Angel Station (UK review) 1979
Most of us potter through life without any clear aims or objectives. Somehow we imagine that having heaved the cat out of bed and wiped sufficient marmalade on the morning toast, we'll get through the day without too many mishaps.
Manfred Mann is not like us ordinary mortals. He sets out to do more with his life than remove marmalade from cats. he decided a long time ago to make the best damn pop records money and brains could devise, even if it meant going to the Master - i.e. Bob Dylan - for inspiration.
Old Manfred has proved over and over again that he has an alchemist's touch. "You Angel You" done in the Manfred fashion would, I'm sure, wring praise from the Inscrutable One. It is one of the outstanding performances on this vibrant, cleverly wrought album by one of the strongest ever versions of the Earth Band. It's also the last album to feature Chris Thompson on vocals - he's quitting to form his own band - and with a generosity not often detected among musicians, Manfred offers a tribute to his past help and wishes him well on the sleeve.
The sheer attack of the band is immediately evident from the opening piece, "Don't Kill It Carol", which features deep, probing vocals from Chris and guitarist Steve Waller, and stabbing crystal-clear piano accents from Manfred. A voice-bag adds to the atmosphere of menace, and the arrangement immediately establishes the level of intensity maintained throughout. With Geoff Britton on drums and Pat King on grumbling bass, the Earth Men play like men possessed.
Not all the material is wonderful. "Platform End" for example, while containing intriguing effects on the 4-6-2 Pacific steam synthesizer, tends to flag after several choruses. Quite frankly, and not to put too fine a point on it, the piece is dull, dull, dull.
But "Angels At My Gate" which opens side two restores faith. It has a spooky flavour heightened by Britton's rumbling drums, and this continues into "You Are - I Am" a piece which recalls the haunting "Rainbow Chaser" by Nirvana, if anyone can remember that far back. I think producer Anthony Moore's sequencer must be responsible for some of the effects here, but there are sounds of human activity too as odd voices break through the veil of sound. It's reminiscent of some of the Beatles' more experimental work and will repay many a listen.
I commend this highly to all who appreciate a mixture of sincerity and skill. Just listen to Graham Preskett's violin solo on "Rain" and the curious "Resurrection", which concludes with what sounds like a totter shouting "any old iron", followed by a burst of laughter.
Chris Welch

Sounds 1980  - Mann Alive - Chance Review
Quite how Manfred Mann can split up his Earth Band, spend more than a year recording tracks with numerous guitarists and vocalists and come up with his most consistent album since 'The Roaring Silence' is something I'm still trying to work out. The sting in the tail is that the new Earth Band is identical to the one that last toured Europe and Britain.
The search for a replacement for Chris Thompson who was supposed to have left after the last tour has led to Steve Waller, Willie Findlayson, Peter Marsh, Dyan Birch and even Manfred himself stepping into the vocals booth, not to mention Chris himself who came back for three tracks. The guitarists included former Earth Band member Mick Rogers, Steve Miller, Geoff Whitehorn, Robbie McIntosh and Trevor Rabin who co-produced the album with Manfred.
All of which makes the continuity of 'Chance' even more surprising. Only Manfred, bassist Pat King and drummer John Lingwood appear on every track but if you listen to the album without running through the list of names that lent a vocal chord or a plectrum you'd be hard put to it to discern any differences between the tracks except occasionally among the vocalists.
What it finally proves is that Manfred's perception of his Earth Band and his canny choice of material are the two choice ingredients that give the band its character. His constant search for the right song for the band have frequently led him to the Dylan and Springsteen catalogues and this time it's Springsteen who provides one of the album's goodies, 'For You' getting the heavy but bracing treatment both 'Blinded By The Light' and 'Spirits In The Night' have already received.
As a chance, 'For You' is as gilt-edged as they come, but there are a pack of others that stand equally tall on the album. 'Lies (Through The 80's)' by one D Newman (whoever he may be) is a brisk, driving rocker that oozes MMEB from every pore while "Hello I Am Your Heart' and 'Heart On The Street' are both low and heavy but with more than enough panache top prevent them from ever sounding laboured.
Even Manfred's own songs - not usually regarded as among the high spots of an MMEB album - have sprouted forth with a flourish. His collaboration with Mike Heron on the steady, powerful 'Stranded' is one of the album's gems. 'On The Run' , which he wrote with Tony Ashton and Florrie Palmer, has a cunning rhythmic pattern and a compelling vocal line that adds up to a distinctive character, and while the three 'unaided' songs don't match that class they are less fragmented than similar examples you could pick from either of the last two albums.
