In The Past: Garage Rock Podcast

As Erik says, "Pushin' Too Hard" by The Seeds is a garage tune that's more buzz than fuzz. 1 bar of music, 2 chords, no bridge, no chorus, and a relentless beat. It's simple, but is it stoopid? Maybe a little ... Two live covers follow by The Sonics (from the 60s) and Pere Ubu (from the 70s), which go a long way to canonize the tune as a punk classic. Plus Pere Ubu includes frog sounds! The next version, by the cringingly-named The Klan, adds buzzsaw guitar and races to the finish line. The final version is a 2021 rendition by Nick Waterhouse which goes in the other direction and is smoothly soulful ... but it's a long way from Sky Saxon stewin' in a car while his girlfriend goes grocery shopping! Is it hard enough for Pastronauts?

We're debuting a new series called "Greatest Greatest Hits," which looks at an artist or group's top songs. But this one could also have fit in "Better Than The Beatles," because Quebec's Michel Pagliaro really does sound like John, Paul, or George in several of these songs! You could also consider him an early power-pop exponent, but he's pretty much unknown outside of Canada, where his songs still get played on classic oldies stations. He's important to us because his songs crossed over on the Anglophone and Francophone charts, but you'll probably appreciate his music because it's so well-crafted. Travailler!

This won't be the last time you hear the Rolling Stones but this is the episode wherein we discuss "The Last Time" from early 1965. After acknowledging the chorus copped from the Staple Singers, we move on to the riff, the riff, the riff! We also note the strange connection to German Oompah music. The second in the parade comes from their producer and manager Andrew Oldham and his Orchestra. Obviously, this is a rearrangement rather than a cover, and obviously, it's infamous in the wake of Verve's "Bittersweet Symphony." It's totally tubular! In '66 to North Carolina's Nomads gave the song the garage treatment and the vocals are snottier and the kick drum is busier! The same year Phil & The Frantics authored a version with strange strangled vocals, an added organ with "Gloria" flourishes and it's the most oompah of all. We break the mold for "Do You Understand Me" by The Jujus, a song which steals the riff but scrambles it a bit - it's a classic! The last word goes the Who, who covered the song in 67 who underplay the riff and focus on Pete Townshend's thundering chords and Keith Moon's wild drumming. Oompah!

When did the 60s symbolically end? Altamont? Kent State? No - when the organ stops playing towards the end of "Gimme Gimme Good Lovin'" by Crazy Elephant. It's bubblegum, but also super rockin'. Who'da thunk it? The first cover of the version was by ... Giorgio Moroder? It doesn't sound like his 70s stuff but it is wild. Third is a 80s Moroder-esque version from Roxy Perry, a blueswoman who didn't expect a Hi-NRG remix of her vocal. The fourth suitor is Canada's legendary hair metallers, Helix. For Canucks Erik and Weldon, this is manna from heavy metal heaven. Finally, a recent rendition from GospelbeacH, which is faithful - too faithful? Listen to this with some girls from Texarcan!!

It's time to dip your toes into "Dirty Water" - The Standells and their enduring 1965 hit, that is! We gab about the snotty vocals, their appearance on The Munsters, we rank the drum fills - and of course, we crack the code of the song's lyrics. The next version is by The Gants - who add fuzz and relocate the song to Miami. But they musta forgot to learn the song! The Apollos are some North Carolina kids who keep the song in Boston but their accents would rarely be heard in Southy! The song crossed the pond to Ol' Blighty when The Inmates authored a very Dr. Feelgood-y version. And finally, back to Boston, for a risible, post-World Series win  version by Red Sox pitcher Bronson Arroyo. Pee-yew - go jump in the Charles, Bronson!

This week we're talking about a Girl Group Goofy Great - 1963's "Dumb Head" by Ginny Arnell. The lyrics are dangerously self-deprecating, the production is Spectorian, and there's FUZZ and a kazoo solo - played by GA herself. OH, and an infamous hook - something the Ramonesmight have sold their leather jackets for. The second version is super goofy and stoopid and it's by The Sharades, from England. Joe Meek produced it, so it has some otherworldy sounds (via a Clavioline) in addition to GREAT bug music vocals from Maggie & Gloria. No one covered the song until Girlfrendorevived it in the 90s. It's a cover of The Sharades/Joe Meek, not Ginny Arnell and we're getting into the realm of the ironic here. Finally, Primetimereleased a punky version in 2016 that seems to have a bone to pick with the original and just wait for that crucial change to the lyrics. Somebody kiss us please!

