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MAN

Psychedelic/Space Rock • United Kingdom


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MAN formed in the Swansea area of Wales from the ashes of the mid 60s harmony pop outfit, The Bystanders, and another local band The Dream. The two fused together, and became a more progressive outfit, signing to Pye Records. Their debut album, 'Revelation', being a fully fledged concept album. However, this gained little momentum and they shifted to Pye's 'progressive' imprint Dawn for the more experimental '2 Ozs of Plastic With A Hole In The Middle'. This made about the same amount of impact, and they changed labels entirely for their third eponymous album that was released on Liberty. Rather typically by now, this also didn't exactly set the world alight.

It was only when they signed to United Artists, which had re-established itself as a prominent prog label at this time. A run of very popular albums started from 'Do You Like It Here Now? Are You Setlling In' in 1971 through to the live album 'Maximum Darkness' in 1975. However, again their fortunes started to dwindle and after a few less successful albums for MCA they split. However, a short term reunion in 1983, and another in the early 90s which has continued to this day, has kept the band alive, despite the fact that pretty much every album has never featured the same line up twice!! Nowadays the band is led by the bass player Martin Ace, who has been an on/off member since around 1970.

Their best work is represented by '2 0zs Of Plastic With A Hole In The Middle', 'Be Good To Yourself At Least Once A Day' and 'Rhinos Winos and Lunatics'. The first two represent space rock at its best, and the latter one shows a more structured approach yet some of their finest songwriting is on that album. However, space rock fiends cannot go wrong with their original 1969-1977 run of albums.


Why this artist must be listed in www.progarchives.com :
MAN define the 'space rock' genre as much as bands like NEKTAR or HAWKWIND do; from 1969 through to 1977 they were one of the most consistently excellent progressive acts in Wales, and are possibly the most famous progressive rock act from Wales even to this day.


Discography:

Studio & Live Albums:
1969 Revelation
1969 Two Ozs Of Plastic With A Hole In The Middle
1971 Do You Like It Here Now, Are You Settling In?
1971 Man
1972 Be Good To Yourself At Least Once A Day
1972 Live At The Padget Rooms Penarth
1973 Back Into the Future
1973 Christmas At Th...
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MAN shows & tickets


  • Man at Steinbruch, Duisburg on 16 Apr 2015

MAN discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

MAN top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

2.90 | 33 ratings
Revelation
1969
3.33 | 34 ratings
2 Ozs. Of Plastic With A Hole In The Middle
1969
2.96 | 38 ratings
Man
1970
3.89 | 42 ratings
Do You Like It Here Now, Are You Settling In?
1971
3.86 | 47 ratings
Be Good To Yourself At Least Once A Day
1972
3.83 | 53 ratings
Back Into The Future
1973
3.77 | 30 ratings
Rhinos, Winos And Lunatics
1974
3.67 | 24 ratings
Slow Motion
1975
3.65 | 24 ratings
Welsh-Connection
1976
2.75 | 4 ratings
The Twang Dynasty
1992
2.96 | 5 ratings
Call Down The Moon
1995
2.08 | 6 ratings
Endangered Species
2000
2.91 | 4 ratings
Undrugged
2002
2.50 | 6 ratings
Diamonds and Coal
2006
2.33 | 6 ratings
Kingdom of Noise
2009

MAN Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.19 | 15 ratings
Live At The Padget Rooms Penarth
1972
3.85 | 16 ratings
Maximum Darkness
1975
3.04 | 5 ratings
Live In London 1975
1975
3.25 | 4 ratings
All's Well That Ends Well
1977
3.09 | 3 ratings
Friday 13th
1983
3.12 | 6 ratings
Live At The 'Rainbow' 1972
1990
3.00 | 1 ratings
Live At Reading '83
1993
3.00 | 5 ratings
BBC Radio One Live in Concert
1993
4.00 | 2 ratings
1994 Official Bootleg
1995
2.22 | 4 ratings
Greasy Truckers Party
1997
1.00 | 1 ratings
To Live For To Die
1997
3.00 | 1 ratings
The 1999 Party Tour
1998
4.50 | 2 ratings
1998 At The Star Club
1998
0.00 | 0 ratings
Down Town Live
2002
3.00 | 1 ratings
Man Alive
2003

MAN Videos (DVD, Blu-ray, VHS etc)

