We return to The Hollies'  1965 tearjerker, "So Lonely" because there are so many good versions we couldn't fit in our June 19 episode! The first in part 2 is The Henchmen,  who created a garage derangement of the song in 1966, with organ and cool-dude-attitude vocals (2:07) That same year, The Ashes  produced a haunting folk-rock take (34:49). Sparse, subdued and Cowboy Junkies-esque, with lonesome harmonica, shaky tambourine and  forlorn female vocals.  The Fugue were up next in 1968:  their version is really slow, really loud, with a really heavy Hammond which will put you in an un-Bachlike fugue state (1:10:52). This would be the Phantom of the Opera's version. We leave you with a super bonus version from Miriam Linna, whose 2014 version proves the song is still going strong (1:08:15)!

We return to The Hollies' 1965 tearjerker, "So Lonely" because there are so many good versions we couldn't fit in our June 19 episode! The first in part 2 is The Henchmen, who created a garage derangement of the song in 1966, with organ and cool-dude-attitude vocals (2:07) That same year, The Ashes produced a haunting folk-rock take (34:49). Sparse, subdued and Cowboy Junkies-esque, with lonesome harmonica, shaky tambourine and forlorn female vocals. The Fugue were up next in 1968: their version is really slow, really loud, with a really heavy Hammond which will put you in an un-Bachlike fugue state (1:10:52). This would be the Phantom of the Opera's version. We leave you with a super bonus version from Miriam Linna, whose 2014 version proves the song is still going strong (1:08:15)!

We return to The Hollies'&nbsp; 1965 tearjerker, "So Lonely" because there are so many good versions we couldn't fit in our June 19 episode! The first in part 2 is The Henchmen, &nbsp;who created a garage derangement of the song in 1966, with organ and cool-dude-attitude vocals (2:07) That same year, The Ashes&nbsp; produced a haunting folk-rock take (34:49). Sparse, subdued and Cowboy Junkies-esque, with lonesome harmonica, shaky tambourine and&nbsp; forlorn female vocals.&nbsp; The Fugue were up next in 1968:&nbsp; their version is really slow, really loud, with a really heavy Hammond which will put you in an un-Bachlike fugue state (1:10:52). This would be the Phantom of the Opera's version. We leave you with a super bonus version from Miriam Linna, whose 2014 version proves the song is still going strong (1:08:15)!

So Lonely (Part 2)

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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So Lonely (Part 2)

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