Manfred Mann's Earth Band
Band members Related acts
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line up 1 (1963-) - Mike Hugg -- drums, percussion, vibes - Paul Jones -- lead vocals, harmonica - Manfred Mann -- keyboards, backing vocals - Tom McGuinness -- bass, backing vocals - Mike Vickers -- guitar, sax, flutes, backing vocals
supporting musicians (1964) - Dave Richmond -- bass
line up 1x (196x) - Mike D'Abo -- vocals - Mike Hugg -- drums, percussion - Manfred Mann -- keyboards, synthesizers, backing vocals - Tom McGuinness -- guitar, backing vocals - Klaus Voorman -- bass, woodwinds
line up x (1968) - Mike D'Abo -- vocals - Mike Hugg -- drums, percussion - Manfred Mann -- keyboards, synthesizers, backing vocals - Tom McGuinness -- guitar, backing vocals - Klaus Voorman -- bass, woodwinds
supporting musicians - Derek Wadsworth -- trombone
line up x (1969-71) as Manfred Mann Chapter Three - Craig Collinge -- drums, percussion - Mike Hugg -- vocals, keyboards - Bernie Living -- sax, flute - Manfred Mann (aka Manfred Lubowtiz) -- keyboards - Steve York -- bass
supporting musicians: - Harold Beckett -- trumpet - Sonny Corbett -- trumpet - Dave Coxhill -- baritone sax - Gerald Drewett -- trombone - Carl Griffiths -- tenor sax - Brian Hugg -- guitar - Clive Stevens -- tenor sax
- Brian Hugg -- bass - Mike Hugg -- lead guitar (-71) - Manfred Mann - vocals, keyboards, synthesizers - Mick Rogers (aka Michael Oldroyd) -- vocals, guitar (replaced Mike Hugg) (1971-) - Colin Pattenden -- bass (replaced Steve York) (1971-) - Chris Slade -- drums, percussion (1971-) - Steve York -- bass (-71)
line-up up xx (1972) - Mick Rogers -- lead guitar, vocals - Manfred Mann - organ, synthesizer, vocals, - Colin Pattenden -- bass - Chris Slade -- drums, percussion
supporting musicians (1973) - Irene Chanter -- backing vocals - Doreen Chanter -- backing vocals - Peter Miles -- percussion - Paul Rutherford -- trombone - The Grove Singers -- backing vocals
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- AC/DC (Chris Slade) - Asia (Chris Slade) - Aviator (Mick Rogers) - Bulldog (Michael Rogers) - Damage Control (Chris Slade) - East of Eden (Steve York) - The Firm (Chris Slade) - David Gilmour and Friends (Chris Slade) - Drummond (Mick Rogers) - The Renee Geyer Band (Mick Rogers) - The Librettos (Craig Collinge) - The Manfred Mann Band - Miwa (Chris Slade) - The Playboys (Michael Rogers) - Procession (Craig Collinge and Michael Rogers) - The Manfred Mann Band - McGuinness Flint (Tom McGuinness) - Mick Rogers (solo efforts) - Shout (Craig Collinge) - The Chris Slade Timeline (Chris Slade) - The Squires (Chris Slade) - Terra Nova (Colin Pattenden and Chris Slade) - Third World War (Craig Collinge) - Uriah Heep (Chris Slade) - Vengeance (Chris Slade) - Vinegar Joe (Steve York) - Wild Connections (Mick Rogers)
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Genre: rock Rating: 3 stars *** Title: The Five Faces of Manfred Mann Company: Ascot Catalog: ALS 16018 Year: 1965 Country/State: South Africa /UK Grade (cover/record): VG+/VG+ Comments: -- Available: 1 Catalog ID: -- Price: $40.00
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Trying to get your
arms around the early Manfred Mann recording catalog takes a little
effort. Showcasing the bands blues leanings with a collection heavy on
covers, the original U
"The Five
Faces Of Manfred Mann" track listing: 1.) Sha La La (Robert Moseley - Robert Napoleon Taylor) - 2:30 rating: **** stars The Shirelles were the first act to release 'Sha La La' in early 1964. Their soulful version charted on both the US R&B and pop charts. Propelled by Mann's catchy organ riff, their version upped the song's pop component, though Jones' rough voice injected a nice R&B edge to the performance. The liner notes misspelled Mosely's name as "Moseley".
