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Contents
A Yawn in Your Ear………………........….…2
World Service News…….……………........6
Photo History……………………….........…...9
A History of The Workhouse……..…...10
First UK Article on Manfred Mann
– Phase 4…………………………............…..31
The Earth Team
Editor………………….….. .Andy Taylor
Design……………… .. Nigel Stanworth
Front Cover Photo …… …...Luke Weall
Web Site:
http://www.manfredmann.co.uk
It was over 28 years ago that Platform End was first published, 20 years since it went on-line and 11 years since it last appeared.
For the 50th anniversary of our favourite band (why else would you be here?) here is a special edition to celebrate this occasion.
No recording studios were harmed during the making of this Platform End.
A YAWN IN YOUR EAR
Part 1 the first few steps
I know you have not heard from me for a while. Where have you all been? ‘A Yawn in your Ear,’ as some of you will hopefully remember opened most editions of our fanzine ‘Platform End’ back when something called paper still ruled the world. The wonderful Nigel Stanworth took over when the fan club went on line, because after that it was all far too complicated for an idiot like me.
Fifty-seven years ago, give or take a month or two, my mate Mark and I were walking in crocodile fashion from the lower school to the upper school with all the other boys. It was 1964 and back then I knew only two things about Manfred Mann. The first was that my mum did not like them. A few days earlier she had made me switch off Top of the Pops because of a dockside film of this noisy scruffy group of lads! I think she was a bit horrified by their haircuts and perhaps a little disappointed in their poor grasp of Greek history. (5-4-3-2-1!)
‘Did you know?’ I told my friend Mark, even though we were supposed to be walking in silence: “The one in the middle isn’t Manfred Mann. This, by the way, was the other thing I knew and rightly or wrongly I felt this fact was ‘quite interesting’
In my defence the attraction in most bands was the one in the middle, the front man, the singer and their importance was often reflected in the act’s name. We had Cliff and his Shadows, Gerry and his Pacemakers and so on. There was also a new and much cooler way of giving your band a name which always started with the word, ‘The’. I should not need to provide examples but I will. There were The Merseybeats, The Searchers, The Hollies, The Rolling Stones, The Animals and so, so many more. Perhaps the most famous of them all, (a band we were assured by our music teacher at school would be forgotten within a year), were The Beatles. There was however no ‘The’ in the name Manfred Mann, although the band would sometimes refer to themselves as the Manfred’s (No Mum I know it wasn’t the Manfreds who let the wooden horse into Troy!) The thing is, Manfred wasn’t the handsome lead singer but the bearded and bespectacled keyboard player.
It did not occur to me that my friend Mark might not be the slightest bit interested in this fact, or that we would be made to stay behind after school for talking without permission and it certainly didn’t occur to me that 57 years later I would still be telling people quite interesting things about Manfred Mann such as Manfred Mann is of course not even his name.
Winding the clock forward to 1971 Manfred Mann Chapter III had called it a day. As I understand things, it was a slow end and as a result the third Chapter III album although completed was never released.
‘It was burnt in the fire Endy,’ Manfred would tell me with obvious delight, if the subject ever came up.
The new four piece band would revert to being called Manfred Mann and would probably try much harder to have hit records again. The release of their first single ‘Living without You’ was a fine reminder of Manfred’s skill to come up with brilliant arrangements of bloody good pop songs. Written by Randy Newman, ‘Living Without You’, should have been a massive worldwide hit. Sadly it wasn’t. There were however, nevertheless concerns that the many loyal fans who had welcomed and embraced the dramatic change from pop success to squealing saxophones might be unhappy with this change of direction. To reassure us that it was all going to be okay and that the new band were not taking a step backwards, the debut album was to be called ‘Stepping Sideways’. The album was completed, I understand that even the artwork was done, but in the end it was never released.
‘It was burnt in the fire Endy’ Manfred would explain, giving me one of those wicked grins he’s so good at, should I dare to bring the subject up.
Many years later I was involved in a project to re-master the MMEB albums. Before anyone starts to panic, I was not let near any of the technical stuff. My job was to write some new sleeve notes and choose the bonus tracks. The record company wanted bonus tracks for the re-mastered discs. For some of the albums there were obvious extra tracks. There were for example; the single version and in some cases 12 inch singles mixes and there were songs released only in North America. The trouble was that the master tapes for a lot of this stuff were also missing.
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‘They got burnt in the fire too,’ Manfred reminded me the familiar glint of mischief in his eyes.
The fire I should explain did do serious damage to the famous Workhouse studios. If I remember rightly it spread from the studio next door. Headlines in the tabloid press mostly concerned the destruction of Rick Astley’s new album. Sadly many of Manfred’s original master tapes including the unreleased albums were also destroyed in the fire. This made the whole process of remastering the albums for the digital age a much bigger challenge.
So we ended up searching the world for masters and bonus tracks which considering the band’s famous logo felt quite appropriate. I remember Steve Fernie phoned me one day to tell me that he had received a list of all the Manfred recordings held by Polymedia in the States. A couple of days later the list landed on my doormat and I began to go through it. I was quietly confident that I would find little or nothing of any great significance. All I was hoping to find were some of the lost masters and perhaps a few of the early singles. The list was long. There were pages and pages of it, beginning with all the tracks released in the UK by Fontana in the sixties. Following on were both the Chapter III albums and the early MMEB ones. Then something caught my eye. A song title had been it seemed entered incorrectly, ‘Messin’ up the Land’ instead of ‘Messin’ ’. the title track of the third Earthband album. Messin’ was written by Mike Hugg co-founder of the’ Mann Hugg Blues Brothers’, which later became the pop group Manfred Mann. Later Hugg became half of the creative force behind Manfred Mann Chapter III. Mick Rogers explains on the sleeve notes of the album in question that Messin’ was taken from the unreleased Chapter III volume 3. I didn’t recognise the next few songs on the list and slowly the penny dropped. Polymedia had a copy of the third Chapter III album. For years I had dreamed of hearing the Chapter III version of this song. When you get to discover something you thought had been lost forever like ashes in the wind, something you never thought you would hear, well that is one very special moment. That track is also brilliant, Chapter III at their very best. That however was not the only thing we found.
I clearly remember going into a music and record shop in Liverpool in 1971 by the name of Rushworth and Dreapers to ask about the forthcoming Manfred Mann album.
The very helpful man behind the counter got this big fat book out with every forthcoming release listed on Bible thin paper, and there it was. The new Manfred Mann album complete with track listing and release date. It had, I was told, been slightly delayed and would be out soon! The next time I saw that track listing was in the long list sent from Polymedia. Not only had we found the Chapter III album we had also stumbled on the first few heart beats of Manfred Mann’s Earth Band.
Manfred and Mike Hugg had gone their separate ways. As a result of this Mike Hugg went on to do three brilliant albums and had a hit record with the theme for the TV sit com ‘Whatever Happened to the Likely Lads’ .
The new Manfred Mann album ‘Stepping Sideways’ felt confident in its direction. The new Manfred Mann was going for something distinctive and different, there was still plenty of jazz in there, but with a country rock feel. This represented the first few stuttering steps of the long and incredible journey they were just starting out on. It stands up to this day as a bloody good album. The trouble was that free of the self-enforced constraints imposed upon Chapter III, the new band was growing, changing and evolving very quickly. The musical chemistry shared by these four musicians, Chris Slade. Colin Pattenden, Mick Rogers and Manfred Mann, was simply extraordinary. They were quickly building a reputation as one of the best live acts around, a reputation that despite many personnel changes over the years since then, they continue to enjoy.
So Manfred Mann’s Arm Band or sorry should it be Head Band had quickly outgrown Stepping Sideways. We the fans never got to hear it and by the time we got the much revised version of the album, Manfred Mann had found himself an Earth Band.
I remember being quite pleased with the first album at the time. I also enjoyed the follow up album Glorified Magnified but the next special moment for me in the 50 year history of this band has to be the two nights spent on the Sundown circuit in London.
The Sundown circuit was formed from a small group of old cinema’s spread around London. The old picture houses had been completely gutted. All the seats had been torn out and there was a simple stage. The audience either stood or sat on the floor, to quote Mick at the time, “what a dump!”
