After our wild celebration of Episode 200, we woke up a little hungover ... so the perfect prescription to get us back in the saddle for this Canadian Holiday Weekend is "Double Shot of My Baby's Love"! by Dick Holler & The Holidays. Despite the band name, you gotta wait for the third version for true frat rock shenanigans. The first cover version is a weird swamp-pop duet by Dale & Grace, we'll leave it up to you to decide if it's BDA-worthy. The third and most famous rendition is by The Swingin' Medallions, who turn the song into a raging kegger! Alabama's K-Otics give the Swingin' M's a run for their money with their fuzz-laden interpretation, also from '66. Finally, we go Down Under to uncover the Cockroaches 1987 version, which we try to exterminate with some textbook slams. You'll be walking on a cloud all week after this episode!

We just passed go and collected 200 ... episodes!! We celebrate this achievement with a bunch of "party" songs that span the rockabilly, Merseybeat, garage, new wave, and girl group genres. Crack open a cold one and celebrate with us!! Yay yay!

This episode: all THREE versions of "I Met Him on a Sunday" by The Shirelles: the 1958 snap 'n' clap original (when they were in high school!!), the '64 re-do, and the '66 Wall of Sound version (with FUZZ!)! But that's not all - 3 boffo renditions by The Orlons (1962), Reparata & the Delrons (1970), and Laura Nyro & Labelle (1971). The only thing we don't talk about is what happened to Lew Conetta!!!!!

Hey! The Gruesomes twosome - Bobby Beaton & John Davis - join us once again and they wanna talk about Nederbeat this week! Both songs are by The Outsiders - but we have cover versions, too! First up is "That's Your Problem," the original, then the 1984 renditions by The Tell-Tale Hearts. Second song is "Touch", the weirdly tense folk-garage masterpiece, with versions by The Bristols & The Thanes. If you don't like ... that's YOUR problem!!!!

Sometime in the early 90s, a record store owner asked Weldon the question: "Have you heard Gruntruck?" And until recently, the answer was no. But the memory of this exchange leads us to this bonus episode, where we listen to "Crazy Love" by Seattle's  Gruntruck and dismantle the semiotics of grunge. A little pain feels good!

On Friday the 13th, we satisfy Pastronauts with "Frustration," the uptight 1966 number by Vancouver's Painted Ship. It's a quiet, beatnik-y talk-sing, yet it has the classic garage theme of rejection of society and rejection by girls! In 1982, Plan 9 took the song on an extended, almost 12-minute jam, and we might actually talk about a song for less than its length for once! Some Boston guys called Dark Cellars dragged the tune through the shooting gallery in '84, then French weirdos Temple Gates did a goth-y rendition which is actually very nice - say those last three words like William Hay!!

In 1959, Charles Brown & Amos Milburn recorded a beautiful duet called "I Want to Go Home." It's like a nice highball, two ingredients that blend well (Milburn is the Rum and Brown is the Coke). Sam Cooke later transformed the song into "Bring it On Home To Me", which he sang with Lou Rawls, an impassioned vocal performance with some Gospel call and response. The Animals then brought the song to England and Eric Burdon hogged the song all to himself, but that's ok because there's Alan Price's organ. Girl group The Thrills did a high-tempo version that'll ... well ... thrill you. It's a guarantee! In '67, some Jersey garagers named Hole in the Wall did a cover of the Animals version and there's some amazing harmonies and organ. Finally, Seattle's The Fall-Outs essayed the song in '86 and it's charming and shambling and very non-grunge. Ha!!

This was supposed to be a bonus episode, but it's really a textbook ITP episode where we talk about a garage classic and two other versions, with lots of crucial digressions - like the early days. The song is "Go Ahead" by garage legends The Squires from Connecticut. A folk-punk jangler with churning organ - if you don't like it, what are you doing here?! The second version is by the Pop Art Toasters, with the recently departed Martin Phillips on vocals. New Zealand sure is the land of avuncular vocalists! The third and final version is by The Jack Cades, who bring the song into the 2020s with a lot of ghostly atmosphere and implied noise. Keep the fire burning!

In this episode, we celebrate the work of Michael Bouyea: singer-songwriter, Vietnam vet, and DJ. We start with two rippin' 1966 garage numbers by The Rogues, "Same All Over the World" and "The Original." In the 70s, he went pop! - and from this era we play "Just an Illusion" (sorta new wavey) and lost Canadian classic (he was livin' in Toronto), "The Fury." The latter is one of the jauntiest tunes ever put to wax. In 1985, it was a very good year for the Toronto Blue Jays, winning 99 games and inspiring MB to write and record "We Got the Blue Jays," which sneaks in the title of one of his great garage classics by The Squires, "Going All The Way," which we plan to do soon. He's the original!!

In this episode, we tackle seven versions of "The Witch" while also trying to remember the Seven Wonders of the World!:1. The Sonics2. Atilla & The Huns3. The Pointed Sticks4. The Gruesomes5. Heart6. Mojo Beatnik7. Marcel Bontempi

This week we go gaga over The Pretty Things' 1964 number, "Rosalyn." You know it, you love it. Textbook early garage that takes its cues from Saint Bo Diddley. The second version is by Steve and the Board, a group of Australian teen treblemakers who change the lyrics for some reason. The third is by scary Cheshire cats Stack Waddy. Thick, fuzzy, thudding claustrophobic 70s sledgehammer proto-punk! Robin from Ghosts' fave version. The fourth is by a little known singer named David Bowie, who did a glammy version one year after Stack Waddy. You know the voice, but does it work for this tune? Sure as sin!

Beautiful song alert! Canadian legend Joni MItchell's early classic "Both Sides Now" is the tune of the week, and it touches Erik and Weldon's Prairie souls. A wide-ranging discussion of Canadian accents, British Surrealists, Plato's Cave, and the journey of life ensues. Judy Collins had a hit with the tune in '68, and we dig the Baroque arrangement, and isn't the organ a little ... garagey? That same year, an obscure band called The Collection authored a psych-bubblegum version that has some modulation and icy princess vocals and a cool drone at the end. The final version we talk about is from The Tokens, of "The Lion Sleeps Tonight" fame. They really show the whim-o-way forward! Play this one right out loud!!

Three versions of 99th Floor, all featuring Billy Gibbons of future ZZ Top fame! Two demos by The Coachmen V, his original band, and the more well-known Moving Sidewalks version. All different, all great - but that's not all! In the mid-70s, some weirdos from Pennsylvania called TNT recorded the tune and made it even more psych! Last but not least, The Chesterfield Kings filed a faithful but extra fuzzy version in 1982. Why didn't we do this song for Episode 99 instead of 189?!?!?!

The sound is timeless, the bass is fretless. This is the bonus episode we recorded immediately after "I'm a King Bee", celebrating the sexy sliding sound of the fretless bass. In the words of Erik Komarnicki, "The fretless bass is like a road with no speedbumps." It was late, we were drunk, and we forgot about Mick Karn. All kinds of weird things happen in this episode, like us creating extemporized lyrics to "Teen Town" by Weather Report. Is this a garage rock podcast? No, it's a fretless bass podcast ... for one night only!

I guess this could be a Canada Day Long Weekend Special? The song this week is "The Cat Came Back," a song written in the 1890s by a Tin Pan Alley songwriter but made famous by a Canuck. The first version is by Sonny James, a country dude who picks n grins his way through this Goofy Great. The man, the myth Fred Penner didn't pen the song, but people think he did. So let's call it Canadian! His version is wild ... and it's for the kids, so there's extra meows. Does it fade out into "Break on Through" by The Doors? It's a chlling tale of psychopathy, either way. The third in the litter is by Sweden's Stomachmouths, who combine the song with "Hit The Road Jack" and add some proper piano and clothespin-on-nose vocals. Stefan Kery really hits those 3's! This is the one to turn the wee ones onto garage rock. We were going to do a surf version by The Phantom Surfers but technical problems scuppered that - That Darn Cat!!!

This week we buzz awhile about Slim Harpo's 1957 concoction, "I'm a King Bee." A slow and syrupy groove, a slightly sinister mood, and drums which sound like someone's hammerin' a nail. Even the harmonica solo sounds like it's emerging out of the swamp! 7 years later, the song travelled from the Bayou to the Thames and The Rolling Stones beeswaxed the song. Apparently, this song is the first appearance of a fretless bass, which will lead to a very strange bonus episode later. In 1965, The Bad Seeds found the song in their bonnet and man, is their version great. It sounds like The Cramps about 12 years ahead of schedule. Finally, our friends  The Coachmen (see Episode 117) join the hive to make a very different, primitive-sounding groove. Kill your lawn, people!!

It's always good to hear The Coasters, and this week we're studying their Goofy Great, "I'm a Hog For You." Written by Leiber/Stoller, loaded with A-pluses, hogsnort sax work, with a one-note guitar solo - this'll make you happier than pig in poopy! The second swine is by The Deejays, a bunch of British piggies who went to Sweden and waxed the track with added Mersey madness in 65. Bug music with great "yeah's" ... and we pick the best one as a side bet! The third porker in the pigpen is by The Groupies, the Bside of "Primitive" - garagers rejoice!! This one is like a Joe Meek / Strangeloves hybrid, and that means it's great. Slop time for Pastronauts!!

Three versions of "Hey Joe"! But they're all by The Leaves!! The first one is chaotic, the second one is cleaner, the third one is canonical (Nuggets)- but which one blows OUR minds the most? Listen in to hear the song's lore, including the suspicious "original" demo, and more. It's a wild tale, and a wild tune.

Send us a Text Message.Back with another one of those block-rocking themes! All of this episode's songs center on laughter, but very few of our subjects this week seem too mirthful. The first funny guy is "Ho Ho Rock n' Roll" by Peter Roberts & Sid Ramin. This 1956 tune is mostly instrumental, featuring the goofy guffaws of broadcaster PB set to a "Las Vegas Grind" arrangement. The second stand up song is "Laughing at Me" by Barbara J & The Silver Slippers. A sweet, if paranoid doo-wop/girl group number that introduces the motif of schadenfreude to the assembled students. Next up is "Laugh Laugh" by The Beau Brummels, an undisputed 60s classic and a textbook example of BUG MUSIC!! We're in the garage for the next two: "I'll Laugh at You" by The Jesters from 1966 and appropriately, "The Last Laugh" by The Cholos. It was only a theme!!

The very first Righteous Brothers release was "Little Latin Lupe Lu" in '62. It has a slight rockabilly/surf feel, with the great vocals we came to expect, plus the immortal love song line, "She's My Mash Potato Baby"! In 1964, our frat friends The Kingsmen trashed the song, a la "Louie Louie." It's clubfooted, stiffarmed, not soulful, and great. We follow that up with two versions by TWO Dimensions! The first one from Chicago, with some tetanus tambo, and the second a NC band who waxed the track in 65, and it's a hot-footin' verzh fer sher. We also feature a hearsecore rendition from 66 by The Morticians and Mitch Ryder and The Detroit Wheels hit version, that you heard all about in "High Fidelity" - shake it shake it!!

This week, we take on one of the greatest "she done me wrawng" songs of all time - "Bad Little Woman" by The Wheels. We analyze the religious slant of the song written by these Northern Ireland velocity boys - is the singer's woman dating the literal devil?? Wild screams, a sparking organ, a malevolent atmosphere - this must have went over gangbusters at Belfast's Maritime Hotel on a stormy night. The American version of the song was credited to Wheel-a-Ways, and it's a totally different take/bake. It has what the Japanese call kagerou - "heat haze", or what the Great British Baking Show call "rough & ready." Cultural references! We also discuss cool versions by The Shadows of Knight and The U-Men. Who'll win the coveted BDA? The Lord only knows ...

Did The Tymes come up with their 1963 hit "So Much In Love" by repurposing the official song of the United States Army? That's Erik's theory, and we talk about it as well as the tune as doo-wop's "swan song" -its gentle and elegaic quality serves also as a goodbye to a more innocent era. Later in the 60s, Cleveland's The Munx did a bombing raid on the song, which belongs firmly in the "music for squares" camp. Luckily, in 1971, The Persuasions performed a pretty, and very masculine acappella version which set things right. In 1982, Was/Not Was's Sweet Pea Atkinson went for a wavey walk with the song before he walked the dinosaur later in the decade. Finally, in the 90s, All-4-One did the horniest version of the song, but kept the doo a woppin'! Wee-ooh-wee-ooh!

At In The Past,  we always take things to the next level - some people are still satisfied with "Name That Tune," but we've invented "Name That Vid!" In this episode, your hosts read the Wikipedia descriptos of notable music videos, and  try to guess which tune it belongs to. If you grew up in the MTV/Much Music Generation, then you better think quick! As always, the boys use the premise to astutely analyze the past as we ponder the future...

We've weathered several recessions and a pandemic, but there's an ever-present threat of ... Green Fuz. It all started back in 1968, when The Green Fuz had everything go wrong at the Crossroads Cafe in Bridgeport, Texas, and there's been several sightings of the escaped mold spores ever since. The original is primo primitive, a legendary tune amongst the garage gang - just ask your local weirdo with a Prince Valiant haircut. But why is there a Max Roach solo in there? We of course discuss the version by The Cramps, and we throw in a spaghetti western adaptation by The Lemonheads, plus there's a Farsi-language version by Habibi! You better run!!

The latter phrase comes early on in our discussion about band names - the good, the bad, and the shitty shitty! This is Part 2 of "Shitty Shitty Band Names!" - a popular new series that we're assured has created a lot of discussion around the family dinner table, and caused overturned tables at the local boozer. In this edition we talk about short names, long names, but we're going to save fat ones and skinny ones for a later episode!

If you have a dog, you have to understand your responsibilty - "Walking the Dog" isn't as simple as you might think. Therefore, we start with Rufus Thomas and his instructional record of the same name from 1963. Is it a goofy great? It's definitely great, because a million bands have covered it. The Rolling Stones took the dog out in 1964 and Brian Jones sounds appropriately woofy. The amazing Jackie Shane walked the dog her way when back in Nashville, which also gives us a chance to talk about Noble Blackwell and the amazing Night Train variety show, where she performed the song live. The Sonics took Rover out in '65 and they seem to have strutted off to sniff some chip bags or sumthin'. You know it's good - uh huh huh. In '66, Duluth's finest musical product ... The Yes It Is made a surfy/rockabilly/Mexican version of the tune. It's off leash!!! Finally, in the 70s, Aerosmith created a weird hybrid version which make us go "Ruh Roh!" like Scooby! What's your 12?

This week we pick a Canuck classic that's two songs in one - "No Sugar Tonight/New Mother Nature" by The Guess Who. The lyrics are faux-profound, but Burton Cummings' pipes and scattin' will spike your blood sugar. We scoured the record bins for our second version - a dirtbag bubblegum version by Steel Wool. They bring the song back to perfect popsong length by axing "New Mother Nature", but the guitar stings might be too long. The third in the pack definitely isn't sugar-free - The Shirelles and their 1971 version is "so sweet" and superfunky. For dessert, an Italian confection by the amazing Mia Martini. She gives BC a run for his money, sounding like a vampire fronting Led Zeppelin - a real Saskatoon-to-Sicily transformation! She's gettin' us all!!!

It's time to revisit The Kinks Kanon and do "All Day & All of the Night." Have you ever noticed how weird the title is? Probably not, because of the Riff! It's dirty and has that "Louie Louie" fairy dust which produces misty brain fog where you can't remember how many duh duhs are in the riff. And Ray Davies savors syllables - apeman poet! The song travelled across the puddle and New York's Knickerbockers were one of the first to kover it. Their version adds sax and has a great sproing-y solo, but it's no slam dunk. The third kulprits are Kenny & the Kasuals from Dallas - they add a kool organ, a RAW vocal performance, & a loosy goosy guitar solo. The final Kountdown goes to The Remains, who leave us with a very rockin', snotty version. Oh kome on! (and send Weldon to Bulgaria!!)

The first in a series celebrating Goofy Greats!: the 1975 K-Tel compilation that turned a generation of kids onto novelty songs, old rock n roll and R & B, and some very questionable tunes, too (we're looking at you, Ray Stevens) ... we go back to our old friends The Royal Guardsmen and their enduring hit, "Snoopy vs. The Red Baron." A lighhearted song about combat during the escalation of the Vietnam War? Sign me up! There's a LOT of Canadian connections with this tune, including the fact that, for copyright purposes, the band  recorded a version for the Canuck market called "Squeaky vs, The Black Knight", featuring a bucktoothed beaver with a gleam in his eye! We also play a 1970s cover by UK band Hotshots - and it's ... reggae? Doof großartig!!

We're a bit weary of garage rock tropes, so it's time to head to the country. First this week is "The Woods" by The Nickel Bag. This 66er advocates leaving the city, but should you follow this pied piper? I might! In 67, the "Old Macdonald" nursery rhyme got rewritten by some LA weirdos - "Mr. Farmer" by The Seeds. Lots of seedy sibilance, and when has Sky Saxon ever steered you wrong? Let's cross the pond to celebrate the changing seasons with "Falling Leaves"by Scotland's Studio Six. A mod pagan ritual! The final idyll comes courtesy of England's The Factory and their 68 psych out, "Path Through The Forest." These guys take us way out - maybe too far!! Won't you come along???

This one's a doozy - 4 versions of "Be My Baby" and a close relative! The first-born by The Ronettes is so good it's disqualified from the Bo Diddley Awards. We discuss Ronnie's "vibrato in a phone booth," Hal Blaine's boom-crash, the smiley backing vocals and so much more! The second child comes from the same year of 1963, it's by The Georgettes. Rickie Page makes you almost forgot the absence of the Wall of Sound! A visit from a kissin' cousin comes third, "Don't Worry Baby" by The Beach Boys. Is Brian Wilson's homage about a love triangle between a boy, his car, and his girl? The difficult middle child is by Antipodean adorables The Pleazers. Jangle & fuzz, what else do you need? Well, this one has more than even that! The baby of the bunch is by Reperata and the Delrons, who rebel against the dirtbag sound of 1970. This one will make you happy, just wait & see!!

We're back with a great garage tune that is the inverse? obverse? reverse? of 1965's "Satisfaction" - the tune is "(Don't Give Me No) Friction" by The Green Beans, released the same year as the Rolling Stones gem. The lyrics were written by a couple of middle-aged people, so it appears to be masquerading as hip, but of course our analysis finds deeeeeper meanings. It has a great chorus, a cavernous scream midway thru, and lotsa FUZZ! Australia's Misslng Links discovered the song like a group of cavemen discovering fire, and there's a lot goin' on in their version - a faster R&B feel, trebly, metallic guitar, boom crash drums, and a total primitive proto-psych freakout! Eat yr beans!!

