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Post by Patrick Coles on Sept 9, 2013 16:59:36 GMT
No I'm not confusing anything, The Hollies appeared on the Bobbie Gentry Show in May 1968 (per drummer Bobby Elliott) - I have that version of 'Blowin..' sung with Nash on the DVD.
The performance may of course well have then had a later transmission date on 3rd August of course, which would not be unusual.
They appeared again later on Bobbie's show with Terry Sylvester. They actually had recorded a version of 'Louisiana Man' at Abbey Road with Sylvester for the quickly aborted; 'Hollies Sing Country' album project in 1969.
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Post by Patrick Coles on Sept 9, 2013 9:54:21 GMT
A rare colour TV performance by The Hollies (with Graham Nash - about six months before his departure from the group) singing Bob Dylan's 'Blowin' in The Wind' (with studio accompaniment) is featured on the rather dubious sourced 'Hollies: The Nash Years' DVD which I believe was taken from 'The Bobbie Gentry Show' in 1968 The Hollies (with Nash) appeared on 'The Bobbie Gentry Show' on 30 May 1968 - per a concert tour booklet edited by their drummer Bobby Elliott.
The TV performance certainly dates from mid 1968, looking at Nash (by then minus his 1967 'hippie beard' but still with moustache) but the footage being in colour is interesting as UK TV was still in b/w then, tho' I understand shows were already being made in colour at that time as colour TV was coming to the UK soon...
I know The Hollies appeared both with Graham Nash, then later with Terry Sylvester, on Bobbie's show - they sang a version of; 'Louisianna Man' later with Sylvester between 1969 and 1971.
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Post by Patrick Coles on Sept 9, 2013 9:35:29 GMT
Sky Arts 1 channel regularly repeat these 'Beat Beat Beat' performances
I have seen this Cat Stevens one a good few times...plus The Kinks, Hollies, Small Faces, Yardbirds, Troggs, Eric Burdon & The New Animals, Dave Dee & Co, and The Jimi Hendrix Experience.
The Jimi Hendrix one is on today (Monday) at 5.20p.m.
Cat appears to be mimeing here to the single 'A' & 'B' side but each of the above other artists are playing 'Live' in concert, Cat only sings the two songs, while most of the others do between three and five numbers.
they date from between early 1966 and 1967, thankfully the astute Germans wisely retained this material (likewise their Rockpalast shows etc)...
no doubt if this had been a BBC show it would all now be nothing but a mere memory....
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Post by Patrick Coles on Sept 3, 2013 18:44:49 GMT
Sadly a disillusioned and emotionally battered Pete Ham became 'boxed in' by umpteen problems, professional, business, & personal and sadly caved in under the strain....
Pete mentioned the American manager guy by name in his suicide note...
In that book 'Without You' it tells of how Tom Evans became very disturbed by Pete's death (Tom was the one who found Pete in his garage), and after a number of later problems re an American tour - during which Tom & another guy apparently had to hide in a house and were reduced to eating cat food !, then had to flee the USA back home...) , and the seemingly endless ongoing business problems etc Tom it seems 'opted out' (I read he had a very acrimonious argument on the phone with a colleague the night before he died) - Tom was also very upset by the death of John Lennon in 1980 which probably also contributed to his state of mind....
the cover of their last Apple album 'Ass' - a donkey wearing headphones being 'lured' by a big hand in the sky offering a large carrot - is meant to reflect their misgivings about being lured away from their percieved spiritual home of The Beatles record company Apple ( which by 1975 was then fast collapsing and jettisoning other artists like James Taylor, Hot Chocolate, etc) - hence Pete's 'Apple of My Eye' song beginning with; 'Oh I'm sorry but it's time to move away...' - to the more corporate Warners...
where a large advance of Warners money duly went missing - Badfinger certainly never saw any of it - causing Warners lawyers to advise them to pull the new album; 'Wish You Were Here' album OFF the market just as it was picking up initial healthy sales...
Tom's cutting song 'Hey, Mr.Manager' on 'Head First' (1975- but left unissued at the time due to Pete's death & only finally issued in recent years) refers to how the manager was ruining his life too...('Head First' cover of an open mouthed Lion was meant to depict what they were diving 'Head First' into....!), while Pete's song 'Keep Believing' was for disillusioned bandmate Joey Molland who had by then quit the band...