It was at the first of these two gigs however that I realised just how special and how brilliant this band was. The set was pretty much the same both of the nights I went to, the following recollections however are based on the Edmonton gig. This took place on the 26th October 1972. That night the band played lengthy versions of Dealer (or Prayer), Messin’, Buddha, (including Glorified Magnified) and Mighty Quinn. After a lot of very hard work from the small crowd who very much wanted more, the band came back on to do Meat as an encore. Never forgetting the invaluable combination made by the powerhouse that was Chris Slade and Colin Pattenden, it was here I was properly introduced to the glorious guitar playing (and vocals) of Mick Rogers and of course introduced to the Minimoog. Nobody else can play the Moog like Manfred; nobody else can wrench so much beauty, so much sadness and so much excitement from this unimposing instrument.
Many years into the future my son Tom and I are at Manfred’s then new studio the Waterworks. Manfred was kindly giving Tom, who back then was an aspiring young jazz pianist, some ideas on improvisation, first on a piano and later on keyboards. Amongst the many discussion, arguments and debates I have had with Manfred over the years (all of which I have lost by the way), one that often cropped up was my regret that as time went by he no longer used a Minimoog. There were I was told more modern and far better options. Apparently, Manfred explained, you need three hands to play a Minimoog! I was also told that I could not tell the difference between the modern replacement and the Moog. At a sound check at The Stables in Milton Keynes, Manfred insisted on putting this theory to the test and put me on the spot by challenging me to tell the Moog apart from its brand new replacement. Much to Manfred’s very obvious disappointed I did so a few times without any problem at all. I was cheating of course! A certain recording engineer, keyboard tech and tour manager who I better not name here so as to protect the guilty, was helpfully stood behind Manfred signalling Moog or not Moog! In all honesty Manfred was right, (he pretty much always is), it is sometimes very hard to tell the old Minimoog apart from its modern counterparts.
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On the other hand winding forward to the day Manfred was helping Tom, there was a moment when I felt nothing could ever completely replace the Minimoog. Manfred had his keyboard rack set up in the upstairs studio. For some reason I can’t remember why, he decided to get the Moog out from a cupboard. It is heavier than it looks and he and Tom set it up on a stool plugged it into the keyboard rack and started to play. I know I am preaching to the converted here but oh wow, it makes such a beautiful sound and it is such a clean and pure sound, often quite mournful, emphasised by Manfred’s trade mark of bending notes down.
Back to 1972, all those years ago when I was first introduced to Manfred’s Minimoog playing at the Sundown gigs, there was a moment on the Minimoog solo in Quinn when a note is held and held and held some more and then begins to climb and circle the auditorium. Building as it does so to an incredible climax, dare I say an orgasm of sound, before eventually returning to exactly where it took off from. I love all keyboards especially piano and especially jazz piano, I love the sound of a Hammond organ. The second time I saw Chapter III this time at the Manchester Free Trade Hall in 1970, much as I loved the screaming and squealing saxophones and Mike Hugg’s electric piano it was the loud and angry organ solos on Travelling lady and Mighty Quinn which stood out for me as something special. I have always argued that Manfred’s distinctive style can be heard throughout the many chapters of his musical career. That night in a scruffy old cinema however, was the day I fell in love with the Moog and in particular the way Manfred plays the Moog or even for that matter all those modern replacements!
I only saw the original MMEB once more at the Roundhouse, a building that had once been involved in another lifelong passion of mine steam engines. The event took place on Sunday 27th October 1974 and was described as a Straight Music Rock Concert.
Admission cost £1.10 per person so good value. MMEB topped a bill that began with the Global Village Trucking Company and then Brown’s Home Brew. This band was led for those old enough to remember by the legendary Joe Brown and from memory played a brilliant set which I think would probably be described as folk rock. The also excellent GVTC were billed as the last hippy band. If MMEB had been very good two years earlier they were now simply amazing. This time they were playing to a packed crowd, the word had got out. This was one now of the best live rock bands out there.
They opened with Mercury the Winged Messenger, early days of a long tradition to kick off the set with a keyboard led instrumental. The rest of a long set consisted of Driver Man, Father of Day, Captain Bobby Stout, Glorified Magnified, The Good Earth, Launching Place and of course, The Mighty Quinn.
So there you have it. The first few steps of Manfred Mann’s Earth Band, I hope you found it quite interesting . If not, at least you don’t have to stay behind after school!!
Some of Manfred Mann Chapter III volume 3 and much of Stepping Sideways was released on the Odds and Sods boxed set, however as an album Stepping Sideways remains unreleased.
My friend Mark is alive and well, he works in television these days. He was with me the day I first met Manfred at the students union in Liverpool the first time we saw Chapter III live. So he must have found what I had told him in 1964 quite interesting! In fact it was Mark who went up to the dark haired bespectacled man with the trademark beard and said and I quote, ’are you Manfred Mann?’ Manfred who I am certain has absolutely no recollection of this talked to us for ages and ages. He told us about his hopes for the new band, that Pink Floyd had never had a hit single so why should he worry about such things. He told us they had turned their back on pop success even having found a song that would have been as big as Quinn. He even named the song but before you ask, I am so sorry but I can’t remember. Mark got half of one of Mike Hugg’s drum sticks during the amazing drum battle between him and Craig Collinge. Manfred will not remember but he was very kind and generous to two excited young fans that night.
My son Tom Taylor survived his day with Manfred and went on to study classical piano at The Royal Northern College of Music before doing a post grad in jazz piano at Trinity. He is now head of Jazz at a prestigious boy’s school and has an album out called ‘First Light’. As part of his friend’s band Seafarers, there is also an album out called ‘Orlando’.
Steve Fernie and Nigel Stanworth and of course Manfred are planning some exciting things for the Fiftieth Anniversary. I have been sworn to secrecy!!!
Manfred is recording. As his pal Tom McGuiness once told me, Manfred is always recording.
Andy Taylor
MANNTHOLOGY
As you will know by now, ‘Mannthology’ a major set will be released on 11 June to celebrate the 50th anniversary of the band’s formation in 1971.
Available (eventually) in three versions, ‘Mannthology’ contains all the singles, including some which were only released in certain territories – for example the Norwegian Tour single release of ‘Who Are The Mystery Kids’.
The three versions are:
Standard Edition – Digipak containing of 3 CD’s (50 tracks) plus a 28 page booklet containing a history of the band, photos and track notes.
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Deluxe Edition - a ‘Coffee Table’ 12” x 12” (30cm x 30cm) hard backed book containing the standard 3 CD’s (50 tracks) plus a bonus CD (16 tracks), Baloise Session 2017 DVD and 'The Story of Manfred Mann’s Earth Band' documentary DVD. The book also has 100 pages of band history, biographies and extensive track notes (which include anecdotes from band members both past and present), together with 50 pages of high quality photos of the band including rarely seen ones.
Deluxe Vinyl Edition – A boxed set containing 6 LP’s (66 tracks) plus a paperback version of the book. Due to global demand at the vinyl plants, this set won’t be available until late autumn 2021.
Mannthology has taken two and a half years to put together from its first discussion and was actually intended to be released before now in 2019. Luke Weall, who’s wonderful artwork and design has graced the various releases for the past 20 or so years had suggested a 50 track set to cover the period from 1969 to 2019. This would og course have included Manfred Mann Chapter III tracks and 3 or 4 new Manfred Mann’s Earth Band tracks which Manfred was working on.
This was going to be released as a ‘Coffee Table’ style book with a major essay and lots of photos’ At that point the realisation
dawned that while we had some photo’s available, they didn’t cover the whole timeline and were not of sufficient quality – we needed the originals and of course clearance to use them. This became the first focus to sort out, as the set wasn’t going to work without sufficient photos and so the fun began.
So where are the new Earth Band songs I can hear you all cry out (and why didn’t this appear in 2019?). Well as I think we all know by now, Manfred is a perfectionist and the songs have been refined, reinvented and in some cases binned (and maybe even resurrected). They didn’t make the deadline in short and so Mannthology was delayed – and repurposed, but without the new songs.
Many of the photos included in the set have never or rarely been seen before. When Manfred to Sweden in 2019, a large box containing photos and press cuttings dating back to the early 1960’s were passed to me to look through and catalogue. Some of these are included. Pat King, whose photo’s have been an invaluable source over the years has also provided access to everything he ever shot of the band and these also feature heavily. The fan family have of course also been a major help while researching the set.
