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POLTEL’S – MANFRED MANN’S 60's COMPILATION ALBUM

Delayed from November this new compilation of 60's hits featuring both H.M.V. & Fontana recordings should now be out in January. It is only the second time all the 60's hits from both the Paul Jones and Mike D'Abo line up have featured on one album. and indeed the first time on C.D. With the exception of the odd track on a various artists compilation it is also the first time Fontana material has been issued on C.D. and therefore of significant interest to all interested in the 60’s material. Rumours that the album might also include material by Paul Jones, McGuiness Flint and even Earth Band are however inaccurate. Although it may have been a consideration at some point in time the album will in fact
feature Manfred menu (the group) 1963-69 and as well as the string of hits will contain tracks such as Dylan’s ’With God On Our Side’, the first ever Dylan cover of Manfred’s career.

To promote the release of the album ex-Manfred's, Paul Jones and Tom McGuiness of Blues Band fame, are teaming up with Mike D'Abo, Mike Vickers and Mike Hugg for a 13 date U.K. tour, with a little help from some friends. Manfred himself of course heavily committed to the completion of the new Earth Band album. He has personally never been very keen on trying to recreate the past, although he is always quick to point out that this is a personal viewpoint and not intended as a criticism of the many who do and often do it very well.

All I can say is Tom's birthday bash last year was a lot of fun, so if you missed that this is your chance to make up for it. Tour dates are courtesy of the Blues Band Newsletter - Ready. My thanks to them for providing us with the information. If you haven't seen the Blues Band, they are back on the road next year and well worth seeing.

Finally as far as the 60's release is concerned there has been much talk of a video compilation, which would be wonderful. Tom McGuiness is involved in this one, and it is far more than a rumour. Sadly however, there is not a vast amount of material available, so if you know any video material from the 60's and can give the source, drop me a line and I will pass the information on.

December:

Tues. 1st Lincoln Ritz Theatre

Wed. 2nd Sunderland Empire (TBC)

Thur. 3rd Southport Theatre

Tues. 8th Croydon Parfield Hall

Thur.10th York Barbican

Fri. 11th Mansfield Leisure Centre

Mon. 14th Brentwood Leisure Centre

Tues.15th Cambridge Corn Exchange

Bed. 16th Clacton Princes Theatre

Thur.17th Maidstone Corn Exchange

Sun. 20th Eastbourne Congress Theatre

Mon. 21st Folkestone Leas Cliff Hall

Tues.29th Torquay Riviera Centre

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PLAINS MUSIC (FIGHTING THE SYSTEM)
Many fans will by now be aware of Manfred's 'Plains Music' album. A superb piece of musicianship deserving of greater publicity than it is receiving.
Plains’ is totally different from any of Manfred’s previous
work in his long illustrious career. The only Earth Band member featured on the album is vocalist Noel McCalla although Mick Rogers plays a prominent part in programming work. Another familiar name is Barbara Thompson whose saxophone has featured several times on MMEB albums.
So how did 'Plains Music’ come about? The album was born in 1988 with backing tracks developed in South Africa with recording taking place in South Africa, and at the Workhouse in London. The album was released in Europe in the early summer of 1991 on the Intuition Label, and Manfred reached No. 1 in South Africa with the track ’Sikelele', which is the only African track on the album, the album consisting mainly of the melodies of the North American Plains Indians. Later in 1991 Plains' was released on the Rhythm Safari Label in the U.S. and gained a Top 30 position in the adult alternative chart, the track listing was changed for the U.S. version with  'Salmon Fishing' replacing 'Hunting Bow Reprise'. When 'Plains’ was released here over 3 months ago, both of these tracks were included so U.K. fans have been able to buy a 10 track album as against 9 for the rest of the world!
So What is 'Plains Music’?

If you like subtle, melodic, atmospheric music with straight forward strong melody then 'Plains' is for you. The melodies are simple, the tracks short and it is a high quality piece of work.  There have been certain sections of the ’Musical ’ press who have stated that the album is 'New Age!’ and hints at mini opus length tracks. Nothing could be further from the truth. The longest track on the album is just over 5 minutes in length!
To date Manfred has only featured once on National radio promoting the album and that was on Radio 2 at 2.30 in the afternoon! Many fans will have missed this interview simply because of the timing. One thing is certain - ’Plains Music' is certainly deserving of greater prominence to those fans who are yet to buy it - Listen & Obtain.
Plains Music is available on KAZ cassette and CD in the U.K
Plains Music is available on Intuition Records in Europe

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SIKELELE II:
Opens with hunting how, closely followed by strong piano and vocal chants leading into Doren Thobeki vocal, finishes with strong piano melody and vocal fade out.
HUNTING BOW REPRISE:
Slower tempo than 'Hunting Bow' this short closing track
features mostly Barbara Thompson’s saxophone.
JOHN ARKLE

PLAINS MUSIC EDITORS NOTES
As John Arkle indicates in the title to his piece on the Plains Music album, it was clearly born partly through Manfred’s desire to get off the tread mill of the Rock/Pop business.  Prior to recording Plains Music, Manfred had spent many months recording a handful of tracks all aimed at the commercial (singles) end of the market. It was during this period that the fire at the Workhouse occurred resulting in Manfred having to move out to a residential studio in the Midlands. He tried various songs including the old Loving Spoonful hit ’Summer In The City' and a reworking of an earlier Earth Band recording 'Mardigras Day' as well as songs by Cyndi Lauper and Mick Rogers. Increasingly frustrated, the first seeds of Plains Music were sown, almost by accident. Manfred became increasingly interested in this and increasingly disillusioned with the commercial rock recordings and the rest is history.
Although Manfred completed at least four of the tracks mentioned above they were never to see the light of day, whilst all his efforts went in to Plains Music an album with almost no commercial consideration whatsoever.

COLLECTORS NOTES

As John points out, there are three different versions of the album, which was first released in Europe without the track Salmon Fishing'. The US release saw the use of ’Salmon Fishing’ instead of ’Hunting Bow Reprise', the English version contains both of these tracks. The South African version on PVB MUSIC is identical to the European version in Musical content, but has a completely different cover design. I know of two singles taken from the album in Europe both on the Intuition Label, 'Sikelele' (remixed) and ’Medicine Song’ (remixed).
ANDY TAYLOR

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CHRIS THOMPSON - WHO IS HE?
We are all familiar with Chris Thompson’s vocal skills found on Earth Band albums from his debut on the 'Roaring Silence' in 1976 through to ’Criminal Tango' in 1986. Now some 6 years since his departure from Earth Band, it is a sensible time to assess his varied career which ran concurrently with his 10 year spell with Earth Band and has developed further since.
Chris Thompson was born in England. but grew up in New Zealand where he qualified as a teacher specialising in Primary School children with learning difficulties. He played in a New Zealand band called Hillbilly Walker who supported Chuck Berry and Little Richard. The band did not have any record releases.
In l974 Thompson returned to England and teamed up with Brian Keith from Plastic Penny to record a U.K. only single as Central Park Reunion. This took the form of a duet and did not sell. during this time Chris gradually gained experience of the music business, undertaking various television and session work with the likes of Ike and Tina Turner for example. Prior to joining Earth Band, following Mick Rogers departure in 1975, Chris also auditioned for Argent, but was not taken on. Chris sang ’Joybringer' and 'Spirits in the Night' to secure his place with Earth Band. Intriguingly, he adopted 'Hamlet' as a middle name to avoid having himself confused with a New Zealand folk singer, also called Chris Thompson. Do not therefore make the mistake of purchasing a certain album on the Village Thing label, unless you are either affluent or stupid. Hopefully the author is neither, merely a little red faced, although in his defence, the purchase was made via mail order.

