Surrender

Cheap Trick

Recorded: 1977

Released: June 1978

Producer: 

Tom Werman

Recording Engineer: 

Gary Ladinsky

Mixing Engineer: 

Gary Ladinsky

Mastering Engineer: 

George Marino

Surrender by Cheap Trick is an iconic rock song that became one of the band’s most famous tracks after its release in 1978. Featured on their album Heaven Tonight, Surrender combines a very catchy pop melody with the edgy energy of rock music, making it a staple on classic rock radio stations and in the band’s live performances to this day.

Surrender Cheap Trick

Recording Surrender

The song’s lyrics are playful and somewhat rebellious, describing a teenager’s perspective on discovering their parents aren’t as conventional or uptight as they seem. The famous chorus, “Mommy’s alright, Daddy’s alright, they just seem a little weird,” captures this revelation with a humorous and affectionate tone, which resonated with both teenage and adult listeners alike.

Musically, Surrender features the signature sound of Cheap Trick with Rick Nielsen’s distinctive guitar playing and the charismatic vocal style of Robin Zander. The song starts with a powerful guitar riff followed by catchy, anthemic choruses that invite audience participation, especially in a live setting.

Surrender has been widely covered and featured in various films, television shows, and commercials, cementing its place in rock music history. It showcases Cheap Trick’s ability to blend pop sensibility with rock ‘n’ roll depth, making it a timeless track that continues to win over new generations of fans. It’s almost hard to believe that Surrender is nearing its 50th anniversary, as it remains as timeless and infectious as ever.

Recorded at Sound City Studios and completed at The Record Plant, Robin Zander’s vocals were captured using a Neumann 47 FET microphone and compressed with a Urei 1176 compressor. Ladinsky and Werman spent roughly three days refining the drum sound until they were happy with it. The setup combined close microphones with more distant placements, and while Ladinsky admits that exact details are hard to recall more than twenty years on, he believes the snare was likely captured with a Shure SM57 or possibly an AKG 451.

He also suggests that the kick drum may have been miked with two microphones, most likely an AKG D12 alongside a Sennheiser 421. The toms were probably covered with Sennheiser 421s, while the overheads were most likely AKG 451s or 414s. The snare sound was refined using a Pultec EQ, while an EMT 250 handled the chorus effects alongside a live chamber for reverb. Background vocals and guitar were enhanced with Phaser effects from an Eventide.

Gear Used

Studio Effects

Microphones

Music Machines

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