It's early February, and time for love & conversation ... so this week's song is the 1965 classic "She's About A Mover" by the Sir Douglas Quintet (2:57). A simple groove, great manly singing from SIr Doug himself, and a cavernous, carnivalesque organ sound will keep this in the canon for years to come. The song migrated to Germany later in the year and The Boots gave it a good home (42:29). The organ is comparatively chintzy & warbly, but this is a remarkable raucous racket with strangled, snotty vocals and sloppy, sporadic shakers! The pride of Ste. Hycanithe, Quebec are up next, Les Hou-Lops (58:27). They don't worry about what Doug Sahm said and create a sharp French language version with an acoustic axe subbing for the organ riff. Sounds better than it sounds!!  The filthy fourth is a WILD version by The Alarm Clocks (1:18:16). This is the most garage version here, so lissen up! Lastly but not leastly is a totally unique version by Dottie Cambridge (1:40:06). The most kinetic version - soulful vocals, guitar stings, horns, a funky drum breakdown, all under 2 minutes!! And we did it all under two hours!!!

In this episode, we throw the book at The Equals and their 1967 non-hit, "Police on my Back." Written by the indestructible Eddy Grant, the debate centers around the song's rude boy narrative (Stratton 2013) and the question of the narrator's guilt or innocence. The next in the line up is The Stacattos (from South Africa). These guys mess the song up in interesting ways, but is it a social statement? Was the original? Well, on "Sandinista," The Clash made the song famous and it's taken on new dimensions since then, so after those perps, we end with Asian Dub Foundation and Zebda's 2003 version, which'll drive you wild with its hybrid instrumentation and high energy. It's an open and shut case!!

We recorded this a few days before the very sad passing of Mary Weiss on Friday, January 19, 2024. We hope that this episode honours her memory, and the other departed Shangri-La's, Marge & Mary Ann Ganser.  Love forever <3.

Single File is back and we're talking about a real rager: Shelby, Ohio's Shepherd's Heard and their only record "I Know" b/w "But That's Life." The first sounds like a demented version of The Rascals' "Good Lovin'." The drums and vocals are CRAZY and they're both performed by the same guy, Kim Shepherd, who rightfully named the band after himself since he does most of the work! Kim takes a breather on the flip, "But That's Life", an organ-driven sorta ballad. Man, Jonathan Richman should cover this, since it's his style a few years before he even appears!! A great guitar solo and that familiar 1966 wild mercury sound of the organ. Now BURN IT!!

Our podcast's New Year's Resolution? To be quicker! Hence, we present you with "We're Pretty Quick," a wild 1967 side  by New Mexico's finest, The Chob (4:32). There are covers by The Fuzztones and The Cannibals that fly by, too. But then we introduce The Lucky Seven Lightning Round Countdown, SEVEN other versions that we have progressively less time to listen to (for the first time) and react to! Take that challenge, Tik Tokers!!!

We end 2023 and start 2024 with some final thoughts and we pick our favourite songs out of all the Bo Diddley Awards nominees. Is the discussion insightful? Maybe. Incisive? Probably not. Insane? Always!!

The categories are:Bo Diddliest Girl Group Song: Dedicated to the One I Love - ShirellesHe’s Gone - Chantels Then He Kissed Me - Crystals Uncle Willie - Juliettes Mr. Scrooge - Orchids Bo Diddliest Video:Liar Liar - The CastawaysNow and Then - The BeatlesMust Be Santa - Bob DylanYou Really Got Me - Van HalenJack The Ripper - Screaming Lord SutchBo Diddliest Song From A Theme Episode:Open Up Your Door - Richard & The Young Lions (Table Toppers)Oh Mom, Teach Me How to Uncle Willie - Daylighters (Uncle Willie)Uncle Willie - Plookie McCline (Uncle Willie)Where You Gonna Go? - Unrelated Segments (Garage Rock Protest Songs)Monkey Man - Baby Huey & The Babysitters  (Monkey Business) Most Insane Song:Rat’s Revenge  (Parts 1 & 2) - The RatsThe World Ain’t Round, It's Square - The SavagesLike A Rolling Stone - The Soup Greens My Flash On You- The MeneralsSweet Pea - Friar Tuck & His Psychedelic GuitarI Had Too Much To Dream Last Night -Deviled Ham Land Of 1000 Dances - Chants R & BMakin’ Love - The Sloths Jack the Ripper - The One Way Street The Ostrich - The Primitives

We kept the tape rolling after the recent episode we did with John & Bobby from The Gruesomes and we said more stuff about John's favourite song ever - "Say It" by the Five Royales. Along the way, we solve the problems of modern music.

We know Pastronauts love it when  John & Bobby of The Gruesomes visit our podcast, but this one's extra exciting because it's two episodes in one! John has picked two of his favourite songs by the unsung Five Royales ("Think" and "Dedicated to the One I Love"), and then the four of us talk about 2 cover versions. This means versions by James Brown (who did "Think" twice!), The Shirelles, and The Mamas and Papas.  Top notch analysis from two esteemed scholars of Garage Studies, plus those no-goodniks Erik & Weldon!

We enjoyed the eggnog so much last week that we decided to gift Pastronauts two more Holiday songs, and the talk that goes with it. 'Tis the season!!!

Forget about all those uncool Xmas tunes you hear in the malls - we've got the good stuff for this Holiday season! The first present for you is "Mr. Scrooge" by England's GREATEST 60S girl group, The Orchids (2:16). If Georgina Oliver isn't in your 60s British Music Icons Advent Calendar - then one listen to this, and she will be! Great backing from Pamela Jarman & Valerie Jones. John Lennon gets coal in his stocking for puttin' 'em down on TV in '63. The next carol is by the legendary Sonics! They "Don't Believe In Christmas", maybe because John Lennon was The Grinch (32:13). A pinch from Chuck Berry, but who cares!!  Man, Christmas sounds rough on the mean streets of Tacoma, Washington! Back to The Beatles - remember who's better than them? The Monkees, who do an ace version of Macca's "Wonderful Christmastime" (1:06:39). This one is sweet as a candy cane. Another legend comes down the chimney for Song 4 - Bob Dylan klezmers it up with his interdenominational "Must Be Santa" (1:53:59). Xmas is a great excuse to get drunk for a month - so enjoy it! And enjoy our special Christmas Bonus songs!!! Gather round the brazier and Ho Ho Ho!!!!

Erik & Weldon discuss band names they hate. Will YOUR favourite band be included? - Listen and find out!!!

Let's not Beat(les) around the bush here - the Garage Studies world has been waiting for Weldon & Erik to weigh in on the new Fab 4 tune, "Now and Then." We play it, talk about it, and also throw in some other AI versions of said tune. Along the way, there's questions from Erik and answers by Weldon, textbook slams, and a whole lot of goofiness and crucial digressions. What do the lads think? Is the song good, great, gear, or ghastly?  More importantly, is it better than "Mr. Moonlight"?!?! Oh sweet darlin'!

Theme episode time! This one's a simian sensation, so we start off with Chuck Berry's 1957 baboon tune, "Too Much Monkey Business" (2:32:31). Is it anti-monkey, or anti-business? It may not really be about monkeys. but it's rock n roll poetry! The next in the evolutionary order is "Mickey's Monkey", sung by Smokey of Motown's The Miracles (59:37). A dance craze song, this one has a great hook, boozy organ, bongos, and the tasteful licks of one of our fave axemen, Marv Tarplin. Movin' thru the zoo, we arrive at "Gator Tails and Monkey Ribs" by The Spats (1:27:20). A textbook stoopid frat rock rumbler that could have fit on our classic "Food and Drink" themer from May, 2021. If that last one didn't fill you up, then we end with the final primate mover, "Monkey Man" by Baby Huey & The Babysitters (1:54:53). This one's so good, it defies words - let's just make monkey noises - Lum De Lum De Li!!

Wouldn't you love it if we published every day? Well, we can't do that, but here's Buddy Holly's magical 1957 b-side "Everyday" as compensation (3:35). A concerto for hambone, celesta, and hiccupping hillbilly vocals! A gentle, innocent, and hopeful rock'n'roll hay ride ... it's special! In 1964, surf duo The Rogues had a date with the song in the studio and it's a real rollycoaster ride! (1:09:54). Is this first bubblegum song ever? It has yakety sax and a "Louie Louie" reference, which means it's great.  In 1972, the song really grew up and hit puberty with Bridget St. John's version (1:24:24). Jaunty, breathy, with great guitar licks courtesy of Tim Renwick as well as a great outro.   The last on the calendar is The Raveonette's take from 2005 (2:00:27). An icy Nordic feel joined with BH's American optimism and shades of Suicide and The Jesus and Mary Chain. A hey, a hey, hey!!

Live! From Room 711 of the Georgian Court Hotel in Vancouver, BC - it's Erik & Weldon broadcasting in the same spot for the first time in In The Past history!! We say hello to Ike & Tina Turner's 1965 tune, "Goodbye, So Long" and then gab about it behind its back. Up second is a Raiders-y version  by one of the many bands named The Uniques. It's a real cut up kinda cut! Third is a reprise by Ike & Tina from 1970 - does this version show development and maturity? Yes, by the bucketload! Tune in and hear the chums chat in person, plus there's a special spooky appearance by a new character who adds the necessary holiday spirit!! You'll be 'fatuated!!

This week the boys talk about the girls - it's doo wop time and we start with the fabulous Chantels and their 1957 debut, "He's Gone" (1:32). Picture perfect in every way, from Arlene Smith's powerful voice and glittering, subtle songwriting to the beautiful backing from Lois, Sonia, Jackie, and Renee. A real Teenage Symphony to God! In 1964, podcast favourite The Royalettes adopted the song and here's where the strings come in (Teddy Randazzo's, that is ...)  (1:00:45). Sheila Ross skips and jumps with the song's heartbroken lyrics - they knew the song well because it's what they sung when they competed (and won!) in talent contests. By 1980, the song's sorrow transformed into joyful nostalgia with Syreeta's stylin' version (1:32:24)- it reminds us of Deniece Williams, so we like it a lot. Finally, in 2010, Brooklyn's Vivian Girls brought the song back to the Boroughs where it was born (1:57:54). Because it 's the final quaver in this quartet, we go off on some crucial digressions, but this one is spectrally pretty and includes some nice atmospheric guitar ... Jammin on the one!!

It's Episode 152 and we're finally gettin' to "You Really Got Me" by The Kinks (1:06). Knife, amp, and THEE garage rock riff!  But is it FUZZ? Is the song's repetitiveness a representation of obsessive thoughts of lust? Is it choral music? Yep Yep Yep! In 1966, The 13th Floor Elevators got the song  and made it long (1:01:24). There's solos, acoustic jug, and the bassist adds another Kinks riff to the mix ... Remember Van Halen? In 1978, they were just beginning their climb to the heights of rock stardom, so they started with a real rockin' tune (1:24:40). Love it or hate it, this one has a lot of hair on its chest - or is that just David Lee Roth? Two years later, Silicon Teens took the song in a new wave direction (1:57:26). It's the fourth song, so we don't really end up talking about the version, but listen for the crucial digressions. Oh yeeeeahh!!

Some people flip houses, but we at In The Past: Garage Rock Podcast flip singles. Yes, it's a return to the tried-and-true Single File format, and this week the subject is The Huns from Arlington Heights, Illinois, and their rampaging 1966 everblack, "Destination Lonely / Winning Ticket." The first side is a furious, fuzz-laden foray powered by the energy of Mom's snickerdoodles. The reverse is less terse and has a lot of verses: a jangly folk-rock number that's eight miles high! The singer soars and the band burns - textbook garage rock!!

We celebrate Episode #150 with 1 artist, 5 great songs, and 0 misses! The spotlight is on Bo Diddley, and 5 of our favourite tunes by him. The beat starts with 1955's "Bo Diddley" (2:41). The second selection introduces you to Bo's legendary maracas rattler, Jerome Green, with "Bring it to Jerome" (1:02:06). A Bo ballad is up next with "Mona" and he sure moans for her (1:24:50)!  We start "Crackin' Up" with Bo at (1:47:17) and you might worry that there is "No More Lovin" after song five  (2:25:46), but there's a Bo-nus sixth song to reward Pastronauts for sticking with our longest episode ever!! 3 years of going to your head!!

No one's gonna protest about this week's songs! Three of the greatest garage tunes PERIOD - with some astute social commentary as well?! The first missile we hurl is  "Social End Product" by New Zealand refuseniks The Bluestars (1:59) A proto-punk anthem with a pounding rhythm, dive-bombing bass, extra-enunciated vocals, and a FUZZ riff for the ages. The second dissentful ditty comes from Bermuda boys The Savages, who riotously remind us "The World Ain't Round, It's Square"  (51:46). Clangy and doomy, with a chorus that kills the uncool. Who needs Barry McGuire? The final band on the barricades are Motor City's Unrelated Segments, who ask YOU "Where You Gonna Go?" (1:34:22) Weird sounds on the assembly line make this a vehicle that's unsafe at any speed! A bizarre, Bug Music bridge and harmonies that Crosby, Stills and Nash mighta stole. 3 plays of rage!!

This week  we talk about "Let's Talk About Girls"! The original was done by Tucson's The Grodes (aka The Tongues of Truth) (1:10). This gem features slinky guitar & organ, deft drumming, and a psychedelic pulse of a bassline. Not to mention Jagger-esque vocals and a fun, fantastic chorus! The most famous version  (due to Nuggets) is by patron Saints of the podcast, The Chocolate Watchband (1:04:46). Huh!  Singer Don Bennett takes the tune out of teen-town and makes an ADULT version (he even talks about women)! Atmospheric psych guitars and ominous sleighbells (!) punctuate this performance. In the new wave era, The Undertones decided to celebrate Derry Girls (1:36:36). This one has a "My Generation" bounce to it and Feargal Sharkey is an Irish singer trying to sound like an American trying to sound like an Englishman trying to sound like an American. The final word falls to The Frowning Clouds, who totally change the arrangement, cut the swagger, cool-ify the already cool chorus, and update the song for the 21st Century  (2:11:14). Hi Manny!!!

Ch-Chk! This week we step out of the garage to discuss many people's favourite song, "Save It For Later" by The (English) Beat (1:27). A ringing guitar sound, soaring strings, and cheeky lyrics with some clever Catcher in the wry-ness. Dave Wakeling's timeless tune has a meaningful feel & an appealingly feelingful meaning! A lil later, his elder Pete Townshend showed his reverence for the song, making a quiet, beautiful, and vulnerable epic out of it (1:08:25). In 1999, Harvey Danger partied with the song (1:38:35). A real contrast to PT's version, this one is sorta snotty & irreverent, but still captures the elliptical feel of the song. Dot Dot Dot!!! Stick around after the sign-off for a special bonus version of the song by a Mystery Band!

Enough of the big names - Beatles and Dylan have dominated the podcast for too long! This week we're talkin' bout the Moody Blues and their 1965 album track "And My Baby's Gone" (1:10). A little known slice of (squeaky) blue eyed soul an' R&B - it even has a faint "Bayou via Birmingham" feel because of the Allen Toussaint-esque piano rhythm. And it's the first song we've ever done with a guitar "swole-o" - listen and find out! ... In '66 or '67 (no one really knows), the awesomely-named Bedlam Four brought the song to America and  the garage (39:34). The electric piano, guitar stings, FUZZ!, and the "my baby"'s in this one will cause ... bedlam! Blue Feeling  added wah-wah to the tune in '68, and it's great (1:02:31)! They change the lyrics and seem to make it meaner ... is the song about ... murder??? Before you know, we'll be gone again!!

Have you ever wondered what Erik & Weldon do when they sign off? They keep drinking and talking about music!! That's what we did right after we recorded our latest episode, on Bob Dylan's "Girl From The North Country." We had a folk cover left over, by a mysterious troubador named Hamilton Camp, and we decided to press "play" on the proceedings.  We discovered something very exciting about the man, especially if you grew up watching syndicated TV in the 80s - listen and learn!!

This week we're staying in the world of the Big B's of the 60s - but now it's Bob Dylan and his achingly beautiful 1963  ballad "Girl from the North Country" (3:07).  Erik thinks it's a meditation on being forgotten, written at a time before Bob was famous. We get deep into the song, including the lyrics, the "place" of the song, and the moaning mouth organ! Then, in 1965, Link Wray did the song! (1:18:59). This one rawks. 'Nuff said. The third version is by Kansas kids The Blue Things (1:39:19). Weldon thinks the galloping drumbeat here takes the song to the American West. Oh, and it's also a stomper.  Finally, there's some real obscuros, The Plymouth Rockers, who had We Five on their mind with their rendition of Dylan's ditty (2:01:29). It's jangly, we like it! And Bob's yer uncle!!

If Bug Music gives you the horrors, stay away from this one! An early slice of Beatlemania, "She Loves You", is on the docket this week (2:11). We discuss why people don't really rate The Beatles of this period: is it the "yeah yeah yeah"'s? Is it because it's a single and not really an "album track"? After you hear this, you're going to go full mop-top! Version two is by Patron Saint of the Podcast, Mary Wells (1:09:12). Sadly not arranged by Sonny Sanders, but we like the wood block in this one. The third version is the Hatrock's revenge, courtesy of Homer & Jethro (1:27:57). Possibly the only Beatles cover with turkey sounds in it. Fourth is some Finnish freaks, Ernos, who explore the prog possibilities of the song, but most importantly, add some Beach Boys bounce to the outro (1:47:20). The fifth and final Fab Four forgery is from Sweden: Go / No Go (2:07:47). We go / go off on some crucial digressions, including jumpsuits and 80s videos where bands were running for some reason. You know it can't be bad!!!

This episode is bigger than bubblegum! We chew on Tommy Roe's 1966 hit, "Sweet Pea" and we find it both delicious and diatonic (2:19). It has that wicked drum break, but the jangly guitar and bright organ also make the song POP! The second stick comes from Mexico's great girl garagers, Las Chic's (40:16). This is one of them refritos which we talked about long ago ... they make a cute song even cuter, and Weldon thinks they sound a bit like Shonen Knife or Trixie's Big Red Motorbike. Manfred Mann literally turn the song into a jazzy jingle for candy in 1967 (1:00:08). Don't get into the van with this band, kiddos, you'll know when you hear Klaus Voorman deliver the "lyrics" to the song!! Do bubblegum music and acid mix? You bet it does, when Friar Tuck & his Psychedelic Guitar gets his sticky hands on Tommy's tune (1:15:47). This song is, in effect, Mike Deasy "playing with himself," since he was the guitar player on the original, and he overdubs some wild wailing on it. We empty the pack with a track from the Golden Year of 1989 - lots of hip-hop heads sampled the famous drum break, but DJ Chuck Chillout and Kool Chip's "I'm Large"  added the iconic Vic Flick "James Bond" riff to boost the boom-box bravado (1:36:43) ! Come on and dance with us!!!!