Mick Maloney in Melbourne was able to contact a professional photographer,
Philip Morris who was at the Randwick Racecourse (Sydney) gig on 9 July 1971 and who had taken a few shots of what was then billed as Manfred Mann Chapter
III when they performed in what was one of their first live performances. Two of Philip’s photo’s are featured in the set.
‘Current’ photo’s were also a potential problem, this was solved whilst attending a gig at the Zeche, Bochum in Germany on 17 March 2019 when I got talking to a photographer attending the gig.
Band members past and present have also kindly provided anecdotes related to songs and performances and some of these are fascinating. Chris Thompson’s recollections of the ‘Budapest’ gigs in particular go a long way to explaining why the ‘Budapest Live’ album ended up being produced in the way it was – its well worth the read.
Also worthy of mention is ‘The Story Of Manfred Mann’s Earth Band’ documentary which was developed by three Australian fans, Mark Roberts, Mick Maloney and Kevin Sheehy back in 2017 for their own (and some fellow fans) enjoyment. This formed the major part of what you will see (provided of course you buy the Deluxe edition!).
Mention must also be made of Greg Russo’s involvement. Greg had coincidentally (fortuitously) collected together all the various versions of the singles ahead of the project.
By the time you read this you may well have your hands on the set.
Nigel Stanworth
Manfred Mann – The 60’s
A set which may have passed you by, released last year is the ‘Manfred Mann – The 60’s’ boxed set. It is an 11-CD set of all the Manfred Mann albums recorded through the 1960’s, together with the seven EPs on one CD, and a sampler of Radio Days Volumes 1 and 2 (featuring various BBC recordings). The set charts the history of the band, with Paul Jones on vocals from 1963 to 1966 and then with Mike d'Abo. These albums contain all the band's hits including the three UK Number Ones: Do Wah Diddy Diddy, Pretty Flamingo and Mighty Quinn.
The booklet contains extensive sleeve notes and rarely seen photographs.
If you are a sixties fan and perhaps don’t have the complete catalogue or you want to listen to the 60’s music, this is well worth a look and listen.
Live Dates
At the time of writing we are of course still in the midst of the Covid-19 pandemic and any planned dates are subject to change.
2022 Dates:
03.02.22 Copenhagen, Amager Bio
04.02.22 Odense, Posten
05.02.22 Randers, Vaerket
06.02.22 Helsinborg, Tivoli
There is a planned UK date when ‘The Earth Band’ are due to play at the HRH Prog XII festival to be held at the 5 star Camp HRH resort in Great Yarmouth East Anglia on 17-20 March 2022. The band, minus Manfred himself (hence the name) will headline the Thursday evening. It will be worth keeping an eye open for a possible ‘warm up’ date as this has been the practice with other UK festival appearances over the past few years.
Manfred is planning to continue playing with MMEB in Europe.
Manfred Mann’s Earth Band - new album
There are plans afoot for a new album, Manfred has spent lockdown in his home studio working on tracks.
When will it appear? Well there’s no firm date for it yet but it’s great to know that there is something in the pipeline.
Colin Pattenden - Memories of Life On The Road
Colin contributed a number of anecdotes about life on the road during his MMEB days. We didn’t have room to fit them all in to the notes on Mannthology, so here are a couple that almost got away:
“On tour In Australia one night while playing a bass solo, I broke a string but to my amazement our roadie jumped into action and replaced the string while I was still playing! The audience loved it. Unbeknown to me AC-DC were watching this in the audience and regaled the story later”
“When touring Australia the tour promoters were of dubious origin and when we an did extra gig at the end of the tour and our manager went to collect payment for this extra gig he was refused and thrown out. Next thing guns turned up at our hotel looking for the manager who was in hiding in another hotel, the Telephone Number of which was written down on a scrap of paper, memorised by Manfred and eaten by him! To get out of this alive Manfred had a brainwave and called the press who escorted us to the airport and we were on the first plane home.”
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Photo History
Here are a couple of photos which didn’t make it into ‘Mannthology’ but which Earth Band fans will surely enjoy:
Shona Laing?
This was found in Manfred’s box. We are 99% certain that this is Shona Laing in the foreground, possibly taken as a publicity photo. I have asked Pat King and he can’t remember – its not one of his photos. What do you think?
Nightingales & Bombers
This shot was with others from the Nightingales and Bombers shoot.
The shoot was at the RAF Museum at Hendon in London which is presumably where this photos was also taken.
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A History of The Workhouse
Through articles and pictures, here is a history of The Workhouse from its earliest days to its bulldozing to make way for an Asda supermarket. Many thanks to Ian Tompson for his invaluable input into this article.
1960’s
Maximum Sound Studios was set up by Vic Keary, a mixing engineer whose best known chart success was Acker Bilks ‘Stranger on the Shore.’ In the mid-sixties he set up a three-track recording studio of his own in London's West End called Maximum Sound. Due to lease problems he was forced to move to new premises in South London on the Old Kent Road, again under the title of Maximum Sound. Vic himself built the studio's 10-channel console himself, based on the design of the EMI console at Lansdowne Studios (where he had worked), and expanded the studio to four-track over time. With time the studio acquired quite a reputation for recording successful ska and reggae music.
In a New Musical Express article (21 September 1974), engineer Dave Hadfield, who had been with the studio since the beginning remembered the early days: “Paul McCartney did his first production job here – with The Escorts, who made a single called “Head To Toe.” “McCartney says that was the first time he ever recorded with any group other than The Beatles – and he played tambourine on the sessions. “We did a lot of work for the Immediate label about that time too – Chris Farlowe, The Small Faces and The Nice were often in. And Dana Gillespie – she’s 83 been around a long time now. Even before she recorded her Decca album she was a prolific writer. The Move also used this studio – I dubbed the fire engine sound into their “Fire Brigade” single. Manfred Mann bought into Workhouse around 1967, becoming one of the first rock musicians to own his own studio. But he says he has little to do with the running of it.
1968
In 1968 he sold the studio to Manfred Mann and Mike Hugg.
Between the late 60's and 1973 Manfred recorded a number of albums at Maximum Sound Studios
- Manfred Mann Ch III Vol 1
- Manfred Mann Ch III Vol 2
- Manfred Mann Ch III Vol 3 (unreleased)
- Manfred Mann's Earth Band – Stepping Sideways (unreleased)
- Manfred Mann's Earth Band – Manfred Mann’s Earth Band
- Manfred Mann's Earth Band – Glorified Magnified
- Manfred Mann's Earth Band – Messin'
Mike Hugg had also recorded ‘Somewhere’ and ‘Stress and Strain’ at Maximum Sound.
Mellotron
Maximum Sound Studios had a Mellotron in 1970, Manfred had previously used one on 'Ha Ha Said The Clown' and 'Semi Detached Suburban Mr James'.
1973
The Name Change
The name was change to The Workhouse appears to have occurred around 1973, Messin’ is credited as being recorded at Maximum Sound, Solar Fire is credited as being recorded at The Workhouse. At this time The Workhouse was primarily Manfred's own private studio. All the albums and singles were recorded there, but the studio was available to outside clients only very occasionally.
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1975
Beat Instrumental - May 1975 LIFE IN THE WORKHOUSE (extract)
The studio itself is one of that rapidly increasing number where the bands themselves have become involved in owning rather than just hiring them. Mann, along with Mike Hugg and a few others, is co-owner of The Workhouse, feels that having that control is a tremendous asset to the group. “It's good to be able to leave the gear in overnight and to be sure that nobody else has been in. That way, instead of spending two hours to get the sound the next day you just spend half an hour checking things over. It's more relaxed and saves a lot of time." The studio is well equipped with an API desk (bought from Command Studios), a Sculley 16-track machine and the usual array of Dolby units, echo equipment — in fact every thing you might need to produce as superbly a produced album as, say, Solar Fire.
Ed: At some point around this time Mike Hugg’s share of the studio was bought out by Manfred.
1977
In early 1977 Manfred went into partnership with Blackhill Enterprises with the intention of turning the Workhouse into a fully commercial studio — although Manfred continued to record there — which entailed some detailed re-equipping.
(Blackhill Enterprises was run by Peter Jenner and Andrew King who managed Syd Barrett – ex Pink Floyd). They also managed Ian Dury.
