Mott the Hoople - Old Records Never Die reviews
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| Rollingstones |
 The irony of singer-songwriter Ian Hunter's career began when his band Mott the Hoople scored their most enduring hit with a 1972 glam anthem penned by a generous outsider — David Bowie's "All the Young Dudes." Leaving the group two years later, this English rocker eventually achieved American success as Yanks faithfully covered his solo catalog: Great White with "Once Bitten Twice Shy," Barry Manilow with "Ships" and the Presidents of the United States with the Drew Carey Show theme song, "Cleveland Rocks." Yet Hunter's far more dramatic renditions of his own richly idiosyncratic material remain impenetrable for U.S. masses. He's a Dylan who never got his "Like a Rolling Stone."...full text |
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| Allmusic |
| After all these years, Mott the Hoople and their iconoclastic frontman, Ian Hunter, may not have gotten the true box set they deserve, but finally there is a cross-licensed double-disc anthology courtesy of Shout Factory. These two discs contain 32 cuts referencing Mott from the hardscrabble Atlantic years through their Columbia Records heyday and into Ian Hunter's critically celebrated solo career (he did score a hit album with 1979's You're Never Alone with a Schizophrenic), which was immortalized by the hit "Cleveland Rocks," a version of which became the theme song for The Drew Carey Show. The first disc is completely devoted to Mott, showcasing one tune each from their Atlantic albums (including "Death May Be Your Santa Claus," Rock and Roll Queen," and "Walking with a Mountain"). The set then dives headlong into the glorious Columbia albums and virtually every song you'd ever want is here -- "All the Young Dudes," "Sweet Jane," Roll Away the Stone," "Honaloochie Boogie," "All the Way from Memphis," etc. -- with the exception of two: missing are the sultry original Mott version of the Bad Company hit (writer Mick Ralphs was in both bands) "Ready for Love" and the poignant lament "I Wish I Was Your Mother." These are tough omissions, but you won't notice when listening. Disc two is devoted to Ian Hunter's solo material, again across label lines, so Columbia as well as Chrysalis tracks are here -- including a cut each from the never issued in the United States LPs All American Alien Boy and Overnight Angels, all the way through to his Yep Roc debut, 2007's Shrunken Heads. Sure, there are a few cuts that might have made the grade but that's quibbling, since all of what's here does deserve to be. This is an excellent collection with great sound and good historical notes, and is sold for a dynamite price point....full text |
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| Musictap |
I don’t know about you but Mott the Hoople has always come across to me as the band that was clearly fighting for a piece of fame that they earned on their own. They didn’t seem to follow the same formulas and routines that surrounded many bands trying to get a grip on the Rock n Roll mountain. Their songs were different, they were different. A look at the band at any period would indicate to you a splinter group of Rock and Rollers. Even Ian Hunter recognized this in his roll call heard on “Ballad of Mott the Hoople (March 26, 1972 – Zurich)” from the magnanimous Mott album from 1973. In that same song, not only does he name each member and their place in the band, he calls the whole business “…a loser’s game” and he feels that they have “…somehow let you down.”
You can closely match the lyrics of “Ballad of Mott the Hoople” to the biography of the band, especially if you know a bit of their history. As a band, they have covered a lot of ground, settling down to finally record what really set them apart from the average band, and just two albums before their official demise with Ian Hunter’s departure. Founding guitarist, Mick Ralphs left after Mott to form Bad Company. The remaining members carried on for a bit after the departure of Ian Hunter as Mott, dropping the The Hoople moniker to keep familiarity but to reboot the band’s style. Mott the Hoople is a band of importance to the history of Rock and Roll, more than many people realize. But mainstream acceptance always eluded them save for their one hit they’re best known for, the Bowie-penned and produced “All the Young Dudes.” That song gave them the hit that saved their career....full text |
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