Death May Be Your Santa Claus ( Ian Hunter, Verdun Allen) - 4.55 2. Your Own Back Yard ( Dion Dimucci) - 4.13 3. Darkness, Darkness ( Jesse Colin Young) - 4.33 4. The Journey ( Hunter) - 9.15 5.
Sweet Angeline ( Hunter) - 4.53 6. Second Love ( Allen) - 3.46 7. The Moon Upstairs ( Hunter, Mick Ralphs) - 5.07 8. The Wheel Of The Quivering Meat Conception ( Hunter, Stevens) - 1.21 9.
Midnight Lady ( Hunter, Ralphs) - 3.33 10.The Journey ( Hunter) - 9.47 Mott The Hoople.Verden Allen – Keyboards.Dale Buffin Griffin – Drums.Ian Hunter – Guitar, Keyboards, Vocals.Mick Ralphs – Guitar.Pete Watts – Bass with.Jim Price – Trumpet other Mott The Hoople releases.
Mott the Hoople began in Herefordshire, England, as Silence, a band that included Mick Ralphs (guitar), Peter Overend Watts (bass), Verden Allen (organ), and Dale 'Buffin' Griffin (drums). In 1969, their first producer, Guy Stevens (who also was known for his connections to Procol Harum, Free, Mighty Baby, and Spooky Tooth), changed their name from Silence to Mott the Hoople, and brought in a new musician, Ian Hunter (vocals, piano, guitar), a native of Shropshire and a former journalist. With the addition of Ian Hunter, Mott gained a distinctive singer who also had strong talent as a songwriter. Ariel Bender Mott the Hoople's first four albums, Mott the Hoople (1969), Mad Shadows (1970), Wildlife (1971), and Brain Capers (1971), all sold poorly, and by early 1972 they were ready to give up. When David Bowie, a longtime fan of Mott the Hoople, heard of their distress, he reached out and sought to help them, offering one of his new songs. When Mott the Hoople released 'All the Young Dudes,' a single that was written and produced by David Bowie, in July of 1972, it was a sudden hit, giving a second chance to the band. The single was followed by an album of the same name, which also was produced by David Bowie.
The musicians of Mott the Hoople now found themselves being quickly carried forward by the glittery tide of glam rock. Their next album, Mott (released in July, 1973), sold well and yielded more hits when two of its strongest tracks, 'Honaloochie Boogie' and 'All the Way from Memphis' (both written by Ian Hunter), were released as singles. Within a year of Mott the Hoople being down and nearly calling it quits, the band was more active than ever, moving upward and going from strength to strength in both the United Kingdom and the United States. When Mott the Hoople appeared at Winterland, in September of 1973 and April of 1974, Mick Ralphs and Verden Allen were no longer in the band. (Mick Ralphs had joined Paul Rodgers and Simon Kirke of Free in a new band, Bad Company.) The new members of Mott were Ariel Bender (formerly with Spooky Tooth, when he was known as Luther Grosvenor) on guitar, and Morgan Fisher (formerly with Love Affair) on piano. Mick Bolton (1973) and Blue Weaver (1974) also performed on organ with the band during this period.
Mott the Hoople was touring heavily at the time, as evidenced by the two shows, within eight months, that they played in San Francisco. Ian Hunter, in particular, was a completely engaging performer who actively forged an easy kinship with the audience. He clearly was born to be in the limelight, and his dry humor was frequently at the forefront of his demeanor. With an overgrown tumble of curls hanging to his shoulders, and sunglasses always shielding his eyes, he was a striking figure.
Ariel Bender, although new to the band, had the right sort of look and appeared to be fitting in easily, and he also displayed a flair for vigorous showmanship. Overend Watts was utterly amazing as he tottered around the stage in boots that made him appear to be ten feet tall. Buffin was hidden behind his drums, keeping a steady beat.
Mott the Hoople was a powerful band onstage, a rip-roaring gang of full-fledged rockers with a straightforward approach to their music and an abundance of knockabout charm. They were bold and assured performers, flashy without being overly precious, and they always did their unreserved best to fully entertain the many fans who came to see them. Any performance by Mott the Hoople in the 1970s was certain to be a hot and sweaty workout from start to finish, usually bringing forth a wild response from their happy audience. David: Mott the Hoople was one of my favorite bands. I owned all of their records. I saw them twice and enjoyed both concerts very much.