We're back in the Garage Studies classroom to discuss the poetic masterpiece, "Just Like Me"! The first version by The Wilde Knights (1:25) gets us talking about iambic dimeter, and the poetry of John Skelton & Robert Frost. As one does. More importantly, the song has a mmmarvelous, Mike Mitchell-esque guitar solo. In late 1965, Paul Revere & The Raiders made the song a hit (44:28).  They slow the song down, cut the bridge, and replace the strange, clipped enunciation of the original with the breathy, growly, sexually "desparate" vocals of Mark Lindsay. It also features a famously freaky double-tracked solo by Drake Levin. Fast forward to 1967, and The Poverty Five kept the spirit of '65 alive (1:31:31). This one is wiiiiild - the shrillest garage screams ever, and tambourine that'll give you tetanus!! Finally, in 1981, Pat Benatar and her band took the song on, but they didn't exactly hit it with their best shot (1:53:13). If you love the original, you better run from this version, because it's a heartbreaker. Now leave us alone to cry!!

Pastronauts Rejoice! We're finally taking you to the Land of 1000 Dances! The first dance goes to Chris Kenner, the author and soulful belter of the original one-chord wonder (1:30). CK mixes the sacred and secular, and Allen Toussaint and the band give the song a swampy New Orleans groove. Next, we cut a rug with Cannibal & The Headhunters (30:05). Were these guys an actual band, or a vocal group?! These guys add the famous "na na na"'s - which gets us talkin' about the doo-wop influence on the song, AND we ask: did the Beatles steal said "na na na"'s for the end of "Hey Jude"?  Clear the dancefloor for Wilson Pickett's 1966 version - the one you all know (54:14).  The groove! The grunts! The drums! The screams! The man and the band really  take you to the Promised Land. The last dance goes to the Chants R&B from New Zealand (1:18:25). This one's a real garage version - wild, fast, savage, and listen to that ending! Watch us work, y'all!!

In this theme episode, we feature a trio of tunes with the proven percussive potency that makes you want to bash the nearest table like a raving Ringo … in fact, many of you tabletop thumpers have probably clattered the cutlery to at least one of these. First up is “Have I The Right” by The Honeycombs (4:57). The band is famous for having the hive-hairdo’d Honey Lantree as their drummer, but the whole band provides the backbeat on the chorus of this one. Wild, warbly guitar lines and Dennis D’Ell’s courtly vocals are extra condiments on said table. The second surface-smasher comes courtesy of In The Past patron saint Lynn Easton and the 1966 line-up of the fab-fun Kingsmen (48:52). Their cover of the 1963 Rocky Fellers hit, “Killer Joe” leaves the original Latin beat behind and the frat footstompin’ threatens to weaken the structural integrity of the dancefloor. The closing commotion is “Open Up Your Door” by Richard & The Young Lions (1:16:02). This garage classic has everything a Pastronaut needs: FUZZ, snotty vocals, full-throated screams, and a “knock knock” motif which has diegetic meaning -- oh, just listen in and you’ll find out what we’re bashing on about!!

This week's episode traces the evolution of one of the most beloved songs of the 60s: "Good Lovin'"! (A tune that should  have an exclamation mark in the title).  Lemme B. Good was the first to pitch woo in spring of 1965 (0:48). Exuberant vocals, crashing piano chords, horny horns & galloping drums will make your heart pitter patter. Rudy Clark wrote the original version's lyrics, but he decided he needed a Cyrano  to help him express his true feelings, so he turned to Artie Resnick to overhaul the words. This leads us to the version by The Olympics, which followed hot on the heels of LBG's original (28:11).  This one has a more pronounced Latin feel to it, harking back to the garage rock cha-cha's we used to moon over! But what other song does that horn section at 30:00 remind us of? The third's the charm, because The Young Rascals took the song all the way to #1 in 1966 (1:05:14) . Blue-eyed soul! Duet vocals!! Organ solo!!! False ending!!!!  All this and a personality profile of the band, courtesy of Flip's Groovy Guide.  After all this excitement, we cool it down a bit with our last date: Mary Wells ( 1:48:11 ). Another snappy arrangement by Sonny Sanders, just like her "Satisfaction," which we discussed in Episode 64. Eat your hearts out, Pastronauts!!

Our fifth edition of the ever-popular Better Than The Beatles series focuses on the first, and greatest, manufactured pop group: The Monkees. Literally cast into the limelight of pop superstardom, The Monkees, at their peak, outsold the Beatles while simultaneously filming weekly episodes of their zany and ultra-hip eponymous hit TV series.You’ll go bananas for our first foray: Last Train To Clarksville (2:19). This infectious oldies radio anthem leaves the station at Paperback Writer and jumps the track at the Vietnam war. Weldon identifies Mickey “Good Diction” Dolenz as rock’s greatest dramatic enunciator.Next we go out of our tree for A Little Bit Me, A Little Bit You (47:00), some bubblegum-dung that Weldon and Erik have been flinging at their ears for years, already.The third instalment from our troublemaking troop is Pleasant Valley Sunday (1:17:25): a thinly veiled suburban sound-off. We go ape over the vocables before barbe-cueing up one of our most crucial digressions ever: the historical importance of Superchannel in Alberta. Another tidy piece of Monkee business, Valleri (1:56:55), is our last song from the Monkees’ golden era. Weldon cracks the textbooks with his exploration of the Boom-Bip-Bip ending and Erik admires Mike Nesmith’s air guitar. And what’s this? Starry-eyed Davy Jones doing a classic American garage rock scream?!Last but not least (Bo Diddley Award spoiler?), we listen to the apex-beautiful Me & Magdalena (2:18:12), zoological proof that the Monkees were still eating the Beatles lunch in 2016, long past their Hey! Hey!-day.Due to their ensemble-cast approach to hit-making, the Monkees have been a polarizing entity in the rock pantheon for decades. Regardless, Weldon and Erik, the Dian-Fosseys-of-fake-phenomena, finally and conclusively determine, herein, that the Monkees are indeed more swinging, more rocking, more charming, cuter, and straight-up better than the Beatles. Welcome to the Jungle!

In this episode, we go for a wild ride with a golden oldie that still smells factory fresh, "Brand New Cadillac" by Vince Taylor & His Playboys (1:53). Hear how this 1959 bopper is a "crossroads", deal-with-the-devil ditty, as signalled by the otherwordly opening string strumming. In 1964, The Renegades took the song to Finland, renaming it  "Cadillac" and passing it off as an original - a clearcut case of grand theft auto (1:01:04) !! This model goes from 0 to 95 in seconds,  flirting with near-silence before they put the pedal to the metal. In 1971, Mungo Jerry also performed a heist, making it to #1 in England (the song's birthplace) with a cool chop-shop job called "Baby Jump" - the very definition of a stomper  (1:27:21).  The end of our journey comes with The Clash, who put the vampy vehicle in pole position for their 1979 album, "London Calling" (2:00:57). But which tune will take the victory lap after winning the coveted Grand Prix, the Bo Diddley Award? and will the tires come off before we get there?!?!

In this episode, we go down a Rabbitt hole and discuss one of the early songwriting efforts of the man who ruled the musical world of 1980 - Eddie Rabbitt! In 1966, his tune "Ball and Chain" (co-penned by Tricia Carr, who we also talk about) was released as a single by Scottish freakbeat merchants The Anteeeks (1:30). Yes, the spelling is correct, as is the band's use of fuzz. The song has a great riff and a great bridge, but is it enough to win this week's Bo Diddley Award? The Scottish diaspora is strong, so one month after the Anteeeks released their version, Canada's Great Scots gave the song a go (38:43). The laddies in kilts really kill it - the singer sounds like  cross between Mark Lindsay and Johnny Rivers, and the tune has a real Raiders-like vibe. It's Solid Gold!

While some might see Lulu as an exemplar of cherubic innocence, one listen to "Try To Understand," written by the boss songwriting duo of Lori Burton & Pam Sawyer (see Episode 70) will clear up that misconception (1:27). This song is from the POV of a player, a female Casanova who's trying to keep her main man and her side piece (but which is which?) ... a big production, a "Bacharach stack" of grand pianos and Lulu's booming vocals make this a beautifully bombastic track!  Little Hank comes along next and makes the song smooth and soulful, with great backing vocals, trumpet, and vibraphone (50:12). Playful and sultry, but still not to be trusted. In the psychedelic year of '67, Sweden's The Nashmen drenched the song in flangey phasing and it's very atmospheric and cool (1:13:25) The fourth and final flirtation comes from Canada's confusingly monikered British Modbeats, who make the song even softer and strummier (1:35:23). From loud to lullaby ... we love 'em all!!

This week we discuss the song that Francis Rossi wrote on the toilet while trying to escape family life - the pop-psychedelic masterpiece "Pictures of Matchstick Men" by Status Quo (1:53). With that in mind, it's possible that the tune is a fever dream fantasy of familicide, with the wah-wah parts imitating his newborn baby crying ... who knew that there could be such a push-and-pull between the domestic and the psychedelic? (- The Beatles, probably) ... The second snapshot is by The Invaders, from South Africa (1:30:01). This one has a much dryer sound than the original, but it's punched up with some punchy trumpet that wah-wah pioneer Clyde ("Don't Call Me Claude") McCoy would love! The third in this week's triptych is the band with the longest name we've ever featured: Charlie y Manny Con Otto de Rojas Y Su Conjunto (1:49:41).  Is that a harmonica in there? A chunky drum sound and some cool "sliding" effects in the organ and bass keeps the picture sharp. Do dee do dee do!!

"Then He Kissed Me" by The Crystals is a somewhat underrated pop product of the early 1960s, so it's time to shine the spotlight on this brick in the Wall of Sound, featuring the powerful vocals of La La Brooks, the production of Phil Spector, the arrangement of Jack Nitzsche, and the Brill Building words of Jeff Barry and Ellie Greenwich (1:07). What a cast!! We then take a detour to see how the song's opening guitar riff inspired Lou Reed and John Cale's pre-Velvets band, The Primitives, on their infamous 1964 sorta-dance tune, "The Ostrich" (1:05:37). In '66, the Heflick brothers of Elkhart, Indiana used the riff to generate a gentle garage number entitled "Everybody Needs A Love", under the ginchy moniker of The Gremlins (1:29:21). In '77, Kiss brought the song back to New York, added some FUZZ, and gender-flipped it to "Then She Kissed Me" (1:53:59). Imagine meeting Mom & Dad in Kabuki makeup! The New York connection continues with Asobi Seksu's shoegaze version from 2007 - they draw out another side of the song's dreaminess (2:10:39). <Chef's kiss>!!

In the latest episode,  Erik & Weldon answer the question: "what's purple and goes buzz buzz buzz?" The answer is the Electric Prunes, who psyched out the world in 1966 with "I Had Too Much To Dream (Last Night) (1:44). Unlike most people who tell you about their dreams, the Prunes keep you listening with some seriously spacy sounds. We analyze all the parts of this moody masterpiece, and Erik recounts a close encounter with some Taiwanese hornets. In '67, Rasputin & the Mad Monks took the song to another dimension (1:04:10). This one oscillates wildly, which inspires some tangents on music festivals and the Cudworth, Saskatchewan video store (another portal to other worlds!) ...  speaking of tangents, Deviled Ham take us on a long journey, combining the Prunes tune with Edgar Allan Poe's "The Raven" (1:35:48). These guys really upped the theatrical ante on this one with Cookie Monster growls and a Shatner/Palance style vocal performance- let's just say the band name is very, very apropo(e)!  Dedicated to Bahama Bob and Uncle Vinty

This week, we tell tall tales about one of the all-time greats - 1965's "Liar Liar" by The Castaways (1:30). A song  with rolling organ that opens up with a snare crack, released in the same month as "Like A Rolling Stone"... but this one's way better because of the weird falsetto , the deadpan verses, surf drums, a wild scream and the newly-rediscovered SENSATION NOTE! How do they fit in so much greatness under two minutes?  In 1966, SoCal's Mustangs sped through the song in even less time (1:03:49). The bass in this proto-new wave version is rubbery, and the guitar departure sounds super cool. Perfect for go-go dancing! What's next but to slow the sucker down? This is what Spain's Los Iberos dared to do in '69 (1:21:30). They add horns, xtra percussion and piano and somehow stay true to the original. Finally, in the dark days of 1986, Simon Fisher-Turner, also known as The King of Luxembourg made an even wilder arrangement (1:32:55). There's so many elements here that it reminds us of the studio scene in Smashing Time, a reference the actor/composer King would get. They're all great - no cap!!

You can think of this as a belated Valentine's Day episode - featuring the brainless, bashing Bo Diddley-beat balladry of "Makin' Love", originally done by The Sloths in 1965 (1:18). If Animal from The Muppets was a one-man band, this would be his signature song. While other LA bands were folkin' it up on the Sunset Strip, the Sloths were fearlessly flying the flag for freaky, frazzled, garage R&B. Listen in to find out what the "Sensation Note" is! The next year, some other SoCal scoundrels - The Dirty Shames - took the song out for a soda (42:27). Their version is less unhinged, but they still break the door down. No Bo Diddley beat, but a nice harmonica and some judicious FUZZ! make this a real good date. We got the joy and can't conceal it!!

This time it’s personal ...Sergeant Erik and Chief Inspectors Bobby Beaton and John Davis, of the Gruesomes, embark on an investigation of one of the most notorious garage rock cold cases of all time: the mystery of Jack The Ripper! We seek the truth regarding:Who released the song first?Who covered whose version?Why are there SO MANY versions of this ill-advised, tasteless song?!Clarence Stacy & Group commit the first crime, with their largely unreported original version (7:12).You’ll want to avert your eyes from our second assault on the ears, which is by Screaming Lord Sutch (42:27).For our third version, The One Way Street contribute the first big break in the case: they incorporate the Peter Gunn riff and add a bunch of nutso lyrics (1:10:44).The next gruesome incident comes to you from the Gruesomes, themselves. They confess to a crime of necessity committed mostly because they were able to play the riff (1:45:06).Next, the Horrors copycat-kill the song with the most “Dracula-Shit” version yet, and we enter into evidence a shocking item: an interview with the Horrors by Nardwuar, in which he confronts the band and demands to know their source (2:00:32).And finally, the last - and least-long - version, arrives via the White Stripes, who distract you from the grisly nature of the scene with a wild, shred guitar solo (2:18:08).Who actually committed  this crime in 4/4 time? Stay tuned for our Bo Diddley Award and find out!

We should have a long talk ... about the shoulda-been-a-hit "Say Those Magic Words", written by Doc Pomus and Mort Shuman. The McCoys open the oration with a very twangy sound - there's more guitar hooks here than the Fishin' Musician! It's bubble-gummy, but also a little bit psych, what with the delay effect at the end of the chorus. The Birds (the ones from England with Ron Wood) present their rebuttal at (45:15). A cool guitar tone that sounds like a Hammond Organ and a very vampy vocal performance from Ali McKenzie makes the song more mature, with some changes to the aforementioned words, and a cool vocal hook in the chorus. The third "Words" comes from The Blox (1:17:01). These Yanx speed up the tempo and copy the McCoys arrangement, but you don't get to hear those neat flourishes Rick's boys had - nevertheless, this version has us thinking about passwords and encryption - themes concomitant with the song's titular focus on communication. The final word comes from ... The Birds?!?! (1:38:15) These aren't the same blokes as heard in #2 - these are some Australian remittance men who tried to ride (or fly?) on the latter's coattails. Anyways, their number takes the Britbirds' vocal hook and turns it into the guitar line, and it sounds great (unlike the drums, sez Weldon). What ya gonna say now?

Super Gorilla! We suspect we are the first podcasters to discuss "The Rat's Revenge, Pts. 1 & 2" by The Rats (aka The Decades), anyone wanna challenge us? "Part One"  and its unforgettably STOOPID riff comes first (3:05). As the "Back From The Grave" liner notes note, the song cycle is an homage to the real hero of the AIP "Beach Party" movies, Eric Von Zipper and his Rats Motorcycle Club - but it's so much more than that! To truly understand the weirdness of the 1960s, you must listen in to our discussion of the sound and the lyrics of this one-of-a-kind rekkid. "Part Two", recorded in the studio a day after numero uno,  is possibly even more unhinged and less rehearsed in its spiel (1:01:44).  This one has a more taunting feel, and a second chorus!! Was Harvey Lembeck/Eric Von Zipper the template for The Beastie Boys? Tune in and  Chagga Walla Goo!!

This week we listen to 4 GARAGE versions of what some boomers say is the greatest song of all time: Bob Dylan's "Like A Rolling Stone." We think the very first cover of the tune was done by the Soup Greens, presented to the world only one month after BD released the original. (1:47) They don't bore us, they get to the chorus! In their soupy hands, the song becomes a frat rock rager - with a burbling organ, boom-crash drums, and a great clattering ending. Mike Mitchell > Mike Bloomfield by the way ... in 1966, The Other Half took the song on (40:19).  These aren't the "Mr. Pharmacist" guys but they add a cool opening bass riff we like. Next up is those "shoulda-beens," The Remains (1:03:43). Their rendition has studio banter, pounding drums, snotty Jagger-esque vocals replacing the Dylan whine, and includes a throat-shredding rendition of the famous chorus. The second verse has a wicked stop and chop section a la "Hang On Sloopy," as well. Finally, the stone rolls all the way to Sweden and lands next to the Lee Kings (1:36:06). These guys produce a nice dreamy version with a softer approach to the caustic chorus, and a more mournful harp part than the original. Basically, they give the song a Swedish accent, showing the love the Scands had for BD before awarding him the Nobel Prize, which we also discuss. Man, this descripto has more words than Dylan himself ... gotta go!!

In 1959, R&B Renaissance men Don & Dewey released the first version of the soon-to-be-classic, "Farmer John" (1:01). These guys were multi-instrumentalists and multi-talented - this one's sure to be a hit at your upcoming barnyard blitz. Two years later, Carl & the Commanders brought out the next in the crop, an even faster take with wild drums, some tickling of the ol' ivory, and it ends with some slapback handclaps (42:42).  in 1964, The Premiers presented the world with a raucous rendition of the number, but gave it a "Louie Louie"/ "Slauson Shuffle" backing, with some Lynn Easton-esque drums. It's a keeper, from the ICONIC intro to the final fadeout. And let's give some credit to The Chevelles Car Club, for doing their best to drown out the band!! Then Neil Young came out with an inexplicable Post-Premiers version that has us taking out our pitchforks (1:45:31). At least it brings to mind The Tidal Waves' earlier version, which we play before the BDA'S  (2:08:22). Gabba Gabba Gabba Goo!

