Chords for Ian Hunter Interview early 1980's?

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Ian Hunter Interview early 1980's? chords
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Hi Nightwipe fans, we're sitting here and chatting with Ian Hunter.
Hello Ian.
Good evening.
Ian, our first question is, most of [N] us know that you led Mop The Hoople.
We have [Ab] heard a rumor of a Mop The Hoople reunion, [Bb] is that true?
[F] No, it's not true.
We met for the first time, actually the original members all met about three weeks ago.
For the first time in nine years.
But what we were talking about was a video thing,
it wasn't anything to do with an album or playing together.
Do you think [Gb] the video thing will come about?
It may well do, it's to do with footage really.
I mean a lot of the footage is hard to get.
There's some early German footage and stuff like that.
We'd like to put Mop into perspective,
for a lot of people have only heard about that band second, third hand, you know.
And it's [E] fine in the early stuff, I know there was early [Eb] stuff in Germany and Sweden.
[F] Some of the stuff belongs to BBC, which is, you know, they won't give it to you,
which is [E] unfortunate, because the only one we had [Bb] to do was the BBC one,
which was the first hit that we had.
[E] That's as far as it's [Bb] gone.
Where are you from originally?
I [Abm] was born in a place called Oswestin in [Bb] Shropshire.
Lived there for six weeks.
[Eb] It was just after the war, so it was like crazy.
I went to 21 schools before I was 11.
You could take your 11 plus.
[B] And I was lousy, I couldn't read or write until I was 10.
[G] And then I fell madly in love with [Bb] this teacher.
[F] And I learned to read and write real quick, [Eb] because I was in love with her, you know.
And I passed the 11 plus, [F] which is, you know, you die or live by your 11 plus in England.
It's [C] a weird kind of a
I passed.
How come you moved [Bb] around so much?
Well, [F] after the war, you know, it was kind of like,
when I was growing up it was still ration books,
one egg a week kind of thing.
It was in chaos.
I mean, my father was
He couldn't get a
the only job he could get was a cop,
[F] which also meant he [Bb] got a free house.
The cops didn't even get free houses.
So he was a cop and they couldn't figure out where to put him,
so they kept on moving every three months.
We didn't know where we were, you know.
[F] Was Martha Hubel your first group, or did you do something [Gb] before that?
I was with a guy called [Bb] Freddie Fingersley.
I was a bass player.
[E] And in the [G] late 60s I was in Germany doing like Starcup, Hamburg,
all those places that the Beatles had been before.
The [Bb] Beatles were there in the early 60s.
Those were great [E] days.
I mean, you never got paid, you always got [Bb] ripped off.
And there [Ebm] was
there's not a guy running any of those [Eb] clubs
that isn't either dead or in jail [F] for life.
And I know the guys and I know where they are.
I know what happened to them.
And a couple of them are justifiably dead.
[N] Let's talk just a little about [Bb] Martha Hubel.
It's been called one of Britain's greatest, yet most misunderstood bands.
Why misunderstood?
[Gb] I don't know.
Oh, you don't understand [C] that.
Well, I don't know.
I mean, everybody had their own
It was a strange band.
I mean, it dealt in a lot of areas.
It would go into an area [F] like
There were certain songs like The [Bb] Clash Street Kids, [N] Pearl and Roy.
These were songs that later [F] said what was going to happen a lot later.
You know, with the [Gm] pistols, the Clash and whatever.
[N] Those songs sort of said that was going to happen four years before it happened.
Then there was the other element to them.
They were a very flash [Bb] band.
You know, [Eb] they wore very flash clothes.
They weren't as gaudy as, say, Mark Boland or [Ab] Slave.
But they were kind of out there with the [N] Roxas of the world and the Bowies of the world.
They were very kind of crazily dressed.
So they had a lot [Bb] to do with style.
[F] And then they were commercial too.
You know, you couldn't really put your finger on that.
Some people thought they were very profound, very deep.
Other people thought they were a commercial band.
I don't know.
To me, it was just we wrote songs and we recorded them.
And [Ebm] we were lucky.
You know, every time we got a good piece of the song, we put it down and that was it.
[N] Mott the Hoople came out of the glitter era of the early 70s
while the Clash burst upon the scene as part of a punk [Bb] backlash against it.
Considering your differences
That's not true.
It isn't?
No, [Gm] not at all.
