Review: Shake It Up Expanded Edition

As Rhino Records continued to release The Cars’ catalog with bonus material, so continued my little writing series for Standing Room Only. Here is part four of six: my review of The Cars’ Shake It Up Expanded Edition. (I actually wrote the majority of this review on the plane to Cleveland, on my way to see The Cars get inducted into the Rock and Roll Hall of Fame! 🤓🤘)


Rhino Records has done it again. Coinciding with The Cars’ 2018 induction into the Rock and Roll Hall of Fame, and paving the way for the celebration of the 40th anniversary of their debut album, Rhino has released expanded editions of Shake it Up (1981) and Heartbeat City (1984), The Cars’ fourth and fifth albums, respectively. Of course, you may recall that expanded editions of Candy-O and Panorama were released last summer, causing quite a stir in the “Fanorama,” and these March 30, 2018, offerings have generated their own buzz, as well.

Do you remember how in my review of Panorama I used the illustration of a capital letter Y to show the progression of The Cars’ sound? And how I said that Panorama represented a veering off into the left fork of the letter? Well, with Shake it Up (SIU) we definitely hear the band heading back to center and then taking a U turn up in the opposite direction. No more snarky jabs and swaggering strut; SIU sounds more like a dance set at the junior high… which is where it may have been played most often.

This album was produced by Roy Thomas Baker (his fourth and last collaboration with The Cars), and it was recorded in The Cars’ own studio in Boston, Syncro Sound. Critics and fans alike loved it, and the album hit number nine on the Billboard Pop Albums chart, while the title track became the first of the band’s singles to break the top ten on the Billboard Hot 100, peaking at number four. Clearly this perky, light-hearted sound gratified the mainstream listeners of the day.

SIU1

Though it has grown on me over time, it took a bit for me to warm up to SIU. Never doubting Greg Hawkes’ limitless keyboarding wizardry, this album is a little less rock and a little more new wave, and I miss the edge of the once-prominent Elliot Easton guitar riffs and the deep drumming of David Robinson that have been largely replaced by a focus on the synthesizer and drum machines (I get it – it was the 80s, after all!). Still, I love all things Cars, and this album has many terrific gems to keep the toes tapping.

Of course, the purpose of this review isn’t to scrutinize the original offering, but to examine the features of this new expanded edition.

Staying consistent with Rhino’s earlier reissues, the Shake It Up vinyl is packaged in a beautiful gatefold album. The original 1981 elements are all there: the front and back cover art, as well as the record sleeve with the lyrics and ‘spraying shaker’ image. The visuals are then bumped up a notch with the addition of a hunky photo of the band, ultra-cool individual shots of each member, a risqué circular graphic, and revealing liner notes written by David Fricke and David Robinson. Scrumptious!

Rhino did detour a little when it came to the vinyl itself. No badass etching on the fourth side as seen on their 2017 releases (Panorama, Candy-O and Live at The Agora); they went with a limited edition colored vinyl instead. SIU came out in a nice bright red.

As with the previous releases, Rhino (and presumably, singer/songwriter Ric Ocasek) dove deep for the eight bonus tracks. The result is a very fun, eclectic auditory smorgasbord that includes a demo, a remix, several early versions of SIU tunes, and a previously unreleased song featuring bassist Benjamin Orr on vocals. The variety of sensations that the listener may experience here could be worth the price of adding this to your vinyl stack.

Three tasty tracks stand out to me.  First is the rough cut of Benjamin Orr and Ric Ocasek goofing their way through the early demo of “Shake It Up.” I literally laughed out loud the first time I listened to it. I have never heard anything from The Cars that sounds so much like an after-hours party as this recording! Then there is “Take It On The Run,” featuring some fabulous Greg-ness putting a kooky jungle spin on the mystical “A Dream Away.” Finally, we are treated to a lusty vocal performance from Ben on the edgy “Midnight Dancer,” a song that clearly didn’t fit in with the rest of SIU but definitely needed to be released to the world. It is a memorable way to close out the album.

