Manfred Mann’s Earth Band – Glorified Magnified (1972)

LPFrontCover1The second album by Manfred Mann’s Earth Band to be released in 1972, Glorified Magnified is as solid a heavy rock album as you’re likely to find from that era, and it still holds up three decades later, mostly because these guys are smarter than the music they’re playing and don’t mind indulging their taste as well as their dexterity. They can romp and stomp through “Meat” or “I’m Gonna Have You All,” complete with a slashing guitar solo by Mick Rogers on the latter, or throw in a synthesizer interlude by Mann on “One Way Glass” that’s so quietly and carefully executed as to be worthy of a classical piece — and not skip a beat doing it. Between Rogers’ bold yet tasteful leads, Mann’s beautifully assertive yet virtuoso synthesizer and general keyboard work, and Colin Pattenden’s muscular bass playing, this is a consistently inspired group, even when their material isn’t as interesting as what they do with it, which is the case here.


On “Look Around,” for example, Rogers’ playing on the break starts off as brief, fragmentary digressions off from a not too terribly diverting central riff that turn into longer progressions that eventually take the entire band with him — and just when you think you’ve got this band pegged in terms of what it’s about, along comes “Ashes to the Wind,” opening side two of the original LP, which includes room for an acoustic guitar amid the high-wattage excursions, all leading into a surprisingly effective synthesizer workout by Mann on “Wind,” before moving onto the acoustic guitar-driven “It’s All Over Now, Baby Blue.” The latter, which adds instrumentation until it’s so totally removed from its opening section as to be a different song, is one of the best Dylan covers of its era, and is almost worth the price of admission by itself. And then there’s the title instrumental, a mix of rock and synthesizer sounds — with a choir in there somewhere — that sounds like mid-’70s King Crimson in rehearsal. (by Bruce Eder)


Manfred Mann (organ, synthesiser, background vocals)
Colin Pattenden (bass)
Mick Rogers (guitar, vocals)
Chris Slade (drums)


01. Meat (Mann) 4.04
02. Look Around (Slade) 5.12
03. One Way Glass (Mann/Thomas) 4.15
04. I’m Gonna Have You All (Mann) 5.23
05. Down Home (Rogers) 3.19
06. Our Friend George (Mann) 3.04
07. Ashes To The Wind (Edmonds/Thompson) 2.15
08. Wind (Mann/Rogers/Pattenden/Slade) 2.02
09. It’s All Over Now, Baby Blue (Dylan) 4.28
10. Glorified Magnified (Mann) 4.36




Manfred Mann – My Little Red Book Of Winners (1965)

LPFrontCoverA1The Mann-Hugg Blues Brothers were formed in London[3] by keyboard player Manfred Mann and drummer/vibes/piano player Mike Hugg, who formed a house band in Clacton-on-Sea that also featured Graham Bond. Bringing a shared love of jazz to the British blues boom, then sweeping London’s clubs (which also spawned Alexis Korner, the Rolling Stones and the Yardbirds), the band was completed by Mike Vickers on guitar, alto saxophone and flute, bassist Dave Richmond and Paul Jones as lead vocalist and harmonicist.[1] By this time they had changed their name to Manfred Mann & the Manfreds. Gigging throughout late 1962 and early 1963 the band soon attracted attention for their distinctive sound.

After changing their name to Manfred Mann at the behest of their label’s producer John Burgess, the group signed with His Master’s Voice in March 1963 and began their recorded output that July with the slow, bluesy instrumental single “Why Should We Not?”, which they performed on their first appearance on television on a New Year’s Eve show.[5] It failed to chart, as did its follow-up (with vocals), “Cock-a-Hoop.”[1] The overdubbed instrumental soloing on woodwinds, vibes, harmonica and second keyboard lent considerable weight to the group’s sound and demonstrated the jazz-inspired technical prowess in which they took pride.


