One question left by this album is the identity of the mystery female vocalist who sings a duet with Deke on "Love", moans a lot on "Erotica", and cries at the end of "Missing Pieces" . She doesn't appear in the album credits (or at least not the US and CD pressing I have now), or on the credits for '2 ozs. of Plastic' where she also appears. Another question is the missing bass player, Ray Williams. He's not listed on the American album or the Golden Hour compilation, although Marsha Gracie's liner notes for the U.S. release clearly indicate that there are five guys in the band.
Another interesting note is that Man got into some identity problems when the album was released in the U.S. An American band called Man had just released their one and only album, forcing Philips to release 'Revelation' under the band name MANPOWER (although throughout Marsha Gracie's liner notes for this album she consistantly refers to the band as MAN.) '2 Ozs. of Plastic' was appartently not released in the U.S. and the problem was cleared up by the time Liberty Records released 'Man'. Don't have any information about this other Man, although I still see the album from time to time in used record stores.
Although Man would eventually find a style of music they did exceptionally well, and their later albums would be much less experimental, the early stuff stands up very well with lots of great guitar and interesting production methods. The sampling of the launch of Friendship 7 used at the end of "The Future Hides Its Face" is a concept way before its time, but more on that.
MAN, has effectively used non-musical sounds for lyrical definition. All impulses are sucessfully attacked in THE MISSING PIECES--"sock it, sock it to me", is chanted until it dissolves into an actual audio war ending with a woman's tears. In THE FUTURE HIDES ITS FACE, a pounding rhythm dives into a musical depth to the accompaniment of a rocket count-down and blastoff. With a heavy church-like organ sound, and background voices, a party sound invades the mind's cathedral leaving nothing sacred in AND CASTLES RISE IN CHILDREN'S EYES. The musical arrangement of SUDDEN LIFE, gives the impact of a guitar humming like a four hundred pound fly that is being swatted by heavy drum sticks. In abstract contrast, LOVE, is a gentle interpretation of someone found and lost, backed by subtle, effective guitar, and an easy melody.
MAN, a group of five men from Wales, had definite opinions when making this album--"We thought it was a good idea, and went about it as best we could. If people don't like it, or it offends them, well that's that. We've thought about it since we've done it, and there's not much we would change. We think we've finally gotten down to it."
MAN has found THE MISSING PIECES, and there will be "a beginning, but no end" to their music.
Their beginnings date back to a thriving Welsh Beat Scene. As in Scotland, the fact that only an occasional hit would filter out of its circuit belied recognition. Dave Edmunds' roots lay in such Cardiff groups at the 99ers, the Raiders and the image, while at nearby Rockfield the Ward brothers, Charles and Kingsley, had not only issued their own single ( as the Chrles Kingsley Creation), but began recording contemporaries. One group, The Interns, had two singles issued on Parlophone, while Amen Corner used their then rudimentary studio prior to signing with Deram.
Swansea's Bystanders were another group to play in and around the South Coast circuit. Unable to attract the major, London-based companies, their first release was on a local, independent outlet, Pylot. This debut doubleheader coupling 'That's The End' and 'This Time', issued sometime in 1965, seemed to sell well locally and either it, or the group somehow caught the attention of producer John Schroeder.
Schroeder worked for Pye, but used its Piccadilly subsidiary as an outlet for several of his projects. The Bystanders thus joined the Spectres (later Status Quo), the Rockin' Berries, and more at the company, but it was not until July the next year that their second 45, 'You're Gonna Hurt Yourself'/'Have I Offended The Girl' was issued. It was followed in November by 'My Love -- Come Home'/'If You Walk Away', and the professional, polished harmony sound which would become the Bystanders trademark, gradually began to evolve.
They scored a minor hit in February 1967 when their cover of Keith's '98.6' reached No. 45, but it ultimately lost the race to the original. Coupled with a version of 'Stubborn Kind of Fellow', the single did, however, show something of the group's real aspirations. Their fifth single, 'Royal Blue Summer Sunshine Day', at least suggested the prevalant atmosphere of flowers; backed by 'Make Up Your Mind' it became the only Bystanders single to secure an American release when Chess picked up their option, doubtlessly on the back of its predecessor's lowly chart placing.
