SINGLES REVIEWS ROD STEWART (Warner Bros. 8475) You're In My Heart (The Final Acclaim) (4:28) (Riva - ASCAP) (Stewart) The gravelly -voiced guy with the wry smile continues to prove himself one of the greatest troubadours in pop with this sterling selection from "Foot Loose & Fancy Free." With the help of a jazzy acoustic guitar and some nice country -rock harmony, he picks of the week manages to communicate what falling in love is all about. A sure shot for the pop charts. ANDREW GOLD (Elektra/Asylum 45439) AEROSMITH (Columbia 10637) Go Back Home Again (3:10) (Lyckyu - BMI) (Gold) Draw The Line (3:17) (Daksel/Vindaloo/Song & Dance - This upbeat shuffle has been favored by FM programmers since the release of the BMI) (Tyler, Perry) album, "What's Wrong With This Picture." Not only does this single showcase Gold's A catchy little bass/guitar riff is the turning point of this writing abilities, but he gets to whip off some hot guitar licks here as well. An extremely high -density single from one of America's favorite hard promising piece of top 40 material from the man who brought you "Lonely Boy." rock ensembles. Steven Tyler's vocal ranges from a shout to an incredible scream, giving the group's fans just what they want: non-stop energy. Already bulleting on the Cash Box Top 100 Singles Chart. THE TEMPTATIONS (Atlantic 3436) QUEEN (Elektra 45441) In A Lifetime (3:06) (Burma East/Dajoye/Golden Fleece - BMI) (Baker, Tyson) We Are The Champions (3:00) (Queen, Ltd.) (Mercury) A new label and new producers have not changed the Temptations' basic strength The first taste of a forthcoming Queen album bears the tight rhythm and the clear separation of parts in their vocal performance. This upbeat trademarks of writer/lead vocalist Freddie Mercury: song showcases that ability in a quick dance rhythm, reinforcing a hook line at every heroic lyrics and rapid changes in dynamics and repetition. A long-awaited addition to pop and R&B playlists. emotional intensity. Guitarist Brian May keeps it moving with dark backing lines and rippling fills, while the rever- berantly harmonized chorus is just what top 40 wants BROOKLYN DREAMS (Millennium/Casablanca 606) from this band. Sad Eyes (3:48) (Starrin BMI) (Sudano, Esposito, Hokenson) GLADYS KNIGHT & THE PIPS (Buddah 584) - a nifty little wah-wah guitar riff introduce this first single from Sorry Doesn't Always Make it Right (3:53) (Jobete - Moaning congas and the of a new white R&B group that reveals a similarity to the Doobie BMI) (Masser, Sawyer) debut album Brothers in approach. This record boasts a memorable chorus, with catchy details in Gladys & The Pips have proven their consummate the rhythm section as well as the tasteful use of strings. Lots of potential for crossover. vocal abilities by coming with a country-ish record that could be at home on pop, R&B and top 40 playlists. Sec- like handclapping close that will be tough for any OHIO PLAYERS (Mercury 73956) tions of the melody recall "Somewhere Over The Rain- audience to resist. Merry Go Round (3:28) (Play One - BMI) (Beck, bow." Altogther, a great way to kick off the new album. Williams, Jones, Pierce, Middlebrooks, Satchell, Bon- (RCA 11148) SUPERTRAMP (A&M 1981) PURE PRAIRIE LEAGUE ner) League ASCAP) Dreamer (3:33) (Almo/Delicate - ASCAP) (Hodgson, Sun Shone Lightly (3:20) (Prairie - The new single from the album "Angel" travels in (Goshorn) Davies) steadily intensifying circles, emphasizing its repeated from a live indicate that "Give A Little Bit" proved that Supertramp could Cheers of approval audience choruses. The Players maintain their reputation for hot this song from an earlier studio album is a favorite of remain true to themselves and appeal to the American instrumentals, especially in the rhythm sections and horn Pure Prairie League's core of followers. With its top 40 audience at the same time. This funny little song devoted embellishments. For disco play and R&B playlists. from a previous album, "Crime Of The Century," main- arresting melodies and impeccably executed har- FACTS OF LIFE (Kayvette/TK 5134) tains the group's stance on instrumentation, lyrics and monies, there's no reason why this selection couldn't Looks Like We Made It (3:38) (Irving BMI) (Kerr, Jenn- structure while offering a great deal of commercial convince many top 40 listeners to go out and buy the - ings) potential. album, "Live! Takin' The Stage." a hit for Barry Manilow is interpreted CAROLE KING (Capitol 4497) The song that was SANFORD AND TOWNSEND (Warner Bros. 8476) R&B-oriented ballad style by this male -female Simple Things (2:38) (Colgems-EMI ASCAP) (King, in a more - Does It Have To Be So (3:12) (Salmon/Muhon/Unichap- by Millie Jackson. A sold single Evers) duo in a production pell - BMI) (Sanford, Townsend) follow-up from the album, "Sometimes." The title song from Ms. King's latest LP lives up to the A glossy fusion of pop and R&B elements, colorful in STEPHEN