This week we bequeath to you an episode on the rockin' 66er, "Readin' Your Will" by The Human Expression (2:25).  The original acetate is a raw 'n' snotty intervention, with singer Jim Quarles condemning his friend for his dissolute rock 'n' roll lifestyle while backed with cool gallopin' drums and an overall "Steppin' Stone" vibe. The etymology of "blow your mind" is discussed here.  The next deed is done by The Hypnotic Eye, way back in 2012 (50:49). Their version is a punky boy/girl duet,  so look for it at your next karaoke session. Here, Erik explains how rock 'n' roll is like a tuna melt. The third testament comes from 2016, performed by Zachary Kibbee (1:15:57). As seen and heard on TV, this rendition has a saturated modern sound that has us contacting our lawyers to contest the will!  Kicks aren't hard to find if you listen to this show every week!!

In late 1963/early 1964, a new dance craze blew through the Windy City: the Uncle Willie! In this episode, the first of 2023, we listen to 6 songs that range from R&B, girl group, and garage - all of them will have you putting your hands on your hips and letting your feet slip ... it's as easy as it can be!

Say Toodle-oo to 2022 with In The Past: Garage Rock Podcast! We have 4 categories for this year's Bo Diddley Awards:1. Bo Diddliest Tambourine Tune (new!)2. Bo Diddliest Video3. Bo Diddliest Song From a Theme Episode4. Most Beautiful Song (new!)All that, and resolutions - get away from the family for a few hours!!

This show finds us investigating the iconic 60s sound of jangle - we start with the most famous treble-makers of the decade, The Byrds and their beautiful 1965 B-side, "She Don't Care About Time" (1:16).  Erik diagrams the science of jangle and we do a deep dive on Gene Clark's inscrutable, ineffable lyrics. And those harmonies!! Next, go deeper into the jangle jungle with 1966's "You Wouldn't Listen" by The Ides of March (1:07:58). These Chicago cacophonists add some R&B flavour, doo-wop vocal swoons and garage lyrical tropes to create a mélange of secret sophistication.  We did listen!! Our final chunk of chime is "I Find I Think of You" by Kent, Ohio's The Measles (1:43:07). This 66'er features possibly the first recorded appearance of The Clown Prince of Rock - Joe Walsh, who wrote this slow, stately, jangle dream. (with some jazz flourishes on the drums!) - life's been good to us this episode!!

The new episode aims to sate Pastronauts with 4 versions of the garage gem, “Hungry.”  The main course is the 1966 original from Paul Revere & the Raiders. This one has FUZZ, pulsing organ, and some terrific cha cha tambo along with a lusty vocal performance from the great Mark Lindsay. That same year, Canadian/British combo The 5AM Event altered the ingredients somewhat for more Freakbeat-influenced fodder. Since Lindsay’s “Hungry” was so horny, these guys take that literally and add … a trumpet? An interesting side dish comes in the form of Teddy and Darrel’s version. Lovers of Incredibly Strange Music will love this, though it may be an acquired taste for others. For dessert, we go all the way to 1979 for Todd Tamanend-Clark’s take. He claims to have “altered the lyrics to be more assertively sexual,” but we think you don’t need to improve on the Raiders original recipe. Nonetheless, he adds some funky Hendrix flavour to make his versh extra tasty. Burp!

In the new episode, we take some giant steps and discuss 4 songs from the 60s about our Earth's best friend, the oblate spheroid you can't avoid - The Moon! We launch with 1961's "Blue Moon", by The Marcels (1:51).  This one has been a golden oldie from the start, but you have to listen with fresh ears: Freddy "Fricative" Johnson's low basso profundo will paradoxically send you to the celestial sphere the song sings of, while it sends Weldon into the Linguistics lab. The second moonshot is "Mr. Moonlight" by The Beatles (41:50). This song often shows up on lists of the Fab 4's worst tunes: so what will our hosts say about this crepuscular canticle? Question: do garagers croon about the moon? Answer: Yup! Nebraska's Coachmen occupy the Waxing Gibbous phase of our episode with their organ-driven gem "Mr. Moon" from 1965 (1:16:35).  Imagine Dion backed by the Mysterians and there you have it.  All lunar expeditions must come to an end, so "Live with the Moon" by The Chayns closes the show on some melancholy notes (1:36:23). It's wordless & otherworldly! Blast off!

What happens if you bring a tambourine to a gang fight? That question is answered by Don Covay's "Sookie Sookie", released in 1966 (1:02). A song with a great groove but chorus amnesia - and the most intimidating tambo work we've ever heard. Listen to us talk about the history of the banana peel in comedy as well. The second "Sookie" is from '67, by The Primitives (49:27).  These guys add some freakbeat touches, the "Taxman" bassline, and true to their name, some apropo Paleolithic grunting. In '69, Tina Britt was feeling fine and fundmentally funky on her version of the song (1:14:16).  She woos with "witchy" vocals and the band bops & blares and the bass slides like Billy Watson.  And finally, In the Past goes on its first ever jazz odyssey with Grant Green's version from 1970 (1:35:07). Will we ever get back to the garage after analyzing this sensational soul jazz session?  We'll see, Jazzstronauts, we'll see ...

In our latest, we celebrate some German garage gibberish: "Balla Balla", originally done by The Rainbows in 1965 (1:44).  Grab a lager and listen to some Schlager! Die zweite Version is by the American twist King Chubby Checker, aided by De Maskers from The Netherlands (37:18). Chubby retitles the song "Baby Baby Balla Balla" and adds more lyrics so it .... uh ... makes sense. The band cooks and Chubby growls ... it'll put your heart at ease! More Dutch delight comes in the guise of Pee White & The Magic Strangers (55:17). Cool feedback and a jittery riff makes this one breach the dyke! Then Britbeat merchants The Scorpions bring the winds of change and add some wild organ noodling and a ska feel (1:06:42). We end with a Swedish surprise from The Shamrocks, who bring some Chuck Berry bop and a bass slide along for the ride (1:17:41). Oh, and there's a bonus polka version at the end by Alsatian sensations Les Koï's (1:31:25). Auf widersehen, Pastronauts, wir müssen gehen!

Duh duh duh -- Grab your partner, it’s Louie Louie time – again!! One cover and three “soundalikes” of Richard Berry’s bartalk-ian classic. First in the parade is I. Kadez’s Nashville version of “Louie Louie” from the portentous month of November, 1963 (2:51). We think this might be the first cover that uses the Kingsmen version as a template. Listen in to find out the mystery vocalist behind the pseudonym. Second up is the first duplicate, “12 Months Later,” by another mystery band, The Sheep (27:49). Great sax, group vocals, and grotesque ad-libs make this a frat rock delight – and just about 12 months later after it was released came a cover by a wild pack of Ohio teens, The Shy Ones (53:11). Total teen termite trash!! Wild vocal stylings and inexhaustible energy … this version is one of the best songs we’ve ever covered on the podcast … The last example of Louie larceny arrives with the aptly-named “Beg, Borrow, and Steal” by The Rare Breed (1:34:35). Or is it by The Ohio Express? No, it’s by The Conquests! – listen to the tangled tale of this tune as we take it into the textbooks. Duh Duh!

Visiting professors Bobby Beaton and John Davis of The Gruesomes are back to lecture young garageniks about the legacy, impact, and mechanics of what is, in Dr. Beaton's words, "the paramount garage experience"!! That is, of course, the song "City of People", originally heard in 1966 by The Illusions (2:15). A song all the Gruesomes hold in both scorn and esteem, which they laugh at and love in equal measure - listen to what they have to say about it! There's also a version by The Creeps from 1986 (1:27:16), and a totally up-to-date recontextualization of the song and its meaning by Sweden's Miriam Kaukosalo (1:54:33). This one's going in the textbooks!!

This Halloween we continue to howl at the moon with 5 more songs about those scary wolfmen (and wolfwomen)! We start the horrific cavalcade with "Rockin' Werewolf" by Robbie the Werewolf from 1964 (2:38). Just try and get the chorus of this fun strummin' folk number out of your head, but keep the crucifixes away while Robbie is rockin' ... wait, is that only for vampires? Our second song is a Shatnerian soliloquy on lycanthropic transformation: "Wolfman" by The Muleskinners (38:29). Listen in on your party line to the affecting monologue of a man trying to hold it together before he goes feral. The third terror is "I'm The Wolf Man", purportedly by Round Robin (1:03:47). The wolfman growls in this one have a distinctly Western flavour to them, but more importantly, there's FUZZ! And there's also FUZZ! in our fourth frightener, "I Was a Teenage Werewolf" by The Cramps (1:24:20). Lux Interior's psychobilly gasps, gross groans and blown gaskets make this tale of pubescent permutation abominally believable. The final act comes with the fifth song: "Killing the Wolfman" by The King Khan and BBQ Show (1:52:52). Weldon has some insider information on this tasty piece of twang, but the real question is ... will the Wolfman be resurrected in time for Halloween 2023? Stay tuned, Pastronauts ... (distant howls coming from the woods...)

This week's show is a pre-Halloween extravaganza that takes you to the Twilight Zone and points beyond (i.e., Idaho)! The Serlingesque shenanigans start with "Out of Limits" by The Marketts (1:57). The famous 4-note riff is present, along with triangle, organ, castanets, and French horn! The Marketts manage to throw the sound of Western and spy movies into the mix, too - whooo! The sinister second is a truly weird number: weird because it's either by Barry Ray OR Rich Cutcher and the Wildwoods (38:02). Most likely the latter ... this one has some steel guitar to add spooky atmospherics and rile the rockabilly kids. The mean minor third is "Wild Man" by The Tamrons, probably the coolest appropriation of the famed TZ riff (1:05:32). Is the song antiphonic or polyphonic? Who cares? - it's breathy, filthy and nawsty  and belongs in the garage under a tarp!!  The fiendish fourth is "Private Idaho" by The B-52s, a song supposedly based on an old episode of the famed show (1:42:12). Cool surf drums and guitar with the vocals you expect from Cindy, Fred, and Kate - what a way to (desc)end!

What do you give the podcast listener who has everything? Answer:  an episode on Them's 1966 garage hymn "I Can Only Give You Everything", which has everythang: a gravedigger riff with fuzz, overdriven organ, pounding drums, a snarling vocal performance, some wild modulation and a messed up chord change (1:51)! Ain't that enough? Of course not! A couple of months later, the co-songwriter and producer of Them's initial onslaught, Scotland's Tommy Scott waxed his own interpretation (56:53). In this one, we detect some traditional folk and skiffle sounds,  and we especially dig how the organ sounds like bagpipes - Tommy Scott Wha Hae!! From Ireland, to Scotland to ... Motor City? In 1967, The MC5 released a scorching rendition that adds a little  more to the everything - cool cadence, spastic strumming, and a spine-tingling psych solo (1:25:04).  The denouement of our discussion comes when we spin Beck's 1996 sorta hit, "Devil's Haircut," which revived the riff for slacker kids (1:48:08). It's not nothin', but does it have enough "everything" to be something? Tune in and find out!

In the latest episode we make sense out of nonsense, meaning we crack open three 'goofy greats' and feast on the goo inside! Back in 1956, The Chips released "Rubber Biscuit," a rockin' doo wop number with insane vocables that we find hides a serious message (1:39). Two years later, David Seville went to visit the "Witch Doctor" (58:54). We don't know if he won his crushes heart, but the squeaky-voiced Doc did give Seville one of the greatest choruses ever. Finally, in 1972 the Italian legend Adrian Celentano recorded "Prisencolinensainciusol," which became a hit and then a viral sensation years after its release (1:34:56). Sometimes it takes a while for the message to sink in! Alright!

Watch it now, watch it! We're talking about quatro versions of "Wooly Bully" this week, but we have to go back to 1962 to listen to the origins of the insanity, namely the tune "Hully Gully, Now" by Big Bo & the Arrows (1:11).  The bass is incredible. The organ is incredible. The vocals  (by Little Smitty)... will leave you incredulous! Words can't capture the wildness of this wooly antecedent, but the dirty job falls to us and we get our hands and ears dirty. In 1965, Sam The Sham & The Pharaohs stepped up to defend the USA from bug music and they did this by adapting Big Bo's tune, adding some Tex-Mex flavour to it, and retitling it "Wooly Bully" (25:53) .  This song is one of the pillars of garage greatness, and it's great from the get-go (meaning the revolutionary 'count-in'). The chorus is an incantation and the drums are chasmic.  The lyrics are discussed, and connections to Korla Pandit and Lord Buckley are suggested. Textbook! Contempo versions by The Fabulous Echoes (from Hong Kong!!) (1:13:24) and Denmark's Defenders (1:39:38) get the ITP: GRP treatment as well!

Randy Newman's 1970 rocker "Have You Seen My Baby" is the subject of this week's episode: the original is in a rollicking Fats Domino barrelhouse-style with RN's love-it-or-leave-it voice (0:48).  The lyrics are about a deluded  romantic, and the arrangement is melancholically delightful. She ain't his baby! The following year, the Roy Loney-era Flamin' Groovies waxed the track to stunning effect (56:48). Their transparently rockin' version leads us into a considered discussion of the Beatles/Stones conundrum, also to stunning effect. Slop rock! In 1980, the Rumour recorded a version that sounds a lot like the  Chris Wilson-era Groovies, and that's a good thing (1:27:41). Jangly guitars lift this version from the avenue into the power-pop stratosphere. Hold on for a special bonus version by Edmonton's Nitehawks at the end (1:50:22)!

4 of Weldon's fave girl group songs on this one! We start off with "Party Lights", a smash hit for Claudine Clark in 1962 (1:15). She wrote and sang this clever little ditty, but the word is she also played piano as well.  CC begs, pleads, uses her best Lowtower and even throws a tantrum but her mama ain't letting her go to join the kids across the street.  That same year, some soon-to-be-legends were also looking to get the party started: The Supremes made a minor splash on the charts with "Let Me Go The Right Way" (40:00).  This is an early number, from before the signature Motown sound had been developed. And we like that just fine, because you can hear Diana, Mary and Flo loud & clear here! They really sell Berry Gordy's dumb lyrics (and soon would sell in the millions themselves!) ... 1963 was the year The Avons put out their first record, the wild and loud "Push A Little Harder" (1:11:24). This one has it all! -  woodblock, tympani, a crazy organ solo and some full-throated singing from these Nashville gals! Last but not least is The Gems,  who take us to 1964 with "Can't You Take A Hint?" (1:38:22). A flirtatious number from a Chicago combo fronted here by Minnie Riperton. She provides the vocal pyrotechnics while the other ones bawl out some great Lou Christie-style backing vocals. A beautiful guitar solo and a Mary Wells quote make this one special.  Listen to the party, Pastronauts!

In the new episode, we make some pretty music while watching the world go by - listening to 4 versions of a classic from Nuggets helps! The original "Night Time" was done by The Strangeloves in 1965 (1:11). It's a table-topper and guitar chopper, with a cool barrelhouse piano riff,  bashing drums, clever lyrics and a cool , sort of meta spoken-word section. In 1966, Swedish snotsters The Sooner or Later waxed their wild rendition (52:18).  The main riff gets played by the drums (!) and the bass, which gives this a booming big beat sound - but there's also FUZZ and a razorblade guitar tone.  That same year, some Mexican lunatics known as Los Crazy Birds made a Spanish-language version called "La Noche" (1:24:41). More FUZZ, circus organ, and some really crazy caterwauling make this one a crypt-keeper. Finally, in a dark year for popular music - 1980 - George Thorogood & The Destroyers were on a mission to keep the night time burning bright, and the mission was accomplished with this fast and furious foray on the fingerboard (1:42:46). That's a natural fact!!

In 1962, The Isley Brothers released "Nobody But Me," a big production of upbeat braggdoccio with wild vocals, raunchy saxes, piano, and some "no, no, no"s in the middle section (1:08). The song didn't really catch on, but two years later a Mersey versh appeared courtesy of beat merchants The Mojos (34:02). Their dual vocals somewhat detract from the original's mouthy message (how can two guys be the best at the Mashed Potato? - there can be no ties in garage rock!), but our Liverpool lads subtly note the song hides a "look at me" love theme. Textbook! Of course, the version that everyone know know knows is the 1967 rendition by The Human Beinz (1:03:18). The iconic opening peal of feedback (in medias res!), the driving bass and drums, the shouted dances, and perhaps most importantly, Pepsi bottle percussion make this a literal pop hit!  We close the show with Canadian legends Doug and the Slugs, who despite their name make the song into a sprint with a new wave spirit (1:45:03). Now skate on through!

Mourn (or celebrate) the end of summer with these four odes to the (hot) dog days, all from 1967! Our first number is "C'mon Summer's Happening" by The Hot Dog Stand (1:52). This mysterious mob of studio musos create an unbelievably peppy little piece of commercial cotton candy, with an odd mix of funky guitar and Wonderbread vocals. Sink your teeth into something more substantial with "Long Cool Summer" by The LPTs (38:36).  Another group of studio specialists, masterminded by Lou Beatty and his La Beat Studios (rivals to Berry Gordy's Motown) - this song is a response to the inner city riots  of the "Long Hot Summer" of 1967.  After making the community a better place, get back on the sand with "On the Beach" by Extreem (1:11:47). Even British people party in summer! (sorry about this year, guys) ... this one has a nice Herman's Hermit's vibe contrasted with deep-voiced crooning, organ and horns. The Beach Boys these guys ain't! Finally, we close with a couple of classics, a rendition of "Summertime Blues/Land of 1,000 Dances" done by The Tropics (1:38:34). These wild Florida kids are determined to enjoy the rest of summer, and so are we! See you in September, Pastronauts!!

We keep counting down and chewing up James Miller's list of the Top 50 Canadian songs ever -  in this episode we go from numbers 24 to the much-anticipated Number One song! Listen to your intrepid hosts risk their Canadian citizenship  to knock some mythical Maple Leaf musos off their high horses (or mooses?)! Corey Hart impressions! 2002 women singer-songwriter anthems!! A Neil Young song sung by a (different) CAVEMAN?!?!? All this, plus we play some Canadian garage and soul classics, and add our own picks. We stand on guard for thee, Pastronauts!!