- 1964's 'Sha La La' b/w 'John Hardy' (Ascot catalog number 2165 (mono) AS 2165 (stereo)) # 12 US Billboard pop chart I think it was filmed during a 1965 appearance on Shindig!, but YouTube has a black and white clip of the band apparently lip-synching the tune. Watching Tom McGuinness swing his bass around is hysterical. Sha La La Manfred Mann RESTORED VIDEO ORIGINAL MONAURAL HiQ Hybrid JARichardsFilm 2.) Come Tomorrow (Bob Elgin - Frank Augustus - Dolores Phillips) - 2:13 rating: ** stars Soul singer Maria Knight released the ballad 'Come Tomorrow' as a single back in 1961. It didn't do anything commercial, which was a shame since her version was killer. Jones owned a copy of the 45 and was responsible for convincing the band to do a cover. The Manfred Mann version wasn't all that different from the original. Personally it struck me as being overly sentimental.
- 1965's 'Come Tomorrow' b/w 'What Did I Do Wrong?' (Ascot catalog number AS 2170) # 50 US pop charts
The band also recorded a version of the song with German lyrics: - 1965's 'Pretty Baby (Weine Nicht' (Electrola catalog number E 22 892).
3.) She (Paul Jones) - 2:10 rating: **** stars Sounding like a mash-up between Motown and Merseybeat, 'She' was one of the album standouts. Jones' growling vocals and the harmony vocals were simply perfect for the song. 4.) Can't Believe It (Paul Jones) - 3:19 rating: ** stars Almost a Jones solo effort, the spotlight was on Jones and his harmonica work. Just not a genre I found particularly exciting. 5.) John Hardy (traditional) - 2:01 rating: *** stars The traditional American folk song 'John Hardy' has been covered by hundreds of artists. I'm usually not a big fan of new arrangements for traditional songs, but I'll make an exception for the remake of 'John Hardy'. One of Jones' best vocals. The song also appeared as the "B" side to their 'Sha La La' single. 6.) Did You Have to Do That (Paul Jones) - 3:29 rating: ** stars 'Did You Have to Do Tha' offered up another slice of Chicago-styled electric blues. Again, the performance was competent, but it sounded very much like competitors like early Fleetwood Mac, The Keef Hartley Band, The Savoy Blues Band, Ten Years After, etc.
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2) An odd choice for a cover tune, but I have to admit to loving their slinky version of Hancock's 'Watermelon Man'. Mike Vickers on sax. YouTube has a fascinating black and white lip-synch performance of the song on ABC's Shindig!: Manfred Mann - Watermelon Man (Shindig) 2.) I'm Your Kingpin (Paul Jones - Manfred Mann) - 2:38 rating: **** stars Blues for people for who don't like blues, 'I'm Your Kingpin' showcased a dark, ominous vibe. If was underscored by nice solos from Jones on harmonica, Hugg on vibes, Vickers on sax and Mann on piano. Wish this one hadn't faded out so early. The song was tapped as the "B" side to their 'Hubble Bubble (Toil and Trouble)' 45. 3.) Hubble Bubble (Toil and Trouble) (Manfred Mann - Mike Hugg - Mike Vickers - Paul Jones - Tom McGuinness) - 2:25 Is there such a thing as a "fun" song? If so then 'Hubble Bubble (Toil and Trouble)' should be on the list. The first of two group compositions, they sounded like they were having a blast on this rollicking rocker.
- 1965's 'Hubble Bubble" b/w 'I'm Your Kingpin' (Ascot catalog number AS 2131) 4.) You've Got to Take It (Paul Jones) - 2:00 rating: ** stars The second tune carried over from the debut English album, showcasing Mann's keyboards and Jones' harmonica, 'You've Got to Take It' was a competent, if unexceptional slice of English blues. The refrain was kind of cool. 5.) Groovin' (Ben E. King - James Bethea) - 3:40 rating: *** stars There's no chance they were going to make you forget the Ben E. King original, but they didn't embarrass themselves either. 6.) Dashing Away with the Smoothing Iron (Manfred Mann - Mike Hugg - Mike Vickers - Paul Jones - Tom McGuinness) - 1:59 rating: *** stars Billed as a group composition, 'Dashing Away with the Smoothing Iron' was actually based on a traditional English folks song. Their arrangement was interesting, underscoring the band's affection for R&B and jazz. Always wondered about the oddball lyrics - seemingly a guy admiring a woman doing her daily laundry.
