Mott The Hoople's Ian Hunter was journeying on a No. 14 bus when, reading Disc, he discovered that the group's second album, -'Mad Shadows,' had leapt into the charts.
'I was so excited I really wanted to tell somebody about it but the rest of the passengers didn't really look as though they would have been appreciative. By the time I phoned the office and told the rest of the group they all knew about it, which was a bit frustrating.'
The band has put their second American tour (they should have flown there on Wednesday) back to January to concentrate on consolidating their sudden chart success here. It is ironic to reflect that they owe their breakthrough to their first American trip. They returned from the States at the beginning of August and haven't looked back since.
'It's the old case of being unknown and going to America and coming back to find it all happening here,' says Ian.
Mott formed about 15 months ago. Phally Allen (organ), Overend Watts (bass), Buffin (drums) and Mick Ralphs (guitar and vocals) made the trek to London from their native Hereford and, needing another member to complete their line-up, were put in touch with pianist-vocalist Ian Hunter. Through Guy Stevens they were recommended to Island Records, and two weeks later, without having appeared on stage, made their first LP.
Ian explains that the response at the initial Mott The Hoople appearances was 'very negative.'
They played their first gig at Sunderland's now late and lamented 'Fillmore North,' supporting Free who have always been very popular up there. 'I nearly jacked it all in that night,' says Ian. 'We went down reasonably we, but the crowd went mad about Free, grabbing them off the stage and that sort of thing.' But he was reassured by one of Free's roadies, who told them they always went down that well in the North-East.
Work on 'Mad Shadows' started a year ago and recording finished in May. But there were hold-ups over the art work and cover design. Now they are well into writing for their third album, which they say, will not be as introspective as their first two.
Mott's efforts to help their album cruise up the charts were thwarted when drummer Buffin went down with glandular fever and they had to cancel five dates and miss a week's work. But they get back on the road tomorrow (Friday). When the American tour was postponed, offers immediately began to swarm in to their agency's office.
Ian feels that America did them a lot of good not just as far as prestige was concerned but musically too. 'We've got a lot more confidence since we went to the States. And we got a lot tighter over there. It's been good since we came back.
'Naturally we want to play bigger venues but we don 't see why people should have to pay any more to see us,' says Mick. 'It's just that places like the Fairfield Hall are more comfortable. We have more room and the audiences do, too.'
'Some of the clubs are becoming very extortionate and they are screwing the kids. It's ridiculous to have to pay something like 25 bob to see a group. We want to do big venues for small prices.'
Ian is very adamant that big commercial companies, particularly the giant business consortiums outside music, ought to promote rock shows. 'The government gets a lot of blame for things that happen in this country but the real power comes from the big major firms who have vast resources.'
'They sponsor race meeting and golf tournaments, and even football now, and I think they should back rock concerts. Happens a lot in America but it is much more commercial over there. But big companies here could afford it and shows could be put on cheap so that everyone would benefit. The audience would see groups cheaper and the sponsors would benefit from the publicity. Music is one of the biggest industries and these companies are missing out.'
He says that if anyone complains about having to pay too much to see Mott they should consider how much the promoter is making, how much they actually earn, and how much their debts are. But they hope to put all those things right soon.