The gamecock. (Columbia, S.C.) 1908-2006, September 22, 1980, Page Page 11, Image 13
I I
Top Ten
FICTION
1. "Firestarter." stonhpn icino
r ' e>
2. "Rage of Angels," Sidney Sheldon
3. "Music for Chameleons," Truman Capote
4. "The Bourne Identity," Robert Ludlum
5. "Random Winds," Belva Plain
6. "Princess Daisy," Judith Krantz
7. "The Ninja," Eric Van Lustbaden
R "The Origin "
0 , At VHI5
9. "The Spike," De Borchgrave&Moss
10. "The Fifth Horseman," Collins&Lapierre
NONFICTION
1. "Crisis Investing," Douglas R. Casey
2. "Shelley," Shelley Winters
3. "Nothing Down," Robert Allen
4. "Free to Choose," Milton and Rose Friedman
5. "Thy Neighbor's Wife," Gay Talese
6. "Elvis, the Final Years," Jerry Hopkins
7. "How You Can Become Financially Independent by
Investing in Real Estate," Albert J. Lowrv
/
8. "Craig Claiborne's Diet Gourmet Cook Book,"
Claiborne&Franey
9. "Psychology of Romantic Love," .... Nathaniel Branden
10. "Men in Love," Nancy Friday
(Courtesy of Time, the weekly newsmagazine)
' HOT SINGLES
1. "Upside Down" Diana Ross (Motown)
2. "All Out of Love" Air Supply (Arista)
"Another One Bites the Dust" Queen (Elektra)
14. "Give Me the Night" George Benson
(Q-West-WarnerBros.) |
l^ooKin ior ^ove Johnny Lee (Asylum)
6. "Late in the Evening V Paul Simon (Warner Bros.)
7. "Drivin'My Life Away" Eddie Rabbitt (Elektra)
C. "Fame" IreneCara (RSO)
9. "One in a Million You"... Larry Graham (Warner Bros.)
10. "I'm Alright" Kenny Loggins (Columbia)
TOP LP's
1. "The Game" Queen (Elektra)
2. "Hold Out" Jackson Browne (Asylum)
3. "Diana" Diana Ross (Motown)
4. "Emotional Rescue" .... Rolling Stones (Rolling Stones)
5. "Panorama" The Cars (Elektra)
6. "Give Me the Night" .... George Benson (Warner Bros.)
7. '"Xanadu* Soundtrack" (MCA)
8. "'UrbanCowboy'Soundtrack" (Full Moon-Asylum)
9. "Crimes of Passion" Pat Benatar (Chrysalis)
10. "Christopher Cross". Christopher Cross (Warner Bros.)
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Pretenders bes
By Jane Daley WHten
Staff Writer
Early in 1979, the Pretenders' first single appeared among
the imported 45s in well-stocked record shops. Produced by
Nick Lowe, written by Ray Davies, and originally recorded
on the Kinks' first album, "Stop Your Sobbing" was a pure
pop gem, quickly latched onto by rock cogoscenti. In contrast,
the flip side, "The Wait," showed off a rough raucous
sound seemingly at odds with the more Dolished "Sohhinp "
JL -"O *
The second single, "Kid"/"Tattooed Love Boys,"
exhibited the same split personality, raising questions as to
the true nature of the band's style. British concert reviewers
reported "The Wait," as being the "real" Pretenders. And
yet, "Kid," with its achingly pretty guitar lines, was followed
by "Brass in Pocket," destined to spark the Pretenders'
commercial breakthrouch in thp 11 s
The Pretenders, released in January, still rates as the best
album debut of 1980, and laid some reviewers questions to
rest. Singer/ guitarist Chrissie Hynde, lead guitarist James
Honeyman-Scott, bassist Pete Farndon and drummer Martin
Chambers proved beyond a doubt that they could meld the
disparate styles they chose to use into a coherent whole. Theband
that OOlllH h?v*? haH tho rr?mmorr?iol c.ooooo
--V..W ..uv< V, VIU' ouvvtos wl CI HCW
wave Fleetwood Mac had they concentrated on sprightly
tunes like "Sobbing" and "Brass," opted instead to take
chances, to push against the boundaries of their talents,
instead of taking the safe route to commercial success.
Hynde and company's attitude is succinctly stated in 'Talk
of the Town," "Oh, but it's hard to live by their ruies/I never
could/And still never do." It's the only way to live, especially
when one's talent and individualsim are strong enough to
force others to accept you on your own terms.
All well and good, but records alone do not make a sucppssfii]
parppr in rnr?lr Phoricmo holnc ! ??**
vui ioi'ici "v.?po, ao u? uvc: jtci formances.
At Atlanta's Agora Ballroom on Monday night,
the Pretenders showed they posess charisma in plenty, and
gave no sign of falling prey to the pitfalls of premature
success.
Chrissie Hvnde's vocals are stronger even than on record,
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by turns wistful, defiant and demanding. Her rhythm j
playing, as well as the content and drive of her songs set her
far anari frnm tho etopnnt.,n?/J ? '> u?
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pale, fragile appearance is contradicted by his supple
leads, while Farndon's lovely sneer seems as much a part of ;
the music as his driving bass. .
Although the songs were mostly the same as on the spring
tour, arrangements and interpretation have evolved, in most
cases becoming even stronger. Virtually every tune eclipsed
the one before, but even so. some stood out "i r:n t#? "
a new Hay Davies song, was the softest touch of the evening
and should prove to be a highlight of the group's next album
"Cuban Slide," with its Bo Diddley beat outshone the
recording by far. Only "Talk of the Town" failed to measure
up to the previous tour's version.
If the Pretenders can stick together as a working unit anH
avoid a quick burn out of their Talent, they may, along with
the Clash, be one of the few new wave bands capable of attaining
lasting success on their own musical terms.
Whatever the future holds, the Pretenders live are a real
treat. Seeing them once can only make one want more.
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