MOTT THE HOOPLE DISCOGRAPY REMASTERED WITH BONUSTRK -

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Mott The Hoople discograpy Remastered with bonustrk -

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Mott The Hoople discograpy Remastered with bonustrk
Mott The Hoople - Mott (Legacy Edition, Remastered & Expanded)
1973, 2006
Mp3 @256
User review:
Legacy ? ? s remaster and reissue of Mott the Hoople s most successful album is presented wonderfully and respectfully ? ? not even the hyper-critical Ian Hunter can really complain about the way the label treated it. Historically, Mott the Hoople enjoyed chart success with All the Young Dudes both the album and the single. The collaboration with David Bowie worked like a charm and brought the Mott magic to the studio for the first time. They had moved to Columbia Records from Island (in the U.K. ? ? their albums in the States had been released by Atlantic . Mott had also signed with Bowie s manager Tony Defries However, trouble loomed once again for a band that had seen more than their fair share of it . Defries attention was occupied with Bowie s rising star and he had little time for the band. Terminating that contract, they also lost Verden Allen the keyboardist who was so much a part of the sound on All the Young Dudes he was a bedrock of their sound. He left because he felt his own songs weren ? ? t a big enough part of the Mott mix. The band decided not to replace him. They also decided to produce their next album themselves, against the wishes of the label. The album was titled, simply, Mott Engineers like Bill Price Alan Harris and a very young John Leckie were important collaborators. The album itself struck pay dirt and was hailed as the best album the band ever released. This is an amazing thing given that a huge chunk of it is dedicated to lamenting the corruption and frustration of the music biz. Arranged by Ian Hunter who wrote or co-wrote everything on the set except Mick Ralphs ? ?I ? ? m a Cadillac/El Camino Dolo Roso, ? the album contains many of Mott s best-loved songs including ? ?All the Way from Memphis, ? ? ?Whizz Kid, ? ? ?Honaloochie Boogie, ? and of course, the classic ? ?I Wish I Was Your Mother. ? Rolling Stone called the record ? ?the best record by the best band of the early seventies. ?
OK, that ? ? s easy to buy given the group ? ? s live shows, which rivaled anyone ? ? s, including Bowie s and the Rolling Stones . Mott is an album that endures because of Ian Hunter s songwriting and a production that was immediate, adventurous, full of the sensationalism of glam from a band that wasn ? ? t, and saturated in roots rock energy and grit. The use of a chorus of female backing vocalists, Andy Mackay (from Roxy Music on saxophone, and the leaner, meaner, four-piece attack presented Mott the Hoople in all its glory, presented Hunter as a songwriter who needed to be taken very seriously. The album cracked the U.S. Top 40 (number 35), and hit the U.K. ? ? s Top Ten (number seven at its peak). The Legacy reissue contains four bonus cuts, too ? ? even though it ? ? s a tough to follow an act like ? ?I Wish I Was Your Mother, ? which closes Mott First is ? ?Rose, ? the rare B-side of the ? ?Honaloochie Boogie ? single. Then there ? ? s a demo of the tune, that ? ? s rough, rowdy, and edgy. Ironically there is also a demo of Verden Allen s ? ?Nightmare ? written in 1972 that never made it onto an album. Finally, ? ?Drivin ? ? Sister, ? from the famed Hammersmith Odeon gig in 1972 on the All the Young Dudes tour, with some additional musicians in the mix including Morgan Fisher Paul Buckmaster and Andy Mackay The bonus material showcases different sides of a band who had arrived, fully in command of their sound and performance. In addition to the great sound and bonus material, there are good historical and critical notes from Keith Smith the editor of Two Miles From Heaven the official organ of the Mott the Hoople Appreciation Society Like All the Young Dudes any fan will need this, but more importantly, anyone interested in the music of the early- to mid- ? ? 70s will find Mott a treasure that can still hold its own over 30 years after its original release. It still sounds fresh, rough, and gritty, and is full of outrage and fantastic musical theater.
Tracks:
1. All The Way From Memphis
2. Whizz Kid
3. Hymn For The Dudes
4. Honaloochie Boogie
5. Violence
6. Drivin ? ? Sister
7. Ballad of Mott the Hoople (26th March 1972, Z ? rich)
8. I ? ? m A Cadillac/El Camino Dolo Roso
9. I Wish I Was Your Mother
10. Rose
11. Honaloochie Boogie - (Demo)
12. Nightmare - (Demo)
13. Drivin ? ? Sister - (Live)