Tom & Joey Molland HAD already reformed Badfinger circa 1979 and cut two albums; 'Airwaves' (on Elektra records) & 'Say No More' but the reunion largely faltered with only a minor USA hit in Toms' lovely song; 'Lost Inside Your Love' (a couple of newer bandmates quit just as 'Airwaves' came out, hence only Tom & Joey are pictured on the album cover), they deserved to do so much better.
it's an unbelievably sad story....yet underneath the sad 'shadow' of the tragic tale the music of Badfinger itself, is quite superb, brilliantly played & sung, and often very sunny and uplifting !
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Post by Patrick Coles on Sept 3, 2013 9:44:00 GMT
A true Gentleman & top Presenter
David Jacobs was older & 'posher' than much of the youth audience of his 'Juke Box Jury' and TOTP but kids respected him nevertheless as he really knew his music and would play anything from Mantovani to Bob Marley to The Beatles.
Both The Beatles & members of The Rolling Stones were on JBJ and he also presented his own BBC TV show & 'Come Dancing' besides doing so much radio broadcasting...
David Jacobs also made a memorable guest appearance as a BBC presenter in 'Some Mothers Do 'Ave 'Em' trying to film D.I.Y. man Frank Spencer (Michael Crawford) at his home....with disaster following !
A consumate TV and radio presenter from a time long gone, when being educated well spoken, and immaculately turned out was the norm....
how times have changed !
first Sir David Frost, now David Jacobs...not been a good week so far has it ?
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Post by Patrick Coles on Aug 31, 2013 11:40:03 GMT
Yeah many artists were ripped off by either dodgy 'managers' or other 'advisors'etc
Heinz Burt (who was later in very poor health and much needed the cash) sadly never got his due royalties from The Tornados USA and UK chart topping hit 'Telstar'....and that record's royalties (or held up lack of) duly led to a shocking murder crime and suicide in February 1967....
The Moody Blues first management team 'did a runner' with all the money from 'Go Now', while Justin Hayward bitterly regretted his signing up to Lonnie Donegan's 'Tyler Music' (against Marty Wilde's advice) as most of Hayward's really famous songs such as 'Nights in White Satin', 'Tuesday Afternoon' etc were all under that Tyler contract (Lonnie himself had earlier been 'ripped off' when he only got the basic musicians union payment for his massive hit 'Rock Island line')
most members of The Animals never saw much from their hits either, Drummer John Steel spoke of how he was still having to catch the bus when he was at number one in the charts while others were driven by in expensive cars...
while The Fortunes manager was shot dead....!
The Shadows were quite canny however, especially with their 'Shadows Music' publishing company, while Dave Clark was quite on the ball too...
The Hollies had a very murky early managerial set up, with no clear manager early on, and that ultimately led to bassist Eric Haydock's departure in 1966 as he felt they were being ripped off - they later sorted themselves out by getting that much better 'Leasing back' deal with EMI (hence: 'A Hollies Recording' from later 1966 onwards) - a similar proposed deal was apparently rejected by EMI later re The Shadows hence they relocated to Polydor in 1980.
Badfinger's tragic story should be REQUIRED reading for every young musician...they were mega naive in 'assuming' they were being looked after, sadly this was not the case....and we all know what that led to in 1975 and 1983 respectively
The Beatles, most notably Lennon & McCartney got rather ripped off re Northern Songs, where others got a hefty slice of THEIR earnings (I think they only got about a measly 25% of the royalties !) ...hence Paul being so 'business aware' in later years...Brian Epstein looked after them more than many managers...but he could have demanded ALOT more re the films etc from United Artists once they broke in America,
Ray Davies wrote that song 'The Moneygoround' on the 'Lola' album about The Kinks financial nightmares...even 'naming names' !!
Was Brian Jones shock death 'linked' in any way to his exit from the Rolling Stones group...and then wanting his slice of the cake ? - we can only guess and will probably never know the full truth ...
When it comes to the money, it's a very murky world indeed....
