Well ain’t this a kick. I’m on a little bit of a Joe Jackson binge and I decide to look up one of my favorite singles from the black hole that was engulfing the Pop Charts from 1977–1980 or so, which was this one…from 1979:
Which, even at the time, I knew had nicked something or other from this (let me know if you miss the connection and I’ll be happy to point it out)…
Now, I never thought too much about this. Quoting/covering Shangs records was de rigueur for punk/new wave types (among others). I doubt any pre-punk act contributed more language, attitude or zeitgeist to every form of alternative music from the late sixties to yesterday morning.
And mostly that’s been acknowledged. Not by the Rock and Roll Hall of Fame or anything, but by the influenced acts themselves (The Dolls, Ramones, Blondie, Pink Floyd, Any Winehouse to name only the more obvious).
All these years I just assumed Joe had done the same.
Then I read this (from Songfacts):
Now, that is just one of those songs that started with the title. I heard that phrase somewhere and I thought that could be a kind of funny song about gorgeous girls going out with monsters.
Hmmmm. He heard that phrase…somewhere. And couldn’t quite pin down where it might have come from.
Surely not from growing up in England.
You know. The country where the song that starts “Is she really going out with him?” hit #11 in 1964.
When Joe was ten.
And didn’t go higher because it was banned.
And hit #3 in 1972.
When Joe was 18….wonder if he was listening to the radio by then?
And hit #7 in 1976.
When Joe was 22…by then, maybe?
Come on, Joe.
Nothing could make me love “Is She Really Going Out With Him?” less…but you’re better than that.
I mean, dude. I still got the 45…
…and it’s one of those they’ll have to pry from my cold, dead fingers.
Because it’s one more little sliver of proof that, unlike me and probably you, the Shangri-Las will never die!
So NPR compiled a list of the 150 Greatest Albums Made By Women (since 1964). You can read the rationale for the list here. It covers–or, if you like, CYA’s–the usual caveats for such lists. They were a little vague on why a list designed to put women “at the center” should have its starting point defined by the Beatles (Why not Julie London (as great an album maker as Frank Sinatra in the fifties)? Or Billie Holiday? Why not be really transformative and shake up the whole narrative, if it’s the whole narrative that needs shaking? And, if it doesn’t, why not just say so?).
But I’ll leave hashing all that out for some other day.
Today, I’m not gonna carp. Because the Shangri-Las made the list!
I only kind of wish (and I’m not complaining–that album cover above you hangs in my den, framed) they had made it with their other, stronger album (the even better version of Shangri-Las ’65*)…
…which I like to say has cast a longer shadow than Rubber Soul or Highway 61 Revisited.
Or Blue (the Joni Mitchell album that tops the NPR list–like all corporate lists, it’s not long on surprises).
Of course, I say that with tongue in cheek.
But it’s funny what happens in shadows. I just saw Wonder Woman win WWI at the multiplex last week…and she did it looking and acting a lot more like a Shangri-La than anything her original comic-strip creators envisioned.
If you see Bob Dylan’s shadow hovering over the multiplex, where the genuine, authentic, one hundred percent true-life fantasy America persists in re-creating itself these days, be sure to let me know.
I’m not saying it’s a good thing either.
Just that it’s a thing.
An overwhelming thing.
That Wonder Woman, she’s fifty feet tall.
For now, though, I’m gonna let all the caveats go, and just use this as a reason to smile in a grim world.
[*–Shangri-Las ’65 was released before “I Can Never Go Home Any More” became a big hit. Their label then released a new version of the LP, re-titled after the hit, with “I Can Never Go Home Any More,” one the era’s greatest sides, replacing “The Dum Dum Ditty,” one of the few Shangs’ sides that isn’t great. I should probably add that “this has probably cast a longer shadow than Rubber Soul or Highway 61 Revisited” is something I first scribbled about Shangri-Las ’65 in one of those notebooks all writers keep about thirty years ago, before I knew I Can Never Go Home Any More, the album, existed. I’ve repeated it a few times since, including on this blog. But I ask again–who else joins the Ramones and Madonna at the hip? And what’s more “influential” than that?]
