Podcasts about It Must Be Love

Comedian, actor, Pointless presenter and debut author Alexander Armstrong, grew up in rural Northumberland where his musical ability and joy at being able to entertain began at a young age. He went to both school and Trinity College Cambridge on music scholarships and after a Footlights' writing stint, he went on to become one half of the BAFTA-winning comedy duo Armstrong & Miller If you're wondering where his passion for classical music began...his Inheritance Tracks will provide the answer.Inherited: Minuetto Allegretto by the Wombles Passed on: It Must Be Love by MadnessProducers: Ben Mitchell and Noa Dowling

When Rickie Lee Jones burst onto the music scene in 1979, she was an immediate sensation. There was no one remotely like her. When week's guest - Minneapolis singer/songwriter Pamela McNeill - picked up Jones' debut on cassette at a truck stop, she was looking for some cool female-fronted music to pop into her Walkman for the long drives to gigs sitting shotgun. She got that, and more. Welcome to Coolsville... Songs discussed in this episode: Only Love Can Break Your Heart - Rickie Lee Jones; The Ocean, Give Back My Love - Pamela McNeill; Chuck E's In Love - Rickie Lee Jones; Jitterbug Boy - Tom Waits; 50 Ways To Leave Your Lover - Paul Simon; Saturday Afternoons In 1963, Night Train, Young Blood, Easy Money - Rickie Lee Jones; Such A Night - Dr. John; The Last Chance Texaco, It Must Be Love, Danny's All-Star Joint, Coolsville - Rickie Lee Jones; When I'm Alone - Lissie; Dixie Chicken - Little Feat; Weasel and the White Boys Cool, Company, After Hours (Twelve Bars Past Midnight) - Rickie Lee Jones; Marie - Randy Newman; The Ocean - Pamela McNeill

JKriv ft. Angela Johnson – “Not That Serious” [Big Love] Moon Boots – “In My Life” [Big Love] Dr. Packer ft. Candi Staton – “You Got The Love” [Tinted] Birdee – “Best There Ever Was” [Tinted] Opolopo ft. Angela Johnson – “The Ones You Love” [Quantize] Nadyne Rush – “It Must Be Love” [FullTime Production] […] The post Citrus Sound Show 6th Aug 2024 appeared first on SSRadio.

A royal wedding draws a large crowd, but could the honeymoon be over already?June 1933, Barbara Hutton and Prince Alexis Mdivani have the first of their two wedding ceremonies in Paris. With all the press attention, the Prince's royal title comes back into question, while his brothers Prince Serge Mdivani and Prince David Mdivani deal with divorce petitions.Other people and subjects include: Franklyn Hutton, Irene Hutton, Louise Van Alen – formerly Princess Mdivani, E.F. Hutton, Marjorie Merriweather Post Hutton, Jessie Woolworth Donahue, Helena Woolworth McCann, Princess Roussadana “Roussie” Mdivani Sert, Josep Maria Sert, Prince David Mdivani, Princess Mae Murray Mdivani, Koran Mdivani, Prince Serge Mdivani, Princess Mary McCormick Mdivani, Princess Nina Mdivani Huberich, General Zahkari Mdivani, Czar / Tsar Nicholas II Romanov, Prince of Wales – Prince David – future King Edward VIII – Duke of Windsor, Viscountess Thelma Morgan Furness, Wallis Simpson – future Duchess of York, Gloria Morgan Vanderbilt, Gloria Vanderbilt, Prince Wilhelm of Prussia, Kaiser Wilhelm II, Prince of Asturias Infante Alfonso, Cuban commoner bride, King Alfonso XIII of Spain, Jean Patou, Coco Chanel, Sam Insull, former Marshal of Nobility in Georgia Nicholas Dadiani, Georgian Minister Araki Tchenkeli, Assistant Mayor of Paris Daniel Marin, Georgian royal family Bagriotinis, ocean liner Bremen, motor boat Ali Baba, Lausanne, Switzerland, Los Angeles, 8th Arrondisement & 16th Arrondisement in Paris, Hotel Ritz – Ritz Carlton in Paris, Alexander Nevsky Cathedral – L'Eglise Russe – Russian Church, Eastern Orthodox religion, Russian Imperial family, 1850 Russian Imperial Decree of 50 Georgian Princes, 1892 list of aristocratic families by Russian Imperial government Department of Heraldry, phony titles, fake royals, pretenders, Russian exiles, aristocrats, nobles, deposed royals, Bolshevik Revolution, Romanian royalty, Swedish royalty, nobility, aristocracy, industrial aristocracy, morganatic marriages, engagement rings, square cut platinum engagement ring, black pearl engagement ring, jade necklace, Argentine polo ponies, Cartier clock, Baccarat crystal, Limoges porcelain, fashion, beach pajamas, donation to the poor, bachelor party, bachelorette party, honeymoon, fever, June wedding season, wedding invitations, wedding gifts, private detectives, withholding information as story device, story hints, mother's influence, losing mother, old History Fair teacher sponsor, It Must Be Love 6 article romance series, flour heiress marries librarian, Hollywood starlet marries childhood sweetheart, banker marries waitress, British earl marries white daughter of Indian rajah, questions for listeners,…--Extra Notes / Call to Action:Questions for listenersPast Perfect Vintage Music www.pastperfect.comPast Perfect Vintage Radio https://www.pastperfect.com/radio/Share, like, subscribe--Archival Music provided by Past Perfect Vintage Music, www.pastperfect.com.Opening Music: My Heart Belongs to Daddy by Billy Cotton, Album The Great British Dance BandsSection 1 Music: Eyes Of The World by Louis Levy, Album The Great British Dance BandsSection 2 Music: Royal Garden Blues by Benny Carter, Album Perfect JazzSection 3 Music: Palais De Danse by Sid Phillips, Albums The Great British Dance Bands & Tea Dance 2End Music: My Heart Belongs to Daddy by Billy Cotton, Album The Great British Dance Bands--https://asthemoneyburns.com/X / TW / IG – @asthemoneyburnsX / Twitter – https://twitter.com/asthemoneyburnsInstagram – https://www.instagram.com/asthemoneyburns/Facebook – https://www.facebook.com/asthemoneyburns/

N.W.N./Soso - Soul Food,The Jazzcodes - Jazz Was Dancing (Saison Extended Remix),Micky More, Andy Tee, Angela Johnson - Is it Love You're After(Danny Krivit Edit),Antonello Ferrari - Don't Look Any Further,D.P.V. - It Must Be Love,Harvey Ross - Magic,Beat Rivals/Kathy Brown - I Can't Stop,The Shapeshifters - Beautiful Day (feat. Liisi Lafonatine),Tom Glide - You Are My Light (Tom Glide's Tightrope Rework),Maurice Joshua/Meagan McNeal - Lovin' U (Maurice Joshua House Mix),Ralf Gum - Happy Ending (instr.),October London - Midnight Love Affair,Maze feat. Frankie Beverly - Twilight,Hardage - Hysterical Years (feat. Gil Scott Heron),Tanya Nolan - Honey (Soulpersona Raregroove Remix),Freda Payne - Just To Be With You (Golden Promise Remix),Captain and Tennille - How Can You Be So Cold,Honey Cone feat. Sharon Cash - Somebody is Always Messing Up A Good Thing,Freda Payne - You Brought The Joy,Martha Reeves and The Vandellas - Earthquake,Brenda Holloway - My World is Crumbling,Pressure Point/PP Arnold - Dream All Night,Roberta Flack - Qual E Malindrinho,Luther - Funky Music (Is A Part of Me),

The Wild Viloets – “Sunrise” (Dr. Packer remix) [The Disco Express] Mark Lower – “Paradise” [Nervous] Nadyne Rush – “It Must Be Love” [Fulltime Production] Forbidden Fruit ft. Nimiwari – “All Night Long” (Qwestlife mix) [Midnight Riot] Destiny II – “Play 2 Win” (Dave Lee remix) [Z Records] Fla,be ft. Alec Sun Drae – “Do […] The post Citrus Sound Show 11th Jun 2024 appeared first on SSRadio.

Magnolia ft. Mani Hoffman – “Believe In L” [The Disco Express] Nadyene Rush – “It Must Be Love” [Fulltime Production] The Wild Violets – “Sunrise” (Dr. Packer remix) [The Disco Express] Mind Street ft. Andrea Love – “Celebrate” (Richard Earnshaw remix) [Soul N Pepa] Mark Lower ft. Alexandra Prince – “Paradise” [Nervous] Mousse T ft. […] The post Citrus Sound Show 14th May 2024 appeared first on SSRadio.