MAN Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.00 | 1 ratings
Twice
1972
3.00 | 1 ratings
Golden Hour Of Man
1973
5.00 | 1 ratings
Green Fly
1986
4.00 | 1 ratings
Perfect Timing (The U.A. Years: 1970 - 1975)
1991
0.00 | 0 ratings
The Early Years
1994
0.00 | 0 ratings
The Dawn Of Man
1997
0.00 | 0 ratings
Rare Man
1999
0.00 | 0 ratings
The Pye Collection
2000
0.00 | 0 ratings
3 Decades Of Man - The Best Of The 70's, 80's & 90's
2000
4.00 | 1 ratings
Many Are Called But Few Get Up
2001
3.00 | 1 ratings
And in the Beginning (The Complete Early Man 1968-69)
2004
0.00 | 0 ratings
The History Of Man - The Evolution Of The Legendary Welsh Rock Band
2005
3.25 | 3 ratings
Keep On Crinting: The Liberty/UA Years Anthology (1971-75)
2006
0.00 | 0 ratings
Sixty Minutes With
2007

MAN Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

0.00 | 0 ratings
Erotica / Sudden Life
1968
0.00 | 0 ratings
Sudden Life / Love
1969
0.00 | 0 ratings
Erotica / Don't Just Stand There
1969
0.00 | 0 ratings
Erotica / Love
1969
0.00 | 0 ratings
Erotica / Love / Puella! Puella! / Empty Room
1969
3.00 | 1 ratings
The Storm
1969
0.00 | 0 ratings
Daughter Of The Fireplace / Country Girl
1971
0.00 | 0 ratings
Don't Go Away / Back Into The Future
1974
0.00 | 0 ratings
Day And Night / Hard Way To Live
1974
0.00 | 0 ratings
California Silks And Satins / The Thunder And Lightning Kid
1974
0.00 | 0 ratings
Taking The Easy Way Out Again / California Silks And Satins
1974
0.00 | 0 ratings
Rainbow Eyes / Day And Night
1975
0.00 | 0 ratings
Out Of Your Head / I'm A Love Taker
1976
0.00 | 0 ratings
Bananas
1976
0.00 | 0 ratings
What A Night / Last Birthday Party
1984

MAN Reviews


Showing last 10 reviews only
 Do You Like It Here Now, Are You Settling In? by MAN album cover Studio Album, 1971
3.89 | 42 ratings

BUY
Do You Like It Here Now, Are You Settling In?
Man Psychedelic/Space Rock

Review by ExittheLemming
Prog Reviewer

5 stars Exclusive - Discovered in Wales - The World's First Edible Pot Noodle

You know, I'm caught on the horns of a Dalai Lama with this album. To wit, how can such a hirsute gaggle of smoking enthusiasts capable of this stunning masterpiece have produced precisely squat of discernible merit before or since? I've never really believed in 'flukey' genius (as those hypothetically immortal monkeys astride typewriters with infinity to kill would eventually be whittled down to a partially shaved splinter group called the Grateful Dead) As far as grievously irritating hippy cosmiche w.a.n.k goes, the cited accomplices that conspired to forge this creation are strenuously denied parole as the public need to be protected from Bethnal Green impersonating California (i.e. Fleetwood Mac circa Albatross), together with known artless dodgers such as the Steve Miller Band, Quicksilver Messenger Service, Mother Earth and the durable Dead etc. To my ears the west coast influences from these bloated jam slags are usually overstated and fail to evince the more palpable echoes of Jefferson Airplane and Family (erm...who weren't even from Bethnal Green) Unlike 2 Ozs. Of Plastic (With A Hole In The Middle) and Be Good to Yourself at Least Once a Day, there are no long spacey indulgences here and the prevalent mood is a welcome focus where the improvisation appears to have begat the songs and not vice versa. Therefore the discipline, restraint and structural rigour encountered throughout is completely at odds with the majority of Man's output.

Angel Easy approaches a jazzier and maybe funkier country rock, a place where Albert Lee would feel entirely at home. Similar to the Kinks' Muswell Hilbillies it's remarkable how five scruffs from Merthyr Tydfil who also draw almost exclusively from American idioms and rhythm and blues forms still manage to sound indelibly and naturally British on material like this.

