Ian Hunter

ARTICLE ABOUT Ian Hunter FROM New Musical Express, May 15, 1976

Here we go again with yet another Ian Hunter article. Why do you like Hunter so much, you may ask? The answer is that I don`t especially like him more than others on this blog. As some of you know, I promise to post all articles I find of the 5 most visited bands/artists of my blog. And those artists are right now: Ritchie Blackmore, Deep Purple, Lemmy, Ian Hunter and Steve Howe.
If you want the same treatment for your favourite artist, you need to get people to click on the articles with them in it. That`s all!

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IAN HUNTER: All American Alien Boy (CBS)

By Charles Shaar Murray

There exists a subtle difference between a tax exile and an expatriate.
It has more to do with the way that someone carries themselves than the reasons that sent him away. Rod Stewart is a tax exile, pure and simple, whereas John Lennon is an expatriate. Stewart sounds to have lost touch with his background without having established any real temporary root system; artistically as well as politically and geographically, he is in limbo.
On the other hand, Lennon determined from the outset that if he was gonna live in America he was sho `nuff gonna righteously live there and involve himself as fully in American cultural, social and political life as anybody else on his block; without denying his Englishness he was simultaneously going to do his damnedest to be a good American.
It ain`t for nothing that Ian Hunter shouts out “Look out Lennon here I come – land ahoy-hoy-hoy!” as he bawls himself hoarse on his way into the first chorus of the title song of “All American Alien Boy”. The slightly pretentious title proves itself nothing more than a direct summing-up of Hunter`s stance as resident rather than tourist, a stance which enables him to transcend the superficiality of the out-of-the-limo-window-I-saw generally written by jetstream Anglos buzzing through to deliver boogie to the natives, while utilising his distance from England to recollect emotion in tranquility – or vice versa.

If Lennon is one of the spectres who stalk the landscape of this album, the other Ghost Of Rockanroll Past who`s right in there rattling his chains is Bob Dylan. On the strength of this album it may well be appropriate to nominate Hunter for a second term as This Year`s New Dylan. He`s deliberately cast much of the album in a “Blonde On Blonde” mould, utilising the master`s devices with a knowing pointedness, manipulating the associations, implications and resonances of the instrumentation and the inflections of his own expertly Zimmer Twins vocals for specific effect.
The only occasions when his grip falters is where, despite his mastery of Lennon and Dylan`s use of boisterous humour, he fails to infuse into his mixture the sly irony of his models: the irony that enables Dylan to use the device of saying “The moral of this storreeee” in “Frankie Lee And Judas Priest” and not sound heavy-handed, whereas Hunter flubs the trick in “Restless Youth”, a musically exciting but lyrically suspect sympathy-for-the gunsel song in Maestro`s “Joey” tradition (it even refers to “Little Italy”, f` Chrissakes!).
So, picking up on New York like any starstruck English Dylan freak would, and maybe seeing Dylan`s adoption of his erstwhile pal and partner Mick (“I aren`t a session man”) Ronson as vaguely symbolic, Hunter has ditched the last vestiges of Mott-style rock and roll in favour of his deliberate, conscious, yes-I-know-my-rights-and-am-of-sound-mind-and-body-and-do-knowingly-willingly-that-which-I-am-about-to-do Dylan act.

The album`s opening cut “Letter To Britannia From The Union Jack” is to-and-about Britain, and uses the rather strained metaphor heralded in the title to sound a slightly discordant note of national pride and please-get-it-together-England.
It`s the first of a fairly small cluster of moments on the album where Hunter seems unable to find language that will match the power of his attempted statement and thereby debases his theme while uncomfortable emphasis is thrown on his linguistic fumbling.
On the title cut, however, he`s in roaring form. Gerry Weems` blasting Ronsonesque lead guitar cuts in right on the heels of “Union Jack”`s fade, underscored by Jaco Pastorius` bass, Aynsley Dunbar`s stomping drums, accompanied by Hunter`s own monolithic piano chording, before the inimitable David Sanborn (formerly of the Butterfield Blues Band and “Young Americans” – period Bowie) blasts a path for a bellowingly self-assured Hunter sneering like some Dylan/Jagger fusion.
It`s a fine song, though in its opening stages the solos by Pastorius, Sanborn and Weems that interrupt the verses irritate despite their excellence, and Hunter has a fine old time machine-gunning tortuously rhymed lyrics and racing the band to the changes. His Dylanisms seem endearingly cheeky rather than offensively derivative:
“Don`t get slugged get mugged get bugged or they`ll sling you in the jug. Sweep you under some rug, give you some drug, pull out the plug and then..
I mean, howcum Bruce Springsteen didn`t write that?

