My mp3 player, which can hold about 1400 tracks, now has three versions of “Walk Away Renee”: The 1966 original by the Left Banke, the epic 1968 version by the Four Tops, and a new, delicately respectful version by Linda Ronstadt and Ann Savoy that is mentioned prominently in every review of their new, Cajun-folk duet album, Adieu False Heart.
A little research shows that I could add versions by Latin jazz percussionist and Cal Tjader sideman Willie Bobo; British protest singer Billy Bragg (he mumbles recollections of lost love while he plays the song almost absent-mindedly on acoustic guitar); and the indie rocker Angie Heaton (who sounds like a female Neil Young from the “Everybody Knows This is Nowhere” era), among about a dozen other covers. I also have a version by Marshall Crenshaw from his live acoustic album, “I’ve Suffered for My Art, Now It’s Your Turn.”

*(Update: A clip of the Left Banke lip-syncing “Walk Away Renee” on the show “Where the Action Is” is at the end of this post.)
Quite a journey for a song written by a 16-year-old lovesick kid; and for that kid’s unrequited teenage crush, Renee Fladen, who also inspired the Left Banke’s other hit, “Pretty Ballerina.” According to this nicely-written piece by rock and roll fan Tom Simon:
Violinist Harry Lookofsky owned a small storefront recording studio in New York City that he called World United Studios. In 1965, he gave a set of keys to his 16-year-old son, Mike Brown [real name: Mike Lookofsky], who helped out by cleaning up and occasionally sitting in as a session pianist. Mike began bringing in his teenage friends who tinkered with drums, guitars, amplifiers, the Steinway piano, and anything else they might find. Except for Mike, who had a background in classical piano, none of them were top musicians. But they could sing, especially one guy named Steve Martin.
By 1966 they started to call themselves the Left Banke. In addition to Mike and Steve, they included Rick Brand on lead guitar, Tom Finn on bass, and drummer George Cameron. Finn brought his girlfriend to the studio one day when the group had assembled for a practice session. She was a 5′ 6″ teenager with platinum blond hair. Mike Brown was infatuated with her the instant he saw her. Her name was Renee Fladen.
The group had begun recording songs, and Harry was particularly impressed with Steve Martin’s voice. Mike wrote a song about Renee. Although there was never anything between the two, Mike was fascinated by her and pictured himself standing at the corner of Hampton and Falmouth Avenues in Brooklyn with Renee, beneath the “One Way” sign. In his fantasy, he was telling her to walk away.
Harry played all the string parts on the Left Banke record Walk Away Renee. With Mike on the harpsichord and Steve Martin’s strong vocal performance, the song was a good one with a different type of sound to it. It came to be known as baroque rock, a style of music that included songs such as the Yardbirds’ For Your Love.
Harry took the song to ten different record companies before Smash Records picked it up. It entered the pop charts in the Fall of 1966 and remained there for ten weeks, peaking at number five. Early the next year the Left Banke followed up with another song written by Mike Brown called Pretty Ballerina, and it reached number fifteen.
(snip)
As for Renee, she moved to Boston with her family shortly after the Left Banke recorded Walk Away Renee, and no one in the group ever saw her again.
Dawn Eden, who is described on Amazon as “a Jewish-born rock journalist turned salty Christian blog queen,” claimed credit on her blog, The Dawn Patrol, for unearthing Renee’s whereabouts, at least as of the time of her posting the information in 2003. Renee Fladen-Kamm is a classical singer and vocal teacher in the Bay Area, who was a member of a medieval English music ensemble, The Sherwood Consort, although does not appear to be a member now. I can find no photo of Renee anywhere on the Internet; not on one of the numerous obsessed Left Banke fan sites, nor on any sites devoted to her own music. Perhaps that’s understandable, and prescient on her part to stay away from cameras. The real-life models for other popular works of art — I’m thinking of Alice Liddell of Lewis Carroll’s Alice in Wonderland — often wished their genius idolaters had never met them.
