Besser als Ingeborg Schober in «rock dreams» kann man den Sound dieser walisischen formation nicht charakterisieren. Seit ihrer Gründung im jahre 1968 gehö MAN zu den experimentierfreudigsten und progressivsten Gruppen der Popmusik. Sie legte sich nie auf ein bestimmtes Schema fest, sondern verließ sich allein auf die Kraft der Inspiration. Was seither dabei herausgekommen ist, sind phantastische, durch kontrastreiche Sound-Collagen überlagerte Harmoniegewebe. Und wie die vergleichbar avantgardistischen Gruppen Yes, Soft Machine oder King Crimson brauchten die Man-Musiker ein gewisse Anlaufzeit und viel Geduld, bis sie sich in der Popszene Gehör verschafft hatten.
Eigentilch müßte man MAN als «Open Group» bezeichnen, die über einen festen Stamm verfügt, ansonsten aber neue Mitspieler oft nur für ein Album oder eine Konzerttournee mit offenen Armen aufnimmt. 12 virtuose Individualisten, die zuvor in einen Dutzend verschiedener Bands gespielt hatten, schlossen sich vorübergenhend MAN an, gingen oder kamen wieder zurück. Nur der Gruppenname und der personelle Kern Blieben über die Jahre bestenhen. Dazu gehören die bieden Multi-Instrumentalisten und Sänger Roger «Deke» Leonard und Mickey Jones. 1969 geselite sich noch Drummer Terry Williams als ständiges Mitglied hinzu. Da alle drei aus Wales stammen und ihre Eigenwilligkeit aucch den musikalischen Stil prägte, verliehen englische Musikkritiker dem MAN-Sound das Prädikat «Welsh Rock» Deke Leonard (Gitarre, Piano, Percussions, Mundharmonika und Gesang) blickt auf ein abwechslungsreiches Musikerleben zurück. Er begann 1963 bei der Rock-Band «Lucifer And the Corncrackers». Aus Verehrung für den großen Elvis legte er sich den Vornamen Deke zu -- so heißt der Held, den Elvis in seinem zweiten Spielfikn «Loving You» verkörpert. 1964 wechselte Deke Leonard zu den «Jets» über, 1965 landete er wieder bei «Lucifer And The Corncrackers», umd im nächsten jahr begleitete er wieder die «Jets» auf ihrer erfolgreichen Deutschland-Tournee. Zu dieser Zeit spielte er mit Terry Williams und dem Baßgitarristen Martin Ace zusammen; biede stießen später zu MAN. 1967 ging Deke wiede zu den «Corncrackers» zurück, die sich bald darauf den sanfter klingenden Namen Dream gaben.
Im Gegensatz zu Deke Leonard's unruhiger nomadenwanderung ist der musikalische Werdegang von Mickey Jones geradinig. Er spielte in einer Schülerband Schlagzeug, stieg als Dreizehnjähriger auf Gitarre um und schloß sich mit 17 den «Bystanders» an, einer Waliser Band, die 1967 durch eklatante Bühnenauftritte (mit Light-Shows, Rauchkerzen und geschminkten Gesichtern) auffiel. Die Musiker von «Dream» und den «Bystanders» kannten sich schon von früheren, gemeinsamen Sessions her. Als sie sich 1968 in der walisischen Hafenstadt Swansea wieder begegneten, stellten sie fest, daß sie sich nicht nur menschlich fabelhaft verstanden, sondern auch in ihren musikalischen Vorstellungen wenig differieten.
Deke Leonard, Mickey Jones, Clive John (Orgel, Piano, Gitarre und Gesang), Jeff Jones (Schlagzeug) und Bassist Ray Williams formierten sich zu MAN. Als ausgesprochene Live-Band setzte das Quintett seinen eigenwilligen Sound zunächst auf dem Kontinent durch. Besonders die deutschen Pop-Fans feierten MAN bei ihren zahlreichen Festival-Auftritten zwischen Ruhr und Isar. Von ihrem Debütalbum «Revelation» (deutsch: Offenbarung) wurden allein in Deutschland und Frankreich 80,000 Exemplare verkauft.
