“While You’re Out Looking for Sugar” The Honey Cone (1969) Billboard Pop: #62 Billboard R&B: #26 Recommended source: Greatest Hits
The Honey Cone, Edna Wright in the center
I came across an item on Facebook today which claimed it’s Edna Wright’s 75th birthday. I wasn’t able to confirm the date anywhere else (though she is listed as being born in 1944) but I’ll take any real or imagined occasion to celebrate her and her great group the Honey Cone’s not-so-little and all-too-forgotten place in the history of Rock and Roll America.
When the titanic writing/producing team of Holland-Dozier-Holland split with Motown in 1968, they set out looking for artists to fill the rosters at their new labels Hot Wax and Invictus. The first act they signed was a trio of girl group veterans consisting of Wright (Darlene Love’s sister–the vocal and visual similarities were striking), Carolyn Willis and Shelly Clark.
The group’s history soon became an old, familiar one. Like the Chantels, Dixie Cups and Shangri-Las (among others) before them, they were the soul and success of their new label, made fabulous records, had a modest but indelible run of hits and were abandoned to their fate when the record company went out of business. Like those other groups, their identity remained largely obscure, except when they opened their mouths to sing. For the Honey Cone, that musical identity consisted of a nudge forward in what their label mate Laura Lee would soon term “Women’s Love Rights.”
Their biggest hit, “Want Ads,” was, even more than Lee’s hit, the culmination of the process–a new style of assertiveness that married the old girl talk timbres (vulnerable, yearning) to soul and blues themes that had mostly been left to males. The ethos could be summed up in a simple phrase: You better watch yourself!
But the road to “Want Ads” and similarly themed records like Betty Wright’s “Clean Up Woman” (out of Miami, where she, too, would be the foundation stone for yet another process of somebody else making a lot more money than she did), began with the Honey Cone’s first Hot Wax release, “While You’re Out Looking for Sugar” (1969) a fine soul side that did just well enough on the charts to confirm H-D-H’s faith in bigger and better things to come.
It was a bold leap. There were scant role models at the time for the kind of sly but forceful pushback Edna and her group were insisting upon. No more pleading, no more begging, no more daydreaming and no more prizing the church over the street.
Once they got going, the new woman was here to stay, and not just on the Pop and Soul charts. Like all the great girl groups before them, including those H-D-H had guided at Motown (even the mighty Supremes), they were often dismissed as puppets.
Like all the great girl groups before them, it was never that simple. Put it this way: Except for “Want Ads,” Honey Cone’s entire catalog could qualify as its own subcategory of Diamonds in the Shade. There was a reason why, when Brian Holland, Lamont Dozier, and Eddie Holland went looking for the foundation of their own vision, they signed Edna Wright first.
The Definitive Collection
Diana Ross & the Supremes (2008)
Let’s start with this: The Supremes, in their various incarnations, have thirty-one comps listed on Wikipedia. I doubt that’s all of them, but it’s enough to suggest there is probably no such thing as a “definitive” Supremes collection. I have four, including the four-disc CD box, which stretches from the very beginning (when it wasn’t clear whether Diana Ross or Flo Ballard would be the lead singer) to the very end (by which time Mary Wilson had, for years, been the only remaining original Supreme and Ballard was in the boneyard). It sustains.
But for getting to the essence, it’s hard to beat this one–and the essence is as essential as anything in the rock and roll era.
In the 173 weeks preceding the Beatles’ “I Want To Hold Your Hand” reaching #1, (Oct. 3, 1961 to Feb 1, 1964) the top of the American pop charts looked like this:**
Weeks Total: 173
Weeks Black Artists spent at #1: 53
Weeks Motown artists spent at #1: 4
In the same length of time after (Feb. 1, 1964 to June 3, 1967):
Weeks Total: 173
Weeks Black Artists spent at #1: 32
Weeks Motown artists spent at #1: 26
Weeks the Supremes spent at #1: 19
Short summary: In the middle of what is supposed to have been Rock and Roll America’s most expansive period, absent Motown (meaning absent Berry Gordy, Jr.), Black America’s time at the top of the Pop Chart would have reverted to the pre-Elvis standard.
