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Mott

Live

LP, Remastered

Mott the Hoople Format: Audio CD
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Titelverzeichnis

1 All The Way From Memphis (Album Version)
2 Whizz Kid (Album Version)
3 Hymn For The Dudes (Album Version)
4 Honaloochie Boogie (Album Version)
5 Violence (Album Version)
6 Drivin' Sister (Album Version)
7 Ballad Of Mott The Hoople (Album Version)
8 I'm A Cadillac/El Camino Dolo Roso - Album Version: I'm A Cadillac - Album Version / El Camino Dolo Roso (Album Version)
9 I Wish I Was Your Mother (Album Version)
10 Rose (Album Version)
11 Honaloochie Boogie (Demo Version)
12 Nightmare (Demo)
13 Drivin' Sister (Live Version)

Produktbeschreibungen

LP: Chuck Berry, Fats Domino,The Giants Of Rock'n Roll - Die Super-Hits Der Gro

Produktinformation

  • Auslaufartikel (Produktion durch Hersteller eingestellt) ‏ : ‎ Nein
  • Produktabmessungen ‏ : ‎ 14,27 x 12,5 x 0,84 cm; 108,86 Gramm
  • Hersteller ‏ : ‎ Col (Sony Music)
  • Modellnummer ‏ : ‎ 827969381021
  • Erscheinungsdatum ‏ : ‎ 2006
  • SPARS-Code ‏ : ‎ DDD
  • Label ‏ : ‎ Col (Sony Music)
  • ASIN ‏ : ‎ B000E6EJA2
  • Herkunftsland ‏ : ‎ Deutschland
  • Anzahl Disks ‏ : ‎ 1
  • Kundenrezensionen:

Kundenrezensionen

4,6 von 5 Sternen
4,6 von 5
267 weltweite Bewertungen

Spitzenbewertung aus Deutschland

Michel Lemarquis
5,0 von 5 Sternen Bestrock
Rezension aus Deutschland vom 14. März 2008
An alle Rockfans der 70er,
es gibt nicht mehr viele gute Rockklassiker,jedoch sind genau diese zum Glück nicht auf der Strecke der Langeweile liegengeblieben,bei diesem Album von Mott the Hoople handelt es sich um eine Mischung aus Rock und Blues wobei noch ein paar schöne Balladen sich ebenfalls darauf befinden,Ian Hunter hat mal wieder sein Bestes gegeben, dieser Mann ist einfach ein wahrer Könner der Musik,ich kann diese CD nur empfehlen zumahl Ton und Qualität sehr gut sind,also nicht zögern sondern kaufen und geniessen.
9 Personen fanden diese Informationen hilfreich
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Spitzenrezensionen aus anderen Ländern

Alle Rezensionen ins Deutsche übersetzen
Steve Scott
5,0 von 5 Sternen Excellent!
Rezension aus Kanada am 10. Mai 2024
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Rolling Stone claimed this album was one of if not the finest album & band of the early 70's. I dont know that I'd go that far but its absolutely one of the very best from the era, and one that is as relevant today as it was then. Aged beautifully & you also get some Bonus Tracks which is a nice perk. Back to front, the albums superb with maybe 1 track that I always thought a bit "off" or "iffy" but beyond that, fabulous!
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Leo
5,0 von 5 Sternen Bellissimo
Rezension aus Italien vom 11. Juli 2019
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Un bellissimo album, poi il brano "Hymn for the dudes" giustifica in pieno il suo acquisto.
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Mike Davey
5,0 von 5 Sternen One of the great albums
Rezension aus dem Vereinigten Königreich vom 17. Oktober 2014
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This is rightly considered to be one of the great rock records and is one that I have always loved.

I saw the band 2 years before the release of this classic album and they were incredible live. This has the feel of a live album for the point of view of the energy, tight musicianship and sheer determination on the part of all the musicians to make this as superb as it is.

Ian's lyrics are among the most wry and honest he ever produced - a slightly jaundiced view of the rock world but I guess ultimately enjoying the benefits brought by the massive up turn in their career, helped by Bowie;s famous injection of All The Young Dudes.

