Podcasts about Big Rock Candy Mountain

Brandon Butler and Nathan “Shags” McLeod sit down with freshwater fishing hall of fame and fly fishing guru Mark Van Patton at Big Rock Candy Mountain to discuss the Missouri Trout Opener.Every year thousands of die-hard anglers line the banks at one of Missouri's trout parks for the opening day of catch-and-keep trout season. In years past, anglers have faced frigid winter temperatures, snow, sleet and ice, as well as sunshine and springlike weather all in the attempt of catching an elusive lunker. This Missouri tradition not only creates memories, but some of the biggest fish stories you've ever heard!The opening of the catch-and-keep trout fishing season on March 1 is an important Missouri tradition, marking the beginning of a season that runs until Oct. 31. The season officially begins at 6:30 a.m. at Bennett Spring State Park near Lebanon, Montauk State Park near Salem, and Roaring River State Park near Cassville. In addition to premier trout fishing, visitors to the state's trout parks can enjoy miles of hiking trails, lodging and camping options, and on-site dining facilities.For more info:Big Rock Candy Mountain WebsiteSpecial thanks to:Living The Dream Outdoor PropertiesSuperior Foam Insulation LLCDoolittle TrailersScenic Rivers TaxidermyConnect with Driftwood Outdoors:FacebookInstagramYouTubeEmail:info@driftwoodoutdoors.com

Brandon Butler and Nathan "Shags" McLeod sit down to recap 2024 and share thoughts on the year to come.Topics Discussed:  New Year's resolutions, fly fishing for trout and the river we no longer speak of, Big Rock Candy Mountain, Shags' wedding, college basketball, 50 in 50 by 50, Telepathy Tapes, cryotherapy, upcoming trip to Oregon, favorite Christmas gifts, golfing goals, cigars, bourbon, mystery bait bucket and more.For More Info:Telepathy TapesElement CryotherapySpecial thanks to:Living The Dream Outdoor PropertiesSuperior Foam Insulation LLCDoolittle TrailersScenic Rivers TaxidermyConnect with Driftwood Outdoors:FacebookInstagramEmail:info@driftwoodoutdoors.com

To the sound of a ticking clock and a crackling fire, you hear the tale of Animal Farm.  *includes "Big Rock Candy Mountain" by Harry McClintlock (1928) -=-=-=-=-=- All episodes are shared freely and without profit by the creator. If you'd like to help out, there's a few ways!  1) Please leave a 5 star review on your chosen streaming platform. 2) If you'd like to keep up-to-date: Paul Ward (@great_kraken) - Instagram 3) If you would like to make a donation in appreciation or thanks: paypal.me/cannypal I really enjoy making this content for you, so thank you to those who keep coming back. Your support and encouragement means more than you realize. 

Brandon Butler and Nathan "Shags" McLeod attend Big Rock Candy Mountain's first Fly Fishing Weekend with Mark Van Patten and Driftwood Outdoors.Recorded during the meet and greet for all attendees.Guests included:Mark Nettles, board member of the Ozark Riverways FoundationBilly Smith, owner of Scenic Rivers Guide Service (573-225-3390)Michael Collins, owner of Misty Mountain Guiding ServiceMark Van Patten, Fresh Water Fishing Hall of Famer, Author, and fly fishing guruTopics discussed: Falling in love with Big Rock Candy Mountain and their amazing support, fly rod donations and community involvement, Ozark Riverways Foundation values and opportunities, fishing reports from Billy Smith, smallmouth locations and advice, river tours, history, and wildlife, tying streamers, Moonshine and Watermelons, a life update from Mark, Lonestar Tick Disease and other tick borne illnesses, Woodstock, Bill Cooper's Cookbook, mystery bait bucket and much more.For more info:Big Rock Candy MountainSpecial thanks to:Living The Dream Outdoor PropertiesSuperior Foam Insulation LLCDoolittle TrailersScenic Rivers TaxidermyConnect with Driftwood Outdoors:FacebookInstagramEmail:info@driftwoodoutdoors.com

Brandon Butler and Nathan "Shags" McLeod sit down with Nick Green, Director of Marketing and Communications at The Nimrod Society.The Nimrod Society was created in order to facilitate programs to educate the general public on the positive role anglers and hunters play in society through accurate and factual education and media programs.Topics discussed: fly fishing weekend at Big Rock Candy Mountain, Nick's career projection, travels and experiences, waterfowl seasons and hunting, The Nimrod Society's history and name, creating hunters and anglers, projects and initiatives, Congressional Sportsmen's Foundation, Lake Taneycomo and trout fishing, photography, mystery bait bucket and more.For more info:Fly Fishing Weekend at Big Rock Candy MountainThe Nimrod SocietyDriftwood OutdoorsSpecial thanks to:Living The Dream Outdoor PropertiesSuperior Foam Insulation LLCDoolittle TrailersScenic Rivers TaxidermyConnect with Driftwood Outdoors:FacebookInstagramEmail:info@driftwoodoutdoors.com

Brandon Butler and Nathan “Shags” McLeod finally catch Uncle Steve on his first time out from under the bus in a while.Topics discussed: Steve's new iPhone and where on Earth he has been, the unpredictable weather in Missouri, Steve's fancy new smoker, deer and elk seasons in the Pacific Northwest, ground rules for his upcoming hunt with the boys, other plans for his trip to Missouri, football, removing hornet nests and things learned the hard way, fly fishing weekend at Big Rock Candy Mountain, mystery bait bucket and more.For more info:Fly Fishing Weekend at Big Rock Candy MountainBRCM Lodge Telephone # 417-932-1223Driftwood OutdoorsSpecial thanks to:Living The Dream Outdoor PropertiesSuperior Foam Insulation LLCDoolittle TrailersScenic Rivers TaxidermyConnect with Driftwood Outdoors:FacebookInstagramEmail:info@driftwoodoutdoors.com

Brandon Butler and Nathan “Shags” McLeod call Roger at Big Rock Candy Mountain for an update on the upcoming fly fishing weekend, which you're all invited to!  They also discuss current and future happenings in their separate worlds, while Uncle Steve ignores their text messages.Topics discussed: Fly fishing weekend at Big Rock Candy Mountain, expecting the unexpected, fishing in November, fall deer hunting with Uncle Steve and why won't he respond to his nephew, ground rules for the upcoming hunt, dad bods are actually better, Mo State Penn tour, Brandon's Idaho trip, and the future Venezuelan fishing adventure.For more info:Fly Fishing Weekend at Big Rock Candy MountainBRCM Lodge Telephone # 417-932-1223Driftwood OutdoorsSpecial thanks to:Living The Dream Outdoor PropertiesSuperior Foam Insulation LLCDoolittle TrailersScenic Rivers TaxidermyConnect with Driftwood Outdoors:FacebookInstagramEmail:info@driftwoodoutdoors.com

Brandon Butler and Nathan "Shags" McLeod sit down to talk about an exciting opportunity for you to join them at Big Rock Candy Mountain, and recap recent happenings.Topics discussed: Fly Fishing Weekend at Big Rock Candy Mountain, wedding planning, Brandon's trip to the Northeast, former presidents, Johnny Morris, ethical hunting and meaningful wins, drones in hunting, MONASP, Retrieving Freedom and more.For more info:Fly Fishing Weekend Event PageBig Rock Candy MountainDriftwood OutdoorsSpecial thanks to:Living The Dream Outdoor PropertiesSuperior Foam Insulation LLCDoolittle TrailersScenic Rivers TaxidermyConnect with Driftwood Outdoors:FacebookInstagramEmail:info@driftwoodoutdoors.com

It's finally here! The 4-year anniversary of The Doombots Podcast! This whole new episode will feature a slew of intentionally removed and censored content from past episodes and some original new content! From Searnold trying to figure out the origins of famous phrases to Zach singing "Big Rock Candy Mountain" badly to some of our biggest, most embarrassing bloopers and intentionally edited-out bad jokes, this episode has it all.

FULL EP HERE: https://www.patreon.com/slopquest Mike Black is in the studio again and it's a fire episode! O'Neill uses his feet to flush toilets. Mike finds a self cleaning toilet in Chicago.  Andy pitches a train car hobo podcast and talks about the death of Airwolf. Then Mike makes Andrew talk about Fat Gambit.  The boys come up with a tiny penised Lothario who steals women from well endowed men. Then they initiate Mike into the details of their Killer Kops screenplay and then Ryan and Mike lose it while Andy reads an article on “dad privilege”. They also come up a new Big Rock Candy Mountain style song for shitty dads.

The Mad Monster (with the short, Radar Men from the Moon, ep. 2) causes Chris and Charlotte to howl about the moon, the Wolf Man, Dracula, Frankenstein's monster, and the Big Rock Candy Mountains.Show Notes.The Mad Monster (Sam Newfield, 1942): MST3K Wiki. IMDb. Trailer.Radar Men from the Moon (Fred C. Bannon, 1951): IMDb. UnMSTed.Marc Evanier on Olsen and Johnson. (Thanks, Greg!)Our episode on Humanoid Woman.A Trip to the Moon (Le Voyage dans la lune) (Georges Méliès, 1902).A fluffy moon?Lunar module feet pics.The House of Frankenstein (Erle C. Kenton, 1944).Our episode on The Beast of Hollow Mountain.Dangers of the Canadian Mounted (Fred C. Bannon, 1948).Nut cups.Some more on the origin of charivari.Harry McClintock: The Big Rock Candy Mountain. (Or sometimes “Mountains”.)Pete Seeger: The Big Rock Candy Mountain.Burl Ives: The Big Rock Candy Mountain.The Big Rock Candy Mountain in Colorado.Charley the Unicorn goes to Candy Mountain.An Invitation to Lubberland.Herman Pleij: Dreaming of Cockaigne: Medieval Fantasies of the Perfect Life.Walla.Rhubarb Rhubarb (Eric Sykes, 1980) is the remake of Rhubarb (Eric Sykes, 1970).Support us on Patreon and you can hear all our superfan bonus bits, and hang out with us in a friendly discord.

Brandon Butler and Nathan “Shags” McLeod interview Roger Franklin, owner of Big Rock Candy Mountain.Big Rock Candy Mountain Retreat is your vacation destination! Just a mile and a half from the beautiful spring-fed Current River and the Ozark Scenic Riverways, it's home to the best fly fishing, floating and family fun in the state! BRCM is 18 acres of beautiful forest teaming with wildlife, fantastic bird watching, nights filled with fireflies and stories around the fire. You can spend your days filled with the many trail systems for horses, Side-by-Sides, hiking or biking, go kayaking, canoeing or floating and fishing on the current river.Topics Discussed: How BRCM came to be, 35 years of marriage and adventure, under-utilization and things to do on the Current River, how friendliness is contagious, live music and best shows, the very special new wedding venue, tourism in the Ozarks, mystery bait bucket and more.For More Information:Big Rock Candy MountainSpecial thanks to:Living The Dream Outdoor PropertiesSuperior Foam Insulation LLCDoolittle TrailersSmithfly RaftsScenic Rivers TaxidermyConnect with Driftwood Outdoors:FacebookInstagramEmail:info@driftwoodoutdoors.com

More discussions of Waits's unreleased recordings brings us to the 1980s, featuring several demos, a bunch of covers, and significant collaborations with other musicians, both big and small. Highlights this week include his contribution to a poetry documentary, a live Ewan MacColl cover, and his evening of collaborations with The Replacements. website: songbysongpodcast.com twitter: @songbysongpod e-mail: songbysongpodcast@gmail.com Music extracts used for illustrative/review purposes include: Purple Avenue / Empty Pockets, live recording, Expo Theatre, Montreal Canada (3 July 1981) Smuggler's Waltz / Bronx Lullaby, from Poetry In Motion, dir. Ron Mann (1982) Carnivalins, unreleased recording, Frank's Wild Demos (1986?) Vegas Theme, unreleased recording, Frank's Wild Demos (1986?) Downtown Train (alt take), NME's Big Four 7" EP, Tom Waits (1986) Harlem Shuffle, Dirty Work, The Rolling Stones (1986) I Forgot More Than You'll Ever Knew (About Her), live recording, Beverly Theatre, Los Angeles CA, Tom Waits with Elvis Costello and Lou Reed, w. Cecil Null (4 October 1986) Papa's Got A Brand New Bag, live recording, Massey Hall, Toronto Canada, w. James brown (7 October 1987) Mack The Knife, live recording, Freie Volksbuhne, Berlin Germany, w. Bertolt Brecht / Kurt Weill (8 December 1987) Big Rock Candy Mountain, from the film Ironweed, dir. Hector Babenco (1987) Once More Before I Go, from the film Candy Mountain, dir. Robert Frank and Rudy Wurlitzer (1988) Date To Church, single b-side, The Replacements / Tom Waits (1989) Lowdown Monkey Blues, Dead Man's Pop, The Replacements / Tom Waits (1989/2019) If Only You Were Lonely, Dead Man's Pop, The Replacements / Tom Waits (1989/2019) I Can Help, studio outtake / Dead Man's Pop, The Replacements / Tom Waits, w. Billy Swan (1989/2019) We Know The Night - Rehearsal Version, Dead Man's Pop, The Replacements / Tom Waits (1989/2019) Take It As It Comes, live recording, Wiltern Theatre, Los Angeles CA, w. The Doors (31 December 1988) Pennies From Heaven, live recording, Wiltern Theatre, Los Angeles CA, w. Arthur Johnston and Johnny Burke (31 December 1988) Dirty Old Town, live recording, Wiltern Theatre, Los Angeles CA, w. Ewan MacColl (31 December 1988) Hound Dog, live recording, Wiltern Theatre, Los Angeles CA, w. Jerry Leiber and Mike Stoller (31 December 1988) Dirty Old Town, Rum Sodomy and The Lash, The Pogues (1985) We think your Song by Song experience will be enhanced by hearing, in full, the songs featured in the show, which you can get hold of from your favourite record shop or online platform. Please support artists by buying their music, or using services which guarantee artists a revenue - listen responsibly.

