Eddie Money didn't just walk into a recording studio to make his second album; he staggered in. After the massive, double-platinum explosion of his 1977 debut, the pressure was suffocating. He’d spent nearly a year living out of suitcases, screaming "Two Tickets to Paradise" to crowds that wanted more, more, and more.
By the time he got around to Eddie Money Life for the Taking, he was exhausted.
You can see it right there on the cover. If you look at his self-titled debut, he’s got that cocky, Brooklyn-cop-turned-rocker smirk. On the 1978 follow-up, he’s wearing the same clothes, but the vibe is different. He looks tired. He looks like a guy who’s seen the bottom of too many bottles and the inside of too many Holiday Inns.
Honestly, that’s exactly what makes this record so interesting. It’s the sound of a guy trying to prove he wasn't a fluke while the wheels were starting to wobble.
The Sophomore Slump That Wasn't
Most people think "Life for the Taking" was a failure because it didn't have a "Baby Hold On." That’s actually a huge misconception. In reality, the album hit number 17 on the Billboard 200—which was actually twenty spots higher than his debut peaked.
It went Platinum. People were buying it.
📖 Related: Isaiah Washington Movies and Shows: Why the Star Still Matters
But the critics? They were brutal. They called it "inconsistent." They said he was trying too hard to be a "disco-pop" star with tracks like "Maybe I'm a Fool."
Maybe they were right. But you've gotta understand where Eddie was coming from. He was a guy who’d traded a badge and a pension in New York for a chance to sing in Berkeley dive bars. He wasn't about to let the dream slip away, even if it meant leaning into the "radio-ready" sound that Bill Graham (his legendary manager) was pushing.
Writing in Hotel Rooms and Sound Checks
While the first album was a collection of songs Eddie had been playing for years in the Bay Area clubs, this second effort was written on the fly. He was basically a nomad.
Most of the tracks were hammered out during sound checks or scribbled on napkins in hotel rooms. You can feel that frantic energy in the music. It’s less "studio-polished" and more "let’s get this done so we can get to the next gig."
Take a track like "Gimme Some Water." It became a massive concert staple, a hard-rocking story song that proved Money still had that street-tough edge. It wasn't just fluff.
👉 See also: Temuera Morrison as Boba Fett: Why Fans Are Still Divided Over the Daimyo of Tatooine
The lineup on the record was a weird, beautiful mix of talent:
- Jimmy Lyon was still there on guitar, providing that signature bite.
- Lonnie Turner and Gary Mallaber (from the Steve Miller Band) held down the rhythm.
- The legendary Nicky Hopkins sat in on piano for a few tracks.
- Tom Scott brought the horns that gave the album its soul-rock flavor.
It was a powerhouse group, but the sessions were allegedly a bit chaotic. Producing for Bill Graham’s Wolfgang imprint meant there was a lot of "big business" pressure hanging over the studio.
The Tracks: Hits, Misses, and Diamonds
The opening title track, "Life for the Taking," starts with a somber, almost dark guitar riff. It feels heavier than the debut. It’s Eddie essentially saying, "I’m here, and I’m taking what’s mine," even if he sounded a little worn out while saying it.
Then you have "Maybe I'm a Fool." This is the one that split the fans. It’s got a heavy R&B/Disco lean. Honestly, it’s a great song if you like that late-70s groove, but for the "meat-and-potatoes" rock fans, it felt like a betrayal.
But then there's "Call on Me." This is the hidden gem. It’s the final track, a six-minute soulful slow-burn that usually gets skipped. It showed a side of Eddie—vulnerable, romantic, and capable of more than just three-minute radio anthems—that he didn't always get credit for.
✨ Don't miss: Why Tinker Tailor Soldier Spy Actors Still Define the Modern Spy Thriller
Why Life for the Taking Still Matters
Look, Eddie Money was never going to be David Bowie or Bruce Springsteen. He knew that. He once told a reporter that he represented "American male inadequacy in a positive way."
He was the "Money Man." He was the guy who worked the record stores in the afternoon and played the arenas at night. Eddie Money Life for the Taking is the quintessential "bridge" album. It’s the moment he transitioned from a local hero to a national brand, even if the transition was messy.
It’s also a warning. Within two years of this release, Eddie would suffer a massive overdose that nearly ended his career and left him with a permanent limp. This album was the last gasp of his "invincible" phase.
If you go back and listen to it now, ignore the "disco" critiques. Listen to the vocals. That gravelly, emotive rasp was at its peak. He was singing like his life depended on it because, at that point, it probably did.
Actionable Takeaways for the Classic Rock Fan:
- Listen to the Deep Cuts: Don't just stick to the "Greatest Hits." Go find a copy of "Nobody" or "Call on Me" to hear the nuance in his songwriting.
- Check the Credits: Notice how much Jimmy Lyon contributed. He was the secret weapon of the early Eddie Money sound.
- Watch the Old Footage: Go on YouTube and find live performances from the 1978-1979 tour. The energy is night and day compared to the studio versions.
- Revisit the Cover: Grab the vinyl. Look at his eyes on that cover. It tells a much deeper story about the "rock star life" than any biography ever could.
The album isn't perfect. It’s a bit scattered. It’s a bit desperate. But it’s authentic Eddie Money—raw, slightly out of breath, and swinging for the fences. That’s why it’s still worth a spin.