Published on Sep 22, 1997
Sometimes it seems hard to believe that so much time has passed
since I reviewed a certain artist. The last time we featured The
Cars on “The Daily Vault” was back in January — we were not even a
month old then.
So when reader Daniel Hooks wrote in and requested we review the
band’s 1978 debut album, I thought it was about time to dig into
the Pierce Memorial Archive (where we’re burning Bears head coach
Dave Wannstedt in effigy every night) and dust off the works of Ric
Ocasek and company.
In one sense, I do dread reviewing anything by The Cars, simply
because they’ve become so overplayed that I cringe whenever I hear
a song by them come on the radio. However, after listening to
The Cars, it’s interesting to hear how well all these songs
sound when they’re attacked in their own environment.
Formed in 1976, The Cars were one of the bands that defined
new-wave. Armed with synthesizers, sharply dressed and, from what
I’ve read, remaining virtually motionless on stage, they hit the
scene at the right time. And the nine songs on their debut album
not only have hardly aged in 19 years, they also are a guilty
pleasure to listen to… even for an old curmudgeon like me.
Over half of this album can be heard on a classic rock station
on any given day. The leadoff track, “Good Times Roll,” serves up a
healthy dose of Elliot Easton’s guitar work and Greg Hawkes’s
keyboard prowess. And while Ocasek’s vocal style is the most
up-front, it is the backing harmonies that capture my attention
more often. The bombast of them reminds me a lot of Queen – not
surprising, seeing that producer Roy Thomas Baker also produced
Queen.
Probably the best-known song on
The Cars is “My Best Friend’s Girl,” a song which
successfully mixes both new-wave and bubblegum. Hearing Ocasek
singing about unrequited feelings for a former love is something I
think that everyone can relate to. And while I still wish that
Hawkes’s keyboard work would rise above “dit-dit-dit” lines on this
one, it doesn’t detract from the rest of the song.
Other songs that you’ve probably heard on the radio include
“Just What I Needed” (which shows itself off to be a better track
here than I’ve normally given it credit for) , “You’re All I’ve Got
Tonight” (same story) and “Bye Bye Love.” Of these, only “Bye Bye
Love” is one that I can’t say I enjoy any more with the other
tracks than just hearing it on the radio.
One other track I think I’ve heard on the radio, but the way
that “Moving In Stereo” blends in with “All Mixed Up” seamlessly
causes me to question that memory. “Moving In Stereo” is a sparse
track more centered on Hawkes’s keyboardds than lyrics. By the time
bassist Benjamin Orr takes over the microphone on “All Mixed Up”
the transformation of the track is through – and you wouldn’t know
it happened unless you were either reading the lyric sheet or
watching the display on the CD player. (At least I think the CD
would divide the two songs; I reviewed the record.)
The two tracks that may be unfamiliar, “I’m In Touch With Your
World” and “Don’t Cha Stop,” both have their own strengths,and are
by no means throwaway tracks. Rather, The Cars took every quality
moment they could scrape together (save for the one mistake, “Bye
Bye Love”) and put out an incredible 35-minute slab of music
history.
If I remember Daniel’s original e-mail correctly, he mentioned
that this is the ultimate album to listen to while cruising down
the freeway. While this judgment may be a matter of taste, there is
no denying that
The Cars is a worthy addition to any respectable rock
library. Here’s hoping I don’t allow another six months pass before
we review the band again.