“Indiana Wants Me” (1970) Artist: R. Dean Taylor Writer: R. Dean Taylor
When the crit-illuminati mock, is it because they don’t understand….or because they do?
From March 21, 2006:
Where have all the tear-jerking story songs gone? Unless “It’s hard out here for a pimp” qualifies, I think the genre’s mostly dead. Good riddance. I’m not sure where they began – you could trace them back to 50s tunes about drag races and dead girlfriends, or back to blues / jazz tunes with simple story lines like “Frankie and Johnny” [Cliff Notes versions: she shot him, inasmuch as he had done, and was doing, and presumably would continue to do, her wrong.] But the late 60s and early 70s had a spate of them, and for some reason “Indiana Wants Me” had a special place in our junior-high hearts – it ended with sirens and a policeman calling “This is the police. You are surrounded. Give yourself up. ” Poor guy! And what had he done wrong, really? Well, he killed a guy – but the lug had it coming, since “No one had the right to say the things he said.” What? That pi was actually a finite number? White shoes could be worn in March? “Catsup” was the preferred spelling, not “Ketchup”? Whatever it was, shooting seemed a rather drastic response. Then again, I never understood why Big Bad John got into a fight over a Caging Queen. Lyrics were a boundless source of mystery.
Come to think of it, “Indiana Wants Me” probably doesn’t take place in Indiana at all, since the singer is a fugitive. Wonder why he chose that state. “Minnesota Wants Me” sounds like a tourist promotion; “Iowa wants me” sounds like you’re being invited to an elderly aunt’s house for tea. “North Dakota wants me” is rather obvious, given the population decline. “Indiana” has that flat Charlie-Starkweather Midwestern vibe, I guess. [Yes, yes, I know, he was a Nebraskan. And if ever there is a word that describes the feeling of the wind in the Midwest in late December, it’s that: Nebraskan Starkweather. On the other hand, put a Roman numeral after it, and it sounds all WASPy and country-clubbed: Nebraskan Starkweather III]
(James Lileks, Blog Post from March 21, 2006)
Well, that’s one way of putting it.
Here’s another way.
Story songs have all but disappeared because “story” needs communal norms (what used to be called Civilization) to communicate. Go to your local bookstore (if you have one–they needed Civilization too), pick up any literary magazine (yes, they still have them) and read any two paragraphs of any entry published within. I can’t say what all you might find. What you won’t find is anything resembling a story.
“Indiana Wants Me” is one of the great story songs–great in part because of its refusal to give any of those unnecessary details Lileks pretends to miss. It assumes you can fill in the blanks.
A man kills another man because that man insulted his wife. We know they’re married because no mere hanger-on would kill any man for insulting any woman.
The man knows what the consequences of his decision are.
It means he’ll die in a standoff with the police.
That’s the story.
Bruce Springsteen (following fellow Great Artists like Woody Guthrie, Johnny Cash, Merle Haggard) has spent his entire career chasing that story–and not just the whole story, but that perfect phrase about a man who needed dying.
And, just like all the others, including those who were dust before “Indiana Wants Me” existed, he’ll die trying to catch up, trying to give it a new dimension.
Like all the others, he’ll fail.
The world has moved on.
Stories are no more. No common assumptions (about who “needs” dying, or anything else), no stories.
It’s possible R. Dean Taylor–a white Motown staffer (responsible for, among others “Love Child” for the Supremes and “All I Need” for the Temptations) who wrote “Indiana Wants Me” as a response to seeing Bonnie and Clyde and eventually recorded its superb country lyric as a self-produced Tommy James soundalike for Motown’s Rare Earth subsidiary and watched it become that label’s biggest international hit–didn’t know his story songs were a mere generation from going out of style.
It’s also possible he did.
1970 was almost the exact turning point from a world where “if a man ever needed dying he did, no one had the right to say what he said….about you” (that pause is everything, until that pause and the two words that follow, the killer and the man he leaves dead might be any sort, after that pause, and those two words, they are fixed in a moral universe with unalterable rules) went from a statement understood by all (even those who mocked or disagreed or professed ignorance of honor codes or horror at their application) to a world where such statements, and the sentiments behind them, are incomprehensible.
Lileks is a self-styled “conservative.” Re-reading his piece last week, I was reminded of the flurry of bloggers who gained traction in the wake of Donald Trump’s candidacy and soon became labeled “Alt-Right.”
