In the latest episode, we discuss Allen Toussaint's great story-song "Fortune Teller",  a fave of garage bands throughout the 60s. Benny Spellman authored the original version and it has that nice New Orleans swampiness - piano, clave, horns, and great backing vocals. What a gumbo! The second rendition is a cute one from the very early Rolling Stones, who add a Orientalist riff and harmonica to their arrangement -& Charlie Watt's drumming keeps the song chugging along nicely. The third version comes from Tony Jackson & The Vibrations: TJ had just left The Searchers because he wanted to have a tougher sound - and this riff proves it! The vocals are too Mersey, though. A reprieve from the rockin' sounds and a return to the horn-y and piano-drive feel of the original from Alabama's The Del-Rays is up next. It's punchy and groovy and it's the best "Spellman twist" since the original, but the vocal needs more swagger - bring back Mick Jagger! Some Australian troglodytes called The Throb had an Antipodean hit in '66, it's Stones-y, nuff said! We end the spell with a recent-ish number by Robert Plant & Allison Krauss: it's a lot different than the others, but Erik quibbles with the mid-aughtie's production. Ba ba ba ba!!

SIX versions of the ultimate classic garage tune "You're Gonna Miss Me" - the original by The Spades from 1965, the 66 ur-text by 13th Floor Elevators (wherein we provide some potential innovations in the field of electric jug playing), then a bunch of wild renditions by Tom Thumb, The Heard, The Five Kinetics, & The Zoo! 

Who had a good time on Valentine's Day? Not The Rockin' Ramrods out of Boston, who, in 1964, authored a poison pen letter towards the (imaginary) girls who did them wrong on the wild, ahead-of-its-time tune, "She Lied." Imagine The Dave Clark Five crossed with The Ramones and you have an idea. Not for the faint of heart, and probably mostly unheard, the song didn't get picked up by other bands until the late 70s, but we start with Naz Nomad & The Nightmares from 1984. A sick guitar tone and they add some almost-barbershop-quartet harmoanies. In 1992, The Mummies and The Double-Naught Spys each wrought interpretations: thee first features saturated vocals and no discernible organ? Thee final version adds a great garage scream, which adds extra points - and Weldon likes the cymbal work. No symbolic meanings, though!

Time to get back on the bus for this follow-up to our theme episode last week - The Who's classic "Magic Bus", no less. We start with Pete Townshend's 1966 demo, which is cute & weird & British - that is, psychedelic. The first released version was by some guys called The Pudding, and it's got a Mose Allison/Georgie Fame vibe, according to Erik. The Who's first full-band version is third, and did you ever really think it's just a buncha pals putting on a little skit or pantomime with each other? A pick-scratchin' precursor to the rock operas that follow ... Finally, we discuss the famous "Live At Leeds" version where they put on the play for a payin' audience and Townshend explores the myriad possibilities of the guitar in the 1970s. Plus Roger Daltrey sexes the song up and cock rock is invented!!

All aboard the ... bus! This week we feature several songs about the poor man's chariot, the loser cruiser, etc - and the songs are comin' like London busses. Our first stop is "Midnight Bus" by Betty McQuade. From 1961, this one is an atmospheric tale of tragic young love, but more importantly, it sets up a crucial discussion of the "buzzer cord" ... where did the buzz go? Second on our route is "Bus Stop" by The Hollies. This one is also about young love but it has a happier ending, though the baroque arrangement carries an undercurrent of melancholy. While you wait at the stop, listen to "Red Box" by I Jog & the Tracksuits. Very suppressed rage and shy vocals meet the riff from "Love Rollercoaster"! Nobody walks in LA, except for the people Weird Al is stuck with on "Another One Rides The Bus." Legendary! The terminus is reached after we listen to "You're Crazy for Taking the Bus" by our favourite, Jonathan Richman. What a positive view of a long coach ride ... just like this episode!

We know you love us - but "Do You Love Me"? Berry Gordy got Motown started in 62 with The Contours and it might be a little revenge-romance fantasy. You will love Billy Gordon's vocal performance, the amazing backing vocal performance by FOUR other singers, to say nothing of The Funk Brothers. In '65, Paul Revere & The Raiders cranked out a version that's a lil bit ska, a lil bit surf. With palm muting - wild! The dawn of the 70s brought a strange, easy listening rendition by Essex's finest - Deep Feeling. Not far away, podcast faves Silicon Teens waxed the track in 79 and you know we love Daniel Miller's synth and soul (?) sounds ... The 80s got weird with Andy Fraser's attempt in 84 - the song is meh but the video is adorable. Finally, there's a version from 94 by Duke Baysee, and, true to the song, the dude is really working. Watch us now!

We're taking a second* kick at the ol' garage chestnut "I Can Only Give You Everything" (see episode 110 for our previous gabfest). We start with Them again to examine the RIFF and the rest. We quickly move on to The Ambertones and their version will make you carsick, so take some Gravol before this rough ride. If you like it, do the lurch! She'll be right by the next version, a swingin' rendition by Australia's Clefs. They're in the kangaroo pocket! Chicago's Little Boy Blues are up next and they have a cool, thin fuzztone and a foppier vocal delivery. We wind up with the weirdest version - by Texas's Iguanas. The vocals call to mind Frankenstein's assistant, Igor and the overall sound is super spacey, with some surprising electric jug! Just as you wanted, a little bit of this, a little bit of that - everything!

*third, actually - we recorded an episode in 2020 which we deleted

What a way to start 2025! A Happy/Sad New Year - the tune is "So Sad About Us" and we begin with Pete Townhend's demo which is probably from 1966. A melodic guitar ostinato with drone notes and sensitive soprano choirboy singing that ends abruptly. The song then gets overorchestrated by The Merseys - the first released version - but it's less a Wall of Sound and more a Ball of Mud. We're saved by The Who, who produce a proto-powepop masterpiece when they finally wax it. Sweden's The Mascots author a great garagey version in '67 but it's not exactly cricket, is it (listen to the garbled bridge)? ... The Jam brought the song back in 1978 and they "la la la la la la la" as well as anyone can. A discussion of wiry, leather-skinned British men ensues. In North America in '92, The Breeders delivered the song with a glint in their eyes before they blew up big. All this and palm muting tips for the gearheads!

It's time for our year-end gala! Categories include:

Bo Diddliest Goofy Great

Bo Diddliest Girl Group 

Bo Diddliest Song From A Theme Episode

Bo Diddliest Tambo

and the big one:

Most Insane Song!!

Xmas time is here! So we're bringing our annual Yuletide gifts to you in the form of rockin' and poppin' tunes. The first present under the tree is "I Want a Beatle For Christmas" by Patty Surbey & The Canadian VIPs. Requests for people put Santa Claus in an awkward position. The next gift is "Deck Five" by Saturday's Children. We think this one should be more well-known: it joins "Deck The Halls" with Dave Brubeck Quartet's "Take Five" and ... it works? Sometimes you get an inappropriate gift, and Bey Ireland's "All I Want For Christmas is a Go-Go Girl" is this year's example. It's a weird fusion of Northern Soul and lounge crooning ... Let's forget about all that and get back to the real Goofy Greats - "The Wildest Christmas" by The Rumbles Ltd. Santa makes an appearance in this one, and he sounds like Classy Freddie Blassie! And there's even a final stocking stuffer, so tune in to hear what it is - jing a linga, jing jing a linga!