PE#4 - Page 2

Hi, and welcome to Platform End No. 4.  Please accept the usual grovelling apologies if this magazine arrives a touch late but spare time has been at a premium for both Carol and I just recently whilst the printing process has been rather slow and that is without even a mention of the famous exploding computer monitor.  Anyway enough of all these pathetic excuses here we are again with another bits & pieces to keep you all going. Many thanks for the many kind letters expressing appreciation for our occasional efforts but what happened to all the Word Search entries? Anyway we hope you like Issue 4 because we need more money now, incidently this is a good point to mention that Platform End and the Fan Club has been heavily subsidised and received tremendous support from Manfred, Earth Band and many others past and  present. 

HOT NEWS

Congratulations to Kelly Norris from the Workhouse Studio who some of you may know has been an enthusiastic friend and supporter of the Fan Club and Platform End (I even managed to con her and her husband to contribute to the last issue) Kelly gave birth to a Baby Girl - Ruby – on 29th December, 1993.

Spencer Lee is a well respected DJ.  and walking Rock encyclopaedia who presents a show on Radio Merseyside.

I was invited by Spencer to join in on a programme featuring Fanzines to discuss and promote Platform End and the Manfred Mann Fan Club. A wide variety of fanzines ranging in quality and style from handwritten photocopies through to full colour glossies were represented on the show with artists featured including Cliff Richard, K.D. Lang, Elvis, Petula Clarke and Roger Whitaker.  Our spot came late in the show and our fanzine got a favourable review, the event being only slightly spoilt by Spencer Lee who seemed blissfully unaware of anything important in Manfred’s career past 1969!  Disappointing in view of the fact he did quite a good interview with Manfred a few years ago. So what about the album? Well, I know I can get away with a lot with our long suffering members, should we ever get a journal out on time the shock could seriously damage health (don’t worry we’ve lost track of time so it won’t happen). Not to give the latest news on THE ALBUM would however lead to that inevitable batch of letters again so I tracked Manfred down at the Workhouse during a break to find out how things are going. It’s going fine”, Manfred told me and when I pressed somewhat optimistically for a release date said it was still scheduled for Autumn release, but chuckling at comments from the crew agreed he had not said which year. Autumn 1994 does look promising however,

THE 1993 EUROPEAN TOUR MINDEN 

Wild horses would have had no chance in stopping me making the trek from a mild sunny morning on Merseyside to a very bleak wet Germany to see MMEB in mainland Europe for the first time.

Those who know me well know that I need a detailed map written instructions and a ball of string to find my way to the end of the street and back. To find my way to a small backwater of Germany was thus going to be something of a challenge. Was I safe to be let out on my own??? Trouble is I’m easily distracted, l have for example a burning interest in Railways (we have Angel Station in the garden!), and Germany looks after its railways much better than we do.

I thought I’d never see him again. (Carol)

Anyway, Clare Stuart of Alex Leslie Enterprises recognised even by phone what a helpless soul she was attempting to get to Germany and back so I was provided with a detailed itinerary of my route, train times and so on. The only minor problem was the 40 Kilometres between the end of the railway track and the hotel where my instructions said I would meet up with the tour party. After a somewhat unnerving taxi ride in torrential rain (the driver speaking every language except English), I arrived at the Hotel, set in beautiful countryside. There I found the band had gone directly to the venue which was the one thing not on my itinerary. Still word had obviously gone ahead and the German promoter Stephan rang me at the Hotel to advise me that a runner was on the way. The Hotel loaded me up with keys and bits of paper for the boys and off we went. Once at the venue a big barn of a place, we had to fight through layers of security until finally I was shown into the band’s dressing rooms to a warm welcome. From here on I can reveal only that where I wasn’t paid enough to stay quiet, sorry Steve the sex, drugs and rock and roll image is no more just a quiet game of chess and of course I won’t mention the fact that Noel left his passport in Switzerland and came close to ruining the entire evening by being clapped in irons by the German

Immigration people. Pat King who you might remember once played bass and took nice photographs of Manfred on a horse and other things, was the representative from ALE the British Promoters whose duties included keeping everybody in order and making absolutely sure  everybody was where they should be and had a passport!

Still he was a bloody good bass player. Despite a fine Spread of food left by the German promoters Mick decided he was hungry. Steve was climbing the walls because he couldn’t find a bass to strum, Clive was as usual taking the p..., and Manfred wandered in from time to time to study the chess game which we had all decided had gone one step beyond stale mate which is of course impossible. Food was ordered mostly to keep Mick happy, still an hour or so before they would go on stage. Steve has found a bass so he’s happy, Clive still taking the p... and never seems to be anything other than happy. It is chucking down with rain outside and the food still hasn't arrived, Noel has now lost his access all areas badge, others rather tactlessly suggest it might be with his passport!  An hour has passed the band are now in stage gear. The familiar baseball cap is starting to look a little travel stained. The chess game has refused to progress and the food has not arrived for which Pat gets the blame, although its not his fault and he doesn’t give a s... anyway. Lance, the road crew guv who is one of the nicest guy’s you can ever bump into, unless you’re a total prat, has apparently met one.

Stephan is on stage announcing the band.

Now it is a while since I have seen them live, so the act has changed quite a lot. The opener is now a sort of instrumental Joybringer, featuring Mick and Manfred and it really works, once again leading into Shelter From The Storm. Noel takes command here, one hell of a singer he also has a good stage presence, and Shelter is a powerful introduction. Then comes Times They Are A Changing, Manfred says it hasn’t worked in the studio but it sure works well live although they have done something odd to the bit in the middle a sort of more orchestral feel than a keyboard or guitar solo. Dirty City is a new song which I’d never heard before and it works well with some nice keyboard in the middle and again strong vocals from Noel. Martha needs no introduction and the capacity crowd packed in like sardines cheered with delight. The keyboard solo here was what I can only describe as dangerous - on the edge - and brilliant. Manfred seems to be experimenting taking risks again which makes for exciting solos. I love Mick’s bit at the end of Martha

PE#4 Page 4

Most of us piled into the lounge at the back to watch a video of some of the gig giving Mick, Clive and Noel the ideal opportunity to make serious constructive criticism of each others performances, (take the piss!).At the other end of the coach Manfred and Steve continued to struggle over the chess game whilst Pat pretended to understand every possible move.  The following morning I waved the coach off on to the last gig of the tour, breakfasted with Noel and Stephan who were travelling with Manfred later on.  Then once again I put my life into the hands of a local driver for the start of the long journey home.  I had left home around 6.30 am. Saturday and arrived back around 9.00 pm.  Sunday. Most people think I am quite simply barking mad and almost certainly I am.  Believe me folks it was hell, the sacrifices one must make to fill this journal, I just hope I don’t have to go through it all again until the next time - and lets hope the next time comes soon.  To close I wouldn’t like anybody to get the idea that we are dealing with a nice bunch of guy's (Steve Kinch smuggles booze into chess games), but I must add I was made to feel part of the thing and never in the way, even if occasionally I was. So what can I say other than to thank everybody involved oh, and by the way I reckon it’s Checkmate in 3 moves! 

