It has been a long time since the last entry. No excuses....I'm just a loser. I had actually listened to this album weeks ago, but had not sat my ass down to offer up my critiques on it. Without further delay: Mott the Hoople's All The Young Dudes. Hearing the back story of this album, and how it came to be, reminds me of the aptly titled "Bowie" episode from HBO's Flight of the Conchords. In the episode, a faux-Bow (the term I just pulled out of my ass to refer to a fake David Bowie) visits Bret in dreams to help the struggling singer get out of a funk. Hilarity ensues. On a much similar note, Mott the Hoople had been experiencing a funk of their own, but not in the Maggot Brain sense (more on that a few reviews from now). The band, supposedly, were on the verge of breaking up when Bowie intervened and offered his services on an upcoming album. Word is that he even offered to give them "Suffragette City," but the band declined. Instead, Bowie handed them "All the Young Dudes."
Upon first listen, I felt as if I was listening to a voice from a David Bowie/Bob Dylan hybrid. Ian Hunter's vocals resemble Dylan's warble along with Bowie's English theatricality. The album begins with a solid effort in "Sweet Jane" and continues to show it's impressive chops as the album continues. And what is this I in "Momma's Little Jewel?" Is that cowbell? You have my attention, you crazy kids whose band name makes me think of a giant juice box hula-hooping. Yes, I am sober. Next, we get Mott's, arguably, most well-known track, "All the Young Dudes." I won't spend too much time on this track other than to express my adoration for it. I would also like to confess I'm a sucker for hand claps. Fuckin' love 'em. They get me every time and this songs also forces me to a smile. This smile carries over on the next track whose title I unknowingly described myself as in the previous sentence. "Sucker" gives us the best of both worlds: hand claps and cowbell! What!?! Ludicrous! Not to mention the groovy riff that sounds like harpsichord (?) and strangely reminds me of a Medieval dance. Yep, still sober.
The only other song on the album I had heard prior to beginning this goddamn list is "Ready for Love." Classic rock in all its glory. It is also telling of Mick Ralphs later venture into Bad Company. Listen to Ralphs riff and try not to imagine any song off of 10 from 6. Other tracks, such as, "Jerkin' Crocus," "One of the Boys," and "Soft Ground are equally groovy, but less notable tracks in these surroundings. The album's concluding track, "Sea Diver," might actually be my favorite tune of the album. I can't quite pinpoint why exactly, but I listened to this song about a dozen times in the span of one day. Maybe it's the piano which makes me think of Ben Folds' ballads? Maybe it's the fact that I could totally picture this as the memorable track on some quirky indie movie about degenerate teens in love? Maybe it's both or neither of these? Regardless, great ending to a fantastic album. Definitely list-worthy.
On another note, I thought I'd implement a new portion to our blog. Starting now, for each review I will try to find a ridiculous or embarrassing amateur acoustic recording of a song from the album being reviewed. This post's winner.
-D.
Several failed albums into their career Mott The Hoople decided to call it quits. Members went their separate ways and word spread of the breakup. Save for the intervention of David Bowie there would be no article to write. All the Young Dudes finally pushed them up the charts and set the stage for the birth of glam rock.
Originally Bowie wanted to give them ‘Suffragette City’, but they refused. Personally I wish the songs had been reversed. All the Young Dudes makes so much more sense as a Bowie song, while Suffragette strikes me as more suited to a heavier band like Mott. Dudes hasn’t aged all that well, but is an undeniably classic song. Other songs, like One of the Boys, are the template for 80’s hair metal. Mild roadhouse blues with some great guitar licks and laughable lyrics. Pretty much what you’d expect on a Great White album from 15 years later. Except somehow better. Maybe it’s the energy, or the fact that unlike most of the bands that followed, Mott was legitimately made up of thugs and criminals. But there’s more grit and realism.
Soft Ground grinds along on a distorted organ and gain-y, overdriven bass. It just sounds mean and sleazy. Perfect song to soundtrack a movie about drugs and bar fights. Sea Diver is a really nice ballad. Usually in these cases the orchestra is useless, just holding chords in the background and never really adding anything. But this is the exception that proves the rule as this song is made by the string swells and brass fanfares.
Most of the rest are better than average Stones-esque bluesy jams. Nothing I really didn’t like on the album, but it never really caught my imagination either. Everything here was done better on their next album, Mott (which I still have on vinyl), and most of it was done heavier by Grand Funk Railroad. All in all a good album, but I’m not sure if it’s really one of the greats. Nonetheless it is an enduring classic and won’t be forgotten soon.