As for Michael Brown, nee Michael Lookofsky, he was described on this fanzine as
both brilliant and aware of his talent, but extremely nervous and very difficult to deal with -a clear evidence of this were his attempts to form different groups after The Left Banke, which he kept deserting due to differences with the other members or when he realised he wouldn’t be able to work comfortably. I tried to contact him but it was impossible; he’s currently living with his sister, who sees to it that no one reaches the musician.
I’ve loved “Walk Away Renee” since the first time I heard it 40 years ago on WABC. It came out during an outrageously fertile time for pop music. In the top ten during the same month were memorable hits like the Four Tops’ “Reach Out, I’ll Be There,” the Supremes’ “You Can’t Hurry Love,” the Association’s “Cherish,” Neil Diamond’s “Cherry Cherry,” the Monkees’ “Last Train to Clarksville,” plus some wacky one-hit wonders like “Psychotic Reaction” and “96 Tears.” What made a great pop hit in those days was the purity of emotion, and nothing was more affecting than this minor-key lament:
**(lyrics corrected…by the lyricist!)
AND WHEN I SEE THE SIGN THAT POINTS ONE WAY
THE LOT WE USED TO PASS BY EVERY DAYJUST WALK AWAY RENEE YOU WONT SEE ME FOLLOW YOU BACK HOME
THE EMPTY SIDEWALKS ON MY BLOCK ARE NOT THE SAME
YOU’RE NOT TO BLAMEFROM DEEP INSIDE THE TEARS THAT I’M FORCED TO CRY
FROM DEEP INSIDE THE PAIN THAT I CHOSE TO HIDEJUST WALK AWAY RENE YOU WONT SEE ME FOLLOW YOU BACK HOME
NOW AS THE RAIN BEATS DOWN UPON MY WEARY EYES
FOR ME IT CRIES.YOUR NAME AND MINE INSIDE A HEART UPON A WALL
STILL FINDS THE WAY TO HAUNT ME THOUGH THEY’RE SO SMALLJUST WALK AWAY RENE YOU WONT SEE ME FOLLOW YOU BACK HOME
NOW AS THE RAIN BEATS DOWN UPON MY WEARY EYES
FOR ME IT CRIES.
As I write, I have a music-obsessed 16-year-old son of my own. Every chance he gets, he sneaks onto his grandmother’s Mac to compose his own music on Garage Band, and otherwise contents himself with figuring out chords and melodies on a little electric keyboard, and multi-tracking his vocal harmonies on his own disappointingly Windows-based computer. Sometimes he’s inspired by girls, sometimes he’s inspired by the music that inspires him — these days it’s Broadway composers like Stephen Sondheim, but I still hear some Danny Elfman in there too. If he fantasizes about being famous, or writing a song that famous performers will sing 40 years from now, he’s never told me so. He writes music like he does everything else; because he feels like it and can’t stop himself. It’s not a job.
That’s what I imagine Michael Brown was like, too. He just had to write those songs about Renee, and when she was gone from his life, essentially he was done.
Wendy McCaw, Mayor Villaraigosa, you may now bow down to your PR masters: The venerable bards of Henry Mancini-esque rock, Steely Dan. All morning, I’ve been trying to get on the Steely Dan website to read the now-famous
The threats mount until finally they offer Luke an opportunity to help Owen avoid tangling with “this guy who works for us sometimes…you know what a Navy Seal is, right? Well, this dude’s like that, only he’s Russian”: Send him to appear at Steely Dan’s Irvine concert to apologize, “and then he can get back to his life and his family and his beautiful moviestar-style pad or whatever, none the worse for wear….” Oh, they’ll throw in some Steely Dan “merch” and “if he wants to sit in” he can “bring his bongos.”
I would love it, frankly, if I had a staff of people who
So why is Ramallo so defensive? What is the point of denying what is plainly true? The mayor is particular. He’s busy, and he’s on the move all day. He doesn’t like surprises. He needs a certain comfort level in order to govern the second biggest, second most-complicated city in America. The city is paying his staff to take care of details so he can do his job, which doesn’t include tracking down Sharpies. What would be so damaging about just saying that?
