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

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

Enough of the big names - Beatles and Dylan have dominated the podcast for too long! This week we're talkin' bout the Moody Blues and their 1965 album track "And My Baby's Gone" (1:10). A little known slice of (squeaky) blue eyed soul an' R&amp;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&nbsp; the garage (39:34). The electric piano, guitar stings,&nbsp;FUZZ!, and the "my baby"'s in this one will cause ... bedlam! Blue Feeling&nbsp; 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!!

And My Baby's Gone

The usual format is this: we pick a song from the 1950s or 1960s (genres range from garage, R&amp;B, Girl Groups, Motown and Doo-Wop), and discuss three versions of that song, or sometimes we just play a song we haven’t heard before and react to it. We’ve covered classics like “Little Bit o’ Soul” and “Psychotic Reaction” to rarities like “Jump and Dance” by the Carnaby, and “Ringo I Love You” by Bonnie Jo Mason (aka Cher). Our aim is to discuss what makes these songs interesting, ineffable, or even intolerable. We place special emphasis on the “moments” in these songs where, perhaps, a new interpretation will emerge from. A close look at song structure is also present in our discussions. If that sounds academic, maybe it is a little bit, but we like to keep the analysis in the spirit of the songs we speak of – which means we drink some spirits (for Erik, it’s bourbon, for Weldon, it’s Stambecco) – and that means by the third song, things can get a little wild. Basically, we talk about rock!

Music

Music Commentary

Music History

The usual format is this: we pick a song from the 1950s or 1960s (genres range from garage, R&B, Girl Groups, Motown and Doo-Wop), and discuss three versions of that song, or sometimes we just play a song we haven’t heard before and react to it. We’ve covered classics like “Little Bit o’ Soul” and “Psychotic Reaction” to rarities like “Jump and Dance” by the Carnaby, and “Ringo I Love You” by Bonnie Jo Mason (aka Cher). Our aim is to discuss what makes these songs interesting, ineffable, or even intolerable. We place special emphasis on the “moments” in these songs where, perhaps, a new interpretation will emerge from. A close look at song structure is also present in our discussions. If that sounds academic, maybe it is a little bit, but we like to keep the analysis in the spirit of the songs we speak of – which means we drink some spirits (for Erik, it’s bourbon, for Weldon, it’s Stambecco) – and that means by the third song, things can get a little wild. Basically, we talk about rock!

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And My Baby's Gone

And My Baby's Gone

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