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From getting hilariously confused with brash Americana and TV commercials, he drifts back to his distant youth and gets misty-eyed about the callous teendream who rejected the young Hunter in “Irene Wilde”. “A Barker Street Bus Station non-affair” is how he characterises it, proving that he still has his background together.
“Restless Youth”, which ends the side, is by far the heaviest rocker on the album. Chris Stainton comes off keyboards  for his one crack at bass, and he clearly hasn`t forgotten how to crank a Fender bass up to the bonecrunching impact level of his playing on Cocker`s “With A Little Help From My Friends”.
“Rape” proves again that Hunter has a lot to learn from Dylan about writing political songs (and let`s just leave “Mozambique” right out of this, okay? I never liked the damn song in the first place anyway), “You Nearly Did Me In” has a gorgeous chorus (with backing vocals by Freddie and Roger of Queen, gang!) and a nice drift to it.
Hunter unleashes his killer punch in “Apathy 83”, which demonstrates that his ability to slice rock and roll right down the middle is completely undimmed. He also pulls off his most inspired Dylan reference of a heavily Dylan-soaked album with “Was it General Sheridan who said that the only good good man is a dead good man? It was not me, babe!” delivered in the most ringingly triumphant Bobby-the-Zee tones imaginable. He clinches with:
“Nostalgia is starting to focus too late, intelligence is starting too itch.
And there ain`t no rock and roll no more, just the music of the rich.
`N it`s apathy for the devil, apathy for the devil, apathy for the devil.
Apathy`s at fever piiiiiiiiiiitch!”

His final song, “God”, is stone Dylan with Stainton laying down an organ part so Kooperish that if you woke Al up in the middle of the night and played it to him he`d probably think it was him. Hunter`s God opens up the dialogue with “I`m gonna kick your ass, `cuz all you ever do is ask, ask, ask” and ends with “Behave yourself, see you around!” which is probably pretty much how God would talk if Ian Hunter was writing his scripts.
“All American Alien Boy” is a difficult and fairly uncompromising album; it`s uncomfortably personal, occasionally crude and self-indulgent, and it`s by no means an unqualified success. However, it`s also hugely revealing both about the subjects it discusses and the man who made it, and one which has by no means diminished my admiration of Ian Hunter.

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I have personally transcribed this from the original paper. Any errors in the text from the original magazine may not have been corrected for the sake of accuracy. If you have a music-related web-page where this fits – please make a link to the article. With credits to the original writer of the article from all of us music fans!

This number of New Musical Express also contains articles/interviews with these people: Pink Floyd, David Bowie, Ramones, Genesis, Erich Von Daniken, Eric Carmen, Elton John, Nils Lofgren, Stanley Clarke.

The original music paper this article came from (pictured at the top) is for sale!

1. Send me an e-mail if you are interested. Send it to: geirmykl@gmail.com
2. The offer should be 15 $ (US Dollars) to be considered. (This includes postage).
3. We conduct the transaction through my verified Paypal account for the safety of both parties.

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ARTICLE ABOUT Mick Ronson (Ian Hunter, Mott The Hoople, David Bowie) FROM New Musical Express, April 24, 1976

When you look at the people Mr. Ronson played with in his life, you have to be a little impressed. In many ways I feel that he is not given the credit that he deserves when you look at all the big name musicians that wanted to play with him. When people speak of great guitarists he is seldom mentioned, but he definitely had something that attracted so many others to his services. He had the talent, but he may have lacked the drive to be as good as his talent permitted. As this interview may give an indication of.

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The RONSON you give will always remind him of you

or more likely he`ll smash it. Read how Dylan`s old buddy breaks his guitars… then blows out his amp… then blows out his fuzz box. He does not, however, blow out his baked beans.

By Neet O`Noser

The rumours started circulating around Saturday evening, passed on secretively by several Hollywood groupies and a handful of “in” people.
By Sunday the circle of confidants had expanded to include the press and by Monday everybody knew except those too old to care or the too young to know. That evening at Channel 4 in Burbank (shooting home of the television show Midnight Special) Mick Ronson, Carmine Appice, Tim Bogert, Albert Lee, Bo Diddley, Mark Steiner, Barry Goldberg and Roger McGuinn would be teaming up for a super jam to be filmed and televised at a later date.
The audial possibilities alone seemed staggering, and though that evening`s taping never made the legendary mark it was still… uh… interesting.
Backstage, Mick Ronson raced around looking for a cup of coffee. Dressed in ill-fitting Levis (they were too short; evidently he does not realise this look went out in the 50`s and that floor-level fit is now the cat`s meow), white tennis shoes and T-shirt, he presented the perfect antithesis of the Bowie/Mott/Hunter days when silk scarves and high shoes made up his tout ensemble.
It all fits in with his current pre-occupation with Bob Dylan and the American Way in general.
For the ex-Spider, the Rolling Thunder Revue has been like a breath of new life; his most recent work with Ian Hunter was disastrous and the call from Dylan was as welcome as a message from the Messiah.

Mick has finally landed the coffee, and with face made-up for the taping, chats about the Dylan episode.
“It`s so fresh, it`s just like I`ve started playing again. It`s like I`ve got to learn how to play again… it`s that kind of feelin`. And it`s real refreshin`. But I don`t want to put aside the things I`ve done because they`re valuable.”
Ronson is ushered on to the stage along with the rest of the band and immediately Tim Bogert and Carmine Appice break into a breakneck version of the Beck, Bogert and Appice tune, “Lady.”
Bogert, as usual, is monstrous on bass and Mick – anxious to join in – quickly switches on the Fender amplifier and turns up the volume.
A loud hissing is followed by piercing squeals. Perplexed and nonplussed, he quietly requests another amp. This one works fine and after wringing one searing note from the rented Les Paul (both of his other guitars are broken) Ronno stomps on the fuzz box.
Crackling and spitting sounds emerge.
With a smile illuminating his powdered features, he requests another fuzz.
Finally both amp and fuzz are working and joining in with the other musicians – who by this time are all playing – he delivers some effective if not too creative riffs.
In fact, it is this pre-jam jam which will be the highlight of the evening.
The rest of the show is made up of “Not Fade Away”, “Hey Bo Diddley,” and another number, and though the overall sound is nothing to write home about the simple majesty of the affair is intriguing.