This new expanded edition from Rhino Records is available digitally and on CD, as well as the vinyl product reviewed here. Though the bonus tracks have been released online, I highly recommend putting out the money for this package – you won’t regret it. I’ll cover the new version of Heartbeat City in my next review and we’ll see what other delights Rhino has served up. Stay tuned!

In other words:

“Ben and I really got along great, and while most rock stars have big egos, Ben had no ego whatsoever and was really just a regular guy. He was even a bit isolated and pretty much kept to himself.

“Musically, Ben was very serious and all business in the studio and, as everyone knows, simply had an amazing voice and vocal inflection. My music experience with Ben was very enjoyable, and he really made you feel like he was your peer, and not some opinionated ‘rock star’ looking down at you.” — Adrian Medeiros, Boston musician and writer of “Send Me,” Let’s Go! Benjamin Orr and The Cars, by Joe Milliken

ben from renee devine with adrian medeiros crop
Ben Orr, Renee Devine, and Adrian Medeiros in the studio, mid 1990s. Photo by John Kalishes

Review: Panorama Expanded Edition

This review of the Panorama Expanded Edition is part three in a series of six articles I wrote for Standing Room Only in 2017.


With two incredible albums under their belt, the 80s new wave rock band, The Cars, put out their third album in three years, and once again shook up the music world with their cutting-edge originality. Panorama continued the streak of platinum albums for The Cars, and broke the top five on Billboard’s album chart. Released on August 15, 1980, with Roy Thomas Baker back in the producer’s chair, Panorama caused quite a stir.

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Photo courtesy of Joe Milliken

Picture an uppercase ‘Y’ as the path of creativity. If The Cars began at the base with their debut album, and moved upward with Candy-O, Panorama represents a veering off to the left on their musical journey. Almost across the board, critics declared this third album to be dark, moody, and cold. On October 30, 1980, Rolling Stone called it “rigid, electronic rock & roll that favors machine-like exactness over heartfelt expression, and avant-garde minimalism over pop-based tunefulness,” – and that was a friendly review!

But where those on high grumbled about the starkness of the music, I am crazy for it. Panorama is far and away my favorite Cars album. What may be considered rigid and distant, I hear as aggressive and full of swagger. Songs like, “Don’t Tell Me No,” “Getting Through,” and “Down Boys” present an in-your-face attitude that we can all relate to, while “Touch and Go” and “Mistfit Kid” expose a little of the human underbelly in Ric Ocasek’s writing, while still maintaining that above-it-all, bemused exterior.

Because it is my favorite album, I have to work harder than ever to not go on and on about every original track, and will instead focus on examining the “expanded” features of this new offering from Rhino Records.

As with the Candy-O expanded edition, opening the gatefold of the vinyl Panorama reissue provides a wonderful visual thrill. There is a collage of rare photos of the band, looking as cool and collected as ever. Inside the sleeves, the delights continue with the reproduced lyrics sheet, and another set of pictures backed by liner notes written by keyboard player Greg Hawkes and writer David Wild. There are two records: sides one and two feature the remastered Panorama album in its entirety, side three contains bonus tracks, and a custom laser etching graces the fourth side; this time with drummer David Robinson’s classy checkered flag.

Now here’s where things get a little sticky for me. Obviously the big draw of a re-release like this is the bonus material. Panorama has only four extra tracks. One of those is the punky and irresistible “Don’t Go To Pieces,” which was released back in the early 80s on vinyl as the B sides to both “Don’t Tell Me No” and “Give Me Some Slack,” and again on the Just What I Needed: The Cars Anthology in 1995. Also included is a song called “Be My Baby,” which seems to me to be an almost identical version of the song, “Maybe Baby” from The Cars’ fourth album, Shake It Up.  Not a fave of mine, but still a solid, throbbing rocker.

