Podcasts about Labi Siffre

Le 78ème festival de Cannes touche à sa fin. Quel film succédera à «Anora» comme lauréat de la prestigieuse Palme d'or ? Serait-ce «Un simple accident» de l'Iranien Jafar Panahi, film fort tourné en clandestinité. Ou bien un film à l'ambition formelle forte ? Pour en parler, nous accueillons quatre membres de la presse internationale. Nous recevons Maria-Carolina Pina, consoeur de la rédaction Amérique latine de RFI ; Ben Croll, journaliste canadien indépendant qui signe notamment pour Variety ou The Wrap, Patrick Strauman, critique de cinéma qui officie au magazine 21 et au Neue Zürcher Zeitung à Zürich ; et Sidney Cadot-Sambosi qui collabore au site Africine.Sont évoqués les longs-métrages de la compétition : Un simple accident de Jafar Panahi, Deux procureurs de Sergei Loznitsa, Sirat d'Oliver Laxe, L'agent secret de Kleber Mendonça Filho, Romeria de Carla Simon et Nouvelle vague de Richard Linklater.Musiques : Cannock chase, de Labi Siffre (tiré de la BO de Romeria) et Let it happen, de Tame Impala (tiré de la BO d'Alpha).

Scrump and Drew talk about the music of; Childish Gambino, Drake, Labi Siffre, Rick James, Nirvana, Melle Mel & Grandmaster Flash, Skip James, UB40 and more! This Is America-Childish Gambino Nice For What-Drake Bless the Telephone-Labi Siffre Super Freak-Rick James Lithium-Nirvana White Lines-Melle Mel & Grandmaster Flash Devil Got My Woman-Skip James Red Red Wine-UB4O   Patreon Merchandise   Social Media: Twitter Instagram 

A new week means new questions! Hope you have fun with these!What is an area of land where all water drains to a common body of water, like a stream, lake, or ocean: a) water table b) esturay or c) watershedWho preceded Pope John Paul II for only about a month?Labi Siffre's 1975 track I Got The… provides the background to whose 1999 song ranked by Q Magazine as the 6th best song of all time?Considered one of the greatest catchers in baseball history, who was the catcher for the New York Yankees when Don Larsen pitched the only perfect game in World Series history in 1956?What is the only remaining nation in the world to still have an Emperor?Which English physician developed a smallpox vaccine?In what country would you find the World Heritage Site Timbuktu?For which business did Clark Kent work in the Superman Comics?MusicHot Swing, Fast Talkin, Bass Walker, Dances and Dames, Ambush by Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 3.0 http://creativecommons.org/licenses/by/3.0/Don't forget to follow us on social media:Patreon – patreon.com/quizbang – Please consider supporting us on Patreon. Check out our fun extras for patrons and help us keep this podcast going. We appreciate any level of support!Website – quizbangpod.com Check out our website, it will have all the links for social media that you need and while you're there, why not go to the contact us page and submit a question!Facebook – @quizbangpodcast – we post episode links and silly lego pictures to go with our trivia questions. Enjoy the silly picture and give your best guess, we will respond to your answer the next day to give everyone a chance to guess.Instagram – Quiz Quiz Bang Bang (quizquizbangbang), we post silly lego pictures to go with our trivia questions. Enjoy the silly picture and give your best guess, we will respond to your answer the next day to give everyone a chance to guess.Twitter – @quizbangpod We want to start a fun community for our fellow trivia lovers. If you hear/think of a fun or challenging trivia question, post it to our twitter feed and we will repost it so everyone can take a stab it. Come for the trivia – stay for the trivia.Ko-Fi – ko-fi.com/quizbangpod – Keep that sweet caffeine running through our body with a Ko-Fi, power us through a late night of fact checking and editing!

On this episode of Songs of Our Lives, it's Macie Stewart! Her new album, “When The Distance Is Blue,” has resonated with me in such a powerful way, and talking to her about some of the ideas and emotions behind it helped explain why. From there, we talk about ultimate earworms, the greatest band of the last 20 years, still getting shocked by Arthur Russell, the GOAT of GOATs, Dick Raaijmakers, Wilco, Labi Siffre, Lhasa de Sela + more!Listen to all of Macie's picks HERE"When The Distance Is Blue”Macie On TourMacie's WebsiteMacie on InstagramSongs of Our Lives is a podcast series hosted by Brad Rose of Foxy Digitalis that explores the music that's made us and left a certain mark. Whether it's a song we associate with our most important moments, something that makes us cry, the things we love that nobody else does, or our favorite lyrics, we all have our own personal soundtrack. Join Foxy Digitalis on Patreon for extra questions and conversation in each episode (+ a whole lot more!)Follow Foxy Digitalis:WebsitePatreonInstagramTwitterBlueskyThe Jewel GardenSong ListThe Beach Boys “Surfin' USA”Lhasa de Sela “Is Anything Wrong”Outkast “GhettoMusick”Gillian Welch “Revelator”Simon & Garfunkel “A Hazy Shade of Winter”Dick Raaijmakers “Tweeklank”Labi Siffre “Bless the Telepone”Arthur Russell “I Couldn't Say It To Your Face”Wilco “Hummingbird”Kristine Lechsper “Figure and I”Pointer Sisters “Dirty Work”Nina Simone “Let It Be Me”Sly & The Family Stone “Hot Fun In The Summertime”Kate Bush “The Sensual World”

On this episode of Songs of Our Lives, it's Damon Locks! Over the last long while, Damon's been one of my favorite artists on the planet. From the Black Monument Ensemble, his visual art, and all things in between, I have endless gratitude and awe for his work. We talked about his new, text-based record, “List of Demands,” before waxing on about Nikki Giovanni's influence, The Hues Corporation bringing the sun, Duke and Coltrane going all-time, David Bowie, Parliament, Labi Siffre, The Specials, Bjork, and plenty more!Listen to all of Damon's picks HERE“List of Demands”Damon's websiteDamon's InstagramSongs of Our Lives is a podcast series hosted by Brad Rose of Foxy Digitalis that explores the music that's made us and left a certain mark. Whether it's a song we associate with our most important moments, something that makes us cry, the things we love that nobody else does, or our favorite lyrics, we all have our own personal soundtrack. Join Foxy Digitalis on Patreon for extra questions and conversation in each episode (+ a whole lot more!)Follow Foxy Digitalis:WebsitePatreonInstagramTwitterBlueskyThe Jewel GardenSong ListHues Corporation “Rock the BoatBjörk “I Remember You”The Jam “Happy Together”Duke Ellington & John Coltrane “In A Sentimental Mood”Rick Dees & His Cast of Idiots “Disco Duck”Falco “Der Kommissar”Donny Hathaway “A Song for You”Parliament “Getten to Know You”DEVO “Auto Modown”David Bowie “Changes”Labi Siffre “Bless the Telephone”Susan Cadogan “Do It Baby” (Nice and Easy)Duke Ellington “Lotus Blossom”The Specials “Ghost Town”

The guy Alex of Stack Records falls thru to share some goodies from his store and listening adventures and buying trips. His selections range from hip-hop, ambient, sweet soul, Japanese jazz, neo soul, sui generis giants Kokoroko, Yussef Dayes. We also celebrate some of the many funky members of the rainbow community such as Labi Siffre, Dynamic Superiors, Rahsaan Patterson, for Pride weekend, as well as Leon Ware's birthday! Cheers

durée : 00:53:24 - Very Good Trip - par : Michka Assayas - Ce soir, c'est une exploration de quelques rééditions de l'année qui vient de s'écouler. Pas de grands noms, mais beaucoup d'oubliés et même parfois de carrément obscurs. - réalisé par : Stéphane Ronxin

On the show this week we have the latest track from WhatItDo Archive Group, a live track from Lionel Richie, an 80s Club Classic mini set and classics from Labi Siffre and the Spinners.For more info and tracklisting, visit: https://thefaceradio.com/lock-and-stockTune into new broadcasts of Lock And Stock, Fridays from 8 – 10 AM EST / 1 - 3 PM GMT.//Dig this show? Please consider supporting The Face Radio: http://support.thefaceradio.com Support The Face Radio with PatreonSupport this show http://supporter.acast.com/thefaceradio. Join the family at https://plus.acast.com/s/thefaceradio. Hosted on Acast. See acast.com/privacy for more information.

