Posts Tagged ‘Cheap Trick’

Pop Goes the World: Cheap Trick, “All We Need Is a Dream”

The fantasy of owning a time machine is a fun one, isn’t it? Most people would go back and stop Hitler. Patton Oswalt would go to 1983 and kill George Lucas with a shovel. I, on the other hand, have a much simpler, if less lofty, wish. I’d go to the offices of Epic Records and crash the meeting where they discussed what song they should release as the third single from Lap of Luxury, Cheap Trick’s 1988 comeback record, and stop them from doing something tragic.

Epic was probably feeling bulletproof at the time. They had forced the band into accepting songs from outside sources, or else they’d be dropped. The band, grudgingly, agreed, and the first single, the non-Cheap Trick-written “The Flame,” was a Number One smash. Epic played it even safer with the second single, a cover of Elvis Presley’s “Don’t Be Cruel,” and were rewarded with yet another Top Five hit. (To be fair, this was the obvious choice for second single.) However, with two consecutive Top 5 singles under their belts, Epic clearly thought that this outside writer’s thing was what Cheap Trick needed all along, and so when it came to the third single, they went with a song written by one of the most successful – and most hated – factory writers of all time: Diane Warren.

You just shuddered, didn’t you? I know I did.

“Ghost Town” may sport a co-writing credit by Rick Neilsen, but please; this is Cheap Trick song the same way that “She’s a Beauty” is a Tubes song (which is to say, it’s not). Even worse, the song was another ballad, meaning that three singles in, Cheap Trick had yet to release a truly Cheap Trick-like song. By the time they finally did release a typical CH song, “Never Had a Lot to Lose,” it was too late. The programmers weren’t interested anymore, and the song stalled in the bottom reaches of the chart.

Fools. They had a perfect third single sitting right in front of them.

“All We Need Is a Dream” was the Hit That Got Away, and quite possibly could have changed the band’s fortunes on a number of levels. First off, the song was a Cheap Trick original – though it features a co-writing credit by Greg “Call to Your Heart” Giuffria – meaning if it becomes a hit, the band would have the leverage to tell the label that the public still wants Cheap Trick songs that sound like Cheap Trick, not some faceless studio band. (The most obvious benefit to this is that we would later be spared “Can’t Stop Fallin’ into Love,” the dreadfully dull lead single from the band’s 1990 follow-up album Busted.) More importantly, the song wasn’t another damn ballad. Def Leppard was launching hit after hit from Hysteria at the time; what radio station that played “Armageddon It” or Bon Jovi’s “Bad Medicine” wouldn’t have spun the daylights out of “All We Need Is a Dream”? Huge chorus, some studio trickery with that flanging sound on the keyboards, and Robin Zander doing that unforgettable “HELLO!” at the beginning of the verses? Stupid, stupid, stupid decision not to release this as a single.

To be honest, I can’t really tell you why I’m so passionate about this one song of theirs. I always imagined that I’d be really good at picking the singles from an album, and when Epic didn’t do what I would have done, it became a crusade of sorts. Whew. I feel better now.

Cheap Trick – All We Need Is a Dream

The Friday Linkfest: 2/27/09

The Wall Street Journal wonders if Irving Azoff is the man who can save rock ‘n’ roll, and heralds the return of the green-haired animated superhero known as Captain Planet;

Cahl’s Juke Joint reviews Eddie Mack: The Complete Recordings and Gurf Morlix’s Last Exit to Happyland;

Eddie Money proves that the rock-musical trend has finally gone too fucking far;

Everyone’s favorite Lefsetz goes cuckoo for the new U2;

On the Trail of the Great shows some love for singer/songwriter Don McGlashan;

Ickmusic issues a disappointing update on Prince’s newest Web venture, then reviews J.J. Cale’s new album, Roll On;

Rolling Stone takes a peek inside the upcoming Zappa box, Lumpy Money;

Idolator interviews Ne-Yo;

The Beastie Boys talk to the BBC about their “strange” next album, Tadlock’s Glasses;

Wings for Wheels posts the eight funniest words in movie history;

