Here’s an album that should be selling a million. . . . When Ian Hunter left Mott the Hoople, contrary to popular belief, the band remaining did not crumble to ashes. Much to the contrary, Mott (sans the Hoople), with additions of guitarist Ray Major and vocalist extraordinaire Nigel Benjamin, were determined to “Drive On,” testing new ground with their somewhat different sound. Obviously, Nigel Benjamin is not Ian Hunter—nor does he try to be—and that is the point; Mott is not Mott the Hoople, and should not be judged as such.
Mott’s new release, “Shouting and Pointing” is proof of what this band can do. Like a breath of fresh air, the album is musically tighter, lyrically sound, and most important, vividly uplifting. Charisma Plus. . . .
Listen to the title cut, “Shouting and Pointing.” It’s creative, loud, and has all the spirit of ROCK AND ROLL. It’s fresh and stimulating, and definitely out of the basic musical rut that has been formed over the past few years. “Storm”—a powerhouse rocker that slaps you in the face with such force you couldn’t ignore it if you wanted to, sets the pace for Mott’s new approach.
Turn it over. Morgan Fisher’s calm, authorative mastery of keyboards electrifies you with punchy ragtime rock on “Too Short Arms (I Don’t Care).” How can you deny it? Hail Brittania!!
All in all, Ray Major’s guitar work is inventive, cleaner, and more controlled. Overend Watts and his thundering bass lines pounds your bones. Morgan Fisher and his elegant manner; Buffin, the quiet conquerer; and Nigel Benjamin and his rock and roll soul. complete this dynamic British company.
Overcoming the politics of rock and roll. “Shouting and Pointing” is just the beginning of success for the new Mott—for as Nigel aptly puts it, in rock ‘n’ roll . . . “There’s no such thing as growing old. . . .”