La música del azar. Canciones dedicadas a la buena y la mala fortuna. A ver si tenemos suerte, y te gusta.Playlist;(sintonía) NICK WATERHOUSE “Lucky once”MORPHINE “Have a lucky day”STEVE MILLER BAND Lucky man”LENE LOVICH “Lucky number”TOMMY and THE ROCKETS “Out of luck”THE PLIMSOULS “I’ll get lucky”DR FEELGOOD “Lucky seven”THE MUFFS “Lucky charm”DESCENDENTS “Lucky”SOCIAL DISTORTION “Bad luck”JOHN PAUL KEITH “Bad luck baby”KING KHAN and THE SHRINES “Better luck next time”GIANT SAND “Lucky star love”LABI SIFFRE “Thank your lucky star”C.W. STONEKING “Good luck charm”THE PARAGONS “Happy go lucky girl”RAY COLLINS HOT CLUB “Ready for luck”NICK CURRAN and THE NITELIFES “Good luck”Escuchar audio

On this episode of Songs of Our Lives, it's Nick Zanca! His new album, “Hindsight,” feels like Nick in record form in a lot of ways. It's clearly a record he's wanted to make all of his life. We dig into that and what it's like to see that realized before diving into how many Americans have a Disney-song memory, Milton Nascimiento's magnificence, Pat Matheny Group's killer ECM run, moving past James Blake, the sweet joy of Labi Siffre, John Martyn making sexy as hell music, King Crimson, and more! PLUS, one of Nick's answers to one of the Patreon questions was so much fun that I moved it into the regular episode - woohoo, bonus!Listen to all of Nick's picks HERE“Hindsight”Nick Zanca's WebsiteNick Zanca's InstagramSongs of Our Lives is a podcast series hosted by Brad Rose of Foxy Digitalis that explores the music that's made us and left a certain mark. Whether it's a song we associate with our most important moments, something that makes us cry, the things we love that nobody else does, or our favorite lyrics, we all have our own personal soundtrack. Join Foxy Digitalis on Patreon for extra questions and conversation in each episode (+ a whole lot more!)Follow Foxy Digitalis:WebsitePatreonInstagramTwitterBlueskyMastodonThe Jewel Garden

If we knew how to go viral, we'd be swimming in Ocean Spray money right now. There are so many great songs just waiting to be discovered by the meme crazy masses and we humbly offer this eclectic and exciting playlist as songs we'd like to champion on the way to getting likes, shares and especially listens. Top Ten Songs We Wish Would Go Viral Part 2 features picks 5-1 and some gentle nudging towards virality with these underappreciated songs. Thanks again to the great Steve Krolikowski from the band Datamaps for joining the pod and helping us make the case.If you missed Part 1 start here:https://podcasts.apple.com/us/podcast/all-time-top-ten/id573735994This really is a fun listen. Check out all of the songs featured in Parts 1 & 2 on the official Spotify playlist, bumper songs included:https://open.spotify.com/playlist/4pF6tOV96DCHAUhSUpw7LE?si=084dfc9ac8d740f3"Trade Off" from Datamaps is out now! Listen wherever you stream or here on the YouTubes:https://www.youtube.com/watch?v=FiMXT2oBG64Steve has his musical hands in a million projects, most notably Datamaps, a band that also features the bass slinging of your humble host. Find him and them on Instagram:https://www.instagram.com/skeletoncity/https://www.instagram.com/datamapsmusic/All hail the beloved Patreon people! These upstanding citizens put their money where their mouth is and keep the show afloat by contributing $5 a month. In return they're rewarded with a monthly bonus episode using our patented Emergency Pod format, our improv game where we pull a playlist out of our butts in real time. Shannon Hurley was kind enough to join for July's episode and we couldn't be more excited to share it with you. Rumor has it that the great Dustin Prince will be on hand for August's episode, Find out more at:https://www.patreon.com/alltimetoptenChat with us! On Facebook! Get more involved in the ATTT cinematic universe by chatting with us on the Facebook Music Chat Group. Start a conversation about music!https://www.facebook.com/groups/940749894391295

Ponemos banda sonora a un verano idílico, utópico, un verano sin preocupaciones ni responsabilidades, un verano para disfrutar. Canciones para un verano en el recuerdo, como cuando soñábamos con un verano interminable.Playlist;(sintonía) THE SANDALS “Theme from endless summer”MONTY ALEXANDER and THE CYCLONES “Summertime”THE DALMATIANS “I’ll be glad when summer comes”JERRY KELLER “Here comes summer”THE KINKS “Wait till the summer comes along”LOS IBEROS “Summertime girl”BEACH BOYS “Your summer dream”TRAVOLTAS “Endless summer”YO LA TENGO “Season of the shark”CHUCK PROPHET “Summertime thing”THE OUTSIDERS “Summer is here”KIM FOWLEY “California summertime”THE LAST “Every summer day”THE CYNICS “Summer’s gone”THE HANGING STARS “I’ve seen the summer in her eyes”LABI SIFFRE “Summer is coming”THE SHANGRI-LAS “The sweet sounds of summer”LAIKA AND THE COSMONAUTS “Endless summer”Escuchar audio

Lickers Jay and Deon wax poetic on ten of their favorite records from their respective collections which are filed under the letter J. Their choices lead to discussions on Blindboy Boatclub (he rules), the origins of their nicknames (do you even know these guys?), another blind-bought Burger Records beauty (Jay is a total Burger fanboy), Steve Albini (R.I.P.), and much more. Tune in and rock out! --- In the early 1970s, legendary collaborator and self-proclaimed non-musician Brian Eno famously designed a deck of 115 cards containing elliptical imperatives to spark in the user creative connections unobtainable through regular modes of work. He called his creation "Oblique Strategies." For the past half century, countless artists and professionals across the globe have benefited from utilizing the oblique strategies technique when attempting to overcome a lull in creative output. In 2024, idiotic, introverted yet somehow still award-winning* hobby podcasters and self-proclaimed Lightnin' Lickers Jay and Deon found themselves uninspired when contemplating the potential theme of their upcoming thirty-seventh episode. Together, they decided... to default back to the alphabet. Because they have a reasonably solid grasp of the alphabet and how it works. They had previously utilized the letters A thru I, so naturally, they went with J. Sonic contributors to the thirty-seventh episode of Lightnin' Licks Radio podcast include: Brothers Johnson, Holland-Dozier-Holland, Lee Moses, Steve Albini, L.L. Cool J, Patience, Prince Paul, De La Soul, Freddie King, Little Walter, Blinboy Boatclub, SHANNON, Cornbroom Jenkins, Mighty Mista Knapps, Lucy Givens, Sesame Street, Huey Lewis & the News, The Jesus Lizard, Jonathon Wolffe, Kenny Gamble, Leon Huff, The Three Degrees, EMINIM, Labi Siffre, Marilyn Manson, Hootie & the Blowfish, Drive Like Jehu, Led Zepplin, Helmet with David Yow, Junk Monkeys, Goo Goo Dolls, Syl Johnson, Howlin' Wolf, Wu-tang Clan, Kanye West with Jay-Z, Hank & Kieth Shocklee with Public Enemy, Charlie Rich, Cypress Hill, The Luniz, R2D2, Jessie Jones, Death Valley Girls, Pete Jolly, Art Pepper, Jessica McQuarter, Herb Alpert, Jerry Moss, Ugly Duckling, DJ Einstein, Jimmie & Vella, Bobby Womack, Dead Prez, J. Cole, Kendrick Lamar, Anthony Fantano, Drake, Timmy Thomas, Post-POTUS George W. Bush, Childish Gambino, Jobriath, David Bowie, Stephen Trask, Vernard Jonson, Peter C. Johnson, Paul Vance & Lee Pockriss, Cody Jinks, Shellac, the Radiolab archives, The Clockers. LLR “J” mixtape: [SIDE A](1) The Jesus Lizard - Mouth Breather (2) Jimmie & Vella - Well (3) Peter C. Johnson - Snowblind (4) J. Cole - No Role Modelz (5) Vernard Johnson - Soul Metamorphosis Medley MegaMix [SIDE B] (1) Pete Jolly - Springs (2) Junk Monkeys - Round and Round (3) Syl Johnson - Is It Because I'm Black (4) Jessie Jones - Sugar Coated (5) Jobriath - World Without You Thanks for listening. Tune in again sometime within a few weeks for another bonus episode. Have a great summer! *former REVIEW magazine best live streaming production --- Send in a voice message: https://podcasters.spotify.com/pod/show/llradio/message

"Les inconnus connus" d'Éric Russon : Mon nom est Siffre, Labi Siffre. L'Union européenne est l'invitée d'honneur de la 53e Foire du Livre de Bruxelles. Cette année, la présence de l'Europe à la Foire du livre prend un relief tout particulier, car la Belgique assure la présidence du Conseil de l'Union européenne. Dans ce cadre, l'écrivain ukrainien Andreï Kourkov en est l'un des invités d'honneur. Son dernier livre paru est « Le Cœur de Kiev » en octobre 2023 chez Liana Levi. C'est sur la Place de l'Europe qu'a eu lieu hier la Cérémonie de Remise du Prix de littérature de l'UE (EUPL) en présence d'Isabelle Wéry (lauréate en 2013), d'Andreï Kourkov, Président du jury et les 13 auteur.ice.s nominé.es. Andreï Kourkov sera aussi en rencontre avec Robert Menasse ce samedi 6 avril à 14h00 sur la Scène Place de l'Europe sur le thème "L'élargissement de l'Europe : quels enjeux ?". Quatre jours après l'invasion de l'Ukraine par la Russie, l'Ukraine a demandé à entrer dans l'Union européenne. Robert Menasse évoque dans son dernier roman (Prix du livre européen) la question de l'élargissement de l'Europe à l'Albanie. Ensemble, ils diront quels défis et quels espoirs traversent la question de l'élargissement de l'Europe, en particulier à l'Ukraine. Andreï Kourkov sera aussi en dédicaces entre le 5 et le 7 avril, à la Gare Maritime et au Shed 2. Le Prix Libre d'écrire destiné aux détenu.e.s de la partie francophone du pays est organisé par la Foire du Livre de Bruxelles (dans le cadre de son programme Objectif Lire) et la CAAP (Coordination des associations actives en prison). Le thème du concours de cette année : "Fractures". La remise du prix a lieu ce vendredi à 18h00 sur la Scène Kiosque. On en parle avec Christine Defoin, Chargée de missions à la Foire du Livre en charge du programme Objectif lire à l'intention des personnes éloignées de la lecture et de l'écriture, Chris Féri, le gagnant de la catégorie "Récit de vie" et le comédien Nicolas Swysen, qui lira un bout de texte du lauréat. Le coup de coeur de Gorian Delpâture : "Au nord de la frontière" de R.J. Ellory (Sonatine). Il sera en rencontre le samedi 6 avril à 12h00 sur la Scène Echappée Livre et en dédicaces entre le vendredi 5 avril et le dimanche 7 avril à la Gare Maritime Stand 325 et le Shed 1 Stand 139. Victor Landis est shérif dans une petite ville de Géorgie. C'est un homme solitaire, qui a voué son existence au travail. Pour toute famille, il ne lui reste que son frère, Frank, avec qui il a partagé une enfance misérable avant qu'une brouille ne les sépare. Lorsque Frank est retrouvé mort dans des circonstances étranges, Victor décide de se rendre dans le comté de Dade, près de la frontière avec le Tennessee, afin d'en savoir plus. Là, il découvre que son frère avait une ex-femme, et une fille, dont il ignorait l'existence. Pour sa nièce, Victor doit tenter d'en savoir plus sur la mort de Frank. Le voilà immergé au coeur des communautés isolées des Appalaches, où la drogue, les trafics en tout genre et la corruption sont omniprésents. Bientôt, sa piste le conduit à une série de meurtres inexpliqués de jeunes adolescentes… Le talk-show culturel de Jérôme Colin. Avec, dès 11h30, La Bagarre dans la Discothèque, un jeu musical complétement décalé où la créativité et la mauvaise foi font loi. À partir de midi, avec une belle bande de chroniqueurs, ils explorent ensemble tous les pans de la culture belge et internationale sans sacralisation, pour découvrir avec simplicité, passion et humour. Merci pour votre écoute Entrez sans Frapper c'est également en direct tous les jours de la semaine de 11h30 à 13h sur www.rtbf.be/lapremiere Retrouvez tous les épisodes de Entrez sans Frapper sur notre plateforme Auvio.be : https://auvio.rtbf.be/emission/8521 Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

