Published on Jun 27, 2000
Both the specter of Lynyrd Skynyrd and the ghost of Ronnie Van
Zant hover over Southern rock, over two decades after the legendary
frontman lost his life in a plane crash.
That presence is felt in Ronnie Van Zant’s cousin Jimmie, who
has both the physical and vocal attributes to cause a few people to
do a double-take.
Southern Comfort, the debut effort from The Jimmie Van Zant
Band, shows a group who is trying to set their own pace in the
music while acknowledging the musical lineage that he carries on.
And while it’s tentative at times, there are moments where Van Zant
suggests that he just might be here for the long run.
The album’s opener, “Get Up,” a song co-written with cousins
Johnny and Donnie Van Zant (now fronting Lynyrd Skynyrd and .38
Special, respectively), is the first suggestion that Van Zant’s
band has something special to it besides the famous name. While the
sound of both the song and the album are minimalistic, this seems
to work well for “Get Up,” a song that allows itself to be driven
more by its boogie shuffle rather than a triple-guitar attack.
Likewise, “Bad Habits” demands to be taken on its own merit, though
it takes more than one listen to truly appreciate this track.
If only the bulk of
Southern Comfort walked with this kind of a swagger.
“Ronnie’s Song” tends to get bogged down in the weight of its own
memories, though I would not think of questioning Van Zant’s
sincerity in his lyrics on this one. While it’s not the best
tribute song I’ve heard about Ronnie Van Zant, it is touching
nonetheless. The same could be said of their take on the Lynyrd
Skynyrd classic “Simple Man,” a song which doesn’t work quite as
well with the smaller band as it does with an expanded lineup.
Other Van Zant originals don’t quite carry the same punch that
the lead-off tracks do, and
Southern Comfort suffers as a result. It’s not that songs
like “Angel In The Night,” “Here To Stay” or the title track are
poor efforts, it’s that they don’t carry the same kind of power.
But Van Zant is still a young songwriter, and while he might be
born into a powerful musical lineage, it will still take some time
for him to come into his own.
Southern Comfort is a first step; it’s not the end
result.
The album’s closer, “Party In The Parking Lot,” is a good way to
wrap things up. One part “I Know A Little”-type Skynyrd, one part
Travis Tritt, it chases away the demons of sadness that permeate
some of the tracks and, just as the album opens, gets people into a
mood to celebrate.
Van Zant definitely has a tough image to live up to musically,
and
Southern Comfort might be unfairly cast into the same
shadows as .38 Special and modern-day Lynyrd Skynyrd releases tend
to be. But if he’s given enough time and room to grow into his own
musical style, what he comes up with might shock everyone. Until
then,
Southern Comfort isn’t quite as smooth as a shot of whiskey,
but it has enough of a kick to make you look for something more
promising on Van Zant’s horizon.