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Post by Patrick Coles on Aug 28, 2013 9:51:00 GMT
Re The Moody Blues:
Mike Pinder & Justin Hayward were already composers (Mike initially co-writing with Denny Laine in the earlier 'Go Now' 1964-66 period, Justin had cut a single of his 'London is Behind Me' prior to joining the group in 1966)
they had their own distinctive style of songs and normally the lead singer was the songwriter - a few collaborations are credited as between Hayward & Thomas with a lone Pinder-Lodge 1969 song ('Out And In') , while Edge-Hayward wrote 'You And Me' on 'Seventh Sojourn' album (1972)
Early on it's noticeable Justin Hayward would take vocals on the Hayward-Thomas songs, plus that Edge-Hayward track and even sang most of Pinder's 'Dawn is A Feeling' at Mike's choosing (Pinder sang the bridge section)
they sang some John Lodge songs in four part lead harmony, while Hayward & Lodge co-sang lead on Lodge's songs; 'Candle of Life' and 'Isn't Life Strange ?' It is true that they each 'chipped in' their 'pennyworth' of ideas to each other's songs with say Hayward coming up with the guitar lines, while Mike Pinder added the 'overall symphonic sound' to most of their songs, most notably the orchestral wave on 'Nights in White Satin' & was the band's 'arranger'
Ray Thomas has said you sometimes had to 'bite the bullet' and accept it if the songwriter rejected a 'great idea' you had for their song, but then so did they if it was your song...
you can see that Hayward penned the most commercial very memorable wistful & also the rockier material, Lodge too (often writing the gentler love songs with the odd uptempo song ), Thomas wrote the more humourous 'pithy' & quirkier songs with the odd reflective song, while Pinder wrote the deepest 'spacier' songs often with strong classical overtones (something they later badly missed)
they all jointly took a credit on the weird track; 'Procession' (1971) on 'Every Good Boy...' album
Graeme Edge initially only wrote the poetry (mostly read by Mike Pinder) , later they all helped him on his songs from 1969 onwards ('Higher And Higher' & instrumental 'Beyond' etc) but gave Edge the sole composer credit ('Bless 'em' Edge recalls in that 'Classic Artists' DVD)
- Edge said his first complete sole song composition was: 'Little Guy' (aka: 'I'll Be Level With You' on 'Octave' in 1978) & we assume his songs therafter ('The Spirit' in 1986 co-written with Pinder's successor keyboardist Patrick Moraz)
Hayward or Lodge wrote all the band's UK singles from 1967 after Mike's 'Love And Beauty'. After Pinder retired from the band in 1978 it was notable that alot of the songwriting responsibility fell on Justin Hayward, whose songs kicked off ALL the later albums, and wrote most singles either alone or collaborating with Lodge
with Hayward thereafter writing most, Lodge was second prolific later songwriter plus 'Hayward-Lodge' as Ray Thomas and Graeme Edge's contributions largely tailed off after 1983 and 1986 respectively ...with the odd exception much later on prior to Ray's retirement in 2002.
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Post by Patrick Coles on Aug 12, 2013 13:37:58 GMT
Re 'Semi Detached...' yeah the extra call of 'Mister James' at the ending is present in mono but missing on the stereo version
The Hollies first album 'Stay With...' (1964) had a pretty good stereo mix (PCS 3054) while originally their second & third albums were only released in mono versions, tho' later issued stereo versions were in the cheapo stereo, their fourth ('Would You Believe ?- 1966 ) also had the naff cheapo stereo, as later did 'Evolution' (1967) however in between 'For Certain Because...' (1966) had a very good stereo version...!
It was EMI not the band themselves doing this poor stereo - some early Beatles & Cliff/Shadows, plus other groups EMI recordings suffered from poor stereo mixes too
'On The Beach' (1964) by Cliff/Shadows sounds laughable in stereo where Cliff (who suffers a 'coughing fit' during the instrumental section) has the whole centre range and one stereo channel all to himself...yet The Shadows are all 'squeezed up' on the other stereo channel (who mixed that ?)
Re cotroversial lyrics and bans...
The lyrics being picked up by censors was very er 'hit & miss' in the sixties - The Hollies 'Stop Stop Stop' was all about molesting a belly dancer yet no one saw any problems here (it was banned in some USA States), Dave Dee & Co's 'You Make it Move' & 'Bend it' were deemed 'riskay' but no one minded that much
while The Manfreds were being 'chastised' over Bob Dylan's 'If You Gotta Go, Go Now' & The Rolling Stones likewise re; 'Let's Spend The Night Together'.....who spotted the 'happy boys next door' band Herman Hermits sing; 'I gotta feeling you won't be leaving...tonight' (in 1966 - which they sung on 'Morecambe & Wise' ITV show !)
The Small Faces drug songs 'Here Come The Nice' & 'Itchycoo Park' escaped any censorship...yet their simple love song 'I Can't Make it' got a ban...!
Ray Davies Kinks song 'Plastic Man' got very restricted airplay if not an outright ban as Ray sings the word 'BUM' in it...so in 'Apeman' Ray sang; 'The air pollution is F*cking (not 'fogging' !) up my eyes...'and it slipped through as had his song 'Lola' full of double meanings ('I'm glad I'm a man...and so is Lola')
Later The Who's 'Who Are You' also has Roger Daltrey ask; 'Who The F*ck are you...?' which slipped through...