© Scott R. Blackerby January, 2025
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Genre: rock Rating: 4 stars **** Title: The Mighty Quinn Company: Mercury Catalog: SR 61168 Year: 1968 Country/State: South Africa /UK Grade (cover/record): VG+/VG+ Comments: -- Available: SOLD Catalog ID: SOLD 2775 Price: SOLD $40.00
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In 1968 Manfred Mann released an album entitled "Mighty Garvey!" (Fontana catalog number TL 5470 (mono) STILL 5470 (stereo)). For a number of reasons, including wanting to take advantage of the band's worldwide hit via their cover of Bob Dylan's 'The Mighty Quinn (Quinn the Eskimo) ', the band's US label Mercury elected to modify the collection before releasing it in the States, Among the changes, the track listing was modified with the original three versions of 'Happy Families' (rock, jazz, and drunken family sing-along) and 'Harry the One Man Band' being dropped in favor of the 1966 single 'Semi-Detached Suburban Mr. James'. The track order was also modified. Finally, the album title was changed to "The Mighty Quinn" and the art work was modified (though this time the psychedelic Victor Mascots artwork was an improvement over the bland UK cover photo.
It isn't uncommon for record companies to make adjustments to albums in an effort to make them more compatible for different countries. Lots of times you're left to wonder why they bother, but in this case the changes probably made sense. Apparently intended as kind of a concept album, incorporating three versions of the song 'Happy Families' would have left most Americans scratching their heads in confusion. The fact the song wasn't very good in any variation didn't help. In contrast the US version of the album captured Mann and company at their most conventional and commercial. That wasn't meant as a knock. Yeah, tracks like 'Everyday Another Hair Turns Grey', 'Cubist Town' and 'The Vicar's Daughter' had a distinctive British edge to them (sounding a little but like Ray Davies castoffs), but it wasn't so hardcore as to make it unpalatable to American listeners. The title track is the tune everyone talks about and it's a '60s classic, providing the band with their biggest hit, but the album had lots of other winners, though nobody seems to have been paying much attention. 'Ha! Ha! Said the Clown was a fantastic slice of pop-psych (unless you suffer from coulrophobia). Hugg's 'It's So Easy Falling' should have been a massive hit for the group. 'Each and Every Day' was even more commercial. A surprisingly difficult album to find, though well worth looking for !!!
"The
Mighty Quinn" track listing: 1.) The Mighty Quinn (Quinn the Eskimo) (Bob Dylan) - 2:51 rating: **** stars Dylan wrote and recorded it first, though it didn't appear on a Dylan album until 1970's "Self Portrait". Curiously, it's not even clear if Dylan knows what the song's about. He's claimed different inspirations over the years. Manfred Mann singer Mike D'abo certainly didn't know what the song was about, having to almost learn the lyrics phonetically given how wordy the track was. Kudos to Mann for recognizing the song's potential while the other band members wanted to record another then new Dylan track - 'This Wheels On Fire'. Anyhow, this may be the catchiest and most commercial Dylan cover ever recorded. YouTube has a copy of the 1968 John Chrome promo video: https://www.youtube.com/watch?v=0soqDjMDklg YouTube also has a couple of television performances - here's a link to a 1968 appearance lip synching on Top of the Pops: https://www.youtube.com/watch?v=liIQLIx2Onw
- 1968's 'The Mighty Quinn (Quinn the Eskimo)' b/w 'By Request - Edwin Garvey (Mercury catalog number 72770) 2.) Ha! Ha! Said the Clown (Tony Hazzard) - 2:25 rating; **** stars The clown has the last laugh ... how funny is that ? A touch too clever for my tastes, but the refrain was dazzling and I can understand why it was such a big hit for the group. YouTube has a clip of the band lip synching the tune on German television - wild and crazy audience !!! https://www.youtube.com/watch?v=F3JPTzHpUHc
- 1967's 'Ha! Ha! Said the Clown' b/w 'Feeling So Good' (Mercury catalog number 72675) 3.) Everyday Another Hair Turns Grey (Mike Hugg) - 2:56 rating; **** stars I love harpsichord so 'Everyday Another Hair Turns Grey' won me over from the opening. Sweet lyrics made for a nice display of the group's sweeter side. Great harmonies on this one. 4.) It's So Easy Falling (Mike Hugg) - 3:23 rating; **** stars Always loved the harmonies on this pop tune ... Another one where you had to wonder how it was overlooked as a single. 5.) Big Betty (Manfred Mann - Mike Hugg - Tom McGuinness - Michael D'Abo - Klaus Voorman) - 3:06 rating: * star It may have carried a group composition, but even a child could tell this was a blatant rip off of Leadbelly's 'Black Better'. Sure, they toughened up the song, but it was still a rip off. Shame on the group. 6.) Cubist Town (Tom McGuinness - Perroc) - 3:19 rating; **** stars The album's most psychedelic tune and also one of the prettiest things they ever recorded ...