"Les inconnus connus" d'Éric Russon : Mon nom est Siffre, Labi Siffre. Le talk-show culturel de Jérôme Colin. Avec, dès 11h30, La Bagarre dans la Discothèque, un jeu musical complétement décalé où la créativité et la mauvaise foi font loi. À partir de midi, avec une belle bande de chroniqueurs, ils explorent ensemble tous les pans de la culture belge et internationale sans sacralisation, pour découvrir avec simplicité, passion et humour. Merci pour votre écoute Entrez sans Frapper c'est également en direct tous les jours de la semaine de 11h30 à 13h sur www.rtbf.be/lapremiere Retrouvez tous les épisodes de Entrez sans Frapper sur notre plateforme Auvio.be : https://auvio.rtbf.be/emission/8521 Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

Wes and Nick recount there time listening to this awesome track as a kid and laughing. Background:On the first day of recording, Eminem and Dr. Dre finished "My Name Is" in an hour.[5]The song contains a sample of Labi Siffre's track "I Got The...". Siffre, who is openly gay, said in a 2012 interview that he refused to clear the sample until sexist and homophobic lyrics were removed from the song: "Dissing the victims of bigotry – women as bitches, homosexuals as faggots – is lazy writing. Diss the bigots not their victims."[6] The original uncensored version of the song with the aforementioned offending lyrics is mistakenly included on the compilation The Source Hip Hop Music Awards 1999. The bass and guitar riff used in the sample was performed by Siffre's session musicians Chas Hodges and Dave Peacock, who later became the duo Chas & Dave.[7] "My Name Is" is written in the key of F major.[8] Famous names referenced in the song include Nine Inch Nails, the Spice Girls, and Pamela Anderson (Pamela Lee).[9]Support the show:

Avant d'être un tube de Madness, cette chanson follement entêtante a été l'un des coups de maître du soyeux Labi Siffre, plus tard samplé par Eminem.

This episode we discuss what Labi Siffre looks like, my return to the closet, my new coworkers, a know it all at the gas station, my failure on clean shows and many more topics. Please share, review, subscribe and comment.

'Take spoil, make style'Duke Ellington feat. Ivie Anderson, Jerry Seinfeld, Arturo Stalteri, Ike Ufomadu, David Byrne, Eugene Mirman, Moondog, Mitch Alborn, Everything But The Girl, David Bowie, Martin Parr, Roddy Doyle, Labi Siffre, Tom Waits, Matt Taibi, Maggie & Terre Roche, John Green, Yoko Kanno, Roddy Frame, Malcom Gladwell, Dinah Lee

Multidisciplinary musician Andrew Cloninger of Wrencove joins Jenn Tully in part 2 of a discussion about his music and some of his favorites.  Part 2 includes:1. Turn Around - Whiskeytown2. Watch Me - Labi SiffreCheck out Andrew's music at https://www.wrencovemusic.com/ and his new book of poetry C6-C7 on Amazon

Golden's Oldies 46, back again with a packed show of great tunes for Baby Boomers et al. The usual features, the Motown Moment, Sounds of Surf and the popular Sixties-Nine together with number 1's from Manhattan Transfer, George McCrae and Prince. Tracks Less Traveled are by Robert Palmer, Phil Collins and Labi Siffre.Playlists on my Facebook page: Golden's Oldies (The Chris Golden Show).

Baritone and composer Roderick Williams and violinist Jennifer Pike - the youngest ever winner of BBC Young Musician of the Year at the time in 2002, aged just 12 - join Cerys Matthews and Jeffrey Boakye to add five more tracks to the playlist. The musical choices take us from one of the most famous tunes in the UK (composer unknown) to a Labi Siffre hit famously sampled by Eminem, via arguably the most recognisable film theme of all time. Labi Siffre makes an appearance to look back on his 1975 classic. Producer Jerome Weatherald Presented, with music direction, by Cerys Matthews and Jeffrey Boakye The five tracks in this week's playlist: God Save the Queen (from 1888 and 1898) In Flanders Fields by Charles Ives and John McCrae Jaws – Main Title by John Williams Violin Sonata No.2 in G Major: III Perpetuum mobile by Maurice Ravel I Got the... by Labi Siffre Other music in this episode: Yeke Yeke by Mory Kante Let's Go Fly a Kite from Mary Poppins God Save the King, performed by Roderick Williams and Le Concert Spirituel Hen Wlad Fy Nhadau (Land of My Fathers) - the National Anthem of Wales Der Vogelfänger bin ich ja from The Magic Flute by Wolfgang Amadeus Mozart Vespers of 1610: Deus in adiutorium meum intende by Claudio Monteverdi Opening of La Valse by Maurice Ravel To Those Who Pass the Borough from Peter Grimes by Benjamin Britten Flight of the Bumblebee by Nikolai Rimsky-Korsakov My Name Is by Eminem

This episode holds a very special place in my heart, not half because my guest is a stellar chap (not even a quarter of why I like this episode) but also because his name is ALSO Peter and I finally get to use a title I've had for longer than I care to admit. I'm going to type it again because it's such a ruddy humdinger of a title and typing it means I have to say it in my head and I get to realise its brilliance all over again.  Peter Rugman is my guest this episode and with him he brings the novelty of the same name and also some riveting contributions to the segments.  We start as we don't mean to go on and dissect a Strypes fanfiction about bearing our children. From there we talk through the preceding days drinking and dancing and our Pokemon trainer history, (Rugman, who Peter will be referred to as from now on to save confusion) critiques and evaluates O' Hanlon's current Pokemon crystal squad) before we crack on into the segments.  We circled around Sonic Seconds and cover ground from Flyte to Labi Siffre to Kath Bloom to Klaatu to Matthew Sweet to The Raspberries and finally Brian Wilson. Coming into land we don't settle the debate between YouTube app vs YouTube in-browser (Rugman's answer will disappoint you) before hurtling headlong into Vox Pas and take off soaring again into Pete's Patent Pending which enjoys a welcome return (if some sub-standard offerings). After gliding through our shared memories of canine cartoons we careen into Have I Got Tunes For You (recommendations on our end involving 'Novelty Island' and 'The Merrymakers' before we engage the landing gear and round out our time together for an Acoustic Corner for the ages. 

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Hi. Our name is Lightnin' Licks Radio podcast. Song titles that are also a person's name is the theme of episode thirty. “Name” that tune. Get it? Join Lickers Jay and Deon as they discuss some of their favorite name songs and the artists responsible for them. Stay healthy out there, Podcast America. Also, check your sump pump(s). Sonic contributors to episode thirty of Lightnin' Lick Radio podcast include:  Lee Moses, Holland-Dozier-Holland, James Todd Smith, Labi Siffre, Seth McFarlane, Shirley Ellis, Lincoln Chase, Charles Calello, Snoop Doggy Dogg, Parliament Funkadelic, Soul Doctors, Carson Williams, Harry and Roberta Salter, Johnny Oliver Orchestra, Tom Kennedy, Iggy Pop, The Prodigy, War Games, Rare Earth, Timbaland, Joyner Lucas, Bob Edwards, BJ Leiderman, Stuart McLean, Garrison Keillor, Tom Newman, Andrew Bird, Gillian Welch, William Prince, The Undertones, The Specials, That Petrol Emotion, Unknown Mortal Orchestra, Nick Lowe, Yellow Magic Orchestra, Sam Coffey and the Iron Lungs, Dwight Twilley Band, Genesis, Drugdealer, Kate Bollinger, Weyes Blood, Masters of Reality, Chris Goss, Kyuss, Little Beaver, Chocolate Clay, Squeeze, Red House Painters, Mark Kozalek, The Cars, Sun Kil Moon, Hot Chocolate, Urge Overkill, George McCrae, Isaac Hayes, Geto Boys, The Clockers, Goldie Hawn, Susan Sarandon. “Name” That Tune mixtape: [SIDE 1] (1) Sam Coffey and the Iron Lungs – Judy (2) Little Beaver – Joey (3) The Undertones – Julie Ocean (4) Unknown Mortal Orchestra – Nadja (5) Squeeze – Vicky Verky [SIDE 2] (1) Drugdealer – Madison (2) Red House Painters – Kavita (3) Hot Chocolate – Emma (4) William Prince – Goldie Hawn (5) Masters of Reality – John Brown [fin.] RECORDED: 04/30/2023  RELEASED 05/07/2023  SPECIAL THANKS: Blue Chair Bay --- Send in a voice message: https://podcasters.spotify.com/pod/show/llradio/message