Die Engländer hingegen begannen das «bestgehütetste Geheimnis ihrer Popszene» (Melody Maker) erst zu entdecken, als die Gruppe ihr kunstvoll arrangiertes Nachfolge-Album «Two Ounces Of Plastic With A Hole In The Middle» auf den Markt gebrache hatte -- jenes Album, das die Glanzstücke «The Storm» und «Spunk Box» enthäit. Nach 1969 erfuhr die Formation um leonard/Jones viermal personell Veränderungen. Terry Williams, zuvor bei «Love Sculpture», löste Jeff Jones am Schlagzeug ab und gehört seitdem zur festen MAN-Crew. Martin Ace ersetzte den Bassisten Ray Williams. Und schließlich schlossen sich so exzellente Musiker wie Phil Ryan, Will Youatt, Tweke Lewis (Ex-«Wild Turkey»), Malcolm Morley und Ken Whaley zeitweise der Gruppe an. 1973 scheid Deke Leonard vorübergenhend aus, um sein schon lange anvisiertes Projekt «Iceberg» zu realisieren, und so entstand unter Mithilfe zon zahlreichen befreundeten Session-Musikem «eine der saubersten Rock-Scheiban des Jahres» (sounds). Aber wie es Deke's Art entspricht, kehrte er bald zu MAN zurück. Als die Band im Marz '74 erstmals eine Konzert-tournee durch die USA unternahm, reagierten Fans wie Musik-kritiker enthusiastisch. Die renommierte amerikanische Fachzeit-schrift «Cashbox» wagte die Prognose. «Mit ihren individuelien Talerften als Musiker hat MAN die besten Aussischten, eine die tonangebenden Gruppen diesseits und jenseits des Atlantiks zu werden.»
Due to the nature of transcribing German into HTML spelling checks are impossible. And proof reading is difficult as I don't really understand what I just typed. If you see anything here that will insult a proud people, let me know. Sorry I didn't get the quotes quite right, but my extended character set is somewhat limited. -- The Editor
Although not a major commercial success 'Revelation' helped establish Man as a group with Progressive potential. They then spent the rest of 1969 touring, honing the musical style which would ultimately secure their reputation. In the meantime, however, there was a slight change of outlet as Pye had decided to place their more 'left field' exponents on a new, custom-built subsidiary; Dawn. Man thus joined such desperate characters as Mike Cooper, Trader Horn, Donovan and Titus Groan on a label which offered some excellent music. 'Two Ounces of Plastic (With A Hole in the Middle)' was the label's third release. Recorded toward the end of what was the group's hectic first year, it is a remarkable collection, and continues their independent direction. It's somewhat earthier than its predecessor, stripped of the former's production frills, it seemed much closer to the sound of their live performances which indeed, around this time, often consisted of a straight reading of this album. The set would open with 'Prelude" and its evocative sound effects, during which, one by one, each member would appear onstage adding his own particular musical textures. The track itself, which dovetails neatly into 'The Storm', is a remarkable moody composition who's open-ended structure allowed the group a greater breathing space, one they most certainly employed.
This piece then slips into 'It Is As It Must Be', an altogether tougher composition, but one again which seems created specifically to flex Man's instrumental muscle. Taken altogether, they make up an ambitious slice of prime late '60s British rock, with the added spice of some prevalent West Coast touches, factors which would later become even more pronounced.
The Second side is more diffuse. 'Spunk Box', (the predecessor, of course, for 'Spunk Rock', a later in-concert facourite) and 'Brother Arnbold's Red And White Striped Tent' are both fused to toughened riffs which most clearly anticipate the group's future jamming structures. More formal than those of the opening side, they nonetheless capture a live fire while sandwiched between them are two contrasting concerns, 'My Name Is Jesus Smith' and 'Parchment and Candles';, the former of which is punctuated by some nice slide guitar, although its country lilt is surely less than serious.
Of historical note were the tiny archive pictures dropped in to the original album's gatefold. The inclusion of shots of The Bystanders and The Dream (amongst others) suggested that the past, which had been glossed over at the time of 'Revelation' was now something to proclaim, as if Man were now sure of their new identity. The music withing 'Two Ounces Of Plastic' certainly confirmed this.
All this, of course, is very far from the end of the story. Several changes had begun, the first of which had been the loss of two members, Ray Williams and Jeff Jones. By the time that Mickey Jones, Deke Leonard and Clive John began to work on a third album they'd been joined by Martin Ace (b.) and Terry Williams (d.), two veterans of the same Welsh circuit as the early Bystanders. Williams had previously played in The Commancheros and The Jets, following which he joined The Dream, a group which not only featured Deke Leonard, but had also contained Ace: the new Man now owed more to that particular group than ever. Following The Dream, Martin and Williams then joined Plum Crazy, before the drummer moved into Dave Edmunds' Love Sculpture.
The other important change was of outlet and Man switched to the Liberty/United Artists stable where a third album, simply entitled 'Man", was released in 1970. The same line-up stayed together for 'Do You Like it Here, Are You Settling In?' which followed one year later. These underrated records offered such Manband favourites as 'Many Are Called But Few Get Up' and 'Daughter Of The Fireplace', but they were no nearer a commercial breakthrough. The idea of a cheap, limited-issue album was then mooted--retailling at £1, 'Live At The Padget Rooms, Penarth', not only caught the group's live fury, but sold exceptionally well. UA would re-use a similar ploy on several occasions, another live momento to fetature Man was 'Greasy Truckers', while their own 'Christmas at the Patti' not only celebrated in style, it also saluted many of the individual members' previous groups and allowed cameos for such friends as Dave Edmunds, Mickey Gee and Ducks DeLuxe.
