Each and Every Day

For the song by American duo Best Coast, see Crazy for You (Best Coast album).
"Each and Every Day"
US single label
Single by Manfred Mann
from the album Mighty Garvey!
A-sideSemi-Detached, Suburban Mr. James" (US)
Released7 October 1966
Recorded22 August 1966
StudioPhilips, London
Genre
Length2:53
LabelMercury
SongwriterMike Hugg
ProducerShel Talmy
Manfred Mann US singles chronology
"When Will I Be Loved"
(1966) 		"Each and Every Day"
(1966) 		"Ha! Ha! Said the Clown"
(1967)
Audio
"Each and Every Day" on YouTube

"Each and Every Day" (often recorded as "Day Time, Night Time") is a song written by British drummer Mike Hugg and recorded by his band Manfred Mann. Described as blue-eyed soul, R&B or pop, the song features keyboardist Manfred Mann on Mellotron. It was recorded at Philips Studios in London with producer Shel Talmy during August 1966. Though initially planned to be released as a single A-side, "Each and Every Day" first saw release as the B-side of "Semi-Detached, Suburban Mr. James" through Mercury Records in the US on 7 October 1966. "Each and Every Day" was belatedly issued as an album track in the UK through Fontana Records when it was part of the Mighty Garvey! album on 28 June 1968. Upon release, it received positive reviews, with critics noting the brass sound.

According to biographer Greg Russo, "Each and Every Day" became a popular cover song for other bands, who recorded it as "Day Time, Night Time". Early covers include one by the Mike Jones Group and the Shamrocks, who's version was produced by Manfred Mann manager Gerry Bron. British pop group Simon Dupree and the Big Sound recorded it as their third single in 1967 in a heavily promoted version which reached number 58 on the Record Retailer chart and received mixed reviews in the press. The most commercially successful rendition of "Day Time, Night Time" was recorded by British-born Canadian singer Keith Hampshire, who's version of it on A&M Records reached number five in Canada and number 51 on the Billboard Hot 100 in the US. His version received positive reviews in the press.

Composition and recording

"Each and Every Day" was written by Manfred Mann's drummer Mike Hugg,[1] with Bruce Eder of AllMusic believing 1966 to be the year Hugg established himself as a "highly successful songwriter" after having penned "Mister, You're a Better Man Than I" for the Yardbirds.[2] Simon Matthews of Record Collector characterized the song as a "cousin" to his two later compositions "Sing Songs of Love" and "Up the Junction".[3] With a runtime of 2:53,[4] Eder stated that "Each and Every Day" was a "piece of pop R&B" similar to their single "Do Wah Diddy Diddy" (1964),[5] and was similarly defined as pop by Mann biographer Greg Russo.[6] Georgiy Starostin characterized "Each and Every Day" as a return to the "mine-trodden field of blue-eyed soul" for the band.[7] "Each and Every Day" prominently features keyboardist Manfred Mann on his Mellotron, on which he plays the brass loop and other "horn effects".[8][6] Eder further stated that because of the song's soul flavour, the "unified texture" and the "pounding beat" alongside the vocal performance was more central to the song "than any embellishments".[9]

Produced by Shel Talmy at Philips Studios in Marble Arch, London,[10] "Each and Every Day" was recorded during a marathon session on 22 August 1966 during which the songs "A Now and then Thing", "Acoustic Guitar Instrumental", "Another Kind of Music", "As Long as I Have Lovin'", "Autumn Leaves", "Each Other's Company", "Miss J.D.", "Morning After the Party", "Semi-Detached, Suburban Mr. James", "The Vicar's Daughter" and "You're My Girl" were also taped.[11] An alternative take of "Each and Every Day" was recorded on 19 December 1966, but remained unissued.[11] According to Talmy, the tracks were recorded onto four-track tape and was performed by the Manfred Mann lineup consisting of Hugg, Mann, Mike d'Abo, Tom McGuinness and Klaus Voormann.[10]

