Joan Jett - Rock’s Toughest Woman

 In 1976, Joan Jett was a black-leather-wearing 16-year-old living across the street from Los Angeles’ notorious Whisky-a-Go-Go and writing songs like the classic fox anthem “Cherry Bomb.” Her band, the Runaways, was the world’s first hard-rocking all-female band, but the five JD-looking teenagers got jeered out of showbiz. Jett went on to form the Blackhearts, with whom she has had such hits as 1982’s “I Love Rock ‘n’ Roll,” 1988’s “I Hate Myself for Loving You” and 1990’s “Dirty Deeds.” Most recently, Jett has collaborated with members of L7, Bikini Kill and Babes in Toyland. Her forthcoming album, tentatively titled “Friend to Friend,” shows her skills have been juiced by the new wave of women rockers, many of whom cite her as an inspiration. 


What was your first gig like?

My first gig was with the Runaways. We did a keg party in Huntington Beach, Calif. It was at [drummer] Sandy West’s house, in her rec room. There were tons of people there and tons of beer, and everybody was drunk. I was scared to death, so I think I had quite a few beers that night.

What did it feel like when your first record came out?

Incredible. Because we hadn’t gotten to the point where we realized that the record label was full of shit, the press was full of shit, a lot of people weren’t going to give us a chance just because we were girls. The dream was still intact. But soon, that wore off. Little problems would start to happen, with business and just people not taking you seriously. It’s like if you had to go through every day being laughed at the whole time.

What do you think that was based on?

Let me try to explain. Say that you were a guy, and we’re sitting here having drinks and talking. And you start coming on to me. You’re the guy that thinks I’m a whore or a slut. But I rebuff you. So what am I now? A dyke.

Were there any advantages to being a girl when you started out?

It depends if you consider getting into the Starwood or the Whisky for free and people giving you free beers an advantage. I mean there wasn’t anything that we got because we were girls that I remember in a positive sense. Everything was, “You’re weaker ’cause you’re girls. You can’t take it because you’re girls. You can’t do it because you’re girls. But you’re cute to have around, so come in and get drunk.”

Who were your role models or inspirations?

Early on, Liza Minnelli. And then when I got into the glitter stuff and I moved to California with my family, I got even more so into David Bowie, T. Rex, Sweet. Suzi Quatro was a huge thing to me, ’cause I never had seen a woman play rock & roll. And to see her with her bass, screaming, really inspired me. I thought, well, if she can do it, I can do it, and if I can do it, then there’s got to be other girls out there that are thinking about doing this. 

Were there any specific acts of sexism in the course of creating your work that you remember?

Yeah, I know there are, but not that I can think of. But I know they’re there; I can feel them all simmering and my guts starting to churn just thinking about it.

Can you think of any specific moments when you felt alienated because you were a woman in rock & roll?

The Blackhearts were opening for the Scorpions, in 1984 or something, so we had just had a whole bunch of really big hits. We were playing in Italy and Spain. The audience, it was all guys, and they were like worked up into this frothy frenzy. They wanted to kill me. Violently trying to get to me, hawking lugies. I was covered in spit, and it was hanging off me, and I would sit there, and I wouldn’t leave the stage. It was like, they’re not going to make me leave the stage. I cried every night because I didn’t understand why they hated me so much. I mean these guys would have killed me, and if they didn’t kill me, they would have raped the fuck out of me. And we had to go through this for two weeks — it was horrible. And that was all about being a girl for sure, because I was like, why do they hate me so much? And they said, “Girls playing rock & roll — you shouldn’t be doing this,” you know. 

Did you ever feel pressure to act like one of the guys, or did you want to act like one of the guys?

No, you know, I’ve always been a real tomboy since I was a little kid. I’ve always kicked boys’ asses in a lot of things: games, tug of war, dodgeball. I’m not necessarily intimidated by really jocky guys. I can talk football with them, you know what I mean?  