Twin guitar bands are something of a consuming fetish for this rodent with Television, Barbaro, the Stones and Crimson all high on my list of those featuring partnerships where the twelve string whole conspires to be more than the sum of the individual six string parts. This exhilarating synergy is exemplified by Many Are Called But Few Get Up where Leonard and Jones negotiate a tangential steeplechase of metrical hurdles but still produce an uber moreish toe tapping textural treat. Subtle phasing and wah-wah effects are used to achieve this end and like the beautiful gently over-driven crunch which they coax from their amps, nothing is overcooked or overdone. Deliciously languid slide guitar occasionally begs for our attention but is spirited quickly away, lending proceedings an anticipatory charge, like a lingering embrace. They also exploit key changes to mirror the desired atmospheric mood at any given time. Yep, these are exquisitely crafted songs where the ensemble writing and arranging process exploits all the player's strengths to best effect. In 1971 Man couldn't even get arrested in the UK (different story in Belgium where dope smuggling and people trafficking are often interchangeable, but you need to read Deke Leonard's sleeve-notes for that) They were however achieving modest success in Europe and had relocated to Darmstadt, Germany where like fellow ex pats Nektar, they managed to shift sufficient units and attract enough gigs to make their music a viable commodity.

I first heard this album at 19 from a Glasgow public lending library after deciding to take a punt on the contents based solely on what I thought was a blasphemous gag on the cover i.e. the appeasing angels seem to say: here is your earthly paradise, please keep the noise down and try not to burn all the plants OK?

Manillo has the fattest acoustic guitar sound ever faithfully captured to tape before weight watchers started using electronic scales and unmarked vans. I'm not sure how they achieved this as I can't hear any incriminating phasing or chorusing artifacts in the resulting yummy fondant jangle. Perhaps they marinated the strings or the player's fingers in lard? This song is also notable for perhaps the greatest punned evocation of indolence in the history of rock where the singer dispenses entirely with the frilly niceties of providing sufficient words for his very resilient melody:

I've got my eyes on the pillow, can't get to sleep All is manillo, mmm mmm mmm mmm

With the possible exceptions of John Lennon's I'm So Tired and Noel Coward's Coronation Chorale, I ain't heard better and it never fails to make me smile. Take note of the sly key change for the chorus though, where an anguished gravitas descends as the song's central theme (withdrawal symptoms) is laid bare.

I can't move a leg and I can't move an arm and I can't understand what's doing me harm and the lonely pain grips your weary soul, and goes on and on and on on and on

Yes, Love Your Life has a sweltering pre colonial tom driven drum loop which introduces a killer riff but doesn't rest on it's catchy laurels and boasts an almost equally memorable developmental section to boot. Perhaps I've been too harsh on the lads hippy affectations up to now as ain't the gist here really amor fati as implored by that nemesis of the so called slave morality Nietzsche?. OK it's a tad tenuous but this strikes me as a wake up call to the sort of nihilistic and hedonistic drivel that passes for the rock'n'roll lifestyle as endorsed by its ungrateful dead.

Just marking time and standing still When you got no life you got no will The city people makin' bread I'm just as stupid, I'll be just as dead

The perceptive author has learned that those who inhabit the moral high ground are often susceptible to nose bleeds. You are also advised that Clive John's distorted organ solo is a thrilling slalom of abrasive and coruscating beauty that just builds and builds in ever increasing excitement until such time as the trumping riff does not merely return, but 'erupts' to bring this spiffy composition to a very satisfying conclusion.

Deke Leonard's sleeve notes reveal an impish mordant wit at play and it comes as no surprise that he has to date published at least two music related books under his own name. One being a history of Man (the band, otherwise he's clearly overreached himself) and the other a collection of essays about some of his favourite guitarists.

Traces of Man's Psyche lineage can be heard at their most overt on All Good Clean Fun which is a kaleidoscopic zero gravity ski jump replete with backwards vocals, Victorian whimsy, self depreciating humour and ladled with hallucinogenic brio. I suspect it was heavily edited into its current form as it seems to 'rush in from the middle' as though a preceding section has been unceremoniously hacked off. Splicing such dissociative effects into a modern digital mix is of course a piece of proverbial piss via Pro Tools but to approach this level of inspired derangement using the painstaking discipline of splicing a very thin and unforgiving piece of magnetic tape using a razor blade and 'flying blind' for the forensic timing accuracy required beggars belief. Kudos are therefore due to engineers Kingsley Ward, George Chkiantz and Dave 'Rockpile' Edmunds. Which all begs the question, if/when they played this number live, did the vocalist have to learn to sing/pronounce the backwards bits erm...forwards? Meticulously ornate in places and ravishingly wanton in others (check out the three way dialogue between the two dueling guitars and Clive John's 'starting pistol' piano) Reputedly the lyrics are an affectionate swipe at some of the other UA acts that appeared on the label's promotional tour which went out under the banner of 'All Good Clean Fun' but like many Man anecdotes, might be apocryphal.