Submotion Orchestra – “Thinking” [Toolroom] Nadyne Rush – “It Must Be Love” [Fulltime Productions] Magnolia ft. Mani Hoffman – “Believe In L” [The Disco Express] Forbidden Fruit – “All Night Long” [Midnight Riot] Birdee – “Best There Ever Was” [Tinted] Dr Packer – “You Got The Love” [Tinted] Jamiroquai – “Space Cowboy” (Michael Gray’s Dub) […] The post Citrus Sound Show 30th Apr 2024 appeared first on SSRadio.

Today, we serve T-E-A together to make a difference.“Teaching Everyone Awakening”Teatime with Miss Liz on March 21st, 3 P.m. EST, coming to join for a T-E-A of The Shared Heart Foundation husband and wife team and sharing their book, relationship coaching and the miracle of the heart.Joyce Vissell, RN, MS, and Barry Vissell, MD, lecture and lead over 20 workshops per year internationally for audiences who welcome their warm, relaxed, yet profound wisdom. Joyce and Barry have written a monthly column for over 40 years, “Heartfulness,” which they email for free to their subscribers. Their articles also appear in about 80 publications internationally, as well as countless e-zines, websites (including their own), and blogs.Ram Dass describes Joyce and Barry Vissell “as a couple who live the yoga of love and devotion.” Marianne Williamson says, “I can't think of anything more important to the healing of our society than a connection between spirituality, relationship and parenthood. Bravo to the Vissells for helping us find the way.”Barry and Joyce are two people who have been deeply in love since 1964. They raised three children and “walk their talk.” They are the authors of The Shared Heart, Models of Love, Risk To Be Healed, Light in the Mirror (also published as The Heart's Wisdom), Meant To Be, and A Mother's Final Gift, To Really Love a Woman, To Love a Man, Heartfulness, and their new book, A Couple of Miracles: One Couple, More Than a Few Miracles.A story from Meant To Be was made into a Sunday Night NBC Movie, “It Must Be Love,” starring real-life couple Ted Danson and Mary Steenburgen.Since 1983, the Vissells have been the founders and directors of the Shared Heart Foundation, a non-profit organization dedicated to changing the world one heart at a time (SharedHeart.org).Joyce and Barry live at their retreat center and home near Santa Cruz, California, where they counsel individuals and couples and lead retreats and training when they're not travelling.Go to SharedHeart.org to sign up for their free heart letter and weekly video inspiration, read past articles on personal growth and relation­ship, see their event or workshop schedule, or contact Barry or Joyce.Check out our new book, A Couple of Miracles: One Couple, More than a Few Miracleshttps://sharedheart.org/#missliztea#teatimewithmissliz#couplesgoals#relationshipgoals#thesharedheartfoundation#newbook#makingadifference#livestreaming#podcastshow#joinus#LikeFollowShare

** PLEASE SUBSCRIBE ** Brought to you by FUNKNSTUFF.NET and hosted by Scott "DR GX" Goldfine — musicologist and author of “Everything Is on THE ONE: The First Guide of Funk” ― “TRUTH IN RHYTHM” is the interview show that gets DEEP into the pocket with contemporary music's foremost masters of the groove. Become a TRUTH IN RHYTHM Member through YouTube or at https://www.patreon.com/truthinrhythm. Featured in TIR Episode 308 (Part 2 of 2): R&B and gospel music vocalist Alton McClain Scarborough, best known for the trio Alton McClain and Destiny. During 1978-1981, she recorded three albums with Destiny, including a Top 30 R&B album and the Top 10 hit, “It Must Be Love.”  In the early 1980s, she married famed composer and producer Skip Scarborough, who had presided over what would be the group's final album. Moving into the 1990s and beyond, she turned to gospel on her subsequent releases. Late last year, she put out a wonderful version of Frankie Beverly and Maze's classic, “While I'm Alone.”  She is also involved with the Scarborough Foundation, which provides scholarships and grants to public school students gifted in the performing arts. RECORDED AUGUST 2023 LEGAL NOTICE: All video and audio content protected by copyright. Any use of this material is strictly prohibited without expressed consent from original content producer and owner Scott Goldfine, dba FUNKNSTUFF. For inquiries, email info@funknstuff.net. TRUTH IN RHYTHM is a registered U.S. Trademark (Serial #88540281). Get your copy of "Everything Is on the One: The First Guide of Funk" today! https://www.amazon.com/gp/product/1541256603/ref=as_li_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=1541256603&linkCode=as2&tag=funknstuff-20&linkId=b6c7558ddc7f8fc9fe440c5d9f3c400

** PLEASE SUBSCRIBE ** Brought to you by FUNKNSTUFF.NET and hosted by Scott "DR GX" Goldfine — musicologist and author of “Everything Is on THE ONE: The First Guide of Funk” ― “TRUTH IN RHYTHM” is the interview show that gets DEEP into the pocket with contemporary music's foremost masters of the groove. Become a TRUTH IN RHYTHM Member through YouTube or at https://www.patreon.com/truthinrhythm. Featured in TIR Episode 308 (Part 1 of 2): R&B and gospel music vocalist Alton McClain Scarborough, best known for the trio Alton McClain and Destiny. During 1978-1981, she recorded three albums with Destiny, including a Top 30 R&B album and the Top 10 hit, “It Must Be Love.”  In the early 1980s, she married famed composer and producer Skip Scarborough, who had presided over what would be the group's final album. Moving into the 1990s and beyond, she turned to gospel on her subsequent releases. Late last year, she put out a wonderful version of Frankie Beverly and Maze's classic, “While I'm Alone.”  She is also involved with the Scarborough Foundation, which provides scholarships and grants to public school students gifted in the performing arts. RECORDED AUGUST 2023 LEGAL NOTICE: All video and audio content protected by copyright. Any use of this material is strictly prohibited without expressed consent from original content producer and owner Scott Goldfine, dba FUNKNSTUFF. For inquiries, email info@funknstuff.net. TRUTH IN RHYTHM is a registered U.S. Trademark (Serial #88540281). Get your copy of "Everything Is on the One: The First Guide of Funk" today! https://www.amazon.com/gp/product/1541256603/ref=as_li_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=1541256603&linkCode=as2&tag=funknstuff-20&linkId=b6c7558ddc7f8fc9fe440c5d9f3c400

#886 - Bob McDill Returns Bob McDill returns as guest on The Paul Leslie Hour. Are you here?  Look, we know that you could be anywhere, but YOU are tuned in to The Paul Leslie Hour. So, Thank you! Oh are we excited about today's show. This is Paul's second interview with a legendary songwriter: Mr. Bob McDill. This interview went down at Bob's house. Bob McDill wrote some iconic songs: “Amanda,” “Don 't Close Your Eyes,” “Louisiana Saturday Night,” “Gone Country,” “Good Ole Boys Like Me,” “It Must Be Love,” “Song of the South” and so many others. And did you hear the news? Bob McDill is joining the Country Music Hall of Fame! Along with Tanya Tucker and Patty Loveless, McDill is in the Hall of Fame Class of 2023. Hey one of the first to report on McDill's induction was Saving Country Music ! We'd like to say hello to our friends at “Saving Country Music” which covers great country singers and songwriters like McDill.  Before we get into it, please subscribe to The Paul Leslie Hour on YouTube. It's free and easy to do and you won't miss exclusive content just like this.

| Let Yourself Go (A Frankie Knuckles & Eric Kupper Director's Cut Master)  | Sybil | Missing You (Eric Kupper's 'Director's Cut Tribute to FK' Mix)  | Artful, Ridney, Terri Walker | Always  | Pat Bedeau, Hannah Khemoh | Love Like Mine  | Bodega Boys, Lester Jay | (We Had) A Thing (Matty's Body & Soul Remix)  | Abstract Truth | Mina Nawe (Main Mix)  | Edsoul, NutownSoul, Afrotraction | Found A Cure (12'' Disco Mix)  | Ashford & Simpson | Destiny  | Studio 21 | Hupendi Muziki Wangu?! (You Don't Like My Music)  | K.I.D. | Never Say Never (12" Extended Version)  | Deniece Williams | You Can't Run From Love  | Maxine Singleton | All My Life  | Major Harris | Invisible Wind  | Jackie Stoudemire | Secret Love (Club Mix)  | Evan Rogers | I Don't Wanna Be With U  | Assal | Love Music  | Earth Wind & Fire | How Does It Feel To Ya (feat. Koffee Brown & Midwikid)  | Coo Coo Cal | It Must Be Love  | Phajja | So Good (Radio Version)  | Ericka Yancey | Pitter Patter  | Syleena Johnson  | Bag Lady (Cheeba Sac Radio Edit)  | Erykah Badu