The year concluded with 'Pattern People', a fabulous song by Jimmy Webb and arguably the 'Standers finest yet. it was lifted from 'Up, Up And Away', the Fifth Dimension's debut album and the source for other British covers including the lamentable version of the title song by the Johnny Mann Singers and Gordon Waller's sympathetic take of "Resecrans Boulevard'. It was our heros who, of course, came closest to the spirit of their chosen original with some truly sparkling harmonies. Coupled with the equally commercial 'Green Grass', a Greenaway/Cook song which at another time might have been an 'A' side, this particualr release seemed to have been an especially serious attempt at finding that evasive major hit. Sadly for the Bystanders, it simply didn't happen.
Two further singles were release during 1968; 'When Jezamine Goes'/'Care of Clear Light' appeared in February, while 'This World Is My World'/'Painting The Time' came out during May. By then Piccadilly had been would down and these last recordings were issued on Pye. Although professional enough, the group was clearly unhappy over their direction and image, a public perception which saw them more like such cabaret/cover bands as the Montanas or majority; crafted yes, but lacking in any real credibility. The last pair of flipsides certainly suggested a newer perspective, but the first real indication of an imminent change came with the arrival of Roger 'Deke' Leonard.
Deke had previously been a member of the Dream, another Welsh group who, not for the last time, would provide their erstwhile rivals with replacements. he came in for Vic Oakley, the Bystanders' vocalist, who'd decided his future lay elsewhere. His departure seemed to provide those he left behind; Mickey Jones (g.), Clive John (o.), Ray Williams (b.), and Jeff Jones (d.), with the perfect opportunity for change.
Paradoxically, it was when John Schroeder dropped in unexpectedly on a gig that their transformation was complete. The producer had arrived to break the news that he was about to drop the group, but he changed his mind upon hearing the material they were now playing. Prepared for the style of their singles, Schroeder was shocked by a seemingly different band, blasting out all-original material, clearly in sympathy with the emergent Progressive Scene. Rather tahn bidding them farewell, he renewed their contract, but only if the Bystanders continued this new direction. They were thus transformed into Man, and indeed all references to their past pursuits were left rather ambiguous. Both 'Record Mirror', who gave them some early publicity, and John Peel merely stated that man were once a pop group (no name was ever mentioned) that now wished to pursue something more serious.
They thus joined a whole new order at Pye as the label also attempted to lose a somewhat conservative image. They made other new signings; Shakey Vick, Velvett Fogg and Fire, gave Status Quo a little more room to breathe and generally offered a measure of freedom to several different styles of music.
Man's debut album 'Revelation'. first released in March 1969, was indeed radically different from what the group's early incarnation recorded. The piece is linked together by its concept; that of Evolution, something which seemed pertinent to Man's own musical course. (Were they naked on the sleeve to suggest rebirth or because they'd ditched their matching suits?) Those, however, expecting a 'To Our Children's Children's Children' would be disappointed as Man's remarkable versatility made everything work without ever sounding forced. Traces of the Bystanders lingered in their harmony work; the accapella piece on 'Empty Room' is startling, especially as it comes mid-way through some Vanilla Fudge-ish organ fills.
Although the general conpositional feel is much greater here thatn on any future Man album, (there are several production techniqques present which they'd never use again), it's fascination to hear a Welsh group, who'd later embrace such an American direction, sound so English. The contrasts too are remarkable; the soft acoustic feel of 'Love', the boogie of 'Blind Man' or the experimental touches of 'The Future Hides Its Face'. Certainly there were some gimmicky interludes, but they must be seen in the wake of the freedom the group was now given, where ideas which had once been held back were now unleashed.
'Sudden Life', arguably the strongest cut with its pounding, furious riff, was lifted as Man's debut single, but it made little headway, despite being featured on John Peel's 'Top Gear'. Meanwhile, another track, the unlikely 'Erotica' became a mammoth hit in Europe, its 'et maintenant viens' vibe following in the wake of such other orgasmitron delights as 'Je T'aime' or 'Wet Dream'. What was it about 1969?
The Bystanders, of course, had also been popular on the Continent, although the connection is surely coincidental. However, such an off-the-wall success may just have helped tip the balance in Man's favour; they were after all the only one of that group of new signings, the Shakey Vicks, the Velvett Foggs, to be retained by Pye. A more pertinent reason, however, was doubtlessly their growing life reputation, something which would sustain the group throughout the turmoil of their future career.
(Those wishing to puruse Man's history, both musical and literal, are hereby directed to 'Two Ounces of Plastic" (With A Hole In The Middle), another excellent slice of their music now re-released on See For Miles (SEE 273).
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