Text (c) Robert Barry Francos, 2011
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As stated in an earlier blog, throughout the years I have collected flyers, especially from the 1970s and '80s. Many were sent to me directly by the bands while I was publishing FFanzeen. Below are some scans I made from my personal collection, in no particular order. I did see many of them, but not all, and I will comment on them from time to time. Note that I do not financially profit off of publishing them, but only do so to honor the work that was involved, and for archival purposes.
The Fuzztones and the Vipers were two great bands from the psychedelic revival movement of the early 1980s, but they were both so different in sound. The 'Tones had that Rolling Stones sense of danger with Rudi Protrudi on vox guitar and vocals, and Deb O'Nair on keyboards doing mostly back-ups and if I remember correctly, an occasional lead. At the time, she was an embodiment of Nancy Sinatra in her biker flicks days. The band is still around and putting out records, albeit it is based in Germany, and Deb's spot is filled with Lana Loveland, who has her own eponymous band worth checking out, as well. As for the Vipers, they were more poppy, but sharp as a tack. Their song "Cheated and Lied" remains one of my favorites from the period. Last time I saw vocalist / maracas shaker Jon Weiss, he was emceeing a garage theme show at the Acme Underground a few years ago. I had the pleasure of interviewing both bands, at different times.
Geek Maggot Bingo was a bizarre film staring Richard Hell and blues belle Brenda Bergman. This invite was for the opening showing and party at Danceteria.
The Cynics run the Get Hip label out of a Pittsburgh suburb. They are an odd yet compelling mix of psychedelic, metal and pop, and had a video of their song "Girl You're On My Mind" (written by Bernie Kugel of Mystic Eyes, who were on Get Hip) that appeared on MTV for about a second. Worth seeking out the YouTube of it.
This is definitely a show I wish I had seen. I mean, Joan Jett and Darlene Love? Wow.
Along with the psych revival, New York was also diving into the deep end with hardcore. The False Prophets were one of the big ones.
At one point, Binky was the guitarist for a fun New York band called the Planets. They would sometimes play Top 10 (aka disco) songs totally rocked out. I specifically remember them blowing the roof off of "Boogie Fever" one night at Max's Kansas City. Plus, Binky also was one of the cool guys to talk to behind the counter at Sounds, on St. Mark's Place.
I only saw Suicide play once, and that was at CBGB. It was a totally intense experience that lives with me even now. Plus, their song "Frankie Teardrop" still works at getting under my skin. Minimalist heaven, it is the only synth band I can listen to, even now.
Robert Poss lead Tot Rocket, before Band of Susans. He played around a lot in the 1980s, and I have many fliers he sent me to prove it. A really good band (both, actually).
The Mosquitoes were more than just the writers for the last hit song by the Monkees during their 1986 reunion. They reminded me of a psych version of Gerry and the Pacemakers.
The Comateens were a cult band then, and remain so now. But their fans will tell you how good they were.
This tape was made somewhere in the early ‘80s, between interviewing Ronnie Spector for her Siren LP, and the Bottom Line versions (saw them both, though not the bloated Broadway version) of Ellie Greenwich’s Leader of the Pack [LoTP] show.
I haven’t described much of what is on the tape, because this music speaks for itself. As always, I have tried to find the original release of the song as it appears on the tape, and if that’s not possible, a live version. The quality of the videos varies. SIDE ONE
The Shangri-Las - Leader of the Pack As much as I adore some of the other singers on this tape, no one could match the sheer bad-girl sexiness of the Shangri-Las (from Queens, NY!). The Weiss sisters’ vocals could evoke like no one else. Covering an Ellie Greenwich tune doubles it.
The Chiffons - He’s So Fine Great Carol King and Gerry Goffin tune performed with tight harmonies. The Chiffons were from the Bronx!
Leslie Gore - It’s My Party Much better than the follow-up, “Judy’s Turn to Cry,” 16 year old teen idol Gore (nee Goldstein, from NYC and then NJ) powers through this tune that has become iconic as both a song and a commonly used turn. I had the privilege to see Leslie perform a couple of years ago (thank you Ingrid!) and she still has that killer voice. “You Don’t Own Me” and “Maybe I Know” are still my favorite Gore songs, but I didn’t own them when I made the tape.
The Angels - My Boyfriend’s Back Growing up I thought they were African-American, but found out on an “oldies” show on TV (Solid Gold?) that I was mistaken about these Jersey women.