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Just a day after Nick Cave covered T.Rex’s “Cosmic Dancer” on Late Late Show With James Corden, Joan Jett and the Blackhearts appeared on the show for a blistering rendition of “Jeepster.” Both recordings appear on the Hal Willner-produced comp Angelheaded Hipster: The Songs of Marc Bolan and T. Rex.

“She’s just the embodiment of power,” house bandleader Reggie Watts told Corden just before the performance. “It’s just incredible.” Jett appeared virtually with her band, launching into the Electric Warrior track: “You’re so sweet/You’re so fine,” she sings. “I want you all and everything just to be mine.”

Angelheaded Hipster: The Songs of Marc Bolan and T. Rex was released on September 4th. It contains 26 songs over two discs, including covers of “Bang a Gong (Get It On)” by U2 featuring Elton John, “Plant Queen” by Todd Rundgren, Devendra Banhart’s “Scenescof,” Kesha’s “Children of the Revolution,” Father John Misty’s “Main Man,” “Life’s a Gas” by Lucinda Williams and more. 
 
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“To see this otherworldly creature performing on TV, with glitter under his eyes and makeup, was quite something,” the Edge recently told Rolling Stone of the late Bolan. “And Electric Warrior is unbelievable, right up there with some of the best albums in rock & roll history. The hooks and melodies and lyrics are amazing. His songs have the freedom of rock & roll and the discipline of great songwriting, which is what we as a band always aspire to.”  

Joan Jett stands at a microphone in a Manhattan recording studio, almost ready to sing. Dressed for rock & roll work in a tight gray jersey, weathered jeans and sneakers, she shakes her arms and bounces on her feet like an impatient boxer. Her jet-black hair is a riot of feathery spikes. And she has a fat, torpedolike joint hanging from her mouth. The smoking, Jett says later, loosens up the edges and range of her distinctively craggy voice.

She also has “the best shit,” according to Kenny Laguna, Jett’s manager, co-producer and co-songwriter for the past 35 years. “Keith Richards had some of that,” he announces with a hearty laugh, as Jett rolls her number on the mixing board before the take. “Said it gave him flashbacks to 1968.”

Jett is making new music today with her longtime band the Blackhearts: the title song to a forthcoming film, Miss You Already, by Twilight director Catherine Hardwicke. Written by Jett, Laguna and guitarist Dougie Needles, the track is a razor-toothed surge of guitars with a hot chorus from the same pop-smart punk-rock pocket as the records that got Jett, 56, into the Rock and Roll Hall of Fame on April 18th: the 1981 New Wave anthem “I Love Rock ‘N Roll”; her hit covers of Gary Glitter’s “Do You Wanna Touch Me (Oh Yeah)” and Tommy James and the Shondells’ “Crimson and Clover”; Jett’s first solo LP, Bad Reputation; and The Runaways, her 1976 debut, at 17, with that pioneering all-teen, all-female Los Angeles band. 

Reference: 

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She still sings like a woman with unfinished business. When she steps to the mic and sings “Miss You Already,” a song about loss and precious memories, her performance is feral, frayed and direct. “Great ending, great last verse!” Laguna shouts as Jett returns to the control room. She’s not so sure. The two are soon bantering over pitch and timing – Laguna with the high-volume brio of a New York beat cop, Jett in a deep rasp – with the flammable affection of an old married couple, which in a way they are. Laguna has been married to his wife, Meryl, for 44 years. But he and Jett, who is single, have been creative partners since 1979. She was reeling from the collapse of the Runaways and the sexist stigma attached to the group: that girls can’t rock. Laguna had a long history in Sixties pop and bubblegum as a writer, producer and keyboard player. (He’s on the Ohio Express’ chirpy 1968 “Yummy Yummy Yummy.”)

“I give her pop,” Laguna says, summing up the match. “She gives me menace.”

