Reviews from Feedback Fanzine
As living proof of how intelligent (no pun intended) members of the MENSA Rock Special Interest group are, here are the reviews they have published in their latest magazine (Feedback Fanzine). Many thanks to its editor Kev Rowland
for passing this on. It is of no surprise that the rest of the album couldn't live totally up to the opening, but there are still some other fine songs here to be found. "Hollywood
Town" is reflective and emotional, and allows Chris to show again what a fine singer he is, while "Belle" Of The Earth is typical Manfred with a strong arrangement which again concentrates on bringing Chris to the fore as it turns
into belting AOR rocker. How about the too short instrumental "Platform End"? This is Steve's showcase, the band hanging on behind him as he screws up his face, looks to the ceiling and lets his stubby fingers talk for him (he had the
smallest hands I have ever seen on a professional guitarist – with his beard and whole demeanour I always felt that he was a full-size dwarf that had walked out of the pages of a fantasy book). Easily one of their strongest
studio albums, this 1979 has been remastered by Rob Corich so the sound of course is superb. Since I bought this album (through MMEB's excellent website
Of course no live album could be there without the Boss's best known cover, "Blinded By The Light", which will probably always be the song that people think of
when they think of MMEB and while it may not be my personal favourite, there is something about it that makes it work so well. The simple repeated piano chords
along with Chris' vocals and the rock element is, just, right. The last song on the original album was the only from Manfred's past life, "Mighty Quinn". When Steve
played solo this was one of the few MMEB numbers in his set (of course he always had to play "Demolition Man"), and even now I can 'see' him and Peter in the
middle of the stage staring at each other as they built this song to a climax as it just went faster and faster. This might not be up to that standard but is a mighty fine
way to finish the album. There are three bonus numbers, one of which was recorded by a later line-up, the superb "Runner", plus two that originally appeared only
on the cassette, "No Transkei" and a crunching "Don't Kill It Carol". Steve and Chris at their best.
This album has everything that one would want from a MMEB album, in fact it has more than I could ever have hoped for. While Chris
has long been known as one of our finest singers, Noel is much less widely known which is nothing short of criminal as he has a great
Seal-type style that allows him to happily take the lead or to accompany Chris as required. Of course the musicianship is inspired, but again it is the choice of covers
along with originals that makes this such a delight. Sara came in while I was playing it and sat transfixed on the floor to their version of "Nothing Ever Happens". I
have always liked the Del Amitri song, but here it takes on new life as the song builds and builds to become something that is far greater than before. It becomes an
all encompassing powering rock number with two singers striving to produce the best that they can and the fact that this wasn't a major hit is much more an indictment on radio airplay than it is on the quality of the song.
Of course they have to play "Demolition Man", it was one of their hits in Europe, but even though they have changed the setting to
move it away from their own version this just doesn't cut it although Noel does sing a fine version – he isn't Steve. It may be far more
soulful but I loved the original sweaty rocker that it used to be. "Nothing Ever Happens" is also on here and to give you some idea again of the strength of the set list
this is number eight on disc one, followed by "She Was", "Blinded By The Light" and "Davy's On The Road Again". Of the two this is going to be the better value for
money as it has two discs and in its' own right is a damn fine album, it just isn't 'Budapest' that's all.
When I first played this album I was delighted to hear so many different styles, all bound together in a sound that is so obviously
Manfred Mann but being keen to experiment and move out of the comfort zone. "The History Of Sexual Jealousy Parts 17 To 24" brings
together rock with choral singing, jazz style sax and some female spoken parts that combine to make a superbly complex and complicated number that is so
immediate and relevant. His take on the theme from Holst's "Mars" is another example of a performer who still wants to experiment and move his music along.
