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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
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.
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
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.
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
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.
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.
This is a song collaboration as Hunter prepared for the Overnight Angels release. Guitarist Billy Cross was putting Topaz together. They didn't end up working together but at Ian's Chappaqua house one day they wrote this song together which has not been released.
These DVD video presentations collect some of the various appearances and shows by Hunter including: CBS promo videos, studio film, Top Pop TV from Holland, Chrysalis promo film, Rockpalast appearance, Toronto concert, The Dominion concert, PolyGram promo video, Scandinavian NRK TV session, VH1 `Take It to the Bridge' session, Jerkin' Crocus promo film, Jools Holland BBC TVs session, and a Proper promo video.
Once Bitten Twice Shy provided a driving rock introduction to Ian's solo career and the song got him off to a strong start. It entered the British singles chart in 1975. This song was similar to All The Young Dudes in the sense that a buzz was created by both songs. A TV appearance was critical to pushing the hit higher on the charts and this song was similar to All The Young Dudes in the sense that a buzz was created by both songs. Hunter and Mick Ronson got off at Heathrow Airport and Mick asked if Ian was in the Musician's Union. Of course he was or you are not allowed to appear on TV otherwise. Despite the first class air flight because Ronson was not in the Union they were cancelled. The CBS promotional film was shot instead after the scheduled Top of the Pops TV appearance in the UK was aborted.
All of The Good Ones Are Taken is the 1983 CBS single that was promoted, unfortunately not that often in Hunter's career, with a fabulous Columbia video that spoofed the 1981 Dudley Moore comedy Arthur. Hunter plays the wealthy guy chasing a girl paralleling the log line of the film: glittering mansion, roller skates, white linen suit, butler, limousine, champagne, and glamorous girls, filmed in New York City and Central Park. Directed by Martin Kahan, who also shot videos for Kiss and Bon Jovi, the clip was nominated at the first ever MTV Awards, and turned out to be an appealing marketing ploy.
The clip featured the oversized late character actor Captain Haggerty of the School for Dogs in Manhattan and Mr. Clean TV commercial fame. At 385 pounds during the Central Park boat scene the boat started to sink, their feet covered in water, and water logging the cassette player. Almost drowning, soaked to the skin during the rain scene, and filming at 4 am so the diner could open at its regular time, was less than ideal shooting but the video is well done and Hunter thoroughly enjoyed the experience.
The New Music is the Ian Hunter Band featuring Mick Ronson filmed by CHUM TV at the Ryerson College Theatre in Toronto on 19 September 1979. The material includes the Welcome to the Club double live album and Hammersmith Odeon set, issued for the first time in the box set and is the best example of Ronson and Hunter together.
Ronson has the best summary of this period. They were interviewed at a radio station in Canada and the DJ asked them how the pair worked together. Mick said: "Well, I play a bit of guitar . . . and he comes in singing . . . and when he stops singing I play a solo . . . then I stop when he starts singing again . . . and when he finishes singing . . . we stop again." Classic Ronno!
Ian Hunter Rocks is a television appearance recorded on 11 September 1981 at the Dr. Pepper Festival at Pier 84 in New York City and was originally released on VHS by Chrysalis. I saw it live when it was broadcast on TV. Hunter's material came from the then-current Short Back n' Sides album, some Mott The Hoople and solo material including the 14 minute medley of Irene Wilde, All The Young Dudes, Honaloochie Boogie, Roll Away The Stone, and Ships.
Hunter enjoyed the performance but his recollection of it was the excessive heat. With little air he could hardly breathe and his knees nearly gave way. At one point he walked off stage near the end to get air, difficult to pull off when the whole concert is being televised live.
Strings Attached: A Very Special Night with Ian Hunter was filmed and recorded at the Sentrum Scene in Oslo, Norway on 29-30 January 2002 featuring guitarists, Andy York and Torstein Flake, Kjetil Bjerkestrand on keyboards, bassist Sven Lindvall, Per Lindvall one drums and The Trondheimsolistene Strings. The Strings were coined by Hunter as Sigmund and the little Freuds during the performance.
The arrangements provide a fresh hearing and are a thing of beauty with the unusual, for a rocker, presentation. Similar to how Ian enjoys working there were few practices before hand which makes for a livelier performance if done well. They pull it off. All the musicians were first-rate.
Hunter was the only performer who did not read music so he communicated to York what he wanted and left it up to Andy to musically elicit the performance from them. Bjerkestrand arranged the entire concerts and the procedure was to rehearse on one day, then rehearse the orchestra in Trondheim with the changing arrangements the next day. Ian had not met the orchestra until the night before the actual shows but the musicians were so good the performances came off flawlessly. Its a beautiful statement and interpretation of Hunter's songwriting.
Ian Hunter On Track for Sonicbond Publishing, TheDoctorOfDigital@pm.me
The Dylan song Is Your Love in Vain is perhaps too polished and overdone but during 1981 and live Hunter was all for it. It has the advantage of Mark Clarke on bass who was first-rate on harmony and talented enough to arrange anything. It was recorded at The Old Waldorf, San Francisco CA 26-28th October 1981.
