Editing Manfred Mann (section)

== History ==

=== Beginnings (1962–1963) ===
The '''Mann–Hugg Blues Brothers''' were formed in London in 1962<ref name="Guinness Rockopedia"/> by keyboard player [[Manfred Mann (musician)|Manfred Mann]] and drummer/[[Vibes (percussion)|vibes]]/piano player [[Mike Hugg]],<ref name="The Great Rock Discography">{{cite book |last=Strong |first=Martin C. |title=The Great Rock Discography |publisher=Mojo Books |location=Edinburgh |edition=fifth |year=2000 |pages=603–606 |isbn=1-84195-017-3}}</ref> who had previously been members of a house band in [[Clacton-on-Sea]] that also featured [[Graham Bond]].<ref name="retrosellers1">{{cite web |url=http://www.retrosellers.com/features62.htm |title=Interview with Mike Hugg |publisher=Retrosellers.com |access-date=18 July 2011 |url-status=dead |archive-url=https://web.archive.org/web/20110927182315/http://www.retrosellers.com/features62.htm |archive-date=27 September 2011}}</ref> Bringing a shared love of jazz to the [[British blues]] boom then sweeping London's [[Nightclub|clubs]], the band was completed by [[Mike Vickers]] on guitar, [[alto saxophone]] and flute, bassist [[Dave Richmond]] and [[Paul Jones (singer)|Paul Jones]] as lead vocalist and [[harmonicist]].<ref name="The Great Rock Discography"/> At one point, the band included Tony Smith on bass guitar, Glyn Thomas on drums, and four brass members.<ref>{{cite web |title=Drummerszone – Glyn Thomas |url=https://drummerszone.com/artists/glyn-thomas/13923/profile/ |access-date=18 June 2024 |website=Drummerszone.com}}</ref><ref>{{cite web |title=THE OFFICIAL MANFREDS WEBSITE – Mike Hugg |url=https://www.themanfreds.com/Mikehugg.html |access-date=18 June 2024 |website=www.themanfreds.com}}</ref> By this time they had changed their name to Manfred Mann & the Manfreds. Gigging throughout late 1962 and early 1963, they soon attracted attention for their distinctive sound.

After changing their name to Manfred Mann at the behest of their label's producer [[John Burgess (record producer)|John Burgess]], the group signed with [[His Master's Voice (British record label)|His Master's Voice]] in March 1963 and began their recorded output that July with the slow blues instrumental single "Why Should We Not?", which they performed on their first appearance on television on a New Year's Eve show.<ref name="NME Rok 'N' Roll Years">{{cite book |last=Tobler |first=John |title=NME Rock 'N' Roll Years |publisher=Reed International Books Ltd. |edition=first |year=1992 |location=London |page=121 |id=CN 5585}}</ref> It failed to chart, as did its follow-up (with vocals), "Cock-a-Hoop".<ref name="The Great Rock Discography"/> The overdubbed instrumental soloing on woodwinds, vibes, harmonica and second keyboard lent considerable weight to the group's sound, and demonstrated the jazz-inspired technical prowess in which they took pride.<ref name="retrosellers1"/>

=== Early success (1964–1966) ===
In 1964, the group was asked to provide a new [[theme tune]] for the [[ITV (TV network)|ITV]] pop music television programme ''[[Ready Steady Go!]]''<ref name="Guinness Rockopedia"/> They responded with "[[5-4-3-2-1]]" which, with the help of weekly television exposure, rose to No. 5 in the [[UK Singles Chart]].<ref name="British Hit Singles & Albums">{{cite book |last=Roberts |first=David |title=British Hit Singles & Albums |publisher=Guinness World Records Ltd. |location=London |edition=19th |year=2006 |pages=345–346 |isbn=1-904994-10-5}}</ref> Shortly after "5-4-3-2-1" was recorded, Richmond left the band,<ref>[http://www.daverichmond.co.uk/ Jazz4now – The Dave Richmond Home Page] {{webarchive |url=https://archive.today/20120801114744/http://www.daverichmond.co.uk/ |date=1 August 2012}} "'5-4-3-2-1' was recorded before I left the band, in fact I still receive [[Phonographic Performance Limited|PPL]] payments every time it is broadcast" – Dave Richmond</ref> though he would record with them occasionally later. He was replaced by Jones' friend [[Tom McGuinness (musician)|Tom McGuinness]]—the first of many changes. After a further self-penned hit, "Hubble Bubble (Toil And Trouble)", the band struck gold with "[[Do Wah Diddy Diddy]]", a cover version of [[the Exciters]]' No. 78 [[Hot 100]] hit earlier that year.<ref name="Guinness Rockopedia"/> The track reached the top of the UK, Canadian, and US charts.