I just came across this clip from a Go-Go’s’ concert on Germany’s Rockpalast. It’s from smack dab in the middle of their three-year run on the charts. There is much better live footage of them across the years. They look exhausted here, ripe subjects for burnout and Exhibit A of “paying the price for too much too soon” even if it probably felt like a hundred years to them.
I’ve never seen any other clip which demonstrates so clearly why they were the last great rock ‘n’ roll band, even if it turns out the members of the last great “rock” band are waiting to be born.
Except for the Who, no band ever had so many folks fighting for so little space…and the Who thrashed at each other as often as they meshed.
The Go-Go’s had at least three people playing what amounted to lead instruments and two of those were the rhythm section. They traded their licks at a speed that made everybody else who bothered trading licks (not all that many) sound like they were playing underwater. It really shouldn’t have worked and it wasn’t exactly to their advantage that they made it look–and sound–so easy.
And, brief as it is, this is the best look at Kathy Valentine’s hands I’ve ever seen. She’s playing a top ten hit (which she wrote) at Ramones’ speed, while carrying a melody line the Ramones would have killed for….all on a bass guitar.**
And she doesn’t dominate….Because even her hands aren’t faster or more fluid than Charlotte Caffey’s or Gina Schock’s or even Jane Wiedlin’s, all of whom knew a thing or two about carrying the melody and the beat themselves, even if they only had three seconds to do it before they threw it back to whoever threw it at them.
I’ve said it before, I say it again. They were the first and last “all female” band to have a #1 album in Billboard. When folks predicted there would surely be many more such bands, I said: “Not if they have to play like that.”
When there’s only one, there’s usually a reason….it’s worth remembering that now, when we are further removed from them than they were from Fats Domino and still waiting for someone to beat their time.
**To be fair, even the Go-Go’s didn’t write many melodies as compelling as “Vacation.”
This year’s performing nominees for the Rock and Roll Hall of Fame were announced last week. I always like to put in my two cents and I try to come up with a new approach each year. This year, with artists I have strong feelings about being in short supply on the ballot, I’ve decided to list the actual nominees next to the artist they most resemble (spiritually or temporally) who is more deserving.
You know. According to me.
And rock and roll. Let’s not forget rock and roll.
It’s a long ballot this year, so be sure to strap on your seat-belt. And please, if your sphincter is, as Ferris Bueller might have it, prone to making diamonds from charcoal, proceed with caution…
Actual Nominee: Bad Brains. I don’t really know much about them, but, listening on YouTube, they sound like every other hardcore band except the Minutemen. Like most such bands (not the Minutemen), they started out pretentious (jazz fusion according to Wikipedia and who is surprised?) until they found out where the true belief they could ,milk a ready-made cult career from lay. I only listened to a few cuts, but they certainly sound as if they always knew which side of the bread the butter was on.
Dream Ballot: The Minutemen. I listened to one of their albums all the way through once when I was in my twenties. I’m in my fifties now and I’m still waiting to reach an emotionally secure place before I listen again. I don’t know much about hardcore but I know real genius and the sound of nerves being scraped raw when I hear it.
Actual Nominee: Chaka Khan. Fine. Unlike most rock and roll narrativists, and most of the Hall’s voters, I’m not ready to forget about black people in the seventies. Speaking of which…
Dream Ballot:Rufus, featuring Chaka Khan. Yes, Chaka should be in. She should be in with her great interracial funk band, and they should pave the way for the other great funk bands, interracial (War, Hot Chocolate, KC and the Sunshine Band), and otherwise (Kool and the Gang, Ohio Players, Commodores). It seems like the more the nominating committee screws these things up, the more things stay the same.