We did it! We completed 10 volumes of our currently concluding Cover Songs series appropriately titled Top Ten Cover Songs. In Part 4 of our super-sized conclusion, Dustin Prince joins us for one last go around before we put the kibosh on the whole shebang. Here's picks 5-1, with a little bonus last word from our listeners. Thanks everybody!The complete Top Ten Covers Song playlist is here and it's only 175 of the greatest covers you will ever hear. Stream the whole thing on Spotify:https://open.spotify.com/playlist/4MYLdxgfChXizjkH8Jg7ax?si=ad6e7f615842486dIn the Patreon world, this is Rob C's month, as he gears up to host December's bonus episode. Join for these exclusive bonus episodes for $2 a month, a bargain by any standard. Plus you can help keep the archives going by throwing us a few shekels.Join here:https://www.patreon.com/alltimetopten

Grammy-nominated and Dove award-winning recording artist, Ty Herndon, joins us to share about his life growing up in the south, navigating a career in the music industry in active addiction, the bravery it took to come out of the closet and surviving multiple relapses on his path to long-term recovery! Ty reveals how his forthcoming album, Jacob (releasing spring 2022), tells these stories for the first time through his music! Ty Herndon is a master of the ties that bind. He has the ability to connect with an audience far beyond his onstage performance. More than 20 years into his career, Herndon shows no signs of slowing down. Herndon made his chart debut in 1995 with “What Mattered Most,” which became his first No. 1 song and garnered a Song of the Year award (Music Row Magazine). It was also the title track to his debut album, which debuted on the Billboard Top Country Albums chart and had the biggest first-week shipment in the history of Epic Records' Nashville. Between 1995 and 2002, Herndon charted 17 singles, including his three No.1s and numerous top 10 hits, such as “I Want My Goodbye Back,” “Loved Too Much,” “A Man Holding On,” and “Hands of a Working Man.” He topped the charts in 1996 with the single “Living in a Moment” and again in 1998 with “It Must Be Love.” In 2014, Ty was the first major male country artist to publicly come out as gay in an exclusive with People magazine. He received an outpouring of support that only strengthened his relationship with fans and the country music community, all while expanding his reach to new and diverse audiences. Shortly after, he made history when he hosted a first-of- its-kind country music event, The Concert for Love and Acceptance. The event, designed to raise awareness and support for LGBTQ youth and families, received national attention from Boston Globe, Rolling Stone, Entertainment Tonight, and many more. Since the launch of the event, Herndon has partnered with GLAAD to produce the event each year and created the Foundation For Love & Acceptance in 2020 to further his work on behalf of LGBTQ acceptance. Ty found himself back at No. 1 in 2020 — this time on iTunes with his remake of “Orphans of God,” a collaboration with Kristin Chenoweth and Paul Cardall featured on his holiday release, Regifted. He is currently in the studio writing and recording a new album — his first of all new music since 2016's House On Fire. ________________________________________ Links: // Ty Herndon URL: www.tyherndon.com Insta: www.instagram.com/tyherndonofficial // Patrick Custer: Insta: www.instagram.com/patrick_custer // Rooted Recovery Stories Podcast: www.instagram.com/rootedrecoverystories www.rootedrecoverystories.com // Promises Behavioral Health - Help for addiction, mental health/trauma: Call: (888) 648-4098 URL: www.promisesbehavioralhealth.com Insta: www.instagram.com/promises_bh .⁣ .⁣ .⁣ .⁣ .⁣ #tyherndon #countrymusic #nashville #inspiration #motivation #sobriety #addictionrecovery #mentalhealth #sober #wedorecover #addiction #recovery #cmt #gay #gaypride #glaad #instagay #lgbt #lgbtq #love #loveislove #pride #gayandsober #art #instagood #lgbtqpride #patrickcuster #lovewins #queer #gaymen

It Must Be Love cause you came back for Round 3 of Madness March! On the penultimate episode, Celine and Rob are joined by Middagh Goodwin of This Is Ska Radio to break down 4 more matchups on the path to deciding the greatest Madness Single of all time. This round is based on the band's prolific videos that is guaranteed to have some silliness, at least one fez and perhaps a tiny saxophone. Middagh is also on hand to bring his robust of knowledge of Madness' singles, his history in the Ska community and give CP/SC heck for their past choices. Follow along on the brackets at www.challonge.com/madnessmarch Hosts: Celine and Rob Engineer: Joey Editor: Arianne

For the final episode of Season Two I am joined by the wonderful Caroline Khoury to discuss her debut novel It Must Be Love. We also discuss her most important read which was actually inspired by a previous episode of the podcast and the joy of bookstagram and the community created in the part of the internet! Thank you so much for listening to season two! Where to find us: Emily: www.instagram.com/thebreakfast.bookclub Caroline: www.instagram.com/carolinekauthor Buy Carolines book here: https://amzn.to/3H45rao

[s] 001. The Shapeshifters - Back To Basics (Original Mix) [s] 002. Milk & Sugar - Let The Sun Shine (Terrace Vocal Mix) [dm] 003. Angel Negron feat. Jessica Lauren - Time Will Tell (Hott 22 Vocal Mix) [dm] 004. Kid Creme feat. Shawnee Taylor - Austin's Groove (Let Me Live) (AustinРІР‚в„ўs Groove Main Mix) [s] 005. Modjo - Lady (Hear Me Tonight) (Harry Choo Choo Romero's Original Recipe) [s] 006. Inaya Day, Harry Choo Choo Romero - Just Can't Get Enough (Choo Choo's Main Vocal Mix) [dm] 007. Stisch - Turn Around (Barfly vocal) [dm] 008. Tim Deluxe feat. Sam Obernik - It Just Won't Do (Milk & Sugar Club Mix) [s] 009. De Nuit - All That Mattered (Love You Down) (Junior Jack Vocal Mix) [s] 010. DJ Chus, Groove Foundation - That Feeling (Original Stereo Mix) [dm] 011. Saffron Hill - My Love is Always (Tim Deluxe Summertime Mix) [dm] 012. Dr. Kucho! - It Must Be Love [s] 013. Aerosoul - Summer Rain (David Ferrero Vocal Mix) [s] 014. Bob Sinclar, Steve Edwards - World, Hold On (Children Of The Sky) (Club Mix) [dm] 015. Tom Neville - Just Fuck (Sandy W Remix) [dm] 016. Hool, Bruckheimer - In The Beginning (Remastered MK & MTV Remix) [s] 017. X-Press 2 - Lazy (Moto Blanco Remix) [s] 018. Martin Solveig - Rocking Music (Joey Negro Club Edit) [dm] 019. DJ Chus, Patric La Funk - Bel Amour (Classic Touch Remix) [dm] 020. Supafly - Moving Too Fast (Ian Carey Dub) [s] 021. The Shapeshifters - Lola's Theme (Original Mix) [s] 022. Mosquito, Steve Mac feat. Steve Smith - Lovin You More (That Big Track) (Freemasons Vocal Club Mix) [dm] 023. Casanovy - I Need Your Lovin' (Milk & Sugar Remix) [dm] 024. Supafly - Let's Get Down (Warren Clarke Vocal Mix) [s] 025. Gadjo, Alexandra Prince - So Many Times (Stonebridge Remix)

[s] 001. The Shapeshifters - Back To Basics (Original Mix) [s] 002. Milk & Sugar - Let The Sun Shine (Terrace Vocal Mix) [dm] 003. Angel Negron feat. Jessica Lauren - Time Will Tell (Hott 22 Vocal Mix) [dm] 004. Kid Creme feat. Shawnee Taylor - Austin's Groove (Let Me Live) (AustinРІР‚в„ўs Groove Main Mix) [s] 005. Modjo - Lady (Hear Me Tonight) (Harry Choo Choo Romero's Original Recipe) [s] 006. Inaya Day, Harry Choo Choo Romero - Just Can't Get Enough (Choo Choo's Main Vocal Mix) [dm] 007. Stisch - Turn Around (Barfly vocal) [dm] 008. Tim Deluxe feat. Sam Obernik - It Just Won't Do (Milk & Sugar Club Mix) [s] 009. De Nuit - All That Mattered (Love You Down) (Junior Jack Vocal Mix) [s] 010. DJ Chus, Groove Foundation - That Feeling (Original Stereo Mix) [dm] 011. Saffron Hill - My Love is Always (Tim Deluxe Summertime Mix) [dm] 012. Dr. Kucho! - It Must Be Love [s] 013. Aerosoul - Summer Rain (David Ferrero Vocal Mix) [s] 014. Bob Sinclar, Steve Edwards - World, Hold On (Children Of The Sky) (Club Mix) [dm] 015. Tom Neville - Just Fuck (Sandy W Remix) [dm] 016. Hool, Bruckheimer - In The Beginning (Remastered MK & MTV Remix) [s] 017. X-Press 2 - Lazy (Moto Blanco Remix) [s] 018. Martin Solveig - Rocking Music (Joey Negro Club Edit) [dm] 019. DJ Chus, Patric La Funk - Bel Amour (Classic Touch Remix) [dm] 020. Supafly - Moving Too Fast (Ian Carey Dub) [s] 021. The Shapeshifters - Lola's Theme (Original Mix) [s] 022. Mosquito, Steve Mac feat. Steve Smith - Lovin You More (That Big Track) (Freemasons Vocal Club Mix) [dm] 023. Casanovy - I Need Your Lovin' (Milk & Sugar Remix) [dm] 024. Supafly - Let's Get Down (Warren Clarke Vocal Mix) [s] 025. Gadjo, Alexandra Prince - So Many Times (Stonebridge Remix)

