***** 5 Stars Rating
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 equalling 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 become 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 Bowdelaivies 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.
by Lang Reid