Attention Big People fans:
Limited-edition 20th anniversary Big People shirts are now available!
First, please join me in offering a tremendous ‘thank you’ to Jeff Carlisi for allowing us to recreate the logos and put them back in action, and to Kurt Gaber for designing the shirts in his spare time. I am so grateful to them both! My gratitude to Facebook member Hugh Futch, who shared photos of his original Big People t-shirt purchased in 1999, which gave us the template to build on.
Please be aware that no one is profiting from the sale of these shirts. The price reflects the cost of having them printed and mailed.
Please read this ENTIRE post for details on how to get yours!
The cost is $15.00 for short-sleeved shirts and $20.00 for long-sleeved shirts. Sweatshirts are $24.00 and hoodies are $34.00. The design on the fronts and backs of all the shirts is the same; the only variation is the size and placement of the logo on the front.
The gray shirts are sold in standard sizes from Men’s SMALL to XL in both short and long sleeves. The white shirts are Women’s V-NECK shirts and are sized from SMALL to XL in short and long sleeves as well. Next to the photo of each shirt mock-up you will find sizing charts. I cannot be responsible for sizing issues.
If you prefer XXL and XXXL sizes please add $1.00 and $1.50 (respectively) for short sleeves, and $2.00 and $2.50 (respectively) for long sleeves (see the first sizing chart in the comments). If you need a larger size, please expect $1.50 for each additional step up.
SHIPPING charges in the continental US are $5.00 for the first shirt and $3.00 for each additional shirt. It is more expensive to ship the sweatshirts and hoodies, so I will calculate an accurate shipping quote depending on your zip code. Orders shipped outside of the continental United States will be charged international shipping rates so postage will be calculated individually. All packages will ship via the post office.
You can pay through Paypal using the ID email@example.com. If this is an issue let me know and we can try to work out another method.
ORDER DEADLINE IS JULY 3, 2020. The items will take 2-3 weeks to print and then will be shipped out. I’ll let you know via email when they are on their way.
HOW TO ORDER:
Send an email directly to me, Donna, at firstname.lastname@example.org. I will only process orders I receive EMAILS for! Include ALL of the following information: your name, your mailing address, the style you want, the sleeve length, and the size you need. I will confirm via email that I got your order and finalize the total amount.
Please contact me with any questions, and feel free to share this post in its entirety. Rock on!
~ 🥰 Hi friends! I have some Big People “All Access” stickers to give away! 🥰 ~
In honor of the 20th anniversary of Big People’s heyday, I’ve got plans for a few special items to share with fans. This sticker is the first!
These were made using the image of the actual 1999 Big People all-access backstage passes, given to me by Jeff Carlisi. He’s the best! If you’d like one, all you have to do is send a self-addressed, stamped envelope to me and it’ll be on its way! It is about the size of a playing card, so a small envelope works just fine. One sticker per person, please; quantities are limited.
My mailing address:
P.O. Box 925
Priest River ID 83856
I hope you are all staying safe and healthy!
On Ben’s diagnosis and death: “That was crazy. I went to see him. He was pretty strong; I have to say that. Very strong, considering he knew very well that he didn’t have very many days to live. It was very sad. It’s hard to even comprehend, because a year before that, there was nothing wrong. So no one really expected that.
“To make it more sad, he had a little boy who was about four at that point, and when I went to see Ben in Atlanta, his little boy was there, too. It was sad for me, because I have kids, like, ‘Oh my God, the poor little kid doesn’t even barely know what’s gonna happen.’ I guess I didn’t really believe it. I was asking some people around, ‘Well, how long do you think?’ They were going, ‘A few weeks.’ I said, ‘Nah. You gotta be kidding.’ But there’s no way to get out from under pancreatic cancer, from what I understand. It’s a horrible thing to have.” — Ric Ocasek, Magnet Magazine interview, 2005
“Candy-O” by The Cars
Candy-o, I need you
Sunday dress, ruby ring
Candy-o, I need you so, could you help me in?
Purple hum, assorted cards
Razor lights you bring
All to prove you’re on the move and vanishing
Candy-o, I need you so
Candy-o, I need you so
Edge of night, distract yourself
Obstacles don’t work
Homogenize, decentralize, it’s just a quirk
Different ways to see you through
All the same in the end
Peculiar star, that’s who you are, do you have to win?