The next day, back at the hotel, Ronson is excited about last evening`s play and the whole American attitude towards music. He is in the midst of a scrambled eggs, bacon and hashed browns breakfast, and in between mouthfuls carries on the conversation.
He`s talking about his rejuvenation (he`s 29), which he apparently began in June of 1974 when he visited New York and met up with Bobby Neuwirth.
“I just started hanging around with Bobby, and he told me about the tour, I thought he was jokin`, because I didn`t know Dylan, and when Bobby talked about the tour he made it sound so loose. I thought, `This can`t be right what I`m hearin`. Maybe a bit of it`s right but it`s not just like that.` But yet it was that`s exactly how it was.”
Mick gags on a mouthful of bacon and takes a stiff drink of milk. He`ll anxious to go out shopping for records and guitars (“It`s the first time in years I`ve wanted to go out and buy guitars”) and decides to hit Tower Records first.
The reaction in the store is typical; ladies flit around like moths in flame territory and guys look on enviously. Several ask for autographs and Ronson obliges.
Then it`s outside and back into his silver Rolls Royce at the Tropicana (he leaves the guitar-searching for later) his thoughts run back to Bowie.
Despite rumours to the contrary, that association was a positive one and his enthusiasm when questioned about possible reunions with D.B. leaves little doubt that these feelings were heartfelt.
“Sure, I`d love to play with David again. I mean, I really like him. He`s really clever. He writes a lot of good songs. He can write a lot of good songs.

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“I mean, I like the guy. Even though I have said… it`s been quoted something like, `Well, if I ever see him I`m going to give him a kick up the ass.` I don`t literally mean I`m going to beat his brains out. I want to sort of get near him as a friend and not in battle.
“I mean to go in with that kind of approach but only to gain some instant respect, so that some kind of friendship can be locked in again.
“I haven`t seen him for a long time; I don`t ring him and he doesn`t ring me and I don`t know where he is and he doesn`t know where I am. I think that`s a shame because I respect him and I like his music.”
Ronson felt fulfilled in Bowie`s band as a guitarist but towards the end of his stay was becoming more interested in other endeavours, such as producing and arranging. He only started writing with his first solo album, “Slaughter on 10th Avenue,” and never had any inclination to do so with Bowie.
Not only has playing with the Rolling Thunder Revue opened him up to the guitar again but his taste for writing has been whetted. Not that he`s sat down with Dylan and taken lessons (“You don`t trade licks with him… he just plays songs”) but he has put pen to paper in recent days.
“I was never interested in writing when I was with Bowie. They were all David`s songs. And I do enjoy playing other people`s songs. I never wrote any songs at all until my first solo album.
“I got incredibly lazy; I wouldn`t sit down and think about a song, I`d rather sit down and get drunk, or I`d much rather sit down and play with women.

“I`m not into reading or poetry… so I never wrote. I think I`ve read two books in my whole life. Tom Sawyer was one and I can`t even remember the other. So I never had a way with words. I guess I said it musically. But I now want to express myself lyrically too, and I have written a couple of things. I`m singing more too, but only in the bathtub.
“I mean I was happy in David`s band as a guitar player but I never used to really play that much guitar when I was with him. I`d never sit around and play. I`d only play it when we were recording or I was on stage.
“And sometimes in the studio I`d say, `Oh, I don`t want to play guitar yet; and I`d put it away somewhere – because it started becoming secondary to other things that I wanted to do in the studio… production, arranging.
“I used to have to force myself to take it out – which was real strange for a guitar player to do.
“David was real good, real clever. He comes up with some real bright ideas. We used to work really good together for a time. I wanted to see him on the tour.
“But I couldn`t get any tickets.”
Ronson`s metamorphosis since leaving Bowie has been swift. Gone are the sequined fineries and the reluctance to play, and in their place are Levi regalia and an enthusiasm for the strings.
So long as it`s fun Ronson will continue. But don`t get me wrong – he`s no gung ho character.
“See that guitar there?” he asks, pointing to the rented Les Paul. “It`ll stay in its case until I go into the studio with Roger (McGuinn) tonight. I still don`t practise.”

Jams like the one which took place last night have become a frequent occurrence for Ronson, and that`s how his chops are kept up.
He is sure people will see his work with Dylan as a strange coupling, but isn`t worried about it.
“It doesn`t matter what people think as long as I`m enjoying myself. Some people are gonna like it and some people aren`t. Some people will think, `Why`s he playing that hillbilly shit? Why doesn`t he get back to what he was doing?` But I`m still playing some pretty hard rockin` things same as before – but with these different musicians.
“I`m having a good time. All the people on the Dylan tour were really good people… people who could be with each other all day and all night. It`s just like I used to hang out with Bowie… we used to have fun. We all hung around together because it was good for an up-and-coming band to be seen together.”
Mick Ronson at 29 is really just a beginner. After starving in London and Paris years ago, he now charters Rolls Royces and hangs out with Bob Dylan. But he`s still the same person – playing “Blowing In The Wind” through small amps and “Ziggy Stardust” through massive Marshalls.
“I`m just learnin` like everybody else. I could work harder but then I`m just basically lazy.”

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Another ad probably not allowed these days. Only in videos.

