In The Past: Garage Rock Podcast

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 Thomasand 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 Shanewalked the dog her way when back in Nashville, which also gives us a chance to talk about Noble Blackwell and the amazing Night Trainvariety show, where she performed the song live. The Sonics went out with Rover 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 Ismade 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 Shirellesand 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 it.  And Ray Davies savors syllables - apeman poet! The song travelled across the puddle and New York's Knickerbockerswere 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 Guardsmenand 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 - the swirling organ has me hyp - mo - tized!! That same year, the "Old Macdonald" nursery rhyme got rewritten by some LA weirdos - The Seeds called it  "Mr. Farmer." Lots of seedy sibilance, and when has Sky Saxon ever ssssteered 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 Factoryand their 68 psych out, "Path Through The Forest." These guys take us way out - maybe too far!! Won't you come along??? [with apologies the Carbondale, IL City Council]

This one's a doozy - 4 versions of "Be My Baby" and a close relative! The first-born by The Ronettesis 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. Girl group workhorse Rickie Page makes you almost forget 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 to Ronnie and Spector 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 by evoking the Golden Age of Girl Groups. 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 Linksdiscovered 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 Foundationand 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.

Versions by The Shangri-Las, The Compacts, Die Crazy Girls, The Detergents, Twisted Sister.

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 Richmanshould 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 Cannibalsthat 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 - Shirelles
He’s Gone - Chantels
Then He Kissed Me - Crystals
Uncle Willie - Juliettes
Mr. Scrooge - Orchids

Bo Diddliest Video:

Liar Liar - The Castaways
Now and Then - The Beatles
Must Be Santa - Bob Dylan
You Really Got Me - Van Halen
Jack The Ripper - Screaming Lord Sutch

Bo 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 Rats
The World Ain’t Round, It's Square - The Savages
Like A Rolling Stone - The Soup Greens 
My Flash On You- The Menerals
Sweet Pea - Friar Tuck & His Psychedelic Guitar
I Had Too Much To Dream Last Night -Deviled Ham 
Land Of 1000 Dances - Chants R & B
Makin’ 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 Gruesomesvisit 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! 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 stoopidfrat 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. So 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 rollycoasterride! (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 Chantelsand 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 THEEgarage 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 Elevatorsgot the song  and made it long (1:01:24). There's solos, acoustic jug, and the bassist adds anotherKinks 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 1artist, 5great songs,and0misses! 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 FUZZriff 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 Undertonesdecided to celebrate Derry Girls (1:36:36). This one has a "My Generation" bounce to it and Feargal Sharkeyis 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 Dangerpartied 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 Bluesand 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 Wraydid 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 are some Finnish freaks, Ernos, who explore the prog possibilities of the song, but most importantly, add some Beach Boysbounce to the outro (1:47:20). The fifth and final Fab Four forgery is from Sweden: the new wave-alicious 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!!!

We're re-doing an episode from the very early days of the podcast, when we didn't have our snappy patter & schtick down like we do now - the folk-punk classic "My Flash on You"! All versions are from 1966 : the original by Love is at 1:25, and we focus on FUZZand Fashion (the drummer Snoopy's short-sleeved shirts). Thee Sixpence (soon to become The Strawberry Alarm Clock) play it FASTER at 55:58. And The Menerals from Texas add even more FLASH at 1:20:00!

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 Voormandeliver the "lyrics" to the song!! Do bubblegum music and acid mix? You bet it does, when Friar Tuck & his Psychedelic Guitargets 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 Lantreeas 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. Goodwas 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),zoologicalproofthat 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 Jerryalso 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 Luluas 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 andher 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 Nashmendrenched 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 Barryand Ellie Greenwich (1:07). What a cast!! We then take a detour to see how the song's opening guitar riff inspired Lou Reedand 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 Mustangssped 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 Slothsin 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:

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 Streetcontribute 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 fromthe 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 Video

3. Bo Diddliest Song From a Theme Episode

4. 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 Byrdsand 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'sCoachmen occupy the Waxing Gibbous phase of our episode with their organ-driven gem "Mr. Moon" from 1965 (1:16:35).  Imagine Dionbacked by the Mysterians and there you have it.  All lunar expeditions must come to an end, so "Live with the Moon" by The Chaynscloses 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 slideslike 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 Gruesomesare 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 Creepsfrom 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 Werewolffrom 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 haseverythang: 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 Sevillewent 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 Pharaohsstepped 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 Supremesmade 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 FUZZand 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 thetop 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 Podcastare 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 derangementof 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 Fuguewere 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 ... pressuringus  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 Statesmenpaid 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'sheeded 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 McVieon bass), and Eric Claptonin 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 Streetin 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 Blackstonesrearranged 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 Fabsfinalized 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 Brothersessayed 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 Fowleyfor 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 Thrillersstart 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 stridewith 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 vriendsin 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 Reedand 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 Atkinsdrum 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 Lloydjoined 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 Cochrangot 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 Staccatosand 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 FUZZand 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 Cheercrushed 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!!