Little Eva - The Locomotion Little Eva (Boyd), born in North Carolina and then moved to Brighton Beach, Brooklyn, was famously Carol King’s babysitter, who was projected into the limelight. There are a lot of fun covers of this tune (including one by Christopher Milk which is wonderfully twisted), and some that are just awful (Kylie Minogue, for example). There is even a tribute song called “Little Eva” by the Locomotions.
Fontella Bass - Rescue Me This song always make me happy. Why Fontella didn’t go further I don’t know, as she was as good if not better singer than many during the whole Motown period. Oh, and she also co-wrote this song. It’s a knock-you-outta-your-socks R&B classic. The only decent version I could find was a live recording, which is still powerful.
Merrilee Rush - Angel in the Morning As with “Will You Still Love Me Tomorrow,” it’s about the awkwardness of the day after, but this time it’s the woman’s choice for a one-night stand. Again, groundbreaking for the time. Merrilee’s version is the definitive one for me, though it seems more people know the bloodless Juice Newton or ABBA covers.
The Shirelles - Dedicated To the One I Love Many more people seem to be aware of the Mamas and the Papas’ version, which is sweet and all, but this is the one that I think of first.
The Dixie Cups - People Say The Dixie Cups are more known for “Chapel of Love,” but I think this song is better written, harmonized, and structured. Both were written by Ellie Greenwich and Jeff Barry.
Millie Small - My Boy Lollipop This exceedingly early (first?) ska hit was first noticed by me because of the strange accent that I had never heard before (“You set the world on fayah / You are my one dee-zai-yah”), but I fell in love with the song quite quickly. And once I heard the B-side of the single, “Sweet William,” that became a fave as well. The British ‘80s ska group Bad Manners did an interesting cover of it.
Mary Wells - My Guy Mary Wells (d. 1992) was the first superstar of Motown, and this Smokey Robinson (who also wrote “My Girl”) tune is a good example why.
Betty Everett - The Shoop-Shoop Song (It’s In His Kiss) Like “Rescue Me,” this is a raver with great background harmonies; the changing melody lines hook the listener in. Everett (d. 2001) just grabs you with her opening exclamation, “Does he love me / I wanna know!” This song has been covered numerous times, again, without the same fire (Cher’s arguably being the most well known of them).
The Shirelles - Soldier Boy This song is probably closest to the sometimes bland balanced-harmonies singles that came after doo-wop and before the Beatles. It doesn’t really have any outstanding moments, but it’s still an enjoyable song.
Claudine Clark - Party Lights Actually, I became aware of this reggae-infused song though Walter Lure’s amusing version. But once I heard this original, well that was it for me. Yes, I can still enjoy Walter’s, but Claudine’s has a bite, and is also sadly comical as Clark complains to her mom about not being let her go to the party next door (“They’re doin’ the twist, the fish, the mash potato too / I’m here looking at you”).
The Chiffons - One Fine Day While this is an up-beat song, written by King / Goffin, it’s a bit demeaning as the protagonist is waiting for her straying boyfriend to realize she’s the one. It can be seen as sort of the female call-and-response to Lou Christie’s “Lightenin’ Strikes.” But it is so upbeat and joyous, I’m willing to look past that.
Evie Sands - Take Me For a Little While This is another song I first heard though a different artist, in this case Dave Edmunds. Evie’s is a bit more gritty, though it is similarly passive as “One Fine Day.” Sands is another artist that should have had more hits. The live video shows her sincerity (and note Darlene Love in a blonde wig doing back-up!), as she sings through her thick Brooklyn accent (and killer dimples).
The Jelly Beans - I Wanna Love Him So Bad Another wonderful Greenwich / Barry classic, song by this one-hit wonder Jersey City group.
SIDE TWO
Ellie Greenwich - You Don’t Know Before years of smoking ravaged her voice, the Brooklyn songwriter who defined the early ‘60s vocalized some of her own material, including this freakin’ gem. Man, this is a beautiful tune from beginning to end. Glad I got to tell Ellie I loved her to her face while I had the chance (d. 2009). Sorry about the Disney visuals on the video, but this was all I found.
The Shangri-Las - Remember (Walking in the Sand) A classic whiner, and the first Shangri-Las number I remember as a kid. Later on in life I would come to realize just how rightfully important the Las were (and as an influence, still are).
The Dixie Cups - Chapel of Love I have to say over the years, perhaps from the overuse of the tune, I’ve grown a tad tired of it. That being said, the Cups use some very sharp contrasting harmonies, especially later in this Greenwich / Barry song.
