From 1984-1987 Hunter compositions were never released: Mean Streets

 From 1984-1987 Hunter compositions were never released: Don't Throw Your Love Away, Mad at the World, You Got What It Takes, I Can't Find You, Boys 'R' Us, Mean Streets

From 1984-1987 Hunter compositions were never released: Boys 'R' Us

 From 1984-1987 Hunter compositions were never released: Don't Throw Your Love Away, Mad at the World, You Got What It Takes, I Can't Find You, Boys 'R' Us

From 1984-1987 Hunter compositions were never released: I Can't Find You

 From 1984-1987 Hunter compositions were never released: Don't Throw Your Love Away, Mad at the World, You Got What It Takes, I Can't Find You

From 1984-1987 Hunter compositions were never released: You Got What It Takes

 From 1984-1987 Hunter compositions were never released: Don't Throw Your Love Away, Mad at the World, You Got What It Takes

From 1984-1987 Hunter compositions were never released: Mad at the World

From 1984-1987 Hunter compositions were never released: Don't Throw Your Love Away, Mad at the World

From 1984-1987 Hunter compositions were never released: Don't Throw Your Love Away

From 1984-1987 Hunter compositions were never released: Don't Throw Your Love Away, Mad at the World, You Got What It Takes, I Can't Find You, Boys 'R' Us, Mean Streets, Read Me Like a Book, If You Need Somebody, Someone Else's Girl, Danny, It Must Be Love, Girl Shy, Perfect, Lonely Kids, Beat of My Heart, Chains, Slave, Hell, and Love Bug. These songs were done in his home studio as he avoided the drugs and corporate excesses of the 1980s.  

Goin' Through the Motions, Blue Öyster Cult's Eric Bloom and Donald Roeser, co-wrote Let Go and Goin' Through the Motions. 1983

With Blue Öyster Cult's Eric Bloom and Donald Roeser, he co-wrote Let Go and Goin' Through the Motions. It was written in an afternoon during 1983.

Let Go, Ian Hunter, Blue Öyster Cult's Eric Bloom and Donald Roeser, co-wrote Let Go, 1983

With Blue Öyster Cult's Eric Bloom and Donald Roeser, he co-wrote Let Go and Goin' Through the Motions. 1983

Postscript, Ian Hunter, All of The Good Ones Are Taken, 7th Album

Hunter thought he worked harder on the album than anything he had done previously. He arranged it all himself and was an associate producer, he did not have a supportive collaborator and he had to be persistent and straightforwardly write strong songs. 

The artwork was original with an ice-white sleeve sans shades with a contrasting picture on the rear of the release. It included a lyric sheet with Ian's poetic tribute to Guy Stevens. 

Critics were mixed and there was limited press about the release but the LP failed to chart in Britain. In the US, the release peaked at #125 and spent eleven weeks on Billboard. The fast version of the title single backed by Death 'n' Glory Boys reached #25 on Billboard's Mainstream Rock Songs chart. 

No live dates were scheduled to promote the release and Hunter has mixed feelings about the release in hindsight. There were good songs but it didn't really make a splash. The label dropped it and made no effort to promote the album. 

The musical wilderness following the release resulted in a self-imposed musical retreat for six years but Hunter was involved in some work and collaborations during this time. For The Payola$ he sang on I'll Find Another (Who Can Do It Right) for the 1983 LP Hammer on a Drum. With Blue Öyster Cult's Eric Bloom and Donald Roeser, he co-wrote Let Go and Goin' Through the Motions. For Michael Monroe's Hanoi Rocks he did the chorus and put together Boulevard of Broken Dreams. With Mountain Hunter appeared on Go For Your Life. 

From 1984-1987 Hunter compositions were never released as he took time off: Don't Throw Your Love Away, Mad at the World, You Got What It Takes, I Can't Find You, Boys 'R' Us, Mean Streets, Read Me Like a Book, If You Need Somebody, Someone Else's Girl, Danny, It Must Be Love, Girl Shy, Perfect, Lonely Kids, Beat of My Heart, Chains, Slave, Hell, and Love Bug. These songs were done in his home studio as he avoided the drugs and corporate excesses of the 1980s. Ian liked Prince but that was in another area entirely and he avoided the corporate music business. In 1985 he got a place on the South Coast living an ordinary life with kids, near mates Miller and Fiona Anderson in Shoreham, where the Hunters had an apartment on the Worthing seafront. One of the former inhabitants of the flat was Sir Frederick Adair Roe, head of the Bow Street Runners, eventually the subject of a Hunter song Bow Street Runners. The retreat allowed Ian to spend time with his youngest son Jesse since he had missed the childhood of his first two children. Back in NYC when son Jesse was four they were on a bus and saw a guy shot in the face. Ian turned his son's head away but he still saw it. 

