This week we go gaga over The Pretty Things' 1964 number, "Rosalyn." You know it, you love it. Textbook early garage that takes its cues from Saint Bo Diddley. The second version is by Steve and the Board, a group of Australian teen treblemakers who change the lyrics for some reason. The third is by scary Cheshire cats Stack Waddy. Thick, fuzzy, thudding claustrophobic 70s sledgehammer proto-punk! Robin from Ghosts' fave version. The fourth is by a little known singer named David Bowie, who did a glammy version one year after Stack Waddy. You know the voice, but does it work for this tune? Sure as sin!

This week we go gaga over The Pretty Things' 1964 number, "Rosalyn." You know it, you love it. Textbook early garage that takes its cues from Saint Bo Diddley. The second version is by Steve and the Board, a group of Australian teen treblemakers who change the lyrics for some reason. The third is by scary Cheshire cats Stack Waddy. Thick, fuzzy, thudding claustrophobic 70s sledgehammer proto-punk! Robin from Ghosts' fave version. The fourth is by a little known singer named David Bowie, who did a glammy version one year after Stack Waddy. You know the voice, but does it work for this tune? Sure as sin!

This week we go gaga over The Pretty Things' 1964 number, "Rosalyn." You know it, you love it. Textbook early garage that takes its cues from Saint Bo Diddley. The second version is by Steve and the Board, a group of Australian teen treblemakers who change the lyrics for some reason. The third is by scary Cheshire cats Stack Waddy. Thick, fuzzy, thudding claustrophobic 70s sledgehammer proto-punk! Robin from Ghosts'&nbsp;fave version. The fourth is by a little known singer named David Bowie, who did a glammy version one year after Stack Waddy. You know the voice, but does it work for this tune? Sure as sin!

Rosalyn

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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Rosalyn

Rosalyn

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