Reflecting, a decade after the fact, on his launch as a solo
rock & roll
superstar,
Mick Ronson
shrugged indifferently, as though he'd really had no say in the matter.
David Bowie
had just "retired" and, in the absence of the singing sensation with whom
Ronson
had already risen to unexpected heights, manager
Tony DeFries
was anxious to keep at least one of his many pots boiling. "Tony said to me, 'okay, we can make you a big star, get you a deal with RCA, all that.' So I said 'wonderful,' and went off to make my own record."
Was there ever a launch like the one which awaited
? For a few weeks through the early spring of 1974, you couldn't turn around without his blonde tresses and sad doe eyes staring out from the video still selected to represent his solo career:
"Slaughter on 10th Avenue,"
a histrionic guitar rendition of the
Richard Rodgers
movie classic, was an inspired choice, and the accompanying video --
watching helplessly as his girl is gunned down on the street -- remains one of the unseen classics of the genre. No mere miming potboiler for this Kid --
got the full Hollywood treatment. The same can be said for the accompanying album.
Slaughter on 10th Avenue
remains a startling achievement, however it is viewed. Guitar gods, after all, were ten-a-penny through the '70s. But could
Ritchie Blackmore
sing?
Jimmy Page
?
Robin Trower
Ronno
's voice wasn't strong, but with sensitive material and lyrics he could get behind, he was unbeatable. A deliciously Pelvis-less
"Love Me Tender"
opens the album with warm depth and sparkling cadences;
"Only After Dark,"
co-written with one-time
SRC
main man
Scott Richardson
, proved he hadn't left the hard riffing behind. The watchword throughout was variety -- from the proto-
Springsteen
-esque
"Growing Up and I'm Fine"
(the first and only
Bowie
/
composition to be publicly acknowledged) to the chest-beating Euro-angst of
"Music Is Lethal"
-- all were a showcase for
the performer, rather than the man who garroted Gibsons for fun, and initial reviews of the album made that point. Of course, the guitar didn't get off scot-free. The scorching ARP/guitar duel which concludes
"Hey Ma, Get Papa"
and, of course, the title track itself, were evidence of
's love for his day job, but today, it is the absence of screeching, squealing, neck-twisting frenzy which has ensured that
remain so much more than just another guitar picker's solo record; that the album does, in fact, stand alongside any of
's own, immediately post-
albums as a snapshot of a special time, when the triple disciplines of
glam
,
rock
, and "Precious Art" slammed into one another without a care in the world. [Reissued with bonus live tracks.] ~ Dave Thompson