They have a lot of fun mocking the Lileks-style mockers and one point they’ve made ad nauseum (a point in keeping with my own early-and-often categorization of Liberals-Who-Do-Not-Liberate and Conservatives-Who-Do-Not-Conserve): “Conservatives” have conserved nothing.
The difference between the Alt-Righters and me, regarding the collapse, over the last half-century, of the millennia-old traditions that under-gird Liberal Democracy–and, with it, all the traditions that forbade us from doing whatever we liked, from eating the wrong foods to mowing down rooms full of school kids, “just because”–is two-fold.
One is, they think Liberal Democracy has failed for mechanical reasons–that nature has reasserted itself over men’s better angels, rather than men making unwise choices of conscience. Like Reactionaries of all stripes, Left and Right, they believe barbarism, and its attendant cycle of chaos and tyranny, are inevitable and we best get on with the supreme duty of the cycle’s proper management.
Two is: They’re happy about it–about a world where everything is called into question.
Like, for instance…why Indiana?
Because it sings, moron. Your version of “conservativism” is deader than the traditions of story, song and Civilization your devotion to nihilism was designed to destroy.
I also left off b-sides that were hits (think Ricky Nelson’s “Helly Mary Lou,” which definitely would have been here otherwise, or Bruce Springsteen’s “Pink Cadillac” which might have been). I also limited myself to one record per artist (else the Shangri-Las would have three or four).
And because I already covered the true obscurities, these are all by successful artists (as opposed to one-hit wonders)–most people know the acts, even if they don’t know the records.
What’s left is still a weird and beautiful secret history of rock and roll. If these were the biggest/best hits these acts ever had, the world would not have been the worse for it.
1959–“What About Us” (A-side: “Run Red Run”) The Coasters
The Coasters/Robins were not exactly slouches in the B-side department themselves. I picked this one because, in combo with “Run Red Run” it’s an early example of the concept single, which a lot of crit-illuminati types think couldn’t possibly have existed before “Strawberry Fields” or, at the very outside, “Don’t Worry Baby.”
1964–“Silence is Golden” (A-Side: “Rag Doll”) The 4 Seasons
I first heard this on a Seasons’ comp in the late seventies. I remember being shocked–I don’t think benumbed is too strong a word–to learn it was never promoted as a single (i.e., that there had once been a world where this could be relegated to a B-side because the A-side was only “Rag Doll”…and that, little more than a decade later, such a world no longer existed). Then I found out it had been a hit for an English group called the Tremeloes. Then I heard the Tremeloes’ version. Good God.
1966–“I’m Not Like Everybody Else” (A-Side: “Sunny Afternoon”) The Kinks
This is in the conversation for the greatest record the Kinks ever made. If the conversation is with me, it’s not even a conversation. And yes, I’m aware of the extreme competition.
1967–“I’ll Never Learn” (A-Side: “Sweet Sounds of Summer”) The Shangri-Las
Speaking of being shocked and benumbed…The record I think of first when I think of all that’s been lost in the fifty years since. Mainly the future that never arrived…and I don’t just mean Mary Weiss’s career.
1967–“I’ll Turn to Stone” (A-Side: “7-Rooms of Gloom”) The Four Tops
No way a handy ten of epic B-Sides would be complete without Motown, but this is a new discovery for me. I came across it when I was researching a possible post on co-writer R. Dean Taylor. To think: “7-Rooms of Gloom” as the upbeat, radio-ready side! (And FWIW it replaced the Go-Go’s “Surfing and Spying” which is the proof that Charlotte Caffey was a walking encyclopedia of surf guitar and sadly missed. Like I said, ten is a measly number.)
1968–“Daddy Rollin’ (In Your Arms)” (A-Side: “Abraham, Martin and John”) Dion
I love “Abraham, Martin and John” unreservedly. But I can only imagine the shock that must have occurred to anyone who turned it over in 1968. It’s still shocking.
1969–“Making Love (At the Dark End of the Street)” (A-Side: “Snatching It Back”) Clarence Carter
A sermon on sex. Guilt-free, too. Until the end. Starts funny as Richard Pryor. Ends deep as James Carr.
1973–“Something” (A-Side: James’ nine hundredth version of “Think,” all necessary.) James Brown
George Harrison’s favorite version….of hundreds.
