You may not have heard of the band Mott the Hoople, but you’ve likely listened to their biggest hit, written by a music idol. David Bowie wrote a song for the band to prevent them from breaking up. Unfortunately, it didn’t work.
David Bowie | Theo Wargo/Staff David Bowie helped Mott the Hoople find success
Mott the Hoople was an English rock band that released several albums throughout the ’70s. Since the band was unable to find success and on the verge of splitting up, David Bowie offered them his song “Suffragette City.” The song later appeared on his Ziggy Stardust album titled The Rise and Fall of Ziggy Stardust and the Spiders from Mars.
The band initially rejected Bowie’s offer, which led to him writing the song “All The Young Dudes” for them. Verden Allen, Mott the Hoople’s classically trained keyboard player, reflected on meeting...
David Bowie | Theo Wargo/Staff David Bowie helped Mott the Hoople find success
Mott the Hoople was an English rock band that released several albums throughout the ’70s. Since the band was unable to find success and on the verge of splitting up, David Bowie offered them his song “Suffragette City.” The song later appeared on his Ziggy Stardust album titled The Rise and Fall of Ziggy Stardust and the Spiders from Mars.
The band initially rejected Bowie’s offer, which led to him writing the song “All The Young Dudes” for them. Verden Allen, Mott the Hoople’s classically trained keyboard player, reflected on meeting...
- 4/7/2023
- by Rose Burke
- Showbiz Cheat Sheet
The stars of the excellent new comedy doc Joy Ride discuss some of their favorite two handers with hosts Josh Olson and Joe Dante.
Show Notes: Movies Referenced In This Episode
The Graduate (1967) – Neil Labute’s trailer commentary, Glenn Erickson’s Criterion Blu-ray review
Cocoon (1985)
Mission: Impossible III (2006)
Santa Claus Conquers The Martians (1964)
Police Academy 3: Back In Training (1986)
Crooklyn (1994)
Call Me Lucky (2015)
Shakes The Clown (1991)
A History Of Violence (2005)
You Only Live Twice (1967)
Artists And Models (1955) – Tfh’s global trailer search
Joy Ride (2021)
Joy Ride (2001)
Stay (2005)
Sleeping Dogs Lie (2006)
Capturing The Friedmans (2003)
Bela Lugosi Meets A Brooklyn Gorilla (1952) – Joe Dante’s trailer commentary, Charlie Largent’s review
Sleepless In Seattle (1993)
The Producers (1967) – Charlie Largent’s Blu-ray review
My Friend Irma Goes West (1950)
Delicate Delinquent (1957)
Keyholes Are For Peeping (1972)
The Brain That Wouldn’t Die (1962) – John Landis’s trailer commentary
Abbott And Costello Meet Frankenstein (1948) – John Landis’s trailer commentary, Charlie...
Show Notes: Movies Referenced In This Episode
The Graduate (1967) – Neil Labute’s trailer commentary, Glenn Erickson’s Criterion Blu-ray review
Cocoon (1985)
Mission: Impossible III (2006)
Santa Claus Conquers The Martians (1964)
Police Academy 3: Back In Training (1986)
Crooklyn (1994)
Call Me Lucky (2015)
Shakes The Clown (1991)
A History Of Violence (2005)
You Only Live Twice (1967)
Artists And Models (1955) – Tfh’s global trailer search
Joy Ride (2021)
Joy Ride (2001)
Stay (2005)
Sleeping Dogs Lie (2006)
Capturing The Friedmans (2003)
Bela Lugosi Meets A Brooklyn Gorilla (1952) – Joe Dante’s trailer commentary, Charlie Largent’s review
Sleepless In Seattle (1993)
The Producers (1967) – Charlie Largent’s Blu-ray review
My Friend Irma Goes West (1950)
Delicate Delinquent (1957)
Keyholes Are For Peeping (1972)
The Brain That Wouldn’t Die (1962) – John Landis’s trailer commentary
Abbott And Costello Meet Frankenstein (1948) – John Landis’s trailer commentary, Charlie...
- 10/26/2021
- by Kris Millsap
- Trailers from Hell
The Mountain Goats appear as bobbleheads in the quirky new video for “Get Famous,” a track off their upcoming album Getting Into Knives.