Today, Jett is acknowledged as an inspiration for the feminist-punk riot-grrrl movement, and her name is an established shorthand in fashion. “I’ve heard it from designers,” Jett says, “people on runway shows: ‘Let’s do Joan Jett,’ for makeup and hair.” In the 2010 biopic The Runaways, Jett was played by Twilight actress Kristen Stewart. (The film was based on a memoir by singer Cherie Currie, but Jett was an executive producer.) And Miley Cyrus, a fan and now friend of Jett, has covered the Runaways’ “Cherry Bomb” in her show.  

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With Twilight star Kristen Stewart portraying Joan Jett in an upcoming Runaways biopic, a new hits collection on the way and even a Christmas album on Joan Jett’s Blackheart label, Rolling Stone caught up with rock’s original tough gal and her longtime co-writer/manager Kenny Laguna to chat about Pete Townshend, being burned by Clive Davis and recording the perfect cover.

You’ve got a new Gibson signature model guitar now?
Joan Jett: I sure do. It’s a Gibson Joan Jett Melody Maker. It’s copied from a guitar that I’ve used for years and years. The Melody Maker works with me well because it’s light and it’s easy to handle.

Kenny Laguna: It’s called a California style, they only made a very few of them. The one she bought from Eric Carmen, he had played it on those Raspberries hits. Over the years she made modifications. They’re very unique, it’s part of what the Joan Jett sound is. This guitar is totally backordered. They’re so popular we can’t even get them. We’re trying to get one so we can get it to Pete Townshend, we can’t even get one for Pete!  

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Joan Jett has shared a cover of T. Rex’s “Jeepster,” part of the upcoming tribute compilation Angelheaded Hipster, out September 4th via BMG.

Featuring Marc Ribot on guitar, Thomas “Doveman” Bartlett on piano, and Jim White on drums, Jett takes the Electric Warrior track to new heights. “You slide so good/With bones so fair,” she sings, “You’ve got the universe reclining in your hair.” Later, just after the three-minute mark, her husky voice proclaims, “And I’m gonna suck ya!”

The two-disc Angelheaded Hipster: The Songs of Marc Bolan and T. Rex was produced by Hal Willner, who died of complications from COVID-19 in April. The 26-song collection also includes a cover of “Bang a Gong (Get It On)” by U2 featuring Elton John, “Main Man” by Father John Misty, “Life’s a Gas” by Lucinda Williams and “Plant Queen” by Todd Rundgren.

“Jeepster” follows Nick Cave’s rendition of “Cosmic Dancer,” Devendra Banhart’s “Scenescof,” and Kesha’s “Children of the Revolution.” Kesha recently told Rolling Stone that she’s been listening to 1972’s The Slider while in quarantine. “But also any T. Rex record,” she added. “If this is the end of times, then I want to have Marc Bolan sing me through it with his whimsical, wobbly voice.”  

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August 1st on the Sunset Strip, Joan Jett returned as hero and honored guest to the birthplace of her career as a rocker. It was declared “Joan Jett Day” in the city of West Hollywood, which kicked off this weekend’s annual Sunset Strip Music Festival with a raspy 90-minute set from the iconic singer-guitarist and her band, the Blackhearts.

“This whole thing is pretty overwhelming,” Jett declared onstage at the House of Blues after she was handed the festival’s Elmer Valentine Award, named for the cofounder of three essential nightclubs on the Strip: the Whisky, the Roxy and the Rainbow Bar and Grill. She described being drawn to the Strip by stories in Creem magazine about the glitter-rock scene at Rodney Bingenheimer’s English Disco and hunting for rock-star autographs at the Hyatt House (a/k/a “the Riot House”) hotel although she was too shy to ever ask for any of them.

With the Runaways, she said, “We played the Whisky a shitload!” But after their breakup in 1979, she added, “I left with a really bad taste in my mouth. People were laughing at me, so this is very refreshing to come back.”

Jett and her band ripped through a 90-minute set of hits and new songs from her first new album in nearly a decade, Unvarnished, to be released October 1st. She thanked Runaways impresario Kim Fowley and the late Neil Bogart of Casablanca Records for being the only label to take her seriously enough to sign her as a solo artist, and greeted various family members and friends in the sold-out crowd, including John Doe and Exene Cervenka of X and Alison Mosshart of the Kills.