Without the Supremes, even Motown would have made little difference in this respect (something Berry Gordy understood better than anyone).
This was after a period–supposedly rock’s most limited and fallow–when Black America had sustained enough chart action over the entirety of the early Rock ‘n’ Roll era for both Cashbox and Billboard to experiment with ending the R&B (or “race”) chart–an experiment a year’s worth of the British Invasion ended for good. So much “for good” that recent years when White America dominated the Hip Hop chart–including one year (2013) where white acts occupied the top spot forty-four out of fifty-two weeks–have not revived the concept.
“Race” dies hard.
If the Supremes had not existed–had not been what and who they were–the shape of the dream that is receding behind us, the restoration of which will be the bedrock of any future revival of anything worth either living or dying for, would be a great deal smaller and meaner.
I listen to them hard and often. Always have. Always will.
Lately, when I listen, I listen to this–because I hear the perfect shape of something America responded to like no other version of ourselves that existed in their time. Hit play:
“Where Did Our Love Go”–By the time they broke out, in the summer of ’64, it was Diana Ross’s show. But the other key elements were already in place. The neighborhood harmonies, the pounding rhythm, Holland-Dozier-Holland’s gift for tying memorable melodies to stringent-but-far-from-simple lyrics that turn on the subtleties of Ross’s timbre: “I’ve got this burnin, burnin, yearnin’ feeling inside me” had never been followed quite so smoothly and irresistibly by anything as turned-on-its-head as “Ooooohhhh, deep inside me….and it hurts so bad.”
“Baby Love”–In true Motown style, the hit formula was copied closely on the subsequent release. Unlike all the other hit formulas, this went straight to #1 again. (Nice story, which I’ll paraphrase: Years ago, I heard all three members of HDH interviewed on public radio. One of them told a story about hanging out on the porch at Motown’s Hitsville after a long, not especially fruitful day of songwriting. He happened to overhear Gordy telling someone that, after the years-in-coming success of “Where Did Our Love Go,” he was going to put all the company’s promotional muscle behind the Supremes because they were the ticket to the white mainstream he had been seeking. Back inside, the eavesdropper went to the room where he had been working with the others, locked the door, hooked a chair under the knob, told his partners what he had heard, and said “We’re not leaving here until we write three number one hits for the Supremes.” “Baby Love” was the first.
“Come See About Me”–This, a fair bid for their finest hour, was the second. And #1 again. However great it was in conception, it grew by leaps and bounds when Ross got hold of it. There’s no question in your mind that he’ll come see about her. Who wouldn’t! Hers is the only mind filled with doubt.
“Stop! In the Name of Love”–This, a fair bid for their finest hour, was the third. And #1 again. Their signature stage song–Rock and Roll America produced nothing more iconic than their hand-motion choreography for this one and Rosanna Arquette fit a lost world into her five-second imitation in Baby It’s You–and for the first time James Jamerson’s bass emerged from the mix so powerfully that it became its own voice, counterpointing Ross’s desperate lead with a sound that seems to lead her down a path where hope and fear are forks in a road with no signs. To listen close is to be forever lost on that road….where you can never know if the path taken is right or wrong, no matter how many times it put a smile on your face when you were just singing along with the radio.
“Back in My Arms Again”–And, just like that, they were personalities. “And Flo, she don’t know, ’cause the boy she loves is a Romeo!”…And #1 again.
“Nothing but Heartaches”–A brilliant record, featuring some of the most haunting and complex harmonies found on any Motown record, plus the usual sterling qualities all the way around….and a flop! After five straight #1’s, this only got to #11. Not sure oldies radio ever made a distinction–but the Corporation noticed.
