20 Rock Around
The World I April 1978
out of 15,000!
"Deep down inside every musician is an enthusiastic little kid that
hears a piece of music and says 'that's great, let's do that stuff'."
BTO
DELICATE'
/017/?0/10-
GROAT CANE
Band on the Corner
by Marc Shapiro
Guitar intro, lyrics, hook riff, more lyrics, bridge, more lyrics and finish.
This is the blueprint for a rock and roll song, and take it from me, the plans aren't of recent vintage. Back in prehistoric times (when rock and roll was really rock and roll) Neanderthal man would beat out simple rhythms with stones, not realizing that his primitive banging would someday come to be known as bar chords.
In the years beyond B.C. the practitioners of what has become three-chord rock and roll have alternately fallen and risen from grace. In leaner times the trio of patterns is resurrected from shame, dusted off and relegitimized
in the guise of new wave or some other transient phenom. But let a fat creative year come in and it's slings and arrows for sure. A case in point being Bachman-Turner Overdrive.
BTO was unfortunate in coming into existence at a time when critics were moving to a progressive drummer. The idea that a band would devote its entire being to recycling E,D,A was considered uncouth and was treated accordingly. The band, however, wasn't helping matters. It took balls to clone out five near perfect imitations of "Taking Care of Business" on an unsuspecting top forty public. Phrases like 'connect the dots rock' were everyday occurences as reviewers waded in with feet flying.
"Well, Randy, as you know, was very good at the formula stuff."
Fred turner punctuated the sentence with a stifled laugh. It was a relaxed sign that BTO's guitar player was up to answering anything, even the inevitable barb of why the band seemed content to play by the numbers.
"If you'll notice," continued Fred, "most of our hits were Randy's. If we needed a top forty hit we'd go to Randy and say 'hey Randy, we need a hit single.' And he'd always come up with something.
"It wasn't our intention to become a formula band in people's minds. Personally I know of a couple of things that happened that did put us in that situation. Around the time of the Not Fragile album we were under record company pressure to come up with material and, as a result, we came up with two LPs, Not Fragile and Four Wheel Drive, that sounded incredibly similar. The reason being that the material was written for both at the same time. What we didn't realize at the time is that we were giving people the impression that we had run out of ideas."
Turner recounted that the other major problem lay with Randy Bachman's slide into the valley of lightweight pop and the dictatorial restraints (both
• -I ,,rid social) he placed on the band. Needless to
into a genuine deodorant say the friction soon ,,,,»1n
problem that ended with Bachman leaving tile 6, , amidst all sorts of legal hassles.
The ensuing 18 months saw surviving members (Turner, Robbie Bachman and Blair Thornton) involved in a cat fight that left them with a compromised name change, `BTO,' and little else. The group, however, was not about to crawl away and die. Five days before BTO was due to record its first non-Randy LP, Street Action, Jim Clench was added on bass. Some quick relearning of old instruments turned into a highly energetic recorded effort.
Turner's bittnerness towards what had transpired in the past was tempered with enthusiasm for the new model BTO.
"As far as the group stands now, we're not going to worry about whether or not we're conforming to a formula. We're just going to sit down and write our music and if a lot of it turns out the same—well that's just the way we'll be writing. We're hoping that we won't fall into the same trap we did before but we're certainly not going to lose any sleep if critics think so.
"If nothing else people will sense that we're back to having a good time with the music. Deep down inside every musician is an enthusiastic little kid that hears a piece of music and says 'that's great, let's do that stuff.' That's the fun in music that's been missing from this band for quite a while. With BTO now there's a free, democratic feeling within the band. In Street Action we've all reached back to all the basic things we like in rock and roll and incorporated them into the music. So while it may sound a bit familiar it's actually new by virtue of the enthusiasm of our interpreting these elements that have come before."
Turner was quick to admit that the music, in most instances, would not be too far removed from the pre `Randy goes pop' band. But in describing BTO's approach to rock and roll it became obvious that common sense ran a dead heat with individual taste as the band's reasons for doing the things they do.
"Our attitude is, in ,a sense, the same as our fans. We
-4—* we like to hear just like they do. I don't like know wlia, — .,.acre nlaving a million to hear somebody going berserx 011
notes. I want to hear something hard and basic and to the point. You can lose an audience if you make things to complicated. It tends to get too bland when you're running down the same things over and over. There's a level where you've got to stay with people.
"But that doesn't mean that we're forced to be limited musically. There's spaces in the music where we can . stretch out and be intricate. We're skilled enough as
musicians to be able to flex creative muscles and still keep the music in the hard, melodic frame of reference for which it was intended.
"If we have a progressive song we write it. If we don't, we don't go out of our way to manufacture one. We don't deliberately sit down and try to write a basic thing. We're just four guys who write music in a certain manner and whatever comes out that's it. On the other hand if a progressive song happens to pop up because of some emotional thing, we don't automatically discard it because it has more than three chords. We're not trying to make any deliberate statements with our music although sometimes we do."
The conversation made the rounds of many subjects, not the least of which was that "Taking Care of Business" (being a definitive example of simplistic rock) had become a staple with every garage band going. At this point Fred laid a tale on yours truly that destroyed in a matter of moments what had taken years of myth making to create.
"I know you're not going to believe this but the original version of 'Taking Care of Business' had something like 15,000 chord changes in it. Back in the early days of BTO we were playing a four sets a night club in Vancouver called The Image. At that time I was doing all the singing. One night we had one set to go and my voice was completely shot. 1 told Randy it was impossible for me to sing. He told me 'I've got a song called 'Taking Care of Business.' It's a jazz song and it's got 15,000 chords to it but I think it would work if we play only three.' He gave us the chords to play and that night a jazz song became a rock and roll standard."
*1-*„nine to the present Fred ended with a rather
tc for the future.
encouraging comment on the
ptwN -
"It won't fail. I know it. I haven't been this excited since 1971 when Randy asked me if I'd like to join a band."
But for this reporter it was too late. Nothing could compete with the notion of "Taking Care of Business with 15,000 chord changes.



