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Mott The Hoople’s "Making the Most" , a four-page feature in Circus Raves Magazine , December 1, 1974.

Mott The Hoople’s "Who Will be the New Man in Mott?" , a one-page article in POP Magazine  Issue 22, 1974. George Harrison? Steve Harley? Chuck Berry? Who would be the new man in Mott The Hoople? This question occupied people's minds for weeks when it was announced that guitarist Ariel Bender would most likely leave the group. Well, now every child knows: Bender has actually left, and his replacement is none other than ex-David Bowie guitarist Mick Ronson. Beaming with happiness, Mott boss Ian Hunter appeared at a press conference in London's Grosvenor Hotel with his new husband. The two posed for the photographers, tightly embraced. An overwhelmingly happy couple A happy couple: Ian Hunter and Mick Ronson THE WEDDING OF THE YEAR Mott's Ian Hunter explains how it came about Ronno is the one and only! He will be the third great guitarist I work with. I still can't believe that Ronno is actually in my group Amazing words from a man who always thought that he was the best. Moreover, not so long ago he had claimed that he would spend the rest of his life with Ariel Bender wanted to be together. So why this sudden change? Opinion I have to admit, when you start working with a new man, everything looks very rosy. And Ariel was a person you just had to like. He was also an unlikely musician. Too good to be true. But his style and the style of the group simply couldn't be reconciled. He always remained Ariel Bender, never became a member of Mott The Hoople. No matter how we turned it around. We were always good friends, still are today. But unfortunately good friends don't always make the right music together. It's a real shame! I would have given a lot if we had been a good match. On stage, Ariel was like living gas. We constantly had the feeling that the wafer-thin ice was breaking beneath us. He simply didn't fit in with us. We had to find a guitarist who could sing, write and arrange. That was frustrating for Ariel. He has too much personality to be turned into a Mott The Hoople guitarist. What could we have done? He wasn't happy, we weren't happy - the separation was inevitable. Now all paths are open to him. Financially everything is clear for him. He has good management, a record deal. Now everything depends on him. He always wanted to be at the top. Now he has his big chance! So how did the connection actually come about? What persuasive tricks were necessary to get Mick Ronson, who had just been built up as a solo star with a lot of money, back into a band? "Tricks were not necessary. I have known Ronno for a long time, from the time when we were produced by David Bowie. And I always thought he was a great guy. Amidst all the decadence and glitz that prevailed in the Bowie camp, I was sometimes really grateful that Ronno was around. He seemed to be the only to be a normal guy. And I think he felt the same way. But I don't know why he came to us. You'll have to ask him yourself. All I know is that he's had two offers from really famous people in the last two days. He's also about to release his second solo album, and yet he came to us. I think he came because it's us; because he likes us. For us, he was the only possible man. If he had turned us down, Mott would have disbanded. We wanted him and no one else. And it's pretty difficult when you've set out to get that one, specific man from the huge rock'n'roll scene." Won't there be similar difficulties with Ronson as with Bender? After all, he is also a musician with a lot of personality who will not adapt so easily. I don't know how it will all turn out. We have already recorded a single, 'You Remember The Saturday Gigs', and I am thrilled about it. I think our collaboration will be a completely crazy but also great thing. I am convinced that we will often clash. But as the famous director Otto Preminger once said: 'Life is about fighting! If you don't fight every day, it's not worth living at all.' Personally, I have always lived by this motto. And to this day, it has been worth it.>>>

Mott The Hoople’s "All we Need is a Bloke" , a one-page article in New Musical Express , February 1, 1975

Ian Hunter’s "There's Nothing The Matter With Me Now" , a six-page feature in Circus Magazine , August 1, 1975.

Ian Hunter’s "Once Bitten Twice Shy" , a one-page review in Melody Maker , April 12, 1975.

Mott The Hoople’s "Mott Drive On" , a one-page article in Record Mirror , September 6, 1975.

Mott The Hoople’s "The Rolls of Rock" , a one-page advert in Creem Magazine , December 1, 1975.

Mott The Hoople’s "Monte Carlo & Tour" , a one-page advert in New Musical Express , September 6, 1975.

Mott The Hoople’s "Mott-an Enigma" , a one-page feature in Record Mirror , December 4, 1971.