"Smoke Two Joints" - Sublime"On the Road Again - Live" - Willie Nelson"Lookin' Out My Backdoor" - Creedence Clearwater Revival"Oo-De-Lally" - Roger Miller"Fuck You I'm Drunk" - Bondo"I've Been Everywhere" - Johnny Cash"Mountain Dew" - The Clancy Brothers w/ Tommy Makem"Cherry Bomb" - John Mellencamp"I'm Gonna Be (500 Miles)" - The Proclaimers"Because I Got High" - Afroman"Ob-La-Di, Ob-La-Da" - The Beatles"Puff, the Magic Dragon" - Peter, Paul, & Mary"The Big Rock Candy Mountain" - Harry McClintock"Thank God I'm a Country Boy" - John Denver"Galway Girl" - The Kilkennys"End of the Line" - Traveling Wilburys"Blowin' in the Wind" - Bob Dylan"If I Ever Leave this World Alive" - Flogging Mollyhttps://open.spotify.com/playlist/2dJj7sm6RvIwf3zpckxwZF?si=9532f4eb7dbd42f6

With Brandon deer hunting in New Jersey, Nathan "Shags" McLeod takes good friends Kris Nelson of Tandem Fly Outfitters, and (officially retired) Tim Paulsen floating and fishing the current River. They stop at Big Rock Candy Mountain to eat dinner and record a podcast with a surprise visitor/special guest, Roger Franklin of Big Rock Candy Mountain.Topics Discussed: Takeaways from the Current River floating/fishing trip, the beauty in our own backyard, fishing ettiquette, fly tips and tricks, retiring in your 50's, overthinking morel mushroom hunting, Lonestar Tick bites and Alpha Gal, why Big Rock Candy Mountain is so special, mystery bait bucket and more.For More Information:Big Rock Candy MountainBig Rock Candy Mountain FacebookTandem Fly OutfittersConnect with Driftwood Outdoors:FacebookInstagramSpecial thanks to:Living The Dream PropertiesHunting Works For MissouriSmithfly RaftsScenic Rivers TaxidermyEmail:info@driftwoodoutdoors.com

Brandon Butler and Nathan “Shags” McLeod record from a gravel bar on the river they no longer speak of with unpaid pro staffers Paddle Don and Tim Flanner. Topics Discussed: Night fishing, floating, wrestling, upcoming hunts, Big Rock Candy Mountain, best summer trips, live music, Baker Banter, True North, surviving a stroke, mystery bait bucket and more. Connect with Driftwood Outdoors:FacebookInstagramSpecial thanks to:Living The Dream PropertiesHunting Works For MissouriSmithfly RaftsScenic Rivers TaxidermyEmail:info@driftwoodoutdoors.com

BIG ROCK CANDY MOUNTAIN BY BURL IVES (DECCA, 1956)I had a record when I was a kid called “Burl Ives Sings For Fun”, and it made such an impression on me that I can still recall all the songs. In fact, twenty years later, I won my first professional, New York acting job by auditioning with one of the tunes from that collection: The Fox….”The fox went out on the prowl one night, begged to the moon to give him light, he had many a mile to go that night, before he reached the town-O….” Burl's high tenor stirred something deep within me, and still does - In Big Rock Candy Mountain, when he goes into that slow vocal ascent with the buuuuzzzzzinnnn of the bees, my heart swells. This still happens, despite my ambivalence toward what Burl personally did to save his career during the blacklist of the 1950s.I discovered that taint while in the Smithsonian doing some research on folk music, and I ran across a Burl Ives Sea Chantey songbook reviewed by Pete Seeger in Sing Out magazine. Pete admitted that he liked the book, and reflected that some might think that strange, given the fact that Burl was “a stool pigeon.” This upset me so much that I ended up writing a play about the betrayal of their relationship during that period. But, if Pete could forgive Burl, as he did 41 years later, when they appeared together at a benefit concert shortly before Burl's death, so can I.Big Rock Candy Mountain is one of the songs on that album. Originally written and recorded by Harry McClintock in 1928, Big Rock Candy Mountain is described as an idyllic destination, imagined by an un-housed man, and it evokes a feeling of comfort, warmth, and joy for me. Check it out and see if you don't feel better, too.

Matt and Drew discuss "The Big Rock Candy Mountain" by Harry McClintock. To listen to the full show, visit ForgottenCountryRadioShow.com.

The Big Rock Candy Mountain For the session to be discussed on November 13, 2022 Isaiah 65:17-25 David Cassady Nikki Hardeman Daniel Glaze David Adams In this passage from Isaiah, God stands ready to bring forth a vision of heaven that surpasses everyone's hopes. Given the struggles of Isaiah's community, these words offered encouragement, strength, […]

You may have passed Big Rock Candy Mountain on Highway 89 and not thought much of it. Robert Thompson is the new owner of Big Rock Candy Mountain. He joins Tim, Russ, and Bob Grove to talk about why travelers should stop and spend time at this Utah staple. Roger Eggatt from The Cabins at Bear River Lodge and Tracks Powersports joins Tim for their weekly conversation.See omnystudio.com/listener for privacy information.

What do a cat and Big Rock Candy Mountain have to do with Chevy trucks? Listen in as I spoke with Jane Hussar, Chevrolet Silverado Advertising Manager. In this episode, we talk all about it with fun commercial examples sprinkled within. To see the Chevy's latest trucks, click here.   For more on creating branded sound or for a sound strategist to help you navigate the sound space, go to www.dreamrproductions.com.  For more on the latest in sound marketing these days, go to www.soundinmarketing.com where you can take courses and read articles on the subject.  You can find the Sound In Marketing Podcast on all the major podcast channels like iTunes, Spotify, iHeart Radio, Pandora, and Stitcher so don't forget to share it with your friends, follow, and rate it.  For any further inquiries, you can find me at Dreamr Productions www.dreamrproductions.com, Sound In Marketing Learning www.soundinmarketing.com, Linkedin, Twitter, and Facebook. You can also email me at jeanna@dreamrproductions.com.  This episode was produced by Dreamr Productions and hosted, written, and edited by me, Jeanna Isham. Let's make this world of sound more intriguing, more unique, and more and more on brand.

It's not everyday you get to talk to legends but I'll be damned if I'm not to talking to one on this episode! On the show we have musician and actor John Doe. We discuss John's new record Fables in a Foreign Land along with topics such as:- Writing murder ballads with Shirley Manson of Garbage- If John felt any pressure releasing Alphabetland after X hadn't released an album since 1993- Having to find a replacement bass player for a tour because Willie Nelson took yours- Being in the early stages of writing a new X record with Exene- Going on tour all summer with X and the John Doe Trio- If John's surroundings influence his songwriting- Trying new things as a musician 40+ years in your career- The irony of children listening to Folk music & more!Follow John Doe -https://johndoex.bandcamp.comhttp://www.theejohndoe.comhttps://www.xtheband.comhttps://www.instagram.com/theejohndoe/https://www.instagram.com/xthebandofficial/https://twitter.com/johndoefromXhttps://twitter.com/Xthebandhttps://www.facebook.com/theejohndoehttps://www.facebook.com/XLosAngelesCheck out the Power Chord Hour radio show every Friday night at 10 to midnight est on 107.9 WRFA in Jamestown, NY. Stream the station online at wrfalp.com/streaming/ or listen on the WRFA app.powerchordhour@gmail.comInstagram - www.instagram.com/powerchordhourTwitter - www.twitter.com/powerchordhourFacebook - www.facebook.com/powerchordhourYoutube - www.youtube.com/channel/UC6jTfzjB3-mzmWM-51c8LggSpotify Episode Playlists - https://open.spotify.com/user/kzavhk5ghelpnthfby9o41gnr?si=4WvOdgAmSsKoswf_HTh_MgThank you to Jay Vics for his behind the scenes help on this episode - https://www.jvimobile.comhttps://www.facebook.com/jvimobilehttps://www.twitter.com/jvimobile

The Great Outdoors (#243) (852) Xeres and I decided that we needed to get away from it all, for a while. We arrive at Big Rock Candy Mountain, a fantastic campground with a number of odd features, including a creek near an ocean beach with lots of hiking in tropical and pine forests. Occasional guests wander … Continue reading The Great Outdoors

News breaks about Mark Lanegan passing as we start the show. We ask Luke if he knows who he is. Juwan Howard got into it over the weekend and apparently it matters greatly if a coach hits a player or a coach. Mike gives you a sneak peak behind the curtain of our talk show. Have you heard about Sores and Boners? Your emails are always a priority for us. Scott's Plan was a big hit! Michigan potholes are popping up faster than the interest people have in starting their own podcast. Michigan has issues. Mike blew an axle in Philly once upon a time and it has a catchy jingle to it similar to Mike Posner and his classic I Took A Pill In Ibiza. Part way through the show we space out on why we were talking about Mike Posner. The People's Convoy is starting soon and you want to make sure you avoid their route when they come through your town to avoid traffic problems. Mandates are dying and we have little interest in Ukraine beyond our own crypto accounts. Luke says the word craw and Mike has to play Bill Hicks immediately. Luke shares his recent Hot Water Music concert trip review. Finally, a bat or a rat? We close the show with Big Rock Candy Mountain. You'll see. Give us your thoughts on any of this nonsense by emailing isitsafepod@gmail.com

Tab and tutorial now available in the Breakthrough Banjo course http://clawhammerbanjo.net/coursetour

After a very quick hiatus, the CDB Crew is back with a new episode! Brian has chosen for us this week, Rock Candy Mountain by Kyle Starks and Chris Schweizer and published by Image Comics. We also get into conversations about other related topics like riding the rails, strong opinions of John Steinbeck, and how to summon the devil. It is a fun time to be had by all! Other books talked about this episode: We Don't Kill Spiders #1-2 by Joseph Schmalke and DC Hopkins (Scout/Black Caravan); Maniac of New York vol 1 and 2 by Elliott Kalan, Andrea Mutti, and Taylor Esposito (Aftershock); and How to Make Tostones by Vanessa Flores (https://twitter.com/vanieflores/status/1460695388290179080?t=pjkbia5hoqufpI-3J_iZ0w&s=19) Here's a link to Harry McClintock singing Big Rock Candy Mountain: https://www.youtube.com/watch?v=rhVCH0UO9cg DIY Corner: Kyle Starks' Monthly Sticker Club: https://www.kylestarks.com/merch/p/sticker-club Comics Deserve Better is a weekly podcast hosted by Brian, Carrie and Darci which covers the world of Independent Comics. For a list of episodes, socials and emails, and to request a topic for a future episode please visit comicsdeservebetter.wordpress.com. (Episode Art by Kyle Starks and Chris Schweizer)

Not far off of I-70 in central Utah is a small resort with a very recognizable name. While Big Rock Candy Mountain is more often associated with the old folk song by the same name,  Big Rock Candy Mountain Resort has established itself as one of Utah's must visit destinations since the 1970's. Owned and operated by the Grow family for over 25 years, it has been an outdoor adventure hotspot for people looking to get away and enjoy the simpler things in life. On this episode of the Travel Utah Podcast, I speak with Alex Grow, as he shares some of the resort's history, amenities, and activities that have defined this area for over 30 years. 

Well, we traveled all the way to Trinidad for our friend's bachelor party, but he bailed at the last minute and left us eating Hobbit themed menu items at an IHOP. The frickin balls on this guy, am I right? Notes: IHOP Hobbit menu, ballcel, Adrien Brody's Cloud Atlas, old bad X-men games, A Very Special Watto Minute, International House of Gump, Secret Jollibee Thing Sauce, the return of Dr Pizza Stone, Simulated Hobo Heaven, Calzoney Bukkake, Noid Rebuild, get in the pod and eat the meatballs, samurai sauce, Eggman/Wendell hybrid, Stefan's Special Stuff, NFT Godus, Professor Von Schlemmer, G4 shipping, Mayor Bullyani, Steve's student loans

On Day 6 of Wee Scream, David Ganssle/Doggans joins us for a painful cavity of a movie, Wee Sing in The Big Rock Candy Mountain! It is anything but a paradise. --- https://linktr.ee/ChannelKRTPodcast Dave's stuff: https://www.youtube.com/user/doggans https://www.patreon.com/doggans https://twitter.com/doggans Edited by Tyler Green Show logo by Marissa Thorburn: https://twitter.com/KermitWaz0wski

Enemy at The Gates. In this episode, we read and discuss David Mark Whitford's book, "Tyranny and Resistance." What are Christians to do when state and church unite to enforce laws that are in opposition to God's Word and Christian freedom? SHOW NOTES: Tyranny and Resistance: The Magdeburg Confession and the Lutheran Tradition by David Mark Whitford https://amzn.to/3xHBbg0  Big Rock Candy Mountain https://en.wikipedia.org/wiki/Big_Rock_Candy_Mountain  — CONTACT and FOLLOW BannedBooks@1517.org Facebook Twitter Telegram Telegram Chat SUBSCRIBE YouTube Apple Podcasts Spotify Stitcher Overcast Google Play TuneIn Radio iHeartRadio SUPPORT Gillespie Coffee (gillespie.coffee) Gillespie Media (gillespie.media) Donavon Riley The Warrior Priest Podcast 1517 Podcast Network Support the work of 1517

Up for an Escaping Society quickie between seasons? Hear the missing verse from that hobo classic, “Big Rock Candy Mountain”! For the rest, listen to episode 38, “Anything Goes”, season 4.

