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.
Benjamin Orr at The Marshalls’ record release party, 1979. Courtesy of Barry Marshall, shared with permission.
David Robinson at The Marshalls’ record release party, 1979. Courtesy of Barry Marshall, shared with permission.
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 the Size of 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!
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!
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.
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!
About half way through their Heartbeat City tour, The Cars stopped in Toronto, Ontario, Canada, and played at the CNE Grandstand (formally known as the Canadian National Exhibit Stadium). Though the band wasn’t in town for long, a couple of cool things took place at that August 8, 1984, show.
Before I get to those unique happenings, let me get a little bit of business out of the way. I don’t have a ton of background on the concert itself, simply because I just haven’t had time to do in-depth research, but I do believe that this was the second time the band performed at the CNE, having stopped there during the Panorama tour. They weren’t strangers to Toronto, though; the also played at the El Mocambo for the debut album, and at the Maple Leaf Gardens in support of Candy-O. And I know that the Canadian press wasn’t super impressed with this particular show, but then, they never really seemed to be in The Cars’ corner over the years (with the exception of writer Peter Goddard).
Wang Chung was the opening band, and then our band took the stage. I’m not positive that this is the actual set list played that night, but here is what The Cars worked through on August 6 and August 10 (both the same), so it’s gotta be close.
It’s Not the Night
Touch and Go
Looking for Love
Gimme Some Slack
Jimmy Jimmy (Ric Ocasek song)
Just What I Needed
A Dream Away
You Might Think
My Best Friend’s Girl
Encore: Heartbeat City
Encore: You’re All I’ve Got Tonight
And while though those two paragraphs above are a bit light on details, I DO have an excellent eyewitness account of the concert to share. Fellow Cars fan Doug Parsons was just 16 years old when he stumbled into the chance to see The Cars live. Rather than try to retell his experience in my own words, I’ll let you read his take on how The Cars rocked his world:
I was born and raised in Dartmouth, Nova Scotia. The Cars never played in Atlantic Canada when they toured, which was very frustrating to me, as they were my favourite band. It was only through a rather strange sequence of events that I got to see them in Toronto in the summer of 1984.
Earlier that year, I made a new friend and I spent a lot of time with him that spring. We really were an “odd couple” … we basically had nothing in common except that our older brothers knew each other. He lived with his father in Dartmouth, but his mother lived in Toronto. Sometime in June, he mentioned to me that he was going to visit his mother in the summer for three weeks and asked if I would like to go along. Having never been to Toronto, I was obviously excited to go. I didn’t expect that my parents would let me go, but they did, so I ended up going with him.
He had a girlfriend there, and I REALLY liked his girlfriend’s best friend (sounds almost like a Cars song, doesn’t it?). So one night we were over at his girlfriend’s house, and while I was unsuccessfully trying to chat up her friend, I heard over the radio that was on in the room that The Cars were going to be playing at the CNE Grandstand … and it was WHILE we were in Toronto! Needless to say, I immediately starting bugging my friend to go to the concert with me, which he unenthusiastically agreed to do.
So fast forward to the night of the concert. We got on the bus to the CNE, and after about 20 minutes my friend says, “I think we are going the wrong way.” So he asked the bus driver, and indeed we were going the wrong way. Fortunately, we made it to the CNE while Wang Chung were still on stage. I heard them play “Dance Hall Days” and they sounded great, but I was really only interested in seeing The Cars perform.
So, after what seemed like a LONG intermission … the lights went down, and the crowd started to roar … and then I heard “Hello…hello again!” And I was up on my feet and I didn’t sit down until the lights went back up. I had seen a few concerts in Dartmouth, but nothing of this magnitude. The stage layout was so futuristic with all of the TV screens playing exotic-looking videos. And song after song that I had played on my record player so many times … “Let’s Go” … “Cruiser” … “Just What I Needed” … and on and on. But the two songs that REALLY blew me away were “Good Times Roll” and “It’s Not the Night.” I was not expecting “Good Times Roll” to have such a cranked-up guitar sound, and as much as I liked the album version, I LOVED the live rendition. “It’s Not the Night” was just plain amazing, with all of the layered synthesizers and Ben’s incredible vocals. It really gave me chills.