Release and reception

According to McGuinness, the band had originally wanted to released "Each and Every Day" as an A-side single in the UK, a plan that was ultimately abandoned as they were both insecure about original compositions and Mann's hostility towards "homegrown material".[12] Instead, "Each and Every Day" saw initial release as the B-side of "Semi-Detached, Suburban Mr. James" in the US through Mercury Records on 7 October 1966.[13][note 1] In the words of McGuiness, the song was big in Canada,[14] but otherwise failed to reach the Billboard Hot 100.[15] When "Semi-Detached, Suburban. Mr James" was issued in the UK, "Morning After the Party", one of Hugg's other compositions, was chosen as the B-side.[6] Instead, "Each and Every Day" was first belatedly released in the UK by Fontana Records as part of the Mighty Garvey! album on 28 June 1968.[16] It was also included on the US equivalent of that album, The Mighty Quinn.[5]

"Each and Every Day" received positive reviews when it was released, with the staff panel of Cash Box magazine describing it as a "another star on its [Manfred Mann's] victory flag".[17] They further examplified it as a "throbbing, husky, demanding track" which in turn backed the "intricate" and nuanced vocal work.[17] In Record Mirror, Lon Goddard found "Each and Every Day" to carry tinges of both the Alan Price Set and the Small Faces, writing it to be characterized by its "brassy organ sound" and the vocal harmony which was "scattered here, there and everywhere".[18] Allen Evans of the New Musical Express praised Hugg's performance, noting it as "strident".[19] He otherwise noted the backing brass sound.[19] In his review of the Mighty Quinn album, Dave Bist of The Gazette found both "Each and Every Day" and the title track to bear the "Mann-made stamp" which he opined was "a stamp of approval".[20]

"Each and Every Day" also received critical acclaim retrospectively, with Russo believing it to be a "perfect pop song" and a "very memorable song".[6] Andrew Sandoval remarked that "Each and Every Day" was an "exceptional" song which was "worthy of a better fate" than being relegated as the B-side of "Semi-Detached".[14] Matthews believed it to be a tasteful piece of mid-1960s pop.[3] Starostin suggested that "Each and Every Day" carried a "delicious and highly memorable" brass arrangement.[7] Eder felt that the song, with its British Blue-eyed soul-style, was the "lost single" from the Mighty Quinn! album.[9]

Covers

Early covers

According to Russo, "Each and Every Day" became a popular cover tune, usually under the title "Day Time, Night Time".[21][22] One of the earliest covers came from pop band the Mike Jones Group,[20] who issued it as a single in 1967 which Cash Box described as a "groovy, dance-able rock item".[23][24] Swedish pop band the Shamrocks recorded a cover of "Day Time, Night Time" on 24 April 1967 at the Regent Sound Studio in London, where Mann was present and lent his Mellotron for the band to use on the recording.[25] Hugg specifically gifted the song to the Shamrocks.[25] Their cover was produced by Gerry Bron,[26] who was Manfred Mann's manager.[27] "Day Time, Night Time" was released as a single on 5 May 1967 through Polydor Records' Karusell label in Sweden, with "Don't You Know She's Mine" co-composed by John Carter on the B-side.[25][28][note 2]

British pop group Simon Dupree and the Big Sound recorded a version of "Day Time, Night Time" at the EMI Studios on 8 April 1967 with David Paramor producing.[29] According to Russo, Dupree's version was an "almost" note-for-note copy of Manfred Mann's original version.[23] The Dupree version was issued as their third single in the UK through EMI's Parlophone label, also on 5 May 1967.[30][31][note 3] Their version was supported by performances on Easy Beat and Saturday Club alongside a specifically made TV documentary about the band,[30][22] but overall "didn't make much of an impression".[33] Dupree's version of "Day Time, Night Time" reached number 58 on Record Retailer' "Bubbling Under" chart,[34][35] but was more successful with the pirate radio stations, where it reached number ten on the Fab 40 chart published by Wonderful Radio London.[22][36] It was Dupree's worst-selling singles released up until this point.[22]

Writing for Disc and Music Echo, journalist Penny Valentine found "Day Time, Night Time" to have a striking production job and "lovely lurching brass".[37] She found Dupree to be singing in "double quick time" and opined it would be a hit with the right amounts of plugging.[37] Chris Welch of Melody Maker found the single to "sound ready for success", though quipped that it was not a "work of art" despite having "one or two inspiring moments" which "promised well for the future".[38] Welch arraigned Dupree's vocal performance as undestinctive, even though his voice blended well with the brass arrangement.[38] He ended by stating it to be a "well made record" though was unsure whether it would be a hit or not.[38] For Derek Johnson of the New Musical Express, the song contained an explosive beat, a "big-belt vocal" and an "intriguing" backing track.[39] Peter Jones of Record Mirror found the vocal line to be distinctive and the song "certainly commercial", praising it as "powerful stuff" which he commended.[40] Biographer David Wells considered it a "wonderful interpretation" of the composition, which acted as a "musical taster" for their debut album Without Reservations.[22]