Described by John Darnielle as a “Mott the Hoople-inspired jaunt,” the track explores the pitfalls of fame. Ray Donovan showrunner David Hollander directed the video, using custom-made bobbleheads. “You were born for these flashing lights/You were born for these endless nights,” Darnielle sings, his bobblehead predictably shaking with each line. “You always knew sooner or later/You were destined for something greater.”
“I met John...
Described by John Darnielle as a “Mott the Hoople-inspired jaunt,” the track explores the pitfalls of fame. Ray Donovan showrunner David Hollander directed the video, using custom-made bobbleheads. “You were born for these flashing lights/You were born for these endless nights,” Darnielle sings, his bobblehead predictably shaking with each line. “You always knew sooner or later/You were destined for something greater.”
“I met John...
- 10/1/2020
- by Angie Martoccio
- Rollingstone.com
In the history of band names Mott the Hoople is one of the strangest, perhaps since its origin is pretty simple but hard to explain for a lot of people since they don’t know about the novel that inspired it. Before taking on this moniker the band went by a couple of different names and had limited success, which is to say not much until around the late 60s after they’d switched lead singers and changed things up a bit. You could easily say that Mott the Hoople wasn’t really going anywhere until they were noticed by none other than
The Five Best Uses of Mott The Hoople Songs in Movies or TV...
The Five Best Uses of Mott The Hoople Songs in Movies or TV...
- 8/18/2019
- by Tom
- TVovermind.com
Def Leppard led an all-star jam of Mott the Hoople’s “All the Young Dudes” to close out the 2019 Rock and Roll Hall of Fame induction ceremony.
The jam included Queen’s Brian May, the Zombies’ Colin Blunstone and Rod Argent, the Bangles’ Susanna Hoffs, “Little” Steven Van Zandt and, the surprise guest, Ian Hunter of Mott the Hoople, who emerged from backstage to join the inductees and presenters for the rendition of the David Bowie-penned classic.
“There’s usually an all-star jam but we’re gonna try something different.
The jam included Queen’s Brian May, the Zombies’ Colin Blunstone and Rod Argent, the Bangles’ Susanna Hoffs, “Little” Steven Van Zandt and, the surprise guest, Ian Hunter of Mott the Hoople, who emerged from backstage to join the inductees and presenters for the rendition of the David Bowie-penned classic.
“There’s usually an all-star jam but we’re gonna try something different.
- 3/30/2019
- by Daniel Kreps
- Rollingstone.com
Mott the Hoople were on the verge of disbanding in the spring of 1972 when David Bowie offered to lend them a hand. He sent them a demo of his new song “Suffragette City” for them to record, but they politely declined. Bowie then visited them in person and played “All the Young Dudes,” a song he had written specifically for them. “He’s strumming it on his guitar and I’m thinking, he wants to give us that? He must be crazy!” recalled late drummer Dale Griffin. “You couldn’t...
- 1/25/2019
- by Angie Martoccio
- Rollingstone.com
British glam rockers Mott The Hoople are coming to America for the first time since their tour in support of 1974’s The Hoople. They’re using the moniker Mott The Hoople ’74 to mark the return of guitarist Ariel Bender, who hasn’t played with the band since 1974. Also returning for the tour is keyboardist Morgan Fisher, who wasn’t a part of Mott The Hoople’s other reunion tours this past decade.
“Both toured extensively with Mott and both were featured heavily of The Hoople album after Mick Ralphs and Verden Allen left the band,...
“Both toured extensively with Mott and both were featured heavily of The Hoople album after Mick Ralphs and Verden Allen left the band,...
- 1/22/2019
- by Andy Greene
- Rollingstone.com
If you don’t count Wednesday night’s screening of “Black Panther” on the beach, the most fun to be had watching movies at this year’s Cannes Film Festival might well have come early in Russian director Kirill Serebrennikov’s “Leto,” when a train full of disaffected young musicians terrorize their more sedate passengers with a full-throated version of the Talking Heads’ “Psycho Killer.”
Or 40 minutes or so later, when a busload of commuters breaks into Iggy Pop’s “The Passenger.”
Like the film itself, those sequences are energetic, messy, a little surreal and wholly enjoyable, a tribute to the power of rock ‘n’ roll to shake things up while also providing good fun.
Also Read: 16 Cannes Winners That Went on to Take Oscar Gold (Photos)
“Leto,” which premiered on Wednesday night and screened for the press on Thursday morning, is the wildest and most bracing film to screen in the main competition so far this year. Part fond remembrance of an early-’80s Leningrad rock scene and part glam-rock fever dream, “Leto” asks an audience to surrender to excess and at times to silliness, and it richly rewards them for doing so.