The Beatles, Cilla Black, Burt Bacharach, Dionne Warwick, Skeeter Davis, Bomb the bass, Aretha, Irma y Carolyn Franklin, Tommy Dorsey, Frank Sinatra, Dinah Washington, Groove Armada, Labi Siffre, Madness, Hannah´s Yard, We All Together, los Abuelos de la Nada y Sui Generis

My guests this month are the incorrigible and irredeemable Emily 7.  We start the episode desperately trying to piece together how we first me which proved impossible. The details of our adventures are foggier than a winters morning by a lake (and all the better for it) so we moved on to the segments once we'd agreed on a chronology of events. After debating the correct pronunciation of street names, we move on to Sonic Seconds and tickle our brains with moments from Gilla Band, Led Zeppelin and Labi Siffre (who we find out was the original Slim Shady).  From there we hear about a potentially lethal run in with sodium hydroxide at my place of work, and a potentially lethal gig for Emily 7 in Mountjoy Prison before Have I Got Tunes For You gives us the chance to shine with recommendations ranging from Guthrie Govan to Curly Bliss to Julee Cruise to Diiv.  Rounding out the evening, Scott wows us with his Clinton impression and then him and Dan disappoints us with their predilection for and proficiency with prank phone calls. 

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

Today on the podcast we are featuring the Cleveland-based artist Molly O'Malley. Learn more about them listen and their track “Golden Hour.” About Molly O'Malley: The Louisville, Kentucky native knows exactly the kind of artist they want to be. Inspired by artists such as Patrick Stump, Elton John, Tove Lo, Labi Siffre, and MGMT, the multi-instrumentalist's unique blend of 90's alternative and sun-soaked dream gaze brings her vulnerability to the forefront. As a songwriter, Molly O'Malley is unafraid in being confessionally transparent against the backdrop of emotionally driven pop-centered melodies. Share your thoughts on the track and artist with a voicemail message at https://anchor.fm/eat-sleep-breathe-music/ Get a full transcript of the show here --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/eat-sleep-breathe-music/message

A cura di Gigi Longo. Musiche: Azar Lawrence, Tribe, Michael White, Labi Siffre, Bobby Hutcherson, Hasting Street Jazz Experience, Maulawi, Doug Hammond, Okyerema Asante featuring Plunky, Andrew Hill.

As broadcast July 28, 2022 with plenty of extra sauce to slather on.  Well, it's late July so we're having a barbecue to start the show tonight with some newer and older funky favorites, but maybe not the most familiar tracks if you're American.  Lots of African, UK, and French influences going on here with some Ethiopians, Russians, and Danes thrown into the jam for flavor.  For our second hour Dan Lloyd once again kicks down the studio door to rock out, with some amazing covers from St. Vincent and The Linda Lindas being big highlights, along with new tunes from Ozzy Osbourne, Dry Cleaning, Cigar, and many others to taste test on a record-setting 13 track throwdown from Gwangju's Rock Maestro.#feelthegravityTracklisting (Start):Part I (00:00)Tom Misch feat De La Soul – It Runs Through MeLabi Siffre – I Got The…William Onyeabor vs. Hot Chip – Atomic BombMr. Jukes feat BJ The Chicago Kid – Angels/Your Love Part II (31:31)Coubo – MyrrhGalimatias – BlowbackFKJ – Better Give U UpCrayon – After The Tone (Duñe remix)DJ Cam – Soulshine Mulatu Astatke & Black Jesus Experience – Mascaram Setaba Part III (60:23)Ozzy Osbourne – Degradation Rules ft Tony IommiPool Kids – Arm's LengthLinda Lindas – Tonite (The Go-Go's cover)St. Vincent – Piggy ft Dave Grohl (Nine Inch Nails cover)THICK – Tell MyselfDry Cleaning – Anna Calls From theArctic Part IV (92:38)Cigar – Legacy of the 7 PliesTeens in Trouble - DecomposingOsees – A Foul FormNo Trigger – No TattoosThe Garden – Orange County Punk Rock LegendBuilt to Spill - SpiderwebPalm – Feathers 

Matt celebrates the wonderful and deeply undervalued legacy of Labi Siffre, a consummate musician, poet, and activist. Thomas then majorly gets on his case about not liking one of his favorite bands of the 21st century. https://www.thinlear.com/ https://www.niagaramoonmusic.com/   Twitter: https://twitter.com/losingmyopinion IG: https://www.facebook.com/losingmyopinion/

Il Canto sung by Luciano Pavarotti and Sail Away by Randy Newman.

Barbara Charone joins Nikki Bedi and Rev. Richard Coles. Barbara has been called the UK's most powerful music PR and has launched the careers of artists including Madonna. She talks about growing up in Chicago, her role in the music industry and also finding time for football. Listener and writer Isabel Wolff got in touch to talk about the day her family saved Harold Wilson from drowning. Labi Siffre shares his Inheritance Tracks: Sail Away by Randy Newman and Il Canto sung by Luciano Pavarotti. Pope Lonergan is a stand-up comedian who spent ten years looking after the elderly. He talks about his experiences as a care worker and why he decided to bring his tour to care homes. Access All Areas by Barbara Charone is out now. Photo credit: Richard Young. I'll Die After Bingo by Pope Lonergan is out now. Producer: Claire Bartleet Editor: Richard Hooper

Two Cow Garage "The Heart and the Crown"Richard Swift "Broken Finger Blues"JD McPherson "Just Around The Corner"Kitty Wells "Guilty Street"Adia Victoria "Devil Is A Lie"Blue Mountain "Bloody 98"Fats Domino "When I Was Young"Memphis Slim "We're Gonna Rock"Wilco "Falling Apart (Right Now)"Elvis Costello & the Roots "Sugar Won't Work"Eilen Jewell "Back to Dallas"Rick Danko "What A Town"Eddie Hinton "Brand New Man"Hot Water Music "Trusty Chords"Joan Shelley "Over and Even"Superchunk "Endless Summer"Joseph "Come On Up To The House"LaVern Baker "Bumble Bee"Little Brother Montgomery "Michigan Water Blues"Bob Dylan "Precious Angel"Labi Siffre "I Got The..."Kendrick Lamar "Auntie Diaries"Hank Crawford "Sister Sadie"Arthur Gunter "Baby Let´s Play House"The 40 Acre Mule "16 Days"Old 97's "Rollerskate Skinny"Nina Simone "Do I Move You?"Koko Taylor "I'd Rather Go Blind"Jack White "If I Die Tomorrow"Drive-By Truckers "Forged In Hell And Heaven Sent"R.E.M. "Swan Swan H"Cory Branan "Imogene"Sister O.M. Terrell "Life Is a Problem"Jkutchma & the Five Fifths "Sundown, Usa"Carl Perkins "Poor Boy Blues"Blue Lu Barker "I'll Give You Some Tomorrow"John Prine "Sweet Revenge"Buddy Guy "Outskirst of Town"Junior Walker & The All Stars "Way Back Home"Wynonie Harris "Mr Blues Is Coming To Town"Billie Holiday Orchestra "Summertime"Lucero "That Much Further West"

El sol que provoca una sonrisa en nuestro amanecer. La brisa, el sol tenue del mejor día de primavera. Nos cambia el cuerpo, el ánimo, cuando la vida se para bien. Y estas voces suenan soleadas para acariciar nuestros oídos y. Nuestras entrañas. Canciones nuevas de Tracy Sirés Neal o Maria Jaume. Rescates oportunos: Merche Corisco, Macy Gray, Labi Siffre o Víctor y Diego. Y voces maestras… Antonio Vega, America, Carole King, James Taylor… DISCO 1 JAMES TAYLOR Sunshine, Sunshine (4) DISCO 2 JOSS STONE Here Comes The Sun (CLO CANCIONES DE HOY) DISCO 3 BOB MARLEY & THE WAILERS Sun Is Shining (14) DISCO 4 MACY GRAY You Are The Sunshine Of My Life (CLO CANCIONES DE HOY) DISCO 5 LABI SIFFRE Watch Me (14) DISCO 6 MERCHE CORISCO Salió el sol (5) DISCO 7 ROBERT JON & THE WRECK Desert Sun (6) DISCO 2 VÍCTOR Y DIEGO Amigo Sol (Cara B Corte último) DISCO 3 CAROLE KING Morning Sun (Cara 1 Corte último) DISCO 10 AMERICA God Of The Sun (1) DISCO 11 MARIA JAUME & Miquel Serra Tombats en es sol (7) DISCO 12 JUKEBOX THE GHOST The Sunl (6) DISCO 13 TOM MISCH Sunshine (CLO CANCIONES DE HOY) DISCO 14 ANTONIO VEGA Océano de sol (1) Escuchar audio

A classic from Labi Siffre. Hip Hop from Robert feat Kool Keith, Rakim and Public Enemy (a track about processed food). A tune from the new SAULT album. Uplifting Gospel House with Soulful Session & Cheryl Lee. A quality remix of Rabii Harnoune & V.B.Kühl by yourboykiran & Chandé. Plus plenty more musical treats.