WIRE – Ahead (The Ideal Copy) 1987 CHAMELEONS UK – Inside Out (Strange Times) 1986 KILLING JOKE – Me Or You (Fire Dances) 1983 CLAN OF XYMOX – Michelle (Medusa) 1986 LOVE & ROCKETS – Lazy (Earth.Sun.Moon) 1987 PARTY DAY – Rabbit Pie (Glasshouse) 1985 BLAAM & THE ANGEL – She Knows (Greatest Story Ever Told) 1986 THE CHURCH – Almost With You (Blurred Crusade) 1982 PSYCHEDELIC FURS – Heaven (Mirror Moves) 1984 GENERAL PUBLIC – Never You Done That (All The Rage) 1984 MADNESS – It Must Be Love (single) 1982 THE JAM – Just Who is the Five O’Clock Hero (The Gift) 1982 OINGO BOINGO – Not My Slave (Boingo) 1987 B-52s – Girl From Ipanema Goes to Greenland (Bouncing Off the Satellites) 1986 DEVO – Shout (Shout) 1984 ROMEO VOID – Flashflood (Benefactor) 1982 SPLIT ENZ – What’s the Matter With You (True Colours) 1980 THREE X – Walking in the City (single) 1983 THE THE – Controversial Subject (single) 1980 THE JAZZ BUTCHER – Looking for Lot 49 (Fishcoteque) 1986 THE MEKONS – Chivalry (Fear & Whiskey) 1985 THE WOODENTOPS – Shout (Giant) 1986 BLUE AEROPLANES – Warhol’s Fifteen (Friendloverplane) 1988 THE HOUSEMARTINS – Sheep (London O Hull 4) 1986 THE PRIMITIVES – Way Behind Me (single) 1989 THE PARACHUTE MEN – Goodbye (The Innocents) 1988 THE WILD FLOWERS – Take Me For a Ride (Sometime Soon) 1988 HOODOO GURUS – Arthur (Stoneage Romeos) 1984 THE YANKS – We Call Each Other Mine (Made in the States EP) 1983 JASON & THE SCORCHERS – White Lies (Lost & Found) 1984 WILL & THE BUSHMEN – Even Wheelville (Gawk) 1987

This week in the cellar, ghost hosts, Kim & Ket, are joined by Marty Go and Hana Mae Lee.Maritte Go is a Filipino-American filmmaker known for “Rise, “ “Phobias” and “Black as Night”. Hana Mae Lee is an actress, fashion designer, artist, writer, filmmaker, and make-up artist known for her roles in “The Babysitter” and “The Babysitter: Killer Queen.” These bosses are also the latest victims of The Quiz Show Killer. Will Marty and Hana Mae survive the cellar and escape with their lives? Or will Kim & Ket finally have some ghostly company? Perhaps the girls can start that ghost girl group after all! The Spice Ghouls!  (We’ll see ourselves out - oh wait. We’re stuck in this basement.)PHOBIAS is available now On Demand and DigitalFive dangerous patients, suffering from extreme phobias at a government testing facility, are put to the ultimate test under the supervision of a crazed doctor and his quest to weaponize fear. HANA MAE LEE @hanamaeleeHana Mae Lee is an award-winning actress, fashion designer, artist, writer, filmmaker, and make-up artist. Hana Mae began her career starring in commercials like the Cannes Lions and ANDY award winning “It Must Be Love” aka “Best Friends (Cars/People)” for Honda and in music videos such as the Grammy nominated “Mr. Brightside” by The Killers. Her TV credits include the Multi-Emmy winning series “Mike & Molly”, Golden Globe winning “Californication”, Golden Globe nominated “Better Things”, Critics Choice nominated “Patriot”, critically-acclaimed neo-noir series “Perpetual Grace, Ltd.” and many more. Her film credits include the highest grossing musical-comedies of all time, “Pitch Perfect” where Hana Mae was nominated for the Scene Stealer award and won several awards including best comedy for her performance. Followed by its two sequels, Hana Mae went on to star in McG’s horror-comedy, “The Babysitter” and its sequel, “The Babysitter: Killer Queen”. Her magazines credits include: Vogue Korea, Wonderland, Schön and more. An Alumni of Otis College of Art and Design with a BFA in fashion design, Hana Mae worked with many design houses and as an image/style consultant before starting her own line Hanamahn (aka "just one" in Korean). Her Hanamahn designs are all one of a kind works that are worn by collectors, musicians, business creatives and actors. Currently, you can see Hana Mae in the horror-anthology film “Phobias” which is available now on AppleTV, On-Demand and digital everywhere. Coming up, Hana Mae plays the leading role of Chelsea in a Horror-Puppet/Animated feature by Evan Marlowe called “Abruptio”. Upcoming projects: Horror Feature Film with life-sized puppets by Evan Marlow: ABRUPTIO (currently in post) check out their website (www.abruptio.com) for up to date news and bts photos. I posted a clip on my insta, (@hanamaelee) check it out. An amazing stop-motion animation TV series I'm very excited about that will be announced this week or next. And I'm writing/developing a trilogy of psychological thrillers at the moment. Stay tuned!  MARITTE GO  @martygoMaritte Go is a Filipino-American filmmaker who got her MFA at University of Southern California for Production in Film and Television.  She is a Project Involve Directing Fellow and won the Barbara Boyle Excellence in Filmmaking Award. She is an HBO Visionary award winner for her short film “Remittance.”  Maritte received the CAMERAderie Women in Media grant for her short film “Illipino,” which recently premiered at the LA Asian Pacific Film Fest and Holly Film Fest.   Her feature debut is called “Rise.” The dramatic thriller is inspired by the real-life conflict between the Nigerian people and the Boko Haram insurgency, the jihadist rebel organization responsible for kidnapping hundreds of girls and women and enslaving them in the sex trade.    Maritte wrote and directed a segment in the horror anthology called, “Phobias” produced by Radio Silence and Defiant. She also most recently wrapped post-production on a horror film called, “Black as Night.” It was produced by Amazon Studios and Blumhouse Television and will premiere in October 2021. My most recent film called, "Black As Night" will premiere in October for Blum Fest. It was produced by Amazon and Blumhouse. It's about a young black girl whose mother was murdered by vampires and with the help of her friends, she seeks vengeance. Follow all the happenings in the Cellar at:Insta: @kkstcpodcast Twitter: @kkstcpodcast A Dread Podcast Network original podcast