To describe the drum sound on We're Only Children as 'crisp' would be like describing the Atlantic Ocean as 'moist'. Rarely have I heard a kit from the 70's sound this lean and taut and it therefore seems slightly perverse that drummer Terry Williams went on to become a willing accessory to at least two war crimes against timpanic membranes better known as the 'Dire Straits' and 'Meatloaf' atrocities. Slightly dippy lyrics on this one but hey, we're in the realm of patchouli oil, tie dye, cheesecloth, incense sticks and un-groomed men referring to each other as 'cats' ya dig? The textures deployed here are certainly reminiscent of Fleetwood Mac circa Albatross, but although Man draw generously from the former's haunting and plaintive beauty they dispense entirely with its soporific torpor.

Written, recorded and mixed in just one week Do You Like It Here Now? is ample proof that analogue technology foisted a discipline on musicians that for all it's merits, the 'unlimited undo' digital domain does not. You have to make choices in the analogue realm, be it committing to what takes are used for an (irreversible) 'bounce down' due to track limitations or if leaving those barely perceptible flaws in timing and pitch will help keep a performance inherently 'human?' There is a freshness and energy to these songs that must have been commensurate with their being written in the morning, recorded in the afternoon and mixed at night. Ideas pored over, tweaked, twiddled and fiddled with at inordinate length often result in fixing something until it breaks. Man were a bunch of happy campers at this point in their career having just signed to new label United Artists and were garnering a burgeoning reputation in mainland Europe from constant gigging. They might have had cause to pinch themselves: Here we are in our early 20's, safely ensconced at Rockfield Studios in the land of our fathers, dreaming of never having to get a 'proper' job again. Judging by Deke Leonard's version of events, the whole recording process was as smooth and easy as shooting six suicidal fish in a barrel and serving same to a hungry seal. Apart from possible industrial action by the employees of 'Rizla', there was very little external disruption that could have undermined this archetypical stoner band's only unimpeachable contribution to the legacy of rawk.

if you don't like this Man album, then you'll never like a Man album. Deke Leonard on 2 Ozs. Of Plastic (With A Hole In The Middle)

I turn my whiskers up at your cream Deke daddio

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 Be Good To Yourself At Least Once A Day by MAN album cover Studio Album, 1972
3.86 | 47 ratings

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Be Good To Yourself At Least Once A Day
Man Psychedelic/Space Rock

Review by Aussie-Byrd-Brother
Special Collaborator Rock Progressivo Italiano Team

4 stars Heavy Welsh jam band Man have always been difficult to categorise, playing a mix of country rock and blues with psychedelic and adventurous rock passages, with slight spacerock and even Krautrock flavours worked in as well. By the time of this LP, "Be Good to Yourself At Least Once A Day", their fifth studio album in 1972, the band were really starting to fire on all cylinders. Honing their skills over their numerous live shows and four previous albums saw them find a better balance of all the above mentioned different styles here, and it's one of their most consistent releases from their vintage Seventies recordings.

"C'Mon" is a punchy call-to-arms opener, with plenty of positive and sunny vibes throughout. The relentless rocker is bookended with slippery bass, warm harmonies and singing slide guitar, but the real highlight is the a slow-build, impossibly beautiful shimmering low-key spacey rumination in the middle. Glistening Hammond organ ripples and electric piano float in space, chiming guitars and wavering electronics drift over sighing wordless harmonies in the manner of Nektar, before ending on a light driving guitar jam and a brief punchy symphonic prog burst. `Keep on Criting' is a sprightly upbeat and instantly likeable instrumental. Drowsy and toasty warm bubbling Moog, electric piano fingertips and whirring Hammond remind of the upbeat Greenslade instrumentals, with a fuzz organ solo in the middle instantly calling to mind Caravan. The guitar is gentle country licks to begin, then thick and snarling in the middle, and heavy psychedelic twin guitars duel on either side of the speakers trying to snake their way to the heavens in the finale.

