Platform End - Back Issues
Platform End was the Official Manfred Mann Fan Club Magazine, they are reproduced here.

Platform End # 1 - WINTER 1992

For those of you who were members of the fan club back in the  90's here's a re-print of Platform End #1, for those who weren't, here's what you missed.
Platform End No 1 Front Cover - Winter 1992
Platform End No 1 Front Cover - Winter 1992

PE#1 - Page 2

Following discussions with Manfred, Andy Taylor has volunteered his services to organise and run the Manfred Mann Fan Club. Whilst the new fan club will largely cater for the world wide following of Manfred Mann's best known group – Earth Band, we hope to cover all aspects of Manfred’s long and varied career in music. Central to the new club will be the issuing of a quarterly news letter containing up to date news features and interviews, as well as, we hope articles and letters from fans around the world. Through the news letter we hope to be able to answer questions and also to provide space for members to advertise their wants and sell duplicated items from their own collections.
Along with the quarterly news letter we hope to be able to offer other goodies to new members as part of an introductory pack. So far we should have a supply of signed photographs of the band available, around the end of October. Initially the cost of joining will be £10.00 sterling per year, purely designed to cover some of the costs of the newsletter etc.

Hi and welcome to Platform End Issue No. 1. It has taken a bit longer to put together than we intended due - to pressures of work and considerable lack of experience, but here it is at last but here it is at last!
We have the first part of the Brighton Beavers - Chris Thompson epic, lots on Plains Music, Clive Bunker's - Self Portrait, Martin’s - Fiddler, plus loads of hot news.
If Platform end is going to work we need your help - write to us with your questions, opinions, stories, pictures. Tell us how you got into Manfred’s music, about the best gig or even - the worst gig. If there is anything you need for your collection or swops drop us a line and we'll advertise your needs. I have been a fan since 1964. My wife Carol, who has done so much of the work here, is too young to have been a fan since 1964 (I wonder who is doing the typing?), she was brain washed in the early 80’s. We both look forward to hearing from you.

In setting up the Fan Club and Platform End, I would like to thank John Arkle, Graeme Yates, Mick and Jane Rogers for their help and friendship, and a special thanks to Kelly and Manfred and all who , I have already contributed to this first, and all future editions, see you next time. 
Andy Taylor


PE#1 - Page 3


Delayed from November this new compilation of 60's hits featuring both H.M.V. & Fontana recordings should now be out in January. It is only the second time all the 60's hits from both the Paul Jones and Mike D'Abo line up have featured on one album. and indeed the first time on C.D. With the exception of the odd track on a various artists compilation it is also the first time Fontana material has been issued on C.D. and therefore of significant interest to all interested in the 60’s material. Rumours that the album might also include material by Paul Jones, McGuiness Flint and even Earth Band are however inaccurate. Although it may have been a consideration at some point in time the album will in fact
feature Manfred menu (the group) 1963-69 and as well as the string of hits will contain tracks such as Dylan’s ’With God On Our Side’, the first ever Dylan cover of Manfred’s career.

To promote the release of the album ex-Manfred's, Paul Jones and Tom McGuiness of Blues Band fame, are teaming up with Mike D'Abo, Mike Vickers and Mike Hugg for a 13 date U.K. tour, with a little help from some friends. Manfred himself of course heavily committed to the completion of the new Earth Band album. He has personally never been very keen on trying to recreate the past, although he is always quick to point out that this is a personal viewpoint and not intended as a criticism of the many who do and often do it very well.

All I can say is Tom's birthday bash last year was a lot of fun, so if you missed that this is your chance to make up for it. Tour dates are courtesy of the Blues Band Newsletter - Ready. My thanks to them for providing us with the information. If you haven't seen the Blues Band, they are back on the road next year and well worth seeing.

Finally as far as the 60's release is concerned there has been much talk of a video compilation, which would be wonderful. Tom McGuiness is involved in this one, and it is far more than a rumour. Sadly however, there is not a vast amount of material available, so if you know any video material from the 60's and can give the source, drop me a line and I will pass the information on.



Tues. 1st Lincoln Ritz Theatre

Wed. 2nd Sunderland Empire (TBC)

Thur. 3rd Southport Theatre

Tues. 8th Croydon Parfield Hall

Thur.10th York Barbican

Fri. 11th Mansfield Leisure Centre

Mon. 14th Brentwood Leisure Centre

Tues.15th Cambridge Corn Exchange

Bed. 16th Clacton Princes Theatre

Thur.17th Maidstone Corn Exchange

Sun. 20th Eastbourne Congress Theatre

Mon. 21st Folkestone Leas Cliff Hall

Tues.29th Torquay Riviera Centre


US EMI 'Legends of Rock'n’Roll' Series CD
I had the honour of compiling and writing the liner notes for this exciting 26 track CD/cassette of Manfred's 1963-66 EMI material, which was released in the States on 2nd June.  In addition including rarities like the unreleased "Come Home Baby“, the US-only tracks “She“ and "Dashing Away With The Smoothing Iron”, and alternate versions of “5-4-3-2-1" and "Do Wah Diddy Diddy', this compilation includes a very humorous 1964 interview with the hand. As of 28th September, 12,706 people have purchased this album. As a result, this is US EMI's biggest selling reissue of the year. to follow up on this success, EMI is planning a 2-for-l CD consisting of the entire 'The Five Faces of Manfred Mann' and “Mann Made' albums for release in 1993.
For those who have been unable to locate this CD, please feel free to write me at the address below. 


US EMI ‘Legends of Christmas Past' CD

Also due this months from US EMI is a various artists compilation of Christmas tunes from EMI recording artists.  Among the tracks is Manfred Mann's 'God Rest Ye Merry Gentlemen’ in true stereo, which is the first time this track has appeared in stereo since its original 1967

release on the 'Soul of Mann' album. Again, if you are unable to find this CD, I can obtain copies for you.


‘Plains Music (US Rhythm Safari CD)
In October 1991, the small US label Rhythm Safari released Manfred Mann's Plains Music's album “Plains Music”.  Similar to the German release on Intuition Records (from the spring of 1991), the American album is different in that the track 'Hunting Bow (Reprise)’ has been replaced by Salmon Fishing“. Even though its distribution was on a small scale, the album still managed to reach #25 on Billboard's Adult Alternative album chart in January 1992.  This album is difficult to get, but I can also obtain it for those who are interested.


In the UK the Polygram T.V. label are releasing a hits package containing both EMI and Fontana Hits. Since EMI and PolyGram work independently for the most part in the States, a more comprehensive Fontana hits package is planned for US release only in 1993. In all likelihood, I will be involved in compiling and writing the liner notes for the album. It is uncertain whether this album will contain 20 or 25 tracks, but one thing's for sure - the album will contain unreleased material. Manfred Mann recorded approximately 40-50 tracks for Fontana that have not seen the light of day, so one or two of these are planned for use on this compilation.
Greg Russo

PE#1 - Page 4

Many fans will by now be aware of Manfred's 'Plains Music' album. A superb piece of musicianship deserving of greater publicity than it is receiving.
Plains’ is totally different from any of Manfred’s previous
work in his long illustrious career. The only Earth Band member featured on the album is vocalist Noel McCalla although Mick Rogers plays a prominent part in programming work. Another familiar name is Barbara Thompson whose saxophone has featured several times on MMEB albums.
So how did 'Plains Music’ come about? The album was born in 1988 with backing tracks developed in South Africa with recording taking place in South Africa, and at the Workhouse in London. The album was released in Europe in the early summer of 1991 on the Intuition Label, and Manfred reached No. 1 in South Africa with the track ’Sikelele', which is the only African track on the album, the album consisting mainly of the melodies of the North American Plains Indians. Later in 1991 Plains' was released on the Rhythm Safari Label in the U.S. and gained a Top 30 position in the adult alternative chart, the track listing was changed for the U.S. version with  'Salmon Fishing' replacing 'Hunting Bow Reprise'. When 'Plains’ was released here over 3 months ago, both of these tracks were included so U.K. fans have been able to buy a 10 track album as against 9 for the rest of the world!
So What is 'Plains Music’?

If you like subtle, melodic, atmospheric music with straight forward strong melody then 'Plains' is for you. The melodies are simple, the tracks short and it is a high quality piece of work.  There have been certain sections of the ’Musical ’ press who have stated that the album is 'New Age!’ and hints at mini opus length tracks. Nothing could be further from the truth. The longest track on the album is just over 5 minutes in length!
To date Manfred has only featured once on National radio promoting the album and that was on Radio 2 at 2.30 in the afternoon! Many fans will have missed this interview simply because of the timing. One thing is certain - ’Plains Music' is certainly deserving of greater prominence to those fans who are yet to buy it - Listen & Obtain.
Plains Music is available on KAZ cassette and CD in the U.K
Plains Music is available on Intuition Records in Europe



Opens with simple Keyboard playing from Manfred, Barbara Thompson's sax takes over whilst the hunting bow is used very subtly, a really restrained opener.


An excellent controlled clear vocal from Noel augmented by Kelly Petlane’s wistful penny whistle. MMEB have played the track at recent gigs.


Piano to the forefront here, before giving way to sax and penny whistle, the track builds well with intermittent vocals.

Another fine vocal from Noel well supported by Doren Tbobeki.
As expected with any Manfred vocals on a Manfred release the quality is excellent. The track has a strong ’lilting' melody which builds then cuts back down before building again with a long fade out.

Strong hunting bow introduction before piano takes over leading into sax climax before meandering fade out.

Very atmospheric introduction and this feel remains throughout flowing keyboards with background intermittent vocal developing into cascading piano before returning to a slow deliberate sax finish.

Gentle piano intro with prominent bass from Peter Sklair, this is a long slow burner with horns/piano/percussion dove tailing beautifully increasing to a keyboard climax before cutting down to a typical subtle finish.

Superb atmospheric synthesizer background intro work deliberate piano and hunting bow also strongly featured. Horns are used sparingly here, with piano dominating. Very calming and look out for that excellent hunting bow finish. A beautifully constructed track.

PE#1 - Page 5

Opens with hunting how, closely followed by strong piano and vocal chants leading into Doren Thobeki vocal, finishes with strong piano melody and vocal fade out.
Slower tempo than 'Hunting Bow' this short closing track
features mostly Barbara Thompson’s saxophone.


As John Arkle indicates in the title to his piece on the Plains Music album, it was clearly born partly through Manfred’s desire to get off the tread mill of the Rock/Pop business.  Prior to recording Plains Music, Manfred had spent many months recording a handful of tracks all aimed at the commercial (singles) end of the market. It was during this period that the fire at the Workhouse occurred resulting in Manfred having to move out to a residential studio in the Midlands. He tried various songs including the old Loving Spoonful hit ’Summer In The City' and a reworking of an earlier Earth Band recording 'Mardigras Day' as well as songs by Cyndi Lauper and Mick Rogers. Increasingly frustrated, the first seeds of Plains Music were sown, almost by accident. Manfred became increasingly interested in this and increasingly disillusioned with the commercial rock recordings and the rest is history.
Although Manfred completed at least four of the tracks mentioned above they were never to see the light of day, whilst all his efforts went in to Plains Music an album with almost no commercial consideration whatsoever.



As John points out, there are three different versions of the album, which was first released in Europe without the track Salmon Fishing'. The US release saw the use of ’Salmon Fishing’ instead of ’Hunting Bow Reprise', the English version contains both of these tracks. The South African version on PVB MUSIC is identical to the European version in Musical content, but has a completely different cover design. I know of two singles taken from the album in Europe both on the Intuition Label, 'Sikelele' (remixed) and ’Medicine Song’ (remixed).

PE#1 - Page 6

Manfred Mann in Conversatlon with Andy Taylor - Workhouse Studio, London
A: Manfred, can we talk about your recently released work, the beautiful Plains Music album. The album is strongly influenced by the traditional music of the North American Indians, how did you become interested in that?

