By Jacob Katel
By Laurie Charles
By Nate "Igor" Smith
By Abel Folgar
By Kat Bein
By Jacob Katel
And it has also kicked them around a bit. The band has made the journey up and down that mountain so often they should have a patch of trail named after them. For every journey upward to its cushy apex, there has been a tumble right back down to its darkened valley. After toiling through much of the early Seventies in nightclubs, honing their craft until they at last landed a record deal, they watched their first three albums for Epic -- 1977's Cheap Trick and In Color, 1978's Heaven Tonight -- languish in the nether region of the album chart. Finally, payback arrived via a live album recorded in Japan that wasn't even supposed to be released in the U.S. Said album, Live at Budokan, released for domestic consumption in 1979 only after unprecedented sales as a high-dollar import, captured the pop majesty and gritty hard-rock wallop of the Rockford, Illinois, foursome and produced a huge hit, the nagging and naive pop nugget "I Want You to Want Me."
Later that year came the first tumble: Dream Police, the ambitious followup to Budokan, had a lackluster chart run and was slagged by critics as a ponderous indulgence. It wasn't, but later albums such as One on One and The Doctor most definitely were. The band's music had become predictable, tiresome, and sluggish; by the mid-Eighties, the group was back out on the state fair and club circuit.
Fortune found Cheap Trick again, this time in 1988, in the way of "The Flame," a treacly power ballad by a pair of song-mill hacks. Both "The Flame" and its accompanying album, the 1988 patchwork Lap of Luxury, scaled the charts and made the band once again kings of the pop hill. At the same time, countless metal and punk groups were rifling through Cheap Trick's early work, finding inspiration in the band's lexicon of sharp, witty, post-Beatles classics. Typically, Cheap Trick failed to capitalize on the heat generated by "The Flame" or its ever-growing alt-rock influence. Its next two albums -- 1990's Busted and 1994's Woke Up with a Monster -- fell quietly and rightfully into oblivion, while a batch of leftover Budokan tracks issued in 1994 as the imaginatively titled Budokan II was unjustly ignored.
Rick Nielsen is pragmatic about Cheap Trick's commercial yo-yos. "What are you gonna do about it?" asks the songwriter, guitarist, and tireless power-pop craftsman for the group, during a phone interview from a tour stop in Rochester, New York. "With all the work we've done and all the running around we've done, we could easily get frustrated and feel sorry for ourselves, but that's not our nature. We started out by playing in a garage, and we may end up back in a garage. And so what? It doesn't matter because we just want to play, and since we can still play and can still play good, everything else is just frosting."
A healthy outlook, to be sure, and one that befits a man who admits to an interest in the rational-therapy theories of psychocybernetics. Still, you can hear a trace of cynicism in Nielsen's craggy, hoarse voice when asked about the wealth of groups currently mining with great success the Cheap Trick legacy. "We never see any royalty checks," Nielsen exclaims, laughing but not really joking. "We're in almost every kind of rock magazine, every month, but the stories are never about us. They're about somebody else who mentions how much they like us." Then, tempering his vitriol with a shot of rational therapy, Nielsen demurs: "That's cool, though. It's fine. We're still working."
Right now the members of Cheap Trick -- Nielsen, guitarist/vocalist Zander, bassist Petersson, and drummer Carlos, the original quartet -- are working on drumming up interest in Sex, America, Cheap Trick, a four-disc boxed set that chronicles the band's 22-year career and documents the band's brushes with greatness and flirtations with failure. It is a sometimes baffling compendium, one that omits some essential cuts (for instance, such debut-album jewels as "Speak Now or Forever Hold Your Peace" and "He's a Whore") and weighs too heavily in favor of latter-day whoop-de-doo rarities such as an alternate take of the 1982 sorta-hit "If You Want My Love" and sundry demos, outtakes, and compilation cuts. It does salvage the few worthwhile gems from such late-era losers as One on One and Standing on the Edge.