Actual Nominee: Chic. They should be in. They’ve been consistently nominated for years but can’t overcome the disco hatred. No surprise there. Donna Summer had to die to get in. Even so, they aren’t the most deserving in this genre. That would be…
Dream Ballot:Barry White. Chic has been on the ballot ten times. You’d think they could nominate an even more popular, more innovative and more iconic artist from the same basic gene pool at least once. Come on people. Let’s at least try to make it look like we know what we’re doing!
Actual Nominee:Depeche Mode.Drone music. Admittedly, not my thing. Lots of hits in England and I don’t like to step on other people’s tastes, let alone their passions, but If somebody asked for indisputable evidence of why Britannia no longer rules the waves and soon won’t rule Britannia, I’d play them Depeche Mode music all night long. They could make up their own minds about whether that’s a good thing. Might be more useful if they at least pointed to something better, instead of a black hole.
Dream Ballot: Roxette. I was gonna go with Eurythmics, though they aren’t of the same ilk either (and might actually get on the real ballot some day). But, broadly, this is all Europop, and if there is going to be Europop, then there ought to at least be a fun single every now and then.
Actual Nominee: Electric Light Orchestra (ELO). The early lineup included Roy Wood, and the RRHOF is including Wood in the lineup that will be inducted if they get the votes. They aren’t including Roy Wood for what he did in ELO, which means they are tacitly acknowledging that this really ought to be…
Dream Ballot: The Move/ELO. They did this for Faces/Small Faces which actually made less sense (The Faces were a much cleaner break from the Small Faces than ELO were from the Move) but certainly opened up nominating possibilities. If you have two borderline deserving bands linked by shared membership, why not just put them together? We could have Free/Bad Company or Manfred Mann/Earth Band, maybe one or two others I’m not thinking of right now. It makes more sense than a lot of other sins of commission/omission presently on the Hall’s head. The Move were probably deserving on their own, despite their lack of success in America. ELO are marginally deserving anyway, and not just because of their massive success in America. Why oh why does the Hall continually shadow box. You had a good idea there a few years back. Run with it.
Actual Nominee: The J. Geils Band. It’s not that the J. Geils Band aren’t deserving. They are. And it’s getting late. They’ve been eligible for a long time. But if we’re mining the White Boy Stomp vein, then let’s go with my old standby…
Dream Ballot: Paul Revere and the Raiders. One of my criteria is that if you either helped define a major genre or helped invent an important minor one, you should be in the Rock and Roll Hall of Fame. The Raiders had a hand in inventing what came to be called garage rock. They certainly helped define it, ergo it doesn’t matter if you call garage rock major or minor. And they were the only band that fits well within even the narrowest definition of the ethos to have a major run of hits. That they’ve never been on the ballot for a hall that includes the Dave Clark Five and the Hollies (both deserving, but still) is silly, really. [Alternate pick: Mitch Ryder and the Detroit Wheels.]
Actual Nominee: Jane’s Addiction. A sort of thrash band with sort of Power Pop vocals. They started in the mid-eighties and you can feel them giving in to the awfulness of the times on just about any record I’ve heard (which I confess isn’t all that many, those I’ve heard not making me feel like I’ve missed anything except more dreariness, more unearned angst, more acceptance of defeat as the natural and permanent human condition we should all just learn to live with). Again, I realize these punk/alternative/alt metal//indie/thrash/etc. bands have had a profound impact on somebody’s life. I hate having to dis anybody’s taste. Still….nobody should take the world this hard unless they’ve been in a war.
Dream Ballot: Big Star. It doesn’t even matter who you (or I) like. The RRHOF has a responsibility to history. Putting Jane’s Addiction on a ballot where Big Star have never appeared amounts to criminal negligence.
Actual Nominee: Janet Jackson. No problem here. Miss Jackson had an enormous career and deserves to be in, maybe even on this ballot. But I’m curious…
Dream Ballot:Cyndi Lauper. Leaving aside why Dionne Warwick–Dionne Warwick!–has never appeared on a ballot, and sticking to the same era, why not do the all the way right thing and go with Cyndi? She made the best album of the eighties, was the last truly inventive vocalist of the rock and roll era (just before the suits allowed the machines to take over–and at a loss on the profit sheet, too–because the machines never talk back), and her acceptance speech would likely be even more priceless than her average interview.
