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!"

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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