Search - Ian Hunter :: Truth the Whole Truth & Nuthin But the Truth

Ian Hunter, aged to perfection

Mike | San Jose, CA | 11/20/2005

(5 out of 5 stars)

"I had some serious doubts about this one. Then I saw the DVD in a store and noticed that Mick Ralphs was in the band. That did it...the curiosity level was off the map. Turns out that Hunter is in fine form here, notably on the title track. On his first solo album, this was the showcase for an an extended Mick Ronson solo a la Jeff Beck. Here, Hunter doubles up on the attitude and Ralphs goes beserk with a distorted, spiraling solo...several in fact...not in an effort to copy Ronson at all, but to take a true classic Hunter psycho track and push it through the roof. In a similar vein, the duo also spank "Standing In My Light" with more bad attitude and aggressive playing. An essential addition to your Hunter collection. Quality sound and packaging too, for those who might be put off by the semi-known Snapper label. This is no bootleg, it's a legitimate, raw live album."

Shades Off?

Julian | ThinkingOfthe USA | 02/06/2006

(4 out of 5 stars)

"OK - so if a true fan is frequently the worst critic, - mea culpa:-



'Allo, 'Allo, 'Allo,'Allo, 'Allo!



Most Rock Music vocalists are selected because of their range, power, sustain - or simply endurance to essentially scream in tune, - but Mr. Ian Hunter Patterson got his break with Hoople oh so many years ago, because his singing was flat, inflected and Dylanesque....which is what the band (& producer) wanted at the time. Turned out that Mr.'Unter is quite the talented tunesmith and songcrafter, and writes superb '3 minute operas' (his words i believe) - but in doing so often stretches his limited vocal range.

Hardly a problem in the studio, but a bit of a puzzler when live, -and Ian used to make use of 'back up' vocalising from an offstage Stan Tippins way back when, and also trade off singing duties with Mick Ralphs now and again during a set to conserve his vocal chords.

All that said, - this ambitious and definitive 2-CD Live Set does suffer just now and again from Ian's 'Pipes' being 'MIA' at crucial moments, which detracts a little from what is otherwise a totally stellar live performance.

With Mick Ralphs flexing his guitar muscles (first gig together since WHEN?) longtime classics like 'Rock & Roll Queen' and 'Once Bitten Twice Shy' get delivered in an authorative staccato blaze that makes you want to jump up and idiot dance like it's 19seventysomething all over again! The 'Brain Capers' era song 'The Journey' is transformed by Ian into a time machine medley of the personally emotive rock ballads he's penned over the years, and frankly this album is worth your hard earned dollars for that one song alone!

Ian's musicianship on his signature 'roland' electric piano is flawless thru'out the admittedly long set. However one wonders who made up the 'Rhythm Section' of his Band as they sound tight, disciplined and well rehearsed, - but no mention on CD cover that i could find as to whom it actually was playing..... Only reason i've included Mick Ralphs by name in this review is i recognise the dude from his photo onstage.

Plus the crowning 'encore' number of 'All the Way from Memphis' including Brian May (Queen) on twin lead guitar is a thing of beauty indeed. Sound quality exceptional, all cuts.

Lots to like,- tons of energy here, and one gets the sense that they're enjoying themselves tremendously as they tear thru' each number with practiced flair.

Just wish Ian had shared the mike with ol' Ralpher, - i would gladly trade 'Saturday Gigs' and 'Roll Away the Stone' for Ralph's 'Whiskey Women' and his spine-tingling version of 'Darkness Darkness' that Robert Plant tried (& failed) to emulate of late. Oh well, can't have everything,- all at once can i?

Bottom line, - if you enjoyed classic Mott the Hoople, or Ian Hunter as solo musician, or if you wonder what ever happened to Mick Ralphs since Bad Company - then i can reccomend this to you strongly, repeat strongly..... just turn the volume down on those few unfortunate occassions when Ian reaches for a note and doesn't quite make it......and then smile,be thankful for the gift of live music - and turn the volume waaay back up again!



"

The Mott ,The Mott And Nothing But The Mott

Kim Fletcher | Pattaya, Chonburi Thailand | 07/14/2006

(4 out of 5 stars)

"As Ian Hunter surges into the second half of his seventh decade, he leaves many of the young pretenders in his wake. His live shows still are full of energy, superb songs, great showmanship, and surprises. His story is one of the more vivid and real of all the rock 'n' roll stories. Many peaks and troughs, but never ever counted out.

After many years on the fringes of the rock scene, you would of thought as Ian Hunters own Twenties were coming to an end and the rest of the world was rapidly advancing to the seventies, that his chance of fame fortune etc had passed him by. In 1969 Ian Hunter had a past record as a rocker playing mainly as a bass guitarist with people like Freddie 'Fingers' Lee, touring Hamburg, but never really making an impression, and had been reduced to working as a Tin Pan Alley song writer, with only moderate success. But fate was waiting just around the corner.

