I was mildly conversant with Mott The Hoople as a kid by the late 70s. Everyone and their pet ferret knew and loved “All The Young Dudes,” their career resuscitating, Bowie-penned hit from 1972 that brought the band from the brink of collapse to give them a successful second wind. But it was 1979’s “You’re Never Alone With A Schizophrenic” that was my call to arms to become a dyed-in-the-wool Ian Hunter fan. By then I was 16 and and while almost fully in the pull of New Wave, one could not fault Ian Hunter one iota for being twice the age of most of the musicians I was listening to at that time. He and his cohort Mick Ronson brought impeccable songwriting and taste to their game so that he managed to easily surmount the Classic Rock tarpits that sucked down most of his peers in the late 70s.
I treasure the Chrysalis Records era of Hunter to the max. “Schizophrenic” was followed in 1980 by “Welcome To The Club;” a 3-sides live album that to this day is probably my top ranked live album for sheer breadth of vibe and excitement. I loved how the lady recorded in the audience lost her composure when he started into “Irene Wilde;” his myth of creation ballad that was a killer deep cut on his second solo album. I would have too. Nevertheless, as awesome as Ian Hunter was, to me he represented the acme of the Rock mainstream. Not really diving into the New Wave and Post-Punk waters I was mostly swimming in. Not that I cared, but that all changed in 1981. His final album for Chrysalis was something very different, since it was produced not by Ian and Mick Ronson but by Ronson and another Mick. Mick Jones of The Clash.
Jones had grown up as a Mott The Hoople fan in the 70s and had followed the band as fans do. Going to multiple tour dates in different cities to see his heroes. While Mott The Hoople were not musically proto-Punk, when viewed socially, they stood apart from their 70s Rock Star peers for being open and available to their fans. Deconstructing the walls that had been built up between Rock musicians and their audience in ways that absolutely anticipated the values of Punk to come. Much of it courtesy of The Clash who carried on in the same manner as Mick had learned from Mott on how to avoid the ivory towers that are unhealthy for both musicians and fans.
As The Clash had recorded the sprawling magnificence of their “Sandinista!” album just prior, it was tempting to think view “Short Back ‘n Sides” as an unofficial sequel of sorts back in the day. That’s a pretty fair assessment even as there were some Hunter fans who found the album a divisive bridge too far for their Ian. I felt that there was a lot to appeal here to fans of both Hunter and The Clash, as we’ll see the album also featured several of Jones’ Clash cohorts like Topper Headon, Ellen Foley, and even Tymon Dogg; all fresh from their “Sandinista!” turns to muddy the waters delightfully. Though Ellen Foley, it must be said was no new recruit since she shared management with Hunter/Ronson who had producer her [excellent] debut album at the same time that she had been singing on “Schizophrenic.” With the expanded CD of “Short Back n’Sides” back in print last year, let’s take a closer look at this eclectic lost classic.
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Post-Punk Monk 
A great read
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the press music reviews – Thanks for your vote of confidence but I’m just getting started. And [OMG] I just went back to edit my first posted draft, so now it’s measurably improved.
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Just as I was about to comment, Bowie’s version of All The Young Dudes came out of my speakers from the Nothing Has Changed 3-disc set. It was meant to be! Listening, of course, to pay homage to Bowie on his birthday.
I’m looking forward to reading more about this Hunter album, which I need to check out anew after not listening for quite a while.
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AnEarful – Bowie works in mysterious ways. You remind me that I still need a pair of “hits collections” in my Record Cell. “Nothing Has Changed” of course! It has enough rare delights to peg the meter. It’s a must have just for the first version of “Sue [Or In A Season Of Crime]” on CD! I’ve also wanted the Simple Minds “Celebrate (The Greatest Hits +).” Also in the 3xCD edition that I’ve never seen in a store, but it’s the only one that interests me. Disc one would be a must. Disc two could be discarded. And the prize was disc 3 with the band struggling to correct their trajectory with all of the interesting rare cuts of that period.
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You should check out the recent Pet Shop Boys cover of All the Young Dudes, quite good and one of the mixes harkens back to when an extended remix was worth the time and money.
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Tim – Now you’re talking!! Gimme a great 12” mix and I capitulate like a puppy dog! I’ll have to investigate.
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The straight up single version is a nice, tight take on it & the Richard X Extended version is my go to of the mixes (one of the mixes is really dire so be careful with ala carte mp3 purchases).
One of the b-sides is a track called “Beauty Has Laid Siege to the City” and it’s IMO one of the best things they’ve ever written. PSB b-side magic strikes again.
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Tim – I sampled the Richard X mix on iTunes and was going to buy it right there sitting in my car for the trip home, but I thought, maybe I should just buy the whole single, because there was probably a physical CD5. I know there have been PSB actual singles of late. And nice to hear they can still pull miraculous B-sides out of their sleeves this late into the game.
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So glad you’re going to give this lp the monk treatment. I was aware of its existence when it was released, but teenage spending money was tight and I only acquired it years later in a $3 vinyl bin.
Truth be told , my interest in Mott and Hunter germinated with reading that Guy Stevens, who produced London Calling, had also produced Mott and that Mick was a fan… such was the depth of my clash love at the time.
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bpdp3 – Any Clash fan needed this album!! As we’ll see once I get a lunch hour.
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