Music Review: The Rollers, Voxx and Ricochet

By Melissa Bratcher

In 1979, The Bay City Rollers shook things up. Eager to shrug off the mantle of being a teeny bopper band, they refused to do the cover versions that their record label Arista demanded and parted ways with their lead singer, Les McKeown, along with their exploitative manager (whom I will not name because he was a dreadful person), yearning to show the world that they rocked. On their last album for Arista, Voxx, they did just that. Mostly.

New lead singer Duncan Faure had an excellent, husky and emotive rock and roll voice and he fronted the newly christened Rollers for their final three albums. Since the Rollers were in rebellion, Arista didn’t promote Voxx, and it sank like a stone, which is a shame. It turns out to be quite the power-pop showcase, with delicious harmonies and surprisingly heavy guitars.

Voxx kicks off with a screech of feedback and muscular bass on “God Save Rock & Roll.” The chorus is goofy, but the sentiment is there, and it rocks much harder than one would expect from previous BCR outings. The Rollers were doing things on their own terms and they were going to kick some ass doing so. The following track, “Working For The People,” was originally a song from Duncan Faure’s previous band, Rabbitt. It’s pure power pop with a hint of synth and fantastic, shivery harmonies, as well as a fist-pumping chorus.

Some of the lyrics demand scrutiny. What exactly does “sing on your restless gigolo” mean, anyway? “The Hero” (from which that lyric is culled) has an ELO vibe, a collage of tempos and feelings, and the delightful line “Ten bearded ladies in a row.” Quoi? “‘85” also boasts some goofy lyrics, but rocks nonetheless (Besides, I’m a fan of Simon LeBon’s lyrics and these make a smidge more sense).

Faure’s lovely, evocative ballad “New York” is a truncated version of his 1979 single released in South Africa. Paired with the Cheap Trick-like “Honey Don’t Leave L.A.,” from the same time, Faure’s songs build a strong beginning to the album’s second side. The Rollers’ take on a traditional jig (“The Jig”) features Eric Faulkner’s fiddle playing and Derek Longmuir’s impressive drumming. The band is impressively tight.

If Voxx had received the right promotion, it would be hailed as a power pop classic, taking place in the pantheon next to The Raspberries, Cheap Trick, and Jellyfish. For an album that was taken from outtakes, the new lead singer’s old singles, and was simply made to get out of a contractual obligation, it’s quite excellent.

Signed in 1980 to CBS/Epic, promotional copies of the Rollers’ final album Ricochet were sent out in Canada anonymously in paper bag sleeves without the band’s name on them, inviting recipients to figure out the band’s identity by sending in a card with their guess. It must have been difficult to peg the Rollers as the band since Ricochet, like its predecessor, Voxx, rocks.

Like Voxx, Ricochet finds the Rollers firmly in power pop territory. Full to the brim with tasty guitar riffs and exquisite harmonies, it is a damn shame that Ricochet didn’t reinvigorate the Rollers’ career. It’s inventive and the songcraft is sharp.

“Doors, Bars, Metal” takes inspiration from the brief incarceration of three of the Rollers while in South Africa. With jig-like lead guitar and a crisp drum sound, it sounds like a marriage of ELO and a Queen-like flight of fancy. It’s delightfully bizarre and utterly charming.

The single, “Life On The Radio” is presented in its original form as well as the single edit (which somehow seems more languid). An easy groove with nice, relaxed vocals from Faure, it’s a sunny tribute with added synths and bagpipes. “Ride” is so bright and upbeat, it could be a cereal commercial. The harmonies are glorious and joined by a giddy guitar solo.

The Rollers bring serious swagger to “Lay Your Love On The Line.” Rocking, with an amazingly propulsive bass line, it features some frisky lead vocals and is wildly rambunctious. “No Doubt About It” also rocks. A dual guitar and bass attack drives this power-pop treat, which has the added bonus of a keyboard riff that electrifies the whole thing.

It’s terrible that the excellent records that the Rollers were making weren’t being heard. These two albums deserved a wider audience and actual promotion. Perhaps the reissues of Ricochet and Voxx can bring these two overlooked power pop gems the attention they richly deserve.

Voxx and Ricochet were reissued by Cherry Red Records on June 1.