But not in 1971. The song is chaotic and sounds like it could fall apart at any moment. I swear I hear Ian chuckle while singing -- twice. It's like improv -- and that's borne out by the fact that, even now, whenever the song is performed the lyrics change. I never tire of hearing it.
"The Moon Upstairs," with its bitter lyrics and pulsating guitars, is the best rocker of MTH's Island Records era. If it's played where I think it should be at Hammersmith next month -- as the set closer -- it will blow the roof off the building. The song's climactic lyrics, of course, reflect the anger of Hunter and MTH toward their record company. Thematically, it's not much different from "Marionette," a flashy mini-opera of three years later. But in this era, the sentiments were expressed brutally -- "We ain't bleeding you, we're feeding you, but you're too fucking slow." And who hasn't wanted to explode on an employer that way?
"How Long" is another out-of-control rocker, dubbed, for some reason, "Death May Be Your Santa Claus." Of the three pedestrian songs that fill out the record, the cover of the Youngbloods' "Darkness, Darkness" is the best.
What to make of the disk-ending "Wheel of the Quivering Meat Conception?" Same as its twin, "Wrath & Roll" from the first album. Nothing.
SONG RATINGS (OUT OF 5)
Death May Be Your Santa Claus (3.5)
Your Own Back Yard (2.5)
Darkness, Darkness (3)
The Journey (3.5)
Sweet Angeline (5)
Second Love (2.5)
The Moon Upstairs (5)
The Wheel of the Quivering Meat Conception (1)
Day 20: Countdown No. 4, All the Young Dudes (1972)
"Ride on -- until you fail." -- Sea Diver (1971)Obviously this was the watershed album for Mott the Hoople. But down which side does the water flow?
Compare this record with Brain Capers. Do you prefer the slicker production of ATYD, or the raw power of its predecessor? It's one of the core questions of Mott the Hoople fandom.
For today, I'm going with Brain Capers. Ask me again tomorrow, and it could be different. The key is that ATYD wasn't a quantum leap ahead in terms of song quality, just in image and production values.
None of that, obviously, diminishes ATYD.
The cover of "Sweet Jane" is excellent, even though Ian Hunter supposedly didn't like the song, or at least didn't like Lou Reed. IH must hold the song in some regard, as it's still sometimes on his setlist.
The hidden gem on the album is "Jerkin' Crocus." At one point it was in such high esteem that it opened MTH shows; nowadays even MTH hardcores rarely mention it. I think it's the best rocker on the album, better than the other contenders, "Sucker," "Momma's Little Jewel" and "One of the Boys."
I thought the chorus of "Sea Diver" was touching when I first heard it, and a generation later I feel the same. It continued a tradition of introspective IH songs that's maintained even today.
Two downers. The first is "Soft Ground." It's painful to listen to, and it might be the worst track on any of the seven MTH albums. This is why the group was so reluctant to record Verden Allen's songs. And, while "Ready for Love" is a fine song, you can't help thinking how much better it sounded three years later with Paul Rodgers doing the singing. And both those tracks are illustrative of why MTH Mark I broke up.
That brings us to the title track. Its importance and significance have been well-documented, and I won't belabor the point. But I must say this. It has always been an Achilles heel of MTH that their most well-known track was written by someone else. No denying that. But if you listen to this cut and to the track on 1974's David Live, which I believe was David Bowie's first recording of the song he wrote, the superiority of the MTH version is obvious. Mick Ralphs' intro and Hunter's chorus rap were vital to the song's appeal.
This record was a veer toward pop music. It kept MTH alive, so for that we're grateful. But the visceral appeal of Brain Capers was put firmly in the past, and that was something of a loss.
SONG RATINGS (OUT OF 5)
Sweet Jane (4)
Momma's Little Jewel (4)
All the Young Dudes (5)
Sucker (3.5)
Jerkin Crocus (4.5)
One of the Boys (4)
Soft Ground (0.5)
Ready for Love/After Lights (2)
Sea Diver (3)
Mea culpa
A few posts back I implied that "Rock & Roll Queen" was influenced by the Rolling Stones' "Bitch."
By doing the research I should have done from the start, I learned that "R&RQ" came first, by about a year.
So, anyone who thinks -- as I still do -- that the songs are similar must question where the Stones got the idea, not Mott.
Maybe the Stones stole more than just the album title for Sticky Fingers.
By doing the research I should have done from the start, I learned that "R&RQ" came first, by about a year.
So, anyone who thinks -- as I still do -- that the songs are similar must question where the Stones got the idea, not Mott.
Maybe the Stones stole more than just the album title for Sticky Fingers.
