by Mott the Dog
***** 5 Stars Rating
After Mott the Hoople’s first album had been
recorded, before the band had even played a live concert, this diamond of
a rock collection was recorded in 1970 after some nearly 200 concerts
including their first tour of America. (Putting this into perspective is
the fact that it was released eleven months after their debut. Can you
imagine any of today’s so called bands equalling this work rate?)
By now Mott the Hoople were one of the most popular
working bands on the British Circuit (playing such diverse gigs as Friday
- Hartlepool Grammer School, Saturday - Kirklevington Country Club...
where is Kirklevington? Know where it is? I can’t even spell it! Sunday
- Oswald Hotel Scunthorpe) causing riots wherever they went with their
outrageous brand of rough tough Rock ‘n’ Roll. A year later when the
band played London’s prestigious Albert Hall, the crowd reaction was so
great that in fear the hall’s management cancelled all rock concerts for
the next sixteen years.
By now Mott the Hoople were a great Rock ‘n’ Roll
band, capable of taking on anybody; on their night the best Rock ‘n’
Roll band in the world.
“Mad Shadows” captures a lot of what Mott were
about live on stage. (“Mad Shadows” was originally going to be called
“Sticky Fingers”. However, the story goes that Mott the Hoople’s
producer and mentor Guy Stevens gave it to the Rolling Stones, who were
using the same studio. Hence the coda of “Jumpin Jack Flash” at the
end of “Walkin With A Mountain” as Mick Jagger was in the studio when
Mott laid this one down.)
The album opens with Mick Ralphs’ stunning
“Thunderbuck Ram”, a song that was going to become the cornerstone of
the middle of Mott the Hoople’s live set for the next couple of years.
Although stamped like a stick of rock with Mott the Hoople all the way
through it, this song showed the way that Ralphs was leaning and would
later be showed to its full effect in “Bad Company”.
Second song, “No Wheels To Ride”, the first of
three Ian Hunter songs that filled up the original first side of the vinyl
edition of “Mad Shadows”, shows off all the facets of Mott the Hoople
as it builds from its gently piano led opening until its dramatic closing
section with Verden Allen putting up a wall of sound that became Mott the
Hoople’s trademark.
Track three is the jaunty “You Are One Of Us”,
followed by the ultimate Rock ‘n’ Roll track “Walkin With A
Mountain”, recorded in one take in a crowded studio. This little rocker
breathes fire. During it’s nearly four minute duration, Overend Watts
breaks two of his bass strings, but carries on regardless, and Buffin
drops a drumstick. But producer Guy Stevens was so excited by the end
result, he refused to allow any re-takes or overdubs, insisting it stay as
it is, capturing the genuine excitement of Rock ‘n’ Roll. Until Mott
the Hoople’s demise four years later, “Walkin With A Mountain” was
to be the final encore, driving the fans into a frenzy. Ariel Bender
joined the band in 1973 and took “Walkin With A Mountain” to new
heights making it his own despite Ian Hunter writing it.
Side two of the L.P. contained potent and powerful
material. The gospel tinged “I Can Feel”, written by Ian Hunter, was
dramatic and majestic with fine bass, tasteful Ralphs lead guitar with
Hunter laying the black side of his soul bare singing:
“So Buy Me Alone
You Can Take Your Flowers Home
For There Ain’t No Peace In This World That I Know
But I Can Feel”
Mick Ralphs manic riffing on “Threads Of Iron”,
with lead vocals shared between Mick and Ian, is possibly the closest Mott
the Hoople ever got to playing heavy metal. Starting out at a jaunty rate
as the song builds towards its climax, the band play harder and harder,
the rhythm section playing with hammers, Verden Allen using his keyboards
to put up that solid wall of Mott the Hoople sound, Mick Ralphs playing
lead guitar as if the devil himself is chasing his fingers, Ian Hunter’s
vocals scream at the end to be heard above it all. Frantic music that
leaves you exhausted at its conclusion as it gently leads into the
album’s final song “When My Mind’s Gone”. This was supposed to be
a spontaneous composition and stream of consciousness song, credited to
Ian Hunter, according to legend recorded by Hunter, under a spell put on
him by Guy Stevens. Whatever, it’s a disturbing piece of music with
Verden Allen laying down some eerie keyboards to fill out the sound behind
Hunter’s vocals and piano. Every time this dog hears “When My Mind’s
Gone” the hair on the back of his shoulders stick up.
“Mad Shadows” was Mott the Hoople’s white album.
A bleak and sometimes chilling document enhanced by its cover (which
received an award at the Art Directors Club of New York 50th Annual
Exhibition) and an extract from Charles Bowdelaivies Flowers of Evil on
the back sleeve, which I leave you with.
Descend the way that leads to hell, infernal plunge in
a deep gulf, where crime’s inevitable flagellated by a wind driven from
skies eternal. Where all your torments, and for all the ages, Mad Shadows
never at the end of your desires shall never satisfy your furious rages,
and your chastisement be born of loveless fires.
Musicians
Ian Hunter - Piano, Lead Vocals
Mick Ralphs - Guitar, Lead Vocals
Overend Watts - Bass Guitar
Verden Allen - Organ
Buffin - Drums
Guy Stevens - Spiritual Percussion, Psychic Piano
Track Listing
1. Thunderbuck Ram
2. No Wheels To Ride
3. You Are One Of Us
4. Walkin’ With A Mountain
5. I Can Feel
6. Threads Of Iron
7. When My Mind’s Gone
To contact Mott the Dog email: [email protected]