Mott The Hoople’s "England's Answer to Grand Funk?" , a cover and four-page feature in Zigzag Magazine , October 1, 1971. 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

Mott The Hoople’s "Mott The Hoople & Peace" , a one-page advert in Melody Maker , October 9, 1971.

David Bowie’s "Bowie Inspires Ronson!", a cover and one-page article in Melody Maker, January 26, 1974. MICK RONSON is following in the footsteps of David Bowie and is set to do two dates at London's Rain- bow next month. He will play the theatre on February 22 and 23, and it's expected that Bowie, for whom he's been back-up- man and guitarist in the past two years, will be on stage with him. Thus Ronson, who's managed by Mainman, the same company as Bowie, becomes the centre of a large campaign designed to establish him as a solo artist in his own right. His first solo single, the Elvis Presley song "Love Me Tender", is released this Friday (January 26), and it's to be followed in February by an album whose working title so far is "Slaughter On Tenth Avenue". Rushed Mainman and RCA are so anxious to make him a star that copies of the album are being rushed from the States so that the release date coincides. And it's highly likely that a tour of the provinces will follow the London dates. This tour was apparently arranged before Christmas, but it had to be pulled out be- cause of insufficient organisation. Bowie has had a large hand in Ronson's career-building. He has written three of the six lyrics on the album. The track listings are: "Growing Up Anc I'm So Fine", a Bowie song; " Pleasure Man (Ronson and S. Richardson); "I'm The One (Annette Peacock); "Music Is Letha (music by L. Battisti, English lyrics by Bowie);;" Hey Ma, Get Papa" (Ronson, Bowie): "Slaughter On Tenth Avenue" a four-minute instrumental); and "Only After Dark" (Ronson and S. Richardson). The last track is also on the flip of his new single See singles reviews, page 14.

Mick Ronson’s "Ronson Strikes Out" , a one-page article in Disc , January 26, 1974.

Mick Ronson’s "Love Me Tender" , a one-page advert in Disc , January 26, 1974.

Mick Ronson’s "Free Ronson" , a one-page article in Music Star , February 1, 1974.

Mick Ronson’s "Slaughter on 10th Avenue" , a one-page preview in Disc , January 26, 1974.

Mick Ronson’s "Ronson Prepares" , a one-page article in Circus Magazine , February 1, 1974.

Mick Ronson’s "Ronson at the Rainbow" , a one-page sold-out advert in Disc , February 16, 1974.

Mick Ronson’s "Can Mick Ronson Swipe The Bowie Crown?" , a three-page feature in Circus Magazine , April 1, 1974.

Mott The Hoople & Mick Ronson’s "The Great Mott Mystery" , a two-page feature in Melody Maker , September 28, 1974.

Mick Ronson’s "Play Don't Worry", a one-page advert in Melody Maker, February 22, 1975.

Mick Ronson’s "Around Town with Mick" , a one-page feature, January 1, 1976.

Lou Reed’s "Walk And Talk it" , a one-page single review in New Musical Express , August 5, 1972.

Lou Reed’s "Reed Still Working On Album" , a one-page article in New Musical Express , August 26, 1972.

Lou Reed’s "The Album, The Tour" , a one-page advert in Melody Maker , October 7, 1972.

Lou Reed’s "The Growing Influence of Lou Reed" , a one-page feature in New Musical Express , October 14, 1972.

Lou Reed’s "Looking For Love" , a one-page article in New Musical Express , February 10, 1973.

David Bowie’s "Bowie, Pop and Reed" , a one-page article in Rock Scene , March 1, 1973.