Hunter took time off until 1986 when his son was five and he got back into the music game by playing a series of dates in Canada and American gigs with the Roy Young Band. Young would appear lyrically in the song Bed of Roses. Young had been in the same scene as the late 1950s-early 1960s Beatles absorbing all the early rock 'n' roll influences as Ian had. When Hunter and Young talked Roy told him how he was asked to join the Beatles. Not sure they would succeed he turned them down; asked how he felt about that he said every day when he got out of bed, he banged his head agains a wall, but other than that he was okay. Back in Britain, Young worked with an impressive list of artists including Nicol Williamson, whom Ian had written a song for before he joined Mott. Young introduced him to twenty-one year old Pat Kilbride, a prodigious bassist who would later join Hunter's band; and, during this period he wrote The Other Man, a song that would not appear until Ian Hunter's Dirty Laundry. As Hunter prepared for his YUI Orta release he toured North American dates in November 1987 with Young and tried out his new material before life audiences. Some of the strong songs that Ian started writing kindled Ronson's interest in playing guitar and recording again included: Look Before You Leap, Ill Wind, The Loner, and (I'm the) Teacher, Ronson's Sweet Dreamer, Little Stevens,' While You Were Looking at Me and American Music. The trio of Hunter, Ronson, Young and his band toured Ontario in June 1988. 

A first ever movie composition (I'm the) Teacher was a song to order by movie people but Hunter considers it to contain one of his best lyrics. The movie producer was a fan and Ian had a lyric in mind: "The question's arisen, is this a person, some say it is, some say it isn't." And, the rest came quickly. Starting with that first strong line the remainder of the lyrics came in five minutes. With a good line you have won half the battle. Ian had the movie script and he knew the log line. There was more interaction between Hunter and the producer since originally the song was a ballad but a faster song was required. Revved up with Ronson's help, Ian got a gold record, so not much to complain about! 

Hunter does appropriately demonstrate the dedication of many teachers:

If there's just one weed in this flowerless grave
If there's just one seed I can save
I'm going to reach ya
Pleased to meet ya, I'm the teacher

The song appeared in the United Artists Picture for the 1984 comedy Teachers starring Nick Nolte. 

Great Expectations (You Never Know What to Expect) was written for Orion Pictures' college comedy movie Up the Creek. Hunter first recorded it with Virgin Records' heavy metal band Shooting Star. In a sense, this song is about Ian's daughter Tracie but more tongue-in-cheek. She is an independent person and Hunter works to stay in her good graces. Ian went to Pasha Music in LA but the band couldn't play the song correctly since it seems simple, but Hunter's music is more sophisticated when actually performed. Displeased with the sound Ian sent a demo that he created instead and what we hear is the result. 

Hunter and Ronson covered Good Man in a Bad Time, (Tanner/Reede) written by Marc Tanner and Jon Reede. The producer and DJ Arthur Baker asked Hunter to perform the song since he liked his voice. Ian recorded this in Baker's Manhattan Studio for use in the 1985 horror movie Fright Night. The song is absolutely ideal accompanying the visual in the film. The film follows a young man who discovers that his next-door neighbor is a vampire. 

Wake Up Call (Baker/Tina B/Mandel) is another song done for DJ and producer Arthur Baker. The call from Baker was a surprise for Hunter asking him to do the vocal for the 1986 independently made American action-fantasy, sci-fi film The Wraith with Charlie Sheen. It only took one day. Overall, Ian worked with Baker for a week and they got along well. A song, Professional Lover, was supposed to go to Tina Turner which sounded like a great idea but apparently Arthur did not follow up. In any case, Hunter liked the sound that Baker got and one track for a film was lucrative by putting energy into one song and you are done in two days. 

Other artists recorded Hunter compositions. Karla DeVito who worked with Meatloaf recorded Hunter-Mandel's Money Can't Buy Love for Wake 'Em Up in Tokyo. Usually money can't buy love, except sometimes, but Hunter says it can buy ornamental fronts. In 1987 Scott Folsom recorded Hunter's Red Letter Day and their co-written White on White. 

Also in 1987 Ian played piano on four tracks for Michael Monroe's Nights Are So Long album and more importantly he connected with John Jansen, known for the Cutting Crew hit (I Just) Died in Your Arms, especially assisting on a track called Abnormal for Hunter and American Music. 

The association with Jansen proved to be fortuitous since Hunter was back and prepared for his next effort as the latter song would be recorded for YUI Orta. 

Ian Hunter On Track for Sonicbond Publishing, TheDoctorOfDigital@pm.me

https://www.discogs.com/release/5384807-Scott-Folsom-Simple-Talk

Personnel, Introduction, Ian Hunter, All of The Good Ones Are Taken, 7th Album

Personnel:

Ian Hunter - lead vocals, guitar, piano

Mick Ronson - lead guitar on "Death 'n' Glory Boys"

Robbie Alter - guitar, vocals

Tommy Mandel - keyboards

Bob Mayo - keyboards

Hilly Michaels - drums

Mark Clarke - bass guitar, vocals

Clarence Clemons - tenor saxophone on "All of Good Ones Are Taken" (slow & fast versions) and "Seeing Double"

Louis Cortelezzi - alto saxophone

Dan Hartman - bass guitar on "Speechless"

Jeff Bova - keyboards on "Speechless"

Jimmy Ripp - guitars on "All of the Good Ones Are Taken" and "That Girl is Rock 'n' Roll"

Rory Dodd - backing vocals on "All of the Good Ones Are Taken"

Eric Troyer - backing vocals on "All of the Good Ones Are Taken"

Produced at: Wizard Sound, New York, by Ian Hunter and Max Norman

Release date: Exactly when in 1983?