1977–“Silver Springs” (A-Side: “Go Your Own Way”) Fleetwood Mac
Left off Rumours as a casualty of the permanent psychodrama that was Buckingham/Nicks. Else they just didn’t have room (hahahahaha!). Restored to various versions of the album in the CD-era, with stunning outtakes added on the multi-disc release. The rare song left off a classic album which, when restored to its original running order (at the top of the second side), doesn’t just improve the album but force-multiplies its power.
1981–“Psycho” (A-Side: “Sweet Dreams.” What else?) Elvis Costello and the Attractions
I was gonna go with Tanya Tucker’s “No Man’s Land,” which is scarier, but I decided to keep this an all rock and roll affair.
Love the cheering at the end. What else should one do after “Mama why don’t you get up?”
By major act (and as prelude to a piece on Motown’s real importance in the sixties–coming….some day!).
Since the object is to honor the records, I used mostly studio recordings or lip synchs. The major exception is Smokey solo on “Sweet Harmony.” You know, if you only click one, yaddah, yaddah. I included the important acts who passed through Motown on their way to bigger, better things, because, well, they made great records on Motown, too. I stopped with acts who were at least signed in the 70s.
And I added my favorite one shot at the bottom–because God knows there were plenty of those!
The Marvelettes “Playboy” (1962)
The Miracles “The Love I Saw in You Was Just a Mirage” (1967)
Mary Wells “The One Who Really Loves You”(1962)
Marvin Gaye “Too Busy Thinking About My Baby” (1969)
Martha and the Vandellas “Honey Chile” (1967)
The Supremes “Reflections” (1967)
The Temptations “Don’t Look Back” (1965)
The Four Tops “Standing in the Shadows of Love” (1966)
Stevie Wonder:”I Believe (When I Fall in Love With You It Will Be Forever)” (1972)
Gladys Knight & the Pips “It Should Have Been Me” (1968)
The Isley Brothers “This Old Heart of Mine (Is Weak for You)” (1966)
Jr. Walker & the All Stars: “Way Back Home” (1971)
Marvin and Tammi “If This World Were Mine” (1967)
Spinners “We’ll Have it Made” (1971)
The Jackson 5 “ABC” (1970)
Diana Ross (solo) “Upside Down” (1980)
Smokey Robinson (solo) “Sweet Harmony” (1973)
Jackson 5 (solo) Jermaine: “That’s How Love Goes” (1972)
The Commodores “Sail On” (1979)
Rick James “Superfreak (Part 1)” (1981)
Lionel Richie (solo) “Deep River Woman” w/Alabama (1986)
And, my favorite one shot (or, if you like, one big shot), in a close run over Brenda Holloway’s “Every Little Bit Hurts” and R. Dean Taylor’s “Indiana Wants Me” (which I’m guessing not a lot of people remember was a Motown record):
Jimmy Ruffin “What Becomes of the Brokenhearted” (1966)
Yeah, it was (eventually) a marketing concept. Also (eventually) a “genre.”
But before, during and after all that, it was also an Aesthetic. That’s the history I’m trying to trace here (before I head into my multi-part dissertation on the vocal history of soul–I’m up to five categories and counting so we’ll just have to see how long that takes).
I’ll just add that, if the current charts are any real measure of such things, as plenty of people believe, then this is by far the most influential genre of rock and roll extant.
Make of that what you will.
Meanwhile…. (as always, I’ve linked a combination of live, synched and studio versions, with an eye toward balancing fun and education. And as always, some of the info on background singers is fuzzy to say the least. I’ve done my best but if you spot a mistake or can fill in any missing blanks, please give me a shout in the comments section and I will update accordingly.)
“Shimmy Shimmy Ko Ko Bop”–Little Anthony and the Imperials (Anthony Gourdine, lead vocal; Tracey Lord, Nathaniel Rogers, Clarence Collins, Ernest Wright, harmony vocals): Silly, smooth and sublime on every level. As good a place to start as any once I figured out Frankie Lymon was too rough around the edges.
“I Will Follow Him”–Little Peggy March: “The Producer” steps up, throws a hundred-mile-an-hour fastball. Singer takes a deep breath and hits a five-hundred-foot home run that lands at #1 Pop and #1 R&B, establishing a key dynamic of the Aesthetic whilst identifying its great theme: Hormones!
“Denise”–Randy and the Rainbows (Dominick “Randy” Safuto, lead vocal; Frank Safuto, Mike Zero, Sal Zero, Ken Arcipowski, harmony vocals): Ode to a Girl: Volume I.