I have personally transcribed this from the original paper. Any errors in the text from the original magazine may not have been corrected for the sake of accuracy. If you have a music-related web-page where this fits – please make a link to the article. With credits to the original writer of the article from all of us music fans!

This number of New Musical Express also contains articles/interviews with these people: Rolling Stones, British Country Music Festival, Abba, J.J. Cale, Magna Carta, Dr. Alimantado, Steve Harley, Osibisa.

The original music paper this article came from (pictured at the top) is for sale!

1. Send me an e-mail if you are interested. Send it to: geirmykl@gmail.com
2. The offer should be 15 $ (US Dollars) to be considered. (This includes postage).
3. We conduct the transaction through my verified Paypal account for the safety of both parties.

ARTICLE ABOUT Ian Hunter FROM NEW MUSICAL EXPRESS, April 5, 1975

People sometimes forget that Mr. Ian Hunter Patterson has reached the grand old age of 76 this year. He seems so youthful in the way he presents himself, so it is easy to forget that he is older and wiser than most people you know. We hope to have him around for a long time as Hunter continues to tour extensively across Europe and North America.
In March 1975 Hunter joined forces with Mick Ronson, and released his first solo album in april after recording sessions at AIR Studios in London. A great album that also features the much-covered song “Once Bitten Twice Shy”, originally written by Hunter alone.
Check it out, if you for some strange reason have missed this great song.

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AARGH!

That was our Lay-out Man`s reaction when he discovered that Charles Shaar Murray had written his Runter-Honson interview in a slightly eccentric manner. Pennie Smith (who still thinks Ronson is an electric shaver) took very normal pictures.

Haul ass, Ronson. It`s exactly four steps from where the band coach is parked to the stage door of Newcastle City Hall and there`s a mean wind blowing, but even before one scuffed green shoe – which goes great with the black suit with the gold piping and the green T-shirt – hits ground zero, the chicks are there with the autograph books out. “Over here, Mick! Hey, over here, Mick!”
Ronson`s ready for them, and as his hand goes out to pick up the first pen, Ian Hunter in massive leather coat, has slipped around the cluster of girls and is almost home free before one spots him – “and can I have your autograph too?” He signs the book like he`s clocking in for work. Thank you, Masked Man.
Freeze it. Voice-over: “He`s got an incredible fan following, and he looks after `em. Mott was always a guys` band, and now all of a sudden I`m with Mick and there`s chicks camping out outside his door. I think it`s great for me and `im, because it adds an extra element. Mick`s a great-looking guy and he doesn`t ignore his fans. He talks to `em, he`s forever writing letters to `em, and I was never particularly into that. He`s been going on at me to talk to `em.
“See, I left Mott and so most of the Mott fans didn`t like me, made me the bad guy. Mick`s got his fans, but I`m in a kind of limbo and all I`ve got`s my music, and I`m so hot on the music that I don`t really care. But at the same time I see what happens when the chicks are all screaming for him and I think that we need that. Because it`s something that Mott never had…”

Unfreeze. The assembled company straggle into the hall and commence sound-checking. Bad Co`s album plays through the P.A.
For some unearthly reason there`s 75 loose volts of best quality high-grade electricity floating around Hunter`s vocal mike. Apart from that, Ronson`s sustain pedal has gone on the blink, which is quite a problem as it`s a special one whipped up by someone Pete Townshend knows and it`s not the kind of thing you can schlep into your local Newcastle music shop and have fixed while-U-wait.
The building is icy cold. On the stage, Blue Weaver is checking out his various keyboards. The reason that it`s Weaver up there and not Pete Arnesen is that Arnesen is currently recuperating from an operation, and so Weaver, who played organ on Mott`s last American tour, was flown in at a few days` notice to take over. Principally an organist, he`s not used to playing the pounding rock and roll piano that Hunter and Ronson require, and so his nails are battered and broken.
On a podium in the centre of the stage behind a massive double drum kit is Dennis Elliott, who looks to be about nineteen and is whomping his way around his drums while Hunter and Ronson stand about three-quarters of the way back relaying instructions through the talkback mike on the mixing desk.

Last up is Jeff Appleby, bass player and charter member of the Hull Mafia. He looks startlingly like Ronson with his bleached hair and peaky features. The three of them run through “Truth The Whole Truth Nuthin` But The Truth” before Hunter wanders up on the stage to join them. It`s what you call your cooperative sound check, with Hunter and Ronson checking their sidemen`s sound together and then each of them doing the others. Hunter slams through some power chords, and Ronson instructs him to use the middle pick-up switch position before the two swap places.
Unlike the roadies, who`ve been vaulting on and off the stage as if they were in training for some weird kind of Roadie Olympics, Hunter climbs onto part of support group Jet`s Fender piano as one of the stages in his descent. Unfortunately it starts to topple, and if it hadn`t been for a roadie who happened to be standing in the way at the time, Hunter and the piano would`ve taken quite a nasty little spill across the front couple of rows of Newcastle City Hall.
Ronson takes the stage, clambers into his guitar and rambles around a few riffs, testing out his pedals and gadgets. For a second he hits the riff from “Once Bitten Twice Shy.”

