“Miss Tomorrow” was originally penned by Zander and Dave Stewart as a demo for Zander’s fine solo album that was released in the early 1990s. It was not included on that record, but it fits in well with the rest of the tunes on this one. It starts off slowly, but then it evolves into a mid-tempo rocker with an infectious hook at the chorus. “Sick Man of Europe” is a pop-punk song that features Tom Peterson’s bass at the forefront. It clocks in at about two minutes. One thing you will find about the record in general is that some of the songs are very brief (under 3:00 minutes). Although that brevity seems appropriate for a few songs, in some cases you are left wanting more.
“These Days” is a wonderful, evocative, and memorable power ballad. “Miracle” is another ballad that seems like it has the feel of a tune that would have fit in well on John Lennon’s Imagine album. Time and time again, Zander has proven himself to be a good student of the Lennon and McCartney style of singing (“Day Tripper”, “Magical Mystery Tour”), and he’s still doing it quite well here, making the honor roll on a number of these new tracks.
“California Girl” is a fine song written as a tip of the hat to Little Richard/Eddie Cochran 50s style rock. It has sort of a “Sun Studios” Memphis rockabilly groove. The band is able to punch out a good rock and roll song with seemingly routine precision, featuring Zander’s more than ample vocal chops and displaying the band’s own versatility. Nielsen and Carlos are completely in sync on this rave up. None of this should come as any real surprise, though. This is a band that rearranged Fats Domino’s “Ain’t That a Shame” and introduced it to a whole generation of young rock fans by raising the tempo a few notches and adding some pounding drums and fiery guitar playing.
Producer Julian Raymond pays homage to the band’s traditional sonic mixing style, which is to find a comfortable volume for the guitars on the left and right side of the mix, and then taking the guitars up another step up and funneling everything else to the center to create a Phil Spector “Wall of Sound” effect that the casual listener can’t ignore. This album also has the answering background vocals and Beatles’ style harmonies that have been omnipresent on the group’s earlier work.
Bun E. Carlos continues to do what he always has done — to just play the parts that a song requires; nothing more, nothing less. Tom Petersson is the perfect complement to Carlos for the rhythm section, with his unique 12-string bass sound. Since the band has been asked to perform the Beatles’ Sgt. Pepper’s Lonely Hearts Club Band album in its entirety in Las Vegas in September of this year, the group had access to a string orchestra for rehearsals. While those rehearsals were taking place, they put the string section to good use on some of the songs on this record. In most cases, the strings enhances the arrangements, providing additional variety and textures that have not appeared on a Cheap Trick album since George Martin worked with the group in the late 1970s and early 1980s (Dream Police and Stop This Game).
Article comments
1 - Mike Hayes
Nice, but I think the writer has been reading some of the reviews on the Cheap Trick website message boards.....
2 - f.t.
Mike- I have heard this album and it lives up to the review. It's the best thing they have done in years. I'm a fan but not a sycophant.
3 - Rob
Nice review. (Correction though-George Martin produced the All Shook Up album not Dream Police.)
I agree that "Sleep Forever" could've made a powerful closing song,however putting it first creates a more jarring effect that might be more interesting as it puts you off guard. I agree that "Everyday..." is a little throwaway(another 30 seconds would've been nice) but I HUGELY disagree with "Smile". I'm gonna argue for sweet over syrupy, and Zander's performance is among his most moving. He's totally committed to the message,so I buy it. It never fails to lift my spirits.
You left off the best song on the whole album "Everybody Knows" which is pure epic on a scale Cheap Trick haven't done since maybe "World's Greatest Lover", yet its unlike anything they've ever done. This album is filled with strange little chord changes and interesting instrumentation. I haven't enjoyed a whole CT album like this in eons.
4 - JC Mosquito
I'd like to know if it's as good as their self titled release on Red Ant Records they made a few years back - an absolutely great lost album. Hey, now that I think of it, Rockford wasn't too bad either.
5 - TrickyTolles
This is a fantastic step foward from ROCKFORD. ROCKFORD was a very hard record, that hit hard and left you panting for more.
The Latest slowly grabs you and doesn't let go..but in a different sort of way. Its a complete listen and a great 'Long Player'.
The songwriting and musicianship are stellar!! These guys still have some fire left in their guitar cases and amps!!
Cheap Trick
Cheap Trick
6 - Jedro
I admit I wasn't excited upon my first few listens. I actually put it back on the shelf for a few weeks. Only a few songs grabbed me initially. I popped it in over the weekend and boom!, the record hit me. That's the mark of a good album usually.
"The Latest" is a fantastic record, no doubt. It may take some time to appreciate it, but give it a chance. It is every bit as good as Rockford and better than CT '97.
Without a track by track analysis, the album starts strong then lulls a bit with a few really short tunes and ends like a powerhouse. Tracks 9-13 are nothing short of stellar. Fantastic writing. Top-notch, boys.