In 1964 the group was asked to provide a new theme tune for the ITV pop music television programme Ready Steady Go!.[3] They responded with “5-4-3-2-1” which, with the help of weekly television exposure, rose to No. 5 in the UK Singles Chart.[2] Shortly after “5-4-3-2-1” was recorded, Richmond left the band,[6] though he would record with them occasionally later. He was replaced by Jones’ friend Tom McGuinness—the first of many changes. After a further self-penned hit, “Hubble Bubble (Toil And Trouble),” the band struck gold with “Do Wah Diddy Diddy”, a cover of the Exciters’ No. 78 Hot 100 hit earlier that year.[3] The track reached the top of each of the UK, Canadian, and US charts.

With the success of “Do Wah Diddy Diddy” the sound of the group’s singles moved away from the jazzy, blues-based music of their early years to a pop hybrid that continued to make hit singles from cover material. They hit No. 3 in the UK with another girl-group cover “Sha La La”, (originally by the Shirelles) which also reached No. 12 in the US and Canada and followed with the sentimental “Come Tomorrow” (originally by Marie Knight) but both were of a noticeably lighter texture than their earliest output.


Meanwhile, “B” sides and four-song EPs showcased original material and instrumental solos. The group also returned to jazz and R&B themes on their albums: their first, 1964’s The Five Faces of Manfred Mann, included standards such as “Smokestack Lightning”[3] while the second and last with this line-up, Mann Made, offered several self-composed instrumentals and a version of “Stormy Monday Blues” alongside novelties and pop ballads. With a cover of Maxine Brown’s “Oh No Not My Baby” began a phase of new depth and sophistication in the arrangements of their singles. The group began its string of successes with Bob Dylan songs with a track on the best-selling EP The One in the Middle, “With God on Our Side”, next reaching No. 2 in the UK with “If You Gotta Go, Go Now”.[2] The EP’s title track reached the British top ten singles, the last self-written song (by Jones) and the band’s last R’n’B workout to do so. The run climaxed with a second UK No. 1 single, “Pretty Flamingo” produced by John Burgess. (ny wikipedia)


And this is the third album fir the US record market:
The big song off of the 1965 album “My Little Red Book of Winners” was the title song, written by Bacharach and David, which made it into the hit film “What’s New Pussycat.” Again, Jones has a nice original song with “The One in the Middle,” and there is a solid cover with “Oh No, Not My Baby.” The Beatles were cute, the Rolling Stones were dangerous, and Manfred Mann was staking out the intellectual field of rock ‘n’ roll. Of course, the Stones were into R&B as well, but without as much sophistication as Manfred Mann, mainly because the emphasis was more on keyboards than guitars. The band managed to stay true to its roots by only touring the United States oncein 1964 and continuing to record in Britain while establishing a large and faithful following in the Eastern Bloc by touring there instead.
Manfred Mann is an all or nothing group, especially since their pop hits are atypical compared to the rest of the songs on most of their albums. A lot of people can survive with “Do Wah Diddy Diddy” on a hits collection, but if you like Manfred Mann then they are going to end up wanting to get all of their albums from their myriad instantiations in the 1960s and beyond. This would be the first CD chronologically and would be one of the very best you can find (the soundrack for “Up the Junction” would probably be the first choice). Note: the band went with the name Manfred Mann despite the wishes of the South African board keyboardist who was originally born Manfred Lubowitz. (by Lawrance Bernabo)


Tom McGuinness (bass)
Mike Hugg (drums, vibraphone)
Paul Jones (vocals, harmonica)
Manfred Mann (keyboards)
Mike Vickers (flute, guitar, saxophone)


01. My Little Red Book (Bacharach/David) 2.27
02. Oh, No, Not My Baby (Goffin/King) 2.21
03. What Am I To Do (Spector/Pomus) 2.42
04. The One In The Middle (Jones) 2.40
05. You Gave Me Somebody To Love (Andreoli/Poncia) 3.02
06. You’re For Me (Vickers) 2.55
07. Poison Ivy (Leiber/Stoller) 2.50
08. Without You (Jones) 2.20
09. Brother Jack (Traditional) 2.28
10, A Love Like Yours (Don’t Come Knocking Every Day) (Holland/Dozier/Holland) 2.26
11, I Can’t Believe What You Say (Turner) 2.17
12. With God On Our Side (Dylan) 4.24


Manfred Mann – The Five Faces Of (1964)

FrontCover1The Five Faces of Manfred Mann is the first studio album by British beat/R&B group Manfred Mann. It was first released in the United Kingdom on 11 September 1964 by His Master’s Voice. In late October/early November, the album was released in Canada by Capitol Records. The Canadian track listing was almost the same as the UK version, except it included the hit “Do Wah Diddy Diddy” instead of “I’ve Got My Mojo Working”. The record has been called “one of the great blues-based British invasion albums; it’s a hot, rocking record that benefits from some virtuoso playing as well”.

