BM: Sorry Mary. Nancy Pelosi now faces a potential revolt. BM: Those sessions were pretty monumental. That was Artie Ripp, right? She wore her hair long, her pants off the men’s rack, and her heart on her billowy sleeve. The song, “Remember (Walking in the Sand),” was loaded with seagull sound effects and hit No. You know what was a great time? We just walked in and had fun.

Once you have a smash hit, the record company is like, “OK, here’s the next one. Mary Ann Ganser was identified as the lead: “a straight-haired blonde.”  The error was not corrected in the 2nd edition). MW: The studio is a very private place. And even if I did use them for background music, I certainly wouldn’t try it with 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. I mean nothing. BM: When Red Bird went out of business in 1966 and you signed to Mercury, how different was it from Red Bird? At the end of the book (I’m about half-way through but I skipped ahead to read this part), he has a good piece on Amy Winehouse and the Shangri-Las. MW: I could never picture myself sitting at a runway show, could you? It’s from the 1983 updated edition of Charlie Gillett’s The Sound of the City (the original 1970 version did not contain it).

MW: I used to get my slacks on Eighth Street in the Village in a Men’s Store. Extremely talented. We always wanted both sides to be cool.

And she started one and I’m hiding under this lovely French desk with her manager and fish and food are flying by! Frankly, with so many items to replace or upgrade (still not done yet by the way), there didn’t seem much urgency. BM: There’s a 45 by a group called the Beatle-Ettes produced by a George Morton…, MW: I know what you’re going to ask and that’s not the Shangri-Las. Absolutely.

They were pranksters. It sounds like you’re crying by the end of “I Can Never Go Home Anymore.”. But I didn’t know that before MySpace.”. MW: Yes, the four of us were on the records. There was no security then. He lived in St. Albans, the next town over from Cambria Heights.

That is a very hard lesson in life.

The girl-group era was over anyway, replaced by something more band-driven and psychedelic. Log in or link your magazine subscription. Everybody wants to be a star.

Kama Sutra Productions. ML: But singing was what you wanted to do, and when that was no longer an option, it must have been horrifying. We’d go in them and hang out, but we were more geared to the teen clubs. Something not everybody knows. He described Mary Weiss’s voice thus: UPDATE: One thing I should have mentioned is that, in the liner notes of her (very fine) 2007 solo album, Dangerous Game, Weiss included Marcus in the list of those she thanked for their “encouragement and support.” His reaching out to her for a response via email to the aftermath of the 9/11 attacks may well have been one of the stepping stones that lured her back into the studio. MW: Yes, Dusty is an absolutely amazing talent. That was great! ML: Your records were pretty notorious right from the start. MW: You gals? It was very different then. And he sure didn’t look like any biker I knew! He seems like a conscientious journalist and historian and a nice man. The litigation was much thicker than the music. It was absolutely insane. ML: But you only went to England, no other countries? Because that’s the essence of everything the Shangri-Las stood for in the rock and roll revolution. It’s a miracle in itself to come from those circumstances and have hit records, so I’m very grateful. MW: Seymour was our road manager for a short period of time. Where did it go? A horrifying hell planet whipping through space? ), Manson girl…not to mention teenage nihilist: (Real Life Rock, Marcus, Yale Press, 2015. Louis stopped the car and took them all on. Mistakes happen. The Shangri-Las first hit at the start of the British Invasion.

When somebody breaks your heart, you don’t want anyone near you.

There were all these groups of kids–Ed’s group, Bill’s group, Reno’s group, the 225th Street group and we all meet there, four or five groups of neighborhood kids. But we played the Whiskey A Go Go. MW: I did, too. But, Mary Ann got even with Dusty. MW: Oh, I always stayed there. That’s why “Leader of the Pack” was probably banned.

BM: So the whole reason for making the demo was that George had told Jeff Barry at Red Bird that he was a songwriter even though he’d never written anything before. No, I know better than to mention Girl Groups. My father died when I was six weeks old.

BM: Great store! He wrote “Last Dance” for Donna Summer. If you’ve followed along on this site for a while, you know how I feel about the Shangri-Las, but, more to the point, you know how I feel about the often ridiculous narratives that were imposed on them–often by the usual well-intentioned sorts paving the usual roads to hell–during Mary’s forty years of silence. Bring on the next midriff section…. MW: Come on, Murray didn’t even have a motorcycle.

In 1977, Sire Records honcho Seymour Stein signed the three surviving Shangri-Las to record a new album, but a summer of recording sessions—capped by an impromptu gig at CBGB—displeased everyone involved and went into the vaults. I’ll tell you what boots I really liked. There always will be. People liked to put people in boxes back then, especially the girls. It was a dark road with nowhere to go, there were no cell phones then. Both of them were much gruffer than me. At some point you just have to cut it off. She released a solo album in 2007 called “Dangerous Game,” to much critical acclaim. Sounds very familiar. It needs to be available somewhere. They’re still great! There were other reasons to be happy. I don’t think he got enough credit for anything at Red Bird. I would have been very nervous if I had known in advance that she was going to be there. 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. Capricorn Named Mary #16. MW: It didn’t faze me much. Once, there was a car full of drunken guys weaving all over a bridge, waving beer bottles and stuff and it was getting very dangerous. MW: Dusty also flung crockery at the Fox. We just sat and did them ourselves. From there, you can go anywhere you want. ML: But you look so sultry there, like Veronica Lake. ML: When the Shangri-Las first became successful, did neighborhood friends act differently towards you? MW: When you’re a kid, who hasn’t felt like that? There were war-bound boyfriends (“Long Live Our Love”) and bad-boy crushes to be analyzed (“He’s good bad,” went the interlude, “but he’s not evil”).

There’s a storeroom of litigation up to the ceiling … That’s one of the reasons I walked away. MW: I don’t think it was quite that long, it’s been exaggerated over the years, but it was longer than the actual record. I miss him to this day. MW: Yes and no. ‘Is this Ritchie Valens’ ‘Donna’?’ ‘Yesssss…’” Rackham remembers Fox saying, her guard up–she’d had calls like this before. It was as if they thought they had the right to do this.

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. Why was that? I remember sitting in Los Angeles with these Japanese people and they were giving me scripts and things and making plans for us to go there. MW: I always thought “Past, Present and Future” was a unique sounding record. The Brooklyn Fox Theatre.

Every other night you’d sleep in a hotel. I can see our attitude. Biden still looks likely to win, but the wait for results from Arizona, Georgia, Nevada, and Pennsylvania continues. People don’t realize how hard it was back then. 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. It doesn’t much matter anymore,” pronounces Weiss, sounding a bit like an intro to one of her old songs.

I didn’t want anyone else to touch it.

I always thought it should be. 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). We all went to Andrew Jackson High School for a while. BM: Yeah, because you hear it roaring away. They brought a tremendous amount of enthusiasm to all their artists. Big project. It makes a loud crash and gets rid of the stress. He seems like a conscientious journalist and historian and a nice man. Were you terrified?

BM: At least you don’t have bad disco albums coming back to haunt you. It makes me laugh.

It just wasn’t right.

The Dick Clark Caravans, they were grueling shows.

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