The flipside holds the colourful and playful groover "Bananas." A total psychedelic rocker, at first it's warped with nonsense lyrics such as "I like to eats bananas, 'cos they have no bones, I like marijuana, 'cos it gets me stoned", which certainly raises a smile! The piece quickly diverts into dreamy levitating preciousness, as chiming guitars dazzle, whizzing spacy Hammond glides all around and an optimistic dreamy vocal wafts by. The electric guitar soloing that races through the final minutes is constantly joyous, lifted into the air by electric piano and fluid bass to end on positive vibes. Closer `Life on the Road' is an Americana-infused shuffling boogie, driven by nimble piano and slow-burn electric guitar fire. It may be more straight-forward than the rest of the disc, but it's easy to wind down to, exceptionally well-played and ample proof of the skills of the band.

Some Man albums can be a bit hit and miss, but `Be Good..' is one of their strongest works from their initial run of Seventies albums. There's no shortage of varied rock elements and psychedelic touches delivered here, and they've also offered plenty of blues/country elements as well, so many types of listeners should find something to appeal to them. Well played with high-quality material, "Be Good to Yourself At Least Once A Day" is one of Man's defining releases, and it makes for the ideal introduction for newcomers to the band to explore.

Four stars.

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 Man by MAN album cover Studio Album, 1970
2.96 | 38 ratings

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Man
Man Psychedelic/Space Rock

Review by Aussie-Byrd-Brother
Special Collaborator Rock Progressivo Italiano Team

2 stars The third album by Welsh band Man is a frustrating and inconsistent collection played by a talented group simply not knowing which direction to head in. A band known for blurring country and blues-rock with psychedelic (frequently West-Coast styled) sounds and some progressive sophistication, this self-titled album is perhaps a little too ambitious, with as many ideas as possibly thrown in together to confused results, although there's still decent music here and there throughout.

`Romain' is a nicely played chugging slow-paced grooving boogie with a blistering electric guitar solo in the middle. Make sure to hang around for the slightly bent acoustic finale that comes out of nowhere, easily the most interesting part of the track. You sure wouldn't know the band were from Wales on `Country Girl', unsurprisingly a foot-tapping country rocker with pleasing pedal-steel guitar and soothing upbeat group harmonies. It's nothing of interest at all for prog fans, but it makes me think of the Byrds screwy space- rock/country/psych album `Dr Byrds and Mr Hyde', so I'm kind of forgiving of it. `Daughter of the Fireplace' is a blistering break-neck four minute blur of noisy blues-rock, full of howling vocals and pounding honky-tonk piano. It's punchy and energetic, but the jammy version on their live album `Live at the Padget Rooms, Penarth' wipes the floor with it.

Of much more interest to progressive fans are the two extended pieces, beginning with the 13 minute `Would The Christians Wait Five Minutes...'. Disorientating mangled guitar reverberations, plodding drumwork, spacey keyboard effects and delicate piano brings a dusty drifting haziness. By complete chance, the shimmering keys make it resemble Pink Floyd's classic `Echoes' from a couple of years later, and the uplifting main theme reprised in two spots even calls to mind German band Novalis. Some wordless crying harmonies in the final wouldn't sound out of place in a climactic western movie showdown. Truthfully it's not the most eventful of longer pieces, and there's barely anything resembling an actual tune or melody, but it sure sounds rather cool and mysterious.

The album closes on a side-long piece, `Alchemist'. A twinkling ambient synth build, crashing cymbals, deranged wailing voices with some slow-burn electric noodling briefly calls to mind `Spare Chynge' from the Jefferson Airplane or a Grateful Dead improv. Soon imposing heavy dark riffs straight off a Black Sabbath album, wavering sound effects and spiralling drumming stomps down on the listener. Halfway through the piece evolved into brooding acid-rock stroll with rambling spoken-word passages before finally wrapping on a bass hoedown with devilish accordian. Sadly the piece is really just a bunch of slightly interesting fragments and improvisations stuck together with no sense of flow or cohesion, and it seriously pushes the friendship at almost 21 minutes.

If you are wishing to investigate the Man band for the first time, I would advise staying well away from this one. The truth is, this was my first disc from them, and it nearly put me off exploring them further. Perhaps one of their numerous dynamic live albums, such as the above mentioned `Penarth' disc would be a better starting option, showing off the band's talented skill of more focused improvisations and jams while still delivering energetic performances.

Don't be alarmed by the two star rating, it's simply due to this being an inconsistent work, a clear case of multiple personalities, from a band that had several better albums to offer very soon after this one.