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Mott The Hoople - The Hoople Live 30th Anniversary Edition (1973 - 1974) U.K.
230mb - @256
CD1 - Broadway (1974)
1- Intro - Jupiter From 'The Planets' (1974)
2- American Pie - The Golden Age Of Rock 'N' Roll (1974)
3- Sucker (1974)
4- Roll Away The Stone-Sweet Jane (1974)
5- Rest In Peace (1974)
6- All The Way From Memphis (1974)
7- Born Late '58 (1974)
8- One Of The Boys (1974)
9- Hymn For The Dudes (1974)
10- Marionette (1974)
11- Drivin' Sister-Crash Street Kids-Violence (1974)
12- All The Young Dudes (1974)
13- Walking With A Mountain (1974)
CD2 - Hammersmith (1973)
1- Intro - Jupiter From 'The Planets' (1973)
2- Drivin' Sister (1973)
3- Sucker (1973)
4- Sweet Jane (1973)
5- Sweet Angeline (1973)
6- Rose (1973)
7- Roll Away The Stone (1973)
8- All The Young Dudes (1973)
9- Rock 'N' Roll Queen (Medley) (1973)
10- Walking With A Mountain (1973)
Mott The Hoople - The Hoople Live (1974) U.K.
50mb - @128
1- All The Way From Memphis
2- Sucker
3- Rest In Peace
4- All The Young Dudes
5- Walking With A Mountain
6- Sweet Angeline
7- Rose
8- Jerkin' Crocus - One of the Boys - Rock 'N' Roll Queen - Get Back - Whole Lotta Shakin' Goin' On - Violence

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Mott The Hoople - Brain Capers (1971) U.K.
116mb - @320
1- Death May Be Your Santa Claus
2- Your Own Backyard
3- Darkness, Darkness
4- Journey
5- Sweet Angeline
6- Second Love
7- Moon Upstairs
8- The Wheel Of The Quivering Meat Conception
9- Midnight Lady (Bonus Track)
10- Journey (Bonus Track)

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Mott The Hoople - All The Young Dudes (1972) U.K.
159mb - @320
1- Sweet Jane
2- Momma's Little Jewel
3- All The Young Dudes
4- Sucker
5- Jerkin' Crocus
6- One Of The Boys
7- Soft Ground
8- Ready for Love + After Lights
9- Sea Diver
10- One Of The Boys (Demo)
11- Black Scorpio (Demo Of ''Momma's Little Jewel'')
12- Ride On The Sun (Demo ''Sea Diver'')
13- One Of The Boys (UK Single Version)
14- All the Young Dudes (Bonus Track - David Bowie & Ian Hunter Vocals)
15- Sucker (Live At Hammersmith Odeon 1973)
16- Sweet Jane (Live At Hammersmith Odeon 1973)

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Mott The Hoople - Mott The Hoople (1969) U.K.
87mb - @256
1- You Really Got Me
2- At The Crossroads
3- Laugh At Me
4- Backsliding Fearlessly
5- Rock And Roll Queen
6- Rabbit Foot And Toby Time
7- Half Moon Bay
8- Wrath And Wroll
9- Ohio (Live)(Bonus)
10- Find Your Way (Bonus)

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Mott The Hoople - The Hoople (1974) U.K (Remastered & Expanded)

