Hunter began his musical career on the bass guitar. An early foray into music was as an entrant in a talent competition at one of Butlin's holiday camps, performing "Blue Moon" as part of a skiffle group with Colen York and Colin Broome.
Hunter memorialized how he left his family in a later song, "23A Swan Hill," the address of his teenage home in Shrewsbury above a police station where his father was the Station Sergeant. He notes in concert that "my Dad was real mean" and did not approve of his son's artistic direction, in contrast to his "grand dad", referenced in "Cleveland Rocks", as "he was a rocker and I am, too".
So Hunter took off for Butlin's and "never looked back". Bandmates York and Broome came from Northampton, and were in a band called The Apex, which Hunter soon joined to play rhythm guitar. In 1963, while living in Northampton, he formed his own band, Hurricane Henry and the Shriekers. With Tony Marriott and guitarist Julian Coulter, the Shriekers worked steadily in Northampton, and by 1965 had picked up Freddie 'Fingers' Lee as a pianist and frontman. In a 2004 DVD interview Hunter volunteers Lee and their gigs in Hamburg as a major turning point, when he first began to "actually think maybe I could do this instead of working in factories".
In 1966 Hunter moved to London, where he joined The Scenery with guitarist Miller Anderson, drummer Dave Dufort, and keyboard player Dante Smith. By 1967 Smith and Dufort had left the band while John Vernon Smith joined on drums. The Scenery recorded some material with Bill Farley at Regent Sound, which was released without the band's knowledge in France and Japan. In early 1968, The Scenery had run its course and Miller Anderson joined Dave Dufort in Paper Blitz Tissue.
Also in 1968 Hunter remained in the band to back up Freddie Lee in the At Last The 1958 Rock and Roll Show, along with drummer Pete Philips and guitarist Chris Mayfield. The group got a regular booking at The Angel in Edmonton, and drew interest from both Chrysalis and NEMS but the group was never signed by them. Mayfield was soon replaced by the ever traveling Miller Anderson, and the group released a single on CBS called "I Can't Drive." As the short-lived rock and roll revival began to wane, At Last the 1958 Rock and Roll Show changed its name to Charlie Woolfe and released a final single, "Dance, Dance, Dance".
Hunter played sporadically in various other bands throughout the 1960s, including The New Yardbirds, and backed Billy Fury, The Young Idea and David McWilliams. He also worked as a journalist and staff songwriter for the firm Francis, Day & Hunter (no relation). Other jobs he took during these years included road-digging for a local council, and reporting for a local newspaper.
By 1969 Hunter was married and had two children, but was still hoping for a return to making music full time. That year he auditioned for and joined yet another band, Silence. Silence soon renamed themselves after a novel by Willard Manus, published in 1966: Mott The Hoople. By this time Hunter had taken to wearing the sunglasses that have long since become his trademark (photos of him without his "shades" are rare). The band was a live smash in England although their early U.S. tours on the coasts were slow in building a following. Whilst a critical success and despite being renowned for being an excellent live act, Mott the Hoople did not achieve sustained commercial success. After a dreary 1972 concert in a "gas cylinder" in Switzerland, they announced their disbandment.
David Bowie, a longtime fan of the band, was upset and offered them a song he had just written. As Ian recalls in a 2004 DVD interview, "He offered us 'Suffragette City', which I didn't think was good enough. And then he sat down on the floor, Regent Street it was in a publisher's office and plays 'All The Young Dudes' on an acoustic guitar." It shot to No. 3 in the UK singles chart and Mott had new life.
Mott the Hoople then had considerable commercial success with the albums All the Young Dudes (1972, produced by Bowie); Mott (1973) and The Hoople (1974). The band began to score financially with songs such as "Roll Away The Stone," "Golden Age Of Rock ´N´ Roll," "Honaloochie Boogie," "All The Way From Memphis," "Saturday Gigs," and especially "All The Young Dudes." When in 1973 original lead guitarist Mick Ralphs left to form Bad Company, Hunter began to play guitar until a replacement could be found but at the same time he was increasingly pressured to write hits for the band. Luther Grosvenor took over as lead guitarist, Grosvenor, aka Ariel Bender, was briefly replaced by Mick Ronson after the release of a live album following The Hoople. However, Hunter left the band in December 1974. The remaining members carried on under the names Mott and British Lions. Hunter has written a memoir, Diary of a Rock'n'Roll Star, detailing a U.S. tour with Mott the Hoople.
In March 1975 Ian Hunter joined forces with Mick Ronson, formerly the leading member of David Bowie's backing band The Spiders from Mars and a member of Mott the Hoople for a brief time. Hunter's first single from his eponymous solo album was the UK Top 40 hit "Once Bitten Twice Shy". Hunter's best selling solo album was You're Never Alone With A Schizophrenic. It was released in 1979 with Ronson and several members from Bruce Springsteen's E Street Band. Two songs from You're Never Alone with a Schizophrenic became successes for other artists. "Cleveland Rocks" was covered by the Presidents of the United States of America, whose version was used as the theme song for The Drew Carey Show. Also, "Ships" became a No. 9 pop hit in the USA in late 1979 for Barry Manilow.
