Jan and Dean quote by

[positivemusic]

I know this is not a Beach Boys' question, but I am looking for information for an assignment I'm doing on punk rock. In Jan and Dean's Wikipedia page it states "according to rock critic Dave Marsh, the attitude and public persona of punk rock can be traced to Jan and Dean.[58] Certainly their early hits, recorded with myriad overdubs in a garage, and their casual and goofy stage antics were consistent with some of punk rock's ethos. and gives: "An Analytical Study", in the liners for Jan and Dean's Anthology" as the source. I don't have the Anthology album. If anyone can point me to where I can see the entry or can post it or pm it, that it would be very helpful!!

I've already reference The Beach Boys' "connection" with the Ramones and the similarities between their garage-band sound and punk rock in the 70's.

[JK]

Mark A. Moore is your man. Your best bet would be to PM him, assuming he doesn't see this first...

[Cristian Kiper]

Scans of the liner notes can be found here: http://www.45worlds.com/vinyl/album/uas9961

[Mark A. Moore]

Some of this is quoted in my book . . . You'll need to read the entire Dave Marsh piece for context, but here are a few quotes that should help you with your project:

“If surf music did touch a nerve or two in the American adolescent sciata it was a ganglia of both schlock and humor. With Jan & Dean, the schlock was humor, and that’s where they fit in: if the Beatles were the head-bone of rock ‘n’ roll, then Jan & Dean were the funny-bone, as assuredly as the Rolling Stones are the crotch and Bob Dylan the heart.”

“Jan & Dean saw the innate ludicrousness of people pretending to care about surfin’ and rodding when what they really wanted (as everyone knew all along) was to get down, to play some rock and roll.”

“So in the early sixties, Jan & Dean took a tack that five years later was powerful enough to spawn a whole cult, i.e. Bonzo Dog Band and the Mothers of Invention. Iggy Stooge and Alice Cooper are in many ways the heritage of the facetiousness of Jan & Dean, for the hysteria that Ig and Alice manipulate so well was first defined as such by the torrid surf duo.”

“One by one they removed all the excuses, ripping to shreds forms like folk-rock and exposing the roots for what they were: pure and simple rock ‘n’ roll. . . . Jan & Dean were the first enemies of genre-rock (of which surf-rock was the proto-form). God bless them for that!”

“They stayed close to their roots, for the most part, and let the music carry the satire, rather than the vice-versa that has been implicit ever since in all those oh-so-overt attempts at over-hip satirical messagizing.”

“The point is, Jan & Dean understood our mythology. . . . While desirous of exploding our myth-within-a-myth (i.e. that we were really about surfing, hot-rodding, etc., when we were really trying to say that we were about rock and roll), they were consciously trying to nudge it to a higher plane. Maybe they did that, and then their time ran out.”

“So they were not only conspiratorial, they were subversive as a bitch as well.”

“The thing about Jan & Dean was, they were so GOOD at it, which made them subtle, which is a key to effective satire anyway.”

“Of all the killer albums Jan & Dean ever recorded, the A-number one most killer fucking one of them all was the famous Command Performance.”

“Sure, Jan & Dean came off as punks, but that’s all to the good because if rock ’n’ roll isn’t a medium for punks, what is it?”

“Rather than an ode to the generality of rock and roll, the T.A.M.I. Theme [“(Here They Come) From All Over the World”] was a paen to punk-rock specifics. . . . Nearly everyone on that show was punk, and a punk in the classiest mid-sixties sense.”

“What endeared Jan & Dean to their hard-core fans, I suspect, was their absolute refusal to acquire the garb of pretension that so many other rock heroes (even surf ones; you know who I mean) were swinging about like symbols of their very manhood in 1965-1967. Certainly, they seemed to be saying, we’ll sell ya Jan & Dean Little Old Lady from Pasadena Skateboards. Isn’t crassness what rock and roll is all about?”

“They understood the inherent sham that professional mythmaking is, in a way that Abbie Hoffman never will.”

SOURCE:

Dave Marsh
“An Analytical Study”
Jan & Dean Anthology
United Artists UAS-9961
1971

[Kid Presentable]

This is really interesting, I had never looked at Jan and Dean in this way.  As I think about it more, I realize that I didn't really notice very much that Jan and Dean were super sarcastic all the time.  And that was new and different, compared to their musical contemporaries or direct ancestors.  From now on when I see clips of Joey and Dee Dee being interviewed, I will probably notice it as really crass impressions of Jan and Dean. 

[NateRuvin]

I asked this question on the Jan & Dean message board but got no response, and since this is a J&D related thread, I'll ask here---

Does anyone know the chords for "Girl, You're Blowing My Mind"?

[MikestheGreatest!!]

I'm not too sure Jan and Dean were represented truly by many of the Dave Marsh' liner statements regarding them.   Sounds like someone trying to pass them off as really cool during a time period (early 70's) in which they were regarded as anything but.  Fair enough, he was getting paid to market their music.  I like Jan and Dean, but many of Marsh's liner comments just don't seem to ring truthfully to me.  They are entertaining to read however.

