Podcasts about Springfields

In this on-the-road episode of the No Lowballers Podcast, hosts Logan Metesh of High Caliber History and Allen Forkner of GunBroker.com travel to Louisiana for LeverFest and set up shop at the Gun Talk Studios. They're joined by Chris Ellis, Vice President of Marketing at Timney Triggers, for a wide-ranging conversation about the evolution of aftermarket triggers, the legacy of Timney, and why accuracy matters more than ever. Chris takes us back to the founding of Timney Triggers in 1946 and explains how the company helped transform old surplus service rifles into capable hunting firearms through affordable, drop-in trigger upgrades. From humble beginnings improving Mausers and Springfields to becoming the go-to name in precision triggers for ARs, shotguns, lever guns, and more, Timney's journey mirrors the rise of America's DIY gun culture. With LeverFest as the backdrop, the group also discusses the growing popularity of tactical lever guns, how user feedback drives Timney's product development, and what it means to bring consistency and customization to every platform—from Glocks to Mosins. Key Topics Discussed: The Origin of Timney Triggers:Chris walks through the early post-WWII days when returning GIs wanted to make their surplus rifles accurate enough for deer season—and how Timney delivered with the first mass-market drop-in trigger. Drop-In Triggers and Accessibility:No gunsmith? No problem. Learn how Timney's plug-and-play approach opened up custom triggers to the average shooter and laid the groundwork for today's home-built precision rifles. The Rise of the AR and the Modern Era:Chris explains how the early 2000s AR boom pushed Timney to innovate again with cassette-style drop-in AR triggers, expanding their reach beyond bolt guns and into every major firearm platform. Tactical Lever Guns and the Modern Market:From Marlin's Dark Series to Smith & Wesson's new stealth builds, lever guns are getting the modern treatment—and Timney is right in the middle of the movement with upgraded triggers designed for fast-paced precision. Listening to the Shooter Community:Whether it's 10/22s, Glocks, shotguns, or even Mosin-Nagants, Timney's catalog of triggers has been shaped by shooter feedback. If it's got a trigger, they're looking at it. On-the-Range Comparisons:At LeverFest, Logan and Allen shoot both factory and Timney-equipped lever guns side-by-side, revealing how much of a difference a great trigger can make in real time. Follow us on Instagram and Facebook for updates, behind-the-scenes content, and more. New episodes drop every Thursday. Follow us on Instagram, Facebook and Rumble. New episodes release every Thursday. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this on-the-road episode of the No Lowballers Podcast, hosts Logan Metesh of High Caliber History and Allen Forkner of GunBroker.com travel to Louisiana for LeverFest and set up shop at the Gun Talk Studios. They're joined by Chris Ellis, Vice President of Marketing at Timney Triggers, for a wide-ranging conversation about the evolution of aftermarket triggers, the legacy of Timney, and why accuracy matters more than ever.Chris takes us back to the founding of Timney Triggers in 1946 and explains how the company helped transform old surplus service rifles into capable hunting firearms through affordable, drop-in trigger upgrades. From humble beginnings improving Mausers and Springfields to becoming the go-to name in precision triggers for ARs, shotguns, lever guns, and more, Timney's journey mirrors the rise of America's DIY gun culture.With LeverFest as the backdrop, the group also discusses the growing popularity of tactical lever guns, how user feedback drives Timney's product development, and what it means to bring consistency and customization to every platform—from Glocks to Mosins.Key Topics Discussed:The Origin of Timney Triggers:Chris walks through the early post-WWII days when returning GIs wanted to make their surplus rifles accurate enough for deer season—and how Timney delivered with the first mass-market drop-in trigger.Drop-In Triggers and Accessibility:No gunsmith? No problem. Learn how Timney's plug-and-play approach opened up custom triggers to the average shooter and laid the groundwork for today's home-built precision rifles.The Rise of the AR and the Modern Era:Chris explains how the early 2000s AR boom pushed Timney to innovate again with cassette-style drop-in AR triggers, expanding their reach beyond bolt guns and into every major firearm platform.Tactical Lever Guns and the Modern Market:From Marlin's Dark Series to Smith & Wesson's new stealth builds, lever guns are getting the modern treatment—and Timney is right in the middle of the movement with upgraded triggers designed for fast-paced precision.Listening to the Shooter Community:Whether it's 10/22s, Glocks, shotguns, or even Mosin-Nagants, Timney's catalog of triggers has been shaped by shooter feedback. If it's got a trigger, they're looking at it.On-the-Range Comparisons:At LeverFest, Logan and Allen shoot both factory and Timney-equipped lever guns side-by-side, revealing how much of a difference a great trigger can make in real time.Follow us on Instagram and Facebook for updates, behind-the-scenes content, and more. New episodes drop every Thursday.Follow us on Instagram, Facebook and Rumble. New episodes release every Thursday. 

**It's The Relax With Rendell Show Replay On Trax FM & Rendell Radio. Rendell Featured 60's/70's/Easy Listening Cuts From Roy Orbison, Unit 4 2, Springfields, Spinners, Scaffold, Ricky Nelson, Platers, Marvin Gaye, Long John Baldry, Marcels, Little Richard, Lesley Gore, Johnny Cymbal, Jim Reeves, Jan & Dean, Gary Puckett & The Union Gap, Four Pennies, Equals, Eddie Cochran, Chiffons, Brenton Wood, Bobby Vee, The Beatles, Archies & More. #originalpirates #60s #70s #retro #popmusic #easylistening Catch Rendell Every Saturday From 8PM UK Time The Stations: Trax FM & Rendell Radio Listen Live Here Via The Trax FM Player: chat.traxfm.org/player/index.html Mixcloud LIVE :mixcloud.com/live/traxfm Free Trax FM Android App: play.google.com/store/apps/det...mradio.ba.a6bcb The Trax FM Facebook Page : https://www.facebook.com/profile.php?id=100092342916738 Trax FM Live On Hear This: hearthis.at/k8bdngt4/live Tunerr: tunerr.co/radio/Trax-FM Radio Garden: Trax FM Link: http://radio.garden/listen/trax-fm/IEnsCj55 OnLine Radio Box: onlineradiobox.com/uk/trax/?cs...cs=uk.traxRadio Radio Deck: radiodeck.com/radio/5a09e2de87...7e3370db06d44dc Radio.Net: traxfmlondon.radio.net Stream Radio : streema.com/radios/Trax_FM..The_Originals Live Online Radio: liveonlineradio.net/english/tr...ax-fm-103-3.htm **

Homer becomes the Mayor of New Springfield driving away the residents despite ample parking and daily Who concerts. Come for one of the best deleted scenes of all time and Rob's tone-deaf remarks about 9/11. [Synopsis at 9:50] NEXT UP: S29E09 Barthood

UpNorthNews with Pat Kreitlow airs on several stations across the Civic Media radio network, Monday through Friday from 6-8 am. Subscribe to the podcast to be sure not to miss out on a single episode! To learn more about the show and all of the programming across the Civic Media network, head over to https://civicmedia.us/shows to see the entire broadcast line up. Follow the show on Facebook, X, and Instagram to keep up with Pat & the show. UpNorthNews with Pat Kreitlow airs on several stations across the Civic Media radio network, Monday through Friday from 6-8 am. Subscribe to the podcast to be sure not to miss out on a single episode! To learn more about the show and all of the programming across the Civic Media network, head over to https://civicmedia.us/shows to see the entire broadcast line up. Follow the show on Facebook, X, and Instagram to keep up with Pat & the show. Guests: Christina Lorey, Cherita Booker