This week in the cellar, ghost hosts, Kim & Ket, are joined by Marty Go and Hana Mae Lee.Maritte Go is a Filipino-American filmmaker known for “Rise, “ “Phobias” and “Black as Night”. Hana Mae Lee is an actress, fashion designer, artist, writer, filmmaker, and make-up artist known for her roles in “The Babysitter” and “The Babysitter: Killer Queen.” These bosses are also the latest victims of The Quiz Show Killer. Will Marty and Hana Mae survive the cellar and escape with their lives? Or will Kim & Ket finally have some ghostly company? Perhaps the girls can start that ghost girl group after all! The Spice Ghouls!  (We’ll see ourselves out - oh wait. We’re stuck in this basement.)PHOBIAS is available now On Demand and Digital!Five dangerous patients, suffering from extreme phobias at a government testing facility, are put to the ultimate test under the supervision of a crazed doctor and his quest to weaponize fear. HANA MAE LEE @hanamaeleeHana Mae Lee is an award-winning actress, fashion designer, artist, writer, filmmaker, and make-up artist. Hana Mae began her career starring in commercials like the Cannes Lions and ANDY award winning “It Must Be Love” aka “Best Friends (Cars/People)” for Honda and in music videos such as the Grammy nominated “Mr. Brightside” by The Killers. Her TV credits include the Multi-Emmy winning series “Mike & Molly”, Golden Globe winning “Californication”, Golden Globe nominated “Better Things”, Critics Choice nominated “Patriot”, critically-acclaimed neo-noir series “Perpetual Grace, Ltd.” and many more. Her film credits include the highest grossing musical-comedies of all time, “Pitch Perfect” where Hana Mae was nominated for the Scene Stealer award and won several awards including best comedy for her performance. Followed by its two sequels, Hana Mae went on to star in McG’s horror-comedy, “The Babysitter” and its sequel, “The Babysitter: Killer Queen”. Her magazines credits include: Vogue Korea, Wonderland, Schön and more. An Alumni of Otis College of Art and Design with a BFA in fashion design, Hana Mae worked with many design houses and as an image/style consultant before starting her own line Hanamahn (aka "just one" in Korean). Her Hanamahn designs are all one of a kind works that are worn by collectors, musicians, business creatives and actors. Currently, you can see Hana Mae in the horror-anthology film “Phobias” which is available now on AppleTV, On-Demand and digital everywhere. Coming up, Hana Mae plays the leading role of Chelsea in a Horror-Puppet/Animated feature by Evan Marlowe called “Abruptio”. Upcoming projects: Horror Feature Film with life-sized puppets by Evan Marlow: ABRUPTIO (currently in post) check out their website (www.abruptio.com) for up to date news and bts photos. I posted a clip on my insta, (@hanamaelee) check it out. An amazing stop-motion animation TV series I'm very excited about that will be announced this week or next. And I'm writing/developing a trilogy of psychological thrillers at the moment. Stay tuned!  MARITTE GO  @martygoMaritte Go is a Filipino-American filmmaker who got her MFA at University of Southern California for Production in Film and Television.  She is a Project Involve Directing Fellow and won the Barbara Boyle Excellence in Filmmaking Award. She is an HBO Visionary award winner for her short film “Remittance.”  Maritte received the CAMERAderie Women in Media grant for her short film “Illipino,” which recently premiered at the LA Asian Pacific Film Fest and Holly Film Fest.   Her feature debut is called “Rise.” The dramatic thriller is inspired by the real-life conflict between the Nigerian people and the Boko Haram insurgency, the jihadist rebel organization responsible for kidnapping hundreds of girls and women and enslaving them in the sex trade.    Maritte wrote and directed a segment in the horror anthology called, “Phobias” produced by Radio Silence and Defiant. She also most recently wrapped post-production on a horror film called, “Black as Night.” It was produced by Amazon Studios and Blumhouse Television and will premiere in October 2021. My most recent film called, "Black As Night" will premiere in October for Blum Fest. It was produced by Amazon and Blumhouse. It's about a young black girl whose mother was murdered by vampires and with the help of her friends, she seeks vengeance. Follow all the happenings in the Cellar at:Insta: @kkstcpodcast Twitter: @kkstcpodcast A Dread Podcast Network original podcast

This week in the cellar, ghost hosts, Kim & Ket, are joined by Marty Go and Hana Mae Lee. Maritte Go is a Filipino-American filmmaker known for “Rise, “ “Phobias” and “Black as Night”. Hana Mae Lee is an actress, fashion designer, artist, writer, filmmaker, and make-up artist known for her roles in “The Babysitter” and “The Babysitter: Killer Queen.” These bosses are also the latest victims of The Quiz Show Killer. Will Marty and Hana Mae survive the cellar and escape with their lives? Or will Kim & Ket finally have some ghostly company? Perhaps the girls can start that ghost girl group after all! The Spice Ghouls! (I’ll see myself out - oh wait. I’m stuck in this basement.) HANA MAE LEE @hanamaeleeHana Mae Lee is an award-winning actress, fashion designer, artist, writer, filmmaker, and make-up artist. Hana Mae began her career starring in commercials like the Cannes Lions and ANDY award winning “It Must Be Love” aka “Best Friends (Cars/People)” for Honda and in music videos such as the Grammy nominated “Mr. Brightside” by The Killers. Her TV credits include the Multi-Emmy winning series “Mike & Molly”, Golden Globe winning “Californication”, Golden Globe nominated “Better Things”, Critics Choice nominated “Patriot”, critically-acclaimed neo-noir series “Perpetual Grace, Ltd.” and many more. Her film credits include the highest grossing musical-comedies of all time, “Pitch Perfect” where Hana Mae was nominated for the Scene Stealer award and won several awards including best comedy for her performance. Followed by its two sequels, Hana Mae went on to star in McG’s horror-comedy, “The Babysitter” and its sequel, “The Babysitter: Killer Queen”. Her magazines credits include: Vogue Korea, Wonderland, Schön and more. An Alumni of Otis College of Art and Design with a BFA in fashion design, Hana Mae worked with many design houses and as an image/style consultant before starting her own line Hanamahn (aka "just one" in Korean). Her Hanamahn designs are all one of a kind works that are worn by collectors, musicians, business creatives and actors. Currently, you can see Hana Mae in the horror-anthology film “Phobias” which is available now on AppleTV, On-Demand and digital everywhere. Coming up, Hana Mae plays the leading role of Chelsea in a Horror-Puppet/Animated feature by Evan Marlowe called “Abruptio”. Upcoming projects: Horror Feature Film with life-sized puppets by Evan Marlow: ABRUPTIO (currently in post) check out their website (www.abruptio.com) for up to date news and bts photos. I posted a clip on my insta, (@hanamaelee) check it out. An amazing stop-motion animation TV series I'm very excited about that will be announced this week or next. And I'm writing/developing a trilogy of psychological thrillers at the moment. Stay tuned!  MARITTE GO  @martygoMaritte Go is a Filipino-American filmmaker who got her MFA at University of Southern California for Production in Film and Television.  She is a Project Involve Directing Fellow and won the Barbara Boyle Excellence in Filmmaking Award. She is an HBO Visionary award winner for her short film “Remittance.”  Maritte received the CAMERAderie Women in Media grant for her short film “Illipino,” which recently premiered at the LA Asian Pacific Film Fest and Holly Film Fest.   Her feature debut is called “Rise.” The dramatic thriller is inspired by the real-life conflict between the Nigerian people and the Boko Haram insurgency, the jihadist rebel organization responsible for kidnapping hundreds of girls and women and enslaving them in the sex trade.    Maritte wrote and directed a segment in the horror anthology called, “Phobias” produced by Radio Silence and Defiant. She also most recently wrapped post-production on a horror film called, “Black as Night.” It was produced by Amazon Studios and Blumhouse Television and will premiere in October 2021. My most recent film called, "Black As Night" will premiere in October for Blum Fest. It was produced by Amazon and Blumhouse. It's about a young black girl whose mother was murdered by vampires and with the help of her friends, she seeks vengeance. Follow all the happenings in the Cellar at:Insta: @kkstcpodcast Twitter: @kkstcpodcast A Dread Podcast Network original podcast

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.

On this episode, I focus on the story behind the Madness song “It Must Be Love” which along with "Our House" is the song most Americans are familiar with by the band. Each of them charted in the top 40 with Our House hitting #7 and It Must Be Love at #33 in 1983.  Madness came along at just the right time for me.  I was a newly minted teenager when their music entered my consciousness and wouldn't leave. Where The Specials were angry and confrontational, Madness was funny in a very English way. And “It Must Be Love” was one of the first love songs that made sense to me and it served as the soundtrack to my first high school romance. It later became a regular addition to cassette mix tapes I made during the 80s and early 90s for potential girl friends I was trying to impress. It was a bold choice to include on any mix tape particularly if the feeling wasn't mutual.  It must have hit a chord with many other like me the song remains one of the band's most popular and continues to be a mainstay of their live set list. "It Must Be Love"  has a very interesting back story.Did you know that the song is a cover version of the original by Labi Siffre? Did you know that Siffre had a Top 15 hit with the song on the UK charts in 1971? Did you know that Madness did not want to record and release the song?Please note: The music clips included in this podcast fall under the “Fair Use Doctrine” as defined by Section 107 of the Copyright Act. The law allows for use of music clips for purposes of criticism, comment, and news reporting.