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Beat Instrumental – January 1978 Studio Spotlight
The main change has been the upgrading to 24 track from 16," Rik Walton, engineer-come-maintenance-man-come-general-ask -him-'cos-he-knows' geezer explained. "The desk is an API which now has the facility for an extra 10 channels to be used whenever they may be needed. The 16 track machine went out the window, proverbially speaking, to be replaced by a Studer 24 track….”.
Future developments may even include conversion of the flat for use by long-term clients. The control room is a flyer overlooking the studio from some ten or fifteen feet up in the air, which must give the producer and engineer a megalomaniac view of their musicians!
The main feature of the control room is obviously the desk — an API as we have already heard. “It’s basically quite standard” Rik continued, “and very reliable which is quite a significant factor. It’s easy enough to work on, and the extra ten channel facility on the side makes it far more versatile than it could otherwise have been.” The Studer A8 24-track has full Dolby on each channel, and is linked to 2 Sculley 2-tracks. “We’re looking for another mastering quality 2-track at the moment as part of the general up-date of equipment, but we’ll definitely keep the newer of the two Sculleys. It's important to have a back-up machine because it's a great time and cost saver if something goes wrong with the front line: “we won't have to wait for the repair man" which would probably be Rik anyway! Monitors are the massive JBL 4341 powered by Crown amps, and there are a couple of 'medium grotty' speakers, and the final transistor radio speaker built into the API examination of the sound in the worst possible conditions — an important factor.
Outboard equipment is comprehensive and high quality: there's an Eventide Instant Phaser and Harmoniser; 2 Klark-Teknik graphic equalisers, a DDL, Pye Limiter, Spectra Sonics Group Limiter, 2 Audio & Design Compressors and 2 equalisers, a bank of 8 Richardson equalisers and a Mu-Tron Bi-Phase. Further to these are the five compressors and one expander built into the API desk! Echo is taken care of by both an EMT plate and an AKG box. The entire control room has its walls covered in strange box shaped objects faintly resembling speakers of the fifties which are actually middle and bass end absorbers! Right, down to the studio and down it really is for the staircase leading from the control room is narrow and the faint-headed should take care to hit the sponge rubber protectors already installed! The studio is middle sized — not the place for the London Philharmonic nor for a solo jews harp player! The studio has a very high ceiling but the walls are very heavily draped.
"The sound is natural" Rik told us, "but it can be altered to a very live feel simply by removing these drapes." There's no drum booth as such, but rather an ingenious arrangement involving setting up screens and then lowering part of the wall. This 'wall' folds down to form a roof for the booth and is apparently very effective. Although the Bechstein grand is the only instrument available, the Earth Band store their instruments in the rehearsal room to the rear and if you're kind and generous the chances are you'd be able to pull off a borrowing deal. At the far end of the studio is a staircase which leads to double doors out on to the Old Kent Road. So, you pull up outside, unload, push your gear onto a specially constructed lift, and lower away, access just couldn't be simpler! So, that's the Workhouse, in short.
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1982
Pete Hammond (a prolific British studio engineer, producer and songwriter based in London, who had been active since 1974) purchased a share of the company that owned Studio One – he was co-owner with Manfred (Studio One – see Studio Sound article below). His first record he made in The Workhouse was “Pass the Dutchie” by Musical Youth and soon went to Number one. Other number one records to come out of the studio were "Wherever I Lay My Hat" by Paul Young and "China In Your Hand" by T'Pau.
1985
This article from Studio Sound in February 1985 details the upgrades made to the studio:
The Workhouse was just that for about six months of 1984. Studio One has been completely rebuilt, undergoing an astonishing transformation from a dark and almost dingy place in the depths of The Workhouse premises, to a large bright, up -to- the -minute hi -tech studio.
Studio Two has not been neglected either. It now boasts a newly installed 36- channel Solid State Logic 4000E console with Total Recall. Situated in Peckham, London, The Workhouse lies unobtrusively at the side of the Old Kent Road -if you didn't know what you were looking for you could easily miss it altogether. Having found it, however, and successfully communicated with what you conclude must be the doorbell -held on with only one screw -uttering the secret password `Studio Sound', you step into another world.
Enough romanticising! For those not already in the know, The Workhouse Studios are owned by Manfred Mann and Peter Hammond: Studio 1 is their joint property and Studio 2 belongs to Manfred and in addition to being his place of work (when bookings allow him in) it is also a popular commercial workplace - even more so now that the SSL is installed and working. The new look Studio 1 all started when architect James Urquhart came to build the kitchen, and somehow the project overflowed into the recording area. Andy Munro advised on the acoustics and the result is, well, unusual. The thing about the old studio was that the recording area was some 10 ft below control room level, leaving the musicians somewhat removed from the heart of the matter. The main criterion then was to bring the musicians up to the same level. To this end a balcony was installed, running down one side of the room, with an area approximately 8 x14 ft at one end, directly in front of the control room's sliding glass doors. Stepping off this platform, you can then descend a rather grand wooden staircase into the original area which extends roughly 20 ft square.
The area under the balcony along the side wall provides storage space for mic The Workhouse Studios, London stands, etc, and under the platform at the far end, sliding glass doors make a conversion into an isolation room. Once tucked away under the platform one would assume that all contact with the real world up in the control room has been lost forever. This is solved by means of a giant mirror mounted on the opposite end wall on a pivot which serves not only to show what each other is up to but is also quite handy for directing various brass instruments at for a bright sound.
The studio has a lot of light wood in it with parquet flooring, covered here and there with rugs to suit, the wooden staircase, the wooden balcony with white metal sides, and has a very bright feel -both visually and acoustically. The walls are covered in reversible panels, approximately 1 m wide which are cork on one side and treated with a live- sounding shiny paint on the other. The acoustics are thus quite variable. There are also a number of Turnkey sound absorbers lying around.
When you are standing downstairs, the ceiling stretches 20 ft above you, and Peter Hammond was particularly keen to retain the ambience that this creates in the new design. The platform area serves a double purpose as recording /additional control room area and has extra seating for the latter. The studio's hi -tech appearance is enhanced with lighting tracks which can provide four different moods of lighting, and what Peter describes as `colourful trunking' (blue actually) running round the room and housing all the wiring and mic lines.
PE 50th Anniversary - Page 11
In Control Room One the Harrison Series 32 in-line console with automation is at right angles to the sliding glass doors and, therefore, the studio. The console features built -in remotes for the Studer A80 24 -track machine with Ready, Master Ready, Master Sync & Replay, Auto Line-in, and Auto Talkback (which may be overridden when not required). There are also remotes built in for the EMT 140 plate and the AKG BX20 reverbs which are housed away in a storage room behind the isolation booth.
Original plans were to replace the Harrison with the SSL which has found its way into Studio Two. In the end they opted to keep the 32- channel Harrison because The Workhouse engineers, as well as a lot of their clients, are very fond of it, finding it a very musical desk to work with. Peter and assistant engineer Stuart Barry talked about this at length, and seemed to be enjoying the best of both worlds with their clasp firmly on the old favourite as well as the much sought after SSL. Stuart felt that the Harrison EQ in particular was a sound he preferred.
The tape machines are located at the front of the control room behind the desk and as well as the A80 MKIII 24 -track there are Studer A80 and MCI JH110 2 -track machines. Monitoring is on JBL 4341s driven by Crown DC300 and there are bass absorber (foam) panels on the wall behind these.
The walls are `broken up' with the air conditioning installation and various housings for switches and wiring, etc. Other acoustic treatment includes Turnkey baffles on the back wall, the same reversible panelling found in the studio area, and bass absorbers in the ceiling towards the back of the room.
The floor is again finished in a parquet covering, with a rug laid on top. The rug is assisted in its absorption process by a sofa along the back wall.
Racked auxiliary equipment sits tidily at the back of the room, and not only is the rack tie -lined to Studio 2, but it incorporates tie -lines to the desk for DI- ing- especially useful for musicians arriving with, for example, a LinnDrum; as Peter says, "it saves having all those wires all over the place. The musician can just put the Linn on a table at the back of the room and there are no wires to trip over all the time."
Outboard equipment is plentiful and includes Dolby A noise reduction systems (24- and 2- channel), Quantec Room Simulator, AMS RMX16 digital reverb, Lexicon 224 (these two by arrangement with Studio 2), Orban Deesser, AMS DMX15 /80S stereo delay (with 1.6 s and 400 ms and pitch change), Eventide Harmonizers, Klark -Teknik delay /chorus /flanger, Kepex and Drawmer DS201 noise gates, UREI 1176 and Drawmer DL221 and Pye compressors.