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HighlightsEEEEEEE!  I am so excited to share this episode with you, because it includes the voices of many inspiring, wise and wonderful Nurses and Nurse Coaches from all over the country.From Alaska to Florida, to Massachusetts to California... Nurses were represented from all over the country and the vibes were high!There was SO much positive energy throughout every second and we were treated like the queens and kings we are, with nutritious, scrumptious healing meals, energetic and knowledgeable speakers and were privy to so many heart opening experiences throughout each day!It was an experience that is still humming in my heart and soul.Special THANKS to the following Nurses for agreeing to be interviewed for our podcast!Donna Leno Gordon, Brooklyn, NYJackie Hernandez, Miami, FLKristy Meyer, Eugene, ORChristy Cook, Bemidji, MNAngie Maguire, Oak Park, ILAmie Jones, Council Bluffs, IARachel Horne, Cincinnati, OHMandy Feliciano, Springfields, MALana Mikhaylova, Fort Lauderdale, FLAlexandra, Morales, Miami, FLChristine Ross, Eagle River, AKChelsea McGee, Detroit, MILisa Ostler, Olympia, WAMarilyn Torres-Sierra, Phoenix, AZConstance Powers, Phoenix, AZRebecca Meyer, Grants, NMChristina Jean-Louis, Miami, FLBincy Reginold, Chicago, ILTyrone Smith, Shreveport, LAArneka Smith, Shreveport, LAIntegrative Nurse Coach Academy I Integr Our mission is to provide nurses with a global community for learning, networking, and reconnecting Integrative Nurse Coach Academy I Integr Our mission is to provide nurses with a global community for learning, networking, and reconnecting Thank you for listening. We LOVE Nurses! Please leave us a 5 star rating and a positive comment about an episode you love! Follow Integrative Nurse Coach Academy on Facebook, Instagram, LinkedIn Learn more about our programs at the Integrative Nurse Coach Academy Schedule a free call with one of our awesome admissions specialists here>> and get your questions answered!

Artist Gawain Hewitt is this week's Mental Health Monday Podcast guest. Gawain works in art and music, and leads music sessions at several psychiatric hospitals, including Royal Bethlem, Springfields and Lavender Walk. He discusses how music can create pathways for people to explore their feelings, and find connections when words are not enough. He also designs and builds instruments, and is currently working on two commissions to make music more accessible to disabled people. He's won a series of awards, including the Royal Philharmonic Society Impact Award and the Mastercard Brits Trailblazer Award for his work. You can find out more about his projects on his website or watch his Tedx Talk Gawain also discusses his own mental health journey, which includes a breakdown, an ADHD diagnosis, and an ongoing psychotherapy process. Follow Gawain on Linkedin. Host Mick Coyle is on X/Twitter, Instagram, Linkedin, and get video previews of each week's guests on the MHM Facebook Group. TOPICS: Music, therapy, breakdown, ADHD, art, instruments, work pressure, spirituality, mental health podcast

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Paul Chastain in conmversation with David Eastaugh https://thesmallsquare.bandcamp.com/album/ours-others https://farmtolabelrecords.com/artists/the-small-square/ Velvet Crush is an American band from Providence, that achieved prominence in indie-rock circles in the early- and mid-1990s. The band broke up in 1996 but re-formed in 1998 and have continued to record, releasing their most recent album in 2004. Vocalist/bassist Paul Chastain and drummer Ric Menck are the band's core members, having previously worked together as Choo Choo Train, Bag-O-Shells, and The Springfields, and they share singing and songwriting duties.  

In this episode we welcome friend of the podcast and stand up comedian Buffalo's Own Don Johnson to the episode. We also find out what happens when Springfield has to adopt a new area code and bring The Who to town. We also discuss: - An attempt to land a sponsorship - Construction criticism - Turning down world tours from well known acts - More AI Simpson's art - We review the Moe's Tavern Pop Up - The attempts made to censor this episode - Poking jokes at other football teams - Anniversary celebration - Disappointment towards ignored assignments leads to new assignments for redemption We had a few technical mishaps during this episode so our apologies ahead of time but it still came together pretty well if we do say so. We hope that you join us!

Back into the countdown this week with one of Mackey's favorite all time opens. The Simpsons celebrate their 250th overall episode with a bang as the Who guests and the town is torn in two. We talk The Who, The Rifleman, Pac Man Fever and a very important question for you the listener. Plus we have a sponsor now! (Some how?) Join us as we continue to countdown the Top 100 Simpsons episodes of all time on Smells Like Otto's Jacket. Twitter - @smellsj Instagram - @simpsons_ottosjacket

This Week Tom's very excited about the change of Dial Codes that happened in the UK in the mid 90's and Mark is bringing Tandy back from the place where retail electronic shops went to die. Now, whatever happened to Pete Townshend's book? --- "A Tale of Two Springfields" is the second episode of the twelfth season of the American animated television series The Simpsons, and the 250th episode of the series overall in both broadcast and production order. It originally aired on the Fox network in the United States on November 5, 2000. In the episode, Homer discovers that Springfield has two different area codes and ends up leading a revolt that splits the town in two. The episode was written by John Swartzwelder and directed by Shaun Cashman and guest starred the Who. The episode was inspired by Don Payne, based on the area where his mother lived, where one side of town would spread rumors about the other side. Larry Doyle then pitched that the two sides of Springfield would be divided because of a telephone area code. The episode features cultural references to the Who and the Norman Rockwell painting Freedom of Speech, and has received positive reviews from critics. In November 2004, Channel 4 chose this episode to be the first episode to be broadcast on the channel, having taken the terrestrial rights to air the show from BBC Two.

The cleaning industry is the largest growing in the world. How can you successfully leverage this opportunity? In today's episode, we speak to Dushun Hogan, the president of Cleaning General Janitorial Services in Springfields. Cleaning General focuses on cleaning commercial facilities, carpet cleaning and VCT floor care. In this session, Dushun shares his God-driven journey into business at 25 years, making $10 from his first contract, some challenges in the floor care business, tips for attracting a wide customer base and smart ways to manage our customers. Besides, he dives deep into treating janitors respectfully and smart ways to manage our customers. How do you get your customers to clean up, yet they don't know they are doing it? Tune into this episode for more hacks to navigate through the cleaning industry! Key Highlights[0012] About Dushun Hogan [01:12] Dushun's story growing up [02:39] What General Cleaning provides [03:20] Dushun's journey from employment to his business in the cleaning industry [05:20] His first contract [07:11] Challenges in the floor care business [11:06] Hogan developed an entrepreneurial spirit at an early age [12:51] How he got to expand his business and attract more customers [18:33] What is most exciting about the cleaning industry [22:25] Smart ways to manage customers in the cleaning industry [30:58] Disrespect in the janitorial cleaning industry [33:11] Building trust with your staff [35:46] Working hours for General Cleaning [39:30] Establishing a routine to figure out how long it takes to do efficient cleaning [43:43] Hogan's specialization in the cleaning industry [45:43] Are they hiring? [46:02] To connect with Dushun Hogan Notable Quotes●     If you push buttons on what you want to get in life, you never really know what's on the other side of your door. ●     Never be afraid of those no's because you'll get tons of them, but you always look for that on Yes. ●     The process is just like having a child. Before they can walk, they have to crawl. To get there, you have to do a lot of crawling. ●     Providing garbage cans is one of the best ways that you can manage your customers, ●     Treat the janitor just the same way you would treat the CEO. ●     One thing when it comes to hiring, I love to see a person's true character. Because you're going to be inside a building by yourself or with the team. I have to make sure that you know outside of you want to interview spill, have a good heart and that your character that if nobody were around you would do the right thing, ●     One bad apple spoils a bunch… I get rid of the naysayers, and I focus on Solely those who come in with a positive attitude and are ready to get the job done. ●     You cannot give your best when it comes to cleaning as well as being effective if you want to give your staff four or five hours to get the job done. ResourcesTo connect with Dushun Hogan Website:https://www.yelp.com/biz/cleaning-general-janitorial-services-springfield ( https://www.yelp.com/biz/cleaning-general-janitorial-services-springfield) LinkedInhttps://www.linkedin.com/in/dushun-hogan-17215b93 (: https://www.linkedin.com/in/dushun-hogan-17215b93) Contact: 2175024108   Tune in to our podcast, subscribe and leave a review https://podcasts.apple.com/us/podcast/the-housekeepers-podcast/id1565838500 (Apple podcast)