Trevor Rabin's contribution to the album has been to provide a tougher basic core to the tracks and discipline to the embellishments that are Manfred's stock in trade. The result is more direct than usual without losing any of Manfred's inimitable style. If you've decided to pass Manfred by as an ageing has-been that's your problem. If you haven't you will get a kick out of this.
HUGH FIELDER

Somewhere in Afrika (UK Review)
Over the past two or so years, everyone has jumped on the African bandwagon, and at this late date it would be easy (and cheap) to accuse Manfred Mann of belatedly doing the same. But far from ripping off the Burundi drummers, High Life or Kwela, Mann is trying something far more ambitious, along the lines of Peter Gabriel's recent espousal of not only African sounds but also the African 'cause'.
"Somewhere in Afrika" is a loosely-grouped 'concept album' (No wait! Come back!) dealing with the subject of the Bantustans. These are sex-segregated work camps and townships in which blacks are forced to live, where often a wide and family are placed in a camp hundreds of miles from the husband's.
Slimmed down almost to a one-man band, with vocal help from R&B singer Steve Waller and long time Earth Band frontman Chris Thompson, plus bass and guitar from Matt Irving and percussion from John Lingwood, Mann is here attempting to mix his traditional rock style with electronic versions of African music and. as is his wont, cover versions given a different context by their inclusion on the album. Of these, Al Stewart's "Eyes of Nostradamus" works well in its new setting, but Sting's song for Grace Jones, "Demolition Man", and Bob Marley's "Redemption Song" sit uneasily in the new framework.
Mann's own songs, however, employing expatriate black musicians and singers, often work well, sometimes even deserving comparison with Gabriel's cross-cultural 'fusions'. Forget his 'BOF' standing, it's an admirable effort.
JG

Like a shot out of the dark comes this Manfred Mann album, just about the most brilliant I have heard so far in the 80s.
With both African and electronic music growing in popularity, Manfred Mann, always something of an eclectic, has sensitively and intelligently grafted the two together to create an exciting, driving, throbbing masterpiece.
Probably South Africa's most famous rock 'n roll son, Manfred left this country in the early 60s for London, became one of the artists in the forefront of the so-called British invasion of America and, among other achievements, was praised by Bob Dylan for doing the best cover versions of the songwriter's songs.
All that might already be known. This album is a greater achievement than any of the Earth Band's previous efforts and if Manfred Mann does nothing else he can feel proud.
As he has shown before, Manfred has a clever knack of working other people's songs into a different context. Here he uses Al Stewart's Eyes Of Nostradamus and Sting's Demolition Man brilliantly ... and certainly Bob Marley's Redemption Song, as it has never been played before, is a tour de force.
Mann's own four-part Africa Suite is the highlight of the album. It starts with a piercing synthesiser sequence introducing a verse of Tshotsholosa and thereafter moves through various moods, sometimes lilting rhythmically, sometimes driving hard, always right.
Shannon Sherry

Manfred Mann's EarthBand –  Budapest Reviews
Three reviews of Budapest from the archives below, perhaps it wasn't as disappointing as some thought at the time.

Budapest Review – Melbourne Herald  29.3.84
Review by Bruce Dickinson (Thanks to Mick Maloney)
THERE'S quite a difference between Manfred Mann, Manfred Mann and Manfred Mann's Earth Band. The first is Manfred Mann the man, the second Manfred Mann the pop band, the final metamorphosis is the man's present band.
I'll start again: Manfred Mann (born Mike Lubowitz in Johannesburg) formed a group in the early '60s and called it Manfred Mann.
It made high-class pop such as `Doo Wah Diddy Diddy" and "Pretty Flamingo". Singer Paul Jones was the frontman for keyboard-playing Manfred.  Mann added the "Earth Band" bit to his self-titled title when he put together a new, heavy rock outfit in 1971. That's the band that's still going.
It's best known for the 1976 hit with Bruce Springsteen's "Blinded By The Light."
Now Manfred Mann's Earth Band has released an excellent live album, Budapest (Bronze L38153).  It amounts to a "greatest hits" collection - with some concert vitality thrown in for good measure.  It was recorded in April last year in Budapest, the end of a three-month European tour.
With Chris Thompson's powerful voice at the helm, Budapest captures the hard-working spirit of the group through eight great songs.  "Spirits in the Night," another Springsteen track, opens the set.  Big Bruce's other great legacy is, of course, here as well, the 'Blinded By The Light" classic sounding less-stilted than the studio version.