In parallel with his Earth Band duties, Chris formed Filthy McNasty. The band enjoyed a residency at The Bridge House and featured Chris on guitar and vocals, Stevie Lange on vocals and percussion, Billy Kristian on bass and vocals, Mike Walker on keyboards and Clive Edwards on drums. The hand, in keeping with their name, had an exciting raw feel to their sound and the vocal interplay between Chris and Stevie Lange, a much underrated session singer, would of course, later blossom in
Night. Filthy's only recorded output was on the LP 'A week at the Bridge E16’ which features 3 tracks recorded live in April 1978. The tracks are ‘Move Over' {Janis Joplin), a rousing version of Bob Seger’s 'Fire Down Below’ and Jes Roden’s ’Can’t Get Next to You’.

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Night's second and last album 'Long Distance' following in 1981, with Bobby Wright replacing Nicky Hopkins on keyboards and Bobby Guidotti taking over on drums. The album featured more band compositions than the debut, but the single releases were unsuccessful. Interestingly, a supporters club based in Los Angeles was instigated, but with Night being dropped by Planet amidst the music recession, it failed to establish itself.
Nonetheless, the band toured to promote the album, and a half hour concert broadcast on Radio 1 shows that their split was very much premature. They played a storming set which included ‘Blinded by the Light'. Following a gutsy and humorous performance of 'The Stripper' in the 1981 film 'The Monster Club’, the band became The Island before splitting in 1983 when McIntosh joined the Pretenders and subsequently Paul McCartney.
Stevie Lange of course, features on various releases including Earth Band's ’Angel Station', 'Watch’ and Somewhere In Africa’ and on Holly Johnson's ’Blast’ album, most notably on the hit single 'Americanos'.
In 1983, Patrick Simmons of the Doobie Brothers sought Chris's help on his solo album, 'Arcade'. Chris featured throughout and co-wrote 5 tracks including the US hit single, 'So Wrong’, and also toured with Simmons to promote the album. The album suffered from poor production and Chris's role was underplayed.
The same year saw the release of 'Arrested' an album of Police songs featuring the Royal Philharmonic Orchestra and friends such as Don Airey, Ian Paice and Gary Moore. Chris sang on ’De Do Do Do Be Ba Da Da' and ’Don't Stand So Close To Me'.
1983 also saw the issue in Germany of Chris’s first solo album the aptly titled 'Out of the Night'. This was recorded at the Workhouse and in addition to Chris on vocals and guitar, Robbie McIntosh played guitar, Malcolm Foster - bass, Mic Clews drums and Paul Wickens - keyboards. All bar one track were written by Chris, largely with McIntosh. This band performed the Islands. 'Do What You Manna Do’, was issued as a single, and was recorded with the likes of Gary Moore and Billy Brenner on guitar and Ron Airey on piano. The album had its strengths, but lacked that extra touch of the Night releases.
Chris has always enjoyed playing live and in 1984 he played some London dates to promote the UK release of ’Bye Bye Love' on Simple Records. He even received a mention in Melody Maker and a brief interview on Radio 1. The set at this time featured other tracks from the 1985 album ’Radio Voices' which eventually only surfaced in Europe. Chris clearly relished playing in small venues such as The Cricketers pub at the Kennington Oval where Dragon’s song 'Rain’ featured in the set.

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Mean Fiddler Review

It was a Saturday night in November, 1972 and I was staying the night at my cousins. My cousin asked what my brother and I would like to listen to, ’What about Manfred Mann’s Earth Band?’ he asked. Having heard of Manfred Mann. but not of the Earth Band, I thought why not! He pulled out a white covered album with the Band's logo on the front. He put the record on the turn table and gave me the cover to look at. There was a short silence. Then, at quite a loud volume the drumming started.
The first track ‘Meat’ hurled itself at me from across the room. My first impression was 'This is bloody good'. I cannot remember everything about listening to the album for the first time, but I do recall the guitar solo on 'I'm Gonna Have You All'. 'Ashes To The Wind' and ’Wind'. I thought was one track, and the pop sound of ’lt’s All Over Now Baby Blue’ was extremely catchy. The most memorable was the title track 'Glorified Magnified‘. The cymbals and synth beginning becoming a trade mark of the Earth Band. The next week I went and bought a copy of the album. I have been following the band ever since.
Now twenty years on, I an at the Mean Fiddler in London awaiting the band to take the stage.
Then on came Manfred Mann, Clive Bunker, Steve Kinch and Mick Rogers, to such applause. Clive Bunker opens with his drum kit, then Manfred starts playing a short synth solo. Joined then by Steve on bass and Mick following on guitar, getting a great rhythm going. They play an instrumental piece of Banquet. The Band slow the tempo down. Then from the side, Noel makes his entrance.

Born of parents {the first shock), in working class South of England. My dad was a welder and my mother wasn't. I started with music at school originally having a bash on guitar and quickly being transferred behind the drum kit (or that passed as one then). The band quickly became one of the popular bands in the area. After a couple of years I got the chance to turn professional and moved to

Manchester. I stayed for just over a year in which time we

did the German clubs and a lot of northern halls, quite a good grounding really looking back on it.

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I was asked by Chrysalis if I would join up with Robin  Trower after about six months and must admit I was ready to play again, unfortunately the agency wanted a different sort of band than we wanted and so was short lived. This was good for me as i started doing sessions and this opened up the way to really learn my craft as it were. I did lots of varied stuff from Generation X, to Dennis Rousos, and singles by the bucket full without missing out on live touring, the part I enjoy the most.

Formed a band (that had Mick Rogers on guitar) called Aviator, after missing that band feeling rather than being a session man. This turned out to be musically a bit self indulgent and was certainly not disco! We just could not pull that hand out of the bag though, and its shelf life ran out.

Oh well back to the sessions after that as well as some in- tours with various people I started playing with Blodwin Pig with my odd (sorry did I say odd} old mate Mick Abrahams, sharing the drum seat with another drummer  who's gig is Gary Moore. Blow me down if Manfred didn't phone me and ask me if I fancied joining the Earth Band.  Now, I had never seen the band live despite knowing Mick and being told by people who's opinion I respected that  they were really good live.

So on the spur of years I joined ship and what we do with it from now on is in our collective hands. This although brief on paper is thirty years of my life and countless air miles, by the time I got round to buying a hair brush I looked in a mirror and it had gone. Is this a sign of experience one can only speculate.

CLIVE BUNKER 1992
Next issue! - Steve Kinch

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EDITORIAL

Hi and welcome to ”Son of Platform
End”. It seemed that we were never
going to get this finished and  compiled, but then we have had the audacity to steal a couple of weeks of sun, sea and sand on the Algarve. Once again we offer a fun packed edition of the official Manfred Mann Fan Club Magazine, continuing Graeme’s excellent Chris Thompson article, a few well chosen words from Manfred, our second Self Portrait - Steve Kinch, more from Martin
and John and our American correspondent - Greg Russo.

Thanks to all of you who have written
with suggestions for future issues,
please keep them coming. The somewhat changed format from the first edition is a clear indication that we are still experimenting both with content and format until we get it right. Keep the letters coming, hopefully we may bump into you at a gig this year or the next

ANDY.

AGES OF MANN?

The recent release of the 60’s
compilation album ’Ages of Mann’ an
uninspired selection of the most
obvious 60’s hits from the HMV and
Fontana stable, wrapped in an even
less inspiring cover, has led it would
seem to a considerable amount of
confusion and misunderstanding. For example the Southport Theatre,
proudly proclaimed ’Manfred Mann in
concert’ whilst with similar confusion
elsewhere the media also picked up on the album due no doubt to the fact that it fought its way into the UK Top 30 Chart, again making great effort to confuse the popular music historian of the future.

Already, I have received mail from
home and abroad clearly indicating the need to put the records straight. So here goes.

Manfred Mann and Mike Hugg formed the ’Mann Hugg Blues Brothers’ in 1963 which gradually evolved into the first band to carry his name. Manfred himself is quick to point out that he was however one equal 5th of this band, hence the title

of their first album The Five Faces of Manfred Mann’ released in 1964. Following a short but notable career which saw the band change it’ s line-up a number of times, most notably surviving the departure of the charismatic lead singer Paul Jones without any let up in the stream of hit records which formed the bulk of the ’Ages of Mann’ CD, Manfred Mann the band quit to go their separate ways.