On This Episode Of MattieC's Sports 4 You & Me, Welterweight Boxer Jalen Renaud A Tough Humble Fighter Out Springfield MA Goes Into The Ring April 2nd 2022 @Connecticut Convention Center In Hartford CT For CES Boxing Promotions. Jalen Is A Tough Fighter & Is Only Getting Tougher & Better. Check This Episode Out It's A Good One!!!!

A show for all the ho's in every area code

Welcome to the We Like Shooting Show, episode 425 Tonight we'll talk about Alec Baldwin, Seekins adjustable gas block, Springfields new whatever pistol and some weird charging handle… and more! COMPLETE SHOW NOTES HERE

Welcome to the We Like Shooting Show, episode 425 Tonight we'll talk about Alec Baldwin, Seekins adjustable gas block, Springfields new whatever pistol and some weird charging handle… and more! COMPLETE SHOW NOTES HERE

Songwriter, singer and producer Mike Hurst talks about key tracks from his career. We start with his time in The Springfields, cover his solo work and key productions with Marc Bolan, Cat Stevens, The Move and more. Mike Hurst: In My Time – Recordings, Productions and Songs 1962-1985 is available from Cherry Red Records. The post Mike Hurst appeared first on The Strange Brew.

Music & Memories (Sep 61) Radio Northsea International (online Sat 7pm UK time) music from: Elvis Presley, Duane Eddy, Bobby Vee, Petula Clark, Lonnie Donegan, Billy Fury, Shirley Bassey, Sam Cooke, John Leyton, The Springfields and more..........

Eine weitere Folge von dem Podcast, den man hört, wenn der Fernseher kaputt ist! Als Springfield in zwei verschiedene Vorwahlbezirke unterteilt wird, kann und will Homer das nicht akzeptieren. Als darüber ein stadtweiter Konflikt ausbricht, wird der Bezirk mit der neuen Vorwahl zu einer eigenen Stadt ausgerufen...und Homer ist der Bürgermeister. Das geht selbstverständlich nicht lange gut. Hört schon die Folge, oder seid ihr etwa dümmer als ein Affe? Viel Spaß und vielen Dank an Natalie für den Folgenwunsch!

Dave Goddard is a Fellow at NNL and a technical specialist in nuclear fuel manufacturing with over 25 years of experience supporting plants and fuel development in the UK. Dave grew up in Cambridgeshire on a small holding with around 1,000 free range chickens! He studied Physics at Sheffield University – where he met his future wife. He now lives in Manchester with wife Jaddy and two children. After university, Dave worked at AWE for six months before going on to do a PhD at the Corrosion and Protection Centre, UMIST, Manchester focussing on high temperature corrosion of superconductors. After his PhD, Dave secured a job at British Nuclear Fuels (BNFL) on the Springfields site. During his time there he transitioned from a scientist to a technical leader. He was recruited into company research laboratory – setting up research laboratory outside of the ‘core' business areas. During this time, he did work with NASA, working on a meteorite to examine – even meeting the people from NASA.   Dave has remained technical throughout his career and has more recently been heavily involved in the Government's new nuclear innovation programme looking to develop the next generation of fuels for the next generation of reactors. When Dave isn't working on the next generation of nuclear fuels, he likes to run, and has an allotment where he grows his own fruit and vegetables.

Alle hassen Montgomery Burns. Eigentlich nichts neues, aber in dieser Folge strengt sich der bekannteste 104-jährige Springfields ganz besonders an. Max und Luggi sprechen über den ersten Teil einer der seltenen Doppelfolgen, den NTG-Umzug und was uns sonst noch so beschäftigt zum Ende von Staffel 2. Aber natürlich wagen wir auch schon nen Blick darauf, wie es mit dem Podcast weitergeht! Auch hier nochmal vielen Dank fürs Hören und Dabeisein! Wir hoffen ihr hattet viel Spaß mit dem Podcast und seit auch in Staffel 3 wieder dabei. Und wenn ihr auf dem Laufenden bleiben wollt: auf Instagram einfach @diegelbenLeute folgen.