The American version of the album (their second U.S. release following The Manfred Mann Album) was released in February 1965 by Ascot Records (a subsidiary of United Artists) with a very different track listing.

The songs on the original version of the Five Faces of Manfred Mann are R&B, including the band’s cover versions of Howlin’ Wolf’s “Smokestack Lightning”, Muddy Waters’ “Got My Mojo Working”, and Bo Diddley’s “Bring It to Jerome”, as well as a few of the group’s own jazzy compositions. Particularly noticeable in the instrumental sections are Manfred Mann’s keyboard work, Mike Vickers flute and saxophone work, and Mike Hugg’s vibes. The album includes the Cannonball Adderley song “Sack O’ Woe” from the R&B-influenced school of early 60s jazz .

The American release is more pop-oriented with the inclusion of the hits “Sha-La-La”, “Hubble Bubble Toil and Trouble” and “Come Tomorrow”; as well as Jones’ compositions and the American folk song “John Hardy”. It also includes a smaller selection of the band’s R&B and jazz influences. (by wikipedia)

The debut album by Manfred Mann holds up even better 40 years on than it did in 1964. It’s also one of the longest LPs of its era, clocking in at 39 minutes, and there’s not a wasted note or a song extended too far among its 14 tracks. The Manfreds never had the reputation that the Rolling Stones enjoyed, which is a shame, because The Five Faces of Manfred Mann is one of the great blues-based British invasion albums; it’s a hot, rocking record that benefits from some virtuoso playing as well, and some of the best singing of its era, courtesy of Paul Jones, who blew most of his rivals out of the competition with his magnificently impassioned, soulful performance on “Untie Me,” and his simmering, lusty renditions of “Smokestack Lightning” and “Bring It to Jerome.” The stereo mix of the album, which never surfaced officially in England until this 1997 EMI anniversary reissue (remastered in 24-bit digital sound), holds up very nicely, with sharp separation between the channels yet — apart from a few moments on “Untie Me” — few moments of artificiality. (by Bruce Eder)


Mike Hugg (drums, vibraphone)
Paul Jones (vocals, harmonica, maracas)
Manfred Mann (keyboards)
Tom McGuinness (bass)
Mike Vickers (guitar, flute, saxophone)


01. Smokestack Lightning (Burnett) 3.33
02. Don’t Ask Me What I Say (Jones) 3.02
03. Sack O’ Woe (Adderley) 2.10
04. What You Gonna Do? (Jones/Mann) 2.39
05. Hoochie Coochie (Dixon) 3.20
06. I’m Your Kingpin (Mann/Jones) 2.49
07. Down the Road Apiece (Raye) 2.27
08. Got My Mojo Working (Preston Foster; credited to Muddy Waters) 3.13
09. It’s Gonna Work Out Fine (Seneca/Lee) 2.37
10. Mr. Anello (Hugg/Jones/Mann/McGuinness/Vickers) 2.09
11. Untie Me (South) 3.39
12. Bring It To Jerome (Green) 3.27
13. Without You (Jones) 2.22
14. You’ve Got To Take It”(Jones) 2.17
15. Smokestack Lightning (alternate version) (Burnett) 2.54
16. What You Gonna Do? (mono version) (Jones/Mann) 2.39
17. Sack O’ Woe (instrumental version) (Adderley) 2.09
18. Mr. Anello(instrumental version) (Hugg/Jones/Mann/McGuinness/Vickers) 2.09


Manfred Mann Chapter Three – Volume Two (1970)

FrontCover1Second album from this band, and still delving further in experimentation – these things being relative, of course, but remember that these guys were pop writers just a year before this release. With an unchanged line-up and a strange artwork, this second albums takes off just where the previous had quit. The most logical step forward was the extension/lengthening of the tracks allowing for more instrumental interplay.