M: I bought a book several years ago, I recorded a song about Geronimo and I was trying to find a book which gave me some historical background information, and I had a look at this book and it was full of music, it was quite expensive and I realised it had nothing about Geronimo in it, but I bought it anyway, and about three years ago I was doing some straight commercial pop music and I suddenly felt that actually it was something that I didn't want to be doing any longer, and I started playing these melodies, just playing around on the piano, I started off with a song called Medicine Song - God this is a really nice melody, just playing it simply, increasingly disenchanted with the recordings I was doing, I was more and more attracted to these melodies, it wasn't so much North American music as such, it was just the melodies, I don’t know anything about North American Indians culture, I am pretty ignorant, so it was really just the melodies, and some time after that I was going to visit, my family in South Africa, and I took a tape with me, because somebody had sent me a tape of a guy called Smiles Makama, who played African Hunting Bows and stuff, and I thought well maybe we will just do something. Slowly the idea came together very casually in Johannesburg, and the album came together in four weeks, I spent two years fiddling around trying to improve it and change it, putting choirs on and things, throwing most of that away leaving what's on the album, with the exception Of two tracks, very similar to what I recorded just in four weeks. A lot of it was mixed quite quickly, even though it took me a long time to fiddle.

A; The end result you kept very short and simple, didn't you?

M: Most of the tracks have got pop song format, they are very short with a jazz element. Everybody likes jazz for eight
bars, but they don't like it for 20 minutes, that includes me, so I kept all the 5010's really short, I just did it to what seemed natural for me.   

A: Were there any other influences that got involved in the Plains Music thing?

M: Well I was in South Africa so there’s a natural influence, the musicians I was playing with, they themselves would have an African influence, if I was playing it in England with different musicians it would have been different, but I don’t particular look for influences, whatever is happening at the time, whatever seems to work, I go with that, in the end you
are looking for the same feeling in all music y u do, its a kind of emotional content that you're looking for, I don’t
particularly look for influences, but there have been influences.


PE#1 - Page 7

A: There is a beautiful song Sikelele on the album where did that come from?


M: That is the only non-Indian song and it was my realisation half way through that in the real world I wanted to sell this album. The record companies are going to want to hear something that they believe could be a single or successful, and so it was quite calculated to find a song that had more obvious communicative powers, you might say accessible, although I think the whole album is very accessible. Sikelele I did with samplers and machines and stuff in England, that took more time than the rest of the album.


A: I was going to say there were a lot of versions of Sikelele originally, and you ended up with two on the album, how do you pick out the ones you are going to use in the end?

M: With extreme difficulty and immense confusion!

PE#1 - Page 8

We are all familiar with Chris Thompson’s vocal skills found on Earth Band albums from his debut on the 'Roaring Silence' in 1976 through to ’Criminal Tango' in 1986. Now some 6 years since his departure from Earth Band, it is a sensible time to assess his varied career which ran concurrently with his 10 year spell with Earth Band and has developed further since.
Chris Thompson was born in England. but grew up in New Zealand where he qualified as a teacher specialising in Primary School children with learning difficulties. He played in a New Zealand band called Hillbilly Walker who supported Chuck Berry and Little Richard. The band did not have any record releases.
In l974 Thompson returned to England and teamed up with Brian Keith from Plastic Penny to record a U.K. only single as Central Park Reunion. This took the form of a duet and did not sell. during this time Chris gradually gained experience of the music business, undertaking various television and session work with the likes of Ike and Tina Turner for example. Prior to joining Earth Band, following Mick Rogers departure in 1975, Chris also auditioned for Argent, but was not taken on. Chris sang ’Joybringer' and 'Spirits in the Night' to secure his place with Earth Band. Intriguingly, he adopted 'Hamlet' as a middle name to avoid having himself confused with a New Zealand folk singer, also called Chris Thompson. Do not therefore make the mistake of purchasing a certain album on the Village Thing label, unless you are either affluent or stupid. Hopefully the author is neither, merely a little red faced, although in his defence, the purchase was made via mail order.

In parallel with his Earth Band duties, Chris formed Filthy McNasty. The band enjoyed a residency at The Bridge House and featured Chris on guitar and vocals, Stevie Lange on vocals and percussion, Billy Kristian on bass and vocals, Mike Walker on keyboards and Clive Edwards on drums. The hand, in keeping with their name, had an exciting raw feel to their sound and the vocal interplay between Chris and Stevie Lange, a much underrated session singer, would of course, later blossom in
Night. Filthy's only recorded output was on the LP 'A week at the Bridge E16’ which features 3 tracks recorded live in April 1978. The tracks are ‘Move Over' {Janis Joplin), a rousing version of Bob Seger’s 'Fire Down Below’ and Jes Roden’s ’Can’t Get Next to You’.

Chris Thompson
Chris Thompson

Chris enhanced his reputation by singing 'Thunder Child' on Jeff Wayne's highly successful ’War of the Worlds’ album in 1978. It is a pity this track was not used as a single.

Stimulated by Filthy McNasty, Chris left Earth Band in 1979 following the European tour to promote 'Anqel Station' and formed his own hand 'Night’. Their self-titled debut album featured 4 tracks either written or co-written by Chris, and finally gave him a vehicle for his own songs. In addition to Stevie Lange and Billy Kristian from Filthy, Night featured Nicky Hopkins on piano, Robbie McIntosh on guitar and Rick Marotta on drums. Again, no pun intended, the vocals of Chris and Stevie demonstrated a certain earthy rapport.

Commercial success was forthcoming in the U.S. with 'Hot Summer Nights’ and 'If You Remember Me' both hitting the Top 20. Interestingly, the latter song was credited to Chris Thompson and Night in Holland.

PE#1 - Page 9

Night's second and last album 'Long Distance' following in 1981, with Bobby Wright replacing Nicky Hopkins on keyboards and Bobby Guidotti taking over on drums. The album featured more band compositions than the debut, but the single releases were unsuccessful. Interestingly, a supporters club based in Los Angeles was instigated, but with Night being dropped by Planet amidst the music recession, it failed to establish itself.
Nonetheless, the band toured to promote the album, and a half hour concert broadcast on Radio 1 shows that their split was very much premature. They played a storming set which included ‘Blinded by the Light'. Following a gutsy and humorous performance of 'The Stripper' in the 1981 film 'The Monster Club’, the band became The Island before splitting in 1983 when McIntosh joined the Pretenders and subsequently Paul McCartney.
Stevie Lange of course, features on various releases including Earth Band's ’Angel Station', 'Watch’ and Somewhere In Africa’ and on Holly Johnson's ’Blast’ album, most notably on the hit single 'Americanos'.
In 1983, Patrick Simmons of the Doobie Brothers sought Chris's help on his solo album, 'Arcade'. Chris featured throughout and co-wrote 5 tracks including the US hit single, 'So Wrong’, and also toured with Simmons to promote the album. The album suffered from poor production and Chris's role was underplayed.
The same year saw the release of 'Arrested' an album of Police songs featuring the Royal Philharmonic Orchestra and friends such as Don Airey, Ian Paice and Gary Moore. Chris sang on ’De Do Do Do Be Ba Da Da' and ’Don't Stand So Close To Me'.
1983 also saw the issue in Germany of Chris’s first solo album the aptly titled 'Out of the Night'. This was recorded at the Workhouse and in addition to Chris on vocals and guitar, Robbie McIntosh played guitar, Malcolm Foster - bass, Mic Clews drums and Paul Wickens - keyboards. All bar one track were written by Chris, largely with McIntosh. This band performed the Islands. 'Do What You Manna Do’, was issued as a single, and was recorded with the likes of Gary Moore and Billy Brenner on guitar and Ron Airey on piano. The album had its strengths, but lacked that extra touch of the Night releases.
Chris has always enjoyed playing live and in 1984 he played some London dates to promote the UK release of ’Bye Bye Love' on Simple Records. He even received a mention in Melody Maker and a brief interview on Radio 1. The set at this time featured other tracks from the 1985 album ’Radio Voices' which eventually only surfaced in Europe. Chris clearly relished playing in small venues such as The Cricketers pub at the Kennington Oval where Dragon’s song 'Rain’ featured in the set.

‘Radio Voices’' included a reworking of the Night song 'Dr. Rock’ and 'A Shift In The Wind', which saw Brian May taking up guitar duties. May is a long standing friend, and has often cited Thompson as a heavily underrated writer and vocalist.  1985 also saw Chris's first involvement on a charity record, being invited by Hazel O'Connor to duet on 'Push and Shove’ in aid of Greenpeace. Around this time, Chris also sang on 'K2’ an album featuring Don Airey, exercising his vocal chords on Can’t Make Up Your Mind' and ’Song for Al’.
The following year saw Chris issue ’The High Cost of Living’ on Atlantic, and the higher budget available for the project showed with the album proving a polished affair, although funds did not extend to clothes for the models surrounding Chris on the back cover. Chris teamed up with friends Phil Galdston and John Van Tongeren and old accomplices McIntosh and Lange, together with  numerous others such as Robbie Nevil. Two singles were released from what remains the only Thompson solo  album to be released in the U.K., but neither ’Love and Loneliness’, the old Motors song, or ’lt's Not Over' made the charts. ’lt's Not Over' is worth tracking down for the mixes on the 12” and the non album cut ’Make It A Holiday’.
At this time John Farnham issued ’You’re the Voice’ written by Chris, Andy Qunta, Keith Reid and Maggie Ryder. This proved to be a hit everywhere worth mentioning apart from in the U.S. This track was originally intended to be featured as part of Chris's deal with Atlantic, but of course it is impossible to say what would have happened if Chris had released it himself.
‘The High Cost of Living’ however, had several highlights despite ’You're the Voice’ not being included. 'Empty House’ is undoubtedly the highlight, a haunting song which remains one of Chris’ favourites.
In 1988, Chris and Keith Reid (the lyricist from Procul Harum) contributed lyrics to all 9 tracks on ‘Tabaluga and the Magic Jadestone’, with Chris also singing in a very direct style on all tracks bar one. The lyrics were written around the story of a dragon told by Hayley Mills, and were written and recorded with totally different musicians in a very short period of time. Two songs, 'One Step At a Time’ and 'To Hell with Love', were issued as singles. 'Tabaluga' was an ambitious effort and one worthy of praise, although a video release would probably have added to its commercial appeal as a children's story.
1988 also saw John Farnham recording two more of Chris' songs, ‘The Fire’ and 'Don’t Tell Me it Can't Be Done' on his ’Age of Reason’ album. Chris would record ’The Fire’ in his own right at a later date.



(by Graeme Yates)

PE#1 - Page 10

Mean Fiddler Review

It was a Saturday night in November, 1972 and I was staying the night at my cousins. My cousin asked what my brother and I would like to listen to, ’What about Manfred Mann’s Earth Band?’ he asked. Having heard of Manfred Mann. but not of the Earth Band, I thought why not! He pulled out a white covered album with the Band's logo on the front. He put the record on the turn table and gave me the cover to look at. There was a short silence. Then, at quite a loud volume the drumming started.
The first track ‘Meat’ hurled itself at me from across the room. My first impression was 'This is bloody good'. I cannot remember everything about listening to the album for the first time, but I do recall the guitar solo on 'I'm Gonna Have You All'. 'Ashes To The Wind' and ’Wind'. I thought was one track, and the pop sound of ’lt’s All Over Now Baby Blue’ was extremely catchy. The most memorable was the title track 'Glorified Magnified‘. The cymbals and synth beginning becoming a trade mark of the Earth Band. The next week I went and bought a copy of the album. I have been following the band ever since.
Now twenty years on, I an at the Mean Fiddler in London awaiting the band to take the stage.
Then on came Manfred Mann, Clive Bunker, Steve Kinch and Mick Rogers, to such applause. Clive Bunker opens with his drum kit, then Manfred starts playing a short synth solo. Joined then by Steve on bass and Mick following on guitar, getting a great rhythm going. They play an instrumental piece of Banquet. The Band slow the tempo down. Then from the side, Noel makes his entrance.

They start to play the first new song of the set 'Shelter'. Noel's and Mick’s vocals on this work, work well together. other new songs include ‘Miss You’, ‘Pleasure and Pain' and 'Nature of the Beast'. 'Miss You', being a superb piece of rock music.

As everybody knows, Manfred has been doing cover versions of Bob Dylan's songs since the 60's. and he has not failed us. ‘Times They Are A Changing’, is his latest and I must say one of the best, along with 'You Angel You'. it is a great version and a strong contender for a singie. The old favourites are there. ’Martha's Madman'. a brilliant Father of Day’ with Manfred and Mick following each other with guitar, synth, guitar, synth solos. 'Medicine song' was played, which is a track from Manfred’s album 'Plain's Music'.

