Released in 1976, Jump On It, the fourth studio album from Montrose, would go somewhat unnoticed amongst music lovers. Yet, over the years, the album has attained a cult-like status that has ensured it lives on in the consciousness of hard rock enthusiasts everywhere.

Fans of Sammy Hagar may still have been perturbed to find Bob James once again on lead vocals, following Hagar’s departure from the band in 1975, but to class this appointment as a downgrade would be foolish as this second outing with James, following the 1975 release Warner Bros. Presents Montrose!, is extraordinary. A similar issue is often seen with some arguing about Van Halen and who was the better frontman; David Lee Roth or Sammy Hagar. Yes, we all have our preferred lineups and musicians, but unless a replacement is truly bad, I see no reason to disregard a lineup change and their subsequent albums for you may miss out on some of the greatest music ever recorded. Jump On It is one such example, as there are countless classic songs to be heard, as it’s not only one of the best albums Montrose ever released, but it’s also one of the most exceptional records from 1976.

Further to that, despite how incredible Montrose’s earlier albums were, producer extraordinaire, Jack Douglas, pushed the band to new polished heights that further showcased not only his production style but the inherent capabilities of a band that were somewhat musically concealed on their prior releases. That isn’t to suggest that their self-titled debut or Paper Money were lacklustre, for they aren’t, it’s just Jump On It, in particular, is more polished and less raw than its earlier counterparts. That aspect alone may be a deterrent for some but, again, to ignore this release would be to your detriment for the varied production styles truly showcase an evolution of the band. 

Despite the shifting style, what didn't change was the rhythmic progression of their music and Ronnie Montrose’s mastery of the guitar. The man was a legend and the licks he delivered throughout the album, and his career, are nothing short of exceptional. It’s fair to say he was one of the greatest guitarists of all time while also being one of the most underrated. 

From a sonic perspective, the lossless Apple Music stream is lovely and while there are no details relating to the album’s mastering, there really isn’t any aspect of the recording that is out-of-place. There is plenty of clarity to be heard, enough bass to please most, and no musical element is concealed in the mix. That said, the only thing that could be slightly improved is the soundstage as the existing release is a little shallow. Perhaps that was the way the album was recorded, but nothing is quite as pleasurable as when the speakers disappear and the music envelops you, as becoming one with the music is the ultimate aim as it enhances the experience. 

Before we take a look at the songs that make up this exceptional release, it’s important to suggest that you should listen to the album from a fresh perspective, with as little bias as possible, for the infusion of rock, funk, and a touch of rhythm and blues makes for a most compelling listen.

Let's Go is one of the greatest opening songs of all time. The tribal beats combined with some killer guitar licks and commanding vocals ensure the lively and energetic style Montrose is known for is maintained. Amazing! 

What Are You Waitin' For? blends rock elements with a funk-driven rhythm. The upbeat vibe is perfect for the album’s linear structure, but the transitions feel forced. However, that mid-song solo is incredible. 

Tuft-Sedge is one of the strangest song titles I’ve ever come across. Thankfully, however, the song is enthralling. The rock elements, while present, take a back seat to a musical presentation that has to be heard firsthand to be fully appreciated. As an instrumental interlude, of sorts, you’ll be captivated, amazed, and wish that Montrose had recorded an entire album’s worth of instrumental music. 

Music Man slows the pace slightly as it introduces a bluesy undertone. It’s a beautiful song with a gorgeous instrumental backing. While James’ vocals are to be commended, this is another song that very well could have been an instrumental-only tune and would likely have been exceptional within that context. Nevertheless, Music Man remains one of the greatest rock songs of the era. 

Jump On It picks up the pace and while it’s a solid title track, it’s nothing to write home about. It does, however, have Jack Douglas written all over it as you’ll hear a little too much of Aerosmith’s style on this title track. 

Rich Man is a fantastic rock number. Yes, it starts a little slowly but as the song builds, so does my appreciation for it. 

Crazy For You is the quintessential album-only tune that ensures the fluidity of the album is maintained.

Merry-Go-Round is a beautiful closing track. However, I’d argue that it could have been cut down and kept to its rhythmic rock roots. Unfortunately, the decision to include the fun park elements breaks the flow of the song and makes me ponder what anyone was thinking when putting this song together. Seriously, did anyone think it was a good idea? It’s a shame because sans that distractive aspect, Merry-Go-Round is an exceptional tune. 

While the final song is somewhat tarnished by being overproduced, Jump On It, as an album experience, presents us with a diverse musical journey, incorporating hard rock with elements of funk and rhythm and blues. Yes, the varied styles may deter some but the differing nature of the music showcases Montrose’s musical reach while simultaneously adding a unique chapter to their discography. It is, with that in mind, that Jump On It can be celebrated as not only one of Montrose’s greatest musical achievements but a stellar release of the 70s.