Serebrennikov is one of two main-competition directors who is not allowed by authorities in his home country to come to the festival, the other being Iran’s Jafar Panahi. He has been under house arrest for almost a year on fraud accusations, though his supporters say it’s a trumped-up charge by a Russian government that wants to punish him for his art.
There’s a current of anti-government sentiment running through “Leto” in the way its musicians can’t play the government-supported Leningrad Music Club until their lyrics have been approved by a stern censor who tells them, “Soviet rock musicians must find all that’s good in humanity.” When they do play, stern guards watch over the audience to make sure they don’t stand up, move or do anything but applaud politely.
Also Read: 'Donbass' Review: Jarring War Film Reminds Us That No One Is Safe
But that’s not the focus of the film, which is based on the life of Soviet rock musician Viktor Tsoi, who was a legendary figure in his home country but is largely unknown outside Russia. To those who aren’t familiar with Tsoi’s music, “Leto” works as a more universal story of striving and of rock ‘n’ roll dreams.
Tsoi, played by Tee Yoo, is introduced as he makes a pilgrimage to see established local musician Mike (Roman Bilyk), the leader of a band and a community of misfits whose idols are David Bowie, Lou Reed and T-Rex’s Marc Bolan. They pay lip service to punk music, but they’re really glam-rockers at heart.
Serebrennikov doesn’t go full glam with the film, though. For the most part, “Leto” is shot in lustrous black and white that can seem gritty at times but more often turns the film into a rock ‘n’ roll reverie, a fever dream born of “Aladdin Sane” and “The Velvet Underground and Nico” (and occasionally accompanied by onscreen animation in a number of terrific fantasy sequences).
Also Read: Terry Gilliam's 'Don Quixote' Loses Amazon as Us Distributor, Wins Court Fight to Screen as Cannes Closer
Tee Yoo, a Korean actor who learned Russian phonetically for the film, is suitably enigmatic as the gifted man at the center of a dizzying movement, while Bilyk is touching as the young rebel trying to adjust to the fact that he’s become an elder statesman of sorts.
At heart, this is a story of musicians who are dealing with several layers of frustration — cultural, artistic, personal — but manage to break through, one way or another. There’s a love triangle of sorts, as Viktor flirts with and falls for Mike’s wife, Natasha (a quietly compelling Irina Stashenbaum), but the heart of the film is in the songs, both Tsoi’s own music and Western tunes like “Psycho Killer,” Iggy Pop’s “The Passenger” (used in a priceless bus sequence) and a ghostly, hallucinatory version of the hit Bowie gave to Mott the Hoople, “All the Young Dudes.”
A mocking line from that last song essentially serves as the theme of this film: “Oh man, I need TV when I got T-Rex?” These people didn’t need Soviet TV, they did have T-Rex, and for a while it was glorious — though as the end of the film points out the ones among them who died young, the glory is tinged with deep melancholy.
Like rock ‘n’ roll itself, “Leto” aims to be great and doesn’t worry about being messy. Unlike anything else at Cannes so far this year, it cranks the dial to 11 and is all the better for it.
Read original story ‘Leto’ Film Review: Musical Biopic Is a Rock ‘n’ Roll Fever Dream At TheWrap...
Or 40 minutes or so later, when a busload of commuters breaks into Iggy Pop’s “The Passenger.”
Like the film itself, those sequences are energetic, messy, a little surreal and wholly enjoyable, a tribute to the power of rock ‘n’ roll to shake things up while also providing good fun.
Also Read: 16 Cannes Winners That Went on to Take Oscar Gold (Photos)
“Leto,” which premiered on Wednesday night and screened for the press on Thursday morning, is the wildest and most bracing film to screen in the main competition so far this year. Part fond remembrance of an early-’80s Leningrad rock scene and part glam-rock fever dream, “Leto” asks an audience to surrender to excess and at times to silliness, and it richly rewards them for doing so.
Serebrennikov is one of two main-competition directors who is not allowed by authorities in his home country to come to the festival, the other being Iran’s Jafar Panahi. He has been under house arrest for almost a year on fraud accusations, though his supporters say it’s a trumped-up charge by a Russian government that wants to punish him for his art.
