Mott the Hoople

[The Slider]

I've tried with the pre-dudes stuff but it just doesn't have 'it'
There's no show without Punch either - No Hunter, no Hoople.

[C]

But it's true - you keep saying "They only made one decent album - didn't they...?" and everyone disagrees, then you wait a while and try again...

Well, am I right or am I right?






x

[Voxtron]

He said Mott the Hoople, not Mott. That Mott stuff is horrible.

[Jon K]

I like most of the Mot The Hoople catalogue save for Wildlife which is actually just average but the early stuf like Mad Shadows and Brain Capers is very good I do love the Glam Era though as well.Once Hunter left though I didn't really take much notice but Mott had a couple of good tracks but that is about it really. I preferred the post Mott band British Lions

[ChrisB]

Never been a huge fan, as I found them terribly inconsistent. One minute, we've got the wonderful "Thunderbuck Ram", then we have Hunter's sub standard Dylan ditties ( so bad, at times, he makes Tim Burgess of the Charlatans sound authentic ). Glam era ....some genius, some pretentious. At times I found them to be the missing link between Roxy and The Sweet.

[Guy E]

Brain Capers is their best album.

[The Write Profile]

I've tried with the pre-dudes stuff but it just doesn't have 'it'
There's no show without Punch either - No Hunter, no Hoople.

I've been listening to the two glam albums (All the Young Dudes and Mott) and I have to say that John is right here. Those two albums work for different reasons- Dudes is the sound of a band on the verge of making it and holding onto dear life, while Mott is a "conquering heroes" record that is all too aware that the only way to go is down. Dudes is the better sounding of the two- even stuff like "Sucker" and "One of the Boys" have a real punch to them, and the band even swings pretty fine. Of course the "title" track overshadows the rest of the album, but the rest of it doesn't exactly shrivel and hide in its presence. It's just got a real sense of purpose. Mott, in contrast, sounds ragged, right from the start with the rollicking "All the Way to Memphis", one of the funniest songs about wanting to be a rock and roll star. Other tracks, such as "Driving Sister" swaggers as it falls apart, and the meat of the record- the final three tracks--are appropriately stark but still rocking, even as something like "I'm A Cadillac" threatens to careen offcourse, they just manage to snap back into place. It's no shame they couldn't top this.