"Our kids were conceived to that one.”
Chewing the fat with Marshall Crenshaw about his 1983 classic, just reissued on Intervention Records
It’s not often you get one of your all time favorite albums from your dentist.
So I’m in 9th grade, and making back and forths in the parents’ station wagon to the dental school at Case Western Reserve University because my four top front teeth were all agog. (My mom figured it was because I’d fallen down the basement stairs when I was one and landed on my face.) Numerous visits that included poking, prodding, and endless numbing shots into the inside of the top jaw was no way to enter the high school years. But having a hep craw doc helped.
Dr. Sasthma (”It’s like asthma, but with an S” -- funny guy) was his name, and between spit suction and implorations to floss more, we fit in fun music discussions. On the last visit right before the big pulling and twisting procedure, Sasthma sits me down and says, “This one today ain’t gonna be easy, but I’ve got a little prize for you afterwards.” And for the next hour and a half, I sat there with my mouth open (some would say that would not be out of the ordinary), while the doc poked around and made chin-scratching/brow-furrowing decisions, all while my jaw muscles started to atrophy.
Finally, when it was done, he reaches behind the giant dentist chair claw machine thing and pulls out Marshall Crenshaw’s debut album (Warner Bros., 1982). After I had regaled him with how much I liked “Someday, Someway” at the previous visit, he said he tracked down the album for me, though the shrink wrap had been peeled. “Well, I had to give it a listen, and yeah, it’s great!”
L-R: Robert Crenshaw, Marshall Crenshaw, Chris Donato - Photographer unknown
Not only did that little act make me much more tolerant of dentist visits going forward, it gave me one of my favorite albums. Crenshaw’s revived Buddy Holly-meets-nervous with opening pickup lines pop classicism was like a fresh, new toothbrush over all the dreary, dusty, classic rock of my Cleveland radio dial depression, until I took a sharp left into college radio that summer where I first heard Crenshaw, and a lot more. (Thanks WCSB, WRUW, and WUJC!)
It’s hard to imagine today, hearing Crenshaw’s should-couldabeen power pop nuggets, but his clean looks and simple two-minute tunes made him a little too throwback odd for mainstream radio back then. Who knows or cares, as he still piled up an impressive major label canon before furthering into a long-running career of solid albums and consistent touring. The days of figuring out the whys and hows of mainstream radio play now seems about as useful as wondering how to get better reception on your TV.
Crenshaw’s sophomore album, Field Day (Warner Bros., 1983)? Maybe even better, filled with a slightly wider songwriting palette and production to match it. The term “sophomore album” never fit better for me, as it landed right around my sophomore year, and was a perfect companion on my journey into hook-heavy rock’n’roll obsession and mythical, sun-setting summer romance mythology/reality.
So imagine my excitement when I got a press release about an impending reissue of Field Day. Despite it’s initial hefty, if brief, publicity push, Top 40-sniffing hit single (”Whenever You’re on My Mind”), and big time producer (Steve Lillywhite), the record didn’t (say it with me) “sell as much as hoped for.” And though Crenshaw did not fall into the usual “got dropped” holes (three more major label albums followed), Field Day did lag just a bit behind the CD explosion, having fallen out of print, and was never given a proper CD version for a few years.
I only point this out because, goddamn it, it’s a perfect guitar pop record and is one of the best of that fleeting, early-80s moment where bright-eyed corners of the record industry hoped the world might once again embrace melancholy-flecked, otherwise blue-sky singalong songs. ‘Twas that “skinny tie” moment where loads of slacks-sporting Midwesterners parlayed punk’s energy into their pre-teen guitar lessons filled with Beatles covers. And in even that, Crenshaw did not exactly fit -- kind of the front tooth along my otherwise straight top row.
Upstart vinyl reissue label, Intervention Records -- who seem to have a knack for snaring ol’ major label titles from oblivion -- recently released a fine, vinyl-only edition of Field Day, including an extra 12″ EP of remix and live stuff, and different artwork.
I caught up with Crenshaw internet-wise to get his take on the new update of his old classic.
If memory serves, I saw you play "High School" by the MC5 at an outdoor BBQ fest thing in downtown Cleveland in, like, 1985/6. Any memories of that, and did you cover that tune often?
