A History of Rock Music in 500 Songs - Episode 118: “Do-Wah-Diddy-Diddy” by Manfred Mann

Episode Date: March 28, 2021

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…)

A History of Rock Music in 500 songs by Andrew Hockey Episode 118 Do What Diddy Didi by Manfred Mann 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-based drums lineup. But there was another related bridge. ranch of the blues seen in Britain that was more musically sophisticated, and which, while its practitioners

certainly enjoyed playing songs by Howling Wolf or Muddy Waters, was also rooted in the jazz of people like Moes 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-wadiddi-didi by Manfred Mann. Manfred Man is, annoyingly when writing about the group, the name of both a band and of one of its members. Manfred Manfred Man the human being, as opposed to Manfred Man 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 love.

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 Massacela 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 50s and 60s, 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-60s, 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 were the 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 virile and racism imaginable. So as soon as South Africa became a republic, it long as. 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, Shelley Mann, and he became Manfred Mann.

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 Hug. Bond went off to form his own band, Man and Hug 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 Man Hug Blues Brothers, and it initially consisted of man on keyboards, Hug on drums and vibraphone, Mike Vickers on guitar, flute and saxophone, Dave Richmond on bass, Tony Roberts and Don Faye 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 Almo Lewis, his friend had taken on Jones's surname, as he thought Paul Pond didn't sound like a good name for a singer. He'd first kept his initial, and performed as P.P. Jones. But then he'd presumably realise that Pee-P 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 Corner. After auditioning for the group at a Scar Club called The Roaring 20s, Jones became the group's lead singer and harmonica player, and the group soon moved. in Jones's musical direction, playing the kind of Chicago blues that was popular at the Marquis club, where they soon got a residency, rather than the sole 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,

man, Hug, 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 man Hug 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 What do you want if you don't want money? What do you want if you don't want gold?

Say what you want and I'll give it you darling. Wish you wanted my love, baby. What do you want if you don't want her in? What do you want if you don't want else? Say what you want and I'll give it you, darling. Wish you won't in my love, baby. And at the time he signed the Man Hug Blues Brothers, he was just starting to work with a new group,

Freddy and the Dreamers, for whom he would produce several hits. Burgess liked the group, but he insisted that they had to change their name. and in fact he insisted that the group changed 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 Manfred's 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's saxophone, man's organ and Jones's harmonica. Unsurprisingly, neither that nor the B-side, a jazz instrumental version of Frere

Vizacher chartered. Britain in 1963 wanted Jerry and the pacemakers and Freddy and the Dreamers, not jazz instrumentals. The next single, an R&B song called Cocker Hoop, written by Jones, did little better. The group's big breakthrough came from Ready Steady Go, which at this point was using wipeout by the safaris as its theme song. 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-60s, just as Oh Boy had been for the late 50s. Ready Steady Go was, in principle at least, a general pop music programme,

but in practice it catered primarily for the emerging mod culture. 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 southeast of England, especially London, and spurred on by the newfound comparative affluence of the early 60s. 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 amphetamins 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 60s, but while groups like

Jerry 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 yard birds,

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 wipeout 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 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 bass lines without complaint. They needed someone closer to Willie Dixon than Tamingus. 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 60s, 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 played a few gigs around London before the duo had been poached by the minor Mersey Beat band Casey Jones and his engineers, a group which had been formed by Brian Kassar, formerly of Cass and the Casanovers, the group that had become the big three. Casey Jones and his engineers had just released the single 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's friend, Eric Clapton, went on to join the Yardburn. 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. McGinnis 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, Jeetame by Serge Gainsbourg and Jane Birkin,

Your Song by Elton John, Labby Sifras, 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 Kid and the Pirates

and Joe Brown and his brothers. The group's next single, Hubble Bubble Toil and Trouble, was another original, and made number 11 on the charts. But the groups 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 11 CD box set of the group's work, which contains every studio album or compilation they released in the 60s,

a collection of their EPs and a collection of their BBC sessions. In all 11 CDs, Hubble Bumble 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. But it's not just the group that were unimpressed with the record. John Burgess thought that the record only getting to number 11 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 wrote to them by 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 drill-building pop. The exciters, who originally recorded it, were one of the great girl groups of the early 60s, though they also had one male member, and had already had quite an influence on pop music. They had been discovered by Libre and Stoller,

who had signed them to Red Bird Records, A label will be looking at in much more detail in an upcoming episode, and they'd had a hit in 1962 with a Burr Burns song, Tell Him, which made the top five. 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 kick-started a solo career singing pop soul songs

under the name Dusty Springfield. The excite has never had another top 40, 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 Burns songs and some by Richie 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 20th century, the imaginary town of Didiwa-Didi 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 Didi-Wi-W-Di. a great big mystery and it sure is war in me this diddy war diddy i wish somebody would tell me what diddy war diddy mean the little girl about four people don't pop and give me some more of your diddy war did and a song written by willie dixon for bow diddy and waugh had often been used by other black artists

in various contexts, like Lloyd Brown and Dave Bartholomew's Diddi I Didio, and Junior and Marie's Boom Didi Warr, a Kokomo knockoff produced by Johnny Otis. So when Jeff Barry and Ali Greenwich wrote Duwarr 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 there would be a stylistic hallmark of that sub-genre.

