A buncha songs by a buncha Dicks with some notable organ solos this week:  The Dick Watson Five (there were two bands with this name, only one with the titular Dick W.), Dick Roby (goin' solo from The Castaways, having his Lynn Easton moment), The Spats (featuring the doubly-phallic Dick Johnson), Dicky Treadway & The Salados, and some dirtbags from Michigan who called their band Dick Rabbit ... Workin'!!

A buncha songs by a buncha Dicks with some notable organ solos this week: The Dick Watson Five (there were two bands with this name, only one with the titular Dick W.), Dick Roby (goin' solo from The Castaways, having his Lynn Easton moment), The Spats (featuring the doubly-phallic Dick Johnson), Dicky Treadway & The Salados, and some dirtbags from Michigan who called their band Dick Rabbit ... Workin'!!

A buncha songs by a buncha Dicks with some notable organ solos this week: &nbsp;The Dick Watson Five (there were two bands with this name, only one with the titular Dick W.), Dick Roby (goin' solo from The Castaways, having his Lynn Easton moment), The Spats (featuring the doubly-phallic Dick Johnson), Dicky Treadway &amp; The Salados, and some dirtbags from Michigan who called their band Dick Rabbit ... Workin'!!

Dick Picks!

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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Dick Picks!

Dick Picks!

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