Mott the Hoople
Columbia PC 32871
Released: April 1974
Chart Peak: #28
Weeks Charted: 23
Has success spoiled Ian Hunter? Last year's Mott received and deserved much acclaim. It seemed a post-glitter breakthrough, debunking superstardom and demythologyzing rock: "Rock 'n' roll's a loser's game." But since then Hunter and Mott the Hoople have themselves become stars, and unfortunately they appear to have lost the detached perspective which distinguised Mott. Instead of self-awareness, The Hoople offers self-pity; instead of insight and irony, it purveys the cheap histrionics of Alice Cooper. Where Mott's "Violence" dramatized with with and understanding the thuggery of frustrated street punks, The Hoople's "Crash Street Kids" mindlessly flaunts it. Likewise, "The Golden Age of Rock 'n' Roll" and "Through the Looking Glass" on The Hoople vulgarize the more discerning "All the Way from Memphis" and "Hymn for the Dudes" on Mott. The earlier songs exposed rock's shabby evanescence and lack of authenticity, but they also arrived at a joyful, though tempered, affirmation of the music. The Hoople's debased replicas are less perceptive as well as more dispiriting.
Becuase it's so unlike the rest of the album, "Trudi's Song" is the most arresting track. A simple, guileless and lovely tribute to Hunter's wife, it echoes Dylan's "She Belongs to Me"; it rings strinkingly true, without hokum. Its heartfeltness is in contrast to much else on The Hoople. Except for a silly instrumental break, "Alice," a variation of Mott's "Whizz Kidd," also stands out, both for its masterful vocal (somehow Hunter's singing seems all the more inspired the more it sounds like a cockney Dylan) and its account of fellatio on 42nd Street. The Hoople's best lyric, it evokes a Britisher's complex response, at once leering, loving, bemused and repelled, to Lou Reed's New York. Parts of "Pearl 'n' Roy (England)" -- about the political and economic collapse of Hunter's homeland -- are equally vivid.
Yet fine as these songs are, The Hoople cannot compare to its predecessors, Mott and All the Young Dudes. Let's hope Mott snaps back quickly.
- Ken Emerson, Rolling Stone, 6/20/74.
One of Great Britain's premier hard rock bands and pure fun congregations is back with their most ambitious project yet, and unlike many rockers who decide to add a little sophistication, the changes here work marvelously. There is, of course, the familiar chugging guitar and pure rock voice of Ian Hunter and the fine guitar of Ariel Bender. But there are also some fine female background vocals, some excellent slow songs which show a sensitivity previously lacking in the group and an all around selection of top material spaced perfectly throughout the set and designed to appeal to the taste of every rock fan. Hunter may still sound like Dylan in spots, but when all is said and done, this should be the LP recognized as Mott's coming into their own. Best cuts: "Crash Street Kids," "Born Late 58." "Through the Looking Glass," "Roll Away The Stone."
- Billboard, 1974.
"Roll Away the Stone" and maybe "Golden Age of Rock 'n' Roll" are classics in their neoclassical mode, which is also to say they're nothing new, and the marginal stuff is quite undifferentiated. I suspect that Ian Hunter's ego, which he deserves, is crowding out the others. And I know for sure that Ariel Bender flashes more ego than Mick Ralphs ever did, and that he deserves none of it. B
- Robert Christgau, Christgau's Record Guide, 1981.
The Hoople is the final album with Hunter. * * * *
- Leland Rucker, Musichound Rock: The Essential Album Guide, 1996.
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