“Hanky Panky”–Tommy James and the Shondells (Tommy James, lead vocal): The Sun God in training, as a first-rank garage band singer. (Recorded,1964; #1 Pop, 1966)
“Let’s Lock the Door (And Throw Away the Key)”–Jay and the Americans: (Jay Black, lead vocal; Howard Kane, Kenny Vance, Sandy Deanne, harmony vocals): Doo wop pros from way back. They were often good. Just this once, they were as good as the Four Seasons. “Just this once” is a very key element of Naked Truth (not to mention “rock and roll”) aesthetics!
“Iko, Iko”–The Dixie Cups (Barbara Ann Hawkins, Rosa Lee Hawkins, Joan Marie Johnson, shared lead and harmony vocals): Chant power by way of New Orleans, which has to be in the basic DNA of this stuff somewhere. (Alternate: Lee Dorsey’s “Ya-Ya.”)
“I Want Candy”–The Strangeloves (Bob Feldman, Jerry Goldstein, Richard Gottehrer, shared lead and harmony vocals): NY session pros pretending to be Aussies to cash in on the British Invasion. Hey, the hunt for cash is never far from any true rock and roll endeavor! If they had hooked up with Tommy James, they would have kicked this thing into overdrive three years early, because the singer is the only thing missing. (Notably remade by Bow Wow Wow, who took the whole naked part of the Naked Truth quite literally.)
“My Boy Lollipop”–Millie Small: Truth to tell, this is not a big favorite of mine, but it put Jamaica on the map in a way I suspect Bob Marley, Jimmy Cliff or Toots Hibbert couldn’t have possibly done in 1965.
Beatles? …We don’t need no stinkin’ Beatles!
“Last Train to Clarksville”–The Monkees (Mickey Dolenz, lead vocal; harmony vocals by “unknown”): Writer/producers Tommy Boyce and Bobby Hart have said this was essentially a Viet Nam record. David Cantwell and Bill Friskics-Warren included it in their Heartaches By the Number (a terrific list of five hundred essential country records). Twelve-year-old girls went ape by the millions. Don Kirshner laughed all the way to the bank. None of them were wrong.
“Come on Down to My Boat”–Every Mother’s Son (Larry Larden, lead vocal; harmony vocals by “I ain’t real sure”): Signed as a “nice” garage band by the corporate overlords, they had one sly classic in them: about the hunt for poontang, naturally. Just what you’d expect from nice boys operating undercover.
“Snoopy and the Red Baron”–The Royal Guardsmen (Barry Winslow, lead vocal, Chris Nunley, harmony vocals…along with…possibly….others): More Brit-fakes, by way of Ocala, Florida. Actually, a derailed garage band. And, just vocally speaking, a perfect blend of the Monkees and the Swinging Medallions.
“Just My Style”–Gary Lewis and the Playboys (Gary Lewis, lead vocal, Ron Hicklin, bass and harmony vocal and, er, “vocal guidance”): Young Hollywood’s version of the malt shop. Meaning it’s so ersatz it hurts, but the bass vocal is a killer.
(Tommy James, a.k.a. “The Sun God,” accepting an award from Hubert Humphrey, for whom he served as “Official Youth Advisor” in the 1968 presidential campaign. The Naked Truth was everywhere.)
“I Think We’re Alone Now”–Tommy James and the Shondells (Tommy James, lead vocal): The Sun God finds His voice. The concept crystallizes. (Note: Best I can tell, various Shondells sang harmony vocals on all records by the group from this point forward but I can’t find an authoritative session listing so I’ll leave it at that.)
“Mony, Mony”–Tommy James and the Shondells (Tommy James, lead vocal): The Sun God reminds everyone that He started life leading a gutbucket garage band. Then He considerably ups the ante.
“Little Bit O’ Soul”–The Music Explosion (Jamie Lyons, lead vocal): Actually quite a bit more than a little. This could fit the blue-eyed soul category or the garage band category or just the blow-your-throat-out category, but their bosses (a couple of guys names Katz and Kasenetz, see image above) were working up to something….so it’s slotted here.
“Incense and Peppermints”–The Strawberry Alarm Clark (Greg Munford, lead vocal): Munford was actually a sixteen-year-old ringer, hired for this session only. The rest of the band? “In their early days of touring, the band members would often sit on ‘magic carpets’ as their roadies carried them to the stage and drummer Randy Seol would rig up wrist gas jets to give the illusion that he was playing the bongos and vibes with his hands on fire. This last gimmick was soon abandoned when it got to be too dangerous.” If that ain’t the Naked Truth, there’s no such thing.
