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 FUZZ riff 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!!

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 FUZZ riff 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!!

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&nbsp; "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 FUZZ riff 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"&nbsp; (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!!

Garage Rock Protest Songs!

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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Garage Rock Protest Songs!

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