Originally, Spencer and Sophia were going to address the Cosby release, but decided against it. Reason being that this release is no laughing matter, and us linking the severity of Cosby's actions to our comedy podcast would have been disrespectful to the 60 victims that have bravely chosen to come forward in the past few years. We stand with these women. If you ever feel unsafe or mistreated, Spencer and Sophia are here for you. (Resources: https://www.rainn.org/ https://www.nsvrc.org/ ) But let's talk a bit about this amazing episode with Isaac. What a guy! I mean, he's funny, smart, and musically talented! You're gonna want to skip breakfast to listen to this one! We chat about everything from Ska to 8th grade graduation to dinner etiquette. Way to return to the podcast format, us! Enjoy! Isaac's cool shit: https://www.youtube.com/channel/UChM4bhdJs947VnLynFPJroQ

Tab and tutorial now available in the Breakthrough Banjo course for fingerstyle banjo: https://fingerstylebanjo.com/coursetour

Twitter: https://twitter.com/roomwherepod Discord: https://discord.gg/ZjwPuRv Website: https://roomwherepod.com/ Patreon: https://roomwherepod.cash Well I appreciate the open armed welcome Baron. We got to move fairly quickly. Commander Evans is already making some very big plays. He's seizing and converting any UPRC ran facilities he can get a hold of the higher ups won't notice. The Sunsphere was first, but he's also co-opted Big Rock Candy Mountain. He figures if it's places folks don't care about the people in then ain't nobody gonna come snooping when the status quo changes. That was step one though, getting logistics in order. It's getting to be time to start rolling these things off the line en mass. After what went down at the Johnnies meeting he got the itch to bring the hammer down hard.