(side 2) 1.) Country Dancing (Michael D'Abo) - 2:56 rating: *** stars 'Country Dancing' has always reminded me of something out the mid-'60s Kinks catalog. Interesting opening, but then it faded into obscurity with an odd mix of psych, Gypsy, and country influences. 2.) Semi-Detached Suburban Mr. James (Geoff Stephens - John Carter) - 2:37 rating: **** stars Another previously released single and one of two covers on the album ... The original title was 'Semi-Detached Suburban Mr. James', but was apparently modified in an effort to take a dig at recently departed singer Paul Jones. This was one of the first tracks to feature James replacement Michael D'Abo on lead vocals. It was also one of the first songs to feature a Mellotron - those flute sounding notes were Mann on the instrument. YouTube has a Top of the Pops promotional clip for the song: https://www.youtube.com/watch?v=BQucg4-dFUc
- 1966's ' Semi-Detached Suburban Mr. James' b/w 'Morning After the Party' (Mercury catalog number 72629) 3.) The Vicar's Daughter (Michael D'Abo) - 2:17 rating: *** stars 'The Vicar's Daughter' was a pretty, keyboard-propelled ballad that sounded like something rescued from Ray Davies' mid-'60s archive. 4.) Each and Every Day (Mike Hugg) - 2:47 rating: **** stars Ever heard the opening chords of a song and thought "that's a hit single" ? Well, that's the feeling I get every time I hear Mike Hugg's 'Each and Every Day'. A near perfect ballad with a melody that you couldn't shake out of your head. Naturally it remained an album cut. 5,) No Better, No Worse (Michael D'Abo) - 2:26 rating: *** stars Another tune that had kind of a toytown/pop-psych feel. I'm a sucker for this kind of stuff, but some folks are liable to find it to fey for their tastes. It sounded like an accordion, but I think the sound was actually an early synthesizer ...
© Scott R. Blackerby November, 2022
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Genre: progressive Rating: 3 stars *** Title: Chapter Three Company: Polydor Catalog: 24-4013 Year: 1969 Country/State: South Africa /UK Grade (cover/record): VG+/VG+ Comments: gatefold sleeve Available: 1 Catalog ID: 1493 Price: $15.00
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So here are what the liner notes have to say about 1969's "Chapter Three": "In June 1969 Manfred Mann pop group disbanded after 5 ½ years of successfully making hit records. Manfred Mann Chapter 3 was formed by Manfred Mann and Mike Hugg, who had originally for the Manfred Mann pop group in 1963. This L.P. was recorded between June and October 1969 in the Old Kent Road and represents in general what we personally have been wanting to do for some years."
And that should warn you not to expect another 'The Mighty Quinn' styled slice of pop ecstasy. Mann and company were clearly interested in establishing their credentials as "serious" musicians, capable of mixing it up with the best of jazz-rockers and more progressive-oriented entities. And that was a mixed blessing. Anyone who loved the group's original pop orientation was going to find discordant jazzy numbers like 'Konekuf', 'Devil Woman' and 'Time' tough slogging. At the same time there was something kind of mesmerizing in the abrupt shift in direction. You certainly had to admire their willingness to walk away from pop stardom. With Mike Hugg having switched over from drums to lead vocals and keyboards, the band had a vocalist who was best described as an acquired taste, but he certainly could write some engaging material including 'Traveling Lady' and 'Snakeskin Garter'. And in spite of their abrupt change in direction Mann and Hugg couldn't entirely abandon their affection for a good pop song - witness 'Sometimes', 'One Way Glass', and 'Ain't It Sad'. The rest of the line-up was equally talented - notably former East of Eden bassist Steve York and ex-Procession drummer Craig Collinge. Anyhow, "Chapter Three" was way different from their earlier work and was worth checking out.
Who knows why, but the original UK release (Vertigo catalog number VO 3) featured a different, equally lame album cover.
"Chapter
Three" track listing: 1.) Traveling Lady (Manfred Mann - Mike Hugg) - 5:48 rating: **** stars So Mike Hugg wasn't the best vocalist Manfred Mann ever recruited, but with some surprisingly effective discordant horns (Harold Beckett and Bernie Living), and Steve York's melodic bass line, Manfred Mann and company seldom sounded as dark and ominous as on the slinky 'Traveling Lady'. Wonderfully tune that simply dripped an early-'70s aura. 2.) Snakeskin Garter (Mike Hugg) - 5:48 rating: **** stars Not to sound like a broken record, but Hugg's dry, craggy voice was definitely an acquired taste. The fact tracks like 'Snakeskin Garter' were highly listenable and even enjoyable was very much a testament to what a good writer Hugg was. Powered by York's stunning bass and some punchy horns this one's always reminded me a bit of an early Traffic tune. YouTube has a nice clip of the band performing the song before a small, select French audience: https://www.youtube.com/watch?v=oTi7Bykg7L0 3.) Konekuf (instrumental) (Manfred Mann) - 5:58 rating: ** star Sounding like something out of the Soft Machine catalog , 'Konekuf' was a straightforward jazz instrumental showcasing the band's backing horn section. Technically I'm sure it was stunning, but from an enjoyment standpoint it didn't do a great deal for me. 4.) Sometimes (Mike Hugg) - 2:38 rating: **** stars Opening up with some delicate Brian Hugg acoustic guitar, 'Sometimes' was a pretty, slightly lysergic-tinged ballad that served to highlight Hugg's commercial writing edge, while keeping the horns in check. 5.) Devil Woman (Mike Hugg) - 5:27 rating: ** star One of the album's most discordant tunes, the instrumental 'Devil Woman' almost sounded like Hugg and company had been listening to an overdose of John Coltrane.