Jett stood center-stage in a black leather jacket over a sparkly red catsuit, her guitar slung low, as recognizable a rock & roll icon as Keith Richards. She led the band through the Runaways’ “Cherry Bomb” and the T-Rex-inspired “You Drive Me Wild,” the first song she ever wrote, eventually recorded by the Blackhearts. On “Bad Reputation,” she was joined by Pat Smear, current Foo Fighter and guitarist for the Germs when Jett produced their only studio album, 1979’s GI.

Among the new songs were “Soulmates to Strangers” and “Make It Back,” inspired by the devastation of Hurricane Sandy, which tore through her current home in Long Beach, Long Island. For the crashing, melodic rock of 1983’s “French Song,” she introduced it playfully by saying, “Love between three people can be a beautiful thing – especially if one of them is me.”

Backstage after her set, Jett spoke with Rolling Stone about her history on the Strip and the long journey toward making the new album.

How was the show for you tonight?
It felt really fulfilling in a lot of ways. When I left L.A., it was with a hangdog vibe. I had the impression – I don’t know if it was real – of people laughing at me, saying “We told you it wouldn’t work. We told you girls couldn’t play rock & roll.” That’s how I felt. It’s very humbling. It’s not the sort of thing you get cocky about. People are very sincere in their praise and you can’t take it lightly.

At what point in your career did you first start getting that kind of feedback?
Pretty early on – even with the Runaways in L.A. But once the band broke up, it was easy for people to say, “We told you it wouldn’t work.” Still, we inspired a lot of girls then – and boys, I’m sure. And it’s not just about playing rock & roll. It’s about doing whatever you want to do in life. You’ve got to fight for what you believe in. If you don’t try, you’ll always wonder and that’s a horrible way to live.

Do you think people have an accurate view of what the Sunset Strip is all about?
It’s not glamorous. That’s the thing that gets misrepresented, especially with some of the talent shows and the instant stardom that people achieve. Performance-wise, you really need to be down in the trenches, you need to do the hard work, for a lot of reasons: To build yourself as a performer, to get a sense of the audience, to work hard and to wonder, “Do I really want to do this?” If you can’t lump your gear and ride in a van, eating crappy food and making no money, maybe you should try something else.

It’s not the instant stardom thing. I think people now get into it thinking they’re going to achieve that. You need to do those club gigs, playing to 10 people. You need to build it. But people are impatient. They want it now. I understand, but if you want to grow an audience and build something long-term, you’ve got to go the hard way.

How are the songs you‘re writing now different from the early days?
It’s very different. I wrote a lot about what teenagers write about: love, sex and partying and having a good time. As you grow up, things change. Like I was saying onstage, you have responsibilities and realize you’ve got to do stuff. I suppose you could run from that, but you’ve got to be there for your family and your friends.

I lost both my parents. I call this the decade of death. I lost a lot companion animals, friends, both my parents. I was very close to them. They made it possible for me to do this. They encouraged me. They got me the guitar. My father, who hated rock & roll, put up with it. He didn’t come down on me to stop it. So losing my parents was big, and I think it translated to the music in songs like “Fragile,” which is about life being fragile, love being fragile, how easy it is to break hearts.

“Hard to Grow Up” is about responsibility and realizing that I’ve got to do this. “The song “Make It Back” is about Hurricane Sandy and people’s attitudes. You don’t see a lot of press about it as I go around the country. It was very devastating. My town is still beat up. People were really crushed. It gave me a sense of what it’s like to be in a war zone. The songs have a serious tone, but they’re relatable. They’re songs about stuff everybody goes through. 

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From her pioneering spirit, to her visionary outlook on being an artist, Joan Jett continues to inspire people from all walks of life. This coming Friday, April 24, JOAN JETT will bring a special performance to Rolling Stone’s “In My Room” IGTV Music Week, Presented by Gibson. Tune in Friday, April 24 at 3:00 p.m. ET on Rolling Stone’s Instagram to watch JOAN’s performance, Here.