Candy-o, I need you so
Candy-o, I need you so
Candy-o, I need you so
Candy-o, I need you so
This review was originally written for and published on my sister site, Read~Rock~Review, on September 11, 2018.
Written by Joe Milliken, 2018
Format: Book, 216 pages, 30+ photos
Published by Rowman & Littlefield
Notable Quote: “Believe me, Benny just had this incredible electricity about him. He would walk into a room and whether they knew him or not, people just felt there was something special about this guy…. I swear that in the mid-sixties, Benny was like the Elvis Presley of Cleveland.” — Wayne Weston, friend and former bandmate.
My quick 2 cents: Between the unique writing style, the candid memories of many important people, and the generous number of previously unpublished photos, Benjamin Orr’s inspiring story comes to life in these pages. Buy it!
The full scoop: Any retrospective on the late 1970s and 1980s HAS to include some focus on the new wave rock legends, The Cars. A debut album that stayed on the charts for 139 consecutive weeks, winners of the first MTV “Video of the Year” award in 1984, creators of what would become the haunting signature song for Live Aid (“Drive”) — they are more than deserving of their 2018 induction in the Rock & Roll Hall of Fame.
While all five guys generally resisted the limelight, bassist Benjamin Orr was arguably the most sought-after — and most private — of the band members. Blessed with versatile vocal chords, unwavering musicianship, and an irresistible magnetism, fans of Benjamin ‘the rock star’ fell hard and with no hope of recovery. But once the show was over and the lights went down, Benjamin flipped a switch. He was a normal guy; he avoided photographers, shunned interviews, and led a low-key lifestyle in the quiet, upscale town of Weston, Massachusetts. Of course, all of this added an air of mystery to his reputation. When he succumbed to cancer in October, 2000, at the age of 53, it seemed the curtain had closed on his legacy forever.
First-time author (and long-time rock journalist) Joe Milliken has spent the last eleven years researching Ben’s life in an attempt to pull back that curtain with his biography Let’s Go! Benjamin Orr and The Cars, due to be released on November 11, 2018. The book follows Benjamin through others’ eyes as he pursued his rock-and-roll dreams from his happy days as a teen star in Cleveland to the open-minded bars of Boston, to the comforting arms of Atlanta — not ruthlessly, but with a humility and steely determination that left those around him in awe.
As a devoted fan of Benjamin Orr, I’ve been researching and writing about him on my personal blog for about three years. When I discovered that this book was in the works, I felt protective of Ben’s privacy and I’ll admit… I was nervous. What if the author revealed information that was too personal? What if he told things that were not fair to tell, with Ben gone and not able to defend himself? Would the author’s sources be credible? And what if… what if I just… didn’t like the book?
My fears were unfounded on all fronts.
The first thing that impressed me was the writing style. The author uses a distinctive technique where he introduces a player in Ben’s life and then lets that person fill in the narrative with his or her quote. I thought it might be jarring to have the flow stop and another voice come in but it’s really so perfect. It’s truly like a camera cuts to the significant person and you hear them talking about Ben, like a documentary rather than a novel.
Having Benjamin’s loved ones tell about him in their own words is brilliant. I felt my heart and mind busily rearranging my personal ‘mosaic’ of Ben, having it grow in clarity and color, adding texture, as I read their stories. It is such a perfect format to document the life of a man who never enjoyed talking much about himself. The result is this masculine and tender, very respectful, very REAL painting of who Benjamin was.
And of course, by ‘rearranging my mosaic’ I mean that I learned a lot of new things about Ben, especially about his early years and what he was like behind-the-scenes. I also connected some dots, confirmed some things I had suspected from my research, and enjoyed some surprising stories.
While I won’t tell you exactly who is in the book, I was impressed with the long roster of interviewees, including Ben’s former bandmates, record executives, iconic photographers, media personnel, key women in his life, and friends who had known him intimately.
