MANFRED MANN - Down The Road Apiece (1963-1966) 2007 4CD MP3@320

MANFRED MANN - Down The Road Apiece (1963-1966) 2007 4CD

2007 Digitally Remastered Four CD Retrospective Set of the Group's Recordings for EMI from 1963-66. Manfred Mann (The Band) was Started by Jazz Musicians Mike Hugg and Manfred Mann. Jazz was Fulfilling to Play, but Didn’t Pay Well, So They Decided to Change Direction and Form an R’n’b Band. They Recruited Other Similarly Under-employed Jazz Players and Held Auditions for a Singer Or "shouter" as it was Described to Paul Jones who Eventually Got the Job. The Line Up was Completed by Mike Vickers and Tom Mcguiness. Jones’ Harmonica Gave the Group their Distinct Sound and They Soon Became One of Britain’s Leading Rock Bands of the 60’s. They Hit the Top 10 Regularly with Hits Like "5-4-3-2-1", "do Wah Diddy Diddy", "Sha La La", "Come Tomorrow", "if You Gotta Go, Go Now" and "Pretty Flamingo". Includes Sleevenotes Written by Tom Mcguiness as Well as a Sessionography and Illustrated Discography. The Tracks Include Seven Previously Unreleased Recordings as Well as a Wealth of Rarities!



MANFRED MANN - Down The Road Apiece (1963-1966) 2007 4CD

Disc One = 67:52

01 - Why Should We Not

02 - Brother Jack (Frere Jacques)

03 - Now You're Needing Me

04 - Chattering

05 - Cock-A-Hoop

06 - 5-4-3-2-1

07 - Without You

08 - I'm Your Hoochie Coochie Man

09 - You've Got To Take It

10 - Down The Road Apiece

11 - Mr. Anello

12 - Sock O' Woe

13 - Hubble Bubble (Toil And Trouble)

14 - I've Got My Mojo Working

15 - Smokestack Lightning

16 - I'm Your Kingpin

17 - Ain't That Love

18 - Bring It To Jerome

19 - Sticks And Stones

20 - Untie Me

21 - Don't Ask Me What I Say

22 - It's Gonna Work Out Fine

23 - What You Gonna Do

24 - All Your Love

25 - Do Wah Diddy Diddy

26 - Groovin'



Disc Two = 66:29

01 - Can't Believe It

02 - The One In the Middle

03 - Did You Have To Do That

04 - A Love Like Yours (Don't Come Knocking Every Day)

05 - She

06 - John Hardy [Mono]

07 - Sha-La-La [Mono]

08 - Watermelon Man

09 - Dashing Away With The Smoothing Iron

10 - Come Tomorrow

11 - What Did I Do Wrong [Mono]

12 - I'll Make It Up To You

13 - With God On Our Side

14 - Look Away

15 - Sie (She In German)

16 - Weine Nicht (Come Tomorrow In German)

17 - Bare Hugg

18 - What Am I To Do

19 - Oh No Not My Baby

20 - L.S.D.

21 - I Can't Believe What You Say

22 - What Am I Doing Wrong-

23 - Poison Ivy



Disc Three = 68:27

01 - The Way You Do The Things You Do

02 - The Abomidable Snowman

03 - Watch Your Step

04 - Stormy Monday Blues

05 - I Really Do Believe

06 - You Don't Know Me

07 - My Little Red Book

08 - Since I Don't Have You

09 - You Gave Me Somebody To Love

10 - You're For Me

11 - Hi Lili Hi Lo

12 - If You Gotta Go, Go Now

13 - Stay Around

14 - There's No Living Without Your Loving

15 - Tired of Trying, Bored With Lying, Scared of Dying

16 - I Put A Spell On You

17 - God Rest Ye Merry Gentlemenn

18 - Let's Go Get Stoned

19 - That's All I Ever Want From You Baby

20 - Spirit Feel

21 - Tennessee Waltz

22 - When Will I Be Loved

23 - Tengo Tango

24 - Still I'm Sad



Disc Four = 68:52

01 - I Got You Babe [Mono]

02 - My Generation

03 - (I Can't Get No) Satisfaction [Mono]

04 - You're Standing By

05 - She Needs Company [Mono]

06 - Machines

07 - Driva Man

08 - It's Getting Late

09 - Pretty Flamingo

10 - Come Home Baby [Mono]

11 - Why Should We Not [Take 1] [Mono]

12 - I Don't Want To Know [Take 6] [Mono]

13 - Let's Go [Take 1] [Mono]

14 - Tell Me What Did I Say [Take 3] [Mono]

15 - Brother Jack [Take 3] [Mono]

16 - Without You [Take 2] [Mono]

17 - 5-4-3-2-1 (Parts 1 & 2) [Mono]

18 - 5-4-3-2-1 (Ready Steady Go Theme) [Mono]

19 - Mr. Anello [Mono]

20 - You've Got To Take It [Mono]

21 - Untie Me [Mono]

