The Cars Get Mo-Fi Drive: Candy-O and Shake It Up

It was the summer of 1978. The Cars were moving in stereo. They let the good times roll and were just what I needed.

As it turns out, The Cars were just what another million music fans needed too. Recorded at London’s AIR studios, their debut record was so fresh and appealing that it instantly became an AM radio favorite and went Platinum in six months.

The Boston-based band jokingly referred to their eponymous record as The Cars Greatest Hits Michael Fremer's review. But Ric Ocasek wasn’t done yet. As the band’s principal songwriter, lead vocalist, rhythm guitarist, and the son of a Polish NASA computer analyst, Ocasek had a quirky style, unique voice, and undeniable pop party sensibility. He would soon go on to craft album after album of toe-tapping songs that pleased both rockers and top 40 fans.

The band’s musicianship was memorable yet controlled. Elliot Easton's economic guitar riffs were subtly tasteful but hard to get out of your head. Greg Hawkes’ muti-layered synth keyboard playing was equally innovative and subdued. And the late Ben Orr was brilliantly tuneful on bass. Finally, David Robinson’s mechanically perfect drum fills complemented and sustained the strong groove. This was New Wave done right.

When the follow-up Candy-O arrived in June 1979, The Cars were still firing on all cylinders. Hitting the airwaves at full stride, it proved to be no sophomore slump. More evolutionary than revolutionary, it was a bit darker, with lyrics still full of cool irony, and just as needed.

Hook-laden anthems like the energetic “Let’s Go”, “It’s All I Can Do”, “Night Spots”, “Candy-O”, and the sublimely inspired “The Dangerous Type” all proved essential for the times. The album became an instant Platinum winner. It seemed that everybody liked The Cars.

After their experimental art album, Panorama, The Cars went back to basics with the synth-pop Shake It Up in 1981. This was their last album produced by Roy Thomas Baker and the one that gave them their first billboard top ten hit (with the catchy title track). It’s little wonder MoFi decided to reissue these perennial favorites in addition to the debut. True to their reputation, the boys in Sebastopol have remastered these classic albums with overall improvements in instrumental separation, extension, and sound staging.

The late George Marino originally mastered Candy-OShake It Up at Sterling Sound in New York. The dead wax on these original LPs reveals both “Sterling” and producer “RTB”, and on Candy-O (catalog 5E-507) there is a scratched out “6E-111”, which was the 1977 reissue number for Judy Collins' Judith LP! U.S. Elektra pressings of these albums can often sound very good, especially Shake It Up, but on Candy-O many cuts are a bit hard with limited dynamics.

On the MoFi version these issues are pretty much a thing of the past. Dynamics are much improved on Candy-O, being consistently punchy and engaging. Drums in particular are rendered with greater realism, especially when you consider the already “larger than life“ inherent production values. Thankfully the cymbals are reproduced cleanly without being overly bright.

The new mastering also provides better treble and bass extension, along with a wider and deeper soundstage. Heck, there is even some space around Ocasek’s vocals. Background instrumentals are also better separated in the mix.

Easton's power chords are reproduced with superb resolution, with his overdriven guitar sound having just the right amount of rich crunchy distortion and plenty of snap. Bass is deep and well controlled, being especially improved on Candy-O, an album recorded at Cherokee Studios in Los Angeles. Hawkes’ intricate synthesizer floats serenely above it all.

On the MFSL vinyl of Shake It Up, the results are a bit more mixed. This pressing is cut significantly lower in volume than the US original. Consequently, some will find that perceived dynamics have been reduced. The up side is that much of this album, which was recorded at Syncro Sound in Boston, is improved on the newer pressing. The original, while snappier, bangs away like a relentless metronome – becoming incessantly glossy and clinically robotic.

The MFSL reissue is arguably easier to listen to because of newfound warmth and smoothness that’s set on a larger soundstage. It’s important to note that neither of these recordings is ever going to be considered that realistic sounding. But what is available here on the MoFi vinyl is a very convincing presentation of the band’s music.