Cut to Hunter playing the same riff at the start of the evening`s show. The hall is around three-quarters full and for the past five minutes there`s been a steady chant of “Ron-son! Ron-son!” Eventually the band stalk on, the sidemen in black and Hunter and Ronson in white outfits which glow sickeningly under the ultra violet lights at the side of the stage. Ronno`s suit is emblazened with painted eyes, as if in some kind of compensation for Hunter`s invisible peepers. A spotlight hits Hunter`s guitar as he bounces the Chuck Berry riff around for a few bars, and then he moves to the mike with that flat “`Allo” and the band hit the groove and the lights come up and, and…
The sound is hideous. All you can hear is Hunter`s guitar and vocal and Elliott`s drums, though occasionally a bit of lead guitar and piano shine fitfully through the fog. It gradually cleans itself up as the show progresses, with Hunter and Ronson scrupulously sharing the vocals, trading off one for one and two for two. Curiously, for the first half of the set, Ronson`s performances seem better received than Hunter`s, though it must be borne in mind that Hunter was performing songs from an album which nobody in the audience had at that time heard, whereas Ronson was drawing on his two solo albums – and I`d bet cash money that at least half of the population of that hall had one or the other.
He seemed infinitely more confident sharing the stage with Hunter than he had performing those same songs last year on his own tour, though the audiences were approximately the same size. Had Hunter traded in his huge Mott audiences for the appreciably smaller Ronson public?

Make no mistake about it, a solidly Ronson audience it was. Monsoon could stand in shadow at the back of the stage by his amp while Hunter was in the spotlight singing, suddenly raise his hand and have the hall explode to order.
Hunter`s time finally came during “Boy”, probably the solo album`s major song. Strumming away at a totally inaudible acoustic guitar, he aimed his shades at the gallery and sang his goddam heart out against the band`s rising storm and got his first ovation of the evening. The Ronson audience had become a Hunter-Ronson audience.
Freeze it. Voice-over: “Ronno`s fans were probably wondering what this great lumbering lumberjack from the outback was doing with `im, and the strident Mott fans were asking me why that bleedin` pansy was playing guitar with me…”
Unfreeze. By the time the band got into an uproariously ramshackle version of Uncle Lou`s “White Light White Heat”, the teenagers are down the front grabbing at Ronson`s lissome young bod. Memo to Monsoon-san: learn the words son. Singing the first verse six times is definitely a no-no. The high point of the number is a totally crazed guitar duel where the rhythm section drop out and Ronson`s rat-in-a-trap lead comes up against Hunter`s chordal volley. The first kamikazes of the evening scale the stage, and one guy gets slung right off, flying gracefully back into the throng. Hands reach out for Ronson`s foot, only a few inches back from the lip of the stage.

Freeze the kid in mid-air a few seconds before he lands. Voice-over: “Pete Watts was the ace at accidentally leaving a leg over the edge of the stage. I can`t be bothered with it; I never could, but Mick`s an arch-exponent of it. He knows how to handle those people. He digs it, he gets off on it. He really wants `em to grab his leg because he feels that that`s what they really want to do. He was upset because it got a bit `eavy down the front there…”
Unfreeze. Blue Weaver starts playing intro from the title song of “Play Don`t Worry.” Ronson steps forward, but instead of starting to sing he raises his hand for silence and says, “I`d just like to ask the security men to be a bit less heavy if they can. They just wanna come down the front, they ain`t doin` any harm.” Hunter breaks in: “And remember that if you break any seats I`m payin` for half of them and he`s paying for the other half.” Laughter and applause. Hunter may not be much into dangling his leg off stages, but he`s a past master at relating to audiences. Everybody relaxes as Ronson sets into the song.
Lower sound-level. Voice over: “I was really in a bad way while I was doing that album. I was feeling really depressed and I didn`t want to `phone anybody or see anybody or talk to anybody…” Hunter: “Tell him how many Mandies you were doing.” Long pause. Very long pause. “I went through two bottles of fifty in a month. The words of that song were sort of to myself, really…”
Fade up on lyric of chorus: “Play, don`t worry/play don`t be scared, don`t you think about them, start your dreaming again of tomorrow…”

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Right now Ronson ain`t worried. He`s in his element. The band`s roaring behind him like some great raging beast, his guitar`s bucking and screaming like he`s tearing it to pieces and it`s trying to get away, his face is contorted into a triumphant snarl, girls are grabbing for his feet and trying to get up on to the stage, Ian Hunter`s stalking around the stage beating his own  guitar halfway to death and egging the band on before returning to his side and, inches away, howling at him to goad him past the edge, probably rasping, “C`mon ya bastid c`mon ya bastid, play you swine rip it out”…something like that as the song crashes to a halt and Mick Ronson looks most unlike a man with a confidence problem.
Voice-over: “You go back to the `Mad Shadows` album and listen to `No Wheels To Ride`. I was working on Ralpher then and he was playing incredible stuff. I really like to push guitarists over the edge. Ronson`s a bit better that way; he really likes me to goad him on. I goaded him on in `Truth` and I was a little worried in case I pushed him too far, because when a guitarist is playing a solo it`s like a lyric, and you mustn`t push `em too far because it`s very personal to `em…”
“Truth”, which is Ronson`s guitar showpiece on the album, doesn`t really happen at Newcastle. Maybe it`s the sound, maybe it`s the duff sustain pedal, but he just strains and strains and hardly anything comes out. Occasionally a squeal, sometimes a whine, maybe here and there a dazzling lick which blows everybody`s mind and then long tortuous pauses before Hunter comes back into the vocal. Voice-over: “Oh, in Glasgow he played this great enormous solo which went on for about twenty minutes, and we just rode along with it. I forgot half the words because I was listening.”

