



Sure, everyone knows Germany’s Scorpions from their 1980’s (thinning) Hair Metal hits “Rock You Like a Hurricane” and “There’s No One Like You,” but The Scorpions career goes back much further. Their first album, 1972’s Lonesome Crow is (surprisingly great) proggy Krautrock. Over the course of the bands next four releases they shifted their approach to more of a hard rocking, proto-metal sound—a sort of Deep Purple on speedball. By the release of 1977’s Taken by Force, The Scorpions were in full-on assault mode.





The track we’ll be examining today is so musically (and lyrically, as we’ll see) ahead of its time, that I dare call it proto-thrash. The performance here from a German television show (how did this get on TV?) rocks so unbelievably hard that you can almost forgive Klaus Meine’s interpretive jazz-hands dancing.

What makes 1977’s “He’s a Woman, She’s a Man” so breath-taking is the stark way in which it deals with the subject of transgender that’s light years beyond what The Kinks were ambiguously laying out in 1971’s hit “Lola.” Granted, The Scorpions’ 1977 English-as-a-second-language is not necessarily sensitive to the titular character referred to as “it” throughout the tune; but a breakdown of the lyrics reveals the storyteller encountering a person of indeterminate gender, at first expressing shock and disbelief, but ultimately essentially saying “fuck it, I’m horny and attracted to this person regardless of my Teutonic heavy metal dude confusion.” The first two verses express bewilderment, the second two express acceptance.

I saw it walking lonely down the street

Cool like a cat and like a crazy dream

I’m looking twice again and can’t believe

It turned around and then it looked at me I thought, “Oh, no”, it really couldn’t be

It was a man and was a woman too

He’s a woman, she’s a man I think it really came from far away

I’m feeling hypnotized, I have to stay

It takes my hand and says, “Come on, let’s go”

We’re going home there’s nothing more to say He starts to move, she starts to play

I need a body, why not you?

He’s a woman, she’s a man

The Scorpions were no strangers to being sexually confrontational in their art. The album which preceded this one, Virgin Killer, featured in its shocking original cover art a nude prepubescent girl with slivers of cracked glass just barely covering the area over her pelvic girdle. The cover, which frequently makes “worst LP cover of all time” lists, was banned in the US, as was the Hipgnosis-designed cover for their Lovedrive LP.







Was there a more sexually cutting-edge musical performance aired on television before 1978? And I’m just talking about the spectacularly provocative dancing at 1:14.



Previously on Dangerous Minds:

Scorpions Disbanding!

Transgender women of Paris in the Fifties and Sixties