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Post by Patrick Coles on Aug 12, 2013 8:56:01 GMT
thanks for that interesting info Phillip (not 'out of bounds' at all as far as I'm concerned) - yes it's shocking how little regard EMI had re those multi tracks..
(supposedly 'The Greatest Recording Organisation in the world' as they boasted) - I think it was John Lennon who once said: EMI stood for 'Every Mistake Imaginable'...
EMI 'misplaced' the stereo masters of a good few top artists, and have 'mis-mastered' a number of tracks in latter years, notably totally 'chopping' Tom McGuinness guitar intro to 'Mr.Anello' on the stereo CD version of 'Five Faces of Manfred Mann'...(it's still there on the stereo version on 'Soul of Mann' CD however)
EMI could still put together a strong collection of just the "non album" songs from 1963-66 period featuring Paul Jones, the exclusive EP tracks like 'Can't Believe it', 'Groovin', 'Did You Have To Do That', 'Tired of Trying...', 'Machines' etc etc, plus all the 'B' sides that were never on any albums such as 'Stay Around', 'What Did I Do Wrong', 'You're Standing By' etc , plus the odd singles songs like; 'Cock-A-Hoop', 'You Gave Me..', and the overseas tracks such as; 'My Little Red Book' and 'Dashing Away With The Smoothing Iron' etc - a full CD collection of 1963-66 era 'odds and ends' could be put together, and that stereo 'She Needs Company' you mentioned would go well on that as a bonus for Manfred collectors...yes ?
I've have always felt the conclusion of 'Ha ! Ha ! Said The Clown' sounded like the 'intro' spliced onto the ending ...
a few little bits I have noticed re Manfreds recordings:
Paul Jones era: - that MFP cheapo LP 'Greatest Hits' is worth grabbing as most of the tracks are stereo versions , tho' '5-4-3-2-1' & 'Sha La La' are mono reprocessed for stereo
the mono 'You Gave Me Somebody To Love' is complete but the stereo version lacks some instrumentation & (if I recall correctly without checking) some of the backing vocals, whatever, they do differ notably.
the mono single hit take of 'Do Wah Diddy Diddy' is far more powerful with Manfred's electric organ far more prominent (I know that sounds rude these days !) and has an emphatic drum conclusion towards the end, but in stereo Manfred loses alot of his keyboard power in the mix and the drum conclusion sounds less emphatic ( even a bit indecisive - which must be the 'mix' never Mike Hugg going wrong !)
on 'Hi Lili Hi Lo' (on 'Mann Made' album) the stereo version differs slightly to mono as Paul Jones sings; 'Let me tell you...' right at the end on the fadeout (on the stereo version I think it is without checking) that line is missing (or virtually inaudible) in mono where the track fades faster - think I have that the right way around, but whatever the mono and stereo versions do differ slightly.
while on 'You're For Me' in stereo it sounds like a tape 'looped' or something right at the very end of the fadeout as the instrumentation seems to 'jump' right at the very end...but not so in mono where the fadeout might be a bit earlier, but there is no such 'error' on the mono fade....('errors' in stereo can be found on Beatles, Hollies, & others tracks that EMI corrected on the mono versions, but left in on stereo versions presumably as mono was back then the far more common selling format for 'Pop groups' & pop music records in general)
Re Mike d'Abo era - 'Trouble And Tea' (on 'As Is' album) in mono the woodwind part sounds notably different than in stereo due to the mix I assume
'My Name is Jack' has an emphatic drums intro in mono following the initial recorder & vocal intro but in stereo the drums are much quieter for a few seconds and the volume then sounds as if it's quickly being 'turned up'...! (American copies have Mike d'Abo singing; 'here comes Superman' but the UK version (mono & stereo) retains the controversial term 'Superspade'...
no doubt other differences on versions & between mono and stereo can be found too...