“Daydream Believer”–The Monkees (Davy Jones, lead and harmony vocals; Mickey Dolenz, harmony vocals): There’s a piece of the sixties residing in this record–and specifically in Davy Jones’s vocal–that doesn’t exist anywhere else. Would we be any better off if it did?God only knows.
“Savoy Truffle”–The Beatles (George Harrison, lead vocal, Paul McCartney, John Lennon, harmony vocals): Edges “Happiness Is a Warm Gun,” for the chewiest cut from the Aesthetic’s greatest conceptual album–the concept being a double album which, before Charles Manson got hold of it, was a perfect and completely abstract celebration of….Itself! Also a splinter under the skin of the entire sixties. Sometimes, the Truth is a little too Naked.
“She’d Rather Be With Me”–The Turtles (Howard Kaylan, lead vocal; Mark Volman, harmony vocal): I wouldn’t call them mercenaries just because they were every bit as convincing here as they ever were at surf-rock or folk-rock or whatever you want to call that album just around the corner that included “Surfer Dan” (“He’s so ripped he can’t see you go by” and I’m Chief Kamanawanalea (“We’re the Royal Macadamia Nuts”). I’d call them eclectic visionaries who could handle a line as tricky as “Some girls like to run around/They like to handle everything they see” with admirable aplomb and I’d put them in the Rock and Roll Hall of Fame. But then I’m not part of the Conspiracy-That-Rules-Us….am I?
“Indian Lake”–The Cowsills (Billy Cowsill, lead vocal, Bob Cowsill, Barry Cowsill, Paul Cowsill, Susan Cowsill, Barbara Cowsill, harmony vocals): Billy Cowsill hated his transcendent moment, which was forced on him by “management” (i.e., his abusive dad). According to Susan, Brian Wilson loved it. Brian Wilson knew best.
“Yummy, Yummy, Yummy” and (preferably) “Chewy, Chewy”–Ohio Express (Joey Levine, lead vocal): Er, remember Katz and Kasenetz? Well, they’re back and, okay, now it’s a marketing category. Joey Levine and whoever does that chirping on “Chewy, Chewy” save the day.
“This Magic Moment”–Jay and the Americans: (Jay Black, lead vocal; Howard Kane, Kenny Vance, Sandy Deanne, harmony vocals): Want to drive an Establishmentarian absolutely crazy? Make him hate you forever? Say this is as good as the Drifters. Doesn’t matter if it’s true. Just go ahead and say it anyway. Get Naked!
(Monkees?….We don’t need no stinkin’ Monkees!)
“Sugar, Sugar” and “Seventeen Ain’t Young”–The Archies (Ron Dante, lead and harmony vocals, Toni Wine and Andy Kim, harmony vocals): The Beatles had just done “Ob-La-Di, Ob-la-da.” Seriously, they needed to go. It was the Archies who broke up too soon. [Footnote: the Cuff Links’ “Tracy” didn’t quite make the cut, but it’s worth noting that Dante was the first (and I believe only) lead vocalist of the rock and roll era to have two songs in the Top Ten at the same time with two different groups. Of course he was!]
“Hair”–The Cowsills (Billy Cowsill, lead vocal, Bob Cowsill, Barry Cowsill, Paul Cowsill, Susan Cowsill, Barbara Cowsill, harmony vocals): Banned in Viet Nam. You bet. One of rock’s greatest productions and arrangements, (vocally and every other way)–created nearly as obsessively as “Good Vibrations,” courtesy of Bob and Billy (and the fact that little brother John needed fifty-something takes to get the drum part right…these days, he drums for, you guessed it, the Beach Boys). It sold two million plus and their manager Dad almost immediately kicked Billy to the curb, leaving the Jackson, Osmond and Cassidy families to reap the enormous benefits of the vacuum.
“Love Grows (Where My Rosemary Goes)”–Edison Lighthouse (Tony Burrows, lead vocal; harmony vocals by some assemblage of British session singers): Ode to a girl, Volume II. The Secret Agent, a.k.a. Tony Burrows, arrives.
“United We Stand”–Brotherhood of Man (Tony Burrows and Sunny Leslie, lead and harmony vocals; Sue Glover, John Goodison and Roger Greenaway, harmony vocals): The Secret Agent under another of his many guises. Here trumped, for the only time in his career, by Sunny Leslie.