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2) A completely weird mixture of lysergic and discordant jazzy moves, 'Time' sounded like a bad trip (or at least what I imagined a bad trip sounded like). 2.) One Way Glass (Manfred Mann) - 3:30 rating: **** stars In spite of the squealing horns, 'One Way Glass' was the album's most commercial tune. Youtube has a live performance of the tune at: https://www.youtube.com/watch?v=n5ueacuBVjE For hardcore fans, The Manfred Mann Earth Band re-recorded the track on their 1972 "Glorified Magnified" album. 3.)
Mr. You're a Better Man Than I (Brian Hugg - Mike
Hugg) - 5:10 rating:
**** stars 4.) Ain' It Sad (Mike Hugg) - 3:58 rating: **** stars One of the few tunes that didn't incorporate blaring, jazzy horns into the arrangement, 'Ain't It Sad' was also one of the few tunes that recalled their earlier pop glories. Great track and one of the highlights. 5.) A Study In Inaccuracy (instrumental) (Manfred Mann) - 4:08 rating: ** star Freeform jazz freak out ... not my style. 6.) Where Am I Going (Mike Hugg) - 2:45 rating: *** stars Mike Hugg ballad ... pretty enough, nut you could use his voice to sandblast metal.
© Scott R. Blackerby November, 2022
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Genre: progressive Rating: 3 stars *** Title: Glorified Magnified Company: Polydor Catalog: PD 5031 Year: 1972 Country/State: South Africa /UK Grade (cover/record): VG+/VG+ Comments: gatefold sleeve Available: 1 Catalog ID: -- Price: $25.00
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Co-produced
by the Dave Hadfield and Manfred Mann, fans of the band's progressive moves
are going to find 1972's "Glorified Magnified"
largely a washout. With the exception of the closing instrumental title
track, there wasn't anything remotely progressive in these grooves. To
be honest, labeling 'Glorified Magnified' progressive was a stretch.
Tagging it an aural collage might be more in keeping with the truth in
advertising concept. In contrast, if conventional rock fans were even
aware of the album, they were liable to be surprised at how good about half
of these tunes were. With all four members of The Earth Band
contributing to songwriting chores, this time around there weren't a
I've always wondered why the English and European released featured a white cover, while the US version of the album was black. I'm sure there was some in-depth marketing research behind that decision. Hardcore fans will also know this was the album that introduced the band's longstanding logo.
"Glorified
Magnified" track listing: 1.) Meat (Manfred Mann) - 4:00 rating: *** stars With a mild '50s feel (and even what sounded like a kazoo), 'Meat' offered up a weird mix of glam rock, goofy effects laden vocals and Mann's discordant collection of synthesizer beeps, bleets and tweets. That description makes it sound like a mess and it is, but there's also something disarming about this mess. The track was released as a single in the UK
- 1972's 'Meat' b/w 'Glorified Magnified' (Polydor catalog number PD 14113)
YouTube has a clip of the band lip-synching the tune (the guitars aren't plug in) for a 1972 appearance on the Old Grey Whistle Test television program. What was with the sock puppets? Manfred Mann’s Earth Band - Meat (Old Grey Whistle Test, 18th April 1972)
2.) Look Around (Chris Slade) - 5:10 rating: **** stars Powered by Chris Slade's thundering drums and a nice Pattenden bass line 'Look Around' was one of the heaviest rock tunes these guys ever recorded. That comment's underscored by Mick Roger's awesome extended guitar solo. It'll scratch the acne off of any fifteen year olds face. 3.) One Way Glass (Manfred Mann - Thomas) - 4:06 rating: **** stars I've always been curious why they decided to include an updated version of this tune. I've always liked the Steve York bass-powered original which appeared on the 1969 "Manfred Mann Chapter Three" LP. Gone are the '60s vibes (and horns). This version slowed the song way down, stripping it down save some beautiful Mick Rogers lead guitar and Mann's cheesy '70s synthesizer moves. Wow, which would I pick? Hum. Let me get back to you on that. 4.) I’m Gonna Have You All (Manfred Mann) - 5:18 rating: **** stars Threat, or promise? Powered by Mann's keyboards the group sung ' I’m Gonna Have You All' was simultaneously rocking and slightly ominous. Once again one of Mick Roger's chattering lead guitar solo provided the song's highlight. My only complaint was the way the track came to an abrupt end. Labeled Sydney 1972 and reflecting a performance at the University of New South Wales' The Roundhouse YouTube has a live, black and white clip of the band performing the tune. Would loved to see them in this forum They sounded great live and watching the enthusiasm on bassist Colin Pattenden's face was a pleasure.