Topless Robot counts down the eight most awesome old school 3-D flicks;

Slacktivist looks at the other side of the myth of the undeserving poor;

Kinder Trauma relives the horror of Toto’s “Stranger in Town” video;

The long-lost 20th take of “Revolution 1″ makes its way onto the Web;

Def Leppard, Cheap Trick, and Poison just made our old pal Kurt Torster cream in his acid-washed jeans;

Jeff Vrabel, a.k.a. the Michael Phelps of Monopoly, looks under the Boardwalk of the game’s 4,219th reinvention;

Styx, REO Speedwagon, and 38 Special have come up with a “rock ‘n’ roll stimulus package” that we urge every state governor to reject;

Steven Page splits with the Barenaked Ladies, breaking the tender heart of our very own Jason Hare;

…and Taylor Hanson, Bun E. Carlos, Adam Schlesinger, and James Iha debut their first single as Tinted Windows, “Kind of a Girl”:

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Listening Booth: Cheap Trick, “BUDOKAN!”

Cheap Trick – BUDOKAN! (Sony/Legacy, 2008)
purchase this album (Amazon)

On the surface, I grant you, this looks like a terrible idea, especially if you’re a Cheap Trick fan. Sony went back to the well with the band’s classic At Budokan album 10 years ago, expanding its (already perfect) 10-track length to include material from the historic concert that was clipped from both the original and 1994’s Budokan II. Now that fans have At Budokan, Budokan II, and At Budokan: The Complete Concert to choose from, what else could possibly left to dredge up from a 30-year-old series of concerts?

Quite a bit, as it turns out. In fact, BUDOKAN! fills three CDs and a DVD — which is really pretty absurd when you hold it up against the perfect blend of power and economy that was At Budokan, but as a collectors’ item, it does pretty well on its own merits. Most importantly to diehards, Legacy has included video footage of the show the band played two days after At Budokan, previously unseen to all but the lucky few who watched it the single time it aired on Japanese television. It’s nothing revelatory, but it’ll prove a powerful lure for diehards — especially when you consider that Amazon is selling the box for $37, well under the $49.98 MSRP.

Also included is audio from the DVD performance, as well as the requisite double-disc remastering of At Budokan: The Complete Concert, plus a few stray extras on the DVD, including a pair of performances (”Voices” and “If You Want My Love”) recorded at Budokan earlier this year, and new interview footage.

Are Cheap Trick and Legacy soaking the band’s fans here? Yeah, probably. They could have released the DVD on its own, for one thing, or as a CD/DVD combo, rather than lumping it in with yet another reissue of the complete concert. Devoted Popdose readers know I’ve spent most of ‘08 with my nose firmly implanted in Legacy’s buttocks, but BUDOKAN! is one release I think they got wrong — there are certainly fans who already purchased At Budokan, Budokan II, and The Complete Concert, and those are the people who will be most tempted by the prospect of seeing the band in all its ‘78 glory. The price point isn’t as prohibitive as it could have been, but even a classic live album doesn’t need a deluxe reissue of its deluxe reissue, does it?

Me, I still think the original At Budokan — currently available for the low, low price of $6.99 — is the best of the lot. And I’ll tell you another thing: I’m not writing “Budokan” again for at least a year.

Song-Off Jr.: Families Who Are Alright

Cheap Trick – “Surrender”

The Who – “The Kids Are Alright”

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Who’s all right?

View Results
Last week, Dire Straits absolutely demolished Melanie Safka by the greatest margin in Song-Off history – 77% to 23%. Next week, we’ll drag out the old ball and chains.

Bottom Feeders: The Ass End of the ’80s, Part 16

bottomfeeders2.jpg

Last week I talked about “the Shrink,” the guy at the record show who thinks he knows everything about every artist that ever recorded. This week we move on to another one of my favorite characters: Mr. Random.