“Montego Bay”–Bobby Bloom: The Naked Truth, Island style. Bloom split his time in the music business between singing jingles and engineering records for the likes of late period Louis Jordan. He shot himself in 1974, the year of the Apotheosis. Accidentally, of course.
“Sweet Cherry Wine”–Tommy James and the Shondells (Tommy James, lead vocal): Hey, there had to be at least one great anti-war bubblegum drinking song. Who else was gonna provide it?
“Which Way You Goin’ Billy?”–The Poppy Family (Susan Jacks, lead vocal; Terry Jacks, harmony vocal): Once in a while, even the Naked Truth must stand before the Void.
(Wait…now Motown is involved? This is getting serious…)
“I Want You Back,”“ABC” and “The Love You Save” (Michael Jackson, lead and harmony vocals; Jermaine and Jackie Jackson, second lead and harmony vocals; Tito Jackson and Marlon Jackson, harmony vocals): Biff. Boom. Pow. Courtesy of Motown. And, from there, the emergence of the concept’s transcendent star, who would eventually crack under the strain and rain sorrow everywhere he went.
“One Bad Apple,”“Double Lovin” and “Yo-Yo”–The Osmonds (Merrill Osmond, lead vocal; Donnie Osmond, second lead and harmony vocals; Jay Osmond, Alan Osmond and Wayne Osmond, harmony vocals): Biff. Boom. Pow. Courtesy of Fame Studios in Muscle Shoals and real competition for the J5 no matter what you might have heard. Then, of course, they decided to go it on their own. Oh, well, it was fun while it lasted.
“Tighter, Tighter”–Alive ‘N’ Kickin’ (Pepe Cardona, Sandy Toder, lead and harmony vocals): Side project for the Sun God. He gave them this one after He decided to keep “Crystal Blue Persuasion” for Himself. I’m still not sure He made the right call, though, to be fair, even He couldn’t have bettered this.
“I’ll Be There”–The Jackson 5 (Michael Jackson, lead vocal, Jermaine Jackson, second lead and harmony vocals, Jackie Jackson, Marlon Jackson and Tito Jackson, harmony vocals): So ethereal it really oughta float away. It’s Jermaine who keeps it on track and it’s the contrast between the two leads straining to live up to a concept supposed to be far beyond their years that makes it transcendent.
“I Think I Love You”–The Partridge Family (David Cassidy, lead vocal, Shirley Jones, Ron Hicklin, John Bahler, Tom Bahler and Jackie Ward, harmony vocals): While the TV show was on the air, the great photographer Lynn Goldsmith did a photo shoot with Cassidy. One night while they were walking on the beach, he said “You know, Lynn, I’m a legend in my own time.” The Aesthetic could do that to a guy.
“Indiana Wants Me”–R. Dean Taylor: Of course, in any Aesthetic this quintessentially, buck-chasing, All-American there had to be a murder ballad. And the complete lack of sociopolitical import–reflected in both the lyrics and Taylor’s superbly callow vocal–probably runs a lot closer to the true spirit of the sort of guy who ends up running from the law saying things like “If a man ever needed dyin’ he did/No one had the right to say what he said…about you,” than anything ever managed by Johnny Cash or Bruce Springsteen (who, for better and worse, has spent a large chunk of his life trying to re-write this).
“Ballroom Blitz”–Sweet: (Brian Connolly and Steve Priest, shared lead and harmony vocals; Andy Scott and Mick Tucker, harmony vocals): Blitzkreig is more like it, “glam” being the Naked Truth’s logical next step. Recorded in 1973, a US hit in 1975.
“How Do You Do”–Mouth & MacNeal (Willem Duyn, a.k.a. “Big Mouth,” and Maggie MacNeal, shared lead and harmony vocals): Caveman and Cinderella. Cinderella’s two-line solo verse may be the Aesthetic’s finest vocal moment.
(Elton John on Soul Train..it was that kind of time.)
“Rock Me Gently”–Andy Kim: The Apotheosis of the Apotheosis. By a former Archie, of course. (Would really like some help identifying the background singer(s) on this one!) UPDATE: Wikipedia has come through. Carol Carmichael and Company….though it’s unclear if there was really a Company or just overdubs. In any case brilliant. She also reportedly did the harmony vocals on Albert Hammond’s “It Never Rains in Southern California” which is enough to justify any human’s life.)