This was my first outdoor concert, and the beautiful weather and the excellent acoustics of the CNE made it a truly sublime experience. To this day, it remains my all-time favourite concert.
And my friend? TOTALLY indifferent. Sat for the entire concert and said afterward that he found it boring. Like I said, we really were an odd couple. After we got home, we basically stopped talking to each other, which was probably for the best, as he started to associate with some rather unsavoury characters.
And my best friend’s girlfriend’s friend? Turned out that she liked my best friend’s little brother. Just like in a Cars song.
Oh man, I can just feel his heart start to race when he heard those opening lyrics, can’t you? I love that he shared his memories with us! And from his account we can determine that the set list that night did vary a bit. Good to know!
Okay… so the first cool thing. According to one review (from The Toronto Star, August 9, 1984, pictured below), there were only about 8,000 people in attendance. Interestingly, one of those people was none other than the actor, Rob Lowe!
Now, you all know who Rob Lowe is, right? Having made his acting debut at the age of fifteen in a short-lived sitcom in 1979, Rob burst into the 80s movie scene in the coming-of-age classic, The Outsiders. From there it was silver-screen sailing, as he starred in one Brat Pack classic after another, establishing himself as a teen idol and relentless heartthrob. A sex tape scandal in 1988 knocked his reputation for a loop for a bit, but he continued to work steadily, and in the 2000s, he reclaimed his status as an acting force to be reckoned with (and still just as handsome as ever!) on the set of The West Wing and beyond.
Well, rumor has it that Rob was a big fan of The Cars during his high school days. He’s alluded to it himself on Twitter, and actress Melissa Gilbert (among others) has reminisced about driving around and listening to The Cars with Rob. Coincidentally, The Cars used a little snippet of Rob’s appearance on Andy Warhol’s TV in their mini-documentary about the making of the video for “Hello Again.” Check it here at 1:50. Anyway, in 1984 Rob was in Toronto filming Youngblood with co-stars Patrick Swayze and Cynthia Gibb. On the night of the Cars’s show at the CNE Grandstand, photographers spotted him in the crowd enjoying himself. Awesome! I wonder if he got to visit backstage and meet the band?
From The Toronto Star, 1984
From The Toronto Star, 1984
Oh, and if you needed to see that photo of Ben from the article a little clearer… here it is. It’s very similar to the one by Philip Kamin in the Peter Goddard book; the one that Kurt Gaber uses for the memorial shirts. What a stunner!
Now the second cool thing.
While The Cars were in the Toronto area, they were presented with an award for selling over 200,000 units of Heartbeat City — also known as ‘going double platinum’. A little blurb about it was printed in RPM Weekly on September 22, 1984, with a bit of a grainy photo. Luckily Louise Potts posted a clearer version of the picture on Facebook.
Isn’t that great? I love when these little puzzle pieces fit together, and what a treat to get a glimpse of the other commitments that filled the band’s time while they were on the road. The obsession continues!
(Oh, and here’s an extra little factoid: Greg’s double platinum award sold at auction in March of 2019 for $400. Wowza!)
It’s finally here, people: Turbocharge: The Unauthorized Story of The Cars is available on Amazon Prime! Regular followers of the podcast will know just how much my co-host Dave Curry and I have longed for this day! The journey goes back over a decade…
Dave remembers when this film was completed in 2008, and there were posts popping up on social media about some screenings in New York. For many Cars lovers, the thrust of the movie was perplexing and unclear. A website to promote the film was also launched, featuring some bizarre clips and puzzling images that could only serve to mystify fans even more. Dave’s curiosity was piqued and never quite subsided, even as chatter about the movie eventually cooled. In time, it seemed the reality of this little film was sinking into the depths of Fanorama folklore, with only odd blips of its existence evidenced on its equally fading website.
