What I want to discuss is the brilliance of the album Panorama. I though I loved The Cars’ first album the best. And then I though I loved Candy-O the best. And then I gave Panorama a serious listen. For a record that wasn’t particularly important to me over forty years ago, it has become on of my favorites precisely because of its offbeat feel and what I’ve realized are some of the band’s coolest songs. Hoping I sound fairly coherent and articulate. Here goes.

If you remember 1980 you might agree the album aptly reflects the mood at the advent of that decade. It was recorded at Cherokee Studios in LA between April and May of 1980. When released in August 1980, magazines and music critics categorized this album as darker and more unusual than their first albums. The more I explore their music and stories, the more I think Panorama might actually be the most Cars album. It’s edgier and dissonant, but in good ways. The fact that it sounded different from The Cars and Candy-O proved that The Cars were the real deal, not one or two hit wonders. They transcended labels and genres. It was both of its time and ahead of its time, if that makes sense. Panorama was also Ben’s dark haired era, and damn if he didn’t look sexy as hell with dark hair.

The album cover artwork with its racing flag and darker colors suggested a departure in sound and tone from that of the first two albums. It eschewed the previous use of iconic female images and for that reason alone it looked intriguing. The Cars were all about a vision, an aesthetic, a look, and I think the look of this album signaled their new yet still Cars direction.

The opening track immediately hits you with tension. The lyrics to Panorama were typical Ric; double entendres and opaque meanings. What exactly was he referring to when he sang I’m on my knees, looking at your hot shot? And I’ll take my chance if I break your bubble? I mean I know what I think it means…is it what you think it means? Is that what Ric wrote it to mean? I guess we’ll never know for sure. Despite the “different” sound, it continued the Ric themes of lonely guy wanting, waiting, hoping, fantasizing about the unattainable love or lust interest, but in a more detached way than in a song like It’s All I Can Do.

Nothing to do, except think about you. I just want to be in your panorama BUT no entanglements, no compromise. As I wrote previously, most of Rics songs, even his solo stuff, were essentially songs about yearning for someone, even if it was in an ironic and sardonic way. But that was the tension; wanting but pretending not to want. Being too cool to admit it. The push and pull between wanting someone just out of reach, feeling both the heat and the cold of love and lust.

The Gerry Casale directed video of the song highlights the goofy humor of the band, and was kind of a nod to the slapstick humor of The Three Stooges that members of the band enjoyed. I also personally think it illustrated the inside jokes and secret language that all musical partnerships innately share. My recollection of the early 80s is that it was not cool to be earnest or sweet. You wanted to project a feeling of being above what was considered common. You wanted to be a nonconformist. The more you were different, the better. I think this was a left over vibe from the era of punk. And I sort of got that feeling from this video.

The next song was Touch and Go with that brilliant Elliot Easton solo. Elliot’s ability to merge Rock-a-Billy and New Wave was absolutely genius. And he was doing it way before the Stray Cats -no shade to great Brian Setzer and Co. Touch and Go also had a Gerry Casale directed video that took place at Whalom Park in Lunenburg, Massachusetts with the band members on a carousel and other rides. Unfortunately the video really only focused on Ric. Yes, you could see shots of Elliot from above with his guitar on one of the rides, but it’s too bad that he didn’t really get to shine the way he should have considering his solo made the song. And you barely saw the rest of the band at all. You have to remember that this was before MTV and music videos became ubiquitous , so the production value was pretty basic. It’s still cool though because it really showed off the signature aesthetic of the band.

Gimme Some Slack must be recognized for the way both David and Ben, making up the engine that propelled the Cars, are able to maintain that incredible pace- Ben keeping up that bass line in perfect rhythm with David for all three minutes and thirty three seconds. David Robinson was an incredible drummer. Would crisp be a strange word to describe his technique? Understated and low key, he was always absolutely perfect. And as usual Elliot’s guitar fills created an exciting layer to the song. This clip of them performing live on Fridays shows them in all their glory doing the fabulous Shoo Be Do before sliding into Gimme Some Slack:

There were no throwaway songs on any Cars album. Each one was a little gem. Misfit Kid– Ric being autobiographical here? Getting Through, Up and Down; all very listenable. But what I think made them so was the rest of the band. You could clearly hear Ben’s backing vocals. David’s and Ben’s steady in-the-groove playing, Elliot’s bits of brilliance, and of course the mystical and magical Greg Hawkes doing his keyboard and synth sorcery is what really made these songs. The key to this band was their musical, almost magical, alchemy. The players fit together seamlessly, no one showing off, each one just doing their part for the whole. At least at this point in the band’s trajectory.