Another element that I love about this book is that there is no ‘tell all’ mentality anywhere to be found. The author skillfully balances the heady experiences of a world-famous rock star with the reality of a deeply private, kind-hearted and loyal man. For example, I can see in places where he’s walked that fine line of honoring Ben and respecting his relationships while maintaining the honesty of his attraction to and of other women. Or the struggles Ben faced with the dissolution of The Cars and finding his way back to the stage. Milliken is gentle with the truth, letting the other voices tell their story and leaving it up to the reader to ‘read between the lines’ if they are so inclined.
When asked how he made decisions about what to leave in and what to take out, Milliken said, “Every time I came to a place where I had to walk the line of Ben’s privacy, I had his son in my head. I would ask myself, ‘What would young Ben think of this?'” It seems to have been the perfect measuring stick.
Equally as thrilling as the informative text is the abundance of photos! There are more than 30 black-and-white photographs woven through the chapters, the majority of them new to the public. Such a treat! The book also includes a timeline of bands, a selected index, and a list of everyone the author interviewed over the years.
If there is any drawback to the book, it is that all of my questions were not answered. But how could they be? My curiosity goes way beyond obsession (what IS the story with that one bracelet, anyway???). It’s an impossible task, short of putting Ben’s life under a microscope, which I believe he would have hated.
Others may feel like this book is not ‘sensationalistic’ enough. But the fans… the ones who truly love Benjamin… they will be so moved at the way the author has protected his memory and his legacy. His son, the women in his life, his dear friends, his former bandmates… any and all of the people in those categories… I believe they will finish the book and hug it to their chests and be SO happy at what’s been done for Ben.
On his early days in bands: “Even back then, people had attitude problems or girlfriend problems. If a guy met a girl he thought was special, he’d choose to stay home. And the guys who chose to stay home are still home now.” — from “Benjamin Orr: The Cars’ Mr. Casual Steps Out” by Rob Tannenbaum, Musician Magazine, March 1987
Here is the 6th piece I wrote for Joe Milliken and Standing Room Only, and it wraps up the series. Though I am adding this to my blog last, it was actually written and published in October of 2017, in between the release of the expanded editions. This is also the review that was quoted on the big screen at a presentation at the Rock and Roll Hall of Fame in 2018 (photo below).
I’m not going to make you wait until the end of this review to give you my opinion: this album is off the chain!
Now remember, I am not an expert on discerning levels of sound quality, or at picking out nuances in the way music is mixed, but I do know how to enjoy a great show, and there is not a single track on this two-album set that disappoints.
While some critics (and concert goers) have been known to whine and fuss about The Cars not being a ‘dynamic’ live act, no one can deny that when it came to the music, this band could recreate their remarkable studio sound flawlessly from the stage. Because of this, many fans have lamented that The Cars never released a live album during their active years together. Sure, there are a handful of bootleg recordings that make their way around the Fanorama, but not a complete live show remastered and released by the band, itself… until this year, that is!
On April 22, 2017, Rhino Records put out a limited run of 5,000 copies of one of The Cars’ early live performances as part of the worldwide vinyl movement, Record Store Day. The Cars Live At The Agora, 1978 documents the energy and the fresh sound of the band at the beginning of their rise to success.
Just to give you some context, The Cars consists of songwriter Ric Ocasek on rhythm guitar, and he trades lead vocals with long-time friend and bandmate Benjamin Orr, the bass player. Elliot Easton handles the lead guitar, while Greg Hawkes works his keyboards and David Robinson keeps everybody locked in with his drums. This five-man lineup started playing together in early 1977, and within 18 months they had a record contract in their pockets and their first album on music store shelves.
With their debut single, “Just What I Needed,” gaining popularity on the airwaves, the band took off on their first major tour, spanning the United States, and including stops in Canada and parts of Europe. The Agora show here, recorded at the Agora Ballroom in Cleveland on July 18, 1978, for WMMS radio (about a month into their tour), is a shining example of the band’s ability to interlock their individual roles to create a tight, rollicking performance that keeps the listener bouncing from song to song. No, not a bunch of jumping around and physical gyrations, no long monologues or extended soloing by band members, no pyrotechnics; just an ensemble of creative and classy musicians doing what they do best: rocking the house.
