Ian Hunter, Ian Hunter, 1st LP, Introduction

This is the 1975 first Hunter solo album after leaving Mott The Hoople and the initial effort of Ian and Mick Ronson on their own. Ian had landed at Bobby Colomby, jazz-rock fusion drummer, record producer, and television presenter's Rockland, New York home as his quarters while Colomby was on tour. Hunter wrote Did You See Them Run along with Shades Off, a poem, which eventually became Boy at Colomby's house while Ronson flew back to England to form a band. Ronno suggested Geoff Appleby on bass who was a former bandmate in The Rats when they were in Hull. Hunter engaged swing drummer Dennis Elliott because his jazz-rock background appealed to Ian. Finally, Ronson also yanked student Hans-Peter Arnesen as well on keyboards. Mott had booked Air studios in London, but Ian and Mick went in instead.  

Ian signed a solo deal with Columbia with the idea of taking some of the work he started in Mott but with his new direction in mind. The leftover Mott material included Colwater High, One Fine Day, and Lounge Lizard. The latter song was re-recorded with the new band but the first two songs were not completed. Nine original tracks emerged and the album was released in British record stores on 28 March 1975. 

Once Bitten, Twice Shy is one of the best known and common live songs included in Hunter's concerts. The well-known opening, 'Allo, allo, allo,' was spontaneous when recording and is a counterpoint to the goodbye in Mott's Saturday Gigs. The song emerged over time at a Mott rehearsal, Ronson"s flat, and at the Speakeasy club. It's partly about Mott's breakup but also a general dissatisfaction with the business side of music.  

Ian Hunter is the first solo studio album by English singer-songwriter Ian Hunter, recorded following his departure from Mott the Hoople. Released in 1975, it is also the first of many solo albums on which he collaborated with Mick Ronson. The bassist, Geoff Appleby, was from Hull like Mick Ronson and they had played together in The Rats in the late 1960s. The track "It Ain't Easy When You Fall/Shades Off" contains the only recorded example of Hunter reading his own poetry.

The single "Once Bitten, Twice Shy" would be his first and last Top 20 hit in the UK Singles Chart. The pop-metal band Great White later covered the song on their 1989 album ...Twice Shy.^[4]

"Who Do You Love" and "3,000 Miles from Here" were covered by Joe Elliott's Down 'n' Outz on their 2010 album My ReGeneration. Also, Def Leppard covered "Who Do You Love" on their 1999 single "Goodbye" as a B-side. "Who Do You Love" was also covered by the Pointer Sisters on their 1979 album, Priority.

Track listing[edit]

All songs written by Ian Hunter except where noted.

1. "Once Bitten, Twice Shy" – 4:44
2. "Who Do You Love" – 3:51
3. "Lounge Lizard" – 4:32
4. "Boy" (Hunter, Mick Ronson) – 8:52
5. "3,000 Miles from Here" – 2:48
6. "The Truth, the Whole Truth, Nuthin' but the Truth" – 6:13
7. "It Ain't Easy When You Fall/Shades Off" – 5:46
8. "I Get So Excited" – 3:48

30th anniversary bonus tracks[edit]

9. "Colwater High" – 3:12
10. "One Fine Day" – 2:21
11. "Once Bitten Twice Shy" (single version) – 3:52
12. "Who Do You Love" (single version) – 3:17
13. "Shades Off" (poem) – 1:37
14. "Boy" (single version) – 6:25

Charts[edit]

Chart (1975)	Peak position
Australian (Kent Music Report)	36[5]

Personnel[edit]

• Ian Hunter - vocals, rhythm guitar, piano, percussion, backing vocals
• Mick Ronson - lead guitar, organ, Mellotron, mouth organ, bass guitar
• Geoff Appleby - bass guitar, backing vocals
• Dennis Elliott – drums, percussion
• Pete Arnesen – piano, keyboards
• John Gustafson – bass guitar on "Lounge Lizard"

Technical

• Bill Price – engineer
• Roslav Szaybo – design concept
• Martin Springett – illustration

 

Review

After leaving Mott the Hoople, Ian teamed up with guitarist Mick Ronson to record his first solo album. Mott had booked Air studios in London, but Ian and Mick went in instead. The result is an album that is totally stunning - one of Ian's best.