“Beach Baby”–First Class (Tony Burrows, lead and harmony vocals; Chas Mills, harmony vocals): The rumor was, this was the Beach Boys recording under another name. An Australian DJ played it for Brian Wilson who said it wasn’t the Beach Boys but it was definitely West Coast America. Actually it was recorded in London by a bunch of English session pros headed by the Secret Agent. But that’s just geography. I prefer to think Brian was referring to a state of mind…in which case he was dead on. (The link is fun and is the 45 edit…Full glorious version here (in particularly superb sound). I’ll leave the story of how this record was very weirdly linked to my first speeding ticket for some other day!)
“Rock On”–David Essex: Re-channeling the fifties was a very big part of the Naked Truth. Never better than on this record which made the fifties sound like they could have only happened in a glam-rock dream. I mean, it’s so fake it’s kinda….real.
“Rock the Boat”–The Hues Corporation (Fleming Williams, lead vocal, St. Clair Lee and H. Ann Kelly, harmony vocals): Lifted by the discos, which only proved the Naked Truth was getting around. Or maybe just that certain forms of perfection really are undeniable.
“Benny and the Jets”–Elton John: Star looks audience dead in the face and plays the me-looking-at-you-looking-at-me-looking-at-you game, sans cynicism or naivete.
“The Locomotion”–Grand Funk (Mark Farner, lead vocal; Don Brewer, Craig Frost, Todd Rundgren, harmony vocals): If you turn it up to eleven and listen all the way through, you might feel like you’ve just been bludgeoned to death with a ball peen hammer on the set of a bad seventies-era cop show. But if, for any number of reasons, you should find yourself in need of identifying the prime source for hair metal, this is as good a place to start as any.
“Hooked on a Feeling”–Blue Swede (Bjorn Skifs, lead vocal; harmony vocals? I dunno. A steam packet?): Ooh-ga-cha-ka, Ooh-ga-cha-ka, Ooh-ga, Ooh-ga, Ooh-ga-cha-ka. I think I had this in philosophy class in Junior College. I think it was part of a multiple choice test where all the options were this or “I Want Candy.” Aced that test! No, really, I’m sure I did.
“Waterloo”–Abba (Agnetha Faltskog, Anna-Frid Lyngstad, lead and harmony vocals; Bjorn Ulvaeus, Benny Andersson, harmony vocals): Couple of guys teamed up with their manager to write lines like “I was defeated, you won war” for their significant others to sing back to them in a song contest. Thus was Euro-pop born.
“Billy Don’t Be a Hero”–Bo Donaldson and the Heywoods (Sorry, couldn’t find any solid info on the lead or backing singers..Help, I need somebody!): Okay, so this was a little late to the Age of Viet Nam Protest. Let alone the age of Civil War Protest (to which it was supposedly referring). But you could argue Bo and the boys were really protesting the next war. Which might make it the most Naked Truth of all. (Note: This song was originally done by an English group, Paper Lace, who hit #1 about the same time with “The Night Chicago Died,” one of the strangest records ever made. I didn’t include it only because I found trying to formulate actual thoughts about it made me more than usually inclined to just give up a life of abstinence and become a drinking man.)
“Kung Fu Fighting”–Carl Douglas: “In fact it was a little bit frightening.” A little bit? Hey the Establishmentarians had to come up with punk rock to combat this stuff. It was clearly getting out of hand.
“Rock and Roll Heaven”–The Righteous Brothers: See what I mean? Necrophilia in the top five. Isn’t that just what the Velvet Underground was after all along?
Post (What Came After):
“The Proud One”–The Osmonds (Merrill Osmond, lead vocal; Donnie Osmond, Jay Osmond, Alan Osmond and Wayne Osmond, harmony vocals) : One last improbable shining moment for the brothers, courtesy of Bob Gaudio, Bob Crewe and harmonies only a shared womb can produce.
“It’s OK”–The Beach Boys (Mike Love, lead and harmony vocals; Dennis Wilson, second lead and harmony vocals; Carl Wilson, Brian Wilson, Marilyn Wilson, Al Jardine, harmony vocals): Really guys? It took you this long?
“Boogie Fever”–The Sylvers (Edmund Sylvers, lead vocal; Foster Sylvers, second lead; Olan Sylvers, Charmaigne Sylvers, J.J. Sylvers, Ricky Sylvers, Angie Sylvers, Pat Sylvers, harmony vocals): You know how you can tell if something fits the Aesthetic? When the lead singer can sing a line like “You know she ate a pizza, dancing to the beat,” with the purest conviction.
