Weird. But Spector=crazy so maybe I shouldn't be surprised.

Disturbing Pop

"Every Breath You Take" = stalker's anthem.

V. disturbing.

I first read about Girl Groups in Creem because it's always been the sentimental soft spot for any number of hipsters from Lester Bangs to David Johanson to Morrissey to Brian Wilson.

Well before glam there was something transgressive about all the guys who identified with tough, streetwise girl group songs. From the Shangs to the Ronettes, they were the "Bad Girls" the Dolls were certainly singing about.

"He's a Rebel" was not only the kickstart to the whole Girl Group era but also very memorably used in Kenneth Anger's movie Scorpio Rising, where it's appropriated to back an old silent of Jesus entering Jerusalem. (You've all seen Scorpio Rising right? A key avant-garde film and also one of the great pop subversive acts as it chronicled gay leather biker clubs.)

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Song Review by Richie Unterberger

Producer Phil Spector had had a fair amount of success already in the early '60s before the Crystals issued "He's a Rebel" in 1962. "He's a Rebel," though, was the record that elevated Spector from one of many middling hitmakers into an industry phenomenon, also blueprinting the "Wall of Sound" for which he's been lauded. The record, oddly enough for a girl-group classic that was (naturally) sung by women, was written by a male star, Gene Pitney, who himself was not noted as a prolific composer. Spector heard the song on a demo and went to town on the production, making an already-strong pop/rock song into an anthem. The track begins with a dramatic drum roll, the brief instrumental intro establishing an almost martial beat, embellished by layers of percussion and tinkling piano. As has since been revealed, as on many Crystals tracks, the vocalists were not the Crystals, and the lead singer was non- Crystal Darlene Love. On "He's a Rebel," Love sang a tough, soulful, streetwise lyric guaranteed for youth appeal: the guy who marches to his own beat, and the girl who loves him all the more for it. Her low vocals were seconded by strong, full soul backup vocals by the Blossoms. The arrangement was unusually dense for the period, with two bass players and two guitarists. The song really took off, though, when it dramatically jumped to a higher key for the chorus, remaining in that key, in fact, for the rest of the track. The chorus, with its loving defiance, was instantly memorable, particularly when the backup largely dropped out for Love to sing, largely on her own, stirring lines in which she asserted that just because he didn't do what everyone else did, that wasn't any reason why the couple couldn't share love. That was the cue for the band to re-enter full-on for a stirring ensemble vocal finish to the chorus, and then for Steve Douglas to take over with a sax solo. "He's a Rebel" actually doesn't have the strings that were found in many a Spector production, but the sound was rich and full, and the single an enormous success, reaching number one. There was brief concern that sales of the Crystals' "He's a Rebel" single might suffer from a simultaneous cover version by Vicki Carr, whose arrangement was actually not dissimilar, though it was stiffer and employed strings. - by Richie Unterberger

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Richie Unterberger, incidentally, has written two books on cult musicians and the definitive (two volume) chronicle of Folk Rock. Also he came to my first Bubblegum reading at Booksmith.

"Every Breath You Take" = stalker's anthem.

Heh. I remember Mike Mills of R.E.M. talking about "Every Breath You Take" and "With Or Without You" - U2, and "The One I Love" - R.E.M. as being on K-Tel's "Fucked Up Misunderstood Lovesongs Of The 80s."

Spector=crazy so maybe I shouldn't be surprised.

After he married Ronnie from the Ronettes, he made her drive around in her sports car with an inflatable doll dressed like himself so people wouldn't think she was alone or available. Hardcore Hollywood Gothic.

"The One I Love"

IIRC, Stipe set out to write the most anti-love love song he possibly could, and "The One I Love" was the result.

Four years later, "Shiny Happy People" proved they should stay as far away from love songs as possible.

Hmm, Disturbing Pop... all I can think of is "Pass The Dutchie," mainly for having a 10 year old singing the euphemistic praises of ganja.

Beautiful South have done tons of Disturbing Pop. My personal favorite would have to be Woman in the Wall:

He was just a social drinker but social every night
He enjoyed a pint or two or three or four
She was just a silent thinker, silent every night
He'd enjoy the thought of killing her before

Then at last it seemed that he was really winning
He felt that he had some sort of grip
But all of his new life was sent a-spinning
When the rotting wall began to drip

Four years later, "Shiny Happy People" proved they should stay as far away from love songs as possible.

Redeemed somewhat by R.E.M. playing it on Sesame Street as "Shiny Happy Monsters."

Redeemed somewhat by R.E.M. playing it on Sesame Street as "Shiny Happy Monsters."

FURRY Happy Monsters.

Annabel danced around to it (FHM) the other day. She's into R.E.M.

He Hit Me (And It Felt Like A Kiss) is one of the best records ever. Hole used to do a great live version. In terms of disturbing semi-abusive love songs you can't get better than You Don't Have To Say You Love Me in which Dusty basically grovels for 3 minutes to a lover who clearly does't give a fuck.