Was honoured to be invited to open the Dragon Bar in Hastings for the annual Fat Tuesday Festival. On this show, I sample the delights of this event, interview the organisers & people who participates, throw down some serious tracks with my ole mucker Allan "Funki" Francis, then rush back to London to interview David Hill & Alexia Coley who collaborate on a wonderful compilation album from Acid Jazz Records called Soul Revivers: On the Grove. Expect other Heavyweight sounds from: Labi Siffre, Glenn Lewis, Mario Biondi, FKA Twigs and much more...

This week on Rockonteurs, Gary and Guy chat to singer, songwriter, musician and poet Labi Siffre.In a timely and moving conversation, Labi chats openly about his career, his loves and his losses. He's written some incredible songs and many have been covered or sampled from a range of artists that include Madness and Eminem. Rockonteurs is produced by Ben Jones and Ian Callaghan for Gimme Sugar Productions Hosted on Acast. See acast.com/privacy for more information.

This week on Rockonteurs, Gary and Guy chat to singer, songwriter, musician and poet Labi Siffre.In a timely and moving conversation, Labi chats openly about his career, his loves and his losses. He's written some incredible songs and many have been covered or sampled from a range of artists that include Madness and Eminem. Rockonteurs is produced by Ben Jones and Ian Callaghan for Gimme Sugar Productions See acast.com/privacy for privacy and opt-out information.

Clive Anderson and Scottee are joined by Greg James, Florence Odumosu, Labi Siffre and Giles Cooper for an eclectic mix of conversation, music and comedy. With music from This is the Kit and Florence Odumosu.

For this week's #TuesdayTriplePlay, Kevin spotlights a recent release, a re-release from the 70's and an artist he discovered a couple of years ago.  Today's mix incorporates Americana, folk, singer-songwriter.SUSTO – Time in the Sun (2021)Sample Track: “Get Down”Ted Lucas – Ted Lucas (1975)Sample Track: “Baby Where You Are”Labi Siffre – Crying, Laughing, Loving, Lying (1972)Sample Track: “Watch Me”Support the show (https://www.patreon.com/SchizoMusic)

As broadcast January 3, 2022 with plenty of extras for your tank as we start this Year of the Tiger.  Happy New Year to all of you, and it's a shame we had to end 2021 with the unfortunate passing of Betty White, who was not just a brilliant actor and comedian, but a trailblazer in showbusiness becoming a producer at a time when a woman doing such things was unheard of.  A true gem in the morass of humanity, she will be missed.  So, we began both hours with both Katherin Bass & Danno's own unique tributes to the late great Betty White, and then it's two hours of fresh, hot, new stuff, which even at 99 Betty White truly was.#feelthegravityTracklisting:Part I (00:00)Dolly Parton – 9 to 5Waxahatchee – TomorrrowYot Club – Deer IslandTame Impala – No ChoiceKhruangbin feat Leon Bridges – B-Side (Texas Moon vers)Barry Can't Swim – Everything Is Going To Be Alright Part II (30:03)Shygirl – Cleo at Abbey Roadserpentwithfeet – Bless The TelephoneBig Thief – CertaintyKevin Morby – I Hear You CallingAnimal Collective – WalkerSam Fender feat Holly Humberstone – Seventeen Going UnderPorches – Adore You Part III (58:48)Wiz Khalifa & Snoop Dogg - Young, Wild & FreeMiley Cyrus - Midnight SkySarah Kinsley - The KingEmmy Meli - I am WomanChloe Moriondo - Girl on TVCody Fry - Eleanor RigbyCeleste - Strange Part IV (95:47)Tones and I - Cloudy DayUpsahl - Time of My Life88rising & BIBI - The Weekendboy pablo- wachito ricoKaty Perry - ElectricKaty Perry - ResilientKaty Perry - Harleys in Hawaii 

Unsere Radio-Hosts Andrea, Moe und Freezy präsentieren in dieser Podcastausgabe Songs von Hocus Pocus, Labi Siffre und Champion. Check it out!

con Paola De Angelis

On this extended show there is new music from Inkswel, Kaidi Tatham, Posy, Mark de Clive-Lowe, Prequel, The Abstract Eye, Dego, Hector Plimmer, Soul Supreme, Simbad, EDB, Zopelar, Aura Safari, Jaubi, East Coast Love Affair, Patrick Gibin, Javonntte & Hillside. Also a smattering of classics from the likes of Denice Williams, Billy Paul, Stanley Clarke, Labi Siffre and more! Jaubi – Satanic Nafs (Raga Bairagi) (Jaubi & Astigmatic Records) Javonntte - Bossa (Prayers For The Long Life & Lovemonk Records) Stanley Clarke – Silly Putty (Atlantic Records) Aura Safari – Oasis (Hell Yeah Recordings) Denice Williams – Free (CBS Records) Eltron John - …And Then We Realize (Koh-I-Noor Records) Stanley Turrentine – Sister Sanctified (CTI Records) Barbara & Ernie – Play with Fire (Cotillion Records) Airto Fogo – Just Over (Pharaway Sounds) Sauce 81 – Dreamy Planet (Re-Edit) (Ultra-Vybe Inc.) Posy – In My mind feat. Denitia (Bastard Jazz Recordings) Bobby Hutcherson - Mantara (Blue Note Records) Dego – Recovered Memories feat Samii (2000 Black) Kaidi Tatham – Stro Kyat feat Stro Elliot (First Word Records) Inkswel – Astral Love feat Dwight Trible, Planetself & Michele Manzo (Atjazz Record Company) Michael Paul - Reggae Music (Instrumental) (Kalita Records) Billy Paul – East (Be With Records) Mary Love’ Comer - Come Out Of the Sandbox (East Coast Love Affair Mix) (AOTN Records) Zopelar – City Heart (Apron Records) Soul Supreme – Raid (Soul Supreme Records) Hillside – Hidden Port (Album Version) (Claremont 56) East Coast Love Affair with Peter Hunnigale – Date With the Rain (AOTN Records) Patrick Gibin – Flash Point (Ten Lovers Music) EDB – Viridis (Mother Tongue Records) Mark de Clive-Lowe – 37,000 Feet (Mashi Beats) Zopelar – Fire Pit (Apron Records) Samii – Here To Luv Myself (2000 Black) Prequel – If You Give Me Another Chance (Lumberjacks In Hell) The Abstract Eye – Back In Balance (Equilibrium) (Neroli Records) Inkswel – Be The Change feat. Marietta Smith (Atjazz Record Company) Mark de Clive-Lowe – Thanks Given (Mashi Beats) Kaidi Tatham – Could It Be (First Word Records) Hector Plimmer Step (Daz I Kue remix) (Albert’s Favourites) Simbad – Peaceful Revolution feat. Lwandile & Zito Mowa (Freerange Records) EDB – This Can’t Be Life feat. Swaylo (Mother Tongue Records) Labi Siffre – Summer is Coming (Pye International Records)

Wann hast Du verlernt, Dich über Regen und Pfützen zu freuen? Komm, wir tanzen durch den Wolkenbruch. Diese Musikstücke hast Du in der Folge gehört: Händel - "Wassermusik" // Labi Siffre - "Watch me" // Rameau - "Naïs" // Vera Lynn - "We‘ll meet again" // Neil Sekada - "Laughter in the Rain" Wenn Du eine Idee oder einen Wunsch hast, zu welchem Thema Philipp unbedingt eine Playlist zusammenschustern muss, dann schreib ihm: playlist@ndr.de.

Welcome to the Turntable Round Table!Here’s what the crew were into this past week.  Give ‘em a listen and see what you think!Juan’s PickFloating Points, Pharoah Sanders and the London Symphony Orchestra – “Movement 2” from Promises (2021)Shawn’s PickHobex – “Feelin’ A Little Down” from The Payback EP (1996)Kevin’s PickLabi Siffre – “My Song” from Crying Laughing Loving Lying (1972)Craig’s PickLibido – “In My Shadow” from Killing Some Dead Time (1998)Support the show (https://www.patreon.com/SchizoMusic)

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.

¿Cuál es el secreto de la vida? “No hay limón tan amargo que no puedas hacer algo parecido a una limonada” es la frase que le suelta el Doctor K. a Jack para animarle en esta vida. La Serie “This Is Us” va ya por la 5ª temporada y promete, según contrato firmado, la sexta. La historia de la familia Pearson y allegados cerrada por Dan Fogelman, en sus días universitarios compañero de piso de Siddhartha Khosla, líder del grupo Goldspot, y compositor de la banda sonora instrumental. Se podría hacer una decena de programas con las canciones que suenan a lo largo de las distintas temporadas. Por el momento vamos con este primera selección y continuaremos con una segunda próximamente. Aquí suenan Paul Simon, Sam Cooke, Cat Stevens, Sufjan Stevens, Stephen Stilus, la propia Mandy Moore, protagonista de la serie, Damien Rice o Wilco. DISCO 1 SIDDARTHA KHOSLA This Is Us Score Suite (THIS IS US - 20) DISCO 2 SUFJAN STEVENS Death With Dignity (1) DISCO 3 MANDY MOORE Willin’ (THIS IS US - 3) DISCO 4 CAT STEVENS Moonshadow (9) DISCO 5 GENE CLARK Because Of You (THIS IS US - 14) DISCO 6 BLIND FAITH Can’t Find My Way Home (2) DISCO 7 MARIA TAYLOR If Only (THIS IS US - 11) DISCO 8 STEPHEN STILLS Treetop Flyer (10) DISCO 9 SAM COOKE Bring it On Home To Me (15) DISCO 10 JACKSON C. FRANK Blues Run The Game (THIS IS US - 10) DISCO 11 PAUL SIMON You Can Call Me Al ( ) DISCO 12 LABI SIFFRE Watch Me (THIS IS US - 7) DISCO 13 DAMIEN RICE Older Chests (5) DISCO 14 WILCO If I Ever Ws A Child (THIS IS US - 13) Escuchar audio