Second guitarist Steve Waller takes over on vocals for the Police's gutsy "Demolition Man" before handing back to former New Zealander Thompson for "Davy's On The Road Again", "For You", the chanting "Lies (Through The 80s)", Bob Marley's plaintive "Redemption Song" and a blast from the Manfred Mann past, the timeless "Mighty Ouinn."
Manfred Mann's Earth Band is one of those groups that tend to hang around in the background, seldom making a big impression.  This record comes as a surprise - a top-class piece of playing that condenses Manfred's mob into a stunning 40 minutes.

Criminal Tango (UK Review 1986)
After fifteen years and the release of twelve albums, 1986 sees Manfred Mann's Earth Band signing up with 10 Records - and releasing their thirteenth album. Called Criminal Tango, the album is the culmination of a years studio work at The Workhouse Studio in South London with the new Mitsubishi digital system.
Although older fans will remember Manfred Mann as the leader of a band in the sixties which nurtured the careers of Paul Jones and Mike D'Abo and which spawned hits such as "Ha Ha Said the Clown", "5,4,3,2,1" and "Mighty Quinn", Manfred has seen far more success with the Earth Band throughout the Seventies and into the Eighties using his ability to successfully interpret and enhance cover versions. His greatest worldwide hit was a version of Bruce Springsteen's "Blinded By The Light".
"Criminal Tango" (taken from the title of an animated cartoon) contains 9 tracks, including an eerie rendition of Joni Mitchell's "Banquet", Lennon and McCartney's "Bulldog" and Paul Weller's "Going Underground". Manfred is joined by Chris Thompson another outstanding vocalist, on this recording, who sang on the Springsteen song, mentioned earlier.
In fact Mann has given Thompson double billing on the cover of the CD - and he rightly deserves it. Thompson has one of those instantly recognisable voices, gravelly but also very subtle, and with Criminal Tango it's been put to the right use.
Using the Mitsubishi tape system has given this collection of nine tracks a very clean sound, with plenty of room for Mann's keyboard experiments to filter over and across the other instruments.
Although Manfred Mann has fallen out of favour with the chart makers these days he's still managing to interest enough fans and followers - enough to get another recording deal together following the demise of Bronze Records.
And with each new musical project he turns another corner revealing a different talent and ability.
But with every conceivable piece of keyboard equipment at his disposal you could expect him to disappear into a sea of sounds. Not so; he uses them more as a subtle overlay and addition to Thompson's superb vocals and the rest of the bands adept musicianship.
This is the first Manfred Mann CD to become available, but let's hope that some of the classics like "Nightingales and Bombers" and "Angel Station" are also released. But for the moment, Criminal Tango is certainly a very enjoyable disc to listen to. 

MANFRED MANN'S EARTH BAND 40th Anniversary Box Set
Creature Music (2011)

The rather large parcel dropped off at GRTR! Towers was like Christmas come early and turned out to be this substantial box set. All too often in these hardened times, reviewers have to make do with edited promos or a smaller version of a larger edition. It's very frustrating. So it was a pleasant surprise to receive this box and at least we can do the review justice.
I've always been interested in Manfred Mann's Earth Band although I've never collected their albums. This box set, celebrating the band's 40th anniversary, is really all that is needed as it scoops up all their official releases and adds a couple of bonus CDs. Add in an illustrated and informative booklet, a little book of Manfred's 'thoughts' and a poster and you have a very comprehensive package. But perhaps the biggest shock is that this box contains 18 official releases, from 1971's self-titled debut to 2004's '2006'. I never thought they were so productive.
The band still go out on the road albeit with a frequently updated configuration and this is marked by one of the bonus discs, recorded live in Ersingen, Norway in July 2011. The mainstays are Manfred and his trusty lieutenant Mick Rogers on guitar. Through the years, the band have always attracted good singers and the present incumbent is Robert Hart who has sung with Bad Company. Previously the great Chris Thompson was the frontman, taking over vocal duties from Mick Rogers in 1976. He returned briefly for the last studio album.
Many will know the band through their hit singles. Especially the cover of 'Blinded By Light' and the lesser hit 'Joybringer' (included here on the mop-up disc of alternate takes and singles called 'Leftovers'). But there was much more to the band than that, and don't even think about Manfred Mann's earlier incarnation with Paul Jones, although 'The Mighty Quinn' does get an airing on the live discs ('Budapest' and 'Mann Alive').
The core albums to immerse yourself in are 'Messin', 'Solar Fire' (1973) and 'The Roaring Silence' (1976).