Episode 118 of A History of Rock Music in Five Hundred Songs looks at “Do-Wah-Diddy-Diddy” by Manfred Mann, and how a jazz group with a blues singer had one of the biggest bubblegum pop hits of the sixties. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a thirteen-minute bonus episode available, on “Walk on By” by Dionne Warwick. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt’s irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ —-more—- Resources No Mixcloud this week due to the number of tracks by Manfred Mann. Information on the group comes from Mannerisms: The Five Phases of Manfred Mann, by Greg Russo, and from the liner notes of this eleven-CD box set of the group’s work. For a much cheaper collection of the group’s hits — but without the jazz, blues, and baroque pop elements that made them more interesting than the average sixties singles band — this has all the hit singles. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript: So far, when we’ve looked at the British blues and R&B scene, we’ve concentrated on the bands who were influenced by Chicago blues, and who kept to a straightforward guitar/bass/drums lineup. But there was another, related, branch of the blues scene in Britain that was more musically sophisticated, and which while its practitioners certainly enjoyed playing songs by Howlin’ Wolf or Muddy Waters, was also rooted in the jazz of people like Mose Allison. Today we’re going to look at one of those bands, and at the intersection of jazz and the British R&B scene, and how a jazz band with a flute player and a vibraphonist briefly became bubblegum pop idols. We’re going to look at “Do Wah Diddy Diddy” by Manfred Mann: [Excerpt: Manfred Mann, “Do Wah Diddy Diddy”] Manfred Mann is, annoyingly when writing about the group, the name of both a band and of one of its members. Manfred Mann the human being, as opposed to Manfred Mann the group, was born Manfred Lubowitz in South Africa, and while he was from a wealthy family, he was very opposed to the vicious South African system of apartheid, and considered himself strongly anti-racist. He was also a lover of jazz music, especially some of the most progressive music being made at the time — musicians like Ornette Coleman, Charles Mingus, and John Coltrane — and he soon became a very competent jazz pianist, playing with musicians like Hugh Masakela at a time when that kind of fraternisation between people of different races was very much frowned upon in South Africa. Manfred desperately wanted to get out of South Africa, and he took his chance in June 1961, at the last point at which he was a Commonwealth citizen. The Commonwealth, for those who don’t know, is a political association of countries that were originally parts of the British Empire, and basically replaced the British Empire when the former colonies gained their independence. These days, the Commonwealth is of mostly symbolic importance, but in the fifties and sixties, as the Empire was breaking up, it was considered a real power in its own right, and in particular, until some changes to immigration law in the mid sixties, Commonwealth citizens had the right to move to the UK.  At that point, South Africa had just voted to become a republic, and there was a rule in the Commonwealth that countries with a head of state other than the Queen could only remain in the Commonwealth with the unanimous agreement of all the other members. And several of the other member states, unsurprisingly, objected to the continued membership of a country whose entire system of government was based on the most virulent racism imaginable. So, as soon as South Africa became a republic, it lost its Commonwealth membership, and that meant that its citizens lost their automatic right to emigrate to the UK. But they were given a year’s grace period, and so Manfred took that chance and moved over to England, where he started playing jazz keyboards, giving piano lessons, and making some money on the side by writing record reviews. For those reviews, rather than credit himself as Manfred Lubowitz, he decided to use a pseudonym taken from the jazz drummer Shelly Manne, and he became Manfred Manne — spelled with a silent e on the end, which he later dropped. Mann was rather desperate for gigs, and he ended up taking a job playing with a band at a Butlin’s holiday camp. Graham Bond, who we’ve seen in several previous episodes as the leader of The Graham Bond Organisation, was at that time playing Hammond organ there, but only wanted to play a few days a week. Mann became the substitute keyboard player for that holiday camp band, and struck up a good musical rapport with the drummer and vibraphone player, Mike Hugg. When Bond went off to form his own band, Mann and Hugg decided to form their own band along the same lines, mixing the modern jazz that they liked with the more commercial R&B that Bond was playing.  They named their group the Mann-Hugg Blues Brothers, and it initially consisted of Mann on keyboards, Hugg on drums and vibraphone, Mike Vickers on guitar, flute, and saxophone, Dave Richmond on bass, Tony Roberts and Don Fay on saxophone and Ian Fenby on trumpet. As their experiences were far more in the jazz field than in blues, they decided that they needed to get in a singer who was more familiar with the blues side of things. The person they chose was a singer who was originally named Paul Pond, and who had been friends for a long time with Brian Jones, before Jones had formed the Rolling Stones. While Jones had been performing under the name Elmo Lewis, his friend had taken on Jones’ surname, as he thought “Paul Pond” didn’t sound like a good name for a singer. He’d first kept his initials, and performed as P.P. Jones, but then he’d presumably realised that “pee-pee” is probably not the best stage name in the world, and so he’d become just Paul Jones, the name by which he’s known to this day. Jones, like his friend Brian, was a fan particularly of Chicago blues, and he had occasionally appeared with Alexis Korner. After auditioning for the group at a ska club called The Roaring 20s, Jones became the group’s lead singer and harmonica player, and the group soon moved in Jones’ musical direction, playing the kind of Chicago blues that was popular at the Marquee club, where they soon got a residency, rather than the soul style that was more popular at the nearby Flamingo club, and which would be more expected from a horn-centric lineup. Unsurprisingly, given this, the horn players soon left, and the group became a five-piece core of Jones, Mann, Hugg, Vickers, and Richmond. This group was signed to HMV records by John Burgess. Burgess was a producer who specialised in music of a very different style from what the Mann-Hugg Blues Brothers played. We’ve already heard some of his production work — he was the producer for Adam Faith from “What Do You Want?” on: [Excerpt: Adam Faith, “What Do You Want?”] And at the time he signed the Mann-Hugg Blues Brothers, he was just starting to work with a new group, Freddie and the Dreamers, for whom he would produce several hits: [Excerpt: Freddie and the Dreamers, “If You Gotta Make a Fool of Somebody”] Burgess liked the group, but he insisted that they had to change their name — and in fact, he insisted that the group change their name to Manfred Mann. None of the group members liked the idea — even Mann himself thought that this seemed a little unreasonable, and Paul Jones in particular disagreed strongly with the idea, but they were all eventually mollified by the idea that all the publicity would emphasise that all five of them were equal members of the group, and that while the group might be named after their keyboard player, there were five members. The group members themselves always referred to themselves as “the Manfreds” rather than as Manfred Mann. The group’s first single showed that despite having become a blues band and then getting produced by a pop producer, they were still at heart a jazz group. “Why Should We Not?” is an instrumental led by Vickers’ saxophone, Mann’s organ, and Jones’ harmonica: [Excerpt: Manfred Mann, “Why Should We Not?”] Unsurprisingly, neither that nor the B-side, a jazz instrumental version of “Frere Jacques”, charted — Britain in 1963 wanted Gerry and the Pacemakers and Freddie and the Dreamers, not jazz instrumentals. The next single, an R&B song called “Cock-A-Hoop” written by Jones, did little better. The group’s big breakthrough came from Ready, Steady, Go!, which at this point was using “Wipe Out!” by the Surfaris as its theme song: [Excerpt: The Surfaris, “Wipe Out”] We’ve mentioned Ready, Steady, Go! in passing in previous episodes, but it was the most important pop music show of the early and mid sixties, just as Oh Boy! had been for the late fifties. Ready, Steady, Go! was, in principle at least, a general pop music programme, but in practice it catered primarily for the emerging mod subculture. “Mod” stood for “modernist”, and the mods emerged from the group of people who liked modern jazz rather than trad, but by this point their primary musical interests were in soul and R&B. Mod was a working-class subculture, based in the South-East of England, especially London, and spurred on by the newfound comparative affluence of the early sixties, when for the first time young working-class people, while still living in poverty, had a small amount of disposable income to spend on clothes, music, and drugs. The Mods had a very particular sense of style, based around sharp Italian suits, pop art and op art, and Black American music or white British imitations of it. For them, music was functional, and primarily existed for the purposes of dancing, and many of them would take large amounts of amphetamines so they could spend the entire weekend at clubs dancing to soul and R&B music. And that entire weekend would kick off on Friday with Ready, Steady, Go!, whose catchphrase was “the weekend starts here!” Ready, Steady, Go! featured almost every important pop act of the early sixties, but while groups like Gerry and the Pacemakers or the Beatles would appear on it, it became known for its promotion of Black artists, and it was the first major British TV exposure for Motown artists like the Supremes, the Temptations, and the Marvelettes, for Stax artists like Otis Redding, and for blues artists like John Lee Hooker and Sonny Boy Williamson. Ready Steady Go! was also the primary TV exposure for British groups who were inspired by those artists, and it’s through Ready Steady Go! that the Animals, the Yardbirds, the Rolling Stones, Them, and the Who, among others reached national popularity — all of them acts that were popular among the Mods in particular. But “Wipe Out” didn’t really fit with this kind of music, and so the producers of Ready Steady Go were looking for something more suitable for their theme music. They’d already tried commissioning the Animals to record something, as we saw a couple of weeks back, but that hadn’t worked out, and instead they turned to Manfred Mann, who came up with a song that not only perfectly fit the style of the show, but also handily promoted the group themselves: [Excerpt: Manfred Mann, “5-4-3-2-1”] That was taken on as Ready, Steady, Go!s theme song, and made the top five in the UK. But by the time it charted, the group had already changed lineup. Dave Richmond was seen by the other members of the group as a problem at this point. Richmond was a great bass player, but he was a great *jazz* bass player — he wanted to be Charles Mingus, and play strange cross-rhythms, and what the group needed at this point was someone who would just play straightforward blues basslines without complaint — they needed someone closer to Willie Dixon than to Mingus. Tom McGuinness, who replaced him, had already had a rather unusual career trajectory. He’d started out as a satirist, writing for the magazine Private Eye and the TV series That Was The Week That Was, one of the most important British comedy shows of the sixties, but he had really wanted to be a blues musician instead. He’d formed a blues band, The Roosters, with a guitarist who went to art school with his girlfriend, and they’d played a few gigs around London before the duo had been poached by the minor Merseybeat band Casey Jones and his Engineers, a group which had been formed by Brian Casser, formerly of Cass & The Cassanovas, the group that had become The Big Three. Casey Jones and his Engineers had just released the single “One Way Ticket”: [Excerpt: Casey Jones and His Engineers, “One-Way Ticket”] However, the two guitarists soon realised, after just a handful of gigs, that they weren’t right for that group, and quit. McGuinness’ friend, Eric Clapton, went on to join the Yardbirds, and we’ll be hearing more about him in a few weeks’ time, but McGuinness was at a loose end, until he discovered that Manfred Mann were looking for a bass player. McGuinness was a guitarist, but bluffed to Paul Jones that he’d switched to bass, and got the job. He said later that the only question he’d been asked when interviewed by the group was “are you willing to play simple parts?” — as he’d never played bass in his life until the day of his first gig with the group, he was more than happy to say yes to that. McGuinness joined only days after the recording of “5-4-3-2-1”, and Richmond was out — though he would have a successful career as a session bass player, playing on, among others, “Je t’Aime” by Serge Gainsbourg and Jane Birkin, “Your Song” by Elton John, Labi Siffre’s “It Must Be Love”, and the music for the long-running sitcoms Only Fools and Horses and Last of the Summer Wine. As soon as McGuinness joined, the group set out on tour, to promote their new hit, but also to act as the backing group for the Crystals, on a tour which also featured Johnny Kidd and the Pirates and Joe Brown and his Bruvvers.  The group’s next single, “Hubble Bubble Toil and Trouble” was another original, and made number eleven on the charts, but the group saw it as a failure anyway, to the extent that they tried their best to forget it ever existed. In researching this episode I got an eleven-CD box set of the group’s work, which contains every studio album or compilation they released in the sixties, a collection of their EPs, and a collection of their BBC sessions. In all eleven CDs, “Hubble Bubble Toil and Trouble” doesn’t appear at all. Which is quite odd, as it’s a perfectly serviceable, if unexceptional, piece of pop R&B: [Excerpt: Manfred Mann, “Hubble Bubble Toil and Trouble”] But it’s not just the group that were unimpressed with the record. John Burgess thought that the record only getting to number eleven was proof of his hypothesis that groups should not put out their own songs as singles. From this point on, with one exception in 1968, everything they released as an A-side would be a cover version or a song brought to them by a professional songwriter. This worried Jones, who didn’t want to be forced to start singing songs he disliked, which he saw as a very likely outcome of this edict. So he made it his role in the group to seek out records that the group could cover, which would be commercial enough that they could get hit singles from them, but which would be something he could sing while keeping his self-respect. His very first selection certainly met the first criterion. The song which would become their biggest hit had very little to do with the R&B or jazz which had inspired the group. Instead, it was a perfect piece of Brill Building pop. The Exciters, who originally recorded it, were one of the great girl groups of the early sixties (though they also had one male member), and had already had quite an influence on pop music. They had been discovered by Leiber and Stoller, who had signed them to Red Bird Records, a label we’ll be looking at in much more detail in an upcoming episode, and they’d had a hit in 1962 with a Bert Berns song, “Tell Him”, which made the top five: [Excerpt: The Exciters, “Tell Him”] That record had so excited a young British folk singer who was in the US at the time to record an album with her group The Springfields that she completely reworked her entire style, went solo, and kickstarted a solo career singing pop-soul songs under the name Dusty Springfield. The Exciters never had another top forty hit, but they became popular enough among British music lovers that the Beatles asked them to open for them on their