[JK]

I asked this question on the Jan & Dean message board but got no response, and since this is a J&D related thread, I'll ask here---

Does anyone know the chords for "Girl, You're Blowing My Mind"?

I'm not sure when I'll find the time but I'll have a go. Hopefully someone else with more time on their hands will do it first. If not, I'll do the honours----although it may be a while before I get round to it...   

[NateRuvin]

John K,
Thanks that would mean the world to me!

[Steve Latshaw]

Marsh's liner notes for the Anthology Album are as true an analysis of Jan & Dean's intent and output as has ever been written. Marsh got it - the mix of satire, opportunism and punk sensibility - tweaking, skewering and sending up the very top 40 marketplace they were working in.  And having hits with their satires, which is as subversive as it gets. Intentionally.

It's no coincidence that their biggest car song was about a drag race racing old lady from Pasadena - or that their operatic, Wagnerian car crash classic Dead Man's Curve brutally satirized the then popular "Last Kiss" - style teen death rock genre. Dean himself has called that one their "Fargo."

The album cuts are just as sneaky... Drag Strip Girl (a romantic nod to a female grease monkey)... Schlock Rods pts. 1&2:"I ask all the chicks for a ride but they all pass - tough sh*t!" (Cries the Greek Chorus)....Bucket T... Horace the Swinging School Bus Driver ("Well he picks up the kids and he takes 'em to school now...")... One Piece Topless Bathing Suit... Freeway Flyer (about traffic cops... "... gotta make his quota today...")... or the Dylan satire Folk City ("Go away from my window and come 'round to my door... if ya wanna be in , that's what it's for...").

And if that's not enough, full bore comedy with Jan & Dean meet Batman and their insane, unreleased live album spoof Filet of Soul, part of which can be heard on side 4 of the Anthology Album, and apparently due for a full scale release now some fifty years later.

Early on, Jan & Dean jumped on the musical satire train, taking cues from Spike Jones and The Coasters, who they loved, before the baton got passed to Zappa and The Turtles. Just ask Flo & Eddie.

And they did it for decades.  Check out their 1987 cover of Oh What A Beautiful Morning. Shades of the BBC Goon Show.

Let's Hang On, Might As Well (from Filet of Soul)
Schlock Rod pt 2
Horace the Swinging School Bus Driver
Oh What A Beautiful Morning
Folk City

https://youtu.be/OCIiug7cuAQ


https://youtu.be/fv8aJhS380U

https://youtu.be/i7DTrbvWa4o

https://youtu.be/w89y6deJFDA

https://youtu.be/-o4QKpvAnU0

[JK]

I asked this question on the Jan & Dean message board but got no response, and since this is a J&D related thread, I'll ask here---

Does anyone know the chords for "Girl, You're Blowing My Mind"?

Hi Nate. I knocked these out this evening ( I needed a break!). I'd be most grateful if gf2002 or someone else similarly informed about chords and how to write them out would given it a listen through and change anything where necessary. (This letter after the forward slash is the bass note on the three occasions where this deviates from the root position.)

https://www.youtube.com/watch?v=Iu7UoglxCsU

Verse 1:
| A  - - - | A - - - | A - - - | A - - - |
| D4 - D - | E2 - E5 - | D4 - D - | E2 - E5 - |

Chorus:
| A - - - | A/G# - - - | A/F# - - - | A/E - - - |

Verse 2

Chorus

Bridge:
| D - - - | D - - - | A - - - | A - - - |
| D - - - | D - - - | A - - - | E - - - |
| E - - - | E - - - | E - - - | E - - - |

Verse 3

Chorus

Bridge

Verse 4

Coda:
| A - - - | A/G# - - - | A/F# - - - | A/E - - - |
| A - - - | A/G# - - - | A/F# - - - | A/E - - - |
| A_________________|

[NateRuvin]

Thank you so much!!!

[JK]

Thank you so much!!!

You're welcome. :=)

I was thinking... perhaps it's a good idea to make the second chord in bars 6 and 8 of the verse an open E chord (no G#). Then that descending figure (G - F# - F# - E) comes across better.

[JK]

I have one question myself: What is the most accepted symbol for a power chord or fifth chord? I've seen (for a C chord) C5, C(no 3) and C ind (as in indeterminate, neither major nor minor). Any ideas, folks? Then I can correct it, you see...  

[NateRuvin]

I have one question myself: What is the most accepted symbol for a power chord or fifth chord? I've seen (for a C chord) C5, C(no 3) and C ind (as in indeterminate, neither major nor minor). Any ideas, folks? Then I can correct it, you see...  

I've usually seen it as C5.

[JK]

I have one question myself: What is the most accepted symbol for a power chord or fifth chord? I've seen (for a C chord) C5, C(no 3) and C ind (as in indeterminate, neither major nor minor). Any ideas, folks? Then I can correct it, you see...  

I've usually seen it as C5.

Okay, thanks, I've added it.

It does lay the emphasis visually on the fifth when it's the E itself that's important.

But that's a minor problem (terrible choice of words there ).