The Hidden Connection: How a Classic Riff Shaped Cheap Trick’s Success
In 1972, the worlds of minimalism and rock collided when pete Townshend composed the iconic track “Baba O’Riley.” This song featured a mesmerizing, repeating riff influenced by avant-garde composer Terry Riley, serving as the heartbeat of “Baba O’Riley,” which launched Who’s Next, The Who’s groundbreaking album of that year.
Often mistaken for a synthesizer melody, Townshend actually crafted this unforgettable riff on a Lowrey Berkshire Deluxe TBO-1 home organ, utilizing its “Marimba Repeat” feature. This technique produced a synthetic, bubbling rhythm reminiscent of early electronic music.
The riff is a masterclass in musical hooks, effortlessly capturing listeners’ attention and keeping them engaged throughout the song’s five-minute duration.
Among those captivated by townshend’s innovative sound was producer Tom Werman, who found inspiration in the riff while working on Cheap Trick’s “Surrender,” a track from their 1978 album, Heaven Tonight. The song, penned by guitarist Rick Nielsen, was a playful take on his youthful experiences and perceptions of his parents’ eccentricities.
“I wrote it late one night at home,” Nielsen recounted in an interview with Guitar Player. “I was strumming an unplugged electric guitar, and a rhythm emerged. I began singing,’Mother told me,yes,she told me,I’d meet girls like you.’ It felt like a nursery rhyme, but with a rock twist for a high school kid in a leather jacket.”
“The lyrics flowed naturally, reflecting my reality. ‘Mommy’s all right, daddy’s all right, they’re just a little bit weird.’ Who doesn’t have quirky parents? Mine certainly were!” (This from a guy known for playing a five-neck guitar!)
As Nielsen unleashed the opening chords on his electric guitar, Werman had a lightbulb moment. Perhaps it was the song’s theme of teenage alienation that reminded him of Townshend’s work. “Pete Townshend has always been my primary musical influence,” he noted. Whatever the reason,Werman decided to incorporate the “Baba O’Riley” riff into “Surrender.” “I just plain stole it,” he confessed.
“I took the keyboard riff from ‘Baba O’Riley’ and integrated it into ’Surrender’ because it complemented Rick’s signature sound,” Werman explained. “That was my main contribution.”
“Surrender” became the perfect opener for Heaven Tonight, an album filled with power-pop anthems designed for radio play, positioning Cheap Trick as a band ready to conquer arenas.
“I was thrilled with what we achieved on ‘Surrender,’” Werman shared.”we were all excited about the track. While it wasn’t a massive hit,it received notable airplay. Typically, the first song on an album is the strongest, and ‘Surrender’ was that for Heaven Tonight. However, there were many contenders on that album.”
Released as a single in June 1978, “surrender” climbed to number 62 on the Hot 100, contributing to Heaven Tonight reaching number 48 on the charts. In Japan, the album peaked at number 11, prompting executives at their Japanese label to release Cheap Trick at Budokan, a live recording from their recent concerts in Tokyo.
This live album revitalized “Surrender” when it was released in the U.S. in February 1979, leading to a slow but steady rise in popularity, bolstered by radio hits like “I Want You to Want Me” and their rendition of Fats Domino’s “Ain’t That a Shame.”
As the success of At Budokan continued, Werman and Cheap Trick prepared to unveil Dream Police, their fourth studio album. Even though the record had been completed for some time, it was held back while At Budokan gained traction, setting the stage for what would become their most commercially successful studio project.
dream Police perfectly encapsulated Cheap Trick’s artistic vision, featuring longer tracks with ambitious production, including orchestral elements. For the title track, Werman once again drew inspiration from “Baba O’Riley.”
Additionally, the track featured real string musicians instead of synthesized sounds. “Rick created an authentic string arrangement for ‘Dream Police,’” Werman confirmed. “That was the only instance we used real strings,aside from double cello on ‘Auf Wiedersehen’ to complement the bass.”
“That album was significant.Initially, Heaven Tonight sold around 700,000 to 800,000 copies, a substantial increase from In Color, which sold about 300,000. Then Dream Police surpassed a million in sales, marking our upward trajectory.”