Then we get to the new stuff… the golden ticket. This is the kind of thing longtime Cars fans can’t ever get enough of: previously unreleased tracks. Rhino included two of them; both incomplete demos, and both sung by bassist Benjamin Orr.

First we have “Shooting For You,” a great meshing of rocking guitars and quirky synthesizer riffs, with a minimal infusion of lyrics. What Benjamin does sing, he sings with that unshakable confidence and wry delivery characteristic of many of the songs where he takes the lead vocal. The other treasure is “The Edge.” From my first listen I was electrified by Benjamin’s palpable energy, and completely taken in by Ric Ocasek’s lyrics, which alternate between taunting and nonsensical. The marriage of the two is intoxicating. Both “Shooting For You” and “The Edge” have become an exciting part of my regular playlist.

Now, I have to admit I was a little disappointed that Rhino included so few bonus tracks on this reissue. It would have been so great to hear some of the original Panorama songs in demo form or as previously unreleased live recordings. Perhaps no alternate versions exist? The two songs they did give us are terrific, but one of those (“Shooting For You”) was made available in its entirety via the internet almost two months before the expanded editions were on the market, so basically when I was forking over my money at the counter, I was effectively shelling out for only one new song and a bunch of terrific photos. Worth it? For me, yes! There is no question. I am absolutely crazy about all things ‘The Cars.’ You’ll have to decide for yourself, though, if the new elements are enough to compel you to replace what you’ve currently got in your library.

These new expanded editions from Rhino Records are available digitally and on CD, as well as the vinyl product reviewed here. And here’s an exciting side note: Greg Hawkes recently commented on Facebook that there might be forthcoming reissues of Shake It Up and Heartbeat City (the next two albums in The Cars’ catalog) before the end of 2017. Of course, I will eagerly open my wallet again! It’s getting awfully close to December 31st with no official announcement, but I am optimistic that 2018 will bring us those reissues if I don’t find them hiding under my Christmas tree. Fingers crossed!

Lyrics: Let’s Go

“Let’s Go” by The Cars

She’s driving away with her dim lights on

When she’s making her play she can’t go wrong…. she never waits too long

She’s winding them down on her clock machine

And she won’t give up ’cause she’s seventeen

 

She’s a frozen fire

She’s my one desire

I don’t want to hold her down, don’t want to break her crown when she says

Let’s go

 

“I like the night life, baby,” she says

“I like the night life, baby,” she says

Let’s go

 

She’s laughing inside ’cause they can’t refuse

She’s so beautiful now she doesn’t wear her shoes… she never likes to choose

She got wonderful eyes and a risqué mouth

When I asked her before she says she’s holding out

 

She’s a frozen fire

She’s my one desire

I don’t want to hold her down, don’t want to break her crown when she says

Let’s go

 

“I like the night life, baby,” she says

“I like the night life, baby,” she says

Let’s go

 

Oooo, “I like the night life, baby,” she says

“I like the night life, baby,” she says

Let’s go

 

BONUS: Same video but with the live vocal. Scrumptious!

 

Review: Candy-O Expanded Edition

This is the second article in a series of six that I wrote for Joe Milliken and Standing Room Only: a review of the expanded edition of Candy-O.


In the rare instances where a band explodes onto the rock scene with a perfect debut album, music critics don’t often hold their breath that the follow-up offering will be able to measure up. In fact, they even have a name for it: the ‘sophomore slump.’  The Cars were one of the exceptions.

Released on June 13, 1979, The Cars’ second effort, Candy-O, would be certified platinum in less than two months, and would soar as high as #3 on the Billboard 200 chart and #4 on RPM Canada. Its first single, “Let’s Go,” would jump to #14 on the Billboard Hot 100 chart, and the follow-up release, “It’s All I Can Do,” would peak at #41. Billboard Magazine’s chart for the “Top Pop Albums of 1979” lists The Cars debut at #4 and Candy-O at #82. Needless to say, the success of The Cars was not ‘just a quirk.’

