Candy-O by The Cars

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Candy-O by The CarsFollowing up on a massively successful debut album is a daunting task. A group may want to build on their most successful musical elements while still leaving room to explore new directions. The members of The Cars found themselves in such a place in 1979 as they followed up their fantastic self-titled debut with their sophomore effort, Candy-O. Led by composer, guitarist and vocalist Ric Ocasek, the band blended their rock rhythms with topical new wave styles to make an album that alternates between radio and art rock. The resulting album is a sustainable second record that stands above the shadows to be in the conversation with The Cars’ best early work.

Although there was an excess of material after the production of , The Cars, in 1978, most of the songs on Candy-O were freshly composed specifically for this second album. While Ocasek was undoubtedly the leader of the musical direction, much of the true performance talent rested with the other four band members, starting with the lead instrumentalists, Elliot Easton on guitars and Greg Hawkes on keyboards.

Like the debut album, Candy-O was produced by Roy Thomas Baker and peaked at #3 on the Billboard album charts during its initial run, briefly re-entering the charts five years later in 1984. The album is also visually notable for the classic “pin-up girl” cover, painted by artist Alberto Vargas of a model coincidentally named Candy Moore.


Candy-O by The Cars
Released: June 13, 1979 (Harvest)
Produced by: Roy Thomas Baker
Recorded: Cherokee Studios, Los Angeles, 1979
Side One Side Two
Let’s Go
Since I Held You
It’s All I Can Do
Double Life
Shoo Be Doo
Candy-O
Night Spots
You Can’t Hold on Too Long
Lust for Kicks
Got a Lot on My Head
Dangerous Type
Group Musicians
Ric Ocasek – Lead Vocals, Guitars  |  Benjamin Orr – Lead Vocals, Bass
Elliot Easton – Guitars, Vocals  |  Greg Hawkes – Keyboards, Saxophone, Percussion, Vocals
David Robinson – Drums, Percussion

The album starts strong with the upbeat and catchy “Let’s Go”, sung by bassist Benjamin Orr, who shares lead vocal duties with Ocasek throughout the album. With a wild synth riff, percussive effects, and a cool pre-chorus with rolling drums by David Robinson, “Let’s Go” serves as the perfect extension of the first album’s vibe and entertaining quality. As a result, the single peaked at #14, making it the highest charting song by The Cars to that point. “Since I Held You” is a more guitar-based rock song, even a bit bluesy in its intro. While this song does not have as much movement as the one that precedes or follows it, it does have a steady vibe with great guitar riffs.

“It’s All I Can Do” is based on a rotating riff, built with electric piano and bass. The chorus soars into a fine mixture of square synths and catchy vocals hooks, followed by a short but entertaining lead guitar section by Easton. However, the true genius of the song is the interplay between Orr’s vocals and Hawkes subtle keyboard textures. “Double Life” is built on a lazy riff, a chanting melody, and building sonic textures until it climaxes with a raw and potent guitar lead. At the end, the song breaks down into this psychedelic synth of “Shoo Be Doo”, which is really just stereo filler without much real substance. The order quickly breaks from the chaos with the synth and dance-oriented title song. “Candy-O” has some rock elements through the interlude riff and drum parts but, in the end, is really a canvas for synth fonts and soon became a classic rock radio staple.

On the second side opener, “Night Spots”, the group advances a bit into the eighties in style, showing how influential The Cars actually were in their day. This syncopated arpeggio track was the only song left over from the debut that was included on Candy-O. “You Can’t Hold On Too Long” is the only song on the album not written solely by Ocasek, but a true band collaboration. This is a pure new wave rock with a refreshing return to guitar riffs musically, along with good drumming, a mixture of rhythms and a bluesy guitar lead in the coda. At first, “Lust for Kicks” sounds like another section of a multi-part song, but with a stripped back arrangement led by Hawkes’ bouncy, high organ patterns. “Got a Lot On My Head” is the weakest song on the album (with the possible exception of “Shoo Be Doo”), as a frantic but weakly composed track. The album recovers to finish strong with the steady rocker “Dangerous Type”. Once again, the pop craftsmanship is masterful by Ocasek and the rest of the band brings their musical “A” game. The song and album ends with a nice coda and long fade to make the listener want for more.

Following the success of Candy-O, The Cars faced a bit of disappointment with third studio album, Panorama in 1980. However, the band would recover strongly and find more great success with a string of hit albums and songs through the middle of the decade before the their breakup in early 1988.

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1979 Images

Part of Classic Rock Review’s celebration of the 35th anniversary of 1979 albums.