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.

Sadly, that record only reached number 78 on the chart. and the exciters would have no more hits in the US, though a later line-up of the group would make the UK top 40 in 1975, with a song written and produced by the Northern Soul DJ Ian Levine. But in 1964, Jones had picked up on Duwadiddi and knew it was a potential hit. Most of the group weren't very keen on Duwadiddi Diddy-Diddy, as the song was renamed. There were relatively few interviews with any of them about it, but from what I can gather, the only member of the band,

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. The record reached number one in both the UK and the US, and the group immediately went on an American tour, packaged with Peter and Gordon, a British duo who were having some success at the time, because Peter Asch's sister was dating Paul McCartney, who'd given them a hit song, 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 Duwadiddi-Didi-Di, 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 Duwaw Didi-Di-Di-Style pop songs. Half the album's 14 tracks were covers of blues and R&B, mostly by chess artists. There were covers of Muddy Waters, Howling Wolf, Bo Diddley, Eichinna 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 Adelie's jazz classic Saka Wo, arranged to show off the group's skills at harmonica, saxophone, piano and vibraphone. However, the group realized that the formula they'd hit on with Duwarr Didi Didi was a useful one, and so for their next single,

they once again covered a girl group track with the Nonsense Word chorus in title. Their version of Shalala by the Shirelles, took them to number three on the UK charts and number 12 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 Tharp'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 yard birds, but when they turned it down, he rewrote the song to be about Manfred Man, and especially about himself.

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 challenge, It also made number 10 on the regular chart, 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 hit, 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 Got to Go, Go Now. Man 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. Before Vickers's departure, the group had recorded their second album, Man 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 Bear Hug, an original jazz instrumental for flute and vibraphone. McGinnis took the upper dish.

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 Males' blues breakers with McGinnis' 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. Bruce stayed with the band for several months, before going off to play in another band who will be covering in a future episode. He was replaced in turn by Klaus Vorman.

Roman 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 Merseybeam musicians, Paddy Chambers of the Big Three, and Gibson Camp of King-Sise-Taylor and the Dominoes. Like Vickers, Vorman could play the flute, and his flute playing would become a regular part of the group's later singles. These line-up 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 Driver Man, a blues song about slavery in 5'4 time, originally by the jazz greats, Oscar Brown and Max Roach. 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 Dabbeau, who had previously been the lead singer of a group called A Band of Angels. By the point Dabo joined, relations between the rest of the group and Jones were so poor that they didn't tell Jones they were thinking of Dabo.

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 Dabo to his bandmates as a possible replacement, not realizing he was already in the group. Man 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. 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 40. Manfred Mann, on the other hand, continued having hit, though there was a constant struggle to find new material. Dabot was himself a songwriter, and it shows the limitations of the no-a-sides by group members rule. That while Dabo was the lead singer of Manfred Mann, he wrote two hit singles which the group never recorded. The first, Handbags and Gladwags, was a hit for Chris Farlow.

That was only a minor hit, but was later recorded successfully by Rod Stewart, with Dabo arranging, and the stereophonics. Dabo also co-wrote and played piano on, Build Me Up Buttercup by the Foundations. But the group continued releasing since, written by other people. Their second post-Jones single, from the perspective of a spurned lover insulting their ex's new fiancé, 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 Rose Sweet Pea, which made number 36, 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's songs, and Man 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. 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 Hug or Dabo, 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 Doodoo-Dar band. Probably the highlight of the album was the melitron-driven it's so easy falling. But Mighty Garvey didn't chart, and it was the last gasp of the group as creative entity. They had three more top ten hits, all of them good examples of their type,

but by January 1969, Tom McGinnis was interviewed saying, it's not a group anymore. 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.

Dabo appeared on the original Jesus Christ Superstar album and then went into writing advertising jingles, most famously writing A Finger of Fudge's Justice. enough for Cadbury's. McGuinness formed McGinnis Flint with the songwriter's Gallagher and Mile and had a big hit with 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 continued performing to this day. Jones became a born-again Christian in the 80s and also starred in a children's TV show Uncle Jack and presented the BBC Radio 2 Blues programme for 32 years. Manfred Mann and Mike

Mike Hug formed another group, Manfred Mann Chapter 3, who released two albums before splitting. Hug went on from that to write for TV and films, most notably writing the theme music to whatever happened to the Lightluads. 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. Almost uniquely for a band from the early 60s, all the members of the classic line-up of Manfred Man are still alive. Manfred Mann continues to perform with the various lineups of his earth band. Hug, Jones, McGuinness and Davo reunited as the Manfred's 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 animation. Manfred Mann were a band with too many musical interests to have a coherent image, and their reliance on outside songwriters, and their frequent line-up 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 band's 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 60 years on, people around the world still respond instantly to the opening bars of their biggest hit, and Do What Didi Didi Remains one of the most fondly remembered singles of the early 60s. A history of rock music and 500 songs is brought to you by the generosity of my backers on Patreon. Each week, Patreon Backers will get a 10-minute bonus podcast. week's is on walk on by by dion warwick visit patreon.com

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