[[File:Do Wah Diddy Diddy - Billboard ad 1964.jpg|thumb|''[[Billboard (magazine)|Billboard]]'' advertisement, August 29, 1964]]

With the success of "Do Wah Diddy Diddy" the sound of the group's singles moved away from the jazzy, blues-based music of their early years to a pop hybrid that continued to make hit singles from cover material. They hit No. 3 in the UK with another girl-group cover, "[[Sha La La]]"<ref name="British Hit Singles & Albums"/> (originally by [[the Shirelles]]), which also reached No. 12 in the US and Canada, and followed it with the sentimental "[[Come Tomorrow (Marie Knight song)|Come Tomorrow]]" (originally by [[Marie Knight]]) but both were of a noticeably lighter texture than their earliest output. Meanwhile, B-sides and four-song [[Extended play|EPs]] showcased original material and instrumental solos. The group also returned to [[jazz]] and R&B themes on their albums: their first, 1964's ''[[The Five Faces of Manfred Mann]]'', included [[Blues standard|standards]] such as "[[Smokestack Lightning]]"<ref name="Guinness Rockopedia"/> while the second and last with this line-up, ''[[Mann Made]]'', offered several self-composed instrumentals and a version of "[[Call It Stormy Monday (But Tuesday Is Just as Bad)|Stormy Monday Blues]]" alongside novelties and pop ballads. With a cover of [[Maxine Brown (soul singer)|Maxine Brown]]'s "[[Oh No Not My Baby]]" began a phase of new depth and sophistication in the arrangements of their singles. The group began its string of successes with [[Bob Dylan]] songs with a track on the best-selling EP ''[[The One in the Middle]]'', "[[With God on Our Side (song)|With God on Our Side]]", next reaching No. 2 in the UK with "[[If You Gotta Go, Go Now]]".<ref name="British Hit Singles & Albums"/> The EP's title track reached the British top ten singles, the last self-written song (by Jones) and the band's last R'n'B workout to do so. The run climaxed with a second UK No. 1 single, "[[Pretty Flamingo]]", produced by John Burgess.

The group had managed an initial jazz/rhythm-and-blues fusion, and then had taken chart music in their stride—but could not hope to cope with Paul Jones' projected solo career as singer and actor, and with Mike Vickers' orchestral and instrumental ambitions. Jones intended to go solo once a replacement could be found, but stayed with the band for another year, during which Vickers left. McGuinness moved to guitar, his original instrument, contributing the distinctive [[National String Instrument Corporation|National Steel Guitar]] to "If You Gotta Go, Go Now" and "Pretty Flamingo", and was replaced on bass by [[Jack Bruce]], who had been playing for the [[Graham Bond Organisation]]<ref name="British Hit Singles & Albums"/> for some time before a recent brief stint with [[John Mayall's Bluesbreakers]]. In his brief tenure before leaving to form [[Cream (band)|Cream]], Bruce played on "Pretty Flamingo" and on the EP ''[[Instrumental Asylum]]'' (for which he and wind instrumentalists [[Henry Lowther (musician)|Henry Lowther]] and [[Lyn Dobson]] were included in the sleeve photo of the group), which began the group's experiments with instrumental versions of chart songs. Bruce was replaced by [[Klaus Voormann]].<ref name="Guinness Rockopedia"/> The band changed record companies just afterward, although EMI quickly released an EP of earlier unissued 1963–66 era songs titled ''As Was'' (a play on the title of their then new 1966 album, ''[[As Is (album)|As Is]]''), a hits compilation titled ''Mann Made Hits'' (1966), an instrumental compilation that included one unissued track titled ''[[Soul of Mann]]'' (1967), and, most controversially, used session players to complete the unfinished track "You Gave Me Somebody To Love" (c/w 'Poison Ivy"—both sung by Paul Jones) which made No. 36 in the UK singles chart, upsetting the group—hence McGuinness's wry comment "Manfreds disown new single" on the sleeve of their next studio album for their new record label.