PUSH AND PULL 

At last Noel’s new album turned up in the post. ’Push and Pull’ credited to McCalla is 63 minutes and 7 seconds of pure joy.  Noel has not had the luxury of an open ended budget to make and produce this album so the high quality of sound production packaging and of course content is even more commendable.

PE#4 - Page 8

Noel: You can see conclusions, end of horizon. Now with Richard around its kinda taking pressure off Manfred a bit. He can go away and think about other things.’ Richard is there learning and understanding what Manfred likes, dislikes, how to get the job done well. Given me a bit of optimism, after singing the songs over and over again and thinking, how differently can I sing this? The thing is I would sound different, there’s always something to be gained from singing the songs over and over ‘cos the voice sounds better on another day or is better for the song but you’ve got to know when to stop to be able to have someone to say good enough, Richard says good, could be better. It’s not so easy for Manfred to do that being to close to it. Now Richard is there he can say that’s tidy, that’s good, that's fine, everything can be better. (At this, an unnamed bass guitar player starts to take the piss and is quickly disciplined returning to the fat volume, witty one liners for bass players he had been reading).

Steve: (Who is not going to give up)  He doesn’t agonise as much.

Andy: So is it taking shape, have you a feel for what its going to be like.

Noel: No not really don't hear the tracks all the time, once we’ve worked on one kinda move onto another, so we loose the run of tracks, some are finished.

Steve: But I bet they’ll be changed.

Noel: Once he’s got the album in front of him and he knows how many tracks to go on it, he can say right 10 tracks on this, now he can start to juggle them around.

Steve: I think the day before it's out it’ll change.

Noel: Once songs are put side by side we can look at the continuity, because at the moment we are looking at tracks very separately. Once tracks are in some sort of running order, and then we listen to them again and think shit that needs to sound different.

(Helpful bass player): There’s about 30 mixes of each track! Noel Yeah, there’s loads and loads of mixes.

Noel: It’s getting closer. We are trying not to do too many gigs so we can get it finished. It's now got to the point where the band does need another album. The compilation is doing well, it’s helped us do this section of gigs, but we can’t keep on doing it. The times right now for the new stuff.

Andy: We are constantly being asked when is album coming out?

Noel: I would like to think by about Spring next year

Andy: And then a big tour?

Noel: Well it depends on the strength of the album again, as big as we can make. Definitely an introductory tour so people know we are out and about.  

Hopefully up and down London and those places, people don’t really get to see the band, especially America but you can only do those sort of gigs if the album does well.

My thanks to Noel for giving up his time to talk to me and to our invited special guest demon chess ace Steve Kinch.

NOTES FROM AMERICA  by GREG RUSSO 

Hello again, and there have been many interesting developments since last issue. The U.S. 2-for-1 CD, consisting of the first two U.S. EMI Manfreds albums (’The Manfred Mann Album’ and ’The Five Faces of Manfred Mann’), has been delayed until Spring 1994. In addition to the tracks listed last issue, the album will now include a 28th track, ’Sticks And Stones’. I have completed and submitted the liner notes, which include interesting interview segments with Manfred. Also, the U.S. CD The Best Of Manfred Mann - The Definitive Collection has now sold over 16,000 copies and it’s still going strong. Some time this year, look for the first U.K. CD release (on the Cohesion label) of the two Manfred Mann Chapter Three albums released in 1969 and 1970, respectively. In 1986 these two albums were released on CD only in Germany and, along with the German-only MMEB CD’s ’Glorified Magnified’ and ’The Good Earth’, were deleted very quickly. Both Chapter Three albums have been digitally transferred from master tapes, so sound quality is quite good. Let’s hope Cohesion’s next releases a series of albums incorporating Manfred’s numerous non-album tracks and even some unreleased material. Now for something really wonderful - how about some information on unreleased Manfred Mann recordings on Fontana? Well, it is indeed a pleasure for me to be able to present a full account of what has been hiding in PolyGram’s vaults all these years. With the exception of ’Semi- Detached Surburban Mr. James’, and Trouble And Tea’, stereo mixes of all of the Fontana material can be produced which equate to the monos. With ’Semi- Detached..’ and ’Trouble And Tea’, backing vocals and a flute (respectively) were directly recorded onto the mono mixdown master tape, thereby making the stereo versions different. this alphabetical list of unreleased 1966-1968 tracks is most likely not complete, since unreleased tracks were recorded at almost every session. However, this should wet your appetite until the rest is discovered! Here goes: 

PE#4 - Page 9

'I Want To Be Wanted’ - here’s something we haven’t heard: a Klaus Voorman vocal track with the group. This Motown- inspired number is another high quality song that should have been released also.

'Keep On Running’ - a jazz instrumental version of the Spencer Davis Group hit, performed with the same enthusiasm as the songs on the ’Instrumental Assassination’ EP.

'Last Train To Clarksville' - the Monkees hit redressed as a jazz instrumental, and it works! 

'Lovebird’ - a moody, D’Abo number that’s very effective. The guy’s were certainly trying to get away from the ”pop" label that they were saddled with. 

'Mellow Yellow’ - the Donovan smash is now another great jazz instrumental. What’s next, ’Sunshine Superman’? (keep reading and you’ll find out) 

'Miss J.D.’ - Manfred and Mike Hugg were coming up with so many jazz instrumentals, such as this one, that there simply wasn’t any place to put them! Another enjoyable change of pace.

'Mohair Sam’ - the band covered this song popularised by Charlie Rich, and even got Klaus Voorman to fully back up D’Abo on vocals! 

'Morning After The Party’ - unlike the version we know and love, this version really sound like it was recorded during the morning after the party! It’s very humorous, but he common version is the real winner here. 

'Rainbow Eyes’ - another Mike Hugg vocal. Even though it takes a while to catch on, this one should have been released. 

'Seasons In The Sun" - the Terry Jacks hit seemed like an unlikely candidate for Manfred Mann to record, but the band tastefully pull it off. At over 4 minutes, it was too long for a single, but it should have made and LP originally.   

'She Once Was My Love’ - unfortunately, Mike D'Abo’s vocal was not well done and was soon abandoned. This is one of those unfortunate songs on which no matter what you try to do to cover up its mistakes, it really cannot be presented as it was intended. 

‘Sitting Alone In The Sunshine’ - Mike D’Abo’s light vocal breezes right through this nice pop song, and it is another fine Fontana recording.

'Sleepy Hollow’ - there were two other recorded versions of this B-side: a demo version and an alternate take. The demo version is only D’Abo and McGuiness on guitar, while the alternate take is slower than the released version. They're both interesting. 

‘Sunshine Superman’ - it wasn’t that much of a surprise, was it? Yes, Donovan’s song is reinvented as an instrumental jazz vehicle, and it really runs well. 

'Up The Junction - Version 5' - this is easily the best and most amazing version of the five recorded versions of this song. With McGuiness’ wah-wah guitar effects (a la Eric Clapton’s work in Cream), and excellent arrangement, this is the version that should have appeared as a single.

There are other songs that have pieces that are not on the released versions, such as ‘Ha! Ha! Said the Clown’ and ‘The Mighty Quinn’. By hearing the full versions, one can hear why editing was a necessity: the songs simply do not have the same effect. Another great thing to catch is Manfred singing along with every jazz piano solo, a practise (or joke!) started on EMI tracks like ‘Sack O’Woe'. 