We're back baby! Season 2 of Something borrowed kicking off with a bang in the form of the lizardy wizard Gecko. Since season 1 Gecko has released a new album from which he treats us to a new song, as well as a gorgeous cover, another creative response to something blue and a song I love so much he played it at my wedding, but which has found new life on Tiktok!I kick off with my old poem Weston Super Nightmare to celebrate the winter beach times that have got me through the past few months, as well as sharing some bits from my new book, borrowing gecko himself for a collab and unleashing a brand new paper-people-esque tongue twister on the world.You can find all things gecko including his brilliant new album at https://geckoofficial.com/or follow him on Twitter and Instagram @geckoofficial and crucially on Tiktok @geckomusic!You can find Labi Siffre's album Crying, Laughing, Loving, Lying on Spotify HereYou can support me on Ko-Fi Hereor buy brand new posters HereAnd you can find me on Twitter or watch an episode live on Instagram Here

This time on Soundcheck, Andrew, Michael and Ben keep things brief by highlighting some of their favorite short (1:30 or less) songs! Don't get short with me, young man! Featured Artists: Negative Approach, Pavement, Black Sabbath, Labi Siffre, The Microphones, The Presidents Of The United States Of America, The Beatles, Radiohead, The Distillers, Dan Reeder, Madvillainy, Madlib, MF DOOM, Bad Religion, Parquet Courts, Folk Implosion, Spacemen 3, Richard Hell and the Voidoids, Mary Lou Lord, Dead Kennedys.

Our Guest, Jennifer Nansubuga Makumbi, use Labi Siffre’s song, Something Inside So Strong to unpick the migrant narratives in her collection of short stories, Manchester Happened (published in the USA as Let’s Tell This Story Properly), we explore the ways in which Sweet Mother by Nico Mbaga contribute to conversations on the treatment of indigenous Ugandan feminism in relation to western feminism in the novel, The First Woman (published in the USA as A Girl Is A Body of Water), and we also draw explicit parallels between Chinua Achebe’s Things Fall Apart and Makumbi’s Kintu.Listen to Jennifer Nansubuga Makumbi’s curated playlist on Spotify, and Deezer. Follow @booksandrhymes on Twitter and Instagram to stay informed on the latest news on classic and contemporary books by writers of African descent. We would love it if you share your thoughts & tag us in your social media posts of this episode. The song you heard in the intro and outro of this podcast is titled: Reset by Meakoom (Meakoom) link to her music is available on Bandcamp Jennifer Nansubuga Makumbi's Bibliography: - Kintu- Manchester Happened (Published as Let's Tell This Story Properly in the USA)- The First Woman - (Published as A Girl Is a Body of Water in the USA) See acast.com/privacy for privacy and opt-out information.

Welcome to this hourlong segment of the Coast Highway Shuffle Show! Featuring songs by Quaker City Night Hawks, Labi Siffre, Just Jinger, Paul Weller, Los Espiritus, Steely Dan, JJ Cale, Semisonic, and a tribute to the late Sylvain Sylvain of the New York Dolls....!

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.

On this show: Soulpartizan radio roadshow head to two parts of the United States that epitomises the Afro American underground music. We head to Detroit, Michigan & Harlem, New York City to sample this unique blend . I have interviews from: DJ STORMING NORMAN, UK born resident spinner/promoter for RED ROOSTER (Harlem) & SUNDAY SERMON. My DJ DELIGHT MIX for this month is young pioneer and producer: REED BOSKEY & local Hero: STEVE "STAY" SPACEY tells me how it is in "The Motor City" The backdrop is filled with glorious sounds from: ART OF NOISE, FKJ, NIGHTMARE on WAX, QUASIMOTO ,COMMON, LABI SIFFRE and much more...

Happy Holidays to you! Our gift to you is a very special episode of the podcast, where we give you a breakdown of the new release Wonder Woman 1984, available in theaters and on HBO Max. We give you the Barbershop Summary(5:54), the good(11:47), the bad(26:50), and the ugly(1:08:14). We are excited to give you our hot takes on a brand new film, and we hope you enjoy. If you haven't yet, make sure you subscribe to the podcast a because we have some big things coming. Credits - Marshall Mathers, Andre Young, Labi Siffre(1999). My Name Is performed by Eminem. On the album The Slim Shady LP. Aftermath records, Interscope Records, and Web Records. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

HAPPY XMAS EVERYONE! We bring series one of What Goes Around to an end in fine style with a BUMPER Christmas cracker of a show featuring some familiar voices from our first year in the pod-o-sphere! What a show it is too, like many a Christmas we start off with a quick trip to A&E. Anne and Eamon reminisce about their experiences over the first 20 episodes and the amazing guests they have had on, then theres an exchange of gifts and warm glow of seasonal joy. From there we welcome a cavalcade of Christmas guests including M Z Harrison who pops in to wish us well and share her 'Solitary.Christmas' project with us. The wonderful Jo Wallace of Ramrock Records is back as our resident Agony Aunt, sharing her wisdom and bearing her soul to listeners in desperate need of advice. The irrepressible Wrongtom returns to help us choose our official What Goes Around Christmas theme. We have an alternative Queens speech from our very own Queen, Karen Arthur. And finally Bibi Lynch brings the show to a climax by offering Anne and Eamon the chance to share their own Phonographic Memories with you at last. We would like to say thank you to each and every listener who helped the show grow so fast this year and we would also like to offer our eternal gratitude to our fabulous roll call of guests: Wrongtom, M Z Harrison, Tim Plester, Hannah Cartwright, Pete Rogers, Marcus Brigstocke, Bibi Lynch, Karen Arthur, Tom Ravenscroft, Miles Chapman, Soweto Kinch, Kieron J Walsh, Jo Wallace, Wendy Erskine, Prof. Sophie Scott, Andy Dawson, Labi Siffre, Craig Charles & Malik Al Nasir. THANK YOU ALL SO MUCH FOR LISTENING TO OUR OLD BLATHER! XXX Theres no playlist this week because it's Christmas and we are lazy. We will be taking a few weeks off now until we are ready to start Series 2! In the meantime go back through the archive and enjoy yourselves. All the playlists for Series 1 can be found on our Spotify profile page: https://open.spotify.com/user/qle316syogabqxq57c6lbji8u The YouTube versions of the playlists can be found here: https://www.youtube.com/channel/UCOS09xm0G7xyruFqNi1Vnuw/playlists

Episode 17 is a real thinker. This week we wrestle with the concept of content you are no longer content with. In the age of cancel culture can we really consign all that art into the dustbin just because the people who made it simply weren't the people we thought they were? And what about when we, the listeners change? If something once rocked your world but now seems hideously out of step with your moral code, should it be discarded or does it hold an important reminder of who you once were and actually signpost how you became who you are? Certainly our guest, award winning songwriter, activist and writer Labi Siffre has a few choice things to say on the subject. Labi shares his Phonographic Memories with us and speaks with true passion and wisdom about art, depression and the human condition. With over 50 years in show business Labi is better placed than most to know what makes a song timeless. He has written worldwide smash hits like 'It must be love' and 'Something inside so strong' and his music has been sampled by Wu Tang Clan, Eminem, Jay Z, Mark Ronson and countless others. This weeks special feature is Make Me Believe, Dr Lauren Redhead tempts us into the rarefied world of modern classical composition. A genre known for its cerebral, challenging and uncompromising sound. But what exactly is modern classical music? And is it even a genre at all? One thing is for sure - you will come out of this episode with plenty of food for thought. Please Like, share and show you care as we take you off to podland. As mentioned in our discussion on music that makes you feel uncomfortable, here is a clip of Glen Danzig inexplicably going through his occult library in the dead of night and talking about all the scary books he pretends to read. There are many questions to be asked about this clip but the chief one must surely be 'Why is there a library of the occult next to a swimming pool?' https://www.youtube.com/watch?v=RERGlWWoIvA&t=64s As far as the music goes this weeks playlist is truly out there! We veer wildly from Madness to the Misfits, from Shoenburg to Siffre. There are several challenging slabs of modern classical composition and a few tracks of questionable taste and decency. We certainly do not condone a lot of this stuff but given the course our conversations took it would be amiss of us to censor any of it. You have been warned. Spotify version (missing 'Cop Killer' and a couple tunes deemed to rad for the service): https://open.spotify.com/playlist/2euFCoui6j6rg5AAoCSIeV YouTube version (with all the gory details and a scant regard for copyright infringement): https://www.youtube.com/playlist?list=PLPPl5xM2fbUoi2CQdrFx1kGoDhSNNOSEH Only the most serious musical adventurers are going to clamber through every track but as always there is gold in them there hills. CONTACT US: WHATGOESPOD@GMAIL.COM Twitter - @WHATGOESPOD Instagram - @WHATGOESPOD BIG UP THE LIKERS RETWEETERS & SHARERS

Oliver continues the Alphabet Soup series and talks about his favorite albums that begin with the letter CIf you’re not already subscribed to Heat Rocks in Apple Podcasts, do it here!

https://lofstrom.s3.eu-central-1.amazonaws.com/Lofstrom+loop+211+(02.05.2020).mp3 link 01. High Contrast — Remind Me 02. Lemon Jelly — The Fruity Track 03. Mel Tormé — Happy Together 04. DJ Shadow feat. Samuel T. Herring — Our Pathetic Age 05. Wax Tailor — Positively Inclined 06. DJ Seinfeld — U 07. Khruangbin — Time (You And I) 08. Labi Siffre — I … Продолжить чтение Lofstrom loop 211

Piste 10 - I Got The...Cette semaine, pour ce 10eme épisode on écoutera I Got the... de Labi Siffre, dont le sample a été utilisé dans les 90's par Eminem dans ''My Name is'' ou par JayZ dans ''Streets is Watching'' . 

