A small but determined pressure group has been ... well ... pressuring us  to finally talk about some obscure orchestral pop psychedelia. Worried for our lives, we capitulate and chat about J.A. Freedman's 1969 slice of Piccadilly Sunshine,  "Dance with the Man in the Teapot" (2:15). No three-chord garage rocker this! An account of a crazy costume party which throws in everything but the kitchen sink - piano/organ, trombones, oboe, bass, and Beach Boys "ba ba ba"'s! Should we have waited to do this song for our Halloween episode? If Freedman's is too twee for you (it ain't for me!), then you might prefer the version by The Fire (48:06). They heard Freedman's demo and recorded a spiffy, hipper stripped-down version which keeps the whimsy, subtracts the horns and piano, and altogether sounds kinda Move-y.  Now everyone shout!!

A small but determined pressure group has been ... well ... pressuring us to finally talk about some obscure orchestral pop psychedelia. Worried for our lives, we capitulate and chat about J.A. Freedman's 1969 slice of Piccadilly Sunshine, "Dance with the Man in the Teapot" (2:15). No three-chord garage rocker this! An account of a crazy costume party which throws in everything but the kitchen sink - piano/organ, trombones, oboe, bass, and Beach Boys "ba ba ba"'s! Should we have waited to do this song for our Halloween episode? If Freedman's is too twee for you (it ain't for me!), then you might prefer the version by The Fire (48:06). They heard Freedman's demo and recorded a spiffy, hipper stripped-down version which keeps the whimsy, subtracts the horns and piano, and altogether sounds kinda Move-y. Now everyone shout!!

A small but determined pressure group has been ... well ... pressuring us&nbsp; to finally talk about some obscure orchestral pop psychedelia. Worried for our lives, we capitulate and chat about J.A. Freedman's 1969 slice of Piccadilly Sunshine,&nbsp; "Dance with the Man in the Teapot" (2:15). No three-chord garage rocker this! An account of a crazy costume party which throws in everything but the kitchen sink - piano/organ, trombones, oboe, bass, and Beach Boys "ba ba ba"'s! Should we have waited to do this song for our Halloween episode? If Freedman's is too twee for you (it ain't for me!), then you might prefer the version by The Fire (48:06). They heard Freedman's demo and recorded a spiffy, hipper stripped-down version which keeps the whimsy, subtracts the horns and piano, and altogether sounds kinda Move-y.&nbsp; Now everyone shout!!

Man In The Teapot

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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Man In The Teapot

Man In The Teapot

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