The album was generally received well by the public and critics alike. The promise of Mott and Mick came to fruition with Ronson's sparkling guitar along with Hunter's glorious lyrics. Ian had complete freedom from CBS to create and he ran with the opportunity. Drummer Elliot proved to be instrumental to their success and Hunter's search for a swing rhythm was fortuitous.
Marketing the album artwork was providential using M.C. Escher's surrealistic 1956 image, "Bond of Union," paralleling Mott The Hoople's debut employment of Escher's "Reptiles." Hunter had asked CBS Art Director Roslaw Szaybo to experience as he had been a fan of Escher since Guy Steven's suggestion on the Mott debut.
The British and American press was laudatory impressing the New Musical Express, DISC, Melody Maker, and Sounds. Over the pond in the US Hit Parader, Circus, Phonograph Record, and Rolling Stone all praised the effort.
Hunter and Ronson first gigged at Exeter University on 19 March 1975 and commenced a British tour as "Ian Hunter and Mick Ronson" combining songs from the record, Mick's Slaughter on Tenth Avenue material, and a climatic flurry of Mott hits. The Truth, the Whole Truth, Nuthin' But the Truth became the showcase for the live band featuring Mick. Appleby and Elliot were in the lineup but with Peter Arneson hospitalized former Mott The Hoople Blue Weaver substituted on keyboards.
The LP entered the British charts on 12 April, peaking at #21, while in America the album reached #50. The LP stayed on both charts for fifteen weeks and certified for a Silver Disc. The Once Bitten Twice Shy single was released as a single on 4 April, hitting the British chart on 3 May and spent ten weeks there, climbing to #14.
Hunter did a media appearance to support his initial effort by describing his favorite all time songs on BBC Radio One's My Top Twelve while Ronno did a separate appearance. The early split between Hunter Ronson indicated that the MainMan Management requirements might prove to be problematic. In any case, Hunter Ronson commenced a US tour in April for two dozen dates. They toured from 17 April - 23 May playing Hunter's solo material, some Ronson tracks, some Mott, and at least one oldie from 1956, Girl Can't Help It, popularized by Little Richard while the previously ill Peter Arneson returned on keyboards. Plagued by sound problems and despite poor reporting by Melody Maker and New Musical Express ticket sales were strong and audiences enjoyed the duo's efforts.
A joint appearance on The Old Grey Whistle Test helped promote sales and the pair wanted to release a second joint effort but signed separately to two different labels with disparate management proved their undoing. Hunter Ronson worked well as a friendship and artistic alliance but the managerial and label impasse split up the partnership.
Ian also relocated to America on a permanent basis. A personal incident proved to be the straw that broke the camel's back. Passing by housepainters one day they threw a bucket of paint water at him and he wondered why he was living in a country with people like that while he was paying 90% of his money to the nation. Hunter's mixed feelings about his native land would be a topic of his future songwriting. And, his relationship with America would also open songwriting opportunities. Initially, New York City was an artistically conducive environment for his craft. Ian and Trudi took up residency at manager Fred Heller's home in Pleasantville, Westchester County, before the couple moved into a rambling house on Kipp Street in Chappaqua, a neighboring town forty miles north of NYC. The move proved fortuitous as his solo career grew and he went to Katonah, N.Y., visited Dennis Elliott one day in Connecticut, rented, then bought a house to live in Connecticut since 1991 and settled in domestically with Trudi and their son, Ian's youngest. Connecticut life has also influenced Hunter's songwriting.
In 2005, Sony BMG released a 30th Anniversary Edition of the LP including extra tracks, single edits of Once Bitten Twice Shy, Who Do You Love, and Boy, plus the previously discarded Colwater High and One Fine Day. Hunter wrote lyrics and recorded vocals at London's Riverside Studios in April 1999. Classic Rock named the LP at No. 2 in their Top Fifty Best Reissue poll.
What would be next for Ian? Hunter's next project would be significant and a surprising shift in musical output that would take his audience in a new direction.
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