Top 9 Rock Festivals of All Time

This week Classic Rock Review joins the celebration of the 45th Anniversary of the historic 1969 Woodstock Music Festival. In conjunction with Top 9 Lists, we present a list of the Top 9 Rock Festivals of all time, along with a bonus list of Top 9 Single Day, Single Location Concerts.

Woodstock from behind the stage

1. Woodstock

August 15-18, 1969
Bethel, New York

This remains the mother of all music festivals, held at a 600-acre dairy farm owned by Max Yasgur. A series of coincidental events unfolded which effected the location and operation of this festival, which grew to become a “free” event for over 400,000 attendees. Regarded as a pivotal moment in popular music history, 32 acts performed during the rainy weekend, starting with Richie Havens, and concluding with a memorable performance by Jimi Hendrix as the crowd dispersed mid-morning on Monday, August 18th. Woodstock was immortalized in a later documentary movie as well as a song by Joni Mitchell, who was one of many major acts that did not attend by later regretted it.

Woodstock Performers: Richie Havens, Sweetwater, Bert Sommer, Tim Hardin, Ravi Shankar, Melanie, Arlo Guthrie, Joan Baez, Quill, Country Joe McDonald, Santana, John Sebastian, Keef Hartley Band, The Incredible String Band, Canned Heat, Mountain, Grateful Dead, Creedence Clearwater Revival, Janis Joplin with The Kozmic Blues Band, Sly and the Family Stone, The Who, Jefferson Airplane, Joe Cocker and The Grease Band, Ten Years After, The Band, Johnny Winter, Blood, Sweat & Tears, Crosby, Stills, & Nash, Paul Butterfield Blues Band, Sha Na Na, Jimi Hendrix and Gypsy Sun Rainbows

Buy Woodstock soundtrack
Buy Woodstock: Three Days of Peace & Music DVD

2. Monterey Pop Festival

June 16-18, 1967
Monterey, California

Jimi Hendrix at MontereyCredited as the event which sparked the “The Summer of Love”, The three-day Monterey International Pop Music Festival had a rather modest attendance but was soon recognized for its importance to the performers and significance to the sixties pop scene. The lineup consisted of a blend of rock and pop acts with memorable performances by The Who and Jimi Hendrix Experience.

Monterey Pop Performers: Jefferson Airplane, The Who, The Jimi Hendrix Experience, Janis Joplin, Otis Redding, Booker T. & the MG’s, Ravi Shankar, The Mamas and the Papas

Buy Monterey Pop Festival Live album

3. Live Aid

July 13, 1985
London and Philadelphia

Live Aid, PhiladelphiaStill the largest benefit concert 30 years on, Live Aid was a also the first live multi-venue event, with over 70,000 at London’s Wembley Stadium and close to 100,000 at JFK Stadium in Philadelphia. Organized by musician Bob Geldof of the Boomtown Rats as relief for the Ethiopian famine, the concert evolved from Band Aid, a multi-artist group who recorded “Do They Know It’s Christmas?” in 1984. Live Aid was also one of the largest worldwide television broadcasts, with an estimated audience of 1.9 billion in about 150 nations. Memorable performances and moments included those by Queen, U2, Dire Straits, a reunited Black Sabbath, and a loose reunion by members Led Zeppelin, the first since their breakup in 1980.

Live Aid Performers: Status Quo, The Style Council, The Boomtown Rats, Adam Ant, Spandau Ballet, Elvis Costello, Nik Kershaw, Sade, Sting, Phil Collins, Branford Marsalis, Howard Jones, Bryan Ferry, David Gilmour, Paul Young, U2, Dire Straits, Queen, David Bowie, Thomas Dolby, The Who, Elton John, Paul McCartney, Band Aid, Joan Baez, The Hooters, Four Tops, Billy Ocean, Black Sabbath, Run–D.M.C., Rick Springfield, REO Speedwagon, Crosby, Stills and Nash, Judas Priest, Bryan Adams, The Beach Boys, George Thorogood and the Destroyers, Simple Minds, The Pretenders, Santana, Ashford & Simpson, Madonna, Tom Petty and the Heartbreakers, Kenny Loggins, The Cars, Neil Young, The Power Station, Thompson Twins, Eric Clapton, Led Zeppelin (announced as “Jimmy Page, Robert Plant, John Paul Jones, Tony Thompson, Paul Martinez, Phil Collins”), Duran Duran, Patti LaBelle, Hall & Oates, Mick Jagger, Eddie Kendricks, David Ruffin, Tina Turner, Bob Dylan, Keith Richards, Ronnie Wood, USA for Africa

Buy Live Aid DVD

4. Isle of Wight Festival

August 26-30, 1970
Isle of Wight, UK

Isle Of Wight Festival, 1970In sheer numbers, the 1970 Isle of Wight Festival may be the largest ever, with estimates of over 600,000, which is an increase of about 50% over Woodstock. Promoted by local brothers Ronnie, Ray and Bill Foulk, the 5-day event caused such logistical problems (all attendees had to be ferried to the small island) that Parliament passed the “Isle of Wight Act” in 1971, preventing gatherings of more than 5,000 people on the island without a special license. Memorable performances included late career appearances by Jimi Hendrix and The Doors, and The Who, who released their entire set on the 1996 album Live at the Isle of Wight Festival 1970.

