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hoaxes, Watseka Wonder, Lurancy Vennum, Spiritualism, was the Watseka Wonder a hoax?, the Watseka Wonder in pop culture, Cottingley fairies, Theosophy, Arthur Conan Doyle, Harry Houdini, prostitution in Spiritualism, Spiritualism as organized crime, the Cottingley fairies as a hoax, Highgate Vampire, David Farrant, Sean Manchester, is the Highgate Vampire a hoax or mass hysteria?, Hammer Films, Dracula AD 1972, the importance of hoaxes to legit supernatural events, Strange Realities 2024, ShakespeareStrange Realities Tickets:https://www.strangerealitiesconference.com/?fbclid=IwY2xjawFurpVleHRuA2FlbQIxMAABHT6EoztEyEhKE5AENXKkgJb964yx-tLua08q0AJ7SR2_Qje5odf_vLNOqQ_aem_H_OULJhLPRslS2pNsvjV_gMusic by: Keith Allen Dennis:https://keithallendennis.bandcamp.com/ Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
Cathy and I watched 7 Hammer Films with Peter Cushing and Christopher Lee. It did not go well. We review our experience watching The Gorgon, Dracula AD, Satanic Rites of Dracula, The Curse of Frankenstein, The Mummy, Horrors of Dracula, The Hound of Baskervilles plus Hammer Facts with Cath. Follow us on Facebook | Instagram | Patreon | YouTube | Check out our Website All music and sound by Mannequin Uprising. --- Send in a voice message: https://podcasters.spotify.com/pod/show/terrortalk/message
This is a preview of our all-new Patreon exclusive episode that finds Shannon and Cathy discussing the Hammer film Dracula AD Want more? Head on over to www.patreon.com/terrortalk and become a Patron for more exclusive bonus content! Follow us on Facebook | Instagram | Patreon | YouTube Music by Mannequin Uprising --- Send in a voice message: https://podcasters.spotify.com/pod/show/terrortalk/message
Matt and Zach talk Dracula, Horror, Halloween, Movies, and other SEO relevant things!
Junk Food Dinner returns for our November episode (definitely not our Halloween episode) where we discuss British vampires, Japanese dinosaurs and Chicago juvenile delinquents! Up first, Christopher Lee is Count Dracula and he returns from his slumber in swinging 1972 London and it's up to Peter Cushing and his granddaughter (both descendants of Van Helsing) to stop him in Hammer horror film Dracula A.D. 1972. Then, Toei Pictures brings us a tale of prehistoric creatures returning to swinging 70's Japan and causing mayhem to an inexplicable funk soundtrack in Legend of Dinosaurs and Monster Birds from 1977. And finally, Sean Penn plays a Chicago street thug who gets put in the toughest juvenile prison in the country after a drug deal goes bad and leaves multiple people dead. There he has to defend himself from other prisoners like the menacing Clancy Brown. But when a rival gang member, played by Esai Morales, shows up at the prison, things really get heated in Bad Boys from 1983. All this plus heated discussions on how long after Halloween it's appropriate to celebrate, why Gen Z isn't into rude titties on film, the new Salem's Lot, Godzilla on Apple TV, hot blu-rays and so much more! LISTEN NOW:MP3 Direct DonloydAlso, if you like the show, please take a minute and subscribe and/or comment on us on iTunes, Stitcher, Blubrry or Podfeed.net. Check us out on Facebook and Twitter! We'd love to see some of your love on Patreon - it's super easy and fun to sign up for the extra bonus content. We'll keep this podcast going with your love and support.
Welcome aboard the chilling ride that is Screams and Streams' episode on the 1972 horror film 'Dracula AD 1972.' We, your hosts Mike Carron and Chad Campbell, recount the thrilling fight atop a coach between Lawrence Van Helsing and the notorious Count Dracula. We also take you through the story line, its twists and turns, and guide you on how to best savor this classic film that's very much a relic of its time.The enigmatic character Johnny Alucard, Dracula's servant's great-grandson, forms the crux of our critique this week. We address the questionable costuming, the less-than-stellar music, and the melodramatic sun-burn scene, all in our quest to dissect this iconic horror offering. Don't miss the discussion on the film's problematic elements, including the black mass scene, and the confrontations between Professor Lorrimer Van Helsing and Count Dracula. The final act of our episode delves into the eerie references to past cult and horror murders and the connection to the 1972 film, 'Tales from the Crypt.' We tackle the physical aging of Peter Cushing due to his personal tragedies and its impact on his performance. Listen in as we dissect the experimental space age rock music used in the church resurrection scene and the confrontational scene between Johnny Alucard and Van Helsing. Join us as we navigate through the good, the bad, and the ugly of 'Dracula AD 1972.' Head to www.screamsandstreams.com for more information related to our episode.
This week we have our eye on the relatively obscure Dracula AD 1972. It's kind of a sleeper in the Hammer Horror catalog so in true Necromaniacs fashion, we decided to review this 1972 vampire oddity. Intro: “Necromaniacs” – Mike Hill Outro: “You Better Come Through for Me” - Stoneground
This week we have a look at the 1972 film Dracula A.D. 1972. This is Episode #400! We start off with thoughts and reminiscences on 400 episodes and then move on to the film.Dracula A.D. 1972 is a 1972 British horror film, directed by Alan Gibson and produced by Hammer Film Productions. It was written by Don Houghton and stars Christopher Lee, Peter Cushing and Stephanie Beacham. Unlike earlier films in Hammer's Dracula series, Dracula A.D. 1972 had a contemporary setting in an attempt to update the Dracula story for modern audiences. Dracula is brought back to life in modern London and preys on a group of young partygoers that includes the descendant of his nemesis, Van Helsing.It is the seventh Hammer film featuring Dracula, and the sixth to star Christopher Lee in the title role. It also marked the return of Peter Cushing as Van Helsing for the first time since The Brides of Dracula (1960), and was the first to feature both Lee and Cushing in their respective roles since Dracula (1958).It was followed by the last film in Hammer's Dracula series to star Christopher Lee, The Satanic Rites of Dracula, which similarly utilized a modern setting and featured most of the same central characters.
