Personnel, Introduction, Ian Hunter, Ian Hunter's Dirty Laundry, 10th, Not 9th Album

Personnel:

Ian Hunter - guitars, vocals

Casino Steel (Stein Groven) - keyboards, vocals, percussion

"Honest" John Plain (John Splain) - guitar, vocals

Darrell Bath - guitar, vocals

Glen Matlock - bass

Steve "Vom" Ritchie - drums

Blue Weaver - keyboards

Lasse Hafreager - piano, organ

Mitt Gamon - harmonica

Angela Clemmons-Patrick, Bård Svendsen, James Williams, Torstein Flakne, Vaneese Thomas - backing vocals

Torstein Flakne - guitar on "Invisible Strings"

Produced at: Abby Road Studios, Final vocals recorded at Nidaros Studio, Trondheim, Norway by Bjørn Nessjø
Release date: 10 October 1995
Running time: 49:59
Current edition: Cherry Red 
Highest chart places: Did not chart. 

Prepare yourselves for a tale that intertwines tragedy, friendship, and a whirlwind of musical creativity. It all started when the rogue-like Casino Steel and the visionary Bjørn Nessjø conceived a project like no other: The Gringo Starrs. Their quest for sonic brilliance led them to the indomitable Ian Hunter. 

But before destiny fully unfolded its hand, Hunter and his faithful companion Ronson ventured into the Swedish music scene, leaving their mark as Klubb Rock and the legendary Park Rock during the heady years of 1990-1991. Fate, it seems, had a different plan in store. In a twist of cruel irony, Ronson was struck by the insidious presence of carcinoma of the liver. While Mick's spirit burned bright, his body faltered. Undeterred by adversity, Hunter carried on, embarking on a Scandinavian summer tour alongside The Mats Ronander Band and the spirited Swedish covers group, The Few. Alas, the music world mourned the loss of Ronson on that fateful day, April 29, 1993. Yet, in the face of tragedy, Hunter found solace in his art and a renewed drive to create. 

With a newfound urgency, he joined forces with the talented Robbie Alter, crafting soul-stirring demos that would become the cornerstone of a project that would soon be known as Ian Hunter's Dirty Laundry. In a mere eleven days, they captured the essence of raw rock and roll, channeling the spirit of proto-punk and harkening back to the golden era of The Rolling Stones in 1962. Get ready to dive headfirst into a musical odyssey like no other as Hunter lays bare his soul through twelve electrifying tracks. From sorrow to triumph, from tragedy to defiance, this is the tale of Dirty Laundry, where the power of music becomes a balm for the wounds of tragedy.

Hunter picked up gigs from time to time. In August 1993 Hunter performed in Europe with Johan Wahlstrom and Ricky Byrd on the Hamn Rock (Harbour Rock) tour. Ian and Byrd appeared as guests of The Mats Ronander Band in particular at Stockholm's Melody Club where Hunter first played a new song as a tribute to Ronson entitled Michael Picasso. In September Hunter appeared on Joe Elliott's Retroactive featuring Ian as "Honky Tonk Messiah" on piano and Ian vocalized the introduction to The Golden Age of Rock 'n' Roll on their covers album, Yeah!

On 29 April 1994 the Mick Ronson Memorial Concert was staged including the tribute to Mick Ronson and another new song debuted Resurrection Mary. 

Seven of the twelve songs were penned or co-written by Hunter. This was the most written by Ian in the studio which was not his usual modus operandi. Previously and mostly afterwards he had difficulty writing in the studio. Big Kid was one song that didn't make the cut.

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

Darling, Let's Have Another Baby, Mick Ronson, Ian Hunter

Never recorded in the studio but often performed by Ronson as part of the Hunter Ronson Band. It was first recorded in the 1970s by Johnny Moped.  

White Light/White Heat, Mick Ronson, Ian Hunter

This was never recorded in the studio but was often played live by Ronson as a member of the Hunter Ronson Band. 

Postscript, Ian Hunter, YUI Orta, 8th Album

YUI Orta was issued by Mercury Records in America on 3 October 1989 and 22 January 1990 in Britain. The album artwork by Martin Kanner included photography by Mick Rock and critics generally praised the effort. The album hit #157 for Billboard but did not chart in Britain. It was marketed by Mercury Records with the American Music single and Women's Intuition. Polygram produced an impressive marketing video for American Music dramatically revealing a boy-girl relationship highlighting the 1950s glory of Jerry Lee Lewis, Muddy Waters, Little Richard, and Chuck Berry. 

The band played twenty five concerts during January and February 1990 and crowds celebrated but some members of the press flaunted ageism. It was poor timing in that Ian's mother Freda Patterson had passed away in early 1989 and unfortunately was aware of bad reviews. 

Poor sales scuttled further discussion of additional touring or label interest in another recording. Label upheaval ended any further promotion which killed the record. Hunter reflects that perhaps the production is lacking but was still proud of Following in Your Footsteps and Sweet Dreamer.

Respectfully disagreeing with Hunter this was the most powerful and hardest rocking album of his solo career but once again his career appeared to be at a standstill despite producing an exceptionally strong effort. 

If that were not bad enough a total tragedy was about to strike. 

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

My Love (The Jar), Ian Hunter, John Jansen, 1987, YUI Orta, Experiments, Stranded In Reality

Although a demo My Love (The Jar) is a good song. Despite the quality the timing does not always work out for it to be a part of a regular studio release. It was recorded in Hunter's NYC home studio. Jim Steinman who was Bonnie Tyler's producer tried to find other artists to record the song around 1983. In collaboration with John Jansen around 1987 it was considered to be included on YUI Orta.