The Earth Band were essentially a gritty rock band (grittier live) who straddled prog and who sometimes bring to mind Wishbone Ash and sometimes Argent, not least in the Hammond keyboard flavours. If they had a 'weakness' it was their penchant for cover versions which tended to loom larger than their own material. Never more so than on 1986's 'Criminal Tango'.
So from the early albums we get Dylan covers 'Please Mrs Henry', 'Get Your Rocks Off' and 'Father Of Day, Father of Night' and that Springsteen song 'Blinded By The Light' which - like Hendrix 'All 'Along The Watchtower' - is considered a definitive cover. But the band also put their own twist on classical themes. 1987's 'Masque' was a realisation of an idea to re-arrange Holst The Planets.
'Somewhere In Africa' (1983) and 'Plains Music' (1991 - featuring a trimmed down Earth Band with Noel McCalla on vocals and Barbara Thompson on sax) were inspired by Manfred Mann's South African homeland. Normal service was resumed for the follow-up 'Soft Vengeance' released in 1996, although this was distinctly AOR-slick sounding, a bit Mike & The Mechanics-ish.
Arguably, the band were best in the live situation allowing them to stretch out instrumentally although the warts and all set released in 2009 ('Bootleg Series Vols 1-5) doesn't really do this full justice as a result of inconsistent recording quality and repetition, although that is remedied here by the inclusion of the more recent Norwegian gig.
Although there is a whole disc of 'Leftovers' interestingly this excludes the bonus tracks that appeared on the late-1990s reissues. So the repackaged studio albums (in large card sleeves) merely replicate the original track listing. For completism collectors are also directed towards the 4-CD set released in 2008 'Odds & Sods: Mis-takes and Out-takes'.
Overall, though, this is a wonderful collection and it gives a proper and much-needed perspective for the band and all that is missing is a button badge and facsimile ticket.
*****
Review by David Randall

http://www.getreadytorock.com/reviews2011/manfred_mann4.htm 

A Collectors' Guide to 40years of MMEB Boxset
+ A Review of the Chapter Three albums
By Barry Winton.
Manfred Mann's Earth Band, Same – 1972 **
When the jazz/rock experimentation, of the short lived Chapter Three, failed to entice the record buying public into further investigation; the cost of touring with a large ensemble soon took its toll. An aborted third album was then shelved for many years. Now at a loose end, Mann soon returned to his commercial roots, assembling a new line up bringing in vocalist/guitarist Mick Rogers, bassist Colin Pattenden and powerhouse drummer Chris Slade. Despite touring Australia with Free and Deep Purple, this new project was initially aimed squarely at the commercial rock market, in an attempt to, somehow or other, restore his flagging popularity. A fully recorded album, the McGuinness Flint sounding, Stepping Sideways was at the last minute cancelled; although several tracks therein were now re-recorded, with his trademark mini moog, for their first album.  
Finding their way here is strongly evident to the discerning listener, as to be expected it's still fairly experimental. Good in parts but a trifle directionless although Manfred's mini moog was now thankfully in place. The two singles lifted from this album: Dylan's 'Please Mrs. Henry' and the radio friendly cover of Randy Newman's 'Living Without You'; the latter of which went on to become a minor hit in the States. Amongst the stand-out tracks here was Captain Bobby Stout, though not that memorable here, would soon wrap itself in concrete and hit hard as a live performance; and, 40 years on, it remains in the live set. Elsewhere the 'spacey' Tribute, was much later on sampled by Massive Attack.  
Glorified Magnified - 1972****
A gigantic leap forward in just seven short months; in a very short space of time MMEB had vastly progressed in leaps and bounds. One could immediately tell from hearing the results of their vastly underrated second album that something very exciting was about to happen. Glorified Magnified, kicks off with the infectiously catchy hard biting 'Can't Eat Meat'. 'One Way Glass' would be resurrected with an Earth Band twist from Chapter Three: Volume One. Elsewhere the set comes across sounding like a dynamic new progressive band, who were red hot and ready to burn, but in the meantime they were really enjoying themselves. Complete with a very clear musical direction with great synthesizer work, crunching bass playing, thunderous drumming, and hard biting killer guitar riffs. On the MMEB Richter Scale, this resonates very highly.     
Messin - 1973 ***
The title track of this album, dates back to the unreleased third Chapter Three album, now re-worked into a classic MMEB ten-minute epic. Although extremely good in parts, I don't think that Messin' works quite as well as its predecessor,  although it does contain my personal favourite track of all in 'Buddha', which most deservingly went on to become a terrific live number. During this productive period, they were extremely hard working, and had twice that year toured the States with, on one, Savoy Brown and Status Quo; and, on another, with Uriah Heep and Rory Gallagher. On the strength of their reputation alone they had now become a storming live act, who had quietly turned into something quite huge; which most deservingly assured them an ever expanding fan base, and a healthy booking sheet. It would now only be a matter of time.