To support the music community in these uncertain times, the rock n’ roll icon has teamed with Gibson guitars to donate an autographed, limited-edition Gibson Joan Jett ES 339 Electric Guitar–of which only 150 were made worldwide–for auction on CharityBuzz.com starting Monday, April 20, Here. Proceeds from the auction organized by Gibson Gives–the charitable arm of Gibson–and Rolling Stone, will benefit the MusiCares COVID-19 Relief Fund offering immediate financial assistance to musicians, production crews, and music industry creators; to donate directly, visit: https://www.grammy.com/musicares.

Calling on nearly two years of touring research and development alongside JOAN JETT and Gibson’s Master Luthiers, the Joan Jett ES-339 guitar is a unique hollow-body design in a stunning Wine Red which like its legendary namesake, redefines what a guitar can do. 

The new Joan Jett ES-339 guitar features a thermally-engineered chambered maple centerblock and thermally-engineered Adirondack Spruce bracing, a radical first for Gibson ES guitars. The control assembly is hand-wired with Orange Drop capacitors and is paired with our Burstbucker 2 and Burstbucker 3 humbucking pickups. From sweet to rude, the tonal capabilities of the Joan Jett ES-339 guitar are truly limitless. The stunning AAA figured maple veneers are finished in Wine Red for a look that will always make a statement. The Joan Jett ES-339 will be produced in a very limited run of only 150 guitars worldwide. The autographed instrument will come with a Gibson Joan Jett Signature hardshell case and custom Joan Jett certificate of authenticity.

Music fans will have the chance to make a charitable donation to support musicians worldwide and walk away with a piece of rock ‘n’ roll history.  

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This was originally recorded by a British group called The Arrows in 1975, and it was written by their lead singer Alan Merrill and guitarist Jake Hooker. Merrill explained in a Songfacts interview how this song came about: "That was a knee-jerk response to the Rolling Stones' 'It's Only Rock 'N' Roll.' I remember watching it on Top of the Pops. I'd met Mick Jagger socially a few times, and I knew he was hanging around with Prince Rupert Lowenstein and people like that – jet setters. I almost felt like 'It's Only Rock and Roll' was an apology to those jet-set princes and princesses that he was hanging around with - the aristocracy, you know. That was my interpretation as a young man: Okay, I love rock and roll. And then, where do you go with that?"

The song was released as a B-side with The Arrows' "Broken Down Heart." The group was recording for RAK Records, which was run by Mickie Most. As Merrill explains, "I Love Rock And Roll" didn't suit his current tastes, as during that time Most preferred ballads and blues. Most's wife Christina Hayes encouraged him to flip the sides, but the song didn't catch on, as it suffered from a poor run of luck at the time of its release. First, it had to be re-released as an A-side. Second, the song came out during an English newspaper strike, so new songs weren't getting the exposure they'd normally get. Third, The Arrows were feuding with their record label. As a result, the song didn't chart and was banished to obscurity.

All was not lost, however, as The Arrows performed this song when they were guests on the UK TV series Pop 45. The show's producer, Muriel Young, was so impressed that on the strength of this performance, she gave them their own TV show, simply called The Arrows Show, which ran from 1976-1977 in the UK for two full 14-week seasons on the ITV network. It was this show that Joan Jett saw in 1976, which prompted her to acquire a copy of "I Love Rock and Roll" and later cover it in 1981, producing what is arguably one of the most successful covers in rock history.  

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Jett was touring England as a member of an all teenage girl group called The Runaways when she discovered this song. She wanted to record it with The Runaways, but the other members didn't like the song and made the mistake of passing it up. So, in 1979, Jett recorded it with Paul Cook and Steve Jones of The Sex Pistols and released it as a B-side. Finally, in 1981, Jett recorded the song with her band The Blackhearts, resulting in a monster hit.

