Mott the Hoople Live – 30th Anniversary Edition - Mott the Dog's Rock Music Reviews

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5 Stars

*The album cover for Mott the Hoople – Live. Great action shot of the band up on stage under the lights.*

Audio CD (paid link)

At last, a proper release for this masterpiece of a live album in tribute to one of the great rock ‘n’ roll bands of the mid-seventies.

Mott the Hoople were out touring at the end of 1973, rolling into the beginning of 1974 in both Europe and America with a fledgling Queen in support; they took no prisoners. Their last album, “The Hoople,” had just smashed its way into the top twenty on both sides of the Atlantic, whilst their fifth hit single, ‘The Golden Age of Rock ‘n’ Roll,’ was firmly entrenched in the top ten of the singles charts worldwide. They looked ‘The Business’ – They appeared as an agglomeration of bright colours, scarves, leather, sunglasses, and huge boots, blending seamlessly into masses of hair, and that added something: A huge amount of Swagger. They exuded attitude, easy humour and the utter confidence borne of knowing you’re the best.

Mott the Hoople’s The Hoople album, a studio classic from the band they were heavily promoting on the American leg of the tour. The artwork features Kari-Ann Muller, with band members woven into her hair. Kari-Ann was also featured on the cover of Roxy Music’s debut album.

They had, within the last year, acquired the services of one of the greatest rock ‘n’ roll guitarists ever to draw breath, the marvellously monikered Ariel Bender (previously known as Luther Grosvenor of Spooky Tooth fame), who could not only play the guitar like a ringin’ the bell but also threw the most magnificent shapes, being the perfect foil for the menacing leader of the band, Ian Hunter, who stood centre stage glaring out at the audience behind his shades, daring them not to get out of their seats and cause a riot.

Also in the line-up was the originator of all the weird and wonderful clothes worn by those who followed in glam rock, bass player Overend (Pete) Watts. Overend would daily spray paint his long hair silver and virtually be winched onto stage; such was the height of his platform boots.

Behind the drums was the mercurial Dale (Buffin) Griffin, who, when he wasn’t hitting his chosen instruments as hard as he could, would be scattering them across the stage with well-aimed kicks.

In total contrast on the piano forte was Mr. Morgan Fisher, rockin’ his heart out, wearing a white piano keyboard suit with a floppy bow tie, tifter on his head, and a perfectly groomed handlebar mustache adorning his upper lip. On the other side of the stage was Mick Bolton, later replaced by Blue Weaver, both earnest rockers of the Hammond Organ.

*The core of the band, Ian Hunter – Guitar and Vocals, Dale (Buffin) Griffins – Drums, Ariel Bender (Luther Grosvenor) – Lead Guitar, Pete (Overend) Watts, Bass Guitar, prepare to take the stage.*

Then there was the music. Even with Queen as support, there was never any doubt who the headline act was. Mott would swing relentlessly on stage and go unstoppably into their show every night.

Over both concerts, there are too many highlights to mention them all, but ‘Hymn for the Dudes’ and Hunter’s mini Rock Opera about the music business with the immortal lines, “These wires are tight,” ‘Marionette’ are particular highlights from the Broadway shows, and the final rock ‘n’ roll medley from the Hammersmith Odeon with its pieces of Mott classics alongside snippets from the Beatles, Jerry Lee Lewis and David Bowie are unforgettable, with Ariel Bender laying down some volcanic guitar over every song, and Ian Hunter playing ringmaster to the crowd throughout the concerts.

This collection of two of Mott the Hoople’s most famous concerts will certainly rock your platforms off.