Released in 1980, Monster would be the 29th studio album from one of Jazz’s greatest pianists. Although, it is somewhat void of the jazz styling that many Hancock fans would have been looking for. Instead, what we have is an album with jazz elements scattered throughout and a little jazz fusion, pop rock, and what was an included aspect to stay relevant in the era, a rhythmically charged disco undercurrent. Purists will no doubt dislike the album because of this genre-crossing aspect. I’d argue that it perfectly suits Hancocks’ style and is worthy of sitting alongside Head Hunters; a bold claim, certainly, but part of Hancocks’ charm was in his ability to innovate, thereby ensuring his music never became stale or limited to a particular era. That said, Feets Don’t Fail Me Now, Hancocks’ 1979 release, which was in a similar sonic vein, failed to impress and subsequently remains absent from The Best Albums Of 1979. 

Perhaps the greatest compliment I can give to Monster is that it is compelling. From the insane cover art to the sweeping music, I find it difficult to play this album only once for it’s simply magnificent. 

Part of its appeal, no doubt, is due to its high-quality recording and impeccable mix. Add to that the (Hi-Res) Lossless Apple Music stream, an Apple Digital Master, and you’ve got an album that is sonically perfect and arguably as good as you’re ever going to find. While I’d love to own a copy on vinyl for the cover art alone, when a digital counterpart sounds this good, there’s no need to go to the additional expense, and hassle, of tracking down a physical version that may or may not offer a superior, or even comparable, sound. 

Saturday Night has a funk-driven sound that will get you on the dance floor. The highlight here, however, is Carlos Santana’s trademark guitar licks. His inclusion is complementary but is used to great effect throughout the solo. It’s a great start to the album and certainly sets the tone of expectation regarding the type of music you’re about to hear.  

Stars In Your Eyes is a true sonic wonderland. The rhythm, the spacing between musical elements, and the immersive soundstage ensure Stars In Your Eyes is not only the highlight tune on Monster, but it’s one of the greatest songs Hancock has ever released. Seriously, try to listen to this song by sitting still. I bet you can’t do it. My body moves involuntarily to every beat and rhythm and I never want it to end. A masterpiece in every sense of the word. 

Go For It really increases the tempo. A great song, but there’s a small shift in the senses when going from the smoother Stars In Your Eyes to the upbeat Go For It. Nevertheless, the difference lasts for mere seconds as your mind adjusts to the speed shift. Once you’ve settled into the groove, Go For It is a great little tune that doesn’t forge new ground, but it doesn’t need to as it fulfils its role as an album tune perfectly. 

Don’t Hold It In has a killer distorted grind that launches the tune and reoccurs throughout the song even after the funk-disco style has taken hold. Hancock and co certainly didn’t hold back with this tune. It, and many other songs from Monster, are right up there with the very best of Stevie Wonder; that is a true testament to how good this album is.

Making Love slows the tempo and is a well-positioned intermission-styled tune that has smooth soulful influences throughout, particularly with regard to the rhythm and harmonious backing vocal. 

It All Comes Round has some serious rock-inspired moments. Yes, it is as far removed from traditional jazz as you can get, but that doesn’t matter as it’s a great tune. I only wish Santana had been included on this track as his performance would have taken it to the next level. Although I have to admit, Hancock utilising his Clavitar to create the synthesised distorted guitar is not only experimental, especially for the time, but works remarkably well upon reflection. My only criticism, however, is that the chorus is fatiguing as the vocal component repeats ad nauseam. An interesting dichotomy as Go For It has a similar style yet it remains fresh throughout. 

Overall, Monster is, pun intended, a monster of an album. It’s the perfect length, at approximately 42 minutes and its six songs are amongst the very best Hancock has ever recorded. Yes, Monster isn’t his most successful, nor is it extremely well-known, but if you give it a chance, I’ve no doubt you’ll find the same musical bliss I have for when I listen to Monster, it reminds me of why I love music.