Critic's Review
Ralph Heibutzki, All Music Guide
The do-nothing-halfway attitude of David Bowie's managerial arm (MainMan) vaulted him to glory, but netted his colleagues no commercial bonanzas. These reissued albums by his star guitarist didn't break the trend, but offer timely reminders of Ronson's towering musical prowess. "Slaughter on 10th Avenue" is an outstanding example, though not without its indulgences. Ronson's vocal reach exceeds his grasp on a swooning remake of the Elvis Presley standard "Love Me Tender." Bowie's contributions sound suspiciously like castoffs from his demo drawer (especially "Hey Ma, Get Papa," his only collaboration with Ronson). Yet the rewards lie elsewhere, in charting Ronson's growth. Only someone with his willfully eclectic outlook would slot the title track's glacial instrumental majesty with Annette Peacock's off-kilter rocker "I'm the One," and make it pay off. The standout track, "Only After Dark," has been covered by hard rockers Def Leppard and electropoppers the Human League, which proves Ronson's lasting influence, if anyone needs it. On the surface, Play Don't Worry is an even more fragmented affair, with nearly every track bearing a different byline. Style-wise, it's evenly divided between Mott-style balladry, and balls-out rock & roll, such as blistering covers of "The Girl Can't Help It" and the Velvet Underground's "White Light, White Heat." A more sensitive side emerges on the acoustic-based "This Is for You," "Hazy Days," as well as "Angel No. 9," which packs plenty of Ronson's trademark shuddering licks to satisfy his believers. Never a natural frontman, these albums do show Ronson wasn't just rolling tape for its own sake. The bonus B-sides and live tracks are equally well-considered, making this reissue a classy, must-have affair.