American tour in summer 1964. Most of the Exciters’ records were of songs written by the more R&B end of the Brill Building songwriters — they would record several more Bert Berns songs, and some by Ritchie Barrett, but the song that would become their most well-known legacy was actually written by Jeff Barry and Ellie Greenwich. Like many of Barry and Greenwich’s songs, it was based around a nonsense phrase, but in this case the phrase they used had something of a longer history, though it’s not apparent whether they fully realised that. In African-American folklore of the early twentieth century, the imaginary town of Diddy Wah Diddy was something like a synonym for heaven, or for the Big Rock Candy Mountain of the folk song — a place where people didn’t have to work, and where food was free everywhere. This place had been sung about in many songs, like Blind Blake’s “Diddie Wah Diddie”: [Excerpt: Blind Blake, “Diddie Wah Diddie”] And a song written by Willie Dixon for Bo Diddley: [Excerpt: Bo Diddley, “Diddy Wah Diddy”] And “Diddy” and “Wah” had often been used by other Black artists, in various contexts, like Roy Brown and Dave Bartholomew’s “Diddy-Y-Diddy-O”: [Excerpt: Roy Brown and Dave Bartholomew, “Diddy-Y-Diddy-O”] And Junior and Marie’s “Boom Diddy Wah Wah”, a “Ko Ko Mo” knockoff produced by Johnny Otis: [Excerpt: Junior and Marie, “Boom Diddy Wah Wah”]  So when Jeff Barry and Ellie Greenwich wrote “Do-Wah-Diddy”, as the song was originally called, they were, wittingly or not, tapping into a rich history of rhythm and blues music. But the song as Greenwich demoed it was one of the first examples of what would become known as “bubblegum pop”, and is particularly notable in her demo for its very early use of the fuzz guitar that would be a stylistic hallmark of that subgenre: [Excerpt: Ellie Greenwich, “Do-Wah-Diddy (demo)”] The Exciters’ version of the song took it into more conventional girl-group territory, with a strong soulful vocal, but with the group’s backing vocal call-and-response chant showing up the song’s resemblance to the kind of schoolyard chanting games which were, of course, the basis of the very first girl group records: [Excerpt: The Exciters, “Do-Wah-Diddy”] Sadly, that record only reached number seventy-eight on the charts, and the Exciters would have no more hits in the US, though a later lineup of the group would make the UK top forty in 1975 with a song written and produced by the Northern Soul DJ Ian Levine. But in 1964 Jones had picked up on “Do-Wah-Diddy”, and knew it was a potential hit. Most of the group weren’t very keen on “Do Wah Diddy Diddy”, as the song was renamed. There are relatively few interviews with any of them about it, but from what I can gather the only member of the band who thought anything much of the song was Paul Jones. However, the group did their best with the recording, and were particularly impressed with Manfred’s Hammond organ solo — which they later discovered was cut out of the finished recording by Burgess. The result was an organ-driven stomping pop song which had more in common with the Dave Clark Five than with anything else the group were doing: [Excerpt: Manfred Mann, “Do Wah Diddy Diddy”] The record reached number one in both the UK and the US, and the group immediately went on an American tour, packaged with Peter & Gordon, a British duo who were having some success at the time because Peter Asher’s sister was dating Paul McCartney, who’d given them a hit song, “World Without Love”: [Excerpt: Peter and Gordon, “World Without Love”] The group found the experience of touring the US a thoroughly miserable one, and decided that they weren’t going to bother going back again, so while they would continue to have big hits in Britain for the rest of the decade, they only had a few minor successes in the States. After the success of “Do Wah Diddy Diddy”, EMI rushed out an album by the group, The Five Faces of Manfred Mann, which must have caused some confusion for anyone buying it in the hope of more “Do Wah Diddy Diddy” style pop songs. Half the album’s fourteen tracks were covers of blues and R&B, mostly by Chess artists — there were covers of Muddy Waters, Howlin’ Wolf, Bo Diddley, Ike & Tina Turner, and more. There were also five originals, written or co-written by Jones, in the same style as those songs, plus a couple of instrumentals, one written by the group and one a cover of Cannonball Adderly’s jazz classic “Sack O’Woe”, arranged to show off the group’s skills at harmonica, saxophone, piano and vibraphone: [Excerpt: Manfred Mann, “Sack O’Woe”] However, the group realised that the formula they’d hit on with “Do  Wah Diddy Diddy” was a useful one, and so for their next single they once again covered a girl-group track with a nonsense-word chorus and title — their version of “Sha La La” by the Shirelles took them to number three on the UK charts, and number twelve in the US. They followed that with a ballad, “Come Tomorrow”, one of the few secular songs ever recorded by Marie Knight, the gospel singer who we discussed briefly way back in episode five, who was Sister Rosetta Tharpe’s duet partner, and quite possibly her partner in other senses. They released several more singles and were consistently charting, to the point that they actually managed to get a top ten hit with a self-written song despite their own material not being considered worth putting out as singles. Paul Jones had written “The One in the Middle” for his friends the Yardbirds, but when they turned it down, he rewrote the song to be about Manfred Mann, and especially about himself: [Excerpt: Manfred Mann, “The One in the Middle”] Like much of their material, that was released on an EP, and the EP was so successful that as well as making number one on the EP charts, it also made number ten on the regular charts, with “The One in the Middle” as the lead-off track. But “The One in the Middle” was a clue to something else as well — Jones was getting increasingly annoyed at the fact that the records the group was making were hits, and he was the frontman, the lead singer, the person picking the cover versions, and the writer of much of the original material, but all the records were getting credited to the group’s keyboard player.  But Jones wasn’t the next member of the group to leave. That was Mike Vickers, who went off to work in arranging film music and session work, including some work for the Beatles, the music for the film Dracula AD 1972, and the opening and closing themes for This Week in Baseball. The last single the group released while Vickers was a member was the aptly-titled “If You Gotta Go, Go Now”. Mann had heard Bob Dylan performing that song live, and had realised that the song had never been released. He’d contacted Dylan’s publishers, got hold of a demo, and the group became the first to release a version of the song, making number two in the charts: [Excerpt: Manfred Mann, “If You Gotta Go, Go Now”] Before Vickers’ departure, the group had recorded their second album, Mann Made, and that had been even more eclectic than the first album, combining versions of blues classics like “Stormy Monday Blues”, Motown songs like “The Way You Do The Things You Do”, country covers like “You Don’t Know Me”, and oddities like “Bare Hugg”, an original jazz instrumental for flute and vibraphone: [Excerpt: Manfred Mann, “Bare Hugg”] McGuinness took the opportunity of Vickers leaving the group to switch from bass back to playing guitar, which had always been his preferred instrument. To fill in the gap, on Graham Bond’s recommendation they hired away Jack Bruce, who had just been playing in John Mayall’s Bluesbreakers with McGuinness’ old friend Eric Clapton, and it’s Bruce who played bass on the group’s next big hit, “Pretty Flamingo”, the only UK number one that Bruce ever played on: [Excerpt: Manfred Mann, “Pretty Flamingo”] Bruce stayed with the band for several months, before going off to play in another band who we’ll be covering in a future episode. He was replaced in turn by Klaus Voorman. Voorman was an old friend of the Beatles from their Hamburg days, who had been taught the rudiments of bass by Stuart Sutcliffe, and had formed a trio, Paddy, Klaus, and Gibson, with two Merseybeat musicians, Paddy Chambers of the Big Three and Gibson Kemp of Kingsize Taylor and the Dominoes: [Excerpt: Paddy, Klaus, and Gibson, “No Good Without You Baby”] Like Vickers, Voorman could play the flute, and his flute playing would become a regular part of the group’s later singles. These lineup changes didn’t affect the group as either a chart act or as an act who were playing a huge variety of different styles of music. While the singles were uniformly catchy pop, on album tracks, B-sides or EPs you’d be likely to find versions of folk songs collected by Alan Lomax, like “John Hardy”, or things like “Driva Man”, a blues song about slavery in 5/4 time, originally by the jazz greats Oscar Brown and Max Roach: [Excerpt: Manfred Mann, “Driva Man”] But by the time that track was released, Paul Jones was out of the group. He actually announced his intention to quit the group at the same time that Mike Vickers left, but the group had persuaded him to stay on for almost a year while they looked for his replacement, auditioning singers like Rod Stewart and Long John Baldry with little success. They eventually decided on Mike d’Abo, who had previously been the lead singer of a group called A Band of Angels: [Excerpt: A Band of Angels, “(Accept My) Invitation”] By the point d’Abo joined, relations  between the rest of the group and Jones were so poor that they didn’t tell Jones that they were thinking of d’Abo — Jones would later recollect that the group decided to stop at a pub on the way to a gig, ostensibly to watch themselves on TV, but actually to watch A Band of Angels on the same show, without explaining to Jones that that was what they were doing – Jones actually mentioned d’Abo to his bandmates as a possible replacement, not realising he was already in the group. Mann has talked about how on the group’s last show with Jones, they drove to the gig in silence, and their first single with the new singer, a version of Dylan’s “Just Like a Woman”, came on the radio. There was a lot of discomfort in the band at this time, because their record label had decided to stick with Jones as a solo performer, and the rest of the group had had to find another label, and were worried that without Jones their career was over. Luckily for everyone involved, “Just Like a Woman” made the top ten, and the group’s career was able to continue. Meanwhile, Jones’ first single as a solo artist made the top five: [Excerpt: Paul Jones, “High Time”] But after that and his follow-up, “I’ve Been a Bad, Bad, Boy”, which made number five, the best he could do was to barely scrape the top forty. Manfred Mann, on the other hand, continued having hits, though there was a constant struggle to find new material. d’Abo was himself a songwriter, and it shows the limitations of the “no A-sides by group members” rule that while d’Abo was the lead singer of Manfred Mann, he wrote two hit singles which the group never recorded. The first, “Handbags and Gladrags”, was a hit for Chris Farlowe: [Excerpt: Chris Farlowe, “Handbags and Gladrags”] That was only a minor hit, but was later recorded successfully by Rod Stewart, with d’Abo arranging, and the Stereophonics. d’Abo also co-wrote, and played piano on, “Build Me Up Buttercup” by the Foundations: [Excerpt: The Foundations, “Build Me Up Buttercup”] But the group continued releasing singles written by other people.  Their second post-Jones single, from the perspective of a spurned lover insulting their ex’s new fiancee, had to have its title changed from what the writers intended, as the group felt that a song insulting “semi-detached suburban Mr. Jones” might be taken the wrong way. Lightly retitled, “Semi-Detached Suburban Mr. James” made number two, while the follow-up, “Ha Ha! Said the Clown”, made number four. The two singles after that did significantly less well, though, and seemed to be quite bizarre choices — an instrumental Hammond organ version of Tommy Roe’s “Sweet Pea”, which made number thirty-six, and a version of Randy Newman’s bitterly cynical “So Long, Dad”, which didn’t make the charts at all. After this lack of success, the group decided to go back to what had worked for them before. They’d already had two hits with Dylan songs, and Mann had got hold of a copy of Dylan’s Basement Tapes, a bootleg which we’ll be talking about later. He picked up on one song from it, and got permission to release “The Mighty Quinn”, which became the group’s third number one: [Excerpt: Manfred Mann, “The Mighty Quinn”] The album from which that came, Mighty Garvey, is the closest thing the group came to an actual great album. While the group’s earlier albums were mostly blues covers, this was mostly made up of original material by either Hugg or d’Abo, in a pastoral baroque pop style that invites comparisons to the Kinks or the Zombies’ material of that period, but with a self-mocking comedy edge in several songs that was closer to the Bonzo Dog Doo-Dah Band. Probably the highlight of the album was the mellotron-driven “It’s So Easy Falling”: [Excerpt: Manfred Mann, “It’s So Easy Falling”] But Mighty Garvey didn’t chart, and it was the last gasp of the group as a creative entity. They had three more top-ten hits, all of them good examples of their type, but by January 1969, Tom McGuinness was interviewed saying “It’s not a group any more. It’s just five people who come together to make hit singles. That’s the only aim of the group at the moment — to make hit singles — it’s the only reason the group exists. Commercial success is very important to the group. It gives us financial freedom to do the things we want.” The group split up in 1969, and went their separate ways. d’Abo appeared on the original Jesus Christ Superstar album, and then went into writing advertising jingles, most famously writing “a finger of fudge is just enough” for Cadbury’s. McGuinness formed McGuinness Flint, with the songwriters Gallagher and Lyle, and had a big hit with “When I’m Dead and Gone”: [Excerpt: McGuinness Flint, “When I’m Dead and Gone”] He later teamed up again with Paul Jones, to form a blues band imaginatively named “the Blues Band”, who continue performing to this day: [Excerpt: The Blues Band, “Mean Ol’ Frisco”] Jones became a born-again Christian in the eighties, and also starred in a children’s TV show, Uncle Jack, and presented the BBC Radio 2 Blues Programme for thirty-two years. Manfred Mann and Mike Hugg formed another group, Manfred Mann Chapter Three, who released two albums before splitting. Hugg went on from that to write for TV and films, most notably writing the theme music to “Whatever Happened to the Likely Lads?”: [Excerpt: Highly Likely, “Whatever Happened to the Likely Lads?”] Mann went on to form Manfred Mann’s Earth Band, who had a number of hits, the biggest of which was the Bruce Springsteen song “Blinded by the Light”: [Excerpt: Manfred Mann’s Earth Band, “Blinded by the Light”] Almost uniquely for a band from the early sixties, all the members of the classic lineup of Manfred Mann are still alive. Manfred Mann continues to perform with various lineups of his Earth Band. Hugg, Jones, McGuinness, and d’Abo reunited as The Manfreds in the 1990s, with Vickers also in the band until 1999, and continue to tour together — I still have a ticket to see them which was originally for a show in April 2020, but has just been rescheduled to 2022. McGuinness and Jones also still tour with the Blues Band. And Mike Vickers now spends his time creating experimental animations.  Manfred Mann were a band with too many musical interests to have a coherent image, and their reliance on outside songwriters and their frequent lineup changes meant that they never had the consistent sound of many of their contemporaries. But partly because of this, they created a catalogue that rewards exploration in a way that several more well-regarded bands’ work doesn’t, and I wouldn’t be at all surprised to see a major critical reassessment of them at some point. But whether that happens or not, almost sixty years on people around the world still respond instantly to the opening bars of their biggest hit, and “Do Wah Diddy Diddy” remains one of the most fondly remembered singles of the early sixties.

