Earworm: The Clams' “Big Bug”

Back in the early days of Twitter (long before I got bounced from the platform for daring to link to my Mastodon handle), I got in the habit of posting a regular “Song of the Day” highlighting my latest earworm. 

I’m not threatening to restore that habit, but I will share an earworm that, for me, takes me back to my college days. It’s a song that, sadly, was little heard outside of Fresno, Calif. 

“Big Bug” was the first song off The Clams’ self-titled 1982 EP and it’s a top-notch banger. The song would instantly fill the dance floor, often at the once-loved Wild Blue Yonder, where the lyrics — cryptic yet descriptive at once — would entice even the most inhibited of dancers. 

The vocals are the star here. George Rotalo’s lead vocals are quirky but inviting, reminding me of Wall of Voodoo’s Stan Ridgway. But this is a tour de force of group vocals from all five members: Rotalo, bassist Russ Reed, guitarists Tony Negrete and Jim Carter, and drummer Jeff Wilkins. Five-part harmonies weave throughout the song, but it’s after the springy guitar solo that we hear all five members barking and beeping here, shouting and ad-libbing there. 

Negrete and Carter’s guitar work is punchy yet nuanced, with lots of delicate flourishes sitting above and under a booming rhythm from Reed and Wilkins. 

The only downside of “Big Bug” has nothing to do with the song: It’s the pressing of the four-song EP, whose grooves started deteriorating after 10 plays. Not a good mix with a song so magical. 

The rest of the EP is solid, with a mix of new-wave styles emphasizing the band’s harmonies, but "Big Bug" is the keeper fo the bunch. 

Thanks to YouTube, you can listen to “Big Bug” and the rest of the EP without any erosion. If you do want to track down a copy, Discogs.com has a copy for sale from someone in Greece, of all places. 

And if you’re in the mood for another Clams’ dance gem that didn’t make the cut for the EP, check out the band’s “Shark,” which was recorded separately and, to my knowledge, was never released at the time. 

And with that, "Let's get this shindig going ..."

Update on Thursday, July 9, 2026 at 2:51 PM by Logan Molen

I've been alerted to more Clams music online: A Clams website oddly parked under a .org domain — perhaps a subtle message that the band was a non-profit? — offers a mix of studio and live recordings, and lots of fun photos, fliers and news articles from the band's heyday.

The music includes five studio recordings, including "Shark," and two "Boombox Tapes" recordings of live shows. Outside of "Shark," all are new to me, and well worth a listen. 

The hourlong live recordings really do sound like they were recorded on a boombox, but they capture the band's energy, and ability to reasonably replicate some of their complex studio arrangements.

Alesong Brewing: A decade of tasty excellence

Updated on Monday, June 8, 2026 at 9:50 AM by Logan Molen

Like a song, each beer is our expression;

The enjoyment and interpretation is yours.

That simple but empowering message adorns every bottle from Alesong Brewing & Blending. 

Alesong is a Eugene, Oregon, brewer celebrating its 10th anniversary and consistent excellence and creativity that’s something to treasure in this age of failing breweries and too many bad beers.

I remember first buying beer from Alesong in 2016, shortly after they opened their warehouse facility on Conger Avenue in Eugene. It was there that I experienced a food and beer pairing for the first time. I don’t recall the beer samples but I do remember tasting cheese in new ways. I also recall a terrific custom-made chocolate and beer pairing party at Alesong’s then new rural production facility and tasting room. Each quarterly release includes food pairing suggestions for each beer, and I’ve found most to be home runs. 

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The incredible ‘controlled chaos’ that goes into FOX Sports’ Indycar broadcasts

As you know, I am a longtime fan of open-wheel racing. I’ve watched every Formula 1 race since 1985 and probably every Indycar, Champcar and and Indy 500 race since that time as well. 

I follow motorsports intensely and one of my favorite sources of information is the Trackside podcast hosted by Kevin Lee and Curt Cavin. The podcast is typically weekly year-round, but ramps up to a daily schedule in May around the two Indycar races in Indianapolis. 

In addition, Lee, a terrific longtime Indycar and IMSA pit reporter and announcer, has launched a sister weekly podcast, Trackside Extra With Kevin Lee. 

The eighth and most recent episode is the most illuminating because it takes a deep behind-the-scenes dive into the FOX Sports production of its race broadcasts. In this episode, Indycar on FOX director Mitch Riggin describes the dozens of voices in his ears during race broadcasts, the 100-plus cameras in use for this year’s Indy 500 that he’ll have at his disposal, and why the world’s biggest motorsports spectacle is so special, both as a broadcaster and a fan. 

In my college years, I interned at KSEE 24 in Fresno, and spend many nights in the production room, marveling at how the director and his/her team navigated an evolving 30-minute newscast, juggling cameras, taped pieces and network feeds, and breaks to commercials. During that internship, I thought directing might be something I’d pursue as a career. I loved the manic, but controlled pace, and felt behind-the-scenes work would better fit my — at the time — introverted personality.