'Live At The Padget Rooms' also signalled a further change with the
temporary defection of Clive John. He was back in place for 'Be Good To
Yourself..." and the Jones, John and Williams trio was augmented by
Will Youatt on bass and Phil Ryan on organ. Ryan was yet another
musician boasting a complex petigree; having played in several local
bands, he formed his own, Phil Ryan and The Crescents, in 1964. They
cut two singles for Columbia, 'Mary Don't You Weep' and 'Gypsy Woman',
but split some two years later from where Ryan joined The Eyes of Blue.
Youatt, who spent the Beat Boom in The Kingbees and The Sapphires, was
also a member and the group wound its way through spells at Deram and
Mercury, cutting several singles and two albums. When they dissolved in
1969, Ryan went on into two offshoot groups, Ancient Grease and Big
Sleep, before joining Pete Brown's Piblokto! When that group finally
broke-up, both he and Youatt joined Man.
UPDATED INFORMATION: I've been contacted by Dave Birkenhead who was in Phil Ryan and the Crescents way back when, who's sure that the Phil Ryan he was with is NOT the Phil Ryan who joined Man. This is confirmed by the various Man Family Trees which place our Phil in a different band (The Smokestacks) back in 1964. Ain't my fault I was just a kid then, blame it on the lack of editorial judgement at C4Miles and Dinnes Cruickshank (who they probably paid next to nothing to write whatever came into his head ). -- The Editor
Clive John was next to leave, Tweke Lewis came in to replace him for 1974's double set, 'Back To The Future'. Lewis had previously played in Wild Turkey, a Jethro Tull offshoot which also featured Jeff Jones, Man's original drummer. The new line-up, however, imploded almost immediately when each of the new recruits quit en masse. Youatt and Ryan moved off to form The Neutrons, who cut two albums, 'Black Hole Star' and 'Tales From The Blue Cocoons' for UA, while Lewis seemed to drop out of music for a while. He'd later resurface in the Mickey Jones Band, which is itself another story. Clive John, meanwhile, cut the wonderfully foolish 'You Always Know Where You Stand With A Buzzard' in 1975. with help from both Ryan and Martin Ace.
If you're not already confused......Deke Leonard then rejoined man for 'Rhinos, Winos And Lunatics'. Arriving with him were two former parts of Help Yourself, Malcolm Morley and Ken Whaley, who's music had shared the same West Coast-inspired path. Morley then dropped out, although Whaley stayed for another release, 'Slow Motion', before he too left. At least now, however, Man had found something of a solid core in the Jones/Williams/Leonard triumvirate and any further change would only revolve around the keyboard and bass slots.
Martin Ace was next to be drawn back in when the grup undertook a somewhat special British tour in 1975. It came on the back of a successful U.S. jaunt which culminated at San Francisco's Winterland Auditorium and where that inveterate jammer, the late John Cipollina, joined them onstage. His work with Quicksilver Messenger Service was an undoubted influence on the Welshmen and, enthused, they invited him back to guest on these next dates. The set mixed favourites from both sides of the pond; 'Codine', 'Babe I'm Gonna Leave You' and 'Bananas', and an album 'Maximum Darkness', was pulled from the resultant live tapes. Its release marked the close of Man's relationship with United Artists, and the following year they moved to MCA.
The switch was celebrated by the obligatory alteration. Out went Martin Ace, who returned to his own group, The Flying Aces; in his plce came John McKenzie, a relative stranger to the group's upheavals. Phil Ryan, was another prodigal to re-appear and a new album, 'The Welsh Connection' was duly recorded and released. The changes, however, maade no difference to Man's fortunes and in November 1976, they announced their imminent break-up. The inevitable "musical differences" were cited; in truth there was nowhere left for the group to go. The rise of Punk squeezed them out of the circuit they enjoyed but they were unable to find the hit album which would open different avenues. A last LP, 'All's Well That Ends Well' closed this particular chapter, and was made up of performances from their farewell three nights at London's Roundhouse.
The individual members splintered into various different directions. Man's only ever-present, Mickey Jones, formed the aforementioned Mickey Jones Band, Deke Leonard continued to play the clubs (a third album, 'Before Your Very Eyes' was recorded in 1981) while Terry Williams achieved the greatest profile, rejoining Dave Edmunds in Rockpile before moving into Dire Straits.
The growing climate for 'real' music has prompted a (so far) low-key Man reunion. Jones, Leonard and Ace were, at first joined by John 'Pugwash' Weathers, another refugee from both The Eyes of Blue and Piblokto!, but Terry Williams then replaced him. Pugwash, however, returned when Terry was drawn back into the Dire Straits camp. Whether the early 1990s will be as receptive to their brand of rock remains to be seen, but stranger things have happened. The roots of their uncompromising sound lie in this particular album, indeed they still perform parts of it and although it might not offer the whiff of the Fillmore so prevalent in their later work, it's more than compensated for by the strains of British psychedelia which permeate instead. It was a time of hope and challenge, something this collection certainly boasts.
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