During “Slaughter On Tenth Avenue” Ronson`s playing suffers badly because he`s in acute danger of losing his guitar throughout most of the song.
Somehow he keeps playing even with a girl or two hanging on to him, but it`s difficult to keep your solo together with someone wrenching on your arm. Eventually, Hunter leads into the medley of Mott hits which climaxes the set; “Roll Away The Stone” first slowed down and then, as per record, “The golden Age Of Rock And Roll” and “All The Way From Memphis”. Cut to strobe-speed selection of stills of various Mott line-ups, settling finally on film of Mott performing the same songs.
Voice-over: “I can remember in Paris on the last tour with Mott, there was something up with me. I was really feeling rotten. We did the Olympia and we went down a riot and we came off and Tony De Fries was in the wings and he came up to me-you see, Tony`s a very good friend of mine – and he was concerned and he said to me, `That was great – but what are you gonna do?`
“Now, Bob Hirschman was one of my managers at that time and I was going to dinner with him and Tony said, `Come to dinner with me`, and said that I couldn`t because my manager was there. And all the way through that dinner I remembered Tony saying, `What are you gonna do?` I couldn`t understand what he was saying, but I couldn`t get those words out of my head. In the end it wound up around two o`clock in the morning at Tony`s hotel, and he and Ronson were sitting there waiting for me. Ronson`s been in the band a month and had already talked to Tony at great lengths about it. Tony knew I`d be round there. I said, `We played great, what do you mean “what am I gonna do?”` and he said, `It`s over.`

“Mick knew. Mick had sussed it, because he`d been in Mott a month, and he said, `I think you must get out and do your own album`. I never had enough confidence to think that I could just get out and do it and that annoys me intensely. Bowie had said to me in `72 that I had to lead Mott and take them over and I already thought that, but I needed a second person to say it to me. So there we were again. I was totally mixed up, I didn`t know what I wanted to do, and he said, `You got to do your own album`. I was already thinking that.
“I thought that he was trying to get out of Mott as soon as he got in, and he said, `No, I don`t wanna get out; I wanna do your album with you.` And I was thinking, `This is it, this is all over. Then I went to the States because I hadn`t signed the final papers for the house and I realised that I could no more go back than fly. I could go and play with Hawkwind, I could go and play with Ducks DeLuxe, but I couldn`t have gone back to Mott. I hated it so much that I was willing to drop the English tour, because if I`d done it I`d`ve freaked. It would`ve been really embarrassing. Mick was saying, `I`ll do the English tour if you want, but you really shouldn`t be doing it.`
“I`d been trying to drop hints to Pete and Buff, but they didn`t pick up on them. See, I love Pete. If he rings me up tomorrow and asks for me, I`ll be there. Buff – long pause – is a funny guy. I can`t knock him, but he gets very mixed up, and he was upsetting me a lot, but he couldn`t help it. I`d stood it for so long and I couldn`t take it no more. He`s no kind of bastard, but he gets real nervous and he gets me at it and I get twice as bad as him. Pete was taking everything very easy and relaxing and thinking that it would all go on forever, and I kept on hinting to him and saying, `Don`t rely on me.`

“I think they thought I was there for life. I shouldn`t be too romantic about it…I think they were taking me for granted. When Mick Ralphs left he kept saying to me, `You must keep it going, you must keep it going.` It was a guilt thing because he felt that he`d left us in the shit, and I know now how he was feeling. They`re in an awkward position, because Bad Company`s doing good, me and Ronson`s on the road and it must be really frustrating for them…”
Off to a conflagration of applause and a renewed barrage of stomping and howls for “Ron-son! Ron-son!” intermingled with the odd shout of “`Untah!” They wait for just the right length of time before returning and cartwheel into “All The Young Dudes”, for which things really break loose.
Before coming out for the encore, Hunter has donned an absurd white top hat with a long plume which waves as he takes a gulp of air and launches into the first line. Weirdly, the song seems to recall the glittering MainMan empire of 1972, when, in addition to Bowie, Lou Reed, Mott and Iggy Pop had joined up. Superimpose the famous still of Bowie, Reed and Pop and pan onto Tony DeFries in the background.
“Tony got the feeling that he could do it all the time, and he tried Mott the same way; trying to get Mott a mystique. Mott were known, Mott were the kids next door. We were a street-corner band, but we went along with it because the guy had the gift at the time. I still love Tony and Tony`s friends are few and far between these days, but I still love him and I think anyone with any integrity should love him too, because he tries to do something. He made a lot of mistakes and he crapped on a lot of people, and when Tony DeFries drops a bollock it`s a big one…”