There is a common creative thread running between the debut album and Candy-O, meshing the sound of the two projects in such a way that you just knew it was The Cars, and that sound… that punchy, fresh, addictive sound…  was their identifying signature. It’s really no surprise that they should be linked: several of the songs on Candy-O were already written and floating around at the time of the debut album. The plaintive “Since I Held You” and the hard-rocking “Candy-O,” along with the sardonic “Night Spots” and “You Can’t Hold On Too Long,” were popular numbers played in clubs and concerts before Candy-O was in the record stores.

Though I could go on for paragraphs about the power and appeal of the songs on Candy-O, my purpose here is to examine the newest issuing of this terrific album. Owners of the previously released (and reviewed) The Cars Deluxe Edition had reason to be pretty excited about the prospect of Rhino Record’s newly “expanded” editions of both Candy-O and Panorama (The Cars’ second and third albums, respectively) that came out in July of 2017; surely we would get another delivery of rarities from the Cars’ cache of unreleased audio goodies.

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Photo courtesy of Joe Milliken

The double album vinyl packaging of the reissue is beautiful. Of course, the 1979 original artwork is there. Opening the gatefold reveals some previously unreleased photographs, including a candid shot of the band, and a series of very cool reference photos of the model Candy Moore, taken for use by Alberto Vargas for painting that iconic album cover.  Tucked inside the sleeves are the original lyrics/photo sheet and a set of liner notes from lead guitarist Elliot Easton, written with David Wild. Then the vinyl itself: the remastered audio on two sides, bonus tracks on the third, and a cool custom etching on the fourth side.

The seven bonus tracks are an interesting mix. Rather than recreate the entire original album in demos, as we found with the debut deluxe CD, only five of the eleven songs are represented with alternate versions. “Let’s Go” and “Lust for Kicks,” are included from the previously discovered monitor mix tapes (made public around 2001). Also included is “That’s It,” originally appearing as the B side to the single, “Let’s Go.”

Another little gem is the Northern Studios version of the hilarious and fun-to-sing “They Won’t See You,” a track that was played in the clubs but didn’t make it to vinyl. It’s a delightful peek into Ric Ocasek’s peculiar sense of humor; indeed, the lyrics here inspired my twelve-year-old to declare, “Those guys are weird!” … then he asked me to play it again. Unfortunately, this appears to be the same version released as a bonus track on the 1999 The Cars Deluxe Edition.

The real treat is the previously unreleased music. My favorite, “Candy-O,” appears from a series of recordings done at Northern Studios. Benjamin Orr’s vocal work has such a metallic, powerful sound to it, reflecting an appealing arrogance in his mood not present in the studio version. “Night Spots” and “Dangerous Type” were also done at Northern Studios, and portray that same kind of pleasing vocal strut. You get the impression that the band was feeling confident and riding high on the thrill of their success.

One of the magnetic elements of demo recordings is getting a glimpse of the evolution of a hit. For example, in “Dangerous Type” you can tell there was still some polishing of the lyrics yet to come. The absence of Greg Hawkes’s synthesizer is quite telling as well, clearly emphasizing how vital his bright, melodic contributions are in defining the sound of The Cars.

I confess, I do wish that there had been more in the way of bonus material, especially from those Northern Studios sessions. Really, since the monitor mixes have been out so long, only three of the additional tracks were previously unheard by the public. It’s a bit of a letdown after the generous banquet served on the deluxe edition, but beggars can’t be choosers, and I am truly grateful for another peek into the ‘vault’ of Cars’ material.

These new expanded editions from Rhino Records are available digitally and on CD, as well as the vinyl product reviewed here. If you don’t already have Candy-O in your music library, grab the expanded edition; you won’t be disappointed. We’ll take a look at Panorama in my next review and see what other delights Rhino Records has in store. Stay tuned!