Manfred Mann the person in partnership with Mike Hugg, then had
a brief flirtation with Jazz Rock (Chapter 3) before forming his own
band Manfred Mann’s , which in one form or another has continued to this day. An MMEB compilation album has been enjoying huge commercial success in Germany this year.

The cause of the confusion between
Manfred Mann the group and Manfred Mann the person should I suppose be blamed on John Burgess the Record Producer who insisted back in 1963 on the band using collectively the name of the Keyboard player.

With the planed release of the ’Ages of Mann’, former Manfred’s Jones, D’Abo, McGuiness, Vickers and Hugg decided to reform to play a handful of gigs to promote the album. This idea came from a special night at the Town and Country Club a year or so ago to celebrate Tom McGuiness 50th Birthday Bash, neither at this event (because of other commitments with Earth Band), or for the short UK tour was Manfred involved.

A lot of water has flown under the
musical bridge since ’Do Wah Diddy,
Diddy', and Manfred has become
respected world wide for his music

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His absence from the gigs and variety of radio and T.V. appearances was a big talking point. The other Manfred’s clearly respected his decision not to take part. Paul spoke highly of ‘The Plains Music' album on Radio 2, whilst Tom promoted both ‘Plains’ and Earth Band during a Radio 1 chat. The Manfred's always tended to be a little disrespectful of each other in such a way that the audience was left in no doubt that in reality they have nothing but the highest regard for each other.

This is perhaps the one thing that hasn’t changed since the 60’s.

Although the highest percentage of
mail we are receiving relates not
surprisingly to Earth Band, there is a lot of interest in the 60’s period and with those of you in mind John Arkle picks up the story of the Manfred’s tour reviewing the album and the concerts later in this edition.

I admit to having mixed feelings at
Southport. It was an excellent gig.
The highlights for me weren't the hits
(except ”Come Tomorrow’ and ’Oh No Not My Baby"), but songs like ‘Water Melon Man’, ‘I’m your King Pin’, the impromptu ’Smoke Stack Lightning’ and D’Abo’s beautiful ‘Handbags and Gladrags’. I had forgotten what a good keyboard player Hugg is and what a mean Saxophone Mike Vickers plays.

All the same, I found myself wondering for the first time if it might have been better still had Manfred got his own way back in 1963 and the band had been called almost anything but Manfred Mann.

PLATFORM END

NEWS AND REVIEWS
Just before departing for a well earned holiday, Manfred kindly gave up some of his time to update me as to what is happening and his own feelings as to how things are progressing, as far as the new album is concerned. Work has continued on the new album which is taking a bit longer that he had originally planned. Whilst he is not unhappy with “the progress so far his intention is to re-mix ’a whole load of things’, when he returns. As yet the album remains untitled, one possible title Manfred has in mind is ’The History Of Sexual Jealousy’, but this may well change again. Richard Burgess who I mentioned in the last edition is likely to do more work on the production front. The album is difficult for Manfred to describe as yet as it is really still in a state of flux, however he did say that it was more keyboard
predominated than some previous albums with piano very much to the
for. Manfred is under no outside
pressures to get the album finished but obviously would still like to get it out later this year although there is no guarantee of that happening.

Much of the material for this album was originally recorded live by the band in the studio, following which Manfred really starts to work on the material until he gets it to a point that he feels happy with. Some things work and some things don’t of  course.
‘Times They Are A Changing’, a firm
favourite now in the live act, has
apparently just not worked in the
studio, other songs featured in the live act such as ’Shelter From The Storm’, ‘Pleasure And Pain’ and ’Miss You' will almost certainly be included. I am delighted to say that a song played in some of the 1991 concerts and still

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Of the three Earth Band compilation
C.D.’s so far released this is by far the best, although in many ways it is
inevitably similar to the ’Twenty Years of’ CD. released a couple of years ago. Whilst once again the emphasise is on the Thompson Bronze era of the band, the original line-up do get a better look in this time with the inclusion of the full length ’Spirits In The Night' as well as ’Joybringer’. The problem fans had with the twenty year album was that it wasn’t! Only one track predating Thompson's arrival, the majority being taken from between 1978 to 1982, and not as the cover claims from 1971 to 1991.

‘Blinded’ as an album also covers this period but it doesn't seem to matter so much. Nevertheless, it would have been nice maybe to have had one more earlier track featuring the first line-up, OK they never quite captured the raw energy of the live gig onto vinyl, but to a lesser extent that could be claimed of some of the later albums as well.

Despite the above carping I like this
album, a tiny reminder of what good
stuff Manfred was putting out at the
time. It’s also good quality sound
wise. Maybe it is only my imagination
but l am sure that recent CD releases
like this and the boxed set have a
much better quality of sound that
earlier C.D. re-issues. The cover at
least makes and effort to be interesting, although disappointingly there are no sleeve notes (I personally love sleeve sorry liner notes). So whilst there are a
few surprises here it is well worth
adding to your collection and a nice
CD. to play to friends as an
introduction to the band.

‘SPIRITS IN THE NIGHT’

All the way from Israel comes this superb album containing just one MMEB track not surprisingly the title track of the album ( original version).
For the rest of this glorious and well
 recorded piece of nostalgia you get Yes, ELP, Genesis, King Crimson, Jethro Tull (with Clive Bunker on drums), Brian Ferry and Roxy Music, Rick Wakeman and so on. It is a wonderful album, nice cover too,

once you get used to it opening the wrong way around. There are loads of sleeve notes (I mean liner notes) only unfortunately they are in Hebrew.

Wonderful stuff and you get the feeling the compilers here put this together as a labour of love not as on so many compilations just a chance to make a fast buck!

THE ‘FIVE FACES OF MANFRED MANN’

John Arkle reviews ‘The Ages of Mann’ a compilation of HMV and Fontana hits of the 60’s elsewhere in this issue. For me however this is much more fun although you would have to go to EMI Japan to get a copy. My thanks to John Arkle for finding me mine.

Why is it so good? Well, if you take
away the inevitably dose of ’Do Wah
Diddy Diddy’, and all the other EMI
hits (yet again), you are left with
exactly what the cover says ‘The Five
Faces Of Manfred Mann’ UK version
the first album being released in 1964.
They have left off two tracks to help fit on the hits, but we are still treated to a set of R&B standards like ‘Smoke Stack Lightening’, ’Hoochie Coochie’, ’I've Got My Mojo Working’ coupled with a handful of group penned songs and jazz instrumentals. Sound quality on  mostly mono recordings is very good, better I felt than on the odd stereo recording included. I am not noted for promoting the 60’s Manfreds but if you have never heard ‘Five Faces' you do not know what you are missing. The raw energy of this album was lost during the 60’s rediscovered by ‘Manfred when he formed the Earth Band in 1971 and later when fellow Manfreds Paul and Tom formed The Blues Band. For a 1964 album it remains remarkably fresh, and I sometimes think it is a shame that the Five Faces' that made up Manfred Mann didn’t develop in a slightly different way.

OTHER NEWS

Special Offer to Fan Club Members
Steve Fernie at Cohesion Records has agreed for a limited period to sell to club members the MMEB boxed sets for a Special Price of £75.00 plus postage and packing, this would save you more than £20.00 on the
recommended retail price.  