Episode 118 of A History of Rock Music in Five Hundred Songs looks at "Do-Wah-Diddy-Diddy" by Manfred Mann, and how a jazz group with a blues singer had one of the biggest bubblegum pop hits of the sixties. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a thirteen-minute bonus episode available, on "Walk on By" by Dionne Warwick. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ ----more---- Resources No Mixcloud this week due to the number of tracks by Manfred Mann. Information on the group comes from Mannerisms: The Five Phases of Manfred Mann, by Greg Russo, and from the liner notes of this eleven-CD box set of the group's work. For a much cheaper collection of the group's hits -- but without the jazz, blues, and baroque pop elements that made them more interesting than the average sixties singles band -- this has all the hit singles. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript: So far, when we've looked at the British blues and R&B scene, we've concentrated on the bands who were influenced by Chicago blues, and who kept to a straightforward guitar/bass/drums lineup. But there was another, related, branch of the blues scene in Britain that was more musically sophisticated, and which while its practitioners certainly enjoyed playing songs by Howlin' Wolf or Muddy Waters, was also rooted in the jazz of people like Mose Allison. Today we're going to look at one of those bands, and at the intersection of jazz and the British R&B scene, and how a jazz band with a flute player and a vibraphonist briefly became bubblegum pop idols. We're going to look at "Do Wah Diddy Diddy" by Manfred Mann: [Excerpt: Manfred Mann, "Do Wah Diddy Diddy"] Manfred Mann is, annoyingly when writing about the group, the name of both a band and of one of its members. Manfred Mann the human being, as opposed to Manfred Mann the group, was born Manfred Lubowitz in South Africa, and while he was from a wealthy family, he was very opposed to the vicious South African system of apartheid, and considered himself strongly anti-racist. He was also a lover of jazz music, especially some of the most progressive music being made at the time -- musicians like Ornette Coleman, Charles Mingus, and John Coltrane -- and he soon became a very competent jazz pianist, playing with musicians like Hugh Masakela at a time when that kind of fraternisation between people of different races was very much frowned upon in South Africa. Manfred desperately wanted to get out of South Africa, and he took his chance in June 1961, at the last point at which he was a Commonwealth citizen. The Commonwealth, for those who don't know, is a political association of countries that were originally parts of the British Empire, and basically replaced the British Empire when the former colonies gained their independence. These days, the Commonwealth is of mostly symbolic importance, but in the fifties and sixties, as the Empire was breaking up, it was considered a real power in its own right, and in particular, until some changes to immigration law in the mid sixties, Commonwealth citizens had the right to move to the UK.  At that point, South Africa had just voted to become a republic, and there was a rule in the Commonwealth that countries with a head of state other than the Queen could only remain in the Commonwealth with the unanimous agreement of all the other members. And several of the other member states, unsurprisingly, objected to the continued membership of a country whose entire system of government was based on the most virulent racism imaginable. So, as soon as South Africa became a republic, it lost its Commonwealth membership, and that meant that its citizens lost their automatic right to emigrate to the UK. But they were given a year's grace period, and so Manfred took that chance and moved over to England, where he started playing jazz keyboards, giving piano lessons, and making some money on the side by writing record reviews. For those reviews, rather than credit himself as Manfred Lubowitz, he decided to use a pseudonym taken from the jazz drummer Shelly Manne, and he became Manfred Manne -- spelled with a silent e on the end, which he later dropped. Mann was rather desperate for gigs, and he ended up taking a job playing with a band at a Butlin's holiday camp. Graham Bond, who we've seen in several previous episodes as the leader of The Graham Bond Organisation, was at that time playing Hammond organ there, but only wanted to play a few days a week. Mann became the substitute keyboard player for that holiday camp band, and struck up a good musical rapport with the drummer and vibraphone player, Mike Hugg. When Bond went off to form his own band, Mann and Hugg decided to form their own band along the same lines, mixing the modern jazz that they liked with the more commercial R&B that Bond was playing.  They named their group the Mann-Hugg Blues Brothers, and it initially consisted of Mann on keyboards, Hugg on drums and vibraphone, Mike Vickers on guitar, flute, and saxophone, Dave Richmond on bass, Tony Roberts and Don Fay on saxophone and Ian Fenby on trumpet. As their experiences were far more in the jazz field than in blues, they decided that they needed to get in a singer who was more familiar with the blues side of things. The person they chose was a singer who was originally named Paul Pond, and who had been friends for a long time with Brian Jones, before Jones had formed the Rolling Stones. While Jones had been performing under the name Elmo Lewis, his friend had taken on Jones' surname, as he thought "Paul Pond" didn't sound like a good name for a singer. He'd first kept his initials, and performed as P.P. Jones, but then he'd presumably realised that "pee-pee" is probably not the best stage name in the world, and so he'd become just Paul Jones, the name by which he's known to this day. Jones, like his friend Brian, was a fan particularly of Chicago blues, and he had occasionally appeared with Alexis Korner. After auditioning for the group at a ska club called The Roaring 20s, Jones became the group's lead singer and harmonica player, and the group soon moved in Jones' musical direction, playing the kind of Chicago blues that was popular at the Marquee club, where they soon got a residency, rather than the soul style that was more popular at the nearby Flamingo club, and which would be more expected from a horn-centric lineup. Unsurprisingly, given this, the horn players soon left, and the group became a five-piece core of Jones, Mann, Hugg, Vickers, and Richmond. This group was signed to HMV records by John Burgess. Burgess was a producer who specialised in music of a very different style from what the Mann-Hugg Blues Brothers played. We've already heard some of his production work -- he was the producer for Adam Faith from "What Do You Want?" on: [Excerpt: Adam Faith, "What Do You Want?"] And at the time he signed the Mann-Hugg Blues Brothers, he was just starting to work with a new group, Freddie and the Dreamers, for whom he would produce several hits: [Excerpt: Freddie and the Dreamers, "If You Gotta Make a Fool of Somebody"] Burgess liked the group, but he insisted that they had to change their name -- and in fact, he insisted that the group change their name to Manfred Mann. None of the group members liked the idea -- even Mann himself thought that this seemed a little unreasonable, and Paul Jones in particular disagreed strongly with the idea, but they were all eventually mollified by the idea that all the publicity would emphasise that all five of them were equal members of the group, and that while the group might be named after their keyboard player, there were five members. The group members themselves always referred to themselves as "the Manfreds" rather than as Manfred Mann. The group's first single showed that despite having become a blues band and then getting produced by a pop producer, they were still at heart a jazz group. "Why Should We Not?" is an instrumental led by Vickers' saxophone, Mann's organ, and Jones' harmonica: [Excerpt: Manfred Mann, "Why Should We Not?"] Unsurprisingly, neither that nor the B-side, a jazz instrumental version of "Frere Jacques", charted -- Britain in 1963 wanted Gerry and the Pacemakers and Freddie and the Dreamers, not jazz instrumentals. The next single, an R&B song called "Cock-A-Hoop" written by Jones, did little better. The group's big breakthrough came from Ready, Steady, Go!, which at this point was using "Wipe Out!" by the Surfaris as its theme song: [Excerpt: The Surfaris, "Wipe Out"] We've mentioned Ready, Steady, Go! in passing in previous episodes, but it was the most important pop music show of the early and mid sixties, just as Oh Boy! had been for the late fifties. Ready, Steady, Go! was, in principle at least, a general pop music programme, but in practice it catered primarily for the emerging mod subculture. "Mod" stood for "modernist", and the mods emerged from the group of people who liked modern jazz rather than trad, but by this point their primary musical interests were in soul and R&B. Mod was a working-class subculture, based in the South-East of England, especially London, and spurred on by the newfound comparative affluence of the early sixties, when for the first time young working-class people, while still living in poverty, had a small amount of disposable income to spend on clothes, music, and drugs. The Mods had a very particular sense of style, based around sharp Italian suits, pop art and op art, and Black American music or white British imitations of it. For them, music was functional, and primarily existed for the purposes of dancing, and many of them would take large amounts of amphetamines so they could spend the entire weekend at clubs dancing to soul and R&B music. And that entire weekend would kick off on Friday with Ready, Steady, Go!, whose catchphrase was "the weekend starts here!" Ready, Steady, Go! featured almost every important pop act of the early sixties, but while groups like Gerry and the Pacemakers or the Beatles would appear on it, it became known for its promotion of Black artists, and it was the first major British TV exposure for Motown artists like the Supremes, the Temptations, and the Marvelettes, for Stax artists like Otis Redding, and for blues artists like John Lee Hooker and Sonny Boy Williamson. Ready Steady Go! was also the primary TV exposure for British groups who were inspired by those artists, and it's through Ready Steady Go! that the Animals, the Yardbirds, the Rolling Stones, Them, and the Who, among others reached national popularity -- all of them acts that were popular among the Mods in particular. But "Wipe Out" didn't really fit with this kind of music, and so the producers of Ready Steady Go were looking for something more suitable for their theme music. They'd already tried commissioning the Animals to record something, as we saw a couple of weeks back, but that hadn't worked out, and instead they turned to Manfred Mann, who came up with a song that not only perfectly fit the style of the show, but also handily promoted the group themselves: [Excerpt: Manfred Mann, "5-4-3-2-1"] That was taken on as Ready, Steady, Go!s theme song, and made the top five in the UK. But by the time it charted, the group had already changed lineup. Dave Richmond was seen by the other members of the group as a problem at this point. Richmond was a great bass player, but he was a great *jazz* bass player -- he wanted to be Charles Mingus, and play strange cross-rhythms, and what the group needed at this point was someone who would just play straightforward blues basslines without complaint -- they needed someone closer to Willie Dixon than to Mingus. Tom McGuinness, who replaced him, had already had a rather unusual career trajectory. He'd started out as a satirist, writing for the magazine Private Eye and the TV series That Was The Week That Was, one of the most important British comedy shows of the sixties, but he had really wanted to be a blues musician instead. He'd formed a blues band, The Roosters, with a guitarist who went to art school with his girlfriend, and they'd played a few gigs around London before the duo had been poached by the minor Merseybeat band Casey Jones and his Engineers, a group which had been formed by Brian Casser, formerly of Cass & The Cassanovas, the group that had become The Big Three. Casey Jones and his Engineers had just released the single "One Way Ticket": [Excerpt: Casey Jones and His Engineers, "One-Way Ticket"] However, the two guitarists soon realised, after just a handful of gigs, that they weren't right for that group, and quit. McGuinness' friend, Eric Clapton, went on to join the Yardbirds, and we'll be hearing more about him in a few weeks' time, but McGuinness was at a loose end, until he discovered that Manfred Mann were looking for a bass player. McGuinness was a guitarist, but bluffed to Paul Jones that he'd switched to bass, and got the job. He said later that the only question he'd been asked when interviewed by the group was "are you willing to play simple parts?" -- as he'd never played bass in his life until the day of his first gig with the group, he was more than happy to say yes to that. McGuinness joined only days after the recording of "5-4-3-2-1", and Richmond was out -- though he would have a successful career as a session bass player, playing on, among others, "Je t'Aime" by Serge Gainsbourg and Jane Birkin, "Your Song" by Elton John, Labi Siffre's "It Must Be Love", and the music for the long-running sitcoms Only Fools and Horses and Last of the Summer Wine. As soon as McGuinness joined, the group set out on tour, to promote their new hit, but also to act as the backing group for the Crystals, on a tour which also featured Johnny Kidd and the Pirates and Joe Brown and his Bruvvers.  The group's next single, "Hubble Bubble Toil and Trouble" was another original, and made number eleven on the charts, but the group saw it as a failure anyway, to the extent that they tried their best to forget it ever existed. In researching this episode I got an eleven-CD box set of the group's work, which contains every studio album or compilation they released in the sixties, a collection of their EPs, and a collection of their BBC sessions. In all eleven CDs, "Hubble Bubble Toil and Trouble" doesn't appear at all. Which is quite odd, as it's a perfectly serviceable, if unexceptional, piece of pop R&B: [Excerpt: Manfred Mann, "Hubble Bubble Toil and Trouble"] But it's not just the group that were unimpressed with the record. John Burgess thought that the record only getting to number eleven was proof of his hypothesis that groups should not put out their own songs as singles. From this point on, with one exception in 1968, everything they released as an A-side would be a cover version or a song brought to them by a professional songwriter. This worried Jones, who didn't want to be forced to start singing songs he disliked, which he saw as a very likely outcome of this edict. So he made it his role in the group to seek out records that the group could cover, which would be commercial enough that they could get hit singles from them, but which would be something he could sing while keeping his self-respect. His very first selection certainly met the first criterion. The song which would become their biggest hit had very little to do with the R&B or jazz which had inspired the group. Instead, it was a perfect piece of Brill Building pop. The Exciters, who originally recorded it, were one of the great girl groups of the early sixties (though they also had one male member), and had already had quite an influence on pop music. They had been discovered by Leiber and Stoller, who had signed them to Red Bird Records, a label we'll be looking at in much more detail in an upcoming episode, and they'd had a hit in 1962 with a Bert Berns song, "Tell Him", which made the top five: [Excerpt: The Exciters, "Tell Him"] That record had so excited a young British folk singer who was in the US at the time to record an album with her group The Springfields that she completely reworked her entire style, went solo, and kickstarted a solo career singing pop-soul songs under the name Dusty Springfield. The Exciters never had another top forty hit, but they became popular enough among British music lovers that the Beatles asked them to open for them on their American tour in summer 1964. Most of the Exciters' records were of songs written by the more R&B end of the Brill Building songwriters -- they would record several more Bert Berns songs, and some by Ritchie Barrett, but the song that would become their most well-known legacy was actually written by Jeff Barry and Ellie Greenwich. Like many of Barry and Greenwich's songs, it was based around a nonsense phrase, but in this case the phrase they used had something of a longer history, though it's not apparent whether they fully realised that. In African-American folklore of the early twentieth century, the imaginary town of Diddy Wah Diddy was something like a synonym for heaven, or for the Big Rock Candy Mountain of the folk song -- a place where people didn't have to work, and where food was free everywhere. This place had been sung about in many songs, like Blind Blake's "Diddie Wah Diddie": [Excerpt: Blind Blake, "Diddie Wah Diddie"] And a song written by Willie Dixon for Bo Diddley: [Excerpt: Bo Diddley, "Diddy Wah Diddy"] And "Diddy" and "Wah" had often been used by other Black artists, in various contexts, like Roy Brown and Dave Bartholomew's "Diddy-Y-Diddy-O": [Excerpt: Roy Brown and Dave Bartholomew, "Diddy-Y-Diddy-O"] And Junior and Marie's "Boom Diddy Wah Wah", a "Ko Ko Mo" knockoff produced by Johnny Otis: [Excerpt: Junior and Marie, "Boom Diddy Wah Wah"]  So when Jeff Barry and Ellie Greenwich wrote "Do-Wah-Diddy", as the song was originally called, they were, wittingly or not, tapping into a rich history of rhythm and blues music. But the song as Greenwich demoed it was one of the first examples of what would become known as "bubblegum pop", and is particularly notable in her demo for its very early use of the fuzz guitar that would be a stylistic hallmark of that subgenre: [Excerpt: Ellie Greenwich, "Do-Wah-Diddy (demo)"] The Exciters' version of the song took it into more conventional girl-group territory, with a strong soulful vocal, but with the group's backing vocal call-and-response chant showing up the song's resemblance to the kind of schoolyard chanting games which were, of course, the basis of the very first girl group records: [Excerpt: The Exciters, "Do-Wah-Diddy"] Sadly, that record only reached number seventy-eight on the charts, and the Exciters would have no more hits in the US, though a later lineup of the group would make the UK top forty in 1975 with a song written and produced by the Northern Soul DJ Ian Levine. But in 1964 Jones had picked up on "Do-Wah-Diddy", and knew it was a potential hit. Most of the group weren't very keen on "Do Wah Diddy Diddy", as the song was renamed. There are relatively few interviews with any of them about it, but from what I can gather the only member of the band who thought anything much of the song was Paul Jones. However, the group did their best with the recording, and were particularly impressed with Manfred's Hammond organ solo -- which they later discovered was cut out of the finished recording by Burgess. The result was an organ-driven stomping pop song which had more in common with the Dave Clark Five than with anything else the group were doing: [Excerpt: Manfred Mann, "Do Wah Diddy Diddy"] The record reached number one in both the UK and the US, and the group immediately went on an American tour, packaged with Peter & Gordon, a British duo who were having some success at the time because Peter Asher's sister was dating Paul McCartney, who'd given them a hit song, "World Without Love": [Excerpt: Peter and Gordon, "World Without Love"] The group found the experience of touring the US a thoroughly miserable one, and decided that they weren't going to bother going back again, so while they would continue to have big hits in Britain for the rest of the decade, they only had a few minor successes in the States. After the success of "Do Wah Diddy Diddy", EMI rushed out an album by the group, The Five Faces of Manfred Mann, which must have caused some confusion for anyone buying it in the hope of more "Do Wah Diddy Diddy" style pop songs. Half the album's fourteen tracks were covers of blues and R&B, mostly by Chess artists -- there were covers of Muddy Waters, Howlin' Wolf, Bo Diddley, Ike & Tina Turner, and more. There were also five originals, written or co-written by Jones, in the same style as those songs, plus a couple of instrumentals, one written by the group and one a cover of Cannonball Adderly's jazz classic "Sack O'Woe", arranged to show off the group's skills at harmonica, saxophone, piano and vibraphone: [Excerpt: Manfred Mann, "Sack O'Woe"] However, the group realised that the formula they'd hit on with "Do  Wah Diddy Diddy" was a useful one, and so for their next single they once again covered a girl-group track with a nonsense-word chorus and title -- their version of "Sha La La" by the Shirelles took them to number three on the UK charts, and number twelve in the US. They followed that with a ballad, "Come Tomorrow", one of the few secular songs ever recorded by Marie Knight, the gospel singer who we discussed briefly way back in episode five, who was Sister Rosetta Tharpe's duet partner, and quite possibly her partner in other senses. They released several more singles and were consistently charting, to the point that they actually managed to get a top ten hit with a self-written song despite their own material not being considered worth putting out as singles. Paul Jones had written "The One in the Middle" for his friends the Yardbirds, but when they turned it down, he rewrote the song to be about Manfred Mann, and especially about himself: [Excerpt: Manfred Mann, "The One in the Middle"] Like much of their material, that was released on an EP, and the EP was so successful that as well as making number one on the EP charts, it also made number ten on the regular charts, with "The One in the Middle" as the lead-off track. But "The One in the Middle" was a clue to something else as well -- Jones was getting increasingly annoyed at the fact that the records the group was making were hits, and he was the frontman, the lead singer, the person picking the cover versions, and the writer of much of the original material, but all the records were getting credited to the group's keyboard player.  But Jones wasn't the next member of the group to leave. That was Mike Vickers, who went off to work in arranging film music and session work, including some work for the Beatles, the music for the film Dracula AD 1972, and the opening and closing themes for This Week in Baseball. The last single the group released while Vickers was a member was the aptly-titled "If You Gotta Go, Go Now". Mann had heard Bob Dylan performing that song live, and had realised that the song had never been released. He'd contacted Dylan's publishers, got hold of a demo, and the group became the first to release a version of the song, making number two in the charts: [Excerpt: Manfred Mann, "If You Gotta Go, Go Now"] Before Vickers' departure, the group had recorded their second album, Mann Made, and that had been even more eclectic than the first album, combining versions of blues classics like "Stormy Monday Blues", Motown songs like "The Way You Do The Things You Do", country covers like "You Don't Know Me", and oddities like "Bare Hugg", an original jazz instrumental for flute and vibraphone: [Excerpt: Manfred Mann, "Bare Hugg"] McGuinness took the opportunity of Vickers leaving the group to switch from bass back to playing guitar, which had always been his preferred instrument. To fill in the gap, on Graham Bond's recommendation they hired away Jack Bruce, who had just been playing in John Mayall's Bluesbreakers with McGuinness' old friend Eric Clapton, and it's Bruce who played bass on the group's next big hit, "Pretty Flamingo", the only UK number one that Bruce ever played on: [Excerpt: Manfred Mann, "Pretty Flamingo"] Bruce stayed with the band for several months, before going off to play in another band who we'll be covering in a future episode. He was replaced in turn by Klaus Voorman. Voorman was an old friend of the Beatles from their Hamburg days, who had been taught the rudiments of bass by Stuart Sutcliffe, and had formed a trio, Paddy, Klaus, and Gibson, with two Merseybeat musicians, Paddy Chambers of the Big Three and Gibson Kemp of Kingsize Taylor and the Dominoes: [Excerpt: Paddy, Klaus, and Gibson, "No Good Without You Baby"] Like Vickers, Voorman could play the flute, and his flute playing would become a regular part of the group's later singles. These lineup changes didn't affect the group as either a chart act or as an act who were playing a huge variety of different styles of music. While the singles were uniformly catchy pop, on album tracks, B-sides or EPs you'd be likely to find versions of folk songs collected by Alan Lomax, like "John Hardy", or things like "Driva Man", a blues song about slavery in 5/4 time, originally by the jazz greats Oscar Brown and Max Roach: [Excerpt: Manfred Mann, "Driva Man"] But by the time that track was released, Paul Jones was out of the group. He actually announced his intention to quit the group at the same time that Mike Vickers left, but the group had persuaded him to stay on for almost a year while they looked for his replacement, auditioning singers like Rod Stewart and Long John Baldry with little success. They eventually decided on Mike d'Abo, who had previously been the lead singer of a group called A Band of Angels: [Excerpt: A Band of Angels, "(Accept My) Invitation"] By the point d'Abo joined, relations  between the rest of the group and Jones were so poor that they didn't tell Jones that they were thinking of d'Abo -- Jones would later recollect that the group decided to stop at a pub on the way to a gig, ostensibly to watch themselves on TV, but actually to watch A Band of Angels on the same show, without explaining to Jones that that was what they were doing – Jones actually mentioned d'Abo to his bandmates as a possible replacement, not realising he was already in the group. Mann has talked about how on the group's last show with Jones, they drove to the gig in silence, and their first single with the new singer, a version of Dylan's "Just Like a Woman", came on the radio. There was a lot of discomfort in the band at this time, because their record label had decided to stick with Jones as a solo performer, and the rest of the group had had to find another label, and were worried that without Jones their career was over. Luckily for everyone involved, "Just Like a Woman" made the top ten, and the group's career was able to continue. Meanwhile, Jones' first single as a solo artist made the top five: [Excerpt: Paul Jones, "High Time"] But after that and his follow-up, "I've Been a Bad, Bad, Boy", which made number five, the best he could do was to barely scrape the top forty. Manfred Mann, on the other hand, continued having hits, though there was a constant struggle to find new material. d'Abo was himself a songwriter, and it shows the limitations of the "no A-sides by group members" rule that while d'Abo was the lead singer of Manfred Mann, he wrote two hit singles which the group never recorded. The first, "Handbags and Gladrags", was a hit for Chris Farlowe: [Excerpt: Chris Farlowe, "Handbags and Gladrags"] That was only a minor hit, but was later recorded successfully by Rod Stewart, with d'Abo arranging, and the Stereophonics. d'Abo also co-wrote, and played piano on, "Build Me Up Buttercup" by the Foundations: [Excerpt: The Foundations, "Build Me Up Buttercup"] But the group continued releasing singles written by other people.  Their second post-Jones single, from the perspective of a spurned lover insulting their ex's new fiancee, had to have its title changed from what the writers intended, as the group felt that a song insulting "semi-detached suburban Mr. Jones" might be taken the wrong way. Lightly retitled, "Semi-Detached Suburban Mr. James" made number two, while the follow-up, "Ha Ha! Said the Clown", made number four. The two singles after that did significantly less well, though, and seemed to be quite bizarre choices -- an instrumental Hammond organ version of Tommy Roe's "Sweet Pea", which made number thirty-six, and a version of Randy Newman's bitterly cynical "So Long, Dad", which didn't make the charts at all. After this lack of success, the group decided to go back to what had worked for them before. They'd already had two hits with Dylan songs, and Mann had got hold of a copy of Dylan's Basement Tapes, a bootleg which we'll be talking about later. He picked up on one song from it, and got permission to release "The Mighty Quinn", which became the group's third number one: [Excerpt: Manfred Mann, "The Mighty Quinn"] The album from which that came, Mighty Garvey, is the closest thing the group came to an actual great album. While the group's earlier albums were mostly blues covers, this was mostly made up of original material by either Hugg or d'Abo, in a pastoral baroque pop style that invites comparisons to the Kinks or the Zombies' material of that period, but with a self-mocking comedy edge in several songs that was closer to the Bonzo Dog Doo-Dah Band. Probably the highlight of the album was the mellotron-driven "It's So Easy Falling": [Excerpt: Manfred Mann, "It's So Easy Falling"] But Mighty Garvey didn't chart, and it was the last gasp of the group as a creative entity. They had three more top-ten hits, all of them good examples of their type, but by January 1969, Tom McGuinness was interviewed saying "It's not a group any more. It's just five people who come together to make hit singles. That's the only aim of the group at the moment -- to make hit singles -- it's the only reason the group exists. Commercial success is very important to the group. It gives us financial freedom to do the things we want." The group split up in 1969, and went their separate ways. d'Abo appeared on the original Jesus Christ Superstar album, and then went into writing advertising jingles, most famously writing "a finger of fudge is just enough" for Cadbury's. McGuinness formed McGuinness Flint, with the songwriters Gallagher and Lyle, and had a big hit with "When I'm Dead and Gone": [Excerpt: McGuinness Flint, "When I'm Dead and Gone"] He later teamed up again with Paul Jones, to form a blues band imaginatively named "the Blues Band", who continue performing to this day: [Excerpt: The Blues Band, "Mean Ol' Frisco"] Jones became a born-again Christian in the eighties, and also starred in a children's TV show, Uncle Jack, and presented the BBC Radio 2 Blues Programme for thirty-two years. Manfred Mann and Mike Hugg formed another group, Manfred Mann Chapter Three, who released two albums before splitting. Hugg went on from that to write for TV and films, most notably writing the theme music to "Whatever Happened to the Likely Lads?": [Excerpt: Highly Likely, "Whatever Happened to the Likely Lads?"] Mann went on to form Manfred Mann's Earth Band, who had a number of hits, the biggest of which was the Bruce Springsteen song "Blinded by the Light": [Excerpt: Manfred Mann's Earth Band, "Blinded by the Light"] Almost uniquely for a band from the early sixties, all the members of the classic lineup of Manfred Mann are still alive. Manfred Mann continues to perform with various lineups of his Earth Band. Hugg, Jones, McGuinness, and d'Abo reunited as The Manfreds in the 1990s, with Vickers also in the band until 1999, and continue to tour together -- I still have a ticket to see them which was originally for a show in April 2020, but has just been rescheduled to 2022. McGuinness and Jones also still tour with the Blues Band. And Mike Vickers now spends his time creating experimental animations.  Manfred Mann were a band with too many musical interests to have a coherent image, and their reliance on outside songwriters and their frequent lineup changes meant that they never had the consistent sound of many of their contemporaries. But partly because of this, they created a catalogue that rewards exploration in a way that several more well-regarded bands' work doesn't, and I wouldn't be at all surprised to see a major critical reassessment of them at some point. But whether that happens or not, almost sixty years on people around the world still respond instantly to the opening bars of their biggest hit, and "Do Wah Diddy Diddy" remains one of the most fondly remembered singles of the early sixties.