Episode 101 features our heroes discussing James Miller's list of the top 50 Canadian songs of all time. If you're a Canuck, listen to us revise our nation's musical history! If you're not from the Great  White North, then you'll hear about a host of hosers who had hits you've never hitherto heard !! What songs should move up the list, or down? Which songs should be on that weren't? And which tunes should be off? (Part 1 goes from 50-25).

After almost two years at the crease, we at In The Past: Garage Rock Podcast are proud to celebrate reaching  our first century: 100 episodes. And we've never missed a week since we started!  To mark this achievement, we've selected four songs to discuss our own dogged determination: two of them are 80s anthems, and two are garage rockers from the snarling 60s. The usual crucial digressions and textbook musical theory are in play. Get a delicious beverage and come celebrate 💯 with us!! Nothing's Gonna Stop Me Now - David Pomeranz (0:00)It's Been a Long Journey - The Roots (39:08)There's No Stoppin' Us - Ollie & Jerry (1:07:30)Here to Stay - The Mal T's (1:45:26)

We return to The Hollies'  1965 tearjerker, "So Lonely" because there are so many good versions we couldn't fit in our June 19 episode! The first in part 2 is The Henchmen,  who created a garage derangement of the song in 1966, with organ and cool-dude-attitude vocals (2:07) That same year, The Ashes  produced a haunting folk-rock take (34:49). Sparse, subdued and Cowboy Junkies-esque, with lonesome harmonica, shaky tambourine and  forlorn female vocals.  The Fugue were up next in 1968:  their version is really slow, really loud, with a really heavy Hammond which will put you in an un-Bachlike fugue state (1:10:52). This would be the Phantom of the Opera's version. We leave you with a super bonus version from Miriam Linna, whose 2014 version proves the song is still going strong (1:08:15)!

A small but determined pressure group has been ... well ... pressuring us  to finally talk about some obscure orchestral pop psychedelia. Worried for our lives, we capitulate and chat about J.A. Freedman's 1969 slice of Piccadilly Sunshine,  "Dance with the Man in the Teapot" (2:15). No three-chord garage rocker this! An account of a crazy costume party which throws in everything but the kitchen sink - piano/organ, trombones, oboe, bass, and Beach Boys "ba ba ba"'s! Should we have waited to do this song for our Halloween episode? If Freedman's is too twee for you (it ain't for me!), then you might prefer the version by The Fire (48:06). They heard Freedman's demo and recorded a spiffy, hipper stripped-down version which keeps the whimsy, subtracts the horns and piano, and altogether sounds kinda Move-y.  Now everyone shout!!

In this episode, we chew on a sweet piece of 1966 bubblegum, "Stop! Get a Ticket" by The Clefs of Lavender Hill(1:11). People say it's Beatle-esque, but we think it's better described as Hollies-esque, The handclaps (and drumbeats) will be what you remember the most, but don't sleep on the "race for your love" lyrics or you're gonna lose your baby! In 1967, Cleveland's Statesmen paid the fare and released their version of the song (36:02). It's slower and less peppy, BUT they add organ and FUZZ, as well as some va-va-voom vibrato on the vocals. That same year, Nederbeat high numbers The Groovy's heeded the train whistle and their ride kicks off a la "Last Train to Clarksville" (49:48). This one'll get the guitar gearheads feelin' groovy - a fast and fun ride with jittery rhythm guitar and lotsa hooks! Catch it!!!

In 1940, bluesman Bukka White recorded "Parchman Farm Blues," a lament about being imprisoned in the infamous Mississippi State Penitentiary (2:30). Insightful lyrics, impassioned vocals, great slide guitar, and some nice accompaniment from Washboard Sam to boot! Even though he denied it, jazzman Mose Allison adapted White's song in 1958, titling it "Parchman Farm" and giving the song a controversial punchline (43:43). His version was an unlikely dance hit amongst the British Mods, with an insistent piano riff, solid rhythm section backing, and lots of hipster irony. In 1966, The Blues Breakers took the song on, with John Mayall's harmonica in place of the piano, another great rhythm section (including future Fleetwood Mac-er John McVie on bass), and Eric Clapton in the back, reading his Beano comic book. Finally, back to the States to hear The Traits,  with Johnny Winter, who shreds on guitar and vocals mere months before he finds fame at Woodstock (1:38:59).  Drink some wine, sit on Number 9, and open your textbooks ...

In this episode, we prescribe Buffy Sainte-Marie's 1964 beautiful folk-drone masterpiece "Cod'ine"(1:08). It's a harrowing tale of opiate addiction, and Buffy delivers a hair-raising, frightening vocal performance that'll scare you straight. Dare we say "it's as relevant today ..."? We also discuss her immense legacy,  especially her incredible appearances on Sesame Street in the 70s. The first garage verzh we present is by Matthew Moore Plus Four, who retitle the song "Codyne (She's Real)" and seem to make the song about a girl?!?! (1:03:02).  These guys set the song in a Stones-y streetscape and we like it. The third dose comes from The Leaves,  those folk-rockers who gave you "Hey Joe" and "Too Many People"  (1:34:25).  Their take is jazzy and space-y: stand-up bass and a lot of kick drum keep this one heavy. The boyish vocals in this one really contrast with Buffy's wizened howls, but they are effective. It's real, three times!!

Listen in this week to a textbook discussion of the process of garagification:  the transmogrification of Fred Neil's "That's The Bag I'm In" from a corny folk ditty to a  titanic garage tune. Casey Anderson gets us started with the first released version of the song , way back in 1962 (5:18). A very Greenwich Village rendition, from the era represented by "Inside Llewyn Davis."  In 1965, the mysteriously and awfully-named Dalek/Engam: The Blackstones rearranged the song and made it ROCK, even giving it some Beatles-esque chords and "Woo"'s! : a crucial step in the alchemy of garagification (56:37)  In '66, Billy Lee Riley crosses the song with "Hallelujah I Love Her So" and reveals a strange connection between the two songs (1:19:47). Oh, and there's bongos! Fourthly, The Fabs finalized the process in September of the same year, adding a cool bass riff, FUZZ, and ORGAN (1:36:08). If you know it, you love it, and if you haven't heard it, you gotta!

Prepare to cry,  because this week's episode centers on the sad & spangly song "So Lonely", originally done by The Hollies in 1965 (1:21). A perfect pop tune! The riff is beautiful & bright, sad & sharp, but it's underpinned by heavenly harmonies and some surprisingly groovy drum fills by Bobby Elliott. The Everly Brothers essayed the number in 1966, and those Kentucky kids sing for their supper (and our tears) ... the vocals are so incandescent that you'll git a funny feeling (46:25). Finally, in 1967, The Fyrebirds tinkered with the song in the garage and souped it up somewhat, which simply means they added ORGAN & retitled it "I'm So Lonely" for added emphasis (1:01:28). These'll keep you satisfied forever, but we plan to do a Part Two because there's so many other  great versions of this song!!

In this episode, we study one of the greatest rock songs of all time, "Wild Thing." The original versh is by the aptly-named Wild Ones, some New York neanderthals who recorded Chip Taylor's made-to-order tune in 1965 (1:57). Next up is The Troggs' 1966 cave-painting (44:00). True to form, we reinterpret the song by finding the sweet side of this savage number.  The ocarina solo also has us pondering the pastoral aspects of the song. Textbook stuff! After the USA and the UK, let's go to Greece to hear how The Crowns attack the tune (1:32:31).  More primitive than the previous two! An organ solo emerges out of the primordial murk and burbles back for the fade out. We luff it! Finally, the wholesome Cathy Rich teams up with the shady impresario Kim Fowley for a '69 freakout with flute?! (1:47:07).  Now you know for sure!!!

Well looky here - we have The Kinks up first this week with "Who'll Be the Next In Line" - a minor hit for them in 1965 (2:02). In this under-rated rock rhumba, Ray Davies and the band inhabit the mind of a bitter pub drinker: a lurching, sorta Latin groove and vocal performance make this one of the earliest examples of musical theatre in  RD's songwriting catalog. Next in line are The Knack - no, not those guys, these are some 60s freakbeaters who mod-ify the song by speeding it up and adding some cool guitar slashes while they impatiently wait for the next schlub to fall for the femme fatale (43:15). The third in our series of suspects is the Sir Douglas Quintet, who swapped out the Latin rhythm for a very satisfying Tex-Mex flavour (1:04:37). It's got that accordion-sounding organ that we like from ? and the Mysterians and those unheralded new wavers Joe 'King' Carrasco and the Crowns. The final perp is Yonin Bayashi, who focus on the "prog" part of the lurching chord progression from the original (1:25:16).  Wordless sopranos, pizzicatos & arpeggios - an overall disorienting take, but it kinda works?  Now fade away, okay?

In a week when Jif was being recalled in Canada, we won't be recalling this episode! Three dumb songs about our favourite legume: the peanut.  Little Joe and the Thrillers start spreading the madness with "Peanuts," the nuttiest hit song of 1957 (5:22). We're crrrazy about it. There's a "twist" in our discussion of Little Joe, so listen close. Next, following up from last week's look at The One Way Street's wild hit "We All Love Peanut Butter" is the much, much more wholesome ode to "Peanut Butter," brought to you by Paula Goodridge & Co. Everything you wanted to know about Rockport, Maine's most famous Harbourmaster's daughter and then some! That one is a smooth one, not crunchy, like our final great goober, "I Found a Peanut" by Thee Midniters (1:12:04).  Definitely one of the dumbest songs we've ever discussed, so we rise to the occasion, like the oil on top of that yucky organic peanut butter.  Stick to the good stuff, and the good stuff'll stick to you!

In this episode, we speck-ulate on the meaning of that inscrutable garage rock classic, “Little Black Egg": the song with the famous RIFF and the enigmatic lyrics ... The first in our carton is the 1965 original by The Nightcrawlers (1:44). The REAL MEANING IS FINALLY REVEALED! And it's a SHOCKER!! Goldurn! The second peep comes from The Next Five, whose 1967 version is peppy and organ-tastic, but at what cost (57:23)?  Oh, bother! The third egg in our omelette features those rockin’ seminarians, The Brunnerdale Concert Choir (1:19:35). Their version has the high lonesome sound, a surprising outburst of bongos, and even Our Father himself makes an appearance (it is an Easter song, after all!). Finally, we cap the show off with another garage rock classic, "We All Love Peanut Butter" by The One Way Street (1:40:54).  This "adaptation" of LBE features insane lyrics (which we examine) and it sticks to the roof of your head! Goodbye, peanut butter!!!

In this episode, we present possibly the most sophisticated song we've ever discussed, the Burt Bacharach/Hal David weeper, "Walk on By." And in case you think we've left the garage for the piano lounge, don't you worry, the 60s kids have you covered. The first step, though, is taken by the inimitable Dionne Warwick and the 1964 original (2:25).  A restrained, elegant vocal performance from a woman who hasn't set foot in a car-hole in over 50 years,  and even strings and TWO grand pianos can't make this one bombastic. You know who does , though? The Outcasts and their 1967 mis-step (57:56).  These guys go for the dramatic jugular in a Vanilla Fudge lite kind of way. We like it, but it's absurd ... That same year, interpretations of the song really hit their stride with Brenda & The Tabulations' recitation (1:15:32). These cats give the song a Philly strut , some sassy, soulful backing vocals, and a great string re-arrangment that Bacharach AND Bach would swing to. The last word and testament for us goes to Thus, a rare breed of sophisto-garagers who clearly revere The Zombies (1:33:57). Their dark night of the soul version keeps it stark and simple & reminds us of Laura Nyro. Don't you dare stop  without listening to this show!

Our Mother's Day special episode features 4 versions of a song only a mother could hate - Bo Diddley's 1964 putdown, "Mama, Keep Your Big Mouth Shut." The original has a great riff, a funky strut, vibrato on the vocals (Bo is a way underrated singer), and overall,  the tremendous tremulous sound you know from Bo (1:33). The next year, The Pretty Things make the song less funky but still smelly, with some frantic rhythm strum, some strident singing, and a rave-up section in the middle (50:14).  From Sweden the same year, The Gonks add even snottier vocals and keep the song in the garage with the now-usual truncated lyrics and rave-up part (1:12:15).  The final word comes from Canada's Ugly Ducklings who made plans for this tune in 66: they add fuzz and make the tempo faster than the speed of snot! (1:25:46)  Don't let the door hit you where the dog bit you!!

Shakespeare famously wrote of the Seven Ages of Man, well, we play four songs from the 60s about "life" and get even more meaning!  Hear all about the youthful rake  described in The Animals' 1965 hit, "It's My Life"  (2:12) Then the shaggy dog story of Wil Bielers and his vriends in Q65's "The Life I Live" (41:56).  The Henchmen  point out the tautology at the heart of the question: "What is  life?" in their 1966er, "Livin'" (1:22:40). And finally, the whole thing devolves into nihilism & insanity with "My Iconoclastic Life " by The Beach Nuts  (1:58:36). Ride the Serpent!!

"Foggy Notion" by The Velvet Underground is a sneaky candidate for greatest rock'n'roll song of all time. Listen to the original version at (1:13) - Lou Reed and the gang had been playing the song since '66, finally recorded it in '69, but it wasn't released until 1985! We discuss the song in its context of Warhol's Factory and the Second Generation of New York School poets, but we also just love the Beat, the Beat, the Beat! Those Boston boys, Jonathan Richman & the Modern Lovers knew the song through live performances, so we listen to their own live take on the song from 1971 (1:17:48). Get ready to dance fast! Another band of Boston bootleggers produce the third in our batch: The Count, aka  Joe Viglione, and his Massachussets minions (1:44:27). How 1978 is this version?: warbling vocals, motorik drums, and spectral organ hit you harder, harder, harder! Do it again!!

Wherein we study both sides of The Chentelles' sole 1967 release, "Time/Be My Queen." How did these Michigan teens make a rekkid with such staying power? "Time" (2:47) is an organ slow-burn that could almost fit on a late-period Velvets bootleg. And we set up the Barb Overhiser/Dale Atkins drum feud - which is possibly the most under-reported band lineup drama of all time! The B-side is the famous "Be My Queen" (45:49). Hepcats know this rockabillly-tinged rager from "Back from the Grave," and it still sounds great. Every line delivered by Bill Dalton is a Royalette! A vocal swagger that is sui generis. There is FUZZ! "Wipeout"-style drums!! Freakout organ!!! And one of the greatest screams in garage rock history. You've been waiting for this one - you had it coming!!

Three versions of the Buzz Cason and Tony Moon tune, "Soldier of Love." The first fray is the 1962 original recorded by Arthur Alexander (1:22). A smooth serenade to sensual surrender, with great instrumentation (piano, sax, and some well-placed woodblock) and some vivid vocables from the female backing. The second skirmish involves The Beatles, who laid down the track at the BBC studios in the summer of '63 (47:18). Never officially released!! - this song circulated as a bootleg for years - we buck the current trend of listening to only late Beatles and bask in some of their early bug music, when they were obsessed with good R&B tunes.  In 1966, Grady Lloyd joined the cause and kept the (retitled) song on the charts, albeit only on one front: Florida. (1:08:26). The final fracas comes from The Milkshakes, who went to war with the song in 1983 (1:20:34).  Let Hyep! be your battlecry!!

Three versions of the rock n roll classic, "C'mon Everybody" - the original, a garage gem, and a late 60s oddity. Eddie Cochran got the party started in 1958 (1:12).  We confront the conspiracy of silence that surrounds the song's instrumentation, but we can tell you that are rockabilly riffs galore and some spiffy strum 'n' drum.  We discuss how EC's lyrics walk the line between wholesomeness and wild teenage rebellion: a coming-of-age story in every line! We deem the song a proto-hippie communal anthem, because why wouldn't we?  The second versh is different from the first - The Staccatos and their 1966 rendition (58:08). HEY! Here's a garage-ified version by the Ottawa band who will become The Five Man Electrical Band. This version adds FUZZ and modulation.  Will you like it? All SIGNS point to yes. The last to come and the last to leave are NRBQ  (1:18:30) . The very first song the New Rhythm & Blues Quartet ever released way back in '69- wotta statement! A non-heavy version which came out a year after Blue Cheer crushed another Cochran classic. They make it longer, keep the fun intact and add handclaps as a matter of fact. Ah, who cares?!

Back to the mean stuff this week: a quartet of versions of "(I'm Not Your) Steppin' Stone"! Step one: we can have lots of fun with Paul Revere & the Raiders' 1966 original (2:13) Grave-digger riffs galore, FUZZ bass, crucial organ,  snappy snare sounds, and vocals by the Human Exclamation Mark! - Mark Lindsay - make this one a winner. There's so much to do with Step 2 - another version from '66 by The Liverpool Five (49:12).  The guitar produces volume swells and squalls, a "Green Onions" riff emerges out of the sonic stew - and riffs, reverb, and R&B a-plenty. It's a little bit you and a little bit me with Step 3 - The Monkees and their well-known hit version from 1967 (1:12:56). No fuzz? Dolenz's dulcet tones? This one gets its mean genes from some Boyce-terous backing vocals by the song's co-writer, Tommy Boyce.  And one more with Step 4  - another '66er from British freakbeat merchants The Flies (1:41:18). This one's slooooooow, heavy, and loud - with shades of "Purple Haze"?!?! Check out the weird jazz-scat section, and the snaky sibliance from the singer.  You'll be walkin' round like you're front page news!!

We're taking a brief breather from snarling garage rock and the mean minor third to get a little gentle  this week: three versions of The Lovin' Spoonful's 1965 smash, "You Didn't Have To Be So Nice." The original is a "like" song, instead of a played-out love song, featuring sweet harmonies, chimes, autoharp glissandos - but if that all sounds too soft, then Joe Butler's drums will keep you rocking (1:51).  We do actually get into the garage to listen to Rasputin and the Monk's charmingly inept take on the tune from 1966 (40:45). The drums thud,  the singer sounds like Kermit the Frog, and the backing vocalist warble off-key. It's great!! Even more ridiculous is The Glass Menagerie's version from 1968 (1:00:48). A slow, syrupy arrangment & overwrought singing really mess up the spirit of the song, but this means we have fun talking about how terrible it is. Now go upon your quiet way!!