Reference monitoring is on various models, including Radio Spares 18LS and Auratones. They also have a Sony Fl system, and an extensive collection of microphones.
An article in November 1985 in International Musician and Recording World further detailed the upgrades made at the studios.
“Just recently, a large amount of facelifting has been going on at The Workhouse. The original Studio One has had a few walls moved and quite a lot of interior decorating done to it. Although the equipment based around the much prized Harrison Series II 32 channel automated desk and Studer A80 24-track recorder has not changed dramatically, it is the studio area itself which has changed most. It is quite spacious, yet the 60 square yard studio area remains unimposing as it consists of two separate levels which might equally well suit a New York apartment as they would a recording studio in the Old Kent Road. It is 20ft high in some places, with a balcony running around three of the walls. Large glass doors open out into the studio area from the control room and the control room itself is light and airy with electrically operated windows in the ceiling giving daylight and fresh air.
PE 50th Anniversary - Page 12
Outboard gear in Studio One consists of a Quantec Room Simulator, EMT Stereo Plate and AKG BX20 for reverb, an AMS digital delay with harmonizer, numerous Keepex and Drawmer gates, Urei, Drawmer, Audio (Teknik) Design and Pye compressors, two Eventide Harmonizers and a Klark Tekniks delay/chorus/flanging unit. Mixdown is onto Studer, MCI or Sony PCM F1 machines, and monitoring is Crown powered JBLs.
Over in Studio Two is where you'll find most of the latest arrivals. Peering in through the glass doors, you cannot mistake the Solid State Logic 4040E 40 channel console with total recall.
A new Otari MTR 90 multitrack machine was chosen to replace their ageing Studer A80 24-track and yet another mouth-watering sight is the new Mitsubishi X80 digital two track machine. With the X80, it is now possible to splice digitally — exactly as on conventional ¼" machines — with a razor blade. The 'conventional' two track machines found in Studio Two are a ½" Otari, Studer B67, and PCM F1.
In contrast with Studio One, reverb in Studio Two is provided by an AMS RMX16 and Lexicon 224 (although the two studios frequently 'borrow' each other's gear). An AMS provides the studio with digital delay as well as the Bel BD80 and Drawmer Multitracker. Urei compressors, Drawmer noise gates and Eventide Harmonizers are also to be found dotted around the control room, and yet another recent addition are Quested's latest 4x12" monitors powered by Yamaha.
The studio area for Studio Two is much smaller than that of One, measuring only 20 square yards and consequently most of the work done in Two is of the remix/DI variety.
Whilst I was at The Workhouse, there were several of Roland's new SRV2000 digital reverbs being put to the test. The engineers were so impressed with them that there was some quite serious talk of replacing their AMS reverb with several of the Roland units. From what I could hear of the Roland reverb in the context of the mixes that were in progress, it certainly sounded impressive.
Manfred justifies his purchase of the SSL mixing console in a rather simple way — that it is simply the best value around, when you take into account the features you would normally pay extra for — a quantity of noise gates, compressors (as are found on every channel of the SSL desks), full automation and computer.
Manfred Mann would appear to have made the right choice, as a look at the list of clients over the past few months would confirm: Paul Young, Hazel Dean, Propaganda, Trevor Horn and Depeche Mode are all regular clients...
The basic studio rates at £55/hour for Studio One, and £70/hour for Studio Two, which are quite competitive rates for studios of this calibre. There are, of course, the other vital studio accessories such as a kitchen, pool table and Space Invaders games, which go to complete a well rounded, comfortable and professional studio complex.
PE 50th Anniversary - Page 13
1987
In late 1987 Pete Hammond and Manfred sold the company which owned Studio One to Pete Waterman Limited (PWL), Manfred retained full ownership of The Workhouse property and leased Studio One. Studio One was known as PWL Studio Five – The Workhouse by PWL.
Manfred continued to own Studio Two and to record there and hire it out.
1988
Music Week (27 Feb 1988) contains details of its annual awards.
In the Top UK Recording Studio Award category:
Workhouse Studio who peaked with T'Pau's ‘China In Your Hand’ cleanly snatched the third place at the close of the year
The Fire
In September 1988 a fire occurred in Studio One (then owned by PWL). The fire brigade suspected that it was due to faulty electrics related to a new air conditioner that had been installed (that was the hot spot). Rick Astley was in the studio at the time recording his ‘Hold Me In Your Arms’ album. He lost his album and it had to be totally re-recorded, delaying its release by a few months.
As a recording studio has air tight doors for sound proofing, the fire in studio one just went upwards, unable to get out to the reception area or Studio Two. So half the building got damaged. However the Archive tape store was above the Studio Control room, so all the tapes were burnt or melted.
After the fire, it was thought that it would be possible to quickly move back into the studio, but this didn’t prove to be the case. There was also a break-in, and some equipment got stolen, from The SSL Room - Studio Two
Consequently following the fire, Manfred spent a couple of months at Great Linford Recording studios mixing tracks. Great Linford was run by Harry Maloney, who had managed MMEB in their early days. (Today, Linford Manor is largely silent again - it is once again a family home).
Manfred then worked over at Bryron Birds studio with Terry Medhurst.
PE 50th Anniversary - Page 14
Late 80’s – 1990’s – After The Fire
Once all the structural reports had been done and the electricity was safe to reconnect, the slow process of reconstruction was able to start
The first priority was to get Studio Two back working for Manfred's use and then look at restoring Studio One. Once the rebuild was complete, Studio One was rebuilt with nice wooden floors and stairs etc, Studio One was left empty while Pete Waterman decided what to do. As it was now the late 80's Stock Aitken Waterman’s hold on the music business was slipping and their fortunes changing, so they never returned to The Workhouse (until they came and used Studio Two for the Steps second album). They still had the lease for Studio One, but didn't seem to want to use the place, even though it was ready for them to put their studio equipment in place. PWL had by this time built a start of the art complex at the Borough.
In Studio Two there were further upgrades to the equipment - the SSL was upgraded to a 4048G, which means an extra 8 channels and a G series Computer, this was about 1993, when we were mixing the Soft Vengeance album.
PE 50th Anniversary - Page 15
Later in the 90's it did become a studio again, when Richard Burgess, made it his home and did some projects there.
2006 was recorded at The Workhouse starting in 1999 although final mixing was undertaken at the Waterworks.
The recording console that was in there is now in Ian Tompson’s German studio complex, Studio One. The SSL Console, went to Manfred's studio in Greenwich (The Waterworks) and was then sold a few years later.
2004
The End
Ian Tompson's recording projects were probably the last things to be undertaken at The Workhouse.
The wooden floor was taken up in 2004 and moved to Ian Tompson’s studio at The Holland Inn, Helicon Mountain, when he moved to Jools Holland studio complex, so nothing was wasted.