The album has a swagger that is hard to match, allied to superb playing and a clear joy in delivery. I never get tired of listening to this and it puts a lot of other acts to shame. Mott were never as good. From earlier albums, my favourite of Brain Capers but I love this record. The bonus tracks are just that - a welcome bonus, especially Rose.
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tasuke1984
5,0 von 5 Sternen ラルフス・ファンの偏ったレビューです
Rezension aus Japan vom 6. Juli 2016
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バンドをやめようか存続させようか迷っているときに、助っ人デビッド・ボウイによって自らの商品性をはっきり悟った。これが前作「オール・ザ・ヤング・デューズ」です。続く今作では、イアン・ハンターが過剰なぐらい「イアン・ハンター」を演じているアルバムです。73年。ハンターの商品性とは、ロックンロールでやさぐれた自分を派手にさらけ出すというもの。また市場がボウイ、ブライアン・フェリーに続くアイコンを求めていた事情もあったと思います。アンディ・マッケイも参加する1. All The Way From Memphisを聴いていると、フープルを聴いているのかロキシーなのか混乱してきます。

困ったことに、これによってわたしの大好きなミック・ラルフスが浮いてしまった、というか沈んでしまっていると言わざるをえません。ハンターの調子はずれも関係ないぐらいブギしまくっていたのが初期の彼らの持ち味でしたのに。3. Hymn For The Dudesでは、ラルフスの、ためのきいた揺さぶるようなギターが聴けます。でももっと激しくやってくれ、がわたしの本音です。中で6. Drivin' Sisterが名曲。へたに曲をいじるより、このぐらいストレートなほうが彼らの持ち味に近いです。

結局ハンターとラルフスは両立しませんでした。これによってバッド・カンパニーができたのだから、わたしはハンターに感謝しないといけないのかもしれません。
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Thomas Plotkin
5,0 von 5 Sternen Lionhearts
Rezension aus den Vereinigten Staaten vom 10. Oktober 2009
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This band was quite possibly the greatest UK hard-rock band of that country's hard-rock hayday,the post-Beatles, pre-punk epoch of '68 to '75. This is paradoxically because unlike contemporaries like Zeppelin and Black Sabbath,they did not have a "sound,"stylistically they were an ever-mutating wonder, but always with a consistent attitude,somewhere between a beery shout, a punky sneer, and a rueful laugh, all the while kicking up the most hellacious racket imaginable. This 1973 album,their last but one, is their artistic summit and testament, all cylinders firing.

Mott were the brainchild of mad producer Guy Stevens, who sought to fuse the sound of Blond on Blond era Bob Dylan with the attack of Beggars Banquet-era Rolling Stones; to this end, in 1969 he hooked up four mates from Hereford, guitarist Mick Ralphs, drummer Dale Griffen, bassist Overend Watts and organist Verden Allen with a 30 year old (which in 1969 made him Methusaleh as a frontman)weirdo named Ian Hunter, a corkscrew-curl-maned, never-without-his-Foster Grants pianist/singer songwriter who possessed a Dylan-esque sneering wheezy mewl without parallel, a proclivity for baiting audiences to acts of mayhem, and a fantastic gift for his own neo-beat lyrical coinages. In a few short months, they became, alongside the Faces, England's premier live band, with a fanatical following,whose gigs became legendary loci of riots, causing rock acts to be banned from places like Albert Hall, and town councils creating limits on decible levels.