The set list for the night is an interesting blend, giving the enthusiastic audience a taste of where these boys have been and where they are going. Not only are there near-flawless performances of all nine incredible songs from their debut album, but The Cars also burn through some raging rockers from their regular club set (the hard-edged “Take What You Want” and the powerful punk of “Hotel Queenie”) and treat the crowd to “Night Spots,” which will show up on The Cars’ future album, Candy-O. They end the concert with a gritty cover of Eddie Cochran’s “Something Else,” letting Elliot take over the lead vocal on their last song of the night.
Other audio delights pour from the speakers. Listen for Greg’s crazy-cool assortment of eclectic sounds on “I’m In Touch With Your World,” and then catch him later as he pushes the show in a whole new direction with his melodic saxophone (“All Mixed Up” and “Something Else”). Also, I love how you can really hear the power of David’s drums on “You’re All I’ve Got Tonight,” and how Elliot kills it on that classic guitar solo in “Just What I Needed.” My favorite tracks feature Benjamin pouring his all into the vocals, like on “Bye Bye Love” and “All Mixed Up;” you can just feel his racing pulse as he belts it out. And woven throughout the entire show are great harmonies, some highlighted backing vocals, and brief audience interactions that draw a smile.
The cherry on top? Rhino Records really nails it with the packaging of this release. The signature red-and-black color scheme of the early Cars’ years, combined with the terrific photos of each band member and the reproduced hand-written show notes displayed on the backside of the album cover – it’s definitely a stare-worthy addition to the vinyl stack. Inside the cover are tucked two records; three of the sides contain the music, and the fourth displays what would prove to be the first in a series of custom etchings to grace the 2017 releases of Cars albums. Awesome!
The vinyl is hard to get ahold of now, though there are still a few copies available floating around online (mostly from Europe). At this time there are no plans for the show to be released on CD; fortunately Rhino has now made it available digitally through several music channels. Click below to download the album. If you don’t have it already, get a copy – it’s a must-have for every Cars fan!
The more I learn about the Boston rock-and-roll scene of the 1970s, the more I am struck with how entrenched and artistically incestuous the players were… and still are! They were in and out of each other’s bands, jammed in the clubs together, shared crash pads and drugs and women. They were all grabbing for that brass ring combo of self-expression and fan-following that meant success. In competition with each other but also in cahoots, many made it, many didn’t. And out of the chaos and the grime and the striving, a welding happened; the unbreakable bond of a brotherhood was forged by survival and experience, and they all felt loyalty to it.
With producer and multi-instrumentalist Barry Marshall, I stumbled across a loose thread of a memory and followed it down and around his unique path in Boston music history, where the friendships cemented in those raucous days would yo-yo throughout his career for the next 50 years.
It kind of started with this: Back in 1980 all five members of The Cars were in the studio to promote the Panorama album with Mark Parenteau on WBCN. Let’s zoom in on one part of the interview for a minute. At about the 16:35 mark, a guy calls in and identifies himself as Edgar (or, more accurately, “Ed-gah”). He makes his comments and asks his question, but during the call he is ‘outed’ by staff member Eddie Gorodetsky, who reveals that the caller is actually named Barry Marshall. David immediately jumps on board with the joke. I snipped that audio out and posted it by itself, if you want to take a listen.
Now fast-forward to a couple of months ago when our good friend Becky B was scouring the internet for photos of Ben. She came across these pictures from a record release party in 1979 for a Boston band called The Marshalls. See Ben and David? And guess who they were posted by? Yup, a guy named Barry Marshall – that name! She immediately recognized the possibility of the connection to the WBCN recording and confirmed that yes indeedy, this Barry is the very same one that called in on that interview forty years ago. Barry was floored when, prompted by Becky, he took a listen to the recording. “I honestly hadn’t thought about that since I did it,” he laughed.
Thanks to Becky’s sleuthing, I was able to get in touch with Barry and chat with him about his relationship with The Cars. As it turns out, the bond of friendship between these Boston musicians started early and has remained relevant over all these years.
At the beginning of the 1970s, clubs in Boston were fairly boiling with talented and wild-eyed musicians who were ready to blow the lid off of the music scene. The roster of groundbreaking names is long and stunning (and heavily intertwined!), so for our purposes, I’ll just mention a few. Jonathan Richman and his Modern Lovers were on the scene, with David Robinson on drums. Simultaneously, there was a band called The Sidewinders that was fronted by singer Andy Paley. Andy Paley was friendly with The Modern Lovers, and also good buddies with our drummer and songwriter Barry Marshall, so through Andy, Barry met and became friends with David Robinson in about 1975-76ish. Whew! Did you follow that?