This led into 'Redemption Song', as a sort of acoustic segment. Unfortunately, they dropped 'Joybringer’ which they played in the 1991 tour, it is a shame as it was one of the highlights of the set in my opinion. it was well received last year.
‘Blinded By The Light’ had the crowd singing along as is usual. ‘Davy’s On The Road Again’ and 'Mighty Quinn’, finished off the concert with more singing from the fans. The crowd called them back for a second encore, which they finished with the song ‘Automobile’'.
The line up at the moment, I think is one of the best. The rhythm section works really well. and Noel's voice suits the new songs as well as giving the old one’s something new. Let's hope the Earth Band get on the road again really soon.


PE#1 - Page 12

MMEB Line-up 1992
Page 12 - MMEB Line-up 1992

PE#1 - Page 13



Clive Bunker 1992 - Self Portrait
Clive Bunker 1992 - Self Portrait

Born of parents {the first shock), in working class South of England. My dad was a welder and my mother wasn't. I started with music at school originally having a bash on guitar and quickly being transferred behind the drum kit (or that passed as one then). The band quickly became one of the popular bands in the area. After a couple of years I got the chance to turn professional and moved to

Manchester. I stayed for just over a year in which time we

did the German clubs and a lot of northern halls, quite a good grounding really looking back on it.

With my future firmly behind me I returned to my roots fixing commercial vehicles and the usual round of rushing around doing pubs and clubs in the evenings.
I formed up with Jethro Tull in the mid sixties and toured everywhere and basically met a lot of the best drummers in the world. In 1971 I left to practise all the bits they 
had shown me ...... no seriously I actually left to get married and take some time off to get it all together, and practise of course!

PE#1 - Page 14

I was asked by Chrysalis if I would join up with Robin  Trower after about six months and must admit I was ready to play again, unfortunately the agency wanted a different sort of band than we wanted and so was short lived. This was good for me as i started doing sessions and this opened up the way to really learn my craft as it were. I did lots of varied stuff from Generation X, to Dennis Rousos, and singles by the bucket full without missing out on live touring, the part I enjoy the most.

Formed a band (that had Mick Rogers on guitar) called Aviator, after missing that band feeling rather than being a session man. This turned out to be musically a bit self indulgent and was certainly not disco! We just could not pull that hand out of the bag though, and its shelf life ran out.

Oh well back to the sessions after that as well as some in- tours with various people I started playing with Blodwin Pig with my odd (sorry did I say odd} old mate Mick Abrahams, sharing the drum seat with another drummer  who's gig is Gary Moore. Blow me down if Manfred didn't phone me and ask me if I fancied joining the Earth Band.  Now, I had never seen the band live despite knowing Mick and being told by people who's opinion I respected that  they were really good live.

So on the spur of years I joined ship and what we do with it from now on is in our collective hands. This although brief on paper is thirty years of my life and countless air miles, by the time I got round to buying a hair brush I looked in a mirror and it had gone. Is this a sign of experience one can only speculate.


Next issue! - Steve Kinch

PE#1 - Page 15

See the Faces, Young and old, Living on memories and dreams.

The greatest gift in life, I got from you. How very strange it seems.
You could’ve been anything that you wanted to,

and you always knew that history belonged to you.

Down through the ages, man has loved to hear the music play.

Nobody feels any pain as they start to lock their dreams away.

You made my life so rich, you made me feel alright.

Gave me a peace to rest my head and feel the stars slip by at night.
Keep your light shining for all to see, and I ’ll always be a slave
drifting down through your dreams till the day I ’m buried in my grave.
Thank You! 

Maggie Scott - Northwood, Ohio.

Platform End #2 - Summer1993

PE#2 - Page 2


Hi and welcome to ”Son of Platform
End”. It seemed that we were never
going to get this finished and  compiled, but then we have had the audacity to steal a couple of weeks of sun, sea and sand on the Algarve. Once again we offer a fun packed edition of the official Manfred Mann Fan Club Magazine, continuing Graeme’s excellent Chris Thompson article, a few well chosen words from Manfred, our second Self Portrait - Steve Kinch, more from Martin
and John and our American correspondent - Greg Russo.

Thanks to all of you who have written
with suggestions for future issues,
please keep them coming. The somewhat changed format from the first edition is a clear indication that we are still experimenting both with content and format until we get it right. Keep the letters coming, hopefully we may bump into you at a gig this year or the next




The recent release of the 60’s
compilation album ’Ages of Mann’ an
uninspired selection of the most
obvious 60’s hits from the HMV and
Fontana stable, wrapped in an even
less inspiring cover, has led it would
seem to a considerable amount of
confusion and misunderstanding. For example the Southport Theatre,
proudly proclaimed ’Manfred Mann in
concert’ whilst with similar confusion
elsewhere the media also picked up on the album due no doubt to the fact that it fought its way into the UK Top 30 Chart, again making great effort to confuse the popular music historian of the future.

Already, I have received mail from
home and abroad clearly indicating the need to put the records straight. So here goes.

Manfred Mann and Mike Hugg formed the ’Mann Hugg Blues Brothers’ in 1963 which gradually evolved into the first band to carry his name. Manfred himself is quick to point out that he was however one equal 5th of this band, hence the title

of their first album The Five Faces of Manfred Mann’ released in 1964. Following a short but notable career which saw the band change it’ s line-up a number of times, most notably surviving the departure of the charismatic lead singer Paul Jones without any let up in the stream of hit records which formed the bulk of the ’Ages of Mann’ CD, Manfred Mann the band quit to go their separate ways.

Manfred Mann the person in partnership with Mike Hugg, then had
a brief flirtation with Jazz Rock (Chapter 3) before forming his own
band Manfred Mann’s , which in one form or another has continued to this day. An MMEB compilation album has been enjoying huge commercial success in Germany this year.

The cause of the confusion between
Manfred Mann the group and Manfred Mann the person should I suppose be blamed on John Burgess the Record Producer who insisted back in 1963 on the band using collectively the name of the Keyboard player.



With the planed release of the ’Ages of Mann’, former Manfred’s Jones, D’Abo, McGuiness, Vickers and Hugg decided to reform to play a handful of gigs to promote the album. This idea came from a special night at the Town and Country Club a year or so ago to celebrate Tom McGuiness 50th Birthday Bash, neither at this event (because of other commitments with Earth Band), or for the short UK tour was Manfred involved.

A lot of water has flown under the
musical bridge since ’Do Wah Diddy,
Diddy', and Manfred has become
respected world wide for his music

which is constantly moving on,
developing, changing. this is not to
say that he didn’t do some brilliant
work as l/5th of Manfred Mann the
group. the combination of R&B and
Jazz that represented their early style hold up well to this day. Whilst
despite a much more blatantly
commercial approach latterly nobody
can deny they made some damn good quality hit records. Manfred accepts this quite happily but equally has no desire to try to turn the clock back all those years what happened in the 60’s happened as far as he is concerned and is well preserved on record, but cannot be recreated in the 1990’s. Equally he has always emphasised in the past that
whilst he has no desire to become
involved in something retrospective
such as 60’s revival shows he in no
way means to criticise those who do.
What makes life difficult when other
ex-Manfred’s fancy getting together,
and lets face it why shouldn't they, is
the inevitable confusion between
Manfred Mann the person and Manfred Mann the group.
The Manfred’s on their recent UK tour were good by the way. For a start they seem to have been kept better pre-served than other 60’s bands, and secondly they didn’t try to be exactly as they were in the 60’s, despite the fact they had a better chance of getting away with it than most, nor can they leave alone the R&B and Jazz combination for long that makes as much of the material as fresh now as in the 60’s.
They are also one hell of a nice bunch of guys who made us very welcome when we dropped in for a chat backstage before the Southport Show.
All of them of course are involved in
other projects, but without the
confusion of having the same collective name now as in the 60's. D’Abo is still a great songwriter, skilled DJ and interviewer. There is the Blues Band of course, and my 5 year old son was made up with the picture of Uncle Jack (Paul Jones) from the BBC Children’s programme cuddling his Mummy, even if I wasn’t.
Once any confusion has been  cleared up Manfred too has benefited. 

PE#2 - Page 3


His absence from the gigs and variety of radio and T.V. appearances was a big talking point. The other Manfred’s clearly respected his decision not to take part. Paul spoke highly of ‘The Plains Music' album on Radio 2, whilst Tom promoted both ‘Plains’ and Earth Band during a Radio 1 chat. The Manfred's always tended to be a little disrespectful of each other in such a way that the audience was left in no doubt that in reality they have nothing but the highest regard for each other.

This is perhaps the one thing that hasn’t changed since the 60’s.

Although the highest percentage of
mail we are receiving relates not
surprisingly to Earth Band, there is a lot of interest in the 60’s period and with those of you in mind John Arkle picks up the story of the Manfred’s tour reviewing the album and the concerts later in this edition.


I admit to having mixed feelings at
Southport. It was an excellent gig.
The highlights for me weren't the hits
(except ”Come Tomorrow’ and ’Oh No Not My Baby"), but songs like ‘Water Melon Man’, ‘I’m your King Pin’, the impromptu ’Smoke Stack Lightning’ and D’Abo’s beautiful ‘Handbags and Gladrags’. I had forgotten what a good keyboard player Hugg is and what a mean Saxophone Mike Vickers plays.

All the same, I found myself wondering for the first time if it might have been better still had Manfred got his own way back in 1963 and the band had been called almost anything but Manfred Mann.



Just before departing for a well earned holiday, Manfred kindly gave up some of his time to update me as to what is happening and his own feelings as to how things are progressing, as far as the new album is concerned. Work has continued on the new album which is taking a bit longer that he had originally planned. Whilst he is not unhappy with “the progress so far his intention is to re-mix ’a whole load of things’, when he returns. As yet the album remains untitled, one possible title Manfred has in mind is ’The History Of Sexual Jealousy’, but this may well change again. Richard Burgess who I mentioned in the last edition is likely to do more work on the production front. The album is difficult for Manfred to describe as yet as it is really still in a state of flux, however he did say that it was more keyboard
predominated than some previous albums with piano very much to the
for. Manfred is under no outside
pressures to get the album finished but obviously would still like to get it out later this year although there is no guarantee of that happening.

Much of the material for this album was originally recorded live by the band in the studio, following which Manfred really starts to work on the material until he gets it to a point that he feels happy with. Some things work and some things don’t of  course.
‘Times They Are A Changing’, a firm
favourite now in the live act, has
apparently just not worked in the
studio, other songs featured in the live act such as ’Shelter From The Storm’, ‘Pleasure And Pain’ and ’Miss You' will almost certainly be included. I am delighted to say that a song played in some of the 1991 concerts and still

much talked about by fans ’Castles
Burning’ is back in with a chance of
being included. The ‘Blinded By The
Light’ compilation album has been a
huge success in Germany and I am told by Steve Fernie at Cohesion is about to go GOLD! The album is now available in Sweden and Denmark and a slightly different version has been released in Holland.
Manfred was obviously delighted at the reception that the ‘Blinded’ album had received in Germany. At the time of our conversation plans to do some live gigs where in the early stages of being put together. The intention is to start rehearsing around about the middle of May, with some UK warm up gigs in early June, and some festivals in Europe in late June early July, a major European tour is planned early in 1994. I would emphasise however, that this information is subject to change and nothing as yet has been confirmed.

Here’s hoping!

Andy Taylor



Top of the new releases since last time is Arcades TV advertise Earth Band compilation ‘Blinded By The Light’ now released in Germany, Sweden, Denmark and in a slightly modified version Holland. As mentioned earlier I am informed that the album is about to go GOLD in Germany, which underlines the continuing popularity of the band in Europe.


The Manfreds - Southport 1992
The Manfreds - Southport 1992

PE#2 - Page 4

Of the three Earth Band compilation
C.D.’s so far released this is by far the best, although in many ways it is
inevitably similar to the ’Twenty Years of’ CD. released a couple of years ago. Whilst once again the emphasise is on the Thompson Bronze era of the band, the original line-up do get a better look in this time with the inclusion of the full length ’Spirits In The Night' as well as ’Joybringer’. The problem fans had with the twenty year album was that it wasn’t! Only one track predating Thompson's arrival, the majority being taken from between 1978 to 1982, and not as the cover claims from 1971 to 1991.

‘Blinded’ as an album also covers this period but it doesn't seem to matter so much. Nevertheless, it would have been nice maybe to have had one more earlier track featuring the first line-up, OK they never quite captured the raw energy of the live gig onto vinyl, but to a lesser extent that could be claimed of some of the later albums as well.

