After Mott the Hoople’s
first album had been recorded, before
the band had even played a live concert,
this diamond of a rock collection was
recorded in 1970 after some nearly 200
concerts including their first tour of
America. (Putting this into perspective
is the fact that it was released eleven
months after their debut. Can you imagine
any of today’s so called bands equaling
this work rate?)
By now Mott the Hoople were one of the
most popular working bands on the British
Circuit (playing such diverse gigs as
Friday – Hartlepool Grammer School, Saturday
– Kirklevington Country Club… where is
Kirklevington? Know where it is? I can’t
even spell it! Sunday – Oswald Hotel Scunthorpe)
causing riots wherever they went with
their outrageous brand of rough tough
Rock ‘n’ Roll. A year later when the band
played London’s prestigious Albert Hall,
the crowd reaction was so great that in
fear the hall’s management cancelled all
rock concerts for the next sixteen years.
By now Mott the Hoople were a great Rock
‘n’ Roll band, capable of taking on anybody;
on their night the best Rock ‘n’ Roll
band in the world.
“Mad Shadows” captures a lot of what Mott
were about live on stage. (“Mad Shadows”
was originally going to be called “Sticky
Fingers”. However, the story goes that
Mott the Hoople’s producer and mentor
Guy Stevens gave it to the Rolling Stones,
who were using the same studio. Hence
the coda of “Jumpin Jack Flash” at the
end of “Walkin With A Mountain” as Mick
Jagger was in the studio when Mott laid
this one down.)
The album opens with Mick Ralphs stunning
“Thunderbuck Ram”, a song that was going
to became the cornerstone of the middle
of Mott the Hoople’s live set for the
next couple of years. Although stamped
like a stick of rock with Mott the Hoople
all the way through it, this song showed
the way that Ralphs was leaning and would
later be showed to its full effect in
“Bad Company”. Second song, “No Wheels
To Ride”, the first of three Ian Hunter
songs that filled up the original first
side of the Vinyl edition of “Mad Shadows”,
shows off all the facets of Mott the Hoople
as it builds from its gently piano led
opening until its dramatic closing section
with Verden Allen putting up a wall of
sound that became Mott the Hoople’s trademark.
Track three is the jaunty “You Are One
Of Us”, followed by the ultimate Rock
‘n’ Roll track “Walkin With A Mountain”,
recorded in one take in a crowded studio.
This little rocker breathes fire. During
it’s nearly four minute duration, Overend
Watts breaks two of his bass strings,
but carries on regardless, and Buffin
drops a drumstick. But producer Guy Stevens
was so excited by the end result, he refused
to allow any re-takes or overdubs, insisting
it stay as it is, capturing the genuine
excitement of Rock ‘n’ Roll. Until Mott
the Hoople’s demise four years later,
“Walkin With A Mountain” was to be the
final encore, driving the fans into a
frenzy. Ariel Bender joined the band in
1973 and took “Walkin With A Mountain”
to new heights making it his own despite
Ian Hunter writing it.
Side two of the L.P. contained potent
and powerful material. The gospel tinged
“I Can Feel”, written by Ian Hunter, was
dramatic and majestic with fine bass,
tasteful Ralphs lead guitar with Hunter
laying the black side of his soul bare
singing
“So Buy Me Alone
You Can Take Your Flowers Home
For There Ain’t No Peace In This
World That I Know
But I Can Feel”
Mick Ralphs manic riffing
on “Threads Of Iron”, with lead vocals
shared between Mick and Ian, is possibly
the closest Mott the Hoople ever got to
playing heavy metal. Starting out at a
jaunty rate as the song builds towards
its climax, the band play harder and harder,
the rhythm section playing with hammers,
Verden Allen using his keyboards to put
up that solid wall of Mott the Hoople
sound, Mick Ralphs playing lead guitar
as if the devil himself is chasing his
fingers, Ian Hunter’s vocals scream at
the end to be heard above it all. Frantic
music that leaves you exhausted at its
conclusion as it gently leads into the
album’s final song “When My Mind’s Gone”.
This was supposed to be a spontaneous
composition and stream of consciousness
song, credited to Ian Hunter, according
to legend recorded by Hunter, under a
spell put on him by Guy Stevens. Whatever,
it’s a disturbing piece of music with
Verden Allen laying down some eerie keyboards
to fill out the sound behind Hunter’s
vocals and piano. Every time this dog
hears “When My Mind’s Gone” the hair on
the back of his shoulders stick up.
“Mad Shadows” was Mott the Hoople’s white
album. A bleak and sometimes chilling
document enhanced by its cover (which
received an award at the Art Directors
Club of New York 50th Annual Exhibition)
and an extract from Charles Bowdelaivie's
'Flowers of Evil' on the back sleeve,
which I leave you with.
Descend the way that leads to hell, infernal
plunge in a deep gulf, where crime’s inevitable
flagellated by a wind driven from skies
eternal. Where all your torments, and
for all the ages, Mad Shadows never at
the end of your desires shall never satisfy
your furious rages, and your chastisement
be born of loveless fires.
Pawed by Mott The Dog
Remastered by Ella Crew
E-mail: review@mott-the-dog.com