From the opening "'Ullo!" of Once Bitten Twice Shy to the savage cut-off of original album closer I Get So Excited this is an album packed full of good tracks. I can't pick out highlights because they're all good.

The 30th Anniversary issue now includes two session outtakes (unreleased at the time), together with two single edits. All of the bonus material was previously released on the Once Bitten Twice Shy compilation.

Sound quality is excellent, as are the sleeve notes.

This album has been issued several times on CD. The original Columbia (USA) CD had good (but not exceptional) sound quality, while the UK Sony/Rewind CD had very good sound quality. Neither had bonus tracks.

After leaving Mott the Hoople in early 1975, Ian Hunter quickly threw himself into recording this eponymous solo debut. Not surprisingly, it contains a lot of the glam rock charm of Hunter's old group: "The Truth, the Whole Truth, Nothing But the Truth" and "I Get So Excited" are fist-pumping tunes that combine punchy hard rock riffs with intelligent lyrics in a manner similar to Mott the Hoople's finest moments. However, Ian Hunter pulls off this grandiose sound without the overtly ornate production that defined the final Mott the Hoople albums because Mick Ronson's cleverly crafted arrangements manage to create a big wall of sound without utilizing a huge amount of instruments or overdubs. As a result, Ian Hunter's lyrics shine through in each song and show off his totally personalized mixture of attitude and intelligence: the legendary and oft-covered "Once Bitten, Twice Shy" is a cheeky, clever exploration of rock & roll's ability to corrupt the innocent, and "Boy" is a critique of a rocker who has allowed his pretensions to overpower his heart (many say this tune was aimed at fellow star and onetime Mott the Hoople producer David Bowie). Another highlight is "It Ain't Easy When You Fall," a moving tribute to a fallen friend that gracefully builds from delicate verses into a soaring chorus. The end result is a memorable debut album that gives listeners their hard rock fix and manages to engage their brains at the same time. Anyone interested in the finest moments of 1970s glam rock should give this classic a spin.

What a lot of reviews seem to overlook is that this is as profound an example of self refelction as anything John Lennon ever put to tape. Very few artists can claim such honesty as this album affords the listener. Forget that it wasn't a Mott album, it was and is, a great album.

OttoLuck Sep 23 2005

The rack and ruin of Mott The Hoople back in 1974 threw me for a big loop but when the dust settled, things didn't turn out so bad after all. Overend Watts, Dale Griffin, and odd duck keyboardist Morgan Fisher reloaded with street rat vocalist Nigel Benjamin and guitarist Ray Major, releasing two feisty albums under the Mott brand ("Drive On" and "Shouting & Pointing"). Ian Hunter celebrated the end of his hospital stay for nervous exhaustion by grabbing Mick Ronson by the ear and dragging him into the studio to record this eponymous debut solo album. 

Festooned in glam-rock glad-rags, "Ian Hunter" has been given the expanded, remix treatment by Sony and sounds as exhilirating today as it did 30 years ago. Worth the price of admission alone for Hunter's " 'Allo " at the beginning of "Once Bitten Twice Shy" and Ronson kick starting his Les Paul and wah pedal a few minutes later, it's equal parts turbine-whine guitar roar ("Who Do You Love," "Lounge Lizard," and "I Get So Excited") and slightly more reflective tracks which manage to avoid dropping off the precipice into malaise or melancholia ("3,000 Miles From Here," "It Ain't Easy When You Fall," and "Shades Off").

Published 

519817 2 CD (2005)

Grampus Mar 11 2005

I was absolutely devastated when Mott The Hoople split. There were innumerable other important bands and artists on the scene but none meant more to me personally. I suppose in terms of teen worship they were my Spice Girls or Boyzone - although I’d like to think they were of greater significance. So I was at the front of the queue when Ian Hunter released this his debut, but I have to admit to feelings of trepidation; could he actually produce the goods without the band? 