But like Gage coming back to life in Pet Sematary, awareness resurfaced when the writer of the film, David Juskow, brought up Turbocharge on his personal podcast in December of 2017. Its revival spurred Dave into action, and he began a little Twitter campaign prodding Juskow to dust off the film and share it with us for review on our NiGHT THOUGHTS Podcast. His efforts were successful and Dave and I were allowed a private online screening. We were electrified by the movie, recognizing it as a hilarious and wonderful tribute to The Cars, and we strongly encouraged (begged?) Juskow to reconsider releasing it to the rest of the world. And so here we are!
**Before I get into my review/history of Turbocharge I am going to issue a DISCLAIMER: I know there’s been lots of recent discussion about who we would cast in a serious movie about The Cars. Let me state unequivocally that this movie is NOT a serious movie about The Cars! While much of the band’s true history is represented, this is a parody, an exaggeration, and at times a downright fabrication of events for comedic purposes. As Dave Curry said on our podcast, “In order to enjoy this film, you have to set aside what you know about Ric Ocasek, Benjamin Orr, Elliot Easton, Greg Hawkes, and David Robinson, and you have to accept them as these characters in this film.” If you can do that, you will love this movie!**
Created more as an act of rebellion, New York comedian, writer, and filmmaker David Juskow was fed up with the stereotypical ‘serious’ rock biopic. One night in 2005, after nearly gagging on the cheesy dialog and overbearing drama in Hysteria: The Def Leppard Story, he had had enough. It was the final push he needed to pursue his own project.
“I made Turbocharge out of spite, let’s just say that. It is completely spoofing the genre of any biopic that’s been made of a music band. That is exactly what it is,” Juskow told me with finality.
It’s no secret that The Cars were crazy-popular throughout the late 70s and on into the 80s, but intuitive fans recognize that they were never ones to really push themselves into the spotlight. No exhaustive merchandising, far-reaching world tours, or relentless appearances on the late night television circuit. As a whole, they were a low-key and private band, holding the media at arms’ length and creating an air of mystery about their deeper identity. Did they have a story to tell?
Juskow believed they did.
Exaggerated personalities, terrible wigs, and an unorthodox plot make this hilarious film the breath of fresh air the genre needs. Narrated by a snowman a la Rankin/Bass, the story revolves around The Cars’ reputation for being robotic and boring during live shows, and their supposed determination to correct that perception with the fans. Running alongside that thread is the assertion that bassist Ben Orr was secretly plotting to wrest the control of the group from co-founder and songwriter Ric Ocasek. In an unexpected twist, Phil Collins is delightfully in the middle of it all.
Sure, Juskow pokes fun at the band, but he’s not vicious. He respects all five members very much. “Nothing about the movie is mean-spirited,” he assured me. “I can’t make a movie like that. It’s always got to have goodness in it.” And it’s not like he had to make a bunch of stuff up; Juskow would soon discover that The Cars’ own history easily leant itself to comedic treatment.
On the whole, David Juskow is a man of strong, immediate emotions paired with a very thin verbal filter, pretty standard on the streets of Brooklyn (“People either love me, or they really, really dislike me,” he laughs). Fortunately he grew up in the riotous era of late 1970s television and he generally sees the world through sitcom lenses. Juskow takes timeless gags and bits from those classic shows and weaves them into his standup act. His penchant for spotting the ridiculous moment, his ironic delivery, and his spot-on celebrity impressions soften his edges with his friends and fans. Those talents also lead him to create great comedy.
The idea for Turbocharge actually materialized in the mid-80s during Juskow’s college days. The Heartbeat City album took his ears by storm. He remembered, “I thought it was the greatest album I had ever heard in my life, and ‘You Might Think’ – the song itself – just completely spoke to me. I went backwards from there and started worshipping all of their stuff. The videos made no difference to me, it really was the music, and I just really got into that Heartbeat City album. Greg Hawkes’ influence in that stuff really worked for me and that’s why I really liked them. They just had such interesting melodies and electronic keyboards. And then I was just obsessed with everything they did.”