Alberto Vargas of Playboy fame illustrated Candy-O, and MoFi chose to use the original U.S. version of the cover sans band name or printed title as the group intended. Unfortunately, the original nifty inner sleeve is absent. Vargas had retired by ’79 but was persuaded to take the job by his niece, who was a fan of the band. The model was Candy Moore (from The Lucy Show), who reportedly dated drummer Robinson at the time.

On Shake It Up, the late Natalya Medvedeva graces the cover, as she did on the debut album. Here, MoFi reproduced the original’s lyric/photo inner on the inside of a beautiful gatefold jacket. Wonder why this wasn’t done with Candy-O? Along with exquisite covers, my copies of the 180-gram reissues had flat and silent RTI pressed surfaces. Also available from Mobile Fidelity are gold CDs of theses two titles.

When you consider how brief the run was for New Wave music (and the associated mullet hairdos), these albums still sound fresh and inviting today. So, drop the top, put the MoFi CDs into the player, and cruise into the sunset. Are these tunes essential? I don’t know, but they sure are fun to listen to. Beep, beep. Let’s go!

Music Direct Buy It Now

Music Direct Buy It Now

COMMENTS
xtreme200012's picture

the Cars Shake it Up album cover model isn't Natalya Medvedeva, it's Mary Ann Walsh a model from New Jersey. 

giantfan13's picture

That is true,unless the Mary Ann Walsh I worked with at a Boston restaurant in the late 80's,who was autographing the album for everyone was pulling our legs.

breadfan's picture

Not only did the Author get the names of the models wrong, he really slighted Ben Orr. A little known fact to many  people who like the Cars is that Ben Orr sings at least half of the songs. Lets go, Just what I needed, Bye bye Love, All mixed up, Since I held you, Drive, it goes on and on. Let's give credit where credit is due.

jsaliga's picture

If you want a great sounding copy of Candy-O on vinyl then look no further than the Nautilus Superdisc half-speed mastered pressing. This MoFi release features grossly exaggerated bass. It is like listening to the original Elektra pressing on a Denon DL-103 cartridge. It may satisfy bass heads but won't appeal to people who cherish music and not some limited range of the audio spectrum. Avoid this release like the plague.

URBANGENIUS's picture

You are right about his release. I wish I had read your before buying it.

URBANGENIUS's picture

The reviewer of this album is totally WRONG on his rating for sound quality. It should be marked as a 5...

I was so excited to finally listen to a remastered version of Candy-O. Immediately after queuing up the first track I knew there was something wrong. I couldn't believe my ears. The music that was coming our of my speakers was nothing what I was expecting. It sounded so bad that my CD ripped to iTunes and played back on my current system had more dynamics and detail than this vinyl version. I asked myself what the heck was going on here.

I quickly stopped the turntable and started to suspect something happened to my tube phono preamp. I checked the tubes and the connections and everything was ok. I then went to my albums and located my 1st pressing of Candy-O. I place the album on the turntable, cued it up and set back and listened. WOW, I couldn't believe it but the 1st pressing of Candy-O COMPLETELY blew away the MoFi remastered version. Not only was there more definition, soundstage, decay and tight bass; it sounded almost 200% louder than the MoFi version.

I don't understand how MoFi could screw up so bad in creating a "REMASTER". I could have made a "cassette recording" that would have sounded better than this LP. THERE IS NO EXCUSE FOR THIS. All they would have to do was to acquire a 1st pressing of the album from "any" online sources and used it as a reference of what to "at least" achieve in audio quality.

All I can say is SHAME ON YOU MoFi for allowing such poor quality to be released into the public. DO YOUR HOMEWORK NEXT TIME!

A note to reviewer: You've lost your credibility in album review from this reader.

randy's picture

Sorry you didn't like the MFSL Candy-O LP. The good news is that it can probably be sold for a profit now.

Bob D.'s picture

The reviewer of this LP?

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