Songs You May Have Missed #623

Todd Snider: “Beer Run” (2003)

Todd Snider’s live albums, with their combination of stoner-fied storytelling and folk songwriting chops, call to mind Arlo Guthrie. This version of “Beer Run”, recorded on the Bob and Tom show, is good inebriated fun.

Songs You May Have Missed #622

Supergrass: “Seen the Light” (2002)

3-chord punk pop was a thing in both Britain and America in the 90’s. The difference is that, whereas bands like the Clash, the Jam and the Sex Pistols may have influenced bands on both sides of the big pond, British pop punks of the 90’s additionally had a strain of Madness in their DNA…along with some Kinks and Small Faces. And Supergrass is the result. Sort of the English Green Day. Sort of.

Songs You May Have Missed #621

Moby Grape: “8:05” (1967)


1960’s San Francisco band Moby Grape were the epitome of a perfect democracy–or perhaps a hippie commune. Every member sang. Every member contributed material. And that material was more diverse than their pigeonholing as a psychedelic band would suggest.


Their catalogue shows off a variety of influences: blues, folk, country and straight-ahead three-guitar rock, often ornamented by four-part harmonies. “8:05”, from their much-hyped 1967 debut, shows their acoustic country rock side.

The band were short-lived due to personal issues and poor management. Like the innocence of hippie 60’s San Francisco, they basically washed out by the end of the decade; their chapter in rock history is perhaps a perfect microcosm of the story of the summer/bummer of love.

Has music streaming killed the instrumental intro?

(via the Ohio State University website) By: Misti Crane

COLUMBUS, Ohio – Remember those drawn-out, dramatic intros into the pop power ballads of the 80s? They’re all but gone in today’s chart toppers, according to new research, and listeners’ short attention spans may be to blame.

Intros that averaged more than 20 seconds in the mid-80s are now only about 5 seconds long, the study found.

Depending on what rocks your musical world, the popularity of streaming services might be to thank or to curse for a move away from the instrumental intro, said Hubert Léveillé Gauvin, a doctoral student in music theory at The Ohio State University. His study appears in the journal Musicae Scientiae

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Give Connie Francis Some Respect… Really

With apologies to Mr. Seger, rock and roll sometimes “forgets.” Sometimes inexplicably so. Consider, if you will, the case of one Connie Francis, (nee’ Concetta Rosemarie Franoconero of West Orange, New Jersey), a star of the highest caliber of song and screen in the genre’s development, and included too rarely in conversations of the all-time greats. It’s hard to pinpoint any particular reason why this should be, but rather than dwell upon the reasons  for Connie’s absence in the conversation, let’s try to accentuate the positive and give her her proper due.

Connie Francis was a whirlwind. Her biggest hits – “Who’s Sorry Now,” “Stupid Cupid,” “Lipstick On Your Collar” – were ubiquitous radio fare between her first Top 40 hit in 1955 and her final one in 1964. Her star turn in the movie, Where the Boys Are, confirmed her as a multi-dimensional talent. The movie has aged shockingly well, its humor mostly intact. Her charm was complete and undeniable. Her mezza-soprano was a genuine gift of nature. She sold more than 200 million records…

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