Those who have been lucky enough to hear these songs have been literally blown away by the sheer quality of this unreleased material. lt is not known how these tracks will enter into the picture, but something from this list will surely be released on a Fontana compilation in the near future. You can count on it! 

Greg Russo

Well done Greg, it’s all news to me let us hope we can get to hear some of these soon. As a matter of interest, I have a Tom McGuiness song (I think), performed by Manfred Mann circa 1968 on the Simon Dee Show, called ’Budgie Won’t Be Singing Anymore’ (dreadful audio recording), almost as grim a recording of a jazz instrumental featuring Mike Hugg on 

PE#4 - Page 10

Mick: Even Phil Collins came along and said he liked the band. It was good started to build up and I ran out of money and then to cut a long story I met up with Manfred - although we never lost contact l have done something on most albums and Earth Band were going through another change. We did '86 tour and now this is it now. 

Andy: Was there something pulling you back all the time? 

Mick: I think because Manfred and I are very close in our interest, and because I know him so well from the early days as well when he says he needs something I can lock into it even now we help one another so that association carries on.

Andy: What is it like coming back after such a long break what change, what was different? 

Mick: What changed was that I was no longer the singer, I was working along side of Chris, which was great. Manfred has employed the two singer system so although Noel is the main singer I do my things, two totally different voices but when we sing together it comes together, I do a couple of songs and Noel does the majority, it works as a two singer thing, not forgetting Noel is out front, it comes across as two front men and not just one and I think that the '86 tour that I did with Chris that was more evident to Manfred although, before me Steve Waller used to sing.

Andy: He was the original Demolition Man of course? 

Mick: Yeah, and of course me being the singer before I slotted straight back in. I enjoy this combination it’s great. 

Andy: I happen to know that you are quite a mean song writer, we have got a little bit of that on Masque - ‘Rivers Run Dry’ how do you go about your own writing where do you get the ideas from what is your inspiration? 

Mick: It could be anything - in fact I am being produced at this moment by a guy called Di De Derk a German producer who’s probably the guy I have wanted to work with for years, he used to produce a band called ’The Scorpians’ and we are in the process now of finishing off three tracks. He has got his own studio complex near Cologne and on days off on this tour I am going to finish off these tracks. He’s meanwhile out there searching for the  deal for us and we have big interest coming from a German company and this is the main thing on my mind - Manfred Mann’s Earth Band will carry on but you can do two things.

The solo thing is very important to me. 

Andy: I have been fortunate enough to hear some of your songs a lot of people would like to hear them, so do you think we’ll get to hear them now? 

Mick: Oh yes absolutely, I have got my own 16 track at home and I’ll work on that big influences on me are Peter Gabriel, anything to do with Genesis, favourite  is Beck, in fact I am very fortunate to have Becks guitar Tech working on this tour with me, great for me. I’ve loads of records of Choirs at home and I am influenced by almost anything. 

Andy: You are a bit of a workaholic, I was trying to pick out bands you’ve worked in.... couldn’t remember them all you were with Greenslade for a while, Dave Kelly of course, even doing pub gigs when you’ve no other excuse to pick up guitar and play. 

Mick: Yeah it's great. On a Sunday it give me the freedom to be in a band where I can play a bit of Rock and Roll, a bit of Blues, a bit ofJazz, Folk that type of stuff.

Andy: Are you still doing that or have you given it a rest? 

Mick: Given it a rest for about 2-3 months, as soon as I’ve finished with Manfred recording and touring, I am hoping the thing with Dita will be far enough down the line to then be in an album situation. The pub band Willy Finlayson will still play at a little pub in Brentwood and it is great. Matt Urwin plays keyboards, and does vocals. 

Andy: On the other extreme of course last year and this year you finished a major tour with Joan Armatrading, how did you find that in comparison to say with Earth Band? 

Mick: Very different - she’s great to work with, I mean I have got such great admiration for her, she knows what she wants - totally self contained, the way she writes everything, and you couldn't help but admire her. I had heard such terrible stories about working with her, all very much unfounded because I found her a joy, we got on great, in fact she's doing a tour next year because she has just begun signing a major deal with BMG and there has been enquiries to do that next year, I don’t know whether I would, sounds terrible to say but I hope I won’t because I’ll be too busy. 

Andy: Not because you wouldn’t enjoy it, but you hope to have other things to do. I was fortunate enough to see that and it was a good band - don’t you agree?

PE#4 - Page 11

OTHER NEW RELEASES

Reviewed by – Martin Wilson

‘THE BEST OF MANFRED MANN 1964-1966’ price £6.99

Twenty tracks and nearly 56 minutes of music is good value for money. With eight tracks not released on CD. in the U.K. before, at least not as far as l know, makes it even more interesting.

Bare Hugg

Hoochie Coochie Man

Smokestack Lightning

Don't Ask Me What I Say 

Hi Lili Hi Lo

Stormy Monday Blues

The Abominable Snowman

Since I Don't Have You

Three of these tracks are from ‘Five Faces Of Manfred Mann’, and the other five from Mann Made'. All these tracks are mono as are ‘5-4-3-2-1’, ‘ShaLaLa’ and ’Hubble Bubble'. The other nine are stereo and they are:-

Do Wah Diddy Diddy

If You Gotta Go, Go Now

Oh No Not My Baby

Got My Mojo Working Pretty Flamingo You Gave Me Somebody To Love I'm Your Kingpin

It’s Gonna Work Out Fine

Come Tomorrow

As it is a good mixture of hits and Manfred’s R ’n’ B and Jazz numbers, it is very good to listen to. It works well as an album instead of the usual hits album. Well done Music For Pleasure, EMI.

One thing though, how many more collection albums of this time are we going to get? At the moment there are six available. ‘The Collection Series’, ’E.P. Collection’, ‘Single Plus', ’The Ages Of Mann’, ‘Best Of EMI Years’ and now this one. We are still waiting for the 1966-69 period to be plundered. I hope we don’t have to wait too long.

In Issue 2 of Platform End, Blinded By The Light', The Very Best Of Manfred Mann’s Earth Band was reviewed- On a recent trip to London I found a double CD. of the album. ‘The Very Best Of Manfred Mann’s Earth Band Vol. I 8: 2, Limited Edition'. It comes in a slim double CD. case, with black cover and Manfred Mann's Earth Band in silver. As this was an: import it was quite expensive at £25-99. There are no sleeve notes just track listings and the times.

Disc 1
Blinded By The Light (Ex. version)
Questions
Again
For You
California
The Mighty Quinn Father Of Day, Father of
Night
Somewhere in Africa
The Runner
Lies (Through The 80’s)
Joybringer
Demolition Man
You Angel You
Don’t Kill It Carol
Spirits In The Night
Third World Service

PE#5 - Page 2

EDITORIAL 

Producing a magazine such as Platform end has proved to be far more difficult than Carol and I ever imagined. Finding good material to go in, putting it altogether, designing the mags appearance and layout negotiating a reasonable price, proof reading, waiting on promised news or information from various sources and above all holding down a full time career and getting anywhere close to deadlines. So are we giving up - no chance, all we ask is for your support your articles and pictures, your money and a lot of patience and understanding (not much at all)!  So at last we present with some relief No. 5 a sought of Noel McCaIIa special not to mention some interesting news on his predecessors recent activities. 