Redfield Arts Audio presents The Midnight Matinee. “The Black Cat 1969” Inspired by the story The Black Cat by Edgar Allan Poe. Cast of Characters Rita… Caroline Munro Alfie… Mark Redfield Barman… Caesare Arena Judge, Frederico, Bill … Mark Redfield Sound Recordist…Bill Dickson Sound Design and Editor…Jennifer Rouse Set in swinging London of the 1960s, Poe's story of an unreliable narrator who tells the tale of murder and madness, felines and felony, and a tell-tale meow I'd performed by Caroline Munro (“Sinbad and the Pirate Princess” for Redfield Arts Audio, and the films “The Golden Voyage of Sinbad”, “The Spy Who Loved Me”, “Dracula AD 1972”, and “At the Earth's Core”) and Mark Redfield (“Sinbad and the Pirate Princess” and “Frankenstein Mobster” for Redfield Arts Audio). For more great audio books and audio drama visit http://www.RedfieldArtsAudio.com Ⓒ Redfield/Mark Redfield Studios. All Rights Reserved.
Welcome back to the Manor and welcome to the 4th of Jody's Japanese horror flicks! This time, sticking with the theme of this week's trippy hippy stuff (we're looking at you, Dracula AD 1972), we talk about House, that very interesting Japanese horror movie. Next week's episode is a Happy Halloween. Get in touch with us at Podbean: https://www.podbean.com/media/share/pb-4pksr-a17e1a Or on Facebook: https://www.facebook.com/twinterrorsmacabremanormeadmetalmayhe/ Or on twitter: @Terrors_Manor On Instagram: @macabremanormeadmetalmayhem You can also find our podcast on iTunes, Spotify, Amazon, and I Heart Radio; pretty much wherever fine (and our) podcasts are aired. Image courtesy of:
Special guest Matthew Coniam, Author of Dracula AD 1931, joins your hosts Dustin Melbardis and Russell Guest for the Retro Movie Roundtable as they revisit Dracula (1931) [PG] Genre: Horror, Thriller, Fantasy, Mystery Starring: S Bela Lugosi, Helen Chandler, David Manners, Dwight Frye, Edward Van Sloan, Herbert Bunston, Frances Dade, Charles K. Gerrard, Joan Standing Director: Tod Browning Recorded on 2022-10-01
The terror trio explores the wild word of HAMMER FILM PRODUCTIONS, and the horror films that came out this famous production company. Not only all the films discussed in this episode were produced by Hammer, but the special guest on this episode is the lead singer of the seminal punk band ANTiSEEN, Jeff Clayton! Movies reviewed on this episode: The Evil of Frankenstein (1964), The Nanny (1965), The Vampire Lovers (1970), Demons of the Mind (1972), The Curse of the Mummy's Tomb (1964), The Resident (2011), The Curse of The Werewolf (1961), Die Die My Darling (1965), One Million BC (1940), Nightmare (1964), Dracula Has Risen From the Grave (1968), Wake Wood (2009), The Legend of the 7 Golden Vampires (1974), The Satanic Rites of Dracula (1973), Captain Kronos Vampire Hunter (1974), and Dracula AD (1972). Got a movie recommendation? Email us at MOUTHSOFMADNESSPOD@gmail.com Support Pondo and RPW and get exclusive gear at DEATHMATCH WORLDWIDE Follow the podcast on Facebook Follow the podcast on YouTube Follow Madman Pondo at his website Check out Ruthless Pro Wrestling Check out Kelli's work Producer Peapod's podcast
Welcome to more spooky goodness at the Manor! We're continuing Jody's spooooooky arc with the third Japanese horror films, this time it being 1964's Kwaidan! Slice a bit of Barm Brack and a dram of witches' brew and enjoy! Next week's episode is... well, either Dracula AD 1972 or House depending on who finishes first, but those are our next two episodes! Get in touch with us at Podbean: https://www.podbean.com/media/share/pb-4pksr-a17e1a Or on Facebook: https://www.facebook.com/twinterrorsmacabremanormeadmetalmayhe/ Or on twitter: @Terrors_Manor On Instagram: @macabremanormeadmetalmayhem You can also find our podcast on iTunes, Spotify, Amazon, and I Heart Radio; pretty much wherever fine (and our) podcasts are aired. Image courtesy of: James
Everyone's favorite blood-sucking count is killed by Van Helsing in 1872 and gets revived 100 years later where he seeks to get revenge on Van Helsing's descendants. Does Dracula prevail in taking over modern day London? Tune in to find out what the Dad's thought of this cult favorite!
Take a musical time machine 50 years ago to 1972 when The Godfather won Best Picture at the Oscars and ruled at the top of the box office that year.It's an hour of soundtrack music from Curtis Mayfield, Liza Minnelli, Diana Ross and more as well as trailers from The Poseidon Adventure, Dracula AD 72, Alfred Hitchock's Frenzy and more!
Here are some clips from the first three episodes of the podcast, go and listen to the whole thing here...Dracula AD 1972https://shows.acast.com/general-witchfinders/episodes/1-dracula-ad-1972The Curse of Frankensteinhttps://shows.acast.com/general-witchfinders/episodes/2-the-curse-of-frankenstienSapphire and Steel - Assignment 4https://shows.acast.com/general-witchfinders/episodes/3-sapphire-and-steel-assignment-4 Get bonus content on PatreonSupport this show http://supporter.acast.com/general-witchfinders. See acast.com/privacy for privacy and opt-out information.
