Mott the Hoople: “Saturday Gigs” Single (1974)

Mott the Hoople's “Saturday Gigs” was released on October 18, 1974, through CBS Records in the UK (S CBS 2754), the 7" single “Saturday Gigs” / “Medley: a) Jerkin’ Crocus b) Sucker c) Violence” marked the band’s final studio recording with frontman Ian Hunter.

Clocking in at around 4:17 for the A-side and 6:10 for the B-side, this double-sided gem captured Mott at a crossroads—celebrating their chaotic history while unknowingly signaling the end of an era.

Written by Hunter, the single was a poignant farewell to fans, produced amid lineup shifts and mounting tensions.

Cover art for Mott the Hoople's single "Saturday Gig," released in the Netherlands under CBS label, catalogue number CBS 2754.

The Background:

Turmoil, Talent, and Transition

By 1974, Mott the Hoople were rock royalty, having risen from near-obscurity thanks to David Bowie’s lifeline hit “All the Young Dudes” in 1972. Their albums Mott (1973) and The Hoople (1974) delivered anthems like “All the Way from Memphis” and “The Golden Age of Rock ’n’ Roll,” blending Hunter’s snarling vocals with Pete Watts’ thunderous bass, Dale Griffin’s driving drums, and Verden Allen’s swirling keyboards.

But internal strife was brewing:

Keyboardist Allen had already departed earlier that year, and guitarist Ariel Bender (Luther Grosvenor) was out by September, replaced by none other than Mick Ronson—David Bowie’s ex-Spiders from Mars axe-man.“Saturday Gigs” was hastily recorded in late summer 1974 at Ronnie Lane’s Mobile Studio, with Ronson overdubbing guitar onto a backing track laid down by the core band. It was Ronson’s sole official contribution to a Mott release, and his image even graced the single’s sleeve alongside the group (despite not playing live with them).

Intended as a reflective nod to the band’s scrappy beginnings—from cheap wine-fueled Roundhouse shows in ’69 to the highs of glam stardom—the track’s grandiose, horn-laden arrangement (featuring Bud Beadle’s sax) evoked a sense of closure.

As keyboardist Morgan Fisher later reflected in Mojo magazine, the band didn’t see it as a goodbye at the time, but Hunter’s lyrics painted a vivid, nostalgic timeline of their journey.

The single’s poor chart showing—peaking at No. 41 in the UK—devastated Hunter, leading him to cancel a planned UK tour and exit the band in December 1974. Mott the Hoople reformed as simply “Mott” with new singer Nigel Benjamin, but the magic was gone. “Saturday Gigs” thus became a symbolic endpoint, later closing their 2009 reunion shows as a full-circle tribute.

Original Track Listing: (1974 7" Vinyl Single)

The UK pressing (S CBS 2754) was a standard 45 RPM 7" vinyl, with picture sleeve featuring the band (including Ronson’s photo) against a starry backdrop. Produced by Dale Griffin and engineered by Pat Moran, it showcased Mott’s live-wire energy: the A-side’s studio polish contrasting the B-side’s raw Hammersmith Odeon live medley from their March 1974 residency. Durations are approximate based on original pressings.A-Side Saturday Gigs (4:17) – Written by Ian Hunter. A sweeping rock anthem chronicling Mott’s history, from ’69’s “cheapo wine” gigs to ’74’s stardom. Backed by brass and Ronson’s soaring solo, it’s a love letter to fans and the road.

B-Side Medley: a) Jerkin’ Crocus b) Sucker c) Violence (6:10) – A live mash-up from Mott the Hoople Live (CBS 69093). a) Jerkin’ Crocus (from Mott, 1973) – A funky, riff-driven opener about rock excess.

b) Sucker (from Wildlife, 1971) – A snarling midsection on betrayal and hype.

c) Violence (from Mott, 1973) – Closes with chaotic intensity, Hunter’s wail echoing the band’s fraying edges.

Recorded live at Hammersmith Odeon, London, March 1974; engineered by George Chkiantz.

Total runtime: ~10:27. Note: An alternate B-side, “Lounge Lizard,” was recorded but shelved; it later surfaced on the 2006 reissue of The Hoople.

Reissue Track ListingsAs a single from Mott’s swan-song era, “Saturday Gigs” hasn’t seen standalone reissues but lives on through compilations, remastered albums, and digital platforms. Key appearances maintain the original A/B structure, often with enhanced audio from 1990s/2000s remasters. Here’s a breakdown:1998 Columbia/Legacy CD: Original Mixed-Up Kid:

The Best of Mott the Hoople Track 17: Saturday Gigs (4:20) – Remastered by George Marino; A-side only.

