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DISCID=ea111910
DTITLE=Mott The Hoople / All The Young Dudes (remastered 2006)
DYEAR=1972
DGENRE=Rock
TTITLE0=Sweet Jane
TTITLE1=Momma's Little Jewel
TTITLE2=All The Young Dudes
TTITLE3=Sucker
TTITLE4=Jerkin' Crocus
TTITLE5=One of the Boys
TTITLE6=Soft Ground
TTITLE7=Ready for Love + After Lights
TTITLE8=Sea Diver
TTITLE9=One of the Boys (Demo)
TTITLE10=Black Scorpio (Demo of ''Momma's Little Jewel'')
TTITLE11=Ride on the Sun (Demo ''Sea Diver'')
TTITLE12=One of the Boys (UK Single Version)
TTITLE13=All the Young Dudes (Bonus Track - David Bowie & Ian Hunter V
TTITLE13=ocals)
TTITLE14=Sucker (Live at Hammersmith Odeon 1973)
TTITLE15=Sweet Jane (Live at Hammersmith Odeon 1973)
EXTD=All The Young Dudes (Remastered + Expanded)\n2006 Columbia/Legacy
EXTD=\n\nOriginally Released 1972\nCD Edition Released 1988\nRemastere
EXTD=d + Expanded CD Edition Released February 21, 2006\n\nAMG EXPERT 
EXTD=REVIEW (Remastered + Expanded CD Edition) Legacy's remastered rei
EXTD=ssue of Mott the Hoople's All the Young Dudes pays homage to a tr
EXTD=ue rock & roll myth and one of the great recordings of the early 
EXTD='70s -- whether the "official" critics lists reflect that or not.
EXTD= Ben Edmonds' excellent, even poetic liner notes tell the whole s
EXTD=tory, yet a sketch of it is worth repeating here: in March of 197
EXTD=2, Mott, frustrated by a rough gig in Switzerland, poor album sal
EXTD=es, and the failure to crack the charts or fill concert halls des
EXTD=pite a small but rabid following in the U.K. and an even smaller 
EXTD=one in the U.S. -- though critics liked them and they filled hall
EXTD=s in Detroit with insanely wild fans -- decided to hang it up. As
EXTD= Edmonds accurately points out, the band was unable to capture th
EXTD=e wild, frenetic roots rock & roll energy (combined with hard roc
EXTD=k) that its stage show was drenched with. Enter David Bowie, a on
EXTD=e-hit wonder with "Space Oddity," who was trying to reinvent hims
EXTD=elf with a character named Ziggy Stardust. He loved Mott. He offe
EXTD=red to produce the set and offered them a song, the title track. 
EXTD=The rest is history. "All the Young Dudes" was the band's first b
EXTD=ona fide chart success, and helped to kick off the glam era, thou
EXTD=gh Mott were not a glam band. Live, they possessed the crazy, dan
EXTD=ger-channeling spirit of truly edge-walking performers like Jerry
EXTD= Lee Lewis and Little Richard, yet had every bit of the swagger a
EXTD=nd spit of the Rolling Stones, the Faces, and the Kinks. Other tr
EXTD=acks on the disc that struck pay dirt for fans and the uninitiate
EXTD=d were the anthemic strutter "One of the Boys," the loose and woo
EXTD=lly "Jerkin' Crocus," and Mick Ralphs' "Ready for Love," a song h
EXTD=e later resurrected to chart success after leaving Mott to join B
EXTD=ad Company. And finally there was perhaps the finest version ever
EXTD= recorded of Lou Reed's classic "Sweet Jane." \n\nWhile the album
EXTD=, presented in gloriously remastered sound, offers listeners an e
EXTD=ntirely new hearing of one of rock's most enduring outings, the b
EXTD=onus material included here is the stuff of legend; it cements th
EXTD=e Mott myth. There are seven bonus cuts on the set. First there a
EXTD=re demo versions of "One of the Boys," "Momma's Little Jewel" (th
EXTD=en called "Black Scorpio"), and "Sea Diver" (then titled "Ride on
EXTD= the Sun"). These tracks, while rough, contain some of the wild a
EXTD=bandon Mott exhibited live -- and there is further evidence of th
EXTD=at here. There is a 45-rpm version of "One of the Boys," tightene
EXTD=d up and mixed to stun. A real lo-fi gem included here is "All th
EXTD=e Young Dudes," with Bowie on lead and chorus vocals. It's inferi
EXTD=or to the album version with Ian Hunter on lead (though Bowie rem
EXTD=ains in the chorus), but it gave Hunter a road map for his own pe
EXTD=rformance. Finally, there are two tracks from the Hammersmith Ode
EXTD=on, "Sucker" and "Sweet Jane," that reveal the sheer raw and craz
EXTD=y magic of Mott live. Both of these cuts are simply out to lunch 
EXTD=in their abandonment to the music itself. "Sweet Jane," in partic
EXTD=ular, has none of the pretty guitar intro that the studio version
EXTD= does; it's all power chords and Hunter letting out the words, co
EXTD=ol, collected, and ready to ramp it all up -- and he does as the 
EXTD=band plays double time. He keeps it all grounded, having both the
EXTD= audience and the swirling, stomping music in the palm of his han