David Bowie’s All About David , a cover and four-page feature in Rock Scene , March 1, 1973. ALL ABOUT DAVID Half an hour out of London, down a side road and behind a screen of trees to David Bowie's birthday party we go. It is the eighth of January, just a year ago this month, and David is by all reports about to be a golden twenty-five. The he celebration is more of an evening at home with the Bowies: David, wife Angela and little son Zowie. Plus the band who've brought an electric razor, battery powered, as a gift. And Lionel Bart, Lou Reed, a few other friends. Out of the cab, through the drizzle, up to the doorstep where Angela is greeting one and all. In the front door to find a huge entrance hall the center piece of which is a grand stairway, leading up to the second floor. Not that there is a second floor as the Bowie's don't have the whole house, just the first floor, others live in flats on the second floor, entrance around the back. David will eventually make his entrance down the stairway, but now we're ushered into the living room, pleasantly victorian with electric fire, David's record collection, tape recorder, hi-fi, and color tv. David was born in Brixton, a suburban area of London. He grew up in what he describes as a "standard non-poor, non-affluent London milieu." He went to Bromley Technical High School, eventually dropping out to study the sax and Tibetan Buddhism. After working for a while as a commercial advertising artist, he got into music, performing as David Jones And The Lower Third. It is a pleasant evening, full of mulled wine and plates of food that Angela has set-out at the foot of the stairs. Then the birthday boy appears, his hair close-cropped by Angela's hair-dresser just that week. Not yet bright orange, but on the way. And David is wearing his clockwork orange jumpsuit and red platform boots, he says he hasn't seen the movie, maybe he is the movie even so. All dressed up and ready to assume the media shocking pose that will be what eventually the world knows David Bowie as. Gone is the image before, Lauren Bacall long blond hair, floppy trousers, diamond star pins, and an occasional cap. This is the new space-age David Bowie, launching himself into orbit on his twenty-fifth birthday. The evening goes on, the laughter comes for the folks and the glow of the warm wine. Then everyone wraps up, and a long run through the Lon-don night to the after-hours clubs, in this case El Sombrero for an after birthday party until they close the bar and everyone trips out onto the street. David Bowie has begun his second quarter century. As it's turning out, these are the years that will count, his time has come. - Rock Scene

Lou Reed’s "Lou Reed Dates" , a cover insert and one-page article in Melody Maker , August 11, 1973.

Lou Reed’s "Berlin Album" , a one-page review in Melody Maker , October 13, 1973.

Lou Reed’s "Sally Can't Dance" , a half-page advert in Melody Maker , September 28, 1974.

Lou Reed’s "Metal Machine Music" , a three-page feature in Circus Magazine , September 1, 1975.

Lou Reed’s "Metal Machine Music" , a three-page feature in Circus Magazine , September 1, 1975.

Lou Reed & David Essex’s "Lou Laid Low" , a one-page feature in Circus Magazine ,November 1, 1975.

Lou Reed’s "Captain Average" , a one-page feature in Rock Magazine , February 1981.

The Glitter Band’s "Love in the Sun" , a one-page advert in New Musical Express , August 2, 1975.

Mud and Glitter Band’s "Better Than Elvis" , a one-page album review in New Musical Express , August 2, 1975.

Genesis’ "The Genesis Rag" , a one-page article in New Musical Express , February 10, 1973.

Genesis’ "Gabriel Is A Flash" , a one-page article in Rock Scene Magazine , September 1, 1973.

Genesis’ Band of the Month , a cover and one-page article in Music Scene Magazine , January 1, 1974.

Mott The Hoople’s "Band of the Month" , a one-page article in Music Scene , February 1, 1974..

Genesis’ "Flying High" , a one-page article in Melody Maker , September 28, 1974.

Genesis’ "Everything New" , a two-page feature in Pop Magazine  Issue 22, 1974. A brightly made-up face in ultraviolet light. A band in front of a bizarrely lit stage backdrop. A singer who transforms from song to song, as a fox, as a rose, as Britannia, as an old man. Who flies into the stage sky at the end with thunder and lightning. That is Genesis as you all know them. But you will never see them again like they are on these pages. <> calls Peter Gabriel, as POP photographer Count Bob Ellis unpacks his cameras. With his right hand he sadly runs his hand over the bush that has grown around his chin in the last few weeks. "It's a shame, actually, a beard like that is pretty comfortable." We drove for four and a half hours from London to Wales. There, in the rural west of England, Genesis are hiding on a remote farm. They want to work undisturbed for ten weeks and prepare for the next tour. Surrounded by nature and away from the hustle and bustle of London, they are gaining new energy and new ideas. <<<

Genesis’ "Not Only On" , a two-page feature in Pop Magazine , December 1, 1975.

Faces’ Faces In Action , a cover and one-page article in Melody Maker , September 4, 1971.

Faces’ "Faces Liven Up a Pretty Dull Reading" , a one-page Reading concert review in Disc Music Paper , August 19, 1972.

Faces’ Ian MacLagan’s "Whatever Turned Me On" , a one-page article in New Musical Express , September 2, 1972.

Faces’ "Steve McQueen Wanted Tickets" , a two-page article in Melody Maker , September 16, 1972.