It's a true horror icon under the microscope this week as we discuss Count Dracula on film and put selections to guest judge and graphic novel creator Jim McCarthy - who you may know from the legendary 2000AD and Godspeed: The Kurt Cobain graphic novel - as well as discussing more horror anagrams, shaving mirrors, the terrors of hell and so much more. Find more of Jim's work here; https://jimmccarthy.co.uk
David hosts as the Doctor Who Family Tree makes a welcome return, as he, Tom and Kenny take a look at Dracula: AD 1972. There's various Doctor Who connections, from the script writer to cast members, as the trio give their views on one of the Hammer films which, it's fair to say, isn't given as much love as the others.
In this episode, I talk to legendary poster artist and illustrator Graham Humphries about the Hammer classic Dracula AD 1972. LINKS WEBSITE https://grahamhumphreys.com/ TWITTER @GrahamHumphrey8
Pardon our mess. Despite some more technical glitches, Hello! This is the Doomed Show is now ON THE AIR. Brad and Richard finally get around to discussing Hammer horror after a decade or so. They get in up to their necks with Dracula AD 1972 and The Satanic Rites of Dracula. Opinions are expressed. Isn’t that great? Enjoy! Doomed Moviethon Cinema Somnambulist Richard’s Book About Horror And Cult Movies
Pardon our mess. Despite some more technical glitches, Hello! This is the Doomed Show is now ON THE AIR. Brad and Richard finally get around to discussing Hammer horror after a decade or so. They get in up to their necks with Dracula AD 1972 and The Satanic Rites of Dracula. Opinions are expressed. Isn’t that great? Enjoy! Doomed Moviethon Cinema Somnambulist Richard’s Book About Horror And Cult Movies
Pardon our mess. Despite some more technical glitches, Hello! This is the Doomed Show is now ON THE AIR. Brad and Richard finally get around to discussing Hammer horror after a decade or so. They get in up to their necks with Dracula AD 1972 and The Satanic Rites of Dracula. Opinions are expressed. Isn't that great? Enjoy! http://doomedmoviethon.com http://doomedmoviethon.blogspot.com http://legionpodcasts.com
Author Michelle Bowser joins Mike to discuss another Hammer film. Does it hold up to the earlier entries? Does it take any opportunity to see how a Victorian Era aristocrat finds his place in modern London? we get into it. Join us and find out. You can also find Michelle online @: https://www.facebook.com/authormichellebowserhttps://www.facebook.com/BurningBulbPublishing/https://twitter.com/MichelleBowserWe now have a website! Visit us at www.strangebiscuits.com/graveyard to send us movie suggestions and comment on episodes!You can follow us on Facebook at https://www.facebook.com/Thegraveyardshiftpod/On Twitter at https://twitter.com/GS_horrorpodAnd on Instagram at www.instagram.com/thegraveyardshiftpod/If you would like to make a donation to help keep the show going and get access to bonus content, you can do so by checking us out at https://www.patreon.com/Graveyardemail us at graveyardshiftpod@gmail.com for movie suggestions or Patreon ideas.Thanks for listening.
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.
Horror Express - or Pánico en el Transiberiano translated as Panic on the Trans-Siberian, is an English language Spanish science fiction horror film loosely based on the novella Who Goes There? (also a basis for the Thing From Another World, which was in turn was remade as the classic The Thing by John Carpenter.) The film stars Christopher Lee and Peter Cushing, with Alberto de Mendoza, Silvia Tortosa, Julio Peña, George Rigaud and Ángel del Pozo in supporting roles, and Telly Savalas in a guest appearance.In 1906, Professor Sir Alexander Saxton, a renowned British anthropologist, played by Lee, is returning to Europe by the Trans-Siberian Express from Shanghai to Moscow. With him is a crate containing the frozen remains of a primitive humanoid creature that he discovered in a cave in Manchuria. Before the train departs Shanghai, a thief is found dead on the platform. His eyes are completely white, without irises or pupils. Later the humanoid is reanimated, roaming the moving train, leaving bodies with the same opaque, white eyes in it's wake. Autopsies suggest that the brains of the victims are being drained of memories and knowledge. When the humanoid is gunned down by police Inspector Mirov, the threat seems to have been eliminated… But the murders continue.Like all Italian and Spanish films of the period, Horror Express was filmed mostly without sound, with effects and voices dubbed into the film later. Lee, Cushing and Savalas all provided their own voices for the English market, with a certain Roger Delgado providing the voice for Inspector Mirov. According to Director Eugenio Martín, the film was made because a producer obtained a train set from the production of Nicholas and Alexandra. "He came up with the idea of writing a script just so he would be able to use this prop,"Horror Express was filmed in Madrid between 1971 and 1972 and produced on a low budget of $300,000 and released a few months after the topic of our very first podcast episode, Dracula AD 1972.$£$£$£$£$£$£$£$£$£$£$£$£$£$£$£$£$£$£$£$Just in case anyone has too much money and wants to give a bit to us to help with our hosting n stuff. It would be amazing if you fancied sending us some pennies - thank you.https://supporter.acast.com/general-witchfinders$£$£$£$£$£$£$£$£$£$£$£$£$£$£$£$£$£$£$£$ Get bonus content on PatreonSupport this show http://supporter.acast.com/general-witchfinders. See acast.com/privacy for privacy and opt-out information.