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Mott the Hoople 1974 The Hoople
1. Golden Age Of Rock And Roll - (studio)
2. Marionette - (studio)
3. Alice - (studio)
4. Crash Street Kidds - (studio)
5. Born Late '58 - (studio)
6. Trudi's Song - (studio)
7. Pearl 'N' Roy - (studio)
8. Through The Looking Glass - (studio)
9. Roll Away The Stone - (studio)
At this point Ralphs quit to found Bad Company with Paul Rodgers. So the remaining three members recruited new lead guitar and keyboard players, shifted Hunter to rhythm guitar, and jointly produced what amounted to an Ian Hunter solo album - everything is his apart from "Born Late '58," Watts' boogie-woogie ode to jail-bait. Remarkably, their sound is exactly the same. Hunter not only delivers his characteristically rambling ballads ("Trudi's Song"
and droll, overblown epics, complete with the usual honking sax and female backing vocals ("Marionette"
, but a few stomping pomp-rockers like "Crash Street Kidds" and the somewhat flabbier "Roll Away The Stone" (a Ralphs-era leftover that was a British hit late in '73). But with glam already fading, Hunter's stew of punning self-commentary, raving hedonism, and jokey, 50's-bound nostalgia seems stiff and pointless ("Pearl 'n' Roy (England)"
. It all blows up in his face on the ridiculously overorchestrated "Through The Looking Glass." There's nothing essential here, but the faithful will get more than a few of the usual kicks out of the proceedings. Also features the group's last important hit in Britain, the campy, overblown "Golden Age Of Rock And Roll," but not two other singles released later in 1974: "Foxy Foxy" and "Saturday Gigs" (Ronson replaces Bender on the latter). (JA)

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Mott The Hoople - Wildlife (1971) U.K 95mb - @320
1- Whisky Woman
2- Angel Of Eighth Avenue
3- Wrong Side Of The River
4- Waterflow
5- Lay Down
6- It Must Be Love
7- Original Mixed-Up Kid
8- Home Is Where I Want To Be
9- Keep A'Knockin'

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Mott The Hoople - Rock And Roll Queen (1972) U.K.
32mb - @128
1- Rock And Roll Queen
2- The Wheel Of The Quivering Meat Conception
3- You Really Got Me
4- Thunderbuck Ram
5- Walkin With A Mountain
6- Death May Be Your Santa Claus
7- Midnight Lady
8- Keep A Knockin

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Mott The Hoople - Mott (1973) U.K.
39mb - @128
1- All The Way From Memphis
2- Whizz Kid
3- Hymn For The Dudes
4- Honaloochie Boogie
5- Violence
6- Drivin Sister
7- Ballad Of Mott The Hoople
8- I'm A Cadilac El Camino Dolo Roso
9- I Wish I Was Your Mother
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Mott The Hoople - Mad Shadows (1970) U.K. 72mb - @320
1- Thunderbuck Ram
2- No Wheels To Ride
3- You Are One Of Us
4- Walkin' With A Mountain
5- I Can Feel
6- Threads Of Iron
7- When My Mind's Gone