At the time, Barry lived in Scituate, a South Shore community located about an hour southeast of Boston proper. Many Boston bands made their way to the stage of a local club called The Bell Buoy. Barry remembers seeing Cap’n Swing play there a couple of times and he really liked them, taking note of their unique look and sound. “Ben didn’t play bass and was the main singer. I remember him in high boots, like a pirate! Elliot wore a beret a lot. And they had longer hair.”
That would have been about 1976. Not long after that, a new band called The Cars showed up for a gig. Barry recognized Ben and Ric from Cap’n Swing, and low-and-behold, there was David Robinson on drums. Barry was surprised by the visual contrast between the two bands.
“[Cap’n Swing] were still kind of ‘hippy,’ and The Cars completely went in a different look,” he explained, acknowledging how obvious it was that David designed the unique style of The Cars. “I’m one of those people that actually truly believe that David … I mean, all of them were crucial to the success of the band, but David was actually especially crucial because I really saw the difference right away. I really liked the other band a lot, I thought they were really good, but I was completely knocked out as soon as I saw The Cars.”
Barry came to know the other members of The Cars through his early connections. “We were kind of friendly with them from the get-go because of David,” he confirmed. Andy Paley knew Elliot, too, and everyone’s paths crossed and criss-crossed all over the place.
The Cars played at The Bell Buoy probably once a month for about a year, performing four sets a night, three nights in a row. They did some original stuff, but they also sprinkled in covers like, “Love is the Drug” by Roxy Music and “Gimme Little Sign” by Brenton Wood. In fact, Barry vividly remembers Elliot singing, “Something Else” by Eddie Cochran, and that is where Barry’s WBCN comment came from.
Barry genuinely thought Elliot had a great voice and enjoyed it when he sang, but it was pretty obvious that The Cars were settled on just Ric and Ben on vocals. Still, Barry would bring it up just to tease Ric. “I used to joke even when I was playing with them, just before they really took off. I used to needle Ric and say, ‘Oh, you should let Elliot sing more. He’s great!’ and he would actually get almost mad about it. He wasn’t amused!” Barry recalled, laughing. “Although I got along really well with him; I got along with all of them. They were really great.”
But where did “Ed-gah” come from?
Around 1975, Barry and his siblings were striving to get their own band, The Marshalls, off the ground. In order to help make ends meet (and partake of some cool free perks), Barry took up writing in local papers: he wrote opinion pieces and film reviews for publications like The Real Paper and The Boston Globe. When he started writing about the music scene, he recognized that as a musician himself there was a bit of a conflict of interest, and, not wanting to tarnish his credibility, he began writing under the pen name of Edgar Willow. Eventually he gave up the writing gigs as his own music career got more serious and successful, but the alias came in handy for things like calling up his buddies on the radio and busting their balls during their interviews. Haha!
The Marshalls, consisting mainly of the three brothers, Kenny, Kevin, and Barry, and later their sister, Ellie, started playing seriously in 1975. All of them wrote songs, contributing to the fun, happy vibe of the group; they were ambitious and eager. The Marshalls opened for The Cars several times when The Cars were on their way up. Not everyone had heard of them yet, but they were famous around town. “[The Cars] were already known in Boston as being the hot-shit new band in Boston,” as Barry put it.
Because The Marshalls had the connection with The Cars early on, they got the gigs with them; Barry guesses they played about ten openers for them altogether. “And then when they really got going, it was a little bit more difficult to get opening for them, because all of the bands that were a little bit bigger than us in Boston tended to get it then.” And rightfully so, Barry concedes. “It was understandable, why it went that way. But we were still friends with them; everybody was friendly, there was no issue about that. If anything, they were so friendly that they’d have so many people backstage that it was a problem!” he joked.