What on earth was I worried about? Billed as the third movement of a trilogy - Mott and The Hoople being the others - it reveals a songwriter on fire. From the cheeky Cockney "Hello!" which signals the beginning of the awesome "Once Bitten Twice Shy" to the almost orgasmic chanting of "I Get So Excited", the album fairly bubbles with lyrical invention yet plants itself firmly in the rock ‘n’ roll tradition. "Once Bitten Twice Shy", "Who Do You Love", "I Get So Excited" and "The Truth, The Whole Truth, Nuthin' But The Truth" are terrific. Whilst "Boy", Hunter and Ronson's song about Bowie, is a tour-de-force. But, true to form of being different, my favourite is the ballad "It Ain't Easy When You Fall" and the accompanying poem "Shades Off" because, even though not its subject matter, it brings to mind the traumas and pitfalls I encountered as a teenager and still manages to bring a tear to my eye.

Published 

Roy_Pearl Aug 12 2002

Ian Hunter's solo debut was his first proper release teamed with Mick Ronson, and it's an expansive hard rock album. From the opening brilliance of "Once Bitten, Twice Shy" to the emotional balladry of "Boy", this is that rarest of things: a solo album that may even surpass the output of the artist's legendary original band (in this case, Mott the Hoople). Mick Ronson's guitar playing is characteristically stellar throughout, and Ian Hunter seemed to positively exhult in his newfound freedom from the whole glam scene. But be warned, if this turns you into a new convert there's a HUGE back catalogue of incredible Ian Hunter material out there that will empty your wallet in a hurry.

Published 

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EugenOhneland Jan 22 2022▼

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Anspieltip: "Once Bitten Twice Shy" 

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Published 

PILOTOPI Apr 04 2021

El primer disco, homónimo de Ian Hunter, tras la separación de Mott the Hoople, es un buen disco de rock encuadtrable en la línea dura del escenario glam de la época, que comenzaba a dar por aquel entonces sus últimos coletazos. Cuenta con la decisiva participación de Mick Ronson, lo que le da la majestuosidad sónica a la que ya nos tenía acostumbrados.
Su propuesta es absolutamente digna y honesta.

Published 

p_q Jan 10 2021

Walking away from Mott the Hoople at the point they were beginning to make their mark in the USA, a lot of people must have questioned Ian Hunter’s desire to make it as a rock and roll star. Apparently he was burnt out, and having finally achieved success in his early 30s, he had seemingly found the rock and roll dream to be rather hollow.

Having made the split from the band that had made his name, Hunter took a little time to recover before heading in to the recording studio with former Spider from Mars, latter day Mott member and all round guitar icon, Mick Ronson and laying down the foundations of his solo debut.

Except that it wasn’t supposed to be. The original plan was for the album to be released as a collaboration between Hunter and Ronson, however contractual and management issues on Ronno’s side would mean that it would be released under Hunter’s name only. This was a great shame, as Ronson’s name alongside Hunter’s would have ensured that it shifted a few more units than it did, but nevertheless Ronno was featured prominently in the credits and the album as a whole confirmed that Hunter didn’t particularly need Mott the Hoople with him to record a genuinely great album.

It opens with an extended version of “Once Bitten, Twice Shy”, Hunter’s only solo hit single here in the UK. It remains a great rock song, starting as a sort of an electric skiffle topped with Hunter’s unmistakable drawl, before a searing Ronson riff makes its entrance just before the two minute mark and the whole song takes off as Hunter kicks the song up a gear. Bowie may have abandoned rock and roll for icy art-rock but “Once Bitten, Twice Shy” is confirmation that Bowie lost a vital element of his sound when he gave Ronson his marching orders.

“Who Do You Love” is another stirling rocker, but this time with more of an obvious debt to the blues, something which is not always immediately obvious when listening to a lot of Ian Hunter’s work. “Lounge Lizard” is a song left over from the Mott the Hoople days, and although it lacks the scruffy charm of the version that has appeared on an early 90s Mott compilation, the album version is considerably more sure-footed.

“Boy” is the album’s epic and a reminder that rockers were just one of Hunter’s specialities, and that he was more than capable of writing more melodic and thoughtful material. His more tender and sentimental side was also evident on “3,000 Miles From Here”, and for me, it’s one of the best songs of his career.

“The Truth, The Whole Truth, Nuthin’ But The Truth” is a slow-burning riff-heavy rocker which, despite over six minutes of run time, doesn’t overstay its welcome.