None of this excitement translated to chart action; this is because their conduct in the studio, under the tutelage of the demented Stevens,was as chaotic as their live shows. Their first four albums were on Island.The eponymous debut unleashed the Blond on Blond/Beggars Banquet template nicely musically, but was lyrically lacking; only Mick Ralph's boogieing Rock and Roll Queen and Hunter's astounding assault on Sonny Bono's Laugh at Me (!) hinted at what they could do. Second Island album Mad Shadows was a descent into dark, caterwauling thrash,leavened only by Ian's fabulous metaphysical Chuck Berry rave-up "Walkin' With The Mountain;" the record was done live in the studio, and the band fired Stevens because a squeaky drum foot pedal is so audible throughout,it becomes all one can focus on.The record is an acquired taste, it sounds like Procul Harum after a stint in asylum, with Ian literally improvsing his doomy lyrics at the mike, a la John Cale in the same period. I love it. Wild Life was self-produced,and is a hippy acoustic idyll. Pleasing, but atypical,and it stiffed. On the verge of breaking up due to their inability to chart,they called Stevens back in and recorded their first 100% classic, album 4, Brain Capers. Many have argued that UK punk starts here, with the ferocious cackle that opens the first track,"Death May Be Your Santa Claus," wherein a band on the skids assaults its audience for having the temerity not to buy their records, and then crowing on "The Moon Upstairs" "...We're not feeding you/We're bleeding you/But your're too f*ing slow...And for all of you who always laughed/Let this be out epitaph!" Then they broke up.

Then a few months later, in late 1972,superfan David Bowie rescusitated them by gifting them with a song of his,"All The Young Dudes." Penned as a gay anthem, Mott seized the song and made it their own, a devastating hymn-like ode to a wasted generation stuck between the hippy era they didn't belong to, and an adulthood they cannot face. "The television man is crazy/says we're juvenile delinquent wrecks/I need TV but I got T. Rex..." The song charted magnificently, Bowie pruned their sound to a lean Stonesy roar for the subsequent album, and they rode the glam wave to a place in the sun. Then they collapsed AGAIN.

The relentless touring to support Dudes took a massive toll, as Ian was forced into the spotlight as a "leader," wrecking the ecology of the group dynamic, and organist Verden Allen quit. Finding the stardom they had hungered for so long may have been a devil's bargain, they found their subject and cut the record under review,their very best. "Mott" is half rave up rockers about the rock and roll life,and half introspective ballads about getting what you wanted, but losing what you had. It's the most poignant record about the odyssey of a band and its fans ever wrought, and it closes with Ian's most haunting ballad, "I Wish I Was Your Mother," delineating what its like to be locked in a mutually destructive relationship with a loved one: it is hard to tell whether its sexual,or about what was going on within Mott, or about Ian's attitude to the audience -- perhaps all three. After the recording of the LP, guitarist Ralphs quit. The band struggled on to record the arty-glammy "The Hoople," and with their final single,"Saturday Gigs" kissed their audience goodbye and called it quits in '74.

...then last week the original line-up, minus drummer Griffin,who is ill, reunited for the first time in 35 years at the scene of many past triumphs,the Hammersmith Odeon (now Apollo). Originally set for two nights, instant sell-outs expanded the run to five. I was lucky enough to be there for two of the five shows, along with Jimmy Page, Mick Jones of the Clash, Joe Elliot and numerous other luminaries and veterans of legendary Mott gigs reaching back to 1970. I expected the worst, but they were phenomenal. Ian said he wanted to do the shows to see if the magic was still there, and the beauty was, they sounded like a band. They raved up,hoed down,but best of all, the wistful ballads about their parlous career state, "Ballad of Mott," "Hymn for the Dudes," "Saturday Gigs," gained immense poignancy with the passage of four decades("I wish I hadn't wanted then what I want now twice as much..."). Ian at SEVENTY possessed a leonine roar and capered about the stage with the energy of a man half his age, Ralphs spat out those fat, trebly solos of yore effortlessly, Verden battled Mick's guitarwith his Hammond organ, and Overend was a giant ham, wading in among the audience and doing his best to upstage his mates, taking a great sneering laddish vocal on "Born Late '58," and basking in the applause when Ian sang the line from Ballad of Mott "...and Overend is just a rock 'n roll star..." This was a reunion with a reason for being. I found I was singing along with every lyric. On returning stateside, I bought their whole catalohg, my vinyl having disappeared in the '90's. Fresh listening confirmed "Mott" is their classic, but the great might-have-been loser band of the '70's,who made their defeat their subject matter, are worth exploring in depth.
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