Solar Fire – 1973 - *****
After three albums recorded with Phonogram; their fourth single Joybringer had at last bought MMEB to the attention of the record buying public, who rewarded them with a number 9 chart placing. Manfred then signed to his former manager Gerry Bron's rock-inclined Bronze label. What happened next was a stroke of absolute genius; five months on from Messin, the Earth Band were now at their zenith; they had now existed for just under two years; the time had now come to un-leash their masterpiece with Solar Fire. From the heavenly choir to the crashing cymbals of its delicious opening salvo Father of Day (re-worked from Dylan's 'New Morning') from a minute filler; MMEB effortlessly transformed it to epic proportions, they mustered up a ten-minute masterpiece – which, undoubtedly, along with 'Blinded by the Light', three years later, is the most respected track from the band's 40 year career, 39 years later it's still a great favourite with the fans and is still regularly played on radio stations all over the world. Above all MMEB albums, it is my opinion that, Solar Fire still stands up as their best offering; everything about it is warm and majestic, with some breathtaking mini moog playing. From the spacey gatefold sleeve, you are holding a real balanced ensemble, where everything fits. It is also of my belief that had this been recorded by a more fashionable band, it would have sold by the truckload. 
The Good Earth – 1974 ***
Following up an album like Solar Fire was not to be easy. Nearly a year in the making, the Good Earth still stands the test of time as a fine little album, which was promoted with a great novelty; giving away a square foot of earth in the Welsh valleys. Though the album failed to dent the charts it was still, nevertheless, warmly received; and this novelty idea, though causing on-going debate and speculation, was a really nice, eco-friendly idea. For the third time in succession they kicked off the album with a ten-minute epic; a reworking of 'Give me the Good Earth' by Spooky Tooth's Gary Wright. Also, 'Launching Place' and 'I'll be Gone' were both penned by Phil Rudd (of Australia's Ariel), elder brother of AC/ DC's drummer Phil. Musically in some ways it is a bit of a throwback to the first album, but regardless the musicianship is faultless, and there are some rich jazz-fusion elements.
Nightingales and Bombers – 1975 *****
Amazing as it is now to believe; back in the day, though bands would seem to be constantly out on the road, they still found the time to rehearse and record new material, which was a far more authentic way to keep the creative juices flowing. To my mind this is the second best album from the first, and fondly remembered, line up. It has already been well documented how the band came up with its clever title, but more significant was that Manfred had now turned his attention to the song writing abilities of Bruce Springsteen, and was amongst the first to cover his work. Manfred has said before in interviews that this was a difficult record to piece together and that the band were thrashing around in the dark, which was altogether surprising as the final results here tally up to a work of excellence. The band are on fire. Chris Slade is playing superbly. Although this was not strictly speaking a commercial sounding album, half vocal and half instrumental which gels very well.
Five years and six albums down the line, guitarist Mick Rogers was getting a bit too big for his boots and had developed a massive ego since he played bass with Frank Zappa for a couple of gigs. Following its release, in August '75, a band meeting was called and Mick was asked to leave. I would, at this point, like to be completely honest and say that his successor, Chris Hamlet Thompson, was the better vocalist but as far as I'm concerned when Mick Rogers was holding the fort, it was a musically better band. To my mind this will always be the definitive line up.
The Roaring Silence - 1976 ****    
This album heralded the beginning of an exciting new era for MMEB. Mick Rogers departure had left some big shoes to fill. Two new members were soon recruited. Vocalist/guitarist Chris Thompson had lived in New Zealand for many years; and upon his return to the UK had recorded a single with a band called Central Park Reunion; unsuccessfully auditioned for another of my favourite bands, Argent; at the time he was appointed as the new Earth Band vocalist he was working as a cleaner in a film studio. Lead guitarist Dave Flett was a 24 year old van driver, he was one hell of a fiery player though in a different style to his predecessor.   
It was, undoubtedly, the enormous success of the re-vamped line-up's first single, 'Blinded By the Light' that catapulted them from relative obscurity into a major headlining act. This was a very different sounding Earth Band album, thus far this was perhaps their most commercially accessible offering. My favorite tracks, however, was 'Babylon' and the astonishing 'Gentle Giantesque Starbird'. The production was excellent throughout and both newcomers shone in blazing glory.