Despite the above carping I like this
album, a tiny reminder of what good
stuff Manfred was putting out at the
time. It’s also good quality sound
wise. Maybe it is only my imagination
but l am sure that recent CD releases
like this and the boxed set have a
much better quality of sound that
earlier C.D. re-issues. The cover at
least makes and effort to be interesting, although disappointingly there are no sleeve notes (I personally love sleeve sorry liner notes). So whilst there are a
few surprises here it is well worth
adding to your collection and a nice
CD. to play to friends as an
introduction to the band.



All the way from Israel comes this superb album containing just one MMEB track not surprisingly the title track of the album ( original version).
For the rest of this glorious and well
 recorded piece of nostalgia you get Yes, ELP, Genesis, King Crimson, Jethro Tull (with Clive Bunker on drums), Brian Ferry and Roxy Music, Rick Wakeman and so on. It is a wonderful album, nice cover too,

once you get used to it opening the wrong way around. There are loads of sleeve notes (I mean liner notes) only unfortunately they are in Hebrew.

Wonderful stuff and you get the feeling the compilers here put this together as a labour of love not as on so many compilations just a chance to make a fast buck!



John Arkle reviews ‘The Ages of Mann’ a compilation of HMV and Fontana hits of the 60’s elsewhere in this issue. For me however this is much more fun although you would have to go to EMI Japan to get a copy. My thanks to John Arkle for finding me mine.

Why is it so good? Well, if you take
away the inevitably dose of ’Do Wah
Diddy Diddy’, and all the other EMI
hits (yet again), you are left with
exactly what the cover says ‘The Five
Faces Of Manfred Mann’ UK version
the first album being released in 1964.
They have left off two tracks to help fit on the hits, but we are still treated to a set of R&B standards like ‘Smoke Stack Lightening’, ’Hoochie Coochie’, ’I've Got My Mojo Working’ coupled with a handful of group penned songs and jazz instrumentals. Sound quality on  mostly mono recordings is very good, better I felt than on the odd stereo recording included. I am not noted for promoting the 60’s Manfreds but if you have never heard ‘Five Faces' you do not know what you are missing. The raw energy of this album was lost during the 60’s rediscovered by ‘Manfred when he formed the Earth Band in 1971 and later when fellow Manfreds Paul and Tom formed The Blues Band. For a 1964 album it remains remarkably fresh, and I sometimes think it is a shame that the Five Faces' that made up Manfred Mann didn’t develop in a slightly different way.



Special Offer to Fan Club Members
Steve Fernie at Cohesion Records has agreed for a limited period to sell to club members the MMEB boxed sets for a Special Price of £75.00 plus postage and packing, this would save you more than £20.00 on the
recommended retail price.  

are obviously limited, so if you wish to take advantage do not delay and write the address given below:

Creature Music Limited, P.O. Box 786, LONDON. SEl3 6RN


(Obviously this is no longer applicable)


Jethro Tull's 25th Anniversary

You might be wondering why such an
item need be covered in Platform End other than the fact than the editor rather likes this band. More significantly however of course is Clive Bunkers involvement in Tull during the early years of its development, up to and including the classic ’Aqualung’.
All members of Tull got together
recently for a reunion and it is not out
of the question that we may see some special concert, or that Clive may find himself briefly back on drums with some of his old mates. There is a 25 year boxed set due out which will no doubt feature Clive on some tracks and more goodies to follow.


Notes From America!

By Greg Russo

Hello Again!

There have been some interesting
developments with some current
Manfred Mann projects, so let’s bring
on the information:



Last summer’s ’Legends Of Rock ’N
Roll’ CD has now sold over 15,000
copies in the U.S.! If you remember in
the last issue, the original plan was to combine the albums ‘The Five Faces Of Manfred Mann’, and ’Mann Made’ onto one CD. What I didn’t know was that both albums don’t fit onto one CD (they’re over 79 minutes together)! So, my revised plan for this autumn Manfred Mann re-release will now include the first two American albums The Manfred Mann Album’ and ’The Five Faces Of Manfred Mann’. For the uninitiated, American albums are notorious for replacing U.K. album tracks with current singles and/or otherwise unavailable cuts for release, and these albums are no exception.
The track listing for the CD is:

PE#2 - Page 5

1. Do Wah Diddy;
2. Don’t Ask Me What I say;
3. Sack O’ Woe;
4. What You Gonna Do;
5. I’m Your Hoochie Coochie Man
(it’s finally spelled right);
6. Smokestack Lightning;
7. Got My Mojo Working;
8. lt’s Gonna Work Out Fine;
9. Down The Road Apiece;
10. Untie Me (Stereo Version);
11. Bring It To Jerome;
12. Without You;
13. Mr. Anello (Stereo Version);
14. Sha La La;
15. Come Tomorrow;
16. She,
17. Can’t Believe It;
18. John Hardy;
19. Did You Have To Do That;
20. Watermelon Man;
21. I'm Your Kingpin;
22. Hubble Bubble (Toil And Trouble);
23. You’ve Got To Take It;
24. Groovin’;
25. Dashing Away With The Smoothing Iron;
26. Untie Me (Mono Version);
27. Mr Anello (Mono Version).


All tracks except 14, 18, 22, 26 & 27
are stereo. Tracks 1-12 comprise the
American LP ‘The Manfred Mann
Album’, while Tracks 14- 25 make up
the US LP ’The Five Faces Of Manfred Mann.’ Tracks 13, 26 & 27 are considered bonus cuts, especially since both versions of ’Mr. Anello' were never released in the US. and the mono version of ’Untie Me’ only appeared on the first US. and U.K. albums.

There are some other interesting things to note about this album. The first is that the U.K. ’The Five Faces Of Manfred Mann' is all here, but in stereo for the first time outside of the US.
‘Smokestack Lightning’ has its complete intro included in stereo for the first time anywhere, ’Bring It To Jerome’ goes to a full ending instead of fading out, and You’ve Got To Take It’ has its complete intro for the first time in the U.K. Besides their mixing differences, two versions of ’Mr. Anello’ and ’Untie Me’ have been included because the stereo version of the former has a different guitar solo, and the stereo version of the latter has a completely different vocal track.

The album was mastered on 9th March, and the artwork has not been designed, but EMl should have the album ready in U.S. shops by around September. I’ll keep you posted.



A lot of confusion was caused by U.S. PolyGram because the Manfred Mann Best Of’ CD project was inadvertently assigned to two different engineers. At this moment, the U.S. CD release status is not certain, but the U.S. will only allow 18 previously released tracks to appear on the CD. As far as quality goes, it will most likely sound as unexciting as the ’Ages of Mann’ CD due to the fact that poor quality tapes are planned for use.

On the U.K. front, things are more
optimistic. By this summer, details for a U.K. PolyGram package on Manfred Mann sixties material should be finalised. This package could likely be a single or a double CD set with unreleased material. I’ve heard almost all of the unreleased material, and it’s amazing how most of it was never released. This should be rectified soon!



Currently, I’m working on a book on
the history of Manfred Mann, the man and his bands, as well as a collectors guide, which will include recording session information. Of course, it will be available to Platform End readers first! Look for it in future issues.

Until next time, take care. Let’s hope
the new MMEB album gets here soon!
Please find below my Post Office Box No. should anyone wish to write to me:

Greg Russo

P.O. Box No. 205113,


NEW YORK 11220 - 0022


Let Me Tell You About The

Part One

Originally scheduled for release last
November 'Ages of Mann' eventually

surfaced on the Eleventh of January and one week later the name of Manfred Mann was back in the album charts.
The album features the Fontana singles for the first time on CD. and that is the big plus for die hard fans. Consisting of 22 tracks (15 with Paul Jones on lead vocals - 7 featuring Mike D'Abo) the album illustrates the versatility of the Manfred Mann line-ups to a limited degree.

Apart from the hit singles there is the
R&B' sound of the Jones fronted band via screaming Jay Hawkins 'I Put A Spell On You' and 'Got My Mojo
Working' through to the softer ballads There's No Living Without Your Loving' and

Ages of Mann Front Cover
Ages of Mann Front Cover

'You Gave Me Somebody
To Love', - the final single issued by
H.M.V. and released after Jones had
departed, (although for some reason
Polygram have used the U.S. version
here). The UK. version of 'My Name
Is Jack' has also been replaced by the U.S. cut, though that is to replace
Superspade' with 'Superman' in the

The D'Abo fronted group really
highlights the 'Poppier' sound of the
band, which made them into a 'hit'
factory leading to boredom and lack of creativity which ultimately resulted in the band calling it a day. However,
the singles stand up extremely well to this day and could show several of
today's bands how to put together an
excellent commercial release.
Following the release of 'Ages' there's been a Plethora of promotional activity with appearances on Radio 1 (an
acoustic set). Paul Jones interviewed
on Radio 2, Jones, Mike D'Abo
interviewed on Radio 5 along with T.V.

PE#2 - Page 6

slots on day time T.V. & G.M.T.V.
most of this promotional work
happened in a very short space of time and it proved virtually impossible to catch every show.

T.V. advertising also broke soon after release but how did Polygram decide that Central T.V. would receive the heaviest push?

One story in the national press suggests that the I.B.A. cut back the advertising schedule because Mike D'Abo is seen without a crash helmet on a motorbike!
Of course Mike you can't do that in the 90's although as D'Abo himself states that film was shot in the 60's when wearing a helmet wasn't compulsory!‘
If I'm allowed one gripe about 'Ages of Mann', I suspect many fans would have liked a more detailed 'sleeve note' booklet with archive photo's enabling Tom McGuinness to enlarge his considerable writing talents.
However, the album has broken the ice. Release of further Fontana material plus the 'Five Faces‘. 'Mann Made' albums on CD. won't be far away.


('They came to play one rainy day, and the people came from miles around!‘)

It was a filthy night as we set out en
route for Southport in an attempt to
reach the venue before seven o'clock
we'd been invited by Tom McGuinness to meet him and the rest of the band before the second gig of the Manfred's tour. As we drove along the promenade the Red Neon lights shone out starkly ‘Tonite - the Manfred's Plus Support'. 'Charming the guy's are needing to be propped up' was the immediate cynical thought. No far from it, everyone was in great shape
and support would be coming from
John Fiddler of Medicine Head Fame.

A smiling Tom McGuinness welcomed us backstage and a quick glance around the room confirmed that we were in the right place - wall to wall Manfred‘s everywhere, Mike D'Abo, Mike Hugg, Mike Vickers plus Ben Gallagher and Rob Townsend who'd enlisted' for the tour. Only the 'One In The Middle' was missing.

Everyone was in a good mood, the first night at Lincoln had gone very well in front of an almost full house - the tour was off to a flyer.

There's only one problem with that
sort of start' said Tom and that is you
tend to use that as a yardstick and of
course the gigs are bound to vary'.

The opening night had coincided with
Tom's Birthday, it didn't seem possible that it was almost a year since his Birthday bash at the Town and Country Club when 'The Manfred's‘ line up first appeared (circa 90's) with Pick Withers on drums and Tom Robinson on Bass. Having made our alcoholic presentation to Tom it was a
case of trying to 'Interview' our heroes as they signed album after album photographic albums old programmes and rock encyclopaedias, the latter
being criticised for incorrect real names and ages!

By this time Paul had arrived and was sifting through all the albums commenting on the songs' writers. At
the time he was presenting a show on Radio 2 discussing other artists singles and who'd written them. Needless to say he was very pleased when the sleeve notes of an Australian E.P. gave his date of birth as 21st February 1946 instead of 1942.

Mike D'Abo seemed full of enthusiasm for the upcoming gigs - 'Manfredia' lives on was his description! At this point Tom asked us to leave the room so that he and the band could hold a quick  business' meeting as well as sacking Paul for arriving late. Next door we found Rob Townsend and John Fiddler deep in conversation.

'I'm only staff' laughed Rob when we asked him why he wasn't involved with everyone in the other room. Rob then regaled us with tales of the Blues Bands' recent tour with Dire Straits in Europe, including massive gigs at exotic locations before returning across the Channel to play at exotic Swindon, (apologies to Swindon).

Five minutes later we were welcomed back into the main dressing room and a chance to talk to Mike Vickers and Mike Hugg. Both were very enthusiastic about the tour. 'It all seems more civilised this time round', said Mike Vickers, 'certainly a better atmosphere than when we were on the road in the sixties ', and 'No' he hadn't left the group in the mid sixties and re-joined a few months later, (that was one bet settled). He‘d only left once to
concentrate on writing and arranging.
Mike Hugg was adding to his nickname of the Chameleon, we had noticed him wandering in and out of the dressing room full of nervous energy passing comments on Chapter III albums and possibly playing some Jazz after the tour. He was seen to emerge as best dressed 'Manfred' resplendent in check shirt and pink strides!

