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.

Bender Street?

Is this as close as we'll get to Ariel Bender this week?

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.

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.

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.

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!

Picture from Monmouth

Courtesy of Steve in the UK:

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?

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.

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:

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?

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.

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:

"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.

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)

Here's Gemma Ray

Gemma Ray_01_Union Chapel_24_06_09
Originally uploaded by Simon Fernandez Music Photographer

Here's Gemma Ray, opening act for Mott the Hoople on Oct. 2 at Hammersmith Apollo.

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.

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:

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.

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.

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.

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.

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.

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.

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)

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.

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.

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.

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)

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)

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)

Day 25: Ranking the MTH albums

"You work the mine, work the factory line, watch the news, get the blues, blow a fuse; well, Number One ain't getting it done, and Number Two always gotta lose." -- Pearl 'N' Roy (1974)

I'm going to start a weeklong series Monday ranking the seven MTH studio albums. I'll rate the songs on each from zero stars to five stars.

We start tomorrow with the No. 7 album. Not too much mystery what that is, but tune in.

Your thoughts are welcome.

Day 26: Reminiscing on past trips

"Oh rescue me, or bury me; I care not what you do." -- Sweet Angeline (1972)

I'd probably never have been to Europe were it not for the music of Ian Hunter.

Instead, this trip for the MTH reunion shows will be my fifth visit. I'm not wealthy, but I am frugal and efficient, so I've gotten to see a lot of things.

I remember the night I decided I'd make my first visit. I was waiting on the autograph line at Amoeba Records in Hollywood after Ian's appearance at the store in March 2002. He was talking to someone ahead of me about Mick Ralphs' participation in Ian's upcoming UK tour. That wasn't news to me, but hearing him actually talking about it made me resolve, "I'm going to do this." I did, catching the show at The Junction in Cambridge and including coverage of a boxing match on the trip. It was my first time overseas. Man, I remember the first-day jetlag. I was almost comatose in the lobby of the bed and breakfast waiting for my room to open up.

Other times, I've tried to incorporate visits to other countries as part of my UK visit. In 2004 it was France. I rode to Paris on the EuroStar and visited Disneyland Paris, the Louvre and other places over three days there. It was gratifying because it was just 10 days after I'd had an angiogram and my cardiologist initially told me I couldn't go. That trip included the Astoria show captured on the Just Another Night DVD, probably the most memorable show I've ever seen. I also remember seeing Alvin Lee at the Royal Albert Hall the night before Ian's show.

In 2005 I took a side trip to Rome, which I really enjoyed. I like being on my own in a place like that, just walking around and seeing what I want to see -- the Pantheon, the Colosseum, the Forum and other spots. I stayed in a converted convent and took pride in mastering the subway and bus lines. I also went to Stonehenge on that trip. That IH show was at the Astoria also.

2007 was England only and I probably shouldn't have gone, as I left work in the lurch for a few days at a busy time. It was a short trip to London, which doesn't make much sense. But it was that night at Shepherd's Bush that the seeds were planted for this MTH reunion, so it was great to be there. And I got to go to the after-show party.

This time the added country on the itinerary will be Ireland.

I've got a tour of Dublin booked for Sunday, Sept. 27, and I look forward to placing a guitar pick at the statue of Phil Lynott. I've got a day trip to County Cork set for Monday, Sept. 28, and I look forward to seeing the port where my maternal grandfather departed for America in 1905. I'd always said that when I first visited Ireland I'd do research there on my family, but that isn't going to happen -- not enough time.

I've also got another day trip to Paris and an extensive tour of London planned. Here is where I stay in London.

It's going to take a lot out of me. I'll have to work past midnight on Friday, Sept. 25 for high school football before my flight around noon Saturday. At least a couple of the nights on the trip will be without sleep. And I might very well have to work the day after I get back; don't know yet.

I'd love to hear what others have planned in addition to the MTH shows.

Day 27: Something for Saturday

"Watch the audience laugh as my head hits the floor." -- Marionette (1974)

Just learned today about this MTH-related event for Oct. 3 in London, and it's great because Saturday was open on my calendar and now I'll have something to do.

I'm looking forward to seeing the Troubador and the various Mick Ronson offerings. And I'm especially looking forward to seeing the photography of former MTH pianist Morgan Fisher.

The best thing, though, is that this is the first indication I've seen that Fisher, who lives in Japan, will be in London for the shows. I'd hoped, but didn't know. It raises the chances Fisher will get some stage time at the Hammersmith, which he totally deserves.

Fisher has done a lot to keep the MTH name alive over the dark years, from his work with tribute bands in Japan to his mini-documentary of the band during its 1974 U.S. tour, a YouTube staple for MTH fans the last few years. Just as Ian Hunter's Diary of a Rock Star provided literary insight to life on the road with MTH's 1972 tour as a backdrop, this video does the same visually for the 1974 tour and Mark II band, which, as I've said, really was my MTH.

Fisher was just as important to the sound of the Mark II band as Verden Allen was to the Mark I band. His playing is all over The Hoople, which I've always liked. I look forward to meeting him.

Day 28: One drummer, two drummers

"Buffin lost his childlike dreams." -- Ballad of Mott the Hoople (1972)

The Pretenders end a U.S. tour Friday night in Rancho Mirage, Calif., and shortly after that I expect Martin Chambers to begin whatever involvement he's going to have with the MTH reunion shows.

Six months after his role became known, his precise duties remain a mystery.

Another blogger reported in February that Chambers would be drumming on the shows. Chambers confirmed that to me after the Pretenders' show Feb. 27 in Dallas, explaining that the reason is concern about Buffin's health. This came down only about six weeks after the shows were announced, so clearly the band has known all along that Buffin's participation would be dicey.

