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

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

Wouldn't you love it if we published every day? Well, we can't do that, but here's Buddy Holly's magical 1957 b-side "Everyday" as compensation (3:35). A concerto for hambone, celesta, and hiccupping hillbilly vocals! A gentle, innocent, and hopeful rock'n'roll hay ride ... it's special! In 1964, surf duo The Rogues had a date with the song in the studio and it's a real rollycoaster ride! (1:09:54). Is this first bubblegum song ever? It has yakety sax and a "Louie Louie" reference, which means it's great.&nbsp; 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. &nbsp; 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!!

Everyday

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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Everyday

Everyday

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