Manfred Mann | So Long, Dad | Fontana | 1967

MANFRED MANN – ’So Long, Dad’/ ’Funniest Gig’ (Fontana TF 862) August 1967

Manfred Mann | So Long, Dad | Fontana | 1967 | A sort of rag-time piano intro here, then a group vocal moment or two which I thought sounded like a pub sing-song. But then Mike d’Abo takes over and the full meaning of some good lyrics (Randy Newman) comes through; odd instrumental bits and a sort of good-time approach to it all. It’ll be a hit, but it will also surprise and disappoint some Manfred followers. Dead catchy, though.

Flip: Rather airy but certainly original and interesting. (Record Mirror, 26/08/67)

Manfred Digs The Thirties Sound

“So Long, Dad” (Fontana) – I had to listen to this a few times. Unlike most Randy Newman songs it didn’t have a very definite form – it tends to wander madly like a 1930s car. In fact the whole thing kept reminding me of Bonnie and Clyde and that era, hillbillys. Yea.

Crazy bar room piano honks away with mournful brass and Mike d’Abo sings with feeling about he and his girl who are going away to get married. A rather odd song, it has a few shades of “Ha Ha” and it will either drive you mad with aggravation or send you dancing and singing round the room.

It does not strike me as a gigantic hit, though the more I hear it the less uncertain I am about that statement. (Penny Valentine, Disc, 26/08/67)

This track kicks off with a rocking bit of boogie from Manfred just like they did in the good old days. But the excitement ends there, and I’m afraid this record is just another production line pop sausage. Mike d’Abo sings quite pleasantly, but he simply hasn’t got the power of the late lamented Paul Jones.

The record, a wry sort of story about how a son has grown up to be a man, is far too watery. Bound to get many plays on Family Favourites, it will probably do pretty well in the charts – all the same, I reckon Manfred Mann are slowly but surely sliding down the nick. (Intro, 30/09/67)

Why a Mike got camera shy!

LAST WEEK’S pertinent “Scene” lines in Disc are causing Michael d’Abo considerable heartache. We said (a) that Michael had not yet overcome his camera shyness on “Top Of The Pops” and (b) that he was continually found away from the madding crowd deep in a newspaper.

“The problem is,” he said, “that I spend a lot of time trying to put a song, especially one like ‘So Long, Dad,’ which is a story, across to the audience.

“At ‘Top Of The Pops’ I am always worried by the cameras. Parts of the song are very happy—parts are very sad, and it must have been that the times when the camera was on me was when I was sad — hence the thoughts of my being nervous.

“This isn’t true. I admit I used to be very nervous when I first sang in public. Then I went completely the wrong way. With the Band Of Angels we sang a lot of serious songs, and I often tried to dispel my nervous disposition by doing something completely mad like throwing flower pots across the stage or pulling down the curtains.

“The trouble with ‘Top Of The Pops’ is that it is really a programme of camera techniques and the artists have very little say in the matter.

“By the time we arrived at the studios all the camera angles and shots had already been worked. As I say, I had also spent a lot of time working on the number. When we tried it out during the afternoon I was completely thrown. I couldn’t keep up with which camera was on when, and when the camera was on me, so it’s quite possible that I created this impression.”

Manfred Mann | So Long, Dad | Fontana | 1967

Michael has always been regarded as a very serious-minded person who is at great pains to give the best possible performance. Does this craving to “act” a song extend to all stage shows?

“Obviously I make a greater effort for a TV show,” he replied. “After all, it is possibly the only opportunity we may get to promote the record.

“I think it is very important to try and convey the meaning of a song. In fact I often find I have been singing a song for months and suddenly realise that there is something more in the lyrics that could be brought out with a little effort.

“But I will admit ‘Top Of The Pops’ does throw me a little. We’ve just come back from France where we did a TV show and there the producer spent a whole hour telling us exactly which camera he was using when — which was great. I could work out just what I was going to do in advance and not be forever on the lookout for the red light on the camera.”

And what of the detached d’Abo—the semi-recluse who, rather than join the ravers, prefers to retire with the “Times”?

“Well, that’s true in a way. I often get to the stage, especially at places like ‘Top Of The Pops’ when I feel a bit exasperated with all the revelry and I think ‘What’s it all for?’ (Disc, 16/09/67)