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When discussing the music of the Shangri-Las in the mid-1960s, the focus is often on their producer, George “Shadow” Morton. This is understandable, as Morton’s production style was difficult to ignore from the very first hit of the New York City girl group, “Remember (Walking in the Sand)” in 1964. Despite his lack of experience or musical talent, Morton’s production was anything but subtle or tasteful. He heavily relied on echo and added dramatic sound effects, such as screaming seagulls, crashing waves, thunder, train whistles, and the sounds of cars colliding at high speeds.
Morton may have believed that you needed to stand out in the US pop scene, which had just undergone a major shift. “Remember (Walking in the Sand)” was recorded shortly after the Beatles’ debut on The Ed Sullivan Show and entered into a Hot 100 chart dominated by the British invasion. This included six singles by the Beatles, two by the Rolling Stones and the Dave Clarke 5, as well as hits from the Searchers, the Animals, Cilla Black, and Dusty Springfield. It seems Morton’s plan was successful, as “Remember (Walking in the Sand)” became the first of many hits for the Shangri-Las over the next two years.
However, Mary Weiss, the unofficial leader of the Shangri-Las and the main vocalist for all but one of their hit songs, was able to shine through the chaotic sound. She, along with her bandmates, her sister Betty and identical twins Marge and Mary Ann Ganser, were originally found performing at talent shows and school events in the city. It wasn’t until they teamed up with Morton that their singles found success.
At the time of recording “Remember (Walking in the Sand),” Weiss was 15 years old and had a sweet appearance with blonde hair and what songwriter Ellie Greenwich described as an “angelic little face.” However, her voice had a different tone. It was sharp and had a slight nasal quality, capable of standing out even against Morton’s extravagant productions. Weiss’s voice clearly reflected her upbringing in Queens, as heard in her pronounced accent on the track “Never Again.” Despite this, her neighborhood may have been perceived as nicer than expected based on her vocal delivery.
She displayed a wide spectrum of emotions, appearing distressed on the track “Never Again,” composed on “The Train from Kansas City,” and besotted with love on “Heaven Only Knows.” However, she maintained a tough and street-smart persona, in contrast to the coordinated outfits of other girl groups. You could almost imagine her chewing gum or filing her nails while singing. This added a sense of authenticity to her vocals, which may explain the strong emotional impact of the Shangri-Las’ songs.
The setups were very dramatic and the emotional teenage dramas could border on the absurd – in the 1965 song Give Us Your Blessings, a pair of lovesick individuals meet their demise in a car accident, so consumed by their parents’ disapproval of their relationship that they fail to notice a road closure sign – but they consistently evoked strong emotions nonetheless. As critic Greil Marcus pointed out, these were “songs [that] left scars on their listeners”: Amy Winehouse even referred to their 1965 hit I Can Never Go Home Anymore as “the most heartbreaking song ever”.
Weiss’s voice was the ideal match for the Shangri-Las’ style, which often featured rebellious teenagers defying their parents and obsessively chasing unsuitable boyfriends. When asked about one of her love interests in the song “Give Him a Great Big Kiss,” Weiss nonchalantly responded, “He’s good-bad, but he’s not evil.” The group also frequently portrayed tragic deaths, usually in car accidents, in their songs. On their hit song “Leader of the Pack” from 1964, Weiss dramatically screamed “Look out!” as her biker boyfriend Jimmy angrily rode off into the night, meeting a gruesome end. And just in case anyone was wondering what happened to him, producer Morton added sound effects to drive the point home.
Other girl groups had also expressed desire for a bad boy, such as the Crystals with their 1962 hit “He’s a Rebel.” They also challenged the image of being just sweet and stylish, as seen with the Angels’ Peggy Santiglia on “My Boyfriend’s Back” in 1963, where she sounds similar to Weiss. The song is essentially a warning to someone that their boyfriend will physically harm them. However, the Shangri-Las took on a tough and rebellious persona, pushing the boundaries of what was acceptable for girls in pop music.
