Manfred Mann - EP Collection (7CD Box Set Umbrella Music) (2013) MP3@320kbps Beolab1700

Manfred Mann - EP Collection (7CD Box Set Umbrella Music) (2013) MP3@320kbps Beolab1700



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Manfred Mann - Manfred Mann EP Collection CD1
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Artist...............: Manfred Mann
Album................: Manfred Mann EP Collection CD1
Genre................: Blues Rock
Source...............: CD
Year.................: 2013
Ripper...............: EAC (Secure mode) / LAME 3.92 & Asus CD-S520
Codec................: LAME 3.99
Version..............: MPEG 1 Layer III
Quality..............: Insane, (avg. bitrate: 320kbps)
Channels.............: Joint Stereo / 44100 hz
Tags.................: ID3 v1.1, ID3 v2.3
Information..........: SCANS

Posted by............: Beolab1700 on 01/06/2014

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Tracklisting
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CD1 – Manfred Mann’s Cock-A-Hoop with 5-4-3-2-1 [1964 Original Sound Recording owned by EMI Records Limited on license to Umbrella Music Limited]

01. 5-4-3-2-1 01:59
02. Cock-A-Hoop 02:05
03. Without You 02:19
04. Why Should We Not 02:19

CD2 – Groovin’ with Manfred Mann [1964 Original Sound Recording owned by EMI Records Limited on license to Umbrella Music Limited]

01. Groovin’ 03:41
02. Do Wah Diddy Diddy 02:23
03. Can’t Believe It 03:20
04. Did You Have To Do That 03:30

CD3 – The One In The Middle [1965 Original Sound Recording owned by EMI Records Limited on license to Umbrella Music Limited]

01. The One In The Middle 02:39
02. Watermelon Man 03:13
03. What Am I To Do 02:41
04. With God On Our Side 04:23

CD4 – No Living Without Loving [1965 Original Sound Recording owned by EMI Records Limited on license to Umbrella Music Limited]

01. There’s No Living Without Loving (feat. The Three Bells) 02:40
02. Let’s Go Get Stoned 03:51
03. Tired Of Trying, Bored With Lying, Scared Of Dying 02:42
04. I Put A Spell On You 03:35

CD5 – Machines [1966 Original Sound Recording owned by EMI Records Limited on license to Umbrella Music Limited]

01. Machines 02:27
02. She Needs Company 02:47
03. Tennessee Waltz 03:04
04. When Will I Be Loved 02:00

CD6 – Instrumental Asylum [1966 Original Sound Recording owned by EMI Records Limited on license to Umbrella Music Limited]

01. Still I’m Sad 02:43
02. My Generation 02:27
03. (I Can’t Get No) Satisfaction 02:54
04. I Got You Babe 02:28

CD7 – ASWAS [1966 Original Sound Recording owned by EMI Records Limited on license to Umbrella Music Limited]

01. I Can’t Believe What You Say 02:17
02. That’s All I Ever Want From You Baby 02:35
03. Driva Man 02:31
04. It’s Getting Late 02:34

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Manfred Mann has been well served by recent reissues, not least 2011's splendid box set. However, it is left to this latest collection to showcase the sixties incarnation of his band when he had Paul Jones and Tom McGuinness in the ranks and a string of hit singles.
This set of 7 discs in authentic facsimilie card covers replicates the band’s EP’s (on the HMV label) and given that they only ever released two albums during the period these provide an additional source of repertoire, albeit in mostly two minute bursts.
From the first disc, 1964's ‘Cock-A-Hoop’, it is clearly evident that here was a bunch of excellent musos – especially displayed on the jazzy instrumental ‘Why Should We Not’ – whilst…
the title track is the first to feature frontman (and harmonica player) Paul Jones who became something of a pin-up for ladies of a certain age in the age of pirate radio and beehive hair-dos. The crowning glory here, though, is the band’s first big hit ’5-4-3-2-1.
The band’s second hit single ‘Do Wah Diddy Diddy’ appears on ‘Groovin’ With Manfred Mann’ along with two Paul Jones compositions that show his R&B roots punctuated by his harp playing.
Although after this time the band purveyed a sort of pop/rock hybrid with ever an eye on chart success (both in the UK and US), the EPs continued to reveal their jazzier musical roots. On ‘The One In the Middle’ (which topped the UK EP charts in the summer of 1965) ‘Watermelon Man’ features a distinctive Mike Vickers sax solo whilst the band tackle one of several covers spread through this collection, Bob Dylan’s ‘With God On Our Side’.
The band were to have a special relationship with his Bobness and their next major hit single ‘If You Gotta Go, Go Now’ presaged their biggest worldwide single chart success (although with singer Mike d’Abo) ‘The Mighty Quinn.’
The fourth EP ‘No Living Without Loving’ (which made the top of the UK EP charts in December 1965) includes a version of ‘Let’s Go Get Stoned’ (originally a hit for The Coasters) and ‘I Put A Spell On You’ whilst Tom McGuinness’ original liner note is a wry comment on the commercialisation of a band’s sound and the resulting lack of privacy. As he wrote later, the band originally ‘dwelt together in the light of Mingus’ and to that extent ‘pop’ success must have somewhat compromised their credentials.
The following year’s ‘Machines’ was more adventurous, especially the title track. It benefits from Manfred Mann’s audible Hammond which is also more evident on Jones’ breezy ‘She Needs Company’ and the two covers ‘Tennessee Waltz’ and ‘When Will I Be Loved’.
‘Instrumental Asylum’ is just that. Four covers – ‘Still I’m Sad’, ‘My Generation’, ‘(I Can’t Get No) Satisfaction’ and ‘I Got You Babe’ – attest the band’s omnipresent musical prowess and switches the clock back to their earliest work when treading the boards on the beat circuit in early sixties London.
The cover shot reflects a band in transition (The seventh disc in this set – ‘Aswas’ – is the Paul Jones-fronted line-up’s swansong). Future Cream bassist Jack Bruce is included and although he did spend a time with the band it is not clear if he plays on this EP.
And, indeed, it is that lack of information, other than the contemporary and typically unfathomable liner, that is the problem with this release in general. There’s room for a nice thick booklet with suitable commentary, interviews and memorabilia and that would have really enhanced what is an otherwise excellent reissue.
But, as with that boxed set for the later version of Manfred Mann’s musical sorties, this collection does shine a light on a particularly fruitful formative period for both the keyboard player and his charismatic frontman

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