Review: The Cars Deluxe Edition

In the summer of 2017, music journalist Joe Milliken invited me to do some writing for his website, Standing Room Only (SRO). I jumped at the chance! The gig grew into an opinion series of six Rhino products backing up to the The Cars Deluxe Edition from 1999, then to the 2017 expanded editions of Candy-O and Panorama, plus Live at The Agora 1978 (also released in 2017), and, finally, the expanded editions of Shake It Up and Heartbeat City (released in 2018).

Standing Room Only is dedicated to promoting music, arts, and specialty foods in the northern New England area. Music reviews, concert recaps, and exclusive interviews with badass rockers are the norm, along with lots of attention given to local businesses and arts events, making this a website with something for everyone. Unfortunately, the site is currently undergoing maintenance, but be sure to like Joe’s Facebook page to stay in the loop and be notified when SRO is back online.

With Joe’s permission, I’ve added my SRO writings here on my blog just for kicks. Here’s the first review I turned in: The Cars Deluxe Edition. Enjoy!


The year 2017 is proving to be an exciting one for fans of the 80s new wave rock band, The Cars. After releasing their last studio album, Move Like This, in 2011, the group has been pretty silent in the marketplace (aside from its remaster/reissue project in 2016). It came as a wonderful surprise to learn that Rhino Records organized the release of The Cars’ early Cleveland performance, Live at the Agora 1978, in time for Record Store Day on April 22, 2017. This new offering would have been enough to keep followers at bay for the year, but Rhino rocked The Cars’ world again on May 11th, announcing that they would also be releasing Candy-O and Panorama (The Cars’ second and third albums, respectively) as expanded editions on July 28, 2017… and Cars’ fans began the countdown.

carsdeluxe1
Photo courtesy of Joe Milliken

It’s worth pointing out that Rhino gave the band’s debut album some special treatment back in April of 1999, when they released The Cars Deluxe Edition as a two-CD set. In preparing to review these two new 2017 releases, I wanted to take a look at how they compare to that earlier product. Let’s take a quick step back in time and see what Rhino did with that iconic first album.

This two-CD set is packaged in a cool, unconventional tri-fold case, backed by a classic 1978 Ebet Roberts photograph. The first CD contains a remastered production of the original debut album. Fans and critics alike joke that it could pass for a “greatest hits” record, since all nine of the songs received considerable FM airplay and popularity, though “Just What I Needed,” “Best Friend’s Girl,” and “Good Times Roll” may be the best remembered.  Nearly 40 years later, every song still holds up to repeated listening.

The second CD in the set is full of rarities and unreleased songs, a veritable auditory feast for serious Cars fans. The first nine tracks are early demos of each of the debut album songs in order (with the exception of “Good Times Roll,” for which a demo could not be found so an early live performance was substituted). Notable gems include the original version of “Just What I Needed” (also known as the ‘demo that got the deal’), a recording of “Moving In Stereo” done in guitarist Ric Ocasek’s basement with only Ric and keyboard player Greg Hawkes present, and the demo for “All Mixed Up” with Ric on the lead vocal, rather than Benjamin Orr.

I got such a kick out of hearing these alternate versions, taking pleasure in the raw quality of the sound, the lyric and instrumental variations, and the evidence of how polished and energetic the band was, even before they were signed to a major record label.

The final five tracks on disc two are previously unreleased demos of songs that were staples at The Cars’ early live shows. You’ll find three solid rockers, a quirky dance tune, and an aching ballad, all of which were crowd favorites for years but never showed up on vinyl.

Binding all of this terrific music together is a 24-page booklet, chock full of photos (including the original album art), lyrics, and liner notes. Maxanne Sartori, the Boston disc jockey largely credited with launching the band, pens her thoughts, and excerpts from Brett Milano’s essay in The Cars Anthology liner notes make an appearance as well. The icing on the cake? Greg Hawkes provides little personal stories and factoids about each entry on the second disc to flesh out the history of the songs… fascinating tidbits for die-hard followers of The Cars, like me!

