MOTT THE HOOPLE is regarded by many as an unknown supergroup. A band that never received the commercial success due to them whilst active, MOTT THE HOOPLE has since been recognised across as broad spectrum of Glam Rock, Hard Rock and Punk as a prime influence. Finding their base on the British club circuit the band generated a media fervour and devoted fan base within a very short period. Unfortunately their live prowess did not at first translate into record sales, bringing the band to the very point of resignation before a switch in labels and an alliance with DAVID BOWIE generated their just, if brief, reward.

The band's roots lay in the Herefordshire covers act SILENCE. Operating in 1966 this band unit comprised frontman Stan Tippens, guitarist MICK RALPHS, bassist Pete 'Overend' Watts, organ player Verden Allen and drummer Dale 'Buffin' Griffin. Guy Stevens, an A&R rep for Island Records, spotted potential in the band but persuaded them to discard Tippins in favour of Shropshire native IAN HUNTER. In this new guise the band took on the revised title of MOTT THE HOOPLE, the new banner taken from a Willard Manus novel.

Oddly, for a band since recognised for their quite individualistic songwriting strengths, MOTT THE HOOPLE's 1969 Stevens produced debut album kicked off their career with three cover versions in a row - an instrumental blast through THE KINKS standard 'You Really Got Me', Doug Sahm's 'At The Crossroads' and Sonny Bono's 'Laugh At Me'. The remainder of the album demonstrated the potential of what was to come as the band members strengths came through with Hunter's 'Backsliding Fearlessly' and Ralphs 'Rock And Roll Queen'. Even odder, for a record of such obvious importance, 'Mott The Hoople' only just scraped into the Billboard top 200.

Retaining the services of Guy Stevens once more the band turned out the much heavier, rawer, even morose 'Mad Shadows' in 1970. Comprising entirely of original tracks this time around, the record, despite containing the standout cut 'Walkin' With A Mountain', alienated many fans that had latched onto them previously. They quickly rallied with the self produced 'Wildlife', an outing that witnessed a distinct change in tack to incorporate Folk-Rock influences. Covers included a take on MELANIE's 'Lay Down' and the closing rocker that was LITTLE RICHARD's 'Keep A 'Knockin'. Regrettably 'Wildlife' too failed to lift their standing.

Although largely credited for the career slump that was 'Mad Shadows' Guy Stevens was back at the production helm for MOTT THE HOOPLE's fourth album 'Brain Capers'. It would be with this record that many believed to be on the very edge of greatness and with an inevitable star status to come. The band's songwriting skills blossomed, as evidenced by the driving inceptor 'Death May Be Your Santa Claus'. Once again the group was unafraid to tackle covers though as DION's 'Your Own Backyard' proved. For a straight forward Rock n' Roll record the eight and half minute 'Journey' was ambitious but satisfying and Ralph's quirky trait topped off proceedings with 'Wheel Of The Quivering Meat Conception'. The album did not chart in Americas but it did renew the buzz on the band. Island Records believed they had carried the band too long though and swiftly dropped their option.

Quite incredibly, the group very nearly dissolved just as their career path seemed to be back on the rise. In the Spring of 1972 the band actually splintered for a few months. It would be longstanding fan and ally DAVID BOWIE that would persuade the band to persevere, even lending them the kudos of one of his own tracks to put them firmly in the public eye. The Thin White Duke would act as producer, writer, rhythm guitarist and backing vocalist for their revival opus, released on new label CBS Records. Bowie's 'All The Young Dudes' gave MOTT THE HOOPLE a hit single on both sides of the Atlantic. Not only did 'Dudes' give the band a much needed shot in the arm it also provided them with what is generally regarded to be one of the all time classic Rock tracks. As a whole the album stood up well too with the lessons learnt on 'Brain Capers' amply displayed once again. At Bowie's suggestion the band covered LOU REED's 'Sweet Jane' as the inaugural track and Bowie's guitarist MICK RONSON also played his part in song arrangements. Interestingly, MICK RALPHS composition 'Ready For Love' would re-surface much later with BAD COMPANY.

'All The Young Dudes' did not only signal a massive upturn in fortunes but also MOTT THE HOOPLE's associations with Glam Rock. Although the band members, besides Hunter's characteristic mop top and shades image, had paid little attention previously to stage garb they now fully embraced the over the top, make up, silver and spandex, thigh length booted approach in keeping with the times.

1973's 'Mott' gave the group the commercial success it had long been craving. By this juncture the band, minus keyboard player Verdan Allen, was operating as a quartet. Recognised as a "road" album, in that much of the lyrical content was undoubtedly autobiographical such as the introspective 'Ballad Of Mott The Hoople', MOTT THE HOOPLE delivered another strong piece of work. 'All The Way From Memphis' quickly became a global radio staple. In the Uk the band was supported by the up and coming QUEEN. The tour was a triumph for both acts and the headliner's persuaded QUEEN to open for them on their forthcoming American dates.

Morgan Fisher was introduced as keyboard player but unfortunately MICK RALPHS quit during the tour to promote the album, soon establishing for himself another major band unit by linking with ex-FREE singer PAUL RODGERS in BAD COMPANY. Ralphs new band, backed by the powerhouse LED ZEPPELIN funded Swansong organisation, soon eclipsed MOTT THE HOOPLE.