Watch – 1978 ****
Here comes the most popular MMEB album of them all. Long standing bassist Colin Pattenden, quit to be replaced by Pat King, who had played with everyone; from Lulu and the Luvvers through to, the impressive sounding mid 70's band, Shanghai. Watch was recorded over a fairly lengthy period. Every track works a treat here and it was, most deservingly, very well received on the continent. Back on home base it gave them a third and final hit single with Davy's 'On the Road Again'. Most memorable of all here was the magnificent 'Martha's Madman' (which was voted by fans as their most favourite song) and, due to countless requests, 'the Mighty Quinn' was finally resurrected, Manfred finally giving in ten years after it was No.1. Sadly, all was not well within, following a sold out British tour Manfred summoned a band meeting; and promptly dismissed three members.   
Angel Station – 1979 ***
Nine albums in seven years, not a bad feat; just as Solar Fire was a hard act to follow, so was Watch. I always liked the Earth Band's instrumental improvisations, so to my mind this album was a slight let-down and found it very overproduced. If the previous line-up had held together long enough to record a third album, it would have been very interesting (I, also, really missed Chris Slade). Though, admittedly, this album did grow on me after several listens; in all honesty this is not amongst my favourites, though it does contain some very rich elements. Amongst the stand-out tracks 'Don't Kill it Carol', 'You Angel, You' and 'Angels at my Gate' have always been much requested live favourites.
Pat King had paid a visit to his employer and complained that the in-house fighting between certain band members had nothing to do with him, so why should he have to lose his position. Fair enough!! So he was told to seek out the replacements. Drummer Geoff Britton from Wings was recruited along with a popular South London pub-circuit musician guitarist/vocalist, the late Steve Waller (a most splendid chap); sadly there was one major hiccup here, Steve brought with him a major drink problem which led to, at the end of the Angel Station tour, his being given the boot. Although, he did later return to the fold for a further two tours.
As the sleeve notes here suggest, this was going to be Chris Thompson's final Earth Band album; thankfully it wasn't, though he did become more of a part-time member, he continued to tour with MMEB for a further 7 years.
Chance – 1980 ***
Geoff Britton never toured with MMEB and, prior to Angel Station, he was replaced by John Lingwood; though not quite in the Chris Slade class, he was a very fine player who also looked the part and fitted in very well. Chance was a bit of a confused beast, it was slightly schizophrenic in places, and saw the line-up slimmed down to a core of three. Though it starts well, with 'Lies Through the 80's'; Chris Thompson, who returned for the first three tracks, excels himself on the Springsteen cover 'For You'. The album also featured an array of guest vocalists and sessions musicians (including Mick Rogers, Steve Waller, Robbie McIntosh, Kokomo's Diane Birch and associate producer Trevor Rabin) and the results were well, considering, not too bad. The material from Chance actually worked far better in concert; even if it was not amongst their better offerings. I still consider this to be an admirable enough effort, if not particularly memorable.
Somewhere in Afrika – 1983 *****
Upon first hearing this album for the first time, I really didn't know what to make of it; I did mention this to Manfred, who glanced at me with questioning eyes, it was hard to give him a detailed explanation, but the answer (30 years on) is that I knew very little about apartheid or African music, and well let's face it, this was a completely different sounding project. The vocal duties were split three ways between New Zealander Shona Laing, Chris Thompson and Steve Waller who actually gives a very good performance here. Pat King was demoted to roadie, his place was taken by bassist/keyboardist Matt Irving who made up a hat trick of Scottish musicians to have served the Earth Band.
Somewhere In Afrika was the last of the truly great MMEB albums, in many ways I will view this offering as their magnum opus. It is also my opinion that out of all their releases this stands as their most underrated. A colossal amount of work also went into producing this. When I eventually saw the live shows the whole thing came to life, that's where it all began to make a whole lot of sense. It somewhat angered me that Paul Simon went on to score such high points with Graceland, whereas Somewhere In Afrika, unjustly, remained obscure.
Budapest – 1984 *
First things first; 'live albums' should mean 'live' albums. This was one of the most un-live albums that I have ever heard, this was clearly a shambles. Following the excellence of the recent Afrika tour; this was, if anything, an inferior representation to the live shows. I really have not got the slightest idea of what this was meant to achieve. It sounded like it might have been recorded live; only to then be appallingly edited; and, worse still, parts of it then re-recorded – most odd and, therefore, is altogether best forgotten.
