Man Overboard [Digipak]

Performer: Ian Hunter
Engineer: Peter Moshay
Producer: Ian Hunter; Andy York
Distributor: RED Distribution

Notes: Personnel: Ian Hunter (vocals, acoustic guitar, harmonica); Mark Bosch (guitar); Andy York (acoustic guitar, electric guitar, baritone guitar, banjo, chamberlin, vibraphone, percussion, background vocals); Jim Mastro (electric guitar, slide guitar, baritone guitar, bouzouki, mandolin); Jack Petruzzelli (electric guitar, slide guitar, piano); Andy Burton (accordion, piano, grand piano, harpsichord, harmonium, Wurlitzer organ); Steve Holley (drums, percussion); Dane Clark (tabla); Cat Martino (background vocals). Audio Mixer: Peter Moshay. Recording information: A-Pawling Studios, Pawling, NY; Stilson Hill; Tannery Row Recording, Hoboken, NJ; The Bedroom, Indianapolis, IN. Photographer: John Halpern. Ian Hunter sounded younger than his years on 2007's SHRUNKEN HEADS, but on its 2009 sequel, he shows signs of age in his weathered rasp as well as the album's slower tempos and greater emphasis on ragged acoustic arrangement. Older doesn't necessarily mean any less vigorous, though, at least not in Hunter's case. He writes and sings like a man who thinks he might have seen it all but isn't quite sure, so he keeps going, turning out tunes that feel familiar in form but fresh in substance. Since it doesn't rock furiously, it's easier to appreciate his songcraft and how deeply felt the performances are, whether Hunter is nimbly leading his band of pros through the country-rock ramble of "The Great Escape," cranking up the boogie on "Up and Running," writes a rock & roll love song as funny and knowing as "The Girl from the Office," or turning in another finely honed bittersweet epic on the closer, "River of Tears." Nothing here is flashy, which is keeping in a long tradition of Hunter's and is yet another reason why he's often called underrated, but when he's making records as rich and resonant as this at the age of 70, it's hard not to listen with not a small degree of wonder. Ian Hunter sounded younger than his years on 2007's Shrunken Heads, but on its 2009 sequel, Man Overboard, he shows signs of age in his weathered rasp as well as the album's slower tempos and greater emphasis on ragged acoustic arrangement. Older doesn't necessarily mean any less vigorous, though, at least not in Hunter's case. He writes and sings like a man who thinks he might have seen it all but isn't quite sure, so he keeps going, turning out tunes that feel familiar in form but fresh in substance. Since Man Overboard doesn't always rock as furiously as Shrunken Heads, it's easier to appreciate his songcraft and how deeply felt the performances are, whether Hunter is nimbly leading his band of pros through the country-rock ramble of "The Great Escape," cranking up the boogie on "Up and Running," writes a rock & roll love song as funny and knowing as "The Girl from the Office," or turning in another finely honed bittersweet epic on the closer, "River of Tears." Nothing here is flashy, which is keeping in a long tradition of Hunter's and is yet another reason why he's often called underrated, but when he's making records as rich and resonant as Man Overboard at the age of 70, it's hard not to listen with not a small degree of wonder. ~ Stephen Thomas Erlewine

Record Collector (magazine) (p.91) - 5 stars out of 5 -- "Hunter's autobiographical outings are more detailed and reflective than ever, while the beautiful 'These Feelings' and 'Way With Words' rank among his most affecting love songs, shot with the simple honesty which underscores the album."

When he left Mott the Hoople in 1974, Ian Hunter took Bowie sideman and late-era Hoople guitarist Mick Ronson with him, and further indulged the pub-rock-tinged, proto-new wave songwriting that made Hunter the MVP of his former band. His first solo outing featured the hit song "Once Bitten Twice Shy," which would be covered memorably by Great White a decade later. Hunter released well-crafted albums on a semi-regular basis throughout the '80s, '90s, and aughts, enjoying some FM hits and the continued respect of peers and younger artists, who appreciate the artist's deft blend of classic, rootsy melodicism with a slightly cock-eyed, punky point of view.

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