Lightning hit in the summer of 1985. Juskow’s voice escalated with emotion as he explained, “I remember exactly where I was during Live Aid. I was at this party in Rochester, New York, and I was waiting and waiting for The Cars to come on. Everybody was outside but I’m just waiting for them to be on, and then they get cut off by Phil Collins! And I was like, ‘What?! How could you do that to my boys?!’
“Being a huge fan of The Cars at that time I was so angry that they got shafted that it turned to comedy in my mind. I was like, ‘Someday I’m going to depict that!’”
Two decades later, the time had come. The 20th anniversary of Live Aid unearthed Juskow’s earlier grudge over the Phil Collins fiasco, and that, coupled with his disgust over the Def Leppard movie, prompted him to approach his good friend, television industry veteran Memo Salazar. “I said to him, ‘Let’s just do this. It will be stupid, but it will be brilliant… in a way,’” he laughed.
Memo said he might do it if Juskow wrote the script, and so it was on. Juskow spent the next several months researching The Cars’ history, confirming things he already knew and then going deeper. And the further he dug, the funnier it became. The peculiarity of Ric and Ben’s early partnership, The Cars ‘trashing’ a hotel by leaving pictures askew, the perceived disaster of the Panorama album… it was the oddities in the band’s journey that propelled everything forward with the movie.
Not only that, but the band members’ public personas were ripe for humorous distortion. David Robinson, the consummate ladies’ man – you just had to have that character brought out. And Ric’s exaggerated awe of anyone who does anything ultra-creative, Elliot’s stony seriousness that was masking his sharp wit, and the sweet-faced Greg, who surely must have been hiding a side of snark behind that smile.
“You couldn’t even make a serious biography about these guys. It would have to be hilarious. They are a true rock and roll band who are a bunch of nerds, and I knew I must tell this story in a nerdy way… and yet we all know they rock.”
Juskow does take an obvious amount of creative license, but many of his conjectural elements are a weighty mix of fact and thoughtful contemplation. He fleshes out underlying fan controversies… questions like why didn’t Ben sing more? Was Ben ambitious? Did Ric and Ben reconcile before Ben passed away? Juskow speculated about what might have been bubbling up in Ben. “It’s weird. He clearly has a better singing voice. He’s clearly more attractive. And in my mind I’m saying, ‘what’s going on behind the scenes? Why don’t I do a movie just saying how angry this guy is? He doesn’t have any songwriting talent so he gets screwed.’”
“Everybody takes liberties for drama purposes,” Juskow went on. “What would you have if you didn’t have a fun antagonist? C’mon, you need someone to get mad about Andy Warhol: ‘You hired this guy? Are you kidding me?’”
And there’s the difference: Juskow’s forays into embellishment are not designed to evoke emotion with the cookie-cutter ‘climb to fame’ struggles of the typical rockumentary… they’re just damn funny.
The cast is largely made up from Juskow’s comedy family and ‘friends of friends,’ including Kevin Kash, Rachel Feinstein, Jonathan Katz, Irene Bremis, H John Benjamin, John Samuel Jordan, David Engel, Tom Shillue, and Dave Attell. Juskow himself plays Ric Ocasek. Out of necessity, the lines were few and far between for his character. “There was no way I could direct and be in the movie; it was too complicated. It was way easier to just be silent and ‘tortured.’”
The soundtrack includes music from Eric Barao, The Cautions, Frank Stallone, and a couple of Cars-flavored tunes written by Juskow himself.
As I mentioned above, the film originally opened in 2008 with a few private screenings in the New York area, but Juskow didn’t pursue much more exposure than that. He felt it was a bit of a niche film and was afraid there wouldn’t be much of an audience out there, but we know there is! The playful humor and witty references will hit home with Cars fans and lovers of 80s culture alike. You can check it out on Amazon Prime by clicking here: Turbocharge! Watch it, and then find me on Facebook or comment below to tell me what you think!
With the official release of the parody biopic Turbocharge: The Unauthorized Story of The Cars just around the corner, my longing for a true and deep telling of The Cars’ history, which is never far below the surface, springs forth. An actual, factual, full-length documentary would be my first choice (to reduce room for inaccuracies justified by creative license and sensationalistic fabrications), but barring that, it would be so great to have a serious movie made about The Cars.