Isle of Wight 1970 Performers: Judas Jump, Kathy Smith, Rosalie Sorrels, David Bromberg, Redbone, Kris Kristofferson, Mighty Baby, Gary Farr, Supertramp, Howl, Black Widow, The Groundhogs, Terry Reid, Gilberto Gil and Caetano Veloso, Fairfield Parlour, Arrival, Lighthouse, Taste, Rory Gallagher, Chicago, Procol Harum, Voices of East Harlem, Cactus, John Sebastian, Shawn Phillips, Joni Mitchell, Tiny Tim, Miles Davis, Ten Years After, Emerson, Lake & Palmer, The Doors, The Who, Sly & the Family Stone, Melanie, Good News, Ralph McTell, Heaven, Free, Donovan, Pentangle, The Moody Blues, Jethro Tull, Jimi Hendrix, Joan Baez, Leonard Cohen, Richie Havens

Buy Message to Love, The Isle of Wight Festival DVD

5. Ozark Music Festival

July 19-21, 1974
Sedalia, Missouri

Ozark Music Festival stage“No Hassles Guaranteed” was the motto of the Ozark Music Festival, held at the Missouri State Fairgrounds in 1974. While this festival offered an impressive lineup of artists as well as a crowd upwards of 350,000 people, the Missouri Senate later described the festival as a disaster, due to the behaviors and destructive tendencies of the crowd.

Ozark Music Festival Performers: Bachman–Turner Overdrive, Aerosmith, Premiata Forneria Marconi, Blue Öyster Cult, The Eagles, America, Marshall Tucker Band, The Nitty Gritty Dirt Band, Boz Scaggs, Ted Nugent, David Bromberg, Leo Kottke, Cactus, The Earl Scruggs Revue, Lynyrd Skynyrd, Electric Flag, Bob Seger & the Silver Bullet Band, Joe Walsh and Barnstorm, The Souther Hillman Furay Band, The Ozark Mountain Daredevils, Charlie Daniels Band, REO Speedwagon, Spirit

6. US Festival

May 28-30, 1983
Devore, California

Steve Wozniak’s US Festivals were staged on two occasions in September 1982 and May 1983. The second of these was packed with a lineup of top-notch eighties acts who performed in an enormous state-of-the-art temporary amphitheatre at Glen Helen Regional Park.

1983 US Festival Performers: Divinyls, INXS, Wall of Voodoo, Oingo Boingo, The English Beat, A Flock of Seagulls, Stray Cats, Men at Work, The Clash, Quiet Riot, Mötley Crüe, Ozzy Osbourne, Judas Priest, Triumph, Scorpions, Van Halen, Los Lobos, Little Steven & the Disciples of Soul, Berlin, Quarterflash, U2, Missing Persons, The Pretenders, Joe Walsh, Stevie Nicks, David Bowie

7. The Crossroads Guitar Festival

June 4-6, 2004
Dallas, Texas

Crossroads Festival 2004 adStarting in 2004, the Crossroads Guitar Festivals have been held every three years to benefit the Crossroads Centre for drug treatment in Antigua, founded by Eric Clapton. These concerts showcase a variety of guitarists, with the first lineup at the Cotton Bowl stadium in 2004 featuring some legends along with up-and-comers hand-picked by Clapton himself.

2004 Crossroads Guitar Festival Performers: Eric Clapton, Johnny A, Vishwa Mohan Bhatt, Ron Block, Booker T. & the M.G.’s, Doyle Bramhall II, JJ Cale, Larry Carlton, Robert Cray, Sheryl Crow, Bo Diddley, Jerry Douglas, David Honeyboy Edwards, Vince Gill, Buddy Guy, David Hidalgo, Zakir Hussain, Eric Johnson, B.B. King, Sonny Landreth, Jonny Lang, Robert Lockwood, Jr., John Mayer, John McLaughlin, Robert Randolph, Duke Robillard, Carlos Santana, Hubert Sumlin, James Taylor, Dan Tyminski, Steve Vai, Jimmie Vaughan, Joe Walsh, ZZ Top, David Johansen

Buy Eric Clapton: Crossroads Guitar Festival 2004 DVD

8. Live 8

July 2, 2005
Locations world wide

Pink Floyd at Live 8Held 20 years after he organized Live Aid, Bob Geldof’s Live 8 was even more ambitious, being held in nine different locations around the world on the same day. Timed to coincide with the G8 conference in Scotland that year, the goal was to raise money to fight poverty in Africa. The most memorable moment from the concerts was at Hyde Park in London where the classic lineup of Pink Floyd reunited for the first time in over two decades.