Jett recalled to Uncut August 2010 her version with the Pistols duo: "I did a very early version with them, it was great working with them, and no, there was no sense of trepidation on my part, despite the fact that everyone was telling me they were the most notorious band on the planet."
Alan Merrill told Songfacts about crafting the tune: "I had the chorus, which to me sounded like a hit. And I thought, I'll do something really unusual. I'll write it that this is a song separate from the verse. So the actual chorus is something that's coming out of a jukebox, and the two kids in the disco who are flirting are hearing this song that's a hit. It felt like The Twilight Zone. I was so sure 'I Love Rock and Roll' was gonna be a hit for the Arrows that I thought, Well, when we have a hit with it, it's gonna be a hit within a hit. A fictional hit coming out of the chorus with the kids singing it as their favorite song in the verse of the song. So when it actually became a huge hit for Joan Jett, my Twilight Zone concept came true. And I don't think too many people get that about the song, you know? They just like the melody, and it's catchy. But it was actually a pretty clever stroke, one that I'm proud of."
When the Runaways broke up, Joan Jett and her producer Kenny Laguna put her first solo album together with studio time and travel arrangements fronted by The Who. They struggled to get a record deal and had to form their own label, Blackheart Reocrds, to release the album in America. Jett and Laguna both thought "I Love Rock and Roll" was a great song, but since they didn't have the backing of a major label, they held off on it until they could establish themselves and get better distribution. When "Do You Wanna Touch Me" and "Bad Reputation" started getting airplay, they got a deal with Boardwalk Records. That first album, which was called Joan Jett, was remixed and renamed Bad Reputation. Now that she had a record deal, Jett released "I Love Rock and Roll," which was her first single on a major label and was included on her second album.  

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The Runaways' bass player, Michael Steele, went on to join the Bangles, and their guitarist Lita Ford had a successful solo career, but Joan Jett emerged as their most famous alumna. Kenny Laguna plays a big part in her story, as he helped Jett get started as a solo artist and worked with her throughout most of her solo career. In 1972, after working with acts like Tommy James & the Shondells and Tony Orlando, Kenny was looking for work and found it through Peter Meaden, who managed The Who when they were still known as The High Numbers. Meaden got Kenny a job working at Mobile Records in England, where he became friends with The Who and met The Runaways' manager, who asked him to produce what would be their last album. Kenny didn't work on that album, but when The Runaways broke up, he started working with Jett. Peter Meaden, who introduced Kenny to The Who and helped revive his career, was the manager of The Arrows, the group that wrote and originally recorded "I love Rock and Roll." If Kenny had accepted the job and produced The Runaways' last album, there is a good chance he would have made them record it, since he thought it was a hit.


Jett's 1979 version of the song was owned by The Polygram company, who were not enthusiastic about Joan or the song. Laguna explains: "They could care less about Joan Jett, they were busy signing every other Runaway. They thought Joan was the loser and they signed the other girls, who we're all friends with, but I looked at the band and thought she was the Mick Jagger and Keith Richards of the band. The company decided that if I would pay the studio cost of $2,300, I could have all the rights, and I got three songs. I got 'I Love Rock and Roll' with The Sex Pistols, I got 'You Don't Own Me' - they did a great version of the Lesley Gore hit, and they did a song Joan wrote called 'Don't Abuse Me.' So I buy these songs back. In the meantime, Joan has a couple of fans. Rodney Bingenheimer of K-ROCK, KMAC in Long Beach, BCN in Boston, LIR in Long Island, they were playing The Sex Pistols' kind of cruddy version of the song, and it was #1 on the alternative stations. It was really alternative music, they were way-out stations that would play some pretty adventurous stuff, that's why they would play Joan, because Joan was not getting a record deal, Joan was way on the outside, like a Fugazi of her day. We saw some kind of potential there. I remember these guys from the big record distributors in Long Island kept calling and saying, 'This is a hit record, we're getting so many requests for it.' So we cut it over and did a really good version of it."  