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1. Do Wah Diddy;
2. Don’t Ask Me What I say;
3. Sack O’ Woe;
4. What You Gonna Do;
5. I’m Your Hoochie Coochie Man
(it’s finally spelled right);
6. Smokestack Lightning;
7. Got My Mojo Working;
8. lt’s Gonna Work Out Fine;
9. Down The Road Apiece;
10. Untie Me (Stereo Version);
11. Bring It To Jerome;
12. Without You;
13. Mr. Anello (Stereo Version);
14. Sha La La;
15. Come Tomorrow;
16. She,
17. Can’t Believe It;
18. John Hardy;
19. Did You Have To Do That;
20. Watermelon Man;
21. I'm Your Kingpin;
22. Hubble Bubble (Toil And Trouble);
23. You’ve Got To Take It;
24. Groovin’;
25. Dashing Away With The Smoothing Iron;
26. Untie Me (Mono Version);
27. Mr Anello (Mono Version).

All tracks except 14, 18, 22, 26 & 27
are stereo. Tracks 1-12 comprise the
American LP ‘The Manfred Mann
Album’, while Tracks 14- 25 make up
the US LP ’The Five Faces Of Manfred Mann.’ Tracks 13, 26 & 27 are considered bonus cuts, especially since both versions of ’Mr. Anello' were never released in the US. and the mono version of ’Untie Me’ only appeared on the first US. and U.K. albums.

There are some other interesting things to note about this album. The first is that the U.K. ’The Five Faces Of Manfred Mann' is all here, but in stereo for the first time outside of the US.
‘Smokestack Lightning’ has its complete intro included in stereo for the first time anywhere, ’Bring It To Jerome’ goes to a full ending instead of fading out, and You’ve Got To Take It’ has its complete intro for the first time in the U.K. Besides their mixing differences, two versions of ’Mr. Anello’ and ’Untie Me’ have been included because the stereo version of the former has a different guitar solo, and the stereo version of the latter has a completely different vocal track.

The album was mastered on 9th March, and the artwork has not been designed, but EMl should have the album ready in U.S. shops by around September. I’ll keep you posted.

FONTANA

A lot of confusion was caused by U.S. PolyGram because the Manfred Mann Best Of’ CD project was inadvertently assigned to two different engineers. At this moment, the U.S. CD release status is not certain, but the U.S. will only allow 18 previously released tracks to appear on the CD. As far as quality goes, it will most likely sound as unexciting as the ’Ages of Mann’ CD due to the fact that poor quality tapes are planned for use.

On the U.K. front, things are more
optimistic. By this summer, details for a U.K. PolyGram package on Manfred Mann sixties material should be finalised. This package could likely be a single or a double CD set with unreleased material. I’ve heard almost all of the unreleased material, and it’s amazing how most of it was never released. This should be rectified soon!

PROJECTS lN PROGRESS

Currently, I’m working on a book on
the history of Manfred Mann, the man and his bands, as well as a collectors guide, which will include recording session information. Of course, it will be available to Platform End readers first! Look for it in future issues.

Until next time, take care. Let’s hope
the new MMEB album gets here soon!
Please find below my Post Office Box No. should anyone wish to write to me:

Greg Russo

P.O. Box No. 205113,

Brooklyn,

NEW YORK 11220 - 0022

Let Me Tell You About The
MANFRED'S'

Part One

Originally scheduled for release last
November 'Ages of Mann' eventually

PE#2 - Page 6

slots on day time T.V. & G.M.T.V.
most of this promotional work
happened in a very short space of time and it proved virtually impossible to catch every show.

T.V. advertising also broke soon after release but how did Polygram decide that Central T.V. would receive the heaviest push?

One story in the national press suggests that the I.B.A. cut back the advertising schedule because Mike D'Abo is seen without a crash helmet on a motorbike!
Of course Mike you can't do that in the 90's although as D'Abo himself states that film was shot in the 60's when wearing a helmet wasn't compulsory!‘
If I'm allowed one gripe about 'Ages of Mann', I suspect many fans would have liked a more detailed 'sleeve note' booklet with archive photo's enabling Tom McGuinness to enlarge his considerable writing talents.
However, the album has broken the ice. Release of further Fontana material plus the 'Five Faces‘. 'Mann Made' albums on CD. won't be far away.

SOUTHPORT - 3RD DECEMBER,1992
('They came to play one rainy day, and the people came from miles around!‘)

It was a filthy night as we set out en
route for Southport in an attempt to
reach the venue before seven o'clock
we'd been invited by Tom McGuinness to meet him and the rest of the band before the second gig of the Manfred's tour. As we drove along the promenade the Red Neon lights shone out starkly ‘Tonite - the Manfred's Plus Support'. 'Charming the guy's are needing to be propped up' was the immediate cynical thought. No far from it, everyone was in great shape
and support would be coming from
John Fiddler of Medicine Head Fame.

A smiling Tom McGuinness welcomed us backstage and a quick glance around the room confirmed that we were in the right place - wall to wall Manfred‘s everywhere, Mike D'Abo, Mike Hugg, Mike Vickers plus Ben Gallagher and Rob Townsend who'd enlisted' for the tour. Only the 'One In The Middle' was missing.

Everyone was in a good mood, the first night at Lincoln had gone very well in front of an almost full house - the tour was off to a flyer.

There's only one problem with that
sort of start' said Tom and that is you
tend to use that as a yardstick and of
course the gigs are bound to vary'.

The opening night had coincided with
Tom's Birthday, it didn't seem possible that it was almost a year since his Birthday bash at the Town and Country Club when 'The Manfred's‘ line up first appeared (circa 90's) with Pick Withers on drums and Tom Robinson on Bass. Having made our alcoholic presentation to Tom it was a
case of trying to 'Interview' our heroes as they signed album after album photographic albums old programmes and rock encyclopaedias, the latter
being criticised for incorrect real names and ages!

By this time Paul had arrived and was sifting through all the albums commenting on the songs' writers. At
the time he was presenting a show on Radio 2 discussing other artists singles and who'd written them. Needless to say he was very pleased when the sleeve notes of an Australian E.P. gave his date of birth as 21st February 1946 instead of 1942.

Mike D'Abo seemed full of enthusiasm for the upcoming gigs - 'Manfredia' lives on was his description! At this point Tom asked us to leave the room so that he and the band could hold a quick  business' meeting as well as sacking Paul for arriving late. Next door we found Rob Townsend and John Fiddler deep in conversation.

PE#2 - Page 7

Hugg was now on piano, Vickers
permanently on sax, flute and anything blowable, McGuinness on lead and the unfamiliar sight of D'Abo behind the keyboards. Mike Vickers soothing sax then took us into '5-4-3-2-1' (memories of 'Ready Steady Go'), although the 90's R.S.G. on Channel 4 should be re-named the Dave Clark 5 show whatever happened to all the Manfred Mann footage Mr. Clark? Nevertheless
5-4-3-2-1' went down extremely well
with the Southport audience before
Mike D'Abo name checked the band
and launched himself into 'Just Like A Woman', which featured some subtle Jones harp work. Next up was 'Semi-Detached Suburban', Mike Vickers interchanging brilliantly between Sax and Flute - The gig was building gradually. A slight Jazz feel then came into the proceedings, catchy Hugg keyboards before Vickers‘ sax soared into 'Watermelon Man', cleverly blended with Paul's 'I'm A Bad, Bad Boy', before climaxing with a Vickers solo and enterprising Hugg piano and organ artistry.

Suddenly we returned to the D'Abo
period of the group with 'Fox On The
Run' and the audience were now
heading into top gear. Inter song chat between D‘Abo and Jones was also increasing in confidence Paul
introducing 'Oh No, Not My Baby' to a
background of Jazz influenced Hugg
piano - Hugg and Vickers were playing out of their skins while Rob Townsend was pounding his with no little skill, (pun intended).

A quick reference to 'Uncle Jack'
(Paul's children's TV character for the uninitiated), and 'My Name Is Jack' was underway - brilliant Vickers flute and Townsend working overtime on this one before surging very quickly into 'Sha La La', featuring a lengthy Jones harp solo.

At this point Paul welcomed Benny
Gallagher upfront - Benny taking lead
vocal on one of his many hits with
Graham Lyle ‘Heart On Your Sleeve'
and he was quick to point out Paul's
harp giving the song an extra
dimension. Mike D'Abo humour was
also gaining momentum between each song (ably assisted by the very familiar sound of Tom's laugh), although it was never 100% certain that the D'Abo wit was intentional.