Actual Nominee: Joan Baez. Inducting Joan Baez into the RRHOF as a performer would be a joke. She’s never made anything resembling a great rock and roll record. She’s a perfect candidate, however, for my long-running common sense proposal to have a “Contemporary Influence” category, especially now that the “Early Influence” category is running dry. Other worthy candidates for a concept which could acknowledge great artists who influenced their rock and roll contemporaries without being quite “of” them, would be oft-mentioned names like Patsy Cline and Willie Nelson (country), the Kingston Trio (folk), or even Barbra Streisand or Dean Martin (pop). It would have also been the right category for Miles Davis (already inducted as a performer) and a number of blues acts. But, if this category is not to exist, then at least go with….
Dream Ballot: Peter, Paul and Mary. They were the ones who put Bob Dylan on the charts, two years before the Byrds. If you think this–or Dylan becoming a major star–was merely inevitable, you weren’t quite paying attention. Woody Guthrie never made it…and don’t think he couldn’t have, if PP&M had been there to provide the bridge to the mainstream (whether he would have accepted it is another question, but my guess is he would have). Besides, unlike most of the people who would properly belong in a Contemporary Influence category, they actually made a great rock and roll record…which is not nothing, even if they just did it to prove they could to people who thought “I Dig Rock and Roll Music” was only a joke.
Actual Nominee: Joe Tex. No complaints. No arguments. Joe Tex is the last of the first-rank soul men not to be inducted. He should be.
Dream Ballot: Joe Tex.
Actual Nominee: Journey. I love, without irony or reservation, “Lovin’ Touchin’ Squeezin.” It’s a great record, period. And I don’t hate the stuff everybody else hates. i don’t listen to it, but I don’t run screaming from the room if it’s on either, or get a knot in my stomach that makes me want to start ranting about the decline and fall of civilization (and you know I can find endless reasons to do that). Plus, they sold a bajillion records. Still….Seriously?
Dream Ballot: Three Dog Night. The only reason Three Dog Night weren’t in a long time ago is they didn’t write their hits. If you follow along here, you know that’s not a good reason. Especially when, on average, their hits were a lot greater than Journey’s. (Alternate pick: Def Leppard…they have the advantage of being better than Journey and a more direct replacement. They just weren’t as good as Three Dog Night.)
Actual Nominee: Kraftwerk. Another good candidate for Contemporary Influence, especially since the Nominating Committee, which would control such a category, seems to love them. Again, this not being the case…
Dream Ballot: Roxy Music. Actually, I’m not the best person to make a case for them, but at least they had some hits and a tangential connection to rock and roll. This would also tacitly acknowledge and directly honor the fine work from Brian Eno’s and Bryan Ferry’s solo careers. And does anyone really believe they were less influential than Kraftwerk?
Actual Nominee: MC5. I let my MC5 CDs go in the great CD selloff of 2002. I liked them pretty well, but I never got around to buying them back. As one of the six great bands (The Stooges, Big Star, The Ramones, Mott the Hoople and one I’m about to mention were the others) who bridged the garage band ethos to punk, they should be in. I’d pick them last, mind you (The Stooges and the Ramones, the two I might have picked them ahead of, are already in), but they should be in. Some day. Meanwhile…
Dream Ballot: The New York Dolls. I wonder what might have happened if they had lasted longer. I always loved this performance on The Midnight Special (that they were even on tells you how great The Midnight Special was), where they start with about six fans and end with about eight. I don’t know how far another five years would have taken them…to a hundred maybe? a thousand?….but I bet they’d be in the Hall already if they had made it that far.