This week the spotlight is on a 1965 folk jangler by The Guilloteens: "I Don't Believe" is a raw, blue-eyed soul vocal outing reminiscent of the Righteous Brothers. They shoulda been on The Flintstones!! In 1966, The Five of Us came out with the first cover version. It's less raw, but it's smooth as Kraft Creamy! The same year, The Moonrakers pepped the song up considerably and made it into a toe-tapper. The song returned to Memphis in 2002 when Reigning Sound payed homage to their 60s forebears. It's a pretty muscular version, but the vocals are soft & sensitive. You'll feel no pain!!

A theme episode that's so garage you better test for carbon monoxide:Who Do You Love - The PreachersWhat a Girl Can't Do - The HangmenWhy - The Dirty WurdsWhen Shadows Fall - The JadesWhere You Gonna Go - Art Guy

You know what they say about the bird in the hand ... this week the bird is Buffalo Springfield's "Sit Down I Think I Love You." It's a nice jaunty tune with Stephen Stills (we think) pitchin' some clever woo at a potential beloved. And three guitarists! Lots of tasteful flourishes, with some fuzz. The second version (& the first one in the bush) is the hit version by The Mojo Men. It's like a Mississippi boat ride, or a trippy, caftan walk down Scarth Street in Regina, Saskatchewan. But most people just call it "baroque pop." The third bird is from Chicago - The Growing Concern give us a dual-woman vocal attack and a cool psychedelic arrangement - a wild solo! The fourth and final fowl is Simon Turner, who has appeared on our show before as The King of Luxembourg. This one reminds us of Lynn Redgrave's song in "Smashing Time" and the future sounds of Mike Alway's Él Records. Give us a try?

Let's go to the 99th Floor ... of an apartment block in London, to view the world as The Rolling Stones did in 1965's "Get Off Of My Cloud." The song is the follow-up to "Satisfaction" and the boys were under pressure to keep makin' hits when they just wanted to relax. As a result, it's snotty, and Mick Jagger rises (!) to the occasion to create some early punk poetry. The song crossed the pond in 66 and got the detergent treatment from Dino, Desi, and Billy - it's cleaner, but remember to take the bubblegum out of your pockets before you do the wash! Some reprobates named Winky & The Ramses drag the song into their garage and make the song American(boo!) -- they draw out the similarity to "Hang on Sloopy" and add solos. Copious energy. Next up are some English cats in Spain called The Tomcats, who slow the song down, siesta-style. Finally, The Flying Pickets performed an acapella rendition of the tune and it's a hoot! Get on Cloud 9!

For only the second time in four-plus years and 220 episodes, there's a show where Erik & Weldon are in the same room at the same time! And since Erik is visiting Vancouver, we've decided to make the city (and surroundings) the star of the show! First up is Patty Surbey with "Hey Boy," a corny but super-fun number that PS elevates through her wild vocal stylings. Then there's The Nocturnals with "Because You're Gone" which has a cool Peter Gunn-type riff and an overall Pacific Northwest Sound. The climax comes from The Painted Ship's "And She Said Yes," one of the wildest rock'n'roll vocal performances of any era. But there's no falling action! because then we get to hear "Hard to Cry" by The Northwest Company - a riff-driven rocker that points the way to the future. Finally, we throw a kurvbal at you and discuss "an ode to da levy" - a poem by 60s Vancouver King Beatnik bill bissett. Enjoy your stay!

In the latest episode, we discuss Allen Toussaint's great story-song "Fortune Teller",  a fave of garage bands throughout the 60s. Benny Spellman authored the original version and it has that nice New Orleans swampiness - piano, clave, horns, and great backing vocals. What a gumbo! The second rendition is a cute one from the very early Rolling Stones, who add a Orientalist riff and harmonica to their arrangement -& Charlie Watt's drumming keeps the song chugging along nicely. The third version comes from Tony Jackson & The Vibrations: TJ had just left The Searchers because he wanted to have a tougher sound - and this riff proves it! The vocals are too Mersey, though. A reprieve from the rockin' sounds and a return to the horn-y and piano-drive feel of the original from Alabama's The Del-Rays is up next. It's punchy and groovy and it's the best "Spellman twist" since the original, but the vocal needs more swagger - bring back Mick Jagger! Some Australian troglodytes called The Throb had an Antipodean hit in '66, it's Stones-y, nuff said! We end the spell with a recent-ish number by Robert Plant & Allison Krauss: it's a lot different than the others, but Erik quibbles with the mid-aughtie's production. Ba ba ba ba!!