Keith Hampshire version

"Day Time, Night Time"
Japanese single sleeve
Single by Keith Hampshire
from the album The First Cut
B-side"Turned the Other Way"
ReleasedOctober 1972
Recorded1972
StudioRCA, Toronto
Length3:06
LabelA&M
SongwriterMike Hugg
ProducerBill Misener
Keith Hampshire singles chronology
"Ebenezer"
(1971) 		"Day Time, Night Time"
(1972) 		"First Cut is the Deepest"
(1973)
Audio
"Daytime, Night Time" on YouTube

In 1972, "Day Time, Night Time" was recorded by England-born Canadian disc jockey Keith Hampshire.[41][42] Hampshire had met producer Bill Misener in 1969, and together they recorded his first single "Ebenezer" for RCA Records in 1971.[43] Though RCA declined to issue anymore material by Hampshire, he and Misener continued recording together at RCA's studios in Toronto.[43][44] Hampshire was introduced to the song through the Dupree version by a friend of his during the autumn of 1972.[45] "Day Time, Night Time" was cut by Hampshire, with Misener producing and George Semkiw present as an audio engineer.[44] According to RPM, the session was "big" and featured both spectators and the Laurie Bower Singers on backing vocals.[44] Hampshire was "certain" that "Day Time, Night Time" would become a hit, and signed a contract with A&M Records.[43]

A&M released "Day Time, Night Time" as a single in Canada during October 1972.[46] It was backed by "Turned the Other Way", which was written by Misener.[44] On the RPM charts, "Day Time, Night Time" entered on 28 October 1972 at a position of number 77,[47] before peaking at number five on 13 January 1973.[48] It was the first of three consecutive Canadian top-ten singles Hampshire recorded.[49] Hampshire embarked on a promotional campaign to promote the song in Canada, and A&M also released "Day Time, Night Time" as a single in the United States on 17 November 1972 as a direct result of its Canadian success.[50] In the United States, "Day Time, Night Time" reached number 51 on the Billboard Hot 100,[51] but fared the best on the chart published by Record World where it reached number 32.[52]

The staff reviewer for Cashbox believed "Day Time, Night Time" to have a "great arrangement" which was only "bested an even greater vocal performance".[53] They believed the single to stand a chance of reaching the national charts, stating "watch for this one".[53]

Charts

Weekly chart performance for "Day Time, Night Time
Chart (1972–73) Peak

position

Canada (RPM 100 Singles)[48] 5
US (Billboard Hot 100)[51] 51
US (Cashbox Top 100)[54] 43
US (Record World 100)[52] 32

Personnel

Personnel according to Shel Talmy.[10]

References

Notes

  1. ^ Catalogue number Mercury 45 72629.[4]
  2. ^ Catalogue number Karusell KFF 711.[25]
  3. ^ Catalogue number Parlophone R5594.[32]