Episode 14: Sporterized Rifles   If you caught our previous episode, number 13, and our discussion with the Gunsmiths at Griffin and Howe, you will no doubt have a base knowledge of our topic of discussion today. If you missed #13, dont worry- we will lay the groundwork for that episode right now. The United States is a nation of marksman shooters. From winning our freedom, to westward expansion, homesteading and forging new frontiers, rifles have been an integral part of our history. But when it's time to turn swords to plowshares, what happens to all those military rifles. This is 10 Minutes on Sporterized Rifles.   Sporterized rifles are essentially a byproduct of massive wartime production, resulting in surplus goods filling a market niche in peacetime. I would argue that rifles were not the only thing repurposed after a war. Take for example the fact that the ridiculously shelf-stable powdered cheese which the military developed and used in great volume during WWII, was purchased by an enterprising individual who watched someone ‘puff' corn dough as byproduct of cattle feed production. The man in question simply bought surplus powder cheese and added it to a puffed corn doodle and the rest is history (to the tune of over a billion in sales in 2017)   I digress. A sporterized rife, or sporter rifle as it is sometimes shortened, by definition is a disassembled, chopped up, modified version of its military counterpart. Generally, these rifles have been modified to suit the purposes of their peacetime stewards. For Americans, this generally meant modifications for hunting. Not to mention the fact that military guns are 100% utility, where most sporter rifles take aesthetics into account as well It is worth a brief discussion of the anatomy of a military gun, or at least some of the common features found on the bulk of them. It was common practice for military guns to have long barrels, enshrouded by full-length stocks. The majority of these rifles share this characteristic which was employed because of the expected heat generated by shooting many shots in succession.    Another common characteristic is bayonet lugs; essentially a stud or hook that allowed a bayonet to be fixed to the muzzle end. And speaking on the muzzle end, sights tended to be large. Heavy, durable front sights and rear ladder sights were common on military guns. Remember, these guns were produced rapidly and in great numbers and intended to face combat conditions. Fine sights that could be bent in the line of duty wouldn't pass muster. Neither would a gun that jammed up if it got wet or muddy. It is these features that made the guns reliable but also typically made them bulky, heavy, and not necessarily comfortable to shoot.    Some military weapons came home with soldiers, others were captured in the course of combat, but the biggest source of guns was actually back home, on US Soil.   The idea of civilians purchasing military surplus began after the Civil War, and arguably the father of the sporterized rifle, if by circuitous logic, was Frank Bannerman. The complete Bannerman's story is one of American grit and entrepreneurship. Frank was left to help the family business at age 10, when his father went off to fight in the Civil War. Fast forward to the end of the war, and Frank was successfully running a junk business and buying military surplus from the Brooklyn Navy Yard. He quickly realized that there was more money in weapons than in scrap and the company took off.   By 20, Bannerman was buying mil-surp goods and bringing them back to NYC to sell to the highest bidder. They started a brisk catalog business that included many Military Rifles; essentially any military arm from the Civil War forward could be had through the mail via Bannermans. You could also buy any number of other surplus goods like uniforms, cannons, historical arms and martial relics from around the world.   Bannermans would operate through to the 50's selling all variety of military arms. They saw the major wars of the modern era and each time secured excess weapons after. Sure, there was controversy, intrigue, an island in the Hudson and a Scottish Castle/Armory involved in the story, but that is one for another podcast. (If there is a Bannerman's expert listening please - look me up!)   The real benefit was the access to inexpensive guns that many returning soldiers knew and trusted their lives with. Remember, these were the same guns carried into battle, which could be had for pennies on the dollar. Literally, Bannermans at one point sold Civil War Carbines to a store that was RESELLING them for 69 cents each.   It was the easy access and dirt cheap prices that would drive many men back home to convert their military rifle to something viewed as more practical for their use. Typically, full-length stocks were removed and cut down, slimmed, and made more aesthetically pleasing. Large military sights were removed in favor of finer peep and aperture sights, and the newly evolving glass optics we know as scopes. Barrels could be shortened and in some cased rechambered for rounds that were more common.    A quick search on any gun sales website will reveal many sporterized rifles. A search today will show primarily Springfields and Mausers. But one can find sporter versions of so many other guns- Krags, Arisakas, Carcano, Nagant... . the list goes on and on. Some of these sporters were carefully created by a craftsman with talent, others were bubba-fied, hacked up, with little remaining value.  I have not mentioned it yet, and I am sure any military collectors listening are waiting for me to say it. In today's world, taking a clean military rifle and ‘mucking it up' by sporterizing it is not recommended. From a pure value perspective, most of the work that would be done to such a rifle would render it less valuable. Original military arms command high dollars as they are becoming rarer as time passes. My advice if you find a high condition gun in granddads closet you dont want- sell it and use the profits to buy a different gun. Perhaps one created by a firm that specialized in sporterizing rifles in the early part of the 20th century.   Civilians were not the only ones that took advantage of the surplus of strong, reliable, and cheap actions. Gunmakers used these very same actions to make some of the finest rifles of our time. On both sides of the pond, prominent gun makers utilized this plentiful resource, why create an action when a viable one was already available at a dirt-cheap price. It is not uncommon to see an English maker's name on a rifle with a Mauser action or any number of American Maker's names on rifles with a Springfield action. Firms like Griffin and Howe, Sedgley and Pachmayr come to mind, though there were many more smaller shops turning out beautiful rifles during this period. In the correct, skilled hands, sporterizing a rifle can make it considerably valuable, as evidence by the prices commanded by the above makers' guns.   The development of the sporter gave rise to many businesses providing stocks, sights, aftermarket triggers, and a variety of tools and parts to perform the sporterization process. Fajen stocks are one such example. Fajen specalized in creating ‘drop in' stocks that would accept a military action with very minimal additional work. Access to parts made the process of sporterization even easier.    Tuning and tweaking guns is something that folks enjoy to this day. Weather you like Springfields or Mausers, 10-22's or AR's we all love the idea of making a custom gun that suits your personal needs.   To some folks, a sporter rifle is simply a travesty. A cut-up and damaged version of what was once a great gun. Though I would never cut up a complete military rifle, I find myself drawn to sporters like I expect so many were before me. The idea that I could create my own custom rifle is too tempting. Call me a dreamer, but I have visions of taking that old gun, that served its country well and giving it a new life and second chance. Hey, all you need is some elbow grease and a bit of that true American grit and you too can own your own custom rifle.   Thats 10 Minutes on the Sporter Rifle, I am Joel Penkala, and this is The Gun Room.

In this episode of The Teachify English Podcast, Lewis is here to talk to you all about The Simpsons.  Like the last time he spoke about two case studies, here you have the transcript, or at least, most of it as there's a limit for characters which can be added in this description.That means that you can read and listen at the same time, so answering questions about it will so easy peasy...enjoy, any questions you know to contact lewis@teachifyapp.comYes there it is, the theme tune for the Simpsons, I'm sure it rings a bell and takes you back to when you were a child watching episode after episode of this popular cartoon all over the world.  But have you ever watched The Simpsons in English or did you watch it dubbed, in Spanish?  You know what I'm going to tell you now, check it out in English, in the original version and I bet you'll enjoy it much more.  It may take a while to get used to the different voices if you're used to listening to all of the characters speakING in Spanish, but, give it a go, give it a chance, give it an opportunity and you'll get used to it in no time. Talking about characters…who's your favourite Simpsons character?  I think my favourite character is ned Flanders, because, let's be honest, everybody knows someone who reminds you of ned Flanders.  Somebody who has a perfect life, never breaks the rules and is quite frankly, quite annoying, they get on your nerves a bit.  Moving on, let me tell you a few interesting facts and curiosities about the Simpsons that maybe you didn't know. Initially the distinctive yellow color skin was chosen, in part, to make them stand out when flicking through channels and it workedThe name Springfield was chosen because it's very generic, there are in fact 30 different Springfields in the USTIME magazine voted the Simpsons as the best TV show of the 20th century, would you agree with that? Homer's signature catchphrase, D'oh has been added to the Oxford English Dictionary and an expression he frequently uses has inspired a common toast “to alcohol, the cause of, and solution to, all of life's problems.”  There are countless facts I could list but I'll let you do some research into other ones, so the final fact is that…there are only six main voice actors for the show who create the voices for practically all of the characters…in the early days they got paid just 30 thousand dollars per episode, whereas nowadays that figure has reached over ten times that amount.  They're rich!  They're minted!  They're loaded!In recent years I have to admit that I haven't actually been watching the Simpsons very much, maybe if it's on tv when I'm having lunch but that's it and even then, I don't really watch normal TV anymore.I have, on the other hand, been seeing lots of memes and articles which highlight the success of the Simpsons in predicting the future.  For example…Did you know that The Simpsons foresaw that Donald trump would run for president? We know what happened in real life, unfortunately, thank god that's over… Did you know that the Simpsons wrote a script about horsemeat back in 1994?  Well, there have been similar scandals in the uk, us and Ireland sinceWhat else? They predicted smartwatches, Disney buying 20th century fox, the ebola outbreak, autocorrect and much, much more.  Anyway, that'll be enough for today…usually we focus on two case studies but I thought that the Simpsons deserved an episode all to itself, so I hope you enjoyed it and learned a thing or two…if you haven't watched the Simpsons in English then maybe you can start doing it sometime soon.  As Bart would say, I didn't do it…ay caramba or I'm bart Simpson, who the hell are you!? 

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.

Folks burned out of their homes along the McKenzie are upset. More rules, more hold ups and they need help. They're holding a meeting Monday night at 6 at Mckenzie High School and they need your body at that meeting. Also we meet Springfields new Mayor and get an update and a wishlist from him.

This week, we discuss the new Charter Arms .41 Magnum, Springfield RDP & more!!! Visit www.firearmsradio.tv for complete show notes!

This week, we discuss the new Charter Arms .41 Magnum, Springfield RDP & more!!! Visit www.firearmsradio.tv for complete show notes!

This week, we discuss the new Charter Arms .41 Magnum, Springfield RDP & more!!! Visit www.firearmsradio.tv for complete show notes!