Running time: 40:38

Current edition: Columbia 

Highest chart places: US #125

Come one and all, prepare to witness the tenacity of a true musical maverick as we delve into the next chapter of Ian Hunter's extraordinary journey. Undeterred by the mixed reception of his previous album, our intrepid troubadour found himself wooed by a plethora of record labels, each vying for the honor of housing his forthcoming opus. And so, with the winter of 1982 casting its icy grip upon the world, Hunter found himself back in the embrace of Columbia Records, penning the sonic gems that would make up All of The Good Ones Are Taken. When the summer of 1983 finally arrived, like a burst of musical sunshine, Hunter unleashed his creation upon the world. While two of his initial compositions were left behind, the album boasted a fresh array of tracks, including two collaborative efforts with the likes of Mark Clarke and Hilly Michaels. In a dazzling display of artistic versatility, Hunter fearlessly tackled a myriad of subjects, from the haunting specter of nuclear missiles to the echoes of the Falklands War. Yet amidst the weighty themes, a remarkable transformation occurred—the sound became sharper, the melodies brighter, and a distinct commercial polish adorned each and every track. Ian Hunter once again proved his unrivaled ability to craft a sonic experience that not only resonated deeply but also possessed an irresistible allure.

Ian Hunter On Track for Sonicbond Publishing, TheDoctorOfDigital@pm.me

Absent Friends, Ian Hunter, 1982

As the Ian Hunter Band in January 1982 they played the Old Waldorf in San Francisco which was broadcast by the Westwood One radio network and Don Kirchner's Rock Concert playing Dylan's Is Your Love in Vain from his recent Street Legal release. They also participated in the Concert for Vietnam Veterans Agency Orange Victims.' Hunter began writing Absent Friends and You're Messin' with the King of Rock 'n' Roll.  

Postscript, Ian Hunter, Short Back n' Sides, 6th LP

The marketing of the LP was a marked difference in style and substance. The title and artwork was different with Ian in photograph, cigarette in hand, without his trademark shades, and displaying a new rocker hairstyle greased back. The promo photos also sported Ian in a sharp houndstooth suit and skinny tie. If you couldn't tell from the drastically new look that the sound was going to be something completely different you realized it from the first track. Hunter, fans, and critics were divided over the experimental sound. 

The experiment hit in August 1981 and reached #79 on the UK chart and spent eleven weeks on Billboard in the US at its height to #62. The single was Lisa Like Rock n' Roll with the B-side Noises releases as a clear vinyl pressing. Central Park n' West and I Need Your Love were released variously as A-sides in Europe and America, the latter hit #47 on one US chart. Almost surprisingly many critics responded positively to Jones' trick fade-outs, odd percussion, weird sounds, and liberal use of echo. 

For many fans though this was Hunter's least approachable effort and an ambitious, unfocused stylistic experiment was not to their taste. Ian feels the experiment was akin to a garage album which can indeed work as on Ian Hunter's Dirty Laundry. Hunter was distracted with Trudy's pregnancy and the interesting work was not pleasing to his label nor his manager who ignored him. Musically, Ronson had checked out and Hunter formed a new band to promote the record. 

As a new band was being formed it was an unsettled time and on 29 August 1981 the tragic news broke that original Mott The Hoople mentor Guy Stevens passed away from an accidental overdose of a prescribed drug. Hunter was moved by his earliest musical supporter and wrote a 1981 poem about him to include as verse in the artwork for his next album. 

The new band had been assembled for the 11 September Dr. Pepper Festival and consisted of Tommy Mandel, keyboards, drummer Mark Kaufman, guitarist Robbie Alter, and bassist Mark Clarke. They played 8 August 1981 at the Milton Keynes Bowl while Thin Lizzy's Phil Lynott baby sat new born son, Jesse; one other gig was at the 101 Club in South London. Ronson did appear with the band in at gigs when keyboardist Mandel was hospitalized. 

As the Ian Hunter Band in January 1982 they played the Old Waldorf in San Francisco which was broadcast by the Westwood One radio network and Don Kirchner's Rock Concert playing Dylan's Is Your Love in Vain from his recent Street Legal release. They also participated in the Concert for Vietnam Veterans Agency Orange Victims.' Hunter began writing Absent Friends and You're Messin' with the King of Rock 'n' Roll. 

Ian Hunter On Track for Sonicbond Publishing, TheDoctorOfDigital@pm.me

Personnel, Introduction, Ian Hunter, Short Back n' Sides, 6th LP

Personnel:

Ian Hunter - lead vocals, guitars, piano

Mick Ronson - lead guitar, keyboards, vocals

Tommy Mandel - keyboards

Tommy Morrongiello - bass, vocals

Martin Briley - bass

Eric Parker - drums

George Meyer - keyboards, vocals

Mick Jones - guitars, vocals

Topper Headon - drums, percussion

Tymon Dogg - violin

Ellen Foley - vocals

Miller Anderson - vocals

Mick Baraken - guitar on "Gun Control"

Wells Kelly - drums on "Gun Control"

John Holbrook - bass on "Gun Control"

Gary Windo - alto saxophone on "I Need Your Love"

Roger Powell - backing vocals on "I Need Your Love"

Todd Rundgren - bass, backing vocals on "I Need Your Love"

Produced at: The Power Station, Wizard Sound, and Electric Lady Studios, New Youk, and Wessex Studio London by Mick Jones and Mick Ronson
Release date: 29 August 1981
Running time: 44:55 (Original release) 105:38 (2 CD edition)
Current edition: Chrysalis
Highest chart places: UK #79, US #62.