We asked Tom how his proposed video of the group's hits was progressing but surprisingly he told us that it was proving difficult to obtain enough quality material because tapes had been wiped or destroyed.

Suddenly the band were given a five
minute curtain call. It had been a
wonderful hour and a half, and the
Manfreds were about to give their public yet another vintage performance.

We'd only just made it into the theatre as the guys opened up with 'The One In The Middle'. As Paul pointed out, nobody was playing their instrument as illustrated on the song's lyrics.

The Manfreds - Southport 3 December 1992
The Manfreds - Southport 3 December 1992

PE#2 - Page 7

Hugg was now on piano, Vickers
permanently on sax, flute and anything blowable, McGuinness on lead and the unfamiliar sight of D'Abo behind the keyboards. Mike Vickers soothing sax then took us into '5-4-3-2-1' (memories of 'Ready Steady Go'), although the 90's R.S.G. on Channel 4 should be re-named the Dave Clark 5 show whatever happened to all the Manfred Mann footage Mr. Clark? Nevertheless
5-4-3-2-1' went down extremely well
with the Southport audience before
Mike D'Abo name checked the band
and launched himself into 'Just Like A Woman', which featured some subtle Jones harp work. Next up was 'Semi-Detached Suburban', Mike Vickers interchanging brilliantly between Sax and Flute - The gig was building gradually. A slight Jazz feel then came into the proceedings, catchy Hugg keyboards before Vickers‘ sax soared into 'Watermelon Man', cleverly blended with Paul's 'I'm A Bad, Bad Boy', before climaxing with a Vickers solo and enterprising Hugg piano and organ artistry.

Suddenly we returned to the D'Abo
period of the group with 'Fox On The
Run' and the audience were now
heading into top gear. Inter song chat between D‘Abo and Jones was also increasing in confidence Paul
introducing 'Oh No, Not My Baby' to a
background of Jazz influenced Hugg
piano - Hugg and Vickers were playing out of their skins while Rob Townsend was pounding his with no little skill, (pun intended).

A quick reference to 'Uncle Jack'
(Paul's children's TV character for the uninitiated), and 'My Name Is Jack' was underway - brilliant Vickers flute and Townsend working overtime on this one before surging very quickly into 'Sha La La', featuring a lengthy Jones harp solo.

At this point Paul welcomed Benny
Gallagher upfront - Benny taking lead
vocal on one of his many hits with
Graham Lyle ‘Heart On Your Sleeve'
and he was quick to point out Paul's
harp giving the song an extra
dimension. Mike D'Abo humour was
also gaining momentum between each song (ably assisted by the very familiar sound of Tom's laugh), although it was never 100% certain that the D'Abo wit was intentional.

Tom then came into his own with solid guitar work on Ragamuffin Man' before Paul gave a brief history of 'Pretty Flamingo' and how he'd told then producer John Burgess that the song would never make it. 'Flamingo' stands up very well to this day and the Southport public gave it an enthusiastic reception. 'Ha! Ha! Said The Clown' brought D'Abo back to the mike (no pun intended), with Vickers and Hugg performing heroically to give the song an excellent live reproduction.

Come Tomorrow', was introduced via
a superb Mike Hugg piano solo with a gospel feel, the song being played at a slower tempo than the sixties release with Paul excelling on vocal, whilst Hugg continued to shine with his inventive keyboard play. This was the performance of the gig. 'Build Me Up Buttercup' The Foundations big smash  was given an enthusiastic delivery by its writer and equally well received by an audience who were now in full flight. Mock criticism here from D'Abo to Jones regarding his vocal work on Buttercup' which saw Tom doubled up with mirth.

'Do Wah Diddy' then filled the air,
maximum inevitable audience
involvement here with a certain lady
called Joan given a solo spot. Not bad Joan, not bad! Paul was then taken aback by the band playing the intro to Smokestack Lightening' - (stay behind at the end to learn the words Mr. Jones), but improvising superbly with an excellent harp solo before handing the spotlight to Tom who showed us his skills on the trustworthy green fender.

That was written by Howlin Wolf',
bellowed Paul, 'This Was Written By
the Great Manfred Mann and Paul
Jones' - 'I'm Your Kingpin' was
underway featuring excellent solo work from Vickers, Hugg and McGuinness plus Jones ' harp played as only the master can - excellent stuff. An abrupt climax and we were into 'Quinn' Jones and D'Abo interchanging on vocals.
The band then departed before
returning “to give an excellent encore of Handbags and Gladrags' and 'lf You Gotta Go', with Tom taking lead vocal with an extra verse on the latter. 'We'll Have To Finish We Don't Know Anymore' said Paul at the end

of 'If You Gotta Go' - ‘Sing It All Night
Then', came the reply from a voice in
the audience. We knew how that guy
felt - everyone was on their feet paying homage - The Manfreds were back!


Let Me Tell You About The

Part Two

('She didn't come for the rhythm, she
didn't come for the beat, if I know Jean she came just to stand around and see the singers looking sweet') - Ed - she couldn't have!

A Night I will remember, as a friend of John Arkle's I was delighted to
accompany him to The Corn Exchange to see The Manfred's, I of course in my youth was madly in love with Paul Jones and Mike D'Abo. We arrived very early at the stage door hoping to have a natter with the band before they went on stage. I must admit I felt a bit like a spare at a Wedding waiting around, but my fears were very soon dispelled because what a friendly bunch of chaps The Manfreds are. John had already met with them at Southport, but for me it was the first meeting. Mike came from the dressing room first to meet John again, I was introduced, he was full of life and excitement as the tour was going well.
Still the same face, hair a little longer,
and a bit less on top, but still the
familiar Mike. Next to come out Mike
Vickers, such a nice man, I felt he was very genuine, he had a bit of a cold and was sucking Vitamin 'C' tablets and offering me one so as I would not catch his cold. He told me he was so excited about the tour he was finding it hard to sleep at night. Soon we were invited into the dressing room for a ‘cuppa'. The room was very small, very hot, and soon we were all chatting away.

Mike Hugg, Rob Townsend and Benny Gallagher. Looking across at John the look on his face was a picture, like a little boy in a Sweet shop, spoilt for choice. Paul Jones soon arrived to join the group, he is looking great, I would like a bucketful of whatever he is on.

PE#2 - Page 8

Time came for the stage clothing to be put on, Silk Shirt for Rob, Silk Shirt and Waistcoat for Mike Vickers and a very brightly coloured cotton shirt for Mike D'Abo. Change of socks and shoes for all.

Mike D''Abo 1992
Mike D'Abo 1992

We left them to it and found our way
to the very back of the upstairs of The Corn Exchange. It was very good to see such a large crowd of people
standing downstairs and quite a few
seated upstairs. As the Manfred's came on stage what a cheer went up. The music was great, all the songs of my youth, singing along happily with them. The rapport with the audience from 'The Manfred's' on stage was excellent. I enjoyed the evening and
looked forward to the next time which would be at Eastbourne.

Contributed by Jean Pegg.
December, 1992.


‘Controversy Corner!’

On the 14th April, 1983, I was at the
Dominion Theatre, London Manfred
Mann’s Earth Band were three or four
numbers into the set when Chris
Thompson announced ’We're
recording tonight’. An almighty roar
went up. The fans were obviously
excited about a future live album. I,
along with others, eagerly awaited the albums release. Unfortunately we
were presented with ’Budapest'. It
hardly did the concert that I saw any

We ended up with an eight track album which sounded more like a ’best of’ than a live album. The versions of ‘Davy’s On The Road Again’ and ’Mighty Quinn’ were tame,
especially compared with the two
tracks on ’Watch’. All we had from the marvellous ’Africa Suit' was
Redemption Song’, which I thought
was the best track on the ‘Budapest’

Also missed was a brilliant version of ’Eyes Of Nostradamus’ as well as ’Martha’s Madman’. How could  anyone leave "Martha’s Madman' off any live set is beyond me. The only track that sounded anything like the Earth Band live, was not included on the album. It turned up on the cassette as one of three extra tracks, and on the ’B’ side of the 12” single ’Davy’s On The Road Again’ (live). ’Don’t Kill It Carol’ with its great synth solo, was the only thing that sounded remotely like a live sound.

It was a good opportunity to capture
the live sound, but sadly it was missed.

In recent years there have been three
live bootleg C.D.’s released.

  • Quinn The Escimo’ (sic) OH BOY 1-9044
  • Manfred Mann’s Earth Band In
  • Concert 1974’ Super Golden Radio Shows No 015,
  • and ’Road To Babylon’ GLR 9244.
The first two from the original line up, which I strongly recommend to  those, who like me, never got to see them.

Road To Babylon’, is from a 1976
concert recorded around the time  'The Roaring Silence’ was released.

Quinn The Escimo' (their spelling).

has five tracks which starts off with

Mercury’, an instrumental from ’Solar
Fire’. ’Buddah’ is nine minutes long

and is one of my favourite tracks by the Earth Band. With solos from Manfred and Mick, then a drum solo from Chris Slade rounds off the second track. The third track is ’Messin’ it is a really good recording of this song, highlighting the bands musical skills. Next comes 17:08 minutes of excellence. ’Father Of Day, Father Of Night’, sounding fresh and bright even after all this time.

Some superb guitar work from Mick
Rogers on this one. Instead of  finishing Father’, they fade it down and go into Captain Bobby Stout’, and ’Glorified Magnified’. Manfred exhibiting his mastery of the keyboard on the Glorified’ segment of the medley. The CD. finishes with a 7:30 minute version of ’Mighty Quinn’.
48 minutes of pure magic. Marks out
of 10? - 11.5 easily.
The second CD. was a concert
recorded at Stockholm in 1974. This
also starts with ’Mercury’. The synth is different on here with Manfred
improvising around the main theme.
Track two is ’Messin’ this sounds a lot harder, the instrumental piece is
completely different to the first live
CD. ’Father Of Day’ follows this is
almost the original version from the
Solar Fire’ album. Manfred and Mick
sharing the solos on ’Give Me The
Good Earth’, sounds excellent. ’The
Good Earth’, being the new album at
the time of this concert. Then a 12:00
minute ’Buddah’, more or less the
same as the ’Quinn’ album, except
Chris Slade adds a few more
percussion instruments to his drum
solo. The album ends with ’Mighty
Quinn’, as all the albums tend to do.
The middle part of the track shows just how good they where playing together, absolute brilliance. The sound quality could be better, but it is 52 minutes of great music.
Road To Babylon’, features Chris
Thompson and Dave Flett in the band
after the departure of Mick Rogers. It
kicks off with Earth Band’s biggest hit Blinded By The Light’ (or as it has on the cover ’Blinded By The Night',
ooopsll). A good vocal performance
by Chris Thompson, the track itself is
the same as the album even the guitar solo by Dave Flett is almost the same.
Brother Why Are You Here’, better
known as ’Captain Bobby Stout’ and
Glorified Magnified’ make up the next
track, ’Glorified’ being played at an
amazing pace. ’Father Of Day’ is the
third track. Being so use to Mick
Rogers singing this, I must admit it took some getting use to. Nice guitar solo on this by Dave Flett though. Track four is ’Road To Babylon’, this is a terrific track. I liked the original album version, but this has an edge to it.

PE#2 - Page 9

Unfortunately you do not get all of this song, as it runs into ‘Spirits In The Night’, halfway through. A great rendition of ’Spirits In The Night’, knocks spots off the ’Budapest’ effort.
Finally ’Mighty Quinn’ closes the album. Wow!! Manfred excels himself here, the synth solo is  fantastic.
You can hear, in part, the version that
appeared on the ‘Watch’ LP. The C.D. lasts for 46 minutes and is of good  sound quality.

Comparing the three bootleg albums to ‘Budapest’, the bootlegs win hands

It would have been nice to of heard the original tapes from the Somewhere In Europe’ tour. As there were lots of good and great songs played. Still, that is not to be. We have these three C.D.’s which I recommend getting as they are a good representation of Manfred Mann’s Earth Band Live.
Although we may never see any official live albums from Manfred in the future, as he says ”They just don’t work!” I agree, you cannot reproduce the atmosphere from a live  concert, but it is nice to hear the  band playing songs without too  much over dubbing.
On the box set interview Manfred
mentions that the new album has been recorded live. With the band playing all at the same time. Now these first takes would be nice to hear. Perhaps as B sides of any singles coming up. Still we can hope.
Martin Wilson.