Two years after the events of Dracula AD 1972, a Secret Service agent barely escapes from an English country house, in which satanic rituals are being celebrated. Before he dies, he reveals to his superiors that four prominent members of society – a government minister, a peer, a general and a famous scientist – are involved in a cult led by the satanic priestess Chin Yang.Scotland Yard's Inspector Murray is called in, for who Michael Coles reprises his role, to work on the case independently. Murray suggests consulting a noted occult expert, The heroic Professor Lorrimer Van Helsing, of course, played by Peter Cushing, who is assisted by his granddaughter Jessica, now played by Joanna Lumley.Van Helsing visits his scientist friend, Julian Keeley, whom he recognized among the four conspirators. He discovers Keely is undertaking bacteriological research designed to create a virulent strain of the bubonic plague. Keeley referred to the 23rd of the month, which Van Helsing explains is the "Sabbath of the Undead", the date that Dracula plans to unleashed the plague on the world as his final revenge.The action converges back at the country house where our heroes face off against Dracula, his vampiric brides and the satanic cultists.In the United States, the film was distributed in a heavily edited version titled Count Dracula and His Vampire Bride.This was the final Hammer film that Christopher Lee and Peter Cushing would make together. The two stars would eventually reunite one more time in House of the Long Shadows, ten years later.Something HorrificPossessor https://www.possessormovie.com/Night Terrors: The Ghost Stories of E.F. Bensonhttps://www.amazon.co.uk/Night-Terrors-Stories-F-Supernatural/dp/1840226854Adam Curtis - can't get you out of my headhttps://www.bbc.co.uk/iplayer/episodes/p093wp6h/cant-get-you-out-of-my-head$£$£$£$£$£$£$£$£$£$£$£$£$£$£$£$£$£$£$£$Just in case anyone has too much money and wants to give a bit to us to help with our hosting n stuff. It would be amazing if you fancied sending us some pennies - thank you.https://supporter.acast.com/general-witchfinders$£$£$£$£$£$£$£$£$£$£$£$£$£$£$£$£$£$£$£$ Get bonus content on PatreonSupport this show http://supporter.acast.com/general-witchfinders. See acast.com/privacy for privacy and opt-out information.
Christopher Lee reprises his role as Count Dracula and has been resurrected in the year 1972 by a satanic hippie named Alucard. For some reason he's obsessed with finding the great great granddaughter of his old nemesis, Van Helsing as he drinks the blood of various other hippies. In this episode we discuss this crazy plot and how adding the classic Dracula story to the 1972 Brittish hippie scene is such a great move, along with guests Bree and Jos. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/moviessobadcult/support
Ross, Jon and James discuss:Dracula AD 1972from HammerAvailable to buy or rent on Amazon and Apple in the UK.The seventh Hammer film featuring the count, and the sixth to star Christopher Lee as the count. Featuring the return of Peter Cushing as Van Helsing for the first time since The Brides of Dracula in 1960, and was the first to feature both Lee and Cushing in their respective roles since Dracula in 1958.In 1872, Dracula and his nemesis Van Helsing battle on the top of a runaway coach. The carriage crashes and Dracula is impaled by one of the wheels and Van Helsing collapses and dies from his own wounds. A century later, Jessica Van Helsing, descendant of Dracula's old nemesis, attends a black magic ceremony in which Dracula is resurrected and plans to take his revenge on the Van Helsing family by turning Jessica into a vampire...Something Horrific: Ghosts, from the BBC -https://www.bbc.co.uk/iplayer/episodes/m00049t9/ghostsGhostland, Edward Parnellhttps://www.amazon.co.uk/Ghostland-Haunted-Country-Edward-Parnell/dp/000827195XSignalman - Ghost Stories, from the BBC: The Signalmanhttps://www.amazon.co.uk/Ghost-Stories-BBC-Signalman-Stigma/dp/B0083HHSZC/ref=pd_sbs_74_3/259-9200382-6269051$£$£$£$£$£$£$£$£$£$£$£$£$£$£$£$£$£$£$£$Just in case anyone has too much money and wants to give a bit to us to help with our hosting n stuff. It would be amazing if you fancied sending us some pennies - thank you.https://supporter.acast.com/general-witchfinders$£$£$£$£$£$£$£$£$£$£$£$£$£$£$£$£$£$£$£$ Get bonus content on PatreonSupport this show http://supporter.acast.com/general-witchfinders. See acast.com/privacy for privacy and opt-out information.
I'm Brian. And I'm Kevin. And we're the Horror Guys! Episode 89 Summary This week we’ll be watching some more classics. We'll begin with “Dracula, AD 1972” from 1972, “House of Dark Shadows” from 1970, “Night of Dark Shadows” from 1971, and “Omen IV: The Awakening” from 1991. We might even sneak in a short film or two! Tales to Make You Shiver, Volume 1: https://amzn.to/2YtHUMz Tales to Make You Shiver, Volume 2: https://amzn.to/3f9wunr HorrorGuys.com Guide to Universal Studios' Shock! Theater HorrorGuys.com Guide to Universal Studios' Son of Shock! Here. We. Go! Links: Dracula, AD 1972 https://www.horrorguys.com/dracula-ad-1972-1972-review/ House of Dark Shadows https://www.horrorguys.com/house-of-dark-shadows-1970-review/ Night of Dark Shadows https://www.horrorguys.com/night-of-dark-shadows-1971-review/ Omen IV: The Awakening https://www.horrorguys.com/omen-iv-the-awakening-1991-review/ Closing And that’s our show. Thanks for joining us. Stop in during the week at our website for news and horror updates, to comment on this podcast, or to contact us. Get ready for next week, where we’ll be watching some more classics. We'll begin with “Tarantula” from 1958, “Fear in the Night” from Hammer 1972, “The Omen” remake from 2006, and “The Belko Experiment” from 2016. We’ll be sure to sneak in another short film or two. Email: horrorguysmail@gmail.com Facebook: https://www.facebook.com/horrorguyspodcast Twitter: http://twitter.com/HorrorBulletin Also http://twitter.com/BrianSchell and http://twitter.com/EightyCoin The web: http://www.horrorguys.com Buy us a coffee at http://Buymeacoffee.com/horrorguys Theme Music by Kevin MacLeod of Incompetech.com
This week, in their inaugural episode, the boys breakdown Hammer Studio's 1972 release Dracula AD 1972.Logline:"While England swings, the immortal blood-sucker finds jaded psychedelic era kids are ideal victims. Christopher Lee and Peter Cushing face off again in this Hammer Studios frightfest.”