See, you can't even get the right question.
[E] If anything, [Bb]
[Eb] Clash is very, very similar to the way Mott were.
Mott was a working man.
We were [Bb] called working class heroes.
[G] They were a very working class band [D] from Clash,
but they went Clash in the Stones way.
They didn't go Clash in the glitter way.
We were very against glitter.
We didn't like glitter.
Glitter was satin and [Eb] cheap rhinestones and stuff like that.
We didn't [Bb] like that stuff.
[Eb] When you say working class band, do you think that's who your [N] appeal
Oh, we knew it.
Our appeal was guys.
I mean, the girls just came [Bb] with the guys.
Very working class.
Very, very almost
[F] Not to use any comparison, but Leninist in approach.
Their influences, Mott's influences,
were across [Gb] between Bob Dylan and the Stones.
They were [F] nowhere near
I mean, we touched near
We ran [Eb] parallel with David Bowie,
but we also ran parallel with Bob Dylan.
You [N] know, it was weird.
It was a very strange band.
You could never put your finger on them.
Perhaps that's why you said they were misunderstood.
Do you think that Mott was before its time?
I mean, if it appeared on the scene today,
do you think it wouldn't be, quote-unquote, misunderstood?
Mott started in the summer of 69.
At that time, it was flower-powering,
blues guys, you know, looking at [B] their genitals,
and nobody [F] was, like, delivering to audiences.
And we thought it was time for a bit of excitement,
a bit of flashness.
I remember with the shades,
it was, like, not a [Abm] neat thing to do to wear shades.
I was considered very arrogant and very flash, [G] you know.
That's precisely why I wore them.
You know, we felt that it [C] was very [F] stagnated.
The scene was such
Blues is great, but blues is boring, you know.
I don't know about the hippie thing, you know.
I mean, we walked right in the middle of that.
We went and played the Fillmore West for Quick Filmer.
That was the first gig we ever did.
It was [Bb] hilarious.
[C] All these flugs that we were [B] getting off,
but they thought we were dope things,
because we were [D] weird, you know.
We had this weird name.
We did these weird songs.
[G] But, I mean, I had a half a lager,
and I was slightly tipsy, you
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Hi Nightwipe fans, we're sitting here and chatting with Ian Hunter.
Hello Ian.
Good evening.
Ian, our first question is, most of [N] us know that you led Mop The Hoople.
We have [Ab] heard a rumor of a Mop The Hoople reunion, [Bb] is that true?
[F] No, it's not true.
We met for the first time, actually the original members all met about three weeks ago.
For the first time in nine years.
But what we were talking about was a video thing,
it wasn't anything to do with an album or playing together.
Do you think [Gb] the video thing will come about?
It may well do, it's to do with footage really.
I mean a lot of the footage is hard to get.
There's some early German footage and stuff like that.
We'd like to put Mop into perspective,
for a lot of people have only heard about that band second, third hand, you know.
_ And it's [E] fine in the early stuff, I know there was early [Eb] stuff in Germany and Sweden.
_ [F] Some of the stuff belongs to BBC, which is, you know, they won't give it to you,
which is [E] unfortunate, because the only one we had [Bb] to do was the BBC one,
which was the first hit that we had.
[E] That's as far as it's [Bb] gone.
Where are you from originally?
I [Abm] was born in a place called Oswestin in [Bb] Shropshire.
_ _ Lived there for six weeks.
[Eb] It was just after the war, so it was like crazy.
I went to 21 schools before I was 11.
You could take your 11 plus.
[B] And I was lousy, I couldn't read or write until I was 10.
[G] And then I fell madly in love with [Bb] this teacher.
_ [F] And I learned to read and write real quick, [Eb] because I was in love with her, you know.
And I passed the 11 plus, [F] which is, you know, you die or live by your 11 plus in England.
It's [C] a weird kind of a_
I passed.
How come you moved [Bb] around so much?
Well, [F] after the war, you know, it was kind of like,
when I was growing up it was still ration books,
_ one egg a week kind of thing.
_ It was in chaos.
I mean, my father was_
He couldn't get a_
the only job he could get was a cop,
[F] which also meant he [Bb] got a free house.
The cops didn't even get free houses.
So he was a cop and they couldn't figure out where to put him,
so they kept on moving every three months.
We didn't know where we were, you know.