A group of people including such firebrands as Chris Blackwell, David Betteridge, and Guy Stevens, had set up Island Records. Guy Stevens had just signed up and taken under his wing a band called 'Silence'. As ever Guy Stevens was full of enthusiasm, but knew there was a missing component in the band. So Stan Tippins who at the time was singing for the band was shuffled across to be road manager, and auditions were set up looking for a new focal point within the band. A friend persuaded Ian Hunter to try out, on a whim Hunter followed his friends advice and went down to the studio where the band were rehearsing. At thirty years old, extremely shy, rather fat, and with unfashionable short curly ginger hair, the prospects were not exactly good. When Ian Hunter arrived, Guy Stevens asked him what he could do, and Ian Hunter sat down at the piano and jammed his way through, 'Like a Rolling Stone' the old Bob Dylan standard, and then 'Laugh At Me' by Sonny Bono. Ian Hunter is not a natural singer, nor did he have the stage presence that now dominates his live performances. But Guy Stevens could see something, and somehow managed to persuade the other four of 'Silence ' to take the podgy guy hiding behind his shades into the band. A name change for the band was deemed necessary and Guy Stevens came up with 'Mott The Hoople' from the title of the Willard Manus novel. The band then went into the studio, coming out with their self titled debut album, half of covers and half band compositions. The singing was shared by lead guitarist Mick Ralphs, and Ian Hunter perched behind his piano, the rest of Mott The Hoople were made up of Dale 'Buffin' Griffin on Drums, Overend Watts on Bass, and Verden Allen on Keyboards.

After three years, and four albums, Mott The Hoople could fill almost any concert hall in the world, had toured the States almost every six months, but could not sell an album, and after a bad gig in Switzerland they decided to call it a day. A great live band, but the albums were weak, not always the bands fault as production often let them down massacring great songs like 'Sweet Angeline' from Brain Capers (1971) making them sound weak, when they could turn them into raging missiles in the live arena.

Once home Overend Watts rang up David Bowie, who at the time was just taking off on the crest of his wave to the top of the rock 'n' roll tree, to ask if he had any work for an unemployed bass player. Bowie was horrified to hear 'Mott The Hoople' was splitting up, revealing himself to be a huge fan. Bowie persuaded the whole band to come around and see him. After a meeting Bowie offered the band new management, a new record label (They Moved to CBS.) and most importantly a song. The first song that was offered was 'Suffragette City' but the boys hung out for another little song Bowie had 'All The Young Dudes' Mick Ralphs, added the guitar introduction, and Ian Hunter added the rap at the end, and bingo, Mott The Hoople had a huge hit on their hands. Bowie and his lead guitarist Mick Ronson then produced their first album for CBS 'All The Young Dudes' (1972) and suddenly Mott The Hoople had a hit album too. Off came the jeans and T-Shirts and on came the glam rags, platform boots, spandex, glitter, slap, and feathers. By the time of their next album Verden Allen had flounced off feeling under used in Mott (it tells by his rather lack lustre solo career how wrong he was to leave at the time), and David Bowie was having to put all his energies into his own career. So Mott The Hoople were on their own again. This is when Ian Hunter stepped up to the plate. Ian Hunter wrote most of 'Mott' (1973) which produced two more hit singles 'All The Way from Memphis' and 'Honaloochie Boogie' and Mott was voted album of the year by the prestigious 'Rolling Stone' magazine. Even when Mick Ralphs left to form 'Bad Company' with the remains of 'Free'. Nothing could stop the Mott The Hoople Luther Grosvenor was given a new name Ariel Bender, and moved into the guitar spot, whilst Morgan Fisher slid onto the keyboard stool. More Hits flowed, the next album was even more of a success 'The Hoople' (1974).

1974 was the year of 'Mott The Hoople' a week of sold out shows at the Uris theatre on Broadway, Touring America and The British Isles twice with Queen as support. The world was in the palm of their sweaty little hands.

Ariel Bender was then pushed out of the band, and replaced by David Bowie's old guitar player Mick Ronson, and Mott The Hoople were destined for the stars.

Instead of which Ian Hunter collapsed with exhaustion, and the band imploded. Hunter and Ronson going off to form a new band.

Since then Ian Hunter has followed his own path, since 1975 releasing nine solo albums, dotted with live albums, having hits of his own, and writing hits for others (Extraordinarily Barry Manilow had a No 1 hit in America with Hunters song' Ships') Writings songs for soundtracks and generally enjoying life. Touring every year with his band, mainly with Mick Ronson as his sidekick until Mick Ronson's untimely death in 1993. All the bands that Hunter has taken out on the road has featured excellent musicians all keen to feed at the trough of the master, Earl Slick, Steve Holley, Steven Byrd, Darrel Bath, and presently Ian Gibbons, Andy York, and after thirty years Mick Ralphs has returned to play with his old mate again.

This double live CD gives all of Ian Hunters two and a half hour show at the Astoria Theatre, London. All the hits are on here, mixing songs from Mott The Hoople's debut album to Ian Hunter's latest solo recording 'Rant' (2001). The band are as tight as any band in the world, firing off each other with the two old boys Hunter and Ralphs having the time of their lives. The title track is as good as any rock 'n' roll gets with the guitarists firing sparks at each other whilst Ian Gibbons, on keyboards, Gus Goad on bass and the superb drumming of Steve Holley nail the music to the floor. Whilst the man himself leads from the centre of the stage. To bring the whole thing to a blistering close Brian May of Queen steps out from the sidelines to throw some guitar shapes all over 'All The Way From Memphis'. It is a great tribute to Ian Hunter that after twenty one songs including a medley of old Mott The Hoople favourites, there are still plenty of songs that you wish could somehow have been shoe horned into the set, like

'The Golden Age Of Rock 'n' Roll', 'Good Samaritan', 'All of The Good Ones Are Taken', 'Violence', 'Sweet Angeline', 'The Outsider', 'One Of The Boys', the list is endless, maybe next time.

Only a four star rating though, as the packaging is awful, in this day and age of downloading etc, you need to encourage people to buy the product, therefore the packaging should be attractive to encourage the buyer. But the music is great.

Mott the Dog."