Editors Reply:
Marks out of 10 for Controversy

Martin. I should emphasise that it is
not Platform End’s intention to promote Bootleg Albums where someone other than the artists are profiting, without the artists permission. However, in the short time Carol and l have been in our present dubious position, the most
common enquiries other than ’Are
there any live gigs?’, and ”When is the
new album out?’, seem to be with
regard to the overwhelming demand for a live album or video. As Martin
mentions Manfred is not very keen on live albums as he doesn’t think that the atmosphere of a live gig can be captured on tape. As already
mentioned in these pages at least two of the three C.D.’s reviewed may be in your collection already, one being the BBC Radio 1 in concert programme and the other and American Radio show called Retrorock. Nevertheless, I suspect that Martin has captured the
feeling of many Earth Band fans as far as a desire for an official live album is concerned as he says we can all live in hope.



Part Two
Thompson’s already varied career took another twist the following year when Harold Faltermeyer contacted him at very short notice requesting he write lyrics for a song about tennis. This he did, and the resulting ’The Challenge (Face It)’ single was released in time for Wimbledon, reaching the top of the German charts on the back of the success of Steffi Graf and Boris Becker.

The track had a more synthetic sound than on any previous release on which Chris had featured. Chris also teamed up with Faltermeyer to write ’Yes We Can' which was issued in Germany by Artists for Nature in 1989 and included Joe Cocker, Carol Decker, Jennifer Rush and Stevie Lange and many others in a ’Do They Know It's Christmas’ type charity song. This track was released again in 1992 as the single from the chart album ’Earthrise’ in the UK, and was housed in a totally different sleeve.
An extended version again involved
Brian May, but who is this person
called Chris Thompson people cried.
Mike Oldfield invited Chris to sing on
two tracks from his ’Earthmoving’
album, and it was unfortunate that
‘Runaway Son’ and ’See The Light’
were not among the singles released
from the album. Both are well
produced and worth seeking out.

Also in 1989, Chris was involved with
another charity project, S.O.S. United,
singing with fifteen children from
around the world. This was quite
different again, and is a personal
favourite, having a real freshness and
before you wince, is devoid of much of the sickly sweetness often found on releases featuring children.

Chris Thompson
Chris Thompson

PE#2 - Page 10

Starship included Chris's ‘Blaze of
Love’ on their poor selling ’Love
Amongst The Cannibals' album in
1989, and ‘The First Step’, was
included on John Farnham’s 1990
album, ’Chain Reaction’. Chris would
record this track himself the next year.
The closing ceremony of the 1990
Commonwealth Games saw Chris
fronting a band formed for the occasion which included Bill Kristian on bass.
The song, ‘This Is The Moment’ was
issued in New Zealand and owing to
technical problems, anyone with a
video copy of the band playing live in
front of all the competing athletes
should contact me post haste! Always have your VCR wired up ready!

Last year the keen eyed amongst you
may have spotted Chris donning a red nose on ’The Stonk’, but more
importantly saw the release of the ‘Beat of Love’ album. Entirely co-written by Chris, Harold Faltermeyer was heavily involved in writing, playing, as well as producing.

Chris Thompson
Chris Thompson

The title track was issued as the first single, and the album also included ’The Fire’ and ’The First Step’ first sung by John Farnham. Chris toured Germany to promote the album,
playing some 9 dates during  September at small venues. The date in Munich was voted gig of the month. The band consisted of Don Airey on keyboards, John Lingwood of Earth Band fame on drums, Brett Sawyer on guitar and Kevin Reynolds on sax. They enjoyed the opportunity to play a varied set which included ’For You’, ’Blinded By The Light’, Blue Nile’s ’Stay’ and some new material. The album itself was generally more synthetic than earlier releases,

but included some quality songs such as ’The First Step’, ’Beat of Love’ and ’When The Wind Blows’.
This year Chris has helped Brian May
on his solo album, singing vocals on
one track and was also involved in the Freddie Mercury concert. Furthermore, having produced demos at some point for all of Jeff Wayne’s Sparticus double CD, Chris's vocals were eventually included on the final release.

The length of this article  demonstrates both the quantity and variety of Chris’s work outside Earth Band. He has been involved in numerous projects and is well known and respected within the music business. Some projects, such as his singing on 4 or 5 tracks for Steve Hackett have failed to see the light of day, but the commercialism of his voice is evident to the advertising industry, having often been utilised in television adverts as varied as Corn Flakes and Rank Xerox (singing ’Take It To The Limit’). Currently he is recording with John Lingwood and hopes to play some live dates in the New Year. Keep your ears to the ground, and hopefully with time, more people should know who Chris Thompson is, after all the track record is proven; just that little bit of luck is now required.

Next Issue

Chris Thompson Discography



I started playing guitar at the age of 12 when my Mum and Dad bought me a guitar for Christmas. The only problem I had was that l kept breaking the top string. After many return trips to the local music store complaining about the poor quality of their strings a friend informed me that it was E and not G that the string should be tuned to.
When I was about 14 I started playing in local bands doing a few odd gigs for the ’Girl Guides’ (my first experience of groupies), playing pass the parcel.

I left school at I6 to become a
glassblower, four or five years later I was lulled from this relative security  by high hopes and unscrupulous managers (moonlighting as double glazing salesmen), making the usual promises You’ll be the best thing since etc.’. It was during this period that I changed to playing the bass guitar.

My first real taste of success was on
joining Hazel O’Connor's band in
1980, touring the U.K., Europe and
U.S.. The group was disbanded in
1982 which was probably just as well, considering our laundry bill was
becoming excessive as at most gigs the contents of the first ten rows noses found its way onto our stage gear.



Steve Kinch - Cartoon
Steve Kinch - Cartoon



In 1984 I joined ‘The Jim Capaldi
Band’. Spending the best part of 3
months rehearsing for a US. tour that
was cancelled at the eleventh hour.
After about 12 months of trying to get my own projects up and running, a friend called to tell me that the ‘Earth Band’, were looking for a bass player.
It was fortunate for me that this friend was also helping out with the auditions. After a modest bribe was offered, I was able to find out which songs they were auditioning with, giving me an advantage over most of
the other hopefuls and impressing  the band with my ability to busk on
previously unheard songs.

From 1987-1991, I had a rather intriguing problem with my  telephone, in that it had developed a fault making it impossible for Manfred to call me (BT is still scratching her head over that one), but during this period I was swanning around the world with a band more famous for their white berets and  high voices than the quality of their music.

PE#2 - Page 11

In 1991 my phone was mysteriously
repaired, although BT claim to have no knowledge of this, but sure  enough Manfred was able to get through, which resulted in a couple of tours and work on the forthcoming album.




Next Issue:

Whoever gets here first? - HELP


The Winged Messenger

Dear Andy,

Thank you for sending me the first issue of Platform End, I found it was well presented and very interesting. I have been an Earth Band fan since 1976 at 8 years old, but really only found myself in any position to buy the albums at around 1984. The budget record set from Creature Music was a good opportunity to replace my warn out vinyl.

I enclose a photo of an Earth Band cake that my Mum made for me around 1985, I did wonder at the time where my ’Glorified Magnified’ album had disappeared to.

Thanks again and all the best.

Andy Harper Berkshire.

Dear Andy,

Thanks for the MMEB package, I would also like Greg Russo's address.

I am really glad you decided to do this Andy, new Manfred Mann info. and music gets little or no interest on Radio in Philadelphia.

Vincent Di Francesco



Dear Andy,

Thank you for sending me the first issue of Platform End. If any musician was long overdue for a Fan Club its Manfred Mann. For almost 30 years I have collected and enjoyed every  album, single, E.P. bootleg and CD. I can get my hands on. In the last year I have struck up a friendship with Greg Russo, who has given me access to many rarities.

Future articles: l suggest interviews
with past Manfred band members,
reviews of old Manfred and Earth Band albums, rarities and alternative out takes etc.

Don Pedini

Lynbrook U.S.



Dear Andy,

I would love to join the Fan Club. I
didn’t know ’Plains Music' existed, the CD. has to be ordered as the main shops don’t stock it; Its available here on Larrkin Records and they’ll have it soon. Your club sounds great and when work eases up, I will get pen to paper and describe early MMEB Australian concerts.

All the best,

Mick Maloney.






Dear Andy,

Thanks for sending the first issue of the MMEB Fan Club. I have made a list of items wanted and For Sale.



Davy’s On The Road Again’ 1990 7”
pic. cover - Cohesion ’Geronimo’s
Cadillac’ 1987 12” pic. cover – Ten

Chris Thompson

Central Park Reunion 7” single

Filthy McNasty LP A week At The Bridge E16
Patrick Simmons - Arcade LP 1983
Arrested - Police Cover Version SLP
1983 Out Of The Night Solo LP
1983 Bye Bye Love UK 7" Pic. Cover
1985 CT. + Hazel O’Connor - Push
Shove 7” + 12” 1985 K2 - Don Airey
Solo LP 1985 Tabaluga And The Magic Jadestone (with Keith Reid) LP 1988

2 Singles from same LP: One Step At A Time To Hell With Love



7” Singles

MMEB - Spirits In The Night
California - 2 Copies

12” Singles MMEB - The Runner - 2
copies - 1 is promo copy - Eyes Of
Nostrodamus - Davy’s On The Road
Again (Cohesion Records)






Mike Hugg LP - Stress + Strain

Chris Thompson 7” - If You Remember Me 12” - Bye Bye Love 12" White label promo LP’s - Night : Long
Distance Love Chris Thompson - High Cost Of Living

That’s the lot, thanks,
Graham Bruck


South Yorkshire




We have had loads of letters from
Mainland Europe and the UK as well

as America and the Far East. Limited
space and secretarial time prevents me from printed all of them, but keep them coming and more next time.

Platform End #3 - Autumn1993

Mick Rogers & Noel McCalla 1993
Mick Rogers & Noel McCalla 1993

PE#3 - Page 2


Hi, and welcome to Platform End No.3. With the band busy playing both  festivals and other gigs through Holland, Denmark, Germany and
Switzerland during the summer and I
might add taking each and every venue by storm. Number 3 concentrates on some of the guys who have  contributed so much to make Earth Band one of the best and often underated rock bands in the world.
Manfred says he is not a perfectionist
and maybe that’s true but I have yet to
see a band produce such a clear well
balanced sound live. So as well as our
first review from the recent batch of gigs there is the first part of in depth
chats l had with singer Noel McCalIa
and the man with the longest connection with Earth Band Mick Rogers. Graeme finishes his study of Chris Thompson’s solo career with a complete discography (unless you know better), our controversy corner looks at Mann undercover and we’ve thrown in a word search.

Noel McCalla 1993
Noel McCalla 1993

Next time our aim is to have No. 4
around Christmas! We’ll hear more
from Noel and Mick and I’ll do my
best to smuggle some more
information on that album out of you
know who, and I’ll be telling the tale
of my trip to Germany, the gig was

Last but by no means least, if you went
to any of the gigs drop us a line tell us
about them, or if you’ve any pictures
lend us a few, in fact if you have
anything to say we want to know - and
we still need more members so spread
the word.

Until Next time turn up the volume.
Andy and Carol Taylor


By Andy Taylor

Andy: First thing I was going to ask you Noel, fans know so little about your past career and your getting involved with Earth Band can you tell us a little about that?


PE#3 - Page 3

Noel: Well I supposed it started in about 1974 professionally, I moved to London from the Midlands became involved with a band called ‘Moon’ we did two albums for Epic Records, and then when the band split which I think was about  1977/78. I then  stayed on with Epic and did a solo album with the likes of Trevor Rabin, who did the production and played most of the instruments as well, and then after doing that album I got a little bit fed up and disorientated of being kind of a pawn for them to throw around you know, so I decided to ask for a release which I did and then immediately after that I was working with a band called Smith and The Tears, who did quite well on the record front, toured America and Europe and various other places and I kind of did the Smith and The Tears thing which was O.K. but I was not an official member, more just a kind of a hired hand who featured quite a lot on the vocals on the album, and then wasn’t quite ready to get into any band thing of my own, I just kinda kept on doing projects, I just worked as a freelance musician really, did Small Creeps Day with Mike Rutherford, Messa Forta, jingles etc., from Boneo to God Know What. In between before Manfred I started working with my own band. I was doing my own band nearly two years before Manfred intervened. My band is still going strong, as much as
possible with the work with Manfred.
Andy: Just going to ask you about
your own band, I have actually got a
tape of your own band, is that tape still available if fans were interested?