The Shirelles - Foolish Little Girl My favorite Shirelles song. Their call and response is still fresh.
Great Big Kiss - Shangri-Las Is there any sexier moment in the history of ‘60s rock’n’roll than the response to “Well, how does he dance?” “Close…very, very close.” From beginning to end, this song is killer. Embedding not allowed on the full version, so here the link: youtube.com/watch?v=gOdP_VvPKHU This is an excellent live cut, but the last chorus is cut out, probably by local television standards and practices.
The Shirelles - Boys Sad to say, I was aware of the Ringo version first. This is much more the speed I like, though.
The Crystals - And Then He Kissed Me This is the start of the Darlene Love section of the tape. And rightfully so. She recorded under so many different names, thanks to Phil Spector, but she is an undeniable power. I am very happy to say that I got to see her perform in both of the Leader of the Pack shows at the Bottom Line, and she was as exciting as ever.
The Ronettes - Be My Baby At the time, Ronnie Spector was someone that everyone of every background wanted to be with (and for me it was not just because she grabbed my crotch as we had our photos taken together). She has a voice that is instantly recognizable. She was robbed of her career by the same Phil Spector who diffused Love’s. The video below is the original version, and a live version follows. Digression: my friend Bernie Kugel had “Happy Brithday” sung to him by her this year.
Bob B. Sox and the Blue Jeans - Why Do Lovers Break Each Other’s Hearts Once again, Darlene Love shines on a Greenwich / Barry tune.
Darlene Love - Today I Met the Boy I’m Gonna Marry One of the few songs she sang under her own name, and one of many that were just beautiful. Another Greenwich / Barry bonanza.
The Ronettes - (The Best Part of) Breakin’ Up I don’t ever remember hearing this song on the radio, but it was on a compilation that I heard in the ‘80s and realized how much fun it was.
The Crystals - Da Do Ron Ron I repeat: Once again, Darlene Love shines on a Greenwich / Barry tune. This one has been covered a few times, most famously by Shaun Cassidy, but no one has touched this.
The Blossoms - He’s a Rebel This time Darlene Love covers a Gene Pitney tune. It’s considered one of her signature songs. Usually it is credited to the Crystals, but it is actually Love singing with a different back-up group.
Bob B. Sox and the Blue Jeans - Not Too Young to Get Married Far among my favorite Darlene Love vocals. After a short prelude, she just kicks this number into a foot-stompin’ rave-up that does not let up. It also shows some of her range.
The Ronettes - Walkin’ in the Rain This is one of Ronnie Spector’s three songs that are untouched by any others (all of which appear on this tape), original or covers. For some reason, I find oldies stations tend to play the Jay and the Americans version more often, but that’s just ridiculous (and I say that with no disrespect to Jay Black’s own amazing vocals).
The Crystals - He’s Sure the Boy I Love And yet another rave-up proclaiming love for the “boy” who is not exactly a success in life (a prequel to the Crystals’ “Uptown”?).
Darlene Love - Wait ‘Till My Bobby Gets Home Another rave up where Darlene is permitted to use her own name. This one is reflective of “My Boyfriend’s Back.”.
The Ronettes - Baby I Love You To me, this song is Ronnie Spector. It’s also Phil Spector’s production at its finest.
Text (c) Robert Barry Francos Images from the Internet
This column was inspired while listening to the true local oldies station, at 1410 AM out of New Jersey (WCBS 101.1 FM has deserted us and is promoting a lie, but that’s for later). I play it while I shower, and attempt to sing along to it.
During the early 1960s, culture was undergoing a revolution. But as the axiom goes, the more things change… Music is usually a strong agent of change, but it can also be reflexive. There are certain hit songs from the ‘60s that are cherished as “golden oldies” but need to be lyrically scrutinized under present sensibilities.
Now, I fully understand that many of the songs that came later are more blatant, and could never have been made back then, such as the Ramones’ “Gonna Kill That Girl” and Anti-Nowhere League’s “So Wot” through whatever is on the dance charts at the moment, including crap like “I Kissed a Girl” or “Circus.”
Below are some songs that, if we looked at with any scrutiny, are of questionable content.
