Musical Precision Driving Machine
Ric Ocasek, one of the founders, and composer of much of the material for The Cars passed away unexpectedly last Sunday at the age of 75. In a sadly twisted bit of irony, just the evening before my wife and I were in her car heading to an engagement, and listening to the “Rock and Roll Hall of Fame” channel on Sirius. “You’re All I’ve Got Tonight” came blasting out of the speakers, and I thought to myself as the song moved along what a fantastic tune it is. I hadn’t heard it in a while, I had never thought of it as one of my Cars favorites, although I am a huge fan of the band.
It flashed into my head that it is just about as perfect a rock and roll song as you can get. A pulsating bass line, flashy, booming drums, fabulous guitar leads, great harmonies, and an ironic and somewhat negative lyric that belies the upbeat nature of the music. Ocasek’s lyrics were once described as “hardheaded to coldhearted”, and I would say that hits it right on the button. The song crashes to a tight conclusion that on the album segues immediately into “Bye Bye Love” which has always one my favorites from the band. I realize now how much I have underestimated “Tonight”.
The Cars have occasionally held the spot of desert island band in my world. That would be the band that if you could only hear the music of one act, who would it be? Steely Dan has been the choice at times, Mark Knopfler would be the choice now, but The Cars could always fit the bill, although the far more voluminous output of the other two would likely tip the balance if I ever had to make the unlikely and unfortunate choice.
I used to own a double CD of the first two albums by the band, “The Cars” and “Candy O”. I have raised more than a few eyebrows by noting my slight preference for “Candy O”, but I am far from evangelical on the topic. The self-titled debut album is so full of goodies itself, that it is merely perhaps just a contrarian view to lean to the second one.
The Cars formed in Boston in 1976 with a lineup that consisted of Okasek as primary songwriter and rhythm guitarist, who shared lead singing duties with bassist Benjamin Orr, lead guitarist Elliot Easton, drummer David Robinson, and keyboardist Greg Hawkes. Each brings a level of excellence, and all are intrinsic to the sound of the group. They were at the vanguard of New Wave, but I feel like the subset description Power Pop fits them better. Ocasek did write great pop music, but the lyrics gave the songs a grittier edge that separated them. The band members were hardly kids when they eventually formed The Cars. They had all played in many different bands. Ocasek was 33 when “The Cars” debuted in June of 1976.
I was in school at KU at that time, but that summer was spent back home in Boston, and that Cars alum was ubiquitous there. I returned to school to play the grooves off the record and get all my friends aboard the band wagon. The Cars hardly needed my help.
Hawkes ironically had suggested calling the eponymous album “The Cars Greatest Hits” reflecting the fleeting nature of the music business, but it wouldn’t have been a bad fit. There are nine tracks on the album and they are all radio ready, and there isn’t anything close to filler. In the days when non-singles were played on album radio, basically every tune sounded like a hit. In actuality, only “My Best Friend’s Girl”, “Just What I Needed” and “Good Times Roll” charted, and the album itself rose higher up the charts than the singles.
“Candy-O” followed so fast that the Elektra record label wanted to hold it up, but the band insisted in releasing it exactly a year later. It sold better than the debut, going all the way up to number three, despite the fact it was far less commercial sounding (likely the reason I favor it). The opener, “Let’s Go”, was the only single of consequence, and in my mind might be the weakest track. It’s followed by back to back brilliantly melancholy break up laments, “Since I Held You”, and “It’s All I Can Do”.
In a time when albums were constructed with two sides top of mind, “Candy-O” has two fabulous closers, the thundering title track that concludes side one, and the relentless “Dangerous Type” that concludes the record. None of the four tracks that I mentioned after “Let’s Go” likely resonates with most like virtually every song on the debut, but those tunes, a more stripped down sound, and more…well, balls…are why I lean to “Candy-O”.
Their fame was quite massive at this point, and they no doubt provided plenty of inspiration for geeky, techy, musicians. Except for Orr, the members of the band were pretty offbeat looking, although they did cultivate a certain look. Ocasek himself became a poster boy for the unattractive rocker who gets the girl when he married Sports Illustrated cover girl Paulina Porizkova. Stunning many, they would stay married the rest of Ocasek’s life, although they separated a year before he died. It was Porizkova who found him dead last Sunday of cardiovascular disease.
The Cars were still very relevant for a few more albums, but their sound became more experimental, although they would toss out an occasional commercial song like “Magic”. Their biggest hit was 1984’s “Drive” which doesn’t even sound like a Cars record.
Although The Cars were of an era, I think their music dates remarkably well. Orr and Ocasek each bring a little something different to their lead vocals, which were divided pretty evenly. The rhythm section of Orr and Robinson is not just tight, there is plenty of virtuosity there, and Elliott Easton is just a flat-out badass on guitar. Whether they were produced by Roy Thomas Baker (the first two albums) or Ocasek, their sound allowed the musicians to shine, but the somewhat spare style meant the lyrics could be clearly heard, even on the rowdiest tunes.
The Cars broke up in 1988, and only had a couple of fleeting reunions. That’s fine. I can go back to back with “The Cars” and “Candy-O” any old time. Sometimes a tragedy like the passing of Ocasek causes you to revisit something you really enjoy. But in my case, just hearing “You’re All I’ve Got Tonight” the night before he died was the inspiration. It was sad that my revival had to virtually coincide with the death of Ric Ocasek.
Rest in peace.