I remember that event in Cleveland, like a fried-chicken festival, right? I remember that we used "The Greasy Chicken,” by Andre Williams as walk-on music that day (and on other days). The MC5 song would've been "Tonight.” I never played "High School,” except with DKT-MC5 in 2004. I played "Tonight" a lot over the years. I grew up in the Detroit area, was a big MC5 fan. "Tonight" was sort of a local hit single, got played on CKLW. A band that I was in played it at an audition for a dance at our high school, and I can still picture a girl sitting in front of me watching me play and sing that song, really enthralled by what we were doing. That girl was Ione. She and I are still together.
You grew up in Detroit, right? When did you move, and what were some early influences from living in Detroit, music and otherwise?
I lived in the Detroit area from birth (1953) until 1977, grew up with Rock and Roll music all around me, fell in love with the music during childhood. Detroit was a big test market for records. There were lots of regional hits, on national and local labels. Two that immediately come to mind are, "When You Walk In the Room" by Jackie DeShannon, and "Mind Over Matter" by Nolan Strong and The Diablos -- both massive Detroit hits, both part of my musical DNA. As far as influences besides music go, I don't know where to start. That could turn into a book.
Though the only book Crenshaw has done so far was this excellent compendium of rock’n’roll movies; also, his musical knowledge goes deep. If you can do so, track down this amazing hillbilly compilation he put together in 1989.
Field Day, in title and cover art, was a reference to high school, I assume. But I remember some reviews saying that that record was a kind of more mature version of you -- bigger production, some more serious themes, etc. So what was your inspiration for the high school nod?
I had nothing whatsoever to do with creating the packaging for that record. When we finished recording, I went on vacation with Ione and Robert to visit Robert's girlfriend at the time. She was working on location outside Prague on the movie Amadeus (which I've still never seen. I should see it, I saw it being made). And when I got back, the album cover had been put together by my then-manager. His father co-owned a big company that published magazines. My manager had worked for that company for a minute, and thought that the presentation of images was something that he knew something about. I hated the album’s front cover, got talked into approving it. OOPS! I don't think Warners was pleased that instead of using their art department, he'd hired an expensive design firm to create such a dodgy end-product. He came up with the title; I do like the title, didn't think of high school when he suggested it. "Having a field day" is just a figure of speech, doesn't refer to high school, necessarily. It just means "having a great time,” and indeed we really had a great time making the album.
It said the art for this reissue is how you originally intended.
I wanted to change the front cover for the reissue, was extremely happy that Intervention Records was into the idea. The only thing that made sense was to use some pre-existing artwork from the time period, namely the front of the picture sleeve for the "Whenever You're On My Mind” 7″.
I just loved Field Day when it came out. I am sure you are more than aware of the "debates" over the production -- which to me made total sense for those songs and that point of your career. What is your take on what you asked of Steve Lillywhite, and how you felt it turned out, back then?
I'm really glad that you like it. I know that the album was "controversial" in the day. I think that all the criticism it got back then was completely lame. When I listened to the first playback of the finished mixes, I had my feet up on the edge of the console; I thought, “This is an album that can kick the world's ass.” We all loved working with Steve. He was the only producer that I talked to going in, my first choice. He said yes right away, and that was that.
I'll assume you were involved in this reissue. What were your thoughts on revisiting it?
I heard about the reissue project after it was already underway, and was just delighted about it. I'd even say that I felt a sense of gratitude that somebody wanted to honor the album, which is what Intervention has done. As a career experience, "Field Day" was an instance where the party-train just ran right into the ditch. I loved the album, didn't get why some people were perplexed by it. I got the test pressing from Intervention and was knocked out. It's just a unique and beautiful Rock and Roll record, if you ask me. And the people at Intervention love it as much as I do.
Your’s truly probably bugging Crenshaw about the MC5 again, post-back alley gig, August, 2012, NYC
Any good stories during the recording of Field Day? In-studio disputes, after-session shenanigans, anything like that?
I don't remember any disputes until after the record was done -- then the shit-storm began. We had nothing but fun while doing it, and there was a festive atmosphere at the sessions. They were all at night, and afterwards we'd go out. I remember going one night to the Roxy Roller Rink disco on the West Side with Steve and a couple of the other guys. This was when hip-hop was first starting to come downtown. When we finally got out of there it was broad daylight. "Monday Morning Rock" was partly inspired by that night...
"Whenever You're on My Mind" was a demo for awhile before it appeared on Field Day, right? How come it didn't make it onto the debut?