Tom then came into his own with solid guitar work on Ragamuffin Man' before Paul gave a brief history of 'Pretty Flamingo' and how he'd told then producer John Burgess that the song would never make it. 'Flamingo' stands up very well to this day and the Southport public gave it an enthusiastic reception. 'Ha! Ha! Said The Clown' brought D'Abo back to the mike (no pun intended), with Vickers and Hugg performing heroically to give the song an excellent live reproduction.

Come Tomorrow', was introduced via
a superb Mike Hugg piano solo with a gospel feel, the song being played at a slower tempo than the sixties release with Paul excelling on vocal, whilst Hugg continued to shine with his inventive keyboard play. This was the performance of the gig. 'Build Me Up Buttercup' The Foundations big smash  was given an enthusiastic delivery by its writer and equally well received by an audience who were now in full flight. Mock criticism here from D'Abo to Jones regarding his vocal work on Buttercup' which saw Tom doubled up with mirth.

'Do Wah Diddy' then filled the air,
maximum inevitable audience
involvement here with a certain lady
called Joan given a solo spot. Not bad Joan, not bad! Paul was then taken aback by the band playing the intro to Smokestack Lightening' - (stay behind at the end to learn the words Mr. Jones), but improvising superbly with an excellent harp solo before handing the spotlight to Tom who showed us his skills on the trustworthy green fender.

That was written by Howlin Wolf',
bellowed Paul, 'This Was Written By
the Great Manfred Mann and Paul
Jones' - 'I'm Your Kingpin' was
underway featuring excellent solo work from Vickers, Hugg and McGuinness plus Jones ' harp played as only the master can - excellent stuff. An abrupt climax and we were into 'Quinn' Jones and D'Abo interchanging on vocals.
The band then departed before
returning “to give an excellent encore of Handbags and Gladrags' and 'lf You Gotta Go', with Tom taking lead vocal with an extra verse on the latter. 'We'll Have To Finish We Don't Know Anymore' said Paul at the end

PE#2 - Page 8

Time came for the stage clothing to be put on, Silk Shirt for Rob, Silk Shirt and Waistcoat for Mike Vickers and a very brightly coloured cotton shirt for Mike D'Abo. Change of socks and shoes for all.

We left them to it and found our way
to the very back of the upstairs of The Corn Exchange. It was very good to see such a large crowd of people
standing downstairs and quite a few
seated upstairs. As the Manfred's came on stage what a cheer went up. The music was great, all the songs of my youth, singing along happily with them. The rapport with the audience from 'The Manfred's' on stage was excellent. I enjoyed the evening and
looked forward to the next time which would be at Eastbourne.

Contributed by Jean Pegg.
December, 1992.

‘Controversy Corner!’

On the 14th April, 1983, I was at the
Dominion Theatre, London Manfred
Mann’s Earth Band were three or four
numbers into the set when Chris
Thompson announced ’We're
recording tonight’. An almighty roar
went up. The fans were obviously
excited about a future live album. I,
along with others, eagerly awaited the albums release. Unfortunately we
were presented with ’Budapest'. It
hardly did the concert that I saw any
justice.

We ended up with an eight track album which sounded more like a ’best of’ than a live album. The versions of ‘Davy’s On The Road Again’ and ’Mighty Quinn’ were tame,
especially compared with the two
tracks on ’Watch’. All we had from the marvellous ’Africa Suit' was
Redemption Song’, which I thought
was the best track on the ‘Budapest’
album.

Also missed was a brilliant version of ’Eyes Of Nostradamus’ as well as ’Martha’s Madman’. How could  anyone leave "Martha’s Madman' off any live set is beyond me. The only track that sounded anything like the Earth Band live, was not included on the album. It turned up on the cassette as one of three extra tracks, and on the ’B’ side of the 12” single ’Davy’s On The Road Again’ (live). ’Don’t Kill It Carol’ with its great synth solo, was the only thing that sounded remotely like a live sound.

It was a good opportunity to capture
the live sound, but sadly it was missed.

In recent years there have been three
live bootleg C.D.’s released.

• Quinn The Escimo’ (sic) OH BOY 1-9044
• Manfred Mann’s Earth Band In
• Concert 1974’ Super Golden Radio Shows No 015,
• and ’Road To Babylon’ GLR 9244.

Road To Babylon’, is from a 1976
concert recorded around the time  'The Roaring Silence’ was released.

Quinn The Escimo' (their spelling).

has five tracks which starts off with

Mercury’, an instrumental from ’Solar
Fire’. ’Buddah’ is nine minutes long

and is one of my favourite tracks by the Earth Band. With solos from Manfred and Mick, then a drum solo from Chris Slade rounds off the second track. The third track is ’Messin’ it is a really good recording of this song, highlighting the bands musical skills. Next comes 17:08 minutes of excellence. ’Father Of Day, Father Of Night’, sounding fresh and bright even after all this time.

PE#2 - Page 9

Unfortunately you do not get all of this song, as it runs into ‘Spirits In The Night’, halfway through. A great rendition of ’Spirits In The Night’, knocks spots off the ’Budapest’ effort.
Finally ’Mighty Quinn’ closes the album. Wow!! Manfred excels himself here, the synth solo is  fantastic.
You can hear, in part, the version that
appeared on the ‘Watch’ LP. The C.D. lasts for 46 minutes and is of good  sound quality.

Comparing the three bootleg albums to ‘Budapest’, the bootlegs win hands
down.

It would have been nice to of heard the original tapes from the Somewhere In Europe’ tour. As there were lots of good and great songs played. Still, that is not to be. We have these three C.D.’s which I recommend getting as they are a good representation of Manfred Mann’s Earth Band Live.
Although we may never see any official live albums from Manfred in the future, as he says ”They just don’t work!” I agree, you cannot reproduce the atmosphere from a live  concert, but it is nice to hear the  band playing songs without too  much over dubbing.
On the box set interview Manfred
mentions that the new album has been recorded live. With the band playing all at the same time. Now these first takes would be nice to hear. Perhaps as B sides of any singles coming up. Still we can hope.
Martin Wilson.

Editors Reply:
Marks out of 10 for Controversy

Martin. I should emphasise that it is
not Platform End’s intention to promote Bootleg Albums where someone other than the artists are profiting, without the artists permission. However, in the short time Carol and l have been in our present dubious position, the most
common enquiries other than ’Are
there any live gigs?’, and ”When is the
new album out?’, seem to be with
regard to the overwhelming demand for a live album or video. As Martin
mentions Manfred is not very keen on live albums as he doesn’t think that the atmosphere of a live gig can be captured on tape. As already
mentioned in these pages at least two of the three C.D.’s reviewed may be in your collection already, one being the BBC Radio 1 in concert programme and the other and American Radio show called Retrorock. Nevertheless, I suspect that Martin has captured the
feeling of many Earth Band fans as far as a desire for an official live album is concerned as he says we can all live in hope.

Andy

CHRIS THOMPSON - WHO IS HE?
Part Two
Thompson’s already varied career took another twist the following year when Harold Faltermeyer contacted him at very short notice requesting he write lyrics for a song about tennis. This he did, and the resulting ’The Challenge (Face It)’ single was released in time for Wimbledon, reaching the top of the German charts on the back of the success of Steffi Graf and Boris Becker.

PE#2 - Page 10

Starship included Chris's ‘Blaze of
Love’ on their poor selling ’Love
Amongst The Cannibals' album in
1989, and ‘The First Step’, was
included on John Farnham’s 1990
album, ’Chain Reaction’. Chris would
record this track himself the next year.
The closing ceremony of the 1990
Commonwealth Games saw Chris
fronting a band formed for the occasion which included Bill Kristian on bass.
The song, ‘This Is The Moment’ was
issued in New Zealand and owing to
technical problems, anyone with a
video copy of the band playing live in
front of all the competing athletes
should contact me post haste! Always have your VCR wired up ready!