Dame Sue Ion, is an independent expert and advisor on nuclear power. Sue initially started life in Carlisle before moving to Preston at the age of eight.  Sue went to  Penwortham Girls Grammar School where she enjoyed the science subjects and learnt things that weren’t in the syllabus in the science club. Her chemistry teacher introduced her to materials science, a mixture of physics and chemistry which explained while materials failed. Following this inspiration, it encouraged Sue to go to Imperial College, in London to study Materials Science. Sue found Imperial College a very different environment from an all-girls school to a mainly male environment and from being the top of a class to be with other very clever people. Sue stayed on to do a PhD. as she’d had a very supportive supervisor and knew all the technicians so realised this would help her complete her studies within three years. After university Sue went on to work for BNFL as a Technical Officer in the chemical engineering at Springfields. From here, Sue went to Sizewell B in the sales and marketing department to bid for fuel commercially before moving back to Springfields as their Head of Research and Development. In 1992, Sue was successful in being promoted to Executive Director of Technology. Sue is now a high-profile, independent advisor in nuclear providing expert advice.   Sue is a passionate advocate of women in science and engineering. She is strong supporter of increasing diversity of the nuclear workforce featured in the Nuclear Industry Strategy.

We welcome back podcaster/journalist Dave Schilling--check out his podcast Full Court Chat--for the proper start of season 12! In the landmark 250th episode, the town is divided between slobs and snobs, Homer becomes The Mayor, and somehow it all turns into a concert by The Who. All that plus an open-ended badger fight in this week's podcast! Support this podcast and get dozens of bonus episodes by visiting Patreon.com/TalkingSimpsons and becoming a patron! Check out our new shirts on TeePublic! And please follow the new official Twitter, @TalkSimpsonsPod!

Western mass's Punk rock group Lost in Transit are some of the goofiest guys I know. but their love and passion for the punk rock scene shines clear and bright, with heavy hitting songs and even heavy lyrics. Listen in as we kick back, enjoy some local craft beer and talk music. --- Support this podcast: https://podcasters.spotify.com/pod/show/thecraftbeerroundtable/support

Desde las voces femeninas de Isobel Campbell o Laetitia Sadier en sus respectivas bandas The Gentle Waves o Stereolab, pasando por grupos masculinos de 60's soul como The Four Tops o The Foundations, hasta delicias de sarah records como Wonder de The Springfields. La escucha de un clásico del programa en formato acústico, e incluso una sesión de la bbc de Pixies conforma este programa de recuperaciones que mira hacia atrás con ánimo de sorprender.

When Springfield is divided into two area codes, Homer decides to divide the town with a wall, resulting in the creation of "New Springfield". After things go south, Homer manages to steal The Who for a gig.SUPPORT THE SHOW FOR EXCLUSIVE CONTENT at patreon.com/fourfingerdiscount

Showaddywaddy special with Dave Bartram in conversation with David Eastaugh   Their first single, "Hey Rock and Roll" (written by the band), was released in April 1974. It reached number two in the UK Singles Chart. Showaddywaddy then went on to have a further 22 UK hits until late summer 1982. They had most of their biggest hits with covers of songs from the 1950s and the early 1960s. These cover versions included "Three Steps to Heaven" (originally by Eddie Cochran in 1960), "Heartbeat" (originally written and recorded by Buddy Holly), "Under the Moon of Love" (originally a US hit for Curtis Lee in 1961 and co-written by Tommy Boyce), "When" (originally by the Kalin Twins), "You Got What It Takes" (originally by Marv Johnson) and "Dancin' Party" (originally by Chubby Checker). These six singles were all produced by Mike Hurst (a former member of the Springfields).