Noel: l have an even more updated
version now, we ended up doing an
album ourselves because people asked for it. We did a cassette and then because we were quite pleased with the outcome of that we updated it, actually we did the initial backing
tracks at the Workhouse, and then we took it back to our 16 track studio and remastered it up to CD. format, and its only just recently a German
company EWM have taken it on and
are distributing it around Germany
about the middle of September.
They’ve taken on Germany, Austria,
Scandinavia, the ones we have will be collectors items. The final product will be changed slightly. There will be
updated tracks, but that will be it
when that’s done, it’s a case of looking forward to the next album.

Andy: I have the collectors item, if you can get any more copies of the collectors item 'm sure fans would be interested, tell us about the music of your own band.

Noel: People find it hard to describe really, can’t put their hand on it, being
blues soul jazz because we’ve just
done it for music sake we haven't
done it for anybody else except for
ourselves like it definitely a music
album, good lyrics nice rhythms its
probably R&B, soul idiom but we do
get people who come along because
the guitarist quite bluesy, the sax
player quite jazzy, the drummer quite
rocky and steady, the bass player is
quite Bill Wyman like, standing their
all calm and collected (kind of a)
mixture of ages band, just wanting to
do something instead of sitting on our arse complaining about what was going on around us. So we decided to get in and find out how difficult it all was.

Andy: Do you do a lot of live work
with them?

Noel: As much as we can, we cut it
back because we found that doing gigs where PA’s were not much good, was costing us too much money having done it for 4 years that we'd kind of settle down now we know what to expect from the gigs we probably do 5-6 per month, on a regular quarterly basis, one every two weeks, just to keep the band working. The most important thing for us now is for us to get the album out. The band sounds better than the album, which is often the case with a lot of bands, because we’ve gigged more, shame we didn’t have a run of gigs before doing the album. It's ready to get out overseas to pick up the band a bit.

Andy: If you have any advanced
notice of gigs, let us know and we’ll
put it in the mag. there seems to be a
big following once you've been in
Earth Band,

Noel: Yeah, I’ve never really kinda
been into that riding on the back of
someone and then just kinda leave it.
I would much rather be doing both if
possible I hope I can become the first black Phil Collins, I don’t know, but keep away from the acting.

Andy: Too much hair! Your first
involvement with Manfred will be

Plains Music I would guess, how did you get involved in that then?

Noel: Well he came to see me, he;d heard of me through a friend and he came to see me at the Jazz venue, the Bass Clef - Hoxton Square.  He said he'd got some tracks to try out, and I don't think was in his mind for me to join Earth Band.  I was just a working musician, been doing it a while and wasn’t pretentious, had no aspirations,
I kind of molded in quite well if my
voice was sore I would carry on, I'm
quite prepared to come in for half an
hour or so then go away again, if I
can’t do something I tell him, makes
for a good working relationship, as
long as everyone is very professional
about it. So Plains Music was the first introduction then he told me he had some gigs to do and asked me if I could sing Blinded By The Light and
Mighty Quinn and I said I didn't know,
because really at the end of the day,
except for the money I wouldn't have
joined the band to sing those particular songs, not my kind of song, I didn’t know much about what they did or how they sounded, it was the introduction of Plains Music that made me think this is going to be different, it wasn’t going to be just rock it was more organic, its become a lot more than that.


Next Time - Noel talks about Earth Band and we review his new CD.


Noel’s new album titled - 'Push and
PuII’ by McCalla is now available in
the U.K. on Uplands Records, and in
Germany and other parts of Europe on E.W.M.(Ethnic World Music) - also
limited edition single....



Recent sightings on the box include,
'Don’t Kill It Carol’ MMEB U.K. Gold,
the U.K. Gold also turned up Jethro
Tull featuring this drummer with lots of hair who could otherwise have been quite easily mistaken for our Clive Bunker.


BBC1 the pillar of U.K. broadcasting
reshowed 60’s drama ‘The Gorge’ the
music for which was written by
Manfred Mann and Mike Hugg.

PE#3 - Page 4

Last but by no means least (there could be more), whilst flicking Channels I came across Joan Armatrading - Live in Montreaux with the supercool Mr. Rogers on guitar and vocals.


Bruce Springsteen
Bruce Springsteen

‘Controversy Corner!‘
Before you read this article I have a
confession to make, I’m not a lifelong Manfred fan, nor have I ever actually bought a Manfred record, so why have I got the nerve to write for PLATFORM END? Well, what I have got is an appreciation of Manfred’s music gained over the long period of time that my husband Steve, and I have been friends of Andy and Carol.

We spend most Friday evenings
together and this generally consists of a few drinks, a bit of ‘talking-time’ and usually, at some time during the
course of the evening, a helping of
Manfred. Either Andy will dig out an
old disc to play or often he will have a gleam in his eye and will produce a
little ’Manfred package’ that has
arrived in the post that week.

In this article I’m going to look at a
few of the many songs that Manfred
has covered over the years. The first
one, I must admit is my favourite
Manfred track. I first noticed it when
Steve and I were ‘baby-sitting’ Andy’s
Manfred CD collection whilst he and Carol were on holiday. l decided to start by playing one of the compilation CD’s. One track really struck me, so much so that when Steve returned home from work I said ’You must hear this track, it’s really stunning.’

The track was 'FOR YOU'. I was really embarrassed when Steve replied "You should know that track, it was written by THE BOSS." I consider myself to be quite a fan of Bruce Springsteen but I got into his music in the late 70's and l have seldom listened to his first LP. I
think Springsteen, like Dylan, is a
brilliant writer and is an especially
original lyricist. Many of his songs,
like Dylan’s beg to be covered and, of
course, Manfred has very successfully covered some of both of their songs.
This version of 'FOR YOU' I prefer to
the Springsteen original. Apart from
the fact that Springsteen’s first record suffers from a very muddy production, I actually prefer Manfred’s reinterpretation of this song.
Springsteen sings the rather quirky
lyrics quite gently, whereas Chris
Thompson's vocal on this is clear and dramatic (he is a fine vocalist). I like the way the song dramatically builds up and I enjoy the creative keyboard break. So, as I’ve said previously, I really enjoy this version.
WANNA DO' I feel would have been a
problem for any band to cover, in that
I don’t see how the original could be
bettered. Eddie and the Hot Rods
ushered in the punk era and,  although not a punk group, this song expresses a lot of the sentiments of what that era was about, (it’s an ’angry young man’ song). After seeing the Rods perform this live with such verve and energy, it’s hard to appreciate another band’s attempt at this song. Manfred’s version
although good musically is a bit  'twee’ for my taste and lacks the passion of the original. When Barry Masters spits out ’....tired of doing day jobs, with no thanks for what I do, I’m sure I must be someone and I’m gonna find out who’, you believe he feels this sentiment. You don’t feel quite so convinced after hearing Manfred’s version.

believe is a difficult song to cover.
Again I was apprehensive about
hearing Manfred’s version after being a fan of The Jam, and seeing them
perform it live with great passion and

Manfred Mann (Chapter 1)
Manfred Mann (Chapter 1)

The Best Of The EMI Years


Anyone wanting a hits collection should  stick to Polygram's recently released Ages Of Mann, this is for those who want to  delve deeper into the group's R&B roots. The Manfreds were far more eclectic than most ’60s chart bands and often used album and EP tracks to pursue less
commercial jazz and R&B interests. So
alongside bluesy singles like 54321 , Do Wah Diddy Diddy and Hubble Bubble (‘Toil And Trouble) - all less contrived than the Stones’ early efforts - are engaging versions of Herbie Hancock’s Watermelon Man. Tina Turner’s I Can't Believe What You Say and standards like I’ve Got My Mojo Working and I Put A Spell On
You. Unreleased material includes Sticks And Stones and the poppy, She, but the album is almost worth buying for Paul Jones's Tired Of Trying, Bored With Lying. Scared Of Dying which, with lyrics like ”Why bother?/ There’s no incentive to try" and “Am I expected to grow up into something like you?" anticipates punk by a decade.***
Colin Shearman

I think that, although it lacks
some of the passion of the original it
has its strengths in a good vocal effort (Paul Weller was never the greatest vocalist), and it has an original ending.
After quite a few listens some of my
original doubts have faded and I have
found that I have an appreciation of
Manfred’s reinterpretation of this song.
You can’t be close friends of Andy and Carol without being invited to an
EARTHBAND concert. So when in the
summer of ’91 Andy had the exciting
news of the ’warm-up’ gigs we knew
that it wouldn’t be long until we
experienced the EARTH BAND live for the first time. When after a wait of five years, the date of the first gig
arrived, Andy set out early in the
afternoon brimming with excitement
and anticipation. When the concert
began I don't think Andy was
disappointed and we thoroughly
enjoyed it. Yet again, it was another
cover that really impressed me and
that was REDEMPTION SONG, with
Noel (the new vocalist) sounding
particularly impressive. Reflecting
back on this version: it really makes

PE#3 - Page 5

you wince when you hear such weak,
insipid covers, such as UB40’s,
topping the charts. I know Manfred is
now one of the ‘elder statesmen’ of
Rock (one of the pioneers, if you like),
so possibly chart success is no longer important to him. Perhaps he’d rather pursue his own musical interests as expressed in something like PLAINS MUSIC, and for a Manfred fan, certainly in this country, it must be great seeing them in small intimate settings. However, if I was a long term Manfred fan I couldn’t help feeling a sense of frustration that he wasn’t receiving the public recognition that he deserves. The late ‘80s and early ‘90s, by and large, has been a period of non-musical creativity with sterile, boring covers and often topping the charts. Although in this article I have
criticised Manfred’s choice of some
covers, it doesn’t detract from the fact that when it comes to covering other peoples songs, Manfred and the Earth Band are experts. You need look no further than the obvious ‘DAVY"S ON THE ROAD AGAIN, MIGHTY QUINN, SPIRITS IN THE NIGHT and BLINDED BY THE LIGHT’. So if Manfred wanted to appeal to a larger audience, especially in this country, he surely could. Unfortunately in the 90s it’s hit singles that sell albums and it’s hit albums that fill rock stadiums.
You feel that with the right cover such commercial success could be
Manfred's again but you’re left with
the nagging doubt - Is this what
Manfred really wants?

Barbara Hughes



Fans of the Paul Jones fronted line up of Manfred Mann will be delighted
with this masterpiece. Basically the 29 tracks give us 74 minutes of sheer heaven ranging from R&B, Jazz
influences and pure commerciality of
the group’s massive hits.

Although they did appear on the E.M.I. (America) ”Definitive” album songs such as ’She’ (How come this wasn’t released here as a single?) ”My Little Red Book ” along with ’Sticks and Stones’ (previously unreleased anywhere), ”Come Home Baby” (unreleased in UK.) are now available for the first time.