Last year the keen eyed amongst you
may have spotted Chris donning a red nose on ’The Stonk’, but more
importantly saw the release of the ‘Beat of Love’ album. Entirely co-written by Chris, Harold Faltermeyer was heavily involved in writing, playing, as well as producing.

The title track was issued as the first single, and the album also included ’The Fire’ and ’The First Step’ first sung by John Farnham. Chris toured Germany to promote the album,
playing some 9 dates during  September at small venues. The date in Munich was voted gig of the month. The band consisted of Don Airey on keyboards, John Lingwood of Earth Band fame on drums, Brett Sawyer on guitar and Kevin Reynolds on sax. They enjoyed the opportunity to play a varied set which included ’For You’, ’Blinded By The Light’, Blue Nile’s ’Stay’ and some new material. The album itself was generally more synthetic than earlier releases,

but included some quality songs such as ’The First Step’, ’Beat of Love’ and ’When The Wind Blows’.
This year Chris has helped Brian May
on his solo album, singing vocals on
one track and was also involved in the Freddie Mercury concert. Furthermore, having produced demos at some point for all of Jeff Wayne’s Sparticus double CD, Chris's vocals were eventually included on the final release.

The length of this article  demonstrates both the quantity and variety of Chris’s work outside Earth Band. He has been involved in numerous projects and is well known and respected within the music business. Some projects, such as his singing on 4 or 5 tracks for Steve Hackett have failed to see the light of day, but the commercialism of his voice is evident to the advertising industry, having often been utilised in television adverts as varied as Corn Flakes and Rank Xerox (singing ’Take It To The Limit’). Currently he is recording with John Lingwood and hopes to play some live dates in the New Year. Keep your ears to the ground, and hopefully with time, more people should know who Chris Thompson is, after all the track record is proven; just that little bit of luck is now required.

Next Issue

Chris Thompson Discography

STEVE KINCH

I started playing guitar at the age of 12 when my Mum and Dad bought me a guitar for Christmas. The only problem I had was that l kept breaking the top string. After many return trips to the local music store complaining about the poor quality of their strings a friend informed me that it was E and not G that the string should be tuned to.
When I was about 14 I started playing in local bands doing a few odd gigs for the ’Girl Guides’ (my first experience of groupies), playing pass the parcel.

I left school at I6 to become a
glassblower, four or five years later I was lulled from this relative security  by high hopes and unscrupulous managers (moonlighting as double glazing salesmen), making the usual promises You’ll be the best thing since etc.’. It was during this period that I changed to playing the bass guitar.

PE#2 - Page 11

In 1991 my phone was mysteriously
repaired, although BT claim to have no knowledge of this, but sure  enough Manfred was able to get through, which resulted in a couple of tours and work on the forthcoming album.

STEVE KINCH 1993

Next Issue:

Whoever gets here first? - HELP

The Winged Messenger

Dear Andy,

Thank you for sending me the first issue of Platform End, I found it was well presented and very interesting. I have been an Earth Band fan since 1976 at 8 years old, but really only found myself in any position to buy the albums at around 1984. The budget record set from Creature Music was a good opportunity to replace my warn out vinyl.

I enclose a photo of an Earth Band cake that my Mum made for me around 1985, I did wonder at the time where my ’Glorified Magnified’ album had disappeared to.

Thanks again and all the best.

Andy Harper Berkshire.

Dear Andy,

Thanks for the MMEB package, I would also like Greg Russo's address.

I am really glad you decided to do this Andy, new Manfred Mann info. and music gets little or no interest on Radio in Philadelphia.

Vincent Di Francesco

Ambler

Philadelphia

Dear Andy,

Thank you for sending me the first issue of Platform End. If any musician was long overdue for a Fan Club its Manfred Mann. For almost 30 years I have collected and enjoyed every  album, single, E.P. bootleg and CD. I can get my hands on. In the last year I have struck up a friendship with Greg Russo, who has given me access to many rarities.

Future articles: l suggest interviews
with past Manfred band members,
reviews of old Manfred and Earth Band albums, rarities and alternative out takes etc.

Don Pedini

Lynbrook U.S.

Dear Andy,

I would love to join the Fan Club. I
didn’t know ’Plains Music' existed, the CD. has to be ordered as the main shops don’t stock it; Its available here on Larrkin Records and they’ll have it soon. Your club sounds great and when work eases up, I will get pen to paper and describe early MMEB Australian concerts.

All the best,

Mick Maloney.

Craigieburn,

Victoria

Australia

Dear Andy,

Thanks for sending the first issue of the MMEB Fan Club. I have made a list of items wanted and For Sale.

WANTED:

Davy’s On The Road Again’ 1990 7”
pic. cover - Cohesion ’Geronimo’s
Cadillac’ 1987 12” pic. cover – Ten
Records

PE#3 - Page 3

Noel: Well I supposed it started in about 1974 professionally, I moved to London from the Midlands became involved with a band called ‘Moon’ we did two albums for Epic Records, and then when the band split which I think was about  1977/78. I then  stayed on with Epic and did a solo album with the likes of Trevor Rabin, who did the production and played most of the instruments as well, and then after doing that album I got a little bit fed up and disorientated of being kind of a pawn for them to throw around you know, so I decided to ask for a release which I did and then immediately after that I was working with a band called Smith and The Tears, who did quite well on the record front, toured America and Europe and various other places and I kind of did the Smith and The Tears thing which was O.K. but I was not an official member, more just a kind of a hired hand who featured quite a lot on the vocals on the album, and then wasn’t quite ready to get into any band thing of my own, I just kinda kept on doing projects, I just worked as a freelance musician really, did Small Creeps Day with Mike Rutherford, Messa Forta, jingles etc., from Boneo to God Know What. In between before Manfred I started working with my own band. I was doing my own band nearly two years before Manfred intervened. My band is still going strong, as much as
possible with the work with Manfred.
Andy: Just going to ask you about
your own band, I have actually got a
tape of your own band, is that tape still available if fans were interested?

Noel: l have an even more updated
version now, we ended up doing an
album ourselves because people asked for it. We did a cassette and then because we were quite pleased with the outcome of that we updated it, actually we did the initial backing
tracks at the Workhouse, and then we took it back to our 16 track studio and remastered it up to CD. format, and its only just recently a German
company EWM have taken it on and
are distributing it around Germany
about the middle of September.
They’ve taken on Germany, Austria,
Scandinavia, the ones we have will be collectors items. The final product will be changed slightly. There will be
updated tracks, but that will be it
when that’s done, it’s a case of looking forward to the next album.

Andy: I have the collectors item, if you can get any more copies of the collectors item 'm sure fans would be interested, tell us about the music of your own band.

Noel: People find it hard to describe really, can’t put their hand on it, being
blues soul jazz because we’ve just
done it for music sake we haven't
done it for anybody else except for
ourselves like it definitely a music
album, good lyrics nice rhythms its
probably R&B, soul idiom but we do
get people who come along because
the guitarist quite bluesy, the sax
player quite jazzy, the drummer quite
rocky and steady, the bass player is
quite Bill Wyman like, standing their
all calm and collected (kind of a)
mixture of ages band, just wanting to
do something instead of sitting on our arse complaining about what was going on around us. So we decided to get in and find out how difficult it all was.

Andy: Do you do a lot of live work
with them?

Noel: As much as we can, we cut it
back because we found that doing gigs where PA’s were not much good, was costing us too much money having done it for 4 years that we'd kind of settle down now we know what to expect from the gigs we probably do 5-6 per month, on a regular quarterly basis, one every two weeks, just to keep the band working. The most important thing for us now is for us to get the album out. The band sounds better than the album, which is often the case with a lot of bands, because we’ve gigged more, shame we didn’t have a run of gigs before doing the album. It's ready to get out overseas to pick up the band a bit.