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Mary Had A Little Lamb, Big Rock Candy Mountain, Incy Wincy Spider and more

In which itinerant snowbirds turn an abandoned desert naval base into a trash-mountain utopia, and Ken hopes a nuke lands on his head. Certificate #33204.

Adaptation of Folk Song ​The Big Rock Candy Mountain​ By Harry McClintock. Adaptation by Sarah Quinata

Alufi and Sylas are all packed up and set to move to the new location. They reflect fondly on how far this has all come. The News features Necro-Arsenals and Bears. Alufi gives sound advice to her adoring fans. House Sivis is discussed and titles are addressed. And lastly Kevin drops in to tell us about his new project and tickle our eardrums with a little ditty. City Made Of Towers written and performed by Kevin Kepona. Based on Big Rock Candy Mountain.Sharn Inquisitive article --http://archive.wizards.com/default.asp?x=dnd/ebsi/20051114a Get more content from our Website -- sivisechoerstation.comBecome a Patron! -- https://www.patreon.com/sivisechoerstation This is an unofficial Dungeons and Dragons podcast based on the Eberron Campaign setting. Check us out:Spotify -- https://open.spotify.com/show/591UUMewhViu1eahz0OGM4?si=gl5e2ODSSd6xSEfDGygMtAApple Podcasts -- https://podcasts.apple.com/us/podcast/eberron-a-chronicle-of-echoes/id1517517905

Broadcasting straight from Big Rock Candy Mountain, Zachary Leeman and Taylor Berryman talk the military, fatherhood, and the greatness that is Sturgill Simpson's A Sailor's Guide to Earth.

Five minutes of civilised calm, recorded in the peace of the English countryside. Sign up at https://marcsalmanac.substack.com With a poem by Felix Dennis, An English Light. "9:45 on a fine June night, I watch from the window and write and write..." From the show: 2 Corinthians, 3:2-3 William – The Dictator, by Richmal Crompton On this day: 3 June, 1989 – the Tiananmen Square massacre begins. It will see up to four thousand pro-democracy activists shot, bayoneted and deliberately crushed to death beneath the treads of tanks On this day: 3 June, 1162 – Thomas a Becket is consecrated as Archbishop of Canterbury. His murder eight years later, by men who believed they were following the will of the king, would make Thomas a saint whose veneration would last for centuries. Music to wake you up – Big Rock Candy Mountain, sung by Harry McClintock Sign up to receive email alerts and show notes with links when a new episode goes live at https://marcsalmanac.substack.com Please share this with anyone who might need a touch of calm, and please keep sending in your messages and requests. You can leave a voice message at https://anchor.fm/marc-sidwell/message. If you like Marc's Almanac please do leave a review on Apple podcasts. It really helps new listeners to find me. Have a lovely day. --- Send in a voice message: https://anchor.fm/marc-sidwell/message

The A-team receives their next assignment, and Yerkk has a disturbing vision. Arbiter Grom shows his gratitude to Ootori for saving him. In the Big Rock Candy Mountain, there's another artifactAnd the A-team proves that once again, the thing they lack is tactSupport the show (http://monstersmiscues.com)

Hawk, Tuffles, and Jack are back for more with a look at the 2006 WWE Studios Production the Marine, the career of Robert Patrick, the introduction of the Bonesaw Standard, and a serious question for listeners.  Follow Hawk on Twitter!CreditsProducer/Editor - Hawk JeffersonHosts - Hawk Jefferson, the Mighty Tuffles, and Jack R."The Big Rock Candy Mountain," recorded by Harry McClintock, 1928

(This was for a school project)Today on BRCM, Dugan Jaeger joined for a quick discussion on the Rusty Patched Bumble Bee. Dugan Jaeger used his knowledge and wisdom of farming, monoculture, and polyculture to inform the audience and make them aware of the current bee landscape. Come with me we'll go and see the Big Rock Candy Mountain!

Today we had entrepreneur, influencer, Mom and Aunt, Leslie Chermak on the podcast. We talked about health, tech, and Leslie's testimony/plans for the future.Leslie is an advocate for woman knowing their worth and using their gifts, and sets the bar high for putting her faith in God.Come with me we'll go and see the Big Rock Candy Mountain!

We tried the Paleo diet, which meant NO added sugar, NO carbs, and NO processed foods. As you may already know, we didn't commit that well.Come with me we'll go and see the Big Rock Candy Mountain!

Lately, Trump has somehow been in headlines MORE than ever. We discussed this phenomenon, along with creating a Thanksgiving Food Power Ranking™. We also discussed news, as usual. Come with me we'll go and see the Big Rock Candy Mountain!

Grace and Ash went to New York on their way to the Big Rock Candy Mountain.They recorded their experience to share with you.Come with me we'll go and see the Big Rock Candy Mountain!

This week, the BRCM hosts discussed the last ten years, and made predictions for the next decade.Come with me we'll go and see The Big Rock Candy Mountain!

On this weeks live show, Grace and Mike reap the unrighteous fruits of their actions. We also talked about the end of NASCAR :'(, news, and much more.Come with me we'll go and see the Big Rock Candy Mountain!

Today on BRCM, 6 people crammed into the studio, the only important one being Auggie Schmitt (our special guest).We discussed today's chapel with Faith Radio superstar Peter Kapsner, along with a discussion on aliens (extraterrestrials).Come with me we'll go and see the Big Rock Candy Mountain.LINK: https://waitbutwhy.com/2014/05/fermi-paradox.html

We were met face-to-face with saliva... and it wasn't our own. Today at the Big Rock Candy Mountain, we had the privilege of interviewing esteemed UNW psychologist, Dr. Hannah Mangelsen. We also discussed CBD and Mike's time in Nashville, along with personality types.

Listen every Tuesday and Thursday on any podcasting site, and every Wednesday 3-5 @ theremnant.fm. Hurry, your life might depend on it.

He finally did it, Kanye West became a Christian, and we at BRCM couldn't be happier. We also reviewed some chocolate from 'Sweet Chocolat' in the Twin Cities (yes, its spelled correctly) which was delicious. With your hosts Mike and Grace Chermak, and special guests Ashley Chermak and Abigail Jean. Come with me we'll go and see the Big Rock Candy Mountain!

A classic live episode of the BRCM show, with some exciting updates and the returning Ashley Chermak. Come with me we'll go and see the Big Rock Candy Mountain!

Today on BRCM, we discussed Swatch, and Grace and Ash's pit stop at NYC on their way to the Big Rock Candy Mountain. We also dove deep into a discussion on the charm of buying Legos as an adult. Enjoy! Come with me we'll go and see the Big Rock Candy Mountain!

Ash made her way back on the Big Rock Candy Mountain Podcast, talking news, updates, NASCAR, and more challenges than you ever cared to hear. Come with me we'll go and see the Big Rock Candy Mountain!

Today on BRCM we talked with the exceptional Twin Cities nurse, Ashley Chermak. She shared about her recent engagement and how it ended, and how things turned out in a positive way. We also talked about puke, childhood, and eternity. Come with me we'll go and see the Big Rock Candy Mountain!

Grace Chermak and her "sister" went to see Trump in Minneapolis. They had a good time. Come with me we'll go and see the Big Rock Candy Mountain!

News, news, and more news... that is today's topic on the BRCM podcast. We discuss Apple Glasses, China and Hong Kong, California's Wildfires, the new Ford Bronco, and much more. Come with me we'll go and see the Big Rock Candy Mountain!

Daniel Hill is the author of White Awake, a 5 star book on Amazon, and pastor at several locations in Chicago. He is passionate about what he does and follows God in a bold way. Recently he spoke at UNW, and got some push back. In today's episode, Mike and Grace Chermak defend Daniel Hill and the work he has done. Come with me we'll go and see the Big Rock Candy Mountain!

Mike Chermak slept in the Chic-fil-A Parking lot last night. Here is how it went. Come with me we'll go and see the Big Rock Candy Mountain!

Mike reviews a benchmark Netflix movie, along with some general discussion about Life. Come with me we'll go and see the Big Rock Candy Mountain!

A chat with an old friend, Thomas Voelker. Today on BRCM we go deep into meme culture and the sounds and sensuality of ASMR. Come with me we'll go and see the Big Rock Candy Mountain.

The BRCM studio was packed today, with three special guests. First, a story with Wes Mulinburg, then an interview with Keegan the long boarder, and finally a discussion with returning guest Nat Becker. Come with me we'll go and see the Big Rock Candy Mountain!

Today we talk about why fall is the best season, with a discussion on climate change as well. Come with me, we'll go and see the Big Rock Candy Mountain.

Will you join us on our journey?Looking ahead, the BRCM Podcast has big things in store.We will be posting two 1-2 hour podcasts every week. One will be our live show, and one will be podcast exclusive.Go to theremnant.fm to listen LIVE on Wednesdays from 3-5PM.Come with me, we'll go and see the Big Rock Candy Mountain.

Ken would recommend you watch The Ballad of Buster Scruggs and love it. Kendra would recommend you not bother and just listen to this podcast instead. We tell the general plot of the short stories and Kendra really gives away a major spoiler at minute 16:20. We also discuss the gender dynamics regarding critiques of the Coen brothers and ask why they aren’t called the Coen siblings. Unrelated to the Coen brothers we talk about Chris Pine’s visible pine in the Outlaw King. . And our connection to Peri Gilpin... Tom Waits was in The Ballad of Buster Scruggs which we really took our time talking about. He was also in Candy Mountain (1987) [which Kendra incorrectly said was related to the song Big Rock Candy Mountain] with Laurie Metcalf. Laurie Metcalf was in a Frasier episode in 2004 with Peri Gilpin called Caught in the Act. A couple of fun facts about the show. You can leave us an audio message by downloading the Anchor app, going to our profile, and tapping + Voice Message. We might include it in future eps. You can also support us via Listener Support! The first 25 Listener Supporters will get a t-shirt. You can access that here: anchor.fm/kendraken/support. We also enjoy being reviewed. Follow us below: www.instagram.com/degreesofperi/ twitter.com/DegreesofPeri --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/kendraken/support

Here's a cover of an old folk song called "Big Rocky Candy Mountain" Hope you like it!

M2M E3 Show Notes: No Donut for You! : http://time.com/4866060/baltimore-cop-plants-drugs-suspended/ That's Senator Kid Rock to you!: http://thehill.com/blogs/in-the-know/in-the-know/343368-gop-consultant-kid-rock-would-be-prohibitive-favorite-if-he Can You Smell What the Rock is...: http://www.rollingstone.com/culture/dwayne-the-rock-johnson-2020-campaign-committee-set-up-w491659 Read up on 'Ol Pappy O'Daniel Our first shitty celeb Pol: https://en.wikipedia.org/wiki/W._Lee_O%27Daniel Amos' Top 5 Political Songs to Add To Your Anti-McResistance Summer Playlist: 1)“Gasoline Dreams”, Outkast, Stankonia (2000) https://www.youtube.com/watch?v=wFvFVUbCPEk 2) “Know Your Rights”, The Clash, Combat Rock (1983) https://www.youtube.com/watch?v=5lfInFVPkQs 3) “American Jesus”, Bad Religion, Recipe for Hate, (1994) https://www.youtube.com/watch?v=12kcpP-8jfM 4) “Prison Song”, System of a Down, Toxicity (2001) https://www.youtube.com/watch?v=yndfqN1VKhY 5)“Big Rock Candy Mountain”, Harry McClintock, Big Rock Candy Mountain (1928) https://www.youtube.com/watch?v=JqowmHgxVJQ Celebrate Barack Obama's one term with Wolverines: https://www.youtube.com/watch?v=MddREczVeL4