Prepare yourselves, dear music aficionados, for a wild ride through the enigma of Ian Hunter's sonic universe. Brace your eardrums, for what lies ahead is nothing short of audacious. As Hunter himself boldly declares, "I don't say much but I make a big noise," a sentiment that reverberates through every inch of his being and spills over into his musical creations. And so it was, in 1981, that the world witnessed the birth of Short Back 'n' Sides—a curious offering that would leave fans divided and intrigued in equal measure. But let us not forget the personal symphony unfolding in Hunter's life, for amidst the musical whirlwind, a precious gift arrived: the birth of his son, John Jesse Hunter Patterson, an event that added an extra layer of profundity to this chapter of his artistic journey. 

With Mick Ronson at the production helm, aided by the likes of Martin Briley, Tommy Mandel, Tommy Morrongiello, Eric Parker, and George Meyer, the recording process embarked upon a tumultuous path. As the studio days stretched on, a momentary lull in enthusiasm prompted Hunter and Ronson to seek assistance, and lo and behold, who should answer the call but the fervent Mott devotee himself, Mick Jones of The Clash. 

Yet, even with the injection of fresh energy, Hunter candidly admits that venturing into uncharted musical territories can be a double-edged sword. The creative well running dry, Ronson gracefully stepped aside, allowing Jones to take the reins for the remainder of the endeavor. And oh, what a wondrous transformation occurred! With Jones's inventive prowess, the sonic tapestry morphed into a kaleidoscope of odd sound effects, reggae-infused rhythms, and a captivating amalgamation of genres. It was, without a doubt, the most daring and experimental venture Hunter had ever embarked upon—a testament to the boundless depths of his artistic exploration. So fasten your seatbelts, dear listeners, and prepare to immerse yourselves in a sonic odyssey that defies convention, challenges expectations, and offers a tantalizing glimpse into the artist that is Ian Hunter.

Ian Hunter On Track for Sonicbond Publishing, TheDoctorOfDigital@pm.me

Lullaby, Ian Hunter, Tommy Mandel, Cleveland International charity album, Children of the World, 1980

Postscript, Ian Hunter, Welcome to the Club, 5th LP

The album entered the British chart of 26 April and remained for two weeks, peaking at #61, and hit #69 in the US. The album is a tribute to the longest tour Hunter has ever been on and represents his 1970s repertoire, with a full on rocking set blending both Mott and solo classics,  with a few twists, and clever rapport thrown in for good measure. It demonstrates how well Hunter and Ronson seamlessly worked live with a great and well-rehearsed band. The critics generally praised the effort. 

A British promo in a limited edition scraped America's Top 100 chart. Chrysalis promoted a three-track video featuring Ellen Foley and the audio included Irene Wilde, Once Bitten Twice Shy, We Gotta Get Our of Here, and Slaughter on 10th Avenue. Additional promotion included a gig in April 1980 at the Rockpalast, the German music showcase. The set was recorded on 19 April at Grugahalle arena in Essen. The gig was released as Live at Rockpalast: The Ian Hunter Band featuring Mick Ronson in 2012. 

A repackaging of Welcome to the Club in 1983 and 1994 as Ian Hunter Live addressed some of the issues of the original release. There were previously unreleased live takes and a bluesy ten-minute-plus version of When the Daylight Comes. On The Golden Age of Rock 'n' Roll there is a fun doo-wop middle eight, an introductory a cappella section, and as Ian introduced "a little bit of New York City toilet music." 

Later, in May and June Hunter Ronson embarked on an American tour. but a big change was not long in coming. The pair was having fun but prior to the Dr. Pepper concert in New York, Mick announced he was leaving. The remaining gigs were canceled and the band folded. 

Hunter assembled a new band for a video performance that was released as Ian Hunter Rocks. It was so hot Ian felt his knees buckle and had to leave the stage once to catch his breath. Then, at New York's Palladium Theater on 13 September Ian appeared at "The Party at the Palladium" charity concert for fellow musician Rick Derringer when he had his musical equipment stolen; the concert was released at King Biscuit Flower Hour presents Rick Derringer and Friends in Concert featuring a blistering Just Another Night and a medley of Mott and Ian solo songs. 

In the interim before the next album, a new song, Lullaby, Hunter offered to Tommy Mandel for a Cleveland International charity album, Children of the World. More importantly, the non-political Ian agreed to play twelve charity concerts with Todd Rundgren in support of Congressman John Anderson who was an independent candidate in the 1980 US presidential election. Ian brought Tommy Mandel to join in Rundgren's assemblage billed as "An Evening with Todd Rundgren and Ian Hunter." The group played several of Ian's songs and covers. Ronson joined for a Cleveland concert. Hunter also gigged with Todd for a benefit for Vietnam Vets. Ian also appears in a 90-minute Rundgren film entitled The Ever Popular Tortured Artist Effect. 

