The Ballad of Mott the Hoople, a documentary about the band, is a movie that I'm looking forward to seeing. It's playing at various festivals and things at the moment, as far as I can tell, so I'm hopeful it'll have some form of general release soon. We'll see.

Mostly because of the presence of Ian Hunter, who wrote Diary of a Rock and Roll Star (1974) and many songs about the band's adventures, Mott obtained the reputation of a band that was self-aware, clever, literary. And many have noticed the apparent contradictions that they embodied - the rock star attitude combined with self-deprecating irony - they gave people a lot to think about. Here's a link to a great video of the band (but without Mick Ralphs, unfortunately) doing their wonderful hit, "Roll Away the Stone", on Top of the Pops (http://www.youtube.com/watch?v=_CFUuN__7tE) in late '73. The expression on Hunter's face right before the vocal says it all: Rock and roll is both serious and fun. Then he sings right over his lip-sync. (I have no idea what the intro before the song is about, though).

I mentioned Merle Haggard the other day (in a post on Gram Parsons) and it occurred to me that I once saw him on television talking about how difficult it was for older artists to get their material heard these days in an increasingly superficial mass-media culture. And it's really too bad because many popular music artists continue to grow and explore well past the age that people wrongly consider the prime years (i.e. the twenties and thirties). Music, like everything else, should be judged on merit, quality, substance, intention. People who dismiss the work of older artists for no reason other than prejudice are either wrong or trying to sell something that can't be bought.

This brings me to today's subject: Ian Hunter's Man Overboard (2009) is a masterpiece that should be heard by everyone who cares about rock and roll, and "Arms and Legs" is one of the most powerful love songs he's written (which is saying a lot): http://www.youtube.com/watch?v=TNd4R0yNPm4

I've mentioned several times that honesty is one of the main things that I look for in an artist, and I was reminded of that again recently when I finally got around to listening to Ian Hunter's dazzling 2009 release, Man Overboard. I guess I had been listening to so much Mott the Hoople as I followed their surprise reunion via the internet that I ended up putting off hearing his latest album. Well, I was wrong to do so - it's great, one of his best, and it'll be in heavy rotation on my CD player for the foreseeable future. OK, now back to the point about honesty. The first track is called "The Great Escape" and it tells a vivid story, about running away from a fight with a thug, that is rare in its candor - most rock singers refer to themselves as if they're comic book characters (or something) who never back down from anything. Well, that's quite simply not the the way things really are, no matter how much some might pretend otherwise, and to put it simply, violence is the lowest form of human behaviour. Hunter's truthfulness has always set him apart, and it's always been at the center of his songwriting power. Man Overboard shows that he's continuing to prove it into his seventies. Lyrics: http://lyrics.wikia.com/Ian_Hunter:The_Great_Escape. Song: http://www.youtube.com/watch?v=VoA2OJf5aRQ

Bob Dylan, as a vocalist, is hugely important. First of all, his rhythmic delivery is awesome. Listen to "Like a Rolling Stone", for example, where his singing is easily the most powerful timekeeper in the group. Also, the melodic contours that he finds are not the usual ones. Try singing "It's All Over Now, Baby Blue", and you'll see what I'm getting at. Third, he makes us consider what we are getting from listening to a singer. For instance, many people who see him in concert are astonished at how he changes the phrasing and melodies of his songs, almost to the point where they are unrecognizable - one of the main reasons that he does so is a simple one: he doesn't want the crowd singing along with him. And finally, in terms of influence, leaving aside the obvious examples (virtually any "singer-songwriter"), the rockers Lou Reed, Ian Hunter and Bryan Ferry are directly and deeply in his debt as vocalists. Listen to "Prominent Men", "Sweet Angeline", and "Virginia Plain" for evidence. I don't know about you, but I don't even want to imagine a world without The Velvet Underground, Mott the Hoople, and Roxy Music. Could these groups have existed without Dylan? The answer, my friend... (Suggested listening: "Queen Jane Approximately")

Further to yesterday's discussion of Ian Hunter, the lyrics to "Irene Wilde" from All-American Alien Boy (1976) are both straightforward and profound. It's a story of early rejection, sorrow and eventually, resolution. Yesterday, I mentioned Hunter's honesty. Here's an example: according to what I've heard, Irene Wilde is the real name of the person involved (hence: "Smile through your shock/ As you hear your name aloud"). Like many of his words and opinions, this decision may leave us uncertain as to whether we like him at that particular moment, but the fact that he makes the honest choice (not simply the one that puts him in the best light) is a large reason for the longevity of his work. Ultimately, the song leaves the listener with a useful thought: "And I think most folks agree/ A little put-down makes them see/ They ain't no chain, they're just a link/ And that's why you made me think/ I'm gonna be somebody, someday". I hope every teenager hears this song.

The album's title track was about a more recent upheaval in the singer's life: his move to America. It deals with culture shock, bewilderment and more. (It also contains one of the more sophisticated political comments found in a rock song: "Don't wanna vote for the left wing/ Don't wanna vote for the right/ I gotta have both/ To make me fly". The sophistication comes from the realization that maybe a system with opposition and debate, rather than one party having all the power, is most likely to produce freedom - radical as that may sound to some.) The song ends with lists of all types of Americana in a very funny Dylanesque ramble. It also features one of the greatest solos ever put on a rock record by the incomparable bassist, Jaco Pastorius, as well as stirring contributions from David Sanborn on sax, and Gerry Weens on guitar. But throughout the song and album, it's Hunter's intellectual and emotional honesty that sets the tone. Musically and lyrically, it's a great album. Listen to it, and read the words.

There is some debate as to whether Mott the Hoople ever realized their potential in the studio - their reputation as a live act was immense. I can't comment: I've never seen them, but I do like their albums, a lot. My favourite is the one called Mott (1973) as it contains some of their best and most poignant songs. Two lyrics stand out for me, both dealing with life as a rock and roller: "All the Way from Memphis" and "The Ballad of Mott the Hoople". The songs show Hunter's ambivalent feelings about his life and career choices, but ultimately he comes to an understanding, of a sort: "Rock and roll's a loser's game/ It mesmerizes and I can't explain/ The reason for the sights and for the sounds/ But still the greasepaint sticks to my face/ So what the hell, I can't erase/ The rock and roll feeling from my mind". His music has kept that feeling in the minds of many.

The word "sentimental" gets thrown around a lot when discussing poetry and song lyrics. I'm not sure that it's always used correctly. For me, the best way of understanding the term (in its derisive sense) is when an artist says nothing new about a subject, or worse, something everyone already agrees with, and the listener is not provided anything fresh or useful. There's nothing to learn, nothing to think about. For example, understanding the true nature of the rock and roll experience is a complex task - an artist that can help in that regard is rare. Not to put too fine a point on it, but most songs written about rock and roll are dumb, dishonest or both.
This brings us to today's subject: Ian Hunter and Mott the Hoople. Mott the Hoople was one of those bands that did not achieve great popular success during their time, but made huge contributions to the field itself. Groups as divergent as Queen and The Clash would agree on their importance and influence. Ian Hunter, the group's singer and primary songwriter has had a career (with, and for the most part, without Mott) that has spanned six decades. He recently turned 71 (!) and continues to record and tour. (Incidentally, Mott the Hoople recently reunited for a series of London concerts in October, 2009 and got big reviews for them.) And the main reason for his longevity and influence is that his songs are honest. Two albums contain all the supporting evidence this statement needs: Mott (1973) and All-American Alien Boy (1976). Robert Frost once said something along the lines of "90% of writing is having something to say". Tomorrow, I'll try to convince you that Ian Hunter did and does.