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.
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!