It's about time someone got around to paying proper tribute to Mott. And who better to oversee the project than former Love Affair/Mott The Hoople keyboardist Morgan Fisher?
Finally beginning to receive the recognition they've long deserved, the general tendency has been to view Mott The Hoople as glam-rock one-hit wonders who got lucky when they hooked up with David Bowie (who penned "All The Young Dudes" for the band's 1972 album of the same name) - and who, just as quickly, sank back into relative obscurity once Ziggy moved on.
The first rock band to play Broadway, and the musical instigators of a riot at London's Albert Hall that resulted in a ban on all rock shows at the venue for the next few years; Mott The Hoople were important (albeit unsuccessful) contributors to the British music scene long before Bowie's interest was initially piqued.
An integral factor in the sound and atmosphere of the final two "official" Mott The Hoople albums, as well as the two half-hearted efforts recorded under the aegis of "Mott" that followed the departure of singer/songwriter/guitarist Ian Hunter; Fisher's production and keyboard work throughout most of this outstanding disc helps maintain a sense of cohesiveness despite the wide (and wild) variety of musicians involved.
Recorded, save two tracks, by some of Japan's best rock, punk, folk and alternative bands (as opposed to the "cutesy-pop" acts that normally clutter that nation's charts); the CD not only serves as an updated reminder of one of rock's most underrated influences - it's also an effective showcase for several Japanese groups who would otherwise remain secrets of the far East.
The CD kicks off with an uplifting version of "All The Young Dudes" that features enthusiastically-mauled lyrics sung by an assortment of Moth Poet All Stars who obviously don't choose English when asked their language of choice. Osaka's Easy Walkers follow with an exceptional, slightly-Stones, very cranked rip at "Rock 'N' Roll Queen" that features a phlegm-spewin' harp solo, a spunky bass lick and buzzin', Keith Richards-fueled dual guitars.
Despite an all-Japanese vocal, there's absolutely no denying the brilliant riff and infectious melody of "Honaloochie Boogie" - Ian Hunter's finest moment and certainly an opportunity for The Yellow Monkey to add yet another outstanding single to their collection (the band had a No. 1 album on the Japanese charts in 1995) of hits.
Hiroshi Yamaguchi's Heat Wave check in with a majestic, seven-plus minute version of the introspective "Ballad Of Mott" that positively soars thanks to violin, harmonica, tin whistle, mandolin and acoustic guitar offset by Fisher's wheezing melodion and Dave Hatcher's resonating, northumbrian pipes.
Brian May's rollicking take on "All The Way From Memphis" finds the former Queen ax-wizard earning extra points for his one-man guitar/bass/keyboards act; while sampled bits from an old Mott live recording, Cozy Powell's over-the-top skin bashing, and Hunter himself turning up in the studio to lay down backing vocals - helps elevate the track to near-classic status and makes it an instant stand-out.
Following May's thunder would seem a considerable task for anyone, which is why Kazufumi Miyazawa's stark, acoustic guitar/harp/spoken-word (Japanese, of course) folk rendition of "I Wish I Was Your Mother" makes perfect sense. The High Lows' exuberant, party-time version of "The Golden Age Of Rock 'N' Roll" picks up the tempo; which seems to goad The Privates into 'Pistol-whipping the proto-punk, "Death May Be Your Santa Claus," into submission in slightly under seven minutes.
The disc winds down with a spacey, Manfred Mann-meets-Umma Gumma re-working of the formerly delicate "Trudi's Song" as performed by Shake (sha-keh); and ends with an unusual, yet catchy, kaleidoscope of Music History 101 from Fisher that ripples with a static-funk beat, Mott-ready keys, a chooglin', T-Rex guitar riff, Lou Reed-caliber vocals and an almost "Creeque Alley"-ish lyrical history of Mott.
Not quite as electrifying as the original versions (and what tribute album is?); the conclusion of Moth Poet Hotel will more than likely find you pushing the "repeat" button on your CD player rather than digging through your old vinyl for a copy of Brain Capers - which says a lot about Fisher's labor of love.
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For those of you with access to a good source of import records, (or, if you're a good American distributor looking for something unique to add to your catalog) the disc is on Triad/Nippon Columbia Records, #COCA-13627.
