The return of Eklectic Radio featuring a wide variety of blues, including Acid blues, Blues-rock, Boogie-woogie, British blues, Chicago blues, Country blues, Delta blues, Detroit blues, Electric blues, Kansas City blues, Louisiana blues, Memphis blues, New Orleans blues, St. Louis blues and Texas blues.
The return of Eclectic Radio featuring a wide variety of blues, including Acid blues, Blues-rock, Boogie-woogie, British blues, Chicago blues, Country blues, Delta blues, Detroit blues, Electric blues, Kansas City blues, Louisiana blues, Memphis blues, New Orleans blues, St. Louis blues and Texas blues.
Manfred Mann were a British beat, rhythm and blues and pop band (with a strong jazz foundation) of the 1960s, named after their South African keyboardist, Manfred Mann, who later led the successful 1970s group Manfred Mann’s Earth Band. Manfred Mann were chart regulars in the 1960s, and the first south-of-England-based group to top the US Billboard Hot 100 during the British invasion.
The Mann-Hugg Blues Brothers were formed in London by keyboard player Manfred Mann and drummer/vibes/piano player Mike Hugg, who formed a house band in Clacton-on-Sea that also featured Graham Bond. Bringing a shared love of jazz to the British blues boom, then sweeping London’s clubs (which also spawned Alexis Korner, the Rolling Stones and the Yardbirds), the band was completed by Mike Vickers on guitar, alto saxophone and flute, bassist Dave Richmond and Paul Jones as lead vocalist and harmonicist. By this time they had changed their name to Manfred Mann & the Manfreds. Gigging throughout late 1962 and early 1963 the band soon attracted attention for their distinctive sound.
After changing their name to Manfred Mann at the behest of their label’s producer John Burgess, the group signed with His Master’s Voice in March 1963 and began their recorded output that July with the slow, bluesy instrumental single “Why Should We Not?”, which they performed on their first appearance on television on a New Year’s Eve show. It failed to chart, as did its follow-up (with vocals), “Cock-a-Hoop.” 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.
|1||Do Wah Diddy Diddy|
|3||Ha! Ha! Said the Clown|
|6||Fox on the Run|
|7||My Name Is Jack|
|8||Blinded by the Light|
|9||Semi-Detached Suburban Mr. James|
|11||Just Like a Woman|
|12||Davy’s on the Road Again|
|14||Spirits in the Night|
|15||If You Gotta Go, Go Now|
|16||Don’t Kill It Carol|
|17||You Angel You|
|20||Hubble Bubble Toil and Trouble|
|21||Oh No Not My Baby|
|22||Lies (Through the 80’s)|
|24||You Gave Me Somebody to Love|
|26||Living Without You|
|28||It’s Gonna Work Out Fine|
|29||Please Mrs. Henry|