Ian Hunter On Track for Sonicbond Publishing, TheDoctorOfDigital@pm.me
(Ian Hunter/Mick Ralphs)
I'm a missing link, poolroom stink, I can't talk (Well that's too bad) What's going on, something's wrong, I can't work Can't go to school, the teacher's a fool, the preacher's a jerk (Well that's such a drag) Got nothing to do, street-corner blues, and nowhere to walk Violence, violence It's the only thing that'll make you see sense (Repeat) Gotta fight, nothing's right, livin' nowhere (That's so sad) Watch out for the gun, snake on the run, hide in my hair You keep your mouth shut, or you'll get cut. Haha - I like to scare (Bet you're so mad) I'm a battery louse, a superstar mouse, I don't care Get off my back or I'll attack, 'n I don't owe you nothin' (OK) Head for your hole, you're sick and you're old 'N I'm here to tell you something Violence, violence It's the only thing that'll make you see sense (Repeat several times )
Alejandro Escovedo is a fine musician himself but he is also a Hunter fan and covered some of Ian's songs. They met at a benefit in Chicago and got along well. Hunter heard that the Austin songwriter was really ill and a benefit CD project was proposed for Ian. Andy York reviewed numerous songs and One More Time was selected for Hunter. It was recorded at guitarist and producer Rick Tedesco's Studio with York, Steve Holley, and James Mastro for the Por Vida benefit album. Hunter's involvement is indicative of his support for Escovedo.
Ian Hunter On Track for Sonicbond Publishing, TheDoctorOfDigital@pm.me
Avalanche was recorded with guitarist, recording engineer, and producer Rick Tedesco in 1999. He is also a good friend to Hunter. Ian met Andy York in 2000 and the pair tried a different direction with Rant. Based on memory by Ian both this song and I'm in Awe were shelved when the Hunter-York collaboration took off. Nonetheless, both of these songs could have been on a standard release but they fell between the cracks between releases. The same thing happened with Wings on YUI Orta. Some of these strong songs just didn't fit the release at the time. As Ian sought for something new he didn't remember the song and it was as if he was listening to someone else's songs! It ended as a Rant unused track.
SIGN UP NOW FOR THE PRE-RELEASE OF IAN HUNTER ON TRACK FOR SONICBOND PUBLISHING AT THEDOCTOROFDIGITAL@PM.ME!
Ian Hunter On Track for Sonicbond Publishing, TheDoctorOfDigital@pm.me
guitarist, recording engineer, and producer,
Ain't No Way to Treat a Lady is an Artful Dodger outtake. For Hunter's output this is more funky than most of his work but he thinks there is something wrong with the groove so it is not among his favorites.
Ian Hunter On Track for Sonicbond Publishing, TheDoctorOfDigital@pm.me
Before YUI Orta Ronson got interested in working with Ian again and Ill Wind is one of the songs that Hunter was preparing before recording. Hunter at times has written with Robbie Alter and this demo from the YUI Orta sessions was recorded in Ian's bedroom studio in NYC around 1988. In fact, Alter did this in one take. Despite the similarity this is not the Mott The Hoople song Ill Wind Blowing that escaped Hunter's memory but Ill Wind was originally issued on The Journey, Once Bitten Twice Shy, and Tilting the Mirror.
Ian threatened for years to do a gospel blues song and he delivered. The song is considerably different for Ian's musical work and is about an average bloke in the 1920s. He works in the morning cotton fields but he also made a record in the afternoon, while the record continues to sell. Unfortunately, the singer received nothing and he is understandably angry. It is one of the more unusual songs in the Hunter catalog but fairly typical of how musicians are often taken advantage of and do not always profit from their creativity.
There is a live version release from 2000.
Ian Hunter On Track for Sonicbond Publishing, TheDoctorOfDigital@pm.me
I don't see the song on either of the following as noted in the book Stranded In Reality; however, I see Ill Wind on the Once Bitten Twice Shy release.
| Ill Wind | 3:22 | This demo from the YUI Orta sessions was issued on the compilations The Journey, Once Bitten Twice Shy andTilting The Mirror - Rarities (box set only). |
| Ill Wind (live 19th May 2000) | 4:52 | This live version (recorded at The Robin 2, Bilston England) can be found on Bag Of Tricks (Vol 1) (box set only). |
Originally issued on Two Miles From Heaven. It can also be found on the Mental Train box set.
(Ian Hunter)
You woke me up this morning
Making me shake like a kick in the face
What are you, some kind of warning?
You're telling me to get out of this place
I can feel the power
I can feel the sun breaking over me
I know this is the hour
I won't waste the time that's been given to me
You've got to hear that wake up call
It's a new day, you've got to give it your all
You've got to hear that wake up call
It's a new day, you've got to give it your all
My wheels are set in motion
The engine's running in overdrive
I feel so much emotion
I'm so glad to be alive
I wait all night to hear you
But you might never come
Now you're here and I won't let you (hey)
Slip out from under my thumb
Life moves so fast
You could miss it if you blink
There's so much living we could do
And there ain't much time to think
(Wake it up)
It's a new day
It's a new day (it's a new day)
Life moves so fast
And you can miss it if you blink
There's so much living we could do
And there ain't much time to think
(yeah)
You've got to hear that wake up call
It's a new day, you've got to give it your all
You've got to hear that wake up call
It's a new day, you've got to give it your all
You've got to hear that, hear that whistle blow
Oooh, yeah, I wanna hear that call
You've got to hear that wake up call
It's a new day Oh oh oh oh oh
It's a new day (it's a new day)
It's a new day (it's a new day)
It's a new day
It's a new day
Yeah, you've got to hear that wake up call
It's a new day, you've got to give it your all
You've got to hear that wake up call
It's a new day, oh oh oh oh oh
yeah yeah yeah yeah yeah yeah ...
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