Since the release of Ian Hunter’s last proper
album, Yuiorta (1989), a collaboration with Mick Ronson, life had not
been at its kindest to one of England’s leading songwriters. He had to
stand silently as his right-hand man in the music world, and best friend
in the real world, was eaten away by the dreaded cancer. Mick Ronson
worked right up until the illness claimed his life at the tragic age of
46 in April 1993.
For years Ian Hunter was in the wilderness of music,
not having to work as past royalties allowed him to live a comfortable
life, and writers block settled into the Hunter residence. Fortunately
his lethargy was shaken up by Norwegian superstar Casino Steel, who
himself had difficulties writing songs for his new album. He called his
mentor to leave his abode in New York and travel to the artic of
Trondheim, Norway.
When Ian Hunter arrived he found that Casino was not
having trouble writing songs, the fact was, he had no songs at all, but
a twelve day deadline to come up with a complete album. With the help of
such friends as Honest John Plain, Darrell Bath, and ex Sex Pistol Glen
Matlock, they did actually that - produce a good pub rock party album,
eventually titled Ian Hunter’s Dirty Laundry. It was released in
Norway in 1995 and slowly released internationally.
It did have the effect of waking the sleeping talents
of Ian Hunter. He finally went back into the studio with the same team
that recorded Dirty Laundry. Hunter felt comfortable in Norway’s
relaxed air and brought a few old cohorts for company. These were wonder
bassist Pat Kilbride, guitarist Robbie Alter, and for one track long
time friend and Foreigner drummer Dennis Elliot.
The results give us one of Ian Hunter’s most
emotional albums. On many of the songs Ian turns his pen to matters of
the heart, his parents, parenthood, youth, his love of New York, the
afterlife, and derides the tabloid press and death, but this can be a
little painful at times.
The opening song is a ballad, and to be honest, the
pace does not pick up much throughout the album, but the first verse
sets the tone.
“Maybe you don’t want me - I’m so scared of
losing you.
I never miss an opportunity to miss an opportunity.
Watch me screw up this one, too, it’s hard to talk about love.
I’m just leaving now - it’s just
All I ever wanted - was you
Is that to much?”
A touching plea from the heart of Ian Hunter’s love
for his beautiful wife Trudi, but still showing his basic instinct of
insecurity.
The title track and ‘Skeletons (In Your Closet)’
are both throw away Stones acoustic rockers that do give the album some
respite. ’23A Swan Hill’ gets its title from the address that Hunter
spent his formative years living with his parents in a small flat above
the police station, where Ian’s father worked. But with three other
songs dedicated to friends departed, and ‘Resurrection Mary’ about a
ghost who haunts the highways of Chicago, there is not much room for any
of Ian Hunter’s famous rockers.
‘Walk on Water’ is a tribute to Guy Stevens who
had originally taken the fledgling Mott the Hoople (the band Ian Hunter
was in from 1969 to 1974) under his wing when they were first signed to
Island records. Ian describes a little flame, tormented soul, lost in
rock ‘n’ roll that does not come out alive.
‘Now is the Time’ is actually inspired by Ian
playing Wembley Stadium at the Freddie Mercury Tribute concert, which
was also the last time Mick Ronson played live before an audience, doing
‘All the Young Dudes’ with Ian, and ‘Heroes’ with David Bowie.
But the masterpiece of the album is Ian Hunter’s tribute to the
platinum haired Spider from Hull, the guitarist’s guitarist, Mick
Ronson, called ‘Michael Picasso’. Ian Hunter’s emotional voice
glides gently over a sparse arrangement of his acoustic guitar and a
simple string quartet. A truly beautiful song for a beautiful person. A
great tribute to his former partner, directly from the heart.
So, a satisfactory return to the fray. However, it
took another five years for Hunter to return to his classic best with
‘Rant’ in 2002. It was also noticeable that Ian had to use four
guitarists over the album to replace his departed friend.