In the latest show, we frat-ernize with our friends, John Davis and Bobby Beaton of The Gruesomes AND Fuad and the Feztones - the latter of which are known to perform this week's song, "Ooh Poo Pah Doo." We focus on four versions: 1. Jessie Hill, Part 1 (2:31) Our guests are experts on New Orleans R&B and what makes Jessie Hill's opening 1960 salvo so important - hint: it's sexual! They poo-poo Erik's talk of voodoo. But if you combine the sexual with the spiritual, then you create a textbook-worthy reading. Ooh!2. Jessie Hill, Part 2 (42:39) Why was this mostly-instrumental side the hit version?  Poo!3. Paul Revere & The Raiders (1:09:34) Why  aren't these guys in the R&R Hall of Fame? Pah!4. The Mystics (1:36:32) Weldon and Erik like this  1964 garage version, but John and Bobby think it's poopy. Doo!This episode was sponsored by The Gruesomes Live on "Le Beat" , Montreal's coolest teen dance show! (found on Youtube): https://www.youtube.com/watch?v=zG1vSYF6ufw&ab_channel=TheGruesomes

This week, you get served with "A Legal Matter." Don't say it's a rare case, lots of bands have covered this tune. The Who's original from 1965 is on trial first, with your two judges presiding (1:28). Roger Daltrey gives his vocal cords a rest and lets Pete Townshend address the jury (PT's first recorded lead vocal!).  The lyrics portray a nebbish guy who wants to annul his nuptials, or something like that.  It's got a country feel, with rollicking piano from Nicky Hopkins and a ne'er do well narrative. Now off to France, where Ronnie Bird layed down la loi  in 1966 (1:00:01). We've been accused of judging French rock'n'roll harshly, but RB and his band acquit themselves well. Our next defendants are some Americans known as The Litter, which is a rather suspect name (1:30:20). Where were these guys in late 1966?  In the studio, giving this track the freakbeat sound it needs and adding some great danga-danga rhythm guitar. Court adjourned! 

In this latest theme episode, we surveil three songs by sneaky guys from two different Cold War eras. First, we stake out “Secret Agent Man” -- the 1966 hit by Johnny Rivers (1:54). Wherein he reveals the lonely but glamorous life of a spook, and we decode the spy scene and sound of the 60s. It’s a surf-spy-hootenanny! Our next asset is “Wild Angel” by James Bond and the Agents (54:55): not about the spy game per se, but the band’s alias is apropos, so let’s go!. This “Back From the Grave” classic features fuzz, great backing vocals, fuzz, clanging percussion, a cool solo, fuzz, and lyrics that reverse garage tropes. Is it a honeytrap? Then, a communique from the 80s arrives in the guise of “A View To a Kill” by Duran Duran (1:25:55).  An actual Bond theme, and we read the dossier on the band and relive the famous sour note sung by Simon Le Bon in 1985. Get shaken, not stirred!

In this episode, we take a break from all the raging garage, and visit Philly for some sweet soulful sounds. Back in 1965, Valerie Ashford, Nick Simpson, and Jo Armstead wrote a great dancefloor mover called "The Real Thing" that rips off the groove from "Heat Wave" to great effect. We think Tina Britt did the original version (2:20), and it provokes discussion on conflict, certainty, doubt, and dancing.  That same year, The Chiffons produced an ethereal version of "The Real Thing", with harps! (50:43) Predictably, Weldon freaks out and cites other Chiffons bangers and baroque masterpieces. Erik introduces a new musicological term. We get deep here! The final version comes from a man who was once on top in the land down under Down Under: Mr. Lee Grant from New Zealand (1:21:43). We relate his crazy crooning career, which culminated in being thrown off the Eiffel Tower by Grace Jones!! Get real!!!!

It's time for another episode of "Single File" - where we study a notable single, 'reading' both the A and B sides. And the A side is one of the most UNHINGED songs we've ever spun, Adrian Lloyd's 1965 screamer, "Lorna" (1:07). Warning: CONTENTS ARE UNSAFE! Even the bass is buggy on this one - put your headphones on and say sayonara to your sanity ... Oh, and it has a surf drum solo, too! The B-side, "Got a Little Woman" (42:00) might seem like a respite, but it sneaks up on you like a gang of rabid raccoons in the night. This song also has a beautiful ostinato-overload guitar solo that you need to hear.  These two sides will take you on a wild rollercoaster ride!!

We finally gab about "Gloria"! No, not  Laura Branigan's 80s anthem:! Van Morrison and Them's 1965 original is the hip hymn in question (1:21).  We're smart guys, so we discuss the song's spiritual and sensual subtexts, but also the idea of glory, as in fame & respect. And we respect that there Them's racket! Secondly, since our highest-rated episode featured Them AND The Thirteenth Floor Elevators, we bring the Texas titans back because they bandied the tune about back in '66 (1:02:04).  Their version choogles with psychedelic velocity, rhythms, and high plains hollers. It's too insane to be contained! Finally, The Belles - four wholesome teen girls from Florida -  flipped the script in '66 and made the song about "Melvin" (i.e., Melvin Bucci of the Vandals) (1:40:02).  Their version is cute, cool, menacing, and it'll make you feel ow-right!

In this episode, we study the Move's 1968 scorcher, "Fire Brigade" (1:19): the original has TWO riffs for you to air-guitar to: are you a Peter Buck or Eddie Cochran-style strummer? Their Brummie buddies The Fortunes tried to light the fire the same year, but we decide their version is a mere two-alarm inferno (53:28). Finally, we open the door to the Kenny Woodman Sound's instrumental version, which predictably explodes because it's so gassy (1:05:31). Klaxon, Klaxoff!!

A great artifact of termite trash gets the ITP treatment in this show: the Greenwich/Barry tune, "Hanky Panky."The Summits (1:49) [1963]. As Erik mentions, more people in the world could tell you about the summit of Mount Everest  than can tell you anything about this girl group. This is the first released version,  and it namechecks other groups who do "the hanky panky " - hot gossip!Tommy James & The Shondells (28:24) [1964/1966] These teens from Niles, Michigan recorded the tune in 1964 and it went from Niles to Nowheresville, but with a crucial layover in Pittsburgh, where it became a dance hit that then spread nationwide. Here's why: it rocks. Listen to this moldy oldie with fresh ears and you'll be asking to get hit one more time.  The Mojo Men (1:03:22)  [1966] Sly Stone produced this version, and the arrangement with funky 12-string guitar has his handprints all over it.  Some good James Brown-style screams from the main Mojo man, too - you gotta hear this one!! 

In this episode, we put the spotlight on the song that made Eric Clapton fly away from the Yardbirds - "For Your Love" (4:08). This Graham Gouldman-penned chanty of chivalry only features the band for about 20 seconds, while the rest is a bongo-harpsichord-and-vocals- only affair (with a bowed bass to boot). That sounds like it wouldn't work, but obviously it did! Did you know that Herman's Hermits covered the tune in 1965? Hear their twee-er, mid-wattage version at (50:06). The girls in the garage took the song on, too - namely, The Liverbirds (1:15:30), with deeper voices than Peter Noone and a drummer (Sylvia Saunders) who demands your attention!! Is "For Your Love" a secret tubthumping classic for the Buddy Rich/Gene Krupa set? Only the bongos know ...

On this theme episode, we feature 4 moody organ-driven slow-burn songs from the 1960s centered on the eternal rock'n'roll question: should I stay or should I go? We begin this quartet of quandary with Phil and the Frantics and their haunting ballad "I Must Run" (2:32). Sure, it rips off the Zombies, but those guys don't move fast, so Phil and the boys are ahead of the pack in more ways than one. Second thoughts arise with The Cryin' Shames and their weeper "Please Stay" (43:26). Joe Meek's final hit job (well, before he murdered his landlady)! The boil keeps rolling with the third song of the show - "Baby Let's Wait" by The Royal Guardsmen (1:23:43). These guys shoot Snoopy down and tackle a slice-of-life narrative tune of young love written by the estimable songwriting partnership of Lori Burton & Pam Sawyer. It's great, but we gotta move on- so we say our sayonaras with "Bye Bye" by The Ban (1:50:45). The organ rolls and the band rocks - totally snotty garage attitude to mask the teardrops caused by all these sad songs!

For Episode #69, we revisit (and re-record) an early episode: two sophomoric songs about sex! The "four"-play begins with "69" by The 4 (4:00). A Kinks-y riff and lusty screams make this one 100% Grade A garage. An analysis of lyrics & attitude ensues. We contrast this frantic fornicator to the much more subdued and detached "Let's Go in '69" by The Customs Five (42:32). Proto-new wave? A statement against school spirit? You do the math!!!

2021 is almost over, so join us for the big, year-end AWARDS SHOW.! The categories are: Bo Diddliest Song from a Theme Episode,Bo Diddliest Cha-Cha,Bo Diddliest Video, andMost Better than the Beatles. There's the usual in(s)anity, and we also include some New Year's Resolutions. It's a chance for us to shut the door on another shitty year and blow the roof off the house before the tornados of 2022 do!!

Episode 67 features a 4-pack of “Have Love Will Travel”! The first stop on the itinerary is Richard Berry and the Pharaohs' original 1959 version (4:04).  This tune chugs along merrily and reminds rockers that the best songs come from the doo-wop dudes. Our journey takes us to San Diego, to hear what The Imperialites did with the song in 1964 (39:54). George Semper and his So Cal band make this one super soulful, with a flying finger guitar solo. It’s got a lot of “Louie Louie” in it, and you love that! Up to Tacoma, Washington to dig The Sonics and their famous version (58:28). You knew these Pacific Northwest boys would make it wild and woolly! Our final whistlestop is the late 80s to hear Mojo Nixon and Skid Roper (with the Young Fresh Fellows) grungify the song even further (1:33:27). The fuzz and the fury!!

For episode 66, we do a song released in early 67 from Q65 – "From Above" (3:22) An angelic rock ballad from some ugly dudes from Holland! A lot of discussion of the enigmatic lyrics  – with its depiction of a reversal of fortunes in a love relationship – and especially the use of the word “quarrelly.” A beautiful, diaphanous, shimmering feedback solo really sends this song soaring into the heavens and sends Erik to the madhouse trying to figure out how it was made (Weldon suggests God was in the studio). The second in the heavenly chorus comes from The Tell Tale Hearts (1:01:46).  In 1984, these San Diegans stuck on some sick fuzz, a cool, pulsating organ , along with the simultaneously snotty and tender vocals of Ray Brandes to make this version  a candidate for being the chosen one.  Two years later, the Mystic Eyes released their own version of this sacred hymn (1:21:34)  The band from Buffalo with the legendary Bernie Kugel adds some jangly arpeggios and subtracts the lyrical reversal (and revises the important “q” word). Is it ok to change scripture like this? They all move in mysterious ways!

In the latest episode, we explore the world of work, expressed in song. Our first application comes from The Silhouettes, and their 1957 smash hit “Get A Job” (2:49). Rockin’ doo-wop backing here: an immortal vocable, plinky piano and crashy drums. The song is textbook early rock’n’roll – joyous, live-sounding, dumb – they’re on the payroll! Now it’s time to review the rookie Miracles, and Smokey Robinson’s inaugural song-writing effort, the 1958 answer song “Got a Job” (47:53). Man, is this guy ever a go-getter! But Smokey’s secretly snarking about the job behind the boss’s back. Don’t tell Berry Gordy!! Sadly, someone fired poor ol’ doleful Alex Chilton, whose 1985 tune “Lost My Job” both lauds and laments unemployment (1:22:33). He runs the gamut of emotions, befitting the blues and boogie of the song. Now everybody get back to work!!!

On the latest episode of In the Past, we don't miss the metaphorical maracas! We take on The Rolling Stones' 1965 mega-hit, "Satisfaction" (3:38), and it really fires our imagination, because we talk about it longer than any other single song in ITP history! The FUZZ riff, Keith's dream, the vocal dynamics, Jack Nitzsche's tambourine, the other genres it encompasses, it's all there and more, But, as is always the case, we throw in two more versions. The Mods (1:17:07) were five Jersey shore boys who ad-libbed  the song in the studio one fateful day. We talk about the 'wet' guitar sound and the subtle addition of vocal harmonies on the Slow Berns. The Boss himself was in the front row, taking notes. The final salvo of "Satisfaction" comes from the great Mary Wells (1:47:09). This was recorded in 1966, after she had departed from Motown, but she still takes the song on a tour of the Motor City's streets in her American-made auto. It's a great shortened soulful take on the song, a la Otis,  with assertive vocals ("Tell me what'd i say?"), spy movie guitar and Sonny Sanders' superb arrangement WITH A GO-GO SAX INSTRO BREAK.  We guarantee you'll be satisified!!

Shortly after the Beatles recorded “Day Tripper” in 1965, a group of five ascot-wearing West Virginia teens – The Rondeaus - went into the studio to beat Lenon and McArtney at their own game (1:55). The vocals are wrong. The hi-hat is rusty (you could get tetanus from it if it scratched you!). The guitar solo is … simplified. And the bass isn’t even a bass!! These all-American boys take the worldly Beatles and make it innocent and relatable. But paradoxically, they also make it dirtier. Our notaries have officially stamped this version: Better than the Beatles. In case that weren’t enough, the Rondeaus put out a ballad of their own, “Anymore” (40:12). They cleverly cop the “Day Tripper” riff (which the Beatles stole from Bobby Parker, anyway) and add some heartfelt lyrics. A total garage tune. We think Paul & Ringo should record this as the last Beatles song ever. Come on, it could happen!!

Spooky season continues with the little-known but absolutely excellent rocker, "Castin' My Spell"! The Johnson Brothers concocted the original witches brew back in 1959 (2:40)–  the list of gris-gris is sung with good-natured aplomb, but eviller things are bubbling under. The Johnny Otis Show came along a few months later and were clever enough to add a Bo Diddley beat to the voodoo incantation (37:05). JO and Marcie Lee make the song a delicious duet - why didn't Kenny & Dolly do this number? The Pirates didn't exactly mutiny in 1964, but they did take a solo step down the plank away from Cap'n Johnny Kidd with their wax rendition of the tune (1:05:08).  These guys make the song more sinister and Mick Green adds some  major mojo. And Pastronauts will be glad we finally made it into the 90s, to hear The Gories perform a zombie-fied version of the song (1:27:06). They keep it lean and mean and garagers everywhere will do the Lurch!

 We chew on some bubblegum on this week’s episode: namely the 1910 Fruitgum Company and their 1968 confection "1,2,3 Red Light"  (1:13) . Music for the neglected tweenage market! Was bubblegum rebellious or counter-revolutionary? P(r)eppy vocals, circus organ, tight harmonies and bass, snappy drums and sexual innuendo! We give the original song the green light to go, go, go!!! The next pack comes from some mysterios in 1969 named the Zig Zag People (53:40) These hepcats bully the bubblegum song into an acid-washed treatment (with horns!). Weldon discusses the French avant-garde concept of the blague in connection with these psych pranksters. Bubblegum got updated in the new millenium, and Apache Dropout and their 2012 version is evidence of that (1:19:13) A reverent, reverb-drenched rendition by some recent rockers. They throw some dirt on the grave of the bubblegum movement – or are they digging it back up?  These songs will stay in your body for seven years!!

For Episode 60, we’re celebrating every garage rock fan’s favourite high holiday: All Hallow’s Eve! So we’ve assembled a pentagram of terrifying tunes - and ALL FIVE are about werewolves! The first bite comes from The Frantics (5:15). Their 1960 instro “Werewolf” evokes the chill of nighttime and the horror of human transformation with some Vincent Price-esque narration and many atmospheric effects. Our second stab at the topic comes from Morgus and the Daringers, released that same year (30:16). Their take (also titled “Werewolf”) might seem lighthearted, but that’s only if you think lupine attacks on beatniks are something to be celebrated! The third in this unholy list of lycanthropy comes in the guise of those pesky Kingsmen (1:09:23) . The Joey Levine-penned “Wolf of Manhattan” shows what happens when the turn-skin escapes the forest for the bright lights of the city – he’ll take a bite out of the Big Apple! The fiendish fourth is “Werewolf and Witchbreath” by The Troll (1:28:12). The lyrics to this one are a gurgling incantation to unseen spirits, and the song is a heavy hymn to hellish hallucinations (translation: it’s psychedelic). We’re back in the forest for the final howl, which comes from Michael Hurley, whose spooky, folky 1971 tune “The Werewolf” is an empathetic look at the monster we try to run away from (1:53:37). Was it … inside us the whole time?!?!?!

Spokane’s favorite speedsters, the Jolly Green Giants take on Roy Lee Johnson’s 1963 R&B eponymous instructional dance song, “Busy Body” (1:34), the A-side of their sole single. The BPM's will make your body busy! A killer riff, cranked Fender amp and belligerent vocals place this suspect firmly in the Pacific Northwest in 1966. We also discuss backbone slippage and other horrible dancefloor injuries. The B-side is “Caught You Red Handed” (41:47) and Weldon likes it even better than the feature presentation. More Sonics-style vocals on this number: the combination of the mean minor third and tough lyrical content causes modulation and intimidation. Tear off your shoes!!

Take a lesson from THREE, who do The Stupidity!!Solomon Burke 1963 (1:31)A celebration of universal, life-affirming stupidity. You get hit with King Solomon’s voice and his band’s horns and it knocks you silly! As always, rock and roll dumbness leads to selfless, liberating transcendence: Erik & Weldon at their most philosophical on this one.The Undertakers  1964 (44:34)These underrated Liverpudlians “beat" up and strip down the original. Another soaring tenor, Jackie Lomax, and also some soaring sax keep it hot and cool. Weldon says some stupid stuff about New Zealand, in keeping with the theme.Dr. Feelgood 1976 (1:05:31)These pub rock princes finally get on the podcast. Who needs horns when you have Wilko Johnson on guitar? He has literal chops! It’s the title track off their No. 1 live album, so these dum-dums know the power of “Stupidity”! 

It's Canadian Thanksgiving, so get ready to be stuffed - with versions of "Keep on Running", that is. The appetizer is Jackie Edwards' original version (1:47). Or we think it's the original - a rare case where our intrepid hosts don't know it all! At any rate, this one is smooth and (rock)steady - JE isn't worried about not getting the girl. The main course is Spencer Davis Group's 1965 hit version (25:04). This one has FUZZ guitar and MUFF bass. Lead crooner Stevie Winwood sounds like he's not the hunter, but the game! We go to Sweden for a side-dish - namely Gaggas' fine garage version, which keeps the fuzz and adds a mean minor 3rd  and some huggin', but is a little lacking in the hey-hey-hey's (1:00:24) Still good, though! Finally, let's have a rich Italian dessert - a 1966 version of the tune renamed "Vieni Fuori" by I Pooh (1:12:24). No, that's not a reference to what you will be doing after the big meal (well, it sort of is ...), it's a reference to the famous Canadian bear. Some sprightly singing and sassy guitar stings make this an especially sweet confection. Now start running to burn all those calories!