Turning the clock right back to the first days of Earth Band in Australia and even further back to the pictures Mick offered us money to loose (but not enough)! 

Thanks to the many contributors and keep up the good work.   We were going to publish a few of the great letters we have had but despite all  

my moaning and groaning we are desperate for space.  Hope you all enjoy No. 5 and that we have managed to reduce the spelling mistakes. 

MONEY 

If you have had five copies and you are one of the few who have forgotten we need your money, please another £10.00 Sterling payable to The Manfred Mann Fan Club. Costs are high and we are determined not only to keep up the quality but improve it. Also we are looking into a unique Platform End/Manfred Mann Sweat Shirt or T-Shirt, more news on this when we have it. 

Lastly on club matters, Carol and I would like to thank John ‘The Oracle’ Arkle, Auntie Jean and Graeme ’The Beaver’ Yates (Our Treasurer), for all their help and support, Thanks. 

It’s a fascinating thought that in a small way we are reaching out to friends across Europe, America, Australia, Scandinavia and the Far East - our Best Wishes to you all.  Andy. 

ARCADE GREATEST HITS T.V. ADVERTISED ALBUM  DUE OUT IN U.K. 

Fixed for release in the U.K. on 22nd August, 1994 is yet another variation on Arcade’s highly successful MMEB compilation already a big hit all over Europe. I understand the track listing will be ever so slightly different but as we go to print we are still waiting full details and a sample copy of the album and T.V. advert.

PE#5 - Page 3

and a very well presented volume covering almost anybody ever involved in the Blues Band. It is informative and enjoyable to read - nice to dip into. It covers in depth the two ex-Manfred’s Jones and McGuiness and Manfred himself crops up here and there. 

There is one photo of the first major HMV line up after Dave Richmond had been replaced by Tom McGuiness, that makes the book worth a few times its value alone. No big deal you may say, pictures of that line up are not particularly rare, well ones taken in the 1970’s are very rare indeed. The Blues Band are a very good band steeped in history and this worthy tome is well written and painstakingly researched and put together. A must for everybody's collection, highly recommended, ”Talk To Me Baby” by Roy Bainton, published by Firebird Books Limited, P.O. Box 327, Poole, Dorset. BH15 ZRG - Price in UK. £8.99. If you live in Australia try Capricorn Link (Australia) Pty. Ltd., P.O. Box 6651, Baulkham Hills Business Centre, NSW 2153. 

ALL ABOUT MR. MCCALLA

Following on from Andy’s interview with Noel in ‘End’ 3 & 4, some members have requested additional information on his musical career outside Earth Band. The following is not intended to be exhaustive, but gives an insight into some of the releases which, although long deleted, can still be picked up at Record Fairs. 

Noel’ left school and joined the previously instrumental band Moon who released two albums on Epic, ’Too Close For Comfort’ (EPC 81456 1976) and ‘Turning The Tides’ (EPC 82084 1977). The latter was produced by Barry Blue and featured a fold out lyric inner with Noel appearing to be dying a painful death or about to eat his microphone. 

Two singles were released from each album, namely ‘Lone Ranger’ and

‘Daydreaming' and ’Name Of The Game’ and ’All Night’ respectively. The ‘b' sides were also taken from the albums. Unfortunately the band received little air play, but did gig heavily in pubs and clubs and supported many bands including Thin Lizzy, Joan Armatrading and Linda Lewis.

Moon’s style is hard to categorize and this may partly explain their lack of commercial success. They were a very tight unit however, and many tracks such as the tittle track from their debut album do bear repeated listening.

Noel was retained by Epic following Moon’s split and in 1979 released ‘Night Time Emotion’ (EPC 83838) featuring a very young looking Noel on the cover. The album featured former members of Moon, but most instruments were provided by Trevor Rabin who also produced. There were some Earth Band connections, with Chris Thompson contributing backing vocals along with the great vocal talents of Stevie Lange who of course fronted Night with Thompson. Rabin assisted Manfred on ’Chance’ and Noel returned the favour on Rabin’s ’Wolf’ album (Charisma, CHR 1293) in 1981 which also features someone’s distinctive keyboards. 

Epic released three singles from Noel’s album ‘Where Is Love’ due to its surefire chorus being issued twice (EPC 6725 and EPC 7041), ‘Ain’t Nothin But A Home Party’ (EPC 7486) and ‘Night Life On Venus’ (EPC 7855). Again all tracks on these singles appeared on the album,

unlike a later release the ’Beggin’ EP (EPC  8731, 1980). 

However, Noel had become disillusioned  with the way he’d been treated and sought a release from his contract. No concerts were arranged to promote the album for instance.

PE#5 - Page 4

Calling themselves Contact, they gigged regularly in London and eventually issued a cassette for sale at concerts only. The band’s line up consisted of Noel, Lou Salvoni (ex- Moon drums), Paul Gillieron (sax, flutes) Kevin Powell (bass), Tony Smith (guitar), Mick Dytche (guitar) and Ian Maidman (Keyboards).

The music can be if termed “dance music" with a message’, but is highly professional, varied (anything from funk, jazz, soul and rock can be recognised), and is highly recommended. It is perhaps something some rock-orientated listeners may at first write-off, but in  reality music which cannot fail to interest and broaden some people’s taste. 

Having changed  their name to  McCalla, last year  saw the release of a  14 track CD on  Ethnic World Music 'Push & Pull' (EWM 4038) which is even better and features 6 new songs, and otherwise totally rerecorded versions from the contact cassette. No single was released commercially, although a limited edition 3 track CD ’Pull Together/Trouble/Full Circle (EWM 4041) was issued for promotional purposes only. The band still play live regularly and now feature Noel, Salvoni, Powell, Dytche, Alan Fealdman (Keyboards) Andy Hamilton (Saxes) and Will Algar (trumpet). They even played a session for Greater London Radio.

Manfred saw Noel playing at the Bass Clef and of course Noel contributed vocal to Plains Music. Again the versatility of his vocal chords is demonstrated. Although not originally planned, he extended his involvement to live work with Earth Band after a couple of months of rehearsals. It was difficult seeing Earth Band in 1991 without Chris Thompson, but he has now made the role of lead vocalist his, breathing new life into old songs and enjoying singing new songs such as ‘Nature Of The Beast’ (in its originally performed version of single potential - I believe) and Miss You'. 

We now look forward to a successful association, a new album and plenty of gigs, and trust Noel can proceed with both his McCaIIa and Earth Band duties.

McCALLA 11TH IUNE, 1994

On a pleasant evening, the instructions were to meet in the Rose and Crown pub in Kings Langley, which to the uninitiated such as myself is just north of Watford off the M25. I travelled from Brighton not just to see stalwart ”Enders” John Arkle and Martin Wilson, but to see Noel in his non-   role with his own band McCalla.

Now they’ve been gigging heavily around London and even the West Country playing various pub and club dates. The pub was packed as previous appearances at the Rose and Crown meant people knew they’d be in for a good evening. Due to the small stage, the band were minus their usual brass section, but their sound was far from lacking, they were very very tight. 