Citations

  1. ^ Sandoval 1994, pp. 1–2.
  2. ^ Eder, Bruce. "Mike Hugg Biography by Bruce Eder". AllMusic. Archived from the original on 15 October 2022. Retrieved 18 February 2026.
  3. ^ a b Matthews, Simon (22 March 2013). "Going Under Ground". Record Collector. Archived from the original on 22 December 2025. Retrieved 18 February 2026.
  4. ^ a b Sandoval 1994, p. 1.
  5. ^ a b Eder, Bruce. "The Mighty Quinn Review by Bruce Eder". AllMusic. Archived from the original on 14 August 2016. Retrieved 18 February 2026.
  6. ^ a b c d Russo 1995, p. 44.
  7. ^ a b Starostin, Georgiy (2006). "Manfred Mann". Only Solitaire. Archived from the original on 16 October 2021. Retrieved 18 February 2026.
  8. ^ a b Thompson, Andy (1999). "Manfred Mann". Planet Mellotron. Archived from the original on 16 November 2025. Retrieved 18 February 2026.
  9. ^ a b Eder, Bruce. "The Mighty Garvey! [Reissue] Review by Bruce Eder". AllMusic. Archived from the original on 21 February 2026. Retrieved 21 February 2026.
  10. ^ a b c Talmy, Shel (12 August 2024). "Blueprint of "Each and Every Day" by Manfred Mann". Facebook. Archived from the original on 18 February 2026. Retrieved 18 February 2026.
  11. ^ a b Russo 1995, p. 258.
  12. ^ Sandoval 1994, pp. 3–4.
  13. ^ Russo 1995, p. 158.
  14. ^ a b Sandoval 1994, p. 3.
  15. ^ "Chart History - Manfred Mann". Billboard. 2021. Archived from the original on 12 December 2021. Retrieved 20 February 2026.
  16. ^ Russo 1995, pp. 57, 162.
  17. ^ a b Anon. (22 October 1966). "Pick of the Week" (PDF). Cash Box. p. 24. Archived (PDF) from the original on 20 December 2024. Retrieved 20 February 2026 – via WorldRadioHistory.
  18. ^ Goddard, Lon (20 July 1968). "Manfred Mann - New LP is Reviewed in Depth" (PDF). Record Mirror. p. 8. Archived (PDF) from the original on 13 February 2026. Retrieved 20 February 2026 – via WorldRadioHistory.
  19. ^ a b Evans, Allen (16 June 1968). "Manfred Mann's 'Mighty Garvey' Versatile Guy!" (PDF). New Musical Express. p. 10. Archived (PDF) from the original on 8 December 2025. Retrieved 20 February 2026 – via WorldRadioHistory.
  20. ^ a b Bist, Dave (22 June 1968). "The Teen Beat". The Gazette. p. 49. Archived from the original on 20 February 2026. Retrieved 20 February 2026 – via Newspapers.com.
  21. ^ Russo 1995, pp. 44, 268.
  22. ^ a b c d e Wells 2004, p. 6.
  23. ^ a b Russo 1995, p. 268.
  24. ^ Anon. (8 July 1967). "Best Bets" (PDF). Cash Box. p. 20. Archived (PDF) from the original on 30 November 2025. Retrieved 20 February 2026 – via WorldRadioHistory.
  25. ^ a b c d Lundström 1985, p. 2.
  26. ^ "Day time, night time / The Shamrocks" (in Swedish). Svensk mediedatabas. 1967. Archived from the original on 20 February 2026. Retrieved 20 February 2026.
  27. ^ Russo 1995, p. 34.
  28. ^ "The Shamrocks - Day Time, Night Time (song)". Sverigetopplistan. Archived from the original on 20 February 2026. Retrieved 20 February 2026.
  29. ^ Wells 2004, pp. 2–3.
  30. ^ a b Anon. (29 April 1967). "Simon's Manfred song" (PDF). Disc and Music Echo. p. 4. Archived (PDF) from the original on 21 December 2024. Retrieved 20 February 2026 – via WorldRadioHistory.
  31. ^ Anon. (29 April 1967). "Double A side release for Elvis Presley" (PDF). Record Mirror. p. 4. Archived (PDF) from the original on 8 February 2026. Retrieved 20 February 2026 – via WorldRadioHistory.
  32. ^ Wells 2004, p. 2.
  33. ^ Eder, Bruce. "Simon Dupree & the Big Sound Biography by Bruce Eder". AllMusic. Archived from the original on 15 November 2022. Retrieved 20 February 2026.
  34. ^ Anon. (8 June 1967). "Breakers List". Record Retailer. p. 5.
  35. ^ Anon. (10 June 1967). "Bubbling Under" (PDF). Record Mirror. p. 11. Archived (PDF) from the original on 17 February 2026. Retrieved 20 February 2026 – via WorldRadioHistory.
  36. ^ Blackburn, Tony (28 May 1967). "Field's Fab Forty for Sunday 28th May 1967". Radio London. Archived from the original on 20 April 2024. Retrieved 20 February 2026.