Jimmy Soul – If You Want to be Happy
This is one of the early ska radio hits, along with Millie Small’s “My Boy Lollipop.” Lyrically, while this was done tongue in cheek, it was also pretty misogynistic. The chorus claims, “If you want to be happy for the rest of your life / Never make a pretty woman your wife / If you want my personal point of view / Get an ugly girl to marry you.” The reasoning? Well, they posit, she won’t cheat because no one else would want her. [Sidebar: this is reminiscent of a joke from Abbott & Costello, where Costello claims that he wants to marry an ugly girl because a pretty one may leave him. Abbott states that an ugly one can leave, too, to which Costello explains, “Yeah, but who cares?”] Also, as one person says in the song, “Man, you wife is uuuuugly,” to which the singer responds, “Yeah, but she sure can cook.” Yikes. And yet, the melody of this song is very catchy, and even the semi-harmonious voices get one to sing along. Just don’t sing it in front of you-know-who.
Tom Jones – She’s a Lady
Amazingly, this song has been revitalized in a television commercial. This is basically the exact opposite as the previous song, as Tommy describes in a list what makes the perfect woman, including that, “She’s got style, she’s got grace / And she always knows her place.” To love and obey? Maybe the writer was trying to get a “The Lady is a Tramp” vibe going? Yep, Tommy loves the women. Except Delilah, of course, who he brutally stabs to death after being caught cheating. Guess she wasn’t a “lady.”
Leslie Gore – Judy’s Turn to Cry
In this sequel to the popular, “It’s My Party,” Leslie reunites with her lying-ass boyfriend, Johnny, after he socks another guy who Leslie tricks into dancing with her, the poor sap. So let me break this down into themes. First, even though Johnny has been cheating with Judy at Leslie’s own party, without telling her what is happening, Leslie still wants him back. Why? So, to make him jealous, she gets some other poor schmuck to dance with her, leading him on like she’s interested. Leslie, it turns out, is not so nice after all, so maybe they do deserve each other. And when Johnny, who wants his Judy-cake and eat Leslie too, sees her dancing with the mark, he socks him in the eye, and then Johnny and Leslie are reunited. This is a couple headed for premature babies, marriage, trailer park, and divorce. Maybe Judy is crying in relief to be out of the situation?
The Crystals – He Hit Me and it Felt Like a Kiss
This is an infamous b-side that was only a minor hit on the radio, for obvious reasons. The theme to this is similar to “Judy’s Turn to Cry,” if Johnny had hit Leslie instead of the mook. In this song, because her boyfriend whacked her a good one, it meant he still had feelings for her. Can anyone say “ownership?” A couple with control and boundary issues, at least. Anyone who hits Darlene Love is crazy, anyway. Sighhhhh.
Lou Christie – Lightening Strikes
I loved this song growing up, and then one day, I actually listened to the lyrics. Jeez Louise. Lou is a real scumbag in this, as upbeat and cheery as it sounds, musically. “Am I asking too much for you to stick around,” he asks the song’s subject. He’s a horny dude with commitment issues, and expects his girlfriend to stay pure and virginal while he dicks around with anyone he wants, and when he’s good and ready, yeah, he’ll marry her. Lucky her! And not only that, he sees someone else while talking to her, and dumps her right then and there: “When I see lips waitin’ to be kissed / I can’t stop / I can’t stop / Because lightning’s striking again.” Yes, that’s present tense, so that means he leaves her standing there. She, too, should just walk away, Renee. Y’really think this nutsack is ever going to stay loyal?
The Kingston Trio – Ah Woe, Ah Me
There were a whole series of folk songs that were based on Calypso (i.e., ripped off), sung by white groups trying to cash in on Harry Belafonte’s “Day-O.” Well, white artists ripping off artists of color was certainly nothing new in the music biz (e.g., Pat Boone, Vanilla Ice). The calypso genre was huge in the folk scene, and in fact was made sport of on the A Might Wind soundtrack (The Folksmen’s “Loco Man”). In “Ah Woe, Ah Me,” the problem is poking fun at the lack of morale of Islanders, as a young man is trying to find a wife. It seems every sweetie he brings home, his father brags “The girl is your sister / But your mama don’t know.” And when the son finally rats the father out in desperation, his mother tells him, “Go, man, go / Your papa ain’t your papa / But your papa don’t know.” The singer says the characters’ lines in a bad Jamaican style accent, in a bit of internalized racism that would not become obvious to even the liberals in the folk crowd until years later.
Feel free to add any in the comments you can think of from this time period.
Currently living in Saskatoon (email at RBF55@msn.com for address). From 1977-88, I used to publish a print version of a music magazine in New York called FFanzeen, which dealt with the wide-ranging independent music scene. I also photographed many bands from the period (and since). Now I write this blog. And the beat goes on.
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