All told, they played for about 2 and a quarter hours with a short break. We were treated to tracks from their Push and Pull CD plus some new numbers and various covers. ”Family Affair" set things off with a funky rhythm being laid for Noel to exercise his vocal chords. He was very confident and encourage audience participations.

”Cause & Effect", a new song from their new CD planned for September release went down well as did a very riffy ”Take Me I’m Yours”.

Cover versions to compete with anyone’s interpretation such as ”Ain’t No Sunshine”, Steve Miller Band’s “Fly Like An Eagle~” and ”I Second That Emotion” were very well received by an increasingly enthusiastic audience.

ALAN PARSONS LIVE PROJECT - MAY 1994

You all know what a versatile and dynamic performer Chris Thompson is, but I wonder how many of you have had the treat of watching him front the Alan Parsons Live Project.  This was Parsons’ first ever tour, after 18 years of big album sales and two cameo appearances by the ace producer and his band at ”multi-artist” concerts. ”Real” gigs by ”the band that never was”, an intriguing and mouth-watering prospect! Of the dozens of musicians who played on all the albums, who would appear on stage? There cannot be another recording act that has chopped and changed lead vocalists with the impunity usually applied to changing a guitar string. For economic reasons, a nine-date tour would have to be handled with no more than two singers. Parsons recruited Gary Howard (from the, erm, Flying Pickets) for the softer songs; the vocal chord-shredders would be tackled by Chris Thompson. The eight-piece band was completed by long-time collaborators Ian Bairnson, Richard Cottle, Stuart Elliott and Andrew Powell, and new boy Jeremy Meek.

Alan Parsons first worked with Chris Thompson on his 1993 album TRY ANYTHING ONCE,

the first LP under the Parsons banner in six years. The “Project” suffix was dropped following he split with songwriter Eric Woolfson: most tracks on the new album were written by Ian Bairnson. Thompson sung two of these, the marauding Turn It Up and Back Against The Wall. Bairnson is no slouch with the pen, but these songs are not his best ever and so I did not get hooked on Chris’ voice until I listened to my Earth Band LP’s properly! Why wasn't the man who wrote a gem like Blue Water asked to write for Try Anything Once? Alan treats the main vocal more like an instrument;

THE SET

Part 1

Sirius

Eye In The Sky (GH)

I Wouldn't Want To Be Like You (CT)

Lucifer/ Mammagamma

Turn It Up (CT)

Limelight (CT)

The Eagle Will Rise Again (GH)

Oh Life (There Must Be More) (GH)

Breakaway

I'm Talkin' To You (CT)

Psychobabble (CT)

Part 2

A Dream Within A Dream (1987)

The Raven (1987) (AP, GH, CT)

Prime Time (GH)

Dreamscape

Back Against The Wall (CT)

Old and Wise (GH)

You're Gonna Get Your Fingers Burnt (CT)

Time (GH)

Wine From The Water (GH)

Standing On Higher Ground (CT)

PE#5 - Page 8

The sound effects reached a peak as the lights were dimmed and the curtains pulled back over the intro to Sirius/Eye In The Sky. Fancy opening the show with the biggest single hit! Gary Howard took lead vocal here: he did a great job on all his songs, but he lacks the power to captivate and the presence that Thompson has.

Chris sang the funky I Wouldn’t Want To Be Like You before the cool instrumental segue Lucifer/ Mammagamma. The Turn It Up and the classic Limelight, with lighting cutely arranged to match the chorus. Following work with Keith Reid and writing credit on Procol Harum's last LP, Thompson was now doing a song made for Gary Brooker! Chris stuck faithfully to the original Limelight - until the last note which he held long enough to make even For You sound short of breath. 

Thompson left the stage while Howard sang the sparse, gorgeous The Eagle Will Rise Again, then returned to do the anthemic choruses of Oh Life (There Must Be More). After the instrumental Breakaway, Chris rounded out Part One with l’m Talkin’ To You and Psychobabble two songs made to be sung while strutting back and forth and sneering at the crowd.

The curtains were drawn for a 20 minute brake, before the fun started again with the menacing sound of Orson Welles’ narrated intro to A Dream Within A Dream/The Raven. Accompanied by some stunning visual effects, everyone starred here including Thompson who blasted out the coda. Then Prime Time: formerly a good pop song, on this tour a rock’n’roll epic! Dreamscape calmed the crowd, Back Against The Wall did the opposite. Old and Wise is the Project’s ”big ballad” which makes certain concert-goers hold cigarette lighters aloft.
The frantic You’re Gonna Get Your Fingers Burned was the most surprising choice of the set. Another classic ballad, Time featured Chris on rhythm guitar - good economic sense to employ singers who can also play!

(Thompson played percussion at other times Wine From The Water and Standing On Higher Ground made slight ill-fitting set closers. 

The band encored with Don’t Answer Me: Gary and Chris sang a duet down one mic, before Parsons gave everyone and eloquent introduction. Thompson sang the final encore, the AOR stomper In The Real World. 

There could well have been another tour by the time you read this - no doubt Chris will be in the lineup again. Anyone who enjoys his work on Manfred albums or his solo stuff should make a holiday out of watching Chris Thompson from The Alan Parsons Live Project!
Steve Hillyard

THE LIVE ALBUM DEBATE 

I have watched and listened with interest to the dialogue about the issue of a alive album by the Earth Band - and of course, I mean live, not the ”this bit is live, and that bit there is, oh yes and that bit there almost was”, that we were given with ”Budapest". Not that ”Budapest” was unpleasant or of poor quality, but for those who saw the concerts of the ”Somewhere In Afrika” tour the album must have been close to offensive, the songs so unlike the stage versions they had enjoyed at the shows.

Living in Australia I was spared that frustration and disappointment until 1990. I have never had the privilege of seeing Manfred play live, but I had often wondered in my younger days about the band’s concerts, which songs they played, did Chris sing songs from the first band etc., questions that many of you would never have thought of simply because you have had the opportunity to see the band live.

Thus, Budapest” was an album I really enjoyed until I received some live tapes from a collector in England in 1990. Among them was a tape from the 1983 tour, quality very average, but of immense interest to me since I heard the songs as they HAD been played, not as we were conned into believing they had been played. 

PE#5 - Page 9

From all reports a live Earth Band album is feasible. The music is good. The band is playing with energy and enthusiasm. Attendances have been good with most people seeming pretty happy with the show. The ingredients are there. Now, somehow, we have to persuade the cook!!!

Come on Manfred - give it a go!!! 

Mark Roberts 

RECOLLECTIONS  FROM AUSTRALIA 
In early 1971, I read of a forthcoming tour by Deep Purple, Free and Manfred Mann Chapter Three. Wow, Aged 19 and having missed the 1965 Manfred Mann tour of Australis as my parents felt that I was too young at 13 to be travelling alone to see the concert, although I saw the group performing 4-5 songs on television  which was great, but after  7 years as a Mann fan I was not going to miss this time around. 