There’s a current of anti-government sentiment running through “Leto” in the way its musicians can’t play the government-supported Leningrad Music Club until their lyrics have been approved by a stern censor who tells them, “Soviet rock musicians must find all that’s good in humanity.” When they do play, stern guards watch over the audience to make sure they don’t stand up, move or do anything but applaud politely.
Also Read: 'Donbass' Review: Jarring War Film Reminds Us That No One Is Safe
But that’s not the focus of the film, which is based on the life of Soviet rock musician Viktor Tsoi, who was a legendary figure in his home country but is largely unknown outside Russia. To those who aren’t familiar with Tsoi’s music, “Leto” works as a more universal story of striving and of rock ‘n’ roll dreams.
Tsoi, played by Tee Yoo, is introduced as he makes a pilgrimage to see established local musician Mike (Roman Bilyk), the leader of a band and a community of misfits whose idols are David Bowie, Lou Reed and T-Rex’s Marc Bolan. They pay lip service to punk music, but they’re really glam-rockers at heart.
Serebrennikov doesn’t go full glam with the film, though. For the most part, “Leto” is shot in lustrous black and white that can seem gritty at times but more often turns the film into a rock ‘n’ roll reverie, a fever dream born of “Aladdin Sane” and “The Velvet Underground and Nico” (and occasionally accompanied by onscreen animation in a number of terrific fantasy sequences).
Also Read: Terry Gilliam's 'Don Quixote' Loses Amazon as Us Distributor, Wins Court Fight to Screen as Cannes Closer
Tee Yoo, a Korean actor who learned Russian phonetically for the film, is suitably enigmatic as the gifted man at the center of a dizzying movement, while Bilyk is touching as the young rebel trying to adjust to the fact that he’s become an elder statesman of sorts.
At heart, this is a story of musicians who are dealing with several layers of frustration — cultural, artistic, personal — but manage to break through, one way or another. There’s a love triangle of sorts, as Viktor flirts with and falls for Mike’s wife, Natasha (a quietly compelling Irina Stashenbaum), but the heart of the film is in the songs, both Tsoi’s own music and Western tunes like “Psycho Killer,” Iggy Pop’s “The Passenger” (used in a priceless bus sequence) and a ghostly, hallucinatory version of the hit Bowie gave to Mott the Hoople, “All the Young Dudes.”
A mocking line from that last song essentially serves as the theme of this film: “Oh man, I need TV when I got T-Rex?” These people didn’t need Soviet TV, they did have T-Rex, and for a while it was glorious — though as the end of the film points out the ones among them who died young, the glory is tinged with deep melancholy.
Like rock ‘n’ roll itself, “Leto” aims to be great and doesn’t worry about being messy. Unlike anything else at Cannes so far this year, it cranks the dial to 11 and is all the better for it.
Read original story ‘Leto’ Film Review: Musical Biopic Is a Rock ‘n’ Roll Fever Dream At TheWrap...
- 5/10/2018
- by Steve Pond
- The Wrap
Roughly three years before David Bowie died, the man who sold the world sat down with a recorder to capture his memories of Spiders From Mars guitarist Mick Ronson on tape. He was urged to do so at the behest of Mick's widow Suzi Ronson, Bowie's former hairdresser and the creator of his legendary Ziggy Stardust orange space mullet. Mick had been dead for two decades at that point, but few people outside of hardcore Bowie aficionados were aware of his axeman's massive contributions to popular music – and she wanted to alleviate that.
- 2/2/2018
- Rollingstone.com
“I have so many stories I could tell you. I wish I had more time,” David Bowie states at the outset of his 1999 installment of VH1’s occasional series Storytellers. No kidding. At a mere eight tracks—12 on the outtakes-added DVD version—Bowie’s set feels thin. It’s too bad, since the Storytellers gimmick, in which performers explain a song’s origin before performing it, serves Bowie well. He recalls hanging out with Marc Bolan, shaving his eyebrows in frustration when Mott The Hoople declined to record “Drive In Saturday” as a follow-up to “All The Young ...
- 7/14/2009
- avclub.com
Glam rockers Mott The Hoople have confirmed that a 40th anniversary reunion at the Hammersmith Apollo "is on". Singer Ian Hunter wrote on his website that the group's original members will reform on October 2 and October 3 for the London dates. Hunter's post reads: "It will be the original members - Mick, Pete, Phally, Buff and me. Why are we doing it? I can't speak for (more)...
- 1/18/2009
- by By Sarah Rollo
- Digital Spy
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