Their records were great listening and I felt that they were one of the best live bands at the time. Flashy, but not outrageous. (Except for Overend Watts, who out-dressed them all.) Their music covered hard rockers, ballads, and anthems.
Their lyrics were unique and memorable, and had a touch of being very personal. Mick Ralph's guitar work was sharp and moving. He wrote many of their best songs. Ian Hunter seemed to be the perfect lead vocalist in voice and stage presence.
They had the look and the sound. The album Mott was released around the first time we saw them. I think they were at their creative peak at that time. I was disappointed to learn that Mick Ralphs had quit the band one month before the 1973 show.
I don't think we realized he had left until they burst on to the stage without him. Not only was Mick Ralphs gone, but also keyboard player, Verden Allen. Ian Hunter introduced the new guitarist as Ariel Bender, which we knew had to be a made-up name. I think Michael recognized him to be Luther Grosvenor, from the old Spooky Tooth band. In that band and on his solo album he looked like a nature boy, but now we saw him as very flashy in dress and on guitar. It was quite a transformation.
The new keyboard player at the 1974 show was easy to recognize as Blue Weaver, who recently had left another favorite band of mine, The Strawbs. It seemed the British bands were playing a game of musical chairs.
Mott was one of the most exciting bands, not only to see in person, but to photograph. I was very impressed with Dan's photos of the first concert, so I was eager to photograph them the next time. Ian Hunter was one of the best subjects ever. He looked great and moved about the stage, giving me opportunities to get varied shots. I distinctly remember that when he was close to the edge of the stage, just to my left, in the middle of a ballad, as I pointed the camera directly at him to focus, he stopped. He looked right at me. I clicked the picture.
He smiled at me and continued on. You can see that photo here. It is one of my most cherished moments from any concert. At the first concert, Montrose opened, with Sammy Hagar as lead singer. I was not a fan at the time and still not so today, but Sammy Hagar left quite an impression on me, and on the bass player.
While swinging the microphone around, Sammy hit the bass player in the head, causing blood to stream down the bass player's face. The bass player continued playing while a roadie wiped the blood away with a towel.
Then came Barnstorm, with Joe Walsh in his pre-Eagles days. I remember his big, furry boots. The second concert opened with Aerosmith, instead of Queen, who had been touring with Mott. I was disappointed about that. I felt that Aerosmith was a poor man's Stones back then, and still do today. Next on the bill at that second concert was Bachman-Turner Overdrive. A 'big' act, literally, and not much to my interest, but they were talented musicians and put on a good show.
We met Mott after the second concert, and got their autographs. Ariel Bender got into a limo and rolled down the window. He leaned out and asked the crowd, 'Does anyone have a fag?' We knew he was referring to a cigarette, but wondered what sort of a response he would get in San Francisco! I remember getting Ian Hunter's autograph. I stood close to him as he signed my pad.
I tried to see through his sunglasses to get a good look at his eyes, but all I saw was my own reflection. When All the Young Dudes (with the glitter influence of David Bowie on backing vocals) hit the FM airwaves, all the Mott albums started getting airplay, especially on college stations.
(I heard a lot of Mott the Hoople on KUOP, University of the Pacific, Stockton.) I was used to the group with Mick Ralphs as guitarist, and I was disappointed to hear that he had quit by the time we saw them at Winterland. I did, however, like Luther Grosvenor, and was a big Spooky Tooth fan, so I adjusted to the lineup change. Michael explained that Luther's new name (Ariel Bender) was a sarcastic joke, meaning a punk who would go down a row of cars, bending their radio antennas out of spite. (Ha ha, big laugh.) His playing was great. I liked the sound he got from his Les Paul Special (not a regular Les Paul). It seemed loose-jointed and raw. The two Winterland concerts have blended in my mind.
It seemed that we only saw them once, but David reminded me of the different bills, and I vividly remember the opening set by Montrose, when Sammy Hagar, tugging his pants up and swinging the microphone in a blatant Roger Daltrey imitation, nearly killed the bass player and never apologized to him. Bachman-Turner was very entertaining with the bass player in heels, packed into a tight leather outfit, driving the music with huge kicks and 'whoops' up the fretboard of his bass. (This was all just overhead, as we were pressed close to the stage.). When Mott the Hoople stormed on stage, I remember Ian Hunter running and sliding to the edge of the stage. He clutched hands with members of the audience and laughed. Mott was having a good time, and the music rocked.