The picture below shows The Workhouse in its final days before demolition to make way for a new Asda supermarket. The supermarket appears to have gone up remarkably quickly as it is reported as being open by November 2004
PE 50th Anniversary - Page 16
Albums and Singles recorded at The Workhouse
|
Artist |
Title |
Format |
Label |
Year |
|
A.D.O.D |
Ton Regard Me Juge |
Single |
Virgin |
1997 |
|
Airstream |
Follow Through |
12" |
One Little Indian |
1991 |
|
Airstream |
Ricky Tick |
Album |
One Little Indian |
1992 |
|
Alberto Y Lost Trios Paranoias |
Snuff Rock |
12" |
Stiff Records |
1977 |
|
Alberto Y Lost Trios Paranoias |
Skite |
Album |
Logo |
1978 |
|
Annie Whitehead |
Mix Up |
Album |
Virgin |
1985 |
|
Anthony Moore |
Flying Doesn't Help |
Album |
Metronome |
1979 |
|
Anthony Moore |
World Service |
Album |
Do It Records |
1981 |
|
Anthony Moore |
The Only Choice |
Album |
Parlophone |
1984 |
|
Anthony Moore |
Flying Doesn't Help |
Album |
Voiceprint |
1994 |
|
Armande Altai |
Schizophrenia / Angebigue / Informule/ Building Blocks |
12" |
Mercury |
1981 |
|
Aznavour |
L'Eveil Vol.1 - Sur Ma Vie (Nouveaux Enregistrements) |
Album |
Trema |
1989 |
|
Belladonna |
I Remember |
7" |
Pinnacle Records |
1983 |
|
Better Days featuring Tracy Graham |
You Can Do It (You Know) |
7" |
Virgin |
1991 |
|
Bjork |
Debut |
Album |
Elektra |
1993 |
|
Cardiacs |
Is This The Life` |
12" |
The Aphabet Business Concern |
1988 |
|
Cardiacs |
A Little Man And A House And The Whole World Window |
Album |
The Aphabet Business Concern |
1989 |
|
Chain Reaction |
Indebted To You |
Album |
Phonodisc |
1977 |
|
Choralerna |
Let's Celebrate |
Album |
Word |
1974 |
|
Chris Thompson |
Out Of The Night |
Album |
Ultraphone |
1983 |
|
Chris Thompson |
High Cost Of Living |
Album |
Atlantic |
1986 |
|
Circulasione Totale Orchestra |
Accent |
Album |
Odin |
1988 |
|
Clive Gregson |
Welcome To The Workhouse |
Album |
Special Delivery |
1990 |
|
Coulson Dean McGuinness Flint |
Lo & Behold |
Album |
|
1972 |
|
Cyba Space featuring Shanie |
The Abstract |
Album |
Cyba |
1999 |
|
David Bedford |
Instructions For Angels |
Album |
Virgin |
1997 |
|
David Knopfler |
Release |
Album |
Ariola |
1983 |
|
Delta 5 |
Mind Your Own Business |
7" |
Rough Trade |
1981 |
|
Delta 6 |
6 |
12" |
Base Record |
1981 |
|
Depeche Mode |
Shake The Disease |
12" |
Virgin, Mute |
1985 |
|
Depeche Mode |
Shake The Disease |
7" |
|
1988 |
|
Depeche Mode |
Singles 13-18 |
Box |
Mute |
1991 |
|
East Side Beat |
Alive & Kicking / Ride Like The Wind |
7" |
FFRR |
1992 |
|
Echo & The Bunnymen |
Echo & The Bunnymen |
Album |
Sire/ WEA |
1987 |
|
Finitribe |
Ace Love Deuce |
12" |
One Little Indian |
1991 |
|
Finitribe |
Forevergreen Version 1 |
12" |
One Little Indian |
1992 |
|
Finitribe |
An Unexpected Groovy Treat |
Album |
One Little Indian |
1993 |
|
Flash Domincii And The Supersonics |
(Great & Expensive Sound - West African Highlife Music |
Album |
Fisher Music |
1968 |
|
Flowered Up |
Phobia |
7" |
Heavenly |
1990 |
|
Gallows Pole |
In Rock We Trust |
Album |
Azra Records |
1987 |
|
Gang of Four |
At Home He's A Tourist/ Its Her Factory |
7" |
EMI |
1979 |
|
Hi-Yo Silver! |
Away |
Album |
Odeon |
1987 |
|
Hug |
Neon Dream |
Album |
Polydor |
1975 |
|
Hugh Cornwell |
Guilty |
Album |
Snapper Music |
1997 |
|
Hugh Cornwell |
Black Hair Black Eyes Black Suit |
Album |
Velvel |
1999 |
|
Hugh Masekela |
Bring Him Back Home |
7" |
WEA |
1987 |
|
I Start Counting |
Still Smiling |
7" |
Mute |
1985 |
|
I Start Counting |
Still Smiling |
12" |
Mute |
1985 |
|
I Start Counting |
Still Smiling |
12" |
Vogue, Mute |
1985 |
|
Ian Dury |
New Boots and Panties!! |
Album |
|
1977 |
|
Ian Dury |
Sex Drugs & Rock & Roll |
7" |
Stiff Records |
1977 |
|
Ian Dury |
Wake Up And Make Love With Me / Gene Vincent |
7" |
|
1978 |
|
Ian Dury |
Wake Up And Make Love With Me |
7" |
Stiff Records |
1978 |
|
Ian Dury And The Blockheads |
Do It Yourself |
Album |
Stiff Records |
1979 |
|
Ingrid |
The Hunt |
7" |
Polydor |
1982 |
|
Intimate Strangers |
Charm |
Album |
IRS Records |
1986 |
|
Jimmy Hibbert |
Heavy Duty |
Album |
Logo |
1980 |
|
Joe Cocker |
Cocker |
Album |
Capitol Records |
1986 |
|
Joe Cocker |
Cocker |
Album |
Capitol Records |
1988 |
|
Jona Lewie |
On The Other Hand There's A Fist |
Album |
Stiff Records |
1980 |
|
Jools Holland & His Rhythm & Blues Orchestra |
Lift The Lid |
Album |
Coalition Recordings |
1997 |
|
Jools Holland & His Rhythm & Blues Orchestra |
Small World Big Band |
Album |
Warner Strategic Marketing UK |
2001 |
|
Jose Luis Perales |
Mis 30 Mejores Canciones |
Album |
CBS / Sony |
1994 |
|
Just Good Friends |
One Night |
7" |
Magnet |
1984 |
|
Kalima |
Shine |
12" |
Factory |
1990 |
|
Kevin Ayers |
That's What You Get Babe |
Album |
Harvest |
1980 |
|
Landscape |
From The Tea-Rooms Of Mars... To The Hell-Holes Of Uranus |
Album |
RCA Victor |
1981 |
|
Latin Quarter |
Modern Times |
Album |
Rockin Horse Records RCA |
1989 |
|
Latin Quarter |
Swimming Against The Stream |
Album |
RCA |
1989 |
|
Latin Quarter |
Radio Africa |
Album |
Camden, BMG |
1997 |
|
Laurel & Hardy |
Clunk Click |
12" |
CBS |
1982 |
|
Artist |
Title |
Format |
Label |
Year |
|
Laurel & Hardy |
Lots Of Loving Lots Of Dubbing (And She Gone) |
12" |
CBS |
1983 |
|
Laurel & Hardy |
What A Bargain |
Album |
Upright Records |
1983 |
|
Level 42 |
A Physical Presence |
Album |
Polydor |
1985 |
|
Level 42 |
Follow Me |
7" |
Polydor |
1985 |
|
Love Corporation |
Give Me Some Love |
12" |
Creation Records |
1991 |
|
Makin' Time |
Rhythm & Soul |
Album |
Countdown |
1992 |
|
Manfred Mann |
Please Mrs Henry |
7" |
|
1971 |
|
Manfred Mann Chapter 3 |
Manfred Mann Chapter 3 |
Album |
Polydor |
1969 |
|
Manfred Mann Chapter 3 |
Volume 2 |
Album |
|
1970 |
|
Manfred Mann Chapter 3 |
Volume 3 (Unreleased) |
Album |
|
1970 |
|
Manfred Mann |
Stepping Sideways (Unreleased) |
Album |
Philips |
1971 |
|
Manfred Mann |
Living Without You |
7” |
Philips |
1971 |
|
Manfred Mann |
Mrs. Henry |
7” |
Philips |
1971 |
|
Manfred Mann's Earth Band |
I’m Up and I’m Leaving |
7” |
Polydor |
1972 |
|
Manfred Mann's Earth Band |
Meat |
7” |
Philips |
1972 |
|
Manfred Mann's Earth Band |
Manfred Mann's Earth Band |
Album |
Philips |
1972 |
|
Manfred Mann's Earth Band |
Glorified Magnified |
Album |
Philips |
1972 |
|
Manfred Mann's Earth Band |
Get Your Rocks Off |
7” |
Vertigo |
1973 |
|
Manfred Mann's Earth Band |
It’s All Over Now Baby Blue |
7” |
Polydor |
1973 |
|
Manfred Mann's Earth Band |
Get Your Rocks Off |
Album |
Polydor |
1973 |
|
Manfred Mann's Earth Band |
Messin' |
Album |
Vertigo |
1973 |
|
Manfred Mann's Earth Band |
Joybringer |
7” |
Vertigo |
1973 |
|
Manfred Mann's Earth Band |
Mardi Gras Day |
7” |
Polydor |
1973 |
|
Manfred Mann's Earth Band |