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2) Built on a nice Rogers riff, 'Down Home' offered up a pedestrian bar band, country-tinged rocker. Honestly there wasn't a lot to the tune, but Rogers got another chance to showcase his gritty voice. 2.) Our Friend George (Manfred Mann ) -3:00 rating: **** stars Hum, heavy metal isn't a genre I would normally think of when listening to Manfred Mann's Earth Band. That makes the molten 'Our Friend George' such an interesting song. The group vocals (howls) were a hoot and always remind me of an early Ozzy performance on a Black Sabbath album. Always wondered what the song was about. YouTube has another lip-synch clip from their April 1972 appearance on the Old Grey Whistle Test television program: Manfred Mann’s Earth Band - Our Friend George (Old Grey Whistle Test, 18th April 1972) - YouTube 3.) Ashes (Charyl Edmonds - Jonah Thompson) - 2:14 rating: *** stars One of two covers, 'Ashes' found the band shifting into acoustic ballad territory. One of Rogers' nicest vocals. Wish I knew more about the writers and how the band stumbled across this song. The pair placed material with a wide array of acts ranging from Mel Torme to the psych band The Front End. Thompson also produced and recorded a series of obscure mid-70s solo singles for various small New York labels. 4.) Wind (instrumental) (Manfred Mann - Colin Pattenden - Chris Slade - Mick Rogers) - 2:00 rating: ** stars The album's lone group collaboration, the instrumental 'Wind' opened up with an ominous Pattenden bass pattern which was underscored by some wild Mann synthesizer moves. To be honest it sounded more like a piece of film soundtrack than anything. 5.) It’s All Over Now, Baby Blue (Bob Dylan) - 4:26 rating: *** stars Produced by Hadfield, Mann and Tom McGinness, Mann's long had a thing for Dylan covers (they've certainly been good for his retirement fund) and It’s All Over Now, Baby Blue' was an okay addition to the list. Certainly not the best cover you'll ever heard, but there are far worse and when the tune finally broke out into full rock arrangement things picked up. The track was released as a single in the States:
- 1973's 'It's All Over Now Baby Blue' b/w 'Ashes' (Polydor catalog number PD 14164)
6.) Glorified Magnified (instrumental) (Manfred Mann) - 4:35 rating: ** stars The instrumental title track opened up with some Mann punching out what sounded like Atari synthesizer effects and simply got weirder and more cluttered (Slades' hyperactive drums, full church choir), as it trundled to a conclusion. Odd way to end the album.
© Scott R. Blackerby November, 2024
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Genre: progressive Rating: 4 stars **** Title: Solar Fire Company: Polydor Catalog: 28 77 XOT Year: 1979 Country/State: South Africa /UK Grade (cover/record): VG+/VG+ Comments: German pressing; gatefold sleeve Available: 1 Catalog ID: 4973 Price: $15.00
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Aside from the
occasional single, I've never been a big Manfred Mann fan. 1973's
"Solar Fire" was one of the
exceptions to that statement. The
Earth Band's third album, this self-produced set was a true rarity - a
concept album that blended progressive and rock moves into a semi-coherent piece
that actually worked. Apparently intended as an expansion of the theme
on the band's earlier UK 'Joyrider' single (itself adapted from Gustav
Holst's "Planets"), the concept wasn't entirely clear to me - clearly
something to do with the planets, but given the strength of the material,
that wa
"Solar
Fire" track listing: 1.) Father of Day, Father of Night (Bob Dylan) - 9:51 rating: *** stars Opening up with what sounded like Gregorian chanting, 'Father of Day, Father of Night' jumped into some Mann Hammond B3 (reminding me of something out of the Deep Purple catalog), before Mick Roger's slightly pinched vocals kicked in. One of the ironies if that the Dylan original (found on the 1970's "New Morning" album), closed in at 1:28 versus the ten minute epic Manfred Mann's Earth Band turned it into. To be truthful this wasn't one of Dylan's strongest lyrical endeavors - most of the song taken up by a "father-of-fill-in-the blank" chant. Father of Light; Father of Dark, Father of Night, Father of Day, etc. What the song lacked in lyrical content it made up for with a nice groove, though it went on for almost ten minutes. In a heavily edited version the song was released as a single:
- 1974's 'Father of the Day, Father of the Night' b/w 'Solar Fire 2' Polydor catalog number )