Live 8 Performers: U2, Paul McCartney, Annie Lennox, Mariah Carey, R.E.M. The Killers, The Who, UB40, Pink Floyd, Elton John, Bob Geldof, Velvet Revolver, Madonna, Coldplay, Robbie Williams, Will Smith, Alicia Keys, The Black Eyed Peas, Kanye West, Linkin Park, Jay-Z, Rob Thomas, Sarah McLachlan, Stevie Wonder, Maroon 5, Deep Purple, Neil Young, Buck Cherry, Bryan Adams, Mötley Crüe, Brian Wilson, Green Day, a-Ha, Roxy Music, Dido, Peter Gabriel, Snow Patrol, The Corrs, Zola, Lucky Dube, Jungo, Pet Shop Boys, Muse, The Cure

Buy Live 8 DVD

9. Woodstock ’94

August 12-14, 1994
Saugerties, New York

Organized to commemorate the 25th anniversary of the original Woodstock festival, Woodstock ’94 was promoted as “3 More Days of Peace and Music”. in fact, this concert took place near the originally intended location of that first show and other similarities such as common performers, similar crowd size, rain, and mud.

Woodstock ’94 Performers: Blues Traveler, Candlebox, Collective Soul, Jackyl, King’s X, Live, Orleans, Sheryl Crow, Violent Femmes, Joe Cocker, Blind Melon, Cypress Hill, Rollins Band, Melissa Etheridge, Crosby, Stills, & Nash, John Sebastian, Nine Inch Nails, Metallica, Aerosmith, Country Joe McDonald, Sisters of Glory, Arrested Development, Allman Brothers Band, Traffic, Santana, Green Day, Paul Rodgers Rock and Blues Revue, Spin Doctors, Porno For Pyros, Bob Dylan, Red Hot Chili Peppers, Peter Gabriel

Read more on Woodstock ’94 from our recent Comebacks and Reunions special feature


Bonus Top 9 List: Best Single Day, Single Location Shows

The Who at Concert for New York City

1. The Concert for New York City October 20, 2001. New York, NY
2. The Band’s Last Waltz November 25, 1976. San Francisco, CA
3. Atlantic Records 40th Anniversary Celebration May 14, 1988. New York, NY
4. Concert for Bangladesh August 1, 1971. New York, NY
5. Knebworh Festival June 30, 1990. Knebworth, UK
6. Texxas Jam July 1, 1978. Dallas, TX
7. Farm Aid September 22, 1985. Champaign, IL
8. Canada Jam August 26, 1990. Bowmanville, Ontario
9. Altamont Free Concert December 6, 1969. Tracy, CA

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Ric Albano

The Cars

The CarsQuite simply one of the best produced albums of the era, the 1978 self-titled debut album from The Cars was a unique sounding breakthrough which brought the group instant worldwide attention. This is due to the brilliant production by Roy Thomas Baker and the approachable compositions of group leader Ric Ocasek. Combined, these elements made for a potent mix of new wave cool and radio-friendly pop, which positioned The Cars as an unavoidable jewel to carry the day in the late seventies. The band would later jokingly refer to this as their “true greatest-hits album”, as just about all of the nine tracks have receive significant rotation on rock radio through the years.

Ocasek and bassist Benjamin Orr began performing as a duo in Columbus, Ohio before migrating to Boston in the early 1970s. There they joined with keyboardist Greg Hawkes, formed the folk band Milkwood, and released a 1973 album which failed to chart. After a few more Ocasek/Orr incarnations, including a jazz band, the group decided to go in a rock-oriented direction. Guitarist Elliot Easton and drummer David Robinson rounded out the quintet with Robinson coming up with the band’s simple name.

After a demo of the song “Just What I Needed” began getting heavy airplay on a Boston radio station, Elektra Records sent Baker across the ocean to scout the band. After seeing The Cars perform in a Boston school gymnasium, Baker instantly signed the group to a four album deal, all of which he would personally produce.


