From what I can tell, this was The Cars’ fourth weekend gig at The Rathskeller in Boston. They played Thursday through Sunday, April 28-May 1, 1977, sharing the bill with The Good Rats (a New York band with a cool history). It is unclear which night was recorded here.
The flyer advertisement I used at the beginning of the video includes a photo of the early band, before Greg Hawkes joined in January, 1977. The guy on the far right is Danny Louis, the original keyboard player. Elaine Hawkes once commented that she thought the reason the guys were still using this photo to advertise the band was because they were too broke to get new promo shots taken right away.
Another note about the video: I’m not sure if the photos by Joanie Lindstrom are from this actual Rat performance. They look awfully similar to the Robert Post set that was taken in early February, so they could be from that.
Okay, let’s check out the show. Here’s the set list:
There’s a bit of a rocky start, and it sounds like Ben jumps in just a little too soon, but he corrects himself and then away he goes. A pretty cool show here: more fiddling with the instrumentation and the vocal delivery, and the songs move another notch closer to their final versions. There’s a little feedback problem in “Strawberry Moonlight” — eek! — and Ric on vocals for “Bye Bye Love” — double eek! The live version of “Wake Me Up” is a gem and I’m so glad to have it, in spite of the poor audio quality. ❤
To me, the most notable thing about this show is the song labeled “Looking to See You.” This was completely new to me! The originator of the audio file isn’t even sure if that’s what it’s called because, as far as we know, there are no other published recordings of it. It’s a great song! I assume it was written by Ric, but I know nothing about it. Maybe others can fill in the details?
Enjoy the show!
Please remember that these live audios are not to be bought or sold!
Be sure to subscribe to my YouTube channel and tap on the little bell to get notifications of when I upload new stuff. I’ve started keeping a playlist of the live shows in chronological order. You can check it out here:
So we know the story about Roy Thomas Baker driving out to see The Cars play in a snowstorm at the end of 1977, and everyone shaking hands on going to England with him to produce the first album. Well, that wasn’t the first time The Great Snowflake proved fortuitous for the band. Mother Nature gave our boys a little gift at the beginning of that year when they were just starting out.
In March of 1977, Bob Seger was riding high on the huge success of his recently released breakthrough album, Night Moves. Though it was his ninth studio album, it was the first one to catapult him into nationwide success and his first to go platinum. He had booked a show at the Music Hall in Boston for Friday, March 18, with Derringer as his opening act. [Nerd alert: Seger had not headlined in Boston before. Another first for him!]
Friday arrived and Derringer opened the show as planned, but Bob got stuck. Heavy snowfall prevented his plane from landing and he was forced to fly back to New York. Apparently Derringer had finished their set before the postponement announcement came, and, amazingly, they played another rockin’ set before the fans were sent home.
The concert was rescheduled for Monday, March 21, but Derringer was not able to play that date for some reason. I didn’t do deep research on the ‘why’ behind that because what matters is that the opener slot was left vacant. Even up to the day of the show, the replacement act had not been announced: the newspaper ad stated, “It is expected that a local band will open tonight.”
The Cars were still fairly new at that time — in terms of the combination of members, anyway. Greg had joined the band sometime in January as the fifth and final Car part (groan!), and their first live show all together was at The Rat on February 7. In Joe Milliken’s book, Let’s Go! Benjamin Orr and The Cars, we learned that band manager Fred Lewis convinced music promoter Don Law to let The Cars slip onto the bill for that Seger show, though they only had a handful of gigs in the bag.
Obviously, this was a terrific stroke of luck for The Cars. Not only did it give them a chance to reach a greater audience, but it also put them on the radar of the bigger wigs in the music industry. Yay for snowstorms!
So let’s get to the actual recording. I wish it was video footage! Still, I am so grateful for this auditory treat. The person who captured the concert on tape showed up just a bit late, so we miss a smidge of the first song. The Cars’ set lasted just under 30 minutes, and included:
“Bye Bye Love” with Ric on vocals.
“I Don’t Want To,” sung by Elliot.
“Leave or Stay”
“You Can Have ‘Em,” also known as “Sleepy Wasted Afternoon.” [Sweet Ben jumping the starting gun! ❤ ]
“Don’t Cha Stop” (called “Don’t You Stop”), with a Greg synth riff in place of EE’s later solo and some slippery vocal timing on the chorus.
“Come Back Down”
I couldn’t find a written review of The Cars’ performance (I guess Bob Seger was terrific!), but the crowd sounds appreciative of the band in the audio file. I also don’t know the number of people actually in the audience, but I think the seating capacity of the Music Hall was around 3,500, which was quite a bit more than The Rat held. Haha!
A few notes:
It’s cool — and a little strange! — to experience these early incarnations of “Bye Bye Love” and “Don’t Cha Stop.”
We definitely hear a little more addressing of the crowd than Ric usually participated in during a live show.
I love the little bits of banter that Ben sneaks in, like when he mentions the ‘strange people up there in the balcony’ around 12:25.
And is that Greg that says, “Good Lord! Look at that!” right before Ben’s comment?
And speaking of Greg, listen for his badass saxophone work!
Also, don’t miss Ben’s introduction to “Come Back Down” at about 16:12.
Oh, and about “I Don’t Want To”… I think this is an original Cars’ song because of the way Ric introduced it, even though I’ve never heard of it referred to anywhere else in The Cars’ discography. I wonder who wrote it? Probably Ric, I know, but it seems like something Elliot could have penned. I’ll have to do a lyrics post for it, too, because this song is hilarious. And does anyone else feel their heart rate spike when Ben sings, “bay-be bay-be bay-be, bay-bay!” or is it just me? I think that’s my favorite part of the whole show.
Okay, your turn! Click below to listen to one of the earliest published recordings of The Cars. Enjoy!
As many of you know, Panorama is my favorite Cars’ album! It was released 40 years ago today, on August 15, 1980. To celebrate, I’ve got stickers to give away!
If you’d like one, please mail me a self-addressed, stamped envelope and I’ll send a sticker your way! A small envelope with a single stamp will do; the diameter of the circle is only 3 inches. Because I have a limited quantity, it will be first come, first served.
Here’s my mailing address:
P.O. Box 925
Priest River ID 83856
Some quick facts about this album, and a few links:
It is The Cars’ third album, and Roy Thomas Baker continued his streak as the band’s producer.
It was initially recorded at Power Station Studios in New York. Roy was unhappy with the situation there so they packed up their stuff and moved to Cherokee Studios (where they had recorded Candy-O) and started over. Man oh man, how I’d love for those initial tapes to surface!
The photography for the cover art was done by the amazing Paul McAlpine. The flag on the front was mistakenly believed to be a painting done by David Robinson, but that has since been debunked.
I did go ahead and upload the audio of John Lennon talking about “Touch and Go” to YouTube to make it easier for people to hear.
I’m ashamed to admit that I’ve been sitting on an interview I did with Gerald Casale since around February. He directed the videos for “Panorama” and “Touch And Go,” and he was so gracious to speak to me at length! It’s kind of a stupid story as to why it’s not done yet but no excuses; it’s on me. I’ve got it in the queue and hope to get it published soon!
Here’s the official video for “Panorama.” I LOVE THIS!!
Oh, and of course, Dave and I dissected this album for the podcast back in 2018.
Whew — okay, I think that’s it for now! Don’t forget to send me an envelope if you want that sticker. And now? Time to crank my favorite Cars record!! Enjoy this full-album playlist from The Cars Official Youtube channel. ❤
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 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!