Man: CD Collection (1969-2007) [16CD + 2DVD]

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Man: CD Collection (1969-2007) [16CD + 2DVD]

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Man were one of the most promising rock bands to come out of Wales in the early '70s. Along with Brinsley Schwarz, they helped establish the core of the pub rock sound, but they played louder and also had a progressive component to their work that separated them from many of their rivals. The group originated as a Four Seasons-cum-Beach Boys vocal outfit, based in Swansea, Wales, called the Bystanders, who began experimenting with a tougher, more progressive sound on-stage. They were encouraged to pursue this direction, and Man were formed – Micky Jones (lead guitar, vocals), Deke Leonard (guitar, vocals), Clive John (guitar, keyboards, vocals), Ray Williams (bass), and Jeff Jones (drums).

Their first release, Revelation, issued in 1969 on Pye, was a concept album that yielded a successful European single, "Erotica," which contained the sound of an orgasm and thus failed to chart in England. Their second album, 2 Ozs. of Plastic with a Hole in the Middle, showed a slightly new direction for the band, with a nearly live-in-the-studio sound and more creative interplay between the guitars, that some critics compared to early Quicksilver Messenger Service and other West Coast bands. Deke Leonard, in particular, whose playing was heavily influenced by Mick Green of the Pirates, became the star of the group by popular acclaim. When their contract with Pye Records ended in 1969, the group signed with United Artists-Liberty, with a new rhythm section consisting of Terry Williams on drums and vocals and Martin Ace playing bass. Their third album, Man, was a critical success, and their follow-up, 1971's Do You Like It Here, Are You Settling In, yielded several popular concert numbers.

In February 1972, the group appeared at the Greasy Truckers' Ball, a benefit concert held in London that was taped for posterity, alongside Brinsley Schwarz and Hawkwind. Their performance was so impressive that United Artists chief Andrew Lauder (who was also responsible for helping the post-Roy Loney Flamin' Groovies get their sound together) encouraged them to do a full live album. The result was Live at the Padget Rooms, Penarth, the band's breakthrough album, even though it was originally released in a limited-edition pressing of 8,000 copies. The album became a much sought-after collector's item in England, and suddenly the group had the attention of most of the record-buying public.

Unfortunately, it was at after the release of that album that Deke Leonard decided to exit the lineup to pursue a solo career, which he launched with the successful album Iceberg. Man were making a reputation for themselves and their next album, Be Good to Yourself at Least Once a Day, yielded some good songs (including "Bananas"). At that point, Pye released a retrospective of their first two albums, while the group's current lineup began shifting again – Deke Leonard was back for Rhinos, Winos and Lunatics, and Slow Motion led to the group's first American tour. They followed this up with their first serious misstep, a hookup with Quicksilver's John Cippolina as producer for what proved to be a disappointing album, Maximum Darkness. The Welsh Connection, released by MCA in 1976, marked the end of the original group's history, although the band did get one more album out, entitled All's Well That Ends Well.
During the 1980s, Micky Jones reunited the group and those interested members (including Deke Leonard) and found a steady living on the pub rock circuit. Meanwhile, Terry Williams went on to join Rockpile and Dire Straits. Interest in Man was strong enough to justify the release of a compilation, Perfect Timing: The UA Years, in 1991. In the mid-'90s, Beat Goes On began reissuing Man's individual albums and Deke Leonard's solo work on compact disc. Various lineups continued performing and recording into the 21st century, although the diagnosis and treatment of a brain tumor led Jones to exit, reenter, and then exit the lineup again during the 2000s. Sadly, Jones lost his struggle with cancer on March 10, 2010; former bandmember Clive John died the following year, on August 24, 2011, after his own lengthy struggle with emphysema.

by Bruce Eder

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Man: CD Collection (1969-2007) [16CD + 2DVD]