Manfred has been producing some of the finest music around for over forty years now, these albums alone span over twenty-five years, but he isn't content to rest
on his past and is still out there playing live (although sadly currently in Europe and not in the UK) as well as releasing music that people should be buying because it
is good music, not from an artist long past his sell by date like many of his contemporaries from all of those years ago. For details on gigs, albums (quicker and cheaper than from Amazon) then visit the site at 
Manfred Mann's Earth Band are probably ignored by many people in the UK these days, which is real shame as over the years they
have 
released some great albums and 'Angel Station' is a case in point. As well as Manfred himself and the incredible Chris Thompson
(surely one of our most easily recognisable and talented singers), this was the line-up that featured Steve Waller. After Steve left MMEB he could often be found playing in London with Glen Le Fleur (Gerry Rafferty etc) and Peter Stroud
(Toyah, Roger Chapman etc). Each Sunday lunchtime was a gig with friends and often featured Poli Palmer from Family. I met him many times, and myself and some friends recorded
one of his gigs with a mobile eight track studio. Listening to this album again brings back many fond memories. It starts (and in this case ends with bonuses) with two of their hit singles in the voicebox driven "Don't Kill It Carol".
Steve and Chris's voices combined really well, Steve providing the lower register and Chris the higher in one of my favourite MMEB songs. I haven't heard Mike heron's original but I would be interested as I can't believe that it
sounded anything like this. Although Manfred is a good writer, it is probably for his adaptations and arrangements of other's material that the band are best known and next up is another song by Bob Dylan, someone whose material he
had been covering as far back as the Sixties. Jangly and crashing guitars, this is dominated by the vocals and then some simple but incredibly powerful keyboards, as Manfred moves away from and back to the theme using
different instruments and tones.
When 'Budapest' came out I bought it on pre-recorded cassette. I then played it so much that I actually wore it out (one of only two that ever happened to me with, the other being Sad Café 'Live', wonder if that is out on CD?).
With some live albums one has to wonder what on earth the band were playing at, but this has to be one of the great lost live albums
as I am sure that many are not aware of it, as if they were then they would have bought it. Only Manfred Chris and Steve were still
there from 'Angel Station', but with another two strong albums in 'Chance' and 'Somewhere In Afrika' (which never got the plaudits it
deserved, years before 'Graceland') this was a band that were cooking and in front of an Eastern European crowd this was one classic after another.
And that was it, at least for me. Although I loved 'Budapest' for some reason I didn't get any more MMEB albums. I followed Steve
Waller around London, and even went to see MMEB in Guildford where I was mightily impressed by 'new' singer Noel McCalla and also
by the fact that ex-Tull drummer Clive Bunker was pounding the skins, but still didn't investigate 'Criminal Tango', 'Masque' or any of the
other albums. Looks like I have some catching up to do. 'Soft Vengeance' was originally released in 1996, and although it had been
recorded over a period of four years it had only benefited from it. Joining Manfred for this release was original guitarist Mick Rogers,
while Chris Thompson was also back joining Noel McCalla as a two voice vocal assault. Clive Bunker and David Farmer provided the drums while Steve Kinch filled the bass role.
Having only just rediscovered the joys of 'Budapest' you can imagine my delight at discovering that there was also available a double
CD with the same line-up as 'Soft' apart from new drummer John Trotter. With two singers this was a band out to have fun and please
a lot of fans. Initially the tour was only recorded for Manfred's own archives, but when the decision was taken to release an album it
meant listening to every gig to decide on the best version of each song – it may not be from just one show but there are no overdubs.
It would be easy to compare the songs on this album with 'Budapest' but that wouldn't be fair as I literally played that to death. Yes, I
often prefer the versions on the former but that is because I played it so much. But, the piano and vocal version of "For You" has a
restrained power that is greater than many rock outs, it is simple but complex, gentle and lulling yet also dynamic and strident. It is also
nice to hear a ten minute version of "Father Of Day, Father Of Night" which over twenty years on is still full of power. 
Released at the end of 2004, '2006' has been released by Manfred Mann, but he doesn't view this as a MMEB album even though all of
the band are involved. That is because he feels that some of the songs just don't fit in with the normal MMEB feel, and that it wouldn't
be fair to call it that. He goes as far as to state who plays on each track and whether he feels that it is Manfred Mann '06 or MMEB. I
am not sure if I totally agree with this way of doing it, as opener "Demons and Dragons" would have graced any of the MMEB albums,
and features vocals from both Noel and Chris with guitars from Mick. Yes, there is rap on here as well, but this is a powering
commercial rock number that hits all the spots with the rap section definitely adding to MMEB instead of taking it away altogether. Noel
has a great clear voice and to hear him singing against an acoustic guitar is a delight while Chris seems to relish being able to come in with the histrionics and menace.
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