SIX versions of the ultimate classic garage tune "You're Gonna Miss Me" - the original by The Spades from 1965, the 66 ur-text by 13th Floor Elevators (wherein we provide some potential innovations in the field of electric jug playing), then a bunch of wild renditions by Tom Thumb, The Heard, The Five Kinetics, & The Zoo! 

Who had a good time on Valentine's Day? Not The Rockin' Ramrods out of Boston, who, in 1964, authored a poison pen letter towards the (imaginary) girls who did them wrong on the wild, ahead-of-its-time tune, "She Lied." Imagine The Dave Clark Five crossed with The Ramones and you have an idea. Not for the faint of heart, and probably mostly unheard, the song didn't get picked up by other bands until the late 70s, but we start with Naz Nomad & The Nightmares from 1984. A sick guitar tone and they add some almost-barbershop-quartet harmoanies. In 1992, The Mummies and The Double-Naught Spys each wrought interpretations: thee first features saturated vocals and no discernible organ? Thee final version adds a great garage scream, which adds extra points - and Weldon likes the cymbal work. No symbolic meanings, though!

Time to get back on the bus for this follow-up to our theme episode last week - The Who's classic "Magic Bus", no less. We start with Pete Townshend's 1966 demo, which is cute & weird & British - that is, psychedelic. The first released version was by some guys called The Pudding, and it's got a Mose Allison/Georgie Fame vibe, according to Erik. The Who's first full-band version is third, and did you ever really think it's just a buncha pals putting on a little skit or pantomime with each other? A pick-scratchin' precursor to the rock operas that follow ... Finally, we discuss the famous "Live At Leeds" version where they put on the play for a payin' audience and Townshend explores the myriad possibilities of the guitar in the 1970s. Plus Roger Daltrey sexes the song up and cock rock is invented!!

All aboard the ... bus! This week we feature several songs about the poor man's chariot, the loser cruiser, etc - and the songs are comin' like London busses. Our first stop is "Midnight Bus" by Betty McQuade. From 1961, this one is an atmospheric tale of tragic young love, but more importantly, it sets up a crucial discussion of the "buzzer cord" ... where did the buzz go? Second on our route is "Bus Stop" by The Hollies. This one is also about young love but it has a happier ending, though the baroque arrangement carries an undercurrent of melancholy. While you wait at the stop, listen to "Red Box" by I Jog & the Tracksuits. Very suppressed rage and shy vocals meet the riff from "Love Rollercoaster"! Nobody walks in LA, except for the people Weird Al is stuck with on "Another One Rides The Bus." Legendary! The terminus is reached after we listen to "You're Crazy for Taking the Bus" by our favourite, Jonathan Richman. What a positive view of a long coach ride ... just like this episode!

We know you love us - but "Do You Love Me"? Berry Gordy got Motown started in 62 with The Contours and it might be a little revenge-romance fantasy. You will love Billy Gordon's vocal performance, the amazing backing vocal performance by FOUR other singers, to say nothing of The Funk Brothers. In '65, Paul Revere & The Raiders cranked out a version that's a lil bit ska, a lil bit surf. With palm muting - wild! The dawn of the 70s brought a strange, easy listening rendition by Essex's finest - Deep Feeling. Not far away, podcast faves Silicon Teens waxed the track in 79 and you know we love Daniel Miller's synth and soul (?) sounds ... The 80s got weird with Andy Fraser's attempt in 84 - the song is meh but the video is adorable. Finally, there's a version from 94 by Duke Baysee, and, true to the song, the dude is really working. Watch us now!