Criminal Tango – (with Chris Thompson) 1986 **
Following the Afrika tour, Steve Waller and Matt Irving both quit, Mick Rogers had now, thankfully, returned after an absence of seven years. MMEB's final single for Bronze, 'Runner', should have given them their fourth big hit, all things being equal; but, as we all know, although it found success in the States, back in old blighty it went largely unnoticed. After a couple of years off the road they re-emerged on Ten Records which was a subsidiary of Virgin.
OK: we had the memorable Afrika album and now it was turn for the disposable American one. Despite the line up now being bolstered to full strength, sadly what we got here was a near disaster. Out of all the MMEB studio albums, I put this one right at the bottom of the pile, it doesn't stand up at all, and sounds poorly dated. When I look back to songs like 'Father of Day', 'Quinn' or 'Blinded', they are all the definitive versions. I don't know quite what the great Mann had in mind when he attempted to record 'Underground', 'Bulldog' and 'Do Anything You Wanna Do', as he clearly didn't have a clue of what to do with any of them.
Masque – 1987 **
I'm going to be fair here, as there really is no way that I could ever view this as an Earth Band album because it is not. I recall only too well having a conversation with Manfred at the Workhouse studio; he told me that if this album was not successful that it would be the end of the Earth Band. Upon hearing the results, I'm sad to say, there was no way that Masque would have an appeal outside the immediate fan base. As a viable commercial product it was doomed to failure, as there was no way they could tour with what was on offer here, the material doesn't hang particularly well and comes across sounding more like a contract filler. Chris Thompson was no longer on hand, and was replaced by songwriter Denny Newman and sessions singer Maggie Ryder. Mick Rogers sang lead vocals on three tracks.
It has been said that Masque was a sequel to Solar Fire; well, perhaps it was intended to be. 'Joybringer' was resurrected though re-worked, it was inferior to the '73 original, elsewhere Manfred returned to his jazz roots on Charlie Parker's 'Billy's Bounce'. But the helm of the album rests on the 'Planets Suite'. After 15 years on the road, the creative juices had finally dried up and the Earth Band quietly slipped away from public view.
Plains Music – 1991 ****
Four years on and Manfred had his thinking cap screwed on tightly. Came up with a sheer delight; OK anyone expecting to hear instrumental tangents with hard-biting guitar riffs and extended moog solos will find little comfort here. But judging Plains Music on its merits; on releasing a record inspired by American tribal chants from the turn of the century, would appeal to fans of Deep Forest and Incantation it succeeds gloriously on every count; this was essentially Manfred following his heart with no commercial expectation. It is simple, and beautifully crafted, throughout and like Somewhere in Afrika, the listener can tell that a huge amount of love and care was put into producing it. Manfred penned the entire album. Veteran saxophonist Barbara Thompson plays magnificently throughout. Vocalist Noel McCalla also made his debut here. Manfred was so pleased with his services that as a result, when the Earth Band was finally resurrected, McCalla was most wisely called upon as the new front man. 
Soft Vengeance – 1996 ** 
After a nine year layoff, MMEB were back with Chris Thompson and Noel McCalla sharing lead vocals. I would again be very honest and would say that overall Soft Vengeance was an enjoyable comeback album and was most certainly better than Tango and Masque, where Vengeance fails is that it took far too long to put together and was far too overproduced and lacks continuity. As I have already stated; the ambience of early releases like Glorified Magnified and Solar Fire, arose from that special magical quality and enthusiasm that one hears in material recorded live in the studio with little overdubs. 25 years on things were now done a lot differently. The material here is overall fairly satisfactory but nowhere near enough guitar riffs or mini moog for my taste, and lacked any real identity. I get the distinct feeling that Manfred was trying far too hard, which perhaps could account for him losing his way a bit on this one.
Mann Alive – 1998 ****
Thank God that this was nothing whatsoever like Budapest. This was a proper live album and the performances here live up to expectations, plus Chris Thompson had now returned to the touring band. This is also a great way for newcomers discovering the magical quality of Earth Band gigs. What we have here is a generous smattering of tracks on a double CD set; recorded on the Soft Vengeance tour. Mann went to town here on re-discovering his great love for Bob Dylan, so were treated to no fewer than five covers. Overall this a greatest hits live set. It's good fun, punchy, action packed, and well worth a blast.