SINCLAIR (UA 18578) philosophy of its title and lyric, it has a deceptively simple its use of multiple keyboards, yet never losing a basic Fingertip Away (3:02) (L.K. Productions ASCAP) (Sin melody that draws the listener in after a few short rhythmic appeal. It took top 40 some time to read this - clair) seconds. Against a glimmering orchestration, her vocal duo's smoke signals on the last single's fight up the Sinclair, a Britisher transplanted to California, has is appropriately child -like. Even broader appeal than the charts, but this time there shouldn't be any waiting picked up a great many American pop and R&B in- last single for Top 40, easy listening stations. around. THE MOTORs (Virgin/CBS 9515) fluences. Although Stevie Wonder's inspiration is ob- Dancing The Night Away (3:13) (Front Line/Ackee - BRIAN AND BRENDA (Rocket/MCA 40809) vious in this cut, the record holds up very well on its own, ASCAP) (Garvey, McMaster) That's All Right Too (3:33) (Kengorus - ASCAP) and should create a few believers in the album, "A+." From a band that has already created a good deal of (Russell, Russell) CHOCOLATE MILK (RCA 11128) commotion in the U.K., this is rock and roll that reaches A lighthearted pop number from this talented, closely Grand Theft (3:32) (Marsaint - BMI) (Toussaint, an exciting level of intensity without sacrificing anything harmonized husband -and -wife duo's album, "Super- Chocolate Milk) in terms of melody. Combining heavy guitars with in- sonic Lover." Aside from a few strong pop hooks, this Syncopation is the guiding principle of this funky fluences of sixties pop, this is an unusual record that record's entertaining features include whimsical vocal record, inspired by New Orleans music and by the outfit's should appeal to many top 40 stations. details from a deep -voiced Brian. Able to go in many producer, Allen Toussaint. A bass riff provides a strong TAVARES (Capitol 4500) programming directions. core as vocals, percussion and a sizzling sax solo fill up More Than A Woman (3:16) (Stigwood/Unichappell - PATTI AUSTIN (CTI 41) the top level. For R&B playlists. BMI) (Gibb, Gibb, Gibb) Golden Oldies (3:18) (Yippity Yippity - ASCAP) (Austin) KENNY PIERCE (LeJoint/London 34000) There's a dancing step in this new single from Tavares, Introduced by bluesy guitar and synthesizers to the I Got The Hots For You (3:40) (Pocket Full Of Tunes/Divi- written for them by the Bee Gees for the film, "Saturday sound of a cheering crowd, this original composition dend - BMI) (Ervin, Ervin) Night Fever." With a vocal performance of exceptional finds Ms. Austin in fine vocal form. The lyrics are a Definitely aimed at the disco market, this record has harmonic and melodic facility, this record will be played collage of 1950s and 1960s trivia, and a rocking beat gotten attention because of the humorous quality of its at pop and R&B stations, as well as discos. creates a feeling of positive uplift from beginning to end. electronically filtered lead vocal, clever lyrics, and -SOUTHSIDE JOHNNY & THE ASBURY JUKES (Epic A great calling card for her album, "Havana Candy." bizarre mouth noises. Really an admirably clean 50466) POCKETS (Columbia 10632) production. Love On The Wrong Side Of Town (3:13) (Ramrod/Blue Come Go With Me (3:33) (Verdangel/Pocket Produc- WAYNE MIRAN AND RUSH RELEASE (Strawberry 116) Van Zandt) Midnight - ASCAP) (Springsteen, tions BMI) (McKinney, White, Wright) Oh Baby (3:29) (Adam R. Levy & Father Ent./Chuck written for the Jukes by Bruce Springsteen - Simmons) This song, Built around a few simple, familiar piano riffs, this Anthony/Strawberry) (Irwin, Owens, and Miami Steve, is already a proven FM is -voiced singer who does a fine job with producer record offers a great deal of spontaneous energy, Miran a clear With firm ties to rock it favorite and concert showstopper. despite its heavily produced string and rhythm tracks. this simple, repeating melody, taking through several and an extra heavy effect. The drum- tradition, an exemplary performance, Aimed mainly at R&B stations, it could cross into other key changes which create an uplifting like their best single yet. for disco play, dose of romance, this sounds programming categories. Produced by Verdine White of beat and production are appropriate THE ISLEY BROTHERS (T-Neck/CBS 2270) this record could also easily cross into radio Earth, Wind & Fire. though Voyage To Atlantis (3:54) (Bovina ASCAP) (Isley, formats. - JIMMY WEBB (Atlantic 3426) Isley, Isley, Isley, Isley, Jasper) GUIDO & MAURIZIO (Overseas Wax/Private Stock 301) The (3:30) (White Oak ASCAP) (Webb) A spacey effect is created by this latest single from the Highwayman - Verde (3:48) (David BMI) (DeAngelis, De Angelis) A tale of several lives and periods of history that is - Isleys' album, "Go For Your Guns." The mood is rein- Originally the theme of a popular Italian TV show, this based on the reincarnation of a single spirit.