Customer Reviews

The Hoople

5 star:		(7)
4 star:		(6)
3 star:		(2)
2 star:		(0)
1 star:		(0)

 

 

"The Hoople" caught "Mott the Hoople" at the peak of their creative studio powers and is simply stunning in its songwriting, structure, musicianship, and most importantly, capturing the spirit of the times.

"The Hoople" was released in March 1974 and was certified gold in both Britain and the United States of America before its release.

All the songs were composed by Ian Hunter apart from one track "Born Late 58", where Overend Watts made his writing debut.

The album is topped and tailed by the two hit singles, opening track "The Golden Age Of Rock `n' Roll" with its pseudo Alan Freed introduction with Ariel Bender's manic guitar solo in the middle, giving the album a rousing beginning; and then closing with the Mott anthem "Roll Away The Stone".

Although there are many wonderful tracks in between it's the second song up that this review is going to concentrate on. Surely Mott the Hoople's best and most influential track, "Marionette", going straight for the jugular and the cornerstone of the album.

"Marionette" was a frantic operetta and a production masterpiece. It's about the business side of rock and the manner it could affect musicians manipulated by management. The song was a nightmarish mini opera of five minutes duration, a concept that would shortly be used by Queen for their multi-million-selling single "Bohemian Rhapsody". Ian Hunter said of his freshly penned ditty at the time "It's something I've always wanted to do as a songwriter, and that is to do a five minute opera, a hook all the time. I think we got it with Marionette. With this song one thing hits you, then another thing hits you straight away. You never get time to be distracted".

The song featured the boys in the band plus Andy Mackay and Howie Casey on saxophones; Mike Hurwitz on cello; Graham Preskitt of demonic violin, Hunter; Bender and Watts contributed "Voix grotesques a la Quasimodo" backing vocals; and Ariel Bender was responsible for the insane cackles of laughter in the middle.

Once heard this song is never forgotten, especially, I'm sure, by some of the record industry moguls it refers to. When played live the wicked gleam of venom in Hunter's eyes could be seen through his shades at the back of the hall.

The closing lines, as Hunter collapsed over his keyboards with guitarist Ariel Bender standing over him taunting as if cutting the strings, were very prophetic as three months later Ian Hunter had a physical and nervous breakdown and Mott the Hoople were no more.
"O.K., the show's been fun
But my wood's begun to warp
They won - I'm done
New one - begun
I did my best
It just couldn't last
Get me out of this mess
It all happened so fast
Now I need a rest
Where's my sanity - Mother?
I did my best
I'm just like all the rest.

They gambled with my life
And now I've lost my will to fight
Oh God, these wires are tight...
I'm just a marionette".
A fantastic track far more influential than anybody dared think at the time.

But "Marionette" is only one of many great tracks on "The Hoople". "Alice" is a song about a 42nd street lady of the night, while "Crash Street Kidds" is Mott the Hoople at their rockin' best. "Born Late 58" gave an inclining of what Overend Watts was capable of. Pearl and Roy showed they had not forgotten their roots, whilst "Trudi's Song" was a quiet gentle love song to Ian Hunter's wife, who is now his business manager. They remain married today - 30 years later. Quite unique in the world of Rock `n' Roll.

"The Hoople" was Mott the Hoople's biggest selling album worldwide deservedly so.

Mott the Dog.

Being one of the few seventies bands with more `live' albums than studio, "Mott The Hoople" remains one of the harder-edged, rough sounding, four chord groups that survived despite itself. This album (their best selling) shows the variety and range that Mott is capable of. Starting off the set with "The Golden Age Of Rock & Roll", with a borrowed piano intro, Mott charts a course of pure rockin' fun. "Marionette" follows closely with an almost "Queen"-like rock opera tilt, with lines and ad-libs that are mockingly hilarious. "Through The Looking Glass" is a rare combination of crass vocals, smashing guitars and orchestration that defies explanation - it just sounds good. The slowest song on the album, "Trudi's Song" will disarm you with it sincerity and brilliant arrangement. "Roll Away The Stone" closes this set perfectly and should have charted higher, but the hooks are there and it remains one of Mott's classics. It's no wonder this is still their best selling album - this IS Mott The Hoople at their best.

While music critics the world over continue to slag poor ol' Ian Hunter, the fans can still rejoice in the glory that was "Mott the Hoople" This release is probably Mott's highlight. "Marionette" remains one of the great visionary song lyrics of all time. "Roll Away the Stone", "Through the Looking Glass" and of course "Pearl & Roy" are still Mott classics. This CD is a MUST for any serious music collector. Critics be damned, Long live Mott !

"Or is it just a couple of blocks away?"
Ian Hunter's lyrics are clever and sarcastic in this total Little Richard rave-up production. The sound quality is fantastic and Hunter's piano playing and vocals are super confident and thrilling. It's an exciting recording, at moments it teeters on the edge of self-parody, but I think that was Hunter's intention. My favorite cut is Alice. It tells the tale of a 42nd Street hooker who "climbs into a truck to make a buck" and ends up on the marquee of The Palace. With this last studio album, Mott the Hoople certainly left in a blaze of glory!