Piste 10 - I Got The...Cette semaine, pour ce 10eme épisode on écoutera I Got the... de Labi Siffre, dont le sample a été utilisé dans les 90's par Eminem dans ''My Name is'' ou par JayZ dans ''Streets is Watching'' . 

guests: Dr. Biz, Nina Noir, Tim @ Bathing Culture, Rubberband Man

We continue our Comfort Music series with Oliver and discuss his five favorite comfort albums. We talk about the often overlooked genius of Labi Siffre, the intimacy of Duke Ellington's compositions, and how Tribe helped Oliver get through the tough times.Show Tracklisting: Ella Fitzgerald and Louis Armstrong: April in ParisElla Fitzgerald and Louis Armstrong: Isn't This A Lovely Day?Ella Fitzgerald and Louis Armstrong: Under a Blanket of BluesElla Fitzgerald and Louis Armstrong: The Nearness of YouElla Fitzgerald and Louis Armstrong: Moonlight in VermontDuke Ellington: SolitudeDuke Ellington: Where or WhenDuke Ellington: Willow Weep For MeLabi Siffre: Gimme Some MoreLabi Siffre: I Got  The...Labi Siffre: Cannock ChaseA Tribe Called Quest: Electric RelaxationA Tribe Called Quest: God Lives ThroughA Tribe Called Quest: Award TourFrank Ocean: Pink + WhiteFrank Ocean: NikesFrank Ocean: SeigfriedFrank Ocean: White FerrariHere is the Spotify playlist of as many songs as we can find thereIf you’re not already subscribed to Heat Rocks in Apple Podcasts, do it here!

This episode will focus on playing the original songs of iconic samples that you would recognize from popular hip hop tracks. Here is the list of songs in order, as well as the rap tracks they were sampled in. Click on the track title to be linked to the song on Youtube.1. "Walk on the Wild Side" by Lou Reed    Sampled on "Can I Kick It?" by A Tribe Called Quest2. "Summer in the City" by Quincy Jones    Sampled on "Passing Me By" by The Pharcyde3. "Thank You God" by Darondo    Sampled on "Wrestlemania 20" by Westside Gunn ft. Anderson Paak4. "Is There Any Love?" by Trevor Dandy    Sampled on "Is There Any Love?" by Kid Cudi ft. Wale5. "Groovin'" by Willie Mitchell    Sampled on "Liquid Swords" by GZA ft. RZA6. "I Can't Stand the Rain" by Ann Peebles    Sampled on "The Rain (Supa Dupa Fly)" by Missy Elliot7. "Why Can't We Live Together?" by Timmy Thomas    Sampled on "Hotline Bling" by Drake8. "Juicy Fruit" by Mtume    Sampled on "Juicy" by The Notorious B.I.G.9. "I Got The..." by Labi Siffre     Sampled on "My Name Is" by Eminem10. "The Boss" by James Brown    Sampled on "Get Down" by Nas11. "Way Star" by Rubba    Sampled on "Thuggin'" by Freddie Gibbs12. "The Worst Band in the World" by 10cc    Sampled on "Workinonit" by J DillaIntro song: Bossa Nova by Chaz X

**DJ Groomie's Guilty Pleasures Show Replay On www.traxfm.org. This Week Groomie Featured some Lush Guilty Pleasures Cuts From Vengaboys (Megamix), Darius, Billy Ocean, Dodgy, Michael Jackson, DJ Godfather, N & G, Five, Beyonce, Paul McCartney, Labi Siffre,TV Themes & More. Catch Groomie Every Wednesday From 5PM UK Time UK Time On www.traxfm.org #traxfm #djgroome #guiltypleasures #70s #80s #90s #retropop #banter #party #comedy #cheese Free Trax FM Android App: https://play.google.com/store/apps/details?id=net.traxfmradio.ba.a6bcb The Trax FM Facebook Page : https://www.facebook.com/original103.3/ OnLine Radio Box: http://onlineradiobox.com/uk/trax/?cs=uk.trax Tune In Radio : https://tunein.com/radio/Trax-FM-s225176/ Radio Deck: http://www.radiodeck.com/radio/5a09e2de87e3370db06d44dc Radio.Net: http://traxfmlondon.radio.net/ Stream Radio : http://streema.com/radios/Trax_FM..The_Originals Live Online Radio: http://www.liveonlineradio.net/english/trax-fm-103-3.htm **

**DJ Groomie’s Guilty Pleasures Show Replay On www.traxfm.org. This Week Groomie Featured some Lush Guilty Pleasures Cuts From Vengaboys (Megamix), Darius, Billy Ocean, Dodgy, Michael Jackson, DJ Godfather, N & G, Five, Beyonce, Paul McCartney, Labi Siffre,TV Themes & More. Catch Groomie Every Wednesday From 5PM UK Time UK Time On www.traxfm.org #traxfm #djgroome #guiltypleasures #70s #80s #90s #retropop #banter #party #comedy #cheese Free Trax FM Android App: https://play.google.com/store/apps/details?id=net.traxfmradio.ba.a6bcb The Trax FM Facebook Page : https://www.facebook.com/original103.3/ OnLine Radio Box: http://onlineradiobox.com/uk/trax/?cs=uk.trax Tune In Radio : https://tunein.com/radio/Trax-FM-s225176/ Radio Deck: http://www.radiodeck.com/radio/5a09e2de87e3370db06d44dc Radio.Net: http://traxfmlondon.radio.net/ Stream Radio : http://streema.com/radios/Trax_FM..The_Originals Live Online Radio: http://www.liveonlineradio.net/english/trax-fm-103-3.htm **

Ook dit keer vol met herinneringen voor de vuist weg, zaken van hoofd en hart, serie- en boekentips en natuurlijk veel muziek uit de oude en nieuwe doos met uit de platenkast van Mouna, Francis en gast presentator Abel de Lange: Bonnie Raitt, Bobby Womack, Labi Siffre, The Isley Brothers e.v.a.

KLS EP 283: 3.5.20 Welcome to #Spotify Subscribe On Spotify. Kortney talks about the Knicks v. Spike Lee, Super Tuesday giving Bernie that work, and discovering Labi Siffre. Enjoy the Podcast, Please Share, and Subscribe on iTunes, Stitcher, Google Play, and Tune in Radio. You can add/subscribe to the feed manually: https://www.blubrry.com/thelastshowpodcast/ Kortney Shane Williams… Read more The post Kortney’s Last Show, EP 283: NO SPIKE LEE SLANDER, Bernie Sanders, Coronavirus, and Labi Siffre appeared first on .

Le 19 décembre, et en marge de la sortie de la compilation Shaolin Soul Plays Motown, on a fêté toute la journée à l’antenne les 60 ans du label Motown. Le journaliste et écrivain Olivier Cachin, qui… See acast.com/privacy for privacy and opt-out information.

Samples - Clean LYRICS01. Forever YoungAlphaville02. Young Forever Ft. Mr HudsonJay z03. I Love YouEast of Underground04. Alot21 Savage05. I Got TheLabi Siffre06. My Name IsEminem07. The MessageNas08. Lucid DreamJuice Wrld09. SenoritaDiddy10. You Stay Ft. JeremihDJ Khaled11. Ms JacksonOutkast12. Just Us Ft. SZADJ Khaled13. Maria MariaSantana14. Wild Thoughts Ft RihannaDJ Khaled15. What You Want Ft. TotalMase16. How You Want It Ft. King CombsTeyana Taylor17. I Love Your SmileShanice18. UndecidedChris Brown19. Oh HoneyDelegation20. Aint Got No Haters Ft. Too ShortIce Cube21. Vem Correndo Ft. Luiz BonfaSaudadeStan Getz22. Runnin Ft. Jay DeePharcyde23. TechnovaTowa Tei24. Find A WayTribe Called Quest25. TodayTom Scott26. They Reminisce Over You Ft. CL SmoothPete Rock27. More Bounce To The OunceZapp28. You Gots To ChillEPMD29. Hollywood SwingingKool & The Gang30. So GoodMase31. CandyCameo32. All Bout U2PacListen to More viawww.djrapmarz.com

On this episode of THE POD, my mother calls in to give me flowers for coming out as a Podcaster. I delve in on how I became successful on YouTube and how it truly benefited/tormented me to this day. Episode 5 - "Lost Opportunity"Tracks:Die Young - Kesha, Trap Queen - Fetty Wap, Strange Fruit - Nina Simone, I Got The... - Labi Siffre, Why Can't We Live Together - Timmy Thomas, Ain't No Love In The Heart Of The City - Bobby "Blue" Bland, The Left - Yeek 

FRIDAYS CRUCIAL CUTS 11AM-1PM EST 8AM-11AM PDT4PM-5PM BSTBombshell Radio​Earl Crown​ Crucial Cuts an award-winning, syndicated radio show that originates from Loyola University Radio in Baltimore. Earl Crown plays selections from his personal record collection, including the best of #soul, #garage, #reggae, #rocksteady, #punk, #classicrock, #glam, #funk, #Afrobeat, #jazz, and more. Repeats Saturdays 1am -3am EST 10pm-12pm PDT— with Earl Crown.Featuring :The Cake, Chesterfield Kings, Norma Tanega, Oscar Brown, Jr., The Pretenders, The Clash, The Stranglers, X-Ray Spex, Chromatics New Order, Little Dragon, The Slits, Tubeway Army, Talking Heads, Labi Siffre, Eddie Hazel, Dr. John, Amy Winehuse, 13th Floor Elevators, Abbey Lincoln, and The Rolling Stones

It's another 'Layed Out Vibes' here on Mix 106 tonight and once again Rabbit has put together a mix of jazzy beats , hip-hop and soulful sounds! Blowing up the show with Bang Bang by Pete Cannon and throwing more of his masterful re-mix work in with brand new smooth chill-hop and old time American Soul Classics. Ya know ya can't turn away so tune in and play on www.radiomix106.com Friday 10pm Local (9pm UK).