*** EXTRA SPECIAL ALL SKA EPISODE with SPECIAL GUEST CORY WHITE***    ***TRACKLISTING***   1. One Step Beyond...Madness 2. Too Much Too Young (live)...The Special AKA 3. Hands Off...She's Mine...The English Beat 4. Lip Up Fatty...Bad Manners 5. Doors Of Your Heart...The English Beat 6. It Must Be Love...Madness 7. On My Radio...The Selector 8. Do Nothing...The Specials 9. Save It For Later...The English Beat 10. Bed & Breakfast Man...Madness 11. Hey Little Rich Girl...Amy Winehouse   Check ME out: IG: @heyyyyy_jesse FB: Jesse Karassik   TACOS & TURNTABLES (pop culture podcast) IG: @tacos_turntables FB: @tacosturntables

a-ha - Lesson One (Take On Me first demo) (1982) Before their one. big, groundbreaking mega-hit (mostly for the video) this song underwent a couple revisions. They knew somehow that they had gold, but they struggled to find a winning chorus. They would.  Anna Frid Lyngstad - Guld Och Gröna Ängar (10CC's "The Wall Street Shuffle" in Swedish) (1975) The red-headed female in Abba released solo stuff with some success in her homeland throughout their heyday. But she didn't hit in the USA solo until teaming with Phil Collins for "I Know There's Something Going On" in 1982.   Anna Frid Lyngstad - Liv På Mars? (David Bowie's "Life On Mars?" in Swedish) (1975) Anna Frid Lyngstad - Skulle De' Va' Skönt (The Beach Boys' "Wouldn't It Be Nice" in Swedish) (1975) Baker Gurvitz Army - Hearts On Fire (1976) A pretty stupid song written by Ginger Baker. I never really liked him. I never liked Cream, to be honest. I like Jack Bruce singing with Carla Bley on "Escalator Over The Hill".  Bridges - Miss Eerie ("The Juicyfruit Song", the earliest recording of "Take On Me") (1981) In 1981, a-ha’s Paul Waaktaar-Savoy and Magne Furuholmen recorded this song for their band Bridges. In 1984, having formed a-ha with vocalist Morten Harket, they’d take yet another stab at the track.  Jack Bruce - I'm Gettin' Tired (Of Drinkin' and Gamblin') (1965)  Ginger Baker's Air Force - Sweet Wine (1970) Same musical structure, in a way, as Mothers of Invention, without the scatology.  Ginger Baker - Ariwo (1972) Hawkwind - Levitation (1980) With Ginger Baker on drums. Another band that never really pinged my interest. Throw them on the pile!  Michael Lloyd and Mike Curb - It's Magic (1969)  From...Hot Wheels Cartoon Soundtrack. Liner notes: This exciting album contains all of the original sound track music from HOT WHEELS- the high adventure show on ABC-TV's Super Saturday Club. This thrilling weekly cartoon series features a group of young drivers who have formed a "hot wheels" auto club. Their activities cover all aspects of this fast road sport...cross country, track and dunes, and the music reflects their love of high speed action. HOT WHEELS is an up-to-the minute show and the music from the sound track is as turned on and tuned-in as today's high performance cars. Mike Curb. who wrote the music for the show, puts it all into high gear on this fast moving album! Ian Dury and the Blockheads -  Reasons To Be Cheerful, Pt. 3 (1979) These guys could play. I went through their stuff. Very exciting and versatile. The late '70s in UK must have been an exciting time for music fans.  Ian Dury and the Blockheads - Hit Me With Your Rhythm Stick (1978) Listen to that bass guitar. Norman Watt-Roy. What fun it must have been to produce these records. That seems to be when the best records were made. When all concerned were united in making a good sound, but not taking themselves too seriously.  Jack Bruce - Never Tell Your Mother She's Out of Tune (1969)  Jack Bruce - Pieces Of Mind (1974) Jack Bruce - Victoria Sage (1971) Even though having Ginger Baker in my band would have been a special circle of hell for me, and I think Jack Bruce might have been a tad busy for my taste, I find both of their records invariably more interesting than anything Eric Clapton did. And aside from Jack Bruce's first solo album, Songs For A Tailor, neither artist charted in the US with anything. And I know this might be sacrilege to say, but is Duane Allman's slide solo on "Layla" THAT good? I find it pretty...meandering. Out of tune, even. Go ahead and kill me.  Madness - Blue Skinned Beast (1983) Same album as their US hit "Our House". Dan put this on a mix tape for me once. I never forgot.  Madness - Embarrassment (1980) Madness are an English ska band from Camden Town, North London, who formed in 1976. One of the most prominent bands of the late 1970s and early 1980s two-tone ska revival, Madness's most successful period was from 1980 to 1986, when the band's songs spent a total of 214 weeks on the UK Singles Chart.  Madness have had 15 singles reach the UK top ten, which include "One Step Beyond", "Baggy Trousers" and "It Must Be Love", one UK number one single "House of Fun" and two number ones in Ireland, "House of Fun" and "Wings of a Dove". "Our House" was their biggest US hit. In 2000 the band received the Ivor Novello Award from the British Academy of Songwriters, Composers and Authors for Outstanding Song Collection.  Madness - On The Town (Feat. Rhoda Dakar)/Bingo (2009) Read the Wiki about this album. Most artists, after how many years, regress or become a trivia act. Madness reached for the stars. It's a worthy listen for sure.  Marianne Faithfull - I'm a Loser (1965) You had to be there, I guess.  Mike Curb & Lawrence Brown -Bay City Boys (1967) From the original motion picture soundtrack to the film "Mary Jane". A car driven by a driver intoxicated by marijuana plunges off a cliff, killing the driver and injuring a female passenger. It turns out marijuana use is rife at a small town high school, led by the clique of Jordan Bates. Art teacher Phil Blake tries to persuade student Jerry Blackburn not to smoke. Jerry borrows Phil's car and Jordan leaves some marijuana in it. Phil gets arrested for possession of marijuana. This movie starred Fabian, who was a heartthrob in the early '60s. Maybe this was his attempt to be a serious actor.  The movie was co-written by Dick Gautier (POACA will recall his ubiquitous presence on every game show ever done, as "Hymie" the Robot on Get Smart, and in 1973, when Burt Ward and Yvonne Craig reprised their Batman roles (as Robin and Batgirl respectively) for a TV public service announcement about equal pay for women, Adam West, who was trying to distance himself from the Batman role at the time, declined to participate. Gautier filled in for West as Batman. The other co-writer was Peter Marshall, who hosted The Hollywood Squares for 15 years.  For the fetishist, here is that PSA, with Dick Gautier as Batman.  https://youtu.be/3LviAKGZxPs Mike Curb Congregation - Come Together/Hey Jude (1970)  The Mike Curb Congregation - Burning Bridges (1970) From the movie "Kelly's Heroes".  Hank Williams Jr. & The Mike Curb Congregation - Walkin' To New Orleans (1971)  The New Life - The Sidehackers Soundtrack (1969) Do you remember the MST3K episode? Well, there's a soundtrack that features Mike Curb's involvement. Besides the Sidehackers soundtrack, The New Life also scored songs for a film called Black Water Gold.  

Alex Maguire is Senior Music Therapist at Broadmoor high security hospital specialising in working with high dependency and intensive care patients. He has presented his work at numerous conferences and has contributed to the books Forensic Music Therapy (JKP 2012), ‘Forensic Arts Therapies –Anthology of Practice & Research’, (FA Press 2016), ‘Working Across Modalities in the Arts Therapies: Creative Collaborations’ (Routledge 2017) and 'Violent States and Creative States; from the Global to the Individual’ (JKP 2018). The Broadmoor Hospital choir for both staff and patients, which he co-founded, has been commended in the Arts and Health Awards, and performs widely at hospital functions, as well as providing a Christmas visiting service to the intensive care wards. Alex has presented at the IAFP Conference in 2008, 2012, 2016, 2017 and 2020. He has a parallel life as an improvising jazz pianist performing and recording in Europe and further afield. This episode includes two interviews conducted by Alex with his colleagues Dr Gwen Adshead and Dr Claire Wilson. Gwen Adshead is a consultant psychiatrist and group analyst. She is currently the responsible clinician for a high security ward in Broadmoor Hospital for severely personality disordered patients. She has published widely and is known for her work with both offenders and victims. She is a keen singer and art lover, recently featured on BBC Radio 4's Desert Island Discs. Claire has worked in the NHS as a psychologist for over twenty years. She is currently Lead Psychologist in the Integrated Group Therapies service, which provides mental health restoration and risk reduction work for the men detained at Broadmoor. She has contributed to research articles on the prevalence of violence in institutions and on the evaluation of therapies designed to help reduce risk. Maguire, A and Merrick, I (2012) Walking The Line: Music Therapy In The Context Of The Recovery Approach In A High Secure Hospital in Adlam, J Odell-Miller, H and Compton-Dickinson, S (eds.) Forensic Music Therapy. London: Jessica Kingsley Publishers Maguire, A and Robertson, C (2015) A Healthy Community Living Skills Group in a high security hospital. Mental Health Practice 19, 1, 24-27  Maguire, A and Merrick, I (2016) From Let It Be to It Must Be Love: the development of a choir for patients and staff at a high secure hospital. Arts & Health, 9:1, 73-80  Maguire, A (2018) Treat Me Nice – Music Therapy and Extreme Violence in Adlam, J Kluttig, T and Lee, B (eds.) Violent States and Creative States. London: Jessica Kingsley Publishers Maguire, A Guarnieri, M Mindang, M and Thomas, D (2016) The Internal Bomb in Rothwell, K (ed.) Forensic Arts Therapies. Anthology Of Practice And Research. London: Free Association Books Maguire, A. Bose, S. Ferrito, M. Mindang, M and Ware, A (2018) Into The Labyrinth; working with Bizarre, Unspeakable and Extreme Violence in Adlam, J Kluttig, T and Lee, B (eds.) Violent States and Creative States. London: Jessica Kingsley Publishers Maguire, A and Mindang, M (2018) Not What It Says On The Tin; a family awareness group in a high security hospital in Colbert, T and Bent, C (eds.) Working Across Modalities in the Arts Therapies; creative collaborations. London: Routledge.

