THE CARS (1978) is the The Cars' greatest work ever. Sure, '80's Top 40 pop enthusiasts would probably say that about HEARTBEAT CITY (which did sell more records upon release), but real rock fans rate their debut at the top. Why? Because, just like most great rock debuts (such as BOSTON and VAN HALEN), it shows The Cars in hungry mode, pulling out all the stops to create a hard, edgy, and energetic record that was different from anything else out at the time. This band combined hard guitar-rock with a spacey keyboard-driven New Wave sound (that only then was beginning to emerge) in equal amounts, with straightforward, simple lyrics--and created a sound that was raw yet sleek, edgy but commercially accessible, and totally fresh at that time. Between Ric Ocasek and Benjamin Orr's similarly cool, unaffected lead vocals, Greg Hawkes' incredibly cool, futuristic keyboards, and Elliot Easton's slicing, awesome guitar-work, this album was truly unique. It influenced countless other New Wave/rock bands afterwards. It has since stood the test of time, and that's what makes it a true classic.

When I first heard THE CARS on a cassette tape 22 years ago, I was already quite familiar with "Just What I Needed." Then, I really got hooked on "Good Times Roll" and "Best Friend's Girl." It wasn't until 1982 that I really started liking "You're All I've Got Tonight" and "Bye Bye Love." The following year, I got into "I'm In Touch With Your World." But it has only been in the past couple of years that I have totally fallen for the medley of "Moving In Stereo/All Mixed Up." Talk about a true classic; over the years, every now and then, it's given me something new to love about it! MOST RECOMMENDED

The Cars formed in Boston circa 1976 and debuted in 1978 with this eponymously titled release. Straddling the line between rock and new wave, the group managed to maintain rock credibility while also racking up some major pop hits. "Just What I Needed" peaked at #27 and has become a rock radio staple. The single is my favorite song of all time - it so perfectly encapsulates the late 70s new wave scene. And it's catchy as hell - I have to turn up the radio whenever I hear it.

The second single, "My Best Friend's Girl," went to #35; the song starts with handclaps before a major synth line kicks into gear. Finally, "Good Times Roll" just missed the Top 40, peaking at #41. However, not a single track is filler - any of them could have been a hit.

I was a little too young in 1978 to become a Cars fan, although I caught them in their pop heyday, when "Drive" was a major hit. I've picked up the rest of their catalog in the last few years, and I've been blown away by the quality of their music, especially "The Cars." Propulsive synths combine seamlessly with the rock-edged guitars to form one of the most distinctive sounds ever. This CD really demonstrates why the Cars became stars - it still sounds completely amazing.

"The Cars" sold very well when first released and was certified platinum in late 1978. Since then, the CD has continued to win fans - with certification for sales of 6 million by 1995. Every time I hear The Killers or other current retro new wave bands, I want to throw on this CD and hear how it was done right the first time around! Most highly recommended.

This CD was viewed as something of a curiosity by those of us in high school during the late 70s with sworn allegiances to arena-rockers like Led Zeppelin. As Page/Plant's creativity fizzled, Eddie Van Halen arrived simultaneously with the Cars, and two camps formed. Some of us wanted to continue to air-guitar our way into the 80s, and Eddie Van Halen was our musical messiah du jour. Others were growing tired of power chords and bombast, and the Cars' sound was fresh, pristine, and catchy in the best pop tradition.

No guitar-wanking here; no gratuitous banshee-wailing by the lead singer. This was pure ear-candy songcraft, with the focus on keyboard-driven melody rather than axe-slinging. I guiltily admit that I kept my nose turned stiffly upward in resistance to the insidious trend spawned by this album; at some point, however, I discovered a convergence amidst the Cars' debut, the Police's "Outlandos D'amour", and the Talking Heads "Remain in Light" that converted me. And when I finally had the courage to blare "The Cars" on my Camaro's 8-track with the T-tops off, I was almost disappointed to realize that each of my friends already counted this album as a favorite guilty pleasure. Simply put, it's insidious, irrisistible, and each cut is a classic.

I never owned a skinny tie, however. A line has to be drawn somewhere.

If you love this album as much as I still do, pony up the extra couple of bucks and be prepared to be wowed, loud. Go for the double disc deluxe set, which sports a great remaster.

"The Cars" was a classic debut and one of the first bands with a new wave association to actually make it big. Their blend of irony laden Roxy/Bowie pop and AM radio hooks made "My Best Friend's Girl" and "Just What I Needed" sound like Top 40 classics from play one, and the rest of the album skirted experimental stuff like "Moving In Stereo" with the classic nervy album rock ready sounds of "Good Times Roll." Roy Thomas Baker's spare production is gave the band a sharper focus, and made the songs leap from the speakers with a fresh sound.

The band's arsenal was well loaded. Greg Hawkes brought keyboards to the front of the band, as well as his sax work. Elliot Easton made his choppy guitar work as fluid as it was jittery, and Ben Orr and Ric Ocasek switched vocals just enough that, while there was variety, it was seamless. True originals, The Cars were often aped but never replicated (as opposed to the dozens of Joe Jackson/Elvis Costello copycats) and it makes this debut sound great almost 25 years after it was released.

"The Cars" [1st album]

With this entry, the 1970s mercifully end. The over-blown, over-drugged, over-moneyed age of Dinosaur Rock are utterly destroyed by the opener, "Let the Good Times Roll'. The quintessential party tune of the time, 'Good Times Roll' ushers in an age when pop music becomes fun, and interesting, again. Thank God!

Guitars with oustanding, but not-over-wraught solos, keyboards without Wakeman and Styx, this album was, and remains, brilliantly vibrant and fresh. Cudos to the A&R man who found this incredible band.

Virtually every post-Zeppelin band of the late 70s was flushed out by this album. Whereas so-called 'Punk', semi-legitimate anti-music 'bands' who spat out upon the alter of monster rock, presumably as a primarily social phenomenom, The Cars were a true musical phenomenon, sharing a sparse stage with the likes of Elvis Costello, and later, The Romantics and Tom Petty. Rock was back, in force.

The late 1970s and early 1980s were probably the worst conceivable stretch for pop and rock music lovers. Unless you liked the Sex Pistols, or REO Speedwagon, there wasn't much out there. But there were The Cars. Buy this record!

Every single aspect of this album is excellent. Songs, arrangements, instrumentation, vocals, lyrics, feel. And sound. This is one of the best rock records ever made, without doubt. Every song is a hit. If they had it to do over again, they probably would have saved some for the future. In any event, buy this record for that reason alone.

The production on this record is totally up-front. No decoy effects, No B.S. No hiding behind reputations, it's all right there, in your face.

Trust me. This is a fanstastic friggin thing.