    Act 1: Hooray For Hollywood Casablanca/Wizard of Oz (Audio Montage) Rick And Renault Includes: Recording: Rick And Renault Artist: Original Cast Album: Music From The Original Motion Picture     Somewhere Over The Rainbow Recording: Somewhere Over The Rainbow Artist: Judy Garland Album: The Wizard of Oz Original Soundtrack California Here I Come Recording: California Here I Come Artist: Al Jolson Album: 20th Century Masters City Of Stars Recording: City Of Stars Artist: Ryan Gosling and Emma Stone Album: La La Land Original Soundtrack Academy Award Winners for Best Original Song (2017). Wait... Yes! Mae Jean Goes to Hollywood Recording: May Jean Goes To Hollywood Artist: The Byrds Album: Ballad of Easy Rider Written by a 21-year-old Jackson Browne. Played by the Clarence White Byrds. What could be better?   Blue Money Recording: Blue Money Artist: Van Morrison Album: His Band & The Street Choir An Irish sage visits the San Fernando Valley.         Tara's Theme (Act One Recap) Recording: Tara's Theme Artist: John Williams & The Boston Pops Album: A Celebration         Act 2 - An Actors' Life For Me Look At Me Recording: Look At Me Artist: Bobbie Darin Album: Bless You California  Act Naturally   Recording: Act Naturally Artist: Dwight Yoakam Album: 21st Century Hits   Malkovich Recording: Malkovich Artist: Dweezil Zappa Album: Via Zammata   Son of Mr Green Jeans? Son of Frank Zappa meets Malkovich. The Raven   Recording: The Raven Artist: Jeff Bridges Album: Sleeping Tapes Visit Jeff's Squarespace "Sleeping Tapes" site HERE: New Kid In Town Recording: New Kid In Town Artist: JD Souther Album: Natural History The four most dreaded words in Hollywood. Theme From "A Summer Place" Recording: Theme From "A Summer Place" Artist: Percy Faith Album: Percy Faith Plays Movie Themes Composer Max Steiner strikes again!  Act 3: The Wayfaring Stranger, The Wizard of Whimsey & Recessional Hollywood Hymns Big Rock Candy Mountain Recording: Big Rock Candy Mountain Artist: Burl Ives Album: Greatest Hits     Which Side Are You On? Recording: Which Side Are You On? Artist: The Almanac Singers Album: Troubadours: Folk and the Roots of American Music How a confluence of economical and political conditions made two very different men "fellow travelers..." They look like friends. Photo © Time/Life Two disparate show business figures seemed to fall into a concentric orbit during a unique period of Hollywood history. One, was a man of the dusty road who brought the sensibility of depression era America to the mainstream. The other, became thought of as one of the country’s homegrown geniuses. His name began to embody a brand of American commercial artistic creativity. One man was Burl Ives, the other was Walt Disney. Both exuded Americana. Both made personal political decisions that somewhat singed their historical images. The choices they made involved their testimony before The House Un-American Activities Committee (HUAC). Each individual that was called had a difficult decision to made. These two men made essentially the same choice. Burl Ives began as an itinerant singer and banjo player. By 1940, he had his own radio show where he performed the versions “of record” of hobo and road songs. He popularized the Irish war ballad ’Foggy Dew", the minstrel tune ”The Blue Tail Fly" and "Big Rock Candy Mountain" a song celebrating an idealized version of the Hobo life. Ives also performed with the Almanac Singers a folk group which at different times included Woody Guthrie, and Pete Seeger. By most measures, his biggest hit over time is version of the 17th-century English song "La...

In this week's episode of Off Panel, cartoonist Kyle Starks joins the show to talk his new comic at Image, Rock Candy Mountain. Starks discusses what appealed to him about the hobo treasure hunt genre, the tropes of rail travel, researching hobo culture, when the song "Big Rock Candy Mountain" came into play, world building, the realities of hobo life, the language in the book, the impact of colorist Chris Schweizer and designer Dylan Todd, overcoming the perceptions of his "cartoony" art style, his process for bringing an issue to life, before the episode comes to a close with serious basketball talk starting around the 52 minute mark.

26. Big Rock Candy Mountain In the Big Rock Candy Mountains There's a land that's fair and bright Where the goodies grow on bushes And you sleep out every night Where friends are all around us And the sun shines every day Oh, I'm bound to go where there isn't any snow Where the rain doesn't fall and the wind doesn't blow In the Big Rock Candy Mountains. Oh, the buzzin' of the bees in the peppermint trees 'Round the soda water fountains Where the lemonade springs and the bluebird sings In the Big Rock Candy Mountains In the Big Rock Candy Mountains There's a land that's fair and bright Where the goodies grow on bushes And you sleep out every night Where friends are all around us And the sun shines every day Oh, I'm bound to go where there isn't any snow Where the rain doesn't fall and the wind doesn't blow In the Big Rock Candy Mountains. Oh, the buzzin' of the bees in the peppermint trees 'Round the soda water fountai...

Songs include: Hobo Bill's Last Ride, Brother, Can You Spare a Dime?, Big Rock Candy Mountain, Hobo, You Can't Ride This Train and Hobo Blues. Performers include: Al Jolson, Louis Armstrong, Woody Guthrie, Bing Crosby, Burl Ives, Riley Puckett and John Lee Hooker.

5. Big Rock Candy Mountain Traditional One evening as the sun went down and the jungle fire was burning Down the track came the hobo Jack and he said boys I’m not turning, ’ I’m headed for a land that’s far away, beside the crystal fountain, so come with me, we’ll go and see the big rock candy mountain. Chorus: Oh the buzzin’ of the bees and the peppermint trees from the soda water fountains where lemonade springs and the bluebird sings in the big rock candy mountains. In the big rock candy mountain, there’s a land that’s fair and bright, where candy grows on bushes and you sleep out every night, where love is all around you, and the sun shines every day on the birds and the bees and the peppermint trees in the big rock candy mountain. Chorus In the big rock candy mountain, all the cops have wooden legs and the bulldogsall have w...

Welcome to Episode 22 of the Retro Disney World Podcast: "Lake Buena Vista Shopping Village" - We appreciate your support and hope you have been enjoying each and every episode. Be sure to check out some of our previous shows. Comments & Corrections- We get back to the basics this month, focusing on our regular routine. The mystery of RJ McBean is solved and debunked. We also shed some light on what happened to the penny arcade games, how you can play them now and finally how some of them have changed states... Lots of great information during our comments and corrections this month. Audio Rewind - Congratulations to our winner from last month, Phil Speck, he guessed "Big Rock Candy Mountain". Phil won a copy of Disney U! If you think you know the answer to the audio rewind this month, email us at podcast@retrodisneyworld.com for a chance to win a Progressland Brochure, from Ted Linhart. Send your guesses by September 20, 2016 - All answers will also be entered into the drawing for our next BIG PRIZE, which is a huge prize pot slowly built over the course of 2016. Prize Pot Items - As you may have heard, our year end prize this year will include a different prize from every month. So far, we have an Orange Bird Yo-Yo from January, a brochure from The World of Motion given away in February, the March prize is a Golf Resort Mickey head logo golf bag tag, an Epcot Center salt and pepper shaker set, a Disney Glass Candy Dish, Tomorrowland Handbook, a copy of '84 Disney News, The Walt Disney World Explorer CD Rom, expired Discovery Island Tickets and new this month........a Frontierland Viewmaster Slide! The pot will continue to grow each month with new and exciting prizes! To win the prize pot in December, just answer any audio rewind question each month for one entry. Main Topic - For this month, we take you back to the original years of the Lake Buena Vista Shopping Village. You will find it absolutely amazing how much has changed, grown and updated since the early days. As a group, we go through the different stories while sharing memories of the different visits we've had. The architecture is discussed along with watercraft and even menswear. Great topic with lots of great history, hope you enjoy! Directly from Todd's personal archive: A video from 1989 of the Disney Village RetroWDW Merchandise - All new design this month that incorporates the LBV Whatchamacallit! Be sure to get your shirt, iPhone case, tote bag, pillow or coffee mug: www.retrodisneyworld.com/supportus The RetroWDW Event - Join the RetroWDW Podcast crew for a 1 hour tour of Bay Lake and the Seven Seas Lagoon! Take your lunch break at Destination D this year and join the RetroWDW Podcast crew for a tour around Bay Lake and Seven Seas Lagoon! Tickets go on sale 9/25/16 at 12:00pm. These will sell out quick, so make sure you don't miss out! Click here for information on the tour and how to purchase tickets. Listener Memories - Keep the calls coming, sharing your memories and giving us feedback. If you would like to call and leave us a message, please dial 978-71-RETRO. Keep the calls coming!  Check back with us very soon for Episode 23 where we take you back to the Carousel of Progress! Tweet at us, send us a Facebook post or message, tag us on Instagram or email us your thoughts..We hope you have enjoyed this episode! If you have any questions, suggestions or find errors please email us podcast@retrodisneyworld.com Podbean: podcast.retrodisneyworld.com iTunes: itunes.apple.com/us/podcast/retro-disney-world-podcast/id935548315 Stitcher: www.stitcher.com/podcast/retrodisneyworld/retro-disney-world-podcast

Today in 1909, Burl Ives was born in Jasper County, Illinois.  Folk singer and actor, he popularized songs such as "The Blue Tail Fly" and "Big Rock Candy Mountain."  How might his political views have found their way into a popular holiday television program?  Find out on today's "A Day in the Life."

6 AM - 1 - Sean is working out; Openings. 2 - The Big Rock Candy Mountain; MailBag. 3 - The News with Marshall Phillips. 4 - Someone put together 10 hours of Trump insulting people.

1 - Sean is working out; Openings. 2 - The Big Rock Candy Mountain; MailBag. 3 - The News with Marshall Phillips. 4 - Someone put together 10 hours of Trump insulting people.

aired August 1st, 2014 The “Wissahickon Park” Episode: Musical Guests: Neal Phillips & Sam Rossitto > A few minutes with Ed Feldman - “Fairmount Park” rant > Billy Penn and Chief Teedyuscung speak > Jim encounters mountain bikers, runners, & fishermen > Jim visits the cave of the hermit Kelpius and his band, "The Dittoheads" > Neal & Sam do “Big Rock Candy Mountain” parody Meet: > “The Wissahickon Freak!” > a deer > the Duck of Peace > a worried man > Party at Downturn Abbey > Neal & Sam do “Downton Abbey” parody > Open mic: The Freak sings! > Neal & Sam do “Miss the Wissahickon”

Michael Berkeley's guest is the actor Rory Kinnear. Rory Kinnear is in danger of becoming a national treasure. Audiences across the world know him thanks to two Bond movies, where he plays M15 officer Bill Tanner. He was the journalist in the TV thriller Southcliffe, he was Denis Thatcher in the Margaret Thatcher TV biopic, he's the straight man to Count Arthur Strong... And he's established a reputation as one of our finest Shakespearean actors - his performance as Hamlet at the National Theatre was screened across the UK as part of the National's 50th anniversary celebrations. This summer he played an unforgettably chilling Iago to Adrian Lester's Othello, again at the National. And he's just turned playwright - his first play, The Herd, directed by Howard Davies, has opened in London. He's a difficult actor to pin down. But in conversation with Michael Berkeley he reveals the man behind the theatrical mask. He talks movingly about his father, the actor Roy Kinnear, who was killed during a film stunt, and how he kept sane after the accident by playing the piano. Rory still plays in rehearsal rooms across the world, grabbing his chance at the piano while the other actors eat lunch. He reveals too that music is the key to his relationship with his sister, who was born with profound disabilities; Rory composes music for her, and plays songs as a way of communicating with her. He works increasingly with musicians, at the Proms last year, and in recordings. And, be warned, every morning he walks across London listening to music on his huge headphones - and singing along at the top of his voice. Music choices include Mark Padmore singing Bach, Haydn's Trumpet Concerto, a Beethoven violin sonata, Erroll Garner, and Big Rock Candy Mountain. First broadcast 13/10/2013.

Sing in me, Muse, and through me tell the storyof that man skilled in all ways of contending,the wanderer, harried for years on end,after he plundered the strongholdon the proud height of Troy.Songs about mines and standard transcendentalism.1,"Dialup Intro","Giosue Etranger","Ut Supra Infra"2,"Phone Talk","Dr. Ring-Ding & The Senior Allstars","Dandimite!"3,"Dandimite Ska","Dr. Ring-Ding & The Senior Allstars","Dandimite!"4,"Oracle & Intro","O Brother","Oktoeight"5,"The Carrying Arms","The Antlers","In the Attic of the Universe"6,"Two Characters in Search of a Country Song","The Magnetic Fields","The Charm of the Highway Strip"7,"Fool Looks For Logic in Chambers of Human Heart","O Brother","Oktoeight"8,"Dark as the Dungeon","Johnny Cash","At Folsom Prison"9,"Working in the Coal Mine","Lee Dorsey","Great Googa Mooga Disc 1"10,"Subterranean Homesick Blues","Bob Dylan","Bringing It All Back Home"11,"Heart of Gold","Neil Young","Harvest"12,"Big Rock Candy Mountain","Harry ""Haywire Mac"" McClintock","O Brother"13,"Desert Love","Sonny Lester & The Sonny Lester Orchestra","Exotica"14,"Rock Island Line","Lead Belly","The Very Best of Leadbelly"15,"Indian War Whoop","John Hartford","O Brother"16,"I Am a Man of Constant Sorrow (radio station version) (feat. Dan Tyminski)","The Soggy Bottom Boys","O Brother"17,"Man of Constant Sorrow","Bob Dylan","Bob Dylan"18,"Paradigm of Hope","O Brother","Oktoeight"19,"Lucifer Sam","Pink Floyd","The Piper At The Gates Of Dawn"20,"Fire","The Jimi Hendrix Experience","Are You Experienced"21,"Temple Mystique","The Hidden Words","Free Thyself From The Fetters of This World"22,"Spiritually Unaffiliated","O Brother","Oktoeight"23,"Technicolor Health","Harlem Shakes","Technicolor Health"24,"Lover of Mine","Beach House","Teen Dream"25,"Solitude Is Bliss","Tame Impala","Innerspeaker"26,"Tractor Man","Ariel Pink's Haunted Graffiti","Underground"27,"Where Is My Mind?","Pixies","Surfer Rosa / Come On Pilgrim"28,"Bangers + Mash","Radiohead","In Rainbows (bonus disc)"29,"My Wife, Lost in the Wild","Realpeople / Beirut","Holland"30,"Useful Chamber","Dirty Projectors","Bitte Orca"31,"On Miracles","O Brother",32,"Dialtone Fades Out","Giosue Etranger","Ut Supra Infra"Lyrics in podcast ID3 tag [again].

In this session, missing fish, city juice, Martin's new nickname and a global conspiracy amongst doctors to experiment on patients are discussed. Also in this episode, an ode to a missing friend and PK's short-term memory problems. Send us your thoughts, questions and death threats at weekly.tripound@gmail.com!

Big Rock Candy Mountain on IndieFeed Alternative and Modern Rock