Esta vez queremos mostrar la faceta más tradicional, la más apegada a las raíces. En muchos casos, es la cara menos conocida de una mujer que ha sido capaz de hacer de su versatilidad una de sus características fundamentales. El pasado miércoles fue el cumpleaños número 74 de Linda Ronstadt. A lo largo de su carrera, ha cantado temas de todos los estilos musicales imaginables, desde country a opera y comedia musical, pasando por folk, rhythm and blues, rock'n'roll, pop o música latina. En todos los casos, su voz ha brillado tanto que se ha convertido en una de las vocalistas femeninas de mayor prestigio. No busques la perfección en una voz que no sea la de Linda Ronstadt. Trístemente, el Parkinson la ha obligado a dejar de hacerlo. Pero hoy estamos dispuestos a rescatar esa voz insuperable seleccionando algunas de sus canciones más cercanas a la tradición. La mayor parte de ellas no son las que suenan habitualmente cuando se recuerda su carrera. Así, hemos abierto el programa con esta versión inédita de marzo de 1973 a “Lighting Bar Blues”, un tema de Hoyt Axton que Commander Cody cantaron de forma extraordinaria. La mayor sorpresa está en el hecho de que Linda Ronstadt tocaba el fiddle junto al también violinista Gib Guilbeau,que hizo también los coros vocales junto a Herb Pedersen. En 1956, Wanda Jackson grabó por primera vez una canción compuesta por Dick Reynolds y Jack Rhodes, que fue un éxito en el 62 por los Springfields, la banda familiar londinense en la que militaba Dusty Springfield. Era “Silver Threads And Golden Needles”, grabada más tarde por artistas de country como Skeeter Davis, Hawkshaw Hawkins, los Everly Brothers, Rose Maddox, Jody Miller o los Pozo-Seco Singers de Don Williams. En 1969, Linda Ronstadt la incluiría de esta forma en su LP de debut en solitario, Hand Snow… Home Grown. Decimos “de esta forma”, porque cuatro años más tarde, en el 73, realizaría una nueva versión, mucho menos enraizada, en su álbum Don't Cry Now. John D. Loudermilk fue bien conocido como compositor en los 50 y 60 dejando canciones para la historia como “Break My Mind”, que George Hamilton IV cantó por primera vez en el 67 y que Linda Ronstadt llevó a su disco de debut, Hand Snow… Home Grown, dos años más tarde. Al margen de un sinfín de artistas que echaron mano en alguna ocasión del tema, los Flying Burrito Brothers, con Gram Parsons al frente, también la cantaron, aunque quedó fue de sus álbumes oficiales. De aquel binomio mítico formado por Lester Flatt y Earl Scruggs resultaba evidente que este último estaba dispuesto a ampliar sus horizontes desde la separación de la pareja en 1969. Tres años después editó I Saw The Light With Some Help From My Friends junto a sus tres hijos, Gary, Randy y Steve, y una pléyade de invitados como la Dirt Band, Tracy Nelson o Linda Ronstadt, con quien realizó una versión sublime del clásico de Merle Haggard “Silver Wings”. Tras la publicación en 1968 del tercer disco de los Stone Poneys, Kenny Edwards dejó el grupo tras una gira y Linda Ronstadt se quedó sola con la obligación de grabar un nuevo Lp para el Capitol. Así, al año siguiente vió la luz Hand Sown… Home Grown, un trabajo de muy escasa repercusión. Pero las cosas parecieron cambiar con su siguiente trabajo. Linda consiguió la nominación para el Grammy con "Long Long Time", incluida en el álbum Silk Purse de 1970. Pero hoy hemos preferido escuchar la versión en directo que realizó en el Troubadour de Los Angeles por aquellas fechas. Su compositor, Gary White, es un tejano al que conocimos como bajista de Circus Maximus, una banda de Austin de la segunda mitad de los 60, en la que militaba Jerry Jeff Walker. Cuando Linda Ronstadt se lanzó a la aventura en solitario, comenzó a reclutar músicos del Troubadour para formar su propia banda de acompañamiento. Instrumentistas como Bernie Leadon, Glenn Frey, Don Henley y Randy Meisner pasaron a ser sus nuevos compañeros, de tal forma que a su alrededor se estaban gestando los Eagles. En Silk Purse había una versión de “He Darked the Sun”, una canción de Gene Clark y Bernie Leadon en el álbum The Fantastic Expedition of Dillard & Clark de dos años antes. Pero Linda realizó una llamada Nashville version, con un sonido más propio de la versión original que hoy hemos querido recuperar. Ha pasado medio siglo desde la publicación de Silk Purse, en 1970, su segundo disco en solitario. Su apertura era esta versión de “Lovesick Blues”, un tema aparecido en los años 20 en un musical al que Hank Williams puso en el mapa sonoro cuando empezó a actuar en el Louisiana Hayride y lo llevó al primer lugar de las listas en el 49. Grabado en los Cinderella Studios de Nashville, fue la única vez en su carrera que la artista de Arizona se acercó a la Music City para grabar sus canciones. En aquella ocasión, Linda contó con músicos de la altura de Bernie Leadon, Weldon Myrick, Buddy Spicher, Troy Seals o Kenny Buttrey. El legendario Troubadour de Los Angeles fue la cuna de un buen número de artistas convertidos en referentes de la música popular con el paso del tiempo. Aquel local de West Hollywood del que James Taylor decía que era “como un cenicero puesto boca abajo”, vio nacer al artista de Boston, además de a Buffalo Springfield, los Byrds, Jackson Browne, Bonnie Raitt, Linda Ronstadt o los Eagles, cuyos primitivos miembros estaban en la banda de acompañamiento de Linda Ronstadt. Con ellos editó su tercer álbum, de título homónimo en 1972, con un claro sonido country‑rock grabado entre California y Alabama con la producción de John Boylan. Como muestra de su versatilidad, Linda se acercó al honky tonk con una versión de “Crazy Arms”, el primer No.1 de Ray Price en 1956. La producción de John Boylan permitió también que otros músicos como Herb Pedersen, Gib Guilbeau, Sneaky Pete, Buddy Emmons, Jimmy Fadden de la Nitty Gritty Dirt Band o John David Souther participaran en el proyecto. Aquel disco fue, en cierta forma, la puerta para conocer también a nuevos compositores como Eric Kaz, Jackson Browne, Livingston Taylor o Eric Andersen, pero también recurrió a mitos de la categoría de Woody Guthrie, Harland Howard, Hank Cochran o Johnny Cash. Del Hombre de Negro, que llevó a la vocalista a su programa de televisión en sus comienzos, eligió “I Still Miss Someone”, una pieza de finales de los 50 que había compuesto con su sobrino, Roy Cash, Jr. y que conocimos cuando grabó en la prisión de Folsom. Una de las vocalistas favoritas de Linda Ronstadt es Patsy Cline, cuya primera grabación en el sello Decca, "I Fall To Pieces", pasaría a ser el mayor de sus éxitos, consiguiendo llegar por primera vez a la cima de las listas de country poco antes de sufrir un tremendo accidente de coche cerca de su casa de Madison, un barrio de Nashville. La explosiva facilidad de Linda en sus años de Capitol Records para interpretar clásicos como este sorprendió a muchos. En su tercer disco en solitario, con su nombre en el título y editado en 1972, dejó constancia de su respeto por la tradición y de su sensibilidad extrema. Linda Ronstadt comenzó a trabajar con John Boylan en un nuevo disco para el sello Asylum Records, al que se unió John David Souther, con el que mantenía una estrecha relación, antes de encontrar a Peter Asher -antiguo miembro de Peter & Gordon- en el Bitter End de New York. El álbum Don't Cry Now salió al mercado en 1973 tras un año de sesiones, 150.000 dólares invertidos y tres productores. Aquel disco era fantástico, pero nosotros hoy estamos centrados en canciones más tradicionales. Linda había fichado por Asylum, pero debía un álbum a Capitol por contrato. Ese disco que se tituló Heart Like A Wheel y fue publicado en el 74, mezclando antiguas canciones con nuevos temas, incorporando country, rock y rhythm and blues. De todos es recordada su versión al clásico de Hank Williams "I Can't Help It (If I'm Still In Love With You)", donde Emmylou Harris hacía las armonías vocales, la llevó al segundo lugar de las de country y a conseguir un Grammy. Pero esta versión de “Honky Tonk Blues”, también de Hank Williams, que contaba la historia de un joven granjero que deja la granja familiar para irse a la ciudad, fue grabada en octubre de 1974 de nuevo junto a Emmylou y quedó inédita durante 25 años. Es muy posible que Linda Ronstadt y Patsy Cline sean las dos vocalistas más sobresalientes de la historia de la música, con una versatilidad incomparable. Patsy sufrió un tremendo accidente de coche cerca de su casa de Madison, un barrio de Nashville, se fracturó la cadera y tuvo importantes heridas en la cabeza al salir despedida por el parabrisas. Fue hospitalizada durante varios meses y, apoyada aún en sus muletas, grabó una composición de Willie Nelson llamada "Crazy", que pasaría a ser su canción más vendida. Linda Ronstadt la recordó de esta forma en Hasten Down The Wind, un trabajo de 1976 que llegó tras publicar Prisoner In Disguise Ronstadt un año antes y donde eligió canciones de amigos y compositores cercanos. No olvidemos que la madre de Linda era alemana y, sobre todo que su padre era mejicano. Este último, Gilbert, cantaba con ella y sus otros dos hijos canciones de su tierra natal en los pocos ratos de ocio que les permitía la ferretería que regentaban. Nuestra invitada de hoy nunca olvidó aquellas raíces, no solo en los distintos álbumes dedicados íntegramente a canciones hispanas, sino a lo largo de toda su carrera. Como ejemplo, hemos escogido “Lo siento mi vida”, un tema propio, creado junto a su compañero en los Stone Poneys, Kenny Edwards, y a su padre Gilbert, para el álbum Hasten Down The Wind de 1976. En 1977, Linda Ronstadt publicaba su octavo álbum de estudio, Simple Dreams, convertido en una de las más altas cotas de su carrera y vendiendo más de tres millones de copias. Es el último de los discos en los que nos vamos a detener hoy para celebrar el cumpleaños número 74 de su protagonista. Aquel registro, además, fue el encargado de desplazar del No.1 de las listas de pop al mítico Rumours de Fleetwood Mac… y a Elvis Presley de la cabecera de las de country. Producido por Peter Asher, la fórmula fue sencilla: recoger algunas de las grandes canciones interpretadas por una de las voces más distinguida, arropada por los músicos más relevantes del momento, incluidos los Eagles. Para conmemorar los 40 años desde su lanzamiento, se reeditó el disco original con tres temas de bonificación grabados en directo en un concierto especial realizado por la cadena HBO en 1980. Entre ellas estaba "Blue Bayou", un tema de Roy Orbison que la vocalista de Arizona cantó en directo en inglés y castellano. Escuchar audio

An examination of the musical icon, with guest and biographer Karen Bartlett ("Dusty: An Intimate Portrait of a Musical Legend") helping to guide listeners through the extraordinary and, at times, complex journey.Fans and newcomers alike are taken through Dusty's time with The Springfields, her support of African-American artists in the British music scene, and more, eventually culminating in an extended look at landmark record, "Dusty In Memphis."Respect: The Women of Atlantic is a special series on What’d I Say. It’s hosted by Colleen “Cosmo” Murphy, founder of Classic Album Sundays.

