Classic 60's Albums: Manfred Mann "The Five Faces Of Manfred Mann"

MANFRED MANN-"The Five Faces Of Manfred Mann" U.K. LP His Master's Voice CLP 1731 1964

Manfred Mann hold a unique place in British 60's r&b annals in that they embraced a multitude of influences and covered an equally large pool of genres: blues, jazz, soul, r&b, gospel etc. All of this is no better exemplified than by their debut British long player profiled here today. What makes it all even more unique is that for a debut album there are six band originals comprising just under half the album, no mean feat for a debut album considering that Stone's featured only three on theirs. Led by South African ex-pat Manfred Mann on keyboards the band benefited from having an incredible front man in the shape of Paul Jones who not only had a strong voice but was an incredible harp blower as well. Along for the ride were multi instrumentalist Mike Hugg on guitar (flute and sax as well), bassist Tom McGuinness and Mike Hugg on drums/vibes. "The Five Faces Of Manfred Mann" was launched in Britain on September 11, 1964. 

SIDE ONE

1. "Smokestack Lightning" (Burnett)

2. "Don't Ask Me What I Say" (Jones)

3. "Sack O' Woe" (Adderley)

4. "What You Gonna Do?" (Jones, Manfred)

5. "Hoochie Coochie" (Dixon)

6. "I'm Your Kingpin" (Mann, Jones)

7. "Down The Road Apiece" (Raye)

Side One roars off with a fairly competent reading of Howlin' Wolf's "Smokestack Lightning" (curiously included on the Yardbird's debut LP as well), aided in no small part by Paul Jone's incredible harp blowing ability. The band original "Don't Ask Me What I Say" is next. It's one of my favorite tunes by them utilizing a "Can I Get A Witness" style melody delivered fast and edgy and complimented by a jazzy little sax solo by band guitarist/multi instrumentalist Mike Vickers. Cannonball Adderley's "Sack O' Woe" again offers the band a chance to flex their jazz chops offering an interesting merging of sax, harmonica and vibes (the latter care of Mike Hugg), all delivered at a frenetic pace. "What You Gonna Do" is another strong band original, a perfect moody/moddy little piece of business with incessant harmonica/organ interplay and previously was issued as the flip to their hit rendition of "Do Wah Diddy Diddy" a few months prior. Willie Dixon's (via Muddy Waters) "Hoochie Coochie" is next up, it's a fairly mundane treatment, not the strongest track on the album mind you, but not the weakest either. "I'm Your Kingpin" is another band original that is so full of soul that you would be forgiven for expecting it to be a blues cover. Driven by a forceful piano/harmonica combination it chugs along nicely and is accented by not only some jazzy vibes but by a groovy little sax solo as well (it was previously issued as the flip side to "Hubble Bubble Toil And Trouble"). Side One is closed with "Down The Road A Piece", no doubt the band were influenced by Chuck Berry's reading of this track from the Forties, but they make it their own with a sax/harmonica dual lick and some bluesy piano hammering.

SIDE TWO

1. "I've Got My Mojo Working" (Morganfield)

2. "It's Gonna Work Out Fine" (Seneca, Lee)

3. "Mr. Anello" (Hugg, Jones, Mann, McGuinness, Vickers)

4. "Untie Me" (South)

5. "Bring It To Jerome" (Green)

6. "Without You" (Jones)

7. "You've Got To Take It" (Jones)

Side Two kicks off with "I've Got My Mojo Working", in my opinion it's the weakest point of the album, the band's playing is of course excellent but it's just mundane to my ears. Ike and Tina's "It's Gonna Work Out Fine" is next and fortunately it's a palette cleanser after the previous track in no small part due to Paul Jone's vocals and Manfred's subtle electric piano. The band original, "Mr Anello" is next, it's an instrumental and no doubt it's title refers to one half of the famous London footwear manufacturers Anello and Davide. It's driven by some jazzy guitar that weaves in and out and a barrel house piano that would do Jerry Lee proud and there's some harp wailing in between. "Untie Me" is a cover of the obscure 1963 r&b ballad by the Tams, it's a halfway decent reading and provides an interesting mix with all of the more blues or jazz based tracks it's surrounded by. Bo Diddley's "Bring It To Jerome" is next, I like it it's but not nearly as powerful as David John and The Mood's gritty Joe Meek produced version from the following year. The band original "Without You" is next and in my estimation it's one of the album's strongest tracks. The beat is down and dirty and bluesy and it's fattened up by an incredible flute and vibes solo joining the prerequisite harp wailing and Paul Jone's baritone growling (it was issued in January as the B-side of "5-4-3-2-1!"). "You've Got To Take It" closes the album and it is another band original. It's not the strongest track but gets kudos because the band could have easily followed the norm and padded the album out with another Chuck Berry or Howlin' Wolf cover!