Solar Fire |
Album |
Bronze |
1973 |
|
Manfred Mann's Earth Band |
Father of Day, Father of Night |
7” |
Bronze |
1974 |
|
Manfred Mann's Earth Band |
Be Not Too Hard |
7” |
Bronze |
1974 |
|
Manfred Mann's Earth Band |
The Good Earth |
Album |
Bronze |
1974 |
|
Manfred Mann's Earth Band |
Spirits In The Night |
7” |
Bronze |
1975 |
|
Manfred Mann's Earth Band |
Nightingales & Bombers |
Album |
Bronze |
1975 |
|
Manfred Mann's Earth Band |
Blinded By The Light |
7” |
Bronze |
1976 |
|
Manfred Mann's Earth Band |
Questions |
7” |
Bronze |
1976 |
|
Manfred Mann's Earth Band |
The Roaring Silence |
Album |
Bronze |
1976 |
|
Manfred Mann's Earth Band |
California |
7” |
Bronze |
1977 |
|
Manfred Mann's Earth Band |
Mighty Quinn |
7” |
Bronze |
1978 |
|
Manfred Mann's Earth Band |
Davy’s On The Road Again |
7” |
Bronze |
1978 |
|
Manfred Mann's Earth Band |
Watch |
Album |
Bronze |
1978 |
|
Manfred Mann's Earth Band |
Don’t Kill It Carol |
7” |
Bronze |
1979 |
|
Manfred Mann's Earth Band |
Angel Station |
Album |
Bronze |
1979 |
|
Manfred Mann's Earth Band |
You Angel You |
7” |
Bronze |
1980 |
|
Manfred Mann's Earth Band |
Lies Through The 80’s |
7” |
Bronze |
1980 |
|
Manfred Mann's Earth Band |
For You |
7” |
Bronze |
1980 |
|
Manfred Mann's Earth Band |
Chance |
Album |
Bronze, Ariola |
1980 |
|
Manfred Mann's Earth Band |
I (Who Have Nothing) |
7” |
Bronze |
1981 |
|
Manfred Mann's Earth Band |
Redemption Song |
7” |
Bronze |
1982 |
|
Manfred Mann's Earth Band |
Eyes of Nostradamus |
7” |
Bronze |
1982 |
|
Manfred Mann's Earth Band |
Somewhere in Afrika |
Album |
Bronze |
1982 |
|
Manfred Mann's Earth Band |
Tribal Statistics |
7” |
Bronze |
1982 |
|
Manfred Mann's Earth Band |
Demolition Man |
7” |
Bronze |
1982 |
|
Manfred Mann's Earth Band |
Third World Service |
7” |
Bronze |
1983 |
|
Manfred Mann's Earth Band |
Budapest |
Album |
Bronze |
1983 |
|
Manfred Mann's Earth Band |
Davy’s On The Road Again |
7” |
Bronze |
1984 |
|
Manfred Mann's Earth Band |
Rebel |
7” |
Arista |
1984 |
|
Artist |
Title |
Format |
Label |
Year |
|
Manfred Mann's Earth Band |
Runner |
7” |
Bronze/ Arista |
1984 |
|
Manfred Mann's Earth Band (With Chris Thompson) |
Do Anything You Wanna Do |
7" |
10 Records, Virgin |
1986 |
|
Manfred Mann's Earth Band (With Chris Thompson) |
Criminal Tango |
Album |
|
1986 |
|
Manfred Mann's Earth Band (With Chris Thompson) |
Going Underground |
7”/ 12" |
10 Records, Virgin |
1986 |
|
Manfred Mann's Earth Band |
Masque |
Album |
10 Records, Virgin |
1987 |
|
Manfred Mann's Earth Band |
Geronimo’s Cadillac |
7” |
10 Records, Virgin |
1987 |
|
Manfred Mann's Plain Music |
Plains Music |
Album |
Rhythm Safari |
1991 |
|
Manfred Mann's Earth Band |
Soft Vengeance |
Album |
Cohesion |
1996 |
|
Manfred Mann's Earth Band |
Nothing Ever Happens |
Single |
Cohesion |
1996 |
|
Manfred Mann's Earth Band |
Tumbling Ball |
Single |
Cohesion |
1996 |
|
Manfred Mann's Earth Band |
Pleasure and Pain |
Single |
Cohesion |
1996 |
|
Manfred Mann's Earth Band |
Mann Alive |
Album |
Virgin |
1998 |
|
Manfred Mann's Earth Band |
The Mighty Quinn |
Single |
Virgin |
1998 |
|
Manfred Mann's Earth Band |
2006 |
Album |
Creature |
2004 |
|
Mark Rogers |
Step In The Right Direction |
12” |
Freetown Inc |
1989 |
|
Masekela |
Manana Tomorrow |
Album |
WEA |
1987 |
|
Masekela |
Tomorrow |
Album |
Warner Bros Records |
1987 |
|
Masekela |
Tomorrow |
Album |
WEA |
1987 |
|
Matt Bianco |
Matt Bianco |
Album |
|
1986 |
|
Matt Bianco |
Matt Bianco |
Album |
|
1986 |
|
Maxi Priest and Caution |
You’re Safe |
Album |
Disky |
1998 |
|
Mecano |
Entre El Cielo Y El Suelo |
Album |
Ariola |
1986 |
|
Mecano |
Entre El Cielo Y El Suelo |
Album |
Ariola |
1992 |
|
Meera Fe |
Kiss From Heaven |
Album |
|
2004 |
|
Mike Hugg |
Stress & Strain |
Album |
Polydor |
1973 |
|
Monty Python |
The Monty Python Matching Tie And Handkerchief |
Album |
Charisma |
1973 |
|
Motor Boys Motor |
Motor Boys Motor |
Album |
Albion Records |
1982 |
|
Mrs Robinson |
The Amazing Mrs. Robinson Sings Gems From The Swing Era |
Album |
Big Ben Records |
1975 |
|
Museka |
Beautiful in Red |
12” |
Better Days |
1992 |
|
Musical Youth |
Different Style |
Album |
MCA Records |
1984 |
|
Musical Youth |
Pass The Dutchie |
12” |
MCA Records |
1982 |
|
No-Man |
Lovesights – An Entertainment |
Album |
One Little Indian |
1991 |
|
Orbital / Therapy |
Belfast/Wasted (The Best Of Volume EP) |
12” |
Volume |
1995 |
|
Pacific Eardrum |
Pacific Eardrum |
Album |
Charisma |
1978 |
|
Paul Roberts |
Slowdown |
Album |
Sonet |
1992 |
|
Paul Young |
No Parlez |
Album |
CBS |
1983 |
|
Paul Young |
The Secret Of Association |
Album |
Columbia |
1985 |
|
Person To Person |
Stronger Than Reason |
Album |
|
1985 |
|
Philip Rambow |
Jungle Law |
Album |
Parlophone |
1981 |
|
Pioneers |
Feel The Rhythm |
Album |
Mercury |
1976 |
|
Poisongirls |
One Good Reason |
7” |
Illuminated Records |
1983 |
|
Raphael Ravenscroft |
Her Father Didn’t Like Me Anyway |
Album |
Portrait |
1979 |
|
Roger Chapman |
Leader of Men |
12” |
Instant Records RCA |
1984 |
|
Roger Chapman |
Siting Up Pretty |
7” |
Instant Records RCA |
1984 |
|
Roger Chapman |
Live in Berlin |
Album |
Polydor |
1985 |
|
Roger Chapman |
The Shadow Knows |
Album |
Castle Classics |
1993 |
|
Roger Chapman |
Zipper |
Album |
Essential |
1999 |
|
Roman |
Naked Stories |
Album |
WEA |
1994 |
|
Artist |
Title |
Format |
Label |
Year |
|
Rubicon |
Room 101 |
Album |
Beggars Banquet Primary |
1995 |
|
Sharon Benson |
Fighting Chance |
7” |
|
1986 |
|
Shriekback |
Oil and Gold |
Album |
Arista |
1985 |
|
Shriekback |
Oil and Gold |
Album |
Island Records |
1985 |
|
Skrewdriver |
Back With A Bang |
12” |
Boots & Braces Record Label |
1982 |
|
Slade |
Rogues Gallery |
Album |
Castle Communications PLC |
1993 |
|
Snug |
Ode To The Day |
7” |
WEA |
1997 |
|
Snug |
Beatnik Girl |
7” |
WEA |
1998 |
|
Squeeze |
Cosi Fan Tutti Frutti |
Album |
|
1985 |
|
Squeeze |
Babylon And On |
Album |
A&M Records |
1987 |
|
Squeeze |
Babylon And On |
Album |
|
1987 |
|
Steps |
Spectacular |
Album |
Jive |
1999 |
|
Stereo MC's |
Connected |
Album |
|
1992 |
|
Stereo MC's |
Ground Level/ Everything |
12" |
4th & Broadway/ Gee Street |
1993 |
|
Suzie Quatro & Reg Presley |
Wild Thing |
7" |
PRT |
1986 |
|
Suzie Quatro & Reg Presley |
Wild Thing |
12" |
PRT |
1986 |
|
Tenpole Tudor |
Eddie, Old Bob, Dick and Gary |
Album |
Stiff Records |
1981 |
|
Test Dept / Brith Gof |
Test Dept. / Brith Gof - Gododdin |
Album |
|
1989 |
|
The Adult Net |
Edie |
12" |
Beggars Banquet |
1985 |
|
The Beatmasters |
Burn It Up |
Album |
Virgin |
1989 |
|
The Beatmasters with PP Arnold |
Burn It Up |
7" |
Torso |
1988 |
|
The Christians |
The Christians |
Album |
Island Records |
1987 |
|
The Christians |
The Christians |
Album |
|