There was a definite uncertainty I concerning the l line up of Chapter Three. They would not be a 10 piece, possibly 4  piece, perhaps with Mike  Hugg and rumours of ex Procession singer and guitarist Mick Rogers being included. This was a possibility as Mick had explained, when Procession split, that he would return to England where he ”may do something with Manfred Mann". Some weeks later the large Chapter Three unit had been reduced to 4 with Manfred and Mick the only confirmed members.

Tickets were purchased for the May (from memory) concert and a group of friends headed for Festival Hall in West Melbourne. It was well known for boding and wrestling matches but was the only venue for most visiting acts and seated about 6000 people.

Australian progressive group Spectrum opened the show. Their singer and guitarist Mike Rudd penned ”I'll Be Gone” and ”Launching Place”, a big hit here and later recorded by the Earth Band.

Spectrum started at 8.00 pm. and this show would eventually finish at 1.30 am. They were quite popular at the time and well received, however I found their songs and Rudd’s vocals a little tedious. 

Free hit the stage next and played a very entertaining set. Considering we only knew ”All Right Now”, the crowd were pleased with their stage presence, particularly Paul Rodgers. Our only criticism was that their playing was sometimes a bit loose. Above the stage Manfred and someone in a denim outfit and cowboy hat watched Free’s performance. Was it Mike Hugg? We were still unaware of the Chapter Three line up. The denim clad musician turned out to be Roger Glover from Deep Purple.

Whilst roadies set up for the next act, Manfred walked on and tested his new mini Moog synthesiser. Woorooroohh (my best description) it went and the crowd really took notice. What was this spacey sound. I don't think the world had heard this mini Moog yet. A little more testing, calling on Billy McArtney, sound man and brother of one of my schoolmates, then Mick, Chris Slade and Colin Pattenden were on. 

A very tight and wonderful sound emanated from the foursome. this was definitely a vastly different group to Chapter Three and I felt that Manfred had reached Chapter Four in his career. Tracks I remember include ”Virginia" which was given a typically Earth Band style revamp and a highlight of the show, ”Dealer" from As Is" was far heavier and longer than it’s 1966 showing and ”Captain Bobby Stout” a new song which was given a thorough workout and sounded great. 

Halfway through the set Manfred shed his yellow jacket revealing just a black T-shirt and black trousers.  My mind flashed to his sixties outfits, the beard was not longer pencil thin, hair a bit longer, but there he was, mobile as ever, new sound, new group and great. Mick mentioned that it was their third live gig.

Believe it or not we first began No. 6 in December, 1994 rather later than planned. By mid January we had most of No. 6 ready for the printers, all I needed was some news on the album and we were ready to go to press. 50 I make the call and the next thing I’m booked on a day trip down to the smoke’ to check on progress first hand. No.6 went on hold just for a couple of weeks, then my trip was put back a couple of weeks so more delay. As the day of my visit approached there was talk of further delay and out of the blue came the news Chris Thompson was playing somewhere in the City. Well the excuses are a bit more imaginative than usual pressures of work, sickness in the family and so on, although we’ve had those as well.

I’m reasonably confident that you will have found the delays worthwhile.  We have managed to squeeze in some of No. 6 ’as was’, in particular a piece I wrote inspired by the recent Beatles release. There was lots of mention of Christmas in No. 6 ‘as was’, it now seems a very long time ago. 1995 however promises to be a very exciting year. The new album is taking shape and sounding good and should be out in September (and this time I think it will happen). There will be more news l can’t give you yet, but hope to be in a position to do so next time. 1995 should be a vintage year for Earth Band fans and the clear message I brought back from the studio is that there are many more to come. 

My thanks to all who have helped get No. 6 to you. Please keep sending your letters, articles and ideas, we are desperate for good pictures. 

Andy Taylor  February, 1995 

NEWS

As reported last month Chris Thompson has been working with Alan Parson's and a live album has recently been released in Europe and I’m told is due out in the UK. soon. Chris was planning to record a couple of studio tracks for a planned U.S. release later in the year. There is also talk of more Alan Parsons live shows this year. I hope to bring more news of what Chris has been up to next time. 

Noel McCalla has a new album out around May, the follow up to ’Push Pull’. I haven't had the chance to go to a live gig yet and from what I have been told I am missing out. I hope to get this situation corrected in 1995.

BACK TO THE MEDIA

Did anybody manage to catch the major T.V. promotion for the Earth Band compilation. Sadly I blinked and missed it. Fortunately in my highly privileged position as editor of this occasional work of art, I was sent a copy of both the long and short adverts and I have to say they are quite impressive, what a pity they were not shown more. I can only speak for the Granada region of course. The graphics used based around well known album covers ’Messin/Roaring Silence’ and so on could have produced a much nicer packaging for the album. Still you cannot have everything and for a band getting almost no other promotion other than for the usual knockers who crawl out of whatever slimepit they live in, every time anything Earth Band is released it was at one point riding reasonably high in the HMV charts. 

Satellite TV launched the grown ups version of MTV a short while ago and by enlarge it has been a desperately disappointing experience. Like MTV they seem to have a list of favourite artists and videos and play them over and over again. So whilst the German channels like N3 churn out good rock concerts,

PE#6 - Page 4

many of the various appearances here were captured onto tape at the time often with poor or indifferent results,  but then in the 60's it was all down to  an ageing second hand reel to reel  tape machine and later on a Phillips Cassette Mk. 1. 

I have little to offer those who love the Paul Jones spell as lead singer. I was already a Manfred Mann fan and still love the R B and Jazz mixture of that period. Sadly I had  not at the time discovered the B.B.C.’s radio output and have little knowledge of the bands appearances during that time. One radio session I know to exist includes specially recorded versions of ‘Oh No Not My Baby’, ’L.S.D.’ and the otherwise unreleased ‘That’s The Way I Feel’. I was also offered a B.B.C. record for a price far beyond available funds that included some four Manfred Mann tracks including Watermelon Mann’. 

However, by the time Mike D’Abo had taken over as lead singer the band were making many guest spot appearances on programs such as ’The Saturday Club’, Peter Murray and John Peel. Many of these slots took place during the period following the release of the ’As Is' album in 1968. This was in those days a long time to be starved of new songs and was one good reason why the radio slots took on such importance. When I saw the band live at a teacher’s training college in a London suburb, much of the act was taken up with old blues standards never put out on record, but thankfully preserved from the B.B.C. sessions. Most obvious of those was ’Hoochie Coochie’ of which at least three versions still exist. This had been recorded by the first band on ’The Five Faces’ album

but the D’Abo version which also opened their live set was very different. On one of Peter  Murray’s late night shows we were treated to ’Hoochie Coochie’, ‘Nitty Gritty’ (there are also other versions of this), and an instrumental of the classic Summertime’. Other classics from the live show ’Fever’ and ’Hound Dog’  were also recorded for  the B.B.C. plus the Lennon/McCartney song ’She’s A  Woman’.

Many of the bands radio performances remained closer to their Blues/Jazz origins than the Fontana releases of that time, much of which was now pure unashamed pop music, thus giving Mann, Hugg and McGuiness the chance to do some good old fashioned solo’s and D’Abo the opportunity to exercise his vocal chords fully. The instrumental ’Bare Hugg’ from the Mann Made’ album got reworked with Klaus Voorman on bass and flute. There was the bluesy ’So Long’ with Tom McGuiness guitar in the middle and a jazz piano fade, plus a short pure jazz piece curiously entitled Orange Peel’.