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Mott The Hoople - Mad Shadows (1970)
When Mott the Hoople went into the recording studio to record this, their second album, it was known as Sticky Fingers. The front sleeve was already complete and featured an outsize Frankenstein's monster driving a dragster through the night. But Mott had reckoned without their producer Guy Stevens getting friendly with the Rolling Stones, who were next door mixing their new album for impending release. Hearing the title of Mott's new album, Mick'n'Keef promptly nicked it off them. And so it was that Mott's second LP had to be retitled Mad Shadows, a title originally chosen for the projected Steve Winwood solo album which was soon to become Traffic's come-back LP John Barleycorn Must Die. Confused? Well, you always would be when Guy Stevens was involved. And Mott could hardly complain, especially as Guy had got Mott together in the first place.
In 1969, Stevens had been looking for a cross between the Stones and the Band with an English Bob Dylan at the helm. So he took a young going-nowhere Hereford band called Silence and lumbered them with a new front man - a pianist/vocalist called Ian Hunter, a guy in his 30s who'd played bass in the New Yardbirds and had been a staff songwriter in London's tin pan alley. The first album had been cobbled together in late 1969, without Stevens knowing that Ian Hunter had never really been a pianist at all and could only play the chords G, C and D; all in a hugely kack-handed fashion. So, by the time of recording this second LP, Hunter's place in the group was in no way secure, and their guitarist Mick Ralphs was being pushed by Guy Stevens as the possible replacement frontman.
Side one of the first Mott LP had been a mish-mash of styles and experiments, but side two had produced just what Guy Stevens was looking for. It was a classic rock'n'roll work which ran from the uber-Stones riffing of "Rock and Roll Queen" to the Dylan overload of the eleven-minute "Half Moon Bay", with medleys of simple but blazing emotion linking each statement together. It was gorgeous in an emotional slegdehammer-y kind of way.
But this second LP, Mad Shadows, was to be Mott's greatest statement of all and a true cry from the heart for Ian Hunter. His wife had taken his children and returned to Shrewsbury, telling him that she would not accept his new longhair and new lifestyle, and the whole album resounds with Hunter's wailing and fist-pounding as the ghosts of his still recent former life spill over into every song. The sledgehammer attitude of the first album is, if anything, overtaken by the brutality of musical execution of Mad Shadows. Indeed, what makes Mad Shadows so powerful is the brazen way in which the other much younger musicians interpret Hunter's work. Simple to the point of repetition because of his ultra-limited piano playing, Hunter's songs actually gain from this flash, virtually punk energy which the rest of the band bring, and his desperate cry from the heart of a dissolving 30-something marriage is gloriously mis-translated by rampant musical interpreters barely out of their teens. Throughout the LP, Overend Watts' bass is far more reminiscent of Bill Wyman's storming work on "Have You Seen Your Mother Baby", than Rick Danko of the Band or any equivalently subtle American musician. Buffin's drums are proto-flash to the point of bluster, and were thoroughly ripped off by Cheap Trick's Bun E. Carlos to later drive a far more brash kind of music. Verden Allen's overdriven Hammond organ cranks out the same old riff song after song, even resorting to that dreadful Bar Mitzvah lick from "Like a Rolling Stone", but never does Guy Stevens scream 'Enough!' He just lets them get on and on with it, and often on songs of six and seven minutes in length. It is this suffocatingly, axe-wieldingly sentimental glue which fixes the entire album together, and the freedom was given to the band by Guy Stevens. Crediting himself with 'spiritual percussion and psychic piano', Guy Stevens is an awesome presence on Mad Shadows - not for what he contributes but for the space he allows them all to fill. Mott the Hoople may have made their name with a David Bowie song, but it was Stevens who created them, and he who created this LP. For Mad Shadows is their masterpiece.
This huge emotional reverberator drop kicks into life with the frantic five minutes of "Thunderbuck Ram", in which Mick Ralphs' raucous guitar riffs ring out across a Cheddar Gorge of chasmic reverb. The proto-Paranoid riff propells them all into the chorus with such venom that Guy Stevens' record-this-live-at-all-costs mode is immediately confronted and challenged head-on by huge glaring errors, as minors and majors clash and buzz. Yet the song thunders on relentlessly, until the tail-out becomes a huge one chord burn-out and the first of Ian Hunter's Velvets-meets-Jerry Lee Lewis high velocity piano attacks kicks in like cooking amphetamines into a hot curry.
Verden Allen's monolithic Hammond organ introduces the massive six minutes of "No Wheels to Ride", as Ian Hunter grinds his teeth and pounds the piano in grief, the memories of his children so recently taken from his life manifesting in a gargantuan emotional haemorrhage, as the band behind him try desperately to upstage him. "Can't get enough, can't get enough, can't get enough of your love," he howls over and over and over until even Mick Ralphs jots down the hookline (for later use). Then it's off into another huge and simple three chord emotional Hammond organ and pounding piano blow-out, like some kind of Spectorized proto-punk gross out. It's fair to remind ourselves at this moment that Guy Stevens once claimed: "There are only two Phil Spectors ? and I'm one of them!" Indeed, In-fucking-deedio!
Following close behind on the coattails of "No Wheels to Ride", "You are one of us" is virtually the same song with the same frantic emotion and the same 'Hang on Sloopy" chord sequence, while Hunter screams about how he 'wants to thank everyone' and the band return to their single-minded intention of upstaging each other. Apparently, Hunter wants to THANK the band for letting him stay IN the band, while they accompany him as though they think he's already left.
And when they finish side one with "Walking with a Mountain", Mott is a Foden truck with the intentions of a Cadillac. Brutal, brash and totally without finesse, the bass and piano threaten to drive the whole tune into a lake at any moment, while Buffin's totally overachieving ideas of drumming are matched only by his inability to achieve any of it. Startling upstart rock'n'roll this is indeed and their producer Guy Stevens would have made the worst politician ever. He can't even be bothered to do a cover-up of thee most glaring errors. No wonder Mott's labelmates Traffic would later disparagingly allude to Mott's flash and bluster in their album title The Low Spark of High Heeled Boys.
But subtlety was the last thing Stevens was searching for here, which is good because he would have been more than disappointed. Instead, he opted for huge Viking emotions and Neanderthal gestures. Side two begins with the sentimental and monumentally real seven-minute last-waltz of "I Can Feel". I say 'real' because it is both dopey and refreshing at the same time. The most mawkish female singers this side of Joe Cocker's "With a Little Help From my Friends" coo and placate Hunter as he stands knee deep in pain and self-pity. Huge descending piano and organ chords swoop gratuitously as lumpen melody bass and ernie-ernie guitars squeeze out huge obvious solos from their wrung-necks. Only opera dares to be more brutal than Mott the Hoople when describing sad emotions.
Then it's off to the rodeo for "Threads of Iron" with its C&W rhythm and good time melody and cliched lyrics, until Mick Ralphs reminds us all that 'You are what you are' and the whole group bludgeon some poor old blues riff until it becomes subsumed into their standard two-chord thrash out, and we're off again into pounding and huge Albert Hall-sized Jerry Lee Lewis piano and that fucking merciless punk rock bass that wants to be a lead guitar played on telegraph wires. Of course, the whole thing disintegrates into utter painful chaos. Crash, bash, wallop. Oh, and then some more wallop.
Then we're down and down and downer still ? to the very last song on the album. Legend has it that Guy Stevens switched the tape on for "When My Mind's Gone" without letting Ian Hunter write lyrics, telling him that whatever he sung would be the last track on the LP, so he'd better make it good. Stevens told the press that he'd hypnotised Hunter and sat at the other end of the piano staring the song into Hunter's eyes. If it's the truth, then Ian Hunter was a human sponge for emotion and instant song-writing. If, as Hunter later claimed, he was touching cloth and made it all up at the drop of a hat, then he's still a genius. Whatever, for "When My Mind's Gone", the standard three chords got wheeled out by Hunter, who proceeded to hammer his muse for all it was worth.
"What once was true is now untrue ? what once was clean is now unclean ? what once was safe is now ? unsafe." Does it cut it, damn right it does. It is magnificent and tragic and funny and the best thing on the LP. Only Verden Allen dares play along with any confidence, while the rest of the band hesitate and splutter in the background for the whole six and a half minutes. And Mott prove themselves with their one great album; an album so flawed that it makes the Faces look tight and cover versions of Vanilla Fudge seem subtle.
Mad Shadows takes its name from a poem by Baudelaire, which Guy Stevens reproduced on the back of the gatefold sleeve. It includes such lines as: "Descend the way that leads to hell infernal, Plunge in a deep gulf where crime's inevitable." So we must presume from this evidence that, if Ian Hunter was really Pinocchio to Guy Stevens' Gepetto at this time, Mad Shadows is a brilliantly unhinged example of an albeit briefly, but nevertheless perfectly balanced rock'n'roll symbiosis.