What's this? A good movie on the Spooktagon? Is that even allowed? Let's find out when we discuss LITTLE SHOP OF HORRORS (1986). We also discuss THEM!, LET'S SCARE JESSICA TO DEATH, and DRACULA AD 1972. Listen to Dracula: A Radio Play on Apple Podcasts or at dracularadio.podbean.com Donate to the cause at Patreon.com/Quality. Follow James on Twitter @kislingtwits and on Instagram @kislingwhatsit or on gildedterror.blogspot.com. Thanks to our artists Julius Tanag (http://www.juliustanag.com) and Sef Joosten (http://spexdoodles.tumblr.com). If you are a member of the AFL-CIO you can go to No Cop Unions to learn how you can help decrease the influence of Police Unions!
The Fellowship is pleased to present this year's Horror Month, in which we're discussing films starring Peter Cushing and Christopher Lee. Week 1 starts us off with a pair of Dracula movies, Horror of Dracula (1958) and Dracula AD 1972 (1972). We discuss the overall feel of Hammer horror films, the sense of teamwork between Lee and Cushing, how the Dracula story has evolved over time, and a bunch of stuff in between. Plus our usual tangents galore and our comics picks of the week. Announcements: Come hang out with us! We may have finally come up with an alternative to our monthly meetups on 2nd Saturdays in Garland, TX; details on Facebook & Twitter & the Events tab on our website We're super excited to announce our partnership with ComicBooks For Kids. Details on the website (and you should be listening to hear more, too
Join your Host Sarah Stephenson & Co Host Mike Stephenson as they talk horror, science fiction & fantasy movies, TV series & books past, present & future. In this episode we talk about the film Dracula AD 2015 (2015). In this homage to Hammer Films, a group of Pace University students resurrect Count Dracula who then goes on a murderous killing spree. Click here to check out their feature film below: https://youtu.be/_elGyHgPBt8 WARNING may contain a few spoilers’ alerts. So if you haven’t seen the film, yet please go watch the movie NOW… BOYS ‘N’ GHOULS FILM REVIEW PODCAST comes to you every Monday & Wednesday. Next episode 12th August, 2020. For your daily review go to: Podbean - https://boysnghoulsfilmreviewpodcast.podbean.com/ Anchor - https://anchor.fm/boysnghoulsfilmreview Spotify - https://open.spotify.com/show/3xrXE8Wj6ToYNgK3ahAu0a RadioPublic - https://radiopublic.com/boys-n-ghouls-film-review-podcast-G4gAyD Breaker - https://www.breaker.audio/boys-n-ghouls-film-review-podcast Visit our Merchandise Shop here: https://blackcatfilmprod.storenvy.com/ Thanks for watching. Don’t forget to LIKE, COMMENT & SUBSCRIBE! ****CONTACT DETAILS**** Website: https://www.blackcatfilmproductions.com/ Shop: https://blackcatfilmprod.storenvy.com/ Facebook: https://www.facebook.com/boysnghouls/ Facebook: https://www.facebook.com/bcfp14/?ref=bookmarks Twitter: https://twitter.com/blackcatfilmpr2 Business Inquiries: blackcatfilmproductions736@gmail.com
Join RJ as he visits a Graveyard to review Dracula AD 1972.
Join RJ as he visits a Graveyard to review Dracula AD 1972.
This is the first ever episode of –And Now The Podcast Starts! And it's not quite the first episode that we planned. Kirsty, Stella, Howard and Dan had always hoped that they would all feature together in the first episode of the show, but the UK-wide (indeed, virtually planet-wide) lockdown caused by COVID-19 virus has made that impossible. But luckily, the team have been recording eclectic material for months which means that Kirsty and Dan can be your hosts to introduce the concept of the podcast and play some clips from previously recorded material featuring Stella and Howard, so that you can get to know everybody. Featuring a discussion between Kirsty and Dan introducing the podcast; then a chat between Stella and Dan about the best short horror films seen at Grimmfest, Manchester's premiere genre film festival, in 2019; and finally a recording of the first live presentation by The Lee/Cushing Podcast, in which Howard, Dan and a live audience at Stage Fright, the Salford horror theatre festival, discuss Dracula AD 1972.
Some have called it "The Studio that Dripped Blood," and for good reason; Hammer Films was one of the most prolific horror production companies of all time and its legacy has permeated many forms of media, whether acknowledged or not. Founded by William Hinds and James Carreras, Hammer Film Productions, Ltd. was initially in the business of "quota quickies," which were cheap and uninspired filler films. After being presented with a film project to rejuvenate the Frankenstein brand, the studio opted to make their own, since Mary Shelly's work was already in the public domain. With The Curse of Frankenstein (1957), the film company rebranded to almost exclusively guts and gore forevermore. Their next foray was Dracula (1958), which also starred Christopher Lee as the monster. In The Revenge of Frankenstein (1958), rather than the monster reappearing as he had in the many Universal Monster films, it was Dr. Frankenstein. The Evil of Frankenstein (1964) had Peter Cushing return to his mad scientist. Frankenstein Created Woman (1967) was odd and bad, but worth seeing. Frankenstein Must be Destroyed (1969) had some high points. Frankenstein and the Monster from Hell (1974) featured some adept makeup and effect work. Christopher Lee played yet another monster, which was also played by the prolific Boris Karloff, the titular mummy in The Mummy (1959). The Brides of Dracula (1960) was a well received blend of sex and violence. The Curse of the Werewolf (1961) was sadly the studio's only werewolf film. The Phantom of the Opera (1962) was somewhat cursed from the outset, having originally been conceived for Cary Grant before he backed out. Delving into more mythic subject matter, The Gorgon (1964) had some fun practical effects for Medusa and her serpent hair. Dracula: Prince of Darkness (1966), Dracula Has Risen from the Grave (1968), Taste the Blood of Dracula (1970), Scars of Dracula (1970), The Vampire Lovers (1970), Dracula AD 1972 (1972), and The Satanic Rites of Dracula (1973). The Plague of the Zombies (1966) has some charm. The Reptile (1966) was a schlocky, but well made, creature feature. The Mummy's Shroud (1967) Dr. Jekyll and Sister Hyde (1971) was arguably before its time, touching on gender norms. This week's "Hidden Track" is Silent Horror. Their new album can be found here: https://silenthorror.bigcartel.com/. If you ever have feedback or recommendations on future episodes, please let us know at slasherspod@gmail.com. You can always find us on our social media: Instagram, Twitter, Slasher App: @slasherspod Facebook: /slasherspod Reddit: u/slasherspod https://www.youtube.com/c/slasherspodcast --- Support this podcast: https://anchor.fm/slasherspod/support
This week the guys are jumping into Nightmare Cinema, a horror anthology with shorts directed by Alejandro Brugues, Joe Dante, Mick Garris, Ryuhei Kitamura, and David Slade. With a host of recognizable actors, and the almost unrecognizable Mickey Rouke, does this film rise above the dregs of other anthologies? Our weekly horror reviews are Slither, Session 9, Dracula AD: 1972, The Bees, The Loved Ones, Assimilate, Pumpkinhead, Prank Encounters, and Two Sentence Horror Stories.
