CHEAP TRICK: SPECIAL ONE (2003)
1) Scent Of A Woman; 2) Too
Much; 3) Special One; 4) Pop Drone; 5) My Obsession; 6) Words; 7) Sorry Boy; 8)
Best Friend; 9) If I Could; 10) Low Life In High Heels; 11) Hummer.
So, having just summarized the first
quarter-century of their career, Cheap Trick are left free to turn over the
page, clean up that slate, and embark upon the difficult journey of proving
their ongoing relevance to the 21st century — something that is hard enough to
do even for Radiohead, never mind a band that had always preferred to look back
to the past rather than forward into the future for inspiration. And how do
they fare?
Judging by contemporary reviews, not too good:
most critics viewed Special One as a
serious disappointment, bombarding it with one bad rap after another, and as I
am quickly browsing through the various assessments, I find myself a little
stumped, because, as far as my ears tell me, the worst thing that can be
deduced about Special One is that
there is nothing particularly special
about it — and that might be a good thing, too, since we don't really want
Cheap Trick to be influenced by Radiohead or the Beastie Boys or Godspeed You!
Black Emperor; we just want them to turn out juicy, crunchy, reliable,
old-fashioned power pop if they still can. And that is precisely what they do
here, for forty-six minutes.
Make just one little amendment: we want
power-pop with just a few subtle deviations from a narrow formula every now and
then, so that we can slap a «creativity» label on the record, and in that
regard, Special One does deliver.
There's electric pop and there's acoustic pop; there's faster and slower tunes
(maybe with a little too much emphasis on slow); there are tinges of
psychedelia, there are violations of the classic pop structure, there's some
humor, and there are no power ballads whatsoever. Throw in decent production
standards and the fact that all the band members are still in good shape
(Zander's roar is as roar-ish as it ever roared), and what else do you want?
What I believe is that few reviewers ever
really made it past the opening track. ʽScent Of A Womanʼ is not the worst
Cheap Trick song ever written, but it takes its subject way too seriously, and
it does make Zander sound a bit like Roger Daltrey, as suggested by some of the
reviewers, only while singing lyrics that were sure as hell not written by Pete Townshend: "A
man don't add up to much next to a woman / A man can't ever forget the taste of
a woman" — silly and gross,
especially when it is sung without the least bit of irony in the singer's
voice. You'd think these words and that exuberance would fit in just all right
on any of their pompous glam-Eighties albums, but now it is not clear what they
are doing at all in the middle of a perfectly valid power pop track, other than
prove that when Cheap Trick are committed to show themselves as old-fashioned,
they go all the way, warts and all.
Really, though, Special One is much more than just ʽScent Of A Womanʼ. The
acoustic-based tracks, for one thing, are quite lovely — and, for that matter,
Cheap Trick are rarely ever remembered for the beauty of their acoustic
melodies. But the title track has an excellent slide lick cutting across its
gentle stomp, and the song has an aura of gallant delicacy, rather than blunt
crudeness of the past; and ʽWordsʼ is arguably the best imitation of Lennon's
balladry style that they had managed to turn out at that point.
On the noisy rocking front, ʽPop Droneʼ, ʽSorry
Boyʼ, and ʽBest Friendʼ all qualify, but pay special attention to ʽBest Friendʼ
— foregoing the verse/chorus structure, this song gradually unfurls as a nasty
egotistic paranoid crescendo, vocals and instruments going hand in hand, until,
for the last two minutes, it simply becomes a hail of grinning "yeah yeah
yeah"'s and Zander's hysterical screams of "leave me alone, I'm my
best friend!". If you let yourself caught up in this, it's one hell of a
way to disperse frustration, and as for the lyrics, even if they give the
impression of being largely improvised on the spot ("I can't slow down cuz
down we'll go / Where I step you don't wanna know"), they do generate an
atmosphere of mean, sickly craziness of a thoroughly confused and pissed-off
mind, which seems so welcome in 2016. And although some probably find the slow,
murky, distortion-drenched progression of ʽSorry Boyʼ a disappointing example
of alt-rock influence on the boys, I hear echoes of genuine ruthless cruelty
(of course, in a thoroughly ironic presentation) in the song and think that it
passes the basic quality test.
The funniest, if not necessarily the best, is
saved for last: nobody ever pays any attention to ʽLow Life In High Heels /
Hummerʼ, probably brushing it away as a 7-minute long musical joke that
overstays its welcome to the point of aural cruelty, but I love it. It's one of those ʽWhy Don't We Do It In The Road?ʼ thing
throwaways, where the success/failure of the joke crucially depends on the
quality of its underlying groove, but this here groove is flawless — the band
tightens itself up to AC/DC level and somehow makes the repetitiveness of
Zander's ʽhmm-hmmʼ seem cool all the way. Along which way Nielsen hits upon
quite a few extra cool riffs (the six-note pattern which he runs through four
different octaves is priceless!), and Cheap Trick's rhythm section earns an
extra star for making even a dead man tap his toes. It might be the silliest
thing they ever did in their career up to that point — but it's actually
surprising that it took them so long to get around to it, considering that the
Beatles always were their main idols, and the Beatles were always game for some
delightful silliness.
Probably a few of the songs still qualify as
filler, and probably none of the good songs are on top level when it comes to
sharpness, poignancy, relevancy, and depth for these guys; and maybe this is not quite up to the level
of middle-age maturity that they displayed on the 1997 album. But it should, by
all means, qualify as a solid, thoughtful entry into the catalog, and for what
it's worth, I actually like it more than the somewhat overrated Rockford, so thumbs up it is.
completely off-topic, but a nice article on Dylan here:
ReplyDeletehttp://www.lrb.co.uk/v38/n23/charles-nicholl/that-wild-mercury-sound
I'm unfamiliar with a lot of their 80's output, but I will conditionally label "Sorry Boy" the scariest Cheap Trick song since "Heaven Tonight." Sarcastic, world-weary Zander vocals + guitar alt-rock wall of sound = surprisingly spooky.
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