Groovin' with Manfred Mann | ||||
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![]() cover photograph by Julian Hann | ||||
EP by | ||||
Released | 6 November 1964 | |||
Recorded | 11, 22–23 June, 28 July 1964 | |||
Studio | EMI Studios, London | |||
Genre | Rock & Roll | |||
Label | His Master's Voice-EMI | |||
Producer | John Burgess | |||
Manfred Mann chronology | ||||
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Manfred Mann EP chronology | ||||
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Singles from Groovin' With Manfred Mann | ||||
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Groovin' with Manfred Mann is an EP by Manfred Mann,released in 1964. The EP is a 7-inch vinyl record and released in mono with the catalogue number His Master's Voice-EMI 7EG 8876. [1]
Manfred Mann was an English rock band,formed in London and active between 1962 and 1969. The group was named after their keyboardist Manfred Mann,who later led the successful 1970s group Manfred Mann's Earth Band. The band had two different lead vocalists,Paul Jones from 1962 to 1966 and Mike d'Abo from 1966 to 1969.
Paul Jones is an English singer,actor,harmonicist,radio personality and television presenter. He first came to prominence as the original lead singer and harmonicist of the rock band Manfred Mann (1962–66) with whom he had several hit records including "Do Wah Diddy Diddy" and "Pretty Flamingo". After leaving the band,Jones established a solo career and notably starred as a deified pop star in the film Privilege (1967). He presented The Blues Show on BBC Radio 2 for thirty-two years,from 1986 to 2018,and continues to perform alongside former Manfred Mann bandmates in the Blues Band and The Manfreds.
"We're Gonna Groove" is a song written by soul artist Ben E. King and later co-credited to James Bethea. In 1964,it was released as the single B-side of King's rendition of "What Now My Love".
"Just Like a Woman" is a song by American singer-songwriter Bob Dylan first released on his seventh studio album,Blonde on Blonde on June 20,1966. It was written by Dylan and produced by Bob Johnston. A shorter edit was released as a single in the United States during August 1966 and peaked at #33 on the Billboard Hot 100. The song has been criticized for supposed sexism or misogyny in its lyrics,and has received a mixed critical reaction;some critics have suggested that the song was inspired by Edie Sedgwick,while other consider that it refers to Dylan's relationship with fellow folk singer Joan Baez.
"Do Wah Diddy Diddy" is a song written by Jeff Barry and Ellie Greenwich and originally recorded in 1963,as "Do-Wah-Diddy",by the American vocal group the Exciters. Cash Box described the Exciters' version as "a sparkling rocker that bubbles over with coin-catching enthusiasm" and said that the "great lead job is backed by a fabulous instrumental arrangement." It was made internationally famous by the British band Manfred Mann.
Mighty Garvey! is the fifth and final studio album by Manfred Mann,released on 28 June 1968 by Fontana Records. It was the last recorded by the band after the change of direction and personnel of their 1966 album As Is. It continued a transition away from jazz and blues towards self-composed art-pop. Despite including two UK top 5 hit singles,the album did not chart and the band split up the year after. In the US and Canada,it was released as The Mighty Quinn by Mercury Records.
The Fools are a Massachusetts rock band best known for the party atmosphere of their live performances and tongue-in-cheek original songs,covers and parodies.
"5-4-3-2-1" is a 1964 song by British band Manfred Mann. It was written by Mann,Mike Hugg and Paul Jones,and peaked at #5 on the UK Singles Chart thanks to weekly television exposure from being the theme tune for the ITV pop music television programme Ready Steady Go!. This would be the last single released before bass player Dave Richmond left the band.
"Demolition Man" is a song written by Sting and performed by Grace Jones as the A-side of a 1981 single. Sting's band,the Police,later released their rendition of the song on their album Ghost in the Machine.