All in all, this was a superb repackaging of an incredible album, and a must-have for Cars fans. So how will the 2017 expanded editions compare to the deluxe treatment? We’ll take a look in my next review!

Bob McKeon: Ben Orr, under arrest?

Once upon a time, in the peaceful hamlet of Allston, Massachusetts, a diabolical plot was carried out: the murder of Michael Mackin! But who could be so evil? So cunning? And so sure that he… or she… could escape detection?

Okay, that’s not exactly what happened… er, at least not for real.

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The Boston Globe, August 6, 1987

On August 8, 1987, Boston’s public access television station, WGBH, hosted a benefit as part of their annual fundraising events. The theme was “Murder at MYSTERY! Mansion” and those in attendance were charged with the task of solving a faux crime, specifically, figuring out who murdered Channel 7 reporter Michael Mackin. Other local celebrities and notable personalities were there, too, and, as witnesses to the ‘death’, were considered suspects.

One gentleman at the charity event was Massachusetts State Police (MSP) Corporal Bob McKeon. Bob was recruited as a volunteer by Carole Nash, owner of the Nash Modeling Agency in Boston, to play the part of the arresting officer at the end of the evening.

As best as Bob can recall from this night over thirty years ago, the excitement got underway while the volunteer actors were gathered on a stage and the guests were mingling nearby. The lights suddenly went out, and when they came up again, Mike Mackin was dead on the floor — the game was afoot! After his body was removed, guests had to interact with the suspects to try to determine who was responsible for the terrible tragedy.

Bob himself was downstairs in a private room, waiting for his cue for the grand finale. He wasn’t privy to all that was happening above so he isn’t sure how Vincent Price fit in, or if a dinner was served, or in what ways the guests obtained clues to solve the mystery. But he was far from bored: Mike Mackin was brought into the room from the stage, and the two had fun shooting the breeze while the event continued upstairs. A little later, Bob had the pleasure of chatting with Benjamin Orr and Diane Page for a bit when they stepped away from the action of the stage.

While Ben and Diane stayed close together most of the evening, Ben made his way down to the room for a short break. He and Bob conversed easily as they found they had obvious common interests. “Ben was a supporter of the MSP. He asked me about my career. Apparently he was friendly with some of the Troopers on the Mass Pike [located in Weston] and mentioned going to the shooting range with a couple of them. He spoke well of the Massachusetts State Police.”

Diane joined them shortly afterwards. Bob found Diane and Ben to be refreshingly genuine and open, and he enjoyed their quiet chat very much.

ben by bob mckeon
L_R: Bob McKeon, Carole Nash, Diane Page, and Benjamin Orr, August 8, 1987. Photo courtesy of Bob McKeon, shared with permission.

Eventually it was Bob’s turn to make his appearance in the drama. He headed back upstairs and prepared for his signal calling him to emerge through the curtain.

“When it came time to see who was responsible for Mackin’s murder, I walked onto the stage. I stood out like a sore thumb being dressed in two-tone blue and not black and white like everyone else,” Bob recalled. He played his part perfectly. “I slowly walked past all the alleged suspects and returned to Diane and arrested her for the murder. Then I surprised the crowd by arresting Ben as a co-conspirator before and after the fact.”

The evening was a success, and remains a wonderful memory for Bob.

“It was all in good fun and they raised a sizable sum of money during the event. I was happy they took a photo of myself with Carole, Diane, and Ben. It is a great memory of a fun event. I found Diane and Ben to just be normal folks when I was one-on-one with them. Ben was really nice and I felt sad when he passed.”

Of course, the ‘charges’ were dropped and no one’s permanent record was affected, though Ben did leave a favorable lasting impression on Bob McKeon.

Thank you so much for sharing your little bit of Ben history with us, Bob!  ❤

In other words:

wedding with judith
Photo courtesy of Judith Orr; shared with permission.