I seem to remember Ian Hunter playing his specially designed cross guitar, but maybe that was just a photo in a magazine. I do remember that he wore a large cross around his neck, I think at both concerts. I liked his literary references (D. Lawrence and French symbolist poetry), countered with a kind of rough Cockney slang. I also liked that Mott did carefully selected covers of songs by other artists.
All in all, a great band and two great concerts. Dan: I had always wanted to see Mott the Hoople, ever since I had been turned on to them by a neighbor of mine who played me their first album, Mott the Hoople, on his reel-to-reel tape recorder. I always thought their music was fairly hard rock, but with roots in hard-working, blue collar English society. Being a huge fan of David Bowie, when Mott the Hoople released All the Young Dudes, I was very excited to see them at Winterland in September of 1973. I can remember being at the front of the stage, peering through my trusty camera at Ian Hunter, Ariel Bender (Luther Grosvenor), and Overend Watts as they played many of my favorite songs. Overend Watts, with his knee-high boots and thumping bass, was fun to watch. Ariel Bender playing his lead riffs right in front of me was great to watch.
Front man Ian Hunter wore a white suit and played his Guild guitar to the crowd of enthusiastic Hoople fans. His vocals were spot on, which made songs like 'Sweet Jane' and 'All the Young Dudes' come to life. I remember leaving the show thinking they were a very tight band that really seemed to enjoy playing their music together. Michael: Mott the Hoople was absolutely one of the best bands of the 1970s.
We were fortunate in seeing them perform twice at Winterland, when they were at the peak of their fame and at the height of their abilities. Although the two shows that we saw were nearly the same, happening only seven months apart, both of the performances were thoroughly exciting. I was quite awestruck on the first occasion that we saw Mott the Hoople. To me, the men of Mott were more than mere musicians. I regarded them as true stars of rock'n'roll. They maintained a sharp appearance, wearing the sort of extravagant finery that was seen on many British musicians in those days, but they did not come across as soft or dainty. They actually played most of their songs in a style that was hard and heavy, and their act could be extremely boisterous at times.
I remember Ian Hunter and Ariel Bender playfully shoving each other in a mock fight during one song. We were able to meet Ian Hunter, along with the other members of Mott the Hoople, outside the stage door after one of the shows. Although it was getting late and Ian Hunter must have been in a hurry to leave the venue, he greeted us cordially, taking the time to answer our questions and sign autographs for each of us, proving that he was a gentleman, as well as a great performer.
It was after midnight, but he still was wearing his sunglasses. I went to this show to see Joe Walsh.
His song,'Rocky Mountain Way' was a huge hit in the bay area. I remember waiting in line outside and seeing that Montrose was the opening act. Not only had i never heard of them, but i couldn't figure out how to pronounce the name. They were terrific. I could have sworn ian hunter said something that pissed off the crowd and a mass exodus took place.
Anyways, they were acting very gay, and believe it or not, that did not go over well with the boys from the SF suburbs. My first Winterland show was the Montrose, JW and Barnstorm and Mott. I remember being in line and as we turned the corner to see the marquee it read Aerosmith as opening. From a distance it looked like Aerospace.or was it our condition. Anyway Montrose blew the doors of the place and Barnstorm followed with a great set. Though I was and to this day a fan of MTH, they were out played that evening by a long shot. Was wondering if anyone can confirm a Cityboy performance at Winterland.
I'm sure I saw them with either Bebop Deluxe and or HeadEast.maybe Rush?? Bill Graham (1931-1991)was a prime figure in the musical history of the Bay Area. In the words of Pete Townshend, 'Bill changed the way rock evolved.' Starting locally in the 1960s, with small venues in San Francisco, he soon established himself as the leading promoter in rock'n'roll. He was known to be hardheaded in his dealings, but he also raised the general standards of the business, and, above all, he always worked to further the interests of musicians.
He actively nurtured the full potential of the music, taking great pride in providing an experience of high quality to performers and audiences. From the early 1970s onward, Bill Graham continued to promote frequent shows throughout the Bay Area. After he closed the famous Fillmore West in July, 1971, Winterland became his main venue, with top bands appearing every weekend. (Bill Graham later described Winterland as 'the first place where I was able to do things a little larger.' ) He also promoted shows at Berkeley Community Theatre.