Hunter was at the top of his game and his last studio and live album demonstrated that he was on top of the rock business. Naturally, Chrysalis craved another studio LP to cash in on Ian's popularity. Hunter started recording Theatre of the Absurd, a title later abandoned but the title did reappear as a song later, in any case the next studio effort would both be a surprise for his fans but also shock Chrysalis. 

Ian Hunter On Track for Sonicbond Publishing, TheDoctorOfDigital@pm.me

Personnel, Introduction, Ian Hunter, Welcome to the Club, 5th LP, 1st Live

Personnel:
Ian Hunter - lead vocals, guitar, piano, harp
Mick Ronson - lead guitar, Moog synthesizer, mandolin, vocals
Tommy Morrongiello - guitar, vocals

Tommy Mandel - keyboards

Martin Briley - bass

Eric Parker - drums

George Meyer - keyboards, vocals, saxophone

Ellen Foley, Susie Ronson - vocals on "Standin' in My Light"

Recorded at: The Roxy Theatre, West Hollywood, CA, by Ian Hunter and Mick Ronson
Release date: 26 March 1980
Running time: 58:38 (Disc 1) 55:40 (Disc 2)
Current edition: Chrysalis 
Highest chart places: UK #61, US #69.

Picture the scene: Ian Hunter, emerging from a period of rest, finds himself standing at the precipice of stardom. With the wind of triumph filling his sails, one would assume that smooth sailing lay ahead. However, this newfound success posed a curious challenge for our intrepid musician. As the songs flowed through his veins, his enthusiasm brimmed with infectious energy, but the conundrum arose—how best to channel this creative surge? The answer materialized in a stroke of genius: why not embark on a dual-purpose endeavor that would not only serve as a captivating musical chronicle but also satiate the fervent appetite of his devoted fans? And so it was, a brilliant plan unfolded—like a deftly executed sleight of hand, Hunter would unveil a live album, capturing the raw energy of his electrifying performances, while also weaving in a handful of tantalizing studio gems. A grand gesture that would serve as both a retrospective homage to his musical odyssey and a tantalizing glimpse into the future. With the prodding of eager management and a record company on the brink of frenzy, the stage was set for Hunter's audacious leap into uncharted territory. So brace yourselves, dear listeners, for a musical voyage that blends the exuberance of live magic with the allure of fresh sonic treasures. Prepare to be swept away by the essence of Ian Hunter, as he fearlessly embraces the untamed spirit of his artistry.

Hunter Ronson "Rocked the Roxy" by playing a week of sold-out shows at the West Hollywood venue. Chrysalis tapes six sets from 5-11 November 1979 and broke the record for the most consecutive nights booked at the Sunset Boulevard club. The first announced title was From the Knees of My Heart (dropped then but the phrase would be reprised) but it would be released under the final title instead. Not everyone was thrilled among the Hollywood celebrities because Hunter heard Cher walked out one night after hearing Laugh At Me. Hunter Ronson also performed dates in England and they found enthusiastic crowds and received positive press. 

Otherwise, Ian kept busy while mixing the live album. Hunter helped out fellow management act the Iron City Houserockers on the Have a Good Time But Get Out Alive! album. Ian contributed instrumentation, backing vocals, and production on two tracks. Hunter also produced a single Dangerous Eyes for Sam the Band. 

The live album was issued on 4 April 1980 with bold graphics in bright primary colors while the inner gatefold housed a bevy of live photographs. The back cover told fans how to listen: "PLAY IT LOUD!"

Tools: yarn.io, Opus pro viral YouTube clips, Eleven labs Talking audio, Clickasnap.com pay view photos (pay), Macadam.app Walk pay, Jenni.ai writing, RunwayML animate pictures,

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Postscript, Ian Hunter, You're Never Along With a Schizophrenic, 4th LP

As the project came to a close more work came to Hunter Ronson. The pair were tapped to produce Ellen Foley's Night Out LP and Ian offed a shelved ballad, Don't Let Go. There is a demo only released on the Anniversary issue of You're Never Alone With a Schizophrenic but oddly enough a live version was recorded for Live Strings Attached in 2002. Hunter wrote the song but it just didn't fit on Schizophrenic with enough ballads already. It sold well for Ellen Foley. It's a straight forward ballad on persevering when the odds are stacked against you. Hunter worked on David Werner's Epic album singing High Class Blues and when Van Morrison was not available Ian sang a duet with Genya Ravan on Junkman. 

The project became one of Hunter's most popular releases and received rave reviews on both sides of the pond. Although, the singles didn't do so well and American releases of Just Another Night only went to #68 while When the Daylight Comes hit #108. The album entered the UK LP chart on 5 May, staying for three weeks, reaching #49; in the USA it hit #35 on Billboard and charted for twenty-four weeks which triggered Hunter Ronson to tour for six months. Since the E Street Band was not available recruits included: bassist Martin Bailey, keyboard player Tommy Mandel, guitarist Tommy Morrongiello, keyboards and sax George Meyer, and drummer Hilly Michaels, later Eric Parker when Michaels left. The Ian Hunter Band featuring Mick Ronson embarked on seventy nine concerts from June to November 1979. Concerts in Chicago and Toronto were filmed for television and they played The Friday Show and Midnight Special. 