The song that could be called the true rival of “Louie Louie”: there’s a lot of lore around this tune.2:02 My Girl Sloopy – The Vibrations (1964)The original "Sloopy"! A live-ly song with a Latin flavour – the percussion is in your face and goes to your feet! We discuss the too-soon fadeout and the perennial Snoopy/Sloopy confusion. And what in the heck is a Slow Berns? Find out here.43:49 My Girl Sloopy – James Henry & the Olympics (1965)Ruff, tuff, garage of the Pacific Northwest variety - which means sax, organ and four-on-the-floor drumming. We debate the potential frat-rock status of the song & the talent these bands have to make all their repertoire sound gloriously duh-duh-duh! 1:01:08 My Girl Sloopy – Yardbirds (1965)A very dynamic version – this song was made to be raved up! Jeff Beck’s sassy wah-wah, Keith Relf’s exaggerated hi-lo vocals and three – THREE! – slow berns make this one a treat. A crucial digression on Wishbone Ash and Marillion ensues.1:27:10 Hang on Sloopy – McCoys (1965)The most famous version – we talk about the whole backstory of the song's composition (with appearances by The Strangeloves and The Dave Clark Five), its afterlife and the mythology of Sloopy which is as deep as “Louie Louie.” Textbook stuff!

Warning: our latest episode may give some listeners a funny feeling, a fever, and even the chills. But don’t worry – it’s not Covid, it’s The Crystals! More specifically, “Oh Yeah, Maybe Baby,” (1:49) the song you’ll hear if you capsize their 1961 single, “There’s No Other Like My Baby” (discussed in Episode 33).  A slow song that happens fast! Patsy Wright’s charming, quavering vocals capture the chords of young love perfectly. Spectorian elements also abound: pulsating percussion … palpable piano … tinging triangle … and then the strings come in!! We’re susceptible to its many charms. We’re also all about value – so we add a live Laura Nyro version of the song from 1993 (41:29). She strips all the Spector away from the song and presents a powerful “grown-up” interpretation of the tune. It’s beautiful & profound and it was a pleasure to discuss it.

Songs about the 1950s and 60s pop culture figure of the “beatnik" and their love of the roasted bean! The first cup is a strong one - "Café Bohemian” by the Enchanters (8:28): A mostly-instrumental song that evokes the weirdest, wildest joint you could ever imagine at nighttime. Think guys with eye-patches, strange women with long cigarette holders, and maybe even a jittery striped-shirted poet waiting in the corner to go on stage. All this, and bongos (and some dirty sax & guitar) too! The second cup we'll quaff is “Like, I Love You” by Edd “Kookie” Byrnes (42:10). A groovy little (wrong) number from 1959 here. Weldon & Erik pore over the lyrics with a fine-toothed comb (you’ll get it, if you’re hip), and pick their fave lines from this daffy dialogue.  Finally, swig some "Sugar Shack" by Jimmy Gilmer & the Fireballs (1:21:19). Put on some trash to dance to the biggest hit of 1963! The organ in this song percolates as much as any reputable java hut’s coffee machine. Is this the jauntiest song ever? Weldon & Erik discuss the hidden subversive lyrical content of this seemingly innocent song and leave you with Gregory Corso reciting his hit poem "Marriage" (2:15:43). Now you're hip!

In our newest episode, we explain the greatness of “I Can’t Explain.” Obviously, we begin with The Who, and the original version from 1964 (1:26). It features a ‘gravedigger riff’ (a riff so good, garage bands have been digging it back up for years), but also Pete Townshend’s rhythm chops, and Keith Moon’s drums as a lead instrument. It’ll have you throwing shapes like a mid-60s London Mod! The next version is by the pride of Gary, Indiana – no, not the Jackson 5 – Oscar & the Majestics (53:16). Their version is tight, snappy and fuzzy. Ultra-cool vocals, busy bass, acid-soaked guitar, and most importantly, a cha cha tambourine sound. There’s almost too much to list here! Next, from Edmonton – the boiler room of Canada – comes The King-Beezz (1:20:30) These Jasper Avenue J.D.'s give the song an insouciant flavour, with lazy, cough-syrup haze vocals and clangy guitar. They take totally different pills than the Who! The final conflagration comes with The Napoleonic Wars (1:53:53). Greensburg, PA’s finest add a carnival organ to make this version sui generis and sassy. I think it’s love!

As you well know, 2021 is the Year of the Garage Rock Cha Cha! Therefore, this episode hones in on three great garage tunes from the Cha Cha record label out of 1960s Chicago.  The Hatfields set the pace for the race at (2:20) with their 1967  slab “The Kid from Cincy." Propulsive garage with a churning organ, machine gun drums, and great lyrics which get our full attention. Hats off to the Hatfields! Next up is the intoxicating  “Little Girl Gone” by Mogen David & the Grapes of Wrath (49:38). Knuckle-draggin’, filthy fuzz, clangin’ rhythm guitar, jungle drums, and a scream for the ages make this one ooze with primordial charm. It’s overloaded!! Keep the good times going with “Tomato Juice” by The Cardinals (1:21:16). This number provokes a long disquisition on frat-rock, so pay attention because this’ll be on the exam. But it’s a college kegger atmosphere, with the sophomoric Cardinals yelling out TV commercial slogans and highway double-entendres. It’s sure to cause a stir at your next custom car show!

Hot take: the first five Bobbettes records are perfect rock’n’roll records. As proof, we give two 45s by these Harlem Queens a spin and it’s a sure bet their heps! will put some pep in your step. First up is 1957's familiar hit, "Mr. Lee" (2:00) Formerly a diss track, this one has pure rock ‘n’ roll joy! Guitar stings!! Ebullient backing vocals!!! It's an all-time great, but don't overlook the B-side, "Look at the Stars" (58:45), which is a Caribbean-flavoured dance tune with a vivid vocal performance and picante percussion. Accidentally third (Weldon mixed his A's & B's), is "Zoomy", from a 1958 recording (1:17:42). The girls give you some great first date ideas, but you might get the hiccups and handclaps! A sax solo from King Curtis seals the song’s greatness. Finally, fourth is "Rock and Ree-ah-Zole" (1:47:33) -  a song that will confound squares with its hep talk and honkin’ heps (and another blast from King Curtis).  The Bobbettes mean business!!

We've made it to 50 episodes! To celebrate, we're presenting another chapter in our study of the world's greatest song, "Louie Louie" ... In 1964, The Angels (of "My Boyfriend's Back" fame) recorded a super-fun version, and it's one of the all-time best, with some great Jersey girl heys! and hos!, and a solid rock band backing them. The drummer even pays tribute to Lynn Easton's frantic fills! (2:35). That same year, HB & the Checkmates sprang out of Springfield, Oregon and they flipped the script with an adaptation called "Louise Louise" (39:27). It's one of those "party in the studio" tracks we specialize in, and it's also a Pacific Northwest stomper with hints of Raiders, Sonics, and even some Remains thrown in.  If those guys couldn't put the Kingsmen's version in check, then it was up to The Checkmates Ltd. to continue the gamesmanship in 1965 - their rendition of "Louie Louie" is part of a medley which even includes a Bobby Darin song! (1:10:10). A crucial digression on "Yesterday" ensues here. Last and least- Honey Ltd.'s version shows just how bad things got in America by 1968 (1:56:02). Jack Nitzsche's arrangement wants to sock it to us, but we're ducking and diving from the bum bassline and revoltingly re-written lyrics of Lee Hazelwood. Hey guys, this is trash - not art!!    

The latest instalment of our look at notable b-sides to singles we have previously discussed lets us talk about TWO "backtracks" to "Can't Seem to Make You Mine." The first flip-side is "Daisy Mae," which The Seeds released in 1965 (3:03). It's a 50s rocker, but it's so much more than a throwback throwaway! Unwholesome, manic, and boneheaded are words that describe this song's appeal, and ours as well! At 24:34, we spin the 1967 re-release's reverse, "I Tell Myself." We're telling ourselves this was a good choice to play in 2021 - the year of the garage rock cha-cha (lest we forget)!! We moon over Daryl Hooper's spacey-sounding organ (DH > Ray Manzarek), and we beat the drum for Sky Saxon's unbeatable tambourine talents. Yeeoww!

In Episode 48, we go ape! The first in this week's troop of songs is the OG - the original "The Gorilla" - by none other than The Ideals,  who had a hominid hit with the track back in 1962 (1:09). We present some wild theories; ask who is higher in the rock-roll hierarchy: monkeys or gorillas?, while also closely examining the song's elegant rhyme scheme and prosodic structure. The next King Kong song comes from The Shandells, whose on-the-loose version of "The Gorilla" is way wild for 1964 (42:11).  A fist in the face riff! Bloodcurdling screams!! Actual gorillas in the studio?!? You decide, Clyde! The evolution of the song continues into 1966, when The Jaguars took "The Gorilla" on a tropical island vacation (1:07:05). Their version rolls, with drumfills that go Peart-shaped, and a rubber band bass line. Why didn’t Bo Diddley record this song?!?!?! 

We really shoot our waddle this week: FOUR songs from the 60s about ducks and dancing! First up is "The Duck" from 1965 by Jackie Lee (1:20). We note the religious undercurrents to this seemingly frivolous ode to our feathered friends, and we also question if The Duck is the least (or most?) erotic dance ever. Next in line is The Autographs from the same year, and their wild waterfowl wingding, "Do The Duck" (40:48). The guys in the band boldly quack where no one had quacked before, and the leading lady brings even more passion & gospel spirit to  the titular subject: the power of the Autographs Compel You (to do the duck ...). The third in our raft of 1965 duck tunes is "Can You Do the Duck" by The Meadowlarks (1:07:50). Some soulful falsetto gets the birds in the air, and the dudes on the dancefloor. Meanwhile, The Bracelets were paddling up front in 1962 with "Waddle Waddle", and these Mama Ducks gets their ducklings in a row with the cha-cha rhythm we've been ga ga for all year (1:33:17). And finally, there's a bonus, brooding version of Jackie Lee's number from some guys called The Duclairs (1:56:11). I think it might have been in an episode of Miami Vice - Or maybe Duck Tales?

Recorded WAY back in March, in a late-night session: Michael Hurley’s “Be Kind To Me” is a shaggy, shambling folk tune that fits in well with our tradition of playing “party in the studio” songs (1:59). It’s also the first song we’ve played with a mouth trumpet solo! We really get into the Dylan-y elements of the song, which is why it’s in our “It Ain’t Me, Bob” series. Don’t worry, we’re still a rock’n’roll podcast – so we play the original version of the song, a barrelhouse R&B stomper by the one and only Smiley Lewis, titled “Come On” (34:13) It’s a wide-ranging discussion, and there's even room for a third version by The Vanity Plates (1:17:12).

Bobby Beaton and John Davis of The Gruesomes return to the show! They asked if they could talk about the garage classic "Don't Tread On Me" by Kit & The Outlaws (1:29), and by golly we said yes! They are meritorious music micro-analyzers, and they also point their mad scientist microscopes at two 80s versions by The Nomads (53:33)  and The Gravedigger Five (1:30:20) with a lot of laughs along the way. There's even a bonus rendition, "Satán Sal De Mí" by Las Munjitas del Fuzz, from 2016 (2:21:09). Look, I don't need to write a lot here - it's the Gruesomes and you're gonna listen!! 

We celebrate the long, lazy days of summer with a long frantic road trip of an episode – 4 songs, all from 1966, all about the joys of summer. Dip your toes into the water with the Englishmen and their bossa-influenced jangler “Summer Is Here” (2:10). After that smooth and silky introduction, “Let’s Go To the Beach” with Larry & the Loafers (33:10). Surfing is optional, partying is mandatory! Then hit the road with The Beach Bums and their ultra-chromatic Beach Boys homage, “Florida Time” (1:03:19) These boys from Detroit (including a future Rock and Roll Hall of Famer) know their autos, so their Pontiac GTO is guaranteed to get you to the beach punctually, with beaucoup time to burn (in the sun, that is!). Staying in Florida, The Outsiders (from Tampa Bay) present the wildest version of “Summertime Blues” ever recorded (1:39:41) – and there’s a lot of competition. While the band fuzzes out and the people in the studio get freaked out, the singer stays cool as an air-conditioner, and extends Eddie Cochran’s two-week vacation to a more flexible four – follow his lead and tell your boss off now!!

As a supplement to Episode 42, we present a new series where we investigate and discuss a particularly obscure or noteworthy single: something that can’t be denied on both sides!! And what better way to start than with Norfolk, Virginia’s wildest girl group, the Azaleas?! Side A is a blatant retread of Gary US Bonds’ 1961 non-hit, “Not Me”, retitled “Hands Off” (2:02). A crazy organ sound, lots of “lowtower,” and the sound of a group of people who are enjoying demolishing the studio and the social fabric with their ferocious energy. The b-side “Our Drummer Can’t Keep Time” is even more bonkers (59:58): it’s the tale of a untamed tubthumper named Gregory Garfone , played to the tune of “Buffalo Gals.” This has got to be the fastest song we’ve ever played!! All that, and we even add a bonus track, Jimmy Soul’s “Church Street in the Summer Time”, which celebrates many players of the Norfolk scene (1:35:22).

Back in 1961 - In The Past's favourite rock'n'roll year after 1966 - Gary U.S. Bonds released an amazing track called "Not Me", which due to the squares, never hit the Top 40 like it should have (1:17).  We celebrate this American road trip of a song while we revel in its "in the red" levels and the Virginia rebels behind the "Norfolk Sound." Later on, The Orlons managed to make the song a hit in 1963 and we talk about Rosetta Hightower's low growls , Stephen Caldwell's froggy vowels, and add some crucial new Simon Cowells (i.e. critical terms) to the world of Rock and Roll  Studies (55:42) Finally, we end up in Mexico to check out Los Apson's re-written, re-titled refrito version, "Por Ti" (1:25:14).

Wella Wella! Back in February we recorded three episodes in one night, and this is the one that has been sitting on the shelf the longest.  But it's still fresh as a daisy! in this installment of "Always a B-Side," we capsize the 1965 single by England's own The Little Darlings to hear the flip of their flop release, "Little Bit o' Soul" (discussed in Episode 18). The song is "Easy to Cry", which has a Bo Diddley beat, some clangin' guitars, and wailin' vocals (2:53).  We discover that the Darlin's transformed a Carter Lewis and the Southerners original (27:47) , from a sunny Merseybeat melody  to a surly snarler: tune in for this sorcery!!

It's almost summer, so let's get it started with a reality check: no AC, mosquitos, too many people at the beach, and the world's worst "summer song" ever: "Don't Be Shy" by Shwayze and some other guy (1:15). Man, this song sucks. A terrible, awful raw machine drum sound that drills into your brain, stoner vocal fry from a 'singer' who sounds like Beck with a cold, incomprehensible song structure,  a beastly bouquet of 1999's most bogus sounds (Bran Van 3000/Sublime) but from 2008! - and the longest, most amateurish fade-out we've ever found. As a wise man says in this episode, "Even raccoons wouldn't touch this garbage." But we had to publish this: it's a dirty job talking about the Worst Song Ever, but we have to do it every 6 months or so to get our chakras realigned, or something ...

In Part 2, we banter about the bands who have reached the 96th Tier (the highest echelon) of "96 Tears" cover versions.  First up is Zeus's favourite band, Los Thunder Boys from Costa Rica (1:08) . Their 1966 rendition is fast, surfy, and sans organ?!?!?! How do they get away with it? Well, the drummer has us ridin' the big wave of the Middle Eight, and we go gaga over the singer's growly, passionate, and vulnerable vocals so you don't even notice the keys are desaparacido. Fast forward to 1978 to hear R.  Stevie Moore's stab at the song (24:39). It's a goofy great from outer space, and RSM heps us to why 96 is ultimately a better number than 69. A crucial digression on straitjackets and quicksand ensues.  An expedition into the 80s has us checkin' out Thelma Houston's R&B/disco entry into the Too Many Teardrops sweepstakes (1:00:40). Her sly, foxy version contains a Funkytown fragment, a boppin' bass in the Middle 8, and the guitarist finally gets a spotlight. Finally, we go to Canada's Boiler Room - Edmonton, Alberta - to have The Nitehawks fade us out (1:27:21)

In this episode, we use the Socratic Method (and Google) to answer the Supreme Question: “What makes ‘96 Tears’ so good?” In Part 1, we soully focus on ? and the Mysterians original version, recorded & released in the peak garage rock year of 1966, and you can't spell 1966 without "96"! Among the many Mysterian mysteries we uncover is the correct pronunciation of the singer’s name, the secret of the organ riff, and how a song that doesn't have a rave-up freak-out can still be classifiably insane.  

How are you going to keep them down on the farm after they hear our show on “Bright Lights, Big City”? We start our tour with Jimmy Reed’s 1961 original version (0:55), with the marital harmonies of Jimmy and Mama Mary Reed seeming to drift out of a divey, spit-and-sawdust saloon, punctuated by Earl Phillips’ startling cymbal crashes and Bill Putnam’s pleasing production. After we listen to the Rolling Stones’s 1963 version, Erik makes the hot take scene and says the Stones never sounded better and Weldon wonders why they even bothered even writing originals! (39:30) By the time we get to the Animals (1:06:24), we’re definitely on Broadway (and in Vegas?) and Eric Burdon sure sounds less resigned about his baby being there than JR or MJ did. Their 1965 version cranks up the neon lights and gets really cinematic: ‘sparking’ organ, 12-string spangles, filled with long cadillacs, men with money, and more sinful temptations than even the House of the Rising Sun! We imagine Eric Burdon birdin’ and we like his spoken wordin’. Stay in the city for awhile after the bars close and have a listen to the funky Gordon Gartelles do the song at (1:45:01). Flamingo!

Prepare yourself for a feast! The main course is “Pork and Gravy”, a delightful delicacy from the De-Los, a wild doo-wop number from 1958 that features a tale of loss and vengeance that is worthy of epic poetry (1:37). You’ll need something to sop up the sauce, so we’re putting some “Bread and Butter,” prepared by The Newbeats on your plate (38:38). Wash the entrée and appies down with some “Kickapoo Joy Juice,” an amazing concoction of dubious ingredients brewed up the Rivingtons (1:11:40). You know they are crazy, so try not to drink too much. For dessert, the obvious choice is “Cherry Pie”, a remake of the 1954 vocal classic released in 1965 by the amazingly cool Charles Christy and the Crystals (these are Texas boys, not Brooklyn gals, but hoo boy what a pairing that would be!) (1:34:13) . And, since we like to indulge our hungry Pastronauts, the original chefs Marvin & Johnny offer you “A Second Helping of Cherry Pie” (1:58:52). Bon Appétit!