EXTD=d. Check out Ralphs' guitar solo in the middle; it's utterly bada
EXTD=ss. For anyone who ever even cared about rock & roll in the 1970s
EXTD=, this is one of those records that is a must-have. One hopes tha
EXTD=t the reissue of All the Young Dudes will spur a Mott revival in 
EXTD=the same way that T. Rex are revived every few years. Legacy did 
EXTD=a masterful job and treated the presentation of this with all the
EXTD= care a classic deserves. -- Thom Jurek\n\nAMG EXPERT REVIEW: Jus
EXTD=t at the moment they were calling it a day, David Bowie swooped i
EXTD=n and convinced them to stick around. Bowie spearheaded an image 
EXTD=makeover, urging them to glam themselves up. He gave them a suref
EXTD=ire hit with "All the Young Dudes," had them cover his idol's "Sw
EXTD=eet Jane," and produced All the Young Dudes, the album that was d
EXTD=esigned to make them stars. Lo and behold, it did, which is as mu
EXTD=ch a testament to Bowie's popularity as it is to his studio skill
EXTD=. Not to discount his assistance, since his production results in
EXTD= one of the most satisfying glam records and the title track is o
EXTD=ne of the all-time great rock songs, but the album wouldn't have 
EXTD=worked if Mott hadn't already found its voice on Brain Capers. Tr
EXTD=ue, Dudes isn't nearly as wild as its predecessor, but the band's
EXTD= swagger is unmistakable underneath the flair and Hunter remains 
EXTD=on a songwriting roll, with "Momma's Little Jewel," "Sucker," and
EXTD= "One of the Boys" standing among his best. Take a close look at 
EXTD=the credits, though -- these were all co-written by his bandmates
EXTD=, and the other highlight, "Ready for Love/After Lights," is penn
EXTD=ed entirely by Mick Ralphs who would later revive the first secti
EXTD=on with Bad Company. The entire band was on a roll here, turning 
EXTD=out great performances and writing with vigor. They may not be as
EXTD= sexy as either Bowie or Bolan, but they make up for it with know
EXTD=ing humor, huge riffs, and terrific tunes, dressed up with style 
EXTD=by Ziggy himself. No wonder it's not just a great Mott record -- 
EXTD=it's one of the defining glam platters. -- Stephen Thomas Erlewin
EXTD=e\n\nAMAZON.COM CUSTOMER REVIEW\nRiding on the sun without burnin
EXTD=g their fingers (4 stars), March 7, 2006\nReviewer: Wayne Klein "
EXTD=Wayne Klein" (Fairfield, CA United States)\nThis marvelous remast
EXTD=er of "All the Young Dudes" supercedes the British release of a c
EXTD=ouple of years ago. That version beautifully remastered by Ray St
EXTD=aff is captured here with the addition of bonus tracks taken from
EXTD= the "All the Young Dudes Anthology" and "2 Miles from Heaven". T
EXTD=hese include demo versions of "One of the Boys", "Black Scorpion"
EXTD= (a demo for "Moma's Little Jewel" at a brisker pace)and "Ride on
EXTD= the Sun" (a demo for "Sea Diver"). We also get an "audiomorph" o
EXTD=f Bowie's unfinished demo of "Dudes" cross faded and mixed with H
EXTD=unter's vocal version effectively creating a duet of sorts. This 
EXTD=also was available on the "Dudes" anthology. Additionally we get 
EXTD=the 45 edit for "One of the Boys" and live tracks drawn from the 
EXTD=UK 2 disc release of "Live" (which was recorded two years after t
EXTD=his album but that's a minor point. It would, however, have been 
EXTD=better to release this with bonus tracks recorded by the original
EXTD= line up from the 1972-3 tour). \n\nWe also get liner notes discu
EXTD=ssing the making of the album but no song lyrics. There were othe
EXTD=r bonus tracks that could have been included from the band's year
EXTD=s at Columbia. Those are, however, available on the limited editi
EXTD=on "Dudes" anthology. Columbia has done a terrific job repackagin
EXTD=g this 35th anniversary edition (that's if we're counting from th
EXTD=e band's first release in 1969). \n\nJust before the band recorde
EXTD=d this album they had experienced three years of fruitless releas
EXTD=es and were ready to break up. Every album they had made had been
EXTD= met with public indifference despite critical acclaim. Then alon
EXTD=g came David Bowie. He helped the band refashion itself into a gl
EXTD=am rock band. Bowie streamlined their sound a bit but, more impor
EXTD=tantly, he came with a potential hit single he had written himsel
EXTD=f. The band turned down the first song offered (opinions differ a
EXTD=s to what it was) but did accept the second which Hunter and the 
EXTD=rest of Mott recognized would fit their sound. "Dudes" is one of 