The Cars by The Cars
Released: June 14, 1978 (Elektra)
Produced by: Roy Thomas Baker
Recorded: AIR Studios, London, February 1978
Side One Side Two
Good Times Roll
My Best Friend’s Girl
Just What I Needed
I’m in Touch with Your World
Don’t Cha Stop
You’re All I’ve Got Tonight
Bye Bye Love
Moving In Stereo
All Mixed Up
Band Musicians
Ric Ocasek – Guitars, Lead Vocals  |  Benjamin Orr – Bass, Lead Vocals
Elliot Easton – Guitars, Vocals  |  Greg Hawkes – Keyboards, Saxophone, Vocals
David Robinson – Drums, Percussion, Vocals

 

The albums first three tracks each reached the Top 40 on the pop charts. “Good Times Roll” commences the album aptly with a slow-rocking guitar riff to draw in traditional rock fans while a full-fledged new wave band arrangement and production is attractive to fans on late 70s pop. Like many of the popular songs on the album, “Good Times Roll” is masterfully segmented with repeated choruses each containing different sonic elements – a guitar riff, a synth lead, chorus vocals, and creative counter-melodies. The song methodically sequences through musical passages on the journey to the song’s end. Ocasek’s lyrics and title are meant more as irony than a true pronouncement of celebration.

“My Best Friend’s Girl” follows with much of the same formula as “Good Times Roll”, building from a simple guitar riff to a full band arrangement. However, this song has more roots rock and blues elements than the opener, especially the cleanly picked guitar overdub and lead by Easton and the bouncy electric piano by Hawkes. While this recording pushes the song into new wave territory, it remains firmly a pop song with simple elements like handclaps and call-and-response vocal interplay. “Just What I Needed” may be the most purely new wave song on the album with spazzy guitars and square-wave synth lead. The only song on the first side which Orr sings instead of Ocasek, the song was the group’s first big hit regionally and internationally.

Aside from the cool but repetitive guitar riffing, “I’m in Touch with Your World” is really just a sound-effect-laden collage which tends to sound undercooked and a bit confused. Although not a terrible listen, the song is almost like an experimental piece which samples many synth-driven sound effects and uses other concise methods such as a saxophone solo that lasts all of five seconds. “Don’t Cha Stop” starts with a good guitar led verse which unfortunately gives way to the stale caricature of a chorus. Aside from drummer Robinson getting a chance to really wail on the drums, this side one closer one of the few tracks on the album which doesn’t hold up sonically three and a half decades later.

The flange-driven drum march of “You’re All I’ve Got Tonight”, which later contains a few really good guitar jams. Beyond that, the song tends to lose steam as it gets repetitive during the body. Perhaps, the formula from side one goes a bit too far on this side two opener and by this point on the album Ocasek’s dry vocals seem to wear a little thin on the ears of the passive listener. Perhaps Baker had this in mind when sequencing the final three tracks which each feature Orr on lead vocals.

These final three also segue into each other, in an exhilarating mini-suite which may constitute the finest part of The Cars. “Bye Bye Love” is simply the best song on the album. A composition which dates back to the mid seventies, this tune has a driving rock energy and Orr not only handles lead vocals but also plays his best bass on the album. Aside from Orr, the song is a real showcase for Hawkes, who artfully uses the repetitive riffs between the verse lines with layered and building keyboard font which change with each iteration. A less in-your-face and more unassuming track than some of the more popular songs, “Bye Bye Love” starts and concludes with great energy with Easton’s brilliant guitar a head-banging, rudimental rock riff.

Hawkes co-wrote “Moving in Stereo”, making it the only song on the album not composed solely by Ocasek. A darker, theatrical, and more intense sonic experience which nearly lasts five minutes (a very long song for this album), the song carries a theme for audiophiles and stereo enthusiasts. Orr has a much smoother singer style which works well for this moody song and his bass is treated with an effects unit that doubles the bass line one octave higher. The closer “All Mixed Up” is the closest thing to a ballad on this album, with Orr singing in an almost folk-like method and with a higher range than anywhere else. While the song maintains some of the album’s new wave elements, it contains many other features such as some good faux synth orchestral horns, an actual saxophone, and a short, country-influenced guitar lead.

The Cars sold one million copies by the end of 1978 and remained on the charts for nearly three years. Although it only peaked at number 18, Billboard ranked it number 4 on their “Top Albums of the Year” countdown. Critically, the album has been labeled “a genuine rock masterpiece”. It launched a ten year charting career for the group which included several more hit albums and songs.

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Part of Classic Rock Review’s celebration of the 35th anniversary of 1978 albums.


1978 Images