Actual Nominee: Pearl Jam. Of course they’ll get in. All that cred. They can’t miss. And that’s fine. They helped define grunge. That’s vital, maybe even major. Well deserving of induction. But here’s the thing…
Dream Ballot: The Shangri-Las. Just curious, but besides turning up the amps and groaning a lot, what did Eddie Vedder do in a quarter-century that Mary Weiss didn’t do, without a trace of his trademark stridency, in three minutes on her first hit? What new place did he get to? Go ahead. Explain it to me. Please….
[NOTE: For any of my fellow Shangs’ aficionados, this link contains an intro I’ve never heard before, plus the extended finale that I’ve linked in the past. It’s the story that never ends.]
Actual Nominee: Steppenwolf. Is Biker Rock really a genre? Is introducing the phrase “heavy metal” to the world enough, in and of itself, to ensure enshrinement? I’m not sure, but if either of these be the case, Steppenwolf should be voted in immediately. Just in case it’s otherwise…
Dream Ballot: Lee Michaels. Why not? If we’ve come this far down the where-can-we-find-more-White-Boys-to-nominate road, aren’t we just messing with people? (Alternate pick: The Guess Who.)
Actual Nominee: The Cars. Cheap Trick got in last year and it’s nice to see to see Power Pop getting some love. The Cars were probably also the most successful New Wave band after Blondie (already in), so I’d always consider voting for them. However…
Dream Ballot: Raspberries. If you really started and/or mainstreamed the Power Pop thing (to the extent that somebody was going to be forced to give it a name), and if your best records are better than anything the thing produced afterwards (well, except for the Go-Go’s maybe), and your front man was the biggest single talent in the whole history of the thing, then shouldn’t you be first in line?
Actual Nominee: The Zombies. I like the Zombies plenty. But the depth of the Nominating Committee’s love for them is a little odd. A few great singles and a cult album (Odessey and Oracle) that has traveled the classic critical journey once outlined by Malcolm Cowley (it boiled down to everything now underrated will eventually be overrated and vice versa) is a borderline HOF career at best.
Dream Ballot: Manfred Mann. Especially if you include all its incarnations (and after the Hall-approved Faces/Small Faces induction, why wouldn’t you?), the never-nominated Manfreds are more deserving on every level. The first version made greater singles and more of them. The second version morphed into Bob Dylan’s favorite interpreters of his music and, along the way, made an album (called The Mighty Quinn in the U.S.) which sounds better to these ears than Odessey and Oracle ever did. Then the third and fourth versions (called Chapter Three and Earth Band) became long running jazz fusion/classic rock troupers. (And yeah, I love their “Blinded By the Light” in both its single and album versions. We all have our heresies.) Mann’s greatest genius was for discovering standout vocalists to sell his concepts every step of the way. And, whatever gets played from the stage of next year’s induction ceremony, I bet it won’t be as good as this…
Actual Nominee: Tupac Shakur. If this is going to re-open the door for pioneers like Afrika Bambaataa or LL Cool J or Eric B. and Rakim, then fine and dandy. They’ve all been on the ballot before. I hope they won’t be forgotten in the coming years, when pressure to induct more modern hip-hop acts grows and when five will get you twenty the Hall’s obvious but never acknowledged penchant for quotas and tokenism remains firmly in place. Still, for me…
Dream Ballot: Naughty By Nature. Yes, even above all the rest. I still think “O.P.P.” is the greatest hip-hop record. I still think “Mourn You Til I Join You,” is the greatest tribute record in a genre that has required far too many. I still think “How will I do it, how will I make it? I won’t, that’s how,” is the finest rap line, (just ahead of Ice-T’s “How can there be justice on stolen land?”) Plenty of early rockabilly stars made it in on less (and deservedly). So sue me.
Actual Nominee: Yes. Prog rock. Yes, of course. That will be very useful in the days to come. Most helpful.
Dream Ballot: Fairport Convention. This year, of all years, we really should find every excuse to listen close. Admittedly, next year promises to be worse.
Happy Holidays ya’ll…Don’t let the Grim Reaper get ya’!