Album Info
| Artist: | Skyhooks |
| Album: | Hot For The Orient |
| Released: | Australia, Apr 1980 |
Tracklist:
| A1 | Bondage On The Boulevarde | 3:50 |
| Snare [Sheet Metal] - Freddie Strauks | ||
| A2 | This Town Is Boring | 4:00 |
| A3 | White Skin And Black Sheets | 3:44 |
| Soloist [Sax Solo Inspired By Peter PopgunMan], Saxophone - Bill Harrow | ||
| A4 | She's Okay But She's Not You | 4:45 |
| Piano - Bob Starkie | ||
| A5 | Cars, Bars And Girls | 2:57 |
| Piano - Peter Jones | ||
| Slide Guitar - Bob Spencer | ||
| B1 | Red Fingernails | 4:10 |
| B2 | My Heart Gets Blown To Bits | 2:50 |
| Organ - Bob Starkie | ||
| Snare [Snare Drums] - Freddie Strauks | ||
| B3 | Fathers And Daughters | 4:46 |
| B4 | No Inspiration | 3:12 |
| Backing Vocals [Background Vocals] - Diana King , Jessica Bateman | ||
| B5 | Keep The Junk In America | 4:55 |
| Backing Vocals [Background Vocal] - Mike Brady , Paul Meaney | ||
| Harmonica - Broderick Smith | ||
| Organ - Bob Starkie |
Info About Buying Vinyl From Our Record Store
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Description
"Hot for the Orient" is the sixth and final studio album by the Australian rock band Skyhooks, released in 1980. This album marked a significant departure from the band's earlier work, both in terms of lineup and musical direction. It was the only Skyhooks album to feature Tony Williams as the lead vocalist, replacing Graeme "Shirley" Strachan, who had left the band in 1978.
The album's production was handled by Eddie Leonetti, who had previously worked with bands like Angel and Moxy. Despite the band's efforts to revitalize their sound and appeal to a broader audience, "Hot for the Orient" did not achieve the commercial success of their earlier albums. It failed to chart significantly and did not produce any major hit singles, which was a stark contrast to the band's earlier success in the mid-1970s with albums like "Living in the 70's" and "Ego Is Not a Dirty Word."
Musically, "Hot for the Orient" explores a mix of rock and pop with a slightly more polished production compared to their rawer, earlier sound. The album's title track, "Hot for the Orient," attempts to capture a sense of exotic allure, but it did not resonate strongly with audiences or critics at the time. Other tracks on the album, such as "This Town Is Boring" and "Bondage on the Boulevarde," showcase the band's characteristic wit and satirical edge, though they lack the punch of their previous hits.
One of the standout tracks, "My Heart Gets Blown to Bits," features catchy hooks and a more energetic performance, hinting at the band's potential to adapt to the changing musical landscape of the 1980s. However, the album as a whole struggled to find its footing amidst the evolving rock scene, which was increasingly dominated by new wave and punk influences.
Critically, "Hot for the Orient" received mixed reviews. Some critics appreciated the band's attempt to evolve and experiment with their sound, while others felt that the album lacked the distinctive charm and rebellious spirit that had defined Skyhooks' earlier work. The absence of Strachan's charismatic vocals was also noted as a significant factor in the album's lukewarm reception.
In terms of cultural significance, "Hot for the Orient" represents a transitional period for Skyhooks and serves as a reflection of the challenges faced by many rock bands of the era as they navigated the rapidly changing music industry. While it did not achieve the iconic status of their previous albums, it remains a part of Skyhooks' legacy and offers insight into the band's evolution and the broader musical trends of the time.
The album did not win any major awards, and its commercial performance marked the end of Skyhooks' recording career. Following the release of "Hot for the Orient," the band disbanded in 1980, though they would reunite for various performances and tours in the years that followed.
In retrospect, "Hot for the Orient" is an interesting, albeit lesser-known, chapter in Skyhooks' history. It captures a moment of transition and experimentation, offering fans and music historians a glimpse into the band's attempt to adapt to a new musical era. While it may not have achieved the same level of success as their earlier work, it remains a testament to Skyhooks' enduring influence on the Australian rock scene.