The Dionne Warwick song that inspired The Shins’ James Mercer
In the vast and diverse landscape of indie rock, The Shins have consistently enchanted audiences with their unique blend of melodic prowess, insightful lyrics, and infectious charm. Few songwriters possess an ear for melody as keen as James Mercer, whose talent captivates audiences with both exuberance and introspection.
The Shins’ journey began with their debut album, Oh, Inverted World, released in 2001. Helmed by lead singer and principal songwriter Mercer, the band’s early sound was characterised by shimmering guitar work, Mercer’s distinctive falsetto, and whimsical lyrics. Tracks like ‘New Slang’ and ‘Caring Is Creepy’ quickly became anthems for a generation seeking solace in indie rock’s introspective embrace.
The Shins’ sophomore release, Chutes Too Narrow, solidified their status as indie darlings. With its refined songwriting and emotionally resonant narratives, the album showcased a maturing band hitting their stride. The infectious energy of ‘Saint Simon’ and the introspective musings of ‘Pink Bullets’ demonstrated The Shins’ ability to engage listeners.
2023 marked the 20th anniversary of Chutes Too Narrow, which was celebrated at the time by a special release of a remaster of the album. “When I was doing the record, I felt like I was under a lot of pressure,” Mercer told The Line of Best Fit. “It was the first time I had worked on a project where I felt like I hadn’t been given the opportunity to get into every little detail and tweak it.”
With a set of influences spanning far and wide, it comes as no surprise that Mercer loves the artistic prowess of Dionne Warwick, particularly when it comes to approaching their hits and the fans’ expectations. “I love Dionne Warwick. I loved her when I was a kid in the 1980s because she still had hits then too,” he explained. “And I thought she was so pretty, and she looked like a very kind person.”
Discussing her hit ‘Do You Know the Way to San Jose’, he said: “I guess I must have heard this song on the radio, but I’m not exactly sure as it probably came out in the mid-1960s or something. But it would have been sometime in the 2000s that I heard it again, and I was struck by how interesting it is. The arrangements are so clever. You can hear the room, and it’s just that classic old-world way of doing records.”
Discussing Warwick’s decision to embrace the track and include it in her sets, Mercer added: “When we’re out touring, and working people are showing up and paying money, we have to play ‘New Slang’, you know? Because I know that’s a huge reason why a lot of people are there. But there’s certainly evenings where I’m not excited about doing it. And there’s a number of songs that are like that, but I’ll do what it takes to keep people happy and coming back.”
