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Mott The Hoople

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Page Artiste Mott the Hoople


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Détails sur le produit

  • CD (1 janvier 2003)
  • Nombre de disques: 1
  • Label: Angel Air
  • ASIN : B0000AJ5T7
  • Moyenne des commentaires client : 3.0 étoiles sur 5 1 commentaire client
  • Classement des meilleures ventes d'Amazon: 136.655 en Musique (Voir les 100 premiers en Musique)
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Liste des titres

Disque : 1

  1. You Really Got Me
  2. At The Crossroads
  3. Laugh At Me
  4. Backsliding Fearlessly
  5. Rock & Roll Queen
  6. Rabbit Foot & Toby Time
  7. Half Moon Bay
  8. Wrath & Wroll
  9. Ohio (Bonus Track)
  10. Find Your Way (Backtrack Demo) (Bo Us Track)

Descriptions du produit

Descriptions du produit



Medium 1
You Really Got Me
At The Crossroads
Laugh At Me
Backsliding Fearlessly
Rock And Roll Queen
Rabbit Foot And Toby Time
Half Moon Bay
Wrath And Wroll
Bonus Tracks:
Ohio
Find Your Way

Critique

Le premier album de Mott The Hoople s’ouvre sur une version instrumentale débridée du « You Really Got Me » des Kinks suivie de deux autres reprises, « At The Crossroads » de Doug Sahm (sonnant exactement comme un inédit de 1965 de Dylan) et « Laugh At Me » de Sonny Bono (oui, celui de Cher) encore plus dylanienne, si c’est possible.
Dans la foulée déboulent deux originaux de très grande classe, « Backsliding Fearlessly » de Ian Hunter (ressemblant très fortement au « The Times They Are A’ Changing » de vous-savez-qui…) et le fameux « Rock And Roll Queen » de Mick Ralphs, premier grand classique du groupe.
Entre deux instrumentaux particulièrement débridés, les deux leaders unissent également leurs efforts sur la superbe ballade « Half Moon Bay », faisant de ce disque une incontestable réussite, restée malheureusement quelque peu méconnue du grand public, à redécouvrir d’urgence.

- Copyright 2015 Music Story


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Par Eminian TOP 500 COMMENTATEURSVOIX VINE le 9 mars 2011
Format: CD Achat vérifié
Le groupe anglais Mott The Hoople est né en 1969 formé de Ian Hunter (Chanteur et auteur-compositeur), Mick Ralphs (guitare), Verden Allen (orgue), Overend Watts (basse) et Buffin (batterie). Groupe des années 70 à l'existence chaotique, il culmine entre 1972-1973 comme un digne représentant du Glam Rock (paillettes et plateform-boots) grâce à l'aide de David Bowie qui leur refile un titre impeccable All The Young Dudes qui sortira sur l'album éponyme en 1972 et les propulse sur le devant de la scène. Mais pas pour longtemps, puisque dans les deux années qui suivent le groupe se délite et disparaît du champ des radars.
Ian Hunter poursuivra une carrière en solo, Mick Ralphs qui arrivait de Free pour jouer avec Mott The Hoople repartira pour retrouver Paul Rogers dans Bad Company, Overend Watts s'est converti en producteur de disques et si les autres sont toujours dans la musique ce n'est dans aucun groupe de premier plan.
Leur premier album paru en 1969 n'a pas de nom et ne peut pas encore être qualifié de Glam Rock, on l'appelle Mott The Hoople ou encore « le disque aux crocodiles » et il s'apparente plus au Hard Rock. Enregistré et mixé par Andy Jones, produit par Guy Stevens, des pointures dans leur job, le disque compte huit titres dont trois reprises. Un superbe You Really Got Me des Kinks en entame instrumentale où Ralphs à la guitare et Ian Hunter au piano se déchaînent, At The Crossroads de Dough Sahm et Laugh At Me de Sonny Bono (le Sonny de Cher) avec un orgue magnifique qui rappelle le Like A Rolling Stone de Dylan. Bob Dylan dont Ian Hunter est un grand admirateur, son ombre tutélaire plane sur le disque ne serait-ce que sur Backsliding Fearlessly.
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Amazon.com: HASH(0xa07ddb28) étoiles sur 5 11 commentaires
26 internautes sur 27 ont trouvé ce commentaire utile 
HASH(0xa0837e58) étoiles sur 5 My Favorite Album 30 août 2005
Par James L. Viland - Publié sur Amazon.com
Format: CD
This is a great album, with original mix of everything other bands always wanted to be. Mick Ralphs guitar has such personality, they didn't even need lyrics on the Kinks "You Really Got Me". Hunter's voice does have a Dylan quality, but the songs are more musical, and, aiming back at the critics; they aren't even Dylan's songs. This band had great musical intelligence and ability on their own, as well as borrowing tastefully from resources and contemporaries of the time. Producer, Guy Stevens, had a great vision and ear, and although he drove the band nuts, had genious for sound. He was a strong advocate and defender of the band, sadly passing away at such an early age. I enjoy listening to the album with Ralphs guitar, Verden Allen's Hammond organ/Leslie speaker, Ian Hunter's voice and Jerry Lee Lewis style piano, Overend Watt's interesting powerful bass, and Buffin's raucious drumming. Much of the album has an easy listening, swashbuckling tone. "Half Moon Bay" is the cornerstone piece with its rolling, soothing sound of the sea and a classical bridge. I imagined the organ sound reflecting the texture of the lizard on the back of the album. "Rock and Roll Queen" is a great rocker with searing lead guitar by Ralphs that just does not quit. Just when you think it might be peaking out, he kicks it up another notch, and then another, until fading out frantically at the end of the song. A lot of energy that still gets me buzzing when I hear it. "Cross Roads" and "Laugh At Me" are other favorites, building from mellow slow beginnings to rocking high energy finales. I especially liked the tiny backgound voices on "Laugh At Me", singing the band's name, "Mott the Hoople!", just after the intense and colorful lead guitar kicks in. "Cross Roads" ends with slide guitar work that sounds inspred by the Stones, "Monkey Man", which in turn was inspred by the Beatles, "Hey Jude". Any of these songs could have been hits, and could still be today...