Their male delinquents were not misunderstood like the protagonist in “He’s a Rebel.” They were appealing because of their rebellious nature. In “Give Him a Great Big Kiss,” Weiss enthusiastically sings about her love interest’s dirty fingernails, considering it a desirable trait. The band’s outlook can be summed up in their 1965 hit “Out in the Streets,” where Weiss declares that her love has reformed her former gang-affiliated boyfriend. However, instead of being pleased with this change, she is upset. She complains that he no longer engages in wild activities and no longer wears his signature dirty black boots. She even regrets ever meeting him.
It is significant that The Shangri-Las’ successful career ended with their 1966 song “Long Live Our Love,” where they paid tribute to a boyfriend who was drafted to serve in the Vietnam War with the tune of “When Johnny Comes Marching Home Again.” The lyrics express that there is something standing between them, and it is not another girl. Rather, it is the need for him to fulfill his duty to his country during a time of trouble. Releasing a patriotic, seemingly pro-war song during the height of the anti-war movement and counterculture was not a wise decision. This song also went against the tough, rebellious image that The Shangri-Las had cultivated over the previous years with their lyrics, leather outfits, and stories of their wild behavior. People were surprised to hear that lead singer Weiss carried a gun and got into a fight with police after using a segregated bathroom at a concert where they were opening for James Brown. They were also known for throwing dishes at each other backstage, almost injuring Marvin Gaye when he accidentally stumbled upon their argument. This patriotic song seemed out of character for the group, as they were known for their tough and edgy persona. Many wondered why they didn’t try to help their sweetheart avoid the draft by taking him to Canada, or why they weren’t attracted to a long-haired draft-card-burning rebel instead.
For whatever reason, that marked the end of their career, although they did have one more remarkable release. “Past, Present and Future” is essentially a spoken-word piece with music inspired by Beethoven’s Moonlight Sonata. It may seem like just another song about a failed teenage relationship, but beneath the haunting strings and Weiss’s gentle delivery lies the suggestion that the issue is not just a breakup, but something much more devastating for the main character. “Do you want to take a walk on the beach tonight? / I’d like to / But don’t touch me / Don’t touch me / Because it will never happen again.”
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The Shangri-Las, a popular music group, saw a decline in their success when their songs, which hinted at abuse and rape, were not well-received. One member, Weiss, left the group to work for an architectural firm. Despite their music being marketed towards teenagers and considered disposable, it continued to be appreciated by fans of punk and proto-punk. In the UK, their hit song “Leader of the Pack” was re-released twice and they became the preferred girl group among these music scenes. Other artists, such as the New York Dolls and Blondie, were influenced by their style and even incorporated elements of their songs into their own music.
The interest in the punk era resulted in a short-lived reunion of the Shangri-Las. They performed at CBGBs with a backing band that included Lenny Kaye, guitarist for Patti Smith, and began working on a new album that was never completed. Despite this, they gained recognition in the mid-80s as an influence on bands like the Jesus and Mary Chain and were even covered by glam metal group Twisted Sister. Amy Winehouse was a devoted fan, often incorporating lines from their song “Remember (Walking in the Sand)” into her live performances of “Back to Black”. Surprisingly, Abba’s Agnetha Fältskog also showed admiration for the Shangri-Las, covering their song “Past, Present and Future” on her 2004 album “My Colouring Book”. The Shangri-Las have brought together unlikely fans such as Lana Del Rey, Sonic Youth, Pink Floyd’s David Gilmour, Bette Midler, and Belle and Sebastian.
After some time, Weiss emerged from hiding and put out a successful solo album called Dangerous Game in 2007. She did a couple of interviews, but they didn’t provide much insight as journalists found it difficult to reconcile the middle-class persona they encountered with the powerful voice heard on songs like “Out in the Streets” and “Give Him a Great Big Kiss.” It’s possible it was all an act, but ultimately, it doesn’t make a difference – Mary Weiss’s voice remained captivating.
Source: theguardian.com