[F] Was Martha Hubel your first group, or did you do something [Gb] before that?
I was with a guy called [Bb] Freddie Fingersley.
I was a bass player.
[E] And in the [G] late 60s I was in Germany doing like Starcup, Hamburg,
all those places that the Beatles had been before.
The [Bb] Beatles were there in the early 60s.
Those were great [E] days.
I mean, you never got paid, you always got [Bb] ripped off.
And there [Ebm] was_
there's not a guy running any of those [Eb] clubs
that isn't either dead or in jail [F] for life.
And I know the guys and I know where they are.
I know what happened to them.
And a couple of them are justifiably dead.
[N] _ _ Let's talk just a little about [Bb] Martha Hubel.
It's been called one of Britain's greatest, yet most misunderstood bands.
Why misunderstood?
_ [Gb] I don't know.
Oh, you don't understand [C] that.
Well, I don't know.
I mean, everybody had their own_
It was a strange band.
I mean, it dealt in a lot of areas.
_ It would go into an area [F] like_
There were certain songs like The [Bb] Clash Street Kids, [N] Pearl and Roy.
These were songs that later [F] said what was going to happen a lot later.
You know, with the [Gm] pistols, the Clash and whatever.
[N] Those songs sort of said that was going to happen four years before it happened.
Then there was the other element to them.
They were a very flash [Bb] band.
You know, [Eb] they wore very flash clothes.
They weren't as gaudy as, say, Mark Boland or [Ab] Slave.
But they were kind of out there with the [N] Roxas of the world and the Bowies of the world.
They were very kind of crazily dressed.
So they had a lot [Bb] to do with style.
[F] And then they were commercial too.
You know, you couldn't really put your finger on that.
Some people thought they were very profound, very deep.
Other people thought they were a commercial band.
I don't know.
To me, it was just we wrote songs and we recorded them.
And [Ebm] we were lucky.
You know, every time we got a good piece of the song, we put it down and that was it.
[N] Mott the Hoople came out of the glitter era of the early 70s
while the Clash burst upon the scene as part of a punk [Bb] backlash against it.
Considering your differences_
That's not true.
It isn't?
No, [Gm] not at all.
See, you can't even get the right question.
[E] If anything, [Bb] _ _
[Eb] Clash is very, very similar to the way Mott were.
Mott was a working man.
We were [Bb] called working class heroes.
_ _ [G] They were a very working class band [D] from Clash,
but they went Clash in the Stones way.
They didn't go Clash in the glitter way.
We were very against glitter.
We didn't like glitter.
Glitter was satin and [Eb] cheap rhinestones and stuff like that.
We didn't [Bb] like that stuff.
[Eb] When you say working class band, do you think that's who your [N] appeal_
Oh, we knew it.
Our appeal was guys.
I mean, the girls just came [Bb] with the guys.
_ Very working class.
Very, very almost_
_ _ [F] Not to use any comparison, but Leninist in approach.
Their influences, Mott's influences,
were across [Gb] between Bob Dylan and the Stones.
They were [F] nowhere near_
I mean, we touched near_
We ran [Eb] parallel with David Bowie,
but we also ran parallel with Bob Dylan.
You [N] know, it was weird.
It was a very strange band.
You could never put your finger on them.
Perhaps that's why you said they were misunderstood.
Do you think that Mott was before its time?
I mean, if it appeared on the scene today,
do you think it wouldn't be, quote-unquote, misunderstood?
Mott started in the summer of 69.
At that time, it was flower-powering,
blues guys, you know, looking at [B] their genitals,
and nobody [F] was, like, delivering to audiences.
And we thought it was time for a bit of excitement,
a bit of flashness.
I remember with the shades,
it was, like, not a [Abm] neat thing to do to wear shades.
I was considered very arrogant and very flash, [G] you know.
That's precisely why I wore them.
You know, we felt that it [C] was very [F] stagnated.
The scene was such_
Blues is great, but blues is boring, you know.
I don't know about the hippie thing, you know.
I mean, we walked right in the middle of that.
We went and played the Fillmore West for Quick Filmer.
That was the first gig we ever did.
It was [Bb] hilarious.
[C] All these flugs that we were [B] getting off,
but they thought we were dope things,
because we were [D] weird, you know.
We had this weird name.
We did these weird songs.
[G] But, I mean, I had a half a lager,
and I was slightly tipsy, you

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