I attended a concert in 1971 at the Eastown Theater in Detroit. They played cuts from this album as well as Mad Shadows and the yet to be released Wildlife. We jumped on stage with them during "Rock and Roll Queen" and they seemed to enjoy it. They were playing before Johnny Winter, and had just been preceded by one of their favorite groups, Leslie West and Mountain. Leslie came down into the audience (no seats, just standing room) and I heard him commenting how tight and powerful MTH was on stage. I was thrilled to hear MTH do a live version of Mountain's "Long Red" on the live double album released many years later. It took me instantly back to the concert.

I originally purchased Mott the Hoople's first four albums when they came out, 1970 - 1971. I purchased the original CDs when they became available but was very disappointed in the sound quality. I have waited for 20 years to hear these cds with sound quality like the vinyl original albums had, and now even better. A real treat to have the added previously unreleased tracks, especially Neil Youg's "Ohio", which may have also fitted well on Mad Shadows, where Mick Ralphs had more vocals. Over all this one and Mad Shadows have always been my two favorite albums. This version is great with the sound quality and extensive bigraphical notes from Buffin. Anyone that likes Bob Dylan's sound, the Beatles or early Rolling Stones needs a copy of this finely remastered CD. It seems Angel Air was the missing link this band could have used when making albums.
6 internautes sur 6 ont trouvé ce commentaire utile 
HASH(0xa099fcc0) étoiles sur 5 Silence To Thunder 1 juin 2009
Par Philip S. Wolf - Publié sur Amazon.com
Format: CD Achat vérifié
In 1969 the Midlands group: Silence, was in search of a new lead singer. Mick Ralphs, Pete Watts, Verden Allen and Dale Griffin had decided that Stan Tippins, the vocalist for Silence, was not projecting the image and voice that would propel Silence to the top of the charts.

Enter a bass guitarist/vocalist: Ian Hunter Patterson. The group wanted their new singer to play piano and sing a bunch. Ian, could barely play piano but had a rough Dylan voice and style, that the band was searching for. Eleven days after Ian met Silence, the group was in the studio working on this album. Changes were in order. First the name of the new singer was shortened to Ian Hunter, Dale Griffin, became: Buffin, Pete Watts was now: Overend Watts. The band name of Silence was re-christened: Mott The Hoople.

This startling debut record opens with a cover of The Kinks: "You Really Got Me." Not happy with the vocal track, the instrumental track was used as it was deemed more powerful. "At The Crossroads" By Doug Sahm & "Laugh At Me" by Sonny Bono spotlight Ian Hunter's vocal skills as a Bob Dylan type singer as backed by a Rolling Stone's style band. The Ian, penned: "Backsliding Fearlessly" is the first original song on the record, and it is a gem. "Backsliding" features a smoldering vocal and relentless piano that is all anchored by the pounding beat...the first glimse of what Mott The Hoople were to become.