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Валлийская группа «Man» была образована в 1968 году выходцами из двух паб-роковых команд: «Bystanders» и «The Dream». В оригинальный состав вошли Микки Джонс (гитара, вокал), Дик Леонард (гитара, вокал), Клайв Джон (гитара, клавишные, вокал), Рэй Уильямс (бас) и Джефф Джонс (ударные). Практически с самого начала в творчестве «Man» появились психоделические и прогрессивные элементы, что сразу же выделило коллектив из многочисленной толпы паб-рокеров. Заключив контракт с «Pye Records», команда дебютировала с концептуальным альбомом «Revelation». Пластинка получила известность в континентальной Европе благодаря композиции «Erotica», в которой имитировался оргазм, однако релиз остался за бортом британских чартов. Второй альбом, записанный по принципу live-in-studio, отличался гитарной работой в духе «Quicksilver Messenger Service». После выхода пластинки в первый раз сбежал Леонард, а его место занял экс-участник «The Dream» Мартин Эйс.

Впрочем, Дик отсутствовал не очень долго, и по его возращении Эйсу пришлось сместиться на бас. В скором времени случилась еще одна замена, и место Джеффа занял Терри Уильямс. Когда контракт с «Pye» истек, «Man» перебрались на «Liberty Records», где дебютировали с одноименным альбомом. Работа вызвала много положительных откликов, однако настоящим прорывом стал диск «Do You Like It Here Now, Are You Settling In?», породивший наибольшее число популярных концертных номеров.

Постепенно Клайв стал отдаляться от коллектива, и с ним пришлось расстаться. Уже без его участия были записаны концертные альбомы «Greasy Truckers Party» и «Live At The Padget Rooms Penarth». За выходом этих пластинок последовали очередные кадровые изменения. Эйс со своей женой собрали группу «Flying Aces», Леонард ушел заниматься сольной карьерой, а состав «Man» приобрел следующий вид: Микки Джонс (гитара, вокал), Уилл Юэтт (бас, вокал), Клайв Джон (гитара, вокал), Терри Уильямс (ударные, вокал), Фил Райан (клавишные, вокал). Несмотря на продолжающиеся и далее флуктуации группа доказала свою жизнеспособность, выдав на удивление качественные работы, «Be Good To Yourself At Least Once A Day» и «Back Into The Future». Ко времени записи «Rhinos, Winos + Lunatics» вернулся Леонард. Этот альбом продюсировал Рой Томас Бэйкер («Queen»), поэтому саунд получился несколько приглаженным.

За выходом пластинки состоялся первый визит «Man» в Америку, где группа нарезала круги в компании с «Hawkwind». Записанный летом того же года диск «Slow Motion» имел успех у заокеанской публики, однако Британия его проигнорировала. Во время второго заезда в Штаты к команде присоединился ее давний кумир из «Quicksilver Messenger Service» Джон Сиполлина, при участии которого был записан концертник «Maximum Darkness».

Однако первый этап существования «Man» подходил к концу, и после выхода слишком приглаженного «The Welsh Connection» и концертника с символическим названием «Alls Well That Ends Well» было принято решение о роспуске группы. Вторая глава в истории команды началась в 1983 году, когда Микки Джонс, Леонард и Эйс при участии экс-ударника «Gentle Giant» Джона Уэзерса возобновили гастрольную деятельность. Музыканты собирались записать и студийный альбом, но из-за их раздолбайства новый материал («The Twang Dynasty») увидел свет только в 1992-м. В середине 90-х в команду вернулся освободившийся от контракта с «Dire Straits» Уильямс, однако его пребывание в составе было недолгим, и он уступил установку Бобу Ричардсу.

В 1998-м возвратился и клавишник Фил Райан (позже его сменил Гарет Торрингтон), сыгравший ведущую роль в продюсировании «Endangered Species». В 2002 году был записан альбом «Undrugged», в который помимо оригинального материала вошли каверы Брайана Уилсона «Sail On Sailor» и Рэя Чарльза «Georgia On My Mind». Примерно в это же время в связи с открывшейся опухолью мозга Микки Джонсу пришлось оставить работу в «Man». Дело отца продолжил его сын Джордж, а когда в 2004-м ушел Леонард, состав омолодился за счет сына Мартина, Джоша.