2006 – 2004 ***
Strange title, still I actually like this album, though it is not to everybody's taste.  It was, thankfully, recorded in the old fashioned way, in the sense that the material was prepared and ready to go. It is, overall, downbeat and miserable and in many ways it is a throwback to the 70's, but yet has a kind of charm about it. Mars – again from the Planets works splendidly, elsewhere Manfred himself stepped into the vocal booth for the amusing spoken-word tale of Frog. I really don't know, for the life of me, why 'Sexual Jealousy' was re-recorded? Surprisingly very little of 06 was played live which is more the pity, as there would be a lot here that could well have pleased
Leftovers (from the box set) ****
Here's a great little assortment, though in different forms most diehards would have already heard. But what makes Leftovers so special is the inclusion of three buried treasures that showed up again after donkeys' years. According to the story; a young lady, named Andrea, happened to be on the same train as Manfred; when he got off he left some tapes behind; she most kindly passed them on to Nigel Stanworth whom she contacted via the Platform End website. What a great idea.
Live in Ersingen – 2011 ****
Well with the recruitment of new singer Robert Hart (ex Bad Co) who replaced Pete Cox last year, a man who most certainly knows what he's doing, MMEB sound like they have never been away; a great all-round performance here.
 
Manfred Mann: Chapter Three, Volume One (1969) ****
One of Manfred's greatest fans once told me that he thought that this was the worst phase in Manfred's 50yr career in music; I would contest that statement, and would categorically state that this was an extremely brave and rewarding exercise.
OK, first things first; this album is very much the end of one era and the dawn of another; which saw Manfred continuing his long-standing association with Mike Hugg, who had now swapped his drumsticks for an electric piano and was now the third phase of Mann's new vocalist. Despite his not being a particularly good singer his contribution worked very well. MMC3 were fleshed out with auto-flautist Bernie Living; drummer, Craig Collinge; but the best new recruit was bassist extraordinaire, Steve York (from underground band East of Eden). Craig Collinge was previously with Procession, a Mike Hugg produced band, which also featured future MMEB guitarist/vocalist, Mick Rogers. Despite critical acclaim, former fans voted with their arms folded, and clearly didn't approve of his new Jazz/Rock direction.
43yrs on, Volume One is today a hot collectors' item; with Mint copies easily commanding upwards of £100. The first 2 tracks 'Travelling Lady' and Snakeskin Garter' are fiercely sampled by DJs; but, for my money, by far the best track is 'One Way Glass', which saw Mann in the vocal booth for the first time and featured some fantastic finger work by Steve York, which has gone on to be something massive. The middle brass section has been featured several times on sports programmes and, in more recent years, has been the theme of the hit 2010 film Kick-Ass. Those who are unfamiliar with this album would be wise to investigate, you won't be disappointed.
Strange to think that just 4months earlier The Manfred's had waved goodbye with 'Ragamuffin Man'; you couldn't associate the 2 incarnations of the band, as they were nothing alike.
Manfred Mann: Chapter Three, Volume Two (1970) ***
Despite being issued in a fantastic, and eye-catching, double sleeve; my opinion is that this is an inferior follow-up that lacks the charm of the first album. All the big guns are thrown in on the opening track 'Lady Ace' which features some fantastic brass improvisation, courtesy of Hair's Musical Director, Derek Wadsworth, and Mike Gibb also makes a valued contribution. Mann/Hugg had now expanded the line-up to a 10-piece; this was more improvised than the previous album, but lacks innovative direction. Apologies Manfred, but 'Jump before You Think', despite one of your greatest fans being a progressive rock fanatic, is perhaps the worst example of self-indulgence I have ever heard; for the life of me I don't where that sax solo fits in. 'Happy Being Me' made a fine single, but hearing going on and on for 16 minutes tended to get annoying but 'Virginia' the albums closing track, is excellent; and the brass section are clearly enjoying themselves and sound as if they're on great form. I'm not trying to be Simon Cowell, but honesty is a virtue; and I personally think, that if one were to take the best tracks from both albums you could have had one really good one. Incidentally, Steve York later played with another of my all-time favourite bands the fantastic Vinegar Joe, which made their debut supporting MMEB at the Marquee Club.
 
A third and final album was taped but left on the shelf for many years; though some of the tracks were eventually released as part of the 'Mistakes and Out-takes' box set. If Creature Music, would release the album in full; I would be delighted to review it, along with Rational Anthems.
PS: I have taken each and every album into firm consideration, and there is no 'artiste infallible'. I have wanted to do this for a long time, and hope that I have judged each album on its individual merits, without undue bias. Everyone will have their own opinions, of course, but these are mine.
Whatever you think I hope you enjoy them all the same. I will never alter my opinion of the horrible Budapest.
Eat your heart out Grand Funk Railroad Humble Pie and Deep Purple.
Barry Winton