We're debuting a new series called "Greatest Greatest Hits," which looks at an artist or group's top songs. But this one could also have fit in "Better Than The Beatles," because Quebec's Michel Pagliaro really does sound like John, Paul, or George in several of these songs! You could also consider him an early power-pop exponent, but he's pretty much unknown outside of Canada, where his songs still get played on classic oldies stations. He's important to us because his songs crossed over on the Anglophone and Francophone charts, but you'll probably appreciate his music because it's so well-crafted. Travailler!

This won't be the last time you hear the Rolling Stones but this is the episode wherein we discuss "The Last Time" from early 1965. After acknowledging the chorus copped from the Staple Singers, we move on to the riff, the riff, the riff! We also note the strange connection to German Oompah music. The second in the parade comes from their producer and manager Andrew Oldham and his Orchestra. Obviously, this is a rearrangement rather than a cover, and obviously, it's infamous in the wake of Verve's "Bittersweet Symphony." It's totally tubular! In '66 to North Carolina's Nomads gave the song the garage treatment and the vocals are snottier and the kick drum is busier! The same year Phil & The Frantics authored a version with strange strangled vocals, an added organ with "Gloria" flourishes and it's the most oompah of all. We break the mold for "Do You Understand Me" by The Jujus, a song which steals the riff but scrambles it a bit - it's a classic! The last word goes the Who, who covered the song in 67 who underplay the riff and focus on Pete Townshend's thundering chords and Keith Moon's wild drumming. Oompah!

When did the 60s symbolically end? Altamont? Kent State? No - when the organ stops playing towards the end of "Gimme Gimme Good Lovin'" by Crazy Elephant. It's bubblegum, but also super rockin'. Who'da thunk it? The first cover of the version was by ... Giorgio Moroder? It doesn't sound like his 70s stuff but it is wild. Third is a 80s Moroder-esque version from Roxy Perry, a blueswoman who didn't expect a Hi-NRG remix of her vocal. The fourth suitor is Canada's legendary hair metallers, Helix. For Canucks Erik and Weldon, this is manna from heavy metal heaven. Finally, a recent rendition from GospelbeacH, which is faithful - too faithful? Listen to this with some girls from Texarcan!!

It's time to dip your toes into "Dirty Water" - The Standells and their enduring 1965 hit, that is! We gab about the snotty vocals, their appearance on The Munsters, we rank the drum fills - and of course, we crack the code of the song's lyrics. The next version is by The Gants - who add fuzz and relocate the song to Miami. But they musta forgot to learn the song! The Apollos are some North Carolina kids who keep the song in Boston but their accents would rarely be heard in Southy! The song crossed the pond to Ol' Blighty when The Inmates authored a very Dr. Feelgood-y version. And finally, back to Boston, for a risible, post-World Series win  version by Red Sox pitcher Bronson Arroyo. Pee-yew - go jump in the Charles, Bronson!

This week we're talking about a Girl Group Goofy Great - 1963's "Dumb Head" by Ginny Arnell. The lyrics are dangerously self-deprecating, the production is Spectorian, and there's FUZZ and a kazoo solo - played by GA herself. OH, and an infamous hook - something the Ramonesmight have sold their leather jackets for. The second version is super goofy and stoopid and it's by The Sharades, from England. Joe Meek produced it, so it has some otherworldy sounds (via a Clavioline) in addition to GREAT bug music vocals from Maggie & Gloria. No one covered the song until Girlfrendorevived it in the 90s. It's a cover of The Sharades/Joe Meek, not Ginny Arnell and we're getting into the realm of the ironic here. Finally, Primetimereleased a punky version in 2016 that seems to have a bone to pick with the original and just wait for that crucial change to the lyrics. Somebody kiss us please!

This week the spotlight is on a 1965 folk jangler by The Guilloteens: "I Don't Believe" is a raw, blue-eyed soul vocal outing reminiscent of the Righteous Brothers. They shoulda been on The Flintstones!! In 1966, The Five of Us came out with the first cover version. It's less raw, but it's smooth as Kraft Creamy! The same year, The Moonrakers pepped the song up considerably and made it into a toe-tapper. The song returned to Memphis in 2002 when Reigning Sound payed homage to their 60s forebears. It's a pretty muscular version, but the vocals are soft & sensitive. You'll feel no pain!!

A theme episode that's so garage you better test for carbon monoxide:

Who Do You Love - The Preachers

What a Girl Can't Do - The Hangmen

Why - The Dirty Wurds

When Shadows Fall - The Jades

Where You Gonna Go - Art Guy

You know what they say about the bird in the hand ... this week the bird is Buffalo Springfield's "Sit Down I Think I Love You." It's a nice jaunty tune with Stephen Stills (we think) pitchin' some clever woo at a potential beloved. And three guitarists! Lots of tasteful flourishes, with some fuzz. The second version (& the first one in the bush) is the hit version by The Mojo Men. It's like a Mississippi boat ride, or a trippy, caftan walk down Scarth Street in Regina, Saskatchewan. But most people just call it "baroque pop." The third bird is from Chicago - The Growing Concern give us a dual-woman vocal attack and a cool psychedelic arrangement - a wild solo! The fourth and final fowl is Simon Turner, who has appeared on our show before as The King of Luxembourg. This one reminds us of Lynn Redgrave's song in "Smashing Time" and the future sounds of Mike Alway's Él Records. Give us a try?

Let's go to the 99th Floor ... of an apartment block in London, to view the world as The Rolling Stones did in 1965's "Get Off Of My Cloud." The song is the follow-up to "Satisfaction" and the boys were under pressure to keep makin' hits when they just wanted to relax. As a result, it's snotty, and Mick Jagger rises (!) to the occasion to create some early punk poetry. The song crossed the pond in 66 and got the detergent treatment from Dino, Desi, and Billy - it's cleaner, but remember to take the bubblegum out of your pockets before you do the wash! Some reprobates named Winky & The Ramses drag the song into their garage and make the song American(boo!) -- they draw out the similarity to "Hang on Sloopy" and add solos. Copious energy. Next up are some English cats in Spain called The Tomcats, who slow the song down, siesta-style. Finally, The Flying Pickets performed an acapella rendition of the tune and it's a hoot! Get on Cloud 9!

For only the second time in four-plus years and 220 episodes, there's a show where Erik & Weldon are in the same room at the same time! And since Erik is visiting Vancouver, we've decided to make the city (and surroundings) the star of the show! First up is Patty Surbey with "Hey Boy," a corny but super-fun number that PS elevates through her wild vocal stylings. Then there's The Nocturnals with "Because You're Gone" which has a cool Peter Gunn-type riff and an overall Pacific Northwest Sound. The climax comes from The Painted Ship's "And She Said Yes," one of the wildest rock'n'roll vocal performances of any era. But there's no falling action! because then we get to hear "Hard to Cry" by The Northwest Company - a riff-driven rocker that points the way to the future. Finally, we throw a kurvbal at you and discuss "an ode to da levy" - a poem by 60s Vancouver King Beatnik bill bissett. Enjoy your stay!