Likewise the incantations of “corrupt…cronyism…corporate lobbyists..,” like that’s something new and unique to our era. Is she serious? Is she saying this in a national publication like the LA Times? Let me throw a few names at her: Boss Tweed. Mark Hanna. J.P. Morgan. Albert Fall. Billy Sol Estes. Bobby Baker. Richard Nixon. Spiro Agnew. Thomas Keating. All of these names and many more are in Wikipedia if she wants to look them up.
But the vortex of stupidity didn’t stop there. Greenberg’s husband, Robert Green was so offended by the comments on ThomasHawk.com that he searched until he found the real identity of the previously anonymous blogger, and outed him. As if the idiocy of his comments wasn’t enough to hang him! He had to be cyber-stalked?
Some 60 million years ago, snakes added venom to their arsenal of survival tools. The first predators mammals faced were snakes. And so, according to
And then this story, with a similar subtext, about Michael Jackson:
Who was the cool novelist to read when you were in high school? For me, it was Thomas Pynchon, author of
I still haven’t completely finished it, having lost my way in the endless and completely surreal third section that seems to take place in the immediate aftermath of World War II. I did finish his first two novels,
Also,
If you haven’t lived in LA for decades, the name Saul Levine might not mean anything to you, but if someone was going to compile a list of “100 People Who Make LA Great,” Saul Levine would be near the top.
Former Vice President Al Gore, star of the environmental blockbuster “An Inconvenient Truth,” is not the only 90s’ icon to make a strong comeback in 2006. Newt Gingrich is pursuing a similar strategy — frightening everyone about global catastrophe — to get people talking about him.
Already, Hugh Hewitt is
The most important thing
The Dinosaur Quarry Visitors Center at 
It’s so nice when things work out. Just when it became impossible to root for the Los Angeles Lakers anymore, at least until all vestiges of the putrid Kobe/Shaq/Phil trifecta from hell are purged from the team, the Los Angeles Clippers finally got a clue.
The
The newspaper’s staff objected, of course, that if you’re covering a planning commission controversy, the address is the point of the story. Zoning rules are address-specific. The main complaints about Lowe’s plans were coming from his neighbor. This was a public proceeding, and Lowe’s address was on all the public documents associated with it. Leaving out the address makes no sense, journalistically. If Lowe wanted to maintain his privacy, he should’ve settled with his neighbor quietly. But since he’s asking the local government to exercise discretion on his behalf, Lowe became fair game. At least, that’s how a typical editor would see things. McCaw disagreed, however, and she rocked some careers in the process — quite unfairly, it is clear.
I believe one reason the media establishment has worked itself into such high dudgeon about the News-Press is, at first, McCaw played the dream date role to the hilt. When McCaw bought the paper, part of the appeal was, “She’s so rich, she won’t care if we lose money.” That’s nirvana to newspaper folk. It means they can hire the best — and the News-Press did that, bringing Jerry Roberts down from the San Francisco Chronicle. It means they can cover more stories. It might even mean they can get paid more. McCaw’s ownership initially provided a vision of salvation for other newspapers with hellhounds on their trails. Now, Wendy McCaw is being seen as a cautionary tale for those who pray for a wealthy knight to salvage the LA Times, the San Jose Mercury News or other important publications from the grip of cost-cutters.
They were after gold, these miners who shot streams of water through a cannon against Sierra Nevada mountain faces, cracking them open in hopes that treasure would spill out. Armed with these hydraulic hammers, miners could blast away “half a mountain in a few minutes,” according to a historian of the Gold Rush era. It was the kind of environmental assault that a fever for wealth often would inspire during this country’s first two centuries.
“Those mountains probably have persisted since the Mesozoic Era–more than 65 million years ago–until today,” Chamberlain added. Back then, according to many scientists, California was split by an ancient subduction zone–a region of constant geologic upheaval, where a plunging oceanic tectonic plate continuously pushed the continental North American plate higher and higher to create the Sierra Nevada range.