Shouting & Pointing [Import]

Mott the Hoople | Format: Audio CD

Product Details

• Audio CD (May 9, 2000)
• Number of Discs: 1
• Format: Import
• Label: Sbme Import
• ASIN: B000007WE5
• In-Print Editions: Audio CD  |  MP3 Download
• Average Customer Review: 3.8 out of 5 stars  See all reviews (12 customer reviews)
• Amazon Best Sellers Rank: #826,662 in Music (See Top 100 in Music)

Track Listings

1. Shouting and Pointing

2. Collision Course

3. Storm

4. Career (No Such Thing as Rock 'n' Roll)

5. Hold on, You're Crazy

6. See You Again

7. To Short Arms (I Don't Care)

8. Broadside Outcasts

9. Good Times

Editorial Reviews

1998 reissue of 1976 album by the reformed Mott The Hoople. This was the second & final album they did under the abridged moniker, and with Nigel Benjamin & Ray Major replacing Ian Hunter. Contains nine tracks, including the title cut and 'Collision Course'. Both the original & this release are from Columbia Records.

Customer Reviews

Most Helpful Customer Reviews

13 of 14 people found the following review helpful:

5.0 out of 5 stars Shouting and Motting, September 14, 2004

By 

Kim Fletcher (Pattaya, Chonburi Thailand) - See all my reviews
(REAL NAME)   

This review is from: Shouting & Pointing (Audio CD)

After a successful nationwide tour of the British Isles, the boys from Mott spread their wings and journeyed over the Atlantic Ocean to try their luck with their American brothers, who had always given them such a fine welcome in their days when they had Hoople tagged onto their name. As expected, musical conquest was almost instant; although it was a little disappointing that their American agents did not have the confidence to put them into bigger concert halls rather than the small clubs they were asked to play. However, with increased sales of their debut album 'Drive On' they were soon moved up the pecking order by the record company and put on bigger and more prestigious gigs, supporting the likes of Kiss, Aerosmith, and Canadian prog rockers Rush.

Things were on the up and up, and if anybody deserved it, this bunch of eccentric British musicians deserved every slice of luck that was coming their way, as they had certainly paid their rock 'n' roll dues over the years.

So when Christmas and New Year 1975 loomed, it was decided to return home to Blighty for the festive season for rest and recreation, re-uniting with loved ones, and hopefully a bit of industrious writing to record the next album in January. So far so good. This time the onus was not solely on Overend Watts to write all the songs as various ideas had been worked by various members of the band whilst out on the road. Add to this the necessary recording and road time that had been spent to let the new guys, Ray Major on lead guitar and Nigel (the Dome) Benjamin, to feel like part of the band, and not like the `new guys'. So it was with great optimism that they returned to recording in February 1976, after further rehearsals. The prestigious Manor Studios in Oxford was booked and the great Eddie Kramer was moved in to do the major part of the production work.

This time the band knew what they were going to record before they went into the studios. So when 'Shouting and Pointing' was released in June that year, it was an absolute corker. Even the artwork for the cover was of the highest standard with the Band in full stage regalia, emerging from a futuristic rubbish dump - naturally `shouting and pointing'.

The album was split into the two sides of the vinyl, side one 'Shouting' and side two 'Pointing.' The opening title track is an all time classic rallying call for futuristic Hot Motts, very similar in feel to the Who's 'Won't Get Fooled Again'. Only with Benjamin's high pitch wail beseeching you to listen, while Morgan Fisher frantically pounds the piano as if his very soul depends upon it. A gut ripping solo from Ray Major hammers Mott's intention to the mast. Of course, after all these years the rhythm section of Watts and Dale is never going to let you down. The whole album is a real party album with each new track breaking out from the speakers. All of them could be ripped up and roared out live in concert. Mott even closed the album with the stage favorite, the old easy beats number 'Good Times' (after being deluged by request from fans for a recorded version).

All this is witnessed by Angel Air's posthumously released 'Mott, Live - Over Here And Over There, 75/76.' The only ballad on the album is a Benjamin/Fisher penned number entitled 'Career (No Such Thing As Rock 'n' Roll)', a song about the dangers of the business side of the music business. This, coupled with the fact that Overend Watts decided to take lead vocals on his own song 'Hold On Your Crazy', was all rather prophetic.