Major performers (George Harrison, Eric Clapton, Elton John, Cat Stevens, etc.) who required a bigger venue usually appeared at the Oakland Coliseum Arena, the Cow Palace, or San Francisco Civic Auditorium. A second wave of British musicians, following closely on the heels of the first British Invasion that began in 1964 with the arrival of The Beatles, The Rolling Stones, The Dave Clark Five, The Animals, The Kinks, The Searchers, Freddie and The Dreamers, Manfred Mann, Herman's Hermits and many others, regularly passed through the Bay Area in the 1970s. For dedicated fans of British rock'n'roll, it was an exciting time of golden abundance, when leading performers from the United Kingdom, from Humble Pie to Mott the Hoople to Traffic to Fairport Convention to Yes, all appeared on local stages. During that singular period of broad musicality, when British musicians were keenly pursuing varied forms of tuneful expression, frequent offerings of hard rock, glam rock, prog rock, and folk rock came out of the United Kingdom and were esteemed, embraced, and enjoyed by open-minded audiences at venues in San Francisco, Oakland, and Berkeley.
It all happened within the wider context of a youthful community that eagerly drew musical sustenance from a hip network of record stores and radio stations. In those bygone days before music became little more than a shallow commodity, when Ticketmaster and Live Nation had not yet gained the upper hand in the promotion of rock'n'roll, and unbridled greed had not yet become the only rule of the game, a ticket for a musical performance in the Bay Area could be purchased for less than five dollars. Aside from programs and posters, there was little merchandise for sale at shows. The music itself, in all its honest glory, was still at the forefront.
Contents. History Early years Mott the Hoople were formed in 1966 as the Doc Thomas Group with on guitar, Stan Tippins on vocals, and on bass. Ralphs and Tippins had been in a local band the Buddies, and Watts had been in a local band the Soulents with on drums.
The Doc Thomas Group had a at a nightclub in a resort town in Italy. The group was offered a recording contract with the Italian label Dischi Interrecord, and released an eponymous album in January 1967. By 1968, Griffin and had joined the band. Although the group toured and recorded in Italy as the Doc Thomas Group, their in the UK were played under the names of the Shakedown Sound and later, as Silence. Silence recorded at in, Wales, which were shopped to, and with no success. The group came to the attention of at, who liked the group but not with Tippins as lead singer.
Advertisements were placed ('Singer wanted, must be image-minded and hungry'), and was selected as lead singer and piano player. Tippins assumed the role of. While in prison on a drug offence, Stevens had read the novel about an eccentric who works in a, and decided to use it as a band name. Silence reluctantly agreed to a name change following their early 1969 audition for Stevens. The band's debut album, Mott the Hoople (1969), in only a week, was a success. Their repertoire included of 'Laugh at Me' and 'At the Crossroads' ('s ), and an cover of '. The second album, Mad Shadows (1970), sold poorly and received generally negative reviews.
Wildlife (1971) fared even worse, and flirted with an overtly country-hippie stance and accordingly (usually) acoustic instrumentation. On 10 October 1970, Mott the Hoople and were showcased on 's Disco 2.
Mott The Hoopla Influence
Even though the group was building a decent following, Brain Capers (1971) failed to sell well. The group decided to split following a depressing concert in a disused in Switzerland. When combined with an aborted UK tour with The Lothringers, the band was close to breaking up.
Glam years had long been a fan of the band. After learning from Watts that they were about to split, he persuaded them to stay together and offered them ' from his then yet-to-be-released album. They turned it down.
Starcraft ultimate patch: full version software. Bowie also penned ' for them and it became their biggest hit. Released as a single in July 1972, it was a success in the UK, with the band using Tippins – who by this time was their tour manager – to sing backing vocals during concert. Bowie produced an album, also called, which included a strings and brass arrangement for 'Sea Diver', sold well but stalled at No. 21 in the. Late in 1972 they were going to record another Bowie song, 'but their intended arrangement did not satisfy him and their professional relationship effectively ended.
Another casualty in the wake of All the Young Dudes was Verden Allen, who departed before the release of their next album,. Mott climbed into the of the, and became the band's best seller to date in the US. It yielded two UK hits, ' and ', both featuring of on saxophone. 'All the Way From Memphis' is also featured in the movie,. Mott the Hoople's new-found popularity ultimately contributed to the band's break-up, likely exacerbated by an in of Tippins' role in singing the chorus of 'All the Young Dudes', from a hidden microphone backstage.
