Our Mother's Day special episode features 4 versions of a song only a mother could hate - Bo Diddley's 1964 putdown, "Mama, Keep Your Big Mouth Shut." The original has a great riff, a funky strut, vibrato on the vocals (Bo is a way underrated singer), and overall,  the tremendous tremulous sound you know from Bo (1:33). The next year, The Pretty Things make the song less funky but still smelly, with some frantic rhythm strum, some strident singing, and a rave-up section in the middle (50:14).  From Sweden the same year, The Gonks add even snottier vocals and keep the song in the garage with the now-usual truncated lyrics and rave-up part (1:12:15).  The final word comes from Canada's Ugly Ducklings who made plans for this tune in 66: they add fuzz and make the tempo faster than the speed of snot! (1:25:46)  Don't let the door hit you where the dog bit you!!

Our Mother's Day special episode features 4 versions of a song only a mother could hate - Bo Diddley's 1964 putdown, "Mama, Keep Your Big Mouth Shut." The original has a great riff, a funky strut, vibrato on the vocals (Bo is a way underrated singer), and overall, the tremendous tremulous sound you know from Bo (1:33). The next year, The Pretty Things make the song less funky but still smelly, with some frantic rhythm strum, some strident singing, and a rave-up section in the middle (50:14). From Sweden the same year, The Gonks add even snottier vocals and keep the song in the garage with the now-usual truncated lyrics and rave-up part (1:12:15). The final word comes from Canada's Ugly Ducklings who made plans for this tune in 66: they add fuzz and make the tempo faster than the speed of snot! (1:25:46) Don't let the door hit you where the dog bit you!!

Our Mother's Day special episode features 4 versions of a song only a mother could hate -&nbsp;Bo Diddley's 1964 putdown, "Mama, Keep Your Big Mouth Shut." The original has a great riff, a funky strut, vibrato on the vocals (Bo is a way underrated singer), and overall,&nbsp; the tremendous tremulous sound you know from Bo (1:33). The next year,&nbsp;The Pretty Things&nbsp;make the song less funky but still smelly, with some frantic rhythm strum, some strident singing, and a rave-up section in the middle (50:14).&nbsp; From Sweden the same year,&nbsp;The Gonks add even snottier vocals and keep the song in the garage with the now-usual truncated lyrics and rave-up part (1:12:15).&nbsp; The final word comes from Canada's&nbsp;Ugly Ducklings&nbsp;who made plans for this tune in 66: they add&nbsp;fuzz&nbsp;and make the tempo faster than the speed of snot! (1:25:46)&nbsp; Don't let the door hit you where the dog bit you!!

Mama, Keep Your Big Mouth Shut

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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