Explosive, down-home, and weird, The Hoople is a mighty fine choice of music. Because I'm drastically inclined to three of the songs ('The Golden Age of Rock 'n' Roll' 'Born Late '58' and 'Pearl 'n' Roy(England)' and it's not because I like apostrophes a lot), the album is imbalanced. But who cares when some of these songs sound as good as they do.

OnceBittenTwiceShy is the only Ian Hunter-involved song I've ever heard on the radio so finding out about Mott the Hoople in the early stages of the 21st centry wasn't the easiest of tasks, granted they've had some national coverage.

When I saw Alice Doesn't Live Here Anymore a few years ago I remember thinking how cool and fittingly used the opening rock number was in that movie when the station wagon is rolling down the highway. How delighted I was, then, upon discovering Mott the Hoople, to come across that song in their catalogue (in case you don't know, it's on their other most frankly titled disk, 'Mott.')

But if you're looking to whoop it up to a frenzying degree of fun in your rock n' roll selections, listen to the opening song again and again and you'll be glad you did.

This album was the follow up to the classic Mott album and whilst not quite scaling the heights of it's predecessor is still an excellent artifact of the glam rock era.

Ref Robert Dumas's review below - the reference to "96 decibel freaks" in The Golden Age of Rock N'Roll is not a tribute to Mott's fans. Ian Hunter was actually having a knock at UK local government who at the time were making waves about sound volumes at rock concerts and were talking about imposing a limit of 96 decibels. Hence the other references in the song to "Don't wanna fight but if you turn us down, we'll turn you around, don't mess with the sound".

Any half decent rock collection should have some Mott The Hoople in it so if you don't own any Mott do yourself a favour and buy some !!

Mott the Hoople's "The Hoople" was the 1974 follow-up to the band's all-time classic, 1973's "Mott." Still, "The Hoople" is a classic in its own right, but had unfortunate timing in being release in the wake of such ground-breaking album as "Mott."

Without Mick Ralphs (guitar) and Verden Allen (keyboards) in the band, Ian Hunter (vocals, piano, guitar) is firmly at the helm (a role perhaps a bit too taxing for him in light of his subsequent nervous breakdown and breakup of the band).

However, Hunter was in the midst of a creative epiphany during this period and his songwriting (packed full of wry, cynical observations) was unimpeachable.

"The Hoople" kicks of track 1 with "The Golden Age of Rock 'n' Roll," -- a great piano rocker in the vein of "All the Way to Memphis" that pays tribute to Mott's crazed fans ("You 96 decibel freaks!"). It's an anthem in every sense of the word and you'll want to sing out loud with one fist pumping in the air.

"Marionette," is probably Mott the Hoople's most innovative and daring piece of work -- a mini rock opera if you will -- and packed full of special effects and time signature changes. It has layers of sounds and yet the labor-intensive production doesn't hinder the song. Like Queen's "Bohemian Rhapsody," this song is supposed to be over-the-top... and it does so with a gleeful wink. Just a very cool tune.

"Crash Street Kids," is quintessential Mott the Hoople, as Hunter sings once again of life on London's mean streets. This song features Ariel Bender's (Mick Ralphs' replacement, who, as the liner notes point out, appeared to be in Bad Company!)end-of-the-world guitar licks that seem to be chaotic and yet somehow find a fuzzy groove.

Other standouts include "Alice" with Overend Watt's funky bass signature leading the way, and the joyful pop hommage to Saturday night partying: "Roll Away the Stone."

It's not a perfect album (though I must say, it's predecessor flirted with perfection). For example, the acoustic ballad "Trudi's Song," is a bit maudlin and, worse, uninteresting. And "Through the Looking Glass" seems to meander aimlessly never escaping its flaccid tempo.

Still, Mott the Hoople on a bad day was better than most bands on their best. It was a true travelling rock 'n' roll circus. There never was or has been anyone like them -- combining the glitz and showmanship of glitter rock with the sonic assault of punk rock and the lyrical integrity and wordsmanship of songwriters like Dylan and Joni Mitchell.

"The Hoople" is the last true shining example of the brillence of Ian Hunter and his bandmates. (Hunter went on to have a reasonably succesful solo career where he continues to write powerful songs.)

The incredible thing is, much of Mott the Hoople's music (including this album) still holds up very well today. If you like off-beat singers, Ian Hunter's Dylan meets Bowie cockney growl could be right up your alley.

There was a lot more to Mott the Hoople than "All the Young Dudes," (which they didn't even write!) and albums such as "The Hoople" certainly prove it.

