Mott the Hoople: (Anthem Gang)

A two‑page New Musical Express feature capturing Mott the Hoople in concert during their 197tour, showcasing the band’s flamboyant stage presence and their growing stature in British rock.

Horide’s review describes the book as “compulsive reading,” commending Hunter’s frankness and lack of pretension. She highlights his reflections on meeting idols like Elvis Presley, his observations of fellow musicians, and his ability to capture the emotional strain of touring without self‑pity. The piece concludes with Horide’s personal admiration for Hunter, calling the memoir “an excellent book” that offers insight even for readers outside pop music circles.

This review examines Mott The Hoople's album Mott, praising the group's growing confidence and individuality following the success of All The Young Dudes. While acknowledging David Bowie's influence, the reviewer argues that the band was beginning to establish a stronger identity of its own. Publication: Valley Advocate Date: October 3, 1973 Country: United States Written by Jeff Ryan, the review opens by quoting the D. H. Lawrence passage reproduced on the album sleeve, noti

This newspaper advertisement promotes an upcoming appearance by Mott The Hoople at the Mobile Municipal Expo Hall in Alabama. The concert announcement also highlights special guest stars The New York Dolls, bringing together two of the most distinctive rock acts of the early 1970s. Publication: The Mobile Register Date: September 29, 1973 Country: United States The advertisement announces a concert presented by Alex Cooley featuring Mott The Hoople with The New York Dolls as

Released in the autumn of 1973, All the Way from Memphis arrived at a crucial turning point for Mott the Hoople. The band had narrowly avoided collapse the previous year, revived only through David Bowie’s intervention and the success of All the Young Dudes. By 1973, Mott were forging their own identity, and this single became a defining statement of their resilience and swagger. The A‑side was recorded at AIR Studios in London, built around Ian Hunter’s piano, Mick Ralphs’ g

The 11 August 1973 issue of Melody Maker carries a full-page advertisement for Mott the Hoople’s new album Mott. Publication: Melody Maker Date: August 11, 1973 Country: United Kingdom The advert features a large white silhouette of a classical-style head against a black background, with the band name “MOTT THE HOOPLE” at the top and “the new album MOTT” below. A track listing is given on the right: Honaloochie Boogie, Whizz Kid, All The Way From Memphis, Hymn For The Dudes,

SOURCE DETAILS Publication: Record Mirror Date: July 21 1973 Country: United Kingdom Section / Pages: Feature Title: Mott the Hoople Fight That Camp Rock Tag Writer: Rick Sanders This Record Mirror feature explores Mott the Hoople’s determination to shed the “camp rock” label that had followed them through the glam era. The article opens with a discussion of the band’s evolving image and their desire to be recognised for musical substance rather than stage flamboyance. The

SOURCE DETAILS Publication: Disc Music Paper Date: July 21 1973 Country: United Kingdom Section / Pages: Front Cover Title: Mott’s Boogie The Disc Music Paper cover dated July 21 1973 spotlights Mott the Hoople performing live, photographed mid‑set with Ian Hunter, Mick Ralphs, Overend Watts, and Dale Griffin. The headline reads “Mott’s Boogie – Disc’s penetrating ear listens to the new Mott the Hoople album.” The issue promotes the band’s latest release Mott and features a

Mott is the sixth studio album by Mott the Hoople. It peaked at No. 7 in the UK Albums Chart. It is the last album to feature guitarist Mick Ralphs, and the first without organist Verden Allen; because of Allen's departure, most organ and other keyboard parts are played by Ralphs. "All the Way from Memphis", an edited version of which was released as a single, received considerable airplay on U.S. radio and captured the band overseas fans, as well as reaching the UK Singles C

This substantial Melody Maker feature speaks with Mott The Hoople drummer Dale “Buffin” Griffin during the remarkable revival of the group’s fortunes in 1972. Buffin looks back candidly at the tensions and disappointments that had brought Mott close to breaking up, discusses the intervention of David Bowie and the success of “All The Young Dudes”, and reflects on the band’s determination to regain control of its own identity rather than simply become part of Bowie’s circle. P