Pan back onto Iggy, almost as an afterthought. Voice-over: “I think Iggy`s the most overrated rock star ever. Iggy has all the attributes of stardom except that he doesn`t deliver on any level. I`m a mate of his and he`s a mate of mine, but Iggy does not deliver on any level. He`s the all-time should-have-but-didn`t, and it`s because he`s just not quite good enough. Dave`ll tell you different, but it`s not happening and it never will with him. Everybody`s working for Iggy, everybody thinks Iggy should be a big star, but he`ll never be a big star as long as he`s got a hole in his ass. It`s not the laziness either – if Iggy worked 24 hours a day he still wouldn`t do it. Alice Cooper made it on Iggy. He sat and watched and decided to take it to extremes…”
Somebody mumbles about how Bowie drew a lot on Iggy as well. “David is a piece of transparent paper, but he has a lovely way of transferring things and putting them out as…don`t let`s talk about Dave.”
“Dudes” ends, followed by a ramshackle version of “The Girl Can`t Help It”. As the band leave the stage, slow pan through the audience finally focussing on The Critic. He turns his head to the camera and remarks, “There is much about this band that needs working on. They still haven`t gotten their sound right and they`re still not quite used to each other yet, but if nothing goes wrong they should be doing some tremendous things before long. Ronson, in particular, is clearly benefitting from his surroundings and Hunter really seems to enjoy being a sideman now and then. Like their album, their concert performances deliver just enough to suggest that they`ve hardly started yet in terms of what they can produce…” The camera pulls away as he keeps talking and his voice is drown-by the sound of a hallful of people looking for their coats.
Fast flashback to pre-gig dressing room. Hunter finds the piano, and is informed that the scratches on it were inflicted by Alan Price when he opened a bottle of beer on it during a scene from “Don`t Look Back”. Hunter instantly pounds through his audition piece, the song that he played when he was after the job with Mott The Hoople those many years ago. It`s “Like A Rolling Stone”.

Cut to hotel, post-gig. It`s beginning to get early again, and Mick Ronson is up and drunk. Even after a successful gig, about the only way that he can wind down is to climb into a battle of wine and pull the cork in after him. At half-past four on a chilly Newcastle morning, he`s sprawled in a sofa near the hotel entrance and for long periods of time it seems like he`s passed out. Voice-over: “Mick gets a little funny when he`s pissed… Mick wonders why he`s one of the Top Ten guitarists in any poll in the world and he`s got no money. He was doing gold albums on wages, and maybe he thought at the time that if he cut up they`d just use someone else, which of course wouldn`t have been the case. Mick really thought that he could never leave Dave, that nobody else would want him. He`s crazy – there would`ve been a queue a mile long…”
But at half-past four Mick Ronson is facing his own private demon. Flanked by his girlfriend/assistant Sue Fussey and Big Dave from Sturico, he relentlessly refills and refills his wine glass in spite of their efforts to get him upstairs. Eventually The Critic, who is in fairly poor shape himself, ambles over. “They`re trying to get me to go upstairs,” says Ronson from the depths of the sofa.
The Critic thinks it over. “D`you want to go?” he says at length. Ronson looks up at him in horror. “You`re not trying to get rid of me as well, are you?” And the demon is firmly on his back. At this point in time nothing can convince him that he`s really liked and wanted, despite the affection and concern that everybody around him shows towards him, despite the audience reaction and the last couple of groupies still waiting for a chance to talk to him (Aw shucks.-Ed.)
He struggles to his feet and something clicks into place inside him. Clearly and distinctly, he enunciates, “Everybody thinks I`m a nutcase because I blow all me money. But I`m not. I`m not. They`re the nut-cases.” Then Dave and Suzi led him off to the stairs.
Freeze. Roll end titles.

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I have personally transcribed this from the original paper and you are free to use it as you like. If you use it on your own webpages – please credit me or put up a link to my blog.

This number of New Musical Express also contains articles/interviews with these people: Ace, Keith Emerson, Slapp Happy & Henry Cow, Alvin Lee, “New California Rock”, “Country Special”, Gloria Gaynor, Swamp Dogg, Michigan Flyers, Leonard Cohen, Tom Paxton, George Melly, John Helliwell.

The original music paper this article came from (pictured at the top) is for sale!

1. Send me an e-mail, if you are interested. Send it to: geirmykl@gmail.com
2. The offer should be around or upwards of 20 $ (US Dollars) to be considered. (This includes postage).
3. We conduct the transaction through my verified Paypal account for the safety of both parties.

ARTICLE ABOUT Ian Hunter FROM NEW MUSICAL EXPRESS, January 25, 1975

Ian Hunter is one of those people that have been a very important figure in the history of rock, without ever being a “Superstar”. He has written a bunch of great songs and have a lot of fans among rock musicians. I think Joe Elliott of Def Leppard even wants to BE Ian Hunter.

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Ian Hunter is not as rich as we said he was

Midnite socio-economic revelations in N.Y.

By Richard & Lisa Robinson

As it happened, I was at the Kool & The Gang/Sly concert at Radio City Music Hall when Ian Hunter called.
So what happened? (I know you`re on the edge of your seat). The fellow-journalist and man who lives with me, Richard Robinson, (whose favourite rock artist is Noel Coward) saw the telephone light blinking as he was taking a nap, and -thorough pro that he is – he conducted the following conversation with Mr. Hunter by means of a tape hook-up.
This is how it went:
Is the record that you and Mick Ronson are currently making an extension of what you`ve both been doing with Mott?
Hunter: “It`s very difficult to talk about it…it`s just what`s coming out. It`s my writing and Mick`s arranging.
Are you happy with it?
I`m knocked out.

