M- 1970 UK Swirl VERTIGO M.MANN CHAPTER 3 "VOL.2" PROG BLUES ROCK/ ACID JAZZ
$
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= Swirl VERTIGO =
- ORIGINAL 1970 BRITISH FIRST PRESS ..|/\|...............................................|/\|..
- MANFRED MANN CHAPTER 3
- " VOL. 2 "
- ..|/\|...............................................|/\|..
- "made In England" - Vertigo Vertigo- 6360 012
1970 Volume 2 is the second Chapter Three Manfred Mann album released on the highly rated/collected Vertigo label, and compared to their '68 other Lp, the blues elements have been incorporated by more jazz, to an interesting extent: additionally with the main line-up there are some studio musicians who enhance the band in a fuller feeling of the music further.
Thus, becoming more experimental, especially in the free jazz improvisations which were heard on their previous Chapter 3 album, yet in a sometimes more drastic way here: apparently, Chapter 3 do not want to sound pleasant: they want to sound unsettled, baffling and (to those who listen to this music) fascinating: they want to be progressive, in a word. ........ Already when looking at the first song, "Lady Ace," you'll see that Chapter 3 take their time for their songs: this song is granted eight minutes of playing time, so to enjoy big diversity here. The first part somehow sounds a bit like the Canterbury music of the time in 1970: a bluesy electric piano riff is played to a breezy jazz rhythm of the drums while Mike Hugg again sings with his own special voice, most effectively when he also provides a nice backing vocal line. Interestingly, the catchy main riff is played on the (softly sounding) Wurlitzer and the (harsher) Rhodes and on fuzz guitar simultaneously which creates a unique tone. The surreal Canterbury feeling disapaites dissipates when the mighty big band fanfares enters, accompanied by beautiful jazz chords of the electric piano: it is quite understandable that Mike Hugg (keys/vocal) later started writing film music. At 3:12 the fanfares are re-worked at a more up-beat speed, with a quite prominent, driving tambourine (perhaps the most important percussion instrument on this record), until from 3:42 to 5:28 Bernie Living plays a really experimental and furious free splatter-jazz sax \ which - because of his aggressive tone - could also fit on Miles Davis' Bitches Brew record. During this solo the backing section enters again and leads us back to the bluesy vocal part of the beginning until ending this varied track in a contemplative way.
Unfortunately in this piece, and even on the whole record, Manfred Mann the oganist band leader is sadly understated: when you listen to 'Lady Ace' you notice a gurgling sound in the background which may well be the sound of a Mellotron
In "Poor Sad Sue" things get more frantic again: actually, this rocking jazz track is strange enough with its stomping floor tom rhythm and distorted electric piano. But imagine that this is getting combined with combination of grand piano spawning an elegant classical feeling, but the brute brass melodies in the second stanza already are quite promising that stranger things are yet to come: the whole band going crazy doing what some call 'free spatter jazz' and how well they integrate their experimental elements into more typical rock pieces. Lady Ace and many pieces from the first album are constructed in the 'rondo' way of composing.
"Jump Before You Think"
makes a difference. After an eye-winking copy of two alto saxophones played by one member ala the"The Grass is Greener" riff on Colosseum's "Valentyne Suite" the listener learns this track is a showcase of Steve York's bass guitar skills: York's adventurous melodies and great, overdriven bass guitar sound from the 1969 classic "Snakeskin Garter" should be more than satisfied. An ensemble of Latin percussion, later accompanied by a typical Western drum kit, makes the bass solo seem even more terrific, but along with there also some nice melodies, catchier and more conventional. A great piece of jazz fusion!
"It's Good To Be Alive" sounds melancholic and mournful, A slow and dark ballad, really pschedelic in its own way, and maybe the most consistent tune on the whole album. Andy McCulloch, drummer on King Crimson's 'Lizard' plays the drums, outstanding work with rolling fills. Still the most striking thing is that Mann successfully weaves a neo-classical and slightly dissonant instrumental part into the piece, and he arranges some real strings to pretty surreal and a great effect :
"With Happy Being Me" we get the piece de resistance of that album, the longest piece of music that Manfred Mann has ever recorded with any line-up. The vocal part of the song is a light-hearted tune with bluesy vocals and an infective groove where the guitar as well as the organ set the tone. The textless refrain breathes the spirit of a quite a good melody. Directly before the lengthy improvisation part the listener gets to enjoy this melody some further times, but afterwards enjoying a dedicated grand piano solo, played by perhaps Mike Hugg proving himself as a talented pianist with obvious classical influences.
The first turning point happens when the rhythm changes from the breezy pop shuffling to an intense, tribal rhythm with trance-inducing background melodies. Manfred Mann (himself) then begins in which his usual percussive and distorted Hammond organ sound is revisited along with Mike Hugg adding fairly chaotic fitting electric piano lines, nearly sounding like an African thumb piano/xylophone (like in the beginning of King Crimson's Lark's Tongues in Aspic). The saxophone also returns reaching its peak of free-jazz madness, but really fits as the background is intensified tribal rhythms apper and disappear so that only an accompanied chorus melody is left, with gurgling multi-tracked saxophones. The ending of the track is really unexpected as Mike Hugg delivers a classically-sounding outro on the grand piano which leaves the previously dominating jazz behind for some short glimpses of pseudo-baroque chord progression.
Virginia, a Manfred Mann composition with organ slowly builds up to maximum distortion and fiery glissandi ending abruptly followed by yet another solo keyboard ending which reprises the vocal melody for half a minute.
- Lady Ace (7:58)
I Ain't Laughing (2:36)
Poor Sad Sue (5:54)
Jump Before You Think (4:52)
Its Good to Be Alive (3:31)
- Happy Being Me (15:54)
Virginia (4:52) - CONDITION:
- The cover: rated: M- exquisite 1970 UK VERTIGO Swirl GATEFOLD 1970 TOP COPY, no fade, no delete marks, no split seams, no bends, and no writing ...BEAUTY!
- The vinyl: Rated: M- nice, clean, minty audio and both SWIRL VERTIGO labels are super-clear
A cool addition to anyone's music library!
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(((similar grooves for "head" people...)))
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