The siamese-twinned “It Ain’t Easy When You Fall” and “Shades Off” is another lengthy track, but is also the album’s secret weapon. “It Ain’t Easy When You Fall” is a startlingly tender song, combining the sensitive reflection and bombast that had been evident on the album’s other tracks with a killer chorus. It segues into “Shades Off”, a spoken word coda that plays over the repeated chorus as it fades out. It’s the type of song that manages to lodge itself into your subconscious in a way that leads you back to its parent album with increasing frequency.

Closer “I Get So Excited” is a Mott-style rocker with a insistent riff, batteries of drums and a gloriously straightforward chorus. Following “It Ain’t Easy When You Fall / Shades Off”, it’s a breakneck-sprint to the end, bringing the album to the only conclusion possible.

Ian Hunter’s self titled solo debut is as strong as any he recorded with Mott The Hoople and set the gold-standard for his solo work that he continues to work to today. With Mick Ronson as his running buddy, they produced something that was an evolution of the sound of Hunter’s previous band, but also hinted towards where Hunter would head for in the future, without being confused or muddled. This was a self-assured step and confirmation that there was life after Mott.

Published 

dwightfryed Mar 29 2018

UK glam's last gasp?

Mott may have been barely breathing, but the combination of Ian Hunter and Mick Ronson was a flash of clever, contagious glam rock genius if there ever was one.

It’s an album of big choruses, and really those are the cuts that steal the show. From the well-worn classic rock staple “Once Bitten, Twice Shy” to the rompin’, stompin’ stadium anthem “Who Do You Love” (if your foot doesn’t tap to that one, check your pulse. You may be dead), to the crawling, uber-funky groove of “The Truth, the Whole Truth, Nuthin' but the Truth”, backing into a deadly solo from the glitter god of guitar himself, these vets of the silver pants-era deliver the goods. 

It’s an album that flashes by quickly, rife with hooks, memorable songs, quintessentially British lyrics, rolling pianos, and occasional spoken-word waxings from Hunter. Only the lengthy Dylan-esque ballad “Boy” wears out its welcome after the first few minutes. It’s a song that wouldn’t have fit on a Mott album, and despite it’s colorful lyrics (Batman zips the monster as he bleeds), it just feels like a massive speedbump in this otherwise impeccable slab of glam pop.

The first of a run of cool releases from Ian Hunter. Recommended for anyone whose worn out the Bowie or Mott catalogs.

Published 

Forward and Introduction to On Track about Ian Hunter

I will describe Ian Hunter's solo career in context and provide a brief history. Along the way I will note any changes in musical style. My goal is achieving this fan's subjective opinion as a life-long follower of Mott The Hoople but particularly the songwriting of Hunter. I will review the musical direction of album releases, line up changes, and were relevant critical reception. I hope to arrive at a balance between discussion of the music and lyrics elaborating when necessary on the content since Ian is primarily known for the strength of his lyrics. 

On Track Correctly Formatted Section of Text

Example of a correctly formatted section of text.

Below, you'll see the beginning of a chapter from Camel On Track. Nude (1981)

Personnel:
Andrew Latimer: guitars, vocals, flute, koto, keyboards
Colin Bass: bass, vocals
Andy Ward: drums, percussion
Additional musicians:
Mel Collins: flute, piccolo, saxophones
Duncan Mackay: keyboards
Jan Schelhaas: piano on 'The Last Farewell'
Chris Green: cello on 'Drafted'
Gasper Lawal: percussion on 'Changing Places'
Herbie Flowers: tuba on 'The Homecoming'
Produced at: Abbey Road Studios by Camel, Tony Clarke and Haydn Bendall Engineer: Tony Clarke
Release date: 31 January 1981
Running time: 44:45
Current edition: Esoteric Recordings ECLEC 2159
Highest chart places: UK: 34, USA: Did not chart

Nude is a full-on return to form, always ranked highly in the fans' Camel hall of fame. Unlike Breathless and I Can See Your House From Here, the album is all of a piece stylistically and sees Camel replanting their melodic roots.

Nude is, of course, Camel's first concept album since The Snow Goose. Properly, I understand from a Japanese acquaintance, pronounced 'Noo- duh', on first listening, buyers might have been a little befuddled by the lack of content relating to bare skin, but Noo-duh it is. Musically, Nude points

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the way to the direction Latimer would head once he and Susan Hoover struck out on their own. It's an extended composition based on historical fact and not, as with The Snow Goose, on fictional characters. It was Hoover who pitched the story to Latimer, and he bought in immediately, saying on CV: (AUTHOR GUIDE NOTE: CV is a DVD of interviews, and had previously been introduced by the author, so more detail in the attribution is not needed again.)