Andy: If you have any advanced
notice of gigs, let us know and we’ll
put it in the mag. there seems to be a
big following once you've been in
Earth Band,

Noel: Yeah, I’ve never really kinda
been into that riding on the back of
someone and then just kinda leave it.
I would much rather be doing both if
possible I hope I can become the first black Phil Collins, I don’t know, but keep away from the acting.

Andy: Too much hair! Your first
involvement with Manfred will be

PE#3 - Page 4

Last but by no means least (there could be more), whilst flicking Channels I came across Joan Armatrading - Live in Montreaux with the supercool Mr. Rogers on guitar and vocals.

Andy

‘Controversy Corner!‘
MANFRED UNDERCOVER
Before you read this article I have a
confession to make, I’m not a lifelong Manfred fan, nor have I ever actually bought a Manfred record, so why have I got the nerve to write for PLATFORM END? Well, what I have got is an appreciation of Manfred’s music gained over the long period of time that my husband Steve, and I have been friends of Andy and Carol.

We spend most Friday evenings
together and this generally consists of a few drinks, a bit of ‘talking-time’ and usually, at some time during the
course of the evening, a helping of
Manfred. Either Andy will dig out an
old disc to play or often he will have a gleam in his eye and will produce a
little ’Manfred package’ that has
arrived in the post that week.

In this article I’m going to look at a
few of the many songs that Manfred
has covered over the years. The first
one, I must admit is my favourite
Manfred track. I first noticed it when
Steve and I were ‘baby-sitting’ Andy’s
Manfred CD collection whilst he and Carol were on holiday. l decided to start by playing one of the compilation CD’s. One track really struck me, so much so that when Steve returned home from work I said ’You must hear this track, it’s really stunning.’

The track was 'FOR YOU'. I was really embarrassed when Steve replied "You should know that track, it was written by THE BOSS." I consider myself to be quite a fan of Bruce Springsteen but I got into his music in the late 70's and l have seldom listened to his first LP. I
think Springsteen, like Dylan, is a
brilliant writer and is an especially
original lyricist. Many of his songs,
like Dylan’s beg to be covered and, of
course, Manfred has very successfully covered some of both of their songs.
This version of 'FOR YOU' I prefer to
the Springsteen original. Apart from
the fact that Springsteen’s first record suffers from a very muddy production, I actually prefer Manfred’s reinterpretation of this song.
Springsteen sings the rather quirky
lyrics quite gently, whereas Chris
Thompson's vocal on this is clear and dramatic (he is a fine vocalist). I like the way the song dramatically builds up and I enjoy the creative keyboard break. So, as I’ve said previously, I really enjoy this version.
The song 'DO ANYTHING YOU
WANNA DO' I feel would have been a
problem for any band to cover, in that
I don’t see how the original could be
bettered. Eddie and the Hot Rods
ushered in the punk era and,  although not a punk group, this song expresses a lot of the sentiments of what that era was about, (it’s an ’angry young man’ song). After seeing the Rods perform this live with such verve and energy, it’s hard to appreciate another band’s attempt at this song. Manfred’s version
although good musically is a bit  'twee’ for my taste and lacks the passion of the original. When Barry Masters spits out ’....tired of doing day jobs, with no thanks for what I do, I’m sure I must be someone and I’m gonna find out who’, you believe he feels this sentiment. You don’t feel quite so convinced after hearing Manfred’s version.

GOING UNDERGROUND again, I
believe is a difficult song to cover.
Again I was apprehensive about
hearing Manfred’s version after being a fan of The Jam, and seeing them
perform it live with great passion and
energy.

PE#3 - Page 5

you wince when you hear such weak,
insipid covers, such as UB40’s,
topping the charts. I know Manfred is
now one of the ‘elder statesmen’ of
Rock (one of the pioneers, if you like),
so possibly chart success is no longer important to him. Perhaps he’d rather pursue his own musical interests as expressed in something like PLAINS MUSIC, and for a Manfred fan, certainly in this country, it must be great seeing them in small intimate settings. However, if I was a long term Manfred fan I couldn’t help feeling a sense of frustration that he wasn’t receiving the public recognition that he deserves. The late ‘80s and early ‘90s, by and large, has been a period of non-musical creativity with sterile, boring covers and often topping the charts. Although in this article I have
criticised Manfred’s choice of some
covers, it doesn’t detract from the fact that when it comes to covering other peoples songs, Manfred and the Earth Band are experts. You need look no further than the obvious ‘DAVY"S ON THE ROAD AGAIN, MIGHTY QUINN, SPIRITS IN THE NIGHT and BLINDED BY THE LIGHT’. So if Manfred wanted to appeal to a larger audience, especially in this country, he surely could. Unfortunately in the 90s it’s hit singles that sell albums and it’s hit albums that fill rock stadiums.
You feel that with the right cover such commercial success could be
Manfred's again but you’re left with
the nagging doubt - Is this what
Manfred really wants?

Barbara Hughes

MANFRED MANN

THE BEST OF THE E.M.I. YEARS
Fans of the Paul Jones fronted line up of Manfred Mann will be delighted
with this masterpiece. Basically the 29 tracks give us 74 minutes of sheer heaven ranging from R&B, Jazz
influences and pure commerciality of
the group’s massive hits.

Although they did appear on the E.M.I. (America) ”Definitive” album songs such as ’She’ (How come this wasn’t released here as a single?) ”My Little Red Book ” along with ’Sticks and Stones’ (previously unreleased anywhere), ”Come Home Baby” (unreleased in UK.) are now available for the first time.

There’s also the unedited version of
"Do Wah Diddy” complete with
Manfred’s short organ solo as well as the ”Ready Steady Go” version of 5-4-3-2-1. Add these tracks to such gems as ”Kingpin”, ”I Put A Spell On You”, Watermelon Man”, ”Tired Of Trying” etc, and ”I Think It’s Gonna Work Out Fine” among others then you have some of the reasons why this group had such a following. Brian Hogg’s Liner Notes’ (sleeve notes in English) give an approximate track by track review of the album taking us through to Paul Jones’ departure but his researchers do not gain any kudos for stating that ”I Think It’s Gonna Work Out Fine” was released as a single - as we know it came to light on the Five
Faces Of Manfred Mann album, and
Come Home Baby” was probably
recorded in 1966 not 1964 simply
because we’re led to believe from a
member of the group that Jack Bruce is featured playing Bow Bass on the track and the sound is very much akin to the period when Lyn Dobson and Henry Lowther were in the line up. There’s also the small matter of Manfred’s ’real name’ which is of course ’Manfred Lubowitz’ not Michael Lubowitz' - I’m sure that he has been confused with a guy called Mike Leibowitz (sorry can’t remember what he is/was well known for). Enough of these ”errors”. This package is so good and that includes the photographs - a classic Manfred pose on the front (defying the camera) while inside we have a superb shot taken outside a boutique (typical of the period) with everyone looking resplendent in what appears to be new apparel. The suits and jackets should be preserved for ever most of the individual photos have been culled from the back of the ”Mann Made” album (with the exception of the shot of Manfred) and there are also reproductions of ER and album covers, covers which housed musical gold and history.
Thank you Manfred, Tom, Mike, Paul
and Mike for the musical chemistry
which you created and allowed us to
share.
Sound quality excellent