Hey weirdos! Quit sleepin' and start creepin' on this year's set of hi-fi haunts! Get 'em while they're fresh...from the grave! ☠ “The Man and Monster” and “The Bloody Vampire” radio spot ☠ Joe Johnson- The Gila Monster ☠ Charles Bernstein, “A Nightmare on Elm Street” OST- School Horror, Stay Awake ☠ “Dracula AD 1972” radio spot ☠ The Monstrosities- Dance Along with Dracula (Doin’ The Drac) ☠ Fairley Holden- Graveyard Light ☠ The Idols- The Prowler ☠ Gary Paxton- Spookie Movies ☠ Bobby Dee & The Crestliners- Graveyard Twist ☠ “The Exorcist III” radio spot ☠ Rosemary Clooney- The Wobblin’ Goblin ☠ Henri Salvador- Dracula Cha Cha Cha ☠ Excerpt from “Dracula” ☠ Bobby Please & The Pleasers- The Monster ☠ Frank Skinner, “Abbott and Costello Meet Frankenstein” OST- Main Theme ☠ The Rockin’ Continentals- Count Dracula ☠ “Kara Kume” spookshow promo ☠ Mr. Baseman & The Symbols- Do the Zombie ☠ Gene “Bowlegs” Miller- Frankenstein Walk ☠ Excerpt from “The Story of Halloween Horror” ☠ Scottie Stuart- Nightmare ☠ Jesse Stone- Who’s Zat ☠ The Keytones- I Was a Teenage Monster ☠ “The Amityville Horror” radio spot ☠ Lalo Shifrin, “The Amityville Horror” OST- Amityville Horror (Main Title) ☠ Finale from “An Evening with Boris Karloff and His Friends”
In this episode of Flip Side Harrison, Charlie, and Kurtis discuss current news, Days of the Dead Convention, We tell you everything you would want to know about Basket Case and Anthropraphus. We have special quest Jakob Lee Ross Hewitt and we close the show with our reviews of The Tough Ones and Dragged Across Concrete. Films Mentioned: Devil's Rain, Phantasm, Suspiria, Lolita, Barry Lyndon, Eyes Wide Shut, 2001 A Space Odyssey, A Clockwork Orange, Tenebre, Diary of A Dead Beat, Mad Man, The Barn, Ellie, Ted Bundy, She Was So Pretty, Night of The Living Bong, Beach Bum, Never Hike Alone, Return of the Living Dead, Friday the 13th Part VI, Love Immortal, Castle Freak, Puppet Master Littlest Reich, Subspecies, Pit and The Pendulum 1991, Cellar Dweller, Contamination, Puppet Master, Demonic Toys, Killjoy, Evil Bong, Gingerdead Man, Dollman, Robo Jox, Day of the Dead, D.A.R.Y.L, Never Ending Story, The Stuff, Back to the Future, Goonies, Breakfast Club, Weird Science, First Blood II: Rambo, Rocky IV, Commando, Pee Wee's Big Adventure, Return to Oz, European Vacation, Nightmare on Elmstreet II, Mad Max Beyond Thunderdome, Silver Bullet, Brazil, Friday the 13th Part V, Jewel Of the Nile, American Ninja, Once Bitten, Just One Of The Guys, Jurassic World, Red Sonya, Jagged Edge, Life Force, Teen Wolf, Fright Night, Black Cauldron, Invasion USA, Spies Like Us, Fletch, Back to the Future II & III, Sandlot, Milo, The Devil Rides Out, Rocky Horror Picture Show, Night of the Creatures AKA Captain Clegg, The Abominable Snowman, Dracula AD 1972, The Mummy 1959, The Mummy, Dracula 1954, Curse of the Werewolf, Frankenstein Created Woman, Rasputin, Gates of Hell aka City of the Living Dead, Hollywood Chainsaw Hookers, Munchie, Witchcraft II, Attack of the 60 Foot Centerfold, Animal House, Dennis and Henry's Post Divorce Check List, Dead Pit, Forced Entry, Manitou, Slaughterhouse, Body Count, Savage Streets, Butcher Butcher Nightmare Maker, Screams of a Winters Night, Necromancy, Point Doom, Chaos, Dawn of the Dead, Martin, Amityville II, Amityville 3D, Amityville: Evil Escapes, Amityville Dollhouse, Amityville Its About Time, Amityville Next Generation, The Beyond, Sleepaway Camp, Driller Killer, Frankenstein Created Bikers, Basket Case, Texas Chainsaw Massacre, Sledgehammer, Deep Red, Justine, Nightmare on Elm Street III, Sex and Fury, Maid in Sweden, Amete, Frankenhooker, Basket Case II, Basket Case III, Brain Damage, Blood & Black Lace, Anthroprophagus, Absurd, Rabid Dogs, Godzilla '98, The Tough Ones, Dragged Across Concrete, Wake Up and Kill, Dirty Harry, Cannibal Ferox, Man From Deep River, Nightmare City, Bone Tomahawk, Brawl in Cell Block 99, Tombstone, Dodgeball, Dark Blue.