YouTube has a clip of the band performing the song at Solliden stage for the Swedish television program Opopoppa: (2) Manfred Mann's Earth Band - Father Of Day, Father Of Night (Live In Stockholm 1973) - YouTube 2.) In the Beginning, Darkness (Manfred Mann - Mick Rogers - Chris Slade) - 5:19 rating: **** stars With Rogers kicking in some Deep Purple-styled lead guitar ('Smoke On the Water' anyone?), 'In the Beginning, Darkness' offering up a sound far heavier than your usual Manfred Mann's Earth Band performance. You also got to hear how good the band's Colin Pattenden - Chris Slade rhythm section was. The band's progressive fan base was probably appalled, but I quite liked their heavy rock sound. 3.) Pluto the Dog (instrumental) (Manfred Mann - Mick Rogers - Chris Slade - Colin Pattendale) - 2:45 rating: ** stars The instrumental 'Pluto the Dog' served as the album's only group composition. Built on a fat groove, it also served as a platform for Mann to display his array of synthesizer. Yes, today some of the effects sound primitive compared to what one can pull up with a $600 Roland JD-Xi Analog/Digital Synthesizer and yes one of the sound effects was that of a dog barking. What did it have to do with the album concept? Beat me..
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2) I've always liked the spacey title track. Admittedly part of the appeal lay in Mann's cheesy synthesizers, but powered by Colin Pattenden's steady bass and Mick Rogers lead guitar the song had a driving beat. Add in the patented '70s-styled stoned lyrics and the give and take between Rogers and backing vocalists Irene and Doreen Chanter and you had one of the album's standout performances.. 2.) Saturn, Lord of the Ring Mercury, the Winged Messenger (Instrumental) (Manfred Man) - 6:30 rating: *** stars A good example of how synthesizer technology has changed over the years, 'Saturn, Lord of the Ring Mercury, the Winged Messenger' started out with some bluesy Rogers lead guitar, giving Mann a chance to showcased some of that synthesizer arsenal and the picking up speed and morphing into one of the album's better rockers. Docked a star for the needlessly pompous song title. 3.) Earth, the Circle (Part 2) (Manfred Man) - 3:23 rating: **** stars Musically 'Earth, the Circle (Part 2)' was the album's most progressively tinged performance. It started out sounding like it had a little circus music in it's veins. Once again the spotlight turned to Mann's synthesizers. The deep, burping tones sounded like a mini-Moog with a sore throat. Shame it ended so abruptly. In terms of the track listing I've always wondered why 'Part 2' came before 'Part 1'. I'm sure Mann and company had some logic for it ... 4.) Earth, the Circle (Part 1) (Manfred Man) - 3:48 Sporting an almost "pop" sound,, 'Earth, the Circle (Part 1)' was initially interrupted by a weird synthesizer solo and later on by one of Mann's prettiest piano solos. And just when I thought I'd figured it out the tune spun off in an engaging "jazzy" direction.
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Genre: progressive Rating: 3 stars *** Title: The Good Earth Company: Warner Brothers Catalog: BS 2826 Year: 1974 Country/State: South Africa / UK Grade (cover/record): VG+/VG+ Comments: -- Available: 1 Catalog ID: 5579 Price: $15.00
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Funny how early-1970s Manfred Mann and company simply didn't get a great deal of press attention or radio play in the US. That was unfortunate since this Manfred Mann line up with bassist Colin Pattenden, guitarist Mick Rogers, and drummer Chris Slade delivered some fantastic albums including 1974's "The Good Earth". Released in the wake of another label change that saw the band sign a US distribution deal with Warner Brothers, the album featured what was apparently another concept piece. Once again the plotline was largely lost on me though you could apparently get title to one square foot of a Welsh hillside by submitting the forms printed on the back cover of the album. Not that the plotline mattered since individually most of these seven songs stood up on their own. Exemplified by tracks like ' Earth Hymn' and 'Earth Hymn, Part 2' Mann and company were one of the few outfits out there capable of balancing pop, progressive, and rock moves into a palatable stew. Not meant as a criticism, but with Mann's commercial roots, to some extent the progressive label was overstated. Sure there were occasional progressive moves scattered throughout including the instrumental 'Sky High' and Mann's synthesizer solo in their cover of the Gary Wright title track. Still, the bulk of the album was pretty conventional and commercial. There were plenty of highlights including Rogers' guitar work on the title track (including what sounded like a nod to Free), the nice ballad 'Launching Place' and the country-tinged 'I'll Be Gone'. Yeah there were a couple of slow spots. The isolated pure progressive moves were kind of dull and Mann's synthesizer touches now sound a little dated - though try to remember this album is now three decades plus old. Minor criticisms to an album that I play on a regular basis. Elsewhere the single was:
- 1974's 'Be Not Too Hard' b/w 'Earth Hymn, Part 2' (Bronze catalog number BRO 13-A/B)
Supposedly released in the States as well, I've never seen a copy.