~ lastfm

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Man: CD Collection (1969-2007) [16CD + 2DVD]

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A blast from Man's psychedelic past, this debut shows the band making an auspicious debut with Hammond-drenched guitar rock. It's easy to see, between the spacy effects and unearthly vocal choruses of their single "Sudden Life," how Man positioned themselves between the space prog of Nektar and the acid-fried rock of Quicksilver Messenger Service. When "The Future Hides Its Face" melds Apollo mission control transmissions with jamming, it's certainly evocative of time both musically and historically. "And Castles Rise in Children's Eyes" takes a more measured and orchestral approach, while the wonderful "Don't Just Stand There" is the great should-be single of the album, careening as it does between spiraling organ solos and sunny choruses of harmonica and Dylanesque vocals. Not every experiment works on this album, but when Man get it right, they get it very right.

by Paul Collins

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The group Man evolved from the Bystanders, a mid-'60s Welsh combo whose blend of Beatlesque harmonies and blue-eyed soul yielded a number of well-received singles, most notably the progressive and poppy "Royal Blue Summer Sunshine Day." That side was indicative of the direction they would take after changing their name to Man. Perhaps due to the eponymous moniker, this album has long been mistaken as a debut effort. However, prior to this title, they had already released a pair of LPs, Revelation (1969) and the somewhat more centered and ambitious follow-up 2 Ozs. of Plastic with a Hole in the Middle (1969). By the time of this platter, Clive John (organ/piano/electric guitar/harpsichord/vocals), Deke Leonard (guitar/vocals), Martin Ace (acoustic guitar/bass guitar/vocals), Terry Williams (percussion/drums), Roger Leonard (acoustic guitar/piano/electric guitar/steel guitar/vocals), and Micky Jones (acoustic guitar/electric guitar/vocals) had settled into what most enthusiasts consider to be a seminal aggregate. In addition to their exceptional improvisational skills, Man would display a more aggressive sound. The opening track, "Romain," instantly gels into driving blues behind Leonard's woozy steel guitar interjections. "Country Girl" is reminiscent of the New Riders of the Purple Sage, complete with a distinct West Coast county-rock lilt. Both of the extended pieces, "Would the Christians Wait Five Minutes?…The Lions Are Having a Draw" and "Alchemist" are pastiches of well-developed instrumentals, although at times they come off as somewhat dated. There is plenty of inspired interaction, however, especially on the latter song as they unleash some definitive heavy metal licks that could easily be mistaken for seminal Black Sabbath. "Daughter of the Fireplace" is another highlight as a compact and attitude-heavy rocker.

by Lindsay Planer

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Long a fan favorite, Man's fourth studio album was recorded in 1971 during a harried one-week studio session that found the group having to write nearly the entire album, barring the tight and rocking "Angel Easy" and the group's multi-part masterwork "Many Are Called but Few Get Up." Frankly, the album sounds like a record that was largely jammed in the studio; the eight-minute-plus jams that close each side, "We're Only Children" and "Love Your Life," are particularly tiresome, good instrumental and lyrical ideas stretched well past their breaking points. However, besides the superior "Angel Easy" and "Many Are Called but Few Get Up," the album does include the rather wonderful "All Good Clean Fun," a showcase for pianist Clive John and lead guitarist Deke Leonard that has a delightful prog pop playfulness akin to some of Genesis' more lighthearted early moments or the daffiness of the later band Hatfield & the North. The album may be only half good, but that half is among Man's very best work.

by Stewart Mason

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Alongside Christmas at the Patti, Live at the Padget Rooms, Penarth ranks among the all-time greatest Man concert recordings, the sound of the band at the peak of its game in 1972. The recording's genesis lay in Man's contributions to the Greasy Truckers benefit album, recorded and released a little earlier in the year. Though Man was granted little more than one side of vinyl, the marathon (22-minute) version of "Spunk Rock" that ensued has since been described by Deke Leonard as one of the best things the band ever released – and that despite the vinyl version fading in some ten minutes into the actual performance! For this latest release, there would be no such shortcomings. With a raw sound that seems to spill straight out of the amps, just three songs devour the album, including a remarkable rendition of the so evocative "Daughter of the Fireplace" and a positively yowling take on "Many Are Called, But Few Are Raised," a live staple that had long since outgrown its studio incarnation. "H Samuel," titled for a once-thriving chain of British jewelry stores, completes the set with further dynamic improvisation, leaving the album hovering closer to the brink of a massive stoner rock-jazz fusion hybrid than any other Man album ever dared to go. One needed to move astonishingly quickly to hear this remarkable treasure, however. As with the Greasy Truckers and Christmas at the Patti albums, Live at the Padget Rooms, Penarth was a budget-priced limited edition of just 8,000 copies and, though it entered the mid-priced LP chart at number one, the album then disappeared completely seven days later. It would be another three decades before it returned to the stores.

