You think you know….You don’t know…
How many times have I listened to this song? A thousand maybe.
And how many times have I listened close…I dunno. Nine hundred and ninety-seven maybe.
I don’t use the Shangri-Las for wall paper or “background” music. I’m not sure I could if I tried. And even if I did use them for background music, I certainly wouldn’t try it with this.
But, as I like to say, with these young women, the story never ends.
So last week I’m listening for that thousandth time–just another night with the fantastic (if unfortunately named) Myrmidons of Melodrama set that RPM put out some years back (a godsend that finally–finally!–collected all of their classic Red Bird sides in one place).
Basically, RPM put out the album twice. The first was released in 1995, acquired by me some time in the late nineties and one of about three (out of a thousand) that survived the great CD sell-off of 2002.
Then, in that same year of 2002 (and unbeknownst to me at the time–when you see me selling my CD collection, you know my life is at stake and my mind is, er, occupied), they released a slightly altered version, which it took me some years to acquire. Frankly, with so many items to replace or upgrade (still not done yet by the way), there didn’t seem much urgency.
Still, I knew it had a couple of things that weren’t on the first one. Nothing major, just a couple of pre-Red Bird sides replacing the other pre-Red Bird sides (all good, but none of which Mary Weiss sang lead on) and “stereo” mixes on ten songs, including the big hits (of which “I Can Never Go Home Anymore” was one). There were also, as it turned out, a few magical extra seconds of “Remember (Walkin’ in the Sand),” which I didn’t know about and which therefore came as both a pleasant surprise and reason enough to be happy I had sprung for what even I–a Shangs’ fanatic–considered a luxury item.
There were other reasons to be happy. RPM had already done a better job of remastering this music than anyone else, and–surprisingly, because mono is the watchword for records from this period–the stereo mixes were vastly superior to any previous release of these endlessly repackaged songs, most of which I have in a dozen or more sources.
So, in all that, I missed this…
At the end of the bridge of “I Can Never Go Home Anymore”–a bridge that is the peak moment in rock and roll arranging (I rank the overall arrangement slightly behind “Midnight Train to Georgia,” where Gladys and the Pips spend four minutes finishing each other’s breaths, but the bridge here is unmatchable) and ups the already impossible emotional stakes five times in twenty-seconds.
Only it turns out that in this mix–and no other–it’s six times in twenty-three seconds.
And that extra three seconds lifts the song to a whole other plane.
Mind you, I say this as someone who, before last week, would have sworn such a thing wasn’t possible.
Shoulda’ known better than to ever underestimate Mary Weiss.
Because, here, after one of the Gansers (I think) shouts Mama! and the strings soar past her (and every opera aria in history) and the group croons/chants You can never go home anymore like a tolling church bell and somebody (Marge? Mary Ann? Mary?…I can’t find out and it’s driving me crazy) shouts MAMA! and Mary cuts her off with No I can never go home anymore, she then tops herself–or make that, tops herself topping all the other crazy stuff that has gone on for two and half minutes and been taken to whole new levels of craziness those five times in twenty seconds.
On every other version I’ve heard, Weiss then cuts straight to the last verse.
Here (listen close!) she says:
“Listen…I’m not finished.”
When I finally heard that last week (maybe the sixth or seventh or tenth time I’ve “listened” to this particular mix), it was like having my own life grab me by the throat.
Because that’s the essence of everything the Shangri-Las stood for in the rock and roll revolution.
Sixteen-year-old working class kids who were born to be kicked saying: “Listen…I’m not finished.”
From there, you can go anywhere you want.
Amy Winehouse used this music to drink herself to death.
I’ve been using it for thirty-five years to stay alive.
Different strokes for different folks I guess.
Rock and Roll Hall of Fame nominations are out and I’ll have plenty to say about that later in the week.
Had to get this–by a group that recorded barely thirty sides and is more deserving than thirteen of this year’s fifteen nominees (and not behind the other two)–in here first.