sorry to sound so very 'anorak-ish' here (LOL !) but these are little things I've spotted over time - about forty years plus so I'm not being 'all clever' here I assure you ! - and I just thought people might be interested
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Post by Patrick Coles on Aug 10, 2013 10:08:30 GMT
Re the posting above about season one being seen as a 'false start' - maybe the later producers did think that but I don't think it was really accurate if so
my Grandfather loved watching the essentially crime busting Ian Hendry / Patrick Macnee (all male team ) Avengers show & got us to watch it too getting my family hooked early on - it was a show appreciated by the public in 1961 which was duly commisioned for a second season but that was delayed by the actors strike (that saw John Paul axed from 'Probation Officer' per Patrick Macnee)
Thus after the delay when the show returned Ian Hendry had left - apparently not wanting to be type cast & he made a successful film during that period (so I've read) - they initially got in Jon Rollason as Dr. Martin King (he's in three season two episodes, the first three to be made) thus the idea of an 'all male' Avengers team of with Steed & a Doctor was at first mooted as being the way to continue, but after the idea of a female 'Co-Avenger' was made, with both Honor Blackman & Julie Stevens alternating as Steed's 'Co-Avenger' in season two they found that was very popular thus kept with it (Julie Stevens later leaving as she was pregnant & Honor Blackman proved the most popular Avenger girl)
Later when Honor quit they again initially opted to keep the SAME established premise (as earlier re Steed & a male Doctor) by having a blonde 'Co-Avenger' casting Elizabeth Shepherd as blonde Emma Peel before Brian Clemens brought in young Diana Rigg as Emma...
but the Ian Hendry/Patrick Macnee first season was popular with viewers hence it was recommissioned for a further season and a fair bit of Ian Hendry's 'talented amateur' Co-Avenger who often goes it alone on a lead...and kept Steed's excesses in check was retained as it was later passed onto the respective 'Avenger girls'
As there was no 'Avenger girl' in that first season (besides Keel's secretary Carole played by Ingrid Hafner) & most episodes (so far at least) are missing the later Avengers Documentaries tend to 'skip over' and unjustly ignore that first essentially crime busting Avengers season (which, prophetically ended with 'Dragonsfield' just featuring Steed & was a more sci fi themed episode)
The Ian Hendry / Patrick Macnee 'Original' Avengers deserve to be acknowledged & remembered alongside the later better known teams of Steed & his Lovely ladies
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Post by Patrick Coles on Aug 8, 2013 9:34:44 GMT
Many Thanks for taking the time in listing your issues held & your scans of articles so far William !
your postings on Manfred Mann have been excellent and fascinating as they and their 'story' have been massively overlooked by Music historians considering they (including Chapter Three, Earthband, The Blues Band, & solo & duo works etc) have played such a major part in contemporary Popular music since 1963.
Seldom can such a major group as Manfred Mann, and the subsequent bands & other projects of the various band members been so badly overlooked by music writers & historians.
Groups like Manfred Mann, The Hollies, The Dave Clark Five & some notable others never had any books devoted to them and Manfred Mann are possibly the most 'ignored' of the lot (while in truth MANY far less successful acts have almost had libraries devoted to them...)
so well done William for your valuable contributions on this forum.
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Post by Patrick Coles on Aug 6, 2013 18:14:17 GMT
Yeah Mike Vickers is one of those 'unsung heroes' of Popular music
I remember noticing a photo in 'Record Collector' magazine years ago (when it was a tiny booklet) of George Harrison and Mike Vickers programming the early synth' used by The Beatles on 'Abbey Road' in 1969 - notably on 'Maxwell's Silver Hammer', 'I Want You (She's So Heavy)', 'Here Comes The Sun', 'Because' & during the 'suite' on side two...the early synth' resembled a telephone operator's panel !
I also spotted Mike Vickers as one of the recording engineers team on Gentle Giant's 'Octopus' album in 1972 on Vertigo records.
Mike worked behind the scenes on fellow Ex-Manfred Mike Hugg's solo album 'Stress And Strain' (Polydor 1973) doing the 'moog synth' settings' (his surname misspelt as 'Vicars' !)
In addition Mike was an in demand arranger for The Hollies (on their mid sixties albums; 'For Certain Because..' & 'Evolution') and with solo singers such as Cilla Black, Ken Dodd etc (then all EMI acts)
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Post by Patrick Coles on Aug 6, 2013 12:06:40 GMT
Great posts William - Thanks !
Interesting Manfred Mann are billed at 'The Ultimate in Rhythm & Blues' and 'In the charts with '5-4-3-2-1' (a pop song)
Tom McGuinness said of how after having a few 'Pop' hits they went back to play a 'R & B' club and the 'atmosphere' was AWFUL !
Tom spoke of the audience glaring at them (shades of Dylan going electric to cries of 'Judas !')
- how mega serious young music fans could be in those days....
note the 'introducing' of Alex Harvey's Soul Band at the bottom of the bill....