Two stars.

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 2 Ozs. Of Plastic With A Hole In The Middle by MAN album cover Studio Album, 1969
3.33 | 34 ratings

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2 Ozs. Of Plastic With A Hole In The Middle
Man Psychedelic/Space Rock

Review by malcra

4 stars Recent acquisition on the Man back catalogue on vinyl has proved that one of the greatest bands to emerge from Wales had a) a big list of albums and b) the quality of them is fairly consistent blending good with mediocre tracks on a regular basis. The arrival in the post on "2 Ozs. Of Plastic With A Hole In The Middle" coincided with a trip to optometrists and the application of drops to dilate the pupils of the eyes. Whilst this left me with enough vision to turn on the Rega, it wasn't sufficient to allow me to read the sleeve notes or which side I was playing. I did know which album I was playing.

You are usually doing something else whilst listening to music, however I can recommend eye drops (or alternatively eye patches or those covers that posh older people using on the plane. You listen to the music.

As commented by other reviewers, Man's second album sees them getting into their stride and the style and line-up(s) that saw them through to All's Well That Ends Well. The music for me a prototypical Man, and captures some of style and flavour which was always best live (at the Roundhouse, though 94's Official Bootleg from the Marquee) is my personal favourite. With Man you get a real sense of West Coast US meets Methyr Tydfil with and undercurrent of hard rocking trying to break out through the dreamy sounds of the Pacific surf, sort of. Spunk Box is the standout track for me, though again its better live (and extended) on the Greaser Truckers album.

With my vision returning I flipped the album and totally oblivious to the ironing stack behind me, continued to enjoy and understand was is really a great album. It's getting harder find on vinyl I sense, and my copy isn't perfect, but it's the only way to listen to this type and period of music. I am a fan or Man, their place in history and principally (or is that principality) their music. It's one of their better ones.

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 Undrugged  by MAN album cover Studio Album, 2002
2.91 | 4 ratings

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Undrugged
Man Psychedelic/Space Rock

Review by kev rowland
Special Collaborator Crossover Team

3 stars "Undrugged is a terrible state to be in. The state of having no drugs. Dopeless. Lacking the wherewithal. Absence of the necessary. Grim. Desperate. Pestilence walks the land?.Take a stroll around your local police station on a weekend and you will find that the cells are not full of placid, grinning hippies, they are full of aggressive, vomiting piss-heads. Now, I've got nothing against aggressive, vomiting piss-heads. Without them, the music industry would grind to a halt. Every band contains at least one. Traditionally it is the drummer?.." This is just a small section of the contents of the booklet (written by Deke Leonard), and shows the frame of mind of the Welsh version of The Grateful Dead.

My first introduction to these nutters was over twenty-five years ago, and I have had a sort spot for them ever since. In their normal organised manner it took them five years and two line-ups to record this mostly acoustic album, and of course the results are very pleasing indeed. Songs such as "I Always Thought The Walrus Was Protected" and "Listen To Me, Sister" work extremely well, and even the few covers take on a new life. Martin Ace and Deke Leonard have been playing together for nearly thirty years and they have a definite understanding of what they are trying to achieve.

Just because they are not as popular as they used to be, this is no reason for the band to stop playing great music and this albums shows that they have a real empathy. "Georgia On My Mind" is full of power and emotion and should be required listening for all Pop Idol wannabes.

Originally appeared in Feedback #67, Jun 02

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 Back Into The Future by MAN album cover Studio Album, 1973
3.83 | 53 ratings

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Back Into The Future
Man Psychedelic/Space Rock