And that, of course, begs the question: who would play our boys?
Not too long ago this article was posted on Facebook (thank you, Michelle B!) that gives one website’s suggestions on who should be cast to play the members of The Cars if a biopic was made.
Here are their choices:
Ric Ocasek: Nat Wolff
Benjamin Orr: Liam Hemsworth
Elliot Easton: Jonny Weston
Greg Hawkes: Tyler Posey
David Robinson: Daniel Radcliffe
Uh, these guys don’t look like they can fill the bill to me. Reading that article, they’ve got a bunch of reasons behind their choices in terms of each actor’s musical experience, acting background, and the potential chemistry of the cast as a whole. I get that, but still, I was like, “Really???” There just has to be visual compatibility between the actor and the person they are portraying. And of course, I know that Hollywood can do amazing things with makeup and stylists and whatever other theater hacks they have (Rami Malek as Freddie Mercury? Brilliant!), so I’m not saying those choices are impossible, but they were pretty unsatisfying to me.
So now I’m going to give my candidates (surprised?), but obviously, nothing so deep for me. Mine are pretty much all based on looks and my own two cents, and limited by my lack of extensive knowledge of today’s young stars. One disclaimer: My biggest challenge is height, I think. My actor choices don’t measure up (or down, as the case may be) to create an accurate lineup, so I’ve had to override that consideration.
Alright, here we go. My top picks:
Ric Ocasek: My mind immediately went to the early 80s comedian Richard Belzer, who looks a lot like Ric, and is even the same age. Of course… his age is the problem; he certainly wouldn’t be able to pull off those early years. In light of that, my present-day choice would be Scott Mechlowicz. He doesn’t quite have the same eclectic overall look as Ric, but his eyes, though they’d be under shades most of the time, are amazing, and I think that when revealed in the right scenes, they would be dramatic and able to communicate the beauty and mystery of Ric’s inner self.
Benjamin Orr: Did anyone else’s jaw drop when Ben Hardy showed up as Roger Taylor in Bohemian Rhapsody? He would have been the perfect Ben for OUR Ben! Of course, it wouldn’t be cool to have Hardy play another rock star, so I had to look elsewhere. Interestingly, I had recently stumbled across a great candidate in a clip from the show “The Carrie Diaries” that featured “Drive.” Austin Butler played the part of Sebastian Kydd, and his resemblance to Ben is striking. He’s got the right coloring, plus the sensuous mouth and beautiful blue eyes. We might have to pluck those eyebrows a little, though. Haha! Somewhat appropriately, this summer Butler was cast to play Elvis in a biographical Warner Brothers drama slated to begin filming next year. You’ll remember, I’m sure, that Benjamin has been referred to as ‘the Elvis of Cleveland.’
Elliot Easton: Unlike Ben and Ric, no great options for Elliot jumped into my mind when I started considering my cast. I fished around for a bit with little success. I remembered Mark O’Brien from an episode of “City On A Hill” and thought he had potential. Not sure if his hair is thick enough, but he kind of has the right air about him; he would do. But then I discovered a better choice. I am really digging on Ellar Coltrane (without that thing in his face). He’s got great hair, the perfect mouth, those piercing eyes… and he just looks like our badass guitar player so much! He’d be perfect.
Greg Hawkes: With such a sweet disposition and an inherently boyish air about him, I really want someone who can capture the essence of Greg. The speed bump? It seems that every viable choice is six feet tall! I had to discard Thomas Brodie Sangster for that very reason. Just when I was thinking I’d have to stall out with Seth Green (who is clearly too old), I remembered Alex Lawther from one of my favorite movies, The Imitation Game. He’s cute and thin and quirky, and looks like he could handle the nerd factor (in a good way!). And at 5’8″, I think he’s as short as I’m gonna find!