There’s also the unedited version of
"Do Wah Diddy” complete with
Manfred’s short organ solo as well as the ”Ready Steady Go” version of 5-4-3-2-1. Add these tracks to such gems as ”Kingpin”, ”I Put A Spell On You”, Watermelon Man”, ”Tired Of Trying” etc, and ”I Think It’s Gonna Work Out Fine” among others then you have some of the reasons why this group had such a following. Brian Hogg’s Liner Notes’ (sleeve notes in English) give an approximate track by track review of the album taking us through to Paul Jones’ departure but his researchers do not gain any kudos for stating that ”I Think It’s Gonna Work Out Fine” was released as a single - as we know it came to light on the Five
Faces Of Manfred Mann album, and
Come Home Baby” was probably
recorded in 1966 not 1964 simply
because we’re led to believe from a
member of the group that Jack Bruce is featured playing Bow Bass on the track and the sound is very much akin to the period when Lyn Dobson and Henry Lowther were in the line up. There’s also the small matter of Manfred’s ’real name’ which is of course ’Manfred Lubowitz’ not Michael Lubowitz' - I’m sure that he has been confused with a guy called Mike Leibowitz (sorry can’t remember what he is/was well known for). Enough of these ”errors”. This package is so good and that includes the photographs - a classic Manfred pose on the front (defying the camera) while inside we have a superb shot taken outside a boutique (typical of the period) with everyone looking resplendent in what appears to be new apparel. The suits and jackets should be preserved for ever most of the individual photos have been culled from the back of the ”Mann Made” album (with the exception of the shot of Manfred) and there are also reproductions of ER and album covers, covers which housed musical gold and history.
Thank you Manfred, Tom, Mike, Paul
and Mike for the musical chemistry
which you created and allowed us to
Sound quality excellent

Price £9.93

John Arkle

1. Do Wah Diddy Diddy (original
    Single version)
2. Cock A Hoop
3 .I’ve Got My Mojo Working
4. * Sticks and Stones
5..5-4-3-2-1 (original single version)
6  Why Should We Not
7  I’m YourKingpin
8. Without You
9. Put A Spell On You
10. Hubble Bubble (Toil And Trouble)
11.** Dashing Away With The Smoothing

12. Sha La La
13. I Can’t Believe What You Say
14. The One In The Middle
15. Watermelon Man
16. With God On Our Side
17. Come Tomorrow
18. I Think It’s Gonna Work Out Fine
20. Oh No Not My Baby
21. *** My Little Red Book
22  ** Come Home Baby
23  Pretty Flamingo
24. If You Gotta Go, Go Now
25. Tired Of Trying, Bored With Lying

      Scared Of Dying 
26. There’s No Living Without Your Loving
27. You Gave Me Somebody to Love

28. ** 5-4-3-2-1 (Ready Steady Go Theme)

29. ** Do Wah Diddy Diddy (unedited



*    Previously unreleased

**  Previously unreleased in the UK

*** Previously only released on Soundtrack

      album in the UK

PE#3 - Pages 6 & 7

PE#3 - Page 8

As C.T. unless stated

SINGLES - 7" unless Stated

Unknown     Central Park   Reunion   Tracks Unknown                                                                   1974
CBS              12-6477                            Thunderchild/Read London/Thunderchild 12”                1978
Planet           PL12366                          Night Hot Summer Nights/Party Shuffle (Dutch)            1979
Planet           K12382                            Night Party Shuffle/Got A Lot On My Head
Planet           K12389                            If You Remember Me/Theme from ’The Champ’            1979
Planet           PL12405                          C.T. & If You Remember Me/You Ain’t                              1979
Night Pretty Enough (Dutch) 
Planet           K12420                            Cold Wind Across My Heart/ You Ain’t Pretty Enough
Planet           K12492                            Night Love on the Airwaves/Day after Day                      1980
Planet           K12507                            Night It’s Good To Be Back In Your Arms/Look At You 1980
Ultra                                                        Do What You Wanna Do/                                                    1983
Phone           6.13805                           Movin' On (German) 
Casablanca 814 603-7                        All The Right Moves (edit) with Jennifer Warnes
                                                                from O.S.T. All The Right Moves.
Simple           SIM3                               Bye Bye Love/Blue Water                                                    1984
Simple           12 SIM3                         Bye Bye Love/Blue Water, Lies 12”                                    1984
Towerbell      FND 1                             Hazel O’Connor, C.T. Push and Shove/Safe                    1985
Towerbell      FND 12                           Push and Shove (extended mix)/
                                                                Moments On A Lever 12"                                                    1985
Atlantic                                                  Love and Loneliness                                                            1986
Atlantic          A9384 T                         Love and Loneliness/Empty House Missing 12”            1986
Parlophone   R6152                             It’s Not Over/Make It A Holiday                                         1987
Parlophone  12 R6152                         It’s Not Over extended mix/It’s Not
                                                                Over extended dub mix, Make It A Holiday 12”               1987
Teldec            6.15189                          One step At A Time/Bridge Across The River (German) 1988
                                                                 To Hell With Love (German)                                                1988
Ariola              612485                           The Challenge (Face It) Centre Court Mix/Single Mix,
                                                                 Strawberries & Cream Mix (German) 12"                          1989
3” CD Single                                           The Challenge (Face It)/Instrumental                                1989
5" CD Single                                           The Challenge (Face It) Centre Court Mix/Strawberries

                                                                & Cream Mix, Instrumental (German)                                 1989
EMI                203489 7                        SOS United featuring C.T. Lullaby for Grown Ups
                                                                (Good Night)/Blessed Are (German)                                  1989
EMI                203489 6                         Lullaby for Grown Ups (Good Night)/
                                                                 Blessed Are & 2 non-CT tracks 12" (German)                  1989
EMI                203489 3                         Lullaby for Grown Ups (Good Night)/
3” CD                                                      Blessed Are & 2 non-CT tracks (German)                          1989

Formats Unknown This is the Moment(New Zealand) 1990

BMG              Ariola 664129 5” CD     Beat of Love (Extended Version),
                                                               When The Wind Blows,
                                                                Beat of Love (Single Version)(German)                              1991
Unknown                                               Take Me to Heaven(German)                                                1991
Unknown                                               Tower Of Love(German)                                                         1991


To be continued



DATE - Wednesday 7th July 1993
CITY - Munich
VENUE - Tollwood Tent Olympic Park
The venue was a large circus style
marquee situated in the grounds of the Olympic park part of the complex built for the 1972 Olympic games. The
Earth Band gig was to be one of the
highlights of the Tollwood Festival, a
14 day celebration of music, fashion
and food.

Due to the fact that all tickets had
been sold put out sometime before it
was known that a large crowd was to
be expected. This turned out to be
correct, as within half an hour of the
gates opening the capacity audience of 3.500 had taken their places inside the Big Top".

The time was drawing near to 9.00
pm. and there was a definite
atmosphere of anticipation. This
tension was released as the lone figure of Manfred walked on stage to a huge cheer. As he played the opening
chords the crowd clapped in
recognition as Manfred Mann, and
later Mick Rogers played an
instrumental version of Joybringer.
When the instrumental was completed
Manfred and Mick were joined on the
stage by the rest of the band and went
straight into Shelter (From The Storm)
followed by a new song ’Miss You’
both of which (were appreciated by
the crowd) or (well received by the
crowd). Manfred then spoke for the
first time saying that he was about to
play an old song which caused the
assembled to cheer. But he then said

PE#3 - Page 9

but we have never recorded it!!!” - to
which the crowd sighed. The band
then gave a brilliant rendition of the
old Bob Dylan classic ‘The Times They Are A Changing', which lifted all those inside the tent to a level that was sustained throughout the evening.
Manfred then spoke again saying now we will play and old one that we did record and within the first notes once again recognised, the strains of
Martha’s Madman, cheered
vigorously and sang along.

As the band carried on throughout the rest of the set, people stamped and sang along with their old familiar songs culminating with Blinded By The Light, after which the band left the stage the crowd clapped and shouted for more, this got louder and louder until eventually the band reappeared for their first encore which was to, the delight of all, The Mighty Quinn, once again the band went to leave the stage but were soon forced to reappear by the demands of the still highly enthusiastic audience.

This time within a single note the
crowd new what was to follow and
sang every word of Davy’s On The
Road Again, along with the band.
Finally, and almost exhausted the last song was the old blues classic
Automobile, which was enjoyed
almost as much by the band as by the audience themselves.

I’m sure no dedicated fan left the big
top unsatisfied and anybody seeing
The Earth Band for the first time would have walked away with perhaps the intention of one day coming back to see the band again.


Joybringer (Intro..)
Shelter From The Storm
Miss You
The Times They Are A Changing
Martha’s Madman
Demolition Man
Father Of Day
Redemption Song
Blinded By The Light
Mighty Quinn
Davy’s On The Road Again
Kelly and Christian Norris


By Andy Taylor
Andy: How did you get into music in
the first place?
Mick: I had rather a musical family
although not professional, Dads a
drummer, I have an uncle plays string
bass player and guitarist so from an
early age I was surrounded by music
and after listening to 50’s rock and
Andy: When did you go professional?
Mick: On leaving school my first job
was apprentice engineer which I had
for about three months, then the local holiday club needed a band and I got to do a summer season at Warners Holiday Camp.

Andy: Once you got started you
went to Australia, how did that come

Mick: Basically going on a package
tour and on the tour was an Australian band and I had my band backing various artists, in that show we performed for about 20 minutes on our own, they had heard us play and their guitarist was leaving and they asked me if I could join. It was called Nory Rowe and the Playboys


and they were a huge band in Australia. So I joined a big band we played in Montreal and played in Australia for 6 months and every duff hall in Australia we must have played. I saw all of Australia.

Andy: Did you record?

Mick Yes, we did a couple of
things, then came Vietnam and we
started a band called Procession, had a couple of hits in Australia, then the Manager secured a record deal in the U.K. and Mike Hugg produced
Procession. Mike Hugg was then with Manfred Mann. In fact the week I met him they’d just recorded ’Fox On The Run’, hence how Manfred first heard me sing.

We did the first live (one to U.K.
Contract) album ever recorded in
Australia, done at a club called
Sebastians. Pretty strange a mixture of Jack Bruce, a lot of it was pretty Free verging on Jazz, but when we got the contract over here the record company tried to turn us into the pop band, it wasn’t our make-up.

Andy: The album done with Mike
Hugg is very poppy.

Mick Rogers 1993
Mick Rogers 1993

Manfred Mann's Earth Band - Tollwood Germany 1993
Manfred Mann's Earth Band - Tollwood Germany 1993

PE#3 - Page 10

Mick: Oh yeah, I hate it, nothing to
do with Mike, hated the band once it
left Australia, no longer what it was.
Andy: You had Craig Collinge
beginning of Chapter 3. There were
other bands in Australia Eclipse?

Mick: When I left Manfred - later on
I went back to Australia, did a 3 piece
Bulldog Peter Miles, Bob Daly and had a lot of fun doing blues and typical 3 piece. I was at a record reception, we got a record away - A Man of Constant Sorrow? and so I had a phone call, at the reception, some guy who managed Procession - and The Playboys - later became Manfreds manager - David Joseph - and he rang me and said Manfred is forming a new band would you like to come across to England and see how it works - of course I said yeah - I wanted to get back anyway and that’s how it all came about, your ticket will be at Airline office and that’s it.

Andy: You helped form the first
Earth Band - Lots of fans have a special regard for - what do you think was so special about first Earth Band?

Mick: I think it was the pure energy
of Chris Slade and Colin Pattenden to get great rhythm section, lots of energy, really tight, like the early Free rhythm section but looser, it enabled Manfred and myself to have a lot of freedom on top of that and it used to fly. One of our first major tours was in Australia we opened for a local band, there was us, then Free, then Deep Purple and we went down so well they tried to shove us up the order and we on the strength of that tour did our own shows and

Andy: It was an incredible band
wasn’t it!

Mick: It was amazing, Manfred and
myself still taking nothing away from
this band or the band Chris was in but we have an affection for that band. At that time we didn’t have any hit records out we simply built it up out of the live performances and when we toured America supporting people like Uriah Heap we used to go down a storm, we even got our own gig at the Philadelphia Spectrum simply because we had a huge following but no albums were selling, peculiar. So really all paving the way for a ’Blinded By The Light’ track, we weren’t selling records because we simply didn’t do the right records or then it all started to happen when Manfred found it, in fact I learnt ’Blinded By The Light’ then went on my way and did other things.
Andy: You did have ’Joybringer’ of

Mick: Oh Yeah, forgot about that,
Joybringer’, ’Solar Fire’, doing quite

Andy: It was essentially a live band.
Mick: I suppose ’Roaring Silence’
although I wasn’t in that band,
Roaring Silence’ and ‘Watch’ were
probably the closest that Manfred
recorded a live album. Bridged the
gap more than any other album I
think, and Solar Fire still sells.

Andy: A lot of people rate that very
highly as an album but it still doesn’t
capture how good the band were.
Mick: Funny thing - I went to the
local swimming pool with my wife the other day and this guy serving in the cafeteria said ’Are you Mick Rogers, Solar Fire?’, you don’t expect that down at your local swimming pool, he had the album which was nice.

Andy: Very popular album and you
still do ’Father Of Day’ from that
album. Coming back to what l
mentioned earlier, 1975 having
worked very hard as a band, to build
up a world wide following - you quit
the band just before?..…

Mick: It was the parting of the ways between myself and that band I wasn’t getting through a situation were I wanted to stretch out a bit. Being a guitarist I wanted to be like - I was very fortunate when I was in America to play with Frank Zappa, playing Bass not guitar and I had a feeling for that type of thing a feeling for the McGIoughIan sort of thing and a lot of guitarist were influenced in at that time it just wasn’t happening in the Earth Band frame, I was becoming such a pest that Manfred called a band meeting and said well I’m sorry Mick but you will just have to go, because you obviously want to do something

Next Time - Mick talks about his time
out of the band and how he came to

PE#3 - Page 11