(The Aesthetic now brimmed with such confidence that teen idols even came in…plaid. This may have been hubris.)
“More, More, More”–The Andrea True Connection (Andrea True, lead vocal): Abba. Blue Swede. Then this. What was it with the Swedes and the Aesthetic. Even their porn stars got into the act. They’re obviously a strange people.
“That’s Rock and Roll” and “Hey Deanie”–Shaun Cassidy: The last blast of the teen-pop ethos kick-started by the Cowsills. Shortly after, the switch flipped. I think it had something to do with Reagan being elected and the end of politics. But it’s possible I’m paranoid.
“New York Groove”–Ace Frehley: Hey, KISS didn’t miss by much, themselves. KISS’s guitarist cashing in on disco by calling on the spirit of the Sun God? That goes straight to the heart of the matter. (Worth visiting this update here…In case you’re wondering what a recording studio can do for a fella. To be fair this is the very first time I’ve ever paid the least attention to the words.)
“You’re the One That I Want”–Olivia Newton-John and John Travolta: Suzy Creamcheese and Boy Toy smoke themselves, each other, the charts, whatever else happens to be standing near.
“B-A-B-Y,”“Shadows of the Night”–Rachel Sweet: The link between Carla Thomas and Britney Spears (there had to be one, didn’t there?) and teen-rock’s great lost voice. (Pat Benetar having the hit with “Shadows of the Night” was one of the seven signs of the Apocalypse. And, yes, I know which one, but I’m not allowed to tell.)
“Mickey”–Toni Basil: Ode to a Boy, Volume I (subsequent volumes….pending). “I Want Candy” from the other side of the fence (even further than Bow Wow Wow’s actual remake of “I Want Candy,” if only because it was a natural smash.)
“Uptown”–Prince: The Sun God’s natural heir and an all but official sequel to “Sweet Cherry Wine.” (Sorry, couldn’t find a useful link.)
“Jessie’s Girl”–Rick Springfield: The greatest record ever made by a soap opera star. And one of the greatest records ever made by anybody about that strange place called L.A. At least in the sense that, despite it’s universal lyric theme, it’s sense of helpless, plasticized doom couldn’t possibly have been conceived anywhere else at the time. These days, plasticized doom being such common coin of the realm, it couldn’t be conceived anywhere at all. Strange, that. Has all the markings of a Security State plot. I’d investigate further but, hey, I don’t want to end up like this guy.
“Jump”–Van Halen (David Lee Roth, lead vocal): Somebody once described “Dance the Night Away” (perfectly) as “the Archies meet the Rolling Stones.” For this one, they ditched the Stones.
(Dressed for success…in a Beatles’ t-shirt. “This is the end. My only friend, the end.”)
“Dressed for Success”–Roxette (Marie Fredriksson, lead and harmony vocal; Per Gessle, harmony vocal): If somebody asked me for one record to define the eighties, you know, the end of Politics in the West, this would be it. The Swedes again. Is anyone surprised? But, hey, at least the end sounded wonderful. It had a good beat and you could dance to it.
“Rhythm of the Night”–Debarge (El DeBarge, lead vocal; Bunny DeBarge, Randy DeBarge, Mark DeBarge, James DeBarge, harmony vocals): Light as a feather and God love ’em. You start with the J5 (or, if you like, Little Peggy March) and by the time you get to here, the Naked Truth is virtually….indistinguishable…from…anything….else. Catchy at least.
“TLC”–Linear (Charlie Pennachio, lead vocal; Wyatt Pauley, Joey Restivo, Trevor Anthony and Billy Griffin, harmony vocals ): The new paradigm. Hip-hop style, rock image, Aesthetic vocals, catchy marketing (“Latin Freestyle”). It never quite took hold. This, in fact, was as far as it got Aesthetically speaking. Too bad….But if there could only be one, at least it was perfect.
“MMMBop”–Hanson (Taylor Hanson, lead and harmony vocals; Isaac Hanson, Zac Hanson, harmony vocals): The most exciting teen-and-under vocalist since Michael Jackson. And, after this fell from #1, there was absolutely nowhere for him to go. Need some semblance of a culture for that particular sort of career development, so goodbye to all that. Singing I mean. Teen-pop lives on, of course. Heck, it rules. But it’s the (mostly white) quasi-hip-hop version now. And hip-hop, quasi- or otherwise, belongs to suits and producers, not singers. After this, the men in charge finally figured out a way for teen-pop to permanently be both crust and filling, instead of the cherry on top.