El segundo single de adelanto de Bahama Social Club (Oliver Belz) ha rescatado la voz de Bilie Holiday interpretando un clásico que hay Bessie Smith había grabado en los años veinte del pasado siglo. Nosotros también recuperamos otra voz negra maravillosa: Marlena Shaw. Y al trío olvidado o desconocido Phajja. Y continuamos nuestro homenaje a Bonnie Pointer y a The Pointer Sisters. Y otra novedad de este mes: Crushed & The Velveteers, alter ego en solitario de Alan Evans of Soulive. Y otro alter ego: Oli Stewart, músico y dj nacido en el estado americano de Maine, que se crió en Madrid y pasó varios años en Glasgow, y ahora reside en La Latina capitalina es Casbash 73... DISCO 1 THE POINTER SISTERS Dare Me (Instrumental) DISCO 2 THE POINTER SISTERS Jump DISCO 3 BAHAMA SOCIAL CLUB ( and BILLIE HOLIDAY) Ain’t Nobody Business DISCO 4 THE WEEKND & DOJA CAT In Your Eyes (Remix) DISCO 5 BONNIE POINTER When I’m Gone DISCO 6 PHAJJA It Must Be Love DISCO 7 CHERYL LYNN Give My Love To You DISCO 8 DEODATO Star Trek theme 1976 DISCO 9 ROY AYERS Love Will Bring Us Back Together Again DISCO 10 CRUSHED VELVET & the Velveteers Good-Thang feat. Kim Dawson DISCO 11 CASBASH Sweet Maybe Synthnstrumental DISCO 12 MARLENA SHAW Sweet Beginnings DISCO 13 THE POINTER SISTERS Dare Me Escuchar audio

Herndon is an open book in our 30 minute interview Ty Herndon is a force to be reckoned with. His now three-decade career has spanned 20 Billboard-charted singles and five million albums sold. And Herndon shows no signs of slowing down. Between 1995 and 2002, Herndon charted 17 singles, including his three No. 1's and numerous Top 10 hits, such as “I Want My Goodbye Back,” “Loved Too Much,” “A Man Holding On,” and “Hands of a Working Man.” He topped the charts in 1996 with the single “Living in a Moment” and again in 1998 with “It Must Be Love.” Herndon's biggest single, “What Mattered Most” was reissued with his preferred pronouns. Originally recorded as a man singing about his ex-girlfriend, Ty re-recorded the song to reflect having come out as gay in 2014. In this interview with hosts Buddy Iahn and Matt Bailey, Ty lays all of his cards on the table: From the support he received after coming out, to what his life is like now. Now his mission is to make sure no artist has to hide who they are with the 2020 Concert for Love & Acceptance, which he teased during this interview that was recorded a few weeks before the announcement. Plus, you'll hear how Ty has been able to creatively get back to performing -- even while supporting the venues at which he was originally scheduled to perform live. Ty his as proud of himself as he is his country music roots. This interview proves it. Check out our other Podcasts! Subscribe to us on Apple Podcasts, Spotify Podcasts, TuneIn and YouTube.

https://lofstrom.s3.eu-central-1.amazonaws.com/Lofstrom+loop+209+(18.04.2020).mp3 link 01. Madness — It Must Be Love 02. Pretenders — Don’t Get Me Wrong 03. Bishop Nehru — Too Lost 04. The Clash — The Magnificent Seven 05. Rouge Rouge — Tricoter 06. The Stone Roses — Love Spreads 07. Lorde — Royals 08. GusGus — Polyesterday 09. Modjo — People In The … Продолжить чтение Lofstrom loop 209

ALL YOU NEED TO KNOW RADIO/ LANDWARD ROGUES  PRESENTS ONE NIGHT ONLY WITH COUNTRY MUSIC SUPERSTAR TY HERNDON  Ty Herndon's  - Albums - What  Mattered Most, Living in a moment, Big Hopes, Steam, Ty Herndon greatest hits, Right about Now. More recent Albums Lies I told myself. The last album and more on the way Got it Covered. Herndon covers Carrie Underwood's huge hit  So small. Underwood praised Ty with these words on twitter. Herndon has charted a total of 17 singles on the Billboard Hot Country Songs charts. This figure includes three number ones: "What Mattered Most", "Living in a Moment" and "It Must Be Love", as well as four additional top ten hits: 

ALL YOU NEED TO KNOW RADIO/ LANDWARD ROGUES  PRESENTS ONE NIGHT ONLY WITH COUNTRY MUSIC SUPERSTAR TY HERNDON  Ty Herndon's  - Albums - What  Mattered Most, Living in a moment, Big Hopes, Steam, Ty Herndon greatest hits, Right about Now. More recent Albums Lies I told myself. The last album and more on the way Got it Covered. Herndon covers Carrie Underwood's huge hit  So small. Underwood praised Ty with these words on twitter. Herndon has charted a total of 17 singles on the Billboard Hot Country Songs charts. This figure includes three number ones: "What Mattered Most", "Living in a Moment" and "It Must Be Love", as well as four additional top ten hits: 

Here's a quick and messy Valentines mash up for lovers and fighters everywhere :) Anthems, bangers, balearics, covers and classics are all in the mix!

Robin S. is a legendary dance music artist and so much more. Her first release was "Show Me Love" which peaked at #5 on Billboard but #1 everywhere else. Classic Dance tunes like "Luv for Luv" "I Want To Thank You" and "It Must Be Love" are classics that jump to mind also, but most people don't realize that Robin is also the featured voice on the gospel song "Dance" also featuring Mary Mary from the Dr. Doolittle soundtrack. Oh yeah, Don't try to put Robin S in a box. She can sang. In adddition to her classic dance tunes that will have us grooving until the end of time, she also sings gospel and R&B, is a song writer and an actress. Also, she is an inspiration and a good friend. Join us as we welcome this powerhouse, Robin S to the Basement with JaVonne & Tere

Beefy brings you the World's Greatest Ska Radio Show every week (sponsored by Masita.com.au - the best sportswear in Australia). Broadcast live from Melbourne to Australia and the rest of the world on 88.3 Southern FM, no other ska show boasts the diversity or the innovation of what Beefy brings to the Ska party! 2019 is proving to be The Year Of Ska! It's short and sweet this week but we jam as much in as possible. The Toasters headline the show with a live set, we have the Australian premiere of Welsh skanksters Tree House Fire's latest release and The Hempsteadys, Neville Staple Band, The Porkers, Bad Manners, Area 7, Reel Big Fish, Dreadsquad and Dr. Ring Ding, The Allniters and The Interrupters all feature, and we can't not celebrate Valentine's Day without the Madness anthem, It Must Be Love! Check out The Ska Show with Beefy Facebook page for playlists and other fun stuff!

Finnegan Oldfield est venu le temps d'un Passage Express pour nous présenter un vieux morceau qu'il affectionne, « It Must Be Love » de Trevor Hartley. Un reggae pas si classique que ça, où l'on…

“We're not the sort of band that would go to cue. The more we discovered it made them look stupid, the more we did it.” Woody Woodgate of Madness was cited by John Lennon in his final interview 2 days before his passing as an up and coming drummer who impressed. 40 odd years in the industry later and Woody tells us all about creating a 4.5 earthquake on the Richter scale, watching Oasis split from the next door changing room and having to fill in their headline slot at Rock en Seine, how It Must Be Love, Baggy Trousers were recorded, playing the Olympics Closing Ceremony and loads more. Thanks to Dovile Juozipaviciute, Jim Sharrock, David Woolford, Andy Phelan, Alex Soikans & Ryan Winspear for the behind the scenes help with this episode. Next episode is with Clive Deamer of Radiohead & Portishead. Please subscribe, and follow us on @thestageleftpod, facebook.com/thestageleftpodcast and follow us on Instagram for behind the scenes photos.

