Tuesday, July 4, 2017

Mott The Hoople 5: All The Young Dudes

The legend is usually more interesting than the truth, and this very much applies to the phoenix-like return of Mott The Hoople. Having become frustrated with their career path to date, the band grumbled to David Bowie, then having just exploded with the Ziggy Stardust album. He gave them a little song called “All The Young Dudes”, and Mott followed the demo to the note, but with the key embellishment of Ian Hunter’s asides during the choruses and over the fadeout. Suddenly they had a hit, were mistakenly labeled glam rock, and saw their ensuing fifth album, produced by Bowie, become a major worldwide smash.
The thing is, if not for the lead vocals, All The Young Dudes sounds more like a Bowie album than a Mott album. For one thing, the producer insisted on adding his own saxophone honking throughout. Also, his backing vocals are unmistakable, as are the synched acoustic and electric rhythm touches. The string arrangements are better matched to his albums, or even Lou Reed’s Transformer, Bowie’s other grand resuscitative gesture that year. Just to muddle the lineage, the album opens with their own tame cover of “Sweet Jane”.
Things get back to the Stonesy crunch for “Momma’s Little Jewel” and “Jerkin’ Crocus”. “Sucker” has potential, but again, belies the Bowie touch. “One Of The Boys” takes a while to get rolling, bracketed by a ringing telephone for some reason, and features a riff that Mick Ralphs would soon recycle for the opener on the first Bad Company album. Speaking of which, “Ready For Love” appears here, in a too-long version that entails both an alternate chorus and the subtitle “After Lights”. Despite the ill-advised strings, “Sea Diver” is another Ian Hunter weepie, and welcome to these ears.
The title track notwithstanding, and Verden Allen’s lead vocal on “Soft Ground” conjuring Bon Scott at his wackiest, All The Young Dudes is at its best whenever his wheezing organ dominates the mix. After all, a band’s biggest hit isn’t necessarily its best album. (For a wider picture, the eventual expanded CD added some early Bowie-less rough drafts, a couple of live versions from a year after the album was released, and an alternate mix of the hit single with Bowie himself singing the verses against Ian’s usual chorus.) At least Mott was given a chance to keep going, and they would, and did.

Mott The Hoople All The Young Dudes (1972)—3
2006 remastered expanded CD: same as 1972, plus 7 extra tracks

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