Mott The Hoople: Live (30th Anniversary Edition) - Disc 1 of 2 CD Track Listing

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Mott The Hoople Live (30th Anniversary Edition) - Disc 1 of 2 (1974)
Live (30th Anniversary Edition) - Disc 1 of 2\n2004 Columbia Records UK\n\nOriginally Released 1974\nCD Edition Released July 1989\n30th Anniversary Edition 2CD Edition Released August 24, 2004\n\nAMG EXPERT REVIEW: (30th Anniversary Edition) Three long decades after the fact, what was once the least impressive album in the entire Mott the Hoople catalog reappears as one of the most significant live albums of the 1970s. A revelation in concert, Mott were nevertheless poorly served by their first (and, for many years, only) live album, as the original plan for a double was swallowed up by corporate nerves and instead emerged a brutally edited single disc, comprising a mere handful of oddly chosen highlights (two hit singles, two non-album B-sides, a nearly side-long medley). It was a disappointment at the time and, as further archival live performances leaked out of the vault during the 1990s and early 2000s, so Live sank even further back in the fans' estimation. But the 30th anniversary edition catapults it firmly to the fore, two magnificently mastered discs not only adding 13 unreleased performances to the original album's eight tracks, but also capturing two legendary concerts nearly in their entirety: the late-1973 Hammersmith show, where the set over-ran so long that the theater owners lowered the safety curtain on the band (keyboard player Morgan Fisher blocked it with his piano); and a taste of the group's triumphant Broadway season six months later. Of these, the effect of the latter might be diminished by the existence of Two Miles from Live Heaven, with its recounting of another gig (Santa Monica) from the same tour -- there is little variation between the two shows, and the California night may actually be a shade more exciting. But still, Broadway found Mott at the peak of their powers and, with the London disc proving equally sensational, the overall weight of the package renders this the one Mott live package that everyone needs to hear. A lot of people, after all, regard them among the most important bands that ever lived. Live: 30th Anniversary Edition tells you why. -- Dave Thompson\n\nAMG EXPERT REVIEW: By 1974, Mott the Hoople was quite possibly the greatest concert band in the world, a blur of high-energy rock, high content poetics, and high camp costuming -- Ian Hunter the tough guy in leather and shades; Ariel Bender the street kid, all satin hat flash; Overend Watts, the freakoid in skyscraper thigh boots; and a live show which out-dressed the lot of them. If any band deserved a live album, it was Mott. And if any live album failed to deliver, it was this one. Today, the album's deficiencies seem less severe. Though the band's Bender era remains considerably less well-documented than the earlier Mick Ralphs period, still live material has poured out from a variety of sources, from the Shades of Ian Hunter compilation to the All the Young Dudes box set, and onto the spring 2001 reissue of Bender's own Floodgates solo album (an excellent version of "Here Comes the Queen"). There's even a quasi-legal fan club release for the 1974 King Biscuit broadcast which remains the highpoint of the band's live career. Live, however, remains the only official document of the glory, and the problems commence on the back cover -- a great shot of the band performing "Marionette" on a stage hung with puppets, when the song itself is nowhere in sight. Two shows recorded five months and two continents apart (London's Hammersmith Odeon in December 1973; New York's Uris Theater in May 1974) are highlighted by just seven songs and one medley. The hits "All the Young Dudes" and "All the Way From Memphis," of course, are present, but the remainder of the track list is bizarre to say the least -- the ballads "Rest in Peace" and "Rose" were British B-sides only, while "Sucker," "Walking With a Mountain," and "Sweet Angeline" were never much more than filler on their own original albums (Dudes, Mad Shadows, and Brain Capers, respectively). The medley is mightier, spanning both Mott's own history, and rock & roll's in general -- who, after all, would deny the band their own exalted place in the lineage which stretches from "Whole Lotta Shakin'" to "Get Back" and beyond (the uncredited snatch of Bowie's "Jean Genie")? But even here, one cannot help but think more must have happened that night than a breakneck assault on a handful more cuts -- and sure enough, it did. The Hammersmith show was the night when the management tried to halt the gig during the closing number, and wound up causing a riot. The liner notes remember it well, but the "Mountain" here was found in New York. It is a great album in its own way, the band are in terrific form, and Bender plays the guitar hero better than anyone else of his entire generation. But Mott gigs, like their albums, were about more than simple snapshots -- that was what made the band so important, that's what made their music so memorable. And that's what the fearfully episodic Live completely overlooks. -- Dave Thompson\n\nAMAZON.COM CUSTOMER REVIEW\nInteresting for Mott-o-philes, March 20, 2006\nReviewer: Mark D. Shewczyk "MDS drum" (Milwaukee, USA)\nI've always liked the original release of this live album from Mott the Hoople, but this goes a bit farther, presenting the complete recordings from two different dates and venues. Good news: some of the new stuff is a delight to hear. Bad news: I can see why drummer Dale Griffin left some of these off the original release. Ian Hunter's singing is often flat and the band is somewhat sloppy compared to a live concert from today. But I suspect that this release is closer to the actual performance than a lot of live recordings done now (with endless studio overdubs). So if you want a powerful live document of Mott the Hoople, warts and all, circa 1974, this is for you!