Friday, September 11, 2009
Day 21: Another Monmouth show
"Where do you all come from?" -- Where Do You All Come From (1974)
Sorry, running behind because of travel.
Gonna take a one-day break from the album countdown and comment on the annnouncement that yet another warm-up show has been added for the Blake Theatre in Monmouth, Wales.
Bottom line is that the anticipated “first appearance” of Mott the Hoople Mark I in 36 years has been changed for the third time and now is set for Friday, Sept. 25. Will even that stay firm?
I wasn’t planning on Monmouth, but at least I felt good about the idea that if the first show had been Saturday as once believed, I’d be flying across the ocean to get there as they played. Now, I’ll be sitting at my desk working. And it does bother me.
But I feel most sorry for the persons who had such an attachment to the notion of seeing the first show that they’d booked Monmouth and must alter travel plans again if possible and commit to yet another concert. I know I felt that way originally and felt burned by the addition of a Thursday show for Hammersmith afer Friday and Saturday had sold out. My irritation was assuaged after I wound up with a front-row seat for Thursday, but really two concerts would have been fine for me and now I’m committed to three. That did show me that I couldn’t hope to keep up with a moving target, so Monmouth was never a question.
I don’t begrudge the band for taking advantage of this opportunity to sell out theatres, and I don’t begrudge the fans in their roots area the chance to see them first. I just hope nothing more happens to steal the thunder of the Oct. 1 gig. The band need to realize that a lot of fans worldwide are making a major investment in that show, and it should retain a special feel – different set list, longer stage time, special guests. And I hope they don’t burn themselves out in Wales.
I want to meet the person who’ll attend all seven gigs. Anyone who does should get some sort of distinction. If you can prove you’ve been to the two Monmouth gigs and the first four Hammersmith gigs you should be brought backstage for the finale. Hell, you should be on stage for the finale.
But that’s well beyond my endurance and funds.
Sorry, running behind because of travel.
Gonna take a one-day break from the album countdown and comment on the annnouncement that yet another warm-up show has been added for the Blake Theatre in Monmouth, Wales.
Bottom line is that the anticipated “first appearance” of Mott the Hoople Mark I in 36 years has been changed for the third time and now is set for Friday, Sept. 25. Will even that stay firm?
I wasn’t planning on Monmouth, but at least I felt good about the idea that if the first show had been Saturday as once believed, I’d be flying across the ocean to get there as they played. Now, I’ll be sitting at my desk working. And it does bother me.
But I feel most sorry for the persons who had such an attachment to the notion of seeing the first show that they’d booked Monmouth and must alter travel plans again if possible and commit to yet another concert. I know I felt that way originally and felt burned by the addition of a Thursday show for Hammersmith afer Friday and Saturday had sold out. My irritation was assuaged after I wound up with a front-row seat for Thursday, but really two concerts would have been fine for me and now I’m committed to three. That did show me that I couldn’t hope to keep up with a moving target, so Monmouth was never a question.
I don’t begrudge the band for taking advantage of this opportunity to sell out theatres, and I don’t begrudge the fans in their roots area the chance to see them first. I just hope nothing more happens to steal the thunder of the Oct. 1 gig. The band need to realize that a lot of fans worldwide are making a major investment in that show, and it should retain a special feel – different set list, longer stage time, special guests. And I hope they don’t burn themselves out in Wales.
I want to meet the person who’ll attend all seven gigs. Anyone who does should get some sort of distinction. If you can prove you’ve been to the two Monmouth gigs and the first four Hammersmith gigs you should be brought backstage for the finale. Hell, you should be on stage for the finale.
But that’s well beyond my endurance and funds.
Wednesday, September 9, 2009
Day 22: Countdown No. 5, Mad Shadows (1970)
"Anything's better than the life I've known, I can't face anything that low." -- Walkin with a Mountain (1970)This one should have been Sticky Fingers. I assume you've heard that story.
Mad Shadows is a better title anyway for the lyrical content. And the cover, which looks like a Rorshack test, is perfect because some of the lyrics make you want to call a psychiatrist.
I think it's great. Of the early era MTH albums, which I basically bought in a pack, this one has grown on me the most.
Mick Ralphs' "Thunderbuck Ram" is an awesome opener, from its first chords to its abrupt denouement. I think it would even be a great opener for the reunion shows. It's the best song Mick wrote for Mott. I love the way "No Wheels to Ride" builds from a ballad into something a lot more. Of course I love "Walkin With a Mountain," maybe because I know what it became as a concert staple for Ariel Bender in later MTH days.
The lyrics here are as dark and angry as anything on Brain Capers. The difference is that Brain Capers suggested a more physical expression of violence. This one is more psychotic. Case in point: Ian Hunter's "When My Mind's Gone."
