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George 'Shadow' Morton obituary George 'Shadow' Morton obituary
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"Is she really going out with him?" is the spoken introduction to Leader of the Pack by the Shangri-Las, one of the most evocative examples of the "girl group" genre of 1960s pop music. The producer and co-writer of that record and other Shangri-Las hits was George "Shadow" Morton, who has died aged 72 of cancer. Morton's other productions included Janis Ian's controversial hit Society's Child, as well as recordings by heavy rock bands Vanilla Fudge and Iron Butterfly, and punk pioneers the New York Dolls."Is she really going out with him?" is the spoken introduction to Leader of the Pack by the Shangri-Las, one of the most evocative examples of the "girl group" genre of 1960s pop music. The producer and co-writer of that record and other Shangri-Las hits was George "Shadow" Morton, who has died aged 72 of cancer. Morton's other productions included Janis Ian's controversial hit Society's Child, as well as recordings by heavy rock bands Vanilla Fudge and Iron Butterfly, and punk pioneers the New York Dolls.
Leader of the Pack, released in the US in 1964, was the most remarkable of the Shangri-Las' hits; a story of a middle-class girl's love for a motorcycle gang leader that ends in a fatal accident. Morton added the sound of a motorbike to the record and lead singer Mary Weiss's keening vocals made it a No 1 hit in the US. The success of a parody, Leader of the Laundromat by the Detergents, in 1965 set the seal on the song's classic status.Leader of the Pack, released in the US in 1964, was the most remarkable of the Shangri-Las' hits; a story of a middle-class girl's love for a motorcycle gang leader that ends in a fatal accident. Morton added the sound of a motorbike to the record and lead singer Mary Weiss's keening vocals made it a No 1 hit in the US. The success of a parody, Leader of the Laundromat by the Detergents, in 1965 set the seal on the song's classic status.
In Britain, recent disturbances involving mods and rockers caused timid broadcasters to ban the track. Despite – or because of – this, Leader of the Pack was a hit in the UK in 1965, and again in 1972 and 1976. Leader of the Pack has also been used in a number of films, including Martin Scorsese's Goodfellas, for which Morton unsuccessfully sued for payment.In Britain, recent disturbances involving mods and rockers caused timid broadcasters to ban the track. Despite – or because of – this, Leader of the Pack was a hit in the UK in 1965, and again in 1972 and 1976. Leader of the Pack has also been used in a number of films, including Martin Scorsese's Goodfellas, for which Morton unsuccessfully sued for payment.
Morton was born in Richmond, Virginia, but grew up in Brooklyn. When he was a young teenager his parents decided to move to the more salubrious suburb of Hicksville, Long Island. His first love was jazz (a phrase from a Modern Jazz Quartet tune was echoed in his first Shangri-Las hit) but at high school, he joined a doo-wop vocal group. After dropping out of education he found himself on the fringes of the music business, recording a couple of obscure singles with the Markys.Morton was born in Richmond, Virginia, but grew up in Brooklyn. When he was a young teenager his parents decided to move to the more salubrious suburb of Hicksville, Long Island. His first love was jazz (a phrase from a Modern Jazz Quartet tune was echoed in his first Shangri-Las hit) but at high school, he joined a doo-wop vocal group. After dropping out of education he found himself on the fringes of the music business, recording a couple of obscure singles with the Markys.
In 1964, he discovered that an acquaintance from Long Island, Ellie Greenwich, had become a successful songwriter. Visiting Greenwich at her office in the Brill Building on Broadway, Morton was asked what he did by her husband and writing partner, Jeff Barry. With bravado he replied untruthfully that he wrote songs. Barry, who was to give him his nickname of "Shadow" because of his habit of silently disappearing from social settings, challenged him to come back with some examples and Morton hurriedly put together a recording session with the Shangri-Las. The result was a seven-minute track called Remember (Walking in the Sand), with sound effects of seagull cries and lengthy recitative passages. After Barry and Greenwich had helped Morton to edit and re-record the song, it was issued on the Red Bird label and became a top 20 hit.In 1964, he discovered that an acquaintance from Long Island, Ellie Greenwich, had become a successful songwriter. Visiting Greenwich at her office in the Brill Building on Broadway, Morton was asked what he did by her husband and writing partner, Jeff Barry. With bravado he replied untruthfully that he wrote songs. Barry, who was to give him his nickname of "Shadow" because of his habit of silently disappearing from social settings, challenged him to come back with some examples and Morton hurriedly put together a recording session with the Shangri-Las. The result was a seven-minute track called Remember (Walking in the Sand), with sound effects of seagull cries and lengthy recitative passages. After Barry and Greenwich had helped Morton to edit and re-record the song, it was issued on the Red Bird label and became a top 20 hit.
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As well as Leader of the Pack, Morton and the Shangri-Las had several other hit singles in the US over the next two years, including I Can Never Go Home Anymore, Give Him a Great Big Kiss, and Past, Present and Future.As well as Leader of the Pack, Morton and the Shangri-Las had several other hit singles in the US over the next two years, including I Can Never Go Home Anymore, Give Him a Great Big Kiss, and Past, Present and Future.