As The Cars’ popularity grew, and they were getting closer and closer to landing a deal, Barry and David would help each other out when it came to booking shows. Barry explained, “It was like, ‘Hey, I could put together a show at this place in Marshfield called the Rexicana, and if you guys were to open, I would put it together just to play with you all.’ And David might say, ‘Yeah, we need a gig for so and so to come see that weekend.’ That happened with a couple of gigs at The Club in Cambridge, where I put together three nights at the joint with a band called The Criers from NYC, and David mentioned, ‘Oh, we need to play for someone that weekend, would you want to put us on the bill?’ And they played two of the nights, which, of course, were packed! I wasn’t really booking as a job, but I was promoting shows just to get The Marshalls good gigs!”
One night in late 1977, Barry pulled together a gig for The Cars and The Marshalls. They played a weekend at The Rexicana: two nights, sold out, for about 800-1000 people each performance. Unexpectedly, Barry saw a bit of Cars’ history being made.
You know how David plays the Syndrums on “Good Times Roll” and “My Best Friend’s Girl” on the first album? Well, those Syndrums were a pretty new technology at the time, and it’s no surprise that David wanted them. Using the advance money the band received from Elektra, David worked with Syndrum rep Andy Bergsten to purchase a set, and the two spent some time fiddling around with them in the studio, figuring out the most effective way to incorporate them into The Cars’ songs.
So on one of those specific nights at The Rexicana, Andy came in and David played the Syndrums for the first time in a live set. Barry was floored when he heard the results. It was SO revolutionary. “Nobody had seen something like that. People in the audience were stunned,” Barry recalled, still impressed with the genius of the sound. “It was amazing.”
Those were exhilarating times. “Opening for The Cars was really fun, first of all, but second of all, it was educational,” Barry emphasized. “We learned a lot about showmanship and about performance and stuff.”
Of course, Ben made a lasting impression. “Ben Orr had a huge influence on every band in Boston. Half the guys in Boston imitated the things that Ben did, if you know what I’m saying,” Barry shared, laughing. “Those looks he would give, and the way he would bend down with the bass, and that ‘pursed lips’ thing! I even did that a couple of times! That little pout that he did, to me he invented that. I mean, I don’t know if he really invented that, but to me he did!”
Barry continued, “I gotta say, I honestly don’t think The Cars might have made it quite like they did – they wouldn’t have been as big if it wasn’t for him, because he sold it in the beginning, he totally sold it.”
But The Cars’ influence went deeper than exuding rockstar sex appeal. Barry had example after example of how his bond with the members of The Cars continued to intersect with the trajectory of his own career.
After The Cars got signed, David bought two brand new sets of Slingerland drums, and he gave Barry a deal on his old ones. In around January, 1978, Barry and his brother went to pick them up from Ric’s house where they were stored. While they were there, Ric started asking them questions about what was happening with their band. At the time, The Marshalls were talking with a manager and there was some interest from a record label and talk of publishing, and it was a bit over Barry’s head; he didn’t quite understand the process. He explained all this to Ric, and Ric said, “Oh, okay… you guys got a little time? Come on in the house and let’s talk and I’ll explain some of this to you.”
Still grateful, Barry explained, “We spent like two or three hours with him, and to this day, that’s the most I ever learned about the music business in the shortest amount of time.” He continued, “For years, later, I taught a lot of that music business stuff and every once in a while I’ll say, ‘well the person who taught me most about this was Ric Ocasek.’”
Remember when I mentioned Andy Paley earlier? Well, in the late 70s Andy was the caretaker of this incredible mansion at the bottom of Beacon Hill that was owned by the Museum of Fine Arts. While he was in residence, he used to throw these amazing, elaborate parties there. In 1979, when The Marshalls released their first album, Andy hosted their record release party, and Ben and David attended (see those two photos above). By this time, The Cars were riding the charts with their debut album and getting Candy-O under their belt, too, so their presence created quite a buzz. “As an element of the party, that was a big deal that they came. A lot of people talked about the party because, ‘oh! The Cars were there!’” Barry laughed.
In some ways, it wasn’t a surprise: the support, the endorsement, the returning of a favor for a Boston brother. “The one thing about The Cars… they were super-supportive of local bands. They were really nice.”
The Marshalls had some local success – and a lot of fun – with their original music, and Barry found his true calling, though not as a drummer. That first album served to showcase Barry’s production skills, and it wasn’t long before other artists were asking him to produce their stuff. Gradually it took on a life of its own, and ultimately Barry ended up carving out a long and varied career as a producer of music and movie soundtracks, while continuing as a performer and session musician.