Vandaag met fijne muziek van Shirley Ellis, Labi Siffre, The Brand New Heavies, Us3, Van Morrison, Leon Bridges, Alton Ellis en Buffalo Springfield.

From the Rap Olympics to Labi Siffre beats, when Andre Young met Marshall Mathers, hip-hop changed forever.

L'épisode où Rémi et François comblent le vide des vacances avec une sélection de fort bon gout (enfin pour nous.Episode artisanal, avec des vrais blancs et des transitions foireuses ^^ NTM - Freestyle (1991 sur Authentik) Beastie Boys - Three MC's and One DJ (1998 sur Hello Nasty) Molotov - Polkas Palabras (1999 sur Apocalypshit) GØGGS - Pre Strike Sweep (2018 sur l'album qui sortira en septembre) Fuzz - Rat Race (2015 sur II) Jay Reatard - Faking It (2009 sur Watch Me Fall) Bass Drum of Death - Black Don't Glow (2014 sur Rip This) Uncle Acid and the Deadbeats - Curse in the Trees (2011 sur Blood Lust (2ème Hollywood Porn Stars - Dance Rocket (2004 sur Year Of The Tiger) Bloodhound Gang - The Ballad Of Chasey Lain (1999 sur Hooray for Boobies) Ron Gallo - Young Lady, You're Scaring Me (2017 sur Heavy Meta) The Limiñanas - Shadow People (feat. Emmanuelle Seigner) (2018 sur Shadow People) Porno for Pyros - Tahitian Moon (1996 sur Good God's Urge) TTC - Dans Le Club (feat Stomy Bugsy) (2004 sur Bâtards sensibles) Ultra Vomit - Boulangerie Pâtisserie (2008 sur Objectif : Thunes) Vietnam - Roadhouse Blues (2014 sur A Psych Tribute To The Doors) Nirvana - Turnaround (1992 sur Incesticide) 1- Descendents - All! (1987 sur All)2- Descendents - No! ALL! (1987 sur All) Labi Siffre - I Got The... (1975 sur Remember My Song) Habillage sonore : Manu Chao - Clandestino (1998 sur Clandestino) Les liens des festivals que nous avons évoqué :La route du rockFuzz Club Eindhoven 2018La Fête de l'Humanité Correctifs (nombreux ^^) :L'album de Molotov est Apocalypshit et non ¿Dónde Jugarán las Niñas? comme je l'ai ditDescendents sont de L.A et pas de N.Y ..Labi Siffre est toujours vivant et il doit bien vivre vu les samples a partir de ses titres et la chanson où est samplé son morceau

This week we find the tine to take a quick break from the football and focus on Blue Note Records (although not their amazing jazz legacy) for the first of 2 episodes dedicated to the incredible comp albums they have released since the label was relaunched in 1985. As such we feature music from Bobbi Humphrey, Donald Byrd, Norman Conners featuring Freddie Hubbard, Groove Holmes, Lou Donaldson, Ruben Wilson, Banbara, Labi Siffre, Marlena Shaw, Sheree Brown, Natalie Cole & Maze. You can find us at: Facebook - @creamyshouse Skype - @CreamysHouse Drop us a tweet or email us at mark@choa.co.uk. We would love to hear from listeners, wherever you are and in particular in countries outside of England. Have a beautiful week and ‘Keep It On The One’ Love, Creamy xxx    

Tracklist: Parliament "Let's Play House" The Whole Darn Family "Seven Minutes of Funk" Sylvia Striplin "You Can't Turn Me Away" Freddie Scott "You Got What I Need" The Charmels "As Long As I've Got You" The Heath Brothers "Smilin' Billy Suite Pt. II" James Brown "Funky Drummer" Leon Haywood "I Want'a Do Something Freaky To You" Ohio Players "Funky Worm" Isaac Hayes "A Few More Kisses To Go" Tarika Blue "Dreamflower" The Cyrkle "The Visit" Tom Scott & The California Dreamers "Today" Stan Getz feat. Luiz Bonfa "Saudade Vem Correndo" Labi Siffre "My Song" Esther Phillips "That's Alright With Me"

On this episode we talk a lot about telephones. Also shampoo commercials, Wall-E, and two really aweome songs: an old one by Labi Siffre and a newer one from Syd.

Stem vanavond om 21:00 uur af op 40UP Radio voor een nieuwe uitzending van Just Bee Radio met Beatrice van der Poel. Muziek van Little Walter, Gregory Porter, Salvador Sobral, Lianne La Havas, Bernard Allison, Labi Siffre en Beatrice zelf.

Rory Bremner joins Aasmah Mir and the Rev. Richard Coles, with his impressions of Trump and JP, among many others. He explains what he enjoys about the wordplay of translating operas and, as Scotland play today in the Six Nations, he recalls how his love of the game led to early impressions of sports commentators. As one fifth of The Saturdays Una Healy had success with 13 top ten hits. The singer/songwriter has now returned to the country/folk music roots of her Irish childhood. Inspired by the Thank You slot Saturday Live listener Corinna Dawson contacted the programme to tell us about her idea for the Living Eulogy Box. JP Devlin meets Ray Allen, creator of Some Mothers Do 'Ave 'Em, to find out how he came up with the comedy character Frank Spencer. Consumer historian Robert Opie is arguably the King of Collectors with half a million items. He is now celebrating 250 years of the jigsaw puzzle, with an exhibition. Film director Gurinder Chadha shares her Inheritance Tracks: O Janewalo Jayo Na from the 1957 film Mother India, performed by Lata Mangeshkar; and Something Inside So Strong by Labi Siffre. RORY BREMNER: PARTLY POLITICAL UK Tour 2017 - runs until June 2017 Una Healy's new single Stay My Love, featuring Sam Palladio from her solo album The Waiting Game is out now. Corinna Dawson's website is the Living Eulogy Box. Gurinder Chadha's film Viceroy's House is in cinemas from 3 March. The Jigsaw Exhibition, 250 Years of Jigsaws - is at the Museum of Brands, Packaging and Advertising and runs until the end of April. Producer: Louise Corley Editor: Eleanor Garland.

Film director Gurinder Chadha chose 'O Janewalo Jayo Na' from the 1957 film 'Mother India', performed by Lata Mangeshkar and 'Something Inside So Strong' by Labi Siffre.

WE ARE BACK with a brand new episode!!! This week we have a special guest, Afro-Jazz Artist, Author and Professor, Chris Washburne! Featuring music by John Coltrane, Hall and Oates, Labi Siffre, and of course, Chris Washburne & The Syotos Band! We hope you like it!! SUBSCRIBE: iTunes TWITTER: @MusicFirstPcast FACEBOOK: Music First Podcast INSTAGRAM: MusicFirstPodcast EMAIL: MusicFirstPodcast@gmail.com

TV weather presenter Sian Lloyd chooses 'Can Walter' by Meic Stevens and 'Something Inside So Strong' by Labi Siffre.

The next stop on the Saturday Live summer road trip is the beautiful seaside town of Tenby in Pembrokeshire. It's the Long Course Weekend and Aasmah Mir and Richard Coles will be celebrating extreme sports, adrenaline and music, live from Wales. Wrexham lad Tim Vincent first hit our screens as the youngest ever male Blue Peter presenter, which saw him flying a fighter jet, running the New York Marathon and carrying a large tree around with 3 other paras. He's spent the last 11 years as the roving reporter on NBC's flagship entertainment programme, Access Hollywood. American country singer Stella Parton will be with us to talk about her new album 'Mountain Songbird: A Sister's Tribute' - a collection of re-recorded songs previously made famous by her sister, Dolly Parton. A mix of orienteering, mountaineering and swimming with tombstoning thrown in, the extreme sport of coasteering is said to originate in Pembrokeshire. Local guide Ollie Davies talks about his passion for this exhilarating pastime. As a scientist, adventurer and educator, Huw James is well versed in adrenaline. He uses his enthusiasm for extreme sports to teach science, in between keeping the night sky dark in the Brecon Beacons. O DUO are that rare thing - a duo of percussionists. After training at the Royal College of Music an Edinburgh festival novelty act has led to 15 years of percussive duets. Owen Gunnel and Oliver Cox join us on Saturday Live before their gig at the Gower festival. JP meets local hero and "Mr Tenby", Laurie Dale, and we'll have thank yous live from our studio audience. And the Inheritance Tracks of TV Weather presenter Sian Lloyd who chooses Can Walter by Meic Stevens and Something Inside So Strong by Labi Siffre. Producer: Corinna Jones Editor: Karen Dalziel.