It held together well as a selection of songs and still holds up today, but there was a ceiling on how far they could go with it. And it wasn't far, as the successor, Wildlife, was much lighter.
SONG RATINGS (OUT OF FIVE)
Thunderbuck Ram (4.5)
No Wheels to Ride (4)
You Are One of Us (3)
Walkin With a Mountain (4.5)
I Can Feel (3)
Threads of Iron (2.5)
When My Mind's Gone (3)
Tuesday, September 8, 2009
Day 23: Countdown No. 6, Mott the Hoople (1969)
"You can't live in Texas unless you've got a lot of soul." -- At the Crossroads (1969)Mott the Hoople gives a unique demonstration in its first, eponymous album: How to cover Bob Dylan without covering Bob Dylan.
There are no Dylan covers here, not even "Blowing in the Wind," the coda of which was performed in many early MTH concerts. But that's not to say that song after song don't sound like Bob. They do.
"Backsliding Fearlessly" does. "Laugh at Me" makes a Sonny Bono cover sound as if it came from the Dylan catalogue. And "At the Crossroads" covers Doug Sahm, himself a Dylan mentor.
MTH strays from Dylan on "Rock N Roll Queen," channeling the Rolling Stones instead. (OK, hands. Who thinks it sounds like "Bitch?")
The point is that MTH at its genesis wore its influences and inspirations on its sleeves. For the most part, it worked here. The style piques your interest.
They carried it too far by kicking off the disk with a version of the Kinks' "You Really Got Me." I don't understand the point of that. Why make your first song an instrumental cover of a recent song by a band for whom you frequently open? I think the other instrumental, the MTH-composed "Rabbit Foot and Toby Time," is superior.
The Kinks cover gives the feeling that this was a hastily put together effort, without enough MTH-written songs nor any nod to what worked in their live performances. There's one MTH classic, "R&RQ," and some glimpses of what the band and Ian Hunter will offer in the future.
Other than that, I wouldn't consider it a strong debut.
SONG RATINGS (OUT OF FIVE)
You Really Got Me (1.5)
At the Crossroads (2.5)
Laugh at Me (3.5)
Backsliding Fearlessly (2.5)
Rock N Roll Queen (4)
Rabbit Foot and Toby Time (2.5)
Half Moon Bay (2)
Wrath & Roll (1)
Monday, September 7, 2009
Day 24: Countdown No. 7, Wildlife (1971)
"Maybe I'm just a loser. Maybe it's because my boots ain't as clean as they could be." -- Home is Where I Want to Be (1971)I didn't experience MTH's albums sequentially. I think it's important you know that.
I started with Mott, went to The Hoople, eventually went back to ATYD then picked off the first four many years later.
So my initial reaction to Wildlife was to be struck by how different it sounded from what the band's ultimate product would be -- not what it had been.
Because of that I think I judge it less harshly than others do. Knowing that such fantastic output lay ahead, I could regard this one as a harmless curiosity.
But had I been a fan of Mad Shadows upon its release, and was breathlessly awaiting its sequel back in 1971, I would have been stunned and disappointed by this one. Having shown one identity on Shadows, the band yanked that away with Wildlife and decided, apparently, that it was Poco. And I like Poco. That's the problem. MTH was just a weak imitation here.
The songs are listenable. I don't mind giving it an occasional spin. The songwriting is, in fact, better than on the album that I'll be rating No. 6, but the difference is, that one has an essential, core MTH song and this one does not.
Four Mick Ralphs C&W songs combined with three of Ian Hunter's slower songs make this a leisurely album compared with its two breakneck predecessors. "Waterlow" is here, and it's brilliant, but the live versions on solo IH disks are better. They added "Keep A Knockin," almost certainly to give the disk some rock feel. It's great, but would have been more in place on an early MTH live album. The other Wildlife cover, "Lay Down," I don't know why they chose to record it. Melanie's version had recently been on the charts. I didn't like it, either.
I'm sure there were some confused British teenagers when this came out.
(I can say, though, this was the first MTH album I ever saw. I remember a high school classmate pointing out the record as an example of a great band -- probably on the strength of Mad Shadows. I saw the cover and figured they were in Central Park.)
SONG RATINGS (OUT OF FIVE)
Whiskey Women (2.5)
Angel of Eighth Avenue (3)
Wrong Side of the River (2)
Waterlow (3.5)
Lay Down (1.5)
It Must Be Love (3)
The Original Mixed-Up Kid (3)
Home is Where I Want to Be (3)
Keep A Knockin' (3.5)
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