[You can take a listen to The Marshalls’ original tunes by clicking on this playlist I created. Great stuff!]
In fact, Barry was into producing records when The Cars bought their own recording studio, Syncro Sound, in 1981. He did several projects there, like these charity Christmas albums he produced for WBCN. The Cars let Barry work on them at Syncro Sound basically for cost. Though it was pretty much ‘nose to the grindstone’ when he was focused on a job, Barry could definitely feel the club-like atmosphere. There was always something going on at the studio. The Cars recorded there (of course), and Ric, Elliot, and David were all involved in producing various acts. David lived right around the corner off of Newbury Street and he came in a lot. There was always a steady stream of different people going in and out. “It was definitely a hang.”
Barry owned a video store on the same street. “Very typically people would rent all the video tapes for that place [Syncro Sound] at my store, and so I would see Ric about every other day doing that. He’d come in and get about ten movies just to amuse people to keep them out of his hair when he was working, you know what I mean? So it was enough of a clubhouse that he did that to keep them out of his hair, literally.”
Eventually the studio was sold and Barry didn’t run into the guys much anymore. The years marched on, and the Boston brotherhood stayed intact. Barry worked closely with Andy Paley on the soundtrack for the 1988 film Shag, The Movie, producing two songs with the iconic rhythm and blues singer Lavern Baker. That experience led him into one of the most fulfilling stretches of his career as Ms. Baker’s producer and musical director from 1989 until her death in 1997. It was the best of all worlds for him: he was touring and playing on stage with her in front of thousands of people, jamming with people he grew up idolizing, and running things from the producer’s chair. Even more importantly, Ms. Baker influenced Barry’s growth as a man and a musician.
“If she hadn’t died in 1997 I might still be doing that, because it was that much fun. We had a good relationship; more like a mother-son almost, because at the time I started working with her I was about 37 or 38, and she was about 59-60, so she was an older woman, of course. I loved hanging out with her; I had such a great time. Every day I did with her I learned something about music, and every day I did with her I learned something about life. It was that kind of a thing. It was tremendous.”
Take a minute to enjoy this footage of Barry (on the right with the red guitar) performing with the legendary Lavern Baker in 1991. Man, that woman can SING.
After Ms. Baker passed, Barry turned his attention back to producing music for Boston artists. During these years Barry would run into Elliot from time to time through work with Andy Paley and other common friends in LA. They crossed paths again in 2013 when Barry was producing an album for a fellow Scituate-tonian (I might have just invented that word), Kevin McCarty and his group, Twice Jupiter. Barry invited Elliot to play on the album, and Elliot was terrific. Barry remembers, “I realized this is a guy that is not only a great guitar player, but he really knows how to play sessions; he really knows how to get what you need and fairly quickly.”
Having established a good working relationship, and being highly impressed with Elliot’s professionalism and versatility as a session musician, Barry recently collaborated with Elliot on a much more current album… but the story of that project overlaps with the path of another rocker, a next-generation Boston musician who has Cars threads of his own to weave. Should we be surprised?
Stay tuned: Boston Boys, Part 2 will include the rest of Barry’s story, insight into Elliot in the studio, an encounter with Ben in the 90s, and the journey of a kick-ass new album you’re definitely going to want to hear!
Here’s a little Barry Marshall bonus: a snippet of an episode of Joe Viglione’s Visual Radio show featuring Barry and Fox Pass co-founder Jon Macey. I love it!
The last of Rhino catalog revamp, this is part five of six: my review of the Heartbeat City Expanded Edition. I had started writing this in 2018 shortly after the album was released, but got (happily) distracted with my duties for Joe Milliken’s book, Let’s Go! My article ended up being published for Standing Room Only in March, 2019, in time for the one-year anniversary of the release.
March 30, 2018, saw the continuation of Rhino Records’ revamp of The Cars’ classic catalog with the release of the expanded edition of Heartbeat City (in tandem with Shake It Up, previously reviewed on SRO). This wildly unique fifth album from the band proved The Cars to be at the forefront of technological experimentation, cutting edge visual representation (aka music videos), and eclectic synth pop sorcery – all addictive elements prevalent in the 1984 music scene.