“Was this for real? Here was this incredible man I loved saying the most romantic words. He bent down on one knee and pulled out a stunning diamond ring. He brought me to Weston to propose on my birthday… Who could say no to that?

“We were only engaged for a month and we had the most spectacular tropical island wedding in the Fern Grotto in Kauai, Hawaii. Ben planned it all himself while I was working. It couldn’t have been more perfect.” — Judith Orr, excerpt from Let’s Go! Benjamin Orr and The Cars by Joe Milliken

I love that “Dirty Water”

Back in February I was poking around on Facebook and I stumbled across this hidden gem that Boston musician (and Associate Professor at Berklee College of Music) Lisa Guyer posted back in 2014:

hatch shell facebook

Confused GIF-downsized_largeWhat the heck? Here was an event Ben was involved in that I had never heard of before, and with another of my favorite Boston rockers, Charlie Farren! Lisa’s post gave me some obvious clues to the story behind the photo and I was eager to start digging.

Initially, there wasn’t much to find. At the end of the day my little file consisted of the Facebook screen shot above, one newspaper clipping, and a newfound familiarity with the Hatch Memorial Shell and the song “Dirty Water” by The Standells.

Though I couldn’t find an exact listing for it on the Guinness Book of World Records website, apparently there is a category for most guitarists (or musicians?) playing one song for the longest period of time. In 1994, 1,322 guitarists jammed with Randy Bachman to “Taking Care of Business” for 68 minutes and 40 seconds, and I think that was the record… But then it gets kind of confusing, because there seems to be some crossover between setting a record for the largest guitar ensemble playing one song, and the largest guitar ensemble playing one song for the longest time, and I just can’t figure it all out right now so… let’s just settle on knowing that in 1997, hundreds of guitar players and musicians in Boston gathered in attempt to break a Guinness world record by playing “Dirty Water” by The Standells for a really long time.

That song, by the way, is a beloved Boston anthem. The tune has been cranked for cheering crowds after home victories by the Bruins and the Red Sox since about 1995. Written by Standells producer Ed Cobb and released in 1965, the lyrics draw attention to some of the less savory elements of Boston history and what used to be the disgustingly polluted Charles River, and yet the singer declares, “I love that dirty water. Boston, you’re my home!” The simplicity of its garage rock beat and catchy riff seal the deal as a natural song choice for tackling this world record (whatever exactly it may be).

And the venue… Officially titled the Edward A. Hatch Memorial Shell, Bostontonians have been enjoying a variety of free outdoor concerts, movies, and public events at the Hatch Shell for over 90 years. Its unique structure is located on the Charles River Esplanade and is surrounded by a large and inviting lawn. The Shell’s spacious wooden interior, which is famous for regularly accommodating the Boston Pops Orchestra, provides plenty of room for multiple guitarists, drummers, and keyboard players to spread out. Isn’t it gorgeous?

Hatch Shell - Concerts and Movies (With images) | Outdoor stage ...

After gleaning these tidbits, I had to table the topic. But a most happy circumstance has brought it back to the forefront! Jonathan R. discovered and generously shared a very recent YouTube upload of some live footage from this event ~ including Benjamin!

There are actually five video clips all together. I’ve created a playlist of the segments in chronological order.

The video clips armed me with new keywords to search and angles to pursue, and I was able to find a couple more articles from The Boston Globe. Here are some additional factoids I picked up:

  • The event was the brainchild of Promotions/Artist Relations Director Candi Bramante (now Bettencourt). Candi’s family owned Daddy’s Junky Music, and this gathering was, in part, a way to celebrate the 25th anniversary of that beloved New England guitar and audio equipment chain. She’s also the one that uploaded the footage to Youtube. I’m SO grateful she did!
  • The original vision for the record-breaking attempt was hammered out and refined at the Hard Rock Cafe in March of 1997 with input from Charlie Farren, Johnny A (Peter Wolf) and Brandan Sweeney (Notary Public), among others. Those who met together were hoping for around 3,000 guitarists to join the cause.
  • The entry fee to register as a player was only $5. Part of the proceeds from the event were donated to charity, including contributions to the House of Blues Foundation and the Bob Woolf Charitable Foundation.
  • 56749225_1206984519483899_3958792582175129600_o
    Event t-shirt (image retrieved from the Benjamin Orr Remembered Facebook group)

    Lisa Guyer and Mama Kicks performed as the ‘house band’ and backed the other musicians for the entire show. Wowza! No wonder she said in her Facebook post that the song now makes her cringe a little!