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Post by Patrick Coles on Aug 6, 2013 11:50:25 GMT
For Manfred & Mike Hugg to undervalue 'chapters one & two' I suspect is along the same lines as say Graham Nash 'distancing himself' from The Hollies in 1969 after joining CSN (& Y), Steve Marriott 'going progressive' with Humble Pie after The Small Faces demise, Dave Dee & Carl Wayne exiting their bands DD,D,B, M & T and The Move for 'more serious' solo careers...
...and then the four Ex-Beatles 'distancing' themselves from the group after the acrimonious split in 1969-70.
Likewise the bearded acoustic singer/songwriter Cat Stevens also 'distanced' himself in 1970 from the snappy quirky clean shaven trendy sharp pop tunesmith of 1966-68 - even penning the self depreciating song 'Pop Star' re his earlier career on 'Mona Bone Jakon' album in 1970.
so Manfred & Mike Hugg's lack of respect for the two sixties 'pop' groups that were chapters one & two must be seen in that context, two still young successful musicians frustrated they were seen as 'mere pop stars' when wanting deeper critical respect & to make more ambitious music beyond the 'hit single' format (doing the film soundtrack in 1968 had given them a sight of another musical avenue & they had always enjoyed doing the 'non commercial' instrumentals from the start...)
Yet if we look at those 'pop records' we see alot of innovation - musically from vibes on 'Oh No Not My Baby', to flute on 'Come Tomorrow', to the distinctive guitar on 'Pretty Flamingo', to mellotron on 'Semi Detached..', 'Ha Ha Said The Clown', to recorder on 'The Mighty Quinn' and 'My Name is Jack' - while they spotted then little known Bob Dylan songs and popularised them (drawing praise from Dylan himself)
- putting a controversial lyric like; '...or else you gotta stay all night' HIGH into the UK singles chart in 1965 ('If You Gotta Go, Go Now') pre-dating The Rolling Stones 'Lets Spend The Night Together' (1967) by some two years was no poor achievement re ground breaking...
sax, flute, vibes, harmonicas, various guitars, bass solos, organ piano solos, use of brass sections (pre-Blood Sweat & Tears/Chicago etc), then mellotrons, recorder, harpsichord, tinkling pianos, classical guitar, steel guitar, taped effects, plus songs with unusual chord structures, unexpected tempo changes, and imaginative lyrics plus an ability to 'make a song their own' (as fellow long charting bands like The Hollies had) together with decent 'in house' songwriters, and (notably from 'chapter two') a clearly recognisable vocal harmony sound (d'Abo, Hugg, McGuinness, Mann) while the Paul Jones 'chapter one' version of the band often used Jones as a backup singer(s) to himself (notably on 'Do Wah Diddy Diddy') while the use of the distinctive falsetto ranged backup vocals was there earlier than in the 'Mike d'Abo' era ('Since I Don't Have You' etc)
both Mike Vickers & Tom McGuinness were strong guitarists too, & Klaus Voormann a notably prominent bass player.
So, while at the end of the sixties understandably recitent re their old group, Manfred Mann & Mike Hugg perhaps ought to have given 'Manfred Mann' a bit more credit ?
- Paul Jones on listening to his era recordings for the CD box set years later remarked how professional a band they were with Mike Hugg on Drums particularly impressing him
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Post by Patrick Coles on Aug 5, 2013 20:21:42 GMT
fine job William ! (it's not easy to scan these things)
Interesting Manfred felt the older pop group "didn't have more than a handful of fans...." (how many hits between 1964 and 1969....?)
talk about lacking faith in your own band ! - Manfred was actually quite wrong about us 'not likeing their personalities' too - Paul Jones & Mike d'Abo WERE rated highly for their looks and personalities (hence they successfully co-front 'The Manfreds' now), while Tom McGuinness was appreciated for his witty and wry sleeve notes alone (look how quickly The Blues Band with Paul & Tom as figureheads were later appreciated) , while the two Mikes, Klaus, (Beatles pal,& respected artist/musician) and even ol' enigma Manfred himself were 'respected' as music figures back in the sixties 'Chapter Three' made fascinating albums that you need to 'be in the mood for' but were so (deliberately) uncommercial they were bound to not last long....
Manfred's next group Earthband were then NOTABLY much more commercial - compare the two versions of 'One Way Glass' and songs like 'Living Without You', 'It's All Over Now Baby Blue' & 'Joybringer' etc, cut with Mick Rogers (let alone the later chart hits with Chris Thompson)
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