Review by stefro
Prog Reviewer

4 stars Considering that Man were given just a matter of weeks to come up with a new album following the surprise success of both previous studio album 'Be Good To Yourself At Least Once A Day' and the live offering 'Christmas At The Patti' it's a wonder the Welsh psych-rockers came up with something so good. And so long. A double-sided affair, 'Back Into The Future' mixed new studio tracks with live recordings and found the group on top form with both. The line-up of Micky Jones(guitar, vocals), Tweke Lewis(guitar), Phil Ryan(keyboards), Will Youatt(bass) and Terry Williams(drums) had just finished a tour of Germany and, by all accounts, had very little to work with upon entering the studio. However, despite the perceived difficulties surrounding the sessions and the tight recording schedule imposed by the label the group managed to fashion an impressive set of upbeat, good-time tracks that combined the usual flavours of acidic guitars, spiky keyboards and West coast- style harmonies. Although mainly rather brief-in-length, 'Back Into The Future' features some great Man workouts, the bouncy 'Just For You' blending woozy keyboards and slick vocal harmonies, 'Never Say Nups To A Nepalese' showcasing a nice line in dopey humour and a bravura, nineteen-minute-long live version of stone- cold classic 'C'mon'(from 'Be Good To Yourself At Least Once A Day') capturing Man in their natural live habitat and close to their scintillating best. Most of side two - taken from a 1973 performance at the Roundhouse, London - concentrates on more material from their previous studio effort, and yet again the playing is exemplary, as featured on the breathtaking, guitar-solo-heavy rendition of 'Spunk Rock '73'. Whilst previous Man studio efforts, and indeed future ones, would find the group struggling to replicate their live energy within the confines of the studio, this 1973 release bucks the trend, which may well be a result of having to get the goods in the can so quickly. There's a real lively feel to much of 'Back Into The Future' and those you have yet to explore the delights of 'the Welsh Grateful Dead' as they are so often called(the 'Welsh Quicksilver Messenger Service is probably more apt) then this is as good a place as a any to start. A rollicking, fun-time ride, this is very much a career high for all involved.

STEFAN TURNER, STOKE NEWINGTON, 2012

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 Do You Like It Here Now, Are You Settling In? by MAN album cover Studio Album, 1971
3.89 | 42 ratings

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Do You Like It Here Now, Are You Settling In?
Man Psychedelic/Space Rock

Review by Finnforest
Special Collaborator Honorary Collaborator

3 stars Wales x West Coast hippie prog

My first Man album turns out to be a very satisfying experience. The band hailed from Swansea and while never exactly a household name, managed to release many acclaimed works in the 70s. While the album has an English psych-rock vibe it also draws comparison to the West Coast sounds, reminding me of bands like the Airplane and Spirit. It was recorded very quickly and features guests Dave Edmunds and Pete Ham, not surprising, as there are some Badfinger attributes here via the combination of good songs and economical, occasionally blistering rock. Man seemed to have a good sense of humor and an imaginative songwriting style, not unlike Stackridge, but they were much more rocking. This album features many grooving bluesy-psych jams with two lead guitarists who peel off some hot solos. The drumming is also pretty tight and interesting. The vocals are passable hippie rock vocals, nothing to write home about there. "Angel Easy" has a real Grateful Dead vibe. "All Good Clean Fun" gets high-minded with some crazy time changes and absurdist vocals. The highlight of the album is the creative take, lots of twists and turns worked into what would otherwise be just a period jam. I can't say if this is the definitive Man album since I have not heard the others, but it certainly worked as an album to get me interested in hearing more. Quite good.

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 Man by MAN album cover Studio Album, 1970
2.96 | 38 ratings

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Man
Man Psychedelic/Space Rock

Review by Progosopher

2 stars Man's third album, and the first of theirs I have bought, is a disappointment for me. I have seen their albums for many years now, but have only heard them from video samples on the Archives. I liked the twin guitar attack on those spots and that is what I expected with this album. Sadly, it is not the case.

With two previous albums that made nary the tiniest splash, the band here seems unsure of what direction they want to go. The first song, Romain, is straight blues rock with a decent instrumental section at the end. Not a bad song, but it reminds me more of Canned Heat than anything else, which is just fine when I want to hear Canned Heat but not when I want to hear some twin guitar space rock. The next song starts with a promising riff, but then goes into country rock with a severe case of twang. If you like The Band, you might like this song. I admire The Band, but they are far from my favorites. This is a song I merely put up with. The next song is split into two tracks on the edition I have, and I have no idea why. It is definitely space rock very much in the line of Pink Floyd. At nearly thirteen minutes, it is long and drawn out, and gets quite boring after a while. It does however, have the capacity to grow on the listener. Maybe because of its hypnotic nature? The title is also rather cruel in my estimation: Would the Christians wait five minutes? The lions are having a draw. Now, I am not Christian, nor should that have anything to do with it; the joke on being thrown to the lions is simply in bad taste. The next track, Daughter of the fireplace, is a smoker (pun intended) and perhaps my favorite on the whole album. Still, it is straight blues rock and no more. The remainder of the album is taken up by the twenty-minute long Alchemist. This is much like the other long spacey piece, but even more tedious, although there is an ominous theme I can get into.