A later repackaging of the album included studio bonus tracks, live versions, unreleased studio takes, a demo, an alternative version, and early versions of songs. Another song, Alibi, is simply a jam and a stream of consciousness song. Oddly, Hunter does not even remember recording or singing it! 

In short, the album had it all, great songs, musicians, management, label, studio, engineer, and production. After two years Hunter had struck back with one of the hottest recordings of his career and now commercial opportunity was all his at Chrysalis Records. 

Ian Hunter On Track for Sonicbond Publishing, TheDoctorOfDigital@pm.me

Señora, Ian Hunter, Mr. Big, before 4th studio LP

Señora is a great power love ballad and briefly a single in 1978. EMI withdrew it instead of pushing it but maybe with New Wave and punk hitting then the timing was off. It's a bit Dylanesque as well and a strong co-writing effort by Hunter. There is a YouTube clip from their performance at the Top Of The Pops. The single is a cut from their 3rd album Seppuku.

https://youtu.be/XaBBV275Q-E

Personnel, Introduction, Ian Hunter, You're Never Along With a Schizophrenic, 4th LP

Personnel 

Ian Hunter, lead vocals, guitar, piano, Moog, ARP, organ, harmony vocals, percussion 

Mick Ronson, guitars, dual lead vocals on "When the Daylight Comes", harmony vocals, percussion 

Roy Bittan, ARP, organ, Moog, piano, harmony vocals 

Max Weinberg, drums 

Garry Tallent, bass 

John Cale, piano, ARP on "Bastard" 

George Young, tenor saxophone 

Lew Delgatto – baritone saxophone 

Ellen Foley, harmony vocals 

Rory Dodd, harmony vocals 

Eric Bloom, harmony vocals 

Produced at: The Power Station, New York City, by Ian Hunter and Mick Ronson
Release date: 23 April 1979 

Running time: 42:04
Current edition: Chrysalis 
Highest chart places: UK #49, AU #68, US #35.

Prepare to embark on a whirlwind journey through the remarkable chapters of Ian Hunter's musical saga. As the ink dried on his contract with Chrysalis, a harmonious blend of talent and astute management from the esteemed Cleveland International paved the way for the birth of a new band. And how serendipitous it was that inspiration struck amidst the humble confines of a public restroom, where Mick Ronson's keen eye caught sight of a poignant slogan scrawled upon a bog wall. The phrase resonated so deeply with Hunter that he graciously bestowed co-writing credit upon Ronson, immortalizing those profound words as the album's very title. But the formation of this musical force required more than mere words; it demanded a cast of exceptional musicians. Enter Glen Matlock, wielding his bass with finesse, and the dynamic beats of Clive Bunker, whose drumming prowess added a rhythmic heartbeat to the ensemble. And then, like the fortuitous alignment of celestial bodies, fate brought forth the core members of none other than the illustrious E Street Band. With the addition of the esteemed "Professor" Roy Bittan on piano, the mighty Max Weinberg on drums, and the grooves laid down by the incomparable Garry W. Tallent on bass, the stage was set for a symphony of sonic brilliance. So brace yourself for an extraordinary expedition into the realm of music, where camaraderie, talent, and unyielding creativity collide to shape the destiny of Ian Hunter and his band of musical mavericks. Get ready to be swept away by the irresistible melodies, electrifying performances, and the indomitable spirit that define this awe-inspiring journey. It seemed like the outsider had come home. 

Hunter's next steps would be to find his place as the outsider. On the 23 December 1977 at Friars Aylesbury Hunter joined former Mott The Hoople bandmates in British Lions and sang All The Young Dudes which was their first musical connection since the original band had disbanded. Then, Hunter was asked to produce Mr. Big and added piano, organ, and guitar during the sessions, along with Peter Oxendale on keyboards. The result was Seppuku, a hard rock effort that was buried by EMI Records for over twenty years. Señora was cowritten by Ian but was not released at the time; this is a terrific power ballad about love and briefly a single in 1978. EMI withdrew it instead of pushing it but maybe with New Wave and punk hitting then the timing was off. It's a bit Dylanesque as well and a strong co-writing effort by Hunter. Hunter then played electric piano on two tracks for the band Tuff Darts. 

A project eventually released as The Secret Sessions was a collaborative supergroup effort including Hunter and Ronson and a song from this work would appear in a definitive version on the duo's next studio effort. The new Hunter song The Outsider closes out Schizophrenic and is a bit offbeat but still appropriate for Hunter who does write often of not fitting into society; the difference here is the setting and sounding like it's the Wild, Wild West. 

For the final version of the song Ronson contributes swooping instrumentation paired with beautiful piano and howling prairie wind sounds. The track has noticeable echoes on the drums and vocal tracks while the straightforward recording allowed Ian's strong voice to be added with clarity and charm.

Of this lyric, Hunter thinks the song may have been misdirected to him; it is his Western cowboy star Roy Rogers song. However, he considers that this slow song is one of the three, with Ships and Standin' in My Light, that are among the best ballads he's ever written. In addition to this early effort there is a shorter version omitting the studio chatter on Tilting The Mirror, while there is also a live version from 2005. The effort was organized by Corky Laing ex-Mountain drummer and Laing and Hunter co-wrote I Ain't No Angel, Silent Movie, and Easy Money together. 

