📰 England's Answer to Grand Funk? – Feature : Oct. 1971
- Mott The Hoople
- Oct 1, 1971
- 4 min read
A bold four-page cover feature asks whether Mott The Hoople could become Britain’s answer to Grand Funk Railroad, exploring the band’s raw power, Ian Hunter’s distinctive voice, and their intense live reputation.
The piece delves into the group’s uncompromising style, their dedicated following, and the industry’s mixed signals about their commercial potential.
This October 1971 Zigzag Magazine cover story captures Mott The Hoople at a critical moment — a cult live act on the verge of mainstream breakthrough, with their unique blend of hard rock and theatrical flair already winning fervent fans.
đź—ž Zigzag
đź“… Date: October 1, 1971
⏱ Length: 8 min read
đź“° Key Highlights
• Mott The Hoople positioned as a potential British counterpart to Grand Funk Railroad’s raw power
• Strong focus on Ian Hunter’s charismatic stage presence and songwriting
• Emphasis on the band’s intense, high-energy live performances and loyal following
• Discussion of their recording career, management by Guy Stevens, and the challenges of breaking through
• Exploration of the band’s image, attitude, and place within the early-1970s rock scene
đź“° Overview
Published as a cover feature in the October 1971 issue of Zigzag Magazine, this extensive four-page article examines Mott The Hoople’s rise and potential to become a major force in British rock. The piece reflects the band’s status as a respected live act with a growing but still cult-like following, while questioning whether they could achieve the massive commercial success of American hard rock bands like Grand Funk.
đź“° Source Details
Publication / Venue: Zigzag
Date: October 1, 1971
Format: Cover feature article (four pages)
Provenance Notes: Verified directly from the preserved magazine pages; bold cover headline with large photographs of the band and dense, passionate text throughout the spread.
đź“° The Story
The feature opens with the provocative question of whether Mott The Hoople could be “England’s answer to Grand Funk,” highlighting their powerful live shows and the passionate response they elicit from audiences. Ian Hunter is portrayed as a magnetic frontman whose gritty voice and songwriting give the band a distinctive edge. The article details the band’s history, their management by Guy Stevens, and the frustration of being highly regarded live yet still struggling for mainstream chart success.
It also explores the band’s image and attitude — uncompromising, theatrical, and deeply committed to their music. The piece notes the strong loyalty of their existing fans and the sense that Mott The Hoople are on the cusp of something bigger, if only the right breakthrough moment arrives. The tone is enthusiastic and supportive, positioning the band as one of the most exciting prospects in British rock at the time.
The spread features multiple black-and-white photographs of the band in performance and casual settings, reinforcing their dynamic stage presence and camaraderie.
đź“° Visual Archive
Multiple black-and-white photographs across four pages, including large live shots of Ian Hunter and the band in action, as well as more intimate portraits. The layout features bold headlines, decorative elements, and dense text typical of early-1970s Zigzag design.
Caption: Mott The Hoople featured in the Zigzag Magazine cover story “England’s Answer to Grand Funk?,” October 1, 1971.
đź“° Related Material
See tabs at foot of page
đź“° Closing Notes
This October 1971 Zigzag feature remains a passionate early portrait of Mott The Hoople just before David Bowie’s “All the Young Dudes” would transform their fortunes. It celebrates their raw power and dedicated following while hinting at the greater success that was waiting just around the corner — a perfect snapshot of a band on the edge of stardom.
đź“ť Copyright Notice
All magazine scans, photographs, and original text excerpts referenced in this entry remain the property of their respective copyright holders. This Chronicle entry is a transformative, non-commercial archival summary created for historical documentation and educational reference. No ownership of the original material is claimed or implied.
Any excuse to push the pen in praise of Mott. This time I had three: 1. I wanted to see what they'd been doing since we last had them in Zigzag a year ago, 2. I wanted to talk to Ian Hunter about "Angel of Eighth Avenue," which is probably my favorite track of the year, and 3. I think they've been getting a raw deal from the press. So, let's be methodical and start with what they've been up to since last October.
Well, when we last spoke, "Mad Shadows" had just been released and everyone was pretty dismal about its shortcomings, although nobody really felt like explaining the reasons for its overall depressing, mixed-up content. At the time, Ian and Guy Stevens (who produced it) explained it away as being the result of "personal hang-ups," saying that making it had been a "creative nightmare." Now Ian, who hadn't liked it then, has changed his mind; he likes it because it was honest - "it was what was going on at the time... the whole album was a scream for help, but everybody was too embarrassed to say it."
Soon after the album was released, Guy parted company with both Island and Mott (though he is still nominally their manager), but during "Mad Shadows" he was like a sixth member of the band. As you no doubt know, Mott was his 'invention'; he assembled the band, guided them, loved them, and devoted most of his enthusiasm and energy to getting them off the ground. They in turn loved him, and still do; "Guy saved my bacon," says Ian. "Without him I don't know what I'd be doing... he gave me everything," and it's true; without Guy, Mott would still probably be grinding around the village halls or doing unrewarding bread-to-keep-going gigs on the continent.
But, like children who grow up and leave home to fend for themselves, when Mott parted from Guy, some of their ways inevitably altered with their 'freedom.' For instance, in the production of their records, Guy's insistence on live recording was replaced by a more methodical approach, building tracks with overdubs. With Guy, the sound had to be there... it didn't matter if the resultant track had rough edges; as long as it had the feel, it was okay. So "Mad Shadows" was done totally live, goofs and all; "if you listen to, say, 'Thunderbuck Ram,' you'll hear me hit
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