Like Snow Goose, it was easy again for me to do as it has a story, characters, different things that happen in the plot. I find that very easy to do writing- wise; you get a very clear picture if the story or the emotion or whatever you're trying to do is strong.

To recap on that story, Nude – or Hiroo Onoda, to use his given name – was a Japanese army intelligence officer who, through missed communications, was unaware that WWII had ended, and believing that the war was ongoing continued, along with three compatriots, guerrilla operations on the Philippines island of Lubang. Although in October 1945, he and the others read a dropped leaflet stating that Japan had surrendered, they ignored the content believing this to be propaganda. By 1972, the last of his cohort was dead after a shoot-out with local police, and Nude was alone.

Eventually, after nearly 30 years in hiding and subsisting on the land, with occasional forays into villages to steal food, he met another Japanese, Norio Suzuki, who had made it his mission to find Nude. Australian public broadcaster, ABC, interviewed Onoda in 2010, where he said:

This hippie boy Suzuki came to the island to listen to the feelings of a Japanese soldier. Suzuki asked me why I would not come out.

After a month of to-ing and fro-ing, with Nude refusing to surrender without official orders from a superior officer, the Japanese government eventually located his commanding officer from WWII, who flew to Lubang and presented him with the necessary orders.

I'll cover what happened after Nude's return to Japan in the track-by-track breakdown. Importantly, bear in mind that Hoover used quite a bit of artistic licence story-wise, as her narrative has Nude alone on the island from the word go. This shouldn't detract from the music, though.

Moving to the recording, after a run of Top 40 albums, even without that coveted hit single, Decca decided to throw the dice and put significant money behind the effort. So, it was that for their eighth album that Camel finally made it to the Shangri-La of studios – Abbey Road, home of The Beatles, Dark Side Of The Moon and Al Stewart's Year Of The Cat. On CV Andy Ward said of the facility:

Recording at Abbey Road was a dream come true ... the engineers were superb.

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And, also on CV, Latimer also remembers the time fondly:
We were in the canteen and then Paul McCartney came and sat at our table

and started drinking tea with us – so you try to be normal, but it's difficult.

A change of studio also brought yet another change of producer, this time Haydn Bendall who was the incumbent chief engineer at Abbey Road, working alongside Tony Clarke, who was best known for producing The Moody Blues from 1966 to 1979.

In case you were wondering, yes, you read the personnel listing above correctly: Latimer plays keyboards on Nude; who knew he had it in him? Duncan Mackay takes lead keyboard duty covering for Watkins and Schelhaas, who were unavailable for the sessions due to other commitments. Schelhaas, however, did manage to contribute to one track, playing piano on 'The Last Farewell'. Returning to Mackay, he had played keys for Steve Harley & Cockney Rebel, 10cc and then Kate Bush on her first three LPs, so he was a great fit. Ward and Bass, of course, remained the rhythm section.

In addition to the core band, Mel Collins rejoined in the studio accompanied by the handful of minor contributors listed above.

The accompanying Europe-only tour was a sell-out, spanning January to April 1981, ending with a second 'by popular demand' appearance at the Hammersmith Odeon.

Apart from the Hammond work – which is all Mackay – and Schelhaas' named contribution on 'The Last Farewell', due to Latimer's keyboard credit, it's hard to unpick exactly who is playing what on the album. So without access to the studio logs, unless the player is obvious, I'm not going to speculate.

One final observation: it's notable that Latimer doesn't at any stage in the composition, stray into any Japanese musical tropes, and for this, he is to be applauded. It would have been easy to overdo the koto or to include some wadaiko drums or nokhan flutes, but instead, he lets the story stand on its own. Nude is a better work for it.

'City Life' (Latimer, Hoover)
Japan is at war, and the 20-year-old Nude is living in Tokyo but has not yet been called up. He muses over the direction his nation is taking and hankers after the past, when the country had more traditional values.