Before he retired in the early 2000s, Bob McDill landed 152 hits on the Billboard country chart, more than any other songwriter in history. He hit theBillboard Top 10 an astounding 55 times, and 23 of those singles climbed all the way to #1. Many artists returned to the McDill songbook repeatedly, including Don Williams, who scored with the #1 hits “(Turn Out the Light And) Love Me Tonight,” “Say It Again,” “She Never Knew Me,” “Rake and Ramblin’ Man,” “It Must Be Love,” “Good Ole Boys Like Me,” and “If Hollywood Don’t Need You.” Mel McDaniel enjoyed four Top 10 hits written by Bob, including “Louisiana Saturday Night” and the #1 “Baby’s Got Her Blue Jeans On.” Those who hit #1 at least twice with McDill compositions include Ronnie Milsap, with “Nobody Likes Sad Songs” and “Why Don’t You Spend the Night;” Doug Stone, with “In a Different Light” and “Why Didn’t I Think of That;” Alan Jackson, with “Gone Country” and his revival of “It Must Be Love;” and Dan Seals, who co-wrote several of his own hits with McDill, including the #1 songs “My Baby’s Got Good Timing,” “Everything That Glitters (Is Not Gold),” and “Big Wheels in the Moonlight.” Additionally, Bob wrote or co-wrote #1 singles such as “The Door is Always Open” by Dave and Sugar, “You Never Miss a Real Good Thing (Till He Says Goodbye)” by Crystal Gayle, “Amanda” by Waylon Jennings, “We Believe in Happy Endings” by Earl Thomas Conley and Emmylou Harris, “Don’t Close Your Eyes” by Keith Whitley, “Song of the South” by Alabama, and “She Don’t Know She’s Beautiful” by Sammy Kershaw. In addition to multiple Top 5 singles such as Johnny Russell’s “Rednecks, White Socks, and Blue Ribbon Beer,” Ed Bruce’s “You Turn Me On (Like a Radio)," and Pam Tillis’s “All The Good Ones Are Gone,” Bob has penned Top 10 hits for Johnny Cash, George Jones, Conway Twitty, Bobby Bare, Mac Davis, Johnny Rodriguez, John Anderson, Mickey Gilley, Anne Murray, and Lee Roy Parnell. He has also written charting singles for Jerry Lee Lewis, Charley Pride, Tammy Wynette, and both Duke Boys, Tom Wopat and John Schneider, with the latter taking Bob’s “I’ve Been Around Enough to Know” to #1. McDill was named Country Songwriter of the Year seven times between 1976 and 1994: three times each by the Nashville Songwriters Association and BMI, and once by ASCAP. Nine of his songs were nominated for Song of the Year by the Country Music Association, the Academy of Country Music, or both organizations. The four time Grammy nominee earned ASCAP’s Golden Note Award, received the Academy of Country Music’s prestigious Poet’s Award, and was inducted into the Nashville Songwriters Hall of Fame. 

This week Mod Marty brings an hour of outstanding music to share with you. From R&B that'll rattle your bones to Northern Soul that'll give you wings. British Beat oozing with cool & grit and Psych to send your head into a spin. Buckle up! This is On Target: It's What's In The grooves That Count. Please like the Facebook page here: https://www.facebook.com/ontargetpodcast/ ------------------------------------------------- The Playlist Is: "Soul Time" Jackie Wilson - Brunswick "Groovy Two Shoes" Johnny Thunder - Diamond "Inspiration" The Dells - Cadet "In A Real Big Way" Richard Berry - K&G "Coming Back To Me Baby" James Carr - Goldwax "Since You've Been Gone" The Four Tops - Motown "Motor Town Beat" Bread - Philips "Walk Down The Path Of Freedom" Sunday Funnies - Rare Earth "What You Want" The Music Explosion - Laurie "Shimmy Shimmy" The Orlons - Cameo "It Must Be Love" The Contours - Tamla "I'm The Man" The Dynamics - Big Top "Gimme Shelter" Merry Clayton - ODE "Mr. Fixit" Thelma Jones - Barry! "Baby Cakes" Loretta Williams - Atco "Telegram" Georgie Fames - Columbia "Laisse Tomber Les Filles" France Gall - Philips "Don't Give Me No Lip Child" Dave Berry - Decca "Too Poor To Die" The 5th Dimension - Soul City "Moody Woman" Jerry Butler - Mercury "Robin's Theme" The Sensational Guitars Of Dan & Dale - Tifton

Taylor Hoch based in Fayetville Tennessee has been featured on over 15,000 stations with her Americana Style music. She and Jay Jernigan host open mic nights at the Fayetteville-Lincoln County arts center. You can download her newest single for free and vote for it to be featured on Howler.com by clicking here. You can also hear the new track right after the interview tonight at 7pm at spice-radio.com/radio/ You can get this interview in podcast form by subscribing to our itunes or download it directly on our podcast page at 8pm. Listen tonight to hear some tracks recorded live at Spice Radio: What Should I do Now, I’ve Fallen Down, Right Through Me and the new single “It Must Be Love”. Keep up with her gigs on her: Facebook Find her Music on her: Itunes Don’t forget get your free MP3 and vote for taylor at THIS LINK!

Taylor Hoch based in Fayetville Tennessee has been featured on over 15,000 stations with her Americana Style music. She and Jay Jernigan host open mic nights at the Fayetteville-Lincoln County arts center. You can download her newest single for free and vote for it to be featured on Howler.com by clicking here. You can also hear the new track right after the interview tonight at 7pm at spice-radio.com/radio/ You can get this interview in podcast form by subscribing to our itunes or download it directly on our podcast page at 8pm. Listen tonight to hear some tracks recorded live at Spice Radio: What Should I do Now, I’ve Fallen Down, Right Through Me and the new single “It Must Be Love”. Keep up with her gigs on her: Facebook Find her Music on her: Itunes Don’t forget get your free MP3 and vote for taylor at THIS LINK!

80s's boogie/funk/disco to make you move! Oxygen from Soundsci in promo opening Evelyn Champagne King - "If You Want My Lovin'" Fatback Band - "Gotta Get My Hands on Some (Money)" The Jacksons - "Everybody" Mista Rare Groove of Selectas Choice promo Margie Joseph - "Knockout" Alton McClain & Destiny - "It Must Be Love" Jazzy Mann promo Roger - "Do It Roger" Oliver Cheatham "Get Down Saturday Night" High Fashion - "Feelin' Lucky Lately" Sylvia Striplin - "Give Me Your Love" Deodato - "Keep On Movin'" f/ Kelly Baretto Closing recap over Claudjia Barry - "Love for the Sake of Love" Listen to Deeper Than Atlantis: Diggin' In Da Crates on http://soulpublicradio.com/ through Tune In app for mobile devices. On Air Every Saturday 4-5pm PST, Sunday 6-7pm PST, Tuesday 4-5pm PST. Visit on https://www.facebook.com/pages/Deeper-Than-Atlantis-Diggin-in-Da-Crates/283923098319100

JW Playlist Tuesday 12th June 2012 Solar Radio 1 – Joey Negro Presents Doug Willis – “Doug’s Glad You’re Here” (Was Doug A Doughnut) – Z Records 2 – Carolyn Harding & DJ Oji – “He Loves Me” – 95 North 3 – Marlon D Presents Columbian Soul Orchestra – “Chanre En Laureles” (Wagon Cookin Remix) – Underground Collective 4 – Alton McClain & Destiny – “It Must Be Love” (Scratch n Sniff Re –Edit) – Polydor CDR White 5 – Kenny Bobien & Swift Of DJN Project – “What A Way” (Carlos Vargas Soul Mix) – Sugar Groove 6 – Terry Hunter Presents Re-Heated Vol 1 – “Jungle Strut” – T’s Box 7 – Will Milton & Rodney Carter Present Ricoh & Lauren – “I’m Still Here” – Blak Ink 8 – Sven Zetterberg – “Heartaches Was All You Got” – Goldsoul 9 – The Modulations – “I Can’t Fight Your Love” (Bobby Busnach “More Love To Fight For” Remix) – Buddah CDR White 10 – Marva Whitney – “I Made A Mistake Because It’s Only You” – King 11 – Kym – “What Is House?” – B.O.P. Records 12 – Bucie – “Not Fade” (Charles Webster Vocal Mix) – Foliage 13 – Melchyor A – “For Joy” (JW’s Lusty Edit”) – Razana Productions CDR White Promo 14 – Dexter Wansel – “Life On Mars” – P.I.R. 15 – D-Malice & Diamondancer – “Motherland” – DM Recordings 16 – Afronaut feat Suheir Hammad – “Eye Will Not” – Stalwart 17 – Bobby Womack – “You’re Welcome, Stop On By” (Beaten Space Probe Re-Edit) – UA CDR White 18 – Rainbow Brown – “It Ain’t No Big Thing” – P&P

The castaway in this week's Desert Island Discs is someone who has experienced the delights of international stardom and acclaim, and the misery of failure when his fame turned sour and his popularity plummeted. The flamboyant Boy George will be talking to Sue Lawley about the ups and downs of his professional and private life.[Taken from the original programme material for this archive edition of Desert Island Discs] Favourite track: It Must Be Love by Madness Book: Photograph album Luxury: Radio receiver

The castaway in this week's Desert Island Discs is someone who has experienced the delights of international stardom and acclaim, and the misery of failure when his fame turned sour and his popularity plummeted. The flamboyant Boy George will be talking to Sue Lawley about the ups and downs of his professional and private life. [Taken from the original programme material for this archive edition of Desert Island Discs] Favourite track: It Must Be Love by Madness Book: Photograph album Luxury: Radio receiver