=== Mike d'Abo years (1966–1969) ===
[[File:Manfred Mann.png|thumb|The band in 1966. Left to right: [[Manfred Mann (musician)|Manfred Mann]], [[Mike d'Abo]], [[Klaus Voormann]], [[Mike Hugg]], [[Tom McGuinness (musician)|Tom McGuinness]]]]
[[File:ManfredMannAmsterdam.jpg|thumb|Manfred Mann & the Beatgirls on the Dutch TV programme ''Moef Ga Ga'' on 22 March 1968]]
Jones was replaced by [[Mike d'Abo]] in July 1966,<ref name="NME Rock 'N' Roll Years 2">{{cite book |last=Tobler |first=John |title=NME Rock 'N' Roll Years |publisher=Reed International Books Ltd. |location=London |edition=first |year=1992 |page=160 |id=CN 5585}}</ref> and the group switched labels to [[Fontana Records]],<ref name="NME Rock 'N' Roll Years 2"/> where they were produced by [[Shel Talmy]].<ref name="NME Rock 'N' Roll Years 2"/> Their first Fontana single, a version of Bob Dylan's "[[Just Like a Woman]]", released in July, scraped into the UK top ten and reached number one in Sweden. Their new long-player, ''As Is'', followed in October; the group's increased studio technique sidelined their jazz, soul and blues roots. The next two singles, "[[Semi-Detached, Suburban Mr. James|Semi-Detached, Suburban Mr James]]" and "[[Ha! Ha! Said the Clown]]", both reached the [[Top 40|Top 5]]. Another EP set of instrumentals, ''[[Instrumental Assassination]]'', was released in December.<ref>{{cite web |title=Manfred Mann – Instrumental Assassination – Fontana – UK – TE 17483 |url=http://www.45cat.com/record/te17483 |publisher=45cat |date=24 June 2011 |access-date=18 July 2011}}</ref> This featured original member Dave Richmond on double bass, but not Mike d'Abo, suggesting the sessions dated from a little earlier in 1966.

An instrumental version of [[Tommy Roe]]'s "[[Sweet Pea (song)|Sweet Pea]]" only reached No. 36 when issued as a single, and the follow-up, [[Randy Newman]]'s "So Long, Dad", with its intricate keyboard arrangement, missed the top twenty altogether. Thus, 1967 was for the group largely an unsuccessful year in the charts, besides "Ha Ha Said The Clown" which reached the UK singles chart early in 1967. There was no album, as Mann and Hugg explored other avenues of their career, although their record company did compile the UK budget-priced album ''What A Mann'' (Fontana SFL 13003), a predominantly instrumental set gathering together a few recent singles' A-sides, B-sides, and instrumental EP tracks.

The following year, 1968, brought two albums: the [[Up the Junction (soundtrack)|Mann–Hugg soundtrack]] to the film ''[[Up the Junction (film)|Up the Junction]]'' in February, from which an edited title track coupled with the rare B-side "Sleepy Hollow" was issued as an unsuccessful UK single; and ''[[Mighty Garvey!]]'' in July. They had a resounding success with "[[Mighty Quinn (song)|Mighty Quinn]]", their third UK No. 1 and third hit Dylan song,<ref name="British Hit Singles & Albums"/> which also peaked at No. 3 in Canada and No. 10 in the US.