1987 |
|
The Christians |
The Christians |
Album |
Island Records |
1987 |
|
The Christians |
Colour |
Album |
Island Records |
1990 |
|
The Damned |
Best Of Vol 1½ - The Long Lost Weekend |
Album |
Big Beat Records |
1988 |
|
The Damned |
Machine Gun Etiquette |
Album |
|
2004 |
|
The Farmers Boys |
For You |
7" |
EMI |
1983 |
|
The Flying Lizards |
Fourth Wall |
Album |
Virgin |
1981 |
|
The Future Sound of London |
Papua New Guinea |
|
|
1992 |
|
The Heart Throbs |
Cleopatra Grip |
Album |
Elektra |
1990 |
|
The Heart Throbs |
Spongy Thing |
7" |
One Little Indian |
1992 |
|
The Heart Throbs |
She's In A Trace |
7" |
One Little Indian |
1992 |
|
The Heart Throbs |
Jubilee Twist |
Album |
One Little Indian |
1992 |
|
The Long Ryders |
State Of Our Union |
Album |
Island Records |
1985 |
|
The Millionaire Hippies |
I Am The Music / Hear Me |
7" |
Deconstruction |
1993 |
|
The Shakin' Pyramids |
Celts and Cobras |
Album |
Virgin |
1982 |
|
The Shakin' Pyramids |
Shakin' Pyramids |
Album |
Rock'N'Roll Records |
1983 |
|
The Shamen |
En-tact |
Album |
One Little Indian |
1990 |
|
The Sound Of Shoom Featuring Eusebe |
I Hate Hate |
12" |
Creation Records |
1990 |
|
The Tempest |
The Tempest |
Album |
Magnet |
1986 |
|
The Three Johns |
(Crime Pays…Rock And Roll In The) Demonocracy - The Singles 1982-1986 |
Album |
Abstract Records |
1986 |
|
The Tourists |
The Loneliest Man In The World |
7" |
Logo |
1979 |
|
The Wallflowers |
Blushing Girl Nervous Smile` |
12" |
Mantre Records |
1986 |
|
The Waterboys |
This Is The Sea |
Album |
Island Records |
1985 |
|
The Waterboys |
This Is The Sea |
Album |
Island Records |
1985 |
|
This Heat |
This Heat |
Album |
Atem |
1979 |
|
Artist |
Title |
Format |
Label |
Year |
|
This Heat |
Repeat |
Album |
These Records |
1998 |
|
Two Minds Crack |
The Hubnger And The Greed |
12" |
Sedition |
1984 |
|
Two Minds Crack |
The Hunger & The Greed |
7" |
PRT, Zafiro |
1984 |
|
Tyke |
Garden Party |
7" |
Magnum |
1976 |
|
Tyke |
Picture Postcard |
Album |
|
1977 |
|
Various |
Live - A Week At The Bridge E16 |
Album |
Bridge House Records |
1978 |
|
Various |
Wasted - The Best Of Volume (Part 1) |
Album |
Volume |
1995 |
|
Various |
Abbamania |
Album |
Polydor, Universal Music TV |
1999 |
|
Vibraphonic |
Vibraphonic |
Album |
Hollywood Records |
1995 |
|
Voa Magnet |
Computador |
Album |
Danceteria |
1991 |
|
Well Red |
Motion |
Album |
Virgin America |
1987 |
|
Westlife |
What Makes A Man (Single Remix) |
Single |
RCA, Deconstruction |
2000 |
|
Wet |
Boy Among Girls |
7" |
S.T.D. Records |
1983 |
|
Workshy |
Heaven |
Album |
|
1993 |
Source (Discogs & Ian Tompson)
PE 50th Anniversary - Page 17
First UK Article on Manfred Mann – Phase 4
Melody Maker – 29 May 1971
PEOPLE seem to have this weird impression of Manfred Mann: a real heavy pulling little moodies when he fancies, a south African outcast who came to Britain to make money and good singles and commerciaI soundtracks.
Then a man who turned his back on the whole bit destroying his ‘pop’ band and forming a musical outfit with his long time sideman Mike Hugg.
Well he does pull moodies, and he can aggravate people, but there's always a reason behind everything he does.
He pulled one at his publicists office the other day, ripping up a set of photos his PR girl had just given to me. There was a reason — the photos made his new four piece band out to be happy little fellas playing nice music. And that is not how he sees the band exactly. Yes they have made a pop single for release in June. But Manfred sees them as the best live band he has had.
After having heard the single on acetate form for the first time with me, he said of it, “It's a crying shame really because it does not reflect what we sound like live."
But he's a proud man, and when I said the Randy Newman song sounded like a hit to me, he was pleased and worried at the same time. Worried that the single might attract young people and that that might mean he has to go round the ballroom circuit playing to a screaming audience.
"I've just got together with three guys and formed another group,” said Manfred as he answered my question about the band." This group is not self conscious like the other bands. Of all the things we have done so far the live gigs have been the best.
"We have just been to Australia with Deep Purple and Free, and the guys in Purple thought that this is the best band that has played with me. We're aiming at getting over on the live thing but if I feel like recording a single then I don't see why I shouldn't."
The Manfred Mann Chapters came along in a period of rock and roll music when musicians seemed to be going out and showing how they could actually play. Egged on by the small minority of rock sidesmen who were pushing bands too far, quite a few rock bands began to lose touch with people. The Chapters were like that, with horn arrangements and keyboards they were trying too hard to get out of pop and become respectable musicians. “Just now I feel that I want to play, play good rock music so that it is an enjoyable evening for everyone.
“I don't feel that I have to get up on stage and prove myself. There are bands that I have seen and they shall remain nameless — that seem to be going out on stage and trying to prove themselves by playing songs with this and that number of chords. This and that clever time changes. I've got to say that I just want to get up and play and that again almost sounds contrived. "But I'm not going to say that I am ashamed of making pop records anymore," said Manfred.
“I don't think the Chapter III band was contrived, but there were areas of activity that I had closed up in my mind. I cut off doing singles. We didn't want another guitarist in the. band, there were whole areas that I had excluded.
Chapter II was not good live, Chapter III was better, but this band is far ahead in terms of excitement. I am even wearing a Mickey Mouse jacket on stage now, instead of wearing old jeans."
The new Manfred Mann — Manfred, organ and synthesiser, Mick Rodgers (sic), guitar and vocals, Collin (sic) Pattenden, bass guitar, and Chris Slade, drums also ends Manfred's long partnership with Mike Hugg which goes right back to the pre Ready Steady Go days. Mike was singing and writing most of the songs, more and more it becoming obvious that it was Mike's scene. We agreed that it would be better for him, and for me if we split. I'm not involved with him. But it did not make sense for me to be hanging around while he was doing his thing. He is recording an album at moment, from bits I have heard in the studio it sounds very good."
MARK PLUMMER
PE 50th Anniversary - Page 18
Rene’s Café was a regular haunt for the band in the early days being just down and across the road from The Workhouse.