Reference: 

http://musica.temi.kataweb.it/2007/06/15/heineken-inizio-con-tornado/

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http://sites.gsu.edu/jsalters2/1-problem-definition/ 


In the original version, the lyrics are about a guy picking up a young girl and taking her home, which was fairly typical rock and roll subject matter. When Jett covered this, however, it became a song about a girl who notices a guy next to a jukebox and brings him home to have sex. Other hit songs like "Physical" by Olivia Newton John and "Hit Me With Your Best Shot" by Pat Benatar also had sexual overtones, but Jett sang about aggressively pursuing the guy, which for many women made this a female-empowerment anthem. This song helped shape Jett's image as a tough, confident rock star and became an inspiration to many female musicians.

The line "Put another dime in the jukebox" was dated by the time Jett released her version, as very few jukeboxes took dimes. "Quarter" didn't sound good in the lyrics, and as jukeboxes slowly disappeared or became computerized contraptions accepting paper currency, it didn't matter anyway.

Jett's next two singles, "Crimson And Clover" and "Do You Wanna Touch Me (Oh Yeah)" were also covers of songs originally recorded by male singers. When Laguna worked with Bow Wow Wow, he had them record "I Want Candy," another song that had to be adapted for a female singer.

In the US, this was #1 for seven weeks in 1982. "Ebony And Ivory" by Stevie Wonder and Paul McCartney did the same a few weeks later.

The video was directed by Arnold Levine, who also did many of the Loverboy and Bruce Springsteen clips. Jett wore a red leather outfit to the shoot, which took place at New York club called Private's with an assortment of fans that showed up that day forming the crowd. When Jett and Levine looked at the edit, the colors were a mess, with way too much red and mauve in the shots because of poor fashion choices. This was not the rock and roll video they imagined, but when Jett saw the black-and-white work copy, she loved it. Without the color, the clip looked gritty and retro, which is what they were going for.


This black-and-white version stood out on MTV among far more colorful clips by the likes of the Go-Go's and The J. Geils Band. It became a huge hit on the network, which had launched just months earlier and was becoming a criterion of cool. The video helped send the song up the charts and establish an image for Jett as a rough-hewn rocker.


The color version, now available on YouTube, was released in 2003 on Jett's Real Wild Child video anthology.

In an interview with Mojo magazine January 2008, Jett looked back on this song: "I think most people who love some kind of rock 'n' roll can relate to it. Everyone knows a song that just makes them feel amazing and want to jump up and down. I quickly realized, this song is gonna follow you, so you're either gonna let it bother you, or you gotta make peace with it, and feel blessed that you were involved with something that touched so many people."

Hooker stated publicly that he wrote the song in 15 minutes, but in an interview with Vive Le Rock, Merrill countered that claim, saying Hooker added basically nothing.


"When it came to songwriting sessions, Jake was basically an enthusiastic cheerleader for the most part," Merrill said.


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He went on to say that the reason he included Hooker on writing credits was because Hooker, who received regular financial support from his mother in the band's early days, paid for a plane ticket from London to Tokyo in 1974. Merrill had already built an audience in Tokyo with his earlier band Vodka Collins. Because of that ticket purchase, Merrill promised to always include Hooker's name in the songwriting credits.


Hooker died (suicide, according to Merrill) in 2014, so hasn't been able to respond to the claims. After the Arrows broke up, he went on to manage the music career of his wife, Lorna Luft, as well as some other acts (including, briefly, Merrill).

The Arrows were based in England, where they don't have dimes - they would put a sixpenny in the jukebox to buy a song. They could have made it universal with "put another coin in the jukebox," but Mickie Most liked dime because it sounded American.

In 1998, Rolling Stone magazine reported that Jett, Alan Merrill and Jake Hooker made a very unusual financial move when they offered bonds secured by future royalties from this song. The story turned out to be very deceptive, as only Hooker was in on the deal, which never materialized.