However, the Beeb sessions of that A period didn’t just convince the more cynical that Mann and Co were getting further and further away from what they really wanted to do which was to play Jazz and Blues and some good old fashioned Rock and Roll, it also highlighted the song writing talents of Mike D’Abo. The only place I have ever heard Manfred Mann perform the classic D’Abo song Handbags And The Gladrags’, was on the BBC. and the similar ’A Little Misunderstood’ likewise.

PE#6 - Page 5

How I wish somebody could dig all this stuff out of the B.B.C. archive if it still exists. They finished that show with hostess and band bouncing through the leaving of Liverpool! Lastly in this incomplete survey of the 60’s Beeb is the vague memory of the band being disqualified from a T.V. show because the song they played had been media aired before against all the rules of the show! I haven’t a clue what the show was but the song was ’The One In The Middle’ and recovered from this ordeal to head up the remarkable hit E.P. of the same title.

KNOWN RADIO RECORDINGS 1960'S

PAUL JONES: Oh No Not My Baby

                          L.S.D.

                          That's The Way I Feel

                          Watermelon Man and

                          Others?!

TELEVISION:   Sticks And Stones

                          introduced by Jimmy

                          Saville

Obviously there were many Top Of The Pops appearances, however the most notable was the end of year 1966 Christmas Show at which Paul Jones was reunited with the new band introduced by Mike D’Abo to sing Pretty Flamingo, Klaus Voorman on Flute. 

MIKE D’ABO: Hoochie Coochie

                        Nitty Gritty

                        Fever

                        Hound Dog

                        She’s A Woman

                        Summertime

                        Handbags And The

                        Gladrags

                        Oh What A Day

                        A Little Misunderstood

                        Bare Hugg

                        So Long

                        Orange Peel

                        The Letter

                        Abraham Martin And

                       John

                       Just Like A Woman

                       Sleepy Hollow

                       Cupids Town

                       Vicar’s Daughter

                       Each And Every Day 

MANFRED MANN (CHAPTER III)

Did little radio work I am aware of. One guest spot on John Peel produced a different version of ‘Time’ and a very much the same version of ’One Way Glass’. Manfred told me at a Chapter lIl gig in Liverpool around that time that he was very unhappy with the results of that session, so maybe that's why to my knowledge they never reappeared.  

EARTHBAND 

Once again the radio medium was used to good effect to promote Manfred’s new band and once again it is perhaps more through the B.B.C output that the new band demonstrated it’s enormous power and potential than on early releases. ’Messin’ for example was recorded and played for the B.B.C. before it’s release as the title track of the third album. ’Father Of Day’ also graced the John Peel show sometime prior to it’s release on the fourth album Solar Fire’. The version of ’Meat’ performed on Radio 1 was much more Earth Band than the recorded version on Glorified Magnified’ opening with a nice moog solo. Other songs recorded for the B.B.C. went through a change of identity altogether before making it onto record. The 60’s song ’Dealer’ from the ’As Is’ album, rematerialized as a heavy rocker on an early John Peel (also in the bands live act), but further mutated into ‘Prayer’ for the debut album.

PE#6 - Page 8

’Oh No Not My Baby’ reminding anyone who might have forgotten what a fine sax player Mick Vickers is. 

The Manfred’s also appeared on a B.B.C. T.V. lunchtime show Pebble Mill this time with the help of Rob Townsend and Benny Gallagher but minus Paul Jones, performing two of the 60's hits very much closer to the original 60’s recordings. It’s only a personal thing but I prefer live music to change, however I’m sure many enjoyed the nostalgia of the moment.

The subject of Radio Sessions probably deserves a great deal more time and research but hopefully this brief overview will have been of interest. Many of the radio recordings still exist in private collections, the quality varying from very good to downright awful.“ How much the B.B.C. still have is debatable, they have long since become notorious for junking valuable and historic programmes. The corporation itself now desperate to recover old episodes of popular T.V. shows like Doctor Who. It would be nice to think that one day all involved might agree to put out an album of some of the unreleased 60's material and for me at least, even more exciting maybe a compilation of some of the Earth Band sessions. 

Sadly a lot of people would have to agree before either project could be considered and then do the B.B.C. have enough quality recordings,  I suspect we should count ourselves luck they didn’t destroy the Beatles tapes. 

Still if it was ever possible, there is no doubt both albums would be a must for every fans collection.   ANDY TAYLOR  DECEMBER 1994 

IN THE WORKHOUSE

No this is not and essay on how we have fallen onto bad times, nor is it anything to do with conservative government policy for the 1990's, but a report on a very happy afternoon spent within those hallowed walls of the Workhouse Studios.

Here such Earth Band classics as ’Father Of Day’, and ’Blinded By The Light’ were first put onto tape. From the outside the Workhouse Studio is probably much less imposing than many Dickensian namesakes and easily missed by the average passer by. Inside in reception the wall is filled with gold discs, not only for Manfred Mann but for the many other artists who have graced these studios over the years. These include The Christians, Ian Drury, Stereo MC's and many others. Amongst Manfred gold discs are many of the 60’s group singles and the vast majority of Earth Band albums coming right up to date with the greatest hits of M.M.E.B. Blinded By The Light’. 

Today however, I was here to check progress on what will hopefully be the next gold disc. Now it must be understood before I go any further that for most musicians of any note, the studio is a very private place. This is where all the hard work and frustration happens. The painstaking work of making a record sound good. Manfred and Ian Tompson the ’invisible’ engineer, were working on a track called ‘Tumbling Ball' a sort of slow kind of song accused by Manfred at one point of bordering on dreary.  The basic song was already together on tape to which Manfred was adding a Piano, Mini Moog and Organ. The Piano is played first directly onto computer, Manfred explains that it

There is more than enough music to fill an album already, about ten songs none of them quite finished and some still a little way from finished. There are about three more songs to do yet, not to mention those less fortunate junked along the way. 

I am afraid it is going to be September now”, Manfred informed me sadly. ”Is that a deadline?" l enquired hopefully. Yes” I was told, Unless it’s not quite right, after it’s taken this long another six months hardly matters”. 

Ian the Invisible, played me a few more tasty snippets, songs we’ve heard on the road and some we haven’t. Songs like ’Pleasure And Pain’, and ‘Nature Of The Beast’, were first recorded live in the studio but for whatever reason they didn’t work so they to have gone through the same laborious process of ’Tumbling Ball’. Perhaps surprisingly they haven’t lost the live band quality in the process. Amongst the tracks I hadn’t heard is an 80’s Earth Band track reworked and a glorious ten minutes long, with the best studio moog solo since ‘Angel Station’. At the moment the song is going. ”I might keep the moog solo", Manfred told me. There is quite a lot of moog so far, Manfred says others have told him too much. I did my level best to insist that this was impossible. 

I was I think expecting a ’Tango’ style album, but so far this album has a life and style of its own. Although if anything it has much more to do with Angel Station’ and maybe ’Chance’ than the more recent stuff. So far it has all the making of a classic Earth Band album. Noel has a great voice then there’s that other chap, what’s his name?  

