Rockets a damp squib

Press, 27 December 1979, Page 10

Rockets a damp squib

THE ROCKETS (RSO 2394 224) I’m a big fan of Southern music which is perhaps the reason 1 like the Rockets more than the music warrants. 1 was a little disappointed with the Rockets. for their presentation of the Southern sound was like grits instead of the fried ham and black eyed peas of, say, Lynyrd Skynyrd. The Rockets have attempted to clot into that distinctive sound made so popular and famous by Ronnie Van Zant and company, but they fall a little short. The album is very limp in parts. Which is to say that there are some offerings that are very smart indeed. One of the best is a splendid version of Peter Green’s classic, “Oh Well,” while “Feel Alright,” the closing track, is a punchy, guitar-laden Southern standard.

In fact, the twin-guitar attack — again one thinks of Lynyrd Skynyrd’s superb guitar work — wandering over the top of a solid bass-drums anchor works quite well, but never quite scales the heights. It is more workmanlike than flashy, although there is some quite lovely keyboards from Donnie Backus. Chuck Leaveil guests on several tracks, too, which is a pleasant addition.

But you get the feeling It's been done, better, before. and the Rockets have not helped their cause any by putting a dedication — obviously sincerely meant, all the same, — “to our good friends and brothers J. B. Fields, Ronnie Van Zant, Steve Gaines, and Cassie Gaines" on the back cover. The dedication only invites comparisons, and the Rockets fall short of the target.

One unusual feature of the "Rockets" is that the drummer writes almost all the tracks on the album, save for one by the guitarist and covers of Green's and Bob Seger s material John “The Bee" Badanfek should really leave the lyrics to someone else, though, or concentrate on his drums. He is responsible for the trite “You can sav it’s just a part of living/That this highway is so unforgiving/Now the sky shall be rnv living/And my soul will be

a'travelling on. . . this loneliness won’t leave me alone.” Other Badanjek beauts abound, but I’ll let you hear them for yourself.

I do not want to write the album off entirely; there are some fine songs and musicianship on the record. But it has been done before, and it has been done better. For the fact freaks, the guitarist and leader of the Rockets, Jim McCarty, used to play with Buddy Miles, while Badanjek was a founder-member, along with McCarty, of Mitch Ryder and the Detroit Wheels.

TOM PETTY AND THE HEARTBREAKERS “Damn the Torpedoes” (MCA 5105).

Tom Petty and his Heartbreakers do not break much new ground on this, their fourth offering, so the converted can buy "Damn the Torpedoes” confident in the knowledge that the West Coast sound, circa 1979, is alive and well.

It has always annoyed me to read reviews of Tom Petty that slate him for ripping off melodies and hooks from other writers, because that argument can be applied to a multitude of bands at the moment. Thus, while there are some recognisable bits and pieces on “Torpedoes," the album still carries a strong Tom Petty brand that we all know and like so well. Obviously Petty and his co-producer. Jimmy lovine, feel they have tapped into a good formula, although I get the impression that the album might have been a bit over-pro-duced in places, and the tight clean sound I associate with Petty suffers as a result.

This is especially noticeable when the keyboards take a solo and the guitars still threaten to drown it out Nonetheless, the ninetrack album bristles with fine guitar and vocal hocks that shriek for attention. and Stan Lynch (drums) and Ron Biair (bass; are a tight and efficient rhythm section, perfect foils for Petty and Mike Campbell on guitar and the melodic keyboards of Benmont Tench. Petty’s vocals are as indifferent as ever, but if you liked him before vou ll like him again. e

The stand-out single, I think, is “Even the Losers," although a couple of others could be equally successful on the radio. All in all, a good Tom Petty album and well worth a listen.

VOYAGER “Halfwav Hotel” (Vertigo 6370 429). A dreary, nothing-to-get excited-about record from an English band I had not previously heard and hope not to hear again. Wimpy vocals and arrangements, vaguely reminiscent of Queen in parts, Frank Sinatra in others, drone throughout the album; the keyboardist, who also writes most of the songs, has left himself big, pregnant gaps which are filled only by “hope you think it’s impressive” piano solos; and the production is dull and unimaginative.

Only for those who want to know what Freddie Mercury is like on an off day.

STATUS QUO "Whatever You Want” (Vertigo 6360175). What does one say about Status Quo that hasn’t already been said a hundred times before?

Yuk, perhaps, but these perennial rockers, these long-term survivors of days of yore, ail by now approaching the status of early middle age, are back again with another powerchording, foot stomper that won’t lay down and be quiet. Great for the kids parties, but if you have any other earlier Status Quo album you won’t need to buy “What-

ever You Want” — it is simply a clone of what has gone before. Nothing new here; Quo devotees (are there any left?) will love it, but if this record is measured alongside other music recorded recently, it simply gets lost in the rush. Great five or 10 years ago.

ASHFORD and SIMPSON. “Stay Free” (Warner Bros 0898).

A very pleasant, discoflavoured album from a couple I have not heard before. Nicholas Ashford and Valerie Simpson produced and wrote the album themselves, and have made an ideal chatting-with-drink-and-peanuts party record. Lovely vocals and superb musicianship are blended carefully, and the result does not take you by the scruff of the neck and make you listen. Also nice for late at night when you are sick of Al Jarreau.

SUZY QUATRO “Suzy ... and Other Four-Letter Words” (Rak 538). Oh, yeah ... a tough title for a tough album from a tough lady? No. In fact, far from it. A very ho-hum presentation of a few rearranged 12-bar licks and limp lyrics that invite a barrage of four-letter words. Very predictable songs from the “menacing" Miss Quatro, including the single “She's In Love With You” that sounds reminiscent of an adenoidal Abba. Eminently missable.