The demo quality recording I Ain't No Angel was one of the collaborations on The Secret Sessions with the Mountain band. In 1978 Corky Laing, acting on a suggestion from his record company, put a "supergroup" together featuring himself (drums/vocals), Ian Hunter (ex-Mott The Hoople) on keyboards/vocals, Mick Ronson on guitar and Felix Pappalardi (Mountain) on bass. They started recording, but shortly after the record company lost interest and funding stopped. Silent Movie is a co-written song by Corky Laing and Hunter and it is a love gone wrong type of song in that the couple has nothing to say to another as in a silent movie. It is about communication that breaks down. Easy Money co-written with Corky Laing is arguably the best on the record as the remainder tend to be closer to sounding like demos. Lyrically, it is something like Alice and the woman portrayed is either a lady of the evening or simply down on her luck and looking for easy money while she is out on the run. Hunter and Ronson collaborated musically on the remainder of the tracks on the album as well. 

One other curious collaboration involving Laing, Ronson, and Ian were workshop tapes recorded with John Cale. Hunter thought some of it was pretty good and one included the line: "Queen Elizabeth, you're just a luxury liner." Cale contemplated releasing songs including Baby, Can I Take You Home, You Can't Always Get What You Want (it is unknown if this is related to The Rolling Stones song), What Your Name Jane, Donald Duck is Dead, Lovin' Your Neighbor's Wife, and Slow Jam. Nonetheless, these songs were never released. 

Ronson's demand as a producer had him working consistently but under paid but as Hunter guided Mick he was paid more and Ian then played on David Johansen's In Style sessions with Ian playing on Flamingo Road. 

Chrysalis tapped Hunter to produce Generate X's second LP Valley of the Dolls and King Rocker reached #11 in the  UK Singles Chart in January 1979 and Valley of the Dolls reached #23 in April. Fortuitously Ian played demos of his recent songwriting for label head Roy Eldridge and he was intrigued.  

The importance of collaborations is that it produced one of his better songs, Hunter was regaining his footing, and perhaps most importantly, he was reunited with his best musical partner for one of their finest albums; and, critical for his musical career, one of Ian's best selling efforts after two poor selling albums.

 

Postscript, Ian Hunter, Overnight Angels, 3rd LP

The good news for the LP was that Hunter recovered from his previous effort to hone his rock roots but the bad news is that mix was thin and the production did not always work to his advantage. Ian takes responsibility for the result but an overarching issue with the production is Baker's light touch while Hunter's style leans towards a heavy approach. In retrospect Ian thinks some of the rough mixes might have presented his songs and voice better. 

Key to the release would be the marketing, timing, critical response, and of course sales. Roslaw Szaybo at CBS supervised the artwork with a gatefold sleeve and images of Hunter which could be marketed well. Most of the UK press greeted the release warmly. Elliott returned to Foreigner so Walter "Curly" Smith got the nod for the live shows and he was able to add an awesome harmonica to the proceedings. From the 3rd to the 12th of June the band toured England, but once Ian fired his manager Fred Heller the band was stuck in low gear but   dates on the Continent were added to keep the group together. 

With no material, and caught in a lurch Hunter hurriedly released a song on 22 July 1977 that he had originally written as Cleveland Rocks but re-done as England Rocks. It was a non-LP single but the record stiffed. Adding to his woes, suddenly Columbia Records refused to release the LP in America. 

With punk and new wave all the rave and Hunter releasing two back to back commercially unsuccessful albums and a dead end single it was time to revaluate or anticipate the end of his career. It might have been time to consider the end seriously with no management, record company support, and a band that began to fragment with few prospects. Back in New York Hunter played keyboards on the first Tuff Darts LP. 

Was it time for the outsider to hang it up? 

Ian Hunter On Track for Sonicbond Publishing, TheDoctorOfDigital@pm.me

Personnel, Introduction, Ian Hunter, Overnight Angels, 3rd LP

Personnel

Ian Hunter - lead and harmony vocals, rhythm guitar, piano
Earl Slick - lead, rhythm and slide guitars
Peter Oxendale - keyboards
Rob Rawlinson - bass, harmony vocals
Dennis Elliott - drums
Miller Anderson - harmony vocals (4)
Lem Lubin - harmony vocals (4)
Roy Thomas Baker - percussion

Produced at: Le Studio, Morin-Heights, Quebec; Utopia Studios, Primrose Hill, London; Olympic Studios, London, Roy Thomas Baker
Release date: May 1977
Running time: 37:33
Current edition: Columbia 

Highest chart places: AU #38, Failed to chart in the UK, US.