by Dave Thompson

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The only Man album recorded without Deke Leonard is something of a curiosity, a view of the band without the frontman who wrote most of their material. As might be expected, the vocals on this album are less accomplished and further back in the mix, but that is actually an asset in this case. Lacking their lead singer, Man proceeded to assemble their best instrumental set ever, and then to add sparing vocals more for texture than communication. The group interplay here is remarkable, with musical themes and ideas tossed from instrument to instrument with considerable creativity. The side with "C'mon" and "Keep on Crinting" is one long and intricate jam, and unlike most progressive marathons from the period, one doesn't wish for it to end even a second earlier than it does. The first cut on the next side, "Bananas," became a concert favorite for obvious reasons: it consists of four lines of silly poetry followed by nine minutes of inspired playing, then a repetition of the four lines of poetry. Tracks like that might almost be taken as a sneer at the idea that this band needed a singer at all, though the relationship with Deke Leonard was obviously cordial. After all, he contributed a "family jungle" of the band to the liner notes and was back for their next album.

by Richard Foss

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What better way for a band to kick off the holiday season than to gather up their friends (all conveniently, if coincidentally, their UA labelmates), throw a gala party, and record it all for posterity? And that's precisely what Man did in 1972, with the band not only bringing together much of their hometown Swansea's top talent, but prompting the re-formation a trio of the city's most beloved groups for the occasion. Christmas at the Patti is the stunning record of that fateful night, which was originally released on a limited-edition pair of 10" mini-LPs. Esoteric has now lovingly remastered the original tapes, and given Christmas at the Patti a very welcome CD reissue. Deke Leonard penned the new sleeve notes, although he has no actual recollection of the gig itself. That was possibly due to the drugs he ingested, or maybe just neural overload; the ex-Man guitarist performed with three of the bands that night, ironically though, Man wasn't one of them.

Flying Aces stepped onto the stage for the first time here, and open the album with the delightful "Welcome to the Party." In actuality, they were the penultimate band on the bill, coming on right before Man themselves. In contrast, visiting Englishmen Ducks Deluxe had already played some shows, but they made their recording debut this night, boogying their way through "Boogaloo Babe." If that pair were the ghosts of Christmas future, the Jets were the first of the mighty spirits of Christmas past to haunt the stage, rattling their musical chains through some blistering R&B. Next, Dave Edmunds joined forces with the re-formed Plum Crazy, and ripped through a phenomenal "Run Run Rudolph." Unfortunately the final specter, Eyes of Blue, was only partially resurrected, and their performance was thus resigned to the shelf. But that left more room for Help Yourself, bolstered that night by a guesting Leonard and slide guitar hero B.J. Cole. Their incendiary, mesmerizing cover of "Mona" was magnificent, their "Eddie Waring" transcendental; no wonder Man scheduled them to play early in the evening. As for Man themselves, although they certainly shined that night, the sequencing of this set has them initially paling in comparison to Help Yourself. And then those boogie beats begin to really kick in, the guesting Edmunds' guitar solos begin to take hold, and then as organist Phil Ryan lets rip, the band finally "Shuffle" towards the night's phenomenal climax. An astounding concert, one that instantly gained legendary status, and this CD let's you hear precisely why.

