In this episode, we study one of the greatest rock songs of all time, "Wild Thing." The original versh is by the aptly-named Wild Ones, some New York neanderthals who recorded Chip Taylor's made-to-order tune in 1965 (1:57). Next up is The Troggs' 1966 cave-painting (44:00). True to form, we reinterpret the song by finding the sweet side of this savage number.  The ocarina solo also has us pondering the pastoral aspects of the song. Textbook stuff! After the USA and the UK, let's go to Greece to hear how The Crowns attack the tune (1:32:31).  More primitive than the previous two! An organ solo emerges out of the primordial murk and burbles back for the fade out. We luff it! Finally, the wholesome Cathy Rich teams up with the shady impresario Kim Fowley for a '69 freakout with flute?! (1:47:07).  Now you know for sure!!!

In this episode, we study one of the greatest rock songs of all time, "Wild Thing." The original versh is by the aptly-named Wild Ones, some New York neanderthals who recorded Chip Taylor's made-to-order tune in 1965 (1:57). Next up is The Troggs' 1966 cave-painting (44:00). True to form, we reinterpret the song by finding the sweet side of this savage number. The ocarina solo also has us pondering the pastoral aspects of the song. Textbook stuff! After the USA and the UK, let's go to Greece to hear how The Crowns attack the tune (1:32:31). More primitive than the previous two! An organ solo emerges out of the primordial murk and burbles back for the fade out. We luff it! Finally, the wholesome Cathy Rich teams up with the shady impresario Kim Fowley for a '69 freakout with flute?! (1:47:07). Now you know for sure!!!

In this episode, we study one of the greatest rock songs of all time, "Wild Thing." The original versh is by the aptly-named Wild Ones, some New York neanderthals who recorded Chip Taylor's made-to-order tune in 1965 (1:57). Next up is The Troggs' 1966 cave-painting (44:00). True to form, we reinterpret the song by finding the sweet side of this savage number.&nbsp; The ocarina solo also has us pondering the pastoral aspects of the song. Textbook stuff! After the USA and the UK, let's go to Greece to hear how The Crowns attack the tune (1:32:31).&nbsp; More primitive than the previous two! An organ solo emerges out of the primordial murk and burbles back for the fade out. We luff it! Finally, the wholesome Cathy Rich teams up with the shady impresario Kim Fowley for a '69 freakout with flute?! (1:47:07).&nbsp; Now you know for sure!!!

Wild Thing

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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Wild Thing

Wild Thing

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