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!!

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!!

Time to get back on the bus for this follow-up to our theme episode last week -&nbsp;The Who's classic "Magic Bus", no less. We start with&nbsp;Pete Townshend's 1966 demo, which is cute &amp; weird &amp; British - that is, psychedelic. The first released version was by some guys called&nbsp;The Pudding, and it's got a&nbsp;Mose Allison/Georgie Fame&nbsp;vibe, according to Erik.&nbsp;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&nbsp;Roger Daltrey&nbsp;sexes the song up and cock rock is invented!!

Magic Bus

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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Magic Bus

Magic Bus

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