Price £9.93

John Arkle

PE#3 - Page 8

CHRIS THOMPSON
UK RELEASES UNLESS STATED
DISCOGRAPHY
As C.T. unless stated

SINGLES - 7" unless Stated

Unknown     Central Park   Reunion   Tracks Unknown                                                                   1974
CBS              12-6477                            Thunderchild/Read London/Thunderchild 12”                1978
Planet           PL12366                          Night Hot Summer Nights/Party Shuffle (Dutch)            1979
Planet           K12382                            Night Party Shuffle/Got A Lot On My Head
Planet           K12389                            If You Remember Me/Theme from ’The Champ’            1979
Planet           PL12405                          C.T. & If You Remember Me/You Ain’t                              1979
                                                                Night Pretty Enough (Dutch) 
Planet           K12420                            Cold Wind Across My Heart/ You Ain’t Pretty Enough
Planet           K12492                            Night Love on the Airwaves/Day after Day                      1980
Planet           K12507                            Night It’s Good To Be Back In Your Arms/Look At You 1980
Ultra                                                        Do What You Wanna Do/                                                    1983
Phone           6.13805                           Movin' On (German) 
Casablanca 814 603-7                        All The Right Moves (edit) with Jennifer Warnes
                                                                from O.S.T. All The Right Moves.
Simple           SIM3                               Bye Bye Love/Blue Water                                                    1984
Simple           12 SIM3                         Bye Bye Love/Blue Water, Lies 12”                                    1984
Towerbell      FND 1                             Hazel O’Connor, C.T. Push and Shove/Safe                    1985
Towerbell      FND 12                           Push and Shove (extended mix)/
                                                                Moments On A Lever 12"                                                    1985
Atlantic                                                  Love and Loneliness                                                            1986
Atlantic          A9384 T                         Love and Loneliness/Empty House Missing 12”            1986
Parlophone   R6152                             It’s Not Over/Make It A Holiday                                         1987
Parlophone  12 R6152                         It’s Not Over extended mix/It’s Not
                                                                Over extended dub mix, Make It A Holiday 12”               1987
Teldec            6.15189                          One step At A Time/Bridge Across The River (German) 1988
                                                                 To Hell With Love (German)                                                1988
Ariola              612485                           The Challenge (Face It) Centre Court Mix/Single Mix,
                                                                 Strawberries & Cream Mix (German) 12"                          1989
3” CD Single                                           The Challenge (Face It)/Instrumental                                1989
5" CD Single                                           The Challenge (Face It) Centre Court Mix/Strawberries

                                                                & Cream Mix, Instrumental (German)                                 1989
EMI                203489 7                        SOS United featuring C.T. Lullaby for Grown Ups
                                                                (Good Night)/Blessed Are (German)                                  1989
EMI                203489 6                         Lullaby for Grown Ups (Good Night)/
                                                                 Blessed Are & 2 non-CT tracks 12" (German)                  1989
EMI                203489 3                         Lullaby for Grown Ups (Good Night)/
3” CD                                                      Blessed Are & 2 non-CT tracks (German)                          1989

Formats Unknown This is the Moment(New Zealand) 1990

BMG              Ariola 664129 5” CD     Beat of Love (Extended Version),
                                                               When The Wind Blows,
                                                                Beat of Love (Single Version)(German)                              1991
Unknown                                               Take Me to Heaven(German)                                                1991
Unknown                                               Tower Of Love(German)                                                         1991

To be continued

PE#3 - Page 9

but we have never recorded it!!!” - to
which the crowd sighed. The band
then gave a brilliant rendition of the
old Bob Dylan classic ‘The Times They Are A Changing', which lifted all those inside the tent to a level that was sustained throughout the evening.
Manfred then spoke again saying now we will play and old one that we did record and within the first notes once again recognised, the strains of
Martha’s Madman, cheered
vigorously and sang along.

As the band carried on throughout the rest of the set, people stamped and sang along with their old familiar songs culminating with Blinded By The Light, after which the band left the stage the crowd clapped and shouted for more, this got louder and louder until eventually the band reappeared for their first encore which was to, the delight of all, The Mighty Quinn, once again the band went to leave the stage but were soon forced to reappear by the demands of the still highly enthusiastic audience.

This time within a single note the
crowd new what was to follow and
sang every word of Davy’s On The
Road Again, along with the band.
Finally, and almost exhausted the last song was the old blues classic
Automobile, which was enjoyed
almost as much by the band as by the audience themselves.

I’m sure no dedicated fan left the big
top unsatisfied and anybody seeing
The Earth Band for the first time would have walked away with perhaps the intention of one day coming back to see the band again.

SET:

Joybringer (Intro..)
Shelter From The Storm
Miss You
The Times They Are A Changing
Martha’s Madman
Demolition Man
Father Of Day
Redemption Song
Blinded By The Light
Mighty Quinn
Davy’s On The Road Again
Automobile
Kelly and Christian Norris

INTERVIEW WITH MICK
ROGERS
By Andy Taylor
Andy: How did you get into music in
the first place?
Mick: I had rather a musical family
although not professional, Dads a
drummer, I have an uncle plays string
bass player and guitarist so from an
early age I was surrounded by music
and after listening to 50’s rock and
roll.
Andy: When did you go professional?
Mick: On leaving school my first job
was apprentice engineer which I had
for about three months, then the local holiday club needed a band and I got to do a summer season at Warners Holiday Camp.

Andy: Once you got started you
went to Australia, how did that come
about?

Mick: Basically going on a package
tour and on the tour was an Australian band and I had my band backing various artists, in that show we performed for about 20 minutes on our own, they had heard us play and their guitarist was leaving and they asked me if I could join. It was called Nory Rowe and the Playboys

PE#3 - Page 10

Mick: Oh yeah, I hate it, nothing to
do with Mike, hated the band once it
left Australia, no longer what it was.
Andy: You had Craig Collinge
beginning of Chapter 3. There were
other bands in Australia Eclipse?

Mick: When I left Manfred - later on
I went back to Australia, did a 3 piece
Bulldog Peter Miles, Bob Daly and had a lot of fun doing blues and typical 3 piece. I was at a record reception, we got a record away - A Man of Constant Sorrow? and so I had a phone call, at the reception, some guy who managed Procession - and The Playboys - later became Manfreds manager - David Joseph - and he rang me and said Manfred is forming a new band would you like to come across to England and see how it works - of course I said yeah - I wanted to get back anyway and that’s how it all came about, your ticket will be at Airline office and that’s it.

Andy: You helped form the first
Earth Band - Lots of fans have a special regard for - what do you think was so special about first Earth Band?

Mick: I think it was the pure energy
of Chris Slade and Colin Pattenden to get great rhythm section, lots of energy, really tight, like the early Free rhythm section but looser, it enabled Manfred and myself to have a lot of freedom on top of that and it used to fly. One of our first major tours was in Australia we opened for a local band, there was us, then Free, then Deep Purple and we went down so well they tried to shove us up the order and we on the strength of that tour did our own shows and

Andy: It was an incredible band
wasn’t it!

Mick: It was amazing, Manfred and
myself still taking nothing away from
this band or the band Chris was in but we have an affection for that band. At that time we didn’t have any hit records out we simply built it up out of the live performances and when we toured America supporting people like Uriah Heap we used to go down a storm, we even got our own gig at the Philadelphia Spectrum simply because we had a huge following but no albums were selling, peculiar. So really all paving the way for a ’Blinded By The Light’ track, we weren’t selling records because we simply didn’t do the right records or then it all started to happen when Manfred found it, in fact I learnt ’Blinded By The Light’ then went on my way and did other things.
Andy: You did have ’Joybringer’ of
course.

Mick: Oh Yeah, forgot about that,
Joybringer’, ’Solar Fire’, doing quite
steady.

Andy: It was essentially a live band.
Mick: I suppose ’Roaring Silence’
although I wasn’t in that band,
Roaring Silence’ and ‘Watch’ were
probably the closest that Manfred
recorded a live album. Bridged the
gap more than any other album I
think, and Solar Fire still sells.

Andy: A lot of people rate that very
highly as an album but it still doesn’t
capture how good the band were.
Mick: Funny thing - I went to the
local swimming pool with my wife the other day and this guy serving in the cafeteria said ’Are you Mick Rogers, Solar Fire?’, you don’t expect that down at your local swimming pool, he had the album which was nice.

Andy: Very popular album and you
still do ’Father Of Day’ from that
album. Coming back to what l
mentioned earlier, 1975 having
worked very hard as a band, to build
up a world wide following - you quit
the band just before?..…