We're taking a second* kick at the ol' garage chestnut "I Can Only Give You Everything" (see episode 110 for our previous gabfest). We start with Them again to examine the RIFF and the rest. We quickly move on to The Ambertones and their version will make you carsick, so take some Gravol before this rough ride. If you like it, do the lurch! She'll be right by the next version, a swingin' rendition by Australia's Clefs. They're in the kangaroo pocket! Chicago's Little Boy Blues are up next and they have a cool, thin fuzztone and a foppier vocal delivery. We wind up with the weirdest version - by Texas's Iguanas. The vocals call to mind Frankenstein's assistant, Igor and the overall sound is super spacey, with some surprising electric jug! Just as you wanted, a little bit of this, a little bit of that - everything!*third, actually - we recorded an episode in 2020 which we deleted

What a way to start 2025! A Happy/Sad New Year - the tune is "So Sad About Us" and we begin with Pete Townhend's demo which is probably from 1966. A melodic guitar ostinato with drone notes and sensitive soprano choirboy singing that ends abruptly. The song then gets overorchestrated by The Merseys - the first released version - but it's less a Wall of Sound and more a Ball of Mud. We're saved by The Who, who produce a proto-powepop masterpiece when they finally wax it. Sweden's The Mascots author a great garagey version in '67 but it's not exactly cricket, is it (listen to the garbled bridge)? ... The Jam brought the song back in 1978 and they "la la la la la la la" as well as anyone can. A discussion of wiry, leather-skinned British men ensues. In North America in '92, The Breeders delivered the song with a glint in their eyes before they blew up big. All this and palm muting tips for the gearheads!

It's time for our year-end gala! Categories include:Bo Diddliest Goofy GreatBo Diddliest Girl Group Bo Diddliest Song From A Theme EpisodeBo Diddliest Tamboand the big one:Most Insane Song!!

Xmas time is here! So we're bringing our annual Yuletide gifts to you in the form of rockin' and poppin' tunes. The first present under the tree is "I Want a Beatle For Christmas" by Patty Surbey & The Canadian VIPs. Requests for people put Santa Claus in an awkward position. The next gift is "Deck Five" by Saturday's Children. We think this one should be more well-known: it joins "Deck The Halls" with Dave Brubeck Quartet's "Take Five" and ... it works? Sometimes you get an inappropriate gift, and Bey Ireland's "All I Want For Christmas is a Go-Go Girl" is this year's example. It's a weird fusion of Northern Soul and lounge crooning ... Let's forget about all that and get back to the real Goofy Greats - "The Wildest Christmas" by The Rumbles Ltd. Santa makes an appearance in this one, and he sounds like Classy Freddie Blassie! And there's even a final stocking stuffer, so tune in to hear what it is - jing a linga, jing jing a linga!

Bo Diddley time! In this episode, we examine his 1955 b-side, "I'm A Man." The original is sparse, minimal, sexual, spiritual and powerful. We get real deep into the lyrics and textbooks get slammed. It took a long time, but in 1964, The Yardbirds authored a version that sounds like it comes from a utopian future of highly skilled R&B robots. And it has the ultimate Royalette! In 1965, Netherland's The Bintangs put out a garage version that's snotty, lazy, lethargic, hypnotic and cool. The Groupies brought the song back to the US - New York specifically, and they make the tune swampy, weird, and rhythmic: are there swamps in Manhattan? Finally, fast forward to the grungiest city of 1990 - Seattle - and listen to Dickless's version. Is it a protest of how the song and sound came to exemplify macho cock-rock attitudes? Probably! It has an extreme vocal performance and FUZZ and some wild slide gee-tar. OWWWW!

Ringo on the bongos! That's right, it's "You're Going to Lose That Girl" by The Beatles. John is at his snarly best in this number, and George & Paul provide some nice call-and-response. Anyways, the bongos and lyrics are our main focus, as they should be. And who sings "yeah" better?! - no one's better than the Beatles, there. The second version comes from The Villagers, a Zone Press Variation that comes from Florida - it's garage and great! Next up is Chicago's Cryan' Shames and who's gonna argue with a band whose lead singer is Toad? And it's about time we discussed JC Hooke, a hook-handed percussionist rival to Moulty! In 1971, Canada's Five Man Electrical Band did it and It's Absolutely Right - a post-Sgt. Pepper homage, a la ELO. The final word goes to Dwight Twilley, who covered the song in 2009 and it's a celebration. As it should be. Yeah!

