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Still, the Shangri-Las supported our servicemen and women and I’ve done many shows for them. BM: The Shangri-Las made so many TV appearances like Shindig and Hullabaloo. 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. MW: You know we didn’t have a name initially. When we went to England we found, the British spent more time setting up everything as far as television goes. “Small steps. Stage left a brunette in her twenties, stage right a well-preserved forty/fifty something, also brunette. She’s a wonderful talent and a great person. 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). In “Give Us Your Blessings,” Weiss begs her parents for approval to marry her boyfriend; the two drive off to their deaths—the song implies that their prodigious weeping might have affected their driving—leaving the parents to sob over their rain-soaked bodies. ML: How did Monti Rock end up doing your hair? MW: It’s a catch-22. Pop Singers. You subconsiously started a whole look. Was there a shared Shangri-Las persona? ), Subject: The Shangri-Las’ “I Can Never Go Home Anymore.”. ML: Which is wild because you became such a fashion icon. MW: You know, I don’t remember that, but if I did, he deserved it! They worked on songs with George Morton, then he worked with us. MW: Different ones. ML: No, never. MW: “Out in the Streets,” “Remember (Walking in the Sand),” “I Can Never Go Home Anymore,” “Past, Present and Future” and “The Train From Kansas City.” I also like the Mercury record “I’ll Never Learn.”. He passed away in 1996. ML: The Shangri-Las got a lot of magazine coverage, too. 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. They don’t mean any less now. MW: We worked with James a few time. What else are you going to do? I could have pursued it further but how much deeper do you want to get into legal nonsense? My jaw dropped. There were like old fashioned 1890’s boots with cool heels. MW: We did most of them there. We all went to Andrew Jackson High School for a while. Sometimes you were screaming just to hear yourself singing. She also sang “Shout.” “Wishing Well” was actually our demo and they played around with it and released it. Go! I mean nothing. 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. I was extremely impressed that she came. MW: A lot of times it was very frightening. BM: But the Shangri-Las did one unannounced show at CBGB at the time. Uber and Lyft’s Proposition 22 Win Is a Warning Shot to Democrats. Monti, wherever you are, what were you thinking? Where were you born? And kind of makes me wonder if that great story up top there is even true. ML: These outfits were something else. It was as if they thought they had the right to do this. It was absolutely insane. I’ve been using it for thirty-five years to stay alive. Much thanks! Sixteen-year-old working class kids who were born to be kicked saying: “Listen…I’m not finished.”. By the time I was fifteen, I was always in the studio, so I didn’t get to go to shows at that time. It was much different than now. 11 NYC Infrastructure Projects a Biden Administration Should Fund, The U.S. Just Reported Over 100,000 COVID Cases in a Single Day. Were you terrified? [NOTE: This is an interview that Mary Weiss gave to Norton Records’ Billy Miller and Miriam Linna in 2007 upon their release of Weiss’s first music in forty years. You got me! MW: No, not until we did the demo for “Remember.” Billy Joel played piano on it. Our class wen to Freedomland and the Everly Brothers played. Somehow, Lana Del Rey Managed to Make Election Night About Her. MW: Oh, I hated it when the B-sides on records stunk. MW: Do you want to start with the Shangri stuff? After a man put his arm through the plate-glass window of her hotel room, Weiss bought a gun for protection, which resulted in her mother’s being visited by the FBI. Nothing major, just a couple of pre-Red Bird sides replacing the other pre-Red Bird sides (all good, but none of which Mary Weiss sang lead on) and “stereo” mixes on ten songs, including the big hits (of which “I Can Never Go Home Anymore” was one). In the Midst of All This, Cuomo Put Out Another Eviction Order. I walk in the studio and the entire soundstage was filled with sand and a giant grandfather clock for one song. ML: But nothing you recorded with Sire was ever released. At the time, it was unheard of to extend a record to more than a few minutes. Then I got into commercial interiors, huge projects, buildings. But, I was a little kid. MW: In certain ways I am. It was fascinating. Bring on the next midriff section…. Jamaica hospital. 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.

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