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Mott - 1975 - Drive On
By Tonight (3:46)
Monte Carlo (4:42)
She Does It (3:29)
I'll Tell You Something (4:26)
Stiff Upper Lip (4:39)
Love Now (2:50)
Apologies (0:50)
The Great White Wail (5:11)
Here We Are (5:30)
It Takes One To Know One (4:32)
I Can Show You How It Is (2:52)
Running time: 42m 53s
Comments
This, the first Mott album after Ian Hunter's departure, is a difficult one. Mott had had to find a replacement guitarist (again!) and, more importantly, a replacement vocalist/front-man. After listening to some 150 hopefuls, they chose the then-unknown Nigel Benjamin.
This is, in many ways then, a new band. If I reviewed it in this light, then I would give it a very positive thumbs-up. However, Mott with Hunter had recorded some seven studio albums (plus a killer live album). On that basis, this album is somewhat lacking.
Ian Hunter had, along with Mick Ralphs, written most of Mott's songs. With both now gone the song-writing duties were taken on by Overend. He does his best, but the remaining Motts weren't (yet) contributing, and the songs lack Hunter's incisive perception and style.
Oh, this album certainly has its moments. By Tonight is a tight opener and Monte Carlo (the first single) rocks. But there is too much filler, and Love Now is just peurile male hen-rock at its most basic. Latter-day Mott The Hoople were recording five-star smashes, but this one rates no more than a three.