The One in the Middle is an EP by Manfred Mann,released in 1965. The EP is a 7-inch vinyl record and released in mono with the catalogue number His Master's Voice-EMI 7EG 8908. The record was the number-one EP in the UK for nine weeks during the summer of 1965. The cover picture was taken by Nicholas Wright.
Mann Made is the second British and fourth American studio album by Manfred Mann,released in October 1965 on His Master's Voice in the United Kingdom,and November 1965 on Ascot Records in the United States. It was the group's final recording project with original members Mike Vickers and Paul Jones,as well as their last to be recorded at Abbey Road Studios,London,England,before switching to Fontana Records.
Instrumental Asylum is an EP by Manfred Mann,released in 1966. The EP is a 7-inch vinyl record and released in mono with the catalogue number His Master's Voice-EMI 7EG 8949.
Manfred Mann's Cock-A-Hoop is an EP by Manfred Mann,released in 1964. The EP is a 7-inch vinyl record and released in mono with the catalogue number His Master's Voice-EMI 7EG 8848.
Soul of Mann is a 1967 compilation album of mostly instrumental recordings by Manfred Mann,released by HMV Records shortly after the company dropped the group from its roster. It was not well publicised and did not sell strongly.
"Ha! Ha! Said the Clown" is a song written by Tony Hazzard,first recorded by British pop group Manfred Mann. Hazzard claims the song "came out of the blue" though he did not demo it for weeks. Following recording a demo,he approached manager Gerry Bron,who liked it enough to want one of his groups,Manfred Mann,to record it. Manfred Mann recorded their version of the single on 10 February 1967 at Philips Studio in Marble Arch,London,together with producer Shel Talmy. It was the second of three singles Manfred Mann recorded to feature the Mellotron
As Was is an EP by Manfred Mann,released in 1966. The EP is a 7-inch vinyl record and released in mono with the catalogue number His Master's Voice-EMI 7EG 8962.
"Come Tomorrow" is a song written by American songwriters Bob Elgin,Dolores Phillips and Frank Augustus for rhythm and blues singer Marie Knight,who issued it as a single in October 1961 through Okeh Records,a release which received good reviews,though failed to chart. The best known version of the song was recorded by British pop band Manfred Mann,who took it to the top-ten in the United Kingdom in 1965.
The Manfred Mann Album is the debut American studio album by Manfred Mann,released in September 1964 on Ascot Records. It contains the hit single "Do Wah Diddy Diddy",as well as covers of well-known R&B hits such as "Smokestack Lightning" by Howlin' Wolf,"I'm Your Hoochie Coochie Man" by Muddy Waters,and "Down the Road Apiece" by Will Bradley. Modern reviews of the album are generally positive and consider The Manfred Mann Album an important piece during the heydey of the British Invasion.
The Five Faces of Manfred Mann is the debut British and second American studio album by Manfred Mann. It was first released in the United Kingdom on 11 September 1964 by His Master's Voice. In late October/early November,the album was released in Canada by Capitol Records. The Canadian track listing was almost the same as the UK version,except it included the hit "Do Wah Diddy Diddy" instead of "I've Got My Mojo Working". The record has been called "one of the great blues-based British invasion albums;it's a hot,rocking record that benefits from some virtuoso playing as well".
"Semi-Detached,Suburban Mr. James" is a song written by songwriters Geoff Stephens and John Carter,recorded by English pop group Manfred Mann in 1966. Stephens and Carter,who were writers for a publishing company on Denmark Street,London,wrote the song in a style different from their usual compositions,as love was not the prevalent theme. Introduced to the song by producer Shel Talmy,Manfred Mann recorded it at Philips Studio in August 1966. Released by Fontana Records on 21 October 1966,the song was backed by drummer Mike Hugg's composition "Morning After The Party" as the group's second single on the label. Keyboardist Manfred Mann plays the Mellotron on the recording;it was one of the earliest recordings featuring the instrument. Following a trend set by Bob Dylan,the song tackles the subject of life in British middle class suburbia from the perspective of a narrator,who laments the loss of a lover after her marriage to another man.