“I Hear a Symphony”–And went back to basics. The beat’s BIG again (especially that bass!), the harmonic lines cleaned up and deepened, the booting sax from ’64 restored to the bridge. Plus a lyric that’s a straightforward Ode to Joy. Back to #1!
“My World Is Empty Without You”–The lyric complexity returns. Is she pleading for forgiveness, extending it, or admitting she doesn’t care? The track retains the back-to-basics feel. The chart split the difference. It peaked at #5.
“Love Is Like an Itching in My Heart”–A fair bid for the sexiest vocal ever recorded. I don’t think it’s her heart that’s itching. Deeper than you might think, even so. The charts noticed (else fatigue was setting in)–this, as great and joyous as anything, settled for #9.
“You Can’t Hurry Love”–No way to stop this one, even if it plays like a sequel to “Love is Like an Itching in My Heart”–straight-up itching traded for Mama’s advice. By itself, that might have thrown the radio audience, but it was #1 by the time the bass intro reached the third note.
“You Keep Me Hangin’ On”–A shock. Still. Decades of radio play could never wear it smooth. The track itself was so compelling that Kim Wilde’s note-for-note copy went #1 two decades later…and was promptly forgotten. What neither Wilde nor anyone else could match was Ross’s combination of intimacy and distance–as if she’s finally grown terrified of a version of herself it would cost her life to reject. And across those same decades, seven thousand white boy critics echoed each other with some version of “Why doesn’t this weak women just leave the bastard?” Gee, all that liberation theology, all those leftover groupies, and they still never heard about the thing called Sex. #1 of course.
“The Happening”–Okay, here’s why there will never be a perfect Supremes comp. It’s another #1 (and therefore can’t be left off) and a good enough record that I could imagine it gracing a run of hits by someone else and not interrupting the flow. But this is the Supremes. And it’s only 1967. The quality doesn’t matter. It will just never fit. (Click the link, though. It’s the Sullivan appearance where Ed forgot the name and just introduced them as….”the girls!” Plus, they could dance. In case anyone forgot.)
“Reflections”–The themes reach culmination–loneliness, despair, the Morse Code of heartache, reflection. My pick for their greatest record, and Motown’s. It’s given extra weight by being so close to Flo Ballard’s last gasp (she would last only another six weeks before being fired). Somehow, this most perfect intimation of its time and place only reached #2. And that after even “The Happening” had gone to the top. One of life’s little mysteries. It’ll be worth every step of the hard road that ends with both feet inside the pearly gates to have that one explained.
“Love Child”–With Ballard gone, Mary Wilson was frozen out of the studio and backing vocals were turned over to the thoroughly professional Andantes. Three fantastic singles followed “Reflections” (to diminishing chart returns–with Ballard gone, they fell from the Top Ten like a stone). I feel their loss. But hearing “Reflections”bleed into this one elevates both. Which in the abstract, I wouldn’t believe was possible. And back to #1.
“I’m Livin’ in Shame”–A “Love Child” sequel and nearly as good. Standing on it’s own, it can slide by you and you can hear why it only reached the Top Ten. But placed here–and knowing the end is near–it gains weight, as the kitchen-sink details that lay hidden between the grooves of its predecessor are filled in and turned into pure loss. “She never got out of the house, never even boarded a train.” It’s all in the voice–Ross’s sly ability to shift between Ghetto Child and Worldly Sophisticate Looking Over Her Shoulder without losing the plot–and no record caught Black America’s then emerging, still unresolved, cultural dilemma better.
**NOTE: I chose the period of 173 weeks based on Aretha Franklin’s “Respect” marking a new era for Black America in terms of reclaiming the charts….The other non-Motown acts who reached number one between the arrival of the Beatles and the week “Respect” topped the chart were Louis Armstrong, the Dixie Cups and Percy Sledge. I wrote about the significance of Percy’s record here.
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.