\n\nAMAZON.COM CUSTOMER REVIEW\nThey were the nazz......they were the buzz.........., November 22, 2005\nReviewer: Dazedcat (Earth)\nFirst of all, thanks to Amazon for making this available. As I write this review, this title is still not available here in the U.S.A......go figure. \n\nThe re-mastering of this release is worth the purchase price alone. The original tracks from the '74 live album sound better than ever and the unreleased songs have an amazingly live ambient feel to the mixing; it's like going back in a time machine hearing the band play in real time, the sound is that good. As to the performances themselves; you're hearing a band that's been through crisis after crisis, losing founding members, changing record labels (getting thrown off their old one actually), finding themselves still standing and more popular than ever and playing in top form. I've read article after article where Hunter criticized Luther Grosvernor for having little originality in the studio, not having good chemistry with the other band members onstage or off, and yadda yadda yadda. Whatever. All I know is what I hear on this album......and what I hear is a band being propelled not by the original members so much as by their last minute substitute guitar player. I always felt that the original Mott Live was Grosvenors' showpiece LP as much as it was Motts'. This re-issue just confirms my original feelings. Listen to his playing on "Memphis", "Marionette",The Uris medley, "Born Late '58", the fabled sixteen minute Hammersmith medley and the Hammersmith "Walking with a Mountain". Pure turbo-charged rock and roll, high energy and in your face playing. It's no wonder audiences on both sides of the Atlantic were blown away by this version of the band. His slide guitar on "Born Late '58" is like discovering buried treasure.....his mutant Chuck Berry riffing on the Hammersmith "riot" take of Walkin' With A Mountain moved an audience to trash the place. Buffin, Overend, Hunter and the new keyboard player Morgan Fisher were all wonderful in their own right, but good God.....Ariel freakin' Bender! I only hope Grosvenor got a nice fat royalty check for this re-issue.......he sure deserves it. \n\nIf there is any weak criticisms to be had, I feel that the version of "One Of The Boys" from the Uris is a bit too keyboard heavy (piano solo and all) and listening to "Hymn for the Dudes" without those glorious backing vocals (as found on the Mott lp) leaves a big hole in that particular tune....but hey that's how it was played live. The liner notes are terrific and the general packaging and photos are all done extremely well. Mott re-issues all deserve such loving care. \n\nSo if you're a long time fan or a relative newbie....make the purchase and strap yourself in. Mott was one of the finest rock bands that ever existed, and here's your proof. In fact to a few of us, Mott was pretty much everything.\n\nAMAZON.COM CUSTOMER REVIEW\nThe Great Lost Band of the 70's, September 30, 2004\nReviewer: P. Morand "PJM" (Knoxville, TN United States)\nWhy did Mott the Hoople not become the preiminent band of the 70's? Was it "the suits and the platform boots"? Was it Ian Hunter's pronounced English-accented singing voice? Did the David Bowie-Dudes connection doom them to an obscure corner of musical genre? It certainly wasn't the playing, or the song writing. This was a band that delivered in the studio (especially on "Mott" and "The Hoople")and, as (finally)chronicled here, in concert. Great songs coupled with crackling, chaos-is-around-the corner energy made this a group that any aspiring rock musician would love to have been a part of. There are only a handful of truly "great" bands to have emerged from the long lost 70's. Mott the Hoople was one of them, and we in turn lost them all too soon. If you have doubts, these two CDs will dispell them. "All The Young Dudes" live on Broadway bulldozes the original studio version, but the highlight of the entire set has to be the medley at the end of CD2 (Hammersmith). Who could match Mott's musical mayhem back then? No one. And very few bands today come even remotely close. \n\nAMAZON.COM CUSTOMER REVIEW\nMAXIMUM MOTT, June 22, 2004\nReviewer: rannman "rannman" (Knoxville, TN USA)\nThis 2 CD Live expanded release celebrates the 30th anniversary of Mott The Hoople's Broadway concert at the Uris Theatre (now The Gershwin Theatre)in New York City in May 1974. CD 1 is the Broadway show which is harder edged and sharp, and CD 2 is the Hammersmith Odeon show from London in December 1973, which is powerful but with a warmer feel. The original album in 1974 had only a part of each show, and the new release has 13 previously unreleased live tracks. There is a 24 page colour booklet, new liner notes, and previously unseen photos. The rock group Queen was a support group to Mott The Hoople, and the group Led Zeppelin came to see Mott The Hoople at the Broadway show. I saw Mott The Hoople at a concert in Knoxville, Tennessee, in 1974, and hearing this new double live CD brought back fond memories. The concert I saw is in my top 3 all time favorite concerts. Mott The Hoople was the first rock band to play Broadway, and the sound on this new release is improved from the original. CD 1 (Broadway)lasts 64 min. 56 sec., and CD 2 (Hammersmith) lasts 60 min. 8 sec.\n\nHalf.com Album Notes\nMott The Hoople: Ian Hunter, Ariel Bender (vocals, guitar); Morgan Fisher (vocals, piano); Overend Watts (vocals, bass); Dale Griffin (vocals, drums); \nStan Tippins (vocals); Blue Weaver, Mike Bolton (organ).\n\nRecorded live at The Uris Theatre, New York, New York on May 9, 1975. \nIncludes liner notes by Martin Hayman and Ben Edmonds.\n\nDigitally remastered and expanded edition of this great live Rock N Roll recordings of the 1970's that were taped in December 1973 at The Hammersmith Odeon and on Broadway in New York in May 1974. Liner notes of this edition were written by Queen's Brian May, whose band toured with Mott as the opening act just prior to their own monumental commercial breakthrough. The set includes 13 previously unreleased tracks (10 that were not included on the original album and 3 "rough mixes" from the sessions) plus deluxe booklet with enhanced cover art and special photos.
This rock cd contains 13 tracks and runs 64min 58sec.
Freedb: ba0f380d
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