Thomas Brodie Sangster
David Robinson: The choices I like for David are all too old, I think. Zachary Levi, John Krasinski (if I can stop seeing him as Jim Halpert), and the claymation Santa (!!) all bear a believable resemblance, but probably wouldn’t cut it when it comes to portraying David banging it out in DMZ. Combing the younger crowd has me coming back to Dylan O’Brien again and again. Not sure what it is about him… His mouth isn’t quite the same, and we’d have to change that eye color, but he seems to have that same intelligent, amused look on his face that David always has. I think with a few alterations he could pull it off.
Clearly, my actor choices aren’t the only options. I’ll bet you have some favorites, too, that you consider ringers for our beloved band members. Comment below or find me on Facebook and tell me your top picks!
You probably already know that. Of course you do. It is all over every newswire; the world is in mourning.
I’m touched by the number of friends and fans that have contacted me to make sure I was aware, to see if I was okay, and to share their tears with me. Thank you for that. It is both overwhelming and comforting to be a part of so much heartbreak. There is shelter in our mutual grief, and I am grateful for the sincere connection with so many people who love the band I love.
Like many Benjamin Orr fans, when I first started learning all about Ben and researching the history of The Cars, I immediately adopted the opinion that Ric was the bad guy. I couldn’t see the necessity and beauty of his role; I only saw things in the negative: lead vocal distribution, video screen time, touring and merchandising decisions. It’s no secret that he was highly controlling (he admitted it himself more than once) and that he gained the most financially from the band’s success, and I felt that he often came across as arrogant and self-absorbed in those early interviews. I pinned everything on him: certainly the break-up of the band, as well as Ben’s drinking, Ben’s sadness, and Ben’s lack of commercial success in those turbulent 1990s.
It was my friend and podcast partner, Dave, who helped me unclench my fist. We’ve always shared a friendly “Team Ric vs. Team Ben” rivalry, and through many lengthy discussions he chipped away at my tunnel vision and illuminated the human side of Ric, the likeable side. My perception slowly shifted.
I acknowledged that Ric was the one who wrote the music that moved me, the lyrics that resonated. I admitted that I loved a lot of the songs Ric sang. I was reminded that he was Ben’s steadfast partner in chasing the dream, the two of them trekking from state to state in one band or another, both aware (subconsciously or not) that they needed each other to make it. Ric introduced us to David, Elliot, and Greg, too, when he finally solidified The Cars. I saw how in his later years Ric mellowed, spoke kindly of Ben and the band, and communicated his deep respect for the men with whom he made his mark. All these things softened me.
I’m not saying that Ric didn’t play a significant part in all of the ugly, he doesn’t get a ‘pass’ by any means. And I’m not claiming to know how deep his regrets may or may not have been. But I do believe that Ben and Ric made amends before Ben died. I believe that Ric’s love for Ben was sincere and deep, in spite of whatever divided them in the past. Elliot, Greg, and David all speak of Ric with the affection and loyalty that reflects the thick bonds of brotherhood they all shared. If those who were actually hurt by Ric can forgive him, how can I, an outside observer, hold a grudge?
I’ve grown to genuinely admire and respect Ric so much over the last two years. He was intelligent, creative, talented, and he was an integral part of the band I love the most in this world. His death is a terrible blow, a sucker punch. Tears came unexpectedly; many, many tears. I’ve spent a lot of time thinking about how I’d have to say goodbye to my rock idols someday… but not Ric. Not now.
There’s just such a finality in Ric’s death. It’s the end of an era. There is really no moreCars. There will be no more albums, no more tours. And what of the fabled vault? It’s excruciating to accept that so much history may be gone forever, too.
And so I focus on gratitude.
Thank you for all that your music gives me, Ric: the hyper, the healing, the escape. Thank you for the way you gave me Ben. Thank you for providing the platform for David and Greg and Elliot. Thank you for performing at the Rock and Roll Hall of Fame induction ceremony in 2018 so I could see The Cars live. Thank you for changing the course of music history.
I don’t know exactly how the afterlife works but I suspect (and hope) that you and Ben are reunited, rockin’ and happy. Rest in peace.