Personnel
Ian Hunter – lead vocals, rhythm guitar, piano on "All American Alien Boy", backing vocals
Chris Stainton – piano, organ, mellotron, bass guitar on "Restless Youth"Jaco Pastorius – bass guitar all tracks, guitar on track "God (Take I)"
Aynsley Dunbar – drums
Jerry Weems – lead guitar
David Sanborn – saxophone
Dominic Cortese – accordion
Cornell Dupree – guitar on "Letter to Brittania From the Union Jack"
Don Alias – congas
Arnie Lawrence – clarinet
Dave Bargeron – trombone
Lewis Soloff – trumpet
Freddie Mercury – backing vocals on "You Nearly Did Me In"
Brian May – backing vocals on "You Nearly Did Me In"
Roger Taylor – backing vocals on "You Nearly Did Me In"
Bob Segarini – backing vocals
Ann E. Sutton – backing vocals
Gail Kantor – backing vocals
Erin Dickins – backing vocals
Produced at: Electric Lady Studios, New York City, by Ian Hunter
Release date: 29 May 1976
Running time: 69:34
Current edition: Columbia
Highest chart places: UK #29, US #177
The outsider began to embark on an adventurous ride through the musical wonderland of Ian Hunter's universe as he unravels the enigmatic nature of America in his second LP, deemed by the daring artist himself as nothing short of "commercial suicide." Yet, against all odds, this audacious endeavor emerged as a resounding triumph of artistic expression and boundless creativity. Alas, the harmonious partnership between Hunter and the incomparable Mick Ronson would be derailed for a staggering three years by the relentless machinery of the music business. As Ian retreated to the sanctuary of his creative sanctuary to pen the songs that would define his legacy, the virtuoso Ronno found himself irresistibly lured by the siren call of countless other artists, yearning to bask in his musical brilliance. And in the midst of this whirlwind, a fortuitous encounter awaited our intrepid duo, as they crossed paths with a true legend, igniting a spark that would reverberate through the annals of rock history. So brace yourselves for an exhilarating expedition into the depths of Ian Hunter's artistic psyche, where the boundaries of commercial conformity are shattered, and the raw essence of musical genius is unleashed upon the world. It's a tale of triumph, tribulation, and the untamed spirit that forever resides within the heart of every true classic rocker. The outsider was years ahead of commercial pop until the third part of his career when the promise of this LP emerges full blown with his later stellar efforts. Get ready to dive headfirst into the epic saga of this extraordinary musical journey, until Ian and Ronno's paths intersect again with destiny, forever altering the landscape of rock.
The legendary Bob Dylan invited Mick to tour after the pair met Dylan when they went to New York's Bleecker Street to see Bob Neuwirth play a spontaneous gig at The Other End. Unlikely for Ronson who described Bob as "F*uckin' Yogi Bear" he nonetheless joined the traveling menagerie of Dylan and company in October 1975 as The Rolling Thunder Revue. Also, strangely, Bob turned out to be a Mott The Hoople fan and knew Hunter's work; Ronson invited Ian to show up for the rolling band but without an official invite he passed.
Hunter, now an American emigre, absorbed around the clock TV, political corruption, high energy, and the madhouse landscape of New York. The move elicited a great awakening of writing and ideas came faster and heavier than previously for Ian. Never content with the past and boredom the next project would be a startling first impression of America filled out with a new musical direction, thought-provoking observations, and artistic freedom. The album reminds some of Dylan, Randy Newman, and John Lennon.
The supportive Bobby Colomby assisted with forming a new band of jazz-based players married to Hunter's intelligent songwriting. The core of the band turned out to be Aynsley Dunbar, drums, saxophonist David Sunburn, guitarist Jerry Weems, and on keyboards Chris Stainton. Ian felt that he had the best and he got out of their way and allowed them freedom to contribute musically themselves. The final key component came from Colomby as well when one day Ian was introduced to the young but still relatively unknown phenomenon Jaco Pastorius on bass. Pastorius invented a distinctive bass style known as `the Jaco growl;' the remainder of the players were filled out by Colomby's Rolodex of jazz-rock musicians.
The album was recorded at the famous Electric Lady Studios in Greenwich Village, NYC starting in January 1976 for three weeks. The entire process took only twenty six days. Several tracks were first or second takes with all the songs written, produced, and arranged by Hunter. Four numbers did not make the cut: Common Disease, If the Slipper Don't Fit, Whole Lotta Shakin', and A Little Star. These songs were either too fast for the rest of the completed songs on the LP or had unfinished lyrics.
On 21 May 1976 CBS Records released the LP. The eight tracks of British American reflections were sprinkled with jazz artistry, generally gentle songs, and poetic elements which delighted many music critics, including yours truly as a young man yearning for meaning, but the effort startled Hunter fans. Ever the innovator Ian ignored commercial expectations and rock paradigms but the generally conceptual record was filled with intelligent wordplay, original arrangements, and observations about Britain, America, young love, the Mafia, rape, drugs, corporate decline, political corruption, rock 'n' roll, and God, all on one rock LP! The LP was arresting but this seed anticipates much of Hunter's later intelligent works indicative of ideas he revisited in the remainder of his career.
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