This seems like a perfect fit for a Rock and Roll Hall of Fame performance, but when Jett was inducted in 2015, she didn't play the song. Although it is by far her biggest hit, Jett has downplayed it throughout her career, typically performing it in the middle of sets while using "Bad Reputation" and "I Hate Myself For Loving You" as bookends.

English YouTuber and dad blogger LadBaby released "I Love Sausage Rolls," a playful twist on this song. Recorded to raise money for foodbank charity The Trussell Trust, Ladbaby's single was the UK's Official Christmas #1 in 2019.

The album cover was shot by Mick Rock, who in the '70s did a lot of work with David Bowie and Lou Reed - he shot the covers of Reed's albums Transformer and Coney Island Baby, and directed several of Bowie's videos. Jett didn't have much of a budget, but Rock was friends with her lawyer and agreed to do it. "They came to my studio around midnight and we worked for two to three hours," Rock said in a Songfacts interview. "When I shot that, I remember seeing her somehow as a female Elvis Presley with that slightly rockabilly outfit on. I brought together the lettering on the cover, and there it was."


A photo of Jett with her band The Blackhearts appears on the back cover, but she's all by herself on the front, which is how her subsequent releases were also packaged. Jett was clearly the star of the show, but The Blackhearts got their due, entering the Rock and Roll Hall of Fame with her in 2015.

The song's co-writer, Alan Merrill, died at 69 on March 29, 2020, one of the first high-profile victims of the coronavirus pandemic. Joan Jett offered condolences on Twitter, posting: "I can still remember watching the Arrows on TV in London and being blown away by the song that screamed hit to me."  

Jett wrote this with Kenny Laguna, a producer and songwriter who worked with Tommy James, Jay & the Americans and Tony Orlando before helping Jett with her career as a solo artist. Here's what Kenny told us: "We were trying to say good music as opposed to hack music. The bells are from 'Rag Doll' by The Four Seasons - if you listen carefully, it's the exact same part. We took a bit from 'Take It Easy' by the Eagles. We had The Rolling Stones, we had 'Bang A Gong' by T-Rex. It was just a little homage, we'd take just a tiny bit, not long enough to get sued, but just little bits like the rhythms or melodies. We had 'Layla,' if you listen carefully you can hear a little bit of 'Layla' in the fade. We also had 'Lean On Me' in it."

Kenny Laguna explained in a Songfacts interview: "We wanted the Beach Boys. We were getting very friendly with Carl Wilson of The Beach Boys, and I said to Carl, 'I want you to play the Sloop John B guitar in the second verse of the song.' He said he'd do it, we were in New York and he came over to the studio - The Record Plant on 44th Street. Carl comes over and says, 'Bruce Johnson's going to come over,' So he comes over. I'd been told by their agent that if you try to get all the Beach Boys, they will not be in the same room together, they don't even make their records in the studio together. So now we've got two of them, then their tour manager calls me in the studio and says, 'Mike [Love] is feeling left out, he's wondering why you didn't invite him.' I told him the story, that I heard if I invite all of them, nobody will come.


So the next thing I know, all the Beach Boys are showing up. We worked on it and Bruce Johnson goes, 'We're going to show you how to make a Beach Boys record.' They were putting those beautiful 'oohs' on. I was managing Darlene Love, who never mentioned that she helped arrange 'Why Do Fools Fall In Love,' she sang on 'Fun, Fun, Fun,' sang on all those great Beach Boys records during their heyday, because she was one of Phil Spector's voices and she would sing in Brian's pool.


So now I have Joan, Carl, Bruce Johnson and Darlene Love, and the four of them together sound like the Beach Boys, because there were always females on the Beach Boys records, but people didn't know that - like one girl and all those high voices. They're doing this and I hear, 'Hey, do I have to take a number to get on your record,' and it's Mike Love and he sings the low part. Eventually Al Jardine came and said, 'What are you doing, you're stealing our sound.' We finally called everybody down and made the record. It had all these beautiful Beach Boys parts with Darlene Love."

Soon after this was released, the Beach Boys reunited and had a #1 hit with "Kokomo." 





Location: New York, NY, USA

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