OK, you could say this is a notch below "Mott." Still, that is high praise indeed, as "Mott" is one of the greatest rock'n'roll albums ever. With "The Hoople," we get more of the same, but on a slightly different wavelength. With the departure of Mick Ralphs, the guitar situation was somewhat confused, leaving more room for Ian Hunter's keyboards in the mix. That isn't to say that "The Hoople" doesn't rock - it does, and like a madman. "The Golden Age of Rock'n'Roll," "Born Late '58" (with Overend Watts on vocals), and "Crash Street Kidds" are first rate proto-punk rockers with Hunter's pounding piano adding to the wonderful noise. "Roll Away the Stone" simply soars, and the psychodrama of "Marionette" is funny and frightening. Two highlights are "Alice" and "Pearl'n'Roy (England)" - loping music hall numbers driven by Hunter's pseudo-barrelhouse piano and gutter poetry. Yeah, this may be a notch below "Mott," but that just means that "Mott" rates a 10 and "The Hoople" is a 9.9 - still sheer brilliance in my book.

OK, you could say this is a notch below "Mott." Still, that is high praise indeed, as "Mott" is one of the greatest rock'n'roll albums ever. With "The Hoople," we get more of the same, but on a slightly different wavelength. With the departure of Mick Ralphs, the guitar situation was somewhat confused, leaving more room for Ian Hunter's keyboards in the mix. That isn't to say that "The Hoople" doesn't rock - it does, and like a madman. "The Golden Age of Rock'n'Roll," "Born Late '58" (with Overend Watts on vocals), and "Crash Street Kidds" are first rate proto-punk rockers with Hunter's pounding piano adding to the wonderful noise. "Roll Away the Stone" simply soars, and the psychodrama of "Marionette" is funny and frightening. Two highlights are "Alice" and "Pearl'n'Roy (England)" - loping music hall numbers driven by Hunter's pseudo-barrelhouse piano and gutter poetry. Yeah, this may be a notch below "Mott," but that just means that "Mott" rates a 10 and "The Hoople" is a 9.9 - still sheer brilliance in my book.

Mott the Hoople's "The Hoople" was the 1974 follow-up to the band's all-time classic, 1973's "Mott." "The Hoople" is a classic in its own right, but had unfortunate timing in being release in the wake of such ground-breaking album as "Mott."

Without Mick Ralphs (guitar) and Vernon Allen (keyboards) in the band, Ian Hunter (vocals, piano, guitar) is firmly at the helm (a role perhaps a bit too taxing for him in light of his subsequent nervous breakdown and breakup of the band).

However, Hunter was in the midst of a creative epiphany during this period and his songwriting (packed full of wry, cynical observations) was unimpeachable.

"The Hoople" kicks of track 1 with "The Golden Age of Rock 'n' Roll," -- a great piano rocker in the vein of "All the Way to Memphis" that pays tribute to Mott's crazed fans ("You 96 decibel freaks!"). It's an anthem in every sense of the word and you'll want to sing out loud with one fist pumping in the air.

"Marionette," is probably Mott the Hoople's most innovative and daring piece of work -- a mini rock opera if you will -- and packed full of special effects and time signature changes. It has layers of sounds and yet the labor-intensive production doesn't hinder the song. Like Queen's "Bohemian Rhapsody," this song is supposed to be over-the-top... and it does so with a gleeful wink. Just a very cool tune.

"Crash Street Kids," is quintessential Mott the Hoople, as Hunter sings once again of life on London's mean streets. This song features Ariel Bender's (Mick Ralphs' replacement, who, as the liner notes point out, appeared to be in Bad Company!)end-of-world guitar licks that seem to be chaotic and yet somehow find a fuzzy groove.

Other standouts include "Alice" with Overend Watt's funky bass signature leading the way, and the joyful pop hommage to Saturday night partying: "Roll Away the Stone."

It's not a perfect album (though I must say, it's predecessor flirted with perfection). For example, the acoustic ballad "Trudi's Song," is a bit maudlin and, worse, uninteresting. And "Through the Looking Glass" seems to meander aimlessly never escaping its flaccid tempo.

Still, Mott the Hoople on a bad day was better than most bands on their best. It was a true travelling rock 'n' roll circus. There was and has never been anyone like them -- combining the glitz and showmanship of glitter rock with the sonic assault of punk rock and the lyrical integrity and wordsmanship of songwriters like Dylan and Joni Mitchell.

"The Hoople" is the last true shining example of the brillence of Ian Hunter and his bandmates. (Hunter went on to have a reasonably succesful solo career where he continues to right insightfully powerful songs.)

And the incredible thing is, much of Mott the Hoople's music (including this album) still holds up very well today. If you like rock music that puts an emphasis on songwriting and arranging -- Hoople could be it. If you like off-beat singers, Ian Hunter's Dylan meets Bowie cockney growl could be right up your alley.

There was a lot more to Mott the Hoople than "All the Young Dudes," (which they didn't even write!) and albums such as "The Hoople" certainly prove it.