After working with Roy Thomas Baker on their first four albums, The Cars chose to team up with famed producer Robert John “Mutt” Lange for HBC, a decision that would ultimately be the best in terms of commercial success, but possibly the worst for the band’s cohesive future. They lived in London for over six months, undergoing a grueling recording and production process that left them worn thin. In the liner notes for this expanded edition, written by David Fricke with Ric Ocasek, Ric states, “All those months in London, things got out of sync between us. People thought – maybe myself included – that in three or four years we’d come back and do this some more. We just never did.”
Heedless of the personal cost, the album itself was a smash. It rose to number 3 on the Billboard 200 chart and spawned five hit singles, including the upbeat and danceable trio “You Might Think,” “Magic,” and “Hello Again.” The most memorable is the ballad “Drive,” sung by Benjamin Orr, which became the haunting soundtrack to the video montage of Ethiopian famine images during the historic Live Aid concert in 1985. Every song is a grabber: rich, satisfying, and saturated with style.
Let’s take a look at how Rhino treated this iconic album with their expanded edition. As with Shake It Up, they chose to forego the unique album etching on the fourth side, but did offer a limited edition colored vinyl, featuring HBC in a nice marshmallow-y white. The other notable difference with this offering is that the original cover art was revamped. Drummer and designer David Robinson explains in the notes that his original concept featured unique plans for the graphics and color scheme, but they were scrapped by the art department. He said, “I’ve been lucky to finally create the cover as conceived 33 years ago. Thanks Rhino… Best ‘do over’ ever!”
Inside the gatefold we find an infusion of graphic imagery and photos that seem representative of the band’s departure from their solid rock days as they embraced the new wave pop style. By itself it might not satisfy the desire for new pictures, but when you pull out the album sleeves there are more than enough beautiful shots of the band in concert to cover any initial disappointment. On the back of that sleeve are some very candid and compelling liner notes in which Ric Ocasek explores the pros and cons of the making of this album. The second sleeve showcases the lyrics with a clean and simple design.
As you may know, the bonus tracks generally make or break the expanded editions for me. This release came with seven additional songs, the most notable being the early demo version of “Drive.” The repetitive samba beat seems a bit silly when compared to the elegant ballad that hit number 3 on the Billboard charts, but the demo is redeemed by the silky, evocative vocals of bass player Benjamin Orr, who clearly communicates the beauty of Ric’s lyrics in spite of the misplaced rhythm.
Three of the bonus songs are not new. There is the remix version of “Hello Again” (released as a 12” single in 1984) that takes the song to the pinnacle of 80s synth glory with a plethora of musical stutters, crazy car noises, and even quirkier sound effects. “Breakaway”, which was the B-side to “Why Can’t I Have You” in 1985, is perhaps a lesser-known track but its pulsing beat fits perfectly in this mix. The poppy “Tonight She Comes” is from the band’s 1985 Greatest Hits album and is indeed one of the band’s highest charting singles.
My favorite tracks are from the early versions that they dug out. Subtle differences between “Jacki” and its final form, “Heartbeat City”, add a bit of new texture to the title track. I also appreciate the evolution of the darker “One More Time” to the ethereal and achy “Why Can’t I Have You”. The compelling shift in the direction of the synthesizer part and the softer drum presence take this song from creepy stalker mode to a ballad of legitimate longing.
Now here’s the tastiest treat of them all: “Baby I Refuse.” Similarly titled to the final cut on the album (“I Refuse”), this early incarnation of one of my favorite tunes takes the song in a whole different direction and I am completely addicted. The melodic, gentle guitar stylings of Elliot Easton have me hooked in the sway and make this track worthy of every daily playlist.
These new expanded editions from Rhino Records are available digitally and on CD, as well as the vinyl product reviewed here. Should fans shell out the money for Heartbeat City? For me, Elliot’s signature solo on “Baby I Refuse” alone was worth the price of the whole album set. Add to that the glorious photos, the in-depth liner notes, and the fact that this album just exemplifies all that is bright and beautiful in 80s music, and you’ve got yourself a winner!
“Something that you said turned me from the inside out
Lying in my bed, whispering your name out loud
And I feel so real, and it feels so right
Something that you said got through to me tonight.”
— The Bangles, “Something That You Said”