The latest episode of The Official PNE Podcast features one of this season's star performers Daniel Johnson who discusses his form this campaign, his role in the squad and coming back from a frustrating spell on the sidelines through injury. Former North End man Callum Robinson also joins us on the phone as he chats about DJ's form, his time at PNE before his move in the summer and the prospect of facing his former North End teammates for the first time at The Hawthorns. We also get the inside track from Springfields with heads groundsman Pete Ashworth after a testing time for him and his staff with Storm Ciara and Storm Dennis sweeping across the UK in recent weeks.

It's episode four of Sedds and Sandells - A PNE Podcast by Lancashire Post!Lancashire Post reporter Tom Sandells is joined by PNE club statistician Martin Atherton to discuss everything topical about the Lilywhites.In this week's episode, they talk about the win over Stoke City and the defeat to Millwall, preview the FA Youth Cup tie and the Hull City game and discuss the proposed changes to PNE's training ground Springfields.

We find out what Jaime was up to last week. Our fact check covers using the Switch Pro Controller, the other Margret Hamilton and line feed printers. We also talk about Mr Dressup and remember Caroll Spinney. We follow up on the iPhone 11 Pro’s Location Data Puzzler, App Store Connect Holiday Schedule, BMW's CarPlay about-face, 59 Shortcuts for Emacs 23.2.1, and Fourier transform for dummies. The Mac Pro and Pro Display XDR are now available for order. We continue on the ethical implications of conversational AI and the patina of our Apple Cards. iOS 13 brings easier crypto APIs with the CryptoKit framework. Self Sizing Table View Cells In Interface Builder. Apple releases macOS Catalina 10.15.2, iOS, and iPadOS 13.3. Picks: Python for Beginners Special Guest: Mike Vinakmens.

Elliot Jay O'Neill is joined by David James Young, Adam Buncher, Nathan Harrison, Andrew McDonald & Jack R. Reilly to review;   S.4 E.2 “A Streetcar Named Marge” S.12 E.2 “A Tale Of Two Springfields” S.26 E.7 “Blazed And Confused”   Want more of these lovely lads? Well here's some links!   Jack R. Reilly https://jackrreilly.bandcamp.com    Aus Music Diaries https://www.australianmusicdiaries.com    Hottest 100s & 1000s https://player.whooshkaa.com/shows/hottest-100s-and-1000s    All My Friends Are In Bar Bands http://www.allmyfriendsareinbarbands.com/about    Don't pick your nose, pick this web series www.daveplusone.com    “Thrones of Game” where we watch Game of Thrones in reverse order is available at https://thronesofgame.podbean.com

We got the one and only, Springfields own Les Lug stopping by. He is talking his break from the music scene, his dope ass art work and he even drops a hot 16 on us. Get in your zen and tune in!

The Official PNE Podcast has been relaunched with new content, new features and new hosts! Jonathan Breeze and George Hodgson will be bringing you the latest from PNE with special guests each week and our new features will bring you closer to the first team squad than ever before. This first episode features skipper Tom Clarke and his brother Nathan, Wembley hero Jermaine Beckford while Paul Gallagher takes on our new quiz, 'It's All About You'. Down at Springfields, Jayden Stockley and Billy Bodin go head to head in 'Know Your Teammates' and there's plenty more to listen to this week!

Matt Cary reports back from World's, the surprising results of the top 8 are analyzed, and Dan fills us in on his run to the final table of the Springfield, IL Hyperspace. [00:01:00] Matt's report | [00:27:00] Top 8 | [1:00:00] Springfields

On tonight’s episode, we are talking to Springfields own Videographer, Justin Brooks aka JBizzy. Get your pen & paper as we talk about the process of becoming a Videographer as well as the zombie apocalypse. Don’t miss it. And don’t forget to share!

Som Dusty Springfield blev Mary Isobel Catherine Bernadette O'Brien kendt som både en af 1960’ernes største britiske sangere overhovedet og et stilikon for the Swinging Sixties, ikke mindst blandt de uhyre musik- og modebevidste mods.Dusty begyndte at synge som purung, og i 1958 kom hun med i pigegruppen The Lana Sisters, der over tre år udsendte syv singler uden dog at hitte. Sammen med storebror Tom dannede Dusty i 1960 trioen The Springfields, der red på tidens folk-bølge med stor succes i England, og tilmed opnåede en top 20-placering i USA som den første britiske gruppe nogensinde!Dusty tog gruppens navn som sit eget, og i 1963 bragede hun igennem i både Europa og USA med ‘I Only Want to Be With You'. I løbet af karrieren opnåede hun seks top 20-placeringer i USA og ikke færre end 16 af slagsen i UK! Karrierehøjdepunktet blev albummet Dusty in Memphis, der udsendt i 1969 regnes for en af alle tiders bedste lp’er. Fra 1970 og mange år frem kæmpede hun med personlige og professionelle problemer, men i 1987 kom hun atter på alles læber, da hun indsang megahittet ‘What Have I Done to Deserve This?' med duoen Pet Shop Boys. Dusty døde af cancer i 1999, få uger før sin 60-års fødselsdag.  Playliste:1. The Springfields: Silver Threads and Golden Needles (1962) 2. I Only Want to Be with You (1963)3. Stay Awhile (1964)4. You Don't Own Me (1964)5. I Just Don't Know What to Do with Myself (1964)6. In the Middle of Nowhere (1965)7. Some of Your Lovin’ (1965)8. Little by Little (1966)9. You Don't Have to Say You Love Me (1966)10. Goin' Back (1966)11. The Look of Love (1967)12. I Close My Eyes and Count to Ten (1968)13. Son of a Preacher Man (1968)14. Breakfast in Bed (1969)15. The Windmills of Your Mind (1969)16. I Don't Want to Hear It Anymore (1969)17. How Can I Be Sure? (1970)18. Come for a Dream (1972)19. Hollywood Movie Girls (1978)20. Pet Shop Boys featuring Dusty Springfield: What Have I Done to Deserve This? (1987)21. Nothing Has Been Proved (1989)

I am catching up posting Nuclear Hotseat podcasts.I missed this one in February. STILL vital and pertinent, here are the info from this week's podcast:This Week’s Featured Interview: Nuclear Brexit? This week, as Brexit looms over the United Kingdom, we learn about another pending boondoggle in that country: the Hinkly Point C nuclear power plant proposed new build. What’s so wrong with this particular new nuke and what are activists doing about it? We talk with Nikki Clark, one of three founders of the UK direct action group South West Against Nuclear, which came into existence in 2010 in response to government plans to go ahead with a program of new nuclear reactors. She’s been involved in anti-nuclear campaigning for the best part of 17 years, during which time she’s been arrested and taken to court over my actions against Trident submarines – the UK’s nuclear bomb delivery service. South West Against Nuclear links: Stop New Nuclear on Facebook stopnewnuclear[dot]org.uk Springaction2019[at]stopnewnuclear.org.uk Link to booklet: Spotlight on Springfields – https://issuu.com/wildart/docs/spotlight_on_springfields_-briefingPlease go to www.nuclearhotseat.com to hear all the podcasts, get current information and to sign up to contribute to Nuclear Hotseat, which is listener funded.