The album made it to # 157 on the US charts.
"The Good
Earth" track listing: 1.) Give Me the Good Earth (Gary Wright) - 8:32 2.) Launching Place (Mike Rudd) - 5:51 3.) I'll Be Gone (Mike Rudd) - 3:42
(side
2) 2.) Sky High (instrumental) (Manfred Mann - Mick Rogers) - 5:14 3.) Be Not Too Hard (Mick Rogers - Christopher Logue) - 4:11 4.) Earth Hymn, Part 2 (Manfred Mann - Chris Slade) - 4:15
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"The Five Faces of Manfred Mann" was released on the
His Master's Voice label in late 1964
(catalog number CLP 1731). Signed by the
United Artists affiliated Ascot Records, in the States the band debuted with
a 1964 album entitled "The Manfred Mann Album".
Adding to the confusion, the following year Ascot released a collection
entitled "The Five Faces of Manfred Mann".
Their second US LP, the album featured a different track listing and
alternate cover art. Only two of the twelve tracks on the US album
were found on the UK collection - 'I'm Your Kingpin' and 'You've Got to Take
It'. Unlike the blues-heavy UK album, the John Burgess produced U
S
album featured a mixture of more commercially oriented band originals
(largely penned by singer Paul Jones)
rounded out by electric blues numbers. Clearly aimed at an American
audience, exemplified by tracks like the
single 'Sha La La' and 'She' the overall feel was much more pop
oriented. Their blues roots
were still on display via tracks like the second US single 'Hubble Bubble
(Toil and Trouble)' and the originals
'Did You
Have to Do That' and 'You've Got to Take It'.
The band's hidden secret was actually Jones. In addition to
writing, or co-writing seven of the tracks, his rugged voice was perfectly
suited for the mixture of pop and blues material. He also played
a mean harmonica. Obviously I was a bigger fan of
their pop orientation though that wasn't meant to detract from their
affinity for American blues. In spite of the more commercial
direction, the collection did little on the US charts, peaking at # 141 on
the Billboard Album charts. Adding to the group's problems, the shift
to a more popular sound created a split within the band. Jones was
particularly unhappy with the new direction, subsequently tending his
notice.
ny
big, overarching concepts or deep statements. Instead tracks like
Chris Slades' 'Look Around', an updated blues-rock version of 'One Way
Glass' and 'I'm
Going To Have You All' were
hard hitting, yet commercial and catchy. I've always wondered what it
was about, but the molten 'Our Friend George' actually sounded
like a slice of proto-heavy metal. As a quartet Mann, guitarist Mick
Rogers, bassist Colin Pattenden and drummer Chris Slade had clearly
tightened up as a performance unit (this being their second album in twelve
months) and it showed on most of these ten performances. Unfortunately
the album started to fall apart on the flip side. 'Wind' sounded like
a forgettable slice of film soundtrack. The title track instrumental
sounded like filler tacked on to pad out the playing time. The
patented Dylan cover was pleasant, but pedestrian. Easy to see why
Polydor released it as a single in the States. Too bad they
couldn't keep up the energy shown on side one.
s almost an afterthought. The extended opener 'Father of Day, Father
of Night' was another rarity; in this case a Dylan cover that was
drastically reworked into a progressive suite that was actually better than
the Dylan original. It was an awesome song to hear on a quality pair of
headphones.
Elsewhere material like 'In the Beginning, Darkness', the goofy instrumental
'Pluto the Dog' and the title track found Mann and company stumbling on a
near perfect mix of rock, progressive and pseudo-jazzy moves. The
songs were powered by lots of strong Rogers guitar and Mann's sometimes
dates synthesizers, with Rogers turning in some of the best vocals
of his career. A modest seller, the album peaked at # 96 on the US
Billboard charts. (By
the way, there are at least three versions of the LP. The UK release
track listing included 'Earth, the Circle Part 2' and 'Part 1'. The
original US issue dropped the 'Part 1' instrumental in favor of the earlier
single 'Joybringer'. Subsequent releases reverted to the original UK
track listing. 