No B-side medley (available on separate Mott the Hoople Live reissue).

Total relevant runtime: 4:20. This 18-track compilation focuses on hits but includes the single as a closer.

2006 Sony/BMG CD Reissue: The Hoople (Deluxe Edition)

Disc 1: Original album tracks.

Bonus Disc 2, Track 11: Saturday Gigs (alternate mix, 4:18) – Early version with “Lounge Lizard” as intended B-side (3:24, Track 10).

B-side medley appears on the 2004 Mott the Hoople Live reissue (Disc 2, Track 14: 6:12).

Total: 2 tracks; runtime ~13:54. Remastered by Tim Turan; includes liner notes on the single’s recording.

2018 Sony/Legacy Digital Remaster

(Streaming on Spotify/Apple Music) Saturday Gigs (4:17) – Standard A-side, part of Greatest Hits playlist.

Medley: Jerkin’ Crocus / Sucker / Violence (Live) (6:10) – B-side as a standalone track on Mott the Hoople Live digital edition.

Often bundled in “The Essential Mott the Hoople” (2000 tracks total, but single sides at Tracks 18–19).

Runtime: ~10:27. This is the go-to for modern streaming, with high-res audio.

Other compilations like All the Way from Stockholm to Philadelphia: A Box Set Retrospective (1998, 4-CD) include the A-side (Disc 4, Track 18) and medley (Disc 3, Track 15). No major vinyl reissues exist, but 180g picture-disc variants appear in fan bootlegs.

The 2009 reunion live album Live: 1970–2009 features a fresh take on “Saturday Gigs” as the finale.Chart Positions“Saturday Gigs” was Mott’s last gasp on the charts, entering the UK Singles Chart on November 2, 1974, but stalling amid competition from disco and prog acts. It spent just 3 weeks, its modest peak sealing the band’s fate.

No major US release followed, though it got airplay on rock radio.

Below are key positions:

Single Charts

Peak Position

Weeks on Chart

Certification

Notes

UK Singles (OCC)

41

3

-

Entered Nov. 2, 1974; sales ~20,000 copies

US Billboard Hot 100

-

-

-

Promo-only; minor FM radio play

Dutch Top 40

-

-

-

Limited European promo

Preceded by “Foxy, Foxy” (UK No. 33), it was Mott’s seventh and final Top 50 UK single. The B-side medley boosted live album sales but didn’t chart independently.

The Music: Standout Sides and Significance

The A-side’s “Saturday Gigs” is pure Hunter poetry: A verse-by-verse diary of Mott’s evolution—“’69 was cheapo wine... ’74, we hit the road”—building to a euphoric brass climax and Ronson’s fiery solo. It’s less glam strut, more weary celebration, with Fisher’s keyboards adding wistful texture. Critics hail it as one of Hunter’s finest lyrics, evoking the band’s bond with fans amid burnout.

The B-side medley is Mott unfiltered: A high-octane live frenzy from their Broadway/Hammersmith triumph, stitching ’70s grit (“Jerkin’ Crocus”) with raw aggression (“Sucker,” “Violence”). Clocking over six minutes, it captures the chaos of a Mott show—Hunter’s crowd-baiting banter, Watts’ bass rumble, and Griffin’s relentless drive. As a tie-in to Mott the Hoople Live, it underscored their stage prowess over studio polish.

Reception was bittersweet: NME praised its “grand nostalgia,” but commercial indifference hastened the split. Hunter later called it “the end we didn’t see coming.” Legacy and Promotion Promoted via UK radio sessions and a Top of the Pops mime (October 31, 1974), the single tied into Mott’s farewell European tour, where it closed sets. Post-breakup, Hunter covered it solo on All of the Good Ones Are Taken (1981), while Mott’s remnants echoed its spirit on Drive On (1975).

The 2009 reunion at Hammersmith Apollo—captured on DVD—ended with “Saturday Gigs,” proving its timeless pull. Today, it’s a cult staple, symbolizing glam’s gritty underbelly. As Fisher noted, it wasn’t meant as a goodbye, but hindsight makes it Mott’s perfect epitaph—a roar for the Saturday night faithful. For collectors, snag the original CBS pressing; streamers, queue up the 2018 remaster. If you’re new to Mott, pair it with The Hoople for the full send-off vibe. What’s your favorite Mott moment? Sound off below!