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!

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!

Who had a good time on Valentine's Day? Not&nbsp;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&nbsp;The Dave Clark Five crossed with&nbsp;The Ramones&nbsp;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&nbsp;Naz Nomad &amp; The Nightmares&nbsp;from 1984. A&nbsp;sick guitar tone and they add some almost-barbershop-quartet harmoanies. In 1992,&nbsp;The Mummies and&nbsp;The Double-Naught Spys&nbsp;each wrought interpretations: thee first features saturated vocals and&nbsp;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!

She Lied

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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She Lied

She Lied

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