Bo Diddley time! In this episode, we examine his 1955 b-side, "I'm A Man." The original is sparse, minimal, sexual, spiritual and powerful. We get real deep into the lyrics and textbooks get slammed. It took a long time, but in 1964, The Yardbirds authored a version that sounds like it comes from a utopian future of highly skilled R&B robots. And it has the ultimate Royalette! In 1965, Netherland's The Bintangs put out a garage version that's snotty, lazy, lethargic, hypnotic and cool. The Groupies brought the song back to the US - New York specifically, and they make the tune swampy, weird, and rhythmic: are there swamps in Manhattan? Finally, fast forward to the grungiest city of 1990 - Seattle - and listen to Dickless's version. Is it a protest of how the song and sound came to exemplify macho cock-rock attitudes? Probably! It has an extreme vocal performance and FUZZ and some wild slide gee-tar. OWWWW!

Bo Diddley time! In this episode, we examine his 1955 b-side, "I'm A Man." The original is sparse, minimal, sexual, spiritual and powerful. We get real deep into the lyrics and textbooks get slammed. It took a long time, but in 1964, The Yardbirds authored a version that sounds like it comes from a utopian future of highly skilled R&B robots. And it has the ultimate Royalette! In 1965, Netherland's The Bintangs put out a garage version that's snotty, lazy, lethargic, hypnotic and cool. The Groupies brought the song back to the US - New York specifically, and they make the tune swampy, weird, and rhythmic: are there swamps in Manhattan? Finally, fast forward to the grungiest city of 1990 - Seattle - and listen to Dickless's version. Is it a protest of how the song and sound came to exemplify macho cock-rock attitudes? Probably! It has an extreme vocal performance and FUZZ and some wild slide gee-tar. OWWWW!

Bo Diddley time! In this episode, we examine his 1955 b-side, "I'm A Man." The original is sparse, minimal, sexual, spiritual and powerful. We get real deep into the lyrics and textbooks get slammed. It took a long time, but in 1964, The Yardbirds&nbsp;authored a version that sounds like it comes from a utopian future of highly skilled R&amp;B robots. And it has the ultimate Royalette! In 1965, Netherland's&nbsp;The Bintangs put out a garage version that's snotty, lazy, lethargic, hypnotic and cool.&nbsp;The Groupies brought the song back to the US - New York specifically, and they make the tune swampy, weird, and rhythmic: are there swamps in Manhattan? Finally, fast forward to the grungiest city of 1990 - Seattle - and listen to&nbsp;Dickless's version. Is it a protest of how the song and sound came to exemplify macho cock-rock attitudes? Probably! It has an extreme vocal performance and FUZZ and some wild slide gee-tar. OWWWW!

I'm A Man

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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I'm A Man

I'm A Man

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