The Jaws of Life
| The Jaws of Life | ||||
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| Studio album by Hunters & Collectors | ||||
| Released | 6 August 1984 | |||
| Recorded | 10 March–10 April 1984 Can's Studio, Weilerswist, Germany |
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| Genre | Rock | |||
| Length | 59:49 | |||
| Label | White/Mushroom (AUS/NZ) Epic (UK/Europe) Slash (US/Canada) |
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| Producer | Konrad Plank, Hunters & Collectors | |||
| Hunters & Collectors chronology | ||||
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| Singles from Hunters & Collectors | ||||
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| The Jaws of Life | ||||
1991 version (White Label/Mushroom)
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| Allmusic |   |
The Jaws of Life is the third studio album by Australian rock band, Hunters & Collectors, which was released on 6 August 1984. It was co-produced by Konrad Plank and the band in Weilerswist, Germany. The album peaked at No. 89 on the Australian Kent Music Report Albums Chart and No. 37 on the New Zealand Albums Chart. The only Australian single from the album, "The Slab" ("Betty's Worry")/"Carry Me", was released as a Double A sided single, in August but failed to chart on the Australian or New Zealand singles charts.
Late in 1983, Hunters & Collectors had briefly disbanded, but soon reformed without Martin Lubran and Greg Perano.Mark Seymour (guitar and lead vocals) explained to The Canberra Times' Neil Lade why the group had reconvened "[we] have something valuable to offer the Australian music scene". According to Doug Falconer, the group's drummer, the album "was written in about a month and a half after the band returned to Australia" in the previous December. He recalled that they had wanted "to have a bit of a change of style, a change of atmosphere, it (the writing) was getting too heavy handed". He felt the band were "a much happier unit".
The 1984 line-up now featured greater use of keyboards by Geoff Crosby, as well as more emphasis on their horn section of Jack Howard on trumpet and backing vocals, Jeremy Smith on French horn and Michael Waters on trombone. The band began to pare back their art rock pretensions of their earliest albums, although they retained a muscular, bass-driven sound, rounded off by the band's distinctive horn section. Seymour's lyrics became less abstruse and focused on the twin themes of the fraught personal relationships and the politics of the day.
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Wikipedia