Although another U.K. tour followed by another visit to the States, they were moderately successful. The band felt that they were not making any further head way. The reasons for this was firmly put at the feet of the record company and the Dome, who was perhaps getting a little delusional in his own role in the band, wishing to take them off into some form of Progressive Rock Story telling band venture, when the rest of them just wanted to get out and rock. The record company smelling a rat, backed off dramatically financially. In December it was announced that Nigel Benjamin had left Mott. A couple of new vocalists were tested, but without much enthusiasm. Mott was put to rest before the end of the year.

A great shame to a band that had huge potential. Mind you, the arrival of Punk Rock didn't help. but it took more than that to put these British lions down. Within six months all remaining four of the Mott's had regrouped around John Fiddler, ex Medicine Head, to have another reach for the stars. However, that's another story, for another day. Get out there and do some `Shouting and Pointing'.

Smeared by Mott he Dog

Rectified by Ella Crew

7 of 7 people found the following review helpful:

5.0 out of 5 stars Very cool album, December 19, 2003

By A Customer

Amazon Verified Purchase

This review is from: Shouting & Pointing (Audio CD)

This is a classic rock album if there ever was one. This should be celebrated and played on stereos and radios everywhere.

The title track switches from a sort-of progressive rock sound to almost heavy metal, and sounds great loud! Collision Course is perhaps the best song on the disc; kind of a fun boogie rock song with some great piano. Storm also continues the boogie with some heavy elements. The song builds up nicely. No Such Thing as Rock and Roll is a quieter song featuring piano. Hold On, Your Crazy features bassist Overend Watts on vocals and rhythm guitar. See You Again is a little quieter, but it is still cool. Too Short Arms is another fun rock song with some great Mott humor thrown in. Broadside Outcasts is probably the only weak song on the album, but it's not too bad. Good Times is an uptempo rock song sure to wake anyone up.

The great thing about this album is that it is uncompromised rock n' roll. This was definitely pre-MTV, before rock music began it's big descent into the dumpster. This album is also fun too. The guys don't take themselves too seriously. The album cover is great. I've got my copy of the album (on record) framed.

Buy this album, it if it's hard to get.

5 of 5 people found the following review helpful:

4.0 out of 5 stars Different, yet the same, November 11, 2001

By A Customer

This review is from: Shouting & Pointing (Audio CD)

The two post-Hunter albums, Drive On and Shouting, have always taken a fair amount of abuse from fans and critics alike. I can't speak directly to Drive on, as I've never heard it, but Shouting And Pointing has always been one of my favorite Mott/MTH albums. It's virtually impossible to guess whether someone will like a certain album or not, so I certainly won't try, however, I may be able to offer a few objective tips to help you decide. When a frontman/songwriter as powerful as Ian Hunter leaves a band, it's not unusual for said singer to take much of the band's signature sound with him. Did that happen here? Well, yes and no. Hunters unusual voice is surely missing here, who else sounds like that? However, the new vocalist very-much fits the new, more hard-rocking vibe of the album very well, and most importantly, he sounds very english, which for a Mott album is a requirement. Picture a hybrid of Steve Marriott and Paul Rogers. The old Mott "Monty Python meets stadium rock" quirkiness remains in full force. I've heard the album described as generic sounding. It isn't. What it is, is more of a hard rock album. If you were a fan of Motts more power-chord driven side, then I think you are very likely to like this album. The title track, Hold On (you're crazy) and the stomping closer Good Time, are more energetic than anything they had done before, almost 70's heavy metal, yet with a very eccentric edge. I heard this album when I was a 17 yr-old UFO and Black Sabbath fan, so naturally I thought this was a great thing. There are a few weak tracks, but I always thought most Mott albums had a few weak tracks. The Maggie-May-ish "See you again" is a neat, catchy semi-ballad that I could imagine Ian writing. I can easily imagine a Mott fan not ranking this as one of their best, but at the budget price, I find it equally hard to imagine not finding enough to like to merit the price.