Next Position Please

Rate It! Avg: 4.0 (49 ratings)
ALBUM INFORMATION

Total Tracks: 14   Total Length: 50:23

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Borderline Great

Tabbycat

Excellent power pop from 1983 with some of Rick Neilson's most clever and oddball songs. Somewhat held back by the bizarre production; sounds like Rundgren recorded them in a underwater cardboard factory. Also has the unfortunate distinction of being Cheap Trick's last great album.

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Cheap Trick's most underrated album

MatthewB

Coming off the disposable "One on One," Nielsen and Zander came up with a surprisingly strong set of songs; the first four tracks are very much worth checking out. In the '80s, producer Todd Rundgren turned most of his projects into clones, and indeed, at times (especially on the Rundgren-penned "Heaven's Falling") this sounds more than a little like a Utopia album. But as a Utopia fan, that doesn't bother me!

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They Say All Media Guide

Cheap Trick attempted to ride the new wave on 1982’s One on One, but wound up with a wipe-out, so they recovered by hiring Todd Rundgren, one of the few ‘70s album-rockers who proved that he knew how to negotiate the treacherous waters of the early ‘80s, for 1983’s Next Position Please. Rundgren wielded a heavy hand during his production, pushing Cheap Trick toward making a record that could easily be mistaken for a Utopia record — so much so, the Todd composition, “Heaven’s Falling,” slips onto the second side without calling attention to itself. The bright surfaces with the guitars and keyboards melding so tightly with the vocal harmonies they’re inseparable, produce a sound that is uncannily reminiscent of Oops! Wrong Planet, but Rundgren also helps keep an eye on quality control, letting Robin Zander’s terrific “I Can’t Take It” open the album, coaxing the band to cover the Motors’ “Dancing the Night Away,” and editing Rick Nielsen’s best set of songs since Heaven Tonight. Next Position Please is still very much a new wave-era Cheap Trick album — this is shiny surfaces, not kicks to the gut — but it’s the best of the lot, and one of their best-ever albums. – Stephen Thomas Erlewine

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