I wrote that one before I wrote most of the songs on my first album. When I did the first album I wanted to do all the newer ones first. I'm always most excited about whatever the new thing is. But then, going into "Field Day," I was really glad to have "Whenever" in reserve. And I'm glad that it got recorded when it did, under those circumstances.
The instrumental of "Blues is King" from that era is one of my favorite instrumentals, and just has one of those, maybe accidental, gorgeous, simple demo production vibes. Was that originally an instrumental and you decided to add lyrics later, or what?
I did that instrumental version after I'd written the music; the lyrics didn't happen until a few months later. I do like it as just a piece of instrumental music. And those are Mosrite guitars, which I love the sound of.
Field Day standout, "Our Town" -- when you made Field Day, I believe you'd been living in NYC for awhile. Did you pine to get on a train back to Detroit sometimes? What were the bad and good things about trying to get your music career going in NYC in the very early 1980s?
I never pined to get back to Detroit (although I like visiting there now). That song was written about New York. I'd been on the road for most of a year when I wrote it. I did take a train to Detroit once, from NYC. It was during the last days when Michigan Central Station was still being used by Amtrak. I'd never seen the station during it's heyday, but when I got there it looked not that different than what it looks like now, like an absolute wreck. I still remember the look on my mother's face standing there waiting for me. She looked like she felt ashamed, and like, "You had to take the train and make me go through this, right?" Getting my music career going in NYC in the early '80s was a blast. The scene embraced us right away. It was like dying and going to heaven.
Did you find yourself attracted to the CBGB scene at the time?
Yes, we played CBGB many times. I think we even held an attendance record there for a minute, or maybe I dreamt that. But our last couple shows there were mob scenes. I really had my ears and mind open in all different directions during those years in New York, and I can't overstate how much I loved the NY scene then, with all it's diversity, innovation, etc. I'm still proud to have been part of it. And I'm including NY radio in this declaration. I had lots of great go-to stations like WBLS and WKTU ("urban"), WLIB (Caribbean music), WFMU (free-form), WKCR (Jazz), WNYU, with "The Afternoon Show,” and the "Wavebreaker" countdown on Fridays, WNEW ('cause they played us). On and on...
There were a ton of "skinny tie" power pop bands around in the very early '80s too, many from the Midwest. Did you play with the Shoes, Knack, Romantics, Plimsouls, etc.? Were there ones that stuck out for you? I feel like you weren't roped into that signing frenzy trend though.
I played with The Plimsouls in NY once. I loved them, became friends with Peter [Case] back then. But one of my fears in those days was that anybody might lump us in with that Anglophile “skinny tie” thing. I hated most of it, not all of it. I didn't like The Knack, didn't identify with what they were doing, didn't want anybody to identify us with what they were doing. I feel bad saying so, but I'm answering your question. Again, we came out of the NY club scene which was really diverse and eclectic. I wanted our stuff to reflect that as best I could. Another one of my fears, since we took off so fast in NY, was that somebody might tag us as the "Next Big Thing,” and unfortunately that did happen. I had a real sense of doom when I read all that stuff about my first album in Rolling Stone.
Oh, also, we were never part of any signing frenzy. We got our record deal by packing out every NY club we played at, getting our stuff on "mainstream" FM rock radio when they never played local bands on indie labels. We earned it the way you did back then.
"What Time Is It?" -- how did you decide on that cover? I assume you were a big doo wop fan. Once you got to NYC, did you get to play with or meet any old doo wop favorites?
I don't think that happened, but now I wish that it had. It would've been great to meet Randy and The Rainbows, for instance. "Denise" is one of those records that gets me every time. Or Eugene Pitt of The Jive Five. It's too bad I never met him, even after I covered their tune (actually a Feldman-Goldstein-Gottehrer tune, but anyway).
Can you tell me about the making of the "Whenever You're on My Mind" video? Were you one of those who was suspicious of videos back then?
Hahahahaha! By the time we did that one I was really enthusiastic about videos, wanted us to get on that bandwagon. It seemed like most of my favorite ones were British, so we went over there and found a British director. I'm laughing thinking about it now. We tried.
Finally, where would you rank Field Day in your catalog?
I was really on my game just then. It was some kind of a pinnacle, as far as that moment in my life goes. And it seems to be my most beloved album. People tell me all kinds of things about it, like, "Our kids were conceived to that one.”
