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‘All the Young Dudes’: The Ballad of Mott the Hoople

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Producer-cum-manager Guy Stevens brought the disparate members of Mott the Hoople together and gave them their iconic name. The name was taken from a pulp novel by Willard Manus which Stevens had read while in prison. It gave the band a certain outlaw image—a bit like Alex and his droogs in A Clockwork Orange. Stevens hoped Mott the Hoople would produce “a new kind of rock ‘n’ roll”—the bastard child of Bob Dylan and The Rolling Stones. The band was finalized when Stevens replaced original lead singer Stan Tippins with songwriter/session musician Ian Hunter.

They may have looked like the heshers from your high school woodwork class (or “hod carriers in drag” as Queen’s Roger Taylor once famously quipped), but their seeming ordinariness belied the fact this was no ordinary band. Indeed, it was soon apparent there was no one to equal Mott the Hoople live or as pioneers in progressing the rock ‘n’ roll art form. Hoople inspired an army of fans, many of whom went on to form their own bands or write/work in the music industry. For example, Mick Jones of The Clash, a band Stevens later produced. But their success onstage was never equaled in record sales. Added to which, they were highly eclectic as a band—guitarist Mick Ralphs was more aligned to blues and rock, while Hunter wrote in response to Steven’s often chaotic and contradictory demands. This meant their first three albums were very, very different to each other. One rock, one dark soul-searching songs and one folk rock—all of which seemed slightly at odds to the exuberance of their stage shows. However a brilliant fourth album Brain Capers (1971) focused the group into a new direction and won them a very important fan—David Bowie—who was to bring them a much needed hit.
 
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After a dispiriting gig at a converted gas station in Switzerland, where the audience just sat and gaped, Mott decided to call it a day. Returning to England, bassist Peter Overend Watts auditioned for Bowie’s band. Bowie hearing his favorite band had split offered Mott a song. His first suggestion was “Suffragette City” which was knocked back. Then “All the Young Dudes.” Ian Hunter later claimed this was the one song that made the hairs rise on the back of his neck. A song that perfectly captured what it was like to be young in the summer of 1972. Everyone knew it was going to be a hit.

World tours, hit singles and three classic albums followed, but Hoople’s success was all too short as keyboard player Verden Allen quit, then guitarist Ralphs left to form Bad Company, and eventually Hunter himself found the pressure waaaaaaaay too much and left.

Mott the Hoople became just “Mott” with Watts and drummer Dale “Buffin” Griffin being the only remaining original members—but they never had the same success. The creative magic Guy Stevens had seen in Mott’s original members was now sadly gone. A shame for they should have kept playing together for a year or two or more. But tastes change, fans grow up, and the ride still goes on somewhere else.

With contributions from virtually all of the key players, The Ballad of Mott the Hoople tells the story of one the seventies best and most loved bands from their formation to their untimely demise.
 

Posted by Paul Gallagher
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10.12.2015
02:00 pm
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The night Mott the Hoople’s Ian Hunter sneaked into Elvis Presley’s home
04.07.2014
07:50 am
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Mottt the Hoople’s Ian Hunter wrote one of the best ever books written about life on the road. It was called Diary of a Rock ‘n’ Roll Star, and in it Hunter told the story of Mott’s American tour in November and December, 1972.

Mott the Hoople was one of the greatest (and sadly under-rated) bands of the 1970s, who were saved from disbanding in 1971 by David Bowie (a fan) gifting them “All the Young Dudes” to record.

During thier five week American tour, Hunter kept a diary detailing the adventures, the tedium, the groupies, the second-hand guitar shops, the performances and meetings with David Bowie, Frank Zappa and Keith Moon. It’s an enjoyable read, more so because of Hunter’s enthusiasm, and child-like wonder at the novelty of life in the States.

One night, towards the end of the tour, after the band had played Memphis, Hunter (a little worse for wear) decided he wanted to visit Elvis Presley (as you do), and begged his driver Ike to take him to “the legendary Gracelands, home of the king himself”.

“We get out at the gate (the one with the notes) and survey total unreality in the cool Memphis night air. One of his many cousins comes out and we ask boldly if we can drive up the little road to his place, but the guy’s not having any. Elvis is in. He’s been here two or three days, and he’s just got back from the pictures an hour and a half ago so they won’t let anybody near the place. The best he can do is open the gate so we can get a clear view and he gives us a picture postcard. In my drunken state I decide this ain’t enough.”

The driver distracted the guard’s attention, and Hunter was pushed up onto a small sidewalk, where he casually made his way to Elvis’s front door.

“...I’m expecting any minute to be pulled back. Miraculously, the guards didn’t notice, and I was wearing an afghan, so they must have been bloody blind and I just went on.”

It was just before Christmas and Prelsey’s lawn had an illuminated nativity scene.

Blue bulbs outlined the driveway, and outside the front of the house were red, yellow, blue, green Christmas trees either side of the main door. It’s not really a huge house, in fact quite modest for the size of the grounds. There seem to be columns by the front door and two huge flashy chrome cars stood outside.

Hunter moved towards the back of the house, where there were more cars, and he heard dogs barking, “but you know what it’s like when you’re pissed.”

I walk across under the patio and there’s the back door. I turn the knob and it opens. Fuckin’ hell! Am I dreaming? I’m in the dude’s house; he’s somewhere within 50 feet of me now, but I daren’t go further. Inside the door there’s two more doors - one on the right looks like a sports room, but I’m a bit too far gone to tell properly, and the one on the left looks more like where he’d be - plush carpeting, a short hall and what looks like a staircase. I’ll never know if these doors opened or not because I didn’t try them. Instead, I knocked loudly. No answer. I knocked again and a black lady, very nicely dressed, peered at me through the window. I’ve since found out that it was probably Alberta, Presley’s maid.

‘I’ve come four-and-a-half thousand miles to see Elvis Presley - is it possible to see him?’
‘I’m sorry, Mr. Presley’s tired and he ain’t seeing anybody.’
‘Are you sure I can’t see him?’
‘Yes, I’m definitely sure.’
‘Well I’m sorry for the inconvenience, and I’ll go back to the gate. Don’t worry, I’m knocked out to have gotten this far. Thanks anyway.’
‘You’re welcome. Good night.’

I felt elated. I didn’t really want to meet the guy - he’d have only gotten angry at me staggering in in the middle of the night and invading his privacy. I felt like a 14-year-old groupie - but I’d done it for the buzz, and it had been great! To tell the truth, I’d get a bigger buzz out of Jerry Lee Lewis, but there I’d been, in the king’s house, and fooled the entire army. Actually I hadn’t fooled them that well because as I wandered round the front a wagon was waiting.”

 

 
Mott the Hoople reformed in 2009 and 2013 for a series of concerts, and the brilliant Ian Hunter continues to perform and produce records of the highest quality (most recently the superb When I’m President), and has a series of tours with the Rant Band in the US and Europe organized for later this year, and if you have the opportunity, I recommend you catch him, details here.
 

The BBC’s Ballad of Mott doc.

Posted by Paul Gallagher
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04.07.2014
07:50 am
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