Mr. Random is the dude who comes into the twice-a-year record show with thousands of records in milk crates all around the floor and gets pissed off when the records aren’t in alphabetical order. I don’t expect everyone to be a hardcore collector like me, but it still makes me laugh when I see people get angry at randomness. Mr. Random was probably in his mid-40s or so and came in with his wife and two children. He immediately asked the seller, “Are these in any sort of order?” The seller told him that they were by genre only and that he was in the rock and pop section, with country, jazz, easy listening, etc., over on the far wall. After the seller walked away, Mr. Random started loudly complaining to his family: “How does he think anyone will buy any records if they aren’t in order?” Then he started flipping through the crates, you know, like ten records at a time, kind of looking in their general direction and feigning a bit of interest before walking away seemingly disgusted.

I really just wanted to answer his rhetorical question to his wife. “Who’s going to buy them? Well, pretty much everyone who comes here, sir, since you are clearly the only one that just stumbled across this record show. The rest of us are here because of the show, and I’m sure all of us don’t mind not having anything in order, and in fact most of us enjoy the fact that they are random because that’s part of the fun of the search.”

And yes, I completely realize that I sound like a record-show snob at this point, but I’m really not. Ninety-nine percent of the people that were at the record show were totally cool and, really, I couldn’t have cared less what they were doing or buying, but it’s the 1 percent that make for a good story.

NEW MUSIC FOR THE COLLECTION:
David Hasselhoff, Lonely Is the Night
Atlantic Starr, Brilliance
Jethro Tull, Under Wraps
Jethro Tull, Rock Island

More “C” artists to come as we try to keep up with the quality of last week’s songs with 20 more from the bottom of the Billboard Hot 100 chart in the ’80s.

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Phagz on 45: Episode Six

Phagz on 45

Here we go again — John C. Hughes and the world’s foremost Belinda Carlisle impersonator, a.k.a. his buddy Matty (or “Bearlinda,” if you prefer), knock back some booze and review some singles, homo style. This week your rainbeaux duo take a listen to songs by the B-52’s, R.E.M., Cheap Trick, Ace Frehley, and Nick Gilder while discussing high school rock bands, White Castle sliders, and Kate & Allie. Enjoy, and as always, MP3s of the songs are below so you can follow along at home.

The B-52’s — “Give Me Back My Man” (download)

R.E.M. — “Supernatural Superserious” (download)

Ace Frehley — “New York Groove” (download)

Cheap Trick — “Elo Kiddies” (download)

Nick Gilder — “Hot Child in the City” (download)

Hey, You Kids Get Out of My Yard!: Holdin’ Out for a Hero

When I was a kid, my heroes were, at the very least, deserving of adoration. The Beatles, Rolling Stones, Cheap Trick, Dan Pastorini (the one non-musician of the bunch) — the one thing they had in common was that they were immensely talented at what they did. Some would say that they were among the very best, and thus, they seemed bigger than life to me and the millions who adored them. I was inspired by them and what I perceived to be their dedication to the craft. I also admired their shrewd understanding that a fair bit of marketing went a long way, too.

Of course, the music world is not just full of legendary artists such as those named above. For as long as there have been artistes, there have been those whose marketing overshadowed their artistic endeavors. I’m thinking along the lines of C.W. McCall, Taco, and — oh, what the heck — Sigue Sigue Sputnik.

Such one-hit wonders would invariably come out of nowhere, dominate the airwaves for every last second of their fifteen minutes of fame and then, thankfully, disappear into pop oblivion. The respectable artists who were temporarily swept aside to make way for this brief dalliance with the latest “here today, gone tomorrow” pop confection would then return to their rightful place on radio playlists and the ship would right itself.

I mean, acts like Tiffany, Sly Fox, After the Fire, and others had their success, but it was always understood that they’d go away. That’s what one- or two-hit wonders did. It was understood.

But then something weird happened.

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The Year in Rock: 1978

Although released in late 1977, the Saturday Night Fever soundtrack would be impossible to ignore for much of 1978, with the Bee Gees’ “Night Fever” and “Stayin’ Alive,” as well as Yvonne Elliman’s “If I Can’t Have You,” all reaching #1. At several points during the first half of ‘78, the soundtrack album was selling over 1 million units a week.