This week, we feel the need ... the need - for speed! The first song out of the blocks is "Bad Girl" by The Zakary Thaks. Crazy words, great guitar work, and a fast tempo by a drummer whose snare sounds like two textbooks slamming! The second speedster is "7 & 7 is" by Love. More wild lyrics and singing, and again ... it's a drummer who holds the thing together ... barely, at times. It's a classic! The third throttler is "Love at Psychedelic Velocity" by The Human Expression - one of the all time great 66ers. This one is a true tire-melter! And finally, we swerve with two different versions of "Love's a Fire," by the mysterious Werps. Plug your grandpa's ears when we tell you what the band name means. It's the fastest hey!-ride you've ever been on! [Explosion sounds ...]

This one's as garage as it gets: 5 Versions of "I Need You"! - The Kinks, The Zakary Thaks, The Rationals, and two (!) versions by The Ascots. 

This week the genre is baroque proto-power pop and the song is "She May Call You Up Tonight" by The Left Banke, Great melodies by Michael Brown, a killer chorus, velvet vocals by Steve Martin Caro ... but what's it all about?! A band called California Spectrum produced a faithful cover in '68 and added some cool fuzz ... but why does the singer sound like they're 12?! Who cares, it's garage! Canadian ICON Anne Murray tried her voice out on the song, which got retitled "He May Call." A sweet but sensible performance, with a crazy, period-apropo brass section and some woody woodblock - this one's as wacky as Anne gets!  Ex-Fairport Conventioneer Ian Matthews made the song into the powerpop gem it was meant to be in the bleak year of 1980. And finally, Linda Thompson stripped the song back in the early 80s, making it folky and campfire smoky. Come back, Anne!!!!!

The Byrds had a bad time in England, and wrote a curiously grey-mood tune that many consider "the first psychedelic song of all time" - "Eight Miles High." It's known for its sound, but we take a deep dive into the lyrics, too. Succulent, truculent. The next flight was piloted by the semi-legendary obscuros, Index. Some nice warm guitar strummin' & lotsa negative space. Less negative space on Leo Kottke's version - he's a king of fingerpickin' geetar and he has a nice deep baritone and he fills up the space with both. Bob Mould of Hüsker Dü also has a baritone voice, but he spends mosrt of his band's version screaming and wailing about the hippie sellouts!! Finally, Robyn Hitchcock brings the song back to earth with a faithful rendition that has a nicely unprofound spoken word middle section. All this, and David Crosby's cape!!

This week, we manage to talk about 7 songs in just over 2 hours - appropriately, all are versions of "Train Kept a Rollin'"! The original is by Tiny Bradshaw, a 1951 jump blues number that contains a rock n roll instro break that clearly caught the ears of  the next crew, namely Johnny Burnette & The Rock n Roll Trio. They take Tiny B's joyous number and inject it with some wild hillfolk hiccupin' and hollerin'.' The train somehow made it to England by 1965, and Screamin' Lord Sutch (with Ritchie Blackmore) left the station at a fevered pace, but later that same year, The Yardbirds caught up. Keith Relf and the boys even did a follow-up rendition for the movie Blow Up which they titled "Stroll On," but the lyrics are super stoopid! We close off the episode with two garage versions that take passengers to places far off the usual route - dig The Rogues (these ones from Buffalo) and Steve Walker and The Bold and their hyperspeeds! Real gone!!!Screamin' Lord SutchThe Yardbirds (TKAR and "Stroll On")The RoguesSteve Walker and the Bold

Stop! and check out the new episode, featuring The Supremes. who were on a run of consecutive #1 hits in 1965. "Stop! In the Name of Love" is the one with the iconic choreography, but we dig even deeper to explain the charms of this arresting song. The first cover we discuss is a very busy garage version from 1969 by Crosstown Switch. Beverly Kelley, the lead singer on this tune, sounds like she's been beamed in from 1962! Next up is an epic soul version by Margie Joseph which has to be heard to be believed. In 1979, new-wavers Blotto essayed the song with very expressive vocals and a disco pulse. Finally, the next year, Yukihiro Takahashi presented us with a faithful version, but with loungey and bossa-y vocals. Haven't we been good to you?

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.  The third version is by scary Cheshire cats Stack Waddy. Thick, fuzzy, thudding claustrophobic 70s sledgehammer proto-punk! Robin from Ghosts fave version. The fourth version is by a little known singer named David Bowie, who did a glammy version one year after Stack Waddy, and it's okay, which sums up his entire catalogue. 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!