Dave and Alonso spent the weekend trapped in their neighborhood because of Pride, so they spent much of the episode discussing classics you can watch at home. Subscribe (and review us) at Apple Podcasts, follow us @linoleumcast on Twitter, Instagram and Facebook, only thing to do is jump over the moon. Join our club, won't you? Streaming/DVD/Blu-ray picks: La Belle Noiseuse, Dracula AD 1972, Our Betters, Portrait in Black
Hammer and Disney collide once again in part four of the annual Double Feature journey. The natural pairing of vampires and sneaky peasants. Cartoons can remain timeless, but vampires show their age. Michael messes with time. Titties aren’t in the … Continue reading →
Wade and Tim recap this year’s LAFCA awards, handicap the search for an Oscar host and run through last minute gift suggestions - including the first-ever Stanley Kubrick film on 4k UHD. DigiGods Podcast, 12/18/18 (MP3) — 52.18 MB right click to save Subscribe to the DigiGods Podcast In this episode, the Gods discuss: 2001: A Space Odyssey - 50th Anniversary 4k (4k UHD Blu-ray) The 2018 World Series Collector's Editions: Boston Red Sox (Blu-ray) The Adventures of Prince Achmed (Blu-ray) Age of Consent, Cactus Flower - Double Feature (Blu-ray) Bel Canto (Blu-ray) Bill & Ted’s Bogus Journey (Limited Edition Steelbook) (Blu-ray) Blindspotting (Blu-ray) Brewster McLoud (Blu-ray) Candyman Collector's Edition (Blu-ray) The Cat O' Nine Tails (Blu-ray) The Children Act (DVD) Christmas Blood (DVD) Christopher Robin (Blu-ray) Colette (Blu-ray) Crazy Rich Asians (Blu-ray/DVD) The Critters Collection (Blu-ray) Dances With Wolves - Collector's Edition Steelbook (Blu-ray) De Palma & De Niro: The Early Films (The Wedding Party, Greetings, Hi, Mom!) (Blu-ray) The Death of Superman (4k UHD Blu-ray) Dracula AD 1972 (Blu-ray) Dracula Prince of Darkness (Blu-ray) A Dry White Season (Blu-ray) Elliot: The Littlest Reindeer (Blu-ray) Evil Dead 2 (4k UHD Blu-ray) Fanchon the Cricket (Blu-ray/DVD) Forty Guns (Blu-ray) Galveston (4k UHD Blu-ray) Gas Food Lodging (Blu-ray) The Happytime Murders (Blu-ray/DVD) Her Kind of Man (DVD-R) J'Accuse: A Film by Abel Gance (1919) (Blu-ray) The Jerk - 40th Anniversary Edition (Blu-ray) Juliet, Naked (Blu-ray) Justice League: Throne of Atlantis – Commemorative Edition (Blu-ray/DVD) Kevin Smith: Silent But Deadly (Blu-ray) The Last House on the Left (Blu-ray) The Last Ride (DVD-R) Little Annie Rooney (Blu-ray/DVD) Mame (Blu-ray) Maniac (Blu-ray) Mile 22 (Blu-ray) Mission: Impossible - Fallout (4k UHD Blu-ray) Mozart - The Da Ponte Operas (Blu-ray) My Little Pony: 35th Anniversary Edition Collection (Blu-ray) My Neighbor Totoro (Blu-ray) The Nun (4k UHD Blu-ray) Nureyev: Tchaikovsky: Swan Lake - The Nutcracker (Blu-ray) Operation Finale (Blu-ray) Orgies of Edo (Blu-ray) Panique (Blu-ray) Papillon (2018) (Blu-ray) Peppermint (Blu-ray/DVD) Perry Como's Olde English Christmas (DVD) River Runs Red (4k UHD Blu-ray) The Satanic Rites of Dracula (Blu-ray) Sawdust and Tinsel (Blu-ray) The Serpent's Egg (Blu-ray) Sheryl Crow - Live At The Capitol Theater (Blu-ray) Silent Night Deadly Night Part 2 Collector's Edition (Blu-ray) Single White Female (Blu-ray) SIsters (Blu-ray) Smallfoot (Blu-ray 3D/DVD) Snowflake (Blu-ray) Starman Collector's Edition Blu-ray (Blu-ray) A Story from Chikamatsu (Blu-ray) Streets of Fire (35th Anniversary Edition Steelbook) (Blu-ray) Tarzan's Greatest Adventure (Blu-ray) Teen Titans GO! to the Movies (Blu-ray) Unbroken: Path to Redemptino (Blu-ray/DVD) Viking Destiny (Blu-ray) Wallflower (DVD-R) Westworld Season 2: The Door (4k UHD Blu-ray) The Wild Boys (Blu-ray) The Wizard of Gore (Blu-ray) Zombie - 40th Anniversary Limited Collection (Blu-ray) Please also visit CineGods.com.
Dave and Elizabeth are joined by Mr Paul Heath to discuss the 1941 Universal classic The Wolfman and the 1972 Hammer production Dracula AD 1972. There may be some detours, just to let you know that some of he jokes may offend - especially if your name is Dean
WARNING: FOR MATURE AUDIENCES ONLY. UNDER 17 REQUIRES ADULT SUPERVISION. Another listener's pick this week, Dracula AD 1972, served up extra silly and sloppy this week. Stay tuned and stay nasty, please! EMAIL YOUR QUESTIONS TO: QueensOfNC17@gmail.com Instagram: QueensOfNC17 Website: queensofnc17.com Music by: TOBACCO (@tobaxxo)
It’s 1972 and Hammer have started to shift their celluloid output into a different direction, with more blood and more cleavage but what of its style and how would this impact on the beloved Dracula franchise?