In June 1968, the following single, [[John Simon (record producer)|John Simon]]'s "[[My Name is Jack]]", was recalled when the US company [[Mercury Records]] complained about the phrase "Super [[List of ethnic slurs#S|Spade]]" in the lyrics, which referred to a [[Haight-Ashbury]] drug dealer. The release was delayed by a week until the offending name was re-recorded as "Superman",<ref name="NME Rock 'N' Roll Years 3">{{cite book |last=Tobler |first=John |title=NME Rock 'N' Roll Years |publisher=Reed International Books Ltd. |location=London |edition=first |year=1992 |page=185 |id=CN 5585}}</ref> but the UK hit single version retained the original lyric. Their December 1968 release, "[[Fox on the Run (Manfred Mann song)|Fox on the Run]]", reached No. 5 in the UK.<ref name="The Great Rock Discography"/>

Frustrated with the limitations and image of being seen purely as a hit singles band (their last two albums failed to chart), the group split in 1969.<ref>{{cite news |title=104.5 Classic Rock – Biography – Manfred Mann |url=http://player.listenlive.co/34491/en/artist/df_9c6d95f9-5101-49d9-ae1c-cff73b9e3317/biography |work=104.5 Classic Rock |access-date=12 July 2018}}</ref>

=== Aftermath ===
Mann and Hugg were already writing advertising [[jingle]]s at the time of the group's demise, but continued to work together in a group format<ref name="The Great Rock Discography"/> with [[Manfred Mann Chapter Three]], an experimental [[jazz rock]] band described by Mann as an over-reaction to the hit factory of the Manfred Mann group.<ref>[http://www.platform-end.co.uk/html/history.html Manfred Mann's Earth Band – History Of The Band] {{webarchive |url=https://web.archive.org/web/20120308020409/http://www.platform-end.co.uk/html/history.html |date=8 March 2012}} Platform End On-Line</ref> For a moment their musical worlds coincided: a TV cigar advertisement, a long track from [[Manfred Mann Chapter Three (album)|Chapter Three's first album]] ("Travellin' Lady"), and "A "B" Side" (the flip of the old group's last single) all used the same riff.

However, the new group was short-lived and by 1971 after a [[Manfred Mann Chapter Three Volume Two|second album]] (and an unreleased, possibly incomplete, third) they had disbanded and Mann had formed a new group. The original line-up of this new group consisted of [[Mick Rogers (musician)|Mick Rogers]] (guitar and vocals), Manfred Mann (organ, synthesizer and vocals), [[Colin Pattenden]] (bass guitar) and [[Chris Slade]] (drums and vocals). In its very earliest stages, the band was simply billed as Manfred Mann and thus a continuation of the 1960s group. The quartet (as Manfred Mann) released their first single, Dylan's "[[Please, Mrs. Henry]]", in 1971. Their second single, [[Randy Newman]]'s "Living Without You", was also released under the Manfred Mann name in Europe, but by [[Manfred Mann's Earth Band]] in the US, where the track became a minor chart hit. From 1972 onward, Manfred Mann's Earth Band was the name used on all releases by this group, who went on to achieve worldwide success. Manfred Mann (1962–1969), Manfred Mann Chapter Three (1969–1971) and Manfred Mann's Earth Band (1971–present) are officially considered three separate bands.

Manfred Mann briefly reformed in June 1983, for an appearance at the [[Marquee Club]] in London to help celebrate the club's 25th anniversary.<ref name="NME Rock 'N' Roll Years 4">{{cite book |last=Tobler |first=John |title=NME Rock 'N' Roll Years |publisher=Reed International Books Ltd. |location=London |edition=first |year=1992 |page=381 |id=CN 5585}}</ref>

In the 1990s several of the 1960s members reformed as [[the Manfreds]], minus Manfred Mann himself (hence the name), playing most of the old hits and a few jazz instrumentals, with both Paul Jones and Mike d'Abo fronting the band, either separately or together.<ref name="Guinness Rockopedia"/>

Tom McGuinness formed [[McGuinness Flint]] in 1970; they had a few hits before disbanding in 1975. Both Jones and McGuinness have been mainstays of [[the Blues Band]], which they helped form in 1978.<ref name="Guinness Rockopedia"/>

In 2009, the Manfreds (d'Abo, Hugg, Jones and McGuinness) joined Klaus Voormann in performing a version of "Mighty Quinn" for his first solo collection ''A Sideman's Journey'', credited to 'Voormann & Friends'.