Starting off with a sort of 'reverse lullaby' comprising Bass's fretless bass over synth arpeggios, the vocals soon arrive and then the pace changes as Ward joins in with a steady driving beat mirrored by some chirpy electric piano, the effect nicely calling to mind someone waking up and hearing the bustle of the city outside. Over a couple of verses, Bass and Latimer seamlessly share the singing duties and sound great together (you can hear Bass's slight lisp at times, which is a stamp of authenticity for his parts).

The bridge brings another change of tempo with a fun tambourine and drum exchange between left and right channels, leading into a classic Collins

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sax break, one more sung verse, and ending with a restrained solo from Latimer that's unusually far back in the mix. We're up and running, all systems 'Go'.

'Nude' (Latimer)
At 23 seconds long, this is the shortest track in the Camel catalogue. Apart from that claim to infamy, there's not much more to say: 'Nude' should properly be regarded as simply an outro to 'City Life', comprising as it does, nothing but some distorted synth, and logically should have been tacked on to that track. Puzzling.

On Track Series Notes on Style, Tone, and Format

 

1. 
   

    -Notes on Style, tone and formatWord count for the series is a minimum of 40 000 up to a maximum of 60 000 for artists with many albums. Although it is preferred to cover an entire artist's output, in some cases it is possible to pick a particular era and focus on that. "Frank Sinatra in the 1960s" would work, for instance. You are also asked to fill a 16 page picture section.Tone and ContentThe series is designed to provide a contrast between solid, factual information and critical analysis. How these two balance is up to the author (in conjunction with the publisher, of course). None of this is set in stone, so if what I say belowdoes not chime in with what you want to do, let's discuss it. However, please note the followingas rules of thumb:Basic album credits are given at the beginning of each chapter (see below). It is not necessary to give credits for each track UNLESS this provides useful insight into how the track was created.Discussion of live performance variations in arrangements (for instance) are very useful, but there's no need to list every gig or tour the trackwas played at. Track and album timings are an optional extra. They are not compulsory. Writing credits are important, though.Every artist has peaks and troughs, but part of the ethos of the series to treat every album with respect. Poor or unsuccessful albums must be discussed in the same way as good ones, where possible.HOWEVER do not get bogged down on CD bonus tracks and demos, unless they give genuine insight, though these should be listed. It's the songs on the original albums that people will want to hear about in detail.Arrive at abalance between discussion of music and lyrics. Do not get bogged down in too much analysis of lyrical content.Using quotes from the artist or other critics can be very useful, but do not rely on them. We want to hear the author's voice in the book. HOWEVER...This is not the time to give us your revisionist take on the artist, so all strong opinions -good and band -MUST be justified, either by argument or by quoting from external sources. Remember that purchasers will -in the main -will be fans wanting to read positive comments.
2. 

    IntroductionThis should set out the artist's work in context and give a brief history if appropriate, discussing overall changes in musical style. You should also set out what you are aiming to achieve in the book, plus any quirks the reader needs to be aware of.For each studio album, we want UK and US information by default, plus the country of origin if relevant (eg. Canadian or Australian chart places and release datesfor artists from those countries)Dates should be in US style (Eg. 26 April 1973).For each album. Credits.Title.Release date (UK and US if different)Personnel: (name and instruments played)Recorded at: Studio name, location, datesProduced by: NameAny other significant credits: (eg. Engineers)Chart placings -(eg. UK -5, USA -did not chart)Current edition: (eg. EMI CD)IntroductionPlace the album in context. Discuss it's musical direction, its success, line up changes and critical reception. How do you feel about it and why?SongsName of track.Writing creditsAny other credits (eg, guest musicians, chart placings if releases as a single) can be included in the text. The text may be anything from500 words to a single line depending its complexity and place in the canon. Bonus tracks and demos included on CD special editions should be covered briefly.Live albums, DVDs and other mediaThese should be discussed in a separate chapter at the end of the book. Some may be worthy of extensive coverage, others may be dismissed in one line.Again, this is not set in stone, so if in doubt, ask.Acknowledgements and BibliographyUseful if you can fit them in.
3. 

    You are asked to provide enough pictures to fill a 16 page colour section. In most cases this will be about 25 pictures.Thesewill be the only pictures in the book. There is no budget to pay for photo library pictures except for the cover, so it is necessary to be creative. 8 pages will be acceptable in some circumstances.

On track series - Notes on Style and Tone.pdf

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