Best known for their gothic horror, Hammer Films produced motion pictures from the late 1950s until the 1970s that have since become classics of the genre. In celebration of the Halloween season, The Poster Boys look at the history surrounding the posters from several of their more notable releases. From The Mummy with Peter Cushing to Dracula AD 1972 with Christopher Lee, Brandon and Sam discuss the changes in marketing over the years, and examine some of their favorite pieces of Hammer key art from all corners of the world. SHOW NOTES & LINKS 1980's Horror Movie Poster Logos and Typography British Film Posters Tom Chantrell and Unfilmed Hammer Posters The Wrong Side of the Art Film on Paper - Interview with Vic Fair Film on Paper - Interview with Shirley Chantrell A History of Horror with Mark Gatiss Music selections: “Bass on Titles” opening theme; Tristram Cary, opening title music from Quatermass and the Pit. Follow Brandon Schaefer at @seekandspeak, and Sam Smith at @samsmyth. Special thanks to producer Adrian Cobb and to our presenting partner, AIGA's Eye on Design blog.
Hey folks- it’s time for a new episode of the B-Movie Cast! This is the first truly new episode since Vince’s passing. Mary has taken the lead on it and decided we’d do “Dracula AD 1972” – A Hammer Horror film with Peter Cushing and Christopher Lee. Mary, Juan and Nic talk about the film, […]
Vi försöker bland mycket annat prata sex och blottar struparna för mörkret i slängkappa. Tomas gläntar äntligen på omslaget till videokassetten Skräcknatten och Lars föreslår Max Schreck som världens första method actor. Vi pratar också om: John Polidori’s The Vampyre, Viktor Rydbergs Vampyren, Francis Ford Coppola, Vlad Tepes, Bram Stoker’s Dracula, Nosferatu, Bela Lugosi, Christopher Lee, Peter Cushing, Hammer Films, The Horror of Dracula, Dracula Has Risen from the Grave, Taste the Blood of Dracula, The Satanic Rites of Dracula, Dracula AD 1972, Captain Kronos: Vampire Hunter, Shadow of the Vampire, Universal Studios, Alice Cooper, Philip Glass, Candyman, Werner Herzog, Klaus Kinski, Life Force, Kathryn Bigelow, Near Dark, Lance Henriksen, Anne Rice, Interview with the Vampire, En vampyrs bekännelse, Brad Pitt, Tom Cruise, Antonio Banderas, Keanu Reeves, The Lost Boys, Fright Night, Gary Oldman, Johannes Pinter, Eskapix, 1007, John Ajvide Lindqvist, Låt den rätte komma in, Låt de gamla drömmarna dö, Let Me In, Twilight, True Blood, The Strain, Penny Dreadful, Michel Houellebecq, Ingmar Bergman, Det sjunde inseglet, A Girl Walks Home Alone at Night, Drive, Tangerine Dream och Lebenden Toten. Nostalgi, löst tyckande och akademisk analys i en salig röra.
You've had Sexploitation You've had Blaxploitation Now it's time for Fangsploitation as the legendary Count prepares to wake up and smell the seventies. What's happened to the world? Why's everything beige? Why's everyone bored? Yes, I know there were a couple of buxom wenches for me to snack on yesterday but I mean, come on, I live on a building site with two young vampires called Johnny and Bob; My image is in serious need of some attention…. What's that? The family Van Helsing you say? One of them wears low cut dresses and takes a lot of deep breaths? Well that's more like it! Bob, fetch my John Travolta suit! It's time to hit the streets of '72 and rub some funk on it!
Welcome to our second monthly playlist. Featuring a 15 tracks from Mondo / Death Waltz / Death Waltz Originals, and some of our favorite record labels from around the globe. Track listing below, featuring cue-times so you can jump to your favorite track - although we highly recommend listening to everything. Maybe you'll find something you like! Intro (0:00) Sheila - Bang Bang - from The Connection Original Motion Picture Soundtrack (Mondo) (0:20) Serge Gainsbourg – Ballade De Melody Nelson (Light In The Attic) (3:27) Etienne Charry - For The Rest Of My Life from Mood Indigo Original Motion Picture Soundtrack (Milan) (5:15) Fabio Frizzi – City Of The Living Dead live from Frizzi2Fulci (Death Waltz) (9:02) Dracula AD 1972 – Main Theme (Death Waltz)(11:36) Egisto Macchi – Nucleo Centrale Invenstigatione (Cinedelic)(13:37) Franco Micalizzi – Seq 1 from Roma a Mano Armata (Death Waltz) (15:03) Jon Brooks - Pocket Fire from Walberswick (More Than Human) (17:15) Tim Krog - Boogeyman (Version 3) from Boogeyman Original Motion Picture Soundtrack(One Way Static) (21:45) Dennis Michael Tenney - Night of the Demons Main Theme from Night Of The Demons Original Motion Picture Soundtrack (Lunaris Records)(24:04) Robert Tomaro - Seaman's Rap from Slime City Original Motion Picture Soundtrack (Strange Disc) (27:15) Nightcrawler – Pendulo Oculto from Strange Shadows EP (One Way Static)(29:16) Le Matos – Playtime Is Over (Death Waltz) (32:27) Powerglove – Motorcycle Club (Invada records) (38:37) Mark Mothersbaugh - Margret Yang's Theme from Rushmore Original Motion Picture Soundtrack (London Records)(43:01) Outro (44:18)
Wecome to Hammered Horror episode 8. This week we're finally looking at one of the films produced by the legendary Hammer studios. Unfortunately, it's Dracula AD 1972. Email: hammeredhorror@yahoo.co.uk Twitter: https://twitter.com/HammeredHorror https://twitter.com/Spurt_Russell https://twitter.com/ravenevermore Facebook: https://www.facebook.com/HammeredHorror Web: http://www.hammeredhorror.net/
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