EXTD=the band's best albums (along with "Brain Capers" and "Mott")catc
EXTD=hing them just as they were reenergized by Bowie's involvement. \n
EXTD=\nAMAZON.COM CUSTOMER REVIEW\nAt long last !, March 1, 2006\nRevi
EXTD=ewer: T. McCool "old rocker" (Lafayette, IN United States)\nMott 
EXTD=the Hoople were the most influential and most under-rated band in
EXTD= the history of rock. All the Young Dudes was their rise from the
EXTD= ashes. The story is well-told. Now at last Sony has remastered t
EXTD=heir Columbia albums with bonus tracks. The bonus tracks are new 
EXTD=to the US, but have been available in the UK in various forms. \n
EXTD=\n"Side one" of the original LP was a tour-de-force of the sexual
EXTD= gestalt of the early 70s in general and the "glam" movement in p
EXTD=articular. All the Young Dudes was adopted by the gay community a
EXTD=s their anthem. Sucker begins with "Hi there, you're friendly nei
EXTD=ghborhood sadist come to take you for a ride." Momma's Little Jew
EXTD=el is "fresh from the nuns who made you." Jerkin' Crocus claims "
EXTD=I know what you want, just a lick from an ice cream cone." \n\nTh
EXTD=e rest of the CD is just plain brilliant Mott the Hoople. One of 
EXTD=the Boys is All the Young Dudes without the sex. Mick Ralphs sing
EXTD=s Ready for Love - a song he will eventually re-record with his n
EXTD=ew band, Bad Company. And no Mott record is complete without a ba
EXTD=llad from Ian Hunter, and Sea Diver is one of his best. \n\nThere
EXTD= are flaws with the record. Bowie severly clipped the drum sound 
EXTD=on the original, and it's fixed as best can be on this remaster. 
EXTD=The "phone" trick in One of the Boys is annoying, which makes the
EXTD= single edit included in the bonus tracks a real treat. Verden Al
EXTD=len sings a self-penned number that is not atypical Mott, but All
EXTD=en's organ was so key to the band's original sound he deserves a 
EXTD=spotlight track. Listen closely to the coda to One of the Boys an
EXTD=d spot his brilliance. This would be his last record with Mott, a
EXTD=nd he made the best of it. \n\nI have to comment on the liner not
EXTD=es. An excellent essay is included, and its written by a true fan
EXTD= - meaning that it's accurate and informative. However, the notat
EXTD=ion for the bonus tracks is lacking. Comparing the two recent rem
EXTD=asters (the Mott album was remastered and released at the same ti
EXTD=me), there are inconsistencies. The two live tracks included here
EXTD= are a later version of the band - only three of the five band me
EXTD=mbers on All the Young Dudes are present, and Ariel Bender, Ralph
EXTD='s replacement on lead guitar, is not credited. The live cuts are
EXTD= from Sony's UK-only expanded edition of the Live album. That is 
EXTD=noted on the live cuts on Mott, but not mentioned here. Minor det
EXTD=ails. \n\nAll the Young Dudes is an excellent snapshot of the ear
EXTD=ly 70s, but amazingly enough, the best of Mott was yet to come! \n
EXTD=\nHalf.com Details \nProducer: David Bowie \n\nAlbum Notes\nInclu
EXTD=des bonus tracks.\n\nIn 1973, the members of Mott the Hoople were
EXTD= tired. Island Records had dropped the band after three albums, a
EXTD=s sales were low and audience interest was almost non-existent. B
EXTD=ut the band had a famous fan in David Bowie, who offered to write
EXTD= them one single to give them a leg up. That single was the chart
EXTD=-topping "All the Young Dudes," a glitter-era wink-wink celebrati
EXTD=on of male bonding that name-checked chart-toppers T. Rex and rep
EXTD=ositioned the once-laddish band as glammy, androgynous scenesters
EXTD=. Obviously, an album was called for.\nProduced by Bowie and open
EXTD=ing with a smoking cover of "Sweet Jane" that played a major role
EXTD= in raising public awareness of the Velvet Underground, ALL THE Y
EXTD=OUNG DUDES is a brassy, loud, obnoxious--in the best possible sen
EXTD=se--rock & roll album. "Sucker" and "One of the Boys" recall the 
EXTD=hit, while "Jerkin' Crocus" and "Sea Diver" are as odd as the ban
EXTD=d's earlier material. An amazing mid-career transformation.\n\nIn
EXTD=dustry Reviews\n...an extravagant amount of power-driven, rock & 
EXTD=roll....they're bound to make it on the strength of this record..
EXTD=.\nRolling Stone Magazine (12/07/1972)\n\n3.5 stars out of 5 -- [
EXTD=T]he heavy riffs and hand claps of 'Sucker' and guitarist Mick Ra
EXTD=lphs' stadium-ready sludge fest 'Ready for Love/After Lights' gav
EXTD=e that Bowie-produced album its vital variety.
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