Mott the Hoople “The Hoople”

There is no way in the world I can listen to this record with the least sense of objectivity—even after 50 years! Yes, it’s been 50 years since I bought this one, and it still plays great—I think it’s my original copy—and it was, indeed, when I was 14 years old, my favorite record for a while. I played it obsessively, obsessed over it, and never got over it. I suppose there is something kind of hopeful about the fact that when I put this record on it takes me right back to that time and place and the person I was then. That’s the power of music, but so much for objectivity. Though—of course I hear it somewhat differently—in that I’ve had half a century of listening to other music, and listening is always a learning experience. I’m sure I hear more, now, and I hear deeper and with a greater degree of understanding and sophistication. So… I’m happy to report that it actually sounds better now than it did back then.

I wrote a “review” back in 2008—when I was less wordy—two sentences—there was more of interest in the comments. Then, around 2018 I went to the Mott the Hoople ’74 show—I think that’s what they called it—great to see Ian Hunter live. I might have said before, this is the odd band in that their best two albums were their last two (this one, and “Mott,” the year before). I mean, that’s my opinion—but it’s like they evolved into this excellence—where most bands evolve to the point where they’re at their peak for the first few albums and then it’s all downhill from there. The album cover is somewhat of an iconic one—a life-size, high-contrast photo of a woman (I wonder who is this “Kari-Ann?”) In her large, large hair are images superimposed of the band members. Ian Hunter, naturally with sunglasses. Really excellent longtime rhythm section Dale Griffin and Overend Watts (both who had sadly passed away before that 2018 tour. But the “new guys,” Morgan Fisher and madman “Ariel Bender” (Luther Grosvenor) were playing. All of them—in the model’s hair, on the cover—had great hair. At the 2018 show—when I looked around the audience, I estimated that about 80% (including me) were balding.

I’ll put it on for the… what? Maybe 2000th time… see what it sounds like. My first observation is really obvious—so much so, I guess, that I failed to ponder it over the years and listenings—there’s a funny intro at the beginning of “The Golden Age of Rock’n’Roll” (“Ladies and gentlemen…”) which kind of sets the whole album up as a kind of theatrical show—which it really is—kind of an album length hard rock opera. It’s not really hard rock—though it is, too—that would be the guitar element. The piano, strings, horns, backing vocals, and ridiculously complex song structures and over-the-top production is pure showtune. All of that can be heard in the in the second song, “Marionette,” which is kind of a mini-hard-rock-opera within the opera. (A theatrical production would feature, no doubt, full-on puppet show.) Third song already, “Alice,” is the best on the record (my opinion, but while I’m at it, I’ll say it’s the best ever Mott the Hoople and/or Ian Hunter song). At the risk of sounding like YouTube comments, I’d say this song is one of the most overlooked five minutes in the entire history of rock’n’roll. Rather than attempt to say why and fail, I’ll just leave it up to the reader who has forgotten it to give it another listen… and for those who’ve never heard it… well.

I just noticed that “Crash Street Kidds” has two “Ds” on Kidds—why? Usually that indicates a name (though, not “Billy the Kid”). By coincidence, right now, I’m reading (it’s a long book) Dhalgren, by Samuel R. Delany, which also came out in 1974. The main character is sometimes “Kid” and sometimes “Kidd”—could it be possible that the hyperliterate Ian Hunter was reading it? Who knows. The only song not written by Hunter, “Born Late ’58” is by Overend Watts (and sung by him). It was my favorite on the record for a long time—though always inextricably connected to a gin blackout—maybe a deprogramming would be in order by this point. Also, when I was 14, I didn’t care for “Trudi’s Song” or “Through the Looking Glass” (the ballads), but now I love those songs. That’s one change, over time. “Pearl ’n’ Roy (England)” is probably my second favorite on the record, and another rock showtune. As is “Roll Away the Stone,” which is the perfect bookend with “The Golden Age…” and closes out the show.

I never noticed, on the bottom of the lyrics inner sleeve, a “Write Mott” address: c/o Josephine Targo/114 7th Avenue/New York 10011. I tried searching, but just got a ham & cheese croissant on TikTok—which just made me tired. Zillow shows a closet with a kitchenette for a million dollars. It’s hard to search Manhattan—even the ghosts have been priced out. Record company person? Fan club? Who knows. At one point, when I first heard about (and read some of) those 33 1/3 books—each one about a record—I loved the idea so much I thought I might submit a proposal. My idea was to write about this record. I never got any further than thinking a lot about it. Their requirements for book proposals are pretty rigorous (as it should be), and I didn’t think I was up to the deep dive this album (and Mott the Hoople) deserves. It would be a shame not to interview Ian Hunter and the other surviving band members, for one thing. Maybe someone’s written one of those books about this record, or another Mott LP, by now—I haven’t checked lately. I think it’s a deceptively difficult project—I mean that size and scope of a book. Not easy to write something that lengthy about a record (especially one you love) without fluff—and at the same time—if it’s your favorite record ever—that short. But hey, now that I’m thinking about it again, maybe I’ll give it another try.

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