8-min opening track Lady Ace could’ve easily fitted on their previous album, with the difference that the brass section does get wilder than anything they had done on the first volume. Poor Sad Sue easily tops that with a free-jazz brass section solo before bringing things back to more conventional rock. Jump Before You with its African percussions and York improvising wildly on his bass, then the brass (first with a Moroccan feel) take over and a dissonant sax soloing away, is yet another perfect example of this unit still breaking new grounds. Good To Be Alive is more reminiscent of their debut album, but it is a creeper. The extended 16-min track Happy Being Me is full of great soloing (including Mann on piano) and some outstanding wind-works from Harold Becket and Nick Evans (of Keith Tippett fame)

SinglesLegend has it that a third album was recorded but the tapes lost, but one thing is certain, that record would’ve been another step towards nirvana. Instead the Chapter Three will break up and Manfred will take Hugg with him to found another superb group , the Earth Band which will make plenty of excellent records (but the first two albums were a clear step backwards) but in a rockier direction than here. (by Sean Trane)

Manfred Mann´s Chapter Three was one of his finest groups ! Jazz-Rock par exellence !

Manfred Mann Chapter ThreePersonnel:
Craig Collinge (drums)
Brian John Hugg (guitar, background vocals)
Mike Hugg (vocals, piano)
Bernie Living (saxophone)
Manfred Mann (organ)
Steve York (bass)
Dave Brooks (saxophone)
Sonny Corbett (trumpet)
David Coxhill (saxophone)
Andy McCulloch (drums on 05.)
Clive Stevens (saxophone)

01. Lady Ace (Hugg) 7.58
02. I Ain’t Laughing (Hugg) 2.36
03. Poor Sad Sue (Hugg) 5.54
04. Jump Before You Think Hugg) 4.52
05. It’s Good To Be Alive (Mann) 3.31
06. Happy Being Me (Hugg) 15.54
07. Virginia (Mann) 4.52
08. I Ain’t Laughing (single mono version) (Hugg) 2.32
09. Happy Being Me (single mono version) (Hugg) 4.01
10. Virginia (alternate version) (Mann) 3.32



Manfred Mann – Chapter Three (1969)

ManfredMannChapterThreeFCManfred Mann Chapter III was formed in England in 1969 after the break up of Manfred Mann famous for their chart topping pop hits throughout the 1960s. Manfred Mann’s Chapter III had a more Progressive appearance and moved away from their Pop roots. Chapter III was formed after the break up of the (Chapter II) line up of Manfred Mann in 1969 which featured singer Mike D’Abo, not forgetting the legendary (Chapter I) line up in the early 60s which featured singer Paul Jones.
Manfred Mann’s Chapter III turned their backs on three minute Pop singles and light hearted songs to develop a more Jazz and Progressive sound often had lengthy tracks with solos.

Manfred Mann’s Chapter III only recorded Mike Hugg or Manfred Mann compositions this was deliberate to avoid lead guitar. Sadly for Manfred Mann’s Chapter 3 the band had unsuccessful record sales and paid the price for this and unfortunate for Manfred Mann’s Chapter III they had disbanded late in 1970. This is their first album, recorded between June and October 1969 in the Old Kent Road. (by Progman)

Craig Collinge (drums)
Bernie Living (saxophone)
Brian Hugg (guitar)
Mike Hugg (keyboards, vocals)
Manfred Mann (keyboards)
Steve York (bass)

01. Travelling Lady (Mann/Hugg) 5.48
02. Snakesking Garter (Hugg) 5.48
03. Konekuff (Mann) 5.57
04. Sometimes (Hugg) 2,37
05. Devil Woman (Hugg) 5.24
06. Time (Hugg) 7.25
07. One Way Glass (Mann) 3.33
08. You´re A Better Man Than I (Mann/Hugg) 5.10
09. Ain´t It Sad (Hugg) 1.58
10. A Study In Inaccuracy (Mann) 4.06
11. Where Am I Going (Hugg) 2.46