This is the first re-issue of Detectives self-titled debut album from 1977 when it was released on the Led Zeppelin associated label Swan Song. Detective were a short-lived super group featuring Michael Des Barres, Michael Monarch, Bobby Pickett, Tony Kaye and Jon Hyde.
The album opens with Recognition that has a slow blues intro and full-throated vocals from Michael Des Barres as this slowly evolves and gets fuller on as they tell us everyone really does need a little Recognition, as it goes into a sort of strutting funky blues plea for some credit.
Got Enough Love is full on strutting and preening cock rock that makes abundantly clear just what they want to do to you and how you won't be able to resist them, this has some great brass and a heavy keyboards undertow from Tony Kaye while Michael wails away like he's infatuated with Robert Plants most over the top moments.
Grim Reaper has the sort of cloak and dagger lyrics that could mean you're in need of Columbo's help, as Jon Hyde's drums punctuate the sordid tale Michael is singing about, as all sorts of tricks are played on guitar by Michael Monarch, as the feelings of dread rise and it sounds more like the tragedy is about to become reality.
Nightingale is a much slower song about doing the moonlight flit out the window when the boyfriend or husband of the woman you've seduced arrives home and you grab everything you can and split, this reminds me of the slower songs on Mick Ronson's Play Don't Worry. This of course gets as overblown as it can with some full-on begging and pleading.
Detective Man is the sound of a cock rock strutting man, who doesn't know how to exit gracefully and instead becomes a full-on stalking menace to the woman he won't let go, the lyrics are very April Wine obvious and are a bit much to take in these times, as the mindless blues rock gets Into full on chugging mode.
Ain't None Of Your Business is the sound of a guy telling his main squeeze to ignore all the other squeezes he's putting it around with, an whatever other bad behavior he's up too. With some slow Zepplinesque blues rock and those Percy style vocals this almost makes the lead characters behavior less offensive as it goes full on histrionic.
Deep Down is a blues rock instrumental that sounds like it would be playing over the end credits of an episode of The Rockford Files, as Jim leaves the scene of his latest triumph and drives back to this place.
Wild Hot Summer Nights is as libidinous as you'd expect it to be, like a riot is about to break out, but they would rather be at an orgy, but are worried they will end up in the gossip column again, all the while the lyrics talk about the politics of the day and government corruption.
The album closes with One More Heartache that has super tight trousered lothario cock rock seeping from it's very core to break the hearts of ladies across the world as they strut away leaving you devastated at getting involved with them in the first place, as with everything on the album it sounds great and is damn well played, but lyrically these songs are very 1970's, even if this also shows the way for where Whitesnake would go in the 80's.
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