Episode 35 comes alive with a feature on the garage rock nugget, "Bloodhound," originally laid down in 1961 by the shaggy dog himself, Larry Bright (1:48). We spend some time scrutinizing his slick guitar work, evoking burly session musicians making puppy sounds in the studio, and contemplating the place of meanness in garage rock lyrics. The second in the litter is Downliners Sect, who recorded the tune in 1964 (36:45). They get right to the chase, which is appropriate for a band whose leader wears a deerstalker hat: snotty vocals, wailing harp, and two instro breaks which clock in at a Westminster Kennel Club-approved two minutes flat! Next up are some Swedish mutts known as the Tages (57:50): their version isn't very dogmatic because there's nary a yelp or whimper, and they must be well-trained since they trick us with two false endings. Meanwhile, they may be in the back of the pack, but The Gruesomes ain't no runts (1:14:36)!  They waxed the track back in 1986 when they were just pups, but they retrieve the piano last heard in '61, along with a heap of energetic howling that's sure to draw the dogcatcher!!

The latest episode expounds on a classic Ellie Greenwich-penned ditty from 1963. Exhibit A is the original "Do Wah Diddy" by The Exciters, who really should have an exclamation point after their name (2:05). These three gals and a guy journey from Jamaica, Queens to the Brill Building and beat us all over the head with beatitude! We get breathless over the song's antiphonal aspects and its mania for matrimony. The ensuing epithalamium is the most famous version by Manfred Mann, who added an extra “Diddy” and scored a number one hit in 1964 (35:46). Erik examines how lead singer Paul Jones says words, and we also ponder PJ’s claim that the song is a euphemism for sexual dalliance. Our tertiary topic is Silicon Teens, who in 1980 used the song as a showcase for spacy synth sounds and a soul-less (but fun!) vocal performance (1:12:31).  We conclude our study by noting the relationship between synthesizers and doo-wop syllables, and we can all agree what a perfect marriage that is!

This week we’re gabbing about the 1961 classic, “There’s No Other Like My Baby.” The original version by the Crystals is the first on our dance card (@1:22), so do like us & let Barbara Alston and those other Brooklyn gals in prom dresses lead you into the ballroom of great 1960s music, with soaring singing and Phil Spector’s swelling strings starting things off soft & somber (& keep your ears pricked for a particularly hot take around 33 minutes in!).  Four years later, we go to a Beach Boys party to hear their hootenanny-ish take, and while it’s stripped down, they still hit the heights with those jim-dandy harmonies (53:04). No one would expect a cult folk-psych band to chime in, but that’s exactly what Pearls Before Swine did at a live show in 1971 (1:27:26). We dig their cocktail party version and discuss the line between sincerity and sacrilege, and conclude that no one can put a dent in the song’s essential gravitas. Finally, no one wants the party to end, so Pastronauts get a gratuity with the Velvet Pond’s version, which includes some fabulous flugelhorn (1:55:14).

In Episode 32, you’re going to “Louie Louie” University!! This is our wildest and most comprehensive podcast yet, full of Hot Takes! Wild Theories!! New Terminology!!! and Revisionist History!!!! We trace the song's journey from a Cuban cha-cha-cha tune to Richard Berry and the Pharaohs' transformation of the groove into a doo-wop number about a sailor, with Godoy Colbert’s delightfully dumb “duh-duh-duh’s” (23:16). The larger part of the pod studies the Kingsmen's alchemical coagulation of the song into pure, beautiful 60s termite trash (48:59). Finally, we ride forth with Paul Revere and the Raiders version (1:42:42), recorded the same week and in the same studio as the Kingsmen, but without the magic fairy dust of Joe Ely’s cartoon caterwauling and Lynn Easton’s daffy drumming. All this and the René Touzet number which started it all !!(2:12:43)

Episode 31 contemplates the conundrum expressed in The Troggs' 1966 hit, "I Can't Control Myself." Reg Presley and the boys find some flakes of the same fairy dust they sprinkled over their former hit, "Wild Thing" and, like all discussion of the band, our talk drifts towards the topics of minimalism and negative space in their work (2:00). Big Maybelle had a fling with the song the next year, and both her vocals and Bob Gallo's arrangement are bold, brash, and brassy, with a funky drum break the cratediggers of hip hop have somehow missed, until we pointed it out (55:58).  The Teenbeats are the final contenders, and we comment on the romantic and sexual implications of their fast & furious rendition, which was a hit with Montreal modsters in 1980 (1:25:58).

Springtime is a time of fecundity & increase, so your hosts celebrate the season by throwing a bonus episode, from a bonus series, with a bonus song at ya!!! "It Ain't Me, Bob" looks at Bob Dylan soundalike songs, from the garage and beyond! We commence the series with Dylan's home-state mates The Trashmen, and their 1966 track "Same Lines" (1:50). Is it a protest song from the malt shop? A parody of the Voice of a Generation? Don't worry, it rocks - the song's riff has a half life of a million years! We also serve a lagniappe of the A-side, "Hangin' on Me," a folk-rock jangler with glowering garage rock lyrical content (50:00).

One frigid night in late January, our two intrepid hosts recorded three episodes back-to-back, in an experiment public health officials have described as both “insane” and “totally wicked rad."  All three shows are part of our now-renowned “Always a B-Side, Never A Bride” series, where we flip over a song we previously discussed on the pod and listen to the reverse. For secret reasons, we’re publishing the 3rd episode before the second one we recorded that night: in this one we discuss First Gear’s “Leave My Kitten Alone” (2:27), the turvy to that band’s 1964 topsy, “A Certain Girl.” Yes, that’s Jimmy Page on the git-box! But more importantly, we flip our lids to Little Willie John’s 1959 original ingredients (21:34) and wonder where it’s been all our lives!

In Episode 28, we’re taking it to the rooftops to shout about the sweet-soul classic “It’s Gonna Take A Miracle.” First off is the original 1965 version by Baltimore’s greatest girl group, the Royalettes  (@ 2:50) – and we double the fun by discussing both the song and the incredible video (found on our podcast’s Facebook page) . Like us, you'll get lost in Sheila Ross’s eyes and bounced around by arranger Teddy Randazzo’s dynamic orchestral crescendos and tympani rolls. Six years later, Laura Nyro’s version (@ 43:01) hits us hard with her harrowing-night-of-the-soul performance, and the solid, supportive backing of the vocal group Labelle might be the only thing keeping us from jumping off the Brooklyn Bridge. 11 years later, and could you find a more different performance than Deniece Williams’ 1982 hit version (@ 1:19:40)? We manage to fit in some observations on DW’s slow-dance, doo-wop, placid and plush Motown-ish reading, in between discussing its incredible video, facts about the Family Ties theme song, and a crucial digression on karaoke in Edmonton, Alberta at the turn of the 21st Century.  

In Episode 27, we discuss the class of 1965 slow-burn serenade “Can’t Seem To Make You Mine” by the Seeds and its sonic spunk of twangy guitar, wild Wurlitzer, and Sky Saxon’s sui generis doo-wop spoken-word section (1:04). The middle child this week is the philosopher of bad vibes, Alex Chilton, and the reverent mockery of his 1978 version (47:20). Spank Rock and Diplo are at the hot corner with their 2005 track, “Put that Pussy On Me” – a hip hop song with the sampled Seeds song shimmering spectrally in the background (1:17:51). If that wasn’t enough for you, we include a gassy version from the mysterious demo tape found under a Caragana bush behind a house on 38th Avenue and Ross Street in Red Deer, which appears to be by a band called The Anteseedents (2:01:15)

This week’s episode is for the fashion plates: we play & discuss four songs about “krazy klothes.” First up is Arnie “Woo Woo” Ginsburg and the 3Ds advertising a local clothier in “Pal Mal Rock” (3:33) – listen up so you’ll know what to wear when you go to the hops! Next up is The Royal Teens and their immortal treatise on the proper display of the gluteus maximus: “Short Shorts.” (35:58) Who wears them? Do they like them? And, even though they tell you not to wear white after Labour Day, the Majorettes are firmly in favour of their baby’s “White Levis” (1:06:39) (and his tennis shoes, and his surfing hat, and his big plaid Pendleton shirt.) Last but never least, Brenton Wood (1:28:53) returns (he appeared in Episode 2 – “Psychotic Reaction”) to soundtrack your strut down the street in your funky ensemble– but is it too much? Never!!

Paul McCarthy is in shambles! The third in our “Better than the Beatles” series features the Dave Clark Five, the southern rivals of the Fab Four. Both Erik & Weldon list their reasons why the DC5 are superior in every way and scientists and philosophers alike have described their logic as “airtight.” Our discussion of “Bits and Pieces” (5:24) reveals Dave to be a true 60s auteur who beats the Beatles in revolutionary strategy. We then break down how “Anyway You Want It” (44:55) is a sterling example of the two-minute Tottenham symphony which still echoes in our collective ears, and  Erik explains how Mike Smith is the Serpentor (GI Joe fans will understand...). “Nineteen Days” (1:16:09) is a ‘countdown’ song that distorts time and space, as our appreciative garage philosophers assert. And finally, Weldon contemplates the bleak, organ-less musical landscape of today when we talk about “Come Home” (1:39:10), and Erik points out the literal heights the DC5 could reach, compared to the Liverpool losers. 

We announced in January that 2021 is the “Year of the Cha Cha”, and Heinz’s 1964 track “Questions I Can’t Answer” (3:36), along with our selected covers of same will keep you quick-stepping into Spring! Erik brings his full music theory and philosophical knowledge to bear on the original and Weldon thinks the whole world was in the studio for this Joe Meek jam. Later that year, Don Atello (aka Bernie Schwartz) released a sorta Sonics-y statement, with cranked amps and some Flintstones-esque flair (43:02). We then travel to France to ecouter Evy’s gutsy, throaty, Yé-yé version, “Une Question Qui Se Pose” from 1965 (57:34), and follow that up with Fabienne Delsol and the Bristols Franglais-ing the song into the 90s with some fantastic fuzz! (1:10:33).

On this episode, we discuss the 1964 song “I Took My Baby Home”, the B-side of the second Kinks single, and the first Ray Davies-penned song ever released (1:21).  Erik and Weldon discuss the semiotics of Beat-era “whoa whoa whoas” and “yeah yeah yeahs” and some serious eggheadery ensues. We then examine the Pickwicks even beatier version from the same year, and no – Jimmy Page isn’t on it (40:09). Finally, we palaver about the New Piccadillys interpretation from 2014 (57:40), and our wild tangents and peripheral anecdotes don’t prevent us from making some good points on the evolution of snotty rock vocals. Whoa yeah!!

In the first episode of a new series, we flip over the Count Five’s 1966 hit “Psychotic Reaction” (discussed in Episode 2), to check out its B-side, “They’re Gonna Get You.” And we think it might be even crazier than the A-side!! Is this a simple song about a young rocker being afraid of the barbershop – or something even more scary? We make the discovery early in the series that B-sides are often cryptic and hard to decode messages from deep within the Zeitgeist, so skip your next class and listen to this history lesson instead …

Now that Valentine’s Day is over, let’s acknowledge that love stinks!! Just like this song by Rob Thomas from 2005 – another one of the Worst Songs Ever!– “This is How a Heart Breaks.” How can so many one-syllable words mean so little? How much cocaine did the band snort in the studio? How long can Erik & Weldon talk about it? If you love bad vibes and good conversation, then join us in this Hate-In!

Our latest episode arrives just in time for St. Valentine’s Day, so three versions of the Doc Pomus/Mort Shuman classic, “Sweets for my Sweet” are just what Cupid ordered. First off is The Drifters’ original version from 1961, and it’s a cha-cha calypso party in the studio with the swaggery Charlie Thomas on lead and Dionne Warwick on backing vocals! (1:00) Next up is those Merseybeat treblemakers, The Searchers! Their 1963 rendition leads Erik & Weldon into a philosophical discussion of “jangle”: what is it? And where did it go? (30:56) Then, in 1966, Don & the Goodtimes get their dirty mitts on our title tune and Hang On Sloopify it to high heck!! (1:08:57) And because we love you, there’s two bonus versions!!:  by Wang Wang Dog (1:42:05) and the Sugarbowl Six (1:47:59).

In this week’s episode, we discuss a rock’n’roll jam written all the way back in 1953!: Giddy Up A Ding Dong. first up is Freddy Bell and the Bell Boys’ 1956 performance of the song from the movie Rock Around The Clock, and along the way we have things to say about poetry, Wikipedia entries about music videos, and “tail sales” (0:48). The song was only ever a hit in the Commonwealth, so we then move to 1964 England to discuss the Snobs, whose surfy sounds and standoffish showmanship are studied at 33:59. Finally, our revolutionary spirits lead us to the Equals, a British black-and-tan rock band whose 1968 version features a booglin’ Motown bassline, some blasting brass, and a bonus verse!! (55:42)

In this week’s episode we celebrate the classic “Little Bit o’ Soul,” penned in 1964 by the British beat songwriting duo of John Carter & Ken Lewis. Your hosts Erik & Weldon spin the original 1965 version by long-haired Coventry combo the Little Darlings and discourse on the song’s profane and holy implications (0:39). The Music Explosion’s boffo box-office 1967 version reached the top of the charts and is a staple of oldies radio to this day, which proves that bubblegum stays in your body for years (37:20). And finally, we fly to Spain to hear Los Rockeros perform some kind of mystical Catholic ritual which transforms the song into “Tómalo Con Humor”, which’ll have you shouting “Hey!”, man! (1:02:34)

The Gruesomes take over the podcast! We visit (via videoconferencing) the Montreal castle of rock and roll legends Bobby Beaton & John Davis, who aren’t L7 and give us the 4-1-1 on The Haunted’s 1966 undisputed masterpiece “1-2-5” (versions found at 3:53, 47:34, and 1:12:45). These guys analyze the subversion of garage tropes in this song and tell us how harmonicas are supposed to sound and record covers are supposed to look!!  Things get wild and woolly, and maybe even a little … fuzzy?

In this episode, we play the song that inspired our podcast: the remarkable “In the Past” – written by Wayne Proctor and recorded by his band We The People back in the very psychedelic year of 1966 (1:08). Gearheads will love Erik’s discussion of WP’s “octachord,” which gives the song (and our intro) its way-out sound. We also listen to & discuss the Chocolate Watchband’s precision version, with its organ swells and copious percussion that’ll expand your mind more than you can handle! (1:04:45).

Special bonus episode! Every once in a while on a Wednesday, we may be dropping a surprise episode on y'all - here's the first one!It’s time once again to investigate why some bands do the Beatles better than the Beatles: Erik and Weldon break down The Eyes’ superior version of “Good Day Sunshine” (0:58), then The Score’s epic retelling of “Please Please Me” (20:07). When Merseybeat meets Freakbeat, you know you’re in for a [email protected]

This week's episode features three versions of the crazy, Allen Toussaint-penned semi-classic "A Certain Girl": Ernie K-Doe's inimitable New Orleans strut n' sass original (1:08), British beat combo First Gear's raved-up version with a roving spy movie bassline (32:05), and the Ne'er Do Wells seriously fun 90s rewrite titled "Carn't Tell Ya" (51:40). All this alongside the usual tangents & intern drama PLUS a wild 2020 remake by a mysterious figure named Erik K-Doe (1:17:03) with, of course, an unnnamed girl on backing vocals.

This week’s episode features a song so nice, we play it twice! Namely, The Carnaby’s 1965 fuzz-powered, mod-bubblegum, cha-cha rhythm confection “Jump and Dance.” Is this the ultimate sheep-shearing song? Does it even have a chorus? Don’t stop the New Year’s revelry until you’ve heard Erik & Weldon hip you to this track!Contact us at: [email protected]

In this final episode of ITP in the pandemic year of 2020, we discuss the simple, fun, and infectious dance track “Hully Gully” by the Olympics (0:55), along with Paul Revere and the Raiders’ explication of an urban myth in “Crisco Party,” (31:13) and we applaud “Doin’ The Mod” by Van Dyke and The Bambis  (1:00:00) and its treatment of rockers.

In this week’s episode of ITP, we discuss three versions of the Bob Dylan classic “It’s All Over Now, Baby Blue”: Weldon confirms his love of Ireland and its people as we discuss Van Morrison and Them’s beautiful version (0:57), Erik discusses the hypnotic guitar intertwinery of The 13th Floor Elevators (38:56), and we both freak out over Falco’s jazz-inspired take (58:52). Stay tuned at the end for a SPECIAL BONUS VERSH by one of our house bands: Thee Preverikaters (1:36:12).

This week's episode is another in our "Psychotic Reaction" series, where we listen to a rockin' track for the first time and flip out about it on air. In this one, we put the spotlight on one of the girls in the garage - Bonnie Jo Mason, also known as Cher! - and her debut recording, a slab of stalker rock entitled "Ringo, I Love You" from 1964. Oh, and we also  discuss the Japanese new wave band, the Plastics  (17:51) - it's hard to stay on topic when you're drinking scotch and cider ...

This week’s episode is not for the faint of heart. In this edition of Psychotic Reaction (where we react to garage rock songs we have not heard before) we’re talking about a wild growler by the 14th Wray which came out in 1990. The song is lo-fi, the lyrics are controversial, and the singer is pretty aggro. But it’s a wild ride, and along the way we mention Margaret Atwood, fanzines, spaceships, and the mystery of the band’s name and backing vocals.

In 1966, The Wailers, who some believe to be the first garage rock band ever, released "Out Of Our Tree": a true stompin' garage classic. We give you the deluxe tour of this mind-exploding tune including an intrepid journey into its truly insane lyrics. We also break down two other memorable versions by the great garage revival group, The Gruesomes (44:48), and a swingin' version from '67 by The Bear Fax (1:03:58). 

In this series, we discuss the songs we dislike the most, regardless of period or genre. Erik will explain why his most reviled tune is "Home for a Rest" by Spirit of the West ... but will Weldon decree that this beloved Canadian anthem is "Cool" OR "Trash"?? Listen and find out. 

Did you know that in 1965 The Turtles served up a blistering garage punk classic called, "Almost There"? We discuss the Turtles' original version and compare it to a couple other well executed renditions by Hawaiian garage band, The Spirits (36:32), and Fort Worth, Texas' Trycerz (51:54). 

Join Weldon Hunter and Erik Komarnicki for weekly, in depth, madcap discussions of garage rock music and other lunatic fringe genres.