by Jo-Ann Greene

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Rock music is littered with bands that wrecked on the studio/live double album concept; Man is rare in that their attempt, despite the departure of Clive John, brought them their first real success. The band's tight performance and increasingly ambitious musical experimentation made Back into the Future the first Man album to chart in the U.K.; when it hit number 23, it was to be the band's high-water mark. Despite the band's live reputation, the studio album probably holds greater interest for listeners today. The title track is a lyrical evocation of the album's charming cover art – a staged before-and-after shot of a railway station in its Edwardian prime, and then in modern decrepitude. The song's wistful glance at the past blurs with dabs of modern psychedelia, and it conveys the post-Sgt. Pepper's fascination of British rockers with the costumed grandeur of Empire past. But it is "Ain't Their Fight," with its echoing vocals and windmilling guitar riffs, that stands out as one of the band's most satisfying tracks. Most of the rest of the album is comprised of lengthy instrumentals, but the opening "Never Say Nups to Nepalese" is worth noting for its gloriously crashing crescendo, cheerfully lifted from Pink Floyd's "Echoes." And while the live set uses a male choir to haunting effect in the slow psychedelic jam of "C'mon," it's more typified by the indulgent 21-minute boogie marathon of "Jam Jelly Up Tight." Much like the third record of George Harrison's All Things Must Pass, it must have seemed a great idea when stoned, but it's interminable today. Nonetheless, the album stands up as a fine artifact of the band's heyday.

by Paul Collins

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Man: CD Collection (1969-2007) [16CD + 2DVD]

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An excellent set of material energized by the return of the pleasingly abrasive vocals of Deke Leonard; it charted nearly as well as Back Into the Future, and its tighter composition means that in many ways it's held up better over the years. The second half may be the band's artistic high point – bookended by the pomp-wah instrumentals, "Intro" and "Exit," it contains the unusually sultry "Kerosene" and the epic "Scotch Corner," which builds up from rattling snare and picked guitar verses to beautiful choruses of harmonized vocals.

by Paul Collins

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Boasting an eye-catching cover straight from Mad magazine, this is a less successful follow-up to Rhinos, Winos and Lunatics, with almost the same personnel. While this album has the same California-via-Wales guitar twang and spit as its predecessor, evidenced by the laconically witty "You Don't Like Us," it somehow lacks ambition. Perhaps it's the absence of keyboardist Malcolm Morley. The pensive "Grasshopper" rises to the occasion, though, with a percussive piano part and weeping strings overlaid by gentle strummed guitar.

by Paul Collins

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Live albums have always been hit and miss I think. I always think that we have not enough of them (in Man's case we are graced with plenty) There are a few cases where live releases are among a bands best (The Who and Deep Purple spring to mind) and this is no exception. Recorded during a tour that featured John Cipollina from west coast Quicksilver Messenger Service (Man's idols). For a start, the sound quality is amazing. It's crystal clear and all instruments balance out well in the mix. The songs are superbly performed, most of them extended beyond the original studio versions. A thing that is always essential for live LP's I've thought. It has been widely rumoured the Cipollina's playing was not up to expectations, so a little overdubbing was necessary. I dont know myself how much is true, but it still sounds totally live to me. You can feel the energy almost as if you are in the concert hall with them. They appear to be getting a lot of well deserved applause from the crowd. Without a doubt, my best live album of all time. Amazing stuff.

by kingdhansak, progarchives

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Man: CD Collection (1969-2007) [16CD + 2DVD]

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Man: CD Collection (1969-2007) [16CD + 2DVD]

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Man: CD Collection (1969-2007) [16CD + 2DVD]

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Man: CD Collection (1969-2007) [16CD + 2DVD]

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Man: CD Collection (1969-2007) [16CD + 2DVD]

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Man: CD Collection (1969-2007) [16CD + 2DVD]

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Man: CD Collection (1969-2007) [16CD + 2DVD]

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Man: CD Collection (1969-2007) [16CD + 2DVD]

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Man: CD Collection (1969-2007) [16CD + 2DVD]

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Man: CD Collection (1969-2007) [16CD + 2DVD]

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Man: CD Collection (1969-2007) [16CD + 2DVD]

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Man: CD Collection (1969-2007) [16CD + 2DVD]

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Man: CD Collection (1969-2007) [16CD + 2DVD]

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Man: CD Collection (1969-2007) [16CD + 2DVD]

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Man: CD Collection (1969-2007) [16CD + 2DVD]

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Man: CD Collection (1969-2007) [16CD + 2DVD]

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Man: CD Collection (1969-2007) [16CD + 2DVD]

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