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

National Holiday, , Ian Hunter, John Jansen, 1987, YUI Orta

Sign of Affection, Ian Hunter, John Jansen, 1987, YUI Orta

Personnel, Introduction, Ian Hunter, YUI Orta, 8th Album

Personnel:

Ian Hunter - lead vocals, backing vocals; piano on "Sweet Dreamer"

Mick Ronson - guitars, backing vocals

Pat Kilbride - bass

Tommy Mandel - keyboards

Mickey Curry - drums

Joe Cerisano - backing vocals

Carmella Long - backing vocals

Donnie Kehr - backing vocals

Robbie Alter - backing vocals

Carola Westerlund - backing vocals

Bernard Edwards - bass on "Women's Intuition"

Benny Marshall - vocals on bonus tracks

Produced at: Power Station, New York City, Bernard Edwards
Release date: ?
Running time: 71:11
Current edition: Mercury
Highest chart places: UK #72, US #157 

Hold onto your hats, music aficionados, for we are about to embark on an electrifying journey into the heart and soul of Ian Hunter's musical resurgence. In a fortuitous twist of fate, Hunter found himself teaming up with the illustrious John Jansen, igniting a creative spark that would set his recording aspirations ablaze once again. But that's not all, folks! Brace yourselves for the triumphant reunion of Hunter and his longtime musical compadre, Mick Ronson. The dynamic duo took their newfound songs on a whirlwind tour across the vast expanse of North America, accompanied by the rock 'n' roll-stirring melodies of the Roy Young Band. Oh, the sheer excitement of it all! With a fresh arsenal of captivating tunes and a string of exhilarating live performances under their belts, The Slimmer Twins were ready to reclaim their rightful place in the musical pantheon. So, dear friends, prepare to witness the glorious resurrection of Hunter's creative genius. The stage is set, the guitars are tuned, and the magic is about to unfold. Let the music reignite your soul as The Slimmer Twins make their triumphant return!

Bob Ridge of Variety Artists pushed for the Twins to tour and informally they were HRB touring between 27 September and 4 December 1988 for sixty shows and considered naming the next record American Music, Balance and later Wish. The Canadian trio of Shawn Eisenberg on drums, bassist Pat Kilbride, and keyboardist Howard Helm backed the Twins. By early 1989 European dates were scheduled but drumming duties were completed by the addition of Londoner Steve Holley who would later figure as one of the most instrumental members of The Rant Band. The core band can be heard on The Hunter Ronson Band BBC Live in Concert. 

The title of the release was an adaptation of  `Why you I oughta . . . ' a comedy phrase by American wisecrackers The Three Stooges. While beginning the recording Hunter assisted Mick Jones of Foreigner on Just Wanna Hold and the song was credited to Jones, Hunter, M. Phillips, and Mick Jagger. Ian also played piano, co-produced the track, and appeared in the promo video. For the recording Holley worked with Joe Cocker so drummer Mickey Curry substituted while keyboardist Tommy Mandel joined as well. 

Abnormal, Ian Hunter, John Jansen, Cutting Crew, 1987

In 1987 Ian played piano on four tracks for Michael Monroe's Nights Are So Long album and 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 track hung around but it was disbanded as a Rant unused track.

White on White (Hunter-Folsom), Ian Hunter, After All of The Good Ones Are Taken, 1987

In 1987 Scott Folsom recorded Hunter's Red Letter Day and their co-written White on White. 

Inch by Inch, Ian Hunter, Urgent

Hunter wrote a total of four songs for the release and the Running Back single hit #87 on Billboard. Ian also co-wrote If This Is Love, Inch by Inch. 

If This Is Love, Ian Hunter, Urgent

 Hunter wrote a total of four songs for the release and the Running Back single hit #87 on Billboard. Ian also co-wrote If This Is Love, Inch by Inch.

Running Back, Ian Hunter, Urgent

 Hunter wrote a total of four songs for the release and the Running Back single hit #87 on Billboard. Ian also co-wrote If This Is Love, Inch by Inch.

White on White, Ian Hunter, Scott Fulsom, after All of The Good Ones Are Taken, c. 1985

p. 247, Vol. 2 Sweepstakes, is there such a song?  

From 1984-1987 Hunter compositions were never released: Love Bug

 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

From 1984-1987 Hunter compositions were never released: Hell

 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

From 1984-1987 Hunter compositions were never released: Slave

 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

From 1984-1987 Hunter compositions were never released: Chains

 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

From 1984-1987 Hunter compositions were never released: Beat of My Heart

 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

From 1984-1987 Hunter compositions were never released: Lonely Kids

 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

From 1984-1987 Hunter compositions were never released: Perfect

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 

From 1984-1987 Hunter compositions were never released: Girl Shy

 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

From 1984-1987 Hunter compositions were never released: It Must Be Love

 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

From 1984-1987 Hunter compositions were never released: Danny,

 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,

From 1984-1987 Hunter compositions were never released: Someone Else's Girl, Ian Hunter, John Jansen, 1987, YUI Orta

 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 , Ian Hunter, John Jansen, 1987, YUI Orta

From 1984-1987 Hunter compositions were never released: If You Need Somebody

 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

From 1984-1987 Hunter compositions were never released: Read Me Like a Book

 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

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.