  37. ^ a b Valentine, Penny (6 May 1967). "Beautiful Kinks in 'Waterloo Sunset'" (PDF). Disc and Music Echo. p. 15. Archived (PDF) from the original on 21 December 2024. Retrieved 20 February 2026 – via WorldRadioHistory.
  38. ^ a b c Welch, Chris (6 May 1967). "New Pop Records" (PDF). Melody Maker. p. 13. Archived (PDF) from the original on 21 December 2024. Retrieved 20 February 2026 – via WorldRadioHistory.
  39. ^ Johnson, Derek (6 May 1967). "Clever Kinks Cut a Corker!" (PDF). New Musical Express. p. 6. Archived (PDF) from the original on 24 October 2025. Retrieved 20 February 2026 – via WorldRadioHistory.
  40. ^ Jones, Peter (6 May 1967). "A multitude of newies this week including Presley, Dylan, Kinks, Hendrix & Beach Boys" (PDF). Record Mirror. p. 9. Archived (PDF) from the original on 15 February 2026. Retrieved 20 February 2026 – via WorldRadioHistory.
  41. ^ Bush, John. "Keith Hampshire Biography by John Bush". AllMusic. Archived from the original on 4 January 2022. Retrieved 20 February 2026.
  42. ^ Leggett, Steve. "20th Century Masters - The Millennium Collection: The Best of Keith Hampshire Review by Steve Leggett". AllMusic. Archived from the original on 29 January 2022. Retrieved 20 February 2026.
  43. ^ a b c Wiens 2005, p. 1.
  44. ^ a b c d Anon. (7 October 1972). "Hampshire Returns to Disc Race" (PDF). RPM. p. 9. Archived (PDF) from the original on 20 December 2024. Retrieved 20 February 2026 – via WorldRadioHistory.
  45. ^ Yorke, Ritchie (8 March 1973). "Hampshire clicks with hits after paying dues in Alberta". Star-Phoenix. p. 7. Archived from the original on 20 February 2026. Retrieved 20 February 2026 – via Newspapers.com.
  46. ^ Anon. (28 October 1972). "A&M Set for Fall Assault" (PDF). RPM. p. 8. Archived (PDF) from the original on 20 December 2024. Retrieved 20 February 2026 – via WorldRadioHistory.
  47. ^ Anon. (28 October 1972). "RPM 100 Singles" (PDF). RPM. p. 11. Archived (PDF) from the original on 20 December 2024. Retrieved 20 February 2026 – via WorldRadioHistory.
  48. ^ a b Anon. (13 January 1973). "RPM 100 Singles" (PDF). RPM. p. 15. Archived (PDF) from the original on 20 December 2024. Retrieved 20 February 2026 – via WorldRadioHistory.
  49. ^ Wiens 2005, pp. 1–2.
  50. ^ Anon. (11 November 1972). "A&M Giving Push to Keith Hampshire" (PDF). RPM. p. 2. Archived (PDF) from the original on 20 December 2024. Retrieved 20 February 2026 – via WorldRadioHistory.
  51. ^ a b Anon. (10 February 1973). "Billboard Hot 100" (PDF). Billboard. p. 68. Archived (PDF) from the original on 25 October 2025. Retrieved 20 February 2026 – via WorldRadioHistory.
  52. ^ a b Anon. (17 February 1973). "The Singles Chart" (PDF). Record World. p. 29. Archived (PDF) from the original on 10 February 2026. Retrieved 20 February 2026 – via WorldRadioHistory.
  53. ^ a b Anon. (14 October 1972). "Newcomer Picks" (PDF). Cashbox. p. 18. Archived (PDF) from the original on 25 November 2025. Retrieved 20 February 2026 – via WorldRadioHistory.
  54. ^ Anon. (10 February 1973). "Cashbox Top 100 Singles" (PDF). Cashbox. p. 4. Archived (PDF) from the original on 27 November 2025. Retrieved 20 February 2026 – via WorldRadioHistory.

Sources

  • Lundström, Martin (1985). The Shamrocks (Vinyl). Sweden: Rainbow Music. RMDLP 2012.
  • Russo, Greg (1995). Mannerisms: The Five Phases of Manfred Mann (1st ed.). United States: Crossfire Publications. ISBN 0-9648157-1-0. Retrieved 18 February 2026 – via Internet Archive.{{cite book}}: CS1 maint: url-status (link)
  • Sandoval, Andrew (1994). Chapter Two: The Best Of The Fontana Years (CD). United States: Chronicles. 314 522 665-2.
  • Wells, David (2004). Part Of My Past (The Simon Dupree And The Big Sound Anthology) (CD). United Kingdom: EMI. 7243 593727 2 3.
  • Wiens, Werner (2005). 20th Century Masters - The Millennium Collection: The Best of Keith Hampshire (CD). Canada: Universal Music. 0249832663.
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