Meanwhile, I have upset Ian the Invisible, who is not only an excellent engineer, (and excellent engineers need to be invisible), but has a good feel for the music and what Manfred is trying to achieve. ”There is an off the wall sort of song I really like and he doesn’t, it could even be the first single”.   Manfred is now very keen to get the album finished. Although now close to realising this aim he has no intention of rushing things. Then there will be a tour. Although as yet no decision has been made as to whether they use the cartoons. 

Manfred is perhaps surprisingly a modest man, often putting down his own abilities although he did rather grudgingly admit, ”I got fed up with my own playing at one time, but I think I’m playing very well on this album. That’s why I’ve left most of the moog in. I was in danger of the moog sounding like a cliché, now I’m mixing it with other sounds. The solo on Lead Me To Water’, sounds like moog but it’s something else going through the moog creating marginal variations in it. I was interested in knowing more about the songs that don’t make it onto the albums and if mood swings could lead to good tracks being ditched. ”If I like something and somebody else doesn't then I’ll take notice, but I know when something hasn’t worked. Mood swings wouldn't effect that. When you take three years to make an album much of the time is spent on stuff that in the end just doesn’t work. Most of the material that survived on PIains’ was done very quickly”, he told me ”Lots of experiments got thrown out”. 

Manfred obviously has some difficulty deciding what ends up on an album. In the end, I have to trust my own judgement.

PE#6 - Page 10

SOS BAND WITH CHRIS THOMPSON

Most of you (U.K. members in particular), will have received a brief newsletter including mention of a series of 4 gigs at the ’Bottom Line Club’ in Shepherd’s Bush.  A few of us managed to overcome the short notice to be there for the first night and if I’m honest it was not quite as expected. The evening featured the SOS Band a five piece band of musicians varying from the competent to the very good and a series of guest appearances of different singers performing some of their favourite songs. 

Thompson opened the show with an energetic couple of numbers, one being the familiar ’Davy’s On The Road Again’. ’Davy’ without the moog solo is as near to musical sacrilege as you can get. However, Chris is as we all know one of the great rock singers of our time and threw himself into the song with such determined enthusiasm they just about got away with it. Sadly even Chris’ fine vocals could not rescue ’Blinded By The Light’ which frankly made me cringe. Never the less it was good to see Chris in action again not only a great singer but a great performer so glad that once the two obvious covers were done and dusted, l was looking forward to more of the Thompson magic. However, firstly we had to endure the first special guest Tony Hadley. To be fair he wasn’t that bad and the reasonable audience seemed to love him. However, I found his strutting around the stage in a red rockers coat (a little too overawed by his own brilliance) a touch irritating. Then came the bit I was looking forward too, Stevie Lange, or whatever her name is, once of the group’s Night and Filthy McNasty.  The girl’s in our party were nearly put off by what they described as her dreadful dress sense, a sort of black see through number. I reckon her outfit was in danger of distracting from the main business of bending our eardrums but in the end it didn’t. I've never seen Stevie Lange before but I was in no way disappointed. 

She must be the best female rock singer around with an amazing vocal range and with great stage presence to boot. She took on during her short set Tina Turners Steamy Windows’, and a marvellous cover of Janis Joplins ’Move Over’ amongst others. I expected her to be one of the highlights of the night, great expectations can often lead to great disappointment, but not this time.

The fact that the band was gradually getting louder didn’t seem to bother Stevie, but gave the next guest Fish, plenty of problems drowning out much of his vocals. 

So Tony Hadley returned supported by Chris and Stevie in an enjoyable version of ’A Little Help From My Friends’. 

The other true high spot of the night was the first encore sung by Chris, giving his all on the song he co-wrote for john Farnham ’You’re The Voice’. This was superb and would have been a better finish than a nevertheless spirited attempt at the old Mott The Hoople classic ’All The Young Dudes’.

All in all I found the night disappointing, I would have much preferred a Chris/Stevie show perhaps doing some of Night’s stuff as well as a few more of Chris’ own songs. The band wasn’t tight enough and at times got almost too loud. In defence of the show all those involved seemed to be there to have a ball, first and foremost, and this good feeling came across to the audience who in turn had a ball. This was also the first night at the Bottom Line Club' so later shows will no doubt get better and better. Different guests will appear each week so the show will change. So for a good fun and inexpensive night out and some good loud rocking music, the SOS Band are worth checking out. My only plea is give us more of Chris and Stevie and less of the special guests. More on the S.O.S. band next time.   Andy Taylor  February, 1995  

WINGED MESSENGER

Dear Andy and Carol,

Thanks very much for sending me a copy of ’Platform End’. I had no idea that Manfred was still active on the music scene.

PE#6 - Page 11

Dear Andy and Carol, 

I have followed the Earth Band since 1976 and for most of the following 18 years have struggled to find out any information on them (i.e. albums, concerts etc). I was really pleased therefore to catch up (through your newsletter) on what they are doing and look forward to the release of their next album. I last saw the band in Worthing (Assembly Halls) in June 1991 when they were advertised as Manfred Mann’s Earth Band II (3). They were excellent, and I was particularly impressed with Noel McCaIIa’s vocals. (I have just ordered a copy of Push and Pull - thanks!).

I had found out that Chris Thompson had appeared on the Alan Parsons 1993 album and found the review of Alan Parsons Live, very interesting. Another well know musician using the services of CT (common knowledge I guess) was Mike Oldfield on his 1989 Earth Moving’ album. CT sang on two tracks well suited to his singing style - ’Runaway Son’ and ’See The Light'. 

I have kept many cutting over the years and include a couple of the more obscure ones. I hope very much that they will be of interest. I also include photocopies (my friend had the courage to ask for the originals) of the song listing used by members of the band at the Guildford Civic Hall and Dominion Theatre Gigs back in 1983.

Having enjoyed issue 5 so much I would be interested in purchasing 1-4 if you still have any left.  Thanks again for such an informative newsletter. Please keep up the good work and I look forward to receiving the next issue. 

All the best 

Martin Vinter 

See back cover for song listings mentioned!!

Dear Andy, 

I just thought I would drop you a few lines to let you know that I received a promo CD from Arcade. Thanks for that one! I got the 18 tract ’Best Of’ or rather by Brother did on Monday past, a day before it’s release date. There has to be a record somewhere in there! Northern Ireland actually had something before it was released and an Earth Band album at that. Amazing isn’t it! I came across an unreleased 7” called ’California Coastline’, no not in Belfast, what do you expect miracles, I got this from Holland. I had seen it for sale in Record Collector. Oh yeah don’t ask me what my favourite track from the CD is, Why?, I don’t know, they are all the best ones. 

How’s the magazine going? It’s packed with good information. Hope to hear from you soon.

I will write again when I get something else no doubt All the best for now.

Katrina Diamond

Co. Antrim, Northern Ireland.

Dear Andy and Carol,

Firstly, apologies for not writing sooner to thank you for very kindly sending me the issues of your magazine. The information in your magazines was immensely interesting - it was great to read once again about artists that I have always held in high esteem and who, sadly, seem to have little relevance to the current music press. Thank you for keeping the flame alive. Keep up the good work.

Peter Smith

N.S.W., Australia.