  • Many other Boston legends are seen in the footage, like Rich Bartlett, Tom Hambridge, Hirsh Gardner, John Muzzy, and Phil Bynoe. I can’t make out some of the names that the announcer says in the videos so if you recognize any other artists, please let me know and I’ll add them to the list.
  • hatch-shell-dirty-water_Lj7LH1AS
    Back of event t-shirt (image retrieved from All About The Benjamin Facebook group)

    Other musicians slated to play (but I’m not positive that they did) were Barry Goudreau, John Cafferty, Gary Gramolini (of the Beaver Brown Band), Jon Butcher, Johnny A, Stu Hamm (Joe Satriani), and David Minehan (The Neighborhoods). You can see the highlighted guests on the back of the event t-shirt to the right. I wonder if any of the coordinators kept their final list of all the participants?

  • The whole swarm ended up playing “Dirty Water” continuously for one hour and 29 minutes, which reportedly set a record for the longest time a band (the rockers on stage) played one song for an audience. Unfortunately, the gig only ended up with about 1,200 registered guitarists, which was 400 short of setting the Guinness record they were actually targeting. It certainly wasn’t a bust, though: amateurs, professionals, and spectators alike all had a great time, coming together as a Boston rock-and-roll family. ❤

You know, there were at least a half a dozen photographers crawling on and around that stage. What a treasure it would be if they would dig out their booty and share photos of the show with us! Pretty please?

And while we’re at it, I would love it if Candi Bettencourt would upload the entire uncut footage. Even if it’s not the best camera work, fans would rejoice in being able to experience this bit of Boston history with so many incredible musicians.

ben
Ben, AJ Wachtel, AJ’s son, Harrison

There are a couple of cool photographic dots we can connect here, by the way.

First, this is the same event our friend AJ Wachtel told us about; it was the last time he remembers getting to hang out with Ben. This photo on the right is from that day — click here to read the full article.

Also, Mazarkis S. pointed out that this event is also the likely location of another classic Ben photo. It’s kind of tricky, because Ben wore his ABATE shirt a couple of times (I’m thinking particularly of Ben with Tom Hambridge at the Snowfest in Two Rivers, Wisconsin), but based on the color of the lanyard and access pass, I believe Mazarkis is right.

cleaned up
Not sure to whom the photo credit belongs, but the original was cleaned up here by Becky B.

That’s about all I could come up with. I’ll post the newspaper articles in an album on Facebook. I’m keeping my fingers crossed that maybe others will chime in with their memories, photos, or videos of that day. I remain optimistic that more bits o’ Benjamin history will surface; surely there is more to discover!


Whenever I am researching something specific like this, I end up going down sooooo many little rabbit holes, which is frustrating because it then takes forever for me to finish an article, but it’s also cool because I tend to discover some pretty interesting stuff. Here are a couple of the ‘bonus features’ I found when I was working on this article.

  • This hilarious 2020 commercial features a snippet of “Dirty Water.”

 

  • The Standells were central characters in an episode of The Munsters!

 

  • Last one: Created from a block of silicon, and based on the Fender Stratocaster, the world’s smallest guitar is about the size of a single human blood cell and has strings that can be plucked. Seriously! Basic nerd link: click here. Super-science-nerd link: click here.

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Okay, enough of that. I’ll leave you with this bit of grand delight. Enjoy!

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