The Mann-Hugg Blues Brothers were formed in London 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. 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. It failed to chart, as did its follow-up (with vocals), “Cock-a-Hoop.” 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!. 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. Shortly after “5-4-3-2-1” was recorded, Richmond left the band, 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. 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” 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”. 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