Bee Gees – Stayin’ Alive
Bee Gees – Night Fever (w/ More Than a Woman) (more…)

Great Unknowns: Off Broadway

This column is dedicated to featuring those bands that aren’t household names but, to my ears, should be.

Growing up in a small town in southern Michigan, the closest major city was Chicago. We were still a good two hours away, though, so it was with great inconsistency that my little bedside transistor radio picked up Chicago rock powerhouse WLS (home of legendary rock DJ Larry Lujack). During the fateful summer of ‘79, while Cheap Trick enjoyed their first taste of national and international success, another Chicago band was also ruling the Windy City airwaves.

That band was Off Broadway, and the song was “Stay in Time,” the first single from their Atlantic Records debut, On. Comprised of simple elements — as is the case with all great rock songs — there was something about “Stay in Time” that was nevertheless unlike anything else. (more…)

Hey You Kids (Have a Happy New Year And) Get Out Of My Yard!

With Popdose having just rolled off the showroom floor all shiny and new, still full of that “new car smell,” I am chuffed to the ‘nads to be a part of such a venture. Never before has such an intimidating conglomeration of blog talent been gathered to unleash their musical musings upon the world. Truth be told, you, faithful Popdose readers, are some lucky sumbitches.

Seriously, think of Popdose as a real-life Justice League — except, instead of skin-tight spandex, snazzy masks, and flowing capes, the superheroes of the Popdose variety are adorned in ripped sweats, t-shirts with all manner of long-defunct band, record company, or dot.com logos, and mandatory bathrobes with loads of rear ventilation. Don’t let appearances fool you, though. We’re bad-ass. For example, I’ve been known to tag a misbehaving neighbor kid from thirty paces with a well-aimed slipper without spilling a drop of morning java.

Being that the odometer has rolled clean past 999999 on yet another year and we prepare to write “2008” on all checks from this point onward, I’m betting that some of you are filled with a sense of hope that this year will somehow be better than ol’ ’07.

How the fuck could it not be?

To put it simply, 2007 was to music what Pamela Anderson-Lee-Rock-Salomon is to the institution of marriage.

Of course, it wouldn’t be a new year without the barrage of year-end Best Of lists being proffered by every nitwit who has ever fancied themselves a rock critic. So many critics, yet every list seem comprised of the same ten albums. Arcade Fire, Spoon, Feist, Amy Winehouse, Of Montreal, yada yada yada.

How can that be? Were only ten albums released in ’07?

That adult life is no different from high school is never more obvious than when you see critics the world over name-check the same small reservoir of bands and albums, unafraid to admit that they never really got around to listening to the new Sigur Ros CD, but feel compelled to place it high upon their lists nonetheless.

Round up these same scribes and relocate them to the nearest deserted isle with only their year-end Top 10 selections and a solar-powered iPod to keep them company, you can bet your sweet music-loving ass that each one of them would be throwing themselves from the highest cliff or chiseling away at their own ears with a monkey skull and crayfish claw within the hour.

See, that’s what happens when you listen to an Arcade Fire CD minus the roomful of irony-drenched hipsters and kitschy ambience of a slumming socialite’s Lower East End loft.

Airdrop a few copies of my “Antidote For Those Forced To Listen To Their Own Year-End Top 10 List Selections” (see below), and watch just how quickly the last remaining survivors remove their necks from the noose and embrace the care packages with tears pouring from their bloodshot eyes.

If only they hadn’t lopped off their ears and tossed the bloody lumps into the sea that first day.

My irony-free wish for 2008 is that great music is made, embraced, and praised to the ends of the earth by those in a position to bring about change from the sickening sameness that has tainted the well these past umpteen years.

Various Artists/Antidote For Those Forced To Listen To Their Own Year-End Top 10 List Selections (Hey, You Kids! Records)

Beatles – Revolution (acoustic)
Tom Petty & The Heartbreakers – Mary Jane’s Last Dance
Cheap Trick – On Top Of The World
Slow Runner – Usual Chords
Heavens – Dead End Girl
Romantics – What I Like About You
Tourists – Week Days
Guster – One Man Wrecking Machine
Replacements – Talent Show
R.E.M. – At My Most Beautiful