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Mott - 1976 - Shouting And Pointing
Shouting And Pointing (4:34)
Collision Course (3:25)
Storm (5:31)
Career (No Such Thing As Rock 'n' Roll) (5:26)
Hold On, You're Crazy (4:31)
See You Again (4:22)
Too Short Arms (I Don't Care) (4:00)
Broadside Outcasts (3:18)
Good Times (3:57)
Running time: 39m 10s
Comments
Mott's second album, recorded in the Spring of 1976. With all the band members contributing to the song-writing, the result is an altogether stronger album than its predecessor. Ray Major's guitar is kept back in the mix, with prominence going to Morgan Fisher's keyboards. I understand there may have been technical problems during the mixing of this album, added to which producer Eddie Kramer was approaching fatherhood, so his heart probably wasn't 100% in the project.

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Mott The Hoople - Too Bad Felt Forum NY 3 Aug 1973
Sleeve and track listing
Rock 'n' Roll Circus #8.
Introduction
Drivin' Sister
Sucker
Sweet Jane
Hymn For The Dudes
Ready For Love
All The Way From Memphis
Rose
All The Young Dudes
Jerkin' Crocus/One Of The Boys
Rock 'n' Roll Queen
Angeline
Comments
Mott embarked on their 1973 tour of the USA not knowing whether Mick Ralphs was leaving or not. Very few recordings exist of this stage of their tour; several survive of the second half of the tour (with Bender). However, this recording of Mott at the Felt Forum is a real gem.
Yeah, its an audience recording, but some tidying up has been done, as the result is cleaner than this reviewer's tape copy. The band sound close, and audience noise rarely intrudes. There's some muddiness, which is typical of audience recordings of the time, but that doesn't really detract from what is actually a quite enjoyable performance.
If Mick was on the point of leaving he shows no sign of it here, turning in a solid performance. Like on Sweet Jane which sports a fabulous new intro, and Ready For Love where he turns in a fabulous solo. All The Way From Memphis is buisnesslike, while Rose is beautiful, allowing the band a breather before Dudes and the Jerkin' Crocus medley. The band finish with a storming version of Angeline (the encore track), demonstrating just how much Ralphs contributed to Mott's sound. It's a shame that just two weeks later he decided he'd rather join Bad Company after all.
As always with the Rock 'n' Roll Circus series, you get informative track-by-track details. This isn't the best-sounding MTH CD around, but it certainly isn't the worst. If you're interested in hearing one of the last performances Mick Ralphs gave with MTH, then consider tracking this one down - you won't be disappointed.

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