The album is mostly pounding rockers with a few quieter, moodier pieces, and both approaches have their hits and misses. “All The Way From Memphis” is a perfect opener, with the same notes hit for fourteen seconds and a terrific shout-along chorus. “Whizz Kid” pummels past with little subtlety, but we will allow that some of the backing vocals in the verses are right out of Bowie. And we don’t know why the song stops on a dime, returning for a few seconds way in the distance. Starting with a grand dramatic intro, “Hymn For The Dudes” soon quiets down too, and would appear to be another response to their perceived success. Then it’s back to the stomp for “Honaloochie Boogie” with its long vowel and oddly processed vocals, and “Violence” is pretty obnoxious, with an incongruous violin (ha!) over the chorus.
“Drivin’ Sister” is more mindless boogie framed by obvious sound effects, but then there’s “Ballad Of Mott The Hoople (26th March 1972, Zürich)”, which seemingly references one of the band’s last gigs before Bowie supposedly rescued them. It’s gentle and a little sad, and very sweet. Up to this point we’ve only heard from Ian Hunter’s mouth, with Mick Ralphs limited to just one lead vocal. “I’m A Cadillac” works car clichés over a couple of familiar hooks, but the best part is when it morphs into “El Camino Dolo Roso”, a sneaky instrumental that gains a lot of momentum. Finally, “I Wish I Was Your Mother” is just plain odd, trilling with mandolins, and fretting over some kind of Freudian dilemma.
While more solid than All The Young Dudes, Mott is merely serviceable rock in a familiar setting. The boys were back on track. It wouldn’t last, of course.
Mott The Hoople Mott (1973)—3
2006 remastered expanded CD: same as 1973, plus 4 extra tracks