MOTT THE HOOPLE, enlisting the top hat bedecked guitarist Ariel Bender (a.k.a. Luther Grosnevor), attempted to bounce back with 1974's 'The Hoople'. Fortunately, it hosted two hit singles in the rollicking 'Roll Away The Stone' and 'The Golden Age Of Rock & Roll'. Songs recorded at London's Hammersmith Odeon in December 1973 and New York's Uris Theater on Broadway in May 1974 were pooled for the long overdue 'Live' album. In keeping with the sometimes strange decisions that had afflicted the group's long-term momentum 'Live' comprised a somewhat bizarre choice of material, including two songs, 'Rose' and 'Rest In peace', that were only issued previously as the B side to British singles. Nonetheless, 'Live' put MOTT THE HOOPLE high in the US charts, peaking at no. 23.

In the UK, the band's Phil Spector influenced single 'Foxy, Foxy' charted but not to the heights expected. Bender was ejected, soon falling in with a new high profile act WIDOWMAKER, fronted by erstwhile LOVE AFFAIR singer Steve Ellis in union with ex-CHICKEN SHACK bassist Bob Daisley and drummer Paul Nichols, previously with SKIP BIFFERTY and LINDISFARNE. A further MOTT THE HOOPLE single, 'The Saturday Gigs', saw the band changing shape again, inducting MICK RONSON in September of 1974. Following Bowie's decision to dissolve his 'Spiders From Mars' band the guitarist had flown solo with the album 'Slaughter On 10th Avenue'. After a UK tour had been less than successful had been keen to enroll into MOTT THE HOOPLE.

Sadly, IAN HUNTER walked out in December of 1974 and MICK RONSON soon followed. MOTT THE HOOPLE, a hollow force without its creative core, duly crumbled. IAN HUNTER's first move, a solo album, scored well on both sides of the Atlantic and in later years gave GREAT WHITE a huge radio hit with their take on 'Once Bitten, Twice Shy'. His solo career, whilst never threatening to attain the heights reached by his former band, did produce quality work, in particular 1979's 'You're Never Alone With A Schizophrenic' with it's hit 'Cleveland Rocks'. Quite surreally this album produced another hit, not for Hunter but for arch crooner BARRY MANILOW who took on 'Ships' to mainstream success.

The remaining members, rhythm section Overend Watts and drummer Terry Buffin, together with latter day keyboard player Morgan Fisher attempted to carry on as MOTT, drafting former HACKENSACK guitarist Ray Majors and ex-ROYCE vocalist Nigel Benjamin. Their first offering, 1975's 'Drive On', was lambasted by fans and critics alike, making a minor mark in the US charts at no. 160. They staggered on with 1976's 'Pointing And Shouting', which fared even worse. The rhythm nucleus of the old MOTT THE HOOPLE line up, Watts, Buffin and Fisher, then formed a new band, BRITISH LIONS, which released two albums, 'British Lions' and 'Trouble With Women'.

IAN HUNTER's 1983 record 'All of the Good Ones Are Taken' marked a retirement from the music scene. He would be enticed back into action by way of a collaboration with former band colleague MICK RONSON, resulting in the 1989 HUNTER / RONSON album 'Y U I Orta'. Ronson died on 29th April 1993 of liver cancer, his last live performance having been at the FREDDIE MERCURY tribute concert in April of 1992. He had been working on a solo record 'Heaven And Hull', this fittingly closing with a live performance of 'All The Young Dudes', recorded at the Mercury concert and featuring the guitarist alongside members of QUEEN, IAN HUNTER and DAVID BOWIE. Hunter went into stasis yet again, returning with 'Ian Hunter's Dirty Laundry' in 1995 and the following year's 'The Artful Dodger'.

In later years many Rock artists have paid homage to the band by way of cover versions. 'All The Way From Memphis' has been reinterpreted by a wide range of artists such as BRIAN MAY, THUNDER and CONTRABAND. 'Ready For Love', besides Ralphs own BAD COMPANY version, has been tackled by GREAT WHITE and the late RHETT FORRESTER. It is 'All The Young Dudes' though that has generated the most revival interest with artists such as ANGEL, THE DAMNED, JIMMY BARNES, CATHERINES CATHEDRAL, BRUCE DICKINSON, GENE LOVES JEZEBEL, THE CROSS and THE CYBERNAUTS all having a crack at the classic.

MICK RALPHS was reunited with MOTT THE HOOPLE frontman IAN HUNTER for the first time in almost two decades when he joined Hunter's May 2002 fifteen date UK tour. The guitarist's third solo album, 'That's Life - Can't Get Enough' emerging in January of 2003. The record proved of great intrigue to Hoople completists as it featured the original MOTT THE HOOPLE working demo for 'Can't Get Enough'. January of 2004 found the Hoople partnership of IAN HUNTER and MICK RALPHS out on the road together again in the UK, fronting up a band comprising Andy York, Gus Goad, Ian Gibbons and Steve Holley. That same year former QUIET RIOT singer KEVIN DUBROW covered 'Drivin' Sister' on his 'In For The Kill' album. Later that same year Hunter featured as a guest vocalist on OZZY OSBOURNE's 'Bible Of Ozz' 2005 box set, appearing on Ozzy's cover of 'All The Young Dudes'.