The main problem I have with this album is I am never sure if I am ever listening to Man. Every song reminds me very strongly of other bands. So, while it is not a terrible album overall, it lacks originality and uniqueness. When I want country rock, I can find better elsewhere; when I want straight blues rock, I can find better; when I want space rock, I can still find better. This band still holds promise for me, and I intend to keep an eye out for some of their work, but this is one outfit I will have to be more careful with. While I can get into Man by Man, it is not what I expected, nor is does it rise above those expectations. Two stars.

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 Man by MAN album cover Studio Album, 1970
2.96 | 38 ratings

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Man
Man Psychedelic/Space Rock

Review by stefro
Prog Reviewer

3 stars Man were a curious beast of a band whose West Coast-inspired brand of guitar-solo heavy psych rock constantly straddled the dividing line between 'progressive rock' and 'psychedelic rock'. A bit like, say, The Grateful Dead blended carefully with Yes - when the Welsh rockers are at their very best - Man cultivated a strong live following during their early- 1970's heyday and released a succession of excellent studio albums despite their frequently-changing line-up. Efforts such as 'Be Good To Yourself At Least Once A Day' and 'Back Into The Future' showed a debt of gratitude to the likes of Quicksilver Messenger Service, but also shone with rambling-yet-intricate prog psych aesthetic coloured by their love of epic, bluesy guitar-driven marathons - many of their cuts break the twenty-minute mark - and a sincere love of all things musically West Coast. Some compared them to psych-folk high priests The Grateful dead, yet elements of their sound, especially in their later years, were fiendishly progressive. However, unlike many of their cohorts, Man's weakest material proved to be their earliest recordings, such as debut 'Revelations' and follow-up '2 Oz Of Plastic (With A Hole In The Middle)'. 'Man', their self-titled third album from 1970, sought to somewhat counter their early, and rather kitsch, psychedelic pop sound with a heavy dose of twangin' rock 'n' roll country, placing their new sound far from the old. Indeed, at first listen 'Man' sounds authentically American; tracks such as 'Country Girl' and 'Romain' have a vibrant, rustic and almost funk-driven quality, with steel guitars to the fore and raw, good-time feel soaking each chord. The longer songs feature more proggish ingredients mixed in with the country rock, yet at this point at least, Man had not mastered the art of transferring the epic grandeur of their live shows onto vinyl.The 22 minute long 'Alchemist' has it's moments, but it is more of a case of bad, or maybe inexperienced, musical architecture than simply weak melodies. The other, shorter epic, the punnishly-titled 'Would The Christians Wait Five Minutes? The Lions Are Having A Draw', is a less ambitious affair that shares the sweaty ambience of the album's shorter, funkier tracks but again remains far too long, even at twelve minutes. 'Man' is very much a case of being half a great album - surely one of the only country prog albums? - yet also marks the passage where the boys from Wales grew up to be...well, Man. As transitional abums go, 'Man' does have much to recommend it, especially to those who enjoy the psychedelic West coast rock of Jefferson Airplane and their US counterparts Wizards From Kansas, H.P. Lovecraft and The Grateful Dead. It's certainly not their proggiest or best release(it's probably their least proggiest), but more a fun-time musical experiment that produced a couple of genuine rockers for the road. Recommended for it's uniqueness then, but 'Man' is no serious contender. STEFAN TURNER, LONDON, 2010

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 Be Good To Yourself At Least Once A Day by MAN album cover Studio Album, 1972
3.86 | 47 ratings

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Be Good To Yourself At Least Once A Day
Man Psychedelic/Space Rock

Review by Astryos

4 stars "Man" is a group that incorporates rock n roll, progressive rock, blues, country and hard rock. This album is no exception. They have the gift to make their studio albums (mostly those issued around 1973) sound like live recordings. The twin guitar solos, the tight and groovy rhythms, their enthusiasm and energy are combined with skill and good ideas. The piano and keyboards play a district role with soulful solos here and there as compositions lead into jams. If a reference is needed, I 'd dare to say that Wishbone Ash, Marshall Tucker Band or Quicksilver Messenger plus hammond organ jamming on stage sound similar at times. The most progressive oriented piece in this album is the beautiful instrumental "Keep on crinting". Although "Man" don't play progressive rock in the strict meaning of the word -and even the last song "Life on the road" is a rhythmic blues piece- anyone who loves good pure rock music will find this a delightful recording.

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