Controversial from many angles. Some of the big hits were derived from Eddie’s new love of synthesizers, but in other places, it’s business as usual, rocking out just as heavy – if not heavier – as ever, on tracks like “Girl Gone Bad”, “House of Pain”, “Panama”, and “Hot for Teacher”. “Jump” propelled the group into mainstream consciousness for a long time, but for my money, “I’ll Wait” is a better track in that style. Still, it’s hard to argue with the hooks, musicianship, energy, or anything else that these two tracks offer.

No discernible hit singles, but not to worry, because this is another great record. It’s the same basic party pop-metal sound, but the boys get a little more progressive with it here, with stunning results. “And the Cradle Will Rock” has the meatiest riff and best hook of the record, followed by the raucous rocker “Everybody Wants Some” which got its’ own Claymation scene in the cult movie “Better Off Dead”. “Fools”, “Romeo Delight”, and especially “Loss of Control” are simply unique little takes on hard rock with Eddie doing crazy and different things with riffs and other things I can’t even being to understand, yet are amazing to listen to. “Could This Be Magic” is one of those light-hearted, semi-acoustic exercises – like “Ice Cream Man” – which was second nature to these guys, and they pull it off with expertise. The last track, “In a Simple Rhyme”, even dabbles in psychedelic and progressive rock. Easily one of their best, and not to be missed.

The somewhat less flashy companion of the debut record, in that there is less of a focus on Eddie being the guitar hero. But interestingly enough, the group scored a hit single with the hooky pop of “Dance the Night Away”, and you can just imagine the bikini babes in sunglasses strutting around to party-made tracks like “Beautiful Girls” and “Women in Love…”, not to mention the extra-sleazy cover version of “You’re No Good”. But it’s the mid-section of the album, where the band shows off their mean and ornery side, which is the big calling card. “Bottoms Up”, “Light Up the Sky”, and the back-yard magic of “D.O.A.” – a howling melting pot of metal, punk, and sheer unadulterated attitude.

The album starts by slamming mightily on a damn car horn for all it was worth on “Running with the Devil” – their backstreet version of Black Sabbath’s tri-tone riff – and rumbles on from there. Eddie practically carries this whole deal with nary an overdub from his guitar, playing rhythm and solos with effortless ease. Yet, his playing seamlessly blends in with everyone else. Even on the goofy party cuts like “Feel You Love Tonight” the band shines through with an infectious energy. But of course, the real calling cards are downright dangerous tracks like “Ain’t Talkin’ Bout Love”, “Atomic Punk”, and the cover of The Kinks’ “You Really Got Me”, which the band flips into a sexual powerhouse. If I could give this album 10 out of 5 stars, I would.

This album may have never happened, if not for Stax Records splitting with Atlantic Records in 1968, losing their back catalog in the process. Stax was looking for new artists, desperate to fill the content void. Hayes, having already been a songwriter for the label (he co-wrote Sam and Dave's "Soul Man"), and released a solo album to little notice, agreed to cut a second one as long as he had creative control. The end result was an unconventional smash hit. There are only four tracks, and three of them are covers. The lead-off "Walk On By" is definitive in so many ways, not just for Hayes' career but for music in general. Like everything else on the album (and future ones), it’s unapologetically over-the-top, running the gamut of emotions throughout 12 minutes of run-time. He further pushes the emotional envelope with an 18-plus minute exploration of Jimmy Webb's "By The Time I Get To Phoenix", which also introduces his penchant for spoken-word sections. But levity comes in the form of "Hyperbolicsyllabicsesquedalymistic", a funky jam boosted by nonsensical lyrics and an intimate piano solo. Probably the only thing that seems a bit out of place is the relatively short cover of "One Woman" which was also adult contemporary in nature, but that is splitting hairs. Even the cover is iconic in a timeless manner. Hayes recorded the album in Memphis using The Bar-Kays as his backing band, and the orchestral flourishes were added later in the process.