Still, there has been no official word. Monmouth is just 23 days off. Are we going to have one drummer? Two? Is Chambers still involved? If he is, the band is being disingenuous about the "five original members" performing. On the other hand, they have a Rock N Roll Hall of Fame drummer committed to play but they've made no attempt to trade on his name. If Chambers is on stage it will surprise a lot of people. ("Is that Martin Chambers? Was he in Mott the Hoople?")

Chambers told me that he's been friends with all the MTH members for years, and that Buffin gave him his first drum kit. Of course, he was in The Cheeks with Verden Allen after Allen departed MTH. The fact that the band would turn to Chambers tells me that Allen is doing much of the organizing on this reunion. If it were Ian Hunter's call, the sit-in drummer would be Steve Holley.

I'd hoped this interview on Allen's MySpace page would address this, but it does not. Allen never mentions Chambers. Nor does he mention Buffin. Either the subject was off-limits, or the interviewer just didn't ask.

It's not a big deal. You see extra musicians on stage with bands all the time. Green Day does it. So do the Killers. Still, I'm curious.

I'll be satisfied to see the five original MTH members on stage even if Buffin is unable to drum and Chambers has to. I do think that if they're bringing in an outsider to drum, it invalidates the reasons they've given for not involving Ariel Bender and Morgan Fisher too.

Day 29: Seating arrangements

"I feel neglected, feel rejected, livin' in the wrong time." -- The Moon Upstairs (1971)

I found this video of MTH playing "The Moon Upstairs" in 1971 in Paris. A performance like this would blow the roof off at the Hammersmith.

The stage layout, with Buffin front and center, also struck me. I'd heard MTH did this in the early days. They sure weren't doing it in 1974, when I saw them. How strange it is on the video to see Mick and Pete moving behind Buffin at times. It's also odd to see IH and his keyboards on the left side after so many years recently seeing him on the right.

And how about that Maltese Cross?

It's making me think about whose side of the stage I'll be sitting on in October. I wish I'd found this seating chart before I went online at 3 a.m. those January mornings.

I guess I've got bad seats.

The first one I bought was Stalls D1 for Saturday. According to the chart, it's in the red zone, so there's something wrong with it. When it popped up I grabbed it, figuring fourth row couldn't be so bad. I should have tried a few times for a better spot, but I was panicky, thinking all the seats were being eaten up. Hey, that's how it is for Penguins games. Next I got G45 for Friday. It's in the red zone too.

I was luckier the next week for the Thursday show -- A7. Still, it's in the white zone. I don't have any green zone seats. But my Thursday purchase is a Golden Ticket, so I'm supposed to get some bonuses with it. I think they were saying a signed lithograph of the band and a T-shirt. I haven't seen this mentioned one time since the sale, but believe me -- I haven't forgotten.

I think I paid about 80 pounds for this -- $130 or so. Did you see what Kiss is getting for premium seats for their fall tour -- $998 apiece in Dallas! I'd like to meet the person who'd pay that.

I've got two aisles seats out of three. That's good. I think.

This page breaks it down really well:

It gives me an edge over everyone else from the U.S. I alone know where the men's room is.

Day 30: What's on the setlist?

"I've got an idea, go tell the superstar his hairs are turning gray." -- Hymn for the Dudes (1973)

Ian Hunter's remark on Rockline last month that 21 songs are on a rehearsal list for the MTH reunion shows is a good starting point to discuss a setlist.

Some of those 21 will be thrown out if the band isn't satisfied with how they sound. Others will be added once everyone gets face-to-face. And some will be paired in medleys, maybe opening space for others.

But what's a realistic 21-song list?

I don't know how much politics will go into this, but I'm going to guess the following:

1- Mick Ralphs, Verden Allen and Pete Watts will get chances to sing lead. And I hope they don't pass it up. It's not in the spirit of this event for Ian Hunter to sing every song. Let's make it a party. We're all going to be singing anyway.

2- I think the Mott album will get more than a token representation, despite what others making projections say. A few of those songs are essential, and in any case four of the five members played on them. Even Allen played on some, or was it just one? I'll be disappointed if this turns into, "Phally didn't play on it, so it's out." Oh, and Allen's song in the spotlight? Please, not "Soft Ground."

3- I don't expect to hear much of The Hoople.

4- We won't hear many of the quasi-MTH songs that are really Hunter solo songs -- the "Rose" subset. If there's going to be any -- I'll bet the list starts with "Seadiver."

5- The opener (coming out of "Jupiter") will be a group-written song from the first five albums. Those suggesting "Ohio" or "Golden Age" -- fuhgetaboudit.

6- We're going to hear a big hit early to get it out of the way.

7- "Violence" made waves the last time the band played the Hammy-A (then the Hammy-O) so what about that?

8- Joe Elliott name-checking "The Original Mixed-Up Kid" at the MOJO awards raises that song's chances.

So here's my prediction. These aren't the top 21 I want to hear, they are my best guess as to what will happen. I don't count "Jupiter" in my total, and as I project two medleys I cheated and ran the list to 22.

Jupiter
Rock N Roll Queen
One of the Boys
All the Way From Memphis
Drivin Sister
The Original Mixed-Up Kid
Thunderbuck Ram
Nightmare
No Wheels to Ride
Born Late 58
Hymn for the Dudes
Laugh at Me
Seadiver
Jerkin Crocus/Roll Away the Stone
The Moon Upstairs

ENCORE I
Angeline
You Are One of Us/The Saturday Gigs
All the Young Dudes

ENCORE II
Ballad of Mott the Hoople
Walkin With a Mountain
Keep A-Knockin

What do you think?