In May 1973 following Verden Allen's departure the band was augmented by two keyboard players. Former and member joined as keyboardist and Mick Bolton joined on. Bolton left at the end of 1973 and was replaced on tour by, while Fisher stayed on to become Allen's official replacement in the band. Ralphs left in August 1973 to form and was replaced by former guitarist. For contractual reasons, he changed his name to Ariel Bender at the suggestion of singer-songwriter for his stint with the band. According to Ian Hunter, interviewed in the documentary Ballad of Mott the Hoople, the band were in Germany with de Paul for a TV show when Mick Ralphs walked down a street bending a succession of car aerials in frustration.
De Paul came out with the phrase 'aerial bender' which Hunter later suggested to Grosvenor as a stage name. In 1974 the band had a chart success in the UK with 'e' recorded before left the band. Ralphs played lead guitar and the provided female vocal backing and a bridge. It reached No.8 on the. In 1974, Mott the Hoople toured America with playing lead guitar.
In one of Bender's earliest performances with the band they played the Masonic Temple in Detroit on 12 October 1973 with a young Aerosmith opening the show. They were primarily supported on the '74 tour by the band. This tour later provided the inspiration for Queen's 1975 single ', which contains the ' Down in the city, just Hoople and me.' The song became a live favourite of Queen fans and reached No. 11 in the.
The tour resulted in a lifelong friendship between the two bands, with Ian Hunter, Mick Ronson and David Bowie performing 'All the Young Dudes' at the in 1992. Morgan Fisher went on to play piano on Queen's 'Hot Space' tour in 1982, and, and performed backing vocals on the Ian Hunter solo song, 'You Nearly Did Me In'.
May would later cover Mott's 'All the Way from Memphis' on his solo album, with Hunter making a guest appearance. Mott the Hoople are name-checked on two other hit singles. 's 1974 single, ', ' begins with the, 'B Bumble and the Stingers, Mott the Hoople, Ray Charles Singers.' Whereas 's, ' begins with 'Mott the Hoople and the Game of Life, yeah, yeah, yeah, yeah.' In the afterglow of (1974), a live album Live was quickly released, after which replaced Bender.
The end was near when both Hunter and Ronson left the group to form a, following which the band abbreviated its name to 'Mott'. Hunter's book about the day-to-day life on the band's 1972 winter tour of the US, covering the ups and downs of life on the road, was published in June 1974.
It was out of print for many years but was reissued in 1996. Post-Hunter years The new line-up consisted of Watts, Griffin, and Fisher along with lead guitarist Ray Major (formerly of Opal Butterfly, Hackensack, and a brief stint with Andy Fraser and Frankie Miller) and frontman Nigel Benjamin. This line-up released two more albums, (1975) and (1976), both of which sold poorly.
After Benjamin quit in 1976, Mott briefly replaced him with Steve Hyams, before joining forces with John Fiddler (formerly of ), and became, recording two albums, (1977) and Trouble With Women (posthumously released on Cherry Red Records 1980) before finally splitting up without any success. Hunter and Ronson worked and toured together sporadically until Ronson's death in 1993. Hunter has continued his solo career.
In 1990, after a brief reunion in 1989, the former members of The Silence reunited in the studio to record a mix of new songs and staples from their days performing together. The resultant album, Shotgun Eyes, was released in 1998 as 'The Italian Job' combined with the re-release of the Doc Thomas Group's self-titled album. In 1996 released a CD called The Best of Mott the Hoople purporting to be re-recordings of the band's and new songs by Hunter and Ronson. In actuality, the recording was by, former bass player with and Gerry Chapman, usually going under the band name of The Trybe. The album consisted of versions of Mott's hits and original songs, and had nothing at all to do with the original Mott the Hoople. K-tel were subsequently fined for supplying goods with a false description, but the tracks and album continued to circulate under the name Mott the Hoople, often appearing on.
In 2002, the tracks were released again as I Can't Believe It's Not Mott the Hoople!, though this time it was credited to The Trybe. On 16 and 17 April 1999, the first and only 'Mott the Hoople Convention' was held at the Robin Hood Pub in, England. Hunter and his band performed both evenings of the convention. During the encore of the Ian Hunter Band's performance of 17 April, Hunter was joined onstage by Bender and Allen for a version of 'Walkin' With A Mountain'; Allen performed on the original studio version of the song, whilst Bender performed an extended solo during performances of the song on Mott the Hoople's 1973–74 tours.