If you’ve read anything I’ve written you know that I think the songs Ben sang are the best. So of course You Wear Those Eyes, Down Boys, Don’t Tell Me Noand Running to You are the best songs on the album to me. I also love David on the kit and Elliot’s hot guitar on Don’t Tell Me No. His slide in between each of the verses sung by Benny was just so yummy! There is a clip from The Cars Unlocked that showed the band at a soundcheck for one of their performances in Japan on the Panorama tour. Ben showing his vocal range, smiling and being lighthearted, the guys singing this song and goofing around. To see them casual, having fun and sounding fantastic at this point in their career is such a joy.

Elliot’s driving intro and solo on Down Boys….outstanding! Benny talk-singing You were tryin’ to be hysterical and I still ain’t laughin’. Oh my heart!

I don’t think I can do this next song justice with my inadequate words but I’m going to try. The song on this album that really gets me and gives me literal chills is You Wear Those Eyes sung by both Ben and Ric; Ben sang the verses and Ric the chorus. I almost feel like this mirrored their working relationship. Ric taking control of the narrative but giving Ben the best parts to sing. Greg Hawkes’ keyboards and sound effects were hauntingly atmospheric. As was Elliot’s funky guitar solo that had a very eastern sitar-ish sound to it. Would it be crazy to say it’s a nod to the Beatles and the way they incorporated eastern influences in their music after their encounters with the Maharishi? Elliot has spoken numerous times about the influence the Beatles had on him. And Ben was absolutely influenced by the Beatles.

The title of the song was an example of Ric Ocasek at his lyrical genius best. The imagery. The phrasing. Had you ever thought about “wearing” eyes before? No, but now you did. You knew the eyes they were singing about were gorgeous and expressive and tragic and sad. You wear those eyes that never blink- You’ve got that walk- you do the stroll. You make me lose my ground control. What a frigging great lyric. And when Ben sang You’ve got that look- I can’t resist, like something missing. Never kissed. Oh my freaking God!!!!!!! Elliot’s stinging guitar solo is off the chain. You do the pogo without the bounce-You fall in love, you like the sting…you make believe it’s everything. For the life of me I wish Benjamin Orr was credited more when “experts” and “critics” list the best rock and roll singers. His range was amazing. You could “feel” the songs in the way he articulated the lyrics. Something about this song in particular just cuts right through me. The repeated chorus…Just Take your time, It’s not too late came to me at a time in my life when I needed them. Feeling like I need something else but not sure how to make it happen. Here’s a link so if you haven’t heard it you can experience it for yourself. 

The expanded version of the album includes four songs that did not appear on the original release. Shooting for You, the really cool Be My Baby, The Edge and another fantastic song with Ben on vocals, Don’t Go to Pieces. This had been the B-side to the Gimme Some Slack single. Remember how fun it was to buy a 45 single record and discover a treasure on the B side? Don’t Go To Pieces is definitely a treasure! IMO it could have been another hit for the band if it had been released as a single on its own, it’s that good.

I wrote previously about Ben’s masterful skill in interpreting Ric’s lyrics. He was able to key in on the right way to articulate or enunciate just the right syllable or phrase or word. If you think I’m just ridiculously obsessed I would ask you to sit with headphones and give this album a serious listen from start to finish. You won’t be disappointed and you won’t be able to disagree.

I wish that I had seen the Cars in concert. I am not sure why I was never interested in seeing them during the height of their popularity in 1984. And I wish that I had been more aware during the 1990s and snagged a chance to see Ben perform with one of his other bands. He was just totally off my radar. That’s why this newfound appreciation for his music and talent and person is so confounding to me. Why now? Why all of a sudden? But for whatever reason I can’t get enough of it now.

And I have to add…in the end, and maybe I’m wrong, but Ben did not get the consideration he deserved from Ric, especially after all they had been through prior to finally finding fame. I really think Ric had a unique genius, and he continued to record and stay relevant many years after The Cars broke up. He had a keen sense of being able to see talent and cultivate it in new bands- No Doubt, Weezer, etc. But had he not partnered with Benjamin all those years ago, and had the good fortune to find Elliot, David and Greg, I don’t see him achieving the kind of relevance and fame he did. His best work was with those four and you have to wonder where the band could have gone had he allowed the others some agency, some ability to craft lyrics and shine in other ways. But we’ll never know and it doesn’t diminish the greatness that was The Cars the way they were. It just makes you wonder…