22 - You Gave Me Somebody To Love [Mono Single Version]

23 - The One In the Middle [Later Version][Mono]

24 - Group Interview [Mono]



All Music Review:

Manfred Mann was a band that never got a lot of respect, least of all from their own record label, EMI. They generated hits on both sides of the Atlantic and released their share of albums, singles, and EPs. But apart from the hit singles (which, in keeping with the practice of the time, were separate from and not represented on their U.K. albums), one had a real sense that it was only the most serious listeners (and primarily other musicians) who were listening to their records, especially when you took original lead singer Paul Jones out of the equation, which is exactly what EMI did in 1966 by signing him as a solo act and then dropping the band from its roster. They survived this indignity and went on to record a string of subsequent hits on Fontana with lead singer Mike d'Abo, and more albums that showed off what they could really do, before the members went their separate ways in music at the end of the '60s. Over the years, however, few bands covered them and they weren't often cited as an influence the way that the Who, the Kinks, the Animals, the Small Faces, and even the Move were. There have been earlier reissues of their EMI recordings -- still, the exhaustive (yet not exhausting) four-CD set Down the Road Apiece: Their EMI Recordings 1963-1966 can almost be regarded as the company's apology to the band, a long-overdue vault raid that issues every single, EP track, and LP track ever released by the band, plus a tiny handful of surviving outtakes, that the group left behind.



Influence is not the same as accomplishment, and Manfred Mann, in their earliest incarnation, were certainly accomplished, as musically adept as any of their peers, and more versatile than most. With the exception of the Beatles, there's not a major act on the EMI roster whose library contains so much seriously worthwhile music, so densely packed with virtuosity and inventiveness -- and none (including that of the Beatles) that veers so wildly around the definition of pop/rock, the singles usually serving as nothing more musically than an accessible anchor for all kinds of jazz-cum-R&B excursions, all compartmentalized in neat little three- to five-minute packages; for all of their ambitions, the Manfreds understood the needs and limitations of pop listeners, and as this set demonstrates, they were always trying to reach them in form if not style, and draw them to their "real" sound and the sensibilities behind it. In that sense, they were every bit a musically subversive (in the best sense) as the Rolling Stones -- what's more, collectively, they were also a bit reminiscent of big-band jazz legend Jimmy Dorsey, a heartbreakingly talented musician for whom stardom, band leadership, and pop success were merely the means to get to play what he liked. The very size of this set -- four discs, just three cuts shy of 100 tracks, over four hours long -- means it's for serious listeners, but that doesn't mean that it's only for the already converted, as this, more than hits compilations, really illustrates how different Manfred Mann were from their peers: jazzier and stylish, not as gritty or hard -- the cover photo illustrates just how odd they were in the company of the Beatles, Gerry & the Pacemakers et. al, five guys who looked more like ex- (and not so ex-) beatniks and jazz musicians (and one who could pass for an accountant), more than pop stars. But they pulled off the masquerade musically and generated enough hits to keep countless best-of compilations in circulation for decades. Here's the chance to hear the rest of their work, in phenomenal sound, and all annotated by bassist/guitarist Tom McGuinness, no less (supported by a full sessionography and discography).



That Manfred Mann were a different band than the rest is immediately evident from the first track here, "Why Should We Not," a slinky minor-key instrumental that plays like Ellington's "Caravan" with a blues harp. Throughout their EMI recordings, Manfred Mann alternated between these jazzy numbers and rave-ups that sounded like a cleaned-up Yardbirds. Manfred Mann's organ could be reminiscent of the Zombies, but they never were as pop as the Zombies -- they were a hardcore rhythm & blues outfit, grooving like an Animals with no sense of menace. This isn't a detraction, it's a distinction, as that sense of jazzy, swinging sophistication separates them from the rest of the British Invasion. Indeed, it's hard to think of another band of their era whose biggest hit -- of course, a cover of the girl group classic "Do Wah Diddy Diddy," a single that remained omnipresent for decades -- was so misleading, not giving a real hint of what the band was all about. Certainly, their first album, 1964's The Five Faces of Manfred Mann, was a better representation of their jazz and R&B sensibility, but their jazz nature is easier to discern on this set, assembled as it is in session order and ending in 1966. All of this is not to say that Manfred Mann didn't cut pop singles in an attempt to follow up "Do Wah Diddy Diddy" -- there are other poppier covers of girl group tunes, plus an early cover of Dylan's "If You Gotta Go, Go Now" in 1965, and they finally had another big hit in both sides of the Atlantic with 1966's "Pretty Flamingo" -- and there are enough relatively hidden pop nuggets like the wonderful "Tired of Trying, Bored with Lying, Scared of Dying" to make this well worth digging through for British Invasion pop fanatics. But the enduring impression here is of an exceptionally skilled, versatile R&B combo, one whose nimble touch is easier to appreciate and love when heard in bulk as it is in this set, their gift becoming more apparent the more music is heard.



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