Despite the international break being here, there’s still plenty in store in the latest Official PNE Club Podcast. Striker Jayden Stockley, forward Callum Robinson and midfielder Paul Gallagher all feature on this week’s episode, as well as a PNE legend sharing his Star Six. Stockley talks about playing his part of the bench at Middlesbrough, scoring the winner at the Riverside, being starting at home to Birmingham City as North End make it 12 unbeaten. Having also been caught up in somewhat of a social media storm, the former Exeter man also reflects on being taken in by the PNE supporters following his January move from Exeter City. Fresh from making it to 100 career goals Gallagher sits down with us this week to talk through some of his memorable strikes in a North End shirt. Starting all the way back in his initial loan spell with the Lilywhites in 2007/08 PNE’s No.12 reflects on his FA Cup strikes at Sheffield United in 2015 that helped rejuvenate the club to a Wembley Play-Off win, as well as his six set-piece goals so far this season. While that’s a look back at the past, Callum Robinson has one target firmly in his sights; firing PNE into a Championship Play-Off place. With the three wins in a row prior to the break leaving North End outside the top six only on goal difference the former Aston Villa man is now hoping his return from injury is timed right to help push North End over the line. We also catch up with kitman Steve Cowell, in the boot room down at Springfields. Being a supporter, as well as the club’s kitman Cowell speaks about how he keeps a check on his emotions and the bonds he’s built up with the players, including Saturday’s match-winner Sean Maguire. Star Six this week comes from Graham Alexander. Having made more than 400 appearances for the club over his two spells at Deepdale it’s quite some challenge to pick just six, but listen in to hear who ‘Grezza’ has gone for. Plus, fresh from the social media frenzy created from Stockley’s goal at Middlesbrough, we cross to New York to catch up with the New York North Enders, Matt Higgins and John Ryder with the buzz of excitement having travelled across to the Big Apple. The podcast is brought to you weekly by host Guy Clarke. It’s available through a number of platforms including iTunes, Soundcloud, TuneIn and right here on the club website. As always, if you want to feature on coming any episodes and share your views in our ‘Talk of the Terrace’ feature just email media@pne.com You can also get in touch through social media using #PNEPodcast.

We have Luis Alvarez on the show, we discuss UFC, Apu from Springfields most wanted. our crazy videos.

En la primera media hora del primer programa de 2019 Laura Pardo repasa algunos discos destacados del año pasado y las músicas del siglo XX de las que se nutren. En la segunda parte está acompañada por José Ramón Pardo en las secciones "Adiós" y "Segundas partes que sí fueron buenas". Suenan Anna Calvi, Patti Smith, Siouxsie and the Banshees, PJ Harvey, Father John Misty, John Lennon, The Zombies, Elton John, Buzzcocks, The Honeycombs, The Damned, Dead Boys, Lords of the new church, The Springfields, Dusty Springfield y Cat Stevens.

There’s plenty to get into this week, following both Brad Potts and Jayden Stockley making their debuts at Deepdale in last weekend’s draw with Swansea City. This week we catch up with new signing Stockley, having recently made the move to North End from Exeter City. As well as discussing his debut and the role he played in PNE’s route back into the game, the striker also talks openly about settling off the pitch, his aims for the rest of the season and ahead of a first away trip with the squad about potential initiations! Joining Jayden on this week’s episode is his former Exeter teammate Jordan Storey, who he’s been reunited with at Deepdale. Catching up with host Guy Clarke, the young defender speaking about his prowess at darts down at Springfields plus his on-field development having featured in each of the last five games. This week’s Star Six involves former North End shot-stopper Carlo Nash. As well as reveal the best players he turned out with whilst keeping goal for the Lilywhites, Nash also shares his views on new signing Connor Ripley having worked alongside PNE’s latest recruit whilst at Oldham. You can also hear the views of Ben Pearson, having made his return to the first team on Saturday plus a listen back to North End’s strong recent record against QPR prior of the visit to Loftus Road. There’s also information on how you can nominate a young PNE fan for January’s ‘Meet Your Hero’ competition and much more! The podcast is available through a number of platforms including iTunes, Soundcloud, TuneIn and right here on the club website. As always, if you want to feature on coming any episodes and share your views in our ‘Talk of the Terrace’ feature just email media@pne.com You can also get in touch through social media using #PNEPodcast.

RAINMAKER Talented Singer/Songwriter Lucas Ciliberti is only 18. He is the youngest winner of the "DEBUT ARTIST OF THE YEAR AWARD" - for the Native American Music Awards (Native American Grammy's). Lucas's Music video SPRINGFIELDS was selected to be in the Top 6 for Video of the Year, and the title track from his newest Album - RAINMAKER, was nominated for Country Song of the Year as well.  Lucas was given a very special gift. What people love about his music is that it gives them peace and hope, and makes them SMILE! Some songs will take you to another place - another time - where you can even imagine yourself "in the songs" - forgetting for a few minutes, all about your stress and obligations.  

TO THE ROOT OF IT ALL Lucas grew up in the small town of Enid, Oklahoma - where he lived on a farm with his grandmother, mother, and 2 older brothers.  Since he sang “God Bless America” at 18 months old, he has shared his voice at everything from pow-wows to funerals, and used it to express his Christian Faith, Native-American Roots, and to maintain strong relationships and fight bullying.  Some of Lucas’s songs that reflect these sentiments are “Maybe Jesus Was a Cowboy,” “Little Hearts Break too,” and “Face Of a Friend.” We’ll begin part 2 of this interview with a track off his latest album “RAINMAKER” called “SPRINGFIELDS” in which Lucas soulfully connects to his Native American heritage.

Join lo-key as we get a behind the scenes look at Mothers Brewery, we talk beer, Springfields beer scene. and about the city of Springfield

Best Darn Diddly welcomes Toby from the Secret Transmission Podcast to discuss practical jokes and high stakes gambling this week.  First up is "Radio Bart" where a practical joke by Springfields favorite little hellion goes too far.  Then Lisa discovers she has a knack for sports betting when Homer introduces her to gambling on football in "Lisa the Greek"!

AJ reviews two Springfields, Paul learns to drift and an AR manufacturer is closing the doors.. plus MORE MORE MORE!

[Episode 34.5] Month of Simpsons returns!…several months late :p This time, we’re looking at A Tale of Two Springfields, a zany yet enjoyable episode from Season 12! Yes, that Season 12. Shout-outs to:Ray Gunn and Starburst! The very talented team behind the sci-fi audio series want to make another season! Their IndieGoGo campaign is almost over but there is still time to contribute!Check them out in the links below:Their IndieGoGo page: https://www.indiegogo.com/projects/ray-gunn-and-starburst-series-2#/Twitter: https://twitter.com/RayandStarMain website: https://raygunnandstarburst.wordpress.com/  Check out the technical info at this link: http://pastebin.com/G3RRaUrF http://archive.org/download/3434.5MOSATaleOfTwoSpringfields/34%20(34.5)%20MOS!%20-%20A%20Tale%20of%20Two%20Springfields.mp3

Gearhead-issue Garage Hour target-rich environment: police chases in San Diego, the CDC loosing anthrax and Metallica and Helmet, our upcoming railgun interviews, broken drivetrain parts, input/non-output overdrives, Farcebook spying on us all, windmills burning toxicly in the desert, plus .45 Phil, Jeff from Twisted Manzanita Ales & Spirits, Taylor from Direct Action Solutions, and Hostus Maximus Justin Fort. Oh, and just to be thorough, there's also good eatin' on BUK2 missile launchers, beer brewing, turbines, pimping for the upcoming sci-fi episode, shooting Springfield Armory things, and why we're not chicken so we'll happily take up Grade "A" nozzle Eric Holder's challenge to talk about races.  Or racing.  Whatever he wants. jf