From the beginning, Morton acquired, and cultivated, a reputation for eccentricity and unpredictability. As a teenager, the pianist and singer Billy Joel played on the first demo recording of Remember (Walking in the Sand) and recalled that Morton "had a very theatrical way of producing; he used to wear a cape in the studio and was very intimidating to a young kid like me". Weiss described him as "colourful, unique and extremely talented, but very difficult to get into a room at a scheduled time".From the beginning, Morton acquired, and cultivated, a reputation for eccentricity and unpredictability. As a teenager, the pianist and singer Billy Joel played on the first demo recording of Remember (Walking in the Sand) and recalled that Morton "had a very theatrical way of producing; he used to wear a cape in the studio and was very intimidating to a young kid like me". Weiss described him as "colourful, unique and extremely talented, but very difficult to get into a room at a scheduled time".
When the Red Bird company folded in 1966 Morton took the Shangri-Las to the Mercury label, where they had less success. By this time, Morton had become the producer of the 15-year-old Janis Ian. He chose Society's Child, a tale of a doomed interracial romance, as her first single. However, as Ian recounted in her autobiography, Morton tried to persuade her to censor the lyric, saying: "I can guarantee you a No 1 record if you'll change just one word. Just change 'black' to anything else." Ian refused, and the record was a hit, but not a chart topper. Morton went on to produce Ian's first two albums.When the Red Bird company folded in 1966 Morton took the Shangri-Las to the Mercury label, where they had less success. By this time, Morton had become the producer of the 15-year-old Janis Ian. He chose Society's Child, a tale of a doomed interracial romance, as her first single. However, as Ian recounted in her autobiography, Morton tried to persuade her to censor the lyric, saying: "I can guarantee you a No 1 record if you'll change just one word. Just change 'black' to anything else." Ian refused, and the record was a hit, but not a chart topper. Morton went on to produce Ian's first two albums.
He next produced the first album of the New York Rock & Roll Ensemble, who played rock music on classical instruments and featured future film-music composer Michael Kamen. Morton went on to work with a New York rock group called the Pigeons who specialised in lengthy, ponderous versions of recent hits. After their name was changed to Vanilla Fudge, Shadow Morton produced the hit You Keep Me Hanging On, a barely recognisable variation on a Supremes' recording, which was a US top 10 hit in 1968.He next produced the first album of the New York Rock & Roll Ensemble, who played rock music on classical instruments and featured future film-music composer Michael Kamen. Morton went on to work with a New York rock group called the Pigeons who specialised in lengthy, ponderous versions of recent hits. After their name was changed to Vanilla Fudge, Shadow Morton produced the hit You Keep Me Hanging On, a barely recognisable variation on a Supremes' recording, which was a US top 10 hit in 1968.
Although he was to produce three albums by Vanilla Fudge, Morton's alcohol consumption had affected his standing on the New York scene. In the late 60s, he found less work, with his only subsequent success being the 17-minute piece In-A-Gadda-Da-Vida (a garbled version of the phrase "in the garden of Eden") by the heavy rock band Iron Butterfly, which he was asked to supervise by Ahmet Ertegun of Atlantic Records. In one of several rambling interviews he gave late in life, Morton claimed that he contributed very little to the session because of his inebriation.Although he was to produce three albums by Vanilla Fudge, Morton's alcohol consumption had affected his standing on the New York scene. In the late 60s, he found less work, with his only subsequent success being the 17-minute piece In-A-Gadda-Da-Vida (a garbled version of the phrase "in the garden of Eden") by the heavy rock band Iron Butterfly, which he was asked to supervise by Ahmet Ertegun of Atlantic Records. In one of several rambling interviews he gave late in life, Morton claimed that he contributed very little to the session because of his inebriation.
In the early 70s, he made a single with British group Mott the Hoople and produced Too Much Too Soon by the New York Dolls. This failed to enhance the group's reputation, which was soon to be revived by the British impresario Malcolm McLaren. He also worked with the all-female rock band Isis and made records with the singer-songwriter Tom Pacheco.In the early 70s, he made a single with British group Mott the Hoople and produced Too Much Too Soon by the New York Dolls. This failed to enhance the group's reputation, which was soon to be revived by the British impresario Malcolm McLaren. He also worked with the all-female rock band Isis and made records with the singer-songwriter Tom Pacheco.
By the end of the 70s, Morton had left the music business. He was successfully treated for alcoholism in the 80s, and switched careers to design golf clubs.By the end of the 70s, Morton had left the music business. He was successfully treated for alcoholism in the 80s, and switched careers to design golf clubs.
Morton's marriage to Lois Berman ended in divorce, and he is survived by three daughters, three grandchildren and a sister.Morton's marriage to Lois Berman ended in divorce, and he is survived by three daughters, three grandchildren and a sister.
• George Francis (Shadow) Morton, songwriter and record producer, born 3 September 1940; died 14 February 2013• George Francis (Shadow) Morton, songwriter and record producer, born 3 September 1940; died 14 February 2013
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