What about performing? We`ve heard that you will be doing solo dates…
Well, we`ll do it – we`ll be working in England in March and we`ll be working…maybe May, I think in the States. We`ve got a group, all unknowns. It didn`t take too long to get them together, we knew them vaguely. One was a former Rat (Ronson`s old Hull Group), another one was a jazz-influenced drummer, a really nice piano player…you know, like that.
Me and Mick wanted to use complete unknowns because they`re really keen, and they get a good chance, you know? They`re all working on the album. You know – when you put this together you have to take a lot of things into consideration: what the guy`s situation is, what his chick situation is, all those things – if he`s easygoing, if there`s no big problems with him… These are all very keen, very loyal.
Is there a big difference between the sound of this album and the things you`ve done before with Mott?
No, this album won`t be a ridiculous change from what I`ve done in the past. I wrote most of the stuff for Mott anyway, and this is my album. So it`ll be about seventy per cent the same. I mean, you can`t change overnight. To do that I`d have to lay off for about a year – which I didn`t want to do. It`s not going to be like an immediate new direction, that would be frantic, to do it for the sake of doing it. So you`ll find a bit of Mott, and a bit of Mick and a bit of me, know what I mean…

Are you enjoying working with Mick?
Well I knew what I could give him, and I knew what he could give me, and that`s exactly how it`s working. I can`t say more than that, because it`s a delicate sort of relationship – but we`re doing well, and it`s getting stronger all the time.
I mean, I really don`t want to say too much…because I don`t know how long it`ll go on. But I`ll tell you, we don`t get to sleep at night after the sessions, we`ve been so excited about what`s going on. I don`t know if it`s a great album or not, but we`re just sort of excited…(laughs).
What`s your reaction to the media reaction about the Mott split?
As a matter of fact the NME said something about a sum of money – which was rubbish. I could have sued over that actually. When I left Mott I hadn`t a clue as to what was going to happen, and I didn`t particularly care. You know, it`s just that when a thing`s over, it`s over. As a matter of fact there was a lot of pressure brought on me the other way around. I knew that I was going to be all right because as long as I can write songs I`ll be all right. But I didn`t leave Mott the Hoople for money. Columbia Records didn`t even know I`d left. And it happened weeks before the press knew about it anyway. It really upset me that they would print I left Mott for money…I`d never think of that.

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Do you think that Mott was one of the last great rock and roll bands of a certain era and that you`re headed towards something else?
Well, I`m too close to that to want to get into it. I really have no comment on the Mott situation because I`ve not been out of it that long. I know I had no alternative – I had to go, it was written all over me mind and all over me brain and all over me body, and I could no more have continued to play for them than…fly. It was finished, a real physical, mental…whole thing.
It was really upsetting to read that I`d left them for large sums of money…that was like a crock. I mean, I have been offered substantial amounts of money since then, but I`m not going to discuss figures, It wasn`t anything like the figure that was quoted – and it wasn`t at that time. I mean the record company didn`t know anything about it, it`s just rubbish.
And there was something also, that I argued with Buff over the live album, and that was pure conjecture. We don`t want anybody to feel upset – because it just happened that way. It was perfectly genuine, these things just happen.

Your music has occasionally been a bit pessimistic – about what rock and roll is, or has been, or will be. Do you still often feel that you`d just like to go to the mountain sometimes…you know, just get away from it? You know, just come back on your own terms…
No, not at all. I think I just got a bit confused there…I think I got into a stale situation. Now I`m breathing fresh air.
Are you doing anything else? Any relaxing…a little billiards? Darts?
I never relax. Mick and I just rented a little cheap studio before we went into the studio…you know, to try out a bass player and such. And I ain`t the easiest guy in the world to get on with and neither is Mick, despite what we might seem on the surface. So all this time has been spent breaking down walls as…well, things like that. I think it will all happen pretty quick – the album and the tour and all. What Mick`s doing is holding his album back, so we can go out together and push our albums at the same time, and try to keep it as equal as possible. What`s happening now is really interesting in relation to what will happen six or seven months away.
For Mick`s next album, I`m determined that he`ll have good songs – he`s a bit erratic with his songs, they tend to go here, there, and everywhere. And I can play a role for him, in much the same way he`s arranger and co-producer for me. He does so much for me.
But it`s all music, it`s got nothing to do with moves or how wonderful we look in lipstick, and all that. I can write songs and he can play them, and he`s good at arranging, and we both know a bit about production, and it`s coming along that way. But we need time.

It will be interesting to see what it sounds like a year from now…
Well, if we`re still together, yea, it will be. You know, – it`s frightening sometimes. There are songs we can`t put together yet…but with Mott, there were four lousy albums before it started happening. Not lousy, but four formative, learning albums. And here me and Mick are supposed to do it in three months flat.
Do you think that this is the best situation you could be in? If you had a choice would you still pick this?
Well I could have done without the hassle, but I`ve gone through it all now, and we`re at the other side. It wasn`t particularly easy for me and Mick to get together, but it gets more solid all the time and since we`ve stuck it out for this long, it also gets easier all the time.
Are we going to have Volume Two of your diary?
Don`t think so…
Maybe for private circulation…
Well, I don`t know about that…

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I have personally transcribed this from the original paper and you are free to use it as you like. If you use it on your own webpages – please credit me or put up a link to my blog.

This number of New Musical Express also contains articles/interviews with these people: Bob Dylan, Eric Burdon, Barclay James Harvest, Suzi Quatro, Billy Preston, Roy Wood, Nils Lofgren, Tommy Steele, Sensational Alex Harvey Band, Little Beaver, John Coltrane, The Soft Machine.

The original music paper this article came from (pictured at the top) is for sale!

1. Send me an e-mail, if you are interested. Send it to: geirmykl@gmail.com
2. The offer should be around or upwards of 20 $ (US Dollars) to be considered. (This includes postage).
3. We conduct the transaction through my verified Paypal account for the safety of both parties.