Side two opens with the first classic MTH song: "Rock And Roll Queen." With the guitars of Mick Ralphs, and shared vocals between Ian and Mick, this is now a BAND and here is right where it all begins. "Rabbit Foot & Toby Time" is a short jam that leads in the album's centerpiece: "Half Moon Bay" a sweeping 11 minute ballad orchestrated by the mighty organ of Verden Allen. Ian's voice croaks and cracks, and is very perfect for this music...."Half Moon Bay" is a must-listen for any rock music fan, this is a great, great song. A short bit of studio madness puts a rap on the original album entitled: "Wrath And Wroll" by producer/looney Guy Stevens.

Two bonus tracks are included on this edition of Mott The Hoople's debut. They are: "Ohio" a live version of the Neil Young classic, and an instrumental by Mick called: "Find Your Way." They are nice to have been included, but it is still the original record that is the star here.
Mott The Hoople, would go through lot's of changes in the five years, that they existed as band. But, this over-looked debut of a record, is a great begining for an even greater rock band.
Four Stars !!!
5 internautes sur 5 ont trouvé ce commentaire utile 
HASH(0xa0837fd8) étoiles sur 5 A brilliant underground album 10 novembre 2007
Par The Glass Guitar - Publié sur Amazon.com
Format: CD
Mott the Hoople was definitely not an ordinary rock group, and this first album establishes them as a unique quantity with a lot of nerve. What other group would open up its debut album with an instrumental cover of a famous song? What group would include an eleven minute opus on their debut album? or close their debut album with two minutes of chaotic jamming?

Mott's rendition of "You Really Got Me" pales all other attempts. The other two cover songs, "At the Crossroads" and "Laugh at Me," are very tastefully done. Ian Hunter's first compositon, "Backsliding Fearlessly," is not one of his best pieces musically, but his lyrics are already above and beyond the rock and roll standard: "Three cheers for the innocent, though he is perverse/Three screams for the hangman as he cries for the hearse" is just one brilliant line. Mick Ralphs' contributions are "Rabbit Foot and Toby Time," basically an intro to the epic "Half Moon Bay," and "Rock and Roll Queen," a powerful piece that presages his world famous songs with Bad Company. This is an album that deserves to be redicovered.
HASH(0xa07dd498) étoiles sur 5 Coming Out Strong 19 octobre 2015
Par Jacob Koehler - Publié sur Amazon.com
Format: CD Achat vérifié
As many have stated before, I shall state again. How and why this band didn't sell more records, especially pre-1972 is completely beyond me. They were a great throwback to the original sounds of the genre while at the same time so new and original and could cover the best and write some of the best as well. Combining Little Richard with Dylan and a mish-mash of English and American Pop music, you had this five piece band that was a force to be reckoned with. Kicking off with the strange choice of "You Really Got Me" (as an instrumental and 9 years before Van Halen took a crack at it) and segueing into the hauntingly beautiful cover of"At The Crossroads" (this is where I got turned on to Doug Sahm) and then Sony Bono's "Laugh At Me" you can tell that this is a band that takes chances, even when covering other people's material. The band would show off their skills as writers on the second side, namely with guitarist Mick Ralphs's "Rock and Roll Queen" becoming a staple of the band's set for the rest of it's days and singer Ian Hunter's "Backsliding Fearlessly" showcasing the idiosyncratic nature of his writing that would eventually take center stage as the years and tours wore on. But the album's centerpiece has to be the Hunter/Ralphs composition of "Half Moon Bay", an epic ten minute mini-suite in several parts that seems to combine Doug Sahm and Beethoven and transform it into this strange, new thing. Organist Verden Allen's playing really comes to the fore on this one at the halfway mark before the rhythm section of Dale Griffin and Overend Watts come crashing back in to close it out. To me, this is one of the strongest debut albums ever released. The strength, the songs and the sounds are all here. And you, simply just have to buy it.
HASH(0xa080ea68) étoiles sur 5 the first mott the 'oople album: still as good as it was in 1969 8 février 2016
Par c. manson - Publié sur Amazon.com
Format: CD Achat vérifié
from the day I first heard this album, in 1969, I have been a hoople fan (up to the leaving of mick ralphs for that awful bad company). this shows the hoople could rock with the best...and did. they, along with the great joe cocker, could interpret anyone's' songs as good as the original artist'. from the sonny bono "laugh at me" to the kinks "you really got me" they are superb. their own "rock 'n roll queen" rocks like nothing else. a very good first album, and a must for any hoople fan...and the bonus tracks ("ohio" yes, that "ohio") are a real treat !
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