I remember when The Left Banke’s one-hit-of-wonder-ness “Walk Away Renée” was all over AM radio in the summer of 1966 (peaking at No. 5).
Featuring a classical string quartet (two violins, a viola, and a cello), a harpsichord, and an alto-flute solo on the bridge, it’s fair to say that “Walk Away Renée” sounded like nothing else on the charts at that time. To put this song into its contemporary context, the Beatles’ US television appearances on the Ed Sullivan show had been in February of 1964. So, by June 1966, the “British Invasion” (of the US music industry) was in full swing.
Silly me; until I recently began researching, I had assumed that the members of the group The Left Banke were British. (Because of the fey or twee spelling of “Bank” as well as their mop-top hair and “mod” clothing… .) However, it turns out that they were New Yorkers.
“Walk Away Renée” interests me for at least three reasons. One, it fits into my continued ruminations on the “Paradoxical Pleasure” of listening to sad songs. Secondly, “Walk Away Renée” was one of the first hit songs in the “Baroque Pop” genre. Thirdly, ten years later (in 1976), “Walk Away Renée” inspired a rock song that still gets lots of airplay today. (More on that in due course.)
There have been cover versions of “Walk Away Renée” recorded by The Four Tops, Southside Johnny, Rickie Lee Jones, Herman’s Hermits, Marshall Crenshaw, Sylvie Vartan, Vonda Shepherd, Badly Drawn Boy, Billy Bragg, and Ann Savoy with Linda Ronstadt. Rolling Stone, the L’Osservatore Romano of the rock era, declared “Walk Away Renée” to be the 220th “Greatest Song of All Time.” Pretty good for a rather small-scale song principally written by “Mike Brown,” a very lovesick 16-year old.
More after the jump.