In 2002 and 2004, Ralphs toured with Hunter, as part of the latter's backing band. No Mott the Hoople reunion occurred prior to 2009, although negotiations for one were attempted in 1985; all parties have shown some interest at various times in the idea over the last 30 years.
In 2005 it was reported in the publication Classic Rock, that Hunter had received the offer of a seven-figure number to re-form the band. In October 2007 at Hunter's concert at the, he was joined by Ralphs and Allen for the encore. 2009 reunion. Mott the Hoople reunion, 2009 On 16 January 2009, it was announced that the band would be re-uniting for two concerts at the in London, in October 2009.
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According to Hunter's web site, all five of the original members would participate in the reunion. Hunter wrote, 'Why are we doing it? I can't speak for the others, but I'm doing it just to see what it's like. Short of war, death, famine etc.it's ON.' Tickets for the two original dates sold out, and a third date at the same venue was added for 3 October 2009. After that one sold out as well another two dates were added on 5 and 6 October.
The special limited 3 CD-set recorded during the first show at Hammersmith Apollo was sold directly after the concerts. Mott the Hoople also held a warmup gig prior to their five-night stand at the HMV Hammersmith Apollo in October. The show was held at the Blake Theatre in, Wales on 26 September 2009. Prior to this it was announced that because of the poor health of, his place for the concerts would be taken by, drummer of, though Griffin did appear at encores. The reunion was favourably reviewed by major British broadsheet newspapers, with, and awarding 4/5 stars and awarding 5/5. On 27 November 2009, Mott the Hoople played The Tartan Clefs charity night in. 2013 dates Mott the Hoople (featuring Allen, Hunter, Ralphs and Watts with Martin Chambers on drums) played the in London on 18 November 2013, preceded by dates in Birmingham, Glasgow, Newcastle and Manchester (the latter of which was recorded for a limited edition CD/DVD).
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One critic described the concert at the O2 Arena as 'a bit of a slog' and Hunter's voice as 'now little more than a guttural rasp'. These shows were still very much a 'greatest hits' tour, although they did switch in about 5 deeper cuts that weren't played in 2009. Personnel. ^ Roberts, David (1998). Guinness Rockopedia (1st ed.).
London: Guinness Publishing Ltd. ^ Strong, Martin C. The Great Rock Discography (5th ed.). Edinburgh: Mojo Books. Tobler, John (1992). NME Rock 'N' Roll Years (1st ed.).
London: Reed International Books Ltd. ^ Roberts, David (2006).
British Hit Singles & Albums (19th ed.). London: Guinness World Records Limited. Ballad of Mott the Hoople documentary, c. 39:30. Roberts, David (2006).
British Hit Singles & Albums (19 ed.). London: Guinness World Records Limited. Roberts, David (2006).
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British Hit Singles & Albums (19th ed.). London: Guinness World Records Limited. Retrieved 7 April 2011. Diary of a Rock 'n' Roll Star, Ian Hunter: (Independent Music Press; ). Retrieved 24 March 2013.
Archived from on 3 November 2013. Retrieved 2 November 2013. Perkins, Adrian (2005). Mott the Hoople and Ian Hunter – The unofficial site for Mott the Hoople and Ian Hunter. Retrieved 4 November 2010. – NME.com. 21 July 2009.
Retrieved 7 April 2011. Retrieved 7 April 2011. Alexis Petridis (2 October 2009). Retrieved 7 April 2011. 3 October 2009.
The Independent. 2 October 2009. Retrieved 7 April 2011. Perry, Andrew (2 October 2009). The Daily Telegraph. Retrieved 7 April 2011.
30 November 2009. Retrieved 7 April 2011.
Mott The Hoopla All The Young Dudes
Retrieved 23 April 2013. Gittins, Ian (19 November 2013). The Guardian. Retrieved 16 December 2013. Retrieved 7 April 2011. Dave Thompson. Retrieved 16 November 2013.
Mott The Hoopla May Death Be Your Santa Claus
Mott the Hoople (a novel by Willard Manus) External links Wikimedia Commons has media related to. Harris, John., The Guardian, 3 September 2009.
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