During his solo career Hunter frequently worked with Ronson until the latter's death in 1993, but he has also had musical connections with many other artists, including Queen, Mick Jones (The Clash), Clarence Clemons of Bruce Springsteen's E Street Band, Jaco Pastorius, Dennis Elliot (Foreigner), and David Bowie.
His album, Rant (2001), received wide critical acclaim and he won Classic Rock Magazine Songwriter's Award in October 2005.
In 2007 his latest album "Shrunken Heads" was released and it clearly shows that Ian Hunter is still very much alive.
One Fine Day
Ian Hunter Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Well, we′re back on the street, back on the air, one fine day
We'll be back over here, back over there, one fine day
My whole world is upside down
A lot of people want me under the ground
But I know it′ll change, they'll come around one fine day.
No more stabbing me in the back, one fine day
Losing your love don't bother me now
I do my job and the love will come
I′ll be back on Deal Street having fun, one fine day, yeah.
One fine day
One fine day.
I don′t care what people say, I ain't gonna live in yesterday
I know I′m gonna be OK, one fine day, one fine day, one fine day.
Hit me, hit me, hit me!
I tell you what, I think we should, er
I think, I think we should knock that whole last instrumental bit on the head.
In Ian Hunter's song "One Fine Day," the lyrics depict a sense of resilience and optimism despite facing challenges and criticism. The phrase "we're back on the street, back on the air, one fine day" suggests a comeback from a difficult situation, with the hope of returning to a better place in the future. Hunter acknowledges that there are people who want to bring him down, but he believes that things will eventually change, and they will come to understand and accept him.
The mention of being "back over here, back over there" implies that Hunter will regain his presence and success in various aspects of his life. He emphasizes that his whole world is upside down, possibly alluding to the chaotic and uncertain nature of his circumstances. However, he remains optimistic that the situation will improve, expressing confidence that those who doubt him will eventually come around and support him.
The lyrics also suggest a sense of determination to overcome obstacles and move forward. Hunter mentions being "back on line, back on track," indicating a desire to get back on the right path and leave behind any negativity or betrayal he has experienced. He asserts that losing love no longer bothers him, as he focuses on his work with the belief that love will naturally follow. The mention of "Deal Street" suggests a return to a place of enjoyment and success, indicating that Hunter is looking forward to a brighter future.
The phrase "I don't care what people say, I ain't gonna live in yesterday" reflects Hunter's mindset of not letting others' opinions or past circumstances define him. He refuses to be weighed down by negativity and instead chooses to believe that he will be okay in the end. The repetition of "one fine day" reinforces this optimism, highlighting his unwavering belief that a better future awaits him.
The final line, "I tell you what, I think we should knock that whole last instrumental bit on the head," may be interpreted as Hunter expressing his preference to remove or abandon a certain portion of the song. This directive could signify his desire to maintain a more focused and resolved tone throughout the song, reinforcing the theme of moving forward and leaving behind any unnecessary distractions.
Line by Line Meaning
Well, we're back on the street, back on the air, one fine day
After facing setbacks, we have finally returned to the public eye and have the chance for a better future.
We'll be back over here, back over there, one fine day
We will regain our presence and influence both here and there, just a matter of time.
My whole world is upside down
Everything in my life feels chaotic and unsettled.
A lot of people want me under the ground
Many individuals wish for my downfall or demise.
But I know it'll change, they'll come around one fine day.
I believe that their opinions will eventually shift, and they will appreciate me in due time.
Back on line, back on track, one fine day
I will regain my focus and productivity, determined to achieve success once again.
No more stabbing me in the back, one fine day
I won't experience betrayal or deceit from others anymore, as things will improve.
Losing your love don't bother me now
The absence of your affection or support no longer affects me negatively.
I do my job and the love will come
By staying committed to my work, I will attract love and appreciation from others.
I'll be back on Deal Street having fun, one fine day, yeah.
In the near future, I will be enjoying myself and experiencing success once again.
One fine day
At a specific point in time, things will improve and be favorable.
I don't care what people say, I ain't gonna live in yesterday
I refuse to dwell on the negative opinions or judgments of others and move forward.
I know I'm gonna be OK, one fine day, one fine day, one fine day.
I am confident that eventually, everything will be alright and fall into place.
Hit me, hit me, hit me!
Expressing a desire for a strong impact or breakthrough moment.
I tell you what, I think we should, er
Suggesting a change or decision to be made in the current situation.
I think, I think we should knock that whole last instrumental bit on the head.
I believe it would be best to eliminate the concluding instrumental portion.
Writer(s): Steve Hogarth, Mark Kelly, Ian Mosley, Steve Rothery, Pete Trewavas, John Helmer
Contributed by Jordyn V. Suggest a correction in the comments below.