Step into the captivating world of Ian Hunter as he finds himself at a crossroads, torn between the delicate allure of his jazz-rock sensibilities and the rebellious fire that courses through his rocker's veins. The fickle hand of fate presented Hunter with a tantalizing conundrum, as he found himself offered enticing opportunities with none other than Uriah Heap and The Doors. For Uriah Heep, Hunter was tempted to do their 10-week American tour for $5,000 a week in 1976 dollars. Imagine the allure of easy street, paved with riches and fame, just a signature away. But our intrepid troubadour, fueled by an unwavering artistic spirit, swiftly dismissed these tempting offers, for they held no sway over his creative soul. And what of the whispers of a revitalized Mott The Hoople? Ah, but Hunter quashed those rumors with a resolute shake of his head, having spent six years with them carving out his own unique vision and with no desire to revisit the shadows of Midas' touch. Despite the lavish promises and mountains of cash that beckoned, Hunter stood firm, his artistic compass pointing him away from Uriah Heap's embrace and highlighting the incongruity of joining The Doors' iconic ranks. So join us on this enthralling journey, where the choices of one man will shape the course of his musical destiny, defying the allure of fortune for the pursuit of true artistic expression. Brace yourself for a tale of audacity, integrity, and the unwavering pursuit of authenticity as Ian Hunter fearlessly forges his own path.

What Hunter envisioned was an energetic rock band format as he got acquainted with the New York new wave punk rock scene. As a first foray for bandmates Ronson had introduced Ian to Billy Cross who was putting the Topaz group together and they collaborated on writing Crazy Glue one day at Hunter's house. The song has never been released. At the same time Mick Jones was forming Foreigner and Ian realized that British musicians needed work so it occurred to him that the UK was a great recruiting field. 

The new band started off strong. Hunter snagged Peter Oxendale for keyboards and as musical arranger, drummer Mac Poole, and bassist Rob Rawlinson. Once back in New York he also recruited Earl Slick on guitar with Golden Opportunity and I Think You Made a Mess of His Life (later Shallow Crystals) and on this basis the next effort already had a name: Overnight Angels. Roy Thomas Baker had clout at CBS and appeared to be the ideal producer for the band. Recording in January and February 1977 at Le Studio in Quebec the band had state-of-the-art equipment in a glorious setting. 

Yet, issues quickly arose. Mac Poole was not working out so he was left go with a generous financial send-off; Dennis Elliott took a break from Foreigner but he was known to be reliable from the Ian Hunter LP and he was called in for support. Perhaps the venture should have had a hint of doom since luggage had been lost at the airport, there were several car crashes, Elliott's drums came unhinged on the way to the studio, and then tragically the entire project came to an abrupt halt on the night of 3 February when the studio housing caught fire. 

The album was released in America and in Great Britain in May 1977 with singles to promote and an eight date UK tour for June. Hunter was back to perform for British audiences for the first time in two years.  

Postscript, Ian Hunter, All American Alien Boy, 2nd LP

The reaction to the LP was mixed at best. Hunter feels that it was quite an accomplishment to have written about both rape and God on one record fueled by his manager's supply of Colombian Red. He proved he could hold more than his own with top-notch musicians but really no one came close to brilliance of his lyrics. 

The marketing of the cover was in stark contrast to his first LP and consisted of a stark white sleeve with wonderfully detailed paintings of Hunter by artist Philip Hays. He captured a moody looking Ian clad in black leather. 

In the first week of its American release the LP sold 56,000 copies and it entered the UK at #47 on 29 May and stayed for four weeks, rising to #29. In America, the LP peaked at #177 on Billboard. With promotion and critical acclaim the LP would have expected to sell more. Two singles from the LP All American Alien Boy and You Nearly Did Me In died in sales terms. 

Ian recognized that his ranting manifesto might leave fans behind and he philosophically exclaimed that he hoped people who liked his music would come along on his musical journey. As a commercial effort it flopped but on a personal level it was a total success. He consistently has refused to be boring and this record was the first indication that Hunter was always going to listen to the beat of his own drummer. Ian's fan base consisted largely of young males and it was quite a leap to think that most young guys were going to come along for the ride. It would take some time but the record stands as an early achievement of the grand themes and intelligent lyrics that would come to fruition later in his recordings. It is only by hindsight that the LP was acclaimed as the classic that it was and reissues helped the reevaluations by revealing additional versions of the original release. Intelligence and interesting rock does not always sell but it confirms that Hunter is an artist first and foremost. 

Consider the timing of the record's release as well. As Ian was hitting the heights of lyricism with first-rate musicians what was all the rage in rock? The do it yourself, seat of your pants, simplicity of punk was exploding and the original mixed-up kid had moved in a different direction. To go on the road to support the release there were rehearsals with soulful, funky R&B group The Fabulous Rhinestones but nothing came of it. Hunter had had first-rate jazz-rock session musicians and could have gone in that direction or with mellow songs from All American Alien Boy he could continue in that vein. However, Ian was neither Jeff Beck nor the Moody Blues so neither direction appeared promising. Hunter had already recorded proto-punk with songs such as Violence and Crash Street Kidds and that was also a possibility. Ian had no supporting band to go on the road to promote the album or Hunter could pick up a trendy space he had already explored in Mott The Hoople; in short he was in a bind. In what direction should he go? 

Ian Hunter On Track for Sonicbond Publishing, TheDoctorOfDigital@pm.me

Personnel, Introduction, Ian Hunter, All American Alien Boy, Ian Hunter, 2nd LP

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. 

Postscript, Ian Hunter, Ian Hunter, 1st LP

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.